(101 Essential Tips) Dorling Kindersley - 101 Essential Tips - Sewing-DK Publishing (2015)

101 ESSENTIAL TIPS
Sewing
Breaks down the subject into 101 easy-to-grasp tips

101
ESSENTIAL TIPS
Sewing
101
ESSENTIAL TIPS
Sewing
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101 ESSENTIAL TIPS
Pages 8 to 15 Pages 16 to 22
TOOLS, FABRICS GETTING
& THREADS STARTED
1 ............................Tools for cutting 11 ........Two ways to thread a needle
2 .....Tools for measuring & marking 12 .........................Securing a thread
3 ..........Pins & hand-sewing needles 13 ....................Using a backstitch to
4 ..........................Tools for pressing secure a thread
5 ...........................Sewing machines 14 ................................Basting stitch
6 .................Needles, bobbins & feet 15 .....................................Slip stitch
7 ...............................Natural fabrics 16 ....................................Hemstitch
8 ......................................Synthetics 17 ................................Flat fell stitch
9 ................................Special fabrics 18 .......................Herringbone stitch
10 ..........................................Threads 19 ............Securing machine stitches
20 .......................Using a seam guide
21 ................................Top-stitching
22 ............................Sewing a zigzag
23 ..................Sewing stretch fabrics
24 ............................Seam neatening
Pages 23 to 28 Pages 32 to 36
WORKING WITH SEWING SEAMS,
PATTERNS CORNERS & CURVES
25 .........How to choose a pattern size 43 .....................Sewing a plain seam
26 ............Taking vital measurements 44 ..................Sewing a French seam
27 ...........Reading a pattern envelope 45 .............................Grading a seam
28 .....Dealing with multisize patterns 46 .........................Stitching a corner
29 ...........................Pattern markings 47 ..............Stitching an inner corner
30 ............................Seam allowances 48 ..................Sewing a curved seam
31 .........................Fabric grain & nap 49 ..............Notching an inside curve
32 ................How to lay out a pattern 50 .............Clipping an outside curve
33 ....................................Cutting out
34 ..................................Tailor’s tacks
35 .......Tracing wheel & tracing paper Pages 37 to 41
36 .................................Trace tacking BIAS STRIPS,

INTERFACING
& FACINGS
Pages 29 to 31
51 .........................Cutting bias strips
IRONING & 52 .........................Joining bias strips
PRESSING 53 ..................................Interfacings
37 .................Testing the temperature 54 ...................Applying interfacings
38 ..............................Press as you go 55 .........................What are facings?
39 ....................Pressing a plain seam 56 ......Neatening the edge of a facing
40 ...............................Pressing a dart 57 ...................How to attach facings
41 ............Pressing the cap of a sleeve
42 ..............................Pressing a hem
Pages 42 to 45
SHAPING WITH
DARTS & GATHERS
58 ..............................Types of darts 83 ...........Finishing curved hemlines
59 .....................Making a plain dart by hand
60 .....................How to make a dart 84 .........Machine stitching a double-
on thick fabric turn hem
61 ........................Making a fish dart
62 ...........................Making gathers Pages 60 to 64
63 .............................Fitting gathers FASTENINGS
64 ...................How to press gathers 85 .........Machine-made buttonholes
86 ..................Stages of a buttonhole
87 ................Sewing on a flat button
Pages 46 to 59
88 ........Sewing on a shanked button
DETAILS & FINISHES 89 ...................Adding a hook & eye
65 ..How to make a basic waistband 90 ...............................Adding snaps
66 .......Machine-finished waistband 91 ................Adding a lapped zipper
67 ............Types of neckline finishes 92 .............Adding a centered zipper
68 ..................Making a neck facing
69 ...........................Bound neckline
70 ...................................Flat collars Pages 65 to 69
71 ............How to make a flat collar MAKE DO & MEND
72 ............How to attach a flat collar 93 ....................Clothes mending kit
73 ...............Inserting a set-in sleeve 94 ..........................Replacing elastic
74 ...................Types of sleeve finishes 95 ............Repairing a broken zipper
75 ......................Making a self-hem 96 ..........Mending a split inner seam
76 ..........Making an elasticized hem 97 ...............Adding a patch by hand
77 ..............Making a turn-back cuff 98 ................Adding a no-sew patch
78 ................Making a patch pocket 99 .............................Darning a hole
79 ......................Marking a hemline 100 ...............How to fix a buttonhole
80 ........................Turning up a hem 101 ..........Repairing beneath a button
81 ............Hand finishing zigzagged
hem edges
82 ................Hand finishing pinked Index 70
hem edges Acknowledgments 72
Tools, Fabrics & Threads
TOOLS, FABRICS &

THREADS
TOOLS FOR CUTTING
To avoid damaging your fabrics, it is important to use sharp
cutting tools made of high-grade steel. You will need: trimming
scissors for dealing with seams and facings; cutting shears for
use on large pieces of fabric; embroidery scissors for getting into corners, as
well as for embroidery; pinking shears for neatening fabrics that are prone to
fraying; and a seam ripper, for quick, efficient removal of stitches.
Small blades for cutting

away surplus fabric
Large blades for

Tailor’s point scissors removing big
pieces of fabric
Cutting shears
Zigzag blade helps

finish edges
Sharp, pointed
blades are ideal
for needlework
Pinking shears
Blade cuts through

stitches easily
Embroidery scissors
Seam ripper
Flat sharp edge for

creating buttonholes
Buttonhole chisel
8
TOOLS FOR MEASURING & MARKING

A few essentials are necessary before you can even start cutting
anything, because you may often first need to measure and mark.
A tape measure is the best way to measure body size and patterns,
in order to get a good fit. To transfer pattern markings onto the fabric for your
garments, as well as for annotating alterations, use a marking pen or pencil.
Tape with metric and imperial
scales covers all eventualities
Useful when
making soft
furnishings
Tape measure Extra-long tape measure
Handy small tape

when out shopping
Retractable tape measure

Ideal for measuring very
Flexible ruler small areas of fabric
Sewing gauge
Hollow unit into which colored
chalks may be loaded
Invaluable for
transferring patterns
onto fabric
Chalk cartridge pencil
Easily brushes
Tailor’s off after use Use to draw on
chalk fabric, then erase
with brush end
Chalk pencil
Water- or air-soluble pen Tracing wheel and tracing paper
9
PINS & HAND- SHARPS

SEWING NEEDLES These are general-use needles for
For most pinning needs, you can hand sewing. For most needs, you
use dressmaker’s pins, whether will probably choose one in the range
nickel-plated, brass, or stainless steel. The of sizes 6 to 9.
type of needle you choose—in terms of size,
length, and point shape—will depend on MILLINER’S, OR STRAW
what you are using it for. This long, thin needle is used for hand
sewing and tacking. Sizes 8 and 9
are most popular. Its name comes
Ideal for from its use in making straw hats.
beginners
QUILTING, OR BETWEENS
Perfect for hand sewing, these
Dressmaker’s needles are fine and very short,
pins
making them perfect for quick
and even stitching.
Head makes for DARNER’S

easy handling A long, thick needle with a large eye,
this is perfect for sewing with wool or
Pincushion Glass-headed pins other thick yarns or layered fabrics.
TOOLS FOR PRESSING

Pressing helps shape and finish seams and
darts. Choose an iron that gives a steady
surge of steam and is heavy enough that
you don’t have to press down too hard. Using a mitten
will protect your hand, while a pressing cloth will protect
the fabric. Hams are used to shape curved seams. Steam iron
Ironing board
Pressing Pressing cloth, Pressing

ham for delicate fabrics mitten
10
SEWING MACHINES
As with so many things, computer technology has transformed the
sewing machine almost beyond recognition over the course of very
few years. With a few button presses, you can set your stitch type,
length, and width. You may even be able to use the machine for embroidery.
Practice makes perfect, though, so spend time getting to know your machine.
Thread take-up lever Bobbin winder
Balance wheel
Tension dial
LCD screen
Speed control
Stitch-size
buttons
Buttons for most
commonly selected
Buttonhole sensor stitches
Presser foot
Needle plate
Stitch library,
Bobbin is offering many
located here options
NEEDLES, BOBBINS & FEET

These are the accessories you will need for your sewing
machine. Your machine will come with them, but you will probably
have to buy other types that suit your specific requirements,
whether based on the machine or the type of work you are carrying out.
MACHINE NEEDLES BOBBINS PRESSER FEET

Different types of fabric Available in metal or plastic, Your choice of foot will be
require different needles. depending on your machine, determined by the type of
A size 120 needle is used bobbins are wound with stitches you want to make.
for heavy fabric, while a 60 what becomes the There are many types to
is ideal for light weights. machine’s lower thread. select from.
11
NATURAL FABRICS
The natural fabric you choose may be best determined by your
project. Wool is strong and elastic, dyes well, and sheds water;
silk is strong, absorbent, warm, and elastic; cotton is relatively
inexpensive and dyes and launders well; and linen launders well and is strong,
but it is stiffer than cotton and more prone to wrinkling.
GINGHAM CHAMBRAY
This fabric has a distinctive look, with Ideal for shirts, dresses, and children’s
its even, checked pattern, and is both clothes, chambray is a light- to medium-
lightweight and strong. weight easy-to-sew fabric that wears well.
COTTON-&-LINEN MIX PRINTED LINEN

To make it more affordable, linen is sometimes It is quite common for linen to feature prints.
woven with cotton. This gives a textured The fabric may be light- to medium-weight
weave that is good for tote bags and aprons. and is often smooth.
CHIFFON SHANTUNG
Very strong and fine, chiffon is a transparent This is a medium-weight silk that has a
silk that has a plain weave. Although it is rough texture. It is a popular choice for
hard to handle, it gathers and ruffles well. making shirts and dresses.
12
CASHMERE GABARDINE
The most luxurious of the wool family, This tough, tightly woven fabric is usually
cashmere is available in a range of weights made from wool but can be cotton. It resists
and is hard-wearing despite its softness. creasing but mostly requires dry cleaning.
CHALLIS TRADITIONAL TWEED

This is a soft, lightweight woven fabric that is Commonly associated with English country
easy to work with. It is often (but not always) life, tweed is a rough fabric that has a very
seen with a paisley or floral pattern. distinctive warp and weft.
SYNTHETICS
Synthetic fabrics tend to be a little more challenging to work with
than natural ones, so it may be best to use them only once you
have a little experience in sewing. The fabrics have differing
properties, some being wrinkle-resistant and nonabsorbent, and others quite
the opposite. Do some research, and select what best suits your project.
ACETATE POLYESTER
Often used as a lining material, this soft, This hard-wearing fabric washes well and
shiny fabric is both water-resistant and shrink- does not wrinkle. It is often used for evening
resistant. Use a cool iron when pressing it. wear, as well as blouses and lingerie.
13
SPECIAL FABRICS
As with the synthetics shown in Tip 8, these special fabrics can
present some difficulties for the inexperienced sewer. But don’t
let that stop you; again, practice is key, and you can start off with
small experimental pieces until you understand how the materials respond to
your machine or stitches. These are real “statement fabrics,” though, and the
impact of the end result will be worth the effort.
LEATHER FAUX FUR

One curious aspect of working with leather Some fake furs are very convincing replicas
is that you cannot pin pattern pieces to it. of the real thing. They are great for outer
Instead, draw around them with tailor’s chalk. wear and easier to sew than many anticipate.
VINYL SEQUINNED
Its slightly sticky-feeling surface may deter These types of fabric can add glamour to
some people from using vinyl, but there are any evening outfit. Handle with care so the
tricks to make it easier to work with. sequins don’t come unstitched.
LACE METALLIC
This fine, open-work fabric of twisted, knotted, Perfect for evening wear, this shiny fabric
or looped threads on mesh or net is popular incorporates metallic threads. It can also be
for decoration and wedding dresses. combined with nonmetallic fibers, like silk.
14
THREADS
Your choice of thread strength and color should be determined
by the type and color of the material you are using, regardless of
whether you are working by hand or machine. For cotton or woolen
fabrics, use a cotton thread; alternatively, for most fabric types, it is perfectly
fine to use a multipurpose polyester thread.
COTTON THREAD POLYESTER THREAD

This is the best choice for working with A strong all-purpose thread that has a
cottons and linens, whether hand stitching slightly elasticated feel to it, this is suitable
or using a machine. for both synthetic and natural materials.
TOP-STITCH THREAD SILK THREAD BASTING THREAD

This thicker polyester thread The first choice for sewing Easily snapped and pulled,
is used for buttonholes and silk items, this is a 100 basting thread is intended
decorative stitching. It may percent silk thread. It is for temporary stitching,
also be used for hand also popular for use with or basting, only, not for
sewing on thicker fabrics. lightweight fine wools. permanent work.
15
Getting Started
GETTING STARTED
TWO WAYS TO THREAD A NEEDLE
It can be a little awkward to thread a needle, especially if you
are using small needles or if your eyesight is not good. Whenever
possible, use a needle with a large eye, and cut the end of the
thread with sharp scissors to create a nonfrayed end. The two methods of
threading a needle are shown below: first, by hand, for which no other tools
are needed; second, using a needle threader.
Slowly push
end of thread
through eye
Hold eye of needle
up to light
1 Hold the needle in your nondominant

hand, positioning the eye up to the light
so you can see clearly through it.
2 Using the other hand, pass the thread
straight through the eye. You may not
manage the first time you try.
Push diamond- Pull wire loop

shaped wire back through eye
through eye
1 Start by pushing the tip of the needle

threader wire through the eye of the
needle, then put the thread through the wire.
2 Bring the thread through the eye of the
needle. Free one end so a single thread
is through the eye, then remove the threader.
16
Getting Started
SECURING A THREAD
There are two ways to secure your thread at the start of your
work. If you are using a temporary basting stitch (see Tip 14),
simply make a knot in the end of the thread in your needle. For
permanent stitches, a more durable option is to start your sewing with a
double stitch. Both are shown below.
Tie single knot,

or double knot for
loose-weave fabric
Tie knot at one

end of thread
MAKING A KNOT DOUBLE STITCH

Pass one end of your thread through the eye Draw the thread through the material, then go
of the needle, then tie a knot at the other back through the stitch with the thread wrapped
end. You are now ready to start sewing. under the needle. Pull to make a knot.
USING A BACKSTITCH TO SECURE

A THREAD
You must ensure that
your stitching stays in
place at the end of a seam, as well
as at the beginning. The easiest way
of doing this is to finish with two tiny
backstitches.
BACKSTITCH
At the end of your hand-sewn seam,
make one tiny stitch backward, then a
second one right next to the first. Finish
by taking the thread to the back of the
fabric and cutting it off.
17
Getting Started
BASTING
STITCH Use simple
This temporary running stitch
stitch is used
for securing two pieces of
fabric together until you have
completed the permanent
stitches. Use a thread of
contrasting color with a
knot tied at the end.
HOW TO BASTE Stitches need not

With the fabrics right sides together, be even but should
not be too long
sew through the material and bring
the needle to the upper side. Use
long running stitches—but not too
long, or they won’t hold the fabric.
SLIP STITCH
Used to join two folded edges together, in a cushion opening, for
example, slip stitches are worked into the creases of the folds to
make them almost invisible. You can also use slip stitches to join
a folded edge to an unfolded piece of fabric; just keep the stitches on the flat
fabric very small, and use a matching thread so they blend in.
Slide needle into fold on other side

to draw folds together; repeat for
length of seam
1 Working along the top of the fold creases,

insert the needle into the first folded
edge; bring it out one ahead.
2 Take the next stitch in the second folded
edge, sliding it under the crease in the
same way. Repeat along the whole seam.
18
Getting Started
HEMSTITCH
This stitch is one of
the basic, faster ways
of securing a hem in
place. It produces slanted stitches
on the inside and near-invisible
stitches on the outside.
Outside
SLANTING HEMSTITCH
With the inside of the hem facing you, bring
the needle through the underside of the fold,
then take it up on a diagonal. Work through
a couple of threads of the fabric above the
fold, then bring the needle back through
Inside the underside of the fold to the front.
FLAT FELL HERRINGBONE

STITCH STITCH
This strong stitch is ideal to This overlapping stitch is
join a folded edge to a layer strong and flexible. Start at
of fabric, as when lining curtains. Take the left edge with a stitch above the fold.
the needle through both layers, close Then take a small stitch through the
to the join. Make a small stitch at a right folded fabric, working the needle right
angle to the fold into the unfolded fabric. to left (pointing back to your starting
Take the needle diagonally left into the place) so the thread crosses itself. Do
work, and bring it out just below the fold. the same above the fold. Repeat.
Flat fell stitch Herringbone stitch
19
Getting Started
SECURING
THREADING A MACHINE
MACHINE
There is such a vast array of sewing
STITCHES machines on the market that the best
To ensure that they don’t advice to give about threading a machine
come undone, it is important for is for the user to refer to the manual that
comes with the machine.
machine stitches to be secured at the
Although the principle is generally similar
end of a seam. You may tie the ends of across all machines, there may be little
the thread by hand or use a machine to quirks specific to yours, so simply follow
make a lock stitch or reverse stitch. the manufacturer’s instructions.
These are all shown below.
TYING THE ENDS
1 Pull gently on the top

thread until a loop of the
bobbin thread appears.
2 Pull the loop to bring the
bobbin thread through
to the top.
3 Without pulling, tie the
threads together, then
cut both close to the knot.
LOCK STITCH REVERSE STITCH

Press the machine’s lock stitch button and Stitch two stitches forward, then hold the
stitch forward. When you get to the end of reverse button and go back over them.
the seam, press the lock stitch again. Go forward again. At the end of the seam,
secure the stitches by reversing over them.
20
Getting Started
USING A
SEAM GUIDE
When you sew a seam,
you join two or more
pieces of fabric together along the
seamline. Whatever type of work you
are doing, you must take account
of the seam allowance—the gap
between the edge of the pieces
of fabric you are joining and the
stitching line. Commercial patterns
specify the seam allowance to use.
To keep your machine accurately
KEEPING YOUR STITCHING STRAIGHT
aligned to the seamline, use the
Keep your fabric beneath the presser foot with
seam guide etched on its needle its edge aligned with the correct guideline,
plate (see Tip 5). according to your required seam allowance.
TOP-STITCHING
A great way to finish an edge, top-stitching is visible on the
right side and adds a decorative touch. It highlights the
structural lines of a garment, and it keeps seams and edges
flat and crisp. Use a longer stitch length than usual. You can also use
special top-stitch thread (see Tip 10), which is thicker than normal.
Always use a seam guide to keep the top-stitching straight.
SEWING
A ZIGZAG
Zigzags are used short
and close for neatening
raw edges, or very short and close for
making buttonholes. They are also
used for machine appliqué, and work
well with stretch fabrics (see Tip 23).
USING ZIGZAGS
Zigzags are used to neaten the edges of
seams, as well as for decoration. You can
alter the width and length of the stitch.
21
Getting Started
SEWING STRETCH FABRICS

Straight machine stitches break if used on stretch fabric. Instead, use
a special stretch stitch, if your machine has one, or a narrow zigzag
stitch. Use a ballpoint machine needle specially designed for use on
stretch fabrics, not a universal needle. And finally, never pull on a stretch fabric
as you sew it, or your seam will end up curly. Instead, let the feed dogs—the
notched metal bars beneath the needle plate—pull (“feed”) the fabric along.
SEAM NEATENING
Once you have finished sewing your seam, you need to neaten
the rough edges. If you don’t, the edges will fray over time,
with general wear and repeated washing. This, in turn, puts
additional strain on the stitches and is likely to lead to them weakening or,
worse still, to the seam splitting. There are a few ways to neaten seams.
OVERLOCK STITCH PINKED EDGE ZIGZAGGED EDGE

Created with an overlock Use pinking shears to cut Set your machine to zigzag
foot on your machine, this along the raw edges of the stitch, and place one raw
is similar to a zigag, but the fabric. Be sure to trim away edge under the presser foot.
raw edge is finished with an as little as necessary in Stitch a row a little in from the
overedge thread—a more order to keep the edge edge, then trim the fabric
secure way to prevent fraying. intact and unfrayed. close to the stitches after.
22
Working with Patterns
WORKING WITH
PATTERNS
HOW TO CHOOSE A PATTERN SIZE
Once you have taken your measurements or those of the person you
are outfitting (see Tip 26), compare them to what are given in the
pattern. Commercial patterns use sizes such as Misses’, Misses’
Petite, and Women’s, which are based on, among other things, height. To check
your own height, stand with your back to a wall with a ruler flat on your head. Mark
with a pencil where the ruler hits the wall, then measure from the floor to the mark.
Pattern template
for smaller
sections
Pattern
instructions
Pattern envelope
shows finished
garment
Second template
for larger sections
HOW PATTERNS WORK

Pattern pieces are measured between seamlines, not edge to
edge. Patterns also include “ease,” to allow room for movement.
23
TAKING VITAL MEASUREMENTS

Before buying a pattern, you should take at least four accurate body
measurements. Ask a friend to help you, and make sure the tape
measure is kept taut at all times. You can measure over the top of
underwear if you have no close-fitting garments—a leotard, for example. Your
body size is unlikely to match the pattern size exactly, so choose a size that
comes the closest to your largest measurement.
Measurement Measurement
for waist for hips
WAIST HIPS
Tie a length of ribbon or string loosely Measure around the fullest part of the
around the waist. Adjust it so that it sits in hips, about 7–9in (18–23cm) below the
your natural waistline, then measure around waist. Choose a pattern for a skirt by hip
this waistband marker, without—in this rather than waist size. The pattern will
instance—pulling the tape tight. also allow for ease, or room for movement.
Measurement Measurement
for bust/chest between back of
neck and waist
BUST OR CHEST FROM BACK OF NECK TO WAIST

Measure around the fullest part of the bust or For this measurement, you will certainly need
chest and widest part of the back, with the to enlist the help of a friend. Measure from
tape reasonably taut. Ask a friend to help the protruding vertebra at the base of the
you, to make sure the tape is straight. For a neck to the waistline marker. Compare this
pattern for a top only, go by bust or chest size. measurement to the pattern piece for fit.
24
READING A PATTERN ENVELOPE

The front of a pattern envelope shows how the finished project
should look, while the back lists the details of the amount
of fabric required for each view. Also given are size charts,
recommended materials, and drawings of the project elements. Inside
the envelope is an instruction sheet and pattern tissue.
DEALING WITH MULTISIZE PATTERNS

Many patterns have more than one size printed on the tissue.
At first glance, this may look confusing, but each size is labeled
clearly, and a different type of printed line is used to mark the
cutting lines relevant to each size. Follow your desired line.
Where only one

line is marked, it
applies to all sizes
Place straight
arrow along
straight fabric
grain, parallel Lengthening and
to selvages shortening lines
PATTERN MARKINGS
Each pattern piece will have a series of symbols—lines, dots,
and so on—printed on it. The purpose of these is to allow you to
alter the pattern and join the pieces together. All paper patterns
from the big manufacturers use the same universal symbols.
Markings to be
Cutting line Hem allowance transferred from
Hemline pattern pieces
Multisize cutting to fabric for
lines Buttonhole matching or to
indicate detail
Combined button
Grainlines and buttonhole Single notches
Place-to-fold line Button position

Double notches
Lengthening and Dart

shortening lines
Pleat Triple notches
Seamline or
stitching line Tuck
Seam allowance Bust point or hipline Zipper placement
25
SEAM Seam
ALLOWANCES allowance
The fabric allowed for on a

pattern where sections are
to be joined is called a seam allowance
(see Tip 20). Seam allowances that will
be hidden inside a finished project
should be trimmed to reduce their bulk
(see Tip 45). Notch or clip the edges
(see Tips 49 and 50) so they will lie flat.
FABRIC GRAIN & NAP

Threads that run lengthwise, parallel to the selvages (which are
the finished edges on woven fabrics) are called the warp threads.
Weft, or crosswise, threads run at 90 degrees to the warp. Warp
grain is less likely to stretch and is usually used as the straight grain.
True bias, at
45 degrees to
grainlines
Crosswise grain
Selvage Straight grain
HOW TO LAY OUT A PATTERN

Pattern pieces usually represent the right side of a garment,
so to cut out both sides, fold the fabric selvage to selvage.
Pin the pattern pieces on top, and cut out both sides at the
same time. Pattern pieces have a straight grain arrow, which must be
placed parallel to the edge or fold.
26
CUTTING OUT
Slide the scissors along the fabric, making long cuts on the
straight edges and shorter cuts at the curves. Always try to cut
smoothly, and avoid making jagged edges. Be sure to use a
sharp pair of scissors, since blunt ones will leave rough edges. Place one
hand lightly on the pattern piece, and use the other hand for the cutting.
Double notches
NOTCHES
Make sure you cut around
CUTTING METHOD double-notch markings
Rest the scissors on the table, with the on the pattern from point
fabric slightly raised. This will help you to point, not around
achieve a smooth cut. each notch.
TAILOR’S TACKS
Pattern markings, such as positions of buttonholes and darts, can
be transferred from paper to your fabric by using temporary stitches
called tailor’s tacks. Use doubled thread in a contrasting color.
1 Pin the pattern in place

over the fabric layers.
Stitch through the paper and
2 Check that the stitches
have gone through all
layers. Snip the thread to
3 Pull the pattern away,
and separate the fabric
layers so that you can
fabric, leaving a 5⁄8in (1.5cm) leave another 5⁄8in (1.5cm) clearly see the tacks. Snip
tail. Make a loose second tail. Cut the 11⁄4in (3cm) loop the tacks between layers,
stitch, with a 11⁄4in (3cm) loop. thread in the middle. leaving just tufts.
27
TRACING TRACE
WHEEL & TACKING
TRACING PAPER This technique is used for
When using purchased marking center front lines,
paper patterns, a tracing wheel and foldlines, and placement lines on fabric.
tracing paper will prove invaluable for Use double thread in your needle.
transferring pattern markings onto your
fabric. Carry out a test on a small piece
of your chosen material first, though,
because you may not be able to
remove the marks from all fabrics.
1 With the pattern pinned to the

fabric, make a row of loopy stitches
along the lines that are marked on it.
TRACING TECHNIQUE
Place a sheet of dressmaker’s tracing paper
against the wrong side of your fabric, then
put the pattern on top. Run the tracing wheel
2 Carefully pull the tissue away. Cut
through the loops, then slowly separate
the layers of fabric to show the threads. Snip
over the pattern lines. Remove the pattern them apart, leaving tufts of thread in both
and tracing paper to see the dotted lines. layers of the fabric.
28
Ironing & Pressing
IRONING & PRESSING

TESTING THE TEMPERATURE
It is important to match the temperature setting on your
iron to the fabric you are using. If you use a setting that
is too hot, you might
scorch the fabric, burn a hole in it,
or even melt it; use one that is too
cool, and you will not achieve
anything. Synthetics, such as nylon
and acetate, and delicate natural
fibers, like silk and wool, require
the coolest settings, while cotton
and linen can withstand higher
temperatures. Always do a test
press, either on a spare scrap
of fabric or in an area that is
not visible.
USE THE DIAL

Most irons have a temperature dial and
can be used dry or with steam. You can
only use steam at higher temperatures,
making it unsuitable for some fabrics.
PRESS AS YOU GO
For professional-looking results, always press your work at
every stage. Pressing differs from ironing: when you press,
you continually lift the iron and put it down again in the correct
position. Whenever possible, press on the wrong side of the fabric to
avoid making the fabric shiny. If you have to press on the right side, use
a pressing cloth (see Tip 4). Start by pressing your fabric before you cut
it out, then press each seam, dart, tuck, row of gathers, pocket, sleeve,
and hem immediately after sewing.
29
Ironing & Pressing
PRESSING A PLAIN SEAM

A plain, or simple, seam is the easiest seam to sew. It is also
the most common and most versatile type of seam. For best
results, press each seam after sewing it. Start by opening out
the fabric and laying it right side down on the ironing board.
Seam allowance
FOLLOW THE
SEAMLINE
Using the correct
temperature and
the point of the iron,
press along the
seamline. The seam
allowances (see Tip
30) will end up lying
Use point of iron flat either side of
the seam.
PRESSING A DART
Incorrect pressing of a dart can spoil the look of a garment.
For successful pressing, you will need a tailor’s ham and a
steam iron, used on a steam setting. A pressing cloth will
also be required if you are working with a delicate fabric such as silk,
satin, or chiffon, as well as for lining fabrics.
Press around
point of dart
1 Place the fabric right side down on the

tailor’s ham. The point of the dart should
be over the end of the ham. Press the fabric
2 Move the iron from the point toward
the dart’s wide end, pressing the dart
flat, open, or to one side, depending on
around the point of the dart. what type of dart it is.
30
Ironing & Pressing
PRESSING
THE CAP OF
A SLEEVE
After you have sewn a
sleeve into a garment (see Tip 73),
you need to smooth out the cap of the
sleeve to achieve a pleasing curve
over the shoulder. Do this by pressing
the seam allowance all the way around
the seam with the tip of the iron.
SEAM ALLOWANCE
You may press the cap of a sleeve before
or after trimming the seam allowance. In
this example, the seam allowance has
already been cut off.
PRESSING A HEM
After marking the position of the hemline (see Tip 79) and
neatening the edge (see Tips 81 and 82), you are ready to press
the hem. If the hem needs slight shrinking so it lies flat, use a damp
pressing cloth or steam. After stitching the hem in place and removing the
basting stitches, you can carefully press again on the right side if desired.
GETTING IT RIGHT
Fold the hem to the wrong side along the
hemline. Press from the foldline toward the
neatened edge, then tack the hem in place.
31
Sewing Seams, Corners & Curves
SEWING SEAMS,
CORNERS & CURVES
SEWING A PLAIN SEAM
The most basic seam to make, the plain, or simple, seam is easy
to sew and versatile, making it suitable for many different projects.
To make sure you achieve completely straight edges, practice
stitching while keeping the fabric edge aligned with the seam guideline. Start
by placing the fabric edges together, right sides facing and raw edges even.
1 Pin the seam edges

together through the
wrong side of the fabric
so that the pins are
placed at 90 degrees to
the seamline. Space the
pins evenly along the
edge, making sure the Place pins at right Space pins evenly
fabric layers lie flat. angles to raw edges along seam
2 Baste the pinned

seam close to
the seamline. In
most cases, a seam
allowance is 5⁄8in
(1.5cm) (see Tip 30),
so baste just a little less
than this distance away
from the edge, removing Remove each pin as
the pins as you go. you reach it
3 Select a straight
stitch setting on your
machine, and lower the
needle and presser foot.
Sew along the seamline,
staying an even distance
from the edge. Secure
the stitching at the start
and end of the seam, Machine stitch evenly Remove basting once
then remove the basting. along seamline machine stitching is done
32
SEWING A FRENCH SEAM

Neat and narrow, the self-enclosed French seam hides any raw
edges, so it is perfect for use on sheer fabrics that would leave
visible seam allowances on a finished project. Note, though, that
it should be used only on straight fabric edges. A French seam is machine
stitched and is most often used on delicate garments and on sheer and silk
fabrics. Place the fabric with the wrong sides together and raw edges even.
Right side of Wrong side Right side

fabric of fabric of fabric
1
3
Pin close to the seamline, then stitch the
pieces of fabric together to make a seam
⁄16in (5mm) from the edge. Trim the seam
2 Refold the fabric so that the right sides
are together, then machine the stitched
edge again, this time giving a seam
slightly, then press it open. allowance of 3⁄8in (1cm).
Right side of Wrong side of

fabric fabric
3 This second line of stitching has the

result of enclosing the first seam
within the second seam.
4 Finally, press the completed internal
French seam flat. Which side you press
may be determined by your fabric.
33
GRADING A SEAM
With most fabrics, if the seam is on the edge of the work, the
amount of fabric in the seam must be reduced. Leave the seam
allowance that lies closest to the outside of the garment at its full
width, but reduce the seam allowance that lies closest to the body.
REDUCE THE
ALLOWANCE
Cut along one
side of the seam
allowance to reduce
the width of the
fabric by one-half
to one-third.
STITCHING
A CORNER
To stitch corners or to
add neat detailing to top-
stitching (see Tip 21), you must pivot
the fabric with the machine’s needle
down. The trick to achieving a neat
corner is to pivot the fabric accurately,
exactly at the corner, having marked it
with a crosswise pin or tack.
1 Pin the fabric right side to right side, and

make a seam at least 5⁄8in (1.5cm) in from
the edge, removing the pins as you go.
2 When you reach the corner, lower the

needle into the fabric. Raise the presser
foot, and rotate the fabric by 90 degrees.
3 Lower the presser foot again and
continue sewing along the next edge of
the fabric, creating a right-angled corner.
Finish by turning the item right side out.
34
STITCHING AN
INNER CORNER
Machine stitch 5⁄8 in (1.5cm) from the
edge, pivoting at the corner (see Tip
46). To finish, clip (see Tip 50) through the seam
allowance into the corner.
Stitched corner
SEWING A CURVED SEAM

When sewing a curved seam, whether inner or outer, the first thing
to do is place the right sides of the fabric together. Next, stitch a
seam at 5⁄8in (1.5cm) from the edge. Follow the curve, and keep the
stitching line a uniform distance from the edge. Use the seam guides on the
needle plate to help you (see Tip 20). When finished, turn the item right side out.
INNER CURVE OUTER CURVE

This is the type of seam you might You might need to sew this kind of seam
typically have to sew around an around the edge of a curved pocket
armhole, neckline, or trouser crotch. or to make a round cushion.
35
NOTCHING AN INSIDE CURVE

In order to make an inner curve lie flat, you need to grade and
notch the seam. Once that is done, you should also understitch
it (see box below) to keep the bulk in place.
1 Start by stitching the

seam on the inner curve,
working on the wrong side
2 Grade the seam—that is,
cut along one side of the
seam allowance—then cut V
3 Turn the item right side
out, and press it. Finally,
understitch the seam
of the item. notches toward the seam. allowance to the wrong side.
CLIPPING AN OUTSIDE CURVE

An outer curve also needs to have the bulk of its seam reduced.
The usual method of doing this is by clipping, as opposed to
notching (see Tip 49), but either is fine.
1 Make the seam by stitching along the

outer curve. 2 Grade the seam, cutting along just one
side of the seam allowance.
UNDERSTITCHING
Secure a seam that is on the edge of a piece
of fabric by understitching it. Working from
the right side, machine the seam allowance
to the facing or the lining side of the fabric.
3 Clip through both sides of the seam

allowance toward the seam. To finish, turn
right side out and press, then understitch the
seam allowances (see right).
36
Bias Strips, Interfacing & Facings
BIAS STRIPS, INTERFACING

& FACINGS
CUTTING BIAS STRIPS
To prevent fraying, the outer edges of facings (see Tip 55) need
to be neatened. There are several ways to do this, but the one
that yields the most professional result is bias strips. (See the
“Other methods” box on p.40 for pinking and zigzagging.)
1 Fold the fabric

onto itself at 45
degrees so that the
2 Using tailor’s
chalk, mark
straight lines 11⁄2 in
selvage edges are (4cm) apart on the
at right angles. Pin diagonal (to give
the fold in place at strength and stretch).
the corner. Cut along the lines to
Fabric folded make the bias strips. Lines
onto itself marked with
tailor’s chalk
JOINING BIAS STRIPS

Once you have cut out the two bias strips (see Tip 51),
you need to join them together before they can be used
to neaten the edge of a facing.
Triangle of Triangle of fabric

fabric at each Seam still visible
end of seam pressed open
Stitch across
fabric join
1 Place the strips right side to right side at

90 degrees to each other, fabric edges
together. Machine stitch across the join.
2 Press the seam open, then press the
edges underneath.
37
INTERFACINGS
An interfacing is a layer that is applied to fabric to reinforce
it and give it extra strength—for example, when adding
structure to a tote bag. There are two types of interfacing:
fusible and nonfusible. Fusible interfacings, backed with an adhesive
that is activated by heat, are the easiest to use.
LIGHT FUSIBLE
This iron-on interfacing
forms a soft but firm base for
lightweight cottons, wools,
and polyester materials.
MEDIUM FUSIBLE
A medium fusible is the
best choice for medium-
weight crisp cottons and
cotton blends.
HEAVY FUSIBLE
This is ideal for medium- to
heavy-weight cottons and
blends, as well as for
waistbands in the absence
of a perforated fusible.
PERFORATED
Special waistband
interfacings usually have
perforated slots so you know
where to fold the fabric.
NONFUSIBLE
This type of interfacing also
comes in various types and
weights. The most commonly
used is nonwoven, but other
popular options include muslin
and silk organza.
Muslin Silk organza Nonwoven
38
APPLYING
INTERFACINGS
The way in which you
apply an interface
depends on whether it is fusible or
nonfusible. Neither is difficult (although
fusibles are the easiest option), and
your choice may well be determined
by the type of fabric you are working
with and the intended use of the item
you are making. Parts of a garment
that are usually interfaced include the
collar, cuffs, and facings.
FUSIBLE
Using a steam iron set to the correct
temperature, lay the fabric on the ironing
board, wrong side up. Make sure there are
no wrinkles in it. Place the interfacing on
the fabric, sticky side down, and cover it
NONFUSIBLE with a dampened pressing cloth; this will
All nonfusible interfacings should first be prevent scorching of the fabric. Hold the
held in place by pinning to the wrong side iron in place for about 10 seconds for
of the fabric, then basted within the seam lightweight fabric and 15 seconds for
allowance (again, to the wrong side of the heavier fabric. Be careful not to move
fabric) before you machine stitch them. As the iron around because you may slide the
always, remove the basting after sewing. fabric out of position.
WHAT ARE FACINGS?

A facing is used to finish a garment’s neck or armholes when
a collar or sleeve is not being added. To fit around a neck or
armhole, the facing may be in two or three pieces, and the pieces
must be joined together before they can be used on the garment. The facings
must also have interfacings attached to them (see Tip 54). This is usually done
before the facing itself is constructed.
39
NEATENING THE EDGE

OF A FACING
To stop it from fraying, you will need to neaten the outer edge of a
facing. There are several ways to do this, the most “finished” looking
of which is by using bias strips (see Tips 51 and 52), which, for this job, need to
have had their edges pressed flat to one side.
Right side
of fabric
Folded edge
of bias strip
Tacked edge
Line of
stitching
1 Open out one edge of the bias strip, and

place it on the outer edge of the facing,
right sides together. Sew along the crease.
2 Fold the bias strip around to the wrong
side of the work, and hold it in place
with some tacking stitches.
Wrong side
of item
Neat line
of stitching
in indent
3 Working from the right side of the fabric,

stitch over the line that was made by the
sewing together of the bias and facing.
4 The right side of the work should
now have a professional-looking
bias-bound edge.
OTHER METHODS
Of the other ways to neaten
an edge, two of the easiest
are pinking and zigzagging.
Choose according to your
project and fabric. For
pinking, machine 3⁄8in (1cm)
from the edge, then trim
with pinking shears. For
zigzagging, neaten the outer
edge with a zigzag stitch. Pinked edge Zigzagged edge
40
HOW TO ATTACH FACINGS

The step-by-step sequence below shows how to attach
a facing to a garment neck. The same technique applies
to necklines of all shapes, but it can also be adapted for
use with waist and armhole facings.
Garment
2
Match shoulder
seams
Pin the facing in place, aligning
the neck edges. Match the
Facing with shoulder seams on the facing
interfacing and garment.
attached
Shoulder seams
match
1 Apply fusible interfacing to the facing, and

join the three elements at the shoulder seams.
Lay the neckline flat, right side up, then put the
3 Sew the facing in place, using
a seam allowance of 5⁄8 in
(1.5cm), then trim away half of the
facing on top, right sides together. seam allowance.
Understitch about
3
⁄16in (5mm) from
first stitching line
4 Cut out V notches

around the edge of
the neck of the garment
5 Press the seam
allowance toward the
facing, then understitch (see
6 Finally, turn the facing
to the wrong side, and
press the edge of the neck.
fabric, then clip the facing Tip 50) the seam allowance
material, too. to the facing.
41
Shaping with Darts & Gathers
SHAPING WITH
DARTS & GATHERS
TYPES OF DARTS
Darts are used mainly on women’s
clothing to shape the fabric around the
body’s contours and allow for fullness
at the bust and hips. Small darts can be used in
long sleeves to shape the fabric to the elbow, and
at the back of the shoulders on tailored garments
to shape the fabric to the shoulder.
Dart starts at Waist dart

underarm seam at front of
garment
Dart from bust

to side seam
BUST DARTS FRENCH DARTS WAIST DARTS

This type of dart shapes Much wider than plain darts These are plain darts that
fabric to the bust. The (see Tip 59), French darts shape the fabric in at the waist
most common type are appear only on the fronts and give fullness at the hips.
single bust darts, which of garments. They extend There are often two at the front
start at the underarm from hip or waist level at of a garment and two or four
side seams. the side seam to the bust. at the back.
42
MAKING A PLAIN DART

A plain dart is a fold of fabric stitched with
a tapering seam to form a fine point. It is
made on the wrong side of the garment.
1 Mark the dart points as

on the pattern with tailor’s
tacks: one at the point end
The dart is shown on the pattern as a triangle with a
central foldline and two stitching lines (see Tip 29).
You can make slight fit alterations by redrawing dart
and two at the wide ends. stitching lines, but do this also on the pattern piece.
2 Fold the fabric right side

to right side, aligning the
wide-end tacks, then pin the
3 Baste along the dart line
to join the tailor’s tacks,
then remove the pins from
4 Run a line of machine
stitches alongside the
line of tacks. Remove the
fabric together. the fabric. basting thread.
5 Secure the machine

threads by sewing them
back into the stitching line
6 From the wrong side,
press the dart to one
side (see Tip 64).
7 Turn the fabric to the
right side to see the
finished dart.
of the dart.
HOW TO MAKE
A DART ON Dart point
pressed, not cut
THICK FABRIC
Cut along the fold to
from the dart point. Open up the
fabric, then press the dart point open
toward the point. Press the last and
flatten this over the stitching.
Ironing towards the dart point
43
MAKING A FISH DART

Also called double-pointed dart, this is made up of two darts joined at
their wide ends. Used to give shape to the waist of a dress, it contours
the fabric from the bust into the waist, then out again toward the hip.
1 Start by using tailor’s tacks on the pattern

dots that indicate the dart. Cut through
the tack’s loops, and remove the pattern.
2 Fold the fabric so that the tacks are on
top of one another, right side to right
side, and pin the tacks together.
3 Baste just inside the pin line, machine

stitch along the baste line, curving out to
the widest point, then back in. Secure the
4 Clip across the fold at the widest point so
the dart can be pressed. Press the dart to
one side. Fish darts are normally pressed
stitching at both ends, then remove tacks. toward the center front or center back.
MAKING GATHERS
Gathering stitches are longer than ordinary stitches, and they are
pulled to gather in the fabric. You need to stitch two rows to enable
the gathers to form evenly and hang well. Because fabric hangs
better with the straight grain, make the gathering stitches across the grain. If
necessary, seam the pieces of fabric together before you start to gather the edge.
SKIRT GATHERS
Stitch two parallel rows of
gathers around the skirt’s waist,
the first at 3⁄8in (1cm) from the
edge, and the second at 1⁄2in
(1.2cm). Make sure you leave
long tails of thread for gathering.
44
FITTING GATHERS
When you have sewn all the main seams, stitch the two rows of
gathers so the stitches are inside the seam allowance. The step-by-
step sequence below shows how to fit a gathered skirt to a bodice.
1 Put the skirt against the bodice section of

the dress, right sides together. Match the
notches and seams, and pin in place.
2 Pull gently on the two long thread tails of
the gather stitches (see Tip 62) in the
wrong side of the skirt to gather the fabric.
3 Secure the threads at one end so that the

stitches won’t pull out, then even out the
gathers and pin them.
4 Machine a seam 5⁄8in (1.5cm) wide. Stitch
with the gathers uppermost, pulling them
to the side to prevent wrinkling.
5 Turn the bodice inside the skirt, and

press the seam. Do this very carefully—
you do not want to wrinkle the gathers.
6 Stitch both edges together to neaten the
seam. A zigzag stitch is a good choice.
Press the seam up toward the bodice.
HOW TO PRESS
GATHERS
To press gathers, open out
the two sections and press
the seam flat, just as it should lie in the
finished garment. Work the tip of the
iron into the opened-out gathers rather
than over the folds. Be sure to iron on
the wrong side of the fabric. Using the tip of a steam iron
45
Details & Finishes
DETAILS & FINISHES

HOW TO MAKE A BASIC WAISTBAND
In most cases, when making a waistband, it is usual to stitch by both
hand and machine. One long edge of the waistband is stitched to the
garment’s right side. The other long edge is pressed under and the
waistband folded in half. Hand stitch this edge to the garment’s wrong side.
1 Start by either fusing or basting the

interfacing to the waistband’s wrong side.
Pin the waistband to the waist edge, with right
2 Trim the seam allowances, and grade
them (see Tip 45) if necessary. Press
the waistband and seam allowances away
sides together and pattern markings from the garment. Press the allowance to
matching. Baste in place, then remove the the wrong side on the other long edge
pins. Stitch together, then remove the basting. of the waistband, then trim.
3 Fold the ends of the waistband in half,

with the right sides together. Pin across
the ends of the waistband, and machine
4 Turn the waistband right side out. Align
the pressed edge with the inner stitching,
then pin and press. Slip stitch the underlap/
stitch. Trim the seam allowances diagonally overlap lower edges together, then hand
at the top corners. stitch the pressed edge to the stitching.
46
Details & Finishes
MACHINE-
FINISHED
WAISTBAND
Begin by stitching the
waistband’s outer edge to the right side
of the garment, as for Tip 65. When you
have finished the waistband ends and
turned the waistband right side out,
press the inner long edge flat over the
seam on the inside. Stitch from the
right side along the waistband seam
to make a stitch-in-the-ditch seam.
1 Add interfacing to the waistband’s wrong

side. Pin and stitch the waistband to the
waist edge, right sides together, then press
the waistband away from the garment. Trim
1
⁄4in (6mm) from the other long edge, then
make zigzag stitches along the trimmed edge.
2 At each end of the zigzag-stitched edge,

press 3⁄8in (1cm) to the wrong side of the
waistband. Fold both ends in half, right sides
3 Press the band so the zigzag-stitched
edge overlaps the seamline inside. On
the right side, align and pin the lower edges
together. Machine stitch, as in Tip 65. Trim of the underlap and around the waistband
the ends and top corners, then turn the seamline. Stitch across the underlap edges,
waistband right side out. and stitch in the ditch around the waistband.
47
Details & Finishes
TYPES OF
NECKLINE
FINISHES
The eye is instantly
drawn to necklines because they
frame the neck and face, so it is
important that they are finished
well. Most need a facing (see
Tip 68), usually cut to match the
exact shape of the neckline.
• A shaped neckline is plain on
the right side and has no visible
facing or stitching. It is
particularly good for V-shaped
or round necks.
• A single-layer bound neckline
works well where a facing would
otherwise show through a fabric. Plain faced neckline Single-layer bound neckline
MAKING A NECK FACING

The easiest way to finish a garment’s neck is by applying a
facing (see Tip 55). This can be in two or three pieces so that
it fits properly around the edge of the neckline. The sections
must be joined together before they can be attached to the garment.
A shaped neck facing always consists of three parts.
Outer corners
Shoulder trimmed off
seams shoulder seams
1 Attach interfacing to the

three sections of the neck
facing (see Tip 54). Tack the
2 Stitch the shoulder
seams and press them
open before trimming off
3 The facing is now ready
to attach to the garment.
Turn it over to see how the
pieces of the facing together their outer corners so they right side looks.
at the shoulder seams. don’t protrude.
48
Details & Finishes
BOUND NECKLINE
When working with fine fabrics, it’s possible that a facing
might show through. In such cases, a bound neckline gives
a narrow, neat finish. The finished edge of the binding is
aligned with the cut edge of the garment. A single-layer neckline has
four layers of the binding fabric and one layer of garment fabric.
Ends pressed under
Finished width Trimmed corners
1
Right sides
Cut a bias strip (see Tip
together
51) of the binding fabric
that is four times as wide
as the required finished
width. The length should be
2 Pin the binding around
the edge of the neckline.
Stretch it slightly to fit, then
3 Trim the corners
diagonally at each
neckline end. Press the
equal to the neck seamline stitch the binding in place. binding ends to the wrong
length plus an additional Work in from the raw edge to side, and fold the binding
11⁄4in (3cm). the finished binding width. over the raw edges.
Binding Slip stitch binding

pinned flat Hook and eye
edge to neckline at top of zipper
4 Tuck and align the

binding with the garment
raw edge. Pin the binding
5 Slip stitch the folded-
under binding edge to
the neckline on the wrong
6 Press the binding so that
it lies flat, and finish with
a hook and eye (see Tip 89)
flat on the wrong side of the side. Follow the previous on the inside at the top of
neckline and folded under stitch line, making sure the the zipper. Stitch so that it is
edge even with previous line. stitches don’t show through. visible on the inside.
49
Details & Finishes
FLAT COLLARS
A popular choice for
blouses and children’s
clothes, flat collars sit
almost flat on the neckline. They are Two-part
easy to make and attach (see Tips flat collar
71 and 72). The so-called Peter Pan
and sailor’s collars are well-known
variations on this theme.
Flat collar in place
HOW TO MAKE A FLAT COLLAR

For garments that have a center-backed zipper, a flat collar
is made in two parts with the ends meeting at the center
back and center front. The garment’s neckline and the neck
edge of the collar must fit together perfectly.
Open neck edge
1 Apply interfacing to the wrong side of the

two top collar pieces. Pin and tack each
collar piece to a noninterfaced under-collar
2 Leave the neck edge open. Remove the
pins, then stitch around the outer edges
of the collar pieces. Trim the seam allowances,
piece, with the right sides together. and layer if needed. Notch the allowances at
the curves, and trim the corners diagonally.
Pull so that knot

pulls out corner
3 Work around the seam section, pressing

the seam open. Press on the curved part
of the ironing board for the curved areas.
4 Understitch the collar seam on the right
side (see Tip 50). Use the knot of a
threaded needle to pull out the corners of the
Press the seam allowances toward the collar pieces. Use fingers to roll over the outer
under-collar, working around the collar. collar seam, then iron the rolled seam edge.
50
Details & Finishes
HOW TO ATTACH A FLAT COLLAR

Sandwich the collar between the garment and the facing (see Tip
68) so that the collar will be stitched together with the facing to the
garment’s neck edge. This is the easiest way to attach a flat collar.
1 Baste each collar piece

along the neck seamline.
Overlap the front corners
2 Pin the collar to the neck
edge (right side) with the
top collar uppermost. Match
3 Sew the facing in place
along the neck edge of
the top collar, right sides
at the neck edge. Baste where the collar pieces together. Extend the ends
together securely so that intersect with a center-front of the facing past the zipper,
they meet across the pin. Baste the collar in and pin them in place.
neck seamline. place, then remove the pins. Machine stitch.
4 Remove the basting.

Trim and grade the seam
allowances (those of the
5 Press the collar and
facing seam allowance
open with the tip of an iron.
6 Press the facing to the
wrong side. Tuck under
the ends of the facing to even
garment will be the widest). Next, press the facing and them with zipper tape at
Trim the corners of the seam allowances away from center-back opening. Hand
facing diagonally, then the garment. Understitch stitch the facing to the tape,
clip around the curves. near the seam (see Tip 50). to give zipper room to move.
51
Details & Finishes
INSERTING A SET-IN SLEEVE

A set-in sleeve is cut separately from the garment and inserted
into the armhole. You will find that the seamline length along the
sleeve’s top curve is a little longer than the matching armhole
seamline. Ease in the fullness to form a smooth cap.
1 Machine stitch the side

seams and the shoulder
seams on the garment, and
2 Around the sleeve cap,
machine stitch two rows
of long stitches between the
3 Place the sleeve into the
armhole, right side to
right side. Match underarm
press them open. Next, notches: the first row should seams and notches, and the
machine stitch the sleeve be at 3⁄8in (1cm) and the highest point of the sleeve
seam, and press open. Turn second should be at 1⁄2in to the shoulder. Pull the ease
the sleeve to the right side. (1.2cm). Leave long threads stitches until the sleeve fits
at both ends. These “ease neatly in the armhole, then
stitches” ease in the fullness. pin from the sleeve side.
Stitching inside
seam allowance
Seam on
right side
Trim raw edges
4 Machine stitch the sleeve

in place, starting at the
underarm seam and using a
5
⁄8in (1.5cm) allowance. Have
the sleeve on top, and keep
the stitching straight over the
shoulder. Overlap the
stitching at the underarm to
5 Stitch around the sleeve
again, inside the seam
allowance, then trim the raw
6 Neaten the seam with
a zigzag stitch, then
pull the sleeve through
reinforce it. edges of the sleeve. the armhole.
52
Details & Finishes
TYPES OF SLEEVE FINISHES

The easiest of straight sleeve finishes is a plain self-hem (see
Tip 75), and this is also the most frequently used method, in
part due to its neat, invisible finish. It can be used with a set-in
sleeve (see Tip 73), as well as with other types, and it is often incorporated
into jackets, coats, and dresses. Other possible finishes include the
insertion of elastic (see Tip 76) or making a turn-back cuff (see Tip 77).
MAKING A SELF-HEM
A self-hem is achieved by simply folding the sleeve’s edge to
the fabric’s wrong side along the hemline, then hand stitching
to the inside of the sleeve.
Basting Seam pressed open Hem turned up and pinned
1 Baste to mark the final length of the

sleeve, then cut away the excess
seam allowance in the hem area.
2 Turn up the hem along the basted
line, matching up the seams. Pin
the hem in place.
Tack to secure Finished hem
3 Turn the top edge of the hem allowance

under by 3⁄8in (1cm), and baste it in
place. (Pin it before basting if you prefer.)
4 Using a slip stitch, hand stitch the
sleeve hem in place. Finish by
removing all the basting thread.
53
Details & Finishes
MAKING AN ELASTICIZED HEM

An elasticized hem gives an informal look to a sleeve and
is simple to make. It is also easy to adjust the length of the
elastic to suit a thin or thick wrist. You can use the same
technique to finish the waist of a skirt or a pair of trousers.
1 Make up the sleeve,

and press the seam
open. Work a row of basting
2 Turn up 3⁄16in (5mm)
at the raw edge, and
press. Turn again onto the
3 Machine stitch to hold
the turned-up hem in
place, 1⁄16in (2mm) from the
stitches along the foldline basting line. folded edge. Leave a gap
of the hem. on either side of the seam
allowance through which
you will insert the elastic.
4
1
Machine stitch the
bottom of the sleeve
⁄16in (2mm) from the edge
5 Cut a piece of elastic to
fit the arm or wrist, and
put it into the sleeve end,
6 Turn the sleeve out
to the right side, and
check that the elasticized
to give a neat finish. This between the two rows of edge is even.
will also help prevent the machine stitching. Secure
elastic from twisting. the ends together, stitching
an X for strength.
54
Details & Finishes
MAKING A TURN-BACK CUFF

Use a medium-weight fabric or one with enough body to give
you the circular cuff shape. It is simpler to cut this cuff as an
extension of the sleeve. Fold it back on to the sleeve’s right side,
leaving a narrow band to form a shallow hem on the inside of the sleeve.
Zigzag stitches on
raw edge of seam
Interfacing
Sleeve end
wrong side Foldline
1 Using tailor’s tacks (see Tip 34), mark the

foldline and the turn-back line at the cuff
end of the sleeve. Apply fusible interfacing to
2 Stitch the sleeve seam, including the cuff.
Zigzag stitch the raw edges of the seam
above the cuff. Press the seam open, then
the wrong side, between the foldline and the trim the seam allowance between the raw
turn-back line, then remove the tacks. edge and foldline. Zigzag stitch the raw edge.
Wrong side
Press lower
edge
Foldline
Tack just in from

finished edge
3 Fold the cuff to the

wrong side of the fabric
along the foldline. Pin the
4 Turn the sleeve right
side out, then fold the
cuff to the right side of the
5 Turn the sleeve back
to the wrong side
out, then hemstitch the
zigzag-stitched edge to sleeve. Press around the zigzag-stitched cuff
the sleeve. Press the fold fold. Baste through all the edge to the sleeve.
around the lower edge. thicknesses around the Remove the basting,
Baste around the edge, cuff 5⁄8in (1.5cm) from and press the cuff.
and remove the pins. the zigzagged edge.
55
Details & Finishes
MAKING A PATCH POCKET

The key to achieving a professional look with a pocket is to take
great care when you position it so that it’s not lopsided. To make a
pocket, cut a piece of fabric to the required size and shape, neaten
the raw edge with zigzag stitches, then fold 3⁄8in (1cm) of the fabric to the wrong
side all around the edge. Secure the corners with a few stitches, then iron flat.
1 On the right side of your garment, mark

with a chalk pencil where the top edge of
the pocket should go, then place the wrong
2 To make sure it stays in place when you
come to machine stitch it, baste from one
corner of the pocket all the way around to
side of the pocket on the right side of the the other, staying close to the finished edge.
garment, aligning the top edge with your Be sure to leave the top of the pocket open.
marks. Pin the pocket in place. Remove the pins once you finish basting.
ALTERNATIVE METHOD
If you would rather not have visible
top-stitching, you can attach the pocket
by hand instead. Follow steps 1 and 2
above, then use a slip stitch (see Tip 15)
with a matching thread color through
the folded edge of the pocket. Don’t pull
the thread too tight while working, or the
pocket will wrinkle.
3 With the pocket face up and using a

straight stitch, machine stitch about 1⁄32in
(1mm) from the edge of the pocket, next
to the basting, to create a neat line of
top-stitching around the sides and bottom of
the pocket. Remove the basting, and press.
56
Details & Finishes
MARKING If the skirt is for you,

A HEMLINE you’ll need a helper
to hold a measure,
Hems are usually such as a wooden
the last thing you ruler, and read the
measurements
stitch on a garment. Stick to a
simple turned-up hem (see Tip
80), which you can hand stitch
in place. Before marking the Your helper should use
hemline, hang the garment for pins to mark where the
crease line of the hem
24 hours. When you are ready should be; then mark the
to mark the hemline, try on the hemline all the way
around to the same
garment with the underwear, point on the ruler
belt, and shoes you would wear
with it. Pin the hemline, and
use a tape measure or similar
measuring instrument to check
the hem is even all around
Wearer should stand
before you start trimming. still and upright
TURNING UP A HEM
You cannot finish and stitch the hemline until you have first turned up,
pinned, and trimmed the hem allowance. Make a smooth, continuous
hem by aligning the grainline at the center front and center back, and
at the side seams, with the same grainlines and seams on the hem allowance.
1 Gently press the foldline of the hem

with the iron. Do not press too hard,
because you don’t want a sharp crease.
2 Turn up the hem at the crease, taking
care to match the seams together,
then baste the hem into position close
Next, trim back the seam allowance to to the hemline. You can now stitch
reduce the bulk. You may also neaten the hem in place either by hand or by
the raw edge if you wish. machine, whichever is your preference.
57
Details & Finishes
HAND FINISHING ZIGZAGGED

HEM EDGES
For fabrics that do not fray too badly, you can use a machine
to seal the raw edges, then sew the hem by hand. Start by
setting the sewing machine to a zigzag stitch of width 4.0 and length 3.0.
Fabric edge
trimmed back to Hem sewn
zigzag stitch in place
1 Machine stitch along the raw edge, then

trim the fabric edge back to the zigzag
stitch. Turn the hem onto the wrong side of
2 Fold back the zigzag-stitched edge.
Using a hemstitch, stitch the hem into
place. Roll the edge back into position,
the garment, and baste near the foldline. remove the basting, and press lightly.
HAND FINISHING PINKED

HEM EDGES
Pinking shears can give an excellent hem finish on difficult
fabrics. Once you have pinked the edge, you can then hem by
hand, as usual.
Edge pinked after

line of stitches has
been made Hem stitched in
place
1 Machine stitch a row of straight stitches

along the raw edge, 3⁄8in (1cm) from the
edge. Pink the raw edge. Turn up the hem to
2 Fold back the edge along the line of
machine stitches, and hand stitch the
hem in place with a hemstitch. Roll the
the wrong side of the garment, and baste in hem back into place, remove the basting,
place close to the creaseline. and press lightly.
58
Details & Finishes
FINISHING CURVED HEMLINES BY HAND

With a curved hem on a cotton or firm fabric, it is important that any
fullness does not bulge onto the right side. Finishing by hand after
machine sewing gives a neat result. Before you turn up the hem into
position, zigzag the raw edge with a stitch width of 4.0 and length 3.0.
Pins placed
vertically Basting stitches
near crease line
1 After zigzagging, machine stitch a row of

straight stitching 1⁄8in (3mm) below the
zigzags, stitch length 5.0. Leave long threads
2 Pull on the straight stitching to tighten
the fabric. Roll the zigzagged edge back
to the straight stitching, and hand stitch the
at the ends. Pin the hem in place, with the pins hem in place with a hemstitch. Remove
vertical. Baste the hem near the hemline. the basting and press lightly.
MACHINE STITCHING
A DOUBLE-TURN HEM
A double-turn hem is a quick and easy way to conceal a raw edge.
It will also add a little weight at the edge of the work.
Fold, then
fold again Straight stitch
1 Fold up the raw edge of the fabric once,

and then fold again. Pin the hem in
place, then press it.
2 Machine stitch the hem using a straight
stitch, close to the upper fold.
59
Fastenings
FASTENINGS
MACHINE-MADE BUTTONHOLES
With a modern sewing machine, it is possible to stitch various
types of buttonholes. Often, the button fits into a special foot on
the machine, and the size of the hole is determined by a sensor.
After the job is done, use a buttonhole chisel to make sure the cut is clean.
BASIC BUTTONHOLE ROUND-ENDED KEYHOLE BUTTONHOLE

The most popular buttonhole Lightweight jackets often With one square end and
shape is one that is square have buttonholes with one one keyhole end, this is
on both ends. round and one square end. used on jackets and coats.
STAGES OF A BUTTONHOLE
A sewing machine stitches a buttonhole in three stages.
Although the stitch can be varied slightly in width and length to
suit the fabric, the stitches must be tight and close together.
1 Machine stitch the first

side of the buttonhole. 2 Stitch a bar tack at one
end of what will be the
buttonhole.
3 Machine stitch the
second side, and then
bar tack at the other end.
60
Fastenings
SEWING ON A SEWING ON
FLAT BUTTON A SHANKED
Flat buttons tend to come BUTTON
in two-hole and four-hole To make it easier to attach
varieties. A four-hole version is stitched a shanked button, you need to have a
the same as a two, except the threads swizzle stick to hand to help you make
make an X over the top of the button. a thread shank.
1 Position the button on the fabric, and start

with a double stitch and double thread in
the needle. With a swizzle stick on top of the
1 Position the button on the fabric, and
place a swizzle stick beneath the fabric,
behind the button. Use double thread to
button, stitch through the holes, over the stick. stitch the button to the fabric.
2 Take out the swizzle stick, then wrap the

thread around the loops under the button
to form a shank.
2 Make sure that each stitch goes around
the swizzle stick that is underneath
the fabric.
3 Take the thread through to the reverse

side of the fabric, and buttonhole stitch
over the loop of threads at the back.
3 Remove the swizzle stick, then work the
buttonhole stitching over the looped
thread shank beneath the fabric.
61
Fastenings
ADDING A HOOK & EYE

A hook-and-eye fastener is often used at the top of a zipper to
prevent it from pulling open, but you can also create a decorative
effect by using a series of them together as the sole closure.
Hooks and eyes come in a range of sizes and shapes suitable for any project.
1 Secure the hook and eye

in place with a basting
stitch on each. Make sure
2 Stitch around each of
the circular ends with a
buttonhole stitch. Be sure
3 Place a few overstitches
beneath the hook to
prevent it from moving.
they are in alignment with not to stitch through to the Again, don’t go through
each other. right side of the fabric. to the right side.
ADDING SNAPS
Also known as poppers or male-and-female fasteners, snaps
hold two overlapping edges closed. The male side goes on top
and the female side underneath. Snaps are available in metal
or plastic and may be round or square.
1 Baste the male and

female halves of the snap
in place, making sure that
2 Secure them in place
permanently using a
buttonhole stitch through
3 Once you have added
the permanent stitching,
remove the basting thread.
they align correctly when each hole in the outer rings.
the two fabric parts are Don’t sew through to the
brought together. right side of the fabric.
62
Fastenings
ADDING A LAPPED ZIPPER

A zipper in a skirt or dress is usually put in
using either this lapped technique or the
centered technique (see Tip 92). A lapped
zipper features one side of the seam (the left-hand side)
lapping over the teeth of the zipper to conceal them. Equip
your sewing machine with the zipper foot before starting.
Seam allowance
folded under
Line of basting
stitches
1 Stitch the seam, making sure

you leave enough of it open to
accommodate the zipper. Secure
2 Insert the right-hand side of the zipper. Fold back
the right-hand seam allowance by 1⁄2in (1.2cm).
This folded edge will not be in line with the seam.
the end of the stitching. Place the folded edge against the zipper teeth. Tack.
3 Using the zipper foot,

stitch along the baste
line to secure the zipper
4 Fold back the left-hand
seam allowance by 5⁄8in
(1.5cm). Place the folded
5 Starting at the bottom
of the zipper, stitch
across from the center
tape to the fabric. Start at edge over the machine line seamline, then up the left
the bottom of the zipper, and of the other side. Pin and side of the zipper. The
work your way to the top. then baste. zipper’s teeth should be
covered by the fabric.
63
Fastenings
ADDING A CENTERED ZIPPER

With a centered zipper, the two folded edges of the seam
allowances meet over the center of the teeth, concealing
the zipper completely. As for a lapped zipper (see Tip
91), fit the zipper foot to your sewing machine before you begin.
Machine
stitch right
to end of
zipper tape
1 Stitch the seam, leaving a

gap for the zipper. Baste
the rest of the seam, then
2 Center the zipper behind
the basted part of the
seam, then pin and tack in
3 Machine stitch the zipper
tape to seam allowance.
Secure both sides of the tape
lightly press the seam open. place along both sides. to the seam allowances.
4 Working from the

right side, stitch
down one side of
the zipper, across the
bottom, and up the
other side, through all
layers. Finally, remove
the basting thread.
FINISHED ZIPPER
A professional-looking
zipper may seem
challenging, but it’s
perfectly achievable.
64
Make Do & Mend
MAKE DO & MEND

CLOTHES MENDING KIT
Repair work can extend the life of your favorite Fusible mending tape
clothes or furnishings. The key to successful
repairs is often to mend as soon as possible,
before further damage occurs, creating an even bigger
job to fix. Shown here are just a few of the useful items
you should have in your repair kit.
Surface for
darning on
Double-sided tape
Safety pins
Use as alternative
to basting
Darning
mushroom Fabric glue Velcro
TRAVEL KIT
It is useful to have a scaled-down
version of your home repair kit
that you can take with you when
traveling—on vacations, for example.
That way, you need not overpay for
mending or struggle with language
barriers. Useful contents might
include: miniature scissors, a needle
threader, a couple of generic buttons,
a foldable tape measure, a thimble,
some safety pins, a handful of needles
of various sizes, and threads of a few
different colors.
65
Make Do & Mend
REPLACING ELASTIC
If elastic comes unstitched within a waistband or loses its
elastic quality and needs to be replaced, it can be dealt
with quite simply.
1 Start by unpicking a
seam that can be found
along the waistband (or
2 Pull the elastic through
the gap and cut through
it, holding the ends to avoid
3 Use the old elastic to pull
the new elastic through
the waistband. Sew the ends
whatever the casing is for losing it. Attach new elastic of the new elastic together,
the elastic). to one end with a safety pin. and fix the unpicked seam.
REPAIRING A BROKEN ZIPPER

Zippers can break if they come under too much strain, and they
may need to be replaced completely. However, if only a few
teeth have broken low down on the zipper, a repair is possible.
1 Where there are broken

teeth, the zipper pull will
be attached to one side only.
2 Carefully feed the teeth
on the broken side into
the top of the zipper pull.
3 Just above the broken
teeth, hand stitch over the
zipper using double thread.
Move it up so it is alongside This makes a new stopping
the gap on the other side. point for the zipper pull.
66
Make Do & Mend
MENDING A SPLIT IN A SEAM

A split seam can be very quickly fixed with the use of some
fusible mending tape, an iron, and a little new stitching.
1 Where the split has

occurred, unpick the
stitching on both sides,
2 Apply fusible mending
tape over the split and
the seam on each side of
3 The repair will not be
visible on the other side.
(Contrasting thread was
and press the fabric back the split, then restitch with used in this example for
into shape. a thread of matching color. increased clarity.)
ADDING A PATCH BY HAND

Hand-patching a patterned fabric can make for an almost
invisible repair if you are able to use a small piece of fabric
from elsewhere on the same garment. The repair shown
below is suitable for light- to medium-weight fabrics. Be sure to cut a
square or rectangle when trimming the hole to be mended.
1 Cut a hole in the fabric to

remove the damaged
part, then snip the corners
2 Take a patch from
matching fabric, align it
on the back of the garment
3 Working from the front,
use a small flat fell stitch
to sew the folded edges of
and turn under the edges by so that the pattern matches the garment to the patch.
about 3⁄16 in (5mm). Press. up, and baste it in place. Remove the basting. Press.
67
Make Do & Mend
ADDING A NO-SEW PATCH

Children’s clothes are particularly susceptible to tears, and one of
the best ways to deal with them is to use a fusible patch of some
sort. This is a really simple process.
1 Position a fusible patch directly over the

damaged fabric, and pin it in place. 2 As per the directions, apply heat to fuse
the patch to the fabric. Remove the pins.
DARNING A HOLE
For this repair, you need to use a darning mushroom (see Tip
93) to support and stretch the fabric slightly. Choose a thread
that matches the fabric, and work with a long darning needle.
1 To help strengthen the

damaged edge, first
make several small running
2 Work close rows of long,
flat running stitches
parallel to each other until
3 Lastly, fill in the stitches
by weaving the thread in
and out at right angles, also
stitches around the hole. you have covered the hole. catching the garment fabric.
68
Make Do & Mend
HOW TO FIX A BUTTONHOLE

A buttonhole can sometimes rip at the end, or the stitching
on it may come undone. When repairing it, use a thread the
same color as the fabric; a contrasting color has been used
here solely for the purpose of illustrating the technique.
1 In this example, on the

right side of the fabric,
the edges of the buttonhole
2 Stitch over the torn
edges by hand, using
a buttonhole stitch.
3 Reinforce the ends by
making a few small
overcasting stitches.
stitching have torn and
come unravelled.
REPAIRING BENEATH A BUTTON

The threads that hold a button in place can have a fair amount
of strain put on them, and the result of this may be damaged
fabric where the button was attached. This needs to be
repaired before the button can be reattached.
1 The damaged area is

clearly visible on the right
side of the fabric where the
2 Place a patch of fusible
interfacing on the wrong
side of the fabric to cover
3 Work machine or running
stitches over the right
side to strengthen the hole,
button has come away. the hole. then sew the button back on.
69
Index
INDEX
AB DE G
acetate fabrics 13 darning holes 68 gabardine 13
armholes darts 30, 42–4 gathers 44–5
facings 39 double-turn hems gingham 12
set-in sleeves 52 59
backstitch 17 elastic H
basting, trace 28 elasticized hems 54 hems
basting stitch 18 replacing 66 curved hemlines 59
basting thread 15 double-turn hems 59
bias strips F elasticized hems 54
bound necklines 49 fabrics 12–14 marking hemlines 57
cutting 37 cutting out 27 pinked hems 58
joining 37 dealing with fullness pressing 31
neatening facings 40 42–5 sleeves 53–4
bobbins, sewing machines patching 67–8 turning up 57
11 pressing 29–31 zigzagged hem edges
bound necklines 48, 49 selvedges 26 58
bust darts 42 facings 39–41 hemstitch 19
buttonholes 60 armholes 39 herringbone stitch 19
repairing 69 attaching 41 holes, darning 68
buttons 61 interfacings 38–9 hooks and eyes 62
repairing beneath 69 neatening edges 40
necklines 39, 41, 48 IK
C fastenings 60–4 interfacings 38–9
buttonholes 60 collars 50
cashmere 13 buttons 61 cuffs 55
centered zippers 64 hooks and eyes 62 repairing beneath buttons
challis 13 snaps 62 69
chambray 12 zippers 63–4 waistbands 46
chiffon 12 faux fur 14 irons 10
clipping curved seams 36 fish darts 44 pressing 29–30
collars 50–1 flat collars 50–1 knots, securing thread 17
corners, stitching 34–5 flat fell stitch 19
cotton fabrics 12 French darts 42 L
cotton thread 15 French seams 33 lace 14
cuffs, turn-back 55 fur, faux 14 lapped zippers 63
curved hemlines 59 fusible interfacings 38, 39 layering seams 34
curved seams 35–6 fusible mending tape leather 14
cutting out patterns 27 65, 67 linen fabrics 12
cutting tools 8 fusible patches 68 lock stitch 20
70
Index
M polyester fabrics 13 slip stitch 18

male-and-female fasteners polyester thread 15 snaps 62
62 presser feet, sewing stitches
marking tools 9 machines 11 hand sewing 18–19
markings, patterns 25 pressing 29–31 securing thread 17, 20
measurements darts 30 sewing machines 20–2
choosing a pattern 23 fusible interfacings 39 tailor’s tacks 27
measuring tools 9 gathers 45 stretch fabrics 22
taking measurements 24 hems 31 synthetic fabrics 13, 29
mending kit 65 pressing tools 10
metallic fabrics 14 seams 30 TUV
multisize patterns 25 sleeves 31 tailor’s buttonholes 60
reducing bulk 34, 36 tailor’s tacks 27
NO repairs 65–9 temperatures, pressing 29
natural fabrics 12–13 reverse stitch 20 thick fabrics, darts in 43
neatening facings 40 threading needles 16
neatening seams 22 S threading sewing machines
necklines 48–9 scissors 8 20
bound necklines 48, 49 seam guides, sewing threads 15, 17
collars 50–1 machines 21 tools 8–11
facings 39, 41, 48 seams top-stitch thread 15
needles 10 curved seams 35–6 top-stitching 21, 56
threading 16 French seams 33 tracing paper 9, 28
no-sew patches 68 layering 34 trace tacking 28
nonfusible interfacings 38, mending splits 67 tracing wheels 9, 28
39 neatening 22 travel kits 65
notching curved seams 36 plain seams 30, 32 turn-back cuffs 55
overedge stitch 22 pressing 30 tweed 13
seam allowances 26, 31 understitching seams 36
PR stitching corners 34–5 vinyl fabrics 14
patch pockets 56 understitching 36
patches, repairs 67, 68 self-hems, sleeves 53 W
patterns 23–8 selvages 26 waist darts 42
cutting out 27 sequinned fabrics 14 waistbands 46–7, 66
laying out 26 set-in sleeves 52 wool fabrics 13
markings 25 sewing machines 11,
measurements 23–4 20–2 Z
multisize 25 shanked buttons 61 zigzags 21
reading 25 shantung 12 curved hemlines 59
seam allowances 26 shaping 42–5 hem edges 58
tailor’s tacks 27 silk fabrics 12 neatening facings 40
perforated interfacings 38 silk thread 15 neatening seams 22
pinking skirts, gathers 44–5 zippers 63–4
edges 22 sleeves 52–5 repairing 66
hems 58 hems 53–4
neatening facings 40 pressing 31
pins 10 set-in sleeves 52
pockets, patch 56 turn-back cuffs 55
71
Acknowledgments
ACKNOWLEDGMENTS
Sands Publishing Solutions would like to thank

Hilary Mandleberg for her efficient consultancy work during the project,
as well as for her assistance in fine-tuning the contents at the outset;
Tia Sarkar at DK for her helpful sewing-specific editorial input;
Natalie Godwin for design assistance;
and the ever-brilliant Hilary Bird for making such swift work of the index.
Dorling Kindersley would like to thank the following photographers:

Peter Anderson, Andy Crawford, Ruth Jenkinson, Dave King, Laura Knox,
Simon Murrell, Kate Whitaker.
All images © Dorling Kindersley.

For further information, see www.dkimages.com
72

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Available Formats

101 ESSENTIAL TIPS

Breaks down the subject into 101 easy-to-grasp tips

First American edition 2015

36 .................................Trace tacking BIAS STRIPS,

TOOLS, FABRICS &

Small blades for cutting

Large blades for

Zigzag blade helps

Blade cuts through

Flat sharp edge for

TOOLS FOR MEASURING & MARKING

Tape measure Extra-long tape measure

Handy small tape

Retractable tape measure

Chalk cartridge pencil

Water- or air-soluble pen Tracing wheel and tracing paper

PINS & HAND- SHARPS

Head makes for DARNER’S

TOOLS FOR PRESSING

Pressing Pressing cloth, Pressing

Thread take-up lever Bobbin winder

NEEDLES, BOBBINS & FEET

MACHINE NEEDLES BOBBINS PRESSER FEET

COTTON-&-LINEN MIX PRINTED LINEN

CHALLIS TRADITIONAL TWEED

LEATHER FAUX FUR

COTTON THREAD POLYESTER THREAD

TOP-STITCH THREAD SILK THREAD BASTING THREAD

1 Hold the needle in your nondominant

Push diamond- Pull wire loop

1 Start by pushing the tip of the needle

Tie single knot,

Tie knot at one

MAKING A KNOT DOUBLE STITCH

USING A BACKSTITCH TO SECURE

HOW TO BASTE Stitches need not

Slide needle into fold on other side

1 Working along the top of the fold creases,

FLAT FELL HERRINGBONE

Flat fell stitch Herringbone stitch

TYING THE ENDS

1 Pull gently on the top

LOCK STITCH REVERSE STITCH

SEWING STRETCH FABRICS

OVERLOCK STITCH PINKED EDGE ZIGZAGGED EDGE

HOW PATTERNS WORK

TAKING VITAL MEASUREMENTS

BUST OR CHEST FROM BACK OF NECK TO WAIST

READING A PATTERN ENVELOPE

DEALING WITH MULTISIZE PATTERNS

Where only one

Place-to-fold line Button position

Lengthening and Dart

The fabric allowed for on a

FABRIC GRAIN & NAP

Selvage Straight grain

HOW TO LAY OUT A PATTERN

1 Pin the pattern in place

1 With the pattern pinned to the

IRONING & PRESSING

USE THE DIAL

PRESSING A PLAIN SEAM

1 Place the fabric right side down on the