Claire Shaeffer''s fabric sewing guide

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CLAIRE SHAEFFER’S
FABRIC
SEWING
GUIDE
2nd Edition
Claire Shaeffer’s
FABRIC SEWING GUIDE
2nd Edition
SEWING
Claire Shae er’s Fabric Sewing Guide
is your one-stop sewing resource.
Internationally respected author, lecturer, college
instructor and columnist, Claire Shae er has completely
revised her classic standard on fabric.  is encyclopedic
guide to the selection, wear, care, and sewing of all
fabrics has been updated to include comprehensive
information on:
• Fiber Content
• Fabric Structure
• Fabric Types
• Interfacing and Linings
• Sewing Techniques
 is new full-color edition contains everything you need
to know, and will surely be a reference you will review
again and again. In addition to an extensive glossary
with answers to the most common sewing questions, this
must-have guide includes easy-to-read charts for needle
sizes and thread and stabilizer types.
Join a world of cra ers at
www.mycra ivity.com.
Connect. Create. Explore.

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Z0933_Shaeffer_cov.indd 1Z0933_Shaeffer_cov.indd 1 7/24/08 5:14:13 PM7/24/08 5:14:13 PM
Krause Publications
Cincinnati, OH 45236
www.mycraftivity.com
•
Connect. Create. Explore.
FABRIC
SEWING
GUIDE
CLAIRE SHAEFFER’S
Z0933i_Shaeffer_p001-011.indd 1Z0933i_Shaeffer_p001-011.indd 1 8/1/08 10:21:11 AM8/1/08 10:21:11 AM
Krause Publications
4700 East Galbraith Road
Cincinnati, OH 45236
© 2008 by Claire Shae er
Published by
All rights reserved. No portion of this publication
may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including
photocopy, recording, or any information storage and
retrieval system, without permission in writing from
the publisher, except by a reviewer who may quote

brief passages in a critical article or review to be
printed in a magazine or newspaper, or electronically
transmitted on radio, television, or the Internet.
Other  ne Krause Publications titles are available from
your local bookstore, cra supply store, online retailer
or visit our website at www.fwpublications.com.
12 11 10 09 08 5 4 3 2 1
Project Manager: Jay Staten, Toni Toomey
Content Editor: Barbara Smith
Copyeditor: Barbara Weiland Tagart
Illustrations: Rachael Knier and Rachael Smith
Cover designer: Julie Barnett
Interior designer: Sandy Kent and Rachael Smith
Photography (unless otherwise credited):
Claire Shae er and Sarah Benson
Library of Congress Cataloging-in-Publication Data
Shae er, Claire B.
[Fabric sewing guide]
Claire Shae er’s fabric sewing guide / by Claire
Shae er. Rev. ed.
p. cm.
ISBN 978-0-89689-536-2 (pbk. : alk. paper)
1. Textile fabrics. 2. Dressmaking. 3. Sewing.
I. Title.
TT557.S53 2008
646.40028 dc22
2008017158
 e following registered trademark terms and
companies appear in this publication
A.C.E.®, Acrilan®, Agilon®, Airlo ®, Alaskine, Alcantara®, Anso®, Antron®,

Aqua Shell®, Aqua Shell®, Aquator®, Armo® Wool, Armo® Rite, Arnel®, Avisco
XL®, Avlin®, Avril®, Avron®, Avsorb®, Ban-Lon®, Barge™ cement, Barge™ glue,
Beau-Grip™, Bernina®, Bernina® Aurora 440, Bi-Lo ®, Bio Fresh, Biz, Blue C®,
Borgana®, Bully Lock, Byrd Cloth®, Cadon®, Caprolan®, Captiva®, Caressa™,
Casuwool®, Celanese®, Celebrate®, Chinella®, Chromespun®, Citi eece, Cleer-
span®, Clover™ tire thread, Coloray, Comfort Fiber®, ComFortrel XP®, Com-
Fortrel®, Comiso®, Comulo ®, Cool Wool®, CoolMax®, Cordura®, Core-Lock™,
Courcel®, Courtek M acrylic™, Creora®, Creslan®, C- ru® Ruler, Dacron®,
Dan-Press®, Dantwill®, Darleen®, Darlexx Superskin®, Darlexx®, Dorlastan®,
Dow XLA™, Drima™, Drizzle Cloth™, Dryline®, Dura Spun®, Du-Rel®, Du-
rene®, Durvil®, Dynel®, Eco l®, Eco-Friendly™ Batting, Eco-Friendly™ Batting
Blend, EcoSpun®, Ecsaine®, Eloquent Luster™, Eloquent Touch™, Encron®,
Enka® viscose, Enkacrepe®, Enkair®, Enkalure®, Enkasheer®, Entrant®, ESP®,
Espa®, Essera®, Estron®, Eucalan® Woolwash, EZ® Stitch- ru, Facile™, Fairtex®,
Fantastik®, Fibermet®, Fi-lana®, Fine Fuse®, Formula 409®, Fortisan®, Fortrel®
MicroSpun®, Fortrel®, Fox bre®, Furelle®, Fusi-Knit®, Glore-Valcana®,
Glospan®, Golden Glow™, Golden Touch™, Gore-Tex®, Gore-Tex®, Hang
Loose™, Harris Tweed®, Heat’n Bond®, Helanca®, Herculon™, Hi-Tech Sup-
plex®, Hollo l®II, Hump Jumper®, Hydro l®, Ingeo®, Interspan®, JetSpun™,
Jean-a-ma-jigs®, Ji y Fuse™, Kevlar®, Kinder eece, K-Kote Plus®, Knit Fuze™,
Kodaire™, Kodalite, Kodel®, Kodo ll™, Lamous®, Lastex™, Lenzing Lyocell®,
Lenzing Modal®, Lethasuede, Lifa®, Lorette®, Lurelon®, Lurex®, Lustra®,
Lycra®, Marimekko®, Matte Touch®, Maxi-Lock®, Metalastic®, Metlon®, Me-
tro ock®, Metrolene®, Metrosene Plus™, Mettler Poly Sheen®, Micro Modal™,
Micro ®, Micromattique MX®, Microso ®, Microsupplex®, MicroSupreme®,
Microtherm®, Milium®, MiniMicro®, Mitin®, Mylar®, Mystique™, Natural
Luster®, NatureTex™, Naugahyde®, Needle Glide®, No Shock®, Nomelle®, No-
mex®, Norae®, Nordic Fleece®, Nupron®, Opelon™, Orlon®, Palm Beach®, Pa-
Qel®, Pellon®, Pil-Trol™, Plyloc™, Polar eece®, Polarguard®, PolarLite®, Polar-
Plus®, Polartec®, Polartec® Power Dry®, Polartec® Power Shield™, Polartec®,

Power Stretch®, Posder Dry®, Prima®, Qiana®, Qiviut®, Quallo l®, Quick Knit,
Quick Liner®, Remember®, Retayne, Revere®, ReviveX®, Rexe®, Rib-It®, Savina
DPR®, Savina®, Savina DPR®, Scotchgard®, Seam Sure™, Seams Great™, SEF®,
Sensuede®, Sensura®, Sesua®, Sewers’ Aid®, Shanton®, Shareen®, Shimmereen™,
Slinky®, Sofrina®, So Skin®, So Touch®, So alon®, So-Lara®, SolarKnit®,
Solarweave®, Sorbit®, Spandaven®, Spandura®, Spanzelle®, Stitch Witchery®,
StretchAire®, Strialine®, Stunner®, Sulky®, Sunbrella®, SunRepel®, Superlo ®,
Superwash®, Supplex®, T.E.N.®, Tackle Twill®, Tactel Micro®, Tactel®, Tactel
Micro®, Tanera®, Taslan®, Te on®, Teklan®, Tencel®, Terylene®,  ermax®,
 ermolite®,  ermolite®,  insulate®,  insulate® Lite Lo ,  inTech®, Tre-
vira®, Tu ex®, Turtle Fur®, Type 420®, Tyvek®, Ultra Touch®, Ultraglow®, Ul-
traleather®, Ultrasuede®, Ultrex®, Ultron®, Velcro®, VelvaBoard, Verel®, Ver-
satech®, Vincel®, Vyrene™, WeatherBloc®, Whisper We ®, Windbloc®, Wind
Pro®, Wonder-Under®, Xena®, Yukon Fleece®, Zankara®, Zantrel®, Zefran®,
Ze ron®, Zirpro®, Zitkrome®
Z0933i_Shaeffer_p001-011.indd 2Z0933i_Shaeffer_p001-011.indd 2 8/1/08 10:21:25 AM8/1/08 10:21:25 AM
Since I have accepted my obsession and acknowl-
edged that I like collecting fabrics almost as much as
I like sewing them, I’m very well adjusted. A er all,
everyone collects something (recipes, coins, stamps,
dolls, wine, guns, woodworking equipment, records,
china  gurines, records, videos) or has a hobby to enjoy in his or her leisure hours, so it’s
all right for me to collect fabrics.
Unlike most collections, the only constant in mine is change. I am an avid sewer, and
unlike many fabric collectors, I have the con dence to cut or sew any fabric. Long ago,
I decided to discard fabrics that no longer meet my standards, are the wrong color, or
make me feel guilty. I don’t have room for them to clutter my space and life.
For me, sewing ful lls both the desire to make something creative and to show it o ,
and part of my joy is taking a risk to achieve the unexpected and conquer the unknown. I
love to experiment, try new techniques,  ne-tune old methods, and combine fabrics and

designs innovatively.
Most of my results have been successful, and some have been stunning creations be-
yond my wildest expectations. When I have the occasional failure, I remind myself that
professionals have them, too, and it really is no worse than burning the brownies.
 is book is the only comprehensive sewing reference that focuses on fabrics. It be-
gan several decades ago when I  rst taught Sewing Special Fabrics at the College of the
Desert in Palm Desert, California.  ere was no book that came close to being a text-
book. As I researched my subject, I realized that, in addition to the wealth of material
on special fabrics scattered in a variety of di erent sources, a great deal of information
about traditional fabrics was no longer available, some of the information provided by
the home-sewing industry was incorrect, and many of the techniques I had learned as a
professional had never been put into print. So the project mushroomed into a very large
book that includes techniques for sewing all types of fabrics.  e information is based
on my experiences as an educator and professional home sewer; interviews with design-
ers, experts, and educators in the home-sewing and fashion industries; visits to factories
and designer workrooms; research in consumer and trade publications; research in the
costume collections at the Victoria and Albert Museum, Metropolitan Museum of Art,
Fashion Institute of Technology, Fine Arts Museums of San Francisco, Phoenix Art Mu-
seum, and the Museum of the City of New York; countless snoop-shopping expeditions
to examine ready-to-wear in all price ranges; and reexamining the garments in my own
personal collection.  e Second Edition has been revised extensively to incorporate new
fabrics,  bers, design ideas, and techniques. It continues to be the most comprehensive
reference available and includes 300 diagrams and 248 color photographs.
If you are new to sewing, you will  nd all the basic information needed for your  rst
projects. As you grow more experienced, you will discover a variety of construction al-
ternatives and learn to select di erent methods appropriate for the  ber, fabric, garment’s
use, your skill level, time available, and personal preferences. If you are an educator, sew-
ing professional, or a very experienced home sewer, you will be inspired by the many new
ideas, and you will learn new ways to apply skills you already have.
I know I am obsessed.

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O , I       
and businesses who provided information and photographs for the
original edition (1989) and the updated edition (1994).
For this Second Edition, I would like thank the following:
 e businesses and individuals who provided fabrics and products:
American & E rd, Inc. (Mettler), Bernatex, Britex Fabrics, Coats &
Clark, Emma One Sock, Marcia Cohen, Jean Dilworth, Something
Wonderful!, Plumridge Inc., Sawyer Brook, Sew Beautiful magazine,
Linda Stewart, Superior  reads, Audrey Szmyd, Terri Tipps, Guter-
mann of America, Inc., and YLI.
Everyone who provided photographs: Jennifer Amor, Lisa Aherns,
Susan Andriks, Ileana Andruchovici, Apple Annie Fabrics, Paula
Archbold, Karen Augusta, Australian Stitches magazine, Kathy Bar-
nard, Annie Barnes, Sarah Benson, Bernina of America, Inc., Dani-
elle Billing, Sharon Blair, Barb Blum, Ellie Bremer, Kathryn Brenne,
Bonnie Browning, Nancy Cain, Linda Calvo, Christie Chase, Ruth
Ciemnoczolowski, Marcia Cohen, Barbara Cohn, Lynn Cook, Mary
Corbett, Susan Crane, Terry Crawford, Anna Csaba, Patti Dee Wa-
zny, Joyce DeLoca for Signe, Jean Dilworth, Pamela Erny, Karen
Evanetz, Karmen Flach, Jessica Franklin, Wendy Gardiner, Michelle
Gillmartin, Gini’s Greyhound Fashions, Nancy Gray, Judy Gross,
Melissa Hayden, Bianca Herrera, Sara Hochhauser, Ho man Me-
dia, Cathie Hoover, Doreen Hund, Susan Igou, Anna Marie Isaac-
son, Mimi Jackson, Jana Jamieson, Tomasa Jimenez, Laura Johansen,
Adrena Johnson-Telfair, Mary Johnson-Voss, Christine Kazmerzak,
Kayla Kennington, Kacie Killen, Juliette Kimes, Leah Klingelhofer,
Sandi Knutie, Rachel Kurland, Michelle LaFortune-Wamego, Car-
ol Lambeth, Joy Landeira, Martha Leefson, Marie Lehfeldt, Justine
Limpus Parish, Stephanie Link, Angel Livingston, Justine Livings-

Acknowledgments.
Z0933i_Shaeffer_p001-011.indd 4Z0933i_Shaeffer_p001-011.indd 4 8/1/08 10:21:29 AM8/1/08 10:21:29 AM
ton, Linda Macke, Joi Mahon, Make It With Wool, Hazel Matthys,
Barbie McComick, Kwik Sew Co., Diane McPartland, LJ Designs,
Elaine Mintzer, Debbie Mocnik, Gayle Moline, Jon Moore, Patricia
Mundwiler, Teresa Nieswaag, Tammy O’Connell, Meredith Olds,
Phoenix Art Museum, Cheryl Pollock, Alison Ray, Mary Ray, Faith
Reynolds, Bob Ruggiero, David Sassoon, Paula Sca di, Penny Schwyn,
Melissa Schultz, Claudia Scroggins, Denise Severson, Dennita Sewell,
Lisa Shepard Stewart, Rachel Siegel, Silhouette Patterns, Simplicity
Pattern Co., Sandy Snowden, Cherrelle Sowell, Shelma Sperry,
Rosemary St. Claire, Gabrielle Stanley, Linda Stewart, Marinda Stewart,
Susan Stewart, Linda Teufel,  e McCall Pattern Co., Taunton Press,
Cathy  omas, Dot Treece, Charles Whitaker, Darlene Wilson, and
Debra Young. Every e ort has been made to provide appropriate credit.
If the credit is incorrect or missing, please advise.
Sarah Benson, for photographing numerous fabrics and garments,
organizing the photographs and photo releases, and making samples.
Cheri Collins for developing the stabilizer chart.
Bernina of America, Inc. for continued support and excellent equip-
ment.
My colleagues, students, and Internet friends who shared their ex-
pertise and enthusiasm.
My parents, the late Juanita and Louie Brightwell, who gave me
wings and taught me how to use them, and my husband, Charlie, who
supports and encourages me.
My editors Toni Toomey and Vanessa
Lyman and the sta at F+W
Publications for their expertise,
support and countless hours of

AND GLOSSARIES
Appendix A
General Sewing  reads, 455
Appendix B
Sewing Machine Needles, 458
Appendix C
Needle and  read Guide for
Machine Stitching, 460
Appendix D
Stabilizers, 462
Appendix E
Interfacings, 466
Appendix F
Burn Tests for Fiber
Identi cation, 475
Tips for Topstitching, 476
Fiber and Fabric Glossary, 478
Glossary of Sewing Terms, 508
Index, 512
Resources, 522
Additional Reading, 526
About the Author, 527
Chapter Twenty-Four
Seam and Hem
Finishes, 398
Seam Finishes, 398 | Hem Finishes, 402
Chapter Twenty-Five
Hems, 403
Plain, 403 | Faced, 406 | Quick, 407 |
Interfaced, 407 | Machine Blindstitched, 409

to success. Claire Shae er’s Fabric Sewing Guide fo-
cuses on the fabrics and materials used to make gar-
ments. It is designed to give you the con dence to
sew fabrics you have not sewn before and the skills
to sew all fabrics better.
 is single-volume reference includes complete
and practical information for sewing all of today’s
fabrics, but since there will be more new materials
tomorrow, next month, or next year, this book
also provides the information you need to develop
the skills and techniques needed to sew those fabrics
successfully.  e book is organized for easy reference,
with seven sections and extensive appendices:
 : Prologue, presents the basics of plan-
ning a garment.
 : Fiber Content, outlines the charac-
teristics of  bers, natural and manufactured.
 : Fabric Structure, describes the
various weaves and knits with the details for
sewing them.
 : Fabric Types, describes methods
for handling fabrics with specialty surfaces and
structures.
 : Interfacings and Linings, provides
complete details about lining, interfacing, and
other fabrics used for interior support.
 : Sewing Techniques, describes the
basic techniques referenced in the previous
sections.
 : Appendices and Glossaries is a

comprehensive listing of important textile terms
and frequently used fabrics.
Unlike most sewing books, which focus only on
techniques, this guide focuses on fabrics and their
characteristics, as well as how to sew them success-
fully. It will help you select fabrics and become a
more knowledgeable consumer, even if you don’t
sew. It addresses fabric-related situations that can-
not be included on pattern guides and warns you
about problems or mistakes before they occur. It
will help you choose the most appropriate tech-
niques for individual garments and fabrics, depend-
ing on the garment quality and use, as well as your
time commitments and sewing experience. (For ex-
ample, if I am sewing an everyday wash-and-wear
cotton blouse, I choose quick-and-easy machine
techniques that will launder well. When sewing a
•
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•
•
•
•
•
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 11
cotton tapestry party dress that will be dry-cleaned,
I use more hand sewing and design details.)
 is book will broaden your understanding of
fabrics and sewing techniques so you can apply

your knowledge intelligently. It includes many
fashion photographs from friends, colleagues, home-
sewers, fashion-focused businesses, and vintage
collections that will stimulate your imagination for
future designs.
My personal style is classic and appropriate
for my age and lifestyle, and yes, there are some
designs that re ect my taste, particularly those from
the Custom Couture Collection, which I design for
Vogue Patterns. But this is a book for everyone who
sews, so I have included designs appropriate for
many di erent lifestyles, age groups, and individual
tastes that are quite di erent from those I sew and
wear. I have also included some vintage garments
because the designs showcase the fabrics well,
include interesting details, and provide inspiration
for new designs. I might add that I o en see the
in uence of designs from the past in the current
collections of the world’s best designers.
Some photographs show the garments on dress
forms, others are on models, both professional and
amateur. You will see a variety of  gure types since
my readers can be any age and any size. I have also
included a few fabulous quilts, some accessories,
and home décor items because they are easy to
sew and provide a great way to learn to sew on
di erent fabrics.
How to Use This Book
 is sewing guide is organized for easy reference.
First, identify your fabric, its  ber content, struc-

ture, and type, including its texture, weight, trans-
parency, and surface design.  en review any
appropriate sections in the book that apply. I usually
begin my review with the fabric type unless it’s a
 ber I have not sewn recently. For example, if the
fabric is a striped silk chi on, like the design on page
49, I begin with the fabric types: Sheers, Stripes, and
Prints. If I haven’t sewn lightweight silks recently,
I’ll review the section on Lightweight Silk.
Each fabric section begins with the fabric’s char-
acteristics so you will know what to expect.  e
sewing checklists summarize the basic equipment,
supplies, and techniques for handling the fabric.
 e core of the section details speci c information
for planning the garment, design ideas, selecting
quality fabrics, sewing notes for layouts, cutting,
marking, stitching tips, construction details, press-
ing techniques, and garment care.
If you have never made a particular type of seam
or seam  nish, need a refresher on a technique, or
want to learn new techniques, look for step-by-step
instructions in Part Six, Sewing Techniques. If you
want to expand your knowledge of techniques even
more, consult my other books, Couture Sewing Tech-
niques (Taunton Press, 2001), and High Fashion Se-
crets from the World’s Best Designers (Rodale Press,
2001). My book, Sew Any Fabric: A Quick Reference
Guide to Fabrics from A to Z (Krause Publications,
2003), is a handy, quick guide for shopping expedi-
tions and getting started.

When you encounter an unfamiliar textile or
fabric term, look it up in the Fiber and Fabric Glos-
sary. It includes a brief de nition and reference for
similar materials. To expand your knowledge, begin
a swatch library, using the glossary as a guide.
To answer your most frequently asked questions,
I have provided appendices with detailed informa-
tion about needles, threads, interfacings, topstitch-
ing, and identifying your  ber types, as well as a
resource list for fabrics, patterns, and notions.
 is fabric sewing guide was written for you. To
reap the most from it, read it from cover to cover
and make notes in it. Describe the fabrics you sew,
the techniques you like or don’t like, and your ideas
for future designs or trims.
 is book is only a springboard. It is designed
to stimulate your creativity and provide the knowl-
edge you need to sew with con dence. Dare to ex-
periment with new ideas and new fabrics and share
them with me.
Z0933i_Shaeffer_p001-011.indd 11Z0933i_Shaeffer_p001-011.indd 11 8/1/08 10:22:32 AM8/1/08 10:22:32 AM
CHAPTER ONE
Basic Guide
for Sewing
Any Fabric
W     
sewing! You can enjoy the pleasures of wearing
what you sew and astonish your friends with your
creativity and your successes. You can use your
imagination to create one-of-a-kind garments,

accessories, home décor items, and gi s. You can
quilt, embroider, bead, appliqué, and felt fabrics.
You can create trendy avant-garde designs, couture
creations, or practical everyday wearables.
Today, there are hundreds of di erent fabrics, but
many are sewn using similar techniques.  is fabric
sewing guide focuses on the most frequently sewn
fabrics. In each chapter, I have included suggestions
for planning the design and preparing the fabric,
along with some sewing notes.  e Fiber and Fab-
ric Glossary (page 478) de nes even more fabrics.
Almost every fabric can be used for a variety of de-
signs, from everyday casual garments to high-fash-
ion evening wear.  e photographs feature many
diverse designs to inspire and excite you. Some are
original, one-of-a-kind creations, while others were
made using commercial patterns.
 e models are just as diverse as the designs.
Some are professionals, while others are home
sewers. Some are pencil-thin; others pleasingly
plump. Some are very young; others not so young.
PART ONE

PROLOGUE
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PROLOGUE
13 :      
Plan the Garment
 e  rst phase of sewing, planning the garment, is
one of the most important. Deciding which comes

 rst, the fabric or the design, can be compared to
“the chicken or the egg.” Designs can begin with
either the fabric or the design. Most develop when
the fabric and design are considered together.
Each garment will require a variety of decisions
based on the garment type; its planned use, quality,
and current fashion trends; the fabric characteris-
tics and quality; the garment design and pattern;
the compatibility of the fabric and the design; and
 is beautiful evening gown by Bellville Sassoon is when
fabricated in emerald green satin.  is gown and the red
plaid gown at right were made from the same pattern
Bellville Sassoon designed for Vogue Patterns.
(Photo courtesy of The McCall Pattern Co.)
What a di erence a fabric makes!  is gown displayed in
the Bellville Sassoon Boutique is the same as the one to the
le except for the fabric.
(Photo courtesy of David Sassoon and Bellville Sassoon.)
your sewing ability, time available, lifestyle, and
personal preferences.
Begin with the garment and its end use. Describe
it in detail: identify the garment type—blouse, skirt,
suit, leotard, nightgown, or evening gown; the gar-
ment style—avant-garde or classic; the garment
structure and silhouette—so , draped, structured,
bou ant; the desired quality—luxury or moderate;
the relationship of the design to other garments in
your wardrobe; and the design’s relationship to cur-
rent fashion trends.
Consider where the garment will be worn—

home, work, grocery store, PTA, symphony, wed-
ding, or job interview, as well as when it will be
worn—morning, a ernoon, evening, every day,
special occasion, winter or summer, or all of these.
 en think about how o en it will be worn—once,
occasionally, frequently, or for several years.
Once you have described the garment, consider
the fabrication. Review the fabrics in your collec-
tion, visit fabric retailers, examine the latest mail-
order swatches, and survey current trends. Good-
quality, natural- ber fabrics never go out of fashion,
and since I do not live near a store with  ne fabrics,
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 : 14
PROLOGUE
’ 
 
Sew with a positive attitude.
To save time, stitch it right the ﬁ rst time.
Test, test, test. When in doubt, practice
before stitching the garment.
Stitch directionally with the fabric.
Stitch with the fabric bulk to the left of the
needle.
Stitch in the direction of the nap, as if you
were petting an animal.
Begin stitching at the point of difﬁ culty. For
example, when stitching reverse corners,
begin at the corner. When stitching notched
collars, begin at the notch.

Stitch with the longer layer on the bottom.
Sew ﬂ at. For example, set the pockets before
sewing the side seams.
Sew inside loops, circles, sleeves, pant legs,
and collars carefully to avoid inadvertently
stitching through unwanted layers.
When topstitching, stitch with the piece
right-side up unless directed otherwise.
When straight stitching, use a foot that holds
the fabric ﬁ rmly. I prefer a wide, straight-
stitch foot instead of an all-purpose or
embroidery foot.
Understitch faced edges.
•
•
•
•
•
•
•
•
•
•
•
•
•
I have a large stash of fabrics, and I frequently order
fabrics by mail. To be on the safe side, I always buy
a little extra.
Most fabrics for adult designs, especially luxury

and novelty fabrics, are purchased because the fab-
ric’s design, pattern, or color appeals to you, not be-
cause it’s durable. When purchasing fabric for chil-
dren, durability is generally more important.
To eliminate an unsuitable fabric, evaluate its
quality, type, structure, design, weight, hand (how it
feels), care requirements, comfort factors, and dura-
bility, and then compare it to the garment style you
have chosen. Hold the fabric, crush it, and drape it
to determine whether it is crisp or so , thick or thin,
heavy or lightweight, loosely or  rmly woven,  at
or textured, silky or rough, transparent or opaque,
sleazy or luxurious.
Evaluate the fabric’s suitability for the garment
type, design, occasion, and your lifestyle; how the
fabric will  t, or not  t, into your wardrobe; how it
will look on you; and whether you have the skills,
time, and patience to sew it.
Consider the cost of the fabric and its care require-
ments. Determine whether the total cost is appropri-
ate for this type of garment and whether it works
within your budget. Do not be tempted to economize
on interfacings, linings, or buttons to save money.
Cheap  ndings can spoil an otherwise beautiful de-
sign. If necessary, select a less expensive fabric, but
 nish it with  ndings appropriate to its quality.
A combination of knits and wovens makes a great fashion
statement for the younger set.
(Photo courtesy of Simplicity Pattern Co., Inc.)
Z0933i_Shaeffer_p012-023.indd 14Z0933i_Shaeffer_p012-023.indd 14 8/1/08 10:22:52 AM8/1/08 10:22:52 AM

PROLOGUE
15 :      
Choose a pattern with a silhouette and design
details that will  atter your  gure, look attractive on
you, and be appropriate for your age, size, and  gure
type. Study the line drawings in the pattern catalog,
try on similar garments in your wardrobe, and go
shopping to try on some ready-to-wear pieces.
Before marrying the fabric to a pattern, exam-
ine the fabric’s character, including its  ber content,
hand, weight, texture, drape, transparency, and
weave. Evaluate its compatibility with the garment
design. Review the fabric recommendations on the
pattern, analyze successful fabric-design combina-
tions, and survey current fashion trends. If the fab-
ric is not perfect for the selected design, can its char-
acter be changed with interfacing or an underlining
so the fabric and design will work well together?
Consider your sewing skills, di culty of the
design, characteristics of the fabric, amount of time
available, and your patience. Unfortunately, you will
have an occasiona l failure. It happens to t he very best
sewers, so do not be discouraged.
more  attering to large  gures than those that out-
line the silhouette.
Medium values are usually more slimming than
dark or light ones, but in the Sunbelt states, light
and bright colors may be better.
All shiny fabrics—satin weaves, metallics, and
beaded materials—re ect light and make you look

heavier, but dull fabrics—dull-faced satins, peau de
soie, and dull metallics—add less visual weight than
acetate satin and shiny sequins.
Although textured fabric—piles, thick woolens
and tweeds, mohair, fake furs and real furs—add
bulk, they can be worn by larger  gure types if they
are selected carefully. Velour knits are more slim-
ming than woven velours, and short-haired furs
have less bulk than long-haired furs. Cotton velvet
and velveteen, which absorb light, are more  atter-
ing to a large  gure than rayon velvet, which re ects
light, thus enlarging the  gure.
Most so fabrics  atter heavier  gures, but when
they are  tted too closely, the fabric clings, empha-
sizing size and shape.
Since sti fabrics stand away from the body, they
can be used to hide  gure irregularities, but they
make the  gure appear larger when used for exag-
gerated silhouettes.
 
To keep disappointments to a minimum, learn to
recognize fabric quality. Examine it carefully. Check
for  aws in the weave, printing, or  nishing. Even
the best-quality fabrics will sometimes have  aws.
If you know this before you buy, you can purchase
extra so you can cut around them.
Claire's Hint
When sewing complicated designs, I o en select
easy-to-sew fabrics. When sewing simple styles,
I choose more challenging fabrics. When time is

really at a premium, I try to combine easy-to-
sew fabrics with easy-to-make designs and use
a pattern I have sewn before.
 
 
Choose fabrics that will  atter your  gure. Select
colors you like and think are becoming. Generally,
cool hues such as blue, green, and violet are more
slimming than warm hues, like red, orange, and
yellow. Colors that blend into the background are
Woven Fabrics
Examine the fabric. It should be on grain with
the warp (lengthwise yarns) and  lling (crosswise
yarns), straight and at right angles to each other.
Look for slubs, printing errors, permanent
wrinkles, and snags. Good dyes penetrate the fabric
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 : 16
PROLOGUE
well so that the color is good on the back as well as
the face.
Generally, plain fabric is judged by the number
of threads per square inch. Hold the fabric up to the
light and examine the weave. It should be uniform.
Patches of light and dark indicate poor construction,
poor-quality yarns, or heavy sizing. If the fabric is
not a novelty weave, the threads should be  ne and
closely spaced. To test for fraying and seam slippage,
scrape your thumbnail across the warp threads to
see if they separate. If they do, the fabric will fray

and the threads will pull apart at stress points.
Test for resiliency and the ability to recover from
wrinkling by squeezing the fabric in your hand. It
should spring back with few creases.
Generally, woven plaid, checked, and striped fab-
rics are better quality than similar printed patterns,
but there are exceptions.
Knit Fabrics
Examine the ribs on knit fabrics.  ey should be
parallel to the edges and at right angles to the hori-
zontal rows on the wrong side of the fabric. If the
ribs are badly skewed, the garment will not hang
properly when the fabric pattern looks right, and if
it does hang properly, then the fabric pattern will be
distorted. To check for shape retention, stretch the
knit to see if it returns to its original shape.
Fiber Content
 e fabric’s  ber content determines its comfort
and care qualities. To determine the  ber content,
ask for a small swatch so you can test it. If it is not
convenient to take it home for testing, ask the sales-
person to do a burn test, or take it outside and test
the swatch yourself. (See the updated Burn Test for
Fiber Identi cation, page 475.)
When you think the fabric is made from more
than one  ber, burn the warp and  lling threads
separately for best results. Hold the swatch or yarns
securely in a pair of tweezers and work over a sink.
 
 e life of a fabric depends on the  ber: the kind,

tensile strength, and the twist; the number of plies
and number of yarns per inch; and the weave and
compactness of the fabric construction. Natural-
 ber fabrics with long-staple  bers, such as cotton
percales and worsted wools, are stronger, smoother,
and more serviceable than those with short-staple
 bers like muslin and woolens. Natural- ber fabrics
may be more or less serviceable than fabrics made of
synthetic  laments.
 e twist of the yarns determines the behavior,
durability, and appearance. Fabrics made from
 ne, high-twist yarns, like men’s worsted suitings,
Claire's Hint
If a fabric is not on grain, do not buy it. Many
fabrics today have permanent  nishes, making
it impossible to straighten them prior to
cutting. If you already own one, be creative or
discard it, but do not tilt the pattern pieces to
 t as you will be cutting them o grain.
  
When you have a fabric scrap with no selvage,
use these guides to identify the warp threads
that run parallel to the selvage.
• In plain weaves, there are usually more yarns
in the warp.
• In twill weaves, the warp yarns run in the
direction of the pattern.
• In satin weaves, the warp yarns make the
ﬂ oats.
• In sateen, the ﬁ lling yarns make the ﬂ oats.

• The direction of the fabric with the least
stretch is generally the warp.
• Inferior or thicker yarns and yarns with slubs,
lower twist, or fewer plies are usually in the
ﬁ lling.
• Plaid fabrics often have vertical rectangles.
Z0933i_Shaeffer_p012-023.indd 16Z0933i_Shaeffer_p012-023.indd 16 8/1/08 10:22:55 AM8/1/08 10:22:55 AM
PROLOGUE
17 :      
are stronger, smoother, more durable, more elastic,
more absorbent, more resistant to soil, and more
crease-resistant than those made from low-twist
yarns, such as women’s so woolens.
Fabrics made with several yarns twisted together
are more durable than fabric made with single-ply
yarns or multi-ply yarns that are not twisted. When
the yarns are not twisted together, the fabric will
be so er and more luxurious but less resistant to
abrasion and snags.
Fabrics woven from staple  bers, such as cot-
ton, linen, and wool, slip less at seams than fabrics
woven from  lament yarns, such as silk, nylon, and
polyester.
Fabrics that are made with slubbed, looped, or
novelty yarns for decorative e ects—bouclés and
shantungs, for example—are not as serviceable as
 annels and silk linens.
Closely woven fabrics that have a high thread
count, that is, more threads per inch, are more du-
rable, shrink less, and hold their shape better.  ey

also have less slippage at the seams.  e closeness of
the weave or thread count is determined by adding
the number of warp threads per inch to the num-
ber of  lling threads per inch. For example, burlap,
which is a coarse weave, has 20 threads per inch,
while  ne sheets can have as many as 600 threads
per inch.
Compared to plain-weave fabrics, basket-weave
fabrics drape better.  ey are not as durable because
of their loose weave, and the low-twist and low ten-
sile strength of the yarns typically used to create
them. Twill-weave fabrics with the same number of
threads per inch drape better. When they are more
tightly woven, they are stronger,  rmer, and heavier.
To see for yourself, examine two neckties, one plain
weave and one twill weave.
Satin-weave fabrics, such as charmeuse, are less
durable but more lustrous than plain-weave fabrics
like broadcloth, or twill-weave such as gabardine.
Fabrics woven with  ne, tightly twisted yarns
and a close weave, organdy for example, are more
durable than loosely woven fabrics such as damask,
which is made with low-twist yarns and long  oats.
Fabrics with long  oats, open weaves, and em-
bellishments—embroidered fabrics, laces, quilted
fabrics, and satin—snag easily.
Woven fabrics, such as seersuckers, are more du-
rable than embossed materials such as plissé. Em-
bossed designs are more durable on heat-sensitive
 bers, such as polyester and nylon, than on natu-

ral  bers or cellulosic manufactured  bers, such as
rayon and lyocell.
Flocked fabrics are less durable than fabrics with
similar woven designs.
Custom made for actor Hank Fincken, this worsted wool
suit was inspired by a 1932 suit worn by Henry Ford.
(Photo courtesy of Terry Crawford and Graphics 35, Inc.)
Z0933i_Shaeffer_p012-023.indd 17Z0933i_Shaeffer_p012-023.indd 17 8/1/08 10:22:56 AM8/1/08 10:22:56 AM
 : 18
PROLOGUE
   
Read the information on the end of the bolt. Check
the  ber content and care requirements. Generally,
natural  bers are more comfortable to wear, and
synthetic  bers are easier and cheaper to clean.
Blends combine the best, and sometimes the
worst, of the  bers used. For example, when poly-
ester is blended with cotton, the new fabric is more
resistant to wrinkles, but it pills and stains more
easily.
Fun and fashionable, consider easy-to-sew designs when
you have limited time to sew.
(Photo courtesy of Simplicity Pattern Co., Inc.)
 
If your time to sew is limited, choose fabrics that do
not require special handling. For skirts, slacks, and
outerwear, select fabrics that do not require inter-
linings or linings. Firmly woven, opaque, medium-
weight fabrics and knits are easier to sew than slip-
pery, so , or loosely woven ones. Broadcloths are

easier to sew than so , slippery crepes. Avoid using
fabrics that require matching, such as plaids; mak-
ing a test garment from an expensive fabric, such as
velvet or leather; and sewing special seam and hem
 nishes on transparent fabrics.

Purchase the best quality you can a ord. Fine-
quality fabrics are not necessarily the most expen-
sive, and once you have learned to recognize the
characteristics of di erent grades, you will o en
 nd that medium-priced fabrics are attractive and
wear well.
When your budget is limited, select a good-
quality fabric from a less expensive group instead of
poor-quality fabric from a more expensive group.
For example, choose a good-quality polyester blouse
fabric over a cheap silk one, velveteen over velvet, or
a linen-look or cotton over linen.
Another way to preserve your budget is to com-
bine two di erent kinds of fabrics, such as lace with
a plain fabric, velvet with a satin, or novelty wool
with a wool jersey. To  gure the cost of the garment,
add the cost of cleaning to the initial cost of the
fabric, notions and other  ndings, then divide by
the expected number of wearings.
 
Garment care depends on the  ber content; the
yarn construction; the fabric construction; the  n-
ishes and dyes applied to the  bers, yarns, or fabric;
and the garment construction. Clean all garments

before they become heavily soiled. I dry clean most
of my garments so they will maintain their like-new
appearance longer. I rarely try to remove spots and
stains because many spot removers will set stains
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PROLOGUE
19 :      
 is elegant veil is  nished with a wide lace trim.
(Photo courtesy of Simplicity Pattern Co., Inc.)
 is smart princess style is a good choice when sewing a
di cult fabric.
(Claire Shaeffer’s Custom Couture Collection for Vogue Patterns. Photo courtesy
of The McCall Pattern Company.)
If your fabric is not listed, compare its character-
istics to those that are. If they are similar, continue
on. If they are not, consider a di erent pattern or
another fabric. When you want to be creative, com-
bine the two. Innovative combinations can lead to
fantastic garments. Unfortunately, they can also
lead to disaster, but I prefer the “nothing ventured,
nothing gained” route over safe and dull.
Analyze the design features to determine wheth-
er you have the time and ability to sew them well
in the fabric you have selected. Features such as
set-in-sleeves are always more time-consuming
than dropped-shoulder designs, and while they
are relatively easy to sew in a so woolen, they are
much more di cult to set smoothly in wool gab-
ardine because of its tight weave and hard surface.
When sewing a fabric for the  rst time, select an

easy design so you can concentrate on mastering
the fabric.
permanently and may remove the fabric color.
Design Ideas and
Pattern Selection
Before selecting a pattern, survey the latest in ready-
to-wear pieces for design ideas. Do not just look. Try
the garments on, especially if they are in a new col-
or, silhouette, or style. Analyze the designs you like
to determine what pleases you. Is it the fabric, the
design, or a detail you can adapt? When selecting a
pattern, analyze the design to determine whether it
will  atter your body. Look at the line drawings; do
not rely on the photograph or fashion illustrations.
Also consider the fabric’s weight, bulk, texture,
opaqueness, drapeability, crispness, surface design,
and care requirements. Review the fabric sugges-
tions on the pattern envelope. In addition to
speci c fabrics, these suggestions provide guidance
for selecting other fabrics with a similar hand.
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PATTERN
Adding Seamlines
Step 1.
PATTERN
Design Changes
Marking the bias.
 : 20
PROLOGUE
pieces, I use physician’s examining paper, which is

available from medical supply houses.
 
Change the pattern design to uti-
lize the fabric more creatively by
cutting sections on the bias, or
adding or eliminating seamlines.
Bias-cut sections are particu-
larly attractive on plaids and
stripes. Use the following easy
method to cut garment sections
on the bias when the pattern
indicates a lengthwise grain: Fold
an envelope diagonally so the short end aligns with
one long side of the envelope. Align the long side
of the envelope with the grain line on the tissue
pattern. Draw a new grain line along the folded
diagonal edge of the envelope.
 
For another easy design change, add a seamline,
and for materials such as leather and suede that are
purchased in pieces—usually by the skin—this is
frequently a necessity.
1. Draw the new seamline on the pattern and
indicate the match points. Make a full pattern
or duplicate pattern pieces when needed.
2. Cut the pattern apart and add a seam allow-
ance to both edges. Before cutting, I check
to be sure the grainline is marked on both
pieces.
  

 
Press the pattern with a warm, dry iron and adjust
it before cutting the garment.  ere are three ways
to check pattern  t: Compare your measurements
to those on the pattern envelope. If yours are larger,
add to the pattern where needed for bust, waist, or
hip. For a large bust, add to the front sections. For a
broad back, add to the back section.
Pin- t the tissue pattern as follows: Trim away
the paper margins. Match and pin the seamlines
together, then try on the tissue pattern. As an added
advantage of this method, you can check a neckline
that might be a little too deep.
Make a test garment. When sewing intricate
designs and fabrics that ravel badly, are marred by
pins and needles, or are easily damaged by excessive
handling, the test garment provides an opportunity
to practice your sewing skills and experiment with
design changes, as well as to perfect the  t.
Test garments are usually made in inexpensive
muslin or pattern cloth similar in weight to the
fashion fabric. If you don’t like to make test gar-
ments, make a wearable garment in an inexpensive,
easy-to-sew fabric.
  
Most commercial patterns include a tissue pattern
for the right side of the garment with instructions
to lay out the pattern on a double lay—that is, two
layers of fabric. When cutting expensive or bulky
fabrics, or those with designs that require matching,

you will save time and fabric by making a complete
pattern by cutting duplicate pattern pieces.
If you made a test garment, carefully rip out the
seams of the  tted test garment and press the pieces
 at with a dry iron. Mark the le and right sides
of the test garment carefully and use the muslin
sections, instead of the paper pattern, to cut your
good fabric. If you did not make a test garment,
trace the pattern sections that need to be duplicated
onto pattern cloth or paper. For my duplicate pattern
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PATTERN
Eliminating Seamlines
Step 1.
PROLOGUE
21 :      
 
 is change is o en used to reduce bulk at garment
edges.
1. Match and pin the
pattern pieces togeth-
er on the seamline.
2. Cut the new garment
section in one piece.
  
Most fabrics need to be preshrunk or relaxed be-
fore cutting. Using the  ber content, yarn structure,
fabric weave and color, manufacturer’s recommen-
dations, and garment construction methods as
guides, decide whether the  nished garment will be

laundered or dry-cleaned.
If it will be laundered, wash and dry the uncut
fabric the way you plan to wash the garment. If the
garment will be dry cleaned, steam-press it well,
which is easy if you have a commercial gravity- ow
iron or a steamer. As an alternative, you can hang
the fabric in the bathroom,  ll the tub with hot
water, and close the door to steam-shrink it. Take
wools to a dry cleaner to be shrunk.
  
You can sew well without a lot of expensive
equipment.
Sewing Machine
A quality sewing machine is your most important
tool. It does not have to be the latest model or the
most expensive machine. I have several machines,
including my  rst machine and my grandmother’s
machine. Both make only straight stitches. My
favorite newer machine makes fabulous button-
holes and decorative stitches. I can use it to sew any
fabric, from silk chi on to heavy coating, with little
e ort on my part.
If you do not have a machine or want to upgrade,
visit a local dealer.  en choose a good-quality
machine that meets your needs today. When your
skills improve or your interests change, you may
want a machine with additional features. If your
dealer o ers classes, take advantage of them. No
matter how well you sew, classes will help you
maximize the features on your machine. If you have

a machine that has not been used recently, take it to
your dealer to be cleaned and serviced.
Extra Bobbin Case
I have an extra bobbin case to use when ease
basting, gathering, topstitching, embroidering, or
using textured and heavy threads, so I don’t have
to change the tension on my primary bobbin case.
An extra bobbin case is a luxury item, but it is a
real headache reducer.
Shim
A shim is a device used to level the machine foot
and help prevent skipped or uneven stitches when
sewing over bulky seams. If you do not have a shim,
make one by folding a piece of cardboard. To use
the shim, slide it under the back of the presser foot
as you begin stitching across a bulky seam.  en,
before you stitch o the fabric, reposition the shim
under the front of the foot and continue to sew.
Some commercial shims are avaiable, such as the
Hump Jumper or Jean-a-ma-jig.
Claire's Hint
Before I had a steamer, I wrapped a wet
synthetic chamois around the iron to create a
lot of steam. I still do this sometimes.
Needles
Even the most expensive machine will not perform
well if you are using dull, bent, or damaged needles,
or the wrong size or type of needle. My machines
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 : 22

PROLOGUE
Generally, for topstitching, machine buttonholes,
and embroidery, a larger needle or a topstitching
needle will accommodate a heavier thread better,
because the sha and the hole are larger as the
needle size increases.
Threads
Always choose quality thread. Nothing is more
frustrating than thread that breaks frequently.
When selecting cotton and cotton/poly core (cotton
wrapped polyester) threads, look for terms such
as long-staple, mercerized, Egyptian cotton, or
Claire's Hint
I recommend having a range of needle sizes
on hand because fabrics vary in weight and
thickness. I always begin stitching with the
smallest needle size appropriate for the fabric.
 ere is no need to make a large hole when a
small one will do. If there are skipped stitches,
I use a larger needle and/or a di erent type
of needle.
 is elegant dress, designed by Hazel Matthys, is made in
a  rmly woven, hand-painted silk.  e colors are outlined
with strands of black silk thread. She used a sharp needle
in a small size for stitching.
(Photo courtesy of Hazel Matthys and Armour Photography.)
are not fussy about the brand, so I use needles from
many manufacturers. Your machine may be more
particular.
Needles are described by size and name.  e

name describes the needle type; that is, universal
(H), sharps, including Microtex (HM), denim (HJ),
and quilting (HQ), stretch (HS), topstitching (N),
and ballpoint (H-SUK). (For a more complete de-
scription of needle types and their uses, see Appen-
dix B: Sewing Machine Needles, on page 458.)
 e needle size describes the diameter of the
needle sha .  e smaller the number, the smaller
the needle.
Inspired by the designs of Koos van den Akker, this coat
was designed by Linda Teufel.
(Photo courtesy Koos Couture Collage by Linda Teufel.)
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Hint
When seaming heavy fabrics, I prefer
unglazed threads (40 weight), such as
topstitching or embroidery threads. When
topstitching, I sometimes substitute two
strands of all-purpose thread.
PROLOGUE
23 :      
Peruvian cotton. For polyester threads, look for
extra-long staple.
Sewing threads are available in several weights,
from  ne to heavy. All-purpose threads are me-
dium weight and most common. (For more infor-
mation about threads, see Appendix A:  reads, on
page 460.)
Many threads do not indicate the size. One
reason is that cotton and polyester threads are sized

di erently; that is, all-purpose cotton thread (50/3)
and polyester thread (100/3) are about the same size,
but the polyester thread is stronger.
 e size (such as 50/3) describes the thread
weight (50) and the number of plies (3) that have
been twisted together to make the thread. Generally,
a higher  rst number indicates a  ner thread.
All-purpose or regular threads can be used on
most fabrics for general sewing, seaming, button-
holes, and topstitching.  ey are available in
cotton (50/2, 50/3), cotton/poly core, polyester
(100/3), and silk (50, A). Polyester thread is the most
elastic, meaning it has the most inherent stretch.
Cotton has the least.
Fine or lightweight threads are preferred for ma-
chine buttonholes, topstitching, and seaming light-
weight fabrics.  ese threads include  ne cotton
machine-embroidery thread (60/2, 70/2), lightweight
polyester, extra- ne cotton/poly core, lightweight silk
(200,100), and lightweight serger threads (120/2).
Machine embroidery and topstitching or heavy
threads are used for topstitching, buttonholes,
machine embroidery, quilting, sewing buttons,
strong seams, and joining heavy fabrics. Available in
several weights, 60, 50, 40, and 30, these threads can
be all cotton, polyester, or cotton/poly core.  read
weights are numbered—the higher the number, the
 ner the thread. For example, 40-weight thread is
heavier and stronger than 60-weight thread.
Texturized threads include texturized nylon

and polyester. So and elastic, woolly nylon is most
readily available. It leaves few pressing imprints
and adds elasticity to seams, hems, and twin-needle
stitching when used in the bobbin or overlock
machine (serger).
Serger threads (60/3, 70/3) provide a so edge
 nish for serging lightweight fabrics. Lightweight
serger threads (80/2, 100/2, 120/2) are less likely
to leave a pressing imprint on light- and medium-
weight silk and rayon fabrics.  ey can also be used
for general sewing on delicate fabrics.
Water-soluble basting thread dissolves when
pressed with steam or washed. Use it in the bobbin.
Fusible thread melts when pressed with heat and
moisture. Use it in the bobbin. I o en use it to create
self-basting zippers by stitching a zigzag row on the
zipper tapes.
Claire's Hint
To avoid accidents, close your rotary cutter
every time you set it down. Your  ngers will
thank you. To avoid damaging your cutting
equipment, do not let the pins extend beyond
the pattern cutting line.
Hint
For natural- ber fabrics (cotton, wool, silk,
and linen), I prefer cotton threads, which
cause fewer stitching problems. Cotton
threads are not as elastic, strong, or durable as
polyester threads. With some fabrics such as
leather, suede, and waterproof fabrics, cotton

threads will mildew or rot.
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 : 24
PROLOGUE
Glacé and quilting threads (40/3) are glazed
cotton designed for hand-sewing. Use them in the
bobbin for gathering and easing.  ese threads leave
a residue in the bobbin case when used extensively.
Invisible mono lament nylon and polyester
threads are available in clear and smoke colors.
Designed to blend in invisibly, some are so er
than others.
Appendix C: Needle and  read Guide for
Machine Stitching on page 460 is a handy reference
for selecting the appropriate needle and thread
combination.
  
Before sewing a speci c fabric, review the appro-
priate fabric section to be sure you have the tools
and supplies you need.
Scissors and Shears
When selecting cutting equipment, quality is bet-
ter than quantity. Begin with a good pair of 8"
shears. Add stainless, serrated shears for cutting
lightweight or squirmy fabrics.  ey are also good
for fabrics such as micro bers and polyesters that
dull the blades easily. You will also want 5" trim-
mers for trimming and clipping.
Rotary Cutter and Mat
A rotary cutter, which requires a cutting mat to

avoid damaging your table, is particularly useful
for cutting straight edges. But, like needles and
pins, the blades dull quickly when cutting some
fabrics. Replacement blades are readily available
in the notions department.
Marking Tools
Chalk is available in several forms: clay, wax,
chalk wheels, chalk pencils, and disappearing
chalk. I prefer white chalks, which cannot leave a
permanent stain. Wax chalk should be used only
on wool and hair  bers. A non-greasy soap sliver
is a good substitute.
Erasable pens (air-erasable and water-soluble
pens) are handy marking tools, but may stain some
fabrics permanently, particularly linen, hemp, and
bamboo, which are very absorbent. Test them  rst
on scraps.
Tracing wheels can be smooth or serrated or
have needle points. Use them with tracing carbon
to mark intricate seams. I use only white tracing
carbon to avoid permanent staining.
 
 
Many tools and supplies will help you sew faster
and more skillfully. Some are traditional sewing
tools and notions, while others are simple house-
hold items. Here are my picks.
Pins
My favorites are the  ower pins, super ne pins,
regular silk pins, and safety pins.

Regular silk pins are suitable for most fabrics.
 ey have a diameter of .7–.85 mm.
Flower pins are extra long and have large,  at
heads—most have a diameter of .65 mm. I use  ow-
er pins when I need a long pin or a pin with a large
head.  ey are also useful for marking and for cut-
ting with a rotary cutter because you can place the
ruler  at on top of the pin heads.
Extra- ne pins have a diameter of .6 mm.
Super ne pins have a diameter of .5 mm or less.
 ese are the smallest available and least likely to
leave pin scars on delicate fabrics. Surprisingly,
super ne pins also work well on many densely
woven fabrics.
If you do not have super ne pins, use  ne hand-
Hint
I keep my used pins in a box separate from
the new ones, so I can use only new pins when
sewing on delicate fabrics. I discard all pins
that fall on the  oor.
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Claire Shaeffer''s fabric sewing guide

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