Pre-shrink Interfacing (and everything else in sight)

Susie asked yesterday why I pre-shrink interfacing and if I pre-shrink even fusibles.

Anything that goes into the construction of the garment must be pre-shrunk in the same way as the face fabric. This includes interfacing, underlining, lining, and stay tapes. If these support materials aren't pre-shrunk, and they shrink later, they will cause pulling, puckering, or bubbling in the face fabric. In fact, I bet many of us have a blouse or dress, probably rayon, in the closet, that has a bubbled inside button facing. We've washed the dress, and the interfacing has shrunk more than the face fabric. So the face fabric is pulled into bubbles.

Often I prefer to use a sew-in on a nice garment that will be machine washed, especially in the collar and/or stand. That way I don't have to worry about bubbling of fusible interfacing. However, in the case of our class nightshirt, the interfacing is used in the facing only and won't be visible on the outside of the garment. Also, I want to teach students how to work with fusibles.

Any interfacing that can be immersed in water I pre-shrink in the sink. I fill the sink with the hottest tap water and immerse the material. I leave it until the sink water cools down to room temp. Then I drain the sink, roll the interfacing in a towel to remove excess water, and hang the piece over the shower rod. (My kids and their friends are used to this phenomenon in our bathroom.)

I have a friend (Beth) who has pre-shrunk fusible interfacing in the washer and dryer with good results, but I haven't been that adventurous yet (the danger is that the heat of the dryer could melt the glue of the interfacing, or the tumbling could cause some of the glue to come off.)

For sew-ins, tapes, linings and underlinings, I use the same procedure. If I have a special interfacing for tailoring (like hair canvas) then I may steam shrink instead. But I have immersed Arco canvas interfacing and weft insertion interfacings with no problems.

For silk organza (used most often as underlining) I usually just throw a bunch in with my wash right through both machines.

Some people even pre-shrink zippers but I never have and haven't noticed any ill effects.

When I need to pre-shrink interfacings and linings that cannot be immersed I usually spread them out on a flat surface (my bed) and use the steamer on them. If you don't have a steamer you can use an iron (careful of drips) or have the yardage dry cleaned and steam pressed.

Sometimes I really don't think something is going to shrink at all...like polyester lining. But I pre-shrink it anyway just for the sake of my mental health.

Out Damn Spot!

Here is something I learned the hard way...never try to remove a stain with a paper product! You are likely to succeed only in creating a lightened bullseye, with the dark spot smack dab in the middle. Like a spotlight...."look here, I'm a spot!"

The reason, I read somewhere, is that paper products have been bleached somewhere in the manufacturing process. So rubbing that napkin or paper towel on your garment is probably not a good idea.

Instead, use two clean washcloths or towels, a dry one under the spot, and a damp one to work the stain with. Also, rather than using a rubbing or circular motion, use a dabbing motion. Wrap the cloth on your index finger and repeatedly "poke" the stain.

For stubborn stains, incidentally, I like the Carbona series of removers. You can get these, in small yellow plastic bottles, at your fabric store, drug store, grocery or mega-mart. Note: Consult the back of the bottles, under the label, to see which specific stains can be removed with which number bottle.

I have even used these, very cautiously, on dry cleanable garments. Test first (yada, yada, yada), then use a wooden toothpick to apply tiny amounts to the stain. Be sure to have an absorbent cloth under the stain to suck the liquid right through.

With Nap Layout

I almost always use a with nap layout, no matter the fabric. Sometimes a fabric may have a very subtle nap, or direction, and you do not want to find this out after the garment is made, the first time you wear it outside and the sun hits you just so.

Nap, or direction, refers to a fabrics one-way qualities.

Nap usually refers to a one-way texture. These are fabrics like velvet or corduroy, on which your fingers leave a "trail" when run along the lengthwise grain. These fabrics also tend to look darker or lighter, matte or shiny, depending on your lengthwise perspective. If you cut a gored skirt on one of these fabrics without regard to nap, then some of the gores will look darker than others.

Note: Satins and other "flat" fabrics might also have nap/direction. Be careful!

Directional fabrics may also have a pattern or print that is not symmetrical lengthwise. Fabric with printed trees is a good example. Most will want all the trunks pointing to the feet and leaves towards the head. (But, hey, you're the designer!)

Because I often have a hard time determining whether a fabric has nap or direction, I have gotten into the habit of always using what the pattern companies call a "with nap" layout. Simply put, I lay out my pattern pieces so that the "head ends" are at one end and the "feet ends" at the other.

Here is my daughter's long awaited winter coat being cut, (on the floor b/c I was not sure I'd have enough fabric and wanted to make sure I could get all pieces on before cutting)...

There is a subtle nap to this wool. It is difficult to see, but lightly running one's fingertips along it lengthwise reveals that it has a slight pile that feels smoother in one direction. I am cutting so the nap "runs downward," or so that it feels smoothest from neck to hem. That is traditional. However, as I said, you are the designer. I have also cut things the other way, in order to get a deeper looking color.

Notes: See the collar pieces that extend past the fabric fold? One, the piece on the left, is smaller. That is the under collar piece. The piece to the right is the upper collar piece and it is bigger. Experienced sewers know that whenever you are turning a collar, at least one that does not have a separate stand, the upper piece must be relatively bigger or the under collar will peek out from underneath, wrinkle, bunch up, and cause the points to turn up, looking very unprofessional. When a pattern gives you one collar piece only and instructs you to "cut two," one for upper and one for under collars, that is a bad pattern. You must either re-draft the piece to make an under collar pattern that is smaller around the outer edge and point, or trim the under collar after cutting (do not trim the neck edge.) This is due to turn of cloth and I hope to get out a detailed post on the subject after the holidays.

Additionally, I hope to post about making under collars bias. I have not yet pinned these collars to the layout because I haven't decided if I will make a bias under collar. Bias under collars curl around the neck more easily and gracefully. Again, I would like to post on this in more detail when I have a bit more time to give it the attention it deserves. But if you are cutting an under collar now, feel free to write for more info.

Interfacing Issues

Inevitably in a beginner's sewing class I'm asked what interfacing is for. It provides structure, shape, reinforcement, and strength to certain areas of a garment.

Also invariably, students come to class with inappropriate interfacing. Everyone does it, I did it too. In fact, sometimes I bring to class one of the first dresses I made for my daughter that has what I call the "cardboard collar." I'd used interfacing much too heavy and the result was a stiff, unyielding, platter-like collar. Oh, the dress was still adorable and she wore it quite a few times. Hey, we're all learning.

So, I thought I'd share some of my interfacing samples with you. I'm by no means an expert on interfacing. But whenever I acquire a new variety, I snip a swatch, record the details such as source, content, and properties, and file it in a folder. You can also purchase interfacing sample kits from online retailers including Sawyer Brook Distinctive Fabrics.

I often buy interfacing from Sawyer Brook or The Sewing Place. Tailoring supply companies or fine fabrics retailers often have good selections.

Part of the problem for beginners is the lack of selection at the local fabric shops, especially the chain stores. However, most do carry at least a couple alternatives, you just have to look between the bolts and bolts of Pellon© to find it. You can almost always find So-Sheer©, below. I often buy So-Sheer when it's 40% off, several yards at a time, and pre-wash it ahead of time.Now, it's not like non-woven interfacings such as Pellon© (top photo) are the work of the devil or anything, and I do see it inside some very pricey ready-to-wear. Let's face it, it's cheap and easy to come by. But often it's used in weights much too heavy and even in the featherweight it can add a bit too much stiffness to a project.

Sof-Knit© stretches in all directions:
This is fairly stable in one direction:
I like fusible woven for backing buttonholes and for crisp collars:
Here are several interfacings appropriate for structured, tailored garments:
Here is some general advice on choosing interfacing:

• When in doubt, try fusing or basting generous swatches of interfacings to your fabric and comparing the hand of each.
  
• Keep in mind that fusibles can be very tricky when items will be washed over and over. (For a blouse or pants I like to use self-fabric or other sew in support.)
  
• If you are unsure of interfacing weight, go with the lighter product. You can always add another layer later if need be.
  
• Interfacing need not be "interfacing." You can use cotton batiste or other woven cottons, even flannel. You can use self-fabric. Silk organza or silk chiffon work well for very lightweight garments. Use what best helps you achieve the desired effect.
• Remember your interfacing (usually) must behave like your garment fabric. If your garment stretches, your interfacing must stretch as well.
• Sometimes you want your interfacing to behave differently than your garment fabric. For example, you may interface a V-neck with woven interfacing cut so the straight grain of the interfacing stabilizes the bias grain of the garment fabric. Or, you may use the most stable grain of interfacing behind a buttonhole in an unstable fabric. Conversely, you might cut interfacing on a bias or stretchy grain to support an on-grain upper collar in a more supple way than on-grain interfacing would. Or cut bias interfacing to back the front of a bodice or jacket front, adding to the weight of the hand without adding too much stiffness.

The Fishline Hem

The fishline hem is without a doubt my favorite sewing "special effect." I insisted on this finish for my bridal veil before I knew what it was called, or even knew the first thing about sewing or fabrics.

A fishline hem is sort of "bouffant." It has graceful, bouncy, scalloped curves supported by monofilament nylon (fishing line) sewn into the hem. The easiest way to make a fishline hem is with a serger though I'm sure you could use a conventional machine with a zigzag stitch.

Any threads can be used in the serger, including decorative threads such as metallics. If you use a decorative thread in the upper looper, you may want to de-emphasize the needle and lower looper threads by making them the same color as the fabric, or using invisible threads. (You can also do a fishline hem with a 2-thread serger rolled hem for the most delicate effect.)

The fabric should be lightweight enough to work well with a tiny serger rolled hem. The lighter and stretchier the fabric, the more it will curl. Bias cut chiffon or organza work great. Tulle makes beautiful curls. Knits also work nicely.

I have used 20 or 25 pound fishing line. The former is a bit more delicate, the latter will give more pronounced curves.

Here are the steps:

• Cut your fabric on bias or, for a knit or tulle, on the cross grain.
• Set up your serger for 3-thread rolled hem and test it out to make sure it's making a nice, neat edge.
• Place the spool of fishline in your lap, unraveling a couple yards.
  
• If you have a serger foot intended to guide cording, place the fishling line through the hole. Otherswise, you can easily guide it over the "toe" of the foot, then under the needle/loopers as you serge.
  
• Pull at least 10" of fishline to the back of the foot.
• Start serging, making sure the fishline is getting caught in the "roll" of thread.

• Serge about 6" over just the fishline before introducing the fabric. You now have quite a bit of fishline and serged fishline behind the foot.
• Introduce the fabric. You may have to adjust setting to produce the nicest finish. (i.e., if you are getting wiry fabric ends poking through the roll you could increase cutting width to roll more fabric into the hem and/or decrease stitch length to provide more coverage.)
• Serge slowly, making sure to gently guide the fishline. It is easiest if you hold the fabric "tautly" as it goes through the foot. For more immediate curling, stretch the fabric as it feeds. Note in the photo below, I am holding the fabric taut as I also control the feed of the fishline.
• At the end of the fabric, continue serging for about 10" over just fishing line.
  

• Your work may already curling. (My bias muslin sample is not very curly yet, above. It's a fairly heavy fabric for the 20 lb. fishing line. But to make the curls even bouncier:

• Starting in the middle of the hem edge, grasp the hem b/w left thumb and forefinger and use your right hand to slide the stitching over the cord outward towards the ends of the seam.
• Keep working the rolled hem outward. You will see that as the accumulated bunchiness of the threads gets to the edge and then passes off the edge, the excess fishing line that you left there gets "taken up" into the hem. (****Therefore, the longer your fishline ruffle will be, the more of the fishing line you will need extra at each end of the seam before you start!)
  
• The more you stretch and spread out the edge, the curlier it gets! Here is my muslin sample again:

Now you can experiment with decorative threads. Metallic is my favorite. Here is a fishline hem on tulle with variegated metallic in the upper looper:
or gold metallic on peach tulle:
I have also used woolly nylon with metallic sparkles in it. That is available in many colors. Rayon threads are also nice over fishline hems. I like the stitching to be fairly open (longer stitch length)....then the curl seems to "float" around the body of the garment, especially if you've used invisible thread in the needle and lower looper. All that shows is the decorative thread in the shape of the curl, floating around the edge of the fabric.

Fishing line is also available in some crazy fluorescent colors. I bet one could create some interesting effects with those!

Don't forget, you can also use fishline in a 2-thread serger rolled hem for the most delicate look of all.

Wool - Play Doh of Textiles

I didn't come to appreciate wool by sewing. Never wanting to be saddled with clothing that had to be dry cleaned, I sewed almost exclusively in cotton and linen.

It was knitting that introduced me to wool's appealing qualities. And I didn't come to knitting until 3 or 4 years ago. My knitting mentor, Beth, impressed upon me that knitting was most pleasurable, and most successful, in pure wool yarns. I was resistant at first. But of course she was right. Wool's soft hand, elasticity, and incredible ability to take on whatever shape you might mold it into makes it ideal for shaped garments. Once a hand-knit sweater is completed, one "blocks" it by placing it on the table in the appropriate shape and steaming. Not only does it retain that shape, but all the little imperfect and uneven stitches get right into line. It's an amazing thing to see.

Not to mention warmth. I'm not 20 anymore (shhh...) and all winter I'm cold. In the house or out, I tend to get chilled to the bone. My cotton sweaters and sweatshirts were just not doing it anymore. But, I found, wearing my hand knit wool sweaters or vest kept me completely warm. And, to my surprise, wool did not have to be scratchy or itchy in the least. And, for sweaters at least, I could hand wash them. (Alas, I would not hand wash a tailored wool jacket.)

So, the past few years, I have been experimenting with wool in my personal sewing. I had sewn several skirts in gorgeous wools (that a client brought me from overseas), a couple unstructured jackets, and a tailored vest many years ago that came out great on the outside, but inside of which I'd used fusibles exclusively, and very little shaping techniques. I'd never done any "real" tailoring.

I consider "real" tailoring to be when one imparts shape and structure to fabric with special fusing and/or machine and/or hand-stitching. Shape and structure that includes but is not limited to the seaming and darting. In other words, the fabric itself must be shaped....like clay or Play-Doh.

Wool is unique in it's ability to retain a shape imparted with heat, and moisture. You can somewhat shape other fibers, yes, but nothing is quite like pure wool. Other animal fibers, alpaca and angora for example, vary. When I say "wool," I mean fleece from a sheep or lamb. Next time I make up a dress coat with 6 yards of pure cashmere, I'll let you know how that tailors.


Wools come in so many varieties it's hard to know where to start, so I'll just pick one and go.

Crepe
Fairly easy to find and used for anything from dresses to suits. Crepe is woven with highly twisted fibers and can be quite ravelly. It has a very nice drape. Easy to work with.

Gabardine
This may be one of the most difficult wool to work with due to it's very fine fibers and close twill weave. It is difficult to make hand-stitching invisible, resistant to easing, and easy to over press. Gabardine is often used for pants as it is drapey but thin, "neat" and wrinkle resistant.

Woolen
Woolen is a soft suiting fabric. Fibers are thicker and fluffier than worsteds. Think Harris Tweed, flannels, herringbone, plaid, sports jackets, bias wool skirts. These are easy to work with...ease easily and easily hide hand-stitches.

Worsted
These are traditional men's suiting fabrics. They are harder and crisper than worsteds and so a bit more difficult to work with.

Bouclé
This pebbly, loosely woven fabric is often associated with the Chanel jacket. I have never used a bouclé but imagine it would be quite ravelly, but otherwise easy to work with. It would hide hand stitching easily and ease nicely. Bulk might be a problem and any clipped areas would need to be reinforced. Even feed might also be a problem so good basting might be a priority.

Jersey
Wool jersey drapes beautifully and is very easy to work with. Topstitching shows beautifully on it as well. Be sure the pre-steam the heck out of it as it shrinks visibly. (In fact, wool jersey can be purposefully shrunk and used as a lightweight felted fabric as well.)

Melton
A coating weight that is felted (fulled) after weaving. This makes it non-raveling and suitable for lapped seams or even raw-edged styles. It is fairly bulky and machine made buttonholes will be difficult. Topstitching looks nice and reduces bulk. For a couture touch, try topstitching by hand using "pick-stitching."

Boiled wool
This is on my list of fabrics to use one day. It has a pleasantly pebbly surface and won't ravel as the fibers have been felted together. Difficult to shape, it's often used for boxy, less structured garments, jackets, coats, and vests.

Working with Knits

Knits are hot again this season and it's easy to understand why women love them. They drape gracefully, are comfortable, and can often be balled up in a drawer and come out like new. Some brief tips on working with knits:

• Use a ball point needle for jersey or coarse knits. A stretch needle may work better for some knits blended with lycra/spandex.
• Polyester thread has more stretch than cotton so is usually best for stretchy seams.
• Knits stretch, so the seams must stretch as well. Otherwise, wearing will cause the fabric to stretch everywhere except the seams and seams will appear puckered and feel uncomfortable.
  
• Horizontal seams (hems) will "pop" as the garment is pulled over the head or worn, if stretch is not built into the stitches .
  
• To build stretch into a seam or hem ~

1. Stretch fabric as you stitch - If you stretch the piece as you stitch, you embed enough thread into the seam to allow it to stretch to the same point when you wear it.
   
2. Use a stretch stitch, narrow zigzag, or serger stitch.
3. An over-stretched stitched seam will appear wavy. In some cases you can steam press it back into shape. If not, stretch less as you sew. It is helpful to run a couple test samples to see just how much you can stretch the fabric as you sew without creating permanent waviness.
   

• There are some seams that you do not want to stretch as the garment is worn...shoulders and V-necklines for example. Those can be stabilized with narrow elastic. Clear elastic is very flat and works great.
• Some drapey knits will "spring back" when hems are cut. In other words, when the weight of the excess hem allowance removed, they will spring up too much, and be too short. See this post on my experience with this on a slinky knit prom dress. For this reason, it is wise to cut small amounts of hem off at a time, allowing the knit to relax before cutting more, repeating until you have achieved the proper hem allowance.
• Some knits run, just like a run in pantyhose (which are knits themselves of course.) Usually they will run more readily in one direction than the other. To check, stretch each crosswise cut of your yardage. If one end runs, use that end for the hem end of the garment, and be sure to serge or zigzag finish the raw edge.

Knits can be difficult to find locally but there are some great online sources. Here are some of my favorites:

Emma One Sock - great selection of buttermilk, rayon jerseys. Beautiful, hard to find, sweater knits, designer knits.

Gorgeous Things - great selection of printed polyester jerseys, rayon jerseys

Lucy's Fabrics - printed rayon knits, spandex knits, slinky, large selection of double knits

Fashionista Fabrics - Fantastic prices on printed knits, double knits, a few sweater knits

Some Considerations for Fabric Shopping

Anyone who sews is bound to admit that fabric shopping is half the fun. Most of us have a stash, some more voluminous than others. I don't really have a very large stash. I have 3 large drawers of fabric, sorted into silk, wool, and cotton & linen. And 2 "piles" of things that don't fit in the drawers on my shelves. Oh, and small scraps upstairs in the hall closet in a huge plastic bin. But those really belong to my daughter. Really.

I try not to buy fabric that I won't use immediately but of course there are some pieces that I simply MUST have. You know, the pieces that call to you from across the room and then speak directly to your soul. Usually I'm not sorry I've bought those and even if it takes years, they eventually make it into a garment.

The fabrics I end up kicking myself for, and then giving away, are the ones that usually I've bought b/c they are "a really good deal." Or something that I think I'll make into a gift for someone but never find the time. Or something that I buy for a sort of "run of the mill" garment that I am never sufficiently motivated to make b/c I can buy something that fits well enough.

And then, of course, we all have made the "what was I thinking" mistakes. Or, now, the kids would say, "what, were you on crack?!" You know what I mean...you've got at least one piece like that, right?

So, then, here is a brief list of fabric buying considerations for new as well as seasoned sewers ~ some of the things that go through my mind when I purchase yardage.

• If I can buy something that fits and looks similar, it's generally less expensive to buy RTW.
• Does this fabric really speak to me? If I go home and leave it here will I care tomorrow? (Sometimes the only way to know is to go home and leave it there.)
• Does it feel wonderful?
  
• What's going to happen to this fabric in the wash?
• Is it washable at all?
  
• How wrinkly is this fabric? (Scrunch it up in your hand to test.)
• Is this too sheer to wear alone? Hold up to the light by the window in the shop.
• Is the print on grain? If not, you will have to choose between an on-grain layout and a crooked print.
• How loosely woven is this? Loosely woven fabrics can slip at the seams.
• How much sizing is in this stuff?
• Will I have to match the plaid, stripe, or print?
• Is there a nap?
• Is this fabric worth my time and effort?
• For how many seasons might I like this fabric? I might not get to it this season.
• How long will it last?
• Are there special sewing considerations...Will I need special needles, shears, thread?
• Is this worth precious space in my sewing room?
  
• What will I wear this with?
• Will I really wear this in public???

Any other thoughts?

Beginning Silk - Part 2

This is a follow up to Beginning Silk Part 1.

Silk Charmeuse

You have to love silk charmeuse (shar-moose) for it's fluid drape. It's like wearing water. It has a satin finish and a crepe back. It is lustrous, but not "shiny" like synthetic satins. Bias cut, there is nothing more elegant. It is bias silk charmeuse that you drool over watching the stars parade down red carpets.

I have used silk charmeuse several times, all bias. First, several years ago, I used it for a client's dress to be worn in her beach-side wedding. A "simple" slip dress of bias silk georgette over charmeuse. She is a beautiful girl and the simple lines were stunning on her. Unfortunately the only pictures I have of the dress are on her body, and I haven't been able to get in touch with her to obtain permission to post them.

I had a very difficult time with this project, my first time with bias silks. I learned that you must leave huge seam allowances (i.e., 1 1/2 - 2") when working with bias cuts, and either pre-stretch the fabric, or be prepared to re-cut it. It grows so much when hanging, that the waist and hip shaping move down on the body and must be re-adjusted after fitting. Also, you don't want any lateral, around the body, stretching at all, or the seams will ripple. It must just skim and flow over the body. Keep shaping to a minimum and within seams, not darts.

One thing I really enjoyed about this project were the tiny, tiny bias tubes I made for the straps. I stretched the heck out of the bias strips as I sewed them. Then, after turning them over a needle I saturated them in water and hung them, weighted, from a curtain rod for 24 hours. They came out so tiny and delicate! I still have a piece pinned to my bulletin board , and here it is:A tip...rather than have her wear a strapless bra, we removed the straps from her best fitting bra and replaced them with another set of the bias tubing straps. So it looks like the dress has 2 spaghetti straps on each side, but one set is from her bra.

For another client I made a nightgown. I used a heavier charmeuse for this (30 momme, if I remember right) and prewashed and dried it by machine. It gets a bit sandy looking in the wash.
I also used bias charmeuse in my LBD and its slip, and for the contrast neckbands in my kimono wrap top. (I talk about the difficulties I had with the charmeuse in the latter case here.)

For a really inspiring use of silk charmeuse, check out mermaids' creation here.

Charmeuse can be difficult to work with b/c it slips and slides. You may need to hand baste seams before machine sewing. Use fine pins and a fine, sharp, machine needle as holes may be permanent.

My favorite source for silk charmeuse is Thai Silks. Periodically different types of silk go on sale...so keep checking the sale page. The charmeuse prints are astounding.

Silk Chiffon

I honestly get confused between chiffon and georgette sometimes. I believe that chiffon is plain-woven and georgette is woven of crepe fibers, or highly twisted fibers. Either, in silk, is very lightweight and ephemeral. This blouse was made for my Mom:
(Note circular flounces at neckline and sleeves.) Edges in these featherweight silks look lovely with a serged rolled hem, a fishline hem, or a hand or machine done narrow hem. For the latter, if you are having trouble controlling the fabric, try starching it lightly.

Silk Crepes

This is another confusing category since crepes can be woven in quite a few different ways. I have seen crepes classified as "four-ply" or "Korean weave" or "faille." They are generally heavier silks, lustrous but without obvious sheen like satin. They're often used for more structured pieces such as dress and jacket combinations or ladies' suits. This pink faille jacket went over a dress and was made for a mother of the groom :Crepe is easier to work with than charmeuse because it is not as slippery and has more body. However you need to be aware of needle marks. And since crepes are often used in more structured garments, you will need to consider interfacings and support. I like fusi-knit interfacing for these fabrics. Or silk organza underlining. Try interfacing the sleeve cap area or using a very soft sleeve head to support the silk there as well. You will need some kind of underlining or interfacing in the hem area at least, to prevent hem stitches from showing.

I have never heard of anyone washing crepe...probably best to dry clean.

Silk Velvet

Silk velvet is a beautiful thing. It is actually not pure silk, but a blend with rayon. It is not as shiny as synthetic velvet, it is more subtle in its luster. The pile is also generally shorter than synthetics.

And, oh, the prints!!!! The hand-painted velvets and the burnouts. They are wondrous to behold. All you need is a scarf made with one of these stunners to make an outfit into something special. Thai silks has so many of these it's dizzying.

I have used silk velvets in scarves and in my LBD. It is difficult to use b/c it is very slippery and tends to shift both horizontally and vertically while sewing, but no more difficult than synthetic velvet. You may want to hand baste seams before attempting to machine sew. Then use an even feed foot for best results. Beware of permanent needle marks.

Silk velvet can be washed. I would do a test swatch first. In fact, you can purchase "washed" silk velvets at Thai silks. They are beautiful in their own right, with a bit more of a casual, slightly weathered look.


***There are many other types of silk of course. There's silk taffeta, duchesse satin, suitings, shantung (similar to dupioini), gauze, gazar, tussah, jersey, even silk tulle. I've only talked about those with which I have a passing experience.

Working with Denim

As long as I'm on the subject of jeans this week I thought I'd add some general tips for working with denim.

• Denim must be pre-washed and dried, maybe twice.
• I often find that denim yardage is off grain. It's best to straighten it before cutting your garment. Use plenty of mist and steam (or start with it damp from the dryer) and pull and press it into shape. It's probably easier to cut it into garment length sections and straighten it in several pieces.
  
• Use a sharp, heavy needle. For a light denim a 90/14 will suffice for the main construction. But when you get to topstitching a heavier fabric, or through several layers, you may need to go up to 100/16 or even 120/18. A sharp may work better than a universal.
  
• For construction, any all-purpose thread will work. But for topstitching, you will want to use a heavier thread to achieve that typical rugged look. You can purchase "jeans" thread, or simply use any topstitching, buttonhole, or even upholstery thread. In a pinch, you can use two strands of regular thread, but even that will not be as prominent as the topstitching thread.
• When using topstitching thread, use it only in the needle. It is very difficult to use topstitching thread in the bobbin and it's not necessary. Simply use regular matching thread in the bobbin.
  
• When topstitching denim, use a longer stitch length. I often find that 3.5mm matches the stitch length of RTW.
• Do not indiscriminately plow through the very thick areas where multiple seams meet. Needles will snap and they can actually spring up and hit you in the face. Sew slowly and carefully through these joins and use a jean-a-ma-jig to support the presser foot as you climb up, then down the hump. If you don't have one, use a needle case or folded piece of paper to support the foot. The nice thing about the jean-a-ma-jig, though, is that it has a slot in it so you can snug it right up to the needle and sew for 1/2" or more before having to re-position it. To use it, place it behind the needle, under the foot, while "climbing up" the hump. Then, place it in front of the needle, under the foot, while "descending" the hump.
• Denim seams will get a rumpled, worn look after several washings. If you want a frayed look on the hem or at pocket edges, you can take a bit of sandpaper to them as well. You can even use a bit of dilute bleach for some strategic fading, but you'll want to experiment with that on scraps first!

***All of these tips apply to hemming RTW jeans as well. Pre-shrink them, use heavy needles, use the Jean-a-ma-Jig, use heavy thread and a longer stitch length. Then you can even distress them if you want.

The Practice of Restraint

It's purely coincidence that Narcissaqtpie at sewl sista #1 is also posting about restraint today.

While she is offering tips on purchasing and stashing restraint when it comes to fabric and patterns, though, I am thinking about restraint during the construction process.

This post actually developed in my mind last night. I have some new lightweight cotton from Sew Mama Sew, a retro sort of print from Robert Kaufman's Hot Couturier collection (Sakura) that I adore. It was all pre-washed and ready to go. And since my son had his girlfriend over, and with them in the living room, and our house being so small that I didn't have anywhere else to "be" but in my sewing room/office (and my daughter having already grabbed the computer), I decided to do a rare thing...sew at night.

I traced out the burda WOF May issue, style number 107. Pressed the fabric, cut, marked. I started to fold in the pleats of which there are about 6 million in this style. Then I remembered (recall now, this is night and I normally don't sew after dinner) that this fabric was slightly too sheer to use without a lining, and I'd meant use some Egyptian cotton I'd bought and also pre-washed.

I had picked up some nice Egyptian cotton to use as the lining while dashing into the JoAnn's the other day for general supplies. It was not quite what I'd wanted, which would be a cotton batiste or lawn, but I was there, and it was there, and I was eager to make this skirt, so I bought it. Besides, I reasoned with myself, I could use it for Ms. Client's bra inserts if the cotton knit I was also buying didn't work out (note: I bought 1/4 yard of the knit and 2 yards of the Egyptian!)

You see, JoAnn's is on my regular shopping-for-groceries-and-socks-and-such route. The other fabric store I frequent, which carries better quality cottons and some nice garment fabrics, takes more time and effort to get to. So, here, I'd made a purchase of convenience. Mistake number one, but not the subject of today's post.

Here, then, finally, is my point - I wanted, so badly, to use that Egyptian cotton so I could make all those pretty pleats last night. I wanted to wear that skirt today. I was in the mood, on a roll, inspired. I held it up to me. Crinkled the two fabrics together. Thought, well, the Egyptian cotton may be slightly too heavy, but does it really matter all that much? If I lose weight, that bit of bulk won't matter. Maybe the heavier cotton is better for drape anyway. It'll be heavier but maybe hang slimmer. The Egyptian cotton is so soft. I went through it all. I mean I really wanted to make that skirt last night.

And, for once...I mustered up some restraint. That Egyptian cotton was not the right thing. And deep down I knew it. It was too heavy. I wanted a light, breezy, summery skirt. And no matter how much I wanted to sew that skirt last night, it would've been a mistake. I'd have turned one mistake (the purchase of the too-heavy lining) into two (the wasting of the gorgeous retro fabric I like so much.)

So difficult as it was at the time, I folded up my skirt pieces neatly and set them aside until I can get the right lining. Now it's a new day and I just might squeeze in a trip to that local fabric shop to see if she has the batiste. If not, well, I'll just have to order online. In either case, in a week or two, I'll have the fabulous lightweight skirt I invisioned in the first place. And in the meantime I'll have to work on something else...cut and alter a dress pattern perhaps. Finish the silk kimono wrap. Pre-wash other fabrics. Maybe pull some weeds. No, probably not that.

Moral - use restraint in your sewing. Good things do come to those who wait.

And please do check out sewl sista today. She has some great tips for using restraint in your sewing spending.

Update on Running Prom Fabric

I had also posted of my encounters with the running prom gown fabric on our PACC discuss list. Turns out it's very prevalent this year, even in relatively expensive gowns (over $500.)

One member wondered if it could be interlock. She was absolutely right! (There is always someone in PACC with the answer.) I was in JoAnn's today, so I thought I'd check the knits to see if I could find it. Sure enough, I found something almost identical, a 100% poly interlock. JoAnn's has it in their Jet Set line. When I pulled the cut edge it did indeed start running. Though I don't think it ran quite as readily as the prom dress fabric.

I don't know very much about knits (though Emma One Sock and Gorgeous Things seem determined to change that.) I have a nice reference though, Sewing With Knits by Connie Long. She recommends placing the fabric so the edge with the most tendency to run is at the area of least stress, the hem, usually. Makes sense.

By the way, Taunton sewing books are exceptional. I especially like the Sewing Library and the Focus on Fabric series.

I also saw, at JoAnn's, the synthetic, drapey mesh that I've seen on prom gowns lately (encrusted with beads.) They have it as a "swimsuit lining" and it looks like "power mesh."

I want to give a call to the same client with the running prom gown and ask her permission to post the saga of the slinky prom gown (older daughter, different prom.) I've got pics of that one. I'll let you know...

Happy Mother's Day

Prom Dress Fabric Running

Just a quick post to warn any of you that are doing alterations on formal wear this spring. There is a "new" fabric, very popular now that is surprisingly fragile.

This is a polyester knit fabric. Not a jersey, b/c it looks like knit stitches on both sides. It's very drapey, slinky. The thing to look out for is that it runs from any cut edge. I mean, it runs fast and furious! So if you cut it, be careful not to stretch those edges until they are finished. (I reinforced some with a tiny zigzag stitch before hemming.)

If you do get a run, stop it fast with fabric glue. I wouldn't trust just Fray Check on this stuff.

Fortunately for me, the first dress I encountered with this fabric needed about 4" taken off the hem. It was a machine roll hemmed so I used the cut off fabric to set up my machine. It was then that I discovered the running.

In the same week, I had two other dresses with the same fabric, and thank goodness I knew enough to be careful, especially with the dress that required extensive manipulation in the tight spaces of the bodice during the sewing.

**Edited to post picture (all I have left of the last dress):

Beginning Silk - Part 1

I've entitled this post Beginning Silk because I really am not far from being a beginner to silk myself. So, I really wouldn't feel qualified to offer any advice on sewing with silk that goes much beyond that level. Basically, I'll only talk about silks with names that I can pronounce.

Silk is a protein fiber, like wool, or your hair. It's prized for its luster and drape. When you envision a sexy, feminine, goddess-like flowing dress with "simple lines," you're probably picturing silk (probably, bias silk charmeuse * shar-moose.*) In fact, you can probably find something similar to what you just pictured at The Frock. (This site has me drooling on the keyboard...it's almost as good as chocolate!)

To me, silk feels slightly like a spider web. (Which, in a way, is what it is.) Synthetics feel very slick, but silk has a tiny bit of grab to it.

Another thing about silk is the way it shows off color. I'm not sure how quite to explain it, but colors on silk are almost miraculous. They are somehow more vibrant than in other fabrics. I don't know why. Printed silk charmeuse especially is something to behold.

Silk has a reputation as being difficult to work with though that's not necessarily so. Yes, there are some silks that are especially trying, but there are also some that are as easy to use as cotton or linen. The same goes for the expense of silk. It's available at all price points. And as for care...you guessed it...some is machine washable, while some you can't breath at sideways.

I'll just go through some types of silk that I've worked with and things to be aware of if you decide to try them yourself.

Silk Noil
This is perhaps the easiest silk to work with. It resembles a sort of rough looking cotton but is not crisp. There is little luster and because the silk is minimally processed it often still has a "silk smell." (Some say you can get rid of it with vinegar, and you can, but then you smell like a salad.)

Noil can be washed in the machine and dried and it will shrink significantly. I've seen it used in casual slip-on pants, and boxy type tops and jackets. I've also seen it used frequently as a base for art-to-wear painted garments. I would not use noil for very fitted pants as it is not likely to hold up in the seams for very long. These pants are rather loose and I reinforced the crotch seam with tape.



Silk Matka
This fabric is very coarsely woven and substantial in feel. It has a nice luster (unless you wash it, in which case the sheen disappears and the fabric becomes more cottony looking) and a much heavier hand than noil. It's suitable for tailored garments, jackets and skirts. But it does have some drape so you can also use it for boxier styles. It is probably too loosely woven to work well in pants. I have used it for a lined Easter dress and jacket combo (which I unfortunately gave away in a fit of "this-is-never-going-to-fit-me-again-face-it"), and for a loose, unlined, washed cardigan style jacket, left. The washing seems to make the fabric beefier.

Silk Dupioni
Maybe I'll change my mind and say that this, rather than noil, is the easiest silk to work with. No, I think not....because though dupioni (*dew-pee-oh-nee*) sews like a cotton and is easy to press and care for, its crispness combined with its luster make it difficult to ease. Also, it is very light and thin and benefits greatly from being supported by underlining.

I have used dupioni for a mandarin vest, Athena blouse (pattern by LaFred), tulip skirt, and princess dress (see flickr pics.) It was also a component in my LBD. The tulip skirt and princess dress were both underlined, in cotton batiste and silk organza respectively. In the LBD the dupioni was cut bias. The bias was not especially difficult to work with and it even rolled beautifully into a 3-thread serger rolled hem seam.

Dupioni is also often used for heirloom sewing in combination with delicate lace insertions and smocking. (I have some very lightweight white yardage put away for just this purpose....someday...)

This picture shows purple and gold dupioni. The light brown is called Thai silk, very similar but lighter in weight and somewhat smoother. (Given to me by my Aunt who got it from, you guessed it, Thailand!)

You can easily fuse interfacing to dupioni. You can also gently wash and dry dupioni (that is not part of a structured garment of course.) Though some say washing causes it to lose some of its luster, I'd say it's very minimal.

Because of the stress on the seams, I would not use dupioni (or any silk for that matter) in fitted pants without the support of an underlining.

Sometimes dupioni is woven with two different colored threads producing a beautiful iridescent effect, or it may look one color from one direction and a different color from another (note appearance of square armhole in the Athena blouse, below.)

Dupioni may be difficult to ease in the sleeve cap. It may need underlining in the cap area, and possibly interfacing or a soft sleeve head. Alternatively, you could use small tucks instead of easing to shape the cap.

Topstitching looks great on dupioni. It also makes a nice bias bound edge or tiny bias tubes.

Silk Organza
Silk organza is not only a beautiful fabric on its own, it's also an unsung hero behind the scenes of garment construction. I usually keep black and white in my interfacing drawer.

Organza is woven of very fine, tightly twisted threads, is sheer, firm, and strong. Picture a "bouffant" bridal veil with a scalloped edge. That is likely silk organza. It drapes in large, rounded folds. It creates volume but has no thickness and is almost weightless. It's very resistant to wrinkling.

All these properties make it ideal for underlining, interfacing, and reinforcing. For example, it will support tissue thin dupioni, giving it body without making it heavy. It is a great backing for a welt pocket or clipped corner seam b/c of its strength and resistance to fraying.

Organza also makes a great press cloth. You can tear off a piece. It won't fray and you can see through it to the fabric you are pressing.

Organza is easy to work with on its own. You should use a small sharp needle or microtex needle. It lends itself to beautiful serged rolled hems and fishline hems.

Note: There is such a thing as metallic silk organza (right.) It's gorgeous but very difficult to work with. Unlike regular silk organza, it wrinkles. You can press it only with a very cool iron, and you can't steam it. Some people roll out wrinkles with a rolling pin and they still never really come out all the way. Also, it's cut edges are scratchy and should be covered or faced away from the wearer.


Next time - Charmeuse, Crepe, Chiffon, and Velvet.

Where Do I Buy Fabric?

Students and custom clients always want to know where I get fabric. Unfortunately, there are not many brick and mortar fabric stores anymore that carry a large selection of garment fabrics. (If you are a quilter, you're all set...there are plenty of quilting shops!) Supposedly interest in sewing is surging lately so this may change. (Perhaps I need a career change and should open a shop?....yeah, right... imagine the paperwork required.)

In the meantime, what I can't get locally I buy online. Here are some of my favorite sources -

Emma One Sock - Besides carrying a selection of great quality, often unusual garment fabrics, Linda will send you free swatches (generously sized) and also accept orders in fractions of a yard. What's more, orders arrive very quickly. I ordered this yummy buttermilk print from Linda, as well as the wool herringbone for the suit shown on my profile, above. There is currently some fabulous printed silk charmeuse listed. There is also some Italian lawn that is really bothering me, not to mention this blue and yellow cotton sort of modern-retro-ish great-for-a-knee-length-skirt-with-pleats-fabric that I want but don't need in the slightest.... Oh...and don't miss the Cavalli panels. Very unusual.

Gorgeous Things - This site I discovered recently via Ann's Gorgeous Things' Blog. Another nice selection of fashion fabrics, especially knits. I recently bought the brown dotted and sequined jersey here. The navy and white bandana print knit is currently bothering me. I visit it everyday online. Service is fast!

Denver Fabrics - This is a huge site and including quilting and home dec fabrics. However there is a ton of garment fabrics as well and I have used this site especially to obtain affordable silk linings. They are now offering penny swatches (who can resist that?)

Candlelight Valley Fabrics - The fabrics here are exceptional in quality. I have ordered swatches several times but not yet placed an order. It does take a few days to receive the swatches but they are sizable, 6"X6" squares. There really are some top notch wools and silks here. Harris Tweed, cashmere, boiled wool, even Land's End stretch wool. I just received some gorgeous crinkled silk swatches (below) which run only $13.o0/yard.
Candlelight Valley is also provides the most thorough care and washing information and they also provide an assortment of coordinating fabrics for your selection, which I really like.

Thai Silks - Speaking of silk...if you need a lot of it, this is the place to go. They have everything, at good prices. There is a designer discount for volume orders. I have also purchased their complete swatch set which is huge, for $40.

The Sewing Place - This is my favorite source for all the behind-the-seams supplies you need for garment sewing. Interfacings, petersham ribbon, elastics, tapes, Bemberg lining and patterns by all the independent companies. Also now carrying Riri zippers. Service is magically fast.

If you like a vigorous workout, you don't want those cotton/lycra workout shorts you get at the mega-store. You want the hi-tech wicking synthetics only available at sports stores and through catalogs. However, those brand-name shorts and bras are likely to be $50 a piece. You can have the same comfortable, quality performance wear for a fraction of that using fabric from Fabricline. I have made shorts and bras and yoga pants very inexpensively. And as for brand name labels...I just put my own on! (And on the outside at that...so there, Nike.)

Edited one day later to say that the cotton lawn I had my eye on at EOS has sold out already! Thank God for small favors.

Edited two days later to say that I bought the crinkled silk in the photo above, the aqua one. I'm only human after all. And I did work like a dog all week.

Linen

Linen is my favorite fabric. It's easy to sew and I suppose that's part of it. But also I like the idea that it's the most ancient woven textile. Mummies are found wrapped in linen. It's a fiber not only of the earth, but of human history.

I like the very smooth (but not slick) feel of linen. And it stays smooth and refuses to pill. I like the natural look and feel of the fabric...you can just tell it's not far removed from nature. And, linen is clean and orderly. Uncomplicated and unfussy. Yet...also rich and luxurious. Always classy.

Linen wrinkles. Shhh...don't tell anyone! Honestly though, I don't mind linen's wrinkles. It's part of the character of the fabric. And did you know that the more you wash linen the softer, more supple, and less wrinkly it gets? I'd much rather use linen in a blouse or dress to be worn directly against the skin than a springtime suit with a lining.

There are a lot of linen blends out there. Linen blended with rayon or cotton especially, to "reduce wrinkling." But if you buy a linen blend, it's just not the same. It doesn't have the same natural, serene feel to it. The one situation where I might make an exception is for pants. That is because linen is very inelastic and it has a tendency to "bag" at the butt and knees after wearing for a few hours. So, for pants, I like a linen with a bit of lycra blended in.

I have made linen dresses, blouses, vests, skirts, and pants. They were/are all wonderfully comfortable and versatile. My all time favorite was a red princess seamed sleeveless dress with a square neckline and lantern skirt. The crispness of the linen really showed off the shape of the skirt. Come to think of it...it was a bit loose...maybe I can still wear it...

Linen is great for styles with simple lines. Any shaping must be done within seams and darts, it won't respond to heat and steam. It does show off topstitching spectacularly. And regular machine-sewn buttonholes will look especially neat and tidy in linen.

Linen is a great fabric to use if you want to try out a bias pattern. It won't be nearly as incorrigible as silk. I've never made a bias linen summer dress, but I will...it's been on my mental sewing list for years.

If you're going to use linen in a garment that will be washed, be sure to pre-wash and dry...maybe even a couple times. I have to say though, that even as I hear a lot of people warning sewers to pre-wash linen several times, I think it shrinks much less than cotton, and stops shrinking more quickly. I also have some garments that I've dyed several times (as the colors fade over years) and the linen takes the color beautifully. Some garments I'd press after drying, and some I prefer to leave rumply.

Use a sharp or universal needle, appropriate to the weight of your linen. You might even want to experiment with embroidery or heirloom techniques such as hemstitching with a wing needle, or pintucking with a twin needle. Any of these embellishments really sing on linen.

I learned a lot about linen in Linen and Cotton: Classic Sewing Techniques for Great Results by Susan Khalje (Taunton Press, 1999.)

One of my dressforms is named "Uma," the Sanskrit word for flax. In linen, I always feel well dressed on the outside, and my casual self on the inside.