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March 11, 2010
Sorry for the gap in posting. I got busy with a trip to see my grandson and celebrating my 50th birthday. But the festivities are over and I am back to work in my studio!
. . . Also, I archived the January blog postings, so if you missed anything, just click the link on the left for the Blog Archives Page.
A Not So Basic Shirt, Part 4
The Red Silk Not-so-Basic Shirt Project continues. . .
We already staystiched the cut line for the sleeve placket opening in an earlier post, so now I just needed to cut from the raw edge up along the slit, then attach the sleeve placket in the traditional manner. I underlined both pieces of the cuff with silk organza for a little extra stability, but otherwise, it was construction as usual.
Almost done, just need to make and attach the buttons. I really love covered buttons. They look so classy, they're easy to make and very inexpensive. What more could you ask for? I used 5/8" buttons, although the pattern calls for 1/2". You can easily go up or down 1/8" on buttons if you can't find what you like in the size that is specified. If you change more than 1/8" though, be careful as you will need to make some other modifications.
When you cover buttons, a lot will depend on the fabric you are using. If you are using an open weave fabric, a fabric that will fray or a fabric that is other 'special', you will want to attach fusible interfacing to the back side. This is one of the few time I use fusibles, and virtually the only time I will use tricot. That being said, I do like tricot for buttons as you can see in the picture. Instructions always come with the buttons for covering. Make sure you keep the little plastic cup and mold, because you can just buy the refills next time. If you have covered buttons, give yourself a couple of practice buttons before you go for the good fabric. It truly is easy, just follow the pictures on the package and you'll be a pro in no time! One trick they don't tell you is to use a large spool of thread when you are trying to push the inside of the button down into the outer section -- the spool will really save your hands!
Hoping to do photos tomorrow. This red silk shirt is one of the new cover garments for the Basic Long Sleeve Shirt. Pictures as soon as I can, but it may be a couple of days, so hang in there!
Click any of the images for a much larger picture |
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Fusible tricot on back side of fabric before covering buttons |
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Ready to cover the buttons |
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Finished and ready to attach to your garment. |
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February 24, 2010
A Not So Basic Shirt, Part 3
The Red Silk Not-so-Basic Shirt Project continues. . .
I am working on the collars and facings today. I always feel like I'm almost finished when I have the collar on the garment. Everything else is so much faster that the rest of the project seems to fly by once the collar is made and attached.
I did use a crisp fusible interfacing for the Collar Stand, but I wanted to keep the collar itself closer to the drape of the rest of the garment, so I interfaced with Silk Organza. Usually, I sew the collar and the interfacing together all in one step. Place the 2 fabric pieces of the collar, right sides together, then place the interfacing piece on top (which would be to the wrong side of the fashion fabric). Pin through all layers and stitch.
A word of caution when working with Silk Organza or other slippery interfacing or underlining -- gently pat the fabric and let the weave of the fabric dictate where the fabric wants to lay. Many times you will have cut it slightly 'off' but the weave of the fabric will naturally find it's own 'square'. Note the placement of the organza vs the fashion fabric in the picture. Basically: "Sew it Where it Lies"
For the front facing I technically used 2 interfacings -- I used the Silk Organza as an interfacing, then faced the Front Facings with the China Silk by stitching a 1/4" seam (right sides together) along the long curved edge. Then I understitched that edge and pressed under before continuing the assembly of the shirt. I wanted the little bit of extra support without changing the drape of the garment and I also wanted to make sure the Front Facings would slide again the outer garment and not catch when being worn. I confess, this might have been a little overkill.
I also used a Back Yoke (inside only) on this garment. I really like the wearability of a shirt made with a Back Yoke and it is such a nice way to finish the neckline. I should note here that my Basic Long Sleeve Shirt Pattern does not have a back yoke, but just trace your garment back and draw a straight or curved line where you want the bottom of your yoke. Also, my BLS pattern has you handle the Collar Stand in the same manner you handle a traditional collar, i.e. you make the point part of the collar, turn right side out, topstitch, etc, then attach the 2 stand pieces, stitch, turn, yadda, yadda. THEN you put the whole assembly to the body of the shirt like a regular collar and sandwich between the Front/Back Facings. This way, the facing shows at the collar when you wear the shirt open (and not the back of the fabric) and also it is MUCH easier to handle the front of the Collar Stand as you just need to be careful and stitch right up again the stand when you are attaching the Front Facings.
Click any of the images for a much larger picture |
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Silk Organza used for interfacing on Collar - Note alignment of organza - where IT wanted to go :-) |
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Silk Organza as interfacing and China Silk as Facing on the Front Facings |
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Back Yoke piece used for Back Facing (not included in BLS pattern)
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February 21, 2010
A Not So Basic Shirt, Part 2
The Red Silk Not-so-Basic Shirt Project continues. . .
I have finished attaching the underlining to all the main garment pieces (the fronts, back and sleeves). Because I am underlining, I will need to stitch the darts through both fabrics at the same time. My trick for making sure nothing slips is to mark the dart on the inside (that will show) of the underlinng piece first. First, pin the 2 fabric together and stitch the underlining to the outer fabric around the outer edge and press** well. Use quite a bit of steam and lift the iron, do not slide the iron. This will meld the 2 layers together and make them much easier to work with.
Second, draw a line (with removable marker, etc) down the center of the dart. Then place 3 pins, through both layers, on the line (one in the center, and 1 close to each end). Then go to the sewing machine and machine stitch right down the center of the dart, starting about 3/4" in from the upper point, continuing all the way down the center of the dart, and stopping about 3/4" before you get to the other end of the dart, removing the pins as you go.
Third, put a pin just outside of the each point (the top and the bottom), but along the same line as the center line. These 2 pins will hold the fabric together until you can get the point of the dart under the presser foot. Stitch the dart as you normally would.
Moving on to the sleeves, while we're handling the tricky stuff . . .
I handle the slit in the sleeves much the same way as I handle the 2-layer dart. First, stitch the outer fabric and the underlining fabric around the outer edge and press. Then, draw a line from the lower raw edge of the sleeve inward to the top of the slit. Put a couple of pins through both layers along the line to hold in place. Go to the machine and starting at the raw edge, stitch about 1/16" away from the line on one side, stitching toward the dart. As you get close to the dart, angle over and stop stitching ON the dot. Leave machine needle down and lifting presser foot, turn the entire section around, then continue stitching back down the other side of the line until you get to the raw edge. Carefully cut between the rows of stitching, almost to the dot, being careful NOT to cut your stitching. Then proceed with sleeve placket in the traditional manner. (This means that you would NOT have already cut the slit, since you were planning on underlining the sleeve!
** If you are using fade-a-way or wash-a-way markers, do NOT press the spot you marked. Sometimes the heat of the iron makes the marks not come out. My favorite marker is the white/colored pens with the refills that are now available.
Click any of the images for a much larger picture |
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Upper fabric with underlining, showing organza stabilizer in upper yoke area |
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Straight line drawn down center of dart. Stitching shown down center line. Then pin through point to hold until you can stitch. |
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Sleeve Opening, pins through both layers to hold until you stitch on each side of line. |
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February 18, 2010
A Not So Basic Shirt, Part 1
When is a Basic Long Sleeve Shirt, not basic at all? When you make it from fabulous fabric and when you add internal supports, linings, etc to make it very, very special! I'm working on a silk shirt/jacket and I thought you might like to travel through the project with me. This posting is the first in a series, so check back for more as the project progresses.
I'm working on a long (almost knee-length) version of the Basic Long Sleeve Shirt. My fabric came from the Home Dec world, and it a striated, woven silk, basically an asian red (with a tiny twist of orange) with the various threads weaving together so it has wonderful depth. It's hot here in Arizona and what I have in mind is a very lightweight jacket of sorts, that is to say that I will wear this shirt as a jacket most of the time, although it can be buttoned up and worn alone. Also, I want this garment to be fairly easy to care for. I never dryclean, but rather wash everything in my wardrobe, even the formal things, even the jackets. More on how to handle washable jackets in future postings.
Because I want the shirt/jacket to be easy to launder (and press), I decided to underline, rather than line, and I chose China Silk (aka Habotai Silk). This is such a wonderful fabric, as light as air, fairly priced and comes in a gazillion colors. If you can't find it locally, you can get it from www.supersilks.com. The more you buy, the better the price. Needless to say, everything has been washed and dried before beginning the project. Also -- when I am working with a slippery, or otherwise uncooperative fabric, I also spray heavily with starch and press so it is firm and easier to handle. Realizing that I will wash the garment when it is completed.
I am a stitched-in stabilizer kind of girl and very, very seldom use fusibles, the only exceptions being the stand of a collar and waistbands. I almost always use a fabric of some sort for the interfacing/stabilizer, choosing either the fabric itself, or batiste, silk, organza, even quiltweight cotton when appropriate, for the fabric. My favorite material is always the fabric itself when possible.
As for the drape of the shirt/jacket, I want to preserve the soft flow of the silk, yet I will have a stand and collar at the neckline and this area will need some extra support so the collar won't collapse and distort the neck area. I have a trick for this that I use a LOT. You can use any type of fabric/stabilizer that your particular project needs, but the technique remains the same. For my red silk shirt/jacket I used Silk Organza (also available from www.supersilks.com) but please check with your local store first. (Yes, I even spray-starched the organza :-)
To stabilize the upper neck/shoulder area, I add an upper stabilizer on the inside of the lining/underlining. The reason I put the stabilizer on the lining/underlining instead of the outer fabric, is that if anything distorts, whether from my sewing, or later when it is laundered, the outer fabric will remain intact and any wrinkles will be on the lining.
1) Trace off a pattern piece of the upper portion of the garment section (shirt front shown in pictures) Draw a curve for the lower edge that extends to about 2" below the underarm edge. The center doesn't really matter, but 4" would be about the max. I used 2 1/4" for this project.
2) Using the stabilizer/fabric of your choice (to match your project) cut the stabilizer out. Pin the stabilizer to the INSIDE (so it will not show later) of your lining/underlining fabric. Machine baste around the edges, but along the inner curved edge, stitch very close (about 1/16") from the edge of the stabilizer.
3) Pin temporary stabilizer (tear away or solvy, etc) to the inside of the lining/underlining, over the inner curved edge.
4) On the RIGHT side (that will show later) of the lining/underlining machine stitch a decorative running embroidery stitch, using your previous straight stitching as a guideline (center over the line). Remove stabilizer.
Click any of the images for a much larger picture |
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Step 1:
Pin stabilizer to
inside of lining fabric |
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Step 2:
Baste close to edge.
On inner curved edge, stitch
about 1/16" from edge |
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Step 3:
Machine embroidery on right side of lining fabric, using previous machine stitching as guide. |
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Step 4:
Embroidery from
right side. |
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February 15, 2010
Those Darn Scissors! Repairing an Accident
OK, I've gone and done it! I was completely - totally - finished with a new Windorf Skirt (coming soon!) I was making. I reached for my scissors which were partially underneath the skirt on my worktable and heard that little 'clip' sound. That is NOT a nice sound! I know we've all done it, but it's never a nice feeling to actually clip a hole in a garment you are making. Sitting there pondering the repair possibilities, it was the first time I have ever wished I had one of those new embroidery sewing machines that do larger designs. I would have happily plopped a flower over this clip in an instant! However, not owning such a machine, I resorted to a less creative approach. I do have a machine that does running embroidery stitches and had a leaf motif which I 'thought' would work out ok.
First step was to fuse a small piece of tricot interfacing over the clip on the reverse side of the fabric. After running a test of the embroidery leaf, the motif was not quite wide enough to cover the clip, so I made 2 leaves and slightly overlapped them. You can see the finished repair in the 3rd picture. From a few feet away you cannot see the repair, but being as picky as I am, I am now dedicated to always wearing an outside blouse with this particular skirt! I should note that the clip was dead center in the back, but at least it was up high close to the waistband. Very big sigh.
Click the images for a much larger picture
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The clipmark is the small V in the
space between the 3 flowers |
Fused tricot interfacing on reverse
side of clip |
Small leaf motif machine embroider over clip.
This is not a particularly good repair :-( |
February 11, 2010
Color Dyes in the Laundry
 I wash EVERYTHING - and dry clean nothing :-) I am frequently asked how I handle my new fabrics, so I thought it was about time I shared a few thoughts. When I bring a fabric home, it goes right to the serger and I serge the edges. If you don't have a serger, just zig-zag the edge so it will not fray in the washing machine. Then I wash like colors in the washing machine - regular wash (not gentle) - on cold. I do not overfill the machine, as you need plenty of water to float off any dyes that may come out of the fabric. I use Color Catcher sheets any time I am washing a new fabric. I tear the sheets in half and use several sheets (maybe 3-4 sheets = 6-8 pieces) especially if I am washing reds, blues or purples as they tend to lose more color. The sheets are a bit pricey, but you can air-dry them and reuse them several times - there is always a pile drying on the windowsill in my laundry-room :-) I do not use fabric-softener, but instead pour a little white vinegar (maybe a 1/4 cup?) in the dispenser of the washer so it is released during the rinse cycle. The vinegar does 2 things: it will help to set the dyes in the fabrics and it helps to remove any laundry soap residue that might still be in the fabric. I do not use any type of anti-static sheets, etc in the dryer - you won't need them when you use the vinegar. You can find the Color Catcher in almost any grocery or supermart - somewhere in the laundry aisle, but not necessarily any place logical - just keep looking :-)
February 7, 2010
 Percentage of Stretch in Stretch Fabric
Like many things in life, there are some differences of opinion about stretch patterns and sewing with them. Fundamentally I am a "Keep It Simple" person and personally do not worry too much about all this. Over the years I have learned that you can make the same pattern in 10 different fabrics and every time the finished garment will be slightly different. Thank goodness for variety!
I did think it might be interesting to discuss stretch fabrics (sometimes called stretch knits) and stretch patterns a bit though, so here goes . . . .
First, there are a variety of methods of determining the percentage of stretch in a fabric. Even when you stretch the fabric from Point A to Point B, there is a matter of opinion about how far is 'correct'. The easiest way I have seen is my favorite and in keeping with my "Keep It Simple" approach. Fold your fabric first - do not use a cut edge to stretch. Using a ruler, carefully note 10" of fabric. Now stretch the fabric out as much as you would ever want it on your body (plus a tiny bit more if you wish for putting on). Remember, this is your opinion :-) If 10" stretches to 13", this is 30%. If 10" stretches to 16", this is 60%, and so on.
Next, is the personal wearing ease that each individual prefers. If I design a pattern and -- in my opinion -- the optimum percentage of stretch is 30% -- the next person may not like that look and might prefer a 40% or even a 50% fabric as the final result would be less structured and have more drape in the final garment. If a pattern states it is designed for a 30% stretch, you can make it out of anything all the way up to 100% and simply plan on adjusting the final fit before you finish the hems. The armholes might be a little softer than a garment made from the 30%, but the final garment might be exactly what you desire -- it's all up to you. You can even (yes really!) make such a pattern from a 2-way stretch fabric (such as swimwear or exercise, etc.) Just know when you start that the finished garment will be slightly different than one made from a 30% stretch -- and also the lengthwise stretch might cause some sagging (would depend on the weight of the fabric), so keep your pattern choice very simple. Pretty much the only time it gets real critical is if you want to purchase a fabric with LESS stretch than the one specified in the pattern. Even this is easily accounted for by simply cutting the side seams and perhaps the underarm seams a tad wider and then adjusting the final fit before hemming.
All being said, however, it is important to be aware of the 'optimum' percentage that a pattern is designed for and also for the percentage of stretch in a fabric you may be considering purchasing. Knowledge is a wonderful thing and it's much nicer to make an informed decision rather than finding out later after you've made your purchase. But . . . if I like a fabric I do not let the percentage of stretch sway my decision to purchase the fabric. I can easily cut the side seams (for example) a tad wider and tweak the final fit after I have the garment together and before I finish the hem, etc. if the fabric does not have quite the amount of stretch that the pattern specified.
 Oh, I'm not done yet . . . To complicate things even further, the amount of retention (i.e. when you stretch the fabric out, does it return to the original size?) is a factor -- and a very important factor to me personally. I want the fabric to go back where it came from, because if it stays stretched out - at all - it will stretch out with wear and not retain the desired fit throughout the day. That . . . is just plain Yuk!
So far, I have made the Champagne Pullover in everything from 20% to about 75%. I was worried about the 20% so cut the side seams a tad wider as well as the underarms, but that was the only change I had to make. On the 20%, I did not use the optional shaped back seam, but rather used the center back on the fold (also in the pattern) for the extra fabric I thought I might need. My favorite of these Champagne Pullovers is one with about 60% (although it is designed for 30% optimum stretch) The 60% garment is soooooo soft and drapey, and feels quite luxurious. It's all about personal preference and the particular fabric. I hope you will not let all those percentage instructions keep you from diving right in. Keep It Simple and you will enjoy your sewing experience a lot more!
In closing, if I like a fabric, I buy it and worry about the stretch later. For reference, a nice grade tshirt fabric like you can easily find at larger fabric stores (Joannes, Hancocks, etc) is about 30%.
BTW, most of my stretch patterns are designed for 30% optimum stretch, but please don't get too focused on that!
Explore the Brensan Studios collection of Stretch Sewing Patterns
February 1, 2010
 Bias Trim Hemline or Edge Finish
This is a fast, inexpensive and decorative edge or hemline finish.
--- You will need to prepare enough bias to reach around your hemline - or the edge you are finishing. Measure the length required and add 10-12" - this will be the amount (length) of prepared bias you will need. To determine the width to cut your bias strips, decide how much you want to show when finished (1/4" is nice). Double that amount - then add 2 seam allowances. So . . . if you want to have 1/4" showing when finished - and your seam allowances are 1/2" - your formula will be: 1/4" + 1/4" + 1/2" +1/2". Cut enough strips that when pieced together you will have the total length previously determined.
--  Press the entire length of pieced bias strips in half - wrong sides together.
-- Pick a point of beginning (a side seam, underarm seam or other inconspicious place). Begin pinning the bias strip, raw edges even, to the edge of your garment. To handle the beginning/ending of the bias strips - leave about 1-2” free at the beginning, work all the way around to your point of beginning - then on one end (beginning end) of the bias, fold in about 1/2”. Trim the other end of the bias so the raw end will extend into the other piece at least 3/4”. Tuck the one end inside the other end and pin to hold.
-- Stitch the bias to the garment using the appropriate seam allowance (in our example, it is 1/2") Serge   the raw edges, turn to the inside (so the bias sticks out) and topstitch to secure. The pictures at the right show 1) the bias trim pinned to a sleeve hem and 2) the finished bias trim press out and topstitched.
--- To piece bias strips together, place 2 ends, right sides together - one across and one down. Stitch diagonally. Trim edges and seam. Press seam open.
This technique is included in the Raglan Topper, Oaxacan Shirt, and the Mayan Skirt
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