BONUS * FuLi-size pattern insert Rao creating’ //» with fabri¢ +, Ra ) f leath: + SUEDE! tate | draft a skirt TC in a snap!PeaceFEATURES 12 luxe look-alikes and tips for ther and suede pat 24 drafting a custom skirt Learn how to drape and PROJECTS 33 SANDRA GEIGER fabulous felt Get creative with wool felt DEPARTMENTS in 1 colorful designs if ing j recycle runway « babyville sewing i boutique # sleeping bag in 3 dimensions Meet felt designer ‘Anne Kyyré Quinn 48 project « sew wild + more sew deluxe Showcase luxurious texture 3 editor's note icous ster vith leather and suede projects 6 what's new + cool 8 sow boutique 54 ; a modern holiday 22 Sew fun projects for celebrating 67 the holidays in syle — 60 , surface tension eriment with fabric manipulation Unique texture effects (ON THE COVER: Wool Petals Pillow by Kevin Kosbab, page 4ae stitch CHIC veasaen Enon Stan Beata ‘PROJECTS EDETOR Katrina Loving Renewal See PHOTOGRAPHY Joc Hancock missoterateiie) # PHOTO STYLING Far Chav HAIR & MAKEUP Kathy Mckay * ILLUSTRATION “nn Sabin Swanson ‘recuMicaL EDITORS Rebecc1 Kemp Brent, Kevin Kosbab Kerry Smith, ernie Kulise CONTRIBUTING EDITOR Nicole Smith ‘coy eprrons Karen Ley, Veronica Patterson [PRODUCTION DIREGTOR Trish Fauhion # PRODUCTION EDITOR Nancy Amt ‘PRODUCTION DESIGNER Kate Hinder ‘PUBLISHER Joy. follon, Fig, © EDFTORIAL DIRECTOR Fo} Bolton MEDIA SALES DIRECTOR Jule Macdonald + ADVERTISING MANAGER SszbaraStascak [AD -TRAFFIGKER Nclssa Marie Brown # MARKETING DIREGTOR Mary Kincannon CIRCULATION DIRECTOR Bol Kasi » CIRCULATION MANAGER [od Smith Ineoeave Stich OSS 160 6836 abide five mes per eat by Inereave Pest LIC 20° Fourth St Loveland, CO 805373635 (97) 8657672 Allomtns ofthis sat of Irene Stich arecopysphted by nteraeave Pes C20 Argh reseed Poet ar nfomation ae frnprtion peso ‘oly Reproduction in whole ot in partis probblted except by pen ofthe pulser, neraeae Stichdoes not recommend ara. orendore any ofthe adverse rst. vices or views 36ver ‘ed in Fervent Sitch Nor docs IntereaveStichevalate the avertizes claims in any way. You hou, therefore, ee your own judgment in evaluating the advertises product, services, an views vetoed in Ineroeate Sch Vist the lervesve website at nerwenvecom, For averting informa tin, al Barbara Stara at (78) 497-7750 emal xtaszakoterweavecom o via the website 3 om orwite oImeroee S nguries, all (00) 2722193, email sttchsubmissions@interwea = INTERWEAVE Something old is new again, Ingen Pablsr Since 1975 Ge! the free insiruction to make this revo chic tea towel tote at FOUNDER Lindaligon © eb0 Clay 8 Hall Simplicity.com Fo Troy Wells = SEMIOR vPs Jolin P.Belion, ob Kasi, Stephen Koei \VP EVENTS & EDUCATION Sos Dumford * VP TBCHNOLOGY T]. ast) \VPPEOPLE OPERATIONS Aaron Wilmot = VB PRODUCTION Trish Foubion MAGAZINES FIBER DIVISION Intrvemve Crochet # Iferoave Kris « Handwoven PiseWork = Spin Off» Cloih Paper Score » Qing Aree ART & JEWELRY DIVISION Ainerisan Arist © Beadwork * Drowing » fly Artst Sep By Sep Wire feuey = Stringing = Waterlor » Worksop ‘Shop Our Website For: Books Innovative Machines, Patterns, PuBLiswE Siephen Koenig # EDITORIAL DIRECTOR Narlene lesing alt Tools, Trimmings, [ACQUSIFIONS EDITOR Allison Korlski # ARF DIREGTOR Lis Quan Free Projects & ‘PRODUCTION DIRECTOR Kristen Heller Saw Much More! For questions regarding our book rogram, all (970) 6697672 ‘Monday-Friday. too am.-s.00 pm, oremail books Peeters Visit our vebsite interweave.comPCr emer eet teed rote errs Cee een Cy een SB] 2° Mol Sie ee x 2 2° GIS & [aen BERNINA® Fhis is the beginninge of something beautiful. — BERNINA? ® Love every project more with the BERNINA 3 Series. Step up to a machine that won't hold you back: The BERNINA 3 Series. Our affordable new line combines superior performance, outstanding durability and incredible Swiss engineering. Learn more about the machine you've been longing for at www.berninausa.com/3series.net editor's note your fabric TMON AMISSION. ‘My goal is to encourage and inspire all my friends (we're friends, right?) to sew with fabric types they have never sewn with before. Now, don't get me wrong—1 Jove beautiful quilting cottons just as muchas the next person, and Thave plenty of them in my stash. But am really drawn to fabrics with interesting textures and fiber characteristics—from doupionni silk and satin, tosweater knits and nubby wool tweeds to luscious velvets and corduroys,and the list goes on and on, Texture totally hooks me, and even if ve never sewn a particular fabric type before, am not deterred, Some sewing tips, the right machine needle, anda little bit of stitching practice on test swatches areall you xnced to expand your fabric horizons. So our Winter issue celebrates texture. t's the perfect time of year to work with heavier, textured fabrics and sew something that not only looks good but aso feels, good to touch. In the pages that follow, we'll show you check it out Serene perenne Careers Eres street! Bde an oo Picea Pitesti ieromg sian exciting projects you can make with wool felt plus sewing techniques and projects for faux suede and leather. Youll also learn ways to make your own texture by manipulating fabric to create smocking, pintucks, trapunto, exposed seams, and more. And just for fan, \welll get you ready for the holidays with moder gift ideas and décor for entertaining in style. Need a little inspiration to get motivated? Check out our profile on Anne Kyyrd Quinn and see the arts. tic designs she creates with wool felt. Then learn how todraft two versions of your awn custom straight skirt ‘hat will ake you from the office toa holiday party. ‘Oh, yeah, we have some sewing todo. Let the fun Happy sewing! a stitchsubmissions @interweave.com Fcc ene ete eed es eee eco) Persea retort e PT ces ee ER roy Tess CCR sao Ce Peel ed with cont6 sewing room Editors’ picks for products, tools, books + nations Text NICOLE SMITH ‘Transfer your own dasigns onto fabric surfaces and more with ease using IRON-ON TRANSFER PENS from Sulky. z Simply trace your design onto paper then iron the design directly onto your project. The transfer process works on anything that can withstand the iron's heat—fabric, wood, needlepoint canvas, and more. Sul, sullg.com, 4.49 for colored pens: $6.99 for white Find the motivation you need to create your own fashion designs in the BURDASTYLE SEWING HANDBOOK. BurdaStyle recruited designers from its global online sewing community to contribute projects, photos of their sewing spaces, and sewing advice for this inspiring book. You'll also find five master patterns that are fully customizable, including a skirt, top, dress, and coat along ‘with fifteen projects hased on those patterns. The BurdaStyle Sewing Handbook by Nora Abouset with Alison Kelly Pater Craft, $2999. ‘Vintage fabric lovers everywhere will adore the DRESSMAKING COLLECTION from Vintage Notions by Amy Barickman. Based on the style and imagery of her hook Vintage Notions, the fabric collec- tion features images of retro notions and other stitching nostalgia on cotton fabric. The Vinage Workshop, thevintageworkshop.com. what's new +cool Create stylish ornaments and jewelry with the MY CHRISTMAS, ZIPS pattern set by Robin Mackin- tosh. The set includes instructions {for using zipper tapes to create ten fashionable and unique projects. Use them to decorate the tree, give as a sift, or adorn a present. Indjgo Junction, indygojunctioncom, $9.9, ‘Adapted from articles that appeared in Threads magazine, the THREADS SEWING GUIDE is a terrific reference to have in your sewing room, covering topics that are useful for both novice and advanced sewers. You'll find ev- ‘erything you need here, from choos- ing fabrics and seams to tailoring and couture techniques. Threads Sewing Guide: A Complete Reference rom America's Best-Loved Sewing Magazin, Taunton, $34.95,simple , techniques FANTASTIC RESULTS Twelve Ways to Add Texture to Fabric, Craft and Mixed-Media Projects Add a touch of handmade whimsy to your home with Rubbing Plate Roundup, by Shelly Stokes, these delightful EMBROIDERY WALL ART KITS is your perfect craft room companion for from Penguin & Fish. They’re available in six differ- creating visual and tactile textures for ent designs, each featuring a loveable animal. The kits fabric, craft and mixed-media projects! contain everything you need, including instructions, Emboss metal, fol fabric, make gelatin fabric, embroidery floss, needles, ribbon, and an em- prints - and moral Pre-order your copy broidery hoop. When finished, each design measures 8" ‘today! Sea wabelta for detalle, (205 cm) in diameter. Penguin & Fish pnguinandishcom, $18 ‘The new 5” (12.5 cm) long PRECISION APPLIQUE ‘SCISSORS from OLFA are perfect for sewers looking to get into tight spaces to ccut precise edges or remove stitches. The large handles are ergonomically designed for hoth left- and right-handed sewers and the stainless steel blades are strong enough to cut through multiple fabric layers. OLFA,ofacom, $24.99 Great things come in small packages with these SEWING CARDS by fabric designer Valori Wells. Featuring stylish projects with complete in- structions inspired by her signature prints, the cards are each about the size of PAINTSTIKS » RUBBING PLATES a traditional greeting card and make great gifts. The STENCILS + BOOKS + PATTERNS patterns include quilts, accessories, garments, toys, crafts, and more. Valori Wells, stichinpostcom, $36 www.cedarcanyontextiles.com 877.296.9278 7sewing room Sew Recycle Runway Creating wearable art for environmental awareness ‘ext LINZEE KULL MeCRAY Most of us demand more froma dress than just good looks—at the very least, we'd like tobe able to sit down in it. But that’s not {important to Recycle Runway creator and artist, Nancy Judd. She's happy if dress she creates raises awareness, even ifthe glass shards, rusty nails, orjunk mail sh ie ©@®@ stitched it from require her to remain stand: ing tomake a point Taking something our culture has a visceral reaction toand making itinto something elegant and beautiful zeally gets ry juices flowing.” says judd, whose Recycle Runway garments include a textural faux furcoat of discarded video and cassette tapes anda flirty ruled skirt and bolero made from inner tubes. The idea of turning resources destined forthe dump into one of akind fashion grew froma project Judd initiated when she served asthe recycling coordinator for the city of Santa Fe, New Mexico. "Waste doesn't exist, only wasted resources, she says ‘Today, companies such as Target, Toyota, and Delta Airlines commission her work, She also shares her wearable eco-ashions in educational workshops and exhibitions around the country. Like any sewist,Judd derives inspiration from her “fabric.” A recent examples a com: ‘mission for the town of Lincoln, Oregon When she learned that plastic bags in the ‘ocean posed a problem for the community, she worked with Lincoln residents to turn those bags into a jellyfish gown. “Theat Reese: From inspiring people to hot trends, check out the news from, around the sewing world, tributes ofthe materials really su style of the dress,” she ays, “For me, creativ ty is about being given a set of parameters and then problem solving.” ‘Though Judd learned her sewing con struction methods by efashioning vintage Aressesasa teenager, she sees her sculptor more than a seamstress, Her work, she says, init about encouraging people to wear or make clothing out of trash I's about getting people to think about resources innew ways.“Tbelieve each of ushas the ability tomakea positive impact on the environment and the people around us" she says."When we apply our creativity to the challenge of living amazing, and inspiring things can happen. ter on the earth, fun, For more information, visit RECYCLERUNWAY.COM. Far Lett: Environmental Steward-ess enn trom worn-out leather seat covers from Delta planes with a cape made from Safety cards, Sky Magazines, ld plane tickets, and pretzel wrappers Left: Tirless Couture, made from bieyle ine tubes and car tires. Above: Giase Evening Gown (worn by Nancy Jude), made from 12,000 places of recycled glaze,BABYVILLE BOUTIQUE DIY diapers for crafty parents ‘Text TRICIA WADDELL Fueled by natural and eco-conscious parenting trends and the Internet, cloth diapers are making a huge comeback. Cloth diapers have long been considered amore budget tiendly option than disposables and today, crafty parents ofa new generation are sewing custom-made diapers for thir litte ones. Popular online forums such as Diaper Sewing Divas and CCafé Mom have been hubs for support and information on sewing cloth diapers and diaper covers. But many parents lament how litle information and product sup port there is forcloth diaper sewing. ‘When Jean Kievlan, a designer and craft industry consultant, was search {ng for diaper sewing resources to outfit her new grandchild, she saw a gap inthe ‘market that needed tobe filled. “I began looking fr diaper pattems and found there were only afew in the retail stores, and the fabric and other needed supplies had tobe ordered through catalogs or the Interne," says Kiewlan. “Tused what ‘was available and made a few diapersand covers, but Iwas not completely satisfied withthe results. knew there had to be better way to construct the diapers, so started deafting my own pattern. With the help of some online research, finally ‘ade a cloth diaper that relly ft my new grandson” Having worked inthe craft {industry she recognized an opportunity twoffer better patterns anda more conve nent way to purchase supplies. So she teamed up with Elie Joos,a ‘marketing consultant and craR-industry veteran, and Prym Consumer USA to create Babyville Boutique, diapering and accessory line. The line features water proof, breathable polyurethane laminate (PUL) fabrics that are colorcoordinated inprints and sols, packaged as 2x 24" (635 x 61cm) diaper cuts, plus foldaver ‘Top: Sew color-coordinated cloth diapers with fun Smbolishmente. Right ‘The Babyvile Boutique line includes pre-cut dlaper fabric, tims, Closures, and more, clastic, colorful plastic snaps, colored Z-Adjust Tape, and buttons for closure ‘options, The diapers can be personalized with coordinating custom-designed labels and appliqués ‘To support the program, Prym has published two sixty page sewing project books by Kievlan and Joos, Cloth Diapers ‘Made Easy and Baby Essentials Made Easy: Quick Projects for Baby & Nursery, featur ing related baby sewing projects such as, bibs, changing pads, and diaper bags. The product line is available at Jo-Ann Fabrics, Hancock Fabrics, and Hobby Lobby. For more information visit OM. 20 0 9 interweavestitch comTHE SEWING WORKSHOP Patter, 800.466.1599) Pee cece a tts em crlsecrerccs Parr THE PROJECT Helping the homeless one stitch at a time ‘ext LINZEE KUL MeCRAY Flo Wheatley never forgot the day that homeless man appeared and helped herand her very sick son negotiate the [New York subway syster. He carved their suitcase led them to wansfr trains, and managed to hala cab on that rainy day ‘Though Flo never saw the man again, she never forgot his parting words—"Dor't abandon me.” Initially Flo wasnt sure how to honor his request. Then she noticed a man asleep under brie, covered by a pink blanket, and realized what she could do. She would use her sewing skills to make simple sleeping bags ‘Thus was bom the Sleeping Bag Project. During the fist yearin r985,she and her family used unneeded clothing 10 stitch eght7 x 7foot quilts that when folded over and tied shut could serveas sleeping bags. They named their efforts My Brother's Keeper. ‘Since tat time, hundreds of thousands ofthe simple sleeping bags affectionately nicknamed “Ugly Quilts," have been distributed. There are groups making and distributing sleeping bags inal fifty states and in countries outside the United States. ‘The Sleeping Bag Project's website has clear instruc tions for creating the bags, which are inexpensive, quick toconstruct, and makea great group project. The exteriors typically are pieced from large pieces of clean used fabrics, including clothing, linens, and drapes, The inner layers ‘made of recycled blankets, mattress pads, lberfil,o ight ‘weight clothing. The layersare tied with doubled crochet cotton fabric belts or men’ tes stitched tothe bags keep them securely rolled when notin use. Check out the organi zation’s website for alist of shelters that receive the bags and suggestions for finding local organizations that can help you distribute them,fesse eyed Peper Go from loose fibers to luscious Pee Nei eos Create professional quality products on eR RE Re RAT elk BT Crake a pies imagination. Until now, needle felting loom technology has not been available for use by the individual fiber artist, ee eer ee ee any ‘unique FeltLOOM®* all this has changed. Whether you work with alpaca, llama, angora or sheep wool, the FeltLOOM® puts the power of professional textile production in your hands. With a minimum of training and effort, you can be creating your own designs for anything from clothing, home furnishings to fine art. L A. E OPN ein cd eer cer oa to fabric with the FeltLOOM® today! fem nod aoa ESSE Ea ACP a eon) info@feltloom.com FeltLOOM® www.eltloom.com oreo Loy Cente a clavate anon Sener) Circus tere eee12 sewing room look-alikes Faux leather and suede can add luxurious texture to your next project with these simple sewing techniques Text LINDA TURNER GRIEPENTROG IT LOOKS LIKE LEATHER and acs like leather, but ist really ‘Chances are good it isnt! It could be one of the realistic looking, animal friendly options available at today's fabric stores FAUX LEATHER Coined from a combination of the words “plastic” and “ pleather came on the scene in the r9708.Some pleathers are made tomimic their on-the hoof counterparts, with embossed pattern: ing for crocodile, cheetah, snakeskin, nd so forth. Others are made tobe totally mod, in bright, shiny finishes and bold fashion colors. Pleatheris made from polyester, polyurethane, polyvinyl chlo ride (PVC) ora combination ofthese synthetic bers. e's lighter than Teather easier to care for,and some pleathers can be hhandwashed and others simply wiped clean with a damp cloth This fun fabric usually hasa knit or woven backing for easier sewing and to add abit of stretch tothe finished garment. Pleather 1s, rom lightweight and supple animal: y weights. The big ad her; pensi bo isavailable in many wi skin patterning to heavier grained upholst vantage: there's no worry about cutting between holes or matchi hides when the fabric comes by the yard. To make sewing easier, choose a pattern with simple lines and few construction details, Raglan sleeves work better than set-in sleeves. Avoid darts if possible, And it's best to purchase a littleextra fabric on which to practice stitching before you begin sewing your project SEAMING Use clips to hold layers in place for sewing or use alight application of glue stick, but only within the seam allowances ¢tigure D. ‘Sew with a Teflon foot to keep the fabric moving evenly. This is, especially important when you sew on the right side of pleather. If ‘you don't have a Teflon foot, place tissue paper or tear away stabi lizer along the stitching ine. ‘Use a longer than normal stitch length because small stitches ‘may perforate the pleather and weaken the seam. A small (9/65) Microtex (sharp) needle will help minimize visible needle holes. ‘you're sewing on heavy pleather, increase the needle size. Topstitching seams with along stitch (3.5 mm) helps to hold them in place. Seam allowances can be opened or turned to one side, and topstitching can be done with a straight or 2igaag, depend: ing on the desired look (see figures 2, 3, and 4). CUTTING When you cut a project from pleather, cuta single layer at a time. Ifyou must cut a double thickness, fold the fabric wrong sides to gether to avoid having the layers stick together. Cut projects using, a“with nap” layout to avoid shading concerns and place pins only within the seam allowances —pin holes are permanent! Bette yet, use weights for cutting, PRESSING Depending on the fiber content, pressing strategies vary, but don't ever press PVC pleather or it will simply melt, The knit backing ‘on the wrong side can be pressed with a cool iron and press loth, If you need to tame seams, use a clapper or wooden iron stick to “press” seams open or to one side. HEMMING AND CLOSURES Hemming can be done by hand, catching the knit hacking only, or hhems can be machine topstitched. For closures, think about zippers or hook and Joop tape, depending on the garment styling. Bast ing tape works well to hold zippers in place for stitching, Inseam Dbuttonholes are great on pleather cigure 5), but machine-stitched buttonholes often tear the fabric surface. If you choose to use snaps, reinforce the area with interfacing before inserting them. faux leather techniques 1 | Clamped seam ready for stitching 2 Single top- 5 |In-seam stitched seam buttonhole 4.| Zig zag top- stitched seam 8 | Double top- stitched seam 3 interweavestichcom'ssewing room TOOLS OF THE TRADE Check with your machine dealer for these accessory feet to help with sewing these quirky fabries. Al of them help op the fabric layers feeding evenly so you get professional looking tithing ROLLER FOOT Bigg LEATHER ROLLER FOOT oe TEFLON FOOT i] WALKING (EVEN-FEED) FOOT & FAUX SUEDE Insoft contrast literally) to pleather, Ultrasuede isa polyester microfiberipoly urethane faux suede, The fabric is non ‘woven, so cut edges wor't ravel Looking very much like real suede, Ultrasuede is available in three weights—Ultrasuede Light, Ultrasuede Soft, and Ultrasuede Ambiance. Decorator weights are aso available. Look for solids, embossed patterning, and animal prints. Youll find more than one hundred colors as wellas pattern combinations. Unlike real leather, Utrasuede breathes when you wear it, and i’ resistant to damage by abrasion, so it tends to look new longer than its real suede cousins. Itean be handwashed or machine-washed and. machine dried or dry cleaned, ‘Most Ultrasuede is difficult to ease, so avoid patterns with setin sleeves and other closefitting details. It's alsoa good idea toavoid styles with darts, unless you can convert them to soft gathers. Because Ultrasuede is costly, try a small project, such as belt orbag to get a fel for the techniques before tackling a garment Make a muslin to test ft any garment before cutting into the suede. Changing scams in Ultrasuede isnt an option because needle holes show. In areas where inter facing is needed, opt for fusible and trim away all seam allowances before fusing it in place. CUTTING Because it's nonwoven, pieces of Utrasuede canbe cut up to 45 degrees off gran, often saving fabric from the pattern layout diagram, Use a “with nap* layout to avoid shading, Pin only within the seamallow- ances because pin marks can be permanent, particularly in light-colored fabric Use sharp scissors ora rotary cutter and cut single layer if possible—the fabrics dense NEEDLE NOTES Use a size Solr2 universal-point needle on Ultrasuede for the best stitching quality. If you have a problem with skipped stitches, trya Microtex (sharp) needle. When you use heavier thread for topstitching, choose alarger needle to accommodate the thread size, A double needle works well for top stitching Ultrasuede because it keeps stitch rows parallelSEAMING Use roto 12 stitches per inch when seaming Ultrasuede and a slightly longer stitch for topstitching, ‘There are two Ultrasuede construction ‘methods — conventional and flat. They can ‘be used separately or together, depending ‘on the project and the fabric weight. ‘To sew a conventional seam, place the pieces right sides together and place narrow basting tape between the layers ‘within the seam allowance to prevent slip page (igure 1, page 16). Alternatively; you can use clips to hold the edges together. On Ultrasuede Light, hold the seam taut while stitching to avoid puckering. Flat construction utilizes lapped seam lines, This method works well on heavier weights because seams are fused in place before stitching, and you dont need to GREAT NOTIONS Keeping these creeping fabrics in tine requires some ingenuity, and these products can help with the task, 2 Collins Basting Tape worry about layers slipping as you sew: To create a lapped seam, follow the general guideline that front laps back, as at shoulders and side seams. rim away the seam allowance on the overlap sec: tion ofthe seam but leave the full seam. allowance on the underlap. Lap the seam allowanceon the under. Jap tothe trimmed overlap edge, placinga narrow strip of fusible web such as Steam ‘A-Seam2 -inch or cinch tape between the layers. Usinga press cloth to protect the fabric, fuse the layers together from the wrong side. Another option isto use basting tape to hold the layers together for stitching, ‘When you join garment sections, such a collars and facings fuse the layers ‘wrong sides together and trim off outer seam allowances through both layers. ‘web tape 47> Schmetz Microtex Needle Y-inch fusible TIP Avoid the temptat ee rene Cure Clover Wonder Clips ise a leather needle een rosewing room PRESSING Always usea press cloth between the iron and the Ultrasuede to avoid damaging the fabric surface. Ifyou dont, there can be a per ‘manent shine orion imprint. A synthetic iron setting and steam work well ‘When pressing, it's best to press from the wrong side, but you should also use a rapped cloth under the fabric right side to protect Press lightly: using the full weight of the iron can leave a seam allow: ance imprint om the fabric right side, ‘conventional seam is usually pressed ‘open after stitching, using a wooden clap. per to help flatten the seam itself. Fora ‘more tailored look, the seam allowances ray be pressed to one side, TOPSTITCHING Because ofthe nature of Ultrasuede, almost ll seams and edges need stitch ing to help keep them flat and create a professional appearance. A lapped seam is ‘edgestitched along both seam allowance ‘edges. A conventional seam is topstitched ‘on either side ofthe seam, or ifthe seam is pressed to one side, the topstitching goes through al three layers. ‘Tosuccessfully topstitch Ultrasuede, use a Teflon foot, a roller foot (regular or leather version), ora walking (even- feed) foot an the machine to keep the fabric feeding evenly. Ifyou choose nat to topstitch seams, use alight application of fabric glue to hold the seam allowances in place. CLOSURES Utasuede is ideal for zippered or snap closures, uti also works well with boxed orin seam buttonholes igure 2)-To make a boxed buttonhole, simply straight stitch a rectangular box where you want the but tonhole and cut the center. You can also use ‘welt buttonoles Ultrasuede technique “3S 16 sesiteh 1 | Lapped seam, with basting tape 2 | Boxed buttonhole B | Edge treatments from decorative scissors HEMMING Most Ultrasuede edges are simply left raw and opstitched, as opposed to turning under ahem and creating bulk with an additional layer. in Ultrasuede Light, a traditional hem finish can be appropriate as well. Decorative scissors or rotary blades can be used to add fun to Ultrasuede cut edges, whether in hems, along seam lines, oras trims ¢gure 3), TRIMS Because Ultrasuede doesrit rave, it's perfect forcutting into fringe and other trims and cedge finishing. For fringe, use scissors ora rotary cutter and rule toslie asteip into the size and shape desired. LINDA TURNER GRIEPENTROG is theowner of G Wiz Services Se loves sewing, ung, ada hings fabric. ation ta writing, she leads fabric shopping tous tong Kong or the American Sewing Guild For more information ‘and a slide show about hhow designers are Using Ultrasuede, visitty pennington for your own design makeover Ty's latest collection draws on inspiration from nature and uses a stamping technique to give the patterns a handmade look. You’ll love incorporating these warm and rich fabrics in your next project! © 2011 Westminster Lifestyle Fabrics, a division of Coats ple AL Rights Reserved WESTMINSTERBOOK EXCERPT Artist Alisa Burke creates exciting texture by collage techni F and texture in Creating with Stitch and Mixed Media by Alisa BurkeTHERE IS NOTHING MORE BEAUTIFUL than a surface filled with layers of color and texture. Regardless of the technique I'm using, | am always looking for ways to establish the loo! \d feel of layers by combining different techniques and materials on top of each other. With this techniqu you can easily mix alternative materials, such as photographs, with fabric. | wnat yout neep: | Plain or painted, dyed, or printed: | fabric for background Scraps of fabric and alternative materials Pins or fusible web Sewing machine | Select a fabric for the background, Select bits ‘and pieces of fabric and alternative materials that you want to incorporate into the surface (fig. D, 2. Create a rough layout for the placement of your fabric and materials (fig. 2). ‘3 Pinpieces to the surface or use a fusible web to secure fabric to the background (fig. 3)Use stitching to sew along the edges anc within the pieces, as desired (fig. 4). You can use straight stitching, zigzag, or free- motion stitching. 5 dd smaller pieces on top of the large pieces and to fillin small spaces (fig 5). & Vary your stitching to add interest and texture (fig. 6). "7 Continue to add layers on top of layers until you are satisfied with the surface (fig. 7. 20VarRiaTiON: QUILTED LAYERS To use this technique and create a sur face with a quilted look and texture, first baste a quilt “sandwich” with a piece of fabric as the top layer. a layer of bat- ting in the middle, and a bottom layer of fabric for the backing. Baste with loose handstitches or pins. Repeat the steps above for the layers and surface design While layering, keep in mind the concept of contrast layer light on top of dark to create a visual push and pull between ‘Adding a layer of batting and a backing fabrie gives layers, Keep your color scheme in mind Your piece a quilted appearance. and stick to it. Experiment with different shapes and sizes of febric layered on top of each other. Stitching the quilted layers. SEWwiLD Creating With Stitch and Mixed Media + DVD by Alisa Burke $26.95, Interweave 2111 | This bird print hobo bag features an adjustable strap that lets you waar it over your shoulder ar across your chest. I lined in contrasting cotton twill and has plenty of roomy pockets inside. A magnetic snap closure keeps your belongings safe. ‘Siweet ea Totes com shopswectpetoes, $46, 4 | Jazz up your next sewing project with hand-stamped trims. Use them to embel- Iish your next design or to spruce up an old favorite in your closet. The trim is 1s" (er) ‘wide unbleached cotton and available in vati- ous colorways. Jezze Prins, esycom/shopjezeprins $4.90 per meter (39°) 2 | These dainty acorn plerced earrings are cross-stitched on 20-count cloth. At 11 mam in ai- ameter, these clever adornments will charm any jewelry fan with their tiny stitches and adorable otf. The Fin Pals, tsom/shop/ thepinpas, $15 6 | Embrace the outdoors by inviting a touch of winter Inside, This elegant snow= flake pillow cover is made from 100% linen in a warm ‘oatmeal shade and features ‘embroidered anoveflakes. It fits a 16" (40.S cm) square pillow insert, and is also ‘available in 18° (48.5 cm) ‘square. Simudio Design esp combhopistdioDesign, $24, ‘3 | Screon-printed by hand, the 20" (Slem) Ashley Pine Pillow showcases pines {ingpired by the Maine countryside. Made from vintage reproduction hark cloth, it Is the perfect addition to any modern rustic home and is available in multiple colors. It also comes with a comfy down alternative, hyporallergenic pillow insert. Brin Fle tcomy/shoprinfen, $85. 5S | Being from Maine, Dory from ‘Worthy Goods knows how to keep warm like a pro. These stylish winter hats designed and sawn by Dory use layers of vintage weal and fleece to keep your noggin toasty ‘and atylish all season long. Perfect for guys and girls, these hats are ‘made to order for a great fit. Worthy Goods esp.comshophworhygoods $46, 7 | Bundle up in style with a ruffled searf made from striped cotton jersey. It is lightsveight and surprisingly warm. Perfect for many dif- ferent climates, this fun scarf is definitely one you can wear ‘year-round. Firgtale13,ets1com/ sShopfairtaler3, $2950.* therm-o-web ADHESIVES rata Te Mectitens Oar 3 ‘Ask for StitchnSew™ & HeatnBond® Adhesives and Interfacings Grosgrain ribbon (long enough to wrap around your waist with a" [25 cm} overlap) Clear gridded acrylic ruler > Fabric-marking pencil or pen Safety pins ~+Fine-point permanent markers in black and red +24" (61 em hip oF form curve (uch as Fargate Vary Form Curve) or print and assemble the fullsize Hip/ Form Curve PDF from interweavestich com Notes + For explanations of trms and techniques, see ‘Sewing Basics, pages 67-74 “+ titch al seams from the waistine toward the hem ‘Take Your Measurements ‘The key to drafting a welefting patter is taking accurate measurements. Youll need a friend's help to.et the most accurate measurements. When you begin drafting and iting the musin pattern, you can use a dress form f you have one or ask a friend tohelp you it the muslin directly on your body, Using a measuring tape, measure from your waist (or where you would like the finished skirt to sity down to the desired skirt lenath, Add 6 C5 em) to this number and record it as the length measurement Measure around your natural waist (or around ‘your body at the point where you would ke the top of the finished skirt to sit, such as at high hip) Record ths as your waist measurement. "Measure around your hips at the fullest point, and record this number as your hip measure- ‘ment, This point may be closer to your waist or thighs. Just make sure you are measuring around the widest point on your lower body. Look at your recorded measurements for ‘waist and hip. Use the larger of the two ‘measurement fr the following calculation: divide the measurement by 2, then add 6” (5 em). Record this measurement as the front muslin width. Repeat to find the back muslin width, but add 8° (2055 em; record this measurement for back masin with Use your recorded measurements for lenath, front usin width and back usin width to calculate the muslin yardage youll need. For example, if your front muslin is 24" (61em) wide 18" (455 em) ong and your back musi is 26" (65 cm) wide 18° (45.5 cm) long, you would need 1 yd (915 cm) ‘of 45" (11 em) wide musin. I you're concerned about uneven cutting or want ttle wiggle room, de yd (15-23 em). Cut the Muslin CCut one piece of muslin for the Front, using the recorded length and front musin width hips >| ‘measurements Fold tis piece in ha lengthwise ‘with Fight sides together to forma croase. Mark the center front of the mustin along the crease with a fabric matkor CCut one piece of muslin for the Back, using the recorded length and back musi Wid — eau - ‘measurements. Fold this piece in half lengthwise fo desired with right sides together to forma crease and press, st ‘Mark this asthe center back cutting line with a fabric marker MEASUREMENTTYPE RECORD MEASUREMENT Length measure om asta desi length +6 [1500 Wait measve sun mala ast r where st lt ip easue zone uty atwies pit Fruntmestnwith se St tp rast measurement ie y 2. "(15 cn) Back mesin width se Sie {hip eras mexsuement cide by 2, [25 em)(On the Back musin piece, daw aline 1 (25cm) to each side of the canter ‘rease and parallel to it, marking the ines ‘along the entire length these are the seam lines, Cut the musin along the center crease Fit the Muslin inthe two Back musin places to- ‘gether along the center back edges, with ght sides together. Make @ mark on ‘the drawn sear ine 9" (23 em) from the top ‘ede, forthe zipper opening, then mark 7" (08 cm) up from the bottom edge, for the st Baste the back pieces together between the marks with a1" (2 cm) seam allowance: this seam willbe at the canter back (igure 1. Pin the Front muslin piece to the basted Back muslin piece, right sides together, wth the pins close to the edge and paral tothe side seams leaving the skit very loose, Place the grosarain ribbon around your lst ofthe vist ofthe crass form at ‘the point where you would like the top of your finished skit to st. Overap the ribbon ends ‘at center back and pin together. Carefully put the skit on with the wrong side out. Remove ‘the pins from one side seam i necessary to Taciltate getting the muslin in place and re-pin the side seam. Pin the musin in place so thatthe top ‘edge of the musinis about "(25 em) ‘above the top edge ofthe ribbon; if youre fit- ting the muslin on your body, have your friend pin the muslin to the ribbon atthe front and back. being careful not to stick you wth the pins. Those pins may need to be adusted as ‘the muslin is fitted. Close the zioper opening securely with safety pins, Move the sie seam pins about ” (25cm) closer to your body on each ‘side, Continue to move the pins toward ‘your body equally on each side until you ‘are pleased with the fit. Youl need to pin ‘about "(13 em) of ease into both front and back. The ease wil allow you to move and sit ‘comfortably afte the skirt is constructed, To ‘add ease, find te halfway point between the “center mark and one side seam and mark with ‘ain. Next, find the halfway point between ‘the pin and the side seam. Pinch together a .s° mmm) deep plest and pin. Repeat on the ‘ther side ofthe center mark. The combined ‘ease for front and back wll equal ® (25 em). ‘Acust the side-seem pins necessary to a- ‘eetiech low forthe waist ease. You should also have a ‘combined hip ease of about 3" (75 emp; this means you should have an extra" (2em) of space between your hip and the seam line at ‘the front and back ofeach hip fora combinad total of 3” 75 cm). You may need less ease ‘witha kit or stretch fabric: the ease can be _adhusted during the final iting of the skirt “There may be some puckering at or below the waist that will be corrected with dats. If the musi its and hangs smoothly at this point, you can go directly to Step 15. if more iting is required, yout need to ad darts. Te mark darts on the Back pisces, find the pin that marks the halfway point ‘between the canter mark and the sie seam. Pinch together the excess fabric to form a fold ‘and pin. Then, continue to smooth the fabric ‘against the body below the pin. The dart ‘should come to a natual point against the body (darts usually extend 3-5 (75-125¢m) below the waist). in the ret of the dart fold layers together Repest ths process atthe halfway point on the opposite side of the “center mark and then again fo the left and right sido of the Front. Continue adjustina the ‘darts and side seams (equally on each side) 25 necessary to achieve a good fit figure 2. {Use a fabric marke to clearly mark along the side seams on the Front ‘muslin. Make sure the side seams are straight ‘down from the hip to the hemline. Mark along ‘each side and down the center (folded edge) ‘of each dart (igure 2). Finally mark along the bottom of the ribbon all the way around, Make sure everything is clearly marked, Remove all pins, st aside the ribbon, and take the musin pieces oft Create the Muslin Pattern ‘This step wl require the permanent markers. Place a large sheet of poster bboarcl or opened paper grocery bags on your work surface to protect from the markers bleeding through the fabric. Lay the Front ‘muslin piece, marked sie up, on your work surface. Use a black fine-point marker and a ruler to straighten the dart lines (Figure 3a; _adistments shown here in green for clarity) ‘Smooth out the side-seam markings using the black marker and the hip curve Place the hip ‘curve along one side seam near the top edae. Use the hip curve to help you create smooth, ‘gently curved side-seam lines (igure 3a). Figure 3a figure 3bReverse the hip curve and useitto help you smneoth out the waistline markings on each piace figure 3b), LLookeat your mustins; the loft and right sid0s may bo slightly cifferont—for ‘example, one hip may be higher or larger than the other. Unless there ae noticeable iltferences in the two sides of your body leven aut the sides of the musin, using the ‘marked seam lines forthe sido that fits best and hangs smoothy as your guide. If there 2 noticeable citferences inthe two sides of your body, fellow the tp for adlustments for Uneven body shapes at right. Place the Back muslin, right side down, fn top ofthe Front mustn, aligning the center marks made in Step M. Trace the corrected smooth side-seam lines onto the ‘muslin Back the sie seams on the Front and the Back must match. Use the instructions in Stop 15 to adjust or smooth the dart and waistline markings on the Back ‘Baste all darts, then baste the Front and Back together atthe side seams. Pia the grosgrain ribbon onto the inside ‘ofthe muslin with the bottom edge ofthe ribbon aligned with the drawn waistline. Try the muslin on, again pinning the back zipper opening closed with safety ins. (Check the fit the positon, and the lenath ofthe dats anything doesn it smoothly, you may need to make some adjust- ments Mark any changes withthe ed perrna- ent marker (igure 4) Be sure to adjust both ‘des equally for an even fi. Remove basting andre-baste at the newlines whore necessary. “Then, try on the skirt again, Move round, si down, and walk up stars to bbe sure that you have enough ease to allow free movement: you dont, youl need to adjust the pattorn to allow for more ease. Make small adjustments, marking changes withthe rec marker and then rebasting Recheck the fit, continuing to adjust unt the fits right. Ifthe fit isteoloase, you may need to bring inthe side seams; ifthe fits too tight, you may need to let the side seams out andr aust the amount of easein the pattern, Because a straight skit may travel up ‘ward, check the hemiine by siting down hile you're wearing the musin (be careful of the pins). This check i especialy important if youll be constructing the skirt in a woven fab- ‘ie that haste or no stretch. Mark the desired finished length withthe black marker vk ADJUSTMENT FOR UNEVEN BODY SHAPE WHEN CUTTING FABRIC If your skirt needs oft ciffrenty on each side lay the skirt fabric fat onthe cutting table with the right side facing up Place the mus Jn Front patter at, ight side up, ontop (instead of cutting on the fale. The Back pices willbe cut separately inthe same manor [Ask yourself ifthe waist ribbon is ‘hore you want the top of your skit to sit Adjust the ribbon up or down untilit feels comfortable. If the ribbon location has changed, mark the bottom edge of the rib- boon withthe red maker Make all necessary changes by remov- ing and then rebasting seams. Pin the hem up and baste the ribbon onto the waist. “Try the musin on again and mark any fina adjustmentsf necessary, Be sure that al final drt and seam ines are clearly marked iF you have soveral adjustment ines, cross out old Cones ar mar the final lines ina way youl ‘ognize) Remove the basting stitches. Press the musin fat with a dry iron, being careful rot to stretch o distort the fabric. Finalize the Pattern “The marked lines onthe musiin are stitching lines; donot cut on these lines. [Add 1" (25 cm) seam allowances on the side and contor back sears, echoing the curves of the seams, fr the cutting line. This will low you to make sight alterations tothe skirt. ‘Add a "(13 em) seam allowance at the ‘alain on the Front and Back picces, Draw ‘a cutting lino 2” (S em) below tho marked hem. Place the Front and Back musins right Sides together anc mark the front and back ‘de sams with ines or notches in wo places along the seam to help yau'match the seams when pinning and stitching, Cut the ‘muslin on the newly drawn cutting ines. MAKE YOUR CUSTOM SKIRT Now that you have drafted a pattern accor: ing to your measurements, you can make @ fabulous skit! Hore, we show how you can ‘take the same pattern and change the look of I by your choice of fabric, rim, and finishing techniques. SKIRT A-Office Skirt Make 2 daytime skirt perfect forthe office in wool tweed with a contrast or coorainating bias-bound waist and a back sit ‘SKIRT B-Party Skirt ‘Sew a festive skit For aholay party ina black double knit with 2 petersham ribbon waistband and feather fringe tim, 4 VA | A cayFabric “+54” (187 er wide wool tweed (skirt A; shown: dusty pink) or wool double knit (shirt 8; shown: black); see Notes for infor- ‘mation on calculating yardage 457 (14.5 em wide cotton fabric fr bias strips or "(13 em) wide double-fold bias tape (skirt A; waist mossurement +6" (05 em}: see Notes) Other Supplies “+ Sewing thread to match fabric Contrasting thread for basting —Handsewing needle 1 @5 cm) wide petersham ribbon (skirt 8; waist measurement x2+ 6°15 em +84" (6 5 crm) wide feather fringe skirt B ip measurement + 6” [15 cml; shown: black +9" (23 em) all-purpose zipper to match fabric +" (13 er) fat sew-on hook and eye kart 8) Size 2 hook ari eye (skirt AD = Dressmakers carbon paper Tracing wheel + Fabric-marking peneilor pen » Walking foot for sewing machine (optional {for Shirt &: see Notes) Press cloth 28 Size Shown > SKIRT A Waist 273" (70 em Hip 39° (99 cm); Length 22" (56 em) > SKIRT B: Waist 27" (68.5 em): Hip 39° (99 em); Length 204" (52 cm) Notes ~+For explanations of terms and techniaues, 100 Sewing Basics, pages 67-74, “+o calculate necessary fabric yardage for {Our finished skirt, place your finalized patter flat on your work surface and ‘measure the length from waist edge to hem edge, then add 96 (1S em), For ‘example, if your length measurement is 18" (455 crm, adding 4 yd (23 cm) works out to %yed (685 cm. The extra yd (23 em) should give you some wiggle room to ‘account for shrinkage, uneven cutting at the fabric store, and so forth, Make sure thatthe width of your fabric il allow you to.cut the front and back of the skirt side by side (with both pieces oriented inthe same direction. If the fabric wieth won't ‘accommodate this orientation, youll need to.add to your yardage to accommodate side-by-side placement, Zigzag, overcast, serge, or pink all raw {edges on wool knit fabric. ~The Hong Kong Finish methods recom ‘mended tofirish the seams onthe woo! ‘wood fabric G00 the sidebar on page 29. If you plan to use the Hong Keng Finish, youl ‘eed enough (25 cm) wide bias sips to bind allraw edges (excluding the wast ede). “>Use a waking foot or dual-feed sewing ‘machine forthe best results when working with knit sippeny or stretchy fabrics to prevent puckered seams. + Stitch al seams from the waistline toward the hem. » A pros cloth should be used forall press- ing on the woo! fabric 8x fabric yardage may berneeded to ‘match paid, prints, or napped fabric + Pretreat all fabrics in the manner that you plan to clean the finished garment. To make your own "(1.8 em) wide double fold bas tape for srt A, cut 2" (3 em) \wide bas strips from the cotton fabric, jn the strips with diagonal seams to create the necessary length, and then fold the joined strip into double-fold binding (refer to Cre- ate Binding on page 73 fr assistance with cutting, seaming and folding the binding). Cut the Fabric Refer tothe tip on page 27 for instructions on cutting the fabric for uneven body shapes. Fold the skit fabric in ha lngthise With the right sides and selvedges tagethar Fold the muslin Font pattorn in halt ong the center frontline and place on the fold ofthe skirt fabric; pin n place Pin one usin Back piece onto the fabric ith the center backe ledge parallel tothe fabric setvedges (do not place on the fold. Cut around both places. “Transfer darts, se-seam notches zipper placement marking, and sit placement lines (ats for skit only tothe wrong side ofthe frie with dressmaker: carbon paper and a acing wheel. Use tailor’ tacks Gee sidebar on page 28) instead of a tracing whol if you use dalcate fabrics such as some siks or rapped fabrics. if you'e not sure the tracing ‘marks wil be visible onthe ight side ofthe fabri, test the tracing wheel on your fabri Assemble the Skirt ‘Staystteh "(emp from the waist edge ofall skit pieces using a stitch length of 2rmm, to prevent stretching Stitch all dats trom the top seam line to the point and te off the loose threads atthe end. Press the darts toward the center Pin the Back pieces right sides together along the center back edge. Baste to ‘ether from the waistline edge to the zipper ‘marking, Change the stitch ength to 25 ram, te off or backtack to lock the stitches, then stitch to the sit mark (for skit 8, stitch ai the way to the bottom edge), and tie off or back: tack Press the seam allowances open Insert the zipper referring to the Cen- tered Zipper Application instructions at Fight Finish the seam allowances using your desired method (zigzag sich, overcast, serge Hong Kong Finish, or pink). Same skirt & as Finished with serging; sample skirt A was finished using the Hong Kong Finish method (Gee the Hong Kong Finish instructions at Fight for this tachnigue). ‘ith rit sides together, pin the Front and Back pieces together, matching the alignment marks or notches. Baste the side seams with 1" 25 em) seam allowances. Try the skit on and check the fit. Make adjust ‘ments tothe side seams if necessary Stitch the sido seams along the basting stitches. Trim ‘the seam allowances to "(15 cm), press the seam allowances open and finish as beforeCENTERED ZIPPER APPLICATION "Note: Always sew from he tom ofthe zipper tthe tap on cach lle of hippo preventany distortion. © Sew the garment seam by machine basting (4.0 mm stitch length) the zip- peropening’sseam allowances together. Rese! the machine fora normal stitch length (210-255 mm) and stich down from the zipper notch to the lower edge. Press the seam allowances open. © Attach the zipper foot to your machine nd adjustitso the needle ist the et ofthe oot ‘© with the wrong side facing up, position the garments the waistline is toward you Place the closed zipper face down on the seam, with the top stop of the zipper (15cm) below the waist ede and the ipper coil teeth centred com the seam lin (ligare 1. Pin in place. © With the wrong side stil facing up, beginning on the right hand sde of the tipper tape, machine baste (4.0 mm stitch length) the zipper in place along the zipper guideline, beginning atthe bottom stop ofthe zipper, andstitch toward the topstop ofthe zipper Remove the pinsas yousevs. © Aajustthe needles it isto the right ofthe zipper foot. Beginning atthe bottom stop, machine hase the left hand side ofthe zipperalong the zipper _gideline, moving the pins as you sew (figure 2) Reset the machine stitch length to2.0-2.5 mm, {© Turn the garments the right side faces up. Adjust the ncedle soitisto the leflofthe foot Beginning atthe seam line just below the bottom zipper stop, sew actos the zipper tape and seam allowance, perpendicular to the seam, stopping justo th outside ofthe machine hastd stitches. Pivot with the needle down and sew parallel to the bastedstitchesall the way tothe waistline raw edge igure 3). © Aajust the needle so itis othe right ofthe foot. Pace the needle inthe same place below the bottom zipper stop where you started the stitches in Step 6, Sew across the zipper tape and seam allowance, stopping just to the outside of the machine basted stitches. Pivot with the needle down and sew to ‘the waistline raw edge, © Remove the basting stitches with a seam ripper or small sharp scissors. Press ‘thezipper,usingapress cloth anda moderate iron temperature to avoid melting the zipper col (gure 4. TAILOR'S TACKS Used for transferring ‘markings from a patter to garment sec tions, these handy thread snippetsare easily removed without damage, Take several loose stitches through the pattem and fabric layers leaving about a1" (25 cm) loop of thread. Afterall symbols have been marked, separate the fabric layers and snip the thread between; carefully remove the pattern. ‘Take a small stitch, atthe point tobe marked, ‘through all layersand leaving tail of about 1 (25 cin) Take another small stitch, through all layers directly over the previousstitch, leaving the thread loose o ereate about a1" (2.5 em) Toop. When marks are all completed and the ‘pattern paper has been removed, separate the fabric layers so that the thread loop is extended ‘between the layers. Cut the threads, leaving a tailor’ tackin each layer. HONG KONG FINISH Using 1" (255 cm). wide bias strips, place a bias strip right sides together with one seam allowance, raw ‘edges aligned, Keeping the other seam allow: ance and garment fabric out ofthe way, sew ‘witha 1 (6mm) seam allowance. Press the bias strip over the seam and then fold it aver the seamallowance edge to the back (no need to turn under the raw edge of the bias stip; it will beleft exposed on the underside of the seam allowance), Pin in place, then stitch inthe ditch from the right side of the seam allowance to secure the underside ofthe binding in place. 29FINISHING Skirt A ‘Use premade (15 erm double-old bias tape or cut 21" (55 cm) wide bias strips of cotton fabric and make your own bias tape according to the Create Binding instructions, option A on page 73. Youll need a lenath of bias tape to equal th original figure sa ist measurement plus 6” IS em), Unfold the bias tape and pinto the right side along the waistline edge, aligning the raw edges and extending the ends I (25 cm) beyond x the 2pper opening on each side dtigure Sa). —- sent Sitch the bias tape to the waistline edge with “= int 2 €13.em) seam allowance, Press the seam allowance upward. Fold the cut edges ofthe bias tape around the edges of the zipper open- ing (encasing raw edges), then refold the bias tape along all original creases and fold it over the waistline edge, encasing the raw edge. Slip-stch or blindstitch the binding in place ‘onthe wrong sce ofthe skirt. Stitch the hook and eye in place onthe interior ofthe waist- bband above the zipper. figure sb in the hom in place and try the skirt on: adjust the hem ifnacessary, Viste care atte ponen ofthe sit where the bottom and sit hems meet. unfold the hem, then fold as shown in figures 6 and 7. Continue to Step Tite hem. f you use the Hong Kong Finish method, refer to figure 8 instead Blindstitch the hem in place cby hand if you use the Hong Kong Finish f you nee finish witha serae,2iaza9, or similar method, y you may prefer to bindstiteh by machine) and press. a figure 6 figure? figure 8 Fold the petersham risbon in hal Widthwvise ane mark the centerfold line. Marc a centerline dovin the entre length cof the ribbon, Pin the ribbon tothe wrong 30‘de ofthe waistline, withthe waistline edge aligned withthe line onthe ribbon and the canter backline on the ribbon placed at the zipper opening on the right-nand side Extend the cut edge ofthe ribbon 2" (Sem) beyond th left-hand sce ofthe zipper open- in (igure 5b), Baste the ribbon in place (lem) from the wastine edge. Fold the ribbon atthe center back line toward the right side ofthe skit, enclosing the raw edge ofthe skirt: Pin in place, ning up all, ribbon edges, Turn the cut edges at the left-hand side ofthe zipper opening under to form a (25.cm) tab. Edgestitch all edges of the ribbon Stitch the hook and! eve in place fon the interior ofthe waistband above the zipper Refer to Feather Fringe at right to ade the feathered trim GET CREATIVE Ty this srt pattern in many fabrics and have fun with tims and embelishments. Ade pockets, use diferent waistband treatments, lr change the lenath importantly make it you! a minis, Most RESOURCES “+ Mood Designer Fabrics for black wool aubergine/beige solid tweed ‘wool, i" (15 em) wide black feather fringe, " (25 em) wide black petersham ribbon, moodfabries com, double i “+ Red Rooster Fabrics Harvest Town Collee- tion, Patter #19906-GRY1 for bias binding, redroostertabrics.com, SANDRA GEIGER is other, designer, «and writer for sewing publications. She enjoys sharing her sewing enthusiasm especially wi her daughter Sara Bougher. You can se their cambined talents at prticallyposhkids.com or ractcallyposhkidsetsp.com. feather range © Mark a chalk line where the top of the fringe header {the satin ribbon or other material holding the feathers] wil be placed. The feathers should extend just beyond the hem, Press a crease on this line with the fabric right sides together to form a tuck. Before stitching, you'll hie the header of your chosen trim inside the tuck. Adjust as necessary to hide the header © Pin the fringe to the skirt with the top of the header aligned with the crease, so that the header is completely hidden within the tuck; overlap the cut fringe ends to avoid a gap. Place the pins on the wrong side of the fabric on the inside of the skirt) You'l need to place the pins atthe lower edge of the hheader to avoid pinning into the adhesive that is holding the feathers in place. © From the wrong side of the skirt, attach the fringe with long handstitches along the lower edge of the fringe, stitching through two layers af fabric and the fringe. Avoid stitching all the way through to the outermost layer; those stiches would be visible from the right side ofthe skirt. This method wil e cure the tuck wth the top ofthe fringe inside it Q With the skirt stil inside out, press the tuck flat [make sure the folded edge of the tuck faces up toward the waist), protect: ing the fabric with a press cloth and being careful to avoid press- ing the feathers. In the future, ifthe skirt requires cleaning, you ‘may need to remove the fringe itit can't bbe washed or dry- cleaned32 profile The unique textile creations of Anne Kyyré Quinn Text NICOLE SMITH WHEN YOU FIRST SET EYES UPON a work by Anne Kyyro Quinn, it's hard to imagine the piece is made completely from fabric. However, upon closer inspection, you find that each layeris made from r00% wool felt sewn precisely into place. Quinn’ ability to manipulate textiles is unique; she creates works of art that resemble rigid architecture and organic plant life often at the same time. With their tactile surfaces, pleated details, and eye-catching colors, the works almost demand to be touched. BROADENING SEWING HORIZONS Currently residing in London, Quinn creates interior textile designs that can be found in cities across the globe, including in London, Chicago, ari, Helsinki, and Beijing. But she began her adventures SEWING IN a, in thearts and crafis world asa child growing up in Finland. “T have always worked with a needle and thread, sewing various litle pro ects or working decorative hand stitches," says Quinn. "However, when received my first sewing machine for my eleventh birthday, I started to make clothes. Since then, I've always enjoyed sewing and especially making home furnishings, Much of my childhood was spent creating litle projects often out of elt. have always ‘been drawn to the arts and crafts, and textiles in particular seemed to satisfy my creative thirst rowing up” Todevelop her artistic skills, Quinn studied tentle design at London Metropolitan University, and she eventually received her ‘masters in Design and Visual Culture. About making the big move to England, Quinn says, My Finnish hometown was small, and Il ‘ways knew that [would have to leave to broaden my horizons and really explore my creative potential. have always been creative and especially like working with bright colors, maybe as a contrast, to the snow-blanketed environment in Finland!" However, Quinn ‘makes frequent trips back home to see her family and enjoys being reminded of where her design aesthetic was nurtured,Far Left: Anne kyyr6 Guinn. Left Sewing and ‘manipulating felt with seulptural ‘approach. TANTALIZING TEXTURE In r999, Quinn launched her textile studio with only six designs, Herlove of creating home furnishings blossomed into developing ntricate interior textiles including wall hangings, curtains, table accessories, upholstery fabrics and more. Using only high quality voal felt in her unique designs, she has become one of Britain's leading fabri designers, When she first started out, Quinn made all ofthe wool felt herself, However, she now scours the globe to find just the right, fabric for her pieces and has a team of sewers helping with the stitching. “I spend a great deal of time carefully sourcing the wool fet that I use in my work,” Quinn s 10 s. “Over the yeats, ve explored many fabries from all over the world, The felt use must really present my designs inthe way I envis a them, [choose textiles that have rich color and a tactile quality that [translate into my design work, Because my work plays with hhadow, the forms I create rely on the way that the textiles can be manipulated and hold their shape." Her experience in actally ‘making the textiles developed her acute eye for high-quality fel ‘Top: Corrugated- Effect storage Box ‘and Table Runner with Cutout Shapes from Quina’s book Felt Furnishings, Below: The Tulip ‘Acoustic Wall Pane! ‘shows Quinn's artiste take on felt. 33I choose textiles that have rich color and a tactile quality that | Ganslate into my design work. Because my work plays with shadows, the forms | create rely on the way that the textiles can be manipulated and hold their shape, PLAYING WITH FABRIC Recently, Quinn expanded her love of creating interior textiles by developing a book with Potter Craft called Felt Fumishings.“T wanted the book to include projects that could be made and used in the home ‘while also showcasing the potential of flt fabric” says Quinn, "The projects are simple but they detail interesting techniques that can ‘boused in other home furnishings. Creating the projects gave me the opportunity todoa lot of experimenting, which isa great way to developasanarist” Quinn's Lota ottoman ‘appeared in Carre Bradshaw's: ‘ent in the movie Sex in the Clty 2 ANNE KYYRO QUINN Felt Furnishings showcases Quinn's unique style through twenty five décor projects you can create using a home sewing machine. A true expertin her medium, Quinn walks you through each design, including how to elect the fabric and then how toenginceritinto jaw-dropping textures. She encourages readers to play with the fabric todevelop one ofa kind motifs while showing them how to create ottoman, throws, pillows, curtains, and more. When asked which project was her favorite, Quinn simply replies, “'m very proud of the snipped pleat throw because i'sso simple and yet so effective. The design ‘happened’ through experimentation, and Ithink the throw is 8 fantastic addition to any room." SCULPTURAL APPROACH For inspiration in designing the pieces found in Felt Furnishings as ‘well asher professional large-scale works, Quinn tums to her sur- xoundings. Took to nature and architecture to inspite my work,” Quinn says, which is evident upon frst glance at any of her textile designs. "Thave always enjoyed traveling, and through my explora tion of new countries, I've found inspiration in simple organic forms, vivid colors, and buildings. My work uses both organic and linear forms arranged in simple compositions that play on shadow and Tight. Lam fascinated by the way that material often considered to ‘be wo dimensional can be manipulated to creat three dimensions, ‘This experimentation with texture has really driven the focus of my work. The way in which the material is designed, hand cut, and ap- plied takes my work far beyond surface expression to create unique, special forms." Quinn’ sculptural approach to textile design has set her apart from others in the industry. Her works are as pleasing to the hand as they are tothe eye. From her humble beginnings of felting wool solo inher studio to her now internationally successful business, Anne Kyyr Quinn has carved outa unique spot for herselfin the design ‘world, where she will continue to push the limits of sewing and textile design, NICOLE SMITH isaStitch contributing editor living in Brooklyn, New York Find her online at stleschematccom. For more on Anne Kyyrd Guinn, ‘check out ANNEKYYROGUINN.COM.Anew tl for every season tan A aN / Featuring Little Apples by Aneela Hoey for Moda Fabrics Apple Dumpling Pattern by It’s Sew Emma™ >v. Tor Peer Pe Sat orce eres te een 35Artwork for Quilters, Embroiderers, | &Craftspeople ~ TeNnaAtssanee + Purchase, download, re-size and print ready-to-use vector images of patterns in minutes —no waiting. + Intricate and simplistic designs at affordable prices + Free download of sample designs, with instructions for e-sizing to suit your project needs One orig « Needle sts Website: http'/pdf.onesongneedlearts.com Donna Klein, Designer Door County, Wisconsin, USA issue JACKIECLARKDESIGNS.COM =“ ON THE GO TRIO PATTERN 36Delight in the warmth and sparkle of the winter season by exploring rich textured fabrics and embellishment. Enjoy 32 BEAUTIFUL PROJECTS from whimsical to elegant and cel- ebrate the creative possibilities and tactile qualities of fabric and stitch.fabulous From colorful wool felt fabric to creating felt from recycled sweaters, discover the fun of sewing with felt. >scarves, cut through both thwise in along curving line, and DESIGNED BY Sigrid Arnott [project instructions on page 77)silver dollar rug Penny rugs use tiny circles of fabric for small mats. Change it up with bigger circles sized for a floor mat. Thick outerwear wool from a coat pro vides stable base for appliqued and embroidered details that echo the negative space between th circles DESIGNED BY Kevin Kosbab [project instructions on pace 81) lily pillow covers Brighten up yourliving room with graphic felt pillows featuring lily appliqués in contrasting colors. The ap. pliqués can be embellished with hand embroidery or free motion embroidery using a darning foot. The pillow back features a lapped zipper closure. DESIGNED BY Josée Carrier [project instructions on page 80]woo! petals pillow ‘X Bring texture and style to any 100m ‘with this lavish throw pillow: Raid your closet, the thrift store, and yourscrap in for wools ofall kinds, working in a broadly ‘monochromatic palette to unify the design. DESIGNED BY Kevin Kosbab [project instructions on page 83)trio sewing machine cover your fav bringa toue! scraps in fr retro style to your sewing room, And make a pincushion to match! DESIGNED BY Ayumi Takahashi [project instructions on page 86} 43cheezy + friends finger puppets Look g fun and easy holiday kids in your i P c ing for young and Ida DESIGNED BY Carrie Bloomston [project instructions on page 89)piece-of-cake sketchbook Greate a whimsical sketchbook cover that can be easily restocked with pencils and paper. <{&Grabiton yourway out the door and your child will happily fillit with masterpieces while you run errands or get bite to eat. DESIGNED BY Heidi Boyd [project instructions on page 98] winter woolies a nappy cover This lightly felted wool nappy cover is bright, fun, and functional, Useit over cloth diapers to ensure your baby stays dry Because wool is naturally ‘moisture-resistant, breathable, and soft, the nappy cover will provide all the ‘warmth and comfort your baby needs, DESIGNED BY Erin Cullen [project instructions on page 95)iol fe RW aliaxctayDIY telting Felting is a great way to recycle garments with a wool fiber content of at least 50% to create new projects. The higher the ‘wool content, the more the fabric can felt. Look for cashmere, merino, and other animal-hair fibers. Depending on the look ‘that you want for your finished project, you can use flat, cabled, or otherwise patterned knits; patterned wovens; or hhoathered wools. Technically, the wet-felting process de- scribed here is called fulling; the fabric shrinks and the yarns, Interlock to create a thicker (fuller), nonraveling material. How to create felted wool fabric from wool sweaters To disassemble sweaters in preparation for felting, carefully cutoff the sleeves. at the armhole seams. Cut the steeves open by cutting along each underarm ‘seam. Cut the shoulder seams open fram the armhole tothe neckline. On each ‘sweater, cut along one of the sweater's side seams to open it fat. fyou do not want the other side seam to be a part of your fabric, cut it off toa. The edges of fine or lightweight knits may need to be zigzagged or serged to prevent raveling before the felting is complete, Three factors are essential for felting to occur: heat [choose a het setting on your washing machine}, agitation (choose a setting appropriate for heavily soiled clothes), and moisture, Agitation locks the scales along the fiber surface tagether, and the moisture and heat facilitate the felting fullingl process. Add- ing little detergent tothe mix assists in felting the fibers Monitor the fabric during felting and stop the process when the woal is suf- ficiently felted; once the fibers interlock the process is irreversible, so don't allow the material to shrink too much. Ifthe wool comes out of the washing cycle felted to your satisfaction, you may lay it fatto dry. Otherwise, to achieve greater density, toss the wool in the dryer, set at a warm or hot temperature, FELTING TIPS » Cutting offhems, seams, and ribbing/ribbed bands eliminates puckering and makes the fabric lie fatter. » Felted wool does not fray, so finishing raw edges is not required (the exception to this is that light- weight knits may require an edge finish prior to felting to control ravelingl » Knitted garments tend to have the most stretch going around the body lin the crosswise direction) soif your knits are only lightly felted (.e., some stitch definition remains] keep that in mind when you plan and lay out your patterns, for felted fabric projects. If your knits are fully felted, this won't be a factor in cutting patterns. 47DESIGNED BY Ruth Singer [project instructions on page 99) 4849OUT + ABOUT BAG : LO Combine lather with agape print fora stylish everyday handbag, Accented with large grommets and print fabric straps the roomy handbag hasa lined interior that can holdall the essentials you need. DESIGNED BY Trisch Price [project instructions on page 101) ZWRAP BELTSUEDE-TRIMMED JACKETget great exposure 100% certified organic cotton Affordable & beautiful Retailing under $12° yd isand cozy /wearables to contemporary “ “home décor for festive get-togethers. t z ‘With fotiafabrcs playing homage to the olor svheel lights of Christmases past, this skirts sue to put holiday cheer under your tee Easy construc tion lets the festive print the design work, so you can keep up with the buste ofthe season, DESIGNED BY Kevin Kosbab [project instructions on page 109)+ pajama pants Thiscomfy sleep set will keep you ‘warm and cory throughout the hai day season. The cotton robes lined with super oft Minkee and has handy pockets The pajama pants are so fast and easy to sew that youl wwanta pain every colo DESIGNED BY Jackie Clark [project instructions on page 10) interweavestitencom ®ornaneent tree - placematseegarlandsare a gorgeous y tose up scraps of felted ro felt fabric. Try this vibrant design forits rainbow of bined witha sprinkling buttons or draw ona muted palette fora softer look, DESIGNED BY Ruth Singer [project instructions on page M13) handy sack Zipped up it looks likea wallet, but unzip itand out pops a handy, sturdy,and jorable tate bag Have fun mixing fabric prints and zipper colors fora unique look. DESIGNED BY Jil Cappuccio [project instructions on pace 114i forest tea Sew charming tea towel, con structed from absorbent waffle DESIGNED BY Lisa Cox [project instructions on page 116] reindeer + heart ornaments sic omaments will add ‘lor and handcrafted ur tree. Thick red wool The secret to thei rigid shape isan invisible cardboard lining trapped between the two fet layers DESIGNED BY Heidi Boyd [project instructions on page 15)a —— oOo f= OZ Inspired by holiday lights, RFs iltaaiccoiner sve Ba. Hee eotisadaoetch a : zy - < ‘ofmodern design to yourtable thisseason, Combine patchwork, quiring, appliqué, and hand — embroidery fo makea custom table ~ os minner in your favorite colors. & DESIGNED BY Michele Lizcano Eevee tions on pape na}project | by. us! a simple nS ue ipulation rea e ytured effects. Update the timeless padded quilting tec: nique of trapunto with machine methods anda modern motif. Using lustrous: esth in inks texture boost inst the heavily quilted background, DESIGNED BY Kevin Kosbab [project instructions on page 123)Play with exposed seamsin this unlined, ‘semifitted boiled wool jacket. Use con trasting thread to highlight the graphic lines of the seams and finish off the jacket with a zipper closure, The variety cof seams makesit easy to customize the jacket to your measurements DESIGNED BY Katrin Vorbeck [project instructions on page 124]Refashion cashmere and wool ‘sweaters froma thriftstore to create cozy cowlneck poncho that will keep you stylish and warm all win ide belt slits make iteasy ‘to create shaping, and the whip: stitching around the patchwork ppanelsadds textural interest. DESIGNED BY Paula Corley [project instructions on page 127)Inspired by the sixtiesstyle pleated skin, this roomy bag showcases a pleated pin-tuck pocket. Use fun prints to create your own decorative binding to stitch around the handles and the top edge ofthe pocket. Add hand embroidered snowflakes to the pocket for the final touch, DESIGNED BY Ayumi Takahashi [project instructions on page 129] 63mod mini-purse ‘This mini-purse is for when you ighter. The mod shape and chunky hardware make this baga fun acces cary, whil ic3 ON Cl ERO 7 Nae create CHRISTMAS Projects + Ideas INCLUDING: Mixed-media projects PAPER, FELT AND FABRIC CRAFTS Hand embroidery designs DIY ENTERTAINING Creative Living and much more! ial Issue, Only $9.99! 4.0238 to order who Supplies are limited, so order today! eda comStitchCraftCreate Lon these whe Crue te sew. beautiful things... CHECK OUT OUR NEW UPDATED ONLINE STORE! Tons of New Product! a he Imported Laces, Fine Fabrics, Cool Trims, eT cela sae Must-Have Notions, Patterns Frorn Your Favorite . . free shipping Designers, Technique & How-To Pattern Books, ' Ready-To Blanks, Machine Embroidery Designs, ' Step-by-Step DVDs, & More! ONLINE PURCHASE ONLY ' Cennotie uted with other dicount offer or coupons, | Sewing Tips, Project Ideas & Product Specials! frre Dacomber 31,2011 COUPONCODE:SINEMIPREE. | i Sign up for our weekly e-newsletter at www.marthapullen.com www.marthapullen.com