Coat of Many Colors with Shirley Adams Sewing Connection

Coat of Many Colors with Shirley Adams Sewing Connection


LIvely Music hello Shirley Adams for the Sewing
Connection series 17 program 13 at the start of this series I said color is the
big turn-on when it comes to fabric selection. you all have some favorites
that you just can’t resist. when I saw this fabric however I was attracted by
the fact that every colors in it. I could imagine going over that cherry
red skirt and then there’s also a little of those bright red pants and the kelly
green is in another skirt the teal blue green I have in suede and my purple wool
pants are great with it even that bright pink is in one of the yarns to say
nothing of this royal blue I have on oh yeah it goes with about everything and I
better get it so after I had at home then it was a matter of deciding what do
I do at this fabric because it’s a raw silk if you don’t know what raw silk is
instead of being cultivated silkworms they grow out in the wild and instead of
being dipped in hot water and all the Saracen melting and all that fiber being
unwound the silkworms as they hatch into moths just break out of the cocoon and
then there are all those little short fibers and those are gathered up from
the wilds and in with that comes some sticks and grasses and dust and dirt and
even though they died all kinds of bright colors as they have here it felt
icky I didn’t like the feel of it all it felt like if I’d touch it very long I’d
probably have dirty hands when I got through so the first thing I needed to
do was send it to the cleaners but then even then even before then it’s before
you handle it at all what are you going to do with the ends of it the cut ends
because this rattles so terribly if you just touch it if you just barely move it
things fall off it and it really needed to be protected in some way well I tried
running it through the serger to just Serge the end of it before I sent it to
the cleaners and then one whole big fat yarn would peel off along with the
serger thread as it zigzagged over it so that wasn’t enough what I ended up doing
is on the sewing machine doing about three rows of zigzag stitches and these
were just kind of interlocked as they the
rose overlapped as I did though zigzag stitches and that held it securely so it
could go to the cleaners and what when it came back then it not only felt clean
and looked to clean but also it felt a little softer because it had been kind
of harsh kind of crisp it still is to a certain
extent but the more you wear it the softer it gets is the character of silks
like this well after I was all ready to then put a pattern on it it’s of course
deciding what pattern well you’ve seen this several times in the last couple of
series because you know me throughout all the shows I’ve done I just keep
using the same basic patterns over and over again I do this real frequently and
I started cutting one out a few programs ago that I haven’t cut out yet but
here’s the pattern that I’m using and it’s still laid where you saw it on a
program a few times back so there’s one of them there are several others that I
won’t show you maybe you can remember which ones they are back on the
mannequins there are a couple of others and one of them with the start of series
16 I just cut it down to a v-neck and changed it considerably but it’s the
same jacket the other one is almost the same as this it looks like it’s in about
the same form and that was the start of this series and there were many of them
in-between in fact the outfit that I’m wearing this blue one this is also the
same pattern I just changed it a little bit but you can have a whole wardrobe
out of the same pattern and nobody knows the difference if you just make little
changes here and there and of course the different fabrics make a lot of
difference too so I had nothing to match on this there’s no indication of a plaid
it’s just randomly woven with all different colors so I didn’t have to
worry at all about matching anything so there was one little bonus a little bit
of a hurry up and get it done a little quicker and what I did have to be
concerned about though is making as few features in it as possible because you
don’t want fussy seaming in this all kinds of princess seams and so on you
don’t want that because they wouldn’t show for one thing they would just get
buried in all this texture and all this different all the different colors there
so make it as simple as it can possibly be so what I did to simplify this one is
very similar to what I’m doing to simplify this hand wolf and one that I’m
working on right now and what that is is for one thing eliminating the center
back seam there’s no reason for it there was no shape there make it in one piece
to eliminate a seam so you don’t have to worry about all the rabble’s so I’ve
just put where the stitching line would be over on the fold of the fabric also
there’s no sense in having adjoining seam right here at the front edge if you
have enough of the fabric you might as well just overlap the front and the
front facing put them in one piece as long as it’s a straight line there make
them in one piece and cut it as one and it’s just a little easier that way to
not have that extra seam and if you eliminate some bulk I like that part of
it too then as far as the sleeve goes I didn’t want to seem there what I did is
just what you see down here where it’s it’s overlapped of course and where it
separates because it was a two-piece sleeve there I’m just making a dart so
that dart is what you see in the top of this sleeve except it also doesn’t show
everything just gets buried in this kind of fabric so it’s easy to work with once
you get past all the raveling and once you find a way to eliminate that now
what especially is important for eliminating that raveling and making it
possible to work on is a fusible interfacing instead of a so in what I
used in this is more crisp and I want it to be what I regret sincerely is the
fact that I made it before this one was available to me this textured weft I
have mentioned a couple of times on this series and I absolutely love it it stays
soft and it’s just wonderful but what it really does is glue all that fabric
together and make it possible to not lose any of it so it won’t fall apart so
it will stay nicely what I actually have inside this jacket is another fusible
the one that I have on here and you have a couple of choices for instance what I
did over on this one that I am in the process of making is I didn’t have a
very big piece so I have simply fused that textured weft to the whole thing
all in one piece the whole backing is with that so immediately it’s all
protected and held together the other option is to cut out the pattern pieces
first as I’ve done here and then just put the individual pieces fusible zayed
down against the wrong side of the fabric and just fuse those and once it’s
all fused then it’s easy to just cut around like playing paper dolls just cut
out what’s there once it’s all part of the fabric and all
connected together so this is how you start and then you have to make some big
decisions but we’re a little difficult for me because I thought oh this is
going to go with everything so what kind of buttons am I going to put on it I at
first thought well I’ll do some little eyelets here and if you’ve never made
eyelets and made removable buttons will possibly have time at the end of the
program I’ll show you how but what I would do if I would make eyelets is
probably underneath put something to stabilize maybe I would put some
grosgrain ribbon or something of that sort on the underside make eyelets and
then you know you buy a lot of buttons that have these little things on the
back of the button card save some of those and if you want to have removable
buttons on a garment so that you can change every time you wear it with a
different color or if there are difficult buttons that won’t go through
the dry cleaner and you want to remove them every time save these things
because the shank of the button would go through the eyelet this would be
connected at the back of it and it would be a temporary thing and that might be
one way to make a lot of different choices we ought to make eyelets on this
it isn’t too likely it’s too thick and heavy and it wasn’t going to work on
this so I finally decided okay I have to commit myself to something I decided on
these red buttons because I thought the overall look of this is basically a deep
red and as soon as I got those buttons on it I decided that well maybe the
overall look of it is really a blue and so I had these blue buttons I haven’t
changed and I’m not going to I committed I’m going to stay with that but you can
see about every button will go with it so it is a choice I did a button program
back in series 16 and here are just a few buttons left over from that this was
a Chinese ball button and actually it’s this fabric that I have on
now this might have been another choice on it or maybe just a twist of it was a
tube fabric originally but it’s some man-made leather that might have made a
nice button on it because there is some of that bright red this particular color
is not in it this it’s kind of a rusty color but this was another one it’s like
making yeast rolls a crescent roll it’s all rolled up and glued it’s just suede
that type of toggle button might have been a choice here’s a red button that I
covered this is also leather with a little pin tucking on it so there are
all sorts of choices are also back on that button show last series I used a
little of this fabric one of the yarns that had rattled off and just put glue
on top of this button and then made that yarn go round and round so I covered the
button that way anyway you can think of all kinds of choices if you can’t find a
commercial button but when it’s this many colors the choices are so endless
you’ll find a button that goes with it if you prefer the commercial ones
well after you have all those initial decisions made oh one more here what are
we going to line it with well I decide let’s go blue let’s just do it with this
and it still doesn’t matter this would still go over anything else I plan to
wear it with so it still remains a pretty neutral jacket as far as what it
will go with I haven’t limited my choices any really what I have done then
to change the pattern I’ve just combined things as I told you for this but then
when I was making the blue one that I’m wearing I had a few other things for
instance since this was not going to be an outer jacket since this is more like
a two-piece drill except it’s pants I guess it’s not a two-piece dress but I
wanted a little slimmer sleeve instead of the wider when the jacket had I cut
it out as it was not knowing exactly how much I wanted to take off and just
pinned it together first and tried it on here’s how much I decided to take away
and you can see I’ll just put this on the sleeve pattern down here this is how
much I took off it needed to be this much shorter and I tapered it down that
much at the wrist and the reason for that was because I just wanted to
shallow him in this this is the type fabric it’s actually it’s not a fabric
that feels really nice it’s kind of a harsh actually this
fabric when it comes right down to it is a tribute to the people who have
furnished equipment for all my programs because without good equipment I
couldn’t really have done this now I needed good pressing equipment and I
needed good any kind of equipment because it’s a difficult fabric to work
with it looks like it’s a wool crepe it’s
actually a polyester crepe and it’s just one of those fabrics that are a little
bit stubborn so with the right equipment I was pleased that it all turned out
just fine but what I have done here for him is
just turn it under twice and top stitched it twice there is a stitching
line right at the edge and another one up at the top of the hem but on this
particular fabric instead of a deeper hem that you do maybe by hand or maybe
with a blind hem stitch it looked better to top stitch it like this so every
fabric dictates what it wants to have done to it in order to make it look the
most professional that you possibly can now what I’ve also done with this is cut
it a little wider now what do you do to cut it a little wider which is very easy
it’s simply going on the side seam here and just tapering it out just making it
wider it’s that easy so here’s the back just make it wider do the same with the
front on the side seam there I would just make it wider also I didn’t want
this to be a shortage acket I wanted this to be an over blouse and so I cut
it down a little bit longer that also is easy enough and then I put a casing
around the waist now when you put it casing on it’s a good idea to first of
all put in the elastic around your waist and mark exactly where your waist is or
maybe a piece of tape measure or whatever because it’s very likely your
waist isn’t parallel with the floor all the way around it might dip down and
back or maybe in front or wherever or maybe one hips higher and then it
doesn’t hang right on you in order to have it hang just right you need to have
it right at your waistline and the easiest place is just to mark it on the
wrong side or put pins on the right side and transpose them to the wrong side but
do mark your waist and then I’ve just with a bias tape maker here I’ve taken
some soft fabric because it’s going to be against my skin it’s going to be snug
and so I wanted some soft they’re aligning fabric is what I used
and just used a bias tape maker to make a wide bias tape because that’s what
this cord goes through and what the court is of course is bias cut fashion
fabric here it’s long quite long in fact the good length for a tie belt like this
if you want to tie it in a bow and have some tails hanging down measure the
width of your whole jacket whatever it is and add about a foot or so to it and
so that’s what this is the whole measurement when it’s all stretched out
and remember this is stretches out more than the jackets because I added the
extra flare at the side so it’s really quite large and by the time I add an
extra foot I have this to tie a bow and and draw it in now you also have to
think if you’re going to have a drawstring in something like this how
those ties come out what I have here is a little buttonhole and to make that
buttonhole to make sure that it’s going to be secure it’s a good idea to always
just cut a little circle of fusible interfacing and fuse it to the wrong
side before you make the buttonhole so that you have that reinforcement and
then of course on the underside the inside of the garment this buttonhole
isn’t there at all instead there you have the bias under lapping that
buttonhole and then it’s stitched around the front part of the buttonhole so very
easy to add these features nobody knows that you use the same pattern over and
over again when you just make little changes well let’s go over to the
Machine and I’ll show you a few things that I’ve done on this and with these
tubes let me just tell you I’ve used of course fast turns many times but they’re
just invaluable for making such things as these belts I’ve used them on that
jacket that pinky one over there I’ve used them there for button loops it’s
just a tube there so they’re they’re really quite useful here and there and
in a lot of places and after you have this bias cut and stitched you turn it
over a faster and at the same time you’re turning it you just pull the
cable cord in here I have cable cord inside it and that way it rounds out but
it’s nice and saw it doesn’t get stiff don’t for instance
make the mistake of putting upholstery welting in it because then it would be
stiff it wouldn’t hang nicely these little metal tips by the way you can
find probably in notions departments so look around the areas where there are
snaps and buttons and any of that you’ll probably find them what I did to put
those on is just put a little glob of fabric glue down inside the tip and then
push the fabric down in it and it stays it’ll it’ll be just fine
anytime you use glue be sure you read the directions and make sure whether
it’s washable or dry cleanable or however it needs to be work done okay
well what I have done here is not put any button holes in this I don’t think I
even told you about that but I finally decided not to put buttonholes in it at
all because it’s so heavy and it’s so loosely woven what I’ve done instead is
just have this twisted cord down here and every once in a while there’s a
button loop in it now where I got that twisted cord goodness this thing rattles
so easily as I told you let me show you how terribly a travels and if I just
shake it look at all the crumbs that end up on the table so you can see it’s a
bit of a mess to work with but once you have it done it’s going to be alright
but look this just rattles so easily so what I have done is probably with a
couple of these Ravel doubt yarns I have made this big long strand that goes all
the way down the front and furniture makes buttonholes and the way you do
this is to just well a couple of ways if it won’t work on your bobbin winder
depending on what your bobbin winder is if it won’t work on there you can just
twist it and what I would do if I would just twist it is put it on an extra
spool pin like this and just put it at the top of the Machine and put the big
long cord and I might be across the other side of the room doing this
because I’d have just as long a cord as I could get or yarn and then I would
just keep twisting and twisting and when you twist it enough that you can feel it
kind of pulling your you toward the machine that’s when you put your finger
in the middle and let it back twist against itself and then it makes a heavy
cord the other way is to put it on a bobbin and I don’t have a very long one
here so really won’t work very well on a bobbin
but the way you would do that is to put it on the bobbin and put the bobbin over
so that it’s working and this is well maybe it will no it won’t
this one I did have to do over the school pin because this is just too
fatty yarn it won’t happen but what you do if you have a thin
enough yarn is put it through the middle hole put it on your bobbin put it in
operation and push the foot pedal and then just hold the ends of it here and
let it twist and that’s a quicker and easier way than to do it manually but
either way it’s doable it’s possible no matter which way you have to treat it
and after it all back twists then you have that nice big heavy cord and that’s
what I’ve used here as a button loop it’s this heavy cord that goes all the
way down the front now how I stitch that on was with a machine zigzag and you
can’t even see it of course with all these colors it just blends in I used a
kind of a burgundy thread to do it and it’s just zigzag Don whenever I’d come
to where I wanted a button loop I would just back stitch and then start the
other side so that the button loops big enough to go over the button you can
always figure out some way to do whatever your end purpose is then what I
have inside this garment that I’m wearing this over blouse there are some
shoulder pads there and I said this is kind of harsh fabric what’s comfortable
about this whole top is the fact that I have shoulder pads that kind of hold it
up off my body and the only other place really that it touches my body is around
the waist where I also have a soft lining so to make a shoulder pad for
this here’s an easy way to do it this fabric has been cut on the bias because
that’s the way it’s going to mold best around the shape and these shoulder pads
are just molded fiberfill you can buy those in the notions departments too so
I’ve just put it with the bias here and there
put the bias over it and this is going to be out at the shoulder and this is
toward your neck so you just fold it over and I usually like to put a few
pins in this now you can put this directly in the serger but I want to
know that it’s going to really do a good job and come out looking just right and
everything finished up so I always put a few pins in this where
can feel what’s happening because when you do this in the serger you can’t
really feel that you’re at the edge here I can feel with my thumb and finger
right where the edges and I’m putting the pins there they are just barely
catching the edge of the shoulder pad because I want it to really do a nice
job now nobody’s gonna see the inside of this this isn’t the top you take off but
I just always feel better when I know that the inside looks as nice as the
outside and that the quality is every bit as good in there it just gives you a
different feeling and so this is important to me
didn’t your mother always tell you know if it’s worth doing it’s worth doing
right and I just can’t get over that I remember she said that to me I’m going
to take this foot off and put another one on and with this one it has a flat
platform and then I can just stitch that around and this is just straight stitch
is that what I have indeed it is and when I come to the pins then I’ll take
them out and I’m just following the shape of the pad around and after I get
this all finished here then I will put it on the serger and
finish up the edges nicely okay because right now when I cut this off it’s just
going to be you know raw fabric so I would always cut it a little bit
generously so that in the serger that knife blade can cut off the rest of it
but this really does make a nice pad and then you just Serge that raw edge but
you can see this pad is just very smooth because it’s cut on the bias so it
really looks nice on both sides whereas if you’d cut it on the street it
wouldn’t work very well at all I had said that we might do an eyelid over
here and that’s if you want to removable button well let’s just do an eyelet I’ll
put another foot on here and I’ll change my stitch pattern because probably you
have an eyelet on your machine and so look through all the display and see if
you don’t if you’ve never used it before it’s kind of a fun thing to use now the
reason I put this foot in or on it is because there’s a little uplifted place
underneath and I’m going to go back to the stitches and I’m going to go up here
actually and I’m going to go back to the menu because I find my eyelid as number
129 it’s way back here so I’ll just keep moving along through my wonderful
stitches until I get to 129 there it is and now it’s on eyelet and then you
simply push the power and let it make an eyelet and this might be nice if you’re
making belts or whatever it is that you need to do and if you don’t quit or if
you don’t push the button it’ll keep on making eyelets so there’s a little
button back here as soon as it starts sewing you push the button and it just
makes one eyelet and stops at the end of it but look to see on your machine if
you don’t also have that so you always have to remember to push that little
button so that it’ll stop when you want it to but this is nice if you need to
take those buttons off and change them and put something else on I might as
well go ahead and Serge this and show you what it looks like when it’s all
finished of course though I would use the same color thread instead of pink
because I have here but it does make a nice finish on this pad and make it look
very professional so if just get it under here I’ll go ahead and
surge that and I’m going to stop here to pull it down because this fabric is so
slippery it was kind of bouncing up and it was going to double back it’s against
itself so I’ll just sort of hold it here so it can’t do that and most fabrics are
not the soft okay so it’s that easy and it turns out
looking just like the pads that you’d find and ready to wear after you have
this done then you have to decide at some point what to do at the ends some
people prefer to put a little seam seal in here and if that seems to be scratchy
on you then instead put a tapestry needle and pull it through or just put
it there and put a little straight stitch over just something so that it
can’t come apart and it’s going to make a really nice shoulder pad to sew in so
all of these things you do you know I’ve been doing these things for so long I
have been changing patterns because I always start out with the basic and then
do something from there I have always been paying attention to what kind of
notions I use and so on you keep doing the same things through the years if
they work well and then just hopefully keep improving every time I look around
I see better ideas and so from that standpoint I do keep changing things a
little bit well we have based every show in this series on a color and this coat
of many colors this is the last show in the line so what color is my world well
it is an absolute rainbow of happy hues life is lovely if you just choose to do
your favorite things as a hobby and as a business which I have in sewing a most
satisfying pursuit this was programmed 221 of the sewing connection through the
years sewers have frequently asked what I ever run out of ideas and no I never
would if it were program 5,000 I would still have endless exciting directions
to take sewing just look around you there are no bounds well this is more
than just the end of a series it’s also the end of an era it’s the last sewing
connection program because other options other colors are beckoning and I need
the time to pursue them many of my programs will still be seen on public
television and if you missed any they’re all available from our office in video
in book form live seminars are such a delight because then I can speak with so
many of you in person I’ll be doing a lot of those as always and I’m scheduled
far into the user for speaking but a lot of all other
surprises also lie ahead for me I really want to thank everyone involved with
this, my family, people in my office and in this studio, they’ve become like
family. certainly thanks to the program underwriters whose products I really
believe in and I use constantly at home as well as here the right equipment
really makes the job simple and pleasurable and I most especially want
to thank you the viewer through the years I’ve had thousands of cards and
letters expressions of friendship and I feel a genuine affection for you all
sewers are the nicest people and I want to stay connected since that’s the whole
premise of this show. I’m Shirley Adams and from the Sewing Connection, now and
always, I wish you joy. Lively Music

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