Suede is a natural Aniline leather that has been surface brushed or buffed on the grain side of the leather creating a nap and leaving a texture similar to velvet (softest of all leathers to the touch). Usually suede has a natural finish, but may have a light protective coat and a transparent leather dye for colour. This process increases the leathers surface exposure making it extremely absorbent. Water drops will darken the leather but it returns to its original colour after drying.

Irresistible in butter-soft suede is this chic Italian bag from Sundance. It deftly adapts to bulky or bitty loads with ease. Zen-like styling (no zips, pockets or snaps) make this easy and versatile carryall for virtually everything.

You will need:

  • 1 –  4 oz. [1/16″ thick] Suede split hide, 16 square ft.
  • 1 spool of cotton or nylon thread
  • 1 leather machine needle
  • Kraft paper
  • 1 rotary cutter with pinking blade
  • 1 roll of double-side mounting tape, 1/4″ wide

PATTERN

Transfer pattern onto graph paper. Each square equals 1/2 inch.

Copy onto a folded piece of kraft paper so you have the entire pattern for easy 1-ply cutting of the leather.

Dimensions: Approx. 11″H x 9-1/2″W.

CUTTING

Check skin for any tears and blemishes on the face of the suede. Chalk around them to avoid them when cutting.

Chalk out pattern on skin and cut out using pinking blade of a rotary cutter. Use a cutting mat to protect cutting surface. Cut base 1X and sides 2X. (Raw edges will not fray).

ASSEMBLY

Tape one seam [AC] with mounting tape of each side section of the tote.

On one side section, with right sides together, remove the backing on the tape and align with opposite end of section [AC] to form a bag loop. Stitch ¼” seam allowance along AC. With a bone turner, crease the seam open. Fold the seam allowance to one side and edgestitch along seam on the face through all the layer. (I use a Teflon ® presser foot to reduce drag).

Repeat the above directions for the other section.

Join each side with right sides together from B to D with mounting tape. Stitch ¼” seam allowance. Now you will have 2 handles.

At each X mark on the side section, snip a ¼” slit.

Tape the perimeter of the base on the wrong side with mounting tape. Place the X notch of the side sections at each corner of the base. (The slit will create a square corner). Remove backing one strip at a time and join with wrong sides together. Machine-stitch from D around the bottom, pivoting at X and continue around the base of the tote.

 

Old-fashioned silks or snazzy brocades, pop polka dot or preppy pinstripes. Or score vintage fabrics from thrift stores or even from clothes that might be out of date. Solid or stripe, paisley or Art Deco, a bow tie can do a rare thing to a man’s wardrobe: add notes of polish and surprise at the same time. Bow ties traditionally come in two varieties, the classic thistle or butterfly cut, (as pictured here) and the sleeker bat-wing variety. Hugh Laurie or Elvis Costello? Sean Combs or Daniel Craig? Which one you prefer depends on whether you’re going for a tongue-in-cheek panache or a certain punk minimalism.

Beats fashion, and according to the New York Times, the bow tie is back this year. That’s the great thing about being playful with your wardrobe – sooner or later everything will be in vogue again.

CLASSIC THISTLE BOW TIE

Dimensions: 4.5″ long x 2.5″ wide

You will need:

  • 5/8 yard of silk fabric, 45″ wide
  • 1/4 yard of fusible interfacing, 45″ wide
  • coordinating thread
  • 1 bow tie set *

PATTERN

Enlarge the pattern on graph paper. Scale is 1 square = ½ inch

ASSEMBLY

1. Cut along the pattern’s thick solid lines for a classic thistle shape bow tie, using the outline for the longer piece first. Fold the fabric in half. Pin the pattern to the fabric, aligning it parallel to the fold (or, if you want diagonal stripes, at a 45-degree angle to the fold). Cut the fabric through the two thicknesses.

2. Repeat the process, using the pattern for the shorter piece. Now you’ll have two long pieces of fabric and two shorter pieces.

3. Cut out one long piece and one short piece from the interfacing. Iron the interfacing to the wrong side of one of each length of the fabric pieces, according to manufacturer’s directions.

4. Pin the right sides together of each bow tie section to each interfaced bow tie section. Stitch using ½ inch seam allowance, leaving a 2-inch-wide opening along the straight side of both pieces.

5. Grade the edges (trim ¼ inch from the top edge to reduce the bulk) and trim the corners, then turn each piece right-side out  (I use a loop turner)  and steam press. Slip stitch the openings.

6. Attach the pieces of the bow tie set: Thread the end of the longer tie piece through the adjuster, then through one of the hook pieces. Slide the end of the tie back through the adjuster and slip stitch the end in place. Thread the shorter tie piece through the other hook piece, turn back the end and slip stitch the edges.

* A bow tie set is a very inexpensive pair of hooks and a metal adjuster that attaches to both ends of the tie. This allows you to adjust the circumference and to tighten and loosen the tie once you’ve put it on. To find bow tie sets, check the notions section of your local fabric or tailor supply stores.

Featured: Ostrich Feather Shawl by Genaconti

Wrap yourself in elegance with a dramatic feathered shawl. Follow these easy directions, and see how simple it is to be chic.

You will need:

1. Cut two pieces of organza 21″ wide X 73″ long.

2. With right sides together, stitch shawl sections together with a ½” seam allowance, leaving a 5″ opening along one long edge.

3. Turn right side out. Stitch opening closed.

4. Mark and sew four lengthwise rows of stitching 4″ apart. Topstitch ¼’ around the outer edge.

5. Center one boa between each row of stitching. Whipstitch each piece in place catching only one layer of the shawl.

Hit the town this fall with the unique style of the Covert Scarf. A warm cozy neck wrap like this one made by Arc’teryx™ is made with Polartec® Thermal Pro® sweater knit fleece for supreme itch-free comfort and warmth on chilly nights out. The Covert Scarf is nicely bound-finished  with a zippered stash pocket laminated on it to hold house-keys and ID when you don’t want to pack a purse.

You will need:

  • ¼ yd. of Polartec® Thermal Pro® Fleece Knit, 60″ wide
  • 1 yd. of water-proof cotton poplin or duck, 54″ wide
  • Coordinating thread
  • 1 closed zipper in matching colour, 6″ long
  • small piece of fusible interfacing (7″ x 3″)

PATTERN

Draw a rectangle 60″ X 8″. At the center taper in 1″ on each side and blend lines gradually to reduce the bulk around your neck. At each end round the corners.

Cut out in thick pill-free polar fleece.

Draw a patch pocket 8″ X 7″ and round off the 2 bottom corners. Add ½”seam allowance all around. Cut out in poplin or cotton duck.

MAKING BIAS BINDING

Binding is a way of neatening a raw edge using a separate length of fabric, usually in a contrasting colour or fabric. The binding trim is cut on the bias as this makes it slightly easier to shape around curves. Cut out in poplin or cotton duck.

Instructions on Cutting Bias Strips

To cut bias strips fold the fabric diagonally so that a straight edge is parallel to the selvedge at a 45°angle.

Press this fold and use this crease as a guide to mark parallel lines for bias strips. (fig.1)

To join bias strips place two lengths, right sides together, right angles to each other and stitch.

Open out, press seam open and trim off the overlapping edges. (fig. 2)

Instructions on Binding the Scarf Edge

Cut bias strips 4 times the finished width of the binding required (the model shown is ½” wide).

Fold both raw edges to the centre on the back, down the length of the bias strips and press. (fig.3)

Open up one side of the binding. Place this side of the binding onto the right side of the scarf with raw edges matching and baste. (fig. 4) Machine stitch on foldline of bias binding. Do not stretch bias strip and ease around curved corners.

Fold the binding over the raw edge to the wrong side of the scarf fabric.

Pin and slipstitch the fold of the binding to line of stitches on the wrong side to encase the edge. (fig. 5)

MAKING STASH POCKET

Cut out the patch pocket in poplin or cotton duck.

Find and mark the position where you would like the zippered opening to lie on the patch pocket. This should be on the right side of the fabric. You can put a strip of fusible interfacing on the “wrong” side of the fabric at that position, to make the opening a little sturdier.

Next, place and pin a strip of fabric for the facing (3″ X 7″) so that its center covers the pocket opening position, with right sides together. Baste in place.

Chalk a narrow rectangle that’s just a little bit longer than your zipper. Sew around this outline. (fig. 6)

Carefully cut a line through both fabrics within the rectangle, as shown at left, with diagonal cuts towards the corners. The closer you can get to the stitching, the neater the pocket’s finished appearance will be. Use sharp pointed scissors. (fig. 7)

Turn the zipper facing towards the inside, through the opening. You may want to press at this stage, so that the opening is neat and professional looking.

Center the zipper into place and baste. Using a zipper foot, topstitch around the opening to secure the zipper. (fig. 8 )

Stitch along the bottom of the facing to secure to the patch pocket. (This stitching is visible on the right side.)

Turn under ½” seam allowance all around the perimeter of the stash pocket. Press. (fig. 9)

Center stash pocket on one end of scarf and edge stitch around the pocket.

WIDE-BRIMMED SUMMER HAT

You will need:

  • Kraft paper
  • glue or scotch tape
  • tape measure
  • compass
  • approx. 1 yd. of Pellon ® fleece interfacing, 45″ wide
  • approx. 1 1/2 yds. of bottom-weight or upholstery fashion fabric, 54″-60″ wide
  • approx. 1/2 yd. of lining fabric, 45″ wide
  • approx. 3/4 yd. of grosgrain ribbon, 2″ wide
  • coordinating thread

 

 

MEASUREMENTS

Begin by measuring the circumference of your head. Wrap the tape measure around the back of the head, over the ears, and high up on the forehead. For most people, this will be approximately 22 ½ inches. Add 1” to your head measurement. This is the head fitting measurement (This number may vary due to hairstyles as well. Most people will pull back the hair or put it in an up-do to wear the hat properly.)

 

Next, you need to determine the radius (R) you will use to create a circle.

Use the formula, C = 2 п R, where п = 3.14

Eg. 23.5 = 2 x 3.14 x R

R = 23.5 divided by 6.28

R = 3.75

 

For a head fitting measurement of 23 ½”, you need a radius of 3 ¾”.

 

PATTERN

CROWN

Draw a rectangle equal to the head fitting measurement X the radius amount.

Divide the rectangle into 8 equal parts.

Slash each line from the top of the rectangle to almost the bottom edge.

Overlap each section left of center by ½” at the top to nil at the bottom and glue down.

Repeat for each section right of center.

 

Trace this new shape onto a new sheet of paper and blend the curved topline smooth.

Add ½” seam allowance around the perimeter. Label the 2 short ends, centerback (CB) and the centerline, centerfront (CF).

 

Draw a grainline 45 degrees to the center line. This is the side section of the crown.

 

Measure the new curved seam that you have created. Record this measurement.

Using the formula again, determine R for the top of the crown.

If you measure the circumference of the top section, it should equal the curved seam measurement of the side section.

(Adjustment Tip: Increasing or decreasing the circle by 1/8” all around will change the circumference by approximately ½”).

Use a compass and draw a circle using the amount for the radius (R).

 

Divide the circle into quarters. At the top and bottom of the circle extend out ½”. At the sides of the circle, reduce inwards by ½”. Join these points with a smooth arc blending into each point to create an oval. Re-check the circumference of the oval. It should still equal that of the new curved seam on the side section.

 

Add ½” seam allowance to the circumference and draw a straight grainline from CF to CB. This is the crown top.

 

BRIM

Fold a large piece of paper in half, then half again; open out flat.

Draw the 2 intersecting lines. Place a point in the center of the intersection.

Using a compass, draw a circle with a radius (r) based on the head fitting measurement plus 1”.

From the same point, draw a second circle with a radius (R) equal to 3 times r.

This is the brim width. (You may increase the width of the outer edge if you desire).

 

 

The inner circle must equal the head fitting measurement. Starting at the top of the circle, measure half the head measurement to the left of center and repeat on the right of center. Mark a point at each interval. Square out from this point to the outer edges. Label these edges, CBThis is the interfacing pattern.

 

Trace this brim shape onto a new sheet of paper. Add ½” seam allowance all around the brim pattern. Draw a straight grainline parallel to the centerline. This is the upper and lower brim patterns.

 

CUTTING

Cut the crown side 1X; lining 1X (on bias grain)

Cut the crown top 1X; lining 1X (on straight grain)

Cut the crown side interface 1X (on bias grain)

Cut the brim 2X (on straight grain)

Cut the brim interfacing  1X (on straight grain)

Cut 1 strip of self bias 2” wide; length to equal outer edge of brim + 2” (on bias grain)

 

ASSEMBLY

On each brim piece, pin and baste CB seam with right side together. Stitch seam using a ½” seam allowance and press open.

On the brim interface piece (Pellon ®), butt the two CB edges together and zigzag stitch it together.

Sandwich the interfacing between the two brim pieces with face sides up, lining up the CB seams. Baste together.

Do rows of topstitching parallel to the outer edge, ½” apart, starting from the inner edge. (I use the width of the presser foot as a spacer.) The more stitching you put, the stiffer the brim.

 

Bind the outer edge of the brim with the bias cut strip of self-fabric, beginning from the CB seam, folding in ½” to bind, and then turning under the end to encase the starting point. Press edge flat.

 

Baste the side interface to the wrong side of the side section.

With right sides together, pin and baste the CB seam. Stitch seam using a ½” seam allowance and press open. Grade seam allowances.

Divide top edge of crown side and the crown top into quarters. Match up these points, pin and basting with right sides together. Machine stitch the side section to the top of the crown, using a ½” seam allowance. Trim and grade the upper seam allowance and interfacing only.

Repeat the same procedure for the hat lining.

With wrong sides together, place lining into crown, aligning with CB seam and baste seam allowances together. Turn right side out.

 

Now, insert crown into center hole of brim. Match up CB seams and pin and baste crown to brim. Machine stitch using a ½” seam allowance. (Clip seam allowance if there is any buckling).

 

Sew in grosgrain ribbon as a “sweatband”. This should equal the head fitting measurement less the inch. Lay the ribbon on top of the seam allowance and edge stitch along the ribbon edge. Overlap at CB. Trim the seam allowance with pinking shears. Turn the ribbon up into the crown to conceal the raw edge of the seam allowance and tack to CB seam with hand stitching.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Shape

The shape of the necktie is an interesting item as it tends to fade in and out with current styles. Designers prefer a shape known as the “half bottle”. This shape enables a much more becoming knot with a small touch of refinement. However the true half bottle shape which looks like the neck and shoulder of a bottle typically doesn’t lend itself to some of the more narrower styles. By narrow, I mean anything under 3.5 inches.

The four major parts of the necktie draft equation are the length of the tie from the big tip to the knot, the knot itself, the tie around the neck, and finally the tail end of the tie that is hidden behind the front of the tie. The length should be reasonable so that when one tip is touching the belt buckle, the other tip can be securely held in place in the carrier on the back side.

You will need:

  • sharp pair of scissors or rotary cutter
  • silk pins
  • ruler
  • tailor’s chalk
  • thread
  • a new needle
  • 1 square yard of silk fabric
  • approximately 1 yard of wool tie fuse for your interlining.

THE NECKTIE DRAFT

A necktie is a symmetrical shape cut on the true bias grain (45 degrees).

You will need your height measurement and your neck measurement.

Tie Width = 3.5 – 3.75 inches (it can vary on current fashion)

Four in Hand Knot = 2 inch allowance

Pratt Knot = 4 inch allowance

Half Windsor Knot = 5 inch allowance

Full Windsor Knot = 6 inch allowance

Take a yard-length of kraft paper (36″) and fold it lengthwise. Open the paper and draw a straight line on the creased fold. Refold the paper.

FACE SECTION

On the fold, mark a point, 1.

2 from 1 = (.30 x height) + neck measurement

Square across from 1 and 2.

3 from 2 = 3 x half the width measurement

4 from 1 = ½ distance of line 2-3

Join 3 to 4 with a straight line.

Divide line 2-3 and line 1-4 into thirds. Label points 5, 6 and 7, 8.

Connect 5 and 7 with a dotted line; connect 6 and 8 with a dotted line.

9 from 2 = line 2-3

Square across from 9. Label the intersection, point 10

Join point 9 to point 2.

11 from 1 = line 1-4

Square across from 11. Label the intersection, point 12.

Join point 1 to point 12.

13 from 2 = 7 inches

Square across from 13. Label the intersection, point 14.

Along the edge 14-10-2, make a parallel line ¼” and add a ½” seam allowance.

Trace all lines with a tracing wheel, then open paper and draw in lines using a ruler to retrace the lines.

To complete top portion, extend the line 1-12 with a tangent line across all lines.

Add ½” seam allowance parallel to tangent line.

Trace out the interface pattern and tip end as shown.

TAIL SECTION

On the fold, mark a point, 1A.

2A from 1A = (.30 x height – 3) + knot measurement

Square across from 1A and 2A.

3A from 2A = 3 x quarter the width measurement

4A from 1A = ½ distance of line 2-3

Join 3A to 4A with a straight line.

Divide line 2A-3A and line 1A-4A into thirds. Label points 5A, 6A and 7A, 8A.

Connect 5A and 7A with a dotted tangent line; connect 6A and 8A with a dotted tangent line.

9A from 2A = line 2A-3A

Square across from 9A. Label the intersection of the tangent line, point 10A.

Join point 9A to point 2A.

11A from 1A = line 1A-4A

Square across from 11A. Label the intersection, point 12A.

Join point 1A to point 12A.

13A from 2A = 6 inches

Square across from 13A. Label the intersection, point 14A.

Along the edge 14A-10A-2A, make a parallel line ¼” and add a ½” seam allowance.

Trace all lines with a tracing wheel, then open paper and draw in lines using a ruler to retrace the lines.

To complete top portion, extend the line 1A-12A with a tangent line across all lines.

Add 1/2″ seam allowance parallel to tangent line.

Trace out the interface pattern and tip end as shown.

Make a carrier loop 6 inches by 1 ½ inches.

See this link to assemble and finish your necktie.

Check out this site to learn how to tie your necktie.

You buy organic, ride public transit and recycle. It’s time to achieve the truly ultimate green lifestyle. Create your own reusable canvas shopping tote bag to replace your plastic and paper bags.

Eco-friendly and reusable, you can design a wide-range of fashionable organic totebags — numerous styles, sizes, and colours. These sustainable alternatives to your traditional shopping bags are often made using hemp, bamboo or, most popular of all, organic cotton.

What you will need:

Self fabric – 1/2 yd. of 54″ width natural fibers

Contrast fabric – 3/4 yd. of 54″ width natural fibers

Matching thread

Card or Bristol board – 6″ x 18″

If you want to launder the tote, serge or zigzag the edges of the fabric, preshrink it in the washer and dryer, then cut the bag pieces to size. (note: allow extra yardage if preshrinking)

You should have a new sewing machine needle for this project and match the size to the weight of fabric being used.

All seam allowances are ½” unless stated otherwise. RST = right sides together.

INSTRUCTIONS

Step 1: No pattern is needed. From self fabric [A], cut two 25″ x 14″ panels.

From contrast fabric [B], cut one 25″ x 15″ rectangle for bottom section, two 19″ x 7″ rectangles for the base, and a strip 54″ x 5″ for the handles.

 

Step 2: Fold fabric B in half lengthwise. Cut out a 2.5″ square at the lower corners of each folded end.

Step 3: For bag straps, fold strip in half lengthwise with WST and press. Open strip and fold raw edges to centerfold. Refold strip on pressed fold. Edge-stitch along open edge, then edge-stitch along fold. Press. Cut in half for handles.

Step 4: Press under top edge of each panel section (fabric A) 1-1/4″ turn. Divide top edge into thirds and mark with a pin. Open folded edge of front panel and place face up. Align strap ends to each pin location and stitch ends in place along edge. Repeat on back panel.

Step 5: Stitch each panel section to bottom section along its width, with RST. Press seams to one side.

Step 6: Fold body of bag in half with RST, aligning side seam at seam of contrasting fabric and at top edge foldline. Stitch fabric pieces together on the sides and press open.

Step 7: Matching the side and bottom seams of the fabric at point X, stitch across corners.

Step 8: Turn under ¼” along bag top and turn under foldline to create a 1″ facing at the top opening. Drop straps inside bag. Stitch facing at top edge catching the handles on the front and the back.

Step 9: Then, flip strap handles up, out of bag. Stitch 1/4″ topstitching at top edge catching handles once more to reinforce.

Step 10: On each base piece, press under seam allowance on one short end. With RST, match both pieces and stitch around edges leaving folded edge open. Grade corners. Turn right side out and slip in cardboard. Stitch open edge closed. Drop lined base into bottom of bag to reinforce.



Smocked Wrap

You will need:

  • approx. 5 yds. of 45-inch wide satin or iridescent fabric
  • matching thread

To begin, straighten cut ends of fabric so that it is a right angle (90°) to the selvedge of the cloth. This can be achieved by drawing a crosswise thread or fraying the cut edge. Cut the crosswise edge straight.

cutting plan

Fold the cut edge to align with the selvedge edge from bottom to top. This with create the true bias line. Mark with chalk.

Repeat step 1 and 2 on opposite end of cloth, from top to bottom. The two triangles will be the front and back of the wrap.

With the remaining fabric, mark 9 bias strips (14.5 inches wide) parallel to one another, following the true bias (see diagram). This is the ruffle. Cut fabric along all chalk lines.

To assemble the ruffle, join each strip to one another at the short ends. Fold the long bias trim strip in half lengthwise, with wrong sides facing, and run a gathering stitch along the raw edges.

To assemble ruffled trim with body, begin by rounding the pointed ends of each triangle.(a saucer makes a perfect template). Then baste gathered ruffle to right side of the fabric, aligning all raw edges, along the perimeter of one of the triangles. Stitch gathered trim into place.

To complete the wrap, place the second triangle with right sides facing to the trimmed body piece (the trim will be sandwiched between each body piece) aligning all raw edges. Pin and baste together. Stitch around the perimeter, following the previous row of stitching, allowing a 4″ opening along one straight edge. Turn right side out and slipstitch opening closed.running stitch

To create the smocked effect, handstitch several running stitches in a circular shape throughout the body portion in a random pattern. (see diagram)

Draw up on each running stitch to gather up fabric and tie off. Hide loose ends of thread by sinking it into wrong side of fabric.

 


fur wrap

In the 1920s, the fur stole was the elegant secret of radiant Hollywood divas, worn with delicate low-cut evening gowns – and even worn provocatively with trouser suits by the “enfants terribles” of the time. Today the fur wrap is once again the height of fashion – made from faux fur with a bow tie. Now, as in the 1920s, it goes with evening dresses, but also with business suits and simple knitted dresses, and today it is still at its most seductive worn against bare skin. Arrange this shapely fur around your shoulders and tie the opulent double-sided satin ribbons into a large bow. Extraordinarily beautiful and elegant, the colour – a rosé shade that is perfect for winter, looks good with all dark colours, natural shades, and greys of the season.

The soft, deep-pile woven fur is anti-static, soft and probably feels even better than real fur. It will keep its look for years, without losing hairs, and will never smell of mothballs. Measures approx. 40″ x 10″ (102 x 26cm).

You will need:

1/3 yd. (30 cm) of woven fake fur: 100% acrylic.

1/3 yd. (30 cm) of “Kasha” satin lining: 100% acetate

1/3 yd. (30 cm) of lamb’s wool interfacing: 100% wool

1 yd. (90 cm) of double-sided satin ribbon: 100% acetate

7 yds. (6.5 m) of ¾” wide twill tape: 100% polyester

cutting planWith your piece of faux fur atop the work surface, place the wrong side up and chalk an “arrow” pointing the direction of the fur pile. The hairs of the fur will point “downward”. Chalk mark the center of the fabric, and measure out 20″ [51 cm] on either side of the centerline. Square from this point to create a rectangle, 40″ by 10″ [102 by 26 cm].

cuttingUsing a large dinner plate, chalk mark curved pattern outlines on each corner (see illustration). Cut out the backing with razor blade without cutting fur. Hold the fabric backing slightly off the table and pull as you slash. Do not cut out with scissors or you will cut the hairs.

For the lining, fold and pin the fabric right sides together, and measure 22″ [56 cm] from the foldline. Square a chalk line from this point to create a rectangle, 44″ by 12″ [112 by 30 cm] and repeat the arc pattern on each corner. Chalk a notch point on each end of the foldline. Cut out the lining on the fold and open flat.

twill tapeSew a length of twill tape along the centerline of the fur piece with a hand herringbone (zigzag) stitch, keeping edge of tape flat with back of the fur. These stitches can be large as they will not show on the right side of the fur.

Sew twill tape on the outer edges to be sewn, with a hand herringbone (aka catch) stitch, keeping edge of tape flush with edge of fur backing and outline the perimeter with it. Since the “fur” has no seam allowance this will stabilize the edges from stretching and puckering.

herringbone st

Now, starting at the centerline, work with one fur side toward you and place the twill tape on top the fur edge to sandwich the fur edge between two layers of twill tape. Keep edges even and push hairs away from getting caught in tape. Join twill tape to edges with a close whip (overhand) stitch. Since the tape is necessary for reinforce­ment, be sure to catch both tapes as you do so. Sew around the perimeter of the fur piece. fig 1taping

Center the lamb’s wool interfacing on the back of the fur and baste along the center and to the edges. These stitches can be large ones as they will not be visible on the right side. Trim away any excess.

Turn the outer twill tape over the seam and pin to the inside edge on the back while wrapping over the interfacing. Baste twill tape to fur piece. fig 2

Cut the ribbon length in half and secure one end to each of the “X” points. (see illustration) to the fur piece. Cut the loose end on the diagonal.

assembly

Turn in 1″ (25 mm) seam allowance on the satin lining and baste along fold. Align notches at centerline. Pin lining to edges covering the twill tape and interfacing. If lining edge puckers, clip shallowly into seam allowance to release. Slipstitch along folded edge of lining to seam edge of fur. Remove basting thread.

obi & beretThe lined beret is sized in small, medium and large with an inside grosgrain ribbon band. Measure your head, placing the tape measure around your forehead and skull. Choose your size by comparing your measurement to the hat measurements below. The beret in the photograph is made up in lightweight woolen fabric; I can suggest choosing a tweed, double knit, velvet, or synthetic suede fabric as well to make it up.

SMALL BERET - 22" (56cm)
MEDIUM BERET - 23" (58.5)
LARGE  BERET - 24" (61 cm)

You will need:

½ yd. (.5 m) of fashion fabric

½ yd. (.5 m) of satin lining

7/8 yd (.8m) of 5/8″ (15 mm) grosgrain ribbon for headband

Matching colour thread

Pattern Pieces Key

1. Upper Section

2. Lower section

beret draft

Enlarging The Pattern

Each square = 1″ (2.5 cm)

Includes 5/8″ (15 mm) seam allowance.

Enlarge your pattern on 1″ graph paper or a pattern tracing material such as Red Dot TM by HTC.

Pieces 1 and 2 are quarter pieces; for cutting ease, make each of these full pieces.

Cutting

Upper Section – 1 fabric, 1 lining

Lower section – 1 fabric, 1 lining

Ribbon – S – 23″ (58.5 cm)

M – 24″ (61 cm)

L – 25″ (63.5 cm)

Marking

Mark quarter points on the inner edges of lower section and lining.

Make A Beret in 6 Easy Steps

beret_fig1

1. With right sides together, pin fabric upper section and lower section together; stitch. Press seams towards lower section, notching where necessary.

beret_fig2

2. Topstitch lower section ¼” (6mm) from seam. Trim seam allowance.

beret_fig3

3. Construct Lining upper and lower in same manner as Fabric. With wrong sides together and raw edges even, pin the Lining inside the fabric; baste.

beret_fig4

4. Lap the ends of the ribbon headband, turning under ½” (13mm) seam allowance. Stitch in place. Using the seam as the center back, divide into quarters and mark.

beret_fig5

5. Matching markings, pin the Headband to the Beret lower section, placing the edge along the seamline. Stitch close to the inner edge and again ¼” (6mm) away. Trim the Beret seam allowance close to the second stitching.

beret_fig6

6. Turn the Headband to the inside along the seams; press. Tack the Lining at quarter points.