We interrupt this French seam for a tie end....

Wrap-and-tie styles often have a tie end passing through one side seam. It's not hard to handle this situation if the seam is pressed open flat—you just don't sew the part the tie end needs to go through. In principle, it seems it should be possible on a French seam too—just leave that gap unsewn on both passes—though there are some additional considerations. Here's one way I've done it.

1. The first French seam pass will be done wrong sides together, as usual, except for leaving the gap unstitched between the markings.

2. Press these first seam allowances open flat, pressing under the edges of the unsewn part the same amount. (You may want to trim off any fraying threads first, so those don't stick out and make hairy seams on the next pass. But that's no different from an ordinary French seam.)

3. To stop the edges of the unsewn area from fraying or getting pushed out of the seam later on, zigzag them down. You could also include bits of single- or double-sided fusible here.

4. Now make your second French seam pass, again leaving the marked gap unstitched. You can pivot and stitch perpendicularly across to the edge of the seam at each marking, if you like.

5. It's a pretty normal-looking French seam at this point, aside from that gap and zigzagged area.

6. Press the seam to one side, the side the tie end comes from. If the tie end is to come from inside the front of the garment and 'escape' to go across the outside of the back, then press the seam to the front. Or if it's coming from the back and emerges to go across the front, press the seam to the back. This will let the tie end follow a straight path through the seam, rather than having to zig and zag on its way out.

7. Now that the seam is pressed in the correct direction, push the top layer of the slit to one side, so you can edgestitch the bottom layer down to the outer fabric. Make this stitching a neat, even distance from the edge of the slit, as it will show on the outside. Or you can do this invisibly by hand.

8. Here's that stitching as it shows on the outside.

9. You can now stitch perpendicularly across the top and bottom of the slit for extra security, if you like, or make bartacks. Strictly speaking, this is less necessary if you pivoted across the seam in step 4.

10. Here's how it looks on the inside now that it's done. Not much different from step 5.

That's what I did with my Hollywood 1512 housecoat. Here are some things to consider if you're thinking about doing this:

• This approach is best used on fabrics that don't fray too much, because unlike the rest of the seam, the zigzagged edge will be subject to friction from the tie ends coming through.
• In step 3, if you have a wide enough first-pass seam allowance width to work with, in the opening area you could turn under the raw edge on each side and stitch it down, instead of zigzagging—you'd have to either make a tiny clip on each end of the opening (or just outside it) to allow the seam allowance to return to normal, or taper out the turned-under width to nothing. I've done this on one other project and it's worked well.
• Another (somewhat more involved) alternative to step 3 would be to apply a tiny facing on each side of the slit, just wide enough to cover each cut edge.
• Finally, it's slightly more awkward to pass the tie end through than it would be with a seam pressed open flat. You do get used to it, though.

So there you have it. Similar things should be possible on (true) flat-felled seams too (assuming, of course, you don't put topstitching through all layers of the opening); the main issue is controlling, stabilizing, and/or covering up the cut edges that would otherwise be completely enclosed by the seam finish, but for that opening.

An overwrought overlapped V neckband, and how it could have been avoided

One thing I liked about the Kwik Sew 304 top I made the other week was the overlapped V neckband.

But wait, you say, isn't that just a regular V neckband with a seam down CF? Well, it is, it turns out, if you look at the Vintage Patterns Wikia's picture of the envelope front linked above, and I suspect if you try to follow the intent of the instructions (which are not the clearest).

The funny thing is, my envelope shows a definite overlapped neckline. I wonder if the illustration was changed to match the instructions? I suspect it was — my envelope style, with its mention of Sew-Knit-n-Stretch instead of Kwik Sew at the bottom, is probably the older of the two.

Anyway, I tried to make a compromise between the instructions and the result that is shown on my envelope. For whatever it's worth, I documented the process, but this is certainly not the simplest way to do it. Skip to the end for that.

First, the band is attached most of the way around the neckline. This pattern marks CF, shoulder seams, and CB on the neckband piece. The proper right side of neckband is stitched on all the way to the corner (most patterns would mark this with a dot). The left side is left free for a bit more than the width of the neckband.

To see how this will work: the proper right side of the neckband -- here seen at viewer's left -- will be on top, meaning that where it's being folded under here will be where you want to stitch it to the neckline. 

This particular pattern happens to have you cut some extra length past CF in the neckband; I would guess many others would give no more than the seam allowance.

This is where we want the stitching line on the neckband to match the one on the neckline. If anything, slant it a bit short at the folded edge, to tighten it up -- but not too much, or it will pull at the neckline.

You may as well clip the neckband to the dot now. 

If you're concerned about fraying or stretching, you may want to have staystitched the V before beginning; many patterns will tell you to do this. I don't think it's that crucial on a firm knit like this, especially if one handles it as little as possible after the clipping.

The stitching line on the band matched up to the stitching line on the opening, with the other end of the neckband held out of the way. This is slightly awkward. Stitch from the corner (so you just meet up with the end of the previous stitching — at the dot, if the pattern has one) to the folded edge of the neckband.

Then the left neckband goes flat on top, and you stitch again over the just-previous stitching, through left neckband, right neckband, and neck opening. Also be sure this stitching closes up any remaining hole between the left neckband and the neckline.

It should look like this from the outside. The remaining end of the left neckband is not yet stitched down, so as you can see in the right of the photo, that side of the band looks a little loose.

 

Now the proper left neckband is stitched, roughly perpendicular to the band, down along the first stitching that was done to attach the right neckband to the neckline. This stitching is analogous to the one was chalk-marked on the right end of the neckband, and again, the neckband can be shorted slightly toward its folded edge.

As this pattern had some excess length in the neckband, that can now be trimmed off. (I actually cut the pattern piece a bit short on one end, for lack of fabric.) Again, I would guess many other patterns will just give you the seam allowance, and that step would then be unnecessary.

Now that I've gone and said all that... I drew out the steps far more than necessary. Instead, you could just [reinforce and] clip the neck opening, lay out the neckband with the overlap as it should sit when finished, and attach it not all that differently from how you'd attach a round neckband — you'd just have to start and end at CF. This method would make it much easier to use a serger as well. The only disadvantage I can see is not being able to adjust the tightness of the neckband along its folded edge, but I think that's just as well done in the pattern in the first place.

As for what this says about older Kwik Sew patterns: I feel that as far as instruction quality and overall polish, Kwik Sew really hit its stride sometime in the mid-to-late 80s. By then, their patterns had cutting layouts, very professional-looking flats and construction diagrams, and completely reliable (if not necessarily glamorous) illustrations. Even so, I would say many of their older patterns are really unique and worth seeking out. Their swimwear, knitwear, and lingerie in particular were more varied than the other American brands'. The company still exists — since 2011, as part of Butterick/McCall's/Vogue — but I feel that it's really drifted away from that niche in the past few years. You can see many other vintage Kwik Sews on the Vintage Patterns Wikia.

"Wigan" hem

This is one form of interfaced hem I use sometimes. In general, I interface hems to stop them from getting that ripply bedraggled look over time, or having a very sharp crease along the edge that may fade or even fray with wear. Of course, interfacing can change the body and look of the hem, which you may or may not want; the exact result depends on what you use.

"Fusible wigan" is a bias-cut woven fusible interfacing, in this case a bit over 3" wide. I'm told that it's nothing like real wigan, and that you'll be very disappointed if the latter's what you're looking for. In my case, ignorance is bliss. I most likely got this from Greenberg & Hammer years ago. That source is gone, but you might find it elsewhere in the New York area. You can make your own ersatz-ersatz wigan by cutting bias strips of woven fusible interfacing (which is similar to cotton batiste, with the fusing agent detectable as little rough dots).

The 3"+ width is about right for a hem that's around 2" deep; the wigan will extend a bit above the hem, which I find is helpful for preventing any shadow of the cut edge from showing through if it isn't pressed carefully later on. However, if your piece is unlined and the inside will be seen, you will want a narrower width in relation to your hem depth, so it won't show.

This is how I cut and fuse it to a slightly or moderately flared hem.

First I line up my wigan strip about 1/2-5/8" from the cut lower edge.

I apply it in sections, interrupting it at each seam so that it will sit under the opened seam allowances. (This isn't shown above, but you can see it in the last picture.) The one cut end of the wigan should line up under the seam allowance that is on the right of the section/panel you are currently working on, sidling right up to the stitching without going so far as to curl. If that seam has a lot of flare in it, you might have to trim off a little wedge from the wigan to get it to match the shape of the seam.

In the above picture I haven't got the fabric absolutely flat, either. It should really be completely flat by the time you're about to fuse anything, most especially the upper parts of the wigan. Otherwise the drape is liable to become distorted or worse, you might even get folds on the outer fabric. Ideally you should have a nice big flat surface to rest the entire piece on, so there won't be any weight hanging off. If you have to roll up parts of it to fit on the ironing board, do it.

The wigan should be an even distance from the cut edge all around, and flat at the lower edge (but not necessarily the upper, if the piece is at all flared). I interrupt it at seams, by the way; more on that later. Once it's laid out smoothly, and your fabric in the entire hem area is perfectly flat (unlike mine at that upper area), tack-fuse it lightly just along the lower edge. Stop before you get to any seams.

Now cut the wigan along the well of the seam, cutting it just a slight bit scant.

Stick the cut end back under the seam allowance. Brush away any loose wigan lint, since it may have fusing that could crud up your iron. Now you're ready for the final fusing of this section.

Press the wigan on in stages. I find it easiest to shrink out fullness by holding the iron perpendicular to the hem and just lightly brushing upward, before letting the iron rest on the wigan to really fuse it. If your piece is very flared, you may have to cut and lap the wigan to get enough of the extra fullness out.

That's pretty much it. You can run a line of stitching just above the lower edge of the wigan, and again just below the hem foldline, to really hold it on if you want. Then press up your hem and sew it as desired, by hand or machine. But one more thing....

There may be joins in the wigan, like this. I don't like them, because the fusing side comes out to the right side on those seam allowances. That'll get on your iron, fuse to your lining fabric, or cause who knows what other trouble. If you cut your own, don't seam it like this.

Here's how I deal with it: I chop off the seam.

Then place the one side as usual....

... lap the other over it, and lightly tack-fuse to hold everything together while you trim along the seamline to the left.

Put the end under the seam allowance and proceed as before.

You can sew the lapped-together ends of the wigan if you want, before fusing it. That might be a particularly good idea if the splice is farther from a seam, if it won't be covered by lining, if it will be laundered, or if the area will receive a lot of stress. I don't always find it necessary otherwise.

Short note about bias tubing

This pattern I'm working on has you sew bias tubing using a scant 1/4" seam allowance. I don't have a problem with that in theory, but the thing is, you're using a bias strip 1" wide and you're supposed to stretch it while sewing. In this case, at least with the particular fabric I'm using, you'd end up with the seam allowance being too wide to fit flat inside the tube.

I think a better plan for these narrow-ish tubes (if you're turning tubes at all — RTW doesn't bother with this quite as often as home-sewing patterns seem to; sometimes they just fold and edge- or topstitch) is to focus on keeping the seam allowance just slightly narrower than the tube itself. So you're sewing just a bit over half the width of the folded strip from the folded edge. For thick fabrics, the seam may need to be slightly closer to the cut edge than for thin ones.

 
Ideally the seam allowance width will stay consistent throughout, but if you haven't cut perfectly accurately, it's more important to keep the stitching the same distance from the folded edge. No one will see the exact width of the seam allowance once it's inside the tube.

This is all assuming there isn't a very precise with the turned tube must be, but in general, tubes made this way will end up about a quarter of the width of the cut piece. These particular ones are meant for tie ends and are 1/4" wide finished.

Buckram pocket template

No doubt you've seen this before if you've seen enough books/blogs/tutorials, but it's not a bad idea to make a template for your patch pockets. Here I used buckram, mainly because it's crisp enough, thin, and I have a lot on hand at the moment. It'll ripple a bit when steamed, and it may become sticky due to the sizing, so keep that in mind when deciding if it's appropriate for your particular fabric.

The template is slightly smaller than the pattern without the seam allowances or the fold-down facing; it's looking bigger than the pocket itself in this picture, even though it isn't actually (camera angle? color? I don't really know why.) Anyway, I put it on the wrong side of the pocket and pressed all the edges in around it. This fabric is quite bulky so there's distinctly less than the 5/8" seam allowance pressed in here, which is just as well because that makes it easier to shape the curves. Afterward I felled down all those edges by hand, so that this was not visible from the outside. This both keeps the seam allowance in place and will reduce lint formation as the pocket is used — another way to address that would be to both edgestitch and topstitch, such that the cut edge is between the two rows of stitching, but I wanted only edgestitching in this case.

Paillette buttons

One-hole paillettes can be used as buttons. I've used mother-of-pearl ones here:

You might check bead stores for this sort of thing (although I think these came from Farmhouse Fabrics).

I sewed each on with a clear seed bead, just big enough to keep it from falling off.

Of course, you could use something intentionally contrasting or showy, too. I'd tend to avoid anything much bigger than necessary, though, because it might start to get wobbly or let the thread show.

Roll line on single-layer boiled wool jacket

Here's the roll line on the Malmedy jacket I finished the other day.

Since this is a single-layer jacket (no lining, no facings), this is technically on the outside, but hidden when the shawl collar flips down (and because I ended the tape a bit above the breakpoint).

I used plain-weave fusible tape here. Normally I'd have used a non-fusible tape, but this is all I have in a dark color at the moment. It remains to be seen how well this will work long-term.

I cut it shorter than the flat measurement of the roll line (by, let's say, 1" total) and catchstitched it on, easing the fabric, thus the ripples you see creating shadows on the right edge. Then I steamed it a little, flipped the collar out along the roll line, and, from the inside, pressed LIGHTLY with a lot of steam to form the roll without it becoming too much of a sharp crease.

This way, the roll line stays pretty well established and I don't have to do too much fidding with it every time I put on the jacket.

Understitching by hand

I've got the facings lining of the LWD clipped, pressed, and turned, and now I'm hand-understitching it, using a small backstitch. I get the distinct impression that this gives a softer, more flexible edge than machine understitching. You can also get all the way around sharp curves and corners, no problem.

Also in this case, I don't like how the thread I'd have had to use in my machine looks against my lining fabric — just as well it isn't visible in the lining seams. (With the very thin needle I've had to use for my dense silk crepe lining, my machine refuses to push the better-matching but slightly-too-heavy silk thread that I have through the very dense silk crepe; I've had to use thin cotton "darning and embroidery" thread instead.)