Claire Shaeffer’s
S EWING
Claire Shaeffer’s Fabric Sewing Guide
is your one-stop sewing resource.
•
•
•
•
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Fiber Content
Fabric Structure
Fabric Types
Interfacing and Linings
Sewing Techniques
This new full-color edition contains everything you need
to know, and will surely be a reference you will review
again and again. In addition to an extensive glossary
with answers to the most common sewing questions, this
must-have guide includes easy-to-read charts for needle
sizes and thread and stabilizer types.
Join a world of crafters at
www.mycraftivity.com.
Connect. Create. Explore.
Z0933
US $39.99
(CAN) $43.99
)3".
)3".
8
FABRIC
SEWING
GUIDE
2nd Edition
2nd Edition
EAN
FABRIC SEWING GUIDE
Internationally respected author, lecturer, college
instructor and columnist, Claire Shaeffer has completely
revised her classic standard on fabric. Th is encyclopedic
guide to the selection, wear, care, and sewing of all
fabrics has been updated to include comprehensive
information on:
CLAIRE SHAEFFER’S
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CLAIRE SHAEFFER’S
FABRIC
SEWING
GUIDE
Krause Publications
Cincinnati, OH 45236
www.mycraftivity.com
Z0933i_Shaeffer_p001-011.indd 1
•
Connect. Create. Explore.
8/1/08 10:21:11 AM
© 2008 by Claire Shaeffer
Published by
Krause Publications
4700 East Galbraith Road
Cincinnati, OH 45236
All rights reserved. No portion of this publication
may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including
photocopy, recording, or any information storage and
retrieval system, without permission in writing from
the publisher, except by a reviewer who may quote
brief passages in a critical article or review to be
printed in a magazine or newspaper, or electronically
transmitted on radio, television, or the Internet.
Other fine Krause Publications titles are available from
your local bookstore, craft supply store, online retailer
or visit our website at www.fwpublications.com.
12 11 10 09 08
Project Manager: Jay Staten, Toni Toomey
Content Editor: Barbara Smith
Copyeditor: Barbara Weiland Tagart
Illustrations: Rachael Knier and Rachael Smith
Cover designer: Julie Barnett
Interior designer: Sandy Kent and Rachael Smith
Photography (unless otherwise credited):
Claire Shaeffer and Sarah Benson
Library of Congress Cataloging-in-Publication Data
Shaeffer, Claire B.
[Fabric sewing guide]
Claire Shaeffer’s fabric sewing guide / by Claire
Shaeffer. -- Rev. ed.
p. cm.
ISBN 978-0-89689-536-2 (pbk. : alk. paper)
1. Textile fabrics. 2. Dressmaking. 3. Sewing.
I. Title.
TT557.S53 2008
646.40028--dc22
2008017158
5 4 3 2 1
The following registered trademark terms and
companies appear in this publication
Kodaire™, Kodalite, Kodel®, Kodofi ll™, Lamous®, Lastex™, Lenzing Lyocell®,
Lenzing Modal®, Lethasuede, Lifa®, Lorette®, Lurelon®, Lurex®, Lustra®,
Lycra®, Marimekko®, Matte Touch®, Maxi-Lock®, Metalastic®, Metlon®, Metroflock®, Metrolene®, Metrosene Plus™, Mettler Poly Sheen®, Micro Modal™,
A.C.E.®, Acrilan®, Agilon®, Airloft®, Alaskine, Alcantara®, Anso®, Antron®,
Microft®, Micromattique MX®, Microsoft®, Microsupplex®, MicroSupreme®,
Aqua Shell®, Aqua Shell®, Aquator®, Armo® Wool, Armo® Rite, Arnel®, Avisco
Microtherm®, Milium®, MiniMicro®, Mitin®, Mylar®, Mystique™, Natural
XL®, Avlin®, Avril®, Avron®, Avsorb®, Ban-Lon®, Barge™ cement, Barge™ glue,
Luster®, NatureTex™, Naugahyde®, Needle Glide®, No Shock®, Nomelle®, No-
Beau-Grip™, Bernina®, Bernina® Aurora 440, Bi-Loft®, Bio Fresh, Biz, Blue C®,
mex®, Norae®, Nordic Fleece®, Nupron®, Opelon™, Orlon®, Palm Beach®, Pa-
Borgana®, Bully Lock, Byrd Cloth®, Cadon®, Caprolan®, Captiva®, Caressa™,
Qel®, Pellon®, Pil-Trol™, Plyloc™, Polarfleece®, Polarguard®, PolarLite®, Polar-
Casuwool®, Celanese®, Celebrate®, Chinella®, Chromespun®, Citifleece, Cleer-
Plus®, Polartec®, Polartec® Power Dry®, Polartec® Power Shield™, Polartec®,
span®, Clover™ tire thread, Coloray, Comfort Fiber®, ComFortrel XP®, Com-
Power Stretch®, Posder Dry®, Prima®, Qiana®, Qiviut®, Quallofi l®, Quick Knit,
Fortrel®, Comiso®, Comuloft®, Cool Wool®, CoolMax®, Cordura®, Core-Lock™,
Quick Liner®, Remember®, Retayne, Revere®, ReviveX®, Rexe®, Rib-It®, Savina
Courcel®, Courtek M acrylic™, Creora®, Creslan®, C-Th ru® Ruler, Dacron®,
DPR®, Savina®, Savina DPR®, Scotchgard®, Seam Sure™, Seams Great™, SEF®,
Dan-Press®, Dantwill®, Darleen®, Darlexx Superskin®, Darlexx®, Dorlastan®,
Sensuede®, Sensura®, Sesua®, Sewers’ Aid®, Shanton®, Shareen®, Shimmereen™,
Dow XLA™, Drima™, Drizzle Cloth™, Dryline®, Dura Spun®, Du-Rel®, Du-
Slinky®, Sofrina®, Soft Skin®, Soft Touch®, Soft alon®, So-Lara®, SolarKnit®,
rene®, Durvil®, Dynel®, Ecofi l®, Eco-Friendly™ Batting, Eco-Friendly™ Batting
Solarweave®, Sorbit®, Spandaven®, Spandura®, Spanzelle®, Stitch Witchery®,
Blend, EcoSpun®, Ecsaine®, Eloquent Luster™, Eloquent Touch™, Encron®,
StretchAire®, Strialine®, Stunner®, Sulky®, Sunbrella®, SunRepel®, Superloft ®,
Enka® viscose, Enkacrepe®, Enkair®, Enkalure®, Enkasheer®, Entrant®, ESP®,
Superwash®, Supplex®, T.E.N.®, Tackle Twill®, Tactel Micro®, Tactel®, Tactel
Espa®, Essera®, Estron®, Eucalan® Woolwash, EZ® Stitch-Th ru, Facile™, Fairtex®,
Micro®, Tanera®, Taslan®, Teflon®, Teklan®, Tencel®, Terylene®, Thermax®,
Fantastik®, Fibermet®, Fi-lana®, Fine Fuse®, Formula 409®, Fortisan®, Fortrel®
Thermolite®, Thermolite®, Th insulate®, Th insulate® Lite Loft , Th inTech®, Tre-
MicroSpun®, Fortrel®, Foxfibre®, Furelle®, Fusi-Knit®, Glore-Valcana®,
vira®, Tuftex®, Turtle Fur®, Type 420®, Tyvek®, Ultra Touch®, Ultraglow®, Ul-
Glospan®, Golden Glow™, Golden Touch™, Gore-Tex®, Gore-Tex®, Hang
traleather®, Ultrasuede®, Ultrex®, Ultron®, Velcro®, VelvaBoard, Verel®, Ver-
Loose™, Harris Tweed®, Heat’n Bond®, Helanca®, Herculon™, Hi-Tech Sup-
satech®, Vincel®, Vyrene™, WeatherBloc®, Whisper Weft®, Windbloc®, Wind
plex®, Hollofi l®II, Hump Jumper®, Hydrofi l®, Ingeo®, Interspan®, JetSpun™,
Pro®, Wonder-Under®, Xena®, Yukon Fleece®, Zankara®, Zantrel®, Zefran®,
Jean-a-ma-jigs®, Jiff y Fuse™, Kevlar®, Kinderfleece, K-Kote Plus®, Knit Fuze™,
Zeft ron®, Zirpro®, Zitkrome®
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Since I have accepted my obsession and acknowledged that I like collecting fabrics almost as much as
I like sewing them, I’m very well adjusted. After all,
everyone collects something (recipes, coins, stamps,
dolls, wine, guns, woodworking equipment, records,
china figurines, records, videos) or has a hobby to enjoy in his or her leisure hours, so it’s
all right for me to collect fabrics.
Unlike most collections, the only constant in mine is change. I am an avid sewer, and
unlike many fabric collectors, I have the confidence to cut or sew any fabric. Long ago,
I decided to discard fabrics that no longer meet my standards, are the wrong color, or
make me feel guilty. I don’t have room for them to clutter my space and life.
For me, sewing fulfills both the desire to make something creative and to show it off,
and part of my joy is taking a risk to achieve the unexpected and conquer the unknown. I
love to experiment, try new techniques, fine-tune old methods, and combine fabrics and
designs innovatively.
Most of my results have been successful, and some have been stunning creations beyond my wildest expectations. When I have the occasional failure, I remind myself that
professionals have them, too, and it really is no worse than burning the brownies.
This book is the only comprehensive sewing reference that focuses on fabrics. It began several decades ago when I first taught Sewing Special Fabrics at the College of the
Desert in Palm Desert, California. There was no book that came close to being a textbook. As I researched my subject, I realized that, in addition to the wealth of material
on special fabrics scattered in a variety of different sources, a great deal of information
about traditional fabrics was no longer available, some of the information provided by
the home-sewing industry was incorrect, and many of the techniques I had learned as a
professional had never been put into print. So the project mushroomed into a very large
book that includes techniques for sewing all types of fabrics. The information is based
on my experiences as an educator and professional home sewer; interviews with designers, experts, and educators in the home-sewing and fashion industries; visits to factories
and designer workrooms; research in consumer and trade publications; research in the
costume collections at the Victoria and Albert Museum, Metropolitan Museum of Art,
Fashion Institute of Technology, Fine Arts Museums of San Francisco, Phoenix Art Museum, and the Museum of the City of New York; countless snoop-shopping expeditions
to examine ready-to-wear in all price ranges; and reexamining the garments in my own
personal collection. The Second Edition has been revised extensively to incorporate new
fabrics, fibers, design ideas, and techniques. It continues to be the most comprehensive
reference available and includes 300 diagrams and 248 color photographs.
If you are new to sewing, you will find all the basic information needed for your first
projects. As you grow more experienced, you will discover a variety of construction alternatives and learn to select different methods appropriate for the fiber, fabric, garment’s
use, your skill level, time available, and personal preferences. If you are an educator, sewing professional, or a very experienced home sewer, you will be inspired by the many new
ideas, and you will learn new ways to apply skills you already have.
I know I am obsessed.
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Acknowledgments.
Once again, I would like to thank the many individuals
and businesses who provided information and photographs for the
original edition (1989) and the updated edition (1994).
For this Second Edition, I would like thank the following:
The businesses and individuals who provided fabrics and products:
American & Efird, Inc. (Mettler), Bernatex, Britex Fabrics, Coats &
Clark, Emma One Sock, Marcia Cohen, Jean Dilworth, Something
Wonderful!, Plumridge Inc., Sawyer Brook, Sew Beautiful magazine,
Linda Stewart, Superior Threads, Audrey Szmyd, Terri Tipps, Gutermann of America, Inc., and YLI.
Everyone who provided photographs: Jennifer Amor, Lisa Aherns,
Susan Andriks, Ileana Andruchovici, Apple Annie Fabrics, Paula
Archbold, Karen Augusta, Australian Stitches magazine, Kathy Barnard, Annie Barnes, Sarah Benson, Bernina of America, Inc., Danielle Billing, Sharon Blair, Barb Blum, Ellie Bremer, Kathryn Brenne,
Bonnie Browning, Nancy Cain, Linda Calvo, Christie Chase, Ruth
Ciemnoczolowski, Marcia Cohen, Barbara Cohn, Lynn Cook, Mary
Corbett, Susan Crane, Terry Crawford, Anna Csaba, Patti Dee Wazny, Joyce DeLoca for Signe, Jean Dilworth, Pamela Erny, Karen
Evanetz, Karmen Flach, Jessica Franklin, Wendy Gardiner, Michelle
Gillmartin, Gini’s Greyhound Fashions, Nancy Gray, Judy Gross,
Melissa Hayden, Bianca Herrera, Sara Hochhauser, Hoff man Media, Cathie Hoover, Doreen Hund, Susan Igou, Anna Marie Isaacson, Mimi Jackson, Jana Jamieson, Tomasa Jimenez, Laura Johansen,
Adrena Johnson-Telfair, Mary Johnson-Voss, Christine Kazmerzak,
Kayla Kennington, Kacie Killen, Juliette Kimes, Leah Klingelhofer,
Sandi Knutie, Rachel Kurland, Michelle LaFortune-Wamego, Carol Lambeth, Joy Landeira, Martha Leefson, Marie Lehfeldt, Justine
Limpus Parish, Stephanie Link, Angel Livingston, Justine Livings-
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ton, Linda Macke, Joi Mahon, Make It With Wool, Hazel Matthys,
Barbie McComick, Kwik Sew Co., Diane McPartland, LJ Designs,
Elaine Mintzer, Debbie Mocnik, Gayle Moline, Jon Moore, Patricia
Mundwiler, Teresa Nieswaag, Tammy O’Connell, Meredith Olds,
Phoenix Art Museum, Cheryl Pollock, Alison Ray, Mary Ray, Faith
Reynolds, Bob Ruggiero, David Sassoon, Paula Scaffidi, Penny Schwyn,
Melissa Schultz, Claudia Scroggins, Denise Severson, Dennita Sewell,
Lisa Shepard Stewart, Rachel Siegel, Silhouette Patterns, Simplicity
Pattern Co., Sandy Snowden, Cherrelle Sowell, Shelma Sperry,
Rosemary St. Claire, Gabrielle Stanley, Linda Stewart, Marinda Stewart,
Susan Stewart, Linda Teufel, The McCall Pattern Co., Taunton Press,
Cathy Thomas, Dot Treece, Charles Whitaker, Darlene Wilson, and
Debra Young. Every effort has been made to provide appropriate credit.
If the credit is incorrect or missing, please advise.
Sarah Benson, for photographing numerous fabrics and garments,
organizing the photographs and photo releases, and making samples.
Cheri Collins for developing the stabilizer chart.
Bernina of America, Inc. for continued support and excellent equipment.
My colleagues, students, and Internet friends who shared their expertise and enthusiasm.
My parents, the late Juanita and Louie Brightwell, who gave me
wings and taught me how to use them, and my husband, Charlie, who
supports and encourages me.
My editors Toni Toomey and Vanessa
Lyman and the staff at F+W
Publications for their expertise,
support and countless hours of
hard work and attention to detail.
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table of contents
Introduction , 10
PA R T O N E
PROLOGUE
Chapter One
Basic Guide for Sewing
Any Fabric, 12
Plan the Garment, 13 | Design Ideas and Pattern
Selection, 19 | Assemble the Equipment, 21 |
Sewing Notes, 25 | Urban Myths, 31 | How to Sew a
Zebra, 32
Chapter Three
Manufactured-Fiber
Fabrics, 82
Rayon, 82 | Lyocell, 84 | Acetate and
Triacetate, 86 | Nylon, 88 | Polyester, 90 |
Lightweight Polyesters, 94 | Acrylic, 97 |
Modacrylics, 99 | Stretch Fibers, 99 | DOW
XLA, 101 | PLA, 101 | Olefin, 101 | Microfibers,
102 | Wicking Fibers, 105
Chapter Four
Leathers, 106
PA R T T W O
FIBER
CONTENT
Leather and Suede, 106 | Pigskin, 115 |
Shearling, 115
Chapter Five
Synthetic Suedes, 118
Chapter Two
Natural-Fiber
Fabrics, 34
Cotton, 34 | Ethnic Cottons, 40 | Linen, 40 |
Hankerchief Linen, 45 | Ramie, 45 | Hemp,
46 | Bamboo, 47 | Silk, 48 | Silk Blends, 52 |
Lightweight Silks, 56 | Wool, 61 | Woolens and
Worsteds, 62 | Lightweight Wools, 69 | Textured
Woolens, 71 | Worsted Suitings, 72 | Wool
Coatings, 74 | Washable Wool, 78 | Hair Fibers, 79
Chapter Six
Nonwoven Plastics, 124
Pleather and Vinyl, 124 | Vinyl Laminates, 128
Chapter Seven
Fur, 129
Chapter Eight
Feathers, 138
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PA R T F O U R
FA B R I C
TYPES
Chapter Twelve
Sheers, Open Weaves,
and Meshes, 208
Crisp Sheers, 215 | Soft Sheers, 219 | Mesh and
Open-Weave, 221
Chapter Thirteen
PA R T T H R E E
FA B R I C
STRUCTURE
Lace and Net, 223
Lace, 223 | Net, 233
Chapter Fourteen
Chapter Nine
Woven Fabrics, 140
Plain Weave, 140 | Twill Weave, 143 | Denim, 145 |
Loosely Woven, 148 | Satin Weave, 154 | Wash-andWear, 154
Chapter Ten
Stretch Fabrics, 157
Stretch Wovens, 157 | Elasticized, 161
Chapter Eleven
Special Occasion Fabrics, 236
Satin and Sateen, 236 | Ribbed, 241 | Taffeta, 245
| Brocade, Damask, Matelasse, and Jacquards, 248
| Pleated, 252 | Metallics, 257 | Embellished, 260 |
White, 263
Chapter Fifteen
Napped and Pile Fabrics, 266
Napped, 266 | Pile, 268 | Corduroy, 271 |
Velveteen, 274 | Velvet, 277 | Panné and Devoré
Velvets, 282 | Woven Terry and Velour, 283 | Tufted
Piles, 285 | Fake Fur, 287
Knits, 163
Knit Types, 163 | Zebra, 171 | Jersey and Single,
172 | Double, 175 | Interlock, 180 | Textured,
181 | Sweatshirt, 184 | Mesh, 186 | Tricot, 187
| Milanese, 189 | Sweater, 190 | Ribbing, 193 |
Stretch Terry and Velour, 195 | Power Stretch, 198 |
Power Net, 201 | Fleece, 202 | Slinky, 205
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Chapter Sixteen
Felt and Felted
Fabrics, 294
Felt, 294 | Felted Fabrics, 296
Chapter Seventeen
Reversible Fabrics, 299
Double-Faced, 299 | Double-Cloth, 302 | DoubleFaced Quilted, 309
PA R T F I V E
I N T E R FA C I N G S
AND LININGS
Chapter Twenty-Two
Interfacings, Linings, and
Battings, 350
Interfacings, 350 | Underlinings, 357 | Linings, 359
| Battings and Insulating, 363
Chapter Eighteen
Quilted Fabrics, 313
Single-Faced Quilted, 313 | Custom Quilting, 316
Chapter Nineteen
Plaids and Stripes, 318
Plaids, 318 | Tartans, 329 | Checks, 329 | Stripes,
329 | Diagonals, 333
PA R T S I X
SEWING
TECHNIQUES
Chapter Twenty-Three
Seams, 366
Chapter Twenty
Prints and Border
Designs, 336
Prints, 336 | Large-Scale Prints, 338 | Border
Designs, 339
Chapter Twenty-One
Technical and Outerwear
Fabrics, 342
Technical, 342 | Outerwear, 343 | Neoprene, 348
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Abutted, 366 | Appliqué, 367 | Bound, 369 |
Channel, 372 | Corded, 372 | Decorative, 372 |
Double-Cloth, 373 | Double-Lapped, 373 | DoublePly, 373 | Double-Stitched, 373 | Double-Welt,
373 | Draw , 373 | Drapery French, 374 | Enclosed
Seam Allowances, 374 | False Merrow, 375 | False
French, 375 | Flat-Fell, 375 | Flatlocked, 377 |
French, 377 | Fringed, 378 | Fur, 379 | Hairline,
380 | Insertion, 380 | Laced, 381 | Lapped, 381
| Leather, 382 | Machine-Felled, 383 | MachineRolled, 383 | Nonwoven, 383 | Piped, 385 | Plain,
387 | Reversed, 387 | Self-Finished, 387 | Serged,
388 | Sheer, 389 | Slot , 389 | Standing-Fell, 390 |
Stand-up, 390 | Strap, 391 | Stretch, 391 | Taped,
392 | Tissue-Stitched, 394 | Topstitched, 394 |
Tucked, 394 | Twin-Needle, 396 | Wadmal, 396 |
Welt, 396 | Whipped, 396 | Wrong-Side-Out, 397 |
Zigzagged, 397
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Chapter Twenty-Four
Seam and Hem
Finishes, 398
Seam Finishes, 398 | Hem Finishes, 402
Chapter Twenty-Five
Hems, 403
Plain, 403 | Faced, 406 | Quick, 407 |
Interfaced, 407 | Machine Blindstitched, 409
| Narrow Machine Hems, 410 | Mitered, 412 |
Topstitched, 414 | Weighted, 417 | Miscellaneous,
417
PA R T S E V E N
APPENDICES
AND GLOSSARIES
Appendix A
General Sewing Threads, 455
Appendix B
Sewing Machine Needles, 458
Appendix C
Chapter Twenty-Six
Needle and Thread Guide for
Machine Stitching, 460
Edge Finishes, 422
Appendix D
Bands, 422 | Bindings, 423 | Elastic, 430 | Facings,
431 | Ribbing, 433
Stabilizers, 462
Appendix E
Chapter Twenty-Seven
Interfacings, 466
Closures, 434
Appendix F
Button Loops, 434 | Buttonholes, 435 | Covered
Snaps, 444 | Ties and Straps, 444 | Zippers, 444
Burn Tests for Fiber
Identification, 475
Chapter Twenty-Eight
T ips for Topstitching , 476
Hand Stitches, 448
Backstitch, 448 | Basting, 448 | Blanket, 449 |
Blindstitch, 449 | Blind Catchstitch, 449 |
Buttonhole Stitch, 449 |Catchstitch, 450 | CrossStitch, 450 | Fell, 450 | Figure-eight, 451 |
Overcasting, 451 | Pad, 451 | Running, 451 |
Stabstitch, 452 | Slipstitch, 452 | Tailor’s Tacks, 452
| Whipstitch, 453
Fiber and Fabric Glossary , 478
Glossary of Sewing Terms , 508
Index , 512
Resources , 522
Additional Reading , 526
About the Author , 527
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Introduction
All sewing (fashion garments, artwear,
home décor, accessories, and quilts) begins with
the fabric, and understanding the fabric is the key
to success. Claire Shaeffer’s Fabric Sewing Guide focuses on the fabrics and materials used to make garments. It is designed to give you the confidence to
sew fabrics you have not sewn before and the skills
to sew all fabrics better.
High fashion is as
close as your own
sewing machine.
(Photo courtesy of
Australian Stitches.)
Z0933i_Shaeffer_p001-011.indd 10
This single-volume reference includes complete
and practical information for sewing all of today’s
fabrics, but since there will be more new materials
tomorrow, next month, or next year, this book
also provides the information you need to develop
the skills and techniques needed to sew those fabrics
successfully. The book is organized for easy reference,
with seven sections and extensive appendices:
• part one: Prologue, presents the basics of planning a garment.
• part two: Fiber Content, outlines the characteristics of fibers, natural and manufactured.
• part three: Fabric Structure, describes the
various weaves and knits with the details for
sewing them.
• part four: Fabric Types, describes methods
for handling fabrics with specialty surfaces and
structures.
• part five: Interfacings and Linings, provides
complete details about lining, interfacing, and
other fabrics used for interior support.
• part six: Sewing Techniques, describes the
basic techniques referenced in the previous
sections.
• part seven: Appendices and Glossaries is a
comprehensive listing of important textile terms
and frequently used fabrics.
Unlike most sewing books, which focus only on
techniques, this guide focuses on fabrics and their
characteristics, as well as how to sew them successfully. It will help you select fabrics and become a
more knowledgeable consumer, even if you don’t
sew. It addresses fabric-related situations that cannot be included on pattern guides and warns you
about problems or mistakes before they occur. It
will help you choose the most appropriate techniques for individual garments and fabrics, depending on the garment quality and use, as well as your
time commitments and sewing experience. (For example, if I am sewing an everyday wash-and-wear
cotton blouse, I choose quick-and-easy machine
techniques that will launder well. When sewing a
8/1/08 10:22:26 AM
introduction
cotton tapestry party dress that will be dry-cleaned,
I use more hand sewing and design details.)
This book will broaden your understanding of
fabrics and sewing techniques so you can apply
your knowledge intelligently. It includes many
fashion photographs from friends, colleagues, homesewers, fashion-focused businesses, and vintage
collections that will stimulate your imagination for
future designs.
My personal style is classic and appropriate
for my age and lifestyle, and yes, there are some
designs that reflect my taste, particularly those from
the Custom Couture Collection, which I design for
Vogue Patterns. But this is a book for everyone who
sews, so I have included designs appropriate for
many different lifestyles, age groups, and individual
tastes that are quite different from those I sew and
wear. I have also included some vintage garments
because the designs showcase the fabrics well,
include interesting details, and provide inspiration
for new designs. I might add that I often see the
influence of designs from the past in the current
collections of the world’s best designers.
Some photographs show the garments on dress
forms, others are on models, both professional and
amateur. You will see a variety of figure types since
my readers can be any age and any size. I have also
included a few fabulous quilts, some accessories,
and home décor items because they are easy to
sew and provide a great way to learn to sew on
different fabrics.
How to Use This Book
This sewing guide is organized for easy reference.
First, identify your fabric, its fiber content, structure, and type, including its texture, weight, transparency, and surface design. Then review any
appropriate sections in the book that apply. I usually
begin my review with the fabric type unless it’s a
fiber I have not sewn recently. For example, if the
fabric is a striped silk chiffon, like the design on page
49, I begin with the fabric types: Sheers, Stripes, and
Z0933i_Shaeffer_p001-011.indd 11
11
Prints. If I haven’t sewn lightweight silks recently,
I’ll review the section on Lightweight Silk.
Each fabric section begins with the fabric’s characteristics so you will know what to expect. The
sewing checklists summarize the basic equipment,
supplies, and techniques for handling the fabric.
The core of the section details specific information
for planning the garment, design ideas, selecting
quality fabrics, sewing notes for layouts, cutting,
marking, stitching tips, construction details, pressing techniques, and garment care.
If you have never made a particular type of seam
or seam finish, need a refresher on a technique, or
want to learn new techniques, look for step-by-step
instructions in Part Six, Sewing Techniques. If you
want to expand your knowledge of techniques even
more, consult my other books, Couture Sewing Techniques (Taunton Press, 2001), and High Fashion Secrets from the World’s Best Designers (Rodale Press,
2001). My book, Sew Any Fabric: A Quick Reference
Guide to Fabrics from A to Z (Krause Publications,
2003), is a handy, quick guide for shopping expeditions and getting started.
When you encounter an unfamiliar textile or
fabric term, look it up in the Fiber and Fabric Glossary. It includes a brief definition and reference for
similar materials. To expand your knowledge, begin
a swatch library, using the glossary as a guide.
To answer your most frequently asked questions,
I have provided appendices with detailed information about needles, threads, interfacings, topstitching, and identifying your fiber types, as well as a
resource list for fabrics, patterns, and notions.
This fabric sewing guide was written for you. To
reap the most from it, read it from cover to cover
and make notes in it. Describe the fabrics you sew,
the techniques you like or don’t like, and your ideas
for future designs or trims.
This book is only a springboard. It is designed
to stimulate your creativity and provide the knowledge you need to sew with confidence. Dare to experiment with new ideas and new fabrics and share
them with me.
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CH A P T E R O N E
Basic Guide
for Sewing
Any Fabric
Welcome to the exciting world of
PART ONE
PROLOGUE
Z0933i_Shaeffer_p012-023.indd 12
sewing! You can enjoy the pleasures of wearing
what you sew and astonish your friends with your
creativity and your successes. You can use your
imagination to create one-of-a-kind garments,
accessories, home décor items, and gifts. You can
quilt, embroider, bead, appliqué, and felt fabrics.
You can create trendy avant-garde designs, couture
creations, or practical everyday wearables.
Today, there are hundreds of different fabrics, but
many are sewn using similar techniques. This fabric
sewing guide focuses on the most frequently sewn
fabrics. In each chapter, I have included suggestions
for planning the design and preparing the fabric,
along with some sewing notes. The Fiber and Fabric Glossary (page 478) defines even more fabrics.
Almost every fabric can be used for a variety of designs, from everyday casual garments to high-fashion evening wear. The photographs feature many
diverse designs to inspire and excite you. Some are
original, one-of-a-kind creations, while others were
made using commercial patterns.
The models are just as diverse as the designs.
Some are professionals, while others are home
sewers. Some are pencil-thin; others pleasingly
plump. Some are very young; others not so young.
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chapter one: basic guide for sewing any fabric
PROLOGUE
This beautiful evening gown by Bellville Sassoon is when
fabricated in emerald green satin. This gown and the red
plaid gown at right were made from the same pattern
Bellville Sassoon designed for Vogue Patterns.
your sewing ability, time available, lifestyle, and
personal preferences.
Begin with the garment and its end use. Describe
it in detail: identify the garment type—blouse, skirt,
suit, leotard, nightgown, or evening gown; the garment style—avant-garde or classic; the garment
structure and silhouette—soft, draped, structured,
bouffant; the desired quality—luxury or moderate;
the relationship of the design to other garments in
your wardrobe; and the design’s relationship to current fashion trends.
Consider where the garment will be worn—
home, work, grocery store, PTA, symphony, wedding, or job interview, as well as when it will be
worn—morning, afternoon, evening, every day,
special occasion, winter or summer, or all of these.
Then think about how often it will be worn—once,
occasionally, frequently, or for several years.
Once you have described the garment, consider
the fabrication. Review the fabrics in your collection, visit fabric retailers, examine the latest mailorder swatches, and survey current trends. Goodquality, natural-fiber fabrics never go out of fashion,
and since I do not live near a store with fine fabrics,
13
(Photo courtesy of The McCall Pattern Co.)
Plan the Garment
The first phase of sewing, planning the garment, is
one of the most important. Deciding which comes
first, the fabric or the design, can be compared to
“the chicken or the egg.” Designs can begin with
either the fabric or the design. Most develop when
the fabric and design are considered together.
Each garment will require a variety of decisions
based on the garment type; its planned use, quality,
and current fashion trends; the fabric characteristics and quality; the garment design and pattern;
the compatibility of the fabric and the design; and
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What a difference a fabric makes! This gown displayed in
the Bellville Sassoon Boutique is the same as the one to the
left except for the fabric.
(Photo courtesy of David Sassoon and Bellville Sassoon.)
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PROLOGUE
14
part one: prolo gue
I have a large stash of fabrics, and I frequently order
fabrics by mail. To be on the safe side, I always buy
a little extra.
Most fabrics for adult designs, especially luxury
and novelty fabrics, are purchased because the fabric’s design, pattern, or color appeals to you, not because it’s durable. When purchasing fabric for children, durability is generally more important.
To eliminate an unsuitable fabric, evaluate its
quality, type, structure, design, weight, hand (how it
feels), care requirements, comfort factors, and dura-
bility, and then compare it to the garment style you
have chosen. Hold the fabric, crush it, and drape it
to determine whether it is crisp or soft, thick or thin,
heavy or lightweight, loosely or firmly woven, flat
or textured, silky or rough, transparent or opaque,
sleazy or luxurious.
Evaluate the fabric’s suitability for the garment
type, design, occasion, and your lifestyle; how the
fabric will fit, or not fit, into your wardrobe; how it
will look on you; and whether you have the skills,
time, and patience to sew it.
Cl air e’s Secr ets
for Success
• Sew with a positive attitude.
• To save time, stitch it right the first time.
• Test, test, test. When in doubt, practice
before stitching the garment.
• Stitch directionally with the fabric.
• Stitch with the fabric bulk to the left of the
needle.
• Stitch in the direction of the nap, as if you
were petting an animal.
• Begin stitching at the point of difficulty. For
example, when stitching reverse corners,
begin at the corner. When stitching notched
collars, begin at the notch.
• Stitch with the longer layer on the bottom.
• Sew flat. For example, set the pockets before
sewing the side seams.
• Sew inside loops, circles, sleeves, pant legs,
and collars carefully to avoid inadvertently
A combination of knits and wovens makes a great fashion
statement for the younger set.
(Photo courtesy of Simplicity Pattern Co., Inc.)
stitching through unwanted layers.
• When topstitching, stitch with the piece
right-side up unless directed otherwise.
• When straight stitching, use a foot that holds
the fabric firmly. I prefer a wide, straightstitch foot instead of an all-purpose or
embroidery foot.
• Understitch faced edges.
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Consider the cost of the fabric and its care requirements. Determine whether the total cost is appropriate for this type of garment and whether it works
within your budget. Do not be tempted to economize
on interfacings, linings, or buttons to save money.
Cheap findings can spoil an otherwise beautiful design. If necessary, select a less expensive fabric, but
finish it with findings appropriate to its quality.
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chapter one: basic guide for sewing any fabric
Claire's Hint
more flattering to large figures than those that outline the silhouette.
Medium values are usually more slimming than
dark or light ones, but in the Sunbelt states, light
and bright colors may be better.
All shiny fabrics—satin weaves, metallics, and
beaded materials—reflect light and make you look
heavier, but dull fabrics—dull-faced satins, peau de
soie, and dull metallics—add less visual weight than
acetate satin and shiny sequins.
Although textured fabric—piles, thick woolens
and tweeds, mohair, fake furs and real furs—add
bulk, they can be worn by larger figure types if they
are selected carefully. Velour knits are more slimming than woven velours, and short-haired furs
have less bulk than long-haired furs. Cotton velvet
and velveteen, which absorb light, are more flattering to a large figure than rayon velvet, which reflects
light, thus enlarging the figure.
Most soft fabrics flatter heavier figures, but when
they are fitted too closely, the fabric clings, emphasizing size and shape.
Since stiff fabrics stand away from the body, they
can be used to hide figure irregularities, but they
make the figure appear larger when used for exaggerated silhouettes.
PROLOGUE
Choose a pattern with a silhouette and design
details that will flatter your figure, look attractive on
you, and be appropriate for your age, size, and figure
type. Study the line drawings in the pattern catalog,
try on similar garments in your wardrobe, and go
shopping to try on some ready-to-wear pieces.
Before marrying the fabric to a pattern, examine the fabric’s character, including its fiber content,
hand, weight, texture, drape, transparency, and
weave. Evaluate its compatibility with the garment
design. Review the fabric recommendations on the
pattern, analyze successful fabric-design combinations, and survey current fashion trends. If the fabric is not perfect for the selected design, can its character be changed with interfacing or an underlining
so the fabric and design will work well together?
Consider your sewing skills, difficulty of the
design, characteristics of the fabric, amount of time
available, and your patience. Unfortunately, you will
have an occasional failure. It happens to the very best
sewers, so do not be discouraged.
15
When sewing complicated designs, I often select
easy-to-sew fabrics. When sewing simple styles,
Fabr ic Qua lit y
I choose more challenging fabrics. When time is
To keep disappointments to a minimum, learn to
recognize fabric quality. Examine it carefully. Check
for flaws in the weave, printing, or finishing. Even
the best-quality fabrics will sometimes have flaws.
If you know this before you buy, you can purchase
extra so you can cut around them.
really at a premium, I try to combine easy-tosew fabrics with easy-to-make designs and use
a pattern I have sewn before.
Fabr ics for
Figur e Fl attery
Woven Fabric s
Choose fabrics that will flatter your figure. Select
colors you like and think are becoming. Generally,
cool hues such as blue, green, and violet are more
slimming than warm hues, like red, orange, and
yellow. Colors that blend into the background are
Examine the fabric. It should be on grain with
the warp (lengthwise yarns) and fi lling (crosswise
yarns), straight and at right angles to each other.
Look for slubs, printing errors, permanent
wrinkles, and snags. Good dyes penetrate the fabric
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16
part one: prolo gue
Claire's Hint
PROLOGUE
If a fabric is not on grain, do not buy it. Many
fabrics today have permanent finishes, making
it impossible to straighten them prior to
wrinkling by squeezing the fabric in your hand. It
should spring back with few creases.
Generally, woven plaid, checked, and striped fabrics are better quality than similar printed patterns,
but there are exceptions.
cutting. If you already own one, be creative or
discard it, but do not tilt the pattern pieces to
Knit Fabric s
fit as you will be cutting them off grain.
Examine the ribs on knit fabrics. They should be
parallel to the edges and at right angles to the horizontal rows on the wrong side of the fabric. If the
ribs are badly skewed, the garment will not hang
properly when the fabric pattern looks right, and if
it does hang properly, then the fabric pattern will be
distorted. To check for shape retention, stretch the
knit to see if it returns to its original shape.
well so that the color is good on the back as well as
the face.
Generally, plain fabric is judged by the number
of threads per square inch. Hold the fabric up to the
light and examine the weave. It should be uniform.
Patches of light and dark indicate poor construction,
poor-quality yarns, or heavy sizing. If the fabric is
not a novelty weave, the threads should be fine and
closely spaced. To test for fraying and seam slippage,
scrape your thumbnail across the warp threads to
see if they separate. If they do, the fabric will fray
and the threads will pull apart at stress points.
Test for resiliency and the ability to recover from
Iden tifying the War p
When you have a fabric scrap with no selvage,
use these guides to identify the warp threads
Fib er Content
The fabric’s fiber content determines its comfort
and care qualities. To determine the fiber content,
ask for a small swatch so you can test it. If it is not
convenient to take it home for testing, ask the salesperson to do a burn test, or take it outside and test
the swatch yourself. (See the updated Burn Test for
Fiber Identification, page 475.)
When you think the fabric is made from more
than one fiber, burn the warp and filling threads
separately for best results. Hold the swatch or yarns
securely in a pair of tweezers and work over a sink.
that run parallel to the selvage.
• In plain weaves, there are usually more yarns
in the warp.
• In twill weaves, the warp yarns run in the
direction of the pattern.
• In satin weaves, the warp yarns make the
floats.
• In sateen, the filling yarns make the floats.
• The direction of the fabric with the least
stretch is generally the warp.
• Inferior or thicker yarns and yarns with slubs,
lower twist, or fewer plies are usually in the
filling.
• Plaid fabrics often have vertical rectangles.
Z0933i_Shaeffer_p012-023.indd 16
Fabr ic Serviceabilit y
The life of a fabric depends on the fiber: the kind,
tensile strength, and the twist; the number of plies
and number of yarns per inch; and the weave and
compactness of the fabric construction. Naturalfiber fabrics with long-staple fibers, such as cotton
percales and worsted wools, are stronger, smoother,
and more serviceable than those with short-staple
fibers like muslin and woolens. Natural-fiber fabrics
may be more or less serviceable than fabrics made of
synthetic fi laments.
The twist of the yarns determines the behavior,
durability, and appearance. Fabrics made from
fine, high-twist yarns, like men’s worsted suitings,
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chapter one: basic guide for sewing any fabric
(Photo courtesy of Terry Crawford and Graphics 35, Inc.)
are stronger, smoother, more durable, more elastic,
more absorbent, more resistant to soil, and more
crease-resistant than those made from low-twist
yarns, such as women’s soft woolens.
Fabrics made with several yarns twisted together
are more durable than fabric made with single-ply
yarns or multi-ply yarns that are not twisted. When
the yarns are not twisted together, the fabric will
be softer and more luxurious but less resistant to
abrasion and snags.
Fabrics woven from staple fibers, such as cotton, linen, and wool, slip less at seams than fabrics
woven from fi lament yarns, such as silk, nylon, and
polyester.
Fabrics that are made with slubbed, looped, or
novelty yarns for decorative effects—bouclés and
Z0933i_Shaeffer_p012-023.indd 17
PROLOGUE
Custom made for actor Hank Fincken, this worsted wool
suit was inspired by a 1932 suit worn by Henry Ford.
shantungs, for example—are not as serviceable as
flannels and silk linens.
Closely woven fabrics that have a high thread
count, that is, more threads per inch, are more durable, shrink less, and hold their shape better. They
also have less slippage at the seams. The closeness of
the weave or thread count is determined by adding
the number of warp threads per inch to the number of filling threads per inch. For example, burlap,
which is a coarse weave, has 20 threads per inch,
while fine sheets can have as many as 600 threads
per inch.
Compared to plain-weave fabrics, basket-weave
fabrics drape better. They are not as durable because
of their loose weave, and the low-twist and low tensile strength of the yarns typically used to create
them. Twill-weave fabrics with the same number of
threads per inch drape better. When they are more
tightly woven, they are stronger, firmer, and heavier.
To see for yourself, examine two neckties, one plain
weave and one twill weave.
Satin-weave fabrics, such as charmeuse, are less
durable but more lustrous than plain-weave fabrics
like broadcloth, or twill-weave such as gabardine.
Fabrics woven with fine, tightly twisted yarns
and a close weave, organdy for example, are more
durable than loosely woven fabrics such as damask,
which is made with low-twist yarns and long floats.
Fabrics with long floats, open weaves, and embellishments—embroidered fabrics, laces, quilted
fabrics, and satin—snag easily.
Woven fabrics, such as seersuckers, are more durable than embossed materials such as plissé. Embossed designs are more durable on heat-sensitive
fibers, such as polyester and nylon, than on natural fibers or cellulosic manufactured fibers, such as
rayon and lyocell.
Flocked fabrics are less durable than fabrics with
similar woven designs.
17
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18
part one: prolo gue
Time Savers
PROLOGUE
If your time to sew is limited, choose fabrics that do
not require special handling. For skirts, slacks, and
outerwear, select fabrics that do not require interlinings or linings. Firmly woven, opaque, mediumweight fabrics and knits are easier to sew than slippery, soft, or loosely woven ones. Broadcloths are
easier to sew than soft, slippery crepes. Avoid using
fabrics that require matching, such as plaids; making a test garment from an expensive fabric, such as
velvet or leather; and sewing special seam and hem
finishes on transparent fabrics.
Pr ice
Fun and fashionable, consider easy-to-sew designs when
you have limited time to sew.
(Photo courtesy of Simplicity Pattern Co., Inc.)
Fabr ic Comfort a n d Car e
Read the information on the end of the bolt. Check
the fiber content and care requirements. Generally,
natural fibers are more comfortable to wear, and
synthetic fibers are easier and cheaper to clean.
Blends combine the best, and sometimes the
worst, of the fibers used. For example, when polyester is blended with cotton, the new fabric is more
resistant to wrinkles, but it pills and stains more
easily.
Z0933i_Shaeffer_p012-023.indd 18
Purchase the best quality you can afford. Finequality fabrics are not necessarily the most expensive, and once you have learned to recognize the
characteristics of different grades, you will often
find that medium-priced fabrics are attractive and
wear well.
When your budget is limited, select a goodquality fabric from a less expensive group instead of
poor-quality fabric from a more expensive group.
For example, choose a good-quality polyester blouse
fabric over a cheap silk one, velveteen over velvet, or
a linen-look or cotton over linen.
Another way to preserve your budget is to combine two different kinds of fabrics, such as lace with
a plain fabric, velvet with a satin, or novelty wool
with a wool jersey. To figure the cost of the garment,
add the cost of cleaning to the initial cost of the
fabric, notions and other findings, then divide by
the expected number of wearings.
Gar men t Car e
Garment care depends on the fiber content; the
yarn construction; the fabric construction; the fi nishes and dyes applied to the fibers, yarns, or fabric;
and the garment construction. Clean all garments
before they become heavily soiled. I dry clean most
of my garments so they will maintain their like-new
appearance longer. I rarely try to remove spots and
stains because many spot removers will set stains
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chapter one: basic guide for sewing any fabric
19
permanently and may remove the fabric color.
PROLOGUE
Design Ideas and
Pattern Selection
Before selecting a pattern, survey the latest in readyto-wear pieces for design ideas. Do not just look. Try
the garments on, especially if they are in a new color, silhouette, or style. Analyze the designs you like
to determine what pleases you. Is it the fabric, the
design, or a detail you can adapt? When selecting a
pattern, analyze the design to determine whether it
will flatter your body. Look at the line drawings; do
not rely on the photograph or fashion illustrations.
Also consider the fabric’s weight, bulk, texture,
opaqueness, drapeability, crispness, surface design,
and care requirements. Review the fabric suggestions on the pattern envelope. In addition to
specific fabrics, these suggestions provide guidance
for selecting other fabrics with a similar hand.
This elegant veil is finished with a wide lace trim.
This smart princess style is a good choice when sewing a
difficult fabric.
(Claire Shaeffer’s Custom Couture Collection for Vogue Patterns. Photo courtesy
of The McCall Pattern Company.)
If your fabric is not listed, compare its characteristics to those that are. If they are similar, continue
on. If they are not, consider a different pattern or
another fabric. When you want to be creative, combine the two. Innovative combinations can lead to
fantastic garments. Unfortunately, they can also
lead to disaster, but I prefer the “nothing ventured,
nothing gained” route over safe and dull.
Analyze the design features to determine whether you have the time and ability to sew them well
in the fabric you have selected. Features such as
set-in-sleeves are always more time-consuming
than dropped-shoulder designs, and while they
are relatively easy to sew in a soft woolen, they are
much more difficult to set smoothly in wool gabardine because of its tight weave and hard surface.
When sewing a fabric for the first time, select an
easy design so you can concentrate on mastering
the fabric.
(Photo courtesy of Simplicity Pattern Co., Inc.)
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