Sewing projects start with a piece of lovingly chosen cloth to be transformed into a three-dimensional item that we can wear, carry or use. Without an understanding of basic techniques, achieving this simple goal with any degree of aplomb would be at best haphazard. In this chapter we take a look at some basic sewing methods encountered in daily dressmaking and describe our approach to resolving common difficulties.
Starting with a jigsaw of cut cloth pieces, you will need to begin forming shape and fit. Persuading cloth to fit the human body hinges on the management of excess fabric and this is most easily done using darts or gathering. These same techniques can also be used decoratively. Much of the sculpting is done before you begin joining up the pieces, but trimming and managing the bulk from layers of cloth will come later.
A dart is simply a wedge-shaped segment designed to accommodate curves (Fig 1). Essential to a perfect dart is ensuring that the stitches go right to the end of the dart so as not to create a bubble at its finish (Fig 2). On solid or heavier fabrics, sew right off the end of the fabric, then backstitch; with finer fabrics, leave long trailing threads when removing the cloth from the sewing machine and hand sew back into the dart stitching.
For waist darts, start in the middle, sew out to the point; then start in the middle again and sew out to the other end (Fig 3).
Large darts on solid fabrics can be snipped open to help spread and disperse the bulk (Fig 4).
Darts should be pressed really well (see Pressing Darts, page 61).
Fig 1
Fig 2
Fig 3
Fig 4
This is one of the simplest methods of adding detail or fit to your garment. For an even and tidy gather, set your machine to its largest straight stitch and leave long trailing threads to pull at either end of your stitching. Working inside the seam allowance, sew along the length of the intended gather, being sure to backstitch at the beginning to make one end secure. Then sew a second, parallel line from the other direction (Fig 5). Now simply take it in turns to pull gently at the end of each thread and watch your gather shrink together in nice even gathers (Fig 6).
Fig 5
Fig 6
To pin the gathered piece to its matching piece of fabric, match notches and align seams; spread and even out the gathers along the matching seam and pin together. Sew along the gathered side, making sure all the gathers lie flat as you sew. Do not press the seam open as this will flatten the gathering; instead press both seams up onto the flat (ungathered) side.
With the initial shape and fit prepared, you will want to start putting the pieces together. A standard seam allowance is 5/8 in/1.5 cm so this is how far from your fabric edge your stitching should be. At the beginning of a seam start sewing a little inside the start of the seam. Sew a few stitches forward and then, using the reverse stitch lever, sew back to the very beginning of the seam, then carry on sewing. This backstitch secures the thread and should be done at the beginning and end of every seam.
The sewing of a seam is a fundamental sewing technique. As ever, match your thread to your cloth and sew straight (Fig 1). To practice your straight sewing, see The Calico Bag, page 67. The stitch length on your machine is adjustable and as a general rule, thicker fabrics take fewer stitches per centimeter than finer ones. In industry larger stitches are used as an economy, but as a home sewer you are free to make these choices yourself. Press your seams open (see Pressing Techniques, page 61) and finish the seam allowance edges as necessary (see Finishing Seam Allowance Edges, opposite).
Fig 1
Featured below are two encased seams that you might find useful; these do not require the raw seam edges to be finished.
This seam is only suitable for densely woven, non-fray fabrics and is especially suitable for boiled or felted wool. You will need to be pretty nifty at topstitching to do this well. Sew together a plain seam on the right side of the garment. Trim off the under seam. Lay the top seam over and edge stitch down (Fig 2). For a nice detail on bags, try pinking the top seam before stitching down (Fig 3).
Fig 2
Fig 3
You will often find this seam on patterns that use very fine fabrics, for example lingerie or soft furnishings.
Sew together a plain seam on the right side of the garment, taking approximately a 3/8-in/9-mm seam allowance. Trim the seam down (Fig 4). Turn the garment to the wrong side so that the raw edges of the first seam are encased.
Fig 4
With the seam on the edge, sew another seam about 1/4 in/6 mm from the folded edge (Fig 5). Press at each stage (Fig 6).
Fig 5
Fig 6
Standard seams often require finishing for many reasons: to stabilize fraying fabrics, to reduce bulk, and to create a neat and professional finish to your stitched garment.
ZIGZAG This does a good job of preventing the fabric edge from fraying (Fig 7). Don’t zigzag on the very edge of the seam, as this will inevitably cause the seam to pucker.
Fig 7
OVERLOCKING If you are lucky enough to have an overlocker, you can spend some time preventing frayed edges before you go on to start your seams. The overlocker has a blade to trim the cloth edge as you sew but does not go around corners like zigzag can. Stretchy fabrics such as jersey are best overlocked after the seam has been sewn, as the seam edges work better over-locked together (Fig 8).
Fig 8
PINKING SHEARS The characteristic zigzag edges left behind by pinking shears are a cunning and simple way to combat fraying and present a lovely flat finish (Fig 9). This finish is only suitable for tightly woven fabrics and should not be used on knits or heavier wool fabrics.
Fig 9
The correct trimming of seams to get rid of excess bulk is essential for all areas of dressmaking. This is especially important around necklines and underarms, which will need to be snipped or notched to spread or contract the fabric. Snip an internal curve (Fig 10) but notch out on an external curve (Fig 11).
Fig 10
Fig 11
Corners sewn inside out will need to be trimmed off to create a nice flat seam when the garment is turned through to the right side (Fig 12).
Fig 12
Bulky seams with a facing can be trimmed at different levels on each side so that the unwanted bulk is staggered for a flatter finish (Fig 13).
Fig 13
Topstitching is an extra line of stitching made parallel to the seam on the right side of the fabric for definition. Some fabrics do not take kindly to topstitching so do some trials on a spare piece of your garment fabric. If you are in doubt do not topstitch, as bad topstitching can ruin a good project.
Generally avoid topstitching thick woollens and any fabrics with a deep pile such as velvet, as topstitching will just get swallowed up on these. Domestic sewing machines don’t cope very well with bulky seams on thick fabrics; so however good you are at topstitching, expect to be disappointed here. However, stable fabrics with a fairly tight weave such as linen and cotton – which includes everything from drill to oilskin – topstitch very well.
It is usually better to fold your seams together to one side to topstitch through both at once for a more solid finish (Fig 14).
Fig 14
Edge stitching is a line of stitching made directly next to the seam line. We like a spot of edge stitching as it can make seams look very neat and professional. It is always best to open and flatten your seams really well and give them a good roll first, as this will help the seam sit right at the very edge exactly where you want it to be (Fig 15). Sew right at the very edge of the finished seam and around the corners. Slow down and turn the machine wheel by hand for ultimate accuracy.
Fig 15
We often recommend an interfaced lining fabric for a neck facing as it will add much less bulk than your dress cloth and so lay nice and flat. We like to use under stitching to hold facings inside the garment as it is especially neat and tidy (Fig 16). On the curve of the neck you will need to snip into the seams to relieve the tension of the curve (see Fig 10, opposite).
Fig 16
This is a way to add a subtle fullness and create a tailored finish by drawing threads of the fabric together in a fine, gentle gather; the squashed up fabric is pinned to its matching pattern piece and the gather disperses in the sewing. Some vintage patterns have a lot of ease especially on the back shoulder seam and around the bust where a little extra fabric is added in without interrupting the style.
The traditional way to set in a fitted sleeve makes textbook use of ease. You will need to lightly gather cloth into the top of the sleeve head to give a much better fit. This is most difficult to do on fine, tightly woven fabrics and easiest on loose-weave woollens.
Using the largest straight stitch on your sewing machine, sew a line of stitching just inside the seam allowance of your sleeve (Fig 1). Gently gather (Fig 2).
Fig 1
Fig 2
With the sleeve the right side out and the garment inside out, offer up the sleeve to the armhole (Fig 3). First pin together the notches on the sleeve, armhole and shoulder. Spread the ease between these notches. Then pin the whole sleeve in place making sure that the ease has not made any gathers on the sewing line (Fig 4). Tack in place before sewing (Fig 5).
Fig 3
Fig 4
Fig 5
There are endless ways to fasten a garment in place on your body. The most common are zippers and buttons, which we look at in some depth below. For an overview of some other fastenings, see pages 26 and 27.
Nearly all sewing machines – apart from the very, very old or the absurdly cheap – will have a dedicated buttonhole function. You need to take special care to make your buttonholes straight and to the same length. Don’t spoil your project with sloppy buttonholes.
The position and length of the buttonholes should be accurately marked on your cloth with tailor’s tacks or chalked dots according to your pattern (Fig 1). Joining the marks together will show you the correct length and a neat bar at either end will mark the position of the end bars: make sure you have a nice capital “I” with a clear top and bottom bar before you start sewing (Fig 2).
Fig 1
Fig 2
Some machines are able to automate the buttonhole process with presets, so you can simply follow the instructions on your sewing machine. If you are lacking the buttonhole option, a neat job can also be achieved manually (Fig 3). Once your stitching is in place, use buttonhole scissors to snip the fabric inside to create the hole.
Fig 3
Although this is a simple operation, there is a correct way to do it. Buttons cannot be sewn tightly to your fabric, as they need room beneath to accommodate the buttonhole layer, so you need to create a shank, like a short stalk.
Mark the position of the buttonhole with two crossed pins (Fig 4). Center the button over the pins and sew it on. Remove the pins. Create the shank by winding your thread tightly around the threads 6–8 times (Fig 5). Pass the needle through the shank several times and finally secure your thread through the stitching on the reverse of the cloth (Fig 6).
Fig 4
Fig 5
Fig 6
There are two basic ways of setting in a zipper: centered and lapped. Each method should conceal the zipper, but the lapped zipper is better suited to cushions and soft furnishings. For dressmaking, choose the method that best suits the style of garment you are making; for example, a lapped zipper might work better on a skirt or side-seamed trousers, whereas a centered zipper is perfect for the back seam of a dress.
Following the notches on the pattern, loosely close the seam where the zipper will go. Using the largest straight stitch on your sewing machine, sew to the notch that marks the bottom of the zipper opening. Adjust the stitch length to a standard size, secure firmly with a backstitch and sew along the remainder of the seam, beyond the zipper’s position (Fig 7).
Fig 7
Place your zipper facedown onto the loosely sewn seam. Pin one side of the zipper to the seam allowance only and tack into place. Start sewing from the bottom and keep your stitching close to the teeth of the zipper (Fig 8). Repeat for the other side (Fig 9).
Fig 8
Fig 9
Turn the cloth over and starting from the bottom, topstitch each side of the zipper about 3/8 in/1 cm from the seam. Join up at the bottom with a short line of horizontal stitching with a line of reverse stitch for extra strength (Fig 10). Unpick the large stitches that hold the zipped seam together.
Fig 10
When setting a lapped zipper into a side seam, make sure the lapped side is in the front of the garment and the underlap is on the back. Sew the seam together up to the opening for the zipper. Lay your zipper against the seam that is to be lapped (the underlap). Starting from the bottom, pin, then sew the zipper on 1/8 to 1/4 in/4 to 5 mm from the edge of the seam allowance (Fig 11).
Turn the garment over to the right side and fold the seam allowance down to the edge of the zipper. Edge stitch along the zipper, again working from the bottom up (Fig 12).
Fig 11
Fig 12
Turning back over to the wrong side, pin and sew the other side of the zipper to the seam allowance, this time lining them up (Fig 13).
Fig 13
Turn over to the right side again. You will see that a natural fold has been made and the overlap has been created. Pin or tack the edge of the overlap to just cover the underlap. This edge will be in line with the seam below (Fig 14). Now topstitch around the overlap, starting at the bottom where the previous edge stitching finished. Sew along the bottom and up the side taking a 3/8 in/1 cm seam allowance (Fig 15).
Fig 14
Fig 15
Hems are one of the most important elements of good dressmaking. A hem should look and hang perfectly. The depth of a hem will depend on the thickness of your cloth; as a rule of thumb, thicker fabrics will need a deeper hem. Hand or machine finishes work well for different tasks and the choice will usually be obvious.
Turn up your hem and press in place along the bottom edge (see Pressing Hems, page 62). Turn under the edge of the hem and once you have determined your fold, use a betweens needle to pick up a stitch from the inside of your folded edge. If this edge is zigzagged, pick a stitch from the sewn thread, then catch a thread from the body of the garment. Creating a stitch around 3/8 in/1 cm long, carry on forward taking a stitch and a thread from each side (Fig 1). Don’t make the stitches too long or the hem will catch when putting the garment on.
Fig 1
If you have a circular hem, the circumference of the bottom will be larger than the turned up finished hem. On light or fine fabrics, we suggest you take a very small hem so that the difference, too, is very small and can be eased in. On chunky woollens, the hem can be easily shrunk to fit. To do this, measure the hem, turn up and pin into place, then gently steam using a damp pressing cloth to let it shrink to fit. Alternatively, you can use a running stitch that can be very slightly tautened to take up the minor excess before steaming (Fig 2).
Fig 2
Press to finish, pressing only the bottom edge of the hem to a nice sharp line, so that the inside hemline does not show through to the front. Use a clapper on woollen fabrics (see page 60).
Hems finished with bias binding can look very neat, especially on an unlined coat or jacket. They can also work well to reduce bulk on garments made from thicker fabric. Do be aware that binding will behave differently to your garment fabric. Be especially careful not to stretch your hem as you put the binding on.
Open out the fold along one edge of the bias binding and sew to the edge of the garment with right sides facing (Fig 3). With the binding attached, turn up the hem of the garment to the desired length and slip stitch the still-folded top edge of the binding to the inside of your garment (Fig 4).
Fig 3
Fig 4
Many fabrics and garment styles really benefit from topstitching, which can add detail and finesse to the design. Turn up the hem allowance and turn under the edge of the folded hem. Press into place. Take your time when sewing to keep your topstitching lovely and straight, especially when sewing over seams. Press again after sewing to set the stitching down.
To work two lines of topstitching, use a twin-pointed needle (see page 19) for perfectly parallel stitched lines.
Hand stitching is the backbone of soft furnishings. The best curtains, blinds and cushions will always be hand sewn for accuracy and lightness of touch. Mastering a few simple stitches will enable you to produce visibly superior furnishings for your home.
This stitch is used to bring two folded edges together. It is very commonly used, especially in soft furnishings. Bring the needle out from just under the fold along one edge, and working from right to left insert the needle into the other folded edge exactly opposite the first stitch, once again just beneath the edge (Fig 1). Draw the two edges together gently but firmly. Continue working forward, continuing to take a stitch from just under the edge of each fold (Fig 2).
Fig 1
Fig 2
This is a strong crisscross stitch used on the hems of curtains and blinds. Work from left to right. With your fabric edge folded into place and inserting the needle into the hem from right to left, pick up a few threads of fabric. Pass over the edge of the hem and insert the needle into the garment, from right to left, taking a similar number of threads. Repeat along the length of your hem to produce a lovely crisscross stitch (Fig 3).
Fig 3
This is a tiny invisible stitch made on the right side of the cloth, often used for hems of blinds. Insert the needle at right angles to the fabric (Fig 4) and stab through from front to back and vice versa with the longer stitch on the underside.
Fig 4
Not a strong stitch, but often used on curtains and blinds, and you may also find this stitch hidden on lined garments and used to secure interfacings. Working from right to left, take up a few threads of the hem, then pass the needle diagonally over the hem and take a few threads from the surface of the garment; repeat all the way along (Fig 5). The stitches should be invisible on the right side.
Fig 5
Some areas of your garment should not be floppy. Interfacings are there to stiffen your fabric and give a more solid, neat and crisp finish. There seem to be hundreds of woven, bonded or knitted interfacings out there, each designed for appropriate pairing with your cloth. We focus on fusible interfacings as they are generally the choice of modern dressmakers. This convenient solution bypasses many hours of intensive attaching as it simply glues to the fabric under a hot iron and often stiffens when pressed. The best way to make sure your interfacing is a good match is to buy it at the same time as the fabric, taking advice from the retailer.
The key to interfacings is to choose the right weight for the fabric. Lightweight interfacings are best suited to dresses, tops and shirts; medium-weight is ideal for jackets; and the heavier weights are used for coats. Knitted interfacings are available for stretch fabrics. If in doubt, we recommend that you err on the side of the lighter weights, as a too heavy choice will look unnaturally stiff and cause your garment to stand away from the body. No one wants a shirt that looks like it’s made of hardboard!
Handle fusible interfacings with care so as not to stretch the garment piece as you iron it on. Start by laying out your cut fabric piece facedown on your sturdy ironing board. (Take special care not to distort the cloth, especially if it is a small or awkwardly shaped piece.) Lay the corresponding pattern piece on top to ensure the shape matches perfectly and then remove it without disturbing the garment piece. Place your precut fusible interfacing on top with its glue-side down and press: lift the iron and place it back down rather than pushing it along.
When using heavier weight fabric and interfacings, you should trim the seam allowance off the fusible interfacing and let it butt up to your final sewing line. Make sure it is nicely stuck down as you will not be sewing through it. This will reduce bulk at the seam.
