Patterns for Pirates

P4P stylish, modern, wearable patterns

Kelli Dress Hacks

Straight Cut Skirt

I absolutely had to make this dress as soon as I saw Judy’s first sketches for the pattern. I love the cinched in waist and wrap over top and skirt, it’s just my kind of look. Sometimes it’s nice to have a little more coverage on a skirt, though, and I knew I wanted to try a really simple little hack to straighten the bottom edge of the underskirt piece, for a faux wrapover look.

The option is included for the full length skirt pieces, so it was the easiest hack to do and got me just the look I wanted for me.

The rest of the pattern is cut out as normal, the only piece we will be adjusting is the underskirt piece (the un-ruched skirt piece).

I was making the knee length, so I simply measured from the top of the skirt down to the knee length cut line on the right of the skirt pattern piece.  Then I took that measurement (for me making the plus 2X size it was 25 3/4″), and used it to measure down the same length on the left side, using the full length skirt piece as a guide.

I am projecting onto tracing paper here to make it easier for you to see, as my fabric was a bit busy!

Then just draw a straight line across the bottom of the pattern piece to create your new straight hem skirt piece.

If you are using a projector, like me, you can also bring up the handy measurement grid included with the file for calibration, and use that as a guide for drawing a nice straight line across the pattern piece.

 

As I said, this is the only pattern piece that needs adjusting.  Then just sew up your dress as per the tutorial for the pattern, until you get to the instructions for the skirt pieces.

Follow the instructions for the floor length skirt pieces and hem the bottom of the ruched skirt piece, then gather the side as per the tutorial.  Next construct the back skirt and then hem both the back and un-ruched skirt pieces (the piece we adjusted) separately.

Finally, lay the un-ruched skirt piece facing up.  Then lay the ruched skirt piece facing up on top of it. Baste them together along the top and sides, making sure the hems line up nicely with one another.  Here is a picture of the ruched skirt piece laying on top of the un-ruched skirt piece prior to basting.

Lastly, you will want to lay your back skirt piece, right side facing down on top of the two front skirt pieces.  Here pictured below with the bottom corner flipped up so you can more easily see the layers.

Sew the side seams, taking care to make sure the hems all line up together nicely.  Basting the first inch of each side seam at the hemline can help with that.

Flip the skirt through right sides out, and finish the construction of the waist seam as the tutorial instructs and you’re done!

Nice and quick and easy.  I hope you love your new straight hem skirt as much as I do mine (which is quite a lot!)

 

Happy Sewing!

Dana xxx

 

Side Seam Splits for Floor Length with No Slit

If you feel like you need a little more stride/walking room in the floor length with no split you can easily add a side split (or apply this same method to the back seam for a back slit).

Simply stop stitching the side seams of the skirt where you would like the slits to go to.  Press remaining 1/2″ seam allowance not sewn to wrong side and hem.

It’s that’s simple! Now enjoy your extra walking room in your floor length dress!

 

 

All Buttoned-Up | Easy Hacks

Grab those buttons and snaps…the All Buttoned Up pattern is here!! What a beautiful staple for year round sewing. We am so excited to bring you two easy hacks for the All Buttoned Up pattern that will give you even more options. First off, the gorgeous Dana is showing how to achieve the – ohh so popular – lettuce hem look. In the second half of the blog, our talented Rachel is creating separates with the ABU pattern. Yes!

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LETTUCE HEM HACK

 

If you are looking to give a cute and flirty finish to your new cardigan, a lettuce hem is a great way to go. It’s quick and easy and looks fantastic.  Here’s how to do it!

First you will want to remove your hem allowance.  Shorten the bottom edge of your bodice piece by 1”, and the bottom edge of your sleeves by ½”.  Cut out the rest of your pieces as normal.

Then continue with the tutorial instructions until you reach the part where you are told to memory press the hems.  We don’t have hems so instead you will sew the bottom half of the side seams together.  This will enable you to hem the whole of the bottom edge in one go.  (You can’t sew the whole of the side seam, otherwise you will have to hem your sleeves in the round, which is a little tricky with a rolled hem).

Next we will change our overlocker/serger onto its settings for a 3 thread, narrow rolled hem.  You will need to remove your left needle and then change your tensions, stitch length, width and differential feed. Your manual will show you how to do this.  This is the page from my manual for reference but different machines will have slightly different settings.

 The only difference between a lettuce hem and a regular narrow rolled hem is to decrease the differential feed down as far as it goes, and to gently pull the fabric to stretch it as you feed it into the presser foot.  Both of these actions will stretch the fabric as it is sewn, and helps give the wobbly lettuce edge.

You can also slow the fabric as it comes out of the back of the feed dogs, and gently stretch the hem once it is sewn, as this increases the ruffled look.

Then, once you have perfected your narrow rolled hem on scrap fabric you can hem both sleeves and the bottom edge of the cardigan.

 

Reset your machine to its previous settings and finish sewing the side seams, from the hem edge of the sleeve up to the underarm, and down to join the top of the previous side seam stitching. Weave in your tails, or trim and finish with fray stop.

Construct the rest of your garment as per the pattern tutorial.

You’re done! Enjoy your fun new cardigan.

 

 

Happy Sewing

Dana x

 

 

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SEPARATES

Versatility is a requirement in my wardrobe so I always put my patterns to work for me. As soon as I saw the All Buttoned Up Cardigan, I knew I wanted to create separates, too!

For this make, I worked up a cropped cardigan and a pencil skirt, with the crew neck and self-facing placket options. You can follow the same method for the v-neck with banded placket.

Start with the dress length cardigan and cut the full length piece in half at the “Crop” length line. You will now have your cardigan and skirt pieces separated.

Construct your cardigan per the pattern directions.

Assemble your skirt by stitching together at the back and sides.

Cut fusible interfacing strips that are 1.5” wide by the length of your skirt. Iron on the interfacing to the wrong side of the fabric, aligning with the front edges of your skirt. Just as you did with the cardigan, press the front edge ¾” towards the inside and press.

Cut your waistband 5” tall by the length of the top of your skirt, minus ½”. For example, the top of my skirt is 31” wide so I cut my band 30.5” long.

From here you have 2 options. If your fabric has great stretch and recovery, you can cut 2 strips of interfacing ¾” wide by 5” tall. Fuse them to your fabric ½” from the edge.

 

If your fabric has poor recovery, you will want to cut a piece of 2” elastic to sew into your band. No interfacing is required because your elastic will provide stability to your waistband.

Assemble your waistband using the same instructions that you completed for the neckband.

Stitch your waistband to the top of your skirt, ¾” away from the front edge of your skirt.

Complete your skirt placket, buttons, and hem using same instructions for the cardigan.

 

Wear your pieces together for a coordinated look or separately with jeans or a sweater… your options are unlimited!

Happy sewing!

Rachel

We hope you enjoyed these simple modifications to the All Buttoned Up pattern. Don’t forget to share your creations in the P4P Facebook group and on Instagram so we can all admire them!

Using A Projector For Sewing – The Basics

I am going to be spending some time today talking about how I use my projector for sewing. We’ll discuss what type I have, and why I chose it as well as discussing the other options available; how I link it up to the pattern itself; how I ensure it is projecting at the right size; and some of the pros and cons of projecting. Hopefully it will answer a few of the questions you may have about this new sewing craze, and maybe give you the confidence to get involved too! 

I first heard about using a projector for sewing patterns a few years ago.  The idea is that you link a projector up to your pattern, and then rather than printing out the paper pattern pieces to cut and use, you project those pattern images straight onto fabric, cutting out the middle man, so to speak.

I didn’t really give it much thought, it sounded like an interesting idea but presumed it would be a bit too technical for me, and perhaps a bit cumbersome, but I liked the idea of doing away with paper pattern pieces and so when I started to see more people using projectors I decided to dive in and see if I could work out how practical it might actually be.

My projector is an Epson 485WI. I bought it in May 2020 after doing a lot of research about the kind of set up I would need for my own sewing room. I was lucky enough to find it reconditioned, on Ebay, being sold by a private school that was refurbishing its classrooms, and I have to say that it has been absolutely brilliant. Brand new, these types of projectors can be extremely expensive, but if you can find a reconditioned model like mine it’s a great way to make it more affordable.  Things to be aware of are the seller’s returns policy and reviews, and the age of the bulb. Older bulbs will be dimmer, so a new bulb with fewer hours on the clock will give you a brighter image. Some less powerful projectors will need to be used in a darkened room, however mine can be used in the middle of the day, quite comfortably.  The make and model you are looking at should be able to tell you the Lumens rating of the projector, that is it’s measure of brightness.  My projector has a rating of 3100 lumens. 

 I chose it because it is an Ultra Short Throw projector. This means that you do not need to have a large distance between the projector itself and your cutting mat. I did not want to have to mount a projector on the ceiling, as we have a ceiling light right above my cutting table, so I had to look at other options. This type of UST projector sits next to the cutting table, raised slightly above it, and projects down onto the surface of the mat. I have a mantelpiece right behind my table (which is lifted up on risers to a more comfortable height for cutting), and I knew I would be able to sit the projector on the mantelpiece nice and neatly, away from my daughter and my dog – both crash hazards!

If you don’t have this set up, or you would prefer a ceiling mounted projector you can find them relatively inexpensively on Amazon or elsewhere online. You will need to measure the distance between your cutting mat/table and where your projector would be mounted to help choose the right projector for your space. The specifications for the projector you are looking at should detail the minimum distance needed and the size of projection this will give you. Generally speaking, the further away from the cutting mat the projector is, the bigger the projected picture you will get. If you want to get very adventurous, I have seen people setting up their projectors to reflect the picture down to the cutting mat via a mirror, to make a larger projected image, but I don’t have experience of dealing with this myself. 

 

As well as the Ultra Short Throw projector that I have, you can also get Short Throw projectors that are specifically designed to project down from the ceiling but at a closer distance to the cutting mat. Again, the individual projector specs will give you details of how close you can mount the projector to the projection surface. 

My projector is connected via an HDMI cable to the projector directly. Some people use a Chrome cast plugged into the projector and cast the image from their laptop or tablet and others have a cable tethered to the ceiling and wall that runs from their digital device to the projector. However, one way or another you need to be able to connect your projector to your pattern image being displayed on Adobe Acrobat. Some sewists using a tablet can use software called Zodo to display the pattern but I believe there are issues using the zoom function to accurately display the pattern at the correct size every time, so that may be something to do some further research into, if you don’t have a laptop/desktop computer to use. 

Some of the other admins at P4P have kindly taken some photos of their projector setups, to give you an idea of how people are using these new sewing tools!

• Bekah uses a GooDee Wifi mini projector, with a short throw.  She has about 4ft from ceiling to cutting table and so she chose to sink the projector in a recess cut into the ceiling space of her sewing room.  She gets a cutting space of about 24″ x 36″.  Her installation team were very hard workers!

• Lizzy has an Ultra Short Throw Epson 585w Powerlite mounted on a stand at the back of her cutting table.

• Trissa uses a Vivimage Explorer 2 connected to her Mac laptop with a 3rd generation Chromecast.

• Rachel has an Apeman projector mounted on a backdrop stand, for a non-permanent setup option.

So you can see that there are lots of different options out there for you to consider.  My thanks to all my Pirate shipmates for their help supplying pics and setup details.

 

Watch THIS VIDEO to see my projector setup in action as I go through turning it on, calibrating it, selecting options and demonstrate cutting using a projected image.

 

The most important thing about using your projector is that you will need to calibrate it to make sure it is projecting at the correct size. Otherwise you will find that your pattern pieces are too large/small and your garment will not fit. 

 

First of all you will ensure that your projector is casting a correct rectangular shape, with 90° right angles at the corners. This shape can be adjusted by either moving the projector itself, or using the Keystone adjustments on the projector settings. You may also need to adjust the focus as well.

 

Next you will adjust the zoom on Adobe Acrobat to make sure that the pattern pieces being projected will be the correct size. The Facebook group, Projectors For Sewing has a lot of information that will help guide you through this process, which has kindly been provided for free by the page admins. It includes several calibration grid files, which you can download and bring up in Adobe Acrobat. Here is a screen grab of my laptop displaying one of the calibration grids that can be used.  Each line is a certain length as indicated on the grid, and your projected image has to be adjusted so that the projected line measures at the correct length.

These calibration grids will help you adjust the zoom in Adobe to the correct scale, by measuring the lines on the boxes once they are projected onto your cutting table. If the projected line measures 90cm on your tape measure, for example, and the grid says it should measure 80cm, you will need to decrease your zoom to make the image smaller.  There is a little trial and error to start with, but it’s pretty easy once you understand the logistics of it. Once all the lines measure the correct size, your projector is calibrated.   I use a centimetre grid as I am in the UK and use metric, but there are also imperial options too.  You can watch the video linked above to see me doing this live, and see some stills below:

 

My machine stays in place on the mantelpiece, so I do not have to re-calibrate every time I turn it on. I set the zoom to the correct setting (which for me is 15.2%) and then just measure off a couple of lines on the calibration grid to make sure nothing has shifted. 

When you open your P4P projector file, you will see two options at the bottom of the size layers, 2x2in grid and 4x4cm grid. These will bring up a grid which measures either 2×2 inch squares or 4×4 centimetre squares, superimposed over your pattern pieces.

You can then sit your tape measure or quilting ruler next to these to ensure you have got the right setting on your zoom, also. It is important to check the measurements at the top, and the bottom of your projected image, in case the projection has tilted in some way. 

You do not need a projector file, however; some of our older patterns produced before this new projector craze have a layered A0 file, and this can also be used to project your pattern very effectively. The differences will be that the A0 file will not have the sizing grid option included, and the lines on the projector file are a little thicker and easier to see. 

There are many great benefits that you get from using a projector for sewing. The time saving aspect of not having to tape/glue pattern pieces together or cut out paper patterns is astonishing. Plus you will be saving a massive amount of paper from your recycling bin. It’s great for being able to quickly cut out multiple sizes of the same pattern, for siblings etc. 

You will save money on ink and paper too, and at £30 for a cartridge of ink for my printer every few months, it quickly adds up to a cost saving overall. 

 

I find it easy to mash patterns by cutting/drawing part of the pattern out using one pattern image, and then flipping into the next pattern pieces to draw/cut the remainder.

 

You can use it for other things too, we had great fun during homeschooling, projecting my daughter’s maths and spelling homework onto my cutting table, which she really enjoyed. A lot of people use their projectors for home cinema setups, too. Just remember you will need to re-calibrate it afterwards, once you get it back into position. 

If you make lots of pattern alterations, like full bust adjustments, sway back adjustments etc, you may need to get to grips with a software called Inkscape, which allows you to make adjustments to the pattern pieces digitally. Alternately, some sewists like to use their projectors to project the pattern image onto tracing paper, and then make adjustments to the paper pattern pieces as they go. Some adjustments can be made on the fly as you project, just by marking the pattern in a specific location, and then sliding your cutting board along the table to a new position, and then cutting again, but more advanced adjustments will need to be done in one of the ways discussed above. 

With my projector, because the projection area is so large, sometimes I have to add a buffer of blank space around my pdf pattern so that I can manoeuvre it into the right place on my cutting table.  I use a website called sedja.com to do this, and you can find full instructions on how to do this in the helpful files on the Projectors for Sewing Facebook page.  I like to add a 25 inch buffer on every side.  If you’re not sure what I mean here, the video linked above will show you how this works.

 

The only other downsides I have so far come across, is that if you do not note what adjustments you have made to a pattern then when you come back to it later, because you may not have a hard, paper copy to refer to, you will have forgotten what you did. For example, my daughter is tall and slender, and I always have to grade sizes for her. At the moment she is an age 8 height, 5 waist and 6 hip. I might make something for her and love the fit, but if I don’t note down what grading I did, if I want to make another I will have forgotten.   You can add notes to your pattern on Adobe Acrobat however, just remember to make them!

 

Sometimes it is also difficult to see which pieces to cut when looking at the projected image, as the text may be a little blurry. I find that if I turn on the tools and comments section, I can use a large red line to score out the pieces I don’t need to cut, so I don’t get confused when cutting out. 

The only other downside? Sometimes, especially in the middle of summer, the fan on the projector can kick out quite a lot of heat.  I cut out a pattern wearing a bikini during a particularly hot spell last year!

Overall, it’s a fantastic tool to have in your sewing arsenal, the time and money saving aspect alone is enough to make it worthwhile to give it a go. I certainly haven’t looked back. 

I would recommend doing a lot of research before you dive in and make a purchase. There is a vast amount of information on the Projectors for Sewing page, and I would recommend joining  and seeing what setups people have to get a little inspiration. 

 

Hopefully this has helped you get an idea of how projectors can be used in your sewing room to help you and maybe inspire you to join this growing community.

Happy Sewing!

Dana x

Dana is a sewing teacher and fabric fancier living in Suffolk, UK.  She specialises in plus size womenswear and funky kids clothes, and she loves testing and blogging for P4P.  You can find her at The Slippy Chicken Company

P4P University – Interfacing for Garment Sewing

 

The correct use of interfacing is one of the main things that takes your garment sewing to the next level.  Today we will be talking about different types of interfacing, why you might want to use it and how to correctly apply it.

 

The first thing we need to clarify is the difference between stabiliser and interfacing.  Getting these two confused is easy to do, and people can often buy the wrong one for their needs, but their uses are quite different.

STABILISER

Stabiliser is a type of textile used to add extra weight to a particular part of a piece of fabric, usually so some sort of decorative work can be added to that section.  For example, you might add stabiliser to the wrong side of the front of a pair of children’s pyjamas to add some embroidery or applique to the bodice.  The stabiliser helps keep the fabric from distorting when adding the decoration to it.  It can be left on, trimmed down or torn off after use, depending on it’s type.  The picture below shows some embroidery on the reverse of a pair of pyjamas.  You can see the tear-away stabiliser still sitting between the A and the Y, after the rest has been removed.

INTERFACING

Interfacing is a type of textile used on the wrong side of a fabric to make that particular area stronger/more weighty.  For example it is often used in shirt collars to help them stand upright.  The interfacing gives the fabric more rigidity and is not removed, it is permanently attached. 

 

There are two types of interfacing, differentiated by the way you attach them to your fabric.  ‘Sew In’ interfacing is sewn onto the wrong side of your main fabric, within the seam allowance so it is not visible when the garment is finished.  Alternatively it can be quilted on in a particular pattern of your choice, so that it is visible when completed.  It seems to be less popular these days, but is the traditional, couture interfacing.

More popular is ‘Fusible’ interfacing.  This is the same as ‘Sew In’ but it has a layer of heat activated adhesive on the wrong side, which means it can be ironed directly onto the wrong side of your main fabric and adheres permanently.  The instructions for ironing will either be printed on the selvedge, if you have bought it by the metre, or they will be on the packet if you have bought it bagged.  It is important that you ensure the interfacing is fully adhered before sewing the garment together because otherwise it can start to peel off and look messy. This picture below shows an example of an iron-on interfacing attached to the wrong side of a piece of cotton.

 

Interfacing comes in many different weights, from a light weight interfacing used to add a little extra body to the facing on a silk blouse, to a very heavy weight interfacing used to reinforce the brim of a cap/hat.  I used a medium weight interfacing along the placket of my So Classic Sundress to give added support for the poppers and stop it distorting with wear.

Pattern instructions will advise you which weight of interfacing you will need, so that you can ensure you purchase the type needed to get the finish shown in the pattern listing pictures. For example, the Timeless Tunic notions require a lightweight interfacing for adding body to the neckline facing to help it keep the correct shape.

You will also find interfacing used in woven patterns to add body/structure/strength to shoulder seams, around pocket openings, along plackets, in collars, and even over entire bodice and sleeve pieces in jackets and coats.

KNIT/STRETCH INTERFACING

As well as woven interfacing, you can also find knit/stretch interfacing used for adding greater structure or strength to knit fabrics.  It can be used to stop these fabrics from stretching out too far, for example it is often used around pockets in a knit dress, so that the dress doesn’t become misshapen with use.  I like to use it to add greater structure to the front of my Go To Jacket before sewing on the zipper, as it helps stop the fabric stretching out when attaching the non-stretch zipper to the stretch fabric.

 

In this video I discuss a few different types of interfacing and show how they are adhered to fabric.  Sometimes seeing the fabrics being handled can give you a much clearer idea of what they would be like to use in real life.

Whichever type or weight of interfacing you need, the pattern you are using will give you details of what you need and when you need to use it.

 

Now that you know more about how to use interfacing, why not take a look at one of these patterns above or the Timeless Tunic or Tiny Timeless and put your new found skills to use.

 

Happy Sewing!

Dana x

 

 

 

 

 

 

P4P University – Armbands Tips and Tricks

P4P University – Armbands Tips and Tricks

 

I’m going to spend a little time today showing how I get the best finish on my armbands.  They can be quite tricky to get right and people often struggle with ‘bubbling’ over the shoulder, which can ruin the look of an otherwise perfect neckline.

The pattern I will be using to illustrate how I sew my armbands is the Youth Essential Tank.  There are many different cut lengths, from shirt to dress length and the option for a regular tank or a racerback cutline.  Today I will be sewing the shirt length tank option for my daughter, ready for the summer weather which we are all desperate for right now!

The first thing to remember is that there are pattern pieces for you to use for the neckband and armband options and these are calculated at 85% of the opening, but the fabric you use may need you to make some adjustments to those pieces to get the perfect fit.  A fabric like a 100% cotton interlock won’t have as much stretch as you may need and you will probably want to add a little length to your bands, perhaps recalculate at 90%.  Something like a ribbing/cuffing has lots of stretch and that could be cut at 75 or 80% to get the same look. Either way you will want to ensure that you sew the shoulder and side seams of your garment at the full ½” seam allowance or you will find that the bands won’t be long enough, as not using the full seam allowance will make your neck/arm openings wider than they were drafted to be.

If you prefer a video, I filmed the process of making my Essential Tank here:

Sew your shoulder seams and then prep your neckband by sewing the short sides, right sides together to form a loop.  Fold your fabric wrong sides together around the long edge and then place a clip at the joining seam.  Place another clip at the other end of the band by stretching the band a little to find the centre point opposite the joining seam.  Unlike a regular neckband, we won’t be quartering the neckhole and the neckband, just halving. Find the centre front and centre back of your neckhole and place clips. You should have this.

Next, evenly stretch the neckband until it fits the neckhole and clip the neckband to the neckhole at the shoulder seam (this won’t be the normal quarter point as the shoulder seam will be further towards the back). Then also place clips 1 inch either side of the shoulder seam NOT STRETCHING THE NECKBAND BETWEEN THESE THREE CLIPS. (If making an adult sized tank I wouldn’t stretch for 2 inches either side of the shoulder seam), then ease the remaining neckband in between the clips either side of the shoulder seam and the centre front and back clips.

Sew the neckband on, making sure to use the full seam allowance, and remembering not to stretch the neckband over the shoulder seams.  This reduces the tension on the neckband here and helps to stop the ‘bubbling’ we spoke of earlier.  I prefer to sew with the band uppermost as it helps me keep an eye on the seam allowance. I also like to start sewing just before the shoulder seam as this is the area we will NOT be stretching as we sew.  It is easy to forget about this if you come to it at the end of sewing the neckband on, so I like to do this part straightaway so I don’t have to worry about forgetting about it later.

TIP – If you have difficulty managing the three layers when sewing the neckband on, or if your fabric has a tendency to curl badly, I recommend sewing the neckband together around the long raw edge before attaching it to the bodice.  You can either use your overlocker/serger without trimming any seam allowance off, or do a zig zag stitch with your sewing machine right at the edge (you may need to stretch the neckband slightly as you sew round, just to make sure it will still fit in the neckhole after sewing this temporary stitch).  It just keeps those two layers together whilst you are sewing it onto the bodice, then you simply trim if off with your serger blade when you attach it, or trim with scissors if using a sewing machine.

Press with steam and then topstitch.  You can either use a chain stitch as I have here, or a regular 2 or 3 needle coverstitch.  If you have a sewing machine then you can choose a twin needle, long straight stitch or zig zag/stretch stitch of your choosing.

Next we move onto the armbands which are sewn in the same way as the neckband.  First sew the short ends to form a loop, then fold wrong sides together and mark the seam and opposite point on the band with clips or pins.

The armbands are a little easier because more often than not you find the shoulder and underarm seams are opposite one another.  I like to put the armband seam at the bottom of the armscye, for comfort and so you cannot see it when it is worn, then clip in place.  Next clip the opposite end of the armband to the shoulder seam.  Again, clip the armband to the armhole WITHOUT STRETCHING for 1 inch either side of the shoulder seam (again for a larger sized adult tank, I would not stretch for 2 inches either side of the shoulder seam), then ease the rest of the armband into the armhole between the other clips.  The idea behind this is that it should allow the armband to run flat over the shoulder seam, but then the added tension around the bottom of the armband will encourage it to flip up and sit snug against the side of the body at the bottom and sides.  

Sew, using the full seam allowance, then press with steam and top stitch as before.

Finish the rest of your garment as usual, and you’re done.

I hope you found this tutorial helpful and don’t forget if you have any questions we have a large community on our Facebook page who are always happy to help.

 

Happy Sewing!

 

Dana x

P4P University – Elastic

P4P University – Elastic 101


Hi,  I’m Dana one of the P4P team and I’m here today to talk all about elastic with you! We’ll be covering lots of different types of elastic that you may want to use in your sewing and showing your some examples of what they look like sewn up into finished garments, the times you may want to use them and the stitches I like to use to get the best finish.

To go alongside this blog post, I have filmed a video which you can find on the P4P You Tube channel here:

P4P University Elastics 101 Video

So, first things first, before you sew with any elastic there is one thing you will always want to do with it before you begin – exercise it!  Give it a good tug several times to make sure if it is going to stretch out it does it now and not after you have finished your garment.  There is nothing worse than something which fits great at first and then soon starts to get baggy.

 

Let’s introduce and cover off some types of elastic you are likely to encounter when home sewing:

Regular Knit Elastic

This comes in many different widths, depending on your need.  Pictured are 1″, 1.5″ and 2″ elastics.  Usually white or black in colour, I generally choose white because you can’t see it under lighter coloured fabrics.  This plain version is usually used for something like an enclosed elastic waistband, where the elastic is fed through a casing to form the waistband.  These SOS Pants have an enclosed elastic waistband.  It makes for a soft and comfortable to wear garment.

SOS Pants with enclosed elastic waistband

However, you can also find patterned elastics, like this:

Patterned Knit Elastic

and these can be used as a waistband in their own right, just by top stitching in place of a casing.  Super quick and easy way to finish a skirt or pair of shorts!  Just wrap around your waist and cut to size, then butt the short ends and zig zag stitch together to form a loop. Quarter the elastic, quarter the top of the garment and sew right on.

Buttonhole Elastic

This is great if you have small people that keep shooting up overnight, like me! You can use it in a waistband secured with a button, and then unbutton it as they grow.  Great for things with lots of ease drafted in, like the Walk The Planks.  Just remember to cut it a little longer than needed when you first sew it in so you have room to lengthen it.

Clear Elastic

Clear Elastic is one of the things I had never heard of before I started sewing and now it’s the thing I use the most.  I use it for gathering skirts to fit bodices, like the Sweetheart Dress; for stabilizing shoulder seams on lightweight stretchy fabrics like rayon spandex, that have a tendency to grow otherwise; for adding ruching; and for adding extra strength to the seams of stretch fabrics under pressure, like in a sports bra, where it just serge it right on when sewing the seam itself.  Again this comes in different widths, pictures is 3/8″ and 1/4″.

Swim Elastic

As it’s name suggests Swim Elastic is used in swimwear.  Regular elastic can perish under the combined attack of both strong sunlight and chlorine, so it is best to use this type of elastic in swimwear to ensure it stands up to the test of time.  I often use clear elastic in swimwear too, both work fine, you just don’t want to use a regular knit elastic because when your pull your swimsuit out after a winter in storage you will probably find that the elastic has perished and lost all it stretch. If you’re going to take all that time to make a custom swim suit, you may aswell try and make sure it lasts.

Sunflower Swim Top

I used several different widths of swim elastic in this Sunflower Swim Top to get the best fit for me, including 3/8″, 1/2″ and 1″.

Picot Elastic

Picot Elastic is often thought of as a lingerie elastic, and it’s great for that but I think it’s also really pretty when used to finish the neckline and sleeves of a dress, where you just see the little picots popping out from the inside.

Me Hearties Dress

I used picot to finish the neckline and sleeves of this Trixie Lulamoon dress I made for my daughter’s birthday using the Me Hearties Dress pattern.  I just serged it on right sides together, flipped it down to the inside and then top stitched it with a triple zig zag stitch.  This is my favourite stitch for top stitching elastic because it is a really great stretchy stitch but it is also quite a wide stitch and that helps stop the elastic from flipping up.

Fold Over Elastic

You will often see Fold Over Elastic being abbreviated to FOE in sewing groups, but as you would imagine from its name you fold it over the raw edge of the fabric and top stitch in place. You can either use your coverstitch if you have one, or just sew with a triple zig zag stitch.

Fierce Bra and SOS Pants

It is used in the Fierce Bra to finish the top raw edge of the bra and also form the straps.  It takes a bit of practise to get used to handling it at first but it a very useful tool to have in your arsenal!

Soft Waistband Elastic

Lastly we’re going to talk about Soft Waistband Elastic.  You will probably recognise this as the type of elastic used on men’s boxers.  It is thick, soft, super stretchy and has great recovery and we use it both as the underbust band on the Fierce Bra and the waistband on the Fierce Undies.

Fierce Bra and Undies

You can either serge or sew the band on like a regular knit band, flip up and top stitch the seam down or you can just sew the band into a loop by butting the short ends together and then topstitch it right onto the top raw edge of the fabric, like in the picture above.  It makes sure your undies don’t shift all day whilst still being super comfortable to wear.  It comes in lots of different colours and some fun printed designs too and is designed to stay visible and not be sewn inside a casing.

Hopefully that has helped give you an idea of the types of elastic you might encounter whilst sewing and what yu may need them for.  Don’t forget to watch the video that accompanies this post for more examples to guide you and…

Happy Sewing!

Dana x

The Peg Event :: FOE Pocket Hack for the Peg Legs – Colorblock Pack

Welcome back to another day of The Peg Event! We hope you are loving our newest release of the Peg Legs – Colorblock Pack and update to the beloved Peg Legs, and Peg Legs – Add-On Pack!

Before we get to the main event, I’d like to remind you that we’ve got a sitewide sale happening from now until Saturday, September 12.  In addition to that, we’ve got an awesome giveaway happening, with 14 amazing prizes (and 14 amazing prize winners)!  You can read all about The Peg Event HERE.

Our Fabulous Group Admin + Tester Extraordinaire, Dana Cole, is being extra amazing today and bringing us an easy hack for the new Peg Legs – Colorblock Pack.  Take it away, Dana!

FOE Pocket Hack for the Peg Legs – Colorblock Pack

If, like me, you made about a million Fierce Bras you probably have lots of leftover bits of Fold Over Elastic (FOE) hanging around in your elastics box.  Using FOE to bind the top of the pockets in the new v-contour waistband, or the side pockets of the side colour-block Pegs released during the previous update helps give them even greater stability.  I have been for several runs in my new Peg Legs with my phone in the pocket and it has stayed secure the entire time. It’s so easy, here’s how to do it.

First cut out your pattern pieces as normal and then grab your FOE.  I used ½” here but you could use a ¼” if you have that too.

In the new v-contour waistband there are two pockets which sit on top of one another over the centre back panel piece.  I am using the smaller pocket, which sits on the outermost layer for our example today.  The fabric is a swim knit, which I love to use for running Pegs.

Make sure you exercise your elastic really well. Then lay it down next to the top of your pocket and cut it to the same length.

Then sandwich the raw edge of the top of your fabric inside the FOE, so the FOE folds down over the top and covers the front and back equally.

Pin/clip in place.  I like to use a glue marker here at either end to stop the elastic from shifting when you start to sew and remove the pins/clips.  I use these all the time when sewing slippery or delicate fabrics.

I like to use a triple zig zag stitch when topstitching elastic on swimwear, sports or lingerie.  It’s not only a great stretchy stitch but because it is so wide it also helps keep that elastic down and stops it from flipping up, which is what happens if you don’t sew close enough to the edge.

Make sure your needle when it swings to the left comes right to the edge of the elastic.  This helps stop it flipping up too.

All done!   Now just assemble your other pocket, if you are using it, the same way and then construct the rest of your Peg Legs as per the tutorial.

Enjoy your new Pegs!!


I like this one for my phone…and this one for my keys!

Thanks and happy sewing, Dana xx

Here are some links to all of our FREE leggings patterns, so you can get to sewing!

PEG LEGS | PEG LEGS – ADD-ON PACK | PEG LEGS – COLORBLOCK PACK

But wait!  There’s more!  We’ve got a giveaway prize to tell you about!  Sponsoring today’s portion of The Peg Event is a fabulous fabric company!

SLY FOX FABRICS – www.slyfoxfabrics.com
INSTAGRAM | FACEBOOK GROUP

Sly Fox Fabrics is the best source for affordable, luxurious apparel fabrics.  We offer a range of apparel fabrics, including buttery soft Double Brushed Poly which is perfect for soft, cozy Peg Legs!

One lucky winner will walk away with a $50 Gift Card to their shop!  And on top of that, you can enjoy a 20% Discount thru 9/12/20 by using the code: PegLegMania

The two fabrics featured in the image above can be found here: Heavy Double Brushed Poly Solid – Black | Double Brushed Poly – Field of Dreams

**Daily and Grand Prize winners will all be announced together on Sunday, September 13.

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