1. Fabric-the designer's medium.
2. Scissors-to cut fabric.
3. Tape measure-to measure patterns and fabric.
4. Thread-to stitch fabric.
5. Pins-to pin patterns to fabric, and pin seams together in preparation for stitching.
6. Seam ripper-to remove unwanted stitching.
7. Thread clippers-to snip threads after stitching.
8. Point turner-to get perfect angled corners on collars and cuffs.
9. Buttonhole cutter-to cut open machine stitched buttonholes.
10. Embroidery scissors-for precise cutting into a point.
11. Machine sewing needles-for stitching seams with the sewing machine.
12. Hand sewing needles-for stitching seams and hems by hand.
13. Fabric marking pen or chalk-for marking.
14. seams, darts points, and matchpoints.
15. Loop turner-for turning bias loops.
16. Pressing ham-a pressing aid.
17. Pressing cloth-to protect the fabric surface   from the iron.
18. Iron-for pressing garments.
19. Bobbin-for stitching seams; both top thread and bobbin threads are needed to stitch seams.
20. Seam gauge-for measuring the seam allowance.
21. Awl-for marking dart points and match points on the pattern and fabric.
22. Tracing wheel-for tracing the pattern line in pattern making and seamlines for stitching; can be either plain edge or serrated.

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Professional Sewing Techniques for Designers

The Importance of Fabric to the Designer

The designer is a fabric sculptor. Design students need to become experts in fabric. Choosing a suitable fabric for the design is one of the most important aspects of the design process. Fabric selection and style development act in tandem. If an unsuitable fabric is chosen for a style, then the design won't work. Start by understanding the variety and qualities of each fabric before they are applied to a design. This involves learning the differences between natural and synthetic fibers, fabric weaves (plain, twill, satin), and woven and knitted fabrics. These fabric details are important, as each type of fabric can influence the design. Each fabric has a different structure, and understanding each will help the designer design to the fabric. For example, knit and woven fabrics need very different designs, because knit fabric stretches and woven fabrics don't. For this reason, it is advisable to use fewer design lines in a knit garment than in one of woven fabric. Becoming knowledgeable about fabric also involves observing different fabric surface patterns and textures,

We suggest you take a peek at Figure 2.15, as it illustrates this point. Notice the interesting one-way fabric print and the simplicity of the design. The designer in this case has observed the fabric surface pattern and lets the fabric speak for itself. The design is uncomplicated, with no design lines to speak of, except for the side seams; too many design lines would spoil this bold fabric pattern. To get acquainted with fabric, the designer also plays and drapes with fabric on the form to determine how it performs when pleated, folded, tucked, gathered, or scrunched. By draping two very different fabric weights, such as silk taffeta and silk georgette, it will become obvious how different each looks on the form.

Taffeta is crisp to the hand and when gathered or tucked it holds its shape. On the other hand, silk georgette is soft to the hand, sheer, and delicate, and it drapes softly to skim the body when cut to its best advantage. 

IMPORTANT

• To know hbric-
• Use fabric.
• Look at fabric.
• Touch and feel fabric.
• Cut fabric.
• Stitch fabric.
• Design to the fabric.
• The only way to learn about fabric is by actually workina with different ones. Then,
• eventually. like the experienced designer.the design student will be able to lookat a
• fabric and envision the designs into which it can be made. In Chapter a, "Know Your
• Fabric" will explain more about the qualities of each fabric type.

Why the Designer Needs to Know How to Sketch

Sketching is the first part of the design process. It is the fundamental tool used to communicate a seam, a dart, a pocket, a zipper, topstitching, or buttons, so it is not only an artistic pleasure but also a phase during which functional and structural design need to be taken into consideration.

Why the Designer Needs to Know How to Draft Patterns

Learning how to construct patterns mathematically and knowing where to place each line

for darts, seams, pockets, ruffles, and other design details empowers the designer in knowing how line in design can be used to enhance a woman's body. Structuring patterns is like architecture-we use line and shape to build form. Making patterns is all about using line, proportion, balance, and shape as each pattern is drafted. Each seam is placed to fit the curves of a woman's body-placement is not arbitrary. Many students find line placement difficult because they have not thought this through at the sketching stage.

Why the Designer Needs to Know HOW to Drape Fabric.

Some designers like to draft flat patterns mathematically using specs and measurements, while others like to drape the fabric on the form, then take the draped fabric pieces and make the pattern from them. Draping fabric helps the design student understand the shape of the form and how fabric can be molded to enhance a woman's body. This in turn empowers the designer with more design possibilities for placing line in the design.

Why the Designer Needs to Know How to Cut Fabric

Knowing how to cut fabric following the grainlines is essential, as they must be correctly placed parallel to the selvage. Refer to Chapter 2, "Placing the Patterns 'On Grain.'" Placing the grainlines in certain directions can also change the look of the fabric surface. The fabric surface can have a texture, a bold large print, stripe, check, one-way pattern, or have a furry pile.

The designer needs cutting knowledge so that when the darts, seams, gathering, and tucks are stitched, the fabric surface looks its best.  

Why the Designer Needs to Know How to Sew Garments

The designer needs to learn how to sew darts, pockets, seams, zippers, ruffles, tucks, pleats, waistbands, collars, facings, cuffs, sleeves, hems, and linings, and how to embellish fabrics and stitch closures. All empower the designer by-imparting an overall knowledge of design.

Not every fabric is stitched in exactly the same way; seams and hems are not stitched in a uniform way on every garment. The construction method needs to match the type and weight of fabric,

Why the Designer Needs to Know about Notions and Trims

Notions and trims are all the supplies needed for constructing garments other than the fabric. Notions can be buttons, snaps, zippers, thread, tape, elastic, ribbon, piping, interfacing, or a lace trim. The designer needs to be involved in choosing these details and therefore needs an artistic eye to harmonize them with the fabric and design. A designer can learn what notions and trims are available by researching the Internet for the latest items. The designer also directs the choice of what basic items to use, such as the type, weight, and length of a zipper; the type, size, and design of a button; and the color of the topstitching.

The notions and trims that are used matter, as you will learn by using this textbook. For example, the weight of the zipper needs to suit the fabric weight, and the zipper needs to be long enough so the garment will open comfortably, allowing the customer to get in and out easily. The type of button (glass, metal, wood, or leather) needs to be compatible with the fabric type and suitable for laundering. The interfacing also needs to suit the fabric weight and the part of the garment in which it is being used. All these aspects of the construction process will be discussed as you read further in this article. 

Why the Designer Needs to Know about Production

Being involved in production is an aspect of the design process that fashion designers often find difficult and irksome, as they just want to get on with designing clothes and back to the design studio! How involved the designer is with production depends on the size of the company. In a large company the designer's role in production may be minimal, but students who plan to have their own design business in the future will need to be totally involved. Designers need to keep their eyes open and look at the quality of garments being produced, and at the top of the list is quality stitching.

As the collection develops, the designer may be involved with ordering fabrics and trims, an important part of the design process. In some companies, designers may also be involved with grading patterns into larger and smaller sizes that are ready for production. When the garments are completed, quality control personnel may also call on designers for their expertise when a stitching or fabric problem occurs. The production of a collection keeps to a strict schedule, and completing your assignments by their due dates is a great way to learn how to organize your schedule. This is excellent practice for your future responsibilities as a designer!

Why the Designer Needs to Know about Functional, Structural, and Decorative Design

A designer needs to address these three aspects- functional, structural, and decorative design-when designing garments. Eachof these aspects has equal value. If these areas of design are ignored, it can ultimately affect the sale of the collection. And without sales, the designer does not have a job! It is the designer's responsibility to create clothes that function, feel comfortable, and are user-friendly in the way they work. Garments that represent interesting designs made in quality fabrics that are comfortable to move in, and stitched with quality stitches, are what women want! This is what makes one design and designer stand out from the rest. Coco Chanel, one of the most famous designers in fashion history, knew how important this was. Chanel said, "I make fashion women can live in, breathe in, feel comfortable in, and look younger in."' Her revolutionary designs changed the way women dressed, from being confined to feeling comfortable. As design students, let's continue Chanel's tradition! Each of the garments in Figure 1.4, Figure 1.5, and Figure 1.6 demonstrates each area of design: functional, structural, and decorative. Functional Design Functional design refers to how the garment works physically on the body. This is an important aspect on which the designer needs to focus. Garments need to work physically for the purpose they are made for (police or fire fighter's uniform, ball gown, swimwear, and more).

• Garments need to feel comfortable on the body and be made from pleasant-feeling fabric.
• Garments need to provide adequate room for movement yet hold their shape to the form.
• Garments need to be made in a suitable fabric type and weight to suit the style and provide protection, warmtl?, or coolness.

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Professional Sewing Techniques for Designers

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MODERN PATTERN DESIGN THIS E-BOOK reveals the secrets of cutting smart patterns that professionals know will produce smart, graceful apparel. The pattern is the design for a garment. It is to the dress designer what the blue print is to the architect. Only well-cut garments have STYLE; and this style is achieved only through clever shaping, careful placing of the grain of the fabric, exaggeration of the silhouette at just the right point. As the pattern is, so the finished gown will be. TABLE OF CONTENTS

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Ironing Board

An ironing board is used for ironing clothes and linen (Figure 2.31a). Ironing boards can be freestanding, built in, pullout, or fold away. Whichever style of ironing board is used, the padded work surface should be heat resistant. An ironing board has a cotton ironing board cover that should be replaced when damaged or worn.

Steam Iron

A steam iron is used for pressing seams, hems, and the final garment (Figure 2.31b). The iron has a metal plate that smoothly glides over the fabric.
An iron has a temperature dial to control the heat. On domestic irons the dial is marked with fabric types such as "linen/cotton," "wool/silk, and "synthetic." At school it's not that simple, as the dial is numbered 1,2,3,4,5. The numbers on the dial indicate the following settings: number 1 is the lowest setting and corresponds to fabrics that require low temperatures, such as synthetics, rayons, and so forth; number 2 corresponds to silk without steam; number 3 corresponds to wool and is the beginning of adding steam; number 4 corresponds to linen; and number 5 is the highest setting, with the most amount of heat, which in the case of the gravity-feed irons is really hot! Change the heat temperature to match the fabric type when pressing. It is advisable to press a fabric sample first before pressing the garment.

Pressing Cloth

A pressing cloth is a square of open-weave cotton or muslin fabric about the size of a men's handkerchief (Figure 2.31). Actually, a white men's handkerchief is the perfect pressing cloth! The pressing cloth is placed over the fabric surface for protection and to prevent the iron from leaving shine marks. The cloth can be dampened to provide extra steam when pressing. A natural-colored piece of silk organza also makes an excellent pressing cloth; since it is sheer you can see what you are doing when pressing.
Wool/mohair can be used as a press cloth for tweeds and knits; it works like a needle board, preventing the nap from being flattened when pressed. A rectangle of wool /mohair can be stitched to have a single layer of cotton such as muslin on one side and be finished on all sides with a serger.

Seam Roll

A seam roll is a firm cylinder-like cushion covered with cotton on one side and wool on the other (Figure 2.31d). A seam roll is used to press long, narrow seams such as the inseam or out seam of a pant leg or underarm seams. Use the cotton side for pressing most fabrics; the wool side can be used for pressing woolen fabrics. Using a seam roll helps to avoid seam impressions that might otherwise show to the correct side of the garment after pressing.

Sleeve board

A sleeve board is a small-scale wooden ironing board with rounded, padded ends (figure 2.3e). It is a wonderful pressing tool. It is used for pressing sleeve, short seam, and hard to get at area that do not fit over a regular sized ironing board; It can also be used on the rounded ends to stem east at the cap of sleeve. If you make half-size muslins at school, the sleeve board is excellent for pressing a smaller size.

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Professional Sewing Techniques for Designers

 
You will need
•    Two scraps of fabric in contrasting colors /patterns
•    Piece of medium-weight felt 14x 14cm (5-1/2 x 5-1/2 in.)
•    Double-sided fusible webbing 
•    Polyester sewing thread
•    Embroidery threads
•    Pressing doth

• Draw two heart-shaped templates (one smaller, one larger} onto a piece of pattern paper. Cut the tern plates Out and trace around them with a pencil onto the smooth side of the fusible webbing. Cut roughly round the shape, leaving a margin of about 5mm (1/4’'} outside the pencil line.

• Take the two pieces of fabric you are using for the patch. Place the larger shape pencil-side up onto the wrong side of your first fabric in a poison that gives you the best pattern coverage, Cover with a pressing doth to protect your iron from any glue residue . using the medium setting. press (fuse) for about 15 seconds until the shape is secure. Repeat with the second, smaller shape. Cut out both heart shapes along the pencil lines.

• Peel the paper backing off the smaller heart. position it careful 1 in the centre of the large heart shape with a pin and fuse (a),

• Peel the paper backing off the large heart, place it onto the piece of felt and fuse. Next, set your sewing machine the standard straight stitch and. starting at the top middle point, stitch around the large heart. 2mm (1/4) from the outer edge. Then, using sharp scissors, trim back the felt to the fabric edge (b).

• Now set your sewing machine to zigzag for appliqué stitching  and zigzag around the edge of your shape Choosing  an embroidery thread that picks up a color within your design (we used white to stand out against the scarlet, blanket stitch around the smaller heart (see post on this page).

• These patches make wonderfully vibrant and colorful additions to children's clothing. If you don't want to use a sewing machine to make the patch, simply follow steps 1-3, neaten the edges with blanket stitch or pinking shears and sew the patch in place using running stitch. We've suggested using motifs of a snail, a star, a butterfly and a flower.

So we finished this project off by carefully pinning the patch to a pocket and then sewing it in place using a large decorative overstitch, you could use a large Embroidery stitch or, if the patch is in an area that is easily accessible using your sewing machine, you could machine stitch it in place.

Follow this tutorial to create an easy, lined half-apron for just about anyone, children or adults. This apron .

For both options, trim the seams and clip the corners (Pic 4 & 5). Turn right side out and press the bottom seam allowance up inside the pocket (Pic 6). Press whole pocket (Pic 7).
 

features a contrast lining, a handy pocket, gathering and a waistband. Sew this apron for a gift, along with a cookbook.

The Basics Measurements: these are fairly loose and can depend on how much fabric you have and the size of the person. I know that sounds vague but really, as it ties up it can fit lots of different sizes. I have written metric measurements. You need to cut 1 skirt, 1 skirt lining, 1 waistband, 1 pocket, 1 pocket lining and 2 ties and 2 tie lining.

For the skirt and skirt lining: Length: Measure from the waist to the desired length. I don't like these aprons to be too long – just above the knee should be perfect. Width: Measure from one side of the backaround to the other side of the back so that you leave a gap for the bow to sit. You don't want it to cross over at all or the apron will be too big and won't tie properly.

You then need to add extra to the skirt width to allow for the gathering. Again this can depend on how much you want it to gather or how much fabric you have. You may not want it to gather at all which would also be fine. Just leave out Step 4 and cut the skirt the same width as the waistband. Then add a seam allowance of 1.5cm. For the Waistband: Use the same waist measurement for the length of the waistband.

For the width 4-5cm is plenty for a child but you may wish to make the adult one a bit wider – anywhere up to 6-7cm wide. Again this is personal choice. Then add a seam allowance of 1.5cm. Ties and pocket: For the pocket it really depends again on how large the person is and how big you want the pocket to be. The finished size of this pocket is 15cm. You will cut two pocket pieces – one out of the lining and one out of the main fabric. For the ties you need to make them long enough to tie and not so long they hang down.

I think around 60-65cm ties are fine. These ties are 5cm wide finished. Remember to add on the 1.5cm seam allowance. This particular version uses the lining and the main fabric – so cut two ties from the main fabric and two from the lining fabric.

There were my apron measurements: 33cm from waist to just above the knee and 56cm around the waist to the mid side back. I then added the seam allowances of 1.5cm on each side and top and bottom and an extra 13cm for the gathering of the skirt. Skirt & lining= 36cm x 72cm 56cm waist measurement plus 1.5 seam allowance. The width is 4cm x 2 (because the waistband is folded) plus seam allowances. Waistband = 59cm x 11cm Ties = 66cm x 8cm Pocket & lining = 18cm x 18cm.

Step 1:

The Pocket There are several options for the pocket. If you wish to add ric rac you may sew it straight across the pocket or sew it within the seam so that only half of the ric rac sits out along the edge of the pocket making it into a frilled edge. Option a: Tosew the ric rac flat onto the pocket just pin it in the position you would like it and stitch. Then with right sides facing pin side and top seams leaving the bottom open and stitch Option b: With right sides facing, sandwich the ric rac between the pocket and the pocket lining along the top seamline and pin (pic 1). Then turn the pocket right side out to see if it is lined up (pic 2). Pin the side seams as well leaving the bottom open and stitch (Pic 3)

Step 2:

Attaching the pocket Pin the pocket to the apron front. When positioning, make sure you allow for when it is gathered. Stitch.
I have added a row of ric rac at the bottom of the apron which is also optional. Pin in the position you want it and stitch.

Step 3:
The apron skirt With right sides facing pin the lining to the apron front.
Stitch. Trim seams and clip the corners. Turn right side out, making sure you push out the corners properly, and press.
At this point it is optional whether or not you top stitch. I liked the look of top stitching on this apron.

Step 4:

Gathering the skirt Set your machine stitch length to a long stitch. Without back stitching at the start or the finish sew across the top of the apron skirt. Repeat this just inside the first row of stitching.

Stitch. Trim seams and clip the corners. Turn right side out, making sure you push out the corners properly, and press. Take the bottom thread of each row of stitching and holding the apron skirt pull into a gather. Do this on both sides of the apron skirt until the apron fits the width of the waistband not including the seam allowances.

Step 5:
Attaching the waistband At this point while making the apron I decided that the waistband wouldn't be stiff enough to sit properly so I attached a lightweight interfacing – iron on vile

ne. This is completely optional. Just cut a piece that measures half the waistband and iron on. With the right sides facing pin the waistband to the apron skirt making sure the gathers are even. Stitch.

Step 6:
Making the ties With right sides facing pin the ties together leaving one end open. Stitch. Trim seams and clip the corners. Turn right side out, making sure you push the corners out properly, and press.

Step 7:
Pleating the ties To fit the ties into the waistband, I sew in a little pleat at the top of the tie. Just fold and stitch,making sure they are opposite and don't go in the same direction – see the picture.

It is now optional whether you hand sew the waistband to the apron skirt lining or top stich it down. On this apron I have top stitched it all the way around. Again it depends on the look you want or how much time you have etc.

Step 8:
Attaching the ties to the waistband Fold the waistband in half with the right sides facing. Pin each side sandwiching the ties in the seam. Stitch.

Trim the seam and clip the corners. Turn the waistband right side out and press.

Vintage bed jackets are beautiful but harder and harder to find in thrift stores these days. Why not make your own bed jacket-inspired cardigan out of an old T-shirt? Restyling is so timely right now; you get a new, fun piece to wear, it doesn't cost anything, AND you're putting something to use that hasn't seen the light of day for ages. This sweet little number is the perfect cardi to throw on over a dress or tank when the weather warms up, which I'm told will happen again some day!

All you need is a T-shirt that approximately fits (a little big is OK), some scissors, thread, chalk or marking pen, and your sewing machine. Note: You may need a second tee if your shirt isn't very long to get enough fabric for the ruffles.

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I have always loved fine home linens, but most guests are afraid to use them, and those who do usually find that they are not very absorbent! Few of us have the time or inclination to launder, press and preserve vintage linens, so most end up in estate sales and antiques stores where they can be purchased pretty inexpensively. That’s often where I find them to repurpose into clothing for my children. For my older daughter, I made an elegant pantsuit out of full-sized cutwork bath towels. And, for my younger daughter, I made an adorable dress using Lynn Week’s “Frannie” pattern and a set of beautiful pre-embroidered towels I found at the Peabody Hotel in Memphis. The pattern reminded me of days gone by, just like the linens, and I used my handwork skills to fashion embroidery on the bodice in colors to coordinate with the existing embroidery on the towel. The finished result was an adorable and easy custom-made linen dress.

 This full article can be found on Sew Beautiful

For the basic button, you'll need:

• Polymer clay (Sculpey and Fimo are both good brands)
• A clean work surface and parchment paper
• A rolling pin (don't use the one you use for food; look for a cheapie at a dollar store)
• Cutting tools (small circular cutters—I used thread spools—and a flat blade—I used a cookie cutter)
• Toothpicks
• Buttons, beads, and other textures to press into the clay.

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