As home sewers, not many of us get a chance to see sewing in a production setting, but for five years I was in charge of a small sewing “factory”. There are many similarities to our own sewing rooms, but also many differences. Some factory findings can be transferred to our personal sewing efforts to help save time and money.

Before you cut out your project, looks through the pattern pieces and see if you can simplify the design. For example, can you change a sew-on facing to a cut-on one and perhaps even create a self-interfacing? That simple change saves both sewing and likely fusing time, and perhaps fabric as well.

Whether you’re making 10,000 pairs of Levi jeans, or 50 tote bags for a charity project, or a single shirtwaist dress, nothing saves time like chain piecing. If you’re a quilter, you’re probably already familiar with the concept used to create multiple blocks. If not, it simply means that you feed in the next pieces to be sewn continuously without stopping or manually cutting threads. If you have a presser-foot lifter, it’s even easier. Not only a timesaver, but also a thread saver.

This effort means that you won’t be necessarily following the pattern guidesheet, which usually has us making “units”, but instead you’ll be challenging yourself to see how many pieces you can sew together before stopping to press or cut them apart (a built-in thread cutter makes it even easier). For example, when sewing a garment, you could sew both side seams of a skirt, then feed in a sleeve underarm seam, a bodice side seam, the other sleeve seam, the remaining bodice side seam, then a collar and/or facing in a continuous chain. You’re saving time for sure, and lots of thread as you’re not stopping between to pull out new threads before the next seam is sewn. In a factory, there is a specific amount of thread allocated to each item and each step of the production process.

Take note of a huge factory timesaver in choosing where/how to position your cut pieces. The closer you can get the cut pieces to where they’ll be sewn, the less time and motion is involved in the process. In a factory, both of those factors influence cost. An example—place the cut pieces of your project on the bed of your machine instead of on the table next to it. Pieces destined for sewing together should be place right sides together at the machine so you don’t have to fumble with them prior to sewing.

Sew without pins whenever possible. The time it takes to remove pins while seaming adds up and will slow down your continuous sewing. If you feel compelled to pin, place the pins inside or outside of the seamline, so they don’t need to be removed as you sew.

If you have specialty presser feet available for your machine, learn to use them as they will not only make your life easier, but they also save time as they’re designed for the specific task at hand. Bias binders, piping feet, narrow hemmers, folders, etc. are examples of these single-function attachments.

Contrary to our home sewing mantras, most factory work does not include pressing as you go; most likely, if at all, it’s done at the very end of a project. A single final press is the culmination of the sewing process.

If you’re making quantities of a single item, like for a charity or a craft sale, choose a non-directional fabric that doesn’t require matching, and select fabrics that can utilize the same color thread. Both of those things are timesavers.

Whether or not you choose to implement any of these techniques gleaned from production sewing is up to you. Saving bits of time may not be that important to you if you’re savoring the creative sewing process, but if you’re making a hundred of the same item and are bored to tears, time saved is welcome.

~Linda Griepentrog is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

How often have you been attracted to a style or a pattern and made up a garment with disastrous results? Maybe it fit, but you did not like how it looked on … or when you tried it on, it felt strange. Or, maybe it took so much altering to get it to fit that you were sick of the garment before you even finished it. Any of these scenarios might make you think, “What did I do wrong?” The answer is: Nothing! You simply selected an incorrect style for your body shape.

As a seamstress, you have the knowledge, the ability, and the resources to make any garment you wish and have it fit. Are you happy with the results? Not always.

A perfect fitting garment starts with the selection of the correct pattern-a pattern that has the same lines as the body and repeats its shape. So why not start with a pattern that is your body shape? You’ll be able to eliminate all the pattern alterations and time-consuming fitting sessions. You’ll know that your garment will fit and that you will enjoy wearing it.

The Body Shape Concept says there are four body shapes-triangle, square, circle, and oval-each one unique and each one beautiful.

There are also four styles of garment-triangle, square, circle, and oval. When the shape of your clothing matches the shape of your body, the effect is harmony-a pleasing arrangement of parts. When you achieve harmony with your wardrobe, the effect is terrific-not just to others but to yourself.

When you recognize your body shape and repeat it in your silhouette; any figure problem you have will take care of itself. That sense of being “together” is far more powerful than whether your hips are larger than your bust. There is so much power in creating harmony that people just don’t see or remember imperfections.

Here is an example of what happens when you use a pattern that is not your body shape.

Yes, you can alter, alter, alter to get any style to fit; however you will not achieve the results you are hoping for. By the time the garment fits, the original design lines will have been distorted and you will wonder what happened.

Each of the four body shapes has very distinct characteristics: The triangle body shape is angular and asymmetrical with unusual proportions.

• You have a V-shaped rib cage.
• You have a small waistline or small in proportion to your hips.
• Your legs are full through the knees.
• If you have extra weight, it will be in your derriere and thighs.

The square body shape has straight lines giving it a squared-off, no-non- sense sporty look.

• You have a straight rib cage with little or no waistline indentation.
• You have a flat derriere.
• You have straight slim legs.
• If you have extra weight, it will be in your torso.

The circle body shape is rounded and feminine with graceful curves.

• You have or once had a definite waistline.
• You have full upper hips, derriere, and thighs.
• You have large calves and thin ankles.
• If you have extra weight, it will be in your upper arms, rib cage, and upper hips.

The oval body shape is balanced, symmetrical and uncomplicated, giving it a look of subtle sophistication.

• Your shape flows smoothly from the rib cage to waist to hips in a gentle line.
• You have a flat derriere.
• Your legs are gently shaped.
• If you have extra weight, it will be in your front torso.

Although you can change your size, you can’t change your shape… and there is no reason to. Your unique contours give you character.

When the shape of your clothes matches your contours, you’ve got style. There is a special quality that emanates from people who accept themselves. Knowing how to dress increases self-confidence. If you feel alive in your clothes, you’ll exude your own special attractiveness. Beauty is made from dressing with style. Your body shape, no matter what it is, can always be dressed beautifully.

Look for the true, the good, and the beautiful…and there you are!

~Darlene Miller is the author of “Your Shape, Your Clothes, and You—Secrets of a Successful Wardrobe” (out of print)

Whether you’re new to sewing or a seasoned veteran with myriad skills, chances are good that you like to continue learning about your favorite hobby and knowing the vocab is essential.

While there are glossaries of common sewing terms, we wondered about the not-so-common words that might be good to know. Take a look at some sewing/fashion related terminology you might find interesting (and also helpful for a sewing “Jeopardy” category).

Armscye

An obscure word for the armhole of a garment where the sleeve is attached. Historically, the Scottish word scye referred to a sleeve hole. The length of the armscye is the circumference at the cut edge and the armscye width is the space between the front and back at the mid-point after the side seam is sewn.

Banger

An alternative name for a clapper (see below).

Bight

This term refers to the width of a zigzag stitch.

Bumble Bunching

A mess of threads on the bobbin side of a stitched seam when the thread has come out of the upper tension, or the upper tension is too loose to produce a balanced stitch. Sometimes called “bird’s nest”.

Clapper

A heavy wooden block used for flattening seams. Some come with a handle on top, others have an indentation along the sides for holding. The wood is porous and absorbs steam when held in place immediately after pressing a seam. This tool is used both in tailoring and quilting to reduce bulk.

Feed Dogs

The tiny teeth below the sewing machine presser foot that move the fabric evenly while sewing. The movement of the feed dogs is controlled by the stitch length indicator. Feed dogs can move both forward and backward.

Frogging

Ripping out a seam. This funny term could be derived from the action call “rip-it” which sounds like a frog when repeated.

Godet

A triangular piece of fabric inserted into a garment to add fullness, like in a skirt. The godet can be rounded or pointed at the top.

Gore

A section of a skirt that’s wider at the hem than at the waist. A skirt can have multiple gores depending on the desired fullness in relation to the waist size.

Gusset

A square, triangular or rectangular piece of fabric inserted into a garment area where there might be stress, such as under a cut-on sleeve.

Header

A cardboard placed at the top of a fabric sample to showcase it for display. Furniture stores place their upholstery fabrics on hanging headers for easy selection.

The term also refers to the top portion of draperies that is reinforced for hanging hooks or grommets.

Richelieu

A type of cutwork forming free-floating bars with no fabric behind them. The bars are heavily stitched with a zigzag to add stability despite the openwork nature of the design.

Ruching

A trim made by pleating or gathering both sides of a lightweight or sheer fabric. The ruffled strip is then inserted into or overlayed onto a portion of the garment, like the center of a sleeve, or covering a bodice.

Sloper

A basic garment pattern, without seam allowances, that is used to draft other types of garments. The sloper is derived from body measurements; ease and design details need to be added in the drafting process.

Stay Button

A small button sewn behind another button for added stability in an area of stress. Often used behind large decorative buttons (like on a coat) to help keep the garment closure from distorting.

Surplice

An overlapping bodice neckline that forms a V when the right is lapped over the left.

Tabard

An open-sided overgarment where the sides may have buttons or ties to hold them in place. It’s a common design for an apron or other protective garment, as well as it is often used as a canvas for wearable art embellishment.

Trapunto

A type of quilting where the design outline is sewn and then the section is stuffed from the back for added depth.

Image courtesy of Bernina

~Linda Griepentrog is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

Working with waterproof fabrics can feel intimidating, especially if you’re new to sewing or had a rocky start with them. Maybe you’ve tried stitching a raincoat or backpack, only to find yourself battling slippery surfaces, sticky presser feet, and mysterious leaks. Don’t worry—you’re not alone! Waterproof fabrics do have their quirks, but with the right techniques and tools, you can absolutely tame them. Whether you’re crafting outdoor gear, making outdoor cushions, creating rain jackets, or designing durable bags, these tips will help you succeed.

What is the Difference Between Waterproof, Water-Repellant, and Water-Resistant?

Waterproof fabric does not allow water to penetrate the fabric. These fabrics would keep you dry if you are caught in a downpour; however, these aren’t entirely impermeable. Waterproof fabric is composed of various materials, including synthetic fibers like polyester and nylon and natural fibers like cotton and wool. 

Water-repellent fabrics are treated with a water-repellent coating that causes water to bead up and roll off, preventing water from penetrating the fabric. They will keep you dry in a mild rainshower, but won’t offer much protection in a heavy rainstorm. However, they are also often less expensive and more breathable than waterproof or water-resistant materials. 

Water-resistant fabrics offer the least amount of water protection—they will repel water to some extent, but will not prevent it from penetrating the fabric. Water-resistant fabrics are often used for outdoor garments like jackets and trousers. They will shield you from light rain and splashes but won’t keep you dry in heavy rainstorms or if you are immersed.

Preparing to Sew

Fabric

While many fabrics do not require pre-washing, it’s usually recommended to pre-wash waterproof fabric. In addition to helping to remove residual chemicals, pre-washings will pre-shrink the natural fibers (such as cotton or linen) that tend to shrink when washed. Wash in cold water with a gentle soap on a gentle cycle. No bleach or other chemicals should be used. Air dry after rinsing.

Know Your Fabric Types

Here are a few common waterproof fabrics and how they behave:

Interfacing

If your pattern requires interfacing, you will need to test the best option. Some water-resistant materials may not adhere well to fusible interfacing, plus the heat could damage the fabric. Sew-in interfacing may be your best option.

Cutting and Sewing

Forget Using Pins

One of the first lessons when working with waterproof fabrics? Avoid pins like the plague. Pins leave permanent holes that compromise the waterproof quality of your project. Once that hole is there, water can sneak through.

Here’s what to do instead:

• Use Pattern Weights for Cutting: Skip pinning your pattern pieces. Instead, use weights—whether commercial or home-made— to keep your fabric in place while cutting.

• Sewing Clips Are Your Best Friend: When assembling your pieces, opt for sewing clips instead of pins. They hold your layers together securely without puncturing the fabric.

• Try a Water-Soluble Basting Tape: If your fabric is slippery or hard to control, a water-soluble basting tape will temporarily stick the layers together, preventing shifting as you sew. And it washes out when you’re done.

Marking

It’s best to use chalk or washable pens for marking as other methods might damage the fabric.

Choose the Right Needle

Waterproof fabrics, like coated nylon, vinyl, or laminated cotton, can be tough on your needles—and each stitch creates a tiny hole. To minimize damage:

• Use a Microtex Needle: These needles have a very sharp, fine point, perfect for piercing tightly woven or coated fabrics without causing unnecessary damage. Choose sizes 70/10 or 80/12 for lightweight waterproof materials like rain coats or windbreakers. Choose a 90/14 or 100/16 for heavier fabrics such as that used in outdoor gear or tents.

• Universal Needles Can Work (in a Pinch): If you don’t have a Microtex needle on hand, a sharp universal needle can work for many projects. Just be prepared to change your needle frequently. A sharp needle designed for heavy-duty fabrics is preferable. Note that waterproof materials can dull your needle faster than regular fabrics.

Thread

A high-quality polyester or nylon thread designed for heavy-duty or outdoor use should be used. These threads are water-resistant, UV-resistant rays, and can absorb the abrasion for these uses.

Mind Your Presser Foot

Your presser foot can make or break the sewing process, especially with waterproof or coated fabrics.

• Walking Foot: For slippery, shifting fabrics like ripstop nylon or oilcloth, a walking foot is invaluable. It feeds both the top and bottom layers through the machine evenly, preventing puckering or stretching and reducing slipping.

• Teflon (Non-Stick) Foot: If you’re sewing sticky fabrics like vinyl or polyurethane-coated materials, a Teflon foot helps the material glide under the presser foot smoothly. They’re affordable and make a noticeable difference.

• No Teflon Foot? Try This Hack: If you’re in a hurry and don’t have a Teflon foot, place a layer of parchment paper or tissue paper on the top of the fabric (between the fabric and the foot). Sew through the paper as normal, then tear it away once you’re finished. It’s an old-school trick that works surprisingly well!

Adjust Your Stitch Length

Remember that every drop of the needle in the fabric makes a hole—and too many holes can compromise your fabric’s water resistance. To minimize this:

• Lengthen Your Stitch: Use a longer stitch length, ideally between 3.0mm and 3.5mm. This reduces the number of perforations and prevents puckering.

• Test, Test, Test: Try your stitch length on a scrap piece of your fabric before committing to the actual project. Some fabrics behave differently, and you’ll want to see how yours reacts.

Finishing

Skip the Iron (Most of the Time)

Waterproof fabrics and heat don’t always mix. Some materials can melt or warp when exposed to high temperatures.

• Avoid Direct Heat: As a rule of thumb, don’t iron waterproof fabrics unless you know they can tolerate it. Many coated fabrics will melt or get damaged with heat.

• Use Finger-Pressing or a Seam Roller: Instead of ironing seams open, press them firmly with your fingers or use a seam roller. You can also topstitch seams to help them lay flat, if needed

The Final Steps for True Waterproofing

When planning for closures, consider waterproof zippers which often have sealing mechanisms to keep out moisture.

Also, no matter how careful you are, there will be needle holes that will allow moisture in. For truly waterproof seams, seam sealing is a must.

• Seam Sealing Tape: This special tape covers the inside of your seams and is activated by heat (yep, this is the exception to the no-iron rule). Follow the tape manufacturer’s instructions carefully:

  • Use a low-temp setting.
  • Place a pressing cloth between the iron and tape.
  • Turn the steam off.
  • Always test on a scrap piece first!

• Liquid Seam Sealant: For smaller projects or awkward seams, a liquid seam sealant (often sold in outdoor supply stores) can be painted or squeezed along the seams. It dries clear and flexible.

That said, sealing seams isn’t always necessary. If your finished item won’t be submerged, you may decide it’s not worth the extra step.

Do you use your serger only for finishing seam allowance edges? If so, let us enlighten you about another use for this wonderful machine—to make decorative edges using wire or fishing line! What, you say?

You may have purchased wire-edge ribbon at the store to use for floral or other decorative effects, but with the serger you can make your own with fabric of your choosing. Simply cut long lengths of fabric into strips the width you need, plus ½” for seam trimming. Piece the strips together if needed to get the total length needed for your project.

Select a very thin florist or beading wire and, if it’s available for your serger, a cording/beading foot. This foot has a designated channel/guide to help direct the wire for encasing with serger stitches. If you don’t have that foot, the standard foot can work, but it will take a bit more effort to guide the insertion.

Use a medium-width, medium- to short-length stitch setting to encase the wire, depending on how much you want it to show (or not). A rolled hem setting will totally cover the wire if that’s the preferred look. Test-stitching will determine the proper length and width setting.

Position the wire under the presser foot so that the serger stitch covers it—about ¼” in from the right side cut edge. Do not try to guide it exactly along the fabric edge, as you will slip off. It’s better to let the serger knife trim the edge next to the wire as you sew to make a neater and cleaner looking edge. For ribbon-making, be sure not to stretch the fabric edge as you sew or you’ll create ruffles.

At the end of your ribbon length, repeat the wire encasement on the opposite length. Clip the wire ends close to the stitching and secure with a seam sealant.

To make the fabric ribbon stiffer, spray with starch or starch alternative. Shape the wire to form the bow or whatever shape is needed for your project.

You’ll often find a similar edge on fabric, especially on wedding and evening wear, only the edge finish encases fishing line instead of wire. The edge can be flat or ruffled.

To make an edge finish on a fabric, like net, tulle or lightweight sheer, follow those same processes but use lightweight monofilament fishing line (10-15 lb.) instead of wire. For heavier fabrics, like satin or taffeta, or when serge-finishing two layers together, a 25-lb. fishing line weight works well.

Leave a 4”-5” fishing line tail at the beginning of your serging. If you want a flat edge, be careful not to stretch the fabric as you sew, but if you want undulating ruffles, sometimes called lettuce edging, stretch the fabric as you serge. For a prominent looking edge, use a rolled hem setting; for a lighter looking edge, use a medium stitch length and width.

When you’re serging fishing line into a hem and wondering what to do when you come to the end of the circle, the answer is easy—just keep stitching after you cut off the finishing end of the line. As you continue stitching over the previously stitched area, both the finishing end and the beginning end will be encased. Then, clip off any additional length.

Another Way

If you don’t have a serger, you can create wired or fishing line edges on your conventional machine. Choose a cording or buttonhole foot with a guide slot for the filler and follow the same instructions as above. Stitch inside the fabric cut edge about ¼” rather than trying to go over the fabric edge, then carefully trim the excess close to the stitching once you’re done sewing.

~Linda Griepentrog is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and three dogs, Yohnuh, Abby, and Lizzie. Contact her at .