You
Hello, I've created this video for many of you at home who aren't familiar with the factory methods
Who will learn and come to understand that these methods are far superior to those we see in the guide sheet
I've dedicated this video to two wonderful individuals whom I love very much
The first being Rosemary steel who has taught me to persist and be patient in all my sewing endeavors
The second is a young woman named dang who has since been killed in an automobile accident
That had worked in the factory for many many years
Increasing and improving all of our factory methods
Also, I'd like to thank Viking sewing machines for providing for us this beautiful number one Viking sewing machine
And if you're ready, let's get started
What we'll focus on today is a jacket similar to this
Which is probably one of the most expensive garments in the industry to purchase today and yet many of us shy away
Because of a few details that we can't complete professionally the notch collar
The sleeve with a nice roll across the top will come down and we'll do pockets
Not just patch, but the wealth also to where we'll get a professional look
We'll go inside the garment and we'll look at both lining and unlined
We'll look at interfacings and many things that come to the interior of a jacket which make the exterior look much more professional
Again, we'll also talk about a few other things. We'll talk about
zippers and
Shirt collars and that will be the focus of our video today
I
Like to start off by just simplifying the process that we begin by by laying out our pattern
Many of us I know still use pins and I'd like to encourage you to start using weights
Whether they're purchased or ones you find
In a fabric store whether they're soup cans tuna cans books
Whatever they may be you can lay them on your pattern slide them to the exterior and you see I've saved a lot of time
And in keeping that pattern still and flat rather than pinning every couple inches or so also
Of course when I'm done. I can simply take the weights off and quickly move them to the side
Saving myself quite a bit of time
Also without pins you you eliminate the risk of possibly snagging your fabric somewhere along the process
Also, I'd like to point out cutting we see some factory things that are coming to us in the home industry now with our rotary cutters
Is much faster much quicker the only suggestion that I have is to use a French curve
This particular French curve is about a quarter of an inch eighth of an inch thick so we can lay this we know that
Most of our curves on our pattern follow the French curve if they don't follow the French curve, then they're straight lines
So we can either
Lay it down we can follow the French curve and we can use our rotary cutter against the curve
So that we can cut much quicker and much more accurately than just trying to freehand around a French curve
also, I didn't I
Encourage you to leave off the notches just cut them right off and then when you need to come back and add a notch
Just put a little horizontal slice in the fabric so that you know where that notch needs to match up with another piece as you go
to construct the garment
With our pockets today, we'll start with a patch pocket the most important thing that we want is our corners to be nice
And rounded and our top stitching to be nice and even as we go all the way around the pocket
I've started off by eliminating the 5-8 inch seam allowance
5-8 is a little bit harder to work with and you'll see if you cut it down to 3-8
You'll have a little bit more success. I've basted right around the curved edge of the pocket and the purpose of doing that
is once the basting is stitched you can see that I can just simply pull the thread and
The pocket comes in and pulls in to the inside
So making it forming that curve much easier than if I were just trying to hand do it
So you want to baste around just the edges of the core of edges of the curves and pull that pocket in so that it
Will baste together
The other recommendation that I have is when you put right sides together to do the top of the flap is that you pull
the flap out a
Little bit and I've used a striped fabric so that you can see
This flap is not just right sides together
I've pulled the top edge of the flap beyond the pocket itself so you can see that I've extended it out just a little bit
I'm going to do the same thing on this side, and then I'll show you why
Again instead of just lining up raw edge raw edges together
I'm going to pull the flat part of the pocket a little beyond and go ahead and stitch right there in that place
We'll see when we go to turn the pocket the benefit that that will have I
Want to point out to you that instead of clipping edges
We can just merely fold right on the stitching line and turn to the inside
There is no reason to clip or trim or anything else and we get a nice sharp corner
Again, I'm going to just fold right on the stitch line, and I'm going to turn it to the inside
We get a nice sharp pointed corner pocket
The reason that I extended the flap beyond the pocket was now what you can see is the actual flat part of the pocket is
A little bit narrower than the top part of the pocket and so my stitching lines or my seams
Pull in just a little bit on both sides
The advantage of that is now when I go to top stitch. I won't have to top stitch through all those layers
I'll simply have these two layers and my stitching will look much more accurate
All the way around because I'm going through the same
Number of layers all the way around my pocket rather than going through four layers up here and two layers down here
So let's go ahead and line up the pocket on the fabric and again
I've got big checks so you can see easily where I would want my pocket to go
And I'm going to go ahead and start to top stitch
We'll want our top stitching as close as possible to the edge of the fabric
Remembering that I only have two layers right close to the edge so I can go ahead and put that down
And start to top stitch all of your factory top stitching is right on the edge
Again, the reasoning for this is because as you can see after I top stitch just a little bit here
It eliminates flaws and any
No, any inconsistencies that you may have
Okay, let's go back and just look at the top stitching here for a minute I
Know a lot of your guide sheets tell you to top stitch a quarter of an inch from the edge of the fabric
When you do that you can come in and you can see a lot of the side of the pocket and a lot of the seam
Lines, but as you can see with the stitching done right on the edge of the pocket a lot of those inconsistencies are shown see
How nice that looks as it comes right around the edge?
The next type of pocket that will focus on is the welt
What a beautiful pocket and how nice it looks in a professional looking garment
But how important it is that it be accurate this method is very easy to get accurate
First we start by cutting the strips and I'll call these the lips
We'll need to measure the width of the lip to find out how we need to cut our strips to begin with
This lip as you can see is a quarter of an inch wide so we'll four times that and cut our strip
One inch wide and you can see that's the strip that I'm going to use and making this pocket
It is an inch wide then we'll have to consider the length of the pocket most of the pockets are
approximately six inches long
So we'll go ahead in the length of the pocket
Making it six inches wide
But we'll give ourselves an inch on both ends of that pocket just to help when we sew it makes it a little bit easier
So what we want to do is cut two bias strips
And it's very important that they be cut on the bias an inch wide to consider the width of the lip and
Eight inches long to consider the length of the pocket will be six inches long
I think it's a lot easier if you have a one-inch ruler such as this
We can lay it down and of course with our rotary cutter zoom down the widths to make sure that it's the same all the way
One thing about this welt pocket
It's not a difficult pocket to do but we certainly want to make sure that we're accurate
If we're accurate in our cutting of our pieces, we'll find that the pocket falls together very nicely
I'm going to go ahead and put it onto this fabric
We'll call this the right side of our fabric and that's where we'll start
we have our two bias strips an inch wide eight inches long and
the right side of our fabric
We'll want to determine where we want to put our pockets and what you can do is just clip two holes
Where the ends are going to be you're going to sew right to those ends and so they'll be
Incorporated into the pocket and you won't need to worry about it unraveling or having a problem with it at a later date
You can mark them with a pin if you want or whatever marking method you prefer
I'll fold the first piece of bias in half and
Lay where I'm going to start sewing right on the clipped part
It's important that you recognize. I'm going to stitch right down the center of this folded welt
This Viking machine has a wonderful guide that will that will tell you where to keep your fabric and that will help you to
Stitch right down the middle of this welt
Again, I'm going to backstitch and then I can just clip my threads
But it's important that we stitch right down the center all the way
This will determine the accuracy of our pocket as to how well we stitch down the middle if we don't stitch down the middle
Then our welts may either our lips may either overlap themselves or they may
Come out a little bit crooked
I'm going to stitch to my other clipped end and again, then I'm going to backstitch. I
Am stitching in a contrasting thread, but I'm assuming that all of you know enough that you wouldn't sew it in a contrasting thread
We're just doing that today so that you can see I
Went ahead and stitched both rows. You can see that I'm down in the middle of the welt
The raw edges are together my fold is to the outside
these are going to come together here in a minute and
Then what's going to create the welt those two folded edges will meet one another as we flip them to the back side
Again, I'm on the right side of fabric
I've stitched two parallel lines and if you look at this side you want to take a little tape measure or something
To make sure that you're the same distance all the way down
If there's any mistakes or errors in the pocket at this point you can simply unpick it and stitch it again
As long as these two lines are are parallel and accurate and in the middle of the two lifts
Your pocket will look terrific
You want to make sure that you start at the same place here at the top and that you've stopped at the same place
Here at the bottom just so that the sides of the pocket will lay even
Now we're going to go ahead and cut right up the center of the pocket
And of course once we get to the ends we're going to clip right over to the very point where I stopped stitching
Both directions. I'm cutting through all layers of fabric and you want to clip
It's very important that you have sharp scissors that you can clip right to the point
I think it's helpful if you leave a little bit of a longer
Triangle here so that when you sew that triangle back you've got a little bit more to hang on to
but I'm going to come up and
continue this way to clip up through the center of the pocket and
Then cut over again to the point and again through all layers to the point
This is the same way you've done it in many well pockets that you've made before the clipping part of it
Okay, now we're ready to go ahead and invert our little strips
And as you can see I'm going to poke that to the inside and that's why it's helpful to have a little bit longer tabs
On the end I recommended that you leave an inch you can leave more than that if it's a little bit easier for you
But you see our welt begins to form as we tuck our little
ends inside and
Right here. You can begin to see the beauty of the welt pocket
Okay, I'm going to assume that this is going to be the top of my pocket
And so I'm going to fold the fabric down and you can see I'm going to look right there at my stitched edge
My cut edges have restored themselves back together
And I'm going to take my pocket. This is my pocket again. I've done it in a wild fabric so that you can
Make sure you understand the different pieces as we're putting these together
Notice I'm stitching exactly on the same line that I've stitched before
I'm just going to come right down the pocket on the same exact line all the way when I get to the end
And then make sure I don't catch the pocket, but just go beyond
And clip okay, this is the bottom of the pocket, which is what we've just finished
Now what we've got to do is take a look at what it looks like and you see how nice that looks
The only thing we've got is we've got a little hole here
So we're going to have to secure that down and we're going to fold the pocket this way and you see there's my triangle
So I'm just going to stitch across the edge of the triangle
Come all the way down at the same time close up the sides of the pocket in this particular case
what I did is I used one piece of long rectangular piece of fabric and the reason I did that was so that the bottom of
The pocket would be on a fold and that's a little more secure than if I had used two separate pieces
You can use two separate pieces
But the bottom of your pocket then is stitched together and not quite as secure when held with thread than with the fold of the fabric
So I'm going to come in now and let's go ahead and just stitch the side of the pocket so we can close that up
I'm stitching up the side of the pocket now
And I'm just coming forward and I'm going to stitch right over the little triangle here
Which is the end of my pocket and I want to cut I want to stitch that as cleanly as possible
And being careful not to stitch actually on my pocket
And you can see that that just goes across the triangle and that's all that it
cuts across
The only thing we have to do is take care of the very end of the welt
And so I'm going to flip this forward now
And we can see there's our little triangle and it's that triangle that I've got to stitch down
So I'm just going to stitch right across here and just catch the triangle being careful not to touch
Here on the pocket or here on the pocket, but just to the clip corners where I clipped earlier
Okay, I'm going to go ahead and continue to stitch down on this edge of the pocket where I talked about across the triangle and
Down the side of the pocket because I'm closing up the side of the pocket
Go ahead and take a look at what I stitched
I started up at the top of the pocket right through the triangle careful not to
Clip the pocket at all with the threads and continued all the way down closing up the side of the pocket
If we look back at the welt now
We see that the ends are closed up and it's completely finished
Many times in the factory they will go ahead and close the pocket
They'll stitch it up so that it doesn't gap
You're seeing a little bit of gap now just because we have not pressed it and because of the differences of the color of fabric
That I wanted you to be able to see the different parts of the pocket
It looks very nice and with a little bit of practice. It'll look terrific
The bound buttonhole is a beautiful
Professional look in our garments that we might want to use it's done the same as the welt pocket
The only difference that I do
Is in cutting my my two welts you determine the width you want I put a little piece of cording in there and
What I use to kind of help keep it secure is I'll use a little bit of the of your
glue inside the welt and
That way I don't have to hold it as I go to stitch it. I just lay the piping inside
Press the pieces together
Now I'm ready to put just like the welt pocket. I put my raw edges together my
Fold is on the outside. I stitch my two parallel lines then I'll turn it
To the inside and of course come back and on the ends stitch my triangles
Now we do have to consider of course the facing that comes to the back of the bound buttonhole
That keeps it in place a lot of your hand or your guide sheets at home tell you to just make a slip in your fabric
In this particular case that would not be very durable. You see the fabric is very loosely woven
So what I use is a little piece of silk organza
This is finally woven and when it's stitched as you can see as I've stitched it right here
I've stitched a little rectangle the same size as my buttonhole. The silk organza is on the right side of my facing piece
So now I'll come in and I'll clip
I've stitched the two pieces together and I'll clip
Again to the corner kind of how we did the welt pocket. It's the same way. It's just on a smaller scale
And what this is going to do for me is it's going to hold all the loose pieces in place
because as you can see now I'm going to take the silk organza through to the wrong side of the fabric
And I get a hole
Which is what I want from my bound buttonhole so that my button can go through it, but you see that all the edge is bound
We don't have any loose edges that we have to worry about coming undone
Once I've turned it to the other side
Then I can take my buttonhole
I can put the two together
And you can see that that simply will allow my buttonhole to completely pass through
But all the edges are bound like you see so the loose threads won't come won't be a problem
Okay, the next area we're going to cover is our notch collar
This is done quite a bit different than your guide sheets have it just to review the guide sheets
What they do is they have you sew the under collar to the jacket
They have you sew the facing to the upper collar and then try to stitch along match these exact points
It's a very difficult process. This is very very simple
First I would encourage you to recognize what the collar looks like itself
And you can see that the decorative edge as we call it is the shorter edge of the collar
The neck edge is the longer edge of the collar
So now when we come back and look at this collar we know immediately that the shorter edge is the decorative edge
The longer edge is the neck edge
So the first thing we do is we have the upper and under collar and we sew right sides together along the decorative edge
Okay the stitching here the red stitching that you see is right along the decorative edge of the collar just right sides together
You notice that when I came to the edge I go right off the edge
I don't leave my needle in there and turn to stitch the side of the collar
Your guide sheets will tell you to do that and we want to stitch straight lines first across the decorative edge
Now I'm going to come back and stitch along the side
You'll notice the advantage of doing it this way is that the thread sews over one another
So that I don't have to worry about that corner coming out
It's strong and it's been reinforced by the stitching going in both directions
Now as I go to fold the collar and turn it to the other side I'll do as we did the pocket earlier
I'll fold right on the stitching line down on the stitching line and I'm going to turn it to the inside
And you'll see what a nice sharp corner that I get without any clipping or without any pressing or anything else
You'll see that I get a nice sharp corner
This whole collar can be surged as we come back and look inside the collar
I could have easily have surged along here, stopped, come off the fabric and surged along the side of the collar as well
Either method, both are very good
Okay, now that we've turned the collar to the right side you'll see that both the sides and the decorative edge of the collar are finished
If we want to top stitch the jacket we'll go ahead and top stitch at this point
And we'll come up a quarter of an inch all the way across and down
Of course, again as we look here we have the edge that's sewn to the jacket which is the neck edge is still open
It's important at this time to form the collar onto a ham because we want to, whenever we roll the collar
We know that the back of the collar, the top of the collar travels a little bit longer distance than the under collar does
And so we'll want to make sure that we get out that difference
And we'll notice that there'll be a little bit of a raw edge there difference
I'll show you again a little bit later as we go
I want to just wrap this around the ham
I'll notice that if when I turn this around the two edges do not meet
And I want that to be the case because I don't want them to be exact
I'm just going to pin through here so that I make sure as I go to sew my collar onto my jacket
That that edge is not the same so that my collar will lay better
Once I've pinned it I can take it off, leave the pins in the collar
And again I can see the difference between the two raw edges
Some of your patterns are so that the upper collar and the under collar are actually different sizes
And if that's the case then you don't need the ham
But if they are the same size then you need to make sure you go through
And find out the difference so that the seam of the collar will not show
Now we're ready to attach the collar onto the jacket
Let me give you an example of this in our finished jacket
You can see that where the collar comes into the lapel
I want to make sure that it's the same distance from both sides
So you can see that I'm holding it there
And from the end of my collar to the edge of my lapel is the same on both sides
The rest of the collar how it lays is not really that important
What's most important is that the front is the same
Now I'm going to lay the facing on and complete the facing
I'm going to stitch from this side across through the neckline
And across back over to this side
It's done completely different is how they have it done on your guide sheet
Let's watch and see how I do it
The collar is actually already done
And we're just putting the collar in between the right sides of the facing
And the back of the jacket lapel itself
So if I come inside and show you what's been done
Actually where we're stitching
This is my facing and my jacket front
And you can see the collar is just stuck in there
It's already finished
And I'm just stitching right around the neck edge
All the way over to this side to this point right here
The collar is just stuck in between the right sides of the fabric
Remember the collar was already finished before we started it
Then I'm going to go ahead and stitch down the front of the lapel
I'm going to start here and come all the way down the front
And just like we did the collar before
It's actually done in two separate steps
I stitch across and then I come down on this side and stitch down the front
And I'll fold it just like I did before
I'll go down I don't need to clip
I'll come into the inside I make a nice sharp point
And then I push it to the outside
We can see that once I do that
I'll get a nice sharp point on the outside of my jacket
So you can see that there's my collar
And here's the point of my lapel
So I stitched across this way first
Then I stitched down
The collar was just merely placed between the right sides of my fabric
As I stitched around my neck
And you can see there's my lapel beginning to form
If we want to continue the topstitching now
Remember when we were on the collar
We had the topstitch here and we had topstitched a quarter of an inch from the edge
Now we have to topstitch the lapel separately
And the lapel topstitching starts right at the edge of the collar
Comes down over and of course down the front
It's about a quarter of an inch from the edge
But the topstitching should not meet one another
It should be completely separate
This is an example of the topstitching that I was talking about
You notice that the collar's topstitching does not meet the topstitching of the lapel
The lapel starts right at the edge of the collar
Comes down and then goes across
They're done at two separate times and they're not continuous
They're not joining
So if you want to do topstitching
This is the way that it looks professional
Our next segment in this video we're going to focus on sleeves
I see a lot of times in the cap of the sleeve where it's flat across the very top
What we want is a nice roll like what we see here
And so we'll go through the process and show you how to do it
It's important that we have that extra ease across the top
Most patterns standard for sleeves
The sleeve is always larger than the bodice opening
Most times it's about two inches
Anywhere from one to two inches
It depends on the pattern and who drafted it
But it should be about a two inch difference between the top of the sleeve
And the opening of the armhole
Okay, we're at the top of the sleeve now
And what I'm going to do is I've got a piece of interfacing
And this is a tie interfacing is what it is
I've cut it on the bias
It's about an inch wide
And it's about 15 inches, 16 inches long somewhere in there
What I'm going to do is I'm going to baste it into the cap of the sleeve
And I'm going to use it to ease up my sleeve
And at the same time it's going to give me that pretty roll that we saw
So I'm going to start down and it should go from about notch to notch
Because that's where the ease in a sleeve is
And I'm just going to go through and baste it
And I'll baste right on my stitching line
And as I'm basting it's important that you pull taut on the piece of tie interfacing
You can see that as I stitch I'm just going to pull up the interfacing
And you see I'm not pulling real hard I'm just keeping it taut
Let's take a look and see what we did there by pulling that up
You can see that through the cap of my sleeve I've already begun to form the cap
And that piece of interfacing has pulled the easing in for me through the top of the cap
So now I'm ready to set my sleeve in and sew it in
Doesn't that look pretty?
So I'm going to go ahead and pin it in
And then we'll come back and show you what it looks like after we stitched it
Okay, I pinned right sides together
And one thing that I want to encourage you to do is it will pin in without any problem at this point
Because the ease is already taken up
Most of the time we put, this is the bodice side, we put the bodice side down against the machine
I'm going to have you kind of do it backwards and put the sleeve side
Actually the side that's larger against the machine and the reasoning for that
Is because the feed dog will help pull the larger side through
So we're going to put the larger side down
And then as we look to the opposite side after it's been stitched
I'm going to make sure that I push all the seam allowances to the outside of the sleeve
And you'll notice that pretty roll that you get
All the ease is done through the notch to notch like it's supposed to
Again, let's look inside for just a minute
I want you to see that the actual tie interfacing is still in there
And all the seam allowances are pressed to the outside
And then you'll come back with your shoulder pad
And your shoulder pad is what holds all those seam allowances to the outside
Shoulder pad is usually extended out into the sleeve about the same amount as the seam allowance
Here you notice I've got about a 3 eighths inch seam allowance all the way across here
And you notice that's right where the edge of my shoulder pad is
So I'll come inside and sew in my shoulder pad and I'll be ready to go
Let's talk a little bit about interfacing right now
There's several different reasons we use what we call underlining
And underlining is actually a separate piece of fabric that's just put in to create a different effect of the fabric
For one reason or another
In this particular case, this is linen
And it's been underlined with silk organza
And you can see inside that there's actually a separate layer
This is a silk organza and its purpose is to create a cushion of air between the two layers
That prevents the linen from wrinkling as much in the use
Another reason that we use an underlining is when we're dealing with a woven fabric
This is a silk and it's a woven silk and you can see how loose the weave is
And in time, because of the wear, it would have a tendency to wear out
And so I've underlined this with an interfacing
Now that's the change that a lot of the industry is doing right now
Is they're actually using interfacings as underlinings
Normally when we think of interfacings, we think of them in only our collar, our lapel, our jacket
And not in our normal wear
But we're going to use interfacings as underlinings
The third reason that we use underlinings is in this particular fabric we've changed the appearance of it
We can use a cheaper fabric or less expensive fabric
And we can actually use an underlining behind it to make it look or appear a much richer state
So those are the three reasons
We use number one, to reduce wrinkling
Number two, to reinforce the fabric so that it will hold much longer
And number three, to change the appearance
Again, what manufacturers do is they're using interfacings as underlinings
So instead of having actually two separate pieces of fabric, they're stitching or fusing the fabrics together
This is an example of a linen jacket where the whole linen is fused with interfacing
And interfacing is being used as an underlining
The most common type of interfacing that's being used is what's called the easy knit
And this is a lightweight knit interfacing
It's available in all different colors
So let's take a look at how we do it and go to the inside of a jacket and see the differences
I went ahead and left the lining free on the inside of this jacket so we could kind of get a look as to what happens inside
You can see that the complete inside of this jacket is interfaced
It's fused with an interfacing
The reason I did this is because of the loose weave so that it would hold it intact
So each piece is interfaced separately and then joined together
It's very important when you're fusing that you make sure you fuse long enough
I see that the biggest problem with fusing is that women don't fuse long enough
Manufacturers recommend 10 seconds
10 seconds is quite a long time on an iron
And so you need to be sure that you're holding that down a full 10 seconds
I would recommend a press if you have one available to you or if it's within your budget
To get a press, that has a timer on it and gives the same amount of equal distribution throughout the entire fusing process
But again, each piece is fused separately and then they're connected together
Then the facings, you see that I have interfaced those as well
Because you don't want to think of the interfacing as an interfacing
The interfacing is more of an underlining just to reinforce the fabric
Then we'll come back in and we'll go ahead and we'll line our garment
And one thing you want to watch for, especially in ready-made garments
You'll see that the front a lot of times is interfaced or underlined and the back is not
And especially in men's apparel you can see that they leave off the back and only do the front
One big advantage in our home industry is we can not only do the front but the back
And it will appear a much nicer garment in the long run and will hold up better for you for a longer period of time
After we finish the construction of the garment on the exterior
We put in the sleeves, the welt pockets are finished, the bound button holes are done
And the facings are attached, we're ready to go ahead and line our garment and that completes it
This method of lining will make the whole thing can be done by machine and we won't have to hand stitch any of it
First off we construct our lining and the only thing that we'll want to do a little differently is
I'm at the sleeve and at this part of the sleeve right here I've left a slit on one of the two side seams
This is a two piece sleeve and so it's got two seams
And I've left about a 12 inch slit along the inside of the sleeve
Doesn't matter if you only have one seam, you still just need to leave an opening for you
And I'm going to show you in a little while you'll be able to access the entire jacket through that slit
So we'll be able to sew right sides together and then invert the jacket
So we place the lining inside, the sleeves are in, everything, the only thing we've left is that slit
And we'll come to the bottom of the jacket
And at the bottom of the jacket you notice that I've sewn right sides together all the way from one side of the garment
To the other side
Then I'm going to start sewing and I'll sew down at this side
I'll stitch around the neck of the jacket, sewing the lining to the facings
And come back down around to this side
We'll do that and then we'll come back and show you how to finish off the sleeves
Okay, I've inside it out the whole jacket and you can see that this is where I stitched all the way around
I've inside it out and I pushed the sleeves down through the sleeves of the garment
And so I'll end up with my raw edges down here through the sleeve
Now what I want to do again is pin right sides together
But in order to do that I'll have to pull the sleeve back through and I'll show you how to do that
But before you do that you have to be very careful to make sure that you're pinning the sleeve so that it doesn't twist inside
You might want to run your hand up the sleeve to make sure that the lining is not twisted
I'm sure we've all sewn in a lining before where we've twisted the sleeve and then we couldn't get our arm through
So using your seams you'll want to line up the lining together
And I'm just going to put right sides together here
Actually I'm going to pin wrong sides together for right now just until I pull it through to the other side
I'll put that seam to where it belongs and I'll put this seam to where it belongs
Then I'll go ahead and pull it through the other way
Okay, that's what you want to do
Then I'll reach in through my opening
In this particular case I haven't got this sleeve on but I still would go by this opening
I reach through, grab a hole and pull it all the way out through the opening of this sleeve
Now I can put right sides together and go ahead and stitch
Then we'll come back and show you that stitching
Okay, you can see here again by the contrasting thread that I've got the right sides of the sleeves together
And I'm going to go ahead and pull it back through my hole
And when they come out you'll see that it'll be completely stitched
And you won't have to do any hand work to hold that hem up
The actual length of the lining will hold up the sleeve
There's a formula for lining
See as you look inside you see that it's completely done by the lining
And that formula is you'll take your pattern piece minus your hems or your facings
Plus you'll have to add a seam allowance and that will equal your lining
So in the jacket front I had the pattern
I minused off my facing and that was my seam allowance amount
But I have to add a seam allowance onto the lining so I can attach it to the facing
So anytime you don't have a pattern that has lining to it you can always just cut your own lining using that formula
So there we have it, we're done with our lining, we're done with our sleeve
It's completely lined and yet we didn't have to do any hand work
We've completed a blazer, we've gone through the patch pocket, the welt pocket, the notch collar, the sleeve, the linings, the interfacings
And hopefully these will help you to produce a professional looking garment
There are a couple other things that I wanted to show you
Not that they would occur on a blazer but I felt like they were areas of a garment where you may not be constructing a particular garment
Because there's one particular area you cannot do
This is a good example on a shirt collar, either men's or women's either way
And I just wanted to show you an alternative way of doing the shirt collar
You'll see that this is the right side of your collar, everything's finished
The only thing that you have to put on, the last thing you should put on is the band and the collar itself
You'll go ahead and complete the collar just like we did with the blazer
You'll stitch along the decorative edge and then you'll stitch along the ends
Turn it to the right side and then you're ready to go
The pieces involved are the shirt itself, you have two stands and then the collar
And the first thing you'll stitch is you'll put the bands together and you'll stitch straight all the way across
The bands are with the shirt in between, right sides together and you'll stitch all the way across
Either with a serger or with a sewing machine either way
Then you'll come back and we're on the right side of the shirt
And on the right side of the stand with the right sides together again
You'll stitch the collar to the stand
And actually it's right sides together but it's the wrong side of the collar on the right side of the stand
And so you'll come along and you'll stitch right across there
Once you've done that, this is a little tricky part of it
The object is to get these two stand pieces back together, right sides together
That's what we want to stitch
In order to get right sides together, we'll have to roll all this up inside the two stand pieces
So we can get them right sides together and we'll stitch from this point around to here
Over just past where the collar was joined on
Now I'm going to show you that over here
You can see that I had the right sides together and I've stitched just past where the collar is joined
And I've inside it out
That leaves us with a section right in between here that's open
And what we'll do is we'll turn this down and we'll top stitch it all the way across
If you look at this shirt right here, you'll notice the top stitching is done just right on the edge
Where they flip that edge under and continued all the way across
You can even see right here where they've gone off the fabric a little bit
If we look back on our sample, we'll see that what that is is it's turning this under and top stitching this right along there
The biggest advantage in doing it this way is we end up with not a lot of bulk right here where our button and button hole go
And this is even all the way across the front
Which turns out much better than, again, how the guide sheets have us do it
The only other area I'd like to show you is with zippers
I feel like a lot of women won't make a garment because a zipper belongs in the back of it
And I notice the instructions that come on a zipper are a little more confusing than helpful
The first thing I recommend is that you leave an inch seam allowance when you go to put in a zipper
Most of your seam allowance is 5 eighths
It's just a little harder to deal with if you don't have the one inch
So I recommend a one inch seam allowance
Just cut your fabric a little bit wider
Then your instruction sheet will tell you to baste this side down to the zipper
And I'd recommend you not do that
Just go ahead and pin your zipper in place
Make sure that the basting or the seam, the middle of the seam is coming right down on the teeth all the way down
And then just place a couple pins to keep that zipper in place
Once you have it in place, you're ready to start at the top, stitch down, over, and back up again
And you'll see that if you just keep it simple
Don't try to push it through or pull it in any one direction
It will lay nicely and come out like it's supposed to
This concludes this video on tips and techniques
I do hope this gives you a lot more confidence when you go to construct a blazer
Not only the notch collar and the sleeves, but the welt pockets and the linings and the interiors of the jacket as well
I do again want to thank Viking for letting us use their machine in this video
Also, I would like to extend an additional offer
And if there's anything on this video that's confusing to you, you just don't quite understand it
I have included my business card with my phone and address
And you're welcome to either call or write me and let me know of your concern
I do have printed pages on this information
If that would be of more help to you, please write and let me know
Thank you and happy sewing and I hope you construct the best blazer of your life
Music
.