The COLETTE SEWING HANDBOOK INSPIRED STYLES and CLASSIC TECHNIQUES for the NEW SEAMSTRESS SARAI MITNICK KRIME. The Colette Sewing - Download as PDF File .pdf) or read online. Een handboek van collette in pdf: The Colette sewing handbook.

The Colette Sewing Handbook Pdf

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Booktopia has The Colette Sewing Handbook, 5 Fundamentals for a Great Sewing Experience by Sarai Mitnick. download a discounted Hardcover of The Colette . How to sew basic turned hem by machines, and a few different Handbook and editor of The Colette Guide The Colette Sewing Handbook: Inspired Styles and Classic Techniques for the New Seamstress [Sarai Mitnick] on *FREE* shipping on qualifying .

Slide the fabric along the thread to distribute the gathers evenly. Remove the basting thread and press. Darts should be smooth, so using a curved surface, like a tailor's ham, when pressing will help you avoid any odd bubbles or points at the tip.

Pin into place. Sew through the line to the tip, right off the edge. Tying off the end is an easy way to do this, and doesn't cause the slight bumps that backstitching might. To tie off thread, simply leave long thread tails at the tip of your dart while After you've stitched the dart, tie the two threads at the tip together in a knot and clip the thread tails. You may need to clip the dart in the center to help it lay flat when you press it, or even clip it in a few spots depending on the curve.

Double pointed darts are often found in dresses, jackets or tops You'll use double-pointed darts in the Licorice Dress page TUCKS Tucks are similar to darts, except that instead of a wedge shape that tapers to a point, a tuck is sewn in a straight line. Thefabric has a softfold at the end, similar to the look of apleatedskirt To sew a tuck, bring the stitching lines together with right sides together and pin, just like you did with the dart Stitchfrom the edge toward the other end.

When you reach the end of the stitching line, pivot 90 degrees and sew across the tuck, right off the edge. Press tucksjust up to the stitching linefor a softfold. Of course, anyone who's tried this knows that it just doesn't work. The result puckers and twists horribly, if you can sew it at all.

Enter the facing, a little piece that mirrors the curve exactly. Grading the seams prevents adding too much bulk, while understitching keeps the facing from rolling forward. You simply sew it along the curved area, then turn it to the inside! Stitch into place. To grade the seam allowance, trim the seam allowance of the facing only, so it is half the width of the other seam allowance.

Making the seam allowances two different widths will make the seam less bulky. Clip the seam allowance along any inward curves such as on a neckline , or notch if there are outward curves. Stitch the seam allowance to the facing, close to the seamline. To make cW1'ed seams layflat, use the tips ofyour shears to notch or clip the seam allowance, taking care not to cut into the stitching.

If you have an invisible zipper foot, they're easy to install and look clean and professional. You'll notice that the teeth of the zipper pull to the back. Unzip your zipper and, using a low heat setting and the tip of your iron, press the zipper near the teeth so that it is flat. On each piece, mark the seamline where the zipper will be installed. The easiest way to do this is with a row of machine basting. With the right side of the zipper against the fabric's right side, place the zipper along the seam as shown, aligning the teeth of the zipper with the seamline.

Pin or baste in place. Stop when you reach the zipper pull at the bottom. Notice that the teeth of the zipper fit neatly in the groove of the invisible zipper foot. Finish by stitching the rest of the seam closed below the zipper. Use this method to sew in a zipper with less fuss and no ugly gaping.

Press the seam open. On the fist side, move the zipper teeth very slightly from the basted edge and hand-baste into place. Moving the teeth just slightly from the center will help hide the teeth. Lift the presser foot and close the zipper shown. This way, you do not have to stitch around the pull tab. Continue to the end on this side. Return to the top and sew the other side down in the same manner. Use a zigzag stitch, the biggest width, and a short or 0 stitch length to create a bartack that acts as a new zipper stop.

So ifyou can'tfind the right length, go a little longer than you need. It seems tricky at first because you begin with two curved seams that don't match up exactly. The sleeve seam will usually be a little longer than the armhole seam, so you will need to ease the sleeve to fit.

Easing is similar to gathering, but less fabric is drawn up by the stitches before you sew. The easing gives a soft roundness to the top of the sleeve.

The middle row of basting These will be used for easing the sleeve cap. To do this, you will tum your garment wrong side out, then insert the sleeve into the armhole. Align any notches and seams, and pin from the sleeve side up to the points where the basting starts.

Adjust the easing so that it is even, and pin in place using plenty of pins. Again, pin from the sleeve side. This way you'll be able to see the easing and make sure no fabric gets tucked or folded as it's stitched. Press the seam toward the sleeve, using a tailor's ham inserted in the sleeve to press the curves. You should have a slight fullness at the top of the sleeve. With constantly rotating trends, new looks, and "must-haves" every season, the simple act of dressing yourself can often feel overwhelming.

We're constantly urged to try new styles, and it's true that they can be exciting and fun. But if you're anything like me, deep down, all you really want is a closet filled with your favorite things. These are the clothes that make you happy to put on, that make you feel like yourself. Instead, many of us feel that we have a closet stuffed with clothes and nothing we want to wear.

You would think that being able to sew your own clothing would solve this particular issue. After all, you can pretty much make exactly what you want, right? Unfortunately, sewing clothing seems to magnify this problem.

Once you start sewing, you can make almost any style in nearly any color or any fabric. Shell buttons or wood? A solid fabric or a print? Silk or cotton? If I get overwhelmed at the clothing store, you should see me downloading fabric. It's very easy to make mistakes when you are surrounded by lush prints, radiant colors and every texture imaginable.

The real solution is to take the time to do a little thoughtful editing, to think about your own life and style and focus on making the things you will truly love. My approach is to focus on quality over quantity. With all of the possibilities out there, it's tempting to rush from one sewing project to another, trying somehow to capture all of your ideas.

But this frantic approach to sewing just mimics the confusion of always downloading new clothes. Instead, editing your ideas, taking your time with each one, and thinking carefully about what you want to make is more likely to yield a garment you will cherish. We love to feel the texture of fabrics, to try out unexpected combinations of color, and to imagine details and trims.

As much as I enjoy the construction process, turning inspiration into a concrete plan is the really exciting part for me. In the past, you may have felt like planning a sewing project was just a matter of combining a pattern you like with a pretty fabric.

But I invite you to think about it more as a design process. It might start with a pattern or a fabric, or it might be inspired by a piece of art or a photograph. Like any exercise in design, it's really a matter of looking at lots of possibilities and then making editing decisions.

My planning method has three steps: The first step is gathering inspiration. This means capturing anything that inspires you or sparks an idea and keeping it for later. Keeping track of the things that inspire you will help you to understand your taste over time, and ensure that none of your great ideas get lost.

The fashion-conscious among us might look to the runways for inspiration, and they can be a terrific source of ideas, but there's no reason to limit yourself to the current trends. Look to the world at large and see what intrigues you personally. You can probably list a host of influences on your personal taste and style, and these are often a great place to start.

Some ideas where inspiration often lurks: Think about what makes it really special or right for you. Vintage clothing often has details that are rarely seen in mass-produced modem clothing. I love to tum again and again to my favorite artists when I'm dreaming up ideas or thinking about color.

Sometimes raw materials are the only inspiration you need to get going. Even if you can't travel much, you can find street style blogs from all over the world showcasing looks in other cities. You begin to notice the possibilities more and to think about the way things affect you. It's a way to reflect, but also a way to formulate and refine your ideas. Sketchbooks and notebooks are a necessity in my life, and I carry around a small one in my bag at all times.

Whenever an idea strikes, I get it down on paper for future reference.

Sew Your Own

My little black notebook contains everything from a hasty sketch of a chic woman I saw on the Paris Metro to a little diagram of an interesting sleeve placket I came across in a tailor's shop in San Francisco. Sometimes I paste in photos, images, or swatches. When I return to flip through my notebooks, I'm greeted with a wealth of ideas and inspiring memories. When it comes time to formulate a plan, I love to create mood boards. Mood boards can help focus your ideas, letting you build your inspiration around a specific look or theme.

They are incredibly helpful if you have an ambitious sewing goal, such as planning a new winter wardrobe, or several pieces you want to sew for an upcoming vacation. Your board might include images that represent the look you want, sketches, accessories, color palettes, fabric swatches or trims.

Gathering Inspiration Sketchbooks, notebooks and scrapbooks help you catalog and remember your ideas. Inspiration to Grow On Studying how clothing is constructed is a good way to become inspired. Vintage dresses in particular can inspire you to try If you study them closely, their fine details and interesting construction can trigger your curiosity and motivate you to learn something new. Processing Inspiration Mood boards can help you process your inspiration into a solid idea.

The Colette Sewing Handbook: Inspired Styles and Classic Techniques for the New Seamstress

For me, this is usually a mental process of asking myself a few questions as I go through my inspiration sources. You might also choose to jot down notes or even start sketching more concrete ideas. It's important to think critically about your own style and tastes before you start sewing.

Sewing gives you an opportunity to express who you are in your daily life like almost nothing else can. Rather than assembling a wardrobe from the clothing you find, you can design your own style based only on the things you love, that say something about who you are.

I find this to be one of the greatest gifts sewing has to offer: Not only can you make something beautiful, but you can make something beautiful that says something about who you are, and you can use it in your real life. In that sense, sewing is truly a practical art. They're comfortable, they fit your personality, and they match your taste in just the right way.

They work with who you are and reflect your favorite qualities out into the world.

See a Problem?

At the same time, there are other styles that you might like, but never feel quite right when you put them on. Distinguishing between the things that feel like you and the things that don't is the only real secret to developing a strong sense of style, one that means something to you.

Consider the people you believe to have the best personal style, whether they're famous style icons or people from your own life.

You've probably noticed that they have pretty specific tastes. They know what they like, and they're true to themselves as individuals. They cherry-pick the colors, textures and shapes that speak to them and work with who they are. I believe in a personal approach to style. To me, that means wearing the things that make you happy. This takes a bit of reflection and a dash of restraint. It means recognizing the things you like on others, but that may not work for you. It means probing yourself a little, asking yourself why certain kinds of clothes make you feel good.

Try going into your closet and picking out five things that you love to wear. It might include a ring given to you by your grandmother, your coziest sweater, your simplest black dress or bright turquoise shoes. Why do you feel so strongly about What is it that makes them special to you?

What feelings do they provoke? By understanding what you value in the things you love, you can begin to imagine a whole wardrobe of personal clothing, built around the qualities that are important to you. It may help to describe the qualities that appeal to you the most. Make a list of words that describe the aesthetics of your favorite things.

You might also include the fabrics you love, the colors that work for you or the kinds of shapes you like to wear. You don't need to put yourself in a box, but can still be helpful to recognize that you are drawn to things that are "dark, mysterious, romantic, feminine" or "minimalist, practical, androgynous, sleek.

Remembering that you love neutrals may make it easier to put down that enticing tropical print at the fabric store. Organic, natural, earthy Bright, bold, graphic Sparkling, glamorous, feminine I will be the first to admit that in spite of the fact that I ride a bicycle to work much of the time, I own far more party dresses than pairs ofjeans. Of course, it's nice to sew the things we love, but it's even nicer if we can sew things we love and will get to wear. Again, take a look at your closet.

You probably have a sense of where the holes are and the sorts of clothes you need more of.

Often, it's the practical and mundane clothing that's most neglected, but these are sometimes the things we wear the most. Stretch your imagination and try to think of creative ways to fill these gaps with things that still excite you. I may not be a jeans and T-shirt kind of woman, but I find some crisp dark denim and a pretty blouse works for me.

Your lifestyle and budget are design constraints, and most designers will tell you that constraints boost creative thinking. It; Will Ifeel good in it? It; Will it be comfortable? Yes, sometimes it's helpful to have the shorthand of saying that you are "pear-shaped" or "apple-shaped. Having large hips doesn't mean you don't also have a short torso. You might have a small bust, but also broad shoulders. Our bodies are highly individual, and our feelings about them and how we wish to dress them are, too.

Dressing for your shape can be very subjective. One woman with a large bust may prefer to balance it with a full skirt. Another woman with the same proportions may feel overwhelmed in full skirts and prefer dresses that skim her figure. The truth is, it's largely a matter of taste and how you relate to your body. There are no hard rules, because if you feel good wearing it, there's absolutely no reason not to.

Think about the kinds of shapes that you prefer wearing. Do you like your clothes to be sharp and tailored or soft and drapey? Do you like long skirts or short? Sleek shapes or fullness? Do you feel better when your clothes are very fitted or a bit loose? There are good reasons that you feel comfortable in certain shapes, and they are probably related to how you think about your body.

Do you like tailored jackets because they show off your waist? Do shorter skirts show off your legs? If you feel beautiful in it, there is no reason to listen to general fashion prescriptions. Rules of thumb can sometimes be helpful, but you no doubt have a much better idea of what works for you than any expert.

After all, you're the one living in your body. By the same token, you should think about shapes that make you feel uncomfortable.

You don't need to dwell on what you see as your "flaws," but just think about what you truly feel happy wearing. You may love the look of full skirts, but if you feel frumpy in them, there's no reason to waste time sewing them. Which do you feel emphasize the things you like about your body? Which make you most comfortable? A Fitted, Tailored Sheath This vintage dress is fitted to the body with darts and seams, making it a more fitted and tailored style. The linen fabric A Flowing, Loose Dress While this vintage dress is shown on the same body, it has a very different look.

It is fitted around the body only with softy gathers at the waist and neck, and the sheer silk fabric flows and moves gracefully. Which would you rather wear? Now it's time to formulate a concrete plan of attack that will guide your sewing projects and keep you on track. Not everyone is a planner, and I do think there should be plenty of room for experimentation and the occasional impulse project. But having an overall plan is a great way to ensure that you spend your time and money on things you both love After all, sewing is not cheap.

Even if you score a great deal on patterns and fabrics, the amount of time it takes to construct a garment makes it expensive in terms of time. So do it thoughtfully and make it a labor of love. This step is where you go from a general concept to making definite decisions about you pattern, fabric, trims, details you want to add and construction techniques you'd like to try. The form your plan takes is up to you. Some people enjoy planning things on a large scale, while others prefer to take their projects one at a time.

This is the method I use to plan my projects, but feel free to pick and choose the methods that will work best for you. Adding to Your Fashion Sketch If you know what sewing pattern you will use, you can use the technical drawing on the pattern envelope to draw your sketch. Add notes about fabric, color and other details you plan to use. In early fall and early spring, I sift through my inspiration books, folders and images.

I'll also look at the fabric and patterns I own, and perhaps take a trip to the fabric store just to gather ideas. I then edit them based on the constraints of my life and sketch a mini-wardrobe of what I'd like to wear that season. It might contain 10 to 15 pieces, some things I already own, some things I plan to download, and many things I'd like to sew. From my mini-wardrobe, I list the projects I plan to sew in order to create it.

I'll add notes on fabric types, patterns and notions. I use a croquis template to sketch my next project, drawing the lines over the template and adding more specific notes and fabric swatches to fully flesh it out. On the next page, I'll show you how to create your own personalized croquis template. When I have an idea for a "someday" project, I try to capture it. This might be a sketch, or an inspirational photo with notes.

This is a little different from an inspiration notebook for me. It's more of a queue of future projects. That way, if I have a great idea but don't have time for it currently, I can be confident that it's been captured, and that I'll return to it the next time I'm planning. And that is exactly what it is: You can make use of this With this drawing template at hand, you can easily sketch clothing on your own figure, examining the lines and visualizing the final garment more easily.

When you've finalized your sketch, you can add details, such as fabric swatches and notes on trims, transforming your croquis into a concrete sewing plan. To get an accurate sketch of your body, you can use a camera and simply trace your figure. You might choose dance attire, such as leotards and leggings, or simply wear your normal undergarments. Take a photo straight on, standing in a normal posture.

You might even put copies into a binder to use as a fashion sketchbook. But if that were the whole story, making clothing would be a simple task, just a matter of following directions to the letter. In reality, your task is not just cutting and sewing, but translating between the beautiful image in your head and the actual structure you have laid out for you. Doing that requires a sort of sewing literacy, an ability to read a pattern just as you read written instructions. The sewing pattern forms the bones of your project, a scaffolding on which you can hang so many of your own ideas.

The pattern helps you achieve the structure, which you can personalize for your own tastes and body. We'll discuss customizing a pattern for a perfect fit in chapter four, but first let's explore the pattern itself. A sewing pattern is basically a template of your garment. The structure of a garment is a pretty difficult thing to develop yourself, even for experienced sewists, so having a starting point is invaluable for home sewing.

With a sewing pattern, the designer provides you with what is essentially a paper version of your project in a range of standard sizes, with Your job is to use that template to cut and mark your own version before sewing it together. There are many ways to do this, depending on your fabric, your project and your own preferences.

Even if you're experienced with sewing patterns, I invite you to take a look at some of the tools and techniques in this chapter and see if there are some you might like to try or revisit.

We tend to think that the written instruction sheet or book that comes with a pattern is the source of all directions. But, in fact, the written instructions and the construction symbols on the pattern work together to form a complete set of instructions. That way, the written instructions can refer to specific points or areas of the pattern, and you'll always know exactly where it's referring to.

The arrows on your pattern should always be placed parallel to the long edges of the fabric, in other words the fold or selvages. An arrow bracket that points to the edge of a pattern piece indicates that it should be placed on the fold of the fabric. You will find notches along the cutting lines on your pattern. These help you figure out how the pieces go together.

The notches of adjoining pieces should match exactly when they are sewn together. So looking out for them should help stop you from sewing a piece in upside down or in the wrong place.

The lines show where you will stitch the dart together, and are known as the "legs" of the dart. Sometimes the lines are dashed, or there may be circles along the line for you to match up. Single-sided darts usually fall on a seam line, whereas double-sided might be placed anywhere that requires a bit of shaping. Curved darts are a little trickier to mark and stitch, but provide a beautiful, naturally curved shape. Circles, dots, squares and triangles are used to mark a spot on the pattern that is referenced in the written instructions.

They often indicate a placement point for a zipper or a pocket, for example , or they might show you where to begin or end stitching. Your instructions will explain what to do. You will often find these lines on the bottom area of bodice patterns, and around the hips or lower on skirts. They will help you determine placement so that buttons are evenly spaced, and also run directly down the center of the placket. The sizes are "nested," meaning they are stacked together, somewhat like a Russian Each size is indicated by a different style of line.

Find your size, and cut along that line for each pattern piece. Indications of Sizing Each line style represents a different size for this pattern. Zipper size you could simply shorten any zipper by way of sewing a couple of stitches backward and forward over enamel.

The Colette Sewing Handbook: The Truffle and Licorice Dresses

Use a zigzag sew, the largest width, and a brief or zero sew size to create a bartack that acts as a brand new zipper cease. The sleeve seam will often be a bit longer than the armhole seam, so that you might want to ease the sleeve to slot. Easing is the same to amassing, yet much less cloth is drawn up by way of the stitches ahead of you stitch. The easing provides a gentle roundness to the pinnacle of the sleeve.

STEP 2: With correct aspects jointly, pin the sleeve into the armhole. Align any notches and seams, and pin from the sleeve facet as much as the issues the place the basting starts off. STEP three: Pull the thread tails at the basting to attract up the material, making the sleeve an identical size because the armhole.

I make stuff and give you tutorials on how to make it too. I also keep a blog of what I'm up to and links to good stuff from all over. More about me and all this. Perfect because, after all, it takes two to open it.

Three ideas for Valentine's Day treasure hunts. Polka dotted papier-mache Easter eggs to fill with candy, toys or secret notes. Easter Surprise Eggs: Hollow eggs, colored brightly with food coloring and filled with small toys and candies.

To get inside you need to crack the egg. Chocolate Easter Surprise Eggs: Hollow eggs with an interior shell of dark and white chocolate then filled with candies. One need to break both the shell and the chocolate to reach the things inside. A felt dahlia pin for your favorite mom, with a secret pocket for notes of appreciation.

Flower Pancakes: How to make pancakes that look like flowers, created for Mother's Day.Other stitches are nice to have, but not quite as essential. Medium-weightfabrics, such as silk twill, dupioni, cottonpique, brocade, taffeta orpoplin are good choices. But if that were the whole story, making clothing would be a simple task, just a matter of following directions to the letter.

Learning to sew clothing and learning a new language are both complex skills that take time to develop. If you want to learn to sew your own clothes and need a set of lessons to start you off this book is perfect. If you continue browsing the site, you agree to the use of cookies on this website. These kind of books are great for beginner sewers. The book has my favorite spiral binding so it will stay open while you work, as well as a set of patterns in the back.