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READER SERVICE NO. S5 Hands-on Workshops
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READER SERVICE NO. 95 READER SERVICE NO. 75

www.t h re a d s m a g a z i n e .c o m F E B R U A RY / M A R C H 2 0 0 7 3
FEB/MAR 2007 ::� NUMBER 129
--- ---
features
34 COV E R STO RY Go Faux!
Today's faux fur offerings are cozy,gorgeous,
and surprisingly easy to sew
BY ELIZABETH DUBICKI
40 F I TTI N G S E R I ES, PART

Altering Patterns
4
for the Well-Endowed
T he ever-changing bustline needs multiple
fittings over a lifetime. Here's how
BY LYNNE GARNER
45 No Pattern Required
Take your favorite garment and clone it
BY MICHAELA MURPHY
48 Copy Your Garments
with Precision
With a flexible ruler,you can capture the
shape of any garment again and again ]
BY JEAN HAAS '"- �
.� E
�� .,c
53 It's a Wrap: �]
Custom-covered Belts
Learn how to cover a belt and buckle
.0��'ci..,..,.C:t""..,c:
"'<t
:2�
like a professional
BY PADDYE MANN -"'t:"..,,<-0�8
';:: ci
Uci...,,S:
-i;[Link]
56 Inspired by Japanese Crests "-"'.c:'"'"= <>-'8�c:0'"-
Century-old designs add new life to garments
BY LOIS ERICSON -5-",�-'"��
il I

62 Cut Up Patterns and Add Seams

Get extra style mileage from your favorite
ij-'"�'"- :C-u
at
��
patterns by creating new seams
0...., ""
���-c:
BY MARY RAY u'"

[Link]
 -t --- _departments
embelfabrlisichmentyo-yoss: UP FRONT
CONTRI BUTORS

LETTERS 8 6
TIPS 12
Revolving spice rack for notions;
clipping curves accurately; prevent­
ing foot-pedal movement

flexible rulers N OTIONS 19

Embellishment stamp set; book on
museum textile collections; make
your own buttons; sewing-machine
seam guide; easy-to-store light box

PATTERN REVIEW
Take it from the runway
24
BASICS 31
Pattern terms, defined
40
alttehreinwelg patl-etndowed
erns f o r
IN THE BACK
EMBELLISHMENTS 68
Going in circles: fabric yo-yos

READER'S CLOSET

Q&A 78 73
Sewing bra cups into a lining;
lining a vest; using a curved ruler;
lifting low-rise jeans; closing a
gaping back

62 ADVERTISER IN DEX!
candut upaddpatseteamsrns WEB DIRECTORY

CLOSURES 90 88
Stitch, rattle, and ROAR

F I N E FABRICS back cover

Tartan plaid
 C O N T R I B UT O R S

JEAN HAAS ("Copy Your Garments with Preci­

sion") l ives by the motto, "If you can visualize it, you
threads
EDITOR Amber Eden
ca n make it." After more than 25 years of creati ng
custom-fitted clot h in g i n her equestrienne design busi­ ART D I R ECTOR Rosa n n Berry
ness, Jean is working to educate sewers i n many ven ues, SEN lOR EDI TOR Jennifer Sauer
including her own workshops a n d videos as wel l as con­ TECHN ICAl EDITOR Judith Neukam
ferences a n d n u merous sewi ng guilds around the coun­ ASSISTANT ART DI R ECTOR Lisa Summerell
try. Jea n is a lso the a uthor of a variety of DVDs, CDs, a n d
ASSISTANT EDITOR Deana Tierney
online classes. You can fi nd her flexi ble ru lers a t Flexi ble
CONTRIBU TING COPY EDITOR
Jean Haas [Link] and DressFormDesign [Link].
Diane Sinitsky
�--------------------------- ----------------- EDITORIAL S E C R E TARY April Mohr
CONT R I B UTING E D I TORS
MICHAELA MURPHY ("No Pa ttern Required")
Louise Cutting, Susan Khalje,
started sewi ng when she was n in e years old after her Anna Mazur, Mary Ray
mother threw u p her hands i n frustration d u ring a sew­
i n g class a n d had Michaela take her place. Michaela sim­ PU BLISH E R
Elizabeth Agren
ply picked u p the project a n d fixed it. S ince then, she has
sewn for some of New York City's top costume s hops, the­ C I RCULATION DI R E C TOR
Den nis O'Brien
ater com pa nies, a n d movie-costume deSigners. She cur­
rently sews for herself, her friends, a n d for the baby boom SINGLE COPY SALES MANAGE R
Mark Stiekman
explod i n g wit h i n that circle. Michaela has been a free­
la nce editor at Thre ads magazine a n d for the Se w Stylish ADVE RTISI NG SALES MANAGER
pu blication com i n g out this February. Angelyn Termini

�--------------- ----------------------------- ASSOCIATE ADVE RTISING SALES MANAGE R

Tracey Lenahan
LOIS ERICSON ("I nspired by Japa nese Crests") ASSOC IATE ACCOUNT MANAGE R
is a treas u red Threads a uthor who has inspired readers, Chris Dunham
students, a n d fan s for decades-both i nside a n d outside CORPORATE ACCOUNTS MANAGE R
the Threads ci rcle. Her books, pattern collections, news­ Judy Caruso
letters, Web site, a n d workshops, as wel l as mach i ne­ SENIOR AD SALES SUPPORT ASSOC IATE

embroidery designs and ru bber-sta mp designs a re the Marjorie Brown

tools that add creative gen iu s to routine sewing for
T h r e a d s
everyone. Lois and her h usband, Len, live i n Reno,
&
Nevada, where Lois prod uces her Design
:
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F E B R U A R Y/ M A R CH 2 0 0 7 7
 EDIT O R ' S NOT E
The Taunton Press
Go Beyond the Pattern Inspiration for hands-on living®
INDEPENDENT PUBLISHERS SINCE 1975

H
ere at Threads, we are always thinking of TAUNTON, INC.
ways to "go beyond the pattern." That's Founders, Paul and Jan Roman

what Threads has always been about. THE TAUNTON PRESS

We are constantly searching for new ways to
instruct and inspire you, to stretch your creativ­
President & &
Editor In Chief S

Executive Vice President

uzanne Roman
Chief Financial Officer Timothy Rahr
ity, and to elevate your sewing experience with
beautiful fabrics, great ideas, and incredible
&
Executive Vice President
Publisher, Magazine Group Jon Miller

projects and techniques. Publisher, Book Group James Childs

Chief of Operations Thomas Luxeder

In this issue, you'll find a lot of al l of the above.
Cuddle up with our "Go Faux!" cover story, with some DIRECTORS
great tips on sewing faux fur and some of the most
sumptuous fau x furs around. Learn to clone your
Creative & Editorial Director

Human Resources Director

Susan Edelman

Carol Marotti

favorite clothes in "No Pattern Req uired" or replicate

curves exactly in "Copy Your Garments with Precision."
Controller Wayn
Advertising Director David Gray
e Reynolds

Consumer Marketing Director Diana A1lwein

Or just really tear into your patterns with contributing
Fulfillment Director Patricia Williamson
editor Mary Ray's "Cut Up Patterns and Add Seams."
Financial Analysis Director Kathy Worth
There are so many ways to go beyond the pattern.
Let us know a bout yours on Gatherings at Threads
THE TAUNTON PRESS
[Link] or write us at th@ta u [Link].
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I,�W( � f � T) P.S. Our special Threads publication, Sew Stylish, is

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tohear
resource for basics, couture techniq ues, and runway­ Sandra Mahlstedt, Wendi Mijal, Lynne Phillips, Carol

�� inspired projects to help you sew clothes you'll love

Singer. Manufacturing: Thomas Greco, Laura BUffone.

I fr()In V()Ll!
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First, I want t o say thank you for all the hard work
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you put into each issue of Threads. I have now pur­ Larry Rice, James Tweedle, Priscilla Wakeman.

chased my third consecutive issue and am putting

a subscription on my Christmas list. The magazine
never interested me before, although I've sewn
FuJfillment: Diane Goulart. Fuljillment Systems: Jodi Klein,
Kim Eads, Nancy Knorr. Dawn V iglione. Customer Service:
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.<:�-
Parker, Patricia Pineau, Betty Stepney. Data Entry: Melissa
magazine has just come alive. I love the fitting Dugan, Anne Champlin, Mary Ann Colbert, Maureen

articles, and the pattern review is my favorite. I

c o ntin ued ••• Pekar, Debra Sennefelder, Andrea Shorrock, Marylou
Thompson, Barbara Williams.
��u
'"
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8 T H READS
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Information Technology Services: Applications Development:

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TAUNTON INTERA CTIVE

�
Jodie Delohery, Michelle Rutkowski, Stace Caseria,
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sewing . fibre and paper arts beading. crafting + more 141465.g3e92.ary2st91., s0an'fbrranitceixfscaob, rciacs9.4c1om08
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F E B R U A R Y/ M A R C H 2 0 0 7 9
 LETTERS contin u ed

got a lot out of the "25 Ways to Achieve can't wait to try. I particularly like your Lo and behold, on a BBC-TV broad­
Sewing Zen" article in no. 127. I had articles about how to create or update cast, I saw a young gal running across
always known about beeswax, but I never trendy garments. Thank you for inspiring a London street onto the sidewalk. She
knew to iron it. Wow, what a difference. creativity and skill in a great publication! was wearing that dress, and it was no
On to the idea: I want to purchase a new -Kelli Kitchen, Utah meal sack; it had sass! It sings ditties as it
dress form and am clueless as to where passes by.
to start. My measurements are 34, 28, I just recently started subscribing to your I hope that gal forgets the pattern
37, and all of the dress forms in stores magazine and I love it. I can't wait to get because I want it. I have at least eight
are either too big or for children. My it, and when I do, I read it from cover to ideas to keep it sassy, a style at a time.
mom used to tell me about one she had cover in the same day. Wish me luck.
that was like a "cage" that you squished I love your tips on how to adjust pat­ -Margaret Gouduti,
around yourself, took off, locked, and it terns and was wondering if you are plan­ Arlington, Massachusetts
stayed that way. ning to have anything on how to make
I want a dress form that's going to hold basic patterns from scratch. S P E C I A L R E Q U E STS
my true shape, as I sew a lot of my own -Valentina, via email I find the articles on fitting very helpful
clothing. Could we have an article on the and hope you will continue to feature
form that fits your shape, how to find it, Editor 's Note: Valentina, you're in luck. the fitting issues. Kathleen Cheetham's
and what to look for? Check out "No Pattern Required " on p. 45. article "By the Seat of the Pants" (issue
Again, from a fellow writer, you've no. 128) was very well written, and the
done an amazing job ... the gift of sewing A D V E N T U R E S I N F I N E FA S H I O N photos were among the best I have seen
comes to life on the pages of Threads. Here's my adventure with the See&Sew in any fitting article. Although the topic
Each of the three issues I've gotten has B4832 dress pattern: was fitting the seat, the perfect-fit photo
given me courage to try something new A hip-hugging, miniskirted gal in her demonstrates another fitting issue that
that's a challenge for me; just for that, I 20s brought this pattern to me, saying plagues me ... the side seam. How can
could never thank you enough. that she would be right back for further you correct the fit to remove the horizon­
-Dawn Davidson, via email discussion. When she had not come tal side-seam folds?
back, I looked at the envelope picture. -Yvonne McAllister, via email
I am a sewer from the younger genera­ "How dowdy:' I thought. ''And box pleats?
tion, and I love your magazine! Sewing is What was the attraction?" I look forward to your pattern reviews in
one thing I can share with my mom, and Eventually I read the instructions, sur­ each issue and love to see the garments
we love to share your magazine. I study prised to find that the "meal-sack" style constructed from each pattern. Would
each issue from cover to cover; there are on the cover had eight panels. Moreover, you consider detailing the type of fabric
used to create each sample garment that
you photograph for inclusion in each
issue? My sewing time is extremely limit­
t t I love studying each issue ed, so including such information would

from cover to cover. I love reading

certainly cut down on my "guessing" time
and get me to the sewing much quicker!

about new fibers and fabrics, and

Thank you for your consideration.

I �ave a growi�g list of young, hip,

-Susan L. Kowalski, via email

creative techniques and projects " I love Threads and read every article. I
was very frustrated by one aspect of the
I can't wait to try. recent issue (no. 128). In more than one
article, you show tantalizing examples
of beautiful garments. I searched and
searched for pattern references, but
always several things I love in the middle. its pleats were boxed from flare to the there are none. Please, please include the
I love reading about new fibers and fab­ hemline. In my 75 years of dressmaking, names and numbers of the patterns used
rics, and I have a growing list of young, I had never seen box pleats of flare. My in the articles you write.
hip, creative techniques and projects I imagination took flight. -Cynthia, via email

10 TH READS
I discovered your magazine last summer project. For the matching skirt, we did not when I was in my teens, and I still love
(2006) and was overjoyed! I learned more quilt. We constructed it the usual way and to sew when I can make the time. I know
in the first issue that was useful than I used a Bemberg rayon lining (charmeuse how to adjust patterns, having altered
have learned in 12 years of sewing. Thank was toofine and wouldn't give the right one for myself and for my daughter-in­
you! So my mother-in-law gave me a support without quilting). You did give us a law's wedding dress. She is tall, narrow
gift subscription, which has been super, great idea for afUture article, however! shouldered, and very large busted, but
but I had been hoping also to receive the style we chose was very flattering, as
the "must-have" reference guides that M E M O R I E S O F THREADS it evened out her proportions.
are boasted on the mail-in card: Sewing My husband came home having bought As you can see, I love your magazine,
Emergency Rescues; 8 Patternmaking a book in a charity shop (what you would update and all. There are so many new
notions and different slants on old tech­
niques. You can always teach this old dog

t I've always been keen on sewing. My

new tricks.
-Sonja Wilson, via email

mother was trained at a time when you had to pay P O I N T TA K E N

for your apprenticeship. She had her own By the way, some of us no longer have

business and taught me a great deal

waistlines. How about including some

abou� tailoring and couture

fashions for us older folks who are lumpy
instead of slim? I'm 87 and weigh 1 l0,

techn Iq ues when I was in my teens, but I don't have a waistline now!
-Ramona Sterling, Prescott, Arizona
and I still love to sew."
We are again dropping class and profes­
sional finishes for expediency! I recently
spent a week in Amsterdam and was
Programs; and Ironing Systems. Do we call a thrift shop) and mentioned that appalled at the lack of finishing on even
not receive those if someone else sub­ he had seen some Threads magazines the more expensive clothing. The fol­
scribes for us? I would be sad if that were there, more than one bundle. Being a lowing week in Seattle was a little better.
true. Thanks again for providing such a subscriber since issue no. 99 and having Evidently, the trend hadn't hit those
wonderful magazine. enjoyed the variety and quality of articles manufacturers yet.
-Beth, Wetaskiwin, Alberta, Canada so much, I couldn't let the opportunity There are some places that need
of adding to my collection pass. I put finishes-sleeve and blouse hems being
Editor 's Note: Yes, you are eligible to down my tools and changed in double­ among them. My sewing teachers would
receive. Contact thservice@[Link]. quick time (I'm a potter and am pretty have never let me go without a garment
grubby most of the time). My husband being completely finished! If an edge
I loved Cheri Dowd's article on "Short­ said he had never seen me move so fast. isn't going to show or ravel, that's OK,
cuts to a Designer Jacket" in Threads I couldn't bear the thought of someone but many of the unfinished edges I saw
no. 128. I made a Chanel-style jacket the else bagging my prize, and what a prize! looked raggedy. I would be ashamed to
hard way last year, and I look forward to I bought three parcels containing 26 wear such a garment, whatever it cost.
trying another if! can use Cheri's tech­ copies from no. 63 through no. 96 with Yes, we're cutting costs, but aren't we
niques. Please tell me how the matching 10 issues missing, although I'm not losing pride in quality?
boucle skirt was constructed. Does it complaining, and also copies of Connie -Jean Bartos, via email
have a silk organza interlining or is it Long's guides, all for the sum of £15. 74p
quilted like the jacket? Thanks. (as you can see, I'm a Brit).
THREADS A B BREVIATIONS KEY
-Meg Kundert, I've always been keen on sewing (and
Walpole, Massachusetts knitting). My mother was trained by Nor­ To save space , CB ce nte r back
man Hartnell at a time when you had to we some time s ab ­ CF ce nte rfro nt
b reviate se am allo wance
s.a.
Replyfrom senior editor Jennifer Sauer: pay for your apprenticeship. She had her the sefre quently RS right side
I'm glad you liked the article. I also plan own business and taught me a great deal used term s. WS wrong side
to tryout the shortcut method on my next about tailoring and couture techniques

www.t h r e a d s m a g a zi n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 1
 •

S EW S MA R T E R , B ET TE R , FAS T E R

Notions stoled in the round

I have limited sewing space and need

to make good use of every inch. I've

found a handy way to store buttons,

snaps, and other small items in a

revolving spice rack. The multiple jars

fit neatly into the rack, and I can see

what I'm looking for with one quick

spin. My pin holder sits right on top

for easy access.

-Lorraine Pratt,

best
Layton, Utah

tip

TA K E A T I P F RO M T H E G U Y S stored items from shifting as it travels with lots of pockets using McCall's 4322.
After years of using stackable plastic from place to place. If! ever get weary of Now I keep everything I need at my fin­
organizer drawers, I purchased a red it or (gasp) quit sewing, it'll be a natural gertips at all times and no longer have to
metal tool chest on wheels-the type in the garage. spend time searching for missing items.
typically used by woodworkers. I use it to -Kathy Walkowski, -Pam Hoshauer, Decatur, Illinois
organize threads, buttons, zippers, and Pewaukee, Wisconsin
other sewing miscellany. The drawers L I G HT U P STRAI G H T L I N E S
slide smoothly and easily on ball bearings P O C K E TS K E E P T O O LS AT H A N D I use a Laser Straight (a tool found in
and are supported with secure drawer I often misplace my frequently used building-supply stores that is used to
glides. The chest is on wheels so I can notions while I'm sewing or mending (for hang shelves, etc.) to transfer or make
move it around my sewing room easily example, snippers, 6-inch ruler, chalk, straight lines on my fabric. Every time
to keep it close at hand. Each drawer has marking pens, tape measure). To elimi­ I press the tool's button, a line oflight
a rubber lining that helps to prevent my nate this problem, I made a bib apron appears that I can use to mark the

12 THREADS
continued ���
 D·l S C O
lv�e
r your

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READER SERVICE NO. 118
Nothing Sews Like A Bernina. Nothing.
tips co"" ", d

placement of buttonholes and pockets sors. I place the curved fabric edge on a work area remains clean, and when I'm
and to make sure my pattern is accu­ cutting mat. Starting one or two threads done, I rip off the tape and throw it away
rately placed on the grainline. Now I away from the seamline, I slice toward for easy cleanup.
store this handy tool in my sewing room the raw edge with the knife. -Michelle Rodman, Amarillo, Texas
instead of my toolbox. This procedure also works to prepare
-Theresa Flynn, curved applique pieces for application. S E A L PAT T E R N S E A M S S E C U R E LY
Longueuil, Quebec, Canada Start one or two threads away from the I often use waxed paper to trace patterns.
marked (not yet sewn) seamline, and Since the paper only comes in narrow
T U R N T I N Y T U B E S E A S I LY slice as before. widths, I frequently join two or more
When making tiny fabric ties or straps, This technique prevents accidental widths together to trace larger pattern
I use a plastic drinking straw to aid in overclipping because you cut away from pieces. I overlap the pieces slightly and
turning the bias tube right side out. I sew the stitches instead of toward them. It's attach them using a glue stick. Then I
the tube with right sides together and more precise and takes less time than iron the seam. This process keeps the
insert the straw into the tube. I push a using scissors. joint secure through the entire pinning­
long, metal turning hook through the -Pamela Beach, Dearborn, Michigan cutting process, and it remains tight even
straw to catch one end of the fabric and after being stored.
pull the fabric down through the straw. C O N T R O L S T R AY T H R EA D S -Dorothy Madias,
With hardly any effort, the strap or tie W I T H PAC K I N G TA P E Hampton, South Carolina
turns right side out as it comes out of the When I sew, lots of small thread scraps
end of the straw. make my work area untidy. They either C U T FOAM S M O OT H LY
-Elizabeth Shelton, Cedar Rapids, Iowa stick to me, my fabric, or simply litter I needed to cut Yz-inch foam for chair
the floor. I recently discovered a simple cushions. I did not want to use my
C LI P C U RV E S A C C U R AT E LY trick to keep my area thread-free. I take dressmaker shears to cut the foam, and
When using scissors to clip curved seam a piece of clear packaging tape, double it my paper scissors did not work well. My
allowances, it is easy to go too far and cut over itself, and press it to the table next 45mm rotary cutter had an old blade in
into the seam. To avoid this problem, I to my machine. Then I stick any stray it, so I gave it a try. To my surprise, it cut
use a sharp craft knife instead of scis- threads on the tape as I cut them. My through the foam with ease. It created a
continued H�
_ __,-Tam�}'DUl bobbin tails
With all the different colors and types of

thread I use, my bobbins were really a mess.

My husband came up with a great idea to

correct this problem. He cut pieces of Va-inch

transparent plastic tubing, which I wrapped

around each of my bobbins to hold the thread

securely in place. The tubing is inexpensive,

is available by the foot or in 6-foot chunks at

hardware and building-supply stores,

and can be cut easily with scissors or

a craft knife. Now all of my bobbins,

including those that are prewound,

:c:@-
remain tidy and untangled in my

storage drawer.
t:E"-8:
'"Vi
-Nancy Jellings, Sun Prairie, Wisconsin -&.o
14 TH R EADS
 Nf!'lJl) from Jacquard...
ExtravOrganza is the latest "must have"
for artists who love inkjet printing.

For a free sample sheet atld

our Silver Anniversary catalog, ca/l800 442.0455
To learn more about this great new product,
please visit Ollr web site.' [Link]

READER SERVICE NO. 79

Your creative talents will

find new inspiration when
you enhance your Elna
7200 Quilter's Dream Pro
with the ingenious "Quilt
Box"
Holding 60
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bobbins, it's

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The Elna
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ed
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READER SERVICE NO. 115
tips """",,'
nice smooth cut along the cutting lines experiments, I was unable to tame the
I had drawn on the foam with a Sharpie fly-away fringe well enough to neatly
marker. It probably would have success­ affix it, until I discovered that attaching
fully cut I-inch foam as well. It took a masking tape on each side of the fringe
fraction of the time to cut, and the edges prevented it from flopping around and

send us. were not jagged as they often are when made it more workable. Then to give the

your tIpS
cut with scissors. fringe stretch, I folded the raw hem edge
-Peg Pennell, Omaha, Nebraska over the finished woven (nonstretchy)
fringe edge with the right side of the
We will pa y for all the A D D ST R E TC H TO F R I N G E fringe facing the right side of the fabric
ones we publish.
I wanted to add ready-made fringe to the and the wrong side of the dress hem
Threads Tips
bottom edge of a Latin ballroom dance edge on top. I stitched along the inside
PO Box 5506
Newtown, CT 06470-5506 dress I recently made. The dress was edge of the fringe binding using a three­
or via email: made of stretch fabric, but the bound thread, stretch serger seam. I made sure
ThreadsTips@[Link] edge of the fringe had no stretch at all, that the cutter removed the woven edge
and I didn't want the fringe to affect the of the fringe and the stitch length was
stretchiness of the hem. Despite many short enough to catch all of the fringe

Note fabric detaiJs in tbe stofe

I carry computer labels when I shop for fabrics. While the bolt is still in the cart, I write
down the fabric content, price, size, etc., on a label and affix it to a corner of the fabric

just after it's cut. When I get home, I cut a swatch of the fabric, add the label, and add

them to my swatch book. This assures that whenever I need information about my fabric

stash, the complete details are readily at my fingertips.

-Patricia Meeks, White Salmon, Washington

16 TH R EADS
threads to create a new, stretchy fringe place, I can sew the bodice side seam and
edge (a setting of 1.7 was perfect with my the underarm seam, and finish setting
machine). When I opened out the fringe, in the sleeve by sewing the underarm
it hung beautifully and the hem edge had section in the round. Both the inside and
plenty of stretch. outside of the sleeve look better when I
-Ann Ehrlich, North Collins, New York use this method.
-Carol Fresia, Danbury, Connecticut
A B E T T E R WAY TO S E W A S L E EV E
Despite what the pattern directions P R E V E N T H I G H WAT E R S
indicate, sometimes I find it easier to set To keep my favorite natural-fiber gar­
in a sleeve flat-that is, before the bodice ment creations from becoming highwa­
side seam and the sleeve underarm seam ters, I take a few preventive precautions.
are sewn. However, unless my fabric is First, I preshrink the fabric at least three
soft and flowing, I don't like the way the times before cutting out the garment
underarm seams intersect or how the pieces. Next, I cut out very generous hem
finished sleeve hangs. So I occasionally allowances-6 inches or more. Finally, I
use a combination of flat and in-the­
round sewing.
all
finish raw edges on the sewn garment,
induding the raw edges at the hems,
I sew a line or two of easestitch- and I preshrink the garment twice more
ing along the upper cap of the sleeve, before marking and sewing the hems.
between the front and back notches as When I 'm done making my pants, I know
usual. I then ease and sew the sleeve they'll be completely washable without
into the armscye just in this area. With getting tighter or shorter with time.
the top part of the sleeve cap stitched in -Safeyyah Mar, Saint Paul, Minnesota

Preve nt foot-peda l move m e nt

I use a 4-inch-wide by 6-inch-long iPod grip pad to prevent my sewing­

machine and serger foot pedals from wandering as I sew. The pads are

available at most office-supply stores for about $5.00 and are meant to

hold an iPod on a car dashboard or other hard surface. The pads have a

tacky surface on both sides, and they attach easily to the bottoms of

my foot pedals. The pads work well on both carpeted and noncarpeted

floors to eliminate pedal

movement.

I also keep a larger ver­

sion next to my sewing

machine to prevent scis­

sors and other items from

falling due to the vibra­

tions while I sew.

-Candy Schwartz,

Greenfield, Wisconsin
 The Bali Collection Islander Sewing Systems SAF-T-POCKETS Patterns
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READER SERVICE NO. 45

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READER SERVICE NO. 69 READER SERVICE NO. 26

18 T H R EADS
Cu stom e m be ll ish m e nt made easy

T
he Color Box Stylus
Stamp Set includes
everything necessary
to create colorful embellish­
ments on fabric or paper. The
set includes three stylus han­
dles with six moldable tips
and a rubber molding mat.
Simply attach a tip to one
end of the stylus; hold the tip stamp imprint
against a 7S-watt light bulb remains on the tip
for about 20 seconds; press until the imprinting
the tip into one of the ready­ process is repeated
to-use designs on the rubber to change it. so the
molding mat (or create your design possibilities
own mold design); then apply are endless. ($24.98;
ink and begin stamping. The [Link])

bookreview
Find U.S. museum and university collections
iClnotthheinUnig andtedTSetxattielse Collections
Queen and Vicki L. Berger is
by Sally
including shoes and jewelry.
This book cites countless
historic treasures that exist in
state and contains maps
to make it easy to locate
each exhibit. This guide
filled with information about clothing and textile collections is essential for those
more than 2,600 collections across the United States in who have a passion
found at museums, historic oftentimes unexpected places. for clothing and textile
sites, and universities. The Included in each listing are loca- history. ($39.95;Texas
extensive compilation includes tion and contact information Tech University Press;
where to find exhibits of and in many cases a brief call 800-832-4042
clothing, textiles, costumes, description and photos. The or 806-742-2982
uniforms, and accessories, field guide is organized by to order)

www.t h r e a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 19
 notions c o nt i n u ed

Ma ke y_o ur own oJ 1 e:of-_a_- ld nd b utto n s

T
he search for the per­ ideal for garments made from
fectly coordinated but­ loosely woven threads such as
ton is over. With LoRan boucle. Simply fray the edge
Creative Buttons, you can cre­ of your fabric to obtain one
ate your own stylish buttons or two lengths of fabric
to adorn your next project. threads. It takes about 2 feet
By drawing yarns, ribbons, or to make one button with-
threads through the holes in out piecing, and each pack
the shanked button frames, includes 10 button frames.
you can produce a one-of-a­ ($3.99; go to [Link] to find
kind embellishment. They're a retailer near you)

on the,l
G uide you r sea m s roaU
T
MARCH 1 -4, 2007
he Hemline Seam Guide
attaches magnetically
to your machine stitch
&
Sewing Stitcher y Expo Conference
Washi ngton State U niversity Fairgrounds
Pu ya llup, Washi ngton
plate to provide a 1,4-inch­
[Link]
high ridge exactly where 253-445-4632
you want it. The height of
the guide is easier to follow
than the flat seam-allowance J U LY 2 5 - 2 9 , 2 0 0 7
marks engraved on most American Sewing Guild Annual Conference
machine throat plates. The Sacramento Convention Center
magnet is strong enough to Sacramento, Ca lifornia
stay securely in place, but it's [Link]

easy to move when you need

713-729-3000
to stitch wider or narrower
seams. Note: This is not S E PT E M B E R 28 -30, 2 0 0 7
recommendedJor use with
American Sewing Expo
computerized machines. Rock Fina ncial Showplace
($3.99; Thread [Link]) Novi, Michigan
America [Link]
248-889-3111
20 T H R E A DS
 " The difference
between
style andfashion "
is quality.
-Giorgio Armani

Easy-to-sto re l ight box

T
hese Thin-Lite light Detachable legs enable each
%
panels are only inch
thick and deceivingly
to tilt horizontally or verti­
cally if desired. Either size
light in weight, but they're light box is especially use-
every bit as bright as thicker
light boxes. They're great for
ful when storage space is
limited or when traveling.
tracing appliques onto fabric (Small, $45.00; large, $90.00;
and for tracing patterns. [Link];
There are two sizes: The 801-967-81 12)
large panel is 874 inches
V2
wide by 1 1 inches long
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www.t h re a d 5 m a g a z i n e . c o m F E B R U A RY/M A R C H 2 0 0 7 21
 notions c o n t i n u ed

IT.
THE FAUX HAS Bes ide s the th ick,
n atural offering s on pp. 34-39,jauxfurs
come in funfantasy colors an d style s.

An _iron t h at rises to th_� Qccasjon

I
t's not ever necessary to fabric nor the ironing board
put your iron in the up­ cover will scorch.
right position with the new The iron can also release
Oliso iron. When pressing, if a powerful horizontal and
you remove your hand from vertical burst of steam with
the iron's handle, invisible the push of a button, and it
legs appear from underneath includes an extra-large water
to lift the iron up off the iron­ tank with a broad, easy-to-fill
ing board, while the soleplate spout. (Visit [Link] or
remains parallel to the board. call 800-899-5 157 to find a
As soon as you touch the local retailer.)
iron's handle again, the legs
disappear just as quickly
as they appeared, and
you can continue
•
ironing. The iron's
Auto-Lift system
assures that
neither the

22 TH R EADS
 H O B BY
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Select from
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READER SERVICE ND. 137

Fabulous Fit®
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READER SERVICE NO. 80 READER SERVICE NO. 128

www.t h re a d s m a g a z i n e . c o m F E B R U A R Y / M A R CH 2007 23
• 1 5
-•' ...;t�j"i-'�·i·J·:I"'iJ"'i"!J"I"'jPl"""-1 TE TE D AN D 5 EW N B V THREADS

A sophisticated loose
Take it from jacket and pant is key
the ru nway The Sewing Workshop - I kina
&
Jacket Pant (Sew in [Link])
Loose ja ckets with shorter s leeve le ngths

A
s you hunker down into with great proportion-that a nd slouchy pants speak to the oversize look
the late winter months, will get you into the oversize that is everywhere this season. This versa­
rest assured that the look without the look getting tile pattern has a looser fit that is well pro­
fashions this season won't the best of you. portioned. It offe rs creative o pport u n ities
have you in hibernation. With Speaking of volume, for the adva n ced sewer a nd, a lthough the
a bold shift in styles and such designers like Balenciaga, details look tricky, the clear instructions make
a variety of trends emerging, Vera Wang, and Peter Som it easy to fol low for the begi n n in g sewer. The
I chose patterns that best played with the bubble.
recomme nded pressing templates speed up
reflect the major trends but in Not everyone will embrace
the h e mming process. (Sized XS-XXL [6-22J
a real-life, wearable way. this furty style, so here's a
Dominated by layering, the
looks are oversize and loose.
bubble skirt pattern that
also offers an array of straight
for busts 31-46 in. and hips 34-47-5 in.) +
-Tested by J a n it h Be rge ron,
•
The cardiwrap is an obvious skirt options. B a r r i n gton, New H a m p s h i re

must-have. But dresses get Finally, inspired by the

STYLE TIP:
to the layered look, too. For Napoleonic-style jackets and Try menswear­
evening, the style can be sleek coats seen at Ralph Lauren, style fabrics in
and sophisticated by playing Anna Sui, and Roberto dark charcoal
with contrasting fabrics and Cavalli, I chose a military­ gray, beige, or
deep blue. The
architectural shapes. For day­ style jacket that will be easy
jacket works either
time, it can be more literal, to segue into spring with.
worn loose or
like layering a wrap dress With such a diverse group cinched high on the
over the top of a turtleneck of trends to pick from, plenty waist with a belt.
or long-sleeve tee. Designers of design options abound.
like Max Azria and Miu Miu Whether you take your fash­
showed this look for fall, and ion inspiration overtly
a sneak peek into the spring or subtly, these patterns
collections reveals that it will offer up the most wearable
be going strong for spring. runway styles.
Menswear is another big
story for the season. Here I Anna Mazur keeps an eye on
rou
chose two patterns-a flatter­ runwayfashions while sewing
ing, drapey pant and a loose her own couture clothing in ,
LOOK FOR THESE ICONS
jacket and pant ensemble Avon, Connecticut.
ON THE PATTERN REVIEWS

THREADS-AP P ROVE D Every pattern you see here has been

+ Includes sizes
•A Fast and easy
24 and up

sewn and tested. We keep a close watch on the fashion trends Challenging tech niques
and select patterns that reflect the latest looks. Each one is
then sent to a talented tester, who sews it in muslin to evalu­
ate the proportions, style, and pattern instructions.
• •* Petite options
For knits only

24 TH R EADS
 C A R D I W R A P : VO G U E 8 3 0 5
f f
Tap: Muchacha Barceiona, or more in o, contact AgentRed
Inti. com; Jewelry: 8en-Amun, [Link]; Shoes: Franco
Sarto, select Nordstrom's

Layer it on with a cardiwrap

Vogue 8305 ([Link] ) What better way to get the layered look
than with a cozy cardiwrap. This stun n i ng, mu ltipu rpose topper is a shapelier take
on the cardigans that ruled the fa l l ru nway shows, from Marc Jacobs's loose-front
styles to Jean Pa u l Gaultier's doubled-up versions. Our tester says the sleeves a re
a bit longer than average, but the pieces are easy fitti ng, curve h uggi n g, and very
comfortable. (Sized 6-22 for busts 30.5-44 in. and hips 32.5-46 in.) •*
- Tested by A n n a M a z u r, Avo n, C o n n ect i c u t

STYLE TIP:
Transform the look
by wearing it belted,
wrapped, tied, draped,
or semidraped. For more
runway cachet, choose
a luxurious knit like
cashmere, a l paca, or
camel hair (as shown).

An elegant layered look for evening

Marty 9317 (Ma [Link]) For evening, the layered look gets pared down as design­
ers such as Balenciaga and Donna Karan focus on a rchitectural li nes and contrast­
ing fa bric to achieve the look without the bu l k. This close-fitting cocktai l d ress
cha n ne l s this design effort with its contrast i n g sheer-fa bric pa nels and asym­
metrical neckl i ne . Although the pattern has no i n structions and n o seam a n d
(
h e m a l lowances these patterns a re for expert/adventurous sewers , our tester )
said that she ca n't wait to try a nother pattern from this com pa ny because of the
cutting-edge style a n d sewing expertise req uired. (Sized 42-SO {ltalianlfor busts
34-40 in. and hips 36-42 in.) ...
-Tested by M a rgrete O l s e n , D a n b u ry, C o n n ecti c ut

STYLE TIP: Use a contrasting color and

fabric for the sheer panels. Metallic fabrics,
like a shimmery gold- or silver-hued organza,
are on trend and would be perfect for adding
some holiday glitz.

www.t h re a d s m a ga z i n e . c o m
cont i n u e d �H
 S K I R T : S I M P L I C I T Y 4041
Purse, Aldo, [Link]

Go for volume with

Shoes: Franco Sarto, select Nordstrom's

a bubble skirt STYLE TIP:

Balance the
Simplicity 4041 (S i m p l [Link]) This pattern offers proportion of a
bubble skirt with
a wide variety of choices fo r capt u ri n g the s u btleties of a
a body-conscious
straight skirt to the more sculptura l b u bble look. The stra ight top, like a
skirt version (shown) has front pleats that h i nt at vol u me but tailored blouse
or turtleneck.
remains sleek. Our tester was pleasa ntly s u rprised with the
Make it casual
design and with how wel l the pattern was d rafted. The three­ in cotton, or
q ua rter-sleeve top is for stretch fa brics o n ly. (Sized 4-20 for dress it u p for
busts 29.5-42 in. and hips 31.5-44 in.) Top *, all .
-Tested by A n n e Ken d a l l , Seeko n k, Massa c h u setts
the holidays in
silk or velvet.

An easy-fitting,
wide-leg pant
Great Copy Patterns, Fashion Pant
650 (G [Link]) These pants a re very sim­
ilar to our tester's favorite pa i r. With a n elastic
waist, side-seam pockets, and a generous lO-inch
hip ease, these pants a re loose but easy to wea r.
The look is ach ieved with fou r stitched-down
pleats at the front wa istline. Making a m u slin is
h ighly recom mended to adjust for fit and length.
This pant has a high waistba n d . If you prefer a
STYLE TIP: Pair this
pant with a long top
na rrow wa istba nd, o u r teste r s u ggests creat­ t o keep the easy-fitting
i n g a cas i n g a n d i n sert i n g a n a rrower e lastic. but not-so-flattering
(Sized XS-XXLfor hips 32-So in.) + •
-Tested by M a ry A n n Duff, A l exa n d ria, V i rg i n i a
drawstring hidden.
Drapey, lightweight
knits or wovens work
best for this look.

J
LOOK FOR THESE ICONS ON THE PATTERN REVIEWS
• Fast and easy ... Cha llenging tech niques • Petite options
2
*4
+ Includes sizes and up
For knits only
:
J
:
J
-----------------�
26 TH R EA D S
continued H�
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READER SERVICE NO. 13S READER SERVICE NO. 94

Sew faster, better and more creatively

At last . . . your two favorite Threads columns have been compiled into paperback
books. Now you can have SewBasic and Quick Make right at your fingertips! to
SewBasic 34 Essential Skills for Sewing with Confidence
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w w w. t h r e a d s m a g a z i n e . ( o m F E B R UA RY/MA R C H 2 0 0 7 27
l PATTE R N R E V I E W

J A C K E T : S I L H O U E T T E S B Y P E G G Y S AG E R S ,
925 BECKY'S JACKET

A softer military-style jacket

Jewelry: Ben-Amun, [Link] Shoes: Franco Sarto,
select Nordstrom's

Silhouettes by Peggy Sagers, 925 Becky's Jacket (Si l houette

[Link]) This close-fitting jacket captu res the militaristic look a la Napoleon
that the fashio n world has em braced for fa l l . It is a lso a n ice replacement for the
traditional jea ns jacket. Designed to use fou r different fa brics i n combinations of
stripes a nd solids, it lends itself to m a ny style options. We made it i n leather. O ur
tester especi al ly loved the d ra pe o f the two-piece sleeve, which has a na rrow but
comfortable fit. This pattern l i ne al lows for bust-size adjustments and includes
pattern pieces for B, C, and D c u p sizing. (Sized 1-4 forfinished busts of38-4s.S in.
and 5 W-8Wforfinished busts of43-55 in.) + ..

�
""
-Tested by J e n ny Freed m a n, Soq u e l , C a l ifo r n i a

': :� : ' STYLE TIP: With s o many design options for

, .... , this jacket, experiment with fabrics and button
styles. Good fabric choices include rayon and
silk, but medium-weight fabrics and lightweight
leather (as shown) work just as well.

Modern yet classic in a wrap dress

Christine Jonson Patterns #526 (CJ [Link]) Dresses a re
still big on style, a n d this easy-fitting wra p d ress with its graceful skirt
is, l i ke t he Diane von Fu rsten berg origina l s, ete r n al ly chic a n d of the
moment . Our tester fou n d the V-neck flatteri n g a nd slenderizing. The
self-lined bodice gives the top added support a n d structure. The instruc­
tions a re clear, well written, and come with a bonus-an additional guide
sheet with h i nts on how to select size based on ease preference and what
h a p p e n s to fit when you use d ifferent weight a n d/or weave fa brics.
(Sized XS-XL [4-22Jfor busts 30.5-48 in. and hips 33-50 in.) + •*
-Tested by Betty B rown, C u lver City, C a l ifo r n i a

STYLE TIP: Go with a graphic

print for an authentic von Furstenberg
look. She showed her wraps this
season in oversize houndstooth prints,
bright geometrics, and l u m berjack
plaids, to name a few.

,
LOOK FOR THESE ICONS ON TH E PATTERN REVIEWS
• Fast and easy .. Chal lenging tech niques • Petite options * 24
+ I ncludes sizes and up
For knits only ,
:
,

28 T H R EADS
 A I(�,- A
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Website: [Link] BUSINESS FOR SALE

READER SERVICE NO. 52 READER SERVICE NO. 68

MONTEREY MILLS
Fabrics and stuffing can be used
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Orders usually shipped within 48 hours
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READER SERVICE NO. 83

Have you seen . . . .

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 BY J ENNI FER SAUER BAS I C S

Pattern Terms,
Defi n ed Patterns have their own language.
Here's a guide to the key terminology

K,
O
so you
plunked down
some money for
a fantastic pattern and
Sizin g
have yards of pretty
Pattern sizing is d ifferent from ready-to-wea r sizing.
fabric on hand. It's time
To help you out, pattern com panies list sizing charts
to sit back and read the
at the back of their pattern books or on their Web
pattern envelope and
sites. Please note that sizing conventions may vary
instruction sheet care­
slightly with independent com panies.
fully, start to finish. No
matter if you are new
to sewing or have J U N I O R S : Size range for youthful figures: slim hips, smaller
been working sewing busts, less waist definition. These di mensions reflect the sizing
machines for years, convention i n junior ready-to-wear.
there is always some­
thing to learn about the M I S S E S : Size range for well-proportioned, developed figures
special language and with more pronounced curves through bust, waist, and hip. The
coding used in sewing measurements reflect the sizing in misses ready-to-wear.
patterns. In the next
few pages, I've defined WOM E N ' S : Size range for the larger, fully developed, mature
a starting list of key siz­ body (with bust measurements 38 inches or more).
ing and cutting terms
P E T I T E : Sizing for women under 5'4" with short limbs and
for you, as well as the
markings on the pat­ torsos. Most juniors-, misses-, and women's-size patterns come

tern tissue. We know "petiteable," Le., a pplicable pattern pieces have lines where you
that we can't cover all can shorten the overal l length.
key terminology in one
P L U S S I Z E S : Usually for sizes '4 and up, with measurements
��il�c: story, so look for more
glossary terms soon. 40 inches or more at bust, 33 inches or more at waist, and
42 inches or more at hip.
o
� Jennifer Sauer is senior
EAS E : Amount of space in a garment that allows for
:il editor at Threads.
comfortable movement and contributes to the style.
Sometimes ease amounts are listed on the pattern envelope,
but more often you have to calculate it yourself: Just subtract
the finished garment measurements from the body.

www.t h re a d s m a g a z i n e .co m F E B R U A R Y/ M A R C H 2 0 0 7 31
 BAS I C S

Cutting
Cutting directions are the first stop on most pattern instruction sheets. They'l l tell you how to lay out each
pattern piece on your fabric and how m a ny to cut of each. Here a re the terms you'll get to know:

W I T H -NAP LAYO UT: Nap is the direction G RAI N LI N E : Refers to the ori­ C UT ON F O L D : For symmetry, pattern
of the raised fibers on the surface of a fa bric. entation of the yarns in woven pieces are often printed as "half" pieces,
Fabrics like velvet, corduroy, and chenille fabric: lengthwise and crosswise. then need to be cut on a folded edge
have "nap" and reflect light differently from The long arrow symbol on each to create a full pattern piece. Sim ply
different directions. A "with-nap" cutti ng pattern piece is normally placed fold your fa bric according to layout direc­
layout ensures that a l l pattern pieces a re along the lengthwise grain, which tions, then align the pattern piece on the
pointing in the same direction. NOTE: "With ­ has the straightest and strongest folded edge.
nap layout" often requires more yardage. yarns and is parallel to the selvage
(defined beloW).
With-nap
layout Cut on fold symbol
S E LVAG E : The tightly woven edge of the
fabric formed in the weaving process. It runs
Lx parallel to the lengthwise grain.
/ selvage
I N T E R FAC I N G : A fa bric (usual ly white
Fold or black) used to reinforce, stiffen, or add

O N E-WAY D E S I G N LAYO UT: When the

----- body to fashion fabric. Fusible varieties have
heat-sensitive adhesive on one side. Some
printed fabric design runs in one direction, � lengthwise grainline
. patterns include separate pattern pieces for
use either a "with-nap layout" or a "one-way interfacing; others instruct you to cut i nter­
design layout." This ensures that all pattern facing with existing pattern pieces.
pieces are cut in the same direction.
B I AS: A true bias cut is made on a n a ngle LI N I N G : Fabric (usually slippery and silky)
R I G H T S I D E / W R ONG S I D E : Every fa bric
has a right side. Look for a right side/wrong
45 degrees to the selvage. This direction has
the most stretch. Bias refers to a ny line diag­
used to fin ish the i nside of a garment. Some
patterns i nclude separate pattern pieces for
side key on your pattern instruction sheet. It onal to the crosswise and lengthwise grains. the lin ing; others instruct you to cut the lin­
will show you how to lay out your pattern on Most bias pattern pieces are laid on the true ing with existing pattern pieces.
the fa bric, how to place your pattern pieces, bias; the grainline arrow will help you align
and how to sew the pieces together. your pattern pieces, along with the pattern's FAC I N G : A fa bric layer sewn to or folded
layout i nstructions. over to finish an edge. It conceals seam
allowances, prevents the edge from stretch­
/ selvage i ng, and supports the fabric. Most patterns
include sepa rate pattern pieces for facings.

....I-��----.....
. lengthwise

Facing
pattern
 ----- ---
Pattern Inarkings
Each pattern piece includes some key wording and symbols
to guide you each step of the way.

C U TT I N G L I N E : The outermost edge of garment once it is sewn. The measurement

each pattern piece that you will cut along.
It may be accompanied by a scissor icon. For
is conventionally
as � Ys i nch but may be as small
i nch or as wide as 1 i nch. NOTE: The
single-size patterns, the cutting line is usu­ seam-allowance measurement is usually

a l ly a solid line. For m u ltisize patterns, each noted at the top of the instruction sheet

line-for each size-has a different dash or and on the pattern pieces.

dot marking.
H E M LI N E : The lowest edge of the gar­
SEAMLl N E : The line that you will sew ment, once the hem is sewn. Usually a solid DART LEG S : Darts are stitched wedges of
a long, typically Ys i nch in from the cutting
l ine. To avoid confusion, this line usually isn't
line on the pattern piece. fabric that shape the garment over curves.
With a wedge-shaped dart, the two ends
ma rked on multisize patterns. But it's a good H E M ALLOWANCE : The distance between that extend to the pattern edge are ma rked
idea to pencil seam lines on the pattern if the cutting line and the hemline. This a llow­ with lines and dots. Simply align the dots to
they aren't marked to help with fitting. Just a nce is folded i nside the garment once it fold the fabric for stitching.
look for the seam-allowance amount on the is sewn. The depth of the hem a llowance
pattern piece and measure in that amount varies with the garment style and sewing DART P O I N T : The dart point is marked
from the cutting line. technique. with a dot and also helps you fold and sew
the fabric.
SEAM ALLOWA N C E : The distance be­ N OTC H E S : Triangles or diamonds printed
tween the cutting line and the seam line. on the pattern along the cutting line to help
This al lowance is usually hidden i nside the you align sea mlines.

7
Lf - - -
./' /
_
I7' / Z I P P E R E N D P O I N T : The bottom edge of

I
\A
NotCh a zipper stop that is usually ma rked on the
pattern piece with a circle.

,,�I �seam allowance

I......- s eamline
I Zipper
I end point
Hemline
I /Cutting line

I
H.m ' '�'"' i I
I
I
I
1

w w w. t h r e a d s m a g a z i n e . c o m F E B R U A R Y/ M A R CH 2 0 0 7 3
Get the luxe look and
 Today's fa ux
fu r offeri ngs
a re cozy, gorgeous,
a nd su rprisi ngly
easy to sew
BY E LI ZA B E T H D U B I C K I

ur is big on the runway these days as snuggly, opulent outerwear,

as surprise linings, and as collar and cuff accents. The good news is

that you can get the same high-end fashion statement with today's

oh-so-realistic faux-fur yard goods. These man-made wonders are soft

and luxurious and are easy to cut and sew-really! All you need are

some good product information and a handful of construction tips to ensure

faux-fur success. Here, I'll show you how to know and choose your furs, prep

your pattern, watch the nap, and cut in such a way to reduce shedding. I'll then

give you seam-prep and sewing options and describe how to sew in one direc­

tion and how to reduce bulk in the seam allowances.

Get to know those fauxs

Before you start designing and sewing with faux, there are a few things you need

to know about these manufactured marvels. While the fibers of all faux furs

are made from synthetic materials (acrylic, polyester, nylon, etc.), what distin­

guishes one faux from another (and also creates distinct price points) is the fur

backing: synthetic knit or woven cotton. Knit-backed fauxs can cost as little as

$8/yard. You get what you pay for, however, and the costlier knit-backed yard

goods are usually softer, richer looking, denser (more fibers per inch), and more

uniquely colored than less expensive ones.

F E B R U A R Y/ M A R CH 2 0 0 7 35
 FAUX F U R
Woven cotton-backed faux furs up the ante
considerably, costing from $120 to $140/
yard. The higher costs of these furs are due
to the manufacturing processes. Weaving/
hooking synthetic fibers into a woven back­
ing takes far more time than the process of
forcing fibers through a knit backing.

Choose your patterns and piles

As you shop for faux fur, you'll also find
many varieties in terms of patterns and
piles. Some fauxs have vertical channels that
mimic the pelts of smaller animals, such
as mink, chinchilla, sable, ocelot, lynx, and
rabbit. Others have checkerboard or other
clipped patterns; these are created by shear­
ing fibers during manufacturing.
Still other faux furs don't have channels
and replicate the pelts oflarger animals.
Look for imitations of tiger, cheetah,
leopard, lion, zebra, and giraffe. Or you can
select among faux beaver, raccoon, wolf,
coyote, lynx, seal, and bear.
Fantasy faux furs, on the other hand, make
no attempt to resemble the real thing and
are truly out of this world. You'll find some
with ends tipped in pastel hues and others
in vibrant jewel tones of crimson, teal, olive,
and purple (to name just a few colors).
All faux fur, realistic or fantastic, have a
distinct pile, which makes the fabric so won­
derful to stroke and cozy to wear. Pile-the
length and thickness of the fibers-can be
dense, long, and irregular (like coyote) or
shorter and sheared to a uniform length (like
mink uxury
). As with l linens and other high­
end textiles, better-quality faux furs have
more, finer, and usually softer fibers per inch
than lower-quality ones. Also, the thicker and
longer the pile, the heavier the fabric-some
fauxs weigh 2 pounds/yard. Because of its
nap, weight, and width (from 60 to 68 inches
A LITTLE FAUX G O E S A LONG WAY wide), faux fur can be quite warm-perfect
for chilly weather.
A simple coat acquires new attitude with fur accents at cuff, collar, and center front.

We purchased a long military wrap coat ($179; [Link]), then revved up Take care of your fauxs
its mandarin collar with mink Cognac fur ($124/yard at [Link]). After removing Because of fur's pile, careful cleaning is
the buttons and shoulder epaulets, we used grosgrain ribbon to cover the front needed. Water-based adhesive is used in
buttonholes inside, then covered the buttonholes on the outside with a fur band. some woven-backed faux furs, so dry
cleaning is usually recommended. Some
knit-backed faux furs can be machine-
G E T R E A DV The fibers in faux fur lie in one direction. So for fur to really fluff, careful layout and cutting is necessary.

MAKE ROOM F O R YOU R PATT E R N WATCH T H E NAP

Cut a complete pattern set. You ' l l need t o cut fu r i n a s ingle Stay o n grain. Follow "with nap" or "obvious one-way
layer, so fli p those "cut two" patterns a n d cut a right a n d left. patterns/stripes" yardage a n d layout recom mendations.
Also, trace fu l l-size pattern pieces from "cut on fold" pieces. Also, l i ne up the fur's vertica l channels. For scu l ptu red fa ux furs,
Piece the col l a rs at the center back so that the nap on each match vertical indentations or channels at the center front!
h a lf runs evenly toward the garment front. center back and, if pOSSible, at shoulder and sleeve sea ms, too.
Some fa ux furs have contrasting vertical threads on the wrong
Stitch seams to accommodate the fabric's bulk. Keep in m i nd side to help you fi nd and match the channels.
that you'll be sewi ng ga rment sections together with Yl-inch
( )
seam s not the traditional jig-i nch sea m s . If you sti l l cut jig-inch Make sure the nap of each pattern piece points to the floor.
Ya
sea m a l lowances but sew at Yl i nch, the extra i nch provides a l l
o ft h e extra ease you need.
(
O n ly d a rk sheared fa brics l i ke beaver and Mongolian l a m b look
better with the nap ru n n i ng u p the body.
)

T RACE A N D C U T
Forget pattern weights. Instead, u s e long p i n s with large, visible heads when securing your pattern pieces t o the wrong side of the fur.

GOOD: Razor cut

1 Trace with chalk on the fur's

wrong side. Lay the fu r face down on
a flat su rface. Trace a round the pattern
2 Razor-cut the fur backing to reduce shedding. Use a safety razor or a craft kn ife with
)
replaceable blades to score/s l ice through only the fabric backing. Cut on a s light a ngle
(
and fol low u p, a s necessary, with s m a l l, sharp scissors to clip a ny remaining backing
outlines with tailor's chalk. Remove the t h reads. The d ifference between an angled razor cut through the backing only and a
tissue pattern pieces before cutting. b l u nt cut t h rough a l l fibers is i l l u strated a bove.

BY THE WAY: Your sewing machine will thank youfor those angled razor cuts­
fewerfibers will get sucked into the bobbin area.
w w w. t h r e a d s m a g a z i n e . c o m F E B R U A R Y / M A R CH 2 0 0 7 37
 FAUX F U R
laundered (cold) on the gentle/low agitation
cycle, followed by air drying. Putting any
faux fur in the dryer and pressing with an
iron are absolutely verboten. However, a
low-temp garment steamer can be used
with discretion to gently flufffurfibers if
they become smashed. In any and all cases,
consult the manufacturer for specific
cleaning recommendations and test a
scrap first.

Pattern play: less is better

Finally, because of its nap, pile, weight,
possible vertical channels, and pattern
repeats, faux fur is best suited for outerwear
garments with very few seams. That's why
fur garments are usually boxy (with few or
no darts), single-breasted, and loose fitting
with simple collars (no lapels) and mini­
mal details. Sleeves are wide, cuffless, and
one-piece, and buttonholes are replaced
with large snaps or hook-and-eye closures.
Pockets are in-seam (not patch) and have
no welts or flaps, and pleats and tucks are
absent, too. I also recommend lining all faux
fur garments because the fabric backing is
scratchy and definitely not pretty.
There are fur-specific patterns on the
market, but you can also use patterns not
specifically geared to faux fur. Just look
at the pattern photos/illustrations and �u
'"
finished dimensions to analyze the overall
shape. Then omit or modify some details
and construction elements to accommodate
bulk. For example, in the short jacket shown
-&.�
Vi
at left, I converted a two-piece sleeve into �.cc.��
a one-piece sleeve by taping the pattern

[Link]
pieces together. I also used fold-in facings
and, to accommodate bulk at hems, added -g0-'tJE''"
<Ii
ease to the lining by cutting the lining pieces ;;;
[Link]
(More than 7.0 realistic an'dfantasy
(More than So styles and multiple
colors; special·order swatches)
slightly larger.
The fur trend today is "less is more;' so I
�
fauxfurs; swatches $7 each) [Link] urge you to start your fur adventure with a 1E
(Personal swatch servicefor $5) small-scale pattern such as a shrug, capelet,
[Link]
[Link] or cropped jacket. With the hundreds of
(Lightweightjersey/velourfauxfur
(Realistic knit·backedfaux andfantasy faux fur offerings, it's then easy to go wild
prints;free swatches)
furs; swatches $7 each) and make yourself a swanky coat or two.
[Link] [Link]
(More than 75 styles of knit-backedfaux (More than So styles of cotton-backed Elizabeth Dubicki is the author of101 Ways
fu�; swatch kit $79) Tissavelfurs; swatch kit $77.50)
to Use Your First Sewing Machine (Krause
Publications, 2006).
5 E W T H E FA U X To tame your furs, try these simple sewing tips.

2
S E C U RE T H E E D G E S B E FO R E YO U STITCH

1
You have a cou ple of good choices when it comes to securing and sewing fau x fur. Always test first to find the one you like best.

Pin, then zigzag-stitch. WhiPstitch. W h i pstitch

Position pins perpend icu l a r the edges by hand a s
to the edges, especia l ly with shown a t left, then
kn it-backed fa brics. Use a machi ne-stitch a Yl-inch
Yo-inch-wide, long zigzag stitch or sea m a l l owance with long
serge without tri m m ing to sew straight stitches (no pins).
over the edge.
PRO: Provides excellent control
PRO: Good for long-nap furs when joining cu rved (i.e., col l a rs
because the i rregu l a r stitch and s leeve caps) as well as
a l lows you to easily pick out fu r stra ight sea m s.
fibers on the right side.
CON: Time-consu m i ng-you
CON: You ca n break you r needle need to c l i p the w h ipstitches
sewi ng over pins, so take them later to open the sea m .
out a s you come to them.

SEW IN THE D I RECTION O F T H E NAP

For best results-and ease of sewing-always sew seams in t h e same
direction the fur runs.
• Push the fur fibers away from the cut edge. As you sew the sea m, force as
many fibers to the garment's right side as possi ble. Once released from the sea m,
they will help conceal it .
Sew with a large needle and long stitch length. Choose a size 14 or 16 need le. For knit­
•
backed furs,you may need a ba l l point needle. A sta ndard foot is fi ne for m ost seams.

2
TRIM THE FUR

1
For method 2 above, sew your fur seams, then open the seams and finger-press flat. Groom the seam al lowances to remove bulk.

Release trapped
fibers with a small
Shave the seam
allowances.
plastic comb. C l i p the fibers
B rush/pick the fibers i n the seam
from the sea m on the a l lowances with s m a l l
garment's right side, scissors. Optional: To
then move to the wrong reduce bulk, follow
side. Don't worry a bout up by shaving the
releasing each and every seam a l lowances
fiber. Fa ux fu r is very with a sideburn/
forgiving. m ustache tri m mer.

www. t h re a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2007 39
 THREADS F I TT I N G S E R I E S I Part 4-The Bust

Altering
Patterns Jorthe
ell-Endowed
T h e eve r- c h a n g i n g
b u st l i n e n e e d s
m u lt i p i e fitt i n gs
ust when you've mastered your fitting challenges, the

J
ove r a l ifet i m e . body changes and you're back at the drawing board.

H e re 's h ow One area of changing fit is the bust. Bust size can

decrease or increase with parenthood, surgery, weight

B Y LY N N E G A R N E R
change, years, and gravity. So if your garments pull across

the bust, your darts point in the wrong direction, or side

seams pull forward, it's time to fit the bust.

Here are three ways to alter a pattern for an increased bust size. This
fitting challenge may be an old need or a new development, but to get
started, gather your pattern, extra pattern paper, pencil, tape measure,
ruler, and glue stick.
Follow the directions for taking essential measurements and then
transfer the information to your tissue pattern using one of the meth­
ods I describe. Test your fit by making a sample garment from inex­
pensive fabric. You can be enjoying a custom-fit wardrobe in no time
with these simple pattern adjustments.

Lynne Garner lives in Hertfordshire countryside in England and sews

there, too.

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THREADS F I TT I N G S E R I E S I Part 4-The Bust

Ta ke essentia l Th ree ways to add more room

mea s u rements
K E E P S I D E SEAMS V E R T I CAL
T h e first step toward a perfect fit is taking accurate
Adjust the pattern l ike this when the side seams pull to the front

1
body measure ments.

2
or don't run straight down the side of the body.

BUST: Wrap a
tape measure
HIGH BUST: This is an
i m portant measurement o Copy and cut out your pattern.
a rou nd you r body when the bustl ine is la rge
at the fu l l est part of
the bust. Keep the
in relation to the rest of the
figure. Place the tape measure G Cut the pattern parallel to the
tape para llel to the a round the back, under both grain line from the shoulder ��
floor. Wrap the tape point to the waist. � ...::r "I _
�- - -
arm pits and a bove the bust. Use
meas u re sn ugly but this measure ment as you r bust
not tightly. measurement when selecting
I
•
you r pattern size.
Separate the I
pattern pieces
by half the I
extra amount
needed based
on your bust
measurement.
Lay over gra ph
paper. /
/
rL

3 BUST POINT: Measure down from the shoulder seam

to the apex of the bust. Measure from the waist
o Ensure you r pattern piece edges are
parallel, then use a glue stick to adhere
straight up to the a pex. the pattern pieces to the paper.

Measure horizonta l ly from the center front to the a pex.

• Connect the original pattern lines on the top and bottom

edges and trim the excess paper. Correct the front neckli ne.

42 TH R E A D S
A ful l bust alteration shouldn't change the original fit through the arms and back. Correct just the front pattern piece.

CUT A N D P I VOT F O R EXTRA ROOM U S E COMPO U N D ALT E RAT I O N S

Use this alteration for a low bust. T O ADD M O R E T H A N 3 I N C H E S
I f a bodice is tight around the bust a n d the side seam sits

o
forward, alter the bodice from the waist a nd the side seam.
Trace your pattern onto paper and cut out.

G o
- - " 1; - '
•
Cut a line from Trace your pattern onto paper and cut out.
the bottom edge ; ,. �1
to the shoulder
;:1 \ \
G
seam as shown.
-
Don't cut the I \ " Cut the pattern up
pattern i nto two
I
r \� from the waistline to
the shoulder point,
pieces. (See the \, ""- but do not cut the
sidebar on p. 44
for the perfec t �j pattern into two

{
pi vot hinge.) pieces.
I
r
I /
q/ / / /
rL..� L�r

• Open out the needed amount

and add backing paper. __ ----.J

• Pivot the pattern to add half the extra amount,

and fill the opening with backing paper.

Note: Pin-fit you r pattern tissue to see if you also need to

adjust the dart points. You may a lso benefit from adding a
o Add the needed amount onto the front side seam. Also,
extend the side d a rt and adjust the front s leeve sea m .
second d a rt at the wa istline.

w w w. t h r e a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 43
THREADS F I TTI N G S E R I E S I Part 4-The Bust

Move da rts to fit a fu l l b u st

If the darts don't point to the fullest part of the bust, you can either shorten the waist d a rt
or redirect the side-seam bust d a rt.

S H O R T E N A WAI ST l i N E DART R E D I R ECT T H E S I D E-SEAM BUST DART

\
'"\ ... ... "'\'1\..\. \
",--r'I' ( MAKE A
SMOOTH PIVOT
\\ \ \ \�
) ! <:l
BY K AT H L E E N
C H E ETHAM

// I To avoid getting a funny

ii/ , .... ,,/ I buckle at the pivot point

t�
on a pattern seam, create
a hinge of tissue so the
pattern can swing or pivot.

Before cutting the

�:
tissue, reinforce the

I pivot point with

I�
lL
a small piece of
transparent tape.

2 Cut the tissue up to

the sea m llne but not

o o
through the seam

Draw a line centered on the dart Draw a line along the middle of a llowance.
the dart pointing toward the new
through the original dart point.
Establish a new d a rt point along the bust point.
3 Then, from the seam
a llowance, clip a wedge
line 1 inch lower than the fu l l est part
of the bust. e Measure the length of the original dart
inward, leaving a Y16-inch

e and mark on the line just drawn. hinge. Now the pattern

e
Using the original dart-leg starting opens smoothly with no
points, redraw the legs to end inch 1 Using the original dart-leg starting buckling, pouching, or
from the new bust point. points, draw in the new dart, finishing distorted seam.
at the new bust point.

H i nts a nd ti ps:
D I V I D E B Y TWO S EW A TEST GARM E N T

When enlarging a front pattern piece, divide the needed extra Once alterations have been made, make up a test garment in
amount by two. That way, a ny enlargement you u n dertake on the inexpensive fabric to check your changes. Then, iffurther changes
pattern h a lf will also take effect o n the other side of the garment. a re needed, make them on the fa bric and tra n sfer them to the
paper pattern.
PICK THE R I G H T S I Z E PATTE R N
D O N ' T U S E TAPE
When buying a new pattern, pick one that matches a s closely as
possible to your high-bust body measurement-it's easier to let out Sticky tape will not work well on drafting or tracing paper, so a glue
the bust than to take in the rest ofthe garment. If you a re between stick is the better option. Or s i m ply use d ressmaking pins. Ta ke care
sizes, pick the larger size a n d decrease the pattern. not to catch you r fingers on the p in s when copying your pattern.

44 TH R EADS
No Pattern Re quired
Ta ke yo u r fa vo r i t e g a r m e nt
a n d c l o n e it
BY M I C H A E LA M U R P H Y

hances are that you have a fashion all-star

garment hanging in your closet. It's the piece
you wish you had in every color because it fits
perfectly and is always flattering. Mine is a
black, double-knit vintage dress from the
.... .. with long, elegant lines and chevrons
1970s
decking the skirt. I love this dress-not only does it
look fabulous dressed up or down, but it also defies the
ravages of time, packing, and machine washing. You
could run it over with a tractor-trailer, then throw it on
and still look smashing.
This is a dress that clearly needs cloning. I have devel­
oped a method for re-creating a garment using the original
as a template for the new one. This method works so well
that I've used it for many of my favorite pieces. The result is
a hardworking wardrobe that looks great on me, is afford­
able to make, and has my creative stamp on it.

To deconstruct, work backwards

The key to working directly from the original
garment is to work backwards, mentally
deconstructing the garment, with an eye
toward reconstructing it in a new way. This
method is useful for simple, straightforward
designs but isn't recommended for clothes
that require complex construction. If your gar­
ment has fine tailoring details, like a fitted suit
jacket, or involves many pattern pieces, like
an eight-gored skirt, using a similar pattern is
an easier route toward replication. However,
if your garment has only a few pieces, simple
lines, and involves straightforward sewing,
you can easily make a copy using the original
garment as a template.

www.t h re a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2007 45
l N O PAT T E R N R E Q U I R E D l
Assess the garment Create a road map for construction garment, then be sure to use a fabric
The first step is to take a good look at the Based on your notes, write out a plan that is as similar in drape and weight as
original garment and get the basic ele­ of action for re-creating your garment. possible. If your original fabric is a knit,
ments of its construction down on paper. My general knowledge and experience it's best to stick with a similar knit; if it's a
While assessing my dress, I noted the fol­ with patterns has taught me the basic woven, stick with like woven.
lowing: the armhole and neckline edges steps in garment construction. In When thinking about fabric, color is
are turned under and stitched; there is general, any specific sewing done to one important, too. I loved the neutrality of
a 22-inch zipper at the center back; the pattern piece, like darts or chevrons, my basic black dress, so I considered
front has two ascending chevrons several should be the first steps in construction. other fashionably neutral colors and
inches below the neckline; there is a Next, assemble the pieces that make went with a slate blue-gray that fit my
up the front and back criteria but was still strikingly different.
sections, including the To figure out how much fabric you'll
insertion of zippers. The need, measure your garment length plus
front and back can then seam allowances, sleeve length, and total
be joined together. Facings circumference at the widest point. Use
would come next, and these measurements to determine the
the last step is to sew yardage, depending on the fabric width.
the hem. To be absolutely certain that you'll have
Since my dress didn't
have any darts, the first
enough, I recommend adding to Vz
1 yard of extra fabric. And, don't forget to
step on my road map was make accommodations for darts, pleats,
to sew the chevrons. The or other design variations that might
center seams and back require extra material.
zipper were next, followed
by the shoulder and side Add a design variation or two
seams. Then I could tackle Next, think about how you can put your
To understand thefundamental construction of the g arment the neck and armholes personal stamp on your new garment
you want to re- cre ate, turn the o riginal inside out, and take and the hemline. and make it stand out from the old one.
no tes o n the de tails. If you are uncertain Without making any major changes to
about how to progress, I the design, you can customize the gar­
center seam at the front and back; there recommend looking at a few commercial ment to your liking. For example, try a
are seams at the sides and shoulders; and patterns in a similar style to your gar­ more flattering sleeve length, or make
there is a 2-inch hem. Be sure to keep an ment and studying the specific steps of the entire garment shorter or longer.
eye out for any design details that might construction. They are fairly consistent Here's your opportunity to add a ruffled
be difficult to repeat without a ready­ and, with some experience, you'll begin flounce to the hemline or a button clo­
made pattern. Because the construction to recognize their logic. sure instead of using a zipper.
of this dress was fairly simple, I knew While I love my original dress, I
that I could copy it. Choose the fabric decided to add a chevron to the back
Next, try the dress on and study the To be sure your garment will copy well, of the new dress, matching up with the
fit. Write down your measurements and you may want to make it in an inexpen­ ones in the front. This was my way of
any areas where you'd like to adjust it. sive fabric first. Once you're confident of making it better and making it my
My original dress fit me especially well in the results, turn to the original garment own. If you decide to keep the original
the bodice area. To make certain that the for clues on fabric choice. Ask yourself design intact, know that the fabric you
new dress fit me just as well, I measured how the original fabric contributed to choose will be the star. Mter choosing
the original at the bust and at 3-inch the overall greatness of the dress. your fabric, all that's left is to cut it
intervals all of the way down through the My original dress was made from a out and sew.
lower hips. I also measured the entire mid-weight, poly-wool double-knit. For
garment length from the shoulder seams the new dress, I decided on a mohair Michaela Murphy is a writer, editor,
down to the hemline. Take thorough knit that ultimately changed the feel and and sewing enthusiast. She recently relo­
measurements of the original to match drape of the dress. But if you want to catedfrom Brooklyn, New York, to Seattle,
up against the new one as you sew. maintain the properties of the original Washington.

46 TH READS
 LAY OUT, CUT OUT, AN D SEW: USE YOU R GARMENT AS A TEMPLATE

O
nce you have your construction plan
finalized a nd choose your fabric, it's
time to lay out, cut out, and sew u p
your new garment. The layout for my dress
required just four pieces: left and right front,
and left a nd right back. To begin, use the original garment as
your pattern template and trace each piece of the garment
directly onto the new fabric, addi ng seam a llowances and
necessary markings for notches, darts, or other design details.
Cut out your pieces, then carefully fol low your road map to
sew your garment. Having a written plan makes the actual
construction very simple. In just a few hou rs, I was trying on
my n umber two fashion a l l-star-my other perfect dress.
-Michaela Murphy
outline each ings for
darts, chev-
segment, rons, or a ny
making sure other design
to add a details, then
seam allow- cut out each
ance. 1 used piece of the
Yl-inch seam garment
al lowances along the
for my dress. traced
(Turn the chalklines.
garment
i nside out to

I began by
sewing
the pieces
together at
the chevrons.
They proved
easy to dupli­
cate after
studying their
construction.

w w w. t h r e a d s m a g a z i n e . c o m F E B R UA R Y / M A R C H 2 0 0 7 47
 Copy Your
Garments with
Precision
W i t h a fl e x i b l e r u l e r, yo u c a n ca pt u re
t h e s h a p e of a ny g a r m e nt a ga i n a n d a ga i n
B Y J EA N H AAS

hen it comes to replicating and outlining any curved shape, you

really can't beat the wonderful properties of a flexible ruler. This
ruler with an inner lead core comes in a variety of sizes and can
contour almost anything. Think of all the times you could have
used a tool that could copy the shape of what you were working
on so that you could then transform it into a flat pattern. Well,
a flexible ruler does just that. So now, you don't have to resort to wrapping wires or
coat hangers around your patterns to capture the shapes that you've always wanted.
You can simply use an assortment of flexible rulers to quickly and easily do a precise
and more professional job for all your pattern work
40
Flexible rulers come in lengths from 16 to inches and are bendable, pliable, twistable, and,
well, flexible. A flexible ruler has a measuring tape within the plastic coating on each side of
it; one side gives measurements in inches and the other in centimeters. When you are outlin­
ing a shape, this multifaceted tool allows you to also measure the shape's length and add seam
allowances to it at the same time. These rulers are especially useful for copying very precise
curves, shapes, and sizes. Imagine, taking anything three-dimensional and turning it into a flat
pattern quickly and easily. Just contour the inner edge of the ruler against the outer edge of the
shape you want replicated and trace. It's really that Simple.

Adding Seam Allowances

The dimensions of the flexible ruler itself can also be an aid to your patternmaking. Since it
% J,4
measures inch wide when lying flat or inch wide when on its side, it can easily alter your
pattern by those dimensions. Just hold the flexible ruler on its side and it will add a clean

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 F L E X I B LE R U L E RS
lA-inch seam allowance as it outlines any shape Get creative with you r projects
it's replicating. By turning it over and laying it
flat against your seamline, you can instantly Change your patterns and more with each size of ruler.
add a o/s-inch seam allowance to all of your
pattern's seamlines.
US E A 40-I N C H f l E X I B LE R U L E R
Before you start, remember these tips T O D E S I G N B EAUT I F U L N EC KL I N ES
When using the ruler against the body or any
To make a plunging-back V-neck, wrap the ends of a 4o-inch flexible ruler
pattern seamlines, remember to lay the side fac­
together with a rubber band. Then, position the ruler around the neckline
ing the inches measurements next to the shape
with the ends in the back. Let the ruler graceful ly shape where it naturally
that you are following. Since the width of the
fa lls. Trace the desired shape onto your m uslin or tissue pattern.
ruler is lA inch, you'll want to record the measure­
ment side that is closest to the body; otherwise
you will increase the dimensions you are measur­
ing by lA inch. If you prefer centimeters, then
just flip it over to the other side and lay the
metric portion against the shape to get that
reading as well.
You will find it easy to outline around the ruler
with a marker, as its plastic outer shell is water­
proof. This is another convenient feature when
using water-soluble pens.

You'll find a l l sorts of surprising uses Trace the desired shape.

The list of uses for flexible rulers goes on and
on. (In fact, don't be surprised if it shows up in
your husband's toolbox!) They are available in a
variety oflengths, each offering its own special
functions. After working with these wonderful Position the ruler around the neckline.

I'd
tools for the past 15 years, love to share these
secrets with you.
US E A 24-I N C H f l E X I B L E R U L E R TO P O S I T I O N BRA STRAPS
Use a 4o-inch ruler for large shapes
Try these following suggestions: Reposition fa lling bra straps by placing your flexible ruler to where it
Create crotch curves for plus sizes. Plus sizes feels comforta ble on your shou lders. The ruler will instantly conform to
include curves longer than 32 inches. provide the strap's correct position on your body. Mark where the ruler
Design beautiful longer necklines. Use it for both i ntersects the back of the bra and reposition your strap. No more
the front and back, such as V-necklines (shown at falling bra stra ps!
right) and boat necklines.
Establish princess line seams when tissue fitting.
Start by aligning one end of your flexible ruler at
the midpoint of the shoulder and continue down
until you intersect the bust point. Simply draw in
' � New
position
a perfect princess line seam.
Copy longer collars. When copying longer
shaped collars like a shawl collar, wrap one end of
the flexible ruler against the collar's center-back
seam and follow the ruler along the shape of your
collar. When you have outlined the whole shape

50 TH R EA D S
conti n • H
ued
U S E A 3 2 - I N C H F L E X I B L E R U L E R TO COPY C U RVES FROM YOU R FAVO R I T E PAI R O F PANTS

1 Turn the pants i nside out. Place one

pant leg inside the other to reveal
the i nside of the crotch cu rve. Pin to an­
chor at the waistli ne so that the curve
doesn't shift. Then, lay the inches side
of the flexible ruler a long the seamline
of the pants and record the front crotch
measurement (the distance along the
curve from front waist to inseam).

2 On your pattern, start the ruler at

zero at the center-front waist and
Lay the ruler along the inside seam. Alter thefront curve of the tissue pattern to
a lter the front crotchlinseam tissue to meet thefront length measurement. Pin the
meet the front length measu rement. tissue pattern inseam together.
Pin the tissue pattern inseam together
at the new crotch point.

3 Align your newly shaped flexible

ruler onto your tissue pattern and
draw in the rest of the crotch seam (use
the inside of the ruler).

4 Mark the new sea mline following

the flexible curve, then add seam
a l lowances to it.

Above: Mark seamlines on the tissue pattern.

Left: Draw in the rest of the curve.

U S E A 1 6 - I N C H F L E X I BLE R U L E R TO E N H A N C E YO U R J E W E LRY

Custom-design a neckline to showcase your

jewelry. Put your jewelry on with your chosen
garment, and mark equidistant from you r
necklace to your new preferred neckline. Place
the flexible ruler at the markings. The ruler
will hold the shape while you draw i n you r
new neckline. You r jewelry i s now enhanced
by you r new neckline.

SOURCES
DressFormDesign i [Link]
[Link]
JoAnn .com

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 f l E X I B LE R U L E RS
of the collar with the ruler, gently lift it neckline and transferring that shape excess amount of fabric in a sleeve cap
off the shape you've just copied and trace onto your patterns. when you have too much ease. Just
the outline onto another pattern. contour the flexible ruler around the
Change longer collar or neckline width. Use a 24-inch ruler seamline at the top of the sleeve cap.
Decrease or increase any neckline for smaller projects Record the length. Simply slide down the
or collar width while still keeping its Navigate snug spots with these ideas: already shaped ruler just between the
original shape. Lay the flexible ruler on Outline shorter crotch curves. Use for sleeve notches the amount that you need
the outside edge of the collar or neckline crotch curves up to 24 inches long. to decrease the excess fullness,
to downsize or increase from the ruler's Position bra straps. Try this trick on and retrace the original curve of the
edge and trace a new edge. custom bras or for altering ready-to-wear sleeve head.
Replicate shapes for home dec. For a bras (see the example on p. 50).
wing chair or couch, lay the ruler against Outline and resize armholes up to Use a 16-inch ruler for tiny projects
the seamline and align the ruler This smallest ruler is for navigating
to follow the shape of the curved super-tight places.
region of your wing chair. Care­ Outline circumferences of neck­
fully lift off the shaped ruler and [Link] new, custom necklines
transfer that shape to a pattern. on patterns and enhance your jew­
elry (see the example on p. 51).
Use a 32-inch ruler Outline shapes and width of bra
for midsize projects cups for bra making. When mak-
When your project is medium ing custom bra patterns, compare
size, take these tips: and/or replicate your bra cup shape
Outline crotch curves for with the flexible ruler.
medium sizes. Use this for curve Make quick-and-easy mitten and
lengths up to 32 inches (see slipper pattern outlines. Shape the
p. 51). flexible ruler around your hand or
True in longer pattern seamline foot to make mittens or slippers.
pieces for longer torsos. Do your Make patterns for dolls. Shape and
seamlines look like zigzag pin create your own doll patterns.
markings on your tissue after Create unique pocket shapes. You
pattern fitting? Just lay the inner edge of 24 inches. When trying to pattern-fit your can add interesting shapes to the bot­
your flexible ruler on its side to mimic armholes for all your sleeveless gar­ toms or tops of your pockets. Kids love
your newly altered outline. Your ruler ments, wrap the flexible curve around pockets that reflect their hand's shape.
will correct and blend the uneven pin your armscye (armhole). Align the ruler Just lay their hand on pattern paper, and
markings. Draw in your newly trued vertically at the shoulder tip and con­ shape the ruler around their hand's out­
seamline. Don't forget to use the outer tinue down and around your underarm. line. Add a seam allowance by outlining
edge of the ruler to instantly outline a Then, trace the outline and you've in­ the outer edge of the shape.
clean �-inch seam allowance. stantly fitted your patterns armhole and Shape yokes on pants and skirts. To add
Shape yokes on jackets, blouses, and shoulder widths correctly to your body. shapes and designs to the smaller yoked
vests. For a western yoke, look no further Make custom hats. Since most adult patterns of pants and skirts, just position �
than your flexible ruler. Just form the
ruler into the desired shape and trace it
heads are less than 24 inches, you can
easily replicate a head shape. Wrap the
your desired shaped outline from your
flexible ruler onto your patterns. Trace,
co'""
on the front and back of your patterns. inner edge of the ruler around the area notch, cut, and add seam allowances to
Mark notches, cut the pattern apart, and where the hat will "sit" and gently lift each of the cut edges.
add seamlines to the cut edges. off the shaped ruler onto pattern paper. These are just a few of the feats of flex­
Position U-necklines, curved necklines,
and boat necklines. It's easy to play
Trace around the inner portion of the
shape. If you need to know the total cir­
ible rulers. With these secrets and a little
imagination, flexible rulers will likely
�
�
around with shapes for your necklines. cumference measurements, it will show
that at the same time.
become your favorite notion.
"00�
"
You can truly customize the shape
�ci.
and position of all your necklines by Downsize sleeve caps to fit pattern Jean Haas, the author ofmany DVDs, CDs,
laying the flexible ruler around your

52 TH R E A D S
armholes. You can easily decrease the and online classes, lives in Illinois. <f.b0
 It's a Wrap:

Custom-covered
Lea rn h ow to cove r
a belt a nd bu ckle
l i ke a p rofess i o n a l
B Y PA D DY E M A N N

I
fyou thought a professional-looking fabric­
covered belt should be left only to, well, a profes­
sional, think again. Belts are everywhere these
days, and a stylish custom-covered belt and buckle
is a snap to make, requiring just a bit of stiff backing to
support the fabric and a buckle, of course.

Virtually a ny fabric will do

You can create a covered belt to match any garment
you sew. For a belt that stands out, use contrasting
fabric-or combine fabrics for a unique look. Try to
work with a fabric that is closely woven and fairly
lightweight. Heavyweight and plush fabrics sew up
into bulky belts (not always the best choice for a waist
cincture). It's also a good idea to stay away from sheer,
loosely woven, or very fine fabrics that tend to fray.
You can use a stretch or knit fabric (just stabilize it
with interfacing), and lightweight leather is also a fine
choice. Once you have your fabric and supplies at the
ready, the only decision to make is whether to cover
the buckle to match.

Paddye Mann is a clothing designer in Pakenham,

Ontario, Canada.

Top: Even a supple leather belt ;s an easy

project. Bottom and left: Transform scraps of
fabric to create truly coordinated belts.

w w w. t h r e a d s m a g a z i n e . c o m F E B R UA RY/MA R C H 2 0 0 7 53
 COVE R I N G B E LT S
BELT SPECS The b uckle: to cover or not to cove r
Cut your fabric to the speci­
fications below. Apply any
Before you cover the belt, look to the buckle. If you have a standout buckle, you may want to leave
fusible interfacing before
it as is. Otherwise, a covered buckle in the same fashion fabric is a smart look that says clean and
cutting.
coordinated. Be sure to match up the size of the buckle with your desired belt width.

BUCKLE: Cut
Buckle size plus inch on all
21
L��
sides.
1 inI
1 in
,-�----------------r-, s.a.
. IT--------------l:.: Y,·in.

BELT LOOP: Cut

Width: inch 1 1
Length: Double the width of
the backing plus %% inch

�-�,,,,-
Seam Allowance: inch

Buckle end
1 Cut two pieces of fabric about inch larger
1
than you r buckle on all sides. With the right
2 Remove the buckle and machine-stitch on
the traced line, leaving an opening for the
sides of the fa bric together, place the buckle on belt prong. Tri m i n side of the stitched li ne.
top a n d trace a ro u n d the i n side edge of the buckle.

Q t, No ch

,, ,,
'"
oOJ
:I,I s.a.
� sls·in.

,,, ,,,II
,,I ,,,
I,I,
3
,,,
, ,
J-' Turn right side out, and place the buckle
-,, Ta b end
between the layers of fabric. I n sert the prong

15 6 th rough the gap i n the stitch ing.

4
BELT: Cut

Length: to inches longer

than waist measurement Tip: Leather va riation Trim the fabric to the shape of the buckle,
leaving a !4-inch allowance to turn under.
plus 2Yz inches
Width: Double the width of
When using leather or suede, fol low steps 1-3.
Then, glue the leather to the buckle with leather
If the buckle is round, hand-gather the outer
edge to create a n ice cu rve. If it's a square buckle,
the backing glue and let dry. Stitch close to the outside edge clip to the corner. Then, turn the u nderside under
Seam Allowance:

54 TH R EADS
% inch using a zipper foot, and trim the excess. a n d h a n d-stitch the two layers together.
 The belt: ma ke it i n 4 easy steps
Once you've taken care o f the buckle, simply choose a backing, a n d follow the steps below
for a professional-looking fabric-covered belt.

Note: Thefollowing steps assume you are using a prong buckle. Ifyou aren't, skip all reference to eyelets.

1
2
Sew the long edges of belt fabric right sides
together using a short stitch length. Press the
Ys
seam a l lowance open and trim to i nch. Also
sew the long edges of the belt loop together. Turn
center the seam on the tube, then sew the
tab end (or non-buckle end). Trim the sea m
right side out and press; edgestitch. Sew the short a l lowance to )4 inch. Turn the tube right side
ends together, then set the loop aside. out, and press flat.

SOURCES
for buckles and
backing
[Link]

[Link]
�0<"§u'" [Link]

[Link]
�U
Vic

3 4
:;:;o L
______ _ Perfect Leather Goods,

J
� 1nsert the backing into the tube (it should be SliP the buckle onto the belt, inserting the
Toronto, Canada;
416-205-9775
a snug fit); topstitch around all edges. Center prong through the eyelet. Sli pstitch the loop i n
� 1Yl [Link]

a�
a n eyelet 2Yl i nches from the buckle e n d of the place i n ches below the prong bar. Press the
[Link]
(
belt to anchor the prong. To m a ke an eyelet, pu nch belt's raw edge under. Fold the belt over the prong

[Link] a hole i n the belt using a n awl, then h a n d -sew

a ro u n d the hole using a buttonhole stitch. )
bar and machi ne-topstitch o n each side of the loop.
Make a few even ly spaced eyelets at the tab end.

www.t h rea d s m a g a z i n e . c o m F E B R UA R Y / M A R C H 2 0 0 7 55
 Inspired by
apanese
Crests
Ce n t u ry-o l d d e s i g n s
a d d n ew l ife t o ga r m e nt s
BY LO I S E R I CS O N

..-- or centuries, Japanese crests have identi­

fied families or clans with embroidered

.. __ or appliqued designs. Simple and graphic
in nature, these crests label everything:
clothing, household items, and personal
possessions. You've seen them on Asian
garments and other items and probably didn't real­
ize the attractive motifs are actually a family logo.
Renowned for their graphic purity and elegantly
understated design, they make perfect inspiration
for the garments I sew.

Crests are easy to find

There was a time when you had to search for good
Japanese crest designs. Then clip art books became
available, and finding good images became easier.
Nowadays, you can buy a CD with public domain
images of crests to print right off your computer (Mat­
suya Japanese Crest Designs CD-ROM and Book, Dover
Publications, 2006).

Subtle circles as a delicate redframe are created using a reverse

applique process and coordinating ikatfabric.

F E B R U A R Y/ M A R C H 2 0 0 7 57
 JAPA N E S E C R ESTS
Even though the authentic Ma n i pu late c rests for modern designs
crests have inspired artists for
years, there's no reason to limit Leaves, circles, bundles, and coin themes show ways
to a bstract and edit the original design.
yourself to original sources
alone. There's no shortage of
Flowers and Leaves
design ideas; they surround us
every moment. Sometimes it's
Stamped circles a n d applique
as simple as using a piece of
motifs echo the woven
fabric as the motif for a crest. pattern in the silk fa bric.
You can also invent your own
designs or merge other designs. Circles often
Once you've found the image, fra m e or
Leaves a re back a motif.
you can use various techniques
e n la rged beyon d
to capture and reinterpret the
t h e circle
motif to enhance your garment.
bou ndaries a nd
fuse appliqued.
Reshape a crest
to launch your design These loose a n d
After I find or create a crest, sponta neous circles
were appl ied with -----'
I experiment with various
a rubber sta m p.
techniques to work it into my
jacket designs, but you can use
this process for other garments
as well. Envision a giant crest
on a pant leg or a tiny one on
a blouse cuff. I'll give you a
taste of how stenciling, rubber
stamping, embroidery, reverse
applique, and even sewn
coins can carry the Japanese
crest theme.
You can use your chosen
Flowers a n d leaves a re two popu l a r crest
motif like the traditional crest, designs. Remove or highl ight the vei ns.
neatly framed in a circle as
To s im p lify the origi n a l i mage, edit out
on the jacket shown on p. 56.
u nessential li nes or sections.
Or release the image from a
frame and let it explode over
the garment as you'll see on the
following pages. It's liberating
to edit and abstract the original
design to make it your own,
and it's empowering to change
the whole concept of a garment
by using these techniques to
recast the original lines.

Lois Ericson, a lifelong designer,

teacher, artist, and author, lives
in Reno, Nevada. Visit Design
[Link] more of Faced s h a pes make excellent leaves.
her designs.

58 T H R EADS
 Asian coins are
rem i n i scent of
Japa nese crests.

Coi n s a re secured with

metal l ic cord over
machi ne-em b roidered
brushstroke circles.
I nsert the shank of a
button through the
hole in the coin.

w w w. t h r e a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 59
 JAPA N E S E C R E STS
W O R K C R E ST S I N TO A G A R M E N T
Change the scale, crop, remove the frame, or edit detail for garment interpretation.

REVERSE APPLIQUE
FRAMES IKAT FABRIC
The crest on this jacket was inspired by
the ikat fabric. Three reverse applique
crests peek out from behind red cotton
jacq ua rd-faced circu lar frames. French
knots pick up the red color, and tiny cut
steel buttons show up occasiona lly to
add sparkle.

Technique: Face a circle

With right sides together, sew a circle through the facing and
garment fabrics. Trim i nside the sewn edge to a scant Ys inch,
and turn the facing through the circle to the wrong side. Let the
facing favor the right side to look like piping. Position the motif
behind the circle and hand-stitch in place.

Jacket, Design & Sew, In the Studio-l0-The Band

CHANGE THE SCALE AND STENCIL IMAGES

The crest fra me expands far beyond the opening edge of this
jacket. The crest motif is simplified and reduced and then stenciled
as an allover pattern.

Technique: Cut a stencil

Start with a simple design. Edit complex images. Trace the shape
onto a smm acetate sheet. Use an X-Acto knife to cut out a stencil
"window." Pounce d ry fabric paint with a small dense sponge
through the window. Layer stenciled images for m ulticolored effects.

Jacket, Design & Sew, 1st Class Shirt #308

60 TH READS
 LINE SHAPES AND TOPSTITCH
Macro leaves made from l ined shapes with cov­
ered-cord spines and topstitched details define a
complex center-front edge. This vest reflects an
interpretation that highlights the leaf veins.

Technique: Line a shape

Draw the shape you want on paper and add %-inch seam allowances.
Use this as a pattern to cut a fashion
fa bric layer and a l i ning layer. With
right sides together, layer and sew
around the shape % inch inside the
edge. Slit through the l i ning side, turn
the shape right side out, and press
flat. Use faced shapes as a ppliques
or tuck them into seams and folds as
shown. Use topstitching to add detail.

&
Vest, Design Sew,
In the Studio-7-Folds and Edges

ABSTRACT AND RELEASE

In contrast to the original crest, this variation is asymmetrical. The
loose tabs on the side front repeat the structural theme of the crest.
I used the design in m i n iature to make a garment label.

Technique: Get abstract

It's easy to color i nside the l ines, but dare to step outside your
comfort zone. Experiment with changing the scale a nd symmetry,
abstracting, and fragmentin g the design. Start with sim ple sketches
to find your muse.

,\II
,I

-'=�"-��
ino
if.b Temple jacket, Design & Sew, In the Studio-9-0ver the Top
www.t h re a d 5 m a g a z i n e . c o m F E B R UA R Y / M A R C H 2 0 0 7 61
Cut Up Pattern s
and Ad d � e ams
G et ext ra sty l e m i l e a ge fro m yo u r
fa vo rite p a tte r n s by c re at i n g n ew s e a m s
B Y M A R Y R AY

W
hen I've spent add style lines, develop surface in a waist or expand a bustline,
time fitting a design, and create details on as just two possibilities. Tiny
pattern and love patterns you already know Y4-inch changes in eight seams
the results, I'm and love. around a garment amounts
not going to waste time look­ Adding seams offers a benefit to 2 inches.
ing for a new pattern. Instead, beyond style that I'll just men­ When you have problems
I add seams to the original and tion here. Every seam provides achieving a good fit, adding
redesign the way it looks. an opportunity to fine-tune the seams often provides a viable
Anyone can rework favorite fit of a garmE:llt: For example, solution. But for the most fun,
patterns by adding seams. The you can add or subtract small change your patterns for style
possibilities are endless, and you increments of fabric in the in the ways I show on the fol­
don't need a degree in pattern vertical seams of a jacket or lowing pages-it lets you be
drafting for success. I'll show skirt or pants to enlarge or the designer.
you step-by-step how to do this, reduce the circumference. You
then we'll tour my wardrobe can also make slight changes Mary Ray is a contributing editor
while I explain simple ways t;o in the shape of a seam to nip at Threads.

\\ \

F E B R UA RY/MA R C H 2 0 0 7 63
 C U T U P PAT T E R N S
Redesign you r pattern
Decide o n your garment plan first. Then, trace a copy of your pattern. Finally, cut up the pattern
according to your plan, and add seam allowances.

2 Trace a copy of the original pattern. Position the pattern pieces on

pattern pa per over a piece of foamcore and trace the sea m l i nes with
1 Make a plan. Use a photocopy machine to copy a n d enlarge the a need le tracing wheel. Tra nsfer the existing notches to your traced
schematic d rawi ngs from the pattern i n struction s heet. The copies version by making hash ma rks across the cutting l i ne. After tracing,
a re you r templates for sketching design poss i b i l ities. remove the tissue pattern and d raw over a l l the pricks with a m arker.

3a Make new pattern sections. Fol low you r planning sketches to 3b Place hash marks across the new seamlines to indicate notches.
d raw the new sea m l i nes on the traced pattern pieces. N u m ber the sections on both the intact copy a n d the ind ivid u a l
n e w pieces. A s n e w patterns, these pieces often don't m a ke sense
when seen sepa rately.

3c Trace each new pattern piece separately. 3d Use a transparent ruler to add seam allowances before cutting
out the pattern pieces.

64 T H R EA D S
U se new sea ms to add style l i nes
E nhance seams for any pattern, including dresses, pants, skirts, blouses, and swimsuits. HOW TO
New seam lines can flatter the figure and always create new fitting opportunities. ROTAT E A DART
D
,,
,I
I
I
,
I
,
I
I Trace around the pattern
I
, from the top dart leg to the

fI
lower front side seam.

Add a princess seam. with a curved ruler, d raw

i n the pri ncess style l i n es. This won't change
: Jl)
the fit or shape of the garment, only the l ines. Create a center seam on front pant legs
Rotate the bust d a rt so it d isa ppears i nto the for a lengthened look. Topstitch the
(
pri ncess sea m see the sideba r at right . ) sea m for added deta il.

Pin the pattern at the bust

"':::::---"�\\
point; pivot to close the
dart. True up the hemline at
the lower edge.
\

\
\
\
\
�
The dart control is now
Create a center panel on a straight, darted rotated and released at
skirt. Topstitch the sea ms for added deta il o r the hem.
exten d the center p a n e l , then s h i rr the s ide Divide t h e back of a garment into
edges for a fresh, fas h ionable look. sections for a more flattering look.

w w w. t h r e a d s m a g a z i n e . c o m F E B R UA R Y / M A R C H 2 0 0 7 65
 C U T U P PATT E R N S

Explore you r
redesign choices
U n less otherwise noted, a l l t h e jackets shown
on t h ese two pages started as the same pattern:
Butterick 5941.
��elop S u rf aLeD
esigr L

Combine fabrics. Divide a pattern and cut each section from a d ifferent
fa bric. This is an excellent way to use leftover fa brics a nd coord i nate a new
garment with others a l ready in you r wardrobe. (Vogue 2355)

Accent a precious
fabric. When I cou l d n't
fol low the fa bric's
stra ight grai n on a
na rrow silk, I cut each
pattern piece on the
correct gra i n from a
lightweight knit fusible
i nterfacing a n d fused

r---
these to the wrong
Insert elements into seams. These s leeves were d ivided side of the s i l k. Cu rves
i nto five sections with a shaped fa bric fin inserted l i ke this may req uire
between each section. Divide a l most any pattern section using staystitch i ng
into more pieces, then add pipi ng, fringe, or bead tri m, for a nd clipping to fit
I
J
exa m ple. Be carefu l to trim sea m a l l owances to remove the s h a pes together
b u l k. (The a uthor's design) s mooth ly.

66 TH READS
 � Deta ils

Add a peplum. Cut off t h e jacket pattern a t t h e wa istli ne. Cut Add seams for economy. Leather jackets have more seam detail
a strip of the fabric the depth and length of the pepl u m with because of skin sizes a nd s h a pes. Horizonta l sea m s on the
pleats added at the side sea ms and back. Piece if needed. s leeves a nd princess sea m s help fit the pattern pieces on skins.

Add enriched inserts. Add sea m s for a fa bric i nsert. Here, rows
of double-need le stitching adorn the i nserted panel. A na rrower
34
Add a ruffle. Cut the jacket pattern or inches below the
waist and the sleeves j ust below the el bow. Add a doubled bias
overlaid strip trims the s houlder a n d s leeves. ruffle for a stylish, soft blouse.

w w w. t h r e a d s m a g a z i n e . c o m F E B R UA RY/MA R C H 2 0 0 7 67
 BY A N N A MAZ U R
-----
Going in c·' c
fa bric yo-yo
This traditional quilting
detail is sassy and modern as
a decorative garment trim

F
abric yo-yos are not a new
concept but, rather, one that got
its start as a traditional quilt­
ing detail. Yo-yo quilts, popular
throughout the 1930s and 1940s, were
a thrifty way to put scraps of fabric to
good use. But don't let that fool you;
these circular fabric discs have evolved.
In the last couple of years, yo-yos have
resurfaced in the fashion world as a
unique and modern embellishment for
apparel-from ready-to-wear all the
way to couture. Cascading yo-yos made
of lightweight chiffon
Yo-yos can be placed anywhere on
with beaded centers are
any type of garment, from tops to bot­
toms and from dresses to coats. They
can be tiny and subtle, highlighting a
small garment section, or large and
elaborate, covering the entire garment. various-size yo-yos. Where you place mind that there's a direct relationship
Try placing your yo-yos is your decision. between fabric weight and the size of
them along the the yo-yo. The lighter the fabric, the
•
QU ICK VERSION
edge to mimic a
trim or clus­
F I N D T H E FA B R I C S
T H AT W O R K B E ST
larger you can go with the yo-yo.
For a subtle look, choose matching
Needle, Thread tering several For yo-yos, use light- to medium­ garment fabric or a combination
Scissors, Fabric yo-yos in an eye­ weight, soft, fluid materials such as of colors in the same family. For a
catching loca­ chiffon, charmeuse, jersey, and knits statement-making piece, go for con­
OPTIONAL TOOLS tion. They can because they can be easily gathered up trasting colors or combine different
Circular templates also be scattered into a tight circle. Lightweight taffe­ mini-prints. Yo-yos are quick and easy
Rotary cutter randomly across tas also work well for a crisper result. to master, so once you've got the basics
Cutting board a garment. Here, Beware of fabrics that are too stiff; down, experiment with design, try
Pressing template we adorned one they tend to fold severely instead of some alternative shapes, and embellish
or heat-resistant
plastic (such as side of the dress gathering gently and therefore do not to the beat of your own drum.
No-Melt Mylar) bodice from the blend well with the garment fabric. The
#10 milliner's long
basting needles
top of the shoul­
der down to the
exception to this rule is that yo-yos
made out of suit-weight wool and even
Anna Mazur, ofAvon, Connecticut, is a
Threads contributing editor who relishes
waistline with leather can be exquisite. Just keep in in the details ofgarmentmaking.

68 TH READS
 ---- ----
----- --
Create a perfect yo-yo
The process of yo-yo m aking simply involves cutting a circle, hand-basting the edge, and drawing up
the gathered edge. Attach it to your garment, and you're done. Add a seam allowance to turn under
for a finished center, or leave the edge raw for a deconstructed feel.

Cut out your yo-yos. For Press under the edges

q u ick, no-fuss yo-yos, cut out (optional). For raw edges,
a freeform circle by h a n d with � � skip this step. For a neat,
scissors. If you prefer, you can
a lso trace a circle onto you r
Auto !
Advance! clean look, press u nder
the raw edges using a
fa bric using a tem plate or a ny pressi n g tem plate. The
rou n d household item, such d iameter of the template
as a cup or bowl, and then
cut out you r yo-yo. Allow for a
�
should be inch smaller
t h a n the fa bric circle. See
!4-inch seam a l lowa nce, a n d how to make a pressing
c u t t h e circle t o twice the template o n P. 70.
fin ished d i a m eter.

Hand-gather along the edge. Using Embellish the center (optional). Use Attach to your garment. Arrange
a long basting need le, such a s a size bead s to embellish the center of the the yo-yos o n the garment and p i n
10 m i l l in er's need le, sew a r u n n i n g yo-yo. Add i ng one or more bead s to i n place. When you've fin a l i zed you r
stitch a round the pressed edge at the center is a lso a way to cover the design, permanently hand-tack. To
a s hy li inch from the fold. Stitches gap that ca n form ifthe stitches a re do this, take li-inch stitches through
should be a bout li inch apart for not p u l led up enough or if the fa bric the center back of the yo-yo and i nto
s m a l l circles a n d fa rther apart for is heavy. Sew the bead s one at a time the garment. Using a ru n n ing stitch,
l a rger circles. Draw up the stitches or in groups oftwo or three. Use a tack a ro u n d the circle u ntil you get
to gather the fabric a n d secure. Don't beading need le with bea d i n g thread, to where you started, or leave the
gather the stitches too tightly-a s uch a s Nymo, and go through each edges free.
softly gathered yo-yo looks best. bead (or set of beads) at least two
times to secure.

w w w. t h r e a d s m a g a z i n e . c o m F E B R UA R Y / M A R C H 2 0 0 7 69
 E M B E LL I S H M E NTS conti n ued

Make your own

pressing tell1plate
Here's a quick way to make pressing tem plates to the
Hot Tip:
specifications you need. The heat and steam of an iron
can cause permanent marking

1 Transfer a circle onto t he plastic Using a tem porary ma rki n g

. ink to transfer. It's better to draw
on the tem plate with temporary
p en, either d raw a circle with a com pass or trace a circle from
a tem plate onto heavy paper or cardboard . The d i a meter of the i nk, then cut it out and wash or
template should be the size of the fa bric circle m i n u s the 14-inch wipe clean prior to ironing. If
sea m al lowance. To get rea l ly scientific, use heat-resista nt plastic,
plain old soap a nd water doesn't
such as No-Melt Mylar.
work, use a cotton ball soaked
2 Cut out the template. For smooth edges when cutting out the in rubbing alcohol.
circle, hold the scissors i n place and bri n g the template material
toward the blades while rotating it a s you cut.

TRY TH ESE YO-YO VARIATIONS

When creating yo-yos, you're not limited to perfect circles with centered gathering stitches. Experiment with alternative

shapes such as ovals, squares, or asymmetrical forms. The same process for circular yo-yos applies, except you cut out your

fabric in the desired shape. You'll also need to spend some time gathering the shape.

OVAL SQUARE ASYMMETRICAL CENTER HALF-CIRCLE

Ovals are a great This square variation This is a regular Half-circles evoke

way to capture the actually has softly circular yo-yo with the shell shapes on a

gathered, embellished rounded corners but middle sewn off-center. garment. Try them

look of a yo-yo with an is a more geometric- These morphed in floaty fabrics and

elongated shape. looking design. circles have an artsy, neutral colors for a

organic appeal. beachy feel.

70 T H R EADS
 CUT IT OUT QU I CKLY
When making a large qua ntity of yo-yos, using a cutting

template and a rotary cutter gets the job done faster. Some

templates provide better results than others, depending on The yo-yos along
the neckline blend
the type of fabric. For those with less body, like chiffon and
into the dress design
charmeuse, using an acrylic template with a rotary cutter works and accentuate the
best. For fabrics with more body, such as organza, dupioni, and beautiful embroidered
organzafabric.
cordu roy, a template that is placed on top of folded fabric is the

most effective. Here are some to try:

Easy Circle Cut by Sharon H ultgren: This one's my favorite. It

cuts circles from 2 to 10 inches in diameter and includes a �-inch

seam allowance. This hard-plastic template has slots in 1-inch

increments, which can accommodate a 28mm rotary cutter.

Fabric is folded in half prior to placing the template on top and

then cut with a rotary cutter.

Radial Rule by Katie Lane Quilts: This tool cuts h 6-, 8-, and 12-

inch-diameter circles and is used to round out quilt corners. The

fabric is folded into quarters prior to cutting with a rotary cutter.

Wonder Arc ruler by Mary Ellen Johnson: This cuts circles from

3 to 8 inches in diameter. It works like the Radial Rule, where the

fabric is folded into quarters prior to cutting with a rotary cutter.

Acrylic templates: These hard-plastic templates cut

circles 2, 3, 4, 5, 6, and 8 inches in diameter. They are

placed on top of fabric and cut with a rotary cutter.

SOURCES
TEMPLATES

You can find many

resources for circle­
cutting templates in art­
and office-supply stores,
sewing and craft stores
(think of scrapbooking),
q uilting stores, catalogs,
and onli ne.

[Link]
[Link]
[Link]
[Link]
[Link] Simplicity
[Link] Threads
Magazine
Collection
4072
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We uelebrate yo ffeativity READER SERVICE NO. 124

l is"", is
This specia not
shipping only; afIH 1/17/07, add $350
s&h. Payable inU.S. ..
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part of any regular magazine subscription. rd
funds. Mails on 1/29/01

72 TH R EADS
I N S P I R E D B Y T H R EA D S

he 7th A n n u a l " I n s p i red by Threads" Fas h ion

T
C h a l l enge was p resented o n the ru nway at the

America n Sew i n g Expo i n Novi, Michigan, on

Septem ber 30, 2006. The fi n a l ists' garments were

featu red in a fas h i o n show fol l owed by the a n nou ncement

of the five wi n n i ng ga rments you see here. Each demon­

strates a tec h n i q u e o r design idea from an a rticle p u b l i shed

in Threads t h i s past yea r ( no. 120 t h rough no. 125).

Congratulations to the w i n ners ! To get i nvolved in next

yea r's c h a l l e n ge, go to T h readsMagazi [Link].

Editors' choice
Krysta I Ericson
Funk, Nebraska

This year's editors' choice award goes to a talented 1s-year-old

sewer. Krystal wowed us with the craftsmanship of this Chanel­
inspired jacket-a feat at any age. Upon first look, it appears to be
just a simple black blazer, but up close, Krystal's attention to detai l
a n d couture methods make this a standout garment. S h e d i d a
magnificent job of vertica lly quilting the black wool crepe to the
silk crepe de chine lining so that it resembles pinstriping. The
facing edges and set-in-sleeve seams are also finished in bias
strips of silk with a Hong Kong finish. Other details that show off
Krystal's sewing chops are the shaped collar, silk-covered snaps,
Strength is in the details. The self­
and self-fabric flower at the waistline.
fabricflower and vertical quilting
were perfectly executed.

Vogue 8260

w w w. t h r e a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 73
 Best daywear
Becky Fulgoni
Kalamazoo, Michigan

Becky designed the patterns for this

skillfully made, wonderfully coordi­
nated reversible vest a nd panel skirt.
For the vest, she paired an already
quilted taffeta with an almost sheer
brown satin, which was then quilted
to flannel, making it fully reversible.
Becky also trimmed the vest with
faux leather binding and added
in-seam welt pockets with zippers.
Having been taught to always finish
a seam, Becky says that reading the
"Master Class: Raw Edges" article
(Threads, no. 121) was just the permis­
sion she needed to "let it fray." So
she did on this adorable cotton-and­
Lycra-blend chevron skirt by adding
three layers oHi-inch bias strips to
the seams. Becky's techniques
turned the heads of our editors
and turned out a great-looking
daywear garment.

Thefaux leather binding and match­

ing welt pockets add a richness to this
reversible quilted vest.

Original designs
Young sewer award
Alex Sudalnik
Portland, Oregon

Alex's stylish, three-piece evening­

wear ensemble, featuring a dol­
man jacket, knit top, and dirndl
skirt, received unanimous raves
from our editors. It was his com­
bination offabrics that struck
j ust the right balance of contrast
and complement, from the irides­
cent silk taffeta of the jacket body
and silk duchess satin cuffs to the
silk damask used for the skirt and
the silk taffeta repeated on the
hem of the skirt. We were also
impressed by the beautiful con­
struc�ion and the drapir:'Ktech- ._
ni ues Alex used to craft each
piece. Alex is 18 years old and is
currently studying fashion design
at the Fashion Institute ofTech­
nology. We expect this won't be
the last amazing garment that
we see from him.

Alex's decorative wide hem in

ff
matching iridescent silk ta eta was
inspired by the "Decorative Wide
Hems" article (Th reads, no. 124).

Original designs

www.t h rea d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 75
reader's closet "'' ' , ",d
Special occasion award
Ka ren Wh itehead
Springfield, Ohio

This sparkling evening gown, made from a beautiful pairing of dark and
light silver satin, is unique in many ways. We loved that we could see
Karen's creative spark u nfold in this dress. Taking her inspiration from a
cross, her design features a small train, a high neck, and a keyhole back.
Karen, a self-ta ught sewer who has learned mostly from magazines and
books, was also inspired by our article on surface rubbings ("Embellish­
ments: Surface Rubbings Transform Fabric," Threads, no. 123). She used
a Celtic design to add su rface rubbings in matching silver to the gown.
Karen did a fabulous job of executing her inspiration into a well-made
original garment.

Original
designs

Karen used silver paint sticks

and a surface-rubbing
technique to achieve this
Celtic design.

S E N D U S YO U R P H OTOS

WHAT HAVE YOU BEEN SEWING? Send

us photos and a brief description of your
recent creations, and we may publish
them. We accept fil m but prefer digital
images, via email or on CD.
Whenever possible, photograph your
well-pressed garment on a dress form
against a neutral background. Avoid
including people in your pictures. Use
even, adequate lighting. Take full-length
and detail shots, and use a high-resolution
setting and large image size for digital
photos. For more detailed information,
visit [Link].

Send photos or CDs to:

Reader's Closet, Thre ads magazine
P O Box 5506
Newtown, CT 06470-5506
 Best reflection of current
ready-to-wear
Sa nd ra Bessieres
San Francisco, California

This charming black and flora l outfit

could easily be seen hanging on
the racks at an upscale department
store. Not only is the style on trend
with what is happening in ready­
to-wear today, but also Sandra's
embellishments are eq ually as cur­
rent. She fol lowed our design for
the two-hour gypsy skirt ("Quick
to Make: Two-Hour Gypsy Skirt," Purchased camisole
Threads, no. 125), and the gorgeous
Shrug: Burda 8068
silk charmeuse made it even more
elegant. To give it a little sparkle, Skirt: Threads article
Sandra used heat-set Swarovski
crystals on the skirt, as well as a long
the neckline of the camisole top.
A matching shrug with a delicate
bias-bound edge made from the
skirt fabric tops off the look. The
result is a comfortable, smart, easy­
to-wear ensemble.

Heat-set Swarovski crystals and

hand-woven ribbon trim give this
skirt that little something extra.

www.t h re a d s m a g a z i n e . c o m F E B R U A R Y/ M A R C H 2 0 0 7 77
II ....
 R EADE R S ' Q U ES T IONS ­
EX P E R T S ' A NS W E R S

_ S�wj)n cupslnto Hntng

r0 ' wo,'d like to k"ow how

_ to add bra cups to the

HabennanPabri".eom. Po<
your swimsuit lining, use
to the lining layer with small
safety pins. Remove the lining
dresses, corsetlbustiers, and Powernet (available at Tutu. from the swimsuit, and sew
swimsuits that I plan to sew. I com), a thin Lycra swimsuit around each cup, securing it
have large breasts and wou ld liner, or the same fabric as to the lining with a small zig­
like to create linings (especially your swimsuit-if it's not zag stitch. If your lining fabric
for a tan kini-style swimsuit) that too heavy. Be sure that the has a tendency to "run;' finish
wou ld hold the cups in the gar­ lining fabric you choose has the lower edge of the tank­
ment. Please help! stretch similar to your swim­ style lining with a zigzag or
--EP., Topeka, Kansas suit fabric.
For a bikini-type top, cut
overlock stitch or use a serger.
(You can safely leave the edge

A Ruth Ciemnoczolowski, out a full lining. For a tank­ raw when using Powernet and
author of "Build a Better style top, cut a front lining some Lycra fabrics.)
Bust," Threads, no. 124, sug­ piece that runs from the To give the tank style addi­
gests: Purchase sew-in top edge of the pattern to a tional support, stitch a length
bra cups by cup size to fit couple inches below the bust. of clear elastic to the lower
your bosom. Nude-colored Baste the swimsuit together edge of the lining, stretching
cups with thin edges are using a long zigzag stitch. it slightly as you sew. This will
preferable if you can get Baste the lining section to the hold the lining and the bra
them. Check your favorite top and try it on. cups snugly and invisibly to
notions department or try Adjust and pin the bra cups your body.

The best way to li n e a vest

o I recently had trouble seams open. With right sides
_ sewing a belly dancer's silk together, sew the lining to the
... vest. I tried severa l ways of lining vest around all edges except
it to the edge but could n't turn the side seams. Grade, clip,
it right side out. What order of and press seam allowances.
construction should I have used To turn the vest right side out,
to com pletely line a nd smoothly pull each front through its
finish it? shoulder, then pull both fronts
--Rita Kozak, through the same side seam.
River Falls, Wisconsin Pin just the outer vest fabric
right sides together at the

A
MaryRay, Threads con­ side seams. Machine-stitch,
tributing editor, responds: extending from the vest fabric
To completely line a vest to around the edge into the
the edge, use the same pat­ lining side seam as far as pos­
tern to cut the vest and lining sible. Press, then slipstitch the
--_.- ----- and sew each together at the
shoulder seam. Leave the side
remaining opening in each
lining side seam closed.

78 TH R E A D S
 _ _Usln� curve�ru1e.r ___ ___
o I know I should use a
_ French curve or other
_�Anyo ne_ca [) havaa 1hree-waY-Jllj rI{1.� curved ruler to smooth out

o
seams that are discontin uous or
Where can I fi nd a light- dozen plastic mirror clips don't match properly, but I don't
_ weight three-way m i rror from your hardware or real ly know how to work with
that I can easily carry up flights home improvement store. the curve to get the seam line
of stairs and move from one Have the store or your shape right.
room to another? Thank you for local lumberyard cut three -D. Blakely, via email
your help. pieces of lh-inch-thick
-E. C. Christian, via email plywood, each 1 inch larger
around than the mirror. A sewing educatorJudy
Barlup answers: To use a

A Anne Marie Soto, editorial Use three hinges per "seam" French curve, slide and pivot
director of The Ameri- to join the plywood panels the edge until it matches the
can Sewing Guild 's Notions together, then center and existing curve or smoothly
newsletter, replies: Stacks and attach one mirror on each bridges the gap between two
Stacks, a California retailer, panel using eight clips nonconnecting curves. You
offers a 42-inch-Iong, over­ per mirror. You can eas- can also use a French curve to
the-do or-style three-way ily take the panels apart draw a curve from scratch by
mirror. The side panels when you want to move the connecting curved line seg­
fold flat when not in use. mirror. Loose-pin hinges ments to fit your work. Using
For more information, visit are used in theater stage this tool keeps your curves
[Link] or production when joining fluid and provides a solid
call 800-761-5222. scenery flats that need to edge to trace around.
If you prefer a floor mod­ be taken apart for storage
el, it's easy to build your or transportation. Instead
own. Purchase three inex­ of a knob at the top, the
pensive full-length mirrors pin is L-shaped so it's
(14 inch thick so this won't easy to pull out. If you
get too heavy), nine loose­ can't find a local source,
pin hinges, and a couple visit [Link].

What's in a ward? .__ -i /

Revised

o Does fabric ravel or onymous and, what's more,

armhole

_ unravel? Can you untangle can be used both transitively

this word confusion? What's the and intransitively. Take your
difference between "ravel" and pick I prefer to use "ravel"
-
"unravel"? intransitively (e.g., "serge the
-Frances Collins, via email edges of that brocade before
Pattern piece
they ravel") and "unravel"

A Editors reply: According transitively (e.g., "unravel

to my dictionary, the that Chanel tweed to make a
words are essentially syn- fringed edge").

www.t h rea d s m a g a z i n e . c o m F E B R U A RY / M A R C H 2 0 0 7 79
 Lifti ng l ow- rise j ea n s_ Jarnin g l:s h i rt hems
o Can a pattern for today's o When I wash and d ry

_ cool low-rise jeans be _ T-shirts that I get from

adapted to fit the natural waist? special events and organizations,
I want to make some jea ns the hems always curl up. How
for myself because I can't fi nd can I fix this problem? I don't

have a.
a pair to buy that's not low­ mind rehemming them because
(� s l ung-and this current style is they're always too long for me.

1 lest ()J r not for me.

-Rosemary Costabile,
-Amanda t, via email

A
Send it to us, and we'll find via email Linda Stewart, teacher
an expert's answer. and author ofa book
ThreadsQ&A
A
]oyce Murphy, creator of on professional alterations,
PO Box 5506
Newtown, CT 06470-5506 the ISM Methodforfitting replies: Most of these T-shirts
or via email: pants and customizing pants are made from single knits,
ThreadsQ&A@ta u [Link] patterns, explains: It is pos­ which naturally curl to the
sible to restructure a low-rise outside, so hemming goes
jeans pattern to come up to against their nature. One way
the natural waist. First, think to counteract this tendency
about what's missing on the is to fuse a strip of lightweight
trendy pattern style-prob­ knit interfacing (cut across
ably a back yoke that shapes the grain so it stretches with
the hip area and pockets, as the shirt) to the hem allow­
well as the fitted waistband. ance. Then turn up the hem
Examine your old jeans to and machine-stitch in place.
decide what you would like Or try making the hem
these to look like if added slightly deeper-l72 to
back on, or, better yet, find an 2 inches, instead of the
older jeans pattern and sim­ standard 1 inch.
ply superimpose these details
on your new pattern.

Cra n k out_cover� l>Mt on s

o ---�
I a m looking for a covered-
_ button machine to make
used to cover smaller buttons
for apparel. They range in
materials in brass, plastic, or
aluminum offer many choices I
custom buttons for garments. price from roughly $100 to for customizing your buttons.
Do you know of a source? $1,000. Individual sets of dies Many companies provide
I
Than ks for your help a nd love
your magazine.
must be purchased for each
size button. Different styles
custom-covered-button ser­
vices. Some online sources
-Barbara Nowick, and sizes of buttons can be to check are Upholstery
Kansas City, Missouri covered using the same [Link], DIYUpholstery
machine and are usually [Link], and Skandia

A
Patricia Keay, designer, available through the same [Link].
replies: Covered-button source. Specialty buttons One source for custom­
machines are available such as double buttons, covered buttons, belts, and
through professional uphol­ pyramid buttons, and ring buckles is Bristol Button
stery suppliers. Many can be buttons, as well as backing Company (231-829-31 19).

80 T H R EADS
 Why a n d how to use a tbjmhlL
o My mother taught me
_ how to sew, but she never
used a thimble. I'd like to know
how to use a thimble a nd how o I just fin ished fusing
A Editors reply: We haven't
to choose the right size. _ interfacing to a g-foot­ found your dream iron,
-Helen Styn, via email long stra ight piece of fa bric to but have you ever considered
make a cornice. I would have an ironing press? There are

A
Threads contributing edi­ given anything for an iron with a several brands available that
tor Anna Mazur explains: rectangular soleplate. Does any can be used on any table.
Using a thimble is a matter manufacturer have an iron like They come in various sizes,
It
of personal choice. doesn't
necessarily affect the qual­
this in the works, or is there a
detachable plate available, simi­
with or without steam. You
can cover a lot of ground in a
ity of sewing, but it allows lar to the Teflon soleplate? short time with one of these.
you to sew for longer periods -Mary Caulfield, via email They're great for fusing and
without getting sore fingers are big time-savers in the
because the thimble pushes laundry room as well.
the needle.
When I hand-sew, I hold
the needle between my Close a gapjng back
thumb and index finger with
the thimble on my middle o I've drafted a pattern with
finger. Without a thimble, I _ a deep V in the back. The
need to turn my wrist slightly pattern looks right, but my test
with each stitch, but with muslin doesn't fit snugly against
a thimble, my wrist doesn't the body. How can I fix this
turn and I have less strain to gaping V?
my hand muscles. Also, the -Cori Giacomazzi,
thimble protects my finger Skagway, Arkansas
from the eye end of the needle
breaking my skin.
To find the correct size, A Susan Khalje, Threads
contributing editor, offers
Stabilizer
strip
\( .
try on lots ofthimbles. You'll this solution: The edges of the
know it's right when it stays V are most likely cut against
on your finger and is so the grain of the fabric and will
comfortable that you forget continue to "grow:' or stretch,
it's there. Since thimbles are unless stabilized. I suggest
inexpensive, I suggest having hand-basting a narrow strip
several sizes on hand so you of stabilizer inside the dress
can adjust the size if your along the seamlines of the
fingers swell periodically. And
if you like to grow your nails,
V. I prefer to use a strip of
silk organza selvage, but a
Grosgrain
ribbon ----7'\:--lIl---_
choose an open thimble. lightweight interfacing cut
on grain will work, too. If
the V extends to the waist,
try inserting a waist stay as
well. This is a narrow inside
waistband that circles the
waist but is attached only at

www. t h re a d s m a g a z i n e . c o m
the base of the V. F E B R U A R Y/ M A R C H 2 0 0 7 81
 M A R K E T P L AC E -----------------------
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r ADVERTISER
A Fabric Oasis
[Link] WEBADDRES
71008 [Link] [Link] p. 82
I ADVERTISER
Earth Guild
[Link] WEBADDRES
82 [Link] [Link] p. 86

Academy ofFashion Design [Link] p. 84 The Electric Quilt Company [Link] p. 18

Academy of Fine Sewing

Design
&
310 [Link] p. 83
EInaUSA

Embroider This!
1305 [Link]

www.e [Link]
p. 15

p. 23

Alen's Fabric www.a lensfa [Link] p. 85 [Link] [Link] [Link] p. 87

Alpha Impressions www.a [Link] p. 23 Emma One Sock [Link] [Link] p. 3

Apple Annie Fabrics

Atlas Levy
47 www.a [Link]

[Link]
p. 86

p. 85
Fabric Corner

Fabrics Unlimited
695 [Link]

[Link] [Link]
p. 82

p. 85

Aurora Silk

Baer Fabrics
24 [Link] [Link]

[Link]
p. 87

p. 9
[Link]

Fabrique Fashion Fabrics 107 [Link] [Link]

[Link]
p. 85

p. 7

Baer Fabrics

Barudan America, Inc.

4 [Link]

[Link]
p. 84

p.29
Fabulous Fit Dress Forms

Fashion Design Online 136 [Link]

[Link] [Link]
p. 23

p. 72

Beacon Fabric &

The Bee Lee Company
Notions 21012 [Link] p. 86

p.87
Fashionable Fabrics

Fine Fabric Stores 11284 [Link] [Link]

[Link]
p. 83

p. 72

Bernina

Birch Street Clothing

1678 [Link] [Link]

[Link]
p. 13

p. 83
[Link]

Fire Mountain Gems 49 [Link] [Link]

[Link]/
p. 85

Bright & Happy Fabric Store [Link] p. 82 freecata log p. 83

Britex Fabrics

Burda World of Fashion

[Link]

[Link]/[Link]
p. 9

p. 85
Folkwear Patterns

Fuhng Satin Co Inc. .• 3280 [Link] kwea [Link]

[Link]
p. 87

p. 86

Button Drawer

Button Flower
3473 [Link]

[Link]
p. 82

p. 82
Gayfeather Fabrics

General Label Mfg.

1548 [Link] [Link]

[Link]
p. 86

p. 86

Candlelight Valley Fabrics

Christine Jonson Patterns

139 [Link] [Link]

[Link]
p. 86

p. 85
[Link]

The Green Pepper

18360 [Link] itzonl [Link]

[Link]
p. 84

p. 7

Claire Shaeffer Couture

Workshops 103 p. 84
Haberman Fabrics

Hedgehog Handworks
4443 [Link]

[Link]
p. 86

p. 84

Clothing Labels [Link] [Link] p. 84 Helen Enox Fabrics [Link] [Link] p. 84

CocheniUe Design Studio

The Couture Sewing School

26 [Link] [Link]

[Link]
p. 18

p. 29
Henriettas Handbags

Hip Line Media

4680 [Link]

[Link] [Link]
p. 85

p. 83

Create for Less

Creative Sew & Needlework

140 [Link] p. 82 Hobby Cabinets

Home - Sew
19228 [Link]

[Link]
p. 23

p. 7

Festival

Cutting Corners, Inc.

121 [Link]

[Link]
p. 9

p. 86
Homespun Wide Fabrics

Hugos Amazing Tape 72 [Link]

[Link]
p. 83

p. 83

[Link] [Link] p. 87 Independent Pattern

Darr. lncorporated

Dawn Anderson Designs

41312 [Link] [Link]

[Link]
p. 83

p. 84
Company Alliance

J. N. Zippers & Supplies

4953 [Link] [Link]

[Link]
p. l8

p. 82

Delta Sewing Furniture

Distinctive Fabric
40 [Link]

[Link]
p. 82

p.15
Jacquard ExtravOrganza

Jane Steinberg. Inc.

79 [Link]

[Link]
p. l5

p. 82

Distinctive Sewing Supplies [Link] p. 86 Janome Am

erica 11 [Link] p. 2

88 T H R EADS
I ADVEmSER NO.RS5E3ARVDEICRE WEBADDRES [Link] WEBADDRES
Kandi Corp

Keepsake Quilting Supplies 11328 [Link]

[Link]
p.p.877 ADVE ER
ms
Sew, Mama, Sew!

Sew-Quilt Embroidery
36 [Link] p. 85
Kyoto Kimono

La Fred 104 [Link]

[Link]
p.p. 8823 Festival

Sew True
112265 [Link]

[Link]
p.p. 875
Les Bon Ribbon

Linda Stewart Couture 101 [Link] [Link]

[Link]
p. 82 SewZanne's Fabrics

Sewabration
1n7 [Link] [Link]

[Link] [Link]
pp.. 8836
Lodi Down & Feather 16086 [Link]

[Link] [Link]
p.p. 8825
SewEzi

Sewing Machines Plus

31321 [Link]

[Link] [Link]
pp.. 2839
Loes Hinse Design

[Link] 17139 [Link]

[Link] [Link]
p.p.2839Sewing & Stitchery Expo

The Sewing Place

7465 [Link]

[Link] [Link]
pp.. 833
Malden Mills Retail Store

Manhattan Fabrics 51 [Link]

[Link]
p.p. 8866
SewkeysE Retreat

The Silk Connection

1800 [Link]
pp.. 8235
Manhattan Wardrobe Supply

Manne-King Mannequins &

[Link] p. 85 Simply Sunshine

Solo Slide Fasteners

7128 [Link] plysunshi [Link]

[Link]
pp..2857
Dress Forms

Marjorie Martin
1331 [Link] [Link] pp..8847Sterling Name Tape Company

Stretch House, Inc.

885 [Link] [Link]

[Link]
pp.. 8825
The Material Girls, LLC

Mill End Store 18230 [Link] [Link]

[Link] [Link]
p.p. 8844
StudioKat Designs

Sues Sparklers
[Link]

[Link]
pp.. 8835
Monterey Mills

My Twin Dress Forms 863 [Link]

[Link]
p.p.2869
Super Silk

Taunton Books
17 [Link] [Link]

[Link] [Link]/books
p.p.2837
[Link]

Oriental Silk Company 6193 [Link]

[Link]
pp.. 8148
Textile Fabric Store

Thai Silks
[Link]

[Link] [Link]
pp..2827
Ottobre Design

P.A.C.C. 54 [Link]

[Link] [Link]
pp.. 8726
Things Japanese

Thread Art
2935
[Link]

[Link]
p.p.37
PM Organics

The Paisley Pincushion 51293 [Link]

[Link]
p.p.8827
ThreadPro

Timmel Fabrics
642
[Link]

[Link]
p.p. 8827
[Link]

Peak Fabrics by Mail 7169 [Link]

[Link]
p.p.2834
Trim Fabric

Universal Presser Foot Lifter

8527
[Link]

[Link]
pp.. 8229
Pfaff

The PillowLady 134 [Link]

[Link]
p.p.892l
Vestis Books

Virginia Marti Fabrics

[Link]

[Link] rginiama [Link]

pp.. 8865
Royalwood, Ltd.

Sawyer Brook
84
[Link] [Link]

[Link]
p.p.2847
Wild Ginger Software, Inc.

Woven Labels Plus

1371 0
[Link]

[Link]
pp..2833
Scrap-Bags

Sew Amazing 156 [Link]

[Link]
pp.. 8835
YKK Zippers

Your Personal Fit

15
[Link]

wwwyourpersona [Link]
p.p. 8867
Sew-Brite Sewing Cabinets

Sew Easy Embroidery Retreat

[Link]

11267
[Link]
pp..39
Zipper Source 74
[Link] [Link] p. 84
Sew Images

SewStylish [Link] [Link]

[Link]/sew
pp..3807
www. t h re a d s m a g a z i n e . c o m F E B R U A RY/ M A R C H 2007 89
Stitch, rattle, a nd ROAR

M
y sewing room is always a mess. Scraps of fabric and where heroes or villians hide. For Duncan, the seam ripper is a
paper litter the floor, interspersed with short lengths wonderfully effective miniature sword to defend against villain­
of brightly colored thread. My sewing notions never ous fabric scraps.
seem to be in the same place twice. But I'm not complaining It's not uncommon when I'm stitching at my machine to find
because I'm not the only one who enjoys this creative space. myself surrounded by the sounds of my sons' antics. I can hear
My sons like it, too. monsters roar, bad guys making threats in raspy monotones,
Duncan and Gavin are ages 8 and 5, respectively, so the sew­ and mini-explosions when laser beams hit their targets.
ing room is never quiet when they're around. In my sons' hands, The nonelectronic sewing machine never ceases to fascinate
scissors become dragons, giant-jawed monsters, or dinosaurs. my boys: Its two rows of buttons make a satisfying click when
Cardboard boxes turn into prisons, caves, and spaceships pressed. Both kids are permitted, under close supervision, to
stab fabric scraps with the machine's needle by turning the
handwheel on the machine. This activity is most satisfactory
I n my sons' hands, when used on exceptionally bad guys.

scissors become There are rules in my sewing room. The boys are allowed in

dragons,
only when an adult is present, and they know that certain sew­
ing equipment, like the rotary cutter, is off-limits. But even with
clear rules, sometimes it's not easy to get things done. I have
gia nt-jawed monsters, three pairs of scissors to ensure that I'll be able to find at least
or d i nosa u rs. one pair when I want to sew, and I'm getting really good
at straightening bent pins. I love spending time with Duncan
and Gavin, so I'm willing to put up with some sewing ineffi­
ciencies for the joy that their play provides and the memories
that we're creating.
•
Through their playing, my boys are also learning the joys
of sewing. They choose fabrics, buttons, and other notions,
and watch them transform into clothing or Halloween cos­
tumes. Duncan and Gavin each have a drawstring bag, which
they made mostly by themselves, as well as some interesting
hand-sewn art projects. I don't know if either one will become
a future sewing enthusiast. But I bet that each will know how
to hem a pair of pants and sew on a button. They will cer­
tainly be proficient with straight pins and seam rippers!
And for me, well, I'll have those great memories.
I'll also have many spare scissors, and kitchen
curtains patched with iron-on interfacing­
the result of one of those scissors mas­
querading as a voracious dinosaur.

Rosalynn MacGregor lives in Brit­

ish Columbia with her two sons,
two dogs, and husband. She
worksfull-time as a chemi­
cal process engineer.

90 T H R EADS
 creative PFAF F
FABRI C
M OV E R
WITH
STITCH
R E G U L AT O R
BY QUILTER'S CRUISE CONTROL
Pfaff M a kes
Free-motion
Easy !
The new pfaff creative Fabric Mover with
Stitch Regulator by Quilter's Cruise Control
makes your free-motion work easier and
more creative than ever before! Just look
at these great features:

• Moves with the touch of one finger!

• Perfectly even stitches every time.
• Sews on ALL colors of fabric!
• Ergonomic design.
• Makes free-motion stitching easy for everyone,
even beginners!
• No assembly required.

Visit your local pfaff dealer and try the

pfaff creative Fabric Mover and Stitch
Regulator for yourself. To find the dealer
nearest you, visit www. [Link].
You won't believe how easy
free-motion can be!

READER SERVICE NO. 119

. mnmnm mn .m mnm mnnm mmnmmnn mmnnn. mmnmm mmmmmnmmnnm mn mmmn m nnnm mm .[Link]:I:1[II!J'---_-
Ta rta n pla id
Authentic tartan plaids can be
identified by their precise
arrangement of colors, or "sett."
In these woolen twills, they are
identically arranged lengthwise
and crosswise, so when the
fabric is turned go degrees, the
colors line up exactly. Setts have
been passed down for genera­
tions, and early weavers kept
track by color coding and num­
bering threads on pattern sticks.
Compared with vibrant modern
tartans, ancient tartans featured
softer colors due to the use of
natural vegetable dyes.
Tartans are a powerful symbol
of Scottish culture, dating back
to at least 5th-century Ireland,
where the Scots then lived. Each
design is a badge of identifica­
tion for a specific clan, and many
clans developed tartans for
different occasions, including
dress, h u nting, and mourning.
A tartan plaid is basically a long
rectangle 5 feet wide by 12 to
15 feet long and requires no
sewing. The cloth is versatile;
traditionally it was worn as a
hood or shawl, used as a sleep­
ing blanket, and most famously,
worn by men pleated around
their waists. To form this gar­
ment, they placed the plaid on
the ground, folded it i n half
lengthwise, formed pleats, lay
down on the cloth, then belted
it in place; extra yardage was
looped over one shoulder. The
sewn kilt as we know it today
didn't a rrive on the scene
u ntil 1730.

For buyi n g i nformation,

see Notions on p. 2 .