Lesson 01.
the art of decorating fabric or other materials using a needle to stitch thread or yarn.
Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins.
Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins.
Embroidery was used in Byzantium, India, China, West Africa. It was widespread and across cultures.
It was used to embellish silk robes, and create beautiful decorations also ornamented with gold, for example on boxes. For many years, it was seen as a respected craft, done to create items of high value. Because it was a craft, families passed down techniques to children to keep the tradition and their profession going.
Hand-stitched embroidered objects were especially popular amongst the upper classes . Clothing, religious objects, and household items were used to mark your wealth and your high status. The fabrics used varied from place to place. Wool, linen, and silk are the most traditional threads used.
Over time, in Europe, it moved from being a craft to a hobby of wealthy young women. Skill with needle and thread were considered an essential part of a young woman’s education. So from a young age, women were taught how to embroider. From the basics to more advanced and detailed designs, young women were taught the skill of embroidery. It was part of one’s social status to be able to stitch well and create lovely patterns.
Eventually the enjoyment of embroidery became something for everyone. In the 17th century, you could find pattern books people wrote to help others create their own embroideries.
However, hand-stitched embroidery dwindled in popularity with the introduction of the machine embroidery in the 1800s.
Running stitch is done by running the needle and thread up and down the cloth at a regular distance. Keep the stitch consistent to make the work look beautiful.
It can be used along straight or curved lines to outline a shape. Work it in rows of stitches within such a shape, and it becomes a fill. It can also be used to assemble a finished embroidery project.
1. Thread your needle and knot the tail end. Start by sending your needle up from the back.
2. To get the stitch anchored, poke your needle up from the back again, so that the needle comes out the top at the same spot where you started, creating a loop around the edge.
3. Send your needle under the loop stitch you just made. To do this, poke the needle under the stitch going sideways at the edge of the felt. This gets your thread anchored, but it is not a true first stitch.
4. To start your first true blanket stitch, poke your needle down from the top. To complete your first stitch, bring your needle up from the back, and through the loop of thread. This should create a straight line down .
5. Before pulling this stitch tight, be sure that your needle is in fact through the loop of thread . Now continue each stitch like this and you are on your way!
Blanket stitch is used for working the edges of table-covers, mantel valances, blankets, etc., or for edging any other material, including clothing.
Satin stitch is a series of flat stitches that are used to completely cover a section of the background fabric. In order to maintain a smooth edge, shapes can be outlined with back, split or chain stitch before the entire shape including the outline is covered with satin stitch. In traditional practice, satin stitch is employed to fill an area without the presence of an outline, resulting in smooth shapes and even lines created by the stitching.
To begin, bring the needle up through the back of the fabric to the front at the starting point of your shape; in the case of the circle, the top left.
1. Take the needle down straight across from where you brought the needle up, on the opposite side of the shape you are filling.
2. Bring the needle up on the side of the shape where you started, near where the needle came up on the previous stitch.
3. Take the needle down straight across from where you brought it up, near where the needle went down on the previous stitch.
Continue stitching in the same manner, repeating the steps above and making stitches side by side, covering your shape or area being filled.
The stem stitch is a traditional outline stitch in hand embroidery. It has a twisted look, which gives this stitch a flowing texture, different than that of the backstitch or split stitch. It is often used for stems in simple embroidery flowers.
Stem stitch uses repeated straight stitches with each stitch coming up beside the previous stitch to form a rope-like line, curved or straight.
1. To begin, bring your needle up at your starting point, then back down about a stitch and a half length away. Do not pull the embroidery floss all the way through yet.
2. Bring the needle back up halfway between the stitch and along the stitch line. The needle should be coming out along the side of the stitch, not through the middle of the strands. Pull the thread tight.
3. Keeping your thread to one side, make another stitch, coming back through the last stitch hole along the line. Pull the thread through. Continue working your way forward in this way, keeping the floss along the same side of the stitch each time.
4. To finish, insert your needle down about a stitch length from your last stitch. This should make a seamless final stitch.
The lazy daisy stitch is a series of single, or detached, chain stitches formed around a center point. It is commonly used to create simple embroidery flowers since it has a loopy, petal effect to it.
2. Send your needle back down through the same hole you came up, but don’t pull your thread all the way through yet.
3. Bring your needle up at the top-most point of your flower petal, making sure the embroidery floss goes around your needle. This creates the petal of your flower. Pull the needle until the floss is snug, but not too tight, keeping the loopy look of a flower petal.
4. To secure this petal, make a small stitch over the loop. You now have your first petal.
A stitch in which the thread is wound around the needle, which is then passed back through the fabric at almost the same point to form a small dot. The French knot is a simple embroidery stitch that creates a cute little three-dimensional bump. Alone, they make excellent animal eyes, decorative points, and flower centers. Clustered together, a french knot creates a wonderfully nubby texture that can be used in a number of creative ways.
2. Using the hand holding the thread, twist it around the needle twice.
3. While keeping a tight grasp on the thread in one hand, with the other hand push the needle down through the fabric right next to where you came out. Don’t put it back in the same hole or you might risk pulling the knot all the way through.
4. As you push the needle down, keep holding the thread in your other hand. You just created your first french knot!
Needle Weaving Stitch is a dimensional stitch ideal for 3D embroideries. The weaving is done between two or more stitches, and the woven bar can be laid flat on the fabric or given a hunched look based on the project’s requirements. You would need an extra pin or needle to hold the base stitches in place while weaving.
2. Next, hold the loop pulled by placing a needle or pin at the tip, then come out using the same needle and thread from near the stitch point.
3. Start weaving up and down between these two threads. Be careful not to pluck the fabric underneath.
4. Weave to the brim until no space is left to weave. Then, you can pull out the holding needle. This will create a small space at the tip of the woven stitch.
5. Pass your working needle through the space created by holding the needle at the tip and pin the stitch down on the fabric by passing through it.
Chain stitch is a sewing and embroidery technique in which a series of looped stitches form a chain-like pattern that can be used to outline and to fill spaces.
Using the chain stitch as a fill stitch rather than an outline stitch is a beautiful way to highlight this stitch's loopy lines.
2. Bring your needle back up a little further along your line, in the middle of your loop. Pull your thread through to complete the first stitch.
3. Keep stitching in this way, always taking your needle back down through the same hole that you came out from. Your stitching will look nicest if you can keep the length of your chains the same.
I found this stitch while looking for ways to fill the head of my jellyfishes and this stitch had an interesting texture which is why I chose to do this stitch.
I did my practice on scraps of leftover fabric I had saved at home as I did not want to waste fabric. I used T-shirt fabric which was strechy which impacted the neatness of my stitches.
Practising the needleweaving technique by creating 2 warp yarns and weaving around them. Twisting the bar to look like tentacles floating in the ocean.
How I did the chain stitch done on the jellyfish head:
It created a nice texture as another layer of the jellyfish’s head.
It created a nice texture as another layer of the jellyfish’s head.
Trying to explore embroidering with beads in a circle, in a jellyfish head shape, and in hanging loops.
Exercise 01.
EMBROIDERED HEAD SCARF
I chose to make an embroidered head scarf for my best friend of 8 years, Marianne. She wears head scarfs quite often so I thought it was a suitable artifact. We frequent the beach alot, going at least once a week during holidays and we spend time together talking and relaxing. We make it a point to watch the sunset together and take lots of pictures. I thought it would be nice to create it based on the theme and mood of the beach when we hang out, as going to the beach together is always a memorable event for us.
Pictures of sunsets that we have seen together
A concept board provides the stimuli or inspiration to start the creative work. What defines the elements of the concept board are all the information and sparks obtained from the idea.
I first collected images on a Pinterest board that reminded me of my best friend and things that she likes, as I wanted this artifact to really be about her. Then translated them to a concept board to identify the elements that I wanted to include on the scarf.
Mood Board
A mood board conveys the general feeling or mood that you get about a design idea. I then created a mood board to single out the colours that I wanted to use on the scarf.
A mood board conveys the general feeling or mood that you get about a design idea. I then created a mood board to single out the colours that I wanted to use on the scarf.
Silk and soft fabrics would pucker up when embroidered on, so I decided on using cotton fabric. I initially purchased a beige cotton voile that would resemble sand to use however, my lecturer suggested against it as the material was too translucent and the backs of the embroidery stitches would be seen through the fabric. She suggested that I would have to add interfacing if I wanted to proceed with the cotton voile.
I decided to get a dark blue coloured cotton fabric that would not need interfacing so that the stitches would not be able to see from the surface. Also because I wanted the contrast of the colours against the dark fabric. I cut the fabric into a square shape and folded it diagonally into a triangle so that the ends could be used to tie at the nape of the neck.
As my fabric is dark coloured, my lecturer suggested to place butter paper on the surface of the scarf and do basting stitches to keep it in place so that I could draw on the paper and embroider using the paper and easily tear off afterwards.
I needed to know where to embroider elements on and where to avoid so that the scarf could still be tied at the nape of the neck. To reduce waste, I used the cotton voile and placed it on Marianne’s head to mark out the areas and elements. (picture of prototype on head)
I then transferred these markings to the butter paper and began embroidering.
Starting with the shell, I used a needleweaving technique to create the 3d pattern, creating warp threads that stretch out, and then weaving thread through those threads. Using three colours to achieve a gradient effect like observed on real shells. I added gold thread at the top to resemble the shell picture that I used in my concept and mood board.
I realised that I pulled the threads too tight, resulting in puckering of the fabric. This needleweaving took alot of time, as I drew the shell too big.
For the first jellyfish, I realised I started the head with a colour too dark because with the butter paper, I was not able to see the contrast and overlooked that I should have compared the thread with them actual colour of the scarf. I did not want to remove it and instead did a threading technique that I found when exploring stitches, through the straight stitch with a brighter colour which gave a pretty wavy effect.
Used French Knots and Stem Stitches to fill the head, and straight stitches for the tentacles, also using beads for a 3d effect.
I wanted to remove the butter paper as it was difficult to embroider with it and after removing, realised that it pulled some of the stitches and was very hard to remove under satin stitches. Thus, I continued embroidering without the butter paper.
For the second jellyfish, I used beads for the outline of the head and used the Chain Stitch and French Knots to fill the head. I used the needleweaving technique with two warp threads, Stem Stitch and beads for the tentacles. I stitched the needleweaved tentacle down to ensure that it would stay in position.
Starting the middle of the sun with gold beads to show the bright shining center, then using Lazy Daisy stitch and Stem Stitches to go around the circumference. I used multiple shades of orange and blue to create the gradient of the sun rays and ocean.
Added beads to fill in the empty space and finished!
Moving on to the ocean, I chose colours by placing them together to see if they blended well. I used satin stitches to fill up the sun rays and ocean.
Finished the raw edges with a blanket stitch. The blanket stitch done here was neater than my practice as my practice was done with stretchy fabric, while this fabric is cotton which is less strechy. I also marked with a pencil 0.5cm from the edge and at every 1cm length to stitch.
Reflection
I started on embroidering way too late thinking that I would have enough time to finish it. Though I finished, I wish I had more time to add more details like a flower or palm tree. I learnt many techniques of embroidering stitches and I think I used them all effectively in the scarf; Satin stitches for sun and ocean, Stem and Needleweaving stitches for tentacles, French knots and Chain stitches on the jellyfish, Lazy Daisy on the sun and Running stitches for basting the tracing paper and fabric together,. Using the butter paper is more suitable to works with not many satin stitches or beading, as while tearing it, it might mess up the beading. My favourite technique is needleweaving as it creates a beautiful 3D effect.
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Lesson 02.
decoration on a garment created by gathering a section of the material into tight pleats and
holding them together with parallel stitches in an ornamental pattern.
During the Elizabethan era, smocking became increasingly decorative. Intricate patterns were created by hand using various stitches, transforming simple work garments into pieces of art. Smocking began to appear on cuffs, collars, and bodices, adding an elegant touch to clothing.
In the 18th and 19th centuries, smocking transitioned from a functional technique to a fashion statement. It became popular in women's and children's clothing, especially in dresses and blouses. The Victorian era saw the rise of 'smock frocks', a type of men's outer garment decorated with elaborate smocking, showcasing the aesthetic potential of this technique. The classic smock frock is made from heavy linen or wool and can range from thigh-length to mid-calf length. They are characterized by their fullness across the back, breast, and sleeves, which are gathered into narrow, unpressed pleats called "tubes." These pleats are held in place and decorated with smocking, a type of surface embroidery in a honeycomb pattern that allows for stretch while controlling the fullness.
This painting from the early 14oos in the Netherlands shows honeycomb smocking at the hips of the Virgin. The smocking controls the fabric and provides the extra fullness needed for over the hips.
The Industrial Revolution introduced sewing machines, which changed the landscape of smocking. Machine smocking, or "mock smocking", became prevalent due to its ease and speed. However, hand-smocking remained highly valued for its craftsmanship and intricate detail.
In the 21st century, smocking continues to be a significant trend in the fashion industry. High-end fashion houses and fast-fashion brands alike incorporate smocking into their designs, applying it to everything from summer dresses to stylish tops and even accessories.
Smocked clothing is cherished for its timeless appeal and versatility. It lends a romantic, vintage feel to garments but can also be adapted to suit contemporary styles. Today's smocking embraces a range of fabrics, from lightweight cotton and silk to heavier materials like denim and leather.
I decided to use cotton voile as I had mistakenly bought cotton voile for my embroidery exercise, however it was too translucent to embroider on, thus to reduce waste.
I used contrasting colour threads to stitch so that I could understand how the patterns form.
1. Draw a grid of squares 1cm vertically and horizontally.
3. Pull the threads tightly to create pleats and do up cables and down cables to create the look of the cable stitch.
Wave Stitch
I sewed the wave stitch on the same piece of fabric as the cable as they both required thin and more pleats formed. This is a two step baby wave, where it travels two steps up or down and then normal cables to complete.
1. Doing up cables to travel down the pleats and down cables to travel up the pleat. Two rows of this are done to create a symmetrical zig zag which results in the wave look.
Wave Result
Honeycomb Smock
1. Draw a grid of squares 2cm vertically and horizontally, sew a running stitch alternating each square horizontally.
2.
Sew a running stitch alternating each square horizontally.
2. Sew the tops of two pleats together, alternating each row.
Smocking was daunting at first because I heard my classmates saying that it would take a large amount of time, and it did, but such is hand sewing and embroidery. Looking at example pictures online was confusing as I could not visualise how that complex effect could be made, how does sewing result in that? While sewing the pleats together, I was excited to see the end result and learn how sewing certain pleats together will result in a 3D pattern.
Drawing the grid was also difficult as the cotton voile is so soft and kept moving with the ruler, thus I wanted to make sure all the lines were straight and perpendicular as possible.
For sewing the horizontal lines, I used one embroidery thread as it would be easier to sew running stitch. For sewing the tops of the pleats I used 4 embroidery threads so that its thicker and more obvious to the eye.
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Lesson 03.
1. Straight lines
3. Curve lines
The curves were a bit more difficult as I had to lift the presser foot multiple times to turn the fabric to get curves.
Seams
1. Open Seam
Open seam is one where the seam allowance, the piece of fabric between the edge of the material and the stitches, is visible. It can be used for coats, trousers, skirts, purses, or any other project using a heavy fabric. The folds of each fabric are separated and then sewn together. This means that there isn't twice as much thickness at the seam.
3. Machine-fell Seam
A strong seam with two lines of stitching showing on the right side that is produced by folding one raw edge under the other and stitching it flat or slip-stitching it on the wrong side. Suitable for hardwearing items such as jeans and jackets. You will also sometimes use this finish for making shirts.
Binding
1. Bias facing
Bias facing is a finish in which bias tape is sewn onto the raw edge, then folded over to the wrong side (so that it's invisible from the outside) and sewn in place. It replaces a conventional 'facing', which is a piece of fabric cut in the shape of a neckline or armhole, sewn to the raw edge and turned inward.
Pleats & Gathers
1. Box Pleat
Box pleats are made up of two knife pleats facing away from each other or, in other words, they are formed when two folds of fabric are folded away from each other giving a wide vertical pleat. Often used as stand-alone pleats on the back of a shirt or as a series of pleats on skirts or dresses.
3. Knife Pleat
Knife-pleat is a type of pleating where the fabric is folded in such a way that it creates a sharp, narrow fold resembling the edge of a knife. This technique is achieved by folding the fabric in an accordion-like fashion, with each fold facing in the same direction. Commonly used in garments such as skirts and kilts, where the pleats run vertically and create a graceful flow.
Pockets
1. Scoop Pocket
These pockets are also called “slash” due to their angled cut made in garment fabric. Also, diagonal openings alongside the garment seams. Found in pants, jeans, and skirts.
3. Round Pocket
Similar to a patch pocket, but a rounded shape. I used a cardboard pocket template to ensure the curve is consistent. First sewing a line of loose stitch length 0.5cm from the edge, then placing the cardboard ontop and pulling the thread to tighten around the shape and press.
Zippers
1. Regular Zipper
The “lap” in a lapped zipper refers to the fold of fabric on the left side that covers the zipper. This fold of fabric is sometimes referred to as a placket.
You see this most often on garments, especially along a front, back, or side seam.
This was more difficult than the invisible zipper as I had to estimate properly the amount of lap and hold it down while sewing.
I had to estimate where to stop the straight line and turn to get proper zig zag lines.
2. Closed Seam
In a closed seam, the seam allowance is either pressed to one side or encased in the fabric entirely. You don't need to separate the two sides but rather place them together. This technique is usually used for sewing light fabrics on clothing such as shirts, blouses, or lingerie.
4. French Seam
Ideal for delicate fabrics like chiffon and organza. There is a fair amount of material that goes into the seam when it is enclosed. The French seam is, therefore, not suited to heavier fabrics because the seam can become bulky.
The edges of the seam do not show with a French seam, and this makes it a great seam for sheer, translucent fabrics.
2. Bias Binding
Bias binding is when bias tape is used to enclose the raw edge of a neckline, armhole, or hem. In this case, the bias tape fabric is seen. It can be made of contrasting or matching fabric. In the case of stripes or plaids, a bias binding is particularly attractive since the design when cut on the bias becomes diagonal.
2. Inverted Pleat
a pleat formed by bringing two folded edges toward or to a center point on the outside of the material to form a box pleat on the inside. You can use this for making skirts, gowns, dresses or even the back of a blazer.
4. Gathers
Gathering turns the edge of a piece of fabric into a bunch of small folds that are held together by a thread close to the edge. Gathering makes the fabric shorter where it is stitched. The whole of the fabric flares out into irregular, rolling folds beyond the gathered stitching. Used on sleeve caps, sleeve cuffs, waistlines, yokes, and ruffles. Well-constructed gathers will be evenly distributed.
2. Patch Pocket
Patch pockets are made by cutting a square of fabric and then pressing and folding under the edges before stitching them onto the garment.
Can be used for decoration or function on blouses, shirts, and jackets.
2. Invisible Zipper
With invisible zips the teeth of the zip are on the back or wrong side of the zip. This is so that they are hidden and invisible on the inside of the garment or item you are making.
I think this zipper was easier than the regular zipper because it was quite straightforward and I did not have to do much estimation as it is centered.
I’m very satisfied with my sewing as before this course I had a fear of the sewing machine, despite owning one. I am way more confident now and happy that I now can learn more with the basic sewing skills. I did spend alot of time to make sure that my sewing was neat, unpicking alot... which I think was inefficient as I did not have enough time to do other things well. I think moving forward I will still ensure the little details are okay but not spend too much time on them. Maybe when making a sewing mistake, it might be faster to redo on a separate fabric, rather than spending time unpicking.
Do not cut out the master plan as if errors are made, master plan should be edited.
2. After ensuring the master plan is accurate, trace out the master plan on another piece of paper and add 1cm seam allowance. Draw the grain line, fold lines and notches and label with name and content, including the facing line. This would be the final plan, cut out with the 1cm allowance to put on calico and cut out.
4. Cut out pattern pieces on calico.
3. Cut out the facing on interfacing using the final plan, including 1cm allowance.
4. Iron on the interfacing on the calico.
Now ready to sew!
Straps
1. Sew the straps by pressing both sides of the length 1cm in.
2. Press a triangle into the 1cm edge at both ends. This is known as a mitered corner, it is done so that the edge will not fray.
3. Press 1cm at the edge.
4. Press the straps in half lengthwise.
5. Sew 0.5cm on both lengths of the straps.
Main Body & Side Body
1. Mark 1cm from the notches with a cross
2. Place the side body and main body right side facing and sew ensuring the crosses meet.
3. To enable to fabric to turn, snip the notches at least 0.8cm. Turn and sew ensuring the crosses meet.
4. Sew 1cm top hem ensuring that the seam allowances are facing the side body consistently.
Attaching Straps
1. Tack the straps at the correct placement, 4cm from the side seam to make it easier to sew and sew making a decorative cross pattern, which also ensures hold.
Iron the bag and it is done! (picture of regular tote bag, straps)
Reflection
Sewing a tote bag was a fun experience, and I have learnt alot. In pattern making, it was difficult to draw straight long lines as the main body for example, was significantly longer than my grid ruler. I also had to keep redoing as it was hard to draw perpendicular lines, they always came out slanted and not perpendicular, the lengths were sometimes not parallel, or the corners would not meet at all. I then used my set square to get a truer perpendicular line which helped and the lines actually met nearer.
While sewing the regular tote bag, I overlooked a detail and did not press the width end of the strap and sew over it, instead I left a frayed edge. I left it there as a reminder to not forget it the next time that I sew a tote bag. I took a while to complete this bag as I wanted to make sure every detail was correct, unpicking my mistakes and redoing. However, those details are not very noticeable but I missed out on the strap that is on the exterior face of the bag.
Sewing a tote bag was a fun experience, and I have learnt alot. In pattern making, it was difficult to draw straight long lines as the main body for example, was significantly longer than my grid ruler. I also had to keep redoing as it was hard to draw perpendicular lines, they always came out slanted and not perpendicular, the lengths were sometimes not parallel, or the corners would not meet at all. I then used my set square to get a truer perpendicular line which helped and the lines actually met nearer.
While sewing the regular tote bag, I overlooked a detail and did not press the width end of the strap and sew over it, instead I left a frayed edge. I left it there as a reminder to not forget it the next time that I sew a tote bag. I took a while to complete this bag as I wanted to make sure every detail was correct, unpicking my mistakes and redoing. However, those details are not very noticeable but I missed out on the strap that is on the exterior face of the bag.
My tote bag is inspired by Gen Z’s obsession with Y2K aesthetic and coquette aesthetic. I chose a distinct element from each aesthetic, leopard print from Y2K and eyelets and lace up ribbons from coquette. You can see leopard print and ribbon commonly paired with denim thus I chose denim fabric to use.
For my design, I wanted to do a denim jeans look with faux pockets, waistband and J-stitch, and a lace up element on the side body. Initially, I also planned for a side pocket with a binding using leopard print, however my lecturer suggested it would clutter the design and make the bag look uneven due to the one side body being laced up so I decided against it and planned both sides to be laced up. I wanted to use leopard print as a lining so that it would peek out nicely.
I used cotton fabric leopard print and a denim fabric mix of cotton and hemp. (picture of denim and leopard fabric)
Since I was using denim, I had to purchase a bigger sewing needle of size 18 and also a thicker gold thread for decorative topstitching the denim
Based on my design, the pieces I would need are two pieces of the main body, two pieces of the side body, 1 piece of waistband, 2 pockets, 2 straps. Drawing visualisations helped me stay focused and organised.
I wanted a similar size as the regular totebag but after trying on the regular tote bag, I preferred it a little shorter, so I used the same measurements for the denim totebag but removed 2cm from the top of the bag, remembering to include the waistband.
Leopard print lining, Main body & Side body.
For my design, I wanted to do a denim jeans look with faux pockets, waistband and J-stitch, and a lace up element on the side body. Initially, I also planned for a side pocket with a binding using leopard print, however my lecturer suggested it would clutter the design and make the bag look uneven due to the one side body being laced up so I decided against it and planned both sides to be laced up. I wanted to use leopard print as a lining so that it would peek out nicely.
I used cotton fabric leopard print and a denim fabric mix of cotton and hemp. (picture of denim and leopard fabric)
Since I was using denim, I had to purchase a bigger sewing needle of size 18 and also a thicker gold thread for decorative topstitching the denim
Based on my design, the pieces I would need are two pieces of the main body, two pieces of the side body, 1 piece of waistband, 2 pockets, 2 straps. Drawing visualisations helped me stay focused and organised.
I wanted a similar size as the regular totebag but after trying on the regular tote bag, I preferred it a little shorter, so I used the same measurements for the denim totebag but removed 2cm from the top of the bag, remembering to include the waistband.
To create the J-stitch and the look of jeans, my main body is split into 2 pieces, to be sewn together and have a seam down the middle. I adjusted the measurements for the side body accordingly, considering the waistband. The straps were the same measurement as the regular totebag, and to be slotted between the lining and outer bag. (working of tote bag)
Straps
1. Fold the straps into half lengthwise and sew 1cm along the length, creating a tube.
2. Pull the tube into itself, I used a 15mm crochet hook to pull the fabric through.
Straps done!
Initally drew a pocket too small on the master plan, so I had to go backwards and change it to a bigger pocket on the master plan and final plan. (picture of final pocket plan)
Side Body & Eyelets
1. I marked the eyelets on the Master Plan and Final Plan.
2. I bought 10mm eyelets, placed one eyelet in the center of the waistband, subsequently at even spacings on the side body.
3. I interfaced the side body to hold eyelets and the base for some structure, and marked where I wanted the eyelets on the actual fabric.
4. I approached the Sewing technical officer of the school to use the manual Eyelet Puncher.
5. Using the marks, snip a cross in the fabric big enough for the eyelet to go through
6. Once big enough, place the eyelet, then fabric ontop, then the closure, and push the handle down hard to hammer the eyelet on.
Eyelets done!
Lace-up Ribbons
Initially wanted to use a thin pale pink ribbon like on the left side of the bag however, it was not pink enough and too thin. But after trying a thicker, hot pink ribbon, I did not like it as well as it was too bold and not coquette enough like my design intent.
I settled on a ribbon that was between these first two, colour-wise and width-wise.
I also figured a way to lace the ribbon to ensure that it comes out of all the eyelets, making sure that there are no disconnects and that it fills up the whole side panel.
Embroidery
I used lasercut star-shaped appliques done in my textile manipulation class to embroidery onto the face of the bag. Star-shapes are commonly found on Y2K bags, and I wanted more of the leopard print to show, thus I used leopard print and also black polyester fabric to laser cut the star shapes. I ironed on bonding paper before lasercutting, so sticking it on the bag was easy, just peel off the paper backing and iron onto the bag.
The first star I used an outlined leopard print star and black fabric star, placed in an overlapping manner to make more interesting, then straight stitched the black star with the same topstitching gold thread.
The second star is a regular leopard print star and using whip stitches to secure it.
I really really liked the denim tote bag that I made. While planning, I wanted to make sure that it was something I myself would use and carry outside. I am so proud of my topstitching I think that was the most stressful part that needed alot of concentration as because its contrast thread, errors can be seen easily. One thing that is not very satisfactory is that the front and back face and base of the bag is not very stiff, despite being denim. I think I would have used a thicker interfacing as I wanted the structure to be more stiff.
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Lesson 04.
First, line the mannequin with style tape, neck line, shoulder line, center front, center back, waist, hips, side seams and shoulders.
Measurements to cut calico:
Width: Add 5cm from center front/back and 10cm from side seam
Length: Add 10cm from shoulder line and 10cm from hip line.
Draw a line 3cm from the width edge, and a line 35 cm from the top length edge.
Pin the intersecting line onto the center front at where it meets the neck line. Smooth down and pin the waist and hips, ensuring it is straight.
Pin the shoulder line that intersects with the neck and pin the hips.
Start creating the shoulder dart and pin down the dart. All darts should coincide with the Princess Line.
For the front, ensure that the dart ends at the Apex. Create the lower dart and pin, ensuring it meets the Apex and going 10cm from the waist line down.
For the back, the shoulder dart should be at least 12cm in length and 1cm at its widest width. the hip dart should start from the back of the Apex and go 15cm past the waist line down.
Smooth down the extra fabric at the side seams and pin.
Trace out the dart lines, end of the darts, hip line, waist line, side seam and neck line.
My lecturer corrected us that the front darts should meet at the Apex, so before sewing, I retraced to make sure that they meet by simply connecting lines.
Before sewing, to ensure accuracy, I pinned down the dart lines and side seams, ensuring that both sides meet exactly. This made sewing alot easier.
After creating the half garment, we seam ripped it and used it as a template for the master plan for our final inner garment. My inner garment would be four calico pieces, sewn like a princess dart.
1. Darken all lines with a marker.
2. Use a tracing wheel and tracing paper to trace all lines onto paper.
3. Smooth out the darts using a curved ruler.
4. Separate the center front/back from the center/back side pieces.
5. Trace out each piece separately, this would be the master plan.
6. Trace out each piece with a 1cm allowance, a 1.5cm allowance at the side seams, this would be the final plan.
7. Notch the bust line, waist line, hip line and where the darts start or stop, so that when sewing it is easier to match them up.
8. Leave 3cm extra for the hem, and make sure to cut back center and front center pieces on fold and two pieces of each side piece.
9. Sew all the seams together, except the left side seam.
10. Sew on invisible zipper at the left side seam.
11. Sew shoulder seams.
Then,
1. Place garment on mannequin.
2. Trace out style line on calico.
3. Take off mannequin, add 1cm allowance to the style line, and cut.
I will be following a collage made in Design Studio for the draping project. Examining how Gen Z’s style is influenced by what music they listen to. Zeroing in on Gen Zs who listen to many genres of music, does that love for different genres equate to different aesthetics mashed together? Focusing even more on two music subcultures, punk and hiphop.
On the bodice, tight pleats, bandage-like. At the hip area, scrunched up tulle to create volume.
Using textiles made in textile manipulation to drape:
Heat setting
Cyanotype
Reflection
I made many mistakes for the inner garment, for example, I did not leave a 3cm allowance at my hem, however I did leave extra fabric and snipped it to make them equal all around. However, it was not a big problem as it is still a mini dress that covered important parts of the mannequin and was wearable. I also sewed the zip on the wrong side, it should have been left side from the outsider’s point of view not the wearer’s as most people are right handed, it would make sense for the zip to be on the wearer’s right. I am also satisfied as this is the first ever garment that I have made and very thankful to be able to at least do a garment.
Draping is surprisingly tiring, as it has to be taken off and redone multiple times to get better. I also accidentally poked myself with the pins alot, I might start using a thimble when draping.