Create a Scalloped Skirt Hem

Interlocking Scallops by Kathy Barnard

Scallops can be used in many ways to add interesting lines to garments. One of our favorite uses for this unique design element is the scalloped hem. There are a number of commercial dress patterns around that feature scalloped hemlines, but have no fear if you don't have one handy! This tutorial by Kathy Barnard from our May/June 2011 edition will show you how to easily add a scalloped hem to any basic skirt pattern.

1. Cut a skirt to desired finished hem with no hem allowance.

2. On wrong side, draw a line 2 inches from bottom edge across skirt.

Figure 1

3. Make a template using a large 7-inch circle. Mark a line 3/4 inch from circle center and draw a line across it to establish scallop height at 3/4 inch (fig. 1). Cut off top of circle to use for a wave template (should be approximately 5-3/4 inches long).

Figure 2

4. On wrong side of skirt, starting at side seam line (1/2 inch from edge), draw a half scallop above the line, then flip the template and draw a whole scallop bellow the line. Continue drawing nine whole scallops across front, alternating them above and below the 2-inch line. End with a half scallop facing up. Leave a 1/2-inch seam allowance and trim off side of skirt to fit if necessary to keep scallops even and math easy (fig. 2). Repeat for back skirt. Do not cut out scallops.

5. Tear two hem facing strips from skirt fabric or from a solid lining fabric 4-1/4 inches by width of fabric. Cut to exact measurement of skirt front and back.

6. Sew side seams of skirt together and sides seams of facing together.

7. If applying trim, draw a line 1 inch above wavy line on right side of skirt and glue baste trim in place. Stitch trim in place before adding facing (a double needle is great for applying spaghetti bias, or use clear thread and a buttonhole stitch on your machine and stitch both sides).

8. Place facing to bottom of skirt with right sides together and pin all around in a tube.

Figure 3

9. Stitch following the traced wavy line on the wrong side of the skirt (fig. 3).

10. Trim 1/4 inch from stitching and clip inner curves and notch outer curves. Turn facing to inside and press wavy seam edge.

11. For contrast peek-a-boo band, tear contrast fabric 10-1/2 inches by width of fabric. Cut to match bottom width of skirt and sew side seams together to form a tube. Fold tube in half with wrong sides together, matching raw edges and press fold.

12. Separate hem facing from skirt and pin raw edges of contrast band to raw edge of facing with right sides together. Stitch with a serger, or straight stitch and overcast edge with a zigzag.

13. Pin facing and contrast band seam to inside of skirt and blind stitch or pick stitch catching just a thread of the skirt fabric to hold facing and band in place.

For more sewing ideas, don't miss our new 2011 Sew Beautiful Collection CD. This CD includes all six issues of Sew Beautiful magazine from 2011, complete with printable patterns, project templates, sewing tips, technique tutorials and endless inspiration!

Sew On, Sew Well, Sew Beautiful,
Cyndi and Amelia

Quick and Colorful Bias Strip Embellishments

Black and White Swirls (left) and Green and Turquoise Waves

Bias strips are typically used for trims or binding, but they can also be used to make colorful and oh-so-easy embellishments. Raw bias strips were sewn directly to the fabric before constructing the two children's outfits shown here. The garments, which first appeared in our May/June 2006 issue, were designed by our former editor Kathy Barnard and constructed by Carolyn Sheron. The basic embellishment technique used here could be applied to a variety of different projects, however, so be creative!

Additionally, any machine embroidery motif can be embroidered directly over the bias strip - a trail of ladybugs could be stitched on the black and white swirl design, or embroidered flowers could be finished off with wavy bias strip stems and leaves. Boys would love an airplane with a trail of loops across a T-shirt or a pair of shorts.

The raw edges of the bias strip do not fray and look great left flat, or brushed for more fluff as shown. Only one layer of fabric is used in this technique, unlike traditional chenille shaping, which requires several layers. No template is necessary; simply draw waves and swirls on your paper pattern and transfer them to the fabric with a washout marker. Apply the bias strips directly on top of the right side of the fabric after the pattern pieces are cut out. Then, construct the garment as directed in the pattern. If using machine embroidery, you may need to leave enough fabric for hooping before you actually cut out the pattern. Details for each outfit are included below:

Figure 1

Black and White Swirls

Pattern, made from black and white cotton corded piqué, is the "Sleeveless Flared Top" and the "Short Skirt" from the book Contemporary Heirlooms for the Older Girl by Martha Pullen. Carolyn shortened the size 10 top by 2 inches to meet the waistband of the skirt. The front skirt pattern was adapted for a flap front. To make a flap front, simply cut out two front skirt pieces; draw a straight line from top to bottom on one piece approximately 1-1/2 inches from the left top edge then cut on the line (fig. 1). Embellish the front with bias strip swirls. Hem the cut edge with a double fold 1/2-inch hem, and place on top of whole front skirt. Treat as one layer to complete construction.

Figure 2

Green and Turquoise Waves

Pattern, in lime green and turquoise cotton corded piqué, is a modification of "Abbey" from Children's Corner. One inch was removed from the outer shoulder edge on the size 4 and tapered into the arm curves to bring the shoulder edge closer to the neck. The top was shortened 4 inches (fig. 2). The pants were made according to the pattern (note: pants run long in the crotch; we removed 2-1/2 inches from the top of each pant piece to make waistband meet child's waist). Carolyn made a fabric flower pin for the top (template and instructions are included on the pullout centerfold of the magazine).

For more great projects, check out our newly released Sew Beautiful 2006 Collection CD. 

Sew On, Sew Well, Sew Beautiful,

Cyndi and Amelia

Choosing Fabric for a Wedding Dress

At the beginning of the year, we encouraged our newsletter readers to take on a challenge and try something new. Well, I (Kathy) took that advice to heart and have bitten into a huge project - I agreed to make a wedding gown for my dear friend's niece! I have a busy job as editor of Sew Beautiful, but I just could not resist the challenge. The wedding is in May, and I've decided to blog about my progress as I tackle each component of the gown until the big day. I think it will be a fun way to share all the knowledge I gain with you - not to mention that I'll surely need some encouragement along the way!

Preliminary sketch of the gown. Start with a plan!

Design

You must start with a plan, so help the bride decide on a design. Sarah Grace came to me with several photos and a basic "dream" in mind. I listened carefully and began to sketch. After a few adjustments here and there, we landed on the perfect design for her. She wants an almost backless, strapless dress with a fit and flare, trumpet-style skirt and a shallow train. When planning your design, you do need to be sure it is realistic for the bride's body type - luckily for me, Sarah Grace's figure fit her dream gown perfectly. Next, I purchased a combination of patterns that bore a basic liking to the top and the bottom of the gown.

Fabric, netting and lace.

Fabric

An important part of the design process is choosing the right fabric to achieve that "drape" and appearance you want. We chose an oyster-colored (think mother-of-pearl button) silk duchess satin. This is a very expensive fabric, but well worth the results you get for your investment. We will use a netting overlay with alencon lace edging and appliqué as a float on top of the satin. While all of that sounds luxurious and beautiful, don't be fooled - it will only look like a badly sewn rag without the proper foundation.

Foundation

I plan to use silk organza for the interlining of the dress. This will be the fabric that forms the shape to the body so that the silk satin can simply act as a beautiful shell. This fabric will lay behind the satin for every pattern piece, and the two layers will be seamed and sewn together as one. It is on this interlining that facings, seams and hems will be hand tacked. I have chosen the Martha Pullen silk "Elegance" for the lining. It's perfect because it is a silk and cotton blend. It is lightweight and smooth, but not too slinky. It is also easy to handle, and the cotton makes it breathable and comfortable for a nervous bride.

Playing around with netting for a ruched bodice. The bustier is underneath for shaping. The satin will lay underneath the netting on the final gown.

Structure

Creating a wedding gown takes a bit of smart engineering - and like every good structure, there is a cornerstone that holds it all up. For a strapless gown, that cornerstone is the bustier. This is the component that hugs the bride's body in a death grip while the outer dress appears to be floating gently over her curves without stretch or strain. The bustier holds the boning in place, while the boning holds the dress on the body and keeps all of that delicate fabric from collapsing. The bustier for my gown is actually made from a "corseting" fabric I found from Vogue fabrics at a sewing expo. It is quite stiff and uncomfortable, so the interlining of choice was a soft heirloom cotton flannel. This provides a soft, unnoticeable padding between the lining and bustier to create comfort and shape. 

Here is a list of great fabrics for various elements of a wedding gown. Most of these are available at store.marthapullen.com, and you know we carry white in everything! TIP: Try to use silk if you can possibly afford it. It just performs the best - and after all, it is your wedding gown. Go cheap on the interlining and lining if you have to.

• Silk duchess satin
• Silk dupioni (White, Ivory, Ecru) - Wonderful for bridesmaid and flower girl dresses, and we carry a large selection of colors.
• Silk Taffeta - A crisp fabric great for a full style; not to be confused with poly taffeta.
• Netting (White, Ivory) - Cotton or bridal is fine; great for overlays, lace appliqué foundations or bodice ruching. Also good for large princess skirts, foundation under a full skirt and veils.
• Silk organza - The perfect interlining, but can also be a beautiful overlay.
• Tissue silk - Great for an overlay or a lining. I love to see machine embroidery on tissue silk with an ecru satin underneath to really make it stand out.
• Silk Elegance - Cotton/silk blend makes the perfect lining.
• Cotton batiste - Can also make a great interlining or lining, as cotton is comfortable and breathable.
• Cotton flannel (White, Ivory) - A lightweight heirloom type is best for bustier interlining.
• Heavy satin or corseting fabric for a bustier

Muslin for half of the bustier. Sew a practice dress in muslin first to perfect the fit. Write notes on the pieces and use them for cutting the silk.

Oh, I almost forgot one of the most important fabrics - good old cheap muslin! Don't attempt to cut into that luxurious silk until you've practiced on a good-fitting muslin copy of the dress. Deconstruct the muslin, make adjustments and use that to cut out the silk. You'll be glad you took the extra time for this step. For more wedding gown sewing inspiration, I recommend the books Claire Shaeffer's Fabric Sewing Guide and The Dressmaker's Handbook of Couture Sewing Techniques by Lynda Maynard.

Sew On, Sew Well, Sew Beautiful,

Kathy Barnard