Q&A - sewing

ISSUE 180 - HOW TO CHOOSE GARMENT LINING FABRIC

How to choose fabric for lining garments.

THE Q & A SERIES

HOW TO CHOOSE LINING FABRIC FOR GARMENTS

Hi Emily,

Thank you for your Q&A series - it is so informative and a great platform for learning, especially for a beginner like myself.

I am planning to make a summer dress using a sheer polyester fashion/main fabric, and was wondering if it is OK to use lightweight cotton/silk chiffon as the lining fabric? I am not sure if using synthetic and natural fabrics together is going to cause issues in the finished garment.

Many thanks,

Joanne

Hi Joanne,

This is an interesting question. Normally when thinking about fabric and lining combinations we would be thinking about the silk or cotton being the main fabric and the polyester being the lining (which is very common). In this case, where the polyester is the outer and the silk or cotton is the lining, it will depend on the weights of the fabric and the garment you are lining.

Things to consider when selecting lining fabrics

The best fabrics for linings depend on the purpose and type of garment being lined. Key factors include the drape, weight, breathability, and durability of the fabric. 

When selecting a lining fabric, consider the main fabric of the garment, the intended use, and the desired comfort and appearance. For instance, a summer dress may benefit from a lightweight, breathable cotton lining, while a winter coat might require a warmer, more substantial acetate or polyester lining. 

In fabric stores you will see specific lining fabrics, which are a good option, but you don’t need to be limited by these options if you would prefer to use a fashion fabric.

It is important to choose a lining fabric that is compatible to the outer fabric in terms of care instructions so that the garment can be laundered easily. 

It is best to choose a lining fabric that is:

  • Smooth

  • Tightly woven

  • Opaque

  • Slippery (Although not absolutely imperative, a slippery fabric will make the garment easy to put on and take off and will reduce stress and friction on the lining. This is particularly important for coats, jackets and skirts, while it’s likely not a problem for a dress.)

You may also like to consider whether the fabric will crease easily or not. Natural fibres such as cotton and rayon have good breathability but will likely crease easily. Polyester linings don’t crease easily but can be hot and cause you to sweat.

SHOULD YOU MIX SYNTHETIC AND NATURAL FABRICS WHEN LINING A GARMENT?

Mixing synthetic and natural fabrics, like polyester with cotton or silk chiffon, is an option, but there are a few things to keep in mind.

  1. Polyester is less breathable than natural fabrics like cotton or silk, so while the chiffon lining can improve comfort, you might still notice some differences in how the fabrics handle moisture and air flow.

  2. Synthetic fabrics often have less give than cotton or silk, which may result in the fabrics pulling or behaving differently over time. If your outer fabric has some stretch, make sure the lining fabric accommodates that movement.

  3. Polyester is prone to static electricity, which could cause the fabrics to cling to each other. Being natural fibres, silk and cotton may help reduce this, but it's something to keep in mind.

  4. You might need to adjust the care routine for the finished dress. Polyester can generally handle machine washing, but silk or cotton chiffon will likely need more delicate care, like hand washing or dry cleaning.

If these factors work for you, the combination of a sheer polyester outer with a natural chiffon lining can create a beautiful, flowing dress perfect for summer.

If it’s a fitted garment, I’d be hesitant to mix the polyester outer with the natural lining as the natural fibres may stretch more than the outer when worn and cause some issues. If it’s a more floaty style I would be less worried about it. Another thing to think about is the amount of give in the two fabrics. I’d be holding them side by side and having a feel - how do they drape, how do they stretch on the crossgrain and the bias? Is it similar?

I hope this helps you on your lining adventure! And if you’re interested in learning more about sewing linings, take a look at our latest skill-building series, the Drafting linings Skills Kit and the Sewing linings Skills Kit.

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • More information about our Curated by ITF subscription can be found here. Sign up during the month of September to get part one of our Sewing Linings Series, the Drafting linings Skills Kit, delivered straight to your inbox.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 179 - How to line the Collins top

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THE Q & A SERIES

HOW TO LINE THE COLLINS TOP

How do I line a garment? I'm new to sewing, and recently bought the Collins top pattern, but the fabric I bought for it ended up being a bit more sheer than I would feel comfortable wearing.  Do I double up fabric and sew as indicated in the pattern, or can I make this pattern reversible?

Emma

Davis, US

Hi Emma,

The situation you find yourself in is such a common one! I can certainly relate to falling in love with a fabric, only to find that it needs to be lined, except the pattern I want to use doesn’t include a lining. It’s a bit annoying! 

Thankfully, as sewists who are focused on learning new skills (like patternmaking) we’re not limited to what a pattern provides. 

four ways to line the collins top

When it comes to lining the Collins top specifically, you have a couple of options. 

OPTION ONE: UNDERLINING 

Underlining a garment is the simplest way to stop a fabric from being see-through.

What is underlining?

Underlining is a technique in which a second layer of fabric is cut and sewn together with the outer fabric pieces before the garment is constructed. Unlike a traditional lining (which is a separate layer added after the main garment is assembled), underlining is treated as one with the outer fabric when the garment is constructed. 

You may choose to underline the entire garment, or just part of it. For example, you may decide to only underline the sleeves in a jacket or coat so it is easy to slide the garment on and off.

In the case of the Collins top, you may choose to underline the front and back pieces only and leave the sleeves unlined. A great example of this is when sewing with broderie anglaise. You might leave the sleeves unlined to show off the cut-outs in the fabric, but line the bodice.

OPTION TWO: CREATE A LINING PATTERN 

The next option is to create a separate lining pattern for the garment, which is drafted using the original pattern as a base.

How to create a lining pattern for a garment

To start, it’s a good idea to remove any seams you can. In the case of the Collins top, this means removing the panel lines. 

To do this, place the pieces together with STITCH LINE on STITCH LINE and trace a copy. Make sure to trace all the important markings such as the grainline and notches.

Some panel lines cannot be removed. For example, the sleeve panel seams create shaping through the shoulder so they cannot be removed. 

However, if you want to minimise bulk, you could consider combining the pieces and using darts to create the shaping instead of panel lines.

Consider how you would like the lining to join to the outer garment. In the case of a top or dress, this means considering how the two will meet at the neckline.

OPTION THREE: LINING A GARMENT ‘EDGE TO EDGE’

Lining ‘edge to edge’ refers to a garment construction technique where the lining is sewn directly to the outer fabric along the edges, such that the lining reaches and is attached to the very edge of the garment, rather than being connected to a facing. 

This method is often used if the main fabric (fabric that the garment is made in) is bulky or scratchy. By removing the facings, the main fabric will not touch the skin. It is also a good option for sheer fabrics where you don't want to see a facing or seam through the outer fabric. You can also use this method if you would like a quicker method of lining a garment, as it removes the need to draft a lining pattern and the time it takes to attach the facings.

With this option, you may consider adding interfacing to the neckline and armholes (for sleeveless styles) to prevent stretching. If the pattern has facing pieces, you can use these as the pattern pieces for cutting interfacing. Alternatively, trace the armhole / neckline shape and then cut 5cm (2in) width of interfacing as if you were drafting a facing.

If you would like to use this method, you can use the pattern to cut the lining pieces without drafting a new lining pattern.

OPTION FOUR: ATTACH A LINING TO FACINGS

Attaching the lining to a facing or multiple facings can give the inside a clean and professional look. It also has the added bonus of providing extra structure in areas that are prone to stretching, such as necklines and armholes, which can maintain the garment's shape over time.

Facings help to prevent the lining rolling to the other side, ensuring the garment stays in place and the lining is not visible from the outside.

If you’re interested in learning how to draft a facing for the Collins top, we wrote a post about it here for another Emma. If you would like to draft a neck facing only (which is what we’d suggest you do for the neckline on the Collins top) you can find instructions in the Drafting Linings Skills Kit.

Additional tips for sewing a lining for the Collins top

Alter the hem length.

The hem of the lining needs to be shorter than the outer so that it doesn’t extend beyond the hem. When drafting a lining pattern, shorten the lining by 2.5cm (1in) from the hem.

The other thing to keep in mind when sewing a lining for the Collins top is that the pattern has a high-low hem. This means that you may be able to see the inside of the back of the garment when it is worn. So keep this in mind when choosing the best option for the fabric you are working with.

CAN YOU MAKE THE COLLINS TOP REVERSIBLE?

The idea of a reversible Collins top is very interesting! We haven’t got any resources about making a garment reversible at this stage, so thought we’d link to this great post which covers the things to consider if it’s a project you’re keen to have a crack at.

One thing to consider with making it reversible is how the closure at the neckline will work. In the case of the Collins top, which has a button and loop closure at the centre back, you could consider two buttons, one on the inside and one on the outside. Be sure to choose nice flat buttons so they don’t create bulk. The other option is to remove the closure altogether. Some makers have chosen to do this and haven’t had any problems getting the top on or off. As always, I recommend making a toile to check it works for you!

Happy patternmaking,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Collins top pattern can be found here.

  • The Stow dress pattern can be found here.

  • How to draft a facing - tutorial can be found here.

  • Seamwork article - Make it reversible - can be found here.

  • More information about our Curated by ITF subscription can be found here. Sign up during the month of September to get part one of our Sewing Linings Series, the Drafting Linings Skills Kit, delivered straight to your inbox.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 170 - TIPS FOR SEWING THE DARLOW PANTS WELT POCKETS

THE Q & A SERIES

TIPS FOR SEWING THE DARLOW PANTS WELT POCKETS

Hello!

The Darlow pants are quite interesting. I assembled my digital pattern and decided to make a full blown muslin with all of the details. I am on the welt pocket portion for View B, and right around step 22/23 I start to lose it. I saw that you had a sew along, but didn't see how to access it.  I went on the internet and watched a welt pocket video, but I think I am missing something.  Do you have a video you would suggest watching?  Right now I have the welt that I ‘winged it’ with, and the other is waiting to be done properly.  The instructions seem quite good, but I think you are trying to explain something a little more detailed.

In advance thank you for any help you can provide.

Regards,
Lauren
United States

Hi Lauren,

We’re celebrating ‘Make it With Us in May’ in our Curated by ITF community this month, which means our members get to choose any pattern from our current catalogue as their monthly project. 

It’s a good opportunity to work on specific techniques they’ve been wanting to up-skill in, or dive into a project they’ve been thinking about for a while. I especially love seeing members choose some of our older patterns (such as the Darlow pants) because it shows they are still relevant many years on from when they were first released, which is a goal of mine as a designer.

GENERAL TIPS FOR SEWING WELT POCKETS

Getting to your question about the welt pockets in the Darlow pants pattern…

I will be the first to say that welt pockets are a bit tricky. There are many different ways to do them and they are usually slightly different depending on where they are placed on the garment. There are also countless ways to sew a welt pocket which is why I am happy to say I have done the work of trying out all the methods on your behalf to come up with a way that I think gives the cleanest finish. 

I always encourage makers to try techniques like this out on scraps of fabric first. It can be time consuming, but it does give you a chance to practise and also have something to refer to as you’re sewing the real thing. Also, the other reason I give for doing a practice run on welt pockets is that because you have to cut into the fabric of a pattern piece it can be difficult to fix it if you make a mistake. 

The other thing I’d advise is doing one pocket at a time. When sewing a symmetrical garment it is usually faster to sew both things at the same time (so you prepare both pocket bags, cut both welts etc.). But when a skill is new, you’re normally better off doing the process in full on one side and then repeating on the other side. It’s likely you will learn a few things on the first one that you can then apply to the second one.

Back view of the Darlow pants, featuring the welt pockets.

TIPS FOR SEWING DARLOW PANTS WELT POCKETS

The part of the instructions you mention you’re struggling with is at the point where you are creating the welt. The welt is the rectangle of fabric that is visible on the pocket opening. This step in the process of welt pocket sewing is a common place for sewists to become a little bewildered. The reason for this is that it might not be clear what you are actually doing with this step, so let’s cover that first. 

If you look at step 21 (left image) you will see that the welt is formed by folding piece 18 at the notches. (I have made the piece blue in the illustration.) 

On the right-hand side I have placed the illustration for step 22 where you can see that the welt has been formed. But at this stage nothing is holding the welt in place.

In step 23 the seam line of the bottom of the welt is pinned through the welt so that it has something to attach to. The welt is no longer just a fold in the fabric but is stitched.

In the illustration you can see what is being secured. The stitching won’t show through the welt as we are pinning and stitching through the seam allowance on the inside, but this is the seam that will hold the bottom of the welt in place.

If you’re still not feeling confident in the process, this video will help.

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • More information about our Curated by ITF subscription can be found here. Sign up during the month of May to choose a project from our entire pattern and resource catalogue.

  • The Darlow pants pattern can be found here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 167 - MEMBER QUESTIONS WE'VE ANSWERED ABOUT ORMOND

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THE Q & A SERIES

Ormond coat questions answered!

With each new Curated by ITF project we release we get lots of fantastic questions from our members in our private online community. From new sewists to the more advanced, there’s ALWAYS something to learn. 

And of course, we love to answer them! Our daily to-do list includes checking in with our community to get to know them, see what they’ve been chatting about and answering their questions in ways that make their sewing experience easier and more enjoyable.

Here’s a few we’ve answered recently which you might find helpful too.

INTERFACING ON ORMOND VIEW A BUT NOT VIEW B?

Question from Curated member, Kim:

I was flipping through the instructions and note that on View A the coat hem and sleeve hems are interfaced but the View B ones are not. I’m assuming it has something to do with the length, but curious as to why the hems (especially the sleeves) are interfaced?

Emily’s answer:

Good question Kim! I went back and forth about this decision and opted for only interfacing on View A because of the length and the more traditional style of View A. 

Interfacing adds a bit of extra weight to the hems, so this helps it sit nicely and helps with the folds. For View B, because it's a more casual style I decided to leave off the interfacing. You could add interfacing to View B if you wanted to.

BIAS BINDING WIDTH FOR THICK FABRICS?

Question from Curated member, Michaela: 

Emily, you mentioned about not buying bias binding yet if using a thick fabric, to ensure it’s wide enough. I’m using a vintage pure wool blanket for View A. What would be the best way to work out what width bias binding I need?

Emily’s answer:

What I'd do is stack three layers of your fabric together and sew them together with a 1.2 or 1.5cm seam allowance. 

Start with the binding width you think would work best and test it out by sewing it to one edge. If it's not wide enough, trim it off and sew the seam again and then try with a wider binding. Sara (our pattern tester who made the wool version) said that the bulk through the vent is the main place she needed the extra width in the binding. She made her binding 4cm so that's the width I would try at first.

ORMOND COATS FOR MEN?

Question from Curated member, Lucy: 

How would it be best to adjust the Ormond coat pattern for men? Just from chest down straighten it?

Emily’s answer: 

This is a good question! To be honest, I'm not sure. I'm a womenswear patternmaker so only have very limited experience with mens patterns. For the G-P range you would need to alter the pattern due to the bust dart, but for the A-J range I think it would be worth giving it a go. 

My approach would be:

  • Choose size based on chest measurement (in relation to bust)

  • Definitely make a toile to check the fit. The areas I'd be wanting to have a good look at would be across the back and shoulders and through the arms / bicep

  • Due to it being a raglan sleeve it is easier to make adjustments through the shoulder than a set-in sleeve, so I'd be sewing the shoulder seam with a basting stitch so it's easy to unpick if you need to add in some of the seam allowance.

  • I think the pattern would be easy enough to alter for menswear after you've looked at the toile to check everything.

  • Check the length of sleeves, length of body of jacket and pocket position.

Comment from Curated member, Jo:

I just noticed that Friday Pattern Company have a blog post up about adjusting a cis male jacket pattern for cis female body shape - the principles in reverse might help you. Here it is.

TOPSTITCHING ADVICE?

Question from Curated member, Sarah:

I'm interested to try contrast topstitching. I have a dark sea green cotton twill and am considering a cyclamen pink thread. Do I use the one thread for everything or swap it in when there is an obvious top stitch?

Leanne’s answer:

That sounds like such an awesome combo! I would only switch in the topstitching thread in areas where you want topstitching to be visible. 

For other purposes like stay stitching or anywhere you don't want visible top stitching (in my case that meant the facing stitch line and hems) then just use your regular matching thread. 

FYI - I used 2 spools of top stitching thread for my Ormond Coat but I played thread chicken at the end, it was really down to the wire. Having three spools on hand would have helped ease the stress levels! (But I also did have to unpick and redo a couple of topstitched areas, so you might find you can get away with two spools, depending on which size you are making. (I made an E) Hope all this helps!  

And finally—a tip from Curated member, Lynda!

Today I finished a lined wool jacket and thought I'd share a tip I wish I'd known. The fabric is mid blue and I used the white interfacing I had, not knowing it would show when I cut open the large thick buttonholes which have two layers of wool + interfacing (boo!).  A fusspot sewist thing for sure that only I will see, but next time I'll definitely consider the colour!

As well as giving you a little insight into the kind of place our private online community is (read: fun, happy, super inclusive and ALL about sewing!), I hope these questions have helped you on your sewing journey. And if you’d like to have help just like this at your fingertips, sign up to our Curated by ITF sewing subscription and get the Ormond coat pattern as well!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • Our private online community is an In the Folds sewing resource available exclusively to members of our Curated by ITF subscription. Each month we share additional resources that relate to the current project, as well as answer questions our members might have about anything sewing related. Past issues are now available for purchase by current subscribers.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 164 - HOW TO CUT FABRIC STRAIGHT

THE Q & A SERIES

HOW TO CUT FABRIC STRAIGHT WHEN SEWING

Dear Emily,

You write beautiful tutorials and I save them all in the hopes that one day they will be useful.  Today I'm going to try the bias binding neckline one.  

The reason I'm writing is because I can't cut a straight line on fabric.  It looks straight, but ends up on an angle. I'd love a tutorial.  I have lovely, lovely scissors and a wheel thing.  

I remember as a kid making a jumpsuit and a long dress and now I can't even make a decent rectangular bag!  I made one using shark material for my grandson's bday gift.  I figure that if he sees it doesn't have to be perfect it will set him free from sewing worry.  

Today I'm going to sew a cushion with my granddaughter.   So we're still sewing, I just really would love some help with cutting fabric!  Pretty basic stuff!

Be well and thank you for your wonderful site. 

April in Snowy Ottawa, Canada

Hi April,

Thanks so much for this question, and I can confirm that you are most definitely not the only person to experience this problem! It is quite a skill to cut fabric straight (at the best of times - I’ll explain what I mean by this!) so here are my thoughts on how to cut fabric straight.

POSSIBLE CAUSES FOR NOT CUTTING FABRIC STRAIGHT

My first question to you is, are you sure it’s a ‘you’ problem? You might be relieved to hear that sometimes it’s not you causing the wonkiness. Rather, the problem could be that the fabric is off grain. 

What this means is that the fabric is warped or stretched during the manufacturing process. With printed fabrics (like your shark print) this can mean that even though the print looks straight, it’s not actually aligned with the grainline. This makes it impossible for you to cut your fabric straight - that is, in line with a pattern’s grainline. 

Similarly, the grainline might be straight on the fabric, but it wasn’t printed straight, again meaning that when you cut a pattern according to the grainline it will look wonky.

Finally, it may not have been cut off the bolt straight, so if you’re using the cut line as a reference point, you may again end of up with a wonky piece.

TIPS FOR CUTTING FABRIC IN A STRAIGHT LINE

Square up your fabric

My first tip is to make sure the whole piece of fabric you have purchased is square before you begin cutting into it. Here’s how to do this. As close as possible to one end of your who piece of fabric (ie. no more than 2cm), snip into the edge of the fabric at a 90 degree angle to the selvedge. It’s ok to eyeball this as it should only be a very small cut (around 1cm). Take the edges of the fabric in your hands on each side of the snip and tear it from one selvedge to the other. This should cause the fabric to tear along a threadline and the result should be a straight line. You can read more in this post on how to find the straight grain on fabric.

Once you’ve checked that the grainline is straight on the fabric, give the fabric a good press. Below are some points to keep in mind when doing this.

The difference between ironing and pressing

Ironing involves moving the iron back and forth over the fabric to remove wrinkles. Pressing, on the other hand, is a technique where the iron is placed onto the fabric in a stationary position for a short period of time. Pressing is more about applying heat , pressure and moisture (through steam) to specific areas, rather than gliding the iron over the entire fabric. 

In the case of preparing the fabric to be cut, be careful to gently glide the iron over fabric, rather than putting pressure on the fabric as this may stretch the fabric and cause it to go off grain. It’s a good idea to give the selvedges a good press, so you can line them up easily with the edge of your cutting table.

Lay the fabric out flat

Consider if you will be cutting flat, or cutting on the fold. Normally the pattern you are using will specify this. It will also depend on your fabric. For thick fabrics or when lining up prints, cutting flat will make for more accurate cutting. Cutting on the fold is normally the most efficient way to cut as it will speed up the process. Having the fabric on the fold and cutting two layers at once can also add stability.

When laying the fabric on your cutting surface, use a long straight line as your reference point. If you cut on a table, this could be the edge of the table, or if you cut on the floor you might like to stick a line of masking tape down which you can easily remove afterwards.

Line up the selvedge with the straight line (eg. the edge of the table) and, if you can, align the cut edge of the fabric with the corner of the table. This will confirm that the two edges are straight. 

Gently move the piece of fabric into place so that it is laying flat. Don’t stretch the fabric at all. Once the selvedge is in position, use your finger tips to remove any bubbles. A long plastic ruler can also help to flatten it out, especially if it’s a large piece of fabric and you can’t reach all of it.

Don’t let the fabric drape over the table as this can distort the grain. If the fabric is too large to lay flat on the table, roll or fold the length up onto the end of the table to ensure it doesn’t pull on the fabric.

Pin fabric between two layers of paper to prevent shifting and make it easier to cut.

If your fabric is prone to shifting, I strongly recommend cutting it between layers of paper. Ideally you will cut between two, but even just one (either on the top or under the fabric) will make a difference. This is a great technique to use, particularly when cutting lightweight or shifty fabrics like silk.

Once your fabric is in position, you can use pattern weights (or whatever you have to hand, like tins of food!) to hold it in place.

Align pattern grain line with straight selvedge.

Position the pattern pieces using the grainline to ensure they are straight. To do this, measure from both ends of the grainline to the selvedge with a tape measure. Once it’s straight, use pattern weights to hold in place and then pin. 

Cutting the fabric

Make sure your scissors (or rotary cutter, if that is your preference) are nice and sharp. It can help to cut loosely around the piece before actually cutting the piece to release the tension on the fabric and ensure there is no fabric weight pulling on the fabric you’re trying to cut. However, this only works if you’ve got a bit of wiggle room with your fabric yardage!

If you're right-handed cut to the right of the pattern piece.
If you're left-handed cut to the left of the pattern piece.

If you’re right handed, cut with the pattern piece to the left of the scissors.If you’re left handed, do the opposite. Use your hand, or pattern weights, to hold the piece in place as you cut. Cut with long cuts, rather than small snips. Cutting like this means you can clearly see the edge of the pattern and can use your other hand to support the fabric and pattern piece. If you are finding it difficult to get to certain parts of the pattern piece to cut in this way, loosely cut around the piece so you can rotate the piece to get into a comfortable position.

HOW TO PREVENT STRETCHING ONCE FABRIC IS CUT

To ensure the fabric doesn’t stretch after cutting, it’s best to leave the pattern pieces pinned to the fabric if possible. This also means you won’t run the risk of mixing up pattern pieces.

When it comes to assembling the garment, make sure you staystitch any areas that are prone to stretching. This is normally necklines, armholes (on sleeveless garments only) and pieces cut on the bias. To staystitch, stitch 6mm (1/4in) from the raw edge. If staystitching a neckline, stitch from the shoulder down to the centre front / centre back on each side. 

I hope this helps with your sewing endeavours!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • How to find the straight grain on fabric - tutorial here.

  • How to cut tricky fabrics - tutorial here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 161 - HOW TO MANAGE A GROWING WARDROBE OF HANDMADE CLOTHES

THE Q & A SERIES

HOW TO MANAGE A GROWING WARDROBE OF HANDMADE CLOTHES

From all your makes do you ever feel like you have too many clothes? What do you do about storage and do you wear all your makes regularly? Do you ever get rid of your older makes that no longer work for you?

This question came up in our private, online Curated by ITF community this week and it got such great interaction that we thought we’d share everyone’s comments with you today!

For most makers, having a full wardrobe is definitely not an unusual ‘problem’. And we use the word ‘problem’ very carefully because the concept of sewing as a form of self-care is known and very much appreciated in the creative community.

Emily sits at a sewing machine and is working on a toile.

the benefits of sewing : more than just clothing

The benefits we get out of making are so much more than just having clothes to put on. Making gives us the opportunity to take a break from day-to-day life. When the rest of our life happens at break-neck speed, sewing allows us to focus on the task at hand and to be mindful and meditative.

Sewing motivates and challenges us. It gives us the opportunity to continue to learn and solve problems once we’ve finished studying for our profession. It teaches us resilience, because it doesn’t matter how long we’ve been sewing for, there will always be moments when our makes just don’t go to plan.

And one thing we know for sure, because we see it everyday with our Foldies in our Curated by ITF community, sewing provides an opportunity to connect with others who share our love for the craft. And we think this is probably the best part of all!

So with all that in mind, here are some ways our Foldies manage a growing wardrobe of clothes!

Charity shop donations

If you’re getting stressed about your expanding wardrobe, consider gifting any unworn makes to your local charity shop. One of our clever Foldies likes to help the volunteers out by including a little tag that includes the size of the garment and the fabric content. 

Gift to family and friends

If you’ve been sewing for a while then it’s likely that you’ve had a friend or family member comment positively on a garment you’ve made. Try to remember if anyone has admired the garment you’re wanting to move on and wrap it up as a little pressie for them. 

If you’ve decided you definitely need to slow down or stop making clothes for yourself for a while, but you’re also thinking about your growing fabric collection, consider loved ones you can make gifts for. By making clothes for others, you’re filling your sewing cup, practicing fitting on other people and emptying your fabric stash at the same time! Win, win, win!

Only make garments you need and really, really love

If you have trouble handing over garments you’ve poured your heart and soul into, you’re not alone! In this case, being more selective in the garments you choose to make can help. Try not to be influenced by trends or the latest patterns. Instead, take a look at your wardrobe and think about the garments you always go back to over and over again. Why is this the case? Is it the fabric? The colour? The cut? The style? Where are the gaps in your wardrobe? Our Slow Sewing Planner is a helpful tool to have when working through this process. 

@sewingwithkate wearing her original Rennie dress

@sewingwithkate wearing her refashioned Rennie dress

Refashion garments to make them more wearable

Sometimes it’s not until after we’ve made something and tried it on or worn it a few times that we realise it just doesn’t suit us. In these situations it can be helpful to consider whether there’s any little changes you can make to a garment to improve it. 

Take it in if it’s too baggy. Turn a dress into a skirt and top. Take up the hem or let the hem out.

The pattern instructions may say you’re finished, but your imagination doesn’t have to! Take the opportunity to try something you may not have thought of before.

Reuse the fabric in another garment

Depending on the garment size, take the time to cut off all the seams so that you have as much usable fabric as possible. Return what fabric you have left to your fabric stash to be used in another make in its entirety or for pocket bags, facings, or making bias bind. 

One-in-one-out

If you’re making a new garment, commit to donating the least favourite alternative already in your wardrobe. If you decide you love everything in your wardrobe, adopting this approach may help curb the impulse to make something new!

It’s important to find balance with everything we do, including the garments we sew and the hobbies we have, so we hope this post helps you if you’ve been struggling with an expanding wardrobe full of beautiful me-mades!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • Curated by ITF is our sewing subscription and private, online community. Join now to get a new project each month to stop pattern-stashing and start skill-building!

  • Our Slow Sewing Planner helps you gain clarity on what’s missing from your wardrobe, as well as sustainable tips for organising what you already have.

  • Our Rennie dress pattern is a boxy, relaxed fitting calf-length dress made for easy dressing that incorporates a range of finishing techniques for a beautifully finished garment. This pattern will elevate your wardrobe and sewing skills!

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 157 - EXPERIMENTING WITH INTERFACING

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Why you should experiment with interfacing.

THE Q & A SERIES

experimenting with interfacing

Hello, I’m new to your site & love the idea of asking a question and getting a helpful answer.

My question is, when using iron on interfacing in a collar or cuff should the interfaced side be outermost or on the underside? And if on the underside, how do you get over the seam allowance (that’s been graded) showing through light weight fabric? I look forward to finding out the right way, thank you.

Alison, UK

Hi Alison!

We’re very glad you’ve found us, and we’re happy to help.

Interfacing is a scary topic for many sewists. When things go well, it is a wonderful thing and can help us create beautiful finishes and looks in our garments. But when things don’t go so well… well, it’s likely that you’ve had a run in with interfacing at some point in your sewing journey (as have the majority of us!) and you’ll know first hand how frustrating it can be to work with.

We wrote a post about what you need to know about interfacing just recently, as it’s an important part of shirt-making, the topic we’re currently focusing on in our sewing subscription, Curated by ITF. This month we’re moving onto the second part of the series, the Marden shirt pattern!

NEW SEWING PROJECT? TIME TO TEST YOUR INTERFACING AND FABRIC!

When it comes to advising about which side of a collar or cuff to interface, it really depends on the fabric and interfacing you’re planning on using for the garment. Which makes it almost impossible for me to provide a definitive ‘do this in all scenarios’ answer (sorry!).

But, I’d start by encouraging you to experiment with the interfacing and fabric you have in mind for your project, particularly when sewing with lightweight fabric. (More on how to do this here.)

Consider the look of the fabric once the interfacing has been fused to it. Is it very obvious and visible through the fabric? Does it negatively impact the look of the fabric, or does it just provide the structure that is needed?

In general, I block fuse both sides of the collar and cuffs. So that's normally what I'd test out first.

As you have mentioned, you may decide that you would prefer to fuse only one of the pieces, rather than the pair. If you're wanting a more relaxed look, you'll generally only fuse the undercollar. This allows the fabric on the top collar to look like the rest of the shirt.

However, if you are using a fabric that is so lightweight it is transparent, then I'd likely be fusing the one that will be on the outside when worn (i.e. the top collar). As you may guess, this is to prevent the seam allowances showing through the collar. If, however, you’re not happy with the finish of the fabric once the interfacing is applied, you may also consider experimenting with using a lightweight cotton as a sew-in interfacing instead.

Hope this helps, and good luck in your interfacing experimentation!

Emily

RESOURCES MENTIONED IN THIS ISSUE

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 156 - HOW TO GET BUTTONHOLES RIGHT

THE Q & A SERIES

HOW TO GET BUTTONHOLES RIGHT

Hey Emily,

Do you have any tips please for buttonhole spacing & getting the buttons to sit flat on the fabric?

Thanks,
Sheila, Hobart

Hi Sheila,

Buttonholes can be tricky, hey.

There’s so many elements involved in getting them right… the spacing, the stitching, the cutting, the button sewing… And so much that can go badly wrong. (We’ve all experienced the fear of accidentally cutting right through the buttonhole stitching!)

With our Sewing Shirts Skills Kit for this month’s Curated by ITF project we cover everything you need to know, such as how to create a button template, how to mark button placement and how to sew buttons on correctly, but here’s a few tips that may help.

HOW TO MARK BUTTON PLACEMENT

There are a number of different methods you can use to transfer the button and buttonhole placement markings to your shirt. The most common are: 

  • Mark the positions directly onto the finished button placket. 

  • Mark the buttonhole positions on the placket pattern piece and use this to transfer the markings to the pattern.

  • Make a button template.

The most common method is marking the positions directly onto the finished button placket. This gives you flexibility when deciding on button position and allows you to see what the buttons will look like before sewing the buttonholes.

BUTTONHOLE SPACING

When marking button placement, start by marking the top button position. It will be placed closer to the top of the placket than the regular button spacing as it supports the collar stand. We recommend anywhere from 1.5cm (⅝in) - 5cm (2in) down from the top edge. 

Mark the remaining button positions 9cm (3½in) from the top button. For the bottom button, keep in mind that you don’t want it to sit too close to the hem and normally there is a larger space between the bottom button and the hem than between the other buttons..  

Tip! We like to take inspiration from our favourite garments that are already in our wardrobe and we recommend you do the same! Take some time to have a look at the shirts you love to wear and use a measuring tape to replicate the placement on the garment you’re making.

TAILOR BUTTON POSITION TO YOUR BODY

Because you’re making the garment, remember that you can put the buttons wherever you want, according to the needs of your body. To do this, try on the shirt and close the button placket. Place a horizontal pin at the bust line through the top placket only. This is the position where the shirt is most likely to gape. Take the shirt off and space the buttons evenly along the placket starting from the pin. Remember to leave a space at the bottom and ensure the top button is about 1.5cm (⅝in) - 5cm (2in) down from the top edge.

TIPS FOR SEWING BUTTONS

We’ve included a step-by-step tutorial for how to sew buttons onto a garment (specifically a shirt) in our Sewing Shirts Skills Kit, which you can access by joining Curated by ITF, our sewing subscription. 

Otherwise, the main things to keep in mind are:

  • Before sewing a button in position, place a pin, needle or matchstick across the button and make your stitches over it. This will create some extra give in the thread for when you’re creating the shank under the button.

  • Be sure to use interfacing on your button placket as this will help give the area structure. If for some reason you choose not to use interfacing on the whole placket, cut a small circle of interfacing and fuse where the button will be stitched to create stability.

  • Select a button that isn’t too heavy for the fabric you are using. This may take some experimenting on samplers.

  • Use the same number of stitches on each button to keep things consistent. 

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Sewing Shirts Skills Kit is the first part of our Sewing Shirts project series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers. More information can be found here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 155 - WHAT YOU NEED TO KNOW ABOUT INTERFACING

THE Q & A SERIES

WHAT YOU NEED TO KNOW ABOUT INTERFACING

Fusible interfacing seems to ruin everything I make with it. After washing it looks rumpled and horrible. Everyone seems to love it so I must be doing it wrong. HELP!

Jamie, Costa Mesa

Hi Jamie,

You’re definitely not the only maker out there who feels this way about fusible interfacing, because it’s one of those areas where things can go wrong very quickly. 

We’re looking at interfacing this month as part of our Sewing Shirts Skills Kit project for Curated by ITF. Interfacing is an important component of shirt making (and garment sewing in general) and so it’s definitely timely that we answer this question for everyone.

WHAT IS INTERFACING?

Interfacing is an additional layer that is applied to fabric to create structure in a garment. It is also used to ensure certain areas of a garment hold their shape or can support a particular part of a garment. Finally, it can be used to reinforce high stress areas of a garment (for example, buttons and buttonholes). 

Interfacing is applied to the wrong side of the garment so is not visible once the garment is assembled. The most common parts of a garment to use interfacing are: collars, cuffs, button plackets and waistbands. But, it may also be used on facings or around pocket openings for extra support or reinforcement.

TYPES OF INTERFACING

There is a wide range of interfacing available, but generally there are two main types of interfacing that you would be aware of.

Iron-on (or fusible) interfacing

This has a thin layer of glue on one side and needs to be bonded with the fabric using an iron or fusing press.

Most garment makers would predominantly use fusible interfacing, however there are some applications where it isn’t appropriate, such as:

  • Fabric that can’t be ironed, such as sequins, anything with a nap (velvet or fur), vinyls or metallic fibres.

  • Very sheer fabrics

  • Anything with a loose or open weave (eg. mesh, lace)

  • Fabrics that are heavily textured as it may not bond well.

Sew-in (or non-fusible) interfacing 

This type of interfacing is not bonded to the fabric, rather it is attached by sewing it to the fabric. It is most commonly used when you are using a fabric that cannot be pressed or has a texture that you would like to avoid pressing. Fabrics, such as stable cotton, can be used as sew-in interfacing and is something you can also experiment with!

Within these two main types, interfacing can be further categorised by the way it’s made:

Non-woven interfacing

Made by bonding the fibres together, non-woven interfacing has no grain and can be cut in any direction without fraying which makes it very easy to use. However, it can be quite delicate and tear easily, yet at the same time it can be quite stiff with a paper-like quality. For this reason, we believe it is better suited to craft projects and bag making.

If you’ve purchased interfacing before, it’s likely that you’ve purchased non-woven as it’s readily available and tends to be one of the cheaper options. 

Woven interfacing 

Constructed in the same way as woven fabric, woven interfacing behaves and moves like woven fabric, so it’s the best choice when working with woven fabric as it is less likely to affect its drape. 

Like woven fabric, woven interfacing has a grainline so pieces need to be cut on grain (in relation to the grainline on the pattern). The benefit of woven interfacing is that it is able to move with the fabric, and is less likely to affect the drape and fall of a fabric.

Knit interfacing

Knit interfacing has some crosswise stretch and minimal lengthwise stretch so that it can add stability and support to knit fabric. Knit interfacing can be used on woven fabrics and can be a good option on lightweight fabrics that naturally stretch and have drape.

INTERFACING WEIGHTS

Interfacing also comes in multiple weights - light, medium and heavy. When choosing the weight of the interfacing, it is a good idea to select an interfacing that is the same weight or lighter than the fabric you are using. Lightweight woven interfacing will be most commonly used for garment sewing.

EXPERIMENTING WITH INTERFACING

Before selecting interfacing for a project, it is a good idea to experiment with different options on the fabric you plan on using. 

We recommend you cut swatches of fabric (approximately 10cm x 10cm / 4in x 4in) and fuse the interfacing to the wrong side. Label each one with the interfacing you used. To compare, pin them to a noticeboard or onto a mannequin on one corner so you can see how they drape. Fold each piece in half and feel how it feels when it is doubled, as this is how it will feel on a collar or cuff (if you choose to fuse both sides of the collar or cuff).

TIPS FOR WORKING WITH IRON-ON INTERFACING

There is a lot of conflicting information out there about how to apply interfacing. Don’t use steam. Use LOTS of steam! Use a damp cloth. Don’t use a damp cloth…

Thankfully, there are places we can go to benefit from other people’s experience, like this interfacing focused Sewing Pattern Review thread. 

We recommend that you start out following the manufacturer’s instructions, and then trouble-shoot if you’re still having problems. 

Here’s a few tips!

  1. Use high quality interfacing. The difference is noticeable!

  2. For light coloured fabrics, use white interfacing. For dark coloured fabrics, use black or grey interfacing. It's handy to have some of each colour in your stash.

  3. Prewash your fabric so that it doesn’t shrink when you fuse the interfacing with heat. This may be what is causing your interfacing to bubble as the fabric will shrink but the interfacing won’t.

  4. Cover your ironing board with a large piece of scrap fabric or calico. This will protect it from the interfacing adhesive.

  5. If piece fusing, sandwich the interfacing between two layers of paper and then cut out the pattern piece/s. This will ensure the interfacing does not stretch and the pieces are cut accurately.

  6. Before fusing your interfacing, always check which is the right and wrong side. The right side is smooth and the wrong side (the side with the glue that attaches to your fabric) is bumpy. If you look closely you can see the small glue dots on the wrong side.

  7. Cut the interfacing slightly smaller than the piece of fabric you are interfacing. This will prevent the interfacing going beyond the edges and ending up on your ironing board (or scrap fabric).

  8. Start with your iron on a low setting and work your way up until the interfacing fuses to the fabric without burning.

  9. Place the iron down onto the interfacing without dragging across the interfacing. Press to fuse one section and then lift the iron and put it back down on the next section. This will prevent the interfacing from stretching or moving into the incorrect position.

  10. When the interfacing is fused to the fabric, turn the fabric to the right side and press (you can drag the iron across once the interfacing is attached).

Side note: We know that in the home sewing industry it is often recommended to use a damp press cloth when fusing interfacing to fabric. This approach is not used in the professional garment sewing industry and it isn’t the approach we use ourselves, but we recommend following the manufacturer’s instructions if that is what is advised.

I hope this helps, Jamie!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Sewing Shirts Skills Kit is the first part of our Sewing Shirts project series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers. More information can be found here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 153 - HOW TO SEW FLAT FELLED SEAMS

How to sew flat felled seams.

THE Q & A SERIES

How to sew flat felled seams

Hi Emily,

I am really loving being a member of Curated. I’m learning a lot and it’s pushed me out of my comfort zone. Something I would like to suggest for an upcoming pattern is flat felled seams. I love the look of them and would love to give them a go. I know I could just try them out myself, but there’s something about getting a push from the monthly project that I know will encourage me to do it. And it’s always fun to do it along with the other ‘Foldies’ too.

Jennifer
Preston, UK

Hi Jennifer,

I am assuming you’ve seen our shiny new pattern, the Attwood pants, by now! 

We are really excited about this one as it’s our first pattern that includes flat felled seams! We’ve covered French seams and bound seams in some of our other patterns, but never flat felled… so we thought it was about time we rectify that!

What is a flat felled seam?

Flat felled seams are one of the strongest seam finishes. The raw edge is enclosed inside the seam (like French seams), and then it's pressed flat and stitched to keep the seam nice and flat.

When should I use a flat felled seam?

Flat felled seams are suitable for hardwearing items such as jeans and jackets. You will also sometimes use this finish for making shirts. They can also be used as a design feature - as we have done with the Attwood pants.

Types of flat felled seams

There are various ways to sew flat felled seams and we have chosen the method we find the most straightforward. Flat felled seams can be sewn so that the seam is enclosed on the right side of the garment (Option 1) or on the wrong side of the garment (Option 2).

For the Attwood pants, we used the method that has the enclosed seam on the right side of the pants to make a feature of the flat felled seams. If you would prefer the alternative (enclosed seam on the wrong side of the garment), you can construct them that way. We suggest sewing samples of both options to work out your preference.

Flat Felled Seam Option 1 

Seams sewn wrong sides together. Seam allowance is enclosed on the right side of the garment when the seam is complete. This is the method used throughout these instructions.

Flat Felled Seam Option 2 

Seams sewn right sides together. Seam allowance is enclosed on the wrong side of the garment when the seam is complete.

How to sew a flat felled seam

How to sew flat felled seams - Step 1.

Step 1
Pin the pieces you are joining together with wrong sides together. Stitch with a 1.2cm (½in) seam allowance (or what your pattern specifies).

How to sew flat felled seams - Step 2.

Step 2
Trim down one side of the seam allowance to 6mm (¼in). The instructions will guide you as to which side to trim down. If sewing a sampler, you can trim down either.

How to sew flat felled seams - Step 3.

Step 3
Press the seam open with the seam allowance pressed to one side.

Step 4
Turn the wider side of the seam allowance over the narrow side. The raw edge of the wider side should sit about 1mm back from the stitch line. Press well when you are happy with where the edge is sitting.

How to sew flat felled seams - Step 5.

Step 5
Flip the seam allowance over to the other side of the seam, so that the raw edge is now enclosed in the seam. Press and pin through all layers.

How to sew flat felled seams - Step 6.

Step 6
Carefully stitch close to the fold to complete the seam.

As you know, Jennifer, we’ll be going through everything with our Curated by ITF online community, so if you have any questions you definitely ask then! (And you’re right… it’s way more fun to do it together!)

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

For more issues of the Q & A series, you can check out the archive here.

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Issue 151 - Tips for sewing a dress

Tips for sewing a dress.

THE Q & A SERIES

TIPS FOR SEWING A DRESS

Hi Emily,

I’m making the Rushcutter dress. Have you any tips? It’s my first dress.

Sonya

Hi Sonya,

Great to hear you’re giving the Rushcutter dress pattern a go! This was the very first pattern we released and has become an all-time favourite since then.

We’ve got dresses on our minds this month as we just released the Cartwright dress and top pattern in our Curated by ITF membership, and we think they’re a super fun project to make. 

Dresses make great additions to a wardrobe because they’re a complete outfit - no need to think about what other garments go with them! Which definitely makes getting dressed in the morning much easier. I think a dress is also a great opportunity to be a bit daring with your fabric choice through fun prints and bright and bold colours.

My top tips for what to do before making a dress (or any project really!), would be:

READ THROUGH THE INSTRUCTIONS BEFORE YOU START

This will help you prepare and familiarise yourself with the techniques used in the pattern, so that once you get started you have a rough idea of the construction process of the dress will play out. 

The Rushcutter is a good example of the importance of doing this, because it has a particularly fun way of coming together, so even just seeing the illustrations will be helpful. 

Any journey is a little easier when you know where you’re heading, so don’t skip this step!

CHECK OUT THE RELATED HASHTAG ON INSTAGRAM

It’s really helpful to see a design on a range of different bodies, and also to see what fabrics work well for the pattern. Selecting the right fabric for the project is one of the challenges when making your own clothing, so seeing how the pattern looks made up in a particular fabric is always helpful. You can scroll through the Rushcutter dress hashtag on Instagram here.

Also, have a read through this post where we talk about choosing fabric for the Rushcutter dress pattern.

TAKE YOUR MEASUREMENTS FIRST

You should do this before starting any new project so that you can select the correct size/s. We have a blog post that will help you with that process here. 

If you’re looking to take a deep dive into garment fitting, our Curated by ITF membership has a very supportive community with lots of additional resources to help you do this. This month we’re working on the Cartwright dress + top pattern. 

In our Curated by ITF membership our new release patterns are accompanied by a supporting Fit Kit resource that covers how to measure yourself, choose a size and the order of operation for alterations for the pattern it relates to. The Fit Kit also covers a range of alterations with step-by-step instructions and illustrations, as well as patternmaking tutorials that show you handy techniques like adding seam allowance and what you need to do to check your patterns after making alterations.

When we release our designs as standalone patterns (usually 6-12 months after releasing them in our Curated by ITF membership), we make the Fit Kits available for purchase for an additional cost. You can see this with our Sawtell dress pattern which was recently released as a standalone pattern in our extended size range.

MAKE THE MOST OF PATTERN LAYERS

If using the PDF version of the pattern, we suggest taking advantage of the layers in the pattern so that you only print the size/s that you need. If using the paper pattern version, we suggest tracing a copy of the size/s you need so that you can come back to the pattern in the future (this isn't as important with the PDF version as you can always re-print it).

MAKE A TOILE

Also known as a muslin, a toile is basically a draft version of a pattern. The name comes from the fabric often used to make them - muslin (the American name) or toile (the French name). You can read more about it here. 

At In the Folds, we believe making a toile is a really important part of sewing a garment and it’s another step that we don’t recommend skipping. By making a toile you can check the fit and have a practice run of new techniques. It means when you sew the real thing, you can enjoy the process and relax into some mindful slow sewing, instead of worrying about making mistakes and wasting money and fabric.

FOCUS ON WHAT YOU’D LIKE TO LEARN

Making clothes is such a fun hobby and there is so much room for growth and experimentation. It can, however, be frustrating when things don't go to plan, so we suggest focusing on the skills you would like to learn from the project, rather than just the end result of a finished dress. This way you will enjoy the process and have some great new skills under your belt when you're done! 

The skills you’ll learn when making the Rushcutter dress  include sewing: curved seams, pockets (inset or in-seam, depending on the view you choose), buttons or an invisible zip, and bias binding. 

CHECK OUT THE RUSHCUTTER SEWALONG

Our pattern instruction booklets are an exhaustive reference for constructing our patterns, but to help you even more we also have a sewalong for the Rushcutter which includes photos of the construction process rather than illustrations.

We hope you enjoy using the Rushcutter dress pattern and making your first dress!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Rushcutter dress pattern can be found here.

  • The Sawtell dress pattern can be found here.

  • Check out our Rushcutter dress sewalong here.

  • More information about our monthly sewing subscription, Curated by ITF, can be found here.

  • Choosing fabric for the Rushcutter dress - read the post here.

  • How to print and assemble your PDF sewing pattern - read the post here.

  • How to (and why) make a toile - read the post here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 150 - CHOOSING FABRIC FOR THE RUSHCUTTER DRESS

THE Q & A SERIES

CHOOSING FABRIC FOR THE RUSHCUTTER DRESS

Hello In the Folds!

Would you say the Rushcutter dress could be made in a fine cotton corduroy? I’m thinking of running the corduroy horizontally for the side panels. And I’d make it sleeveless to wear turtlenecks under it in the autumn and winter.

Being a “confident beginner” in sewing, but not so confident in fabric selection I’d appreciate your thoughts on if this would be a good fabric choice.

By the way, your patterns are beautiful, and I’m equally impressed with your print materials and the design of your website. Such a beautiful, and elegant approach to design, all the way around.

Thank you!

Amy

Hi Amy,

Wow! Firstly, thanks so much for your lovely compliments. It’s very nice to receive feedback like this and know that all our hard work doesn’t go unnoticed. The entire In the Folds team really appreciates it!

You’re not alone in struggling to match fabrics to sewing projects. 

It can be tricky, especially when you’re just starting out, but I’m pleased to say that it definitely gets easier over time. Like most things, it just takes practice, and unfortunately a few mistakes! The good thing is that we can learn just as much from the failures as the successes.

Since we’d all prefer not to have to learn the hard way, I’ll share some tips that can help you gain confidence in selecting the right fabric for the project.

Use your wardrobe as a resource

Look at the garments you already have in your wardrobe and think about how they hang, drape and sit on the body. Check the fibre content of the fabric, and think about how they feel. If there is a piece you really love, take it with you next time you are fabric shopping and use it as inspiration!

Of course the above option doesn't work if you shop for fabric online. If this is the case, many independent online fabric retailers will send out samples for a small fee. Order some samples and compare them to the fabrics in your wardrobe.

Our Slow Sewing Planner is a great resource to help you understand your wardrobe choices so that you can then apply the information to the garments you are making. Check it out here!

Shop for fabric at op shops (thrift stores)

This will give you a chance to work with a variety of fabrics whilst also not breaking the bank. It might also encourage you to step out of your comfort zone with your choices.

Follow makers with a similar style / aesthetic to you 

Lots of makers include fabric details with their photos on social media so you can see how the fabric works for a particular pattern and how it looks on the body. Create a folder on Instagram so you can save fabrics and pattern combinations you like.

Search social media hashtags

If there is a particular pattern you like, use the hashtag function to see what fabrics other makers have made it in. If you see a version you like and the maker hasn’t included the details, ask them! As you probably already know, makers love to talk about anything sewing and fabric related. I’m sure they’ll be flattered to hear that you love their make and would like to make one of your own.

You can follow us on Instagram here, and check out the Rushcutter dress hashtag here.

Be willing to make mistakes 

This is a big (and sometimes painful…) one! But, often our best lessons are learned through making mistakes. 

Let yourself explore different options and ideas so you can learn what fabrics work for different patterns. Accept that you’re still going to get surprises sometimes. I have been sewing for about 25 years and still get a surprise every now and again.

Selecting fabric for the RuShcutter dress

We recommend light to mid-weight fabrics such as: cotton shirting, poplin, sateen, linen, silk, light to mid-weight wool, chambray or light to mid-weight denim. 

Your fabric choice will have a big impact on the silhouette you will achieve. For a more structured, boxy look, consider mid-weight denim, twill or jacquard. Or, for a more relaxed, draped look, consider a viscose blend or silk crepe de chine.

Fine cotton corduroy would be a great choice and would be lovely to wear turtlenecks underneath. 

My only other tip would be to select a size that gives you a bit of extra wiggle room in the top area so the underarms don't feel tight with a shirt underneath. Good luck!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Rushcutter dress pattern can be found here.

  • The Slow Sewing Planner can be found here.

  • Check out our Rushcutter dress sewing tutorials here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 147 - TIPS FOR SEWING KNIT NECKLINES

TIPS FOR SEWING KNIT NECKLINES

THE Q & A SERIES

TIPS FOR SEWING KNIT NECKLINES

I am having trouble getting a nice smooth neckband when sewing knit tops. In my first attempt, I cut the neck band the recommended length, but found I could not avoid some  puckering at the front of the top. The next time, I cut the band longer. This mostly avoided the puckering, but my neckband stood up instead of lying flat. In both cases I used a fairly firm knit and cut the neckband from the same fabric, but on the bias, as per the pattern instructions.

Any tips most gratefully received!

Karen

Melbourne, Australia

Hi Karen,

These days, so much of our wardrobe contains garments made from stretch fabric so, sewing with knits is a skill that we’d all love to add to our kit, but many are afraid to try. We were keen to knock this fear on the head with our two-part Sewing Knits series as part of our Curated by ITF subscription, and from the feedback we’ve been getting, I think we’ve succeeded!

Samplers are a great way to learn a new skill and this is the approach we’ve used in part one of the series, the Sewing Knits Skills Kit. Not only does it provide a low-pressure method of tackling a new technique (you can happily practice and make mistakes because you’re not going to wear it!), it’s also low-cost because you can just use fabric scraps you already have in your stash.

The second part of the series, the Kealy T-shirt, is a the perfect next-step pattern. It’s a classic design that allows you to start applying the new skills you’ve learnt, but doesn’t require you to combine them with tricky techniques. Plus, it’s a quick sew, and you can make a few shirts in one sitting which gives you even more opportunity to practice!

But, moving on to your question…

To start with, I am curious about the pattern suggesting you cut the neckband on the bias.

CUT NECKLINES ON THE STRAIGHT GRAIN, NOT BIAS

When it comes to knits, we normally cut the neckband on the straight grain. When sewing woven fabrics and finishing a neckline with bias binding, we cut on the bias. This gives the woven fabric a slight stretch and helps it fit around curves and press nice and flat.

So to start, I’d suggest confirming this aspect of the instructions and consider cutting the neckband on the straight grain instead. 

USE A NECKLINE RATIO

Often patterns call for you to ‘quarter the neckband’ on a stretch pattern for ease of explaining the instructions.

However, because the front neckline is longer than the back, this means the front is stretched more, making the neckband uneven. In the Folds patterns always have notches to distribute the stretch evenly, but if you don't have these notches you can calculate the ratio following these instructions.

Measure your pattern

Record the following measurements of your pattern. Remember to double any measurements which are cut on the fold, and measure the STITCH LINE (the pattern without seam allowance), not the CUT EDGE.

A - Front neckline =
B - Back neckline =
C - Total neckline measurement (A+B) =
D - Total neck ribbing / neckband measurement =

Divide the total neck ribbing (D) by the total neckline measurement (C) to find the ratio.

E - D/C = ratio of neckline = 

E.g. 44/54 = 0.81 ratio.

Then use the ratio (E) and apply it to the front and back neckline (A and B). Once you have these measurements you can mark the notches onto the pattern. Remember to halve the measurements to find the CENTRE FRONT and CENTRE BACK of the neckband / ribbing.

Front ribbing / neckband - Front neckline (A) x ratio (E) =
Back ribbing / neckband - Back neckline (B) x ratio (E) =

Tips for making neck ribbing

If you're creating your own neck ribbing pattern or you need to adapt a pattern to suit your fabric, you can choose the ratio that works best for you. Here are some tips to get you started:

  • Always toile the new neck ribbing pattern in the right fabric before sewing the final garment.

  • You'll notice when using a self fabric (the same jersey as the body of the T-shirt) as a neck band that it has less stretch than a separate ribbing fabric. Ribbing fabric has raised vertical lines.

  • The more stretch the ribbing has, the shorter the neckband should be.

  • A good place to start for a regular crew neck T-shirt and self fabric is to make the neckband pattern around 80% of the neckline measurement. Self fabric won't stretch as much and won't lie as flat as a separate ribbing fabric.

  • It is often a balancing act between getting the neckband to sit flat to the body and not stretching too much that it causes the neckline to gather. Sew a test and tweak the ratio by a few % if necessary until you're happy with the fit.

  • A good place to start for a regular crew neck T-shirt and ribbing fabric is to make the neckband pattern around 70-75% of the neckline measurement.

  • Stretchier ribbing may go below 70%, but if it is stretched out too much, it may create gathers around the neckline.

  • The narrower the neckband, the more likely it is to lie flat. We recommend using 2cm (3/4in) width for self fabric and 2.5cm (1in) for ribbing fabric. These are finished widths, so don't forget to double them and add seam allowance when making your pattern.

PRESS, PRESS, PRESS!

The final thing we want to say is, don’t underestimate the power of steaming (with an iron) when you are sewing a neckband (or anything else for that matter)!

Don't worry if the neckline looks wrinkled after attaching the neckband/ribbing, as long as there are no pleats or puckering. You can see in our example how it completely transformed after pressing.

Using a pressing ham helps a lot when pressing curves like this.

I hope this tutorial helps you achieve a neckband you are happy with!

If you’d like to learn more skills related to sewing knits, we suggest you checkout this month’s issue of Curated - the Kealy T-shirt, along with last month’s issue - Sewing Knits Skills Kit, which you can purchase separately after you sign up.

Happy sewing,

Alys

RESOURCES MENTIONED IN THIS ISSUE

  • The two-part Sewing Knits series includes the Sewing Knits Skills Kit and the Kealy T-shirt pattern, which are available with a Curated by ITF subscription. The Kealy T-shirt pattern is the April project and can be purchased here. The Sewing Knits Skills Kit can be purchased here by current subscribers only. More information about the subscription can be found here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 146 - EMILY’S MATERNITY WEAR SUGGESTIONS

THE Q & A SERIES

emily’s maternity wear suggestions

Hi Emily,

I’d like to know if you have any suggestions about how to adjust patterns for maternity wear?

Thanks,

Ivy

Walsall, UK

Hi Ivy,

This is great timing to receive this question as I have recently had a baby!

Maternity clothing has been a new part of my life since pregnancy last year and the arrival of bub in December. And, I’d love to say I sewed up a beautiful maternity wardrobe to get me through pregnancy and the postpartum months, but the reality was that I was very unwell throughout the first trimester and had very little energy to do anything.

When I was lucky enough to get a boost of energy in my second trimester, the reality (and panic) of running a small business and needing to take time off to have a baby set in and I spent the rest of the pregnancy preparing the business for taking time off.

I wear a lot of loose-style garments and had just hoped I could get through without buying or making anything. I didn’t like the idea of having clothing that was only useful for a specific purpose and then would no longer be needed. But, it turned out that I was a bit naive, and definitely needed some maternity-specific clothing as my bump got bigger, so this is something I can definitely shed some light on now.

MY FAVOURITE MATERNITY WEAR GARMENTS

Maternity jeans

I love wearing jeans and found that I was uncomfortable around the waist early on in pregnancy, particularly because I normally wear high waisted jeans. I bought a pair of maternity jeans and I loved them. They really got me through and I wore them for the majority of my pregnancy and continued to wear them for a few weeks postpartum while everything was still very tender.

If you are up for making some jeans or maternity pants, I think you could definitely give it a go with a pants or jeans patterns you already have. The key is to add the seam for the stretch band very low. I was surprised when my maternity jeans arrived how low the seam is where the jeans join to the jersey waistband. But this was exactly what I needed with my growing bump.

The pair I bought had the front pockets lowered so that they were under the bump band, but if I were to make some I would just leave off the front pockets. To me they were a bit awkwardly placed as they were so low down, so I didn’t really use them and they didn't look great. I did use the back pockets though.

I bought my jeans early on and the bump band was too big, so I took in the sides of the stretch sections with a zig-zag stitch and then let them out as I needed to throughout the pregnancy. If I were to make my own, I’d do the same thing. Make the waist section with plenty of space and then just adjust it as you go, as you don’t know how big your bump will get.

This is a bonus of being able to adjust your clothes! I recommend using a jersey fabric that has good retention so they sit nice and firm and don’t slip down. I think you could definitely make some maternity pants from an elastic waist pant pattern too - and they would potentially be a bit cooler for the summer months. I also think you could use the same concept for a skirt - basically just an elastic waist skirt but with a big belly band at the top. 

I know some people like wearing clothes under their bumps, but I found it much more comfortable wearing things over, as the things that go under just slipped down constantly. This tutorial from Hey June Handmade gives you an idea of how to go about sewing a maternity band on pants or skirts.

Emily wearing a pair of denim overalls, standing in her studio.

Overalls

The other thing I wore a heap was overalls. I bought a style that was quite large in the waist and they got me through most of my pregnancy. This is something you could make - just be sure to choose a loose fitting style. I made sure mine were big enough to wear while pregnant, but also something I could happily wear post pregnancy.

The In the Folds Collins top

As for tops, I have a lot of baggy / billowy tops that worked well with jeans and hid my bump until I was well into the second trimester. I've got a number of Collins tops that were in heavy rotation until they became a little short in the front. But even then, they still worked with something high-waisted and adjustable underneath (like the Wrap skirt that I wore a lot).

This style of loose-fitting top is still working well postpartum as they can easily be lifted for breastfeeding. I normally wear something high waisted underneath, so it doesn’t feel like I’m revealing too much skin and the loose fabric provides some cover. If you’re not comfortable showing this much skin, the other option is to wear a nursing singlet or camisole underneath that allows you to wear any top you like and when you lift it up you have the singlet underneath for coverage.

Loose-fitting dresses

I'd say the other thing to think about might be some loose fitting dresses. I had a few in my wardrobe that got me through the whole pregnancy. By the end it was the jersey ones (like the one above!) I was reaching for most as they comfortably fit over my bump and didn’t restrict movement. Unfortunately though, none of these dresses have centre front openings so they’re out of rotation now that I’m breastfeeding.

If I were to sew some dresses for this period, I’d definitely add a centre front placket so that it could be worn postpartum if you choose to breastfeed. Adding a centre front button closure to the Everyday dress pattern would work well.

I didn’t go out a whole lot during pregnancy, but when I did, it was good to have a couple of things that I knew fit and made me feel somewhat put together! One of these was an Acton dress with sleeves, that you can see me wearing here when I was about 36 weeks pregnant.

Loungewear

Another one of our patterns that would work really well throughout pregnancy and beyond is the Gibson loungewear set. I actually designed this pattern early on in my pregnancy as it was what I imagined I’d be wanting to swan around in when the baby arrived in December (Summer in Australia). But let’s be real, there was no swanning in December. Don’t get me wrong - life was completely magical as my partner and I adjusted to life with a baby, but also completely chaotic!

Now that things have calmed down somewhat, this is exactly the kind of thing I’ve been reaching for, even four months in. I’m still in no rush to put on pants with a fitted waistband, so anything with elastic has been my go-to. The dress and pants views in this pattern make it a versatile maternity wear option!

Robes

Another thing that was in heavy rotation in the early months with bub was my Whitlow robe. As I got the hang of breastfeeding, it was easier not to put a top on and I basically lived in robes (this was possible because it was so warm!). It was also handy to wear in hospital and to throw on when getting up throughout the night for feeds. 

I hope this has been helpful.

It is such a strange time to plan clothes for as everything is changing so fast, but my biggest tip would be to have a few go-to items you can grab and feel good in, and don’t worry too much about wearing the same thing over and over again!

Choose fabrics that launder well and if they don’t need to be ironed, that’s a plus too. Life with a newborn doesn’t leave much time or space for ironing clothes!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Collins top pattern can be found here.

  • The Acton dress pattern and sleeve expansion bundle can be found here.

  • The Whitlow robe pattern can be found here.

  • The Gibson Loungewear set pattern is available as an additional purchase through our Curated by ITF subscription. More information can be found here.

  • The Everyday dress pattern is a free pattern and can be found here.

  • The Jersey dress pattern is a free pattern and can be found here.

  • The Wrap skirt pattern is a free pattern and can be found here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 145 - SEWING KNITS: INDUSTRIAL VS DOMESTIC TECHNIQUES

THE Q & A SERIES

SEWING KNITS: INDUSTRIAL VS DOMESTIC TECHNIQUES

Hi Emily,

How do I achieve the techniques I find in my RTW knits while sewing at home?

Thanks,

Rosa

Hi Rosa,

One thing many sewists strive for is to learn how to make their homemade garments look as finished as ready-to-wear. (Well, not all ready-to-wear, we have to admit… but you know what we mean!) We’re not embarrassed to admit that you can often find us turning a store-bought garment inside out to figure out how a particular finish was achieved!

So, we think it’s a great idea to look in your wardrobe for inspiration!

One of the best ways to learn about different seam finishes and construction techniques is by looking at ready-to-wear garments in your wardrobe or a shop, and taking photos for future reference if you see a finish you like.

This month in Curated by ITF, we’re looking at all the techniques you need for sewing knits at home on a domestic sewing machine.

In industry, they use specialist machines to achieve some of these techniques and of course, it’s unlikely you’ll have access to those kinds of machines, but that doesn’t mean you can’t get the same finish (or at least similar) at home!

Read on to find out about two industry techniques that we like, and we’ll show you how to mimic these techniques while sewing at home on a budget!

Sewing knit seams

In industry, stretch seams are sewn on an overlocker. Four threads are used to maintain the stretch of the garment, with a 6mm (1/4in) seam allowance.

At home, on a regular sewing machine we usually sew a stretch stitch (on some machines, this is called lightening bolt stitch or triple stitch) or a narrow zig-zag stitch, with a 1cm (3/8in) seam allowance. We then finish the edges with a zig-zag stitch, overlocker or an edge foot.

If you have an overlocker, you can, of course, sew the seams directly on the overlocker. However, you must change the seam allowance to 6mm (1/4in) and use four threads to stitch the seam, rather than three.

It’s important to make a sample first, and pull the seam to ensure the overlocker has the correct tension and the seams will hold as they stretch on and off your body.

Hemming Knits

In industry, an industrial coverstitch machine is used to sew the hems of a stretch garment.

At home, we use a twin needle to provide a double row of stitching on the front and a zigzag stitch on the back. You can also choose to overlock the hem first, but this is not necessary as knit fabrics don’t tend to fray. In this month’s Curated by ITF Issue we encourage you to make two samplers to test these techniques so you can decide what works best for you and the fabric you’re working with.

This simple, but effective knit fabric finishing technique saves home sewists both money and space! A stretch twin needle costs around $8 AUD, whereas a domestic coverstitch machine ranges between $1200 - $2000 AUD! (Of course, if you’ve got the budget and the storage space, feel free to invest if you think you’ll get the benefit of it.)

Take a look in your wardrobe

You might find it interesting to see how your RTW garments differ from home sewing approaches. But you shouldn’t feel like you need to invest in expensive technology to be able to achieve it at home. With the right guidance and techniques, we’re certain you'll be pleasantly surprised by the amazing results you can create at home on a domestic machine!

If you’d like to learn more about sewing knits, we’d like to invite you to join us in Curated by ITF this month. We think it’s high time sewists kicked the fear of stretch fabric to the curb and we’re here to help you do just that with a two-part knit fabric series!

This month we’re working through all the knit fabric skills and techniques you need to know to confidently sew stretch on a regular sewing machine, including machine settings, tools, stitch types and more.

Then we’re applying this information through the use of samplers. This is a learning approach that we love to use at In the Folds as it gives you the opportunity to practise and fine-tune skills before applying them to a wearable garment.

Once you’ve worked through the content for the month you’ll be ready to kick on to part two - a T-shirt pattern that we know will become a go-to in your wardrobe and sewing regime!

Happy sewing,

Alys

RESOURCES MENTIONED IN THIS ISSUE

  • The first in a two-part stretch fabric series, the Sewing Knits Skills Kit is currently available with a Curated by ITF subscription for the month of March 2023. More information can be found here.

  • Stay tuned for next month’s knit T-shirt pattern!

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 144 - HOW TO CUT KNIT FABRIC

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THE Q & A SERIES

TIPS FOR CUTTING KNIT FABRIC

Hi Emily,

I’m struggling to cut knit fabrics. Whenever I cut them out and unpin the pattern pieces, they appear smaller than the pattern! Do you have any tips to help me cut more accurately?

Thanks,

Mel

Hi Mel,

This is actually a really common problem, so I’m glad you asked the question!

This month in our Curated by ITF sewing subscription we’re learning all about how to sew with stretch fabric with our Sewing Knits Skills Kit.

It can be really tricky to cut knit fabric because it often stretches as you pin and cut, meaning the pieces become the wrong size. Just another reason people find sewing with knits a bit frustrating!

I’ve got a few simple tips that will help ease the process and allow you to cut your stretch fabric accurately.

Before you start

Prewash your fabric

When making garments you should always wash and dry your fabric before starting. This is no different for stretch fabric.

I recommend that you use the same method you intend to use when washing your garment after wearing so it doesn’t shrink after the first wash. If you wash in cold water only, then prewash in cold water. If you wash in warm water, then prewash in warm water.

Press your fabric

After you’ve washed and dried your fabric, give it a good press. Take care not to overstretch the fabric while doing this.

If you find that the edges of the fabric are rolling, now is a great time to use some starch spray. This helps to stabilise the fabric and washes out after sewing. And you’ll actually find this helps while sewing the pieces together, as well as when cutting.

Use the right tools

Pinning and cutting with scissors is often what makes the pieces smaller or misshapen.

Instead, use a rotary cutter, weights and a cutting mat. These tools help with accuracy because they stop the fabric from pulling as you cut, which happens as you pin and cut with scissors.

This is a great chance to make the pattern weights from Issue 17 of Curated by ITF!

Cutting technique

Check the grainline

Ensuring your pattern piece is on grain will also help with cutting your knit fabrics accurately.

To do this, take your pattern pieces and lay them on your fabric with the grainline of each pattern piece running exactly parallel to the selvedge.

Use a tape measure to measure from each end of the grainline mark on your pattern piece to the selvedge. Adjust the pattern piece until the measurement is the same from both ends of the grainline mark.

Use the pattern’s cutting plan as a guide to lay out your pieces.

Cut the fabric flat

If a pattern piece says ‘CUT 1 ON FOLD,’ it means to align the pattern piece's fold line with the fabric's fold so that you will be left with a full pattern piece once cut. However, we recommend cutting knit pieces flat rather than on the fold.

To do this, trace both sides of the pattern so that you have a full pattern piece, and then use this to cut your knit fabric.

If you want to cut the pieces on the fold, take particular care not to stretch the fabric. It may help to cut the fabric into smaller pieces to stop this from happening.

Take care when cutting notches

Instead of using scissors or a rotary cutter to cut notches, cut them with snips. Take care not to cut too deep, as the seam allowance on stretch patterns is often smaller than on wovens.

Alternatively, mark notches with chalk to avoid the possibility of creating a run in the knit fabric.

Learn more knit skills with us!

Knit fabric has become such a large part of our everyday life, and yet it’s a textile that many sewists find a bit overwhelming. That’s why we created the Sewing Knits Skills Kit. The first in a two-part knit fabric series, we’re using samplers to learn everything we need to know to sew stretch patterns on a regular sewing machine so we can put our new skills into practice with part two in the series, our T-shirt pattern.

There’s so much to learn that will make it much easier to sew with this tricky (but oh so comfy!) fabric. I hope you can join us!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Pattern weights tutorial is part of Issue 17 of Curated by ITF and is only available for purchase by current members at this time.

  • The Sewing Knits Skills Kit is currently available with a Curated by ITF subscription for the month of March 2023. More information can be found here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 143 - HOW TO SEW BIAS BINDING ON A V-NECK

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THE Q & A SERIES

How to sew bias binding on a V-neck

Hi Emily,

Great series on bias binding. I am just starting to master that. Next, I'd like to tackle a V-neck. Could you break down the steps for a V?

Thanks

Sam

Hi Sam,

Great question!

This month’s Curated by ITF pattern, the Stow dress, has a V-neck detail on the neckline. While designing the pattern, we took the time to experiment with a few different techniques to finish it because we wanted to make sure it gave a beautiful finish, and was an achievable approach.

The Stow dress has two Views. View A is a standard V-neck, while View B has a button placket at the front. We’ll show you how to finish a standard V-neck with binding in this tutorial, which is applicable to Stow dress View A.

BEFORE YOU START

We recommend using this technique to finish the neckline after sewing the shoulder seams of the garment. This will allow the garment to lay flat while adding the binding, making it easier to handle. You can then assemble the side seams afterwards.

NOTE: General In the Folds seam allowances have been included for your reference. If you have chosen different seam allowances (or are using another company's pattern), please be mindful of this.

PREPARE BIAS BINDING

Step 1

a Using a tape measure, measure around the neckline of the dress starting from the CENTRE FRONT V-neck on one side and continuing around the neckline until you reach the CENTRE FRONT again.

b  Cut a piece of bias binding about 6cm (2⅜in) longer than your neck measurement. If you are making your own binding, it needs to be 32mm (1¼in) wide. 

c  If you have made your own binding, place it right side down and press one long edge of the binding under by 1cm (⅜in). It will look like the middle image above. Commercial bias binding will look like the bottom image above.

Step 2

Fold the binding in half to find the midway point. Finger press the fold.

Unfold and pin the right side of the binding (at the midway point) to the right side of the garment at the CENTRE BACK of the neckline.

Step 3

a Pin the binding onto the neckline, carefully working your way to the shoulder seam.

Flip the dress to the front. Continue pinning the binding around the neckline until you reach the CENTRE FRONT. When you get to the V-neck point, stop pinning and mark the CENTRE FRONT line onto the binding with chalk or erasable pen and a ruler.

b Going back to the binding at the CENTRE BACK, continue pinning the rest of the binding to the neckline. Again, mark the CENTRE FRONT line on the other side of the binding with chalk or erasable pen and a ruler.

Step 4

a Remove the last couple of pins so that you can lift the binding on either side of the CENTRE FRONT. (These pins were only used so you could ensure the CENTRE FRONT line you marked was precise).

b Place the binding right sides together, matching the two lines marked. The outer long edge of the binding should still be folded up. Pin. Stitch along the marked line.

c Trim back the seam allowance close to the stitch line. Press the seam allowance open.

Step 5

Repin the binding to the neckline, lining up the seam in the binding with the CENTRE FRONT V-neck point of the dress. The binding should sit flat on the garment at this point.

Step 6

a Sew binding in place with a 1cm (⅜in) seam allowance. Start at the CENTRE BACK or shoulder seam and work your way around to the CENTRE FRONT or opposite shoulder seam. Walk your stitches as you approach the CENTRE FRONT to ensure your needle lines up with the seam in the binding. Pivot to continue sewing around the neckline.

b Trim, clip and grade the seam allowance. Trim in nice and close to the point of the V at the front to minimise bulk as much as possible. Be careful not to cut through the stitching!

Step 7

Flip the binding to the right side and, using your finger to press the seam allowance towards the binding, understitch.

Start stitching about 1.2cm (½in) back from the points of the V on one side and then repeat on the other side.

Step 8

Turn the dress inside out and roll the binding to the inside. Press well and pin in place. Stitch in place close to the folded edge of the binding.

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Stow dress pattern is currently available with a Curated by ITF subscription for the month of February 2023. More information can be found here.

  • How to make your own bias binding - tutorial here.

  • Attaching single-fold bias binding - tutorial here.

  • Attaching double-fold bias binding - tutorial here.

For more issues of the Q & A series, you can check out the archive here.

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ISSUE 140 - TIPS FOR CHOOSING A CUTTING TABLE

THE Q & A SERIES

TIPS FOR CHOOSING A CUTTING TABLE

Morning In the Folds,

I was wondering if you can help me decide on a cutting table.

I have just moved home and for the first time I'm lucky enough to have a space that I can dedicate to a sewing table.  I realise in the end it's each to their own and dependant upon the space available but as you must have used a variety of tables over the years I wondered if you could pass on what's great to have and things to avoid. 

I've been wondering, would you avoid a folding table, what height would you go for and what surface would you suggest? Also, what is the minimum size top you wouldn't go below (might that be based around the size of a bolt of fabric)?  I also figured it would be useful to have a table on casters and ideally be able to walk around it rather than it be up against a wall.

Anyway, knowing what others with more experience have found suitable will really help so thank you in advance if you get time to reply (I know you're always busy).

Kind regards,

Sharon, UK 

Hi Sharon,

How exciting that you have space for a cutting table!

This is actually a question I’ve had to consider myself recently. Last year I moved studio spaces and had more space available for a larger cutting table, so I’ve definitely got some thoughts on what to consider.

The focus of this month’s Curated by ITF project, Organise Your Space, also focuses on setting up your sewing space to make it easier to get stuck in and sew, so we’ve been thinking about this a lot!

When designing any space it’s always good to have a clear idea of how you intend to use the space you have, and then come up with a design based on that, so I’ve come up with some questions you might want to consider and answer for your yourself. I’ve included my own thoughts as well.

Will the cutting table be where you put your sewing machine?

Knowing the answer to this before you start out is important because it will impact the height of the table you want to have. It also determines whether or not you can use underneath the table for storage, or if you will need space to slide a stool or chair so you can sit at the table and sew.

You might not be able to answer this question until you’ve answered the question below, so consider these in tandem.

DO you PREFER TO STAND OR SIT when you sew?

With people now focusing on how much they’re moving each day, a lot of creatives are choosing to stand at their machine.

My workbench in my old studio was a comfortable height for standing, but when I used it as a sewing table I used a stool. It worked well, but I know this might not be comfortable for everyone. But, if you think about the time you actually spend sewing when you are making a garment (compared to cutting, pinning and ironing), you might find that you’re sat at your machine a lot less than you think!

Standing to sew might also mean you move between the different stages of garment construction more quickly and efficiently because you don’t have to stand up, move a chair out of the way, relocate to another area, etc.

how high should the cutting table be?

The height your cutting table will really depend on how tall you are.

Choose a height that is comfortable to stand at for long periods of time and doesn’t make you bend down too much. I think somewhere around the top of your hips is normally a good finished height to start with.

HOW WIDE SHOULD THE cutting TABLE BE?

When deciding on the table size you should also consider the patterns and fabric widths you tend to sew with, as it will be much easier to cut larger fabric pieces if you have the support of a table to match.

Off the bolt fabric can go up to 1.5m wide, so start there and work backwards.

If you don’t have the space to accomodate a table that big a 1.2m width would also work as only a small amount of fabric will be hanging off the edge if using larger widths, and most of the time you will be cutting on the fold.

how much sewing space do you have?

How much space you have for your sewing set-up will be a big factor in deciding on what furniture you can use.

If you have the space, I'd suggest having a dedicated cutting table. A large cutting table gives you space to do all the work that requires more room, such as pinning and set-up work, allowing you to have a separate smaller table just for sewing on your machines.

If possible I'd avoid a folding table. They can be great if you don't have the space, but they don't have the stability of a free standing table, which can be frustrating.

A table on casters is a great bonus to have. Being able to move the table out from a wall makes a big difference as you can access all sides which makes cutting a lot easier. It also means that you’re not completely dominating the space with a table and can move it around and out of the way when required. Keep in mind that castors will raise the height of a table.

WHAT TYPE OF SURFACE IS BEST?

I always try to consider longevity and sustainability when I’m setting up a new sewing space. For this reason I like to go with a timber that can take some wear and tear, but a piece can also be easily repaired or replaced later on if need be. A timber surface also means it can be lightly buffed when required.

To help protect your cutting table, large cutting mats are a great addition as they provide a smooth surface that won't catch or snag fabric. I’d highly recommend investing in a cutting mat (or however many you need to cover your table), particularly if you do lots of pattern alterations or use a rotary cutter as they will help prevent damage to the table top and make it last longer.

build or buy?

I love building a cutting table to fit my space because it means I can get the exact size, shape and height I need and want for my space.

There are some great resources online with directions for making one, like this one or this one (which has an interesting approach to the table top surface that I had never seen before!).

What's great about this style of table is that you have a lot of storage room underneath and can even put in a second shelf (depending on the height you go with and what you will be storing underneath).

It can also be handy to put some storage on the side - I have little hanging baskets on the side of mine where I can put a few tools etc. and then a rail where I can hang patternmaking tools.

If building a table is not possible, there are some great IKEA ideas / hacks around - like this one or this one.

I hope that's helpful and gives you some food for thought as you make plans for your new table!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • The Organise Your Space resource is currently available with a Curated by ITF subscription for the month of January 2023. More information can be found here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

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ISSUE 124 - Choosing the right seam finish

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THE Q & A SERIES

Choosing the right seam finish

I am just about to start cutting out the Flynn pattern for the first time. I bought the pattern because I loved the style of the jacket, but was so excited to see the steps on seam bindings when I was looking at the instructions. I am new to sewing and have been wanting to make my mom a quilted vest and jacket, but wasn’t sure how to finish the seams. I am hoping that once I finish the Flynn (in linen) that I will have a better idea of how to do that when I make a quilted pattern :-) 

Thank you!

Julianne

Hi Julianne,

I am pleased to hear you will be making the Flynn jacket!

It is a really fun sew with loads of new skills to learn - especially binding seams. This month we’re working on beautiful finishes with our Curated by ITF community and I thought it would be a great opportunity to talk about seam finishes.

When you’re working with a sewing pattern, you’ll see that a number of finishes are referred to. The application of a seam finish will depend on the garment type, suggested fabric and the seam type. Today I'll run you through the most used seam finishes so you have a little reference the next time you’re trying to decide between two different seam finishes.

Different seam finishes and what they're for...

Zig-zag finish

Zig-zag finish is one of the quickest and simplest ways to finish raw edges as you can do it on your regular sewing machine (as long as it has a zig-zag stitch function).

What's a zig-zag finish for?

This finish is best suited to mid-weight, stable fabrics.

On certain light-weight fabrics you run the risk of the fabric being pulled into the teeth or bobbin opening on your machine. To check this you should always do a test run before trying it on your garment. 

One thing to keep in mind is that fabrics can still fray when finished this way, so after washing the garment a few times you might notice the seams not looking as neat as they did originally (although this will depend on the fabric type and the way the seams have been cut).

Turn and straight stitch

One of the simplest ways to finish a seam is to turn back the raw edges of the seam allowance and stitch.

This is a good finish to try if you don't own a serger/overlocker and don't have a zig-zag stitch on your regular sewing machine. It's also a great alternative if you would like a cleaner finish.

What's this finish for?

This finish is suitable for almost all fabrics, although it works better on straight seams, rather than curves. If working with light-weight or sheer fabrics, it is suggested that you consider French seams before choosing this option.

This finish will work best for seams that will be pressed open. Be careful applying this finish to heavy-weight fabrics as it will add bulk to the seams.

More details on this technique can be found here.

French Seams

French seams are great for light to mid-weight fabrics, especially those that are prone to fraying. French seams are also the best choice of finish if you are using a sheer fabric.

French seams will give you a beautiful, clean finish, without the need for an overlocker/serger. Although French seams can be a little time consuming, they are very satisfying and give one of the most beautiful finishes possible.

What's this finish for?

This finish is suitable for light-weight to mid-weight fabrics or sheer fabrics.

Tips on sewing French seams can be found here.

Did you know you can even sew in-seam pockets with French seams? More info on how to do that can be found here.

Flat felled seams

Flat felled seams are one of the strongest seam finishes. The raw edges are enclosed inside the seam (like French seams), but it's pressed flat and stitched to keep the seam nice and flat.

What's this finish for?

Flat felled seams are suitable for hard wearing items such as jeans and jackets. You may also use this finish for making shirts.

Bias bound seams

Bias bound seams are strong and hard wearing. This finish gives you a beautiful, clean finish on the right and wrong side of the seam, by wrapping binding around a raw edge. Bias bound seams also add visual interest to the inside of garments. 

What's this finish for?

Great for seams that will be exposed (such as in unlined jackets), formal wear and also centre back seams (it can be a really nice finish either side of a zip opening).

Hong Kong bind

A Hong Kong binding is strong and hard wearing. This seam finish gives you a beautiful, clean finish and adds visual interest to the inside of garments.

From the right side, a Hong Kong bind looks the same as a bias bound seam. The difference is that a Hong Kong bind is finished differently on the unexposed side of the seam.

What's this finish for?

Great for seams that will be exposed (such as unlined jackets). A Hong Kong bind is an alternative to bias bound seams and is especially suited to thick or bulky fabrics.

It is an ideal finish to use when the back of the seam will not be exposed and you would like to minimise bulk, such as the edge of facings and waistbands.

More details about sewing bias bound seams and Hong Kong binding can be found here.

We’ve shared quite a few posts about bindings in the past, so if you’d like to know more about making your own binding, finishing armholes or necklines, attaching single fold bias binding or attaching double fold binding click on the links to learn more.

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • Flynn jacket pattern can be found here.

  • More information about Curated by ITF can be found here.

  • Alternate finishes for the wrap top - tutorial here.

  • Tips for sewing French seams - tutorial here.

  • How to sew in-seam pockets with French seams - tutorial here.

  • How to sew bias bound seams - tutorial here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

MORE POSTS IN THE SERIES

Q & A series
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COLLINS-TOP-LINING.png
Q&A blog header-1.png
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ISSUE 123 - Sewing a hem split and French seams

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THE Q & A SERIES

Sewing a hem split and French seams

Firstly thank you so much for creating such patterns that allow a novice to create their own handmade wardrobe and learn the intricate techniques through your instructions and guidance.

My question regarding the everyday dress is that instead of finishing the edges using zigzag stitch (I do not own a serger) and then just hemming it as usual, can I use the french seam method for the sides like you've shown in the wrap top pattern instruction? This way my dress would not fray in wash and will always be neat from inside. I am not sure if it will take up a lot of seam allowance or if it was at all possible due to the side pockets. Hence I wanted to know from your end regarding this. 

Looking forward to hear from you soon. 

Thanks,

Sharvari

Hi Sharvari,

Great to hear you'll be giving the Everyday dress pattern a go and would like to get those insides looking as beautiful as the outside!

This is the perfect question for us to answer this week as we have just released our latest Curated by ITF pattern - the Rennie dress. This pattern (and all the resources we will be sharing throughout the month in our online sewing community) is all about beautiful finishes to elevate your handmade wardrobe.

The reason the side seams for the Everyday dress pattern are sewn with a regular seam (zig-zag or overlocked to finish) is because of the hem splits.

You could do a french seam along the side seam, it’s just when you get to the split you wouldn't be able to press those seams open. When we were designing the Rennie dress this is something we wanted to find a solution for! We wanted both French seams and a hem split, so we got to work figuring out how we could have both… and we did! So in today’s post we will be showing you how to sew French seams when you also have a hem split.

What is a French seam?

French seams are a technique used to finish seam allowances to prevent fraying. We love them at ITF because they give a beautiful, clean finish without the need for an overlocker (serger).

It's a great option if you do not have one of those machines and want a better finish than you can get with a zig-zag stitch. In fact, I'd even go as far as to say, it's far preferable to a regular overlocked or zig-zagged finish and you should use it wherever you can!

French seams are great for light to mid-weight fabrics, especially those that are prone to fraying. French seams are also the best choice of finish if you are using a sheer fabric because it prevents unsightly overlocking being visible through the fabric.

Although French seams are more time consuming than using an overlocker (serger), they are very satisfying and give one of the most beautiful finishes possible.

How to sew a French seam

I'm not going to go into how to sew French seams right now, but you can find a step-by-step of how to sew a French seam in a past issue of the Q&A series here.

How to sew a French seam and a hem split in the Everyday dress

Step 1

With wrong sides together, pin the FRONT [1] to the BACK [2] on both sides. Pin down from the armhole, around the pocket and down to the upper drill hole. Take a ruler and chalk and mark a point 1.2cm (½in) above the upper drill hole on the side seam edge. From this point, draw a diagonal line to the first upper drill hole.

(For these instructions we already have attached the pocket bags. To see how to attach the pockets with French seams read this past issue of the Q&A series.)

Stitch the side seams with a 6mm (¼in) seam allowance. Stop stitching when you get to the diagonal guideline and put your needle down. Lift your machine foot and turn towards the drill hole. Put the foot down and stitch along the guideline towards the drill hole. Stop stitching on the drill hole (you may need to walk your last few stitches in) and then back stitch.

Step 2

Clip into the corners between the IN-SEAM POCKET [3] and the body of the dress, before trimming back the whole seam by half.

Snip into the seam allowance towards the upper drill hole at a right angle. Then cut in again, parallel to the line of stitching, removing a small triangle from the seam allowance.

Step 3

Turn the dress inside out and press the seams with right sides together. Use a corner turner to get a nice sharp corner at the bottom of the seam.

Mark the stitch line from the bottom of the IN-SEAM POCKETS [3] down to the lower drill hole that marks the top of the hem split on each side. Pin the seam from the armhole, around the pocket and down to the lower drill hole.

Stitch the seam with a 6mm (¼in) seam allowance, sewing down to the lower drill hole. Press the seams and IN-SEAM POCKETS [3] towards the FRONT [1].

You have now finished the side seam with a French seam, but can press the hem split open.

If you’ve been wanting to up your game when it comes to seam finishes, now would be a great time to join Curated by ITF. You can give these techniques a go (along with many more) along with the support of our incredible online community, and our ITF team are available to answer any questions you might have!

Happy sewing,

Emily

RESOURCES MENTIONED IN THIS ISSUE

  • Everyday dress pattern can be found here.

  • More information about Curated by ITF can be found here.

  • Rennie dress pattern can be found here.

  • Tips for sewing French seams - tutorial can be found here.

  • How to sew in-seam pockets with French seams - tutorial can be found here.

For more issues of the Q & A series, you can check out the archive here.

WHAT YOU’VE BEEN MAKING

MORE POSTS IN THE SERIES

Q & A series
how-to-choose-lining-fabric-for-garments.png
COLLINS-TOP-LINING.png
Q&A blog header-1.png