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Cool Cable Cardigan

By Kathryn Brenne

To see a list of all sewing tutorials, click here!

On a recent trip to London I fell in love with a high couture knit jacket. When I came across this beautiful quilted cable knit fabric I decided to make my own variation using the jacket I had seen as inspiration.


inspo 3

Inspiration garment

It is perfect for crisp spring or fall days but also works well in air-conditioned rooms during the summer. A perfect weight to layer easily over other garments, it looks great with jeans, trousers, skirts or as a topper over a dress. I have teamed it up with a matching T-shirt and have been wearing it casually with jeans. I can see that this jacket is going to see a lot of wear!

(For more photos, scroll down to the bottom of the article!)


I used 1 1/2 yards of the quilted cable matelasse’ knit in the denim color. (It also comes in seagrass and black. Creamy white and light gray heather will be available soon as well.)  I cut the pattern crosswise to allow the cables on the fabric to run lengthwise. The fabric has enough stretch and seaming so that it is not a problem to use the fabric on the cross grain.


Fabric #66437#66436, #66435

For the contrasting sections I used 11 oz. rayon jersey in slate blue (now sold out, no longer available—see special note at the bottom of this section), which matched so well that I made a coordinating T-shirt to wear underneath the jacket. In total I used 2.5 yards of the 11 oz. jersey, to complete all the contrast sections plus the T-shirt. If you use a thicker knit for contrast (a ponte for instance), you can skip some of the doubling and interfacing steps described below. You can also make the entire jacket from the cable knit.

Front, upper back, mid back and upper sleeves were cut from the cable knit fabric.  All other pieces were cut from a double layer of rayon jersey. All of the contrast pieces were cut double and interfaced with a bias knit interfacing in black. **Make sure
to choose an interfacing that will not fray as this garment is constructed with all raw edges.** The interfacing added a bit of structure to the thinner 11 oz.
rayon jersey making it more compatible with the thicker cable knit fabric.

SPECIAL NOTE: Please contact us for more information regarding coordinating fabrics for these cable knits. Fabrics are sometimes discontinued but there’s always another option!


Steffi pattern

Style Arc Steffi Jacket

I chose a pattern that was similar to my inspiration garment. The Steffi Jacket from StyleArc was the perfect choice as it had similar seaming and required only a few changes:

1. I redrew the CF into a curved hem and omitted the zipper.

2. I wanted to add a band around the neckline instead of the collar. To do this I cut the jacket using the original pattern. Once the jacket was assembled I draped the
garment on my dress form and marked a new finished neckline. From the finished
neckline, I drafted a 1 1/4” wide band and added seam allowances.

3. I also added a band 1 1/4″ wide to CF. There is no overlap; the bands are intended to just meet at CF. I extended the bands to end at the bottom of the back flounce.

4. I straightened the sleeve hem and add a 1 1/4″ band to match the neck and CF bands.

5. I replaced the lower back panel with a long rectangle that was slashed and spread along the bottom edge to create a more flared back panel. To create the lower back panel I measured the length of the seam and cut a rectangle pattern piece 6” wide. I slashed the
rectangle at CB and then again 5” either side of CB. I spread these three slashes 3” each, which turned my rectangle into more of a U shape. When the U shape is sewn to the lower back edge it creates a flounce.

6. I also added a flat separate band (also 1 1/4″ wide) between the upper and mid back panels. This band was sewn into the seam and left loose. It helps to break up the pattern between the upper and middle back panels.

[Photos of pattern pieces coming soon.]

Layout and Cutting

The pattern was cut on the crosswise grain so the cables would run vertically. Most pieces didn’t require matching since they were separated by a contrast panel. The only pieces that were matched were the upper back, mid back and upper sleeve. I also made sure that both front panels were mirror images of each other. To do so I had to cut them in opposite directions:

Needles, Thread and Notions

3 x polyester Guttermann thread in color 239
1 x Aurifil Cotton Mako 12 weight top stitching thread in Color 1248
Cotton basting thread
5 x Elan silver hook sets approximately 1 1/2” across by 1/2” wide
Ballpoint size 70 machine needles were used in the coverstitch machine
Buttonhole spacing gauge



Elna press

Since there was so much fusing for this project, I fused everything using an Elna Press, which gives a very strong bond and covers more area at once, making the job quicker.
Alternatively, an iron can be used.

To create a good bond follow these steps:
1.  Warm the fabric first with the iron.
2.  Position the fusing. Use a lift and press motion rather than a gliding motion to fuse the
interfacing. Holding the iron in one place for approximately 15-18 seconds should create a good bond.
3.  Turn the fabric over to the right side and press again. This will draw the glue into the fabric creating a permanent bond.


I used a coverstitch machine to sew all the seams on this garment, but if you don’t have one, this project would be a great opportunity to experiment with decorative stitches in your sewing machine library.
To achieve this seam, I used all 3 needles on the coverstitch machine, and a fancy thread in the looper. The heavier thread in the looper created a stitch that matched the cables of the fabric very well.

The stitching is all done from the wrong side of the garment, so it is essential to baste all seams accurately. The basting is used as a guideline on the wrong side of the garment to help keep stitching straight when you cannot see what is happening on the right side of the garment. Practice the technique first.

I used a maximum stitch length of 4mm and pulled on the fabric slightly as I fed it into the coverstitch machine. The longer stitch length and technique of pulling on the fabric slightly built more give into the stitch, which gave it greater stretch. This was particularly critical in areas that required a lot of stretch such as the neckline and hems of the Tshirt as well as the sleeves of the jacket.

Experiment with decorative stitches in your stitch library using a heavier thread. Depending on the thickness of the thread used, you may need a top stitching needle. Try lengthening stitches to accommodate the thicker thread. Choose stitches which are not too dense.


Thread trace stitching lines on all pieces cut from cable knit fabric, as well as inside layer of the contrast pieces.


Lay inner contrast piece over wrong side of cable knit piece, lining up seam lines. Baste 1/8” away (in yellow).

Cut seam allowance off vertical seam of outer contrast layer and lay on top of right side of cable knit, lining up raw edge with original seam line of basting. Baste in place close to raw edge, being very accurate as this will become your sewing guideline. Remove all other basting.


On wrong side, coverstitch seam following the basting thread by positioning it between the first and second needle. This worked well on my coverstitch machine. Practice a sample first on your machine to determine spacing. Remove basting and press.

Wrong side up when coverstitching:

Right side:


On wrong side trim away seam allowance of contrast using applique scissors.


Open up layers of contrast panels and carefully trim away cable knit as close to stitching as possible to reduce bulk.


Most seams are done using this method, exclusive of shoulder seams on neck band and upper and lower under sleeve panel seams, which are lapped separately.

Cut seam allowance off along lower edge of upper under sleeve panel. Lap over lower under sleeve panel. Baste close to raw edge. Coverstitch from wrong side. Do this to both inner and outer contrast under sleeve sections separately.



Baste both layers of upper back band wrong sides together, along lower seam line. From
wrong side, coverstitch. Trim close to stitching.


Lay underside of upper back band behind upper back panel. Baste. Lay mid back panel along same seam and baste. Serge or zig zag seam down to 1/4” wide.


Trim off seam allowance on upper edge of upper back band.


Trim cable knit seam allowance. Baste band down along seam line. Coverstitch from wrong side, through all layers.



Finished upper back band

Attach front bands using seaming technique described above. Chalk exactly 1 1/8” away from raw edge. Baste along chalk line. Turn to wrong side and coverstitch. From right side trim close to stitching. Be extra careful to cut smoothly since this will remain a raw edge and will be the CF of the jacket.



Lap shoulder seams on neck band. Coverstitch seam. Chalk seam allowance on neck band, and remove coverstitching to within chalk marks. Tie off threads. Attach neck bands using the same technique as the front bands.



The sleeve can be tricky as it has to be turned through a skinny panel in order to achieve this type of seaming. The sleeve is wide enough to accomplish this technique. The stretchy fabric also helps.
One seam on the sleeve is done exactly as all the other seams, but the second seam has to
turn through the contrast panel in order to access the seam and trim the cable knit seam
allowance down. This is done after the second seam of the sleeve has been sewn. The seam can be accessed through the underarm area.


Construction Sequence

1. Assemble body and attach sleeves
2. Attach lower back flounce
3. Attach front bands
4. Attach neck band


Try on the garment and mark bust on the front band. One closure should sit at the bust to prevent the garment from gaping. Mark the center of the neckband.

Use a metal buttonhole spacing guide to mark 5 closure placements. The spacing guide should align with the neck and bust markings with one more marking between these two and two below the bust.

The closures should be positioned so that the edges of the front band meet but do not overlap when closed.

Chalk the position of each closure.


Use a buttonhole stitch and the same Aurifil thread to attach the closures to the front band. I used 10 buttonhole stitches per closure.

IMG_8898IMG_8898 2P1030705



I used my favorite basic T-shirt pattern, Ce Podolak’s Material Things Fearless T-shirt #109 to create a coordinate to wear with the jacket.


I sewed the shoulder seams first and then tried the T-shirt on with the jacket to see how the two necklines would sit. I wanted the T-shirt to be exposed and sit slightly higher than the jacket neckline.

To create the same raw edge style that was used on the jacket, cut the neckband with no seam allowance 1 1/8” wide. Lap the raw edges of the neckband over the raw edge of the neckline. Baste close to the raw edges of the band. Coverstitch from the wrong side pulling on the neckband as you stitch.

Attach the sleeves.

Try the garment on and pin the side seams and sleeves to fit. I found the rayon jersey was quite stretchy. Pinning the side seams after the neck and sleeves were finished allowed me to pin the fabric in slightly from the regular stitching line for a closer fit.

Fold the hems of the T-shirt and sleeves to the outside of the garment. By doing so, this
creates a raw edge to match the raw edge finish of the jacket. I left a 1 1/4” hem allowance on the hem of the T-shirt and a 3/4” hem allowance on the sleeve. Baste. Position the basting 1/8” back from the raw edge and aligned this with the first needle on the coverstitch machine.




Inspiration No. 16: Linen Love

Linen Love

by Kathryn Brenne

To see a list of all sewing tutorials, click here!

Linen is a wonderful fiber to wear in the summer months. It is cool, absorbent and breathable, and has a casual, breezy look.  I wanted to make a linen dress for myself, using the medium weight cross dyed driftwood/tan linen , and to add interest I decided to create my own eyelet lace border. Using tone on tone embroidery thread, and a new technique, I was able to create a border design that gave this simple linen dress a sophisticated appeal, and was a lot of fun to do!






Vogue V8970

Simple lines and an easy fit are best when working with linen. In general linen tends to be a looser weave, which can cause the fibers to separate under stress. I chose Vogue V8970, a simple raglan sleeve dress with front pleats, back darts, side seam pockets, collar and button front closing. It has a loose, roomy fit.


I lengthened view A, which has double pleats in the front and a fuller skirt, by 8”.  This worked well for my frame since I am 5’9” tall.  I wanted a below knee length dress with the eyelet border positioned above a narrow hem. The hem allowance was reduced to 5/8”, which made the hem on a full slightly circular skirt easier to manage.

Instead of creating box pleats for the front of the dress, I pressed the pleats flat and then
towards the side seams. This created pleats with tucks pointing inward giving a more slimming look. No pattern alteration was needed for this — it is merely a pressing technique.boxpleats
I waited to finish the inner edge of the front facing until the embroidery was complete. I didn’t want the facing to show through the embroidery eyelets. Depending on the embroidery placement and the size of garment being made, the facing could be finished narrower tapering back up to the pattern width through the waist area.


linenfabricOne of the features of linen is its tendency to wrinkle. Pressing linen when it is wet can help to keep it crisp but this feature is definitely part of the distinctive look of linen. Linen is a plant based fiber, and since it is a brittle fiber it is best stored rolled or hung.  Garments made from linen can develop permanent creases and actually wear out along the creases if they are stored folded.

I purchased 3 yards of linen, which was enough to cut a longer version of view A in size 12 and do a few test embroidery samples. I chose not to preshrink the linen but did press it.  You can prewash the linen as an alternative, to preshrink and soften it.  A web search will show just how much advice there is out there for pretreating linen, and I suggest that you study some of these suggestions and decide what works best for you.

I used a lightweight woven fusible interfacing #16510 for the collar and front facings.

Needles and Thread

For general construction I used a Universal size 70 needle.
For the machine embroidery I used a sharp size 75 needle.
Gutermann 100% polyester all purpose thread was used for construction.
Isacord 100% polyester embroidery thread in color 0874 was used for the machine embroidery.  It is important that the thread used for embroidery be 100% polyester.


Linen stretches when wet. It is best to press the garment with a hot iron while slightly damp.  After completing the embroidery I washed the dress on a gentle machine wash. I put it in the dryer for a few minutes to take some of the moisture and wrinkles away and then pressed it dry with the iron.

Linen takes a press very well.  But because it is a brittle fiber, marks from alterations to parts of the garment that have been pressed maybe difficult to remove, so be sure to perfect your muslin before working with your linen, and check your work as you go to avoid mistakes that may leave marks on your fabric.

Finishing Seams

Since linen ravels easily, serged seams or French seams are perfect options. This medium weight linen would have been too thick for French seams, so serging was a quick and easy choice. It is easy to press the serged seams after the garment is complete and also after laundering.


Linen machine washes very well. Tumble dry for a few minutes, hang for a short amount of time and then press while still damp.

Construction Tips and Techniques

For the most part I followed the pattern directions. The dress was completed other than
hemming before the embroidery was stitched.  Following is a description of the  techniques that were done differently than the pattern guide sheet.


Trim a scant 1/8” off of the under collar before beginning the collar.

Interfacing was fused to the upper collar.
To stitch the corners perfectly, use a ruler to lightly pencil the stitching line onto the
interfacing at the corners.

Stitch on the penciled line.

Trim seam allowances to 1/4”.

Turn the collar right side out and press, rolling the seam slightly towards the underside.
To edge stitch perfect corners, use an edge stitching foot and move the needle two
positions to the left. Stitch to the corner and remove the collar from the machine leaving long thread tails. Leave long thread tails at the beginning as you start stitching in the opposite direction. This prevents the corner stitch from looking slightly off or crooked. Take all thread tails through the corner stitch, unpicking one stitch if necessary. Tie off the four thread tails on the under collar. Thread the ends through a self threading needle. Feed the needle through a stitch. Pull ends tightly and the knot will disappear into the stitch. Clip thread tails.

Once complete, the corner stitching should be perfectly sharp and square.

After the front facing is attached, edge stitch the front and notch ending one stitch into the edge of the collar.
The best stitch quality is always with the good side facing up. Stop and start your edge
stitching making sure the good side is facing up. Leave long thread tails and pull them to the wrong side. Knot off, thread into a self threading needle and bury the thread tails.
At the notch of the facing and collar, finish the last stitch by hand. One stitch can join the two rows of edge stitching together.



Fuse a strip of interfacing 1” wide by the length of the pocket opening to the front and back pocket openings before beginning the pocket construction. After attaching the pocket bags, edge-stitch the front to keep it in place.




I had been wanting to try Fiber Etch® for a while. Linen was the perfect choice to try this fiber remover. The product works best on linen or cotton. It must be used with 100% polyester or synthetic thread to prevent the sodium bisulfate from eating away other areas of the garment. Test this technique on a sample first.

I purchased a cutwork embroidery design from The design I
purchased was a cutwork diamond FL749. I used tear away Floriani Wet N Gone water soluble stabilizer.


I tested out different colored threads before deciding on the sophisticated look of tone on tone embroidery.
From one of my test samples I learned that although the embroidery could stitch through two layers, the Fiber Etch® would not work on the synthetic fusible interfacing I had applied to the front facing.

After stitching out two designs side by side, I worked out the placement along the bottom of the skirt. I used pins to mark the placement area.

Attach the water soluble stabilizer to the back of the fabric to be embroidered using a
temporary spray adhesive. I hooped the fabric and the stabilizer using the grid that came with my hoop to center up my pin markings. I stitched out two motifs at a time before repositioning the hoop. After the embroidery was complete I carefully removed most of the water soluble stabilizer.


Use an eye dropper to paint the eyelets of the cutwork embroidery being careful not to
accidentally drop any Fiber Etch® onto other areas of the garment.

Use a hair dryer to dry the Fiber Etch® .


Use the iron to press the motifs. Apply heat until the eyelets turn dark brown.


The brown areas become brittle and are easily removed with an awl.


On the seams, apply a bit of the Fiber Etch® to the wrong side of the embroidery.
After removing most of the stabilizer machine wash the garment on a gentle cycle with detergent to get rid of the remaining stabilizer. This also will clean up the eyelets nicely.



The front skirt is full and ends up being on the bias by the time it gets to the side seam. Rather than easing linen into a 1 1/2” hem, which would be difficult to do, I chose to make a narrow hem, the same as for the sleeves.

To make a narrow hem, chalk a 5/8” hem allowance. Press up hem. Fold edge of hem allowance down to the fold and crease.
Pin hem in place easing in fullness if needed.

Baste narrow hem in place. Edge stitch close to the folded edge.



I enjoy making handworked buttonholes. There were nine buttonholes down the front of this dress.

Chalk the center of each horizontal buttonhole. If you were careful cutting out the fronts, the center of the buttonholes should lay perfectly on grain.


I used the rectangle bound buttonhole stitch on my machine to outline a narrow square ended buttonhole.  Reduce the stitch length to .6 mm and the width, which reduces the width of the rectangle,to 2 mm.  Apply a small bead of Fray Check down the center of the stitching. Let dry and then cut down the center.


Work a buttonhole stitch using a double strand of Gutermann 100% polyester all purpose
sewing thread. I take three stitches across each end to create a square buttonhole.


Good side of the buttonhole


Wrong side of the buttonhole


I found that the front of the dress pulled open a little bit due to the weight of the pleats. To keep it closed I made a self covered snap. This is a techniques I learned from British couturier Jon Moore.

Use an awl to put a small hole in a scrap of fabric.


Position the male portion of the snap through the hole.


Close the snap with the female portion. Trim the scrap to a circle.


With the snap still closed, sew a gathering stitch around the perimeter of the circle.


Pull up the gathering thread and oversew the back of the snap with a few stitches before
ending off.


Repeat the process, this time using the finished side of the snap to close the other half of the snap.


Pull up the gathering thread.


Finished snap.


Give the finished snap a press to flatten the back.


Sew the finished snap between the two waist buttons on the dress.


I used a very small catch stitch to sew the facing to the waist of the dress. Be careful to only pick up the tiniest thread; otherwise stitches will show through on the good side of the garment.


Inspiration No. 15: Silk Velvet Luxury

Silk Velvet Luxury

by Kathryn Brenne

To see a list of all sewing tutorials, click here!

img_3990bSilk velvet has a wonderful hand and drape. Previously thought of as an eveningwear fabric, velvet is now used by designers in daytime wear as well. It is perfect for soft trousers, drapey jackets, skirts, tunic tops, bias cut slip dresses and accessories. With its reputation for being slippery and difficult to handle, sew and press, velvet sends some home sewists running in the opposite direction! But here we will explore a few techniques to help you control this luxurious fabric.  Additionally, you’ll learn how to use one of the perceived negative qualities of velvet–its ability to crush easily or mar when pressed–to create unique garment details and textures.



For this tutorial I chose Vogue v9153 view B, a tunic top pattern, to create a soft jacket with an asymmetrical hem.  I made some alterations to the pattern and construction techniques which work better for the velvet:
1. I joined the Front Facing to the Front along the stitching line. This eliminated a seam down the front edge of the garment.
2. I drew on all stitching lines and hem fold lines. The garment was thread traced leaving very wide seam allowances around all pieces. This was helpful when joining the slippery seams together.
3. The Collar was cut on the bias.
4.  A hem allowance of 2” was added to the Fronts and Lower Right Front.  A 2” wide hem
allowance was drafted and cut as a separate pattern piece for the Back. A separate hem
facing was the easiest way to handle the curved shaping of the Back.
5. The pleat in the hem of the Sleeve was omitted.
6. The garment was lined. I used the same pattern pieces to cut the lining.
7. Interfacing was omitted. Instead the garment was backed with silk organza, which added body to the soft velvet and allowed me to invisibly hem the garment without any stitches showing through on the garment.
8. The buttonholes were converted to covered snaps and fabric covered buttons.


fabricI purchased 3 yards of velvet in color heliotrope, 3.5 yards of silk organza in color 196 and 3.5 yards of silk habotai in color 157. The silk organza was used to back the velvet and the silk habotai, a nice lightweight silk, was perfect for the lining, since the jacket has an easy, loose fit. The silk habotai helps the garment to stay in place when worn whereas a smooth, slippery silk lining such as charmeuse would have allowed the garment to shift around too much. I also used a French Collar Canvas from my stash to support the collar.





Velvet can be crushed very easily. Care must be taken when pressing. To preshrink the fabric and remove any wrinkles from shipping, I carefully pinned the edge of the fabric to my shower rod. Using a garment steamer I carefully steamed the wrong side of
the fabric, holding the steamer a few inches away. I allowed the fabric to hang to dry and then pinned the opposite end to the rod to finish steaming the other end. Test this
technique on a corner first to ensure that you do not leave any marks or streaks on the right side of the fabric. If you do not have a fabric steamer, alternatively you could try steaming the fabric with steam from an electric kettle. Be careful that water does not land on the fabric.

To preshrink the organza and silk lining I steam pressed the fabrics.

French Collar Canvas is very stiff. To soften it I washed a strip of it with towels and dried in the dryer. Some sizing will remain. When it is just damp, press flat to finish drying. Be careful not to distort the grain, which is easily visible, when pressing.


–A size 70 Universal sewing machine needle, suitable for all fabrics.
–A size 9 long darner for thread tracing.
–Cotton basting thread for thread tracing and basting seams. (Two colors: white for thread tracing and yellow to baste the garment seams together.)
–100% kimono silk thread 100 weight for stab stitching.
–Gutermann 100% polyester all purpose thread for machine sewing.
–A walking foot to help the fabric feed evenly when machine stitching.
–4 x 1 1/4” metal covered button forms
–4 x 15mm black metal snaps

Layout, Cutting and Preparation

Velvet has a nap. Brush your hand over the fabric. It will feel smooth in one direction and rough in the other. The garment will appear darker and richer with the nap running upward and shiny with the nap running downward. I chose to lay out the pattern pieces with the nap running up.

Velvet must be cut as a single layer with the wrong side facing up. Lay out the pattern pieces with all of them running in the same direction and leaving large spaces
between each pattern piece. Note: Be sure to layout pattern pieces with the wrong side of the tissue paper facing up; otherwise the asymmetrical garment will be cut in reverse as the fabric has been laid out wrong side up.

It is helpful to leave a selvedge edge near all main pattern pieces. This easily shows the grain line, which is useful later when the sections are underlined.

1. Pin the tissue paper in place placing pins approximately 4” apart just to hold the pattern in place. Pins can leave marks in the velvet so be careful not to extend the tip of the pin beyond the stitching line.

2. Rough cut around the pattern pieces leaving a generous one to two inches beyond the
tissue paper pattern. As mentioned, try to keep the selvedge along one edge if possible. Do not forget to allow a generous 2” hem allowance beyond the hem fold line.

p1030246b.jpg3. Working from the wrong side of the fabric place pins directly along the stitching lines leaving about 1 1/2” between each pin. Place pins at 90º to the stitching lines when marking circles and notches. Place a row of pins along the new center front fold line and hem lines. The right Front and Back dart can be pinned along the stitching line.

p10302484. Turn the sections over. The pins, which were placed along the stitching and hem fold lines will outline the garment pieces. Using a long darner and white cotton basting thread, thread trace the garment with the tissue paper pattern still in place. Pick up a few stitches at a time using a running stitch to go from pin to pin. Once the thread tracing is complete, the garment has been outlined on the right side of the fabric. Remove the tissue paper pattern.


To cut the silk organza underlining, lay the silk organza out in a single layer. Lay the rough cut garment sections on top of the silk organza. If you were able to keep a selvedge when rough cutting the garment sections, this can now be used to align the grainline of the velvet with the grainline of the organza. If you do not have a selvedge, use the
tissue paper pattern as a guideline by laying it over the velvet to align the grain lines.
1. Pin the velvet to the organza being careful not to pin beyond the stitching lines or the hem fold line. Pin the dart in place along the stitching line. Pin center Front.
2. Rough cut the organza around the velvet sections.
3. Working with the velvet facing up, use fine kimono silk thread to stab stitch the velvet to the organza along the stitching lines, hem line, center Front and darts. Click here for stab stitch instructions. Stitches will disappear into the pile of the fabric on the right side but will hold the two layers of fabric together. The velvet is now underlined and can be treated as one layer.

Stay Tape

The Front and Back neck edges, Front shoulder and Center Front fold lines are all stayed with a tape, and the selvedges of the silk lining work perfectly for this use since it is a thin and tightly woven fabric. Cut strips 1/2″ wide from your silk habotai lining fabric.

Place the woven edge of the tape in towards the body of the garment and the cut edge facing out. Center the stay tape over the thread tracing and stab stitching. Pin to hold.
Working from the right side of the velvet, stab stitch the stay tapes in place. Position the stab stitching just to the outside of the thread tracing, inside the seam allowances.  The Front fold line, neck and shoulder as well as the Back neck should all be stay taped.

Pressing Tips

Extreme caution must be exercised when pressing velvet. It can be marked so easily and once marked, it cannot be removed. Practice pressing on scraps first. I covered my ironing board with a length of velveteen to protect the pile of the velvet. I experimented with a needle board but was not happy with the results. Needle boards tend to be small. Mine is 4” x 10”. Although I was careful, when testing a sample seam, the finished corners of the needle board ended up leaving an impression in the velvet. I also experimented with a Velva Board. Although the Velva Board did not crush the pile, it did leave spotty marks on the velvet.

In the end I found it best to cover any pressing aids such as my ham and seam roll with scraps of the velvet, positioning the section to be pressed over the scrap and lightly steaming, holding the iron a good 10” back from the fabric. Be sure to practice this technique as a shot of steam directly on or too close to the velvet can permanently mark the fabric. With a bit of moisture from the steam in the fabric, I used my fingers to gently finger press the seams.


I decided to try my hand at embossing velvet. Test this technique out on a sample first before beginning on yardage.
p1030438.jpgI used a wood and rubber stamp block, which I purchased at a local craft store. My stamp was 5 3/4” x 4 1/2” by HERO ARTS® RUBBER STAMP and called FABULOUS FLOURISH.
Lay the stamp with the rubber facing up on your ironing board. Place the velvet face down over the stamp. Lightly mist the back of the velvet with water. Place the iron directly down over the velvet and rubber stamp. Do not move the iron around. It needs to sit on top of the velvet until the velvet is dry, which took approximately 18 seconds. Lift the velvet up. You will be left with the design embossed into the velvet.
I worked out a motif repeat where I flipped the stamp to mirror image the design across a row. I then did subsequent rows on top of the previous row but staggered the repeat by half of a design.
The Lower Right Front panel and Collar were cut from embossed velvet. Embossed scraps were used to cover the buttons. I chose a section of the stamp that I wanted to use for the buttons and
used only that portion for embossing the button scraps.
The embossing is semi-permanent. If steam is applied to the embossing the crushed nap, which created the embossed design, will lift and become a little less crisp.

General Construction

dressform5I followed the pattern guide instructions for most of the general construction. I omitted any directions that created the tie and gathering on the right Front. The velvet was too bulky to pull up nicely and after playing with the garment I decided to omit the tie, which gave me several options for positioning the Lower Right Front when I wore the garment.


The darts were sewn in the Front and Back before the side seam was joined together. Leave long thread tails and pull them through to the wrong side to knot off.


Place the dart over a ham, which has been covered with a scrap of velvet. Steam and finger press the dart toward the hem.


Use an awl or the tip of a seam ripper to coax the nap of the pile out of the stitching.



Seams were basted together to prevent them from shifting. I engaged the dual feed foot on my Bernina sewing machine but a walking foot would also work as well when stitching the seams together. Use a stitch length of 2.5mm to sew the seams.
Lightly steam seams open and finger press using techniques described above.
Chalk a 5/8” seam allowance onto the velvet and use pinking shears to trim away excess
fabric. Both the velvet and the underlining silk organza are trimmed at the same time.



The Collar technique I used is one I learned from British couturier Jon Moore. It is a traditional couture Collar technique and works extremely well in velvet.

1. Trace out the Under Collar with no seam allowances on a piece of bias cut collar canvas. Rough cut the collar canvas with approximately 3/4” seam allowance around all sides.

2. Place the bias cut collar canvas onto the thread traced Under Collar, which has also been cut on the bias. Baste around the three outer edges and pin the neck edge.



3. Pad stitch the Under Collar beginning at the outer edge working your way towards the neck edge. Move pins if necessary to build roll into the collar. The pad stitching will be hidden in the nap of the velvet on the Under Collar.


4. Press the collar canvas and Under Collar flat. Don’t worry, shape has been built into the collar with the pad stitching! Do not use steam as it may affect the embossing.


5. Pin the original pattern back onto the prepared Under Collar redrawing any pencil lines, which have shifted.


6. Trim the outer 3 edges of the Under Collar along the pencil line. This should be a smooth, even and neat cut as it will become the edge that shapes the Upper Collar. These 3 outer edges have no seam allowance and are cut on the stitching line.


7. Lay the prepared Under Collar onto a piece of bias cut fabric, which will be used for the Upper Collar. Wrap the Upper Collar over the outer edge of the Under Collar. Baste in place.


8. Chalk an even 1/2” along the outer edge of the Collar. Trim excess fabric away.


9. Catch stitch over the cut outer edge of the Upper Collar sewing it to the Under Collar.


10. Clip a small V out of the corners of the Upper Collar to reduce bulk.


11. Fold the outer edge of the Upper Collar down on a slight angle.


12. Fold the edges of the Upper Collar over the Under Collar and pin. Baste. Trim to an even 1/2” and catch stitch to under Under Collar.

Using this technique the Upper Collar will have perfectly sharp corners.


Finished Under Collar with catch stitching

11. Wrap finished Collar around a ham, pin and leave to set until ready to insert into the


Attaching the Collar to the Garment

Fold the new Front Facing, which was cut as one with the Front of the garment back on itself along the foldline. Stitch an “L” from the folded edge to center front and then up at a 90º angle.


Clip into the corner of the L, which will allow you to turn it right side out.
Attach the prepared Collar to the neck edge of the prepared garment. The edges of the Collar will fit into the sewn L at center front. I hand stitched the Collar to the garment but this step can be machine sewn if you wish. Bring the Facing up over the edge of the Collar and slip stitch in place.



I like to set my sleeves by hand. To begin I run two rows of basting around the sleeve cap and pull them up slightly.
Pin the sleeve into the armsyce, working on a dress form. On the velvet I used very sharp, fine pins so that they would not mark the velvet. Watch to see that the sleeve is hanging properly. Rotate the notch at the top of the sleeve slightly if needed to make the sleeve hang straight. If the seam at the underarm does not match up perfectly with the garment, this is not critical. It is more important that the sleeve hang properly.
Baste the sleeve in place. Backstitch the sleeve to the garment.

Shoulder Pads and Sleeve Heads

A small shoulder pad and sleeve head were inserted into the garment.  Reference this article to see how the shoulder pad was basted to the shoulder seam allowances. I made a small sleeve head from an oval shaped piece of lambswool. Alternatively Warm and Natural quilt batting could work.


For the Back hem, I chose to cut a Hem Facing out of velvet. The Hem Facing was backed to silk organza, basted to the lower edge of the Back before the side seams were sewn.
Once the side seams were sewn, the hem was turned up and pinned in place from the outside of the garment.


Working on a dress stand adjust the hem line as needed. I found that it was best to go with my eye because some of the marked hemlines appeared uneven on the asymmetrical hem line. Fold miters into the hem allowance of the front points.
Trim hem allowance to an even 2” and pink the edge.
Hem stitch to the organza. By hem stitching to the organza there is no risk of stitches showing through to the right side of the velvet. Slip stitch the miters in place.
I omitted the tuck detail in the sleeve hem. Instead I turned up a 2” hem allowance and hem-stitched in place.



Closures on velvet can be tricky! For this jacket I used 1 1/4” metal button forms covered with embossed velvet. Behind the buttons I used snaps covered with silk lining.
I embossed small scraps of velvet to cut the circles to cover the metal button forms. I tried to place the same motif on each button so all of the buttons would match.
The male portion of the snap was sewn to the right Front Facing and the female side to the left Front.




As mentioned, I used silk Habotai for the lining. The garment has a loose, easy fit and I wanted a lining with a bit of grip to it. A charmeuse lining would have been too slippery.
Use the same pattern to cut and sew the lining together. Working on a dress stand with the garment turned inside out, use the technique outlined in this article to pin the lining in place and set it in by hand. Attach the lining to the hem allowance at the bottom of the garment with a catch stitch.

Other Techniques for Working with Velvet

I did not use these techniques for this project but have included them as they will be helpful when making other garments.

Under stitching

Because it is difficult to press velvet flat, under stitching can be used to hold edges in place. This technique could be used along a neckline or facing.
Sew seam, steam seam open and then finger press to one side.



Use a tiny prick stitch to hold seam allowances in place on the one side. A prick stitch is a tiny back stitch. Stitches should be placed approximately 3/16” apart.



Cover the buttonhole area with a single layer of Aqua Film stabilizer.


Machine stitch a buttonhole through the Aqua Film and fabric.


Gently tear away the stabilizer.


Use a button hole chisel to cut open the buttonhole.


Scarf and Texture

Using one of velvet’s potentially negative characteristics, it’s ability to crush easily, I created this crinkled, textured scarf from just 1/4 yard of velvet. The scarf is cut across the width of the fabric.

Working with the velvet nap side down against the ironing board, hand pleat the fabric. I left a few inches flat on either side for seaming.


Use the iron to press the pleats flat.


Pleats are very random and irregular.



Fold the fabric in half right sides together and pin. Baste.


Sew the seam using a walking foot. Leave an opening in the seam to turn the scarf right side out.



Center the seam down the middle of the scarf. Press the seam allowance open.


Baste across the end of the scarf, flattening out the previously pressed pleats. Stitch. Turn the scarf right side out through the opening in the long seam. Slip stitch the opening closed. Arrange the area around the seam into pleats and press flat. Pleat the ends of the scarf and press.


Care and Cleaning

All of the fabrics used in this project require dry cleaning. Velvet is easily marked so I will wear this garment with care. It is best to avoid having to clean it for as long as possible by wearing something underneath, either a dress or camisole.


Inspiration No. 14: Mud Silk Adventures

Mud Silk Adventures

by Kathryn Brenne

To see a list of all sewing tutorials, click here!

p1030222aMud Silk has been produced in the Guangdong Province of China since the Ming Dynasty. Using natural resources of sun, water and silt from the river, the Chinese have perfected a technique for creating a fabric that is very comfortable to wear. It repels water, is breathable, anti-bacterial, quick drying and offers some UV protection making it particularly suitable for hot, humid climates.

The process involves dying a base fabric. Originally the color was obtained from a yam-like vegetable only found in this area of China. It produced an orange, umber color.  Today other tannin-rich vegetable dyes are used to give a wide range of color variations. The fabric can be dyed several times depending on the intensity of color desired. After dying, the fabric is laid out in fields to dry. One side mudsilk_026G004wineof the fabric is coated with silt from the nearby Pearl River delta. It is left to bake in the sun for up to a week.  Through a combination of heat from the sun, moisture from the dew, silt found in this portion of the river and tannins in the dye, a chemical reaction is created in which the silt binds itself to the fabric. These conditions are only found during a few months of the year so production is limited. After baking in the sun, the fabric is washed in the nearby river and then given a finish, which contains anthracite coal.

The finished fabric is two toned. One side usually has a black, glossy finish while the other side is colored. The coloring can be streaky, adding to its beauty. As the fabric is used, worn and washed it takes on a crinkly appearance. This characteristic is quite attractive as it allows the undertone or opposite side of the fabric to show through. Mud Silk lends itself well to reversible garments.

The process of making the fabric creates a crisp fabric with a slightly papery hand. It is suitable for jackets, pants, and loose fitting tops. Single layer and reversible garments are ideal. Bias bindings, Hong Kong and flat felled seam finishes allow the garment to be reversible.

The process of making Mud Silk had almost become obsolete during the Cultural Revolution, but luckily several designers with Asian roots have revived the fabric and its production continues. I designed Vogue V9217 with Mud Silk in mind. The sample garments for the pattern envelope were all sewn from Mud Silk.


Although most Mud Silk is lightweight and crisp, a thin layer of silt fills the weave of the fabric making it a challenge to sew at times. A very sharp Jeans needle in a size 70 is the best choice.  The shaft of a Jeans needle is strong and the size 70 leaves the smallest hole possible in the fabric.


A straight stitch foot and straight stitch throat plate will give you the best stitch quality. I used a 1/4” foot #57 on my Bernina sewing machine and 100% all-purpose Gutermann thread for this project. I chose two colors, one to match each side of the fabric.
A 1/2” binding tip was used to fold the bias binding.


Fine glass head pins are best for Mud Silk. Because the fabric is so dense, pins or incorrectly placed stitching can leave holes in the fabric, so take your time and doublecheck your work before sewing.

Reversible Garments

reversibleWhen planning a reversible garment, think of loose easy fitting styles. Seams need to be
finished so that they are attractive on both sides. Darts need to be stitched down. To keep the fabric lightweight and fluid, facings and hem allowances can be omitted. Edges can be finished instead with bias bindings.


V9217Vogue 9217 is a perfect choice to try sewing with Mud Silk. This simple camisole tank top
is loose fitting, the edges are trimmed in bias bindings and there are no neck or armhole
facings. There is a dart but it is sewed down so it becomes very flat and unnoticeable on either side of the garment.


Layout and Cutting

Mud Silk can be slightly streaky in appearance. Evaluate the fabric and decide where the
pattern pieces should be placed. The fabric can be cut on the fold as a double layer. I found it easiest to use weights and a sharp rotary cutter to cut through the dense fabric.


Cut strips of 1” bias to use as binding for the neck, armhole and hems. It’s best to make sure you have enough fabric to cut six individual strips, one for each armhole, one for each Front and Back hem, and one for each Front and Back neckline.



Chalk the dart stitching line.


Fold the dart in half. Insert pins on the stitching line aligning them with the chalk line on the underside. Too many pins placed beyond the stitching line may leave noticeable holes in the fabric.


Sew the dart, leaving long thread tails at the tip. Knot the thread tails, thread them into a self-threading needle and then weave them through stitches on the lower dart leg for approximately 1/2” before cutting them off.


Press the dart downward over a tailor’s ham. The tip of the dart should be quite narrow. Do not press beyond the tip.


Edge stitch the lower edge of the dart leaving long thread tails at the tip.


Knot off the thread tails, thread them into a self threading needle and bury them in the tip. Pull on the thread tails and the knot will disappear into the needle hole.



Finished dart


Bias Binding

Use a 1/2” binding tip to fold the 1” bias strips.


(If you are lucky enough to have a Simplicity Bias machine, which folds the binding for you, it works very well for this. It is a discontinued item, however. The machine has a heated plate, which presses the tape as a roller pulls it through.)


Once pressed the folded bias tape will look like this:


Press the folded bias in half with one side slightly longer than the other.

The neck, armhole and hems all have bias binding attached to them prior to sewing the seams.
Open out the shorter side of the bias tape and place it right sides together with the garment. On one side of a reversible garment the tape will match the fabric and on the other it will show as a contrast. Using a straight stitch foot, stitch in the fold of the strip. Ease the tape around curves ensuring it does not get narrower. (I did not pin the tape but instead just placed it and held it with my fingers as I sewed.) Take your time!


On the opposite side, the tape will look like this:p1030199

At the hem, stop stitching at the corner of the side seam extension. Fold the end of the tape back on itself. Wrap the tape around the seam allowance.


Stitch in the ditch catching the under side of the bias strip. I found I could feel the ridge of the folded edge and tell if I had folded it over enough to catch it in as I sewed. Press.



Finished hem binding.


Remember that the neck, armhole and hem edges are bound before the shoulder and side seams are sewn.

Here is a technique that is easy for making flat felled seams. On one side of the garment two rows of stitching will show while on the other side one row of stitching will show.
img_6312Sew the seam with 5/8” seam allowance. Press the seam three times, flat, open and then towards one side. By pressing the seam open before pressing to one side you will get a very flat seam. Shoulder and side seams can press towards the Back of the garment.

Trim the Back seam allowance to 1/4”.


Wrap the Front seam allowance around the Back and press.


Pin seam allowance in place. Edge stitch.



Mud Silk is relatively easy to care for. I recommend hand washing in cold water with a mild soap. Do not rub, wring or twist the fabric, which may damage the finish. Roll washed garments in a towel to remove excess water and hang to dry. Garments are best stored hung rather than folded to prevent permanent creases.



Inspiration No. 13: A Luxurious Silk Tee

A Luxurious Silk Tee

by Kathryn Brenne

To see a list of all sewing tutorials, click here!


Kathryn modeling her luxurious tee! Scroll down to the bottom of the article for more views.

After completing the Unlined Jacket inspiration article I had a nice piece of woven silk print left over that I had used to make the bias binding for the jacket seam finish. There was enough fabric to cut the front of a top and since I  loved the print,  I had an idea to combine the woven silk print with 100% silk jersey to make a luxurious, couture T-shirt.  The result feels wonderful on, and is the perfect garment to wear underneath the unlined jacket!

I loved the design so much that I made a second one using a blush-toned stretch sequin fabric (a remnant from a designer) with blush silk jersey, to go with a pleated chiffon skirt that I made for my recent teaching trip to Paris and London. Since the sequin fabric had stretch, there was no need for the pleats in this version. Before we get started on the tutorial, here are some photos from the Paris streets!peachIG



sideviewFor the T-shirt I wanted the garment to look harmonious from every angle. By cutting the Back, Sleeves and Neckband out of the silk jersey and the Front out of the woven silk I was able to achieve this, since the neckband and sleeves brought an element from the Back to the Front of the garment.

Silk jersey can be tricky to sew, and it is particularly difficult to stitch nice hems. To avoid messy, wavy stitching at the hems, I decided to double the silk jersey on the Back and Sleeves by cutting with a fold at the finished hemline. In order to do this, the finished length had to be decided upon ahead of time. This technique worked beautifully and added a bit more weight to the jersey. The T-shirt slides on easily and has such wonderful drape!

To compensate for the lack of stretch in the woven silk Front, I added two pleats to the Front at the neckline. This provided extra ease over the bust area tapering down to nothing at the hem.



I used my favorite TNT T-shirt pattern, The Classics Fearless T-shirt #109 by Cecelia Podolak, as the basis for my top, but any basic T-shirt pattern can be used.  Since the pattern was designed for knits and I was using a woven with no stretch, two pleats were added to the front at the neckline to allow for a bit more give across the Front.  I added a total of 1 1/2” to the front at the neck edge distributed between two pleats, each measuring 3/4”.  I positioned them 1 1/4” to either side of the center front, each pleat tapering down to nothing at the hem. This gave me two tucks placed 2 1/2” apart from each other.

  1. Trace off a full pattern piece for the Front and Back from the pattern that needs to be cut on the fold. Remove the seam allowances from the Front, Back and Sleeve pattern pieces as the fabric will be thread traced on the stitching line. Be sure to note what your seam allowance is on your Tee pattern, as they will vary, and you don’t want to cut away too much! Decide on your finished length for the hem and sleeves before you cut out your fabric, since the Front, Back and Sleeve hems will be cut on the fold.img_2937
  2. To create a Neckband pattern piece on my pattern, I cut the View B neckline. I put the T-shirt pattern on my dress stand and marked where I wanted the finished neckline to sit. From this point I made Neckband pattern pieces for the Front and Back that were 7/8” wide. I added a seam allowance to all edges of the new Neckband pattern pieces
  3. I added a 4” slit to the centre back, which makes it easy to fit over my head. The 4” slit includes the finished width of the Neckband.img_2939img_2938


The fabric used for the Front of the T-shirt was a printed silk charmeuse backed with silk chiffon.  I purchased 3/4 yard of silk chiffon. The Back and Sleeves were cut from 1 1/2 yards of silk jersey in color J196. The Neckband was interfaced with bias knit interfacing.

Layout and Cutting

To cut out the Front, layer the silk charmeuse over the silk chiffon. This helps to
tame the fly away chiffon.  Lay out the Front pattern piece using weights to hold it in place.
Thread-trace around the perimeter of the pattern piece. Remember that the seam allowance was removed from the pattern piece so the thread-tracing is your stitching line.
For the Back and Sleeves, lay out the silk jersey in a single layer. Thread-trace the Back and one Sleeve. Flip the pattern pieces over at the hemline and thread-trace them again. Repeat for the second sleeve.
Once all pattern pieces have been thread-traced rough cut a few inches away from the thread-traced stitching line. The Front is not cut on the fold, so be sure to allow a 2 1/2” hem allowance on the Front.


Use a warm iron and light pressure when pressing the silk fabrics. A heavy hand can mark the silk jersey.  Steam and finger pressing also works well.


To permanently hold the chiffon and silk charmeuse together, the layers are stab-stitched together at the hemline and along all stitching lines. If the garment is altered, the layers will remain together rather than shifting apart from each other.
Stab-stitch just to the outside of the thread-tracing. Stab-stitching is done with Tire 50 weight machine 100% silk thread. Stitches should be approximately 3/8” long.
Once the two pieces have been stab stitched together, they are treated as one.


Front Hem and Pleat

By backing the Front with silk chiffon it allows all stitching to be hidden. When the Front is hemmed, stitches will not show through to the good side of the fabric. The hem can be trimmed with pinking shears. I like to use scalloped pinking shears, which give a pretty, soft edge. Using silk thread, hand-overcast the edge. Take a stitch into each
peak of the scallop.


As you pull the thread through, it will fall into the valley of the scallop creating a nice even stitch. A hand overcast hem creates a much softer edge than serging. Turn up the Front hem along the hemline. Baste using silk thread to hold in place.


Thread tracing holding the layers together at the hem


Finished hem

Hem-stitch the Front hem in place catching only the chiffon as you take each stitch.



Hemming technique shown in sequin tee


Finished hem shown in sequin tee

Mark the edges of the pleat with thread tracing. Bring the layers together to form pleats.
Baste to hold. Do not press. These are meant to be soft folded pleats.


Outside view


Inside view

Center Back Slit

Fold the two Backs right sides together along the hemline. Stitch a narrow 3/8” x 3 1/2” V or dart along the center back. When nearing the bottom of the V shorten the stitch length to .5 mm to reinforce the point. Carefully cut down the centre of the V to the tip.
Turn the Back right side out and lightly press the slit.



I was able to sandwich all of the seam allowances between the garment and the double layer of the silk jersey to create a garment which is entirely self contained and cleanly finished on the inside. Other than the turned up hem at the Front, the entire garment could be reversible!

Insert the Front between the two layers of the Back. Stitch seam. Pink seam allowances down to 3/8”.


Sandwich the Front shoulder between the two layers of the Back shoulder. You can reach through the open armhole to do this step. Stitch. Pink seam allowance down to 3/8”.


Finish the neckband before inserting the sleeves. The neckband could affect the fit of the
shoulder slightly. It can be altered before putting in the sleeve if it is a bit too short.

Interface three scraps of pieces of fabric for the neckband. The Neckband Facing is not
interfaced. Thread trace the Neckband pattern pieces onto the fabric. Sew the pieces
together along the shoulder seams.


Trim the shoulder seams to 1/4” and press open. Prepare the Neckband Facing by sewing the shoulder seams, trimming and pressing open. Sew the Neckband and Facing together along the inside neckline the centre back edges. Trim the curve to a narrow 1/4”. Turn right side out and press. Under stitch the neck edge.


Lay the Neckband over the body of the T-shirt to check the fit. Join the Neckband to the neck edge. Trim seam down to 1/4”. Press seam towards the neckband. Turn under the seam allowance on the Neckband Facing and press. Trim to a narrow 1/4”. Pin Neckband Facing over seam. Slipstitch to finish.


Make a thread loop to close the back of the neckband. Stitch two strands of buttonhole silk thread back and forth across the left back neckband. Check to ensure that the loop is large enough to fit over a button with a shank.


Work buttonhole stitches over threads to complete the loop. Sew button to right back


Working the buttonhole stitch


Pulling up the purl stitch of the buttonhole stitch


Baste the seam of the sleeve together. Fold the seam along the hemline and test for length. At this point the sleeve length could be altered by moving the thread tracing.
Insert one layer of the sleeve into the armhole and baste. Test fit. Stitch and trim seam
allowance to 3/8”.


Fold the sleeve lining up along the hem line and baste.


This next step is a bit like doing a ‘burrito’ yoke on a shirt! Bring the sleeve lining up into
position. You will be able to get inside  the sleeve from the cap. Pin and baste the underarm section of the sleeve lining to the sewn sleeve seam allowance. Machine stitch. You should be able to get in and stitch from approximately the notch in the front to the notch in the back. Trim any excess seam allowance to match the sleeve.


Fold under the upper Sleeve cap seam allowance of the sleeve lining. Pin in place over the stitching line of the sleeve cap. Slip stitch to finish.



Inspiration No. 12: Drop Dead Gorgeous!

A Special Occasion Embroidered Mesh Dress

by Kathryn Brenne

To see a list of all sewing tutorials, click here!

Paris1A beautiful embroidered mesh fabric inspired this over the top dress that can be worn two different ways. Perfect for a special occasion, the mesh dress can slide over a bustier and crinoline for a dressy look or top a colored silk slip for a less formal look. A simple design is best suited for this fabric with enough embellishment to stand on its own. With its winning price point and a bit of time, you too can create a drop dead gorgeous look! (More photos at the bottom of this article!)



The embroidery on the 58” wide mesh fabric runs along the selvedge and tapers off into plain mesh along the opposite selvedge. I purchased 3 yards of this stunning fabric #60475 (also available in white and nude), which was enough to make a very full skirt that could be worn over a crinoline. (I wear approximately a size 12/14. If you are smaller or larger, you might consider adjusting the yardage, or having slightly more or less fullness at the waist.)


The skirt was cut along the heavily embroidered selvedge. The bodice was cut so that the top ran along the plain mesh selvedge.  And I still have enough fabric leftover to cut a little top with sleeves!

I debated whether to purchase a crinoline or build my own. I decided to build my own in order to get the correct fullness and length. To build the crinoline I used half a yard of black four way stretch spandex bathing suit fabric, 3/4 yard of black silk taffeta, ten yards of 72” black stiff crinoline netting and a length of 2” wide elastic for the waistband (these were all fabrics I had on hand and were not purchased from EOS).

Needles, Thread and Notions

To sew the embroidered mesh fabric I used a size 60 Universal needle and 50 weight 100% silk thread from Tire. To finish the neck and armhole edges by hand, I used a size 16 beading needle and 100 weight 100% silk “kimono silk” thread from Superior Threads.
A long darner size 12 was used to hand gather the mesh fabric.

I put a 14” invisible zipper with mesh tape in the side seam of the dress. (I purchased a 22” zipper and cut away the excess.) I inserted a length of 1/8” elastic through the waist of the dress.


All of the fabrics used in this project are very heat sensitive. Reduce the temperature of your iron to a Nylon setting and use steam sparingly. Test pressing techniques on a sample first before working on the project.


crinoline.jpgI built the crinoline before starting on the dress as this would determine the fullness and length of the overlay. I wanted the dress to look like it was floating atop the crinoline. The dress is actually a few inches shorter than the crinoline; the crinoline lifts the mesh fabric nicely and since the mesh of the dress is soft and the cut edge of the crinoline is stiff this also prevents the crinoline netting from catching the hem of the dress and snagging it.

Once the crinoline was built it was easy to lay the embroidered mesh fabric over the crinoline and decide on a finished length for the skirt of the dress.  Note: I am 5’9” tall and the suggested lengths given are appropriate for a tea length dress on me. They can be shortened or lengthened as required for your size.

Instructions for making a crinoline:

1. Finish both edges of the 3/4 yards of black silk taffeta with a serged rolled hem. Serge the selvedge edges of the silk taffeta as an edge finish for the seam that will be sewn later. Machine baste two rows of stitching 1/4” apart along the top edge of the silk taffeta. These rows of stitching will be pulled up (not yet though!) to gather the taffeta. I used contrasting thread and a very long stitch length. The contrasting thread will be a guideline for positioning my stitches later on.  Chalk and thread trace a straight line 5” down from the top edge of the taffeta.
Chalk and thread trace a straight line 10” up from the hem of the taffeta.
Sew the center back seam of the taffeta together. Press seam open.

2. For the bottom layer, cut long strips of crinoline netting 10” wide.  Use a Ruffler attachment (if you have one) to gather the crinoline netting. Experiment with the settings on the Ruffler, which affect the amount of fabric that is pushed into the gathers.  For the shortest layer of crinoline netting, which is placed at the bottom of the crinoline, I used the number 6 setting. This setting pushed a lot of fabric into each pleat. I wanted the bottom layer of netting to be quite stiff and full in order to hold up the other layers. From your samples you will get an idea of how many strips are required to create a finished gathered length to fit around the taffeta skirt, which is 54” in circumference.

Run the crinoline netting through the Ruffler attachment using a stitch length of 3 mm. When attaching a new length of netting, don’t bother to seam the netting. Instead overlap the cut ends and continue to feed them through the ruffler. The netting is so full that cut edges are not noticeable. I prepared a bit more netting than I needed and waited to cut the excess off until after it was attached to the skirt.
3. Position the gathered netting onto the taffeta skirt along the lower tack line. Pin in place. Using a stitch length of 3 mm and a stitch width of 3.5 mm, zig zag the netting to the skirt. As you stitch, smooth out the taffeta so it does not accidentally get tucked into the stitching.


Sewing the netting to the tack line

The next layer of netting is cut 22” wide. This layer is not as full as the bottom layer. Reduce the setting on the Ruffler to space out the gathers. Try moving it to a setting of 12.
Attach the second layer of netting to the taffeta skirt at the upper tack line.


4. The 1/2 yard bathing suit base layer holds everything in place and works almost as a shapewear garment. I cut the fabric with negative ease, a few inches smaller than my hip measurement and joined the cut edges together with one seam at center back using a four thread serge stitch. I curved the seam towards the waist to give it some shaping and left the lower edge unfinished.

Cut elastic to a comfortable waist measurement. Seam the elastic together with a 1/2” seam allowance. Press seam open. Cover the seam with a piece of bathing suit fabric. This creates a neat finish on the inside of the waistband and keeps the seam allowance flat making it comfortable to wear.elasticcover

Divide the elastic and spandex into quarters. Pin the elastic to the spandex skirt matching quarters.
Use a cover stitch or twin needle to sew the lower edge of the elastic to the bathing suit fabric.
Trim spandex close to cover stitching.

5. Mark a line 3” down from the lower edge of the elastic. Mark quarters on this line. Divide the upper edge of the silk taffeta skirt into quarters. Pin the quarters of the silk taffeta to the spandex. Pull up the basting threads and pin the remainder of the silk taffeta skirt to the spandex. Position your zig zag between the two rows of basting threads and zig zag the silk taffeta skirt to the spandex. . The zig zag stitch will allow the silk taffeta skirt to stretch with the negative ease of the spandex skirt.

6. A final layer of netting is sewn just below the waistband. This layer smooths all of the other layers and lifts the skirt away from the waist. Measure from the bottom of the waistband over all other layers to the bottom of the crinoline. This top layer of netting should be slightly longer because the previous layers will lift it.  For my crinoline I cut the final layer 32” long. As with the previous layer, run the netting through the ruffler at a setting of 12. Pin the netting just below the waistband and zig zag to the spandex. I staggered the cut ends of the netting from previous layers so that they would not all spread open at the same spot.

*Note: I purchased a black bustier to wear with the crinoline and sheer mesh dress but feel free to make your own!

Mesh Dress


With the crinoline finished you can now focus on the mesh dress! Using a rotary cutter and a long Olfa ruler remove the selvedge from the heavily embroidered side of the mesh fabric. The hem of the dress will be left as a raw edge so it is important that this job be done neatly and evenly.

Try on the bustier and crinoline. Lay a length of mesh embroidered fabric over the crinoline with the heavily embroidered selvage at the bottom. Position the edge of the mesh fabric approximately 2” above the longest layer of crinoline netting. Once you are happy with the look and length of the embroidered mesh, mark the waistline.
Cut the embroidered mesh, allowing for a 1” seam allowance above the waistline mark. The mesh is cut as one long strip of fabric. I found it helpful to lay the mesh flat on my big cutting mat. I could see the lines of the mat through the fabric and could simply follow a line along the entire length.


To create very soft gathers around the waist of the skirt, the mesh fabric was hand gathered. Although this seems like a daunting task, it moves along fairly quickly once you get started, and the result is worth the effort.

To hand gather, use a long darner size 12. Position a spool of contrasting 100% polyester
Gutermann thread on a thread stand. Rather than cutting a very, very long thread and trying to work it through the fabric, the thread can be held on the thread stand and more thread pulled off as needed, preventing the thread from tangling.


Working on a mat with lines, align the upper edge of the mesh along a line of the mat. Working 1” away from the cut edge, run a row of stitches spaced approximately 1/4” long and 1/4” apart along the edge of the fabric. Pull off thread as you need it and pull through the fabric. Leave long tails of thread on each end of the fabric when finished.


Reposition the fabric so that the cut edge is laying 1/2” above a line on the mat. Run a second row of stitching parallel to the first and 1/2” above. Once again I used the line of the mat as a guide to keep stitching straight. Divide the length of fabric into quarters and mark these sections with a short tack in the seam allowance of the waist.


Gently pull up the gathering threads. Place one hand over the fabric as you pull up the two rows of hand gathers.


Using the motifs of the embroidery as a guide, evenly distribute the gathers to a measurement that is slightly bigger than your waist measurement. I allowed a 1” seam allowance for the only seam in the skirt, which was placed on the left side.

Mark the lower position of the side zipper with a tack placed 7” below the waist seam. Stitch a french seam in the mesh from the tack to the hem. To make a french seam place fabric wrong sides together and stitch a 3/4” seam allowance. Trim close to stitching. Press seam to one side. Fold fabric back on itself right sides together. Stitch seam a second time using a narrow 1/4” seam allowance. Press seam flat and then toward the back. The mesh will have to be clipped carefully to allow the seam to lay towards the back and the seam allowance above the tack to open flat.  Set the skirt aside while you continue with the bodice.


The pattern for the bodice is a scoop neckline with a little cap shoulder line. I used Butterick B6166 as a guideline but any little top or simple dress pattern could be used. The neck opening needs to be scooped wide and low enough for your head to fit through. The little cap shoulder is an extension of the shoulder line. I fit the bodice loosely through the waist. Although this pattern called for moderate stretch knit fabrics, I omitted the back darts and cut the side seams a bit straighter and it worked well.
Hold up the remaining fabric to determine where to position the motifs. Avoid placing a flower or butterfly directly over the bust point. I found that a branch of flowers centered up nicely on the Front while a meandering path of green ferns worked well on the Back. I positioned the motifs with more flowers at the waist dispersing to nothing towards the shoulders.

Lay out the Front and Back pattern pieces. Thread trace the stitching lines. Rough cut 2” away from the stitching lines. This allows you to pin the bodice together, try on and adjust if needed.

Thread trace center Front and center Back.

Baste the bodice together and try it on to asses the fit, neckline scoop and shoulder line. I
didn’t over fit the bodice through the waist but put in small gathers for 2” at the waist below each bust point. Mark the waistline. Allow a few inches of ease around the waist. This is taken up with a bit of narrow elastic once the waist seam is finished.

Carefully trim Front and Back necklines 1/4” away from the stitching line.


Press 1/8” over around the neckline. It is helpful to anchor the fabric to the ironing board with a pin. This allows you to put a bit of tension on the fabric as you roll and press over the 1/8”. Roll the neckline over a second time another 1/8”. Pin.img_2893.jpgimg_2894.jpg

Using a fine beading needle and kimono silk thread use a running stitch to sew the neck in place. Position stitches close to the folded edge.img_2895.jpg

Stitches will disappear and not be visible from the right side of the garment.  img_2899.jpg

(I did try a slip stitch first, but the slight angle of the stitches was noticeable from the right side.)

The finished neckline should look narrow and lay flat.img_2898.jpg

Baste the shoulders wrong sides together. Sew 1/8” away from basting.img_2900.jpg

Trim close to stitching. Remove basting. Press seam towards Back and then fold right sides together.


Pin seam and stitch again using cut edges as a guide to stitch 1/8” away from edge.img_2902.jpg

Rather than backstitching, leave long thread tails, which can be knotted and buried in the seam allowance.img_2903.jpg

Trim 1/4” away from the thread tracing around the armholes. If there are any embroidered motifs laying within the seam allowance, carefully remove them by unpicking the threads.


On my bodice a bit of a fern leaf and butterfly had to be unpicked.
Finish armholes in the same manner as the neckline.


Before picking


After picking

Sew a french seam in the right side of the bodice.
Finish the 2” below the left armhole with a french seam. The remainder of the seam will be left open to insert the zipper.
Carefully clip the mesh to allow the lower portion of the seam to be opened while the french seam is pressed towards the Back.
Cut a 2” strip of plain mesh from the remaining fabric. This will be used to finish the waist seam. The length of the strip should be the waist measurement plus a few inches.
Baste the strip of mesh to the inside of the bodice. Position the mesh 1/2” below the waistline with the remainder laying above the waistline.
Pin the skirt to the bodice aligning the quarter markings with centre Front, centre Back and side seams. Adjust gathers if needed. Machine stitch using a straight stitch. Trim seam allowances to 3/8”.
Wrap binding over seam allowance and pin to hold. Baste. Machine stitch a second time over previous stitching. This will create a casing with the binding. Trim binding close to stitching.


Zipper insertion

Press seam allowance of left bodice and skirt open.
Use double sided Wonder Tape to position invisible zipper in place. The stop at the top of the zipper should be placed just below the end of the french seam of the bodice.
Machine stitch.
Close the zipper and tape the second side of the zipper to the seam allowance. Place a pin at the waist seam line to prevent it from shifting during stitching. Stitch.
Trim zipper tape to an even 1/4” width.
Stitch across the end of the zipper 1” below the end of the opening.
Using a stitch width of 2.2 mm and a stitch length of 1.5 mm zig zag over the edge of the
trimmed zipper tape attaching it the seam allowance of the mesh fabric.
Trim excess seam allowance close to stitching.
Use a tiny whipstitch to join the upper ends of the zipper tape together. Anchor the end of the zipper tape to the french seam allowance with a few stitches.
Cut away excess length from the end of the zipper. Finish the cut end with a piece of mesh fabric binding.
Sew the binding to the end of the zipper tape. Wrap binding around the end and stitch. Trim away extra width from binding.

Cut a tiny opening in the waist casing. Feed 1/8” black elastic through casing and adjust to fit. Secure ends of elastic with a few hand stitches. Tack edge of zipper tape and seam allowance to waist seam with a few hand stitches.



Inspiration No. 11: Ruffles, from Runway to Ready-to-wear

A Ruffle Wrap and Other Ruffle Techniques

by Kathryn Brenne

To see a list of all sewing tutorials, click here!

Spring always seems to bring pretty, feminine styles and this season is no exception with ruffles trending from runway to ready-to-wearP1010821. On a recent trip to London I was looking forward to spring weather and needed a garment to take the chill out of the evening air. I planned to wear Vogue 9168, my bias cut dress and slip pattern, in a floral print, and wanted something to coordinate with the red belt buckle and red shoes I planned to wear.  Emmaonesock’s soft and drapey sweater knit #58161 in deep red was the perfect choice. I designed this shawl/wrap with ruffled edges to wear to the Royal Opera House in London. The beautiful red color coordinated perfectly with the sumptuous interior of the Opera House and was the perfect accessory for my outfit.




I was looking for a soft knit that resembled something you might find in ready to wear.  Since a wrap is visible from both sides, it was also important that the wrong side of the fabric be attractive as well. Knitted on a fine gauge, #58161 doesn’t look noticeably different on the wrong side of the fabric. The knit has enough body and weight to offer warmth and stay in place when worn. I purchased 2 yards, which was enough for a wrap that measured approximately 72” in length by 24” in width; enough to wrap around myself to keep warm or drape comfortably across my back and over my arms.
I steamed the fabric to preshrink it.



The wrap is rectangular in shape with rounded corners. Ruffles on ready to wear wraps are often knit in a rib pattern to coordinate with the body of the wrap. Instead of a single layer ruffle, which would have been a bit floppy, I folded the ruffle in half lengthwise and pleated it. This gave the ruffle more body, similar to a rib knit finish. It also solved the problem of having to finish an outer edge as the fold became the edge. The ruffle was sewn to the right side of the fabric.  A binding made from self fabric finished the seam. It was pressed and sewn towards the wrong side of the fabric. This gave it a raised, rolled finish, similar to a rib finish found in ready to wear. This technique allowed the reverse side to look finished — not like the ‘wrong’ side of a garment.

Layout and Cutting

I laid out the fabric as a single layer on my cutting table. Using a rotary cutter and long metal yard stick, I removed the selvedge from one edge and squared up the ends. I cut the wrap 21” wide. Using a metal pocket template as a guide, I rounded the square corners.

I folded the wrap in half lengthwise to find the center and marked this with a thread tack. From the remaining fabric I cut six strips 3 3/4” wide to make the ruffle. I cut three strips 1 1/4” wide to make the binding. These strips were cut on the lengthwise grain.

Rather than trying to work out a ratio of how long to make the ruffle I tested out fullness on a sample.  To do this, cut a 10” strip of fabric.  Prepare a length of ruffle and baste the raw edges together.

Try pinning pleats in place until you are happy with the distance between the pleats and the amount of fullness folded into each pleat.  Continue to pleat a length of the ruffle and pin it to the 10” sample.

Hold up the sample and make adjustments until you are happy with the pleating.

Then measure the length of ruffle sample, the perimeter of your shawl, and figure out the ratio from there.

Example: The outside perimeter of my shawl measured approximately 192”. Once I knew how much fabric it took to create a ruffle for a 10” piece of fabric I could multiply that amount by 20 and be assured that I would have enough ruffle to go all the way around my shawl.


1. Join the six ruffle strips together with 1/4” seam allowances. Press the seams flat and
then open.
2. Fold the ruffle strip in half wrong sides together. Do not press to preserve the softness of the ruffle. Pressing would give a hard edge to the ruffle. Hand baste the raw edges together approximately 1/4” in from the edge.
3. Mark 1 1/8” intervals with chalk along the raw edge of the ruffle trim.
4. Pleat the ruffle by folding one of the chalk marks and bringing it over to meet the next chalk mark. Pin all of the pleats in place.


Machine baste 1/4” in from the edge using a stitch length of 4.5 mm.
5. Beginning at the center marking on the side of the wrap, pin the ruffle to the wrap right sides together. It is useful to leave a tail of a few inches at the beginning. Ease the ruffle in a bit around the curved corners.
Once you come around to the beginning again, try and align the pleats into the same spacing and pattern as the beginning of the ruffle. Mark where the ruffle needs to be joined with a couple of pins.
6. Unpin a bit of the ruffle from the wrap to make it easier to seam the ends together. Unpick some of the basting and seam the two ends together with a 1/4” seam allowance. Press the seam allowance flat and then open. Baste the pleats back in place. Pin the seamed join to the wrap.

7. Seam the three binding pieces together with 1/4” seam allowances. Press the seams open.


Press under 3/8” on one long edge of the binding.
8. Leaving a tail of the binding free and starting an inch away from the center, pin the binding to the pinned layers.


Sew the binding to the pinned layers with a 3/8” seam allowance.
As you approach the center marking , fold the beginning tail back on itself and overlap the end tail.

9. Press the seam allowance towards the wrong side of the wrap.

10. Roll the binding over the seam allowance. Steam, don’t press the binding. Pin, then baste the folded edge to the wrap. Smooth the binding around the curves.
11. Slip stitch the folded edge of the binding to the wrap to finish. Take a few stitches in the folded join where the two ends met.

Other types of Ruffles


The wrap I made used pleats to create a ruffle, but ruffles can be created in other ways as well. Rather than pleating fabric, ruffles can be created by gathering strips of fabric. When gathering up long lengths of fabric it can be difficult to pull up the gathers afterwards. Rather than sewing two rows of gathers 1/4” apart using a long stitch length, try zigzagging over a length of dental floss. Use a width of 2.5 to 3 mm and center the dental floss in the middle of the foot. Pull up the dental floss to create gathers and ruffles.



Fullness can be created by cutting ruffles as circles. The inside diameter of the circle equals the edge to which it will be sewn. The outer edge of the circle is much longer and will create a ruffle. Portions of the circle will be on the bias giving this type of ruffle a nice drape and softness.


Another popular technique this season is to create ruffles with an elastic casing. In the photo below the RTW top has sleeves that have been cut with extra length and width. A casing is sewn to the wrong side of the fabric and elastic is threaded through. Once the elastic is pulled tight, the fabric will gather up creating a ruffled cuff.


Off the shoulder blouses are popular this spring. This top from current/elliott can be created by seaming a wide piece of fabric to the upper edge of the top. The ruffle folds down and a casing is stitched. Once elastic is threaded through the casing a ruffle will be created.