Sew Any Fabric

There are many variables when sewing different fabrics and, sometimes, when sewing the same fabric; but there are some basic principles and techniques which will ensure success when sewing any fabric.

I begin Sew Any Fabric with Any Fabric, even though it is not first alphabetically. Here, I describe in detail the tools, supplies, and techniques which I personally use and recommend throughout the book. If you are a novice, you will learn various techniques which you can apply to all fabrics. If you haven’t sewn for a while, I’ll introduce you to my favorite notions and a few new techniques. If you are more experienced, you will find a quick review of techniques which I have taught for many years.

There are hundreds of different fabrics available today, but many are sewn using similar techniques. Sew Any Fabric focuses on the 88 most popular or frequently sewn fabrics. In each chapter, I have included a list of Similar Fabrics which are sewn in a similar manner as well as suggestions in the Fabric and Fiber Dictionary to guide you when sewing an additional 600 fabrics.

Almost every fabric can be used for a variety of designs from everyday casual garments to high fashion evening wear. The photographs and list of Design Elements provide a guide for creating designs and choosing patterns.

I have selected a variety of designs to inspire and excite you. Some are my own while others came from students, colleagues, designers, and pattern companies. Most are simply styled to showcase the fabric attractively. A few are innovative originals; but many similar patterns are available at your local retailers.

The models are just as diverse as the designs. Some are professionals while others are home-sewers like you and me. Some models are pencil thin; others, pleasingly plump. Some are very young; others, not so young.

Worsted • Simply styled, this chic jacket has a relaxed fit and easy-to-sew collar.

Claire’s Secrets for Success

• When sewing a difficult or new fabric, choose an easy-to-sew design with minimal seaming.

• Sew with a positive attitude.

• To save time, stitch it right the first time.

• Test, test, test; when in doubt practice before stitching the garment.

• Start all new projects with a new machine needle.

• Change needles frequently; synthetic fibers dull needles faster than natural fibers.

• Use polyester thread for more elastic seams • Wind the bobbin slowly. When wound on high, the thread heats up and stretches. Then, when sewn into the seam, it relaxes, and the seam puckers. Puckered seams cannot be pressed out.

• Hold the fabric firmly in front and back of the foot when stitching.

• Stitch with the fabric bulk to the left of the needle.

• To reduce skipped stitches and other stitching problems when straight stitching, use a foot such as a wide straight-stitch foot to hold the fabric firmly.

• Stitch directionally with the grain; generally, this is from wide to narrow on the garment section.

• Stitch in the direction of the nap, as if you were petting an animal.

• Begin stitching at the point of difficulty (e.g., when stitching reverse corners, begin at the corner; when stitching a notched collar, begin at the notch).

• Stitch with the longer or stretchier fabric on the bottom.

• Stitch with the bias on the bottom.

• Sew flat; set the pockets before sewing the side seams.

• Sew inside loops, circles, sleeves, pant legs, and collars carefully to avoid inadvertently stitching through unwanted layers.

• When topstitching, stitch with the right side up unless directed otherwise.

• Understitch faced edges.

• The most common causes of stitching problems are a dirty machine; an incorrectly threaded machine; and a damaged, wrong size, or wrong type needle.

• Pressing is an essential phase of sewing. Good pressing can enhance a poorly stitched garment; poor pressing can destroy a well-made design.

Your most important tool is a quality sewing machine. It does not have to be the latest model or the most expensive machine. I have several machines ranging from my first machine which only straight stitches to a top of the line, computer model that will stitch fabulous embroideries as well as beautiful garments; I use them all.

If you don’t have a machine, talk to your local dealer; ask him or her to help you select a machine. If you have a machine that has not been used for a while, have it cleaned and serviced.

The Sewing Checklist in each chapter provides a concise outline of tools, supplies, and techniques for that particular fabric.

Before sewing any fabric, review the list of Essential Supplies. You will already have most of these items; if you don’t, purchase them when you buy your fabric.

Even the most expensive machine will not perform well if you are using dull, bent, or damaged needles or the wrong size or type needles. My machines are not fussy about the brand, so I use needles from many needle manufacturers. Your machine may be more particular.

Needles are described by size and name. The name describes the needle type; i.e., universal, sharp (microtex, denim, quilting), stretch, topstitching, ballpoint. See Appendix A – Sewing Machine Needles for a more complete description of needle types.

In this book, I begin with the needle type which will give the best results. In Claire Shaeffer’s Fabric Sewing Guide, I listed the needle which was most readily available first; now it is often second on the list.

The needle size describes the diameter of the needle shank: the smaller the number, the smaller the needle. I recommend a range of sizes because most fabrics vary in weight and thickness. I always begin with the smallest size—no need to make a large hole when a small one will do—and make a test seam. If there are skipped stitches, I use a larger needle and/or different needle type.

Generally, for topstitching, machine buttonholes, and embroidery, a larger needle or a topstitching needle will accommodate a heavier thread better.

Always choose a quality thread. Nothing is more frustrating than thread that breaks frequently.

When selecting cotton, cotton covered polyester, and polyester threads, look for terms such as long-staple. Premium cotton threads will be labeled mercerized, Egyptian or Peruvian cotton, or extra long staple.

For natural fiber fabrics (cotton, wool, silk, and linen), I prefer cotton threads which cause fewer stitching problems. But cotton threads are not as elastic, strong, or durable as polyester threads; and, when sewing some fabrics—leather, suede, and waterproof fabrics—cotton threads will mildew or rot.

Sewing threads are available in several weights from fine to heavy-weight. All-purpose threads are Medium weight and most common. See Appendix B – Threads for more information about threads

Many threads do not have the thread size indicated. One reason is that cotton and polyester threads are sized differently; i.e., all-purpose cotton thread (50/3) and polyester thread (100/3) are about the same size.

The thread size (50/3) describes the thread weight (50) and the number of plies (3) which have been twisted together to make the thread. Generally, a higher number indicates a finer thread.

All-purpose or regular threads can be used on most fabrics for general sewing, seaming, buttonholes, and topstitching. They are available in cotton (50/2, 50/3), cotton covered polyester, polyester (100/3), and silk (50, A). Polyester thread is most elastic; cotton, least.

Fine or lightweight threads are preferred for seaming, buttonholes, and topstitching on lightweight fabrics. These threads include fine cotton machine embroidery thread (60/2, 70/2), lightweight polyester, extra-fine cotton covered polyester, lightweight silk (200,100), and lightweight serger threads (120/2).

Machine embroidery/topstitching threads or heavy threads are used for topstitching, machine embroidery, quilting, sewing buttons, strong seams, and joining heavy fabrics. Generally for seaming, I prefer threads which are 40 weight and unglazed, such as cotton and polyester threads for topstitching and machine quilting thread. When heavier threads are not available, substitute two strands of all-purpose thread.

Specialty threads include machine embroidery, textured, serger, glazed, water soluble basting, fusible, and invisible threads.

• Machine embroidery threads are available in several weights: 60, 50, 40, and 30. They are designed for top stitching and embroidering and frequently have a nice sheen.

• Textured threads include texturized or woolly nylon and woolly polyester. Soft and elastic, these threads leave fewer pressing imprints and add elasticity to seams, hems, and twin needle stitching when used on the bobbin or overlock machine. To use in the needle, use a needle threader to insert the thread.

• Serger threads (60/3, 70/3) provide a soft edge finish for serging lightweight fabrics. Lightweight serger threads (80/2, 100/2, 120/2) are less likely to leave a pressing imprint on light and Medium weight silks and rayons. They can also be used for general sewing on delicate fabrics.

• Water soluble basting thread dissolves when pressed with steam or washed. Use it in the bobbin.

• Fusible thread melts when pressed with heat and moisture. Use it in the bobbin. I often use it to create self-basting zippers.

• Glacé or hand quilting thread (40/3) is a glazed cotton thread designed for hand sewing. Use it in the bobbin for gathering and ease. These threads can leave a residue in the bobbin case when used extensively.

• Invisible or monofilament nylon and polyester threads are available in clear and smoke. Designed to blend in invisibly, some are softer than others.

The Needle/Thread Guide in Appendix C is a handy reference for selecting the appropriate needle/thread combination.

When selecting cutting equipment, quality is better than quantity. Begin with a good pair of 7" (17.5cm) or 8" (20cm) shears. Add serrated shears for cutting lightweight or squirmy fabrics, stainless steel shears for fabrics such as Microfibers and polyesters which dull the blades easily, and 5" (12.5cm) trimmers for clipping and trimming.

A rotary cutter requires a cutting mat to avoid damaging your cutting table. It is particularly useful when cutting straight edges. But, like needles and pins, the blades dull quickly when cutting some fabrics.

For most fabrics, I use clips, chalk, pins, erasable pens, or safety pins; but intricate seams and some fabrics require thread, tailor’s tacks, or tracing wheel and tracing carbon.

• Chalk is available in several forms: clay, wax, chalk wheels, chalk pencils, and disappearing chalk. I use only white and prefer chalk wheels, disappearing chalks, or even a soap sliver. Use wax chalk only on wool and hair fibers; it will stain other fabrics, especially hemp, linen, cotton, and silk.

• Straight pins are suitable for fabrics which will not be marred, but they may fall out.

• Erasable pens (air erasable and water soluble) are handy marking tools, but they will stain some fabrics permanently.

• Thread and tailor’s tacks are the best choice when stitching accuracy is critical and other methods might damage the fabric. Thread marking is a row of long basting stitches while tailor’s tacks are used for marking matchpoints and dart ends.

• Tracing wheel and tracing carbon are another good choice for marking intricate seams. I use only white to avoid permanent stains.

There are many tools and supplies which will help you to sew more skillfully as well as more quickly. Some are traditional sewing tools and notions, while others are simple household items. Here are my favorites:

My favorite pins are flower pins, super fine pins, regular silk pins, and safety pins. I keep my “used” pins in separate boxes from the new pins; so, when sewing delicate fabrics, I can use only new pins. I discard all pins that fall on the floor.

• Regular silk pins have a diameter of .7-.85mm and are suitable for most fabrics.

• Flower pins are extra long and have large flat heads. Most have a diameter of .65mm. I use them when I need a long pin or a pin with a large head. They are also useful for marking and when cutting with a rotary cutter because you can put the ruler on top of the pinned fabric and the ruler will lie flat.

• Super fine pins have a diameter of .5mm. Super fine pins are the smallest available and the least likely to leave pin scars on delicate fabrics. Surprisingly, these pins also work well on many densely woven fabrics. I use several brands— IBC, Iris, and a Japanese import from Professional Sewing Supplies. (See Resource List.) If you don’t have super fine pins, use fine handsewing needles (sizes 9 to 12).

• Safety pins have several uses: marking the right side of fabrics which look the same on both sides and marking construction symbols on fabrics such as chiffon and lace. Use small safety pins on fine fabrics and larger ones on other fabrics.

When pins will damage the fabric, use weights and temporary adhesive sprays to hold the pattern pieces in place for cutting out. If you don’t have pattern weights, use dinner knives, lead drapery weights, or large washers.

I also use 202—a temporary adhesive spray for patterns. It has less adhesive than many temporary sprays, but other spray adhesives will also work. When pinning is the only answer, extend the grainline on the pattern pieces so you can pin at the top and bottom in the seam allowances.

Sometimes called a Hump Jumper or Jean-a-ma-Jig, a shim is a device to level the machine foot and help prevent skipped or uneven stitching when stitching over bulky seams. If you do not have a shim, make one by folding a piece of cardboard. To use the shim, slide it under the back of the presser foot as you stitch onto the seam. Then, as you stitch off, reposition the shim under the front of the foot.

This luxury item is a real headache reducer. I use mine when ease-basting, gathering, topstitching, embroidering, or using textured and heavy threads so I won’t have to change the tension on my primary bobbin case.

I do not like to rip so I use a variety of basting aids to avoid ripping. My favorites include washable glue sticks, quilting clothes pins, and hand basting; but I also use washable double-stick basting tape, spray adhesives, fusible thread, spring hair clips and paper clips. The quilting clothes pins are particularly useful for basting materials such as leather, faux fur, and quilted fabrics which have thick layers or will be damaged by pins.

• Braided elastic narrows when stretched, making it easy to insert into casings.

• Clear elastic is 100 percent polyurethane and stretches 300 percent. It narrows when stretched and is not damaged when it is stitched through for gathers or stays.

• Non-roll elastic is firm and strong enough to support elastic waists on heavy knits and heavy skirts.

Generally I prefer a water soluble stabilizer, but I also use spray starch, liquid stabilizers, tissue paper, lightweight tear aways, and burn away stabilizers.

I use them to stitch machine buttonholes, for tissue stitched seams and sandwich stitching. (See Appendix E – Stabilizers.)

Many seams and edges need to be stabilized to prevent them from stretching out of shape. You can purchase lightweight stay tapes or rayon seam binding, but I generally use a narrow strip of lightweight selvage or a silk organza strip which has been pressed to remove all stretch.

Trimmed with a fashionable faux fur collar, this casual jacket is a good choice for novices and experts alike.

Use fray retardants, seam sealants, and a solution of diluted white glue to reduce fraying. Apply carefully to avoid applying too much and leaving a permanent stain.

On fabrics, use drafting tape or pink hair set tape which does not leave a sticky residue.

Use regular transparent tape to wrap the toes of the presser foot to avoid snagging loosely woven and open knit fabrics.

When choosing interfacings, consider the fabric care, the amount and direction of stretch, quality, weight, hand, and color; the fiber content; garment quality, type, design, use, and desired finished appearance; your sewing skills, time available, and personal preference.

In the Interfacing Checklist (Appendix G), the most common interfacings are listed by weight. Similar products are grouped together so you can make substitutions when needed.

Linings and underlinings are optional for many fabrics and designs. Traditional tailored garments are always lined, but a contemporary design in the same fabric might be unlined.

For each fabric, I’ve described the stitch lengths, tension, and machine feet which I use to make my first test seam. These are guides; you may prefer longer stitches or shorter ones, depending on your fabric and machine.

Feet:I use a variety of special feet to eliminate many frustrating stitching problems. My favorites include: the wide straight stitch foot, roller foot, even feed foot, and the zipper foot.

The wide straight stitch foot is my favorite for straight stitching; it holds the fabric firmly, and reduces stitching problems and puckered seams. The roller and even feed (walking) feet reduce underlayer creep. If you don’t have these feet, use the zigzag or all-purpose foot which came with your machine. There are also many other special feet which you will find useful. Put your favorites on a wish list to help your family and friends select a gift you will enjoy.

There are many techniques which range from quick and easy to haute couture. In this book, I have listed techniques which will produce quality garments with the least amount of time and effort. They are easy to use and will provide good results for novices and experts alike.

Fabric Prep: Most fabrics need to be preshrunk or relaxed before cutting. Use the fiber content, yarn structure, fabric weave and color, manufacturer’s recommendations, and planned garment construction as a guide to decide whether the garment will be laundered or Drycleaned.

Garments which will be laundered can be machine or hand washed and machine or line dried. Wash and dry the uncut fabric the way you plan to wash the garment. Cotton fabrics have progressive shrinkage and must be preshrunk at least three times to prevent shrinkage in the finished garment. Generally, dark and bright colors will fade more than pastels. Vinegar and salt, which were recommended for many decades, will not set the dyes.

If the garment will be Drycleaned, steam it well or ask your Drycleaner to do so. Generally, I hang the fabric over the shower rod; fill the bathtub with hot water; and leave it until dry. I also use a hand steamer or good steam iron.

Layout/Cutting: Lay out the pattern so the grainline on the pattern is parallel to the selvage. For a nap layout, position the pattern pieces so that all tops are in the same direction. For a layout without nap, the pattern tops can be placed in either direction. When using a single layer layout, make a set of duplicate pattern pieces; label them “left” and “right” to avoid cutting errors. For the layout, place the pattern pieces face up on the right side of the fabric.

If the fabric looks the same on both sides, decide which side you like better. Then mark the right side with a thread cross-stitch, drafting tape, or small safety pins; or mark the back with chalk.

Seams: For most fabrics, I prefer seams that are easy to sew, flat, and inconspicuous and I often look to quality ready-to-wear for construction ideas. Most ready-made garments are assembled with plain seams which are pressed open with the edges serged separately or pressed closed with the edges trimmed and serged together. For the latter, seams are often stitched with a 4- or 5-thread safety stitch serger. Some traditional seams like the flat-fell seam are generally replaced by the easy-to-stitch, flatter topstitched seam.

In addition to the plain seam, there are many other seams which are well designed for specific designs, purposes, and fabrics. These are described in Sewing Techniques (page 108).

Seaming Techniques: I use and frequently recommend several seaming techniques which make it easier to sew most fabrics, reduce stitching problems, and improve the finished design. The most useful of these—tissue stitching, sandwich stitching, and taping—can be applied anytime you sew; while eliminating or adding seams and changing seam lines require some advance planning before the garment is cut.

• Tissue stitching – To prevent stitching problems, stitch with a stabilizer such as tissue, water soluble stabilizer, or burn-away stabilizer between the fabric and feed dogs.

• Sandwich stitching – Stitch with the seam sandwiched between two strips of stabilizer.

• Taping seams – Many fabrics need to be stabilized at seams, edges, foldlines, and openings to preserve the garment shape and prevent stretching when the garment is worn.

Using the pattern pieces as a guide, mark the finished length on the stay. Wrong side up, center the stay over the seamline; baste, then stitch permanently. When taping a folded edge, center the stay over the fold; pin. Use a long running stitch to sew it inconspicuously in place.

For stretch fabrics, use clear elastic instead of a regular stay to maintain the shape without losing the elasticity.

• Eliminating or adding seamlines – Eliminating a seam which joins the garment and facing will reduce bulk at the edge when sewing heavy or bulky fabrics. Adding a seam is often required when sewing narrow fabrics or for design.

To eliminate a seam, match and pin the pattern pieces together on the seamline. Cut out the garment section in one piece.

To add a seam, draw the new seam on the pattern, cut the pattern apart, and add a seam allowance to each edge.

• Changing seamlines – Seams on the straight grain pucker more than seams on a slight bias. Redraw the cutting line so it is a very slight A-line or pegged. At the hemline, mark a point 1.2" (1.2 cm) from the original cutting line; connect the point and cutting line at the hip. Very few fabrics can be cut off-grain successfully.

Hems and Edge Finishes: For many designs, I prefer a plain hem which is finished by hand or machine; but there are many other hems and edge finishes which are more appropriate for some fabrics, specific designs, and special purposes. These are described in Sewing Techniques (page 112).

Closures: Review the techniques for Closures and Fasteners in Sewing Techniques (page 116).

Sleeves: Many fabrics are difficult to shrink, and a sleeve cap with more than 11.4" ease can be difficult to sew into the armhole attractively.

To reduce the sleeve cap ease, make a horizontal fold across the top of the cap; a 1.8" (3mm) fold will reduce the ease 3.8" to 1.2" (1-1.2cm). Redraw the cutting lines without reducing the sleeve width.

To avoid spitting and spewing, be sure the iron has warmed up and steams properly before beginning. Press all seams flat; then press them open.

When pressing fabrics with multiple fiber types, set the heat for the most sensitive fabric.

When pressing fabrics with surface texture, bound pockets, and bound buttonholes, cover the pressing surface with a thick terry towel.

When in doubt, cover the fabric with a press cloth. Cover a seam roll with wool; arrange the seam on it. Press the seam open; then spank with a clapper until the seam is flat. Do not move the garment until dry.

• Irons: In addition to a regular steam iron, I use a hand steamer to shrink and steam fabrics and garments and a small hobby iron to press hard-to-reach seams. (1)

• A ham is a firmly shaped pressing cushion which allows you to press curved sections easily. A ham holder is a nice addition so you can set the ham on its end or side. (2)

• A point presser is a wooden tool which allows you to press seams open on collars, cuffs, and garment edges. Some are straight with a point at the end while others, such as the Tailor Board, have a variety of curved edges. This is an investment item and worth every penny. (3)

• A Seam Stick™ is a half-round hardwood stick. I use it for pressing seams open; I have a second stick to use on top as a clapper when pressing difficult fabrics. (4)

• A clean cellulose sponge is indispensable for applying water directly to fabrics which will not waterspot and to a press cloth on others. Wet the sponge and shake so that it will not drip. (6)

• Press cloths are essential. Dry or damp, they protect the fabric from the heat of the iron and unwanted waterspots. Use white or light-colored cloths on light-colored fabrics and dark cloths on dark fabrics. Launder them frequently to avoid transferring soil to your new designs. You can purchase press cloths or make your own.

Lightweight cotton muslin which has been machine washed several times is a good all-purpose press cloth.

Wool press cloths are essential when pressing wool and hair fibers. Cover the ironing board with a large piece of wool and use a smaller piece to cover the fabric.

• Use a 50/50 solution of white vinegar/water to set pleats, creases, and seams on microfibers, polyesters, and other difficult-to-press fabrics. Always test first to be sure that the solution does not spot the fabric or change the colors.

• Use a bar of Ivory soap for sharper creases and seams on wool fabrics. For creases and folded edges, rub the soap on the wrong side, and press. For seams, rub the stitching line on each side; then press the seam open.

Garment Care: All garments will maintain their pristine appearance longer if Drycleaned. If you plan to launder the finished design, all components must be washable; preshrink all fabric before cutting.