Microsoft Word - eBook-SewItLikeaPro

8/3/2019 Microsoft Word - eBook-SewItLikeaPro

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www.sew-it-yourself.com


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www.sew-it-yourself.com - 2 -


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Sew-It Like A Pro

Table of Contents

Chapter 1. SO YOU WANT TO SEW 2

Chapter 2. WHERE TO START... 3

Chapter 3. SEWING TOOLS & EQUIPMENT... 6

Chapter 4. WHY FIT IS SO IMPORTANT. 8

Chapter 5. BODY MEASUREMENTS.... 10Body Measurement Chart

Chapter 6. UNDERSTANDING BODY TYPES... 16

Chapter 7. THE BEST PATTERN FOR YOUR BODY TYPE 19

Chapter 8. SELECTING A PATTERN TO SEW...... 23

Chapter 9. READING PATTERN SYMBOLS LIKE A PRO... 26

Chapter 10. FABRIC SELECTION... 28

Chapter 11. ADDING BODY WITH INTERFACING. 33

Chapter 12. FABRIC AND PATTERN PREPARATION 35

Chapter 13. LAY-OUT, CUT-OUT & MARK. 41

Chapter 14. PRESSING EQUIPMENT..... 44

Chapter 15. PRESSING TECHNIQUES... 46

Chapter 16. FOLLOWING THE GUIDE SHEET 49

Chapter 17. SEWING FOR PROFITS.. 50

Chapter 18. SUMMARY 12 STEPS.. 53


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Chapter 1: So You Want to Sew

So, you want to learn how to sew. You are not alone. According to a recent study, notonly will you learn to sew, but sewing is also good for the heart. The studys resultsappear to indicate that sewing helps women to relax while they focus on a creativeactivity, and that sewing is the most relaxing of the five activities reviewed due to thestatistically significant drops observed in heart rate, blood pressure and perspiration rateafter women sewed.

Another study revealed that sewing offers hope to cancer survivors. Creative activitiesand hobbies, like sewing, can help a person focus on something productive and get away

from their worries for a while. Some cancer patients say that the prospect of sewing inthe future helps keep the focus on things other than their diagnosis.

Although sewing has been proven to be beneficial to stress levels and blood pressure, themost important benefit of sewing cant be measured by a study. It has to be measured, inmy opinion, by the heart.

So whether you want to learn to sew to:1) save money2) make money3) save time

4) increase your comfort level5) gain praise; be the envy of all your friends and relatives6) express your creativity7) wear a different look every day, or8) become popular by starting your own brand

You are in the right place at the right time.

There can be a variety of obstacles in learning something new, and I dont want any ofthose obstacles to stop you from reaching your goal of learning how to sew. I am goingto give you everything you need to start sewing anything you want, by following our 12-

step process. You will learn what you need and why you need it. If you know the why,then its much easier to handle, and then you can apply the how-to.

Ive put this information together to help you: remove the extensive learning curve save you valuable time, and to make sure youre doing it the right way.


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Chapter 2: Where to Start

First, lets find out where you are! If you have been sewing for a while, feel free to skipthis section. Or, you may just want to use it as a review.

Lets begin with the end in mind.

Start with something you have dreamed of sewing, or wearing. Preferably its a simpleitem and not a 3-piece tailored suit or coat. Your first project should be something thatsquick and easy, requires basic straight sewing, with very few curves and very littlesewing equipment. This will allow you to practice on basic sewing skills withoutexperiencing any early frustration. Practice in sewing does make perfect. The more yousew, as with anything else you repeatedly do, the better you become.

The goal is to first sew straight seams, then move on to more advanced techniques. As ateacher, I usually start my students with making a quick tote bag to get a feel of the fabricin their hands, and to practice stitching straight lines using a sewing machine.

Some sewing projects to consider your first time at the wheel are:

Tote Bag, any variation: yoga bag, hobo bag, beach bag, drawstringback pack, wine gift bag,

Fabric checkbook cover Eyeglass case Baby blanket Table cloth napkins Handkerchief Neck Scarf Pot Holders Kitchen curtains Stuffed pillows

But, if none of the above items sound appealing, lets scratch the practice list, and letssew something a little more fashionable. In just a few, frustration-free hours, you cancreate a simple, yet stylish outfit that will impress your family and friends. You can sew

the most gorgeous, fashionable skirt, pair of pants or a top that you will be proud to wear.After all, an a-line skirt, or pencil skirt is basically made up of three straight seams, twoside seams and a center back seam; a pair of pants consists of four straight leg seams andtwo curved ones for the center front or back.

Now, that you have an idea of what youll sewing, lets look at the next step. Whetheryou start with a simple skirt, top or a pair of pants; or one of the sewing projects I startmy student with, most sewing requires the usual sewing equipment, plus a few pieces of


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pressing equipment not always found at home. If you plan to sew seriously, you mostdefinitely need a sewing machine.


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If you currently own a working sewing machine, then you may already have someknowledge of where to start using it. If not, then I suggest before purchasing a sewingmachine visit some fabric stores or sewing machine shops to become acquainted withwhat works for you. While there, find out if they offer any free classes with your

purchase to help jump start your learning curve.

You can also research any type of sewing machine on the internet, however since sewingis a hands-on art form, I strongly suggest a field trip to the store.

When buying a sewing machine, you must first decide which type is best for yourparticular needs. Do some comparison shopping and ask for a demonstration of thosethat interest you. Try them out yourself for ease of handling and personal comfort. Findout which accessories are included with the model and be sure all parts are easilyreplaceable and that a repairmans services are available if necessary.

Once you have selected your sewing machine, you should become familiar with certainelementary principles. First, you must know how the basic working parts operate: thelight switch, stitch selector, take-up lever, reverse mechanism, etc. Most importantly,learn how to thread your machine, replace the needle correctly, wind the bobbin, andadjust the tension. Refer to your sewing machine manual for this very specificinformation, or for best results sign up for any classes offered at the place you purchaseyour machine.

No matter what make or model you may own, or you decide to purchase, there is onevery important feature which is characteristic of all sewing machines the thread tension.The strength of your seams depends upon using the correct thread tension.

Before stitching any garment, you should test the tension and determine the correct stitchsize on a fabric scrap. Stitch about 3 on the bias of both lengthwise and crosswisegrains. The bias stitch is simply a stitch made diagonally across the threads of a piece ofwoven cloth. It will be very helpful if you use a different color for the upper thread andthe bobbin thread to easily identify the correct adjustment.

The upper tension controls the thread that goes through the needle. If it is too loose, thethread on the underside of your stitching will appear to lay flat on the surface of thefabric. If the thread appears to lay flat on the upperside of your fabric, the upper tensionis too tight. The ideal stitch is when the thread tensions are in balance and both threadsare drawn equally into the fabric.

To test the strength of the stitches, hold the fabric at both ends of the stitching line andpull sharply until one of the threads breaks. The color of the broken thread will usuallyindicate which tension is too tight. If both threads require more force to break and theybreak evenly, the tension is balanced. No matter which tension is wrong, the correctionshould always be made by adjusting the upper thread tension. The bobbin tension may


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need to be adjusted, but Please Do Not adjust the bobbin tension until you have exhaustedall other possibilities.

Additional sewing machine equipment needed: needles, bobbins, lint removal brush,zipper foot, etc. These items are usually included with the sewing machine. I just want

to point out that they are definitely needed to get started.


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Chapter 3: Sewing Tools and Equipment

An immeasurable number of tools and accessories have been manufactured to assist the

person who sews. Doesnt that make you happy to have so many choices? Each one hasbeen carefully designed to save time and simplify construction.

You should first begin acquiring tools according to your immediate needs (shears, steamiron, etc.) then start getting the extra handy time-savers appearing on the market to meetyour needs. The more basic items will be your only expenditure in the very beginning,while the more complicated tools will become necessary as your skill and interestincreases. Thus, your purchases will be spread out as you go along.

Because your equipment is essential to your sewing success, it should be of good qualityand always kept in excellent working order. Experiment with various types of equipment

and see which one is best for you. If possible, I recommend you physically see the toolyou plan to buy, before you purchase it to make sure the parts are working smoothly.Most importantly, give each tool the same meticulous attention you would give any otherhousehold appliance you purchase, so theres no need for a second trip.

To save yourself time and confusion, have a system to store your equipment to make eachitem readily accessible when you need them. Sort all of your tools in categories: all ofyour marking equipment together, your fastenings, your thread, and so on. If they arehandy, this will accelerate your work and increase your accuracy. If you follow theseguidelines, it will be easy to get into the habit of using the right tool at the right time.

Use the following guide below as a reference when purchasing your equipment you needto have on hand to get started. Remember, there are an extensive variety of tools on themarket, so create a list of the items you should have to sew correctly without needing toimprovise.

A commercial fitting pattern in the proper size. Wait to purchase this afteryou have taken your measurements

Bent-Handle Dressmakers Shears for cutting fabric Scissors for cutting pattern tissue paper (paper will dull fabric shears) Tape: transparent, removable for slash and spread pattern adjustments Dressmakers Silk Straight pins: the glass-headed type is easier to work with

and much easier to find when we drop them, for pinning fabric

Wrist Pin Cushion for collecting pins removed from fabric and pattern pieces Tracing wheel and carbon paper, chalk and disappearing marking pens for

marking

Pencil with eraserfor marking pattern alterations


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Rulers: French curve, hip curve or Fashion Ruler, 12-inch or 18-inchflexible, transparent with 1/8 inch grid and without a metal edge foraccurately drawing a variety of straight and curved lines

Threadfor marking and sewing construction Tape measure for body measurements and pattern layout 4 or 5 yards of inch elastic for determining natural waistline to measure Steam Iron and ironing boardfor pressing and shaping fabric and setting

stitches at all stages of sewing construction

Press cloths for protecting the right side of fabric during pressing Tailors Ham or Pressing Mittfor pressing shaped areas and curved seams Seam Rollfor pressing seam allowances open and pressing seams in narrow

areas

Full-length mirrorfor full body view assessment Seam ripper or clipperfor clipping threads and removing seam stitches Sewing machine for stitching seams in fabric Hand Sewing Needles and Machine Needles in a variety of sizes for sewing

fabrics

Thimble for protecting fingers during handwork

1) sewing shears 1) tracing paper 1) sewing machine

2) tape measure 2) tracing wheel 2) serger

3) pin cushion 3) chalk square 3) steam iron

4) dressmaker pins 4) pin chalk 4) ironing board

5) thread 5) pressing mitt

6) seam ripper 6) seam roll

7) pressing cloth

1) sewing machine bobbins

2) sewing machine needles


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Chapter 4: Why Fit is So Important

Im ready to start, you say. Why cant I just find a pattern that I like, in the same size as

my regular store-bought clothes?

Well, the truth is ready-to-wear sizing has no relationship to sewing pattern sizes.Achieving perfectly fitting clothes can be a challenge because commercial sewingpatterns are designed for a standard figure that may not be quite the same as yours.The pattern industry uses a different set of criteria for sizes. Another reason clothesnever fit is that most sizes are based on the assumption that womens bodies arehourglass in nature. But, in reality, the average womans body is much more a pearshape, (smaller on top and heavier through the hips). If you want professional lookingoutfits, fit is important. You want it shaped to your individual body, tailored to fit you.

The good news is, all major pattern companies adhere to the same standard measurementsso your pattern size is the same from brand to brand. The pattern industry uses a commonset of basic figure measurements based on statistical averages compiled by the federalgovernment for bust, waist, hips, back waist length, and height.

This industry-wide cooperation offers advantages for fitting. Although each companyinterprets these size standards in a slightly different way to make their patterns fit thegreatest number of their customers, standard sizes allow you to purchase the same patternsize regardless of brand. This eliminates a lot of confusion, especially when comparedwith the sizing of ready-to-wear clothing. You might wear a size 14 in a name brand, asize 8 when a garment bears a designer label, and a size 16 in a discount brand.

Because ready-to-wear does not always conform to pattern standards, do not select apattern size according to the clothing size you purchase. It is purely coincidence if thetwo sizes are the same. To save time in fitting, compare pattern measurements with afavorite, great fitting ready-to-wear garment you own.

As you have seen, patterns come in standard sizes, but figures vary. This does not meanyou have figure flaws, just that there are differences between your figure and thecommercial patterns. You may be taller or shorter than the industry standard, your waistmay be higher or lower, or your shoulders may be broader. When you make a patternright out of the envelope, it probably will not fit or look quite right. Resist the

temptation to forgo buying one size larger simply because its not the size you usuallywear.

How your clothes fit can make all the difference in the world when it comes to lookingand feeling confident. Jackets are a good example. A baggy, ill-fitting jacket lookssloppy and may even cause you to slouch. A well-fitting jacket looks neater and willhelp you to stand up a bit straighter, creating a more confident appearance.


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Even in sewing, you should follow the fashion rules: Pants/Skirts: The right pair of pants doesnt need to be tight it should fit just

so. Dont be concerned that a proper fit may emphasize your curves. In fact,pants that fit right will make you look slimmer and trimmer than pants withtoo much hanging from the rear area. Youll notice the difference the minute

you put them on.1) Avoid anything too tight.2) A-line skirts that hit around the knee area are ideal because they draw

attention away from problem areas. Miniskirts are generally a bad idea toaccentuate heavy thighs.

3) Pant waists should fall somewhere below the natural waistline for a betterfit. A straight or slightly bootcut leg is the most flattering. Avoid

patterned or light-colored pants.4) Skip fussy details like big cargo pockets, ruching, (a type of gathering that

pulls you in at the middle), or excessive zippers around the hip area.5) Shorts can be tricky, but for workouts and casual wear choose lightweight,

loose-fitting shorts (no bike shorts). Slimming side stripes on shorts cangive the illusion of sleekness. Jackets, coats, dresses and tops: Wearing tops that create a waist is important

in having a crisp, pulled-together look. And its more feminine. Rememberthat clothes that are too boxy or loose tend to fade into the background. Boxyshapes will also make you look and feel shorter than you are.1) Avoid too-baggy tops or too-tight tops: the looser tops will make you look

large all over; the tight tops will make you look out of proportion to yourhips. Look for fitted not skintight T-shirts (something with a littlegive) and button-front tops. V-necks, turtlenecks and open collars all callattention to the face, which is always a good thing.

2) Jackets and blazers should hit anywhere but the widest point of your hips.That could mean right below the waist to mid-thigh, depending on yourheight. Wear jackets and blazers open for the best vertical lines.

3) Look for dresses that nip in at the waist and slightly flare out over hips andthighs.

Do you dress with confidence? That means being more than just okay with what you puton in the morning, and it means more than simply following the trends. It means feelinggreat in your clothes, looking poised and being sure of your self in all situations. The keyto dressing right is knowing what styles look best on your body. Discover what yourstyle is and how to wear itwith confidence.

Your Style: Find it, Fit it and Flaunt it!


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Chapter 5: Body Measurements

Now that you understand that great fit is important, and a reflection of your own

individual shape, then you will know why we will begin with accurate bodymeasurements. You should not begin to buy or alter a pattern without knowing yourexact contours.

Start by looking in the mirror or asking a friend to take them for you. Chart and date allyour measurements. Make sure the tape measure is held snug and taut, but not tight,against the body and parallel to the floor for most circumference or width measurements.In other words, stand in normal posture with weight evenly distributed on both feet. Donot let the tape slide down in the front or back; a look at the side view in the mirror helpsprevent this from happening. It is vital that all measurements be taken in the correctplace.

When your chart is completed, keep it ready for adjustment and alteration comparisons atall times. This is a perfect way to assure yourself of getting the right size every time youbuy a pattern. Eventually you may be able to transfer your adjustments and alterations tomost patterns automatically without going through the process of discovering the specificfitting adjustments for each and every pattern.

To be sure that small figure changes are not creeping up on you unnoticed, take yourbust, waist, and hip measurements often to be aware of any possible changes. Even ifyour weight remains stable, your measurements may shift, and therefore impact your fit.

Compare your body measurement with those for your figure type, and circle those closestto your own. Buy most patterns by the bust measurements because this area is thehardest to alter. Usually your waist and hip measurement are the best guides in selectingskirts, slacks, and shorts unless your hips are much larger in proportion to your waist. Inthat case, I recommend that you use the hip measurement as the deciding factor becausethe waist is easier to adjust than the hip.

When taking body measurements, only five basic figure measurements are required todetermine your pattern size: high bust, bust, waist, hips, and height. However, the bustsize helps determine what kinds of sleeves are best, and the hip measurement can decidewhat length of sleeve is best. The remaining measurements described below are vital in

altering patterns for a more customized fit.

Remember, pattern sizes begin with grading or sizing of contemporary average figuretypes. The National Bureau of Standards and the pattern industry have establishedstandard body measurements which are the basis for body measurements in pattern sizes.The main reason for taking your measurements is for you to compare your bust, waist,hip, back waist length and height measurements with those on back of the pattern to seewhich one corresponds with your own body configurations.


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1) High Bust: Measure across widest part of the back, under the arms and abovethe full bust, which some call the chest.

2) Full Bust: Measure across the widest part of the back, under arms and acrossthe full bustline.

3)

Waist: Measure the indentation around the center of the body, keeping tapemeasure parallel to the floor. Keep tape snug, but loose enough to slide aroundwaistline.

4) High Hip: Measure 2- 4 below waist over top of hip bones.5) Full Hip: Measure around the fullest part about 7- 9 below the waist,

keeping the tape measure parallel to the floor.6) Back Waist Length: Measure from the prominent bone at the base of the

neck, center back to the waist.7) Front Waist Length: Measure from hollow between neck bones, center front

to the waist.8) Shoulder to Bust: Measure from base of the neck at the shoulder to a line

even with the bust point. This establishes the correct position of the underarmdart.9) Shoulder: Measure from the base of the neck to the shoulder bone, the top of

the arm.10)Arm Width/Bicep: Measure around the fullest part of the arm, usually 1

below the armpit.11)Sleeve or Arm Length, shoulder to elbow: Measure from the shoulder joint

to the elbow.12)Sleeve Length, elbow to wrist: Measure from elbow to wrist.13)Back Width: Measure across the back from arm crease to arm crease, 4- 6

below neck bone14)Front Skirt Length: Measure from center front waist to desired point on leg

for hem.15)Back Skirt Length: Measure from center back waist to desired point on leg

for hem.16)Crotch depth: Sit on a firm chair or desk, measure from waist to chair seat or

desk.17)Crotch length: Measure from the waist in back, through legs to the waist in

front. Divide this into front and back crotch lengths at the midpoint betweenthe legs, which may not be an even division.

18)Pants Length: Measure from waist to hem, at the side of the leg, over theside hip curves.

19)Thigh Width: Measure around the fullest part of the thigh.Now that you have an understanding of body measurements, use the personal bodymeasurement chart below to record all your own, or those of your client, should youdecide to sew for others.

Ive also included illustrations are also included to use as a reference to help you with thisprocess.


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Your Personal Body Measurement Chart

Body

Measurements DefinitionsWearing

EaseYour

MeasurementsPattern

MeasurementsChanges

(+) or (-)

High Bust(Chest)

Measure acrosswidest part of theback, under thearms, above thefull bust.

1-1/2 to2

Full Bust Measure acrossthe widest part ofthe back, underarms and acrossthe full bustline.

2-1/2 to3

Waist Measureindentation

around the centerof the body.

to 1

High Hip Measure 2- 4below waist overtop of hip bones.

to 1"

Full Hip Measure aroundthe fullest partabout 7- 9below the waist.

2

Back WaistLength

Measure from theprominent bone atthe base of theneck, center backto the waist

1/8

Front WaistLength

Measure fromhollow betweenneck bones,center front to thewaist.

Shoulder toBust

Measure fromshoulder down tothe bust point.

0

Shoulder Measure from thebase of the neck

to the shoulderbone.

0

ArmWidth/Biceps

Measure aroundthe fullest part ofthe arm, usually1 below thearmpit.

1-1/2 to2


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Body

Measurements DefinitionsWearing

EaseYour

MeasurementsPattern

MeasurementsChanges

(+) or (-)

Sleeve or ArmLength,shoulder toelbow

Measure from theshoulder joint to

the elbow.

0

Sleeve Length,elbow to wrist

Measure fromelbow to wrist. 0

Back Width Measure acrossthe back fromarmhole crease toarmhole crease,4- 6 below neckbone.

0

Front SkirtLength Measure fromcenter front waist

to desired point

on leg for hem.

+ hem

Back SkirtLength

Measure fromcenter back waistto desired pointon leg for hem.

+ hem

Crotch depth Sit on a firm chairor desk, measurefrom waist tochair seat or desk.

to 1

Crotch length Measure from the

waist in back,through legs tothe waist in front.

front

1 back

Pants Length Measure fromwaist to hem, atthe side of theleg, over the sidehip curves.

+ hem

Thigh Width Measure aroundthe fullest part ofthigh

2


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Arm Length Front Skirt Length Back Skirt Length

Crotch Depth Crotch Length Pants Length


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Chapter 6: Understanding Body Types

Perhaps no other problem in sewing is the source of frustration as sewing clothes that fit.

In the previous chapter, you learned why fit was so important. And good fit ischaracterized by a garment that follows the shape of the body without any indication ofstress or wrinkling. Understanding body types is essential to proper fitting clothes andwill eliminate any frustration. You should not begin to buy or alter a pattern withoutknowing your exact contours, body shape and type.

Bodies come in all shapes and sizes, and figure characteristics change through the years.Everyones body is different and unique. Therefore, sewing patterns which have beendesigned for an average figure cant possibly fit everyone perfectly. Not everyone has anaverage figure outline. Feminine figures vary greatly in shapes, so patterns are sized notonly for different measurements but for figure types of varying proportions.

To determine which body type most closely resembles your own figure:1) first you must take your body measurements2) next, carefully appraise your silhouette, front and back, in a long mirror

Wear undergarments or a body suit for both procedures. You will then be ready tocompare your body figure with the standards.

Choosing the correct size and figure type will minimize alterations and furtheradjustments, and make sewing easier for you.

You will find that exact measurements do not correspond exactly with those in anyspecific size. Dont be surprised or alarmed; the person who is lucky enough to havethose standard measurements is indeed difficult if not impossible to find. The sizeyou choose should be the one whose measurements correspond most closely to your own.

If, in comparing your measurements to the size ranges, you find that you fall betweenfigure types, take stock of your body structure. Stand in front of the mirror and ponderawhile. Is your body lone and slender or shorter and more closely put together? Thenrefer to the introduction included with each figure type for a general description of thefigures. They will give you a clue to your perfect figure type. Now refer back to thefigure types and choose the one best for you.

Overall height is one indicator of figure type, but length of legs, and sometimes of neck,can make it deceptive. Far more important are length of torso and location within it ofbust, waist, and hip levels.

Small body changes may require a careful re-evaluation of the silhouettes that are mostbecoming on you, rather than necessitate the purchase of a larger or smaller pattern size.


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How many sewing enthusiasts do you know who plunge directly into cutting the samesize theyve worn for the last five years, only to discover that those few pounds added orsubtracted make an irreversible difference in fit once the fabric is cut? Even if you havemaintained the same weight, it is very possible that certain body areas may have becomefuller while others have become more slender.

Pattern sizes begin with grading or sizing of contemporary average figure types. As wetalked about in Chapter 4, the pattern industry uses a common set of basic figuremeasurements based on statistical averages compiled by the federal government for bust,waist, hips, back waist length, and height.

Compare your bust, waist, hip, back waist and height measurements with those of thefigure types to see which one corresponds with your own body configuration. There is awide variety of figure types to choose from to make sure you will not have tocompromise. Choosing the correct size and body type will minimize alterations andfurther adjustments, and make sewing easier for you.

They include: Misses Womens Half-Size Miss Petite

You may find that you do not conform easily to these measurements. Very seldom dopeoples measurements and body contours conform to idealized standards, since twopeople wearing the same size differ several inches in height alone. The standards aresimply meant to be a generality that you can use as a starting point for size selection andalterations.

Compare your body measurements with those for your figure type, and circle thoseclosest to your own. Buy most patterns by the bust measurement because this area is thehardest to alter. Measurements listed are the actual body sizes; true pattern dimensionshave, above and beyond the actual body sizes, built-ins, liveability or wearing ease.Amount of ease for movement and attractive fit changes with the fullness of the style ofthe garment, so be sure to choose your pattern size by listed body measurement.Frequently women fall between two sizes. If this applies to you and you happen to be athin, small-boned type, choose the smaller of two sizes. Conversely a large-boned personwill require all the ease of the larger size.

Usually your waist and hip measurement are the best guides in selecting skirts, slacks,jeans and shorts unless your hips are much larger in proportion to your waist. In thatcase, we recommend that you use the hip measurement as the deciding factor because thewaist is easier to adjust.

Basically, there are 3 body types:


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Chapter 7: The Best Pattern for Your Body Type

I know you are excited about beginning your new project. You know exactly whatsupplies you need, perhaps purchased or borrowed a sewing machine, practiced stitchingseams on the sewing machine. Youve also taken your body measurements, assessedyour silhouette and determined your body type. However, a few more things need to beconsidered to get that designer look you expect when you complete your outfit.

You want to avoid the frustration of spending time, money and effort on a pattern thatlooks good in the catalog or on the pattern cover, but does nothing for you. The objectiveis to have that garment look as good on you as it did on the pattern. You want to selectthe right pattern for your body shape; which is why we talked about the different bodytypes in the previous chapter.

One of the benefits of sewing your own clothes is being able to select design elementsthat will fit and flatter your figure. The keys to sewing a flattering outfit that you willlove and wear forever is knowing how to determine the clothing styles that suit you bestand select patterns based on your own individual figure and body measurements.

The first step in selecting a pattern that flatters your figure is understanding how yourfigure differs from the average figure that is used as a sizing standard for patterns. Whenyou know where the differences are, you will know which areas of a pattern needadjustments to correct the fit. You will also know how to select pattern styles flatteringyour figure and how to keep pattern adjustments to a minimum.

Weve grown up thinking that the ideal female figure should meet certain criteria: thebust and hips should be of equal width, the waist approximately 10 inches smaller thanthe other two measurements, 34-24-34, or 36-26-36. Then, the body should be equallydivided into four parts: head to bust, bust to hips, hips to knees and knees to floor. And,of course, the weight should be in line with your height and body frame. Do you knowanyone that is built like this?

Very few bodies have that hourglass figure and can be fitted without some alterations. Inreality, the average womans body is much more a pear shape, (smaller on top andheavier through the hips). Everyone has figure assets as well as areas that needcamouflaging. Avoid the tendency to dwell on your problems. Concentrate on yourgood points. Accent your strengths, and mask your imperfections. Do not think abouthow you used to look or about how you would like to look. Analyze your figure as itlooks right now. You will learn how to draw attention away from an imperfection, de-emphasize unbecoming characteristics, and create the illusion of a perfectly proportionedfigure. With the right colors and flattering style, you can create the figure you want. Bywearing the clothes best suited for your figure, visually you can lose 10 to 15 pounds.


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Discover where corrective design elements are needed to enhance your figure and usethem when looking for the best pattern to sew. When selecting that pattern to sew, itsimportant to choose a design that is becoming to you, and try to avoid styles thatemphasize your imperfections. Use some of the same guidelines to select a pattern thatyou have in selecting ready-to-wear store bought clothes. Choose a design that is

becoming to:1) Your height2) Your body measurements3) Your figure type

Your height is an important factor to consider when trying to camouflage a figureproblem or trying to emphasize a particularly positive feature. Traditionally, three basicheight divisions come to mind: short, average, and tall.

If you are slightly overweight, any pattern with horizontal seamlines will makeyou look even heavier. Look for vertical and asymmetrical style lines that candivide the silhouette and keep the eye moving up and down rather than around or

across. If the pattern is described as very loose fitting, consider buying it onesize smaller to eliminate some of the style ease, scaling down the big look. If you have broad shoulders or a large bust, a wide yoke will only draw

attention to the problem. Raglan sleeves and boat necklines do not flatter narrowsloping shoulders. Flattering pattern styles like full skirts with gathers or pleatsthat fill out the hips for a more balanced appearance.

If your tummy is not flat, pleats and soft gathers will be kinder to your figurethan tailored pants or a front yoke. Your goal is to minimize your waistline.Look for styles that have gathered fabric in strategic places, called ruching,which pulls you in at the middle. Study the neckline and sleeve stylingcarefully. V-necks draw the eye upward, away from the tummy, and slightlytapered jackets create a slimmer waist. An unflattering or uncomfortableneckline may be the reason a garment hangs unworn in the closet.

Hopefully, the chart below can help you identify the best style choices that will look goodon you when you are selecting your pattern:

IF YOU ARE: DO: DONT:

Very thin and want to addhorizontal dimension

Wear plaids Wear horizontal

stripes Wear double-

breasted coats Wear patch pockets Wear ruffles Wear skirts with a

hip yoke or sarongdraping

Wear sleeveless styles Wear vertical stripes Wear clingy fabrics Wear small, busy

prints Wear heavy, chunky

accessories Wear deep-cut V-

necks and scoop necks


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Wear cuffed pants Wear dolman

sleeves Wear round collars,

crew, jewel and boat

necklines,accessories andpockets

Wear full dirndl skirtVery heavy and want toadd vertical dimension

Wear only thin pinstripes

Wear A-line skirts Wear medium to

dark values of color Wear blouses and

dresses with defined

waistline Wear vertical lines Wear

monochromaticcolor combinationfor the mostslimming look

Wear elastic waistskirts

Wear matching belts Match hemline

hosiery and shoes Choose manmadeand naturalcombination fabricssuch as nylon and

polyester blends inorder to lay nicely

Wear gracefullyflowing fabric

Wear ruffles, lace orany bulky materials

Wear large prints Wear anything tight Wear cuff pants Wear double-breasted

coats

Wear round lines,designs or pockets Wear dolman sleeves Wear sharp color

contrast Wear horizontal lines Wear color contrast

between hemline,hosiery and shoes

Wear T-strap or anklestrap shoes

Very tall and want to addbalance

Cut mid-body witha contrasting belt

Wear longer jacketto cover bottom double breasted ifthin

Wear horizontallines unless heavy

Wear adequate

Wear matchingseparates

Wear vertical lines Wear absolutely flat

shoes Slump over


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length of clothing Wear cuff pants Wear larger jewelry

and accessories Stand tall

Very short and want tocreate height

Wear one color toelongate silhouette

Wear empire-waistdresses

Wear short jackets Be careful with

shoulder pads Wear matching

hosiery and shoes

with hemline Wear short skirts Wear v-necks Wear long, wide-leg

trousers Have all of your

clothes tailored to fityou appropriately.

Wear darker color onupper half of body

Wear young or Jr.styles

Wear cuff pants Wear short pants or

capris Wear pastels Wear large prints or

flounces Wear double-breast

jackets


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Chapter 8: Selecting a Pattern to Sew

Now that you understand how to select a pattern according to your body type, you are

now ready to look for a pattern to sew. Its time to decide whether the pattern is a wiseuse of your time and money, and it will look great on you.

There are several important things to consider every time you look for a pattern: a solid image of the type of garment you want to sew, (whats the occasion?) your personal preferences about fit, (applying your knowledge of proper fit) the kind of fabric you want to use the degree of difficulty youre prepared for how much time you have to sew the garment an understanding of sizing rules and ease

Take some time assessing the pattern, visualizing yourself in it, and asking yourself somequestions: Is this style really me? Does it meet the criteria to emphasize my good pointsand minimize my faults? Is the neckline flattering to me, and draws attention to my face?Is it a fad or a classic style? Will this pattern work well with the gorgeous fabric mymother purchased for me, while visiting New York? Where will I wear this? If youcannot think of enough occasions where you would feel comfortable in this garment, it isunlikely you will change your mind when the garment is completed.

You now want to consider which size you should purchase. Remember we discussedearlier that pattern companies like Vogue, Butterick, McCalls, and Simplicity havestandardized their sizing, but the smaller independent manufacturers sizing and fit

standards vary from pattern company to pattern company. But, if you read the patternenvelope and have already taken your measurements, you can confidently use patternsfrom any company and make the fit your own. Depending on the amount of time youhave to spend on the project, I recommend selecting a multi-sized pattern because mostof us fall between sizes in at least one area of our body. For skirts and pants, you canpick a size according to your hip measurement because the waist is easier to adjust, ifnecessary.

If you decide not to use a multi-size pattern, the right pattern size will simplify fittingbecause it eliminates the need for extensive adjustments. To find the best pattern size,you must decide whether to use your bust or high bust measurements. Compare the two

measurements. If there is a difference of 2 or more between them, use the high bustmeasurement instead of the full bust measurement to select a pattern size.

Such a difference normally indicates that you have a full bust and a cup size larger thanthe standard B cup used for sizing patterns. By using the smaller measurement to select apattern size, you will select a pattern that gives a better fit through the neckline,shoulders, armholes, upper back, and sleeves. You may have to make adjustments to thebodice front to accommodate your full natural bustline.


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If your figure measurements fall between two pattern sizes, in general choose the smallersize. This gives you a better fit in garment areas that are time-consuming to adjust, suchas the neckline, shoulders, and armholes.

Remember, there are no size labels in clothing you sew. People will never know whatsize pattern you use, but they will notice if the resulting garment does not fit.

With all the body shapes weve discussed, you will probably have to make someadjustments to any size pattern. The key is to make altering as simple as possible.Remember that patterns with many pieces, particularly princess seams, are easier to alter.The more seams you have to work with, the easier it is to add to or subtract from thewidth and fold horizontally as needed to lengthen or shorten if necessary.

Patterns with few pieces are usually more difficult to adjust. Jacket patterns without acenter back seam and those with vertical darting in the front and back are trickier to alter

than those with princess seams. Pants also tend to be difficult to alter, so once you find abasic pant pattern that closely matches your measurements and shape and require minorstyle adjustments, you should stick with it.

Next, you want to figure out the patterns level of difficulty and comparing it with yourown skills. Are you at a point where you want to advance to another level and pushyourself to use the more difficult construction techniques? Or, are you short on time,looking for a quick and easy project that needs to be finished by the weekend? Be sureyou scan the instructions inside the envelope to accurately determine the skill needed tomaster the project. Sometimes, certain steps or illustrations are left out in more advancedpatterns, assuming you are a seasoned sewer. This can be confusing to less skilled orbeginner sewer. So beware!

Often, you will find yourself returning to the same pattern company because its styles,general fit and ease of construction seem to be best for you.

Once you determine if the pattern will not be difficult to work with look at the amount ofease in the pattern. Ease is the extra room that has been designed into a pattern forcomfort and for design. Its the difference between your actual measurements and thoseon the tissue pattern. Ease allows for movement and the amount of ease is different witheach garment type. Fashion trends often dictate the amount of ease. Some silhouettes fitthe body closely; others may feature a looser look or the oversized fit.

Sometimes the ease is purely functional. For example, the crotch seam of a jumpsuit hasmore ease than a pants crotch seam because the one-piece garment requires more roomwhen you sit down. Jackets should have enough ease to fit over a sweater or blouse.Strapless bodices have little or no ease so that they can hug the figure without slippingdown. And, the pattern pieces for swimsuits can be smaller than the body measurementsto fit well when wet.


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Some pattern companies provide all the finished measurements: bust, waist, hip, hemwidth, on the envelope and you will have to figure out the ease for yourself. Others noteease information on the envelope or on the inside guide sheet.

Therefore, prior to your pattern search, determine how much ease you want in the bust,

hip, and finished width for the style you want. If you noticed, a separate column has beenincluded on the personal measurement chart with the standard ease allowances.

When opening the pattern, have your ease and measurement preferences with you tocompare with the corresponding measurements on the pattern. If the patternmeasurements differ too much from what youre looking for, just consider choosinganother pattern, so you do not have so many adjustments to make for your proper fit.However, if the pattern has the ease you want and the fit is close, and you only need tomake a few minor adjustments, its a smart investment.

Selecting a pattern to sew may seem like a lot of work. But if you look for patterns that

meet your criteria in terms of style, construction time, and skill level, and then compareyour desired garment measurements with the pattern, youll learn to easily select patternsyoull love to sew and wear again and again and again.

To find specialty patterns or designs from smaller manufactures, you may need to dosome armchair shopping.

The major pattern companies are those that offer a full range of styles, from daytime toevening wear, in a variety of sizes. They produce the large, heavy monthly or seasonalcatalogs that you find in the fabric stores. Each catalog contains a carefully indexedassortment of several hundred styles. Its great fun to go to the fabric store and pour overall these pages, but its not necessary to do that every time you want a new pattern. Thereare at-home alternatives.

The following information will help you discover a world of pattern shopping availablewithout having to leave the comfort of your own living room.

www.sewingpatterns.comwww.freepatterns.comwww.simplicity.comwww.allcrafts.net/sewing.htmwww.mccall.comwww.voguepatterns.com


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Chapter 9: Reading Pattern Symbols Like a Pro

The contents of all pattern envelopes are basically the same. The key element is the

tissue pattern, each piece identified by name and number, and by view when pieces differwith View A, View B or View C. Because garments are usually identical on right and leftsides, most pattern pieces represent half a garment section and are placed on foldedfabric.

The direction or guide sheet, which you should turn to first, is a guide to pattern piecesneeded for each view, and to cutting and sewing. Of the varied assistance it gives, themost directly useful parts are:1) pattern piece diagram, for identifying the pieces required for each view withsilhouettes of all pattern pieces in the envelope, for all garments and all versions of each.2) cutting guides, arranged by view, fabric widths, and pattern sizes with recommended

layouts for different views in several fabric widths.3) sewing instructions, step-by-step directions for constructing parts of garment inproper order, accompanying sketches illustrate technique. .

Every pattern piece that you work with has markings that together represent a patternsign language, which is indispensable to accuracy at every stage of your project layoutand cutting, joining of sections, fitting and adjustment. They are like blueprints. Themaster plan of any sewing project that will guide you by including all the constructionsymbols needed to make your sewing easier and more accurate.

Note all symbols carefully; every one of them has been printed on your pattern for a very

specific and necessary purpose. When you understand their uses, your project will gosmoothly, quickly, and most importantly, correctly.

Cutting Line the heavy outer line on the pattern piece that isindicated by scissors.

Seamline or

Stitching Line

the long, broken line located 5/8 inside the cuttingline, where all seams should be stitched.

Place on FoldBracket

brackets shown pointing to a thin outer solid line thatmarks pattern should be placed exactly on folded edgeof fabric.

Notches diamond shaped symbols used for accurate joining ofseams. They may be one notch or more, numbered inthe order which the seamlines are to be matched.


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Gathering

Lines

two rows of short broken lines that indicate that a muchlarger area must be drawn up to fit a smaller area along theseamline. To evenly distribute the fullness, an arrow isplaced at each end of lines with small dots.

Easing Line a single row of short, broken lines with an arrow and smalldots at each end, indicating that a slightly larger area to fit asmaller area along the seamline.

Grainline heavy solid line with arrows at either end indicating thedirection of the grain. Most often this line runs parallel tothe fabric selvage, along the lengthwise grain

Adjustment

Line

(also known as lengthen or shorten lines) double linespecifying the place to adjust the pattern length or shorten,before cutting.

Center Front,Center Back

solid lines indicating where the garment is to fall at thecenter of the body. In many instances a pattern piece is tobe placed on the fold of the fabric before cutting.

Small Arrows placed on the stitching line (seamline) to indicate thedirection of the stitching.

Circles,

Triangles or

Squares

added symbols to aid in matching and joining garmentsections. Also used to designate special constructiondetails or end of a stitching line.

Darts broken lines (stitching lines) with corresponding symbolscarefully matched to meet at a point.

Zipper

Placement

tiny triangle symbols indicating the placement of the zipperon the seamline with a pull tab at the top and stop tab at thebottom.

Hemline solid line indicating the recommended finished length ofthe garment.

Pay close attention to these symbols and their meanings when putting your garment

together. These symbols will also need to be transferred to your garment pieces.


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Chapter 10: Fabric Selection

The first step in selecting your fabric after the pattern has met your criteria is to

determine a fabrics suitability for the pattern. Your objective in selecting the best fabricis to avoid construction and fitting problems that can occur as a result of selecting thewrong fabric. Some problems are:

The garment does not hang right. There are wrinkles or ripples you could notexplain or correct. The skirt is supposed to drape softly in front but kept pullingto the sides. Or, the side seams wont hang straight.

The cut edges frayed and raveled so badly you could hardly sew the garmenttogether. Seam finishing was difficult or almost impossible.

The zipper seams, or hem puckered after the garment was washed. You start to press open a seam and the fabric melts under the iron, causing a hard,

shiny surface or even a hole. The cut edges rolled up as you worked on them and were difficult to make lie flat. The fabric keeps stretching and getting larger and larger as you work on it.

To be safe, always consider the fabric suggestions on the pattern envelope, and you willeliminate construction and fitting problems later.

Illustrations on the front of the pattern envelope show fabrics appropriate for the designand the envelope back list suggested fabrics chosen by the designer. The first fabricmentioned is the fabric used in the designer original. You may not be able to find orwant to use the exact fabric used by the designer, but you can study the pattern todetermine whether the fabric is crisp or soft and then find a suitable substitute.

Remember that you also want to use your own ideas, so dont be afraid to experimentwith other fabrics. One of the greatest rewards of sewing is to create your own one-of-a-kind outfit that expresses your artistic ability.

Next, you want to find out whether a fabric is becoming to you. This may seem a littleawkward at first, but you will find that the more you sew the more youll develop a feelfor choosing fabrics that are compatible with your figure and lifestyle. For example, Ilive in a very humid area and find that natural fibers such as cotton, linen, silk and woolwork best for me because the fabrics breathe. So, my first consideration is usually thefabric/fiber content, then color, texture, etc.

You can see the precise effect of the color and texture on your skin tone and figure bydraping at least 2 yards of the material over yourself in front of a full length mirror. Becareful of large prints and plaids. Will you be wearing the print, or will it be wearingyou? Large prints are often more successful on the bottom, as in a full skirt, than on topclose to the face. Unless you have strong coloring, a large, bold print may make you lookwashed out.


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As you cruise around the fabric store, your choices are now limited by structure: soft andcrisp. Pull out two or three bolts that interest you, and go over to the mirror. Check fordrapability first. To determine this, drape the fabric over your shoulder across the bustand stand back several feet from the mirror. If no indication of the bust is in evidence,the fabric is crisp. If the fabric molds over the bust, the fabric is soft and has good

drapability characteristics.

You can also eliminate many fabrics very quickly by careful analysis. Some styling anddetails show up better in a plain fabric, while prints are better showcased in simplerstyling, interrupting the print with seams as little as possible. Additionally, a fabric thatseems interesting at close range may be muddied from a distance. Check the effects oftweeds and small prints by doing the mirror test. The very element you like most in thefabric is lost in the distance translation.

Lastly, youll want to be able to predict how the fabric will perform by knowing itscontent and finishes, how much it will shrink, and exactly how it should be cared for.

The manufacturer usually provides this information on the end-of-bolt label or the hangtag.

Knowing a few basic principles about how fabrics are made can help you. Byunderstanding these principles, you can work with fabrics more easily and you will knowwhat to expect from them. When you invest time and workmanship in a sewing project,selecting a quality fabric makes your efforts worthwhile.

Fabrics vary in fiber content, type of weave or knit, weight, and surface texture. Beyondthese structural differences, there are differences in the fashion elements of color, print orpattern, and hand how the fabric feels, the way it drapes, whether it tends to wrinkleand ravel, whether it is soft or stiff, and whether it stretches or is stable. With practice,thinking about these points comes naturally whenever you examine a bolt of fabric.

Fibers give fabrics distinction and character. Fibers are hair-like strands from which allyarns are made. Those that are made from nature are called natural fibers; those made byman are called synthetic or man-made fibers.

Fabrics made entirely or primarily from natural fibers wool, silk, cotton, and linen respond beautifully to stitching and pressing. Many fabrics made from synthetic fibers orman-made, such as polyester or acrylic, copy the fashion effect of natural fibers but haveadvantages such as wrinkle resistance and easy care.

Another mark of quality is fabric weave. Hold the fabric up to light to check whether theweave is fine and even. Check that the fabric is on-grain, with lengthwise and crosswisethreads at right angles throughout. Fabric must be on-grain for a garment to fit and drapecorrectly. On knits the ribs should look straight and not curve toward the edges.

Fabrics can also be categorized as soft or crisp. A soft fabric drapes well and is kindestto the figure. Soft fabrics are mandatory for loose-fitting styles, gathers, soft pleats,


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wraps, and full skirts. Soft fabrics enable the garment to hang close to the body withoutbroadening the silhouette. Soft fabric favorites are wool jersey, cotton interlock knits,rayon, wool crepe, and wool and rayon challis, silk crepe de chine, silk broadcloth, silknoil, silk velvet, and tissue faille. Many sewers describe these as foolproof fabrics fabrics that are always flattering on the body.

Crisp fabrics, on the other hand, are needed for structured styles to preserve the shape ofthe garment. A crisp fabric does not mold to the body but stands away and creates asilhouette on its own. Crisp fabrics are popular for coats, tailored jackets, straight skirts,and architectural shapes. Favorites are brocade, taffeta, worsted wool, and denim.Although some fabrics include lightweight flannel, poplin, chino, chambray, and oxfordcloth. Some fabrics are on the borderline between crisp and soft: damask,polyester/cottons, and other fabrics that may not be labeled.

To further confuse you, there is the issue of bottom and top weight fabrics. Some fabricsare simply too lightweight to be used for fitted skirts or pants. Two examples are batiste

and lawn, which are simply too thin and lightweight to be successful. Outer weightfabrics such as mohair, melton, and fleece should be limited to garments such as coatsand jackets. These fabrics are simply too bulky to be used for garments next to the body.

Is the fabric dressy or casual? Even, some experienced sewers, who recognize finefabrics, often make the mistake of choosing a fabric that is too dressy to suit theirlifestyle and wardrobe needs, just because we fall in love with a certain fabric. Be clearabout the function of the garment in your wardrobe.

The above being said, I think the most critical phase of your sewing project is themoment youre in the fabric store with your pattern in hand, ready to make your fabricselection. The success of your sewing venture hinges on the quality and the suitability ofthe fabric you use, so its not something you want to take lightly.

Its extremely important to learn how to recognize the quality of fabric by touch, and notnecessarily by cost. Quality does not necessarily depend on price. You can find somehigh quality fabrics at very reasonable prices. If you learn to identify quality, you willknow when you are getting it at a great price. Sleazy, low-quality fabrics never justifyyour time and effort that you spend on it. Look for fabrics like those used in expensiveready-to-wear garments. Sometimes, a high-quality fabric will make the garment lookprofessional even if you have not developed the most advanced sewing skills.

Your best judgment is developed with experience, but these guidelines will also helpprevent disasters due to a poor fabric choice.

Feel the fabrics weight, bulk, and texture. Does it lend itself to your patternslines? Will it drape or gather effectively?

Test it for wearability and performance. Crush it. Is it wrinkle resistance? Stretchit. Does it spring back? Read the label for the fiber content and finishes pertinentto sewing and care.


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Shopping can take a lot of time, so maximize your time by shopping for fabric for entireoutfits rather than separates. When buying fabric for a skirt, finances permitting, choosefabric for a blouse and jacket at the same time to eliminate separates that are wonderfulbut go with nothing you have in your wardrobe. Fabric cost, within reason, should not bea factor. The pleasure of working with and wearing a quality fabric is well worth the

sacrifice. If you love sewing like I do, try making fewer items, but buy the best fabricyou can possibly afford. You will thank yourself later. I have many times!


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Chapter 11: Adding Body With Interfacing

The importance of interfacing why bother? It helps avoid time-consuming handwork Simplify sewing, save time with shortcuts Get more professional looking garments with expert techniques

Interfacing is used inside a garment to shape, strengthen, support, or stiffen the fashionfabric. In dressmaking, portions of a garment, collar, cuffs, and waistbands areinterfaced. In tailoring, entire garment sections, such as the jacket front and sleeves, aswell as details such as vents and pockets are interfaced.

They add support to those areas that need it. They promote durability at areas of stress. They add stability to areas that might stretch more than desired. They add shape to some collars and lapels, and crispness to others.

Patterns usually suggest interfacing a garment where it is necessary. You may prefer toapply interfacings in additional places to improve the workmanship in your garment or toimprove the performance of a fashion fabric. Designers often use several types ofinterfacings within a garment, each with a different degree of crispness. Its a practiceworth following to achieve professional results from interfacings.

In many garments, the inner construction is crucial. To support the fashion fabric, whenthe garment is shaped away from the body, you may need to use a specific shoulder pad

or an interfacing of sufficient stiffness.

Fabrics made especially for use as interfacings are available in fusible and nonfusibleforms. Fusible interfacings have been coated on one side with a heat-sensitive adhesiveso the interfacing can be bonded to the fashion fabric with an iron. Occasionally, anonfusible interfacing is more appropriate for your fabric. It must be sewn to the fashionfabric by hand or machine.

Read the label on the interfacing bolt or the plastic wrapper to find the manufacturersrecommendations for use. Fabric types and garment styles mentioned can help you makea preliminary choice. Some fusible interfacings are available especially for tailoring

jackets or for crisp details, for example. Others have low-melt adhesives for delicatefabrics or a structure that stretches with knits.

Choose interfacing weight by fabric weight. Interfacing may be crisper than the fashionfabric, but it should never be heavier. Be aware that after fusing, the fabric and bondedinterfacing will seem a little heavier than before fusing. Fusible interfacings come in arange of weights, so you can select those that are suitable for your purpose.


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Determine whether interfaced garment areas should be soft, like the front closing on asilky blouse, or crisp, like shirt collars and cuffs. Practically every fusible interfacing islabeled either soft or crisp to describe the results you can expect. Soft interfacingsadd body to fabrics. Crisp interfacings stiffen fabrics.

Layer fabric over interfacing to select the best interfacing color. Many interfacings comein a choice of white, black, gray, and beige, and some come in other colors, such as redand blue. The color of the interfacing should not show through or change the color ofyour fashion fabric.

Always check an interfacing, either by draping the outer fabric and sew-in interfacingover your hand to duplicate the look you want in your garment or by fusing a sample.

You may want to save time and money by stockpiling several interfacings that will workwith most of your sewing. And dont forget that using fusible interfacing is a quick andeasy alternate to get that professional look you want.

Most sew-in interfacings say preshrunk, but experience shows that it is best to do yourown preshrinking. Place the folded interfacing in hot water, and allow it to soak forabout 15 minutes. Then remove it, and allow it to drain on a folded bath towel. Whenmost of the water is drained, open and lay the interfacing as a single layer on carpeting ora towel so it can air dry. Label and fold it loosely until needed.


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Chapter 12: Fabric and Pattern Preparation

This is where the fun really begins. You are anxious for the opportunity to express

yourself into the actual creation of fashion.

You have already made your fabric selection and chosen your pattern. You have alsopurchased the additional items needed to sew your garment: thread, bindings, trims,buttons, and interfacings. All the things you need to shape fabric into fashion are at hand,and you are ready to make your first move. Wait! Before you cut out that pattern, theressome fabric and pattern preparation that need to be done to get that professional look youwant.

Proper fabric preparation is absolutely essential prior to cutting your fashion fabric. Infact, both the pattern and fabric may both need attention before you do the final layout,

and the success of your finished garment depends on care in these preparatory steps. It ishelpful for you to understand how fabrics are made or constructed.

One of the oldest methods of making fabrics is by interlacing two sets of yarns togetherin a process known as weaving. One set of yarns is stretched on a frame (loom) and iscalled the warp or lengthwise yarns.

The other set is inserted so that they go over and under the warp yarns to form a fabric.Since these yarns travel back and forth from one side to the other, they are calledcrosswise or filling yarns.

As the filling yarns go back and forth, they go around the warp yarns on the edges andform a self edge or selvage. This edge is woven and smooth and it does not stretch orravel.

In clothing design and construction, the yarns are referred to as grain. Grains indicateyarn direction. The warp yarns are known as the lengthwise grain and usually runlengthwise on the body, from shoulder to hemline. Lengthwise grain has very little giveor stretch.

The filling yarns are called crosswise or around the body. Crosswise grain has more giveand thus drapes differently, giving a fuller look to the garment. As a rule, crosswise grain

is used vertically only to achieve a certain design effect, as in border print placement.

Every woven fabric consists of crosswise threads worked under and over the more sturdylengthwise threads.

Another direction of fabric often referred to as grain is the bias. Bias is the exactdiagonal of a square of fabric. Bias stretches the most. A bias-cut garment usuallydrapes softly. It also tends to be unstable at the hemline.


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Designers make use of the way the lengthwise, crosswise, or bias grain stretches or holdsits shape and the way it hangs on the body. If the garment is designed to have the graingo in a certain direction, it will not hang the same or look the same if the grain directionis changed. For this reason, all garment pattern pieces are marked with arrows indicating

the direction of the grain.

The placement of the grain on the body is the most important consideration in fittingclothes. If you see a bulge or wrinkle when the garment is worn, it usually means thegrain needs to be raised or lowered at that point. Variations in body curves may havecaused the fabric to stretch tightly or hang loosely in the wrong places. Thus, the grainhas been pushed or pulled out of line. Side seams that do hang straight may mean thegrain is not in the correct position over the hips, abdomen, or buttocks.

Most important:

The grain, or yarns, of a fabric greatly influence the way the garment hangs ordrapes.

Lengthwise grain yarns are firm and do not stretch. Crosswise yarns may stretch slightly. The bias of a fabric stretches easily.

We cannot emphasize strongly enough how vital the correct grain is to the finalappearance of your garment. Your fabric is on grain when crosswise and lengthwisethreads are at perfect right angles to each other. Check the grain after ends have beenevened by aligning a large corner of the fabric with the corner of your cutting surface. Ifthe corners do not match, straightening the fabric is not only in order, but is an absolutemust.

Straightening fabric ends. This first step must be taken with every fabric so that it can befolded evenly, also checked for grain alignment. Three methods can be used; each issuitable for different kinds of fabric. Tearing is the fastest, but appropriate only forfirmly woven fabrics; other types may snag or stretch. Drawing a thread is slower, butthe most suitable for loosely woven, soft, or stretchy fabrics. Cutting on a prominent lineis a quick, simple method for any fabric that has a strong woven linear design.

Checking fabric alignment comes next. During manufacture, the fabric may have beenpulled off-grain, so that grainlines are no longer perfect right angles. A garment madewith such fabric will not hang correctly, so re-alignment must be done before cutting.Bear in mind that not every off-grain fabric can be corrected, especially those that havewater repellent or permanent press finish, or a bonded backing.

Preshrinking is advisable if shrinkage possibilities are unknown, if two or more differentfabrics are being used for a washable garment, or if maximum shrinkage is expected to bemore than one percent. To preshrink washable fabric, launder and dry it, using the samemethods to be used for the garment (follow fabric care instructions). To preshrink


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Armed with your personal body measurements from your chart, compare them with thecorresponding measurements on the pattern to find the places that need alteration. Yourkey features are the bust, waist and hips. But, it is extremely important to make thosecomparisons of your body measurements with the patterns to find the places that needalterations before you cut-out your fabric.

Remember that your measurements are not supposed to match those exactly on the paperpattern. You need the ease thats included on your personal body measurement chart forwalking, sitting, reaching and bending.

Before you make any other pattern adjustments, if several adjustments need to be made,the length alterations should always be done first. This is the only way to make sure thatany width alterations you make will be at the correct place on the pattern. However, ifyou have selected the best pattern according to your body measurements and height, andyour figure is close to average, the basic length adjustments may be the only changesneeded on most of your patterns.

Length alterations should be done in the following order: above the waist below the waist or overall length then the sleeve

Use your back waist length measurement to determine the correct pattern length abovethe waist. Compare it with the back waist length measurement for your pattern size onthe pattern envelope to determine how much to adjust the bodice front and back patterns,using the lengthening and shortening lines on the pattern pieces.

To determine the correct pattern length below the waist, measure from the waist in backto the proposed hemline. Compare it with the finished garment length given on back ofthe pattern envelope to determine how much to adjust skirt front and back patterns. Makeany adjustments using the lengthening and shortening lines on the pattern pieces.

To compare sleeve lengths, measure the pattern down the center. On fitted sleeves, thiswill not be a straight line. For elbow dart placement, note how far from the shoulder thedarts occur. This will tell you whether to alter sleeve length above or below darts, orboth. The elbow dart points to the elbow when it is bent. If there are two, the elbow, theelbow goes between; if three, the center one points to the elbow. If there is a cuff, allowfor its finished width when comparing. Extra length must be allowed, too, for a very fullsleeve.

Pants should be measured along the side seam to determine pants patterns finishedlength.

Next, look at any possible adjustments that need to be made to the pattern to coincidewith the width of your body. Width adjustments should be made first at the bust, then atthe waist, then at the hip.


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Compare the bust, waist, hip, and back waist length measurements on the patternenvelope with your own.

Measure the patterns shoulder seam and compare it with your shoulder length.The two should match closely. For a dropped shoulder seam or yolk, measure

pattern at the shoulder markings. If the neckline sets below the neck base, thepattern will specify by how much; add this amount to the shoulder seam beforemaking the length comparison.

To check bust dart placement, measure pattern from neck seam, where it meetsshoulder seam, toward the dart point to determine where pattern locates the bustpoint. Then using your body measurement, compare actual bust point location onthe pattern. Bust darts should point toward the bust but end an inch from it. If theneckline sets below the neck base, the pattern will tell you by how much. Addthis amount when measuring.

To find crotch depth of a pants pattern, draw a line (if there is none on pattern) atright angles to the grain from the side seam to the crotch point at the inseam. Do

this on the front and back pattern pieces. Measure from the waist seam to thisline, along side seam, for pattern crotch depth. For front and back crotch lengths, measure the crotch seam on the pattern and

compare your result with your measurements. The pattern should be longer for acomfortable fit, Stand the tape measure on edge to measure accurately aroundcurves of pattern.

After you have compared your body measurements to those of the pattern, and decidedwhere and how much you will need to alter, you are now ready to make the patternalterations. Be sure to make equal adjustments on front and back pieces.

Be alert to chain reactions of an alteration. Quite often, an alteration in one pattern piececalls for a corresponding alteration elsewhere, or for a matching alteration on pieces thatjoin the one youve changed, so the seams will match. This mostly happens at thearmhole. If you add to the side seam of a bodice, be aware of the effect on the sleeveseam. You do not want to have a great fitting bodice, with tight-fitting sleeves, do you?

For adjustments less than 1, draw in new seamlines and cutting lines at the sides. Foradjustments larger than 1, it may be necessary to slash and spread pattern. Place tissuepaper underneath, spread the cut pattern edges apart the required amount and secure thechange with scotch tape.

Pay special attention to the pattern symbols. Grainlines and place on the fold lines mustbe straight when any alteration is completed. Re-draw lines with your ruler to match theoriginal with the altered pattern piece.

A great way to test your adjustments is to make a muslin fitting shell with the correctedpattern pieces, stitching them together with long machine basting. Try it on for fit,transferring any additional changes to the pattern when satisfied with fit.


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If you are forgoing a muslin trial copy, after comparing and making any necessaryadjustments on the pattern pieces, be sure to allow ample room in the pattern for anyadditional fit corrections.This is very important.


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Chapter 13: Layout, Cut-out and Mark Fabric

Now you are really ready to begin. Get your fabric, pattern, and equipment organized.

Assuming your pattern alterations are double checked and your fabric is fully prepared,circle the correct layout for your version, size, and approximate fabric width indicated onyour Cutting guide. Never treat your Cutting Guide lightly.

Before you begin, read the pertinent information on the general subject of cutting, andrefer to any specific sections that apply.

Sort all of your pattern pieces, selecting those for the view you have chosen, as indicatedby your Cutting Guide. All pattern layouts have been pre-tested by professionals, in orderto provide you with a completely reliable guide for laying out your pattern swiftly and

economically. Among these, group together the pieces for the lining, interfacing, andmain garment, and press them with a warm, dry iron.

When double layers are shown on the layout, fold the fabric right sides together. If aparticular layout shows single and double thicknesses, pin the pattern on the double layerfirst. Then fold your fabric as shown in the layout and measure from the selvage to thefold in several places to be sure the fold is exactly on grain. Make crosswise orlengthwise folds correspond with crosswise or lengthwise grain on your fabric.

Remember when in doubt, leave extra room. Better to have nice, wide seamallowances because you over-estimated than to have to skimp because you didnt leave

enough.

But dont forget that any adjustments in the width and length of your pattern, or minorvariations in fabric widths, can mean several inches of difference in the amount of fabricused.

Size standards are set by the pattern industry to accommodate thousands of women, andas soon as you become familiar with your departures from the average body standards,you will know automatically whether to buy more or less fabric.

If you think you can bend the rules by laying some pieces a little off-grain to fit,

dont. A simple maneuver like this can jeopardize all your future efforts on thatgarment one side of the skirt may flare more than the other, the entire bodice

section might ripple and pull, and facings cut off grain will pucker.

Professional Hints from VogueUseful hints to follow as you lay out and cut your pattern. Follow these suggestions forperfect results every time:


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Pin fabric every three inches or so on indicated foldline and along all ends andselvages. The selvages may have to be clipped every few inches so that thefabric will lie flat.

Extend a short grainline to pattern ends with pencil, and measure often to besure that the pattern is placed on the correct grain.

Double-check all alterations to see that seam and cutting lines are redrawn andall corresponding pieces are altered, including facings.

Lay out all pattern pieces before you begin cutting. Place pattern pieces printed side up unless otherwise indicated by the Cutting

Guide. Shading of the area on the layout indicates that the piece is placedprinted side down.

Pin first along lengthwise grainlines and foldlines. Place pins perpendicular to and inside the cutting line and diagonally at the

corners of the pattern, spacing them about every three or four inches apart, orcloser for sheer or slippery fabrics.

When your layout shows a pattern piece extending beyond the fabric fold, cutthe other pieces first, then unfold the fabric and cut out the remaining patternpiece.

To avoid distorting the fabric, cut directionally with the grain. Never cut out a pattern with pinking shears. Use them only to finish seams

during construction. Use long, bent-handled shears, and cut with steady, evenslashes.

Never lift the fabric from the table. Keep one hand flat on the pattern piecewhile cutting.

Use the point of the scissors to cut notches outward and groups of notches incontinuous blocks for easier matching.

Be sure to use each pattern piece the correct number of times. Such pieces aspockets, cuffs, welts, and belt carriers are likely to need more than the usualtwo pieces.

Fold the cut pieces softly and lay them on a flat surface. Save fabric scraps left from cutting. They are often needed for such things as

bound buttonholes, sleeve plackets, and other sections not cut from patternpieces; or for testing tension, stitch length, and pressing techniques.

Do all preparatory steps first cutting, marking and basting the underlining toyour fabric as these operations definitely require a large, flat, clean surfacethat may be difficult to find once youve begun sewing.

Complete sewing of small details, such as pocket flaps and buttonholes, oneach garment section before it is joined to the other sections, as the weight ofthe entire garment can be extremely cumbersome when you are trying to be soprecise.

Make all buttonholes at one work session to assure consistent results. Organize yourself by attempting to finish a complete stage of construction at

each sitting. Spend your extra moments on those often envied finishing details such as

overcastting seams, attaching lingerie straps, etc.


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And, as a final word of professional advice, be sure to press seams as youfinish each section.

Some Timesaving Layout & Cutting ToolsYou can save time during pattern layout and cutting by using the fewest possible pins or

eliminating pins entirely. For cutting, use weights to hold the pattern on the fabric.Purchase sets of sewing weights, or improvise by using canned goods. To lay out apattern with weights, arrange large pattern pieces first, then small ones. Pin throughgrainline markings on large pattern pieces. Place weights on one pattern piece at a time,inside the cutting line.

Use a rotary cutter instead of shears to speed the work. This tool works like a pizzacutter. The sharp wheel cuts easily through multiple layers of fabrics so patterns can becut out in a few, swift motions. Protect the cutting edge and work surface by using aspecial plastic mat under the fabric. Mats are available in several types and sizes. Themost practical is as large as your layout surface. Those printed with a grid and bias lines

can save time, because you can use the printed lines to help you measure accurately.Also use the rotary cutter to trim pattern margins before cutting and to trim seamallowances from interfacings.

How to Use a Rotary Cutter1) Slide protective plastic mat under pattern piece to be cut. Shift mat under patternpieces as needed, so work surface is always covered as you cut.2) Use a metal ruler as a guide for cutting straight edges. Hold rotary cutter so thumb ison blade side of handle. Trim off notches as you cut. Blades are adjustable for cuttinglightweight fabric or heavy, bulky, and multiple layers.3) Use small rotary cutter for short, straight lines and sharp curves. Small wheel is easier

to maneuver than large one when cutting lines have complex shapes.


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Chapter 14: Pressing Equipment

Proper pressing is vital to the sewing process. Pressing is important at all stages of

sewing, to set stitched seams, darts and it gives the garment your overall professionallook.

Since you may be unfamiliar with specialized pressing equipment, necessary items aredescribed and directions given for their use. Of course, the steam iron and ironing boardare essentials; the pieces of equipment listed below are very useful additions.

Steam iron with many vents and settings from steam at both wool and synthetictemperatures is recommended. One that also sprays is good with most fabrics. Distilledwater should be used. All the pressing referred to in the means steam pressing unless adry iron is specified.

Ironing board, well padded and smoothly covered is basic. A cotton cover is best sinceit absorbs moisture from the steam.

Sleeve Board, small, collapsible, two-sided board, used for pressing sleeves and othersmall areas is indispensable. Provides two small, flat ironing surfaces on which seamsand details of narrow garment sections (e.g., sleeves, paints legs) can be easily pressed.Also helpful when pressing hard-to-reach areas, such as necklines and sleeve caps.

Ironing or Pressing Board Covers, cotton drill cloth or canvas make the best covers forall types of ironing boards. Many of the commercial covers available on the market have

a silicone finish. This finish holds and reflects the heat of the iron back to the fabricbeing pressed. Sometimes the heat becomes too intense for thermoplastic syntheticfabrics and they glaze, mark, or even melt. You will run less chance of damaging yourwork if you use the drill cloth or canvas covers.

Tailors Ham, a large pressing cushion, oval-shaped like a ham. It is firmly packed withrounded surfaces for pressing parts of a garment that need to have shape, such as bustdarts and curved seams. A princess seam line curve is molded as seam is pressed open.Covering is wool on one side, which holds steam as woolens are pressed; cotton on otherfor pressing all fabrics, especially at high temperatures.

Press Mitt, a small pressing cushion that can be slipped over the hand or the end of asleeve board. It is useful for pressing

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