Act of Sewing - PB

The
Act of
Sewing
ActsOfSewing_5P_r3.indd 1 11/23/20 3:02 PM

Roost Books
An imprint of Shambhala Publications, Inc.
4720 Walnut Street
Boulder, Colorado 80301
www.roostbooks.com
© 2021 by Sonya Philip
Cover design: Amy Sly

Interior design: Amy Sly
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electronic or mechanical, including photocopying, recording, or by any information
storage and retrieval system, without permission in writing from the publisher.
987654321
First Edition
Printed in China
oThis edition is printed on acid-free paper that meets the American National
Standards Institute Z39.48 Standard.
kShambhala Publications makes every effort to print on postconsumer recycled paper.
For more information please visit www.shambhala.com.
Roost Books is distributed worldwide by Penguin Random House, Inc.,
and its subsidiaries.
Library of Congress Cataloging-in-Publication Data

Names: Philip, Sonya, author.
Title: The act of sewing: how to make and modify clothes to wear every day / Sonya Philip.
Description: First edition | Boulder, Colorado: Roost Books, 2021. | Includes
bibliographical references and index.
Identifiers: LCCN 2020013804 | ISBN 9781611808339 (trade paperback)
Subjects: LCSH: Sewing. | Clothing and dress.
Classification: LCC TT705.P485 2021 | DDC 646/.1—dc23
LC record available at https://lccn.loc.gov/2020013804

E S TO W E A R E
T H VE
L O RY
C
DA
Y
The
DIF
Y
E AND MO
Act of
Sewing
M A K
Sonya Philip
T O
W
HO

contents
Introductionvi
part one
01 / Basic Tools & Techniques
Learning How to Learn 3
2
Tools4
Basic Terminology 9
Fabric12
Working with Patterns 16
Finishing Seams 19
Hems & Finishing Curved Edges 21
02 / Patterns24
Sewing a Sense of Self 25
Top26
Skirt31
Trousers34
Shirt39

part two
03 / Adjustments44
Our Bodies, Our Selvedges 45
Changing Seams 46
Lengthen & Shorten 49
Widen & Narrow 57
Shoulder Adjustments 67
Bust & Chest Adjustments 69
Rise & Seat Adjustments 73
04 / Modifications &
Embellishments78
Getting to Sew You 79
Neckline80
Sleeves96
Body106
Waist115
Hem123
Embellishments130
05 / Combining Patterns
Don’t Get Hemmed In 157
156
Dress158
Lined Tunic 160
Tie-Front Shirt 162
Jumpsuit164
Acknowledgments167
Glossary168
Resources172
Index173

introduction
aking a flat piece of fabric and transforming it into a garment through the simple
T acts of cutting and stitching has a certain alchemy. I had my first experience with this
magic in 2012, after taking a basic pattern drafting class. The next day I made a dress, tried
it on, and felt giddy. The first thought that went through my mind was I will totally wear this
outside the house! The prospect of sewing the clothes I wanted, in whatever fabric I chose,
was extremely exciting. What I could not know then was just how much my world would
change. One dress at the beginning of the week quickly turned into four; by the end of the
year I had made one hundred, all while documenting the process under a project I named
100 Acts of Sewing. The fulfillment from making something that had both utility and beauty
was something I felt compelled to share, and the following year I started teaching classes
and released my first pattern.
This was a fairly tremendous change for someone who had spent most of her life con-
vinced she could never sew. My personality did not seem to match with the craft. I tended
to not bother with preparation or details but impetuously jumped right in to quickly make
the idea in my head a reality. Understandably, this did not make for the best results. The
frustration felt from my failed attempts would lull and, after a while, I would get the urge to
make another attempt at sewing. This cycle continued, with the siren song of fabric always
luring me back. I had some luck with costumes and pillowcases, but my return to sewing
was prompted by a desire for something simple to wear every day, with minimal fuss. An
item of clothing I could layer according to the seasons and dress up or down for occasions.
Making clothes has many profound effects, both personally and globally. We have the
power to create garments that are comfortable—that do not constrain in fit or confine to
the societal idea of what a person should wear in relation to age, gender, or size. Sewing
garments moves us from the passive role of consumers into the active role of makers. It is a
means to reclaim personal style, taking back all the choices—from the fiber content of the
fabric, to the color and print, to the cut and style. It is empowering. As makers, we get to
create what we want, instead of relying on the ever-changing tastes of fashion designers,
retailers, and trendsetters. What we wear serves the dual function of being both a means
to protect and a form of adornment. Clothing covers our skin and also communicates to the
world something about ourselves.
My mission now is to get people thinking about clothes: how they are made, what the
manufacturing really costs, and ultimately how to make their own. Not enough people
know how to sew. Collectively, we are both losing a skill and an appreciation for that skill.
When I am teaching, students bring with them all their questions and curiosity. I like to pro-
vide them with some answers, but moreover, guidance. Each person has their own unique
point of view, and they often come up with methods of doing things that I had previously
never considered. It becomes a collaboration of sewing and showing. I am continuously
learning right alongside the people I teach.

Introduction vii
Make the Clothes

You Want to Wear The potential for growing a handmade
wardrobe resides in each stitch. There
is a time aspect, which is at odds with
the instant gratification we have gotten used to. With a click, we have things near instantly.
Sewing is a subversion of that impetuous now. Things have to come gradually. Sewing a
garment is a choice that prioritizes time over the convenience of buying something from
the store. Making becomes a means to slow down. By focusing on the act of sewing, mak-
ing becomes a ritual. This book will help cultivate that skill, use it to grow, and develop
your wardrobe.
Consider this a sewing workbook that shows there is more than one way to sew a gar-
ment. It includes patterns and instructions for four basic garments: Top, Skirt, Trousers,
and Shirt. These are easy-to-wear pieces, with easy being the operative word. The minimal
use of closures means the clothing is easy to put on and easy to take off. The lack of fitted
darts and zippers reduces the complexity of construction.
These simple garments are left unadulterated for a reason. First, basic wardrobe ele-
ments transcend fashion fads and trends. Second, simple garments provide a wonderful
base for modification; you will find instructions for altering garments from the neckline to
the hem. You as the maker get to design and decide, mixing and matching the different ele-
ments to build unique combinations. The choice enables you to make the patterns your own.
This book encourages experimentation and customization. Its goal is to make sewing
accessible by introducing the process of making clothes at the ground floor. Self-efficacy
is the belief that a person has it in themselves to complete a task. By breaking down the
process of garment making and by using patterns that are straightforward yet infinitely
adaptable, this book teaches you how to add skills from one garment to the next, and
hopefully also enjoy the process.
With sewing, as with many crafts, the more you do, the more confidence you gain. Each
garment will be a testimony to your progress. Keep notes. Often there are hardly enough
hours in the day to scratch together time to sew, let alone keep a meticulously organized
record of each finished item. But a few words to describe the changes made will always be
helpful for future makes.
Now it’s time to start sewing!

part one
Starting
Out

1
Basic Tools
& Techniques
Maybe you learned to sew in school, and you
have a sewing machine that hasn’t seen the
outside of the closet since your last move.
Perhaps you learned how to sew from a relative,
and you have a smattering of sewing-related
tools. Or maybe you are completely new to
the craft, with a lot of enthusiasm but no idea
how to thread your machine. No matter how
experienced you are, before any cutting or
sewing, it’s a good idea to get familiar with the
tools and materials you will need, as well as with
the language and basic techniques used with
these patterns.

Learning How
to Learn
S ewing is like a complex equation, with many things going on at once and just as
many outcomes—from cutting and assembling a large-scale jigsaw of pattern
pieces, to the question of which size you choose. Even the sewing machine, that most
primary of tools, presents unique challenges, starting with how to manage the many
dials and settings. Once scissors cut into fabric, there’s no undoing it, making the
intimidation factor quite high when it comes to making clothes.
I want you to take that fear and put it aside. Embrace the fact that you will make
mistakes—tiny goofs where the stitches are easily picked apart as well as the con-
sequential ones that might make you want to toss every last scrap of fabric out a
window. When my daughter was young, I made her a dress for her birthday. She was
able to put the dress on, but when it came to taking it off, it would not go back over
her head and scissors were needed to cut her out. Needless to say, sewing birth-
day dresses did not become a tradition. In the succeeding years, I learned to make
clothes that can go on and off with ease.
Mistakes are more than fodder for funny anecdotes; they are the way we learn. In
order to learn, you need to allow yourself to be a beginner. View each garment as a
record of your own learning—that birthday dress was my “tiny neckline” period. The
great thing is, your experience can increase with every project. The trick is to not let
frustration stop your forward progress. This means being gentle with yourself and
keeping that inner critic quiet. I find humor to be a very useful tool. Cultivate a way of
observing any mistake you make with less judgment and more amusement.
Just like a first attempt at anything, what is perhaps mysterious in the beginning
will eventually get a little clearer. With sewing, as with many crafts, the repetition of
the tasks allows your hands to get used to what they are doing, and then your mind
can shift from panic mode to a point of familiarity. The power to conjure clothes out
of cloth can be as intimidating as it is incredible. It might be difficult to visualize how
fabric folded up on a bolt will translate into a garment. Therefore, starting simply
might be the best way forward—think solid fabrics that are easy to coordinate with
what you might already own. It is not by accident that the indigo blue of denim is
practically a uniform for many. Finding lightweight versions, such as chambray, will
translate into wear-with-anything garments.
I believe when we are creating something useful, care and proficiency come more
easily the more we make. We need to stop looking at things through the lens of mas-
tery or perfection, which both suggest some sort of mythic end point. Instead, we
should allow ourselves the room to grow into a skill. So remember to have patience,
laugh at your mistakes, and wear any wonky stitches with pride.

4 Starting Out
Tools
As with any pursuit, there’s always a balance between making sure to
have the right tool for the job and making do with whatever might be on
hand. Because of this, this section is divided into three categories: what
is absolutely necessary, items that would be nice to have, and notions
you might only rarely use.
Essential Tools Needles

Here are all the supplies to gather for sewing and for trac- Sewing machine needles come in a variety of sizes and
ing out and modifying the patterns. types. The size is indicated with two numbers in a fraction,
with the larger European size number and the smaller
American size number. Just to be confusing, the order of
Sewing Machine the numbers is sometimes reversed, depending on the
Modern sewing machines come with so many bells and brand. The higher the number, the heavier the fabric it
whistles, from dozens of decorative stitches to different is meant for; and the smaller the number, the sheerer.
feet and attachments. For garments, a sewing machine Some brands sell needles in combination packs, which
with the capability to sew a straight stitch and with a is useful. For most midweight fabrics, the 80/12 size is a
functioning backstitch and regular presser foot is the good choice. As for needle type, like the name suggests,
ground floor. Beyond that, a zigzag stitch is helpful, as is the Universal needle will perform for almost all general
a buttonhole attachment. If you do not have the original sewing needs. While most home sewing machines use a
manual for your machine, entering the make and model 103/705 needle system, ensure you are using the correct
into a search engine might turn up a digital version online. one for your particular model.

Basic Tools & Techniques 5
Thread tabletop varieties, which work really well for the kind of
Spools of black, white, gray, and brown make a great set small-scale pressing necessary when sewing clothes.
of neutral shades to start. Then with more sewing comes There are also foldable pressing mats, which are made up
the desire to match the thread color to the fabric of the of layers of batting and heatproof fabric.
particular project. Bring small fabric sections or swatches
along when thread shopping. Choose a fiber type to pair
with your fabric. Use cotton thread with cotton fabric
Measuring Tape
A flexible cloth or plastic measuring tape is the best kind to
and other natural fibers, and use polyester thread with
take measurements when determining what size to make.
synthetic fabrics. Matching the colors closely will make
It is also helpful for measuring around necklines, curves,
stitches less obvious, while contrasting colors will make
or any areas where a straight ruler would have trouble.
stitches stand out. Thread comes in different weights,
some of which, like button thread or some quilting
threads, will not work on a sewing machine. You wouldn’t Tracing Paper
think that thread has a shelf life, but it becomes brittle It is not necessary to look for tracing paper made specifi-
with age. While it’s great to use your grandmother’s sewing cally for sewing. That type is often referred to as Swedish
machine or that 1950s fabric you scored at the thrift store, tracing paper, which is translucent and fabric-like so it
you should steer clear of sewing with vintage thread. can be sewn, tried on, and adjusted as necessary. Such
fancy stuff is more than what is needed for most garment
makers. Ordinary rolls of tracing or sketching paper for
Bobbins sale at art stores will do the job. The rolls are available
Bobbins come in a few different sizes, depending on the
in a variety of lengths; the 24-inch-wide (61 cm) size will
model of sewing machine, so be sure to check the man-
be more than sufficient. Another option is medical exam
ual. There are clear plastic or metal varieties. As you start
paper, the sort placed on exam room tables at the doc-
to sew more, pick up an extra set to have more on hand.
tor’s office.
While it’s not necessary to match your bobbin thread to
your needle thread, keeping them the same makes things
simpler. Winding the bobbin from the same spool of Pattern Weights
thread ensures there will be no difference in thread color. The world is full of pattern weights, from canned beans
This also avoids any potential tension issues, because the to large metal washers to smooth stones you collected
thread will behave the same way. on that beach vacation. Pattern weights are simply any-
thing with a little heft and not messy. They will do the job
of holding down pattern pieces so the pieces don’t shift
Iron when placed on top of fabric.
It might be tempting to skip over the steps where the
instructions say to press. But becoming friends with your
iron will go a long way toward making sewing easier. If you Tailor’s Chalk
think of your garment as a house, with fabric being the There are several mark-making products to choose from.
bricks and stitches the mortar, your iron is the tool that Traditional tailor’s chalk comes in different colors, such
makes sure everything lines up flush. as blue, yellow, and white. Having a variety is important
to ensure the lines show up with whatever fabric you are
working with. There are also pencils as well as an assort-
Ironing Board ment of liner pens with chalk dust cartridges. Find an
Living in a city, the one thing I constantly see being thrown
option that you like to use and that does not leave a per-
out curbside are ironing boards. Even though they fold
manent mark on the fabric.
flat, they are still on the cumbersome side. If you do not
have space for a full-size ironing board, consider the mini

6 Starting Out
Pins
There are many different kinds of pins out there. While
glass head or other decorative pins are pretty, when it
comes to garment sewing, a box of plain steel dressmaker
pins works well. However, if you find pins sliding out of
the fabric or leaving marks, you might need thinner pins.
Do not use craft pins with plastic tips, as these can melt if
used near the iron.
Fabric Scissors
Cutting fabric with a sharp pair of scissors is a particular
pleasure. The first rule in keeping your scissors sharp: do
not use them to cut paper! Dressmaking shears tend to
be a little larger, with longer blades than regular scissors.
Paper Scissors Self-Healing Cutting Mat

Making and modifying sewing patterns involves a lot of
Using a rotary cutter without a cutting mat is not some-
paper cutting. Always have a dedicated pair of scissors
thing to try, because you will mark up the table surface
for the job, so you aren’t tempted to use those fabric
while instantly dulling the blade. The self-healing part
scissors. Make a distinction by placing a marking or label
refers to the way the plastic tolerates the blade cuts. Most
with permanent marker on the outside of the blade. Some
art stores carry cutting mats in a variety of dimensions. If
people tie a ribbon of scrap fabric to the handle.
your cutting mat stays put on a dedicated cutting table,
then one of the larger sizes might be a good investment.
Pencil Since they are tricky to store, there are a variety of cutting
A sharp HB or 2B pencil is a vital tool for tracing out pat- mats made for traveling that fold in half.
terns. A good eraser is just as handy when lines need
redrawing or blending.
Rulers
Long quilting rulers make cutting fabric with a rotary cut-
Seam Ripper ter much easier. Made out of clear acrylic, these rulers
Mistakes happen, stitches go wonky, and some things just come in a huge variety of widths and lengths. One that
aren’t satisfied with being sewn the one time. I have sev- is 6½ inches (16.5 cm) by 24 inches (61 cm) will suit all
eral seam rippers and put them to use frequently. your sewing purposes. Additionally, a grid ruler is use-
ful when modifying patterns. Looking exactly the way its
name suggests, this ruler is just like having a see-through
Rotary Cutter piece of graph paper, with a clear view of the incremental
Rotary cutters come in a variety of sizes, based on the
measurements, especially the smaller ones. However, the
millimeter measurement of the blade. I find the smaller,
thin, flexible plastic means it is not made to use with a
45mm rotary cutters to be the most adaptable. If you have
rotary cutter.
never used one before, practice cutting on scraps to get a
feel for how hard you have to press in order to cut through
a double layer of fabric. The blade is very sharp, so be Elastic
sure to take special care when using it, cutting away from Elastic comes in an assortment of widths, from threadlike
yourself and minding fingers! shirring elastic to wide elastic to put in the waistbands

of garments. Differences in construction make some elas- places. Small metal mint or candy tins with a magnet
tics better for particular parts of garment sewing. Look inside work well for storage. It helps to keep one by the
for the no-roll elastic to use in waistbands; the reinforcing sewing machine as a place to hold the pins after sewing.
stitches help keep the elastic flat and prevent it from fold-
ing in half or rolling after sewing inside the garment. Knit
elastic does not lose its stretch when sewn over, making it
Pinking Shears
Pinking shears—specialty scissors with triangular serra-
a good choice for ruching.
tions in the blades—cut the fabric so it has a sawtooth
edge, which helps to slow down fraying.
Helpful to Have Safety Pins

This second installment consists of a few additional sup-
Large safety pins with plastic heads—sometimes sold as
plies and some useful sewing-specific gadgetry.
diaper pins—make extremely effective tools for turning
material right side out. If you have a bodkin, a tool made
Bias Tape Maker especially for this purpose, by all means put it to use. But
This is a handy gadget to make bias tape accurately and you’re more likely to have a stash of safety pins, and using
easily. Feed a strip of bias tape through and press the what you have is always good.
folded edges down with an iron. They come in a few differ-
ent sizes, with the 18mm being the one used most to finish
the garments in this book.
Sewing Gauge
A sewing gauge is a metal ruler with a sliding marker
to indicate all those smaller measurements, such as
Snaps or Buttons a ½-inch (12 mm) fold. It is particularly handy for mak-
Some of the patterns in this book can be modified to ing quick periodic checks while folding over an edge
include closures. Snaps come in two varieties, sew on and for a hem.
set in. The set-in variety are more stable and longer last-
ing but finicky to attach. Buttons work with either loops or
holes to close. Most sewing machines have the capability
Tape
It might seem as though tape has no place in sewing,
to make buttonholes; some even come with an attach-
but it serves a few purposes. Regular masking tape or
ment. Consult your machine’s manual for information.
Japanese washi tape is useful for taping down pattern
pieces while making adjustments. Compared to regular
Knitting Needle tape, these tape varieties are sticky but also removable,
There is always room for some cross-craft pollination. which is helpful when moving pieces around. Also, a strip
A knitting needle makes a wonderful tool for pushing of brightly colored tape on the stitch plate of your sew-
out the edges of hard-to-reach sewn corners or turning ing machine creates a helpful guide for sewing with the
out long fabric ties. If you don’t have one, you can use proper seam allowance.
a mechanical pencil without the lead, a bamboo skewer
with the point cut off, or a point turner.
Twill Tape
Named after the type of weave used to make it, twill tape
Pin Cushion is often sold by the yard at fabric stores. This narrow cloth
Your pins will need somewhere to live and there are sev- strip is useful for making drawstrings or tags to indicate
eral options, from the ubiquitous tomato-shaped pin the back of garments. It comes in an assortment of col-
cushion to the magnetic tray varieties. Having more than ors and widths; ¾ inch (19 mm) is the size called for in
one might seem unnecessary, but if you have different the projects.
varieties of pins, it is a good idea to keep them in separate

8 Starting Out
Thread Snips Interfacing

Thread snips look almost more like gardening tools. They Interfacing is a stabilizer used to permanently stiffen fab-
are designed to stay open and ready to snip quickly. Any ric. It comes in different weights, depending on the type
small pair of scissors kept next to the sewing machine is of fabric or holding power required. Depending on the
handy, as there are always threads that need cutting and variety, interfacing can be sewn to fabric or fused to fabric
having a pair close by makes the process more efficient. with heat-activated adhesive. The application is fussy at
Getting into the habit of snipping threads as you sew best and a sticky-ironing nightmare at worst. It is possible
saves sorting through a tangle at the end. to make garments without the use of interfacing.
Water-Soluble Pen Spray Bottle

Another option for marking up fabric is a pen with It used to be that irons required the use of distilled water
water-soluble or disappearing ink. Compared to chalk, to prevent mineral deposits or scaling. It seems as though
the marks are more pronounced and do not smudge. iron technology has changed, since many irons now tol-
erate tap water (but be sure to check the manual of your
specific iron). Some people prefer using the steam set-
tings on irons, but spritzing fabric with a large spray bottle
Optional Notions from the hardware store works very well for most sewing
When you decide to more fully wade into garment sewing,
needs. That the bottles have a larger capacity than the
here are additional items to add to your tool collection.
reservoirs on most irons is a definite bonus.
Butcher Paper or Oak Tag Pressing Tools

Once you have traced out your patterns, you might want
A tailor’s ham or tailor’s cushion is a solidly stuffed
to make modifications on sturdier paper. This could be
pressing tool that gets its name by having a shape that
butcher, kraft, or any kind of paper that’s a little more
resembles a ham, a reference that is maybe lost on many
substantial than thin tracing paper. When you get to the
people. It is most useful for pressing curved seams. A
place with your sewing where you have made a garment
seam roll, which looks much like a fabric salami, is helpful
that you want to make over and over again, you can use
for working on small areas such as sleeve hems. Finally,
sturdier paper still. Oak tag, the same thin card stock
what I consider the most old-school tool of all is the
used to make manila folders, is what is used in pattern
wooden clapper, which is used to concentrate the heat
making. This is a specialized item that is sometimes found
and steam on a bulky seam, making for a nicely pressed
at fabric or sewing machine repair stores.
seam line.
Clips
A cross between clothespins and binder clips, multipur-
pose sewing clips are relative newcomers to the world of
sewing. Even with their small size, they are bulkier than
pins but marginally faster to apply, and there is no danger
of ever pricking your fingers.

Basic Terminology
Whether or not your sewing knowledge is in need of a refresh, these con-
cepts will be referenced in the various steps of making your garment.
Stitch Settings Seam Allowance

The length of a stitch is the sewing equivalent of Goldi- Seam allowance refers to the measurement from the edge
locks—too small a setting and you have tiny stitches that of the fabric to where you should start your seam line. The
would be next to impossible to undo in case of a mistake; seam is set in from the edge to give the stitches enough
too large a setting and the stitches may be too big and will fabric to hold on to. Sewing close to the edge runs the risk
not hold the fabric together. Sew seams with the stitch of the fabric unraveling and the garment coming apart.
length set to between 2.0 and 2.5 mm, unless instructed Unless otherwise indicated, the seam allowance for all
otherwise. patterns in the book is a ½ inch (12 mm).
Tension
On the path from spool to needle, the thread travels
through a series of guides to help hold it at a consistent
tension. Before starting to sew, it is always a good idea to
test sew a few lines of stitches with scraps of your project
fabric, to check for balanced stitches and proper tension.
Find a full discussion of troubleshooting and adjustments
in Tension Issues (page 11).

10 Starting Out
While the seam allowance is included in the patterns,

it is not always marked or indicated on the patterns them-
Backstitching
Most machines have a function to sew in reverse, which is
selves. Before you start sewing, check the distance from
activated by a button or lever—location is dependent on
your sewing machine needle to the ½-inch (12 mm) line
the make and model of your sewing machine—that is held
on your stitch plate. Some machines come with adjust-
down while sewing. It is only necessary to backstitch for a
able seam-guide attachments. Use the handwheel to
handful of stitches. Unless otherwise noted, start and end
move the needle to the down position and measure with
every seam with backstitching to keep the stitches from
a ruler or sewing gauge to calibrate. Another easy fix is to
coming undone.
add a piece of masking or washi tape to the stitch plate,
the more brightly colored the better, so you have a clear
marker indicating where to line up the edge of your fab-
ric. Occasionally it might be necessary to mark the seam Basting
allowance on fabric pieces, to indicate when to stop sew- Basting involves long, loose stitches made either by hand,
ing a seam. using a single strand of thread, or by switching the stitch
length to 5 mm, the longest setting on a sewing machine.
Basting creates a temporary way to hold pieces together
and is often more flexible than using pins.
Pinning
Pins help to hold the cut pieces together in preparation
for sewing. Too few or too many are both problematic. For
most seams, placing a pin every 1½ inches (4 cm) will do Gathering
the job, but with some fabric it might be necessary to use By using a basting stitch and not backstitching at the
more. While it might be tempting, do not sew over pins as beginning or the end of the stitching, it is possible to pull
they can break the needle and potentially cause damage the thread tails and cause the fabric to gather. It does not
to your machine. Pinning perpendicular to the fabric edge matter if the needle thread or the bobbin thread is pulled,
with the end of the pin at the edge makes it easier to take but what does matter is pulling the same thread on either
the pins out as you sew. end of the fabric piece. Using a different color bobbin
thread is an option to make it easier to tell the threads
apart. Also, it is important to not pull too hard, otherwise
the thread might break. If this happens, it will be neces-
sary to remove the threads and baste again. If gathering
wide pieces, make sure the machine does not run out of
thread—always check the bobbin before starting.

TENSION ISSUES
Sewing machines need the thread held in consistent tension in order to produce balanced stitches. The basic mechanics
of the sewing machine involve the needle going up and down, piercing the fabric and pushing the thread through from
the top, creating stitches in a series of lowercase m’s. The bobbin thread hooks around and secures that top thread to
the back of the fabric in a corresponding series of lowercase u’s. A balanced stitch is where the needle thread and bobbin
thread are even and the stitches look the same front and back.
While this all sounds well and good, often issues of tension arise: a tangled clump of thread or bird’s nest, skipped
or missing stitches, bobbin thread in a taut line with the loops of needle thread visible, fabric bunching along the seam.
These are all things you might have encountered while sewing. The tendency is to stop in frustration or adjust the tension
dials. Perhaps the most important advice in this book: Do Not Touch That Dial. Here are ten different things to try before
fiddling with the sewing machine tension:
1. Check that the presser foot is down. presser foot and to the back, holding both threads in
place while sewing the first few stitches.
2. Check the spool of thread. Make sure it has not
accidentally snagged on something. 6. Replace the sewing machine needle. Dull needles
can cause skipped stitches. The incorrect needle for
3. Check that the sewing machine is threaded correctly.
the fabric will also cause problems. Using too large a
There are a series of thread guides positioned
size on light fabric will cause bunching. Try switching
between the spool, the tension disks, and the needle.
sizes and test sew on fabric scraps.
It might be that the thread has worked its way out of
one. 7. Rewind the bobbin thread. Take out the bobbin and
rewind the thread onto a new bobbin. Sometimes the
4. Check the bobbin case for stray thread. Take out
thread is wound too loosely or tightly and this is the
your bobbin and look inside and around the casing
culprit.
that holds the bobbin. Sometimes a piece of thread
will get caught and play havoc. A pair of tweezers is 8. Replace the bobbin thread. Maybe the bobbin wasn’t
a helpful tool for extracting small bits. Also remove wound from the same spool of thread and for some
the stitch plate to clean around the feed dogs, the reason they do not sew well together.
mechanism that moves the fabric along. These parts
9. Replace both the top thread and bobbin thread. It
of the machine tend to collect a lot of lint. Keep a
might be an old spool causing your stitch woes. Even
small paintbrush close to the machine for periodic
newer thread can cause tension problems, especially
cleaning.
toward the end of a spool.
5. Make sure the first stitch sewn is going through the
10. Oil your machine. Consult the sewing machine
fabric. If the fabric is just a little too far forward, the
manual to see where the oiling points are located.
top thread will pass into the bobbin casing and cause
After oiling, sew with scrap fabric to make sure any
tangling; likewise if the bobbin thread is too short or
overzealous application does not drip and stain what
the threads are not kept clear while starting to sew.
you sew.
Try to position both threads so they go under the
If, after trying all these measures, the stitches are still wonky, consult your sewing machine manual and then maybe
try adjusting the tension dials. Or your machine might need a tune-up. Fabric stores and quilt guilds can often supply
recommendations for local repair people.

12 Starting Out
Fabric
Whether you walk into your local store or browse for fabric online, the
wide choice is quite staggering. When choosing fabric for a project, it
is important to consider the type of garment you’re making—a swingy
skirt or gardening trousers, for example—as well as the mechanics of
how clothing works. For example, the places where parts of the body
rub together, such as between the thighs or at the underarm, create
friction points. A lightweight fabric might not stand up to the stress,
compared to a heavier fabric. Finding the right fabric to fit your spe-
cific needs has a degree of trial and error.
Fiber Content Weight

Fiber content is a great place to start when considering There is a range of weights and specific fabric types that
fabric for a garment. Fabrics made from fibers such as fall inside them. Voile, gauze, and lawn are considered
cotton, linen, and hemp are easy to care for and their nat- lightweight. Poplin, double gauze, and chambray are
ural breathability makes them comfortable to wear. They medium weight. Denim and canvas are heavyweight. Fab-
also have more “grab” and tend to stay put, which makes ric that is sheer, such as a voile, might be trickier to work
them easier to work with and good choices for those who with and could also require a lining. A heavyweight fab-
are new to sewing. Other natural fibers such as rayon, ric might be stiff and overly angular as a dress and better
silk, Tencel, and bamboo, as well as synthetic fabrics, suited for a pair of trousers.
have “slinky” qualities that make them slightly more dif-
ficult to sew.
b c
a

The patterns in this book are written for woven fabric.

Weave The extra room necessary for fit will result in a droopy gar-
The cloth we use today is the result of a cross-cultural
ment if these patterns are used with knit or jersey fabric.
mix over several thousand years. In ancient Egypt and
While the stretchiness makes knit clothing comfortable, it
Mesoamerica, weaving traditions were developed inde-
adds an extra level of trickiness to sewing. It is all too easy
pendently. The same methods of interlacing warp and
to pull the fabric, stretching and creating weird ripples.
weft threads still play a part in the modern mechanized
Even cutting is more challenging, because it takes more
looms. The warp refers to the vertical threads that are
time to get the fabric completely flat. When working with
placed on the loom first, and the weft threads run hor-
woven fabrics, what you sew is what you get.
izontally through the warp. The path of the weft thread
determines the type of weave, of which there are three
basic varieties: plain, twill, and satin.
Plain weave is what most people are familiar with, per- Grain
haps having made a potholder on a simple peg loom. The Fabric grain refers to the direction of the warp threads.
weft thread travels over and under every warp thread, The direction of these threads is sometimes referred to as
alternating direction with each row and creating fab- the “grainline.” It runs vertically and is parallel to the sel-
ric that looks the same front and back. [a] Twill weave vedge. Grain affects the way that fabric hangs—its drape.
is where the weft passes under two of the warp threads It is possible to cut patterns straight grain, cross grain, or
before going over; this pattern is staggered almost like on the bias, which is at a 45-degree angle. [d] If a pattern
a staircase and creates a strong diagonal line. [b] Satin is cut somewhere in between these three directions, the
weave is where the warp or weft threads float over several resulting garment might not hang straight or it might twist
threads before passing under, resulting in a fabric with a at the seams.
smooth finish on one side. [c]
Additionally, the fabric surface can be altered with
different weaving processes, such as with velvet or cor-
duroy. The terms dobby and jacquard refer to particular
loom attachments, enabling greater control of the weft
threads and resulting in textured fabric. Dobby cloth gen-
d
erally has a geometric texture, with lines or dots either on
their own or combined with a print. Jacquard allows the
creation of more complex textured shapes with curves,
such as paisleys.
Changes to the color of the warp and weft threads cre-
ate different types of fabric. Gingham or plaid patterns
are the result of grouping together different colored warp
and weft threads. Ikat is a weaving technique where the
warp, weft, or combination of both are resist dyed before
weaving to create motifs. Denim is a common twill fabric
where the slightly thicker, traditionally indigo-dyed weft
threads show over the white warp. More tightly woven
fabric, such as cotton/lawn, tend to have more drape,
which is a quality that describes how a fabric hangs.

14 Starting Out
There might be instances to go against the grain—say,

for a directional print or border on fabric. However, it is
Yardage
Garment fabric is usually sold on bolts in the following
important to keep in mind how changing the direction of
widths: 36 inches (91 cm), 45 inches (114 cm), or 60 inches
the fabric affects the fit. When a warp is placed on the
(152 cm). While there is quite a bit of variation on either
loom, the threads are held at a certain amount of ten-
side of those measurements, as well as in between, they
sion to keep them straight and prevent tangling. Because
represent the standard. The four patterns in this book
of this, fabric does not have much stretch on the grain.
include the fabric requirements in the instructions. When
The weft threads, from the action of traveling over and
modifying the patterns, adding or subtracting length will
under the warp, have a more meandering path, allowing
affect the amount needed. For every 4 inches (10 cm)
fabric to have slightly more give cross grain. Consider the
added, the fabric required by the pattern will increase an
Trousers pattern. By cutting the leg pieces on the grain,
extra ¼ yard (23 cm). This accounts for the length added
that horizontal stretch is put to use particularly at the
to both front and back pieces. Extra fabric in a contrast-
seat. Cutting the leg pieces cross grain would eliminate
ing color or pattern might be desired for making pockets,
that lateral stretch and cause the garment to feel just a
facings, or bias tape. Save the offcuts, the fabric leftover
touch tighter.
from cutting out the pattern, from one project to use for
Cutting a garment on the bias changes things in a few
future garments. When looking for smaller cuts of fabric,
ways. Since the warp and weft threads are at an angle,
some fabric stores have remnant sections with end-of-
the fabric follows the curves of the body, instead of skim-
bolt and other pieces. Fat quarters, which are commonly
ming off them. This increased stretch has an impact on
used by quilters, are also an excellent option. A fat quar-
the sizing; generally, it is necessary to go down at least
ter measures 18 inches by 22 inches (46 cm by 56 cm); it
one size or use the Slash-and-Spread method (page 49)
is half of a ½ yard (0.5 m) and therefore more robust than
to decrease the pattern overall. Additionally, cutting on
buying a skinny ¼ yard (23 cm) piece. Most fabric stores
the bias requires folding the fabric at a 45-degree angle,
sell a selection of these precut pieces.
and this produces a comparatively smaller usable area.
Because of this, bias-cut garments often require more
fabric to make.
Cut Edge
The cut edge is where the fabric was cut from the bolt.
Because of the cut, this edge will fray, especially after
Prewashing washing. This edge is not always straight, so do not
Before any cutting or sewing takes place, it is important concentrate on lining it up when folding fabric in half in
to prewash the fabric. Some fabric has sizing added to it preparation for cutting out pieces.
as part of the weaving process, and this can cause skin
irritation for some people. Also, a degree of shrinkage
occurs in the wash, which varies between fibers. It is best
for any shrinkage to happen before the cutting and sew-
ing. The fabric requirements for the patterns in this book
take this possibility into account. Simply wash the fabric
in the same way you intend to wash the finished garment.
If the fabric is significantly wrinkled after washing and
drying, take time to press it, using the appropriate setting
on the iron.

wrong side of the fabric; very often Hawaiian-print shirts

Selvedge are made using the less bright, wrong side. In this book,
The selvedge refers to two terminal edges of the fabric,
the wrong side of the fabric is indicated in illustrations by
where the weft threads make a U-turn in the weaving
shading. [f ]
process. The selvedge is a stable edge and does not fray.
Sometimes this selvedge is printed with the name of the
manufacturer, designer, or collection. It might be tempt- Pattern Matching
ing to position pattern pieces right along the selvedge, This is a fiddly technique that refers to cutting garment
but the fabric print might be interrupted or include this pieces so that the lines or motifs of a pattern meet and
printing. Be sure to double-check before placing the pat- match at the sides and seams. While it is visually sat-
tern piece or cutting. [e] isfying, it is also something that takes a bit of care and
preplanning and, as a result, uses more fabric. Prints
such as stripes, plaids, and windowpane checks make a
bit more work in this department. Do not be put off. If
Right and Wrong Sides you love stripes, sew them! It is far too easy to get bogged
Think of the right side of fabric as the public or outward
down in the details. In quilting there is the aptly named
side. This is what will show when wearing the garment.
process of “fussy cutting,” and this applies to garment
Sometimes the right side of the fabric is obvious—on most
sewing in the way pieces, such as pockets, are cut to
printed fabric there is a clear distinction in brightness or
exactly match the print and seem to disappear. Again, this
clarity of the pattern. Other times the difference is sub-
is satisfying if you have the patience and the fabric but is
tler and may be only visible on close inspection. In these
in no way necessary to the function or enjoyment of the
instances, it might be helpful to mark the right side of the
garment as a whole.
pattern pieces with chalk or tape. With a solid color fabric
or a yarn-dyed print, the right and wrong sides might be
identical. In this case, the designation of one side as the
right side is arbitrary. There is no rule against using the

16 Starting Out
Working with
Patterns
The idea that those lines on paper will translate into
a wearable garment takes quite a leap of the imagi-
nation. By following the steps in this section, you will
begin on the path to making your own clothes.
Pattern Sizing
When selecting a size, choose the one that corresponds to your body’s measurements.
Everyone’s body is unique, and the measurements for the sizes might not match your
own exactly. The first thing to consider is how you like to wear your clothes, on the
loose side or close-fitting. This could help determine whether you go up or down a
size. The patterns in this book are in the following sizes and based upon the following
measurements.
full bust waist hip

XS 32 inches (81 cm) 29 inches (74 cm) 34 inches (86 cm)
S 35 inches (89 cm) 32 inches (81 cm) 37 inches (94 cm)
M 38 inches (97 cm) 35 inches (89 cm) 40 inches (102 cm)
L 41 inches (104 cm) 38 inches (97 cm) 43 inches (109 cm)
XL 44 inches (112 cm) 41 inches (104 cm) 46 inches (117 cm)
2X 47 inches (119 cm) 44 inches (112 cm) 49 inches (125 cm)

Ease
In sewing, the word ease refers to the extra inches in a
garment that allow you to slip it on over your head or hips a
without the aid of buttons or closures, and also to allow
unrestricted movement in the garment. Keep in mind that
there is ease built into all the patterns.
Seam Allowance
The pattern pieces include seam allowance. For the pat-
terns in this book, unless otherwise stated, the seam
allowance is a ½ inch (12 mm).
Markings and Notches

Along with its name, patterns include information col-
lectively known as pattern markings. These indicate the
pieces of the garment, such as the Front or Back, as well
as basic cutting instructions, useful for knowing how
many to cut out at a glance. If the pattern needs to be
positioned along the fold, there will be a fold line. The
b
long arrow indicates which way to orient the pattern on
the grain of the fabric, or the grainline. [a]
The patterns also include notches, which are small
triangular points, to help indicate the center and match
sleeve curves. Notches are especially useful for aligning
pattern pieces in preparation for pinning and sewing.
Think of them like flag markers. [b] Small in size, the
notches will remain within the seam allowance and not
show on the finished garment. If you opt for bias tape to
finish the neckline, the notches won’t be as important.
Pattern Grading
Sewing patterns include graded sizes, which are indicated
by different dashed or solid lines. If your measurements
are in between two sizes, there are ways to make minor
adjustments. You might consider carefully tracing a new in between two sizes, instead of using the ½-inch (12 mm)
line in between those sizes. Maybe your bust fits the mea- seam allowance the pattern calls for, try sewing the
surement for one size and your hips are another. Trace smaller size pattern with a ⅜-inch (9 mm) seam allow-
the parts of the pattern that correspond to your measure- ance. Using less seam allowance creates more room.
ments and blend the difference between the lines. Using the larger-size pattern and more seam allowance,
Another option for making slight adjustments is to such as a ⅝ inch (15 mm), also works. This is a simple way
either increase or decrease the seam allowance. If you fall to make micro adjustments.

18 Starting Out
Tracing Patterns
The basic patterns in this book are the foundation for the
other garments. Because of this, it is vital to trace out the c
size you need to preserve the nested sizes as master pat-
terns. Lay a piece of tracing paper on top of the pattern
and use weights to prevent it from shifting. Follow the size
line in pencil, then cut out the piece and label it, transfer-
ring all the pattern markings.
Once you have your pattern pieces cut from paper,
it’s time to cut out the pieces of your fabric using the
weight-and-trace method. Why use weights? A standard
method is pinning the pattern pieces directly onto the
fabric. While this is perfectly functional, it takes a little
more time and also puts pin holes in the patterns, causing
damage over time. Tracing out the pattern arguably uses
up any time saved from weighting down versus pinning.
However, it all comes back to preserving the pattern
as well as the fabric. The old adage “measure twice, cut
once” should be an addendum for “trace out with chalk.”
Tracing the pattern lines onto fabric provides the chance
to check whether the fabric print is askew or, say, the
large flower motif is centered right over each bust point.
The time between tracing and cutting is an excellent time Cutting this way will leave wider offcuts that are more eas-
to ensure there is enough fabric for the other pieces. ily put to use. After you learn how to change seams, there
Think of tracing as the final rehearsal before committing are even more alternatives to make fabric go further.
to cutting out the pieces.
Making a Muslin
The first time you make a pattern, it is a good idea to sew
Alternate Cutting a muslin, or toile. This is a rough draft of the garment.
It may be a pie-in-the-sky concept to start every project Muslin is also a specific type of fabric, a woven cotton
with ample fabric. Always having the right fabric in the available in bleached or unbleached varieties. It is not
correct amount is just not possible. Sometimes making necessary to use muslin fabric to make a muslin. Anything
do with what is on hand means getting creative with the you are not too attached to will work―some people even
cutting, possibly modifying expectations as well as the use old flat sheets. This way, experimenting—especially
pattern. The ability to put as much fabric to use as possi- after making various tweaks and adjustments—happens
ble is important for preventing waste. After all, fabric gets without fear of wasting any treasured fabric. The compro-
expensive, and it is better to put the material to work rather mise is to make a wearable muslin, using fabric you are
than sending large scraps to the landfill. Instead of folding fine with wearing but won’t break your heart if the fit is not
the fabric in half, fold the fabric to more closely match quite right. Most of the time, only the seams of a muslin
the width of the pattern pieces. First measure the pieces are sewn, and it is not necessary to complete any of the
at their widest point and add 1–2 inches (2.5–5 cm). Then finishing. After trying on the muslin for fit, make a note of
use this measurement to fold the fabric widthwise. [c] any adjustments.

Finishing Seams
To preserve the integrity of the seams, the raw edges of the fabric will
need finishing. Without this important step, all the work of sewing a
garment will slowly fray away with each wash. Choose a method that
works with what is on hand or give each of them a try to see which one
you prefer.
a
b
Pinking Shears Zigzag Stitch

Cut along the edge of the seam allowance with pinking Set the sewing machine to a wide zigzag; this sometimes
shears. The edges can be cut together or separately. It is involves changing the stitch setting as well as the stitch
best to leave space between the cut edge and the seam length and width. Check your manual and also test on a
line. Trimming the seam edges with pinking shears will scrap of fabric. Sewing through both edges at the same
not stop fraying completely. Once the garment is washed, time, the zigzag helps hold the threads at the fabric edge,
the pinked edges will loosen and fray slightly. But since preventing them from fraying. Sewing closer to the edge
the horizontal weft threads were cut at an angle, they can of the fabric, rather than in the middle of the seam allow-
no longer work free in long tangles. This is not the most ance, creates more of an overcast effect. It is important
refined finish, but it has the advantage of being quick and to not zigzag too close to the stitch line. If it overlaps the
easy. After finishing, press the seam edges open or to the seam, it will create a puckered appearance when the gar-
back of the garment. [a] ment is turned right side out. After finishing, press the
zigzagged edges to the back. [b]

20 Starting Out
To sew a French seam, the garment pieces are first

c placed with the wrong sides together, so you are sew-
ing on the right side of the fabric. Sew using a ¼-inch
(6 mm) seam allowance. [d] Trim the seam allowance to
an ⅛ inch (3 mm), taking care not to get too close to the
stitches. [e] Turn the right sides together and press. Sew
the seams a second time, again using a ¼-inch (6 mm)
seam allowance on the wrong side of the fabric. After fin-
ishing, press the seam edges to the back. [f]
Serger
A serger, also known as an overlocker, is a machine with
two needles that usually uses between 2 to 4 cones of
thread. It has the ability to cut excess fabric as it sews,
and the result is a securely encased edge. Because it is d
a separate and specialized machine, creating additional
expense and taking up more room, sergers are not a
requirement for garment sewing. They are fast, and the
edges are neat, but they are complicated to thread, and
if you make a mistake, it is much trickier to undo the
stitches. Some sewing machines are capable of creating
a mock overlock stitch that mimics the look of a serged
edge. To sew on a serger, feed the fabric under the presser
foot and position the edge of the fabric next to the blades.
While sewing, maintain the distance from the blade so it
just trims a small section from the edge. After finishing,
e
press the serged edges to the back. [c]
French Seams
One other method of finishing edges is a French seam.
This is where the fabric edge is fully enclosed; it pro-
vides a polished finish, which especially lends itself to
lightweight or sheer fabrics. You can sew a French seam
using a basic sewing machine. The major disadvantage of
the technique is that it takes much more time, because f
each seam is sewn twice. That it can be confusing and
more difficult to undo makes it not the best choice for a
first garment. Also, sleeves, curved seams, and in-seam
pockets, while not impossible to sew using French seams,
are definitely made more difficult. Finally, thicker fabric
makes an enclosed seam too bulky.

Hems & Finishing

Curved Edges
Just as with the seams, all the additional raw edges of your garment will need
finishing to prevent fraying. While the cuffs and hems can simply be folded
over and sewn, the curves of a neckline require special treatment.
Double Fold Hem

All of the garment patterns in the book—from shirt cuffs
to hems—have instructions for finishing with a double
a
fold hem. The edge is folded over first, usually a ¼ inch
(6 mm), and pressed down; then a second wider fold is
made, pressed, and then pinned. Sewing along the inside
edge secures the second fold, enclosing the raw edge. A
sewing gauge is useful for checking that all the folds stay
the correct measurement. [a]
Finishing Necklines
The two methods presented for finishing necklines involve
using bias tape or facing. Which one you choose is entirely
by personal preference. Bias tape creates a relatively nar-
row band just inside the edge of the neckline. A proper
facing is made from separate pieces of fabric and is com-
paratively wider. Try both a few times to see which one
you like the look of, bearing in mind that both can be fin-
icky when sewing the first time.

HOW TO MAKE
BIAS TAPE
While ready-made bias tape is available, making bias tape provides the opportunity to use a fun but secret pop of color.
It might be a puzzle deciding on what fabric to use for bias tape. It is slightly more difficult to make bias tape out of
loosely woven fabrics such as linen or double gauze. These tend to fray easily and do not hold a crease as well when
pressed. To save aggravation, especially with the first forays into making bias tape, it might be better to substitute
another fabric. Fabrics that hold a crease are those with a tighter structure and finer weave, such as cotton lawn. It is
not necessary to match the garment and bias tape fabric; using a lighter weight fabric for bias tape is perfectly fine.
Cut bias tape using a ½ yard (0.5 m) of fabric or a fat is just to make a clean edge; discard the strip. Then cut
quarter. It is also possible to use offcuts or larger left- several strips 1½ inches (4 cm) wide. [ii] Trying to make
over fabric pieces. Fold the cut edge 45 degrees, lining very long strips of bias tape will end up wasting a great
it up with the selvedge. [i] Use a rotary cutter and ruler deal of fabric; it is easier to join several strips together.
to cut a scant ⅛ inch (3 mm) and remove the fold. This To join the strips, first cut the ends to make them
square. Place two ends together perpendicular, right
sides facing, and sew a diagonal line from the bottom
i left corner to the top right corner. [iii] Trim excess seam
allowance to a ¼ inch (6 mm) and press open. If you have
one, use a ¾-inch (18 mm) bias tape maker to prefold the
edges. If not, skip to the instructions for attaching bias
tape to the garment. Feed bias tape into the wide end
with the right side of the fabric facing down. Pull through
and press, being careful to keep the two folded edges
even. Your bias tape is ready to use. [iv]
iii
ii
iv

b c
Bias Tape The resulting finish is wider than with bias tape. [c] For
Bias tape is a narrow strip of fabric cut on the bias. It is sleeveless tops and dresses, it is possible to make a fac-
one method used in finishing the curved edges of gar- ing that finishes the neckline and armscye all at the same
ments, such as necklines and armscyes, a sewing term time. The disadvantage of this technique is that the dou-
used to refer to the opening of the armhole. The warp ble fabric creates more bulk at the bodice compared to
and weft threads that make up the fabric are turned at 45 regular facing or bias tape.
degrees when bias cut. Think of them as forming an X, giv- It is important to use a fabric of similar weight to the
ing them greater elasticity and movement. Bias tape uses outer garment to make the facing. Using fabric that is too
those stretchy properties to lay flat when sewn on a curve. lightweight will make it difficult to sew without the addi-
When bias tape is used as a facing, it will not be visi- tion of fusible interfacing. When cutting a facing out of
ble on the right side of the garment. [b] However, if the the same fabric as the garment, more yardage might be
garment is light-colored or made from sheer fabric, a con- needed, especially for deeper, all-in-one facings. The
trasting color will show through; it might be better to use unsewn edges of facings should be finished with either a
matching fabric or to choose a neutral. With printed fab- zigzag stitch or a serger.
ric, the direction will be at a 45-degree angle, this means Understitching is a technique for anchoring the seam
stripes will be at a slant. Smaller prints show up well on line to the inside of a garment. Sewing a close line of
bias tape. Larger prints tend to get lost in the narrow stitches only through the facing and underlying seam
width but are still acceptable choices. allowances means the seam line is not visible on the
right side of the garment. While this is an optional step, it
secures the facing, preventing it from rolling and peeking
Facing up over the neckline.
An alternate way of finishing curved edges is through the
Finally, while it may be tempting, do not topstitch
use of facings. These are separate pieces, cut to match
around the edge of the neckline. Stitching through the
the curve and then turned to the inside of the garment
folded-over neckline edge and facing—four layers of fab-
after sewing. Facings are also used to finish pockets and
ric in total—will make the edge bulky, and as a result, it
garment openings.
will not lay flat.
A facing mirrors the cut of the neckline and is either
sewn down completely or strategically tacked into place.

2 Patterns
The garment patterns consist of two tops and
two bottoms. The easiest pattern is first, and they
build on one another, adding new elements. The
instructions for each one cover all the steps, from
tracing and cutting out the pieces through the
assembly and finishing.

Sewing a Sense
of Self
W ith sewing, you possess the ability to make things you want to wear in your
size and in whatever color or fabric you choose. This realization caused a pro-
found shift in my habits. Whenever I had to go out for some occasion, I would spend
so much time wondering what to wear and then agonizing over whether the garment,
once chosen, made me look fat. Most other times I couldn’t care less how I looked,
and I would reach for a T-shirt and sweatpants over and over again. That was my life,
drifting back and forth from freakish amounts of consideration to none at all.
This changed with the purchase of a linen thrift-store dress, in a shade of pale
pink I would ordinarily never select. I got a picture in my head of what I wanted to
wear, and I latched on to the idea of wearing some form of this dress, paired with a
cardigan and a pair of trousers. I had a desire to create simple wardrobe staples of all
the things that I couldn’t easily find for sale. Somehow I had an inkling that this would
make my life simpler and, as a result, make me happier. One thing led to another and
attempts to modify existing dresses eventually led to sewing my own.
A list of fashion dos and don’ts is arbitrary, and it’s vitally important to get away
from these guidelines that dictate what looks good on our bodies. Whether described
as geometric shapes or particular fruits, bodies are regularly placed into categories
with prescribed ways of dressing to flatter the figure. It sends the message that bod-
ies need taming and containing. Even the concept of figure flattering is conditional on
how others perceive you. Rather than looking inward, we are conditioned to require
external validation. It doesn’t have to be this way.
You have permission to opt out of all of it and concentrate on what feels right, tun-
ing in to what you want to wear. For me, the most important consideration was—and
still is—the physical comfort of loose-fitting, non-constricting clothes in breathable,
natural fibers, as well as the comfort that comes from wearing clothes that authen-
tically express who I am. So instead of relying on fashion rules that negatively center
around body size, what if we made new ones? Maybe it could involve color or trying a
particular style you were always told wouldn’t suit you. Have a go at mixing different
patterns together. Don’t dread getting dressed. Instead, have a bit of fun.

top
If you are new to sewing, this simple top with built-in sleeves will
make a great entry point for making your first garment. The neck-
line is finished with either bias tape or facings.
Recommended Fabric: Lightweight cotton lawn or voile, linen,

rayon, or natural fiber blend
Pattern Pieces: Top Front and Top Back; Top Front and Back Facings
(optional)
Yardage Requirements for 45-Inch-Wide (114 cm) Fabric: XS–S:
1½ yards (1.4 m); M–L: 1½ yards (1.4 m); XL–2X: 1¾ yards (1.6 m);
3X–4X: 1¾ yards (1.6 m); 5X: 2 yards (1.8 m)
Notions: 30–35 inches (76–89 cm) of 1½-inch-wide (4 cm) unfolded
bias tape or ½ yard (0.5 m) fusible interfacing (optional)
Trace and Cut

Trace the Top Front and Top Back patterns in the necessary
size. Cut out the pattern pieces. Fold the fabric in half verti- a
cally, selvedges together. Place the Top Front and Top Back
patterns on the fold. [a] Weight and trace with chalk, mark-
ing notches if using facings. If the fabric print is composed
of large motifs, stripes, or plaid, reposition the patterns as
needed before cutting. Leaving the fabric folded, cut along
the chalk lines. You will have two separate pieces: one Top
Front and one Top Back. If opting for a facing to finish the
neckline, trace and cut out the Top Front Facing and Top
Back Facing, and cut on the fabric fold.
Sew
Position the Top Front and Top Back pieces with right sides
together and pin the shoulders and sides together. [b] Sew
using a ½-inch (12 mm) seam allowance. Trim the side
seams to a ¼ inch (6 mm) to prevent the curve from puck-
ering. Finish the seam edges together with pinking shears, a
zigzag stitch, or a serger. Press the seam edges to the back.
Finish the neckline with bias tape or facing.

Patterns 27
Bias Tape
To attach premade bias tape, or bias tape folded with a bias
tape maker, to the neckline, first open up and fold over the
short edge of the bias tape a ¼ inch (6 mm) to the wrong
side and press. [c] With the top right side out, and starting
at the right shoulder, pin the folded edge of the bias tape to
the neckline with right sides together. [d] Take care to keep
g
the edge of the neckline and bias tape matched, and fol-
low the curve. Make sure the finished edges of the shoulder
seams stay folded toward the back. After completely pin-
ning around the whole neckline, cut the bias tape, leaving
a ½-inch-long (12 mm) tail past the first folded short edge,
then pin down. [e] Where the bias tape meets the garment,
fold and make a pinch crease. Pin the bias tape right sides
together and sew on the fold. [f ] Trim to a ¼-inch (6 mm)
seam allowance. h
Sew the bias tape to the neckline using a ¼-inch (6 mm)
seam allowance or following the first pressed fold line. [g]
Refold the unsewn edge of the bias tape, then fold at the
neckline seam over to the inside of the garment. Shift the
bias tape so the fold is not directly on the seam and a thin
sliver of garment fabric is visible on the wrong side. [h]

28 Starting Out
i k
j
l
This will ensure the bias tape does not show on the right ¼-inch (6 mm) seam allowance. Press the bias tape up
side. There will be approximately a ½ inch (12 mm) of bias away from the neckline edge, so the right side of the bias
tape showing on the inside of the garment. Press the fold tape is showing. [k] Press along the seam. Then fold over
all along the neckline and pin the bias tape in position. and press approximately a ¼ inch (6 mm) of the unsewn
Go heavy on the pins to make sure the bias tape stays in edge to the wrong side, to meet the neckline seam allow-
place. [i] Starting at the right shoulder, on the right side ance edge. [l] Fold again at the edge of the neck to the
of the garment, use a guide to sew a ½ inch (12 mm) in wrong side of the garment. Shift the bias tape so the fold
from the edge of the neckline. [ j] Alternatively, if you do is not directly on the seam and a thin sliver of garment
not have a guide, or if you have difficulty catching the bias fabric is visible on the wrong side. This will ensure the
tape on the curves, sew the bias tape from the wrong side bias tape does not show on the right side. There will be
of the garment, a scant ⅛ inch (3 mm) in from the bias approximately a ½ inch (12 mm) of bias tape showing on
tape edge. Press the neckline. the inside of the garment. Finish sewing, following the
For unfolded bias tape, sew the bias tape to the neck- instructions for the folded bias tape.
line the same way as the prefolded bias tape, using a

Patterns 29
m n
Facing
If using interfacing, cut one Top Front Facing and one Top
Back Facing on the fold. Trim an ⅛ inch (3 mm) off all edges
of the interfacing pieces so they are smaller than the fac-
ings. Position the pieces on the wrong sides of the facings
and follow the manufacturer’s instructions to apply.
Take the Top Front Facing and Top Back Facing pieces
and position them with right sides together. Match up the p
short ends and pin. [m] Sew using a ½-inch (12 mm) seam
allowance to create a loop. Finish the seam allowances and
press toward the front. Finish the outer raw edge with a
narrow zigzag stitch or a serger.
Attach the Facings

With the garment right side out, place the facing on top of
the neckline, with right sides together. Match the notches
of the Top Front Facing with the Top Front. At the shoulder,
match the seams and position the facing seam edge to fold q
toward the Top Front Facing, and make sure the shoulder
seam edge inside the garment folds toward the Top Back.
Place a pin on either side of the seam to secure. [n]
Keep the edges of the top and facing matched and con-
tinue to pin around the neckline, following the curve. [o]
Sew using a ¼-inch (6 mm) seam allowance. Clip the seam
allowance every ½ inch (12 mm) along the neckline, being
careful to not get too close to the seam line. [p] Then press
the facing and seam allowance away from the neckline. [q]

30 Starting Out
Next, understitch the facing to the seam allowance,

sewing an ⅛ inch (3 mm) from the seam line. This is an
optional step. Sew around the facing an ⅛ inch (3 mm)
from the stitch line. [r] Fold the facing over to the inside
of the garment and press. There should be a sliver of the
right side of the fabric showing on the inside of the top. [s]
If you do not understitch, fold the facing over to the inside
of the garment. Shift the facing so the fold is not directly on
the seam line and a thin sliver of garment fabric is visible
on the wrong side. Press and pin, first at the neckline and
then at the edge of the facing. [t]
Thread a sewing needle with a single strand of contrast-
ing thread and baste along the edge of the facing. Remove
the pins. It may be tempting to skip this step, sewing with
only the pins, but the basting stitches really secure the fac-
ing while remaining flexible and making it easier to sew.
After basting, sew the facing a scant 1¼ inches (3 cm) from
the neckline edge. [u] Remove the basting stitches and
press the facing.
Hem
Along the bottom of the garment, make a double fold hem.
First, fold the fabric to the wrong side around the entire
edge a ¼ inch (6 mm), pressing as you go. Then fold over
the edge a second ¼ inch (6 mm), encasing the raw edge.
Press, pin in place, and sew. Finish the hems of both sleeves
by repeating the steps of the double fold hem, using a ¼
inch (6 mm) for both folds. Press, pin in place, and sew.

skirt
This skirt hits just below the knees, and the elastic waist makes it
as easy to wear as it is to sew.
Recommended Fabric: Midweight linen, cotton, or natural

fiber blend
Pattern Pieces: Skirt Front, Skirt Back, Skirt Waistband
Yardage Requirements for 45-Inch-Wide (114 cm) Fabric: XS–S: 1¾
yards (1.6 m); M–L: 2 yards (1.8 m); XL–2X: 2 yards (1.8 m); 3X–4X:
2¼ yards (2 m); 5X: 2¼ yards (2 m)
Notions: Approximately 1½ yards (1.4 m) of ¾-inch-wide (18 mm)
no-roll elastic; 2½-inch (6 cm) length of ¼-inch-wide (6 mm) ribbon
or twill tape
Trace and Cut

Trace out the Skirt Front, Skirt Back, and Skirt Waistband
patterns in the necessary sizes. Cut out the pieces. Fold the
a
fabric in half vertically, selvedges together. Place the Skirt
Front piece on the fold. [a] Weight and trace with chalk and
mark the center front notch. Cut out the piece. Repeat for
the Skirt Back pattern. Place the Skirt Waistband pattern on
a double layer of fabric. For fabric with directional prints,
pace the waistband pattern pieces upside down. Weight,
trace with chalk, mark the center front notch, and cut
out. Repeat for the second piece. You will have four sep-
arate pieces: one Skirt Front, one Skirt Back, and two Skirt
Waistbands.
Sew
Take the Skirt Front and Skirt Back pieces and pin the sides,
right sides together. Sew each side using a ½-inch (12 mm)
seam allowance. Finish the seams separately with pinking
shears, a wide zigzag stitch, or a serger. Press the seams
open or to the back. [b] With right sides together, match
the short sides of the Skirt Waistband pieces, pin, and sew.
[c] Trim the seam allowances to a ¼ inch (6 mm) and press
the seams open.

32 Starting Out
b d
Attach the Waistband Insert Elastic

Place the skirt waistband over the top of the skirt so the Mark the elastic approximately 8–10 inches (20–25 cm)
right sides are together. Position one long waistband edge shorter than your waist measurement. Hold it around
along the waist of the skirt, matching up the center front your waist, adjust the length if necessary, then cut. While
and center back notches and the side seams. [d] Pin the this may appear to be too short, bear in mind that the
waistband in place. Next, switch to the longest stitch set- elastic not only stretches initially but also stretches out
ting and baste around the waistband. Fold the unsewn over time. A snug but comfortable fit is necessary to hold
edge of the waistband up, with wrong sides together, to the weight of the garment.
meet the basted edge and pin. [e] Starting at a side seam, To insert the elastic, attach a large safety pin to one
sew around the waistband, using a ½-inch (12 mm) seam end. Starting at the gap, feed the elastic into the waist-
allowance. Stop before reaching the end, leaving a 2-inch band. [g] Pull out both ends of the elastic from the gap
(5 cm) gap. [f ] and unclasp the safety pin. Check to make sure the elastic
is not twisted by feeling all around the waistband. Overlap
both ends of the elastic by about 1 inch (2.5 cm) and sew
together using a wide zigzag stitch. Sew securely back and
forth several times. [h] Take the time to try on the skirt
to check the fit of the elastic and adjust if needed. Sew
the gap in the waistband closed, taking care to start and
finish with the line of existing stitches.

Patterns 33
g
f
j
h
Finish the Waistband Hem

Finish the waistband seam edge with a zigzag stitch or Before hemming, remember the Skirt Back is longer than
a serger. [i] Flip the waistband up and lightly press the the Skirt Front by design. Along the bottom of the skirt,
seam allowance down toward the skirt. Do not topstitch, make a double fold hem. First, fold the fabric to the wrong
as it will make the seam too bulky. Locate the center back side around the entire edge a ¼ inch (6 mm), pressing as
by bringing the side seams together. Fold a 2-inch (5 cm) you go. Then fold over the edge a second ¼ inch (6 mm),
piece of twill tape or ribbon in half to make a back tag. encasing the raw edge. Press, pin in place, and sew.
Position the tag at the center back and pin in place under
the finished edge of the waistband. Pin in place and sew
to the seam allowance. [ j]

trousers
Trousers are a basic element to a handmade wardrobe. There are
two methods for attaching the elastic waistband.
Recommended Fabric: Midweight linen, cotton decor canvas, or

natural fiber blend
Pattern Pieces: Trousers Front, Trousers Back, Trouser Front
Waistband, Trouser Back Waistband
Yardage Requirements for 52-Inch-Wide (132 cm) Fabric: XS–S: 2¾
yards (2.5 m); M–L: 2¾ yards (2.5 m); XL–2X: 3 yards (2.7 m); 3X–4X:
3 yards (2.7 m); 5X: 3¼ yards (3 m)
Notions: 1½ yards (1.4 m) of 1-inch-wide (2.5 cm) no-roll elastic;
2½-inch (6 cm) length of ¼-inch-wide (6 mm) ribbon or twill tape
Trace and Cut a

Trace out the Trouser Front, Trouser Back, Trouser Front
Waistband, and Trouser Back Waistband patterns in the
necessary sizes. Cut out the pattern pieces. Fold the fab-
ric in half vertically, selvedges together. Position the
Trouser Front pattern so the straight side is in line with
but not actually on the selvedge, positioned approxi-
mately 1 inch (2.5 cm) in from the edge. [a] Weight, trace
with chalk, mark the center front notch, and cut out.
Repeat for the Trouser Back pattern. Refold the fabric
if necessary and place the Trouser Front Waistband and
Trouser Back Waistband patterns on the fold. For fab-
ric with directional prints, place the wiastband pattern
pieces upside down. Weight, trace with chalk, mark the
center front and center back, and cut them out. You will
have six separate pieces: two Trouser Fronts, two Trou-
ser Backs, and two Trouser Waistbands.
Assemble the Legs

On a flat surface, place the Trouser Back pieces right
sides up, with the curved seats facing each other. Lay
the Trouser Front pieces on top of the Trouser Back
pieces with right sides together. Pin the sides of each
leg together and sew. [b] Finish the edges with pinking
shears, a zigzag stitch, or a serger. Press the finished
edges to the back. Place the two joined leg pieces right

Patterns 35
d
b
c
the hems together and pin the inseams by pinning down
from the crotch and up from the hem, easing the fabric
together. Starting at the hem, sew the inseam up to the
crotch, then sew the second leg, again starting from the
hem. Finish the edges together. Press the seam toward
the back. Set the sewn leg pieces aside. [d]
Assemble the
Waistband
There are two methods for attaching the waistband, each
producing a fully encased end result. The main difference
is where the stitching line is located. The first method
sets up the waistband with the fold of fabric visible on
the outside of the garment. This will give emphasis to the
waistband being a separate pattern piece. This method
sides together, matching one Trouser Front to the other might feel more comfortable for beginner garment mak-
Trouser Front. Center the side seams and pin together the ers. The second method uses the stitch-in-the-ditch
curves of the rise and the seat. Sew and finish the seam technique. This involves stitching on the outside of the
edges and press to one side. [c] waistband and catching the folded edge on the wrong
Position the side seams at the sides, with the rise side of the waistband. It has a smoother appearance on
and seat centered. Pin the crotch and arrange the crotch the outside of the garment, but it can be tricky to sew
seams to face opposite directions to prevent bulk. Place without a stitch-guide attachment.

36 Starting Out
e g
Waistband Fold on the Outside

With right sides together, match the center notches of the
waistband pieces. Pin along the short sides and sew. [e]
Trim the seam allowances to a ¼ inch (6 mm) and press the
seams open. Turn the trouser legs wrong side out. Fold a
2-inch (5 cm) piece of twill tape or ribbon in half to make a
back tag. Position the tag at the back seam of the trousers,
pin to the wrong side of the fabric, and sew in place using
i an ⅛-inch (3 mm) seam allowance. [f ] Continuing to work
with the trouser legs wrong side out, place the waistband
over the top of the trousers so the right side of the waistband
faces the wrong side of the trousers. Position the Trouser
Front Waistband with the Trouser Front, and the Trouser
Back Waistband with the Trouser Back, matching up the
side seams and center notches to the center seam. Pin the
waistband in place and sew. [g] If using heavyweight fabric,
it might be helpful to trim the waistband seam allowance to
a ¼ inch (6 mm) to help reduce bulk. This step is optional.
Press the waistband and seam allowance up away from the
trouser legs. Turn the trousers right side out. Fold over the
unsewn waistband edge a ½ inch (12 mm) to the wrong side
and press. [h] Fold the waistband down so the folded edge
overlaps the seam line, creating a 1¼-inch (3 cm) fold. Pin
in position. [i] Starting at the Trouser Back, just in front

Patterns 37
j k
of the side seam, edgestitch around the waistband, a (12 mm) to the wrong side and press. [k] Fold the waist-
scant ⅛ inch (3 mm) from the folded edge. Like the skirt band in half to the inside, overlapping the seam line,
waistband, stop before reaching the end, leaving a 2-inch creating a 1¼-inch (3 cm) fold. Pin in position. At the
(5 cm) gap (see page 33). back seam, position folded twill tape or ribbon to make a
back tag and pin in place. [l] Switch to the longest stitch
setting and baste in position, sewing a ¼ inch (6 mm)
Waistband Fold on the Inside from the edge. Starting at a side seam, sew around the
Working with the trousers right side out, place the waist-
waistband on the right side of the trousers, stitching in
band over the top of the garment so the right sides are
the ditch or edgestitching a scant ⅛ inch (3 mm) from the
together. Position the Trouser Front Waistband with the
seam line on the waistband, catching the inner waistband
Trouser Front, and the Trouser Back Waistband with the
fold on the wrong side of the trousers. [m] Stop before
Trouser Back, matching up the side seams and center
reaching the end, leaving a 2-inch (5 cm) gap. Remove
seams. Pin the waistband in place and sew. [ j] Press the
basting stitches.
waistband and seam allowance up away from the trou-
ser legs. Fold over the unsewn waistband edge a ½ inch

38 Starting Out
Insert the Elastic

n Mark the elastic approximately 8–10 inches (20–25 cm)
shorter than the waist measurement. Hold it around your
waist, adjust the length if necessary, then cut. While this
might appear to be too short, bear in mind that the elastic
not only stretches initially but also stretches out over time.
A snug but comfortable fit is necessary to hold the weight
of the garment.
To insert the elastic, attach a large safety pin to one end.
Starting at the gap, feed the elastic into the waistband. [n]
Pull out both ends of the elastic from the gap and unclasp
the safety pin. Check to make sure the elastic is not twisted
by feeling all around the waistband. As with the elastic on
the skirt, overlap both ends by about 1 inch (2.5 cm) and
sew together using a wide zigzag stitch (see page 33). Sew
securely back and forth several times. Take the time to try
on the trousers to check the fit of the elastic and adjust if
needed. Sew the gap in the waistband closed, taking care
to start and finish with the line of existing stitches.
Hem
Check that both trouser legs match in length and trim if
necessary, then make a double fold hem. First, fold the leg
fabric to the wrong side around the entire edge a ½ inch
(12 mm), pressing as you go. Then fold over the edge a sec-
ond time a ⅝ inch (15 mm), encasing the raw edge. Press,
pin in place, and sew. Repeat on both legs and press well.

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The

ActsOfSewing_5P_r3.indd 1 11/23/20 3:02 PM

© 2021 by Sonya Philip

Cover design: Amy Sly

Library of Congress Cataloging-in-Publication Data

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Make the Clothes

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Essential Tools Needles

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Paper Scissors Self-Healing Cutting Mat

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Helpful to Have Safety Pins

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Thread Snips Interfacing

Water-Soluble Pen Spray Bottle

Butcher Paper or Oak Tag Pressing Tools

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Stitch Settings Seam Allowance

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While the seam allowance is included in the patterns,

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Fiber Content Weight

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The patterns in this book are written for woven fabric.

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There might be instances to go against the grain—say,

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wrong side of the fabric; very often Hawaiian-print shirts

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full bust waist hip

S 35 inches (89 cm) 32 inches (81 cm) 37 inches (94 cm)

M 38 inches (97 cm) 35 inches (89 cm) 40 inches (102 cm)

L 41 inches (104 cm) 38 inches (97 cm) 43 inches (109 cm)

XL 44 inches (112 cm) 41 inches (104 cm) 46 inches (117 cm)

2X 47 inches (119 cm) 44 inches (112 cm) 49 inches (125 cm)

3X 50 inches (127 cm) 47 inches (119 cm) 52 inches (132 cm)

4X 53 inches (135 cm) 50 inches (127 cm) 55 inches (140 cm)

5X 56 inches (142 cm) 53 inches (135 cm) 58 inches (147 cm)

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Markings and Notches

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Pinking Shears Zigzag Stitch

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To sew a French seam, the garment pieces are first

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Hems & Finishing

Double Fold Hem

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