Elastic Waist Technique This technique results in a smoother and more professional elasticized waist than the standard elastic waist which is inserted into a casing. I learned it from my sister Katherine who used it in her clothing line. Yes, I was nervous about using the serger to sew the elastic, but it is easier than it looks. Once you try it and master this easy method, it will become your default for all elastic waist pants and skirts. The elastic in encased in the fabric.
I prefer this 1" flat rib elastic. Measure a length that fits snugly but not tight around your waist plus 1" for lapped seam. Most elastics stretch a bit when stitched, so allow for that.
Lap 1" and stitch all around the edges and in an X as shown
Mark the circle of elastic in quarters. I use chalk rather than pins. The quarter markings on the elastic will match with the center front, back and side seams on the garment.
Pin the elastic to the garment matching at the quarter marking ONLY, with elastic on top.
The elastic will be sewn on top, and pins removed as you come to them.
Sewing the elastic on the serger. Stitch with the elastic on top, stretching the elastic so it is sewn evenly. Lengthen the stitch length. Work one quarter at a time, one section at a time, keeping the edges even and being careful not to cut the elastic with the blade. It is OK to trim a bit of the fabric away with the blade. Work all the way around the circle at the waist, going slowly---this takes a bit of practice, but is well worth the learning curve!.
Pressing is key. First, press flat as sewn, steaming the gathers so they smooth out and loose some of the puffiness. Then, wrap the elastic to the inside and press so it is firmly wrapped inside the fabric. If your fabric is a knit, you can slightly stretch it for a smooth fit---you want to eliminate as much fullness and excess fabric as possible, and every fabric is different. You can pin to hold things in place. The pressing gets everything positioned for the final stitching.
Stitch from the inside of the garment as shown, using a wide zig-zag stitch, stretching as you sew, stitching around the waistline and encasing the elastic in the fabric. If your machine skips stitches, use a stretch needle. I mark the center back with a snippet of ribbon.
Back to the ironing board for a final press which will flatten and smooth out the gathers. I put the garment on a tailor ham and use a combo of steam and light pressing---it is amazing how much fullness you can smooth out this way!
Lowering the Front Neck on V8636
One of the reasons I love sewing is that I can customize a pattern so it is just the way I want it. Getting the neck placement just right takes trial and error and a bit of fiddling. I love this new pattern, V8636, and have been adjusting the front neck edge to lower it a bit. One inch works perfectly for me. The neckline is ever so slightly squared---the final tiny darts or tucks square up the shape, and the front edge is nearly straight, but I have found lowering it to a subtle scoop works better for me and for warmer weather.
....but this technique will work on any plain neck style
....and I often do the same thing on the garment itself,
making the adjustment during the sewing process.
1
Start with the pattern front in your size, trimmed along the cutting line. Here I am working with a size 14
2
Use a C-Thru ruler, lining up with the fold and the top edge of the pattern piece and mark a 1/2" line at right angles with the fold edge. It is important to be accurate, for this assures the center front has a smooth clean line.
3
A sharp pencil gives a clean accurate line.
4
I use a pattermakers French curve to help guide the marking of the new line.
5
Here I have marked the point that will be connected to the shoulder/neck edge. It is SO important that this line be smooth. Often I correct the line I get from the French curve, adjusting it by hand.
6
Here is the finished new cutting line. In the studio I use a pencil for pattern marking, but have drawn it here in pen so it shows up more clearly. I would now trim the tissue and use this as a cutting line.
Having just the right tools at hand makes your pattern work accurate and easier. Use the same tools the pros use: metal and shaped to correspond to the human form and to the pattern. When I do pattern work, these are the same tools I reach for. Included are metal hip curve, French curve & L square, patternmaker's C-Thru ruler and tips booklet.
View an out-take from Marcy's new Inspiration Paris CD
Vogue 8653
UPSIDE DOWN JACKET
.....that can also be worn inside out
Recommended Fabrics: MUST HAVE SOME STRETCH
Double knits, Ponte, (wrong side will show), sweatshirting, french terry, wool jersey, fleece, sweater knits, knit mesh, tulle, stretch woven with good 4 way stretch
The entire jacket is constructed with WRONG sides together.
I used 1/2" seam allowances---it just makes things easier!
Construction Hints
Cutting: If your fabric allows, cut with the front edge along the selvedge. If the selvedge on your fabric is not appealing, then bind this edge or turn under and stitch.
HINT: I use a metal ruler to cut a long straight edge cleanly and easily.
Let your fabric dictate the binding method you use.
TEST TEST TEST
Red jacket on the pattern envelope uses single layer self fabric wraparound binding because the fabric was too heavy/thick to use double
Grey jacket on the pattern envelope uses double layer binding because the contrast stripe was light weight and wanted to curl in a single thickness.
You could also bind the seams with a woven bias
Alternatives to binding include serging or leaving a raw edge.
Play and test to see which technique works best with your fabric, design and skills. No rules here!!
Detail of grey jacket which uses a contrast (lighter weight fabric), knit binding folded double, stitched, with raw edges together, then pressed flat as sewn, then trimmed to an even 1/4”, then wrapped around the seam, pressed in place and stitched using a zig zag.
Red ponte knit jacket uses a single thickness knit binding. Test your fabric to determine whether to use crosswise or lengthwise grain. The ponte knit I used for the jacket worked better when I cut the binding strips on the lengthwise grain. (On my test samples, the crossgrain stretched out of shape more easily.)
Detail at hem shows selvedge edge used as a finished edge. The edge of the binding is cut flush with the edge.
Binding Tips
Make a test sample to determine whether to cut the binding on the lengthwise or crosswise grain
Cutting: If your fabric allows, cut with the front edge along the selvedge. If the selvedge on your fabric is not appealing, then bind this edge or turn under and stitch.
HINT: I use a metal ruler to cut a long straight edge cleanly and easily.
Let your fabric dictate the binding method you use.
TEST TEST TEST
Red jacket on the pattern envelope uses single layer self fabric wraparound binding because the fabric was too heavy/thick to use double
Grey jacket on the pattern envelope uses double layer binding because the contrast stripe was light weight and wanted to curl in a single thickness.
You could also bind the seams with a woven bias
Alternatives to binding include serging or leaving a raw edge.
Play and test to see which technique works best with your fabric, design and skills. No rules here!!
It is possible to stitch the binding and the seam all at one time. Pin or baste the seams first, then position the binding on top, with all raw edges aligned. Position the pins at right angles to the raw edge so you can easily sew over them. Position the binding on top and stitch all layers together, stitching slowly so you don’t hit the pins.
Or, you can stitch the first 2 layers together, then stitch on the binding:
Stitch binding, sewing on top of original stitching line. Trim seam allowance to 1/4
Wrap binding around seam. I do this at the ironing board, wrapping the binding and pressing a bit at a time so the edge of the binding just covers the stitching.
Double binding: position fold of binding so it just covers the machine stitching, pin or baste in place.
Single binding. Press under a 1/4” fold along the long edge of the binding. Press binding in place, wrapping it around the seam and positioning the fold edge so it just covers the machine stitching. Pin or baste in place, then slipstitch invisibly by hand.
