Today we went live on Facebook and made up our Jalie socks; we had a great time! I was especially pleased that several people sewed their own socks along with me, and others gave feedback on the stream. This kind of participation really helps me create a helpful and coherent stream.
If you are just finding this post, but want to make the socks yourself, you can start at my materials list, and continue on.
So, a good jean or trouser pocket – especially a wide or deep one – may stretch out over time. This issue is compounded even more if the pocket is cut on a curve (as so many are) and if it’s made from a stretch fabric.
So in that light, for a few years now I generally use a stay to stabilize my front pockets. This is especially important for a work garment or something that may get really rugged use. I learned this technique from Kenneth D. King, although I can’t remember precisely in what class or tutorial.
This technique uses a very cool aspect of a plain weave cotton – the ability to steam-press a curve into a strip tore on the cross-grain. I am using a light black cotton lawn, but any light plain weave will work.
This step takes place immediately after you’ve sewn the pocket bag to the shell fabric (which I’ll call denim), and before you do any trimming, grading, understitching et cetera.
So first, tear a strip that is about 2″ longer than the pocket seam you will be reinforcing. I tear at about 5/8″ wide; anything between 1/2″ and 1″ will do:
Next, take this strip to the ironing board along with your jean. Using the curve of the seam, steam press the strip by really yanking and curving and pressing. It works beautifully! You don’t need the curve to be perfect, just close to the pocket curve:
Now, pin the stay to the garment. It can be confusing at first to figure where this stay goes: but it is pinned to the wrong side of the jean fabric:
Next, flip the work and stitch from the pocket bag side, right on top of the previous seam. Don’t worry if you’re not as accurate as I am. It’s better to stitch a bit into the seam allowance, than into the body of the jean. Stitch slowly and remove pins before you get to them.
Here is the underside of the work. You can see the theory of the stay: the curved stitching line will be stitched over ONE thread in the weft direction! This makes for an incredibly stable curve. Pretty cool, no?
Now, it’s time to notch or pink that seam allowance, to allow for a smooth curve.
Flipping to the right-side of the garment, this is where you might typically understitch all layers towards the inside of the garment:
Instead though, since I will be topstitching that pocket edge from the topside, I steam-press that pocket edge carefully, rolling about 1/16″ of denim to the backside. *chef’s kiss!*
Finally – topstitch that pocket curve from the public side, with either one or two (or three!) rows:
Perfection. You’ve got a pocket that won’t blow out, sag or droop!
The holidays are intense. For those of us who celebrate – or who are shoehorned into celebrations – it gets hectic. We are barely staying afloat – balancing family responsibilities, meal-planning, travel and party arrangements – while struggling with all the regular bill-paying, job-holding, schedule-wrangling stuff we are used to.
Many of us are celebrating Thanksgiving – or some form of communal meal – this month. My suggestion for this very quick sew-along is to carve a little space to sew something cozy. Whether you are making this for a friend or your own enjoyment – a holiday gift or something warm and snuggly for yourself – this is a relatively quick project but a satisfying one.
I often get questions about teeny-tiny hems – on men’s shirts, baby clothes, or frocks. I tell them: use a ban-roll. They ignore this advice. They struggle. They have ripples. They ask for advice again. I say: use a ban-roll.
So, ban-roll is sewing notion, a a waistband stiffener used to provide structure inside a garment. It is also a notion we can cleverly repurpose as a teeny-tiny comb. I have yet to meet the fabric it cannot conquer! Shown above a semi-sheer dress in a single gauze. I not only finished the v-neckline with the ban-roll technique, I finished the highly-curved armscyes – without a ripple in sight. This was done to avoid facings – which are fiddly and would have shown through – and a lining, which would have changed the entire appeal of the garment.
You want to purchase ban-roll that is at least an inch wide, and make sure it has a weave to it; not all items advertised online have this weave. Cut a fairly long length; for necklines and armscyes about three feet is plenty. You will want more, if you use the ban-roll for hems.
After you cut your ban-roll strip, carefully cut the thick “selvedge” edge strand at one long edge (you can see this long edge at the top of the strip in the photograph below). Then peel more of the long strands, until you have a depth you like. Shown at the bottom of the strip below: about 3/16″. This corresponds to the 3/8″ hem allowance I have for these seams, since the depth of the ban-roll comb will be half the depth of the seam or hem allowance. Adjust your allowances, or your ban-roll comb, accordingly.
This is the armscye we’ll be tackling! Please note, there are tons of ban-roll tutorials out there that show how to do straight seams or very subtly curved hems. We’re about to tackle a deep curve.
Place your ban-roll right up against the right side of your fabric, with the free end of the comb touching the raw edge of the fabric. The needle will magically travel over the comb. Now, stitch carefully – right up against the base of the comb. Your needle should just kiss that first long fiber on the left. Go slowly! If you stitch over the long strand, it’s kind of a pain and will muss your finished product a bit.
Now here’s a bit of a tricky part. Look how severe the curve is, that I’m approaching. Instead of pulling the raw edge straight – as if you were serging a curve, say – simply sew slowly, take your left fingers in between the ban-roll and the fabric, and push (gently) the fabric into the foot. This finesse is how you avoid ripples in the final product!
When you get to the end of your seam, you can carefully backstitch, or pull the work off the machine while making sure to snug the stitching line right up against the base of the comb. You can see below, how my stitching line has drifted off the comb base. Simply snug it right back down. This is important, before the next step – making sure the stitching line is right up against the comb base.
Next, you are going to fold the fabric over the ban-roll until the teeth of the comb are nestled in the fabric fold! Some people consider this a two step process. But when you’re done, you will have a nice double fold, and the wrong-side of your fabric will be facing the body of the ban-roll strip.
Next, stitch with the wrong-side of the fabric facing up, right on the inner fold of that baby hem. This essentially means you are turning the work and stitching back against the direction you came. Keep about 1/16″ in from that fold, and stitch slowly. If you come to a curve again, repeat the gentle – very gentle – pushing motion with your left fingers between the ban-roll strip and the fabric.
Now, remove the work from the machine. Here is my curve – before pressing, it already looks pretty good!
This is the fun part – you get to haul that ban-roll out of the finished hem – and you can reuse the strip many times! Gently tug it out of the seam. Even on very fragile fabrics, this has always gone beautifully.
Gently press your hem/curve – and admire your results!
This technique is a lot of fun and provides lovely finishes. With practice you just get finer results each time.
I can’t be the only person irritated by the fairly untidy nature of inseam pocket finishes. Often we are lining garments, and in that case there is no need for pocket finishes to be perfect. But for other articles of clothing – like hoodies or simple pants – these pocket finishes will be visible when the garment is inside-out.
I fiddled around and finally came up with a very quick, reliable, and easy method for a good pocket finish. This method uses a sewing machine for the stitching line and a serger for the finish, but you can also zig-zag and trim in place of serging.
So first: cut your pieces as per usual, except use thread-tails, chalk or washable marker to mark your pocket position in the side seam, rather than clipping into the seam allowance.
Now, we have the four pocket pieces – I call them “kidney-shaped” although that’s not perfectly accurate:
We are going to serge-finish the curved edge first. Go around the very edge, careful not to trim any of the piece:
Now, we are going to serge the straight edge, leaving long tails:
Next, take these long tails and, using a blunt darning needle, thread them through one of the curved seams and trim. You will end up with a perfectly-finished pocket seam:
Now, finish the side seams only of both the front and back piece. Below you can see my black thread tail marking the pocket position:
Pin your pocket to your side seam, right sides together:
Stitch 1/8″ from the seam allowance, starting right at that pocket piece and performing a firm backstitch at the beginning and end of the stitching line. This garment is made with a 3/8″ seam allowance, so I stitched at 1/4″ from the finished edge:
Now, either steam-or finger-press this last seam, then press it open such that the seam allowance faces to the pocket. Press again, if you like. Stitch 1/8″ from the seam along the full length of the pocket, catching all layers:
Here is the underside of that understitching – it looks great!
And here is the view from the public side of the garment:
Once you’ve completed the pocket join for all four pocket pieces, it’s time to join the shoulders and then the sleeves. Finish the sleeve long edges before joining to the body, join the sleeves as the armscye, and finish the armscye seam leaving long serge tails.
Next, pin the side seams of the garment together:
You want to really get your pocket pieces lined up exactly. Sometimes that understitched seam allowance will want to push towards the body of the shirt while you are sewing the side seam and pocket closed. To keep this from happening, I usually sew this long side seam from the sleeve hem, and then stop in the middle of the pocket curve. Then I flip the garment over, and sew up from the shirt hem, meeting in the pocket curve. This keeps the seam allowances from trying to push away from the pocket.
When you get to pinning your pocket curve, really make sure the pockets are lined up perfectly with one another. If you cut accurately and you did not trim anything with the serger blade, they will line up beautifully:
Now, it’s time to sew that side seam. Take your time and really make sure your finished edges line up well together.
When sewing toward that pocket I usually “cut over” from the side seam allowance, to stitch right on the finished edge of the pocket kidney pieces. You can of course maintain the garment seam allowance instead, and then go back over the serged edges with a stitching line on a second pass, if you like.
Here is that underside of the pocket – it’s perfect!
Finally, those long tails we have at the armpit? Knot these and then slip them into an inner serging channel. A firm finish, and a good-looking one too!
Those are some sexy pockets!
So to sum up, the method is fairly simple:
1. use thread marks, not clips, to mark pocket location 2. clean finish the entire kidney-shaped pocket piece 3. finish the side seams, leaving long serge-tails at the armpit and hem 4. sew the pockets to the side seams, right sides together 5. understitch the pocket side seam to the pocket 6. join the shoulders, sleeves, and then side seams of the garments, keeping a very exact seam allowance 7. continue to finish the shirt
I’ve pointed out before that my first sewing studio was a closet – a closet with a shag-green carpet (occasionally redolent with cat piss; joy!); and a closet I shared with my partner’s computer and with our clothes! This was in an impossibly-small studio apartment! There wasn’t even enough room for my sewing machine (a cheap plastic Kenmore my mother bought me) – I had to store it on the porch in a cabinet.
So I know all about how hard it is to “make space”.
When people learn I sew they often tell me, “Oh I can’t even sew on a button!” – it’s an oft-repeated phrase that means, essentially, one has no sewing skills whatsoever. But I find this phrase funny because actually, sewing on a button is more difficult than it seems!
Here I’ll illustrate how to enact a button installation – in this case on a folded edge of felt. My method hides thread tails and creates a very strong, and very tidy result. It can be used almost any place you need a button – whether a new garment, or a repair!
Bow ties never went out of style, but they are enjoying the spotlight again at the moment. My sons and partner all enjoy wearing this type of neckwear and it is not only satisfying to make them, it is the absolute perfect opportunity to add some panache to the wardrobe.
In order to make a bow tie, ideally you’d have a properly fitted one (or a mockup cut out of a piece of woven fabric) to make your pattern. If you are starting without a tie to trace, you will need to draw up your own. The shape of the tie is a long straight stretch for around the neck, ending in the trademark fish-like shape at the ends (there are doubtless many templates online). The bow tie shown here has a straight stretch of 5″ longer than my son’s neckline; that accounts for the knot to tie.
It can be fiddly getting the right length, but remember once you have it down you have the right tie for life. I recommend you purchase a high-quality adjustable tie (like the red swiss dot version shown below), tie it on your intended client, and make the pattern from there.
Shown below next to the tie I’m copying: the fabric I’ll be using – a gorgeous rayon faille – and a very lightweight knit interfacing. You will only need a feather- or lightweight interfacing and make sure it has stretch, or the loveliness of cutting on the bias will be for naught. If your interfacing is too thick the tie will be hard to turn.
You will also need blank paper and pencil, a transparent ruler, and tracing wheel and paper. We will be folding the example tie in half and tracing only 1/4 of the tie, then folding our paper and using our tracing implements to get the symmetrical shape.
Below, I draw a “T” shape a little longer than 1/2 the length of the tie:
Folding the tie in half, I place the short folded end a the base of the “T” with the wide end at the leg of this “T”, bisecting the entire tie. Then, I trace. Beware you don’t make the straight stretch of the tie any thinner than about 3/4″, or you may have trouble turning it.
After tracing add your seam allowance to this 1/4 of the tie (I used a 3/8″). Then fold your paper down that long center line and trace both the stitching line and the seam allowance, using your carbon paper. So when you are finished, you will have half a tie traced, including seam allownaces.
Instead of having a bulky center seam down the middle of the tie, I drafted a bias-seam for the join. This can seem confusing but it is quite simple. The short end of the tie (the top of the “T” I drew above) represents the center line (back of the neck) of the tie. Simply draw a 45 degree angle through the center of the tie, and add your seam allowance to that line.
Now, take your fabric and fuse your stretch interfacing:
And place the tie pattern piece on the fabric; remember, you will want 4 of these pieces in total:
Now, we get to sew. You want a fairly firm stitch – say 2.0 mm or so – as you’ll be trimming these seams pretty closely before turning. Take the tie pieces to the machine and sew the short bias ends together; joining your four pieces into two:
Press these seam allowances open and grade them. You can use this opportunity to tie the tie around the neck of your recipient, to make sure the length is appropriate.
Now, place your long tie pieces right sides together, and stitch, leaving a 2″ or so gap in one of the long straight edges (but not where the bias seams are joined):
Go slowly around the curves; this is going to yield a beautiful result!
Cut the corners of the tie ends, and then trim the entire tie down to about 1/8″. Again, this is where you need to make sure your stitches are tight and firm enough the seams will not unravel later:
Now, we get to turn the tie! This can be tedious, but is best accomplished gently and with a chopstick or similar high-falutin’ turning tool:
Now press, carefully! I was so pleased that my tie is the precise length I was aiming for, even with my fancy little bias-cut seam:
Next, all we have to do is slip-stitch our little gap closed:
And – all finished! Provided our finished accessory is the right size, we now have a paper template and can make as many gorgeous ties as we like.
You know, I rarely do a basic-basic tutorial, but recent events inspired me! I put together four maxi skirts from African wax print cotton (two adult and two matching toddler skirts), and the project was delightful. Besides the kidney-shaped pocket pieces, every aspect of the skirts were rectangles: the body of the skirt, the waistband, the sash, and the sash carriers.
I got to thinking that I can put together a lovely sash in my sleep, but I had troubles earlier on in my sewing career. While no tutorial can cover *every* eventuality, this is a basic tutorial from a sash made of a stable, woven, nonstretch knit. You need your sash strip – the width and length of the finished sash plus a seam allowance per side.
As you can see above, I cut my sash with a rotary cutter. Tearing is also a great way to get the sash right on the grain; not all wovens tear that well. YOu want everything along the crossgrain as much as possible.
Next, I fold the sash right sides together, lengthwise, and give them a light press. In this photo you can tell the strip is right sides together as the gold metallic print is only on the right side of the fabric:
Then right sides together I sew up the long edge, leaving about a 2″ gap in the middle of the long edge. I backstitch firmly at this gap:
Next, I sew the two short edges:
Next, I clip both the folded corner and the sewn corner at a 45 degree angle, right up to the stitching line:
Taking the piece to the ironing board, I iron the seam allowances back toward the main part of the strip – one at a time. I do this for both long edge seam allowances, and all four short edge seam allowances. This is a great time to really use that iron to press the strip into a flat shape:
At the gap, I carefully fold down the seam allowance and press that too:
Now, it’s time to turn the sash right-sides out. Leaving the gap in the center of the strip makes it easier to turn. If the sash is narrow, I use a wooden chopstick to turn: