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PAGE 57
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 editor's note

,
NOT
so
WHILE I AM WRITING THIS LE'ITER it's one
of those gorgeous mid-September days that the
Northeast is famous for. Leaves have not yet begun to
tum and a S\vim in an ocean heated by a summer of
sun is not out of the question.
Last \vinter in the Northeast was tough, and from
what I hearit \Vas the same for most of the country.
Summer was much too fleeting, and temperatures
are already threatening to drop next \veek. I have to
face the reality that v.rinter will be back.
But one of the things I do love about v.rinter is
that it's prime sewing season. No beaches are calling
my name or lazy days in my garden beckoning me,
and that's \vhen I can really turn my attention to
stitching to my heart's delight
I really do feel like every issue of Stitch gets better
and better, and I know it's because of the high-quality
designers \Ve attract. I like to see Stitch as a home
for nurturing the best talent our community has to
offer, and I think that you v.rill agree that this issue
is full of lovely projects just perfect for chilly days.
From the various sections- Ne\ Vintage, Pining
for Patchwork, DIY Denim, Boudoir, and Edwardian
Days- you will find a luscious brood that will ward
off any \vinter blues.
Twant to mention that we are aJso creating a
whole ne\v host of se\vingvi.deos, and are releasing
one per week via our companion site, CraftDaily.com,
as well as on SewDaily.com. I'm very excited about
the topics and talent, and encourage you to vi.sit
these sites. Happy stitching!
Werdx
Editor, Stitch!SewDaily.com

check it out!
For fu ll-size pattern downloads
for select projects in this issue.
on line extras. the Stitch blog,
and to sign up for the Sew
Daily free e-nev.1s letter. go to
sewdai/y.com

2
* stitch
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'60s-inspired
14 dress
page 49

FEATURES

14
handy helpers
LIN DA TURNER GRIEPENTROG

18
avoiding denim blues
LINDA TURNER GRIEPENTROG

20
luxurious lingerie
LIN DA TURNER GRIEPENTROG

24
book excerpt: quilter's
applique workshop
K EV IN KOSBAB

30
cheap and chic decor
LIN DA BLINN

36
anna maria horner studio
LINDSEY MURRAY

36
DEPARTMENTS
2 editor's note 12 wish list
8 what's new+ cool 72 sewing basics

10 sew boutique 127 resources

sewing is good for you! 128 outtakes
LINZEE KU LL MCCRAY

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 EDWARDIAN DAYS
Explore your fe m inine side with these 4 fine and fancy
projects .

'tit nuno-felted skirt 1t6 peek-a-boo skirt

LAURA KEI TH KHRIS TA L JOUETT

't5 neoclassic cami 't7 ribbon skirt

LAURA KEITH ELAI N E SCHMIDT

-------------- -- --------- ------ --- --------

--- --- --------r-------------
------------------- ----------------

NEW VINTAGE
Give a nod to the past while embracing these 9 clever new
ideas.

't8 mid mod mini tote 52 vintage vinyl

ROSE BECK snakeskin clutch
LINDA LEE
't9 '60s-inspired dress
KATRIN VORBECK 53 embellished a-line skirt
STEPHANIE BRACELIN
so diamond chain
bolster Sit disco bag
KEVIN KOSBAB SARA CURTIS

so tablet folio 5S scallop shift dress

MARNI W EAVER STEPHANIE BRACELI N

51 op art runner
K EVIN KOSBAB
DIV DENIM
Who doesn't love denim? Call it your own

------------------------------------------------------------------------------~
with these S groovy remakes .
PINING FOR PATCHWORK 56 denim jacket
Pick up your pieces to create these 6 scrap fabric projects. A MBER EDEN

57 denim love p illow

MARCIA VAN OORT
60 arrowhead table runner 63 pieced felted scarf
MARCIA VA N OORT JENN RHOADS
58 slouchy crossbody bag
LISA POLDERMAN
61 a simply mod purse 6't retro baby quilt
LINDA WEGLARZ MALKA DUBRAWSKY
59 rods & reels denim pillow
HEID I EMMETT
62 log cabin 65 glamorous 59 jeans placemats
patchwork purse patchwork parka LINDA TU RN ER GRIEPENTROG
RUTH SINGER TI NA LEWIS

------------------------------------------------------------------------------~--------------------------------------------------------

BOUDOIR
Sit back and enjoy...after you've made 68 adult onesie
one of these S comfy creations. TIN A LEWIS

66 boudoir shorts 69 stylin' k ids pjs

TARA MILLER KATRIN VORBECK

67 tangled up in blue quilt 70 like-a-dream w rap jacket

EMILY BRECLAW CH ERYL BUSH

s
sewdaily.com *
 * I NTERWl:AVE

CREATING W ITH FABRIC T HREAD

EDITOR .i.\rnbcr Eden

ASSISTANT EDITOR Abby Kaufman
TECHNICAL ASSISTANT EDITOR Eliane Pinto
FREELANCE TECHNICAL EDITOR Bernie T<ulisek
EDITORIAL INTERN Barbara Brown
CONTRIBUTING EDITORS Susan Beal, Linda Turner Griepentrog,
Gretchen Hirsch, Kevin Kosbab, Linda Lee, Linzee Kull McCray

ART DIRECTOR Larissa Davis

PRODUCTION COORDINATOR Kate Binder
PHOTOGRAPHY Jack Deutsch 14n/ess otherwise credited
PHOTO STYLIST Natasha Senko
HAIR Q MAKEUP Greg Clark
n.LUSTRATION Aiu1 Swanson

ADVERTISING MANAGER Barbara Staszak

bstaszak@interweave.com, 978 203 5460
ADVERTISING MANAGER Mary-Evelyn Dallon
maryeveholder@comcast.net, 6r5 297 3639
AD TRAFFICKER Cari Ullom
ONLINE MARKETING 'vVhitncy Dorband

Interweave Stitch (ISSN: 2160-6838 [print] and 2164-9375 [onlinc)l is published four tilnes per year by
Interweave, a division of F+ \,V Media, Inc., 4868 Innovation Dr., Ft. Foll ins, CO, 805 25 5576. (970) 669 76 72.
All contents of this issue of Interweave Stitch are copyrighted by F+W Media, lnc. 1or4. All rights reserved.
Projects and infonnation are for inspiration and personal use only. Reproduction in whole or in part is
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VISIT US ON THE WEB:

sewdaily.co1n - interweave.com fwcon11nunity.co1n
6
* stitch
 Best of
modern
patchwork
Patterns {also in flannel}
on roa-..-
aloFLwetls
Journey through the neighborhood
along Ashton Road, where a
new fabric collection awaits!
Stomp through leaves,
gaze at clouds, and
smell the flowers
- it's time to
have fun and create!

TWNKI.
STAR OOllJ_

NINEPATCH -
.
REARAANGED

t
Look for these patterns
+ more in our new
pattern store
shop.quiltingdaily.com

7
sewdaily.com *
 sewing room

Edito rs' picks for

products, tools,
boo ks + notions
whatts new + cool
Stop cooking and s tart crafting with this delicious
and modern take on a kitchen staple. FIBER ON
A WHIM takes your grandmother's cheesecloth to
a whole new level with these beautiful and hand-
dyed colors. But beware; with names like "Kiwi,"
"Jalapeno," "Mulberry," and "Dulce de Leche,"
you may start craving calories while you create.
fiberonawhim.com, $8.50.

..
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.,

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~
~
"
l l 'f } ~ r.
Your stitching creativity has never 76Clt:
G I D
!, !: l I

"
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" '
been easier with the SMARTER BY
PFAFF 260C sewing machine. The
computerized settings allow pedal- . ...
~-
free stitching, control of needle
settings to suit your sewing style
and is easy to use. Smart, s leek and
affordable. pfaffusa.com, $599
s
marter

8
* stitch

I
I
''
ROBERT KAUFMAN modernizes a wardrobe staple
with a dizzying array of over SO denim fabrics; your old
blue jeans will blush.
robertkaufman.comlprices vary, starting at $1.50/yd.
On November 8, some of the DIY
industry's biggest names (Etsy,
'
BurdaStyle, Joann Fabric, Singer, ''
I
I
Husqvarna Vik ing and Pfaff) are I Want a basic sewing primer that
I
coming together to host the "THE I
I doubles as a more advanced
SEWING PARTY"-the world's first
ever online-all-day DIY event. It will
feature more than 30 interactive
classes taught by the sewing and
crafting industry's top bloggers
and educational experts. Cost to
participate is $40 and registrants
w ill have access to all classes a full
90 days after the event itself.
thesewingparty.com, $40
sewing room
present perfect
es & ""'"'"""
betz whlt.e
From teddy bears to travel
cases, PRESENT PERFECT's
collection of sewing projects
appeals to the novice and
seasoned sewist alike; helpful
hints and suggestions for
fabric reuse guides you
through years of gift giving.
sewdaily.com, $19.98
~MAGIC ..
PATTERM~
to 6 oiffereat Style!
Sow 6 Patterll9"' 3
'
1
tutorial? THE MAGIC PATTEN
BOOK by Amy Barickman does
just that with the possibility of
creating over 200 original and
stylish designs. But, what's
really magical about this book
is the ease of navigating the
patterns and instructions
including fabric advice from a
pro. amybarickman.com, $22.95
9

sewmgroom

From inspiring people to hot

sew trends, check out the news from
around the sewing world .

SEWING IS
GOOD FOR YOU!
Studies show that
. .
sewing improves
mental, physical health
Text LINZEE KULL MCCRAY

Sewists know the pleasures inherent in

creating. There's the fun of choosing pat-
terns and projects, the thrill of turning bits
of cloth into something useful and beautifuL
and the satisfaction that comes when shar-
ing the completed item vvith friends and
family. While those warm, fuzzy feelings
bring us back to our sewing machines again
and again, a spate of recent studies note that
there's hard science behind those emotions,
and that making things is good for our men-
tal and physical health.
Experts in neurology, psychiatry, social
\vork, and occupational therapy have been
exploring the ways that crafting is good for
us. They cite the eye-hand coordination,
concentration, and meclitative repetitiveness
required for sewing, knitting, quilting, and
other crafts as positive boosts to participants' tion, or even in attaining a meditative state. seniors who declicated 15 hours a week to
physiology and psyche. Meditation has been linked to lowering learning the ne\1\T skills of photography and
The concept of "flow," described by psy- blood pressure and successfully coping with quilting had less memory loss than those
chologist Mihaly Csikszentrnihalyi as a time depression and anxiety. who played games or socialized.
of total involvement and deep enjoyment, A 201 2 Mayo Clinic study found that Other studies have examined the effects
is familiar to those of us working away at a people \vho engaged in crafting (including of making things on mothers of premature
project when everything's going smoothly. quilting) were less lil<ely to have cognitive babies, anorexic women, and the elderly:
But even \vhen a project provides chal- impairments. Professor of psychiatry and The results indicate that crafting soothes,
lenges, sewists experience flow-the brain neurology Yonas Geda suggests that crafting relaxes, de-stresses, and works as an anti-
is able to process a limited number of things 1nay build cognitive reserves that help the depressant for those who engage v.rith yarn
at a time, and learning a new technique or brain stave off assaults by ''bad chemicals and fabric. While some studies note that
stitching a challenging project necessitates and bad proteins" that lead to problems like the satisfaction felt at completing a project
focus on the here and now, rather than wor- Alzheimer's and dementia. Because crafting can strengthen one's self-image, it's also true
rying about the past or future. requires the brain to simultaneously employ that the process of sewing has benefits. So
Linked to flow are crafting's repetitive visual, verbal, and spatial cues, occupational stop beating yol1rself up over those UFOs
processes. British sociologist Betsan Cork- therapist Sharon Gutman of Columbia and stop feeling guilty when you sit down
hilL\vho studied the therapeutic effects of University says it may keep our neural con- at your se\ving machine. Taking time for
knitting on more than 3,500 participants, nections working quickly and efficiently. stitching and learning new techniques, even
notes that the skills learned v.rhile Se\ving And a recent study at the University of if the results \vind up sitting in your closet, is
and knitting are helpful in learning medita- Texas' Center for Vital Longevity found that its ov.rn reward. *
10
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 FABRICS
{barkcloth}

Ripple

Sunburst

loop

Ou ad rant

\
o.,...,,.:-
(.
--
TIME WARP
- Jessica Jones
-
Fall 2014

CLOUD9FABRICS.COM f <p ~ CLOUD9FABRICS

 wishliat
_______________ ,
-----------------------------

:"? I Wear a bit of spring this winter

with a necklace adorned with roses.
Made with love from Italy, this 3D
statement necklace is handcrafted
from ceramic and glazed in a
wintery white. Stone wear necklace,
etsy.comlshopllofficina, $66.50

1 I I Enjoy a warm cup of tea in this

contemporary porcelain mug. With
its unique shape and real gold
handle, add a touch of wonder to
your mornings. Coffee Mug,
etsy.comlshop!ENDEsign, $35.
I
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I

I
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I

4 I What's a wishlist without

a diamond ring? This beautiful
eternity diamond ring comes
with a unique triangle shape
0 .25 carat trillion diamond.
I
Available in both white and
yellow 18k gold, it's made our 3 I Display your favorite rings in this t
hearts swoon. Diamond ring, precious bowl. Measuring approximately 1

etsy.com!shop/ARTEMER, $1,720. Li:1/2" in diameter, the s tark white

porcelain is adorned with a 14k gold
feather. Feather Ring Bowl, I
etsy.comlshoplredravenstudios, $56. I
I
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I

~--------------------------------------------------------------~
12
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STITCH STORY NO 830 :

How a costume revealed

his true identity
E-llen's g randson. Jake was full of personality at home. but painfu lly shy at the playground.
Then 1nsp1rat1on struck. Using her Janome Skyline SS, Ellen stitched a custom cape that
transformed him into "Super Jake" and all owed his bold spirit to shine through. Learn more
about the new Skyline SS and how our sewing machines deliver more super powers for the
money. Visit Janome.com

JANOMEWHAT'S NEXT

-
 technique spotlight

Not all things that end up in

your sewing room are designed
with that purpose in mind, but
clever sewers have usurped
WINE RACK "stuff" from other rooms in the
The compartments house and found a sewing room
are perfect for storing purpose. Here are some of our
. .
sewing magazines, favorites:
either rolled or flat,
depending on t he
opening shapes. PLASTIC LIDS
[think yogurt, cottage cheese, dips!
S ure, they could go to the recycli ng bin , but
they're great fo r us ing as circle te mplates
and they com e in asso rted sizes. Label w ith
the dia meter and you've got a ready- made
set of templates.

WASHERS
Large round meta l was he rs from the home
im provem e nt s tore make great patte rn
weights. Use them a u natura le, or cover
them in fab ric.

BABY FOOD CONTAINERS

Whethe r they're glass jars with screw-on
lids or plas tic containers with snap-tops,
these m ini storage units a re great for
holding bu tto ns, beads, and othe r s ma ll
fi ndi ngs.

DENTAL FLOSS
Zigzag over this s tu rdy strand fo r easy
gathering-jus t be careful not to catch the
floss in yo ur s ti tc hing. It's a lso great fo r
sewing on buttons on oute rwea r and othe r
thi ngs that get a lot of wear.
CHOPSTICKS
A big help for stuffing small
areas, like doll feet and hands,
these handy tools are also good
for turning corners and gently
pushing t hem into sha pe.

l(e
...........................................
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Not your average sewing room supplies
ROLLING PIN
Move it from the kitchen,
cover it with a towel, and you've
got an instant seam roll for
pressing. It fits in sleeves or
pant legs with aplomb.

Text LINDA TURNER GRIEPENTROG

PAINTER'S TAPE
This handy blue stuff is ideal for mark-
ing a seam allowance w ider than your
needle plate markings-just peel and
stick with no damage to your machine.

ADHESIVE LINT REMOVER

Great for picking up loose threads on
your project (after r ipping?) or around
the room.

BED RISERS
Place these under t he legs of your
cutting ta ble to raise it to the proper
height.

SHOULDER PADS
Perfect to protect your hand and act as
a m ini pressing mitt.

SOAP SLIVERS
Recycle these for transferring pattern
markings tha t wash out read ily.

DENTAL MIRROR
Instead of standing on your head
to thread the serger looper, use a PLASTIC
small mirror w ith a long handle
to see the threading path. PLACEMATS
Easily cut, these
WALLPAPER ROLLER are ideal for adding
Got bulky seams that seam unruly? stability to the
Roll over t hem with this tool to flatten
bottom of a tote or
and tame. Great for use with leather,
purse. Trim to shape
faux leather, and heavy coatings. For
using kitchen shears
even more control on wools, flood the
area w ith steam before rolling - the
or a craft knife, and
roller pushes it into the fibers. slip between the
lining and bag. Totally
washable too!

15
sewdaily.com *
 technique spotlight

MUG RACK/TREE
This space-saving tool holds mu ltiple pai rs
of scissors for easy access.

FISHING TACKLE BOX

Got lots of machine accessories? A
segmented plastic box will keep them
organized and stick-on labels can identify
them all for more frequent use.

TOOTHBRUSH SHELF LINER

If you 've ever chased your machine
The perfect size helps across the table, or stretched to reach the
clean lint from the foot pedal on the hard- surface flooring,
machine's feed dogs. nevermore. Cut r ubberi zed shelf l iner to fit
under either for a slide-free solution to the
crawl. It grips and keeps things in place.

Wha t's your favorite sewing room tool, not

originally intended for use in tha t space?

LINDA TURNER GRIEPENTROG owns G

1Viz Creative Services in Bend, Oregon, where
she lives with her husband (a longarm quilter)
and three dogs. She writes, edits, and designs for
several companies in the sewing and quilting
industry. She also leads fabric shopping tours
to Hong .Kong for the American Sewing Guild.
Contact her at g wizdesigns@aol.com.

SKEWERS
Whether bamboo or metal,
these can act like a "third hand"
helping to feed fabric into the
machine without puckers, and
they're helpful for carefully
poking out corners.

16
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+
 how-to

SEWING WITH DENIM can be both fun

and challenging, so don't sing the blues.
Follow these easy steps for stitching
success. And remember, today's denim
isn't al\vays blue-there are myriad
fashion colors as \vell.

TOOLS OF THE TRADE

Start with sharp scissors or a ne\V rotary
cutter blade, as denim is dense and often
heavier than most other fabrics you'll be
sev.ring with. Starting v.rith the right tools
v.rill insure clean cut edges.
Use sturdy pins to hold seams together.
On very heavy denim, consider clips
instead, like Clover Wonder Clips to keep
things in place, especially on multiple
layers. (figure 1)
A walking foot is helpful to keep heavy
layers from shifting as you sew.
Opt for a jeans/denim needle-the
long tip and sharp point make it easier for
the needle to penetrate the closely \voven
fabric. A topstitch needle, v.rith a large eye,
.
U) is ideal for use with heavier threads. The
Ill
QI needle size should al\vays correlate to the
Ol
:g, denim weight.
~ Regular sev.ringthread works fine
en
c for seaming, but you'll want hea\rier
QI
~ topstitching or jeans thread for a sho\vier
Q; look.
..0
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PRE-TREATING
..,QI Denim will shrink, so pre-wash it at least
tiIll once to allo'v for that before cutting.
' Washing also softens the fabric and helps
E
c v.rith any color transfer later. Wash it alone,
QI
o or with like colors, and dry in the dryer.
Serge or zigzag all edges before you
pre-wash the fabric to avoid a raveled mess.

The in-and-outs of working with
this American classic
Text LINDA TURNER GRIEPENTROG
FRAY CHECKING
No doubt about it, denim frays, and it
can fray big time. The t\vill vveave makes
it prone to raveling on any cut edge, even
if you make a bias cut, so it's important to
fi nish all seams and hem edges securely.
Or, take advantage of this innate quality
and showcase fri nged seams or edges, like
on the Rods & Reel Denim Pillow (see page
59). Tf you plan to fri nge, stitch where

18
* stitch

you want the fringe to end using a small
straight stitch or a close zigzag.
It's a good idea to finish the edges on all
denim pieces right after cutting to avoid
excessive raveling during construction.
Use a zigzag, overcast stitch or serging to
encase the edges, even on seams that \vill be
figure 1
enclosed.
SEAMING
Reducing bulk is key when \VOrking with
denim as multiple layers can be taxing
to even the best of sewing machines. So
remember to grade enclosed seams to
different lengths, clip curves, and trim
comers.
Standard straight stitching is ideal for
denim seaming. Sew, then press the pre-
figure 2 figure 3 finished seam allowances open. (figure 2)
Serging also works well when seams
vvill be pressed in one direction. (figure '3)
On light- to medium-weight denims,
press seams in one direction and topstitch
v.rith a row of contrast stitching, a look that
mimics ready-to wear detailing. (figure~)
For a true Levi look, mal<e a real flat-
felled seam. Sew the seam with \lVTong sides
together and press the seam allowances
in one direction. Trim the lo\ver seam
allowance to about 1/ 4", then fold the edges
figure~ figure s of the upper seam allowance under and
lay over the trimmed seam. Topstitch the
folded edge in place. (figure S)
TOPSTITCHING
Wherever possible, topstitch denim seams
to help keep them flat. This can be done
with matching regular-weight sewing
thread, or with heavier topstitching or
buttonhole twist thread weights. Look for
figure 6 Coats Jeans Thread in colors that mimic
ready-to \vear denim stitching- the bright
(/)
z Le\ri gold, t\visted blue denim colors or
0
l- many fashion colors as well.
o
z For double stitching in one pass, use a
(/)
>-
(_) twin needle-two size roo needles with
z
<(
z 6 mm spacing sho\vcase topstitching
G, thread v.rith aplomb. (figure 6)
LU
l-
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::::>
0
(_)
figure 7
how-to
figure 8
HEMMING
Turning up a hem in denim is simple-
just zigzag or serge the hem edge, and
topstitch in place.
But, if you have to go over
perpendicular seams and you choose a
turned-under hem option, like crossing
the side seam of jeans, you can have eight
or more thicknesses at the junction,
\vreaking havoc with the feeding
mechanisms on most machines as you go
from two layers to eight. To help maintain
even feeding, look for a Jean-a-ma-jig, a
small plastic tool placed under the presser
foot to ease the transition from low to high
at the folded seamline. (figure 7) Place it
under the back of the foot at the start of
the climb, then \vhen the foot is level atop
the denim lump, move it to the front of the
foot to help \vith the descent.
If you must, pound a thick seam
crossing from the \1\l'Tong side \vith a
hammer before stitching to help flatten it.
TACKING
Ready-made denim garments are
often accented with bartacks sewn in
contrasting thread. To make a bartack, at
a pocket top, for example, set the machine
for a very close zigzag stitch and sew six to
eight times creating a dense bar. (figure 8)
As an alternative, some machines offer a
bartack setting.*
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives with her husband (a longarm
quilter) and three dogs. She writes, edits, and
designsfor several companies in the sewing and
quilting industry. She also leads fabric shopping
tours to Hong Kong for the American Sewing
Guild. Contact her at gwizdesigns@aol.com
19
sewdaily.com *
 technique spotlight

- -...:;::

Sewing know-how for these

sumptuous fabrics ensures success.
Text LINDA TURNER GRIEPENTROG

20
...........................................
* stitch
The world of lingerie sewing
is as varied as the women who
wear it. There's the silky, sheer,
luxurious and lace types, and
there's the cotton l<nit, soft
batiste and lycra types.
It's safe to say that most lingerie
fabrics are knit for a stretchy, form-fitting
silhouette under outer garments or a
flo'llring look on their own, depending on
the garment.
Common fabrics used in lingerie
se\ving are tricot, satin-back crepes,
sheers, and laces-all of which can be
slippery as you try to cut and sew. Other
fabrics, slike cotton knit and batiste, not
quite so much.
Many lingerie fabrics are wider than
standard fare-so1ne tricots come 120"
\vi de- making them a very economical
choice for everything from panties to
negligees. A yard of fabric that 'llride goes a
long way to filling the undies dra\ver.
In addition to the fabric options, there For pinning, use silk pins-they're specifically for se'llring lingerie fabrics.
are numerous special notions available long and thin and usually don't leave Look for size 60 thread in several pastels.
for lingerie se'llring. Look for underwires, permanent holes in delicate fabrics. Using finer thread makes less rigid seams.
pre-made straps, appliques and bows, On tricot, sheers, and single knits that
and elastics. lVIany lingerie elastics have a tend to curl, use pattern vveights to keep SEAMING
plush back designed to be placed against the pieces flat for cutting. Since most lingerie fabrics are knit of one
the skin, not in a casing; others have a To help manage the unrulies, spray sort or another, it's important to maintain
picot edge to sit above the garment edge. them \vith starch or a starch alternative, the flexibility in se'llm seams. Serging
such as Best Press, before cutting. It adds a is an ideal finish as it finishes edges
CUTTING bit of body making them easier to control. and Se\vSthe seam in one pass, while
If you're \vorking 'llrith tricot, silkies or maintaining some stretch in the seam for
sheers, cutting requires care. Begin 'llrith TOOLS OF THE TRADE close fitting items. On stretch laces and
sharp scissors, preferably with a serrated Choose a ballpoint needle for Se'llring 'llrith sheers, narro\v the stitch \vidth for less
blade for easier cutting. A little painter's knits, and a universal needle for woven show-through.
tape can help secure fabric to the cutting fabrics. Since most are light\veight, a size If you don't have a serger, stitch seams
table for non-slip layouts, or you can cut 70/1Ois a good place to start, working up with a narro\v, open zigzag stitch-
things like sheers sand'llriched bet\veen for heavier fabrics. perhaps even t\VO next to each other, and
t\VO layers of tissue for easier handling. Lightweight threads are available slightly stretch the seam as you se\v.

21
sewdaily.com *
 technique spotlight
figure 1
On \voven fabrics, such as satins,
crepes or batiste, no special seaming is
required and a small sharp needle is ideal.
These too can be serged, or sewn with a
standard straight stitch, and the edges
finished >vith zigzagging or serging.
Often woven fabrics are cut on the
bias for lingerie garments so they have
good draping. When sewing bias seams,
be careful not to stretch the seam as you
stitch, but allo\ the fabric to feed on its
own. For serged seams, use the differential
feed to control stretching. Before
hemming a bias-cut garment, allo\v it to
hang overnight.
APPLIQUES
Lace appliques are common embellish-
ments on lingerie. Since lace doesn't ravel
\hen carefully cut, flower motifs are easy
to create.
Use a bit of temporary spray adhesive,
like Sulky KK2000, and lightly spray the
applique shape. Press it onto the fabric in
the desired location and zigzag around
the edges with matching or invisible
thread. Using small sharp scissors, trim
the fabric aV1ray under the lace motif.
22
* stitch
figure 2
EDGE FINISHING
Lace often finishes the edge of many
lingerie items and applying it is simple-
just lap the finished lace edge over the
fabric edge and stitch in place using a
narro\v zigzag along the seam or hem
line. The fabric under the lace can then be
trimmed away or left in place.
If lace isn't the edge finish of choice,
narro\vly hem the edge using a 1/ 4" turn-
under or serge the edge, tum up and
stitch. A. serger rolled hem can also be
used to finish edges.
For a bit of fun, sew a shell-edge hem
finish. Simply turn under the fabric edge
1/4" and lightly press. Set the machine for
a blind hem stitch \Vith a wide width.
Position the fabric so that the \vide
portion of the stitch goes off the edge,
pulling it into a small scallop. Adjust the
stitch length to change the scallop length,
and the tension to pull the fabric in more
or less, depending on the desired look.
This same tecl1nique can be used on the
edge of tucks. (figure 1)
Another edge finish for knit lingerie
fabric is called lettuce edging. A narro\v
hem can be turned under or the stitching
figure 3
can be done over the raw fabric edge. Set
the machine for a close, narrow zigzag
and sew over the edge while stretching
the fabric as much as you can. When you
release the edge, a ruffly lettuce edge ,..,;11
be appear. (figure 2)
Often armholes and neckline edges are
simply bound with a double layer of the
same knit used in the lingerie garment
itself.
Your machine's decorative stitches
also make beautiful edge finishes. Spray
the fabric edge with temporary adhesive
and place it over a piece of \vater-soluble
stabilizer. SeVI' the decorative edge along
the seamline, trim close to the stitching,
and remove the stabilizer. (figure 3fk
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives with her husband (a longarrn
quilter) and three dogs. She writes, edits, and
designsfor several companies in the sewing and
quilting industry. She also leads fabric shopping
tours to Hong Kong for the American Sewing
Guild. Contact her at gwizdesigns@aol.com
 give your projects
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23
sewdaily.c o m *
 book excerpt

'
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* stitch
 book excerpt

APPLIQUE TECHNIQUE
Invisible machine applique with
bias strips

FINISHED SIZE
131/2" x 39 1/2" (34.5 x 100.5 cm]

PERHAPS IT ISN'T COINCIDENCE that MATERIALS

both concrete and quilts come in blocl<
form. I was intrigued by the way the
separate blocks of concrete walls mal<e
circle patterns when put together, just
lil<e quilt blocks take on a new life when
they interact with copies of themselves
in a quilt top. Concrete sellers call the
common breeze-blocl< design replicated
in this runner Cordova, and since the
concrete version is often used to build
walls in and around gardens, it seemed
only natural to use floral prints as the
3/4yd (68.5 cm] off-white solid fabric
for bias strips, sashing, and binding
12 squares, each 6" x 6" (15 x 15 cml.
assorted prints for backgrounds
2/3 yd (61 cm] backing fabric
18" x 44" (45.5 x 112 cm] batting
TOOLS
1/2" (1.3 cm] bias-tape maker
Cordova Block fattern
(Downloadable
Toolbox for prepared-edge
applique
Light box (optional]

background fabric.

25
sewdaily.com *
 book excerpt

CHOOSING FABRIC
Medium- to large-scale
prints such as the florals
used here demand a place
of prominence and lose their
effect if chopped up into tiny
pieces. By placing them behind
the bias strips, they retain
their impact, drawing the eye
through the bias-strip design
in front of them . Landscape
architects do this by alternately
concealing and revealing
glimpses of different settings
beyond hedges, fences,
or, appropriately enough,
perforated concrete walls.

Cut the Fabric
I From off-\vhite solid fabric, cut:
- 2 strips 4" (1Ocm) x v.ridth-of-fabric;
sub-cut each 4" (1Ocm) strip into 1"
(2.5 cm) wide bias strips. You'll need a
total of 48 bias strips. (You sh ould be
able to make a few extra bias strips,
which are useful for testing your
machine settings before sewing the
actual blocks.)
- 5 I-Iorizontal Sashings 11/2" x 121/2"
(3.8 x 31.5 cm)
- 6 Vertical Sashings 11/i" x 6"
(3 .8 x 15 cm)
- 2 Long Borders 1" x 381/i" (2.5 x 98 cm)
- 2 Short Borders 1" x13 1h "
(2.5 x 34.5 cm).
right side up, aligning the edges with the
solid square outline. (The dashed line
indicates the seam line.)
4 Positi on a bias strip on one of
th e curved sections of the pattern.
Starting from one end (leaving a bit
of an overhang past the background
fabric), glue-baste the bias strip to the
background fabric. You'll need to curve
the bias strip gradually to follow the
pattern lines; the strip should extend a
little past the opposite end, too. If the
strip ripples instead of lying flat, gently
press to relax it. Glue-baste the other 3
strips to the background square where
indicated on the pattern. Repeat to make
to a total of 12 blocks.

Applique the Bias Strips

Prepare the Bias Strips
2 Run each bias strip through the bias-
tape maker to turn the edges under to
make '12" (1.3 cm) wide finished strips.
3 With a copy of the Cordova Block
pattern right side up on a light box, place
one of the 6" (15 cm) background squares
5 Sew along both curved edges of each
bias strip \Vith a zigzag or blind-hem
stitch using monofilament thread.
6 Trim the excess bias strip length even
with the background squares.

26
* stitch

VARIATIONS
Bias strips can easily be
sewn by hand or topstitched
in place. If you baste the
strips securely, you could
even try quilting them in
place after building the quilt
sandwich. Half of the table
runner length-two by three
blocks-would be just right for
a placemat, and when I taught
this pattern at my local quilt
guild, some of the members
used four blocks as the front
panel of a tote bag .
book excerpt
Assemble the Runner 1" x 13 112"
(2.5 x 34.5 cm)
Note: Press all seam allowances
to\vard the sashing and border strips
to help m.ake them look like an
extension of the applique.
6 x 6"
11
(15 x 15 cm)
7 Referring to the Assembly
Diagram, arrange the blocks in 6 rows
of 2 blocks each on a design wall or
other flat work surface.
1112" x 12112" (3.8 x 31.5 cm) I
~
CX)
8 Join the blocks from each row with
"'x
.....
a Vertical Sashing strip.
9 Join adjacent rO\VS with a
Horizontal Sashing strip.
10 Pin and se"'' a Long Border strip to
each long edge of the runner top and
press. Sew a Short Border strip to each
short edge of the runner top.
Quilt and Finish
A table runner is a very manageable
size to quilt on a domestic machine.
After quilting straight lines do\vn the
center of the sashing strips (to make
the sashing look more like a border
around each block), I S\vitched to free
motion and outlined all the off-white
pieces. Taking a cue from the floral
prints I used, I quilted a daisy shape in
each block center and a quarter daisy
in each of the bias-framed quarter
circles.
Baste the backing, batting, and
I I
runner top together. Quilt as desired.
Trim the excess batting and backing Assembly Diagram
and square the edges of the runner.
12 From the remaining off-white
solid fabric, cut 3 strips 2" (5 cm) x
width of fabric for binding. Join the
binding strips with diagonal seams
and press in half \vrong sides together.
Bind the runner.
27
sewdaily.com *
 book excerpt

PREPARED-EDGE #

APPLIQUE AT A GLANCE
TOOLBOX
Freezer paper and/or
bias-tape makers
Spray starch or spray sizing
and brush
Iron
Stiletto
Basting glue
Scissors
Needles
Thread
Open-toe presser foot and/or narrow-
edge presser foot [for machine
methods]

PATTERNS AND TEMPLATES

Use reversed pattern to trace shapes
onto freezer paper.
Use non-reversed pattern to
arrange shapes on background.
Templates have no seam allowances;
add seam allowances when cutting
fabric.

A Book Excerpt
from The
Quilter's Applique
Workshop
by Kevin Kosbab

28
* stitch
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29
sewdaily com *
 feature

Cheap & Chic

Live a greener lifestyle
and beautify your home by upcycling your excess
stuff into on-trend art and accessories.

Remember when green was just

another chip on the color wheel?
The color of money and a healthy
salad? Now green is a lifestyle
choice.

Let me state up front that on the color spectrum

of actually "going green" I am barely to lime. I
am a mixed-media artist with a mission to hunt,
gather, and hoard. How does one reconc ile th at
with a yearning to live a more simple life and
honor the environment? For my husband and
me, the f irst st ep was to build a smaller home
wi th a self-sustaining (almost) landscape. We do
not have a grass lawn and envision a vegetable
garden (1'11 get back to you later on that idea, but
Barbara Kingsolver's book Animal, Vegetable,
Miracle did get me thinking). '
My new stu dio is light and airy but scaled down
in size, res ul ting in less room for my swag, my
stuff, my stash. This has led to a shortness
of breath, profuse sweating, and voices in my
head w hispering, " Time is up, Missy!" The
challenge was to use some of my collections in
f unct ional ways such as home decor, set t hem
free (give away, donate), or spend t he rest of
my life perfecting an inventory system to man-
age and st ore my art materi als. I went w it h the Inspired by the drapes in Tricia Guild's book
first two options. Patterns, I mixed printed linen panels with plain
ones. Currently there is a resurgence of pattern
These mixed -media home decor projects in fabric fo r home decor and, wonder of wonders,
ill ustrate my new- I can barely utter th e word - wallpaper is back w it h a w hole new att it ude.
thriftiness. Out came a stockpile of natural linen Perfect timing for mixed-media artists! Our col-
fabric (old and not-so-old) for drapes, along lages, surface design t echn iques, and fab ric art
w ith cherished embellishments like vintage but- can now claim vertical wall space looking fresh and
tons and notions. T he only purchase I made for fab ulous.
any of the proj ects featured here is the sassy,
oversized rickrack used in the drapes (shown on Pillows made from burl ap sacks, seen in a t rendy
page 32). home store, infl uenced t he concept for another

30
* stitch
 feature

project. They were pri nted w ith tex t and large-

scale num bers, an easy motif to d upl icate w ith
the chunky foam alphabet stamps.

Since all Roman numerals can be made with only

seven letters, I took a qu ick look online to refresh
my memory and pulled out t he necessary lett ers:
I, V, X, L, C, D, and M.

For t he front of the pillows, I cobbled together

leftover linen from the drapes, added scraps of
fabric with tex t, then stamped, stenciled, and
spattered the surface-familiar techniques t o all
mixed-media artists. If you have ever made a
col lage and can sew a fai rly straight line, you can
make these pillows.

There is nothing like spending an hour in one of

th e Anthropologie stores to powe r up on inspira-
tion fo r home-decor projects. ( I reali ze some
people actually do go there to buy cloth es.) It framed collage wall art
was there I saw an entire wall of frames-all MATERIALS
sizes and styles, made into a cohesive collection Used pictu re frames
by painting them with white gesso. Although I Sandpaper
am familiar with t his design concept , it was t he Gesso, white and black
matte fin ish of the gesso that sent me home w ith Paintbrus h
a mission. I buy gesso by th e gallon (so crisp and Gold en Artist Colors Interference Gold paint
fresh on ceilings!) and already had the req uisite Ephemera includ ing book pages, hotel
collecti on of old f rames. receipts, reco rd covers, and engineering
drawings
Humming "Reduce, Reuse, Recycle" put me in Old too t hbrush
th e rig ht frame of mind. Prom ising to "use what Foil pen. gold
you already have," I cut up a previously made Alphabet stamps, foam rubber, large
col lage: at 3' x 5' it was t oo large fo r my new, Large foa m architectural stamps
smaller room s. By laying the frames on top of the Ru bber stamps and ink pads
collage and moving and turning t hem in different Acetate transparencies
directions, I was able to find a pleasing com- DIRECTIONS
position for each frame. It also helped that the the frames
existing gesso spattering on the collages related 1. Sand t he frames and wipe them clean with a
to th e frames. damp cloth.
2. Apply 2-3 coats of white gesso, sand ing
Now th at the st udio is looking rat her spiffy I am lightly between coats.
on my way to the garden. My flowers (grown note: Gesso dries quickly. but be sure each coat is
from seed, I'm so proud!) are going to be my completely dry before applying the next one.
new art materials. Poppies. sunflowers, Bells of 5. Apply Interference Gold paint t o th e frames, if
Ireland, and nasturti ums. Their organic shapes. desire d. Wipe gently with a cloth, leaving the
tex tures, and geometry captivate me and offer pa int in th e ca rve d areas.
endless possibilit ies for m ixed-media art. I the collage
press them, preserve them in the freezer, and 1. Using your favorite techniq ues, cre ate a col -
slath er their pet als and leaves with color to make lage with the ephemera, ru bber stamps, and
monopri nts. acetate transpa re ncies.

31
sewdaily.com *
 feature

2. Overstam p with large alphabet letters. For DIRECTIONS

Roman numerals, use the letters in as many
combinations as you like.
3. Apply black or white gesso to the large
foam architectural stamps and press firmly
onto the collage surface.
4. Use an old toothbrush to splatter the
collage surface with both black and white
gesso. Add sparkle and depth by "fl icking" a
gold foi l pen over t he fabric.
5. Place the frames on your collage, moving
them around until you f ind the desired
composition for each.
6. Mark, cut out, and f rame your pieces.
drapery panels
MATERIALS
V intage linen or purchased linen pa nels, 2
plain and 2 patterned
( I used previously purchased natural linen
fab ric for my drapes -1 shown below.)
Buttons
Cloth measuring tape
Waxed linen threa d
Giant rickrack, 11/i" wide
Iron-on hem t ape
Hot glue gun and glue sticks
x press firm ly onto t he fa bric.
Look for
DIY Holiday
at stores and on
shop.sewdaily.com.
1. Sew a plain and a patterned panel toge t her
along the long side (right sides facing), t hen
press the seam open. Repeat with the second
set of panels.
2. Attach large buttons to the plain panel s with
waxed linen thread .
3. Hem the bottoms and tops of the panels using
iron-on tape.
4. Sew the cloth measuring tape across the bot-
tom edge of the panels.
5. Attach rickrack down t he center seam using a
hot glue gun.
pillows
MATERIALS
Linen fabric fo r pillow fronts
Fabric for pillow backs
Pillow forms
Fabric paint, black and white ( I used Tulip
brand.)
Stencil brush
Stencils
Large and small chipboard alphabet and
punctua tion stencils
Purchased fabric with a tex t design
Cloth measu ring tape
Buttons
Foam stamps
DIRECTIONS
1. Cut the fabr ic for t he pillow f ront. I recom-
mend cutting the fabric for the pil low f ront
and back at least 1" larger t ha n the pillow
form; t his allows for 1/2" seam allowances.
2. Holding t he stencil firmly in place, apply the
fa bri c paint with a stencil brush and let it dry.
3. Apply fabri c paint to the foam stamps and
4. Sew fabric patches, measuring ta pe. or other
embellishments to the fa bric.
5. Spatter the surface with paint, gesso, or gold
foi l pen.
note: The patchwork for t he front of the "and now"
pillow was pieced together w ith the seam allow-
ances showing on t he outside.
6. Sew the pillow f ront to the back, right sides to-
gether, leaving an opening for the pillow form .
7. Insert the pil low form and stitch t he opening
closed either by hand or machine.
For a list of inspirational decor books, check ou t
lnterweavestore.com/DIVHoliday.

32
...........................................
* stitch


Download the
FREE Marrakech
pattern at
sha nno nfa brics.com

46" x 58"

---------- be, SURe., ~00 che.c1< 00\-

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FABRICS
Making The World A Softer Place
 I
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:'Ill t

* * I

Don't take our word for it, hear what

our happy customers have to say:

1Ian<ls J't1c11un1,
 artist Q&A

from
~

An interview with Anna

Maria Horner
by LINDSEY MURRAY

36
* stitch
 artist Q&A

Do you remember seeing Anna Maria

Horner's newly built studio in the
fall 201 r issue of Studios? The pristine Photos by Anna Maria Horner
v.,rhite surfaces and architectural details
just waiting for her to move in? I had
my doubts whether Anna Maria could
improve this space by adding anything-
it seemed perfect already!
Fast forward a fe\v months, and I stand
corrected. Once filled with Anna Nlaria's
tools, fabrics, and supplies, the room truly
came alive. Read on to find out how this
room \vas decorated-or not intentionally
decorated anyway- and became a haven
not only for Anna Maria, but for her \vhole
family.

LM: Now that you have settled into your

space, are you still happy \Vith all the
design decisions that you made?

AMH: Yes, I really, really am. I still come

in here most days and pinch myself.

LM: Would you change anything?

AMH: I don't know what it \VOuld be.

I thought so long and hard about this
space that I didn't go forward until I had
it all figured out, so it's perfect, as is, for
me. There are just a couple of details that
I have yet to finish, like how to treat the
bare-bones plank stairs leading up from
the dov.rnstairs studio ...so far, they are
\VOrking fine as they are, but I imagine I
may paint them.

LM: Ts there any design feature you love

so much that you would recommend it to
other people?

37
sewdaily.com *
 artist Q&A

-...............


AMH: Everyone works differently, so I
'

....... .
,


~ feel that's the key thing to look at ho\v
e I I. I .

~
I e I I
do you work? You will come across many
beautiful spaces, but making one function
th e \vay that you personally operate is
th e only reason to custom build a space.
We had nooks and crannies to deal with
in this attic, but in the end, those spaces
served me really well and provided lots
of storage that I wouldn't h ave h ad in a
standard room.

LM: The \vay you decorated your studio

is gorgeous. Was it hard to let go of the

pristine whiteness of the area? What
made you choose the colors that you did?

AMH: The funny thing is that I don't feel

as though I have decorated at all. Simply
filling the shelves with materials and
supplies did it for me. I kept most of the
furnishings neutral, added a few pieces of
salvaged wood for ledges and tabletops,
and of course layered that with my own
prints through pillo,vs and rugs. Those
will probably change every time I design
a new fabric line. The whole room is sort
of like a sketch book that \vill get ne\v
artwork from time to time. I do have a
few special things near my work desk,
including an embroidered family p ortrait
th at I made in a college textiles class, a
miniature quilt piece by my friend Alexia
Abegg. and a Byzantine icon that my
moth er gave me. These small additions
mak e the space feel like home.

38
* stitch

LM: What is your favorite piece of
furniture?
AMH: I love the look of my stainless
steel worktable. It's a sleek, modem break
from all the painted wood surfaces. T
found it th rough a restaurant supply
place, and it's just a standard kitchen
\Vorktable with a shelf u nderneath. While
it's not as \vide as the counter \Ve use
downstairs for cu tting, it works perfectly
for my personal projects and has a great
open shelf underneath for scrap bins.
LM: You said that you r kids were always
welcome into this space. Do they like
spending time there?
AMH: They all do a little bit of
everything up here; typically, it's hanging
out, messing around \vith a needle and
thread, or reading. Since school started
they have been doing homework up h ere
in the afternoons. Roman, our youngest,
has a shelf or two devoted to some of h is
favorite toys so h e feels just as at home in
th is room as in any room in the h ouse.
LM: Speaking of your kids, do you
encourage them to craft, or do they
naturally gravitate to it?
AMH: I am not sure I ever have to
make the suggestion, but they sort of
h ave about every craftlart/sev.ring tool
and supply right at th eir fingertips, so
it comes as no surprise it's what they
end up doing. They are certainly used to
seeing me pick u p all sorts of projects,
both for work and for leisure, so Tam sure
that contributes to their interest. Simply
limiting their TV and computer time
to just the weekends means that there
is free time that they have to come up
v.rith something creative or othenvise do
nothing but stare down boredom. It's a
proven recipe here.
LM: What is the first word that pops into
your mind when you think of your new
space? Why?
AMH: Sunlight. The morn ing sun is the
first thing that greets me as I turn to walk
in at th e top of the stairs every morning.
Jeff and I very often have our coffee up
h ere in the morning, so it's not just where
I start my day, but we usually start it
together here.
LM: Can you descri be a typical day in
your studio?
artist Q&A
I
~
;iilliiig
AMH: Once everyone else has left to start
their day, my first stop is on the computer
checking my inbox, my online shop, my
blog, etc. My email inbox obviously serves
as a to-do list, as I am continually working
with my manufacturers, printers,
and publishers on new projects and
corresponding to fine tune collections.
Pierrette is my assistant, and her desk is
downstairs where she manages the online
shop and helps out v.rith graph ics \vork
for marketing materials and the website.
We convene two or three times a day to
discuss projects and plan: Sometimes
that happens up h ere and sh e'll bring her
laptop up for us to \vork side by side, or
sometimes I'll sit dov.rnstairs for a while
to go over various upcoming projects.
Tf I'm sewing or working at the drafting
table, I typically like to straighten up
39
sewdaily.com *
 artist Q&A
my \Vork area first, othervvise I get antsy.
So just keeping this place up to a certain
degree takes up a good bit of my time.
Because the children start filtering in after
3:00 or so, I try to save less focused work
for the afternoon. They all make their way
up here for a chat before they head to their
snacks, homework, or playing outside.
That's sort of my 90-minute warning bell
before I \vrap up my day. I try hard to not
be up here at all after that. But the reality
is that every now and then I squeeze in
another hour or two of work after the kids
are in bed. Now that my main work space
is upstairs and has a door that closes, it is
much easier to walk away from my work
and focus on "home time."
.,.0
* stitch
LM: You seem to do a little bit of
everything when it comes to creating. Ts
there one craft that you just couldn't live
vvithout?
AMH: I think that hand\vork is nearest
to my heart. ..there is such a
free-form, fine art aspect to it that it
speaks to the painter, drawer, and stitcher
in me. There is also something about the
simplicity of it that I find so provoking,
especially \vhen you consider that some
of the most elaborate work can come
from just cloth, needle, and thread. It is
such a personal expression.*
annan1ariahorner.com
This article first appeared in Studios
Winter 2011 .
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 projects

What better season to

turn your attention to the
warmth of the sewing
room than winter. Draw
inspiration from one of
our 31 stylish projects to
fill these dark days with
the brilliance of your
creative stitching. Will you
indulge your fancy with
Edwardian Days or recycle
your castaways with
Pining for Patchwork?
How about creating a new
you with New Vintage or,
for a touch of nostalgia,
DIV Denim? Too tired to
decide, then Boudoir is
definitely for you!

sewdaily.com *
This is fiber art at its finest-a si!J<
skirt embellished \vith nuno-felting

this oh-so-ey:e-catching hemline accent.

instructions


sewdaily.com *
:.Joi.Jett
Tvlix a \vide varietY, of coorainating laces~ trims:'aho
ribbons to create a richl'yj patterned tiered skirt.' PulJ:rrom
your personal stash o~ treasures, adding a fe\v special
ribbons to make the skirt uniguely: yours.
Schmidt
instructions
 . '"
m1nl!

elt em elli h d

finishin a
circles and a piping accent n1ake this
simP.le dress fun and flirty, \Vi th just

:-../orbeck
i structions
diamond chain
bolster
Casuat hand-drawn lines were a hallmark
of mid-century textile design, and the look is
easily replicated with free-motion quilting.
No expertise is required, since the wavering
lines give the simple design its character.
DESIGNED BY Kevin Kosbab
[project instructions on page 91]

tablet folio
Sew a fun and unique padded tablet holder!
Instead of using a typical closure, this holder
utilizes a fold-and-go system. In one quick
gesture, the tablet slides into place. Slim in
design, it fits nicely into a briefcase, backpack
or purse.
DESIGNED BY Marni Weaver
[project instructions on page 93]
op art runner
Inspired by Op Art, crisp graphics jumped off the
gallery \Vall and into the late-r96os home through the
\Vork of designers like Verner Panton. Bring it into your
O\vn home \vith this runner, \Vhich adds applique to
Drunkard's Path pieced units, creating a bold, striped
wave design.
DESIGNED BY Kevin Kosbab
[project instructions on page 94]

... ..... .: .: ,'..,

. . . . . .. ."
., I

.. . .. ... ," ..'. ,

,,

,
.. "

" I
I

51

sewdaily.com *
 I

embellished
a-line skirt
This classic A-line skirt offers a
modem t\vist, including a slightly
dropped \Vaistline and a curved inset.
Embellish the inset with coordinat-
ing fabri cs and embroidery floss,
,... . adding your own flair. Use the same
.. ...........
....---
........ ........... .....-...
..... fabric for the entire skirt, or add a
...............
... --............
,........
~
~ ... .t-
.... - contrasting fabric for the inset for yet
a different look.
DESIGNED BY Stephanie Bracelin
[project instruct ions on page 97)
disco bag
Show off your love of all things retro
with a hand-embroidered disco bag.
Sparkling metallic details and a
n1odem shape add a touch of glam.
With a roomy interior, double inside
pocket, and magnetic snap closure,
this faux leather bag is sure to be your
new favorite for a night out!
DESIGNED BY Sara Curtis
(proiect instructions on pa, 9:]
scallop shift
dress
Reminiscent of women's clothes from
the '6os and '70s, this little girl's shift
features a button-front scallop placket
opening, cut-on cap sleeves and
simple lines. Make it in a fun pastel
print, or go bold for added impact.
This dress is easy enough even for a
beginner.
DESIGNED BY Stephanie Bracelin
[project instructions on page 99]

SS
--
sewdaily.com *
Who doesn't love denim? Call it your
own with these 5 groovy remakes

DENIM JACKET
This stylish and trendy jacket proves
that denim isn't just for dungarees. With
the right accessories, this jacket's shawl
collar, peplum waist and indigo blue color
make a smooth transition from office to
evening and from \vinter to spring. Add a
pop of color with a bright lining.
DESIGNED BY Amber Eden
[project in struct ions o n page 101]
 SLOUCHY
CROSS BODY
BAG
Denim and leather make a fantastic
mix-edgy, modem, and sturdy
enough to withstand everyday use.
And with denim now available in a
number of fun colors, you can make
one to match everything in your closet!
DESIGNED BY Lisa Polderman
[project instructions o n page 103]

-
RODS & REELS
DENIM PILLOW
Don't throw out those old jeans! Cut them
up and restitch them in an updated way.
Add your favorite fabric scraps using "sketch
stitching" to create a unique piece of modem
art in a pillow. This creative accent is easy to JEANS PLACEMATS
make and fun for guys or gals.
Recycled jeans are ideal for placemats-
DESIGNED BY Heidi Emmett they're sturdy and usually have interesting
[project instructions on page 104]
pocket details that make a fun holder for
napkins and silverware on your casual table
setting. Any jeans will work, but scour the
thrift stores for large sizes so you have more
fabric to work with.
DESIGNED BY
Linda Turner Griepentrog
[project instructions on page 106]

59
~-~

sewdaily.com *


Weglarz
[project instructions

61
sewdaily.com *
 purse
This dramatic origami-style bag is
based on a 194os vintage creation
made from panels of soft leather. This
silk version is updated with a log
cabin patchwork style panel, heavily
quilted to give a sumptuous texture.
DESIGNED BY Ruth Singer
ions on page noJ

62
--------------
* stitch
 ed felted scarf
Trailitional log cabin, rail fence, and
stripe patchwork blocks sewn in felted
\vools are teamed with exposed stitching
techniques to create a vibrant scarf set
to chase avvay the winter doldrums. Mix
it up with the featured colors or create
your own color scheme to please.
DESIGNED BY Jenn Rhoads
[project instructions on page 111]

". (

.. .

-
 retro baby quilt
Hidden secret? If you look closely at
this colorful baby quilt, you1l see the
incorporation of the letters M and X in the
design. This simple-to-sew quilt is ideal
for any child with its colorful triangle
construction, giving it the look of houses
with peaked rooflines.
DESIGNED BY Malka Dubrawsky
[project instructions on page 112]

64
* stitch
glamorous patchwork parka
Velvet and a patchwork of brilliant silks tum a \varrn, utilitarian
parka into a stunning evening jacket. Vivid silk lining turns back
at the cuffs and makes a snapped flap over the zipper. Insulated
with batting, the parka has a shaped hem, standing collar, and
front pockets.
DESIGNED BY Tina Lewis
[project instructions on page 113]

65
sewdaily.com *
 0 TANGLED UP IN THE BLUE DIAMOND CHAIN BOLSTER
QUILT by EMILY BRECLAW Project photo by KEVIN KOSBAB Project phot o on page
on page 67; instructions on page 117. SO; instructions on page 91.

llTABLET FOLIO by MARNI [I OP ART RUNNER

WEAVER Project p hoto on page SO; by KEVIN KOSBAB Project photo on page S1;
instructions o n page 93. instructions on page 94.

V>
t I
*
t I
()
y-~)

~
El LOG CABIN PATCHWORK II VINTAGE VINYL SNAKESKIN
PURSE by RUTH SINGER Project photo CLUTCH by LINDA LEE Project photo on
on page 62; instructions on page 110. page 52; instructions on p ag e 96.

II A SIMPLY MOD PURSE I] DISCO BAG by SARA CURTIS

by LYNN WEGLARZ Project photo on page Project photo on pag e 54; instruc tions on
61; instructions on page 109. page 98.

click to download the ...

11111'

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PATTERNS + TEMPLATES (/)
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 - -- - - -

Sit back and enjoy.

one of th ese 5 com

Perfect for snuggling in bed, these feminine wrap

shorts feature a curved slit in the front to show
just a bit of leg. Pair them with a tank top or
camisole for sweet dreams. Look for a lightweight
fabric for sleeping comfort.
DESIGNED BY Tara Miller
[project instructions on page 117)
tangled up in
Give your bedroom a cool graphic makeover with this
'6os inspired quilt. Large equilateral triangles are easy to
cut and quick to piece. The asymmetrical enables
you to change the look of the quilt by sim "ng it
around.
DESIGNED BY Emily Breclaw
[project instructions on page 117]
J

adult onesie
Defy winter chills in an adorable,
warm and cozy onesie-a modern
big-kid version of a childhood
favorite. Loose and comfy for
lounging, it has contrasting zippers,
ribbed cuffs, topstitching detail,
three pockets, and a snuggly
hood.
DESIGNED BY Tina Lewis
[project instructions on page 119]
 u the e little

69
sewdaily.com *
 ......
70
-~----------~---
* stitch
 - -
--~-
-

--
The Hol sYo Love,
w
With 47 projects in all, you'll love all that this magazine
has to offer, whether you are making gift tags from
Sew Festive, last minute sweet little pouches from Fast
+ Fab, a delightful sashiko pink from Embellish It, a
free-motion stitched card from It's a Wrap, or an
adorable shower curtain from Gift Giving.

Stitch Modern Holiday 201 4 J 146 p ages I $14.991 Magazine I SRN: SG1400

9hd&z,~ mpg; IWfJJ at

www.interweavestore.com/sewing
or by calling 866-949-1646
,
71
sewdaily.com *
 * GETTING STARTED
l Basic tools, techniques,
SEWING KIT
The following items are essential for your sev.ring kit. Make
sure you have these tools at hand before starting any of the
projects:
0 ACRYLIC RULER This is a clear flat ruler, with a
measuring grid at least 2" wide x r 8" long. A rigid acrylic
(quilter's) ruler should be used when working with a
rotary cutter.
0 CLOTH MEASURING TAPE Make sure it's at least
60" long.
0 CRAFT SCISSORS Use these for cutting out paper
patterns.
0 DRESSMAKER'S SHEARS These sharp long-bladed
scissors are used to cut fabric.
0 EMBROIDERY SCISSORS These small scissors are
used to trim off threads, clip comers, and do other intri-
cate cutting work.
0 FABRIC MARKING PENS & PENCILS Availablein
several colors for use on light and dark fabrics; use them
for tracing patterns and pattern markings onto your fabric.
0 HANDSEWING & EMBROIDERY NEEDLES Keep
an assortment of sev-ring and embroidery needles in dif-
ferent sizes, from fine to sturdy.
0 IRON, IRONING BOARD & PRESS CLOTHS
An iron is an essential tool when sewing. Use cotton
muslin or silk organza as a press cloth to protect delicate
fabric surfaces from direct heat.
0 PATTERN PAPER Have some pattern paper or other
large paper (such as newsprint, butcher paper, or pattern
tracing cloth) on hand for tracing the patterns from
the pattern insert. Regular office paper may be used for
templates that will fit.
0 PINKING SHEARS These scissors with notched teeth
leave a zigzag edge on the cut cloth to prevent fraying.
0 SEAM GAUGE This small ruler \vith a movable slider
is used for marking hems, checking seam allowances,
placing buttons, and more.
72
* stitch
& terms you'll need
for the projects in
this issue.
0 SEAM RIPPER Handy for quickly ripping out stitches.
0 SPIKED TRACING WHEEL & COLORED
TRACI NG PAPER Use these tools for tracing
patterns and markings onto your fabric.
0 STRAIGHT PINS & PINCUSHION Always keep
lots of pins nearby.
0 WEIGHTS Pattern weights or small rocks are great for
keeping fabric in place while drawing, pinning, and cutting.
* OPTIONAL ... but good to have.
0 FRENCH CURVE A template of metal, plastic, or \vood
that includes many curved edges for constructing smooth
curves.
0 NEEDLE THREADER An inexpensive aid to make
threading the eye of the needle super fast.
0 POINT TURNER A bluntly pointed tool that helps push
out the comers of a project and/or smooth seams. A knit-
ting needle or chopstick can also be used.
0 ROTARY CUTTER & SELF-HEALING MAT Useful
for cutting out fabric quickly. Always use the mat to protect
the blade and your \Ork surface. (A rigid acrylic ruler
should be used with these to make straight cuts).
0 TAILOR'S CHALK Available in triangular pieces,
rollers, and pencils in various colors, tailor's chalk is useful
for marking cloth. Some forms (such as powdered) can
simply be brushed away; refer to manufacturer's instruc-
tions for recommended removal method.
0 TAILOR'S HAM A firm cushion used \Vhen pressing
curved areas of garments to preserve the shape and
prevent creases.
0 THIMBLE Your fingers and thumbs will thank you.
0 ZIPPER FOOT This accessory foot for your machine has
a narrow profile that can be positioned to se\v close to the
zipper teeth. Zipper feet are adjustable so the foot can be
moved to either side of the needle.
 *~ng
u;s
PATTERN SYMBOLS & MARKINGS
Here is a quick reference guide to the
symbols and markings on the patterns.

,- - CUTTING DARTS Angled lines show where the

, , NOTCHES Notches are triangle-
LINES : stitching will be, and the dot shows
I , , ,' shaped symbols used fo r accurately
Multisize ,: you the position of the dart point (sig- ,,' matching seams. Pieces to be joined will
,,
patterns have ! naling the point, at the end of the dart,
, ,,' have corresponding notches.
, ,
different cutting / where your stitching should end). ,
, ,
lines for each : ,,
, , , PATTERN DOTS Filled circles indicate
size . , ,' ,, ' ' that a mark needs to be made [often on
' I
,,
,,
I
I ,,'' the right side of the fabric]. for place-
, ,
' ,, ' ,,' ment of elements such as a pocket or
- L .-..-..-.. -.. -.. -.. .-..-..-..-..-..T'".-
-.....
' . - - - -
- .- - - - --- - - - - - . .-.. -.. -. . -. . .- . .- ..-..-..-..,-
- - - - - -. ; -:-o,.L ~"'.---i
. a dart point. Mark by punching th rough
. ii-- -..--- :..------ --- ---- . --- ---~--
: ii ------ --- -
.... ,., - - ;rh- ?-+r,-
.+i----------------------------,' ---------------,t------
- - - --------- -T --- -------,..,.----- the pattern paper only, then mark on the
. i a . I i ' '
. i ~\li fj:l ,'' ,,' fabri c through the hole.
:\',~ : ; /~
.,.,, .,,,
: I ,' ,'
: i I '. ,' ,'
.
:
!
't
:,,.
.:i
: I,,
.,,,
: ; 1,

1
,,
,
,
,
,,
,,
,
,'
, PLACE ON FOLD BRACKET
' j \ I This is a grainline marking with arrows
,,
, ,

.
' I : ,,frl
: ' .: ,
,' J>. I

,, pointing to the edge of the pattern. Place

: i r.1~~11:; ,' ,,'
I

:
. I
I
. 4 ~: ,'
I ' the pattern edge on the fold of the fabric
'. I l ;t~ ,,,' so that your finished piece will be twice
.
'

I
I
:
I
T
,,
, '
the size of the pattern piece, without
: i
I I ,
,,'' having to add a seam . Do not cut the fold.
.'

I ,
.I I ,,
! I '
,, GRAIN LINE The double-ended arrow
I : ,'
' i II I' ,, '
! I ! > _,,'' should be parallel to the lengthwise
~ ~ I> ~ ,,
,,
grain or fold unless marked as
! : i: ,'


I
I
I
I I ,, ' crosswise.
. i . ,11:
~ I : i
: I l
' I : -- -- BIAS GRAINLINE This grainline is
. I : I diagonal and indicat es that the pattern
: i I !
. ! : piece should be cut on the bias. The
I I
: j I
t I "true" bias is at a 45-degree angle to the
: i :
. I : straight grain of the fabric.

:
:
' t
!I . - - SLASH LINE The dashed line indicates
...... .. .. -
__ ,.._ ...
. .. that the patt ern needs to be slashed
~ 'I, __ ........ - - - -

. i A ....... - --- --- along the line. Slash to the dots only, if
t-- ---------------------------- present. If there are no dots, the pattern
:. ;i r--1
.. .
r-I .'1 should be slashed from edge to edge
- - ., I
: I I
. i : along the entire line.
' i I
I I
: i
-- -- --- BUTTON & BUTTONHOLE
0 ...... ---..........
: j
. ! PLACEMENT MARKS
:: Ii 0 Solid lines indicate buttonholes. A large

.
. !
t
it 0 ' open circle is the button symbol and
shows placement.

.:
..
' I ' ~---- - ---- -- ------ ---- -- ------ - '"--- -- - - - -
I--:.:::.:;:,..-::,_._,_,_------------------------.-.-----------.-------
I I I
----~
- - - -- - -- - - - - -- - - - - - - - - - - - - - -- -- - - - - - - - - - - - - - - - - - - -- - - - - - - -
oo , , o , , o , , , , , , , , o o o o , o , o , o o o o o o o ' o , o o o o o o o t o , o o
---
o o o I o O ' ' O ' ' I ' ' ' O ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
CB: Center Back
CF: Center Front

73
sewdaily.com *
 *
~ng
148
PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING+ CUTTING GUIDELINES EIAll pattern markings should be on the wrong side of the fabric
D The patten1 insert features overlapping patterns, so you n1ay unless otherwise noted.
not want to cut patterns or templates directly from the insert. IJLay the pattern pieces on the fabric as close together as possible.
Instead, use pattern paper (or other paper such as newsprint) or Double-check that all patten1 pieces cut "on the fold" are placed
pattern tracing cloth to trace the patten1 pieces you need from the on the fold.
insert and then cut out your traced pieces. Regular office paper O l'v'lake sure all pattern pieces are placed on the fabric with the
may be used for small ten1plates that will fit. Tf necessary, use a gTainline running parallel to the lengthwise grain unless a bias
light box or bright window for tracing. grainline is present or as otherwise noted.
D if you are cutting pattern pieces on the fold or cutting two of O Use weigh.ts to hold the patten1 pieces down and use pins to
the same pattern piece, fold the fabric in half, selvedge to selvedge, secure the corners as needed.
with right sides together or as indicated in the cutting layout or O Cut pieces slowly and carefully.
instructions.

U. l _ .,.. .............ll<lfll..-.n.d _ . ....--du ... -

....._..., .... ... !\" .t'-t lleth.U. J,.L -- -

---___J \,--- ------

I 1 0 WOOL FELTPOUF
\
- - - - - - - - - - - - - _,oJ!'_ - - - - - - - - - ~
---,...
I ;I
............
.
- ........
I I
TULIP
c:ut 4
,.,. ,.- ---.. . . .
' I /
f \ \I
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j~jj
D NORTHWEST MODERN
UPTOPCOVER
LEA1Hl:R OPl:NING
,I
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B WOOL Fl!LT \ \ ( I \
CU! 2
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POUF
LARGC CIRCLC 1
'
I _4..,..___ )
rl T -r cu: I /
- --
U WOOL FELT POUF \
'1"'' "'"''"""
-- _,. SM~LL C!RCLE
E
cut Id

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D SAUCY CUPCAKES
CUPCA KF ICING
0 NORTHWEST MODERN cut 1 '"e
LAPTOP COYER
------------ cut I "':oral eottol'\

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Lt.Al'Hl:R BASt
CU! 2
/
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- - c~:=:S
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~-- D APPUQU@ ( CUPCAKC TOP
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\ ,...._"'"~"'"___,,,
HEXAGON Pl.LL.OW

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HEXAGON Tft-IPLATF

D COZY MONSTeR
\ cut 6

UPPER FRONT
CU! I D COZV Dcozv
MON STE D COZY
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GLOSSARY OF SEWING TERMS
+ TECHNIQUES A quick reference to the technical
sewing terms used throughout the project instructions.
BACKTACK Stitching in reverse for a
short distance at the begi11ning and end-
ing of a sea1n line to secure the stitches.
Most inachines have a button or knob
for this function (also called backstitch).
BARTACK Aline of reinforcement
stitching often placed at areas of stress
on a garment. Bartacks are created with
short zigzag stitches (by machine) or
whipstitches (by hand).
BASTING Long, loose stitches to hold
something in place temporarily. To baste
by machine, use the longest straight-stitch
length available on your machine. To baste
by hand, use stitches at least '// long. Use
a contrasting thread to make the stitches
easier to spot for removal.
BIAS The direction across a fabric that
is located at a 45-degree angle from the
lengthwise or crosswise grain. The bias
has high stretch and a very fluid drape.
BIAS TAPE lVIade fro1n fabric strips cut
on a 45-degree angle to the straight grain,
the bias cut creates an edging fabric that
will stretch to enclose smooth or curved
edges. You can buy bias tape ready-made
or make your O\vn.
CLIPPING Involves cutting tiny slits
or triangles into the seam allowance of
curved edges so the seam will lie flat when
turned right side out. Cut slits along con-
cave curves and triangles (with points to
ward the seam line) along a convex curve.
Be careful not to clip into the stitches.
DART This stitched triangular fold is
used to give shape and for1n to the fabric
to fit body curves.
EASE/EASE IN When a pattern directs
to "ease" or "ease in," you are generally
sewing a longer piece of fabric to a shorter
piece or a curved piece to a straight piece.
This creates shape in a gar1nent or object
without pleats or gathers. To ease, match
the ends or notches of the uneven section
and pin together (or pin as instructed
by the pattern). Continue to pin the
remaining fabric together, distributing
the extra fullness evenly, but making sure
that the seamlines match up as smoothly
as possible (you will be smoothing the
excess fullness away from the edge); don't
be afraid to use a lot of pins. Stitch slo\vly,
smoothing as necessary to ease the pieces
together as evenly as possible, being
careful not to catch tucks in the seam.
EDGESTITCH A row of topstitching
placed very close ('/,6- '/s") to an edge or
an existing seam line.
FABRIC GRAIN The grain is created in
a woven fabric by the threads that travel
lengthwise and crosswise.The lengthwise
grain runs parallel to the selvedges; the
cross\vise grain should always be perpen-
dicular to the lengthwise threads. If the
grains aren'.t completely straight and per-
pendicular, grasp the fabric at diagonally
opposite corners and pull gently to restore
the grain. In knit fabrics, the lengthwise
grain runs along the wales (ribs), parallel
to the selvedges, with the crosswise grain
running along the courses (perpendicular
to the wales).
FINGER-PRESS Pressing a fold or
crease with your fingers as opposed to
. .
usmg an iron.
GATHERING STITCH (machine)
These are long stitches used to compress
a length of fabric before sewing it to a
common is a 45-degree angle, like a
shorter piece. To gather, set the machine
for a long stitch length (3.<r4.o mm; use
the shorter length for lighter-weight
fabrics) and loosen the tension slightly.
vVith the fabric right side up, sew on the
seam line and again '4" from the seam line,
within the seam allowance. Sometimes
you will be instructed to place the first line
of stitches Vs" from the seam line within
the body of the garment so the stitches
don't become tangled in the permanent
seam line. Leave thread tails at each end
and do not backtack. Pin the fabric to be
gathered to the shorter piece right sides
together, matching edges, centers, and
pattern markings as directed in the
pattern. Pin at each n1ark. Grasp the bob-
bin threads from both lines of stitching at
one end and pull gently. Work the gathers
along the tluead until the entire piece is
gathered and lies flat against the shorter
fabric piece. Pull the bobbin threads from
both ends to gather long pieces. Stitch the
seam, then remove the gathering tlueads.
GRADING SEAM ALLOWANCES The
process of trininiingseam allowances to
different widths to reduce bulk and allow
the seam to lie flat. The seam allowance
that will lie to the interior of the project is
trimmed the most, leaving the seam allow
ance that will lie closer to the exterior of
the project slightly wider.
GRAINLINE A pattern marking showing
the direction of the grain. Make sure the
grainline marked on the pattern runs
parallel to the lengthwise grain of your
fabric, unless the grainline is specifically
marked as crosswise or bias.
INTERFACING/INTERLINING
Material used to stabilize or reinforce
fabrics. Fusible interfacing has an
adhesive coating on one side that adheres
to fabric v.rhen ironed. Interlining is an
additional fabric layer between the shell
and lining, used to change the garment
drape or add structure or warmth.
LINING The inner fabric of a garment
or bag, used to create a finished interior
that covers the raw edges of the seams.
MITER Joining a seam or fold at an angle
that bisects the project corner. rvfost
picture fra1ne, but shapes other than
squares or rectangles will have miters
with different angles.
OVERCAST STITCH A machine stitch
that wraps around the fabric raw edge to
finish edges and prevent raveling. Some
sewing machines have several overcast
stitch options; consult your sewing
machine manual for information on stitch
settings and the appropriate presser foot
for the chosen stitch (often the standard
presser foot can be used). A zigzag stitch
can be used as an alternative to finish raw
edges if your machine doesn't have an
overcast-stitch function.
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PINK To tri111 with pinking shears,
which cut the edge into a zigzag pattern
to reduce fraying.
PLACKET A placket is a finished gar-
ment opening, most often at the location
of a garrnent closure. A placket can be
finished by hemming or with binding
or a facing. Plackets are often seen on
sleeve vents (above the cuff) and are also
used at neckline and waist edge open-
ings, often in conjunction with buttons
or other closures.
PRESHRINK Many fabrics shrink when
washed; you need to wash, dry, and
press all your fabric before you start to
sew, following the suggested cleaning
method marked on the fabric bolt. Don't
skip this step!
RIGHT SIDE (RS) The front side, or the
side that should be on the outside of a
finished garm.ent. On a print fabric, the
print will be stronger on the right side of
the fabric.
RIGHT SIDES TOGETHER The right
sides of two fabric layers should be fac-
ing each other.
SATIN STITCH (MACHINE) This is
a smooth, completely filled column of
zigzag stitches achieved by setting the
stitch length to 0.2-0.4 mm. The length
setting should be short enough for
complete coverage but long enough to
prevent bunching and thread buildup.
SEAM ALLOWANCE The amount of
fabric between the raw edge and the sea111.
SELVEDGE This is the tightly woven
border on the lengthwise edges of
woven fabric and the finished
lengthwise edges of knit fabric.
SHELL The outer fabric of a garment or
bag (as opposed to the lining, which will
be on the inside).
SLIP BASTING A te1nporary slip
stitch used for basting in curved areas,
or for matching plaids or stripes in
76
* stitch
preparation for sewing seams (it can
also be used to baste zippers in place by
hand). With a folded-under edge lying
along the sea1n line, on top of a flat
(unfolded) edge, take stitches about '/.,"
(6 mm) long, alternating between the
folded edge and the flat edge.
SQUARING UP After you have pieced
together a fabric block or section, check to
n1ake sure the edges are straight and the
measurements are correct. Use a rotary
cutter and a rigid acrylic ruler to trim the
block if necessary. Because you might
tri1n off the backtacking on seams when
you square up, 111achine stitch across any
trimmed seams to secure.
STAYSTITCHING A line of straight
stitching (through one layer of fabric),
used to stabilize the fabric and prevent
stretching or distortion. Staystitching is
usually placed just inside the seam line,
often at curved edges such as armholes.
STITCH IN THE DITCH Press a previ-
ously sewn seam open or to one side.
Lay the seamed fabric right side up
under the presser foot and sew along the
seamline "ditch." The stitches will fall
between the two fabric pieces and disap-
pear into the seam.
TOPSTITCH Used to hold pieces :firm.ly
in place and/or to add a decorative effect,
a topstitch is simply a stitch that can
be seen on the outside of the garment
or piece. lo topstitch, make a line of
stitching on the outside (right side) of
the piece, usually a set distance from an
existing seam.
UNDERLINING Fabric used as a back-
ing for the shell of a garment to add
structure and/or aid in shaping. It is also
sometimes used to make a transparent
fabric opaque. Underlinings are cut to
the size and shape of each garment piece
and the two are basted together and
treated as one during construction.
TAILOR'S TACKS
Used for transferring markings from
a pattern to garment sections, these
handy thread snippets are easily
removed without damage. Take several
loose stitches through the pattern and
fabric layers leaving about a 1" loop
of thread. After all symbols have been
marked, separate the fabric layers
and snip the thread between; carefully
remove the pattern.
A similar method is to take a small
stitch, at the point to be marked,
through all layers and leaving a tail of
about 1". Take another small stitch,
through all layers, directly over the
previous stitch, leaving the thread
loose to create about a 1" loop. When
marks are all complete and the pattern
paper has been removed, separate the
fabric layers so that the thread loop is
extended between the layers. Cut the
threa ds, leaving a tailors tack in each
layer.
UNDERSTITCHING A line of stitches
placed on a facing (or lining), very near
the facing/gannent seam. Understitch-
ing is used to hold the seam allowances
and facing together and to prevent the
facing from rolling toward the outside of
the garment.
WRONG SIDE (WS) The wrong side
of the fabric is the underside, or the side
that should be on the inside of a finished
garment. On a print fabric, the print will
be lighter or less obvious on the wrong
side of the fabric.
STITCH GLOSSARY
A quick reference to the handstitches used
th roughout the project instructions.
I on the wrong side). Fold the hem edge back
I
BACKSTITCH A
Working from ri ght to left, bri ng the needle
up at 1 an d insert behind the starting poin t at
2. Bring the needle up at 3 , repeat by insert-
ing at 1 and bringing the needle up al a point
that is a stitch length beyond 3 .
BASTING
Used to tempora rily hold layers together, a
basting stitch is simply a long running stitch.
Stitches should be about 1/" long and evenly
spaced.
BLANKET STITCH A
Working from left to right, bring the needle up
at 1 and insert at 2 . Bring the needle back up
at 3 and over the working thread. Repeat by
making the next stitch in the same manner,
keeping the spacing even.
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BLINDSTITCH/ BLIND-HEM STITCH A !
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Used mainly for hemming fabrics where an : CHAIN STITCH A
inconspicuous hem is difficult to achieve Working from top to bottom, bring the
(this stitch is also useful for securing binding needle up and then reinsert at 1 to create
a loop; do not pull the thread taut. Bring
about 1/J.". Take a small stitch in the garment, the needle back up at 2 , keep ing the
picking up only a few threads. needle above the loop and gently pulling
the needle toward you to t ighten the loop
.i ~ flush to the fab r ic [l ea ve a littl e slack in
the thread to keep the l oop round). Repeat
! i
j i by inserting the needle at 2 to form a loop
i I and bringing the needle up at 3 . Tack the
i
I last loop down with a straight stitch.
j
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! COUCHING A
! ! Working from right to left, use one thread,
BUTTONHOLE STITCH A
known as the couching or working thread, to
: Working from right to left and with the point tack down one or more laid threads, known
of the needle toward you, bring the needle as the couched threads. Bring the working
above the fabric edge al 1, loop the thread thread up at 1 and insert at 2 , over the laid
to the left, then down and to the right, threads to tack them down; repeat by insert-
inserting the needle from the wrong side ing the needle at 3 . This stitch may also be
at 2, keeping the loop of thread behind the worked from left to right, and the spacing
needle at both the top and bottom . Pull the between the couching threads may vary for
needle through, tighten ing the stitch so that different design effects.
the looped thread lies along the edge of the
i
fabric. Do not tighten so much that the tops
of the stitches pull together. When using the
buttonhole stitch to finish a hand button-
hole, work the stitches so that they are very
closely spaced.
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18 11

LAZY DAISY STITCH

CROSS-STITCH Working from top to bottom, bring the
Working from r ight to left, bring the needle up needle up at 1 and create a loop by reinsert-
at 1, insert at 2 , then bring the needle back ing at l ; do not pull the thread taut. Bring
up at 3 . Finish by inserting the needle at ~ the needle back up at 2 , keeping the needle
Repeat for the desired number of stitches. above the loop and pulling the needle to-
ward you gently to tighten the loop so that it
is flush with the fabric. Tac k the loop down
by inserting the needle at 3 . Repeat for the
desired number of stitches.
FLY STITCH.&.
Working from left to right, bring the nee-
dl e up at 1 and insert at 2 , leaving the
2
thread loose. Bring the needle back up at
3 , keeping the needl e above the thread
an d pul ling the needle toward you gently
to ti ghten the thread so that it is flush
w i th the fabric. Tack the thread down by
inser tin g t he needl e at 4 . Repeat for the
desired number of stitches.

FRENCH KNOT
Bring the needle up at 1 and hold the thread
taut above the fabric. Poin t the needle
toward your lingers and move the needle
in a circu lar motion to wrap the th read
around the needle once or twice. Insert the
needle near 1 and hold the thread taut near
the knot as you pull the needle and thread
th rough the knot and the fabric to complete.

OVERCAST STITCH
ENDING UPT
Keeping your stitches at consistent depth
At the end of a line of permanent and spacing, take a diagonal stitch by
handstitching, take a small stitch and pull bringing the needle through the fabric at
the needle and thread th rough the loop. Take 1, wrapping the thread over the edge, and
another short backstitch and repeat Clip the then bringing the needle through the fabric
thread ends close to the stitches. For basting again at 2 , to the side of the previous stitch.
or other temporary mar kings, make a single The result is a diagonal stitch that wraps
knot or simply leave a long thread end to around the edge.
allow for easy removal.
NOTE Another option is to ta ke a small stitch
on the fabric's wrong side, wrap the thread
around the needle several times, then pull
the needle through to secure the knot close
to the fabric surface.

FRENCH TACK T PRICK STITCH/ PICK STITCH T

Take a small stitch in the garment and then
take a small stitch in the lining or facing,
directly across from the first stitch, leaving 1"
to 2" of thread between the two. Take a few
more small stitches in each spot to build up
a thread spacer tha t is several threads th ick.
Work a tight blanket stitch over the th read
spacer [see Blanket Stitch).
Prick stitch is worked just like a backstitch,
except that the stitches are spaced Ys" to
1/,.. on the r ight side [taking longer stitches
on the wrong side]. When used for top-
stitching, Pick stitch is worked only through
the t op layer of fabric so that the stitch is
not seen on the interior or underlayer.

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SEED STITCHES
!
/SEEDING STITCH T I
I
Small straight stitches worked in clusters i
or scattered at random. Seed stitches can !
also be worked tightly together and all in the 2
same direction to uniformly fi ll a space.
-"'
3 2
. STRAIGHT STITCH/
STANDARD HAND- RUNNING STITCH .A
..
APPLIQUE STITCH .A . Working from r ight to left, make a straight
Cut a length of thread 12"-18". Thread the stitch by bringing the needle up and insert
newly cut end through the eye of the at l , 'h- 1/4" from the starting point. To make
needle, pull th is end through, and knot it. . a line of running stitches (a row of straight
Use this technique to thread the needle
. sti tches worked one after the otherl, bring
I

SLIP STITCH T
Working from r ight to left, join two pieces of
fabric by taking a %.-;," long stitch into the
folded edge of one piece of fabric and bringing
the needle out. Insert the needle into the
folded edge of the oth er piece of fabric,
directly across from the point where the
thread emerged from the previous stitch.
Repeat by inserting the needle into the first
piece of fabric. The th read will be almost
and knot the thread to help keep the the needle up at 2 and repeat.
thread's twist'' intact and to reduce .
knotting. Beginning at the straigh test .
edge of the applique and work ing from
. SQUARE KNOT T
right to left. bring the needle up from the
' Working with two cords (or threads]. make
!
underside, through the background fabric : a loop from the right cord (pinch the cords
and th e very edge of the applique at 1, i
:
together at the base of the loop between
catching only a few threads of the applique i thu mb and forefinge r l, then thread the left
fabric. Pull the thread taut, then insert the .. cord through the loop from bottom to top .
needle into the background fabric at 2, Bring the left cord toward you and wrap
.
as close as possible to 1. Bring the needle . it under and around the base of the right
up through the background fabric at 3 , . loop and then th read it throu gh the loop
:
'Ii' beyond 2 . Continue in this manner, ; from top to bottom. Pull the cords tight.
keeping the thread taut (do not pull it so
tight that the fabric puckers) to keep the .'
I

entirely hidden inside the folds of the fabrics. stitching as invisible as possible.
..
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UNEVEN SLIP STITCH
/ SLIP-STITCH HEMMING T
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I /
.. After securing the thread in the fold, take a
SPLIT STITCH T /
.: small stitch in the garment or outer fabric,
Working from left to right, bring the needle up picking up only a few threads of the fabric.
at 1, insert at 2 , and bring the needle up near Then, take a stitch, about 1/," long, in the
the rig ht end of the previous stitch (between .: fold, across from the stitch in the garment/
1 and 2 , at 31. inserting the needle into the .: outer fabric. Continue, alterna ti ng between
thread to split the thread in two. When you're . tiny stitches in the garment/outer fabric and
i
working with multiple strands of thread, ! longer stitches in the fold.
insert the needle between the strands.
.
STEM STITCH .A :

Working from left to right, bring the needle

..
up at l and insert it 'la-V." away at 2 (do .
not pull taut). Bring the needle up halfway
between l and 2, at 3 . Keeping the needle
above the loop just created, pull the stitch
.
.
taut. Repeat by inserting the needle Vs- 'h" .:
to the right and bring up at 2 .

WHIPSTITCH T
I Bring the needle up at 1, insert at 2 , and

Ii bring up at 3.

2
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148
CREATE BINDING
CUTTING STRAIGHT STRIPS
Cut str ips on the crosswise grain, from
selvedge to selvedge, cutting to the width
indicated in the project instructions. Use
a rotary cutter and straightedge to obtain
a straight cut. Remove the selvedges and
join the strips with diagonal seams.
l
CUTTING BIAS STRIPS A
Cut strips to the width indicated in the
project instructions. Fold one cut end of
the fabric to meet one selvedge, form ing
a fol d at a 45-degree angle to the
selvedge. With the fabric placed on a
self-healing mat, cut off the fold with a
rotary cutter, using a straightedge as a
guide to make a straight cut. With the
straightedge and rotary cutter, cut strips
to the appropriate width. Join the strips
with diagonal seams.
DIAGONAL SEAMS
FOR JOINING STRIPS A
Lay two strips right sides together, at
r ight angles. The area where the strips
overlap forms a square. Sew diagonally
across the square as shown above. Tr im
the excess fabr ic 1/1." away from the seam
line and press the seam allowances open.
Repeat to join all the str ips, forming one
long fabric band.
80
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* st itch
FOLD BINDING 'Y
.. then fold it back down along the proj ect
raw edge (2 ). This fo r ms a m iter at the
A. Double-fold Binding Thi s option will
:.
. create binding that is similar to pack- corner. Stitch the second side, beginning
.: aged double- fold bias tape/binding. Fold l' aft the project raw edge (2 ) and ending 1;4
.. the strip in half lengthwise, with wrong . rom the next corner, as before. Continue
.: sides together; press. Open up th e fold as established until you have completed
. and then fold each long edge toward the ; the last corner. Continue stitching until
wrong side, so that the raw edges meet , you are a few inches from the beginning
in the m iddle (1). Refold the binding along ~ edge of the binding fabric. Overlap the
.. the existing center crease, enclosing the pressed beginning edge of the binding
. raw edges (2 ). and press again. by 112" (or overlap more as necessary fo r
B. Double-layer Binding This option securi ty] and trim the working edge to
..' fit. Finish sewin g the binding (opening the
creates a double- th ickness bin ding with
. only one fo ld. This binding is often favored i center fold and tucking the raw edge inside
l
. by quilter s. Fold the strip in hal f length-
. the pressed end of the binding strip]. Refold
:
; the binding along all the creases an d
. wise with wrong sides together; press. :
; then fold it over the project raw edges to
l the back, enclosing the raw edges {there
!
. are no creases to worry about with option
. 8]. The folded edge of the binding strip
should just cover the stitches visible on
the project back. Slip-stitch the binding in
.:
. 2
' place, tucking in the co r ners to complete
the mi ters as you go (3 ).
. BINDING WITH
. MITERED CORNERS 'Y Ill>
..
: If using double-layer binding {option 8 above/
follow the alternate italicized instructions in
----------------
. parentheses wherever you see them.
.. Open the binding and press 1h" to the
. wrong side at one short en d (refold the 1
.. binding at the center crease and proceed/ .
Starting with the folded- under end of
. the binding, place it near the center of
. the first edge of the project to be bound,
I
. matching the raw edges, and pin in
'
1
1
2 I
... place. Begin sewin g near the center of I
1
. one edge, along the first crease fat the 1
I
.: appropriate distance from the raw edge],
'
I
leaving several inches of the binding
fab ric free at the beginning. Stop sewing
. 1/4' before reaching the corner, backtack,
and cut the threads. Rotate the project
.. 90 degrees to position it for sewin g the
.. next side. Fold the bin ding fa bric up, away
. from the project, at a 45-d egree angle (l l.
:
.:
.:
: stitch
.
. Never miss sewing j"!::'=-
-=-
. another stitch! --::-- 6aP-<tJ
'""-~-~-
--=====-
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=-="""'--
.. -
--
=- ---
=--- -
. -
----
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Download a PDF of our
expanded sewing basics section
.
.. at sewdaily.com today! -- -
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-~ --~
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1118
SEWING+ PRESSING
A CURVED SEAM
When you first look at t\vO opposing curves (such as on a princess seam), you may
think that there's no way they can fit together, but-surprise, surprise-they do. Join-
ing a concave and convex curve takes a little know-ho\v for a smooth seam.
Sew a line of stitching just inside the seamline on the concave curve and clip
into the seam allowance every i/s" (1 cm), stopping short of the stitching a . (Use the
figure 1 pattern notches as a guide for the curved section and stitch between them.)
Spread the curve apart and pin it right sides together\vith the convex section,
matching the notches. Stitch the seam with the clipped side facing up, sev.ring just
beyond the reinforcement stitching b.
Press the seam open over a pressing ham (a stuffed hamlike shape) to avoid
flattening the curve you just made. If needed, clip out some fullness on the convex
side to make the seam lie flat c.
---..
TIP Don't rem ember your high school geometry? Concave is a hol-
tigure2
low inward curve (think of a cave) ; convex is an outer curve.

MAKING A YO-YO
ID With a fabric inarking tool, trace your
template onto the wrong side of the yo-yo
fabric and cut along the traced line. Repeat
to cut the desired number of yo-yo circles.
lEI With the wrong side of the yo-yo circle
\
facing up, fold over 1/ , .. along the edge of
your circle. With a handsewing needle
and thread, sew a running stitch through
both layers of fabric, about 1/16-1/a" from
the edge. Nlake sure your thread is long
enough to go around the perimeter of the
circle with a bit to spare (figure 1). a
Note: The stitch length determines
the size of the center opening in your
finished yo-yo. Longer stitches make
a more tightly gathered center, while
shorter stitches will make the opening I

larger ("vhich is perfect if you intend to __/\:,

I
sew a button in the center). '
,,,,
II Gently pull your thread until the edges
gather in the center (figure 2). Continue /(~,'
tightening until the center is tightly I
I

gathered. Make a couple of stitches to I

secure the gathers. then tie a knot. '
I

Ill Flatten the yo-yo with your hand to
make it lie flat, with the gathered center
on top. c
ID Repeat Steps 2-4 to make more yo-yos.

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148
r.. .,.....-ftr: SEAMS & HEMS
French and flat-fe ll are self-fi nis hed seams tha t protect the raw edges of the seam allowance fro m abrasion. Use a
Hong Kon g fin ish or triple-stitched hem for un li ned silk garments. For lined ga rments, finish seam allowa nces by pinking
or use a zigzag stitch.

0 FRENCH SEAM Pin the pieces wrong

s ides together and stitch a 3/a" straight seam.
Trim the seam a llowances to 'la". Fold t he fabric
right s ides together a long the stitc he d seam and
press. Stitch along the original seamline (now
1/," from the fold}. encasing the raw edges. Press

the seam to one s ide. 0

0 FLAT-FELL SEAM Fold the seam
allowance over toward t he r ight s ide on o ne
piece a nd toward the w ro ng s ide on the adjoini ng
piece. Inse rt the folds into each ot he r so tha t
both pieces are facing r ight s ide up (see below.
both raw edges are now encased and h idden).
Edgestitc h a long ea ch fo ld to finish. (See a Web
tu torial on sewing flat-fell seams at sewdaily. 0
com.)

0 HONG KONG FINISH Usi ng 1 "-

wide bias strips, place a bias stri p rig ht sides
together with one seam a llowance, raw edges 711' /
____
_... , I - - - - -
..
aligned. Keeping the other seam allowance a nd :'
garment fabric out of the way, sew wit h a 1/," I
'
seam allowance. Press the bias s trip over the
seam and then fold it over the seam a llowance
edge to the back (no need to turn u nder the raw
edge of the bias s tri p; it will be left exposed on 0
the underside of the seam a llowance I. Pin in
place, then s titch in the d itch from the rig ht side
of the seam a llowance to secure the unders ide
of the bindi ng in place.

0 TRIPLE-STITCHED HEM Stitch

I

'
I
I
I
2

..I
I
I
3

'
I
1f," from the raw edge, then press 3/16 toward I
I
I
I
I
I
I I
I
the wrong s ide so that the line of s titches ru ns I I I
I
I I
I I
near the edge of the fold (1/16"). Stitch 1/s" fro m I
I
I I
I I I
the folded edge, t hen t ri m the raw edge c lose to I
I
I I
I
I
I I I
this second stitch line. Roll the hem toward the I I I
I
I I
I
wrong side to enclose the raw edge (one row of I
I
I
I
I
I I I
s ti tc hi ng will still be visible). Finish by stitching I I I

0 I I I
I I I
once mo re d irec tly over t he visible s ti tch line.

82
...........................................
* stitch

------------------------------------
Nuno-felted skirt
by LAURA KEITH
{from page 44}
(j~ DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
- Main: 2 yd silk habotai
- Overlay: 2 yd silk chiffon
- Enough prewashed and pressed
cotton muslin to cover the
Border template
OTHER SUPPLIES
- Templates, downloadable:
- Front Skirt [Al
- Back Skirt [BJ
- Front Border [CJ
- Back Border [DJ
- Front Border Template [El
- Back Border Template [Fl
- Leaf [G)
Note: The Bo rder template
patterns are sized to allow for
shrinkage in the felting process.
- Wool fiber/roving [not
Superwashl: Merino wool
blended with silk or Tencel,
how-to
Angelina fiber, and/or metallic - One Back Border [DJ on fold
threads El From the Overlay fabric, cut:
- 1 yd water- soluble stabilizer - One 40" x WOF for Border
- Elastic ties, 1/4" wide Note: The remaining Overlay chiffon
- One invisible skirt zipper, 7" w ill be cut after felting .
- Hook-and -eye set
PREPARE THE OVERLAY
- St retch velvet binding, your B Trace the Front Border Template
wa istline measu rement minus 3" [El and Back Border Template [Fl
- Fabric-safe marker onto folded pattern paper to make
- Rolled hem foo t full pieces. With a fabric marking pen
or chalk, trace the template pattern
- Size 60/8 needle
pieces onto the 40" chiffon cut fabric.
- Fabric- safe marker With the felt tipped marker, trace the
- Decorative threads same pieces onto the clear vinyl.
- 1 yd thick clear vinyl D Cover the Leaf [GJ outline with a
- Thick black felt tipped marker piece of water-so luble stabilizer and
trace the desired number of motifs
- 1 roll rubberi zed shelf liner for both the Front and Back onto the
- Spray bottle f illed w ith l iquid dish stabilizer. Cut out ea ch motif.
soap and wate r 0 Place the self liner on the table
- Glue stick or spray and cover w ith the vinyl template
- Lace or net laund ry bag [the kind material. Lay the chiffon Border on
used for machine -washing delicate top, matching the traced edges and
articles] having the fabric right side up.
- Pattern paper 11 Apply glue stick to the wrong side
of each motif and position it on the
FINISHED SIZE chiffon border fabric, allowing 1" of
uncovered fabric w ith in the t raced
edges.
I- Hip Length
0:: XS 36 1/z-37%". _ 231/i" D Apply glue on top of each water-
c( $ . 38 /z- 39111~ 24"
1 soluble stabilizer motif.
::c M_ 401/z-42" 2416" ll Lay down wisps of fibers and
u decorative threads on top of the motif.
w L 43 1/z::45" 25"
Top each motif with the wool fiber to
-
N
Cl)
XL 47-49"
Shown insizeSmall
251/i"
ensure that the decorative threads
and other elements will be encased in
the interlocked wool fibe rs. When you
have a pleasing design, you're ready
NOTES to felt.
1/2"
- All seam allowances are un less
otherwise noted. FELT THE OVERLAY
- Transfer all patte rn markings to ll Carefu lly place the muslin fabric
the cut pieces. over the chiffon motifs w it hout
displacing the fiber.
- Zigzag or serge all raw edges.
IIlJ Spray with soapy water.
- Press all seams open unless
otherwise noted. mRemove the vinyl template.
- WOF =Width of fabric [El Roll up the fabric/fib er/shelf liner
bundle and tie it with the elastic t ies.
CUT THE FABRIC IE Place the bundle in the laundry
D From the Main fabric, cut: bag.
- One Front Skirt [A) on fold DJ Run the bag through a lukewarm
- One Back Skirt [BJ on fold wash cycle , followed by a lukewarm
- One Front Borde r [CJ on fold
rinse cycle.
>>
83
sewdaily.com *
 how-to

ASSEMBLE THE SKIRT

EE Slip the overlay over the underlay
aligning the waistline edges and the
overlay opening over the zipper. Baste
the waistline edges together 3/s" from
the edges.
ID Encase the waistline edges in the
foldover binding, stretching it to fit
the skirt as you sew. Turn the binding figure 1
ends under at the zipper opening
and hand-stitch them to the inside
binding .
11!1 Separate and remove the chiffon
ID To pstitch through both
fabric layers
borders from the other items. Stretch
around the zipper opening.
the fabric when damp, and press with
an iron on the wool setting. EillHand-stitch a hook and eye closure
to the binding at the zipper opening
CUT THE FELTED OVERLAY top. figure 2
ID Fro m the felted Overlay fabric, cut:
LAURA KEITH lives in the Pacific
- One Front Border (C) on fold
Northwest and has an apparel design degree OTHER SUPPLIES
- One Back Border (DJ on fold and several years ofexperience designing Cami
garments for a sports apparel manufacturer. - Templates, downloadable:
ASSEMBLE THE UNDERLAY She designs swimsuits, produces sewing - Upper Back Bodice [AJ
Ill Stitch
the darts on the Front Skirt patterns, teaches sewing classes, and writes
and Back Skirt pieces. - Lower Back Bodice [BJ
sewing articles.
III Following
the manufacturer's - Upper Front Bodice [CJ
instructions, install the invisible Neoclassic Cami - Lower Front Bodice [DJ
zipper in the left side seam. Sew the - 2 yd stretch lace, 3/4"
by LAURA KEITH
left side seam below the zipper.
{from page 45} - 1 pair pre- made straps or
ID Sew the right side seam.
- 11/4 yd satin ribbon, 1/2"
llill Sew the Front and Back Borders
- Two sets of lingerie slides and
together at the side seams. .
rings
EllMatching side seams, sew the
- 1/3 yd satin ribbon, 1/ 4"
bord er to the sk irt body, easing as
needed around the curves. - Narrow hemmer foot
IE Press the border hem under - Fabric-safe marker
1/z". Fold the hem width in half and - Half slip: 1/2" elastic to fit waist
topstitch.
FINISHED SIZE
ASSEMBLE THE OVERLAY
IE Assemble the skirt overlay
Chest Center Back
following steps 17-19. I-
0: XS 32-33" 16Vi"
II] Pin-mark 7 1/2" from the upper edge c( s 34- 35" 163/i"
on the left side seam. Sew the side
DOWNLOAD THE FULL-SIZE :c M 36-371/z" 17%"
seam from the pin-mark to the lower s~ PATTERN FOR THIS PROJECT u L 39-401/z" 173//'
edge. To finish opening edges, turn AT SEWDAILY.COM
the seam allowance under 1/ 4" twice
w XL 421/z-441/i" 181//'
and topstitch.
Em Sew together the remainder of the
FABRIC
- Main: 1/4 yd ylon tricot, stretch satin
-
N Shown insize Small
Cl) Half slip: made to fit
overlay following steps 19-21. or knit fabric with at least 25/o
IIlFinish the border hem with a widthwise stretch, 54"
narrow rolled edge.
NOTES
- Contrast: 1/2 yd Nylon tricot, 54"
- All seam allowances are 1/4",
- Half slip: 1/2 yd Nylon tricot, 54" unless otherwise noted; no seam
allowance on front and back upper
bodice edge.

* ittteh

- '
figure 3
figure le
- The sample was made with stretch
satin bod ice and nylon tricot torso.
- Lay out all pieces onto the fabric
accord ing to the ""direction of
greatest stretch arrow on the
pattern pieces, so the stretch goes
around the body. Refer to fabric
layouts in the pattern.
- Fo r lace applicat ion, use a narrow
zigzag stitch.
- Lace application: Place the lace so
the outer edge aligns with the fabr ic
raw edge. Tape or pin in place.
Sti.tch along the inner lace edge
using a narrow zigzag. Carefully
trim away the underlying fabric.
- Mitered lace corner: Place the
lace up to the point of the bra
section and pin in place. Fold the
lace to make a smoothly mitered
point (figure 1). Pin the fold, and
follow the directions for the basic
application method. Topstitch
the mitered corner with a narrow
zigzag (figure 2).
- Hem: Use a narrow hemmer foo t
and a medium width zigzag.
CAMI
CUT THE FABRIC
D From the Main fabric , cut:
- One Upper Back Bodice [A]
on fold
- Two Upper Front Bodice [CJ
Ill From the Contrast tricot fabric, cut:
- One Lower Back Bodice [BJ on fold
- One Lower Front Bodice [OJ on fold
ASSEMBLE THE UPPER BODICE
EJ Stitch the Upper Back Bodice to
the Upper Front Bodice at the side
in.] Fold the end back on itself with
seam . matching notches. Repeat with
the other side.
APPLY THE LACE
TO THE UPPER BODICE
D Stitch the lace to right Upper Front
Bodice neckline, opening with a 1:1
ratio, m itering the lace at the first
corner. Continu e along the r ight
neckline to the strap point, holding
the lace slightly stretched. Miter
the lace at the point. Continue in
th is manner around the side and
back to the left st rap point, miter
aga in, then finishi ng at the opposite
side center front edge. Carefully
trim away the excess underlying
fabric. (figure 3) Overlap the lace
edges at center front about 1/s" and
with match ing thread, and a zigzag
stitch , sew through both layers.
joining the center fronts of the
Upper Fro nt Bodice. (figure le)
ASSEMBLE LOWER BODICE
D Pin, then stitch side seams of the
lower bodice pieces, using a stretch
stitch .
ASSEMBLE UPPER BODICE
TO THE TORSO
[I Pin the upper bodice to the lower
bodice with rig ht sides together,
matching center fronts and side seam
how-to
notches. Stitch, using a stre tch zigzag
or overlock stitch.
COMPLETE THE CAMISOLE BODY
D Finish the hem as desired with
a narrow rolled edge stitch as
mentioned in the notes" section .
APPLY THE STRAPS
[J Cut 3" of ribbon. Draw one end
through a ring and fold it back on
itself and, with a narrow zigzag stitch ,
topstitch both layers.
Ill Repeat step 8 for other strap
ml Cut the remaining ribbon yardage
1n half. Draw one end under the first
slider loop, over the middle bar and
under the second slider loop and
through the ring. Fold the ribbon back
on itself and bring the ribbon over the
bar, but under the ribbon [you may
have to loosen the ri bbon on the top in
order to fit the second ribbon section
wrong sides together, and stitch the
ribbon end to the ribbon about 1/2 " to
3/4" f rom the slider.
mOn the straps, adjust the slider to
about 3" from the ring, to allow room
for future fitting of the straps on th e
final garment . Stitch right strap with
the end that has the sliders and ring
to the back of the cam i, matching
the ribbon end to the dot. Be sure to
topstitch the strap to the fabric wit h
a narrow zigzag and al so to the lace
with a similar stitch, crosswise across
the ribbon width.
IE Repeat step 11 for the other side.
EEi Try on the camisole and, with
safety pins, attach the strap ends to
t.he neckline at the mitered point, to
fit. Remove the ga rm ent and stitch
the straps to the points in t he same
manner as for the back straps.
ID Fold 4" of t he narrow ribbon into a
bow and sew it to the center front with
a bar tack.
BONUS HALF SLIP
ml Draw a pattern: Add 9" to your hip
m.easurement to dete rmin e the slip
w idth. Determ ine the finished length
and add 2". Draw a rectangle this size
on the fabric.
>>
SS
sewdaily.com *
 how-to
ml Tu r n under each ve rt ica l edge 3/4".
Topstitch 1/2" from the fold through
both layers using a three-step zigzag
stitch.
[fl Finish the hem with a narrow
roll ed hem .
lD Overlap the vert ical edges 2"
and pin together at the wa istline.
If desired, topstitch the overlapped
edges together from the waistline
edge down 6".
FINISH THE WAISTLINE
iIJTurn the waistline edge under
1" and topstitch 1/s" from t he fold.
Topstitch anothe r row 3/4" from the
fold, leaving a small opening for the
elastic insertion .
IE Thread the elastic through the
casing; adjust to fit and trim the extra
length. Overlap the elastic ends and
stitch. Stitch the casing opening closed.
LAURA KEITH has presented local sewing
classes and workshops, written for various
sewing magazines, and appeared as a guest
expert on DIY TV and PBS programs about
sewing. Her website LauraKeithDesigns.com
features her line ofpatterns for home-sewing
enthusiasts.
----------------------------------------- I
Peek-a-boo Skirt
by KHRISTAL JOUETT
{from page 46}
(j DOWNLOAD THE FULL-SIZE
J~
PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
- Overskirt: 1 1/2 yd skirt- weight wool,
54"
- Underskirt: 1 yd lace, 54"
86
* stitch
- Lining: 1 yd polyester silky, 54"
OTHER SUPPLIES
- Templates, down loadable:
- Front Waistband [A]
- Back Waistband [Bl
- Front Overskirt [Cl
- Back Overskirt [0)
- Front Underskirt [El
- Back Underski rt (Fl
1/4
- yd heavyweight fusible
interfacing
- 3 yd non -roll elast ic,
- Matching thread
- Fabric-safe ma rker
- Safety pin or bodkin
- Pressing tool s: ham, clapper
FINISHED SIZE
....a= Hip Length
c( XS 42" 20 1/i"
::c s 44" 21"
u M 461/1" 211/z"
w L 491/z" 22"
-en
N XL 531/z"
Shown insize Small
22 1/z"
NOTES
- All seam allowances are 5/s" unless
otherwise noted.
- Fi nish all exposed edges with a
zigzag, overcast or serging stitch.
- Transfer all pattern markings.
CUT THE FABRIC
D From the Overski rt fabric, cut:
- Two Front Waistband [Al
- One Back Waistband (BJ
- One Front Overskirt [CJ
- Two Back Overskirt (OJ
- Bias strips, 2"
fl From each the Underskirt and
Lining fabrics, cut:
- Two Front Waistband [Al. lining only
- One Back Wa istband [Bl. l ini ng on ly
- One Front Underskirt [El
- One Back Underskirt (Fl
El From the Interfac ing, cut :
- Two Front Waistband [Al
SEW UNDERSKIRT AND
OVERSKIRT
D Baste the lace Underski rt and
Lining pieces together around
all edges and treat as one for
construction.
11 Stitch the front and side darts in
both the Underskirt and Overskirt. Clip
dart open to 1" fron t dart point. Press
t he darts open. Press the side darts
open.
1/2"
[I Sew the Overskirt center back
seam from the upper edge to the
vent dot. Baste from dot to hem
edge. Clip corner of vent seam to,
but not through dot. Press open the
center back seam. Press ven t to the
left i nside skirt. Topstitch top of vent,
at diagonal, through all layers .. For
Underskirt vent, stitch from waist
seam to dot. Press seam open. Fold
and press vent openi ng 5/s". Fol d 5/s"
again . St itch along folded edge usi ng
1/2" topstitch.
D Press under the Underskirt hem
2 1/2" . Finish the edges and hand-stitch
in place.
ll Sew the bias bindingto the
Overskirt hem edges and along the
curve of center fron t Overskirt. Trim
and clip seam allowance. Hand- sti tch
bias binding hem edge to skirt. Al ign
center front edges of the Overskirt, at
t he waistline. Hand-stitch together
alo ng aligned edges for 1",starti ng at
I edge of waist seam allowance .
I
j ASSEMBLE THE FRONT
I WAISTBAND
Iii Fuse interfacing to the wrong
side of each front Over skirt fab ric
Wa istband pieces, making sure to have
a left and right Waistband [one pair).
IIil Pin, then stitch Front Waistband
lining to Front Waistband Overskirt
fabric, with right sides together. Stitch
along curved edge of pieces. Trim and
clip seam allowance. Fold righ t side
out and press flat. Match ing notches
at center front waist seam, overlap
right Front waistband over left Front
waistband; pin, then baste wa ist seam
at overlap. Edgestitch through all
 how-to

Ribbon Skirt
by ELAINE SCHMIDT
{from page 47}

figure 1

inside of front
waistband wrap lining side of fron t
waistband over towards
back waistband

inside of front stitch seam

waistband allowance
('~. DOWNLOAD THE FULL-SIZE
J., PATTERN FOR THIS PROJECT
AT SEWDAILY.COM

figure2
FABRIC
- Main: 23/4 yd quilting cotton , 45

OTHER SUPPLIES
layers of curve, front waist seam to seam allowance th rough all layers. - Template, downloadable:
top of curve at center front, as seen in (figure 2)
- Front Yoke [A)
figure 1. IIIPull Front Wa istband towards
- Back Yoke [BJ
mPin, then stitch Back Waistband center front. This will sandwich t he
along the long edge. Press seam raw edges of the side seam inside the - Ribbons, laces, trims:
allowance towards l ining , then Front Waistband seam. - 8 1/2yd , 3/s"- 1/2" wide
understitch seam allowance to l ining . lE Waistband is ready to attach to - 15 1/2 yd , 5/s"- 3/4" wide
Stitch back sk irt to Back Waistband the skirt. Pin right side of waistband - 123/4 yd , 7/s"-1 " wide
along waist seam, leaving lining edge to right side of skirt, l eaving l ining
free. Press seam toward waistband. - 11 1/2yd , 1 1/2"- 2" wide
free. Stitch. Press sea m allowances
iE Using a bodkin, or safety pin, into the waistband . Cover seam with - One zipper, 7"
thread 1/2" elastic though waist l ining . From the right side of the - Hook and eye
casings. Stitch side seam ends closed, garment, stitch- in-the-ditch along the - Matching threads
catching elastic ends. Repeat for waist seam , be ing sure to catch the
all casings. [See pattern of Back l ini ng on the inside of the waistband . FINISHED SIZE
Waistband for elast ic cut lengths).
FINISH FRONT WAISTBAND
ATTACH THE FRONT WAISTBAND IIIEdgestitch along the curves of the I- YOKE !hip widthl Length
~ XS 37" 381/i"
iEJ Baste the Underskirt front to the front waistband to the crossover at 4(
Overskirt front at the waistline edges. center front. :c sM 391/i" 381/i"
Remove basting at center fron t waist
KHRISTAL JOUETT is a designer from
u 42" 381/i"
seam of Front Waistband so that w L 45%" 381/i"
North Alabama. She holds a degree in
lining is fre e. With back and front
waistbands together at side seams,
pin right sides of Overskirt fabric
electrical engineering, but has enjoyed clothing
design from an early age. She has been an
-en
N XL 49%"
Shownin size Small
381/i"

together, then wrap l ining side of fron t avid sewer/crafter since the age of r 2, and is
NOTES
over the top of the waistband, towards inspired by a love ofvintage clothing.
- All seam allowances are 5/s", unless
the inside of the waistband. Stitch
otherwise noted.
- Twenty-two different kinds of
ribbons and trims we re used to
>>
87
sewdaily.com *
 how-to

make the featured ski r t. Select a El Stitch Front Yoke Li ning to Back
combination of r ibbons in various Yoke Lining at side seams. matching
w idths- jacqua rds, velvets, notches . Turn in seam allowance of
grosg rai ns, sheers, and metallics- Lining lower edge and press, easing in
along with r ickrack, laces, and fullness. Set Yoke Lining aside.
other trims. B Select a 7/s" - 1" ribbon and a
- To finish seams, zigzag raw edges 1 1/2"- 2" ribbon for the vertical rows.
of seam allowa nces and press Cut four 7 1/4" for size Small of each
open . r ibbon. Evenly posit ion and sew two
gathers evenly. Stitch. Stitch again 1/4"
- Stitch close to both fin ished edges of each ribbon onto the Front Yoke,
inside the seam allowance. Trim the
of ribbons and laces. Sew rick rack vertically. Evenly position and sew one
seam close to t he stitching and zigzag
down the center. of each ribbon vertically to each Back
edges together. Press t he seam
Yoke .
- Label each piece with the Tier allowances toward Tier 1.
number and location to avoid mix- l1 Sew Yoke side seams. IE In the same way, stitch Tier 3 to
ups. the lower edge of Tier 2, Tier 4 to the
SEW TIER 2
Lowe r edge of Tier 3, and Tier 5 to t he
CUT THE FABRIC [I Sew Tier 2-5 Back to the side of
Lower edge of Tier 4.
D From the Main fabr ic. cut : each corresponding Tier Fr ont.
fJ Positio n and sew rows of ribbon
ID Stitch the skirt center back seam,
- Tier 1: Two Front Yoke (A) for Front matching all tier seamlines . Stop
and Lining and trim to the tier. The featured skirt
stitch ing 8" from t he top edge.
uses one row of 1/2", one row of 5/s".
- Tier 1: Two Back Yoke [BJ for Back
two rows of 7/s"- 1", and one row of 1 IE Pin Yoke Lining to Main Yoke at
and Lining 1/2" ribbons. waist edge, match ing seams and
- Tier 2: One 8 1/4" x 24" rectang l e I center front notches. Stitch. Trim.
[Front) I SEW TIER 3 Understitch close to the seam.
- Tier 2: Two 8 1/4" x 14" rectangles [J Position and sew rows of ribbon
[Backs] and trim to the tier. The featured FINISH THE SKIRT
skirt uses one row of 3/s", one of 5/s", III Sew the zipper at the center back
- Tier 3: One 9 1/4" x 28" rectang le
two of 3/4", two of 7/s", and one of 1 1/2" open ing, Leavi ng the l ining fr ee.
[Front)
ribbons. iE Turn the Yoke Lining down,
- Tier 3: Two 9 1/4" x 16 1/4" rectangles
turning under the center back seam
[Backs] SEW TIER 4 allowances along the zipper. Hand -
- Tier 4: One 10 1/4" x 32 " rectangle ll Position and sew rows of ribbon stitch the Yoke Lining to the zipper
[Front) and trim to the tier. The featured tape and over t he Tier 2 seam.
skirt uses one row of 3/s", one of 1/2",
- Tier 4: Two 10 1/4" x 18 1/2" rectangles ID Sew the hook and eye to Back Yoke
two of 5/s". one of 7/s", and two of 1 1/2"
[Backs) at the top of the zipper.
ribbons.
- Tie r 5: One 13 1/4" x 36" r ectang l e ml Press up t he skirt Lower edge 2 1/4".
[Front) SEW TIER 5 Turn in the raw edge 1/4" and hand-
- Tier 5: Two 13 1/4" x 20 3/4" rectangles D.1l Position and sew rows of ribbon stitch in place.
[Backs) and trim to the tier. Place the Last row
of ribbon or trim 2 1/2" from the lower SOURCES
edge to allow for hemming. Sampl e FABRIC Seven Wonders, by David
XS S M L XL Butler, Shal e; FreeSpirit Fabrics,
skirt uses one row of 1/2", three rows
~ TIER 2 FRONT 22%" 24" 25 /i'' 271/i" 24%"
1
of 5/s". two rows of 7/s". and two rows of freespi r itfa bric.com
c( TIER 2BACK 13%" 14" 14%" 155/s" 16%" 1 1/2" ribbons. RIBBON Many are from David
1
:C TIER 3 FRONT 261/z" 28" 29%" 3l3/t 34%" Butler's Pa r son Gray Collection,
U TIER 3BACK 151/z" 16 1h" 171/a" 181/s" 19%" I ASSEMBLE THE SKIRT rena issa ncerib bans.com
W TIER4 FRONT
N 30%" 32" 34" 361h" 39" mOn the top edge of each Tier 2-5.
- TIER 4BACK 17%" 181/z" 191/z" 205/s" 22" sew gathering stitches along the ELAINE SCHMIDT is a designer and
en 1 seam line. Stitch again 1/4" away inside
author who live in Long Valley, New Jersey.
TIER 5FRONT 34" 36" 38 /i" 4%" 433/t
TIER 5BACK 19%" 20%" 21%" 231/s" 24%" the seam allowance. Stop and start Her sewn, embroidered, and quilted projects
stitches at the side seams. Mark have been featured in numerous publications.
center fron t of each tier. She is the author ofHow to Make roo
SEW TIER 1 III Gather stitches of tier 2 to fit the Ribbon Embellishments andThe
D Notch cente r fronts on Front Yokes, bottom of the Tier 1. Pin at the side Complete Photo Guide to Ribbon Crafts.
Main and Lining. seams and at the center fronts. Adj ust

88
* stitch

- Large darning or leather needle
- Spring clips
FINISHED SIZE
11" x 8" x 31/4"
NOTES
- All seam allowances are 3/s" unless
otherwise noted.
Mid Mod Mini Tote CUT THE FABRIC
by ROSE BECK D From the Main fabric, cu t :
{from page 48} - Two Body [A]
- One Gusset [Bl on fold
fl From the Lin ing fab ri c, cut:
- Two Body [A)
- One Gusset [Bl on fold
- One 5 3/4" x 16" rectangle, for Pocket
El From the Stabilize r, cut:
- Two Body [A)
- One Gusset [Bl on fold
IJ From each Accent felt cut:
- One App li ques [CJ
DOWNLOAD THE FULL-SIZE APPLIQUE AND EMBROIDER
PATTERN FOR THIS PROJECT 11 Cut lengths of rickrack for the
AT SEWDAILY.COM
stems and position onto the Body
Front using fabric glue, extending the
FABRIC stems to the lower bag edge. Remove
- Main: 1/2 yd canvas, outdoor fabric, flower Appliques and stitch each stem
wool or other mid- to heavy-weight in place with a center line of stitching.
fabric ll Position the flower Appliques on
- Lining: 1/2 yd quilting cotton the Body Front right side as shown,
covering the upper rickrack end.
- Accen t : Scraps of wool felt in
Glue Appliques in place and stitch all
coordinating colors
around each one using a blanket stitch
OTHER SUPPLIES or zigzag [see Sewing Basics). Using
- Templates, downloadable: free-form stitching, stitch straight
lines through the cen ter flower and
- Body [AJ
out from other flower edges. Sew
- Gusset [BJ buttons to the center flower stitching
- Appliques [CJ l ines. Optional: Add flower Applique to
1/3 yd foam stabilizer, 58" the Body back if desired.
- Gusset as in step 9, but leave an 8"
- One 5 3/4" x 8" rectangle ASSEMBLE BAG
heavyweight fusible interfacing D Baste the stabilizer to the wrong
- 18" purse handles with sew- on tabs side of the Body Front, Back, and
1/2 Gusset using a 1/4" seam allowance.
- yard each of two colors rickrack,
1/4" Tri m the edges of the stabilizer very
close to the basting to reduce seam
- Six buttons, 1/2"
bulk.
- Fabric glue ll Attach handles to the Body Front
- Embroidery fl oss and Back using embroidery floss.
Hand-stitch using a backstitch,
- Matching and contrasting threads
how-to
sewing through both the fabric and
the stabilizer.
ll With right sides together, pin one
long edge of the Gusset to the Body
Front curved edge, matching centers
and upper edges. Stitch, easing the
Gusset around the corners. Repeat
with Body Back on the other long
gusset edge. Turn the bag right side
out.
MAKE POCKET AND LINING
iilJFollowing the manufacturer's
instructions, apply the 5 3/4" x 8"
Interfacing to one half of the Pocket
.
piece.
mFold the Pocket in half, r ight sides
together, and press. Stitch around
the Pocket raw edges using a 1/4"
seam allowance, and leaving a 3"
opening on one side for turning. Trim
corners. Turn Pocket right side out.
fold opening edges in, and press.
Edgestitch the Pocket top.
iEJ Place the Pocket on a Lining Body
right side in desired position and pin.
Edgestitch the Pocket sides and lower
edges, securing the opening as you
stitch.
iEJStitch the Lining Body pieces to the
opening in one Lining lower seam for
turning. Press seams open. Note: Do
not turn Lining ri ght side out yet.
FINISH THE BAG
iIJ With the handles down and right
sides together, place the Main bag
inside the Lining, matching corner
seams, and pin/clip in place. St itch
together around the upper edge.
>>
89
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 how-to

ml Tu rn the bag rig ht side out, stitch - 3/4yd lightweight woven fusible D From Piping/Applique fabric. cut:
the opening closed , and push the interfacing . 36" - 11/ 2" bias strips, pieced to make
Lining into the bag. Press the upper - Invisible zipper, 20" about 11/2 yd piping.
edge.
- 11/2 yd cotton piping cord , 3/ 16" - Apply fusible web to remaining
11] Topst itch the upper bag edge 1/4"
accent fabric and cut applique
- Matching threads
from the edge, being careful to keep circles. Note: Samp le shows 6",
the handles out of the way as you - Fusib le web
3 1/2", and 2" circles.
stitch . - Fabric -safe marker
- Invisible zipper foot I MAKE PIPING
ROSE BECK is a multi-crafter who loves I D Sew togethe r the bias strip ends
- Zipper foot
to play with anything related to fiber. When
she's not stashing fabric or yam, she likes
I with diagona l seams. Fold the bias
FINISHED SIZE I strip in half lengthwise, wrong sides
to dream up designs for sewn and knitted together. Center the piping cord in
accessories. Find her patterns and adventures
at roseisarosepattems.com. ....ii::Bust Waist Hip
the fold and using a zipper foot, stitch
close to the cord.
c( XS 32-33" 24-25" 341/i-35 1/i" [I Fuse interfacing to the wrong side
'60s-inspired Dress ::c 34-35" s 26-27" 361/1.-371/z" of all facings.
by KATRIN VORBECK
u M 36-371/i" 28-29 1/i" 381/1.-40"
II Serge or zigzag all raw edges on
LI.I L 39-401/i" 31-32 1/i" 41 1/z.-43" sides, shoulder seams. and lining
{from page 49}
-
N XL 421/i-441/z" 341/i-361/i"
en Center Back Length: 32 1/4"
45-47" hemline.

Shown insize Small ASSEMBLE THE BODICE

D Sew darts on the Main and Lining
pieces. Press darts downwards.
NOTES
- All seam allowances are 5/s" unless D With r ight sides togethe r, sew
otherwise noted. facing pieces to the coordinating
Lining pieces. Stitch the Lining
- Hem allowance is 2" .
shoulder seams and right side seam
- Extra fabric may be requ ired to only. Tr im shoulder seam. Note: Left
match large designs. 1 hand side seam will be closed later.
- Press seams after every step. I IIll
Fuse the applique circles on the
- Pretreat the fabrics and cord as the I Front and sew around the edges using
fini shed garment will be handled I a zigzag or satin st itch.
(j DOWNLOAD THE FULL-SIZE
) ~ PATTERN FOR THIS PROJECT (wash, dry, and iron or dry clean ) to I m
With r ig ht sides together, stitch the
1W AT SEWDAILY.COM avoid shrinkage after the garment
.1s sewn . Main shoulder seams and right side
seam.
FABRIC - Desired circle template . iEI With r ight sides facing, sew the
- Main: 2 1/ 3 yd linen. 45" I Lin ing to the Main dress around
CUT THE FABRIC
- Lining: 3/4 yd l ining fabric, 45" I neckline. Trim and clip the seam
D From the Main linen, cut:
I allowances. Carefully press seam
- Pip ing/Appliqu e: 1/2
yd contrasting - One Front (A) on fold allowances toward the facings.
fabric (shown: Kona Cotton solids, 1
- One Back (Bl on fold Understitch fac ing/lining to the
chartreuse) neckline seam allowances close to t he
- One Front Facing [CJ on fold
OTHER SUPPLIES seamline. Tu rn the dress right side
- One Back Facing (0) on fold out and press the neckline again.
- Templates. downloadable:
- One Front Skirt (El IE With the right side of dress facing
- Front (A)
- One Back Skirt (Fl out, reach between the Lining and
- Back (Bl
0 From Lining, cut: Main fab ric and hold onto the r ight
- Front Facing (Cl front armhole seam allowances. Pu ll
- Two Back Lining [GJ
- Back Facing [DJ them through and with right sides
- One Front Li ning [HJ on fold together, sew th e armho le closed
- Front Sk irt (El
- Back Skirt (Fl
D From fusible woven interfacing, f rom the shoulder to the side seam.
cut: Trim and clip the seam allowances.
- Back Lining [G) Turn right side out aga in and press
- One Front Facing [CJ on fold
- Front Lining [HJ first half of the armhole. Repeat this
- One Back Facing (OJ on fold

90
* stitch
 how-to

I
Diamond Chain
Bolster
by KEVIN KOSBAB
{from page 50}

figure 1

I
I
step with the back armhole and on the I
left side. I
I
lII Sew the invisible zipper in the left
FABRIC I
seam of the Main dress, shortening I
- Main: 1/2 yd solid cotton [shown: Ice I
the zipper if needed. Stitch the I
Frappel
remaining dress left side seam from I
the lower edge to t he zipper. Press - Accents: Four scraps of different
seam allowances open. solid cottons, 2 1/2" x 21/2" [shown: figu re 2
Flame, Candy Pink , Bahama Blue,
iE Fold left Lining seam allowances
and Torch] - Two 15" x 9" rectangles for
under and hand -stitch to the zipper
tape . - Piping: 1/2 yd solid cotton (shown: Backgrounds
Spruce) - Two 3 1/4" x 23/4" rectangles for
ASSEMBLE THE SKIRT - One muslin rectangle, 20" x 24" Detail Ends
iE Stitch the skirt center back seam. - Two 3 1/2" x 3 1/2" squares; sub -cut
Finish seam allowance edges. OTHER SUPPLIES
each twice diagonally to make
IE Baste the piping to the upper skirt - Template, included on insert:
eight quarter- square triangles.
edge, with the cord towa r d the skirt . - Bolster End (A) Note: You' ll use six.
FINISH THE DRESS - 14" x 6" bolster pillow form - Two 2" x 2" squares; sub- cut each
iD With piping sandwiched between - 2 yd cotton piping cord, 5/32" once diagonally to make four half-
the layers, sew the upper edge diameter square triangles
of the skirt to the lower dress - Batting, 20" x 24" fl From each Contrast scrap, cut:
edge, matching center backs and - Coordinating thread for - One 21/a" x 2 1/a" square
distr ibuting the fullness even ly.
Leave the Lining free. Press seam
construction and quilt ing El From the Piping fabric, cut:
allowances toward the dress. Trim - Heavy cotton thread for detail - Two 11/2" x WOF bias strips
seam allowances and serge or zigzag quilting (shown: black 40- weight
quilting t hread] PIECE THE DETAIL STRIP
raw edges together. Topstitch the
seam. - Da r ning or free - motion quilting foot D Place one half- square triangle on
a Contrast square, centering the long
iII Hand -stitch the skirt hem in place. - Zipper or piping foot
edge of the t r iangle on one edge of
fJllLoosely tack the Lin ing lower edge - Safety pins or qu ilt bast ing spray the square, and sew together. Sew
to the skirt attachment seam. a quarter-square triangle to the
FINISHED SIZE opposite edge of the square as shown.
KATRIN VORBECK,.from Germany, is 14"x6" (figure 1) Press the seam allowances
a passionate sewer, always learning and toward the square. This unit w ill be
exploring. It's the small details and the simple NOTES
1/4"
at one end of the detail strip. Repeat
design features that she loves most She's also - All seam allowances are unless
this step to make another unit using
into needlecrafts since her childhood - knitting otherwise noted.
the Contrast square for the other st rip
and sewing are her ways to stay sane. - WOF =Width of fabric end .
Admittedly, she's afiberholic, bookworm, and
a bad photographer. Visit her blog atfrauvau. CUT THE FABRIC 11 Sew quarter-square triangles
D From the Main fabric, cut: t o opposite edges of the remaining
blogspot.com
- Two Bolster End (A)
Contrast squares, w ith t riangles
>>
91
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 how-to
figure '3
facing in opposite directions as
shown.
(figure 2) Press the seam allowances
toward the squares.
D Trim the extending triangle corners
flush with the squares. Referring to
figure '3, sew the units from Steps
4 and 5 together, aligning adjacent
seams [the squares will face an
adjacent unit's triangle for sewing).
Sew a quarter-square triangle to each
remaining raw edge of the Contrast
squares.
D Sew a Detail End to each short end
of the pieced deta il strip. Press the
seam allowances open.
ASSEMBLE THE PILLOW COVER
D Sew a Background piece to each
long edge of the detail strip. Press the
seam allowances open.
D Layer the batting on the muslin
and center the pillow cover right side
up on top. Baste the layers together
with safety pins or basting spray.
IE Using a darning or quilting foot
and heavyweight contrasting thread,
free -motion quilt a rough outli ne
around the Contrast shapes, working
in a figure-eight path to keep the l ine
continuous. (figure le) Retrace the
outline once or twice more, varying
the exact position of the quilting lines
for a sketch -like effect. NOTE: Use a
walking foot if you prefer a less hand-
drawn loo k.
mUsing coordinati ng thread, quilt the
Main fabric background as desired.
The sample was quilted with large,
casua l zigzags paralleling the pieced
shapes. Leave an unquilted margin
92
...........................................
* stitch
of 5/s" at one of the short ends of the
pillow cover.
[fJ Trim away the excess batting and
muslin so the quilted pillow cover
measures 15" x 19 3/,". Trim 5/s" of the
batting and muslin away where you
left the unquilted margin, leaving the
Main fabric intact; this will make it
easier to sew the pillow closed after
stuffing.
iEJ Bring the short ends of the pillow
cover r ight sides together and sew
with a 5/s" seam allowance for about 2"
in from each side, leaving a gap in the
middle for stuffing.
SEW PIPING TO THE ENDS
mJ Wrap a piping strip lengthwise
around the pipi ng cord, wrong sides
together, and use a zipper or piping
foot to baste the layers of piping fabric
together near t he cord [see Sewing
Basics]. Cut the cove red cord length
in half.
lliJPin one of the piping lengths
around the perimeter of a Bolster
End piece, aligning the raw edges.
The piping ends sho uld overlap by
several inches where they meet.
Using a zipper or piping foot, baste
the piping to the Bolster End nea r
the cord, sta rting several inches from
the piping end. When you re a few
inches from the starting point, trim
the pip ing ends to leave an overlap
of about 1",undo th e stitching at the
starting end, and fold under t he fabric
at the starting end. Tr im the filler
cords to abut and encase the join with
the starting end fabric. Sew the joined
section to the Bolster End near the
cord. Repeat for the opposite end.
FINISH THE PILLOW
ID Pin one of the piped bolster ends
into one end of the pillow cover tube,
right sides together and raw edges
aligned . Use a zipper or piping foot
to sew the laye rs togethe r very close
to the piping cord . Repeat this step to
sew the remaining bolster end into
the opposite end of th e tube, then trim
the seam allowances on both ends to
reduce bulk.
IE Turn the pillow cover right side
out through the seam opening , gently
pushing out the piped edges. Insert
the pillow form through the opening .
ID Fold under the open 5/s" seam
allowance and hand- stitch the
opening closed.
SOURCE
FABRIC Robert Kaufman, Kona Cotton
solids, robertkaufman .com
KEVIN KOSBAB is a contributing editor
to Stitch and has previously written on mid-
century modem-inspired quilting for Modern
Patchwork. Author offhe Quilter's
Applique Workshop (Interweave, 2014), he
designs modem sewing and quilting projects
for magazines and his own pattern line, Feed
Dog Designs (feeddog.net).
 how-to

-------------------- ------------------ -- NOTES

Tablet Folio - All seam allowa nces are 1/2" unless
by MARNI WEAVER otherwise noted .
{from page SO} - A 1/s gap is placed between pieces
to allow for folding .
- Trim seam allowances from
Interfacing and Fleece pieces.

CUT THE FABRIC

FABRIC
- Main: 1/2 yd or 1 fat quarter quilting
cotton (shown: Yellow Trassle]
- Lining : 1/2 yd or 1 fat quarter
quilting cotton (shown: Coral
Blomster]
- Accent A: 1/4
yd or 1 fat quarter
quilting cotton for Flap (shown:
Yellow Bergen)
- Accent B: 1/ 4 yd or 1 fat quarter
quilting cotton for Inner Flap
[shown: Coral Littl e Blomster]
OTHER SUPPLIES
- Templates, included on the insert:
- Flap [A]
- Inner Flap [BJ
- 1 yd si ngle- sided fus ible ultra-firm
interfacing , such as Pellon Peltex
71 F
- 1/2 yd fusible batting
- 1" hook-and - loop tape, 3/4"
- Matching thread
- Fabric- safe marker
- Fabric glue stick
- Spring clips, such as Clover
Wonder Clips
- Rotary cutter, mat, and acrylic rule r
FINISHED SIZE
Open: 22" x 11 7/s"; Closed : 93/s" x 11 7/8 "
D From the Main fabric, cut:
- One 13" x 19" rectangle
B From the Lin ing fabric, cut:
- One 13" x 19" rectangle
B From t he Accent A fabric, cut:
- Two Flap (A]
D From t he Accent B fabric, cut:
- Two Inner Flap [Bl. two reverse
11 From t he ult ra- firm inter facing,
cut:
- One Flap [A)
- One Inner Flap (Bl. one reverse
- Two 13" x 19" rectangles
D Fro m t he fusible fleece. cut:
- On e In ner Flap (Bl. one reverse
- Two 13" x 19" rectangles
FUSE THE FABRIC
D Lay the Main 13" x 19" rectangle
piece right side facing down . Center
the ultra -firm interfacing pieces
onto th e fabric. Leave a 1/s" gap at
the center front. All outside seam
allowances are 1/2". Press in place.
D Lay the Accent A Flap piece r ight
side facing down . Center the Flap
Interfacing onto the wrong side of
the fabric. Note: There should be 1/2 "
seam allowance around the curve
and 3/4" seam allowance at the flat
side. Press in place. Repeat for the
w ide remaining Accent A Flap lin ing piece.
D Lay the Inner Flap piece righ t side
facing down. Center the Inne r Fla p
Interfacing onto th e fabri c. Note:
There shou ld be 1/2" seam allowance
around t he curve and front side. There
should be 3/ 4" seam allowance at the
bottom seam. Press in place. Repeat
for the remaining Inner Flap pieces.
ml Fuse the respective fusible batting
onto the Lining pieces in the same
manner.
TURN AND FOLD SEAM
ALLOWANCES
mTurn and fold t he seam allowances
on each fabric piece. Use a fabr ic
glue stick to hold the seam all owance
to the back s id e of the interfacing
pieces. Turn and fold all straight
edges a nd clip into all curved edges
in 1" increments. Do NOT clip into
the seam allowance. Turn and fold to
backsid e. Hold in place with the fabric
glue stick . Make sure all curves lie
smooth. Press w ith an iron .
IE Repeat step 11 for all pieces - both
outside and lining, following these
guidelines:
Main/outside and lining fabric pieces:
turn and fold all seam allowances.
IE For t he Flap and lining fabric
pieces, only turn and fold the curved
edge. For th e Inner Flap pieces, as
well as lining fabric pi eces, turn and
fold the 1/2" seam allowances. This is
only t he cu rved seam allowance and
the front seam allowance.
TOPSTITCH PIECES
iD With wrong sides together, lay the
Flap pieces together, wrong sides
facing each other. Match along t he
curved edge. Pin or use clips to hold
the edges in place . To pstitch the
curved edge. Continue stitching along
the outside edge of the interfacing
straight edge, backstitch at t he
beg inn ing and end ing of the seam.
ll'J With wrong sides together, lay
two Inner Flap pieces together.
Match the front edge and bottom
seam allowance. Topstitch along t he
curved edge and front seam. Continue
stitching alo ng the bottom outside
edge of the interfacing, backstitching
at the beginning and ending of the
seam.
ID Repeat step 15 for the remain ing
Inner Fla p pieces. }}

93
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 how-to

ASSEMBLE THE FOLIO and Background pieces. The pieces

IE Lay t he Main rectangle piece righ t
side facing down. Place the Lin ing
rectangle piece r ight side facing up.
There should be approximately 1/s"
differe nce along ou tside edge. Match
at the cen ter front seam. Clip to hold
the left front side in place. Pin along
center front seam/gap .
lD Insert Flap into t he righ t
hand side,
li ning side up. Sandwich the Flap
seam allowance between the Main/
outside and l ining pieces . Leave a
1/s"- 1/4" gap between flap inte r facing
edge and the fol io front edge. Pin in
place. Edgestitch with the flap down.
backstitch ing at each end .
lD Insert top and bottom Inner
Flaps. Sandwich the Inne r Flap seam
allowances between the Main/outside
Op Art Runner used are equ ivalent to Sizzix's 4"
by KEVIN KOSBAB finished Drunkard s Pat h dies.
{from page 51} - Water- sol uble bast ing glue is a
great alternative to pins for holding
the applique pieces in place .
- WOF =Wid th of fabric
CUT THE FABRIC
D From FF1 fabric, cut:
- Twelve Background (A) pieces
- Two 2" x WOF strips
D From FF2 fabric, cut:
- Twelve Wedge (Bl pieces
El Trace the Center Curve. Half-
Center Curve, Inside Curve, and
Corner Cu rve templa tes onto the dull
side of freezer paper, leaving at least
1/4" space between the tracings, then

and l ining pieces. The front seams
should l ine up. Leave a 1/s"- 1/4" gap
between flap interfacing edge and
folio edge. Pin in place.
fE Leave all Flaps lying outside the
folio. Topstitch around the entire
outside folio edge.
Ell Topstitch along the center fr ont/
gap seam.
EE Tu r n and fold t he top and bottom
Inner Flaps into the folio, aligning at
the front edge. Topstitch flaps down at
front edge.
ATTACH THE CLOSURE
IE Lay t he hook tape onto t he Flap
l ining center, approximately 3/s" from
the curved edge. Stitch in place.
Bil Fold the fol io at the cen ter front
gap. Lay t he loop tape onto the folio
back matching the placement to the
Flap . Stitch i n place.
SOURCE
FABRIC Windham Fabrics, Lotta
Jansdotter, Mormor collection,
windhamfabrics.com
MARNI WEAVER is a self-proclaimed
sewing nerd. She studied fashion design at
Ryerson University in Toronto, Canada and
worked in the fashion industry in New York
City. She now resides in Florida with her
husband and son. She biogs about her sewing
adventures at haberdashery.fun.com.
FABRIC
- FF1: Backg round/bind ing : 1/3 yd
quilting cotton [shown: Cardinal)
- FF2: Drunkard 's Path wedges:
quilting cotton [shown: Flame)
- FF3: Curve cente r s: 1/4 yd quilting
cotton [shown: Torch)
- Backi ng: 3/s yd quilting co tton
OTHER SUPPLIES
- Templates, on insert:
- Background (A)
- Wedge (Bl
- Center Curve (CJ
- Half- Center Curve (0)
- Inside Curve (El
- Corner Curve (F]
- 12" x 28" Batting
- Freezer paper
- Spray starch and small brush
- Clear monofilament thread
- Coordinating thread for quilting and
. .
p1ec1ng
- Safety pins or quilt basting spray
FINISHED SIZE
81/2" x 24 1/2"
NOTES
- All seam allowances are 1/4"
otherwise noted.
- Instead of using templates, a die
cu tter can be used to cut the Wedge
press the fr eezer paper onto a second
piece of freezer paper, both dull sides
up. Pee l the doubled free zer paper off
1/4 yd you r ironing surface and cut out the
templates on the traced l ines.
D Press the fr eeze r paper templates
du ll-side up onto the wro ng side
of t he fabrics l isted bel ow. Cut out
the fabric roughly 1/4" beyond the
template curved edges for seam
allowances and flush w ith the stra ight
edges (where seam allowances are
incl uded). Brush spray starch onto the
curved seam allowances and use the
tip of a hot, dry iron to turn t he seam
allowances to the wrong side, against
the free zer pape r templa te. Clip the
seam allowances if needed to wrap
them snugly around the templates.
Whe n cool, remove the templa te and
reu se it to cut the next piece. Follow
this process to cut:
- Five Center Cu rves (CJ f rom FF3
- Two Half- Center Curves (0) from
FF3
- Five Ins ide Curves (El from FF1
- Two Corner Curves (Fl from FF1
D From the Back ing, cut :
- One 12" x 28" rectangle
SEW DRUNKARD'S PATH UNITS
unless
[I Fold the Background and Wedge
pieces in half and finger- press a
crease at the center point. (figure l)

9.ia
...........................................
* stitch
 how-to

figure 1 tigure2 figure '3

figure~ figure 5 figure 6

figure 7

D With right sides together. match
the cent er points and pin. (figure 2)
Line up the short straight edge of
edge of the Background with the edge
of the Wedge and pin. Repeat on t he
other end. (figure 3)
D Pin continuously along the curved
edge, dividing the fullness evenly.
(figure~) Sew the pieces together
along the pinned edge. (figure 5)
Press the seam allowances toward
the Wedge pieces. Make a total of
twelve units.
IJ Sew ten units into pairs that each
form a half circle and press the seam
allowances open. The remaining two
units will be used at the end of one of
t he rows.
,
APPLIQUE THE CENTER AND
INSIDE CURVES
lllJ
Pin a Fab ric A Inside Cu rve piece
and a Fabric C Center Curve piece
centered on the seam of a pieced half-
circle unit, raw edges flush. (figure 6)
II Using a short, narrow zigzag stitch
and clear monofilament thread [with
cotton thread to blend with the fabric >>
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 how-to
in the bobbin). sew along all turned-
under edges of the Inside and Center
Cu rve pieces to applique t hem to the
pieced units. Make a tota l of ten.
iEI Pin a Fabric A Corner Curve and a
Fabric C Half Center Curve to the two
single pieced units and applique as in
Step 11.
ASSEMBLE AND QUILT
THE RUNNER
mArrange the units in two rows as
shown in figure 7 . Sew t he adjacent
units w ithin each row toget her and
press the seam allowances open.
Pin the two rows together, matching
seams and appliqued edges. and sew.
Press the seam allowances open.
ID Layer the batting on the wrong side
of the backing, then center the runner
top righ t side up. Baste t he layers
together w ith safety pins or basting
sp ray.
Im Quilt as desired . The sample was
first qu ilted just t o t he side of each
pieced or appliqued curve using
matching thread, then these curves
were echoed in threads a couple
shades lighter tha n the fabrics t o give
the colors an addit ional gl ow.
FINISHING
taSquare up the r unner. t rimming
away the excess batting and backing.
mSew t he 2" x WOF Fabric A strips
togethe r w it h a diagonal seam, and
bind the runner with a double- layer
binding [see Sewing Basics].
SOURCE
FABRIC Robert Kaufman Fabrics, Kona
Cotton Solids, robertkaufman.com
KEVIN KOSBAB is a contributing editor
to Stitch . He designs modem sewing and
quilting projects for magazines and his own
pattern line, Feed Dog Designs (jeeddog.
net). His bookThe Quilter's Applique
Workshop (Interweave, 2014) offers
instruction for hand and machine techniques,
fun quilted projects, and inspiration for
exploring the possibilities ofappliqui.
96
* stitch
in diameter, making felt - like pieces.
Vintage Vinyl Mix the colors of silk and roving for a
Snakeskin Clutch more interesting look.
by LINDA LEE D Place the Flower [Al template onto
{from page 52} each of the Accent fabric scraps and
cut out eight flowers, four of each
fabric.
D Stack one of each fabric flower
together, fold in half and make a 1/s"
snip in the center.
MAKE THE BAG
D Fold the 8 1/2" x 21" Main rectangle
in half crosswise. At t he fold, cut out
both corne r s 1/2" from the fold and 1"
across.
FABRIC
D On one side of t he bag, in the upper
third and away from the 1/2" zipper
- Main: 1/4 yd snakeskin vinyl seam allowance, mark the flower
- Accent: scr aps of wool felt and silk placements as desired . Fold the Main
dupioni in four colors at each placement dot and sn ip 1/s".
OTHER SUPPLIES ml With the zipper facing down, sew
one side of the zipper to the right side
- Template, included on insert:
of one sho rt Mai n edge. Repeat to
- Flower [A] sew the other side of the zipper to the
- One zipper, 9" re mai ning edge. Sew 1/2" from the Main
fabric edges, moving the zipper pu ll
- Scraps of fusible interfacing
out of the way to keep an even seam
- Wool roving, four col ors
allowance. Open t he zipper at least
- Felting needle, brush tool, and mat halfway.
- Fou r metal brads, 1/4"
mWith right sides together, sew
- Template plastic the side seams, keeping the seam
- Zipper foo t allowances open at the top as you
FINISHED SIZE
sew through the zipper ends. Trim the
excess zipper tape length at the ends.
7 1/2" x 8 1/2" x 2" iEI To form theboxed bottom, open
the side seam allowance and align it
NOTE with the bottom fold . Sew across the
- All seam allowances are 1/2" unless
corner edges. Repeat for the second
otherwise noted. corner.
iEl Turn thebag to the outside t hr ough
CUT THE FABRIC
D From the Main fabric, cut: the open zippe r.
- One 81/2" x 21" rectang le IIJ Poke a brad through two stacked
Flowers and then t hrough the bag. On
MAKE THE FLOWERS t he inside of the bag, flatten the brad
fJ Trace the Flower [A) template onto stems to anchor the flower. Repeat for
the plastic and cut out. each Flower.
El Fuse interfac ing to the wrong side LINDA LEE is the owner ofThe Sewing
of each scrap of Silk. Workshop Pattern Collection, a group of
0 Shred chunks of wool roving and patterns for fashionable garments using
place on the r ig ht side of silk sect ions innovative sewing techniques. She travels
in approximately a 4" circle. the country teaching fine sewing and the
D Using the felting needle, brush art ofcombining beautiful fabrics and
tool, and the mat, punch the roving distinctive garment design. Visit her at
into the silk creating circl es about 3" sewingworkshop.com.
 how-to

NOTES 1
Stitch the Facing to the skirt using
Embellished - All seam allowances are 5/s" unless a 1/4" seam allowance . Clip the curves
P. Lin S ir otherwise noted. and press seam allowances toward
by STEPHANIE BRACELIN - Press all seams open, unless th e Facing .
{from page 53} otherwise noted. mUnderstitch the Facing as close
- Transfer all pattern markings to to the seam as possible. Press the
the fabric before sewing . Facing toward the inside of the skirt.

- Backstitch at the beginning and INSERT THE ZIPPER

ending of all seams, excluding Insert th e zipper in the left side
topstitching and understitch ing. seam of the skirt, following t he
- To finish raw edges, serge, zigzag manufacturer's instructions.
or pink.
FINISH THE SKIRT
CUT THE FABRIC IE Fold the top of the zipper ends so
From the Ma in fabric, cut : that they are hidden under the facing
- One Front [Al when it's folded down. Hand-stitch
the facing down on both sides of the
- One Back !Bl
upper zipper, fold ing under the edge
- One Front Inset [CJ al ong the zippe r tapes.
(iS DOWNLOAD THE FULL-SIZE
) ~ PATTERN FOR THIS PROJECT - One Fr ont Facing [OJ on fold Sew a hook and loop to the top of
AT SEWDAILY.COM - One Back Facing [El on fold the skirt opening, above the zipper.
From the Interfacing , cut: Stitch in the ditch of the skirt right
FABRIC side seam to tack the fa cing in place.
- One Front Facing [0) on fold
- Main: 1 3/a yd quilting cotton, 45" Press up the 3/4" skirt hem, finish
- One Back Facing [El on fold
- Accent: Coordinating fabric scraps the raw edge, and sew in place.
for Embellishment ASSEMBLE THE FACINGS
EMBELLISH THE INSET
Fuse the Interfacing to the Front
OTHER SUPPLIES
Facing and Back Facing following the
ll Trace thirteen circles, or desired
- Templates, downloadable: shapes, onto the fusible web pape r
manufacturer's directions.
- Front [A) backing; trim just outside the lines .
Stitch th e Front Facing and Back Adhere the fusible web pieces to
- Back [Bl Facing right sides together at the left the wrong sides of the Accent fabric
- Front Inset [Cl side seam. Finish the lower Facing scraps. Trim th e shapes along the
raw edge with a zigzag or serg ing . drawn circles.
- Front Facing [OJ
- Back Facing [El DARTS tD Arrange the shapes on the Front
Stitch darts. Press darts toward Inset as desired and fuse them in
- 5/a yd fusible interfacing, 20"
the center front and center bac k. place, following the manufacturer's
- One zippe r, 7" instructions.
- Paper- back fusible web ASSEMBLE THE FRONT INSET ml Using three strands of embroidery
- Coordinating threads Stitch th e Front Inset to the Front, floss, sew a backstitch around the
matching notches and making sure to circle edges [see Sewing Basics).
- Hook-and -eye set
maintain the curve.
- Hand sewing needle SOURCES
Clip the curved Front Inset seam
- Optional: Embroidery floss allowances and press towa rd the FABRIC Cloud9 Fabrics, Shape of
inset; finish the raw edge of the Spring collection by Eloise Renouf,
FINISHED SIZE Spring Sampler in Petal Pink; Shape
curved seam .
of Spring collection by Eloise Renouf,
Hand-stitch an even run ning
~ Drop Waist Center Back Spring Scrapbook in Petal Pink;
~ stitch, just inside the seam, using six
XS(2J4) 27 1/i-281/z" 18" cloud9fabrics.com
c( strands of embroidery floss, catching
1
:c Sl6/8) 29 /2-301/z''. 181/i" the seam allowances as you sew [see INTERFACING Pellon 911 FF Fusible
u M(10/ 12J 32-331/t' 19" Sewing Basics). Featherweig ht and Pellon 805
w l(14/16) 35 1/2-37" 191/1" Wonder-Under; pellonprojects.com

-
N Xl(18}20) 391/i-41Y.z"
en Showniosize Small 16-8]
20" ATTACH THE FACING
Stitch th e skirt right side seam.
EMBROIDERYTHREADS OMC , Cotton
Embroidery Floss; dmc- usa.com
>>
97
sewdaily.com *
 how-to

STEPHANIE BRACELIN is an Iowa-based opening I

'
web/graphic designer and seamstress, who ~-----------------------------------------~----------------------~
~-----------------------------------------
I IL ----------------------~I
loves all things design. She began sewing
when she was six, making clothes for her
dolls, and now she sews and wears a lot ofher I I
I

opening I
own clothing. When she's not designing or
~----------------------------------------- ~ ----------------------~
sewing, Stephanie's probably spending time ~-----------------------------------------~----------------------!II
with her daughter being crafty or teaching her I
I

something new. Visit her at s-renee.com.

Disco Bag
by SARA CURTIS
{from page 54}
~-----------------------------------------~----------------------~
fold
figure l

FABRIC
- Main: 1 yd faux leather
- Lining: 1 yd quilting cotton
- Accent: 6" x 6" square metallic
fabric
OTHER SUPPLIES
- Template, provided on insert :
- Bag Front/Back [A)
- Circle Applique (BJ
- 1/2yd medium-weight fusible
interfac ing
- One mag netic snap set ,
- Meta llic embroidery floss (1 skein
each: gold , silver]
- Hand emb roide ry need le
- Matching thread
- Fabric- safe marker
- Glue stick
- Spri ng clips
- Optional: Non -stick presse r foot
FINISHED SIZE
18" circular bag
NOTES
- All seam allowances are 1/2"
otherwise noted .
- Preshrink and press lining fabr ic
before use.
- Choose your bag fabric ca refully.
Upholstery-weight vinyl is not
suitable for th is proj ect, as it's too
stiff.
- Do not place you r iron direc tly on
the r ig ht side of any faux leather.
The vinyl will melt. You may be able
to press faux leather with a warm
iro n and a sturdy press cloth , but
always test a scrap first.
- Test the faux leather for marker
removal before use.
- To help with even feed ing if you
don't have a non-stick presser foot,
place Magic tape on the underside
of a regular presser foot.
- When cutting from t he Mai n and
Lining fabrics, cut right side up and
1/ 2" single layer.
CUT THE FABRIC
D From the Ma in fabric, cu t :
- Two Bag Front/Back [Al. printed
side up
fJ From the Lini ng fab r ic, righ t side
up and single laye r, cut :
- Two Bag Front/Back [Al. printed
side down
- Two 12" x 12" squa res, for Pocket
El From the Accent fabric, cut:
- One Ci rcle Applique (BJ
1
D From the Interfacing, cut:
unless - One 12" x 12" square
- Two 2" x 2" squares
,
APPLIQUE THE BAG
D Place the Circle Appliq ue piece on
a Bag Front refe rr ing to inner dashed
li nes for placement. Use a glue stick
to lightly attach the Circle App lique
to the Bag Front. Zigzag around the
Circle Applique outer edge.
EMBROIDER THE BAG
ll Transfer the stitching line
markings to the Ma in fabric r ight side
using the fabric - safe marker.
D Thread the emb roidery needle wit h
m etallic floss and embro ider along
the marked lines with a runn ing stitch
[see Sewing Basics]. Begin with gold
on the smallest circle and alternate
with silver goi ng outwa rd. Sample
stitches are 3/a" long with 1/4" spaci ng.
STITCH THE EXTERIOR
ll Place the Bag Front and Bag
Back pieces right sides together,
matching notches. Stitch along the
rounded edge between the notches,
backstitc hing at each end. Trim and
clip t he seam allowance along the
stitched edge. Turn r ight side out.
SEW THE POCKET AND LINING
ll Following the manufact urer's
instr uctions, fuse t he 12" x 12"
inte rfacing to one Pocket square .
Place the Pocket squares ri ght sides
together and stitch around the edges,

98
...........................................
* stitch
 how-to

leaving a 3" opening on one side for SARA CURTIS is a wife, homeschooling FINISHED SIZE
turning. mother of6, and enjoys sewing and design
IE Trim the Pocket corners diagonally ofall kinds. After years ofcreating sewing
I- Chest Center Back
and tu r n right side out . Press the patterns for her personal use, she ventured 0: 2T 201/i"
into digital sewing pattern design. Sara also <( 20"
Pocket, turning in the opening seam
dabbles in fabric design and textile printing. :c 3T 21" 21"
allowances. Topstitch opposite Pocket
edges, closing the opening with t he Look for her patterns and design work at u 4l 22" ..2.2"
stitching. St itch another line 1/ 4" from radianthomestudio.com. Ill 5 .. 23" 23"
the fi rst.
mFold one topstitched edge toward
-
N 6 24"
ti> Sh.ownin size 6
24"

the opposite edge, leaving 1 1/2"

Scallop Shift Dress
by STEPHANIE BRACELIN
between the two edges. Press in NOTES
place. {from page 55} 1/2"
- All seam allowances are unless
iE Align t he top Pocket corn ers otherwise noted.
with the markings on one half of the - Press all seams open unless
Lin ing. Topstitch the Pocket to the otherwise ind icated.
Lining along both sides and lower
- Backstitch at the beginn ing and
edge, backstitching at each end.
ending of all seams.
Topstitch a li ne f rom the l ower edge to
the Pocket top creating a 7" and a 4" - To finish raw edges, serge, zigzag
section. (figure 1) or pink.

IE Place the Lining pieces r ight - Transfer all pattern markings to

sides t ogether, matching notches .
Stitch along t he rounded lower edge,
between the notches, leaving a 4" gap
for turning, and backstitching at each
end. Notch the seam allowances, t urn
right side out, and press if you can.
ID Following the manufacturer's
inst ructions, attach t he mag net ic
snaps halves on each side of t he l ining
at the large dot markings. Use a 2"
x 2" square of fusible interfacing as
reinforcement behind each snap half
on the wrong side.
ASSEMBLE THE BAG
IE Place the Lining and bag r ight
sides together, aligning t he ha ndle
sections and side seams. Use spring
clips to hold the fabrics in place.
Stitch around the entire bag upper
edge, includ ing the ha ndle sections.
Trim the seam allowances around
t he handle ends, and notch along all
curved seam lines.
ml Turn the bag right side out through
the lining opening and gently push
out the handle sections. Press edges
if you can . Topstitch along the top
edge and around the hand l es with one
cont inuous line of stitch ing.
IllHand -stitch the lining opening
closed. Tie a square knot w ith the
handle sections to finish the bag.
the fabric and interfacing.
CUT THE FABRIC
D From the Main fabric, cut:
- One Dress Back (A] on fold
- One Tab Dress Front [BJ
- One Scallop Dress Front [Cl
- One Tab Front Facing [OJ
r~ DOWNLOAD THE FULL-SIZE
~~ PATTERN FOR THIS PROJECT
- One Scallop Front Facing [El
AT SEWDAILY.COM
- One Back Facing [H J on fold
fl From the Interfacing, cut :
FABRIC
- Ma in: 1 1/s yd qu il ting cotton, 45" - One Scallop Interfacing [Fl
- One Tab Interfacing (G)
OTHER SUPPLIES
- One square, 1" x 1"
- Templates, downloadable:
- Dress Back (Al PREPARATION
- Tab Front Dress (BJ B Fuse interfacing to t he Tab Front
and Scallop Front Facings following
- Scallop Front Dress [CJ
manufacturer's directions.
- Tab Front Facing (OJ
Ill Sew a gathering stitch a scant 1/2"
- Scallop Front Facing (El along the Dress Back shoulder seams
- Scallop Interfacing [F] (see Sewing Basics).
- Tab Interfacing [G]
SEW THE SHOUDLERS
- Back Facing (HJ IJ Sew the Tab Front Faci ng and
- 1/3 yd lightweight fusible inte rfacing, Scallop Front Faci ng at the shoulde r
20" seams.
- Four buttons, 1/2"
SEW THE DRESS
- One snap D Sew the Dress Front and Dress
- Matching thread Back together at t he shoulde rs,
easing the back onto t he front. }}

99
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 how-to

ATTACH THE FACINGS

llPin the facings to the dress at
the neck, tab and scallop, matching
shoulder seams and dot.
D Sew from the bottom of the tab/
scallop placket dot aro und t he
neckline to the bottom of the other
side of the placket dot using a 1/4"
seam allowance. Sew slowly arou nd
the scallops to mai ntain a smooth
cu rve. On the scallop side of the
placket reduce the stitch length 1/2"
before reaching each dot, pivot after
passing the dot. take one st itch, and
pivot again, working on the next curve
sewing 1/2" and lengthening stitch
length to the regular length.
iE Clip t he inside points between
the scallops and all cu rves along the up and out of the way. Sew the dress
neckline and placket. front seam.
mUnderstitch the seam as far as Eill Tack down the tab and scallop
possible, excluding the scallops. facing lower edges by hand.
IE Pin the armholesright sides
HEM
together, matching shou lder seams
and dots.
EllPress up the 3/4" hem , finish the
raw edge. and sew in place.
iE To finish the armholes/sleeves,
sew from dot to dot using a 1/4" seam SEW THE SNAP
allowance . Clip curves and corners. lEHand -stitch the snap halves at t he
Understitch the seams. markings.
DJ Reach through the shoulder from
BUTTONS AND BUTTONHOLES
the back and pull the hem of the
dress fron t through. Repeat on ot her
IE Sew the buttonholes at the
markings and cut open. Sew
shoulder.
buttons on t he dress front in the
IE Push the tab and scallop edges corresponding location.
out, making the seams lie flat. Press
the neckline, placket, sleeves and SOURCES
unde rarms. FABRIC Art Gallery Fabrics, Arizona
ID Pin the side seams,matching the collection by April Rhodes, Tr iangle
underarm seam. Sew through the Tokens/ARZ-554; artgalleryfabrics.
facing and dress. Press the seam com
allowances open. Repeat for the other NOTIONS La Mode Buttons. Style 48188,
side . button lovers.com; Pellon: 911 FF
[fl Pin the armhole fac ings down, Fusible Featherweight Interfacing,
matching the side seams. Stitch in t he pellonp rojects.com
ditch the length of the facing or hand
tack in place. STEPHANIE BRACELIN is an Iowa-
based web/graphic designer and seamstress,
FRONT SEAM AND PLACKET who loves all things design. She began sewing
ilJ
At the bottom of the placket. when she was six, making clothes for her
clip the corner to the dot where dolls, and now she sews and wears a lot ofher
the stitches end for the facing own clothing. When she's not designing or
attachment. sewing, Stephanie's probably spending time
with her daughter being crafty or teaching her
ilJ Pin the
dress front seam below
something new. Visit her at s-renee.com
the placket, keeping t he facing pieces

100
...........................................
* stitch
 how-to

FINISHED SIZE

t- Center Back Chest

a: XS 231/1" 32"-33"
<
J: s 23%" 34"- 35" figure 1

u M 24" 36"-37
- '
112"
' ~.. n1
w L 2.41/z" .39":-401/i.'. ... I I

-en
N XL 24%"
ShQwoin _size SmaU
42 112"-441/2" I
I
I
I
I
I
Denim Jacket I
I
I
I
by AMBER EDEN NOTES
{from page 56} - All seam allowances are 5/s" unless
otherwise noted. figure 2
- Sew with right sides together
unless ot herwise noted. ll On each Front laye r, stitch the
corner of the shoulder/neck seam
- Finish seam allowances and edges
for 1" on either side of the dot using
by serging, zigzagging, or binding.
small stitches. Clip diagonally to, but
CUT THE FABRICS not through, the dot to help when
D From the Main fabric, cut: pivoting.
- Two Bod ice Front [A) D Stitch the Front and Back shoulder
seams, stopp ing at the neck dot. Pivot
- Two Bodice Back [Bl
at the dot and stitch along the back
- Two Sleeve [CJ neck seam, creating the undercollar.
- Two Peplum Front [DJ Pivot at the second dot and finish
- One Peplum Back [El on fold sewing the other shoulder seam.

- Two Front Facing [Fl ADD THE SLEEVES

(j~ DOWNLOAD T HE FULL- SIZE
- One Back Neck Facing [G) on fold Ql] Stitch the Sleeve to the ar mhole
J~ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM El From the Interfacing, cut: matchi ng notches. Clip seam
allowance approximately every 1/2".
- Two Front Fac ing [Fl Press seam allowances toward the
FABRICS - One Back Neck Facing [G) on fold jacket bodice. Repeat fo r the second
- Main: 21/4 yd denim fabric, 54" B From the Lin ing fabric, cut: sleeve.
- Lining: 3/4 yd lin ing fabric, 45" - Two Front Lining [HJ mStitch the side/underarm sleeve
seams, starting at the waist edge and
OTHER SUPPLIES - One Back Lining (I] on fold
ending at sleeve hem edge. Finish the
- Templates, downloadable:
PREPARE THE FACINGS seam allowance edges, then press
- Bodice Front (A] ll Apply fusible interfacing to open.
- Bodice Back [BJ each Front Fac ing and Back Neck
PEPLUM CONSTRUCTION
- Sleeve (C J Faci ng following the ma nufacturer's
lE Pin, then stitch Peplum Front and
inst ructions
- Peplum Front [OJ Peplum Back at the side seam. Clean -
- Peplum Back !El ASSEMBLE THE JACKET finish the seam by fol ding the seam
allowance unde r on each side of t he
- Front Facing (Fl 1:1 To create center back box pleats,
fold and press the pl eats following seam, then pressing. From the right
- Back Neck Facing (G] side of the garment, edgestitch [1/16")
the fold lines on the pattern (figure 1).
- Front Lining [HJ Edgestitch eac h side of t he pleat fold on each side of the seam, being sure
- Back Lining [I] at the neck edge for 11/2" and at the to catch the folded seam allowance
7/s waist edge for 2" as shown in figure 2. edges on w rong side of Peplum.
- yd lightweight fusible interfacing,
20" ll Stitchthe back neck darts and iEJ Fold the center front edges under
1/2". then 5/s", creating a narrow hem.
- Three buttons press toward center.
Topstitch 1/2" from the folded edge.
D Stitch the Fronts togethe r at the Repeat to finish the lower Peplum
center back collar edge. hem.
>>
101
sewdaily.com *
 how-to

----------------------------------------
I r 1 I
I I I Denim Love Pillow
I I I by MARCIA VAN OORT
I I I
I I I {from page 57}
I I I
I I I

figure :3

IE On the Peplum Back, fold and press

all pleats to create box pleats, starting
at center back and working your way
toward the center front.
IE On the pleat undersides, edgestitch
the folded edges (figure :3). The Pe plum
should have one center back pleat,
fo ur side back pleats, and four side
front pleats. Edgestitch each pleat fold
2" down from the waist edge. Steam-
press all pleats to make crisp, clean
edges.
ID Stitch the Pep lu m to the
Main
bodice along the waist seam . Clip the
seam allowance every 1/ 2". Press the
seam toward the bodice.
ASSEMBLE THE FACINGS
AND LINING
mStitch the corner of the Back
Facing/Front Facing shoulder/neck
seam for 1" either side of the dot using
small stitches. Clip diagonally to,
but not through, the dot to help with
pivoting.
ID Stitch the facing shoulder seams,
stopping at the neck dot. Pivot at the
dot, and stitch along the back neck
seam. Pivot at dot and finish sewing
the other shoulder seam creating the
upper collar/facing.
III Stitch the
Lining shoulder and side
seams . Press the seams open. Stitch
the waist pleats and press toward the
centers.
IE Stitch the
Lining to the Facing s,
matching shou lder seams and center
back notches. Press the seam toward
the lining.
fJJ Withright sides together, stitch
th e Lining/Collar/Facing to t he Lin ing
bodice, matching shoulder seams and
center back notches. Turn right side
out and press the seam allowances
flat. Before fin ishing the Lining waist
seam, reach up inside the garment and
stitch the collar/facing attachments
seams together.
COMPLETE THE JACKET
!ETurn under the Li ning waist seam
allowances 5/s" . Whip-stitch the
lining to the bodice, covering the
waist seam allowances [see Sewing
Basics]. Turn the armhole Li ning
seam allowances under 5/s", clipping
approximately every 1/2" to flatten.
Whip- stitch the Lining armhole to
the bodice armhole, covering the
armhole seam allowances.
IE Mark button and buttonholes,
as ind icated on the pattern. Stitch
buttonholes on the right front, and
sew buttons to the l eft front as
marked.
AMBER EDEN is the Editor ofStitch.
('j DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
"W AT SEWDAILY.COM
FABRIC
- Main: denim shirt or skirt with
button/band closure
- Contrast: 1/3 yd lig htweig ht cotton
denim or one 1O" x 20" rectangle
from shirt, skirt or jeans
OTHER SUPPLIES
- Templates, downloadable:
- Pillow Front/Back [A)
- Matching thread
- Fabric-safe marker
- 16" square pillow form
FINISHED SIZE
15"x15"
NOTE
- All seam allowances are 1/2" unless
otherwise noted.
CUT THE FABRIC
D From the Main fabric, cut:
- One Pillow Front [A)
- One Pillow Back [Al. w ith button
band closed and buttons centered
D From the Cont rast fabric, cut :
- Bias strips, 1/2" wide, to measure
200" in length
PREPARE THE FRONT AND BACK
B Zigzag or serge the pillow edges.

10 2
...........................................
* stitch

0 Using the fab r ic-safe ma r ker and
the Pillow Front/Back (A). transfer the
word "love" to the Pillow Front.
MAKE THE CHENILLE
Ill Square the ends of the Contrast
denim strips. Stack th ree bias strips
of differing le ngt hs and stitch along
the lengthwise center. As one strip
ends, add in another strip, abutting
ends and always maintaining three
strips in the stack. Make a finished
strip 1/2" x 60".
APPLY THE CHENILLE
D Center and pin the cheni lle strip
over the lette r markings following the
directional arrows. Cut the chen ille
strip at the dots and start aga in at the
X.
fJ Stitch the center of the chenille
strip starting and stopping as
necessary and backstitching to hold
ends in place.
ASSEMBLE THE PILLOW
[J With right sides togethe r, stitch the
Pillow Front to the Pillow Back.
D Turn the pillow right side out .
iilJ Wash the pillow cover and dry it in
the dryer to fluff the chenille. Do not
wash wit h anything else, as lint wi ll
accumulate.
mInsert the pillow form through the
button opening.
MARCIA VAN OORT is a freelance
designer and seamstress who enjoys merging
a bit ofthe past with a bit ofthe present.
See more ofher work at etsy.comlshop/
prairiemusing and at prairiemusing.com.
how-to
NOTES
Slouchy - All seam allowances are 1/2" unless
Crossbody Bag othe rwise noted.
by LISA POLDERMAN - When the instructions call for
{from page 58} topstitching, use topstitchi ng
th read in t he needle and match ing
all- purpose thread in the bobbin.
Topstitch with a slightly longer
stitch length (3.5 to 4mm] to make
topstitching more visible.
- Use an edgestitch foot and/or
adjust need le positioning for
accu rate topstitch i ng.
- Use binder clips to secure l eather,
as pins will leave holes.
- Transfer all markings to the cut
fabric pieces.
CUT THE FABRIC
J..
(l DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
. . AT SEWDAILY.COM
D From the Main den im , cut:
- Two Lining (A]
- Two Center Panel [CJ
- Two 2" x 2 1/2" rectangles for Loop
FABRIC
- One 6" x 8"rectang le for Pocket
- Main: 1 yd denim, 54"
- One 8" x 9" rectang le for Pocket
- Contrast: 30 " x 30" lightwe ight
El From the Contrast leat her, cut :
leather
- Two Top Panel [BJ
OTHER SUPPLIES
- Two Bottom Panel [DJ
- Templates, downloadable:
- Two 11/2" x 50"- 60" strips, piecing
- Lining (Al
as needed
- Top Panel [BJ
- Center Panel [CJ SEW THE POCKET
- Bottom Panel [DJ
El Place the 7" zipper r ight side up
(tab left] on the table and open zipper
- One metal handbag zipper, 12" halfway. Place t he longe r Pocket piece
- One metal or synthetic coil zipper, on the upper zipper tape edge with
7" right sides together and raw edges
- One metal slider/double loop, 1 1/2" aligned. Pin in place . Sew the edge
of the fabric/zippe r tape using a 1/4"
- Two swivel bol t snaps, 11/2"
seam allowance, moving the zipper
- Two 0 - r ings, 3/4"
pull as needed to continue st itching.
Press the fabric away from the zipper.
- Matching threads
Topstitch 1/s" from the fold to keep
- Contrast ing topstitchi ng thread
the fabric flat. Repeat for the shorter
- Leather or denim machine need l es Pocket piece.
- Small binde r clips 0 Open the zipper halfway. Place
- Zipper foot Pocket pieces r ight sides togethe r
- Optional: Walk ing foo t, edgestitch with lower edges aligned (zipper will
foot now be offset]. Sew around three
sides. Finish the edges. Clip corners,
FINISHED SIZE turn, and press.
14" x 14" x 4" (excluding strap] IllPosition Poc ket in the center of one
Lining panel piece, 7" from the lower '\.'\.
edge. Edgestitch in place . II
103
sewdaily.com *
 how-to
SEW THE STRAPS AND LOOPS
IJIf necessary, piece leather stri ps
togethe r. Pin straps wrong sides
together and topstitch both long
edges, 1/a" from edge .
IJ Fold 2" x 21/2" Ma in Loop in half
with wrong sides together so that it
is 1" wide and 21/2" long. Press. Fold
raw edges to the center and press
again. Topstitch 1/a" from folded edges
of loop.
ASSEMBLE THE OUTER BAG
ll Machine baste gu idelines 1/4"
from the top and bottom edges of
both Center Panel denim pieces.
Place Bottom Panel leather piece
on the den im with the w rong side
of the leather facing the right side
of the denim . and the raw edge of
the leather j ust covering the basted
gu ideline; secure w ith binder clips.
D Topstitch 1/a" from the raw edge of
the leather to attach it to the denim.
DlJ
Repeat to attach leather Top Panel
piece to the Center Panel Denim
piece . Repeat for the second side of
the outer bag. Draw a l ine 2" down
from the Top Panel leather edge
wrong side [use light pencil or fabric
marker).
mPlace an 0 - ring on the loop and
fol d t he loop in half. Baste in place at
marking using a 1/4" seam allowance.
Repeat for the second loop.
IE Lay t he metal handbag zipper r ight
side up on a table. Place t he top edge
of one complete bag piece so that the
raw edge of the leather is 1/a" to 1/4"
from the zipper teet h, w ith the wrong
side of the leat her facing the r ight
side of the zipper tape. The top edge
of the bag will extend approximately
11/2 " beyond the zipper stops on both
ends. Topstitch 1/a" from the raw edge
of t he leather to attach the bag to the
zipper. Repeat with the second side.
iEJ Place the completed front and bag
sides of outer bag righ t sides together
and clip in place, matching leather
seams.
ilJ Sew around sides and bottom of
the bag , sewing carefully over the loop
and cross seam allowance t hickness.
Fi nger- press seams open.
lO<t
...........................................
* stitch
ASSEMBLE THE BAG LINING/ LISA POLDERMAN is a teacher; blogger;
CORNERS and enthusiastic fabric ogler. She started sewing
iE Pin bag Lining r ight sides together. at the age of40, emboldened by learning that
Sew around three sides of the bag . Julia Child learned to cook at 39. Lisa dreams of
Press seams open. opening her own sewing school andfabric shop
iI1 Fold lower corner of the bag Lining once all ofher children are in school. Currently,
so that it forms a triangle, matching she creates custom-made clothing and
the side seam with the bottom seam. accessoriesfor local women and sells patterns
Pin through seams to hold in place. on Etsy. Visit her at poldapop.com
Measure approximately 21/4" from
triangle point to where the bottom of the Rods Reels
&
triangle is 4" across. Draw a line across
the corner. Stitch. Trim excess fabric.
I Denim Pillow
I by HEIDI EMMETT
IE Repeat Step 16 with the second
: {from page 59}
Lining corner and both outer bag
corners.
ATTACH THE LINING
iD Place the Li ning inside t he outer
bag, wrong sides together. Line up
the top edge of the Lining with the
line drawn on the leather. Carefully
pin [parallel to t op edge of denim , 1/4"
away from edge) or hold carefully in
place. FABRIC
- Main: One pair of old jeans
iD Fold the leather over the Lining
along the line. Use binder clips to hold - Reels: 1/a yd each, 5- 10 different
layers together. woven stripe fab rics
fE Topstitch around upper edge of - Rods: 1/a yd coord inating woven
the bag, 1/4" from the fold , stitching stripe
I carefully over the thick side seams.
OTHER SUPPLIES
I ATTACH THE STRAP - Batting: 7/a yd , 1"- 11/2 " thick
I
llJ Clip the swivel bolt snaps onto the - Polyeste r stuffing, 1 lb
I 0 - rings.
- Thread to match denim
fE Place the strap on the table, wrong - Temporary basting glue
side up. Feed t he strap t hrough the
- Liquid stabilizer [such as Terial
center portion of the slider and fold it
Magic)
back. Topstitch in place, 1/a" from raw
edge. - Jeans need l e
IE Take the ot her end of the st rap and - Hand sewing needle
feed it through the left loop. Thread - Darn ing foo t
this end of the strap through the
slider. FINISHED SIZE
14"x26"
filFeed t he end of t he strap t hrough
the right loop. Try the bag on and
NOTES
adjust the strap length; topstitch the 1/4"
- All seam allowances are unless
end in place and cut off any excess
otherwise noted .
length.
- To minimize f raying on the
I SOURCES embellishment fabrics, spray with
I FABRIC lndygo Junction, Crossroads liquid stabilizer before cutting.
Denim by Amy Barickman, - WOF =Wid th of fabric
indygoju ncti on.com
- Look for the largest size jeans you
HARDWARE Buckleguy.com. can find to harvest more denim; a
men's size 34 will make one pillow.

- Wash and dry t he jeans before
cutting to soften.
- Cardiac stitching: Start straight
stitch ing at an angle on the rod top,
stitch off the edge, then, in reverse
and stitch backwards just about
the same distance or more. Always
angle the stitch to mimic heart
r hyt hms on an EEG mach ine.
- Sketch stitching: Set the machine
for free-motion stitching [consult
your owner's manual), use the
darning foot, and begin sewing
from the center of the ci rcle stack
outward in a spiraling motion.
making the spiral larger as the
stitch ing moves al ong. Stitch close
to the outer edges of each fabric
layer. Place your hands on eithe r
side of the presser foot and aim for
a light touch with moderate foot
control speed. Practice on a scrap
circle [glued down] and piece of
denim until you feel comfortable.
CUT THE FABRIC
D From the Main jean fabric:
- Cut close to all leg seams to
preserve as much denim as
possible.
- Cut out one back pocket just
beyond the edge. Cut away the jean
fabric from the pocket back.
- Cut out as many den im pieces
as possible 2 1/2"-6 1/2" wide and
15" long on the fabric grain. Cut
out many different widths, as this
makes a more interesting look.
[shown : front has six pieces and the
back eight)
D From the Reel fabric, cut:
- Five 11/2"- 3 1/2" ci rcl es from each
stripe
D From the Rod fabric, cut:
- Two 1 1/s" x WOF st r ips
D From the Batting, cut:
- One 27" x 29" rec tangle
PIECE THE DENIM
0 Lay out varying widths of denim
strips for the Pillow Front and Back
to make two rectang les roughly 15" x
30" .
[I Sew the strips wrong sides
together. Double check that each
pieced rectangle is at least 26 1/2"
across-if not, add anot her den im
stri p. Press the seams open.
D From the right side, zigzag down
t he center of each seam.
D Use a pin or seam ripper point to
fray the edges of the joining seam
allowances.
how-to
ATTACH THE POCKET
D Pin t he den im pocket in place on
the Pillow Back. Topstitch the side and
lower edges.
ADD THE RODS & REELS
iilJ
Place circle stacks on the Pillow
Front, two to th ree layers deep, with
the largest circle on the bottom, and
alternating stripe directions.
mAdd t he rods betwee n the reels,
trimm ing to tuck under the reel
stacks by 1/2". Pin the reel centers and
glue- baste the rods and reels in place.
IEEdgestitch both sides of the rods
down and t hen card iac st itch the rods.
IE Sketch stitch all the reel stacks in
place .
iD Trim the Pillow Front and Pi llow
Back pieces to 141/2 " x 26 1/2". With
right sides together, stitch the two
pieces together leaving one short side
open. Turn t he pillow righ t side out .
MAKE THE PILLOW FORM
i8 Fol d the batt ing in half to make a
14 1/2" x 27" rectangle. Using a 1/2"
seam allowance, stitch three sides
together, l eavi ng one short end open.
Turn r ight side out.
III Stuff the pillow form with the
fiberfi ll, using the entire bag. Hand-
stitch t he open end closed.
FINISH THE PILLOW
ill Stuff t he pillow and hand - stitch the
opening closed .
SOURCES
FABRIC Westminster, Kaffe Fassett
Stripes, westminsterfabrics .com
GLUE Roxan ne Glue- Baste-It ,
colon ialneedle.com
STABILI ZER Terial Magic, terialarts.com
HEIDI EMMETT loves designing and
creating accessories, clothing, or wall quilts-
it's "Art on The Wall, Art to Wear!" Visit
her blog at designsbyheidi.wordpress.com
and see her clothing patterns on Craftsy.coml
HeidiEmmett.
>>
105
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 how-to
Jeans Placemats
by LINDA TURNER GRIEPENTROG
{from page 59}
FABRIC
[for two placemats]
- Main: One pair of jeans with back
pockets
- Lining: 2/3 yd quilting cotton
OTHER SUPPLIES
- 7/syd medium -weight fus ible
interfacing, 22 "
- Den im sewing machine needle
- Removable fabric marker
FINISHED SIZE
18" wide x 13 1/2" high
NOTES
- All seam allowances are
otherwise noted.
- Look for la rge size jeans so you'll
have more fabric to work with.
- Wash and press jeans before
beginn ing construction.
- The pocket can be placed on the
left or r ight side of th e m at.
CUT THE FABRIC
D From the Main jea n fabric:
- Sepa rate the back from the front by
cutting down the side seams and
leg insea ms. Cut along the center
back seam.
D From the Lining fabric, cut:
- Two 14" x 18 1/2" rectangles
El From the Interfac ing, cut:
- Two 14" x 181/2" rectangles
10 6
...........................................
* stitch
PREPARE PLACEMAT FRONT
D Draw a line down the pocket
vertical center. Measu re out the
maximum distance the jeans allow
and draw a line parallel to the pocket
center on each side. Trim off any
back yoke seam parallel to t he upper
pocket edge and draw a line parallel to
the upper pocket edge about 3" below
the pocket. Cut the pocket block from
the jeans back.
Re:ro Mod Farm
1:1 Using scrap denim from the leg Pllow
areas, cut and piece around the pocket
block to make the placemat front;
piece above the pocket, not below it,
and to either or both sides as needed.
Note: Do n't worry about denim grain
lines as most pockets are not placed
on straight of grain. Each placemat
piecing may be different depend ing on
pocket size and location, but create
a seamed piece at least 19" wide and
15" tall. Seam the denim and press
seams open; topstitch to flatte n. Cut a
14" x 18 1/2" rectangle for the placemat
l
I front. t
l
I ASSEMBLE THE PLACEMAT 1
I [I Fuse interfacing to the placemat I I
I front wrong side, following the l f
manufacturer's instructions .
D With right sides together. sew
lin ing to the placemat front, leaving
a 4" opening in the lower edg e for
turning .
1/ 4" unless
ll Trim the seam allowance corners
diagonally, turn the placemat r ight
side out and press the edges. Hand
stitch the opening closed .
El Topstitch 1/4" from the outside
edges.
iilJ Repeat to make second placemat.
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives with her husband (a longarm
quilter) and three dogs. She writes, edits, and
designs for several companies and leads fabric
shopping tours to Hong Kong. Contact her at
gwizdesigns@aol.com.
 ------------------------------------------------ .------------------------~

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Betz White offers a new collection of
sewing projects for you to stitch and give
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I

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and accessories for women and men, and
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: I

107
sewdaily.com *
---------------------------------
 how-to

CUT THE FABRIC

1n1n
for
D From the Main Ombre fabric, cut:
- Four 3 1/2" x WOF strips
El From the Backg round fabric, cut:

a c war - Three 3 1/2" x WOF st rips

PREPARE THE TRIANGLES

El From each 3 1/2" Om bre stri p, cut
nineteen triangles using the 60 ru ler
angle.
Arrowhead D From the 3 1/2" Background strips,
Table Runner cut forty -fou r triang les usi ng the 60
by MARCIA VAN OORT ruler ang le. Note: There will be extra
triangles. Set rema ining fabric aside
{from page 60}
for Backing.
Ill Separa te the triang les into five color
groups; dark, med ium dark, medium,
medium light, and light.
ASSEMBLE THE PATCHWORK TOP
IJ Alte rnating direct ion and beginni ng
and end ing with an Ombre triang le,
stitch together five dark Ombre and
four White triangles. Press seams.
Make two sets.
D Alte rnating direc t ion and beginni ng
and end ing w ith a White triangle, sew
together four medium dark Ombre
and five Wh ite tria ngles. Press seams.
FABRIC
- Main: 1 yd Ombre quilting cotton Make two sets.
[J Alternating direction and beginning
- Background: 1/2 yd white quilting
and end ing with an Om bre tr iang le,
cotton
sew together five medium Omb re and
OTHER SUPPLIES four White triangles. Press sea m s.
- Cotton batting, 18" x 30" Make two sets.
- Five thread colors from da r k to ll Alternating direction and beginning
light to match graduated colors in and end ing with a White t r iangle, sew
Ombre fabric togethe r four medium li ght Om bre
and five White triangles. Press seams.
- Fabric-safe marker
Make two sets.
- Rule r w ith 60 angle li ne
ml Alte rnating direc t ion and beg inni ng
FINISHED SIZE and end ing with an Om bre triang le,
16" x 27 1/2" sew together five light Ombre and four
White triangles. Press seams. Make
NOTES two sets.
- All seam allowances are 1/4" unless mLay out the rows following the
otherwise noted. runner photo, with dark Ombre on the
- Press all seam s towa rd the darke r ou ter edges worki ng toward the light
fabric. Ombre in t he center. Sew t he rows
togethe r, align ing triangle points and
- WOF=width of fabric
bases. Press the seams toward the
- Stitch r ight sides toget her unless Ombre triangles and the center seam
otherwise noted. open.
ASSEMBLE THE RUNNER
iEJ Lay the pieced top, right side up, on
batti ng and pin together. Stitch around
outside edge a sca nt 1/4" pivoti ng at
the poi nts. This stitching will be a
guide for stitching the backing.
iE Lay the back ing right sides
together wit h the pieced top, batt ing
side up; pin. Stitch the edges together
using the previous stitching l ine as a
gu ide around the poi nts. Leave a 4"- 5"
opening on one end for turning.
ml Trim the backing and batting even
with patchwork top . Trim and clip
corners.
Im To aid in rolling the edge out after
turning, press just the backing seam
allowance toward the body of the
run ner.
iIJTurn the runner right side out, pull
out edges and press.
ill Hand-stitch the opening closed.
QUILT THE RUNNER
DJ Mark the quilting lines th rough
the triang le points along the runner
length.
ml Using the da r kest th read, stitch the
two outside quilting lines, continue
working toward the center with the
next lighter color thread endi ng w it h
the center qu il ting l ine bei ng t he
lightest color t hread.
IE Pull thread tails to the back, knot
and bury the thread ta ils in back ing .
SOURCE
FABRIC Ombre, Simply Color by
Vanessa Christenso n of V and Co.,
modafabrics.com
MARCIA VAN OORT is afreelance
designer and seamstress who enjoys merging
a bit ofthe past with a bit ofthe present. See
her work at etsy.comlshoplprairiemusing or
.
prazrzemuszng.com.

108
* stitch

-------------------- ------------------ --
A Simply Mod Purse
by LYNN WEGLARZ
{from page 61}
r-- - -
FABRIC
- Main: 3/s yd home decor-weight
cotton
- Contrast: 1/ 3 yd quilting cotton
- Lining: 3/s yd quilting cotton
OTHER SUPPLIES
- Templates, provided on insert:
- Flap [A]
- Handle Cut-out [BJ
- Two metal zippers, 5"
- One pair circular purse handles, 6"
- One magnetic purse closure,
1/3
- yd heavy-weight fusible
interfacing
- Matching thread
- Rotary cutter, mat, and acrylic ruler
- Zipper foot, blind hem foot
- Optional: Water- soluble basting
tape
FINISHED SIZE
11" x 1O" [excluding handle]
NOTES
- All sea m allowances are
otherwise noted.
CUT THE FABRIC
D From the Main fabric, cut:
- One Purse Flap [A]
- Two 6" x 12 1/4" rectangles
- Two 5" circles
D From Contrast fabric, cut:
- One Purse Flap [A]
- Four 5 1/2" x 61/2" rectangles
- Six 3" x 3" squares
- Two 2" x 7" rectangles
0 From Li ning fabric:
- Two 10 3/4" x 12 1/4" recta ngles
- Two 5" circles
STITCHING THE CIRCLE POCKETS
B Cut the Main fabric 5" circles in
half. With right sides together, stitch a
5" zipper to each half of circle straight
edge. Repeat for second circle pocket.
With right sides together and making
sure the zipper is partially open, stitch
the Lining circles to zippered circle
around the edges. Note: Trim the
Lining if necessary to match the zipper
circle; clip curves. Turn right side out.
Turn under each straight edge and
hand -stitch to the zipper tape.
1:1 Following manufacturer"s directions,
fuse heavy interfacing to the wrong side
of each Contrast rectangle. Center the
zippered circles on two of the 51/2" x
61/2" rectangles (the 61/2" side will be the
length]. Using a short ened blind hem
stitch , sew around the zippered circles,
leaving a small space at the zippers.
With the zipper pulls facing each other,
join the short rectangle sides. Join the
same size rectangles for the purse
back.
3/4"
MAKE THE PURSE FLAP
ll Following the manufacturer"s
instructions, attach one part of
magnetic clasp to the Ma in fabric flap
at the pattern marking. Rig ht sides
together stitch the Main fabr ic flap to
the Contrast flap, leaving the straight
top edge open; clip curves. Turn right
side out and press. Baste the flap to
the purse back, centeri ng it over the
sea m and having the Contrast fabric to
the rig ht side of purse back.
1/4" unless ASSEMBLE THE BAG
D Center the Handle Cut- Out
(BJ pattern over the Main fabric
recta ngles and cut along the dotted
li ne on each piece . Repeat for the
Lining. Right sides together, stitch the
121/4" edge of the Main fabric to the top
edge of the l owe r purse fron t. Repeat
for the purse back, sewing the Flap
between . Press.
ll Center the opposite half of the
magnetic clasp on the upper purse
fron t at the marking.
how-to
ll To make the handle loops, fold two
opposite edges of the 3" x 3" square
to the wrong side and press. Press the
two folded edges together, enclosing
the raw edges. Repeat for remaining
five loops. With one loop, wrap the
purse handle and pin to the bag front
1/2" from top edge, repeat for opposite
side and pin another loop to the lower
circle center. Baste in place. Repeat
for the purse back.
FINISHING
iill
Right sides together, stitch lining
curve to the purse front and purse
back curves, moving the handles
as needed to access the seamline.
Clip the seam and turn the lining to
the insides; press. With right sides
together, stitch the purse sides and
bottom; leave lining free.
mBox the purse bottom corners by
matching the bottom seam to the
side seam to create a small triangle.
From the triangle point measu re in
1" and stitch across, perpend icu lar to
the seams. Repeat for other corner.
Press. Tu rn right side out.
iIJ Right sides together, stitch the lining
side seams. On the bottom seam, turn
1/4" to wrong side on each side. Press.
Stitch close to edge. Box the lining
corners following Step 11. Push the
lining into the bag . Using a
2" x 7" binding piece, press 1/4" seam to
wrong along one long side. Repeat with
remain ing piece. Right sides together
and raw edges matching, stitch the
bind ing piece to the upper edge of the
purse. Repeat for other side. Press
and fold bind ing to wrong side of purse
and tuck in the ends. Hand-stitch the
turned under edges in place.
SOURCE
FABRIC Amy Butler Fabrics, Belle Line,
Coriander Pi ne, amybutlerdesig n.com
LYNN WEGLARZ is the author ofthe book
I Can Sew, in addition to writing for Sew
Ne'll'S, Quilter's World, Se'llring Savvy, and
is also a contributing author to many sewing
books. She also teaches adults and kids how to
sew in Portland, Oregon. When she's not busy
sewing, she can befound in her garden with
her cats and husband.
109
sewdaily.com *
 how-to

Log Cabin
mSa ndwich the Handle batting in
between the 5" x 12" Silk rectangles.
Patchwork Purse 4 Baste in place around the edges.
by RUTH SINGER Trace the Hand l e Template [A) onto
the silk. Free- motion qu ilt wit hin the
{from page 62}
I template lines.
s I I
I
IE Cut out the Handle [Al. adding a
3/s" seam allowance around the traced
3 I li nes. Trim the batting out of the seam
allowances. Place the remaining
Handle rectangle right sides together
2 w ith the quilted Hand le. Stitch the long
I Handle edges together. Trim the seam
allowances and turn right side out
II figure l using a loop turner. Press the edges
flat, then fold in half to form a loop and
I
SEW PATCHWORK BLOCK press. Baste the raw ends together.
D Referr ing to figure l for assembly,
I MAKE THE LINING
st itch squares 1 and 2 together.
I iEJ Join the two Li ning rec tangles long
FABRIC D Sew rectangle 3 to the long side I edges using a V2" seam allowance,
- 112 yd silk dupioni, 60" of 1/2. and leaving a 6" gap in the midd l e.
I
OTHER SUPPLIES I D Sew rectangle 4 to the upper edge 1 Press seam allowances open.
of 1/2/3.
- Template, included on the insert: I I ASSEMBLE THE BAG
I D Stitch rec tangle 5 t o t he left edge I IIJ Pin a Loop diagonally on three
- Handle [A) of the pieced block. Repeat to make
- 3/a yd lightweight cotton batting, 60" four blocks. corners of the qu ilted patchwork
square, with the raw edges matching.
- Match ing thread
I QUILT AND ASSEMBLE Pin the handle on the remaining corner
- Loop turner I MAIN PIECES in the same manner. Place the Lining
- Darning foot 1 fJ Pin the pieced Silk blocks to the I square on top, r ight sides together w ith
I Batting squares and baste to hold the I the Hand le/Loops between.
FINISHED SIZE I layers together. I ml Sew around the square pivoting
10"x 10" D Mach ine quilt each section in I at the Loop corners and sewing
fr eehand rows, always working 1 diagonally across the Handle corner.
NOTES
- All seam allowances ar e 5/s" unless across the narr ow direction on the I iB Turn the square right side out,
ot herwise noted . rectangular patches; leave the block push out the corners, and press flat.
seam allowances unqu ilted. Note: iE With the Li ning side up, fold the
- Press seams to one side after each
When qu ilti ng is complete, trim away 1 four corners to the center and press
addit ion.
as much of the batting as possible I the folded edges. Hand- stitch the
CUT THE FABRIC within the seam allowances, leaving I
diagonal edges toget her for 31/2" from
D From the Silk, cut : the silk seam allowance intact. each corner. Fasten the thread ends

- Two 5" x 12" rectangles

- Eight 4" x 4" squa res
[labelled 1 and 2)
- Eight 4" x 6 3/4" rectangles !labelled
3 and 4]
- Four 4" x 9 1/2" rectang l es
[labelled 5]
- One 1" x 15" Loop
- Two 9" x 17" Lining
Ill From the Batting, cut:
- One Hand le [A) on fold
- Four squares, 1O" x 1O"
110
...........................................
* stitch
D Stitch two blocks togethe r; repeat 1 securely on t he inside of the bag.
for t he remain ing two blocks. Stitch I Hand- stitch the l ining opening closed.
I the two block pai r s together, matching I i[1 To use, ho ld the Handle and
I adjacent seams. Press seam I pull it th rough each of the loops in
I allowances open and trim the block to I
sequence. Pull out the bottom bag
17" square. I center to create the square shape.
I
PREPARE LOOPS AND HANDLES
RUTH SINGER is a British textile artist
IE Fold the Loop rectangle long raw with a background in museums. She has
edges to the center and press. Fold
a long-standing love oftraditional sewing
the pressed edges together and
techniques, which she applies to contemporary
edgestitch both sides along the Loop
designs. She is the author ojThe Sewing
l ength. Cut into th ree 5" pieces. Curve Bible, Sew Eco, and Fabric Manipulation,
the loop so the raw edges meet and 1 50 Creative Sev.ring Techniques. Find out
baste together at the ends.
more at RuthSinger.com
 how-to

-------------------------------------- - FF= Fashion Fabric - three 1 1/z" x 7" rectangles

Pieced Felted Scarf
by JENN RHOADS
{from page 63}
FABRIC
- Eleven 13" x 16" rectangles felted
wool labeled FF1 - FF11 [shown:
lilac, green, fuchsia, cream, gold,
yellow, bright green, bright blue,
magenta, light pink, and medium
blue]
OTHER SU PPLIES
- Contrasting thread
FINISHED SIZE
6 1/2" x 58 1/2"
NOTES
- The felt pieces are sewn together
using a bridging stitch that joins two
pieces of fabric with abutted edges
together fla t, instead of creating
a trad itional seam . The featured
project is sewn with a feather stitch,
but other hand or machine bridging
stitches achieve the same effect,
including a basic zigzag.
- The scarf is made from three
different blocks; make three of
each.
CUT THE FABRIC
D From the FF1 lilac felted wool, cut:
- twelve 11/4" x 3 1/2" rectangles
- three 11/2" x 7" rectangles
D From the FF2 green felted wool,
cut:
- twelve 11/4" x 3 1/2" rectangles
D From t he FF3 fuc hsia felted wool,
cut:
-twe~e1~x3~~ctangles
- three 11/4" x 4 1/z" rectangles
D From the FF4 cream felted wool,
cut:
- th ree 11/4" x 7" rectangles
D From the FF5 gold felted wool, cut:
- t hree 11/4" x 5 3/4" rectang l es
IJ From t he FF6 yellow felted wool,
cut :
- three 1 1/4" x 2" rectangles
D From the FF7 bright green felted
wool, cut:
- th ree 1 1/ 4" x 3 1/4" rectangles
- three 11/z" x 7" rectangles
ll From the FF8 bright blue felted
wool, cut:
- three 2" x 2" squares
ll From the FF9 magenta felted wool,
cut:
- three 11/4" x 53/4" rectangles
IIiJ
From the FF10 light pink fel ted
wool, cut :
- three 11/4" x 4 1/2" rectangles
mFrom the FF 11 med ium blue felted
wool, cut:
- three 11/4" x 3 1/4" rectangles
- three 1 1/2" x 7" rectangles
ASSEMBLE BLOCK 1
IE Use four of the FF1 - FF3
11/4" x 3 1/2" rectangles for each Block.
Assem ble by abutting the 31/2" edges
of rectang les FF1, FF2, and FF3 in
order. Sew four sections for each
Block.
IE Sew the sections together with
FF3 in the center. (fi gure l ) Trim the
square to 6 1/ 2" x 6 1/ 2". Repeat to make
two more Block 1.
ASSEMBLE BLOCK 2
III Fo llowing figure l , beg in with the
center 2" squa re of FF8. Working
outward, attach in order: FF6
[1 1/4" x 2"]. FF11 [1 1/4" x 31/4"]. FF 7
[1 1/4" x 3 1/4"]. FF 3 [1 1/4" x 4 1/z"I. FF 10
[1 1/4" x 4 1/z"]. FF9 [1 1/4" x 53/4"]. FF5
[1 1/ 4" x 53/4"]. and FF4 [1 1/4" x 7"].
IE Trimthe Block to 6 1/ 2" x 7". Repeat
to make two more Block 2.
ASSEMBLE BLOCK 3
ml Sew together fou r 11/2 " x 7" strips
in FF 1, FF7, FF9, and FF11, abutting
the long edges. Trim the Block to
61/z" x 6". (figure l ) Repeat to make
two more Block 3.

block I block 2 block 3

FFl FFS
FFl FF2 FF3 FF2

FF3
FF7

FFB
FF4
FFll

FF9
T
61/2" "F9 FFll FF" 7" 61/2"
FF3 FF7
FF2

FFl
FF3 FF2 FFl
FFG
FFlO
FFl
1
I 6" I
I 61/2" --~1
I 61/z" ----ii
figure l
>>
111
sewdaily.com *
 how-to
FINISH THE SCARF
IE Arrange the Blocks on a long table
in the following order: Block 1, Block 2,
Block 3, Block 1, Block 2 [rotate 180 ).
Block 3, Block 1, Block 2, Block 3. Sew
the Blocks tog ether with a bridging
stitch, abutting edges. Trim outer edges
to even, if needed, as felted wool can
shift and grow as it is sewn. Stitch 1/4"
from the outer scarf edges.
SOURCE
FELTED WOOL Winterberry Cabin,
winterberrycab in .com
JENN RHOADS owns f.Rho Crajtworks
and has been a sewist as long as she can
remember. She is a graduate ofFashion
Tnstitute ofTechnology (FTT). While designing
and sewing clothing and accessories is her
passion, she is also a contemporary quilter
and creator ofall things sewable. Visit her
shop at etsy.comlshop!TalentShow.
-----------------------------------------
Retro Baby Quilt
by MALKA DUBRAWSKY
{from page 64}
FABRIC
- Main : 1/ 4 yd each assorted quilting
cottons in shades of Red, Green,
Blue and Yellow
- Backing: 1 1/4 yd quilting cotton
- Binding: 1/4 yd quilting cotton
1/2
- yd gray quilting cotton
OTHER SUPPLIES
- 40" x 40" cotton batting
- Rotary cutter, cutting mat, acrylic
ruler
- Coord inating sewing and quilting
threads
112
* stitch
- Hand sewing needle
- Equilateral triangle ruler
FINISHED SIZE
30" x 30"
NOTES
- All seam allowances are 1/4" unless
otherwise noted.
- Press all seams to one side,
alternating sides where seams
intersect, unless otherwise noted. I figure l
Press after each piece addition.
- WOF=width of fabric
CUT THE FABRIC trim - -
D From each of the Blue, Red, Green,
and Yellow fabrics, cut:
- Four 4" equilateral triangles
- One 31/2" x 9 1/4" rectangle
- Two 63/4" equilateral triangles
- One 8 1/4" equilateral triangle
- Four 3 1/4" equilatera l triang les
- One 23/4" x 6 1/2" rectangle
figure 2
- Two 23/4" x 7 3/4" rectangles
B From Gray cotton, cut:
- Eight 1 1/2" x 7" strips
- Eight 1 1/2" x 63/4" strips
- Eight 1 1/2" x 20" strips fig ure 3
- Eight 3 1/ 4" equi lateral triangles
El From Binding fabric, cut:
- Three 1 1/2" x WOF strips
MAKE THE PATCHWORK CENTER
0 Stitch one 4" Blue triangle and one
1 1/2" x 7" Gray strip together along
long edge. Trim to fit. (figure l )
1:1Noting the orientation, sew a
second 4" Blue triangle to the opposite figure la
Gray strip side in the sa m e manner.
Trim to fit. (figure 2)
D Noting th e orientation, repeat steps
4-5 with a second pair of 4" Blue
triangles and a 11/2" x 7" Gray strip.
(figure 3)
D Sew together the pieced Blue
recta ngles along the short edges.
Press the seam open.
figure S
ll Noting the orientation, sew a 3
1/ 2" x 91/4" Blue rectangle to the sewn D Sew a 1 1/2" x 63/4" Gray strip to
section long edge. Press the seam pieced short edge. (figure SJ Repeat
open. (figure la) for the opposite short side.

Hgure6
figure 7
figure 8
IE Noti ng the orientation, sew one 6
3/4" Blue triangle to the pieced section
short edge. (figure 6) Repeat for the
opposite short edge.
mSew a 8 1/4" Blue triangle to the
sewn section along the lower edge.
Press the seam open. (figure 7)
IE Sew one 11/2" x 20" Gray strip to the
pieced section diagonal edge. Trim if
necessary. (figure B) Repeat for the
opposite diagonal side.
IE Repeat steps 4- 12 to create Red,
Yellow, and Green pieced triangl e
sections.
Note: You now have four patchwork
triangles with a base measuring 26 1/2"
and sides measuring 18 1/2" and 19 1/s".
III Sew togethe r the two patchwork
triang les along the 18 1/ 2"
edges.
Repeat w ith r emaining two patchwork
t rian gles.
Im Sew the triangles together along
the common l ong edge.
MAKE THE PATCHWORK
BORDERS
iD Sew together one 3 1/4" Gray and
one 3 1/4" Blue triangle along the
how-to
common long edges. Repeat to make
a second Gray/Blue half- triangle Glamorous
square. Patchwork Parka
ill Following the qu ilt photo, sew two by TINA LEWIS
23/4" x 73/4" Blue rectangles. two Gray/ {from page 65}
Blue half-triangle squares, and one
23/4" x 6 1/2" Blu e center rectangle to
make the side bor der.
DJ Sew the completed Blue border to
the Blue side of the quilt top.
ml Repeat steps 16- 17 using Green
fabrics and sew to the Green edge of
the quilt top.
IE Repeat steps 16- 17 usingboth the
Red and Yellow fabrics to make the
other borders.
Ell Follow step 16 to make one each of
Red/Blue, Red/Green, Blue/Yellow and
Green/Yellow half- triangle squares.
('j~ DOWNLOAD THE FULL-SIZE
IE Sew the step 21 half- triang l e
J~ PATTERN FOR THIS PROJECT
squares to the respective ends of the AT SEWDAILY.COM
Red and Yellow pieced borders, so
that the half- triangle square col ors
are next to the adjacent color quilt FABRIC
borders. Note the half-triangle square - Main: 1 3/4 yd cotton velvet or
col or orientation. velvetee n, 56 ..
IE Sew the Red and Yellow borders to - Lining: 13/ 4 yd silk dupioni. 54"
the respective sides of the quilt top. - Patchwork : Twelve 8" x 8" squares
of assorted silk dupioni colors
FINISH THE QUILT
Ill Working on a flat surface, layer OTHER SUPPLIES
Backing fabric wrong side up, batting,
- Templates, downloadable :
and pieced top rig ht side up.
- Left Front (A)
IE Baste layers together using your
preferred m ethod.
- Right Fr ont [BJ
- Side (CJ
III Mach ine quilt as desired. Note:
The featured quilt was free - motion - Back [OJ
machine quilted in concentric spiral s - Yoke [El
starting from the center.
- Collar [Fl
Ill Trim the quilt layers even with top
- Pocket [G)
edges.
- Sleeve [H)
ID Using diagonal seams, sew the
binding strips together. Press in half - Front Flap [I)
lengthwise, wrong sides together. - 1 yd cotton batting , 96"
IIl Stitch the binding to the quilt, turn - 15/s yd lig htweight fusible
it to the back side , fold under the raw interfacing, 20"
edge 1/ 4". and hand - stitch in place. - Metal separating zipper, 22"
MALKA DUBRAWSY sews, designs, dyes, - Five metal snaps, 5/s"
and writes from her home in Austin, Texas. - Snap tool
She sells PDF patterns and other handmade - Matching thread
goodies at stitchindye.etsy.com. Visit her at
- Template plastic
stitchindye.com.
- Zipper foo t
>>
113
sewdaily.com *
 how-to

FINISHED SIZE - One Yoke [El topstitch 1/4" from the seams. Pin the
- One Collar [Fl Sides to the Back and Fronts, clipping
where necessary and matching dots
t- Bust Arm Lenght - Two Sleeve [H J
a:: XS 32-33" 231/1." - One Front Flap (I]
on the Fronts. Stit ch, keep ing Pocket
c( openings free. Press seams open.
:c s 34- 35" 23 1/1"
D From the Interfacing, cut : IIIPin the Collar to the neckline,
u M 36-371/i" 237/a"
- One Left Front (Al matching center backs, front edges,
w L 39-40 1/i" 241/1." and shou lders, and clipping the
-
N XL 42 1/i-441/i" 245/a"
Cl) Shown msizeSmall
- One Right Front (BJ
- One Yoke[E]
neckline as needed; baste an d st itch .
Press the seam toward the Collar.
- One Collar [Fl
ASSEMBLE THE LINING
NOTES - One Front Flap (I]
iEJ Staystitch the Lining Yoke neckline
- All seam allowances are 5/a" - One 13/4" x 243/4" Zipper Guard
just insid e the seam line. Pin and
unless otherwise noted.
stitch the Lining Fronts an d Back.
ASSEMBLE THE PATCHWORK
- Stitch with right sides together Press seams toward the Yoke. Pin
unless otherwise noted.
D From template plastic, cut a
and stitch the Sides to the Fronts and
1 1/2" x 11/2" square. Trace the template
- Cut velvet "with nap," having the Back, clipping where necessary. Press
squa re onto the Patchwork fabrics
pattern pieces facing the same seams open.
and cut 234 assorted color squares.
direction.
[I Stitch the squares together using
DJ Pin and st itch the Collar to the
- After sewing seams that include 1/4" seams, in random color order, neckline in the same manner as for
batting, trim the batting seam the Ma in parka.
in 26 rows of 9 squares each. Press
allowances to 1/a". the seams of every other row in the JOIN THE PARKA AND LINING
opposite direction. Sew the rows Im
CUT THE FABRIC Pi n t he Collar to Lining Collar
together, matching adjacent seams. al ong the upper edge; st itch. Pin the
D From the Main fabric, cut:
Press row seams in the same direction.
- One Left Front [A] parka lower edge to Lining lower
IJ From the Patchwork panel, cut one edge, matching seams; stitch. Grade
- Two Right Front (BJ Right Front [BJ. right side up. both seams and turn right side out.
- Two Side [CJ Baste and press.
ASSEMBLE THE PARKA
- One Back [OJ
ll Following the manufacturer's
iB Working through the Fronts and
- One Yoke (E] armhole openings, and starting and
instructions, fuse interfacing to the
stopp ing 1 1/2" from th e front edge,
- One Collar (Fl wrong side of the Fronts, Collar, Yoke,
catch stitch the Lining and Main parka
- Four Pocket [G] Front Flap, and half of the Zipper
neckline seams together.
Guard. Tip : Protect the napped fabric
- Two Sleeve [HJ
from flattening by pressing on a thick INSERT THE ZIPPER
D From the Lining, cut: bath towel. mFold the zippe r tape back at an
- One Left Front [Al-right side D Layer and baste batting to the ang le above the top zipper stops and
down wrong side of the Back, Sides. and tack in place. Keeping the Li ning free,
- One Right Front (BJ- right side Sleeves, and the interfaced Fronts, pin the zipper face down on the r ight
down Collar, and Front Flap. Front, with the zipper stop at the dot
- Two Side [CJ ll!IPin a Pocket to each Front, 3/4" from the Collar edge, and the
matching edges and dots. Stitch I zipper tape 1/4" from the Front edge;
- One Back [OJ
between the dots; clip to dots. I baste. Stitch t he zipper in place 5/a"
- One Yoke [El Grade the seam, turn Pockets to the I f rom front edge. Separate t he zipper.
- One Collar (F] insid e; press. Topstitch 1/4" from the I Place the remaining half on the left
- Two Sleeve [HJ Pocket edge between the dots. Pin I Front and st itch in the same manner.
- Two Front Flap [I]
the remaining two Pockets over the I DJ Fold the Zipper Guard in half

- One 3 1/2" x 24 3/4" Zipper Guard

attached Pockets, matching dots. I lengthwise and stitch across ends.
Stitch the Pockets together from dot I Turn right side out; press. Baste the
El From the Batting, cut: to dot. Baste Pockets to Fro nt and I raw edges together.
- One Left Front [Al lower parka seam allowances. IIJ With edges even, pin the Zipper
- One Right Front (BJ mStaystitch the Yoke neckline just Guard to the right Front and Collar
insid e t he seamline. Pi n and stitch edge over the zipper. Stitch 5/a" from
- Two Side (CJ
the Yoke to the Fronts and the Back. the front edge, following the zipper
- One Back [OJ Press sea ms toward t he Yoke and stitching.
11~
* stitch
 how-to

IE Press t he zippe r seams towa rd t he

Fronts. Press the lining Front seam
allowances to the wrong side.

SET IN THE SLEEVES

Ell To ease the top of the Sleeves,
stitch between t he dots using a longe r
stitch. Pin together t he underarm
seams; stitch. Press seams open .
Repeat for the Li ning Sleeves. With
edges even, baste toget her the parka
and Lining armholes. Slip the Lining
into the Sleeves, right sides together.
Pin lower edges together, having the
li ni ng edge 3/a" inside the Sleeve edge
to add ease for the turn back; stitch
(lining seam allowance will be 1/4").
Turn Sleeves with Lining side out.
Press the turn back edges. Lining side
up, topstitch the lower Sleeve edges
1/4" from edges and again 3" from

edges. Turn Sleeves right side out.

Turn cuffs back 21/2".
IE Keeping t he Sleeve Li ning free,
pin Sleeves into armholes, matc hing
armholes to Sleeve dots and draw up
gathers as needed between upper
dots. Baste and stitch . St itch again
1/4" from first stitching between the
underarm notches. Trim to stitching.
IE Fold the Lining seam allowance to
the wrong side and pin the folded edge
along the sleeve stitching, enclosing all
seams. Draw up gathers. as needed,
and sli pstitch Lining in place.
MAKE THE FRONT FLAP
mPin the Flap facing to the Flap .
Stitch the curved seam, keep ing the
straight side open . Grade the seam
and notch cu rves. Tu rn righ t side out;
press. Baste together straight sides
of Flap and facing . Topstitch 1/4" from
the cu rved edge and along t he zigzag
stitching l ines.
Em Following the manufacturer's
instructions, attach t he top half of the
snaps at indicated points.
fD Keeping the Lining free, pin the
Flap, right side down, to the right
fron t between the dots; st itch . Stitch
again 1/a" inside the first stitching.
Trim Flap seam allowance to the
stitching. Press Flap back over the
seam and topstitch 1/4" from seam.
FINISH THE PARKA
IE Slipstitch folded Lining center front
edge t o the Zipper Guard stitching
on t he right side and to the zipper
stitching on the left side, enclosing
seams.
III Topstitch 1/4"
from the hem edge
and the colla r edge. starting and
stopping at the zipper tape.
IE Attach t he rema ining snap
halves to the pa r ka left f ront at
corresponding points .
SOURCES
FABRIC Cotton velveteen, Farmhouse
Fabrics, farmhousefabrics.com; Silk
dupioni, Nuttalrs. nuttallbe r nina.com
ZIPPER YKK Rainbow Excella ,
Zipperstop, zi pperstop.com
TINA LEWIS designs and sews in her
studio high in the mountains ofPark City,
Utah Her quilts, clothing, and accessories
for adults and children have been featured in
numerous publications. Often detailed with
hand-stitched needlework, her work has a
fresh classic look.

115
sewdaily.com *
I
, ----------------------------------------- - ----- -- ..
I
I
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I

' , ___ _____ ------ ------ ---- ---- ------ ---- -- --- ----
 how-to

- Finish the edges of all exposed lower edge. Repeat for the opposite
seam allowances with zigzag or ha l f of the shorts.
serging before const ructing.
ELASTIC WAIST
- Stitc h right sides together un l ess
[J Press the upper shorts edge under
otherwise noted.
2". Stitch 1/4" away from the l ower
Boudoir Shorts - Clip all curved seams. finished edge, l eavi ng a 3" opening to
by TARA MILLER
- Piece Ruffle str ip as needed. insert the elastic. Topstitch 1/4" from
{from page 66} the upper folded edge all the way
- WOF =Width of fabric
around.
CUT THE FABRIC 0 Use a safety pin or bod kin to insert
D From the Ma in fabric, cut : the elastic; pin the ends together
- Two Front [A) and try on shorts. Adj ust the elastic
- Two Side Front (BJ to a comfortable length. Re move
the s horts, t r im the elastic, and join
- Two Back [C) the ends. Stitch the casing opening
- 3 WOF strips x 2" for Ruffle closed.

PREPARE RUFFLE TARA MILLER is a Yankee living in small

El Fold the Ruffle st rip in half town Georgia with her two young daughters,
lengthwise, wrong sides togethe r, husband, and two heavily shedding dogs.
and press. Set the ruffler to pleat She has a history degree, but spends
every sixth stitch and sew/pleat the her days knitting, sewing, and writing.
(jS DOWNLOAD THE FULL-SIZE cut edges together. If not using a You can read all about it on her biogs at
J~ PATTERN FOR THIS PROJECT ruffler, hand-pleat or gather using editcreativedesigns.blogspot.com and blog.
'W AT SEWDAILY.COM
two threads and a basting stitch [see fabric.com
Sewing Basics). ---------------------------------------
FABRIC
- Main: 1 1/4 yd l ightweight cotton, 45" ASSEMBLE THE SHORTS
Tangled Up
El Pi n a Back to a Side Front at the In Blue Quilt
OTHER SUPPLIES side seam and stitch. Press the seam by EMILY BRECLAW
- Templates, downloadabl e: open. Re peat fo r the re maining set of
- Fro nt [A) Back and Side Front pieces.
- Side Front [B) 0 Pin a Back to a Front at the inseam
- Back (CJ and stitch. Press the seam open .
Repeat for t he rema ining set of Bac k
- 11/2 yd non- roll elastic, 11/2" and Front pieces.
- Match ing th read D Stitch the crotch curve seams
- Large safety pin or bodkin together.
- Optional: Ruffler I] With r ight side together, pin the
Ruffle to the shorts outer leg curved
FINISHED SIZE edge, matching raw edges, starting

...a: Waist
XS 24-25"
Hip
34112-351/2 "
and end ing at the upper shorts edge .
Stitch . Press the Ruffle away from
the shorts and topstitch close to the FABRIC
c(
attachment seam to hold the seam All fabrics are qu ilting cottons.
:c s 26-27" 361h -371/2 ..
u M 28-29 1/z" 381/2 -40" allowa nces in place. Repeat for the - FF1: 21/4 yd light aqua
w second l eg.
l 31-32 1/z " 4l1h -43" - FF2: 1 yd white

-
N
Cl)
XL 341h-36 1h" 45-47 ..
Showninsize Small
D With wrong sides up, fold the Side
Front over the Front piece, matching
t he upper notches. Baste in place
- FF3: 1 yd da rk tea l
- FF4: 3/4 yd lime green
along the wa ist edge. Sm oot h out - FF5: 1 yd black
NOTE the Front and pin the Side Front to - FF6: 1 yd l ight lavender
- All seam allowances are /s" unless5 the Front at the lower dot. Topstitch
- FF7: 1 yd periwinkle
otherwise noted. in place by sewing over the previous
to pstitching line, st op ping 1" from the - FF8: 1 yd gray
- Back ing: 23/ 4 yd quilt ing cotton, 108" >>
117
sewdaily.com *
 how-to

/- ~ .... /
/ - Four 8 1/2" x WOF strips ; sub-cut
twenty- eight 81/2" Tr iangles .
/ /
/ ~ / D From the FF7 Periwinkle fabric, cut:
/ "
.. I
/
- Four 8 1/2" x WOF strips ; sub-cut
figure 1 twenty- two 81/ 2" Triangles.
. .
- B1nd1ng.. 3V4 yd qu1lt1ng cotton
. . .
- Fou r 81/2 " x WOF strips; sub- cu t
D From the FF8 Gray fabric, cu t :

twen ty- two 81/2" Triang les. - Four 8 1/ 2" x WOF strips; sub-cut
OTHER SUPPLIES twenty- two 81/ 2" Triangles.
- Template, provided on insert :
D From the FF4 Lime Green fabric,
cut: D From the Binding fab r ic, cu t :
- Triangle [A] - Nine 21/ 4" x WO F strips.
- Three 8 1/2" x WO F st rip s; sub- cut
- Rotary cutter and mat, and acrylic nineteen 81/2" Triangles.
ruler ASSEMBLE QUILT TOP
0 From the FF5 Black fabric, cut: illJ
Sort th e Tria ngles in piles by col or,
- 92" x 98" batti ng
- Four 8 1/2" x WOF strips; sub-cut and Label each pile FF 1-FF8.
- Optional: Template plastic twen ty- eight 8 1/2" Triangles.
- Optional: Equilateral triangle ruler
mLay out the Triangles following
IJ From the FF6 Light Lavender figure 2 . Sew the Triangles into
[See note below.] fabric, cut: columns. Press each seam open before
FINISHED SIZE
84" x 90"

NOTES FFl
- All seam allowances are 1/ 4" unless FF3 _,....,...._ _,....,...._ FFS
otherwise noted .
.......,...._ FFS FFl FF.fa FFl
- Triangles in this quilt are cut 81/2"
measured through the triangle
center. [Some rulers indicate
FF? _,....,...._ FFS FF3 _,....,...._ FF.fa FF2 _,..-.-.... FF3 FF2 _,....,...._
dimensions based on the length
of the tr iangle side, so check FFS ........-....
measurements before cutting.]
FFl _,....,...._ FF3
- If you are not using an equilatera l
triangle rul er, trace the Triangle [A]
template onto templa te plastic and
cut out carefu l ly.
- Press all sea ms open unless _,....,...._ FF.fa FF2 _,....,...._ FFl FF6 _,....,...._
otherwise noted.
FFl
- WOF=width of fabric
- When cutti ng Triangles, alternate
ruler direction after each Triangle
to maximize fabric use. (figure 1)

CUT THE FABRIC

Cut t ri angles using an equilateral
triangle ruler or the template FF2 _,....,...._ _,....,...._ FFS
provid ed. FFl
D From the FF1 Light Aqua fabric,
cut: FFl

- Nine 8 1/ 2" x WOF strips; sub-cut FFl FFl

sixty- th re e 81/ 2" Triangles.
FFl
D From the FF2 White fabri c, cu t :
- Four 8 1/2"x WOF stri ps ; sub -cu t FFl
twenty- seven 8 1/2" Triangles.
D From the FF3 Dark Teal fabric, cut:
figure 2

118
...........................................
* stitch

figure 3
adding the next Triangle, and line up
each Triangle with the points of the
previously sewn Triangles to ensure
accurate points. Note: Leave the
f irst and last Triangle of each column
whole; they will be trimmed later.
iEJStitch columns together. pressing
seams open and matching triangle
points. As you sew, make sure the
needle lands at the exact intersection
of the three fabrics visible in the seam
allowance.
IE Lay the quilt top on a rotary mat
on a large flat surface. Use the
clear acrylic ruler and place the
1/4" marking aligned on the triangle
points along the quilt top and bottom
(figure 3). Trim the quilt 1/ 4" beyond
the Triangle points.
how-to
the quilt underside and hand -stitch in
place.
SOURCES
LONGARM QUILTING Amy Jameson.
Amyfa ithq u ilting. blogspot.com
RULER Creative Grids 8" 60 Triangle
Ruler, www.creativegridsusa.com
EMILY BRECLAW is a quilt pattern
designer and mom offive. Her patterns
and quilts have been featured in Stitch and
Asian Fabrics. Follow her quirky quilting
adventures at thecaffeinatedquilter.com.
Adult Onesie
by TINA LEWIS
{from page 68}
(l DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRICS
- Main : 35/a yd fleece. double knit or
FINISH THE QUILT sweatsh irt knit. 50"
DJ Place the Backing fabric face down - Ribbing: 1/3 yd tubular cotton ribbing
on the floor or a large flat surface.
Center the batting on top of the OTHER SUPPLIES
backing . Center the quilt to p face up, - Templates, downloadable:
on top of batting. Smooth all layers - Front [A]
and baste. - Back [BJ
mQuilt as desired. Quilt shown was - Sleeve [CJ
longa rm quilted with a meandering
- Hood (DJ
boxes pattern. Trim extra backing and
batting. - Side Pocket [El
ml Join the Bind ing fabric strips with - Chest Pocket (Fl
diagonal seams [see Sewing Basics]. - Sleeve Cuff [G]
Press seams open. Press Binding
- Leg Cuff [HJ
strips in half lengthwise. wrong
sides togeth er, to create double-fold - Contrasting zippers: One 22";
binding. Atta ch to quilt using a 1/4" Three 7"
seam allowance. Fold the Binding to -1 1/2yd cord ing. 1/4"
- 11/4 yd grosgrain ribbon , 3/a"
>>
119
sewdaily.com *
 how-to

- Contrast ing topstitching thread or the zippe r pull toward the center centered behind the buttonhole
pearl cotton, #5 front , center the zipper in the window markings. Stitch 1/2" buttonholes at
opening wit h the folds 1/4" from the the markings for the drawstring.
- Two squares fusible interfacing, 1"
zipper teeth; baste. Edgestitch the [Cl Stitch the Hood to the neckline ,
- Matching threads folds around the w indow. matching shoulders, center back,
- Zipper foot D On the wrong side, pin the Chest and center fronts. Press seam
Pocket, right side down, over the toward Hood. If desired , cover the
FINISHED SIZE
zipper, positioning the zipper line on neckline seam with grosgrain ribbon ,
the pocket over the zipper underneath. edgestitch ing the ribbon on each side.
Chest Center Back Neck to Hem From t he wrong side, stitch the pocket Fold the Hood edge 11/4" to the wrong
I- XS 40 1/z" 583/4" 1/4" from the finished edge. From the
side along the foldline. Stitch 1" from
D::
c( s 42 1/z" 591/4" right side, topstitch over the stitching the folded edge. Using a safety pin.
::t: M 45" 593/ 4" with contrasting thread or sew a thread the drawstring through the
u l 48" 601/4" runn ing stitch with pearl cotton. casing beginning and ending at a
IJJ XL 52" 603/ L" D Repeat steps 3- 5 to make the buttonhole. Trim as desired and knot

-
N
Cl)
Shown in size Small Side Pockets, having the zipper pulls
toward the top. Match pocket notches
1
the ends.

ADD THE CUFFS

with side notches and baste the side
NOTES edges together. Stitch and topstitch the 1 im
Fold the Sleeve Cuffs right sides
- All seam allowances are S/s" unless pockets 1/2" from the curved edges. I together.
1
match ing notches, and stitch
otherwise noted . I /4" seams. Tur n right side out and fold
- Transfer all pattern markings to ASSEMBLE THE ONESIE 1 in half along foldline, bring ing raw
t he cut fabric pieces. D Fi nish the f ront edges from the neck 1 edges together and enclosing seams;
to j ust below the dot. Staystitch center I baste.
- Trim seams to 3/s" and serge ,
fronts 1" from edges, from the neckline I ID Mark half- and quarter- points from
overcast or zigzag the edges.
to the dots. pivoting at the dots back to the seam on cuff edges. Mark half-
1
CUT THE FABRIC the edge. Clip diagonally to the dots. and quarter-points on sleeve edges.
1
D From the Main fabric. cut: [I Sew the Fronts to Backs at shou ld er I Pin cuffs to Sleeves, matching edges
and side seams, catching in the Side and quarter - points. Stitch a 1/ 4" seam ,
- Two Front (A] 1 stretching the cuffs to fit the sleeve.
Pockets. Sew Fronts to Backs at inside
- Two Back (BJ
leg seams. mAttach the Leg Cuffs in the sa me
- Two Sleeve [Cl
ll Stitch Sleeves into the armholes.I manner, matching cuff seam to inside
- Two Hood [OJ matching underarm seams, shoulders, I l eg seam.
- Two Side Pocket (E] and notches.
FINISH THE ONESIE
- One Chest Pocket (Fl [[!] Pin the onesie ha lves together from : IIJ To make all the ribbon zippe r pulls.
the back neckline to the front dot,
fJ From the Ribbing , cut: cut 5" lengths of ribbon, roll an end
matching crotch seams; stitch . : and draw it through the zipper pull.
- Two Sleeve Cuff (GI
- Two Leg Cuff IH I INSERT THE ZIPPER I Bring the ends of the1 ribbon together,
fold under the ends /4" and whipstitch
m Press the Front edges to the wrong I
the ribbon edges together all around.
MAKE THE POCKETS side along the stitching and ac ross the j
El Finish the edge of the Chest Pocket bottom of the opening between t he I SOURCE
and curved edges of Side Pockets. dots. Baste the zipper into the opening, 1 FABRIC Michael Miller, Organic Cotton
To shorten the zipper for the Chest having the top of the zipper 1 from the
1 Sherpa, michaelmillerfabrics.com
Pocket, make a thread zipper stop neckline edge and the fabric folds /4" I
1

by whipstitching over the zipper 3 3/4"
from top [see Sewing Basics!. Trim
the zipper 3/4 " below the stop. Whip
the zipper tape together just above
the zipper top.
D
For the Chest Pocket, stitch a
rectangle on the left front where
indicated . Slash down the rectangle
center and clip the ends at angles
to the corners. Press flaps to the
wrong side along the stitching. With
from t he zipper teeth. Edgestitch the
folds around the opening.
MAKE THE HOOD
IE Pin the Hood pieces together along
th e back and top curved edge. Stitch
from the center back to the top center
front. Finish t he straight front edge of
the Hood.
iE For reinforcemen t, fuse interfacing
squa res to the wrong side of the Hood ,
I
TINA LEWIS designs and sews in her
studio high in the mountains of Park City,
I Utah. Her quilts, clothing, and accessories
I for adults and children have beenfeatured in
I numerous publications. Often detailed with
hand-stitched needlework, her work has a
fresh classic look.

120
* stitch
 how-to

NOTES the cente r back seam with the pant

Stylin' Kids PJs - All seam allowances are 5/s" unless seam, and distributing the width
by KATRIN VORBECK otherwise noted . even ly. Serge the band to the pants,
{from page 69} stretching slightly as you sew.
- Hem allowance is 11/4" for a single
fold ed hem on sleeves and top. ASSEMBLE THE TOP
- Press seams after every step. 0 Arrange Tie Applique shapes on
- Pretreat the fab rics as the finished the Front, layer ing them from bottom
garment w ill be handled [wash, dry, to top, beginning with #1 on the
and iron) to avo id shrin kage after bottom and ending with #5, as noted
the garment is sewn . in the template. Fuse in place. Sew
around the Appliqu e edges using a
- A serger is the best way to sew with
knits; if you don't have a serger,
zigzag.
. IJ Serge the Sleeves to the Fronts,
use a narrow zigzag.
leaving the left Back seam unsewn.
- Transfer all pattern markings.
Press the seam allowances toward
CUT THE FABRIC the Front/Back and topstitch in place.
D From the Main fabric, cut : mJ Fold the Neckband in half wrong
- One Front [Al on fold sides together. With the rig ht side of
(j~ DOWNLOAD THE FULL-SIZE
J ._ PATTERN FOR THIS PROJECT the Neckband facing the wrong side of
- One Back [BJ on fold
AT SEWDAILY.COM neckline and raw edges aligned, serge
- Two Sleeve [CJ th e ba nd in place, dist ribu ting the
- Two Pants [OJ width evenly.
FABRIC mFold the Nec kband over the serged
- One Waistband, 5" x 191/4" [cut
- Main : 11/4 yd stretch jersey, 60" seam . Fro m the right side , to pstitch
crossgrainJ
- Applique: One fat eighth quilting th e folded Neckband edge in place
- Two Cuffs, 3" x 8" [cut
cotton using a straight stitch.
crossgrainJ
OTHER SUPPLIES - One Neckband, 21/ 4" x 153/4" (cut iEJSerge the rema ining Sleeve/Back
crossgrainJ seam, aligning the Neckband sea ms.
- Templates, downloadable:
Press seam allowance towards back
- Front [Al fJ From the Applique fabric: and topstitch in place.
- Back [BJ - Apply fusibl e web to fabric for
lEI Serge the Sleeve hem edges and
the Tie.
- Sleeve [CJ fold the hem allowances up. Topstitch
- Pants [OJ ASSEMBLE THE PANTS in place using a st raigh t stitch and a
twin needle. Stretch the seam very
- Tie [El 0 Fold the Cuffs in half lengthwise,
slightly while sewing. It should remain
wrong sides together. Pin to the
- Paper- backed fu sible web lightly stretchy but not floppy.
l ower pant legs, distributing the
- Matching t hreads width even ly. Serge the Cuffs in iE Serg e the undera rm/sleeve seams.
- Fabr ic- safe marker place, stretch ing slightly to prevent ml Serge the lower shirt edge and fold
- Twin stretch needle, 4 mm pucker ing. Lightly press the seam th e hem allowance up. Topstitch in
allowances upwards. place using a twin needle .
- Optional: Walking foot, serger
D With right sides together, serge the
FINISHED SIZE inner leg seams matching the Cuff
SOURCE
APPLIQUE FABRIC Marble Mate Dots,
seams.
Purple, modafabrics.com
I- Center Back Pant Inseam 1:1 Tuck one leg into the other, with
a: 2T 13" 11 3/G .. ri ght side together, aligning the inner KATRIN VORBECK,.from Gennany, is
c(
131/2 .. leg seams. Serge the crotch seam. a passionate sewer, always learning and
:c 3T 1337/s"
u 41 14 /4" 143/4" Turn pants rig ht side out. exploring. Tt's the small details and the simple
w 5 151h .. 161/4" IJ Sew the Waistband sho rt edges design features that she loves most. She's also

-
N 6 16"
f l)
Showninsize 5
173/4 .. together. Fold the band lengthwise,
wrong sides together.
D With right sides together and
into needlecrafts since childhood- knitting
and sewing are her ways to stay sane.
Admittedly, she's afiberholic, bookwonn, and
raw edges aligned, pin the fold ed
a bad photographer. Visit her blog at frauvau.
blogspot.com.
strip to the top of th e pants, aligning
>>
121
sewdaily.com *
 how-to

NOTES JOIN THE JACKETS

Like-a-Dream - All seam allowances are 5/s" unless
Wrap Jacket otherwise noted.
by CHERYL BUSH - Transfer all pattern markings to
the cut fabric pieces.
{from page 70}
- Trim seam allowances and clip
curves.
- Make sure fabric nap is facing
downward for cutting all pieces.
CUT THE FABRIC
D From both the Main and Lining
fabrics, cut:
- Two Front [A)
- Two Sleeve [BJ
- Four Pocket [CJ
- One Back [DJ on fold
- One Hood (El on fold
(j~ DOWNLOAD THE FULL-SIZE
J ~ PATTERN FOR THIS PROJECT ASSEMBLE THE JACKET
AT SEWDAILY.COM El St itch the shoulder seams of the
Main fabric Back and Front pieces
together.
FABRIC
- Main: 23/s yd fleece [shown: Spa
El Open th e Main jacket and lay it flat.
Stitch tog ether the Hood and jacket ,
Cuddle, Latte)
matching center markings.
- Lining: 23/s yd fleece (shown:
Embossed Paisley Cuddle, Violet)
B Sew together the Main jacket and
Main Sleeve, matching center Sleeve
OTHER SUPPLIES marking to Main jacket shoulder
seam.
- Templates, downloadable:
- Front (A] D To determine th e elastic length,
double the button diameter, and add
- Sleeve (BJ 1/2"; cut two strips. Fold the elastic
- Pocket [Cl in half and baste a loop to each Front
- Back [OJ top sect ion, just under the seam that
connects th e Hood and Front pieces.
- Hood [El
1/4 yd elastic, 1/4"
- ATTACH THE POCKETS
- 2 buttons, 1" ll With rig ht sides together, match
the straight edge of a Pocket with
- Matching thread
the markings on one side of the Back
- Hand sewing needle piece; stitch. Repeat with other side
- Fabric-safe marker of Back and on each side of the two
- Optional: Walking foot Fr ont pieces. Stitch, then trim the
seam allowances.
FINISHED SIZE II Turn the Pockets outward from
Main jacket pieces. Match up the Front
I- One size fits S-L and Back side seams continuing to pin
o= together the outstretched pockets and
-<
:c Bust Center Back underarm seams. Stitch continuously
D Pin toget her the Main and Li ning
jackets right sides together, matching
notches and seams along the outer
raw edges.
IE Stitch together the outer jacket
edges (excluding the sleeve opening],
l eaving a 5" gap along the back lower
edge between notches. Turn the jacket
r ight side out.
mTo attach the Sleeve hem edge, fold
the Sleeve Lining under about 2" and
insert it into the corresponding sleeve
of the Main jacket. Turn under the
hem on the Main jacket Sleeve. Pin
together the edges, matching up the
underarm seams. Stitch the Sleeves
together, working slowly and not
stretching the fabrics. Optional: Hand-
sew together if you prefer.
iE With the jacket wrong side out,
tack th e center back necks together,
Ma in to Lining, to close the neckline
opening. Tack the underarm seams
of the sleeves, Main to Lining. Note :
These steps will keep the jacket from
separating when turned right side out.
Tu rn the jacket right side out through
the 5" opening at center back hem
edge.
IEHand-stitch the lower edge
opening closed.
Ill To determine the placement for
the shoulder buttons, try the jacket on
and place a pin under the l oop on the
shoulder area. Sew the second button
to the Lining only at the location of the
opposite loop.
SOURCE
FABRIC Shannon Fab rics, Spa Cuddl e
and Embossed Paisley Cuddle,
sha n nonfab rics.com
CHERYL BUSH is a designer, crafter, and
homeschooling mother ofthree. She creates
original projects and articles for magazines,
books, andfabric/craft companies, as well as
patterns for her shop thegreenhedghog.com
She shares her ideas, tips, and free tutorials at
her site sewcando.com

u s 34-35" 29 .. from the Sleeve end all the way to the

w M 36-371/2" 29" jacket lower edge on both sides.

-en
N L 39-401/2 .. 29" ll Repeat Steps 2- 7 to make the
Lining jacket .

122
...........................................
* stitch
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124
* stitch
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125
------ .......
sewdaily.com *
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Eucalan Inc. 29
Michael Miller C3
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or on your local newsstand!

126
* stitch
RESOURCES
WHAT'S NEW + COOL FEATURES KHRISTAL JOUETT
PAGE 8 HANDY HELPERS kypsee@knology.net
ROBERT KAUFMAN GARMENT FABRIC Page 14
robertkaufman.com LINDA TURNER GRIEPENTROG LAURA KEITH
sewnwrite@aol.com laurakeit hdesig ns.com
HAND-DYED CHEESECLOTH
GRADATIONS AVOIDING DENIM BLUES KEVIN KOSBAB
fibe ronawhim.com Page l s feeddog.net
LINDA TURNER GRIEPENTROG
THE MAGIC PATTERN BOOK sewnwrite@aol.com LINDA LEE
amybarickman.com sewingworkshop.co m
LU XURIOUS LINGERIE
PRESENT PERFECT Page 20 TINA LEWIS
sewdaily.com LINDA TURNER GRIEPENTROG tinalewisdesigns@gmail.com
sewnwrite@aol.com
THE SEWING PARTY TARA MILLER
thesewingparty.com OUTTAKES editcreativedesigns.blogspot.com
Pagel28
SMARTER BY PFAFF ELAINE SCHMIDT
pfaffusa.com PROJECT DESIGNERS elaineschmidt.com
ROSE BECK
SEW BOUTIQUE roseisarosepatterns.com MARCIA VAN OORT
PagelO prairiemusing.com
SEWING IS GOOD FOR YOU! STEPHANIE BRACELIN
Linzee Kull McCray s-renee.com LISA POLDERMAN
linzee.mccray@gmail.com poldapop.com
EMILY BRECLAW
WISH LIST JENN RHOADS
thecaffeinat edquilter.com
Page l 2 etsy.com/shop/talen t show
COFFEE MUG CHERYL BUSH
etsy.com/shop/ENDEsign RUTH SINGER
sewcando.com
ruthsi nger.com
FEATHER RING BOWL SARA CURTIS LINDA TURNER GRIEPENTROG
etsy.com/shop/redravenst udios rad ianthom estudio.com
sewnw rite@aol.com
STONEWARE NECKLACE MALKA DUBRAWSKY KATRIN VORBECK
etsy.com/shop/lofficina st it c hi ndye.etsy.com Frauvau.blogspot.com
DIAMOND RING AMBER EDEN MARNI WEAV ER
etsy.com/ shop/ARTEMER aeden@interweave.com haberdasheryfun.com

HEIDI EMMETT LYNN WEGLARZ

designsbyheidi.wordpress.com Lweglarzl@frontier.com

127
sewdaily.com *
 stitch outtakes
---------------.......__

On each shoot, the

Stitch photo team poses
on set. This time the
onesie inspired us ...

128.................
.........................
* stitch
 I I

m1c ae m1 er rHBR 1c~ michaelmillerfabrics.com

modafabrics.com
..
Yau