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Sewing that's Retro, Geek, and Chic
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Since this year is strange and shocking in so many ways, I figured I would just add to the unexpected by actually sitting down at my computer to write a blog post! I hope all is well with you and you’ve found ways to make the most of life while everything seems to be stuck in limbo.
(If you’re curious what I’ve been up to for the past 5 years, you can surf my Instagram account. Teaser: I had my hands inside Dior dresses at a museum install last year!)
My seasonal full-time Opera Costume Shop work started back up as usual in February (after a two-month hiatus), and then a month later, a virus had shut the world down. It was a really good thing the shipment of locked costume hampers was late to arrive for the last big rented show of the season – since we never opened them, we didn’t have to do a complete inventory before sending it all back! As it was, we were able to walk away after doing a few weeks of in-house stock reorganizing & cleaning when the rest of the season was officially canceled.
As weird as life is for a lot of people this year, I’ve found that not much has changed for me personally. I’m used to long undefined breaks between jobs, and I was an expert in social distancing before it was cool. (My husband, thankfully, is able to work from home and he’s been busier than ever.) I found a few sewing projects to keep myself occupied with, and I can’t express how happy I am that I invested in a brand-new industrial straight-stitch Juki last summer! It has been soooo nice to have my “work” machine at home this year!
I made a few rainbow color-spectrum swirl skirts – one for myself, 2 have sold, and 3 have yet to sell. I also made 3 other swirl skirts (I’m calling them “color swipe swirl skirts”). I’ve claimed one for myself, but I still have 2 more for sale. Using up lots of fabric I already had for these!
If I ever get around to it, I’ll put them in my Etsy shop (I set it up years ago and have yet to list anything!) unless someone claims them before I list them. Email me if you’re interested in details.
Then I ended up drafting my own multi-sized face mask pattern because I had non-sewing friends who needed masks for work, and were having difficulty finding any that fit well:
Soon after that, I was making masks for family in Michigan:
And then I had a flash of brilliance to make my 5 year-old nephew a Teenage Mutant Ninja Turtle mask (of course, I wanted one for myself too):
And then it morphed into a few commissioned TMNT masks – mostly for adults:
Some people sent me photos:
Fast forward to the end of summer when there doesn’t appear to be an end to the mask requirements, and I was inspired when I saw Jen’s craft foam mask frame on Epbot.
A mask that keeps everything away from your nose and month so you don’t feel like you’re eating it when you talk – yes, please! Being able to wear chapstick underneath is the cherry on top.
Here’s Jen’s full video tutorial:
I printed out her template, made a few modifications, slightly adjusted my self-drafted mask pattern to be the perfect fabric cover for it. I also graded the frame pattern to fit all my other mask sizes.
Click the link below to download the pdf of my modified version of Jen’s frame and patterns for all sizes with fabric covers:
Print it out and mask some of your own!
I’ve been sewing my craft foam. It’s faster and less messy than gluing. Jen wrote a second post about sewing the frames after I told her how I did it.
Here’s how I sew craft foam face masks:
I stitch mine from the outside (side where the metal nose wire is stuck) and let it cup up around the back of the machine as I sew the seam. Then I carefully turn it right side out starting at the bottom edge. That way, the feed-dog tracks end up on the inside.
The metal nose wire can then be carefully curved over your finger (don’t just bend it in half without a curve). I use stick-on nose wires instead of a paperclip sandwiched between two layers of craft foam.
If the bottom edge is a little bit off after stitching, you can trim the foam with paper scissors to even it up.
Some colors of craft foam stick to a regular metal presser foot more than other colors do. If you find that the foam isn’t feeding though your machine very well and at the right speed (stitches are really close together), use a Teflon/non-stick foot or put a piece of Scotch tape (the invisible “magic” kind) on the bottom of your regular foot. If your machine has the ability to reduce the presser foot pressure, that can also help.
I’ve been using either Kam snaps (this is the off-brand snap kit I have) or Velcro to attach the frames to the fabric mask covers. That way I can make mine with ear loops or around-the-head elastic. (See Jen’s video above for another style option using eyelets and removable around-the-head elastic.)
If you order packs of craft foam, you’ll need to air them out for a couple days by spreading them out. My living room smelled like a shoe store for a few days, but that goes away once the foam has been unwrapped for a while.
You will also need to test each color of craft foam to see if it bleeds! I found that only hot pink, royal blue, and dark purple (the worst!) bleed when soaked in hot water. If your foam bleeds in hot water, it will also bleed color onto your face when you wear it.
I sealed the craft foam with an iron set to “cotton blend” like Jen’s video shows. It gets a little stiffer and shinier when you seal it:
For my fabric covers, I sew the center front seams of both the outer fabric and lining fabric, Then I stitch the seam allowances down on both sides of the seam. No need to press the seam open with an iron because the machine will do that as you stitch.
If you want a nose wire pocket on the fabric cover, here’s the photo step-by-step of how I do that:
Then sew the outside to the lining (right sides together) at the top and bottom. Leave the sides open and turn through one of them. After turning, edge-stitch the top and bottom.
Fold and press ¼” to ⅜” to the inside on both sides. Then fold in another 1” and press. This will be the casings for elastic. Attach snaps or Velcro before sewing the casings down.
To save time, pre-make ear loop elastics (cut them around 9½” or so) and put them on before stitching the last seams. If the elastic ends up being too long, you can just re-knot it to fit the person wearing the mask. And the knot can be rotated to hide in the casing.
You can even make the mask frames to wear loose under disposable masks or others you already have.
Craft foam frames can be hand-washed with soap & water as needed. Fabric covers can be washed & dried as normal laundry (just make sure you preshrink any fabric before making the covers).
And now on to new things besides face masks…
The Sewing Sphere is the place to go if you’re looking to escape the frustrating algorithms and hang out with others who sew. It’s not all sewing, and it feels so much more connected in real-time than other social media platforms. It’s free to join – you can see posts and give “thumbs up” to posts you like. If you’d like to participate in comments and posting, you have to subscribe (help support what I do!) for a minimum of $2/month. I’ll be coming up with new things and sharing special content there. Come help me grow it into a great community – free from trolls & spam!
This summer, I’ve also been learning to tambour bead from my friend and fellow costumer Janet Gershenfeld, who was trained by the ladies who beaded Michael Jackson’s iconic glove! We have plans to offer couture beading services in the near future. I just need to finish building our website and we need to take care of a few boring business-y things.
This crazy year has given me the time to consider multiple career directions, and I’m looking forward to what the future brings!
I hope we don’t need masks much longer, but if we do, maybe my pattern and photos will help you build some you don’t mind wearing all day! And if you don’t sew and would like to commission some craft foam frames and/or fabric covers, email me.
Now that I’ve dusted off my blog a little, we’ll see if I can manage to post a little more regularly again. I really need to give it an overall freshening up!
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! =)
You 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.
Spray-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!
Remove 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!)
Ease 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.
When 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.
Sew 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.)
Create 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!)
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!
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. =)
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.)
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.
For straight darts, line a ruler up with marked dot & notch at edge and use Clover Chaco Liner or a pencil to draw legs.
For curved darts, you can put pins thru at intervals down each leg and dot mark same as points.
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.)
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).
I like assembly-line dart sewing. Do you think this vintage pattern from 1959 has enough darts??
Hand crank needle into end of dart right through marked line and remove first pin.
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.
Reduce stitch length when close to end point of dart.
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.
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:
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.
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!
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’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.
Then, my husband and I went shopping to buy some supplies at the home improvement store:
We already had these but you will also need:
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.
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.
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.
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!
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.
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.
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 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.
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.
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!
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.
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.
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. =)
Pin through the dots to match the points.
Then pin out from the point for the rest of one edge.
Start sewing right on the dot at the point.
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.
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.)
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.)
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:
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).
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.
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.
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.
To eliminate the gapping neck in the front, I measured from the top safety pin to the edge of dart.
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.
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.
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.
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.)
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.)
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.
After stitching, I trimmed my seam allowances down and clipped the curves.
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.
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.
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.
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. =)