Quick and Colorful Bias Strip Embellishments

Black and White Swirls (left) and Green and Turquoise Waves

Bias strips are typically used for trims or binding, but they can also be used to make colorful and oh-so-easy embellishments. Raw bias strips were sewn directly to the fabric before constructing the two children's outfits shown here. The garments, which first appeared in our May/June 2006 issue, were designed by our former editor Kathy Barnard and constructed by Carolyn Sheron. The basic embellishment technique used here could be applied to a variety of different projects, however, so be creative!

Additionally, any machine embroidery motif can be embroidered directly over the bias strip - a trail of ladybugs could be stitched on the black and white swirl design, or embroidered flowers could be finished off with wavy bias strip stems and leaves. Boys would love an airplane with a trail of loops across a T-shirt or a pair of shorts.

The raw edges of the bias strip do not fray and look great left flat, or brushed for more fluff as shown. Only one layer of fabric is used in this technique, unlike traditional chenille shaping, which requires several layers. No template is necessary; simply draw waves and swirls on your paper pattern and transfer them to the fabric with a washout marker. Apply the bias strips directly on top of the right side of the fabric after the pattern pieces are cut out. Then, construct the garment as directed in the pattern. If using machine embroidery, you may need to leave enough fabric for hooping before you actually cut out the pattern. Details for each outfit are included below:

Figure 1

Black and White Swirls

Pattern, made from black and white cotton corded piqué, is the "Sleeveless Flared Top" and the "Short Skirt" from the book Contemporary Heirlooms for the Older Girl by Martha Pullen. Carolyn shortened the size 10 top by 2 inches to meet the waistband of the skirt. The front skirt pattern was adapted for a flap front. To make a flap front, simply cut out two front skirt pieces; draw a straight line from top to bottom on one piece approximately 1-1/2 inches from the left top edge then cut on the line (fig. 1). Embellish the front with bias strip swirls. Hem the cut edge with a double fold 1/2-inch hem, and place on top of whole front skirt. Treat as one layer to complete construction.

Figure 2

Green and Turquoise Waves

Pattern, in lime green and turquoise cotton corded piqué, is a modification of "Abbey" from Children's Corner. One inch was removed from the outer shoulder edge on the size 4 and tapered into the arm curves to bring the shoulder edge closer to the neck. The top was shortened 4 inches (fig. 2). The pants were made according to the pattern (note: pants run long in the crotch; we removed 2-1/2 inches from the top of each pant piece to make waistband meet child's waist). Carolyn made a fabric flower pin for the top (template and instructions are included on the pullout centerfold of the magazine).

For more great projects, check out our newly released Sew Beautiful 2006 Collection CD. And be sure to shop our Annual Summer Sidewalk Sale, where you can save 75 percent on laces, trims, fabrics, notions, accessories, patterns, books, DVDs, kits and more!

Sew On, Sew Well, Sew Beautiful,

Cyndi and Amelia

Tips & Tricks for Sewing with Lace

Lace tatting trim adds a gorgeous finish to this baby daygown.

It's no secret that we love lace. This delicate fabric is at the heart of heirloom sewing, and - truth be told - it's hard to imagine what many of our sewing projects would look like without it. From christening gowns to wedding dresses, seamstresses have used this classic, intricate material on our most treasured garments for centuries. 

Lace is no stranger to modern wear either, as it is often used as a feminine accent or trim on today's garments. This week, we'd like to share answers to several questions we're frequently asked about sewing with lace. From understanding the difference between insertion, edging, beading and entredeux, to figuring out once and for all whether or not lace has a right and a wrong side, we hope you learn something useful!

Debbie Glenn transformed French lace into an heirloom garden on this project from our May/June 2013 issue.

What's the difference between insertion, edging, beading and entredeux?
• Insertion is lace with two straight sides
• Edging is lace with one straight side and one scalloped side
• Beading is lace with openings for weaving ribbon
• Entredeux is embroidered trim that resembles a tiny train track with seam allowances

Does lace have a right and wrong side?
Actually, many laces do not have a right or wrong side. They look exactly the same. Many say the raised side of the lace is the right side, while others say they like the smooth side best - so choose the side that is "right" for you. To avoid confusing the sides while sewing, we recommend placing a colored sticky dot on your "right" side. Before cutting the lace into desired lengths, stick on additional dots so that all of your lace pieces have dots on the right side. 

How do I dye lace ivory?
To dye lace, you'll need:
• 2 cups strong coffee or tea
• 1/4 cup vinegar

To dye white lace to ivory, mix 2 cups strong coffee or tea and 1/4 cup vinegar. Thoroughly wet lace in water, then soak in coffee mixture about five minutes. Rinse completely in clear water. Repeat if not dark enough. Dry on a flat surface. Do not press lace before it is dry or it will streak.

How do I sew lace to fabric?
Place right sides together. Fabric extends 1/8 inch from lace. Zigzag (L = 1.0; W = 4.5) so that one needle swing stitches over the lace heading, and the other needle swing goes just off the fabric edge. After a few stitches, the fabric raw edge should start rolling in toward and covering the lace heading. If it doesn't, try increasing needle tension slightly.

Be sure to visit our online store to save big on hundreds of items during our Summer Sidewalk Sale. We have laces and trims, fabrics, notions and accessories, books and DVDs, patterns, kits and more marked at 75 percent off now though June 26!

Sew On, Sew Well, Sew Beautiful,
Cyndi and Amelia

Selecting the Right Stabilizer for Machine Embroidery

We love adding embellishments like embroidery designs, appliqués and trims to our projects. These little accents are the "artist's touch" on our handiwork - that extra something that can turn a project into a masterpiece. This week, we'd like to talk about machine embroidery, one of the most common embellishment methods. We're often asked for tips related to machine embroidery, particularly regarding stabilizers.

Stabilizers are used for stabilizing the design during machine embroidery. This is necessary since the addition of a lot of thread on top of fabric can "shrink" or "pull" the fabric thus contorting your embroidery design.

Machine embroidery from Mary's Graduation Dress Designs
adds a beautiful finish to this dress.

How many layers of stabilizer do I need?  The number of stabilizer layers needed is usually determined by the density of the design and the type of fabric you are embroidering on. You must consider both of these when considering how many layers of stabilizer to use. Generally, the more dense the design, the more layers you should use, and the lighter the fabric, the more layers you should use.

What type of stabilizer should I use?  The type of stabilizer to use is usually determined by the type of fabric you are embroidering on. Below is a chart to use as a guide:

• Cut-away:  Used for knits and other types of "stretchy" fabrics. Usually comes in different weights (heavy, regular and light) to correspond with the weight of your fabric. When your embroidery design is finished, the stabilizer is then cut away from the embroidery design.

• Tear-away:  Used for stable, woven fabrics such as cottons and denim. This also comes in different weights to correspond with the weight of your fabric. When your embroidery design is finished, gently tear away the stabilizer from your design. This type of stabilizer is also available as an "iron on" and "sticky back".

• Water-Soluble:  Generally, this type of stabilizer is used as a backing for only stable, woven fabrics. It can also be used as a "topping" on any type of fabric that has a nap or loop to it, such as corduroy and terry cloth. It is also great for making "free standing" embroidery such as lace. No matter what type of fabric or application you are using this type of stabilizer for, when your embroidery design is finished, simply wash away the stabilizer with water (your fabric must be able to tolerate water).

This ready-to-embroider linen gift bag features machine
embroidery from My Lil' Friends. The casing pull was
made using spaghetti bias.

Will you share some specific stabilizer recommendations?  Below, we've provided a list of fabric types matched with recommended stabilizers.

• Woven Cotton, Batiste, Denim, Linen, Broadcloth - Stitch N Wash

• Silk, Silk Dupioni, Satin, Taffeta - Dream Weave

• Towel, Terry Cloth - Base: Wet N Stick or Perfect Stick, Topping: Water Soluble Topping or Heat N Gone

• Velvet, Velour, Suede - Perfect Stick, Heat N Gone Topping

• Polar Fleece, Meinke - Any "stick to" stabilizer

• Knit, Piqué - No-Show Nylon Mesh Fusible

• Sweater Knit - No-Show Nylon Mesh Fusible, Heat N Gone, Water-Soluble Topping

• Cotton Organdy, English Netting, Sheer Fabric that can be ironed - Wet N Gone Fusible

• Nylon Organdy/Organza, Netting, Sheer that cannot be ironed - Wet N Gone Tacky

• Hard to Hoop - Perfect Stick, Wet N Stick, Wet N Gone Tacky

For more machine embroidery tips, check out our new DVD, Machine Embroidery 101 (also available as an SD or HD download). Pam Mahshie, Education Director for Baby Lock, makes machine embroidery come alive for beginners who know little or nothing about it as she covers hoops, notions, articles to embroider, formats, downloads, marking for perfect placement, design opening basics, stabilizers for different fabrics and more.

Sew On, Sew Well, Sew Beautiful,
Cyndi and Amelia

Transform a Tea Apron into a Pretty Pinafore!

Vintage Apron Pinafore by Mary Caviness

As sewists, we love to admire our treasured family heirlooms, yet we often keep them tucked away in our attics for "someday." Designer Mary Caviness found a way to put one of her family linens to good use by turning this once tea apron for the stylish hostess of the 1930s, '40s and '50s into something truly special for today's little girl. 

The transformation from apron to pinafore takes mere minutes. Silk satin ribbon, Swiss entredeux and French edging lace are joined to create a simple yet elegant band to stitch to the apron waistband and crafted into straps resulting in a special occasion pinafore. The updated vintage piece is worn here over a high-yoked dress of pink Victorian batiste featuring puffed sleeves and a touch of ruffle at the bias-bound neckline.

What you'll need:
· Vintage apron of your choosing
· 2 yards white Swiss entredeux
· 3-1/4 yds 1-inch-wide pink silk-satin ribbon
· 2 yards French edging lace
· Bias tape or a bias strip of dress fabric for arm curve
· Madeira Cotona 80wt or Mettler 60wt sewing thread
· Lightweight thread to match silk-satin ribbon
· Size 60 needle
· Blue wash-away fabric marker   

NOTE: Make underdress before making pinafore so that arm curve placement is precise. Mary used the "Heirloom Party Dress" pattern from Martha Pullen's book, French Hand Sewing by Machine II, however, there are several high yoke dress patterns available from other sources. Check your pattern stash before buying!

1. Join ribbon to entredeux in same manner as stitching entredeux to fabric. Trim and whip seam and press toward ribbon. Butt and zigzag lace edging to remaining side of entredeux.

2. If waistband of apron is wider than ribbon band, fold apron band in half and straight stitch.

3. Measure waistband of apron and cut a piece of ribbon band to this measurement plus 1 inch. Reserve remaining strip for shoulder straps.

4. Pin ribbon-lace band over waistband of apron aligning top edges first, turning under each end 1/2 inch to finish even with back edges of apron. Stitch in the ditch of the entredeux and topstitch each end. DO NOT stitch top edge of ribbon at this time (fig. 1). This must remain open to accommodate straps later.

Figure 1

5. To mark arm curves, align center front of apron to center front of dress, placing top edge of apron 1/4 inch above yoke seam line of dress. Mark side seams of dress and bottom of underarm seam on apron using a wash-away marker (fig. 2). 

Figure 2

6. Using the arm-curve guide of your dress pattern, align guide to side seam marks on apron. Place front of guide to front of dress and align curve of guide to bottom mark on apron (fig. 3). Trace curve with a wash-away marker.

Figure 3

7. Stay-stitch inside 1/4-inch traced curve and cut out curve on marked line (fig. 4).

Figure 4

8. Finish curve with bias binding from dress fabric or purchased bias tape to match, tucking raw end under at each end.

9. Pin apron to front of dress and tie sashes in back. Custom fit straps from front to back. Pin straps to apron and remove apron from dress.

10. Sew front end of strap between ribbon and original apron waistband at a slight angle. Topstitch across top edge of ribbon waistband (fig. 5).

Figure 5

11. Fold back strap ends under and topstitch to right side of apron in back just above entredeux (fig. 6).

Figure 6

For more special occasion dress inspiration, check out the new book Perfect Party Dresses. Featuring renowned designers such as Gail Doane, Julie Graue and Susan O'Connor, this book includes easy-to-follow instructions for 12 smocked dresses and three petticoats! You'll also learn how to tie a perfect sash bow, discover helpful tips for finishing touches and find out how to care for smocked and embroidered garments.

Sew On, Sew Well, Sew Beautiful,
Cyndi and Amelia

Serge With Confidence: Part 5

May Book Blog: Serge With Confidence by Nancy Zieman

Our last and final blog on our little serged baby set is a relatively easy lesson, since you have already cut out and serger shadow stitched your bonnet piece using the cover stitch. If you haven’t already cut out a batiste lining piece, do so now using your embellished organza top layer. Secure the layers together, wrong side of organza to right side of batiste, using pins or KK 2000. Serge with an overlock across the bottom and then around the curved edge.

Turn up the bottom hem to the wrong side so that the serged edge just overlaps the lower edge of the shadow stitching(you should be able to see it through the fabric).

Press and take to the sewing machine. Topstitch on the right side just beside the  shadow stitch line in thread color that matches your project. The stitching will catch the hem on the wrong side.

Now since your bonnet piece is curved all the way around, you will need to ease in the hem. Run two gathering threads at least 4.5 inches long 5/8 inch and 1/4 inch from the curved edge.

Pull the threads around the curve gathering slightly so you can fold the edge under to slightly overlap the shadow stitching line.

Press. Straight stitch from the front around the outer edge, just as you did across the hem edge. This will create your casing. (You will have some gathering on the wrong side of the fabric, but since the bonnet is drawn up with a ribbon, this is fine.)

Run a ribbon through the casing using a safety pin.

Pull up the bonnet to fit. To secure the bonnet shape, stitch through all layers (including ribbon) at the edge of  shadow stitching beyond the casing opening.

Tie knots in the end of each ribbon.

Gift a new baby girl with this sweet little serger set.

-Amelia

Serge With Confidence: Part 4

May Book Blog: Serge With Confidence by Nancy Zieman

Now that our decorative work is done on all our organza pieces, it’s time to construct our little jacket. For the most part, I followed the construction process given in the pattern, with these exceptions:

First, place each organza piece to each batiste piece, wrong side of organza to right side of batiste, and baste around the edges to join.

Treat as one from this point on.

Change your serger setup to a three- or four-thread overlock stitch and finish the jacket edges along the front facings. Fold the facings to the right side of the garment along the foldline and stitch across the facings 3/4 inch from the top just to the end of the serged finish and 1-1/2 inches from the bottom across the facing. 

Mark all the way around your neckline edge 1 inch from the shadow-stitching line.

Serger finish around the neck on the marked line (with the facings still turned back).

Stitch up your side seams making sure to align the shadow stitching.

Finish with the serged edge. (You could serge only, but you run the risk of misaligning the shadow stitching). 

Serge all the way around the bottom edge of the jacket (facings are still turned back.)

For many serged baby items, you could serger finish the neckline and simply fold back the narrow edge and topstitch to finish. For this design, however, I needed the turned-back edge to meet the shadow stitching, and to fold back a wider finish along a curve requires you to clip the curves into the finished, serged edge. You could do this, however it leaves raw fabric along the clips and isn’t a very attractive finish.

Instead I suggest finishing with a bias strip from the batiste. Cut the strip 1-3/4 inches wide. Fold it in half and press in a circle shape echoing the shape of the your neckline. With the raw edges of the bias aligned with the raw edges of the jacket and working on the right side of the jacket, sew around the neckline with a 1/4-inch seam. Trim the ends of the bias so they overlap the turned-back facing approximately 1 inch. Clip the curves, turn the bias binding to the wrong side, turn the facings to the inside of the jacket (this will also flip the bottom hem up as well) and press around the neck, the hem and down the facings. The bottom hem should meet or be positioned slightly beyond the bottom shadow stitching.

To secure you could hand blind stitch, but it is just as clean and easier to topstitch so that your topstitching lies right beside the shadow stitching line. Use thread to match the garment fabric on the shadow stitching (in this case a fine cream thread). The stitching is barely detectable and you catch the hem on the underside.

The neck bias aligns just beyond the edge of the shadow stitching as well, and you will secure it in the same manner.

Serger finish your sleeve edges, turn up the hem to the shadow-stitching line, press and topstitch as for the jacket. Stitch the sleeve seams aligning the shadow stitching and finish the seam allowance with a serger.

Gather the sleeve cap and set into the garment, finishing with a serged edge. This is a small area to work in, so stitch slowly and carefully.

Add a ribbon closure as instructed in the pattern.

Apply a clear snap on the underlap to secure.

Next week, we will tackle our little drafted bonnet to complete the set.

And on a side note, I actually chatted with Nancy Zieman at Quilt Market in Portland; she was signing copies of her Sew Knits with Confidence book at the F+W booth. And she assured me that my suggesting you catch a skipped stitch with a needle and thread was perfectly acceptable. So we can all relax and forgive our little sewing flaws. 

-Amelia

Sew a Swirl-of-Ruffles Hem Treatment!

Swirl-of-Ruffles Hem Treatment

Several years ago, designer and Sew Beautiful contributor Khristal Joett showed us a crumpled instruction sheet for a vintage pattern that she purchased at an estate sale. What interested Khristal the most about the garment was its unique swirl-of-ruffles hem treatment, which was ironically similar to the hem on an antique dress we had recently acquired to share on an episode of "Martha's Sewing Room." Using the vintage pattern, we created two different dresses for a feature in our March/April 2011 issue - one version was a fun, modern reproduction, while the other was more heirloom-inspired.

Today, we'd like to show you how to achieve the swirl-of-ruffles hem on any garment. As you plan your project, consider cutting bias strips for ruffles (so they don't fray) and allowing the raw edges to be exposed. Instead of using fabric, you could also create the swirls with decorative trims, fringes or ribbons. Spruce up your favorite skirt pattern or purchased skirt with ruffled swirls, or add a dressy finish to a special occasion dress in silk dupioni. Be creative with this vintage-inspired trim!

Making the ruffles:
NOTE: Before gathering, decide how to finish ruffles (bias raw edges, narrow hem, zigzag rolled edge, machine scallop stitch, decorative stitch, serger edge, etc.)

1. Cut several bias strips 2-1/4-inches wide (for a 1-inch finished ruffle) and one half to twice the length of swirl depending on how tight you want to gather your ruffles. Fold and press each side edge to wrong side of fabric 5/8 inches so that they overlap 1/4 inch down the center (fig. 1). 

Figure 1

2. With thread to match fabric, gather along center using a traditional straight stitch (L=4.0) for pulling, or with a ruffling foot attachment. Adjust gathers as pictured on swirl template.

3. Press corners under at one end and stitch to secure a pointed finish (fig. 2). You can also turn and hem edge straight across. Complete all ruffles and set aside for application.

Figure 2

Attaching the ruffles:
Side seams of skirt or dress must be sewn and finished before adding ruffles, as ruffles are sewn on top of seam on right side. This can be done after dress is fully constructed or before you add a skirt to a yoke or bodice.

1. Mark a 1-inch hem at skirt bottom. 

2. Divide front into four equal sections between side seams; draw three vertical lines from hem. Trace curves in each corner of marked lines and side seams, as pictured on swirl template. TIP: Get creative and add curls at each tip or make longer ruffles that serpentine to the top.

Swirl template

3. Do not stitch hem until after all ruffles are applied. Work from right to left so that each added ruffle covers raw end of previous one. Begin pinning or glue-basting ruffles so that gathering stitch is on curved line and 1/2 inch above hemline. Be sure the straight end overlaps the next swirl guide line just a little, so that it is caught in the stitching of the next ruffle. Straight stitch ruffles to skirt on top of gathering stitch line. 

4. Press hem up 1/2 inch then again 1/2 inch and hand blindstitch on inside of dress (stitching should be hidden by ruffle).

For more ruffled sewing inspiration, check out our new DVD, Marjorie's Ruffle Dress with Connie Palmer. You'll learn how to create an adorable little girl's dress and matching doll dress as Connie shares tips, tricks and magic methods for ruffles and piping!

Sew On, Sew Well, Sew Beautiful,
Cyndi and Amelia