SEW,I N G
COM PAN ION
Easy Guidet
Sergi Fine F;��
li B R A R Y
Easy Guide to
Serging Fine Fabrics Kitty Benton
ITIThe'P
Cover Photo: Boyd Hagen
Publisher: Su
zann e La Rosa
Acquisitions Editor: Jolynn Gower Publishing Coordinator: Sarah Coe Editors: Eileen Hanson, M ary Christian, Ruth Dobsevage Designer: Jodie Delohery Layout Artist: Carol Singer Photographers: Scott Phillips, Boyd Hagen Typeface: Bookman/Optima Paper: 70-lb. Warren Patina Matte Printer: Quebecor
Printing/Hawkins,
New Canton, Tennessee
Taunton
BOOKS & VIDEOS
for fellow enthusiasts
© 1997
by The Taunton Press, Inc.
All rights reserved. First printing: 1997 Printed in the United States of America A THREADS Book THREADS® is a trademark
of The Taunton Press, Inc.,
registered in the U.S. Pat�nt and Trademark Office. The Taunton Press, 63 South Main Street, Box 5506, Newtown, CT 06470-5506
Library of Congress Cataloging-in-Publication Data Benton, Kitty. Easy guide to serging fme fabrics / Kitty Benton. p. cm. - (Sewing companion libr ary ) "A Threads book" - T.p. verso. Includes indexes. ISBN 1-56158-090-2 1. Serging. I. Title. II. Series.
TT713.B43 646.2'044
1997
-
dc20
95-29413 CIP
For Charlie and Hank
No book becomes a reality without the dedicated expertise of the publishing staff. The staff at The Taunton Press has been enormously and universally helpful. I would like to thank them all.
But especially.
I
would like to thank
Eileen Hanson for her early faith in me and devotion to this project; Mary Christian for editing complex technical prose and m
akin g it readable;
and
Ruth Dobsevage for her attention to detail. wording. and layout. All three have my lasting appreciation for their patience. humor. and perseverance.
Deepest thanks are also due to the quick mind. pleasant disposition. and never-failing accuracy of Eva KUi. who sewed many of the samples shown in the photographs.
Introduction The serger can be intimidating at first glance. There it sits with all those dials, spindles, needles, and inner gears, like an ugly toad on your sewing table. But once you fall in love with it, you will recognize it to be the true prince of the sewing room. My own love affair with sergers began when my children "outgrew me" and I went back to school in mid-life to take on the challenge of expanding a satisJYing home-sewing hobby into a career as a professional designer. Part of my education was learning all about the specialized industrial machines. Some were scary monsters that clanked out buttonholes, some were intriguing puzzles such as the multi-needle shirring machine (with 45 needles to thread!). But the one I truly longed for at home was the overlock (or merrow machine, as it's still called in the industry), the factory staple that overcasts, trims, and stitches the seam all at once. At the same time, about ten years ago, imported sewing machines hit the American home-sewing market and caused such a sensation that home overlockers, or sergers, soon followed as companion machines-much as automatic dryers followed washing machines. In the decade since, the creative energy found in home sewing workrooms has uncovered exciting new capabilities for the serger and triggered many added conveniences. Why bother with a serger? Because it's fast! With a serger, you can stitch, trim, and overcast a seam in one step instead of three, and in less than half the time of a conventional sewing machine. This remarkable machine cuts hours of precious sewing time from large and small projects, and will often give you more professional results than a conventional sewing machine. Most people associate the serger with utilitarian knits and sportswear, yet it has a much wider application. The beauty of the serger is how it can handle fine fabrics. The firmness of the grip between presser foot and throat plate will help you control slippery fabrics such as lace and chiffon, and the machine zips through tiny, accurate seams in delicate fabrics, making it ideal for labor-intensive dressmaking chores, such as making large circular hems on tiered skirts, and fine heirloom looks, such as joining rows and rows of lace insertion for a christening dress.
4
If you already own a serger, let me share my excitement and professional secrets with you to help you discover new ways of getting the most from your machine. If you are still thinking about buying one, this guide, based on years of personal experience and experimentation, will help you decide which features and threading variations will best serve your needs. Each chapter in this book addresses progressive steps to mastering serging with fine fabrics, so whether you are a new or an experienced serger, you will be able to launch right into hands on techniques that you can adapt to your own projects. You can go through the whole book for a complete course in fine serging, or, once having mastered the basics, you can skip ahead to the stitch treatments you can immediately apply to a garment. Chapter 1 describes the advantages of a serger and how the parts work together to form stitches. It explains initial threading and tension adjustments, as well as optional features and accessories. You'll learn easy maintenance procedures and simple troubleshooting to keep your serger at peak performance. Chapter 2 helps you to select compatible threads and needles for your fabriCS, prepare the fabric for stitching, and take advantage of helpful products and notions. In Chapter 3, you'll learn to master useful serger skills, including starting and finishing seams, and sewing curves, corners, bias areas, and circles. Then you'll learn basic seams, finishes, and hems for all types of fine fabrics. Chapter 4 covers more specialized applications so you can produce elegant self-ribbing for fine knits, add tailoring touches to crisp wovens, create festive detailing for special-occasion garments, and seam laces for delicate lingerie and heirloom treatments. Four simple projects let you use your serging skills right away. At the end of the book is a handy photo index that will help you to review, compare, and locate the finishes introduced in the main text. This section will boost your creativity with the serger because you will see at a glance the various treatments you can use, from utility seaming to special decorative effects and monogramming. Setting boxes tell you just how to thread and adjust your serger for the treatments shown in the photos. You will also see the decorative potential of fabrics, threads, and edgings and design them into your projects.
Introduction
5
EASY GUIDE TO SERGING FINE FABRICS 8
Demys tifyin g the Serger
How a Serger Works Anatomy of a Serger
Getting the Most from Your Machine Optional Features
Getting Ready to Sew Initial Threading S tartin g to Stitch Adjusting the Tensions Adjusting the Cutting Width Adjusting the Stitch Length Hints for Trouble-Free Sewing
10 10 14 16 18 18 19 20 21 22 23
24
Fabrics, Thread,and Notions
Selecting Fabrics Knits
Choosing
Thr ead
Decorative Threads
-26 26
28 30
Selecting Needles
31
Basting Tec
32 32 33 33 33
hni ques
Pinnin g Taping Glue Basting Starching
Other Helpful Products Bias Tricot Fusible Thread Water-Soluble Stabilizer
34 34 34 35
36
Skillsand Seams
Building Serger Skills Understanding Where the Knives Cut Mastering Where the Needle Sews Manipulating the Fabric in Special Situations Sewing Taut Machine Easing Holding Grain Ending Seams Overstitching at the Start of a Seam Overstitching at the End of a Seam Sewing Elastic Gathering
Seams, Finishes, and Hems Seams Seam Finishes Hems
38 39 41 42 49 49 49 50 51 51 52 54 55 56 59 61 64
Using Your Knowledge
Working with
Kni ts
An Elegant Knit Top
Tailored Finishes Tucking Thread Accents Decorative Ed ging Decorative Flatiocking Decorative Ch ainin g without Fabric Time-Saving Construction Aids
Festive De
tailin g
Fancy Hems Lace Applique Gathered Ruffles Bias Tubing
Working with Delicate Fabrics Camisole and Tap Pants
Photo Index Index
66 67 70 70 70 73 73 74 77 78 78 81 83 84 88 90
96 110
Demystifying the Serger Learning how the serger differs from your conventional sewing machine is the key to helping you identifY its advantages over conventional machines and its potential for fine sewing. Like conventional sewing machines, sergers have presser feet, feed dogs, flywheels, stitch-length controls, thread cutters, foot pedals, power connections, and lights. But they have no bobbins! And that means no winding, no running out of thread, no spaghetti-mop tangles beneath the fabric or in the bobbin case. Another important difference is the feed mechanism. The interplay between the serger's long presser foot and the narrow feed dog holds fabric so securely that it feeds evenly with much less intervention than a conventional machine requires. Accurate feeding reduces the likelihood of stretching and distortion, so seams have a uniform, professional appearance. For everyday utility sewing, the serger's fully enclosed seam finishes are much neater and more durable than conventional machine finishes, and they don't distort curved areas such as bias seams and neck facings. You can quickly and accurately seam delicate fabrics and roll them into tiny hems because the long foot and narrow feed dog keep tiny seam allowances from snagging in the feed dog. The serger's flexible looper stitches have "give," so seams are stronger and don't break when stressed or stretched in knits. You can apply a staggering variety of utilitarian and decorative stitches to any fabric, from gossamer silk chiffons to sturdy action knits, and to any task, from tiny heirloom seams to fast blind hems for draperies. Sergers even chain threads without fabric (a handy way to make belt and button loops) so you can start stitching without placing the needle exactly at the starting point of the seam and you can chain off the fabric at the end of the seam without tangling.
8
How a Serger Works
Sergers work on a very simple principle. First the knives mounted on the machine neatly trim the edge oj the jabric, then the needles and loopers overcast it with thread in a protective casing.
Anatomy of a Serger Although there are many different models and makes of sergers, all have a shelf at the back of the square frame (on some models, a convenient c
ng handle is built right into the frame) to hold arryi
spools or cones of thread on three, four, or five spindles, depending on the capability of the model. An extension bar raises each thread above the spools, allowing it to unwind evenly from the spool and feed smoothly into the primary thread gUides without tangling.
10
Demysti:(ying the Serger
Front view of a serger. Threads pass over the extension bar and feed through primary thread guides before entering the tension wheels.
\\
\
Two sets of color-coded thread gUides control the flow of thread from the spool to the needles. The first (primary) set gUides the thread from the spool to the tension wheel. The secondary guides, on the front of the serger, lead the thread from the tension wheel into the needle or looper. Two knife blades trim the edge of the fabric as you stitch. In many models, the upper blade is mounted on a shaft above the throat plate to the right of the needles. The lower blade is housed in front of the loopers to the right of the feed dog on the throat plate. As you stitch, the upper knife blade moves alongside the stationary lower blade in a scissors-like cutting action. The
Upper and lower knife blades trim
moving knife blade is usually spring-mounted to maintain
the fabric. (Presser foot removed
constant pressure against the stationary knife blade.
for clarity.)
How a Serger Works
11
The upper knife blade can be rotated out of position when you do not want to trim the fabric or when stitching prefinished edges such as lace and ribbon. Serger feed dogs are similar to those of conventional machines. but they have two sets of teeth. front and rear. The teeth of the front feed dog gUide the fabric under the toe of the presser foot. past the upper and lower knives for trimming. The loopers move back and forth. simultaneously casting thread loops over the upper and lower surfaces of the fabric that interlock at the trimmed edge. The lower looper. positioned to the left and slightly below the upper looper. in most machines is Serger feed dogs have two sets of teeth. (Presser foot removed for clarity. )
threaded through the tension dial farthest to the right and moves back and forth from left to right. The upper looper. in most machines threaded through the tension dial immediately to the left of the lower looper. is located behind it. near the underside of the throat plate and needles. The needles move up and down through the fabric as in conventional machines. but since the serger has no bobbins. the needles simply anchor the looper threads to each side of the fabric rather than interlock with bobbin threads to form stitches. When both needles are used. the left needle anchors the upper and lower thread loops on the seam line. while the right needle sews an additional safety seam. (When either needle is used alone. the unthreaded needle is removed and the safety seam is omitted.)
The upper knife blade can be rotated out of position when no cutting is needed.
12
Demystifying the Serger
Upper and lower loopers cast thread over the top and bottom surfaces of the fabric. Needles anchor the loops. Either needle may be removed to adjust width of stitching. (Presser foot removed for clarity.)
Stitch fingers set into the stitch bed support the loops as they form. (Presser foot removed for clarity.)
Stitch fingers, set into the stitch bed beneath each needle, support the thread loops as they form. Loops overlock around the two right stitch fingers when the right needle is used alone. The left stitch finger supports wider loops when the left needle is used alone and defines the safety seam when both needles are used together. A third. or overlock, stitch finger supports the loops as they interlock over the trimmed edge of the fabric. After the stitches have been secured by the needles, the rear feed dog teeth slide the stitches off the stitch fingers.
How a Serger Works
13
Getting the Most from Your Machine There are seven variables that control the appearance and function of the stitches and give the serger its extraordinary versatility.
Fabric: The weight and stretchability of the fabric affect the appearance of the stitches (p. 26).
Thread: Choose threads that are heavy, light, smooth, textured, utility, or decorative (p. 28).
Thread tension: The degree of tension on the needle and looper threads will dramatically change the look of the stitches (p. 20).
Numbers of threads: For varying effects and depending on your model, all needles and loopers may be threaded, or selected needles and loopers may be left unthreaded (p.15) .
Stitch width: Use wider stitch widths for more coverage, narrower for less.
Stitch length: Use longer stitch lengths for less coverage, shorter lengths for denser stitching (p. 22).
Cutting width: Adj ust the distance between the trimmed edge and the needles (p. 2 1 ) to make the overcast edges either lie flat or roll into tiny hems.
14
DemystifYing the Serger
TH READI N G O PTIONS The greatest d i fferences among serger models occur
The photo below shows some of the d i fferent l ooks
i n thread i n g options. F i ve-thread models are
you can ach ieve by changing the threading setup on
ava i l able with th ree needles and two loopers or two
the serger (see the chart below for part i c u l ars) . The
needles and three loopers. F i ve-thread models can
top sample in each color was stitched w ith the rol l
usual l y adapt to fou r-, th ree-, and even two-thread
hem setti ng, y i e l d i ng a narrower stitch; the bottom
uses, but si nce five-thread serging is most su itable for
sample was stitched w ith the overlock fi nger s l i d i nto
active wear and sem i - i ndustrial uses, it is beyond the
position, y i e l d i ng a w ider stitch.
scope of t h i s book.
Needle Options Th ree- and four-thread convertible models stitch w ith th ree or four threads. Both need l es are used for four thread appl ications, and either need le may be removed for th ree-thread appl ications. Remove the right need le for w ider coverage on heavier fabrics. Remove the left need le for narrower coverage on l ighter fabrics and rol led hems. For t i ny seams, remove the left need le and i nvoke rol l -hem setti ngs with the narrowest cutt i ng width and normal thread tensi o n .
Looper Options I n addition to using th ree- and four-thread app l i cations, with two-, th ree-, and fou r-thread serger
You can change the look of your stitching by how
models you can bypass the u pper looper and use
you thread the serger. The setups that produced these
e ither need le to stitch with two threads.
stitches are described in the chart below.
Sample Color
Left N eedle
Right Needle
Upper Looper
Lower Looper
Wh ite
removed
x
bypassed
x
B l ue
removed
x
x
x
Brown
x
removed
x
x
Pink
x
x
x
x
Getting the Most from Your Machine
15
Puckering can be remedied by decreasing the differential feed.
Optional Features Differential feed and adjustable pressure-foot pressure are offered as options on many sergers. Understanding how they work will help you realize the full capabilities of your serger or help you evaluate different models when making a purchase. Dilferential Feed Because the serger has two feed dogs, the
front and rear teeth can be set at different speeds. When the speeds are the same (dial at N or at 1, depending on the model) , the fabric enters and leaves the stitch bed at the same speed. If fabric tends to pucker, select a lower-than-normal setting. This slows the front feed dog, pulling the fabric under the presser foot, similar to sewing taut on a conventional machine.
16
Demystifying the Serger
TH ROAT PLATES AN D PRESS E R F E ET
Accessories for the serger include specialized throat plates and
A wav}-j stretched edge can be
presser feet for specific applications.
remedied by increasing the differential feed.
Various spec i a l ized throat plates and presser feet a l low a wide range of appl ications such as rol l hem m i ng; del icate sea m i ng; bl i nd hem m i ng; gathering; and applying elastic, b i nd i ng, or cord i ng. Some sergers are fu l l y automated and requ i re no change of presser feet or throat plates for these appl ications, w h i l e others requ i re certa i n adjustments, someti mes i n c l ud i ng a change o f throat p l ate and presser foot. Usu a l l y cost accompan ies conve n ience, a l though convenience can be worth paying for i n the l ong r u n .
If the edge of the fabric is wavy and stretched, select a higher than-normal setting. When the differential feed is set above normal, the front teeth move more quickly than the rear teeth, pushing the fabric under the presser foot and preventing knits and bias areas from stretching during stitching. Presser-Foot Pressure Some models allow you to change the
pressure on the presser foot. Lighten the pressure to accommodate thicker fabrics or to avoid teeth tracks on sheers. Increase the pressure to keep lighter fabrics from slipping.
Getting the Most from Your Machine
17
Getting Ready to Sew If you are new to serging, you are probably a little intimidated by the intricacies of the machine. Threading the machine needn't be daunting, though, if you take your time and follow instructions. As you practice stitching, you'll gain confidence and soon will be able to use serging in your fine sewing projects.
Initial Threading Most manufacturers make threading easier by color coding primary gUides and tension wheels. If you've never threaded a serger before. the task will be simpler if you select spools of ordinary sewing thread to match the color codes on your machine. Study the threading diagrams in your instruction booklet and use the long tweezers supplied in the accessory pack to help thread the loopers. Follow the threading instructions carefully. Most stitching problems resultjrom incorrect threading.
Initial threading of a serger is simpler if you select thread that matches the color of the tension wheels.
18
DemystifYing the Serger
If a foam thread cushion was supplied, place it on the shelf beneath the spools. If you are using conventional machine spools rather than large cones of specialized serger thread, use the small plastic discs on top of the spools to extend beyond the rim of the spool and prevent the strands from snagging in the thread notch. If you are using the larger cones for your initial threading, use the net sleeves to prevent the thread from unreeling too quickly.
Starting to Stitch Select a medium-weight, crisp, woven fabric in a solid color that contrasts well with your thread choices. Set the controls for needle and looper tensions at normal range as indicated by your manufacturer, and select normal (or medium) stitch settings for length, cutting width, and other optional features such as differential feed and presser-foot pressure. Sewing without fabriC, chain a thread tail of 2 in. or 3 in. to prevent thread and fabric jams. Watch the thread chain to be sure
Begin and end your stitching with a short thread chain.
it doesn't curl around and re-enter the stitch bed. Stop sewing the thread chain while you position your fabric j ust in front of the presser-foot toe. Resume sewing, letting the machine gUide the fabric under the foot. Chain a 3-in. to 5-in. long thread tail off the edge of the fabric before cutting the thread.
TI PS FOR G U I DI NG TH E FAB RIC • Let the feed dog guide the fabric: s i m ply use your
• Learn to focus you r eyes about 2 i n . in front of the
right hand to keep the right edge of the fabric level
presser foot to give yourself t i me to make feed i ng
when it approaches the knives. Pl ace you r left hand
corrections and adjustments. After the fabric enters
flat on the fabric to the left of the needles and let it
the stitch bed and is h idden by the foot, it is too late
travel with the fabric as it approaches the feed dog;
to make corrections without d i storting the seam or
stop to repos ition every few i nches .
cau s i ng u neven stitchi ng.
Getting Ready to Sew
19
COMMON TENSION PROBLEMS
1
If lower-looper threads
straggle over the edge of the
2
If upper-looper stitches are visible
on the underside of the fabric, the
3
If needle threads form small
beadlike loops of thread on the
fabric and are visible from the top
tensions of the loopers are not
underside of the fabric, the
side, the tensions of the upper
balanced. Tighten the upper-looper
needle threads are too loose.
and lower looper are not
tension in small increments, and
Tighten the appropriate needle
balanced. Tighten the lower
release the lower-looper tension
tension slightly. If needle threads
looper tension in small
if necessary.
are too tight, the stitches will
increments before releasing the
pucker. Loosen the appropriate
tension of the upper looper.
tension dial.
Adjusting the Tensions Experiment with changing tensions and stitch lengths while chaining without fabric so you can clearly see the response to each change. You will see dramatic differences in the chain as it responds to each new setting. For best results: • Follow the manufacturer's recommended settings. • Adjust one tension wheel at a time, then check results. • Make small, incremental changes .
Properly adjusted serger stitches.
• Check that looper threads interlock a t edge o f fabric. • Make tensions of both loopers approximately equal.
20
Demystifying the Serger
For the widest cutting width, move the blade housing
For the narrowest cutting width, move the blade
all the way to the right.
housing all the way to the left.
If the fabric twists under the stitches, the cutting width
If loops form in the air rather than at the edge of the
is too wide.
fabric, the cutting width is too narrow.
Adj usting the Cutting Width The cutting width is the distance between the knife blades and the needles. It is controlled by a knob or dial that moves the whole blade housing outward to the right, away from the needles, or inward to the left, closer to them. You will need to fine-tune the cutting width along with the tensions to achieve the proper effect with each fabric. If fabric twists and curls underneath the stitches, the cutting width is too wide. Follow the manufacturer's instructions to decrease cutting width, and watch the lower blade housing move to the left. If the loops overlock in the air rather than at the edge of the fabric, the cutting width is too narrow. Follow the manufacturer's instructions to increase cutting width, and watch the blade housing move to the right. Getting Ready to Sew
21
REPLACING N EEDLES AN D KN IVES You may not be able to tel l if a need le is d u l l, hooked, or bent just by looki ng at it, but a bad need le w i l l affect sew i ng performance and cause threads to break more easi Iy. Therefore it's a good idea to cha nge needles freq uently, as recommended
Remove the thread supply from the need le. Loosen the screw above the need le and remove it, using tweezers, or a spec i a l need le holder if provided .
by the manufactu rer. Genera l l y, need les w i l l rem a i n
I n sert a need le the man ufacturer recommends,
sharp for about 20 hou rs o f sewing t i me. F o r a more
fol lowing the previous steps i n reverse.
complete description of need les, see p. 31 .
Sma l l tears and frayed portions of the cut fabric edge are a sign that the lower knife blade has become
To cha nge a needle: Tu rn the flywheel to raise the needles to their h ighest position.
n icked or d u l l . Most manufactu rers i nc l ude a replacement lower bl ade in the accessory kit. Change the blade accord i ng to the manufacturer's
Swi ng the foot out to the side for easier access to the
i nstructions.
needle, if your model perm its t h i s .
A tweezers a n d small screwdriver are handy for
To change a blade, follow the manufacturer's
changing a needle.
instructions.
Adj usting the Stitch Length As with conventional sewing machines, the higher the stitch length number, the longer the stitch. Gradually increase the stitch length while sewing to see the effect of wider spacing, then decrease the stitch length to see the fuller coverage of dense stitches.
22
Demystifying the Serger
Hints for Trouble-Free Se
win g
Keeping your serger lint free and knowing how to unj am it when the thread snarls are important if you want your serger to run smoothly. It's also a good idea to perform periodic maintenance, as described in the machine manual. Removing Lint Sergers make a great deal of fabric dust, which
can become trapped in the feed dogs. Routinely replace needles (p. 22) and remove dust. If inadvertently sewn into the seam, a clump of lint can be a real chore to remove. To keep the machine clean and lint free, frequently open the panel door and clean the dust away from the looper mechanisms, cutting blades, and feed dogs. A small brush for this purpose is usually included with the accessories, but canisters of compressed air, sold at computer-supply stores, are even better. To keep household dust out of the machine, cover it when not in use.
A blast of compressed air will help remove dust and lint from inside the serger.
Unjamming a Serger If the machine j ams, stop sewing
immediately. Never try to force the machine or sew your way through; this could bend the loopers out of alignment and permanently damage your serger. If there is any play in the flywheel, gently try to raise the needle and cut the jammed threads away. If necessary, remove the needle from its socket. You can also open the front plate and use a seam ripper to free the jammed threads from underneath. Before you resume sewing, be sure that you have cleared away all stray threads, that the needle has not been bent, and that the machine is rethreaded correctly.
When the machine jams, stop sewing and remove all thread snags with a seam ripper, as shown, or other small tool. (Presser foot removed for clarity.)
Getting Ready to Sew
23
Fabrics, Thread, and Notions The first choice you make when planning any proj ect is fabric. Eye appeal, function, and the styling of the garment you plan are the primary factors in your choice, but especially when serging, the decisions you make concerning treads and notions will be an important part of the appearance and success of your finished proj ect. Will you make fabulously tiny seams a design feature of serged lingerie, or highlight a pressed wool j acket with a bright edging? Will you have serged decorative sportswear details such as flatlocked seams or hems? Will you intensifY the basic fabric color with harmonizing threads or accent it with a well-chosen contrast? Will you use thick threads such as pearl cotton or wooly nylon to highlight fabric texture, or shiny ribbons and glossy rayons or metallics to bring out the glamour of festive fabrics? Even if you originally planned to use the serger for quick and efficient seaming, this chapter will give old hands and beginners alike many new reasons to keep the serger in mind when buying new patterns or adding flair to tried-and-true favorites.
24
Selecting Fabrics
All fabrics of all weights, whether woven or knit, are sUitable for serging. In fact, with just a few twists of the dials, the serger can actually make some of the more "difficult" fabrics easy to work with. After selecting your fabrics, select needles and thread appropriate to the weight and weave. Lightweight fabrics are woven from thinly spun yarns in fairly open weaves. Cottons, silks, synthetiCS, and some wools fall into this group. With lightweight fabrics, use thin needles and lightweight threads for construction and embellishment. Medium-weight fabrics can be of any fiber (silk, cotton, wool, or synthetiC) but the yarns are spun into heaver plies and more densely packed into the weave. Needles and threads should correspond to the weight of the fabric. Hea
vyw eight fabrics have the thickest yarns and often very dense
weaves, such as twill or pile. Use heavier needles and threads to construct and decorate these fabrics.
Kni ts Like woven fabrics, knits can be light, medium, or heavy, according to the weight and thickness of the yarn and the density of the knit. Knits can also be of any fiber, natural or synthetic. The lightest knits are single knits, in which the wrong side looks different from the right and a single row of loops will appear on the edge of the fabric as it unravels. Double knits have two right sides and reveal a double row of loops as they unravel. Jerseys, matte jerseys, interlocks, ribbing, tricots, fleeces, sweater knits, spandex, Lycra, and panne velvets and velours are all knits that lend themselves to successful serging.
26
Fabrics, Thread, and Notions
Lightweight fabrics.
Medium-weight fabrics.
Heavyweight fabrics.
Selecting Fabrics
27
Choosing
Thr ead Select threads Jor Junction and color. Utility thread colors Jor seams and seam finishes should blend into the Jabric as much as possible. Decorative threads to highlight and embellish can be in matching or contrasting shades. The same spools you use on your conventional machine can be used successfully on your serger. Such threads include cotton wrapped polyester, all cotton, and all polyester. Specialized serger threads such as woolly nylon, two-ply polyester, and invisible nylon filament threads come on cones. Woolly nylon is a soft, comfortable, stretchy thread that is strong enough to be sewn under high tension, making it suitable for delicate seams and rolled hems. (Loosen thread tensions if you want the woolly nylon to fluff up as a filler thread.) Polyester and nylon filament threads also tolerate high tensions for rolled hems, and are thin enough to blend with most colors for less visible stitching.
28
Fabrics, Thread , and Notions
CHANG I NG TH READS T h e o n l y time y o u need t o unthread a need le or
eyes and blend i nto the cha i n . Si nce the loopers are
looper tota l ly i s when you are bypassi ng it. To
thread- h u ngry, t h i s w i l l happen before the need le
change threads, s i m p l y leave the mac h i ne t h readed,
threads arrive at the need le eyes.
tie in the new color, as shown in the four photos below, and cha i n without fabric u nt i l a l l the new threads have passed t h rough the eyes and i n to the chain. A simple overhand knot is a l l that is needed to tie in
Even though the sma l l eye of the need le rare l y al lows the knot to pass through eas i l y, it is sti l l worth knott i ng on. Just as the knot reaches the eye, cut the t h read, pu l l the old thread out, and manua l l y th read the new one. Resume stitc h i ng.
new t h reads . Always test the sec u r ity of your knot before t h reading i t t h rough the serger.
Threading Tips • U se loops of ord i nary sew i ng th read to help you
Stitching Knots Through
th read loopers with t h reads that tend to fuzz, such as
To stitch the knots through, trim the cut ends to
woo l l y nylon.
w i t h i n 112 i n . to 1 i n . from the knot. (Be carefu l not to trim the spool end, or you w i l l have to retie the knot!) Loosen the tension wheels to let the knots pass more eas i l y, and c h a i n the serger w i thout fabric u n t i l the u pper and lower l ooper t h reads pass through the
• If you are ru n n i ng short of thread, remember that
loopers consume th ree ti mes the amount of th read that needles do. Save sca ntier spoo l s for the needles and fu I ler ones for the loopers.
j
1
Tie in a new thread (blue) to the old (red) with a
2
Be sure that the knot is secure before threading it
simple overhand knot.
through the serger.
3
4
Stitch or pull the knot through the eye of the
looper.
!
Thread the looper with a loop of regular garment
thread (red) and pull thick, fuzzy thread (blue) through the eye.
Choosing Thread
29
Decorative Threads When it comes to decorative threads, sergers have it hands down over conventional machines. Thick threads that have to be wound by hand on the bobbins of conventional machines pass easily through the larger looper eyes. Since the serger spindles can easily hold entire spools, creative combinations of decorative thread can be chained into lengths to make custom piping and braid. Woolly nylon fluffs up to embellish a seam with decorative flatiocking, and raw edges can be overcast quickly with fancy finishes in place of hems and facings. Threads may be silk, linen, wool, metallic, synthetic, or cotton, Experiment with mixing colors and types of threads for novel effects. Shown here (left to right) are woolly nylon (blue) in net spool cas inK rayon pearl cotton (turquoise) with protective cap, cotton garment thread (red) on a 2, DDD-yd. spool,
and any thickness that will fit through the eye of the looper. For greater coverage, use decorative threads in the upper and lower loopers, alone or in combinations. It is critical to ensure that decorative threads unreel evenly and flow smoothly through the thread gUides . Some slippery threads
and (on foam cushion) decorative
slide off the spool and twist around the spindle beneath; others
metallic thread.
snag or fail to feed properly. For these difficult threads, bypass the spindle and place the spool in a cup behind the machine. Decorative threads work best if they are smooth, strong, and supple. Avoid slubbed or irregular textures that might snag in looper eyes. Threads that break easily are not suitable for decorative serging. Stiff threads such as quilting thread or rug and carpet thread are also not suitable, since they won't feed easily through the stitching mechanisms. Sometimes it is best to mix threads of different textures and colors. For instance, monofilament nylon or thin polyester are good choices for the lower looper to blend with a decorative novelty thread in the upper looper. Mix related shades of similar threads in needles and loopers to customize unusual or difficult colors. Neutral shades of gray or iVOry are good basics that blend
For even feeding with difficult threads, such as this rayon ribbon
with many other shades to darken or lighten them; sometimes three colors can be blended for nearly perfect matches. When
thread, let the spool unwind in a
blending a seam, be sure to use the shade closest to your fabric in
cup rather than on the spindle.
the needle.
30
Fabrics, Thread, and Notions
Selecting Needles
Serger needles are somewhat sturdier than conventional machine needles, but they are sized in the same way: the higher the number, the smaller the needle.
The type of fabric you are using will determine the size needle you need. Heavier fabrics require larger needles, and lighter fabrics require smaller ones. For example, with denims, velvets, and corduroy I generally use a size 70 needle. With lighter-weight fabrics such as batiste, charmeuse, or organza, I generally use a size 90 needle. Another consideration is the needle tip. For natural fibers, a pOinted tip is fine, since natural fibers are twisted and spun to form the thread and are easily penetrated by the pointed tip of the needle. But synthetic fibers, being of chemical origin, are not twisted and spun but brewed in vats and e
xtru ded in long
filaments. The strands deflect the point of a needle instead of allowing it to pierce them during stitching; this is why it is best, when serging synthetic fibers. to use ballpoint needles, which ease the filaments apart.
T I PS FOR CHOOS I NG S E RG E R N E E DLES • L ight fabrics: Need les m ust b e sma l l enough t o stitch t h rough the
fabric without making holes. Needles that are too l a rge w i l l l eave visible holes in the fabric. • Med i u m fabrics: Need les m u st be strong enough to pierce the
fabri c eas i l y, yet sma l l enough not to make holes. • Heavy fabrics: Need les need to be sturdy or they w i l l bend and
break d u ring stitch ing. • Synthetic fabrics of a l l weights: It's best to use ba l l po i n t needles
matched to the weight of the fabric.
Selecting Needles
31
Basting Techniques
Highly skilled professional sample-makers in the industry never baste at all and even take pride in using no pins. But sometimes we mortals really do need a pin or two, evenfor serging, which requires much less pinning and basting than conventional machine sewing.
When it is necessary to keep fabrics from shifting during sewing, you can pin (use caution), stabilize difficult fabrics with starch, or glue layers together with solid glue sticks, liquid seam sealants, artist's tape, or pre-glued basting tape. If you must baste, avoid basting on the seam line or within the seam allowance, because removing basting stitches might damage the serging and can be a time-consuming chore that defeats the virtues of the machine.
Pinning The serger will not sew over pins! At best, either the pin or the needle will break. At worst, the knives will be damaged and the timing of the machine disrupted. When pins are called for, such as when matching plaids or holding very slippery fabriCS, place them at least 1 in. inside the raw edge so there is no danger of one inadvertently passing through the stitch bed. On fabrics that may retain permanent pin marks, place pins at right angles to the seam line and be exceptionally vigilant about removing them from the seam allowance as you stitch; or consider other ways of securing the two layers, such as taping or glue basting.
32
Fabrics, Thread, and Notions
Taping Artist's tape. available at art-supply stores. leaves no sticky residue and is ideal for positioning sections that need careful placement. such as straps or pleats. Simply tape the area in question and remove the tape after stitching. Basting tape is concealed by layers of fabric. but artist's tape is always on top of the fabric where you can see it. eliminating the danger of stitching through it.
Place pins at least 7 in. inside the
Glue Basting
edges to be serged.
Glues for basting come in liquid. stick. and tape form. Tape is pressed between the two layers. while stick glues and liquid glues are both applied sparingly along the seam line. Stick glue is the easiest type to control. If liquid glue is overapplied. it can cause skipped stitches or harm your needle. Most basting glues and tapes are water soluble-which is a benefit only if your fabric is washable. Tapes carry the attendant risk of being sewn through. making them much harder to remove. and they will not flex easily around curved seams. Test glue-basting products on your fabric to see if they will really save you any time or trouble. Sometimes pre-seaming at the conventional machine is the quickest and most accurate choice. saving the serger for non-construction finishing tasks.
Solid glues such as glue sticks and basting tape are easier to control than liquid glues.
Starching Starching. though not really a form of basting. can serve the same purpose by stabilizing tricky fabriCS. making them easier to sew. For lightweight fabrics and laces starch can actually bond two layers temporarily. Laces stretch like bias fabric and need to be stabilized with starch before stitching. Lay a protective covering over your ironing board (p . 35) and spray lightly. Allow the starch to settle into the lace before pressing. Stretch lace slightly as you steam with a medium-hot iron. A press cloth keeps starch from
Spray starch and pressing will
building up on the sole plate of your iron and prevents scorch
stabilize lightweight fabrics
marks on your lace or fabric. Similarly. if you are joining lace to
and laces.
fabriC. starch very lightweight cottons to help support the lace during stitching.
Basting Techniques
33
Other Helpful Products
Notions counters are stocked with sewing aids that can significantly shorten sewing time and improve results. Those with the broadest number of uses are usually worth the investment. Grocery stores and art-supply houses are sources of other helpful supplies. Be sure to test any product on scraps before using on the actual garment. Check the labels for information on care, washability, and permanence.
Bias Tricot When hemming difficult fabrics,
Bias tricot is a tape of o/s-in. or 1 Y4-in. width that comes in white,
bias tricot tape helps control
black, and several basic colors; it is packaged in rolls and sold as
the edges.
a seam binding to control fraying. In the serger it helps control stray threads that tend to escape when rolling difficult fabrics or bias areas during roll hemming. Serge decorative threads over the folded edge to create piping and braid; the tricot forms the seam allowance. It is strong enough to reinforce knit shoulder seams that might sag or stretch, yet flexible enough to let the fabric "give."
Fusible Thread Fusible thread is sold on cones as a basting and positioning aid. For serging, manufacturers recommend threading the looper of the side that will be fused. (For example, if the wrong side of the fabric is to be fused, thread the lower looper and sew right side up.) Fusible thread in the lower looper can be pressed to form a hem.
Cover every stitch of the fusible thread with a press cloth before applying the iron. Light fUSing will be sufficient preparation for final topstitching; longer fUSing at higher heat and more pressure may yield a permanent bond .
34
Fabrics, Thread, and Notions
Water-Soluble Stabilizer Lay fabrics that move or twist on top of water-soluble stabilizer and stitch through all layers. When the seam is complete, gently pull the stabilizer away from the stitching, as if separating
A s q u a re o f cotton organ d y m akes a good press c l ot h becau se it w i I I w ithstan d h ig h h eat a n d y o u can see through i t .
perforated sheets of stamps. Rinse the remaining stabilizer out of the stitching with warm water.
Preven t i ro n i m p r i nts o f serged s e a m a l l owa nces by t u c k i n g fo l ded stri ps of p a pe r towel beneath a l l ow a nces d u ri n g p ress i n g . Press a s u s u a l w i t h a p p ro p r i ate h eat a n d ste a m setti ngs.
Water-soluble stabilizers support
Paper towels placed under seam
delicate stitching and are easily
allowances prevent imprints from
torn away.
the iron.
AN EASY I RO N I NG-BOARD COVER By serging ties onto a length of fabric, you can make an i ro n i ng board cover that's pretty to look at and easy to change. Cut a width of fabric to fit the out l i ne of your i ro n i ng board, a l lowing a 5-i n . marg i n all arou n d . Serge the edges, i ncorporati n g u t i l ity ri bbon ties i nto the serg i ng at convenient i nterval s around the edges. Tie tightly over you r regu l a r i roni ng-board cover and remove for wash i n g or replacing as des i red .
Other Helpful Products
35
Skills and Seams Once you understand the way a serger works, it is a short step to mastering the basic skills that will give you greater dexterity. Knowing when to stitch with the knives, when not to, and where they cut, combined with a thorough understanding of where the needle sews and which threading options to choose, will enable you to stitch accurately and evenly and be delighted with your results. The speed of the serger affects how you gUide fabric into it. Understanding what to expect and knowing the right ways to position your hands help you to gain control and manipulate fabric through the stitching process. It's easy to learn the basics , because they grow logically out o f understanding the way the serger works. Once learned , they become the foundation for specific applications such as seams, interior finishes, and hems. This section introduces basic skills first, preparing you for a variety of common sewing applications as well as the greater challenges of curves, corners, and placket slashes. The section on seams, finishes, and hems then presents a broad overview of serger uses. Several optional accessories for applying elastic or blind hemming are suggested, as well as several two-thread applications. If your serger does not have these capabilities, you can follow the alternative methods. Most fabrics and applications fall into a few broad categories, so that even if a specific application isn't covered, the basic idea behind all the techniques is explained so you can easily make your own choices of seams, hems, threads, and finishes.
36
Building Serger Skills
Sometimes it seems as if the serger requires a whole new vocabulary of words and skills. Knives and loopers, trimming widths, cutting widths, looper tensions, and dijferential feed are things we don't worry about at conventional machines. Overlocking, jlatlocking, serging, chaining-no wonder so many people have never even taken their serger out of the box!
38
Skills and Seams
The secret to it a l l is a few hours of practice with easy m aterials and plenty of time to put the knowledge of w h at the serger does and how it does it i nto you r h a nds. It isn 't even necessary to try everyth i ng. J ust browse through t h i s book u n t i l you find an a p p l ication that tempts you , t h e n try it. You ' l l find t h a t t h e serger i s not s o i nt i m idating after a l l , but rea l l y easy and conven ient to use.
Understanding Where the Knives Cut Know i ng where the k n i ves cut i n rel ation to the stitc h i ng is the fi rst step i n m astering the serger. Once you are certa i n that you won't cut away too much of you r fabric by accident, you w i l l g a i n confidence. A few moments of practice w ith a striped fabric w i l l h e l p bu i ld accu racy and contro l . A t the beg i n n i ng, focus you r eyes on the knife blade, then grad u a l l y sh ift you r attention forward t o the toe of the presser foot and the fabric pass i n g beneath it. Most models of sergers now help you gu ide the fabric w ith i n d ications on the toe of the presser foot that show the positions of the need l es and stationary kn ife. If you r serger lacks these, you can mark your own as you become aware of the relationsh i ps between the toe of the presser foot and the stitc h i n g mechanisms o f t h e serger.
Practice your stitches and seams on scrap fabric. Stripes will help you guide the fabric in a straight line.
Cut a 1 2- i n . length of stri ped fabric w i th a rel atively wide str i pe (a l - i n . stri pe is ideal) and c a l m colors that w i l l withstand i ntense focus without t i r i ng your eyes. Select a med i u m-long stitch length and a t h read color that lets you focus eas i l y on the fabric beneath the stitches. Set the cutti ng width at its widest setti ng. Thread tensions and feed options (if any) shou ld be normal . At fi rst, focus o n the i n ner edge of the stationary kn ife b l ade (nearest the need les), then stitch u n t i l the cut edge i s perfectl y stra ight and coi n c ides exactly with the edge of the str i pe. Usual ly, when the cutt i ng w idth i s at its widest setti ng, the right edge of the presser-foot toe w i l l coi ncide with the i n ner edge of the stationary knife b l ade.
Building Serger Skills
39
CUTI I N G WI DTH Cutting width i s the d i stance between the stitc h i ng
seams on heavier fabrics and for rol l ed-hem setti ngs
and the kn ives.
on l i ghter fabrics.
Narrow cutting widths are best for overcast i ng tiny
Movi n g the position of the b l ade housing changes
seams on del icate fabrics and for flatlocking tri mmed
the cutting w idth . The widest setti n g is shown i n
edges. Wide cutt i n g widths are used for overcasting
the photo a t left; the narrowest is shown i n the photo at right.
o
W i t h a nother l ength of the same fab ric, rotate the stati o n a ry k n ife
TRIMM I NG WI DTH
control to sel ect the sma l l est
The t r i m m i ng width, or the
sti l l p l a n to trim a t i n y portion
portion of the seam a l lowance
away from the very edge to
can confidently sew the edge of
that is cut away and d i scarded, is
ensure a crisp even edge and
the stripe in a str a i g h t l i ne,
the d i stance between the raw
u n iform overcasting.
edge of the fabric and the k n i ves.
F i na l l y, w i t h a t h i rd l e n gt h o f
the seam a l lowance and the
fab r i c, beg i n stitc h i ng aga i n a t t h e
location of the sea m . When
n arrowest c u tt i ng w i d t h . H a l fw a y
sea m i n g and overcasting a re
t h ro u g h the l e n gth, s t o p stitc h i ng,
simu ltaneous, sergers trim a
raise the need l e, a n d rotate t h e
preset d i stance from the sea m l ine
stati o na ry k n ife o utward to the
automatical l y. When you are
w i d est sett i n g . I f you lower t h e
overcast i ng the a l lowance of a
foot a n d resume sew i n g w h i l e sti l l
seam you have stitched
gu i d i ng the fab r i c toward the
conventiona l l y, trim the same
n arrowest c u tt i n g-width i n d i c ator
amount of excess fabric from the
o n the foot, you w i l l see the
seam al lowance that you wou ld
stitc h i n g veer 2mm to the r i g h t
with conventional methods.
a n d i nto t h e n e i g h bo r i n g str i pe .
Even i f the seam a l lowance is sma l l (or if it has been previously
The trimming width falls a way as
trimmed and a l tered), you shou l d
you stitch.
Skills and Seams
learn i n g to focu s on the toe of the p resser foot i n stead of the b l a d e .
The tri m m i ng width var ies with
40
c u tt i n g w i d t h , a n d stitch u n t i l you
Mastering Where the Needle Sews After beco m i n g confident about where the k n i ves c ut, you can learn where each need le w i l l sew. Aga i n practice with the striped fabric, s i nce it w i l l show the accu racy of you r sti tc h i ng. Start pract i c i ng w ith both need l es i n t h e machi ne, then remove fi rst the right, then the l eft. The stitch fi ngers a re couched i n long grooves j ust to the right of each need l e . Look j ust to the left of this groove to see if the toe of you r presser foot has been ma rked to i nd icate the need le pos ition. If you need to make you r own gu idel i ne, mark the toe j u st to the left of eac h groove w ith a fine i ndel i b l e marker. Now cut a nother 1 2- i n . strip of stri ped fabric. With a l l setti ngs at normal, position the fabric so that the edge of a str i pe coi n c ides with the l eft need le position. Stitch, chec k i n g the fabric to be s u re the need le stitches are a l igned with the edge of the str i pe . Make sma l l adj ustments i n feed i n g as necessary u nt i l you can confidently stitch the length of the fabric w ithout wavering.
Mark the needle position o n the toe o f the presser foot.
Retu rn the presser foot to sew i n g position and aga i n stitch a length of stri ped fabric, this time a i m i n g the edge o f the str i pe at the right need le. S i m i l arly, stitch u nt i l you can fol low the str i pe with the right need l e for the length of the fabric.
The edge of the stripe is aligned with the mark for the right needle on the toe of the presser foot.
Building Serger Skills
41
Manipulating the Fabric in Special Situations You w i l l have a l l the basics down once you m aster tec h n iques l i ke start i ng and stoppi ng, g u i d i n g the fabric, and learn i n g to focus you r eyes far enough a head of the presser foot to make corrections w ithout d i storting the stitc h i ng. N ow you a r e ready t o tackle the more spec i a l ized situations that fol low: angl i n g on and off, avoid i ng the kn ives, clearing the stitch fi ngers, bypassing the kn ives, and making a cutout. Angling on and off
1
Begin continuous seams by angling in from the right.
Circular Areas Continuous seams such as cuffs, fac i ngs, or c i rc u l a r hems have no conven ient beg i n n i ng or end. To beg i n and end preci sely and to stitch a smooth cont i n uous seam, c h a i n a few i nc hes norm a l l y, then angle the fabric i nto the k n i ves from the right (1 ). After the kn ives have begu n to trim the edge, pi vot the fabric i n to the normal stitc h i n g position.
When you reach the end of the seam, angle the fabric to the l eft away from the kn ives, and stitch off the edge of the fabric, sewi ng over the stitches at the beg i n n i n g o f t h e seam for about 1 i n . (2).
2
Complete continuous seams by angling to the left and stitching
over previous stitches.
42
Skills and Seams
When you need to restitch, angling in from the left lets you a void the knives.
Avoiding the Knives
Someti mes you wish to avoid the k n i ves u nti l you have begun stitc h i ng. ( Perhaps you need to restitch an area that has been previously trim med, or you must seam lessly blend i nto the existi ng stitc h ing.) To avo id the k n i ves, angle in from the left unt i l the fabric reaches the need l es, then pivot i nto normal stitc h i n g position.
After blending i nto the existing stitc h i ng, angle the fabric aga i n to the left, away from the k n i ves, and stitch off the edge.
When clearing stitch fi ngers (p. 44) and angl i n g off and on, remember that the k n i ves beg i n cutt i ng about % i n . before t h e need les enter the fabric.
Building Serger Skills
43
CLEARI NG TH E STITCH F I NG E RS When you want to start or stop at an exact poi nt, you
Position the fabric u nder the poi n t of the needles
need to clear the stitch fingers and swi ng the presser
as you wou ld on a conventional mach ine.
foot out of the way of the stitch bed if your serger perm i ts. Then you can see where to position the fabric to start stitc h i ng u nder the poi nt of the need les, or, at the end of stitchi ng, to get the fabric away from the need les.
To clear stitch fingers without fabric in the machine (at the beginning of a seam): C h a i n a length of thread . Stop sew i ng and ra ise the needles to the h ighest point. Ra ise the presser foot and swi n g i t to the l eft ( i f poss ible). Pull about liz in. of s l ack i n the need le threads.
Swing the presser foot back i nto position (if necessary), lower it, and resume sew i ng.
To clear stitch fingers with fabric in the machine (at an exact stopping point) : Stop sewing. Pu l l 1/2 in. of slack in front of the need les. Ra ise the need l es to the h ighest poi nt. Raise the presser foot and swi ng i t out of the way (if possible). Pu l l the fabric back until the stitch fi ngers clear and the edge of the fabric is j ust beh i nd the poi nts of the need les.
Pu l l the th read c h a i n beh ind the presser foot u ntil the
Swing the presser foot back ( i f necessary), lower it,
stitch fingers c l ear.
and resu me sewing to chain a thread tai l .
To clear the stitch fingers without fabric in the
To clear the stitch fingers with fabric in the machine,
machine, chain, then pull slack in the thread.
pull the fabric back until the fingers clear. (Presser
(Presser foot removed for clarity.)
foot removed for clarity.)
44
Skills and Seams
Bypassing the Knives Ang l i n g
When the edge has been trimmed,
on and off (p. 4 2 ) is o n e way of bypassi n g the k n i ves; here are two more ways to bypass the k n i ves as you beg i n sti tc h i ng. Both req u i re clearing the stitc h fingers.
clear the fingers and fold the fabric diagonally away from the needle. (Presser foot removed for clarity.)
Foldin g on
When the edge has a l ready been tri mmed, clear the stitch fi ngers and fold the fabric d i agon a l l y away from the need le a t t h e poi nt where you beg i n stitc h i ng . Position t h e need le r i g h t a t t h e fol d . Beg i n stitc h i ng w i th t h e tri mmed edge abutti ng the i n s ide of the knife. If you want to neaten the edge after you beg i n stitc h i ng, j ust swing the fabric sl ightly to the right i n the path of the knife. Makin g a Cutout
With scissors, cut out some of the seam a l l owance on you r start i ng edge. To start i n the middle of a c i rc u l a r edge such as a l a rge hem, cut the tri m m i ng width from the edge for about 2 i n .
1
To begin serging a circular edge, position the needle at the beginning of
the cutout. (Presser foot removed for clarity.)
C lear the stitch fi ngers and position the fabric u nder the need les right at the beg i n n i ng of the c utout (1 ) with the trimmed edge abutt i ng the i nside of the knife. At the end of the c i rc l e, stop where stitc h i ng begi ns, c lear the stitch fingers, and c h a i n off so the stitc h i ng is cont i n uous (2), w ith no gap between beg i n n i ng and end and no overlap.
2
End a circular edge by clearing the stitch fingers and chaining off so
stitching is continuous.
Building Serger Skills
45
Following Outside Curves
Watc h the kn ives carefu l ly w h i le sewi ng cu rved seams, because the fabric w i l l not pivot i n the grip of the presser foot. Press the fabric down on the deck of the serger, to the left of the needles, to c reate a central pi vot poi nt; a l low the raw edge to travel at the speed of the feed dog. Following Inside Curves On
i n s ide cu rves, the chal lenge is to keep the trim med edge from cu rv i ng away from the kn ife. Push the fabric sl ightly toward the kn ife as you stitch, being su re the tri m med edge stays flush aga i nst the blade. S l ight puckering to the left of the need le is normal . Don't worry-it w i l l van i sh as the seam is stitched. To follow an outside curve, press down with your fingers, creating a pivot point.
Turning Outside Corners
Outside corners may be seamed u s i ng two need l es or decoratively stitched cont i n uously, u si n g on e need le. Two-needle non continuous method
With you r sci ssors, hand-trim the tri m m i ng width from the fi rst 2 i n . of the seam a l l owance o n the second side. Sew comp letely off the fi rst side, cut the threads, and start the second side as i f it were a new seam, stitc h i ng over the over locked edge of the fi rst side and keep i n g the hand-tri mmed edge of the corner flush agai nst the kn ives for the length of the cutout.
To follow an inside curve, push the fabric toward the knife as you stitch.
To seam outsidf! corners with two needles, place the hand-trimmed portion of the second side flush against the knives.
Us i n g a l a rge-eyed hand-sewi ng need le, run the thread tai l back th rough the stitc h i ng to conceal it. One-needle method for continuous decorative stitchin g
Remove one of the needles accord i ng to the des i red width of the stitc h i ng.
46
Skills and Seams
B U IL D I NG SKILLS AT CORN E RS Lear n i ng to stitch corners can be tricky. It may take several tries before you can successfu l ly stitch a conti nuous corner without pu l l ing the edge i nto the
U se o n e need le for : • Extremely cu rved areas
stitc h i ng at the begi n n i ng of the second side (by
• Seams at conventional machi ne, then serge
start i n g too far away from the need l es) or without
overcast with one need le
creati ng thread loops that extend beyond the fabric (by pu l l i n g too much thread slack when clearing the
• Slashes
stitch fi ngers) .
. I nside cu rves
When stitc h i ng corners, adjust the cutting width for
U se the left need le o n l y for:
each fabric. Adj ust to as narrow a width as possible that keeps stitches from fa l l i n g off the edge. You a l so need to select the right needle com bi nat i o n .
• Crisp med i u m- and heavyweight fabrics that w i l l
su pport wider decorative stitch i ng a n d heavier thread U se the right need le only for:
U se two need les for:
• A l l fabrics, particu larly del icates
• Grad ual curves • Outside corners ( u s i ng the non-conti n uous stitch
method, which i s descri bed on p. 46)
• Overcast prestitched i nterior corners • A l l other corners and cu rves
Tri m 2 i n . of seam a l l ow a n ce from the sec o n d s i d e . Stitch t h e fi rst s i d e, sto p p i n g exact l y w h e n t h e need l e comes to the edge of the fab r i c . L ift the presser foot a n d c l e a r t h e stitc h fi n ge rs ( p . 4 4 ) . Pos i t i o n the secon d s i d e d i rectly u n d e r the poi n t of t h e n eed l e, a l i g n the tri m med portion of t h e s e a m a l l ow a n ce f l u s h a g a i nst the k n i fe b lade, a n d resu m e stitch i ng . Overcasting Seamed Inside Corners S l a s h the seam a l low
a nce to t h e corner a n d s p read t h e f a b r i c flat i nto a stra i g h t l i n e . As you s p read the s l a s h , p leats w i l l form i n the fab r i c . D i st r i bute t h i s fu l l ness eve n l y o n e i t h e r s i d e of t h e s l a s h , a n d secure w i t h tape.
To stitch decorative corners
To overcast seamed inside corners,
continuously with one needle,
slash to the corner, pleat the
hand-trim the first 2 in. before
fabric, and spread the fabric into
starting the second side.
a straight line.
Overcast t h e seam a l l ow a n ce, stitc h i n g in a stra i g h t l i n e r i g h t over the slash.
Building Serger Skills
47
PLACKETS P l ackets are l i ke i nside corners with a h a i rp i n turn .
Slash and spread the p l acket, and tape it to the
U s i ng the sl ash-and-spread tec h n i q u e for i nside
stabi I izer with right side u p .
corners, plackets can be serged with decorative thread for an attractive fi n i s h . S l ash the fabric as the pattern d i rects, spread i nto a stra ight l i ne, select m i n i m a l cutting width to support the decorative thread, and overcast in a stra ight l i ne, keeping the edge of the slash flush aga i nst the knife du ring stitc h i ng. Prec ision work l i ke edgi ng a l i ngerie p l acket with l ace is simple with water-so l u b l e sta b i l izer (p. 35) and artist's tape:
L a y t h e l ace wrong s i d e up i n a stra ight l i ne on top of the spread placket, a l ign i ng the lace with the raw edge at the pl acket point and 1/4 i n . i nside the raw edge at the top of the ope n i ng. Secure the lace with tape. Set the mach i n e for rol l hem m i ng (p. 62) and stitch, remov i ng strips of tape as they reach the presser foot. (For i nstructions on how to overlock plackets or i nside corners, refer to p. 47.)
Plackets can be finished by using the inside-corner
Even delicate plackets like this lingerie placket may
technique (p. 47).
be edged with lace using the inside-corner technique.
00 not stitch over the tape that holds the lace in place; remove each piece as you come to it.
48
Skills and Seams
�
Sewing Taut
., S 0'00' • "\) ....
If the fabric tends to pu cker d u r i n g stitc h i ng, i nvoke the d ifferential feed option (using setti ngs be low norma l ) or pu l l the fabric taut u nder the need le with both hands, bei n g carefu l not to slow the natu ral feed of the fabric. Be s u re to keep sew i n g speed even and regu l ar to avo id u neven stitches.
Machine Easing
Use both hands to pull the fabric taut under the needle.
When fabric h as a tendency to stretch , i nvoke the d i fferential feed option (using setti ngs above normal), or d u p l icate its effect man u a l l y by placing your fi nger or a tool such as a screwd river bl ade fl ush aga i nst the hee l of the presser foot. A l low the fabric to p i l e up agai nst the restriction as you stitch, releasi n g and reposition i n g every few i nches.
Holding Grain The long foot and feed dog have a tendency to d i stort stretchy areas of gra i n such as bi as, c i rc u l ar, or d i agon a l seams. To prevent t h i s, "hold gra i n " as you sew. Press the fabric to the deck of the serger with you r right hand and keep you r eye on the weave to be sure threads are cross i n g at right a ngles as the fabric enters the presser foot. The seam a l l owance may appear sl ightly ripp led, but the presser foot w i l l fl atten it aga i n d u r i ng stitc h i ng .
Use a tool such as a screwdriver to force fabric to pile up behind the presser foot to ease fabric or prevent stretching.
Hold grain by pressing the fabric to the deck of the serger with the right hand.
Building Serger Skills
49
Ending Se
am s
At the end of the seam, cut the th read ta i l u s i ng sci ssors or the bu i lt- i n kn i fe beh i nd the presser foot; or c h a i n it around to the sewi ng pos ition and stitch it past the kn ives (1 ). If the end of the seam w i l l not be crossed by another seam or secu red i n a hem or fac i ng, you must prevent the stitches from frayi n g. The best way is to th read a large-eyed need le w ith the thread tai l and run it back through the stitc h i ng (2).
1
Cut a thread tail by chaining it around to sewing position and stitching
over it.
Threads can a l so be secu red w ith l iq u i d seam sea l ant, ava i lable at notions cou nters. Apply a sma l l bead, spread it with the point o f a p i n , and a l low it to d ry before cutting the t h reads . Alternatively, t h e th read can be knotted at the edge of the fabric with a figu re-eight knot. F i rst, loop the th read ta i l back over itself, passi n g the end u nder the ta i l at the fabric edge and then back u p through the fi rst loop. N ow i n sert the need l e t h rough the loop next to the fabric w h i l e you tighten the knot to settle it right at the fabric edge (3).
2
To prevent fraying, run the thread
tail back through the stitching using a large-eyed needle.
3
Form a figure-eight knot to secure
a thread tail.
50
Skills and Seams
Overstitching at the Start of a Seam Because overstitch i ng c reates a t h i c k ridge of double stitc h i ng, it i s the least sati sfactory method for sec u r i n g th read ta i l s on fine fabrics, but it is acceptable i n certai n areas. At the beg i n n i ng of the seam, bri ng the th read tai I forward j ust as the need les enter the fabric. Pos ition the ta i l so the need les w i l l sew over it as they overcast. Swi n g the tai l in front of the k n i ves and l et it fal l away after an i nch or so. Overstitching the thread tail at the beginning of the stitching works on sturdy fabrics.
Overstitching at the End of a Seam Fol low t h i s method if it is necessary to stitch the ta i l at the end of the sea m . C lear t h e stitch fi ngers j ust a t the moment when the need les stitc h off the fabric. F l i p the fabric and pos ition it as if you were at the start of the seam . Stitc h backward for an i n c h o r two a n d fold off. C l i p the fi nal tai l close to the seam al lowance. Overstitching the thread tail at the end of the stitching can be done by clearing the stitch fingers, then flipping the fabric over.
Building Serger Skills
51
Se
/
win g Elastic
There are several methods for appl y i n g e lastic at the serger; the one you c hoose depends on you r personal preference and the fu nction of the garment. You can flatlock a casi ng, overlock l i ngerie elastic d i rectly to the fabric, or use an elastic app l i cator foot, ava i l able as an accessory for most sergers. Methods that don't i nvolve stretc h i n g the elasti c onto the fabric d u ri n g stitc h i ng, such as the overlocked casi ng, gi ve the most pred i ctable resu lts. Flatlocking the Casing
To flatlock a casing, make an S-fold in the fabric and serge wrong side up with a single needle.
Fold the casing a l l owance to the i n s ide and refold the fabric with an S-fo l d . The folded fabric w i l l resemble a tuck that overl aps the seaml i ne i nto the seam a l l owance by a scant 1fs i n . The raw edge of the cas i n g turnback w i l l extend about % i n . beyond the fold. Remove the left or right need le (accord i n g to the weight of you r fabric and t h e width o f stitc h i n g you want) . Set the serger for th ree-th read flatlock i ng by releasing the tension of a l l th ree th reads.
A safety pin at right angles to the seam prevents the free end of the elastic from pulling through the casing.
Stitch wrong side up so the extra seam a l l owance of the turnback i s trimmed away, the need le penetrates a l l th ree layers, and the right s ide of the stitch loops fal l off the edge of the fabric. When the stitc h i n g is complete, spread the seam apart and press. The sma l l "flea ladders" on the right side of the fabric w i l l d i sappear i nto the folds after the e lastic is i n serted in the casing. Close the fi nal seam after the elastic is in pl ace.
52
Skills and Seams
RI PPI NG OUT It happens to the best of u s ! Sometimes you can't avoid ripping out. Because the tension of serger stitc h i ng is so much looser than that of conventional stitc h i ng, you have to use a seam ri pper to release the need le threads for only a few stitches, then you can pu l l out the rest, as if you were pu l l i ng up gathering th reads. When the need le threads have been pu l led out of the fabric, simply give the looper threads a tug to start the uncoi l i ng process. You may have to repeat this process several times on a long seam. Take extra care not to damage del icate fabrics.
When ripping out is necessarYt use a seam ripper to cut the needle threads.
Overlocking the Elastic
Cut elastic to the desi red measu rement. Overlap and stitch the ends. Mark both the e l astic loop and the garment edge i n to q u a rters. With right s ides together, p i n the e l astic to the garment edge ( 1 ), a l l ow i n g the raw edge to extend a generous 1J4 i n . beyond the edge of the elastic . Overlock the elastic to the fabric, stretc h i ng the el astic to fit as you sew (2).
1
Pin elastic to the garment edge, matching the marks.
2
Overlock the elastic to the fabric, stretching the elastic as it's sewn.
Leave the kn ife engaged to neaten the raw edge, but be very carefu l not to cut the edge of the elasti c . Attaching with a n Elastic Foot Place the elastic foot on the
mac h i ne and stitch accord i n g to the man ufacturer's i n structions. The attachment w i l l stretch elasti c eve n l y as it sti tc hes. Pretest the gatheri n g ratio (p. 54).
Building Serger Skills
53
D ETERMI N I NG GATH E R I N G RATIOS In mac h i ne gatheri ng, the fabric is fed i nto the
Crosswise gra i n forms gathers eas i l y, a n d t h e ruffles
feed dog faster than it is d rawn away. I t bunches
are crisp. Lengthwise gra i n gathers stiffly, forms less
up beneath the need le and forms gathers as you
supple pleats, and creates the most bu l k, so gathering
stitch, saving you the step of later pu l l i ng up the
ratios should be lower.
bobbin threads. S i nce this gatheri ng is permanent, i t is i m portant to
Testing Gathering Ratios
test you r fabric before stitc h i ng to determ i n e how
Cut a 4 - i n . wide str i p of fabric to a length eve n l y
eas i l y it w i l l gather and to see if it conforms to the
d i v i s i ble b y 2 and 3 ( s u c h as 1 8 i n . or 24 i n . ) .
gathering ratio of you r pattern. L ightweight fabrics gather i nto sma l ler pleats, req u i re shorter stitches, have many gathers per i nch, and req u i re h igher
For 3 t o 1 rat i o : divide b y 3 ( a 24- i n . wide strip should gather to 8 i n . ) .
gatheri ng ratios. Heavy fabrics gather i nto b u l kier
For a 2 t o 1 rat i o : d ivide b y 2 ( a 24-i n . wide str i p
pleats, req u i re longer stitches, take fewer gathers per
shou ld gather t o 1 2 i n . ) .
i nc h , and have lower gathering ratios. Fabric gra i n must a l so be considered . Bias gathers
For 1 .5 to 1 rat i o : divide b y 3 a n d mu ltiply the resu lt by 2 (a 24- i n . wide str i p shou l d gather to 1 6 i n . ) .
are soft and d rapey, fabric does not resist gatheri ng, and the gathering ratio can be h igh without b u l k .
Gathering L i g htwe i g h t fab r i cs m a y be gathered w i t h o u t a spec i a l attac h ment. I nc rease the stitch l ength to 3-4 ( m a x i m u m l en gt h sett i n gs) . I n c rease t h e d iffere n t i a l feed to the h ig hest p o i n t above n o rm a l s o t h a t t h e fab r i c w i l l b e fed i nto the stitch bed twice as fast as it leaves. Cather lightweight fabric with the differential feed set to the highest setting.
Tighten the n eed l e t h read to secu re t h e gathers. The rol l- h e m sett i n g c a n be i nvoked to rol l the top edge i nto a neat f i n i s h . W h e n gath e r i n g heavier fabrics, u se a spec i a l gather i n g foot atta c h m e n t ava i l ab l e for most sergers. F o l l o w the m a n ufacturer's i nstruc t i o n s for basic sett i ngs, and then test your fab r i c for g at h e ri n g ratios, as descri bed i n
A gathering-foot a ttachment lets you gather and overcast at the same time.
54
Skills and Seams
the s i deba r above.
Se am s , Finishes, and Hems The serger is surprisingLy effective at seaming and hemming, as weLL asfinishing. A variety of interior construction seams can be done compLeteLy at the serger; others are done in combination with the conventionaL machine. It is often preferabLe to make fine seams (such as French seams) at the serger, because the knives neaten the edges so effectiveLy that no little threads pop out at the seamLine as they can when aLLowances are hand trimmed the traditionaL way. Tiny hemmed seams can also be swiftLy and accurateLy sewn in sheer fabrics, mimicking techniques used by skiLLed industry professionals, who use Y16-in. roLL-hemmer attachments on industriaL machines. C u rved seams, such as armholes, that are conventiona l l y sewn with strai ght stitc h i n g may be serge-fi n i shed i n one layer after sea m i ng . Other seams m a y b e pressed open and fi n ished separately as appropri ate, or "framed" with serg i n g before sewi ng. F ram i ng is part i c u l arly effective i n stab i l iz i n g sheer fabrics t o back i ngs when two l ayers are to be sewn as one, e l i m i nating the need to staystitch and overcast separately. Sergers can save hours of preparation time in l a rge c i rc u l a r hems. I n wovens, you can either ease the extra fu II ness to fit or
overcast decoratively edged hems; i n l oosely woven or k n i tted fabrics, you can make q u ick and easy b l i nd hems. The tec h n iq ues that fol l ow are o rga n ized to help you select the best seams, seam fi n i s hes, and hems for any project you u ndertake. (Serger sett i ng charts for the tech n iques appear on pgs. 96-1 09 .) Review these tec h n iq ues freq uently and perfect the ones that appeal to you, worki n g on additional tec h n i q ues as you c hoose. If you are sti l l gett i ng used to your serger, refer to earl ier sections for hel p i n th read i ng, mak i ng routine adj ustments, and preparing for stitc h i ng .
Seams, Finishes, and Hems
55
Se
am s
The basic three- or fou r-th read serged seam , the two-thread h a i rl i ne, the bi as h a i rl i ne, and the two- and th ree-thread rol led seam are a l l one-step seams. The serger F rench seam is a two-step seam, prepared at the serger and completed at the conventional mach i ne. Basic Four-Thread Serged
Basic four-thread serged seam; see setting chart, p. 96.
Seam The bas ic serged seam i s sewn a t t h e serger exactly as it wou ld be at the conventional mach i ne. With right sides together and raw edges a l igned, stitc h the seam from begi n n i ng to end, c ha i n i ng a 3 - i n . to 5 - i n . tai l at the beg i n n i ng and end of each seam . Basic Three-Thread Serged Seam Th ree-thread seams may
be sewn on l ighter fabrics i n areas that do not bear much strai n . Avo id th ree-thread construction for heav i l y stressed seams such as a rm holes or the i nseams of h ig h l y fitted pants. Decrease stitch length and cutting width for l ighter fabric. Hairline Seam H ai rl i ne seams
Basic three-thread serged seam; see setting chart, p. 97.
To avoid m i x i n g u sed need l es with new ones i n the box, secure need les that have been temporar i l y removed to the i nside of the front panel door w ith artist's tape u nti l you need them aga i n . When repl ac i ng need les, note that the long groove (wh ich h e l ps channe l the thread through the eye) d isti ngu ishes the front, and the back is i ndented to accom modate the u pper looper need l e .
56
Skills and Seams
can be stitched with th ree t h reads, but are best sewn with two on very l ight fabrics (if you r serger has the capabi l ity). For very fine seams, thread the need le w ith a t h i n th read, such as cotton basting thread or two-ply polyester. Woo l l y nylon is good for the loopers because it w i l l withstand h igh tensions without breaking. I nvoke the rol l- hem
Hairline seam.
setti ngs to produce very narrow stitch widths, and use the narrowest poss ible cutting w idth so the fabric wi II not rol l . Decrease the stitch length and i ncrease the tensions grad u a l l y if the stitches are v i s i b l e from the right side.
was hi ng, but take care to use a press c l oth to prevent traces of the stab i l izer from fou l i ng the bottom of you r i ron . For more t i ps on water-so l u b l e sta bi l izers, see p. 3 5 .
Bias Hairline Seam B i as
seam, choose a wide cutt i ng w idth so the seam a l l owance w i l l rol l i nto the sea m . Rol led seams may be sewn on lengthwise or crosswise gra i n . B i as and d i agon a l gra i ns a r e d iffic u lt to rol l neatly, a s t h e b i as threads escape from the seam, giving it an u n sightly appearance. For b i as edges, choose s i m ple h a i rl i n e seams i n stead of ro l l ed seams. Crisp fabrics can tolerate a stiff thread, such as c lear fi l ament nylon, but use flex i b l e t h reads such as Orion or woo l l y nylon with softer fabrics.
h a i rl i ne seams are exactly l i ke any th ree-thread h a i rl i n e seam o n gra i n , but the b i as is so l i kely to stretch that the d ifferential feed shou l d be put to the h ighest setti ng. If bias stretches even when d i fferential feed i s at its h ighest setti ng, stitch the seam on top of a strip of water-sol u ble sta b i l izer. Tea r sta b i l izer away from both sides of the seam after stitc h i n g . A n y stab i l izer remai n i ng i n the seam w i l l d i ssol ve at the fi rst
Two- and Three-Thread Rolled Seams For a rol led
Two-thread rolled seam; see setting chart, p. 98.
Seams, Finishes, and Hems
57
Serger French Seam F rench
seams, which com p l etel y enc lose the raw edge in a pre l i m i nary seam , are q u i c k and easy on the serger. Before you beg i n , make a sample: Choose the narrowest setti ngs you can, and stitch a pre l i m i n ary h a i r l i n e seam . Measure t h e width o f you r h a i rl i ne seam and add a scant bit of ease for t u r n i n g to establ i sh the pre l i m i nary sea ml i ne i nside the garment seam l i ne.
Serger French seams create narrow finished edges; see setting chart, p. 99. The preliminary seam is serged, then enclosed by a conventional sewing machine.
With wrong sides together, stitch the pre l i m i nary seam on the garment, as you d id the practice h a i rl i ne sea m . Because the pre l i m i nary seam is never subject to stress, you can e l i m i nate b u l k with a stitch length sl ightly longer than norm a l . If you r serger h as two-thread capab i l ities, bypass the u pper looper and th read on l y t he lower looper with woo l l y nylon o r another soft thread with a strong stretch that w i l l not c reate b u l k . Press t h e hairl i ne seam to o n e side. U s i ng the pre l i m i nary stitc h i n g as a fold l i ne, a l ign the right sides together and com plete the seam with the conventional mac h i ne . Flatlocked Decorative Seam
F l atlocked seams are overcast with three threads, u s i ng either the l eft or the right need le, depend i ng on the desi red width of the sea m . The weight of you r
Flatlocked decorative seams are serged, then pulled crosswise until the stitches lie flat; see setting chart, p. 1 05.
58
Skills and Seams
fabric and thread w i l l determ i ne which need le to use. S i nce flatl ocked seams are strong design elements, be sure to test the effect on sma l l scraps to ensure that the seam w i l l be u n iform, even, and worthy of such attention. Loosen the need le tension generously so the need le stitches extend to the edge of the fabric on the wrong side. Tighten the lower-looper tension u nt i l the threads are pu l led i nto a stra ight l i ne at the edge of the fabric. The u pper-looper tension shou ld be l oosened sl ightly to a l low the fabric to be p u l l ed flat after stitc h i ng . Select a narrow cutting width . With wrong sides together and raw edges a l i gned, stitch the seam right side up so that the stitches are half on and half off the edge of the fabric. Pu l l crosswise on the seam u nt i l t h e stitches I ie flat. T h e decorative u pper-looper stitches of the seam w i l l appear on the right side, and the loose need le stitches wi l l resemble a tiny "flea l adder" on the i nside. If you prefer the flea-ladder look, stitch the fabric with right sides together so that the flea l adder w i l l be on the right side. Test a sample of narrow flatlocking by tugg i n g gently to be sure it does not pu l l away from the fabric.
Se
am Finishes
Most of your serg i n g w i l l be for fi n i s h i n g seams that you have sewn at a conventional mac h i ne. You can serge each side of the seam al lowance separate l y, or you can fi n ish both layers of the seam al lowance at the same t i me for sma l l i nterior seams (such as armhole seams), where ridges w i l l not show through to the outside. When seams a re to be pressed open, each side of the seam a l lowance sho u ld be serged separately before pressi ng. E ither way, you never aga i n have to have an ugly notched seam a l l owance on the i nside of you r garment. When the pattern c a l l s for tri m m i n g a n d notc h i ng sma l l enc losed seam a l l owances, s i m pl y serge c lose to the seam l i ne. In fact, c l i pp i n g serged seam a l lowances is not recom mended, because it causes the stitches to u n rave l . G arment sections c a n al so be staystitched or "framed" with serg i n g before sea m i ng. Most fi ne fabrics shou ld be overcast w ith three th reads, with the left need le omitted for a narrower stitc h . Need les, loopers, a n d c utti ng widths should be ba l anced i n a l l fi n is h i n g app l i cations.
Narrow overlocking can be used to finish areas like armholes.
Finishing Edges Together
Convention a l l y stitch the seam with the normal seam a l lowance. Then tri m and serge both l ayers of the seam al lowance s i m u l taneously, stitc h i n g c l ose t o the original seam l i ne. The tri m m i ng a l l owance w i l l be generous, and the rem a i n i n g overlocked seam a l lowance w i l l be neat and flex i b le.
Seams, Finishes, and Hems
59
Single-layer overcasting; see setting chart, p. 1 03 . Single-Layer Overcasting
When stitched conventional seams are to be pressed open, overcast each side separately, tri m m i n g away j ust enough from the seam a l l owance to neaten the edge. Framing with Overcasting
Framing with overcasting.
60
Skills and Seams
S i ngle l ayers can be staystitched w ith overloc k i n g before bei n g seamed. Leave nec k l i nes, fac i ngs, and other enclosed seams u n stitched, as the overlocking w i l l create too much b u l k . Cha i n on and off the beg i n n i ng and end of the seam a l l owance and c l i p the ch a i n s close to the fabric. Don't worry about th reads u n rave l i ng, as each seam w i l l be crossed by another. When staystitc h i n g two layers together, p i n the l ayers at critical seam al lowances before serg i ng, remov i ng p i ns as you approach them .
Hems
•
Serger hems are j ust as fast, efficient, and conven ient as every other fi n ish on the serger. Hems may be b l i nd-hemmed with o r w ithout an optional b l i nd hem m i ng foot. They may a l so be c l ean-fi n i shed with s i ngle- l ayer overloc k i ng for hem m i ng by hand or with the conventional mac h i ne . Twi n -need l e hems, eased c i rc u l a r hems, and narrow s h i rtta i l hems ( u n i versa l l y cal l ed "baby hems" i n the i nd ustry) fal l i nto this category. Rol l ed hems rel y on a narrow stitch and h igh looper tension to rol l the cutting a l l owance i nto a t i ny hem. The approach is the same as it is for a ro l led seam, but a rol led hem, u n less it is a receiving hem, has o n l y one l ayer. Rol led receiving hems are used to secu re l ace edgi ngs or entredeux to fi ne fabrics for l i ngerie or to i n corporate stiffen i ng mono fi la ment fi s h i n g l i ne i nto very sheer fabrics to prevent d rooping. Stretched hems and flatlocked hems are decorative treatments that emphasize the wavy tendenc ies of bias areas and kn its. Novelty threads such as meta l l ics and ri bbons l ook wonderfu l i n stretched o r flatloc ked hems. Two-Step Turned Hem Hems
can be overlocked in preparation for fi nal sti tc h i ng at the regu lar mach i ne or by hand. F o r narrow topstitched o r shirttail hems
Overlocking controls the ease
F o r deeper circular hems
For deep c i rcu lar hems, used eased overlocki n g. Overlock the edge w ith three need l es, (genera l l y om i tt i n g the l eft need l e, as narrow stitc h i n g looks best) and ease the fabric by setting the d i fferenti a l feed sl ightly h igher than norm a l . This wi l l s h r i n k the hem to fit the s ki rt after you tu rn it u p .
of a circular hem; see setting chart, p. 99. Here, a machine-eased hem is pressed flat before final stitching.
Steam t h e h e m i nto shape. To fi n i sh, the hem can be sewn i n v i s i b l y by hand or topstitched with twi n need les. See p . 34 for u s i ng fu s i b l e threads to baste hems in p l ace.
Overlock the garment's lower edge. U s in g the need l e sti tc h i n g of overlock as a fold l i ne, turn up a baby hem and topstitch at the conventional mac h i ne w ith a s in gl e or twi n need le. Seams, Finishes, and Hems
61
•
Basic Rolled Hem F i n e and
l ightwe ight fabrics can be rol led i nto hems that resemble those done by hand on French l i ngerie and c h ri ste n i ng d resses. The serger ma kes qu ick, accu rate work of it.
Basic rolled hem; see setting chart, p. 7 00.
Move the cutt i ng width to the widest sett i n g to leave enough fabric to rol l . The stitch length shou ld be moderate, but i t is wi se to test it for each fabric. Some fabrics rol l eas i l y and others have threads that want to escape from the hem . S u rprisingly, i nc reas i ng the stitch length can be most effective in control l i n g d iffi c u l t fabrics, s i nce longer stitches w i l l per mi t the fabric to retai n i ntegrity, whereas shorter stitches tend to separate ti n y cross threads. U se I ightweight, soft, stretchy thread, such as woo l l y nylon, u nder very h igh tension i n the u pper and lower loopers, with reg u l a r sew i ng thread u nder normal tension in the need le. Soft, thin, two-pl y polyester a l so works wel l . For a Q u i c k Square Project that i n corporates rol led hem m i ng, see p. 89. Rolled Receiving Hem
Rolled receiving hem; see setting chart, p. 7 00.
62
Skills and Seams
Receiving hems are ro l l ed over the head i ng of l ace str i ps for hei rloom app l ications. Starch and press the lace and the fabric to stab i l ize bot h . If possi b l e, bypass the u pper looper and set the mac h i n e for two-thread appl ications, reta i n i n g normal rol l ed-hem settings.
Blind Hem
Prepare the hem : fo ld u p the normal hem a l lowance, as your pattern d i rects, and press. Then fold the fabric back on itself, c reating an S-fold (si m i l a r to el ast i c casi ng), and al l ow i n g the raw edge to extend beyond the fi rst fold of the S.
\
Pin through all three l ayers at once, placing pins wel l i nside the folded edge. B l i nd hem m i n g req u i res a prec ise start and stop. Clear the stitch fi ngers (p. 44) and prepare a cutout to beg i n stitc h i n g (p. 4 5 ) . T h read t h e serger w i t h colors that blend eas i l y i nto the fabric, loosen the need le tension, tighten the lower- looper tension, and moderately loosen the u pper looper tension, as you wou l d for flatloc k i n g (p. 5 8 ) .
Blind hems are sewn wrong side up after pinning an S-fold at the hemline; see setting chart, p. 1 02.
With t h e need le bare ly catc h i ng the fo ld, stitch w ith the right edge of the foot on the extended portion of the hem a l lowance. Continue arou nd the c i rc l e to the starting poi nt, clear the fi ngers aga i n , and c h a i n off. U nfold the hem and pu l l it flat, then press. The "flea ladder" may show in l ighter fabrics, but w i l l s i n k i nv i s i b l y i n to heavier weaves and kn its. Decorative Thread Edgings
With the serger, you can make decorative edges that take the place of fo lded hems or fac i ngs. When u s i n g these fi n i shes, remember to trim off you r pattern's h e m a l lowance. Choose a fi rm enough fabric to su pport the edge w ithout buck l i ng, use a novelty th read i n the l oopers, and set the stitch length to provide good coverage.
Decorative thread edging can
Lettuce-edge hem; see setting chart,
mimic piping.
p. 1 0 1 .
Lettuce-Edge Hem Kn its and
bias edges can be stretched wh i l e overloc k i ng to c reate a glorious ruffled edge that resembles c u r l y escarole. True bias and t h e cross gra i n s of kn its stretch best; avoid fabrics that are too I ight to su pport dense stitch i ng . T h read the u pper looper w i th decorative or con trast i ng thread that g i ves good coverage, such as woo l l y nylon. Stretch the fabric as you stitch to enhance c u rl i ng.
For a Q u i c k Square Project that i n corporates a l ettuce hem, see p . 6 7 .
Seams, Finishes, and Hems
63
Using Your Know ledge Even though 90% of the time you might use your serger to finish seams, it doesn't mean that all the fun and creativity of serging are limited to the remaining 1 0% of specialized uses. The essence of good design is appropriate use of fabric combined with well executed construction. If you are like me, you will enjoy the challenge of selecting the best possible settings to add to the professional quality of your work. Since fabric is the key to technique, and there are so many possible settings and thread choices, I keep a swatch notebook of seam and hem finishes organized by fabric types. This way, if I haven't sewn with a particular type of fabric for a while, I don't have to reinvent the wheel and spend precious time experimenting all over again to find the proper threads, cutting widths, and needle tensions. I simply refer to the notebook to refresh my memory. Similarly, I organize more specialized uses of the serger in the same way. I staple actual swatches of stitched trims, decorative thread combinations, and successful experiments to index cards and make notes on the number of threads, tension settings, cutting widths, differential feed, and other optional settings or specialized attachments. This handy reference file reminds me of good ideas I had forgotten about and helps my new employees quickly visualize more creative uses of the serger than they may have encountered in factory settings. In this chapter I share the convenience and cumulative experience of my notebook with you. The best seams, hems, and thread types for routine finishes (and the serger settings for creating them) are found in the Photo Index, which begins on p. 96. The more specialized and creative uses are grouped in the context of typical projects for clarity.
64
Working with
Kni ts
Knits are the most fun of all to sew on the serger. Serger seams are quick and easy, and most knit styling is simple, so projects are not difficult to finish. The flexibility of serger stitches allows them to move with the knit without breaking, so every knit fabric can be stretched hOrizontally to become self ribbing for neckbands and cuJfs. F i n e kn its i nc l ude a l l weights, from l ightweight s i l k jerseys t h rough med i u m-weight wools and cottons, to heavy panne velvets and velou rs. Any fiber can be k n i tted. As in wovens, the weight of the fabric depends on the thickness (den ier) of the yarn, the n u mber of strands ( p l i es) twisted together, and the style of knit. Dou ble knits a re knitted with two sets of need les and have no right or wrong s ide; s i ngl e k n i ts show the front and back of si ngle stitches and have a "kn i t" and a "purl" side. I nterlocks w i l l not run, and the c r i mped yarns of matte jerseys absorb I ight and yield a d u l l , matte fi n i s h .
66
Using Your Knowledge
QU ICK SQUARE PROJ ECT: L ETIUCE- E D G E COWL-N ECK SCARF Choose a k n i t without a n obvious right and wrong side. Measure and cut a square of good-qua l i ty knit that measures about 22 i n . (drape a tape measure around your neck to determine the exact size you prefer) . If your knit has more body or weight, you m ight want to make a shallower crosswise rectangle. Make a lettuce hem on each cross-gra i n edge (p. 6 3 ) . Serge-seam t h e two lengthwise edges u s i n g t h e four thread serged seam for knits (p. 56). Fold the tube i n half, wrong sides i n .
An Elegant Knit Top Any d ressy k n i t, such as s i l k or rayon jersey or velour, t u rns a u t i l ity tee sh i rt i n to an elegant k n i t top. A serged horizontal band of self fabric makes an e l egant fi n ish for the neckl i ne and cuffs of a fi ne knit top. Choose narrow bands for crew necks and short sl eeves, wider ones for t u rtlenecks or tu rnback cuffs for long sleeves. Cut out the top accord i n g to the pattern d i rections. (To ensure proper fit, be s u re to choose a pattern i n tended for kn its.)
1
Reinforce the shoulder seams with bias seam tape.
Th read both need l es of the serger w ith garment thread and both loopers w i th a sturdy stretch t h read such as woo l l y nylon. Start w i th the basi c four-seam sett i ngs as i n d icated in the c hart on p. 96, mak i ng adj ustments as necessary to suit you r fabric. Sew the shoulder seams (rei nforc i n g them with bias tape ( 1 ) or b i as tricot as necessary}.
Working with Knits
67
To determ i n e the cut w idth of you r self ribbing: For c rew bands, determ i ne the des i red fi n ished width of the band, dou bl e it, and add a seam a l l owance to both s ides. For tu rtleneck bands and rol l back cuffs, quadruple the desi red fi n ished width of the band (2) before add i ng a seam a l l owance to both sides. Mark the cut width on the horizontal gra i n of the fabric, and cut a generously long stri p. To determ i n e the c i rcu mference of the strip, double the strip lengthw ise and stretch it comfortabl y over you r head or wrist. P i n . Remove the band a n d mark the location of the p i n to i nd icate the sea ml i ne. Add seam a l lowances. Serge the center-back seam of the self ribbing. Fold i t in half lengthwi se, right s ides out.
2
Measure and mark the cut width of the turtleneck on the horizontal grain
of the fabric.
3
68
Mark the folded turtleneck band and the neckline in quarters.
Using Your Knowledge
Mark the ribbing tube i n quarters (the seam w i l l be at center back) . Mark the center front and back of the top neckl i ne (3). D i stri bute the band even ly about the neck, p i n n i n g seams and marki ngs together at center front, back and shoulders. Stretch the seam band to the nec k l i n e u s i ng the cutout method (p. 45) to start and stop at the same poi nt of the nec k l i n e sea m . Press the seam a l lowance toward the garment.
Smal l ribbing a reas l i ke cuffs are easier to apply as flat pieces. P i n t h e s l eeve self r i b b i ng to t h e right side of the sl eeve edge, raw edges a l i gned, d i stribut i n g the sl eeve fu l l ness even ly. Stretch-seam the band to the garment (4); press the seam toward the s leeve. Sew the sl eeves to the armhole on the flat (before closing the side and u nderarm seams), a l ign i n g t h e appropri ate pattern symbols. Serge-seam the s ide, u nderarm, and cuff i n one conti nuous seam (5). U se a tapestry need l e to run in the th read ta i l at the wrist edge. Hem the bottom u s i n g the b l i nd hem method (p. 63) or twi n need l e topstitc h i n g at the conventional mac h i ne .
4
Stretch-seam the cuff (or neckband) to the garment.
5
Serge-seam the side, underarm, and cuff in one continuous seam.
Working with Knits
69
Tailored Finishes
Tailored detailing emphasizes the lines and seams of ce interest to soft-finish simple designs and adds s wja wovens such as gabardines, twills, linens, tweeds, jlannels, and broadcloths. The better the fabric and the simpler the design, the more the detailing will show. Use the conventional machine and the serger together for basic interior construction, then let the serger help you prepare your pocket edges or create tailored details such as tucks, decorative jlatlocking, thread outlines, and custom braid for monograms.
Thread Accents Textu red novelty threads can out l i ne seams or the geometric shapes of col la rs, cuffs, and pocket fl aps. Treat decorative and novelty threads as part of the overa l l des ign, choos i n g them to blend, h ig h l ight, or accent colors in the weave or design . Match the we ight of the thread to the weight of the fabric.
Tucking Serger tucks are a good way to add deta i l s to ta i lored styles. They en hance the texture of the weave and, by d rawing the eye to the d i rection of the tuck, underscore the vertical or horizontal aspects of the design s i l houette. S i nce the tuck is overcast, the looper th read w i l l a l ways show, and the thread selection becomes a design deta i l . G arment thread is c u stomar i l y used in the need le.
70
Using Your Knowledge
TI PS FOR TUCKS • Plan your tuck i ng design and placement before cutting out the garment. • Stitch tucks on lengthwise or crosswise gra i n . • Sergers stitch right side up! Stitch a l l tucks i n the same d i rection for a un iform appearance. • Tri m th read ta i l s i m mediately before stitc h i ng the
next tuck. • Do not plan tucks too close together. The feed dog wi l l not feed smoothly if the previous tuck is below the presser foot. • Start stitc h i ng a vertical series of tucks with the center tuck; start a horizontal series of tucks with the top tuck. • Press vertical tucks away from the center. • Press horizontal tucks down . • For wider tucks, remove the right need le. • Si nce tucks are not construction seams, they do not need the extra security of th ree threads.
L ightweight two-ply threads b l end wel l , part i c u l arly if the tuck is very narrow, and w i l l e m ph as i ze the texture of the tuck. Nove l ty threads u nder h igh tension i n the u pper l ooper further d i stract the eye from the overcasti ng thread and add a color accent to your garment. For contrast accents, overcast with woo l l y nylon o r decorative th read and stitch wider tucks to h ighl ight the thread . Most tuc ks are stitched i n grou ps. Widths and thread detai l i ng m ay be u n iform or varied. See the sett i ng charts o n p . 1 04 for bas i c and decorative tucks.
To create a tucked fabric, decide o n the w idth and nu m ber of tucks. Cut a square of garment fabric with enough ease to extend 3 i n . beyond a l l edges of the pattern when tuck i ng is complete. To mark fo l d l i nes, press the fabric, starc h i n g i t if appropriate. Pos ition the edge of the ru ler on the gra i n and l ightly scratch a fold l i ne for the fi rst t u c k with the point of a pin ( 1 ), steadying the pin aga i n st the edge of the ru ler. The p i n wi l l fa l l between the th reads of the gra i n and score the c ross i n g th reads. Avoid u s i ng too m uch pressure as there is a danger of c u tt i n g finer fabrics.
1
Scratch the fold lines with a pin
and ruler.
Tailored Finishes
71
A p i n p laced t h rough the fabric at a 4 5 ° angle secu res the beg i n n i ng of the tuck to the i ron i n g board, enab l i ng you to pu l l the fabric taut and press c risp folds (2).
2
A pin works as a third hand, letting you pull the fabric taut as you press.
Add contrasting or h armon i z i ng textured th read such as pear l cotton t o the upper looper. (See p . 3 0 for t i ps on worki ng with decorative th reads.) I nc rease the u pper-looper tension by degrees u n t i l sma l l beads of the th read form at the stitc h i n g l i ne . M a i nta i n normal tension and garment thread i n the need l e to hold the beads of thread, then l oosen the lower- l ooper tension so the fabric can be encased in th read without buckl i ng . A denser stitc h length, such as 2 m m, creates u n iform thread beads on the stitc h i n g l i ne . Stitch t h e fi rst t u c k , t h e n crease and press su bseq uent tuck l i nes (3). Conti n u e in this manner u nt i l a l l the tucks are stitched .
3
Stitch the first tuck, then crease and press subsequent tuck lines.
4
Position the pattern over the fabric that has been tucked.
72
Using Your Knowledge
When a l l the tucks are made, p l ace the pattern over the fabric (4) and proceed to cut out the garment.
Decorative Edging Co l l ars, cuffs, and pockets may be fi n i shed with the same combi nation of threads to complete the sty l i ng deta i l s . S i nce two-p l y blend i n g thread w i l l n o t cover exterior edges, coord i n ated garment sections should be stitched, turned and pressed as you r pattern d i rects. Seams should be trim med to a scant 1/8 i n . before turn i n g a n d press i n g so the seam a l lowance wi l l fit entire l y with i n the serg i n g l i ne . Serged edging holds fac i ngs in p l ace without u nderst i tc h i ng . Set t h e serger t o m atch decorative tucks (see the chart on p. 1 04), or fi ne-tune you r sett i ngs on a test scrap. Assemb l e the co l l ar or c uff and stitch the tri m before attach i ng the section to the garment. You m ust be extra vigi lant not to pu I I and stretch cu rved areas as you a l ign them i n front o f the toe o f the presser foot.
Decorative Flatlocking Any seam that m ight be embe l l ished with p i p i n g can be flatlocked with decorative thread. Plan the texture and color of the thread as you wou l d any design e l ement: to harmon ize, h i g h l i ght, or accent a part i c u l a r deta i l of texture, l i ne, or color.
Collars and cuffs can be finished with decorative thread.
• F l at ribbon threads give good coverage and a soft l y gleam i n g fi n is h . They c a n a l so b e c h a i ned by themsel ves i n to attractive bra i d for monograms or other decorative outl i nes. • Textu red threads such as pear l
cotton or woo l l y nylon y i e l d matte fi n i shes and l ess successfu l c h a i ned trims. • If you l i ke the way the need l e and lower-looper threads appear to frame the decorative upper looper thread, emphasize t h i s w i t h creative contrasts rather than b l e n d i n g th reads. It is a l so w ise to be s u re the t r i m is washable if you plan to g i ve the garment hard wear.
TI PS FOR F LATLOCKING • Bypass the spindle i f the thread has a tendency to wrap. • Control the stitch width by using either the left or right need le, and turn rol l-hem setti ngs on or off. Be sure the stitch is wide enough not to pu l l out of the fabric.
Tailored Finishes
73
Flatlocked decorative thread can replace piping in a seam.
To serge a flatlocked seam : Prepare each section to be joi ned as you r pattern d i rects. (The pocket band in the photo at left has been i nterfaced and pressed prior to flatlock i ng it to the pocket.) F i n e-tu ne you r flatlock sett i ng on scraps (see the top chart on p. 1 05), matc h i n g the width of the seam to the weight of the fabric and des i red coverage of the seam. Pin a l l the elements of the seam together and serge.
Decorative Chaining without Fabric
Chaining without fabric creates a decorative braid.
74
Using Your Knowledge
A few adj ustments i n stitch length and tension are necessary to c h a i n decorative braids (see the bottom chart on p. 1 05 ) . Retai n the basic fl atlock thread i ngs and sett i ngs (see the top chart on p. 1 05), but return the need l e tension to norm a l . Loosen the u pper looper to make l a rge loops (bypass the tension a ltogether if the lowest tension setti ngs do not produce even results), and tighten the lower looper to m a i nta i n the shape of the bra i d . I nc rease the stitch length as necessary to keep the stitches from jamm i ng on the stitch fi nger without the feed dog and fabric to carry them away.
MAKI NG MONOG RAMS WITH D ECORATIVE CHAI N I NG Serging over a strand of fus i ble thread lets you bond
L ight l y out l i ne your monogram or design on the right
your trim d i rectly to the garment in any design you
side of the fabric with a d i sappearing marker.
want. H o l d i ng the thread in a cup next to the serger (sometimes it's more conve n ient to hold the c u p i n your l ap), guide it u nder the presser foot from front to back, pos ition i ng it d i rectly over the stitch fi nger. (Tempora r i l y tapi ng the end beh i nd the presser foot w i l l secure it u n t i l it is i ncorporated i nto the cha i n . ) Avoid thread i n g the needles o r loopers with fu s i b l e thread, as i t can melt d isastrous l y d u ri ng pressing.
Dot the outl i ne spa r i ngly with a fabric glue stick and arrange the braid over the marked pattern, pressi n g t h e g l u ed areas w i t h y o u r fi ngers. If y o u a r e bond i n g f u s i b l e thread, protect t h e i ron w ith a transparent press cloth (organdy works wel l ) so you can see what you're doing without gett i n g glue on the sole pl ate. If you prefer non-bonded app l ications, hand-tack the braid in place.
Chaining over fusible thread makes a press-on braid
Fuse the chain in place, using a scrap of organdy to
that can be used for monogramming.
protect the iron from glue.
Tailored Finishes
75
QU ICK SQUARE PROJ ECT: L I N E D EYEG LASS CASE WITH TUCKS AN D MONOG RAM
Try out a variety of decorative tai lored deta i ls with
U s i ng you r eyeglasses as a gu ide, trace a pattern on
some l i ned eyeglass cases.
a piece of paper, u s i ng a ruler to ensu re that the sides
Cut a rectangle of fabric l O i n . by 2 0 i n . Mark and stitch the decorative tucks o f you r choice to embe l l ish the case. Cut a l i n i n g to fit the tucked rectangle, and fuse the l i n i ng to the wrong side of the fabric.
are straight, and c u rv i ng the top s l i ghtly. P lace the bottom of the pattern aga i nst the crosswise fold of the fabric, and cut out the case. U nfold the case and serge the c u rve of each top edge. Refold the case and, starting at the bottom fold, serge through all layers to close each s ide. For
Fold the tucked fabric i n half crosswise, and prepare
a q u ick shou lder strap, continue to serge without
and position a thread-cha i n monogram between the
fabric for the length of the strap before c losing the
tucks, if des i red .
second side, this time sew i ng from top to bottom .
76
Using Your Knowledge
Time-Saving Construction Aids Some tai loring deta i l s don't show on the outside of the garment, but are j ust as critical to the fi nal appearance as th e ones that d o . Let you r serger give you expert beh i nd-the-scenes help for profess ional resu lts every t i me. Mock Hong Kong Finish
The Hong Kong fi n ish i s named for the is la nd's s k i l led tai l ors, who fi n ish the seams of u n l i ned s i l k a n d l i nen jackets with bias b i nd i ng. You can make a neat, easy mock Hong Kong fi n ish w ith you r serger. Threads that cover wel l , such as woo l l y nylon, are best in both loopers (see the bottom chart on p. 1 03); select the colors to harmon ize, contrast, or accent. Staystitched Pocket Seam Allowances The serger
e l i m i nates a l l agony from topstitc h i n g pockets. Use any th read yo u l i ke (garment threads are fine), and use balanced tensions for normal th ree-th read overloc k i ng. Serge the bottom edge fi rst. Press it i n pos ition over the pocket. Serge right over the fol d when overlock i n g the two s ides. Press, position the pocket, then edgestitch it to the garment w ith the conventional machine.
A mock Hong Kong finish adds a colorful accent to the seams on this jacket.
Inside Waistband Finish
U se the serger to ma ke a neat, bu l k-free waistband fi n ish . I n terface th e waistband and the seam outside edge to the s k i rt or pants. F i n ish the i nside waistband edge w ith balanced three-thread overlock, a l ig n i ng so the serger trims most of the seam a l l owance and so the top of the overlock i n g w i l l coi ncide w i t h sea m l i ne . C l ose t he e n ds and t u rn the corners right side out. Fold the wai stband to the i nside of the s k i rt, and position it so the seam a l l owance extends sl ightly beyond the waist seam and the tops of stitches are a l igned with the stitc h i ng l i ne.
Use the overlock stitch to finish the interior waistband and seam allowances of a skirt or pants.
Pin and d i tchstitc h from the right side through all layers.
Tailored Finishes
77
Festive Det
ailin g
Special-occasion fabrics range from lightweight organzas to sumptuous velvets. Sheers like organdy and organza can be handled like any delicate fabric. Browse through Chapter 3 and the Photo Index to find seam ideas. Tucks from the tailored details in this chapter also look great on crisp sheers, but avoid them in heavier pile fabriCS or weaves that would snag. Most other spec i al -occasion fabrics are best seamed conventiona l l y and fi n ished w ith s i n gle- layer overcasting. You ' l l be del i ghted to see how the serger hand les problem fabrics that fray eas i l y and what q u i c k work it makes of hem m i ng big, fu l l skirts.
Fancy Hems Hemm i ng the large swee p i ng s k i rts, tu l le vei ls, and cascades of ruffles that are common i n spec i al -occas ion and bridal wear can be a frustrati ng, time consu m i ng chore by hand or by the conventional mach i ne . Let the serger do the work for you . Refer to pages 61 and 62 for how to ease a large c i rc u l a r hem or prepared a narrow topstitched hem ("baby hem"). The serger also a l l ows you to create more elaborate fancy hems and fi n ishes: You can th read-trace the edge of tu l l e ve i l i ng, rol l su pport i ng mono fi lament i nto a d roopy fabric, or embe l l ish tiny rol led edges with decorative t h reads. 78
U se a narrow sheer hem to make you r own custom r i bbons! Cut strips of sheer organza or organdy and fi n i sh both edges with t i ny folded hems to c reate custom ri bbons for h a i r ornaments, sashes, or gift wraps.
Create festive ribbons in fabric to match garments by serging and trimming both edges of a strip.
Narrow Sheer Hem Some
sheer fabrics such as organza and organdy fray too much for successfu l rol l hem m i ng, and you w i l l need to make a narrow sheer hem . Fold a sma l l hem al lowance. Disengage the kn ife and stitch a 1 mm hem over the fol d . Be very carefu l not to a l low the sti tc h i n g l i ne to waver, a s too much fabric to the right of the need le w i l l rol l and cause u neven stitches. Tri m the excess fabric to the edge of the stitc h i n g on the wrong side.
bunch u nder the presser foot or if the stitc h i ng looks i rregu l ar w ith short ends of the net pok i ng out of the hem. G arment thread may be used throughout or combi ned with woo l l y nylon or two-pl y polyester, depend i n g on the amount of coverage you want. The th read w i l l stretch and cause the edge to c u rl sl ightly as you i ron it.
Tearaway stabilizer supports metallic hem thread tracing on sheer tulle.
Narrow Thread Tracing To
th read-trace net and tu l le ski rts, set the serger for rol l hemm i n g w ith a wide cutting width, h igh lower looper tension, and balanced need le and u pper looper tensions. Start wi th a 1 .5 m m stitch length; shorten it if the stitch i ng looks too sparse, and lengthen it if the fabric tends to
Festive Detailing
79
• Wide thread tracing can be applied to net and tulle.
TI PS FOR TH READ TRAC I N G • The bias properties of net and tu lle cause the stitched edge to curl when pressed . Set d ifferential feed to .07 to i ntensify the curl i ng effect of thread tracing, but be carefu l if you are trying to control the curl i ng with above-normal setti ngs, as the cut ends of the net wi l l tend to escape and protrude from the stitch ing. • The stiffen ing properties of meta l l ic threads cause bias areas to curl in a s i m i lar fashion to monofi lament fi l l i ngs. Plan hems on the bias to achieve th is cu rled effect or on straight grain to avoid it.
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Using Your Knowledge
Wide thread tracing
Continuous thread tracing
To protect you r hose from the raw edge of a net u nders k i rt (or to match the edge of a tu l le overs k i rt to a bod i ce), overcast a wide decorative border. O m i t rol l-he m m i n g setti ngs, select the left need le o n l y, and stitch densely with a thread that covers wel l, such as rayon ri bbon or woo l l y nylon.
To trace a conti n uous edge when stitc h i n g ve i l s and head pieces or s i m i l a r sections of ve i l i ng not crossed by seams, round corners i n a l a rge arc to c reate a mod ified oval shape. With the serger set at the narrowest sett i ng for rol l hem m i ng (see the top chart on p . 98), start and stop the traced outl i n e at the same poi nt, u s i ng the cutout method descri bed on p . 45 .
QU ICK SQUARE PROJ ECT: HAI R ORNAM E NT Measure and cut severa l squares (or rectangles) of fabric, each about 4 i n . by 1 2 i n . The more layers you use, the puffier the ornaments wi l l be.
Mark an overlap l i ne 1/2 in. to 1 in. i nside one short edge. Fold the end i n, and baste the overlap l i ne to the center I i ne. Repeat for the other side.
Overcast a l l the raw edges of each piece with thread trac ing (pp. 79-80).
Pu l l up the basting stitches to gather all layers together.
Layer the pieces together and hand-baste them together verticlaly through the center with strong thread and long stitches.
Use your i magination ! Trim fabric scraps with one of the edgings in this book to make quick coord i nati ng tai lored or festive hair ornaments. Or make custom ri bbons (p. 79), and tie in bows .
Complete the project by hand stitching the gathered edge of the hair ornament to a comb.
Lace Applique Lace appl i q ue i s a pop u l a r fi n i s h for t h e hems, sleeves, and necks of spec i a l -occas ion wear, bridal gowns, s leepwear, and l i ngerie. Prepare the l ace appl ique as your pattern or design d i rects. Trace the shape of the l ace o n to the recei v i ng area of the garment, mod i fy i n g extreme shapes as m uc h as possi ble. F i n i s h the traced out l i n e with a n arrow, balanced th ree-thread overlock. Refer to pp. 46-47 for help with i nside and outside corners. Prefinish areas that will receive applique with three-thread overlock.
Festive Detailing
81
MONOFI LAMENT H EM You can give a soft, fi l my fabric a sl ightly wiry edge by hem m i ng over monofi lament. Control the u n ruly stiff curls of monofi lament at the beg i n n i ng of the seam by taping the end in position beh i nd the presser foot. With the spool secure in a plastic freezer bag or cup, stretch the fi lament taut above the right stitch fi nger, and chain 6 i n . or 7 i n . without fabric. Remove the tape after the first few inches to al low the cha i n to flow freely off the stitch fi nger. Monofi lament is so s l i ppery that it wi l l tend to pu l l out of the seam, but you can tape the beg i n n i ng of the fi lament thread chain to hold it i n place.
Mark the beg i n n i ng of the cutting l i ne on the fabric with a crease or removable marker to help gu ide your eye as you feed the fabric. Al ign the mark with the edge of the cutting blade and position the fabric right side up underneath the fi lament. As the fabric begins to rol l over the monofilament, use your left hand to ensure that the monofi lament moves smoothly away from the heel of the presser foot without al lowing the fabric to bunch up over it. At the end of the hem, cha i n over the monofi lament another 8 i n . to l O i n . before passi ng it in front of the knife to cut. Secure the end of the monofi lament with tape u nti l you stitch the crossing seam.
A monofilament hem can give a crisp finish to the
Control monofilament by securing it with tape at
edge of a filmy fabric.
the beginning of the seam and stretching it taut as you sew.
82
Using Your Knowledge
Gathered Ruffles G athering long ruffles is one of those real chores on a conventional mach i ne that the serger can e l i m i nate for you . Let it chortle away, gathering as it stitches. The ted ious chore of pu l l i n g th reads in long edges i s completely e l i m i nated, a n d thoughts o f breaking threads a re ban i shed . If you r fabric is too heavy to gather w ith a long stitch length and max i m u m d ifferential feed, you can pu rchase a gathering-foot attachment that w i l l more than pay for itsel f after the fi rst major project. If you prefer softly d raped ruffles to very perky ones, cut the stri ps to be ruffled on the b i as. T h i s consu mes more fabric, but i t w i l l b e wel l worth the professional result. S i n ce the serger secu res the gathers as it stitches, adj ust you r ratios (see p. 5 3 for advice) and test o n scraps before worki ng on the garment. It is a l so a good idea to cut some extra length to ensure that you r fi n ished stri p doesn't fal l short. Seam lengths of the ruffle stri p (if req u i red) and hem the ruffle accord i ng to you r design c ho i ce.
The serger makes quick work of a festive edge of long ruffles.
If you are not u s i ng a spec i a l gatheri ng foot, i ncrease t h e stitch length to 4mm and i ncrease the d ifferential feed to the max i m u m . I f you are u s i n g a spec i a l gathering foot, fol l ow t h e man ufacturer's i n structions.
Some gatheri ng feet perm it you to attach the ruffles to the fa bric at the same ti me. However, this req u i res such prec ise measu ring that it's best to gather separately and join later. Less ripping!
Thread both need l es, balance the looper and need le tensions, and stitc h . The head i ng of the gathered str i p w i l l be neatly overcast, and the gathers w i l l be attractively stitc hed. Overcast the receiving edge of the seam before joi n i ng the ruffle stri p to t h e garment.
Festive Detailing
83
1
Cut 2-in. wide bias strips, fold,
and mark the stitching line.
Bias Tubing B ias tu b i n g is a d readed chore for many sewers. With the serger, t u bi ng is rid i c u l ously easy to make. It stitches and trims the t i ny seam a l l owances perfectly, and s i n ce the stitches "give" when you pu l l lengths right side out, you won 't get the popped seams that can ru i n tu b i ngs sewn on the conventional mach i ne. Cut 2-i n . wide stri ps of fabric on the true bias to the desi red length, plus a few i nches of i nsurance. Fold the bias str i p in half lengthwise, wrong sides together. Measure the desi red fi n ished width from the fo ld and mark a stitc h i n g l i ne ( 1 ) . Adjust t h e w i dt h of the bias strip and the pos ition of the stitc h i n g l i ne to t h e stiffness, wei ght, a n d s l i pperi ness o f t h e fabric. S l i ppery, l ightweight fabrics turn the most eas i l y and make the t h i n nest str i ps . Stiff sat i ns and brocades shou l d be w ider. Measure the desi red fi n i shed width of the bias stri p and establ ish a fold guide to the left of the need l e on the th roat plate with a piece of arti st's tape.
2
Use two-thread overcasting to cut down on the bulk of the seam
allowance on the bias strip.
84
Using Your Knowledge
Select the narrowest cutt i ng w idth, nor ma l stitch length, and balanced tensions. If you r mac h i n e has a two-thread capab i l ity, select this a lso to cut down on the bu l k of the seam a l l owances (see the bottom chart on p. 98 for setti ngs). Al low the k n i ves to trim away whatever seam al lowance fal l s to the right of the bl ade (2), keeping the fold of the bias a l igned with the taped t h roat pl ate gu ide as you stitch and overcast both l ayers together.
3
Tri m the top edge of the str i p at a n a n g l e away from t h e seam . Push the poi n t of a loop tu rner through the stri p and secure the l atch safety-p i n style over the overlocked seam at the top (3). The hook should arch over the tri mmed edge, and the latch of the tu rner should pierce the sea ml i ne about '/4 i n . below it.
Secure the latch of the loop
turner in one end of the bias strip.
After p u l l i ng the tu rner carefu l l y down i nto the tube to start the turn, hook the r i n g end over one of the th read spind les, bac k i n g slowly away t o mai nta i n even tension without a l l ow i n g the tu rner to rel ax its grip on the start i ng edge (4). U se the tautness of the strip as a brace to free both hands so you can prevent b u n c h i n g as you work the rest of the b i as over itself. The overcast seam a l l owance rem a i ns cu rled i nside as a fi l l i ng. If you want t h ic ker fi l l i ng, i nc rease the width of the seam a l l owance by i nc reasi n g the cutti ng width and decreasi n g the th read tensions. Secu re one end of the t ub i ng to the i ro n i n g board u s i ng a p i n at a 4 5 ° angle so you can p u l l i t taut. Steam t h e tub i ng t o set the stitches and straighten the sea m .
B ias tu b i ng w i t h the seam a l l owance rol l ed i ns ide makes a very secure strap that holds wel l . Cut the proper length for spaghetti straps and sew them o n as you r pattern d i rects.
4
Hook the ring of the loop turner over a spindle to help maintain tension
as you turn the tubing.
Festive Detailing
85
To make button loops, tape bias tubing over the pattern and serge it into position on the stabilizer. Easy Button Loops Lengths of
bias t ub i ng can repl ace pu rc hased cord i ng or ri bbon when a pattern's c losi ngs or design deta i ls ca l l for decorative l aces and ties. Mark a strai ght l i ne to represent the seam l i ne on a p iece of stabi I i zer. Center the buttons over the l i ne, spac i n g them as they w i l l b e sewn to the garment. Mark each side and the top of the butto n . Remove the buttons and loop the bias so that the marki ngs are v i s i b l e with i n the loop and the bias extends to the cutt i ng l i ne. The loops w i l l resemble tiny c roquet w i c kets. Mark and cut the bias tub i ng accord i ng to the i n structions that fol l ow in " Buttons and F rogs."
86
Using Your Knowledge
Tape the cut loops to the sta b i l izer and staystitch them in position. Align the raw edge of the sta bi l ized loops over the buttonhole side of the c losi ng, and staystitch to the garment ju st i nside the sea m l i ne . Tear the sta b i l izer away before fac i ng the c10si ng. Buttons and Frogs When
d ivid i ng longer lengths of bias t u bi ng i nto shorter segments for loop c losi ngs and straps, mark the measurement of each segment (plus desi red seam a l lowances) and use the serger to cut and fi n ish the t i ny ends of each segment. Overcasting w i l l sl ightly flatten the segment ends and m ake them easier to p i n and stitch i nto garment seam s .
Prepare a diagram, and use bias tubing to create buttons and frogs in fabric to match the garment.
)
• For C h i nese buttons, cut b i as tu b i ng 1 6 i n . long and fol low you r d i agram for the loop formations. The t u b i ng sea m l i ne should be on top, and the loops should be rel atively open w h i l e you shape them . Ease and shape the loops w h i l e pu l l i ng the ends to tighten them to form the butto n . C l i p off excess ends a n d tack them to the butto n . • F o r frog c losi ngs, keep the seamed side u p and cut the ends on top. Sec u re the c rossi ngs with t i ny stitches, taping and stitc h i ng the frog as it forms.
H ER E COMES TH E B R I D E ! Festive details are particularly welcome i n bridal app l ications. • Quick tiny hems can be used to prepare ski rts and sleeves and trains for lace appl iques or other decorative fin ishes. • Thread-traced hems are a good fin ish for vei ls and headpieces. • B ias button loops are often used on bridal gowns for back and wrist c losi ngs as wel l as more special ized functions such as fi nger loops to secure the points of Jul iet sleeves to the hand and ski rt loops to l ift the tra i n out of the way for danci ng.
• To c reate more complex frog c l os i ngs, d raw you r own d i agrams. S i m i larly tape and stitch the c ross i ngs to secu re the frog as it forms .
A thread-traced veil and Juliet finger loops can be created with the serger.
Festive Detailing
87
Working with Delicate Fabrics Delicate fabrics include lightweight silks, airy voiles, sheer chiffons, laces, thin crepes, and gossamer batistes. When lightweight fabriCS are also sheer, the seamfinishes are visible through the fabriC and must be considered part of the design.
The serger is so effective and speedy at rol l i ng hems and sew i n g t i n y seams that you can rather surprisingly depend on i t for most o f your del icate-fabric construction chores. It sews and fi n i shes h a i rl i n e seams that a re fi ne enough for even the most d iscern i n g eye, wh i l e offering sturdy construction secu rity and enhancing a i ry fabrics. Com bi ne l ightweight threads that w ithstand h igh tension w ithout break i n g and garment th read for construction seams or i nv i s i b l y joi n i ng lace. Reserve the conventional mach i n e for z igzagg i n g t i n y topstitched seams to m iter corners and for staystitch i ng d iffic u lt areas before serging. Whet you r appetite for serg i n g del i cates by ma ki ng a rea l l y easy s i l k scarf, w h i c h is s i m p l y ro l l hem med on a l l fou r sides, before mov i n g on to more c h a l l engi ng projects s u c h as l i ngerie, sleep wear, and even c h riste n i n g d resses. You r serger w i l l save you time and help create more professional-looki ng resu lts.
88
Using Your Knowledge
QU ICK SQUARE PROJECT: SCARF You c a n create a n i mpressive, nearly i n stant scarf from a prepri nted scarf print (sold by the yard) or any sol id color or appea l i ng print. Some fabric stores carry bordered scarf pri nts, or try an a l l -over
TI PS FOR CHOOS I NG TH READ
print of s i l k crepe de c h i ne or c h i ffon that coord i nates with
You r thread choice is a design
you r wardrobe.
decision that depends on the
Tri m the p u rchased scarf panel or cut a square of fabric to the des i red size. Edge all four s ides with rol l a plain rol l ed hem ( p . 62). Corners shou ld be trimmed accord i ng to the i n structions on pp. 46-47 and sewn conti nuously by clearing the stitch fi ngers (p. 44). Run threads in neatly.
effect you want to ach ieve. • To accent a color or create
a contrast i ng border, use threads that prov ide max i m u m coverage, such as woo l l y nylon or r i bbon, i n both l oopers and a dense stitch length, such as 2 m m . Use garment thread i n t h e need le. • For m i n i mal coverage to
blend i nto the background color, select two-p l y pol yester for the loopers and garment thread or two-ply polyester for the need le. I n c rease the stitch length for less dense stitch i ng, but not so far as to let u nsightly threads escape from the rol led hem . However, s i nce scarves are usua l l y cut and rol l ed on straight gra ins, and silk is a c l ose weave, stray t h reads w i l l not usual l y b e a problem . • For custom effects or
to harmonize with strong pri nts, change thread colors as appropri ate to each side.
If you change colors for custom effects, the ends must be ru n in (p. 50).
Working with Delicate Fabrics
89
C ami sole and Tap Pants Any l i ngerie fabric is su itable for this cam isole and tap-pants set: charmeuse, tricot, l ightwei ght c repe-back sat i n , or voi l e . The only tricky part i s the front shaping of the cam i sole. You can save t i me here by selecti ng a pattern without m u c h shaping. E ither way, the project shou l d take no more t h a n a pleasant morn i ng's o r even i ng's work, from cutt i ng out to fi n is h i ng.
With t h i s and s i m i l a r projects, seam i n g and fi n is h i n g can be done s i m u ltaneously u s i ng h a i rl i n e seam tec h n iq ues that are fine enough for the most d iscern i n g eye, add i mmeas u rably to the design effect of sheers, and offer sturdy construction secu rity. Tra n sfer these tec h n i ques to a n ightie or handkerch ief, use you r conventional z i gzag to m iter corners (pp. 94-95), and you h ave a lovel y gift for any fem i n i ne celebration such as Mother's Day or a bridal shower. Joi n pre l i m i n a ry seams : U s i ng the bi as h a i rl i n e seam (p. 5 7), j o i n t h e first s i d e seam o f t h e cam i sole and the center front and side seams of the tap pants, sea m i n g nearly cont i n uously. C l i p the pieces apart after seam i ng, then press. Leave one side seam of the cam isole and the center back and c rotch seams of the pants open so you can complete the l ace assembl y on the flat. Prepare the tri m assemb l y : To c reate a stri p o f you r l aces, total the measu rements of a l l areas to b e tri m med. For the cam i so l e and tap pants, measu re both l eg ope n i ngs of the pants and the top and bottom edges of the cam isole. Cut the l ace stri ps to equal the total measu rement plus 1 2 i n .
90
Using Your Knowledge
Starch and press the l ace before serg i n g the sea m . Rotate the u pper k n i fe out of position ( 1 ), and serge with the two-th read i nvisible seam (see the bottom chart on p . 98). Staystitc h the l ace to the sea m l i ne at the conventional mac h i n e u s i ng a normal stitch length of 8 to 1 0 stitches per i n c h and a s l i ghtly relaxed upper-thread ten s i o n . To tri m the bottom of the cam isole and the legs of the pants, cut one length of the l ace assembly to fit each l eg ope n i ng and another to fit the bottom of the camisole. Serge as before; you may opt to staystitc h conventiona l l y or not, depend i n g on you r confidence and experience. Aga i n press the hem away from the fabric and toward the lace to avoid b u l k .
1
Serge the lace with a two-thread invisible seam, with the upper knife
rotated out of position.
SAVE TIME BY WORKING I N U N ITS Th i nking of the two garments as one u n it wi l l help save time rethread ing and changing serger settings. Plan to join as many seams as possible, assembly l i ne fashion, cha i n i ng each new seam without cutting the chain between sections, before moving on to detai led areas. L i kewise, when working with bands of joi ned laces or trims, save time by assembl i ng one long continuous strip of joi ned laces, then apply and trim to garment measurements as requ i red.
The sides of the tap pants can be serged in series without cutting thread or pausing between sections.
Working with Delicate Fabrics
91
Prepare the bust poi nts : Starch the cam isole and l ightly mark the sea m l i ne on the right side of the fabric with a water-so luble fabric marker (2). Cut a tiny sq u are from the point of the seam a l l owance over the l eft bust, a l ig n i ng one corner of the cutout with the apex of the poi nt. Cut a s i m i l a r sq u a re from the right-bust seam a l lowance. F u rther tri m the seam a l l owance to 3mm for 2 i n . on the u nderarm s ide of the right-bust point apex. The trimmed a rea w i l l resemble an L shape.
2
Mark the seamline with a water-soluble marker.
Prepare the center front: S l ash the seam a l l owance to the seam l i ne at center front. Spread the s l ashed seam a l l owance flat so the raw edge forms a stra ight l i ne between the two poi nts, a l low i n g the rest of the fabric to rad i ate out from the s l ash and form a l a rge fol d below it. Cut a strip of the l ace assem b l y to equal the poi nt-to-point l i ne p l u s 4 i n . , a l i g n i n g t h e center o f the l ace pattern with the s l ash at center front (3). Conventio n a l l y staystitch the l ace to the cam i sole as you d id to the leg open i ng. To ensu re that the stitc h i ng area is c lear at the beg i n n i ng and end of the seam, m a ke an " a i rplane fold"-fold the
3
Prepare the top edge of the camisole by marking the seamline, trimminK
and centering the lace pattern.
92
Using Your Knowledge
ends of the l ace and u nderarm side of the left bust-poi nt seam a l l owance away from the bust point c utouts at a 45° angle (4). Stabi l ize the fold with artist's tape or p i n s . S i m i larly, return t o t h e serger to rol l-hem the l ace to the cam isole between the bust poi nts (5). To rol l-hem the l ace to the cam isole at the serger, i nc rease c utti n g w idth to 3 m m and set the m ac h i ne for rol l hemming. L ift the presser foot and pos ition the need le carefu l l y at the beg i n n i ng of the seam over the left bust poi nt, being sure not to stitch t h rough the header of the l ace that extends beyond the fabric. Use s i m i lar caution at the end of the sea m .
4
After clipping the center, spread the camisole top i n a straight line and
tape the lace into position.
Aga i n , press t h e h e m toward the l ace so the header of the l ace rema i n s flat and fabric rol l s over it in a receiving hem. To tri m the u nderarm and back of the cam iso le, c lose the rem a i n i ng side seam and restarch the cam i so l e and fi n a l stri p of the l ace assembl y. P i n the l ace arou nd the back and u nderarms of the cam i sole top from bust poi nt to bust poi nt, centering the pattern at center back and al l ow i n g the ends of the l ace to extend over the previously stitched center portion.
5
Roll-hem the lace to the camisole between bust points. Fold the ends of
the lace out of the way so you won't stitch them into the seam allowance.
Working with Delicate Fabrics
93
Agai n , staystitch the l ace from bust point to bust po i nt arou nd the back and underarm of the top . Fold the fabric and l ace out of the way at the apex of each corner (6), as you d id previously. Return to the serger, c lear the stitch fi ngers and raise the presser foot and need le. Pos ition the apex of the left bust-poi nt cutout d i rectly u nder the need le w ith the L portion of the cutout flush aga i nst the i n s ide of the lower kn ife b l ade (7). Serge the hem l ace to the camisole as before, being carefu l not to stitch t h rough the header of l ace at the end of the seam over the right bust poi nt.
6
Fold the ends of the lace out of the way at the start of the underarm seam
on both sides of the corner so they won 't be caught in the stitching.
To m iter the corners at the center front, press a l l hems toward the l ace, a rran g i ng excess l ace at the center i nto a fold so the fo ld l i ne extends vertica l l y u pward beyond the center front of the cam isole (8)
•
•
8
Miter the corners at center front,
pressing the lace so the fold lines are vertical.
7
With the stitch fingers cleared, position the folded lace at the start of the
underarm seam under the needle with the L portion of the cutout flush with the inside of the lower knife blade.
94
Using Your Knowledge
To fi n ish the bust poi nts, l a p the ends of the l ace over each other, aga i n positio n i ng the fold to extend vertic a l l y above the bust poi nt. Starting at the fabric edge and work i n g to the outside, u se the conventional mach i ne to edgestitch the m i ters i n a tiny z i gzag h a i rl i ne sea m . ( Loosen i n g t h e u pper-thread tension a n d decreasi n g the stitch length w i l l a l low t h e stitches t o s i n k i nto the l ace and d i sappear.) U s i n g very sharp embroidery scissors, trim excess l ace c l ose to the z i gzag stitc h i ng (9). To m a ke straps for the cam isole, th read ri bbon t h rough l ace bead i ng . Trace the outl i ne of the bust poi nts onto the bea d i ng assembly and overcast the outl i ne. Pin the prepared strap to the cam i so l e, matc h i n g the center of the bead i n g to the center of the bust point and the flatlocked edge to the i n ner edge of the rol l hem. Edgestitch i n the d itch to secu re, and h a nd-tack the l ace to the strap at the poi nt. Try on the c a m i sole to adj ust the l ength of the strap before fi n i s h i n g the back edge of the strap and sec u r i n g it to the cam i sole. E m be l l ish the center front of the cam isole w ith a ri bbon bow, w h i c h can be made by loopi n g ri bbon arou nd t h e spind les o f the serger. Pass the free end a round beh i nd the loops and tie in front. Remove the bow from the spind les and trim the ends d i agonal l y (1 0). Press the elastic-ca s i n g a l l owance i nto a n S-shaped fold at the top of the pants, as desc r i bed o n p. 5 2 .
9
Trim excess lace close to the zigzag stitching.
Loosen the need l e tension fu l l y, and loosen the looper tensions moderately. I nc rease the stitc h length t o 4mm, set t h e b l i nd hemmer gu ide if you have one, and serge, lett i n g the need l e bare l y penetrate t h e fol ded edge of the fabric as it overcasts the raw edge. The cutting width sho u l d be normal to support over casting. Open the fold and press flat. F i l l the cas i n g with e l astic . Retu rn t h e serger to b i as- h a i rl i ne setti ngs, and c lose the fi n a l seam at center back and crotch .
10 Don't try t o fi n ish l ace o r ri bbon edges w i t h a rol l h e m . The l ace t h reads are too far apart, patterned a reas a re too i rreg u l a r for a smooth hem, and ri bbons are just too bu l ky to rol l wel l . I nstead, flatlock the raw edge of ri bbon or l ace w ith a narrow cutti ng w idth and a sma l l stitch lengt h .
Tie a decorative bow for the
front of the camisole and trim the ends of the beaded lace.
When sew i ng l ace, ribbon, or other prefi n ished edges, rotate the u pper k n i fe out of position to remove any danger of accidenta l l y tri m m i ng the edge, and stitch as usu a l .
Working with Delicate Fabrics
95
Photo Index This photo index will help you to review and compare serger seams andfinishes, and to locate them in the book. You will see at a glance various treatments you can use, grouped under five headings: basics, hems, utility and decorative stitches, specialty stitches, and complete projects. Where appropriate, photos are accompanied by a chart with the serger settings that pro duced the stitch.
Basics BASIC F O U R-TH READ S E RG E D S EAM
N EE D LES/ LOOPERS
TH READ
TENSION
Left needle
Garment th read
Normal
Right needle
Garment t h read
Normal
U pper looper
Garment t h read
Normal
Lower looper
Garment th read
Normal
S ERGER S ETT I N G S
See page 56.
96
Stitch length
Normal ( 2 m m to 3 m m )
Cutt i ng width
Normal for fabric
D i fferential feed
Normal
l I
N EE D LES/ LOOPERS
TH READ
TENSION
Left needle
Garment t h read
Normal
Right needle
Garment th read
Normal
U pper looper
Wool l y nylon
Balanced
Lower looper
Wool l y nylon
Balanced
F O U R-T H R EAD S EAM F O R L 1 G HTW E I G HT KN ITS
S E R G E R S ETTI N G S Stitch length
3mm to 3 . S m m
Cutt i ng width
Bala nce to we ight of fabric
Differential feed
Normal u n less fabric waves
Optional setti ngs
Use ro l l -hem setting for l i ght k n i ts
See the discussion of overstitching, which begins on
.----
N E E D LES/ LOO PERS
page 5 7 .
BASIC T H R E E-T H R EAD S EAM TH READ
TENSION
�
---- -- -- --Left needle
Omit (for wider
seams, t h read the left needle and
o m it the right)
!--
!-
Right need le
Garment t h read
Normal
U pper looper
Garment t h read
Normal
Lower looper
G a rment t h read
Normal
S E RG E R S ETT I N G S Stitch length
Normal (2mm to 3 m m)
Cutt i n g width
Normal for fabric
I--
[
See page 56.
t--
Differential feed
Normal u n l ess fabric puckers
Photo Index
97
TWO-TH R EA D RO L L E D S EAM
N E E D L ES / LOO PERS
T H R EA D
Left needle
Omit
t
TENSION
! Garment t h read
Right needle U pper looper
Bypass
Lower looper
Clear nylon
Normal
H igh
S E RG E R S ETT I N G S �
See page 57.
TWO-T H R E A D S EAM F O R J O I N 1 NG LAC E
�
l
Stitch length
2 m m to 2 . 5 m m
Cutting width
Widest (3mm)
Differential feed
Normal u n less fabric puckers
Optional setti ngs
Adjust serger for ro l l hem m i ng; for th ree-th read rol l ed seam, th read upper looper with c l ea r nylon u nder high tension.
N E E D L ES / LOO PERS
I
TH READ
_j
Left needle
Omit
R i g h t needle
Garment th read
U pper looper
Bypass
Lower looper
Garment t h read
TENSION
Normal
Normal
S E R G E R S ETT I N G S Stitch length
2mm
Cutting width
Disengage upper kn ife
D ifferential feed
.07 to prevent c u r l i ng
Optional setti ngs
Adj ust serger for rol l hem m i ng
See page 9 7 .
98
Photo Index
t
r
N E E D LES/ LOOPERS
r
F R E N C H S EAM TENSION
TH READ
I
-
Left needle
Omit
Right needle
Garment th read
U pper looper
Bypass
Lower looper
Woo l ly nylon
Normal
H i gh
S E R G E R SETTI NGS
l- -
Stitch length
2 . S m m to 3 m m
Cutting width
Narrowest (1 mm)
D i fferential feed
Normal u n less fabric puckers
Optional settings
Adjust serger for ro l l hem m i ng
See page 58.
J
Hems EAS E D OV E R LOC K H E M
N E E D LES/ LOOPERS
TH READ
Left needle
Omit
Right need le
G a rment th read
Normal
U pper looper
Garment th read
Normal
Lower looper
Garment th read
Normal
rs l
TENSION
1
E RG E R S ETTI N G S
Stitch length
Normal (2mm to 3 m m )
Cutting width
Normal for fabric
D i fferential feed
Above normal for eas i ng,
See page 6 7 .
or normal
Photo Index
99
BASIC ROL L E D H EM
I TH READ
N E E DLES/ LOO PERS
TENSION
Left needle
Omit
Right needle
Garment th read
Normal
Lightweight, such
Normal
Upper looper
I I
Lower looper
as two-ply poly Wool l y nylon
High
S E R G E R S ETTI NGS Stitch length
2 m m to 2 . 5 m m
f-Cutting width
Wide
See page 62.
RO L L E D R E C E I VI N G H EM
I
I
D ifferential feed
Normal u n less fabric puckers
Optional setti ngs
Adjust serger for ro l l hemming
N E E D LES/ LOOPERS
T H READ
Left needle
Omit
I
Upper looper Lower looper
I
See page 62.
I I
Photo Index
Garment th read
Normal
Woo l l y nylon
High
Wool l y nylon
High '--
L-
S E R G E R S ETTI N G S Stitch length Cutting width
To suit fabric
--
Widest (3mm)
f---
D i fferential feed
�
100
TENSION
--
Right needle
I II
---
Ptional setti ngs
Normal u n less fabric puckers
I
Adjust serger for ro l l hemming
�
N EE D LES/ LOO P E RS
TH READ
Left needle
Omit
Right needle
Harmon i z i n g
Normal
U pper looper
Woo l l y nylon
Normal
Lower looper
Woo l l y nylon
Fairly h i g h
TENSIO
1
L ETT U C E- E D G E H EM
SERGER S ETTI N G S Stitch length
2mm
Cutting width
Normal for fabric
Differential feed
.07 below normal to p u l l fabric
N EE D LES/ LOO P E RS
MO N O F I LAM E N T H E M TH READ
TENSION
Left needle
Omit
Right needle
To suit coverage
Normal
U pper looper
To suit coverage
Bala nced
ower looper
To suit coverage
H i gh
�
See page 63.
SERGER S ETT I N G S Stitch length
2mm
Cutt i n g width
Widest (3mm)
Differential feed
Normal u n l ess fabric puckers
Optional setti ngs
Adj ust serger for ro l l hem m i n g
See page 82.
J
Photo Index
101
B L I N D H EM
\ See page 63.
102
Photo Index
\
�
�
N E E D LES/ LOO PERS
TH READ
Left needle
Garment th read
Right needle
Omit
U pper looper
Garment th read
SI ightly low
Lower looper
Garment th read
Fairly h i gh
S E R G E R S ETTI N G S Stitch length
Med i u m to long
Cutting width
Normal
Differential feed
Normal
ENSIO
Fairly low
Utility and Decorative Stitches S I N G L E- LAY E R OVE RCAST I N G
N E E D L ES / LOO P E RS
TH READ
Left needle
Omit
Ri ght needle
Garment th read
Normal
U pper looper
Garment th read
Normal
Lower looper
Garment th read
Normal
TENSION
S E R G E R SETI I N G S Stitch length
2 . S m m to 3 m m
Cutting width
Normal for fabric
Differential feed
Normal
See page 60.
MOC K H O N G KO N G F I N I S H
N EE D LES/ LOOPERS
TH READ
Left needle
Omit
Right needle
G a rment th read
Normal
Upper looper
Wool l y nylon
Balanced
Lower looper
Woo l l y nylon
Balanced
TENSION
S E R G E R S ETII N G S Stitch length
1 . S m m to 2 m m for coverage
Cutti ng width
Balance to weight of fabric
Differential feed
Normal u n less fabric puckers
See page 77.
Photo Index
103
BAS I C T U C KS
N EE D LES/ LOOPE RS
TH READ
Left needle
Omit
R ight needle
Garment t h read
U pper looper
Bypass
Lower looper
Garment thread
TENSION
Normal
Normal
S E R G E R S ETT I N G S
See pages 70-72.
DECO RATIVE TUCKS
Stitch length
3mm
Cutting width
Balance to weight of fabric
D i fferential feed
.07
Optional setti ngs
Use ro l l -hem setting for l ight kn its
N E E D LES/ LOOPERS
TH READ
TENSION
Left needle
Garment th read
Normal
Right needle
Garment t h read
Normal
Upper looper
Decorative th read
H igh
Lower looper
Garment thread
Low
S E R G E R S ETT I N G S
See pages 70-72.
Stitch length
Moderate l l y dense (2mm)
Cutti ng width
Ba la nce to weight of fabric
Differential feed
.07
Optional setti ngs
Use ro l l -hem setting for very na rrow tucks; use edge-stitc h i ng attach ment to help control fol d l i ne
104
Photo Index
D ECO RAT I V E F LAT LOC K I N G
N EE D LES/ LOOPERS
TH READ
TENSION
Left needle
Garment t h read
Fai rly low
Right needle
Omit
U pper looper
Woo l l y nylon
S l i ghtly low
Lower looper
Contrast
Fairly high
SERGER S ETI I N G S Stitch length
Med i u m (adjust so nylon fl uffs up)
Cutting width
Narrowest (1 mm)
Differential feed
Normal
N E E D LES/ LOOP E RS Left needle
See pages 58 and 73.
D ECO RAT I V E C H A I N I N G T H R EA D
TENSION
Garment or
Normal
accent thread Right needle
Garment or
Normal
accent t h read U pper looper
Decorative t h read
Low
Lower looper
G a rment or
H igh
accent thread
S E R G E R S ETT I N G S Stitch length
I n c rease so tri m w i l l not bunch u p on stitch fingers
Cutting width
Balance to weight of fab ric
Differential feed
.07
See page 74.
Photo Index
105
Specialty Stitches Sewing Elastic See pages 52-53.
Gathering See page 54.
Plackets See page 48.
106
Photo Index
Decorative Edging See page 73.
Metallic Th rea d-Traced Hem See pages 79-80.
Gathered Ruffles See page 83.
Photo Index
107
Complete Proj ects Quick Scarf See page 89.
Quick Cowl Neck See page 67.
Quick Eyeglass Case See page 76.
108
Photo Index
Quick Hair Ornament See page 8 1 .
Camisole and Tap Pants See pages 90-95.
Elegant Silk Knit Top See pages 67-69.
Photo Index
109
Index A
F
Angling on and off, technique for,
Fabric:
42 Applique, lace, 8 1
plain rolled, 62 basic rolled, setting chart for, 1 00
delicate, 88
rolled receiving, 62
guiding, 39- 4 1 hea
vyw eight,
setting chart for, 1 00
26, 2 7
two-step turned, 6 1
lightweight, 26, 2 7
B
medium-weight, 26, 2 7
Basting: glue as, 33 starch as, 33 tape as, 33 Bridalwear, serged accents for, 87 Button loops, of bias tubing, 86
See also Frogs . Buttons, of bias tubing, 86-87
See also Knits. described, 1 2 differential feed for, 1 6- 1 7 as fabric guide, 1 9
instructions for, 90-95 Chaining: decorative, 74 setting chart for, 1 05
Ironing-board cover, serged, 35
Finishes: fancy, 78 mock Hong Kong, 77 setting chart for, 1 03 Thread tracing.
Finishing:
Camisole and tap pants,
K Knit top, instructions for, 67-69 Knits:
of lace edges, 95
described, 26
of ribbon edges, 95
types of, 66
Flatlocking, decorative, 73- 74
Knives: bypassing,
setting chart for, 1 05
by avoiding, 43
tips for, 73
by folding on, 45
Frogs , of bias tubing, 87
by making a cutout, 45
at start and end of seam, 1 9 Corners: inside, 47 mitered, 84 outside, one-needle method for, 46-47 two-needle method for, 46
described, 1 1 replacing, 22
G Gathering, technique for, 54 Gathering ratios, testing, 54 Guiding, practice techniques for, 39-4 1
Curves:
Cutting width:
L Lace: edge-finishing tip for, 95
inside, 46 outside, 46
Seams.
Feed dogs:
See also Hems;
c
See also
Holding grain, technique for, 49
stabilizing, with starch, 33
H
two-thread seam for, 98
See also Hems,
rolled receiving.
adjusting, 2 1
Hair ornament, instructions for, 8 1
Lint, removing, 23
changing, 40
Hems:
Loopers:
defined, 2 1 , 40
blind, 63 setting chart for, 1 02 deep circular, 6 1
E
tension adjustments for, 20 and threading options, 1 5
eased overlock, setting chart for,
Edges finished together, technique for, 59 Edgings, decorative, 63, 73 Elastic, serger application of, 52-53 Eyeglass case, instructions for, 76
99 fancy, 78 lettuce-edge, 63 setting chart for, 10 1 monofilament, 82 setting chart for, 10 1 narrow, 6 1 narrow sheer, 79
1 10
described, 1 2 , 1 3
M Machine easing, technique for, 49 Monograms, chained, 75
T
5
N Needles: described, 1 2 , 1 3 and fabric weight, 3 1 for natural fibers, 3 1 replacing, 22 storing, 56 for synthetic fibers, 3 1 tension adjustments for, 20 and threading options, 1 5
Tape, bias tricot, 34
Scarf: cowl-neck, instructions for, 67
Tension, adjusting, 20
silk, instructions for, 89
Thread : changing, 29
Seams: basic four-thread, 56 setting chart for, 96 basic three-thread, 56 setting chart for, 97
decorative, 30 for delicate fabrics, 88, 89 fusible, 34 nylon filament, 28
bias hairline, 57
polyester, 28
circular, 42
slubbed, disadvised, 30
continuous, 42
utility vs. decorative, 28 woolly nylon, 28
o
ending, 50, 5 1 finishes for, 59-69
Thread guides, discussed, 1 1
Overcasting:
flatlocked decorative, 58
Threading:
framing with, 60
four-thread, for lightweight knits, setting chart for, 97
single-layer, 60 setting chart for, 1 03 at start and end of seam, 5 1
See also Seams.
p
setting chart for, 99
lace-edged, 48 Pockets, topstitched, 77 Press cloth:
for bias fabriCS, 80
starting, 5 1
continuous, 80
thread accents for, 70
narrow, 79
three-thread rolled, 57
wide, 80
two-thread rolled, 57 setting chart for, 98
See also Hems. Sergers, vs. conventional sewing machines, 8 Sewing taut, technique for, 49
paper towel as, 35
Stabilizer:
as guiding aid, 39, 4 1 pressure adjustment for, 1 7 specialized, 1 7 Puckering, remedy for, 1 6 , 49
water-soluble, 35
custom, 79 edge-fmishing tip for, 95 Ruffles, gathered, 83
Tubing, bias: for button loops, 86 for straps, 85 technique for, 84-85 Tucks: decorative, setting chart for, 1 04 overcast, 70-7 1
Stitch fingers: cle
arin g, 43,
44
described, 1 3 Stitching:
Ribbons:
accessories, 1 7 Trimming width, defined, 40
basic, setting chart for, 1 04
starch as, 33
Stitch length, adj usting, 22
R
Throat plates, as serger
setting chart for, 98
organdy as, 35 Presser feet:
Thread traCing:
hairline, 56-57
two-thread, for joining lace,
decorative overcast, 48
hints for, 1 8- 1 9 tips for, 29
French, 58
Pins, placing, 32 Plackets:
and effect on stitches, 1 5
u Unjamming, technique for, 23
instructions for, 1 9 ripping out, 5 3 Straps : of bias tubing, 85 of ribbon and lace, 95
w Waistbands, finish for, 77
Stretching, remedy for, 1 7
Index
111
Look for these and other
Threads books
at
your local bookstore or sewing retailer.
American Country Needlepoint Beyond the Pattern: Great Sewing Techniques for Clothing Couture Sewing Techniques Distinctive Details: Great Embellishment Techniques for Clothing Easy Guide to Sewing Blouses Easy Guide to Sewing Jackets Easy Guide to Sewing Skirts
50 Heirloom Buttons to Make: A Gallery of Decorative Fabric, Needle Lace, Crochet, and Ribbon and Braid Closures You Can Create Fine Machine Sewing: Easy Ways to Get the Look of Hand Finishing and Embellishing Fit and Fabric Fitting Solutions: Pattern-Altering Tips for Garments that Fit Fitting Your Figure Great Quilting Techniques Great Sewn Clothes Jackets, Coats and Suits Knitted Sweater Style: Inspirations in Color Knitting Tips & Trade Secrets Quilts and Quilting Sewing Tips & Trade Secrets Sh irtma king Techniques for Casual Clothes
For a catalog of the complete line of Threads books and videos, write to The Taunton Press, P.O. Box 5506, Newtown, CT 06470-5506.
Easy Guide to
Serging Fine Fabrics Have you bought a serger, but haven't yet learned how to use it? Do you own one, but know that it could do more if you only knew how? This is the book for everyone who owns or has considered buying the versatile and efficient serger. With valuable technical information, and more than 1 30 photos to clarifY every step, this new volume in the Sewing Companion Library will gUide you through everything you need to know to get the most out of your machine, including how to: • thread your serger right every time • find the machine settings, needles and thread that suit your Jabric
• make Janey edges and hems that only a serger can do • choose and use the notions that work best • turn inside and outside corners perfectly • work with sheerJabrics and lace • make aJancy braid or a custom ribbon to match your garment • sew easy bias tubing, and much more. Easy Guide to Serging Fine Fabrics will give you what you need to
know to get the most from your serger.
ABOUT T H E AUTHOR Kitty Benton has extensive industrial sewing experience, and owns her own children's wear company, with her patterns licensed to McCall's. She lectures and teaches around the country, has writ ten two previous books, and is a contributor to Threads magazine. She lives in New York City.
I SBN 1 -561 58-090-2 90000 >
Taunton
BOOKS & VI DEOS
for fellow enthusiasts
$ 1 7. 95 U . S .
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