iv,"^.

PARA

THE

TIME-LIFE

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HUMAN BEHAVIOR
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THE ART OF SEWING

BY THE EDITORS OFTME-LIFE BOOKS

TIME-LIFE BOOKS,

NEW YORK

TIME-LIFE

BOOKS

FOUNDER Henry

Luce 1898-1967

R.

Hedley Donovan
Chairman of the Board: Andrew Heiskell
President James R. Shepley
Editor-in-Chief:

Vice Chairman:

Roy

E.

Larsen

M AN AGi NG EDITOR: Jerry Korn

Assistant Managing Editors: Ezra Bowen,
David Maness, Martin Mann, A, B. C. Whipple
Planning Director Oliver E. Allen
Art Director: Sheldon Cotler
Chief of Research: Beatrice T. Dobie
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Senior Text Editors: Diana Hirsh,
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Mangan

PUBLISHER: Joan D. Manley

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THE ART OF SEWING

THE CONSULTANTS

EDITORIAl STAFF FOR

Gretel Courtney taught for several years at the

SEPARA TES THA T TRA VEL

French Fashion Academy in New York City. She

has studied patternmaking and design at the
Fashion Institute of Technology in New York and
haute couture at the French Fashion Academy,

EDITOR: Fred R,

Designer

Smith
Gianakos

Virginia

Assistant Designer Elaine Zeitsoff

Text Editors: Betsy Frankel. Anne Horan,

Gerry

Schremp

Tracy Kendall has for

many

years designed sets

Picture Editor Kathy Ritchell

and costumes for commercial

Chief Researcher Wendy A. Rieder

Staff Wnters: Sondra R. Albert, Don Earnest,

ing.

Marian Gordon Goldman, Angela D, Goodman,

Susan Hillaby, Marilyn Kendig, Jill Spiller,

Julian

Sandra Streepey, Reiko Uyeshima

Research Staff: Laura James, Cinda Slier,
Ginger Seippel, Lyn Stallworth, Diane Asselin,

Award

Doris Coffin

Art

Staff:

Anne

B,

Landry

(art

manager),

Angela Alleyne, Penny Burnham,

She

is

currently a fashion

films

and

advertis-

stylist.

Tomchin is a textile designer who has reVogue Fabric Award and a Coty
of the American Fashion Critics. A grad-

ceived the

uate of Syracuse University's Fine Arts College,

he has been chairman of the Textile Design De-

partment at the Shenkar College of Fashion and

Technology in Tel Aviv and now teaches
the Parsons School of Design in New York.

Textile
at

Patricia Byrne, Catherine Caufield,

Jean Held
Editorial Assistant:

Anne Gordon

Valuable assistance

was provided by these

departments and individualsof Time

Editorial Production,

EDITORIAL PRODUCTION

Production Editor Douglas B.

Assistant Production Editors:

GennaroC.

Graham

Young
Assistant Quality Director James J. Cox
Associate: Serafino

J.

L.

Cambareri

Copy Staff: Eleanore W. Karsten

Inc.:

Airey; Library,

Collection, Doris

O'Neil; Photographic Laboratory,

Esposito, Feliciano Madrid

Quality Director Robert

Norman

Benjamin Lightman; Picture

George Karas;

News Service, Murray J. Gart;

Correspondents Margot Hapgood and Dorothy
Bacon (London), Ann Natanson (Rome),
Josephine du Brusle (Paris).
TIME-LIFE

(chief),

Kathleen Beakley, Ricki Tarlow, Florence Keith,

Pearl Sverdlin

Picture Department: Dolores A.

Susan Hearn
Traffic:

Carmen McLellan

Littles,

1975 Time Inc. All nghts reserved.

Published simultaneously in Canada.
Library of Congress catalogue card number 75-21 824.

,^

ONTENTS

CLOTHES
TO TAKE
FOR ATRIP

OUT OF THE
SUITOASE.

20

READY TO WEAR
PUTTING
THE PARTS

40

TOGETHER
FASHIONS
FOR THE FUN
OF TRAVEL
STITCHES FOR

OUIOK-OHANGE

142

ARTISTRY

APPENDIX
GLOSSARY

HAND

STITCHES
KNIT STITCHES
CROCHET STITCHES
BASIC SEWING TECHNIQUES
CREDITS,

INDEX

ACKNOWLEDGMENTS

166
167

168
170

172
173
174

mtm

P^^.-.
i:**fH<iifr

3
($

'',

mfmimm

round the turn

of the century', ev-

ery self-respecting traveler

had

a trunk a hide-covered, brass-

was

enough

bound box

that

to hold

the owner's clothing,

all

big

and a spare Bible as well, "Whenever you

went anywhere, you took a trunk," wrote one
Maine Yankee, reminiscing about
life,

dodge expressmen

platform you had to

ing

village

"and whenever you coursed a 'depot'

on

No

their

more.

hand wagons

What

pull-

of trunks,"

trunks survive today are

generally gathering dust

in

the attic per-

haps storing long-unused costumes

like

the

duster foi/er/ea/^ that ladies wore touring

the then-new motor car, n the age of the
I

every

air traveler is

tations,

Even those

or car tend to travel

mindful of weight

who travel
light.

in

jet,

limi-

by ship, train

With careful plan-

anyone can pack a small but versatile

wardrobe into a single suitcase and be
ning,

imaginatively dressed for

all

occasions.

The

secret to such versatility

that ward robe of separates: skirts

shirts, vests,

be worn

How

in

is

making

and pants,

sweaters and jackets that can

interchangeable combinations.

far this idea

can be exploited

cated by television reporter Betty

is

indi-

Rollin,

whose job makes travel a part of her daily

life. She gets an attractive wardrobe into a
tote bag:
easily

"I

take a

and three

skirt that

doesn't get dirty

tops: a T-shirt or a heavy-

weight all-wool sweater, depending on the

climate I'm going

digan that

to;

a blazer or

may or may

not be

T-shirt or the sweater,

gives

me

maybe a car-

the reverse

is

almost

home

but

not necessarily true.

For 20th Century mobility, clothes

must meet

several

Light weight, so that a

requirements:

costume

is

not

tir-

wear (or carry).

Temperature adaptability, to keep a flight
south from bringing on shivers in Copenhagen and perspiration in Nice.
ing to

Elasticity, for

hours strapped

Shape
if

comfort during
into

five or six

cloth that has

stay fresh-looking longer,

adaptable

able,

in

even when

they have been.

Crease resistance and easy care

for

places where dry cleaners and washi ng ma-

may be hard to find.

Minimum structure, for comfortand easy

chines

in

a small space.

Separates generally meet these require-

woven

fibers,

knits

to

and the comfort-

(pages 24-25). Sewing

with these fabrics calls for modifications of

customary techniques ("pages 54-55A

for the

make the materials

so useful for separates may make them hard

very characteristics that

to cut or slippery in the

sewing machine.

woven and knitted matehals,

man-made fibers add special values.

or both

"Polyester

is

the travel fabric,"

in-

Anita Pasalbessy, sportswear

sists

buyer for Abercrombie &

store that specializes

in outfitting

Fitch,

the

people for

Pago Pago, Zambia and Hudson's Bay. "It

never needs pressing, and itdries in atrice,"
Those advantages are secondan/ to Virginia Haynes, whose career as a cosmetics
executive keeps her traveling four months
out of every 2. She finds counterbalancing
1

virtues

the traditional fibers.

in

"I like

natural

fabrics betterthan polyesters wool forcool

climates, cotton for hot ones. Polyesters pull

and

discolor; natural fabrics last better in

the long run.

As for creases,

clothes

have wrinkles that won't

hang

out,

any

which

hotel

still

borrow an

is

iron

from the

in

hotel,

people know you can do that."

fabric, the

grandmother

separates (and to many,

eminent
for

If

many

In

they

be.

travel

thing

first

hang in

need
Not

the

unpack and let my

the bathroom steam if

retention so clothes will not look

developments:

been chemically treated

do when get to a

a narrow seat.

they have been slept

packing

recent fabric

of

particularly

simple styles that take ad-

and shape-holding

strong

special

at

dresses,

vantage

and consequently

always serve well

than

in

a different look; and then for eve-

eparates that travel well

as

better

worn with the

top something low-cut

and dressy, maybe a silk knit that can go
with the same skirt."
ning

ments

when made

style)

is

of today's

still

the pre-

the shirtwaist

blouse,

one form or another has survived

more than three quarters

of a century.

during the waxing and waning of long

skirts

and slim skirts,

pants, shorts and culottes to all of which
has served as foil and companion.

and

miniskirts,

skirts

full

it

The

original

appearance

of the shirtwaist

women

coincided with the entrance of

women's wear to
easily
at

into

was the first piece of

be mass produced; was

the working world.

It

manufactured, just as

home today. At

it

is

easily

per top, the working

and

your look to

keyed. Prints should be subtle, not stagger-

change the look

she might wear for

mind, including yourown."

to

worn by

rich

and poor alike,

ornate or simple, and lends

itself

to fash-

ionable use, no matter what the occasion."

girl's

be the starting point for a

shirtwaist

may still

traveler's mix-and-

match wardrobe, but today other

/

styles

56- /57j offer versatility. Al-

most any simple designs can be combined

coordinated by color and pattern.
Color

is

ones that

ing

the

first

consideration

in

Says Catherine

Lis,

in travel

will

orately

in-

everyone's

in

of fabric, color

and

pat-

clothes sometimes obscures

shaped garments may crush

all

day

in

a car or plane.

be uncomfortable,

for

most shaping

signed to approximate the body

standing or
ball for

sitting politely not

curled

particularly

is

in

knits

is

many

one

relative-

separates

of their

key

to the traveler.

Yet there are

little

it

a mid-flight nap or stretching to

unstructured design of

are

de-

is

when

clamber around the Coliseum. The

ly

easily

when
They may also

the suitcase and almost as easily

worn

putting

managerof the

remain

an equally essential factor structure. Elab-

advantages

together a wardrobe of interchangeable

parts.

new people will always be new."

she cautions, "Keep even/thing low-

But,

in

if

be in one place and plan for that

Then you can repeat and repeat, and

made

sured," predicted a trade journal called The

(pages 102-103,

lilac

will

stay.

The importance

The poor working

on

forest green."

you

tern

"It is

store. "I've

favorite outfits

Once the traveler has decided on the colschemes to use, travel author Myra
Waldo advises: "Count the number of days

The shirtwaist became a fad overnight,

andinlessthanadecadeit had climbed the
social ladder. "Its permanency seems as-

is

my

or

several days.

Cutter-Up.

of

could afford several

girl

of the basic skirt that

based some

it

prices as low as 50 cents

different shirtwaists,

Bloomingdale's department

at

some

morethan

structural details that

stylistic

touches

at

home

but temper-saving conveniences afield.

To

Fifth

accommodate the whimsies of weather and

Avenue, "The traveler should pick two color

exotic heating systems, snug-fitting cuffs

schemes only two no more

and jacket waists (pages 66-70) are comfort-

ternational

shopping service

can't stress this enough."

at

Saks

than two.

These two colors

serve as the basics around which she

will

able; so are neckline

openings that

easily

button or zip to whatever level temperature

coordinate everything else. But the basic

or

color need not be dull. "Black, beige, white

stretchable waistbands on skirts and pants;

and gray

for

Krull,

aren't the only basics," says

head

of

Judy

customer fashion service

modesty demands, For

relaxation,

put

pure handiness, do not forget pockets.

"For traveling there

is

nothing

like

pock-

ets,"

says Jean Campbell, designer of Sport-

whirl Clothes.

They can hold candy

scan^/es, extra

film the things the traveler

often

wants ready or forgets

suitcase until after

is

it

bars,

to put into the

locked shut.

Pockets can be worked into the gathers

of

skirts,

full

nestled below the waist or

against the hip, where they hardly show; or

they can be

made a

decorative feature that

stands out and meets the

on the back

of a skirt,

even
legs,

on sleeves and the sides

like

carpenters'

practicality they
ly;

eye on

the front

of a pair of

pockets.

pants

of pants

For travel

must be positioned proper-

a back pocket should not be so low that

the wearer

will sit

on

it

Five 1906 ladies riK

answertothehaz.!'
unpaved roads. Dij.;^ ^- _
cotton, silk and linen usually

and crush the con-

'ishion

._

in

.^

,^-

white, tan or

viOf
lemon

arm pockets and

leg pockets

should

be placed either high or low, but not

at mid-

tents;

where they will interfere with the

of elbow and knee.
Finally, by adding jewein/, which can
change the character of the separates (making them elegant or casual); scarves, which
can accentuate some colors and play down
others; and a minimum of two pairs of shoes
one forwalking,anotherfor evening the
travel wardrobe of separates is assembled.
All of
save the shoes and jewelry, can be
limb,

bending

it,

made
sets

by the

off.

home seamstress

Moreover,

all

well in a peripatetic

of

day

before she

will sen^/e just

it

at

home

as

it

journeying to far-flung places.

The filmy veil, drawn over the face once the

was carborne, might be of any color, but emerald
green was thought to be most effective for guarding
yellow.

lady

feminine complexions against unthinkable suntan.

as

does

fg,

-i

e Da rates
Half the fun of going on a trip

wardrobe that

ing a

through every social

sails

tak-

is

smoothly

situation.

Coats

go over slacks or long skirts;

beach robes that double as dressing

that

gowns; play clothes that leave the

beach

for

lunch

in

bistro;

street

clothes that cope with showers or

unseasonable
clothes that

chills;

stamp-sized space
all

make
is

in

the suitcase

traveling effortless,
this

Ideally,

robe

and evening

emerge from a postage-

hard-working ward-

made up

of

lightweight,

crushproof parts that change

like

chameleons, d'^pending upon the

accessories worn with
that

wash

in

them and

a hotel hand-basin and

dry on a coat hanger overnight.

three travelers wear

Waiting

at the airpott,

to right)

a washable pseudo-suede coat and

and sweater; a

(left

hat with wool flannel pants

lightweight mohair jacket with wool flannel

and drip-dn/ blouse; and a wool-knit wrap

skirt

coat over a two-piece knitted dress with beret.

These three convertible costumes could go

from the beach to lunch on the hotel terrace.
At

left IS a halter-neck nylon jersey dress with

a drawstring top; for other occasions the
drawstring becomes a gathered waistline and

the dress an ankle-length

At center are
and
permanent-press cotton
polyester cover a pair of matching shorts and a
knitted strapless top. At right, stretch cotton
terry-cloth shorts and bare-midriff top sen/e for
sunning and swimming, while the matching
beach cover-up could double as a bathrobe.
skirt.

four pieces easily juggled: a safari jacket

button-front skirt

in

'

-%

1 *?ni

t
:.>'.^

>

i
For sightseeing around town during the day,
the choice (left to rigtit) includes permanentpress cotton-polyester pants worn with a cotton
T-shirt tunic that could also function alone

as a dress; a two-piece knitted dress of

nonwrinkling wool and rayon whose separate
parts can be tops or bottoms for other
ensembles; and a permanent-press cotton
poplih rain suit with a dual personality both
lacket

>

and

skirt

reverse to sleek nylon

cir&,

<
Three glamorous possibilities for after-dark
dressing take advantage of fabrics that shed
wrinkles and require little luggage space.
B. Inw, a dramatically striped blouse
'

rutted

trie fop,

and

skirt

woo! have stripes running one way

the other

way

in

the

skirt.

in

polyester

crusader's tunic (center) with sleeves vented to

the elbow is worn with silk pants. A two-piece
dress(right) of permanently crinkled pleats

ends

in frills at

the bodice and

skirt

hems.

^#^-1
V.iA

V^J

>Cr

4llir

verybody rides

in

public vehicles

in

these democratic days," observed

Georgiana

Hill in

1893,

bemoaning

a custom that tended to produce a

sober uniformity of dress. "Every-

must be quiet and unnowear and tear,

tumbling and creasing. The

thing for daily use

ticeable, able to withstand

rain and dust,
omnibus and tram
crisply,

"have a

lot

to

car," she concluded

answer for."

Today Georgiana's opinions are no

long-

er valid. Thanks toa revolution in fabnc tech-

nology

it

is

perfectly possi ble for travelers to

be fashionably dressed en route

colors, patterns

in

as

and textures as they

to arrive at their destination virtually

many

like

and

untum-

bled and uncreased. Better yet, the clothes

they pack
to

in

wear with

out.

their

luggage will emerge ready

little

more than a quick shake-

Some of these well-behaved

updated versions

and

of classics like

fabhcs are
seersucker

mummy cloth, whose permanent puck-

because they are already

More often than not,

unstructured jersey dresses of the '20s

intentionally wrinkled.

the

however, these traditional favorites are no

fashion knitted fabrics have come far. Ma-

longernnade of cotton or linen, but

chines are as versatile as computer technol-

ers defy wrinkles

of natural

and synthetic

The synthetics
the fabric

in

of

fact are a

major part of

Inherently

revolution.

acrylic
ities
in

made on them,
ity

of

woven

many

fabric.

among

hief
\

these sturdy knits are

the ubiquitous double

are actually

and wool, and

to blends of cotton, silk

fil-

to wrin-

their carefree qual-

addition have acquired so

ranging from openwork

igree to sturdy knitted cloth with the stabil-

travel well. Polyester,

and nylon lend

reach the ranks of high

easy to

they have enormously expanded the

range of fabrics that

knits to

ogy can make them, and so are the fabrics

fibers.

wash, quick drying and resistant

kling,

blends

first

rib knits

which

knits,

made

by two

/setsof needles that interlock to cre-

When

ate a double layer of fabric,

refine-

ments that they have spawned a whole new

made

breed of synthetic

continuous filaments, and on sophisticated

textiles.

Typically extruded

in

from a device that looks

a semiliquid state
like

a shower head,

knitting

voile;

them a permanent character from which

lica of

will

never vary.

In

fact they

can be

giv-

or instance, there are polyester

ments stretched so

madefromthem
idity,

fila-

fine that fabrics

rival

silkintheirflu-

and one process gives

acn/lic

the luxuriant feel of cashmere. Even

the nonabsorbency that once
thetic fabrics

has been

uncomfortable

in

virtually eliminated.

new version
stance,

in

is

as

another

is

and

made

syn-

hot weather

Impregnated

with a special chemical that behaves

like

synthetic

ribbed and napped

is

in

a rep-

embossed

of grained leather,

fabrics

suede. They are

of the

are those that

made

in

new

imitate

various combina-

tions of nylon, rayon, acrylic, polyester

and

polyurethane depending upon the manufacturer's formula.

are

made

knitting

Some pseudo suedes

by a process that bypasses both

and weaving; others come double-

faced or single-faced with either a woven or

knitted base.

Ranging

in

price from four dol-

them are

lars to

able as cotton.

most indistinguishable from the

Though many of these improved synthetgo into woven cloth, the majority are gobbled up by knitting mills, whose products
are of course the best travelers of all. From
Coco Chanel's revolutionary introduction of

for in-

knit,

wick, synthetics can be almost as breath-

ics

for

One

filmy as georgette or

corduroy; while a third

an imitation

account

fabrics.

double

of polyester
light

knits

new

Perhaps the most amazing

en almost any property desired.

machines, double

a remarkable number of

synthetic filaments can take many forms.

They are stretched while still viscous, twisted and textured, and heat-treated to give

they

of synthetic yarns, with their even,

but

$30 a yard, the best

unlike real suede,

of

al-

real thing

most are wash-

need pressing,
and garments made from them will arrive
at their destination untumbled and unable. In addition, they never

creased, whatever the conveyance.

'^-iSffe,'^

nits

in point.

Particularly comfortable to

wear

transit

in

er constrict

ortravelino

because they nevmovement, their loose,

sphngy construction

also

means

they bounce back into shape after

tight packing.

ewora

A sampling

of the

enormous

ety available includes (left to

vari-

rigtit)

casual acrylic-and-polyester stretch

As more and more people take to the

terry,

a shimmery nylon

road for pleasure or business, an

stripe,

a double-knit of polyester and

abundance of new and updated fabrics accommodates their need for

acrylic softened with rabbit hair,

light,

easy-to-care-for clothes that

novelty knit called

its

or confinement

all

Knits

like

a suitcase.

those cascading out of

the duffel bag

shown here are a case

a lacy

purple sweater knit of pure wool, a

stay fresh-looking after hours of wear

in

in

manufacturer,

"mish-mash" by

who created

his leftover yarn,

and a

it

with

nylon-

and-triacetate jersey printed with an

Art

Deco design.

ea
ose
One way

to solve the

rumpled clothes

is

with wrinkles built

to

problem

of

choose fabrics

in, like all

the fab-

The cotton-polyester blend

and flowered cotton plisse

rics here.

at right

beside
cally

have been treated chemi-

it

pucker;

to

classic

checked

Indian

the

next

cotton,

fabric,

and

its

version, at the very bottom,

acquire their texture from naturally

creped yarns, Between them are a

crushed velvet whose streaky surface

is

applied with heated

and a cotton
ripples are

plaid seersucker

made

rollers,

whose

by alternating the

thread tension during weaving.

/
,*

berstha

ah
w

is

an

it

al-

most perfect (and washable)

imita-

tion of the real thing.

in

right) will

by their

very nature wrinkle shedding

cause the

fibers of

is

that they are

delicate

polyester

be-

which they are

made are more resilient than

fibers. An added advantage
The

nonwoven pseudo suede

Creases

the

sturdy cotton-polyester duck (center

Many man-made fabrics are

traveler

feels like fine cotton, while next to

all

out after

it

is

hung

for

cally patterned nylon satin

and the

rayon-polyester voile pnnt can

be

natural

worn immediately

for the

Finally at the extreme left, a wool

tweed mixed with polyester and ny-

washable.

chevron-patterned

pongee

fall

few hours, while both the geometri-

at top looks

and

lon

is

after

unpacking.

not only crease-resistant but

can actually be laundered.

w
r^-^
GENERAL DESCRIPTION

The stretchiness
unsurpassed

that

makes

introduces special problems

ing with them,

in

Each type has

properties that

ual

knits

for travel clothes also

sew-

individ-

how

affect

it

RELATIVELY STABLE KNITS

should be handled. These characteristics

depend

primarily

on

stretch-

These

fabrics closely resemble

Lengthwise stretch

iness,

which varies from very

to quite firm,

elastic

depending upon the

re-

is

woven fabrics

in feel.

negligible; crosswise stretch

about 15 to 20 per cent. Most double

knits

is

into

fall

this category.

silience of the yarn used, the size of

the stitch and the particular pattern

of stitches that are

machine.

knitting

produced by the

In rib knits, for in-

MODERATCLY STRETCHY KNITS

stance, the combination of knitting

and purling introduces a great deal

Somewhat less firm than

fabrics cling slightly.

of stretch, while in

double

action of

interlocking

knits the

two sets

of

relatively stable knits,

The crosswise

is

these

is

about

the

same

stretch

20 to 30 percent; the lengthwise stretch

or slightly less.

needles creates a fabhc with almost

much

as

as woven cloth.

stability

Knits can

also vary

in

thickness

from featherweight jerseys

and these

sweater-knits,

es too

differenc-

use of special

for the

call

rics,

These fabrics behave

closely to the body.

shopping

for knitted fab-

be sure to examine them

(they

may

ribs

lie

at right

determine

if

it

in

crush the

let

it

released.

flat

shape on hangers).

UGHTWEIGHT KNITS
Thin, supple

and sometimes diaphanous, these

its

fab-

but also drape and cling to

the body, and have practically no bulk.

ohginal

go. Finally, try

fabric, to

the wrinkles you

when

both directions to

recovers

shape when you

to

in

angles
rics are not only stretchy

the fabric

they stretch

for vis-

those that run lengthwise, then

pull

knits;

They should always be stored

stretch out of

and a snag can quickly lead to a run.

Check to see that the rows of crossto

hand

tend to snag easily

ible flaws; knits

wise loops or

like

both directions, usually between 40 to 60 per cent,

though sometimes a great deal more. They cling very

sewing techniques.

When

VERY STRETCHY KNITS

to bulky

be sure that

make sphng out

BULKY KNITS
Whether fluffy or flat,
these fabrics have a
loosely constructed.

stretchy or moderately stretchy,

thick, resilient feel

and are often

PATTERN SELECTION

VJ

CRINKLED FABRICS

The two types

of

rumple-resistant

Some crinkled fabrics used for separates, like Indian

mummy clotfi, are made from naturally creped yarns
that are

fabrics presented

chart are

in this

most as popular as

al-

knits for traveling

advantages of each

clothes, but the

kind

come from

properties which are

One

type of

because

fabric travels well

and

crinkled

it

is

de-

additional

wrinkles do not show; the other has

in

the spinning process.

either by applying heat

the finishing processor by

manipulating the tension of the yarn while weaving.

artificially

crinkled fabrics are cotton or cotton-

polyester blends

mummy

such as seersucker,

cloth or

plissfe.

imitation

permanently wnnkled denim. But

the crumpled appearance of crushed velvet

achieved

liberately

in

artificially,

or chemical treatments

Most

diametrically opposite.

crimped or twisted

Others are crinkled

artificially,

and so are the

is

also

allover minus-

cule pleats that pattern the surface of

some

satins

and crepes,

been given chemical finishes that

counteract the fabric's natural ten-

Many of the

dencytowrinkle.
finishes
travel

incorporate

also

bonus: they

make

special

another

the fabric

more soil resistant.

The very attributes that make the
treated and crinkled fabrics so good

WRINKLE-SHEDDING FABRICS

Like the synthetics

and blends, whose easy-care

properties they emulate, these treated natural fabrics

for

can,

traveling

problems

for the

however,

home

raise

seamstress.

Crinkled fabrics, for example, do not

resist

no

creasing and wrinkling and require

ironing.

sistant,

They are labeled

crease

resistant,

the sewing machine; chemical

ishes often

fix

piece of cloth, making

it

to straighten the grain

tional

to pinpoint

at right

is

such problems

and provide solutions

plify

impossible

by conven-

methods. The chart

designed

fin-

the structure of a

that will sim-

the task of shaping these fabrics

into carefree

proof travel.

separates for muss-

press.

The finish

itself

usually a synthetic resin applied during the

stages of manufacture;
fibers,

finish

bency and make

it

some

is'

las!

types impregnate the'

while others coat the surface. Most often used

on cottons, the

than

ir
or

wash-and-wear, drip-dry,

permanent press or durable

flow as smoothly underthe needle of

little

variously as wrinkle re

IS in its

its

may

lessen the fabric's absor-

surface smoother and harder

natural, untreated state.

I
PATTERN SELECTION

TESTING KNITS FOR STRETCH

The

texture

fabric

and design

can affect how

it

of a

knit

should be

handled. A knit that is thick and

spongy may be so resilient that the
tracing wheel used over dressmak-

carbon cannot make an impres-

er's

sion on the fabric to

mark a

clear

seam line; on such material, straight

seams must be achieved by using either the seam allowance gauge
on the sewing machine or a seam
guide attachment.
Knits also need special treatment

before they can be cut to a pattern. Like

all

fabhcs, they must

first

be straightened and smoothed the

edges evened and any creases flattened but ordinary methods do not
always work with

knits. In

and synthetic blends,

for

the direction of the yarns

that pulling, pressing

synthetics

example,
is

fixed so

and steaming,

which straighten most woven

have

tiles,

little

tex-

effect the yarns

spring back to their original position,

displaying the resilience that
knits

makes

so useful. To get around

this

problem, assure straight edges on

such

knits

right

angles to the

by trimming along and at

the pattern

ribs or

(right);

lay

stnpes of

out pattern

pieces to bypass any center crease

and

to align with

any

stripes.

.,.

LAYING OUT KNIT FABRIC WITH A CENTER CREASE

1

To avoid the permanent

center crease caused by

Cut out the garment

pieces along the cutting

3,

folding the fabric onto the

lines,

bolt, fold up both lengthwise

edges, wrong sides out, so
they meet near the crease.

4A.

Keep the

folds parallel to the

bastings

made

in

preparing

(opposite page).

knit fabric

up excess fabric so
will not hang over the edge
of your work surface,
Fold

It

the knit fabric

firm,

is

mark each garment piece

using dressmaker's carbon
and a smooth-edged tracing
wheel (pages 44-45).

it

4B,

If

the fabric

too soft to

is

mark with carbon, mark

dots and critical

all

circles,

Lay the pattern pieces on

the fabric. Be sure the top-

with single tailor tacks

to- bottom

(Appendix).

2.

directions of

all

pieces are the same, grain-

arrows are

line

parallel to

the bastings and pieces

marked "place on
along a

fold.

junctures of

seam

lines

When you sew,

use the seam guide on your
sewing machine to assure
straiaht seams.

fold" are

Pin the pattern

pieces.

LAYING OUT KNIT FABRIC WITH A PROMINENT LENGTHWISE RIB

1

Spread the fabnc wrong

side

down

in

a single layer.

up excess fabric so
will not hang over the edge
of your work surface,
Fold

it

5,

Lay the pattern pieces on

the nb at the fold

Unpin the

line at

make sure

and

all

top-to-bottom

On

the

same

finish cutting,

pattern pieces

marked

For a pattern piece with a

grain-line arrow, cut

"place on fold," align the

marked side

and leave
space so each piece can be

turn the piece over,

fold line with a rib

flipped, as

shown by the

it

out

Unpin and

up.

Repin the piece to the

fabnc with the same top-tobottom directions previously
8,

dotted lines. Pin.

4.

Turn

Repin

rib,

same
7,

3.

line,

pattern.

the piece over with the fold

the fabric, avoiding creases;

directions are the

along the

linestoeachendof

cutting

6,
2.

For a pattern piece with a

fold line, cut first

On all other pieces, align

used.

Then cut the

piece.

the grain-line arrow with a

space so pieces
can be used a second time

9,

(dotted

of

nb; leave

lines). Pin,

On each

circles

and

seam

tailor

piece,
critical

mark

dots,

junctures

lines with single

tacks (Appendix).

UYING OUT KNIT FABRIC WITH A CROSSWISE STRIPE

1

Make a

duplicate for

all

pattern p\eces(Appendix).

4,

On adjacent garment

pieces, be sure notches with

the
2.

Spread the fabric wrong

side

down

Fold

up excess fabric so
hang over the edge
work surface,

will

in

a single layer.
it

same numbers fall

at

the

same points on the stnped

design so you can match
stripes at seams,

not

of your

5,

Cut out the pieces along

the cutting

Arrange the pattern

pieces on the fabric,
avoiding any creases
present in the fabnc, and

lines,

3.

6,

If

the knit fabric

transfer

all

is

firm,

pattern markings

including seam

lines to

the same. Gram-line arrows

each garment piece with

dressmaker's carbon and a
smooth-edged tracing

and

wheel,

make sure top-to-bottom

directions

on

all

pieces are

fold lines are at right

angles to the stripes. Pin the
pattern pieces in place.

7,

If

the fabric

is

too soft to

mark with carbon, mark

and critical

dots, circles

junctures of
tai lor

seam

lines with

tscks (Appendix).

lers

ear
For Rosita Missoni, partner with her hus-

band Ottavio
Italian

in

the enormously successful

knitwear factory

that

bears their

name, clothes have no season. "When

it

is

Signora Missoni, "you just put on

cool," says

more things," and the status-laden Missoni

"things" a running collection

of

knitted

separates are designed with that philosophy in mind. Wealthy women have been

known
lected
ly.

to collect Missonis as they once colcashmeres and wear them constant-

"You put three

a suitcase and

outfits in

you're set for a whole season

said
into

in

Europe,"

one Missoni admirer. "You just reach

your closet and grab everything goes

with everything else."

The
is

particular cachet of the Missoni look

a combination of exotic and beautiful

col-

or effects achieved through a technique the

Missonis

call

"space-dyeing," and a fashion

sense that stresses easy

that are at

sexy. Both the Missonis,

in

effortless

styles

once elegant and seductively

whose

factory

lies

the foothills of the Alps about an hour's

drive north of Milan, share

in

the creation of

this distinctive look,

In

the cobbled courtyard of their factory

(right),

Rosita

and Ottavio Missoni pose a model in a four-part outfit: a

rib-stitched skirt and sweater topped by a striped
tunic and long woolen coat lined in the tunic fabric.

Sunburst stripes widening from top to bottom create a

cotton knit beach skirt for a bikini (left). The bikini
bra, which looks gathered, is actually the very top of the

where the narrowing stnpes converge.

Below, Rosita Missoni checks the lookof a multistriped
wrapped top worn over the same beach skirt. The head
fabric pattern,

scarf, also

a Missoni

knit,

doubles as a cummerbund.

X4

m^

her office, next door to that of her husband, Rosita

Missoni and her head cutter, Ersilia, check out a
kingfisher-striped evening gown newly delivered from
the production line, while Rosita's assistant Linda, in a
In

Missoni man's
right,

Rosita

shirt, takes notes on their comments. At

and Linda pore over yarn samples on her

and play an abstract game of color combinations,

adding and subtracting until they have a palette
25 fabrics the Missonis create twice a year.
floor

for the

..11****^^

In

the loose division of responsibility that ex-

between the two Missonis in their knitwear business, is Ottavio who supervises
the technical aspects the knitting techniques and yarn combinations while Rosita works with color and style. Her role as
stylist begins when, as she puts
Ottavio
ists

it

it,

"deliversto
fabric,"

me 10 meters of newly designed

Her clothes are

basically simple

in

shape, almost sacklike, but she has a special talent for

extraordinan/
zags, plaids

putting together

mixtures

of

in

one

outfit

patterns zig-

and blurred sthpes.

standing by a knitting machine with

his assistant

Mariangela, Ottavio Missoni (below) discusses a fabricin-process that may combine such disparate yarns
as delicate mohair, tough nylon and sleek rayon.

f^i

^
1^-^

'f.;:

HV3

ne

of the innovations of the

age

it

space

a machine that "sews" syn-

thetic fabrics

using neither nee-

dle northread.

In

place of the

a conventional

of

chine,

is

arm

sewing ma-

has a sonic horn that emits sound

signals so high-pitched they are inaudible.

These high-frequency
localized heat

neath

it,

liquefying the synthetic fibers

welding the two pieces

Although
fore this

vibrations generate

the fabric passing under-

in

it

will

be a longtime,

machine

use among

is

if

ever, be-

adapted to domestic

other things, the

be ripped out once

and

into one.

made the

seam can not

kind of

man-

made fabrics for which was designed are

already part of the home seamstress' repertoire. In fact, she can already sew many of
it

these fabrics without needle and thread.

The new

fusible

webs enable her to heatThe web, placed

edge of a hem or seam al-

seal, instead of stitching.

under the inside

lowance and steam pressed, welds a

ibleand durable

The

fusibles,

ed

which are also made as

in-

were developed to meet some of

the problems created by the hundreds of
man-made and knitted fabrics that, since
terfacings,

their

appearance

World

War

II,

the decades following

in

But morethan the correct needle

flex-

finish.

have become the basis of

ev-

prevent puckers

to

ics.

with

new

seamstresses found these

ficult to

Seams

sew

disproportionately

to deal with these

eams

also pucker

deal with the slipperiness of syn-

Synthetic

much strongerthan natural yarns;

is much denser than woven

When the

looped construction gives

it

knit,

it

needle presses

may force the fabric

resistance from

of

it,

surrounding

smooth surface

and a

feet

stick in the fiber or

be deflected by

the needle

may push

throat plate

and cause the

ith

the

which

new

In knits,

stitches to miss,

ballpoint needles,

slide

the fibers
ing

it.

the fabric into the

easily

instead

between
of

pierc-

them, these problems are

now much

reduced. The nee-

dles also help prevent puckered

seams by

seeking out the normal interstices

cloth instead of forcing their

the fiber and pushing

it

in

the

way through

out of alignment.

to

layers

the ma-

have teeth or

The
ric

held by the

is

To solve these problems, new presser

rollers to

hold fabric firm,

throat plate with a small hole keeps

bobbin area.

knits out of the

the bobbin thread at just the hght

the synthetics, the

in

no

of the pressor foot faster

venting the traditional sharp-pointed needle

up with

stitches

man-made fabric are fed through

feed.

moment
needle may

is

chine, the upper layer slides under the

was not designed to handle. This strength

and density cause dropped stitches by preto link

down on

the hole

when two

than the underlayer, which

from penetrating the fabric

into

since there

springy quality that older sewing equipment

In

sewing ma-

thetics or the resilience of knits.

knitted cloth

angle.

if

dif-

fabrics

hold the fabric taut. Also,

and

It

with traditional techniques.

of the nature of the materials.

its

washing.

in

chine parts are not designed to

puckered, thread broke, the sewing

and

to

polyesteror pure polyester, were developed,

the throat plate, tangling

cloth

fail

sewing, and

problems that the

machine skipped stitches.

Although a variety of factors contributed
to these sewing problems, they all grew out
yarns are

need-

stretchable synthetic threads, cotton-and-

Accustomed to workwoven fabncs, home

natural

much as the fabric in

may shrink
was

en/ travel wardrobe.

ing

may

Cotton thread, for example,

stretch as

is

and synthet-

in knits

special requirements of the

new

have also forced the development

of

fab-

new

techniques for making hems, seams and

buttonholes f/b/Zow/ng' pages). Indeed, the

ven/qualitiesthatmakethe
ficult to

sew

inspired

Stephen Burrows

hem

that has

new

New

to create a

become

his

knits

so

dif-

York designer

new

type of

trademark. This

"lettuce hem," a wavy, fluttery-edge finish

(page87),

is

produced by stretching the

while sewing a narrow zigzag

Burrows, as for

new
iting,

many who sew

at

stitch.

knit

For

home, the

fabrics have turned out to be not lim-

but liberating.

iron lie woven and nonwoven

and a gossamer webbing
bonding fabrics together, all three fused by
heat and particularly useful for making
packable separates. Below the lightweight
nylon snaps are fast-drying elastics; the
center two have nonrolling edges.
At bottom are four extremely trim

Under the

interfacing,
for

zippers with nonshrinking polyester tapes.

DOS
\u

aterias
The

qualities of toughness,

washa-

and wrinkle resistance that

make new man-made fabrics and
knits suitable for a travel wardrobe
biiity

also present a range of

new

prob-

lems for the home seamstress,

Synthetic fibers

like

nylon

and

polyester are so strong they tend to

blunt sewing tools.

pins,

To cope, special

needles and

scissors

have

been developed along with needlesharpening devices. Since the fabrics are- also slippery

and the

springy, they require

new machine

feet,

designed

to apply

knits

even pres-

sure and ensure that the fabrics

pass smoothly under the needle,

Sewing

notions, too,

have been

developed to go with the fabrics.

Elastics, zippers and even snaps are

now made in

super-lightweight, fast-

dn/ing versions.

facings and

And

webs

fusible inter-

provide a quick

way to shape garments, anchor

hems and reinforce seams, particularly on nonwoven pseudo suedes.
magnified photograph, the wedge-point
needle (near left) sews coated fabrics, leather
and pseudo suedes. The ballpoint needle next
to it, like the ballpoint pins above, slips%asily
,n this

between the threads

II

i.ide fabrics,

of knits

and man-

rather than piercing the fibers.

ersan
oles
Closures for nonwoven fabrics used
in

many

travel

separates have

al-

ways been something of a problem.

Zippers on knit garments are often
placed where there are no seams;
in both knits and pseudo suedes,
bound button holes can be bulky and
difficultto align.

Now there are ways

around such obstacles.

The
tle

plastic zipper in the

top

is

inserted

in

mock tur-

a slash faced

with a strip of lining fabric, thus mak-

edge easierto stitch. For douand pseudo suedes, there

are two foolproof buttonhole techniques. The one for double-faced
pseudo suede uses fusible web
ing the

ble knits

to hold

buttonhole parts

for stitching.

in

place

THE EXPOSED ZIPPER FOR A DOUBLE-LAYERED RIBBED COLLAR

PREPARING THE

A
1

GARMENT AND
THE LINING

With the garment

side out,

right

draw a chalk

placement
opening down the center
back or center front from the
line for

top

the zipper

edge of the ribbed

to just

collar

below the txittom

the armholes.

of

2.

To mark the

location of

the top zipper stop, measure

the collar from the top edge
to the neck

seam. Divide

and add
Then mark the

this figure in half

1

1 A inch.

center line

at this

distance

from the top edge of the

Using a lightweight
lining fabnc of the
color, cut a strip 2
inches wid.e and the length

3.

woven

garment

of the zipper plus 2 inches.

4.

Draw a

pencil line

down

the center of the lining

strip.

collar.

To mark the zipper seam

lines on the lining, draw

5.

lines the length of the zipper

parallel to the

center

line.

For a lightweight zipper,

draw the

lines 1/8 inch

the center

line; for

from

heavyweight decorative
zipper, draw the lines 3/16
inch from the center line.

Connect the tx)ttom ends

these two lines.

of

AHACHING THE ZIPPER

1 1

Center ttie zipper, face

garment opening.

up, in the

Align the top stops with the

top edges of the lining. The
Ijottom stop will be iust
above the trattom of the

opening.
1? Pin the

Turn the

10.

garment

to the

~ip; ler tapes along the side

edges, but not tjelowthe
bottom of the opening.

lining to the

wrong side of ttie garment

Press.

garment section
1

Fold the trattom portion

3.

of the

garment wrong side

out up to the level of the

bottom of the zipper

5.

Turn the garment wrong

and fold it along the

side out

center

line

with the

unpinned side of the zipper

opening facing up.

collar

(wrong side)

8.

Pin the garment to the

16. Extend the lini

from the garment

fi).

Check the

placement

of the zipper by

side out; repin

if

necessary.

Using azipper foot,

machine

stitch just inside

from the bottom of the

zipper opening to the top

edge

of the lining.

Remove

the pins as yoj sew,

20. Flip the

garment over so

that the unattached side of

the garment back and the

1

7,

Align the top zipper stop

edge of the
and the Ixittom stop
just above the bottom of the
opening. Line up the cut
edge of the garment 1 /8
inch inside the edge of the
zipper tape, visible through

the sheer lining.

opening.

21

Unfold the garment and

lining flush with the

zipper tape along the side

the original line of stitching

lining

Step 9.

tnm the

19.

with the top

the base of the triangles

original line of stitching

turning the garment right

zipper face up.

all

Then remove

remaining pins and

repeat Steps 16-19 to attach

the other side of the zipper.

Using a zipper foot,

opening. This will expose

the end of the lining stnp as
well as the clipped triangles
of garment and lining cut in

zipper tape along the

(Step

14.

machine stitch the bottom

ends of the zipper tape to
the garment and lining at

and

txjttom edges.

Then unfold the garment

and remove the pins along
one side of the zipper

FINISHING THE ZIPPER

AND THE COLLAR

22.

Turn the garment nght

and open ttie

side out
zipper.

25. Fold

down

the collar

above the top zipper stop

and align the cut edge /8
1

inch inside the

23.

Along one edge

of the

zipper opening, extend the

away from the

edge of
zipper wrong side out.

zipper tape

garment
the

to flip that

down

diagonally the

of the

edge of the

collar should
extend 1/4 inch beyond the

neck seam.
26.

24. Fold

edge

zippertape. The bottom

Pin.

Machine

to the

stitch the collar

zippertape along the

made

unattached top end of the

zipper tape, extending it

Step 8, removing the pins

away from the garment.

as you sew,

Pin.

line of stitching

27.

in

Repeat Steps 23-26

to

attach the other side of the

collar.

28.

Turn the collarto the

29.

Attach the bottom edge

garment

wrong side of the garment

and pin the unattached
bottom edge /4 inch ijelow

of the col lar to the

the neck seam.

stretching the fabric as you

with machine stitching or

loose backstitches,

sew. Stitch from the finished

side of the garment in the

groove formed by the neck

seam. Remove the pins.

BOUND BUTTONHOLES FOR DOUBLE-FACED PSEUDO SUEDE

PREPARING THE GARMENT
THE INTERFACING

AND

7.
1

Cut out each buttonhole

rectangle along the

Place the right-front

markings with a razor-edged

garment section wrong

knife,

side up,

using a ruler as a

guide.
2.

To determine the width

for

the buttonholes,

measure the diameter and

thickness of your button and

add the two figures.

3. Mark a guide for the outer
edge of the buttonholes by

drawing a pencil or chalk

line down the garment 1 /8
inch outside and parallel to
the center-front

line.

Using the width found in

Step 2. mark a guide for the

4.

inner

edge

of the

buttonholes by drawing a
line inside

the line

and

made

parallel to

in

Step

3.

Using your paper pattern

as a guide for the numtier
and spacing of the
5.

buttonholes,

mark a

6.

To mark the top and

horizontal center line for

bottom edges of each

each buttonhole between,

and perpendicular to, the
two vertical lines drawn in
Steps 3 and 4.

buttonhole,

8.

Using lightweight

nonwoven

lines

marked

in

Step

5.

1 1

fusible

interfacing, cut out

draw two
Inchon

horizontal lines 1/8

either side of the center

Cut out each buttonhole

rectangle 1/8 inch outside

and

the markings.

mark interfacing pieces for

the neckline and front
opening.

Mng
(wrong side)

your pattern does

not provide for an
If

interfacing, use the facing

pattern piece, then trim

away 3/8 inch from the long

unmarked edge.
9.

Place the right-front

interfacing fusible side

down.

12,

Place the right-front

interfacing, marked side up,

on the wrong side of the
right-front garment section.
Match the vertical
buttonhole markings and

center the cutout buttonhole

rectangles of the interfacing

around the buttonhole

10.

Mark the

vertical

and

cutouts of the fabric.

horizontal placement lines

for the

shown

buttonholes as
in Steps 3-6.

3.

Fuse the nterfaci ng

i

to

the garment with an iron

following the directions

the package.

on

interfacing
I
I

^^^Mm
^^^HW

PREPARING AND
AHACHING THE LIPS OF
THE

14,

For

BUnONHOUS

each buttonhole, cut

two rectangles of garment

wider than
the buttonhole (Step PJ and
1 1/2 inches deep.

16.

Place the rectangles

out,

widthwise across the center.

Fold the basted

rectangles so that the

sides of each

5.

wrong sides
and machine baste
together,

fabric 3/4 inch

17.

wrong

Repeat Steps 15 and 16

each

to prepare the lips for

one are

remaining buttonhole.

together

18. Cut two strips of fusible

web, as wide as the

buttonhole

lips

19.

bottom edges of the

deep.

buttonhole

right-front

garment section

(wrong side)

Place the right garment

front,

21

wrong side down, on

top of the buttonhole

Fuse the buttonhole lips

garment with an iron

to the

following the manufacturer's

lips,

centering the top buttonhole

opening over the

lips.

(-

ight-front facing

20.

Place the strips of fusible

the top and

web along

and 1/4 inch

directions.

lips.

22.
'

Repeat Steps 18-21

attach the remaining

buttonhole

^right-front garment

garment

lips to

front.

the

to

FINISHING THE

BUnONHOLES

23. Before finishing the

buttonholes, assemble the

garment following the
pattern instructions. Turn

ight-front

garment

sectic

the facing to the wrong side

and smooth it flat against

the garment front.
24.

To keep the facing of the

from

right-front section
shifting,

tape the long

unattached edge to the

garment with several strips
of masking tape.
25.

Turn the garment nght

right-front

garment section

(wrong side)
-

side out.

26.

Sewing from the finished

27. Pivot

garment section through

layers, machine stitch
around the buttonhole
opening 1/16 inch inside
the cut edges of the
garment fabric. Begin
midway along one long
edge and stitch tb the

and

stitch

down

the short edge to the corner,

side of the right-front

counting the stitches. Pivot

and stitch along the other

all

long edge. Pivot at the next

corner; stitch along the

second short edge, taking

the

same number of stitches

as on the
Pivot;

first

short edge.

complete the

line

by

first few
made. Pull the
threads through to the
wrong side and clip.

stitching over the

corner.

stitches

28.

Turn the garment wrong

side up.

29.

Using embroidery

scissors, trim

away the

facing fabric inside the

stitched rectangle. Cut close
to but not into the stitching,

taking care not to cut into

the buttonhole

30.

lips.

Turn the garment wrong

31.

side down.

Using embroidery

scissors, carefully clip the

machine basting holding

the buttonhole

lips closed.

Repeat Steps 26-31 to

complete the remaining
buttonholes. Then remove
the masking tape holding
32.

the facing
buttonhole

lips

in

place.

BOUND BUTTONHOLES FOR DOUBLE KNITS

PREPARING THE GARMENT
AND THE INTERFACING

Cut out and mark the

garment sections following

5.

Baste the interfacing to

the garment just outside the

neck and shoulder seam-

your pattern instructions.

line
2.

Cut out and mark

long

markings and along the

unmarked edge.

Remove the

interfacing pieces for the

pins.

neckline and front opening.

If

your pattern does not

6.

provide for interfacing, use

the facing pattern, then

the buttonholes and mark

tnm

guide lines for them on the

away 3/8 inch from the long

unmarked edges.
3.

Determine the width of

shown for
bound buttonholes for
pseudo suede (page 50,
interfacing as

Place the nght-front

Steps

2-6).

garment section wrong side

up and lay the nght-front
interfacing on top of it,
matching the neck and
shoulder seam-line
markings. Align the front
of the interfacing with

edge

the front fold-line marking

on the garment.

Pin.

Attach the interfacing to

the garment along the front
4.

edge with a catch

stitch

(Appendix) using thread of

the

same

color as the

garment.

MAKING AND
POSITIONING THE
REINFORCEMENT PATCH

7,

Using organza or

8. Slip

lightweight lining material of

the

same

color as the

garment fabnc, cut a

reinforcement patch for

each buttonhole

^
right front facing

nght-front

garment section

a patch underneath

the nght-front garment

section so that the patch
centered under the top
buttonhole marking.

is

inch

wider than the buttonhole

and 2 inches deep.

9.

Pin the patch to the

garment fabnc, inserfing the

pins from the wrong side of
the garment.

AHACHING THE
REINFORCEMENT PATCH

10.

Machine

stitch-at 15

stitches to the

1 1

inch-around

Pivot

and

stitch

along

the other long edge. Pivot at

the markings for the

the next corner and stitch

buttonhole opening. Begin

along the second short

edge, taking the same

midway along one long

edge and stitch to the
corner Pivot and stitch to

number of
first

stitches as

on the

short edge. Pivot again

the next corner counting

and complete the

the numtjer of stitches taken

stitching over the

along the short edge.

stitches

line,

first few
made. Remove the

pins.

12.

Cutting through

layers, slash

all

open the

buttonhole along the center

Cut to within 1, -'4 inch

each short end. Then clip

line.

of

into the

cutting

corners diagonally,
to but not into the

up

stitching.

13. Pull the reinforcement

patch through the opening
wrong side of the
garment. Push the seam

14.

Repeat Steps 8-13

to

attach a reinforcement

to the

patch to each remaining

buttonhole.

allowances away from the

opening and press.

PREPARING THE LIPS

OF THE BUnONHOLES

15. For each buttonhole, cut

two rectangles of garment

fabric

inch wider than the

the basted
rectangles so the wrong

17. Fold

sides are together

buttonhole and 2 inches

deep.

18.

Repeat Steps 16 and 17

each

to prepare the lips for

16.

Place the rectangles

wrong sides out,

and machine baste across

together,

the width at the center.

remaining buttonhole.

AHACHING THE
BUTTONHOLE UPS
right front

19.

garment section

gtit front facing

Place the right front

Using a large, loose slip

stAch (Appendix), baste the
20.

gartnent section, wrong side

down, on top of the

buttonhole

lips,

(wrong side)

garment to the buttonhole

lips around the edges of the

centering

the top buttonhole opening

opening. Stitch from the

over the

finished side

lips.

Pin.

and catch only

the top layer of the garment

and the buttonhole

with the stitches.

lip

fabric

Remove

the pins,
21.
for

Repeat Steps 19 and 20

each remaining

buttonhole.

down the garment

and interfacing along

22. Fold

fabric

the top

Machine stitch the

garment to the patch and
23.

edge of the

the buttonhole

buttonhole opening so the

reinforcement patch and the

stitching (Steps

buttonhole lips beneath it

extend away from the folded

garment.

24. Refold the

garment

along the bottom edge of

the buttonhole opening and
stitch

as

in

Step

23.

buttonhole opening.
26.

Attach the remaining

buttonhole

garment

lips to

the

front similarly.

garment front
wrong side up.

27. Unfold the

and place
28.

it

Trim the long edge of

each
Repeat Step 24 to fold
and stitch along each of the
two short edges of the
25.

lips just

inside the original line of

of the buttonhole lips

to 1/4 inch, cutting only the

layer that is farthest from the

outer garment fabric.

Wand

1 1).

FINISHING THE

BUnONHOLES

Following the directions

29. Before finishing the

31

buttonholes, complete the

garment following your

pattern instructions. Then
turn the garment nght side

Steps 10 and 11, machine

around each
buttonhole in the grooves
formed by the seams

out,

attaching the

in

stitch

lips to the
garment. Sew through all
layers from the finished side

To keep the facing from

shifting, baste around each

of the fabric.

buttonhole through

threads through to the

30,

all

layers

of the fabric.

32.

Turn the garment wrong

side out.

Then

wrong side and

33.

pull

the

clip.

Using embroidery

scissors, trim

away the

facing fabric inside the

stitched buttonhole

rectangles. Cut close to but

not into the stitching, taking

care not to cut into the

buttonhole

34.

Turn the garment nght

side out.

35.

lips.

Using embroiderv

scissors, carefully clip the

machine basting holding

the lips of each buttonhole
closed.

Remove

all

bastings.

CORDED MACHINE-WORKED BUTTONHOLES FOR STRETCHABLE KNITS

With the nght-front
garment section wrong side
down, mark a guide for the
3.

outer edge of the

buttonholes by basting a
lineof stitches 1/8 inch

Complete the garment

outside and parallel to the

following your pattern

instructions, but

remove the

center-front

marking the center

Using the buttonhole

width determined in Step 2,
mark a guide for the inner
4.

front.

To determine the width

2.

line.

do not

line of basting

edge

for the buttonholes,

of the buttonhole by

basting a line of stitches

measure the diameter and

thickness of your button and
add the two figures.

inside
line

and

made

parallel to the

Step

in

3.

Using your paper pattern

as a guide for the number
and spacing of the
5.

buttonholes, baste a

honzontal center

a pin In line with

the basted center line of
6. Insert

each buttonhole,

line for

each buttonhole iDetween

and perpendicular to the
two vertical lines of basting
made in Steps 3 and 4.

1/2

inches inside the inner

buttonhole edge. The pin

ight-lront

8.

garment section

Fold

one piece of the

in half and place

heads must face away from

cording

the buttonhole markings.

the loop around the head of

..^^ one

of the pins.

Then

arrange the cording

For

7.

each buttonhole, cut

to,

a 10-inch length of cording

from buttonhole twist thread

of the same color as your

buttonhole outer edce

center-front linei

parallel

and above and below,

the center-line marking of

the buttonhole.

regular thread.

Holding the cording

run machine zigzag

9.

straight,

stitches

on one

side of the

10. Make a bar tack

outer edge of the

at

the

buttonhole, sewing over but

buttonhole over the cording,

not into both the top

following the directions

txittom parts of the cording.

and

accompanying your
machine.
inner

Sew from

not

1 1

Stitch the

the

edge marking (Step 3):

sew into the cording.

do

second side of

the buttonhole, sewing over

but not into the cording.

2.

Finish the

second end

of

the buttonhole with a bar

tack, stitching

over but not

into tx)th the top

and bottom

parts of the cording.

Remove the

13, Pull

cording

the cut ends of the

until

the loop

flush with the

tack. Clip the

close to the

is

second bar
excess cording

first

bar tack.

pin.

Repeat Steps 8-1 3 to

work the remaining
14.

buttonholes.

QocKeis tor
Pockets are often decorative,

but

purpose to transport
paraphernalia and leave the hands
free make them exceptionally weltheir primary

come to travelers. They are especially so when they come in multiples,

as on the shirt at

right,

and have

such features as button-down flaps

and a double row of stitching around

the edge to protect the pocket's con-

Another

tents.

less tailored pocket

good for traveling

63-65.
lined

held

It

is

for
in

is

shown on pages

a gathered, roomy
additional

strength

affair,

and

shape across the top with an

interfaced band,

>

THE PLEATED PATCH POCKET WITH

A
/ \

FUP

MAKING THE POCKET

To mark the pleat, first

draw outer pleating lines

Divide the area between

the outer pleating lines into
thirds by drawing inner
pleating lines 1 1/2 inches
(2 1/4 inches for a hip

from the top to the bottom

pocket)

4.

To make the paper

pattern for a 4 1/2-inctisquare breast pocket, draw

cutting lines

a41/2-by-7 1/2-inch

seam

rectangle.

(2

1/2 inches

in

in

line.

from each side

pleating

6.

for

a6

longer than the finished size

edge a distance equal

radius of your button plus

/j.

Draw

side

seam

lines

lines.

and tottom
lines.

line

equal

length to the diameter of

its

thickness.

Mark the bottom of the Vshaped edge midway from

Draw cutting

lines 1/2

inch outside of and parallel

each seam

line.

9.

the side

seams 2 12 inches
1

1 2. Cut out the flap pattern

along the cutting lines.

(3 for a hip pocket) tielow

be

seam line. Connect

mark with the lower end
each side seam line.

the top
this

of

Draw three cutting

2.

1 1

to

be the top
will

to the

it.

line 1/2 inch long (2

inches for a hip pocket).

fold line of the pocket, the

seam

mark draw a

in

the button plus

line

each

/2-

The top of

sides

this

from the ends of the top

seam

downward and
perpendicular to
Make

drawa61/2-by-l 01/2inch rectangle.

buttonhole

of the pocket (Step

inch-square hip pocket.

this rectangle will

vertical

lowest point of the V-shaped

8.

line.

Cut out the pocket pattern

along the cutting

measure up from the

line,

1/4 inch, and mark. From

To make the

paper pattern

10. For

pattern for the flap,

top

from each outer

1/4 inches for a hip

pocket)

To make the paper

draw the
seam line 1/4 inch

7.

5.

AND FLAP PATTERNS

12 inch outside of

parallel to the

lines

and

seam

lines.

Then draw one cutting

line

inch(l 1/2 inches for a

hip pocket) atxjve the top

fold line.

3.

Extend the top fold lines

to the side cutting lines.

outer pleating Ime

iri^er pleating

li

CUTTING OUT AND

MARKING THE POCKET

AND FLAP PIECES

3.

Lay the pocket fabric,

up. on a flat

wrong side

surface. (To

make two

pockets, fold the fabric

half lengthwise,

7.

To mark the pocket

fabric,

make a

into both
in

wrong sides

1/4-inch clip

ends of each
and the top

pleating line
line.

Remove the

told

pattern.

out.)
tef

14.

Place the pocket pattern

on the fabric, aligning the

vertical side edges with the
selvage or the lengthwise
grain of the fabric. Pin.

5.

Place the flap pattern on

the fabric next, aligning the

vertical side

edges with the

selvage. Insert pins inside

the

seam

lines

can

lines
Ije

so that the

traced onto the

fabric without

moving the

pins.

1 6. Cut out the patterns. For

each pocket, cut out two

one to serve as
front and the other

flap pieces,

the flap

as the flap facing.

8. To mark the flap fabric,

use a dressmaker's cartxin
and a tracing wheel to trace
1

all

lines- except the

buttonhole line- to the

wrong side of one of the flap

pieces. The marked piece
will be the flap front.

Remove the

pattern.

pleating line

MAKING THE PLEAT

1 9, To make a box pleat in

the pocket, place the fabric

wrong side

up.

21. Fold the side of the

pocket back
_

marks

for

until

the

the clip

first

outer

pleating line align with the

20. Fold over

one side of the

pocket at the clip marks for

the

first

and

inner pleating line

align the top

and

crease

made

in

the

preceding step. Press in a

crease along the fold to form
the

first

23.

To

half of the pleat.

bottom edges of the fabric.

Press in a crease along the
fold.

22.

To complete the other

the pleat

stitch

in

one side edge

half of the pleat, turn the

place,

pocket 1 80and repeat

of the pocket across the

Steps 20 and 21 Make sure

pleat to the other side

first flip

edge

the creases of the

thus folding the pocket in

completed pleat meet

half with the

wrong sides

in.

exactly at the center of the

pocket.

edges and
two pins near the top

24. Align the

insert
of

the pleat

at

the outer

creases,(Slep?l)

from the top

edge, machine stitch on the
outer creases for 2 1/2
inches (31/2 inches for a
hip pocket), removing the

25. Starting

26. To stitch the inner

creases of the box pleat

(Step 20),

first

make a row

of stitching close to

one

crease from the top to the

bottom edges of the pocket.
27.

Make a second row of

stitching 1/4 inch inside the

first

row.

pins as you sew.

To

stitch

the other inner

crease, repeat Steps 26

27,

making sure

away the

to

and

push

rest of the

piece

from under the edge before

you begin.

FINISHING THE EDGES

OF THE POCKET PIECE

29.

Turn the pleated pocket

wrong side up and place

Turn down the top edge

31

again, aligning the crease

it

with the clip marks that

on a fiat surface.

indicate the top fold line of

To make the top hem,

down the top edge 1
inch and press in a crease.

the pocket (Step U). Press.

30.

turn

32.

Baste near the edge of

the hem.
33. Stitch

along the edge.

Remove the

basting.

Baste the pleats together

1/8 inch from the bottom

34.

edge

of the pocket.

Li-iii35.

Turn

in

Unfold the side and

bottom edges and trim off

each side edge

1/2 inch and press

in

37.

the

1/4 inch of the

creases.

seam

Then refold the

and bottom edges

allowances.
36.

Turn up the bottom edge

1/2 inch

and press

in

side

along the creases.

crease.

ATTACHING THE POCKET

pocket on
wrong side

When you

reach the

38. Position the

41

the garment,

other top corner, pivot and

down.

stitch close to the

Pin.

opening

for

pocket

/4 inch, then

39.

pivot again. Stitch the

and bottom edges of the

the

Baste 1/8 inch inside

the creases along the side
pocket.

Remove the

pins.

second row 1/4 inch inside

first row of stitching and
across the other top edge

the

Beginning at one top

cornerof the pocket,
40.

machine

stitch close to

the

edges, pivoting (/\ppenc/J

at

the corners.

in

same way. Remove the

basting.

MAKING AND
ATTACHING THE FLAP

and
wrong

42. Place the flap front

flap facing togettier,

Turn the flap inside out

through the unstitched top
47.

sides out.

edge. Pull out the corners

with a needle. Press.

43.Easeintheflapfrontl./8
inch from the side and
txittom

edges

With the facing side

down, make two rows of
stitching along the side

\J

Baste along the side and

bottom edges, distributing

44.

Beginning and ending

seam

stitch

on the

lines, pivoting at

corners.

and

trim the'

seam allowances to /4

Remove the

inch.

Grade ('G/ossao'} the

Measure 1/4 inch above

and make chalk marks on

marking

flap pattern to the front side

Then make a

of the flap.

buttonhole over the

marking.

bulk.

for.

the buttonhole line from the

seam allowances of the

its

the top corners of the pocket

49. Transfer the

facing to 1/8 inch to reduce

basting.

50.

case omit the

Cut the corners

diagonally,

machine

and 41

corners.
at

the top edges of the front

flap,

in this

and

of the flap

stitching across the top

pins.
.

45.

bottom edges

following Steps 40

but

the ease evenly on the flap

Remove the

(wrong side}

48.

of the flap

facing. Pin.

front.

flap facing

52.

Baste 3/8 inch from the

unfinished

edge of the flap.

Remove the

pins.

the garment.
53.
51.

Place the flap facing

side

up on the garment

the flap

edge,

above the pocket. Position

the flap so that the
unfinished edge aligns with
the chalk marks made in the

Machine

54.

stitch across

/2 inch from the

Remove the

basting.

Tnm the seam allowance

to 1/4 inch.

preceding step, and the side

edges

align with the sides

of the pocket. Pin.

55.

Turn the

flap

down.

Press.

57.

Make a second row of

stitches 1/4 inch

stitching

machine stitch
near the top edge through

56. Slowly

all

the layers of the flap.

made

in

below the
the

preceding step,
58.

Sew the

button onto the

pocket directly under the

buttonhole opening.

THE GATHERED POCKET WITH

BAND

A MAKING THE
/ \ POCKET PATTERN

5.

Measure up

inch from

the bottom corner on each

of the side cutting lines and

make dots

at

these points.

Using a curved ruler or

drawing freehand, connect
the dot made in Step 5 with
each dot made in Step 6 to
form a curved bottom
cutting line, as shown,
6.

To make a paper pattern

for

a gathered pocket with a

band

at the top.

draw

square the size you want the

pocket to be at its widest
point. The top of the square
will be the top cutting line.

7.

To provide fullness for

make three marks

across the top cutting line to
gathers,

2.

Widen the bottom

of the

pocket by extending the

bottom

line of

divide

the square

it

into four

equal

segments.

1/4 inch on each side.

Using the marks made

Step 7 as a guide, draw

8.
3.

Connect the ends

extended bottom

of the

line to

the

in

three slash lines to the

top corners of the square.

bottom cutting

These diagonal

should be perpendicular to
the top cutting line.

be

lines will

the side cutting lines.

4.

To round the bottom

the pocket,

make a

bottom cutting
of

dot 1/4

line.

They

line

Cut out the pocket pattern

along the cutting lines.

9.

inch below the mid-point of

the bottom line of the

10.

square.

1 1

to but not through the

bottom edge of the pattern.

Using another piece

paper,

Slash into the slash lines

up

draw a

of

vertical line to

14.

Connect the openings

edge with smooth

serve as a guide for

the top

centering the pocket

lines.

pattern.

pattern

Then center the

on the paper.

in

1 5. Turn the center line into

gram line by drawing in
arrow marks.

Fan out the pattern by

spreading it about 1 to 2
inches apart at each of the
1

2.

slash lines the sheerer the

6.

Trim around the pattern

outline.

you plan to use, the

wider the spread should be.
fabric

3.

Tape the pattern

in

place.

17.

Lay the pocket fabric

wrong side up on
surface. (To

flat

make two

pockets, fold the fabric

half lengthwise,

in

wrong sides

out.)

8.

Place the pocket pattern

20. To cut out the pocket

band, draw a rectangle
directly onto the fabric with
dressmaker's pencil. Make
its length the same as the
pocket square (Step 1) and
its width twice as wide as

you want the finished band

be plus inch tor seam

on the fabnc, aligning the

to

gram

Be sure to draw
the lines with the grains of

the pattern to
the lengthwise gram of the
line of

the fabnc.

fabric. Pin.

19.

Cut along the pattern

outline.

and

Remove the

allowances.

pins

set the pattern aside.

Cut the band along the

drawn lines. (If you are
making two bands, pin the
21

fabric layers together at the

corners inside the rectangle
before you cut.)

ATTACHING THE LINING

TOTHEPOCKCT

22,

Cut out from

lining fabric

25. Pull the lining

down to

a pocket lining for eacfi

the bottom of the pocket

pocket, repeating Steps

and

17-19,

pocket fabric together at the

center of the tx)ttom edge.

23,

Trim

off

pin the lining

and

1/8 inch from

the side and trattom edges

of the lining,

24, Pin together the pocket

and

lining,

wrong sides

out,

at the top corners.

26. Pin

around the bottom

and side edges, easing in

the pocket fabric evenly
between the

28.

Machine

Remove the

pins.

Baste 3/1 6 inch from the

edges. Remove the pins.

27.

stitch 1/4 inch

from the edges, using the

presser foot as a guide.

29.

basting.

Cut V-shaped notches

up to the stitching line at the

rounded corners to remove
bulk from the

seam

allowance.

GATHERING THE POCKET

30.

Turn the lined pocket

inside out by pushing the

bottom up through the

unstitched top edge.

Roll the stitched edges

between your fingers to

31

seam out to the

edge. Roll again so that the
seam is turned 1/16 inch
onto the lining side and
finger-press. Then press
bring the

with an

Set the machine gauge

6 stitches to the inch.
With the pocket lining side
down, make two parallel
32.
at

lines of

machine basting

one 3/16 inch and the

other 7/16 inch from the top

edge. Begin and end /2

inch from the side edges.

iron.

34. Gently pull the loose

threads of the bastings on
the lining side to gather in

the fullness

edge

is

until

the top

inch less than the

dimensions
determined

of the
In

square

Step

Leave a few inches of loose

at both ends of the

thread

bastings.

33.

Turn the pocket so that

the lining side

is

up.

each end
of the machine bastings and
wind the loose threads
atiove and below the pins in
35. Insert pins at

a figure 8. Distribute the

gathers evenly along the top
edge.

MAKING AND ATTACHING

THE BAND

36. Fold the

pocket

band

in half

of the

41

press
37.

in

Baste the interfacing to

seam

allowance of the marked

edge. Remove the pins from
the marked edge.

the center crease.

Open

the band mside the

lengthwise,

wrong sides together, and

out the band.

Turn the pocket so that

the lining side is down.
43.

44.

Center the band on the

edge

Grade the seam

interfacing as closely as

pocket and align the

interfaced

Cut a rectangle the

length and one- half
the width of the band from
an interfacing fabric.

48,

(Appendix) by trimming the

seam allowance of the
possible to the stitching

edge with the top

of the pocket. Pin,

38.

same

39.

45.

inch

in

46. Reset the

pocl^et

draw a seam line 1/2

from one long edge

Dand (wrong

side)

of the interfacing.

(Appendix)

on the band, aligning the

unmarked edge with the

the interfacing to the band

along the center crease.

center crease. Pin.

Remove the remaining

Turn the band away

To

band,

the gathers.

stitch
first

down

the

stitch

to

pins.

pins

secunng the gathers

Trim the seam

allowances to 1/4 inch

47.

Turn the band inside out

through the tiottom opening
with your fingers, and bring
out the corners with a
53.

54. Place the pocket lining

55. Fold

under the 1/2-inch

seam allowance on

the

bottom edge

band,

and
Machine

at

line

side up.

band along the center

up the 1/2inch seam allowance on the
edgeofthe band. Pin.
crease, then fold

51

gauge

on the seam

needle.

the sides of the

fold

stitch

pocket band (wrong side)

from the pocket along the

top seam. Press the top
seam, taking care not to

50.

Remove

across the top edge.

Remove the basting and the

Catch

42.

flatten out

line.

12 stitches to the inch.

Stitch

40. Position the interfacing

49.

just alxive the

drawn seam
the pins.

Using dressmal<er's

pencil,

Baste

of the

press.

/2 inch

from each side.

56. Slip stitch the

band

to'

the lining.
52.

Tnm the seams to 1/4

inch

and cut the corners

diagonally.

ATTACHING THE POCKET

57. Pin the pocket to the

garment, making sure not

59.
to

the sides out of shape

pull

or flatten the gathers.

58.

Baste 1/8 inch from the

side

and tx)ttom edges.

Remove the

pins.

Machine

the edges.

stitch close to

Remove the

basting. Press.

line.

Stretchable

band and
ticized

edges a

cuffs of rib

collar,

knit,

waist-

or an elas-

waistband add comfortable

The knit

give for long days of travel.

edgings come

in

step-saving, ready-

to-attach tubelike pieces, or

made from

flat

lengths of

may be

rib knit.

Rumpleproof sweater-knit
es on

garments
right are

finish-

parts of woven-fabric

critical
like

the cropped jacket at

easy to sew on (opposite).

Fastening them to a knit-fabric gar-

ment, however, needs care, since

the two knits

may

Patient pinning

stretch differently

and stretching are

required to avoid puckers, Applying

an elasticized waistband (pages 7374)

draws on

stretching

and

similar techniques of
fitting.

THE OPEN RIBBED COLLAR ON A WOVEN-FABRIC GARMENT

CUTTING THE COUAR

3.

To make a paper pattern

draw a

for the collar,

rectangle the length

determined

in

Step 2 and

twice the desired finished

width of the collar.
1

Assemble the garment

For a collar with pointed

following your pattern

4.

directions.

corners

draw a

at

the front,

first

lengthwise

line

measuring around the

garment neckline from

through the center of the

rectangle. Then extend the
line
inch at both ends and
draw lines from the corners

center front to center

of

the rectangle to the ends

of

the center

5.

Cut out the pattern.

7.

Cut out the collar 1/4 inch

2.

Determine the length

of

ribbing required by

Subtract

front.

to 2 inches,

line.

depending on the
stretchinessof the ribbing

(page

6.

34).

Pin the pattern to a piece

of ribbed knit

fabnc with the

ribbed fabric

long sides of the pattern at

right

i\

[i

outside the edge of the

pattern

on

all

the pattern.

Fold the collar in half

lengthwise,

'i

HI Hi!

angles to the nbs.

PREPARING THE COLLAR

8.

wrong sides out,

and pin the ends together.

^J

sides.

Remove

ATTACHING THE COLLAR

1

3.

Spread out the garment,

wrong side down.

14.

2.

Machine

seam

line of

stitch

along the

the garment to

stretching as you work.

clip the sharply

portions of the neck

the ribbed collar

16.

edge. Stretching the ribbing

slightly to fit it, pin it to the

prevent the fabnc from

Then

Open

and pin one raw edge along

the neckline of the garment
3,/8 inch inside the garment

curved

seam

in

Machine stitch 1 A inch

edge of the col lar.
1

nside the

Remove the

garment first at the center

back and center front and
then

allowances.

15.

basting.

Baste the collar edge to

the garment, removing the

pins as you sew.

between.

wammamammmamAi

8.

19. Turn under the

unattached edge of the

Place the garment

wrong

up with the
away from the
garment and press both

collar 1/4 inch,

seam allowances

that

side

collar turned

over the

into the

it

machine

collar.

20.

it

covers the

stitching.

Sew the turned-under

collar

and pin

seam allowances so

just

edge

to the

bodice

with slip stitches

(Appendix), removing the

garmenl (wrong

side)

pins as you sew.

THE RIBBED WAISTBAND ON A WOVEN-FABRIC

GARMENT

CUTTING THE WAISTBAND

3.

2.

Cut a rectangle of ribbed

the waistband

knit fabric for

twice the desired finished

1

Assemble the garment

Fold the ribbing in half

lengthwise and try it on

around your waist,
stretching the nbbing

height plus 1/2 inch and

slightly until

than your

comfortably.

tiodice following your

slightly longer

pattern directions.

waist measurement.

4,

it

fits

Mark the

length with a pin.

To allow for the fabric

pieces that

will

ribbing to the

attach the

garment

stretch the pin-

closure,

first

marked

portion of ribbing

out to the

full

length of your

waist measurement.

5.

Insert a

second pin 2

inches inside the first pin

your pattern calls for a

u,
if

button closure, 4 1/2 inches

if

your pattern calls for a

zipper closure.

Jr.tu.d tinj iibbing

cut

it

off at

and

the second pin.

Remove the

pins.

ASSEMBLING THE
WAISTBAND

7.

To make the fabric end

pieces that

will

11.

attach the

Fold the waistband in

half lengthwise,

wrong sides

along each of the

ribbing to the closure, cut

out. Pin

two rectangles of garment

fabric. Each rectangle
should be 2 3,/4 inches wide
measured on the

ends,

crosswise gram of the fabric

and the same height as

the fold and ending 1/4

the unfolded ribbing.

Remove the

12.

Machine stitch 1/4 inch

each end, starting at

inside

inch from the opposite side

pins as you

sew.
8.

With the wrong sides out.

edges of the fabnc

the corner of the

align the

13. Clip

pieces to the ends of the

seam allowances at the fold

ribbing

and

diagonally.

pin.

Machine stitch the fabric

tothenbbing 1/4 inch

9.

inside the edges.

Remove

the pins as you sew.

10. Press the seam

allowances toward the

fabric pieces.

ATTACHING THE
WAISTBAND

14. Turn the assembled

waistband right side out and
pull out the corners with a

Spread out the garment,

wrong side down.

waistband to divide the

8. At each end of the

garment edge, measure in
2 V2 inches the finished
width of the fabric pieces on
the waistband and inserta

ribbed portion into four

pin.

pin,

15. Insert

three pins along

one raw edge of the

equal parts.
three

19. Insert
16.

If

your pattern requires

gather the waist edge of

the garment following the
it,

more pins

to

divide the center section of

the waist

edge

into four

equal parts.

pattern directions.

Open

the waistband and

over the waist edge
garment so that the
pinmarked edge of the

20.

place

it

of the

waistband is 3/8 inch inside

the pin-marked edge of the
garment,

22. Stretching the ribbing as

you sew, machine stitch 1/4

inch in from the edge of the
waistband. As you reach a
pin,

23.

remove

it.

Complete the waistband

following the instructions in

21.

Match and pin the

waistband and garment

together at the pin markers
and the front edges. Then
pin in

between the markers.

BoxC, Steps 17-20, for the

open ribbed collar on a
woven-fabric garment
(opposite).

THE RIBBED CUFF ON A WOVEN FABRIC

GARMENT

PREPARING THE CUFF

Cut a rectangle

of ribbed

the cuff

will

Fold the ribbing

4.

in half

widthwise, wrong sides out

knit fabnc sligtitly longer

than ttie circumference of
your arm at the point where

and pin the ends together,

go and twice

5.

Machine

stitch the

ends

the desired finished width of

1/4 inch inside the edges,

the cuff plus 1/2 inch.

removing the pins as you

sew.

2.

Fold the ribbing

in half

lengthwise and try

it

your arm. stretching

slightly until

comfortably.

it

around

6.

Press the

3.

fits

Mark the

Unfold the ribbing and

it 1/2 inch beyond the
Remove the pin,

trim

length with a pin.

pin.

APACHING THE CUFF

7.

seam open.

it

FINISHING THE CUFF

Following your pattern

Bnng

14,

the cuff out of the

directions, close the

sleeve and press both of the

underarm seam

seam allowances toward the

sleeve

and

if

of the

necessary

cuff.

gather the lower edge.

8.

With the sleeve wrong

side out, insert a pin into the

lower edge at the seam.

Then

into four

9.

more to
edge of the sleeve

insert three

divide the

equal parts.

Turn the ribbed cuff

right

side out. Insert a pin into

one raw edge at the seam;

then insert three more pins
to divide the

raw edge of the

cuff into four equal parts.

5. Fold up the cuff. Turn

under the unattached edge
1

1/4 inch

and

pin

it

over the

seam allowances so that

10. Slip the cuff inside the

just

\\\n\\

sleeve so the pm-marked

edge

of the cuff

is

l!i

stitching,

3/8 inch
1

inside the sleeve edge.

6.

Sew the turned-under

cuff
1 1

Match the

cuff

with the sleeve seam, then

match and pm the

cuff

and

sleeve together at the pin

markers.
12. Stretching the ribbing as
you sew. machine stitch 1/4
inch inside the cuff edge.
Remove each pin as you go

edge to the sleeve

slip stilches

seam

1 3. Trim the sleeve seam

allowance to 3/8 inch.

it

covers the machine

with

(Appendix)

CONTINUOUS RIBBED OPENING ON A KNIT GARMENT

THE

PREPARING THE
3.

RIBBING

For a cuff or waistband,

stretch the ribbing

your

arm or waist

around

until

it

fits

Mark the
length with a pin. Be sure to

comfortably.

2B.

Assemble the garment,

following your pattern

If you plan to use a

double thickness of nbbed
knit fabric, cut a rectangle a
few inches longer than your
body measurement at the

point

directions,

where the

ribbing

go. For a turtleneck,

2A.

If

you plan to use

will

make

the rectangle four times the

fold the ribbing in half

lengthwise
using
4.

it

in

if

you

will

be

a double layer.

For a collar, measure your

neck and mark the

measurement on the nbbing
with a pin.

Then measure

ribbing with a finished edge,

desired finished width of the

around your head and see

cut a piece a few inches

ribbing plus 1/2 inch. For

the pin-marked portion

longerthanyour txxJy

other uses,

measurement at the point

where the ribbing will go.

make the

if

will

Fold the nbbing

half

Machine

1/4 inch

stretch easily to that

6.

rectangle twice the desired

measurement. Adjust the

widthwise, wrong sides out,

inside the edges, removing

finished width plus 1/2 inch.

length

and

the pins as you sew.

if

needed.

pin the

in

ends together

7.

stitch

f'

riM

mlm

all

II:

5.

Trim the nbbing 1/2 inch

8.

seam open.

Press the

t)eyond the pin.

ATIACHING THE RIBBING

1 2A. For a crew neck or an

armhole, measure from the

seam

line a

distance equal

to the desired finished

of the ribbing
inch;
9.

you are using nbtied

If

width

minus 1/4

tnm the garment edge

at that point.

fabric, fold the ribbing in

half,

and

wrong sides

10. Insert
at

128. Ifthenbbingisto
project beyond the garment
edge, trim the garment
seam allowance to 1/4 inch,

together,

align the cut edges.

a pin

at

the

seam

the edge of the ribbing to

be attached to the garment

- the cut side of a doubled
fabric,

13,

Turn the garment wrong

side out: insert a pin on the

trimmed edge at the center

back (at a garment seam for

the unfinished edge

of a finished band.

a cuff or waistband),

more pins
along the same edge to
divide the edge into four

divide the

equal parts.

into four

1 1

Insert three

14, Insert three

the nbbing inside

align the ribbing

seam

with

the center back for a collar,

seam with a
garment seam for a cuff or

the ribbing

waistband.
16. Match and pin the raw_
edges of the ribbing and
garment together at the pin

markers.

17. Stretching

both the

ribbing and the

garrrient

as you sew, stitch 1 /4

inch inside the edges.
Remove the pins as you go.

fabric

fabric as

Turn the ribbing out of

the garment opening and
press the seam allowances
toward the garment.
1

pins to

equal parts.

20. Stretching
15, Slip

the garment opening and

more

trimmed edge

all

layers of

you sew, run a

line

machine stitching on the

garment just below the
ribbing. Catch the seam
of

8.

9.

Turn the garment

side out.

right

allowances

in

your stitches.

THE RIBBED

MOCK TURTLENECK ON A KNIT GARMENT WITH A ZIPPER

PREPARING THE COLLAR

3. Try the ribbing around
your neck and adjust it until
it fits snugly in a relaxed

position.

Mark the length

Be sure to fold

Cut a rectangle

of ribbed

the nbbing fabnc

ribbing next to

lengthwise before you

assemble the
garment up to ttie point
where you are ready to

than your neck

it

desired width of the finished

4.

attach the collar.

collar plus 1/2 inch.

length at the pin.

Following your pattern

directions,

each other

so they just touch. Then

in half

knit fabric slightly longer

Bring the ends of the

5.

with a pin.
2.

them

try

with

stitching. This

on.

join

machine zigzag
is

temporary seam which will

be removed when you put

measurement and twice the

Tnm the nbbing to its final

the zipper.

in

Ui

illliiliiiiili\

N AnACHIN6THEC011AR

6.

Turn the

collar

nght side

Turn the garment wrong

and trim the seam

8.

out and insert a pin at the

side out

seam along one edge.

allowances at the neck

opening to 1/4 inch.

along the

more pins
same edge to

divide the

edge

7. Insert

three

9. Insert

one pin

at the

center back on the trimmed

of the garment.

into four

edge

equal parts.

10. Insert

three

divide the neck

more pins to
edge into

four equal parts.

garment (wrong

11.

Place the collar inside

the neck opening and align

the collar

seam

with the

center back.

side)

3.

Stretching the nbbing

and the garment fabnc as

you sew. machine stitch 1/4
inch inside the neck edge.

As you reach each

Match and pin the raw
edges of the collar and
garment together at the pin
12.

markers.

remove

pin.

it.

14. Insert

the zipper and

complete the

collar

following the instructions for

the exposed zipper

for

double-layered nbted
collars,

page

47,

THE ELASTICIZED WAISTBAND ENCLOSED IN A CASING

Cut the garment sections

3.

instructions, but

to provide a

allowance
casing.

a line of

1/4-inch

stitches.

waistband

Then assemble the

a pin along the
casing fold line at a seam.
Pin from the wrong side of

4. Insert

garment, stitching all seams

closed up to the waistline
edge. Press open the

the garment.

seams.
2.

edge with
machine zigzag

the raw waistline

make sure

for ttie

Sewing from the wrong

side of the garment, finish

following your pattern

Then

insert

three additional pins along

the fold line, dividing the

Turn the garment nght

waistline into four equal

side out.

parts.

Insert a pin about 1 inch

from the join. Then insert

Cut a piece of 3/4-inchwide elastic 1 12 inch longer

7.

than your waistline

three

measurement.

elastic into four equal parts.

5.

6.

Lap the ends

divide the

of the elastic

1/2 inch and join

machine

more pins to

them by

stitching a small

rectangle.

sing (wrong Sfde)

8.

Place the elastic inside

the garment, lining up the

inner

edge along the casing

markings. Match

told-line

and pin

at

the pin markers.

Stretching the elastic as

9.

you sew, attach the elastic

to the garment by running a
line of

machine zigzag

stitching just inside the

edge of the elastic. As

you reach a pin, remove
inner

it.

10.

Fold the waistband

casing to the inside of the

garment along the inner

edge of the elastic. Pin at
the center front, center back
and the sides.

Sewing from the wrong

garment and

side of the

stretching the elasticized

casing as you sew, run a

line of machine zigzag
stitching 1/4 inch from the

unattached edge of the

Use the outer edge

up
edge of the casing
as a guide. Remove each
casing.

of the presser foot lined

with the

pin as you reach

it.

THE ELASTICIZED WAISTBAND WITH MULTIPLE

1

Cut the garment sections

ROWS OF STITCHING FOR UGHTWEIGHT KNITS

3.

Fold the waistline edge of

following your pattern

the garment to the wrong

instructions witti the

side 1/4 inch

and

press.

following exception: leave

only a 1/4-incti

seam

allowance above the casing

seam line.
Then assemble the
garment, stitching all seams
closed up to the waistline
edge. Press open the

fold line or waist

seams.

4. Insert

a pin along the

edge of the
garment at a seam. Pin from
the wrong side of the
garment. Then insert three
folded top

additional pins along the

folded edge, dividing the

waistline into four equal
parts.

2.

Turn the garment nght

side out.

Prepare a piece of 1/2- or

3/4-inch-wide elastic for the

5.

waistband as shown for the

elasticized waistband
enclosed in a casing (page
73. Steps 5-7).

Sewing from the wrong

garment and

Place the elastic inside

the garment, lining up the
outer edge of the elastic just
below the folded waistline
edge of the garment. Match

7.

and pin at the pin markers,

using one set of pins for
pinning and removing the

the outer edge of the elastic.

6.

other

side of the

stretching the elastic as you

sew, run a

line of

machine

zigzag stitching just inside

As you reach each

remove

pin,

it.

set.
8.

Make

second

line of

zigzag stitching close to the

inner

edge of the

elastic.

THE ELASTICIZED WAISTBAND WITH

1

A HEADING FOR WOVEN GARMENTS

Cut the garment sections

2.

following your pattern

to provide a

Turn the garment

right

side out.

make sure

instructions, but

/2-inch

3.

allowance for the waistband

Fold the waistline

edge

of

the garment to the wrong

side 1/4 inch and press.

Then assemble the

garment, stitching all seams
closed up to the waistline
edge. Press open the
casing.

Then

along the casing

fold

fold line

and

press.

seams.

4.

Pin the waistband casing

6,

to the garment, inserting the

pins from the

wrong

line of

stitching 3/8 inch

atxjve the

the garment.

5.

Make a second

machine

side of

first

one. Stitch

completely around the

garment without leaving an
opening.

Sewing from the wrong

side of the garment,

machine

stitch 1/8 inch

Cut a piece of 1/4-inchwide elastic 1/2 inch longer

7.

from the inner edge of the

casing. At the center back,
leave an unstitched opening
ofatxjutl 1/2 inches for

than your waistline. Attach

a safety pin to one end.

Push

into the

Remove the

edge

pins.

end

that

inserting the elastic.

of the elastic

opening

in

the lower

of the casing; thread

the elastic through the

casing.

8.

After the elastic has

been

pulled through the casing,

remove the safety pin. Lap

the ends by 1 /2 nch and
1

them with a line of

machine zigzag stitches.
Stitch forward and then

join

back for extra strength.

m
on the waistband so
ends of the elastic
disappear into the casing.
9. Pull

that the

10, Close the opening

through which the elastic

was

machine
Then adjust the

inserted with

stitching.

fullness evenly around the

waistline.

earn
abric
Special care

is

necessary to ensure

seams in crease-free knits

and pseudo suedes lie flat. Doublefaced pseudo suedes can be joined

that the

with lapped seams, as

in this tunic,

seams the seam

allowances can be bonded flat with

or with standard

fusible

if

web foppos/tel With

zigzag stitch

lets

straight stitch

pulled taut

the

seam

knits,

sewed with the

will

also work).

fabric

Where

needed, seam or bias tape helps

bilize

I>

the

seams

stretch (a

sta-

of springy knits.

THE LAPPED SEAM FOR DOUBLE-FACED PSEUDO SUEDE

2.

Lay the piece of pseudo

3.

will form the

underlapping part of the

seam wrong

side

down and

use a chalk pencil to draw

the

seam

Place the overlapping

edge wrong side down

along the drawn seam line
and secure the two pieces

suede that
Cut away the seam
allowance on the piece that
will form the overlapping
part of the seam.
1.

garment section

together with short strips of

masking tape.

line.

garment section (wrong

garment section

Place together, wrong

two pieces to
be joined. Align the edges
and secure the pieces with
paper clips 4 inches apart.

3.

topstitching 3/8 inch inside

the

row, using the

first

presser foot as a guide.

Before flattening

if it

leaves marks or pulls

apart

when

keep the seam

clip just

cool.

Cut two

/2-inch-wide

web

Place one strip of web

between the garment
section and one seam
allowance. Use a mediumhot iron and a pressing cloth

4.

to

straight.

as

the needle approaches

the length of the seam.

5/8 inch
from the edges, using the
stitching guide on the
stitch

machine's throat plate

seam

allowances with fusible web.

it on scrap fabric to see

test

strips of

Remove each

5.

removing each strip of

masking tape just as the
needle approaches
it.

sides out. the

Machine

Make a second row of

the raw overlapped edge,

SEAM FOR DOUBLE-FACED PSEUDO SUEDE

THE PLAIN

2.

side)

Topstitch 1/8 inch from

4.

it.

to fuse

the

garment section (wrong

side)

seam allowance

flat,

5.

Repeat Step 4

other

6.

seam

for the
allowance.

Brush up the

fabric nap.

THE DART FOR DOUBLE-FACED PSEUDO SUEDE

3.
1

Make

ends of

1/4-inch clips at the

Fold the dart, aligning the

clips.

Pin

in

the

seam

allowance.

tx)th side lines of

5.
1

To

flatten

4.

Machine

stitch

along the

seam

allowances of the

shown

Center a 1 -inch triangular

piece of fusible interfacing

6.

web under the wide

parts of the

the dart.

the dart, place

/4-inch-wide strips of

fusible

over the point of the dart,

dart,

as

seam

placing the apex of the

Slash the center line of

the dart to within 1 /8 inch

seam

pins as you go. Tie off the

double-faced pseudo suede

on the dart seam,

as shown. Press, using a

of the point.

loose threads at tioth ends.

(above. Steps

tailor's

2.

garment section (wrong

side)

line,

removing the

in

the plain

3-6).

for

triangle

ham.

THE BASIC STRETCH

SEAM FOR KNITS

1

Place together, wrong

2A. If you have a zigzag

attachment, make a seam of
narrow zigzag stitching,

ttie two pieces to

be loined. Align the edges

sides out.

and

pin along the

seam

leaving the

line.

seam allowance

called for by your pattern. To

prevent the top edge of the

from tieing pulled

on the
machine's throat plate, set
the needle into the fabric
1/2 inch from the top and
knit fabric

into the hole

backstitch 1/4 inch.

Then

stitch forward, using the

guide on the throat

plate to keep the seam
stitching

straight.

Remove each

pin

as the needle approaches

Stop

of the
1

2B, If you do not have a

zigzag attachment, follow
the directions

in

Step

but set your machine

2A
at

10 stitches to the inch and

from
behind the needle as well
as in front of it as you stitch.
stretch the fabric taut

THE DOUBLE-STITCHED STRETCH SEAM FOR KNITS

1

To prevent seam

seam and

it.

end

backstitch

'4 inch.

3,

Trim the seam allowances

to

3/8 inch and press the

seam open.

9 to

/4 inch from the

THE STABILIZED SEAM FOR KNITS

1

To keep a

from

knit

3.

stress

such as a shoulder

seam,

first

run a

line of

edge

for

seam

tape extending

beyond the stitched

line.

4.

Pin

place.

and baste the tape

Remove the

5.

Machine

the

seam

through
fabnc

Place together, wrong

sides out. the two pieces of

stitch the tape to

allowance, sewing

tx)th

pieces of

just inside the lines of

stitching

made

the machine's throat plate to

stitching.

6.

1.

To give

SEAM FOR KNITS

of

Open one half of the tape

and place the fold line
where the seam will be

knits a slight

3.

of flexibility in areas

moderate

at the hips,

stress,

such as

place together

wrong sides

out, the

pieces of fabric to

2.

two

iDe joined.

that

Cut a piece of preshrunk

IS.

at a

distance from

bias tape the length of the

the edge of the garment

seam. Then cut the tape

equal to the seam allowance

in

half lengthwise.

Align the edges.

called for by your pattern.

4.

Pin

place.

5.

and baste the tape

Remove the

Machine

in

pins.

along the

stitch

fold line of the tape.

Remove

the basting.
6.

Press the

seam open.

THE HAND-FELLED SEAM FOR SWEATER KNITS

1.

Place together wrong

garment

be

Press the seam

allowances to one side
toward the back of the
3.

sectiorti

(wronfl side)

sides out, the two pieces of

fabric to

'^l

joined, aligning

the edges. Pin and baste the

seam, then remove the pins.

garment on side seams and

shoulder seams, toward the
sleeve on armhole seams.

2.

Set your machine at 9 to

_
Trim the underneath

10 stitches to the inch and

4.

machine

seam allowance to 3/8

stitch, leaving

seam allowance

the

inch.

called for

Fold the wider

seam

by your pattern. Start '2

inch from the top of the

5.

seam and backstitch 1/4

inch. Then stitch forward,

trimmed one. Then

using the stitching guide on

garment

allowance under the

pin the

seam allowances to the

section.

the throat plate to keep the

seam

straight. Stop 1/4 inch

from the end and backstitch

1/4 inch.

Do

not stretch the

fabric as you stitch.

the basting.

Remove

Step 1
guide on

Use the

machine

stitching

Remove the

amount

in

fabnc, matching the lines of

keep the seam

THE SEMISTABILIZED

in

pins.

1/4 inch

from the bottom of the

seam.
2.

preshrunk

by your

inch from the top of the

seam and end

of the

slightly

pattern. Start the stitching

1 ''4

of

it

machine stitching along the

edge of each piece to be
loined, leaving the seam
allowance called

Cut a piece

seam tape the length of the

seam and place over the
seam allowance with one

stretching in an area of

Unravel a strand of yarn

from leftover fabric. Using
the yarn as thread, sew the

6.

folded

edge

of the

seam

allowance to the garment

with a slip stitch (Appendix).

Remove the

pins.

straight.

basting.

Press the seam open.

and edges
For knitted

simplest

hems

and woven separates, the

tinishes

edges

for

and

are often the most decorative

and for travel clothes they offer the

added

virtue

minimizing

of

bulk.

Several ingenious techniques can

provide unusual touches such as an
attractively rippling

Topstitching

thread

sew

two threads.

with a needle holding

bins,

your machine has

(If

one spool

only

effects

For highly visible top

(right).

stitches,

its

more than colored

nothing

with

hem,

creates

spindle, use

one on top

two bob-

of the other,)

Other edgings include self-fabhc

bindings, which

scraps,

with a
easiest

need only fabric

and tape for reinforcing knits

lot

of give.

hem

of

hem designed
rics

And

all is

the

the lightest,
fhlly lettuce

for the stretchy fab-

so comfortable for travel.

>

THE WIDE TOPSTITCHED

HEM

PREPARING THE HEM

To reduce the
circumference of the raw
3.

edge
will

of the

fit

when

is

so that

it

garment

turned under,

first

restitch the garment seams

on the hem, tapering them
in from the original seams

Assemble the garment,

following your pattern

Then try on the

garment and mark the
directions.

garment {wrong

hemline.

side)

as shown so that they are

about 1/4 inch inside the
original

hem

hem

inside the
it

seams

at

the raw

allowance

2.

Trim the

to

between 1 1/2 and 2 1/2

depending on how

4,

Remove the original

and trim the seam

inches,

stitches

wide you want the

topstitchedareatobe.

allowances to the width

suggested for your pattern.

5.

Press the seams open.

6.

To further reduce the

^^^^^r*^

circumference of the edge,

by making a row of
machine basting at 6
stitches to the inch atxiut
1/4 inch inside the raw
edge. Machine baste each
garment section separately,
inch
starting and ending
from a seam and leaving
gather

it

8.

With the garment wrong

side out, turn

9.

Baste just above the

folded edge,

long thread ends.

7.

Gently

pull

the bobbin

thread ends and gather the

raw edge

slightly.

Make sure

the gathers are evenly

distributed.

10. Slip

a piece of brown

wrapping paper under the

hem

to protect the outside

of the

garment and steam

press the

hem

cloth

if

to shrink the

Use a pressing
your fabric

gathers.

requires

it.

up the hem

along the hemline and pin.

pins.

and remove the


1
Turn the garment right
side out. Turn the hem out
so it extends away from the
garment.
1

3.

Center the lace binding

hem and

When

Machine

inside the

binding.

reach your starting point,

trim the binding, leaving 1/2
inch at the end.

basting.

5.

Turn the

it.

hem

bacl< into

7.

of the

Remove the

Working

many more
Run

hem just

edge

in

from the first

lineof stitching, run as

the garment.
16.

stitch the

binding to the

you

baste

of

finish basting.

14.
12.

over the raw edge of the

Turn under the end

the binding 1/4 inch and

a line of machine

stitching 1/16 inch inside

the folded edge of the

hem

lines of

machine

stitching as you want,

spacing them
inten/al

at

whatever

you desire. Make

sure the upper row of

stitching catches the top
half of the lace binding.

Remove the

THE

basting.

NARROW TOPSTITCHED HEM FOR LIGHTWEIGHT FABRICS

Assemble the garment,

following your pattern

directions.

Then

try

it

on and

mark the hemline.

2.

Trim the

hem allowance

to 1/2 inch.

with a row of narrow zigzag

With the garment wrong

side out, turn up the hem
along the hemline and baste
it in place close to the folded

machine stitches.

edge.

4.
3.

If

your fabric

finish

5.

the raw

is

woven,

hem edge

Turn the garment right

side out.

6.

Run a

line of

machine

stitching 1/16 inch inside

the folded edge. Be careful

not to stretch the fabric as

you sew. Instead

let

fabric feed naturally

the machine.

7,

Run a second

machine

inside the

through

stitching.

basting.

lineof

stitching 1/4 inch

the

first

lineof

Remove the

THE CIRCULAR OPENING FOR KNITS

PREPARING THE OPENING

3.

To reinforce a

knit fabric,

stretchy

cut a piece of

bias tape slightly longer

than the circumference of

the garment opening. Then
cut the tape in half
1

lengthwise and press one

Assemble the garment,

following your pattern

piece open,

directions.
4.
2.

just outside

the

seam

Dampen the open

of tape

Stay stitch (Glossary)

around the garment

armhole or neckline opening

and press

it

piece

into a

circular shape.

5.

line.

With the garment wrong

side out, align the inner

garment (wrong

side)

curved edge of the tape with

the line of stay stitching and
baste the tape around the
opening. Start and end at a

seam and trim the tape so

that the

D
6.

TURNING UP AND
FINISHING THE EDGE

Turn the garment

right

8.

Press the

slightly

seam
allowance along the seam
Fold under the

line to

to

it

along the inner edge

smooth

it.

hide the machine

stitching
in

place.

9.

Run

and baste the

fold

a line of machine

around the
opening 1/16 inch inside
stitching

the fold.

10.

seam

allowance, stretching

side out.

7.

ends just meet.

Run

a second line of

machine

stitching 1/4 inch

inside the

first

Remove the

stitching line

bastings.

1 1

Trim the seam allowance

close to the stitching

in

made

the preceding step.

THE TOPSTITCHED

AND FACED V NECKUNE FOR KNITS

PREPARING THE GARMENT

Trim the neck seam

allowance to 1/4 inch,
3.

4.

Cut a piece of 1/4-inch

tape slightly longer than

twill

the neckline circumference.

1

Assemble the garment,

Dampen the tape, and

press it into a circular
shape.

5.

following your pattern

instructions.

2.

Stay stitch (Glossary) just

outside the neck

seam

line.

6.

With the garment wrong

side out, start at

one

shoulder seam to baste the

tape around the neck
opening. Align the inner
curved edge of the tape 1/8
inch inside the trimmed

neck edge. Ease the tape

around the point of the V,
7

When you

reach your

starting point, trim the tape

ends to meet

at

the seam.

ATTACHING THE FACING

8.

For the facing, cut from

9.

bias strip (Glossary) alxiut

Turn the garment

right

side out. Pin the facing,

garment fabric a 3/4-inch

1

inch longer than the

circumference of the
neckline.

wrong

side up, around the

neck opening, aligning the

raw edges. Start near one
shoulder seam, leaving a
1/4-inch free end.

When

you reach your starting

point, trim the other end
diagonally to

match the

first

end, leaving 1/4 inch for the

seam.

10.

Unpin the ends and

stitch

them together,

14.

Machine

stitch just

inside the neck edge.

making a 1/4-inch seam.

Press the

seam ofien.

15.

Machine

stitch

again

alxjut 1/4 inch inside the

Repin the joined ends to

the garment.

made

the

11.

line of stitching

12.

preceding step. Use either a

straight stitch, as shown, or
a narrow zigzag stitch.

Machine

stitch the

facing to the garment 1/4

Remove the

in

bastings.

inch inside the edges.

Clip txith

seam allowances

le.Ontheinsideofthe

at the point of the V.

garment, trim the facing

Remove the tape

close to the line of stitching

basting.

made
Turn the facing to the
wrong side of the garment.
13.

Rolling the

seamed edge to

the inside of the garment,

baste the facing in place.

Press.

in

the preceding step.

ON A CONTINUOUS OPENING FOR

BINDING

SELF

KNITS

PREPARING THE BINDING

\
1

Assemble the garment,

following your pattern

directions,

Cut a strip of garment

1
inch longer than the
seam- line circumference of
the opening and three and
one half times the desired
2,

fabric

finished width of the

binding. Cut the length

the crosswise

gram

3.

Fold the strip in half

lengthwise,

wrong sides

together

Using a steam iron and

a pressing cloth press the
4,

folded binding into a

circular shape with the fold
on the inside of the circle.

Wndmi

on

of the

fabric so the greatest stretch

will

be

in

that direction.

ATTACHING THE BINDING

9,

Pin around the opening,

stretching the binding

slightly until

you reach your

starting point. Then cut off

the excess binding, leaving

another 1 /4- inch overlap

Turn the garment right

5,

at

the end.

side out.

Measure in from the seam

the opening the

6.

line of

10.

Unpin the ends of the

them

desired finished width of the

binding; stitch

binding and stay stitch

together making a 1/4-inch

seam. Press the seam open.

(Glossary) around the

opening
7.

Trim

at this distance.

off

the

seam

1 1
Repin the joined ends of
the binding to the garment.

allowance just inside the

seam
8,

12. Measure in from the

edge of the opening the

line.

Unfold the binding and

place one end,

up. at a

seam

wrong side

or at the

desired finished width of the

binding; run a line of

edge
Make sure

stitching parallel to the

center back on a neckline.

at this distance.

Overlapping the center back

this stitching line

seam 1/4 inch, align the

binding with the trimmed

is

just

or

inside the stitching already

garment edge and

on the garment. Remove the

pins as you sew.

pin.

FINISHING THE OPENING

13.

Turn the binding up and

seam allowances

over the

and baste

it

place.

14.

Press the binding.

15.

Run

a line of machine

stitching close to the inner

edge

sewing
on the garment, as
shown, or on the binding.
of the binding,

either

Remove the
16.

basting.

On the inside of the

garment, trim the binding

along the stitching made in
the previous step.

ON A ZIPPERED

SELF-BINDING

NECKLINE FOR KNITS

PREPARING THE GARMENT

Assemble the garment,

3.

Insert the zipper, following

your pattern directions.

Make sure the upper stops

following your pattern

directions.

on the zipper
2.

Turn the garment

side out,

Measure

the neck

seam

in

line

stitches

right

align with the

made

in

Step

2.

from

the

4.

desired finished width of the

Trim the neck seam

allowances.

binding and stay stitch

and press the

(Glossary) around the neck

5.

at this distance.

binding, following the

Cut. fold

instructions

in

Steps

2-4,

Box A. page 85.

AHACHINGTHE BINDING

6.

Unfold the binding.

Measure in from the neck

edge the desired finished
width of the binding and run
a line of machine stitching
parallel to the edge at this
9.

With the garment-right

side out, place one binding
end wrong side up at one
7.

distance.

side of the zipper,

Make sure this

overlapping the opening 1/4

stitching line

inch. Align the binding with

the stitching already on the

the trimmed edge;

garment. Remove the

as you sew.

8.

pin,

is

just inside

pms

Pin around the neckline,

stretching the binding

slightly until

you reach the

off

If

you want to flatten the

make

it

less

prominent, press the

open.

other side of the zipper

opening. Then cut

0.

binding to

the

seam

excess binding, leaving

another 1/4- inch overlap.

Turn up one end

1 1

of the

14.

Run

a line of machine

binding 1/4 inch. Then,

stitching along the inner

starting at that end, turn the

edge

binding up and over the

seam allowances,
in

basting

it

place as you proceed,

Turn up the other end

1/4 inch and finish basting.
1

2.

13.

Press the binding.

as
shown, or on the garment
of the binding,

close to the binding.

Remove the
15.

basting.

On the inside of the

garment, trim the binding

along the stitching made in
the preceding step.

THE

Check your pattern

1
if

MOCK CUFF ON A SLEEVE

the

hem

enough

allowance

for a

to see

is

wide

mock cuff.

For

a cuff with a narrow 1 /8inch tuck at the top, you will

need 1 1/4 inches; for a

wide 1/4-inch tuck, 1 1/2
inches. Lengthen the
pattern if necessary
2,

Cut out the sleeve,

3,

With the sleeve wrong

side up, turn

edge

up the hem

inch and press,

Turn up the edge

4,

inch

again and press.

Depending on the

5.

size of

the tuck you want, machine

stitch either 1 /8 or 1 /4 inch
inside the lower folded

edge, stitching through

all

layers of fabric.

6,

so

Turn the mock cuff down

it extends away from the

Complete

rest of the sleeve.

the garment following your

pattern directions.

HEM ON UGHTWEIGHT

THE LEHUCE

KNITS

Assemble the garment

following your pattern

Then try
mark the hemhne.

directions.

it

on and

Trim off the hem

allowance 1/8 inch below
2.

the hemline.
3.

Set your machine

20 stitches to the

at 15 to

inch.

With

4.

line of

wide zigzag

stitches along the

hem

edge, stretching the edge

ment (wrong

side)

will become
much narrower to give the
hem edge a fluted frilly look

zigzag stitches

the edge of a lettuce

taut. Test

on a scrap of

like

garment

fabric

leaf.

first.

the

spring back and the wide

run a

As you complete

stitching the fabric will

the garment wrong side up,

turn up the hem /8 inch;

it

ne of the classic

travel

of the 20th Century,

of

foreign

garments
a favorite

correspondents and

roving photographers since the

1930s and

still

going strong,

is

a reversible coat, tweed on one side, rain-

on the

repellent poplin

other.

The coat

is

made in a style known as a balmacaan,

named foran area near Inverness, Scotland,
where the changeable weather requires
changeable outen/vear.

The

of

virtues

reversibles

go beyond

adaptability to Scottish weather, for they

multiply the style

on separates.

If

changes that can be rung

the separates are also de-

signed fordoubleortriple duty

in

the sew-

ing projects on the following pages, a scarf

can be a
serves as

halter top or a turban, a djellaba

bikini

cover-up as well as bath-

and a sunsuit becomes a tank top

few garments proliferate into many costumes. The 10 separates for which instrucrobe,

tions are given, four of

them

looks. (Instructions for

a reversible hand-knit

and hand-crocheted wardrobe are found on

pages 159-1 65.)
Most sewed separates can be made reversible, but at a

design,

caan

The

rolling

balma-

classic

to reversibility:

ing, unfitted

ple

of the

limits

the characteristics that lend

illustrates

themselves

price this feature

style

has a sweep-

it

shape, single-breasted; a simturns

collar that

either

way;

raglan sleeves that readily pull inside out;

slash pockets reachable from either side;

and topstitching around

join

all

the two fabrics neatly

mon

details are

The selection of the fabrics to be joi ned toin a reversing garment is just as crit-

reversible, are

thus transformed into two dozen separate

gether
ical
joi

stretch that

cause one
ating

is

their basic

knit to shift

puckers and

folds.

Woven fabhcs

and

texture. Similar color tones are advis-

able, for otherwise

seams will show through

and a dark fabric

one much lighter in

inding matchable
fabrics

reversibles.

right

style

is

Tailored set-in
skirts,

a wrap-

recommended. Pockets and

seams must be

carefully arranged to avoid

Today most

tical
in

parkas

is

is

really

two garments joined together, the

design of the two sides should

be exactly the same, or a close

approximation.

one
silky

The coat

overleaf

side of raincoat poplin, the other a

stnpe for evening

wear has

sporty

patch pockets on the raincoat side, invisible

inseam pockets on the

other.

and harmonizing

the right weights for the

in

easy

has become

in

well -stocked
in

it

recent

shops

in-

years.

sell similar-

weights suitable for every-

dyes and identical prints are available

different fabrics the marbleized print of

the nylon knit jacket on pages 102 and 104

used.

ince a reversible garment

of

thing from coats to filmy blouses. Even iden-

pers are a problem unless the reversible

made for ski

look

garments used to be a formida-

looking fabrics

bulges from multiple layers of fabric. Zip-

type

the

alter

will

color.

creasingly

around

may

should be of approximately the same weight

made

sleeves are impossible. For

give and

attribute

other, thus cre-

ble problem, but

all.

m pie,

si

on the

Jackets cannot have any lapels and are best

with no collar at

should not be

shown on the following pages. The

the edges to

in

knits

small garments as the scarf and bikini top

Many other com-

unusable

Two

as the design.

ned together except to make such

These

varia-

matches the marbleized print of the polyesand rayon reversible skirt.

Such matching fabrics are sometimes
marked "top weights," meaning fabrics

ter

and blouses,
and "bottom weights," meaning those that
are sturdy enough for jackets as well as

that are appropriate for shirts

pants and skirts. With fabrics like these,

sewed with the special techniques they re-

home seamstress

tions not only

enhance each style, but avoid

would pile up if two
sets of pockets overlapped. The dropped
shoulder armholes are amply large to ac-

quire, the

extra layers of fabric that

portunity to create a suitcase

commodate four

er's collection.

intersecting seams.

separates with

and

all

all

enjoys the opfull

of travel

the coordinated style

the multiple

uses of a design-

Silken stripes on

one side and

rain-

sliedding cotton polyester on the

other, this all-purpose,

go-anywhere

The two

coat reverses completely.

sides sandwich a light layer of polyester quilt batting to

warm enough

make the

rather than buttons,

Ties,

neat closure whichever

coat

is

The
jacket

coat

evenings,

for chilly

make a
way the

worn.
basis of the coat

pattern no

is

a simple

collar or front

overlap and straight sleeves pur-

chased a

size larger than usual to

allow for padding.

slightly flared

pockets.

and

These

It

is

lengthened,

fitted

with extra

alterations

change

fabric requirements foi/er/ea/).

addition to the

In

coat requires fusible

ting

two

fabrics, the

web to hold

bat-

and fabrics together; a package

of batting sufficient for a twin-bed

quilt;

and three quarters

lining fabric for

of a yard of

the pockets.

AIXIUSTING THE PATTERN FOR THE REVERSIBLE

COAT

ADDING THE INSEAM

POCKET FLAP TO THE
PATTCRN

Draw the top pocket

seam line perpendicular to
the side seam line by

20.

connecting the top pocket

opening mark to the pocket
cutting

To add seam and cutting

inseam pocket
flap to the pattern, first mark
1

6.

lines for ttie

ttie pocket
opening by measuring the
distance determined in Step

the top of

down the side seam

from the waist

side

seam

cutting line to the

pocket cutting
21

line.

Transfer the bottom

pocket cutting

line.

Measure down
1/4 inches and make
another mark on the cutting
1

measure down the side

line

a cutting

22.

txjttom of

the pocket opening,

seam

Draw

pocket

pocket opening mark to the

line

dot.

To mark the

line.

5/8 inch above the top

seam line from the

line

6 1/2 inches from

line.

the top pocket marking.

23.
18. To draw the pocket
seam line, first draw a line
inch outside of and parallel.
to the side seam line at the
1

pocket opening. Extend the

linel 1/2 inches above and

Draw the curved bottom

pocket seam line by

connecting the mark

mark on the side seam

Draw a

below the seam

marks.

the side

seam

line

Draw a

from

cutting line to

the pocket cutting

19.

line.

cutting line 5/8 inch

below the pocket opening

line.

cutting line 5/8

24.

Cut out the back

25. For a jacket front pattern

27.

On

with an all-in-one front

measure down the

facing, cut off the facing

back

line

along the front fold

mark

to the

inch outside the pocket

seam

made

in the preceding step with

the bottom pocket opening

pattern.

line.

\
\

ADJUSTING THE
FRONT PAHERN

line.

the back pattern,

center-

from the waistline

adjusted

hemline. Then, on the front

26.

Tape pieces

of shelf or

pattern,

measure

that

distance

down

the side

front line

from the waistline

of the front pattern.

mark. Make a pencil mark

on the paper.

wrapping paper underneath

and bottom edges

the center-

Measure from the

hemline of the pattern piece

28.

to the

Steps

mark and repeat

7 and 8 to draw a new

hemline.
29.

Repeat Steps

adjust the

1 1

-24 to

new side seam,

using the measurement

determined

in

Step 10

adjust the bustline.

to

ADJUSTING THE
SLEEVE PATTERN

To eliminate the hem on

30. Adjust the length of the

31

sleeve on the pattern

the sleeve pattern,

adjustment

cutting line

lines,

following

dravi/

inch below

and parallel to the hemline.

Then cut the pattern along

your pattern instructions

the

line.

35.

Make a mark on

MAKING THE INSEAM

POCKET PATTERN

the

right-hand side of the

rectangle 2 inches above

the bottom
32.

To make a paper

pattern

the inseam pocket, draw

a rectangle 7 1/2 inches
long and 4 /2 inches wide.
The left-hand side of the
for

rectangle

seam

will

line of

36.

from the bottom of the

seam line through the
marks made in Steps 34 and

line

side

35 to the top of the side

seam

be the side

line.

Draw a smooth cun/ed

line.

the pocket.

To draw the pocket

cutting line, measure out

37.
33.

To draw the curved

seam line, first make

pocket

a mark on the bottom of the

rectangle 3 inches from the
side

seam

5/8 inch from the pocket

seam

line

and make marks

around the

at intervals

pocket.

line.

Then connect the

marks.
34.

Measure down

1/4

inches from the mark and

38.

make another mark.

pattern.

Cut out the pocket

MAKING THE PATCH

POCKET PAHERN

39.

To make a paper

for the

pattern

patch pocket, draw a

rectangle 7 1/2 inches wide

and
edge

inches long. The top

be the pocket

will

facing fold

42.

To make the side seam

draw lines from the

ines,

ends of the bottom line to

the ends of the facing
cutting

line.

line.

43.

Draw cutting

lines 1/4

inch outside the bottom

To make the pocket

facing, draw a cutting line
40.

1/2 inches atx3ve and

side

seam

lines of

and

the

pocket, then extend the

facing cutting

line.

parallel to the facing fold

line at

the top of the

44.

rectangle.

41

For the bottom

of the pocket,

seam

perpendicular to the bottom

seam line and cut out the
line

extend the

t)ottom line of the rectangle

1/4 inch at each end.

Draw a grain-line arrow

pattern.

CUTTING AND MARKING THE COAT

coat front pattern

To decide how much

4.

will

both your coat fabrics

use and several

yards long.

fabrics are not the

same

width, repeat Steps

2.

6.

are the

to

you

If

same width, you will

need the number of yards
determined m Step 3 for
each of them. If your coat

you need, use string

form a rectangle half the
width of one of the fabrics

fabric

Arrange the coat front,

and patch

Pin the pattern pieces to

Cut around the pattern

pieces. Then,

layout determi ned in Step 2

will

you plan to make a patch

pocket on this layer oif the
If

coat, also pin the patch

-3 for

7.

the fabric, following the

if

the front

the second fabric.

10. Transfer
8.

Use dressmaker's carbon

pattern,

Fold the

first

coat fabric

in

to

Adjust the length of the

rectangle so that

it

transfer the shoulder darts

and the pocket opening

markings to the wrong side

tracing wheel, using the

of the fabric sections.

adjustments were made.

The first coat fabric will be

padded, so do not use a

Remove the

Remove the

new

pattern pieces.

this layer.

just

it.

To cut out the inseam

pockets and patch pocket
1 1

14.

wrong side down; fold over

one side 10 Inches.

down

Cut around the pocket

patterns. Then transfer the

seam-line markings to the
wrong side of the lining

place the lining fabric

12. Fold

pieces with dressmaker's

carbon and a tracing wheel.

the facing on

Remove the

pattern pieces.

the patch pocket pattern.

15. Fold

13. Pin the

two pocket

grain-line

and cut out two more

inseam pocket sections,
1 3 and 14,

seam

the inseam pocket

parallel to

To determine how many

the

17.

Measure from the top

the

first

web you

of the last piece.

the batting

need to bond
to the second

coat fabric,

first

arrange the

coat front, coat back

and

sleeve pattern pieces

row.

ma

nseam pocket

fold.

yards of 18-inch-wide fusible

will

following Steps

arrow of the patch

pocket and the side

16.

the remaining lining

fabric

patterns to the double fabric

thickness, keeping the

line of

pattern

half lengthwise with the

selvage edges together and
the wrong sides facing out.

accommodates the pattern

pieces, then measure

lining,

all

markings to the wrong side

each fabric section with
dressmaker's carbon and a

of

water-repellent fabric for

3.

5-7 to cut

Cut out the patch pocket

and ties if you did not cut
them from the first fabric.

of fabric to cut out six 1 6-by2-inch front ties for the coat.

and a tracing wheel

5.

Repeat Steps

out the second coat fabric.

pocket pattern to the fabric.

coat back, sleeve

pocket patterns inside the

rectangle with the gram-line
arrows parallel to the
lengthwise strings. Do not
use the inseam pocket

9.

ties

be made from this

fabric, use the larger scraps

of

piece to the bottom

18.

pattern

Measure the width

of

the

coat front pattern at the

Then double
measurement and

widest
that

part.

19, Multiply

the figure

determined in Step 17 by
the figure determined in
Step 1 8 to find the number
web you

dividetheresult ty 18.

of yards of f usi ble

Round

require.

any fraction to the

next highest full number.
off

lines

where
pattern pieces.

ASSEMBLING THE REVERSIBLE COAT

PADDING THE COAT

Stitch the shoulder darts

Lay the batting on a flat

If the full width is

2.

on the coat back that you

cut out of the first fabric. (Do
not pad a waterproof fabric.)
Then clip the darts and

surface.

press them

the coat back.

flat.

unmanageable, cut
section that

is

inches wider

3.

off

at least

all

around than

Cover the batting with

sheetsof fusible web,

butting the

edges

of the

sheets.

4.

Place the coat back,

wrong side down, on top of

web and pin the layers
of fabric, web and batting

the

together.

5.

Trim the batting

to

shape

by cutting around the raw

edges

At the

of the fabric,

pocket opening, fold the flap

tack even with the side

edge and cut out the

along the

Make tailor tacks

6. To shape the batting at

the shoulder darts, first

(Appendix) through

remove any pins

layers at the top

that are

dose to the darts. Make a

clip into the neckline of the

batting

and web

under the top

of

directly

each

10.

batting

fold.

all

and

three

txjttom

pocket opening marks on

the side seam line and the

pocket

seam

line.

dart,

lifting

the fabric out of the

way as you do so.

Baste the three layers

together 1 inch from the raw

7 Fold back the top edge of

the fabric even with the

from slipping. Remove the

1 1

edges to prevent the

bottoms of the darts. Then

extend the cuts in the

and web to the

length of each dart.
batting

full

2.

Fuse the fabric,

fusible

Using the cuts made in

Step 7 as center lines, cut
in

the batting and

web

as wide as the fabric darts.

web. Try out

Butt the cut

edges

txith

the

and steam iron

methods on a sample of the

dry iron

three layers to determine

which method works best

for the fabric

9.

web and

batting together, following

the instructions for the

8.

darts

batting

pins.

you are using.

of the

and web darts

together and fold the top
edge of fabric back into
place. Insert a pin at each
dart to keep closed and
batting

it

hold the layers together.

Repeat Steps 2-1 2 to

pad the coat front and
sleeve sections that you cut
13.

out of the

first

fabric.

FINISHING THE PADDED

LAYER OF THE COAT

AflAKINGTHE

PATCH POCKETS
14. Place the padded coat
back wrong side down: pin
one inseam pocket section,
wrong side up, to one

pocket opening. Align the

tailor tacks on the pocket

opening seam line with the

ends of the pocket side

seam

line.

Pin another

pocket section to the pocket

opening on the other side

the coat back similarly.
1

5.

of

Stitch along the pocket

side

seam

lines,

removing

the pins as you go.

1

6.

Place the padded coat

wrong side
down; repeat Steps 4 and
front sections

5 to attach the other two

pocket sections to the coat
front pocket openings.
1

24.

Trim

off

1/8 inch from

the sides and bottom edge

of one pocket lining.

down 1/2 inch at

the top of the lining piece.
25. Fold

Press.

one patch pocket

wrong side down. Fold
26. Place

down the top of the

pocket
along the facing fold line.
Press.

Center one lining section

on top of one pocket section,
wrong sides out. Slide the
folded edge of the lining
under the fold of the pocket
and insert pins at the top
and center of the sections.
27.

17. Press the seam

allowances toward the

pocket.

seams, wrong sides out. Pin

the pocket front and back

19. Machine stitch 5/8 inch

from the raw edges; remove
the pins as you go. Use the
guide on the throat plate to
keep the line of stitching

sections together along the

straight. Start at the

curved seam

edge and

18. Pin

the padded coat

front sections

back and coat

togettier along the side

lines.

hem

stitch to the

align the

bottom pocket opening

mark; pivot (Glossary) and
stitch

around the pocket

up the side seam

linetothearmhole.
20. Clip the coat

raw edge of the

pocket fabric with the raw

of the lining.

edge

to

the top pocket opening

mark. Pivot again; continue
stitching

Turn the pocket over so

the pocket fabric faces up.
Baste along one side, easing
the pocket fabric toward the
center as you proceed to
28.

29.

Continue basting around

the bottom and the second

side of the pocket, easing

the fabric as you go.

back seam

allowances above and

below the pockets.

30. Starting at the top fold,

machine

stitch 1/4 inch

inside the

raw edge around

the sides and bottom of the

21

Tnm away the

batting

pocket.

beyond the
seams, cutting just outside
that extends

^^^~\ A^^^<i^ f

T"
4^

P- m!

rl

coat back

"ICall'ngs.de)

the stitching.

Remove all
31

bastings.

Turn the pocket

right

side out, pushing out the

22. Press the

corners with the

seam

allowances open atrave and

below the clips made in
Step 20.

tip of

of scissors. Press,

a pair

making

sure the lining does not

extend beyond the edges of
the pocket.

23. Stitch the coat fronts

and tack together at the

shoulder seams; insert the
sleeves, following your
pattern instructions.

the pocket at the top folded

Use the

throat plate guide to keep

the line of stitching straight.

Trim away the batting from
the seam allowances; press
them flat. Press the sleeve
seam allowances toward the
inside of the sleeve.

32. Slip stitch the lining to

Repeat Steps 24-32 to

assemble the other patch
33.

pocket.

AHACHINGTHE
\

u
34.

PATCH POCKETS

Working on the garment

sections that were cut out of

the second fabric, stitch the

shoulder darts,

the coat

join

fronts to the coat

back

at

the

shoulder and side seams

and

insert the sleeves,

following your pattern

instructions.

35. Try

on the coat and

decide where you want to

place the patch pockets.
36.

Pin the pockets

in place.

Then baste and remove the

pins.

37. Set your machine at 6 to

8 stitches to the inch and
machine stitch the pockets
to the coat front. To do this
first

bisect the top corner

wflth

a5/8-inch-long

diagonal

line of

stitching as

machine

shown. Then

pivot (Glossary)

and

stitch

around the pocket, pivoting

at the corners. Bisect

the

other top corner wnth a

diagonal

line.

AHACHING THE TIES

43.

of

Pin the unstitched end

one

tie to

one

of the

unpadded coat fronts at the

neck seam line. Align the
raw edges of the tie with the
raw edge of the coat front.
38.

Fold

one

lengthwise,

Turn the ties right side

out, pulling out the corners

tie in half

41

wrong sides out.

with a pin.
39.

Set your

machine

at 10

stitches to the inch and,

Then press them

flat.

kf
Set your machine at 6 to
8 stitches to the nch and

starting at the fold, stitch

42.

across one end 1/4 inch

from the edge. Then pivot

topstitch just inside the

and

stitch

down

the side.

Clip the corners diagonally

up to, but not into, the

machine stitching.

of

down the
40.

to

Repeat Steps 38 and 39

make the other five ties.

each tie. Starting

at the open end of each tie,
stitch up one long side,
across the short end, and

edges

other side

pivoting at the corners.

Pin a second tie to the

neck seam line of the other

44.

coat front. Pin on the other

ties6to8inches apart.
Machine baste across each
tie

within the

seam

allowance. Rennove the pins.

FINISHING THE

COAT

1-inch intervals

up to but

stitches to the

machine

nch and
two

stitch the

layers together 5/8 inch

inside the raw edges. With

the unpadded layer facing

not

up, stitch along the seam

allowance markings starting
at one hem edge. f the

into the stay stitching.

With the wrong sides

facing out, pin the two

46.

batting slips, turn the coat

padded side up and use the

guide on the throat plate of
your machine to keep the

layers of the coat together

around the neckline and

down the front edges. Baste

and renxive the

Sat your machine at 10

47.

To keep the neckline

from stretching, stay stitch
(Glossary) around the
neckline 1/2 inch from the
edge. Then clip the neck at
45.

line of stitching straight.

pins.

Trim the seam

allowances around the

48.

neckline to 3/8 inch and clip

the corners diagonally.

Cut the batting out of the

seams, close to the

49.

stitching.

Remove

50.

51.

bastings.

Baste around the hem

and around the front and

54.

Turn the coat right side

out through the

all

hem

neckline of the coat.

opening, making sure to

Remove the

insert the sleeve of the inner

pins.

layer into the outer sleeve.

55. Try

Press.

on the

IS

coat, pulling

down

the sleeves

until

there

no bunching under the

arm.

56.
in

Turn up the sleeve

hem

the top layer of the coat

inch and press the

fold.

Then turn up the sleeve

hem

in

the inner layer of the

coat and press the

57.

fold.

Pin the folded sleeve

hems together. Then

and renxive the

baste

pins.

Set your machine at 6 to

8 stitches to the inch and
58.

52.

the

Turn under the

unpadded

hem of

layer

topstitch )ust inside the folds

inch

hem. Make three

more rows at 1-inch
intervals around the hems of

and press the fold. Then

turn under the hem of the
padded layer even with the

of the sleeve

unpadded

layer.

the sleeves.

hem edges

59.

53.

Pin the

Following the

instructions in Step 58,

together.

make four rows of

topstitching along the folded

edges of the bottom hem,

and neckline of the

front
coat,

rt:^.^-^

Renxive

all

bastings.

^ '

^X

For traveling

easy-to-make

light, five

pieces multiply into a wardrobe of

costumes, Attar
jacket

and

wrapped

left is

a nylon jersey

v\/oven skirt

and a scarf

top all

into a halter

bookend-paperphnt,lnthe next
ture,

the

same

skirt is

solid-color side,

striped
playsuit

body

(seepage
its

is

its

doubles as a

114).

At near

the wrapped scarf of the

reversed to

pic-

reversed to

and the top

suit that

in

left,

first outfit,

striped side, tops a

pair of knit pants.

^^^^r

the reversible

he skir
a
acket ana scar

has no waistband, a

waistband

will

do.

pat-

The

two-faced scarf, used as a wrapped top,

re-

quires no commercial pattern.

For reversible garments, fabrics should

be of similarweight and the same construction, and knits used back-to-back should

The ensemble at left, part of the five-piece

wardrobe on page 103, starts with two patternsone for a cardigan jacket designed

have the same degree of

and

cutting layouts

will

stretch.

Yardages

vary with the fabric

combinations. Instructions for calculating

be nnade from a knit, the other for a wraparound skirt that overlaps at back. Although

to

THE

skirt

tern with a plain ortie

both are on page 11

9.

CARDIGAN JACKET
PREPARING THE PATTERN

Trim the seam allowance

from the neck edge of the

3.

Check your
measurements against
1

jacket

those of the jacket front,

jacket back and sleeve

back pattern.

Using the .method

descrit)ed on the pattern
instruction sheet, make any
necessary adjustments to
patterns.

the pattern pieces.

Tnm the hem allowance

from the sleeve pattern
2.

piece.

4,

Trim the seam allowance

from the center-front edge

of the jacket front pattern,

5,

At the

hem

level indicated

by the pattern marking,

draw a hemline across the

7. Measures 1/2 inches

toward the side edge of the
pattern from the line drawn
in the preceding step. Then
draw a second line, parallel
to the first and 6 1 /2 inches

To outline the pocket,

measure in 3 inches from
the center-front edge and
draw an 8 1/2-inch lineup
from the hemline and

6,

parallel to

the center

front.

To make ttie pocket

12.

9.

Draw a grain-line arrow

parallel to the side

the pocket.

11,

Draw

cutting lines 1/4

inch outside the side and

edges of

1 3. Trim the excess paper

from the pattern edges.

14.

To complete the pocket

outline, draw a diagonal line
connecting the top ends of
the linesdrawn in Steps6
and?,

8.

bottom edge,

0.

bottom edges of the pocket.

long.

jacket front pattern parallel

to the

pattern, first trace the pocket

outline onto tracing paper.

Using the jacket

front,

back, sleeve and pocket

patterns, follow the

nstructions on page 11 9 to
determine how much fabric
you Will need for the jacket,
I

and how to lay out the

pieces. Cut out the jacket.

Hold the jacket front

pattern against your body to

see

if

you

like

necessary.

5.

Use the pocket

to cut out

of the

pocket. Adjust the outline,

edge

the position

and proportion

if

woven

pattern

two pocket

pieces from

lining

/8 yard of

lining fabric.

MAKING THE JACKET

16.

Read the

sewing with

20.

section on

78-79).

17.

Run a

line of

zigzag

machine stitching around

the raw lx)ttom edge of the
jacket, and turn up the hem.

knits (pages

Pin.

Join the jacket front

sections to the jacket back,

and

set in the sleeves

according

to

hem

your pattern

22.

Stay stitch (G/ossa/yj

raw bottom edges

of the sleeves.

the preceding step.

IS

a nbbed

knit,

If

basting. Press.

Measure the center

To join the binding

place the two
wrong sides
out, and pin one end. For
bias strips, overlap them at
one end to form a right

To bind the center-front

and neckline edges of the
jacket, cut two strips of
fabric each 2 inches wide
and the length determined

25.

24.

in

using a

stitch (Appendix).

opening edge from the

middle of the back neck to
the hem. Add 2 inches.

Stay stitch 3/8 inch

fabric

hem

Remove the
23.

19.

and remove the

Hem the jacket

blind

around the center opening

3/8 inch inside
the raw edge.

of the jacket

inside the

fold

pins.

instructions.

18.

from the

21. Baste 1/4 inch

strips, first

strips together,

the

angle, then pin.

cut

the binding on the

crosswise grain.
IS

a smooth

knit,

If

the fabric

cut

it

26.

Machine

stitch 1/4 inch

from the ends, and remove

on

the pins. Press the

the bias (Glossary).

seam

allowances open.

27. Place the binding,

wrong

side u p, over the center

opening. Match the

seam to

the center back. Align the

raw edges;
the binding

28.

Machine

stitch 1/2 inch

At the

29.

hem edge, trim

33. Starting

atone

hem

Continue folding and

they extend 3/8 inch t)elow

edge, fold over the raw edge

of the binding to cover the

within 2 inches of the

go.

the bottom of the jacket.

seam allowance.

edge on the other

the ends of the binding so

pin, stretching
if it

35.

from the raw edges,

removing the pins as you

was cut on

34.

Turn under the raw edge

make a fold

of the binding to

the crosswise grain.

that just covers the

pinning the binding to

fjottom edge.

seam

attaching the binding to the

36. Slip stitch the binding to

jacket. Pin.

the jacket, and remove the

pins.

31.

On each

side of the

Turn the binding away

from the jacket, and press
the seam allowance toward

jacket front, trim

the binding.

the

30.

hem

away the

allowance that

within the
bi

seam

falls

attaching

ndi ng to the jacket.

32.

Turn the end

of the

binding upoverthe tx>ttom

edge

of the

seam

allowance.

hem

side of

the center opening. Repeat

Steps 32-34 to finish the

FINISHING THE SLEEVES

37.

Measure the

40. Fold

circumference of the bottom

edge

of the sleeve.

Add

42.

back the excess

inches.

you are able

inch

stnp. For bias binding, the

in

Step

smooth

37.

If

knit,

the fabric

is

binding
the

at

edge

a right angle to

cut the strip on

41

edge

fold.

of the binding fabric.

seam to join the ends.

seam allowance open.

43.

Repin the seamed

section of binding to the

Trim away the excess

binding 1/2 inch outside the

pins from

form a 1/4-

the

of the sleeve.

the bias, starting from one

to

Pin, then machine stitch

and remove the pins. Press

should be on the
diagonal with the excess
fold

38. To bind the sleeve, cut a

stnpof fabnc2 inches wide
and the length determined

Remove the

the ends of the binding so

binding, aligning the fold

with the pinned end of the

sleeve, then machine stitch

around the txDttom of the

sleeve

12 inch inside the

raw edges.

Place one end of the

binding strip, wrong side up,
over the bottom of the
sleeve. Pin the binding
around the sleeve. If the
39.

44.

Repeat Steps 30,

33,

34

and 36 to finish binding the

edge of the sleeve.

was cut on the bias,

sure to start pinning from

binding
tie

the diagonal

end

45.

Repeat Steps 38-44 on

the other sleeve.

of the stnp.

MAKING AND AHACHING

49.

THE POCKETS

from the basted edges,

Machine

stitch

1/4 inch

pivoting at the corners.

Remove the
"9
46.

Tnm

side

/8

Turn the pocket inside

out with the wrong sides of
50.

1/8 inch from the

and bottom edges of

one pocket
47.

basting. Trim

the corners diagonally

inch from the stitches.

the fabric together.

lining.

Place the pocket piece

over the corresponding

51

Roll the

seamed edges

iDetween yourfingers
the lining

pocket lining with the wrong

is

slightly

until

under

the pocket. Baste 1/4 inch

sides out. Pin the fabncs

from the

rolled

together along the side and

bottom edges, easing the

pocket fabric toward the

52. Stay stitch

n-

center of the pocket so the

edges of the two fabrics

align on all four sides.

edges.

3/8 inch

nside the raw top edges of

the pocket. Press the pocket,

then remove the basting.

Bind the top edge of the

pocket in the manner
descnbed in Steps 27-30
and 32-36.
53.

Baste 1 /8 inch from the

raw side and txDttom pocket

48.

edges.

Remove the

pins.

1/

^"

54. Pin the pocket to the

56. Slip stitch

(Appendix)

edges

jacket so the bottom of the

the side and twttom

pocket aligns with the fold

of the jacket hem and the
long edge of the pocket is 3

of the pocket to the jacket,

inches inside the center-

stitches.

catching the edge of the

pocket lining with the

front edge.
57.

Repeat Steps 46-56

55. Baste 1/4 inch inside

make and

the side and t)ottom edges

pocket.

of the pocket,

the pins.

and remove

to

attach the other

THE REVERSIBLE, WRAPAROUND SKIRT

PREPARING THE PAHERN

Check your
measurements against
skirt front and
1

back pattern pieces.

Using the method described
on the pattern instruction
sheet, make any necessary

skirt

adjustments

If the skirt back pattern

has a self facing at the
opening edge, tnm away the
facing 5/8 inch outside the

2.

those of the

facing fold

line.

Hereafter,

treat the fold line

as a seam

line.

to the pattern

pieces.

PREPARING THE

B
3.

TWO FABRIC LAYERS

FOR THE SKIRT

Using only the skirt front

skirt back pattern

6.

Pin a

skirt

back section

and

the

pieces, follow the

the side

instructions on page 119 to

determine how much fabric
you will need for each layer

and remove the

of the skirt

and how

to lay

out the pattern pieces on

the two fabrics.
the

Then cut out

to

section along

skirt front

seam

line.

Baste,

pins.

Madiine stitch the side

seam, and remove the

7.

basting. Press the seam

allowance open.

skirt.

Repeat Steps 6 and 7 to

the remaining skirt
back section to the skirt

8.
4.

Transfer

notches,

seam

lines,

stitch

and other pertinent

markings from the pattern

to

front.

the wrong side of txjth of

the fabrics with

9.

dressmaker's carbon and a

tracing wheel.

Do

not

Working with one

of the

fabrics, first stitch the darts

any and slash them to

if

within 1/2 inch of their

points. Press the darts

make the

remaining layer

transfer the hemline.

5.

Repeat Steps 5-8 on the

other fabric to

open.

of the skirt.

JOINING THE LAYERS

OF THE SKIRT

2.

Machine

stitch

the layers

together along the

seam

lines at the outside

and

edges Starting at
the txittom of one outside
waistline

edge, stitch to the

10.

Place the two

together,

skirt layers

wrong sides out,

matching the seams,

notches and any darts at the
waistline edge and the

seams at the hem edge.

1 1

Pin the layers together

along their outside and

waist seam lines,
smoothing the fabrics as

edge diagonally

Stitch across the waistline,

pivot again,

and

stitch to the

bottom of the other outside

the pins.

edge.

Remove the

basting.

5.

Tnm the side seam and

dart allowances that

within the waistline

fall

seam

allowance diagonally.

to

within 1/8 inch of the

waistline

stitches.

waistline seam, then pivot.

you go. Baste, and remove

13. Trim the seam

allowances to 3/8 inch, and
trim the corners at the

waistline

intersection with the

seam

6.

Press the outside and

seams flat, then

waistline
14.

Make

1/4-inch clips

approximately
In

the waistline

allowance.

inch apart

seam

press the

open.

seam allowances

HEMMING THE SKIRT

rr--\

17,

Turn the garment inside

out so the wrong sides of

the fabrics are together

18. Roll

the layers of fabric

between your fingers to

place the outside and
waistline

edge

seam

just at

inch from the rolled edge,

starting

and ending the

23.

Turn up the

hem of the

so

its

Pin the layers together

chalk

hem

22.

Trim the

hem

allowances 5/8 Inch below

the chalk marks.

Remove

the pins.

on a flat
surface, and smooth the

20. Place the skirt

layers

flat.

of

Press.

Check

to

be sure the layers

and that the hem

match exactly. Baste,
and remove the pins.

marks. Then turn up the

hem

line

24. Pin the layers together

top layer even with the chalk

txjttom layer

skirt.

markings.

just alx)ve the

about 2 inches

above the bottom edge

the

21

length with chalk.

the

of the skirt. Baste 1/4

of basting

19. Try on the skirt, and

mark the desired finished

are

flat

folds

fold

matches that of the top

layer.

25. Try

on the

sure that

skirt to

make

tx)th layers of

hang smoothly If they

do not, one layer is longer
than the other To correct
this, remove the basting,
fabric

second

skirt layer

(wrong

adjust the lengths of the

fabrics so they are even,
rebaste. Press the

hem.

and

FINISHING THE SKIRT

26, Topstitch the layers of

the

skirt

together with the

on which the stitching

be most visible facing
up. Start topstitching at one

fabric
will

Lay the skirt flat. Sew the

protruding part of a snap on
of the skirt /4

28.

each side

inch inside the right-hand

cornerof the waistline.

corner of the waistline and

around the outside of

skirt as close to the edge
as possible.
stitch

the

27. Topstitch again, in the

same manner,

1/4 inch

inside the

first

row

stitching.

Remove all

of

bastings.

on the skirt again,

and overlap the skirt back

29. Try

sections until the waist

comfortably.

30.

Mark the placement

points for the indented parts

of the

snaps with

pins.

The

fits

pins should t)e directly

opposite the protruding
parts of the snaps.
31.

Sew

the indented parts

snaps at the pin

marks, 1/4 inch below the
waistline edge of the skirt.
of the

THE REVERSIBLE SCARF

DETERMINING THE
LENGTH OF THE SCARF

A
that

1. Drape a piece of String

is at least 4 yards long
around your neck. Center

Wrapping loosely, bring

ends to the back
of your body and cross them

the string so the ends hang

at

the center of your waist

4.

Bring the string ends to

3.

the string

evenly.

2.

Cross the string

yourself so

it

the center of your waist at

in front of

rests over the

front,

and cross them again

bust.

5.

Return the string ends to

the center of your waist at

the back.

8.

To make a paper pattern

for the scarf, cut a rectangle

10 inches wide and the

length determined in the

6.

Mark both ends

of the

preceding step.

stn ng with pi ns at the poi nt

where they meet

at

the

9.

Follow the instructions on

measure the distance

between the pins Add 12

9 to determi ne how
fabric you will need
each layer of the scarf
and how to lay out the
pattern on the two fabrics.

inches.

Then cut out the

centerof your back.

page

1 1

much

7.

Unwrap the

stnng,

and

for

in full-length

sections.

scarf either

or half-length

PREPARING AND JOINING

TWO FABRIC LAYERS
FOR THE SCARF

THE

Place the two layers of

the scarf together, wrong

sides out.

lOA.

If

you cut both layers

flat,

of scarf fabric in full-length

sections, skip to Step

Smooth the

layers

and pin around the

edges.

1 1

2, Starting near the center

one long edge or a few
inches atxive the center

OB.

If

you cut one or both

of

layers of scarf fabric in half-

length sections, you will

need to piece the fabric. To
do this, lay one section
wrong side dcwn, and place

the other section over

seam,

if

pieced,
I

either fabric

machine

is

stitch 1/4

nch nside the raw edges of

i

the fabric. Pivot at the

it,

corners. Stop stitching

about 6 inches short of the
point where you started.

wrong side up. Pin along

one narrow end, then
machine stitch l,/4 inch
from the raw edges of the

13,

removing the pins as

you go. Press the seam
allowance open.

fabric,

Trim the seam

allowances diagonally at the

corners to within 1 /8 inch of
the stitches.
1

4.

Press the seam

flat,

second

then

layer

(wrong

side)

press the seam allowances

open, pressing as close to
the corners as possible.

FINISHING THE SCARF

15.

Turn the scarf inside out

17.

so the wrong sides are

To do this, pull the

fabnc through the 6-inch
opening in the line of

together.

^K^

stitching.

Without breaking the

basting threads, close the 6inch opening by turning up

layer

together 1/8 inch inside the

hem
16. Roll

hem on each
and basting the layers

a 1/4-inch

folds.

Press the

scarf.

the layers between

your fingers to place the

seam just at the edge of the
scarf. Baste 1 1 A inch from
the rolled edge.

18. Topstitch

edges of the

as close to the

scarf as

corners.

9.

To wrap the scarf into a

shown on page

halter top as

possible, pivoting at the

105, follow the instructions

Remove the

for

basting.

determining the length of

the scarf (Steps /-5| This

wrap snugly,
and secure the ends of the
scarf by tying them at the
time, however,

center of your waist

back.

in

the

-.^.

The bare-bones construction of the doupants achieved by eliminating the

side seam and waistband from any pants
pattern suitable for knits enables them to

aking the pants

ble-knit

and sunsu"
The sunsuit

at

created from a maillot-

left,

style bathing suit pattern,

owes much

shapely appearance to the stretchy

fabric

from

wh ich

it

hold their line through repeated packing

and wearing. The scarf, which is seen on

page 104 as a halter, reappears here
wrapped into a turban and as a slinky neck
fling. Yardages and cutting layouts will vary

is

made.

It

also

of

its

rib-knit

becomes

with the fabric used; to calculate both, see

the instructions on page

a top for a pair of pants (opposite).

19.

THE SUNSUIT
ADAITING THE PATTERN

To create the strapless

bodice of the sunsuit. first
tape a piece of paper under
the upper edge of the

4.

bathing suit front pattern.

7,

Connect the ends

of the

vertical lines with a

horizontal

8,

line,

To make the band

at

the

top of the bodice, draw a

Check your
measurements against

inches atxsve and

Using a tape measure

turned on its edge, follow

line 3

ttiose of ttie battling suit

the contours of the side

step

and bathing suit back

pattern pieces. Using the
method descritsed on the

seam

parallel line 3

5.

pattern instruction sheet,

and center-front
edge to measure up from
each waistline mark the
distance determined in Step

make any necessary

2,

Mark.

6.

Extend the side seam

front

line

ad)ustments to the pattern

pieces.

the side cutting line

2.

Measure along the side

your txjdy from

of

inch below

the underarm to the waist,

center-front

edge

line,

and the

the line drawn in

then draw another

parallel to
7,

inches above

that,

Draw a line to indicate the

upper edge of the pattern 1
inch above the last line
drawn; trim away the excess
paper along this line.

9,

of the

pattern piece to a level even

with the marks

made

in

the

preceding step.

Make an extra waistline

mark on the side seam line
of the pattern at the same
3.

level as the waistline mark

on the center-front edge.

10. Fold

under the paper

uppermost

line,

then fold

Run

2.

the side

a tracing wheel over

seam

hard enough

extension along the

it

line,

for

accordion style along the

two remaining lines.

layers of paper.

11.

Cut along the side

and the centerfront edge through all the
folded layers of the paper

extension.

cutting line

line

13.

pressing

the wheel's

teeth to perforate

all

the

Unfold the paper

Draw a

side

seam

along the perforated

marks made by the tracing

wheel,

extension.
14.

Repeat steps

3-1

3 on

the bathing suit back

pattern, extending the

seam line and

seam line.

center-back
the side

MAKING THE SUNSUIT

5.

Follow the instructions

on page

22.

19 to determine

how much

fabric

you

need, and

how to

lay

Run

basting stitches

along the center line of

will

tracing wheel markings.

out the

pattern pieces.

6.

Lay out and cut the

then transfer all

knit

edge along the

the lines

basting.

drawn on the paper

extensions in Box A.
1

wrong sides

the top

line of

Run a second

line

of basting close to the fold.

Turn under the raw

bottom edge of the band

24.

Place the back sections

7.

together,

down

side out, fold

pattern markings to the

fabric, including

With the sunsuit wrong

23.

fabric,

out,

1/4 inch. Pin. Baste close to

the fold and remove the

matching their raw. centerback edges. Pin.

pins.
18. Stitch

the center-back

Run a line of machine

zigzag stitches along the
25.

seam, using the doublestitched stretch seam on

page 78. Press the seam
allowance to one side.

txDttom fold, leaving a

opening

in

wrong
26.

sides out. Align the raw side

edges on both

which

-inch

elastic

can be threaded.

Place the front and back

9.

sections together,

the line of

stitching into

To make a casing

for the

elastic in the bodice, run a

sections. Pin.

second

line of

zigzag

stitches 3/8 inch

first.

seams.
Press the seams toward the
back section.
20. Stitch the side

27.

To make a casing for the

each leg opening,
turn up the raw edge of

elastic at
first

the leg opening 1/4 inch.

Turn up the folded edge

3/8 inch. Pin.

21. Pin

seam.

and

stitch the crotch

above the
This time, however,

around the entire

circumference of the
garment.
stitch

Cut a length of 1/4-inch

wide elastic just long
31

enough

to

wrap

loosely

around your bust, 1 inch

below the underarms.

28.

32.

Attach a safety pin to

one end
29.

Baste close to the inner

fold,

stretching the fabric

slightly

as you baste

Remove the pins.

thread

of the elastic

and

through the cas

the bodice. Pin the ends
of the elastic together.
it

in

Cut two lengths of 1/4inch-wide elastic just long

33.

Run a line of machine

zigzag stitches over the
inner fold, leaving a 1 -inch
30.

opening

in

stitches.

Remove all

the line of

bastings from the garment

enough

to wrap
around the tops

loosely
of your

thighs.

34. Repeat Step 32 to insert

the elastic into each leg
opening.

FINISHING THE SUNSUIT

35.

Turn the sunsuit right

and try it on.

39. Fold

and bust

legs
fits

until

down the top edge

form a 3-inch-wide band

around the bodice.

side out,

to

Tighten the elastic at the

the suit

To secure the band, turn

up the bottom edge about 1
inch at one side seam. Tack
(Glossary) the band to the
seam. Then repeat on the

comfortably. Repin.

40.

Trim away the excess

from each elastic, leaving
36.

1/2 inch to overlap.

other side seam.

37.

Overlap the ends of each

elastic 1/2 inch

and sew the

ends together with several

rows of zigzag

stitches.

Close the opening in

each of the casings with
38.

machine zigzag

stitches.

THE PANTS
ADAPTING THE PAHERN

7,

5.

Straighten the waist

line

line

seam

by drawing a straight
from the center-front to

the center-back edges. This

drawn line will be the fold

Check your
measurements against

1.

line for

the waistline casing.

Fold under the paper

extension along the line

drawn
6.

Draw a second

line

inches above and

line. Trim off the
excess paper above this line.
the fold

front

make any necessary

adjustments to the pattern
pieces,

To eliminate the side

seam from the pants

pattern, overlap the pants

and pants back pattern

matching the side

pieces,

lines

from the hipline

dot to the bottom of the

Tape the

leg.

pattern pieces

together,

3.

Draw a new

arrow

grain-line

parallel to the

matched side seam

lines.

Cross out the original gramline

4.

arrows.

To make a casing

waistline elastic,

the
tape a

for

first

piece of paper under the

joined pattern pieces at their
waistline edges.

Trim away

and center-back edges

sheet,

seam

5,

of the pattern pieces.

the pattern instruction

front

Step

sides even with the center-

those of the pants front and

pants back patterns. Using
the method described on

2.

in

the excess paper at the

1/4

parallel to

nginalgrain-lmei

8.

Cross out the waistline

darts.

MAKING THE PANTS

Lay out, cut and mark the

pants using the method
described on page 1 1 9.

9.

3.

Align the crotch

4. To join the tv^o sections,

machine stitch the crotch

seam

edges of the pants sections,

matching the inseam and

seam from the waistline

edge

the notches. Pin.

one

10. Fold

HOter-tront waistline

in half, wrong side

and match the inseam

sections
out.

edge

machine

stitch

1 1

the center front to

at

the

5. To reinforce the crotch,

make another line of

edges. Pin the inseam, then

and remove

the pins. Press the

allowance open.

at

the waistline edge

center back.

of the pants

machine

seam

stitching outside

first line between the

notches on the pants front
and pants back.

the

Repeat SteplOonthe

other pants section.

6. Trim the seam allowance
between the notches close
to the second line of
1

12.

Leaving one pants

section turned

wrong side

out, turn the other section

right side out

Into the

first

and

insert

stitches.

It

pants section.

17.

Press open the

untnmmed portions of the

seam allowance.

18.

Make the casing

waistline elastic

and

for

the

finish

the waistline edge of the

pants, following the
instructions for the
elasticized

enclosed

page

waistband

in

a casing on

Pull the hem edge away

from the pant leg and run a
line of machine zigzag
stitches along the raw edge

21

of the fabric.

other

Repeat on the

leg.

73.

22. Finish the

1

9.

Try on the pants,

mark the hems with

and

hems

with a

blind hemstitch (/4pper7C//xj.

pins.

hems. Then,
matching and centering the

23. Press In the

Turn up the hems along

the row of pins removing the
pins as you go. Baste near

20.

the

hem

folds.

inseamson both
In

the creases.

legs,

press

DETERMINING YARDAGE REQUIREMENTS

For patterns with pieces

9,

For

all

patterns with

more than half the

width of the fabric, knit or

pieces that are

woven, and

woven

that are

half the

for knit fabrics

more than

width of

fabric

knit or

and

tor

with vertical ribs or

vertically

horizontal stripes, skip to

horizontally striped knit

Step 9. For

fabrics,

knit fabrics

with

a lengthwise center crease,

skip to

Step

ribbed or

make

a stnng

rectangle the

17,

full

and

the fabric

-~

width of

several yards

long,
2.

For

all

sunsuit back pattern

other fabrics and

arrange string on a
surface to form three

patterns,

Make

0,

duplicate patterns

sides of a rectangle

(Appendix) for all pieces

designed to be cut in

representing the fabric.

duplicate or on the fold of

Make the width

the fabric,

flat

of the

rectangle equal to half the

width of the fabric and use

several yards of string as a
first

3.

Arrange pattern pieces as

efficiently

as possible within

the strings.

Arrange the pattern

11,

pieces within the strings as

approximation of length,

as possible,
keeping the grain-line
arrows parallel to the
efficiently

lengthwise stnngs,

Keep grain-lme

arrows parallel to the

lengthwise strings and set
pieces marked "place on
fold" along one of the

12,

If

you plan to use the

fabric for the scarf, lay out

the

full

pattern

pattern or cut the

in half

widthwise

and include both halves

lengthwise strings,

in

the arrangement,

To save

on most
layouts, make a widthwise
cut through the center of
the scarf pattern so it is half
4.

fabric

13,

If

you wish to bind the

jacket with self-fabric, allow

1

the length of the finished

'2

yard extra on the layout

the bias bir^ding,

for
'

scarf.

Then use one

pattern

half for the string layout.

4 Close off the open end

of

the string rectangle near^

lacket with self-fabric, allow

the pattern pieces or just

outside the jacket binding

1/2 yard extra on the layout

allowance, and measure the

5.

If

for

you wish to bind the

length of the rectangle to

the bias binding.

get the

Close off the open end of

the sfhng rectangle near the
pattern pieces or just

6.

beyond the jacket binding

allowance, and measure the
length of the rectangle to
get the
will

amount of fabric you

need,

will

amount

need.

of fabric

you
1

5,

Use the same

layout to

arrange the pattern pieces

for cutting and marking,

Repeat Steps 9-1 5 for

each similar knit fabric you
16,

plan to use.

17, For knit fabrics with a

permanent lengthwise
crease, repeat Steps 2-8

additional string

cutting

and marking,

down the

center of the rectangle to

represent the center crease.
If

Use the same layout to

arrange pattern pieces for
7.

if

you plan to use a folded

layout (page 35), but lay an

your pattern pieces are too

wide

for

a folded layout,

repeat Steps 9-16, laying a

string

down

the center of

the rectangle. Position the

8.

Repeat Steps 2-7

woven

for

each

or similar knit fabric

you plan to use.

pieces between the strings

or with the center stnng

on

an inconspicuous part

of the

Use the same

layout

pattern.
to

arrange the pattern on

the fabnc for cutting and

marking.

ed
draoed cu ottes
Pairing

two slithery,

torm-fitting knit-

ted fabrics one ribbed, the other

plain turns this casual culotte-an

top

outfit into

enough

for

a costume glamorous

evening wear, The easy-

pacl^ing ribbed top

is

ing a simple pattern

made

by draft-

from a series

of

The companion culottes

are adapted from a commercia
pants pattern, shortened and flared.
rectangles.

Both patterns are designed

for ven/

stretchy knits: a six-inch swatch of

fabric should stretch to

eight

and a

half inches.

more than

w/

THE RIBBED KNIT SWEATER TOP

MAKING PATTERNS FOR

5.

/ \ THE SWEATER TOP

On

a large sheet of paper

draw a rectangle the length

determined m Step and

Mark the center of the top

and bottom edges of the

6.

rectangle.

the width determined in

Step?

7.

To establish the inner

end

each shoulder seam line,

make marks 3 inches from
the center on each side of
the top edge of the
of

Determine the lengtti for

the sweater top by
measuring from your
shoulder at the base of the
neck to a point 2 inches
below the bust.

Determine the width for

the ribbed waistband by
measuring your waistline
around the narrowest part.
3.

Determine the width

the sweater top by
2.

measunng your
around the

rectangle.

Determine the depth of

the ribbed waistband by
measunng from a point 2
4.

for

To establish the outer end

of

inches tielow your bust to a

fullest part.

edge

of the rectangle.

waist.
9.

Draw the shoulder seam

lines by

connecting the

marks made
and 8.

10.

To establish the bottom

13. Establish

armhole seam lines,

make marks 8 inches tjelow

side

lines

edge of the

on each

rectangle.

To establish the twttom

ends of the side.seam lines,

make marks 1/2 inch in

3.

in

Steps

The bottom

of the

lines

side

and

rectangle Ijetween the front

and side seam

pattern

Draw the

the bottom

by connecting the

marks made

the rectangle.

2.

Draw the front seam

lines

from the bottom corners

along the bottom edge of

Steps

the outer ends of the

seam

in

ends of the front seam lines

by making marks 3/4
inches on each side of the
center point on the bottom
edge of the rectangle,

of the

shoulder

the top corner on each side

point 2 inches telow your

bustline

each shoulder seam,

inch telow

make marks

seam

seam

will

lines on each
be the waist

line.

by connecting the
in Steps 1

marks made
and
1 1

15.

Draw

on each

a gram-line arrow

side-front pattern

parallel to the side

and

edges,

latel the patterns.

1 6. Cut out the patterns

along the front, shoulder,
armhole, side and waist
seam-line markings.

8. To establish the center

back neckline, make
mark 1/2 inch below the
center marking on the top
edge of the rectangle.
1

of the

19, Draw the neck seam line

by forming a curbed line to
connect the mark made in
Step 18 with the inner eixis
of the shoulder seam lines.

Draw a gram-line arrow

lengthwise down the center

20.

of the pattern, parallel to the

fl^/lnt

side edges,

A^A"rf

and

lat^el

the

pattern.

21
17.

Make

a rectangular

paper pattern for the back

and draw shoulder armhole

and side seam lines (Steps

5-12). The bottom of the
rectangle between the side
seam lines will be the waist

seam

line.

Cut out the pattern along

the waist, side, armhole,

shoulder and back neck

seam

lines.

MAKING WAISTBAND,
ARMHOLE BAND AND
NECKBAND PATTERNS

22. For the ribbed

waistband, draw a rectangle

with the length found m

Step

3.

the width twice the

measurement made

in

Step

It^Qt^i^-a^wt

4 plus 1/2 inch.

23. For the

armhole bands,

draw two rectangles

inches long, 5

15

12 inches

wide.

24.

Forthe neckband, draw

'2 inches

a rectangle 7

"

wide, as long as the back

neck seam

line ('Step ^9)

plus twice the shoulder-bust

measurement (Step

Jj.

=^4

N AHACHINGTHE
\

NECKBAND

33. Stitch the front

and back

sections of the sweater top

together

at

the shoulders

with 1/4-inch seams,

following the instructions for

the stabilized

(page

seam for knits

79).

34. Stitch together the

seam

allowances of each shoulder

seam by running a line of

machine zigzag stitches

along the raw edge. Then
press the seam allowances
toward the back of the
garment.

^^

left

front

(wrong

side)
J

FINISHING THE

SWEATER TOP

50. Trim the side

seam

allowances 1/4 inch outside

the adjusted nes of basti ng
li

stitches,

and tn man
amount of fabric

equivalent
47.

Turn the sweater top

wrong side out and align

front and bacl< sections

ttie

from the front and back

edges of each armhole.

along the side edges,

51

48. Loosely baste the side

basting, following the

Machine stitch the

seams just inside the

seams 1/4 inch from the

raw edges of the fabric. Sew
from the armhole markings

side

instructions for the basic

seam for knits (page

Remove the basting,

stretch
78).

to the waistline edges.

52. Stitch together the

49. Try
it

IS

on the sweater top.

If

too big because of the

stretchiness of the fabric,

adjust the side

the garment

seams

fits

until

properly

and then rebaste.

53. Prepare and attach the

armhole bands, following

the instructions for the

continuous nbted opening

on a knit garment CpageZ;.
Steps6-U and 13-17).
Match the seam on each
armhole band with the
sweater top side
underarm,

seam

at the

seam

allowances of each side

seam by running a line of
machine zigzag stitching
along the raw edge. Press
the seam allowances toward
the back of the sweater top.

55. Extend the armhole

bands away from the
sweater top and press the
seam allowances toward the
garment.

56. Prepare and attach the

ribbed waistband, following

the instructions for the

continuous nbted opening

knit garment (page 71.

on a
54, Stitch together the

seam

Steps 3-11 and

13-1

7).

allowances of each armhole

by running a line of

57. Stitch together the

machine zigzag stitches

along the raw edge.

of

seam

allowances by running a

machine zigzag

line

stitches

along the raw edge. Then

extend the waistband away
from the sweater top and
press the

down.

seam allowances

THE KNIT CULOTTES

A"
1

To determine the length

measure

of the culottes,

from your waistline to the

point on your leg where you
wish the hemline to be.
Then add 1 1/2 inches for
the hem.

To mark the first line

along which the pattern
be slashed to create

4.

fullness,

draw

will

a line parallel

to the grain-line arrow from

the intersection of the

waistline marking

seam

side

cutting

5.

and the

new hem

to the

line.

To mark the second slash

draw a line parallel to

line,

the grain-line arrow from the

center of the waistline edge

to the new hem cutting line,
2.

On

the pants front pattern

measure down the

seam from the waistline
marking and make a mark
piece,

side

at the
in

distance determined

Step

6.

To mark the third slash

make a mark on

line, first

hem cutting

the

line

1/2

inch inside the inseam

Then draw a

line.

line parallel to

the grain-line arrow from

this

3. From the mark made in

Step 2, draw a new hem

cutting line parallel to the

bottom edge of the pattern

mark

cutting

7.

to the center-front

line.

Trim the pattern along the

new hem cutting

line.

piece.

Slash the front pattern

piece along the three lines

11. If the pattern marking tor

the inseam line is cuived,

marked in Steps 4-6, cutting

up to but not through the
waistline and center-front

the inseam and center-front

8.

seam-line edges.

Do

not

separate the segments of

the pattern.
9.

Place the slashed pattern

on a large sheet

line

seam

0.

them are equal

lines intersect to the

bottom of the original

inseam line. IVIark a new
inseam cutting line 5/8 inch
outside the new inseam line,

of paper.

At the hem, spread apart

the segments of the pattern
until the hemline measures
23 to 28 inches, depending
on the fullness desired.
Arrange the seg ments so
that the spaces between
1

it by drawing a
from the point where

straighten

in size.

tape the pattern to the

Then

2.

Draw a grain-line arrow

down the center

lengthwise

of the paper.

3.

Draw the cutting

line for

hem on the paper by

connecting the txjttom
the

edges of ttie pattern

segments with smoothly
curved

lines.

paper.
1

4.

Cut out the pattern piece

along the markings.

Repeat Steps 2-1 4 to

modify the pants back
15.

pattern piece for the

culottes,

rm

LAYING OUT, CUTTING

AND MARKING

16. On a flat surface,

arrange string to form three

following the instructions

sides of a rectangle

page 34.

9.

Prepare the

knit fabric,

representing the fabnc you

plan to use.

Make the width

20.

Lay out the pattern

of the rectangle equal to half

pieces on the fabric, then

the fabric width

cut

the fabric

if

IS 60 inches wide so that

can be used for a folded

layout, but

make the

rectangle the

width

if

it

full

the fabric

fabric
is

less

than 60 inches wide and

must be used as a single

layer.

Use several yards of

string as a

first

approximation of length.

7.

Arrange the back and

front pattern pieces inside

the strings as shown,

keeping the gram-line

arrows parallel to the
lengthwise stnngs.

8.

Close off the open end

stnng rectangle near

of the

Then
measure the length of the
rectangle to get the amount
you will need if you plan to
the pattern pieces.

use 60-inch-wide fabric;

double this figure to get the
amount you will need for
narrower widths.

and mark them.

on

ASSEMBLING THE
CULOTTES

21.

left-bach culottes section

center back

seam

riglit-back culottes sectio

complete the
inseam, sewing from the

23. Finally,

To assemble the

culottes, first stitch the

hem edge of one leg to the

hem edge of the other leg.

center-front seam and then

the center-back seam,
following the instructions for

the basic stretch

knits

(page

seam for

78).

Attach the front and

back sections along the side

22.

seam

24.

lines.

Turn the culottes

side out

and

try

right

them on,

25. Pull

waist

up the edge

until

tying a stnng

around your

smoothly.

waist to hold

them

new

up.

of the

the culottes

fit

Then mark the

waistline by inserting a

line of

string.

pins just below the

26.

To mark the

fold line for

the waistband casing, run a

line of

loose basting stitches

along the

line of

pins

inserted in Step 25,

the pins.

Remove

27.

Trim the waistline edg

1 1/4 inches above the

basted fold-line marking.

FINISHING THE CULOTTES

28,

Complete the waistband,

following the instructions for

the elasticized waistband

enclosed in a casing

(page

73).

29. Try

again.

the

on the culottes
Measure and mark

hem

30,

of

with pins.

Trim the raw

each

hem edge

leg of the culottes

1/2 inches below the

pinned hemline markings.

Turn the culottes wrong

and finish the hem
each leg by running a line
of machine zigzag stitches
along the raw edge.

hem of each

32.

Turn up the

side out

leg

along the

of

inserted in Step 30.

31

line of

pins

33.

Baste the

hem

of

each

leg close to the folded

Remove the

pins.

edge.

34,

hems with
hemming stitches
Remove the

Attach the

blind

(Appendix)

bastings and press.

Made
one

of

two

layers of nylon jersey

one plain this bikini

can be worn either side out. The bra
is just an oblong, shaped and anstriped,

chored by

string, while the bottom is

adapted from a purchased pattern.

The

djellaba cover-up, of crinkled

mummy cloth with lettuce hems and

roomy pockets, also does double
duty as a bathrobe.
caftan pattern,

and given

slit

is made from a
down the front

It

extra flare.

ADJUSTING THE PATTERN FOR THE DJELLABA

ADJUSTING THE
FRONT PATTERN

6.

Place the side section of

7.

Add

flare to

the djellaba

8.

Tape the side section

by swinging the side section

away from the front section.

edges of the two sections

The width

together at the shoulder.

the bottom can be no wider

shoulder.

than the full width of the

fabric you plan to use.

9.

of the pattern at

of

the cut pattern to the paper

the cut pattern teside the

front section, butting the cut

along the edges and tape

to the front section at the

it

your pattern has an

If

inseam pocket,

1^^

fold back the

pocket extension even with

Make

mark

of the shoulder

at

the center

seam

line

the side

on

seam

and tape

cutting line

down.

it

the front pattern.

10.

Draw a line parallel to the

center front from the mark
2.

down to the

If

the side

pattern

is

seam

cun/ed

of your

at the

waist, straighten this

txittom of the

segment

pattern.

seam

of the

drawing a

line

by

straight line

outside the curve from the

3.

Cut the pattern apart

along the drawn

armhole

line.

to

below the waist

dot,

Draw a new cutting line

5/8 inch outside and
parallel to the straightened
1

segment
line.

the
4.

On

IS at

a piece of paper that

least

of the side

seam

Transfer any notches to

new cutting

line.

2. Draw a new shoulder

seam cutting line by
1

as long as the

wide
as the fabnc you plan to use

connecting the outer ends

of theonginal marking with

draw a line 1/2 inch inside

and parallel to one long

a straight

pattern

and

atxDut as

edge.

3.

Draw

line.

a curved line to

connect the ends of the

5.

Tape the

front section of

cutting line across the

the cut pattern to the paper,

opening

aligning the center-front line

pattern.

with the line

Step

drawn

at

the tx)ttom of the

in

4.

14.

Trim

off

the excess

paper.

ADJUSTING THE

BACK PATTERN

15,

Divide the back pattern

into

17.

two sections by

repeating Steps

To turn the center-back

seam line,
repeat Steps 4 and 5, but in
this case draw the line 5/8
inch from the edge of the
1

Repeat Steps 6-1 4

adjust the side

1-3.

seam

and add

flare to

pattern.

Be sure

to

line

the back
to

spread

the two sections apart by

6.

the

fold line into a

same distance used

to

separate the front sections.

paper.

t..

18,

ADJUSTING THE

ADJUSTING THE

SLEEVE PATTERN

HOOD PATTERN

Draw

a line parallel to

24.

the grain-line arrow from the

If

your pattern calls

shoulder dot to the bottom

ofthe sleeve pattern,

lining to

produce a
hood by adding

lightweight

a 1/2-inch
19,

Cut the pattern apart

along the drawn

up
top

to but not

edge

line,

for a

lined hood, eliminate the

hem allowance

to the front fold line of the

hood

cutt

pattern.

To do

this,

use

a piece of paper slightly

longer than the pattern

through the

of the pattern,

piece and draw a

line on the
paper 1/2 inch inside and

Spread apart the cut

edges of the pattern 4 to 6
inches at the hem,
20,

parallel to

25.

a piece of paper
under the opening inthe
pattern and tape it in place

fold line with the

26.

Draw a curved line to

connect the ends of the

23.

cutting line across the

paper.

Tnm off the excess

bottom of the

pattern.

CUTTING AND MARKING THE DJELLABA

DETERMINING FABRIC
REQUIREMENTS

1,

To find how muchfabnc

you need, arrange string on

a flat surface to form three
sides of a rectangle

representing your fabnc.

Make the width equal

fabric width;

to the

use several

yards of string as an
approximation of length,
2,

Arrange the pattern

pieces within the rectangle.following the suggested

layouts overleaf.

3,

Close the open end of the

rectangle near the pattern

Measure the length

ofthe rectangle and multiply
pieces.

by two to provide for cutting

the pattern out of a double

thickness of fabnc.

Trim

paper.

22,

at the

to

the paper, aligning the front

21, Slide

opening

one edge.

Tape the hood pattern

off

drawn

the excess

line,

USING 45-INCH-WIDE
FABRIC WITHOUT A NAP

OR ONE-WAY DESIGN

4.

Fold the fabric in half

widthwise, with the selvages

together and the wrong

sides facing out.

5.

Arrange the djellaba front,

back, sleeve and hood

pieces on the double

thickness of fabric as

shown. Make sure that front

and back fold lines and
gram-line arrows are parallel
to the selvages,

6.

Pin the pattern pieces

place.

Then cut them

in

out.

Set aside a small scrap of

fabnc which includes part of
7.

a selvage for the button loop

and two large scraps for the
pockets.

8.

Trace the seam lines on

the wrong side of

9.

Transfer the notches and

dots onto the

txith

seam

allowances of the

fabric thicknesses with

fabric.

dressmaker's carbon and a

tracing wheel.

USING 4S-INCH-WIDE
FABRIC WITH A NAP OR
ONE-WAY DESIGN

0.

With the fabric wrong

mark the direction

nap or design with
arrows near both ends of

Turn the fabric wrong

down and

side up,

side

of the

widthwise.

the fabric.

cut

it

in half

one half of the

wrong side up and
on top of the other

12, Flop

13.

fabric

cut and mark the fabric

place

it

half so that the

align
in

selvages

and the arrows

the

point

same direction.

Repeat Steps 5-9

pieces.

to pin.

MAKING THE DJELLABA

ASSEMBUNG THE
DJELLABA

Using a flat

seam

felled

5.

(Appendix), stitch the

Repeat Steps 2-4

to

hem

the other front edge.

djellaba back sections

together at the center back.

6.

Then

the djellaba from stretching

the djellaba front

stitch

sections to the back sections

at

the shoulder and side

seam

lines.

To prevent the neckline

of

when you

attach the hood,

reset your

machine to a
and stay stitch

straight stitch

(Glossary) just outside the

2.

With the diellaba wrong

hem one front

neck seam

line.

side out.

edge by first turning up

the'

V.

fabnc 1/4 inch along the

edge. Press.
3. Turn up another 1/4 inch
raw fabric
edge and press again.

Turn the djellaba hght

and machine stitch

side out

along the folded double

hem, using contrasting

thread and a wide zigzag
setting.

The

tips of the

zigzag stitches should touch

the front

edge of the

djellaba.

the hood sections

together along the center8. Stitch

back seam line with a flat

felled seam. Make sure to
turn the seam allowances in
the direction of those on the

seam

center-back

of the

djellaba.

9.

Repeat Steps 2-4

the front

10.

edge

to

hem

of the hood.

Pin the pleats closed on

1 1

Stitch the

hood

djellaba. following

to the

you

pattern instructions.

2.

To

with a

finish the neckline

flat

seam,

felled

first

tnm the garment seam

allowance to 1/8 inch and
the hood seam allowance to
3/8 inch. Then turn the

hood seam allowance under

in the usual manner and
baste the

seam

to hold

it

flat

the back of the hood,

around the curved neckline.

following your pattern

Finally,

instructions.

Then machine

machine

remove the

stitch

and

basting,

baste across the pleats just

outside the

seam

remove the

pins.

line

and

edge up to,

but not through, the

staystitching.

to conceal the

4.

Clip the neck

13. Insert

the sleeves,

frillowing

your pattern

Then make a
seam around the
tnmming the
garment seam allowance to
instructions.

flat

felled

armhole.

1/8 inch and the sleeve

seam allowance to 3/8 inch.

Baste the sleeve seams
before stitchina.

MAKING THE PATTERN FOR THE REVERSIBLE

BIKINI

TAKING YOUR

MEASUREMENTS

To prepare the

special

pattern for the bikini top,

measure down across the

tip of

your bust from the

desired position of the upper

edge
just

of the bikini top to

below the bottom

of

your bust.

2,

Measure your

around the

bustline

fullest part.

^ MAKING THE BIKINI

-^^TOP PATTERN

7.

Draw a

line inside

the

rectangle 10 inches from the

marked side and

to

It.

parallel

8.

On the

line

drawn

in

Step

7 make a mark 1 inch below

the top of the rectangle and

another

inch above the

bottom of the rectangle.

3.

Add

2 inches to the

measurement determined
Step
4.

9.

point

Divide

in half

On

paper,

between the

line

drawn in Step 7 and the

unmarked side of the

the

measurement determined in
Step2,thenadd 10 inches.
5.

Mark on both the top and

bottom lines the midway

rectangle.

draw a

rectangle the length and

width found

and
6.

in

Steps 3

4.

Mark the center

of

one

short side of the rectangle.

10. Using a cun/ed ruler,

connect the top mark made
in Step 9 with the mark
made in Steps.

11.

To finish the curved

upper seam

line of the bikini

top, align the long gradual

curve on the ruler with the

mark made in Step 6 and
the curved line drawn in

Step 10. Then draw a

cun/ed line that tapers
smoothly into the first
curved line.

2.

Turn the curved

ruler

over and repeat Steps 1C

and 1 1 to draw the lower

seam

line.

^13. Label the right-hand side

'of the rectangle "fold line."

14.

Cut out the

pattern.

CUTTING AND MARKING THE BIKINI

DETERMINING FABRIC
REQUIREMENTS

1
To determine how many
yards of fabnc you will need,
arrange string on a flat
surface to form three sides
of a rectangle representing
.

one

lengthwise string

fabncs you plan

to use. Make the width of
the rectangle equal to one
half the width of the fabric
and use several yards of
of the

as a first
approximation of length.
string

bikini

Using the commercial

pattern for the bottom and
the pattern made in Steps
1 4 for the top, arrange the

lop pattern

2.

Close

off

the open end of

bikini txittom front pattern

3.

and the

the stnng rectangle near to

bikini

top pattern

inside the rectangle with the

the pattern pieces, then

center-front fold lines

measure the length

of the

against one lengthwise

rectangle to get the

amount

stnng.

of fabric

you

will

need.

4.

If

both your

bikini fabrics

same width, you will

need the numtierof yards
determined in Step 3 for
each of them. If your bikini
are the

fabrics are not the

same

width, repeat Steps

-3 for

the second fabric.

CUTTING AND MARKING

Fold over the other

selvage edge and pin the

7.

bikini txittom front pattern to

Place the

5.

first bikini

the fabnc, aligning the

fabnc

wrong side down on a flat

surface and fold over one
selvage edge enough to
accommodate the bikini

center-front fold line with

the fold

8.

With dressmaker's carbon

and a tracing wheel, transfer
all pattern markings to the
wrong side of t)0th fabric

9.

Pin the pattern to the

double fabnc thickness,

aligning the center-back fold

with the fold

line

in

the fabric.

pieces.

txDttom back pattern.

6.

in

Cut out the pattern

the

thicknesses.

fabric so the pattern piece

can be cut on the crosswise

10.

gram.

Remove the

pattern

pieces.

Fold the remaining fabric

selvage edges together and

the wrong sides facing out.
12. Pin

to the

the

bikini

top pattern

Remove the pattern.

will be made from
If

the ties
.

this fabric, set aside a large

scrap cut out on either the

crosswise or lengthwise
fabric grain,

double fabric

thickness, aligning the fold

line

14.

widthwise with the

in half

with the fold

in

the

15. Repeat Steps 5-1 4 to cut

and mark the second fabric.

fabric.

Cut out the fabric piece

1/4 inch outside the edges
13.

of the pattern.

ASSEMBLING THE

BIKINI

A STITCHING THE
/ \ BIKINI BOnOM

stitch together at the side

seams the front and back

4.

With the wrong sides

facing out, pin the two

sections of the bikini bottom

layers of the bikini bottom

that you cut out of the

together around the top

first

seam

fabric.

2.

Trim the seam allowances

to 3/8 inch

and press them

open.
3.

line.

Machine

5.

stitch

along the

top seam line and remove

the pins.

Stitch together the bikini

bottom that you cut out of

the second fabric by
repeating Steps

6.

Turn the

edge

bikini

and

2,

bottom

out and press the

right side

top

Machine

below
the top edge, starting and
finishing about 1/2 inch
from one side seam to leave
a 1 -inch opening through
which elastic can be
7.

Run

8.

stitch just

a continuous row of

stitching 3/8 inch

first

flat.

row

below the

of stitching to

make

a casing for the elastic

around the upper edge of
the bikini bottom.

threaded.

10.
9.

To

seams,

first

back one

fold

Machine stitch on the

line and remove the

seam

stitch the crotch

pins.

layer of the bikini bottom.

Then pin one bikini front

and back together along the
crotch seam line.

12.

To

stitch the

Tnm the seam

allowances to 3/8 inch and

press them open.

remaining

crotch seam, turn the bikini

right side out

and

pull

out

the unstitched front and

13.

Turn the unstitched

crotch sections

wrong side
them over

through the same leg

opening.

Pin the unstitched front

seam line.
Then machine stitch and
remove the pins.
along the crotch

back sections.

out by flopping

14.

and back sections together

15. Trim the seam

allowances to 3/8 inch and
press them open.

FINISHING THE
BIKINI

16,

With the

BOnOM

bikini

bottom

stitch (G/ossaryj

around

all

second back

8,

seam

the stay stitching.

four leg openings.

the

17, Clip

allowances on the front of

each leg up to, but not into,

turned right side out, stay

\d\^

To make a casing for the

around one leg, first
under the raw edge of

21.

turn

the top layer along the

Machine

stitch just

above the folded edges

around both legs, starting
and finishing 1/2 inch from
one side seam to leave a 1
inch opening through which
elastic can be threaded.

elastic

seam

line and turn up the raw

edge of the txittom layer

evenly so that both raw

edges are concealed. Pin

Run

the two folded edges

22.

together.

topstitching 3/8 inch above

19,

a continuous row of

row of stitching.

the

first

26.

Overlap the ends of the

Continue foiding and

pinning around the

leg.

Repeat Steps 18 and 19

on the other leg.
20.

Cut a length of 1/4-inchwide elastic just long

25. Try

enough

elastic until the

23.

to

wrap

around your

loosely

hips.

on the bikini tx)ttom

and adjust the length of the
upper edge
IS

snug. Then cut

unpinned
Attach a safety pin to
one end of the elastic and
24.

insert the pin into the

casing

around the upper edge

the bikini bottom.

elastic

off

elastic

end

sew them

inch
27.

Remove the

Repeat Steps 23-26

to

elasticize both legs of the

safety pin.

bikini, starting

with lengths

of elastic that are slightly

of

Work the

longer than the leg

pin through the casing until

it

inch and

zigzag stitches.

the

longer than the desired

finished length.

together with several rows of

openings.

emerges from the other

end.

28.

Machine

stitch

the openings

*y'-'

in

across

the casings.

MAKING THE TOP

OF THE BIKINI

bing

29.

Cut a

strip

{wrong

-inch-wide tubing

strip at least

side)

31

60 incties long

To make the

the

bikini top,

stri

cut

ngs for
a 40-

off

from the reserved scrap of

inch length, then cut the

fabnc.

tu be n half to
i

make two

stnngs.

stnp into a

30. Stitch the

continuous tube by
repeating Steps 18-23, page
136,forthedjellaba.

Place one

32.

section

bikini

top

on the

33. Try

wrong side down;

ends of

bikini top,

adjusting the stnngs to the

pin the unfinished

desired length. Cut off any

the strings to the center of

excess

string,

one long edge.

34.

Turn

in

the raw edges at

the end of each string and

the ends.

slip stitch

35.

Run a

line of

machine

basting across the ties

/8

inch inside the raw edge.

Remove the

36.

With the wrong sides

two

37,

Machine

pins.

stitch 1/4 inch

around

facing out, pin the

from the edges

layers of the bikini top

the bikini top, leaving a 3-

together.

inch opening about 10

all

nches from one pointed

end.

'I

38,
out,

Remove the

pins.

top (wrong side]

39, Topstitch just inside the

Turn the bikini right side

pushing out the corners

edges

with the tip of a pair of

around the

all

bikini

top.

scissors. Press.

41.

Turn

in

the raw edges at

both ends of each

slip stitch

40.

Using the remaining

length of the tubing, cut two

bikini

bottom

ties.

tie

and

the ends.

42. Tie the ties at the side

seams of the
as shown.

'-a ''r

7'.'

bikini Ixjttom

the province of tweedy ma-

Once

trons,

bronzed skiers and gnarled

fishermen, hand-i^nitted and cro-

cheted garments have become a

favored part of the wardrobe of

experienced travelers.
world," says designer
ery,

"We

who employs a group

try artisans to

a casual

live in

Constance Montgomof cottage indus-

turn out the

hand

knits

and

crochets she produces exclusively for the

collections of

Bill

Blass.

"Sweaters and

other knitwear can take a beating.

knitted

wardrobe can be mashed

hand-

into a suit-

case and come out springing."

The secret

of this springiness

is

partly in

the method of construction, partly

way the garments

are shaped.

and crocheting the yarn comes

dles or hook

in

in

the

In

knitting

off

the nee-

continuous loops that slide

and give against each other more readily

goods,
in most machine-knit yard

than

There are no crisscrossing intersections, as

in

woven

the yarn into a

cloth, to lock

structure;

whatever stress

the fabric

is

network of

rigid

placed upon

is

distributed evenly through the

But the main reason hand

and

knits

cro-

chets remain crease-free through hours of

is

built in. First,

as the fabric

is

is

the fact that their shape

they are given their contours

formed, right under the nee-

shape is fixed by blocking.

Whether dampened, patted and stretched
dle or hook. That

dimensions, or pinned into

into the desired

shape and

set with a

gives the yarn a

each loop

ment

is

turn

to

steam

blocking

iron,

Whenever the

Hand

its

shape as

and crochets

knits

and a choice

46

and

ing

from

knit to purl. Also,

is

minimizes the problem of keeping yarn ten-

loops that catch and pull on any rough sur-

orking with yarn held under

\chet, the six-piece outfit

made

/earthy hues. Three of

its

the stitches are too

is

to

loosening of the fingers. Mindful of these

cro-

on the
a

fol-

trio of

parts

designer Constance

knitwear

Montgomery regularly sends a pattern of

the finished garment to the women who knit
and crochet for her, so they can measure
their

work against

it.

hand-knit sweater set by Mrs. Mont-

seasons. The average

cot,

the French word for

lack resiliency

will

since fatigue can lead to a tightening or

tricot

crochet, the stitch has a hybrid nature.

It

gomery

IS

expensive;

women who

things undoubtedly think of

cheter could

to

buy her

them as

long-

be worn through many

home

knitter or cro-

probably duplicate

all

five

name triand is made

following

pages for less than a

third the cost

knitting needle.

of similar

garments bought

a store.

(hence
knit),

on a hook that resembles a

the

they

One

skirt

bit like knitting

if

check and recheck the

times known as Tunisian crochet or

looks a

to

shape. The best way to assure

term investments,

tight,

be, too;

will

and a voluminous
scarf are knitted; three others a wraparound coat, a hat and a matching purse
are worked in afghan crochet. Sometunic,

essential

weights

and

its

lose

is

of hand-crafted clothes,

are loose, the garment

problems,

in

fit

number of stitches in an inch as the project

proceeds especially after working awhile,

possible.

knitting

is

if

even tension

as well as wool and acrylic blends.

lowing pages

even tension
the

made,

of all-wool or all-acn/lic yarns,

ombining both

important

face the garment brushes against.

individually

is

is

garments; unevennesscan create

for travel

and

colors, four yarn

shift-

a circular needle

sion even. Unvarying tension

garment

advantag-

is

two needles;

the stitch remains constant instead of

dries.

offer

but elim-

all

A circular needle

faster to use than

fabric,

sential to travel separates

offers

easier

on conven-

but the tunic and

circular ones,

of the reversible design.

Since the

practicality.

not just the garment,

it

knitted

is

need for seams, and making use

re-

the coordination of color and texture so es-

maker

made on

and the

position

original

es of style and

are

gar-

cleaned or laundered, the loops

their

skirt

permanent crimp, locking

into position.

garment regains

fringed scarf

inating the

stitches.

wear or packing

The

tional straight needles,

its

it

parts of the multipurpose

wardrobe on the
in

M^'^F^-

Pierced by the two kinds of needles

on which they were knitted, the pattern swatches at left are designed
to
lar

be used either side out. The tubupatterns made on the circular

needle have been knitted to show

both sides at once

in

the photo-

graph, while the straight-needle

flat

swatches have simply been twisted

to

show their

The

pattern reverse,

reversible knits,

left

to right, are a

two-color horizontal design, a vertical stripe,

a tricolor stockinette, a two-color post,--ind-rail

tweed and a two-color

lattice

tweed.

nstructons'

Repeat this procedure

round throughout.
Round 2: Repeat round 1

Round 3:
and knit

Join color

at the

yarn

(light

end

blue

of

in

each successive

the photograph),

in front of the work as if to

as if to purl. Return the yarn to the
backof the work, then repeat this sequence knit 1 stitch,

Bring the yarn

stitch.

purl,

then

yam

in front, slip

slip

stitch

stitch

around.

Round 4: Repeat round 3, continuing to use color B.

Rounds: Pick up the color A yarn. Knit each stitch around.
Round 6: Repeat round 5, continuing to use color A.
Round?: Pick up the color B yarn again and bring the yarn
in front of the work as
to purl. Slip 1 stitch as
to purl,
then knit stitch. Repeat this sequence yarn in front, slip
if

if

stitch

as

if

to purl, knit

Round 8: Repeat round

stitch around.

7,

off.

THE VERTICAL STRIPE PATTERN

tern.

Roundl: Knit 2 stitches, then

around

of knitting 2
until

purl 2 stitches.

stitches,

the round by knitting the

last stitch

with color C.

Round 8: Repeat round 7, continuing

and color B in the appropriate order.

to

work with color

Repeat the preceding 8 rounds as many times as desired.

Then bind

off.

THE POST^ND-RAIL TWEED PATTERN

Using a pair of straight knitting needles and color A yarn
brown in the photograph on pages 146-147), cast on
any uneven number of stitches.
Rowl: Knit each stitch across the row, using only color A.
Row 2: Purl each stitch across the row, using only color A,
Row 3: Attach color B yarn (maroon in the photograph) and
knit
stitch. Then slip 1 stitch as if to purl. Knit 1 stitch. Repeat the following sequence slip 1 stitch as ifto purl, then
knit 1 stitch across the row, ending the row by knitting
1

Using a circuiar needle, follow the instructions for casting

on and joining the stitches into a round for the two-color
horizontal design pattern (left), again making sure the
stitches are not twisted on the needle. Place a marker on
the right-hand end of the needle as directed for that pat-

quence

(light

continuing to use color B,

Repeat the preceding 8 rounds as many times as desired.

Then bind

Round 5:Pick up the color A yarn. Knit each stitch around.

Round 6:Repeat round 5, using color A,
Round 7: Pick up the color C yarn and knit 2 stitches. Pick
up the color B yarn and knit stitch. Then pick up color C
again and knit 3 stitches. Repeat this sequence knit
stitch with color B. then knit 3 stitches with color C. End

Repeat this

se-

then purling 2 stitches

you reach the marker indicating the end of

marker from the left to the right-hand

the last stitch,

Row4: Still using color B, knit stitch. Bring the yarn in front
of the work as if to purl, and slip 1 stitch as if to purl. Knit
the next stitch. Repeat this sequence yarn in front, slip 1
1

stitch, knit

stitch

across the row.

Knit the last stitch.

Repeat the preceding 4 rows as many times as desired.

Then bind

off.

this round. Slide the

point as instructed for the two-color horizontal design pat-

THE TWO-COLOR LATTICE TWEED PATTERN

tern

(left), and do this at the end of each round.

Purl each stitch around.
Repeat the preceding 2 rounds as many times as desired.

Using a pair

Round 2:

(light

Then bind

off,

THE TRICOLOR STOCKINETTE PATTERN

"i (maroon in tfie
Using a circular ne'
photograph on pagei. ;u ;.,, :.i.. ;tie instructions for
casting on and loining the stitches into a round for the twocolor horizontal design pattern ('/e/Kj, placing a yarn marker
on the right-hand end of the needle asdirected for that pat

of straight knitting needles and color A yarn

blue in the photograph on pages 146-147), cast on
uneven number of stitches.
Row 1: Purl each stitch across the row, using only color A,
Row 2: Knit each stitch across the row, using only color A,
Row3: Attach color B yarn (light brown in the photograph).
Purl
stitch. Then slip
stitch as if to purl. Repeat the fol-

.nny

lowing

sequence

purl

stitch, slip

stitch

as ifto purl

-acrossthe row, ending the row by purling the

Row 4:

using color B,

Still

Repeat

knit.

knit

sequence

this

stitch. Slip

knit

stitch,

last stitch.

stitch
slip

as

if

to

stitch

tern.

- across the

Round 1: Knit each stitch around until you reach the marker
indicating the end of this round. Slide the marker from the
left to the right-hand end of the needle as instructed for the
two-color horizontal design pattern, and do this at the end

Row 5: Pick up color A. Purl each stitch across the row.

Row 6: Still Lising color A, knit each stitch across the row.
Row 7: Slip the first stitch as to purl. Pick up color B, then
stitch,
purl stitch. Repeat the following sequence slip

each round.
Round 2: Repeat round
Round 3: Join color C yarn (light brown in the photograph)
and knit stitch. Attach color B yarn (pink in the photograph) and knit 1 stitch. Repeat this sequence knit 1

purll stitch across the row.

of

stitch with

colore,

knit

stitch with color

Round 4: Repeat round 3, continuing

and color B in the appropriate order.

to

B around.

work with color

row. Knit the last stitch.

if

as

Row 8: To begin this row, slip the

using color B,
stitch

as

knit

ifto knit,

last stitch

stitch.

then

knit

first

Repeat
1

stitch

this

as

if

to knit.

Still

sequence slip

stitch across the row, end-

row by slipping the last stitch as ifto knit.

Repeat the preceding 8 rows as many times as desired.
ing the

End by slipping the

ifto purl.

Then bind

off.

Twisted to show

how

they look on

both sides, the swatches displayed

on these pages are worked

in vari-

ants of afghan crochet stitches that

are designed to be used for making

reversible garments.

Afghan

stitch

crochet requires the use of a special

elongated crochet hook and

worked

in

two

parts;

first,

is

the stitch-

es are picked up on the hook,

in

the

fashion of knitting; then they are

worked
in

off,

to

complete the row, as

conventional crochet.

The afghan

patterns,

left

to right, are

a twisted

a two-color basic afghan stitch,

a two-color vertical bar stitch, a solid-color
afghan stitch, and a two-color stockinette stitch.

afghan

stitch,

r/>

*-y

&
/

\/m

Jitiik^$
i^\

//

nstruciions ror

making the afghan

stitch patterns

bars that can then be worked off in different

ways on subsequent rows to provide various
design effects. Because the two parts of every row are worked back and forth on the
hook, the work is never turned at the end of
each row as in conventional crochet, except

when shaping garments.

These patterns are worked

To make the afghan

stitch patterns pictured

on the preceding pages, you will need knitin two colors and
a Size K aluminum afghan hook.
As in regular crochet, afghan stitch cro-

ting worsted-weight yarn

chet starts with a foundation chain. The

worked

stitches are

in

yarn

same

basically the

manner as crochet stitches that

is,

the

brought over the hook, then drawn

is

through loops. Each row of afghan crochet,

however,
part,

is

worked

working from

in

two

parts.

right to

On the first

left, all

the stitch-

es are picked up and held on the hook.

the second part, working from

each

stitch

is

worked

off

left

In

to right,

the hook to com-

plete the row.

Whatever the pattern you have chosen,

row 1 is always worked in the same manner
to establish a uniform foundation of vertical

THE SOLID-COLOR AFGHAN STITCH PATTERN

stitch. Insert

the hook

in

row, start by

making

hook; bring the yarn over the hook.

the hook

in

make a sample swatch

least 4

that

measures

inches square. Lay the swatch

and count the number

at

flat

of stitches to the

measureto ensure accuracy. If the gauge requires more stitches to the inch than you
have made n the swatch, change to a smaller hook; if the gauge calls for fewer stitches
to the inch, use a larger hook. This change
inch, using a ruler ratherthan a tape

of

hook size

inch gauge.

will

also alter the row-to-the-

Basic crochet stitches and

techniques such as the chain stitch, attaching yarn and fastening off that you
will need for making these patterns are explained in the Appendix. The illustrations
that accompany the instructions on these
pages show how to use the afghan hook to
create the swatch patterns,

chain

the second chain stitch from the

Draw the

yarn through

the stitch to form a second loop on the hook {drawing

sert

a gauge of

the second part of this row. start by bnnging the yarn over

Begin the pattern by making atoundationchainof any desired number of stitches.

Row 1: For the first part of this

in

4 stitches to the inch. To check the gauge,

the next

stitch, bring

1).

n-

the yarn over and

draw it through the stitch, forming three loops on the hook.

Repeat this sequence insert the hook, yarn over and
draw through in each remaining chain stitch across the
row, holding all stitcheson the hook. At the end of this part
of row 1 you will have the same number of stitches on the
hook as on the original foundation chain (drawing 2). For

the hook and drawing it through the first loop on the hook
(drawing 3. arrow). Then bring the yarn over the
hook again and draw it through the next two loops on
the hook (drawing 3). Repeat this sequence bring the
yarn over the hook, then draw it through the next two loops

on the hook until only one loop remains on the hook.

Row 2:

first partof this row. start by making 1 chain

first vertical bar. Then insert the hook from
under the top strand of the next vertical bar
(drawing 4. arrow), bring the yarn over the hook and draw
it through. There will now be two loops on the hook. Repeat this sequence insert the hook underneath, yarn over

For the

stitch. Sl^ip

the

right to left

THE TWO-COLOR AFGHAN STITCH PATTERN

Using color Ayarn (beige inthe photograph on pages 150151), make a foundation chain of any desired number of
stitches.

Row!

Forthefirst partof this row, repeat the instructions

for the first part of

row

of the solid-color afghan stitch pat-

tern (oppos/te pagej.

For the second part of row

repeat the nstructions for the

i

second part of row 1 of the solid-color afghan stitch pattern up to the point where two loops remain on the hook.
Attach color B yarn (royal blue in the photograph) and
draw the yarn through the remaining two loops on the

and draw through in the top strand of each vertical bar

across the row until you reach the last vertical bar at the
left-hand end of the work, holding all the stitches on the
hook. End this part of row 2 by inserting the hook under
both strands of the

last vertical

bar (drawing

Then place the yarn over the hook and draw

5.
it

hook.

Row 2: Forthe first part of this row,

color

A vertical bar (drawing

from

right to

7,

by skipping the

start

arrow).

Then

insert the

first

hook

arrow).

through.

left

under the top strand

of the next vertical

as illustrated in drawing 4, at left. Using color B yarn,

bring the yarn overthe hook and draw it through, forming
bar,

nowhavethesame number of stitches on the hook

you had on the original foundation chain.
For the second part of row 2, repeat the instructions for
the second part of row 1 (left) until one loop remains on

You

will

that

the hook.

To form the pattern, continue to repeat the first and then

the second parts of row 2 as many times as desired.
If you wish to bind off the last row to create a finished edge,
make sure you have completed the second part of row 2,
Cham 1. and skip the first vertical bar. Insert the hook
through the top strand of the next vertical bar. Bring the
yarn over the hook and draw it through to form two loops
on the h(xk(drawing 6). Make a slip stitch through the two
loops on the hook by bringing the yarn over the hook again.

then drawing it through both loops, leaving one loop on

the hook. Continue to work in this manner inserting the

hook under the top strand of each

vertical bar. bringing

it through, bringing the yarn over

through the two loops on the hook
until all vertical bars have been worked and one loop remains on the hook. Fasten off. Carefully weave in any loose
threads so that they are not visible.

the yarn over, drawing

again and drawing

it

two loops on the hook (drawing 7). Repeat this sequence

insert the hook underneath, yarn over and draw
through in the top strand of each successive vertical bar
across the row, holding all stitches on the hook, until you
reach the last vertical bar at the left-hand end of the work.
End this part of row 2 by inserting the hook under both
it

strands of the

last

color

A vertical

bar (drawing

8.

arrow).

then bring the yarn over the hook and draw it through. You
will now have the same numtier of color 8 stitches on the
hook as on the original foundation chain.
Forthe second partof row 2, repeat the instructions for the
second part of row 2 of the solid-color afghan stitch pattern (left) until two loops remain on the hook. Pick up the
color A yarn again, then bring the yarn over the hook and
draw it through the two remaining loops.
To form the pattern, continue to repeat the first and then
the second parts of row 2 as many times as desired, making sure to alternate color A and color B yarn each time

you tsegin the first part of the row.

If you wish to bind off the last row of your work to create a
finished edge, make sure you have completed the second
part of row 2 to the point where two loops remain on the
hook. Continuing to use the same color yarn you are working with at this point, bring the yarn over the hook and draw
then bind off
it through both loops on the hook. Chain 1
,

the

edge with

binding

off

slip stitches following

the instructions for

the solid-color afghan stitch pattern

(left),

be-

ginning with skipping the first vertical bar and making the
slip stitches through the top strands of each vertical bar
across the row as you
Carefully

be

weave

did for the pattern. Fasten

off.

any loose threads so that they

in

not

will

visible.

(drawing 1 1. arrow), then bring the yarn over the hook and
draw it through the stitch. You will now have the same
number of color A stitches on the hook that you had on the
original foundation chain.
Forthe second partof row3, repeat the instructions for the

THE TWO-COLOR VERTICAL BAR PAHERN

Using color

A yarn

of

any desired number of

Row 1:

For the

first

photograph on pages
making a foundation chain

(royal blue in the

150-151), begin the pattern by

stitches.

part of this row, repeat the instructions

forthe first part of rowl of the solid-color afghan stitch pat-

(page 152).
Forthesecondpartof row 1, repeat the instructions for the
second part of row 1 of the solid-color afghan stitch pattern until two loops remain on the hook. Attach color B yarn
(olive green in the photograph), and draw the yarn through
the remaining two loops on the hook.
tern

Row 2: Forthe first part of this row, start

A vertical

Then

by skipping the

hook

first

the space beUsing color B,

bring the yarn over the hook and draw it through the space,
forming two loops on the hook.
color

bar.

insert the

fore the next vertical bar (drawing

9.

in

arrow).

second

row 2 of the solid-color afghan stitch pattwo loops remain on the hook. Pickup
the color B yarn again, then bring the yarn over the hook
and draw through the two remaining loops.
To form the pattern, continue to repeat the first and then
the second parts of row 2, followed by the first and then the
second parts of row 3 as many times as desired. Make sure
to start the first part of each even-numbered row by picking up the color B yarn, and to start the first part of each
odd-numfcjered row by picking up the color A yarn.
If you wish to bind off the last row of your work to create a
finished edge, make sure you have completed the second
part of row 3 to the point where two loops remain on the
hook. Continuing to use the same color yarn you are working with at this point, bring the yarn overthe hook and draw
then bind off
it through both loops on the hook. Chain
part of

tern (page /55^ until

it

the

edge with

binding

Repeat

this

seguence insert

the hook

fore the next vertical bar, yarn over

space
all

in

the space be-

and draw

it

through the

before each vertical bar across the row, holding

the stitches on the hook. At the end of this part of the

row, you

will

have the same number

of color

stitches

on

off

slip stitches following

the instructions for

the solid-color afghan stitch pattern (page

153). beginning with skipping the first vertical bar and this
time making the slip stitches through the spaces between
each successive vertical bar across the row as you did for
the pattern, Fasten off. Carefully weave in any loose

threads so that they are not

visible.

the hook that you had on the original foundation chain.

Forthesecondpartof row 2, repeat the instructions for the

second part of row 2 of the solid-color afghan stitch pattern(page 153) until two loops remain on the hook. Pick up
the color A yarn again, then bring the yarn over the hook
and draw through the two remaining loops (drawing 10).

THE TWISTED AFGHAN STITCH PATTERN

Row* Forthefirstpartof this row,

tern (page 152).

it

and second color B

begin by skipping the first

vertical bars.

Then

insert the crochet

Begin the pattern by making a foundation chain

multiple of 2 chain stitches plus

Row 1:

For the

forthe

first

first

part of

chain

of

any

stitch.

part of this row, repeat the instructions

rowl ofthe

solid-color

afghan

stitch pat-

Forthe second part of this row, repeat the instructions for

1
of the solid-color afghan stitch

the second part of row

10

pattern.

RowZForthefirstpartofthisrow, start by making 1 chain

stitch. Then skip the first and second vertical bars (drawing 12, double arrow). Next insert the hook from right to left
underthetop strand of the next vertical bar, bnng the yarn
over the hook and draw through, creating two loops on
the hook (cyraw/zng 12). Now return to the second vertical
bar you skipped (drawing 12, bottom arrow) and insert the
it

hook in the space tDetween the next two color B vertical

bars(drawing 10, arrow). Using the color A yarn, bring the
yarn over the hook and draw through the space. Repeat
this sequence inserting the hook in the space between
the next two vertical bars, bringing the yarn over the hook
and drawing through in each space across the row,
holding all the stitches on the hook. At the end of this part
of row 3, insert the hook in the last color B stitch of the row
it

it

12

right to left under the top strand of this vertical

Bring the yarn over the hook and draw it through. Skip

hook from

of the vertical

bar.

off.

the next unworked vertical

bar

be the fourth verhook from right to left

under the top strand of the next vertical bar after the one
you skipped, Bnng the yarn over the hook and draw it
through, creating four loops on the hook. Return to the last
vertical bar you )ust skipped, insert the hook under the top
strand of this vertical bar, then bring the yarn over the hook
and draw it through. Continue to work in this manner
skipping the next unworked vertical bar. working the top
strand of the next vertical bar after the one you skipped in
the established way. returning to work the skipped vertical
bar until all top strands of each vertical bar of the row
have been worked. Hold all stitches on the hook. The last
stitch of the row will be in the next-to-last vertical bar from
the left-hand end of the work(drawing 13. arrow). You will
now have the same number of stitches on the hook that
you had on the original foundation chain.
tical

bar of the

row and

it

will

Carefully

bars of the row have been worked. Fasten

weave

in

any loose threads so that they are

not visible.

insert the

THE STOCKINETTE STITCH PATTERN

Using color

A yarn

(emerald green

the photograph on

in

pages 150-151), begin the pattern by making a foundation

chain of any desired number of stitches.
Row 1: Forthe first part of this row, repeat the instructions
forthe first part of row 1 of the solid-color afghan stitch pattern

(page

152).

For the second part of this row, repeat the instructions for

the second part of row

1 of the solid-color afghan stitch pattwo loops remaining on the hook.

tern until there are

Now

attach color

and draw

it

yarn (lime green

in

the photograph),

through the remaining two loops on the hook

(drawing 15)

Row 2: Forthe firstpartof this row,

begin by skipping the first

13

Forthe second part of row 2. repeat the instructions for the

second part of row 2 of the solid-color afghan stitch pattern

fpage

153).

To form the pattern, repeat the first and then the second
parts of row 2 as many times as desired.
If you would like to bind off the last row of your work to cre-

make sure you have completed the

second part of row 2. Cham l.then bindoff theedgeof the
work with slip stitches following the instructions for binding off the solid-color afghan stitch pattern (page 153). but
this time beginning with skipping the first two vertical bars
and making the first slip stitch through the top strand of
the next vertical bar, then returning to the second vertical
bar and making a slip stitch through the top strand of this
bar (drawing 14). Continue to skip the next unworked vertical bar, then work a slip stitch through the next vertical
bar(drawing 14, arrow), then return to the skipped vertical
bar, working a slip stitch through it, until all the top strands
ate a finished edge,

14

vertical bar, then insert the hook between the strands of

the next vertical bar (drawing 15. arrow) Using color B,
bring the yarn over the hook and draw it through, forming

two loops on the hook. Repeat this sequence insert the

hook between the strands of the next vertical bar, bring the
yarn over the hook and draw it through the strands in
each vertical bar across the row, holding all the stitches on
the hook. You will now have the same number of color B
stitches on the hook that you had on the original foundation chain.

Forthe second part of row 2, repeat the instructions for the

second part of row 2 of the solid-color afghan stitch patternfpage 153) until two loops remain on thie hook. Pick up
the color A yarn again, then bring the yarn over the hook
and draw it through the two remaining loops, as illustrated
in drawing 1
(opposite page)
To form the pattern, continue to repeat the first and then
the second parts of row 2 as many times as desired, making sure to alternate color A and color B yarn each time

you begin the first part of the row.

If you wish to bind off the last row of your work to create a
finished edge, make sure you have completed the second
part of row 2 to the point where two loops remain on
the hook.

Continuing to use the

at this point, bring

same color yarn you are working with

the yarn over the hook and draw

through both loops on the hook. Chain

edge with

slip stitches following

then bind

off

it

the

the instructions for bind-

ing off the solid-color afghan stitch pattern (page 153), beginning by skipping the first vertical bar and this time
making the slip stitches between the strands of each vertical bar across the row as on the pattern. Fasten off.
Carefully weave in any loose threads so that they are not
visible

on either

side.

eversiDG
These two swashbuckling woolen
ensembles are actually the same
knit and crochet clothes and accessories turned inside out. Tunic,

shawl,

wrap coat even the

shoulder

bag are

skirt,

hat

reversible,

and

mak-

ing the outfit not only practical, but

versatile.

The

possibilities for

mixing

and matching the patterns and

lay-

ers are almost as astonishing as the

low cost; the entire wardrobe can be

made

for

under

$1

00 worth of yarn.

Directionsfortheknitskirt, tunic

and

shawl begin overleaf; those for the

afghan crochet coat, hat and bag begin on

page

163.

^.-

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nstructonsfor

ber of inches. If you wish to make a longer one, add as

many inches as you need. Make sure to end with round 8
of the pattern.
ShQping the waist: Working on the 180 (192, 204, 216, 228)
stitches on the needle, begin round 1 of the pattern stitch
sequence and decrease 1 stitch before and atter the second, fourth and sixth markers only. Then work round 2,

decreasing at the

same

in round 1. Comsequence, but now without

points you did

plete this entire pattern stitch

decreasing,

Then work two more complete pattern stitch sequencmaking sure to decrease before and after the same
markers on rounds 1 and 2 of each sequence. You will have
made 36 decreases in all, and 144 (156, 168, 180, 192)
stitches will remain on the needle.
Making tlie waistband: Drop color B yarn now. Working
with color A yarn only, purl around for 1 1/4 inches, then
knit around for another 1 1 ,/4 inches. Bind off. Cut a strip of
3/4-inch-wide elastic to fit your waist measurement and
sewthe short endsof the elastic stnptogetherto form a circle. Place the elastic on the underside of the 2 1/2-inchlong purl/knit waistband of the skirt, then fold the
waistband to the underside, covering the elastic. Hem the
bound-off edge of the waistband in place.
Finisliing the sidrt: Blockthe finished skirt (G/ossar/j. Place
the skirt with the bottom edge facing up, then work 1 row
of single crochet stitches f/Append/x) around the entire bottom edge, working the stitches through the original caston stitches.
Still working with color A and the crochet hook, work 1
row of slip stitches now along each of the six groups of decreases for the bottom of the skirt. Work from the bottom of
the skirt upwards, following the vertical lines of the decreases and making the slip stitches through the top only
of each color A stitch on the skirt.
To make the crocheted slip stitches, insert the hook
from right to left through the top of each knit stitch on
the garment. Then bring the yarn over the hook and draw
the loop on the hook. Repeat
it through the stitch and
this procedure in each of the stitches marking the line of
es,

decreases.
skirt to

the reverse side and

A slip stitch trim along each

on

this side.

on

either side of the garment.

Weave

piece measures 19 inches, or the desired length, to the underarm. Make sure you end with either row 2 or row 6 of
the pattern.

Nowslip90(96, 102, 108, 114) stitches onto one of your

be worked later for the front yoke, and slip
the remaining 90 (96, 102, 108, 114) stitches onto another
stitch holder for the back yoke. These stitches will also be
worked later,
THE SLEEVES
The right sleeve: Using the straight knitting needles and color A yarn, cast on 36 (36, 40, 40, 44) stitches. Still working
in the tricolor stockinette pattern, begin to work the pattern
stitch (round 1 now becomes row 1), On round 2 now
row 2 reverse the stitches, and rather than knitting them
as instructed for the circular pattern swatch, purl each
stitch holders to

stitch

in

line of

make the same

bottom decreases

any loose threads so that they are not

visible

THE CIRCULAR TUNIC TOP

To make the

tunic top you

will

skeins of sport-weight yarn

in

need 3
color

(4, 4, 5, 6)

two-ounce

A (rust in the

tunic top

shown on page 158) and 2 (3, 3, 4, 4) two-ounce skeins of

the same yarn in color B and color C (light brown and beige
in the tunic top shown). You will also need a 29-inch-long
Size5circular knitting needle, a pairof Si2e5 straight knit-

ting needles

and four large

stitch holders.

across the row.

Continue to work

in

the pattern, working each even-

numbered row in reverse that is, using purl stitches

where knit stitches are indicated and knit stitches where
purl stitches are called for.

Work even in this manner through the 8 rows of one

complete pattern stitch sequence. On row of the next pattern sequence, increase 1 stitch at the beginning and end
of the row. Work rows 2 to 4 in the established manner
without increasing then repeat the increase of 1 stitch
at the beginning and end of the row on row 5. You will have
1

increased 4 stitches.

Continue to work in the pattern stitch sequence, reverson each even-numbered row and increasing 4 stitches on rows 1 and 5 until you have 64 (68, 72, 76,
80) stitches on the need le. Work even on these stitches u ning the stitches

til

the piece measures 17

1,/2

inches, or the desired length

underarm. Make sure to end with either row 2 or row

6 as you did for the body of the tu nic top. Place these stitchon
a
holder to be worked later.
es
The left sleeve: Work this sleeve in exactly the same manner
as the right sleeve, placing the stitches on a holder to be
worked later as before,
THE YOKE
Using the circular needle once more, knit across the 90
(96, 102, 108, 114) front yoke stitches from the holder and
place a marker on the needle. Then knit across the 64 (68,
72, 76, 80) stitches from the right sleeve holder and place a
marker. Now knit across the 90 (96, 102, 108, 114) stitches
from the back yoke holder and place a marker. Finally, knit
across the 64 (68, 72, 76, 80) stitches from the left sleeve
holder and place a marker after you have made these
to the

Turn the
color

THE MAIN BODY OF THE TOP

Using color A, start the tunic top at the bottom by casting
on 180 (192, 204, 216, 228) stitches, placing a yarn marker
on the right-hand end of the needle and joining the stitches into a round as you did when making the swatch patterns (pages 148-149). Following the instructions for the
tricolor stockinette pattern (page /49j, work even in the pattern stitch, slipping the marker on each round, until the

stitches. You will now have 308 (328, 348, 368, 388) stitches on the needle and four mariners.
Continuing to work in the pattern stitch it will be
round 3 or round 7. depending on where you ended when
you placed the stitches on the holders work 1 round even
on these stitches. On the next round, work rounds 4 or 8
even in the pattern stitch. On the following round round

which

5 orl of the pattern,

a decrease of
markers.

is

a color

stitch before

and

knit

after

round make

each

of the four

the yoke stitches.

Making the collar Place a marker on the needle to ndicate

the start ofthe collar, then continue to work even in the pattern stitch for 3 more inches.
Now, holding the stitches very carefully in place so they
do not slip off either end ofthe needle, turn the entire garment to the reverse side by pulling through the center of
the needle. To make the turn-over collar completely reversible, work even in the pattern stitch sequence for 8 inches
i

it

more. Bind

off.

Weave

Finishing the top:

lowing the instructions

Weave

ted pieces.

the

the underarm sleeve seams,

in

the Appendix for weaving

seams

first

seam

fol-

knit-

with the dark-colored

yarn, catching only the dark-colored stitches; then

the

weave

again with the light-colored yarn, catching the

light-colored stitches.

Weave

n any loose threads so they are not visible

on

ei-

ther side.

THE FRINGED SHAWL

To make the shawl, you

will need 4 two-ounce skeins of

A (light brown in the shawl
two-ounce skeins of the same yarn
In color B (beige in the shawl shown) and 1 skein in color C
(rust in the shawl shown). You will also need a pair of Size
7 straight knitting needles and a Size E aluminum crochet

sport-weight yarn

shown on page

The shawl
{page

pattern stitch

with row

The

is

149),

worked

in the two-color post-and-rail patusing different combinations of the three

To create the design, carefully follow the pattern stitch sequence in the swatch instructions, and, at the
same time, use the color sequence as directed below. Always end with row 4 of the pattern sequence before becolors of yarn.

ginning the next color sequence.

Using color A yarn, cast on 179 stitches.
The first color sequence: Follow the instructions for the 4
rowsof the pattern stitch sequence exactly, using the same
color sequence and attaching color B on row 3 as you did

sequence

for

approximately

B.

work the
ending

inch,

4.

third color

in

A and

C,

work the

remembenng

through-

sequence: Using colors

pattern for approximately 4 inches,

this sequence the color

where the color B

used
swatch

stitches are

stitches are called for in the

instructions.

The fourth color sequence: Using colorBonly, work the pattern for approximately 24 inches.
The fitth color sequence: Using colorsAand B, repeat the directions for the first color sequence and work this pattern
and color sequence for approximately 4 inches.
The sixth color sequence: Using only color B. repeat the instructions for the second color sequence.
The seventh color sequence: Using colors A and C, repeat
the directions for the third color sequence, again remembering to use color C stitches where the color B stitches
are called for in the swatch instructions.
The eighth color sequence: Using only color B, repeat the instructions for the second color sequence.
The ninth color sequence: Using colorsAand B, repeat the
directions for the first color sequence, but work this pattern and color sequence for approximately 4 inches.
The 10th color sequence: Using only color B, repeat the instructions for the fourth color sequence.
The 11th color sequence: Using colors A and B, repeat the
directions for the ninth color sequence.
The 12th color sequence: Using only color B, repeat the instructions for the second color sequence.
The 13th color sequence: Using colors A and C, repeat the
directions for the third color sequence, but this time work
for approximately 7 inches. End with row 4 of the
1

pattern.

The work should now measure approximately 96

color

in

58),

hook.
tern

pattern.

The second color sequence: Using only color

out that

Repeat this decrease on the next round round 6 or 2

and continue working in the pattern stitch sequence, decreasing in the same manner on evei7 color A knit round
(every round 1 2. 5 and 6 of the pattern) untiM 32 (1 52, 1 72,
192, 212) stitches remain. You will have decreased 176
stitches in all. Work even now until the piece measures approximately 7 1/4 (7 1/2. 7 3/4, 8, 8 1/4) inches above the
start of

Work even in this pattern and color sequence, repeating the 4 rows of the pattern for approximately 7 inches. Make sure that you end with row 4 of the

for the swatch.

es long. Bind

inch-

off.

Weave in any loose threads so they are not visible on

ei-

ther side. Block the finished work (Glossary).

Work

row of single crochet stitches

Finishing the shawl:
(Appendix) along the two long sides and row of cast-on
stitches at the bottom of the piece, using color B yarn along
all the solid-color B bands and color C on all the other
1

bands.

Making the

tringe:

Using colors

A and

B. cut

two 20-inch-

long strands of each color. Place the strands together, then

pull them through the first stitch at either side of one of the
short
to

endsof the shawl. Knot the strands around the

make a

stitch

0-inch-long length of fringe consisting of eight

strands. Repeat this procedure in every other stitch along

each short end of the shawl. There will be approximately
85 lengths of fringe at each end.

i^^'i'Hllf

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structions tor

THE REVERSIBLE WRAP COAT

THE BACK
Using color

A yarn, make a foundation chain of 77

(81

85,

89, 93) stitches. Following the instructions for the two-color

maKingLneargnan
crochet ensemble

vertical

even

bar stitch pattern that begin on page 154, work

in this

row 3 of the pattern.

Now make a decrease

end

make

pattern stitch for 3 inches, At this point,

sure you are about to begin the

of

first

part of either

row 2 or

and
man-

stitch at the iDeginning

of this part of the row, working in the following

beginning of the row, skip the first vertical bar,

then insert the hook under the top strands of the next two
vertical bars. Bring the yarn over the hook and draw it
through to form two loops on the hook.
Continue to work in the pattern stitch across the row until you reach the third vertical bar from the end. Decrease
stitch as you did at the beginning of the row, but this time
insert the hook under the top strands of the third and then
the second vertical bar from the end. yarn over and draw
through both bars. Work the last stitch of the row as indicated for the pattern that is. in the last space if you are
working on row 2 and in the last stitch if you are working
row 3. When you have completed the row, count the number of stitches on the hook to make sure you have 2 stitches less than you had on the original foundation chain.
Continue to work in the pattern stitch, decreasing stitch
at the beginning and end of the first part of the pattern
stitch row as you did before, every 3 inches two more times,
then every 2 inches three more times. At this point, you will
have decreased 12 stitches in all.
Work even now on the 65 (69, 73, 77, 81) remaining
stitches until the entire piece measures 29 inches, or the
desired length, to the underarm. Place a marker at each
side edge of the work to ndicate the start of the armhole by
tying a small piece of contrasting color yarn through the
first and last stitch of the row. Continue to work even in the
pattern stitch until the piece measures 8 (8, 8 1/2, 8 1/2, 9)
inches above the markers.
Shaping the shoulders Make sure you are beginning the
first part of either afghan stitch pattern row. (On this part of
the pattern row, each vertical bar counts as a stitch,) Slip
stitch across the first 24 (26, 27, 29, 30) stitches. To do this,
insert the hook from right to left through the top strand of
the first vertical bar, bring the yarn over the hook and draw
ner: at the

The two views of the crocheted outfit at left

show both sides of the totally reversible atghan stitch wrap coat, hat and shoulder

bag.

In

the instructions that follow, the

di-

rections for the coat are written for size

Any changes necessary

8,

10,12,14

for sizes

and 16 follow in parentheses, in that order.

The hat is designed to fit all head sizes, and
the shoulder bag measures approximately
12 inches square.

For the coat, you

need

will

6,

(5,

6,

four-ounce skeins of knitting worsted

7)

weight yarn

in

both color

(rust in

the gar-

ments shown here) and color B (light brown

here). The hat and the shoulder bag each require

four-ounce skein of knitting worsted

weight yarn
a Size
All

each

in

color.

You will

K aluminum afghan crochet

three garments are worked

colorvertical barstitch pattern

tail

in

need

also

in

hook.

thetwo-

shown

in

de-

the photograph on pages 150-151,

although you

may

substitute any of the oth-

Complete instrucand making

the patterns begin on page 152. Whatever
pattern stitch you choose, work in a gauge
er four patterns shown.

tions for using the afghan hook

The basic crochet

will

need

in

in

the pattern stitch across the next 17(17,19,19,21) stitch-

es.

Cham

I,

and turn. Work the second part of the afghan

row back across the same 17 (17, 19, 19, 21)

stitches. Fasten off, without binding off.

stitches
to

mentssuch as the chain

ing off are

itthroughthebarandtheloopon the hook; repeat this procedure in each of the next 23 (25, 26, 28. 29) stitches. Work

stitch pattern

of 4 stitches to the inch.

niques you

and tech-

make these
stitch

the Appendix.

and

gar-

fasten-

THE FRONT
The left front: Using color A yarn, chain 55 (57. 59, 61 63)
stitches. Work even in the pattern stitch for 3 inches. Make
sure you are about to begin the first part of the same pattern row as that on which the first decrease was made on
,

the back. Then decrease 1 stitch at the beginning of the

row only (it will be the right-hand edge of the work) as you
did at the beginning of the row when decreasing on the

each shoulder seam in the same manner. Weave together

the underarm sleeve seams, then sew the sleeves in place.
To make the garment completely reversible, weave the

back of the coat.

Continue to work

dark-colored stitches; then

seam
in

the pattern

stitch,

repeating this de-

crease every 3 inches two more times, then every 2 inches

more times. You will have decreased 6 stitches in all.
Work even now on the 49 (51 53. 55, 57) remaining stitches untilthe piece measuresthe same length as the back of
the coat from the bottom to the underarm marker. Place a
yarn marker as you did when working on the back of the
three

first

with the dark-colored yarn, catching only the

weave the seani again with the

light-colored yarn, catching the light-colored stitches.

Be sure

to carefully

weave

in

any loose threads so that

they are not visible on either side.

Making the belt: Using five strands of each of colors A and

B together, make a chain that measures three times the
size of your waist. Fasten off, then knot each end,

coatatthesideedge the right-hand edgeof the work to

indicate the start of the armhole.

THE REVERSrBLE HAT

Shaping the neck: Make sure you are beginning the first
part of either afghan stitch pattern row. Work across the
row in the pattern stitch to within 2 stitches of the end. Decrease 1 stitch at the left-hand, or neck, edge of the work
(in the finished garment this will be the center front) in the
following manner: skip the second-to-last stitch, remembering that for this pattern it will be a space, then work the
last stitch. Continue to work in the pattern stitch, repeating
the decrease at the neck edge on the first part of every row
24 (24, 25, 25, 26) more times. When you have 24 (26, 27,
29, 30) stitches remaining and the piece measures the
same as the back of the coat to the shoulder, complete the
second part of the pattern stitch row if you have not already done so ending at the nght-hand. or side, edge of
the work. Slip stitch across the entire row as you did when
you were shaping the shoulders on the back of the coat,
then fasten off.
The right front: Workthis piece to correspond to the left-front
section, reversing all the shaping. When you are decreasing belowthe point at which you place the underarm marker, the decreases will be made at the end of the row only

Using color

(the left-hand side of the work).

When

shaping the neck, again make sure you are befirst part of either afghan stitch pattern row.
Then decrease at the beginning of the row (the right-hand
edge of the work in this case) in the following manner: if
you are working on row 2, skipthefirst two vertical bars; if
you are working on row 3 skip the first three vertical bars;
then continue to work in the pattern stitch across the remaining stitches.

yarn, chain 55 stitches. Following the

in-

structions for the two-color vertical bar stitch pattern (page

work even on these stitches for approximately 7 inchending with a color A row. Now work 1 row of color A
1 stitch in each stitch
across the row in the usual way (Appendix). Fasten off.
Making the top: Weave the two short edges at each side of
the work together as directed for weaving the seams of the
154).

es,

single crochet stitches, decreasing

reversible

color

wrap coat (above). Then thread three strands

of

yarn onto a large-eyed needle, such as a yarn or

tapestry needle. Knot the strands at the end.

Now draw

the yarn through the row of single crochet stitches at the

top of the work and pull the yarn tight to draw the work into
a circle at the top.

Securetheyarn

tightly to

the

first stitch

where

you began to draw the yarn through the single

Do not break off. Using the same yarn,
weave togetherthe remaining small open portion of the circle in the same manner as you did the side seams, thus
formi ng the top of the hat.
Finishing the bottom edge: Using color A, work 1 row of single crochet stitches, decreasing 1 stitch in each stitch
across the row as you did at the top of the work. Now using
fivestrandseachof colors A and B together, make a chain
crochet stitches.

ginning the

THE SLEEVES
Using color A yarn, chain 49 (51 53, 55, 57) stitches. Work
even in the pattern stitch until the piece measures 17 1/2
inches, orthe desired length, to the underarm. Work even
for 2 inches more, then fasten off, without binding off. Repeat these directions to make the other sleeve.
,

THE FINISHING TOUCHES

Block each piece (G/ossaryj.

Sewing the seams: Fol lowing the instructions n the Appendix for weaving together knitted pieces. ]0in the front sections to the back by weaving together the side seams,
matching the markers at the underarms. Join the pieces at
i

long
off.

around your head comfortably. Fasten

to the last stitch you made to form a
then sew the two short ends together. Align one

enough

Join the

circle,

to

fit

first stitch

long edge of the chain to the row of single crochet stitches

the bottom of the hat; sew the chain in place, easing in
any additional fullness as you go (drawing, left). Turn the
work to the other side and attach the chain in the same
at

way so the

hat

is

completely reversible. Carefully weave

any loose threads so they do not show on either

in

Make two more chains, each

same manner as you did the long chain

Finishing the top edges:

inches long,

in

the

forthe sides and handle.

Sew one long edge of one of these

one edge of the top

Attach the other chain to the other

chai ns to the outside of the bag along

opening (drawing

2).

side.

THE REVERSIBLE SHOULDER BAG

Using color

yarn, chain 43 stitches. Following the

in-

structions for the two-color vertical bar pattern Cpage 154),

work even on these stitches for 24 inches. This piece will

be folded in half lengthwise to form the body of the bag,
Connecting the side edges: Using five strands each of colors A and B together, make a chain 68 inches long. Fold
thepieceforthebodyofttie bag in half, with the fold at the
bottom, matching the two shortendsatthe top. Attach one
end of the chain to one of the outside ends of the bottom
fold. Then working from the bottom of the bag to the top
opening, sew one side of the chain to the corresponding
side edge of the bag. Next, attach the other side of the
chain to the unattached portion of that side of the bag, thus
forming the side seam. At this point, you will have used 12
inches of the 68-inch-long chain. Leave 44 inches of the
chain free for the handle of the bag. then attach the re-

half of the top

opening

in

the

same manner.

Maidng the bog reversible: Now make two more 11 -inch

chains and two 12-inch ones, Turn the bag inside out,
Sew each of the two 1 2-inch chains along the side edges
of the bag directly opposite the chains forming the side
seams on the reverse side. Attach the 11 -inch chains to
the edges of the top opening as you did on the other side
of the bag.

Finishing the bag:

Turn the bag to the reverse side once

more. Position the bag so that the bottom edge is facing

up. To reinforce the bottom, work 2 rows of single crochet
stitches (Appendix) along the bottom edge (the onginal
fold) in the following manner; using color A, attach the yarn
at the fight-hand edge of the bottom of the bag as it is
now positioned at the point the side chain seam ends.
Make the first row of single crochet, working each stitch
under each of the top strands of the color B vertical bars
along the bottom edge, Chai n 1 and turn. Work the second
row of single crochet in the usual manner, through the

maining 12 inches of the chain to each of the other side

sections as tsefore, thistime sewing from the top of the bag

stitches of the previous row.

to the bottom fold (drawing

visible

1).

Carefully

weave

on either

in

side.

any loose threads so that they are not

GLOSSAR
The tend

BACKSTITCH: To reinforce the beginning or end

a seam by making several machine stitches
backward over the seam line,

ers of fabric.

BAUPOINT NEEDIE: A

GAUGE: The number

of

fabric with a dry or

is

steam

sealed by pressing the

iron,

depending on the

RIB KNIT:
stitches

pattern of alternate knit

which produces a very stretchy

and

purl

fabric.

product used.

SEAM AUOWANCE: The extra fabric that extends

needle with a smooth

point that enables

rounded
tween the threads

to slip gently be-

it

such fabrics as

of

inch

in

of stitches

and rows per

each seam allowance within a

seam to a different width to reduce
bulk and make the seam lie flat.

GRADE: To

synthetics.

trim

multilayered

BARTACK: The bar tack used for a corded buttonhole requires several zigzag stitches made very
close together at the ends and perpendicular to

the opening,

and wide enough

ing without piercing

to

span the cord-

it.

rarily.

In

woven

fabric, grain

is

the direction of

to the other),

forms the crosswise gram.

A line of basting is usually ended with a fas-

tening or backstitch.

BATTING: A sheet of loosely matted fibers for use

as insulation and interlining in garments, quilts
and the like. Batting of various thicknesses is sold
by the yard, in small packages and in bed sizes.
Some batting comes already stitched between
two layers of cloth, but most of needs to be at-

GRAIN-LINE ARROW: The double-ended arrow

marked on a pattern piece to indicate how the
piece should be aligned with the fabric grains,
INTERFACING:

special firm fabric that

is at-

tached to fabric backing.

tached between two layers of garment fabric to

stiffen, support or strengthen parts of the garment. A type of nonwoven interfacing can be
fused to the fabric by ironing.

BIAS: A direction diagonal to that of the threads in

woven fabric, i.e.. the warp and woof, or "grains."

LINING: Fabric covering the inside of part

a garment.

it

The long

broken line marked on a pattern to indicate where

a seam must be stitched.

stretch

over a

tape of finishing fabric rayon

or nylon or polyester

flat

woven edge,

or nylon with a

lace usually 1/2

seam

to reinforce

to

it

5/8 inch wide, sewed

or used to finish hems.

running

across the lengthwise gram from one finished

edge

line.

(also called stitching line):

SEAM TAPE: A
GRAIN:

the threads: the warp (the threads running from

one cut end to the other) forms the lengthwise
grain; the woof, or weft (the threads

BASTE: To make long, loose stitches by hand or

machine to hold pieces of fabric together tempo-

seam

SEAM UNE

and

knits

outside a

a piece of knitted or crocheted material.

STABIUZED SEAM: A seam that is reinforced with

a strip of seam tape to add strength in an area of
stress. Where a slight amount of flexibility is desired, in an area of moderate stress, the seam may
be

stabilized with bias tape.

STAYSTITCHING:A line of machine stitching that

IS sewed along the seam line of a garment iDefore
the seam is finished to keep the edges from
stretching.

TACK:Several stitches

made in the same

place to

hold sections of a project or garment permanentor

all

of

BIASTAPE: A folded strip of fabric cut on the

bias,

so that the strip will stretch smoothly to cover

curved and straight edges.
set the final

shape of finished

or crocheting by pressing

through a

knitting

warm

iron

damp cloth.

CURVED RULER: A
in

with a

it

a pattern to

NAP: On the surface of a fabric, the short fibers

that are pulled and brushed in one direction.
PIVOT: A technique for machine stitching around
angular corners by stopping the machine with
the needle down at the apex of a corner, raising

PRESHRINKING: The process of treating

it

PRESSER FOOT: The

DART: A
tx)th

stitched fold, tapering toa point at

one

or

that holds

ends, to shape fabric around curves.

colored cartran paper that

used with a tracing

wheel to transfer pattern markings to fabric.
EASE:

An

is

even distribution of fullness

in fabric,

without perceptible gathers or tucks, that enables

one section of a garment

another

slightly

to

be smoothly joined

to

it

sewing machine
is

being stitched.

used for most stitching. A roller

presser foot has two rollers with grids to prevent
bulky or sheer fabric from sticking or slipping
while being stitched. A straight-stitch foot has
one long and one short prong and can be used

and

is

for straight stitching

and

A two-pronged even-feed foot,

used on machines that do zigzag stitching, has
move two or more layers of
fuzzy, slippery or heavy fabric at the same speed.
An overedge foot keeps narrow zigzag seams on
knits from curling. A zipper foot has one prong
and IS used to stitch zippers and welting.

forms a

drill

cloth for general pressing, the other

half with soft

ing

wool which

woolen fabric

is

used when press-

to prevent shine.

PLATE:

flat

metal piece, set into the

base of a sewing machine, with a hole through

which the needle passes as it stitches, A generalpurpose throat plate has a wide hole that will accommodate any sideways motion of the needle.
Many machines also have a second throat plate
with a small hole to keep knits and soft fabrics
from being pulled down into the machine and
puckering dunng stitching. Most throat plates
have guide lines marked on the right side to keep

seams

straight.

TOPSTITCHIN6:

line of

ornamental machine

stitching usually parallel to a

ible side of

seam on the vis-

a garment.

TRACINGWHEEL:A small
to a

revolving disk attached

handle and used with dressmaker's carbon
markings to fabric. Tracing

to transfer pattern

wheels with smooth edges are used

for knits to

prevent snagging.

TWILL TAPE:

thin, extra-strong

tape of twilled

cotton or polyester used to reinforce seams.

finish.

FUSIBLEWEB:

cotton

that

is

It

stitching fabrics of vary-

ing thicknesses.

PRESSING CLOTH:
that

part of a

fabric while

teeth on the tx)ttom to

smaller section.

FACING: A piece of fabric that issewed along the

raw edge of an opening, such as a neckline, and
then turned to the inside to give the edge a
smooth

down

general-purpose foot has two prongs of equal

length

DRESSMAKER'S CARBON: Heavyweight white or

cunes

THROAT
fabric to

to an irreducible size before cutting.

Washable fabric can be preshrunk simply by
washing it as directed by the manufacturer.

shrink

unbroken line marked on

indicate where it must be cut,
long,

firm, ham-shaped cushion with

conform to various contours
used for pressing areas that require shaping. One half of a ham is covered with
built-in

of the body.

the presserfoot, turning the fabric and then low-

enng the presser foot before continuing,

special ruler used as a guide

drawing cuiA/es on patterns.

CUTTING LINE: A

position.

TAILOR'S HAM: A

A true bias is at a 45 angle to the grains.

BLOCK: To

ly in

lightweight

flexible,

nonwoven

material

durable bond t)etween

lay-

cotton

drill

cloth, that

pieie of fabric, preferably

is

and the garment when

placed between the

pressing.

iron

ZIGZAG STITCHING: A
stitching.

serrated line of

machine

HAND STITCHES

The diagrams below and on the following pages show how to

make the elementary hand stitches and the knitting
and crocheting stitches referred to in this volume

/
THE FASTENING STITCH
To end a row with a

THE BACKSTITCH
Bring the needle up from

fastening stitch, insert the

the tx)ttom layer of fabric

THE SLIP STITCH

Fold under the hem edge
and anchor the first stitch

needle back 1/4 inch and

and

with a knot inside the

bnng

out at the point at

it

which the thread last

emerged. Make another
stitch through these same
points for extra firmness.
tiegin a

To

row with a fastening

leave a 4-inch loose

stitch,

end and make the

stitch the

ending

pull

needle

inch to

fold.

Point the needle to the

left.

the right of where the thread

one or two threads

of the garment fabric close

emerged and

to the

1./8

bring

1/8 inch to the

left

it

out

of the

thread. Continue inserting

the needle 1/8 inch to the

right,

initial

same way as an

stitch.

through, leaving

it

-inch-long loose end.

Insert the

and bringing

inch to the

left

it

out 1/8

of the point

Pick up

hem

below the

edge, directly

first stitch,

and

needle horizontally
through the folded edge of
the hem l,/8 inch to the left
slide the

of the previous stitch.

where the thread last

emerged. End with a

Continue across

in

manner and end

with a

fastening stitch on the

fastening stitch.

the

same

bottom layer of fabric.

THE SINGLE TAILOR TACK

'

1':!'".

.i'-"i

inl-rn
y.-'';<

r'

ible

strand of

)"m1 thread,
'

'i

'

I:

takea
through the

rnarked. picking

up the pattern piece and

one or two layers of fabric,
depending on whether or
not the fabric

is

doubled.

Leave 2-inch-long loose

ends. Take another stitch

through the same

point,

leaving a 2-inch loop

End with
inches of loose

of the pattern.
least 2

thread.

on top
at

THE BLIND

HEMMING

STITCH
Baste the prepared hem to
the garment 1/4 inch from
the hem edge. Fold the hem
along the basting so the
hem lies beneath the

garment and the unstitched

edge projects above With
it.

knotted thread, insert the

needle through one or two
threads below the fold; pull

THE CATCH STITCH

Working from left to right,
anchor the first stitch with a

hem 1/4
down from the edge.

knot inside the

inch
Pick

up one or two threads

garment directly
hem; pull the

of the

alx)ve the

thread through. Take a small

stitch in the hem only (not
in

the garment), 1/4 inch

down from the edge and

the thread through. Pick up

1/4 inch to the nght of the

one or two threads above

thefoldand1/2inchtothe

fastening stitch.

left.

previous

stitch.

End with a

Pull the thread through.

Continue

in this

manner;

end with a fastening

on the hem.

stitch

167

iT

STITCHES

Dra/thetipof the needle

back through the loop on
your thumb, then slip the
loop off your thumb. Pull the

4,

2.

Slide a needle through

the slipknot and hold the

CASTING ON STITCHES
1.

Form a

slipknot

in

yarn, leaving a free

enough

for the

stitches to

about

the

end long

number of

be cast on (allow

inch per

stitch).

needle

your right hand,

Loop the yarn attached

to

the ball over your nght index

finger

and loop the

of the yarn

thumb.

free

around your

end
left

the tip of the needle

through the loop on your left
3, Insert

thumb and bnng

the yarn

attached to the ball under

and over the needle from
left

to right.

short

end

of the yarn

down

which is
Repeat Steps

to tighten the loop,

now a
3

stitch.

and 4

for

the reguired

number of stitches.

JOINING YARN
1. Wrap the new

yarn

around the working needle,

leaving a long end.

new

--/

MIMIM/

Use the

yarn to knit the next

stitch.

color

if

Break off the previous

your instructions so

indicate, leaving a long end.

JOINING KNITTED PIECES

1

Knitted garments can be

seamed by crocheting,
weaving or sewing. For
three, place the edges

After knitting two or three

rows with the new yarn, use

a crochet hook to weave the
loose ends of yarn through
nearby stitches on the

To weave two pieces

3.

together, insert a blunt-

tipped tapestry needle

through the outermost

stitch

out,

on each edge. Then turn the

and

needle,

To crochet pieces

To sew two pieces

together, insert a blunt-

tipped tapestry needle

wrong sides

rows.

2.

2.

align the stitches

together,

and

all

and

repeat.

Continue weaving back and

through both pieces 1/4

inch below the aligned
edges. Leaving a long end
of yarn, insert the needle

together, insert a crochet

forth until the pieces are

1/4 inch to the right of the

hook through the first stitch

on each edge, and draw a
loop of new yarn through
both stitches. Repeat on
each pair of stitches,
drawing the new loop
through the loop on the hook.

joined.

first stitch,

and bring

it

out,

from backto front. 1/4 inch

to the left of the first stitch.
Continue making stitches in
this

manner along the

wrong side of the work.

(W)

SUPPING A STITCH
1.

To

a stitch as

slip

purl, insert

if

to

the right needle

as
though you were going to
purl, as shown, and transfer
it from the left needle to the
into the next stitch

right without

working

it.

PICKING UP A DROPPED

COLOR
1

On a

2.

knit row,

reach

under and behind the

second color that you have
been working to pick up the
first color that you dropped
earlier.

the

first

Bnng

the strand of

color fonAiard

under the second

proceed to knit.

and
and

color,

On a

purl row. reach over

and behind the first color

and pick up the second
color. Bring the strand

under the

first

color

and

fonward, and proceed to

purl.

3.

To carry a color from row

up the first color

to row, pick

from where it was dropped

on an earlier row in the

same way you would in the

middle of the row from
underneath, if you are
beginning a knit row. as

shown; or from over and

behind if you are beginning
a purl row.

2.

To

slip

knit, insert

stitch as if to
the right needle

as
though you were going to
knit, as shown, and transfer
from the left needle to the
right without working it.
into the next stitch

it

CROCHET STITCHES
THE CHAIN STITCH
Form a loose slipknot
1

around the croctiet hook,

about inch from the end
of the yarn. Grasp the yarn

THE SINGLE CROCHET STITCH

To single crochet the first

attached to the
tip of

ball

row

with the

after a foundation chain,

hook through the

second chain stitch from the
hook (arrow) do not count
the loop on the hook.
insert the

the hook and pull the

yarn through the slipknot

with the tip of the hook, as

shown.

2.

With two loops now on

the hook, bring the yarn over

the hook from back to front

and catch under the tip as

shown. Then draw the yarn
caught under the tip
it

through the loop closest

2.

Hold the hook

in

the

your right

hand much like a pencil.

Place the yarn from the ball
around the left little finger,
then up and over the left
index finger. Grasp the free
end of the yarn between the
thumb and middle finger of
the

left

Bnng the yarn over the

hook again and draw it
through both of the loops on
3,

hand.

the hook; there

3.

With your

left

index

finger, Isring the yarn

hook and catch

it

now only

the next chain stitch and

2. At the end of
and each successive
one stitch thf
'fii
next row will also bf

repeat Step
this

row, chain

it

in

single crochet stitcher

under the

the hook.

4. Pull

the

tip of

the hook

through the loop

in

the hook,

bringing the yarn with

create the

first

it

to

chain stitch

n the foundation chain.

Repeat Steps 3 and 4 to form

a chain of the desired length.

170

is

a single loop on the hook.

Insert the crochet hook into

.-.<

from

the back to the front of the

tip of

to

tip.

Turn the work to crochet

back across the previous
row. Insert the hook through
tx)th loops of the second
stitch from the edge, as
shown, and all subsequent
stitches on this and ail rows

4.

after

the foundation chain

JOINING YARN
Join a new ball

1
of yarn at
the teginning of a row by
.

drawing

it

When you have

crocheted two or three rows,

through the first

2.

loop; leave a 1 -inch-long

end. Join a new color at the

end

of a row, working the

last

two loops on the hook

with the

weave the

loose

ends

of the

yarn through nearby

stitches with the crochet

new yarn.

hook.

DECREASING STITCHES,
SINGLE CROCHET
l.ToclHr.e.ns,/ -..aiowof

2. Insert

single crochet stitches.

both loops of the next stitch.

Bring the yarn over the hook

insert the

hook

into

both

and draw

loops of a stitch. Bring the

yarn over the hook and

draw

it

through the two

loops closest to the

tip;

this

the hook through

5^:

it

through the two

loops closest to the tip.

Bring the yarn over the hook
again and draw it through

leaves two loops on the

the three remaining loops

hook

on the hook.

FASTENING OFF
Cut the yarn from the

ball,

INCREASING STITCHES
Work one stitch, then insert

leaving a 2-inch-long end.

the crochet hook back into

loop on the hook to secure

and weave through one or
two nearby stitches.

the

same stitch (arrow) and

repeat the

stitch.

Pull this

end through the

it

it

171

BASIC SEWING TECHNIQUES

THE FLAT FELLED SEAM
Make a plain seam with
the wrong sides of the fabric

THE DUPUCATE PATTERN

PIECE
To create a mirror-image
pattern for any printed

pattern piece that

designed

to

seam allowances in the

is

be cut

duplicate or on

facing out, and press both

desired direction.

in

ttie fold

of a

Trim the top seam

allowance to 1/2 inch and

2.

fabnc. firstlayastieetof
tracing or other paper
firm, flat surface.

on a

the underneath

If

seam

allowanceto 1/8 inch.

necessary, tape sheets of

paper together.
2.

Pin the printed pattern

piece,

marked side

up, to

the paper.

3.

Cut out the paper along

the cutting lines of the

Fold the top seam

allowance over the
underneath one, lining up
the edge of the top seam
allowance along the
stitching ofthe onginal plain
3.

printed pattern.
II'

seam; in this way the

underneath seam allowance
be enclosed.

will

4.

Without removing the

dressmaker's

pins, slide

carbon, carbon side up,

underneath the paper.

5.

Use a tracing wheel to

all seam lines,

trace over

notches and other markings

on the printed

pattern. Shift

the position of the carbon as

necessary.

6.

Unpin the printed pattern

piece, turn over the

it

with the

latiel

same numtier as

theonginal.

7.

If

laid

was

out on

the fold of the fabric, tape

the duplicate pattern to the

onginal along the fold line

with tjoth
facing up.

Turn the

edge

fold flat against

of the top

marked sides

seam

allowance. Then pin or

baste the fold

the printed pattern

designed to be

4.

the fabric to enclose the raw

duplicate pattern and

5.

Machine

in place.

stitch

folded edge.

along the

Remove the

pins or basting

and

press.

Sources

CR EDITS

shown

for illustrations

and fashions

below. Credits from

left to

in this

book are

right are separated

by

semicolons, from top to bottom by dashes.

168-

ILLUSTRATIONS: Cover design courtesy of

-Michael

Carletex Corporation. 6,7 Michael Rine-

Drawings by John Sagan. 169 Drawings by John Sagan (2) Carolyn Mazzello (2).
170,1 71, 172- Drawings by John
Sagan,
FASHIONS: 6.7- Kasper for Joan Leslie. 12,
13 Outfits designed by Hanae Mon; Kasper for Joan Leslie: Mady Gerrard, All
bags from Croutch & Fitzgerald Corp, 15

The

Bettmann Archive; Sy Seidman; The Bettmann Archive: Sy Seidman;

hart.

1 1

Culver Pictures, Inc. 12 through 19 Michael Rinehart. 20,21 Tomas Sennett.

24 through 29-Ryszard Horowitz. 34.35
Drawings by John Sagan. 36 through 39
Dan Budnik. 40.41 Tomas Sennett.
44,45 Richard Jeffery. 46 Ann Spanos

Kuhn. 47 through 57 Drawings by John

Sagan. 58 Ann Spanos Kuhn. 59 through
65 Drawings by John Sagan. 66 Ann
Spanos Kuhn. 67 through 75 Drawings
by

Raymond

Skibinski.

76 Ann Spanos

Kuhn. 77.78,79 Drawings by John Sagan.

80 Ann Spanos Kuhn.

through 87
Drawings by John Sagan. 88,89 Harald
Sund. 92,93- Susan Woods. 94 through
101 -Drawings by John Sagan. 102,103,
104-Susan Woods, 105 through 113
Drawings by Raymond Skibinski. 114
-Susan Woods. 115 through 119 Drawings

by

Raymond

81

Skibinski.

120.121

Susan Woods. 22 through 29 Drawings

by John Sagan. 130,131 -Susan Woods.
1

132 through 141 Drawings by

Skibinski.

147 Al

Raymond

142,143 Tomas Sennett, 146,

148 Drawing by Jean

Freni,

Held. 150,151

-Al

Freni.

Drawings by Jean

Held.

152 through 155

1 56 through 1 62

Striped

Rinehart.

164 through

of

ler

supplies courtesy Belding Corticelli, Donahue Sales, The Pellon Corp., The Singer
J, P,

3M Company,

92,93 Striped

fabric courtesy Far Eastern

Company,

YKK

made

Fitzgerald Corp. Fabrics courtesy Claridge

Violet

Blue Ridge Winkler Textiles: Duplex International: Held Fabrics, Inc.; Held

Inc.

Fabrics, Inc.; Peter

Pan

Fabrics, Inc, 26,27

Fabrics courtesy Carletex Corp.- Skinner Fabncs from The Singer Co. Reeves
Brothers,

Inc Amencan

Silk Mills

Corp.

Hale Fabrics Corp. Carletex Corp. 28,29

Suitcase from Saks Fifth Avenue,
Aberdeen Fabrics

Fabrics courtesy

Inc.

Sportsworks.

Fabrics, plain fabric courtesy Avila Fabrics,

Coat

Knits, Inc.;

Stevens Co,,
80-Outfit from

Inc.

from Right Bank Clothing

from Kenneth Lane Jewelry.
1 6,1 7 Beige slacks from Right Bank Clothing Co.: red outfit and hat designed by Mady
Gerrard: reversible outfit designed by Hie
Wacs. All jewelry from Kenneth Lane Jewelry. 18,19 Gray and camel dress designed by Mady Gerrard, jewelry from
Kenneth Lane Jewelry: outfit with pnnt top
and jewelry designed by Mary McFadden:
aubergine outfit and jewelry designed by
Mary McFadden. 24- Bag from Croutch &
outfit

Co,, jewelry

Switzerland Far Eastern Fabrics

Fil max Textile Corp. Far Eastern Fabrics

Far Eastern Fabrics. 44,45 Notions and

by Violet Mock. 102,103-Fabcourtesy Carletex Corp.,

trim courtesy Knits Inc.: skirt fabric (center)
rics for outfit at left

courtesy Pressman

and

Co.: body suit

cou rtesy Stevecoknit
pants fabric courtesy Duplex In-

Fabric Co.;
ternational.

Corp.

1 1

104 Fabrics

courtesy Carietex

Body suit and scarf fabric cour-

Stevecoknit

tesy
ric

Gutman

scarf/ halter fabric

Fabric

Co.,

pants fab-

courtesy Duplex International. 120,121

courtesy Held Fabrics Inc. 130-

Fabrics

suit and djellaba made by

Mock. Shoes from Henri Bendel,
146,147 Knit swatches made by
Annette Feldman. 150,151 Afghan crochet swatches made by Annette Feldman,
156,157 Knitted and crocheted garments
made by Annette Feldman. 158 Knitted
garments made by Annette Feldman. 162
Afghan crocheted garments made by
Annette Feldman.

131 Bathing

Mitt-

CKNOWLEDGMENTS
Bloomingdale's: Catherine Lis, Saks
Avenue: Daniel D. Powderly. Cela-

Butterick Fashion Marketing

in the preparation of this book

the editors thank the following individuals;
in Danbury. Conn.: Annette Partenio and

Krull,

nese Corp.; Belle Rivers, Donahue Sales;

er,

James A. Severak, Branson Sonic Power

Company: in Elizabetfi, New Jersey: Sheral
Rosen, The Singer Company: in New York
City: Lewis Coco, J. P. Stevens & Co.: Virginia Haynes: Elisabeth Herriger, Vogue

Betty Rollin; Cheryl Smith, Pellon Corpo-

Co.; E.

For their help

Magazine: Carol Horn; Calvin Klein: Judy

Fifth

ration:

Frank Smith, Evan Picone; George

Martha
Waldo.
Tay:

Taylor,

YKK

Zipper, Inc.;

Myra

The editors also thank in New York City:

Abercrombie & Fitch Co.; Henri Bendel,

Inc.;

The Celanese Corp.

ion

Inc.;
I.

Deering-Milliken

Du

Pont de

Fabrics: Gloria

Jacques Cohen,
Knit Fabrics,
Industries:

Inc.;

Vogue

Inc.;

Nemours &

Co.. Fash-

Sachs Designs,

Ltd.:

Knits, Inc; Miller

Company:
Dan RivDelbon &

Fabric Library;

Knit-Away

Ltd.;

for Retail;

Eye of New York; Rozette

Saks Fifth Avenue; Texfi
Fabric Library.

Numerals

DE
Abercrombie &

157.

Fitch,

Casing(s); elasticized waistband

enclosed

crochet: coat

6^.-

gauge

of,

145, 156-

of,

152; hat

of,

Hb.156-15?. ;6- hook for,

163-165: purse

of,

145, 156-157.

Afghan crochet

also

of,

See

coatof, 145, r56-;57, 162.

pattern(s);

Crocheting; Crochet stitch(es)

Afghan crochet
afghan

151:

in,

pattern(s). 150-

stitch, solid-color,

152-155:

two-color, 150-151.

55; two-

color basic afghan stitch, 150151.

52-1 53: \wo-co\or

machine-

instructions

for.

46. 47-49.

?36,- for knits,

pseudo suedes.

46.

50-52: snaps as. 44: ties as, 9293: for travel separates, 46;

9P -93, /56-

Coat(s), reversible, 90.

;57 /6i','balmacaan,90,91;

750-/5?, 154. 156-157. 162:

fabncsfor,90,91,9?-93;

twisted afghan stitch, ;50-;5;,

instructions for crocheted, 163-

154-155: vertical bar stitch, two-

162 Seealso Afghan crochet;

Crocheting; Crochet stitch(es)

Afghan

stitch pattern (crochet),

t50-;5r,' basic, ;50-/5;, 152-

153: instructions for, 152-154:

soM-co\or.

50-1 51

152-153:

two-color, 150-151. 153-154

open

17.36-37. 102-103

Crease resistance.
33

instructions for, 167

Bag, shoulder, crocheted
reversible, ;56-;57, 182:

instructions

165

for,

Batting, 92; attaching, with fusible

for,

30-1 31

instructions for,

;J7-M3.' patterns

Binding
for,

Blass,

for,

130

off (knitting), instructions

144

hemming

(hand
sewing), instructions for, 167

Blind

stitch

Blocking, knitting

and crocheting,

145

See a/so

Burrows, Stephen, 43
Button loop, instructions

for,

136

Buttonhole(s); bound, 50-56;

corded machine-worked,
for double knits, 53-56,instructions

57,-

for, 50-57.- for knits,

machine-worked
corded, 57: for pseudo suedes.

46, 53-57:

46. 50-52: for stretchable

knits,

57

/3/; instructions

;3P-/36;

for,

laying out. 134: pattern for.

uses

of,

30,

3,

for, 45,'

131; pattern selection for, 9. 10,

chart 30-31 chart 32-33;
,

permanent-press. 74-/5. 76

90, 130

Drip-dry fabric, c/iart 32-33

chart 32-33: permanently

Dropped

cnnkled,

up

color, picking

(knitting), instructions for,

169

22-23,

79,

pliss^. 26-27. chart 32-33:

polyester. 9, 18-19.23.28-29,

Duplicate pattern piece(s),

45:

Durable press

for.

pongee, 28-29: poplin.

fabric(s).

chart 32-

chart 30-31. chart 32 -33;

pnn^e6.^0. 24-25 26-27.91.

102-104: puckered. 26-27: for
reversible garments, 90, 91 92.

33
/ /

102-103. 704. 105; satin. ?8-?9

Edging(s): of circular opening. 83:

faced neckline, 84: for

knits,

83-

chart 32-

tape
of

as, 80. 83: topstitched, 84:

neckline, 84:

neckline,

on zippered

chart 32-33: seersucker. 22-23,

26-27. chart 32-33:
for,

sewing

for,

11,78-79,

9?,' soil

chart 30-31

resistant, 32:

straightening, chart 32-33. 34:

stretch,

75,'

with synthetic resin,

10

44^5

sewing. 30, chart 30-31 chart

.

chart 32-33; characteristics

33, 43.44^5.'

chart 32-33; tweed. ^8-P9,

methods of manufacturing.

26. chart 32-33; pattern

chart 32-33:

for;

chain,

70:

single crochet,
off, ?7/,'

decreasing,
?

joining yarn. 171:

7

70.- slip.

159.

acrylic. 23;

gauge

of.

144-

and-wear, chart 32-33; wool.

9.12-13. 18.24-25,28-29:
wrinkle-resistant, chart 32-33:
wnnkle-shedding. 18-19.28-

characteristics

of, 9,

chart

30-31 32. c/7art 32-33. 43. 45;

.

chemically finished,
32-33;cire.;
1

7.

7;

9, 32.

chart

cotton. 9. 11.75.

26-27, 37: conon-

polyester. /4-/5, 1626-27.

44-1 45;
in,

winUed. 19
See also Kn\\
Pseudo suede; Rib-

chart 32-33:

fabric(s);

knit fa bric(s);

fabric(s)

denim, permanently wrinkled,

double

23.'4-?5 30,

32-33; duck, ?S-?9,' durable

Synthetic

Fastening stitch (hand sewing).

instructions

for,

167

Flannel. 12

Fnnge. instructions for. 161

Fusible web, chart 30-31 chart
,

32-33, 44. 45, 76. 77. 92. 98

press, chart 32-33; flannel. 1273; fusible

stitch(es)

c/iart 32-33,
for, (97

knit,

chart 30-31 46; drip-dry. chart

crochet pattern(s); Crochet

mock, instructions

28-29: wash-

22-23.26-27.

chart 32-33; crepe, chart 32-33;

73;;

7).' tension in, 145. See a/so

Afghan crochet; Afghan

Cuff,

29.

voile,

chart 32-33; crease resistant,

c/iart32-33;fordjellaba. ;30-

145; joining yarn

for,

treated,

chart 32-33;

velMet. 26-27. chart 32-33;

crinkled, 19, 22-23. i'6-?7 32,

145; blocking, 145;

of,

22; thread

60; velvet, crushed. 26-27.

chart 32-33, 130-1 31: crushed

characteristics

of.

17,23.24-25,26-27 28-29

Crocheting
of,

25: textures

batting.92; blended, ?4-/5. 16-

See also Afghan crochet;

Afghan crochet pattern(s);
Crocheting: advantages

32-33. 43. 45; terry-cloth, 75, 24-

chart 32-33, 93; bottom weight,

16

7/; fastening

30-31

Fabric(s). 20-35; accessories for

91

preshnnking, chart 32-33;

sewing tips for, chart 32-33
Crochet stitch(es), instructions

silk,

chart 32-33: techniques tor

85

Elasticity, of travel clothing, 9,

of,

tips

chart 30-31. chart 32-33;

shopping

43; top weight, 91

for,

7,

60: preparing. 34: preshrinking,

72

sewing, chart 30-31 chart 32-

33;

17.

i'6-^7,-

DucK 28-29

fabric binding as. 80, 85-86/

144

chart 32-33; needles

nylon, 74, 17.23.24-25.45.130-

Emery pad, chart

single crochet.

Bodysuit, r0i'-?03.
Sunsuit

9.

Crepe, crinkled, chart 32-33

Crinkled fabric(s), 19.26-27. 130(3;; accessories for sewing.

selection

168
Bill,

9,

mummy cloth. 22-23, 26-27,

proof, 32. chart 32-33: natural.

chart 32-33
Djellaba, /30-;3;,- fabrics for, 130-

86: of necklines. 84-85: self-

c/jart 32-33; handling, c/iart 32-

web, 98
Bikini, reversible, ;30-;3;,- fabrics

Denim, permanently wrinkled,

on continuous opening. 85: of

45
Convertible garment(s), 14-15, 16industry(ies),

'mishmash." 24-25: by

Cotton.g, 16-17. 23.26-27, chart

32-33
Backstitch (hand sewing),

man-

chart 32-33. 130-1 31: muss-

ribbed. 66:

instructions for. 87-68

Conditioning pad. chart 30-31 44-

Cottage

1 1

Misson is, 36-39. mohair. 12-13:

77

(knitting), instructions

Duster(s), 8.

92

for,

for,

of, 35,-

168

for.

instructions

164; instructions for two-fabric,

94-/ 00; patterns

Collar,

pseudo suede.

Decreasing

/3i'-/33;

zippers as, 44, 46, 47-49

crocheted, ;56-;57 162:

designs for, 91 fabric, 92-93:

color, 150-151. 154. 156-157.

laying out, 35: linen,

two-color vertical bar stitch,

stockinette stitch, 150-151. 155:

jersey. 74, 23, i'4-?5 730-737,'

made, 9, 28-29 chart 30-31 43:

marking, 35: matching stripes
Dart(s), for

50-56,- buttonholes,

153: instructions

30-31 chart 32-33. 44. 45;

for.

for. ;?6-r?9.'

120.) 26

for.

instructions

57.'

fabric(s).

77

53-57.- tor

stitch, 150-

33; interfacing, fusible, chart

pattern

136: buttonholes. tx)und, as. 46,

worked, as,

afghan

chart 30-31 chart 32-33, 43. 45;

Indian mummy cloth, chart 32-

instructions for, 70, 71

instructions

167

for,

Closure(s), 46-57: button loop as,

47-57,

151. ;5?-;53.' stockinette stitch,

continuous
ribbedopeningas. 7/,-

Cuff, ribbed, 66:

Culottes, ??0-;?/; fabrics

150-151, 152-153: basic afghan

solid-color

73

(hand sewing),

stitch

Chanel, Coco. 23
Chemically finished
ctiart 32-33
Cirfe,

for.

168

for,

stitch, two-color, ;50-?5;, 152for,

instructions

(knitting), instructions

instructions

wraparound

;6?.'

Casting on

Catch

150-151. 152; instructions for

ensemble

an

of tl^e subject

24-25

f\cry\\c.23.

Afghan

in italics indicate

illustration

mentioned.

grain

of.

web. chart 30-31.

4243, 44. 45, 92;

chart 32-33; handling.

Gauge:

for crocheting,

forknitting. 145. 148

45.

52;

W2-W3.

Halter top, scarf as, 90.

Hand sewing

hem for, 80, 87:

M6-747

for: bacl^stitch,

167:

blind hiemming. 167: catch,

;67,-

fastening, 167:

blind. ;67; slip. ;67,-tailor tack,

165
Haynes. Virginia. 9
Hem(s): of flared garment, 81-82:
81 -82, 87: for

for.

knits. 80. 57.' lettuce, 80, 87,

garments, 91 105: scissors

,

chart 30-31 44-45:

.

81-82:wde

chart 30-31 34.

of. 30,

120; straightening, 34: striped,

stitch, blind

(hand

35: styles

for. 10;

decreasing,

sweater, 24-

for jacket. 91. 104; for

768.' knit, 768,' purl.

768' slipping,

of,

169 Seealso

making duplicate

72: for pants,

knit top. 120. 122-1 23: tor scari,

112;forsunsuit, 11

KrulUudy,10

for wrinkle-shedding fabrics,

chart 32-33
Lattice

tweed

pattern, two-color

(knitting), 746-747,- instructions

149
Laying out,

(knitting), instructions for.

35

knit fabrics. 34,

Lettuce hem, 43, 73(5-737;

instructions

Catherine. 10

Pocket(s): with

button-down

concealed.

Horizontal design pattern, two-

techniques for sewing, 42-43,

"Mish-mash,"

46: terry cloth. 75. 24-25: testing

Missoni, Rosita

for stretch. 34: throat plate for,

chart 30-31 44^5: topstitched,

,

80, 84: tubular. 34: variety of,

23. 30; very stretchy, chart 30-

Increasing (knitting), instructions

for.

168

31.34,57. 120-121:woo\, 24-25:

zippers

for. 44, 46,

47-49.

See

a/so Rib-knit fabric(s)

Knit stitch (knitting), instructions

768
Knitting: advantages

Jacket. 91. /0?-r03, 104:

pattern

for.

Jersey. M. 23, /O?. 130-131

of.

Joining knitted pieces.

144-1 45; circular needle

dropped color,
up in. 169: gauge

for.

145. 748.

by crocheting.
76P,' by sewing, (69, by
weaving. 169
instructions

144-145;

of,

blocking. 145; charactenstics

91. 105

for:

Joining yarn (knitting),

instructions for. 169

picking

of,

158,

159-160;tensionin. 145:

tunicof. 145, 756-757

161.

advantages of. 25;

See a/so

758 160-

Knitting

Knitting pattern(s). 746- /47.'

flat.

130-1 31 :blen6eti. 24-25. 31:

146-147: horizontal design, two-

bulky, chart 30-31. 34;

color,

buttonholes

for.

characteristics

/57

45. 53-57,

of, 9.

25, 30,

chad

746-747 148-149.756-

758.'

instructions

749,' lattice

for.

of,

types

10-11,58
blends.

in

23, 24-25, 28-29: characteristics

of,9.45:pongee,?8-5'9,'in

pseudo suede, 23

Preshrinking, chart 30-31 chart

,

foot; for knit fabrics,

chart

30-31 44-45: overedge, chart

,

chart 32-33. 45: wedge-point,

45

30-31. 44-45,' with rollers. 43,

44-45: for synthetic fabrics, 43,

44-45.'

in

characteristics

of.

45;

with teeth. 43, 44-45

Pseudo suede.

blends. 23. 24-P5.'

cirfe,

7;

12.23, 28-29:

accessories for sewing, 44-45:

jersey. 74,

knit.

bound buttonholes for.

24-25:

23;

52; characteristics

satin.

in

102 130-131:
pseudo suede.

closures

28-29

seams for,
for

157, 158: reversible, 146-147:

nbbed, instructions

Opening(s); circular, instructions

edging,

83,-

continuous

Puckered

of,

46, 50-

23:

for. 46. 50-5P.'

composition

748-

tweed, two-color,

two-color, 146-147, 149.756-

for.

of,

Needle(s): ballpoint, chart 30-31

opening

83: closures

uses

11;

32-33

146-147: post-and-rail tweed,

for,

of

Presser

chart 30-31 34. 43, 45; circular

.

32-33:

chart 32-33

Nylon;

pattern(s); Knitting stitch(es)

for bikini,

chart 32-33;

tips for, chart 32-33;

145, 756-757.

131: accessories for sewing.

AX 44-45:

handling, chart 32-33; pattern

up dropped color

shawl

99-

Pongee. 28-29
Poplin. 7 7, 90
Post-and-rail tweed pattern
(knitting), 746-747 756-757
758.' instructions for, 149

for,

9^

for

cnnkled. ?6-?7, chart 32-33:

769. joining yarn m.

of.

93 96

1 1

Polyurethane, 23

pieces

of,

for sewing, chart 32-33;

preshrinking,

59-65, 99-

tor.

100. 707.' patch, 91,

Polyester, 78-79, 28-29:

imitation, chart 32-33; Indian,

chart 32-33

treated, chart 32-33; types

59-161 joining

24-25. 36-39. 102-103. 104. 130-

chart 30-31.

144, 145

730-737.'

of,

758. 161;skirfof, 145, 756-757.

18

Montgomery. Constance,

Mummy cloth, 22-23.

wardrobe

flap.

91

reversible garments, 91

Mohair. 12

selection
of,

99: instructions

62: positioning

72

for,

sewing

169: picking

73, 14-15. 16-17.

instructions

1 1

58; gathered,

700. 707.' patch, pleated. 58, 59-

ribbed.

145, 148; instructions for

in. 769.'

Knitfabnc(s).

Ottavio, 36-

39: styles designed by, 36-39

Mussproof fabnc(s): accessories

for.

instructions for, 105-107:

and

1 1

58.63-65.' inseam, 91,9^,96.

i'4-.?5

Mock turtleneck,

769

Playsuit.SeeSunsuit
Pliss6,P6-i'7 chart 32-33

87

for.

99: decorative,

157. 158: instructions for. 148-

fabric(s), 74-75,

76-77 chart32-33
Picking up dropped color

for.

Lis.

Permanent-press

58. 59-62:

149

5; for

for treated fabrics, chart 32-33;

^4-P5, chart 30-31, 34;

color (knitting), /46-/47, 156-

7: for

04; for rib-

sweater-knit top, 120, 122-123:

Knitting; Knitting pattern(s)

25, 79; of synthetic fibers. 23,

167

for,

91

skirt,

Hill.Georgiana.22

sewing), instructions

1 1

reversible coat. 92. 94-96: for

reversible

768.-

for.

sewing tips for, chart 30-31

shopping tor. 30: smoothing.
stretch

piece

casting on,

off, 768,'

seams for,

7S-7a- self-binding on, 80. 85-

34; stable, chart 30-31. 34;

for separates, 80;

topstitched.sr-S?

Hemming

7P.'

out, 34. 35:

increasing,
for.

86:

/30-?3;,- for lightweight fabrics.

topstitched. SO.

chart 30-31

for.

chart 30-31 45: problems in

sewing, 43. 45; for reversible

knits,chart30-31, 105; laying

Knitting; Knitting

binding

768,'

86: pattern

of,

Knitting stitch(es), instructions

necklines

for. 84,

130, 73^-733,' duplicate piece

758,-

746-747 149.

stitch(es)

for:

preparing. 34: presser feet

157. 162: instructions for. 164-

Seealso

stretchy, chart 30-31, 34. 57;

selection

single. 167

Hat, crocheted reversible. 156-

instructions

mock

24-25: of Missonis, 36-39:

turtleneck on. 72: moderately

hemming,

149. 756-757

vertical stripe,

marking, 34. 35; "mish-mash,"

stitch(es),

instructions

SP.-

35: lettuce

lightweight, chart 30-31;

104

of,

23; dart for, 77:

76. 77;

types

fabric(s), 22-23.

of,

23

26-27

Puri stitch (knitting), instructions

continuous
opening on. 71. 85: cotton. 3637; creases in. 34. 35; for

stockinette, tricolor. 146-147,

culottes, 120; double. 23. ^4-P5.

vertical, 746-747,

c/iart 30-31. 46, 53-56, 78.

r ;4.-

stockinette, 146-147. 149. /56-

74:

color honzontal design. 746-

Pasalbessy, Anita,9

Resin, synthetic, as fabric finish.

handling, chart 30-31. 34-35,'

747,148-149.756-757

Pattern(s): for bikini, 130, 737,- for

hems for, 80, 87: jersey,

color lattice tweed. 146-147;

crinkled fabrics, chart 32-33: for

chart 32-33
Reversible garment(s),

two-color post-and-rail tweed.

culottes, 120, (?6,fordjellaba.

46. 47-49. 53-57:

edgings

for.

elasticized

80. 83-86,-

149,756-757.

149;tncolor

757, 758,' tubular. 146-147: tvjo-

waistband on.

14. 23.

24-25. (30-/3;; laying out. 34.

for, 77

for.

Purse.

768

See Shoulder bag

758,- stripe,

758, two-

Pants; pattern

for.

instructions for,

117;
7 7

7-7

78,' knit,

70^-703 704, See a/so Culottes

Rabbit hair, 24-25

Rayon, 23, 28-29

77, 92-93,

102-103, 104, 130-131, 156-157,

158, ;6P,'

colors

advantages
91

for,

90-91;

of,

crocheted, 156-

instructions

for.

165

instructions

18-19 23

Jerry cloth.

Silk,

91, 105; knitted. ;56-/57, 158.

Skirt(s). reversible: fabric, 91

159-161; styles

for,

91,

See a/so

102-

103, 105; instructions for fabric,

Bikini; Coat{s), reversible; Scarf,

108-1

reversible; Skirt, reversible

knitted. 159-160; knitted. 145,

Rib-knit fabric(s): accessories for

sew/ing. chart 30-31

collar of.

continuous opening

66, 67-68:
of.

7?; cuffs of, 66, 70. 71:

instructions for trims

67-72:

selection

of. 72:

for,

sew/ing tips

mock

pattern

chart 30-31

trims

of.

66: waistband

of, 66,

for,

Space-dyeing, 36
Stitch(es), See Crochet

Hand sewing

156-157,

758,-

1 1

; ;4.'

(46-/47

instructions

two-color (crochet), 150/5/,'

for,

103. r04,-

112; reversible. 102-

as turban, 90, 114.

Scissors. 44-45

seam allowances of.

77: hand-felled, 79: instructions

for,

77-79.

72: for knits, 76, 78-

76 77:
pseudo suede, 76
79: lapped.

155

lengthwise, chart

30-31; testing

Sunsuit, 90.

for, 34,

120
as

accessories for sewing, 43, 44-

advantages

forms

of.

of,

23; knit. 23. chart

30-31 34; manufacture

,

of,

23;

Seersucker. 22-23, 26-27. chart

32-33

28-29: pongee. 28-29: problems

Shawl,

with. 43. 45; satin. i'8-?9;

Shoes, for travel wardrobes.

Shoulder Ijag, crocheted

Pnnted

in

U.S.A.

nylon, 23.28-29: polyester. 23,

techniques for sewing. 42-43.

Seea/soFabric(s);Knit

Shirtwaist(s),9-10
1

See a/so

105-107: panfs

^Ob,scarf

705-7 18: jacket

of.

for.

90. 102-103 104.

of.

11 2-1 13: skirt of. 102-1 03 104,

7;

wraparound
104,

sunsuit

skirt of,

of,

90,

102-103,

^05.108-111

Wash-and-wear fabric(s), chart

32-33

See a/so

Wool,

Afghan crochet
Turban. .scarf as. 90,

/4

Wrinkle-resistant fabric(s), chart

18 22.24-25.28-

9, 12. 16.

29
/

154-155

32-33

Wnnkle-shedding

fabric(s). 78-79.-

accessories for sewing, chart

32-33; characteristics

fabric(s);

Pseudo suede;

knit fabric(s)

Velvet, crushed, 26-27. chart 32-

color (crochet),

50-75/, 756-

162: instructions for, /54

Rib-

146-147: instructions
Voile,

selection

of, c/iarr

chart

of,

for,

32-33;

chart 32-33;

preshnnking, chart 32-33;

Vertical bar stitch pattern, two-

Vertical stripe pattern (knitting),

23, 28; characteristics of. chart

161

for,

103, 104, 117-118: patterns

Tunisian crochet. 145.

757

top. 90, /0?-/03, 114

Synthetic fabnc(s),?8-P9;

23;

for.

instructions
of. 102. 104.

105, 70S-7

33

14: instructions for,

76, 79: standard. 76; stretch. 76,

instructions

102-103 104:

handling, chart 32-33; pattern

45: acrylic, 23;

knitted. 145. ;56-;57, 158:

of.

32-33; finish

77:

79

9^. 102-1 03 704. 105: halter

top

70^-/03, 774. 7/5-//7;

Tricot crochet, 145.

for,

plain, 77: for

knits,

104. 105-1 07: fabrics

tor,

Stretch, of knit fabrics; crosswise,

30-31, 34, 43. 45; double knit,

sweater

102-103. 704; cardigan jacket

of. 102.

Straightening, knit fabnc, 34

semistabilized. 79: stabilized.

78: for

66

(crochet). 150-151: instructions

// 5-// 7; pattern for, 11 5;

stretch, 7S; flat-felled, (7?;

Tweed, 28-29. 90
Twisted afghan stitch pattern

instructions for.

chart 30-31

Seam(s): for double-faced pseudo

suede, 76. 77: double-stitched
flattening

for,

Stockinette stitch pattern,

instructions

pattern

80, 81-82:

Afghan crochet

as halter top. 90. 102-103. 104:

See a/so Shawi(s)

hems.

coat, 101: tor

Tunic, knitted. 145, /56-/57 158:

instructions for. 160-161

149

112-113:

Topstitching: as decorative

Triacetate, P4-?5
stitch(es);

stitch(es);

tricolored (knitting),

for.

Wardrot)e. coordinated. 90-91

120; instructions for, 122-

Tracing wheel(s). 45,

32

Stockinette stitch pattern,

Saiin.28-29,chart32-33
Scarf(ves); as accessory.

Waldo, Myra, 10

wrinkle-shedding fabrics, chart

32-33

169

rows
woven-

66. 68-69: with

fabric garments. 66. 68-69, 75

instructions for. 100

Top. ribbed-knit, 120-121;fabrics

on reversible

Slipping a stitch (knitting),

on woven-fabric

of stitching. 74: tor

Ties, as closure, 92-93:

for knits. 84: of

167

ribbed,

garment,

167
24-25

for,

element. SO; of faced neckline

for,

Knitting stitch(es)

71
Rollin. Betty,

5.

125: panerr^ tor. ^20. 122-1 23

(hand sewing),

Soil resistance, of fabrics,

sunsuitof, n4;topof. 120-121:

Throat plate(s). 43. 44-45

for,

159

instructions

instructions

chart 30-31

for,

instructions for

Slip stitch (crochet), instructions

Slip stitch
of,

laying out pattern on, 35:

turtleneck

1:

;56-;57 158. See also

Reversible garment(s)
for.

tiandling, c/iart 30-31

(hand sewing),

Tailor tack, single

reversible, 156-157. 162:

157. 162. 163-165; fabrics for,

for,

sewing tips for, chart 32-33

Wrinkled fabric(s), 22-23, 26-27:

methods of manufacturing,
c/iarf

32-33

149

?S-?9

Yardage requirements,
determining,

79.

738

Waistband(s): with casing, 73:

with continuous ribbed

opening, 71: elasticized,

enclosed in casing, 73:
elasticized. with heading,

75.'

elasticized, with multiple

rows

Zipper(s); exposed, for double-

layered ribbed collar. 47-49.'

instructions
knit

for,

garments,

47-49: for

44. 46: with

of stitching, 74; with heading.

mock turtleneck.

75: instructions for. 68-69, 71.

self-binding, at neckline.

73-75: for lightweight knits, 74:

72: with

26,

^&mm