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StitchesThe fashion magazine for people who sew!AustrAliAn

KFPnRaitEttteEinrng Perfect Fit
Jumpsuits

Autumn/
Winter 2017
Overview

The Dress
in print!

Plus

Sewing Tips
& Techniques

and much more...

filled wiTh Tips, Techniques and The laTesT sewing Trends

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From the Editor

Where is the year going … February 2017 already! I don’t normally
make New Year resolutions, that get too easily forgotten, but
this year I promised myself to sew more! So far I’ve kept to this, and I’ve
made a couple of simple dresses and a blouse. Next, I’ll have to start
thinking about autumn/winter styles to create … thank you Eddi for the
inspirations you have shared on the pages of this issue!

I hope you find inspiration for your own sewing projects, a personal fit
concern solved, learn something new.
Until next time, happy sewing!

Cate

PS. If you have a story to share, or a new garment you have created, we’d
love to hear from you. Please email me at [email protected].

Australian Stitches 3

Contents...

Vol 25 No 4

WEAR WHAT WHEN

6 Signals of the Season –
Autumn/Winter 2017 Overview
By Eddi Frantz

TECHNICALLY SPEAKING

10 Anatomy of the Pocket
By Lisa A. Christman, Ph.D.
for Wild Ginger Software

STEECWHINNGIQUTEIPSS &

14 Bias Spaghetti Straps
By Susan Khalje

28 How to Sew a Horsehair
Braid Hem By Megan Nielsen

56 Sewing Velvets & Devoré
66 Circular Ruffles and Flounces
72 Plackets

TRENDS

18 The Dress In Print
32 Why are my Shoulders So Cold all

of a Sudden?
53 The Blouse Strikes Back!

PATTERN CLASS

22 Designing a Blouse

PERFECT FIT

34 Moving Forward
36 Asymmetrical and Tiered

Hemlines

4 Australian Stitches

Get the Look

42 Accessories – The Ultimate
Look Changers By Eddi Frantz

64 Let’s talk about Trims!
By Eddi Frantz

triaL a Pattern

44 McCall’s M7402

Creative ideas

48 Got It Covered!
By Judith Turner

60 DIY Buttons

ProfiLe

76 Building Blocks of Fashion

reGuLar features

3 Editor’s Letter
36 Subscriptions
78 Australian Sewing Guild
80 Free Knitting Pattern
82 Next Issue

Australian Stitches 5

Wear What When SIGNALS

OF THE SEASON

AUTUMN/WINTER 2017 FASHION OVERVIEW

WHAT YOU’RE rich brocades and shiny jacquards
LOOKING FOR FIRST AT that have emerged over the last
THE START OF A NEW few seasons for dinner dressing.
SEASON − THE THINGS Now they make quite an impact
THAT GIVE FASHION A in slick day�me coats and jackets,
DIFFERENT BEAT. especially when thrown over
more casual gear such as a knit
What does that best top and jeans. Even a richly
(and fastest!) is a fabricated accessory such as a
change of a�tude, gleaming devoré scarf, boots in
the most lavish brocade or crystal
especially when studded ballet flats instantly
it comes to rev up even the most mundane
fabrics. Those basics. That clever mix of special
and casual is one of the hallmarks
that used to be of modern dressing this season,
reserved strictly as well as being quite a fun
for evening fashion game to play!
now see the

light of day,
especially the

Night For Day (MAIN IMAGE) KWIK•SEW K4197 BROCADE SHAWL COLLAR COAT.
(INSET) BURDA STYLE 6570 BROCADE JACKET.
(RIGHT) FRENCH SOLE BALLET FLAT at frenchsoleshoes.com

Wear What When

As we all know, any great fashion Not only velvet reigns this season,
idea starts with the fabric, which as other very touchable textures
is why it always plays such an such as suede, leather, faux
important role in the news of fur and shearling give a
the season. In this day and age, luxurious look and
silhoue�es evolve at a slower and feel to almost
more gradual pace, whereas a anything,
new fabric or texture can effect an especially to
instant change … and this season, easy wrap
it’s �me to get rich! ‘Evening’ vests and
brocades however, aren't the jackets. Keep
only story. the shapes
simple and
We predicted last winter that the shades
velvet in all its variety will be the top subtle to
texture of the future, and it was a let those
predic�on that has definitely proven textures
out. Prac�cally every major designer sing.
in Paris, London, Milan and New
York couldn’t seem to get enough of
the shimmery stuff for this autumn
and winter. Part of the allure may
be its transforma�ve quality,
instantly lending even
basics an air of luxe … and
it smothers EVERYTHING,
from slouchy hats to jackets
to pants to bags to
boots − even to this
fabulous Kimono
coat you
see at right
(accessories
are the
easiest way to
crush on velvet if
you’re not sure how
far to go).

Rich Textures

(MAIN IMAGE) NEW LOOK 6476
KIMONO COAT.
(LEFT INSET) McCALL’S M7480
WRAP VEST.
(RIGHT INSET) KWIK•SEW K4197
ASYMMETRICAL SHAWL COLLARED
SHEARLING JACKET.

Australian Stitches 7

Wear What When Once upon a �me, knits were
o�en big, chunky, hearty things
(MAIN IMAGE) NEW LOOK 6482 ALL-KNIT that grandma kni�ed for you and
WARDROBE, INCLUDING TOP AND PANTS. which were saved strictly for the
(ABOVE INSET) BURDA STYLE 6587 KNIT weekend. While a big and chunky
POINTED HEM CARDIGAN. knit sweater s�ll looks great when
(LOWER LEFT INSET) KWIK•SEW K4192 you’re going casual, knits have long
‘KWIKSTART’ LEARN-TO-SEW CARDIGAN-COAT. ago moved on to other parts of
(LOWER RIGHT INSET) BUTTERICK B6389 your closet … and this season, they
LIFESTYLE WARDROBE − VEST, TOP AND PANTS. are more sophis�cated than ever.
They even go to the office, as long
Sophisticated Knits as you keep a few points in mind.

Look for fine gauge, flat textured
knits in simple, slick shapes and quiet
neutrals (save those bright shades,
big shapes and busy pa�erns for the
weekend). Also think beyond that
basic sweater. Total knit looks such as
the very elegant dress and cardigan-
coat from

New Look in the main image at
le�, swept the interna�onal designer
runways, and have the polish

of a tailored suit without the
structure and s�ffness. It’s a more
modern (not to men�on more
comfortable!) so� op�on to that
�red looking workaday suit. Matched
colours or subtle plays of tone-on-
tone (as in the beau�ful shades-of-
grey look by Bu�erick in the below
inset) elevate the sophis�ca�on of
those knits even further.

Don’t fancy knits from head-to-
toe? No problem, as they s�ll play
happily with many woven items in
your closet. The cardigan-coat can
just as easily go over jeans as it
does that dress, as in the looks by
Burda and Kwik•Sew on this page,
and is hands-down one of the most
essen�al items of the season. Or you
can elevate that casual ‘Athleisure’
knit sweater/pants with an easy but
elegant shawl collared wool vest.
The greatest thing about knits are
their inherent versa�lity, so why not
explore all the possibili�es?

AUTUMN/WINTER 2017 FASHION OVERVIEW

8 Australian Stitches

A�er so many years of structured Wear What When
li�le trenches and strict mannish
tailoring, your top layer is Easy Shapes
definitely so�ening up this season …
and in so many ways! From that easy
cardigan coat to throw over anything,
to drama�c capes, ponchos, shawls,
serapes, or other shapes that sweep,
wrap, whirl or move with you.
But all this easy going doesn’t stop
there … prac�cally everything is
easing up − from so�, swirling skirts
to loose wide leg pants, and even
the big return of the so�, feminine
blouse, (as seen in our ‘What’s Hot’
sec�on elsewhere in this issue).

The trick to carrying off such loose,
easy shapes without ge�ng too
sloppy is to always balance them with
something sleeker and more defined,
such as the slimmer pants you see
in the looks on this page worn with
those easier top layers. Note how
those pants get slimmer the bigger
that top layer gets, as in the drama�c
Very Easy Vogue cape over the
slimmest pants at right. Likewise, if
your skirts or pants are so�, keep the
upper part of your ou�it sleek and
fi�ed.

(MAIN IMAGE) VERY EASY VOGUE V9211 COLLARED SNAP-
FRONT CAPE.
(LOWER LEFT INSET) McCALL’S M7476 ‘LEARN TO SEW FOR
FUN’ CARDIGAN COAT.
(LOWER RIGHT INSET) NEW LOOK 6479 TUNIC BLOUSE,
PANTS AND CAPE.

Technically Speaking

Anatomy of the Pocket

By Lisa A. Christman, Ph.D.

A pocket can be both functional and decorative. The combination and con�iguration of
pockets is unlimited. This article describes the anatomy of the pocket, types of pockets
and their suggested uses. When designing pockets for your garments, we recommend
that you use your �it garments as a guide to pocket size and placement. You can also

measure pockets on existing garments for size and placement.

Flat and expandable pockets can for slim items such as a notepad, also be used. Elas�c can be inserted
be sewn to tops, jackets, dresses, business cards, ID, badges, and cell into the upper hem of the pocket
pants, and skirts in any loca�on phones. Most of the pockets have to help hold items in securely.
desired. Any embellishment such as alternate s�tching lines for rounded The Zip Patch pocket has a zipper
embroidery should be completed or mitred corners. Flat pockets can sewn inside a ‘window’ to provide
on the pocket prior to a�aching it to be stacked on top of each other security.
the garment. to create mul�ple storage areas.
Smaller pockets can also be sewn to Additional Design Ideas
Flat Pockets the inside of larger ones to create
storage for money, credit cards, or Flat pocket pa�erns can also be
The Angled, Banded, Cargo, cell phones. used to make removable pocket
Chevron, Diamond, Hoodie, Jeans, liners from vinyl, Tyvek, or other
Patch, Pleated, Pointed, Round, Security waterproof fabrics. A�ach the liners
Scalloped, Tab, Tulip, and Zip Patch to the pocket with snaps, snap tape,
pockets are all ‘flat’ types meaning Flaps, tabs, bu�ons, snaps, snap or hook and loop tape around the
they are not expandable. These tape, or hook and loop tape can inside top edge of the pocket.
pockets can be made to any height be a�ached to make pockets more
and width needed. They can be secure. Flaps can be a�ached Prior to attaching the pocket,
sewn to the exterior of the garment leaving a media port opening for attach bungee cord, elastic loops,
as well as to a lining inside the head phones. Decora�ve exposed or loops made from bias tape or
garment. These pockets are useful zippers and invisible zippers can grosgrain ribbon on the inside of
the pocket to organize and secure

10 Australian Stitches

Technically Speaking

Angled Banded Cargo Chevron Diamond Hoodie Jeans

Patch PleatedCargo Pointed Round Scalloped Tab Tulip Zip patch

tools that will be stored in Bungee loops Exposed zippers
the pockets.
Accordian Baseball Bellows Box
Expandable Pockets
Gathered Gusset Tucked
Expandable pockets are useful
for storing bulkier items such Welt Zip pouch
as eye glasses, keys, wallets,
and larger cell phones. The Australian Stitches 11
Accordion, Baseball, Box, Bellows,
Gathered, Gusset, and Tucked are
expandable pockets.

The bellows pocket has a large
centre pleat and can accommodate
eye glasses and be lined with a
cleaning cloth. The baseball pocket
has pleats on each side at the
bo�om of the pocket and the top
gathers to a band. The gathered
pocket is gathered to a top band.
The tucked pocket has a large
centre tuck. The accordion pocket
has accordion pleats for expansion.
The box pocket has lower corners
s�tched to form the box and
creates a roomy pocket. The gusset
pocket has a gusset s�tched around
the en�re perimeter of the pocket
to allow for expansion.

Inside Pockets

Inside pockets have pocket bags
that hang ‘inside’ the garment.
The welt and zip pouch pockets
are inside pockets. The welt pocket

Technically Speaking

Slash pocket Inseam pocket Control pocket Front hip pocket

Trouser pocket Scoop pocket Western pocket Jeans pocket

has a welt that covers the opening slash, inseam, control, trouser, the centre front of the garment to
of the pocket. Snaps, snap tape, scoop, jeans, and western pockets. provide tummy control.
bu�ons, and hook and loop tape All of the integrated pockets have
can be used to secure contents. pocket bags that hang on the The trouser, scoop, and western
The zip pouch has a zipper opening inside of the garment. Smaller style pockets complete the front of
for security. Pocket bags can be cut flat pockets can be sewn to the the garment at the side/waist. The
from fashion fabric, lining, water pocket bag prior to construction front hip pocket for pants and skirts
resistant fabrics, or heavy canvas or of the bag. is a flat applied pocket but is dra�ed
other more durable fabrics. to the front hip and front waistline
The slash pocket has a slash of the garment.
Integrated Pockets window opening with welt. The side
seam pocket is sewn to an opening For more inspiring ideas, check
In addition to the flat and in the front and back side seams of out my Pockets, Pockets, Pockets
expandable pockets, there are the garment above the hip line. The Pinterest Board at https://www.
several integrated pockets. pocket bag can be tops�tched to pinterest.com/wildgingersoft/
Integrated pockets are those the front of the garment if desired pockets-pockets-pockets/AND all
pockets that are part of the or le� hanging loose. The control of the great pockets in my FREE
structure of the garment itself. pocket is also s�tched to the side Wild Things program at http://
These pockets are available for seams of the garment above the hip www.wildginger.com/products/
pants and skirts and include the line. The pocket facing extends to wildthings.htm

12 Australian Stitches

McCALL PATTERN COMPANY ST24-10-01

V1435

McCall’s

Distributed in Australia & New Zealand by McCalls Pattern Service Pty Ltd

26-28 Clements Avenue, Bankstown NSW 2200
Phone: 02 8713 1700 • Email: [email protected]

www.mccall.com

Sewing Tips & Techniques

Bias Spaghetti Straps
By Susan Khalje

Ultra-narrow, yet strong bias spaghetti straps are fun to make and even more fun to
incorporate into a garment. As you might imagine, a few extra steps will make them

perfect. Read on for how ...

1 You’ll want to start with a strip of
fabric that is on the bias – and I mean

perfectly so. It has to be marked

and cut at exactly 45 degrees. Any

varia�on in that will result in drag

lines – which are impossible to

remove − and a strap that will twist.

The true bias is easy enough to

find – you can fold your fabric so that

the horizontal grain line is on top of

the ver�cal grain line; the resul�ng

diagonal line will be at 45 degrees. Or

you can use the appropriate line on

2 a cu�ng mat, and line your fabric up
that way. See photo 1. If you’ve cut

the strip properly, it won’t distort as

you pull it. If drag lines form, then it’s

not at the true bias, and you’ll need

to recut. See photo 2.

You’ll want to cut a bias strip at

least an inch wide, to the desired

length, remembering that it will

‘grow’ as you stretch it while

working with it. The excess seam

allowance will be cut off in due

course – a wider strip of fabric is

simply easier to work with.

3 Fold the strip in half, with right
sides together, and pin it carefully.

See photo 3. Pin the centre of it first,

then the ends, see photo 4, then fill

in the gaps with pins. See photo 5.

You’ll get less distor�on in the bias if

you pin this way.

You’ll shortly be sewing the strip

on the machine, and you’ll be pulling

it �ght as you go. It would be hard

to stop to remove the pins as you

go along, so it’s best to apply a row

14 Australian Stitches

4 Sewing Tips & Techniques

of bas�ng s�tches to hold the layers 5 Australian Stitches 15
together. No ma�er how many pins
you put into the strip, they won’t 6
hold the layers together as well as 7
a quick row of bas�ng s�tches. And
leave some slack in your bas�ng
thread – remember, you’re going to
be pulling the fabric – stretching it –
as you machine s�tch, so you’ll need
a li�le extra thread to accommodate
the stretch. See photo 6.

Here’s what the strip looks like
before it’s pulled taut, see photo 7,
and here’s what it looks like as it’s
being pulled. See photo 8.

You’ll be surprised at how narrow a
strip you can actually turn – so don’t
be afraid to s�tch rela�vely close to
the fold line. The secret to a strong
strap – one whose s�tches won’t
ever pop – is to pull the fabric firmly
as you s�tch – as firmly as you can,
one hand on each end of the strip.

A�er you’ve s�tched, trim off most
of the seam allowance, see photo 9,
then use a loop turner to turn the
fabric to the right side. A simple loop
turner, see photo 10, the kind with
a �ny hook on one end, a long thin
piece of metal, and a circular loop on
the other end − will allow you to form
the narrowest strap. The hook has a
�ny latch on it – fold the latch back
and slide the loop turner through
the tunnel of fabric, see photo 11,
and pa�ently a�ach the fabric to the
hook at the end. See photo 12. It
can take a number of tries to secure
the fabric at the end – once you’ve
hooked it, hold it in place with the
latch – then pull loop turner back
through the tunnel, turning the fabric
right-side out as you go.
See photo 13.

Once the fabric has been turned,
it needs one final step. Stretching it
as much as you can, pin it firmly to
a padded surface – a sleeve board
works well, or your ironing board
cover. See photo 14. Be sure it

Sewing Tips & Techniques hasn’t twisted – you’ll be able to see
8 the seam line, so keep it nice and
straight. Give it a thorough steam
9 with your iron, allow it to dry, and
once unpinned, you’ll see that it stays
10 nice and straight and ultra-thin.
See photo 15.
11
Bias spaghe� straps are beau�ful
16 Australian Stitches in pairs on a delicate garment, side
by side, or interlocking, or decorated
with a series of knots.
See photos 16 and 17.

They can also form loops for
bu�ons, and a cluster of them is
pre�y �ed in a bow, as a decora�on
on their own, or complemen�ng a
silk flower. The ends can be finished
with �ghtly-formed knots.
See photo 16.

Sewing expert and master teacher Susan
Khalje has a rich background in the couture
arts. From an apprenticeship at the New York
couture salon Chez Cez et Bez, to working as
a manufacturing supervisor in Afghanistan for
a New York design house. This took her into
a long career specializing in the design and
creation of custom wedding gowns.

Susan established The Couture Sewing
School in 1993, which offers week-long
classes throughout the year (visit the website
for class details).

Susan is in Australia! Based in Sydney,
Melbourne and Brisbane, from January 16
− March 15, 2017. Couture Sewing School
Classes, Classic French Jacket Classes, Guipure
Lace Skirt Classes and Couture Techniques will
be offered.

For full details and to register, please visit
www.SusanKhalje.com

Please note, some classes are already full.

Sewing Tips & Techniques
12 13

14

15

16 17 18

Australian Stitches 17

Latest Pattern Trends THE DRESS
In Print
WHAT’S HOT:

There is a bigger variety quite a statement, and in so many
than ever of great different ways!
dresses this autumn/ Naturally, these sorts of prints are
winter ... (and as we quite different from those super-
all know, a great dress bright, summer-y ones. They are
at this �me of the year is generally darker, more subdued
quite hard to come by!). and inherently more sophis�cated,
More o�en than not, they to stand up to the season’s more
look best in prints. A print substan�al fabrics, tailored
dress used to be something silhoue�es, and dressed-up mood.
that was only in abundance They are also easier to wear head-
throughout spring and to-toe in a single piece because they
summer, but now they make aren’t so bright and splashy.

(MAIN IMAGE) McCALL’S M7466 PANELLED DRESS.
MISSES’ SIZES: 6 – 22.
(INSET) McCALL’S M7468 NICOLE MILLER
COLD-SHOULDER DRESS.
MISSES’ SIZES: 6 – 22.

18 Australian Stitches

Latest Pattern Trends

When in doubt, go for black and when working
white, as this classic combo never with print, but
fails to look right, especially in could also create
striking graphic pa�erns as seen a wonderful
on this page … or more subdued ‘engineered’
duotones such as black and grey, effect where
or navy and cream. If you want to the pa�erns
incorporate more colour, temper follow the
it with that black and white as form of the
in the Nicole Miller dress from body, for a
McCall’s in the below inset. true ‘couture’
Also note the shape that these edge.
prints come in − they make the Likewise, keep
most impact in sleeker, simpler accessories
and usually shorter silhoue�es. dark and
Most of the dress styles on simple, to
these pages feature quite a make those
lot of seaming and panelling, prints really
which can be quite a challenge sing.

(MAIN IMAGE) McCALL’S M7464 PANELLED
DRESS. MISSES’/MISS PETITE SIZES: 6 – 22.

(LEFT INSET) McCALL’S M7469
NICOLE MILLER SEAMED DRESS.

MISSES’ SIZES: 6 – 22.
(ABOVE INSET) VOGUE WARDROBE V9215

KNIT DRESS. MISSES’ SIZES: XS – XXL.

Latest Pattern Trends

WHAT’S HOT:

THE DRESS

In Print

(MAIN IMAGE) VOGUE V9202 EASY OPTIONS CUSTOM
FIT FLARED DRESS. MISSES’ SIZES: 6 – 22.
(ABOVE INSET) SIMPLICITY 8214 PROJECT
RUNWAY SCARF-TIE DRESS.
MISSES’ /MISS PETITE SIZES: 6 – 22.
(TOP RIGHT INSET) BURDA STYLE 6574 WRAP DRESS.
WOMENS’ SIZES: 36 – 46.
(BOTTOM RIGHT INSET) BURDA PLUS 6618 JERSEY
DRESS. WOMENS’ SIZES: 46 – 60.
(LARGE INSET, FACING PAGE) SIMPLICITY 8165
MAXI DRESS LINED VEST AND TIE.
MISSES’ SIZES: 4 – 20.
(SMALL INSET, FACING PAGE) SIMPLICITY 8166
TUNIC DRESS. MISSES’ SIZES: 6 – 22.

20 Australian Stitches

Latest Pattern Trends

This season’s print story however
isn’t all black and white. There’s
also a gentler, more feminine side
to the print dress, in so�er, more
fluid shapes and in more colourful
florals, animal prints, rich tapestry
prints or paisleys … though these
too are in dis�nctly darker or richer
shades to differen�ate them from
last spring’s crop.

As shown on these pages, those
so�er shapes run the gamut from
the classic wrap or fit-and-flare
dress to longer, floa�er styles (which
fla�er all figures, as in the Burda Plus
jersey-style on the facing page), all
the way to those Seven�es styled
maxi-lengths, back for yet another
season. Simplicity’s style at right gives
a luxe richness to that now-classic
‘boho’ look, and is one of the best of
the season, especially when layered
under a tailored vest to give it some
structure.

The season’s darker, richer, more
refined prints also take to more
forward-looking shapes as in the
shorter Victorian influenced tunic
style, also from Simplicity below.
Note the high ruffled collar, and the
shirred and ruffled cuff; signals of
what’s to come.

Australian Stitches 21

Pattern Class

Designing a Blouse

We spend time getting our basic blouse and skirt pattern to �it our individual body
shape, so now’s the time to get creative and design a dolman-sleeve blouse. This
garment features a cross-over front opening, an asymmetrical �lounce
and a ‘swash-buckler’ tie.

As with all fashion designing, it is recommend that you trace a copy of your personalised bodice and skirt
patterns. This maintains your original pattern for future use. Then begin the creative process.

22 Australian Stitches

Pattern preparation Diagram 1 Pattern Class

Sleeve SLEEVE Photo1
Mark the centre of the sleeve and
clearly label FRONT and BACK on each Back Front
sleeve piece. Measure your shoulder
to elbow length, and then mark your
elbow level on the pa�ern.
See diagram 1.

Cut the sleeve along the centre line.

Op�onal front shoulder Elbow level the finished posi�on. Cut straight
dart/release pleat across from the shoulder to the
For this par�cular dolman-sleeve Darts are most fla�ering if the neck point. When unfolded, the new
blouse design, the side bust dart was s�tching stops about 2.5 – 4cm (1 – cu�ng shape is created.
transferred up into the shoulder line 1½in) away from the apex. To shorten See diagram 4.
and then par�ally s�tched to form a this new dart space, tape pa�ern-
release pleat. See photo 1. tracing vellum behind the opening. Now you can begin the dolman-
sleeve designing instruc�ons.
Transferring the dart to the Divide the dart width in half and
shoulder line is totally op�onal. If you draw a centre dart line to the apex. Overarm seam
choose this design detail, transfer the On the centre line, measure back Match the shoulder point of the
dart as follows: approximately 4cm (1½in) from sleeve front to the shoulder point
Mark a point where you wish the the apex and mark a point. When of the bodice front. Label as pivot
new dart to begin. Connect this point sewn, this will be the new dart point. point A. Extend the sleeve out from
to the apex with a straight line. Cut Connect the new dart point with the the bodice, as shown. The sleeve can
along this new dart line, stopping opening edges as shown. To create extend out in a straight line, or it can
just short of the pivot point, leaving a the appropriate pa�ern cu�ng edge,
paper hinge. See diagram 2. fold the paper backing the dart into Diagram 4

Pivot open at the apex and close Diagram 3
the original side-fi�ng bust dart
by taping it together. This pivo�ng
process automa�cally opens the
pa�ern where you want your new
dart located. See diagram 3.

Diagram 2

New dart
opening

Cut here

New dart
Apex point

Australian Stitches 23

Pattern Class

Diagram 5

Front

Diagram 6 the sleeve hem to finish. The depth
Diagram 7 of the underarm curve depends
on the height to which the sleeve
Front was pivoted upward. The higher
the sleeve is pivoted, the longer
pivot upward at point A. The higher Underarm seam the underarm seam becomes. The
the sleeve is pivoted the longer the Draw a diagonal line that is deeper the underarm curve is drawn,
underarm seam will be, resul�ng in a approximately half-way between the shorter the seam becomes, but it
fuller draped look. See diagram 5. the waist point and the elbow level is compensated for by the addi�onal
toward the underarm area. Draw a length created as the sleeve was
At point A, true/blend the shoulder gentle curve from the waist area to pivoted upward. See diagram 7.
and overarm seam if necessary. either the elbow or the wrist level,
See diagram 6. depending on where you would like Waist and hem
Waist width: The waist area can be
widened depending on your desired
finished look. The final waist shaping
that you desire will determine
whether or not to add addi�onal
width at the waist edge.

Hem level: For this blouse, draw the
hem level approximately 15cm (6in)
below waist level. It is a good idea
to have your skirt pa�ern situated
below the bodice pa�ern, as this will
indicate the necessary width for your
hips as you draw this hem level.
See diagram 8.

Back – bodice and sleeve
Follow the overarm and underarm
seam instruc�ons for the front
bodice. See diagram 9. To ensure
that the front and back underarm
and side seam curves have the
same curvature, lay the back/sleeve
pa�ern over the front/sleeve pa�ern.
Make sure the grain lines are parallel
to each other, then trace off the
iden�cal underarm curve.

Draw the back bodice hemline the
same level as for the front pa�ern.

Make sure that the hem through
to the underarm curve to the sleeve
hem is the same length on both the
back and front pa�erns.

Trace off a 5cm (2in) wide back
neck facing. See diagram 10.

24 Australian Stitches

Diagram 8 Pattern Class

Front

Diagram 9

Back

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Pattern Class

Diagram 10

Right side Left side

Diagram 11

Collar

Diagram 12 Diagram 13 Diagram 14

5cm
(2in)

26 Australian Stitches

Pattern Class

Diagram 15 30.5cm (12in) Tie 10cm
Cut 4 (4in)
4cm
(1½in)

Seam and hem allowances straight down to the hem level. drapier and fuller the flounce
Add 1.5cm (⅝in) seam allowances See diagram 11. will be. Just experiment and
for all necessary cu�ng edges, have some fun with the drape
par�cularly the neck edge, shoulder/ Cut 2 of this right side pa�ern designing. See diagram 14.
overarm and underarm seam. piece, thereby allowing the bodice
fronts to wrap and cross over one Draw a gentle curve connec�ng
Add a 4cm (1½in) hem allowance to another for closure. the segments together, truing and
the front and back bodice. blending the outer edge of the
Trace off a 5cm (2in) wide front flounce. See diagram 15.
Cross-over front facing.
If you choose to have a cross-over Swash-buckler �e
design for the bodice front, it is Flounce/asymmetrical collar Use the measurements on the
easiest to draw this style if you trace Using a French curve rule, draw diagram to draw the �e.
a right and le� side of the bodice and the collar shape the width of your
match them together at centre shoulder, extending down to the Add 1.5cm (⅝in) seam allowances
the front. waist edge with a gentle curve. to all edges.
See diagram 12.
Decide on the depth of the Cut 4 – two for each �e.
crossover by determining the Copy the collar as a separate With right sides together, s�tch the
depth of the V-neck opening you pa�ern piece, then draw 6 evenly long edges and the point, leaving the
desire. Draw the V-neckline shape spaced cu�ng lines from the outer narrow end open for turning the �e
then extend this line down to the edge to the inner edge of the collar. right side out.
waist level, as shown. This line See diagram 13. When s�tching the blouse, insert
can be straight if it comes directly one finished �e between the front
down toward the waist-fitting Cut from the outer edge to facing and the blouse front. The other
dart, but will be slightly curved as the inner edge, but not through, �e will get inserted into the side seam
it extends toward the side seam. leaving a small hinge on the inner at the waist level.
Draw from the side waistline edge. Spread each segment open
at least 5cm (2in). The wider these There you have it!
segments are spread open, the

Australian Stitches 27

Sewing Tips & Techniques

How to Sew a
Horsehair Braid Hem

By Megan Nielsen
Horsehair braid is a type of crinoline netting and is used to provide structure and give

body to hems, hats and sleeves. It’s one of Megan’s favourite notions as it gives truly
amazing results. Even better − it’s ridiculously easy to apply!

28 Australian Stitches

Sewing Tips & Techniques

Anatomy of Horsehair
Braid

This is 5cm (2in) wide horsehair
braid, but it is also available in
various widths from 12mm (½in)
wide all the way to 15cm (6in)
wide. Horsehair braid is made
from nylon or polyester and as
you can see is a netting. It’s quite
flexible and the top edge has
thread woven through it. This
allows you to pull on the loops
and shape the braid to better fit
your hem. This is really useful
for circle skirts like Veronika.
Generally the bottom edge is the
one you sew directly to the raw
edge of the hemline, and the top
edge with the thread woven in is
hand sewn later on.

For this tutorial my hem was
straight, so I didn’t need to use
the thread at all. Easy!

Veronika circular skirt pattern

Method of the hemline lined up with the all the way around the hemline.
bottom edge of the horsehair Now turn your horsehair braid
The cut edge of the trim can be braid (i.e. the edge without the
quite scratchy and unravel, so it’s thread). Horsehair braid doesn’t to the inside of your skirt. As you
best to enclose it in some sort of actually have a right side or do this you will be essentially
binding. You could use ribbon, wrong side to begin with, but it creating a rolled hem, where your
twill tape or bias binding etc. is important to make sure that total seam allowance is 12mm
For this skirt I just cut a piece of the prettiest side of your seam (½in). Pin your horsehair braid in
selvedge from scrap fabric to bind binding on the cut edge of the place, and be careful that your
the edge. braid is against the right side of hemline is neat. If you’re working
the fabric, as this is the side you’ll with a curved hem, such as that in
Begin by placing your fabric see and that will touch your body. a circle skirt, you will need to pull
and horsehair braid right sides the thread loops along the top of
together, and with the raw edge Pin the horsehair braid around the horsehair braid to
the hem until you reach the help it conform to the shape of
bound section. Overlap, and cut your skirt.
your braid.
The final step is to hand sew in
Sew 6mm (¼in) from the raw edge place! You could definitely tops�tch,

Australian Stitches 29

Sewing Tips & Techniques

30 Australian Stitches

Sewing Tips & Techniques

but I think when you’re crea�ng a • Etsy − www.etsy.com/market/
specialty hem like this, you might as horsehair_braid
well put the extra effort in and hand • Ebay − www.ebay.com.au
sew. I favour a catch s�tch for this.
I hope you enjoyed learning how
And then you’re done! Don’t to finish your hemline with
forget to press! Wear, and check horsehair braid!
out the volume!

Where to buy If you’d like to try this
method with my Brumby
Large chain stores (Spotlight), but skirt sewing pattern, and
get 20% off the price of
here are a few online options: the pattern, simply use
• Vogue Fabrics −
www.voguefabricsstore.com the code STITCHES at
• Pacific Trimming − www.megannielsen.com

www.pacifictrimming.com (many

colour options available!)

Australian Stitches 31

Latest Trends

Why are my Shoulders
So Cold all of a Sudden?
By Style Arc
Ellie-Mae The off the shoulder look is the
Tunic Top Cara Top defining feature of many 2016
designer collec�ons. In the age of
32 Australian Stitches social media, trends can come and go
fast, but off the shoulder garments
have gone beyond a flee�ng Insta-
trend to become a wardrobe staple.
So why is it suddenly the hot new
trend worn by starlets and gracing
catwalks around the globe?

Off the shoulder looks fla�er all
body shapes – it’s a way to show
some skin without going crazy!
Different interpreta�ons of the look
can suit different ages and levels of
bravery. The younger millennials can
show more shoulder with complete
off the shoulder styles. The older
crowd can opt for the less daring
cold shoulder looks, where a hint of
shoulder or a glimpse of triceps is
shown. Whichever interpreta�on you
look at, off the shoulder looks are
easier to pull off than other recent
trends, like culo�es or crop tops.
Perhaps that’s why the trend has
grown so quickly?

There are so many different
interpreta�ons of the off the
shoulder trend. A frilled style with
the right fabric, and maybe even
some embroidery, results in a cute
Bohemian look. A minimal over-sized
style with the right linen fabric will
give a gorgeous resort look. Even
woollen sweaters have a place in the
off the shoulder wardrobe.

It doesn’t ma�er which style you
look at, baring your shoulders draws
a�en�on to the neck and face. This
brings statement necklaces and long

Latest Trends

Rae Tunic Top

Cold
Shoulder

Top

earrings into play. The ou�it op�ons appear almost daily. We can expect For all the latest Style Arc
are broad as well. Pair an off the more varia�ons over the coming paper patterns visit
shoulder top with a maxi skirt for months, most likely with single www.stylearc.com.au.
day wear, or with skinny jeans for a shoulder, asymmetrical designs. It’s For digital PDF patterns available for
night out. safe to say, your shoulders (at least instant download, check out
one) will stay cold for a li�le while yet. www.stylearc.etsy.com
At Style Arc we bring the latest
trends to home sewists around the
world with easy to construct pa�erns
that are designed to fit. Of course,
the Style Arc design team has been
monitoring the off the shoulder
trend closely. It just can’t be ignored!
The result is a collec�on of off the
shoulder styles that you can sew right
now. Read on for a quick overview.

With its elas�c neck-line, ruffles and
raglan sleeve, the Ellie-Mae Tunic
Top gives you a gorgeous bohemian
look. The elas�c neck allows you to
wear this style off the shoulder or up
on the shoulder depending on the
look you’re trying to achieve. This
style shows the versa�lity of the off
the shoulder look – you can make this
style as a top, or leave off the hem
ruffle and make it as a tunic to wear
over your favourite pants, or even as
a dress.

The Cara Top is a similar off the
shoulder pa�ern. This style also has a
raglan sleeve, but a gathered off-the-
shoulder neckline instead of ruffles.
Elas�c at the back-neck band keeps
the shape of the neckline in check.

Not a�er the full bare shoulder
experience? No problems. The Cold
Shoulder Top and Rae Tunic Top
are two styles that show only a li�le
skin for those who are less brave but
s�ll want to embrace this hot trend.
Whether it’s a cut out shoulder or a
split sleeve these looks are very much
on-trend right now.

So, what’s next? Trends move fast;
varia�ons and new interpreta�ons

Australian Stitches 33

Perfect Fit

Moving Forward

What do you do about altering patterns for forward sloping shoulders? We take a look
at how to overcome the pitfalls and solving this problem once and for all.

Diagram 1 The to you shoulder bone. If you have Once the previous adjustments
forward shoulders, the seam will have been completed, it is important
forward slip to the back of the garment. The to check to see what other pa�ern
amount by which it slides back can be pieces will be affected by this
shoulder used as a guideline for your pa�ern adjustment. You should take note
adjustment. that any facings, collars or bindings,
Shoulder bone can See diagram 2.
rolls forward easily be
The standard forward
diagnosed shoulder adjustment

by viewing In the instance of the forward Diagram 3 Collar
shoulder, the back armhole is not
the body long enough to reach the shoulder
bone so the garment simply slides
sideways back. To repair this problem, we add
length to the back armhole seam at
in the the shoulder point and reduce the 1–
length of the front armhole seam 1.5cm
mirror. The at the same posi�on so the overall 1–
circumference of the armhole is 1.5cm
rounded unchanged. The amount added to the
back seam can vary from 1 – 1.5cm
shoulder (⅛ – ⅝in). It is rare to find a person
who requires more than 1.5cm (⅝in),
is a bone while the most common adjustment Back Front
is 1.2cm (½in).
structure
Note: If there is a collar covering
phenomenon, which seems to be part of the shoulder seam, the
adjustment can be added across
aggravated by the ageing process. As the entire seam. If the garment has
an open neckline and is collarless,
�me passes, you will have to make the adjustment is done only at the
shoulder point. It is preferable to
adjustments to accommodate on- alter the entire length of the seam
to prevent a bias-like appearance to
going bone structure changes. the shoulder. In collarless garments,
a forward shoulder seam at the
See diagram 1. neckline can create an off-balance Diagram 4 1–
look. See diagrams 3 and 4. 1 – 1.5cm
The visual side of things is easy to 1.5cm

determine – but the hardest part is

deciding by how much your shoulder

actually rolls forward. There is no

measuring technique that can tell you Front Back

the exact

Original Diagram 2 amount
shoulder – enter
line Actual the trial
shoulder and error
line

method.

Using the

garment as which cross these altera�on points
will need iden�cal adjustments.
a guideline,
Adjusting the sleeve cap
check to see
The shoulder point is indicated
where the on the pattern by a large black
dot. This will not be in the correct
shoulder position if you have moved the

seam lies

in rela�on

34 Australian Stitches

Perfect Fit

Moving Forward

What do you do about altering patterns for forward sloping shoulders? We take a look
at how to overcome the pitfalls and solving this problem once and for all.

Diagram 1 The to you shoulder bone. If you have Once the previous adjustments
forward shoulders, the seam will have been completed, it is important
forward slip to the back of the garment. The to check to see what other pa�ern
amount by which it slides back can be pieces will be affected by this
shoulder used as a guideline for your pa�ern adjustment. You should take note
adjustment. that any facings, collars or bindings,
Shoulder bone can See diagram 2.
rolls forward easily be
The standard forward
diagnosed shoulder adjustment

by viewing In the instance of the forward Diagram 3 Collar
shoulder, the back armhole is not
the body long enough to reach the shoulder
bone so the garment simply slides
sideways back. To repair this problem, we add
length to the back armhole seam at
in the the shoulder point and reduce the 1–
length of the front armhole seam 1.5cm
mirror. The at the same posi�on so the overall 1–
circumference of the armhole is 1.5cm
rounded unchanged. The amount added to the
back seam can vary from 1 – 1.5cm
shoulder (⅛ – ⅝in). It is rare to find a person
who requires more than 1.5cm (⅝in),
is a bone while the most common adjustment Back Front
is 1.2cm (½in).
structure
Note: If there is a collar covering
phenomenon, which seems to be part of the shoulder seam, the
adjustment can be added across
aggravated by the ageing process. As the entire seam. If the garment has
an open neckline and is collarless,
�me passes, you will have to make the adjustment is done only at the
shoulder point. It is preferable to
adjustments to accommodate on- alter the entire length of the seam
to prevent a bias-like appearance to
going bone structure changes. the shoulder. In collarless garments,
a forward shoulder seam at the
See diagram 1. neckline can create an off-balance Diagram 4 1–
look. See diagrams 3 and 4. 1 – 1.5cm
The visual side of things is easy to 1.5cm

determine – but the hardest part is

deciding by how much your shoulder

actually rolls forward. There is no

measuring technique that can tell you Front Back

the exact

Original Diagram 2 amount
shoulder – enter
line Actual the trial
shoulder and error
line

method.

Using the

garment as which cross these altera�on points
will need iden�cal adjustments.
a guideline,
Adjusting the sleeve cap
check to see
The shoulder point is indicated
where the on the pattern by a large black
dot. This will not be in the correct
shoulder position if you have moved the

seam lies

in rela�on

34 Australian Stitches

Perfect Fit

Asymmetrical and
Tiered Hemlines

There has been recent return of the uneven hemline. You may say, “I’ve done that one
before, aren’t doing it again!” It is interesting to note, asymmetry is not a concoction of

the eighties, but merely a revival of all things past. Vintage shows that even back in
the late 1920s women were wearing this type of silhouettes, simply chasing
fashion down its inevitable track.

Throughout this article we will discuss ideas pertaining to
the uneven hemline – asymmetrical styles, plus the tiered
story. You may immediately pass your eye over this article
without much interest, but consider reading on regardless
because there is some valuable information concerning

figure balancing that can still be useful.

The most important concept to grasp Styling asymmetrical and
regarding asymmetry and �ered
garments is the principle of balance. tiered hemlines
Any new fashion can work if basic
principles of design are applied to its An asymmetrical hem is any design
use. When the rules are ignored … that is inten�onally uneven at the
disasters happen! hemline. Handkerchief, draped,
fishtail, shaped and �ered hemlines

1920s Fashion

McCall’s M7351

36 Australian Stitches

Perfect Fit

1 McCall’s 2 McCall’s 3
M7054 M7287

are included in this group. Current 4 McCall’s M7317
fashion shows balanced and
unbalanced handkerchief and draped C D A
hems, along with �ered hemlines that F F E
are either even or asymmetrical.
B
Working basic design principles C
can bring a fashion statement into
line. The key here is ‘balance the
unbalanced’! The most important
factor is balancing the silhoue�e.
Crea�ng a sleek and lean body image
does this by ensuring every design
detail exaggerates torso length.
The most relevant characteris�cs
to consider here are: total garment
silhoue�e, finished garment length,
the posi�on and balance of the
uneven hemline, fabric choice
(colour, print, and drape), and fashion
accessories. See photos 1, 2 and 3.

Total garment silhouette hemline. As we move from View D correct posi�on on the female form.
with its slightly longer sleeve, to View See photo 4.
This refers to the en�re fashion A with the diagonal hem now at the
look from top to bo�om. You must hipline, and then onto View B with Finished garment length
evaluate the hemline feature in the long sleeve, hip asymmetry with
rela�onship to the number of design skirt hem symmetry crea�ng the An asymmetrical hemline will always
details and fashion breaks in the greatest torso length. It is important be more fla�ering if it is longer
overall silhoue�e. For example, you to note that a strong diagonal curve rather than shorter. This is of course
will need to look at waistline details, can be very fla�ering if placed in the given that the silhoue�e of the
sleeve styles, neckline finishes and en�re garment exudes length. Avoid
any other prominent construc�on
finish. This concept can be visualised
using the top and skirt illustra�on
to the right. No�ce as the design
details change just slightly, the
overall length of the torso changes
drama�cally. View C with short,
cropped bu�erfly sleeves appears
the least balanced. The human eye
notes each design change from the
shorter sleeve through to the strong
horizontal waistline hem then onto
the unbalanced asymmetrical skirt

Australian Stitches 37

Perfect Fit bouffant silhoue�es, instead looking 6 Butterick B6349
5 for length in a streamline shape. 8 Vogue V1490

McCall’s M7382 See photo 5.

7 Position and Balance of
Asymmetry
Vogue V9107
The placement and balance of
38 Australian Stitches the asymmetrical hem greatly
influences the final statement. The
most fla�ering look is a balanced
asymmetry as exampled in a
balanced handkerchief or evenly
�ered hemline.

When the hemline becomes
irregular or uneven, it is important
for all other design principles to
be working effec�vely since the
poten�al for disaster increases with
the degree of imbalance in the
hemline. See photo 6. A single side
seam drape can look unbalanced
if the silhoue�e and fabric are
incorrectly mixed. A so� flowing
design with sleek fabric can look
wonderful while a crisp structure
fabric will suit only a few designs.
See photos 7 and 8.

Uneven �ered designs require
careful planning too, including
cau�on with fabric colour and
density plus garment silhoue�e and
length. Asymmetrical �ered garments
are graceful when styled correctly,
borderline when not thoroughly
thought out! See photo 9.

Fabric choice

The fabric selected, combined
with colour and print, will greatly
influence a posi�ve outcome with
asymmetrical and �ered hemlines.
It is important of course to select
fabric with drape. This type of cloth
will hang in fluid lines crea�ng a
more sophis�cated finish for an
unbalanced silhoue�e. Fabrics that
are densely woven and crisp will
stand away from the figure giving the
impression of weight and the shorter
the garment, of course the greater
the visual problem.

Perfect Fit

Con�nuity is improved when in the one fashion story. 9
con�nuous colour and fine subtle
prints are used. Larger prints can Alteration considerations McCall’s M7170
work if colour contrast is minimal.
Strong colour contrast detracts from It is important that asymmetrical
torso length, especially when the hemlines are propor�oned to the
colour change or print change occurs height of the wearer – ‘length’ is
within the asymmetrical region of the the key! Propor�onately as ‘long’ as
garment. See photo 10. possible is the best choice! For this
reason, the short person may find
Fashion accessories the pa�ern requires no altera�on
at all - what a change! On the other
When discussing fashion accessories hand, the taller figure may need
for figure balancing, we are generally plenty of adjustment to keep the
referring to hosiery and shoes. The garment balanced. When working
figure is best balanced when these with uneven hemlines, the garment
two items blend with the colour cannot be altered at the hemline
of the skirt hemline. In the case of edge. This means that the design
the asymmetrical hemline, it is also requires altera�on within the pa�ern
important that appropriate shoe piece and an altera�on line should be
style is selected to avoid further printed on the �ssue in the correct
imbalance. While boots can look loca�on. However, in some cases, the
good with this styling, the height of designer will not offer an adjustment
the boot should create a con�nuous point because to do so would change
colour line with the garment. Be the garment fit or drama�cally
wary of too many silhoue�e breaks change the main design details. If this

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AST24_12 Lismore 1/2.indd 1 39Australian S24t/i0t5c/1h6es2:15 PM

Perfect Fit
10

Butterick B5655 is the case, you will need to evaluate Hemline finishes
the garment suitability for your figure
11 or find an appropriate method to Generally most asymmetrical
adjust the pa�ern.
McCall’s M7097 garments are created from a
Some styles will be very difficult
to lengthen or shorten by a large so� flowing fabric. These fabrics
amount because of the numerous
intersec�ng skirt panels on different when styled in such a fashion lend
grainlines. We could add length into
the yoke sec�on, but this would themselves beau�fully to a rolled
completely change the balance of
the garment. See photo 11. If this hem finish. The following details a
garment length did not suit, consider
vetoing the pa�ern for another fast, simple, yet extremely effec�ve
style. Should you find a pa�ern that
you absolutely love, but know the way to roll a hem on the sewing
garment length is not correct, you
will need to determine an altera�on machine, and it is doesn’t require a
point that is least likely to change
the garment balance when several lot of tes�ng and tension playing like
cen�metres are to be incorporated.
Think first, and then alter! using an overlocker:

Layout considerations Turn under the hemline 1cm (⅜in)
and machine-s�tch close to the fold
Remember to carefully follow the of the fabric. Trim away all the hem
layout details on the guide sheet. It allowance to the row of s�tching.
is important to recognize that single Adjust your sewing machine to zigzag,
fabric layouts can be confusing bringing the s�tches closer together
if addi�onal fabric layers are (try a s�tch length of .5), but use the
incorporated. If you add a layer of standard width. Now, zigzag over
fabric such as lining, this should be the machined edge, stretching the
cut out using a reverse fabric layout hemline to the ‘max’ front and back
to that indicated on the guide sheet. as you sew. Zigzag from the right side
To eliminate fabric cu�ng errors, as the tension of the zigzag looks
layout the lining wrong side up with be�er this way. Some degree of trial
the print side of the pa�ern upwards and error is involved in this technique
in the readable posi�on. If you are (e.g. amount of stretch and s�tch
fusing a garment with interfacing, length), but can s�ll be faster than
again, you must consider fabric layout the overlocker. If you have a point or
thoroughly. The glue side of the corner to finish, zigzag off the ends
interfacing must be cut so that it lies leaving long thread tails. You may find
next to the wrong side of the fashion that some bulk is created when you
fabric. In this case the pa�ern piece
should be placed next to the bonding cross-s�tch in the opposite direc�on
side of the interfacing with the print
side up! Think before cu�ng! but this can be easily eliminated.

Once all points are finished, smooth

out all the long threads and seal
the ends liberally with a ‘fray
preventa�ve’. Allow it to dry then cut
away threads and any bulk of fabric
that occurs at the point. If you have
used enough fray stopper, you can cut
through uneven fabric, crea�ng a �dy
end that will not unravel.

Pressing the fray stopper dry
between a protec�ve cloth
gives a so�er finish to the sealant.
This may be important if you
are wearing hosiery with the
skirt or dress.

40 Australian Stitches

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42 Australian Stitches

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Australian Stitches 43

Trial A Pattern

McCall’s M7402

Autumn is just around the corner, but the heat of some days can still be sti�ling! Here’s
a great dress and jumpsuit pattern to try … just think different fabrics for different

occasions, and it becomes a very universal pattern. And apart from the cutting, can be
sewn together very quickly. Let’s take a look at the jumpsuit, view D.

View A Requirements

• Pa�ern: McCall’s M7402
• So� fabric with good drape – see

pa�ern envelope for quan�ty
(brace yourself, it takes a lot!)
• Iron-on interfacing in an appropriate
weight, and type, for fabric
View B • Scissors (paper and fabric)
• Pins
• Very large floor space for cu�ng
• General sewing equipment

View D

View C

44 Australian Stitches

Pattern Diagram 1 Trial A Pattern

• Cut pa�ern pieces to separate. Transfer the hem New finished hem length
• Check armhole/shoulder strap opening point to
the new line
length and finished garment
length. Adjust if needed.
See diagram 1.

Cutting

• Remove small children and/or
animals from the house.

• Vacuum large floor space to
remove any traces of those small
children and/or animals.

• For ease of cu�ng, and less �me
kneeling on the floor, the cu�ng
layout was changed.
See diagram 2.

• Layout fabric on large floor space.
• Pin pa�ern to fabric and cut.

TIP: Use a baby bathing or gardening
mat when cutting on the floor; it
saves aching knees at the end of
your pinning and cutting!

Daphne’s Embroidery

“Frontlines”

20 designs to add to camisoles, t-shirts, jumpers etc.
each design comes with a stitched marker which is
stitched out on sticky back washaway Vilene. after
remoVing the paper and leaVing the stitching, the

garment is placed oVer the outline in the desired

position and the rest of the design is embroidered.
full details are included.

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48 Quebec St Goolwa SA 5214

Ph 08 8555 2930
Email: [email protected]

www.daphnesembroidery.com

Australian Stitches 45

Trial A Pattern Selvedge Construction

Diagram 2 • Transfer all marking from the
pa�ern to the fabric.
Front Facing
Front • Construct the garment following
Fold of fabric the pa�ern instruc�on sheet.
Back
• Fabric choice – the crinkled fabric
Back Facing proved a li�le more difficult to
150cm (60in) wide work with than an�cipated, and
addi�onal steps were needed for
Selvedge construc�on:

1 1. A very fine strip of interfacing has
to be applied to the neckline and
armhole s�tching lines to prevent
stretching out the crinkles whilst
sewing. These areas will grow in
size quickly if you don’t!
See photo 1.

2. The facing – when a�aching the
facing, it needed to be placed on
top of the garment.

3. Double hem – interface the leg
openings with Superfine 8909
Interfacing. This interfacing is so
fine it won’t affect the drape of
the hemline.

• Back neck closure – as a
personal preference, and ease
of fastening or unfastening,
an elastic loop and button
was used to replace the
recommended hook and eye.
Machine stitch the elastic
loop to the back facing before
securing the facing to the
garment. See photo 2.

2

Mark the corner Align the tape edge
point of neckline and to the inside of the
centre back seam centre back stitching
line. Pin in place.
46 Australian Stitches

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