19 DTG-The Real Thing, Continued

I started today with a little iron work.  I pressed all the seam allowances of the taffeta layer toward the way the directions instruct.  Then did the same with the lining layer.


Just like the seam allowances of the taffeta, those of the lining are likely to fray as well (and are already displaying signs of doing such).  But remember, I need to actually topstitch the lining's seam allowances down to form the channels for the boning to run through.  My thought is to attempt to do both things at once, by using the zig-zag stitch through the seam allowance and the lining.  Yes, that means those zig-zags will show on the lining, but I can live with that.  And I think it's kinda decorative.


But since zig-zag stitching is denser (meaning the needle pierces the fabric more often) than just a straight line of stitches, I want to offer the material all the support I can.  So in this instance, I'm going to put tissue paper in between the seam allowance and the lining and sew through all of it.

The white tissue paper on the left, comes under the seam allowance
I'm sewing through all 4 layers (2 layers of seam allowance,
1 tissue paper and 1 of the lining underneath)

To make sure I leave 3/8"  of space for the channel,
I played with the stitch length of the zig-zag
A length of 3 and running the material with the seam allowance
edge just under the left edge of the foot lined everything up perfectly.

It's kind of complicated, especially on the curves to keep the tissue paper appropriately placed and to make sure everything lays flat against the under layer, but by taking it slow and readjusting often, it comes out in a way that I'm happy with!  

The tissue paper tears away easily-the stitching acts to perforate the paper

I also folded under the outer edges by 5/8" and pressed them, then applied the same technique to zig-zag stitch these edges down, creating 2 more channels for boning.  All this zig-zag stitching has used up all my Light Violet thread, so I need to get more.


With right sides together, I pinned the taffeta and lining layers together across the top only.  In the mock up I did both the top and bottom, but remember that I need to leave access to embroider the taffeta layer.  By stitching the 2 layers together, this will give my mom a finished top edge to embroider under.  

2 layers stitched together.  This is the wrong side of the lining side.

Before I flip the 2 layers so the right sides are out, I reinforced the curve of the sweetheart neckline.  Remember, this is one of the lessons I learned when I made the mock up that I said I'd elaborate on later.  Well, now is time for later.  I reinforce it the same way I reinforced the edges of the front center piece - by stitching another line 1/8" into the seam allowance.  This line of stitches looks lighter below because I ran out of Light Violet thread and am using the Lavender Bliss (which is better matched to the taffeta than the lining, but once I fold this over, you won't be able to see it).

Reinforced sweetheart neckline

So the curve of the seam will lay flat when I flip the right sides out,
I make 1/2" clips on the seam allowance

I turned the fabric right sides out and pressed the top seam allowance

Tada!  Here's the semi-finished top

After it's embroidered, I'll add boning, finish the 3 edges, and insert grommets.

To Do List

• Send off to mom!
• Skirt
• Beaded center embellishment
• Finish top when I get it back from mom
• Hand bead as time allows

20 DTG-The Real Thing, Continued

After running into the problems with the lining last night, I played around on some scrap lining.  I increased the stitch length to 10-8 (from 10-12), but still had run lines.  Then I used tissue paper as backing behind the layers to provide stabilizer that I could rip away after the seams are sewn.  While this somewhat worked, it's a pain to have to tear the paper away and keep my stitching even.  If a different type of thread or needle would fix this problem, that'd be much easier.  So I went out in search of the Martex needles (size 70/9) and silk thread to give me some options to try.


With the new needle things went MUCH better!  The fabric still puckered a bit on curves, but that came out with the iron.  And I was looking to at least eliminate the snags and runs.

So on with sewing together all the lining pieces!  I didn't use the silk thread, so I'll be able to return that.  I wasn't wild about it anyway, because in the speciality threads there's not as much color selection.  There was only one light purple choice and it was waaaaay gray looking and not a match.  At all.

Outer layer and lining layer all sewn together
Seams aren't pressed yet

Now to combat the next problem, which I knew was coming from past experience with specialty fabrics, but out of lack of time, I've never done anything about it before.  Fraying.

Some fraying is already beginning to occur and will only get
worse as I iron down the seam allowances and this layer is worked
on to embroider it

The Vogue pattern called for the seam allowances of the outer layer to be pressed and top stitched, just like I did with the lining layer.  But I did that on the lining layer to create channels to run the boning through.  I didn't do this on the outer layer of the mock up to save time.  Remember, the mock up is all about a proper fit off the pattern pieces, not a complete garment.


Top stitching the outer layer can be about a few things.  First off, it's a "look."  Just part of the design so to speak.  The same way you might choose pleats or add a strip of lace for embellishment for a top.  And in the case of this garment, which is simulating the look of a true corset, the top stitching lends to that "look."  Since I'm embroidering the top, I chose not to top stitch for look.

Top stitching on jeans-as much for a "look" as for reinforcement of the seam

But it can also be about reinforcement.  Lending support to those seams by having another layer of stitching along them.  Or reinforcement from fraying.  If a fabric is prone to unravel easily, you hem it to protect the raw edge from wear and friction which leads to the fraying occurring.  Or you can put another layer of stitching between the raw edge and the seam.  Top stitching would qualify for this, but I've seen a highly fray-able fabric fray right between a seams stitches and go right on to unravel AT the seam on a pressure point.  Bras tend to do this in the back band, for example.  And I don't need to sew the seam allowance to the outside layer (where that extra line of stitching would show) for reinforcement purposes.  I could just sew an extra line of seam in the allowance about 1/4" away from the actual seam.


This is one of the many reasons for a serger or overlock (a type of sewing machine that makes a special bound edge and cuts the fabric as it goes all at the same time). 

Example of some overlocked edges done by a serger

While my machine isn't a serger, it has some of the zig-zag stitch and encasement stitch capabilities that would create a similar effect to serging as far as preventing fraying.

I played with some of my machine's stitch capabilities on a scrap piece of lining
fabric to see what would work best for the effect I wanted.

Zig-zag stitching the seam allowances of the taffeta layer with underlining

Here's what I did to each seam allowance to prevent fraying

Finished seams-that's a lot of loose threads to keep track of!

Once I was done with the taffeta layer, I did some loose thread maintenance.  I went through and removed (i.e. ripped out) all the vertical baste threads that were holding the underlining layer to the taffeta because the seams are now doing that.  This is where having done the basting in black would have been beneficial to keep track of what I needed to pull out.  Oh well.  Then I tied off all my seam and zig zag ends.  So now, the only loose threads left are the baste stitching along the tops and bottoms of the pieces.

To Do List

• Stitch down seam allowances on lining
• Stitch layers together
• Send off to mom