Decorative Stitches THERE ARE TWO types of stitches-utility stitches used for basting, sewing, gathering, etc., and surface stitches that are used for fabric decoration. The utility stitches you most often need to use in making fabric furnishings are shown elsewhere. The stitches shown here you can use on table and bed linens, in making samplers, on crazy quilts-they have many uses, in fact, once you know how to make each perfectly. Here, just as with the "Fashion Aids," it is worthwhile to practice before you begin your work. You must learn how to make each stitch uniformly before you try to use it to decorate your fabric. Needlework was taught originally by means of samplers. The student learned the principle of the stitches by looking at another's sampler and making a matching one of her own. This she kept always, and she referred to it when she needed to remember how a stitch was made. Decorative samplers were also used to illustrate proverbs or sayings, to record important family dates and favored mottos, "Home, Sweet Home," being the most popular of the latter. The sampler we show here includes many of the stitches you will learn and use. Study the design and compare it with the stitches on the following pages. Twenty-four favored stitches are shown - that you will find useful throughout the years. Louisa F. Pesel, one of the authorities in needlework, believes that one should never try to tell how to make a stitch, but should rather illustrate how it is made. That is done for you here. In the illustrations,.note the position of the needle and thread for each stitch. Practice these stitches on a scrap of fabric and with a coarse thread, and be sure that you know how to make them perfectly before you begin work. shown. Repeat this until the entire edge is neatly finished. Buttonhole Stitch. The illustration shows in detail the stitch used in making a hand-finished buttonhole or for cut work embroidery. Use thread heavier than for sewing the fabric. Start with a back-stitch, bring the needle up on the right side as far from the edge as the depth you want your stitches to be, depending upon the fabric and the article you are making. Put the needle through from behind; bring it out alongside of the first stitch, at the same time bringing the thread under the needle as 1
Tie Tack. The illustration shows a tie tack which is used to tack the lining to your drapery. With a heavy-duty thread, make two stitches from 1" to 2" long by catching the double thread to the lining hem, then through one thickness of the drapery hem, then back through the lining. Then buttonhole-stitch over the threads as shown. This keeps the lining from sliding up. 2
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Basic Stitches WE SHOW YOU the essential stitches here in the form of a sampler. Each stitch is shown in the size most often used. If sewing is new to you, make a small sampler 01 these stitches just to be sure you can make them beautifully when you start on nice new fabric. These are the utility stitches used most often in construction. The long tack, which is used in putting linings in position, is shown in illustration G2. A. Running-Stitches. Someone asked why the name "running-stitch." Well, it could be called so for two reasons: The thread does run along the seam line of the fabric in even stitches that might be steps. Again the name may have been given because with the point of your needle you pick up a small bit of fabric and take from three to six stitches on the needle at one time, picking these up in little steps and doing this so quickly that it could easily be called running. You will have many occasions to use running-stitches in sewing. Practice until you can take up several stitches at a time on your needle before pulling your thread through, and learn to insert your needle along a thread of the fabric to insure a very straight line. Learn at the outset to make your stitches even. Some people start out painstakingly make tiny stitches and then, after a few inches, gallop along with stitches that are nothing less than basting stitches. Running-stitches should be even in size for the entire length of the seam and should be small-a scant 1/16 to ⅛ is ideal. The more sheer the fabric, the shorter the stitch, of course. Basting-Stitches. Basting-stitches should be called temporary stitches since they are almost invariably removed. They are used simply to hold edges in position until they are sewn together permanently. The length of your stitch and the kind of basting-stitch you use depend on the exactness of the work in hand, whether the fabric slips or slides or whether it holds together easily, also to some extent on your skill in handling the fabric under the presser foot of your machine. B. Even-Basting. Even-basting is a long running-stitch. The stitches can be ⅜ to ½ long. Take 3 stitches at a time on your needle before pulling the thread through - then repeat. Use even-basting when accurate work is necessary-especially for fabric that slips or sticks. C, Uneven-Basting. Uneven-basting is made by taking a small stitch, then a long stitch, and picking up the fabric again with the point of the needle so that your stitch itself is ½ to 1 or more long with the intervening stitch ¼ in length. It is used generally in making fabric furnishings as it goes more quickly than even-basting. D, Diagonal-Basting. Diagonal-basting is used when you need more strength in holding the fabric together than the even- or uneven-basting gives. For this you limply take a long stitch lengthwise on your fabric and than put your needle in straight downward, making a 7
short stitch of ⅛ to ¾ ; then put the needle in again at a distance beyond this that is convenient and right in length for the fabric. Sometimes diagonal-basting stitches are made 3" or 4" long, as in holding the material of a comfortable together for quilting or when a heavy drapery and lining are to be held together in preparation for stitching. For other purposes they are made ½" to 1" long. E. Pin-Basting. Many people who are expert in handling fabric pin the two edges of the fabric together. The pin heads point toward the seam edge (so that they may be removed as the stitching line reaches them) and the pins are placed 3" or 4" or 10" apart, depending upon the skill of the baster in handling the material and in using pins rather than basting. Pin-basting saves time and is very practical for the experts. After you have made fabric furnishings for a while, you will soon learn what you should baste with thread and what you can pin-baste. In factories, where skilled fingers are a requirement, girls can hold two pieces together so perfectly that they will come out even to a thread at the rod of a seam, doing it without so much as the aid of,ins, This requires practice in handling fabric-a "feeling" for fabric really. It is something to work for, but is not recommended except for one who sews a very great deal and has such a natural aptitude with fabric that she can handle it under the machine without its drawing, pulling or fulling the least bit. I, Back-Stitching. Looks like machine-stitching on the right side. It is one of the strongest hand-stitches. It is used in embroidery and should be used to terminate every row of hand-sewing that is to remain permanently. The top stitch-a short one-is taken backward; the under stitch is taken forward and is twice as long as the top one. G. Combination-Stitch. Is quicker than back-stitching because it consists of one backstitch and two or three running-stitches. You put the needle in each time for a back-stitch, and bring it out via the running-stitches. H. Hemming-Stitches. There are a variety of stitches suitable to "put down" a hem. At the top of the sampler is shown the running-hem, which looks like a running stitch on the right side, but shows tiny upright stitches on the wrong. The best way to make this is to pin the end of the hem to the table and hem toward you. Take up a thread of the fabric; then bring the needle under the hem and through to the outside. This type of hem is often used where machine-stitching would show, as on a brocade or heavy damask, and is an especially nice stitch to use when "putting a hem down" on the right side. I. Whipped-Hems. These are used when an edge is to be felled down quite flat-and when there is no reason for the stitches not to show. To make such hems, simply catch up one or two threads of the fabric and bring the needle through the creased edge of the hem. Repeat until the hem is finished. Experts learn to weave their needles along and take three stitches on the needle before they pull it through. A little practice in doing so pays big dividends in increased speed and evenness in work. 8
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J. Overcasting. Often used as a decorative stitch and more often to prevent a raw edge from raveling, overcasting is necessary for materials that fray easily. To make it, insert the needle for each stitch from the under side of the fabric and bring it out' on the top side. Take several stitches on the needle; then pull it through. Repeat until all the edge is overcast and the diagonal stitches appear as shown. The space between the stitches should be a little greater than their depth. This rarely should be more than ¼", even when it is used for fabric furnishings. K. Overhanding. Originally fabrics were woven on small hand looms-some no wider than sash ribbons. In order to make such fabrics wide enough for garments, widths were joined together with the overhanding-stitch. A secure seam was necessary and one that would open out flat. Overhanding, even now, is usually used to sew two selvages together. It is used in joining pieces of fur. For our purposes it is especially useful in valances, pin cushions, ribbon sachets, etc., where two edges need to join securely with a scarcely visible stitch. To make it, baste the edges together, selvage edges lining up precisely. Whip over and over these, inserting the needle from the wrong side and taking a short stitch toward you. Place the stitches as close together as is consistent with the texture of the fabric you are using. Learn The Essential Seams IN DRESSMAKING the plain seam is used more than any other. It almost invariably forms the body seams of the garment. In fabric furnishings, it is used chiefly for piecing and that rarely because the width of fabrics for furnishings is usually correct for draperies and corded or welt seams are used for slip-covers. A plain seam is also used for joining drapery and lining materials, for flounces and ruffles. A. Plain Seams. For these you smooth two edges of fabric together on the table, slip the fabric together with your fingers so that it is not stretched or pulled, pin the edges and baste them together, the basting line a seam's width (usually ⅜") away from the edge. Place this basted seam line under your sewing machine presser foot and stitch either inside or outside the basting line. Never stitch directly on the basting thread because then it will be difficult for you to remove it. Before you start to stitch on a fabric you have not used before, practice stitching on a scrap of it-make a seam, check the length of the stitch, the tension, the thread. Be sure that you have a nice even stitch of the correct length. Stitches in fabric furnishings are usually slightly longer than stitches in garments that are going to have a great deal of strain on the seams. Where you use twelve to fourteen stitches to the inch in garments, you may use eight to ten stitches to the inch in fabric furnishings. The length of the stitch is governed, however, by the weight of the fabric and the daintiness or sturdiness of the work. Thick work requires a long stitch because the thickness shortens the stitch. For example if you are joining a lining and a drapery fabric together especially 10
if a cording is in between, a long stitch is desirable, but if you are making organdy curtains, you do not want a long stitch. 11
Remember, in order to stitch a straight seam, you must sit up to the machine, nose straight in line with the front. Pull your chair up to the machine-don't sit on its edge-and rest your arms on the machine so that there is no strain in the muscles of the arms. This ease of position enables you to concentrate muscle control in the tips of your fingers and therefore do much more skillful work than if your muscles were straining to hold your arms in position. To demonstrate the virtue of this point, just try-sit back from your machine and reach your arms out so that you feel the strain. Try holding fabric and using your fingers. Then pull yourself close to the machine, sit well back on your chair, sit upright, rest your arms on the table of the machine and notice how much easier it is for you to use your fingers for precise work. When stitching a seam, try to stitch in a straight line exactly as you do when you baste it; true seams always look nicer when they are pressed, always hang better and are well worth the little care that is required to make them. When you have made a plain seam, usually in draperies, flounces, etc., it is not necessary to fir the raw edge because it often is concealed. But, if raw edge is to show-decide the best method of finishing it. A favored group of finishes are given here. B. Overcast Seams. Overcast seams may be made with the two edges of the seam overcast together or the seam pressed open and each edge overcast separately. C. Pinked Seams. The seam edge may be pinked with pinking shears or by notching with the scissors. This is done, of course, before the seam is pressed open. D. Clean-Stitched Seams. A seam widely used in dressmaking, and in ready-made dresses especially, is the clean-stitched seam. It is practical for piecing seams in drapery fabrics that fray easily. Each edge of the seam is turned a scant ⅛" and stitched; a long stitch is used and the edge of the seam is stretched slightly to avoid tightening. E. Bound Seams. There are rare occasions when you need a bound seam for the hem edge of unlined draperies or where the seam is used as a decoration. To make it, you simply baste bias binding over the seam edge and stitch it in position. F. Lapped Seams. These are used for piecing interlinings and paddings or where a flat concealed joining is necessary. Simply lap one edge over the other ⅜ to ½ and stitch down the center of the overlap. G. French Seams. You will use a French seam many, many times, especially in sheer fabrics. To make this, you first stitch a narrow seam, making it on the right side of your fabric. Stitch nice and straight; then trim carefully any frayed edges, turn the fabric over and make another seam on the wrong side, a little wider than the first-just wide enough, in fact, to conceal all the raw edges of the first seam. If you are using organdy or lawn, you can crease the first seam with the finger to open it so as to get a nice smooth French seam. If you are using silk, it is advisable to press the first seam before making the second stitching. 12
H. Flat Fell Seams. For bedspreads and ruffled curtains, you will often have need of the flat fell seam. To make this, you move one edge of the fabric back to ⅜ to ½ ' from the edge to which it is going to be joined and stitch the two pieces together; then turn the raw edge of the wide side of the seam down ⅛, open out the fabric and stitch it flat as shown. I. Welt Seams. You make a welt seam in much the same way as you do a flat fell-the difference being that, when you make the seam, you place the right sides of the fabric together instead of the wrong sides, putting in your first row of stitching and then your second. Thus only one row of stitching shows on the right side. J. Upholsterers' Welt. This seam is really the French seam made to come to the right side of the fabric and is often used in slip-covers. For this you place the right sides of the fabric together and make your first seam, then you turn it and make a welt so that it comes to the right side. This is often only ⅛ deep, as it does not have to conceal all of the raw edges of the first seam as in the French seam. This seam you will use many times, and it is a good idea to practice making it until you know how to do it perfectly. It is especially useful to know how to go around curves or square a corner with such a seam. K. Corded and Piped Seams. Corded and piped seams, because of the several steps necessary to the making of them, are taken up where they are actually used for the first time in the making of specific fabric furnishings. A piped seam is made on the same principle as the corded by inserting a decorative edging between two edges of a seam. Edge Finishes There are many ways to finish edges. Choose the one that suits your fabric and your purpose. A. Frayed Taffeta Finish. Often when a light, fluffy effect is desired, as on a dressingtable skirt or cushion or occasionally on a valance, a frayed taffeta finish is used. To make this, you cut a true bias edge of taffeta, Then all you do is pull it between your thumb and fingers at regular intervals so that the little puffs are even in the bias length. Practice with a little piece of the fabric until the work looks uniform. B. Pinked or Notched Edges. These are often favored for taffeta and for glazed chintz. There are pinking shears that do the pinking very nicely and there is a sewing-machine pinker that is ever so practical. This is a particularly nice finish for scallops and for edges where you are using a plain-colored chintz and a flowered, one laid over the other. To pink such scallops, outline your scallops or points with pencil and then cut carefully with the pinking shears or pinker. C. Picot Edges. Picot edges should be done on a hemstitching machine. There are many small attachments for hemstitching. Where you have rows and rows of it to do, it is to 13
your advantage to take it either to the sewing-machine shop or to a professional hemstitching shop and have it done there. They charge you by the yard. Your part in having a good hemstitching job is to baste or mark with chalk very carefully where you want the hemstitching done. Be sure that a good operator does your work for you so that you will be satisfied with the result. Picot is simply hemstitching cut in two. If you have ruffles to do, place your ruffles so that you gain two rows of picot with one of hemstitching. If you want a 2½ ruffle, place your basting lines 5 apart, cut your picot, then cut your ruffles in half. 14
D. Italian Rolled Hem. Where you do not wish a stitching line to show, take a tiny slipstitch in the fabric and then another in the turned hem edge, taking three five stitches and then pulling your thread through these stitches are ⅛ inch in length and fairly close together, you will have a secure and attractive hem, particularly desirable for organdy; will launder especially well if the hem is straightened a little as it is roned. E. Overcast Seams. A hem popular for lingeries and home furnishings is one that is made simply by turning a narrow hem, the first turn a scant ⅛ inch and the second a little more than ⅛ inch, and then overcasting through this hem, taking several stitches on the needle at one time. This makes a nice finish and an attractive one especially if heavyduty thread is used. F. Shell Edges. On very dainty voile curtains, the shell edge is often used. The selvage is cut away and the hem turned first ⅛ inch and then ¼ to ½ inch; you make five or six tiny running-stitches and then an overhand - stitch to draw the hem edge down in line with the running-stitch. The overhand-stitches are taken from ½ to ¾ inch apart, the distance depending upon the depth of the hem. For a ⅛ inch hem you make your overhand-stitches ½ inch apart and for a ¼ inch hem, ¾ inch apart and so on. G. Napery Hem. Napery hems were originally used to hem napkins so that they would look the same on both the right and the wrong sides. The stitch here is really a series of overhand-stitches close together, the secret being that you use it only in firm fabrics. To make your hem, turn the raw edge in, turn the hem and then turn this hem back to the right side of the fabric exactly on the hem edge. Then, when you put the napery hem in, you catch the hem and the fabric at the same time, making the stitches very close together. When the hem is pressed, the stitches look the same on both sides. H. Milliner's Fold. Decide how wide you want the fold to be. A fold ⅜ inch wide is right for bedspread flounces, while a fold ½ to ¾ inch wide is better for a lamp shade, pillow top or tieback edge. To make a milliner's fold, turn the fabric to the right side, a little less than twice the width desired for the finished fold. Make a second turn, the width of the fold, bringing the folded edge to cover the raw edges. This will give you four thicknesses on the right side. From the wrong side, catch through three of these thicknesses, using uneven-basting-stitch-and matching thread, of course. I. Slip-Stitched Hems. Turn the hem, crease or stitch the raw edge of the hem down, take a tiny stitch in the fabric of the drapery or curtain and a long stitch in the hem edge. Make the stitches easy; never draw them tight. Stitches should not show on the right side. J. Tucked Hem. For a crisp fabric (such as net or maline) where a narrow edge is desired, make a tuck slightly narrower than you want the finished edge to be-1/16 ⅛ or ⅜ inch. Make the tuck far enough away horn the edge, so that you can fold it in to form a simulated binding, as shown. The tuck illustrated is a scant ⅛ inch wide; so it is made ⅜ inch from the edge. Catch the hem in place with small even-basting-stitches. 15
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K. French fold Binding. Fold a true-bias strip in half lengthwise. Stitch the edges to the right side of the fabric, making the seam very narrow. Trim close to the seam. Turn the folded edge over and slip-stitch or whip it down, making your stitches as unnoticeable as you can. Press from the wrong side. The finished width should be from ⅛ to ¼. L. Half-Feather-Stitch Hem. This hem is used a very great deal in putting in drapery hems because it is little quicker than a slip-stitch and is particularly practical for corded, Jacquard or damask fabrics on which you can catch up a surface thread of the fabric with out catching into the fabric itself. You simply take a tiny thread in the fabric and bring the needle through the hem and over the thread. Work toward yourself for the effect illustrated. A little practice is needed do this hem nicely. It is used only where the hem comes to the wrong side and is not seen. M. Hand-Felled Binding. Often one edge of bias binding is stitched by machine to the right side of fabric and the other edge whipped down on wrong side as illustrated. This is an excellent way to bind quilts and draperies when thickness prevents using the machine binder and when a flat, smooth finish is necessary, you are using an edge having large shallow scallops ease the binding on-never stretch it. N. Machine Binding. The sewing-machine binder hold No.5 bias binding so that it may be applied without basting and with just one row of stitching. If you can hold it as easily as the binder does, then you use No.3 or No.4 (narrow) or Nos. 6 to 12 (wider), bias binding, doing this without the binding attachment and with just one row of stitching, as shown. O. Imitation French Binding. Stitch the true-bias piece on, as illustrated. Crease the other edge ¼ inch. Turn bias to the wrong side, extending the creased edge scant ⅛ inch beyond the first stitching line, as shown. Stitch from right side, stitching exactly on line where fabric joins binding. Press from the outside edge in. This will practically conceal the stitching line. Excellent for voiles and sheers where considerable binding is necessary to finish edges. P. Center-Stitched Binding. This is considered more decorative than plain binding. First, stitch right side true-bias piece to wrong side of fabric, using a ⅛ seam. Press seam up into the binding. Crease binding so as to bring free edge even with top edge of seam. Press fold down and to right side. Stitch directly through the center, as shown. A ruffle or lace may applied with the first stitching and binding brought over to conceal the joining. Q. Stitched Hem. Often in net or lawn or very fabric, the hem can be stitched with three or more rows as shown. Turn the hem allowance to position, baste. Place tissue on the wrong side; and stitch from the right side, making as many rows of stitching as you desire. Pull the paper away. Trim off any surplus in the hem width above the last row of stitching. 17
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