Guest Post: Secrets of a Sample Maker

You ask, we deliver! I mentioned my beloved sample maker friend in this post and there were several requests to hear more of his time-saving industry techniques. So readers: meet Jonathan, my bitchy coworker and fellow sewing nerd. Isn't he adorable? He's quite cranky at times, though, especially when I sew my buttons on by hand. Let's give him some space to vent his frustrations with inefficient home-sewing techniques.

I'd like to thank Gertie for allowing me to present a guest blog this week. Even though she is my at-work girlfriend, we do have our differences about sewing. I remember when we first met. After our casual "how do you do's" and life stories, I asked her how she sews her buttons on. Throughly displeased with her hand-sewing nonsense, I gave her an earful about the benefits of doing it by machine while she would scold me for my love of the blind hemmer.

Needless to say it hasn't been an easy relationship. But as in any good marriage, it wouldn't be fun to marry yourself. I've found myself more willing to slipstitch down my facings.  But I'm still angry that I found my girl applying her buttons on by hand behind my back.

Let's talk about seam allowances. First, production patterns are engineered for perfection and speed. Seam allowance differs greatly in production patterns depending on their function and fabric choice. Unlike in home sewing, where 5/8" is the golden rule, standard seam allowance is 3/8" for the most part, possibly ½" if it’s a major fitting seam. Examples of these seams would be the shoulder seams and side seams.  This is because the patterns are drafted to fit a specific standard size and 3/8" reduces bulk. Curves are always 3/8", especially armholes. Test it yourself. Stitch a curve at 5/8" and one at 3/8" and you’ll feel the difference, especially when trying to set in a sleeve.  Another thing about sewing curves at smaller seam allowance is the elimination of clipping and notching. This is because less bulk allows more tension and compression in the system (the garment), which is the main reason we clip and notch. Any enclosed seam is ¼" of an inch, such as in collars or waistbands.  I never understood why home patterns ask you guys to stitch at 5/8 and then cut down to ¼", when you could have just stitched it in the first place at a ¼".

Secondly, don’t pin! Pins are more likely to cause you to be inaccurate. Putting pins in the fabric causes a disturbance in the way the fabric lays, you can see this if you look at your fabric in a profile. Pins can cause your fabric to ripple; increasing your probability of puckering your project. Further, the pins stop the natural progression of the fabric under the presser foot and feed dog mechanism. Which often exacerbates the effect of the different rates of movements of the top and bottom layer of fabric, creating the all-too-familiar mullet pants and skirts.  Instead of using pins, hold your left hand flat on the bed of the machine, on top of your fabric. With your right hand, hold both layers between your forefingers and thumb and providing slight tension. You are not stretching the fabric, but rather holding it nice and taut so the cut edges sit on top of one another, and the machine is allowed to naturally pull the fabric through.
 

Let's talk interfacings. One thing I notice a lot in designer rooms is a lot more use of interfacings in the production of garments than in home sewing. Hems are almost always interfaced with a lightweight fusible, which helps with getting a firm, crisp edge and to help with wear and tear. I also like to use lightweight interfacing to stop fabric from buckling in places such as the back and under the bust area.  Also, nothing is ever stay-stitched as pattern directions tell you to do; rather a light to medium weight interfacing is applied before construction. So the interfacing would be akin to a facing pattern piece, but about ½" and inch to an inch wide.

These are the things I bitch about the most at work. What else do you monsters want? 

Again, thanks, Gertrude, for allowing me to enter your space, with my crazy factory techniques and get 'er done attitude. I promise I'll work on leaving the presser foot down.

A big thanks to Jonathan! Please leave any more questions for him in the comments.