Adding the Waistband - View A
So we've interfaced our outer ways fan, and now we actually have to assemble our waistband pieces we have to waste fans that were working with we have the inner waistband and the outer waste fan I've cut mine in different colors, so it's really clear, which are which I have a solid gray that I'm using as my lining the inner way span. And then I have the print with the birds on it that we're using as our outer waste man. And that again just a reminder that's the one that's interfaced that is going to be our outer ways fan, so I have already old one seam on each of the waistbands, but I have to now attach the opposite side so that I have the center front and the two back waistband pieces for both, so we're going to line up that side seam and you have a notch on it to tell you which direction it can go, it can be easily confused that you know which direction was right and left and top and bottom, but there's a notch there to help you and this fabrics a little easier because it's a directi...
onal print but the grayken be tricky because it's one solid color that actually has no right or wrong both sides of the fabric are the same you want to make sure not to get them twisted around so like, we've done previously, I pinned at the top and bottom and in the middle and I want to go ahead and pin this one at the same time, so I'm putting right sides together lining up my notches and again with the solid you can see that the not just really helping to tell me where that supposed to go and I'm gonna pin at the top and bottom, lining up my raw edges and pinning in the middle as well. Great! So we will go back to our machine and we're going so both of those seems at a five eight seem allowance because this is a permanent construction sketch. We of course want to baxter to the beginning and end, and as we've been using, we're just using regular stitch link, so I'm using the two point five we'll repeat that on the outer waste fan, so I'm like the seams that we did on the bodice we actually are not going to finish the's in the exact same way that we finished those because these are going to be on top of each other. We want to reduce the bulk so you can see on the lining I have trimmed it in half and on the outer way span I have not trimmed it all both her pressed open this is actually called grading grating is where you trim the seam allowances in a series of links as opposed to just trimming them all in half or trimming them all to be the same the outer layer whatever layer that is if it's a you know if there's siri's of layers the most outer layer would be the longest because that's what's going to be visible from the outside and then each layer as it gets closer to the inside would be be getting increasingly shorter so you can see here that because I have two layers I have the lining cut in half and the outer waste ban not trimmed at all that way when they're on top of each other, they're not actually the seam allowances aren't on top of each other which would create kind of a bulky seem especially since the outer waste man is interface and it's extra thick right now so it creates like a little grade asian on the interior of your garment so it keeps it smooth and it doesn't make a real bulky spot so that's exactly what we're going to do now on this side we're going to trim the seam allowance of the inner way span in half which is what we did on our bodies but instead of now finishing it with a zigzag we're going to go ahead and press this open so the scene will get pressed open and then the same is going to happen here we're not going to treatment and we're going to just press this open so let's do that next, so we're simply going to press both of these seems open just not a complicated, pressing moment we're going to do as we've been doing where we press on the inside even though there's interfacing on here you don't have to worry about it it's already been fully adhere to the fabric, and then we're going to press that on the outside as well and then we'll do the same with the lining this one's a little bit trickier because it's trying you could actually press this open and then trim it in half if you find that to be a little bit easier it's not a big deal either way, the end result is the same and there we have both of them are pressed open and now it's time to attach him to our bodies. We're going to attach the inner waistband, which is our lining to the bodies before we attach our outer ways fan we're actually gonna based that the lining to the bodice and if you're not familiar with the steam basting is exactly like a regular straight stitch, but it's just a longer step, so we're going to do it at a four or longer stitch link the reason you would do that is because it's not a permanent construction stitch it doesn't need to be there forever it's just there to hold the layers together because when we saw the outer waistband we're actually going to be so in all three of the layers together permanently but we it's a little bit tricky to do all three layers right on the money so we're going to secure the lining to the bodice first and get that in place and then put that third layer on top and stitch them all together knowing that what you can't see underneath is not shifting and getting out of place if you're filing along in our instructions we are now at step eleven and as it says right in there we're going to lay the bodice down wrong side up and we're going toe put are lining piece down right side down so that's a little more unusual but it really is the right side of the inside with the right side of the lining because that's going to end up on the inside we have a lot of spots to pin and we're going to start at all of those key points going to start with the outer edge, which is our center back. I'm pinning withy lining side facing up because that's what I want facing me while I'm selling I like to then pin at my side seem next and then we have a center notch that little half triangle that you cut out when you were cutting your pieces out becomes a full triangle. Once it's unfolded, we have our other side seam. And then, of course, the center back on the opposite side. It's really great to anchor at all of these spots first. So you know your district in your fabric, equally incorrectly. Now we're going to pin in between all of those points, and we'll just put a few pins there to make sure everything stays where it's supposed to be. But none of the distances are that far from the anchor points also hiding under here, we have our darts, and of course our side seems that we pressed, so we want to make sure that when we pin, they're all staying in the direction that we press them in. So the side seams on minor going towards the back, and those darts are remaining towards the side seem when I saw these guys together, I want to make sure they stay in that direction. Lastly, the other back panel. So when we based this, we're going to turn our length upto four point zero, you can go higher than that if your machine goes up to five or six, but that's as fat, as long as my machine goes and I find it's adequate and because we don't want this interfere with our actual five eight seem allowing stitch for the next step. We're going to be doing this at a half inch, which is four, eight one, eighth less you get good infractions when you're selling four eight's is a half, so I'm gonna turn my length up to four and because this is not a permanent stitch, I'm not back stitching at the beginning baste it can come out you a lot quicker because it's almost twice as long as what you've been sewing with so it's good to just pay attention that it's coming at you a lot quicker and because this is a little bit of a curve, I'm just making sure that I'm not catching any pinches and I'm keeping the layer underneath nice and smooth. I really care about the stitch line and that what is on either side of my stitch line sometimes it's annoying to stop for every pin, but they serve a very important purpose. I can feel with my fingers and they go over the darts that they're going the right direction, they're still pressed towards my side scene on again at the end, I'm not backstage and I'm not going to cut my threads to short because I might want to pull them the base stitches out after I do my next step, so the waste fan lining is now sewn to the inside you can see that if I were to fold this down that's how it's gonna look on the inside it will be a nice clean seem and the lining serves a couple of purposes it gives a nice finish to the inside obviously that's a really nice touch it also gives the waistband a little extra soup port on top of the interfacing and we don't have that interfacing touching our skin I'm using a cotton ah lightweight cotton usable so it is a cotton, but it is still a little bit scratch here than a soft line england b it also is great if you're choosing a lighter weight fabric like something a little more sheared gives that little extra body in a little extra opaqueness to the waste man, so now we're going to grab the outer waistband and so guy on we're going to repeat the process of pinning, but this time we're pending right sides together bodice front to the lining friend. So this is a little more what you would traditionally be doing, where you're putting the outer fabrics right sides together impending along that seem and we're going to start exactly the same way we did with the lining and repeat that process of pinning at the ends and the side seam and the center front on the other side seam and the other center back and again we're going to throw a few pins in between to keep all the layers in place but because we've done that base stitch we know that the under layer of the lining is not going to shift and get out of place and it's going to stay right where it's supposed to because it's already been secured with the based sketch not sure if you can quite see how I'm using my hands here, but I'm putting some of my fingers on the back and some of my fingers on the front and then on my left hand it's going in between the layers and I'm sort of making sure that I'm pulling it tot as I'm pinning instead of just pulling it up and pinning, I'm actually making sure that from where I'm pinned on the right and left that it's where it should be before I put my pins in to just give it a little bit of tension and pressure make sure those raj is are all lined up at the top and we're ready to sew it it's really easy to forget to turn your such length back so we're gonna take a moment to remember to turn back to our regular stitch length which uh from u two and a half this is now again a permanent constructions ditch so I'm doing back stitch and I'm selling it at my regular five eight seem allowance even though that ah, lining is secured, I'm still putting my hand underneath to sort of hold on to it to make sure that it's not scooting under my foot so my left hand is actually underneath my body's, holding on to my waist band, lining and keeping it taught to the left, away from where I'm sewing, just to make sure that it doesn't get caught up underneath anything at the side seam, I usually paused to make sure that the seam underneath and on top is right where it should be. If you are going to pause and pick up your foot always make sure that your needle is down in your fabric so you can't get out of place again is pulling that bodice on the lining for the left to make sure that it stays todd and out of the way with, of course, all the while, try not to stretch that neckline a fine balance between making sure that you are supporting it, but not stretching it again. Make sure everything is right where it should be under need as I go over that side way make my way to the center, of course back states. So just like we talked about with grading for the actual waistband pieces, we definitely have some grating to do here we have three layers. To work with here so what's going to happen is this is going to flip down to form our waistband and of course the lining is also going to flip down and that leaves this big seem in the middle with are lining our bodies and our outer waistband pieces so you can imagine is this flips down that is kind of a bulky seem right there so we do want to grade these three seems to actually be three slightly different links um my students in my class is sort of make fun of me because this is a moment where I really stressed the importance of being careful we've gone all this way we've got our bodies put together it would be a really terrible moment to accidentally cut something you don't mean to cut so you really really do want to be careful when you're trimming on the inside as to you know, make sure you don't cut the bodies because a good moment where he could cut a hole right in the center of your bodies and that would be really sad eso as I talked about at the beginning of the class, I'm using um these little five and cheers because it's easier to handle than my regular aid nge I like to start with the lining because that's going to be cut the shortest and then work my way from there I'm basically going to cut right upto wear my based stitches, leaving about that eighth of an inch you can pull the basic out if you like it's entirely personal preference when you get to the side scene, you'll probably have to open it to make sure that you're not trimming things you don't mean the trim and the same goes when I approach my darts it's not a big deal if I trim through them, but I mean to trim them a slightly different length, then I'm trimming right now, so just be careful as you go past the darts and you don't have to be super perfect about how this trimming goes. You wantto trying to be sort of straight, especially if your fabric is little more shear. You might actually see some of this through the waist, but for the most part, this is all going to be hidden on the inside, so you want to just do your best? You can see that I'm holding in my left hand what I'm cutting and giving it a little bit of tension as I am cutting, I don't ever lay it flat on the table and cut because then that I'm not as aware of what I'm actually cutting because it's not in my hand it would be much easier toe accidentally cut something if it wasn't in your hand of the that exact moment so I'm turning this down right up to where that base stitches about an eighth inch long, and then I'm going to trim the bodice piece to be just slightly longer than that so that we're doing that great asian on the inside this is all going to get pressed down away from our bust so that that seem allowance isn't sitting up on top of our bust, so I'm trimming this one the sixteenth to an eighth inch longer, then the lining when this again is the bottas kind of a slow fosse step but a very important and necessary one. Andi, I'm going to trim the outer waste man what's left there you concede the great asian here, so that little bit that's left I'm more or less going to trim that in half to just reduce said so that's a little less bulking, but you can totally see at this point this steps the little tear of layers of fabric so that on the inside of your garment it's not all bulky at one single spot and it has a really nice little step great asian, but again, the outer layer is what you want to be the longest that you don't see hopefully you don't see any of that from the outside if you don't have the little five and cheers, you can see what investment they are right about now all right, you can optionally pull these based stitches out if you want at this point but there not going to do any harm if you decide to leave them in, they probably will pull out pretty easily, but if you choose to leave them in that's fine too um and now we're gonna press all of the seam allowance down and away from b bodice now that we have all of our layers attached to our way span it's time to press it and our instructions we are on step fourteen if you're following along, this could be a little bit tricky because there's a lot here that all needs to be pressed down so you can see I'm on the inside of my bodice and here's all my seem allowance hiding between my two layers, the outer and the inner layer of the waistband I have my pressing ham under here because this is a little bit of a curve and I just find it's a little bit easier to press it with that support under there that little bit of a curve so I'm going to start in between the layers here and press the seam allowance down and then after I press that I'll be pressing this inner waste pan down and then checking it on the right side so it is a little bit fussy I'm going to support the outer waistband by pulling in a little bit pushing down my seem allowance and pressing right there with the iron it's nice to start at that point and then work your way towards the center back at this point you wouldn't necessarily need toe have the ham under there because it's not as much of a curve but I'm gonna leave it under there for a little bit of support so I'm again giving this a little bit of pressure to make sure that I'm not catching like a lip of fabric on the right side when I'm gonna work my way across the center being careful not to make any weird little puckers so you can see I actually brought my iron up here and pulled down instead of coming out at this direction is to keep everything where it should be you can see all of the grated layers right here I'm nearing my other side seam curve someone put the ham again pointing with that curve again making my way to the center back it's really important at that center back seymour the way spend intersects that it is nice and smooth and flat because when we go to put our zipper in we're gonna want those seems tow line up perfectly oh so now I'm flipping down the waistband on the inside and I'm gonna press that seem again which is a lot easier because of dust has that layer at this point making sure it's nice and smooth again, I'm sort of coming from the top down to just make sure that this is a nice smooth seemed that there isn't a bump there little side seam curve back to the center back now at this point, I'm gonna flip it over and just make sure that the friend looks just as good as the inside and make sure that there aren't any puckers or anything weird happening here. It's really easy to have a little bit of a lip right here you can see even right there there's a little bit of a bump, so I want to make sure that that is a little bit smoother if you have a steam iron, you can give it a little bit of heat and steam right there, of course, all the while and making sure that my lining it's still lined up on the inside or on the bottom layer because we want that to all be one unit at this plane, this intersection here, the side seem khun b a little bulky, so I'm giving it a lot of pressure but you can see now it's really nice seem nice and smooth and pressing really really does elevate a garment it makes all the other steps a little more precise and accurate because you've taken this moment to make sure everything's all smooth and in place excellent so now that it's all pressed we're going to actually based all of these layers together so that they won't shift as we move on to other steps and it all just stays one unit so we're going to base all of these layers together so that it's one solid unit as we go toe put the skirt on later it's another the layers are going to shift around or you know, fall out of place I've already pinned all of it together it's exactly like you probably think it is where we're going up in the back center, back seam and then all along the bottom because that's where we're going to base we're going based down the center back and all across the bottom of the waistband just like we did before we're going to use a long stitch length so we're using a four stitch ling for this or longer if you prefer I'm going to just start right here at this intersection where the inner waste fan and the bodice meat on and I want this to just be inside my seem allowance so I'm doing it at a half inch again which is for aids so that when I saw my skirt on at five eight it's not going to interfere with it and I don't have two backs it it's just to hold everything together at this bottom corner you can pivot or you could do this in a separate turn either is completely fine I'm going to pivot that spot. I'm pivoting. If you're not familiar with that, all you're doing is turning the fabric. But the trick, of course, is that you need to have your needle down inside the fabric so that I can't get out of place, and I'm just going to turn ninety degrees, put my foot back down and keep going. But you can also just do those in separate scenes as well. I'm just basing all the way across that bottomley spin. You'll be glad later and future steps that all those layers are secured and held together on again at this other corner, you khun tibbett, or you can go off and start a second stitch, and we'll stop at that intersection. Clip our fence so there's, our base stitch, hiding in there, just keeping everybody together for future steps.