Taunton's Threads - For people who love to sew
Sign up for our eLetter for monthly tips and advice right from the editors
 |
|
|
From the pages of Threads Magazine Easy and Elegant Linen This ancient fiber folds crisply and shows off details beautifully
Flax, ancient and hi-tech The flax plant provides the long, lustrous, smooth fibers that have been processed into linen since before the dawn of history. Flax fibers are lint-free (there are no short pieces to work loose), resistant to dirt (their smooth, hard surface repels it), lustrous (thanks to their natural wax content), and two to three times as strong as cotton. The flax fiber has a hollow center and is therefore highly absorbent, accounting for linen's legendary wearability in hot climates. Linen manufacturers, concerned about the wrinkling "problem," have developed ways of impregnating flax fibers with baked-on, wrinkle-resisting synthetic resins. But, observing that old, soft linens wrinkle less obviously than new, crisp ones, they've centered their more recent efforts on finishing processes that soften the linen. They've provided sand-washed, prewashed, stone-washed, steam-blasted, and tumbled linens, with the effect in each case being a gently rumpled fabric, quite different from the sharp, smooth, resinated linens. Despite its wonderful response to dyes, linen has always been popular in its natural range of color, which accounts for some 50 percent of all linen production. Although often found in beautiful textured weaves (twills, herringbones, basket weaves), linens are usually not printed with designs. Embroidered patterns (see the photo above), however, are easy to find and hard to resist. No fancy notions needed Machine-sewing linen requires little in the way of special equipment. I use a standard needle in a size appropriate to the project, usually between 8 and 14. My stitch length is generally between 8 and 12 sts/in., again depending on the project. If I'm doing decorative topstitching, I choose a slightly larger stitch size. For edgestitching on a shirt, I follow tradition and use a slightly finer stitch. My favorite all-around thread is long-staple polyester, but I switch to silk or cotton topstitching thread for decorative stitching. Linen requires nothing extravagant in the way of presser feet either, though you may want to invest in a felling foot if this is a treatment you plan to use often. If I'm edge- or topstitching, I can usually find something on my regular presser foot or on the machine bed to use as a suitable guide. Match seams and finishes to the fabric's weight Since linen ravels easily and linen garments are often unlined, choosing the right hem and seam finish is important. The weight of the linen is the primary determining factor, along with the effect you're after and how you plan to care for the garment. As always, the best way to sort through the many possible options is by testing.
Medium- to heavyweight linens -- French and felled seams are probably too bulky for heavier-weight linens (experiment to check). Since many of these linens will be dry-cleaned and there may be a lining in the garment, less durable seams, including plain, welt, top-stitched, and slot, could all work well. If seam allowances are exposed (and if very loosely woven fabrics are lined), serged and zigzag finishes are sturdy and quick remedies for raveling. Seams can also be bound (but watch out for bulk), and a Hong Kong finish can be beautiful -- one dressmaker I know uses bias-cut strips of Ambiance lining for this. Rayon seam binding is also popular. But avoid polyester seam tape -- it's not bias, so it won't behave the way you want it to; cut your own bias strips instead. Also consider simply turning under the raw edge and edge- stitching the fold, as I saw done beautifully on a recent Calvin Klein jacket. Treat hems as you would any moderately bulky fabric, covering the raw edge with seam tape or hem lace, and hand-stitching to secure the hem. Prelaunder linen Shrinkage is an issue with linen, although some of the newer softening processes claim to have eliminated this problem. If you'll be laundering the garment, it's best to wash and dry it beforehand (if you plan to machine-dry the garment, do so at this point also). If the garment is likely to be dry-cleaned, steam-press it before construction. Be sure to dry-clean both pieces of a suit in order to keep the intensity of the color and the feel of the linen the same for the entire garment. Press when damp -- High heat is required to press linen properly, and steam helps, so it's best to press it when damp. But it'll scorch easily at such high temperatures, so be sure to use a pressing cloth. Linen also has a tendency to shine when pressed, so press it on the wrong side when possible. I like to use silk organza as a pressing cloth, as I can see through it, use high heat on it, and easily double it for more protection. Linen, of course, starches well, and nothing looks sharper (while it lasts) than a perfectly pressed, brilliantly white, starched linen shirt. Pleats look beautiful in linen, and you may want to experiment with setting them the old way: Spray on a half-and-half mixture of white vinegar and water for crispness without the hardness of starch. Underlinings, interfacings, and linings -- best choices Although their roles and functions sometimes overlap, underlinings primarily add support to the fashion fabric, while interfacings help shape a specific portion of the garment, and linings protect and cover seams, reduce wrinkles, and improve the hang of the garment. Whichever your garment requires, if any, your choices will be guided by experience as well as by experimenting with the fabrics at hand. It's best to start with the classic fabrics for underlining tests: cotton batiste, voile, silk organza, and organdy. All of these will add body without weight, and will give support to the fabric without dramatically changing its feel. Jackets, shifts, and dresses will benefit from the added substance that underlining provides, but it's usually not needed in pants or blouses. Good choices for sewn-in interfacings are muslin, silk organza, hair canvas, and self-fabric, depending on their availability and the degree of support your garment needs. Popular fusibles for linen are tricot and weft- insertion interfacing. But be sure that your choices of underlinings and interfacings can take the extreme heat needed to press linen (especially the fusibles). Also be sure to preshrink underlinings and interfacings, either by soaking them in warm water or by treating them with steam. Because they're intended to be comfortable in the hottest weather, many linen garments are unlined. When I do line linen, I use a cool, natural fiber such as China silk, spun silk, rayon, or cotton. Look for patterns with shape, stitched details A look through the pattern books for any season confirms the versatility of linen, which is often recommended as a fabric choice. Linen shows off every seam, curve, and detail, so it's perfect for patterns with interesting seams, shaping, and surface details, such as pintucks, stand-up collars, welt pockets, gussets, contour waistbands, stitched hems, and the like. Linen would beautifully show- case the geometry inherent in the design of any pattern by Japanese designer Issey Miyake. The current patterns being put out by The Sewing Workshop similarly suggest linen, with their clean, geometric lines. Yet this doesn't mean that linen can't be soft and flowing. My first choice for a linen project would probably be a loose, oversized shirt made out of handkerchief linen, à la Calvin Klein or Donna Karan. And in my wedding-gown business, I've made charming gowns from linen--no trains (not enough drape) but complete with bias-cut bodices, full, gathered skirts, bell sleeves, and touches of piping. [ next ] |
|
|
