Innholdsfortegnelse for Party Dresses Winter 2014 i Threads Magazine

WE’D LOVE TO HEAR FROM YOU ■ Send your letters to:SewStylish Letters PO Box 5506 Newtown, CT 06470-5506 or via email SewStylishLetters@taunton.com Oscar de la Renta designed my prom dress—and no, I’m not an heiress! It was a Vogue pattern, and I remember poring over the pattern catalog, choosing fabric, and special-ordering a rhinestone belt buckle. I also remember some mother/daughter tension over the fact that I wanted a sleek black dress, when most of my classmates went the traditional pastel ball gown route. I was determined to have a dress that corresponded with my vision, however. Despite any concern over the style, I know my mom was proud I chose something different. I wouldn’t have known what was possible if my mother and grandmother hadn’t taught me to sew.…

TECHNIQUES • COMMUNITY • PROJECTS • SEWING • NEWS • CONTESTS & MORE Master Sheer Seams and Edges A sheer bolero is an elegant topper to any party dress. Learn how to sew neat and narrow finishes on sheer and very lightweight fabrics with techniques from Threads contributing editor Kenneth D. King. Exciting Techniques & Inspiration Discover more expert advice, projects, and techniques on our website. Find out how to attach lace trim; make a shift dress; hem sheer fabrics; reposition the waist seam on a wrap dress; and add boning for support.…

IT’S ENDLESSLY FASCINATING TO ANALYZE RUNWAY SHOWS and pick and choose concepts to bring into your personal style. With the Spring/Summer 2015 fashion weeks completed around the globe, here’s a look at some key ideas noted by TrendStop.com, an international forecasting service. Each is a touch of high-fashion to inspire, from Monique Lhuillier’s towering clear heels to Dolce & Gabbana’s flower-bedecked hairstyles. Linear Metal For spring, minimalist metal jewelry pairs with glamorous dresses. Austere cuffs, torques, rings, and armbands keep a luxurious look with shiny, polished finishes. Look for unadorned geometric pieces. Repetition of simple shapes, as in stacked rings or bangles, is another aspect of the trend. Sporty Luxe Francisco Costa’s Spring/Summer 2015 collection for Calvin Klein’s luxury line exemplifies the concept of eveningwear with a sportswear twist. The…

Velvet has always been prized as one of the most luxurious fabrics and for good reason. Its luscious, lustrous surface is the essence of sumptuousness. Wearing a garment made from velvet feels indulgent and sensuous. It’s a perfect fabric for many evening looks. Velvets range in weight from chiffon to heavy upholstery weights. Originally made of silk, velvet is now also available in cotton, rayon, acetate, polyester, and various blends. It’s made by weaving two layers of fabric simultaneously, one on top of the other. The pile, which joins the two layers, is then cut to create velvet’s signature texture. Velvet also has the reputation of being difficult to sew. But with new technical information and sewing aids, there’s no reason to be intimidated. With a few skills, you’ll be…

When seams need to be stabilized to prevent stretching, cut or tear cross-grain strips of organza 5⁄8 inch to 1 inch wide to use as stay tape. Tearing strips results in enough raveling to soften the edges and prevent a ridge from showing through. Use organza strips on V-necks, diagonal slash pockets, and shoulder seams. For curved seams, shape the cross-grain strips with a steam iron, gently stretching one edge and shrinking the other, following the curved shape on your paper pattern piece. Cut the strips to the length of the seamline, measuring the paper pattern, not the garment. Pin the stay tape to the wrong side of the garment, centering the tape over the seamline. Ease in any fullness if the fashion fabric stretches, and hand- or machine-baste in…

Use organza for lining sheer fabrics, especially prints. It keeps the look sheer without a second layer of print showing through to confuse the design. A layer of organza on a shoulder yoke adds support to the garment. Enclose the yoke seams, and trim them to 1⁄4 inch. Eliminate the need for a hem finish on a sleeve by lining it to the edge with organza. Stitch the sleeve and lining right sides together at the finished hemline. Press the seam open, and trim the seam allowances to 1⁄4 inch. With right sides together, sew the sleeve and lining in one continuous seam. Press the seam open, fold wrong sides together along the cuff seam, and press the hem edge.…

Sheer fabrics are an enticing choice for a night out because these fabrics represent any mood in their variety. Be cute with stiff dotted net, sexy with clingy open lace, or romantic with draped chiffon. But not everyone can—or wants to—wear a sheer dress out on the town. The answer is to mix and layer sheers to capture the ethereal quality of a gossamer fabric and maintain wearability: When sheers are layered together or paired with other fabrics, the see-through-to-you factor is eliminated. Even better, inventive pairings can change the appearance of the underlying fabric or the sheer, resulting in some unexpected yet wonderful combinations. SHEERS TO KNOW Chiffon, organza, organdy, lawn, silk georgette, batiste, voile, mesh knits, lace, and gauze are leading players when it comes to sheer fabrics.…

1 Thread-trace the edge of the garment pattern piece. For example, for a scalloped hemline, thread-trace the hemline edge. Create trim by harvesting the scalloped edge from the lace garment fabric. If the lace structure is strong, cut a narrow scalloped edge and relocate it, but if it is fragile, cut a deeper width for support, as shown. 2 With the right sides up, examine the trim and edge to determine how to best place the scallops. If the garment fits the neck closely, for example, align the edging scallops with the thread tracing. For a wide neckline or hemline, the scallops can extend beyond the tracing. Baste the edging in place. With the wrong side up, press the edge over a soft surface. 3 Overlap and sew the trim…

Party dresses come in all shapes and styles. Some are short and structured, with hems that stand away from the body, while others are made in drapey, clingy materials that hug the body and require lightweight hem treatments. Depending on the type of fabric and curve of the hem, different types of support are required to shape a garment or to secure the hem allowance to the garment without it showing through to the right side. Here are techniques for hems in light- and heavyweight fabrics; shaped hemlines; and hem allowances that are wider than the hemline. No matter what fabric or silhouette you’re working with, you’ll be sure to end up with a beautiful hem.…

Sometimes, when you have an uncooperative fabric or an unusually shaped hemline, a separate facing is the best option. Adding a facing is the ideal way to make up for an inadequate hem allowance, but it can also help when you’re dealing with a full hem allowance or one with a pronounced curve. Facings can be created from the fashion fabric (if weight and bulk aren’t a concern), but it’s often easier to create a facing from a fabric strip. You can use a bias-cut strip of fabric, shaped with your iron to match the hem’s contour, but sometimes it’s easier to cut a piece of fabric that matches the grain of the fashion fabric. Use the hem area itself as your pattern, or refer back to your paper pattern…

Vionnet often used fringe to weight a garment or scarf, enabling gravity to hold it in place and make bias-cut fabric curve to a given shape. To create fringe, choose an exquisite yarn of a fiber comparable to the fabric. Fold the hemline under, press the fold, and with a fine crochet hook or a needle, pull a single looped yarn from the right side to the wrong side close to the fold. Then pull the thread tails through the loop, pull them snug, and repeat with new yarns across the fabric’s edge.…

Boning has come a long way since its use in corsets back in the day. Then, it was made of actual whalebone. Currently, boning is available in a variety of materials and does much more than just shape the body. Boning is most commonly found in formal gowns—especially strapless dresses—but it is sometimes used to keep embellishment details such as ruching in place, and has been incorporated into accessories such as bags and hats to maintain their shape. Follow along as we give an overview of different types of boning and explain how to easily install each variety into special-occasion dresses and accessories.…

This hat is made from 1⁄2-inch-wide black and white Rigilene boning. The Rigilene is topped with decorative vintage trim and then stitched into shape by machine. A white silk bow with black trim and fanciful Russian veiling complete the look. The boning structure is a great place to start your design. Consider trimming this fascinator with a variety of materials such as feathers, fabric flowers, yarn, or handmade trim. You can also cover the boning with ribbon or bias tubes in exciting colors.…

Backless dresses present a unique set of invisiblesupport problems: specifically, how to create horizontal tension without crossing the back and exposing bra straps. If the dress’s back opening doesn’t extend lower than the waistline, a waist stay can provide the needed support. Backless dresses don’t usually include boning or corset-type support, so you may have to hide all of the support inside the dress’s shoulder straps or disguise it as a second pair of shoulder straps. The shoulder straps create the tension that’s required for lift. Here’s how: Attach a pair of cups to each other at the center front with a short elastic strip. Run an elastic strip from the top side edge of the cup, over the shoulder, and back to the lower side edge. Sew another short…

The strong and narrow bias tubes known as spaghetti straps are very easy to sew, once you know a few secrets. Here, you’ll see how to cut the fabric on the bias for flexibility, sew tubes as narrow as you need, and learn a no-fail method for turning tubes right side out after stitching. You’ll also see a couture expert’s secret for making spaghetti straps extra narrow. These cords can be made from the same fabric you used in your garment, so they always match and don’t cost more money. You can use just one for a delicate strap, or follow our instructions to combine multiple bias tubes in a more elaborate strap, like the braided and beaded one shown. Once you master narrow bias tubes, you’ll find they come…

Lace is lovely in its own right, but when it is enhanced with hand-applied embellishments, the results are remarkable. Beads, gemstones, sequins, ribbons, and other adornments change the look of lace dramatically. The effect can be subtle or spectacular. Pre-embellished lace can cost $500 to $900 per yard, but beautiful “plain” lace often costs less than $100 per yard. Apply the embellishment yourself and save hundreds of dollars. Embellishing lace just takes planning and handwork. The techniques are not difficult, and the materials are readily available. I’ll show you how to select a pattern and plot an embellishment plan. Embellishment may follow the lace pattern to add depth, or create a new, original design. Adornments may flow over the entire garment or cluster to draw the eye. Stick to a…

APPLY BEADS QUICKLY WITH A RUNNING STITCH 1 Thread the needle with a single thread. Knot the thread at the end, and bring the needle through the fabric from the wrong side to the right side. 2 Pick up a bead with the needle. Bring the needle down to the wrong side, a bead length away. 3 Carry the thread on the wrong side to the location for the next bead. If carrying the thread more than 1⁄4 inch, take a small stitch into the lace. 4 Repeat the stitch with another bead. Continue carrying the thread on the wrong side to the next location. BACKSTITCH TO HOLD BEADS FIRMLY 1 Start with a single thread in the needle. This stitch begins just like the running stitch (above). Knot the thread and…

1 Apply heat to the stabilizer through the muslin layers until the stabilizer changes color. A golden-brown color indicates that the stabilizer can be brushed away. 3 Brush. Use a brush with stiff bristles to brush away the stabilizer residue. 2 Break up the stabilizer. Wrap the work in the muslin and crush it. 4 Trim away the extra fabric. This is where a steady hand and a sharp pair of scissors come in handy. Trim away the negative space on the underside of the work around the appliqué motifs, close to the stitching.…

An evening bolero is gorgeous, fun, and surprisingly simple to sew. We chose to create one in appliquéd silk organza, which is sheer enough to allow a dress to shine through. Feel free to experiment with other fabrics and embellishments—this garment would look fantastic in silk charmeuse, in a velvet lined with silk brocade, and more. 1 Create this bolero from just one pattern piece. Use the illustration at right as a pattern. It is drawn to scale for a pattern size 10 (ready-to-wear sizes 4 to 6). Enlarge it on a copier so that one square on the grid equals 1 inch. Adjust the bolero size, if needed, but be sure to balance your adjustments equally. For example, if you add length to the front, be sure to add…

1 Draw the patterns. The clutch is 7 inches in diameter before sewing. Set the compass to 3 1⁄2 inches, and mark the paper. Use the pattern to cut two fabric pieces and two lining pieces. Next, make an interfacing pattern. Set the compass to 3 3⁄16, and mark a smaller circle. Cut four interfacing pieces with the new pattern. 2 Interface the fabrics and lining. Center the interfacing on the pieces’ wrong sides and fuse. 3 Baste in the zipper. Put a zipper foot on the sewing machine. Separate the zipper halves. Beginning at the zipper top, align the tape and fabric edges, right sides together. Adjust the zipper foot to baste the layers 1⁄8 inch from the edge. Stop 1 inch before completing the circle. Don’t back-tack, but…

DO YOU LIKE TO DRESS UP? Absolutely! And as you can see in this issue, it’s very possible to make gorgeous gowns at home. To help you create these dressy garments, we’ve assembled tips, supplied by members of the Association of Sewing and Design Professionals, for handling fancy, often expensive, fabrics. Their strategies will speed you on the way to sewing fabulous dresses. After reading this, you’ll be ready to sew something truly special. Maximize Fabric 1 When working with inexpensive fabric, use a double layer of it—your project will look richer. 2 To add excitement to a design calling for layers of sheers, use various related colors or prints instead of one. See “Sheer Variety,” page 40, for ideas. 3 Don’t be afraid to use drapery sheers to add…

Judith Neukam (“Dress-up Textiles,” page 20, and “Curtain Call,” page 26) “My first special-occasion dress was a very sophisticated high school prom dress. I received many compliments and thought I looked just like Audrey Hepburn. Years later, I found the dress packed away and realized it was made from lining fabric, but that didn’t spoil my memories of a lovely evening.” Judith is Threads’ executive editor, who was recently honored by the Association of Sewing and Design Professionals with a Lifetime Achievement Award. Susan Khalje (“Choose the Right Hem,” page 54, and “Strapless Dresses That Stay Put,” page 66) “I probably made my first special-occasion dress when I worked at a couture house in New York City. We had quite the clientele, and I remember in particular a gown for…

in With a Threads Insider Membership you get access to: • 80-plus sewing tips and techniques videos• Tablet editions and digital issues• Our exclusive Threads Insider pattern database• Exclusive downloads of our popular articles• Special member discounts and more! More Exciting Projects & Techniques Become a Threads Insider to gain instant access to fabulous dress patterns and expert techniques. Find out how to construct a couture strapless dress, sew invisible and unexposed zippers, and understand how to position border prints. Discover how to sculpt with pleats, sew invisible seams and edges, and even make a pleated evening wrap. Your membership also includes tablet editions and digital issues of Threads, access to our exclusive pattern database and extensive video library, and more. Visit ThreadsInsider.com today to start your free 14-day trial.…

WHEN IT COMES TO SEWING FOR DRESS-UP EVENTS, fear not. Your basic sewing skills are definitely up to the task. Making a great gown doesn’t require advanced skills, and you can be as daring, innovative, and inventive as you’d like. Choosing the material, whether pricey or inexpensive, is part of the fun—there’s just no party without party fabrics. Read more about which fabric will fit your special occasion. GET THE HANG AND THE HAND The real flavor of a finished dress rests in the “hand” of the fabric. This term is used to describe how the fabric feels and responds in your hand, and how it drapes on the body. You may already have a vision of your dress: What do you see? Is it slinky, silky, and slippery? Starched…

Burn-out velvet (devoré) A pattern is produced on a velvet fabric made with two different fibers by destroying the pile fibers in a printing process that uses a fiber-eating chemical instead of color. Crushed velvet A texture created by pressing in different directions to create a pattern from repositioned pile. Cut velvet A brocaded pattern woven on a jacquard loom to create a distinct pattern in pile on a plain background. The background can range from heavy satins to sheer fabrics such as chiffon, georgette, and voile. Embossed velvet Nonpermanent embossed finish done with engraved rollers and heat. Panne velvet A lightweight, highly lustrous velvet with flattened pile, which is laid in one direction, finished with very heavy roller pressure. This is usually a knit. Sculptured velvet Velvet in which…

Underlining a garment with organza adds support, crispness, or slight weight to a fabric. It supports lightweight or limp fabrics for tailored styles, stabilizes loosely woven fabrics to prevent sagging or stretching, and adds opaqueness to sheer or light-colored fabrics. Underlining linen with organza helps reduce wrinkling. It allows construction details like hem stitches to be concealed from the outside of a garment, because you stitch only to the organza and not through to the fashion fabric. To underline, cut a pattern piece in organza and pin it to the wrong side of the corresponding fashion fabric piece. Lay the double layer flat with the organza on top. Roll the seam edge toward the organza side to allow for the turn of cloth, and handor machine-baste 1⁄2 inch from the…

* Use chalk or disappearing markers for marking, but do not use wax markers that can be difficult to remove from sheer fabrics. * Opt for a rotary cutter or scissors with serrated blades. You’ll avoid the distorted edges that sometimes occur when cutting slippery, shifty sheer fabrics. * Install a new size 60/8 or 70/10 sewing machine needle. Needles that are too big or dull can snag or leave holes in sheer fabrics. * Work with lingerie thread, silk thread, extra-fine cotton-wrapped polyester, or any fine delicate thread for sewing. * Switch to a straight-stitch throat plate and presser foot, if your machine has one, to prevent the fabric from pulling into the bobbin area. Or, sew with the needle in the far left position to place the fabric…

BIAS BINDING Thread-trace two lines along the edge you’re going to bind. The first thread tracing marks the garment’s finished edge; place it on the seamline. The second thread tracing marks the stitching line to sew the binding. Place it a scant 1⁄4 inch—or the finished binding’s width—below the seamline. 1 Cut bias strips six times the desired finished width of the binding plus 1⁄2 inch. (For a 1⁄4-inch-wide binding, for example, cut a bias strip 2 inches wide.) China silk is a perfect fabric choice. Press the strip, stretching it slightly lengthwise. Thread-trace 1⁄4 inch from one long edge. Fold under along the thread tracing, and press lightly. 2 Working with the right sides up, align and pin the folded bias edge to the garment so it barely overlaps…

During the 1920s and ’30s, hems on chiffon tea dresses and gowns were often finished with a nearly invisible technique called “the picot hem,” and Vionnet often used this weightless single-layer edge. It was sewn on a Singer hemstitch machine with four needles and two bobbins. It made two parallel lines of stitches that were joined at each stitch by a cross-bar, creating what looked like a ladder. This stitch line was sewn about 1 inch from the edge and then cut through the ladder of stitches. The 1-inch strip was discarded, and what remained was a stitched raw edge with minute “feathers” of thread protruding from it. To sew a faux picot hem on your sewing machine, press the edge to the wrong side, and with a decorative stitch…

PRECOVERED BONING The most common type of boning is 1⁄4-inch-wide plastic wrapped in a fabric casing (sometimes called Featherlite). While it doesn’t provide much support to the body, it serves to hold fabric in place and give it some structure. It is generally used vertically in lightweight bodices and dresses. A common installation method is to remove the boning from its casing, edgestitch the casing to an inner fabric layer, and then reinsert the boning. An alternative method is to make channels or casings from the garment’s fabric and insert the boning. RIGILENE BONING Rigilene boning is made of woven nylon rods and can be stitched directly to fabric, without a casing. It is available in widths from 1⁄4 inch to 3⁄4 inch, and comes rolled. Flatten this type of…

Strapless dresses are best supported from the waist, not the bust. Once cups are added to its bodice, treat a strapless dress as a bra itself: Make sure the breasts are lifted and positioned in the cups properly before zipping up. AVOID THESE THREE ISSUES • Breasts spilling over the top of the dress. The top edge of a strapless dress should not be tight. If it is, the flesh spills out. Shape the bodice’s top edge so that the bodice is widest at the top edge and tapers toward the waist, as shown at right. • An empty bodice When the breasts slide under the lower edge of the sewn-in cups, it leaves the cups hollow. To prevent this, boost the breasts with a demi-cup lift and fit the…

1 Cut fabric strips on the true bias. Bias strips stretch 10 percent to 30 percent. For most straps, cut strips that are 1 inch to 2 inches wide and 12 inches to 24 inches long. The seam allowance provides the filler for your turned cord, so the size of the finished cord and the weight of your fabric play a role in how wide to cut your bias strips. Experiment with bias scraps to establish the perfect width. 3 Turn the tube. Anchor a sturdy, doubled, knotted thread, which is cut longer than the tube, in the “funnel” end of your strip. Then push the eye end of the needle into and through the tube to turn it right side out and into a cord. 4 Stretch the tube.…

ADD SINGLE SEQUINS 1 Thread a needle with a single thread. Form a knot at the thread end. Bring the needle and thread through the fabric from the wrong side to the right side. 2 Pick up a sequin with the needle. Bring the needle through the sequin from the wrong side to the right side. Slide the sequin down the thread until its wrong side is flat against the fabric’s right side. 3 Insert the needle through the fabric beside the sequin. Take another stitch through the sequin, at about a 90-degree angle from the first. Carry the thread on the wrong side to the next sequin location, but no more than 1⁄4 inch without taking a small stitch. STITCH A ROW OF SEQUINS 1 Follow steps 1 and 2…

1 Plan the design placement. Plot the design template for the garment section on paper or print it onto water-soluble stabilizer. Appliquéing a design to the wrong side of the sheer garment fabric creates the shadow effect—visible as the darker area on the dress sleeves, at far right. Create a shadow design that complements the garment’s style and mood. 2 Cut a layer of stabilizer large enough to cover the area to be embellished. Pin it over the design template. Transfer the design onto the stabilizer using a soft lead pencil (which won’t tear the stabilizer). Cut two pieces of fabric: one piece large enough to accommodate the garment section, and the other large enough to contain the design. 3 Layer the garment fabrics right sides up. Place the designmarked stabilizer…

Fabric flowers are a staple when it comes to embellishment. They can be used to adorn bags and belts, add a feminine touch to dresses and tops, or upgrade a basic bolero into an elegant evening piece, as shown. These structured embellishments are sewn fully by machine and can be adapted easily from roses to several other flower varieties. Plus, the fabric and color combinations are endless. With little effort, you can treat yourself to a solitary rose or a stunning bouquet.…

1 Apply glue. Run a bead of glue along the back of the flower on the outer edge. Then, spread the glue around the crinoline, making sure to go outside the stitching line. Let the glue dry completely. 2 Trim the crinoline. Turn the flower face up (left), and trim the excess crinoline, close to the outermost stitching line.…

The necessities for a night out don’t take up much space, but they ought to be carried in style. These three bag styles showcase your prettiest fabric remnants, and the projects are fast and easy to sew. Each one is ideal for carrying a card or some cash, a compact, a cell phone, and lip gloss. Alternatively, you can stretch your design skills and alter the scale to suit your needs. Each project is distinct in shape, and you create the patterns so the finished projects can be exactly the size desired. First, check out the classic envelope bag you can make with collaged fabrics. This project takes advantage of even the tiniest scraps, so save those swatches and cuttings. Next, there is the convenient and cute circular clutch, a…

APPLIQUÉ—A surface embellishment that is made by stitching fabric or lace pieces to another fabric. ARMSCYE—Armhole. ASYMMETRICAL ELEMENT—A feature that intentionally does not have a matching counterpart on the opposite side of a garment. BACK-TACK—To sew a few stitches back and forth to anchor a seam’s beginning or end. BACKSTITCH—A strong hand-worked stitch that doubles back on the previous stitch. BASTE—To temporarily join fabric pieces with large, easily removable hand or machine stitches. BIAS—Any line diagonal to the crosswise and lengthwise grains. “True bias” is on a 45-degree angle to the selvage, and allows for the most stretch in wovens. BIAS TAPE—A fabric strip cut along the fabric’s true bias; often used for binding. Also referred to as a “bias strip.” BINDING—A fabric strip used to cover or enclose raw…

Classic LBDs to Sew Every woman’s closet should include at least one little black dress. So why not make it iconic? Famous Frocks: The Little Black Dress by Dolin Bliss O’Shea (Chronicle Books, 2014) includes patterns for 20 garments inspired by little black dresses worn by past and present fashion stars, from Coco Chanel to Kate Moss. This delightful book offers a variety of styles and silhouettes and is split into two parts. The first section details general information about sewing, sizing, and working with patterns, while the second portion is about constructing the dresses. Each pattern comes in sizes XS to XL and has suggested fabrics, materials lists, and clear directions and illustrations.(ChronicleBooks.com; $29.95) Enhanced Sequin Pins These Essential Appliqué Pins from Piece O’ Cake Designs have sharp points,…

The next time you’re looking for a sumptuous fabric, make a visit to a home décor fabric store. If you avoid the home dec department in your local fabric store because of memories of stiff, rubberbacked monstrosities of yesteryear, venture forth—you’ll have a delightful surprise. We’ll show you some of the treasures you can unearth in a visit to the home décor department and how you may use these delicious decorator materials in garments. Sure, these fabrics are perfect for upholstering everything—walls, cornices, chairs, stereo speakers, and lawn furniture. But there’s so much more: woven fibers that look like baskets; embroidered silks that have a Renaissance feel; velvet as heavy as carpeting; sheer, gauzy window dressing that’s as light as a spider’s web; and fabrics that block light and wind.…

Few party fabrics are more beautiful, fascinating, and versatile than lace; its magic is universal and getting wonderful results is not difficult. Lace has a wide price range, from less than $20 a yard to hundreds of dollars a yard. No matter the cost, for best results you want to plan its use carefully. The first consideration is where and how to use the scalloped selvage edges in the design. Make these decisions before you cut the lace. Garment edges can be engineered by positioning the pattern pieces to take advantage of the original decorative borders, by removing the borders and reapplying them to a reconfigured edge, or by binding or facing them with fabric or ribbon. I’ll show you three ways to edge lace to perfection and set your…

1 Thread-trace the finished edge. Then thread-trace a guideline for the binding 1⁄4 inch—or the width of the finished binding—away. 2 Carefully press the ribbon in half lengthwise with wrong sides together. Working with the right sides up, unfold the ribbon, align, and pin one long edge to the lace edge so it barely overlaps the binding guideline. Baste it in place. 3 Trim the lace just below the thread tracing that marks the finished edge. Fold the ribbon over the trimmed edge. If necessary, trim the lace more so it lies flat inside the ribbon. 4 Turn the work wrong side up. Pin and baste the ribbon to the wrong side. 5 Sew the outside edge of the ribbon in place with fell stitches or short backstitches. Repeat to…

After spending hours constructing a beautiful evening dress, you may be tempted to rush through the hemming to finally get it done. However, the hem you choose can make or break a garment. Consider the hem as another opportunity to add a unique design element to your work. These three genius hemming techniques were used by renowned 20th-century designer Madeleine Vionnet for finishing fluid, lightweight garments. Vionnet worked in couture for 50 years and was known for her simple, brilliantly executed designs. Whether you want to add a decorative fringed finish to your hem, or sew a hem by hand or machine, these techniques create quality results.…

The success of Vionnet’s fluid gowns depended on fine, elegant edges such as this hand-rolled hem, which works beautifully on any fabric. The stitches are made over staystitching, as shown. When you pull the thread after an inch of stitching, all of the stitches—machine and hand—are rolled into the hem. To execute this fine finish, machine-stitch 1⁄4 inch from the fabric’s raw edge, and trim the edge to 1⁄16 inch. Fold the edge to the wrong side with the stitches just inside the crease, and finger-press for 2 inches. Knot the thread, and insert the needle into the crease from the wrong side. Next, pick up one or two threads with the needle from the fabric directly below the raw edge. Keep the stitches perpendicular to the hem edge, not…

1 To start, sew two muslins of the dress. Make one full length and the other identical but with a length of only 5 inches or 6 inches below the waist. 2 Fit the corselet muslin. The inner corselet muslin has to be snug—much more fitted than the outer dress bodice—so tighten the seamlines, taking in small amounts along each. From an engineering point of view, it isn’t necessary for the foundation to extend below the waist, but a tight foundation layer that ends at the waist can cause a small tummy bulge. If this is an issue, establish and trim the bottom edge 4 inches or 5 inches below the waistline but no longer; it will be heavily boned, and if the boning extends down too far, the wearer…

Evening gowns, prom dresses, wedding gowns, sundresses, and halter tops all benefit from specialized bust support. In these types of dresses, you’re usually showing a little more skin. There are ways to shape the breasts, establish a beautiful silhouette, and secure the needed support to ensure that everything stays invisibly positioned without any tugging. A good rule of thumb for avoiding wardrobe malfunctions in such revealing garments is: Don’t fit to the bust you possess—fit to the bust you want. In addition to shaping, most breasts also require support or lift, which requires tension against the body to work—something like a suspension bridge. It may sound as if a complicated understructure is necessary, but you really only need a few key elements to create the right amount of tension for…

When support is not an issue, cups sewn directly into a bodice provide some padding and modesty without lifting the bust. Cups can also contain a variety of shaping elements. Sew in a cup Attaching a cup invisibly to a dress bodice requires a lining or underlining, but you can also sew the cup to an available facing. Hand-sew the cup’s top edge to the lining between the bodice fabric and its lining or facing using a catchstitch. Leave the bottom edge free. Enhance the bust Gel or silicone enhancers (below) are very realistic—they add volume in a natural-looking way. A standard bra cup sewn into a bodice can hold them in place when a bra cannot be worn. These “chicken cutlets” can become hot and they have a tendency…

Halter dresses present a similar problem to that of backless styles. Unsupported breasts usually move toward the sides, and they don’t have natural lift or cleavage, so you need to create the lift and shaping without crossing the upper back. To correct the sideways pull of the breasts on a halter dress, use an elastic sling. This is a length of 2 1⁄2-inch-wide nonroll elastic that supports both breasts from underneath; it secures and creates lift with a narrower elastic around the neck. Shape the elastic under the breasts with darts; fold, lap, and sew the darts by hand. Cup sizes C, D, or DD can hold the sling in position without a problem. For smaller sizes, you may need to anchor the front of the sling to a waist…

1 Make skinny tubes. Cut five bias strips 3⁄4 inch wide by at least twice the desired finished braid length. Fold the strips lengthwise with right sides together. With a 1⁄4-inch-wide seam allowance, sew each strip to create the tubes. Turn each tube right side out. 2 Arrange the tubes side by side on fabric, and sew across the ends to secure them. For greater control of the braid tension, pin this end to an ironing board or foam core. 3 Cross the tube that’s farthest to the right, as shown in red below, over the two tubes to its left, shown in teal and white. Then, cross the tube that’s farthest to the left, shown in blue below, over the two tubes to its right, shown in green and…

FOLD AND SEW RAISED RIBBONS 1 Thread a hand-sewing needle with a single thread. Knot the end. Select a ribbon to apply to your lace. For this technique, I suggest an unwired narrow satin or organza ribbon. Both sides of the ribbon show in this embellishment. 2 Select the starting point for your design. If you plan a flower, start in the center. For a flowing design, begin at an inconspicuous point on the garment. 3 Use tiny running stitches down the ribbon’s center to attach it to the lace. Make a stitch into the lace every 1⁄4 inch. Make ripples and petals by folding the ribbon back and forth and stitching it in place. Keep the folds loose and airy for dimension. STITCH RIBBON SCRAPS WITH SEQUINS 1 Cut small…

1 Leave a 1 1⁄2-inch to 2-inch tail of cordonnet behind the foot. This helps you control the cordonnet. Take two or three stitches to tack the cordonnet and anchor it. Align the cordonnet along a motif line, then zigzag over the cordonnet without catching it in the stitches. It helps to hold the cordonnet at a 45-degree angle to the fabric as you stitch. 3 To finish a motif, zigzag the cordonnet ends together. To secure, back-tack the zigzag stitches. Trim the ends. 5 Remove the basting. Below, the basting stitches are still in place with the completed cordonnet-edged motifs. 4 Work around the entire design in the same manner. You don’t have to clip each thread individually; you can trim the jump stitches later. After you’ve finished the machine…

In addition to the usual suspects—rotary cutter, mat, pinking shears, scissors, and fabric—you’ll need crinoline to make the flowers. Typically, fabric flowers are stitched to crinoline—a lightweight, starched fabric used as interfacing for millinery. An oil votive light also comes in handy for finishing the edges of the rose. Petal-perfect presser feet For most flowers, you can use a zipper foot. To make the ruffled varieties shown, use a ruffler foot. The ruffler gathers long strips of fabric, and although it can determine the “take-up” in the ruffles, you can also control how much fabric is drawn up by adjusting your machine’s stitch length. If you don’t have a ruffler, you can hand-gather bias strips before sewing them to the base.…

1 Prepare the strip. Cut and press the strip as directed on page 96. Unfold the strip, and trim the petals so they resemble large rickrack. 2 Singe the edges. Use an oil votive to lightly singe the cut edges of the petal strip. You can singe synthetic and natural fibers, but the results will vary depending on the fiber. Cellulose-based fibers singe like natural fibers, while thermoplastics develop “beads”—the plastic melts and doesn’t fray. Test your fabrics first to ensure accurate singeing. 3 Construct the flower. Use a ruffler foot to gather the strip by stitching straight down the center, as illustrated. Then, form the flower as described on page 96. hot tip Add some sparkle to your flower by attaching a string of beads at the center. Use…

This obi has a sash that is 4 inches wide by 35 inches long (for a 30-inch waist), finished. The separate bow is 6 inches wide and 55 inches long, finished. Use 1⁄4-inch or 1⁄2-inch seam allowances. MAKE THE PIECES 1 Cut two bias strips. For the sash, cut a strip 9 inches wide by 36 inches long. For the bow, cut a strip 13 inches wide by 56 inches long. 2 Fold both pieces in half lengthwise, with right sides together. Stitch the raw edges as described in step 3 above. 3 Sew one end of the sash to the D rings. Overlap over the two rings, and slipstitch in place, as shown below. Supplies • 1 1⁄4 yards 45-inch-wide fabric• 2 D rings (2 inches wide)• Safety pin…

Don’t leave your hair out of getting dressed up. These coordinating hair accents take just minutes to make, and they are easy and fun to finish. Hair accessory “blanks” are available at most craft and party stores in the wedding accessory section. The barrette is a folded fabric bow you don’t need to tie. Make it mini or big depending on your taste and barrette size. The bobby pin is simply covered with a ruched bias tube. You can try to hide bobby pins, or go ahead and flaunt them. These are a cute matching accent to wear in your hair.…

Cover a bobby pin with fabric to create a convenient hair notion that matches your look. A short bias tube makes a perfect dress for a plain metal pin. 1 Sew a bias tube 1⁄8 inch wider than the bobby pin. The sample pin is 1⁄4 inch wide and the bias tube is 3⁄8 inch wide. Follow the instructions in “Skinny Straps,” page 80, to turn the tube. 3 Tuck in each end of the bias tube 1⁄4 inch. 5 Apply glue. Slide the tube down far enough to expose the bobby pin; apply glue to the pin’s end, and then slide the tube back up to cover. Pinch to distribute the glue and let dry. 2 Trim the bias tube to twice as long as the bobby pin’s top leg.…

MANY OF THE ARTICLES, PHOTOS, AND ILLUSTRATIONS IN THIS ISSUE have appeared previously in Threads. Below are the original article titles, authors, and issue numbers. Photo and illustration credits appear in the inside margins of the articles. FABRIC “Curtain Call,” page 26 Adapted from “From Couches to Coats” by Judith Neukam, no. 131, June/July 2007. “Velvet Indulgence” page 30 Adapted from “Velvet Indulgence” by Linda Lee, no. 140, Dec. 2008/Jan. 2009. “The Secret Strength of Silk Organza,” page 36 Adapted from “The Secret Strength of Silk Organza” by Marla Kazell, no. 124, April/May 2006. “Sheer Variety,” page 40 Adapted from “Sheer Magic” by Carol Zentgraf, no. 154, April/May 2011. CONSTRUCTION “Lace Borders,” page 48 Adapted from “Lace Edges” by Claire Shaeffer, no. 157, Oct./Nov. 2011. “Choose the Right Hem,” page…