Hidden strength
lies im the lining

INTERFACING IS a vital part
of most garments we make. It
gives shape and body to struc-
- tured designs, imnproves fitting
and adds strength and stability
to-areas that need extra sup-
port —.buttonholes, bound
pockets, cuffs and collars.

Sew Right
By Kian Samet

Judging by the questions I’ve
received, the use of interfacing and
underlining can be a challenging
aspect of design and construction.

-This column will address some

of these queries.
What aiternatives do I have in
choosing #n interfacing — and
how do I pick the right one?
Selecting the right interfacing is
as important as buying: the right
fabric and pattern for your project.
Keep the following in mind
when making your choice:
® The weight of the ‘interfacing
should be ccmpatible with that of
the fabric. For example, use a taffe-
ta to interface non-washable crépes
or soft woolens. Other lightweight
fabrics, -such-as cottons, can be
interfaced with muslin or batiste.
Cutting interfacings from organdie
will give a crisp and light effect
that lasts through many washings.
? For heavier fabrics, tailor’s can-
vas is a good choice. This interfac-
ing is attached. to the coat or jacket
by taking tiny'stitches through both
the canvas and fabric using maich-
ing thread.:
@.Consider shrinkage. Combining

natural fibres with synthetic inter-.

” facings may create problems.

i @ Nery fine fabrics}or those in:
: yhard-to-match colors can be‘ inter- ,
faced with the sarne material as the :

garment. |!
¢ Acetate lining fabric rakes, as

"y

soft and dry-cleanable interfacing
for fine silks.

@ Don't feel restricted to the inter-
facing department — you can build
your own non-fusible interfacing
from any woven fabric that is an
appropriate weight, color and fibre.
What are the pros and cons of
fusible and non-fusible interfac-
ings?

1 prefer working with woven
imerfacings as fusible interfacings
have no “give” and cannot be
manipulated in the same way.

While woven interfacings allow
more control, | recommend fusible
interfacings in some circum-
stances. Use them when working
with vinyl fabrics where stitching
is not.appropriate, or in any area
where the interfacing will be sand-
wiched between the garment and a
facing (collars, cuffs and waist-
bands), And before using any
fusible interfacing, remember to
test it by ironing a scrap to a left-
over piece of the fabric to be used
for the garment.

What is an underlining? What is
it generally used for?

Virtually any lightweight fabric
can be built up to the weight you
want by adding an underlining.
This is a “second garment” in a
heavier fabric that is sewn together

with the fabric as one piece.

In construction, the underlining
is always hidden between the fash-
ion fabric and the lining.

The entire garment can be
underlined — when making a jack-

et from a lightweight silks for.

example -— or underlining can be
restricted to an area that is under
stress or prone to stretching.

This. technique .is especially
effective in evening wear designs.
Use a sheer or flowing fabric: for

-the skirt-and build it up-with an

underlining for the bodice or a
matching structured top.

The underlining fabric can be a
different weight and fibre from the

“DIVORCE LAI TAWYER

WOVEN, NGN-WOVEN, fusible, non-fusible... Yvonne
Coté of Albee’s Sewing Centre handles a variety of
Interfacings. While News sewing columnist Kian
Samet prefers working with wovens, she does recom-
mend fusible interfacings in some circumstances. Be
sure ‘to test iron-on interfacing on 2 fabric scrap

before using it on your garment. :

garment. Muslin, batiste, organza
and organdie are popular. Your
seletion will depend on the weight
and body that you wish to create. In

-construction, the underlining ‘is

always hidden between the fashion
fabric and the lining.

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