Sewing

January 24, 2025

Sewing Over Pins: Do I, or Don’t I?

The dilemma…to sew over pins or not?

In the sewing world there are few topics that are controversial, but topping the list of differences of opinion might be the notion of whether or not it’s OK to sew over pins. Let’s look at some pros and cons on this pointed topic.

You CAN sew over pins, but SHOULD you sew over pins?

There are a host of different types of pins—from long and skinny shafts with plastic heads to short, bolder shafts with metal nub heads. The type of pin you choose varies by the task and the fabric, but the pin’s function is the same. We use pins to hold layers of fabric together while sewing a seam and sometimes for marking a design detail, like an opening that needs to be left unsewn to insert elastic or a drawstring. We also pin-mark fabrics that might otherwise be damaged by traditional marking tools.

If your machine hits a pin, there can be considerable damage to the pin, the machine and/or to you. The most common catastrophe is a broken needle and shards of that needle may never be found. They can fly across the room, into your face or become lodged in the machine mechanism. Ditto for the pin that’s broken in half by the piercing needle. If the pin doesn’t break, it can be seriously bent and play havoc with your machine’s bobbin area requiring a mechanic to fix the issue. And it’s not just the needle that can cause issues sewing over pins—there’s also the presser foot toes that can snag on a pin, distorting your stitches and potentially torquing the pin shape, jamming it into the machine throat plate.

Be wary that on some machines, sewing over pins can cause tension and stitch quality issues.

NEVER sew over pins if you’re using a serger. The sharp blades of the knife can cut the pin into pieces and you can face the same risks listed above.

Goin’ for it

Let’s just say that you’re someone who is convinced they can successfully sew over pins and throws caution to the wind. Here are some helpful hints for a more risk -free maneuver:

Place the pins perpendicular to the seamline with the head to the right. Position the pins so that the shaft is spanning the seamline and embedded into the fabric. Some experts suggest placing the pin so that just the tip is spanning the seamline, not the shaft.
Sew more slowly than you normally might.
Use a slightly longer than normal stitch length.
Never position the pins so that your seamline is near the pin’s head—that’s a collision course for sure with more potential damage than the pin shaft itself.
If you use fine, thin pins, there’s less chance of the needle hitting them, but on the other hand, if the needle does hit them, they’re more likely to seriously bend or break causing damage to the machine.

A Safer Option

If you’re wary about sewing over pins (and you should be), think about removing them as you stitch. Use pins to keep thick or delicate layers in place and place the pins perpendicular to the seamline, but as you approach them, pull them out two to three stitches ahead of the touchdown. Yes, we know you have to stop for a moment to do this.

If precision isn’t needed when seaming, move pins outside the seam allowance to hold layers together, so there’s no chance of hitting them.

Or think about an alternative for holding potentially shifting fabric layers together. Spring clips are ideal and you can whiz right by them if they’re placed along the fabric’s edge.

Another option for a secure hold, especially when matching plaids or stripes, is to hand-baste the fabric layers together along the seamline or a hair inside it before taking the piece to the sewing machine. Then, sew right over the basting or next to it, depending on the positioning.

The choice to sew over pins or not is a personal one but know the risks (and expense) you could face if you do it. Is it worth it?

~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 .

January 17, 2025

Sewing Q&A: Faux Leather, Bias Binding, & Pretreating Fabric

Q: I want to make a coat from faux leather and wondering how to make a buttonhole in this fabric.

A: Faux leathers come in a variety of styles and textures, but generally they have some kind of knit backing to stabilize the textured vinyl front surface. If yours does not, then use small dots of textile glue inside the seamline to place a sturdy interfacing behind the buttonhole area. If you don’t interface the area, the buttonhole will never return to its original size after use.

To sew a machine buttonhole in faux leather, check to see if your machine has a special buttonhole stitch for the fabric. The one shown in the photo is specific to leather-like fabrics. The stitch shown is actually sewn after the buttonhole opening is slashed so that the stitch goes over the raw edges. A sturdy bartack at each end prevents distortion.

Another type of buttonhole suited to faux leather has a straight stitch along each side of the hole location, and there’s a wider space between the stitched lines. Since faux leathers don’t ravel, the stitching just helps the buttonhole area keep its shape.

It’s a good idea not to use a traditional buttonhole on most faux leathers, as the close satin-stitched bars can perforate the fabric. So, be sure to test-stitch.

No matter what buttonhole type you choose, if the machine foot doesn’t feed evenly and sticks to the fabric surface, use a piece of water-soluble stabilizer under the foot for even feeding.

Q: I’m making an apron and the pattern calls for the binding to be cut on the bias. Since cutting on the bias takes more yardage, is it really necessary to cut it that way or can I just cut crosswise strips for the binding?

A: The answer depends on the apron itself—are parts of the bound area on a curve, like armholes or bib edges? If the answer is yes, then you will need to cut the binding on the bias so that it can shape to the curves, as straight-grain binding will not curve properly. If you try to shape straight-grain binding to a curve, you will get pull lines or puckers.

Many sewers like to cut their binding on the bias as a design feature. If the binding fabric is striped, cutting it on the bias creates a decorative diagonal patterning, as opposed to simply crosswise lines.

Note that you can piece bias binding in multiple places to use less fabric than cutting much longer strips at a 45° angle. If you match the patterning at the diagonal seam, no one will be the wiser and the seam will be almost invisible.

Q: What’s the best way to pre-treat fabric before I sew It?

A: The general rule for fabric you’re sewing, is to pre-treat it as it will be cared for once the garment or project is finished. The answer really depends on the type of fabric and what you plan to use it for.

If it’s 100% cotton fabric, there’s a chance for some shrinkage. If you’re using that fabric for a quilt, shrinkage may not be a concern, but if you’re using it for a garment, shrinking could be a definite issue. Some cotton fabrics, like flannel, can shrink significantly, causing your garment not to fit after washing. Denim should be washed and dried multiple times as the fabric often has residual shrinkage.

Follow the care instructions on the bolt end to pre-wash any cotton or cotton blend fabrics to avoid two things—shrinkage and color transfer. The latter occurs when a bright color is next to a lighter one—think red hearts on a white background. After washing, the background can become light pink, depending on how the dyes are set. If that happens, rewash with a color catcher to capture the excess dye.

For most synthetic fabrics, like polyester, there is no need to pre-treat, as shrinkage isn’t an issue. If you’re concerned about any applied finishes, pre-washing is an option.

For dry-clean-only fabrics, like wool and wool blends, it’s best to at least thoroughly steam the fabric before use to help avoid shrinkage, or to actually send it to the drycleaner before cutting out your garment and ask them to steam it.

Home décor fabrics generally do not require any pre-treating, as they often have stain-repellant finishes that can be removed by washing.

January 10, 2025

DIY Patch Jean Jacket

Give New Life to an Old Classic: Upcycling a Jean Jacket
Transforming a well-loved jean jacket into a one-of-a-kind patched masterpiece is a fun and eco-friendly way to refresh your wardrobe. Whether you’re looking to express your creativity, extend the life of a beloved garment, or reduce textile waste, this upcycling project is the perfect blend of fashion and sustainability. Let’s create something truly unique!

Inspired by this modified jean jacket from a high-end boutique, I set out to make a knock-off for myself. Here’s the original jacket I spotted at a conference:

My favorite resale store yielded most of the components — a basic jean jacket and a grouping of lightweight and semi-sheer print scarves.

The accent fabrics in the original were randomly assorted. Always keeping versatility in mind, I curated a more intentional set of prints that make the finished jacket an easy coordinate with dark jeans and black or brown skirt and pants in my wardrobe.

Working one section at a time, I rough-cut a segment of accent fabric an inch or so larger on all sides. I secured the print, right side down against the inside of the garment, pinning to the flat-felled seam or topstitched edge at about 1” intervals. From the right side, I then stitched through all the layers, following the original stitching and matching its color. The excess accent fabric was trimmed away with pinking shears, leaving a ¼” seam allowance.

The accent panel along the front band area was handled differently to avoid a visible seam allowance when the jacket is worn open. I securely hand stitched a finished edge of the brown/tan zebra print scarf to the straight edge of the band before attaching the remaining edges with topstitching.

On the side front panels, the welt pockets were cut away from the inside of the jacket before attaching the accent fabric.

The back panel was wider than any others, so I added 3 parallel rows of topstitching through both fabrics at center back to simulate the look of a seam and add stability in the finished garment.

A few denim panels were left unembellished to retain the visual integrity of the jean jacket and emphasize the flattering vertical design lines. It was relatively easy – if somewhat tedious – process. Except for the sleeves, that is.

Topstitching an accent fabric in place down that long tube just wasn’t an option. Opening one seam in the 2-piece sleeve, leaving the armhole seam and cuff area attached, allowed for easier access. An accent print was pinned securely to all edges of the wider panel, then top-stitched to the armhole seam, the placket, and the cuff edge. Re-joining the open seam completed the process.

The final step was simply to carefully trim away the denim layer in each embellished panel leaving the print exposed. I chose to pink those cut edges to minimize the fraying, compared to the more rustic look in the inspiration garment.

Even in such a creative project, my Classic style personality comes through in the color-coordinated accent prints, the symmetrical placement and the areas of original denim toning down the visual busy-ness. How might you adapt this project to your personal style aesthetic?

~Nancy Nix-Rice is an image and wardrobe consultant who specializes in helping sewists make optimal wardrobe choices. You can subscribe to her newsletter at https://bit.ly/3SRtPoq

January 3, 2025

A Trio of Edge Finishes (preview)

Many home dec techniques cross over into garment sewing. Here is the professional way to create three edge finishes that will enhance all your sewing endeavors.

Technique: Pleated Trim

Machine foot: general-purpose foot or open toe appliqué foot.

Other requirements: Pleat Tape; bias strip of fabric (folded lengthwise in half) or grosgrain or double-faced satin ribbon—total length should be three times the length of the finished trim.

The full article is in the Members area of the website. CLICK HERE to read the full article. Not a member? Join online!

December 13, 2024

Sew Soft: Tips for Sewing with Velvet

With the holidays approaching, you may want to make something special to wear to a dressy get-together, and velvet or velveteen could be the answer to your quest for something wonderful. Never sewn with these beautiful pile fabrics before? The helpful hints in today’s blog article will guide you down the path to success.

Fit to be Tried

Since both velvet and velveteen can be expensive, it’s a good idea to use a pattern that you know fits you. If in doubt, make a muslin first to check for any needed alterations and adjust the pattern accordingly.

What’s the scoop?

The terms velvet and velveteen are often used interchangeably, but they’re not the same. Both have pile—fibers that stick up from the backing surface—but other fabrics also fall into the pile fabric category.

Velvet is soft, drapey and has an elegant sheen resulting from its high pile. It can be smooth or have a variety of textured surfaces. Velveteen is stiffer with a shorter, dense matte-finish pile. Velvet can be made from silk, rayon or other synthetic fibers, while velveteen is most often made from cotton. Both fabrics have a woven backing.

Sewing with Pile Fabrics

Whether you’re sewing with velvet or velveteen, the sewing and cutting principles are similar—and perhaps different from other fabrics you’ve sewn as they require extra care. Choose a pattern with simple lines and not too many seams. The fewer seams a garment has, the easier it will be to create. Set-in sleeves can be a challenge, so opt for raglan or cut-on for easier sewing. Avoid buttonhole if at all possible, and opt for closures like buttons and loops.
Pile fabrics have nap, meaning that all pattern pieces have to be cut in a single direction to avoid color shading, so be sure to follow that layout on the guide sheet.
Pin marks can be permanent on pile fabrics, so pin only within the seam allowances. Another option for an even better hold is pattern weights. With a raised fabric surface, it’s easy for pieces to shift. Cutting pieces single layer with the pile side down is a sure-fire way to more accurate cutting than trying to cut two layers of shifting fabric at once.
Cutting velvet creates a mess, as the pile fibers are being cut through as well as the fabric backing. So, clean up frequently—not only your scissor blades, but the cutting surface too.
Markings can be transferred with chalk or an air-removable fabric marker to the wrong side of the fabric. Avoid using a tracing wheel as it will permanently damage the fabric surface. For accuracy, choose tailor tacks for marking interior details like darts or pleats.
Choose a sharp-tip needle, in a weight compatible with the fabric.
Always opt for sew-in interfacings, as velvet and velveteen cannot tolerate fusible products.

Foot Notes

Because velvet and velveteen have pile, it’s difficult to keep pieces in place while stitching. Use a walking foot if you have one, but test-stitch first to be sure the foot doesn’t leave track marks along your seam. If it does, layer tissue paper top and bottom spanning the seam allowance.

Walking Foot available on Amazon. (affiliate link)

Other options for presser feet include a roller foot or a non-stick foot for seaming. Both can help reduce slipping while stitching. Hand-basting is another option to use prior to machine stitching.

Roller foot and Non-stick presser foot available on Amazon. (affiliate link).

Fear not, velvet and velveteen will inevitably “creep” as you sew, but test-stitch some scrap samples to devise a plan to mitigate that process and produce a pucker-free seam. You may find that you need to adjust your thread tension or the presser foot pressure to create a smooth seam.

On most velvets, no seam allowance finish is needed as it only adds bulk. If you have a ravelly velvet, use pinking shears on the seam allowance edges to minimize the fraying, or a three-thread serged edge.

Press Carefully

Press very carefully, if at all, as iron marks cannot be removed from velvet, but rather leave permanent imprints. If you feel compelled to press pile fabrics, lay them face down on a padded ironing surface covered with a thick terrycloth towel, a face-up piece of velvet, or a needle board, a tool specifically designed for this purpose.

Needle board from Amazon. (affiliate link)

Hover the iron over the seamline, but do not allow it to touch the velvety surface or the seam allowance edges. The latter can easily imprint onto the right side of the project.

Steam can be your friend if you insist on pressing velvet but watch the temperature on synthetic fibers and only hover the iron to create the steam in the area needed.