Sewing

January 31, 2025

Restoring Vintage Sewing Machines

There’s something magical about bringing a vintage sewing machine back to life—the hum of the motor, the smooth glide of the handwheel, and the precision of well-oiled gears. Whether you’ve inherited a family heirloom or scored a dusty gem at a thrift shop, this article discusses the steps to reviving its beauty and functionality. There’s nothing quite like the satisfaction of sewing on a machine that’s been lovingly restored to its former glory!

I began my research on vintage sewing machines with a focus on the Singer Featherweight and after years of study, I finally acquired a beautiful black Singer Featherweight 221. These little wonders, along with other Singer models and select brands, are now referred to as “generational machines” due to their longevity, allowing them to be passed down from generation to generation.

Made with exceptional mechanical engineering and high-quality materials, these machines are built to last a lifetime or more with proper care. Even those stored in less-than-optimal conditions can often be restored to their original beauty. Restoration has gained popularity over the years, with both professional technicians and hobbyists devoting time to bringing these machines back to life. Numerous sewing machine technicians across the country specialize in servicing and restoring these machines, with dedicated websites showcasing their expertise.

The Singer Featherweight was manufactured between 1933 and 1964, with various improvements over time. Enhancements included a flip-top extension table, bobbin improvements, and a numbered tension adjustment dial for precision. During World War II, chrome shortages led to the production of blackened metal parts and the rare crinkle-finish machines, which are highly sought after by collectors. The country of manufacture—whether the United States, the United Kingdom, Scotland, or Canada—can be found by checking the serial number on the bottom of the machine against reputable online databases. (see notes below)

Over the different time periods, Featherweight 221’s featured either a scroll faceplate with scroll decals or Egyptian-style gold decals, both in gold. The paint colors on them ranged from black to beige and even green, depending on the time and place of manufacture. Some machines were made with the crinkle finish, a non-reflective charcoal-colored texture that is particularly desirable among collectors.

Accessories include various foot attachments such as the foot hemmer, the adjustable hemmer, the multi-slotted binder, the edgestitcher, the gatherer and the ruffler, many of which are still available today. These machines also come with a foot pedal and either a V-belt or an older molded belt. Additional attachments can be purchased, such as a foot pedal and either a V-belt or the older version molded belt. Numerous websites also sell parts, attachments, and other sewing-related items such as buttons, pins, and such.

Buying a Vintage Machine

These machines can be found on eBay, in antique shops, and through specialized websites offering restoration services. When purchasing from an auction, it is crucial to know what to look for but before diving into the buying process, it is important to understand the history and value of these marvels of the sewing world.

If purchasing a machine from eBay or an antique shop, look for the serial number on the bottom and check the one of the many websites available to see where and when your machine was manufactured. Ask the seller about the machine’s history—some acquire them from estate sales, and others by family members. In my opinion, you will have better luck with a machine from original owner or a family member as they are often in better condition. Assess how the machine was stored, as improper storage can lead to mechanical issues.

Inspect or inquire about how the machine was stored. Usually, a reputable seller will have many pictures. You should inquire about the machine’s mechanics. However, not all antique sellers are knowledgeable about sewing machines, so do not assume that a machine is in working order just because it powers on.

Request original sales receipts if available, as they serve as valuable vintage memorabilia. Additionally, inquire about packaging—experienced sellers will know just how to properly package the machine to handle the bumps of normal shipping. Materials as bubble wrap of the interior, machine parts, inside dead space in the machine case and completely covering the exterior of the case like a second skin should be included in the packaging and then pieces of foam to line the box so there is absolutely no movement of any of the machine during shipping. It should be packaged so you can shake the box with no movement. Make sure your seller does this for you or arrange to pick it up yourself.

Dealers evaluate these machines based on several factor. The intrinsic value of the machine with criteria of when the machine was manufactured in relation to WWII, the physical features that it has like decals, faceplate, finish type, emblem type by singer and materials it was produced with. Then the condition of the machine is valued based upon the condition of the finish, paint, and finish, paint it needs minor restoration or major restoration and what kind of accessories are included. And finally, the case condition, including the interior of the case, the handles and key accessories and the foot pedal. Many rate each of three categories on a scale of 1-20 or some on a scale of 1-10. Some sellers will include this information on a sale page.

Singer Red Eye 66 ready for take-down, then a total repainting/refurbishing of all parts and reassembly.

I have also acquired a Singer Red Eye 66 treadle machine, which I am currently restoring on my own, including stripping, sanding, refinishing, repainting, and reapplying decals. This 1913 machine operates without electricity, relying solely on treadle power. The incredible Singer 66 Red Eye machine is a thing of beauty, 100 years young, manufactured in 1913 and completely free of depending on an energy source but the power of my legs to turn the treadle wheel.

Additionally, I have a Singer 66 Crinkle in its own table, which I use for sewing jeans, and a Singer 15-91, which I restored for my sister. This machine required a thorough cleaning, oiling, and a new bobbin case positioning bracket oil wick.

Singer 66 Crinkle Finish, motor refurbished, parts cleaned and oiled, cabinet polished.

Then, along came two Kenmore models 158 and 385 that I fully disassembled, cleaned, polished, and reassembled. Fortunately, both machines have metal bodies and required only exterior polishing. These versatile machines perform multiple stitches and remain in excellent working condition.

Finally, I purchased a Singer 338 in robin egg blue, a beautiful color. This machine does many different stitches including straight and zigzag, making it ideal for beginners and experienced sewists alike.

The Restoration Process

Restoring a machine requires extensive research on its mechanics, materials, and parts. The process includes understanding the machinery, cleaning, polishing, painting, and mechanical adjustments. This endeavor fosters a diverse skill set, including organization, spatial awareness, mechanical understanding, artistic precision, and a meticulous attention to detail. While I have learned a lot along the way, I still do not consider myself an expert and continue to seek guidance from more experienced restoration specialists, many of whom are referenced at the end of this article. In the end, the reward is a machine that will last generations, so plan in advance for who will inherit your machine.

I began to research these machines in 2011 and what I found were machines that had rock solid mechanics with many of their original parts still intact. They were built to last. The hard metals used in the body of the machines usually lasts forever, but even if neglected, with the right attention can be fully restored.

When embarking on a restoration project, start by researching your machine’s model and serial number. Websites such as ISMACS.net provide information on manufacturing dates, locations, and how many of them were made at the time. There are also schematics of the machine so you can begin take apart and clean or completely dismantle for a full refurbishing.

A Picture is Worth A Thousand Words

I always recommend taking detailed photos of the machine from all angles—top, from the front, sides, and back of the machine, especially if you plan to repaint and replace decals on the machine—to serve as a reference during reassembly, especially if repainting and replacing decals. The pictures will also be a helpful reference if you choose to purchase decals that resemble the original designs. There are also plenty of methods by which you can print your own decals. Take off the faceplate and take pictures.

Continue by taking off other plates and get pictures of the inside perhaps using a flashlight to get better light. Do not forget to take pictures of the bottom of the machine as well so that you have a reference for the mechanics of the machine.

Stay Organized

I also recommend moving around the handwheel and watching (many times) how the parts move when the handwheel is moving so you can begin to understand how these parts work when the machine is being put back together. Take your time to do the proper preliminary steps so you can refer to them when putting them back together. I like to organize the parts when removing them by area. I also tape screws to the pieces they came out of so I can remember where they go when going back to replace them. You may find your own way to organize better or perhaps your mechanical skills are sharp so you will have a better understanding than mine so you can find you own way to organize in the deconstruction phase.

The Cleaning Process

Once you have removed pieces they need to be cleaned. Cleaning involves rust removal using sprays, sanding, and polishing with tools such as a Dremel and fine sandpaper. Stubborn parts may require penetrating oil and patience to loosen. If there is rust, you will use rust buster sprays, and sanding methods to remove the rust. I have a trusty Dremel tool and use a wire brush to clean. I also use a fine sandpaper to sand even the screws which will return very shiny almost like new.

Any area in which you have trouble removing a screw or a part, use a penetrating oil. Some have used kerosene, but I have avoided it. A good penetrating oil should get the job done even if you must spray, wait, spray again, and then continue trying to loosen parts. Be patient, as this can take some time if there are years of buildup, dust, decayed thread, and such. Persistence and a good set of tools will be your friend for this process. I also utilized a polishing compound bar to polish and buff pieces once they are cleaned. I use my Dremel tool with felt heads to buff and polish. It is so rewarding to see how the pieces look when sparkling clean.

Stripping

When it comes to stripping a machine of an old paint job, my experience is limited. I am embarking on this task on my treadle Red Eye Singer 66 as I write this article. I have already purchased new decals and will be taking my machine down to the metal the old-fashioned way by using strippers, scraping, and light sanding until I reach the metal and provide a finish for the paint to etch. Many restorers will use a bonding material to smooth out the natural unevenness in the metal, but I am not skilled in this technique yet. However, the option is on the table.

Painting

Painting should begin after a thorough cleaning with alcohol to remove any oils from the machine head so the paint will adhere. You will also want to tape off any areas with painters’ tape to prevent paint buildup that could interfere with mechanical operation. You can also make use of silicone plugs that comes in a multitude of shapes and sizes. Some restorers use Q-tips, crumbled paper, and tape over that. Just remember that the holes have limited clearance for pieces so any buildup of paint will require you to file/sand off the excess so the mechanics will fit back in and work properly.

Singer 221 Featherweight Celtic Knot Faceplate and Decal Pattern

Use a primer paint first—you can even use more than one coat of primer if you feel it’s needed. Position the machine so you can get at all the sides and under the harp. You might even want to think about hanging up the machine with a strong wire so you can get in and around the areas to be painted. Use smooth even strokes in a back-and-forth fashion. Try to avoid overspray so there are no drip marks, although that’s frequently easier said than done. Practice makes perfect with this one. You can also buy a paint sprayers such as the ones used in automotive applications but remember to not only wear protective gear (including a mask) but also protect the area you are spraying.

It’s best to spray 3-4 light coats of the color paint you will be using, allowing sufficient drying time in between coats and including a light sanding and cleaning between coats. Once the machine is dry and the finish durable, add the decals. I use waterslide decals for this (see the list below for the source).

Once the decals are on, add 1-3 coats of clear coat to solidify the machine. Always give it 24 or more hours to cure between coats. Note that the colder the temperature is in your workspace, the longer drying time you may experience; however, I would not advise painting in a room that is below 50-degrees.

For further guidance, I highly recommend the tutorials of experienced refurbishers such as Bob Fowler and Marie Hill, whose expertise has greatly informed my own restoration journey. Their instructional videos offer invaluable insights for both beginners and seasoned restorers. (see links below)

Making a Base

Many restorers make a new wooden bottom case for the machine to sit in. If you choose to go this route, you will need to get a good woodworker to measure and make the cuts necessary for the machine to sit flush with the table. I have viewed some beautiful ones made by woodworkers and am sure there are YouTube tutorials showing how they are made. One example is included here, but there are plenty of other woodworking techniques one could use to do this.

Reassembling the Machine

Once you are ready for reassembly, refer to the schematics, your pictures and Bob and Marie’s videos on reassembly (and perhaps other vintage refurbisher’s videos). Armed with the info I have learned, I have successfully taken apart two Kenmore sewing machines, cleaned and polished them, reassembled, and adjusted timing. I have replaced bobbin case apparatus and replaced the oiling wick in several vintage Singer sewing machines, and adjusted needle bar heights and hook timing in both Kenmore’s and Singer’s. The reward comes when you thread these beauties and put them back into commission. I have worked on Singer 15- 91 for my sister, the 66 Crinkle I inherited, a 338 for my daughter, and I continue to work on my treadle 66 Red Eye. I have also worked on Kenmore 385, and 158 which are both great machines that will last a lifetime with small maintenance.

While I continue to learn, I am proud to have revived several vintage machines.

Some machines may only need to be cleaned and polished. I have done this to several, without a complete repainting. The polish adds a protective layer which only needs a repolishing every once in a white, depending on how much use they get.
I always cover my machines with covers made from fabric and foam, or I will store them in their original case if it came with the machine.
Do not store the machine in moisture prone areas like basements or attics as this will add to degradation of the machine. Heat, sunlight and large temperature fluctuations are not friends to any sewing machine.

Restoring and maintaining vintage sewing machines is a labor of love. By preserving these remarkable tools, we keep them out of landfills and ensure they continue to serve generations to come. These machines were built to last, and with proper care, they will far outlive us. If you own one, consider designating an heir for its continued use and appreciation.

Resources

Books:

Singer Featherweight 221, the perfect portable, 3^rd ed. By Nancy Johnson-Srebo
The Sewing Machine Attachment Handbook, by Charlene Philips

~Kim Larcom, ASG Member (Boston Chapter), Entrepreneur for Astrosportswear Activewear, and The Bridgewater Seamstress. Kim graduated from the Master Seamstress certificate program at the University of Rhode Island and owns her own custom activewear business.

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.

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