FIN E

m e IS men
TECHNIQUES
Classic Details
for Today's Clothing

JANE CONLON
,..J
.'

,� .

The Taunton Press

Cover photo: Jack Deutsch

Publisher: Jim Childs

Acquisitions editor: Jolynn Gower
Publishing coordinator: Sarah Coe
Editor: T homas McKenna
Indexer: Lynda Stannard
Cover Designer: Ann Marie Manca
Designer: Mary Terrizzi
Layout artist: Lynne Phillips
Photographer: Jack Deutsch, except where noted
lIIustrator: Christine Erickson
Typeface: Weiss
Paper: 70-lb. Patina
Printer: R. R. Donnelley, Willard, Ohio

Text © 2001 by Jane Conlon

Photographs © 2001 by T he Taunton Press, Inc.
Illustrations © 2001 by T he Taunton Press, Inc.

All rights reserved.

Printed in the United States of America

10 9 8 7 6 5 4 3 2 1

Fine Embellishment Techniques was originally published in hardcover in 1999

by T he Taunton Press, Inc.

T he Taunton Press, Inc., 63 South Main Street, PO Box 5506, Newtown, CT 06470-5506
e-mail: [email protected]

Distributed by Publishers Croup West

library of Congress Cataloging-in-Publication Data

Conlon, Jane.
Fine embellishment techniques: classic details for today's clothing /
Jane Conlon.
p. cm.
Includes index.
ISBN 1-56158-496-7 paperback
ISBN 1-56158-231-X hardcover
I. Fancy work. 2. Clothing and dress. l. Title
T T 750.C63 1999
646.4-dc21 98-34694 ClP
 For Kaliisa and Wren, with love

ACKNOWLEDGMENTS
I would like to thank the tremendous team at The Taunton Press for their efforts on behalf of this book. In
particular, I am indebted to Jolynn Gower for inspiring confidence, for cultivating interest and enthusiasm,
and for imparting her calm energy and clear insight throughout the duration of the project; to
Sarah Coe for pulling so many important details together so effectively; to Tom McKenna for his
positive demeanor and discerning eye; and to Mary Terrizzi for the efficient layout and beautiful design.

T hanks also to photographer Jack Deutsch for his consummate artistry; to illustrator Christine Erickson for
the lovely drawings; and to Karen Morris for initial encouragement.

Maggie Backman of T hings Japanese, Kaethe Kliot of Lacis, and Irene Jones of Exim Marketing indulged
my questions regarding materials and techniques, each offering generous contributions of time and
expertise that benefited the manuscript and for which I am grateful.

Likewise, I am indebted to the profoundly talented and eclectic circle of sewing friends that make 27th Street
Fabrics, in Eugene, Oregon, such a unique and wonderful place: Mary Enos for her wisdom, perspective, and gen­
erosity; and Mary Goodson, Terri Mitchell, Sylvia Mitchell, Celeste Percy, and Millie Schwandt for sharing their
creative insights, as well as valuable knowledge, opinions, and ideas. I have learned, grown, and benefited
immensely from this exchange and am beholden to you all.

Finally, in the realm of friends and family, no one is more blessed than me. I would especially like to thank my
mother, Judith Stensland, and acknowledge the memory of my father, Donald Stensland, for providing love, lati­
tude, and boundaries as well as guidance and encouragement. In a similar vein, my soul sisters Kathleen Gent,
Maia Penfold, Lisa Price, Karen Powers, and Jamileh Stroman have always been-and continue to be-
a wellspring of unconditional love, support, and persistent enthusiasm for the dreams I hold dear.
I am utterly grateful for friends so divine.

I would also like to thank Harmony Eberhardt for contributing time, skill, and effort
when it mattered most; it made such a difference!

At the center of my life, my daughters, Kaliisa Conlon and Peregrine Facaros, and my lifelong partner,
Nickolas Facaros, fill my days with purpose, inspiration, and wonder. I am especially thankful for the web
of support they created during the acute phases of this project. Kaliisa's generous contributions of time,
skill, energy, and creative input; Wren's big heart and youthful spirit, and Nick's enduring love,
support, and acceptance were abundant and sustaining.
 CONTENTS
2 INTRODUCTION

1 4 Beading
6 MATERIALS AND E Q1J
IPMENT

17 BEADING METHODS

2 46 Threadwork
48 MATERIALS AND E Q1J
IPMENT

57 THREADWORK EMBELLISHMENTS
BY HAND

65 THREADWORK EMBELLISHMENTS
BY MACHINE

3 80 Trims
82 MATERIALS AND E Q1J
IPMENT

86 MAKING CUSTOM TRIMS

95 DESIGNING WITH TRIMS

101 SEWING TRIMS

105 MAKING PASSEMENTERIE

4 110 Applique
112 MATERIALS AND E Q1J
IPMENT

114 APPLI Q1J

ES

122 INSETS

126 FAGGOTTED ROULEAU

5 Bindings
138 and Pipings
140 MATERIALS AND E Q1J
IPMENT

144 BINDINGS

156 PIPINGS

162 DECORATIVE THREADS

166 APPENDICES

168 MAIL-ORDER
SOURCES

169 INDEX
 INTRODUCTION
Fine Embellishment Techniques will teach you classic techniques for

beautifully embellished garments. Whether you are a beginning, interme­

diate, or advanced sewer, this book is designed to provide you with a

wealth of embellishment inspirations as well as step-by-step instructions

so you can achieve outstanding results on proj ects large and small.

My main inspiration for the techniques featured in this book is the tra­

dition of embellishment used to adorn clothing from the '20s, '30s, and

'40s. Worked in high-quality, natural fiber fabrics, with consummate

attention to craftsmanship and detail, garments of this vintage feature rich

embellishments that enhance both the garment and its wearer. Many of

the techniques favored in this bygone era are delightfully easy to master.

What's more, up-to-date interpretations translate well to today's fashions

and can be used to introduce signature elements into everyday wear or

worked for dramatic effect on garments for special occasions. Using the

embellishment techniques to best advantage, however, demands fine­

tuning your sewing skills, utilizing the best products and notions avail­

able, exploiting the full capacity of your sewing machine, and settling for

nothing less than quality as the foundation for superior workmanship.

If this sounds intimidating, cast your doubts aside. This book will help

you master the techniques of embellishment with predictable, profession-

al results. It will also encourage the artful use of these techniques and

promote a better understanding of how to select and effectively use the

tools and materials worthy of your best endeavors. Included, of course, is

source information and a list of suppliers to indicate where you can find

unique notions and tools.

The book is organized by topic in a manner designed to be as instruc­

tive, inspirational, and user-friendly as possible. You'll find step-by-step

instructions for individual techniques, along with specific references to

tools and materials that will make the most of your sewing time and pro­

duce the best results possible. Ideas for ways to use the techniques pre­

sented in this book are plentiful, featuring numerous sample garments,

close-up photographs of embellishment details, and text and illustrations

designed to inspire a wealth of ideas for simple to elaborate applications.

As you explore the methods and ideas presented in Fine Embellishment

Techniques, I hope you will discover ways to make your sewing more cre­

ative, fun, and, ultimately, more rewarding. Over the years I have pursued

and perfected numerous ways to embellish garments that meet my cre­

ative expectations and suit my personal style. Perhaps you will find, as I

have, that embellishments are not only the key to creating exquisite gar­

ments but also to developing a style uniquely your own.

 •

ea �ln
Bead-embellished garments can be irresistibly gorgeous, but as anyone who's made or

worn one knows, the visual allure of the beaded garment is only half the picture. With

their perfect weight, drape, and dazzle, beaded garments feel beautiful. They hang

right. They're substantial. They catch the light. And if you've made them, they reveal

something radiant in your personality.

Fortunately for embellishment enthusiasts, beading presents yet another

set of enticements. Not only is it downright addictive, but it's also expo­

nentially satisfying, since even a sprinkling of beadwork can infuse a gar­

ment with elegance and charm. It's also versatile. Beading marries equally

well with leather, velvet, and silk chiffon and is compati­

ble with every fiber, weight, and texture in between.

Likewise, many blouse, dress, jacket, and vest patterns lend

themselves to the distinctive touch of beading.

Beading bestows timeless beauty to garments.

Its effect can be ethereal, whimsical, or weighty.

As an accessory to other embellishments or as the

embellishment focus, beading enriches the

overall design. Best of all, beading tech­

niques are easy to master and, depending

upon the scope of the project, require

very little investment in tools and materials.

MATERIALS AND EQ!)IPMENT
A beaded-garment project requires, first and
foremost, selecti ng fabrics, beads, and garment
styles that are compatible in terms of practi­
cality and overall desi gn . Familiarity with
beading terminology and with materials and
equipment will help you make appropriate and
price-wise decisions for your projects.
In this chapter I will discuss the many types
of beads you can use for your beading projects
and the beading supplies you need to com­
plete those projects. ( For information on
where to buy beads and beading supplies, see
the sidebar on the facing page and the source
l ist on p. 1 68 . )
I will also guide you through five di fferent
beading methods, i ncluding bead embroi dery,
tambour beading, beaded edges and fringe,
beaded buttons, and beadweaving. Rather
than include specific proj ects, I have provided
step-by-step instructi ons for each of these
beading techni ques that can be adapted to
your own proj ects.

Beads
Beads come in an i nfi nite array of colors,
shapes, and sizes. Wood, bone, shell, metal,
gemstones, seeds-even rose petals-are some
of the natural materials used i n bead produc­
tion . Their man-made counterparts include
glass, crystal, paper, and plastic, with glass
heading the list of beads produced for com­
mercial consumption. Glass rocaille beads are
the most perti nent bead category in relation to
the bead-embellished garment, with crystals,
pearls, spangles, and paillettes ( al so known as
sequins) i n tow. While selective use of other
bead categories will, at times, be appropriate
for various garment applications, techniques
featured in this chapter center around creative
use of the followi ng types of beads.

6
 Buying Beads
Beads can be purchased from spe­ cialty beads, which are especially up short on supplies midway
cialty bead stores and mail-order welcome if you know what you through a project. Likewise, if your
suppliers, as well as from some want and need large quantities . garment ever needs repair, you'll
sewing and craft stores. A well­ (Some mail-order suppliers have want to have extra beads on hand.
stocked local bead store is a real minimum-order requirements, but If you're lucky, you may find the
treat because it offers the advan­ I've never had a problem coaxing a same bead twice, but keep in mind
tage of direct selection and the lux­ friend or two to go in on an order that bead production is not consis­
ury of firsthand experimentation of beads!) Mail-order suppliers are tent from year to year, and even
with possible bead combinations. also a good backup source to con­ among colors that are readily avail­
Mail-order suppliers generally sult if you run out of beads midway able, dye lots can vary. To avoid this
offer better prices and a larger through a project and can no longer risk, purchase too many beads
number of products to choose purchase them locally. rather than too few. Some suppliers
from. Most suppliers have color Regardless of where you shop for will allow you to return unbroken
catalogs, and some offer color cards beads, be sure you buy the right bead hanks or packages for ex­
that feature actual beads (suppliers amount for the project at hand. change or credit. Ask in advance if
often charge extra for the color Predict bead quantities in advance this is an option.
cards). Many offer quantity price and buy more than you think you
breaks on rocailles as well as spe- need. Nothing's worse than coming

R O CA I L L E S
Rocailles are the foundation o f the bead
embroiderer's palette. Made to uniform stan­
dards and classi fied according to size ( the
larger the number, the smaller the bead) ,
shape, color (see the sidebar o n p . 8 ) , and
sheen, they provide the consistency requi red
for beaded garments.
Various types of rocailles work well for
embroidery, fringe, beadweaving, button mak­
i ng, and tambour applications. Seed beads are
round rocail les with round holes. Charlottes
are faceted seed beads with l ovely, l ight­
reflective properties (see the left photo at
righ t ) . Charlottes that I have purchased have
Charlottes are faceted seed beads that Delica beads are the most
been size 1 3 beads with two cuts, but the term uniform of all seed beads.
reflect light.
charlotte may be extended to tricut beads
as wel l . (Unlike two-cut beads, which are
faceted only on the side, tricuts are faceted on beads ( from J apa n ) . I t is worth noting that del­
the ends as wel l, which increases their light­ icas ( see the right photo above) are the most
reflective capacity. ) uniform of the seed beads. They are square
Rocailles are also classified according to and have larger holes than round rocailles of
their shape. Common classifications i nclude comparable size, making them i deal for bead­
hex beads, square rocailles, and del ica seed weaving applications. Rocailles are sold by the
strand, hank, or weight.

7
 o
Bead Colors
Color is imparted to beads by way of colored glass, linings, and surface
coatings. Colors may be transparent or opaque, and the degree of luster 0'"
•
is dictated by various treatments used to produce matte, satin, pearl, or
•
reflective surfaces. Surface coatings are applied to glass beads to
affect the color, complexity, degree of sheen, and transparency.
Metallic, luster, and rainbow (referred to as iris or aurora bore­
alis) coatings are used on the outside of beads for effect. Lin­
ings , metallic or otherwise, coat the interior hole of a transpar- <I) II)
ent bead, affecting bead color from the inside out.
Before purchasing beads, it is important to know how the surface
coating (if any) was applied. Generally, surface coatings are fired,
electroplated, dipped, or dyed. Fired coatings are similar to glazes
used in pottery and are more or less permanent. Electroplated coat­
ings are not necessarily permanent over time but wear longer than dipped
or dyed coatings, which can rub off. Beads that have been dipped or dyed tend to look
shoddy over time and are not recommended for garments. Obviously, before putting a
lot of energy toward a project, you want to be sure that the beads you select will retain
their color and luster over time and won't stain or discolor fabric.

are available i n plain, faceted, or twisted

l engths, ranging from 2mm to 3 5mm. Beware
when purchasing bugles from catal ogs:
Size designations do not always correspond to
the l ength of the bugle. Color and surface
treatments for bugles are the same as for
rocailles. In fact, it is possible to obtain exact
color matches between bugles and rocailles,
particularly if you're buying from a well ­
stocked supplier. Bugles are sold b y the strand,
hank, or weight.

PA I L L ET T E S A N D S E Q U I N S
Although the term paillette i ncludes sequi ns, i t
is common t o disti nguish paillettes as flat
metal disks and sequins as fluted plastic disks
(see the left photo on the facing page ) . Both
types of beads come in a variety of sizes,
Bugles are made of glass
BUGLES have a hole i n the center, and possess l ight­
or metal with smooth or
ridged surfaces. Bugles are tube-shaped beads made of glass or reflective properties. You can attach rows of
metal with smooth or ridged surfaces (see the paillettes or sequins to fabric using the tam­
photo above) . They can be used alone or com­ bour method or couch i ndividual disks with a
bined with rocailles and are well suited to bead sewn through the center or with decora­
embroidery, fringe, and tambour applications. tive hand stitches. Paillettes and sequi ns are
Bugles vary in width (degree of thickness) and sold by the strand or weight.

8
Paillettes and sequins are available in a
number of sizes and both types reflect light.

D E C O R AT I V E B E A D S
More unique than rocailles, decorative beads
are available in a range of shapes, sizes, and
colors (see the top photo at right). Crystal and
cut-gl ass beads are available i n teardrops,
cones, bicones, barrels, bells, balls, and cyl i n ­
ders. Molded glass, plastic, a n d metal beads
Decorative beads are
also come in these shapes and others, i nclud­
available in many shapes,
ing flowers, leaves, hearts, moons, and stars . sizes, and colors, as well
Metal filigree, enamel , and cloisonne beads as materials, including
round off the cast of decorative beads at glass, plastic, and metal.
your disposal.
Decorative beads tend to be expensive and
large and are used primarily as accents for Rondelles are disk­
shaped beads, with a hole
trims, fringe, and beaded buttons. They are
in the center. They also
sold i ndividually or by the strand.
come in many sizes and
are made from a variety
RONDELLES of materials.
Rondelles are disk-shaped beads, with a hole
in the center-like a doughnut (see the photo
at right). They come in many sizes and are
made from a wide variety of materials.
Ron delles can be sewn onto fabric with deco­
rative hand sti tches or couched on with anoth­
er bead. Backing a beautiful ornamental bead
with a rondelle highlights the bead by l i fting
i t away from the fabric and by framing i t with
a contrasting ring of color. Rondelles are sold
individually and by the strand or weight.

9
Pendants, drops, and
charms have a hole or
loop fixture at the top,
so the bead dangles
when sewn.

Natural pearl and

gemstone beads can
serve as wonderful
accents on a garment.

P E N DANTS, D ROPS,
AN D CHARM S
Available i n a variety of interesting shapes, the
distinguishing feature of these accent beads is
that they have a hole or loop fixture at the
top, so the bead drops or dangles when sewn.
Pendants , drops, and charms (see the photo
above) tend to be more expensive than most
decorative beads, but the designs are also
more detailed, and some are exquisite. You can
use these beads as accents on collar tips, pock­
ets, or front bands or i ncorporate them as the
dangles for netted fri nge . Pendan ts, drops, and
charms are sold individually and by the strand.

P E A R L S A N D G E M STO N E S
Natural pearl and gemstone beads are available
in numerous ball si zes and i n a variety of dec­
orative styles (see the photo at left) . They are
not recommended for extensive embroi dery
appli cati ons but can be used spari ngly in
designs. For i nstance, pearl s and gemstones
are wonderful as accents for picot-edged
beaded buttons and beaded fri nge . (Simulated
pearl beads come i n a wide range of si zes, the
smaller of which can be treated as rocailles.
Larger ones are suitable as accent beads. )
Pearls and gemstones are sol d individually and
by the strand.

10
 the hole of some of the smaller seed beads
Needles (sizes 1 3 and 1 5 ) .
For beading tasks, you have a variety of nee­
dles to choose from (see the photo below), D E L I CA N E E D L E S
i ncluding beading needles, milli ners needles, Delica needles were designed for use with
delica needles, big-eye needles, beadweavi ng delica seed beads. Four lengths are available
needles, and tambour hooks, which consist of ( 1 % i n . , 2 i n . , 3% i n . , and 4% i n . ) Use the
needle and holder. As with all hand-sewing l arger two for beadweaving and the shorter
needles, the l arger the size designation, the two for bead embroidery and beaded edges.
smaller the diameter of the needl e. Tambour
needles, however, are sized like machine­ B I G - E YE N E E D L E S
sewing needles, i n which case l arger numbers Big-eye needles are the easy-threading needles
i ndicate a l arger size needle. of the beading worl d, so take note! They have
one l arge eye made from two h igh -tension
Needles for beading
B EAD I N G N E E D LE S steel wires that are soldered together at each come in a variety of
Beading needles are designed to pass easily end and sharpened. Avai lable in 2 Y2-in. and styles and sizes and are
through the hole of a bead. They are longer 5 - i n . lengths, these needles are suitable for designed for specific
and thinner than most hand-sewing needles size 1 1 beads and l arger and for a variety of beading tasks. From the
and bend easily, wh ich makes them ideal for beading applications, i ncluding beadweavi ng. top: delica needle, big­
Needless to say, they will accommodate any eye needle, beadweaving
picking beads up from a flat surface and
needle, beading needle,
enables the needle to accommodate a number size thread.
and milliners needle.
of beads on its tip at one time.
Beading needles are produced i n England
and Japan . To make selection pai nless, Engl ish
beading needles have size designations that
correspond to standard seed-bead sizes. For
example, size 1 2 beads require an English size
1 2 needl e, and so on. English needles are very
thin and flexible. They are avai l able in sizes
1 0 to 1 6, as well as i n extra longs . Beading
needles made i n Japan are slightly larger and
sturdier than the English variety and are avail ­
able i n sizes 1 0, 1 2 , 1 4, a n d 1 6 . When choos­
i ng beading needles, pick a size slightly smal l ­
e r than the bead size.

M I LL I N ERS N E E DLES
Milliners needles are longer and less rigid than
standard hand- sewing needles but are sturdier,
slightly shorter, and easier to thread than
beading needles. In some ways, they are i deal
for beading directly to garments, since they
are straight, l ong, and flexible; don't get bent
out of shape easily; and have a sharp, sturdy
point that can penetrate several layers of fab­
ric with ease. U n fortunately, even the smallest
size ( 1 0) i s too l arge to pass readily through

11
 B E A D W E AV I N G N E E D L E S The holder has a shaft for the needle at one
Beadweaving needles have blunt points and end, which is tightened with an adj ustable
are long (5 in. to 7 Y2 i n . ) . They are long thumbscrew to keep the needle i n place.
enough to pass through the entire length of Holders made from plastic, bone, brass, wood,
beads selvage to selvage (referring to the and ivory are available, with price differentials
beadwoven area) and thin enough to pass hinging upon ornate aesthetic qualities of the
easily through the beads. The blunt point pre­ holder as opposed to i ts basic performance.
vents the needle from damagi ng or hanging Starter sets that i nclude the holder and several
up on threads. needle sizes are a practical option for begin­
ners, si nce they offer versati lity at a reasonable
TA M B O U R H O O K price. If you can't find a local source for a tam­
The tambour hook is the essential tool for tam­ bour holder and needles, I've included a list of
bour embroidery and beadwork (see the draw­ several mai l-order suppliers that offer them
i ng below ) . It consists of two parts: the tam­ (see p. 1 68 ) .
bour needle and a separate holder. Tambour
needles are shaped l ike tiny crochet hooks,
but unlike crochet hooks, they are designed to Thread
p ierce fabric and have an extremely sharp The thread you choose to attach beads to gar­
point at the worki ng end. Short and long ments depends on the size of the needle and
lengths conform to styles of hol ders (be sure bead, the color of the garment or the bead,
to get the correct length for your holder), and the degree of stress and wear the garment
while needle sizes correspond to various will receive. Weighty fringe will pose different
thread weights and types of fabrics. practical requirements than embroi dered sur­
Seven needle sizes ( #70 to # 1 30) are avail ­ face embell ishments. The three types of
able . Of these, the finest needle (#70) i s used thread typically used for beadwork i nclude
primarily when beading to very fine, sheer silk, polyester, and Nymo .
fabrics like silk chiffon and organza. Sizes #80
and #90 work well for most other beadwork L I G H TW E I G H T S I L K
applications, while the heavier needles are lightweight silk i s the thread of choice for
used to embroider heavier fabrics or to work standard bead-embroidery applications. It's
heavier threads. strong, resilient, and produces the smoothest
The tambour holder is designed to hold the stitch of any thread. It knots easily when knot­
tambour needle in place and to provide a com­ ting is desired, doesn't kink or twist while
fortable handle to work the stitch by hand. being worked, and resists fraying. Fine-gauge

�
Tambour Hook
Thumbscrew for clamping needle

g
Insert the tambour needle
with the hook facing the same
direction as the thumbscrew.

12
silk threads for machine sewing and applique consider buying a versatile size and style that
Waxing thread prior
come i n a range of colors. If they're unavail­ will suit your needs from one proj ect to the
to beading strength­
able at your local sewi ng store, you can get next (for a list of suppliers, see p. 1 68 ) .
them through a mai l - order thread source ens and lubricates

(see p. 1 6 8 ) . R I N G FRA M E the thread, which

Also known as a hoop, a ring frame consists of
makes it easier to
P O LYE S T E R i n ner and outer rings that are used to stretch
the fabric. Using a ring frame is fairly simple. sew with and reduces
Polyester is the standard mach i ne-sewing
thread, yet i t's also a good choice for beading, Place the fabric on top of the i n ner ring, then knotting and kinking.
both i n terms of strength and the available draw the outer ring snug over the fabric and
range of colors. I t tends to be wiry, but run­ i nner ring. Use the wing nut on the outer ring
ning it through beeswax prior to beading to increase the tension on the fabric and to
makes i t more manageable. hold all l ayers securely in place.
When using a ring frame, the size of bead
N YM O work is l imited to the workable area within
Nymo, the prestretched, multi fi lament nylon the frame, since repositioning the embellished
thread made by Belding Corticell i , is the only fabric to extend the work area would result i n The three types of thread
crushing the beads. While this problem c a n b e most commonly used for
beading thread I have found that is soft
headwork are silk, poly­
enough to use on garments, and I use it when circumvented b y equipping t h e frame with
ester, and Nymo.
tensile strength is the primary consideration. muslin, which is cut away to produce an open
Avai lable by the spool or bobb i n , Nymo work area, conti nually having to repin the
thread comes in a range of weights designed fabric over this spot can be time-
for use with specific beading needle sizes.
Sizes 0 (very fine) and 00 (ultra fi ne) are suit­
able for beading to garments and are available
i n black and white only. Size B medium thread
comes in a variety of colors but may be too
heavy for some fabrics. Nymo can be pur­
chased from most beading suppliers .

Frames and holders

Frames produce stability by stretching fabric
taut, a necessary requirement for certain bead­
ing techniques, tambour and beadweaving
i ncluded. Bead embroidery may also require a
frame i f the area to be beaded is not already
stabilized in some way.
Two types used for beading are ring and
scroll frames, and both come i n a consider­
able range of sizes (see the photo on p . 1 4) .
Quality hardwood frames are more
expensive, but they are l ess prone to
warping and have proven more
durable over time. If you are purchas­
ing a frame specifically for beading,
 bars and then scroll i t to one side. Baste the
other end of the fabric to the tape on the
opposite roller bar, with the worki ng length
exposed between the extender rods. As the
work is completed, scroll it to the opposite
roller bars (at the same time you'll be movi ng
a new supply of fabric i nto the work area). To
prevent the beads from crushing, pl ace a l ayer
of batti ng on top of the newly beaded area
prior to scroll i ng it onto the roller bar.
Tension in the frame is controlled by the
knobs attached to the roll er bars: Tighten the
bar that feeds the fabric first, then scroll the
opposite bar forward to remove sl ack from the
fabric in the working area. Secure the second
bar once you have reached the desired degree
of tension. Overall, the tension on the work
area is more consistent on a scroll frame than
it is on a ring frame.
While this type of frame is extremely
accommodati ng in terms of the length of fab­
ric that can be mounted for embellishment,
the fabric width is l imited to the worki ng
width of the frame. Most manufacturers, how­
ever, sell sets of di fferent l ength rods and
extender bars as accessories.

HOLDERS
Ri ng and scroll frames are convenient and
Frames stabilize
consumi ng, and i t i s difficult to produce and portable, but there are times when you need
the fabric for bead
maintain even tension on the fabric. to have both hands free, such as with tambour
embroidery or tambour
beading. A disadvantage of using a ring frame is that beading, which requires both hands to guide
it does not hold tension well or distribute it the beads and manipulate the tambour hook.
evenly, so the fabric is subjected to ring marks Frame holders-both permanent and
and possible distortion . An advantage is that it adjustable-make this possible. Permanent
allows you to hoop a small area on a large-or freestanding frame holders are less expensive
even completed-segment of the garment. than the adjustable models but are not col ­
l apsible nor as versatile.
S C R O L L F RA M E Adjustable frame holders can be freestand­
A scroll frame is a rectangular needlework ing or clamped on a table . (You can even get
frame with roller bars that form the l ong sides models that you can sit on while worki ng!)
of the frame. A scroll frame is especially useful Some are designed for use only with scroll
for working large borders and moti fs . frames, while others feature a clamp assembly
To use a scrol l frame, baste the fabric being that wi ll accommodate a variety of frame
worked to the twil l tape on one of the roller styles, i ncluding ring frames.
Adjustable frame holders also add control
and comfort, allowing you to adjust the height

14
 Creating a Comfortable Work Space
The ideal work space for beading consists of three things: A clean desk or tabletop
with ample room to spread out supplies; a sturdy chair with a wide seat and back sup­
port to keep you in the comfort zone; good overhead lighting plus a task light that can
be positioned to spotlight your work area. I have a task light with incandescent and
fluorescent bulbs (though some people prefer halogen lights) and am convinced I
could not live without it.
Beading is concentrated, "close" work that intensifies even more when working with
small beads or on a large project. To avoid fatigue and muscle strain while beading, A freestanding spool
work at a comfortable pace, change positions, stretch frequently, and take breaks at holder keeps the thread
regular intervals. spool in place and allows
the thread to feed off the
spool smoothly.

and angle of the frame or even rotate it (some

frames can rotate 3600, so that the underside
of the work can easily be turned for viewing­
a necessity for tambour beading) . Another
n ice feature of some adj ustable frame holders
is that the frame can be removed from the
holder, so you always have the option of
working in hand.

Spool holder
For projects that require you to have both
hands free, such as with tambour beading,
you'll need a spool holder (see the photo at
right) to hold the spool so that the thread
feeds freely as you work the design.
Commercial thread palettes, consisting of a
plastic base and dowels, work fine. Or you can
make a simple spool holder by dri l l i ng a hole
in a scrap of plywood and gluing a matching
3 - i n . to 5 - i n . dowel into the hole.

Boxes and trays

Like all thi ngs sewing and craft related, bead­
ing presents uni que storage requirements. I
have both long- and short- term storage
arrangements. I use clear plastic boxes with
dividers for my permanent (though ever­
changing) bead stash and several shal low bead
trays with covered compartments for projects

15
 Fabric
While there's probably not a fabric in the
world you couldn't bead, there are better and
worse choices for beaded garments. For heavi­
ly beaded clothes, strength is a primary con-
sideration, si nce the weight of the beads wil l
stress the base t o which they're sewn .
Strength is determined by a number
of factors, i ncluding fiber content
and the structure of the weave.
These are also factors that i n fluence
the longevity of the garment.
A second consideration is
related to cleaning and press­
ing. Because pressing is prob­
lematic near beaded porti ons of
the garment, i t's worth consid­
eri ng fabrics that have natural
wri nkle-resistant characteristics.
Rayon , cotton, and l i nen are
more prone to wrinkling than
silk and wool. Likewise, plain­
weave fabric structures ten d to
wri nkle more readily than crepes,
jacquards, and twills.
Finally, while beadi ng may enhance printed
fabrics, i t will appear more distinct on a solid
color. All fabrics should be preshrunk i n the
same manner they wil l be cleaned when the
garment is constructed. If you i ncorporate just
a little beadwork on a corner prior to
preshri nking, you can pretest the cleaning
method you've chosen and switch to another
should problems arise.

Bead trays and

containers protect Design-transfer tools
beads and keep
Tools aboun d for transferring designs to fabric.
them neatly
Detailed information regarding methods and
organized and
i n progress (see the photo above) . Both materials for design transfer are i ncluded i n
accessible.
arrangements allow me to separate beads by the Appendices ( see p . 1 66 ) . Always pretest
color, transport projects with ease, keep what I chosen transfer methods to ensure that they
immediately need at hand, and work directly produce distinct l i nes that will not i nadver­
from the separate storage compartments and tently rub off or disappear and that the mark­
beading tray. i ngs can be satisfactori ly removed from the
fabric after beading.

16
BE ADING ME THODS
Almost any manner of needlework can be
adapted to beadwork and used to embell ish Bead embroidery
garments. This is no great secret, of course. Bead embroidery is the art of embellishing
Beads have been used to adorn clothing from fabric with beads ( see the photo below)
time immemorial and in cultures that span the Methods for doi ng so are as simple as they are
globe Bead embroidery, beaded buttons, edge, i nnumerable, yet permutations of infinite com­
and fringe, tambour beading, and beadweaving plexity, depth, and character are possible.
i nto fabric are modes of ornamentation that likewise, their applicability to garment design
will feel fami liar to anyone with a worki ng is l imited by imagi nation alone.
knowledge of ordinary needlework techn i ques. Nowhere is this more evi dent than in the
BEAD
Common as these traditional beading methods garments embellished by the paruriers, or EMBROIDERY
m ight be, the bead-embellished garment is "adornment makers," of the French haute cou­
never regarded as such . Part of beadwork's ture embroi dery houses. In these houses, artful Rocailles, bugles, and
appeal h inges upon its abi l i ty to elevate the i nnovation, consummate craftsmanship, and pearls (sizes 9 to 1 2)
mundane to the spectacular. The following pure gen ius remain unhi ndered by worldly to work main designs

methods offer simple yet highly effective ways considerations, such as time and money. I n Decorative beads and
to do just that. these enclaves of unfettered devotion, a s many paillettes as optional
accent (select sizes
that complement your
design)

M illiners, sharps, or
short delica needles

Lightweight silk or
1 00% polyester
thread, color matched
to garment

Ring or scroll frame

for working large
areas or unstabilized
fabric

Bead embroidery can

add character to most
any garment.

17
 as 400 to 2 , 500 hours are lavished on hand­ When to transfer the design to fabric
Wash your hands as
worked embell ishments for a si ngle garment. I n There are three i nstances in which transferri ng
well as your work
a l l likelihood there's n o t a home sewer on the the design to fabric is called for: when design
surface prior to bead­ planet who'd entertain the possibility of devot­ motifs are elaborate and complex; when the
ing to reduce the risk ing that amount of time to a project. Never­ placement is critical in relation to i ts position
theless, bead embroidery's many charms are on the garment and i ts wearer; and any time
of soiling your gar·
well within the scope of practical application the design is worked i n a frame. Designs can
ment while you work and offer myriad ways to elevate and trans­ be drawn directly to fabric using a water­
on it. Even natural form your best sewi ng efforts. soluble marki ng pen or dressmaker marki ng
pencil. They can be transferred usi ng the
oils from your hands
P L A N N I N G A B EA D · prick-and- pounce method, dressmaker's trans­
can transfer to fab·
E M B R O I D E R E D GAR M E NT fer paper, and a tracing wheel, or with iron-on
rics and, depending A bead-embroidered garment ( see the drawing embroidery transfer pens ( for more on trans­
on the fabric and the below) can be spontaneous or rigorously ferri ng designs, see the Appendices on p . 1 66).
planned and precisely executed. The fol lowi ng Complex borders and bands are simple to
stain, can be difficult
considerations are offered to help you gauge execute with the aid of a premarked gri d. Use
to remove. the l evel of i nvolvement that various bead­ a clear ruler and water-soluble pencil or mark­
embroidery applications entail. er to draw grid l ines directly to the fabriC, or
use your sewi ng machine with a seam -gauge
attachment to baste in a grid structure that can
Beaded Blouse with Jewel Neckline be removed once the beading is complete.

When you need a frame

A frame stretches fabric taut, which temporari ­
ly stabil izes fabric for beadi ng. I t is a neces­
sary tool for beading to noni nterfaced, light­
weight to medium -weight fabriCS; for
densely beaded applications; and for beading
large areas of fabric that will be i ncorporated
i nto a garment design. Also, some stitches
require more stabil ity than others for their
successful execution. The l azy satin stitch,
for example, has a tendency to draw the
fabric i n as it's being worked. The running
stitch, on the other hand, works up readily
without a frame because i t puts li ttle tension
on the base fabric . Generally, beading i n a
frame is done prior to the construction of a
garment, but a frame can also be used to add
beaded motifs to noninterfaced areas of
already constructed cloth i ng.

Bead embroidery offers myriad ways to elevate and transform When to bead in hand
your best sewing efforts. Here, bugles and flat faceted beads or
Beading in hand (without a frame) is appropri ­
paillettes accent the neckline and sleeves. Note that at the neckline,
the sequence to the left and right of the center beads is decreased ate for many simple beadi ng applications,
by one. including light beading (such as a running
stitch) on stable, medium-weight fabriCS;

18
beading i nterfaced portions of a garment; and greater degree of distortion from the weight of
beading dense, upholstery-weight fabrics. I beads than would skirts with the side seams
love the simplicity of worki ng without a frame cut on the lengthwise grain .
because the project is less cumbersome and
easier to transport. How to position the design
For the most part, beading i n hand is Working with a basted muslin of the garment
worked on completed garments. I nterfaced is the only foolproof way I know to get a true
areas such as collars, cuffs, facings, and front indication of how the placement of a design
bands present wonderful opportunities for interacts with the garment's drape on an actual
beading without the use of a frame. Likewise, figure. If possible, the muslin should be draped
Beaded appliques
tucks, pocket welts and flaps, insets, yokes, on the person for whom the fin ished garment
allow beadwork to be
and plackets offer a stable canvas for bead is i ntended. Placement l ines can be drawn i n
embellishments. Used to full advantage, the with a water-soluble marki ng pen, which removed from the
l ines, perimeters, and details of a garment pro­ allows you to reposition them until you get rest of the garment
vide reference points for simple designs and the design and placement right. In addition to
for cleaning. Ap­
elimi nate the need to premark fabric. pi npointing correct design placement relative
I n addition to being easy to work, these to aesthetic concerns, be certain to position pliques can be made

interfaced and faced parts of the garment sup­ the design so that i t will not be sat upon or by beading to lace,
port the weight of the beads without being rubbed agai nst other beadwork.
tulle, silk, organza, or
subject to di stortion . Avoid large areas of Beading is done prior to cutting and con­
other lightweight ma­
dense beading without the use of a frame, struction when elaborate designs are worked
unless you are working on a highly stable, directly to large, noninterfaced areas of the terial and backing
heavy-weight upholstery fabric or feltlike fab­ garment; when it is desirable to hide the with crinoline if extra
ric such as melton . stitches on the wrong side of the garment with
support is desired.
a faCing, hem, or l i n i ng; and when the area to
Consider the weight of the beads be beaded would be di fficult to reach or to
Any time you plan elaborate beadi ng for a gar­ work with a needle and thread once the gar­
ment, the weight of the beads should factor i n ment was constructed.
with other design considerations. F o r instance, Prior to transferring the beadi ng design, pin
if the garment is unlined and the beaded area the pattern piece that is to be beaded to the
is not interfaced, the weight of the beads may right side of the fabric and trace around it.
have a dramatic impact on the way the gar­ When transferring the actual beading design,
ment hangs and the material drapes. In most bear in mind that beadwork can extend to the
cases, the weight of the beads should be dis­ seamli ne but not beyond i t. When you posi ­
tributed evenly from back to front and to the tion beadwork near a seam, that portion of the
right and left side of the garment. H eavy garment must be sewn by hand or with a zip­
beadwork at the hem of a dress, for example, per foot because a standard presser foot would
should be balanced on the front and backside crush the beads . Also, designs that meet at a
of the garment. On the other hand, the design seamli ne must match when the p ieces are
i tself need not be perfectly symmetrical . sewn, so proper placement of the design is
Bias is yet another consideration, since any critical. Another way you can ensure that the
portion of the garment that's cut on the bias design flow is uninterrupted at the seam is to
will be especially responsive to the weight of add beadwork once the seams i n question are
the beads. A-line skirts, with the seams cut on sewn; however, this is not always an opti on.
the bias, for i nstance, may be subject to a

19
 Applications for the basic stitches are
Running Stitch numerous, si nce beads can be combined in an
i nfinite variety of ways. The stitches described
Running stitch
(staggered line) Right side here can be used alone or in combination to
produce edges, moti fs and trims, wide border
designs, or all-over beading on garments. Use

Variation
\ them as well to adorn ribbons, braids, gimps,
and trims, or combine them with other
embell ishment techniques to add color, tex­
ture, and light. Hand or machi ne embroidery,
trapunto, channelstitching, tradi tional or
reverse appli que, quilting, and any form of sur­
Motif is completed face embell ishment can be further enriched
Three beads on return stitch
with beadwork.
per stitch sequence.

Running stitch
The running stitch is the simplest bead­
BAS I C S T I TC H E S embroidery sti tch (see the drawings at left). I t
F O R B EA D E M B R O I D E RY works u p exceptionally fast, a n d the results are
I f you've done any type of needlework or very effective. Because it puts so l i ttle stress on
embroidery, worki ng with beads wil l expand the fabric, this is a good stitch to work i n
upon ski lls you already possess. If not, rest hand. U s e i t t o create simple motifs on a bead­
assured that the techniques are easy to master. ed blouse; to edge a collar, cuffs, or tucks; or
As the diagrams of basic stitches in this sec­ combine with topstitching and stagger beaded
tion i ndicate, simple approaches can be effec­ rows for a dappled effect.
tive, and the skills you build embellishing
an easy beaded tunic for everyday wear are 1 Thread the needle, knot the thread, and
readily transferred to an elaborately designed bring to the right side of the garment at
the begi n n ing of the design.
dress for a special occasion.
The repertoire of bead-embroidery stitches
falls i nto two basic classificati ons: sewing and
2 Pick up a bead on the tip of the needle.

couching. Sewn beads are stitched directly

3 Reinsert the needle a bead length away,
through the hole of the bead to cloth , while take a stitch up to Y2
i n . on the underside,
couched beads are prestrung ( for more on and bring the needle to the right side of
couchi ng, see the sidebar on p . 25). Beads are the garment.
worked singularly and in sets. The most com­
mon stitches used to sew beads to fabric 4 Pick up a second bead and conti nue the
basic stitch along the design l i ne. More
i nclude the running stitch, l azy stitch (and a
than one bead can be threaded on the
variation called the l azy sati n stitch), overlay needle at one time.
stitch, raised stitch, backstitch, and chain ­
stitch. I n addition t o these, almost any decora­ 5 To work a sol i d l i ne, thread several beads
tive embroidery stitch can be used with beads . at a time. When the l i ne is complete,
You can couch with a si ngle needle and thread work back along the same line from the
or with two needles and thread. opposite directi on. Fill in the spaces be­
tween beads on the return pass.

20
Lazy stitch
The l azy stitch is used primarily to produce Lazy Stitch

areas of solid beading (see the drawing at

right) . Rows of beads are stitched side by side
and can be worked vertically or horizontally
i n any direction. Use this stitch to bead floral
motifs, bands, and borders, and to bead over
quilted or corded trapunto designs.

1 Stretch the area to be beaded i n a ring or

frame.

Use three to six beads per stitch. A djust the angle of the stitch
2 Knot the working thread and bring the
A lternate the short stitch between and number of beads as
needle to the right side of the garment.
top and bottom rows. required.

3 Pick up three to six beads on the tip of

the needle.

4 Reinsert the needle three to six bead Lazy Satin Stitch

lengths away.

Right side
5 Take a small stitch to the right of the of garment

�
bead row (working the design left to
right) and bring the needle to the right
side of the garment.

6 Pick up three to six more beads and bring

the stitch down, parallel to the first row.

7 Take a stitch to the right, and proceed, Long stitch

laying parallel rows up and down, and on underside
working to the right. of garment

Raised lazy satin stitch over

Lazy satin stitch trap uta or cord qu ilted motifs
This variation of the lazy stitch works up even
more quickly than the previous version. Rather
than taking a short stitch at the top and bot­
tom of each beaded row, pass the needle
beneath the fabric to the opposite side of the
row prior to adding beads for each stitch ( see
the drawi ng at right) . The stitch is always
worked in the same direction, and the thread
forms a satin stitch on the wrong side of the
fabric . (With the other version, very l ittle
thread shows on the back side )

Overlay stitch Lazy satin-stitch edge worked on

The overlay sti tch is an excellent way to pro­ a slant

duce a solid beaded line. Use this stitch for

21
 beading l arge motifs and borders, or work it i n
Overlay Stitch consecutive rows t o create a sturdy edge on
neckl ines, sleeves, and hems. Simple color
Two-bead overlay stitch and pattern vari ations work up well . For com­
plex patterns, charting the design on graph
paper wil l help you keep track of the color
sequences. This sti tch does not work up as
quickly as the run ning stitch or couching, but
the stitch is more secure, si nce the backstitch
"locks i n" each stitch sequence. The fol lowing
directions for the two-bead overlay sti tch can
easily be adapted to the four- bead version ( see
Four-bead overlay stitch
the drawings at left)

1 Thread the needle, knot the end of the

thread, and bring it to the right side of
the garment.

2 Pick up two beads on the needle.

3 Take the stitch i nto the fabric two bead

lengths away.
Raised Stitch

4 Backstitch one bead length and bri ng the

needle to the right side of the fabric, be­
tween beads.

5 Insert the needle through the hole of the

second bead. Add two more beads to the
needle and repeat the stitch, moving for­
Stitch is shorter in
length than the row
ward along the design line.
of beads strung on
the thread. Raised stitch
A raised stitch arches away from the fabric
slightly ( see the drawings at left) , similar to a
bull ion sti tch in embroidery.

1 Begin with several seed beads on the

needle.

2 Take a stitch i nto the fabric that is shorter

that the length of beads on the needle.
The short stitch keeps the beads from
lying flat.

22
 Backstitch Cha institch
Bring the needle and
thread to the top, tight­
en the stitch, add
another bugle, and
continue stitching.

Bugles

Bu gle

�i
" :' a't
here.

Backstitch sti tch is not likely to catch on someth ing and

The backstitch works well for sewing a solid pull or break. The chainstitch is great for
line of bugles ( see the left drawing above) . sewing bugles, but it can also be used to sew a
U se i t as wel l for sewing sequi ns, paillettes, row of seed beads or large decorative beads.
or several seed beads at one time. Pail lettes
can be worked edge to edge or overlapping, 1 Working away from you, bring the
needle and thread to the right side of the
i n which case the stitch will be shorter.
garment.
Either way, the thread will show, so consider
using i nvisible nyl on or something suitably
2 Add a bugle, and with the bugle perpen ­
decorative. dicular to the fabric, reinsert the needle
into the hole from which i t emerged.
1 Working away from you, bri ng the needle
and thread to the right side of the fabric,
3 Lay the bugle along the design line and
a bugle's length from the begi nning of the pull the thread through to the wrong side
design line. of the fabric until a small loop remains at
the tip of the bugle.
2 Pick up a bugle on the needle, backstitch
the length of the bugle , and bring the Bring the needle through the fabric and
4
needle to the wrong side of the fabric at the loop on the right side of the garment.
the beginning of the design . As you pull the thread through, i t will
tighten the sti tch and form a chai n .
3 Bring the needle forward to the right side
of the fabric , two bugle lengths along the
5 Add another bugle , and repeat the stitch
design line. Add a second bugle with the sequence.
backstitch, bring the needle forward two
bugle lengths, and repeat the sequence.
Couching with a single needle
and thread
Chainstitch I recommend this method of couching when
I like using the chainstitch ( see the right draw­ worki ng small areas ( see the steps and drawing
ing above) because I never have to second­ on p . 24). Couchi ng worked i n a freestanding
guess the length of the stitch . Also, the back frame frees up both of your hands to position
side of the garment is neat, and the short the row o f beads and to guide the stitch .

23
 1 Knot one end of the thread and bring the
Couching with a Single Needle needle through to the right side of the
fabric .

2 String the beads on the thread. The num­

ber of beads will depend upon the line or
row that you are beading. The length of
..� ; ::: :}. beads should equal the length of the line
to be beaded.

3 Lay the beads on the fabric along the

Take small stitches to design line.
sew the prestrung row
of beads in place. 4 Backstitch i nto the fabric at the end of
the design and couch back over the row
of beads, taki ng small stitches i nto the
fabric every three beads or so, to keep the
string of beads in place.

Couching with Two Needles

Couching with two needles and threads
Use this method of couching to attach long
rows of prestrung beads (see the drawing at
left) . If you are worki ng with beads of one
color, save stri nging time by transferring the
beads from the hank directly to your thread.

1 Knot one end of a long l ength of thread

and bring the needle through to the right
side of the fabric.

2 String the beads i n dividually to thread or

transfer beads from the hank.

Stri nging th read

3 To transfer beads from the hank, tie
thread ends together with a square knot,
and transfer the beads from the hank to
your thread ( see the drawing on p. 2 7 ) .

4 Rethread the needle and use a backstitch

to secure the beaded thread to the fabric
Couch ing th read along the design line.

5 Thread a second needle and bring it to

the right side of the fabric at the begi n­
n i ng of the design . Couch down the
beaded thread between beads at regular
i ntervals.

24
Couched Beads
Unlike beads sewn directly to fabric, couched beads are to fill in large design areas and rows of beading. Couch­
prestrung. T he beading string is stitched to the fabric ing can be done with one needle and thread or two.
between beads at regular intervals, which hold the row Some of the basic couching stitches are shown below.
of beads in place. Couching works up faster than
sewing beads individually. It is an especially quick way

Basic couching stitches

Couching to fill in desig n , Attaching decorative bead, doughn ut, or

or for borders seq uin with a smaller (seed) bead or crystal

Couched fringe or zigzag motif Couched bugles Row of paillettes couched with
bug les and seed beads

Sewing paillettes with Overlapping sequins sewn

beads and stitches with backstitch

25
 outside of the garment. What is problematic
Tambour beading about transferring the design to the wrong
Tambour beading is an offshoot of tambour side of the garment is that it reverses the
embroidery and is an eminently practical direction of the beaded image seen from the
method of producing beaded motifs, bands, right side.
and overall designs . Speedier than most hand­ To correct this problem, you need to
work, it's widely used in ethnic textiles, fash­ reverse the i mage prior to transfer. A simple
ion garments, and haute couture. Worked with way to do this is to tape the image to a win­
the fabric in a frame, and a specially designed dow or l ight table, with the image toward the
needle or hook, tambour beading is an table and the wrong side facing you. The li ght
extremely versatile and efficient way to will shine through the image, which you will
embell ish clothing and accessories. like knit­ now see in reverse. You can tape a piece of
ting or crochet, the technique is simple, but it tracing paper to the window over the reversed
does initially take practice, time, and patience image and trace the design as accurately as
TAMBOUR possible with a penc i l . The traced design can
to develop a feel for gui ding the tambour
BEADING hook and for attaching beads to the underside then be transferred to the wrong side of your
Tambour hook (with of the fabric. (For tambour beading, the right fabric using the prick-and- pounce method,
needles and holder) side of the work is positioned to the underside transfer paper, or with an embroi dery transfer
Freestanding tambour of the frame . ) pen (see the Appendices on p. 1 66 ) .
F o r best results, allow t i m e t o sample the
basic methods and develop a consistent stitch Framing
Rocailles (sizes 9 to
1 2), bugles (up to before you embark on a major project. As you Tambour beading and embroidery demands
% in.), and any size master the technique and pick up speed, you'll that the worki ng surface be stretched tight as
paillettes (if possible, devel op a feel for how long i t takes to bead a a drum, which is how the technique originally
purchase beads in design. This will help in planning designs and got i ts name. A properly stretched fabric
hanks, since pre­
will ensure that your project does not demand resists the tension of needle and thread and
strung beads can be
substantially more time and energy than you allows a perfect stitch to form on the surface
transferred directly to
your working thread) expected to devote to it. of the fabric.
If you use a ring frame, you can stretch
60 denier cotton, fine
P R E PA R I N G F O R fabric-wrong-side up-directly to the frame.
silk, or polyester
thread TA M B O U R B E A D I N G Wrapping the i nner ring of the frame with flat
To prepare for tambour beading, you must first bias tape will i ncrease the holding power of
Freestanding spool
choose a basic design and determine the the frame and reduce slippage . For fine fabrics
holder for thread
placement of the beadwork in rel ation to the that may distort easily, baste the fashion fabric
finished garment. Then you transfer the design to musl i n that's al ready stretched in the frame.
to fabric and stretch it in a frame. You can Then si mply cut the musl i n away from
then stri ng the beads or transfer them to the beneath to provide an open area for beadi ng
working thread and begi n beading. to the fashion fabric . I n this manner, you can
reposition the fabric (basted or pi n ned) for
Transferring the design beading a large moti f or for beading more
Tambour beading is worked with the wrong than one motif on a large piece of fabric.
side of the fabric facing up, which vi rtually While it is conceivable to bead a large area i n
elimi nates concerns about removi ng transfer this manner, i t is far more expedient t o use a
l i nes once the work is complete. Removing the rectangular frame to bead large secti ons of
marki ng material is still desirable, of course, fabric. In the best of all possible worlds, this
but a slight residue on the fabric is bound to frame would be l arge enough to accommodate
be less of an issue when i t's i nvisible from the pattern pieces that are to be embell ished for

26
the garment. That way, the entire pattern
Transferring Beads from Hank to S pool
piece could be drawn onto the fabric and
beaded prior to cutting out the garment. This
method is frequently used i n haute couture.

Transferring beads
to the working thread Tie the thread from
Buying beads by the hank elimi nates the need the bead strand to the
working thread with a
to prestri ng them prior to beading and is a
weaver's knot (right).
great time-saver. To transfer prestrung beads,
tie the thread from the bead strand to the
working thread with a weaver's knot (see the
drawing at right) and slide the beads over the Slide the beads over
knot onto the worki ng thread. Of course, the knot onto the

there will i nevitably be loose beads that working thread. �

appeal to you for reasons other than mere
convenience, and you'll have to string these
beads on the worki ng thread.
No more than a yard of beads should be
added to the spool at one time to minimi ze
the length of repair should a portion of the
chain come l oose. Working bead l engths
shorter than 36 in. are fine, but tie-offs will be
more frequent. For practical purposes, that
means when the beads on the worki ng thread
are exhausted, it will be necessary to fasten off
and secure the working thread, restring or
transfer a new strand of beads, fasten on the
worki ng thread, and proceed with beading.

Tambour-beading
develop a feel for the basic chai nstitch, move
methods on to beadi ng. Try working your first samples
The foundation for tambour beading is the on a sheer fabriC, such as silk organdy or even
chai nstitch. Worked with bead-strung thread, nylon net. When you can see where your
the tambour hook draws the beaded thread hands are positioned, see where to put the
from front (bottom faci ng) to back ( top fac­ thread around the needle, and see what's goi ng
ing) . A chain is formed on the wrong ( top) on with the beads that you're attempting to
side, which is pulled forward to form a stitch fi n d and hold i n place while you work the
that secures the bead to the right side of the stitch, you will learn faster and fumble less.
garment. Sequential stitches are worked i n
l i n e s o r motifs using this basic stitch. Working the basic chainstitch
Since the addition of beads involves coordi­ The chai nsti tch can be used for embroidery.
nating yet another element i nto the stitch for­ Once you perfect it, you will have mastered a
mation, it is a good idea to m aster the basic m ajor component of tambour bead ing ( see the
chainstitch using thread only. When you steps on p. 2 8 ) .

27
 1 I nsert the needle i nto the tambour holder. 8 Slide the working thread onto the hook,
Check to see that the hook side of the beneath the frame, rotate the hook 90°
needle al igns with the thumbscrew. left, and pull the working thread through
the fabric. Reduce tension on the working
2 With your l eft hand, pick up the working thread to allow it to feed easily and form
thread approximately l O i n . to 1 5 i n . from a loop . (Tension on the thread is con-
i ts end. Fold this length i n half to form a trolled by the hand below the frame . )
loop. Insert your thumb and forefinger i n -
t o the loop and stretch taut, holding the 9 Draw this loop through the first and bring
remainder of the thread tight i n your fist. i t forward along the stitching line to form
Hold the stretched thread beneath the a chain . Subsequent sti tches are formed i n
tambour frame, just below t h e start of the same man ner (see drawing 5 on the
your design. facing page ) .

3 I nsert the hook into the fabric at the be- la Rotating the needle s o that i t draws u p a
To thread a beading ginning of a row or design. The thumb- l oop and enters and exits the fabric with-
needle, bite the end
screw will face away from you and will i n - out snagging is the key t o developing a
dicate the direction of the stitch. consistent stitch. Penetrating the fabric at
of the thread and a slight angle and exerting light pressure
flatten it with your 4 Slide the taut thread onto the tambour on the needle by pull i ng it toward you as
hook from the underside of the frame (see you pull the working thread to the top
teeth. Then cut the
drawing 1 on the facing page ) . You can side enlarges the needle hole and pro-
end of the thread at a actually hear a faint "pop" as it engages vides clearance for the reemergi ng hook
with the hook. Turn the hook to the l eft and thread. Likewise, twisting the hook to
sharp angle. Hold the
and bring the thread loop through the the right or l eft prior to raising the needle
beading needle close fabric to the topside of the frame (see minimizes the opportunity to snag the
to its eye and in your
drawing 2 on the facing page ) . fabric or the previous loop.

opposite hand. Hold

5 Bring the loop forward along the pre- II Work the stitch sequence loosely, allow-
the thread as close to marked stitching l i ne; turn the hook 90° ing enough thread to feed i nto the work-
to its original, forward-faci ng position i ng loop, and draw through the previous
the tip as possible.
and reinsert i nto the fabric. chain. While working the needle, the
Slowly move the eye hand should remain directly on the frame.
of the needle onto
6 This time, slide the l oose tail end of the As with handwriting, or typing, the mo-
thread onto the hook beneath the frame. tion is in the fingers, not in the arm.
the thread. Twist the hook to the left and pull the tail
of the thread completely through the fab- 12 To change directions, simply rotate the
ric so that i t l ies on the top o f the frame hook in the direction of the design. The
(see drawi ng 3 on the facing page ) . With thumbscrew will i ndicate the direction of
a hand-sewing needle, thread the tail end, the next stitch. Since the thumbscrew is
take a tiny stitch through the fabric, wrap always visible from the top side of the
the thread under and around the first loop frame and is in alignment with the hook
of the chain , and knot off. This secures side of the needle, it also serves as a guide
the begin n i ng of the chai n. for placing the thread into the hook from
beneath the frame.
7 Reinsert the tambour hook i nto the first
thread loop. The needle must completely
penetrate the fabric but should lie just be-
l ow the fabric's surface (see drawing 4 on
the facing page ) .

28
Tambour Beading

Wrong side

Right side

1. Insert the hook through the 2. Rotate the hook 900 to 3. Thread the tail end with a
fabric. Lay the thread into the the left and pull the thread hand-sewing needle. Backstitch
hook. tail to the top side of the through the fabric and tie off in
fabric. a knot.

4. Reinsert the hook and pull the 5. Bring the chain forward,
working thread to the top, form­ reinsert the hook into the fab­
ing a chain or loop. Twist the ric. Draw the working thread
hook to the left prior to drawing through the fabric and the
the working thread to the top. previous chain and bring the
next loop forward along the
stitching line once more.

29
 Working the beaded chain over the l oop. Pull or thread i t to the un­
To apply bugles or to
Now that you can work the basic chainstitch derside of the frame and tie off. Knotting
attach up to five seed on the top side of the frame is appropriate
comfortably, it is time to add beads.
beads per stitch, take
for beading applications only, since the
wrong side of the garment faces up.
an additional chain-
1 Place spool on spool holder, and transfer
the beads to the working thread (see the
stitch worked be- drawing on p. 27).
tween each bead se-
Beaded edges
2 I nsert the needle, draw up the thread, and
and fringe
quence. This secures begi n the row with two or three small
chainstitches prior to adding beads. Beaded edges and fringe are finishing touches
the beads firmly to
added to a garment or accessory once it has
the garment and
3 When the third chai nstitch l oop is pulled been sewn (see the top drawing on the faCing
helps the bugles to the surface, push one bead snug against page ) . Faggotting, on the other hand, is a
the underside of the fabric, close to the
lie flat. method of construction that, when worked i n
previous stitch.
beads, also functions as ornamentation. O f
these methods, edges are likely t o prove most
4 To keep beads from dropping away from
the work area, keep the drop from the versatile, and they're simple, fast, and fun to
frame to the spool holder short and the do . U se them on collars, cuffs, borders, and
angle parallel rather than perpendicular to hems of garments. Fringe runs the gamut i n
the frame. terms of complexity and adds elements of
flamboyance, romanticism, and mystique to
5 Pull the chain forward. Insert the hook
whatever it adorns. Try my method for netted
from the top side and l atch onto the
fringe on a cut-velvet scarf or even at the hem
thread below to secure the bead and pro­
of a tunic or shel l .
duce the next stitch.

B EA D E D - E D G E M ET H O D S
6 Again, bring the thread to the top through
the previous l oop. Add a bead directly The fol lowing beaded edges are stitched
beneath it on the underside, move the directly to the garment but extend beyon d it
chain forward to secure the next bead, like a tiny ruffle or fringe. Used to trim col ­
and so on. l ars, cuffs, neckli nes, and hems, they impart
del icacy and charm to whatever they adorn .
Securing the beaded chain Have fun experi menting with color combina­
This method will result i n a clean and strong tions, various bead sizes, and the addition of
finish. small crystals, gems, or other accent beads for
that perfect look.
1 When a beadi ng sequence has been com­
pleted, finish the row with two small
Running-stitch edge
chai nsti tches.
This edge is easy and makes up very quickly
(see the bottom drawing on the facing page ) .
2 Break the thread underneath the frame,
leaving a tai l . The running stitch is worked between two lay­
ers of fabric (upper and under collar, for exam­
3 Thread the tail through the last chain to ple), so the thread is completely hidden.
the top side of the frame.
1 Knot one end of thread and bring the
4 Work the thread tail i nto the surrounding needle between l ayers through the
threads and tie off. If the chain is worked seamed edge or hem of the area to be
as embroi dery on the right side of the embellished.
garment, bring the loose tail through and

30
 S imple Beaded Tunic w ith Beaded Edges
BEADED EDGES
AND FRINGE
Rocailles (sizes 9 to
1 5): select u niform,
uncut round beads for
edgings and faggot­
ting; smaller sizes for
a delicate look; any
type for fringe

Bugles (sizes up to
% in.)
Decorative beads for
netted fringe: select
large, round beads or
crystals for net inter­
sections; dangling
beads for ends of
fringe

Nymo beading thread

for fringe

Silk or polyester
thread (color matched
to beads or garment)
for edgings and fag­
gotting

Beading needle

Beaded edges are simple, fast, and fun to do and add the finishing touch to a garment's
collar, cuffs, borders, or hem once it has been sewn.

2 Pick up three beads on the needle.

Running-Stitch Edge

3 Rei nsert the needle i nto the same hole

Ys
and take a run n i ng stitch Y4
in. to in. Take stitches
away from the previous stitch. between fabric
layers at the
garment's edge.
4 Draw the thread through. The three
beads will form a triangular shape.

5 Pick up three more beads and repeat the

sequence aroun d the entire edge.

31
 Zigzag bugle-bead variation Outline edge
This is a variation of the running-stitch edge This stitch produces a sol i d l i ne of beading
described previously (see the drawing below ) . aroun d an edge (see the drawing below ) .
D i rections are for a si ngle bead edge, b u t up
1 B ring the needle through to the edge of to four beads per stitch can be used. If desired,
the area to be embellished.
loops and picots can be added by weavi ng
back through the foundation rows.
2 Pick up a seed bead, bugle , seed bead, bu­
gle and seed bead, i n that order.
1 Knot the end of the thread and bri ng the
needle through the fabric from back to
3 Reinsert the needle i nto the fabric edge,
front.
one bugle and one seed-bead l ength from
the original stitch. The strung bead se­
quence will form a V. 2 Pick up a single bead and secure it to the
fabric with a tiny stitch from back to
front.
4 Take a tiny running stitch through the
fabric layers and p ick up the next se­
quence of beads . 3 Bring the needle through the hole of the
bead. ( I f you've picked up more than one
bead, thread back through the entire se­
Zigzag Bugle- Bead quence of beads . The thread will emerge
Variation from the outermost bead. Proceed to step
four, picking up the next sequence of
beads . )

4 Pick up a second bead and take a stitch

into the edge of the fabric from back to
front, next to the first bead.

5 Bring the needle through the hole of the

second bead and repeat the sequence.
The beads should touch and will form a
sol i d line.

Outline Edge

Single-bead outline edge Two-bead outline edge

32
Bead-laced edges
Bead-laced edges are sturdier than those Bead- Laced Edges

worked with the running stitch, but they l ook

every bit as delicate, especially if done with
small, uniform beads (variations are shown in
the drawings at right ) . For a more compact
look, eliminate the space between the stitches.
To vary the basic stitch, increase the number
of beads picked up i n each sequence; alternate
the number of beads picked up every other
stitch sequence; or pass the needle through
more than one bead on the return.
Stitches spaced one bead
1 At the edge of the fabric, take a small width apart
stitch from back to front.

2 Pick up a single bead on the needle.

3 Agai n, bring the needle from back to

front, securi ng the bead.

4 Bring the needle through the hole of the

bead, and pick up two more beads.

5 I nsert the needle from back to front, one

bead width from the first bead in the row.

6 Pick up two more beads and conti nue the

sequence.

N ETT E D F R I N G E
This two-step fringe (see the photo on p . 34)
i ncorporates two basic elements: a closely net­
Cut off points on collars and
ted border and a loose netted fringe that dan­ cuffs when you 're cutting out
gles from the border at regular intervals ( see a pattern to be embellished
the drawings on p. 3 5 ) . The border is worked with beads.

horizontally; the l oose netted fringe is worked

vertically. The effect is lush. You can make the
l ength of both the border and the fringe
longer or shorter to produce a range of effects
and to suit your project.
Seed beads of uniform size are used for the
border and netted fri nge . Larger beads and
crystals can be used at the bottom of the
fringe and where the net intersects. This
Beading around the tip of a
fringe can be worked i n one or many colors.
Same stitch pattern-spacing collar may require adding a few
Play with color variations as you work up your between beads eliminated more beads and altering the
i nitial sample, or chart a pleasing pattern i n spacing.

advance. Cut beads yield good results and

33
 2 With two beads threaded, rei nsert the
needle from back to front and draw the
enti re length of thread through the cloth,
as shown i n drawi ng 2 on the facing page.
As you pull the stitch tight, the first bead
will "pop" out, producing a picot effect.

3 With the needle pointing away from you,

bring it through the center of the l ast
bead in the row. Complete the stitch and
pick up two more beads . Repeat until the
row is complete. At least one row of the
foundation netting is necessary.

4 Add more rows as desired. To continue

working additional rows of foundation
netting, turn the edge to the reverse side,
and work the subsequent row i n the same
direction as you did the first: left to right,
if you're right-handed, right to left if your
left-handed.

Vertical netted fringe

The fringe can be as dramatic or as restrained
as you want, depending on the length and the
bead combinations you choose.
This two-step fringe
provide sparkle due to the way that faceted
incorporates a
closely netted beads catch the light. I've had excellent results 1 Begin the fringe by beading through the
with size 1 3 charlottes and size 1 1 tricuts, but first bead in the last row of the founda­
border (worked
tional border. Work left to right if you're
horizontally) and a there are numerous other beads worthy o f
right-handed; right to left if you're left­
loose netted fringe experimentati on.
handed. For this portion of the beading,
(worked vertically)
the edge of the fabric should face you.
that dangles from Horizontal netted fringe
the border.
This stitch serves as a foundation for the loos­ 2 The first length of beads establishes the
er fringe. You can vary the tension for a dense pattern for the net portion of the fri nge .
or more airy effect. Any number of equal bead groupings can
be used for the net, but the total number
1 Knot a length of thread and take a stitch of sequences must be odd ( 3 , 5, 7). Sepa­
i n the fabric from back to front. Secure rate each sequence with a l arger bead or
with a small backstitch. To begin the first contrasting color to add visual interest
row of beading, pick up one bead only. and to make counting easier (see the bot­
Secure with a stitch from back to front tom drawing on the facing page) .
and pick up two beads for each subse­
quent stitch. Work from left to right, with 3 The "dangle" portion of the fringe can
the edge of the garment poi nting away also be any length . Unl ike the net
from you, as shown in drawing 1 on the portion-which requires a consistent
facing page. number of beads for each length-the
length of the dangles can be varied. Dan­
gles of al ternate or graduated lengths can
be used for visually stunning results .

34
Horizontal Netted Fringe

Popped-out
bead

Knot

1. Knot the thread, take a 2. Thread two beads, reinsert needle 3. Add more rows as desired.
stitch from back to front, from back to front, and draw the length
and secure with a small of thread through. As you pull the stitch
backstitch. Pick up one tight, the first bead will "pop " out.
bead and secure it with a
stitch from back to front.

Vertical Netted Fringe

When back at the top, pass

the needle through the third
or fourth bead in the last row
of close border (or space as
desired), and begin new row
of fringe. A lternating the dan­
gle designs adds interest.

35
 li nenl ike silk. It is critical that the fabric be
Beadweaving stable and strong enough to support the bead­
work. Loosely woven fabrics with a low thread
into fabric count are ideal . Weft-faced fabrics may also
Traditional beadweaving is produced on small work, since the warp is set farther apart and,
looms warped l engthwise with an odd number when exposed, may readily accommodate
of threads. Beads are strung on a weft (cross­ beads without alterations. Depending on the
grain ) thread, passed under the l oom selvage thread count, some fabrics may require some
to selvage, and held in place from beneath so warp-as well as the standard weft threads­
that a si ngle bead fills each space between the to be removed to make room for the beads .
threads. The direction of the weft is then To determine whether a fabric is suitable
reversed and passed over the top of the warp for beadweaving applications, take a small
(lengthwise grai n ) directly through the entire swatch of the fabric, remove a few threads
row of beads. from the l engthwise edge, then pull out the
Rows worked back and forth in this manner crosswise threads to expose the warp. Gauge
create a fabriclike structure from beads, with the distance between warp threads to deter­
the weft passing under and over the warp to m i ne if a bead is likely to fit between two
secure them. like needlepoint or cross-stitch, threads. If not, determine how many warp
motifs for beadweaving are rich and varied. threads would need to be removed for a size
Any design that can be graphed or charted 1 3 , 1 4, or 1 5 bead to fit. I f more than every
can be worked in this manner. Beadweaving other thread would need to be removed, con­
Beadweaving into fabric
that's done on a loom is used for a variety of sider l ooki ng for another fabric.
provides a stunning
accent suitable for a appl ications, i ncluding appliqued surface Beads should be chosen after an appropriate
variety of blouse and design for garments. fabric selection has been made. Take your fab­
jacket styles. I n the following beadweavi ng variation, ric sample with you when you shop for beads
weft threads are removed from fabric to simu­ so that you can select the right size beads and
late a l oom structure. The fabric is stretched in make good color choices. The bead should fit
a ring or frame to keep the threads taut for between warp threads. I f the beads you are
working. The beads are then secured to the conSidering appear to be too l arge, try remov­
exposed warp with a weft thread. The beauty ing every other warp thread to create more
of this techn ique is that the beading is fully room, or find another appropriate style bead
integrated i nto the structure of the fabric (see in a di fferent size.
the photo at left). It si nks i nto the garment, Beadweaving requires beads that are
rather than sitting on top of it. Even in small smooth and uni form in shape and size. Delica
doses, this method of embellishment produces beads are designed specifically for beadweav­
a wonderful , mysterious effect. ing applications. Their square shape allows the
beads to snug up to one another, with l ittle
C O O R D I N AT I N G A N D space between , and the l arge hole of the bead
P R E T E S T I N G M AT E R I A L S readi ly accommodates needle and thread.
The range o f fabrics suitable for beadweaving Small seed beads (sizes 1 2 , 1 3 , and 1 5 ) can
applications for garments is narrow compared also be used for beadweavi ng but may not be
to other techn iques. It is essential to coordi­ as uniform as delicas, and the holes are gener­
nate and pretest fabrics for general suitabil ity ally smaller. Test the beads you select with the
in relation to the techn ique and compatibility long needle you i ntend to use to be sure that
with appropriate beads. the needle fits through the hole.
Beadweaving tends to work best on firm,
even -weave fabrics such l i nen, cotton, and

36
S E L E CT I N G A D E S I G N
Your beadweaving design will no doubt be Blouse with Bead- Woven Insets

worked out in rel ation to a host of other con ­

siderations, i ncludi ng pattern and fabric selec­
tion, the type of beads avail able, etc. Keep i n
m i n d that even very simple graphic motifs will
have a powerful i mpact.
Design sources for beadweaving are numer­
ous. Any charted needlework design can be
transposed. Beadweaving patterns are available
by the sheet, pamphlet, and book from bead
suppliers. One of the most exciting design
tools avai lable to beaders are computer pro­
grams such as Bead Plan \I (see p. 1 6 8 ) , which 1
\
allow you to chart bead designs in color using
a bead graph . The programs allow you to plan
a design and color scheme true to the shape
and size of your beads and print i t out for easy
reference. Alternatively, graphing paper specif­
ically for charting bead designs is available
through bead suppliers.

P L AC I N G T H E D E S I G N
Placement of the beadwoven design must be
determ i ned in relation to the garment. The
possibil ities are l i mi tless. Picture bright, bead­
ed squares on the l apel of a jacket; a beaded
band near the hem of sleeve; a rectangular
1 Trace the outli ne of each garment piece BEADWEAVING
window of l ight on the front of a vest. that will be embellished directly to the
Although i t's conceivable to chart the fabric. Do not cut these pieces out prior
INTO FABRIC
design in alternative shapes, the most straight­ to beading. Delica seed beads, or
forward approach assumes that the beadweav­ other uniform ro­
ing will be done in rectangles or squares and 2 Once you've determined the exact size of cailles (sizes 1 2 to 1 5)
the beaded areas, mark their exact size
will be aligned with the l engthwise and cross­ Beadweaving, delica,
and placement on the outlined garment
wise grain of the fabric . It is therefore neces­ or big-eye needles
piece (the fabric) and the paper pattern
sary to consult the grainline i ndicators on the (longer than the width
using a water-soluble fabric marker or
of the area to be
pattern prior to placing the design . Designs other appropriate marking device.
woven)
can also be placed on the b ias for a di fferent
effect. This is an inherent possibility if a bead­ 3 Double-check the placement by pin­ Lightweight silk, poly­
fitting the pattern , then make any neces­ ester, or Nymo 0 or B
woven design is worked i nto a l apel , for exam­
sary adjustments. Once you are satisfied thread
ple, or a bias i nset.
with the placement, you're ready to pre­ Embroidery ring or
Once you have determi ned how l arge
pare the warp. scroll frame
the fi nished designs will be and where they
are to be arranged, take the following steps Water-soluble fabric
to ensure their proper placement on the fi n ­ marker

ished garment.

37
 P R E PA R I N G T H E W A R P ner, where the first beaded row begins. lie a
The fabric "loom" for beadweaving is prepared knot at the end of the thread, and work a small
in the fol lowing man ner. backstitch i nto the fabric to secure it prior to
weaving (see drawing 2 on the facing page ) .
1 Locate the areas of your fabric that are I t is possible t o work a small beadwoven
marked for beadwork. Cut weft threads
design with a si ngle length of thread. For larg­
from top to bottom down the center of
er designs, more than one length of thread
these marked areas, parallel to the warp.
may be required. U se a square knot to tie the
For precise results and control, use small ,
sharp embroidery scissors. Be very careful new length to the end of the worki ng thread,
not to cut the surroundi ng warp threads prior to weaving the thread through a row of
(see drawing 1 on the facing page ) . beads. That way, the knot will be hidden
inside the beads.
2 With a needle or awl, coax the weft
threads out of the warp until you reach STR I N G I N G T H E B EADS
To help keep track of the outer border of the design. The first
String beads to the working (weft) thread one
the rows and color few threads will be resistant, but as you
row at time. Read the graph from left to right,
withdraw consecutive threads, this chore
sequences for bead- as you would a book, to determine the order
will become easier.
weaving, make an en- in which beads should be strung. The design

larged photocopy of 3 When the weft threads are completely can be worked from the bottom up, or vice
wi thdrawn, the warp will be exposed. I f versa; whichever proves easier for you. I work
the chart or graph for alternate threads are t o b e removed from from the bottom up, which seems natural to
your design. Number
the warp, clip them in the m i ddle. me, since it is the way that weavings progress
on a loom.
each vertical and hor- All threads that are clipped must be
4
izontal row and color turned away from the opening and woven
W E AV I N G T H E B E A D S
back i nto the surrounding fabric . I f the
in the graph to repre­ When you have the first row strung, pass the
area cut was small and the threads are
sent the bead colors short, a tiny crochet hook will prove bead-laden weft thread below the warp
more useful than a needle for this task. threads from l eft to right. Take a tiny stitch
you plan to use for
Once you've woven them in to the poi nt i nto the right edge of the fabric and draw the
the beadwoven im- of being secure, draw i n all l oose threads thread tight. Align the beads between warp
to the wrong side of the garment. Or
age or design. threads and hold them in place with your left
carefully press the l oose threads back,
forefinger. Then pass the needle back from
away from the window, and secure i n
right to left over the top of the warp and
place with fusible i nterfaci ng.
through the hole of each bead i n the row.

5 Place the fabric in an embroidery ring or This pass locks the beads into place between
freestandi ng frame and stretch it taut to the warp threads (see drawi ng 3 on the
produce an even tension on the exposed facing page ) .
warp threads. Check to see that the fabric Again, take a small sti tch i nto the fabric
grain runs straight from edge to edge and after the needle exits the first bead in the row
that i t's not distorted in the hoop.
and move up or down one bead l ength to
begi n the second row. The appropriate beads
A D D I N G T H E W E FT T H R EA D for that row are strung in accordance with the
Beadweaving i nto fabric consists o f replacing bead graph; work the thread under and over
the actual weft threads with a combination of the warp from left to right and back again to
beads and a working weft thread that secures secure the second row of beads. Work subse­
the beads to the warp. The working thread quent rows until the entire design is beaded
must be attached to the fabric at the left cor- (see drawing 4 on the facing page ) .

38
 Weaving Beads into Fabric

Right side of fabric

of fabric

� ... .... 0' Gf­

e c;o Oo Q <:)o GlE'
O o ca c:. o �
O C O Q � Gif
O <C:lr>Q O Q cI(

1 . To prepare the warp, cut carefully

through center of the marked area
between warp threads.
2. With fabric stretched in a hoop
or frame, pass the needle and
beaded thread beneath the warp,
from left to right.
Knot on underside and
bring to top (right side).

) ,..-

!
'-.�
'"", ... ""'"

3. Take a small stitch into the fabric

on the right. Pull the weft (needle) 4. Work subsequent rows in the
thread tight. Pass the needle and same manner as row 1 until the
thread right to left; over the warp design is complete.
thread and through the center of
each bead.

FI N I S H I NG press, and press carefully so that the

When the beadweaving is fin ished, the gar­ hot i ron does not come i nto contact with
ment is cut out, interfaced ( i f not done previ­ the beads.
ous to bead weavi ng) , and assembled. A few
simple steps are required to protect your work. 2 Line the garment to protect the beadwork
from wear and abrasion.

1 I nterfacing adds support to the fabric

surroundi ng the beadwork, but prior 3 If beaded areas are hazardously close to
seamlines, sew the seam by hand or use a
to fUSing, it should be cut away from
zipper foot to sew by machi ne.
beadwoven areas. Apply interfacing with
a handheld iron rather than with a

39
BEADED
BUTTONS
Two- o r four-hole but­
tons (% in. to 1 % in.)
sewn to garment

Large decorative
beads or baubles with
holes for sewing
(large enough to cov­
er the holes of the
button when sewn in
place)

Beading needle

Polyester thread, color

to match garment

BEAD-LACED
BUTTONS
Four-hole buttons
Beaded buttons and buttons made from beads can add sparkle to most any garment.
(% in. to % in.), sewn
to garment

Round rocailles (sizes compatible with the existi ng buttonhole. If

1 2 and 1 5) Beaded buttons you are making a garment, simply sew the but­
Small glass and crys­ Buttons are an integral part of clothing design. tons to the garment first and l eave the button ­
tal beads for the cen­ Small as they may be, they possess the power holes for last.
ter of the button to make or break a garment. The fol lowi ng Beading a button can be as simple as stack­
Polyester thread, color methods for addi ng beads to buttons and cre­ ing a large decorative bead on top of the but­
to match button (may ating buttons from beads offer exciting alter­ ton and sewi ng it i n place. This method is as
show slightly) natives to ho-hum and not-quite - right button easy as it sounds and can be used on buttons
Beading needles solutions. Whether you use them to produce l arge and smal l . I t's also a great way to high­
continuity in a beaded garment or as the sin­ l ight fantastic beads, particularly if you select
gular mode of ornamentation, they're sure to a button in a contrasting color.
add the perfect finishing touch.
Beading the button
TWO· A N D F O U R · H O L E The button should already be sewn to the gar­
B EA D E D B UTTO N S ment. Use it to j azz up any outfit, but test that
Adding beads to two- and four-hole buttons is the button will still fit through the buttonhole.
a beautiful way to embellish a garment. Since
the only requirement for beading is that the 1 Thread the beading needle , knot the end
of the thread, and bring the needle from
button already be sewn i n place, this tech­
the wrong side to the right side of the
n ique lends i tself to ready-to-wear and vintage
garment through any hole i n the button
clothes as well as to those you sew yourself.
(see the top drawi ng on the facing page ) .
If you are embellishing something ready
made , make a sample button to determine 2 Slide the decorative bead onto the needle
whether the height of the beaded button is and bring the needle to the wrong side of

40
 the garment through the opposite hole of
the button. Repeat this sequence several Two- and Four- Hole Beaded Buttons
times to ensure that the bead is firmly at­
tached to the button .

B EA D - LACE D B U TTO N
Bead-l aced buttons rely on seed beads to pro­
duce a delicate, lacy effect. Worked in one or
Sew directly
more colors and possibly i n more than one through a two-hole
size bead, these buttons make up quickly and button to attach a
large, decorative
add a disti nctive touch wherever they're used.
bead.
I especially like to pair bead-l aced buttons
with soft sol i ds and neutral -colored silks.
Think of this method as well when you have a
beaded garment that calls upon the buttons to
provide cohesion for the overall design , si nce
seed beads used to embellish the garment can
be worked i nto the button as well .
Secure a bead to a
four-hole button
Beading the button with a diagonal
This is another technique for which the but­ stitch between two
ton should already be sewn to the garment. holes.

1 Sew a bead i nto each hole of the button,

attaching the bead to fabric as you would
a button (see drawing 1 below ) .

Bead- Laced Button

1 . Sew one seed 3. A ttach a center
bead into each bead, using a
hole. After sewing figure-eight stitch
the fourth bead, worked through the
bring the needle to top, center, and bot­
the right side of the tom beads on the
garment, between button.
the top two beads.

2. Add a bead and

4. Add more beads
by working them into
sew through the
the existing pattern.
attached bead to
When beading is
the left. Pick up
complete, bring the
second, third, and
thread to the wrong
fourth beads as you
draw the thread side of the garment
through one of the
through the holes of
buttonholes and
the remaining
secure it.
attached beads.

41
 Design Ideas for Picot- Edged Beaded Buttons

Stacked rondelle and Pearls and seed beads Seed beads with Bugles
decorative beads crystal in center

P I C O T- E D G E D B E A D E D B U T T O N
PICOT-EDGED 2 When the four beads are sewn i n place,
bring the needle through the hole of These exquisite buttons are l ike tiny jewels.
BEADED the fourth bead to the right side of the Whatever their shape or size, the garments
BUTTONS garment. they adorn become undeni ably special. As
Rubberized flannel you'll soon see, they're also fun to make-and
(hospital sheeting) or 3 Add a bead to the needle ( this can be a
easier than they look.
craft felt interfaced
contrasting color, if desired) and bring the
The beading technique remains the same
with Armo-Weft needle counterclockwise through the hole
of the neighbori ng bead (see drawi ng 2 for buttons large and small (see the drawings
Ultrasuede, Ultra- on p. 4 1 ) . Add another bead and proceed above) . Seed beads are stitched around a cen-
leather, or Facile ter seed or decorative bead to form consecu-
through the next attached bead . Continue
(Va yd.), to match gar-
around the circle, addi ng two more beads. tive rows that radiate from the center. Bugle
ment and/or to com-
When the circle is complete, run the beads are worked somewhat differently for
plement beads
needle and thread through the entire square and rectangular buttons, but the edge
Permanent fine-point beaded circle a second time to tighten the
and finishing techniques are the same as for
felt-tip pen stitch . This will align the beads.
other shapes.
Round rocai l les (sizes Make matching suit buttons in two sizes for
1 2 and 1 3 or sizes 1 2 4 Bring the thread to your left through the
the front and sleeves on j ackets and coats;
and 1 5 combined) top bead . Pick up the center bead on the
tip of your needle. (This can be a cut glass small buttons of uni form size for vests, dresses,
Accent beads (to or crystal bead, if space allows . ) Thread and button-down shi rts. If you're not up to
complement design):
through the bottom bead, working right beading an entire set, consider i ncorporati ng a
crystal, pony beads,
to left. The center bead will now be in hidden front placket i nto your garment design
gemstone, cut glass
place. Thread the needle through the and showcase one or two spectacular beaded
Nymo beading thread, hole of the center bead (left to right) and
buttons i n an eye-catching location.
to correspond with through the top bead to complete the
In addition to using these buttons for my
bead size figure-eight pattern . Repeat the figure
own garments, I like to make them as gifts.
Silk or polyester eight through the center bead to secure
the stitch (see drawing 3 on p. 4 1 ) . Although they look del icate, they're actual ly
thread
quite sturdy. I f you use the materials recom-
Beading needle, to
correspond with bead
5 At this point, the beaded design forms a mended here, they're hand-washable as well .
circular motif. You can bring the thread to As with any button, i t's a good idea to bead an
size
the back and tie it off, or, if a floral motif extra button when making your set, j ust i n
Embroidery hoop or i s deSired, conti nue beadi ng, a s shown i n case a repl acement is required.
scroll frame (optional) drawi ng 4 on p. 4 1 .

Washable fabric glue Preparing for beading

or fusible web 6 When you're fi nished beading, bring the
You can make a uniform set of buttons if you
needle to the wrong side of the garment
and secure the working thread. take the time to lay out a grid.

42
1 Decide on a basic shape and size for your Grids for Picot- Edged Beaded Buttons
button . Buttons can be round, oval, trian­
gular, or square . Button sizes suitable for
this technique should be at least 12 i n .
(fin ished), but this is an excel lent method
for maki ng large buttons as wel l .

G rid for nine

2 Determine how many finished buttons round buttons
are required. Add at least one extra button
to have on hand in case of potential loss
or damage to the original.
The area marked

3 For each button you plan to make, mark a for beading is

1/8in. to1J4in.
square area on the flannel or fel t. Leave
smaller than the
12 - i n . margins around the area to be bead­
finished size of
ed. The beaded area will be approximate­ the button.
ly 116 i n . to 12 i n . smaller than the fi nished
size of your button .
Grids for square,
4 I f several buttons are required for your triangular, and oval
project and you plan to bead the buttons buttons
"in hand" rather than using a frame, the
entire set can be worked side by side off a
l arge grid ( see the drawing at right). This
is a very efficient way to mark, bead, and 2 To begin beading, attach a large bead or
crystal to the felt i n the center of the cir­
fi n ish a set of buttons. U se a permanent
cle. Secure the bead with an additional
felt-tip marking pen to mark squares for
stitch. If other l arge beads are called for
the total number of buttons you plan to
in the design, sew them in place as well .
bead directly to the flannel or felt.

5 I nside each square, draw in grid l i nes for 3 Bring the needle from back to front di­
rectly next to the center bead. Pick up
the shape and size button desired. Re­
two seed beads and move forward around
gardless of the button's shape and size,
the center bead. Reinsert the needle two
beading always begins in the center of the
bead lengths away. Draw the needle to
button, so be sure to mark the center.
the wrong side of the felt. Backstitch be­
tween beads, bring the needle to the right
6 I f you prefer beading to a taut surface,
side of the felt, and draw the thread
stretch the flannel or felt in an embroi­
through the second bead in the row ( see
dery ring or frame. You'll need l arger mar­
drawi ng 1 on p . 44).
gins around beaded areas to accommo­
date the hoop.
4 Pick up two additional seed beads and re ­
peat the basic stitch. Move forward along
Beading the button the design l i ne using the seed bead to
Once the grid has been established, these outline the center bead. When you've
beads work up quickly and can even be a completed the first circle of beads, run
portable project. the needle and thread through the entire
row. Draw the thread in to tighten the
1 Thread the beading needle, knot the end, circle ( see drawing 2 on p. 44).
and bring the thread from back to front
through the center of the button base. 5 Bring the needle to the wrong side and
Take an addi tional sti tch through the felt come up directly next to first row to be-
to anchor the thread.

43
Pre paring the Button for the Picot Edge

1. Pick up two beads

and reinsert the nee­
dle two bead lengths
away.

Right side

Wrong side

2. Couch radi­
ating rows of
beads with a 3. Draw in to tighten the circle and
second needle bring the needle from front to back
and thread. when the circle is complete.

gin the second. Work consecutive rows i n pieces, wrong sides together, using a
the same manner. I f larger beads were washable fabric glue. Check the l abels to
sewn in place, simply work around them be sure the glue you use will bond to the
in a logical fashion . At times, it may be button base and backing materials. Leave
necessary to pack beads in or spread them overn ight to dry. (An alternative is to use
out to accommodate the design. fusible web, such as Wonder-under or
Heat 'N Bond.)
6 When the outermost row is complete,
bring the needle and thread to the wrong 2 I f a set of buttons was beaded to one large
side, take a stitch into the felt, and knot piece of felt, cut the large piece i nto indi­
off securely. vi dual squares. Cut around each beaded
button , leavi ng a /'B - i n . margin .
7 You can couch radiating rows of beads
with a second needle and thread. I l ike 3 Carefully trim the margi n flush with the
the measure of security this provides, beaded edge of the button .
since the buttons will be subjected to the
repeated stress of passing through the 4 With the right side of the button facing
buttonhole (see drawing 3 above) . you, work the p icot edge around the cir­
cumference of the button ( see the bottom
drawing on the facing page) . Stitches i nto
Finishing the button the button base must go through both the
By glui ng or fusing on an Ultrasuede back and felt and the U ltrasuede backing, as i t j o i ns
the two together and neatens the appear­
finishing it with a picot edge, you cover all of
ance of the button .
the stitching and add a final decorative touch.

5 Sew the shank to the back of the button

1 Cut a square of Ultrasuede or Facile the
using silk or polyester thread ( see the top
same size as the beaded felt. Glue the two
drawing on the facing page ) .

44
Making a Shank

Wrong side
Warp thread

1. Using a single thread to

create a two-thread warp,
bring the thread from back to
Back of front, leaving a 6-in. tail. Take
button a small stitch on the right side
of the button and bring the
thread through to the back
side. Match this end of the 2. Knot the end of a separate thread and
thread to the other and cut a thread from front to back, so the knot is well
6-in. tail. These two threads hidden between beads. Use a needle to
on the hank form the ways for weave the weft thread back and forth
the button shank. between the two warp threads.

4.Weave the tail end of the

weft thread back through the
3. Bring the two warp
shank and tie off.
threads to the front
side. Tie close to the
(
surface the knot
should be hidden
between beads . )
Rethread to the back
side, stitch into the
fabric and cut away
loose ends.

Adding the Picot Edge

Right side

Insert the needle from back to Draw the needle through the last bead in
front, one bead width away. the row, pick up two beads, and repeat
the sequence to complete the row.

45
 re a �wo r
Exquisite threads are the fine wines of the sewing world. When well chosen and worked to

creative perfection, they complement, balance, and finish a garment as no other embellish ­

ment can. Moreover, their application frequently constitutes an integral part of clothing

construction. A beautiful thread used for topstitching adds color and contrast and accentu­

ates the lines of the garment. Yet its intrinsic function is to stabilize and reduce bulk at the

edge of a collar or at the top of a seam. Likewise, a pickstitched lapel boasts a couture sig­

nature that looks lovely, even as it tames an otherwise unruly turn of the cloth.

No wonder high - end designer garments, quality vintage wear, ethnic clothing, and haute

couture maximize the embellishment possibilities inherent in threadwork. H ere, attention

to detail is everything, as form and function combine to

create the hallmark of a well-made garment. Yet

threadwork is hardly limited to practical applica­

tions. As a purely decorative element of clothing

design, threadwork presents numerous avenues

for creative expression.

As you explore and master individual

techniques throughout this chapter,

contemplate ways to elaborate upon

and combine them. A world of

embellishment awaits!
MATERIALS AND EQ!)IPMENT

Many o f the threadwork techniques used to fresh options. As you learn how to use new
produce pure and functional embellishments i n and famil iar tools effectively and explore their
the vi ntage and ready- to-wear clothing w e so range of applications, your efforts will reward
admire are easy to reproduce. Even in simple you with workmanship that i ncreasingly meets
form, they can dramatically enhance a gar­ your greatest expectations.
ment. To obtain professional results, however,
it is essential to realize that not just any
thread, needle, or presser foot will do. Threads
Maki ng the beautiful garments you envision Choosing from the vast array of threads avail ­
requires mastery of the tools, materi als, and able can make you feel like a kid i n a candy
techn iques at your disposal . If this task seems store. There are rayon, cotton, acrylic, metal­
daunting, keep in mind that excellent tools are lic, and silk threads; cords, braids, and rib­
a sewer's best friend, designed not only to do a bons; flat, round, and textured threads; varie­
job well but also to make it easier. gated and solids. Threads come thick and th i n ,
The only prerequisite to i ncorporati ng new on spools, on cards, a n d i n skei ns. Classified
Machine-embroidery
tools and techniques i nto your sewing reper­ by characteristics that i nclude fiber content,
threads come in a variety
of fibers, weights, and toire is the Willi ngness to experiment with color, texture, size, degree of twist, and sheen,
colors. the speci fications for sewing each weight and
type of thread varies, as does the price.
I have yet to buy a spool that comes pack­
aged with directions for sewing, however, and
wil l make no bones about it: My first attempts
at using decorative threads in my machine
were a disaster. If you've ever experienced frus­
tration worki ng with decorative threads
because they fray, break easily, don't offer
enough impact, cause puckering, or refuse to
feed smoothly through the needle, you're not
alone. Working with decorative threads should
be a creative challenge, not a technical one
( for i n formation about specific thread types,
see the chart on p. 1 62 ) . Though I've had best
results with silk thread, I've had success with
the following thread types: machine embroi ­
dery, fine metallic, topstitching (or button ­
hole twist) , pearl , thin braids and cord, many
needlepoint threads and knitting yarns (exper­
iment to determ ine their compatibil ity with
machine work ) , fine monofilament (or i nvisi ­
ble) nylon, lightweight bobb i n , and water­
soluble basting thread (it dissolves when
exposed to water or steam) .

48
 Metallic
Presser feet threads enrich
the color
Presser feet are designed to make specific
palette and
sewing tasks easy, accurate, and efficient (see
add sparkle
the photo on p. 50). If you al ready use a vari ­ and flair to
ety of presser feet for various sewing applica­ any project.
tions, you know how they streamline your
efforts. If you are not yet acquainted with the
range of presser feet available and what they
can do for your sewing, make friends with the
presser feet discussed here .
To obtain presser feet for your machine,
contact your l ocal sewing-machine dealer.
Brand-specific feet are available for some types
of machines, while generic presser feet are
available for others. When purchasing generic
feet, it is essential to know what type of shank
is on your m achine. Presser feet are generally
available in h igh , l ow, slant shank, and snap­
on styles. Some feet require the use of an
adapter, which may have to be purchased sep­
arately. The following presser feet work well
for threadwork embell ishments .
Storing Thread
• An edgestitch foot has a metal or plastic
A top priority when it comes to ect that is underway. But if
guide in the center of the foot. When posi­ storage is to protect thread you use the racks for long-term
tioned against the edge of the fabric or mid­ from light and dust, since storage, either cover or store
dle of a seam, the guide is used i n conjunc­ both are detrimental to the them where they are protected
tion with needle positions on the mach i ne color properties, performance, from dust and light.
to produce perfectly aligned edgestitch ing and longevity of thread. I use A second priority is to keep
to the right or left of the guide. Used with clear containers wi.th lids and threads tangle free. Some
the needle i n the center position, the guide drawer-style cabinets. Boxes spools have thread locks at one
is also useful for "stitching in the ditch" contain a particular thread or both ends, but for those that
(stitching directly between two seam al­ type-60-wt. cotton, for don't, wrapping the spool in
l owances) as well as for pintucks or rows of example-and if I have a lot of acid-free paper or cellophane
one thread type, it is further secured with tape will keep
corded satin stitch.
classified by color. loose threads in place. A com­
Boxes that contain spindles mercially available product
• The p a tch work , or J'.- i n . , foot is tremen ­
for individual spools are also called T hread-Wrap works well
dously useful for decorative topstitching as
available. T hreadracks are and consists of a precut plastic
well as for garment construction. The dis­ useful to keep threads orga­ film that sticks to itself when
tance from the edge of the presser foot to nized and displayed for a proj- wrapped around the spool.
the center needle measures exactly Y. i n .
(which i s why i t's known a s the Y.- i n . foot)
Additional notches on the foot i ndicate
Y.- i n . placement directly in front of and be­
h i n d the center needle, and Ys - i n . placement
from m id-toe to center.

49
 The patchwork foot is a straight-sti tch type er foot to ride smoothly over the stitches
designed to be used with the needle in the without hanging up on thread beneath the
center position only. The small needle hole foot. A standard embroi dery foot may also
and sol i d base of the foot lend greater sta­ have a hole i n the center of the "bridge" that
bility to the fabric as the stitches are being connects the toes of the foot, which can be
formed, resul ting i n superior stitch quality threaded with thick threads for couch ing
on a range of fabrics. The patchwork foot is and corded satin stitch.
brand-speci fic for some machi nes and is also
avai l able as a generic foot. A j eans foot or • The open-toe embroidery foot (unl ike the
basic straight-stitch foot offer similar stitch standard embroi dery foot) has no bri dge be­
qual i ty without the Y4- i n . and Ys- i n . guides. tween the toes of the foot, which allows
greater visibil i ty for applique and decorative
• The standard embroidery foot is similar in machi ne stitchi ng. The inside edges of the
Presser feet commonly appearance to the basic zigzag foot, except toe can also be used as a guide . This foot is
used for threadwork that i ts toes are shorter, which improves vis­ an excellent candidate for twi n-needle top­
embellishments include ibility. The base of the embroidery foot has stitching and for application of flat braids
(clockwise from upper an i ndentation to accommodate thread bulk and trims.
left): leather roller, produced by compact embroidery stitches.
edgestitch, patchwork, This fan -shaped groove facil i tates proper • The pintuck foot is a versatile foot used for
walking, pintuck, and
satin -sti tch formation by allowing the press- pi ntucki ng and a variety of other embellish­
open-toe embroidery.
ment applications, i ncluding corded satin
stitch, corded topstitching, and the applica­
tion o f narrow ribbons, soutache, and cord­
ed trims. Available i n three- , five-, seve n - ,
a n d nine -groove variations, the grooves are
designed to produce different pintuck
widths when used with the appropriate twi n
needle. This foot performs best with
straight l i nes of stitchi ng, distinct angles,
and gentle curves. It is not suited to com­
plex moti fs or close curves.

• A walking foot ( also called an "even - feed"

foot) is indispensable in certain topstitching
and embroidery applications. I t is especially
appropriate for hard-to-sew fabrics such as
velvet, corduroy, satin, leather, l ace, and
sli ppery silk, which tend to shift, slide,
stretch, or pucker when sewn.

• The leather roller foot is one of my person ­

al favorites. I t's ideal for decorative top­
stitching, outl ining, and bobbi nwork, and is
exceptionally fun and easy to use. Designed
for maneuverabil i ty on leather, suede, vinyl,
and quilted fabrics, the roller foot virtually
glides over the surface of the fabri c, offering

50
 the path of least resistance for curves, an­
gl es, and motifs of all kinds. The roll er foot
can be used with singl e or double needles.

Stabilizers
Most threadwork applications require the use
of stabili zers to support the base fabric for
decorative sti tching (see the photo at right) .
Properly selected for the technique and mate­
rials at hand, a stabilizer will prevent ski pped
stitches, puckering, and thread breakage.
Si nce the added support allows basic machine
stitches to form with minimal distorti on, the
end results are uni form and professional .
Numerous stabil i zers are currently available on
the market. The followi ng categories offer a
range of options to suit various sewing needs.
Stabilizers deemed to give superior results for
specific techn iques are listed in the techniques
sections (gui deli nes for choosi ng a stabil izer
are listed i n the sidebar on p. 52) .

• Iron-on interfacings lend sufficient stability

for many l ight threadwork appl ications.
Available i n a variety of weights, the stab i ­
lizing properties of interfacings used i n gar­
ment construction should always be taken
i nto accou n t.
Stabilizers lend essential
gree of stabi lity for fluid fabrics that tend to
support for a variety of
• Tear-away stabilizers made from paper or shift when pi nned or basted and for long threadwork techniques.
other nonwoven fibers are pinned, basted, rows or large areas of embel lishment. C lockwise from upper
and, i n some cases, i roned to the wrong side left: tearaway, liquid,
of the cloth prior to stitchi ng. Excess stabi­ • Wash-away stabilizers are water soluble . wash-away, and heat­
li zer is torn away once the threadwork is Once they have served the purpose of stab i ­ disintegrating stabilizers.
compl ete. Avail able i n a range of weights, l i zing a fabric for decorative stitching, ex­
tear-away stabilizers can be used in si ngle or cess stabil i zer is torn away. The residue can
multiple l ayers to suit various sewing needs, be completely removed with water, so the
but keep in mind that the stabilizer that re­ original hand of the fabric is retai ned. Fab­
mains beneath the actual stitching will sti ff­ rics and threads used with wash- away stab i ­
en the area being embellished. l i zers must b e washable as wel l . Prior t o e m ­
Tear Easy, Ji ffy Tear, Tear Away Soft, Ar­ barking on a major project, preshrink all
moTear Away, Stitch-n -Tear, and Stitch 'n' yardage and test threads and fabric i n ad­
Ditch from Thread-Pro are excellent for vance to determi ne that they are col orfast.
firm wovens and for knits. I ron -on varieties Wash-away stab i l izers come in spray, l i q ­
such as Totally Stable, Press- n - Tear Soft, u i d , a n d sheet forms. Spray-on stabi l i zers
and Press- n -Tear Crisp offer a greater de- i nclude spray starch ( available in the laun-

S1
Guidelines for Choosing a Stabilizer
Availability of certain stabilizer would be a discouraging choice for Perfect Sew and iron-on stabilizers
products may vary from store to threads and fabrics that cannot such as Totally Stable make decora­
store, and new products continually withstand a high heat setting. tive sewing a pleasure on fabrics
enter the marketplace. I don't be­ that are difficult to keep in one
• For finished results that are con­
lieve it's critical to keep abreast of place.
every product on the market, but sistent with the characteristics of
general knowledge of existing op­ the fabric, use the lightest stabilizer • Test for compatibility of materials
tions will always give you an advan­ that provides adequate stability for and techniques in a sample, prior
tage. When selecting a stabilizer, your project. to working on the actual garment.
you should consider the following: When feasible, sample more than
• Lightweight stabilizers can be one option and select the best.
• The stabilizer, thread, and fabric
strengthened with additional layers.
Stabilizers can also be combined • If you foresee incorporating a lot
choice must be compatible in terms
of weight, removal, and cleaning (for example, use a lightweight tear­ of threadwork into your sewing,
methods. A wash-away stabilizer away stabilizer on the bottom of the maintain a small supply of several
may be appealing in terms of re­ fabric, with Solvy on top). stabilizers to have on hand for sam­
taining the hand of the fabric, but ples and for small, spontaneous
• Fluid rayons and silks may re­
it's not an appropriate choice for projects. Larger projects may re­
quire a stabilizer that temporarily quire greater amounts, but samples
threads and fabrics that are not col­
alters the characteristics of the fab­ on hand will help you determine in
orfast or those you do not wish to
ric so it doesn't shift, fall away, advance which product to buy
wash for other reasons. Likewise,
buckle, or stretch as it's being when you go to the store.
heat-disintegrating stabilizers
stitched. Liquid stabilizers such as

dry section of any grocery store) and spe­ for worki ng with fluid rayons, silks, and any
cial ty products such as Stitch 'n Spray and other fabric that is difficult to stabi lize for
Sull ivan's Spray Fabric Sti ffener. These sta­ the purpose of embell ishi ng.
bilizers offer sufficient stabil ity for top­ Solvy, Avalon, Aqua-Solv, and YLI Solv­
stitching interfaced portions of a garment It are sheets of clear plastic film that can be
and for some threadwork applications on basted or pi nned in place. Unl ike paper or
lightweight or extremely stable fabrics. nonwoven tear-away stabilizers, they can be
They do not offer adequate support for used from the right as well as from the
decorative machine stitches unless used wrong side of the fabric. One advantage of
with a hoop. these stabilizers is that motifs or designs can
Liquid stabilizers like Perfect Sew and be traced directly to the film, which acts as
Sew Stable come i n gel like liquid form , a template for the stitch design. Solvy is
which is applied directly to the fabric in the now available i n two weights; the heavier
area to be embel lished. The liquid saturates version is two times the weight of the origi ­
the fabric and dries to a stiff, paperl ike con­ nal . Rins-Away from Handler is similar i n
sistency that makes embellishing a breeze. appearance and texture t o heavy tear-away
Liquid stabilizers are an excellent solution stabilizers but dissolves in three to four
l aunderi ngs.

52
• Heat-disintegrating stabilizers such as needle type and size del ivers the best results. I
Van ish-a-Way, Heat and Brush, and Heat­ keep a ful l range of needle types and sizes on
Away, offer a degree of stability that is hand at all times. Stocking up on needles does
comparable to lightweight tear-away stabi­ require an i n itial i nvestment, but if you sew
li zers . Like a wash- away stabi l izer, heat­ frequently, as I do, having needles on hand i n
disintegrating musli n preserves the charac­ the sewing room is a s essential a s having pots
teri stic hand of the fabric . Since high iron and pans in the kitchen. The following
tem peratures are required to reduce the Schmetz and Lammertz brand needles are rec­
musli n to ashes once the stitchi ng is com­ ommended for threadwork techn iques present­
plete, these stabilizers are i ncompatible ed i n this chapter.
with fabrics and threads that cannot with­
stand high heat setti ngs . One vanishing • Topstitching needles eN) have a l arger eye,
m uslin product-Hot Stuff-disintegrates longer groove, and sharper point than stan­ Machine needles
in the heat of the sun or with steam dard sewi ng needles. The i ncreased size of (clockwise from left);
universal, metallica,
from an iron, maki ng it appropriate for use the groove and eye allow the needles to ac­
topstitch, embroidery,
with a broader range of decorative threads commodate thick threads, while the sharper
triple or drilling, twin,
and fabrics. point aids in proper stitch formation. Top­ wing, Microtex, and
stitching needles produce an even, straight jeans/denim.

Machine needles
To take advantage of the best stitch quality
your machi ne can deliver, select a machine
needle (see the photo at right) that suits the
type of sewi ng you i ntend to do and correlate
the size of the needle with the fabric and
thread you plan to use. I t's not unusual to use a
variety of needle types while i ncorporati ng
threadwork embel lishments i nto a garment.
Machine needles are available i n sizes 60/8
to 1 20/ 1 9; however, needles designed for spe­
cific sewing applications are typically manu­
factured i n a l imited size range. Size designa­
tions correspond to the thickness of the origi­
nal wire used to make the needle : the l arger
the number, the l arger the needl e.
As a general rule, larger thread and heavier
fabrics require larger needles, while l ight­
weight fabrics and fine threads require smaller
needles. Needles that are too small for the
type of thread being used can cause fraying
and ski pped stitches. Needles that are too
large may mar the fabric with holes l arger
than the thread requires.
Variables such as thread, fabric, and tech­
n ique combine to create uni que requirements
for every project. I n some instances, it may be
necessary to experiment to determine which

53
 sti tch on woven fabrics. Regardless of the • Metafil (H-M) and Metallica (H-Met) nee­

type thread used in the needle, a standard dles have a long eye and groove to accom­
weight sewi ng thread is typically used in the modate l ightweight metallic threads that
bobbin. Topstitching needles are available tend to fray and break easily. Both needles
i n sizes SO/ 1 2 to 1 1 0/ I S . can withstand the heat and friction associat­
ed with metallic threads, which produce
• Microtex Sharp (H-M) needles are de­ more wear and tear on a needle than any
signed to penetrate densely woven m i ­ other thread. One thing to note: Switch to
crofiber fabrics. U se them a s well for top­ a new needle when the thread frays and
stitching, particularly on microfiber and breaks repeatedly. The problem most l ikely
other simil arly dense woven fabrics. is the result of a burr in the needle, which
will conti nue to plague your efforts.
• Machine-embroidery needles (H-E) are de­
signed to handle l i ght- to medium-weight • Denim needles (H-J) feature an extremely
machine embroidery and metallic threads in sharp point that penetrates directly through
a range of decorative stitching applications. the fabric to produce a straight, even stitch.
The needles have a scarf, eye, and groove Designed for use on tightly woven twills,
formation especially designed to reduce which resist uniform sti tch formation due to
thread breakage ( to find out how to deal the fabric's directional weave, they tend to
with thread breakage, see the si debar be­ improve stitch quality on a variety of wo­
low) and skipped stitches and allow the vens, maki ng them a favorite for basic con­
thread to feed through the needle with min­ struction as well as for topstitching. Once
imal resistance. available only for heavyweight fabrics, den­
im needles are now available i n si zes 70/ 1 0
to I I O/ I S .
W hat to Do W hen the
• Wing needles are wide with metal exten­
Thread Runs Out or Breaks sions, or "wi ngs," on either side of the nee­
dle shaft. As the needle penetrates the fab­
Decorative threadwork depletes thread rapidly-more so than with ric, the wi ngs push aside threads to create
garment construction. When a thread breaks or runs out m idway the characteristic holes in hemstitching.
through a line of stitching, you can still finish the work in a seam­
Wi ng needles can be used with plain or dec­
less fashion. Here's how:
orative thread in the needle . U n threaded,
1 . Work the last few inches of stitching back out of the fabric so
they can also be used to produce evenly
that top and bottom thread tails are at least 3 in. long. spaced holes for handworked saddle-,
2. Pull l ightly on the thread tail on the wrong side of the fabri c . blanket- , and runni ng-sti tch variations.
T h i s wil l bring the t o p thread through the c loth a n d form a
loop, which can be pulled to the u n derside.
3. I f the t hread on the u nderside is weak and risks breaking, • Universal needles (H) are the most versatile
bring the top thread to the u n derside with a needle. To work of all machine needles. They can be used on
with a short thread, i nsert the needle through the fa bric mid­ just about any woven or kni t fabric and
way. Thread the eye of the needle and draw i t through to the come i n a complete range of sizes, from
u nderside. 60/S to 1 20/ 1 9. Universal needles are used
4. Knot and tie off thread tails and work into stitching on the widely for garment construction , but they
underside of the garment. also work well for decorative applications
S. Rethread the machine and resume stitching directly at the and topstitching on kn its, textured woolens,
point where the break occ urred.
and velvets.

54
• Twin needles (H-ZWI) produce two evenly
spaced rows of stitching at one time. They Machine accessories
are used for decorative topstitchi ng, ma­ When embellishing garments with special
chine embroidery, plain and corded pin­ threadwork, you may need a few accessories
tucking, hemming, and applying flat ribbon for your machine, such as an extra bobbin
to fabric. U niversal twi n and triple needles case, a straight-stitch needle plate, and
are accessible i n a variety of sizes, ranging an adjustable seam guide ( see the photo
from 1 .6/70 to 8 . 0/90. Specialty twi n on p. 56).
needles-stretch ( H - S ZWI ), wing (ZWI ­
HO), denim ( H -J ZWI ) , metall ica ( H ­ • An extra bobbin case, deSignated for use
METZWI), a n d machine embroidery ( H -E with heavy threads only, is a good idea to
ZWI )-are avai lable in a l imited size range. save wear and tear on the bobbin . Using
Please note that not all twin needles are decorative threads in the bobbin requires
compatible with every machine. The 6.0 frequent adj ustments to the bobbi n tension,
and 8 . 0 needles require stitch-width settings and frequent tension adjustments made to
that exceed the maximum setti ngs on many the bobbin case can damage the tension
machines. Also, some mach ines require a spring and cause problems for normal
brand- specific twi n needle. Others, i nclud­ sewing. Addi tional ly, having a bobbin case Hand-sewing needles
(clockwise from upper
i ng straight-sti tch-only machines and speci fically for decorative threadwork al­
left in fabric); self­
zigzag machines with a side - l oading bob­ lows you to alternate quickly and smoothly
threading (or calyx),
b i n , are i ncompatible with twi n needles. between decorative work and actual gar­
tapestry, chenille, and
Consult your m achine manual or local deal­ ment construction. embroidery/crewel.
er if you have doubts about which needles
are appropriate for your machine .

• Drilling or triple needles (H-DRI) are spe­

cial needles that can produce three rows of
decorative stitch ing or two rows of pintuck­
i ng at once. They come in two sizes: 2 . 5
and 3.0.

Hand-sewing needles
The hand-sewing needles best suited for deco­
rative threadwork i nclude embroidery/crewel,
chen ille, tapestry, and calyx ( also known as
self-threading) needles ( see the photo at
right). Sizing for these needles i s opposite
from machine needles: the l arger the number,
the smaller the needle. For handworked deco­
rative sti tches, select a medium-length needle
with a large-enough eye for the thread. The
needle itself should be as thick as the thread,
so the resul ting hole does not cause friction
that could fray or break the thread.

55
 A bobbin case i s not a generic accessory, i s especially useful for sewing sheer, light­
since i t is an actual part for a specific ma­ weight, or soft fabrics that tend to get
chine. To obtain an extra bobbin case, con­ pushed into the large, rectangular hole of
tact a reputable dealer that carries parts for the standard zigzag needle pl ate. Straight­
your make and model sewing machine. It is stitch needle plates are brand specific and
important to distinguish the extra bobbin must be purchased for the make and model
case from the one you use for normal of your machi ne.
sewing so that you don't accidentally adjust
the tension on the wrong case. I mark my • An adjustable seam guide ( also called a
extra case with a permanent-ink pen for quilting bar) is especially useful for parallel
easy i dentification. Some brands market a topstitchi ng, when the space between rows
bobbin case that is color coded, but this is farther than the width of a standard press­
type is typically more expensive than a stan­ er foot. A l ong, metal bar with a guide on
dard bobbin case. one end, this tool can be used with a variety
of presser feet, i ncluding most walking feet.
• A straight-stitch needle plate can dramati ­ Additionally, left and right guides are avail ­
cally improve the stitch qual i ty of straight­ able that allow for directional stitching on
stitch seam i ng and topstitching on a variety both sides of a garment. Other types of
of fabrics. With i ts small, circular hole, the guides include snap-on and screw-in styles,
straight-sti tch needle plate provides more adhesive guides that can be applied to the
surface area beneath the fabric, which yields machine, magnetic guides, and makeshift
greater stabil i ty as the fabric feeds through guides, such as a piece of tape spaced the
the machine and the stitches are formed. I t appropriate distance from the needle.

Machine accessories
(clockwise from top
center) ; magnetic seam
guide (for wide rows of
parallel stitching), extra
bobbin case (for bobbin
work), and straight-stitch
needle plate (for
topstitching) .

56
THRE ADWORK
EMBE LLIS HMENTS BY HAND
Handwork is a signature of sorts and, i n a gar­ The pickstitch is always worked in hand on HANDWORKED
ment, the most personal evidence of i ts m aker. portions of the garment that are already inter­
STITCHES
When the work is impeccable, i ts discovery is faced, faced, turned, and pressed. Depending
always a happy one. Delicately whipstitched on the garment, the stitching may be done Hand-sewing needles
collars; pickstitched side seams on pants; duri ng various phases of construction or after (medium length and
runni ng-stitch motifs at the hem of a dress­ the garment is complete. The appearance will as thick as the thread)

details such as these were once ubiquitous vary according to the size of the stitch taken, Silk, cotton, wool,
among vi ntage garments. Now rarely seen the thread used, and the distance between linen, rayon, and
in ready to wear, they remain versatile, easy each stitch . Cenerally, thicker threads are metallic threads for
hand needlework
embell ishments for today's home sewer. spaced farther apart while fine threads on del i ­
The pickstitch, whipstitch, and running stitch­ cate fabrics are worked closer together. Marking tools (vary
es are kindergarten stitches-the ones we I n this method, the l ength between stitches with method used)

learned to sew doll clothes by hand. As you is roughly equal to the stitch i tself. Tiger Tape or wing
wil l see, they've lost neither relevance nor needles
charm ( for some simple gUi deli nes, see the 1 Mark the stitching l i ne, using one of the
methods in the sidebar on p. 62. As
sidebar on p. 5 8 ) .
with mach ine topstitchi ng, the row is typ­
ically si tuated Y8 i n . to % i n . from the gar­

Pickstitch ment's edge.

The pickstitch is a classic hand topstitching Machine and

method used to finish and accentuate collars, handworked stitches
cuffs, j acket lapels, pockets, waistbands, and embellish the cuffs and
seams ( see the drawi ng on p. 5 8 ) . A vari ation collar band of this silk
of the sturdy backstitch, i t is extremely strong dupioni blouse, while a
and durable and suited for use with multiple sprinkling of beads and
set of picot-edged beaded
l ayers only. Unl ike the backstitch and i ts
buttons complete the
offshoots-half-backstitch and prickstitch­
picture.
the pickstitch is not worked through the bot­
tom layer of fabric. Meticulous topsti tching
shows from the right side of the garment only,
while the bottom portion of the stitch catches
and remains hidden within the seam.
A variety of needlework threads are com­
patible with this techni que, but for exception­
al luster and sewing ease, try silk topstitching
thread or buttonhole twist. If you like metallic
accents, Kreinik's fine (#8) braid holds up well
without twisting or shredding and resembles a
row of tiny beads when sewn. Stitched in a
lightweight thread, it is also possible to i ncor­
porate real seed beads that are held i n place
with the tiny backstitches.

57
Guidelines for Threadwork
Embellishments by Hand
For lovely results when handwork­ • U t ilize the fu nctional aspects of • Work the stitching line from
ing thread embellishments, fol low hand stitc hes, which can be a right to left if you 're right hand­
these guidelines: practical solution to working with ed; left to right if you 're left
slippery, springy, and napped fab­ handed.
• Select a method to obtain evenly rics, such as wool gabardine or
spaced stitches ( see the sidebar • Kinks and knots result from too
velvet. H and stitc hes also solve
on p. 62). the dilemma of topstitching fab­
much twist in the thread. To re­
solve this problem, turn the
rics too b u l ky to fit beneath the
• Practice t h e stitc hes you p l a n to work upside down , let the
presser foot and are routinely
u se and perfect your technique. thread u nwind, then resume nor­
used to keep a lining from
Experiment with variables such mal stitching. Waxing thread in­
"falling away," to flatten turned
as thread type, number of strands creases its manageability for
or pressed seams, to u nderst itch
used, stitch length and place­ standard hand-sewing applica­
a facing, and to apply zippers .
ment, stitch variety, and unique tions but is not recom mended for
combinations. • N eedle size should roughly corre­ decorative threads .
spond to the diameter of the
• Recognize the role of proper ma­ • A t i ny backstitch at the begi n­
thread and the length of stitches.
terials. Threads vary i n terms of n i ng and end of every row
decorative i mpact and sewing • Cut thread at an angle and, to performs a securing fu nction
ease. N atural fibers are most minimize twisting, thread the and can be used i n place of a
manageable for hand sewing, and needle with the end from the knot. Knots and tail ends of
among these, silk is the most spool . threads should remain inconspic­
trouble free . Synthetic and uous from the right side of
blended threads are prone to • Regardless of the thread you use, the garment.
kinks and knots and are not rec­ work with no more than a n arm's
ommended u n less specifically lengt h at one time. For fragile
manufactured for handwork. threads, or those that twist or
knot, a s horter working length of
12 in. to 1 5 in. may be requ ired.

2 Knot one end of the thread. Bring the

Pickstitch needle from the bottom to top through all
of the l ayers near the edge or seam to be
embel lished.

3 Insert the needle one sti tch length behind

the thread's point of origin .

4 Catchi ng the seam allowance, i f desired,

but not the bottom l ayer of fabric, move
the needle forward two or more stitch
Stitching does not show
l engths beyond the previous stitch ap­
on the bottom. proximately 1'8
in. to % i n .

58
 U se a tailor's awl to make holes to prepare the
S Draw the needle through to the top, pull
the sti tch taut, and repeat the sequence fabric for these heavier embellishments.
along the stitching l i ne, as shown i n the Yet another application for this stitch is to
drawing on the facing page. whip it around other hand- and machine­
worked stitches, i ncluding pickstitch, run ning
stitch, and decorative bobbinwork, or over
Whipstitched pintucks or pipi ng.
Bear in mind that the whipstitch is a direc­
edgestitching tional stitch (see the drawing below) . I f you
I had never given thought to the decorative want stitches on opposite sides of a collar to
potential of the whi pstitch until I came across "lean" in opposite directions, you'll have to
an exquisite vintage dress that forever altered change direction midway around the collar.
my thinking. Made from smoky taupe geor­ Here are the basic steps.
gette, i ts shaped collar was rendered all the
more distinct by an intricate, two-tone edge 1 Use Tiger Tape ( narrow flexible tape used
as a stitching guide ) , or use the edgestitch
treatment echoed in the cuffs and hem of the
presser foot to sew in water-soluble bast­
dress, as well as in the slender, hand-sewn
ing thread close to the garment's edge.
tucks that graced i ts front. At first glance, I
was sure I was l ooki ng at an interesting
2 Thread the appropriately sized hand­
antique trim, but careful i nspection revealed sewi ng needle, knot the end of the
the to-die-for embell ishment to be no more thread, and draw through to the right side
than the simple whipstitch. Worked in silk of the fabric along the edgestitch line.
thread the color of cappuccino foam, the per­
fect sti tch ing added warmth and light to cre ­ 3 "Whi p" the thread over the fi nished edge
and rei nsert the needle from the under­
ate an i rresistible garment.
side of the garment one or more ful l
I llustrating that less is indeed sometimes stitches beyond the needle thread's point
more, the whi psti tched col lar, cuff, or hem of origin.
makes any garment special. Almost any thread
for handwork is suitable, providing it's heavy 4 Repeat the sti tch sequence along the
enough for the fabric. Silk twist or floss are edge, using the basted l i ne as the spacing
pretty, but I am also partial to cotton threads gui de. The stitches will slant i n one direc­
for this technique and love the soft matte tion, wh ich may vary, depending upon
the l ength of the stitch and the width of
sheen of DMC Flower thread, as well as other
the overcast from the garment's edge.
pearl cottons and various hand-dyed threads
from the Caron Coll ection. Also favored are
the Kreinik metall ic ribbons. The Y1 6 i n . is Whipstitched Edgestitching
i deal for light- to medium-weight fabrics,
while the Ys- i n . ribbon is useful where more Evenly spaced stitches result
in a beautiful edge treatment
impact is desired. These ribbons are easy to
using this technique.
sew, lie flat agai nst the edge, and integrate
well with most garments. And, while my per­
sonal preference for whipstitched edgestitch­
ing is the del icate type described above, the
same technique translates well to casual, even
rugged wear. Ribbon, cording, turned fabric
tubes, and flat leather lacing can be worked on
j acket coll ars and l apels, yokes, and sleeves.

S9
Dress with Running - Stitch Embellishment Running stitches
The runn i ng stitch (see the drawing on the
facing page) is the most basic hand-sewing
stitch and is used for a variety of practical and
decorative applications, i ncludi ng gathering,
seaming, basting, traditional quilting, sashiko,
appli que, pintucki ng, and-the focus of our
attention-hand topstitching. Topstitching
with the running stitch is bolder, more casual,
and works up more rapidly than the picksti tch.
In addition, i t is not l i mited to the perimeters
of the garment and can be used to produce all­
over embellishments and simple moti fs.
When applying the running stitch to a non­
interfaced area, spray starch or a l ightweight
spray-on stabilizer is recommended, unless the
fabric is sufficiently stable. Of the marking
methods, the wing needle is advantageous,
since the holes created by the needle form a
direct path for the running stitch and m i n i ­
m i z e stress on t h e thread. F o r a less controlled
look, premark the basic l i ne with a water­
soluble marker and work the stitch freely,
gauging stitch i ntervals by sight.
Because this stitch shows off thread to a
greater extent than the pickstitch, the running
stitch provides ample opportunity to play with
thread-combining unique space- dyed and
The running stitch variegated threads and the strategic use of
is the most basic
color. More than one color can be introduced
hand-sewing
stitch, but it can by combi ning threads treated as one to pro ­
be used to apply a duce the running stitch; alternating thread col­
variety of embell­
ors along the stitching l i ne; or worki ng a sec­
ishments to a
garment. ond row of stitchi ng i nto the stitch intervals
provided by the initial row. Also, the running
stitch can be combined with the pickstitch
and whipstitch to produce unique color and
pattern combinations. I n structions follow for
the basic running stitch and four variations of
it: the saddle stitch, double run ning stitch,
twisted running stitch, and threaded running
stitch (see the drawings on p . 64).

60
 Running Stitch

Work evenly spaced

stitches through all
fabric layers.

BAS I C R U N N I N G STITCH to the stitch itself. You can work thread

Attention to detail can turn one o f the world's through all of the l ayers or hide the underside
most basic stitches i nto a beautiful embellish­ of the stitch withi n the seam . A simple varia­
ment. Here's how. tion on this stitch i ncorporates a second pass
along the line, i n which a tiny pickstitch is
1 Premark the line of stitching usi ng the taken between each of the original stitches
wing-needle method, or for straight in the row.
l i nes of stitch i ng, place TIger Tape along
the stitching l i ne as a gui de. For motifs
DOU B LE R U N N I N G STITCH
or for stitch i ng li nes on the body of the
garment, draw in l i nes with a water­ Th is variation i s worked i n two passes o f the
soluble marker and fol low with unthread­ thread to form a sol i d l i ne. Work the basic
ed wing- needle stitching. running or saddle stitch along the stitching
l i ne and, when the row is complete, work the
2 Knot the thread, thread a long needle, original thread back. Or you can i ntroduce a
and bri ng i t through all l ayers at the be­ new color to fill in the stitch intervals on the
gi nning of the stitching line. second pass of the thread.

3 Weave the thread in and out of subse­

TW I S T E D R U N N I N G S T I T C H
quent holes along the stitching line. Take
several stitches onto the needle before This rendition combines the double run n i ng
pull i ng the needle and thread through. stitch and whipstitch . Work the row of double
running stitch first along the stitching line.
4 Since the run ning stitch is also used to With a contrasti ng thread, add the whipstitch,
gather, take care to keep the work flat. whipping the thread beneath each stitch,
Straighten any gathers that do occur by working forward along the row. The wh ip­
smoothing them along the working
stitch does not pass through the fabriC, except
thread, toward the needle.
for at the beginning and the end of the row.

SA D D L E S T I T C H TH R EAD E D R U N N I N G STITCH
Used for h igh -impact topstitching on casual, To make this variation, work one or more rows
sporty garments, the saddle stitch is worked of the running stitch parallel to one another so
with a thick thread in a contrasti ng color. that i n dividual stitches in equidistant rows are
Work as for the basic run n i ng stitch but al igned, or staggered. Lace addi ti onal threads
i ncrease the stitch l ength to between 1'4 i n . through the l i nes of stitching. The lacing is
and 1'2 i n . l ong. Work the stitch evenly so worked beneath the decorative surface threads
that the distance between stitches is equal only, not through the fabric.

61
Four Ways to Obtain Evenly Spaced,
Handworked Stitches
One of the primary challenges of on the garment and machine pp. 5 1 - 5 2 and test to deter­
handwork is achieving evenly baste ( topstitch) along t hese mine an appropriate choice.
spaced stitches a l igned with the lines. U se presser feet, an ad­ 3. Preset the machine or test to
garment's edge. The handworked justable seam guide, or pre­ determine the desired stitch
stitches in this chapter are general­ drawn lines/motifs to guide lengt h .
ly worked in �8- i n . to %-i n . i nter­ your stitches. Experiment to 4. R u n the fabric through a ma­
val s . To achieve accurate spaci ng, determine the stitch length chine fitted with an unthread­
premark in tervals along the stitch­ that wi l l enable you to achieve ed wing or large u niversal
ing line by machine basting, using the desired effect. Some ma­ needle. U se presser feet, an
an unthreaded wing needle, using a c h i nes have long stitch and adjustable seam guide, or pre­
water- or air-soluble marking pen, basting stitch setti ngs that wil l drawn l i nes/motifs to guide
or using tape. b e especi a l ly welcome for stitching. As the needle pene­
With any of t hese methods, al­ m arking long stitch intervals. trates the fabric, visible holes
ways create a sample using the fab­ 2. Work hand stitches over will appear to designate the
ric, interfaci ng, and n u m ber of lay­ water-soluble basting thread, stitching line for handwork.
ers planned for your actual project, or directly beside silk thread, Create l i nes to embellish
as this is the only way to determine fol lowing the machine-basted along the edge or across the
accurately the proper stitch-length placement line. U se the body of the garment-any­
setting on your machine. length of the basting stitches where handwork is desired.
as a guide to achieve accurate­ 5. Loose-weave, natural-fiber
Machine basting ly spaced handwork. fabrics wi ll retain the needle
This method requires basting a line 3. Secure handworked stitches hole, making the stitching line
of stitching that then serves as a on the wrong side of the fab­ and spacing between stitches
guide for placement of handworked ric and remove all traces of readily visible. Syn t hetic fibers
stitches. The basting t h read is re­ basting thread. and certain fabric weaves will
moved once handwork is complete, cause some fabrics to spring
so use thread that removes easily Using an unthreaded back into place after the nee­
and does not mar fa bric. Thread wing needle dle has penetrated, making it
c hoices include water-soluble bast­ This is the fastest, easiest way to difficult to determine the
ing thread-which dissolves when mark in lines for the running stitch placement of the hole. When
exposed to steam from an iron-or and pickstitch . It is best suited to this happens, it is often feasi­
50- to 1 00-wt. silk. I f you 're using loose-weave, natural-fiber fabrics ble to hold the fabric to a l ight
silk, decrease the needle tension such as linen and cotton, whic h re­ source and mark the holes
s lightly, which wil l make the bobbin tain the holes produced by the wing with a contrasti ng-color fabric
thread easy to remove from the fab­ needle. Test the fabric i n advance marker im mediately after the
ric once the hand stitching is com­ to determine suitability of this fabric has been run through
plete. C hoose a color that contrasts method. the machine. I n this way, a
with both the fabric and thread 1 . Determine the design and fabric with short-term reten­
used for handwork, and keep in placement of stitching lines tion can be used with this
mind that long stitches are easier to on the fabric . method.
rip out once the basting has served 2. Apply spray starch to the area 6. Work hand stitches directly
its purpose . to be embellished. If addition­ into the holes produced by the
1 . Determ ine the placement o f al stability is requ ired, con­ wing needle and secure the
handworked embellishments sult the list of stabilizers on stitches as required.

62
Using a water- or stitch, since you could sew to either using a c lear, gridded ruler
air-soluble marking pen side of the tape. At a narrow width and a water- or air-soluble
This method takes more time and is of �16 in., flexible tape is a good marking pen .
no more acc urate than the previous c hoice for any of the stitches, in­ 2. Posi tion t h e adhesive side of
methods, but it may be appropriate cluding whipstitching along a gar­ the tape to the fabric directly
for applications that are difficult to ment's edge. More flexible than its next to the stitching l i n e .
gauge or maneuver directly on the counterpart, flexible tape is also 3. Work h a n d stitches directly
mac hine. M otifs, tight curves, long, suitable for marking gentle curves. next to the tape, using the
asymmetric, or u neven stitch i n ter­ 1 . U se the edges of the garment evenly spaced marks on the
vals call for this method, which can as a placement guide, or, if tape to determine consistent
also be u sed i n conju nction with desired, premark l i nes the de­ stitch lengt h .
the previous two. sired distance from the edge
1 . U se a water- or air-soluble Though time­
marker with a c lear, gridded consuming, using a
ruler to mark long, asymmet­ water- or air­
ric, or uneven stitch interval s ; soluble pen is the
a French curve, protractor, o r best method for
flexible ruler to i ndicate marking a
c u rves; or simply draw free­ pickstitched motif
hand motifs of any shape or like this one.
size, wherever embellishment ( P hoto by Sloan
is desired. Howard.)
2. If regu lar spacing along a
stitching line is desired, mark
in tervals using i nc rements on
a straight or flexible ruler. Or,
combine with either of the
previous methods to c reate
even spacing where feasible.
3. Work hand stitches directly
over the markings and remove
the pen marks as per the man­
ufacturer's i nstru c tions.

Using tape
Tiger Tape, �4- i n . -wide tape, and
flexible tape can be adhered d i rect­
ly to your garment wherever you
plan to hand stitch. The nonadhe­
sive side of the Tiger Tape is
marked at n i ne lines per inch, or
roughly �8 in. apart. The �4- i n . -wide
tape would be a good c hoice for
guiding parallel rows of ru n n i ng

63
Running -Stitch Variations

Saddle stitch (one pass) Double running stitch (two passes)

- - - - - - -
= = =
=-

Take long, even

Work two parallel rows of evenly
stitches though
spaced stitches through all layers.
all layers.

Threaded running stitch (two passes) Twisted running stitch (two passes)

Work one row

of running
stitch. Thread
the second row
beneath each
stitch, alternat­ Work one row of running stitch. Whip
ing from top to the second row around the first, without
bottom. catching the previous row or fabric.

Threaded running stitch (four passes) Stepped running stitch (two passes)

Work two parallel rows of running stitch close

together. Thread from left to right, then right to left.
Work two parallel rows of running stitch. Step
the second row so that the under/over pattern
alternates with the first.
Stepped and threaded ru nning stitch (three passes)

Work two rows of running stitch. Zigzag

over and under alternate rows.
Threaded running stitch and pickstitch (six passes)

Saddle stitch and pickstitch (two passes)

=0 =0 =0 =0 =0 =

Work three parallel rows of running stitch.

Work one row of saddle stitch. Work Thread all three rows from right to left, then
the pickstitch along the same row. left to right. Work one row of pickstitch in the
center of each oval.

64
THRE ADWORK
EMBE LLIS HMENTS BY MACHINE
The topstitch, channelstitch, bobbinwork, and
corded satin stitch are uncomplicated tech ­
niques at their fundamental best. They
demand quality materials and workmanship,
but successful results can be achieved with
even the most basic machine. They are all
machine-worked techniques that can add
designer details to any garment. Learning how
and when to use them will put at your disposal
embellishments that once seemed outside the
realm of possibility. The garments you make
will appear more finished and professional, not
to mention more intrigui ng.
Apart from "just right" materials and a fabu­
lous deSign, mastery of threadwork embellish­
ment relies on the sewer's knowledge of how
to obtain consistent, satisfactory results from
the sewing mach ine. U n derstan ding tension
and stitch quali ty and being able to recognize
and control these factors on your machine are
vitally li nked to achievi ng your creative
visions with utmost success.

Tension adj ustments

Decorative threadwork by machine requires
adjustments to the needle and/or bobbin ten­
sion setti ngs used for standard sewi ng applica­
tions. It is important to know how and why to
make adj ustments to achieve the look you
desire for the stitches you select.

N E E DLE TE NSION
The needle tension affects the degree of ten­
sion on the needle thread and the rate at
which it passes through the tension disk to the
eye of the needle. Ultimately, it controls the
amount of thread that is fed i nto the top side
of the stitch. Most machines have a dial for
controll i ng needle tension on the front or at Decorative machine stitches are featured in
the top of the machine. The dial may be num­ the ornate border design of this vest.
bered, from one to ten, or simply i ndicate plus

65
 or m i nus for more or less tension. "Normal" Negative adjustments to the bobbin tension
tension is generally at or near the center of may be required for decorative bobbinwork so
the dial. When the needle and bobbin tension that the heavier thread can pass readily
are appropriately set for standard sewing, the through the bobbin case. Th is is done by loos­
result is a perfectly balanced stitch. ening the tension screw on the bobbin case, or
Most decorative threadwork requires loosen­ on some machines, bypassing tension com­
ing the needle tension slightly, which feeds pletely. (For specific i nstructions on adjusting
more thread i nto the top side of the stitch and the bobbin-case tension, see p. 77. )
allows the embellishment threads to "relax"
and lie flat, without puckering or distorti ng
the fabric. For satin stitching and compact Stitch quality
embroidery stitches, loosen ing the needle ten­ With threadwork embellishments, stitch quali­
sion draws the top thread to the underside of ty ( the overall performance and appearance of
the fabric, where the loop is formed. This pre­ stitches produced on a sewing machine) deter­
vents the bobbin thread from showi ng on the mines aesthetic appeal and, ultimately, the
right side of the garment. When a looser ten­ success of the project.
sion setting is called for, begin by reducing the Poor stitch quality refers to a stitch that
tension by one to two settings, then fi ne-tune does not perform its basic function well ,
the setting from there. appears unattractive, o r both. I ndications of
In some instances, it may be desi rable to poor stitch quality i nclude uneven tension, a
tighten the needle tension. A contrasting poorly balanced stitch, puckering, stitches that
thread i n the bobbin can produce unique top­ are wobbly or uneven, and "skipped stitches"
stitching effects when tension is i ncreased that unravel from the fabric or ball up beneath
enough to draw the bobbin thread to the right it. Poor stitch quality detracts from both the
side of the garment. Decorative bobbi nwork is appearance and basic performance of a gar­
yet another place to experi ment with tension, ment. Good stitch quality refers to properly
as unique effects can be achieved by l ooseni ng formed stitches that function appropriately
or tightening the needle tension. and are generally pleasing to the eye.

BOBB I N TENSION O B TA I N I N G G O O D
The bobbin tension controls the amount of STITCH QUALITY
thread fed into the underside of the stitch. Wh ile overall stitch qual i ty corresponds
When a decorative thread is used i n the nee­ directly to the basic performance characteris ­
dle, tension adjustments are generally made to tics of a sewing machi ne, a variety of factors
the needle or top tension only. However, combi ne to produce the stitch qual i ty evident
some machines have a "finger" or extension of i n any given situation. By paying attention to
the bobbin case, which i ncreases tension these factors, i t is possible to obtain consis­
(without alteri ng the setting of the bobbin tent, good stitch quality with your machine.
case) when the thread is routed through. This
draws the top thread to the underside of the • Keep the machine clean, well oi led, and
fabric. Also, lightweight bobbin threads bene­ maintained.
fit from increased tension, since normal bob­
bin tension is set for thicker, standard-weight • Always begin a proj ect with a fresh needle,
sewing thread. If your bobbi n case has this appropriately chosen for the application at
feature, use it in conjunction with reduced hand. In some cases, more than one type of
needle tension for decorative stitches. needle may be a candi date for the task. I f
the first needle you select produces l ess-

66
 than - satisfactory results, try an alternate • Thread qual ity is critical. Don't be tempted
TOPSTITCHING
needle type or size. by bargain-basement thread unless you're
willing to pay its true price: frustration. Needles for light­
• Change the needle whenever stitch qual i ty weight threads: top­
deteriorates, as a bad needle is often the cul ­ • Select a needle that best corresponds to the stitch (70/1 0 to
90/1 4); M icrotex
prit. Decorative threadwork puts more thread, fabric, and task at hand. A si ngle
sharp (60/8 to 90/1 4);
stress on the needle than general sewing garment may require using a variety of nee­
wing (1 00/1 6 to
and requires frequent needle changes. dles for various phases of construction 1 20/1 9); double hem­
and finishing. stitch, embroidery
• Fraying thread and skip ped stitches can be twin (2.0175 to
the result of l i n t buildup in the machine; an • Proper presser-foot selection i mproves 3.0175); twin/double
(3.0/90 to 4.0/90);
improper needle poi nt or size too small; an sti tch quality. The foot secures the fabric for
drilling/triple (2.5 to
improperly i nserted, dirty, or damaged nee­ i nsertion of the needle and keeps it stable as
3.0)
dle; or the type of thread used i n the ma­ the feed dogs move it forward for the stitch.
Needles for heavy
chine. A sil icone lubricant such as Sewer's I n addi tion to performing specialized em­
topstitch threads:
Aid is frequently helpful for touchy threads, bell ishment and sewing tasks, the presser
topstitch (90/1 4 to
i ncluding metal lics. Try this directly on the foot is designed to keep the basic function 1 1 0/1 8); jeans/denim
thread or in the eye of the needle if clean­ of the foot intact by accommodating surface (1 00/1 6 to 1 1 0/1 8);
ing the machi ne and changing the needle variations produced by such embellish­ u niversal (1 00/1 6 to
fai l to produce desi red results (do not use ments. An embroidery foot, for example, 1 20/1 9); M icrotex
sharp (1 00/1 6); twin
lubricants with ti nsel threads. ) has a deep, wide groove to accommodate
jeans/denim
the added bulk of compact decorative
(4.0/1 00); twin/dou­
• Most decorative threadwork appl ications stitches wi thout hanging up beneath the ble (4.0/1 00 to
require tension adjustments to the needle presser foot. 8.0/1 00)
and frequently to the bobbin. If you are
Needles for knits:
not well acquai nted with how tension is • Reduce speed when sewing decorative and twin/double (3.0/90
controlled on your machine, consult your compact embroidery sti tches! Sewing slow­ to 8.0/1 00); twin/
machine manual . ly allows the thread to feed through the stretch (2.5175 to
needle properly and the mach ine to deliver 4.0175); universal
(80/1 2 to 1 20/1 9);
• Adjust stitch length and width settings for its best stitch formation.
stretch (75/1 1 to
different threads, as well as the materials be­
90/1 4)
i ng sewn . In general, compact stitches and
short stitch l ength settings are appropriate Topstitching Presser feet: %-in.
(patchwork) foot,
for lightweight threads, while heavier Topstitching-defi ned as visible stitching on
jeans foot, walking
threads i n the needle require longer settings the right, or top side, of the garment-is so foot, Cordonnet (top­
for proper stitch formation. Heavier fabric routine to sewing that its decorative potential stitch foot), edgestitch
uti l i zes more thread to form a basic stitch is easy to overlook. Yet, all i t takes to el evate foot
and may require additi onal length to pro­ this ordinary sewi ng task is selecting the Straight-stitch plate
duce the same visual result as a shorter appropriate needle, thread, and presser foot, (for single needle)
stitch length on a finer-weight fabric . and making a few simple adjustments to the
Adjustable seam
sewi ng machine. Add this to the generic pre­ guide
• Stabilizers enhance stitch qual i ty. The de­ scri ption for excellent stitch quality, and the
Sewer's Aid (optional)
gree of support required varies according to result is an elegant embell ishment that delivers
the stitch, application, and materials select­ all of the functional benefits of topsti tching: a Seam gauge

ed for embell ishment. lightweight thread in fini shed, professional l ook, crisp l i nes and Fabric marker
the bobbi n facilitates proper formation of edges, increased body, and shape that holds
decorative and compact stitches. fast through repeated cleaning and wearing.

67
 Perhaps you've tried decorative topstitching H igh-contrast fabrics and thread, such as
in the past and experienced di fficulty achiev­ black on a cream ground or white thread on
ing straight, uni form stitches; gaugi ng the navy, are eternally popular since the result is
appropriate distance from the edge; or getting so vivid, but subtle combinations can also
stitches to form properly and remain consis­ be compell i ng.
tent. The i n formation here will help you side­ Tone on tone works best when the light­
step probl ems such as these and achieve the reflective properties of the thread and fabric
results you're after. di ffer. The luster of a heavy silk thread against
the matte appearance o f wool crepe, for exam­
W H E R E TO T O P S T I T C H ple, i mparts low-key elegance that enriches
Topstitching i s frequently use to accentuate the appearance of the garment without being
seamlines and to embellish the edge of a gar­ showy or dramatic .
ment, such as collars, cuffs, facings, yokes, Yet another approach is t o u s e topstitching
front bands, seams, pockets, welts, belts, and to introduce more than one color, by way
waistbands (see the photo below) . U n l ike of consecutive rows worked in alternate
many other forms of embellishment, topstitch­ colors or with a variegated thread. H i gh or
ing thrives on complex or unusual piecing and low contrast, classic or i nnovative, colors
can be used to draw attention to the structure used for topstitching can i ntegrate various
The topstitched details of an intriguing garment. Yet topstitching components of a wardrobe and draw attention
on the collar, cuff, and need not be lavish to have an effect. Typically to-or away from-a particular aspect of a
pocket flap take this even l ight touches create substantial impact. garment or ensemble.
casual brown wool shirt
out of the realm of the
C O L O R C O N S I D E R AT I O N S FA B R I C C O N S I D E R AT I O N S
ordinary. Simple
Decorative topstitching rel ies heavily on Topstitchi ng is compatible with most wovens
handworked stitches
accent the cuffs and the color and is especially well suited to solid fab­ and knits; however, some fabrics do not show
back yoke. rics, as prints tend to diminish its impact. off topstitching well, while others require spe­
cial accommodations. In general, topstitching
is at its best wedded to a smooth, even sur­
face. HeaVily textured fabrics and dense,
heavy twills often skew the stitches, maki ng
the result less attractive.
Possible solutions i nclude changing the
needle and thread and maki ng alterations to
the stitch. For heavy tweeds or textured
boucles, try a size 1 1 0/ 1 8 or 1 20/ 1 9 universal
needle. For twill, try a 1 6/ 1 1 0 topstitch nee­
dle, or 1 6/ 1 1 0 Microtex sharp. In both
i nstances, topstitching with silk thread
and/or lubricating the needle, tightening the
tension slightly, and lengtheni ng the stitch
may make a positive di fference. Be sure to
press the topstitched row prior to assessing
the stitch, as the silk thread wil l actually sink
into the fabric .

68
P R E PA R AT I O N you wish to embellish, read through the con­
FOR TOPSTITCH I NG struction sequence advised in the pattern
Topstitching must be done on stabilized directions, and determi n e where, in the
areas of the garment. Because this technique sequence, topstitching must be done. Write
is typ ically applied to portions of the these notations directly in the pattern i nstruc­
garment that are already interfaced, faced, tions so that you don't overlook topstitching
turned, and pressed, use of additional stabiliz­ the collar, for example, before i t's already sewn
ers may not be necessary. For l ightweight to the rest of the garment (general topstitch­
and slippery fabrics, and in other i nstances ing gui deli nes are listed below).
when additional stab i lity is desired, spray
starch is recommended. USE OF G U I DES AN D
Topstitching sequences correspond to the G U I D I N G TECH N I QU E S
making up of the garment and must be One of the hallmarks of attractive topstitching
thought out l ogically in advance. As a general is that consecutive rows are uniformly distant
rule, topstitch as soon as possible in the con­ from one another as well as from the seam or
struction of the garment. Working small and edge. Achieving consistent spacing is not a
reducing bulk as you sew keeps you i n control matter of luck. Here, the notion of skil l is tied
and makes i t easier to guide garment sections not to the abi l i ty to gauge distance but to
through the machine. proper selection of a presser foot or guide that
Frequently, patterns i nclude topstitching i n helps accomplish that task.
the general sewing directions for that garment. A presser foot is the best choice for guiding
If not, determi ne what portions of the garment widths of up to % in. (this distance may vary,

Topstitching Guidelines
The fol lowing techniques empha­ • For heavy threads, tighten the once the row of topstitching is
size methods and materials that top tension , lengthen the stitch, complete will "set" the threads
perform wel l on a variety of ma­ and lubricate the needl e . and give that portion of the gar­
c h i nes. Regardless of the machine ment a finished look that wil l re­
you own or the type of topstitching main evident once the garment
• For fine fabrics, u s e fine thread
you elect to do, the following guide­ is complete.
and a short stitch length to re­
lines apply.
duce puckering.
• Hold on to t hread tails when you • Long rows of topstitchi ng-such
begin to stitch to keep the thread as those that extend from around
• Topstitching adds body and
from balling up, or jamming, on the neck, down the fron t , and
c rispness that increases with the
the u nderside. around the hem-can be broken
number of rows stitched. The
up and completed in more than
stitch length also corresponds
one pass. Begin at a m idpoint,
• Stitch s lowly, with the outside of to the degree of stiffness,
such as at the back neckline, and
the garment right side up. If your with shorter stitches adding
sew opposite sides in a parallel
machine has a reduced speed set­ more body.
direction. Be sure to stop and
ting, use it. start i n a seamless fashion.
• Prior to topstitching, a l l seams
• Fol low general recommendations should be pressed ope n , even if
for stitch quality ( see pp. 66-67). they are to be pressed to one side
before sewing. A final pressing

69
 depending on t h e presser foot used and on the Temporary guides c a n also b e used to
To topstitch with a
maximum sti tch width of the machine). mark a specific distance from center needle
heavy t h read in the
Which presser foot to use will depend on the to any point on the bed of the machine.
needle, pair it with a topstitching method used and on other fac­ Frequent solutions i nclude magnetic seam
sta n d a rd or l i g ht­ tors, i ncluding materials selection. ( For more guides (be sure they can be used with your
on the presser foot, see pp. 49-50. ) machi ne), drafting or Sewer's Fix It Tape, or a
wei g ht t h read i n the
M y favorite foot for topstitching is the rubber band wrapped around the free arm of
bobbin. Use a m a - Y4- i n . foot because the markings front and the mach ine.
chine need le with a n back of center, as well as the perfect Y4 i n . to Perfect corners result from determ ining the
each side, make it so easy to use. Likewise, exact pivot point, and not overri ding or stop­
eye l a rge enough to
the edgestitch foot used in conj unction with ping short of that location. You can achieve
accommodate the
the needle posi tions on my machi ne is ideal precise results with a Y4- i n . presser foot, or you
thickness of you r for edgestitching on the outside of a garment can mark the pivot point directly on the fabric
t h read, such as a size and allows for directional sti tching on either using an air-soluble pen.
side o f a seam. Favorites aside, I routinely Use a tailor's awl or sew a thread tai l to the
1 4- 1 8 topstitch
use all of the presser feet i n dicated i n the corner to provide a secure hold as you pivot
needle. Fi n a l ly, to materials list, when they conform more pre ­ the fabric and to prevent the presser foot from
produce a g reat­ cisely t o t h e particulars of whatever task I am hanging up on the corner as you stitch away
trying to achieve . from it. Use silk thread for the tai l , since i t
looking stitch,
A presser foot designed for straight stitch­ doesn't m a r the fabric.
lengthen the stitch to
ing only offers the greatest degree o f stability If you reach the pivot point and the
3 m m - 5 m m and i n - and produces the straightest possible stitch, needle is midway through a stitch, i t is still
crease t h e need le especially if used with a straight-stitch sole possible to pivot at the appropriate point.
plate and a Microtex sharp, j eans/denim, or The following method results in a shorter
te nsion, wh ich w i l l
topstitch needle. A presser foot designed for stitch to one side of the corner, but this is
control the a m ount of use with zigzag stitches, on the other hand, preferable to overri ding the correct location
thread fed into the accommodates the various needle positions on for the pivot point. To complete the stitch
the machine but may not provide enough sup­ immediately where the needle is l ocated,
top portion of the
port for a quality stitch on some fabrics or follow these steps.
stitch a n d prevent it
with particular threads. Every project is
from b a l l i n g up or unique, and some experimentation will be 1 Drop the feed dogs.

knotting on the u n ­ required to determine which foot works best

in a given situation. When you use accessories 2 Sink the needle i nto the fabric .
derside o f t h e fabric.
designed for straight stitching only, always
I n creased needle ten - check to see that the needle is in the center
3 Raise the presser foot and pivot the fab­
ric, bringi ng the perpendicular edge i nto
s i o n i s a lso cal led for position before stitchi ng, and remember to alignment with the guide or presser foot.
change the presser foot and switch back to the
when topstitch i n g
standard sole pl ate prior to alteri ng the needle 4 Drop the presser foot, raise the feed
with a heavy t h read dogs, and conti nue stitching along the
position or using a zigzag stitch. Failure to do
i n the bobbin (see so wil l cause the needle to break. new edge.

pp. 76-79). For distances wider than % i n . , use a seam To guide topstitching around curves, gauge
guide attached to the presser foot or use con­ a poi nt equidistant to the needle and to the
secutive markings on the sole plate of the end of the presser foot and directly to the
machi ne . If additional markings are required to right of the fabric . To guide edgestitching,
gauge the distance between rows of topstitch­ keep a midway point on the i nside of the
i ng, tape a clear adhesive ruler to the bed of presser foot i n view. For topstitchi ng or
the machine . edgestitchi ng, keep the edge of the fabric

70
al igned with this point as it feeds beneath the This produces the look of heavy topstitch­
presser foot. Stitch slowly, stopping, if neces­ ing but allows you to use lightweight, deco­
sary, to check alignment or to reposition the rative thread in the needle. Use a topstitch
fabric . In some instances, successfully negoti ­ or embro i dery needle 75/ 1 0 to 90/ 1 4 (select
ating tight curves may also require shortening the size to match thread) . U se lightweight
the sti tch just enough to round the curve cotton or bobbi n thread in the bobbin.
smoothly, and resume regular stitch l ength
once the turn is complete. • S e w with a heavy, decorative thread i n the
bobbin and with l i ghtweight decorative
T R A D I T I O N A L T O P S T I TC H I N G thread in the needle. ( See pp. 76-78 for
Traditional topstitching consists of rows of bobbi nwork i nstructions . ) Select the needle
straight stitching worked at the seams and at size to match the thread i n the needle .
the edge of the garment. Rows are typically
Ys in. to % i n . from the edge, and the stitching T O P S T I TC H E D M OT I FS
is guided by use of a standard or Y4- i n . Curved a n d geometric motifs can b e easily
presser foot. Edgestitching may run parallel worked i nto topstitching treatments. For best
to these rows and is guided with an results, select simple designs that consist of
edgestitch foot, the bli ndhem foot, or the one conti nuous line. The easiest way to trans­
inner toe of a standard presser foot, with fer the design is to trace it to a piece of water­
Don't backstitch to
adjustments to the needle position made as soluble stabili zer and pin or baste the stabiliz­
secure the beg i n n i n g
requi red. The sti tch length is determ ined by er in place on the area of the garment to be
the weight of the fabric: Short stitches (2mm embellished. Stitch directly on top of the sta­ or e n d o f a top­

to 2 . 5mm) are appropriate for lightweight bilizer along the design line. Use an applique stitched row. For
threads and fabrics, while a longer stitch or leather roller foot if the design calls for
rows that a re not en-
( 3mm to 6mm) produces a desirable l ook for negotiating curves. Sew slowly and adjust
stitch l ength as required to work the motif. closed wit h i n a sea m,
heavier fabrics and threads.
I n general, for topstitching to be consid­ leave long t h read

ered an embellishment, it must be decorative Parallel topstitching

tails and tie them se-
in some way. Typical ly, topstitching derives Parallel topstitching refers to rows of top­
curely on the wrong
impact through repetition ( as with channel ­ stitching spaced parallel to one another at reg­
stitching) or the bold use of line and color. ular or uneven i ntervals. The topstitch ing side of the ga rment

U se the foll owi ng methods to produce high­ may consist of si ngle rows or groupings of two after sewing the l i n e
impact topstitching for a classic l ook with to three closely spaced rows set apart by
o f stitch i n g . Use a n
timeless appeal. l arger interludes. The overall effect and the
use of space is more dramatic than traditional easy t h rea d i n g calyx

• Double up machine embroidery threads in topstitching and not as uniform, closely needle to d raw both
a single 90/ 1 4 topstitch or embroidery spaced, or repetitive as channelstitching.
t h reads t h ro ug h the
needle. Use lightweight bobbin thread or Paral lel topstitching is well suited to cuffs,
fabric layers,
60-wt. cotton in the bobbi n . hems, and l apels and is equally effective
on knits or wovens. It l ooks especi ally reemerg i n g on the

• Use buttonhole twist o r topstitching elegant on fabrics with some 10ft, si nce they u n derside. Clip tails
thread with a heavy topstitching needle. produce texture variations that show off the
close to the g a rment.
Use standard thread i n the bobb i n . stitch ing. To further dramatize this effect,
work the topstitching in a shade or two
• Sew with a triple straight stitch, if you have darker than the fabric. Or, if time and inspira­
that option on your machine, or a feather tion allow, embellish the l arger channels
sti tch with the stitch width adjusted to zero. with simple geometric motifs or zigzags,

71
 Double topstitched seams
Accenting with the Topstitch Double topstitching worked on each side of a
pressed seam always adds a couture touch.
Worked in increments more typical of
edgestitching than tradi tional topstitchi ng, the
farthest row is generally spaced no more than
Ys i n . to either side of the seam. It is especially
lovely worked in silk thread on gourmet
woolens, but try it as well on l i nen or three­
ply silk. Garments that feature this detai l do
take more time to make, but the results are
usually well worth the effort, as the top­
stitched seams add shape and body, accentuate
the l i nes of the garment, and contribute to its
beauty and l ongevity. Typically, topstitched
seams are worked throughout the garment
rather than selectively. Topstitching is com­
pleted as i ndividual parts of the garment are
put together, as it is impossible to get good
results once the garment is sewn .
The preferred foot for this technique is the
edgestitch foot, but the i nside toe of an al ter­
nate foot can also be used. To topstitch using
the edgestitch foot, guide the blade of the
foot directly i n the m iddle, or "ditch," formed
by the sewn seam. Work only on seams that
have been pressed open . Always begin at the
top of the seam (the portion that wil l be
uppermost on the body) and stitch toward the
bottom. Each seam will involve four passes .
Topstitch details and accents highlight and play off the cut of
the garment. Use a thread similar in weight to what you
woul d use for garment construction, but for
decorative effect, choose a thread with luster.
using the method for topstitched moti fs Again, because of i ts light-reflective proper­
described previously. ties, strength, and resil ience, silk is the ulti ­
To work parallel topstitchi ng, use a mate thread of choice. To produce a double­
medium-weight thread, such as 30-wt. three­ topstitched seam, follow these steps.
ply silk, or two l ightweight threads doubled
up in the needle . An adjustable seam guide 1 Position the fabric right side up, with
will help to gauge l arge intervals, while a the top of the seam beneath the
edgestitch foot.
presser foot remains the most practical way
to produce closely spaced rows. A walking
foot is also useful for long l i nes of stitching or
2 Select a needle position directly to the
right of the seam and sew, guiding the
for fabrics that tend to pucker or shift, as i t blade of the presser foot directly in the
feeds t h e t o p l ayer a t a rate consistent with m i ddle of the seam.
the bottom.

72
 sewing with twi n and triple needles, predeter­
3 Reposition the fabric at the top of the
seam and alter the needle position to the mine the m aximum stitch wi dth that the nee­
left of the seam . dle can accommodate. Set the machi ne for
that width prior to sewing; otherwise, the nee­
4 Repeat steps two and three but move dle may break.
the needle position to the far right and
To calculate the maximum stitch width
far left, respectively, prior to stitching
of a needle, subtract the needle width
the seam.
( indicated by the first number deSignation
on the package) from the widest width
5 When all rows are finished, use a press
cloth, and press the seam. setting on your machine. Be sure to reset the
width if you move to a wider needle or
select a different stitch. Some machines
M ultiple-needle topstitching have a double needle l i miting function that
Double and triple needles offer a convenient automatically l imits the width of the stitch.
and quick solution to producing two-or even Consult your manual to see if your machine
three-evenly spaced rows of topstitching has this function.
with j ust one pass of the machi ne. Two or To begin sewi ng, hold on to all thread tails.
three threads are threaded through individual Manually turn the hand wheel through the
needles attached to the same shank for i nser­ first stitch sequence to ensure that the needle
tion in the machi ne. A singl e bobbi n thread clears the presser foot. Then sew a few more
forms a zigzag stitch on the underside of the stitches and assess the needle tension and
fabric when the stitch is sewn, so use this stitch length . Loosen the tension i f you
method only when the zigzag on the under­ want a flatter stitch, tighten for a raised
side is acceptable, or work the topstitch ing on effect, and adj ust stitch length as required.
garment pieces prior to facing them, so the In addition to straight-stitch topsti tching,
underside will be hidden from vi ew. As usual, the double needl e can be used with other
thread weights correspond to the needle size, decorative stitches and practical stitches that
so be sure that thread, needle, and fabric are produce a decorative effect. Again, check
compatible. Thread colors can be combined the stitch width prior to sewi ng to prevent
for added interest. needle breakage.
Presser feet suitable for a traditional top­ Turn ing corners with a double or triple
stitched look with twi n needles i nclude the needle requires manually walking the outside
standard zigzag presser foot, the standard needle around the pivot point for a couple
embroidery foot, and the preferred open of stitches. The i nner needle continues to
embroi dery foot. Reduced needle tension will strike the same l ocation until the outer needle
be required, i n most cases, to get the parallel has rounded the corner. When the stitching is
rows of stitching to lie flat. complete, the inner corner will form a sharp
If a pintuck effect is deSired, use a pintuck right angle, while the outer corner will be
foot that corresponds to the needle width you less severe. I f you take care when pivoting,
plan to use. To enhance the pintucked effect, the di fference between the two will be
tighten the needle tension and, if deSired, cord barely noticeable.
the pintuck with pearl cotton , crochet cotton, To turn corners gracefully, stitch along
or gimp. the stitching l ine until the inner needle
Threading two threads through the reaches the pivot point or inside corner. Sink
machine is necessary to use a twi n needle. To the double needle at this point, dropping the
use a tri ple needle, three threads must be feed dogs if you reach this point midway
threaded through the machine. Also, when through a stitch. For the next two or three

73
 stitches, the i n ner needle will penetrate
5 When using a wide double needle, you
the same corner location. Here's how to turn can make a less-conspicuous turn by tak­
a corner. ing additi onal , shorter stitches as you
complete the turn .
1 With the needle down in the fabric, lower
the feed dogs, and lift the presser foot.
Channelstitching
2 Turn the fabric approximately 45° so that
Channelstitching is an extremely versatile and
the outer needle rounds the corner
halfway. Check the location of the i nner effective embelli shment that can be used to
needle to see that it will reenter the same adorn sandwashed silk blouses, wool melton
corner hole when the needle is lowered. coats, and everyth ing in between (see the
photo below left) . Channelsti tching consists
3 When the needle is properly positioned, of multiple rows o f topstitchi ng, generally
lower the presser foot and turn the fly­
wheel forward manually to sink the nee­
worked from 1'8 in. to % in. apart. The closely
Channelstitching lends worked rows have a stabilizing-even
dle, taking a si ngle stitch.
body, texture, and sti ffeni ng-effect that must be considered in
guidelines for beading to advance but can be used to advantage on fac­
the collar, frontband, and 4 Repeat the process to complete the turn,
raise the feed dogs, and fi nish sewing. i ngs, applied welts, waistbands, cuffs collars,
cuffs of this blouse.
and the like.
In general, channelstitchi ng is worked with
a slightly shorter stitch length than decorative
topstitching. A variety of l ight- to medium­
weight threads are appropriate for cottons,
l i nens, and rayons, but for silks and woolens,
silk thread is especially recommended. Avoid
heavy topsti tching threads for this application ,
as the results will be too sti ff.
A variety of feet can be used for channel­
stitching, but my personal favorite is the Y4- i n .
foot, when I c a n get away with it, since it pro­
vides guides for perfect Ys- i n . and Y4- i n .
i ntervals. H owever, i n some i nstances-such
as l arge groupings of long rows-a walking
foot is a necessity. In this case, I use the
outside and i nside of the presser-foot toe,
along with the needle positions on the
machine, to gauge the distance accurately
between consecutive rows.
Although the traditional use of channel­
stitching is lovely i n i ts own right, the decora­
tive potential of this techni que is underused
and far richer than one would first assume.
To pique your imagi nation, here are some
ways to use channelstitching to create elegant
embellishments.

74
C H A N N E LS T I TC H E D M OT I FS
Channelstitching doesn't have t o consist of Beaded Channelstitching

straight l i nes only, nor is i t wed to the shapes

that define the edge of the garment.
Anywhere that channelstitching can be
worked, the opportunity exists to i ntroduce
simple, geometric motifs that radiate out i n
consecutive l i nes t o whatever border confines
them, i ncluding the edge of the garment. To
further accentuate motifs, add a l ayer of cot­
ton flannel beneath the areas to be embell­ Parallel rows of beads can be staggered and combined with topstitching.
ished. This will create a qui lted texture and
make the moti fs even more disti nct.
Channelsti tch ing offers the perfect oppor­ the underl ining and the cording add desirable
tuni ty to combine thread colors or use unique weight and drape to the garment.
variegated threads to optimum effect. Com­ Corded channelstitching can be worked on
bi nations are endless and can be subtle or a variety of natural fiber fabrics, although
bold. Sometimes using colors that are close to twills and highly textured fabrics are not rec­
one another but a slight shade off enriches the ommended. Wool crepe, wool doubleknit, silk
overall effect in an intriguing way. dupioni, and l i nen are among the best choices.
To produce embellishments using this
Beaded channelstitching method, fol low these steps.
Once rows of channelstitching are i n place,
they can be used as a basic grid for working 1 Interface areas to be embellished and
baste the underlining to the fashion
beaded motifs or regularly spaced beaded rows
fabric.
(see the drawing above) . Use the basic run ­
ning stitch t o attach i n dividual beads, taking
stitches Y2 i n . to % in. apart ( for more on
2 Mark the first row of stitching, i f neces­
sary, and channelstitch consecutive rows
beading, see Chapter 1 ) and staggeri ng bead from edge to edge, wherever the corded
placement from one row to the next. Select embell ishment is desired. Stitch directly
beads and thread that are complementary. through the seamli nes to create channels
for cordi ng. Pretest the width to be sure
Corded channelstitching they'll readily accommodate the bodki n.
Corded channelstitching is also known as
Italian qui l ti ng, or trapunto. The tradi tional 3 Thread cording through channels ( I pre­
fer baby yarn to cordi ng) . Leave long tails
technique is to stitch the top fabric to an at the begi n n i ng and end. Stitch the ends
underl i ni ng. Cording is then drawn through i n place along the seamli ne once all chan­
the channels with a bal l -point bodkin , which nels are corded for that garment piece.
"raises" the channels and gives dimension to
the design. Wide bands of corded channel­ 4 Trim away the yarn or cord ends, press
stitching can broken up with rows of decora­ using a press cloth, and construct the gar­
ment as directed.
tive stitch i ng to create additional texture, vari ­
ety, and interest. The embellishments are
worked prior to construction, and the garment
is typically l i ned. Garments of exceptional
beauty can be created usi ng this method, and

75
 P R E PA R AT I O N
BOBBINWORK Bobbinwork Bobbinwork requi res you to stabi lize the areas
Decorative threads: I f you've ever admired the array of gorgeous to be embell ished; to transfer the moti fs for
pearl cotton/rayon, threads for handwork and wished there were a stitchi ng; to wind the thread on the bobbin;
silk buttonhole twist, way to use them in your machine, take heart! and to adjust the bobbin tension so that the
gimp, wool yarn,
Beautiful threads too heavy to use in the nee­ decorative thread feeds evenly.
metallic braid, narrow
dle can often be i ncorporated into a garment
ribbon
design by feeding them through the bobbin. Stabilizing areas
Needle threads: rayon,
The result is a highly textured surface embell ­ Which stabilizer will work best and how much
cotton, silk, metallic
ishment that shows off thread l ike n o other to use depend on the fabric, thread, type of
machine-embroidery
thread, invisible nylon (see the photo below). stitches used, and the degree of embellish­
Use straight-stitch bobbinwork for top­ ment. Areas that already call for i nterfaci ng
Machine needles
stitching, for laying i n couched threads, and may be sufficiently stable or may require l ittle
(1 2/80 to 1 4/90): em­
broidery, topstitching, for producing accents, motifs, or all-over added support. Iron-on tear-aways provide sta­
or Metallica/ Metafil designs anywhere on the garment: The effect bil i ty and can be used several layers at one
is outstanding. Decorative machine stitches time, if need be, but some experimentation
Extra bobbin case
produce intriguing results as well and can be will be required to determine appropriate solu­
Presser feet: %-in.
worked i nto bands and borders or used to tions for each proj ect. The stabilizer is applied
foot, edgestitch foot,
make custom ribbons. Allow ample time for to the wrong side of the garment.
pintuck foot, embroi­
dery foot, open-toe experimentation and, to economize, reserve
embroidery foot, expensive threads (or those in limited supply) Transferring motifs
leather roller foot, for actual projects. To transfer bobbi nwork moti fs for stitching,
clear applique foot draw or trace the design on the top layer of
Iron-on i nterfacing: stabili zer. (This can be done before the stabi-
tricot knit or weft
insertion

Stabilizer: iron-on or
lightweight tear-away

Water-soluble pen
(with a fine tip)

Tiger Tape

In the border design

here, rayon and metallic
threads were fed through
the bobbin to outline the
appliqued motifs, to lay
threads between rows of
corded satin stitch, and
to create the decorative
serpentine stitch.

76
l i zer is pl aced on the fabric . ) All stitchi ng is The threading on the screw is short, so For bobbi nwork, a n
done with the wrong side of the garment fac­ when you make adjustments, take precau­
tions in case it falls out. Work over a table edgestitch foot or
ing up, which means that directional or asym­
metrical designs will appear in reverse on the or put a towel i n your lap. p i ntuck foot works

right side of the garment. If you want a direc­

tional motif to appear one way on the right
2 I nsert the bobbin with decorative thread wel l for p l acing l i nes

i nto the bobbi n case. Pull on the thread of stra i g ht stitch i n g

side, flip the stitching templ ate to sew i ts mir­ and compare tension to that of a standard
next t o each other,
ror image from the wrong side of the garment. bobbin thread. If the thread resists feed­
i ng, loosen the tension on the bobbin between rows of

Winding threads on the bobbin case with a tiny screwdriver. Adjust the
corded sat i n stitch,
Wi nd decorative threads onto the bobbin screw slightly to the left, i n increments of
no more than a quarter turn. Pull on the and for stitch i n g i n
slowly, by hand or machine. General ly,
bobbin thread after each small adjustment
threads that are already on a spool or card are the d itch. The em-
to gauge improvement.
easy to wi n d by machine. Skeins of yarn or broidery, a p p l i q u e ,
embroidery thread should be placed around an
3 I f the thread feeds out rapidly, the tensi on leather r o l l e r foot,
umbrella swift or the back of a chair and mon­ is too loose. To tighten the tension, turn
a n d circu l a r sewing
itored for even feeding. Threads that create the screw to the right. When the thread
undue stress on the tension disk are too heavy pulls with a smooth, even tension, try attachment offer the

for it. When this occurs, bypass the disk nor­ sewi ng with the thread in the bobb i n . I f
best options for
the stitch forms, adjust the needle tension
mally used to wind the bobbin and guide the
up or down to fine-tune the stitch before working motifs, flour-
thread by hand or manually wind the bobbi n.
making additional alterations to the bob­
I f you plan to do extensive work, wind several ishes, circles, a n d
bin tension.
bobbins at once. Do not overfil l bobbins, as cu rves. Decorative
surplus thread diminishes even feedi ng.
4 The degree of tension required is deter­ stitches w i l l perform
mined by the weight of thread in the
bobbin. Adjust for specific threads rather best with an open­
Adj usting bobbin tension
Sewi ng heavy threads in the bobbin requires than making blind adj ustments. If you toe or sta n d a rd em-

loosening or bypassing the bobbi n thread ten­ wish to make adj ustments to the bobbi n
broidery foot.
case you use for normal sewi ng, mark the
sion completely, depending upon your
origi nal tension setti ng by drawing a thi n
machi ne . For machines with drop-in (or wind­
l i ne from the t o p edge of t h e screw onto
i n - pl ace) bobbins, the tension must be For bobbinwork top-
the bobbin case with an ultra-fine-point
bypassed. This is best done according to permanent-ink pen . When bobbinwork is stitch i n g , sew i n d ivid-
instructions i ncluded in the manual for that complete, realign the marks for normal ual g a rment sections
machine. On machi nes with a removable bob­ tension. You can add markings in di fferent
in the order you
bin case, the bobbin tension is adjusted by colors to i ndicate settings for frequently
way of the tension screw on the outside of the used threads, if desired. wou l d for a ny top­

bobbin case. I recommend you purchase a sep­ stitched ga rment.

arate bobbin case for use with decorative B O B B I N WO R K M ET H O D
Tri m , turn, and p ress
threads, since constant adjustments to the Once you've adjusted the bobbin case for the
bobbin tension, as well as the stress of heavy threads you plan to use, you're set to sew. sea ms a n d faci ngs

threads, can damage the spring and create dif­ Here are the steps. prior to stitch i n g . N o
ficulties for normal sewing. Here's how to
additi o n a l sta b i l i zer
adjust tension on a removable bobbin case. 1 I nstall an embroidery or topstitching nee­
dle in the machine. will be necessary for

1 Locate the tension screw. This is a very

2 Thread the needle with a decorative ray­
most topstitch i n g
small screw on the outside of the bobbin
on, silk, cotton, or metal lic machine­ a p pl ications.
case. (Consult your machine manual to
embroidery thread, or i nvisible nyl on.
double-check the location of this screw. )

77
 3 Use heavy decorative thread in the bob­
Work bobbi nwork
bin. I nsert the bobbin case in the machi ne Corded satin stitch
motifs on the body of and sink the needle to draw the thread up Corded satin stitch consists of a very narrow
the g a rment o n sepa­ through the stitch plate, as you would for row of satin stitch worked over cordi ng. The
normal sewing.
rate p ieces of the
resulting sti tch is slightly raised and has the
appearance of silk or rayon gimp. Single rows
ga rment before they 4 Select the stitch. Arrange the fabric be­
can be worked with a standard embroidery
neath the presser foot and sink-then
a re constructed. foot-or any foot with a guide for narrow
rai se-the needle. Pul l on the needle
Th i n k in advance of thread to draw the bobbin thread to the cordi ng. Consecutive rows worked with a
top through the fabric. seven- or nine-groove pintuck foot leave room
how to produce con­
for i nlaid bobbinworked threads, which pro ­
t i n u ity in the g a r­
5 Lower the presser foot, hold the thread duce an outstanding decorative band effect
tails, and sew several i nches with the
ment. Take time to ( see the photo on the facing page ) .
wrong side of the garment facing up.
ensure that the de-
Corded satin stitch c a n b e worked on a
variety of woven fabrics, but they must be
signs w i l l match 6 Check the right side of the sample to as­
adequately stabili zed prior to sewing. The
sess the stitch, and make adjustments to
when the seam is need for stabil ity i ncreases with the number of
the needle tension as necessary.
sewn, bea ring sea m rows being stitched. When using th is tech­

a l lowa n ces i n m i n d !
7 Experi ment with various thread combina­ n ique to embellish a single layer of fabric, the
tions, as well as with practical and decora­ fabric should first be backed with an i ron-on
Always consider the tive stitches. When first trying a new interfaci ng, followed by one or more layers of
stitch, sew a long row that i ncludes vari ­
l o g i c of the design an iron-on stabili zer. On portions of the gar­
ous combinations of stitch width and
a n d envision the g a r-
ment that consist of two layers and an inter­
length setti ngs, as wel l as te nsion adj ust­
ments to the needle. I f you have a com­ facing-such as collars and cuffs-additional
ment in its com p l eted
puterized mach ine with mirror image, stabi l izer may not be necessary. I f the bobbin
p h ase. thread will be visible on an underlayer o f the
stitch elongation, directional stitching, or
other speciali zed stitch functions, by all garment, use 60-wt. cotton embroidery thread
means try them! Use a permanent-ink pen in the bobbin, in a color to match the fabric .
to write down mach ine specifications di­
rectly on the sample (or on tape adhered WO R K I N G T H E
to the sample) immedi ately after you've
C O R D E D S AT I N S T I T C H
altered the mach ine settings. Be sure to
Once the fabric has been stabil ized, proceed
identify the name or number of the stitch
as follows.
(it may not be recogni zable when worked
in heavy thread), as well as length, width,
and tension setti ngs . Later you can sort 1 Thread the machine needle with embroi­
dery thread, and the bobbin with l ingerie
through and catalog the best results.
thread or 60-wt. cotton. If your bobbin
case has a finger to i ncrease bobbin ten­
8 When you've completed a motif or row of
sion, thread it.
stitchi ng, do not backstitch! Lift the presser
foot and cut the thread, l eavi ng a thread
tail of 4 i n . to 5 i n . Pull on the needle 2 Loosen the needle tension and select the
zigzag stitch. Set the stitch length to the
thread from the wrong side of the fabric
sati n - stitch setti ng, and the stitch width
to draw the top thread through. Knot the
to 1 mm. ( I f you use a cord larger or smal l ­
thread on back side of the garment and
er than # 1 0 Cebelia crochet cotton from
work thread tails i nto the stitched row (or
DMC, the wi dth of the zigzag stitch may
a seam ) .
vary. Increase the width sl ightly to ac­
commodate a l arger cord.)

78
 plete directions on prepari ng the bobbin
3 Place the fabric under the presser foot
case for stitching.)
CORDED SATIN
and guide the cord through the cording STITCH
hole in the embroidery foot or beneath
the center groove of the pintuck foot. 2 Set the mach ine for straight stitching and
Machine-embroidery
center the needle position. Start with a
thread: rayon or silk
sti tch length of about 3mm and reduce or
4 Hold on to the thread tails and sew slow­
lengthen as necessary. Bobbin thread: lin-
ly along the stitch ing line. The foot will
gerie or SO-wl cotton
guide the cord as the row of satin stitch is
sewn over it. The satin stitch should ap­ 3 Pl ace the wrong side of the garment face- Embroidery needles
up. The space between rows of corded (75/1 1 to 90/1 4)
pear uni form and adequately cover the
sati n stitch will be visible from this side of
cord beneath it. The bobbin thread # 1 0 Cebelia crochet
should not appear on the top side of the the garment.
cotton or cotton gimp
fabric, nor should the stitch ing on top ap­
4 Center the blade of the edgestitch foot Presser feet: nine-
pear loose. Adjust the stitch width or
directly between the visible underside of groove pintuck foot
length and tension, if necessary.
the rows of corded satin stitch. (for evenly spaced
consecutive rows) or
5 Sew from edge to edge, mindful of any
matching that will be required when the 5 Straight stitch along this line, using the embroidery foot with
blade of the edgestitch foot as a guide. guide for cord
garment is constructed.
Iron-on i nterfacing:
6 When the row of stitching is complete, 6 The bobbin thread will be visible from tricot knit or weft
the right side of the garment and will ap- insertion
l i ft the presser foot, leave a thread tail,
pear to be couched between rows of cord-
and cut all thread, i ncludi ng the cording. Stabilizer: iron-on or
ed satin stitch.
l ightweight tear-away
7 If you are using the pintuck foot, you can
work parallel rows of stitching by placing
the origi nal line of stitching i n the groove
to the left or right of center. Work the
second row exactly as the first, with the
cording held in the center groove of the
presser foot. Work as many rows as de­
sired in this fash ion, always placing the
previous row in the groove next to center.

L AY I N G I N B O B B I N T H R E A D S
Once the consecutive rows of corded satin
stitch are complete, add decorative threads by
using the edgestitch foot to guide straight­
stitched bobbin threads between the rows of
corded satin stitch . This is done with the
wrong side of the garment facing up. A variety
of beautiful threads can be used in the bobb i n .
Experi ment t o see which you like best.
To work decorative bobbin threads between
rows of corded satin stitch, follow these steps.
Rows of corded satin stitch worked with the
pintuck foot were used here to create elegant
1 Use a heavy thread in the bobbin and
bands of color.
lightweight decorative thread or invisible
nylon in the needle. ( See p . 77 for com-

79
 •

rI m s
Beautiful trims tempt the design-conscious sewer with potent ways to outline the edges of

collars and cuffs, to create borders and designs that emphasize the parameters of the gar­

ment, and to introduce compelling design within the garment body. Among embellishment

methods, trims have the potential to produce maximum impact with minimal effort.

Yet despite their apparent simplicity, incorporating trims into effective garment design is

often a challenge, which is why it's not uncommon to leave trim that looked so gorgeous

on the bolt off the project for which it was destined.

If you're looking for new and better ways to incorporate trims into your garment sewing,

the information in this chapter will enhance your skills. Methods for making custom trims,

designing with trims, as well as placing and sewing them on garments put a palette

of techniques at your creative disposal. Whether you

opt for a "less-is-more" approach or indulge

passementerie's traditional association with opulence,

the techniques presented in this chapter will help

you define and achieve your vision.

Inspiration and techniques

emphasize the use of braids and

cords to create low-key, elegant

day wear and special-occasion garments,

but with a little ingenuity, these and other

trims can be adapted to lavish

interpretations-even costume design.

 MATERIALS AND E Q1J IPMENT
Purchased trims, in comparison, vary great­
ly in price and quality. By fam il iarizing your­
self with the basic types of ready- made trims
available and by recognizing their attributes,
potential uses, and limitations, you will avoid
costly mistakes and, better yet, end up with a
trim that i s perfect for your project.

Trims
Whether you envision using purchased trims
or maki ng your own , a general knowledge of
the vari eties of trim avai l able is an asset i n
planning your garment. Like all venues of
adornment, the selection of trims is astonish­
i ng. Consider this: There are flat braids, star
braids, scroll braids, military braids, French
braids, president braids, foldover braids, and
mi ddy braids; there are cords, inserts, cord
edges, sheer ribbon, jacquard ribbon, gros­
grain ribbon , sati n - face ribbon , and velvet
ribbon; there are woven tri ms, knit tri ms,
metal mesh trims, beaded trims, rickrack,
fringe, gimp, soutache, and a seemingly end­
less variety of laces (see the photo on the
faci ng page ) .
While it is b y no means necessary t o know
all but a few of these trims by name, it is use­
ful to recognize the properties that make par­
ticular kinds of trim desirable for garment
embell ishment. Those properties include flexi ­
bility, sewi ng and handling ease, sturdiness­
Equipment needed for
trimwork includes Happily, both maki ng custom trims and apply­ i ncluding the abi l i ty to withstand repeated
(clockwise from upper left) : ing them requires l i ttle in the way of equip­ cleaning-and aesthetic properties such as
Spinster, tube turner, third ment ( see the photo above). I f you elect to degree of texture, color, and sheen. All relate
hand, water-soluble fabric, make your own trims from sel f-fabric, you'll to the overal l l ook you wish to ach ieve for
glue stick, seam sealant, see that i t's an especially economical way to your project.
Wonder Tape, and beading embel lish a garment as wel l , since it frequently Let's say you had a design that included a
tweezers.
requires nothing more than rearranging a wide band of curvaceous designs at the hem of
few pattern pieces prior to cutting out the garment. The success o f the proj ect would
the garment. rely upon finding a pliable trim in an appropri ­
ate color. Some pl iable trims i nclude peter-

82
sham, soutache, star braid, president braid,
and flexible braid. Each of these trims can be
shaped to a curve, but not all are appropriate
for the project in mind. Among those that are,
some take a great deal of steami ng, shaping,
and coaxi ng, while others practically dance
i nto formation. For ornate designs, loops, and
curves, only the trims that dance wi l l produce
the professional look you're after. I f you have
to fight, coax, or sway your design i nto shape,
the result wil l disappoint your expectations.
And nothing l ooks worse than a homemade
garment with a trim that scrunches, bunches,
or appears otherwise ill applied-except, per­
haps, cheap department-store variety clothing
of the same ilk.
Depending upon the selection of trims
available i n l ocal stores, mail-order sources
may be the best option for purchasing trims
Use ready-made trims to
that meet your needs i n terms of color, qual ity, What I favor in a tri m for a garment varies
add color and character
and style. Fabric stores generally carry some with the project. In general, I tend to work to garments.
trims, but for understandable reasons, selec­ with quality natural - fiber tri ms that are soft,
tion is limited to the most generic styles and a responsive to shaping, have a rich, uni form
basic selection of colors . Sou tache and appearance, and are relatively small in scale
Chinese braid may be available i n black and (both width and height) . I have found small­
white at a local store, for example, but a mail­ scale trims to be the most versati le and the
order supplier may stock 1 0 to 20 times as easiest to control. They can be used exten ­
many colors and introduce you to a variety of sively throughout the garment while maintain­
other available trims you never knew existed. ing a l ook that is not too heavy or overdone. I
Always check local sources first, however, also l ook for trims that are easy to sew, will
as they may just have precisely what you need hold up wel l , and maintain an attractive
or, at the very least, basic types of trim that appearance for the l i fe of the garment.
you can use for sewing samples to determ ine
how well a particular type of tri m works for
the application you have in mind. That way, Presser feet
even if you do end up purchasi ng mail-order For fast, easy, clean application of trims,
trim, you will have fine-tuned your decision machi ne application is the way to go . Cer­
based on predictable results. like fabric tainly there are instances when hand applica­
yardage, trims are measured goods that can not tion is desirable, but, thankfully, they are the
be exchanged or returned once cut. exception, not the rule. For ease of application
For the most part, the techniques depicted by machine, the key to success is, once agai n ,
in the next few pages use simple trims that are choosing t h e correct presser foot (see the
easy to obtain and come in a wide variety of photo on p. 8 4 ) .
colors. I am a huge fan of ornate, elegant trims Depending upon the make a n d model
to embellish presents and pillows but rarely of your machi ne, a variety of brand- speci fic
use them for garment design . or generic presser feet are designed to sui t
your needs i n any given situation. Not all

83
 of the feet listed here will work with all To ensure even feedi ng and obtain profes­
trims or for all applications. Because the sional, uniform results, the size of the
trim and the design dictate which presser hole, slot, or groove should match the size
foot will be appropriate, select your trim of the trim as accurately as possible. Rather
in advance, then buy the presser foot best than second-guessi ng, try the trim in the
suited to your needs-unless, of course, hole, slot, or groove to see if it fits. The trim
you already have a variety of presser feet at should fill, and thus lie securely in the hole,
your disposal . slot, or groove but should not exceed i t in
height or width, or feeding of the trim will
F E E T F O R A P P LYI N G C O R D S be impaired.
AN D NARROW TR I M S For stitching narrow cords, potentially use­
The defi n i ng feature o f a presser foot that will ful candidates i nclude the standard embroi ­
be useful for sewi ng narrow cords and trims is dery, pintuck, cording, and applique presser
that the foot has either a hole, slot, or groove feet. Larger cords will require a larger hole,
that secures the trim as it feeds beneath the slot, or groove, such as those found i n presser
presser foot. The location of the hole, slot, or feet designed to accommodate round piping.
groove varies. It may be on the front bridge of For guiding and stitchi ng directly through the
the foot, between the toes of the presser foot, center of soutache and narrow, flat braids, the
or on the underside of the presser foot, or it applique foot, three- and five-groove pintuck
Presser feet (clockwise may be an attachment that lies in front of a feet, and braiding foot are likely choices. O f
from upper left); presser foot. I n every i nstance, i ts purpose is these, t h e appli que a n d braiding feet work
edgestitch, zigzag, open­ the same: to guide the passage of the trim , to best for gu iding the braid aroun d l oops,
toe embroidery, pintuck, ensure accurate placement, and to maintain curves, and scrolls associated with passe­
Sequins 'N Ribbon, uniformity as the needle thread couches the menterie embell ishment and provide adequate
Pearls 'N Piping, and
trim to fabric. visibi l i ty, which is imperative for the accurate
adjustable zipper.
rendering of designs created with the trims.
A pintuck foot, on the other hand, works
well for placement of consecutive, evenly
spaced rows of braid and will suffice for work­
ing gentle curves and geometric designs.
Narrow ribbons can be applied with ease by
using a double needle of the appropriate width
with the applique, pintuck, braidi ng, or open­
toe embroidery foot.

F E E T F O R A P P LYI N G
WI D E TR I MS
I f you cannot obtain any of the above presser
feet specifically designed for your brand of
machine, generic feet are commercially avail ­
able. In addition t o the feet styles listed previ ­
ously, the Sequi ns 'N Ribbon and Pearls 'N
Piping feet from Creative Feet can be used for
narrow cord and trim applications and include
adapters that render the feet usable with any
make or model machine.

84
 For applying wide tri ms, the foot of choice
is likely to be an adjustable zipper foot, Third Hand & Clamp When making custom

bra i ds, i n d iv i d u a l
edgestitch foot, or a standard zigzag foot, There is no good substitute for this i nvaluable
which has an i ndentation at the center of the too l . It consists of a clamp that attaches to a stra nds m u s t be firm-

foot that can be used as a gui de . Each of these firm, stable surface and a clamp that grips fab­ Iy secured, as they
feet can be used in conjunction with the nee­ ric or threads tightly to provide tension on the
w i l l be su bject to ten -
dle positions on the machine to guide stitch­ item that is being worked, l eavi ng both of
ing accurately along the edge of the trim with your hands free. I t is exceptionally useful for sion as the b r a i d i s

the needle positioned to the left or right of working long lengths of braid to make custom being worked. U s e a
the gui de, as required . trims and can be used in combination with the
c l a m p or the cheaper
Spi nster for making cords as well .
a lternative-a metal

Fasturn tube turner clip with a firm bite

Although there are numerous tools on the Fabric glue stick com m o n l y ava i l a b l e
market for turning fabric tubes, the Fasturn
tube turner takes the cake for ease of use. and Wonder Tape from office, sta­

Nothing brings this home like turning the A water- soluble fabric glue stick is used for tionery, a n d a rt

long l engths required for the bias rouleau posi tioning trims in place prior to sewing. suppl iers (see the
(turned fabric tubes) for self-fabric trims, Faster, easier, and i n many cases more accurate
drawi ngs on p. 89).
closures, bias applique, and faggotted than basting, it has excellent tacking qualities,
rouleau embel lishments. I use it as well for yet i t won't gum up your needle, doesn't add
turning straight grain tubes for pi nweaving sti ffness, and is removed from the fabric upon
applications. cleaning. Won der Tape is a Y4- i n . double-si ded
Sold in sets of three or six tubes, this is one tape that's water soluble and won't gum up the
tool worth every penny i t costs. Use i t in con­ needle when sewn through. It is very useful for
junction with the Fastube presser foot, and placing trims prior to sewi ng.
you'll see that sewing and turning uniform fab­
ric tubes just doesn't get any easier.
Seam sealant
Using a seam sealant such as Fray Check or
Spinster Fray Stoppa on trims prior to cutting the ends
The Spi nster looks something like a hand dril l wil l help prevent raveling that could compro­
with a cup hook a t the end. It is used to make mise the appearance of your work. Use these
plied cords that can be applied directly to a sealants with care, keeping the ends clear of
garment as an edgi ng, used to outline your garment fabric as they dry, since these
appliques, or sewn to flat tapes to make cord­ sealants do darken as well as sti ffen the fibers
edge trim. Although similar cords can be made they come in contact with .
using the bobbin winder of your sewin g
machine (providing t h e wi n der is on t h e top
end of the machine), this tool is easier to use Beading tweezers
when l ong lengths of cord are required and Beadin g tweezers have very sharp, narrow
allows you to ski p the gymnastics of balancing points that meet precisely at the tip. This is a
on top of a table or chair. very useful tool for positioning cords and
braids as they're being sewn. The point can be
used i n a fashion similar to a sewing stiletto,
while the tweezers can actually be used to lift
and pull the cords i n or out of place.

85
MAKING CUS TOM TRIMS
Custom braids, cords, and reembell ished trims
make for some o f the most beautiful embell­
ishments that can be used on a garment ( see
the photo at left ) . I love making and using
them because I can create a trim in pure
accord with the garment. This effect is espe­
cially enhanced when the trim is constructed
from either bias tubes of the fabric itself or
threads pulled from the warp or weft of
the fabric .
A s the followi ng methods demonstrate,
there are other exciting ways to make custom
tri ms as well . Many of them are utterly simple,
yet the resulting trims deepen the complexity
and character of the garments they adorn.

Monkscord
Monkscord is a simple twisted cord suitable
for a variety of garment applications (see the
photo below l eft) . I especially like to use i t as
a trim, since the cord produces a piped effect
without added bulk. The cord works up quite
quickly and is extremely simple to make.
Any type of yarn or decorative thread can
be used for maki ng monkscord: Experimenting
with various color and fiber combinations is a
A three-strand braid
great deal of fun . One of my favorite tricks for
made from bias
rouleau emphasizes making a monkscord trim is to i ncorporate
the neckline, shoulder warp and weft threads from the fabric used to
seam, and sleeves of make the garment, which results in a perfect
this rayon dress. color match every time. I especially like to
employ this techni que when worki ng with
wools, which have more substantial yarns than
many wovens and often feature a variety of
individually colored yarns worked into the
warp and weft. Silk ribbon is another favored
tri m for monkscord, as the resulting cord has a
l ovely sheen and provides a soft accent for
li nens, cottons, and silks of all kinds.
Although monkscord can be twisted manu­
ally, it works up much faster with the aid of

86
 Unique Materials for Custom Trims
M aster a few basic braid and cord ing trims, the actual warp and weft removed from the fabric, trim the
structures, and the world of trims threads that make up a fabric can tails of the warp or weft threads
for embellishment is, q uite li terally, be removed i ndividually and used away, closer to the actual thread be­
at your fingertips! Custom trims to create c ustom trims. This tech­ ing pul led. This will fac ilitate easy
can be c reated from a variety of nique works especially wel l with removal of subsequent threads.
beautiful and u n ique materials. h igh-q uality woolens, as the indi­
Their selection and preparation is vidual strands that make up the Multimedia trims
i ntegral to the creative process and fabric are often q u i te beautiful on Beau tifu l trims can be made by
at least half of the fun of making their own. M u l ticolored fabrics are combining a variety of different ma­
trims exc lusively your own . Use the fun to experiment with , as several terials, including reembellished and
suggestions here as a ge nesis for colors of yarn may be available to recycled trims, knitting yarns, silk,
your own c reative exploration. select from and can be isolated or rayon, metallic threads and cords,
combined to make the cord. The and narrow strips of bias-cut fabric .
Braids and cords beauty of this technique i s that re­ Experimentation is key to finding
from bias rouleau sulting trim harmonizes perfectly creative and exciting combinations!
Bias rou leau-or turned fabric with the rest of the garment.
tubes-make wonderful braids for Velvety trims
Experiment with different color
embellishing garments. M ake them Velvet itself is somewhat difficult to
combinations, as wel l as with the
from sel f- or contrasting fabric, and use as a self-fabric trim . But gor­
n um ber of working strands, to de­
use them corded with a fil ler or geous, velvety trims can be pur­
termine the desired thickness of the
ironed fla t . I especially l i ke using c hased or c ustom- made with cot­
cord. This is best done prior to cut­
the wrong side of fabrics for mak­ ton, rayon, and silk chenille yarns
ting the garment out, so you can
ing these trims and always keep an and can create a sumptuous look i n
pull the l ongest strands possible to
eye open for fabrics that are beauti­ a range o f colors. Actual velvet
c reate the necessary lengths of
ful on both sides . trims are available commerc i a l ly as
cord . To pull lengthwise threads,
wel l , most often as cord edges, i n ­
c ut away the selvage, and remove
Warp and weft threads serts, or satin-backed ribbon.
thread lengths one at a time. When
I n the same vein as using the wrong
several threads have already been
side of the fa bric to create contrast-

the Spinster cord-making tool or bobb i n threads so that you can ascertai n how
winder positioned on the top o f a sewing many threads i t will take to produce the
machine. Regardless of which method you use, desired degree of thickness for your cord.
the basic procedure remains the same. Here
are the basic steps. 2 Join the two lengths at one end and put
this end over a doorknob, stationary
hook, or through the holes of a bobbin
1 Cut two lengths of yarn, each approxi­
attached to the bobbin winder on your
mately three times the desired finished
sewi ng machi ne.
length of the cord. The two lengths may
each consist of more than one thread.
The final cord wi ll be four times as thick 3 Hold the threads taut and twist them i n
o n e direction t o form a single length of
as one original length of thread. Prior to
plied thread. Continue i n one direction
cutting actual lengths for your project, i t
until the twist in the thread is tight and
is a good i dea t o work up a few samples
springy, but stop before i t starts to kink.
that i ncorporate di fferent numbers of
To do this manually, tie the ends of the

87
 yarn to a pencil and twist the pencil
Stra nds for braids
clockwise. If you are using the Spinster, Three-strand braid
a re cut longer than simply spin the wheel forward until the Like monkscord, this elementary braid works
yarn reaches the desired degree of twist.
the desired f i n ished up rapidly and produces a pliable, versatile
For the bobbin method, it is easiest to
length of the braid,
trim. Used primarily as an edge treatment for
hold the foot control for the machine in
one hand while holding the yarn taut in necklines, sleeves, unli ned j ackets, and hems,
due the "take-up"
the other. I f you are maki ng a l ong length three-strand braid can be worked in a variety
that occurs as the of materials, i ncluding turned fabric tubes, cus­
of cord that requi res standing far away
braid is woven. Take- from the machine, it is frequently neces­ tom and commercial cords and flat trims,
sary to engage someone's help either to soutache, narrow ribbons, and novelty yarns
up varies with the
hold the cord or run the foot pedal for (see the photo on the facing page ) .
thickness of the the machine. To keep t h e strands of the braid i n place
strands a nd the n u m - and to allow for a steady, even tension on the
4 Once the yarns are suffi ciently twisted,
braid as it's bei ng worked (see the drawings on
b e r o f stra nds that fol d the yarn back on i tself to form two
equal lengths that spiral in the opposite the facing page), secure the braid strands with
a re crossed i n each
direction. It is important to keep both a clamp or strong metal clip that is-in turn­
seq uence. A braid i n tied to a doorknob or held with a Third Hand
l engths taut whi l e forming the fold. Here
wh ich the weaving again, it is helpful to have an assistant. & Clamp. Another alternative is to tape the
strands temporarily to the edge of a table or
stra nd crosses 12 ad-
5 Hold the loose ends tightly together, re­ other flat surface while the braid is worked.
d itional stra nds w i l l move the fol ded end of the cord from i ts
This method tends to work best for simple
attachment, and let go of the cord. The
h a v e co nsidera bly braids that do not require a great deal of ten­
two lengths wi ll spiral together to form a
more take- u p t h a n si ngle cord. sion as the braid's being worked. To make a
three-strand braid, fol low these steps.
one that crosses
6 Monkscord can be attached to a fi nished
th ree. For the braids edge by hand or by machine. For hand 1 Measure three strands and secure them
stitching, use a l i ghtweight silk thread in for working the braid.
in this cha pter, I rec­
a color that blends well with both the
o m mend cutting i n d i ­
garment and the cord. Whipsti tch the 2 Begin with two strands i n your right
cord to the edge, matching the sti tches to hand, one in the leh.
v i d u a l strands
the twist of the cord. I n this way, the
1% times the desi red
stitches will remai n virtually concealed. 3 Pass the far right strand to the left, over
length of the fin ished
the middle strand, to take the center posi­
tion among the three strands of the braid.
braid. This a l l ows for 7 To attach the monkscord to a finished
edge by machine, use the edgestitch foot.
take-up and g ives Position the guide at the fabric's edge and 4 Pass the far left strand to the right, over
the trim to the opposite side of the gui de. the m iddle strand. This strand will now
you sufficient length
Select a simple zigzag stitch or blind hem be the center strand of the braid.
to hold on to as you
and adjust the stitch width so that the
work the tail end of thread catches the monkscord when the 5 Alternate the sequence from l eft to right,
always crossing the outer strand to the i n ­
needle swi ngs to that side of the gui de.
the braid. side, where i t will become the center
The stitch width can be adjusted to re ­
strand i n the braid.
mai n virtually i nvisible or to enclose the
cord, in which case the stitching becomes
part of the design. 6 The sequence is always over one to the
left; over one to the right; with the strand
moved from the right or leh, to the center
strand of the braid.

88
 These custom-made
three-strand braids were
made from bias rouleau
strips, reembellished
soutache, and satin­
wrapped cord obtained
from pulling apart
commercial gimps.

Four-strand braid Making T hree-Strand Braid

The four-strand braid is a round, firm braid

that can be worked with thin and thick
threads alike. Thi n cords can be used for dec­
orative couch ing, whi le thick cords make
excellent edgi ngs that are firmer, rounder, and
more durable than monkscord. You can work
the braid with strands of the same color or use
a variety of colors to achieve a range of inter­
esting effects. To make a four-strand braid, fol ­
l ow these steps.

1 Measure four strands and secure them to

work the braid.

2 Hold two strands in each hand.

3. Pass the left
3 Pass the far right strand under two strands
1 . Secure
thread over one,
to the left, then back over one strand to then under one.
three strands
the right. The worki ng strand will now
for working.
occupy the third position from left to
2. Pass the right 4. Alternate left
right.
thread over one, and right se­
then under one. quence for length
4 Pass the far-left strand under two strands of braid. Tack
to the right, then back over one strand to where braid
the left. This strand will now occupy the meets.

second position from left to right.

89
When making a trim 5 Alternate this sequence from right to left, Because the braid takes considerable time to
always passing the outer strand over two make when worked i n fi ne threads, keep the
that wi l l be used in strands, then back over one. The se­ designs basic rather than elaborate to limit the
more t h a n one loca - quence is under two over one; under two trim yardage necessary to complete the
over one; alternating the movement be­ design. Also, when making long l engths of a
tion on a ga rment-at
tween the outermost strands to the left
braided trim, it is helpful to reposi tion the
the neckl i n e and the and right.
tri m in the clamp about every 1 2 i n . to 1 8 i n .
bottom of each so that you are never working far from the
sleeve, for exa m ple-
Five-strand braid point where the braid is secured. The steps are
This flexible braid is firmer and stronger than as follows (see the drawings below).
m a ke i n d ivid u a l
its three -strand counterpart. I ts appearance is
lengths that corre­
similar, however, making i t suitable for the 1 Measure five strands and secure them for
working the braid.
spond with the mea­ same range of applications. Because five-strand
braid is firmer than three-strand braid, it will
surement for that
lend a more substantial l ook to l arge braids,
2 Begi n with three strands i n your right
portion of the g a r­ hand and two in your left.
yet it can also be worked with finer threads
ment. S horter that would look skimpy with three strands. 3 Pass the far right strand over two strands
lengths a re easier to Worked in fine threads such as silk buttonhole to the center.
twist, the result is lovely narrow braid suitable
h a n d l e, parti cu l a rly
for passementerie-style embellishments, as 4 Pass the far left strand over two strands to
when five or more the center.
well as edgings.
stra nds a re used to
5 To make the desired l ength of braid, alter­
m a ke the braid. nate right over two, left over two.

Making Five -Strand Braid

1 . Pass the right 2. Pass the left 3. Alternate right

thread over two thread over two over two, left over
threads to the threads to the two, to make the
center. center. desired length
braid.

90
 1 Measure ten strands and secure them to To keep individual
work the braid.
stra nds of the bra i d

2 Begin working with six strands in your left i n p lace, sew or tape
hand and four in your right. As you work
di rectly across the
the braid, alternate the six to four group­
ing from your left hand to your right and ends of the braid af-
back again.
ter worki ng.

3 Pass the two far left strands over one

strand and under three to the center of
the braid. Grasp the strands with your
right hand. There will now be six strands
in your right hand and four in your left.

4 Pass the two far right strands over one

strand and under three to the center of
the braid. Grasp these strands with your
left hand.

These custom five- and ten-strand braid

5 Continue this sequence, treating the two
outermost threads as one working strand
variations were made from soutache and and passing it over one strand and under
satin-wrapped cord.
three, alternating left to right. As you
work the braid, a raised chevron will form
in the center.

Ten-strand braid
The two variations of the ten-strand braid are VA R I AT I O N I I
both wider than the others previously To work the braid, divide the strands i nto five
described ( see the photo above) . Variation I groupings of two strands each, which are
has an interesting structure, with flat edges to treated throughout as five worki ng strands. For
either side of a raised chevron that runs a narrow version of this same braid, simply use
through the center (see the top drawings on five i ndividual-as opposed to double­
p. 9 2 ) . It is a very pretty braid, especially well strands. These are the steps.
suited as an edgi ng for suits and coats and for
outl ining passementerie designs as wel l . 1 Measure ten strands and secure them to
work the braid.
Variation I I (see the bottom drawings on
p . 92) is somewhat wider and flatter than vari ­
ation I . Beautiful enough to stand on i ts own
2 Begin with six strands i n your left hand
and four i n your right. Treat each group
as an edging braid, variation I I can also be of two strands as a si ngl e unit for the en­
stitched to a length of the rai sed chevron tire length of the braid . As you work the
braid in vari ation I to produce a foldover bind­ braid, alternate the grouping of six
ing for raw edges. strands in one hand and four in the other
from your left hand to your right.
VA R I AT I O N I
I n this variation, the working thread consists 3 Pass the two far left strands to the right,
over two, and under two toward the cen­
of two strands, rather than one.
ter of the braid. Grasp these strands with
your right hand.

91
Making Ten- Strand Braid

Variation I

1. Begin with six strands in 2. Pass the two far left 3. Pass the two far right strands over one
your left hand and four in strands over one strand and strand and under three to the center of the
your right. Alternate the six to under three to the center of braid. Grasp these strands with your left
four grouping from your left the braid. There will now be hand. Continue sequence, treating the two
hand to your right and back six strands in your right hand outermost threads as one working strand
agam. and four in your left. and passing it over one strand and under
three, alternating left to right.

Variation I I

1 . Begin with six strands in 2. Pass the two far left 3. Pass the two far right strands
your left hand and four in strands to the right, over two, to the left, over two, and under
your right. As you work the and under two toward the two toward the center of the
braid, alternate the grouping center of the braid. Grasp braid. Grasp these threads with
of strands from one hand to these strands with your right your left hand. Continue
the other. hand. sequence, alternating from left to
right.

92
4 Pass the two far right strands to the left,
over two, and under two toward the cen ­
ter of the braid. Grasp these threads with
your left hand.

5 Continue the sequence, alternating from

left to right.

Serger trims
A variety of custom -made trims can be made
quite rapidly using decorative threads and a
serger (see the photo at right). The resulting
cords are beautiful and versatile and can be
used for couchi ng, edge treatments, and passe­
menterie embellishments.
Serger trims can be made with or without a
core, or filler. I generally prefer to use a filler
because it adds body and helps the trim main­
tain a consistent round or flat shape. Suitable
round fillers include gimp, pearl or crochet
Flat and round trims in
cotton, Pearl Crown Rayon, and purchased 1 Thread the upper and lower loopers with custom colors can be
narrow cording. Suitable flat fillers i nclude rib­ a heavy decorative thread, such as Pearl made in a flash using a
bon floss, narrow ribbons, and, my own Crown Rayon or #8 pearl cotton, and a serger.
favorite, soutache tri m . regular-weight decorative or polyester
thread in the needle .
When selecti ng a filler, keep i n mind that i t
is potentially a decorative element i n the trim ,
si nce i t will show through the spaces produced
2 Raise the cutting kni fe, leave the tensions
at normal settings, and set the stitch
by the upper and l ower l ooper threads. When length to 2 in. to 2 1'2 i n .
making a tri m for a specific garment, i nvesti­
Braids a re based on
gate thread combinations and play with ten­ 3 Raise the presser foot of the serger and i n ­
sion setti ngs on the upper and lower loopers sert o n e end of the trim beneath the stan ­ a repetitive seq uence

of your machi ne. Experiment with normal set­ dard presser foot of the serger and to the in which one or more
right of the needle .
tings first, then try various combinations of
strands a re woven
l ooseni ng the upper and tightening the l ower
4 Lower the presser foot and begin stitch­ u n der a n d over other
looper until you acquire the uni que look
i ng, holding onto the serger chain and
you're after. Keep notes on suitable setti ngs for pul l i ng it through to the back side of the stra nds i n the braid.

consistent results with particular combinations serger. The movement may

of thread, and tape a small sample to the side.
be i n one d i rection or
To make serger trims with a round core, it 5 The trim should be fully enclosed by the
will be necessary to use a cording foot for upper and lower looper stitches, in which may a lternate from

your serger. The procedure wil l be basically case it will conti nue to feed evenly
l eft to rig ht. I find it
through the machine.
the same as for a flat tri m , except for that the
h e l pful to say the se­
cording foot will be used to help direct and
feed the trim i nto the serger. To make a serger
6 Sew for a few i nches, then check the re­ q uence out loud
sults and make adjustments to tighten or
trim with a flat core, start with the following loosen your upper or lower l ooper tension when f i rst l e a r n i n g

settings, and fine-tune adjustments as needed. as required. the b r a i d .

93
 simple and usually consists of l ittle more than
addi ng a simple edging or a run n i ng-stitched
row. For either purpose, I prefer to work with
tiny seed beads .
Adding bobbinworked threads to common
commercial trims i s one of the fastest and
most satisfying ways I know to transform a
simple trim or to make a tri m uniquely sui ted
to a garment. A si ngle row of bobbinworked
straight stitch down the center of trim can be
worked in a color to match or coordinate with
the fashion fabric for a garment. The bobbin­
work can be added after the trim i s sewn to
the garment, followi ng the visible stitch ing
l i ne on the wrong side. Or, for braided tri ms,
i t can be added to the trim before the braid is
worked. Simple sti tch ing i n the di tch to lay i n
decorative threads from the bobbin adds a
beauti ful touch to trims of all kinds. It can also
be worked directly next to a trim, on the fash­
ion fabric, to create a smooth segue between
the garment and the tri m .
Although I t e n d t o u s e straight stitch most
frequently, decorative stitches present i nfin ite
options for reembelli shed tri ms as well .
Reembellished trims
allow you to create 7 When the settings produce satisfactory Grosgrain a n d other stable ribbons stand u p
enriched color variation, results and you hit upon a thread combi ­ well t o bobbi nwork a n d decorative machine
in perfect accord with nation that will work for your garment, sti tches and generally do not require an addi­
your garment. serge the entire length of trim needed for tional stabil i zer. When a stabil izer is needed
your garment. for softer ribbons, try a lightweight tear-away,
such as Stitch & D i tch heirloom or water­
soluble Solvy.
Reembellished trims To reembellish trims, follow the usual pro­
The concept beh i n d reembel lished trims i s cedure for bobbinwork and machine embro i ­
simple: Start with a wonderful trim a n d make dery (see Chapter 2 ) , but b e sure t o guide the
it even better. Reembellishing presents the trim smoothly beneath the p resser foot. The
opportun ity to i n troduce colors that will edge of the trim must follow a consistent
marry the trim to the garment; establish inter­ gui de to keep the sti tching spaced equidistant
esting textures and color contrasts; and deepen from both edges of the trim . I n the case of
the character and complexity of the trim over­ soutache, consider feeding the soutache
all (see the photo above) . through a pintuck, braidi ng, or Sequi ns 'N
M y favorite ways t o alter a n existing trim Ribbon foot with an appropriate slot or
include beading and bobbi nwork. Beading is groove to stabi lize the trim as i t's fed into
the machine.

94
DE S IGNING WITH TRIMS
Design ing embell ishments with trims entails
Braid- Embellished Dress selecti ng or making a trim that is appropriate
in color and scale for the fabric you have
selected for your garment. It also entails com ­
ing up with a design i n keeping with the prop­
erties of the trim and using those properties to
enhance the garment. Proper scale-i ncluding
proportions relating to the tri m , fabriC, gar­
ment style, and embellishment deSign-are
paramount, as are the methods used to apply
the tri m .
Also, with braids, design decisions should
be guided by a sense of what will look good

T hree Dresses with Simple Braid

Embellishments

Simple trims can create contrast,

When designing embellish­ beautify, and emphasize the
ments with braids, design deci­ parameters of a garment; create
sions should be guided by a pattern or introduce a design
sense of what will look good on within the body of a garment;
the garment 's wearer rather and create simple, yet unexpect­
than on the surface of the fab­ ed details that complement the
ric. Ornamentation can be elab­ themes you create.
orate but not overbearing,
ostentatious, or gaudy unless,
of course, that 's what you want.

95
 For the most part, simple treatments pro­
Embellished Red S uit duce favorable results. Use trims to create
contrast, beauti fy, and emphasize the parame­
ters of a garment; to create pattern or i ntro ­
duce a design within the body of a garment;
and to create simple, yet unexpected details
that complement the themes you create .
Chi nese knot buttons, bound buttonholes,
i nserts in seams, frog closures, a latticework
passage for a bel t, the belt itself, a woven i nset
or collar-these are the features that result i n
an outstanding garment.

Edge finishes
Using trim as an edge treatment is perhaps the
most frequent use of it in garment design (see
the photo on the facing page ) . Trims can be
decorative in thei r own right or used to pro­
duce the look of b i n ding or p i ping without the
added bulk.
Any of the custom braids in the preceding
section can be used as edgings, as can count­
less commercial tri ms. While some thought
must be accorded to the order in which the
trim i s applied to a garment, as well as the
method by which it will be sewn , edgings are
fairly straightforward, both in terms of appli ­
cation and design . Nevertheless, experimenta­
tion will yield new and exciting variations on
this basic theme. I n addition to using monks­
cord and brai ded trims as edgings, consider
the two following edge treatments, which are
very easy to do .

NAR ROW E D G E
WITH FLEX I B L E B RA I D
Chinese braid accents the collar, cuffs, Flexible braid is a wonderful , i nexpensive trim
pockets, and hemline of this suit, result­
suitable for simple to elaborate applications.
ing in an outstanding garment.
Thi s one is especially uncomplicated, and the
results are wonderful, resembling baby p i p i ng,
on the wearer of the garment, rather than on but far less time-consuming and without the
the surface of the fabric. Ornamentation can added bulk.
be elaborate but should not be overbearing, The edging consists of a si ngle strand of
ostentatious, or gaudy unless, of course, that is narrow ( 1'1 6 i n . to 1'8 i n . ) flexible braid posi­
the i n tended effect. tioned directly at the garment's edge. An
optional row o f bobbi nwork stitchi ng further

96
augments the impact of the braid, which i s
sewn t o t h e garment before hems are turned o r
facings are applied. To achieve perfect place­
ment for the braid, follow these steps.

1 Baste in the hem and seamlines where

the braid edging is to be appl i ed, using
a thread that contrasts with the fashion
fabric .

2 Sew the flexible braid i n place, matching

one edge of the braid to the basting,
which will serve as a placement gui de.
Use a cording foot to help position the
braid accurately and attach it with a sin­
gle row of stitchi ng directly through
the center.

For the appearance of piping without added bulk, monkscord (made from
3 I f desired, sew i n a row of straight-stitch
strands of the same fabric used to make the garment) creates an elegant
bobbi nwork directly next to the edge of
tone-on-tone edge treatment that's ideal for this wool crepe dress.
the flexible braid. For accurate placement,

Pulling Gimps Apart and Using the Pieces

Commercial gimps are machine­ ent of commercial C h i nese braids b u n ka-style cords that can be put to
made braids composed of one or and other decorative gimps. Won­ c reative use.
more elements, many of which can derfu l to use decoratively i n the And keep in mind t hat the
be employed i ndividually to embell­ bobbin or with a cording foot, yardage of trim you acquire when
ish garments. In fact, taking a gi mp rayon-wrapped cords are an excel­ you take a gimp or cord apart will
apart and using the wrapped cords lent c hoice for passementerie-style be m ultiplied from the original
or knit tubes for trim is a lmost as embellishments and can be used yardage amount by however many
fun as making c ustom braids and with the wide trim i n its original strands were req uired to weave,
cords. I ndeed, the elements that state, which serves as the perfect ply, or braid the gi mp or cord.
you take apart can be reconstructed c hoice for outlining. 3
In other words, yd . of commercial
or used in any manner you see fit . Knit tubes and flat, narrow rib­ braid composed of five strands
O n e o f t h e wonderfu l things bon elements can be used i n ter­ of wrapped rayon cord will
about pulling apart commercial changeably with sou tac he or flexi­ produce 1 5 yd . of individual cord
gimps is that it puts greater num­ ble braid; stuffed with a filler and for your u s e .
bers of narrow round and flat trims used as round cord ; or used as an S o m e gimps a r e easy to undo;
at your creative disposal-many of embroidery ribbon in the manner others are resistant or too tedious
which are otherwise difficult to that silk ribbon is employed. They to bother wit h . C hevron braids and
come by. It a lso provides a wider also serve as a wonderful alterna­ French braids come u ndone with
range of color options, broadening t ive to regular thread for whip­ ease. Also look for Chi nese braids
the palette and increasing the l i ke­ stitc hed or blanket-stitched edges. and other textured gimps with a
lihood of finding a perfect color In addition to the elements of chainstitch on the back of the
match for your garment. composed gimps l isted above , braid. The chain can easily be un­
Rayon-wrapped (also referred to you 're l i kely to come across usefu l raveled when cut, making elements
as sati n ) cords are a staple i ngredi- staples such as c hainette and of the trim easy to pull apart .

97
 use a n edgestitch foot to mark the l i ne
There is no need to
fi rst from the top side of the garment, us­ Ribbon-T hreaded
com plete the entire ing thread to match the garment on the Edgings
right s ide, and contrast with i t on the
braid yardage re­
wrong side.
q u i red for you r pro­

ject in one sitting. To 4 When the trim is placed and the bobbin­
work is complete, turn up the hem or at­
secure the end of the tach the facings so that the bottom edge
braid until the next of the trim precisely defines the edge of
the garment.
work session, a pply a

metal cl i p d i rectly to
R I B B O N -T H R EA D E D E D G I N G S
the point where you Ribbon - threaded edgings make for a great
stopped worki ng. At­
embellishment detail when care is taken to
ensure that the path for the ribbon i s evenly
tach a written nota-
spaced and measures a consistent distance
tion of the last se- from the garment's edge ( see the drawings at
quence that was right) . The threadi ng path consi sts of a series
of buttonholes spaced in a predeterm ined pat­
worked so that when
tern, which creates a path for the ribbon to Ribbon-threaded edgings are great for
you come back to the accenting col/ars, cuffs, and pocket flaps
feed through. For best results, use a flat rather
or to thread a narrow belt. Best results
braid, you wi l l know than a textured ribbon. This is a unique way to
are obtained using flat rather than tex­
exactly where to
accent collars, cuffs, and pocket flaps or to tured ribbon.
thread a narrow belt. To create the threading
start.
path for this edgi ng, follow these steps.

1 Determine the position of the fin ished

embell ishment in relation to the garment's
edge.

2 Mark this l ine on the i n terfaced garment

piece, prior to constructing the garment.

3 Determine and test the size buttonhole

necessary to accommodate the trim . De­
cide as well how far apart to space the
buttonholes, as this will determ ine how
much of the trim shows through and at
what intervals. When determ i n ing place­
ment for a col lar or any other portion of
the garment that has a right angle, begin
by marki ng the point of that angle first.
Cenerally, a right angle is worked in two
separate threading operations, which alle­ Cut them open and thread the trim
viates the need to actual ly turn the corner through before attaching corresponding
with a si ngle length of braid. pieces of the garment. Secure the trim at
both ends of the threading path by stitch­
4 Sew the buttonholes. I f your machine of­ ing it to the fashion fabric i nside the seam
fers a narrow buttonhole option, use it. allowance.

98
 Consider that designs placed i n the main
Border designs body of the garment can be the sole embell ­
Border designs represent yet another frequent­ ishment focus of the garment or c a n b e a way
ly used design option for trims (see the photo to elaborate upon a striking edging or border
at right) . They typically take more time to design (see the photo below) .
plan, prepare, and sew than do edgings, Also, though the conventional approach
especially if the border incorporates a design consists of using the line of the braid to create
or pattern that must be transferred to the fab­ a pattern or i mage, which becomes apparent
ric prior to sewi ng the tri m . Simple approach­ against the contrasting ground, consi der that
es to creating borders with trims include the braid can also be used to create negative
the following space, in which the braid pattern recedes and
the ground fabric dominates.
• Repeated lines can be built up i n crisscross Regardless of which design approach you
formations or concentric bands to accent take, certain considerations will be universal
the perimeter of the garment. Worked in a and must be taken into account when pl anning
color that complements the fashion fabric any trim detail.
Reembellished soutache
and with a trim of appropriate scale, even
was used to create the
the simplest approach can create consider­ FA B R I C A N D T R I M
three-strand braid that
able i mpact and enrich the character of C O M PAT I B I L I T Y forms the foundation for
the garment. Are the weight o f the fabric and the weight of this simple, yet effective
the trim compatible? Although it tends to be edge treatment.
• Geometric de sig n s are simple to reproduce
and transfer and tend to work up quite
rapidly with the use of a braiding or pi ntuck
foot. Numerous sources for Creek and
Celtic key, and Chi nese lattice patterns
abound and provide rich i nspiration for bor­
der designs that translate well to garment
desi gn . Alternatively, i t is fun and easy to
create original border patterns using the
grid method described on pp. 1 1 6 - 1 1 8 .

Designs within the

body of the garment
While edgings and borders tend to dom i nate
braid treatments for garments due to their sim­
plicity i n terms of placement, don't overlook
the potential application of b raided bands and
allover designs with i n the body of the gar­
ment. These will be more t ime-consuming to
plan, since final placement i s best determ i ned
Narrow, black, flexible braid is further enhanced with bobbinwork to create
by working with a muslin of the garmen t to
the edging and motifs on this linen blouse. The design is repeated at the
pinpoint the most effective presentation for edge of the sleeves.
the design .

99
 more problematic to have a trim that's too
Samples are the best
heavy for a particular fabric, it is also true that Trim placement
way to determ i n e the
some trims will not be substantial enough. A The correct placement of trim rel ies on two
basic properties of a melton can certai nly handle j ust about any things: accurate measurement or transfer of
trim and to fine-tu ne lace trim weightwise, for example, yet in most the design l i nes i n relation to the garment; and
instances, the look of lace on melton is visual­ proper positioning of the trim along that line
the perfect combina­
ly imbalanced and challenges our sense of an for sewi ng. For complex borders and designs,
tion of ingredients appropriate match for the delicacy of the lace consult the Appendices (see p. 1 66 ) for trans ­
for your design. Use as well as for the bulk and heft of the melton. f e r methods. F o r simple placement of trim on
While j uxtaposition can sometimes be used the body of a garment, it will be necessary to
sa mples to experi ­
i ntentionally, in most i nstances the basic prop­ measure and mark i n guidelines. Thi s can be
ment with appl ication
erties of the trim and base fabric should done with a ruler and water- or air-soluble i nk
methods, thread and roughly correlate. l n other words, the more or other appropriate fabric marking pens, or
needle selection, elaborate, dense, or ornate the tri m , the heav­ the gui delines can be basted i n on the sewi ng
ier the base fabric; the more delicate the trim, machine using a seam -guide attachment and
techniques for turn­
the lighter the base fabric. removed once the trim has been placed.
ing corners and Once the proper position for the design has
curves, and to get B A LA N C E , S CA L E , been established, it is necessary to decide how
A N D P R O P O RTI O N to place and sew the tri m . Tri m can be pre­
some notion of how
ls the scale of the design appropri ate for the placed or sewn directly to the garment. Very
m uch work and time
type of garment, and does the distribution of narrow flat trims and round cords are best
is i nvolved for the the pattern create an overall effect of balance sewn directly with the aid of a suitable presser
embel l ishment you and proportion that is flattering to the wearer? foot. One commerCially available foot-the
Both symmetrical and asymmetrical designs Sequi ns 'N Ribbons foot-all ows for direct
have i n m i nd.
can work effectively or otherwise i n this placement of ribbons up to % i n . wide.
regard: l t is simply a matter of approaching Preplacing is an excellent way to ensure
the garment as whole and balancing elements that the trim is placed correctly prior to
of the design i n a manner that reflects consid­ sewing and helps stabilize the trim and keep it
eration of the wearer. This holds true whether from shifting beneath the presser foot as i t's
the design treatment i s spartan or flamboyant. being sewn. 1 almost always preplace wide
trims, as well as elaborate desi gns for passe­
G A R M E N T S T YL E menterie, in which case the preplacement
Does the style and degree of embell ishment results in a smoother line.
suit the style of garment and h ighli ght pattern When p replacing the trim is necessary or
details in an effective way? Does the amount deSirable, there are a number of notions cur­
of labor the design entails roughly correspond rently available to make the job easier. One i s
to the usefulness or longevity of the garment? Wonder Tape. Another i s a water-soluble fabric
Not everything we sew has to last more than a glue stick. Both wash out with water, do a
season; on the other hand, when the i ntent is good job of keeping the trim in place, and can
to produce a perennial favori te, the quality be sewn through without gumming up the nee­
and longevity o f materials should correlate dle. Whi le these are by no means the only fea­
with the expenditure of time afforded them . sible solutions, they are the ones 1 find most
convenient and the least time-consuming.

100
S E WING TRIMS
Though there are times when sewing trims by Each of these methods i s made simpler and
hand i s appropri ate (see the sidebar below), the results are more satisfying when you are
sewing them by machine i s by far the able to take advantage of the wide variety of
fastest, cleanest, and easiest method to sew methods, notions, and materials that make the
flat trims and cords. It also produces favorable job easier. Among the options for proper
results with most textured braids, though i t presser foot, thread, needle, and stitch selec­
may take i n i ti al experimentation t o determine tion, there i s l ikely to be a combination that
a path and manner of stitchi ng compatible will work with one of the methods listed pre­
with the brai d. viously to attach most trims artfully by
The three basic ways to attach a trim machine. Be sure to preshrink and test the
by m achine i nclude edgestitching or color fastness of your tri ms prior to sewing
topstitching the tri m i n place using the (see the s idebar on p . 1 04).
basic straight stitch; visible couching using
decorative, zigzag, or utility stitches to
encase or sew di rectly through the tri m; Narrow trims
and i nvisible couch ing, with the blind- Flat, narrow trims are generally sewn with visi­
hem or vari-overlock stitch, so the stitching ble straight stitching, either directly through
remains discreet from the right side of the center of the tri m or edgestitched on both
the garment. sides. They can also be sewn i n place using a

W hen to Sew Trims by Hand

I n my book, sewing trim by hand is would never elect to stitch by hand, • To c reate decorative effects by
desirable only when machine as wel l as those that always fal l into attaching the trim using hand
stitching would somehow be detri­ the hand-stitched category. I rec­ embroidery.
mental to or detract from the fin­ ommend attaching trims by hand i n
ished appearance of the trim i n re­ t h e fol lowing situations .
• To sew a trim invisibly, or when
lation to the garmen t . Among hand
• W h e n attac h i ng highly irregular the look of hand stitches creates a
stitching's potential advantages are
or textured trim that may be flat­ more desirable decorative or dis­
that it can be worked almost invisi­
tened, crushed, or hang up the creet appearance than can be
bly and that it does not add stiff­
presser foot if sewn by machine. achieved with mac h i ne sewing.
ness. I t also affords a degree of
control when sewing to certain
types of fabrics. • For sewing any trim that may • When mac h i ne sewing adds too
Whether to stitch a trim by hand need to be removed for c leaning much stiffness to the garment.
or by machine is generally some­ the garmen t ; including meta l l ic
I
thing decide on a case-by-case ba­ mesh trims, beaded trims, etc.
sis. There are, however, trims I

101
 double needle ( the width of the needle should
Beaded Skirt with A p plique be an i ncrement less than the wi dth of the
trim) and with decorative machi ne stitches
used to couch the braid. When using a double
needle to attach trim, be sure to reduce the
needle tension so that the trim l ies flat.
Presser feet that are frequently use for
sewing flat, narrow trims include b raiding and
cording feet, the open -toe embroi dery foot
(when a double needle is used), and the zipper
and edgestitch feet.
Very narrow flat trims, such as Y' 6 - i n . flexi­
ble braid, are best sewn directly through the
center using a small needle and fine thread i n
a color t o match the tri m . These tri ms are eas­
iest to place with an applique, cordi ng, or p i n ­
tuck foot. Other trims that c a n b e sewn with
one row of stitching through the center of the
braid include soutache, star braid, and narrow
braids with a chevron formation that meets at
the center. For braids that are too wide or
too thick to fit through the holes, slots, or
grooves of the already mentioned feet, the
open-toe embroidery foot may work well ,
though i n t h i s instance some braids will bene­
fit from the stability afforded by preplacement
of the braid.
I n the absence of a braid structure that cre­
ates a central "ditch" or line to sew through,
flat tri ms 1'8 i n . and wider tend to look best
edgestitched, using a zipper foot or edgestitch
foot or couched i nvisibly on one or both s ides
of the tri m .
A s is true for a n y tri m , choose a l ightweight
thread appropriate for the garment fabric and
tri m . Select the needle size according to the
thread used, as well as the garment and the
tri m . I generally prefer to use machine­
embroi dery cotton or silk threads over poly­
ester, which can cause puckering on l ight- to
medium-weight natural fiber fabrics. I nvisible
nylon-available in smoke and clear-is
This black velvet skirt is embellished with gold braid, metallic another suitable choice. Generally, the
beads, and silk/metallic applique.
strength of the thread is not as critical for
sewi ng trims as it is for seams . The exception

1 02
 Sewing Corners
Perfect the art of turning corners turned. A tailor's awl, sewing stilet­ Flipping the trim
with any narrow, flat tri m , and to, or even a seam ripper wil l suf­ 1 . Sew the trim along the design
you 'll be able to c reate beautiful fice, but my favorite tool for this line. Stop one braid's width
geometric borders and designs. U n­ task is a pair of beading tweezers. from the adjacent line and sink
l i ke c u rves, which require a flexible In addition to the requisite pointed the needle.
trim ( see pp. 1 0 5 - 1 09 ) , corners can tip to hold the trim in place as it's 2.Raise the presser foot and flip
be manipu lated with just about any pivoted, the bill of the tweezers can the trim over. The i nside edge
flat trim, including those with an be u sed to lift and position the should be directly agai nst the nee­
inflexible selvage ( typical of most braid with ease. dle, and the outside edge posi­
ribbons, for example) . tioned along the new angle of the
For flat, narrow trims, there are Pivoting the trim
design l i n e .
1 . Sew the trim along the design
two basic methods for turning cor­
l i n e . Stop directly at the corner to
3.H old the corner of the trim i n
ners. The trim can be pivoted to place with t h e point o f t h e beading
be turned and sink the needle.
form a somewhat rou nded corner, tweezers.
or it can be flipped to the other
2.Raise the presser foot and piv­
4. Lower the presser foot and
ot the garment and the trim on the
side, i n which case the trim forms take one or two additional stitches,
mach i ne needle, pulling the trim
an angle at the point where the cor­ as necessary, to cross the i ntersect­
into formation and manipulating
ner is turned. Which method to use ing points of the trim u n t i l the nee­
the outer corner with the point of
wil l depend upon the tri m . Ribbons dle reaches the center of the trim
the tweezers to form a smooth line
and other trims with an inflexible on the adj acent l i n e . Sink the nee­
at the inner and outer corners.
selvage tend to look best when dle directly a t this point.
flipped, assuming they look the
3. H old the trim firmly in place
5.Lift the presser foot . Pivot the
along the new line.
same on both sides. Flexible trims fabric and trim on the needle to ad­
l ike soutache work well either way, 4 . Lower the presser foot and
just for the angle of the new line
take one stitch directly across the
so the decision hi nges on aesthetic and resume normal stitching.
corner of the braid .
preference alone.
E i t her way, it will be helpful to 5.Continue to h o l d the braid in
place, and resume stitching along
use a tool to help position and hold
the new line.
the trim in place as t h e corner is

here i s sewing very thick or course braids, application is sewi ng a straight l i ne of stitch­
sewing to heavy or synthetic fabrics, or ing down each edge of the trim. This can best
attaching trims to any form of outerwear, i n be accomplished with an adj ustable z ipper
which case using a strong, long-wearing foot, which allows the foot to snug up agai nst
thread is requi red to maintain the i ntegrity of the edge of the trim to produce an accurate
the stitching over time. l i ne of stitching and to avoid the possibility of
the foot hangi ng up on the trim .
As with narrow trims, some are flexible and
Wide trims others are not. I n flexible trims are suitable for
Wide trims generally benefit from preplace­ straight l i nes and angles only, while braids that
ment using water-soluble fabric glue stick or can be shaped or flexed can be used on curves.
Wonder Tape. The most common method of Catheri ng the braid along the i n ner portion of

1 03
To calculate the

length of trim re­ Preshrinking and Testing

q u i red for an edge or
Colorfastness of Trims
sea m , measure that
I t is a good idea to preshrink and test send i t to the dry c leaners along with
length and add 2 i n .
trims for colorfast properties prior to your fashion fabric and ask them to
for leeway, attaching sewing. Check the label of the trim bolt preshrink-not dry-clean-your
ends, or i nserting to see if the trim has been preshrunk, is materials.
colorfast, or has any specific cleaning in­ To preshrink trim for garments that
ends in the sea m .
structions. N o t all companies include wil l be washed by hand or machine, se­
Trims a re genera l ly this information; most, however, do note cure the trim in a bundle and p lace it i n
the fiber content of the tri m , which gives a bowl o f very warm water for 1 5 t o 20
attached to i nd ividual
you something to go on. minutes, or until the water cools. Then
components of the Preshrink the trim i n the same man­ dry the trim on a line, if that is how you
garment prior to ner that you preshrink the fabric for i ntend to dry your garment, or place it i n
your garment. I f you intend to dry-clean, a l ingerie bag a n d dry i t by machine.
sewing the sea ms,

but this w i l l depend

curves can be used to coax a somewhat flexi ­ groove that matches the tube or cord i s essen­
on the trim and its
b l e braid i n place. Once the general shape i s tial , since preplacement of the cords i s not an
p lacement i n relation easy option.
formed, steaming the braid w i l l further help
to the garment. Fore­ define its shape. Sharp angles are formed by To couch the tube or cord i n place using
thought is requi red m iteri ng the braid. zigzag or decorative stitches, adjust the
D iscreet joi n i ng and ending of wide trim stitch width according to the width and
to determine a logi­
is achi eved when ends meet and are folded height of the tri m . Suitable stitches will
ca l sequence for at­ under or seamed together. When using gimp, encase the tube or cord without the needle
tach ing the trim to i n ­ I recommend a wide seam allowance because penetrating i ts surface.
the ends have a tendency to fray. A seam To couch the tube or cord in place using
d ividual components
sealant such as Fray Check will work on indi­ the bli nd-hem stitch, set the stitch wi dth to
of the ga rment, for
vidual components, but the ends of the braid 1 m m and the length from 1 m m to 2mm.
match ing the trim, as a whole will stay together only when sewn Adjust the needle position to the right of cen­
and for sewing the or taped in place. ter. The exact position of the needle will be
determined by the placement of the tube or
seams. For exa mple:
cord when secured beneath the presser foot.
Trim on a col la r could
Round tubes Position the straight stitches along the right
be sewn to the right side of the tri m . Swing the zigzag stitch to the

side of the col l a r be-

and cords left, catching j ust a narrow bite of the tube or
Roun d tubes and cords must be couched i n cord but enough to secure i t in place.
fore or after the col -
place with visible zigzag or decorative stitches
l a r w a s sewn b u t in- or with i nvisible blind-hem stitches. The use
variably before the of a suitable presser foot with a slot, hole, or

col l a r was i nserted

i nto the neckline

seam.

1 04
MAKING PAS S EMENTERIE
The term passementerie refers to braid and bead loop and scroll formation. Hold the trim i n PASSEMENTERIE
trims, as well as to an ornate style of ornamen­ hand, keep i t flat, a n d loop one e n d to form a
tation with which these embell ishments are small circle. A flui d trim that readily conforms, Narrow trim (must
appli ed ( see the photo below). Characterized while retai n i ng a smooth, round curve along shape readily around
the inner and outer edge i s perfect for passe­ curves): flexible braid,
by loop, scroll , paisley, and floral motifs that
star braid, soutache,
pervaded the use of passementerie trims dur­ menterie stitched flat to the garment through
or gimp are potential
i ng the Victorian era and early 20th century, the center of the tri m . candidates
the tech nique remains an option for modern Trims with a great deal of body-such as
Wide gimp braid (op­
garment deSign, particularly when treated with sou tache-may resist curves i f you try to keep
tional): often used as
at least a braid's width of restraint. the braid flat. Try, of course, because there are an edge treatment
exceptions; but as countless capes and collars and to frame the over­
of the Victorian era prove, soutache rolls all design
Selecting trims much more readily when the braid i s stood Medium- to heavy­
Selecti ng appropri ate trims and knowing how upon i ts edge, with the flat sides faCing i n , weight fashion fabric
and when to use them are crucial to the suc ­ rather than upward. U s e this property to for garment: suit- and
cess of passementerie embell ishment. Narrow advantage and attach the sou tache along one coat-weight woolens,
side only using i nvisible machi ne- or hand­ suitweight linens,
trims, such as flexible braid, soutache, and star
four-ply silk, and silk
braid, are generally appropriate in scale ( Y16 i n . worked stitches. For tight curves and loops,
suitings
t o YI 6 i n . ) a n d l i e well when sewn. I f you plan this i s a far more effective method of using
to use a braiding or cording foot to attach the soutache than sewing i t flat, in which case it Presser foot for braid
application: applique
tri m , you will want to con firm in advance usually buckles and pulls, produci ng a strained
or braiding foot
whether or not the braid feeds though the look that i s never quite right. Which is not to
hole, slot, or groove on the foot prior to pur­ say that soutache cannot be sewn flat side Universal needles
(sizes 65 to 80)
chasing l arge amounts of tri m . down. It can, and it performs favorably i n this
To pare down choices for a specific project, vei n for geometric designs, parallel rows, and Thread: lightweight
test potential candidates for responsiveness to gentle, sloping curves. machine-embroidery
silk and cotton to
match trim, or invisi­
ble nylon

Fusible i nterfacing

Stabilizer: iron-on or
tear-away

Water-soluble fabric
glue stick or Wonder
Tape

Fabric-marking tools

Passementerie refers to braid and bead trims, as well as to a style of

ornamentation characterized by swirling loop, scroll, paisley, and floral motifs.

105
 I n addition to the narrow trims j ust
Passementerie Examples described, wrapped, plied, serged, and braided
gim p , and cords of all ki nds can be worked to
complement flat trims or as the mai nstay of an
entire passementerie design . Color selection is
broad, and opportunities for creating custom
cords further augment the possibilities.
Prior to buying large amounts of tri m for
passementerie, purchase a small length and
test it to determine actual results. If you are
pleased with its responsiveness and appear­
ance, purchase additional trim i n the amount
required for your proj ect. Use the string
method described for bias appli que ( see
p. 1 1 9 ) to p redict actual yardage requirements
for your project. But before you can estimate
how much tri m to buy, you must work up a
suitable passementerie design i n conjunction
with a specific plan for an actual garment.

Designing
The success of passementerie embellishments hinges
embellishments
upon choosing a suitable garment style and wedding In addition to careful selection of fabric
that style to an appropriate passementerie design. and trims, the success of passementerie
embel lishments h inges upon choosi ng
a suitable garment style and wedding that
style to an appropri ate passementerie
design. For garment styles, look at l i ned
vests, sui t jackets, coats, and capes made up
i n medium- to heavy-weight fabrics that
will stand up to the degree of stitching
required to attach the tri m .
I tend t o think that the more complicated
the passementerie design, the smaller in scale
the actual garment should be. A vest encrusted
with braid embell i shment may retai n its
appeal, while a coat requi res a more
selective approach if the result i s to be any­
thing less than overbeari ng. For a full - length
coat, look for elements of the pattern that can
be adapted to passementerie designs: rolled
and shawl collars, sleeves, cuffs, i nsets, belts,
and pocket flaps come to mind. If you love the
basic l i nes of the garment and can envision a
way to use passementerie to link individual

106
 Sewing Passementerie to the Garment

Use a braiding foot to place and sew

passementerie embellishments.

elements of the pattern together, then the gar­ designs. Portions of the garment that are to be
ment's worth a try. embell ished should be i nterfaced, and to the
As for the passementerie design i tself, you extent necessary, additional water-soluble sta­
can draw it freehand or adapt it from another bilizers should be applied. Use as many layers
source. Look for designs that spiral, wave, and of a lightweight stabilizer as necessary to pro­
scroll i n a conti nuous line. Reproductions of vide what your fabric and design demand. The
old calligraphic, printing cartouche, and type­ added stability will pay off by way of a per­
set manuals are often good sources for inspira­ fectly laid design .
tional designs. To the extent possible, com ­ Transferring the design to fabric can be
plete the entire design for one pattern piece i n done using direct or indirect methods. Which
a single pass of the machine. This lends conti ­ method to employ depends upon how you
nuity to the design and facili tates sewi ng ease. plan to sew the trim . D i rect methods i nvolve
marking the actual garment fabric for place­
ment of the tri m . The advantage of this
Preparing for method is that it provides the option for pre­
placing the trim prior to sewi ng. For some
passementerie designs and trims, such as braids, this may
To prepare a garment for passementerie result in a smoother line.
embellishment, fi rst stabilize the fabric, then I ndirect methods feature a layer of water­
transfer the design. solubl e stabil i zer ( that functions as a design
Adequate stability i s essential for working template) placed between the fabric and the
the ornate loops and scrolls of passementerie trim, so preplacement of the trim is not an

107
 option. The design tem plate i s basted to the the passementerie trim , while method I I can
When attach ing
right s ide of the garment, and the trim is sewn be sewn with a specialized foot or a standard
heavy trim with a to the design template, which i s torn away presser foot.
presser foot that sits when the design is complete. A braiding or
cording foot i s used to guide the placement of M ET H O D
fully or partia l ly on
the b raid ( for more on transferri ng patterns, This method reli es on the use of an appropri­
top of the trim, re­
see the Appendices on p . 1 66 ) . ate braiding or cording foot to guide the trim
duce the presser-foot Using a presser foot t o guide and place the along the design l i ne as the trim i s stitched in
pressure slig htly if trim along the design l ine-as opposed to place. I t does not require placement of the
placing the braid prior to sewi ng-is the braid prior to stitchi ng. Using this method,
you encounter puck­
fastest and most direct way to attach braid for the tri m can be sewn directly to the marked
ering or d istortion of simple and straightforward designs. But com­ fabric or to an i ntermediary stabilizer that
the braid. (Not a l l pl icated or elaborate designs may benefit from i ncludes a cartoon of the design. The trim can
preplacement. I f you already have access to a be straight stitched directly through the cen ­
mach i n es a l low for
braiding foot, try i t on a sample and see how ter of the braid; couched with decorative
th i s adjustment.)
guiding and sewi ng the trim with the presser stitches; or sewn i nvisibly along one side by
foot works for your design . Then try preplac­ adjusting the needle positions and by selecting
i ng the braid and compare both the end a narrow blind-hem stitch with a width of no
results of both placement methods, as well as more than 1 mm, so the swing of the z igzag
the expenditure of time. Working up a sample stitch just catches the edge of the trim.
will also give you the opportunity to test and
adjust for the stability of the base fabric and 1 I n terface the garment p iece to be embell­
ished and transfer the passementerie de­
its overall compatibili ty and scale in relation
sign either di rectly to the right side of the
to your design.
garment or to a stabil i zer basted to the
In addition to balance, proportion, and right s i de of the garment.
scale, remember to ensure that designs m i rror
each other when m i rrori ng is requi red, rather 2 Attach the braiding or cordi ng foot to the
than tracing off two i dentically directed machine. U se a size 65 to 80 universal
designs. To create a m i rror image, simply fli p needle in the machine, depending upon
the design template for the right and left sides, your tri m , and i nvisible nylon or other
i ncluding the fronts of the garment, collar suitable thread to match the tri m . A small
needle, lightweight thread, and short
points, pocket flaps, and sleeves. For an asym­
stitch length (2mm) will produce a less
metrical design, double-check to see that the
conspicuous stitchi ng l i ne. As the design
placement i s correct and that the l i ne moves is worked, i t may be necessary to shorten
from side to s i de according to your i ntent. the sti tch to as little as 1 mm to round
tight curves. If you are able to reduce the
sewi ng speed on your machi ne, do so, as
Applying it will be necessary to sew curves at a rela­
tively slow speed.
passementerie
Each of the two methods that follow achieve 3 Study the basic desi gn and determine i n
advance where t o start, which directi on
the same goa l . They di ffer in one respect only:
to work, and where to end the stitching
I n method I , the braid is placed as i t's sewn, l i ne. If the design l i ne is not conti nuous,
while i n method ", the braid is preplaced determine what designs are continuous,
prior to sewi ng along lines i n dicated for the and devise a logical sequence for working
passementerie design. Method I requires a those designs.
braiding or cording foot to match the wi dth of

108
 I f at all possible, begi n and end the trim M ET H O D I I
4
outside the seam l i nes. Where this is not This method varies from the first i n that the
feasible, start the design at the point trim is placed in i ts entirety prior to being
where the trim will eventually cross over sewn. I n some instances, this allows for greater
i tsel f. This will hide the raw edge and control in the placement of the tri m . Although
mai ntain a clean, unobtrusive l i ne . A seam
it takes time to glue baste ( adhering the tri m
sealant, such as Fray Check, will keep the
to a fabric using a water-soluble fabric glue
ends of the trim from fraying. I recom­
stick) the trim , the sewi ng actually proceeds
mend seali ng at the start and finish of
each section, whether or not the trim somewhat more quickly than in method I,
starts within the seamline. since correct placement of the trim has already
been achieved. The general directions regard­
5 Feed the trim through the presser foot ac­ ing starti ng, endi ng, and j o i n i ng new lengths
cording to manufacturer's instructi ons for of the trim are the same for both methods.
that i ndividual foot. For a standard braid­ The following directions include only those
ing foot, the tri m i s usually fed in through
instructions that vary from the basic proce­
a hole at the top of the foot. Other suit­
dures outlined in method I, so in addition to
able feet may have di fferent arrangements
for securing and feeding the trim . the following, read through the general direc­
tions outl ined there .

6 Secure the trim with a backstitch or two,

then slowly sew it in pl ace, keeping it in 1 I n terface the garment p iece to be embell­
the center of the foot and stitching along ished and transfer the passementerie
the design l i ne. To round tight corners design directly to the right side of the
and curves, shorten the stitch (you'll have fashion fabric.
to reposition the fabric frequently be­
neath the presser foot). If you have a nee­ 2 Glue baste the trim i n place. Work i n
dle down setting on your mach ine, use i t; lengths of 6 i n . t o 1 2 i n . at a time, apply­
i f not, always remember to sink the nee­ ing water-soluble fabric glue stick to the
dle prior to raising the presser foot. underside of the trim . Then place the tri m
directly to the garment, along the l i ne i n ­
dicated for the design .
7 When the trim ends i n a seamline, or
where the ending will be covered by tri m
passi ng over the end, simply secure i t i n 3 Once the design is placed i n i ts entirety,
place with a backstitch. I f the ending will it is ready to be sewn. See step 2 in
be conspicuous and will not be covered method I for instructions on threading the
by an additional layer of tri m , you can un­ machine. In addition to the p resser feet
ravel the ends of the trim and bring the used in method I, it is possible to use a va­
resulting threads to the underside. To do riety of other feet that provide a guide for
this, it will be necessary to leave an ade­ stitching. The Y4- i n . foot, standard em­
quate thread tai l , which must be long broidery foot, and standard zigzag foot
enough to pull through and to knot off on are all possible choices.
the garment's wrong s ide .

1 09
 •
/'

I ue
Applique relies upon the effective use of fabrics to produce geographies of pattern and

texture that consist of everything from unadorned bands and borders to graphically

complex designs. Abstract or realistic, folkloric or refined, the effective use of applique

expresses a passion for the properties of textiles and the power of design.

Worked in quality fabrics with an eye for detail and em­

phasis on techni que, there are many unique ways to

create embellishments that lend drama and

sophistication to garments. H igh-contrast variations

rely upon an eye for color and the ability to

visualize effective patterning within the boundaries

of a garment. Tone- on-tone applications utili ze line,

texture, and degree of sheen to the sewer's easy

advantage by pairing wool with velvet, satin

faille, or even self-fabric-embellished with

embroidery, braid, or pintucks-or simply

cut on the bias.

Never out of style, these expressive

embellishments remain open to

interpretation and versatile over time.

As you'll see, the creati ve applications

are limitless, and the techniques are simple.

MATERIALS AND E QlJ IPMENT

This lotus motif was

embellished with fused
and stitched applique and
free-motion stitching with
flat-filament metallic
thread.

Several sewi ng-room staples and a few special­ • The Fasturn tube turner is the essential tool
ty notions are essential for the techni ques fea­ for turn i ng the bias rouleau tubes that are
tured in this chapter. As usual , having the the foundations of faggotted rouleau and
right tools at your disposal at the onset of a bias applique.
project i ncreases proficiency and rewards you
with results worthy of your efforts. • Celtic Bias Bars are available in metal or
plastic versions and i n a variety of widths.
• Beautiful, well-selected fabrics are at the These bars make it simple to press a perfect
heart of all good sewi ng, but never is this bias tube, stretch it to a uniform width, and
more the case than with appl i ques and i n ­ keep the seam centered on the back side.
sets. More s o than the techn ique, the work­ They are i nvaluable for producing the bias
manship, or the design, the fabrics you tubes required for bias appl i que and faggot­
choose to work with will set the entire tone ted rouleau.
for your garment.

1 12
• Fusible web is an essential i ngredient for • Clear gridded squares and rulers are indis­
The base fa bric for
fused and stitched applique. When selecting pensable i tems in any sewing room and are
fused and stitched
a product, base your decision on i ts ease of a tremendous aid i n making changes to pat­
use and handling, adhesive properties, and terns. Also essential i s some kind of fashion applique must be
the degree of sti ffness i t i m parts to the ap­ ruler, or a long French curve, for producing suitably sta ble, but
pl i que and base fabrics. smooth curved l ines. Flexible curves, while
you don't want the
Paper-backed Trans-Web, HeatnBond not i mperative, are wonderful to have, par­
Lite I ron-On Adhesive, and Alene's Fusible ticularly those with rulers. fin ished garment to

Web are some of the lighter webs that feel l i ke a coat of ar-
achi eve overall good results, but I recom ­ • Thread for working the faggotti ng stitches
mor when worn. Test
mend testing with the actual materials for for faggotted rouleau shoul d be colorfast,
a variety of fusible
your project, since results from one fabric strong, durable, resist ki nking and knotting,
type to another can vary. Among one of the and be compatible with the fabric used to i nterfacings on your
newer products available, Sol -u-Web from make the rouleau . Threads that meet these fashion fabric and
Pelion is an unbacked web that can be used criteria, include silk buttonhole twi st, l i nen
use them i n the
to hold an appl i que in place for stitching. I ts embroidery threads, such as Londonderry
primary advantage is that i t washes away li nen 50/3, and crochet cotton, i ncluding course of working up

with water, leaving the resulting appl i que DMC's Cebelia and Coats Opera. Weights sampl es related to
with a hand that is no stiffer than the equa­ 1 0 , 20, and 30 are the most suitable.
your d esign. Then
tion of the base and appli que fabric
select the i nterfaCing
combined! • A water-soluble fabric glue stick has many
wonderful uses, and it's i nvaluable in placing according to basic
• Tracing paper will be requi red for drafti ng bias applique. performance and the
i nsets and altering patterns for rouleau. I n
overa l l hand that you
the way of tracing paper marketed t o sew­ • Paper-backed, double-sided Ys-in. basting
ers, I recommend two kinds ( i f possible, tape comes packaged in rolls and offers an l i ke best.
have both on hand). One is widely known alternative to hand basti ng, which i s espe­
as examination-table paper and is the width cial ly welcome for placement of designs for
of the standard exami nation table in a doc ­ faggotted rouleau.
tor's office. You'll l ike this paper for cutting
out sli ppery fabriCS, as well , since the tooth • The presser feet requi red for each tech­
of the paper diminishes the sl i p and slide of nique are listed i n the materials list or direc­
slippery cloth. For tracing off patterns, the tions. ( For more i nformati on on presser feet,
advantage of this paper i s that it comes with see Chapters 2 and 3 . )
a lot of yards on a roll, and i t's easy to reel
off and use. I ts l i m i tation is size: I t's not al­ • Stabilizers may b e called for when working
ways wide enough for the pattern piece you with particular fabriCS, as well as for ap­
need to trace. pli ques that i ncorporate a lot of machi ne
Burda pattern tracing paper i s very wide stitching i n the design . Lightweight tear­
( i t's also the wonderfully durable paper that away stabilizers that can be worked i n
Burda patterns used to be printed on ) . layers, i ncluding Stitch & D i tch a n d Totally
Thankfully, the paper is still avai lable i n Stable, are useful in this case, and 1 00%
packaged form a n d comes i n sheets large cotton flannel used as an underl ining i s
enough for any pattern tracing or altering often a good solution as wel l . I n addition
venture you may care to undertake. to acting as a stabilizer, i t adds body
and warmth.

113
APPLIQlJ E S
�

Fused and sti tched and bias appl i que methods DESIG N I NG WITH FUS E D
share in common the techn ique of layering AN D STITCH E D APPLIQUE
one fabric upon another as a means of orna­ Designi ng with fused and sti tched applique is
mentati on. Yet they di ffer signi ficantly in use, l ike making a coll age. There are an endless
treatment, and effect, and entail various meth­ array of col ors, textures, and images at your
ods of appl icati o n . None of these embel lish­ disposal. The challenge and fun of it are creat­
ments i s very di fficult to master, though it i ng a coherent pattern from these fragments­
does take i n i ti al time to latch on to new tech­ a l i ttle world of your own making.
ni ques, let alone envision how to incorporate Translating your ideas for appli que to gar­
them in your next garment. Allow yourself ment form requires selecti ng a sui table gar­
the luxury of taki ng time, and seek pleasure ment style, working effectively within the
in the process. The garments you give yoursel f perimeter of that deSign, and taki ng i nto
permi ssion to create will surely be worth account the way the garment will lay upon the
this allowance. body. One of the characteristics of fused and
Inspirations for appl i que embellishments are stitched appli que i s that the process of bond­
rich and varied-as are the materials used to i ng the appliques to the fabric backing adds a
create them. Floral sprays, meanderi ng vi nes, degree of cri spness that is commensurate
Celtic knotwork, and all manner of ornamen­ with both the overall area of the applied
tal flourishes head the list of possible designs. embell ishment and the degree of layering that
Worked in cotton , silk, leather, or lame, takes place. The type of fusi ble web used and
appl ique can be the focal point of a garment how that speci fic brand i n teracts with your
or the foundation for further embellishment. selected fabrics is also a variable that affects
the end results.
What all this means in l ight of p icking out
Fused and a pattern is that fused and stitched applique
works best when worked on a base of medi­
stitched applique um - to heavy-weight fabrics and i s most com­
I f your main association with fused and patible with garment styles that requi re a fab­
stitched appli que still conjures up images of ric with body, as opposed to drape. Look for
Holly Hobbie sweatshirts, i t's time to take l ined vests and j ackets worn close to the body;
another look at what's goi ng on in the realm not necessarily tailored (though tail ored is
of garment- related applique. Here you'll find a fine) but by no means oversized.
profusion of color, pattern, and texture; the In addition to the fun of creating and
bold use of prints, solids, and sheers; and rich stitch ing the appli que, one of the things that
encrustations of threadwork, as the common­ is undeniably lovable about this techni que is
place satin sti tch teams up with free -motion i ts versati l i ty. I have used it on everyth ing
embroidery, a host of decorative stitches, and from pinwoven vests to tail ored silk dupioni
lush a ppl ications of cord. j ackets, for off-the-cuff and over-the-shoulder
treatments to allover embellishments,
pai nstaki ngly designed.

1 14
 The image range includes any and every­
Border Grids
FUSED AND
thing you can imagine. For my own garments, STITCHED
for A p plique
themes vary with my mood, and I draw inspi­
APPLIQUE
ration from the fabrics, textures, and colors I

I I I I I I I
happen to be working with at the time. From Base fabric: medium­
si ngle lotus flowers to branch i ng floral sprays to heavy-weight
and lush borders, the nascent images are fash­ wovens

i oned through layers of free-motion stitchi ng, Fabric: light- to

decorative machi ne stitches, and perhaps G rid drawn in for border design medium-weight wo­
cording, bobbi nwork, or beading, until they vens of silk dupioni,
textured metallics,
not only transform the garment but also take
cotton prints, silk
on a l i fe of their own .
satin, etc.

Fusible i nterfacing for

FU S I N G A P P L I QU E
base fabric
Fusing is the first part of creating an appl i que.
The garment p iece is backed with fusible Paper-backed fusible
Alternate grid using basic pattern
web: lightweight
i n terfaci ng, then the applique is fused to the from previous design
top of the fabric. Stabilizer: tear-away
varieties

1 Cut out the garment from fashion fabric working with prints, eliminate this step, Machine-embroidery
and fuse a sui tably stable interfacing to all si nce you can use the designs that are thread: rayon, metallic,
portions of the garment that are to be em­ pri nted on the right side of the fabri c . ) and flat filament
bellished with applique. For vests and threads, such as
jacket fronts, fuse the entire section of the Cut out all designs from the appli que fab­
4 Sulky Sliver
garment and its corresponding piece rics using small , sharp scissors.
Bobbin thread: light­
(right and left front, for example). If de­
weight
sired, add a 1 00% cotton flannel underl i n ­ 5 Peel away the paper backing from the ap­
ing t o create addi tional stabil i ty a n d sub­ plique designs. Presser feet: darning
stance. Stitch around the enti re garment foot (for free-motion
section just i nside the seam allowance. 6 Play with the arrangement of the appl i que stitching); edgestitch,
standard zigzag, or
pieces ( fusible web side down) on the
2 Following the manufacturer's instructions, right side of the fused pattern pieces for %-in. foot (for outlin­
ing); embroidery or
apply fusible web to the wrong side of the garment. When you settle upon an
fabrics that will be used for the applique. open-toe embroidery
arrangement you like, fuse the appli que in
Fuse to uncut yardage as opposed to indi­ foot (for decorative
place, following the fusible web manufac­
stitches); standard
vidual designs. Use a nonstick (Teflon or turer's instructions for bondi ng to fabric .
zigzag, embroidery, or
polylon ) press sheet to help keep your
corded applique foot
i ron and pressing surface clean. The ap­ 7 When all moti fs are fused i n pl ace, follow
(for zigzag stitches);
p l i que pressing sheet also m akes it possi ­ up with any of the following techniques
embroidery, corded
ble to assemble separate pieces of the ap­ for stitch ing the design . applique, pintuck, or
plique directly on the sheet, then peel cording foot (for
away the assembled applique, and fuse it cording)
STITCH I N G APPLIQUE
to your garment in one p iece.
Appliques can be secured to fabrics with nar­ Beading tweezers
row zigzag stitches, decorative machine­
3 D raw or trace outli nes for designs or
shapes that are to be used in the applique embroidery stitches, or free-motion embro i ­
directly to the paper backing on the dery stitches.
wrong side of the appl i que fabric(s), as
shown in the drawings above. ( I f you are

1 15
 Narrow zigzag stitches An alternate way to produce a corded effect
When creating a n ap­
Narrow zigzag stitches are the simplest way to is to add heavy threads from the bobb i n . To
plique for a ga rment,
secure the applique and, depending upon the do this, i t will be necessary to have a gui de
t h i n k of the ga rment desired effect, can be worked for m in imal that you can readily see on the wrong side of
as a whole. The i mpact or treated decoratively. The width and the cloth . To p roduce the gui de for stitchi ng,
length of the stitches will determine how use a contrasting thread in the bobbin and
seams, while neces-
much thread is sewn i nto them, but the type work narrow zigzag sti tches around the cir­
sary for actua l con ­ of thread used will also i mpact the results. Try cum ference of the design. Then, turn the gar­
struction, a re a r b i - setting up with a stitch width and length of ment wrong- Side up. The previous line of
1 1'2 mm, and make adj ustments as necessary. stitch i ng should be readily visible on the
trary i n terms of
For the least i mpact, use i nvisible nylon or underside. Now reload the bobbin with a
desig n . Try to visua l ­
select a color that matches the applique i n the heavy decorative thread and sew along the
i z e beyond t h e m and needle. Contrasting decorative threads, i nclud­ guideli nes, with the wrong side facing up (see
use a n i ntegrated ap­ ing metallics, will draw attention to the stitch­ p. 76 for i nstructions on sewing heavy threads
ing, which can be desirable or not, depending in the bobb i n ) .
proach that carries
upon the design.
the basic theme To sew around the applique's edge, select a Decorative machine-embroidery stitches
throughout the g a r- presser foot with a guide i n the center of the Decorative machi ne-embroidery stitches can
foot. Ali gn the guide with the edge of the fab­ be an excellent way to secure appli ques (see
ment in some way.
ric and zigzag around all edges, checking to the drawings below). They provide good cov­
Suitably propor­
see that the wi dth of the stitch actually bites erage and can be adjusted for wi dth and
tioned designs that the applique fabric. length to produce a range of effects. I rarely
s p i l l from the upper Cording around the edges of the applique use these stitches as the sole treatment for an
i s also accompl ished with narrow zigzag applique, but they are an essential part of the
back, over the shoul-
stitches. I t i s necessary to use a presser foot way I like to construct borders (see the s idebar
der, or wrap from that will feed the cordi ng under the foot as on the facing page ) . Worked in rich, decora­
front to back across a you sew. The standard embroidery, applique, tive threads, they add character, depth, and
cordi ng, and p intuck feet are possible chOices, complexity, especially when they serve as the
sea m a re examples
though the first two allow for greater visibility foundation for other tech niques.
of a well-vis u a l ized
and are typ ically shorter feet, which make
approach to design. them more apt for curves. Free-motion embroidery stitches
Free-motion embro i dery stitches are yet
another way to treat a fused and stitched
A p plique Designs applique. Thi s method i s very fun to try and
produces marvelous, high - i m pact results. I
Border design with l iken i t to Jackson Poll ock's scribble method of
appliq ues, machine pai nti ng, because the motion i s loose, repeti ­
stitching, cording,
tive, and unconfined. A variety o f decorative
and bobbinwork
threads can be used, but I especially l i ke the
metallic hit of the flat- filament threads like
Sulky Sl iver.
Mach ine- and hand­ To work free-motion sti tches over the sur­
embroidered accents
and beads face of your design, use a darn i ng foot, drop
the feed dogs, and sew! Since the feed dogs
are disengaged, it's up to you to move the fab­
ric, and you can do so in any directi on: for­
ward, back, down, to the side, in c i rcles, or

116
Simple Methods for Beautiful, Lush Borders
Borders are bands of color and visible while sewing. The 7. Experiment with a range of
pattern used to outline and define bobbin thread must contrast decorative stitches that can
particular parts of a garment or ac­ sharply with the stabil izer on be used to outline the areas
cessory. Characterized by symmetry the back. that are to be app l iqued, and
and repetition, they rely on the 3. There are two ways to sew i n enrich the ground (the back­
repetitive use of motifs, in combi­ an accurate grid. O n e is t o ground patterning wil l re­
nation with straight or fluid lines; premark with c halk, using a main visible against the base
bands of color and pattern ; and c lear ruler to produce accu­ fabri c ) . Play with the set­
possibly some kind of decorative rate measurements. Then ti ngs on you r machine­
ground. sew the stitching along the stitch, lengt h , width, ten­
The center band (or bands) of premarked guidelines. A sion, stitch elongatio n , and
the border contain the central, or faster method is to use a memory-to come up with
dominant design . The center band seam guide with a ruler. To patterns you l ike .
may be constructed off a grid that u se this method, adjust the 8. Play as well with a variety of
allows for easy and accura te place­ seam guide to create the de­ machine-embroidery threads
ment of the designs. Designs can sired distance from the nee­ until you find combinations
be worked into the center band and dle to the foot of the guide. you l i ke .
may be used i ntermittently on the 4. To mark or sew the grid, be­ 9. Sew i n t h e ground stitches
garment, as wel l . Frequently, de­ gin by stitching in the %-in. for your design, using an
signs are placed at regu lar intervals seam al lowance. Then deter­ open-toe embroidery foot .
above the border. Bands of color mine the desired placement 1 0. C u t a n d fuse t h e appliques
and design are used in combination of the center band for the i n place at regular intervals
or alone to outline and accentuate border and sew the first l i n e a long the border.
the central design, as well as to add i n , parallel to the edge of 1 1 . Stitch in place using decora­
color, variety, and interest to the the garment. Sew the sec­ tive machine stitches, work­
border. They are also used to sepa­ ond line parallel to the first ing in a logical sequence
rate and define larger bands. to create the desired width along the entire border.
To construct a lush border using of the center band for the 1 2. Cord the appliques along the
fused and stitched applique, follow border. edge, either by machine
these steps. 5. Next, use the seam guide to couching or by sewing i n
1 . I nterface the fashion fabric divide the band into squares heavy threads from the bob­
and stab i l ize it with addition­ or rectangles and, if desired, bin. ( Refer to C hapter 2
al layers of Totally Stable diagonal l i nes (all sewn i n ) . for complete instructions
tear-away stabilizer. The point is t o create a sim­ on bobbinwork. ) Continue
2. Sew in the band and grid ple grid that serves as the to build up the designs until
lines for the border. These base for your appl i que and you 're satisfied with the
are the lines that will indi­ threadwork design. results.
cate where bands of color 6. Based on the grid structure , 1 3. Finish off the edges of the
and motifs are to be placed. decide on basic shapes and band with satin-stitch cord­
They must be straight placement for the fused ing and inlaid bobbin
stitched from the top side of appl ique. threads. Expand the border
the fabric . The top t hread and bands as desired.
should provide just enough
contrast to remain

117
 following basic shape and l i nes of your design . D E S I G N I N G B IAS A P P L I Q U E
Applique garments
For best resul ts, move the fabric smoothly and My own inspirations for working with bias
a re frequently l i ned,
slowly and keep the mach ine run n i ng at a fair­ appl i que stem from the precise, graceful lines
w hich prod uces a fi n- ly good speed. of Celtic ornamentation. To translate the i ntri ­
ished appeara nce, cacy of these designs garments, I turned to
bias applique as the method and supple silk as
s ince the underside
Bias applique the medium for realizing my design . Not
of the applique ca n ­ The fluid properties of bi as-defi ned as the wanting to spend hours sewing by hand, I
n o t be seen. l i ne that cuts diagonally across the grai n of developed a relatively fast, simple method of
the fabric-can be used to create appli que appliqueing bias fabric tubes by machine (see
embel l ishments of exceptional beauty. At the the drawings below) that sacrifices neither
heart of bias applique borders, medallions, and subtlety nor precision and produces a finished
desi gns of all ki nds is a simple tri m called bias garment that looks l ike it took a great deal of
rouleau. Made from indivi dual fabric strips time. I n reality, the process i s simple, as the
that are cut on the true bias, then sewn , turned entire embell i shment is sewn with the blind­
and pressed, bias rouleau adapts to curves l ike hem stitch on a machine. Applying these
fish to water, which makes bias appl i que pure methods requi res planning and care, but once
pleasure to create, sew, and wear. you prepare the fabric and practice the tech­
n i ques, the work progresses quickly.

Anchor Bias A p plique by Machine

Right side Right side Right sid e

t J oi ned tube
(on lower layer) Chalk marks indicate
a joined tube.

Stitching tubes, jumping i ntersections Stitching joined i ntersections Trimming extra threads on the right side

You can stitch tubes in a braided Where abutting bias tubes are glued, Lines of stitching become invisible
design and sew a regular intersection. stitching across the intersection on the when you trim excess threads.
top layer adds stability.
1. Blind-hem stitch along the applique 1. Clip where the threads cross the
edge, taking a tiny bite. 1. Stitch the underpass tube like any intersection.
2. At the corner of the intersection, other intersection, jumping it. 2. Cut the loose threads as close to
drop the feed dogs and sew several 2. Sew the overpass tube with a the fabric as possible, without nicking
stitches. blind-hem stitch through the intersec­ the fabric.
3. L ifting foot and needle, carry the tion, without dropping the feed dogs.
thread over the intersection (you 'll trim
it later).
4. A nchor corner on the other side.
5. Raise the feed dogs and blind-hem
stitch to the next intersection.

118
 O f course Celtic inspirations are j ust one BIAS APPLIQUE
design option for this technique. Look to bat­
tenberg lace patterns for equally el aborate
How Much Bias Fashion fabric for
bluepri nts with similar flair. Or pare the orna­ Do You Need? garment and bias
applique
mentation down and try your hand at creati ng
simple braids, spirals, scrolls, and spontaneous, To determ ine the q uantity of bias Stabilizer: iron-on in­
gentle curves to enhance the l ines of your gar­ strips needed for a design of bias ap­ terfacing or liquid

ment ( see the photo on p. 1 20 ) . Once you plique, first photocopy the design. Presser feet: open­
deci de upon a design, fine-tune its placement Place a length of string on the outer­ toe embroidery or
and scale . Use a photocopier, i f necessary, to most edge and fol low the design in a Fastube

reduce the design or to enlarge it to size. c lockwise fashion. Mark the spot
Fasturn Tube Turner
where you begin and, when you re­
turn to that point, c u t the string and Celtic Bias Bars
F I N D I N G S U I TA B L E F A B R I C S
measure it. Thread: invisible nylon
Many fabrics are well suited to bias applique.
To calculate the amount of bias or 60-wt. machine
Look for light- to medium -weight natural fiber
needed for a braided border, for i n ­ embroidery
fabrics with an even, supple stretch on the stance, u s e t h e string to measure a
String
bias. I've seen beauti ful results with si lks of all si ngle I -ft . strand of the border. M u l­
kinds, from three- ply crepe, to noil, and to tiply this amount ( i n inches) by the Water-soluble fabric
dupioni. Other elegant choices include wool glue stick
n u m ber of strands that make up t he
and rayon crepe and handkerchief line n . Avoid braid and divide the results by 1 2 . Pattern tracing paper
twills, knits, and heavy- textured fabrics, as This is the nu mber of feet of bias
well as those with a pile or nap. needed for the border design.
Prior to placing and sewing the applique, N ow measure you r pattern pieces
the base fabric must be suitably stabl e. For to determine the total l ength of all
borders for your garment. Divide
fabrics l ike wool crepe, silk dupioni and noil;
this amount (in inches) by 1 2 . This
backing the base with a tricot knit fusi ble
is the n u mber of fin is hed border
i n terfacing may be sufficient.
feet needed.
Fluid, drapey fabrics like silk crepe, on the
To find the amount of bias needed
other hand, may require a di fferent approach. for a border applique, multiply the
To temporarily transform even the lightest, first n u mber by the second. To con­
sli pperiest silk to the consistency of heavy vert this amount to yards, d ivide by
paper, consider a water-soluble liquid stabiliz­ three. U se this measurement to calcu­
er, such as Perfect Sew. I n addition to making late how much bias to c u t and sew. A
it possible to stitch the appl ique to the base 1 1'4-yd . piece of 4 5 -i n . -wide fabric
fabric with min imal distortion, a water-soluble yields more than 80 ft . of 1 1'2- i n . -wide
liqu i d stabilizer dissolves completely when bias strips for %-in . tubes.
washed. Also, the fabric returns to i ts original,
supple state.
Once the base fabric has been stabilized, and ending i n the middle of a repeat, so you
transfer the applique design. For i nterlacing can real ign the template for a perfect match.
designs and borders, I prefer to create and use
a plastic template. You can make a template by P R E PA R I N G B I A S R O U L E A U
tracing the design directly to the plastic, then Fluid bias rouleau forms the design l i nes for
cutting out the design with a mat knife . For your applique. To produce this even bias tub­
single moti fs and medall ions, it is necessary to i ng, you need to cut the bias strips, then
trace the enti re design. For borders, you'll only fold, turn, and press them . Whether you cut
need to trace 8 i n . to 1 2 i n . of it, begi nning with scissors or with a rotary cutter, strips

119
Bias-rouleau strips were
used to create a three­
strand braid that adorns
the shoulder and
neckline of this dress.

must b e cut o n the true bias, without seams. bias tubes a breeze! You can even open the
( For more i n formation on cutting bias stri ps, seam as you turn the tube, which helps distrib­
see p. 1 48 . ) I n other words, methods for mak­ ute the bulk of the seam to either side.
i ng continuous bias are not recommended for Final ly, the tubes need to be pressed with
bias applique. the aid of a Celtic Bias Bar, which helps to
To get the longest unseamed strips possible, center the seam and stretch the rouleau to a
start with a true square of 3 6 - i n . - to 60- i n . ­ uniform width . To use the bias bar effectively,
wide fabric ( 1 1'4 y d . of 45 i n . ; 1 'l'3 yd. o f follow these steps.
6 0 i n . ) . Mark the square i n hal f along the
diagonal, then working from the center l i ne 1 I nsert the bias bar i nto the tube.
out, cut the fabric i n strips- 1 1'4 i n . to
1 1'2 i n .-for resulting 1'4- i n . to % - i n . rouleau 2 Roll the seam to the center so that it will
be hidden when the applique is sewn .
tubes. For accuracy, cut one layer at a time.
Working with a rotary cutter, ruler, and cut­
3 Press, using steam and a lightweight press
ting mat is the quickest way to cut stri ps. I f cloth .
you use scissors, premark the fabric with chalk
along the cutting li nes. I prefer a disappeari ng 4 Reposition the bar, moving i t through the
chalk, such as CIo-chalk. entire length of each tube. Press after
each adjustment.
To sew the tubes, fold the bias strips in
half, right sides together. You can use a 1'4- i n .
foot t o sew a perfect 1'4 i n . from the folded
5 After the bar is removed, press the entire
length once more using the press cloth.
edge. If your tubes are % i n . , use a zigzag The bias rouleau i s now ready to be ap­
presser foot and alter the needle position, or plied to the base cloth.
use a marker on the machine bed as a gui de .
A quick way t o sew uniform tub ing is with 6 To position the appl i que for sewi ng, use a
a Fastube foot, which guides the folded strip fabric glue stick.
to the needle . It elimi nates the stress of guid­
ing length after length accurately and saves 7 Apply the glue stick to the wrong side of
the bias rouleau, coating just a few i nches
time. The companion product for this foot is at a time, then place the rouleau along the
called Fasturn and makes turning the finished design line.

120
STITCH I N G T H E
7 Sink the needle so that it barely catches
APPLIQUE BY MACH I N E the appli que and stitch up and down two
With careful attention, this method will allow or three times to secure, form ing a knot
you to attach the appl ique almost i nvi sibly on the back.
( see the photo at right).
8 Rai se the presser foot and needle and gen­
tly push the work forward until the un­
1 Thread the needle and load the bobbin
broken thread crosses the i ntersection
with 60-wt. machine-embroidery thread
( don't worry, you'll trim the threads later ) .
in a color to match your fabric. I f you
Lower the foot and secure the i n tersec­
can't fin d a good color match, use a fine
tion's next corner by stitching up and
i nvisible nylon as the top thread and fine
down two or three ti mes.
cotton in the bobb i n . lightweight silk
thread i s also an option.
9 Now raise the feed dogs and conti nue
stitching to the next i n tersection, along
2 Select the blind-hem sti tch and adjust
the edge of the applique.
both stitch wi dth and length to 1 mm. You
want the si deways stitch to take the ti n i ­
est bite possible while still catching the 10 Lower the feed dogs at all i n tersections,
except those that contain a join in the Machine-stitched bias
applique fabric. Test this on a sample
bias, and push the work across the i nter­ applique works up
swatch prior to sewing on your actual gar­
section to begin sewi ng aga i n . quickly, maintains the
ment and adjust the width to a slightly
wider setting if the needle doesn't catch hand of the cloth, and
the fabric. Or adjust to a slightly narrow­ 11 A t t h e i ntersection with a b i a s join o n looks as though it were
the underlap, keep t h e feed dogs raised, made by hand.
er setting, if the bite is so wide that the
and conti nue to sew directly through
needle thread shows. To some extent the
the intersection.
visibility of the sti tch will vary with t h e
Although you ca n cut
fabric. Fabrics with more loft will tend to
conceal the stitch, while flatter fabrics 12 After you complete an entire edge of
bias strips clear to
the appli que, turn the work around and
will conceal it less.
sew the other edge. Repeat with each the corner of your
strand of the design until the entire ap­
3 Adjust the needle position to the right
plique i s secured.
yardage, there's a
and use an open -toe embroidery foot so
point at w hich the
that you can see clearly.
13 When all appli que sewi ng is complete, strips become too
trim away any threads that are visible
4 I f you have a half speed setting on your s hort to use conve-
across the i ntersections. Cut loose thread
machine, engage it (or sew slowly) . like­
as cl ose to the fabric as possible, without n iently. Rather than
wise, if i t's an option, select needle down .
nicking the fabric. I use a Ci ngher tool
cutting u p strips that
called a Berling n ipper for this purpose,
5 Align the edge of the appl i que with the
which is more comfortable to use than can't be put to use,
inside of the right presser-foot toe, which
scissors, and its tweezerlike blades can cut
will serve as a guide. Sti tch along the sta rt cutting the bias
close to the cloth without n icking. Hold
edge of the applique.
the n ipper perpendicular to the fabric and strips fa r enough
cut the excess thread close to the cloth.
6 I f you are appliqueing a design where the away from the corner
l i nes cross over and i ntersect, it will be
so that a l l of your
necessary to "jump" the i n tersections,
meaning you move the presser foot over strips will be useful.
the intersecting bias tube without taking The leftover yardage
any stitches through that i ntersection. To
i n the corner will be
do this, drop the feed dogs when you
reach the corner of an i ntersection. usefu l, too.

121
INS E TS
trasting color, work tone on tone, pair sheer
Embell ished Silk Crepe D ress with opaque, embellish them, or leave them
plai n . Creating and sewing an i nset is easy. I n
the way of extra work, i t requires just a few
Insets produce con­
simple alterations to the pattern , and staying
trasts in color, tex­
ture, and line. They the i nset seams.
set the tone for the
rest of the garment
and are frequently
reinforced with the Selecting a suitable
use of bands, bind­
ings, or covered
buttons worked in
garment pattern
the same fabric as Simpl icity is the password when it comes to a
the insets. This garment pattern amenable to insets. Look for
dress features
well -cut ren ditions of basic styles, with few
sheer chiffon insets
and woven ribbon. pattern pieces and clean l i nes. Of course, you
can always seek out a pattern that suppl ies the
i nset for you and work from there to put your
own spin on an already fabulous design.

Designing an inset
To create your own i nset, start with the l i ne
drawing that comes with your basic pattern .
Enlarge th is image, using a copier, and run off
several copies, so that you can ti nker with
more than one i dea as you perfect the design .
Once you h i t upon an idea you l ike , try it
out full scale . There are a couple of ways to do
this. One is to draw the basic shape of the
inset, cut it out, p i n fi t the pattern , locate and
mark the placement for the i nset, and perfect
the shape of the inset from there .
Insets are shapes or bands seamed i nto the Another approach is t o cut an actual muslin
structure of the garment to produce contrasts and pin it to the dress form or the actual wear­
in color, texture, and line. Used effectively, er by marking corresponding dots. Designate
i nsets set the tone for the rest of the garment the shape and location of the i nset di rectly on
and are frequently rei n forced with the use of the musl i n . Remove the musl i n from the dress
bands, bindi ngs, or covered buttons worked i n form and lay it fl at. To perfect the l i ne, con­
the same fabric a s the insets. nect the dots, using rulers and French curves.
Insets can be used anywhere on the body of Proof the results on the dress form or the actu­
the garment. You can cut them from a con- al wearer. When you l ike the basic look, i t's
time to prepare the pattern pieces for the i nset

122
(to get some i deas for effective i nset designs,
see the sidebar below). Coat with Pleated Insets

Pleated insets from silk

or contrasting fabric add
Preparing the pattern richness and character.
The results are
In the fol lowi ng steps, you will redraw the striking yet simple
pattern piece to make room for the i nset and to execute.
establish reference poi nts to make the assem­
bly easy and accurate.

1 Trace the pattern p iece onto pattern trac­

ing paper. I ndicate the grainl ine, and car­
ry it through the enti re pattern.

2 To draft the actual design, use the muslin

as a guide. You can trace off reference
points directly from the musli n , but for
the actual pattern , draw in the straight
li nes with a straightedge and curved li nes
with a fashion ruler or French curve.
Where i nsets run parallel to the edge of
the garment, measure to ensure that the
space between them remains consistent.

3 When the accuracy of the lines has been

checked, and the pattern p i n fitted once
more to proof the effect, draw in the actu­
al seamlines with a fine-point pen .

4 Draw i n the grainline on each pattern

piece. Measure accurately so that the
grai n i ndicated for all pattern pieces
runs absolutely parallel. Finally, draw i n
notches on both sides of each seaml i ne to

Ideas for Creating E ffective Insets

Use this list to j u mp-start your own ides for i n sets. Ex­ Line
periment with u n iq u e fabric pairings, color, a nd l ine to Asym metrical, curved, geometric, concentric .
make a statement or as the fou ndation for furt her em­
bellishment. Texture
Smocked, pleated, q u ilted, channel stitched and corded,
Fabric pairings pintu cked, faggotted rou leau.
Velvet and wool ; velvet and fa ille; wool crepe with silk
crepe; self-fabric bias i nset ( for plaids and textured Applied embellishments
woo l s ) ; reverse side of fabric ; linen and lace; silk Appliqued, beaded, em broidered , passementerie.
c harmeuse and silk chiffon ; wool crepe and wool
Details
batiste.
Topstitched, piped, bias bound.

123
 help match the pattern pieces when where else, unless your original pattern
they're sewn. did not provide seam allowances. ) The
seam allowance can be the same as the
5 Cut the pattern apart along the l i nes for rest of the garment seams or small er.
the i nset ( see the drawing below ) .
7 Label all pattern pieces clearly (upper
6 On a new piece of pattern tracing paper, front i nset, lower fron t i nset, etc . ) . Indi­
retrace each portion of the pattern, i n ­ cate how many pieces will need to be cut
cluding the grainlines a n d the notch. Add from fashion fabric and label right and
seam allowances to all newly cut edges. left s ides of the garment if they are treat­
This includes the i nset and all adjoi n i ng ed di fferently.
edges of the garment that were cut away.
(The origi nal seam allowances provided 8 Throw away the first set of cut-up pattern
in the pattern are not to be altered i n any pieces so they do not accidentally get cut
way. Do not add seam allowances any- out instead of the pieces with the seam al­
lowances added. Then cut out i ndividual
pattern p ieces from appropriate fabrics.
Dividing a Pattern for Insets

Sewing the inset

The addition of an i nset creates at least two
additional seams that will be unaccounted
for in the commercial pattern i nstructions for
your garment ( for garments that did not
have an i nset to begi n with ) . These seams
New seam should be sewn at the onset of garment con­
allowance
struction (see the top left drawing on the fac­
ing page), since doing so will re-create the
original pattern block that is referred to i n the
i nstructions. From there on, the commercial
I nset front
pattern i nstructions will apply to all phases
of construction.
Careful, precise seaming of the i nset i s a
must. Because the i nset is a design detail, i t
will draw attention t o that portion of the
Lower
garment, i ncludi ng the seams. If the
d ress front
workmanship i s consummate, these seams
will only add to the beauty of the garment.
But seams that stretch and curl , curves that
bulge when they should lie flat, and points
that pucker i nstead of point are hardly attrac­
tive and are potential p itfalls when it comes
1. Draw in lines for the insets. to sewing an i nset.
2. Cut the pattern pieces apart, add seam
allowance, and label all pattern pieces.

124
 Sewing Pattern Pieces Curved Seams for Insets

Sew the
pattern

<1'
pieces
along the
seamlines.

�'

Press, clip, and notch

seam allowance as
shown for curves.

Though there is sometimes no cure for a

seam ill - sewn, there are practical ways to Sewing and Pressing Points for Insets

ensure first- rate results. They include staying

seams that fall on the bias (to prevent wavy
seams); c l i pp ing, notching, and pressing
curved seams so that curves lie flat ( see the
right drawing above); and preparing corner
seams by sewing rei n forcement stitches (see
the drawing at right) , then clipping to the cor­
ner prior to seaming ( for perfect points, not 1 . Reinforce the seam on 2. Sew the
the inward point clip. point.
puckers) . Once the i nset i s sewn, simply pro­
ceed with i nstructions for sewing the rest of
the garment.

3. Press the seam open, then

stitch the miter.

125
FAGGOTTE D ROULE AU
hand, between the rouleau strips, across all
FAGGOTTED
ROULEAU open areas of the design .
The purpose of the faggotting is structural
Bias roulea u : light- to and decorative. Worked in heavyweight
medium-weight silk, thread, such as crochet cotton or silk button ­
wool crepe, cotton, hole twist, i t connects the rouleau strips and
and linen
mai ntains the shape of the design. When the
Cotton or silk organdy stitchery is complete, the fi nished rouleau is
Stabilizer: iron on separated from its base, and the lacel ike beau ­
(optional) ty of the faggotting is revealed.

Fusible i nterfacing
Contrary to appearance, this distinctive,
(optional) elegant, and utterly femi n i ne embell ishment
works up more quickly than one m ight first
Permanent-ink pen
(with a fine point)
i magi ne and is suitable for i nserts, edgi ngs, or
entire garments. Even so, if the treatment is to
Pencil
be extensive, it is unreali stic to expect over­
Pattern tracing paper n ight results. like most embellishments, the
Press cloth biggest expendi ture of time is in the plan­
n i ng and preparation ( see the s idebar on the
Measuring and draft­
ing tools: clear grid
facing page).
ruler, flexible curve, Once the design is worked out and the
French curve, and Contrary to its delicate, lacelike appearance, rouleau strips are sewn , turned, pressed, and
compass (optional) hand-faggotted rouleau creates a sturdy cloth
appl ied to a base, however, this project can
and can be used to create entire garments.
Va-in. basting tape or leave the sewing room! like knitting or hand
This sample was made from three-ply silk,
lightweight silk bast­ embroidery, i t's portable. So come up with a
faggotted with silk buttonhole twist.
ing thread fabulous design and work on it here and there
Thread: silk button­ for relaxation, while conversing with fam ily
hole twist, crochet The term rouleau refers to tape, ribbon , braid, and friends, whenever time allows. Before you
cotton, or pearl cotton or fabric trim that is pliable enough to shape know it, you'll have a garment that you'll cher­
Hand-embroidery in the form of tight curves for purposes of ish for years to come.
needles: size accord­ creating decorative laces, insets, appliques, The fol lowing i nstructions are for faggot­
ing to thread used and garment closures. The following ting by hand only ( see the photo above) .
methods for faggotted rouleau rely upon Though i t is possible t o use machine
the same type of turned fabric tubes used to methods typ ically associated with Batten-
make decorative braid and bias appli que burg lace for this technique, the use of a
( see pp. 1 1 9- 1 20 ) . hoop poses size l i m i tations. I n any case, my
F o r this embell i shment, fabric tubes are preference leans toward the clean look of
coaxed i nto elaborate, passementerie-like handwork, which i n real i ty i s equally simple
designs and applied to a temporary fabric or and no more time-consum ing than comparable
paper base for stability. Faggotti ng-a type of machine methods-particularly if you use
stitchery that connects two pieces of cloth my method of using basti ng tape to place
separated by an open area-is worked by the design .

126
 Plotting the Order of Construction
for Faggotted Rouleau
Once you 've figured out how to al­ • Construct c u t-away rouleau ap­ • Apply in sets and edgings that
ter the pattern to accommodate pliques directly on the garment. c ross a seamline to the garment af­
your rouleau design , i t's a good The outer edge of the appl ique al­ ter sewing that sea m . For example,
time to consider how the rouleau ways consists of rouleau outline, for a rouleau yoke that extends
embe l l ishment will i mpact the se­ which is sewn directly to the fash­ from back to front, sew the shoul­
quence in which the garment must ion fabric u s i ng a blind-hem stitch. der seams of the bodice and bind
be sewn. The order of construction When the faggotting is complete on (or t urn under) the bodice edge pri­
should never be an afterthought, the inner portion of the applique, or to basting the base fabric to that
since faggotted rouleau edgings, ap­ cut away the garmen t fabric, leav­ edge and faggotting the yoke to the
pliques, and i n sets are sewn in a i ng a margin of cloth that is pressed bodice along the connecting line.
logical sequence governed by the back and sewn in place . Sew ap­ Likewise, edgings at the hem of a
design of the embellishment i n re­ pliques that fal l within the seam­ skirt would be added once the side
lation to the garment style. To plot l ines of the pattern piece before seams were sewn.
the order of construction for a gar­ sewing that piece to another. Place
ment, keep the fol lowing cons idera­ and stitch appliques that cross a
• For entire garments made from
tions in m i n d . seamline after sewing the seam that
faggotted rouleau, con struction is
they cross.
• Read through the com merc ial sl ightly more complicated. I t is pos­
pattern i nstructions so that you are sible to treat the back and fronts as
fam il iar with the general order of • Shape and attach edgings and one (attached at e ither the shoul­
construction recommended for i nsets to a separate base fabric . ders or the side s ) , or each portion
your garment. As you read through, Complete faggotting worked on the of the pattern can be placed and
add i nstructions t hat pertain to al­ i nterior portions of the i n sets while faggotted i ndividual ly, then joined
terations you 've made to the pat­ attached to the base and baste the by a straight strip of rouleau at
tern and cross out all i n structions base fabric to the main garment so what wou l d be the seams. Bands
that no longer apply. (If you 're that the rouleau is spaced a precal­ that travel arou nd the neckl i n e ,
adding faggotted rouleau to a collar, c u lated distance from the edge of center front, and bottom hem, a l l
for example , added instru c tions the main garment sectio n ( s ) . Then the way arou nd the back, pose a
would include appropriate se­ attach the edging or insert to the construction dilemma that can be
quence for sewing the main collar garment section with faggotting resolved by treating the band as a
piece and adding the faggotted stitches. Remove all basting from separate piece; treating the fronts
rouleau to that collar piece; if you the m a i n garment, rouleau, and and back as one piece; or s imply
eliminated a fac i ng, i nstructions for base fabric . Remove the base calculating the location of the bias
sewing that facing no longer apply. ) altogether. joins so that they end up in an in­
conspicuous place.

To prepare for this techni que, create or been sewn, turned, and pressed to this base
adapt an appropriate design, make a template, following the l i nes of the design. The applica­
determ i ne the amount of fabric needed, alter tion of rouleau in this manner leaves open
the pattern to accommodate the application of areas, which are, in turn, worked with
the design, and transfer the design to a fabric faggotting stitches that permanently join the
base. Then apply bias rouleau strips that have strips together.

127
 and one-piece fronts, back, and sleeves. A n ice
Finding design pattern feature for a blouse is a h idden front
placket, which allows for a rouleau i nset down
inspiration the center without sacrificing the ease of a
Simple i nterpretations of this technique button - down front. For i nsets or edgings on
i nvolve l i ttle more than following the basic skirts and dresses, check the bottom wi dth of
l i nes of the affected components of the pat­ the fi n ished garment. Cenerally, narrow
tern. Replace a conventi onal collar with one widths show the work to best advantage and
that features one or more rouleau strips fag­ i nvolve less work and time.
gotted to the edge, and you've added an extra­ If you l ike the i dea of creating an entire
ordi nary detail wi thout a lot of fuss. On the garment from rouleau, consider vest or j acket
other hand, if you're looking for an epic pro­ patterns with simple shaping and straightfor­
ject, fuss all you will: This technique invites ward l i nes. Round, V-neck, and mandari n­
elaborate i nterpretation limited only by your collar neckli nes are suitable, and it's especially
willingness to comply with i ts demands . n ice i f you can find a pattern where the front
You c a n easily locate design sources for edges meet i n the center, si nce this treatment
Celtic spirals and knotwork, Battenberg lace, mai ntains the openwork effect of the design . I f
and Chi nese latticework, which inspire count­ you have a n otherwise appropriate pattern,
less design options that can be adapted to this however, don't hunt high and low for this
technique. Or work up your own visual theme detail, as just about any pattern can be suitably
based on hieroglyphs, ferns, suns and stars, or altered by removi ng the front overlap and
leaves. Play with fragments of designs; com ­ redrawing the line (see the sidebar on the
bine them. Make copies of those you l i ke, toy­ faCing page ) .
ing with enlargi ng designs, fracturing them, When you review pattern choices, think a s
and recombini ng. Then take your copies well about closures and how y o u m ight treat
home; trace off and p i n - fi t your pattern; and them relative to the designs. Buttonholes are
play with design placement, honing in on the out of the question, unless you create an under
one you like best and locating the perfect placket and go with the overlapping front. A
placement. But before getting hooked on a better solution for standard buttons are loops
speci fic pattern or i dea, sample the basic tech­ attached to the garment's edge. Yet another
nique. Cet a feel for the amount of work alternative are frog closures that join at the
i nvolved and make an i n formed decision center and are tacked in place on e ither side.
regarding the scope of your proj ect.

Making a
Selecting the
design template
perfect pattern Once you have settled on a design, enlarged i t
Faggotted rouleau embel lishments are suited t o scale, a n d fussed over a n d finalized i ts
to a variety of garment styles. Edgings can be placement on the pattern, you can make a
used to accent virtually any collar, cuff, neck­ paper design template that corresponds to the
line, or hem . Insets and appliques can be used portion of the garment to be embellished. The
to produce bands or moti fs to enliven the template will be used to trace the entire
front of a blouse, back of an unlined j acket, rouleau design to the base fabric.
hem of a skirt, or bottom of a sleeve. All designs must be drawn to scale and
Look for pattern details that will comple­ placed directly where you want them i n the
ment your work: convertible and shawl collars; final garment. As you will see when you actu-

128
ally do this, making the design template will
force you to begin thinking about what adj ust­
ments will be necessary to make to the pat­
Guidelines for Altering a
tern . To make a template, follow these steps .
Pattern for Insets or
1 U se pattern trac i ng paper to trace around
the outl ine of all pattern pieces to be em­
Faggotted Rouleau
bellished. Label all pattern pieces clearly
• Never alter the original pat­ should be noted on the i ndivid­
and trace off the grainline.
tern. Trace off the original di­ ual pattern pieces. Relevant in­
rectly to pattern trac ing paper. formation includes the name of
2 Pencil i n the actual seamlines to ensure
All s u bsequent alterations the pattern pieces ( front, back,
accuracy in placement of the designs.
should also be traced as wel l . left front, i nset, etc . ) , grai nline,
notches to match pattern
3 Draw directly, trace, or glue a copy of
pieces for sewing, seam al­
the design i n place exactly where you • Fine-t u n i ng t h e alterations
wish to have it positioned on the finished lowance, and an indication of
may take a series of adjust­
garment. how many pieces to cut from
ments to the pattern . Most al­
the pattern piece.
terations requ i re at least two

Determining the tracings: one to divide the pat­

tern along the new seamlines; • I n addition to the above nota­

amount of fabric the other to create i ndividual tions, pattern pieces for faggot­
pattern pieces that i nclude the ted rouleau may i n c l ude nota­
I n addition to being the bluepri nt for tracing
new seam allowance. tions that indicate where an
the rouleau design to the base fabric, the edge i s to be bound, where fag­
design template is used to determine how gotting will be sewn, and where
• All i n formation relevant to
many yards of rouleau are requi red for a the rouleau is to be placed.
cutting and sewing the pattern
design . The string method described for bias
applique (see the sidebar on p . 1 1 9 ) provides
an accurate estimate of how much rouleau you with the selvage. Measure the length from this
will need to produce. In turn, this will answer point, back to the crosswise edge, along the
the question of how much fabric to buy. lengthwise gra i n . In most instances, this mea­
Simple appl ications can sometimes be based surement will provide ample extra yardage.
on the yardage called for in the pattern, Extensive, or complex edgings, insets, or
depending upon the margi n of the layout. I f applique, as well as the use of rouleau to cre­
all you need are a few rouleau strips to edge a ate an entire garment, present a di fferent sce­
collar, see i f there's a way to arrange the pat­ nario in terms of how much yardage to buy.
tern pieces to include the bias strips necessary Exact yardage amounts are di fficult to gauge
to make the rouleau. precisely, so allow some latitude in this regard.
To calculate how much additional fabric to Keep in m i n d that faci ngs, hems, and seam
purchase for long, uncompl icated i nsets, all owances will be eliminated, and that much
moti fs, and border deSigns, measure the of the garment's surface will consist of open ­
longest continuous l i ne in your pattern . Use a work stitches rather than fabric. All edges and
tape measure to duplicate that length on the seam l i nes will be outl ined with rouleau, so be
bias of your fabriC, positioning the tape so sure to measure around the entire edge of the
that the beginning and end of the tape mea­ garment, i ncludi ng the neckline, front open­
sure align with the lengthwise selvages. Use a ings, and hemli nes-i ncluding sleeves.
pin to mark the farthest point from the cross­
wise edge, where the end of the tape intersects

129
 fabric yields. F i nally, divide the rouleau
Usable Yarda ge for Bias Stri ps yardage required for your project by the num­
ber of yards of rouleau a perfect square yields.
Multi ply the result by the length o f your
yardage square ( 1 . 3 3 3 for 45 i n . of fabric;
1 . 666 for 60 i n . of fabri c ) . This final figure
indicates how much actual fabric to purchase.
If your estimated yardage amount exceeds
the length of the square measurement you
used for estimation, you will actually end u p
with more available bias than you calculated
for, because you'll be cutti ng from a rectangle,
Because the percentage of usable bias yardage increases with the not from a square. In other words, the per­
length of fabric, shift the initial cutting line farther from the corner centage of usable bias yardage will i ncrease
edge. This will result in cutting longer lengths of fabric and leaving
with the length of fabric. My recommenda­
a larger portion of the corner uncut.
tion, i n this instance, i s that you sh i ft the i n i ­
tial cutting line farther away from the corner
I n addition to these measurements, calcu­ edge (see the drawing at left) . This will result
late the length of all seams . For an unstruc­ in cutting longer lengths of fabric ( this is
tured cardigan, this would i nclude two side, good!) and leaving a larger portion of the cor­
two shoul der, and two armscye seams. A j ack­ ner uncut ( also good ! ) .
et with a mandarin collar would include an I f i t turns o u t that you need t o cut t h i s up
additional seam for the collar band. If you for bias, after all, you can at a later point. If
plan to make your own frog or knot buttons not, you'll end up with more usable leftover
from rouleau, be sure to include the yardage fabric than you otherwise would. I do not rec­
for that as well. ommend buying less than the calculated
To calculate how many yards of rouleau are amount, however, since i t's better to have a lit­
requi red for completion, use your design tem­ tle leeway built i n to a project like thiS, as
plate and the string method described for bias opposed to com ing up short i n the end.
applique. When you arrive at a figure, com­
pare it with the number of usable bias stri ps
you can cut from a perfect square of fabric . Preparing the pattern
F o r a rough approximation of how much Embellishments with faggotted rouleau requi re
rouleau yardage this square of fabric will put adjustments to the pattern. The adjustments
at your disposal , divide the length of usable for making edgings, appl iques, i nsets, and
yardage by 1 Y2 i n . or the width of the strips. entire garments from rouleau vary, as
This tells you how many strips the square will explained. I n each case, alterations to the pat­
yield. Then multi ply the number of stri ps tern must be complete before the garment i s
available by the length ( i n i nches) of the c u t out. In some instances, i t may b e necessary
mid-length stri p-not the longest or the to combine techn iques based on your vision
shortest strip . Now divi de this amount by for the completed garment.
36 i n . to convert this calculation to yards. Regardless of how extensive the treatment,
This yardage figure i ndicates approximately properly thinking through the al terations that
how many yards of rouleau a perfect square need to be made is essential to success.
( 1 Y3 yd. of 45 i n . ; 1 :;3 yd. of 60 i n . ) of fashion Likewise, think in advance about how the
addi tion of rouleau will affect the order i n
which the garment i s constructed.

1 30
 To avoid i rreversible m istakes, double­ border or looped edging, while a convert­
If the sea ms aren't
check all of the alterations you m ake before ible collar for a blouse calls for a simpler
you cut into your fashion fabric. In particular, approach. marked on the pat-

reexamine all edges and seam allowances to tern, the easi est way
4 Align the clear grid ruler with the edge to
ensure they will fi t together as i ntended. You to remove a sea m al-
be embellished and make a series of dots
can remove a seam all owance, i f necessary, but to indi cate the width of the edging, pro­ lowance i s to use a
you sure can't put one back! gressing around the circumference of the
Fi nally, use proper tools to trace off the working template. Connect these dots rotary cutter with a

pattern and make all subsequent changes. A with a solid l i ne, maintai n i ng an even dis­ guide attach m ent.
permanent- ink pen with a fine point, clear grid tance from the edge. A flexible curve i s an
ruler, compass, French curve, and flexible excellent way to produce a smooth l i ne
around curves and collars.
curve are useful for this purpose.

A LT E R I N G T H E PAT T E R N F O R A
5 Alternatively, i f you already have a design
template for your garment, lay the work­
FAG G O TT E D R O U L E A U E D G I N G ing template over it and trace the outline
Edgings are the simplest treatment to make of the edging design directly to your
with faggotted rouleau. To use rouleau edgings working templ ate.
to transform collars, cuffs, and hemli nes,
begin by making the followi ng alterations to 6 Label the main portion ( i .e . , collar) and
the pattern . the edging ( i . e . , collar edging) of the
working template. Check to see that the
grainline i s i n di cated on the main pattern
1 Trace off the entire pattern piece to be
portion. Cut out the edging along the i n ­
embellished. Trace all seamli nes, and
mark in hems. Generally, a measurement dicated line.
for the hem i s marked on the original pat­
tern. Mark i n grainline. 7 The remainder of the template is your
main pattern piece. The outer edge of this
piece can be left without a seam al­
2 Trim away the seam or hem allowance on
lowance, i n which case this portion of the
all edges to be embellished. Do not trim
away the seam allowance that will be used garment must be bound with bias trim .
to construct the garment. On a collar, for Alternatively, the new pattern piece can
example, trim away the outer seam al­ be retraced, and a seam allowance can be
lowance, but leave the neckl ine seam al ­ added. E ither way, be sure to label the
lowance i ntact. Th is paper pattern piece pattern piece and indicate whether or not
will be your worki ng template. I t will be there is a seam allowance along the edge,
used to create the new pattern pieces for and if so, how much.
the unembell i shed portion of the original
pattern p iece, as wel l as the template for A LT E R I N G T H E P A T T E R N F O R
the embellished edging on your garment. C U T- A W AY R O U L E A U A P P L I Q U E
When rouleau is used to create a cut- away
3 Determ i ne how wide you want the applique, the resulting effect is similar to an
rouleau edgi ng to be. The narrowest
i nset, but both the techniques and possibilities
width would consist of one rouleau strip,
for each method di ffer (see the drawings on
plus the desi red width of the faggotti ng
p. 1 3 2 ) . One major di fference i s that the edge
( generally Y4 i n . to % i n . ) . The width and
complexity of the edging should remain of the appli que always consists of a rouleau
proportionate to the pattern piece that i s stri p, which allows for more i n tricate shaping
b e i n g embel lished a n d t o the rest of the along the margins of the design.
garment. A large shawl collar on a robe , No alterations to the pattern are necessary
for example, will stand up to an ornate with the appli que method, because the designs

131
 template for the applique design . The tem­
Cut- Away Rouleau A p plique
plate i n this case would be traced off the pat­
tern, with the front and back pattern p i eces
pinned together, matching the shoulder seam ­
l i nes. The outer edge of the design template
will correspond to the neckli ne, m i nus the
seam allowance.

A LT E R I N G T H E P A T T E R N F O R A
FAG G OT T E D R O U L EA U I N S E T
Rouleau insets vary from edgings i n that at
least two edges are connected to the main
body of the garment. They vary from
Right side L-_-7 appliques in that they are less versatile in
terms of shaping and that no fabric from the
i nset actually comes into contact wi th the
main portion of the garment. Use rouleau
1. Mark the design for 2. Baste rouleau to the insets to set in beautiful bands on the front o f
rouleau. Applique directly to fabric and work faggotting
the right side of the garment. stitches.
a blouse, a wide border on a vest or cardigan,
or an entire faggotted rouleau panel on a dress
or coat. Pattern alterations for rouleau insets
should be made in tandem with or based on a
design template, which in this instance dou­
bles as the working tem plate. The methods are
/ as follows .
\
\
)\
\ Wrong 1 Trace the entire pattern piece onto pat­
I side tern tracing paper. This will be your
I
I
I
� 2
working template.

Determine the embellishment design,

Right side
I size, scale, and its exact location on the
1- - - - - pattern. D raw, trace, or apply the full­
scale design to the working template.

3. Cut away the fabric

from the wrong side of
Fin ished d esig n with 3 Using a straightedge, pencil i n a line that
cut-away applique from runs flush with the outermost edge and
the garment and whip­ right side of fabric parallel to the design . Repeat for all edges
stitch excess allowance
in place.
of the i nset design .

4 Pencil in a second l i ne parallel to the first

and spaced approximately 14 i n . to % i n .
are applied directly to the surface of the gar­ apart. The distance between these two
ment rather than to a separate base fabric. li nes allows for the faggotti ng stitches
However, where an applique design crosses that will hold the design in place. Assess
seamlines-for example, a yoke that i ncludes the l i ne for consistency and effective
both the front and back neckli nes-it will be placement on the pattern. When you're
satisfied, redraw the outer lines in ink.
necessary to work with the pattern to create a

1 32
5 Label the i nset, as well as the parts of the When the rouleau design is traced off the tem ­
pattern to either side. Mark grai n l i ne on plate t o the base, trace the new pattern l i ne
pattern pieces that surround the i nset. rather than the entire template. For insets,
appliques, and edgings, draw a �4- i n . to I -i n .
6 Cut apart the working/design template
margin around the entire design .
along the i nked- i n l i ne . The portions of
To trace directly to the fabric base, use a
the template to either side of the i nset are
fine-point permanent - i nk pen. The base fabric
now your new pattern p ieces for the un­
embellished portion of the original pat­ should have a crisp hand and be sheer enough
tern p iece. Add seam allowances to the that you can easily see the l i nes of your design
cut edge if you prefer to turn the edges template when it's placed beneath the cloth .
under rather than bind them . Cotton organdy is i deal for this and is relative­
ly i nexpensive. Silk organza or cotton musl i n
7 The i nset portion of the templ ate repre­ are also fine (see the left drawing on the
sents the area to be embellished and will
facing page ) .
be used to trace the rouleau design to
Pattern tracing paper offers desired stability
your base fabric .
for small p ieces but becomes cumbersome for
a larger design and is subject to teari ng. Also,
A LT E R I N G T H E PAT T E R N it i s di fficult to reposition the rouleau without
F O R R O U L EAU C O N ST R U CT I O N tearing the paper, while the cloth base is quite
When rouleau is used to make an entire gar­ amenable to repositioning and to last-mi nute
ment, all seam allowances, faci ngs, and hems adj ustments to the design .
are elimi nated from the garment. However, Paper's advantage, however, is stability.
since the entire edge of the garment will con­ U nl ike fabric, i t does not stretch and is not
sist of a band of rouleau, a more accurate tem­ subject to distortion. If you are working on an
plate i s produced by i ncluding the seam elaborate design and are concerned about this
allowance and by i ndicating the seamline. factor, use interfacing or an i ron -on stabili zer
When the design i s transferred to a base fab­ to back the base fabric. I f you elect to do this,
ric, the i nclusion of the seaml i ne will vi sually the stabilizer should be added after the design
aid in accurate placement of the rouleau. i s drawn.
For purposes of making a design template, If you plan to use the tape method to apply
the only other alteration may be creating a rouleau to the design , place the rouleau right
complete pattern p iece for a back or sleeve side up and work the faggotting stitches from
that may normally have been cut on a fold. the right side of the design (see the right
drawing on p. 1 3 4 ) . In this i nstance, the fin­
TRA N S FE R R I N G TH E ished design will appear exactly as it does
D E S I G N TO A BAS E when attached to the fabric base.
Once the necessary alterations to your pattern If you plan to use the hand-basting method,
have been made to accommodate your rouleau however, this is not the case. The aesthetic
design, you are ready to transfer the outli ne of advantage of hand basting i s that the rouleau
the design from the design template to a base can be placed facedown on the fabric base so
fabric. If a working template was used and that the faggotting i s worked from what will
resulted i n a separate pattern piece for an edg­ be the wrong side of the garment. Faggotting
ing or i nset, superimpose this pattern on the done from the wrong side of the garment pro­
design templ ate directly over the design for duces a cleaner look. The point at which the
rouleau. Pin matching edges and seam needle enters the fabric remains discreet, and
allowances where they coincide. Trace around the rouleau strips appear to frame the stitched
the pattern p iece directly to the template . designs. Also, it is possible to fold and m i ter

133
 Rouleau Design Drawn to M uslin Rouleau Placement in Progress

corners on the back s ide of the garment to i s a good idea i n this case t o label the base
produce what will be a point on the front and cloth clearly in advance so that you don't
to accomplish the fi nishing stitches, such as i nadvertently end up with two right s ides!
tacking the rouleau at i n tersecti ons and adding
new stri ps to complete the design.
U n less you reverse the design prior to Placing rouleau
application, however, placing the design face­
down will m irror, or reverse the direction, of strips to a base
the design . A sim ple way to correct this is to The success of faggotted rouleau depends
work from the design line that bleeds through upon placing the rouleau so that it lies smooth
to the wrong side of the base fabric. If you and adheres fi rmly to the fabric base. This
wish to do this, simply be sure that the ink way, the shaped fabric strips remain stable
from the marker bleeds through and i s readily while various stitches are used to secure them ,
visible on the opposite side of the cloth when preserving the integrity of the design .
you trace the design . That way, you can sim­ The following methods i nclude both tradi­
ply fl i p the base fabric and work directly from tional and time-saving techniques for applying
this side. rouleau strips to a fabric base. Likewise, meth­
Perhaps it has already occurred to you that ods for permanently j o i n i ng the rouleau with
if you have two front sections or sleeves that lacel ike stitchery allow for levels of treatment
are essentially mirror i mages, it i s not neces­ that range from simple to complex. Prior to
sary to trace each side to a separate base . placement, all rouleau strips must be sewn ,
Assumi ng that you use the bleed-through turned, and pressed flat.
method, so that the rouleau design is visible Hand basting the strips to the base with
from both sides, one base will suffice. The silk thread is the traditional placement method
rouleau will be applied to one side of the base for faggotted rouleau. It provides ample adhe­
to complete the right side of the garment and sion, yet allows for some further shapi ng and
removed prior to working the opposite s ide of redistribution of the fabric once the rouleau is
the garment, on the other side of the base. I t

1 34
attached to the base. It can also be pressed,
which helps to "set" the shape of the tri m . I ts Hand- Basted Rouleau

primary advantage, however, is that the bast­

ing in no way mars or alters the fabric. The Muslin Rouleau basted
rouleau can be applied facedown and worked to m uslin base
to advantage from the back side of the embell ­
ishment. Once the faggotting i s done, the
basti ng i s with drawn, the stitchi ng looks beau­
tiful from the right s ide of the garment, and
no trace of the method remains. Needless to
say, if you are working a complex design or
perhaps an entire garment, hand basti ng
can be cumbersome and time-consumi ng­
particularly i n light of the handwork yet to be
done when the basting is complete. Bias-bound edge of garment Muslin base
Nevertheless, i ts advantages should not be
overlooked.
An alternate method that is much quicker
and, for most appl ications, satisfactory i s to the rouleau is attached to the base. Likewise,
use Ys- i n . basting tape to tack the rouleau to remove the fabric from the base and the tape
the base temporarily. The tape is narrow from the surface of the rouleau i mmediately
enough that it allows for the flex of the upon completion of the faggotting.
curves, yet it holds the trim securely in place. Regardless of how you elect to position
It also has the advantage of being reposition­ the tape, under no condition should the
able, so i f the rouleau doesn't lie well around a rouleau be pressed while the tape i s adhered
particular corner, for example, it is feasible to to i ts surface.
take it up and rework its placement without
any fuss. H A N D BAST I N G
I t is preferable to adhere the tape to the Silk thread leaves no impression when pressed,
wrong side of the rouleau and place it on the so make the effort to use it for hand basti ng
base fabric right side facing up. Using the tape rouleau.
in this manner avoids the possibility of the
tape forming a slight residue on the right side 1 Select a lightweight silk basti ng thread
that contrasts sharply with the rouleau
of the garment. Since it requires working the
and base fabric .
faggotti ng from the right side of the garment,
designs worked i n this style should avoid
2 Place the bias rouleau facedown and
loops and poi nts, which tend to work best baste i t to the base fabric along the design
when there i s full access to the back side of line, stretching and molding it to the
the design. curves as you go. The rouleau will con­
Although it is preferable to use the tape pri­ form readily to most curves, but for espe­
marily for applications where the rouleau is cially i ntricate ones, i t is possible to pre­
shape the rouleau by working it into the
placed right side up, i t i s possible to use the
desired loop or curve, then lightly press­
tape selectively on the right side of the
ing it before basting it to the design ( see
rouleau. If you choose to use it in th is manner,
the drawing above) .
be sure to p retest the tape on your fabric and
work up the design as quickly as possible once

135
 breaking the basti ng, it i s possible to re­
3 The surface of the rouleau should remain
distribute the rouleau to roun d out the
flat, smooth, and retain the flow of the
design . Bear in m i n d that, as long as i t's edges, to smooth more fabric i nto narrow
not twisting or turned i n upon itself, i t spots, and to firm up the basic l i ne . If
will relax i n the fi nal pressing a n d will there are spots where the rouleau i s really
most likely appear to conform more pre­ twisted or otherwise contorted in a way
c isely to the design . that will interfere with the design, break
the basting and remove as many stitches
Work a longer runn i ng stitch for straight as necessary to release the tension at this
4
or slightly curved l i nes and shorten the point. Smooth the rouleau back into
stitch as you shape the bias around proper position and rebaste, stitchi ng be­
curves. Aim to keep the width of the yond the break i n the original basti ng.
rouleau consistent.
9 After you've made corrections and are sat­
i sfied with the results, press the entire
5 To the extent possible, attempt to com­
plete long passages with a si ngle length of basted design. Press from the wrong side
rouleau. When i t is necessary to j o i n two fi rst, then flip the base over, and press
strips to complete a pass, do so at an i n ­ the right s ide of the rouleau through the
conspicuous point. Take small tacking fabric base.
stitches as necessary and whipstitch the
ends in place, making sure that all raw U S I N G B A S T I N G TA P E
edges will be hidden from view on the Basting tape is quicker than hand basting, but
right side of the garment. it's harder to mani pulate accurately.

6 Where one stri p of rouleau crosses anoth­

1 Apply /'s- i n . basti ng tape to the wrong
er, simply baste the top strip directly to side of the rouleau strip .
the one below. In addition to faggotting,
tacking stitches are used to secure the
2 Peel away the paper backi ng, approxi­
rouleau at i ntersections, add on new mately 1 2 i n . to 1 5 i n . at a time, and ap­
lengths as the design requi res, and ensure ply the rouleau to the base fabric follow­
that fabric j o i ns remain i nvisible from the ing the design line.
right side of the garment.
3 Shape the rouleau as it's applied and keep
7 To form points, as called for in the design, it as uniform, smooth, and flat as possible.
p i nch the rouleau so that the tip of the
point coincides with the design . A m i ter 4 Reposition the rouleau as necessary.
will form on the working side. Baste di ­
rectly through the base of the m i ter, then 5 Where l i nes i n tersect, the tape will be
conti nue basti ng along the design line. caught between layers. I t will need to be
When all basting is complete, i ndividual removed before tacking, wh ich can be
poi nts can be worked with permanent done after basting is complete or after the
stitches through the base of the m iter, as faggotting is complete.
well as one or two whipstitches to keep
the point to one side. 6 Do not press the rouleau while the tape i s
adhered t o fabric .
8 After the entire design is basted to the
base fabric, proof the li nes. Although you
can't make sign i fi cant alterations without

136
Stitching The drawings below illustrate a few of the
basic stitches that you can i ncorporate i nto
faggotted rouleau rouleau designs. To begin faggotting at any
Numerous faggotti ng and i nsertion stitches point in the design, bring the needle through
can be used to join the rouleau, but by no the cloth on the back side of an i n tersecti on.
means is it necessary to entertai n the possibil i ­ Take a small backstitch to attach the i ntersect­
ty of using them all. The basic faggotting i ng layers of rouleau, bring the needle to the
sti tch alone is sufficient for an entire garment corner of the nearest open area, and begin to
and works up quite rapidly once you've hit work the faggotti ng stitch across the open
your stride. On the other hand, i f simple portion of the des ign .
rhythms are not your cup of tea, perhaps you'll Be sure to use a thread that is suffiCiently
enjoy expl oring a few additional stitches here strong and that resists shredding, knotting,
and there, i n troducing a spri nkling or profu­ and kinking when you sew. Li nen, silk button ­
sion of beads, incorporating silk buttonhole hole twi st, a n d crochet cotton are excellent
ri ngs into your deSign, and for the final i ndul­ choices. Select a color to match or contrast
gence, making your own frog closures or subtly with your fabric.
Chinese knot buttons from rouleau.

Four Basic Stitches for Fag gotted Rouleau

137
 • •

In �In �S
• •

I In �S
For effects that range from delicate to dramatic, bindings and pipings are both practical

and beautiful. Knowing when, why, and how to apply them will put new methods at your

fingertips for making garments uniquely your own. Try a silk charmeuse binding on the

collar and cuffs of a blouse; triple piping on a shawl-collared robe; the slim allure of a nar­

row French binding on silk chiffon. Details such as these take time but reward you with

garments whose beauty and longevity often exceed your efforts.

Although you may tend to think of bindings

and pipings first in terms of the visual

impact they provide, learning to use them

functionally is also rewarding and frees

your creativity as well. The methods

presented in this chapter unravel the

mystery of achieving professional

binding and piping results across a

range of applications.
MATERIALS AND E QlJ IPMENT
Exquisite bindi ngs and p i p i ngs require just a
Jacket Embellished with Binding s few simple notions and basic sewing supplies.
The emphasis in materials selection lies i n cre­
ating elegant and eclectic fabric combinations
to achieve the effect you desire .

Fabrics and
alternatives
Not all fabrics are equal when it comes to suit­
ability for bindings and p i p ings. The choice
will be dictated by numerous considerations
that include aesthetic as well as practical dec i ­
sions. I n addition t o selecti ng a material
accordi ng to its compatibi l i ty and effect rela­
tive to the fashion fabric and garment style, it
is necessary to consider how that material will
perform i n terms of ease of use, added bulk,
and in some cases, durabi l i ty.
For bindings and p i p i ngs alike, the fabrics
that tend to perform best are natural fiber fab­
rics with a smooth or lightly textured surface
and an even, supple stretch on the bias. Crisp
fabrics with body, such as l i nen, cotton , and
silk dupioni, are generally easier to control,
while slippery silks and rayons requi re greater
time and care in handl i ng. Fabrics with a twill
weave structure, such as denim and wool
gabardine, make durable bi n di ngs but have a
tendency to twist out of shape more readily i f
care i s not taken t o straighten the grai n i nitial­
ly and to cut the fabric strips on the true bias
(see the sidebar on p . 1 48 ) .
Bindings can provide effects that range from delicate to
Kni ts are quite suitable for bindi ngs and
dramatic. The lines of this jacket are highlighted with bias
bindings and topstitching details. pose an economical advantage, since the stri ps
are cut on the crosswise gra i n . Wool double
knit, wool jersey, stretch velvets, and stretch
Lycra of all kinds make suitable bindi ngs for a
variety of applications.
For lush or eclectic effects, look to silk
charmeuse, velvet, silk metallics, silk chi ffon,

140
and cotton or silk tulle. Look as well to i ncor­
porate unusual plaids, stripes, and the wrong
sides of double-faced sel f-fabric for eye­
Designing with Bindings
catching effects that are never overbearing.
and Pipings
Base your selection on aesthetic i ntuition,
bearing in mind that b indings and pipi ngs are Bindi ngs and pipings are among the easiest embellishments to use
often an open door for the creative use of bold effectively. My theory is that it's because their application is l imited
colors and h ighly ornamental fabrics you may to the edge of the garment, with an emphasis on the seams . Not
never elect to use for an enti re garment. about motifs or endless decorative options, bindings and pipings
Though fabric tends to dominate, i t's by no are straightforward embellishments. Their success hinges upon
means the only choice for bindi ngs and pip­ workmanship, color selection, and placement of line.
i ngs . I n the way of bindings, custom and com­ Though bindings and pipings can be a focal poin t , they are fre­
q uently employed to highl ight yet another embellishment or simply
mercial foldover braids, ribbons, lace, twill
to emphasize the structure of the garment by drawing attention to
tape, and petersham (or grosgrai n ) pose
or away from particular lines. Use t hem as well to create continu­
i ntriguing possibilities. Likewise, there's more
i ty, either by using a fabric for the binding or piping that appears
than one way to pipe a seam, so if corded p i p ­
e lsewhere in the garment, or by introducing a color next to which
ing doesn't make you turn cartwheels, maybe disparate elements can abide.
commercial or custom cord-edge will .

when used as its core. Si nce a number of

Stabilizers options are available, i t's i n itially worthwhile
Fabrics that are especially prone to stretchi ng, to experiment with all of them so that you
as well as lightweight fabrics and sheers, can experience the properties and performance of
be di fficult to cut and sew on the bias and may each firsthand. From there, you can make an
benefit from starching. Regular spray starch i n formed decision. If you couldn't be both­
will tame most fabrics considerably, but for ered, simply choose the type of cord that i s
extremely slippery silks and rayons, you may most accessible a n d convenient, a s all of the
want to try a water-soluble stabilizer l i ke options that follow are perfectly suitable.
Perfect Sew prior to cutting the bias and
throughout i ts application. Perfect Sew can be • Polyester cable cord i s a soft, plied cord that
applied directly to the fabric from which the comes in a complete range of sizes for pip­
b i n ding i s cut, as well as to the portion of the i ngs Ys i n . to % i n . wide. I t is i nexpensive,
garment where the b i n di ng i s to be applied, guaranteed shrink proof, and can be pur­
and removes completely upon washing. chased at most fabric stores.
(Always test on a sample prior to using any
water-soluble stabilizer. These stabi l izers are • An easy-to - fi nd cord is 1 00% cotton Siene
not compatible with all fabrics; however, 1 twine, available from hardware stores. This
have had excellent results with most silks . ) cord is basically household string. I t has a
firm twist and comes i n sizes suitable for
piping to Ys i n .
Cords for piping
Most sewers who use piping frequently devel­ • Also favored for "baby" p i p i ng are # 5 a n d # 3
op strong preferences for particular types of pearl cotton, crochet cotton, and cotton
filler cord. Plied or brai ded, suitable filler gimp, available from specialty needlework
cords vary i n densi ty, flexibility, and resili ence, sewing- supply stores.
all of which effect the character of the p i pi ng

141
 Other presser feet that are useful for p i p i ng
are those with a roun d groove on the bottom
of the foot. These feet rely on the foot groove
to hold the cord firmly i n place and utilize the
needle posi tions on the machine to fi ne-tune
the distance of the stitch from the piping
cord. The size of the p i p i ng cord must be
comparable to the groove on the foot base,
which l i m its the size of p i p i ng each of these
feet can produce. Nevertheless, when you
find a perfect match for a piping size that you
use frequently, i t makes both the production
and appl ication of piping a breeze! Feet that
fall i nto this category include the corded
appli que foot, all of the p i ntuck feet, Bernina's
bulky overlock foot, and the generic Pearls 'N
Piping foot.
Presser feet and machine attachments that
are useful for machine appl ication of bias
Commercial foldover
• Sash cord is a round sinnet cord or braid, bindi ngs i nclude the Y4- i n . foot, the edgestitch
braids, trims, and
cord-edges are easy to so it is very fi rm and produces clean, wel l ­ foot, the zipper foot, and bias binder attach­
use and expand the defined piping. It c a n b e purchased from ments.
options available for most hardware stores and wherever drapery Some bi nder attachments are designed for
bindings and pipings. supplies are sold. Look for the preshrunk prefold bias trims, while others perform a one­
1 00% cotton variety, which comes i n step bi nding from a flat-bias strip. Also, some
several si zes sui ted t o standard pi ping bi nders accommodate multiple b inding
applications. widths, while others are l i m ited to one size­
or s ize range as the case may be.
• Another firm cord favored by many sewers
is rattail cord, which is a satin cord made
from rayon . More expensive than most Bias-tape maker and
fillers, it comes in Y' 6- i n . and Ys- i n . widths
and a wide range of colors. Rattail can be rotary cutting guide
purchased at most fabric and craft stores. A bias-tape maker allows you to create
your own prefold bias bi ndi ngs from vi rtually
any l ight- to medium -weight woven fabric.
Presser feet The flat bias is i nserted i nto the tape
The most versatile presser foot for piping is an maker, and the emerging end comes out
adj ustable zipper foot, which sl ides to the folded. The folds are pressed in place as
right or left of the needle and allows you to the tape maker i s pulled i n the opposite
stitch as close to the p i ping as possible. A direction to expose new lengths o f the folded
nonadjustable zipper foot, which rel i es on the tri m . Tape makers are available for making
needle positions of the machi ne for placement, Y4- i n . , Y2- i n . , % - i n . , I - i n . , and 2 - i n . fi nished
can be used but is not as accurate for all appl i ­ binding widths.
cations. A generic version of the adjustable A bias-tape rotary cutting gui de i s a clear
z i p per foot is available and, along with a grid ruler that corresponds directly to the
shank adapter, can be used on most machines. individual bias-tape makers listed above.

142
Markings on the guide indicate precise
widths for cutting strips for the desi red
prefold bi n ding.
Altering a Pattern
for a Binding
Marking and When a boun d edge i s used i n place of a fac i ng or hem, the seam
a llowance must be elimin ated from the pattern . Rather than cut­
cutting tools ting the seam allowance away from the origi n a l pattern piece, I rec­
For most appl icati ons, a rotary cutter and ommend traci n g the origi n a l onto pattern tracing paper and elimi­
mat provide the quickest, cleanest cut for nating the seam allowance on the copy. That way, if you care to
make the pattern aga i n , the origi n a l is still i ntact.
bias strips. I f you use a mat and rotary cutter,
When you eliminate the seam a llowance from a portion of the
however, the mat should be as wide as the
pattern , a lways make a notation of that change directly on the new
length of bias being cut so that you don't have
pattern piece. I note the alterati o n in the pattern i nstructions as
to readjust the position of the mat beneath
well , while my thought process i s clearly locked into t h inking
the cloth . t hrough the rami fi cations of the p lanned embellishment. That way,
A rotary cutter will often work fi ne, but i f I don't have to reth i n k the process when I sit down to sew.
you're working with slippery fabriCS, i t i s
sometimes di fficult t o maintai n the position of
the cutting edge, and, as well, the fabric may
slip, slide, or bunch with the pressure of the
blade. In this i nstance, you may get better
results by premarking the bias stri ps to be cut
with Clo-chalk disappearing fabric chalk or a
Chalkoner wheel, then cutting them with scis­
sors. A pair with a microserrated edge will
keep even the most slippery fabrics i n pl ace
during cutting.
Duckbill appl ique scissors are extremely
sharp and are the perfect solution for grading
seams . Both the bent, raised handle and the
scissors blades are parallel with the fabric's sur­
face when in use. This feature maxim i zes com­
fort and control when cutting close to the sur­
face of the cloth or when attempting to get
beneath one layer of fabric and cuts without
nicking the layer below. For gradi ng, trim ­
m i ng, a n d clipping seams, use 5 - i n . tailor's
pOints-also known as Craft Shears. Clockwise from upper left: long, clear grid
Whether you cut your bias strips with a ruler; Chalkoner, rotary cutter and mat;
rotary cutter or scissors, a long, clear grid ruler duckbill applique scissors; tailor's points;
is a necessity. The longer the ruler, the better scissors; and bias tape makers in a variety
for cutting out long lengths of bias. I have one of sizes.
that is about 40 i n . for cutting long lengths,
and a 24-in. ruler for short lengths.

143
BINDINGS

BINDINGS There's more beauty to bindings than meets a French binding-consists of two layers o f
the eye . By making these fully functional cloth folded from a single fabric strip that
Presser feet: Consult embell ishments and learning how best to is at least six ti mes the fi nished width of
specific binding meth­ employ them, you'll see that even ordi nary the bindi ng.
ods for proper garments become special. Use bindings with If the garment or the binding fabric are
presser-foot selection
confidence to el i m i n ate show-through faCi ngs especially heavy, cutting widths for these
Fabric for bias bind­ and maintain the transparency of sheer gar­ bindings may need to be increased from this
ings or single or ments; to alleviate the problem of bulk when basic formula to provide the allowance neces­
double-fold bias tape
working with heavy fabrics; to bind the edge sary to wrap easily around the edge. It i s pos­
Bias-tape maker of double cloth so that both sides will show. sible to measure the thickness of the finished
(optional) Also use bindi ngs to join a si ngle layer collar binding with cali pers, which will give you a
Rotary cutting guide to a neckli ne; to hold pleats in place; to accent fairly accurate notion of how much extra to
(handy for use with a pocket or seam; to cord a narrow hem or to cut. In any case, the seam allowance for
bias-tape makers) b i n d a scalloped one. attaching the bi nding is always the same as
Long, clear grid ruler the finished width.
Single and double bi ndi ngs alike can be
Rotary cutter and mat
or microserrated edge
Basic bindings hand felled or machine sewn . A hand-felled
scissors B indings are classified by both the number of b i n ding is most often applied to the right
Clo-chal k or Chalk­
layers that b i n d the edge of the cloth and the side of the garment by machine and turned
oner wheel method by which the b i n di ngs are applied. A to the wrong side and whi pstitched in place
si ngle bi nding consists of one layer of cloth, by hand. This produces a lovely finish i n
Stabilizers: spray
starch or water solu­
cut at least four times the fi nished width of the which no stitching i s visible on the right side
ble (optional) binding. A double binding-also referred to as of the bi nding.

Bottom: Commercial foldover braid on wool Tulle binding on silk chiffon and narrow
coating. Top: silk satin binding from unfolded French binding on silk satin.
bias on silk jacquard, applied with binder
attachment.

1 44
HAN D-FELLED S I NGLE B I N D I NG
6 Lightly press the bi nding from the right Never h u rry a bind­
A hand- felled single b i nding is suitable for side of the garment and let set before
handl ing. i n g ! It w i l l show and
all weights of fabric ( see the top drawing
below) . The machine stitching i s done from may actua l l y take
the right side of the garment, and the hand 7 Remove the basti ng and turn the raw
more time in the long
edge of the b inding under to create a fold
fell i ng from the wrong side. If the material
even with the seamline. Pin in place. run. I nstead, take
being bound i s on the heavy side, accommo­
date the thickness of the fabric by cutting the time i n itia l ly to en­
8 Sli pstitch the folded edge i n place along
strips that much wider. I f the b i n di ng i tself i s the seamline. sure that the bias is
thick, that m a y also i mpact the width of the
cut correctly and that
strip, since the binding is folded back on itsel f. HAN D-FELLED DOU B LE B I N D I N G
all su bsequent steps
I f you're i n doubt about the width, pretest A hand- felled double binding is commonly
with a short length of binding prior to cutting used for reversible garments and is the main­ are worked with care
out the entire length required. Here are the stay for sheers. Like the hand-felled single and precision. That
basic steps. bi ndi ng, no stitches are visible on the finished
way, your binding w i l l
binding on either side of the cloth . As a rule,
1 Measure and cut a bias strip the length of double b i ndings are cut six times the desired be perfect t h e first
the seam plus 2 in. and four times the de­
fi nished width of the bindi ng, but be j ust a time around.
s ired fi nished wi dth of the bi ndi ng.

2 Pin one edge of the bi n ding to the gar­

ment, right sides together. Pin across Hand- Felled Single Binding
rather than with the seamline.

3 Hand baste the bi ndi ng, just inside the

seaml i ne ( see the bottom drawing below).
Although you don't have to do this, hand Right side
basti ng offers added control for place­
ment of bias bi ndings and p i p i ngs prior
to the actual stitching. Basting may
seem cumbersome at first, but it tends to
produce better bi ndings, particularly Wrong side �
when the edge to be bound is shaped;
when the material being worked frays
easily; and when the b i n di ng or piping i s
a different weight and texture than the
garment fabric.

4 Sew the seam by machine, binding face­ Hand Basting the Binding
up. The seam allowance is equal to the
finished wi dth of the bi nding.

5 Wrap the b in ding firmly around the raw

edge. Turn it to the wrong side of the
garment and match the seam allowance
of the unfinished bi nding to the seaml ine
as you baste i t in place, stitching i n the
ditch from the right side of the garment.
Or, pin the bi nding i n place along the
seamline.

145
 li ttle more generous i f you're working with
5 Use the 1"4- i n . presser foot on the sewing
heavy cloth. Here are the steps. machine. Sew the bi ndi ng, stitching 1"4 i n .
from the raw edge.
1 Measure and cut a bias strip the length of
the seam plus 2 in. and six times the de­ 6 Trim the seam to a scant 1"8 i n .
sired fi nished wi dth of the binding
7 Wrap the folded edge of the bi nding
2 Fold the binding strip i n half, wrong sides firmly around the raw edge and baste or
together, taking care not to stretch it. p i n it in place.
Lightly steam along the fold.
8 Steam the binding from the right side of
3 Pin the raw edge of the binding to the the garment and finger press near the
garment's edge, right sides together. seamli nes.

If you've never a p-
4 Hand baste inside the seamline, i f desired. 9 On the wrong s ide of the garment, slip­
pl ied a flat b i n d i ng to stitch the folded edge to the seaml ine.

an edge, try it fi rst

5 Machine stitch along the seamli ne, bind­
ing faceup.
with a strip of paper. I M I TAT I O N F R E N C H B I N D I N G

Cut and "apply" the

6 Bring the binding up and over the edge of Like the traditional French binding, the i mita­
the garment to the wrong side. tion French binding is sewn i n two steps but is
strip to a paper base fi nished by machine rather than by hand
by p i n n i n g it in place 7 Pin i n place, matching the folded edge of
fel l i ng ( see the drawings on the facing page ) .
the binding with the seaml ine.
Also known a s the stitch- i n -the-ditch binding,
a long the seam l ine.
the back side is l onger than the front, which
Fol low the d i rections 8 Steam and finger press along the seam l i ne
on the right side of the garment. creates a fabric allowance that is caught when
for fol d i ng a single or stitched from the right side of the garment.
double b i n d i ng to en­ 9 On the wrong side of the garment, slip­ No sti tch i ng is visible on the binding i tself
stitch the binding i n place. because the stitching i s done directly in the
case the bound edge
di tch of the seam-between the binding and
of the paper base. N A R R OW F R E N C H B I N D I N G the garment-which makes this the least con­
When the b i n d i ng is Reserve the narrow French binding for neck­ spicuous of the machine-sti tched bindings.
li nes of silk chi ffon, crepe-de-chine, georgette, The front and back of the binding must
complete, u nfold the
and other l i ghtweight, silky sheers. Practice be unequal widths, so the back allowance
paper template to
making the binding as narrow and as smooth extends no more than a scant 1"8 i n . beyond
observe the basic as possible. To make a narrow French bi nding, the seaml i ne and is caught when the binding
structure of the follow these steps. is sti tched.
This method can be used for si ngle as well
b i n d i ng.
1 Measure and cut a bias strip 1 i n . wide as double bindi ngs . E i ther way, add on 1"8 i n .
and the length of the seam plus 2 i n .
t o 1"4 i n . t o the standard width measurement to
allow for the extra wi dth needed on the back
2 Fold the binding i n half, wrong sides to­
side of the bi nding. For the l east-conspicuous
gether, and press, taki ng care not to
stretch the bi nding. results on light- to medium-weight fabrics, use
60/2 cotton machine embroi dery thread, and a
3 Pin the raw edges of the bi nding to the 65/9 or 70/ 1 0 den im or Microtex sharp needle
garment's edge, right sides together and to stitch in the ditch on the front of the gar­
across the seaml ine. ment. Here are the steps.

4 Hand baste the binding j ust i nside the

seaml ine.

146
1 I f applying a double bi ndi ng, fold the bias
strip i n half and press along the fold, tak­ Imitation French Binding

ing care not to stretch the bias.

2 Match the raw edge of the bi nding to the

edge to be bound, right sides together,
and p i n them in place.

3 Hand baste inside the seam l i ne, i f desi red.

4 Machine stitch along the seam l i ne, with

Right side
the bi nding faceup and the seam al­
1. Sew the bias to the right side.
lowance equal to the fi n ished width of
the bi ndi ng.
Bias turned to wrong side.
5 Turn the binding up and wrap firmly
Wrong side
around the raw edge. Turn it to the wrong
side of the garment and baste in pl ace so
that the edge of the b i nding extends be­
yond the seam l i ne . The double binding is
now ready to be machine stitched from
the right side of the garment (see step 9 ) .

Right side
6 I f applying a single bindi ng, lightly press
the binding from the right side of the gar­
ment and let set before handli ng. 2. Machine stitch the bias from the
right side in the ditch of the seam.
7 Remove the basti ng and turn the raw
edge of the binding under (on the wrong
side of the garment) to create a fold that finish is especially well suited to round or
Staystitch ing the gar­
extends just beyond the seaml i ne. wide bateau necklines and i s charm i ng as well
ment edge prior to
on a hem.
8 Baste the bi nding i n pl ace, working
For an added touch, try whipsti tching applying a binding
wrong side up. Double-check to see that
around the cord . Work one row from the strengthens the edge
the edge of the binding exceeds the seam­
l i ne along the entire length to be bound. front of the garment, stitchi ng left to right;
and m a kes it m ore
then fl i p the garment and work another
resista nt to stretch-
9 Attach an edgestitch foot or adjustable left to right row from the back side, placing
zipper foot to the machine and sew on the stitches between those i n the first row. ing. Any edge ca n be
the right side of the garment, di rectly i n The stitches will cross one another and, i f
staystitched in ad-
the groove o r ditch of the seam . worked closely together, w i l l form a netli ke
va nce, though it is
effect over the cord. Experiment with other
N A R R OW C O R D E D E D G E wrapp i ng stitches as wel l . To make and apply especially recom-
The simple narrow corded edge is actually a this edge, follow these steps ( see the drawings mended for curves
facing that is corded along one edge and on p. 1 49 ) .
and diagonal lines.
stitched under on the other. When sewn
and turned, the covered cord extends from 1 Reduce the seam allowance on the gar­
ment to 1'4 i n . Do not cut it away!
the edge of the garment to produce a p i ped
effect ( see the photo on p . 1 49 ) . As a rule, the
cord used is no l arger than 1'8 i n . , which pro­
duces a deli cate, yet disti nct appearance. This

147
Cutting Bias
If you wish to incorporate beautiful
bindi ngs and pipings in your Cutting on the true bias
sewing, make them yourself. The
Lengthwise grain
key to making pipings that neither
twist nor t u rn and bindi ngs that are
smooth and flat l ies in how you
:
prepare the fa bric before cutting. �

Being sure that the fabric is

properly straightened and "on Cr�sswise � �

gra i n " will help you make perfect

bias bindings and pipings. ( Fabric
preparation is j ust as essential for
maki ng garments that fit , drape
wel l, and mainta i n their appearance
over t i m e . ) Prior to c utting bias
strips from fabric, preshri n k the '"
fabri c , then straighten the end, and
c heck the gra i n alignment .
Stra ightening fabric along the vages meet. The c rosswise edges above) . By defi n i tion, true bias is
crosswise grain is necessary to should align along the end, and the any d iagonal l i ne at a 4 5 ° angle to
c heck the alignment of the gra i n . fabric should lie smooth along the the lengthwise and crosswise gra i n .
To straighten i t , either c l ip the sel­ lengthwise fol d . I f the edges don't I f you have a long, clear ruler with
vage and tear quickly and firm ly, or matc h , or if the corners curve or markings that i n c lude a 4 5 ° angle,
pull a crosswise thread through the fai l to form a right angle (90°), the it is possible to find the true bias by
fabric and cut along the resu l ting fabric grai n must be realigned prior aligning the 4 5 ° line along the
line. Which method you use will to c u tting. crosswise edge of the fabric and
depend upon the fabric: Fabrics To realign the gra i n , dampen the marking i n the l i ne or cutting di­
with an even weave can generally fabric u n t i l the fibers are sufficient­ rectly with the rotary cutter.
be torn; fabrics where either the ly relaxed, then stretch the fabric Another method is to fold one
warp or weft is distinctly heavier on the bias to pull the lengthwise corner of t he cloth over so that the
should a lways be p u l led and c u t . and crosswise fibers back into crosswise edge lies on top of the
Test b y tearing a narrow strip off right-angle formation. I t may be lengthwise selvage and that the
the crosswise end if there is any helpful to do this with a nother per­ lengthwise threads from the oppo­
doubt about which method to use. son . P u l l firmly and smoothly until site selvage run parallel to the
Realign i ng the grain i s requ i red the yardage is squared and the fab­ c rosswise gra i n . Lightly press along
if the length of fabric i s off gra i n , or ric folds into perfect right angles. the folded edge, then open the
skewed. Though all fabrics are wo­ When this is accomplished, a llow cloth, and, with chalk and a ruler,
ven straight , i t i s not u ncommon the fabric to dry on a flat surface, retrace along this l ine. All su bse­
for the gra i n to be skewed in the then press prior to cutting. ( I n the quent measurements wi ll proceed
manufacturing process when i t i s case of fabrics that water spot, omit from this point, using the c lear
printed, finished, o r rolled onto dampening the yardage . ) ruler to measure the widths of the
boards. To determine whether a Once you 've determ i ned that the bias strips with ease.
fabric is on or off grai n , fol d the fabric is on gra i n , it i s possible to
fabric lengthwise so that the sel- cut a true bias ( see the drawing

148
2 Cut a b ias strip 1 /12 i n . wide and the the bias strip, as well . Thi s type of attachment
length of the edge to be bound, plus 2 i n . folds and secures the binding as the flat-bias
strip i s fed through the binder.
3 Finish one edge with a serger or turn i n a Depending on the model, a bi nder m ay be
sli m /18 i n . ( toward the wrong side of the l i m i ted to use with one width of prefold or flat
fabric) and stitch along the edge.
binding only or have multiple slots that
accommodate a wide range of widths and will
4 To cord the opposite edge, wrap the bias
around the cord at the top of the strip so sew both prefolded and flat bias. For specific
that the distance between the raw edge details regarding i ts use, consult the i nstruc­
and the cord is approximately /14 i n . Se­ tions that accompany the b inder attachment.
cure i t with pins or use a glue stick. To b i nd an edge using double- fold bias
tape without a bi nder attachment, follow
5 With the raw edge faceup, insert the these steps.
cord beneath the groove of a three - or
five groove p intuck foot. Adj ust the nee­ In the center is a narrow
dle position to sew close to the cord and
1 Cut and prepare the double-fold binding.
corded edge from silk
This will be simpli fied with the aid of a
sew the length of the strip, maintaining b ias-tape maker, which will create the satin shown prior to
an even distance from the folded edge to first fold required for the double - fold application. The finished
the raw edge. tape. The proper widths to cut the flat edge treatment was
bias for folding are indicated in the i n - applied on paisley rayon
6 To attach the corded facing to the gar­ jacquard.
ment, place the fin ished side of the strip
faceup with the cord facing the garment.
The raw edge that extends beyond the Narrow Corded Edge
cord (on the underside of the strip) will
face the raw edge of the garment. Align
Right side
this edge and pin it i n place.

7
>f'"':;;': ;"";";;; �"
Use a zipper or cordi ng foot to sew the
facing in place, stitching just outside the -------
- -- ---- -

previous l i ne of stitch i ng, with the needle

snug agai nst the cord. Wrong side Wrong side

1. Turn the raw edge and 2.Cord the opposite

8 Press the facing allowance toward the
stitch it. edge.
back. The cord will extend beyond
the seam.

Wrong side Wrong side

TOPSTITC H E D B I N D I N G
The fastest way to bind an edge i s to attach i t
t o the garment i n a si ngle sewing operation. I t
i s possible to d o s o , using single- or double­
fold bias tape topstitched directly to the front
Right side Right side
of the garment, with or without the use of a
binder attachment. The bi nder attachment
simplifies and speeds up the process because it 3.Apply the trim to the gar­ 4. Turn and press the corded
ment edge. edge. Whipstitch for an
elimi nates the need for p i n n i ng or basting and
added decorative touch.
can be used with single- or double-fold bias
tape (see the drawing on p. 1 50 ) . Some bi nder
attachments eliminate the need for prefolding

149
 structions that come with the tool (ar yau
Machine- Sewn Binding can use the bias-tape rotary cutting
with Binder Attachment gui de ) .

The binder attachment

eliminates the need far
2 A second fold is required to make the re­
sulting Single-fold tape suitable for a one­
prepinning ar basting.
step bi nding: Fold the single- fold tape,
wrong sides together, so that the width
on the bottom exceeds the width on the
top by a margin of a millimeter or so. ( I n ­
crease the margin when binding t o a
heavy cloth , or to multiple l ayers . )

Right side 3 Press and lightly stretch the bi nding to

el imi nate any slack.

4 Preshape the doubl e - fold binding di rectly

to the garment edge to which it will be
appl i ed. If the binding is applied to an i n ­
B i n d i ngs ca n be used

Using
ward curve, such a s a neckline, it w i l l be
to e l i m i nate a gaping necessary to ease the folded edge in and

Continuous Bias
armhole or neck l i ne gently stretch the turned edges to the
wider portion of the curve. If binding a
by d rawing the gar­ collar, or scall oped edge, i t will be the
Continuous bias refers to a method of fold that i s stretched, and the turned
ment i n so that it l ies
making long lengths of bias binding edges that need to be eased i n .
closer to the body. from a small amount of yardage. I t is
Use this to advan- an economical way to produce bias
5 Apply the double-fold bias tape to the
because i t yields a lot of length for the garment, encasing the edge to be bound.
tage when making V­
amount of cloth used. The fold of the tape should be snug
neck cardigans and The problem with continuous bias agai nst the edge, and the wide portion
bias-bound vests of
from an embellishment standpoint is of the tape must be on the wrong side of
that it produces a lot of seams. When the garment.
a l l ki nds. S i m ply the binding is applied, there is no way
stretch the b i n d i n g to control its placemen t . For that rea­ 6 Baste or pin through all layers to secure
son, I do not recommend continuous the tape.
slightly w h e n apply­
bias for bindings or piping on outer
ing it to the edge and edges or seam s . U se i t only for bind­ 7 Topstitch the binding i n place using an
ing seam allowa nces and hems of the edgestitch or zi pper foot.
sew with the base
i nside edges of a garment and for
fa bric positioned be­
bindings that are t u rned to the in side
neath the b i n d i ng, of the garment. Joining bias strips
wh ich a l lows you to Bias strips must be joined when long lengths
of binding are required for a garment and
use the m otion of the
when they are used as a finishing technique on
feed dogs to ease the an enclosed edge, such as a neckl i ne without a
garment fa bric in. placket, a plain sleeve, or a hem .
As a rule, bias strips are joined on the
straight grai n of the fabric (which forms a
diagonal l i ne edge to edge on the bias ) . The
easiest way to do this prior to appl ication of

150
the b inding is to cut the ends of the two strips garment seams, in which case the adjoining
When b i n d i ng with or
to be joi ned squarely across the bias. Place strips are seamed together directly across the
to sheer and l ig ht­
them right sides together at a right angle and bindi ng. For the most accurate results, it i s
mark the straight grai n at a 45° angle. The best n o t t o j o i n t h e strips i n advance but to weight fabrics, a l ­
l i ne will cut diagonally across the corner. To join them when you near the seamline. ways use a very f i n e
the extent possible, patterns should be Joining the bias ends for hand- felled bind­
mach i n e n eedle (size
matched so that the joining seam remains as ings can be done a number of ways (see the
drawings below). One method is to measure 65/9) threaded with
unobtrusive as possible. I f you extend the top
stri p just a l i ttle beyond the bottom layer, i t the total circumference of the edge and to join embroidery-weight
provides a little extra leverage when taking the the binding prior to attach ing i t to the seam .
thread to attach the
first few stitches and sewing the strips togeth­ A second method-which I prefer-is to
b i n d i ng. Reduce the
er. Sew along the indicated stitching l i ne using calcul ate an additional i nch for each end of
a short stitch length so that no back stitch is the bindi ng, which is initially left free when stitch length to 1 mm
required. After the seam is sewn , press it open, the binding i s stitched to the garment. When to 1 .5mm.
then trim to a generous Ys in. If the b i nding is the l i ne of stitch ing reaches the point where it
to be appl ied with a binder attachment, press must join the other end, fold up one side of
the seam to one side, and each consecutive the garment out of the way. Then join the
seam in the same direction, as this will keep binding ends and stitch them at a right angle
the seam allowance from catching as it's fed to one another on the straight grai n of the
through the binder. fabric. Press the seam open, then align the
On garments where the appearance of a edge of the bi nding-and stitch it-to the
seamless binding is desired, the length of the remainder of the garment's edge.
bi ndi ng strips can be calculated in advance so Yet another way to join a hand- felled bi nding
that seams in the binding perfectly match the i s to lap it, with the ends of the bi nding

Joining Bias for Hand- Felled Binding s Joining a two-step binding i n continuous seam

Joining a two-step binding to match the seam l i ne Wrong side 1 . Join the
binding
450 angle ends on
Right side Hand-felled neckline grain.

Match seam.
Excess
Right side binding

2. Stitch
through
the join.

A two-step binding can be joined across bias

to match the seamline (suitable method for Wrong side
hand-felled and imitation French bindings).

Right side

151
 Topstitch the binding t o t h e edge of t h e gar­
Ending a Two-Ste p Binding ment and turn under the end of the bi nding so
that i ts edge coi ncides with the seam l i ne and
overlaps the begi n n i ng of the bi ndi ng.
1 . Sew the binding to
the garment, breaking
stitching at the gar­
ment's edge.
Ending bindings
To end a b inding at a fini shed edge, i ncluding
sli t, placket, or zipper openi ngs, the end of

I
the binding must be turned under for a neat
Right side finish. B i ndings are always applied after zip­
• pers are i nstalled or faci ngs are complete. On
• I
I
: a two-step binding ( sewn i n two steps) , turn
the edge under after the binding has been
stitched to the garment but before i t is turned
2.Clip the corner of the to the wrong side ( see the drawings at left ) .
garment only.
Sew t h e binding clear to the edge of the gar­
i• Wrong side
ment, with a margin extending beyond the

I garment edge. Then trim the margi n and fold

I i t under to align with the edge. For a one -step
II,
'1 1 binding ( made with prefold tape or a bi nder
attachment), simply fold the edges under prior
3. Press the binding to attaching the b inding.
edge under to align
with the garment edge.
Turn and slipstitch on
the wrong side. Binding corners
B i nding a corner neatly requires m i tering the
corners on the front and back side of the bind­
ing. Mastering m i ters (450 cuts) on i nward and
Wrong side outward corners i s useful for binding square
neckli nes, cuffs, and collar points.
This method i s suitable for binding an out­
ward corner with si ngle and double b i ndings
squared. Fold back a margin of cloth at the ( other methods that relate to corners are
begi n n i ng of the binding and ali gn it with the included in the drawings on the fac i ng page ) .
seam allowance of the garment. Stitch on the Here are t h e basic steps.
b inding and lap the end of the strip beyond
the original starting point to meet the edge of 1 On the wrong side of the garment, mark
the point where the seams i n tersect.
the turned-back fold. If desired, the lap that
occurs in the right side of the garment can
then be sli pstitched in place across the wi dth
2 For s ingle and double b indings alike,
press the flat bi ndi ng strip i n half, wrong
of the bias. si des together.
A machine-stitched bi nding on an enclosed
seam is joi ned with an overlap as well , but the 3 For the single binding, open the binding.
procedure is di fferent. If the j o i n i ng is to coin­ Fold and press one edge of the b inding to
cide with a seam, the begi n n i ng o f the bi nding the center fold, wrong sides together.
overlaps the seam by approximately 1'2 i n .

1 52
4 For double and si ngle bindi ngs, align the
raw edge of the bias to the raw edge of Binding Corners

the garment, right sides together and pin.

Wrong side
5 Find the point where the seam intersects
on the back side of the garment and poke 1 . Break stitches where
a pin directly through to the top side. corner seams intersect.
Mark this point on the binding strip
p i nned to the front of the garment.

6 Stitch the bi nding to this point and stop.

Secure it with a backstitch and remove Right side
the garment.

7 Fold the binding back on i tself to create a Wrong side

45° diagonal fold and align the raw edge
� �
2. Fold the binding to
of the binding along the unstitched side -- � form a 45° angle. Sew
of the garment. The b inding will form a
<IIIII!
-r,.. the adjacent line of

. / v--:0
------- - -
straight fold along the adj acent edge and stitching, beginning at
the top edge.
will match the 90° angle of the corner. --...-.--- ,
Pin the binding in place. t
Right side I
•
8 Stitch along the pinned edge, beginning
I
precisely at the upper edge. •

9 Fold the binding to form a miter at the

corner. 3. Fold to form a
mitered corner, then
Right side slipstitch in place.
10 Slipstitch the binding in place on the
wrong side of the garment, forming an
opposing miter on the back side when
you reach the corner. Wrong side

11 When the felling i s complete, stitch the

miters i nvisibly in place.

Binding curves The deeper the curve, the more the bias
I n general , shallow curves-i ncluding shallow will need to be stretched along the fol d and
scallops-pose no more di fficulty than straight eased in along the open edge. For very deep
edges and can be bound with ease using any curves, a closely worked running stitch along
of the hand- or machine-felled methods. the edge can ease the fullness i n . Staystitching
When using topstitch methods, use shorter the curved edge just inside the seaml i ne prior
stitches to round the curves and, if necessary, to attaching the bi nding will help keep curved
alter the needle position farther to the right to edges from stretchi ng. If additional stabi lity i s
keep i t directly on the bias edge. required, u s e a l ightweight tear-away stabilizer
or i n terfacing as well.

1 53
 TWO - S T E P H A N D - F E L L E D
Binding a Scalloped Edge BINDING
This method is done entirely by hand ( see the
With double-fold bias tape bottom drawing at left ) .
Basting

1 Stitch the flat-bias tape directly to the

Dou ble-fold l i ne indicated for the scall ops on the right
bias tape side of the garment. Then cut the excess
fabric away, following the sti tching line.
Alternately, the line drawn for the scal ­
Baste first, then follow lops can be staystitched and the scallops
with topstitching. cut directly next to the stitchi ng line: I n
this case, stitch the bi nding to the edge of
the right side of the garment followi ng
With two-step hand-felled binding
the scalloped l i ne .

Right side
2 Regardless of the order i n which the
binding is applied to the right side of the
garment, it is felled on the wrong side.
Turn the bi nding to the wrong side of the
garment and turn the raw edge under.
Hand baste or pin it in place and press
the bi nding.
Sew the raw edge of the bias to the right side of
the fabric. Turn to the wrong side for hand felling.
3 Slipsti tch the turned edge of the wrong
side of the garment. At the point of each
scallop, there may be excess fabriC, which
Binding should be caught with the needle and

scalloped edges worked i n to a tiny pleat.

Deep, bound scallops can be beauti ful hem

accents, but they must be calculated for the D O U B L E - F O L D B I A S TA P E
exact bottom width of the garment. That way, This is first basted by hand, then topstitched
the scallops will be i dentical i n size and shape by machi ne (see the top drawing at left) .
and meet neatly at the seam l i nes.
Once you have determined how deep and 1 Slash between each scallop to the depth
of the binding.
wide the scallops for your garment will be,
make a ful l -scale plastic or cardboard template
that consists o f two or more scallops. Using
2 Baste the double- fold bias to the edge of
the hem, drawing i t up i nto the slashed
the template as a gui de, draw the outli ne of portion of the scall op. Loop the bi nding
the scallops directly to the right side of the under i tself and encase the edge of the
garment. The scallops can be bound using a next scallop at the point of the slash. I f
two -step, hand-felled bi nding or with double­ necessary, a n additional row o f run ning
fold bias tape, which is hand basted, then top­ stitches can be used to facilitate the turn
stitched in place. of the loop.

3 Press i n place, then topstitch along the

edge of the bi ndi ng.

1 54
Other Fabrics for Bindings
Once you u nderstand and have
mastered the basic techniques for
bindings, try some or all of these
u nique variations i n materials: vel­
vet, petersham, lace/tulle, and
leather or suede.

Velvet
Velvet bindi ngs req u i re special care
and handling every step of the way.
They are not exceptionally difficult
but req u i re patience and a b i t more
time than a regu lar si ngle binding
since they are best sewn entirely by
hand. U se only silk t h read for
sewi ng, as i t will not mar the velvet.
For good results, cut out the bias
for a single binding and modify the
basic application as fol lows.
1. Sew the velvet binding by
hand. Use a lightweight silk
t h read to match the garment Petersham Lace/tulle
for sewi ng and a small ru n­ Petersham is a type of grosgrai n rib­ F i ne silk or cotton tulle makes a
n i ng stitch, with a short, in­ bon that is woven without a sel­ lovely binding for sheer voiles, chif­
termittent backstitch to attach vage . Widely used as a m i l linery rib­ fon, and georgette. Try it alone or
the flat bias to the garment. bon, i t 's more flexible than standard l ightly baste a silk ribbon to the
2. Roll the allowance to the back grosgrain and richer in appearance right side before t u rning the bind­
side and loosely double baste as wel l . Petersham responds ex­ ing, and then encase the ribbon at
the binding i n place with a tremely well to c u rves when pre­ the garment's edge .
contrasting silk t h read. shaped and steamed. It can be used
as a foldover binding, but I prefer Leather or suede
3. Pickstitch the binding from Leather and s uede bindings can
the wrong side of the gar­ the effect of seaming and turning it
be sensational for elegant coats
ment. Catch the layer below to enclose the edge, in which case
and sportswear and pair exception­
but do not stitch t h rough to it is fin ished as a stitch-i n-the­
ally well with wool , canvas, and
the right side of the garment. ditc h-style binding.
velvetee n . Cut these trims on the
Take tiny stitches that sink in­ Petersham is especially beautifu l
crosswise gra i n , as you would
to the pile of the velvet . Be­ paired with tweedy wool and l i nens
for knits, and sew them as a fold­
cause of velvet's pile, it is dif­ and is a nice binding for sturdy ta­
over or stitch-in -the-ditch bi nding.
fic u l t to see the edge of the pestry prints as wel l . Try it on pock­
For best resu l ts, equip your ma­
fabric. M ove the stitching line et flaps and collars, vests, and suits.
chine with a Teflon foot to prevent
i n by a slim margin so that the I t 's not as soft as some bindings, so
the foot from sticking to the leathe r
stitches sec u re , rather than use i t where structure presides over
a s you sew. U se a leather needle
miss the bind i ng. drapability.
and a long staple polyester t h read
4. Remove the double basting.
for sewing.

155
PIPINGS

Pipings add visual interest and definition, strengthen seams, and act as a stay prior to
attaching the facing to a garment. They also lend polish to points and corners and
smooth the transition between light- and heavy-weight fabrics.

Like bindi ngs, p i p ings are decorative edge and attend to the added bulk of the piping. As a
PIPINGS rule, the material used for the p i p i ng should
seam treatments ( see the photo above) . But
Fabric for bias strips while a bi nding encloses an edge or seam , pip­ be no heavier than the cloth used to make the
ing i s i nserted between seams or, i n some garment. Light- to medium-we ight garment
Filler cords for corded
piping: cable cord, cases, beneath one seam turned under. Used fabric generally works well with p i p i ng of the
sash cord, siene primarily to add visual interest and defi nition, same weight. Heavier fabrics often call for
twine, rattail, silk bast­ p i p i ng also strengthens seams and acts as a lighter p i p i ng materials, however, to reduce
ing thread (optional) stay prior to attaching the facing to a garment. the bulk of the p i ped seam .
#3 and #5 pearl cot­ It also lends polish to poi nts and corners and
ton, crochet cotton, smooths the transition between light- and
or gimp (for baby's
piping)
heavy-weight fabrics-hence its popular pres ­ Preparing fabric
ence i n the application of l i n i ngs .
Long M illiner's basting From the delicate charm of baby piping on for piping
needles a collar, to the regal effect of double piping on The fabric strips for p i ping can be cut on the
Presser feet: ad­ a kimono band or cuff, mastering the basics of straight or bias grain, but p i p i ng made on the
justable zipper (works piping will put yet another embell i shment straight grai n can be used only on straight
well with all tech­ mainstay at your creative disposal. seams. Fabric strips for flat and corded bias
niques) and pintuck,
P i ping can be flat or corded. Flat piping is piping are cut i n the same manner as for bi nd­
corded applique,
softer and more flexible, while corded p i ping i ngs, with attention accorded to the proper
Pearls 'N Piping, Bern­
ina's bulky overlock, adds body and-i n the case of thicker al ignment of the grai n so that the piping lies
and braiding feet p i p i ngs-a degree of stiffness just outside the smooth and rounds curves and corners grace­
seam. Although flat and corded pipi ngs can be fully. Pipings made from knits are cut on the
Duckbill applique
scissors or craft used i nterchangeably, they are generally treat­ crosswise gra i n .
shears ed somewhat di fferently. Flat p i ping tends to Flat piping is formed b y simply folding the
be used as a transitional element between bias stri p in half, wrong sides together, and
seams while thick, corded p i ping is most com­ basting j ust i nside the seaml i ne or attaching it
monly used as an edge treatment. This makes directly to the seam to which i t's being sewn.
sense, since it takes i nto account not only the Preparations for corded piping include sewing
visual effect of the embell i shment but also the the cord between the folded layers of the fab­
way it functionally alters the seam. ric so that the piping is fully assembled prior
In addition to choosing between flat and to sewing i t to the seam .
corded pipi ngs, practical considerations must

1 56
C A L C U L AT I N G T H E S T R I P W I D T H allowance plus the w idth of fabric i t takes to
F O R F L AT A N D C O R D E D P I P I N G cover the cord. To find this distance, fold over
Flat piping i s cut two times the width of the the corner of the straightened fabric, just
seam allowance, plus two times the desired enough to cover a small length of the cord.
width of the p i p i ng. For a narrow 1s - i n . pip­ The fold should be at a 45° angle to the sel ­
i ng, the strip width would be 1 12 in. I ts folded vage. Wrap and p i n the fabric fi rmly around
width would be % i n . , and sewing the piping the cord; then measure and mark the fabric
strip with a %-in. seam would leave 1s i n . of % i n . away from the cord. Cut through both
exposed p i p i ng. layers of fabric along this line. The width of
To determi ne how wide to cut the strips for the cut-away triangle is the width to cut the
corded p i p ing, you must first select the p i ping strips for the cord.
fabric and filler cord. The width to cut the A less conventional approach that results i n
strip will be equal to two times the seam a perfect seam allowance of any desired width
i s to measure the requi red width, as directed
above, then add 12 i n . to % i n . to the cutting
Making Corded Piping measurement for the covering strips. After the
cording has been covered, cut a cardboard
1. Apply the template 1 2 i n . long and as wide as the seam
cord to the allowance. To trim the excess seam allowance
wrong side of
away from the corded p i p i ng, match one long
cover fabric.
edge of the template to the inside edge of
Wrong side
covered cord, just outside the l i ne of stitchi ng.
The fabric that extends beyond the opposite
edge of the tem plate is the excess: Tri m di rect­
ly with a rotary cutter along the edge of the
template or mark in the l i ne with a Chalkoner
wheel and cut the excess away with scissors.
2. Cover the
cord and grade COVE R I N G TH E COR D
the seam
allowance. Covered cord for piping can be hand basted
or stitched quite rapidly by m achine. Some
Wrong side sewers like hand basting because it isn't as sti ff
Right side and can be easily removed once the p i ping has
been attached to the seam ( see the drawings at
left ) . But for most appl ications, I prefer cover­
ing the cord by machine. Mach i ne-covered
3. Enclose
cord can be made using a zi pper or cording
the piping in foot. An adj ustable z ipper foot can be used to
a sewn seam. sew just about any size p i ping while cording
feet are lim ited by the size of the groove on
Right the underside of the foot.
side

\ I .

� Wrong side

1 57
 Covering the cord with a zipper foot
Sewing the piping
1 Wrap the bias stri p around the cord, Regardless of the size of the p i pi ng, the basic
wrong sides together. Pin the edges to­ method of appl ication remains the same. To
gether at a right angle to the length of
ensure that the stitching used to attach the
the cord, matching the edges of the
pi ping remains discreet, keep in m i nd that
fabric strip .
each consecutive row of stitching must be
worked closer to the cordi ng. This can be
2 Lengthen the straight-stitch setting to
3 . 5mm to 4 mm, dependi ng on the thick­ done by adj usting the position of the z i pper
ness of the binding material. ( Use a foot (on an adjustable z ipper foot), or by
longer stitch for heavier fabrics. ) changing needle positions on a stationary zip­
per foot or cording foot. I f you use a contrast­
3 With the cord placed to the right of the
ing thread in the needle and bobbin when you
needle and the z ipper foot riding on top
attach the p i p i ng to the garment, it will make
of the seam allowance, stitch next to the
it easier on the next pass to see-and stay
cord. Although the cord should be secure,
this first row of sti tch ing should not snug with i n-that line. Prior to sewing the actual
up tightly agai nst the cord. seam , however, switch back to a thread that
matches your garment.
To enclose piping in a seam, follow these
Covering the cord with a cording foot steps.

1 Wrap the bias around the cord, wrong 1 Align the raw edge of p i p i ng to the raw
sides together, matchi ng the raw edges. edge of the garment. Hand baste or pin it
With the folded ( corded) edge positioned i n place.
to the right, pin the left faci ng seam al­
lowance together. 2 With the needle to the left s ide of the
z ipper foot, stitch the p i ping in place
2 Place the covered cord beneath the press ­ along the seamline so that the row of
er foot so that the groove of the foot ri des stitching lies to the left of the previous
on top of the covered cord. (The size of row used to cord the p i p i ng.
the groove on the underside of the foot
and the size of the filler cord used for the 3 Baste or pin the facing to the main gar­
p i ping must correlate. The cord should ment p iece, right sides together, with the
basically fill and lie securely in the groove garment piece positioned on top. That
but must not exceed it i n diameter. ) The way, the row of stitch ing used to attach
fold may need to be placed to the left or the p i ping will be visible.
the right, depending on the foot.
4 U s i ng the visible stitching as a gui de, sew
3 Try various needle positions to determine through all layers. Snug the needle up to
which ones will stitch the desired dis­ the p i p i ng, keeping the stitching to the
tance from the cord. The needle position left of the visible row so that no sti tching
will vary with the cord size, as well as will show when the seam i s turned.
with the placement of the groove beneath
the foot. The more needle positions you 5 Press and grade the seam.
have at your disposal , the better, as they
will allow for consecutive stitchings that
allow you to get closer to the cord when
you stitch the fi nal seam.

158
 Piping Curves
and Corners

1. Notch the out­

ward corners.

2. Clip the
inward corners.

Baby piping adds delicate

3. Use a single, deep R E M OVI N G B U L K
clip for square corners. charm. The baby piping
To reduce bulk at the point where the corded here is on silk jacquard
portion of the p i p i ng is inserted back i nto a and has a contrasting
seam, remove the filler cord at the point band cut from the
where i t intersects the seamline. To remove opposite side of the
the cord, pull the cord out and away from the fashion fabric.
fabric cover using tweezers. Cut the cord away
and smooth the fabric back i nto place, then
enclose the end of the piping in the seam .

P I P I N G CU RVES AN D CO R N E R S
To apply p i p i ng to curves and corners, c l i p the Piping variations
fabric so that the seam allowance can turn the The following pi ping variations are appli ed
corner (see the drawings above) . For a curve, like any standard p iping. They vary i n effect,
c l i p about 1'4 in. to % i n . along the entire por­ in material s used, and in the way they are
tion of the curve. For a corner, make one clip constructed.
directly where the p i p i ng turns the corner,
cutting almost to the stitching l i ne of the BABY P I P I N G
cording. This m i n i ature p i p i ng i s generally about 1'16 i n .
In addition to clippi ng, it will be helpful to to j ust under 1'8 i n . wide. Delicate p i p i ng l ike
shorten the stitch length while rounding cor­ this i s most frequently used to h ighlight seams
ners and curves alike. or accent edges (see the photo above) . It is
also used as a transitional element between

1 59
 fabrics of di fferent weights, colors, and tex­ for the filler, and to the extent possible, c1ose­
tures. Baby p i ping can be made corded or flat. grade the seams. I recommend making a sam­
Sew the flat p i p i ng with a standard presser ple that i ncludes all the materials you plan to
foot. To make the baby p i p i ng, try the pintuck sew with so that you can determine the appro­
or corded appl i que foot. priateness of the materials chosen and fine­
tune your p i p i ng techn i que.
DOU B LE AN D TRI PLE PIPING In terms of basic preparations of cutting the
Double and triple p i p i ng are truly elegant fabric and covering the cord, the only devia­
embelli shments. Reserve these techniques for tion from the norm i s that i t may be necessary
styles and fabrics that can carry them off and to cut the covering cord different widths,
deserve that l i ttle bit of extra effort. As you'll depending upon the size of cord you use,
see, multiple rows of p i ping are not difficult to and whether you make double or triple
make or use, but it does take at least twice as p i p i ng. The potential problem with using the
long as si ngle piping to p repare. standard % - i n . seam allowance for all three
Keep in m i nd that two and maybe three rows is that-at the outermost p i ped edge­
layers of p i p i ng will p roduce added bulk and the seam allowance may not be sufficiently
body in and at the edge of the seam. To wide to make i t i nto the seam l i ne . This is
reduce the stiffness, use the softer cable cord more likely to happen with tri ple than with
double p i p i ng, but the size fill cord used will
also impact results.

How Much Binding or

To compensate for the additional rows of
pipi ng, add an allowance to the i nitial row of

Piping Do You Need? piping and to the second as well, if needed.

How much wider to cut the strips will depend
To calculate the amount of finished binding or piping for your proj­ on the size fill cord used, but for tri ple piping
ect, use a flexible tape measure . Write down the length of each using YI6 - i n . fil l cord, I usually add at least
edge and seam that you plan to bind or pipe. Add 2 \12 in. to each another % i n . , si nce with the standard
measurement for seam allowances and to give yourself some lee­ allowance, the raw edge of the outermost pip­
way. The resulting figures i nd icate how many pieces you will need i ng j ust barely reaches the seam. Apart from
to cut and what their lengths should be. that, the p i p i ng is covered in the usual manner
I prefer to use individual strips rather than continuous bias, so (see p . 1 57). Each row of piping i s covered
my calculations genera l ly end here. I buy enough extra yardage to separately, then the p i p i ng is assembled and
produce the longest bias strip I wi l l need. For some applications, it stitched to the garment as one trim .
may be necessary to piece the longest strip, as would be req uired
For double pipi ng, snug one row of finished
for a shawl collar jacket, for example. In that case, I wou ld mea­
piping u p aga inst the other (see the drawing
sure the entire distance aroun d the edge, begi n n i ng at the side
on the facing page ) . Stitch the layers together,
seam, measuring up t he center front and around the collar; down
with the needle positioned closer to the cord
the opposite front, arou nd the side seam and back; returning to the
point of origi n . I wou ld construct the bias for this edge in three than the previous row of stitching (visible on
pieces, joined at the side-seam hem of the garment and at the cen­ the i nner row of p i p i ng). Add a third row of
ter back collar. B ias strips should always be joined on the length­ p i p i ng, if deSired, and stitch it to the second,
wise, crosswise, or d iagonal grai n of the fabri c . For a pieced bind­ agai n keeping the needle as close to the cord
ing seam to align with other garment seams, it must be joined as possible.
across the width of the bias on the diagonal gra i n .

1 60
 i tself soft and fl uid, rather than sti ff. I recom­
Maki n g Double Pipi n g mend /'2 - i n . to %-in. cable cord for the fil l . Be
sure to remove the excess bulk of the cord
% in. prior to tucking i t into the seam allowance.

% in.
C U STO M CO R D - E D G E
Cord-edge i s a cord or braid attached to a
tape for i nserting into a seam . A variety of
commerci al cord-edges are available, and they
can be used interchangeably with p iping. You
can m ake your own custom cord-edge, as well,
by attaching commercial cords-or those
you've made yourself-to a strip of flat or
fol ded bias trim .
• Attach the round trim to the fabric with a
1 blind-hem or vari - overlock stitch. Use i nvisi­
\ ,
ble nylon i n the needle. Any of the large­
grooved presser feet used for p i ping are suit­
•• �
\
I able ( the braiding foot i s also a good choice).
, I f the bias stri p i s folded i n half, the edgestitch
• ,
• , foot can also be used.
�
,I \ Adjust the stitch width to 1 mm so that
, \
, \ the sti tch remains small and i nconspicuous,
,
,.
I
�, and the b ite of the zigzag j ust catches the
cord. Adjust the stitch wi dth and length as
•Ri g ht ,� R'Ight
1 side \ si d e necessary if the zigzag foot doesn't catch
the cord. Use the foot to guide the trim and
adjust the needle position so the straight
1 . Make two lengths of piping, stitches are right alongside the cord. When
one with a wider seam allowance. the stitching is complete, you can roll the
2. Sew the double piping together braid directly on top of the stitching l i ne to
with the stitching line to left of
previous stitching. conceal the stitching.

EM BELLISHED PIPING
C H U N KY P I P I N G Piping can be embell ished before or after it i s
I t takes the right garment style and fabric to applied t o the garment. Whipstitch i ng around
pull this one off, but chunky p i ping can be the covered cord of the p i ping is fast and sim­
sensati onal . Use it for fluid unlined j acket ple and adds a welcome decorative touch.
styles made from crinkled wools and rayons, Work up a few samples using this method and
and boucles, which will benefit from the p i p ­ see what you thi nk. Flat braids and narrow rib­
ing's additional texture, body, and weight. I f bons work especially well, i ncluding flexible
you u s e it i n a more structured garment or p a i r brai d, Kreinik /'1 6- i n . and /'s- i n . metall ic rib­
i t with a heavy fabric, consider using a l ight­ bons, and silk ribbon .
weight coveri ng fabric to keep the p i p i ng

161
D E C O R AT I V E T H R E A D S
Thread CharacteristicslApplications Brand Names

Mach i n e Embroidery Delicate thread imparts rich color and glossy sheen. Sulky 30, 40 wt.
1 00% Rayon Subject to fading and wear over time. Fiber is weakened Madiera 40 wt.
with exposure to water; sensitive to hot iron temperatures. &
Coats Clark Mez
Use in the needle for decorative applications, including Alcazar &Color Twist
machine embroidery, decorative stitches, decorative Finishing Touch 30 wt.
bobbinwork, satin stitch cording, topstitching, and channel­ Natesh 50 wt.
stitching. Threads can be doubled up in the needle for
additional impact. Available in wide range of solid and
variegated colors.

Mach i n e Em broidery Imparts rich color and matte sheen for distinct embroidery Mettler 30, 60 wt.
1 00% Cotton designs. Stronger than rayon thread ; greater resistance to Madiera Cotona 30, 50,
wear due to abrasion, repeated washing, and heat. 80 wt.
Available in a variety of weights and a broad selection of DMC Broder Machine
colors. Use for same range of applications as rayon Tanne 30, 50, 80 wt.
embroidery thread. Cotty Tanne 1 2 to 20 wt.

Mach i n e Embroidery Stronger and more elastic than cotton or rayon, it produces Tire Silk 1 00 wt., 2 ply
100% Silk a rich, lustrous sheen that retains its strength and beauty Tire Machine Twist 50 wt.
over time. More expensive than cotton or rayon. Use for YLI 1 000 denier silk
machine and hand basting, buttonholes, and same range of sewing thread
applications as rayon and cotton machine-embroidery YLI Kanagawa Silk
threads. Sewing Thread 50 wt.

Mach i n e Em broidery High-sheen acrylic thread resembles rayon embroidery Janome

1 00% Acrylic thread. It is stronger and more durable but not as lustrous YLI U ltra Sheen
sewn out. Use for projects where color and high gloss are
desired, and durability is a prime consideration.

Meta l l ic Shiny, light-reflective thread. Use for machine embroidery, Sulky Metallic
rolled hem edges, and decorative stitches. Lightweight Kanagawa
metallics are not recommended for topstitching, since it ap­ Madiera Supertwist
pears insubstantial. Frays, breaks, and balls up more readily Madiera Metallic #40,
than most threads, so use special embroidery or metallic #50
needle. Heavy metallics are not for use in the needle but DMC Metallic
can be couched or used in the bobbin. Mettler Metallic
YLI Fine Metallic

Ti nsel/Myl a r Flat, metallized polyester thread adds brilliant, highly Sulky Sliver
reflective sheen that glimmers and sparkles when sewn in. Stream Lame Tinsel
Flat filament reduces fraying and breakage associated with Prizm Hologram (Madiera
metallic threads. Jewel)

Decorative Serger Thicker and more textured than machine-embroidery threads YLI Candlelight
in 1 00% rayon and metallic blends. Use for straight and Madiera Glamour
decorative stitches in the bobbin. Madiera Decor 6
Ribbon Floss

1 62
For For For Compatible Needle Choices
Decorative Decorative Handwork (correspond to thread used in needle)
Use in Needle Use in Bobbin

YES NO NO Embroidery 40-wt. thread 75/1 1 ; 30-wt. thread

90/1 4
Fine cotton or Topstitch (N) 80/1 2 to 90/1 4
synthetic thread Twin embroidery 2.0/75 to 3.0/75
in bobbin 3.0 Drilling/triple

YES NO NO Embroidery 75/1 1 to 90/1 4

Topstitch 80/ 1 2 to 90/1 4
Fine cotton thread Twin embroidery 2.0/75 to 3.0/75
in bobbin 3.0 Drilling/triple
Topstitch 90/ 1 4
YES YES Denim or universal 1 00/1 6 to 1 1 0/1 8
Embroidery thread
in needle

YES NO Pickstitch Embroidery 75/1 1 to 90/1 4

Fine cotton, silk, or Topstitch 80/1 2 to 90/1 4
synthetic thread in Running stitch Denim 70/ 1 0 to 90/ 1 4
bobbin with threads Twi n embroidery 2.0/75 to 3.0/75
doubled 3.0 Drilling/triple

YES NO NO Embroidery 75/ 1 1 to 9 0 1 4

Polyester or fine syn- Topstitch 90/ 1 4
thetic thread in bobbin Twin embroidery 2.0/75 to 3.0/75

YES NO NO Metafil 80/ 1 2

Fine synthetic Metallica 80/1 2
thread in bobbin Metallica twin

YES NO NO Embroidery 75/1 1 to 90/1 4

Fine synthetic Metafil 80/1 2
thread in bobbin Metallica 80/ 1 2
U niversal 80/1 2
Metallica twin

NO YES Experiment Select needle according to application and

Invisible, metallic thread used in needle.
or machine­
embroidery thread
in needle

1 63
D E C O R AT I V E T H R E A D S (continued)

Thread CharacteristicslApplications Brand Names

Produce rich color and textural effects when used for Kreinik #8, # 1 6 Braid 1 /1 6-in.
decorative bobbinwork or hand stitches. Kreinik braid and ribbon
ribbon is available in a wide assortment of lush metallic Rainbow Gallery: Patina,
colors. Other needlework threads in rayon, silk, cotton, Gold Rush, Pebbly Pearl
wool, and blends are also suitable. Keep an open mind and Broider Wul
experiment. Any thread/yarn is a candidate! DMC Medeci, Flower Thread,
and Pearl Cotton
Caron Collection Threads
Edmar Rayon Threads
Madiera Metallics #3, #5, #6,
#8, # 1 0
Sashiko Thread 20/4, 1 4/6

Polyester Topstitch/ Use for h ig h-impact topstitch ing on casual wear. Extremely Cordon net 30 wt. (Mettler)
Butto n h ole Twist strong, durable. Can be d ifficult to sew. Combine with Gutterman
regular weight polyester in bobbin. &
Coats Clark
YLI Jeanstitch

100% S i l k Topstitch/ The thread of choice for decorative machine topstitching Tire Line Twist 30 wt., 3 ply
Button hole Twist and handworked stitches. Has high twist and elegant Gutermann Silk Topstitch
sheen. User-friendly for hand sewing; reduce needle tension Tire Buttonhole Silk 8 wt., 3 ply
for machine sewing. Fewer yards are on a spool-be sure to YLI Kanagawa Silk Stitch
estimate yardage for project and buy accordingly, as dye Trebizond
lots can change. Zwicky

Pearl Cotton / Rayon H igh-luster plied thread. Rayon is springy; cotton is soft. DMC
Lightweight cotton can be used in the needle. Reserve Anchor
heavier-weight cotton and rayon thread for the bobbin. YLI Pearl Crown Rayon

Lightweight Substantially lighter than standard sewing thread, these Madiera Bobbinfil
Bobbi n Threads threads are used in the bobbin to promote q uality stitch 60-wt. cotton
formation when a decorative thread is used in the needle. Sulky Bobbin Thread
Promote proper stitch formation and prevent thread buildup &
YLI Lingerie Bobbin Thread
and needle jams. Cotton is available in many colors; others Sew Bob
are limited to white and black. Prewound bobbin spools are (Convenient prewound
available but aren't compatible with all machines. bobbins also available from
some manufacturers)

I nvisi ble Nylon Available in smoke and clear, these soft, transparent threads Sulky Premier I nvisible
Threads are for use wherever invisible stitching is desired. YLI Invisible Wonder Thread
Coats Monofilament

Notes
1 . Brand names listed indicate q uality products that have been used successfully by the author for the techn iques
featured in this book. Most are available from mail-order sources listed on p. 1 68. This list is not conclusive.
Comparable products with different brand names may also produce satisfactory results.
2. Needle choices listed indicate a range of possible selections for good results. Testing is always recommended,
since results will vary with different combinations of thread, fabric, and interfacing. For best results, test with the
exact combination of materials you intend to use.

1 64
For For For Compatible Needle Choices
Decorative Decorative Handwork (choices correspond to thread used in needle)
Use in Needle Use in Bobbin

NO YES YES Select needle according to application and

Machine- thread used in needle.
embroidery,
invisible nylon, or
metallic thread in
needle

YES YES NO Topstitch 90/ 1 4 to 1 1 0/1 8

Polyester thread in Polyester thread in Denim 1 00/1 6 to 1 1 0/1 8
bobbin needle U niversal 1 00/ 1 6 to 1 20/ 1 9
M icrotex sharp 1 00/1 6

YES NO YES Embroidery 90/1 4

50- or 30-wt. silk M icrotex sharp 90/ 1 4 to 1 00/1 6
60- to 50-wt. YES Topstitch 90/1 4 to 1 1 0/ 1 8
cotton thread in Metallic, invisible, Twin denim or universal 4.0/1 00
bobbin or embroidery Denim 1 00/1 6 to 1 1 0/1 8
thread in bobbin Universal 1 00/1 6 - 1 20/ 1 9

YES YES YES Topstitch 90/1 4 to 1 1 0/1 8

# 1 6, # 1 2, #8 cotton Machine- Denim 1 00/ 1 6 to 1 1 0/1 8
60-wt. cotton thread in embroidery thread Embroidery 90/ 1 4
bobbin in needle

NO NO NO Select needle according to application and

thread used in needle.

YES YES NO Universal 70/1 0 to 80/1 2

1 65
APPENDICE S

Appendix A Tracing an image directly through

fabric is easier i f the paper with the
water-soluble, or permanent- i nk fabric
marker. Then place the transfer fabric
image is pinned or basted to the on the garment fabric and retrace to
fabric with double-sided tape. A l ight transfer the design through the cloth.
Transferring table or some other l ight source behi nd I favor the smooth, strong l i ne that
the image and the fabric will make the can be acquired using silk organdy,
Designs to Fabric design easier to read and transfer. which I use to trace and transfer rou­
Various methods are used to transfer The l i ght table is also useful for revers­ tinely. By tracing and transferring the
designs to fabric. Each has i ts strengths ing directional or asymmetrical designs design with an air- or water-soluble
and li m itations. Which method to use that need to be m irror- i maged on marker that removes from the cloth
will depend on a number of considera­ the garment. with ease, my transfer cloth can be used
tions, i ncluding the compatibil i ty of again and aga i n . Another advantage is
care requirements for the fabric with USING I RON-ON that the design is clearly visible on both
removal methods for the transfer medi ­ TRA N S F E R PE N S sides of the cloth, which negates the
um; the color, texture, and hand of the I ron-on transfer pens produce a perma­ need to make another copy of the
fabric; the type of embel lishment to be nent design transfer. Trace the design to image in reverse, to create a mirror­
applied; and the extent of the design . paper using the transfer pen . Then i ron image design . The design can sim ply be
Designs can be transferred directly i t facedown to the right side of the fab­ fl ipped over and traced from the oppo­
to the right side of the fashion fabric or ri c . The heat of the i ron results in a site side. This method can also be used
to an intermediary stabilizer basted i n direct transfer of the design . I f the with permanent- ink pens, in which case
place. Some transfer mediums produce image is directional, trace it i n reverse the design cannot be removed from the
a permanent mark, and others are tem ­ so that it will appear the way you fabric. Silk-organdy transfers tend to
porary. These are the fundamental divi ­ i ntend for your design . Once i roned, work best with ink markers, as o pposed
sions among methods and materials. you cannot alter the position of the to chalk pencils. Chalk pencils do work
transfer. For this reason , pl acement of quite well using the same transfer pri n ­
D RAWI N G O N TH E R I G HT the design must be absolutely accurate ciple but are best used with crinoline o r
S I D E O F T H E FA B R I C and precise. The advantage of this net rather than with silk organdy.
Designs can be traced or drawn free­ method i s that the l i nes of the transfer To use crinoline or net, the basic
hand directly to the surface of the gar­ are easy to read and remain distinct principle is the same: Simply trace,
ment, using permanent - i nk pens, dress­ throughout the process of working the place, and transfer the design. In this
makers chalk pencils, or water- or air­ design . Because the transfer ink cannot case the chalk or ink will not penetrate
soluble fabric markers. As with any of be removed from the fabric, however, the fabric but will be transferred
the direct methods, it i s also possible to the embellishment must completely through the open areas of the crinoline
transfer the design to the wrong side of cover the design line. or net.
the garment, and thread trace along the Regardless of which material you
design l i ne, so the design is visible from U S I N G T R A N S F E R FA B R I C use, baste or tape the transfer fabric to
the front, if removal of the transfer l i ne This method is fast, easy, and accurate. the garment fabric prior to transferring
is at all questionable. Pin the design beneath the transfer the design. For best results, work on a
fabric (silk organdy, cri nol ine, or net) hard surface and, if desired, use pattern
and trace directly using an air- soluble, weights or use Sewer's Fix-It Tape to

1 66
secure the garment p iece to the table.
This will help stab i l i ze the fabric while
Pl ace the transferable side of the
paper facedown on the right side of the
Appendix B
transferri ng the des ign . fabric, sandwiched between the fabric
and a paper copy of the design . Then
U S I N G P L A S T I C T E M P L AT E S trace the design onto the fabric using a
Transferring
Templates are a practical way to trans­ tracing wheel or i nkless bal lpoint pen
fer knotwork, braid, key, and other sim­ to exert pressure while tracing the l i nes. Designs to a
ple designs with repeat patterns . Once Dressmaker's tracing paper i s available
the tem plates are traced and cut, the i n a range of colors and i n wax-, water- , Stabilizer
transfer to fabric is very quick, and the and air-soluble formulas. I f you wish to Design transfer with stabilizers differs
tem plate can be stored for future use. remove any visible l i nes, be sure to use from transferring to fabric in that the
To make a template, trace the a nonwax formula. surface of the fabric is not marked with
embell ishment design directly to a clear l ines for the desi gn . I nstead, you trace
template plastic. For borders, i t is nec­ U S I N G A TRAC I N G W H E E L the design to a lightweight paper or
essary to cut a complete pattern repeat, A N D TRA N S F E R POWD E R water-soluble stabilizer. Then you i ron
beginning and ending at a halfway Pricki ng a paper template with a pat­ or baste the stabilizer to the right side
point, so it is easy to match the design . tern traci ng wheel along the design of the garment and keep i t i n place until
Use a utility kni fe or hot knife template line followed by the appl ication of the embell ishment is complete. U pon
cutting tool to cut the template plastic. transfer powder, or pounce, i s a time­ completion, remove the stabilizer.
Position the template as desired on the honored method of transferring Less versatile than marking directly
fabric and hold i t in place with double­ designs (called the prick-and- pounce to the fabric, this method i s useful
sided basting tape on the back of the method) . I t remains an excellent when marking directly is di ffi cult or
template. Draw around the template method for transferri ng to any fabric undesirable and for various appl i cations
with chalk dressmaker's pencils or with stretched on a frame, as well as to such as sewing on braid. It can also be
air- or water-soluble fabric markers. thick, highly textured, or napped used when extra stability i s required and
fabrics-such as velvet. for napped or pile fabrics. One advan­
U S I N G D RESS MAKE R'S D i p a pounce pad-also referred to tage of this method is that it takes less
T R AC I N G PA P E R A N D as a pattern pounce-i nto the l oose time than transferring to fabric, since
T RAC I N G W H E E L powder and rub it gently over the sur­ the design needs to copied but once.
This method i s sim ple, direct, and well face of the pricked design . The powder Another is that the marki ngs disappear
known, as most sewers use it to transfer s ifts through the holes in the paper, with the template, which i s removed
darts and other pattern markings to fab ­ l eavi ng p i npoint markings on the cloth when the design is complete.
ric . In terms of embell i shment transfers, below, which i ndicate the l ines of the Stabi l i zers best sui ted to this method
it works best on l ight- to medium­ design. Pouncing is followed up with incl ude Solvy, which comes i n clear
weight woven materials, with an even painting or drawing in sol i d l i nes. plastic sheets, Stitch - N - Ditch paper sta­
texture and weave. On small or relatively simple b i l izer, and Totally Stable, which is
designs, an al ternative to using the pat­ i roned to the surface of the fabric and
tern tracing wheel i s to create the holes will keep the fabric beneath from shift­
by runn i ng the paper design through an ing as the embell ishment takes place.
unthreaded sewing machi ne. The l arger the area to be embel l i shed,
the more critical this point will be.

1 67
MAIL-ORDER S OURCE S
B EA D S A N D F I N D I N G S Classic Trims Treadle Art
1 92 5 6 3 rd St. East 2 5 8 3 4 Narbonne Ave.
Baker Bay Bead Co.
I nver Grove Heights, MN 55077 Lom i ta, CA 907 1 7
3 56 3 3 Shoreview Dr.
( 6 1 2 ) 552-9637 ( 3 1 0) 5 3 4 - 5 1 22
Dorena, OR 974 3 4
e-mail: [email protected]
( 54 1 ) 942 - 3 94 1 Exim Trims
1 3 595 N . W. Overton
Beadazzled M I S C E L LAN E O U S
Portland, OR 97229
1 5 2 2 Connecticut Ave. N . W.
(503) 64 1 - 343 1 Empyrean Beads
Washi ngton , D . C 20036
( 800) 29 1 - 3 946 7 1 2 9 34th Ave. S.W.
Fire Mountain Gems Seattle, WA 98 1 26
Ginsco Trims
2 8 1 95 Redwood Hwy. (206) 9 3 7-4 1 46
242 W. 3 8th St.
Cave Junction, OR 975 2 3 -9 3 04 Antique and unusual beads, electroplated char­
New York, NY 1 00 1 8
(800) 42 3 - 2 3 1 9 lottes, Japanese delicas and
(2 1 2) 7 1 9-4871
cut beads, steel cut hematite beads
Garden of Beadin' ( 8 00) 929-2529
PO Box 1 5 3 5 e-mail: mr.brai [email protected] Gripit Plus
Redway, C A 95542 www. ginstrim .com 1 25 50th St. N . W.
( 707) 9 2 3 -9 1 20 Albuquerque, NM 8 7 1 05
S P E C I A LT Y T H R E A D S ( 800) 347-5748
General Bead
www. grip itplus.com
1 0 1 0 Broadway Hedgehog Handworks
Scroll frames andframe holders
San Diego, CA 92 1 0 1 PO Box 4 5 3 8 4
Westchester, C A 90045 Lacis
Magnums
( 3 1 0) 670- 6040 3 1 6 3 Adeli ne St.
PO Box 3 62
Berkeley, CA 9470 3
Blackfoot, I D 8 3 2 2 1 Sew Art International
( 5 1 0) 843 - 7 1 78
PO Box 1 244
Ornamental Resources Specialty needlework and beading supplies, as
Bountiful, UT 840 1 1
1 427 Miner St. well as trims, silk thread, tambour sewing sup­
( 800) 2 3 1 - 2 787
Idaho Spri ngs, CO 80452 plies, and books
Shay Pendray's Needle Arts, Inc.
Shipwreck Beads Paris Southern Lights, Inc.
2 2 1 1 Monroe
502 1 Mud Bay Rd. PO Box 3 74
Dearborn, MI 48 1 24
Olympia, WA 98502 Paris, Ont., Canada N 3 L 3T5
( 800) 8 1 3 - 3 1 03
( 3 60) 754- 2 3 2 3 ( 800) 56 1 -973 1 (call for name of near­
Speedstitch est dealer)
Universal Synergetics
3 1 1 3 Broadpoi n t Dr. Maker and distributor of Eucalan No-Rinse
1 65 1 0 S.w. Edmi nston Rd.
Harbor Heigh ts, FL 3 3 9 8 3 Woolwash
Wilsonville, OR 97070-95 1 4
( 94 1 ) 629- 3 1 99
Whole Customer's Catalogue
TRI M S ( 800) 8 74-4 1 1 5
) 998, 1 4th edition, Karen Dick
Button Emporium Things Japanese CBTB Press
9 1 4 S.W. 1 1 th 9805 N . E . 1 1 6th St. PO Box 207
Portland, OR 97205 Suite 7 1 60 2860 Main St.
( 50 3 ) 2 2 8 -6 3 72 Kirkland, WA 98034 Beallsville, PA 1 5 3 1 3 -0207
www. buttonemporium.com (206) 8 2 1 - 2 2 8 7 A compendium of mail-order sources and stores
that have costuming supplies, including
millinery, beading, fabric sources, and trims

168
INDE X
Note: Page references in italic indicate a photo or illustration.

A usable yardage f o r faggotted Curves: Faggotted rouleau, 1 26 - 3 7

Applique, 1 1 0 - 3 7 rouleau, 1 30 binding of, 1 5 3 pattern alterations o f , 1 29, 1 3 1 - 3 3
anchoring b i a s applique by use of continuous bias, 1 50 sewing piping on, 1 5 8-59 placement o f strips to a fabric base,
machine, 1 1 8 yardage for, 1 1 9 sewing with applique insets, 1 2 5 1 34-36
bias, 1 1 8 - 2 1 Bias-tape maker for bindings and pip­ topstitching of, 70- 7 1 plotting order of construction for,
fusing and stitching, 1 1 4- 1 8 ings, 1 42 - 4 3 Custom trims, making o f , 86-94 1 27
lush borders, 1 1 7 Big-eye needles, 1 1 Faggotting:
Bindings, 1 44-55
o with beading, 3 0
practice samples, 1 1 3
Decorative beads, 9
Applique insets, 1 22 - 2 5 ending of, 1 5 2 by h a n d , 1 26, 1 3 7
Delica needles, 1 1
pattern preparation o f , 1 2 3 -2 4 for gaping armholes o r necklines, from wrong side of garment, 1 3 3
Delica seed beads, 7
sewing o f , 1 24 - 2 5 1 50 Fastube presser foot, 85, 1 20
Designs:
Appliques, beaded, 1 9 determining how much you need, Fasturn tube turner, 8 5 , 1 1 2, 1 20
for applique insets, 1 22 - 2 3
1 60 Finishing beaded buttons, 44-45
B for bias applique, 1 1 8 - 1 9
from other fabric sources, 1 55 Five-strand braid, making, 90, 9 1
Baby piping, 1 59 with bindings and pipings, 1 4 1
pattern al teration for, 1 4 3 Flat pipings, making, 1 56-57
Basting tape method for faggotted for fused and stitched applique,
o f scalloped edges, 1 54 Flexible braid as narrow edge trim,
rouleau, 1 36 1 1 4- 1 5
sewing corners and curves, 1 52 - 5 3 96-98, 96
Beading/beaded, 4-45 ideas for faggotted rouleau, 1 2 8
staystitching garment edges prior Four-hole beaded buttons, 40-4 1
beaded buttons, 40-45 placement for beading, 1 9
to binding, 1 47 Four-strand braid, 89-90, 8 9
beaded embroidery, 1 7- 2 5 , 1 7 selection and placement for bead-
topstitched, 1 49-50 Frames for beading, 1 3 - 1 4, 1 5,
beadweaving into fabric, 3 6 - 3 9 weaving, 37
Bobbin tension, for threadwork 1 8 , 26-27
creating a comfortable work with trims, 95-96, 95-96
embellishments, 66, 67, 77 Fringes and edges, beaded, 3 0 - 3 5
space, 1 5 Design tools for beading, 1 6
Bobbinwork, for threadwork embell­ Fused and stitched applique, 1 1 4- 1 8
design transfer, 1 6, 1 8 Design transfer:
ishments, 76-78 Fusible web for applique, 1 1 3
edges and fringes, 3 0 - 3 5 bleed-through method for faggot­
Border embellishments, 99, 1 1 5 - 1 7
fabric choices, 6, 1 6 ted rouleau, 1 3 3 - 3 4 G
Braid-embellished dresses and suit,
in hand, 1 8 - 1 9 for bobbinwork embellishments, Garment construction, beading done
95, 96
holders, 1 3, 1 4- 1 5 76-77, 78 prior to cutting, 19
Braids, 8 8 - 9 3
horizontal netted fringe edges, for passementerie embellishments, Garment styles for beading, 6
calculations for length a n d "take
34, 3 5 1 07- 1 08 Gemstone beads, 1 0
up," 88
methods of, 1 7-45, 1 7 and placement for beaded garment, Glass rocaille beads, 6 , 7
learning to make, 9 3
needles, 1 1 , 1 2 18-19
Bugle beads, 9
for tambour beading, 2 6
H
netted fringe edges, 3 3 - 3 5 Buttonholes for beaded buttons, 40 Hand-basting bindings, 1 45
outline edge stitch, 3 2 "Ditch" topstitching, 7 2
Hand-basting faggotted rouleau to
placement o f design, 1 9 C Double and triple pipings,
fabric base, 1 3 3 , 1 34 - 3 6
planning a beaded garment, Celtic Bias Bars for applique, 1 1 2 , 1 20 1 59-60, 1 6 1
Hand-felled bindings, 1 45-46,
6, 1 8- 1 9 Chainstitch: Double topstitched seams, 72-73
1 5 1 -5 2 , 1 5 1
prestrung bead transfer, 2 7 for bead embroidery, 23 Drops as beads, 1 0
Hand sewing needles, for threadwork
sewing seams i n beaded areas, 1 9 for tambour beading, 27- 3 0
Channelstitching, f o r threadwork
E embellishments, 5 5
spool holders, 1 5
Edge finishes with trims, 96-99, 96 H a n d sewing of trims, 1 0 1
stain prevention, 1 8 embellishments, 74-75
Edges, beaded, 3 0 - 3 5 H a ndworked stitches, techniques for
stitches for prestrung beads, 2 5 Charlottes (beads), 7
Embellished piping, 1 6 1 even spacing, 6 2 - 6 3
storage of supplies, 1 5- 1 6 Charms as beads, 1 0
Ending bindings, 1 52 H e x beads, 7
tambour beading, 2 6 - 3 0 Chunky piping, 1 60-6 1
Extra bobbin case, for threadwork Horizontal netted fringe beaded
threading a beading needle, 2 8 Clamps for braid construction, 8 5
embellishments, 5 5 - 5 6 edges, 34, 3 5
threads, 1 2 Cleaning and pressing o f fabric for
vertical netted fringe edges, 34, 3 5 beading, 1 6 F
working bead lengths, 2 7 Colors o f beads, 8 Fabric: I n - hand beading, 1 8 - 1 9
Bead-laced buttons, 4 1 -42 Cord-edge, 1 6 1 alternatives for bindings and pip­ I n-hand picot-edged beaded
Bead-laced edges, 3 3 Corded pipings, 1 56-58 ings, 1 40-4 1 buttons, 4 3
Beads: Corded satin stitch, 78-79 for applique, 1 1 2 Italian quilting, 75
colors and luster, 8 Cords for piping, 1 4 1 -42 calculations for faggotted rouleau,
Corners: 1 29 - 3 0
L
types of, 6- 1 0
Lace/tulle as bindings, 1 55
where t o buy, 7 binding of, 1 52 - 5 3 calculations f o r f l a t or corded p i p -
Lazy stitch for bead embroidery, 2 1
Bias-cut fabric, distortion with bead­ sewing piping o n , 1 5 8-59 i n g s , 1 56-57
Leather or suede as bindings, 1 55
ing, 1 9 sewing with trims, 1 03 choices for beading, 1 6, 1 9
Looms for beadweaving, 36, 3 8
Bias rouleau: stitching with multiple needles, choices for beadweaving, 3 6
applique, 1 1 8 - 2 1 7 3 - 74 choices for bias applique, 1 1 9 M
for custom trims, 87 topstitching of, 70 color pretest and preshrinking Machine needles:
Bias strips: Couching bead embrOidery stitches, before beading, 1 6 changing, 66-67
cutting of, 1 2 1 , 1 48 23-25 compatibility with trims, 1 00 for threadwork embellishments,
joining of, 1 50 - 5 2 Crystal beads, 6 use of wrong side for tambour 53-55
beading, 2 6 Machine-stitching bias applique, 1 2 1
M i l l i ners needles for beading, 1 1
Monkscord custom trim, 86-88

1 69
Motifs, R T W
for bobbinwork, 76-77, 78 Raised stitch for bead embroidery, 2 2 Tambour beading, 26-29, 29, 3 0 Warp and weft for beadweaving, 36,
channelstitched, 75 Reembellished trims, 94 holders, 1 4- 1 5 3 8 - 39
topstitched, 7 1 Ribbon-threaded edgings, 98-99 hook needle, 1 2 Weaving of beads into fabric, 3 8 - 3 9
Multimedia for custom trims, 87 Ring frames for beading, 1 3 - 1 4, 2 6 practice samples for, 27 Weight of beads i n a design, 1 9
Multiple-needle topstitching, 7 3 - 74 Rocailles, 7 securing beaded chain, 3 0 Whipstitching around corded edge,
Muslin garment for beaded design Rondelles, 9 Template f o r faggotted rouleau, 1 47, 1 49
placement, 1 9 Round tube and cord trims, sewing 1 2 8 -29 Wide trims, sewing of, 84, 1 03 - I 04
of, 1 04 Tension adjustments, for threadwork Wonder Tape for trim positioning, 85
N Running stitch, for bead embroidery, embellishments, 65-66, 67 Work space for beadwork, 1 5
Narrow corded edge bindings,
20, 3 0 - 3 2 Ten-strand braid, 9 1 -92, 92, 9 3
1 47, 1 49
Third Hand for custom braid con­
Z
Narrow French and imitation French S struction, 8 5
Zigzag bugle-bead variation for bead­
bindings, 1 46-47 Scalloped edges, binding of, 1 54 ed edges, 3 2
Thread,
Narrow trims, sewing of, 84, 1 0 1 - 1 0 3 Scroll frame for beading, 1 4
for applique, I 1 3
Needles, Seam guides for thread embellish-
for beading, 1 2 - 1 3
for beading, 1 1 - 1 2 ments, 56, 69-70
silk for beading, 1 2 - 1 3
beadweaving, 1 2 Seam sealant for trims, 85
silk for hand-basting, 1 3 5
tambour hook for beading, 1 2 Seed beads, 7
storage of, 49
threading a beading needle, 2 8 Sequins, 8
for threadwork embellishments, 48
Needle tension for threadwork Serger trims, 9 3 -94
waxing, prior to beading, 1 3
embellishments, 65-66, 67 Sewing applique insets, 1 24-25
winding decorative threads on a
Netted fringe beaded edges, 3 3 - 3 5 Sewing o f seams i n beaded areas,
bobbin, 77
Nymo thread for beading, 1 3 1 9, 3 9
Threading a beading needle, 28
Sewing p i p i n g , 1 58 - 5 9
o Sewing points w i t h applique
Threadwork embellishments, 46-79
Outline edge stitch for beading, 3 2 Three-strand braids, 88, 8 9
insets, 1 2 5
Overlay stitch f o r bead embroidery, Topstitching,
Sewing trims, 1 0 1 - 1 04
2 1 -2 2 bindings, 1 49-50
Single and double bindings, 1 44-46
considerations for fabric and
p Spacing of handworked stitches,
color, 6 8
Paillettes beads, 8 62-63
for embellishments, 67-74
Parallel topstitching, 7 1 -72 Spinster for plied cord construc-
guidelines for, 69
Passementerie, tion , 8 5
guides and guiding techniques,
designs for, 1 06 - 1 07 Spool holders f o r beading, 1 5
69-70
making of, 1 05 - 1 09 Square rocailles, 7
motifs, 7 1
methods for applications, 1 08 - 1 09 I
Stabi izers,
needles, 5 3 -54
Patterns, for applique, 1 1 3 , 1 1 9
traditional, 7 1
a l teration for a binding, 1 4 3 for bindings and pipings, 1 4 1
Trims, 80- 1 09
alterations for faggotted rouleau, for bobbinwork embellishments,
as border designs, 99
1 2 8 , 1 29, 1 30- 3 1 76-77
calculating length of, 88, 1 04
Pearl beads, 6 , 1 0 for enhancement o f stitch
choices for passementerie embell-
Pendants as beads, 1 0 quality, 67
ishments, 1 05 - I 06
Petersham as binding, 1 55 how to choose, 52
designing with, 95-96, 95-96
Pickstitch for threadwork embellish­ for passementerie embellish­
as edge finishes, 96-99
ments by hand, 57-59 ments, 1 07
embellishments for garment style
Picot-edged beaded buttons, for reembellished trims, 94
and proportion, 99- 1 00
42-44 for threadwork embellishments,
and fabric compatibility, 1 00
Piping, 1 56 - 6 1 5 1 -5 3
placement of, 1 00
embellished, 1 6 1 for topstitching, 69
properties of, 8 2 - 8 3
sewing corners and curves oft Stain prevention when beading, 1 8
reembellished, 94
1 5 8 -59 Staystitching garment edges prior to
serger constructed, 9 3 -94
yardage for, 1 60 binding, 1 47
sewing corners with, 1 0 3
Plain bugles, 8 Stitches,
types of, 8 2 - 8 3
Polyester thread for beading, 1 3 for beaded edges and fringes,
when t o sew by hand, 1 0 1
Presser feet, 30-35
Triple needle topstitching, 73
for bindings and pipi ngs, 1 42 f o r bead embroi dery, 2 0 - 2 5
Two-hole beaded buttons, 40-4 1
for bobbinwork embellishments, 77 f o r tambour beading, 2 7 - 2 9 , 2 9
Two-step hand-felled binding of
for channelstitching, 74 Stitches for threadwork embellish­
scalloped edges, 1 52
for multiple-needle topstitching, 7 3 ments, 59-6 1 , 64
Tying off tambour beaded chain,
f o r threadwork embellishments, Stitching, techniques f o r even spac-
30
49-5 1 , 67 ing, 62-63
for topstitching, 70 Stitching applique, 1 1 5 - 1 8 V
for trim application, 8 3 - 8 5 Stitching faggotted rouleau, 1 37 Velvet
Prestrung bead transfer, 2 7 Stitch quali ty, for machine-worked as binding, 1 55
Pulling g i m p apart for trim mater­ embellishments, 66-67 for custom trims, 87
ials, 97 Storage, Vertical netted fringe beaded edges,
o f beading supplies, 1 5- 1 6 34, 3 5
Q
Quilting bar for threadwork embell­
o f threads, 49
Straight-stitch needle plate, for
ishments, 56
threadwork embellish­
ments, 56
Stringing beads for beadweaving, 3 8

1 70
SEWING

FINE
Gmbellishmen�
T E C H N I QU E S
"If you love to sew your own clothes, Jane Conlon will
show you how to make a closet full of clothes that look
like they came from a designer's showroom:'
HGTV WebPage

"This book is as enjoyable for its artistic photography as

for the fine embellishment techniques it presents. A
good mix of hand and machine techniques is included:'

:n
Sew News
SPIRED BY EM BELLI S H ED CLOTH ING F RO M T H E
'20s, '30s, and ' 40s, Jane Conlon has adapted classic decorative
techniques to today's fashions. Her ideas will spark the creative
spirit of all sewers, from beginners to the most experienced.
Her detailed instructions for the many ways to use beading,
applique, trims, and threadwork ensure success-whether you're
enhancing ready-to-wear or sewing whole garments.
Beautifully illustrated with 4-color photographs and drawings,
Fine Embellishment Techniques is an invaluable addition to your
sewing library, showing how to

Irf£y bead delicate fringe or

an entire gown

Irf£y make custom braid

Irf£y use passementerie

Irf£y applique sophisticated designs

ABOUT THE AUTHOR

J a n e Conlon teaches sew i n g a n d e m be l l i s h m e n t tec h n i q ues a t 27th Street Fabrics

i n Eugene, Oreg on. A frequent contributor to Threads m a g a z i n e , she is an avid

and i n s p i red sewer with a closet fu l l of bea utifu l ly e m be l l i shed g a rments.

$21.95 u.s.

1 1111 �llll r
I S B N 1 - 5 6 1 5 8 -496-7
$35.50 CANADA ISBN 1 -561 58-496-7

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1 1 1 11 1 1 1 1 1 1 11 11 1
9 4 1 1 5 5 8 496 8
, 111 1 1 111 1 1 1 1 1 11 1 11
9 78 1 5 6 1 5 84963
Taunton Product # 070607