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Sewing Hors d’Oeuvres

Since social media moves fast and things often get completely missed or quickly buried in the constant flow, I’ve decided to assemble some of the miscellaneous sewing tips I’ve shared on Instagram and publish them together in a single blog post. That way it’s a little easier for you to link, find, and reference later.

So whether you missed them before or just forgot about them (some of these are over a year old!), I hope you savor these quick tidbits! Enjoy! =)

Copy-Instead-of-Trace-PatternsYou might recall that I like to trace sewing patterns (especially the vintage ones) to preserve the original. But I also like to use my printer to copy the pieces that are small enough to fit on a page or two.

Sharpening-Hole-PunchYou can sharpen any kind of metal paper-punch by punching through aluminum foil. Punching through wax paper also helps if a punch is sticking.

Interfaced-Sewing-PatternMy friend discovered that fusible interfacing ironed to the back of a favorite and frequently used sewing pattern makes it much more durable.

Cutting-Fur-FabricWhen cutting fake fur fabric, cut from the back and cut only the backing. That way you aren’t cutting any of the long fur and you can easily cover the seams in the end.

Sewing-Fur-FabricAfter some trial and error, I recently determined that pins on the bottom help when sewing fur fabric. Sew with a zig-zag stitch so it’s easier to pick the fur on the front to cover the seams after.

Spray-n-BondSpray-n-Bond is my new favorite thing! It was the only way I could appliqué stretch crushed velvet on top of another layer of stretch crushed velvet without it shifting all over the place. It even made using a walking foot unnecessary!

Removing-Beads-from-Seam-AllowanceRemove beads from the seam allowance by smashing them with a hammer. This will keep all the beading threads intact so the beads you leave on the outside don’t become loose and fall off as easily. (Protect your eyes! Wear safety glasses when pounding beads!)

Easing-with-PinsEase with pins. (You don’t need to use gathering stitches to help with easing!) I do this all the time and with all ungathered sleeve caps. Pin both ends, then pin the midpoint, and keep pinning the “middles” until you have the ease distributed evenly.

Gathering-Zigzag-Over-ThreadWhen you need to gather tightly or are using a thick fabric and you’re afraid of breaking a thread when you pull the gather, zig-zag over nylon or upholstery thread (or even dental floss!). You can then pull the stronger thread without fear of it snapping off mid-gather. Just be sure to secure the other end to the fabric or knot it to another row of gathering stitches.

If you have a presser foot with a hole for stitching over cord or trim as pictured above, it’s even easier.

Baste-Stitchline-for-GuidelineSew a stitchline to follow when seam allowances are different widths or uneven. This is especially helpful when attaching bias tape without pins. (Larger stitchline at far right was for basting two layers of fabric together.)

Use-Cone-Thread-Without-Thread-StandA domestic sewing machine rigged to feed cone thread without a cone stand. You can use a roll of tape or a mug to hold the cone.

Topstitching-Stitch-GuideCreate a topstitching guide with painters tape for things like a fly-front zipper. (It took me until the third pair of pants to remember this trick!)

Serging-Tail-FinishWhen you have a serged edge that isn’t crossed by perpendicular stitching or serging, tuck the thread tail under the serging using a large needle to prevent it from unraveling.

How-to-Flatten-Plastic-BoningYou can flatten curly plastic boning by ironing it and using steam. Just make sure to iron it in the fabric casing or under a piece of fabric to prevent melting.

Sewing-Button-with-Thread-ShankUse a small knitting needle under a button when you need to sew a thread shank. Makes for an even and pretty shank once you pull the knitting needle out to wrap the thread.

Sewing-Snaps-on-CenterSnaps have holes in the center for a reason! Mark a center dot on your fabric and pin straight through for perfect placement while sewing.

Handsew-with-Loop-Instead-of-KnotAnd finally, my favorite way to handsew, especially buttons – put both ends of the thread through the needle eye and catch the loop after making the first stitch. No knot!

This is particularly helpful when sewing on net or loosely woven fabric when a knot won’t catch and stay.

*****

Do you have any favorite quick sewing tips to add? Share and/or link to them in the comments!

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How I Mark & Sew Darts

Over on Instagram, lots of us who sew have tons of fun sharing what we’re currently working on and cheering each other on. Sometimes, I get comments asking for more details and photo examples.

Recently, I was asked how I mark and sew darts.

Since I had a mockup with a lot of darts in line for my next project, I posted the step-by-step as I built the mockup. It seemed popular, so I thought some of you who may have missed it on IG would like to see it as a blog post tutorial. =)

1-Marking-Darts

First, cut-notch each leg at edge of fabric. (Obviously, you can’t do this with darts that aren’t at the edge of a seam.)

2-Marking-Dart-Points

Put a pin through each dart point before unpinning the pattern piece. Unpin pattern, open to fabric wrong side & mark dot with pencil, chalk or whatever works on the fabric you are using.

3-Marking-Dart-Legs

For straight darts, line a ruler up with marked dot & notch at edge and use Clover Chaco Liner or a pencil to draw legs.

4-Marking-Curved-Dart

For curved darts, you can put pins thru at intervals down each leg and dot mark same as points.

5-Connect-Dots-with-French-Curve

Use a french curve to connect the dots. (You can line up french curve on paper pattern & then place on fabric to make sure curve matches.)

6-Pinning-Darts

Start pinning at dart point (about a mm from dot). Weave pins through 4x, and make sure to go through the lines on both sides. Second, pin at notched edge to help fold dart evenly. Then continue weaving pins through from point to notched edge (right to left).

7-Darts-Pinned-and-Ready-to-Sew

I like assembly-line dart sewing. Do you think this vintage pattern from 1959 has enough darts??

8-Starting-Dart

Hand crank needle into end of dart right through marked line and remove first pin.

9-Removing-Pins-while-Sewing-Darts

Stitch directly on marked line. Guide fabric with left hand and hold next pin head with right hand, allowing the machine to pull each pin out as you go.

10-Nearing-End-of-Dart-Point

Reduce stitch length when close to end point of dart.

11-Finishing-Dart-at-Point

I like to stitch off the edge of fabric at point and usually backstitch inside of previous stitchline. Sometimes I just stitch off and hand knot thread ends – it depends on project & fabric.

12-Darts-Ready-to-Press

Pull out a tailor’s ham and start pressing all those stitched darts. Yay done! Time to start actual construction…

And in case you’re curious, this is the pattern (pencil skirt version) I was using for my mockup:

1959_Dress_McCalls-4993

If you ever have a sewing dilemma, feel free to leave a comment, ask me by email or find me on Twitter or Instagram – I’d love to help out if I can!

Build Your Own Ironing Table

It has been far too long since I’ve had a chance to sit down and blog! That doesn’t mean I haven’t been sewing – just more work sewing than fun sewing.

If you follow me on Twitter or Instagram, you’ve seen little bits of what I’ve been up to since I tend to update daily. And you don’t need an account to view what I post there.

At the beginning of January, I decided my sewing room needed a major cleaning/reorganizing. I spent a couple of weeks rearranging the furniture in my sewing room and adding a few new pieces. I think it will really be more efficient in the long run. (More on that to come in a later post.)

I got about 90% finished with the reorg and then I started getting back-to-back jobs and the last 10% has been taking the longest to finish.

But before I got work-busy, I did manage to build myself a new ironing table! Yes, table! No more wimpy ironing board for me! You might recall that I’ve been using the square end of my ironing board and ignoring the pointed end for years.

I’ve always loved the large tables set up in costume shops where I’ve worked (there are usually multiple irons sharing one large surface). It was high time I had my own personal table at home!

My new ironing table!

And because I know all of you who sew will want one for yourself, I took lots of photos so you can make one too. =)

I started with a NORDEN sideboard from IKEA:

NORDEN-sideboard-from-IKEAI’m not sure how long IKEA’s carried this, but I just noticed it recently. It was exactly the size/height I’ve been looking for to use as an ironing table base, and it is solid wood. Plus, it even had the bonus of drawers and shelves!

So for $149.00, I had the perfect table base and I didn’t have to engineer anything from scratch. (I still find it amusing that the least expensive large piece of furniture in my sewing room is the cutting table!)

The dimensions of the NORDEN sideboard are 47½” long x 16½” wide x 35⅜” tall. The height was perfect but the top surface was a little small. I needed something that wasn’t too big and would fit along the wall where I already had my ironing board without blocking the closet door.

First, I constructed the sideboard table exactly as the IKEA comic book instructed because I had come up with my own simple plan to make the surface bigger without having to alter the original design.

I wanted a surface area that was significantly larger than my ironing board, which measures 13½” wide x 53” long (to the narrow pointed end). I decided 60” long would be a decent size to fit my space while still being long enough to iron fabric yardage in one pass from selvage to selvage.

I also determined that 19” wide would not take up too much space in my room – I had to be careful not to make my sewing room feel crowded with the other furniture rearranging.

Norden sideboard assembled and placement determined in my sewing room.

Then, my husband and I went shopping to buy some supplies at the home improvement store:

  • 1 piece of 19” x 60” plywood ¾” thick (we bought a full 4’ x 8’ sheet but had the store cut it to size)
  • 2 square dowels 1” x 36” each
  • 10 flat headed Phillips machine screws size #6 – 32 x 2 in
  • 10 nuts to fit the #6 machine screws (ours came in packs with the screws)
  • 10 flat washers size #6

Plywood rectangle cut to finished size, two square dowels, and hardware.

We already had these but you will also need:

  • Drill
  • 1 wood drill-bit 5/32”
  • Measuring tape or yardstick
  • Staple gun & ½” staples
  • Hammer
  • Screwdriver
  • Adjustable crescent wrench or socket wrench (to fit nuts)
  • Nail setter or a piece of flat metal you can hammer to completely set the staples
  • Any kind of (power or hand) saw that can cut 1’ square dowels
  • Gloves (recommended for handling the plywood)
  • Safety glasses/goggles

We cut each square dowel into 3 pieces measuring 3”, 14.5”, and 18.5”. The small 3” pieces were a good size to keep the dowels from blocking the drawers on the front of the sideboard. Exact size is not important as long as you are able to frame each corner of the existing tabletop with the dowels.

We turned the IKEA unit upside down, placed it on the plywood top, and marked it so the base would be centered on the plywood lengthwise. (Note: make sure you remove the adjustable shelf before turning table upside down!) We offset the sideboard table a little closer to the front edge so that the dowel would be flush with the edge of the plywood (thus, prettier and easier to cover).

Then we put some extra plywood scrap on the floor underneath everything. This was so we could drill all the way through the plywood top without worrying about drilling into the carpet beneath.

A spare piece of ¾” plywood protected the carpet from the drill nicely.

Starting with the two small front dowels, we butted them up to the edge of the sideboard and drilled one hole all the way through the dowel and the first layer of plywood that would be the new top.

Then we unstacked everything and put bolts through from the top (the part that was facing the floor while drilling) and attached them with washers and nuts on the dowels on the bottom.

After that, we did the same with one dowel on one side – drilling one hole on each end because this piece of dowel was longer.

We continued drilling, unstacking, and attaching one dowel at a time so we could make sure everything fit perfectly and would be tight around the sideboard.

Last dowel drilled!

Finally, we had the dowel frame all attached. It didn’t matter that the bolt heads weren’t perfectly flush with the top surface because I knew the padding I would be putting over everything would smooth any height difference out. As long as the dowels were secure on the plywood, it was perfect.

Dowel frame completely attached.

I initially had plans to secure the plywood top to the IKEA sideboard after covering it with appropriate ironing fabric, but it ended up fitting so snuggly we didn’t need to. For once, one of my crazy IKEA hacks actually turned out to be less complicated than originally planned! Win!

My NORDEN has a bigger top!

Here’s a size comparison of my new ironing table to my old ironing board.

You may have noticed I was able to move my fabric tubes from under my cutting table to under my new ironing table. This was perfect because with my new furniture arrangement, the tubes were a little more in the way under the cutting table.

Next came the hard part: waiting for specialty fabric to come in the mail so I could cover the plywood top.

The best ironing tables in costume shops are covered in a drapery interlining fabric called English bump cloth. I read somewhere (apparently I failed to save the link) that it was first used as a curtain interlining for British royalty in order to better insulate palaces from the cold and damp.

Bump cloth is a thick, somewhat flannel-like fabric that adds body and structure to fancy drapes.

English bump cloth fabric.

I found some at Fabric.com in my first search and placed an order. Even though the website said there was around 40 yards in stock at the time, I received an email a couple days later saying they were sold out. Grrr. (I have had such rotten luck with Fabric.com completely filling my last few orders!) If you feel like taking a chance with them, here’s the link for their Hanes Drapery Interlining Bump Cloth listed as item #UK-528.

Once I learned I wouldn’t be receiving my first order of bump cloth, I started looking elsewhere. I eventually found some at BuyFabrics.com and it was less expensive than Fabric.com’s! I quickly ordered 2 yards (I was planning to use two layers to cover my plywood top) and they shipped within 24 hours! Here’s their link for English Classic Bump Natural Interlining.

While I waited for my bump cloth, I went to my local JoAnn Fabrics and purchased 2 yards of aluminum coated ironing board fabric in their utility fabric section. (You can also buy it on their website.) I knew I wanted another silver ironing surface like I had on my ironing board before because it looks better for longer. Most costume shops cover their ironing tables in muslin, but leakage from irons stains muslin.

Ick! stained muslin on a costume shop ironing table. My silver cover never stained so visibly in all the years I had it despite an occasional iron pee.

As of yesterday, Fabrique! (the little fabric store where I work part-time) also started carrying silver ironing board fabric! You can order it from the website as well. From what I can tell, this fabric might have a slightly heavier muslin backing for the aluminum than what JoAnn sells. Too bad I wasn’t able to buy it from work when I needed some!

Finally, my bump cloth arrived and I could finish my ironing table!

The following steps can be used to cover any wooden table surface to create an ironing table if you already have a piece of furniture and don’t want to buy a NORDEN sideboard.

I cut two strips of bump cloth slightly wider and longer than the plywood top and laid them pebbled side down (slightly ribbed/striped side up) on a paper covered work space on the floor. Then I placed my plywood tabletop on top of the fabric.

Then I folded and stapled both layers of the bump cloth (at the same time) to the plywood, starting with one long side and then attaching the opposite side to make sure it was tight. The handle end of a metal nail setter allowed me to hammer staples all the way down along the dowel edges. After securing the long sides, I neatly folded the corners and stapled the rest into place.

I discovered, even after pulling the bump cloth tight, there was still too much slack when I rubbed the top surface. So I pushed the extra up toward the front of the tabletop while my husband held and spring clamped the excess in place.

To correct the slack, I pushed the extra fabric to the front edge and stapled it down. Then I moved the extra fold of fabric to the underside. This ended up working well because there was no dowel across the front and the little ridge of extra fabric created a nice little lip to mask the front edge of the sideboard top.

I used scraps of bump cloth to cover the nuts and screw ends so nothing could catch on them while I ironed later. Then I covered everything tightly with a layer of silver ironing board fabric stapled on through all the layers.

Once the plywood top was completely covered, we just pushed it in place on the sideboard. It fits nice and snug. If I ever need to recover it, I can just take the top off and change out the fabric that needs to be replaced. Super easy. =)

I love my new ironing table!

Bonus: I no longer need to iron yardage in steps before I roll it – I can roll as I iron! And all my ironing tools fit in one drawer while my press cloths & ironing products (aside from interfacing) all fit in the other drawer. I chose to hook my sleeve board over the right edge of the tabletop because I use it often and it makes the tool drawer a bit crowded. I don’t need to leave everything on the open shelf above where it gets dusty – now I only keep spray bottles and sizing etc. on the shelf above.

Ironing and rolling fabric in one step! And everything fits in the drawers!

I just need to clean up the used gravity-feed industrial iron I bought used years ago, and I’ll have totally finished my ironing upgrade!

I hope you find the above tutorial helpful and are inspired to build your own ironing table! Send me a photo or link if you do – I’d love to see!

Inset Point Sewing Tutorial

Sewing inset geometric shapes like rectangles & triangles (aka godets) can be intimidating and confusing at first glance, but they are nothing to be afraid of!

You can see examples of point sewing in some of the dresses I made for my sister’s ‘30s style wedding (my dress specifically, which is also pictured here, along with a copper skirt involving some crazy points set into gathering); in the envelope art on many of my favorite vintage ‘50s patterns in my collection; on the front skirt of my navy ‘40s dress; and most noticably (because of the contrasting fabrics) in my Stars & Stripes skirt. (Is it obvious that point sewing is one of my personal favorite sewing challenges?)

You need to completely disregard pattern instructions when it comes to point sewing, because they just make it more complicated than necessary. I’ll demonstrate the simplest way to sew inset points with a short picture guide, and you might even find yourself drawn to the challenge of point sewing!

I recently took some photos of the process of point sewing while demonstrating it to a friend, who was making herself a dress using retro Butterick 5708, which has a V-shaped seam pointing down under the bust in both front and back.

Technical line drawing of Butterick 5708.

In most situations, it’s best to first stitch together any straight seams that join to a pointed piece. I find it easiest and the most likely to produce a precise point in the end.

Straight seams stitched on the mockup first.
Red thread used for better visual.

Press seam open and mark match points. (Once you start practicing and have begun to master point sewing, you may not need to mark the match points every time.)

And this is the key to point sewing: Do not try to sew the point as one continuous seam! Treat each point as two separate seams and always start from in the middle at the point.

Just knowing that will save you hours of frustration. =)

Match points marked with dots.
(I used a dark marker for illustration purposes.)

Pin through the dots to match the points.

Pinning through the match points.

Then pin out from the point for the rest of one edge.

Pinned and ready to stitch.

Start sewing right on the dot at the point.

Hand-crank the needle down right on the dot and then remove pin to start sewing the seam.

First half of point stitched.

Remove any stitches above the dot on the pressed open seam that was stitched first. If pattern does not have a seam lining up with the point, clip to dot to spread fabric for pinning to second half of inset point.

Clip to point, spread, and pin second half of pointed seam.

I find that most times at this stage, it’s easiest to flip the pieces over and sew from the other side – once again starting at the point. (However, I sometimes decide to end the second half at the point. It really just depends on the fabric and how it is behaving.)

Starting stitch at the point again.

Completely stitched point. Wrong sides both front and back.

Point sewn and seam allowance pressed down, following direction of point.

And there you have it – a nice sharp inset point!

The same method also works with more complex shapes like a T-shaped yoke (illustrated in views A & B of this vintage pattern). Just start at a point and stitch each edge in separate steps.

But remember: there are no real rules in sewing! There’s always more than one way to do something – some ways are just easier than others. =)

(By the way, my friend finished her dress and her inset points turned out beautifully! If I ever get a photo, I’ll update the post to include it.)

If you ever have a sewing dilemma, feel free to leave a comment, ask me by email or find me on Twitter – I’d love to help out if I can!

Transferring Fitting Marks from Mockup to Pattern

I’ve had a couple requests for a tutorial of sorts about how to transfer the fitting marks from a mockup (aka muslin or toile) to the paper sewing pattern. So since I’m in the process of making my Easter dress for this year and the pattern needed a lot of tweaking to be what I want, it was the perfect time to take some photo examples. =)

I’m currently working at The Dallas Opera (helping to build fun 19th century costumes!), so I was able to have my coworker Traci help me fit my mockup during part of a lunch break. Really convenient since the pattern needed more work than I could easily fit on myself alone! Thanks, Traci!

Behold, the truly flattering (*sarcasm*) before & after fitting photos:

Before: Ick. Just a bad fit all around.
After: Lots of pins and Sharpie markings!

Mockups aren’t meant to look pretty. They are meant to be drawn all over and pinched and pinned and then cut up. This is why my fabric choice was a cheapy bedsheet – nothing pretty because I knew I would be throwing it away in the end. I never plan to save or use a mockup once it has served its purpose. If the pieces are big enough, I might cut it up and use the fabric for another mockup later (this fabric was actually left over from Camille’s wedding dress mockup).

2Marked-Up-Muslin-Mockup

Marked and pinned mockup after fitting.

There was a pinch taken out of the neckline to eliminate a gap. Tucks were taken out of the side front pieces for a better fit at the bust. Some of the flare was removed from the skirt. The princess seams were moved inward a bit and the neckline was widened slightly at the edges for a more pleasing shape (these adjustments were mainly made to match a photo of the dress I’m copying).

And here’s how I transferred all those marks to my pattern:

First step was to cut right on the new line for the princess seams in the front, cut off the sleeve following drawn armseye, and rip the stitches out of the shoulder seam – all so the mockup could be opened up and traced onto the paper pattern.

3New-Seamline-Cut

Mockup cut on new seamlines. Notice that it was only necessary to mark one side with new lines because I am (for the most part) symmetrical.

The cut mockup was placed on the center front piece and aligned with the pattern’s top line of the bust dart, shoulder seam, and center front. The new lines were traced onto the paper following the mockup at the neck, armseye, and down to top of dart.

4Transferring-New-Seams-to-Pattern

Mockup lined up on pattern for tracing new lines.

Then the mockup was shifted down to line up with the bottom line of the dart on the pattern and the rest of the new seam was traced.

5Changing-Seams-on-Pattern

New seamline ready for tracing onto paper pattern.

To eliminate the gapping neck in the front, I measured from the top safety pin to the edge of dart.

6a-Measuring-Amount-Pinched-from-Neckline

Measuring pinched amount at neckline.

I forgot to take one photo at this point (but finished alteration is seen in next couple of pictures). To remove that fabric from the pattern without changing the straight center front line (because it’s cut on a fold), I drew a line perpendicular to the neckline and down to a random point on the side seam.

Then the newly drawn line is cut almost all the way down to the side seam – only a tiny point is left attached. And the paper is overlapped the measured amount at the neck (in a V-shape) and taped.

7Neckline-Gap-Adjusted

Altered pattern piece with all mockup markings transferred.

8Adding-Seam-Allowance

Seam allowances are added following the new seam lines.

9Altered-Pattern-Piece

Final corrected pattern piece including seam allowances.

To add the new seamlines on the side front pattern piece, I needed to extend the paper so scraps were taped down the length of pattern.

10Extending-Pattern-Piece

Side front pattern piece with paper added to edge.

The mockup was lined up with the paper pattern and pinned down to the table (eventually, I plan to make my cutting table’s surface pinnable too!) and the front edge was traced.

I traced the new side seam (new because of the tuck taken out of the center of the piece) using a tracing wheel, but you can also use a pin to poke a line of holes through the seam and into the paper.

12Dots-Punched-in-Pattern

Dotted line on pattern made from tracing the mockup’s side seam with the tracing wheel. Seam allowances were added out from dotted line.

13Matching-Side-Seams

New skirt seam line matched on side front piece using center front pattern piece (seam allowance already included).

There were only a couple tiny tweaks to the back pattern pieces. I will adjust the center back seam in a final fitting and then insert my zipper accordingly. (It will probably be a bigger seam allowance.)

14Altered-Paper-Pattern

Corrected pattern with alterations made. That is one strangely curving side front piece – but it hangs straight when it’s on my body!

Altered patterns always look a little weird because they are no longer “standard”. Learn to trust your mockup markings and ignore the unusual look of the corrected pattern on paper and your real garment will fit properly in the end. (And you can always make a second mockup just to be sure!)

I hope this photo walk-through is helpful! Let me know if you have any questions in the comments of this post. =)

Now that my pattern is altered, my real Easter dress fabric (and underlining fabric) is cut and ready to assemble! (See the finished dress in this post.)

Linen-Fabric-&Underlining-Cut

Self-dyed linen in a pale orange – sort of a melon color.

Sewing Tip: Fusible Interfacing Shortcuts

I’ve spent the last couple of weeks frantically sewing some custom cheer uniforms for a local football team’s dancers. It was a lot of crazy detail work in the end and I’m just glad it’s over now. (Thank you to all my new Twitter friends for “cheering” me on during this project!)

During the uniform madness, I did manage to take a few pictures and mentally note some sewing tips I have for interfacing.

Before I continue with my shortcuts, let me just point out that this is NOT a post about which type of interfacing is best for different types of fabrics. That would require a whole post or two on just that topic and there would still be experimenting required for each individual project.

If you really want a good overview and chart about interfacing, my favorite go-to sewing book is Vogue Sewing. It is for sewing what The Joy of Cooking cookbook is for cooking, and includes information about all the sewing basics you would probably ever want to reference. If you want just one sewing reference book on your shelf, it is the one I would recommend.

That being said, I do have some interfacing tips, especially if you are making cuffs and collars.

If you’ve ever followed the instructions included with a sewing pattern, you’ve probably cut your fabric and interfacing separately using the pattern pieces. And then, you’ve probably had the fun task of trying to line up the two in order to fuse the pieces together.

And the edges of the two layers always shift around don’t they? Super annoying.

There are two ways to prevent the shifting and fusing frustration.

One way is to cut only the interfacing pieces using your pattern. Then you fuse those to your yardage of fabric and then cut your fabric around the fused interfacing. This works best with the non-woven or non-knit interfacings because they hold their cut shape better.

The second way is to block-fuse (or pre-fuse) large strips of interfacing to your fabric before cutting either of them with your pattern, essentially creating a large piece of backed fabric.

I had 11 collars and 22 cuffs to make for the cheer uniforms, so I took it one step further. Not only did I block-fuse my interfacing, I traced my cuffs and collar pieces directly onto the interfacing using a pencil.

I did not include seam allowance on my pattern pieces, so the pencil line was my actual stitch line. This meant I was able to rough cut my pieces without measuring any seam allowances and then stitch directly on my pencil lines.

Cuffs were traced on the pre-fused interfacing and then roughly cut out and pinned back to back with another unmarked piece of pre-interfaced fabric.

After stitching, I trimmed my seam allowances down and clipped the curves.

This was the first curve I clipped and I was so tired that I goofed – I didn’t need to cut V’s around a curve going this direction. I made the others by just cutting single clips once I realized my mistake.

Then I ironed all my seams open with the help of my point presser with clapper to make turning easier and to insure crisp edges.

Ironing seams open with the point presser.

I followed the same steps for the collars with only one difference because I clean finished both the inside and the outside of the Mandarin style collar. (For this project, I chose not to finish my cuffs in this way mainly because of bulk & the need for speed.)

Before stitching the front to the back, I basted the bottom edge of the collar on the stitchline and pressed it up. This makes it easier to attach to the neckline later because one half is already neatly turned inward.

Bottom seam basted and pressed up on half of the collar
before both layers are stitched together.

And after I made my pile of cuffs and collars (oops! forgot to take a photo of the pile), I was able to attach them to all the uniforms.

One uniform top with cuffs & collar attached.

And one last interfacing tip. There’s a really easy way to clean any fusing residue off your iron. Grab a used dryer sheet from your laundry room and simply iron over it a few times. It should remove any glue & stickiness left on your iron and it will smell like clean laundry. =)

If you ever have a sewing dilemma, feel free to leave a comment, ask me by email or find me on Twitter – I’d love to help out if I can!

Reupholstering Dining Chair Cushions

I just finished a home décor project for my aunt that involved more hand tools than sewing. In her kitchen, she has 4 dining chairs with upholstered seats that were becoming a little threadbare after years of use. I helped her pick out some upholstery fabric and I was delighted that she chose to make them each a different color. The finished chair cushions look great around her glass tabletop:

Newly covered chairs around my aunt’s kitchen table.

Upholstery work is always hard on your hands and the deconstructing the old upholstery takes almost as long as the putting the new stuff on. (Note to self: If you ever recover more than 2 chairs at a time again, buy a pneumatic staple gun or recruit the husband!)

The foam of the seats was still in good condition (only the fabric covering it was wearing out) so luckily I didn’t have to rebuild anything.

Chair BEFORE – notice the foam is
poking out of a few holes in the fabric.
(Wensley photobomb!)

After removing the seats from the chair frames (they were attached with four screws on the bottom of each cushion), I inspected the original construction and reverse-engineered them.

I was relieved to discover that the foam had been wrapped in fabric and the matching fabric piping had been stapled to the cushion base separately. This meant that I only needed to remove the existing backing & piping before recovering them and I wouldn’t have to sew the new piping to the new cover.

I removed the piping & the backing staples by forcing an awl between the piping and the cushion base to loosen the staples so that I could grab them with needle nose pliers.

I removed quite a pile of staples and I was so glad I didn’t have to remove the rest!

There were a few staples ends that broke off during removal and were too short to grab with the pliers. I pounded those flat with a hammer to prevent the sharp edges from being a hazard. Then the prep work was finished and the cushions were ready to be recovered.

Ready for reupholstering!

I first cut two-inch wide bias from each of the four fabrics. One yard of each had been ordered, and all but the reddish-orange came with an extra generous cut of nearly a yard-and-a-half! This meant that I only needed to cut one strip of bias from the long three (there was actually enough left over for a second seat of each) and I just pieced two strips of the orange.

Marking the bias is easiest with a clear quilting ruler with grid.
And it’s already 2-inches wide.

I had some utility cotton cording in my stash, but it was just a little too wide to make the piping out of the thick upholstery fabric in the size I needed.  So I went to the hardware store and picked up some one-eighth inch nylon cord for about $4.

To make the piping, I wrapped the bias strip of fabric around the cording and sewed through the fabric next to the cord with a zipper/cording foot. I followed the guidelines that came with the upholstery fabric and used a ballpoint needle with nylon thread.

Notice my tension had to be adjusted WAY up for the heavy-duty thread, but I made a handy pencil line on my tension dial so I always remember the setting my machine likes best for standard sewing. (I have pencil lines for various settings on both my sewing machine and serger.)

For the one strip of bias I needed to piece, I simply stitched two pieces together with a tiny tiny stitch (no need to backstitch). Then I opened the seam flat as I stitched the cording inside. It was almost impossible to detect the piecing on the finished piping – upholstery fabric usually has a nice texture for hiding seams. =)

Sewing over the seam of the pieced bias.

My pile of finished piping.

To cover seat cushions, first determine which direction the fabric’s nap (the fuzzy texture) is going. You should be able to feel the direction by running your hand over the right side of the fabric in a straight line with the grain. You want the fabric to feel smoothest (the least drag) when you “pet” the chair from back to front.

I found the nap direction and then roughly traced (on the wrong side of the fabric) the amount I needed to wrap around the cushion and marked the front with an “F”.

Working on the floor (aka “dog territory”), I wrapped the fabric around the cushion and stapled the center back and then pulled it tight and stapled the center front. Next, I pulled the sides tight and stapled the center of those. (I used a hammer to drive the staples all the way down into the wooden base of the cushion.)

I used an old college text book to prop up the edge of the seat cushion so that I could work on a flat surface. I also used my feet (not pictured) to hold the cushion steady when I needed both hands to fire the staple gun. (Upholstering is an full body sport, hehe.)

Once the first few staples were in place on all four edges of the cushion, I followed the previous cover’s folds and eased the fabric around the corners and curves making sure that the top and side were as smooth as possible. (It’s okay if the bottom is a little lumpy and folded because it won’t show.) And I trimmed off excess fabric as I went.

Close-up of the folded front corner
(I’m holding the side and the front is on the Right).

After I was satisfied with the fabric wrapped around the cushion (I needed to remove and redo a few staples as I went), I moved on to piping attachment.

I lined the piping up with my finger on the edge of the cushion
and stapled as close to the cording as possible.

To finish the piping where it overlaps, I started in the back
so that the overlap would be hidden by the center back of the chair frame.

Finished piping on bottom of cushion.

Detail of piping around curves and corners.

It is amazing how much more finished the piping makes the seat cushions look! A professional look is all about the details. =)

Cushion with piping compared to those without.

Following the piping came the backing, just to finish out the bottom neatly. I used a sturdy cotton weave so the cushion could “breathe”. (The original cover was a black fabric like the reusable grocery bags, but I couldn’t find any of that in a solid color at the fabric store.  I just used some neutral fabric I already had.)

I cut the cotton fabric around the cushion and folded the raw edges under
as I pulled it tight & stapled it to the bottom next to the piping trim.

Once the backing was on, I used a sharp pair of scissors to
cut small holes where the screws attach.

I think they turned out really well and should last for years since they are covered in thicker fabric than they were before. Reupholstering is not really difficult from a technical standpoint, but your hands take a lot of abuse with a project like this, so plan for a couple days of minimum hand use afterwards should you attempt to recover your own.

My stack of completed seat cushions – my hands were very happy to be finished stapling!

The completed dining chair cushions side-by-side.

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