Custom-made bed fashions such as comforters, comforter covers, pillow shams and dust ruffles can be ruffled or tailored to suit the decor. Chintzes, polished cottons and sateens are good choices for most bed coverings. Sheets are another practical fabric choice; their width makes seaming unnecessary on comforters and covers.

Permanent press fabrics with soil-resistant finishes are advisable in a child's room. Select fabrics that will launder well without fading.

 Comforters are a useful alternative to bedspreads. Make them reversible to change their look, and fill them with polyester batting as flat or as puffy as you wish. Decorator fabrics used for comforters should be pieced together with a full fabric width in the center of the comforter and a partial width on each side.

Comforter covers, also known as duvet covers, are removable for easy care. They protect new comforters, salvage worn ones, and quickly change the look of a comforter. They also eliminate the need for a top sheet and blanket on the bed.

Pillow shams are removable, decorative pillow covers. Make pillow shams plain or flanged, ruffled or trimmed, in matching or contrasting fabrics to complement the comforter and dust ruffle. Traditional pillowcases may also be trimmed with ruffles and used as pillow shams.

Dust ruffles or bed skirts are used with comforters. They may be gathered or pleated. Make them in one piece for beds that do not have a footboard. Make them in three pieces for beds that do have a footboard. Attach dust ruffles to a fitted sheet placed over the box spring or to a muslin deck, a piece of fabric which fits between the mattress and the box spring.

Fabrics for dust ruffles should be considered for their weight and draping quality, as well as suitability for the style of the dust ruffle or bed skirt.

{Credit} Singer sewing for the Home (copyright 1984-1988)

 
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.

Cutting Directions

Cut napkins I" (2.5 cm) larger than finished size. One yard (meter) of 36" (91.5 cm) wide fabric yields four 17" (43 cm) napkins. A piece of fabric 45" (115 cm) square yields nine 14" (35.5 cm) napkins.

Satin stitch. Turn under 1/2" (1.3 cm) on all sides. Miter corners Edge stitch along raw edge to use as guide. Use wide, closely spaced zigzag to stitch from right side over edge stitching.

Zigzag over edge. Trim loose threads from napkin edges. Stitch over raw edge, using wide, closely spaced zigzag. Use over edge foot or special-purpose foot to maintain zigzag width.

Decorative stitch. Press under I/4'(6 mm) and stitch. From right side, stitch with a decorative stitch, using straight stitching as the guideline. Blanket stitch (shown above) gives a hemstitched look.

Narrow hem. Press under 1/4"(6 mm) double-fold hem on opposite sides of all napkins. Edge stitch from one napkin to the next using continuous stitching. Repeat for remaining sides.

Double-fold hem. Turn under 1/4' (6 mm) on all edges and press. Turn under another 1/4' (6 mm). Miter corners as directed for narrow hem. Edge stitch close to folded edge.

Fringe. Cut napkins on a pulled thread to straighten edges. Stitch 1/2' (1.3 cm) from raw edges with short straight stitches or narrow, closely spaced zigzag. Pull out threads up to the stitching line.

{Credit} Singer sewing for the Home (copyright 1984-1988)
 

Cutting Directions

Cut the place mat 1" (2.5 cm) larger than desired finished size (page 104). Press W' (1.3 cm) seam allowance to right side of place mat on all edges. Cut trimming long enough to go around edge of place mat, plus 1" (2.5 em). You will need approximately 61" (155 cm) own banding from fabric, allow 1/4" (6 mm) on each side for finishing. Press under 1/4" (6 mm) on long sides of banding.

How to Sew Place mats with Mitered Ribbon Trimming

1) Position short end of band W' (1.3 em) beyond edge of mat,aligning lengthwise edge of band with folded outer edge of the place mat; pin.

2) Fold trimming straight back at corner so fold is even with edge of mat. Fold trimming diagonally to form right angle; press and pin. Repeat at next two corners.

3) Fold end diagonally at first corner to form right angle; press.
Remove pins. Baste on diagonal fold lines, using pins or glue stick.

4) Stitch each corner of trim on diagonal fold line, stitching on wrong side and beginning at inner edge. Back stitch at beginning and end of seam to secure.

5) Adjust mat size or miters if necessary. Trim seam allowances of miters to 1/4" (6 mm); press seams open. Press under seam allowance that extends at one corner.

6) Baste trim to mat, with outer edges even. Stitch outer edge,beginning at one side and pivoting at corners; back stitch. Stitch inner edge.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Balance can be achieved in another way. The right and left sides may be different though equal. This is a balance of uneven parts, a "felt" balance, and the type most seen in nature. It is called an informal or asymmetrical balance (Fig. 18b). In clothing design, this is a more sophisticated type of balance and requires great skill in handling. It is so easy to push it to a point of imbalance.

TO MAKE THE PATTERN FOR FIGURE I8b

1. Use two bodice-front slopers fastened at center front with Scotch tape (Fig. 18c). Asymmetric patterns must be developed from a complete sloper.
2. Close both waistline darts and fasten them with Scotch tape creating a complete bulging block.
3. Rest the bulging block on the table and draw the position of the darts on the inside of the pattern. It is easier to work on the inside of the bulge. The right dart starts at the right side seam and goes to the right dart point. The left dart starts at the right side seam and goes to the left dart point. Make the two dart lines parallel to each other; they'll look prettier that way (Fig. 18d).
4. Slash the new dart lines so the pattern opens out fiat (Fig. 18e).
Note that the left dart appears larger. This is only because it is longer.
In reality, the amount of dart control is equal in both darts. Were the right dart extended to the same length as the left dart it would appear the same size (Fig. 18f).

BULGING BLOCK TO THE RESCUE

If ever you are puzzled about what to do with a dart while you are developing a new design use the bulging block method. It is an easy way to eliminate any darts that get in the way of the new style lines. There is another method for freeing the area of darts in a fiat pattern while designing. Shift them temporarily to an out-of-the-way position.

STRUCTURAL DESIGN VS. ADDED DECORATION

When it comes to designing (any form of designing) there are two current schools of thought. One believes in the beauty of undisguised structure, purity of line, handsome materials. The other doesn't go along with this austerity. It prefers the enrichment of additional ornamentation.

Both are acceptable in clothing design. There are outstanding designers in each category. If you are a purist, then continue to be; you are in good company. Should you prefer to gild the lily-a little or a lot-you'll be right in the swing of present fashion. Often some discreet detail consistent with the structural line can provide added interest.

In Fig. 19a, the neck dart is emphasized with topstitching.
In Fig . 19b, ribbon ending in a tiny, flat bow has been superimposed on the dart concealing the structure.
In Fig. 19c, a curved welt has been inserted into the curved dart.
In Fig. 19d, both bodice and skirt close on the darts.

SHAPING SHOULD SUIT THE FABRIC, TOO

When you are using a solid-color fabric, the position of the dart control is no problem.

Your chief concern in deciding dart placement is which best carries out your design idea. When you are using a figured material-a spaced print of either large or small units-a stripe, a check, a plaid; a visible vertical or horizontal weave; a diagonal weave or print-then the choice of dart position becomes more complex.

Any dart when stitched into the garment will interrupt the continuity of the fabric design. Therefore, you must choose darts which will do so with the least disturbing effect.

Consider the simple vertical waistline dart.
In a solid color fabric, the dart shows clearly and effectively and can even be a part of the design (Fig. 20a).
The waistline dart in Fig. 20b cuts right into the floral motif of the fabric. How silly when this is the chief beauty of the dress. A better solution would be to shift the darts to an area that contains no design unit.
In a horizontally striped fabric, the horizontal stripes, easily matched, are little affected by the vertical waistline dart (Fig. 20c).
A chevron design results when vertically striped material is stitched in a vertical dart (Fig. 20d). Whether this is objectionable or not depends on the nature of the stripes.

Fabrics with diagonal stripes are just plain difficult. When a vertical dart is stitched into the diagonal print or weave the resulting distortion is vivid (Fig. 20e). No darts or darts that follow the diagonal line of the fabric are possible solutions.

The French underarm dart with its long diagonal line is a problem in some fabrics.
In a solid color, the line is striking (Fig. 21a).
The diagonal stripe of the bias bodice of Fig. 21b can be worked into a pleasing little design.

The diagonal line of the French underarm dart in a horizontal or vertical stripe, a check or plaid, results in a complete mismatching of the fabric design (Fig. 21c) .
If you are planning to use a diagonal fabric, make the stripes an integral part of the design (Fig. 22).
When a commercial pattern says, "Striped, plaid, or obvious diagonal fabrics are not suitable," better heed the admonition. The professional pattern 'makers know whereof they speak. The pattern has been carefully tested for the effect of the darts on the fabric.

THE MORAL IS CLEAR

If fabric is the inspiration for your design, use darts that will be consistent with the surface design of the material. If you start with your pattern design, choose fabric that will best conform to the position of the darts.

LOOK, MA, NO DARTS

Dart control need not be a dart! Any device will,'do as long as it "takes in" the amount needed to make the garment fit the smaller measurement and "lets it out" at the right place to fit the larger measurement. A pleat (Fig. 23a), gathering (Fig. 23b), smocking (Fig. 23c) will work just as well as darts and often with more interest.

When you plan to use the dart control for gathers (or shirring or smocking) the amount of the control must be spread over a wider area. Were you to limit your gathering to the space allotted to the
dart, you would have to draw up the entire amount so as not to alter the length of the original seam line. Can you imagine the impossible bunching that would result? Here is how to remedy the situation.

{Credit} Design Your Own Dress Patterns
Adele P. Margolis

1. On the cut-out sloper with the cut-out dart, locate the position of the new dart. Mark the point A.
2. Draw a curved line from A to the dart point. You may draw
the line freehand for eye appeal, then true the line with an appropriate curved instrument or you may draw directly with any of the instru¬ments that may have a curve that appeals to you (Fig. 16a).
3.Slash the curved dart line.
4.Close the original dart, shifting the control to the new curved
dart (Fig. 16b). Fasten with Scotch tape.

Convert this pattern into a bulging block. Compare it with your original waistline-dart block. Does the curve make any difference in the amount of control? None, whatever. You merely have a new design that utilizes the original control.

Just for fun, go back and try all the darts you've done with curved instead of straight lines.
The curves may even be compound rather than simple (Fig. 17).

ASYMMETRIC DESIGNS

All of the foregoing patterns were designed for a balanced effect, that is, half a pattern to be cut on a fold of fabric. When opened out, the darts will be exactly the same on either side of the center front or back. This is a formal or symmetrical balance (Fig. 18a). It is the one most generally used in clothing design.
 
Balance can be achieved in another way. The right and left sides may be different though equal. This is a balance of uneven parts, a "felt" balance, the type most seen in nature. It is called an informal or asymmetrical balance (Fig. 18b). In clothing design, this is a more sophisticated type of balance and requires great skill in handling. It is so easy to push it to a point of imbalance.

{Credit} Design Your Own Dress Patterns
Adele P. Margolis

2. Lightly draw an arc as a guideline for positioning the dart tucks (Fig. 56a). Make it a distance from the neckline equal to the length you desire for the dart tucks. They may be of equal length or graduated.

3. Draw the lines for the dart tucks showing the number and the position of each one. Designate the point at which the stitching is to end (Fig. 56a).

4. Connect the ends of the dart tucks with the original dart point (Fig. 56a). All lines from neck to dart point (crooked though they are) become slash lines.

5. Close the waistline dart in whole or in part (Fig. 55b), throwing the dart control to the shoulder. Fasten with Scotch tape.

6. Arrange the sections so the spaces between are equal (Fig.55b).

7. Trace the pattern. When you come to the dart tucks, trace only to the end of each tuck as designated in Step 2 (Fig. 55c).
Notice that the dart tuck legs are not parallel lines. Being parts of darts, they are tapered. They must be stitched so.

8. Fold the tucks into position (the same rule as for darts).
Trace the shoulder seam (Fig. 55c). Working with stiff paper in a small pattern makes this somewhat difficult because the dart tucks are so tiny. Trace the construction pattern to either tissue paper or a paper napkin. You'll find them much easier to manipulate for folds.

9. Complete the pattern.

{Credit} Design Your Own Dress Patterns

Adele P. Margolis

1. Trace the sleeve sloper. Cut out the tracing and the dart.

2. Locate the position of the new darts on each side of the elbow dart and Y2 inch away from it. Make the slash lines parallel to the dart legs. Since the elbow dart is already a shortened dart it needs no further shortening. Connect the ends of the slash lines with the point of the elbow dart (Fig. 54a).

3. Slash all slash lines.

FOR TWO DARTS (Fig. S4b)
4. Close the elbow dart completely, throwing the control to both sides of it. Make the new darts equal. Fasten with Scotch tape.

5. Trace the pattern. Locate new dart points in the center of each opening. Draw the dart legs. Make certain that each pair is equal in length.

6. Fold the darts to the correct position and trace the seam line.

7. Complete the pattern.

FOR THREE DARTS (Fig. S4c)
The method for developing three elbow darts is the same as for two with the exception of Step 4. Substitute the following: Close part of the elbow dart, dividing the control equally in three darts.

PART OF A DART
Multiple dart tucks are developed ~ much the same way. Instead of stitching the darts to a point, the stitching stops part way at a designated point.

{Credit} Design Your Own Dress Patterns

Adele P. Margolis

1. Trace the bodice-front sloper. Cut out the tracing and the dart. Shift the waistline dart control to the shoulder. Fasten with Scotch tape.

2. Locate the number and length of the new waistline darts. If you make them somewhat shorter than the sloper dart you will be shortening the darts at the same time you are dividing the control.
Draw the dart lines and connect them with the dart point (Fig. 53a).

3. Slash all slash lines.

4. Close the shoulder dart, returning the control to the waistline.
Fasten with Scotch tape.

S. Divide the dart control into equal darts with equal spaces
between them (Fig. 53b). Trace the pattern.

6. Locate the new dart points in the center of each space at the
designated height. Draw new dart legs. Make sure that each pair is
equal in length.

7. Fold the darts in position. Correct the waistline and trace it
(Fig. 53c).

8. Complete the pattern.

{Credit} Design Your Own Dress Patterns

Adele P. Margolis

1. On the cut-out bodice-front sloper with the cut-out dart, locate the position of the new shoulder dart. When there is a dart on the back shoulder, it is a fine point in design to match the location of the two. Place the front sloper against the back shoulder Mark the position of the front shoulder dart. Label the point A (Fig. 43a).
2. Draw the new: dart line from shoulder to dart point (Fig. 43a).
3. Slash the dart line.
4. Close PART of the original dart; the remaining control is automatically shifted to the new dart (Fig. 43b).
5. Complete the pattern by adding all the necessary signs, symbols, and notations.

How much dart control is shifted to a new position depends on what is appropriate for the material, what is kind to the grain, and what provides a subtle fit.
You can see how divided dart control would be a good way to handle a check or a plaid (Fig. 44) .

{Credit} Design Your Own Dress Patterns
Adele P. Margolis