My favorite part of sewing is the process.
I enjoy doing the tactile part,
then seeing what my efforts produce.
Today you'll see
the machine embroidery is the star.
The process includes fascinating embroidery designs
that not only decorate, but transform.
Joining me
is creative embroidery specialist
Eileen Roche, who is
the brainchild of this technique.
Good to have you back, Eileen.
Oh, it's always great to be back here.
Nancy, it is incredible what an embroidery machine can do
once you give it instruction.
We'll start with
a basic knit Tee,
and then stitch creative embroideries,
plus an embroidery that modifies the neckline shape.
The result is so chic.
"Simple to Chic T-Shirt Remakes,"
that's what's next on Sewing with Nancy.
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Amazing Designs and Klassé Needles.
In the first program of
"Simple to Chic T-Shirt Makeovers,"
we worked with this design, Eileen,
and it's a beautiful embroidery design
that has eyelets in it,
flowers,
and the transformation, the openings,
also done with an embroidery machine.
And if you missed our first program,
you can go online and watch the program at NancyZieman.com.
But now we're doing more chic embroideries
and more complicated.
But not really that complicated.
Not difficult. Not difficult.
The first design on that red shirt fits in 5" x 7" hoop,
as does this design, except it's two hoopings.
So our first design includes this area,
the transformation and the eyelets,
and our second hooping is this outer area and the bottom.
So let me show you by templates that we've printed.
This is hooping one.
And, as you can see,
it stitches all of those elements,
including two alignment marks
that we will use to align
with the next design.
Now, these alignment marks are basting stitches.
They'll come out.
But, wow, are they effective, if you have to use two hoopings.
And you'll notice they're not directly over
any of the decorative stitching.
So, they're very easy to remove.
And, you know, with a little bit of magic
and the help of a tool or two,
we will stitch the second hooping alignment marks
and line it up with the first hooping.
And there you have it.
It's absolutely perfectly matched.
You can't see those alignment marks because we have paper,
but you will in a minute
when Eileen lines those up for you.
Now, the design we're working with
has some fill in stitches.
Some fill stitches, and because of that,
on the back
of a ready-made off-the-rack shirt,
Eileen, you've added a stabilizer.
I did, and I just curved the neck so
that it would fit underneath the ribbing.
I mark the center-front with a pin,
and then I also took a piece of tape.
And this edge is going to align or designate
the center-front of the T-Shirt.
And this Poly Mesh interfacing
fuses to the underside of the
shirt front.
And later, we'll trim some of it away,
but it allows the stitches
to not embed in the fabric.
Right.
And it really builds a foundation
for those satin stitches.
Good idea.
So, we've stitched color number one of our first hooping.
And let's take a close up look at this because this,
as it's stitching right now, is an embroidery design.
It doesn't look like much, but it stitches quickly.
But it's the placement line that's so important.
And it stitches a
vertical placement line and a horizontal.
So the horizontal is aligned with the top of the ribbing,
and the vertical is aligned with the center of the T-Shirt.
But notice, it's not in the center of the hoop.
And that's the beauty of this multi-hooping design
that allows you to do it in a small hoop.
So, now that I have that
positioned in the hoop,
I'm going to take my T-Shirt
and dress the ironing board.
So you have the end of the hoop facing away from you.
Like it would be in the embroidery machine.
And aligning this straight line,
the horizontal straight line, with the line,
the top edge of the ribbing.
And I'm making sure that that vertical line,
the edge of the tape is aligned
with the vertical placement underneath.
And then I'll remove that pin.
That's pretty important.
And the tape.
And then we'll go to the machine
and stitch the beautiful stitches.
Let's make it a nest first.
Oh, good idea because that can really be a problem.
When you are at the machine,
you most certainly want to make sure that
the bulk of the T-Shirt is up above the body of the hoop.
And so here,
I have already turned my sleeves wrong side out.
And, as you can see, I'm pulling the back over the front,
and this is when I nest.
And at the machine, before I get it onto the machine
I might use a little painters tape
to hold this T-Shirt
out of harm's way.
And you'll see, we'll add a little bit more
as time goes on before we stitch.
You have a flat surface to embroider
and the sleeve will not be caught underneath.
So, you've hooped it using
a sticky-back water-soluble stabilizer,
stitched the placement line,
got it aligned, made a nest,
and now, it's time to do the stitching.
We both have our embroidery units
attached to our sewing machine,
and the basics is thread and needles.
And the thread that we're using is a rayon thread.
And you'll choose colors.
Some of our selections were made with all one color,
so you can do that as well.
Make sure you use an embroidery needle.
A fresh one is always my preference.
And then the bobbin thread
should be compatible with your machine.
Most manufacturers have
a specialty bobbin thread that they like to recommend.
Now Eileen has put or inserted
the hoop into her machine, locked it down,
and you've done the basting stitch down already.
I did, but I thought it would be good to review the colors
and different steps
of the actual embroidery design itself.
So, color one is the placement guide,
which, remember, you stitch just on the sticky stabilizer,
and then you add the T-Shirt.
Color two...
is the...
basting file,
and that's just a half of a rectangle,
and it holds the T-shirt in place.
And then, color two is the decorative inner flower,
color three, more decoration,
and color six and seven is the eyelet.
Now, our last-- almost our last color--
are the alignment marks.
And remember, they're stitched out of the design area,
and they're used to connect to the second hooping.
Finally, our last color is the transformation.
So, I'm going to advance to color three
since that's where I am in my embroidery design.
And I'll lower the presser foot and press go.
And then, it'll stitch those pretty stitches.
We mentioned in the beginning,
you just give your machine instructions,
and then it will do the job.
And now it's doing the job.
And because it's a fine knit, we don't need a topper.
We did choose to stitch this design in one color,
and you most certainly could add different colors.
We also like to match
our thread of the eyelets to the T-Shirt itself.
But if you used a contrasting color,
that would become a different design element of itself.
Now, a topper, if you're not familiar with that term,
is usually another layer of stabilizer,
usually a wash-away clear topper.
So if the fabric is a heavier knit,
let's say a sweatshirt knit or a sweater knit,
you'd want to have a topper
so that it keeps the thread on top of the fabric.
That's right. Not embedded into it.
So you just stitch away.
And now is the part you just kind of
sit back and watch.
Right.
But it's important, remember,
to keep all of the bulk of the T-Shirt out of the sewing field.
We don't want it to fall in under the needle.
So that's where painters tape comes in quite handy.
And even though we recommended using rayon thread,
this would be an excellent opportunity
to use cotton thread.
It would be beautiful.
Kind of give you an "Old World" look.
Very popular today.
You know, stitching will take maybe 12... 15 minutes
so we're not going--
It's kind of like watching paint dry,
but much more interesting than watching paint dry.
Here you can see that
this is all of the embroidered design.
We have one more to add,
but it has been stitched with a decorative design.
Eileen changed colors to add the eyelets.
There's 6 eyelets on each side.
And then, the last stitching we'll be adding,
after you've pre-washed knit fusible interfacing,
a strip down the center,
about 3" x 7".
And now it's time for us to stop
and do the stitching.
I've already started a portion of the transformation,
and I'll just continue on.
You'll notice that I'm using white thread
so that you can see it.
Normally, I would use a thread
that matches the T-Shirt itself
so that it doesn't show through
once the transformation is complete.
And just as if we were stitching at home,
the embroidery machine design
restitches at each top,
reinforces at the lower edge.
It's spot on.
It's spot on digitizing. It really is.
I'm pretty excited about it.
So, now it'd be time to take this out of the hoop,
out of the machine I should say.
And we have one more design to add to it,
but to get those two designs to perfectly match
is the magic that Eileen's going to show you at the table.
A 5" x 7" hoop for an embroidery machine
is the most common hoop that we can use.
The designs we used in Program One, plus this design,
all use the 5" x 7" hoop.
But, Eileen, as we showed earlier,
it takes two hoopings to make it happen.
And you just finished with the first hooping,
and that's where we're at.
Eileen, you took it out of the hoop,
and now you're ready to get it positioned.
And you'll notice that we already have
our alignment marks of hooping one
stitched right on the T-Shirt.
I've taped that knit interfacing out of harm's way
because my next embroidery
is going to be over in this area.
On the sticky stabilizer,
I have stitched color one of design
number two.
And so let's take a look at that.
Here's design number two.
And as that goes together with the first design
to make a large medallion,
you'll see that the alignment marks
are stitched outside of the design itself,
and they're color number one in this design.
So I stitched that right on the stabilizer.
And then, with the help of a little laser light,
I'm going to align the vertical laser beam
with this vertical edge of the alignment marks
and the horizontal edge or horizontal beam
with the top of the alignment marks.
And then I'll take my T-Shirt
that already has hooping one on it,
and I align that cross mark, that cross hair,
with the laser beam
right with the stitched alignment mark.
And I want to position the T-Shirt underneath
so that that alignment mark aligns with...
That's pretty cool.
That's pretty cool, isn't it.
You just smooth it down.
Smooth it down.
Because you remember,
it's sticky stabilizer underneath
so it's doing a lot of the work for you.
And once we go back to the machine,
we stitch the remainder of the design,
which is that beautiful embroidery.
It lines right up.
So you would, again, use some tape or pins
to hold the nested shirt out of the way.
And here you can see that Eileen has the hoop in the machine,
and she's stitching the second embroidered design.
And it's the complement.
It just finally completes the design.
And we'll just show you on the finished shirt
that we have it all done.
The magic of television.
The magic of television.
We just finished this.
Just like that.
And here it is.
And if you look at it,
we put away
the transformation fabric.
Here is the second section that was stitched.
We can remove, then, these alignment marks.
They're just basted into place.
Then you go to the flip side of this,
and I get the hard part.
I get to use the seam ripper.
It's an easy way to slice
that water-soluble stabilizer.
And I took out the basting stitches,
the tack down stitches.
I usually keep my hand underneath
on the hoop
so that I'm not cutting or going to cut into
any of the shirt.
And then just scoot around.
And it's sticky,
so it's not as simple as you would hope.
There we go.
But that's the hardest part, I think.
Oops, here we go. I forgot to do this part.
And you can just cut that off
or cut it off again.
There we go.
And remember, a lot of this is the water-soluble stabilizer,
and that will just dissolve away when we launder it.
Mm-hmm.
And I'm just going to get this to you.
I guess you're going to cut it open.
I am.
I'm sorry. That's okay.
Because we have our second design
hiding our transformation stitch,
we will go ahead and slice right between
that straight-line stitching,
and then, when we get down to the corner,
to the bottom of the transformation,
we stop just short of it
and we snip into the corner...
without actually slicing it.
And then, we'll just slip it
onto this sleeve board.
Like we did in our first program.
Right... And turn it.
Now, at home, I would maybe launder this at this point
to remove all that water-soluble stabilizer
because you'll see, as I try to pull this over,
it's a bit stiff.
That's why we have it in there.
It gives it body for the embroidery process.
But we'll fold down that top ribbing
at a little angle,
and I'll add the heat to that first
just to finish off that edge.
And then I'll pull on this
until we get some reveal of the T-Shirt.
And once that's fused down,
we then repeat for the opposite side,
finishing down at the bottom, Nancy.
And you have a finished one over there, I think.
As while Eileen is finishing it,
let me just give you a close up of what's happening.
At the neckline,
we've angled down about a 45-degree angle.
So it's a nice, attractive finish,
and that way,
the fusible interfacing does not show.
The rest of the interfacing is pressed flat,
and we do bring that fabric to the wrong side
so that you're not going to have a white line.
You can use the tip of sharp scissors
to open up the eyelets,
and then weave in
pearl cotton, hemp cloth
so that you have a wonderful tie.
But there's more.
Once you learn how to do the neckline,
you can also add a transformation to the hemline,
which Eileen will show you.
Necklines aren't the only area
where makeovers can occur.
Using comparable processes,
see how side hemlines
can make a fashion statement.
Our embroidery design for this side seam
includes a placement guide,
just like the neckline, and a transformation.
But this time, those elements
are at the bottom of the design
instead of the top.
Let's take a look at the design
and travel through the color sequences.
Color one, placement guide.
Color two is a basting file
that's going to hold down that T-Shirt
to the sticky stabilizer.
And then color three is those decorative outlines.
The flowers are inside.
And then, finally,
we have our transformation.
So I will advance to color number two
since I've already stitched the tack down.
Now, I've prepared my T-shirt
by adding Poly Mesh cut-away stabilizer,
fusible, to the wrong side.
I'll give you a little tip.
It's a good idea to press your seam allowance
that exists on the T-shirt
nice and flat to one side
so that you have a nice, even, straight line
when you go to apply it to the hoop.
Now, you might find this
is a lot easier to do on the ironing board,
like we did the neckline,
instead of right under the needle,
but, oh!, we'll live dangerously here
and do it right under the needle.
I'm aligning the edge of the hem
with that horizontal placement guide,
and then I'm placing that side seam
straight up the hoop
on that stitched vertical placement line.
And so I'll just smooth this in place.
This is a little bit easier to handle in the hoop
because the hemline is wider than the neckline.
So, we don't have to worry so much
about painters tape, and so forth.
The next color is the basting file,
and that's going to travel
around the perimeter of the design
and hold the T-Shirt down in place.
You can smooth it out
as it travels around.
As long as you keep your fingers out of the hoop,
that's always so important.
And, again, we're not using a topper here
because this is a very fine knit.
The stitches are not caving into the fiber itself,
so there's no need
to add that extra element.
So, we'll go ahead and start the decorative stitches,
and before you know it,
it'll be time to add the transformation.
The transformation is just about complete.
The only difference between this and the neckline
is it's at the bottom of the garment
instead of the top.
I would take it out of the hoop and trim away
the excess stabilizer.
And then,
with scissors, go ahead and cut that open.
Now, you may notice that this is a little bit wider
than the neckline opening.
And that's to compensate for
easing the fabric across the hip
and also allowing that seam allowance
that's on the T-shirt itself,
to give it a little bit of space.
I'm snipping into those corners
and, just like we did with the neckline,
we'll turn it, transform it
with the help of an iron,
and you have a really pretty decoration
at the side seam.
That's it on "Simple to Chic Makeovers."
♪ ♪
What do you do
when your sewing students speak a different language?
The answer is fascinating.
Please welcome
Anna Gray Slagle and Janet Raderer
from Louisville, Kentucky.
They're teachers for STITCH,
an outreach sewing program for refugees,
and they join us today via Skype.
Anna Gray and Janet, I'm so glad to see you.
Thank you. Glad to be here.
Good to be here.
Anna Gray, I know that you're
one of the founding members of STITCH,
and why don't you share with our viewers
a summary of how this organization began.
Thank you. I will.
STITCH stands for
Sewing Together in the Caring Highlands,
and it is a ministry of Highland Presbyterian Church
with Kentucky Refugee Ministries in Louisville, Kentucky.
And it started when one of our church members
donated a sewing machine
to Kentucky Refugee Ministry,
and the director at that time said,
"This is fine and good,
but they don't know how to sew."
So that was the seed that started her thinking,
"We could teach them how to sew."
And since Kentucky Refugee Ministry
is just right across the street from our church,
we started teaching them how to sew.
And I was the teacher the very first day,
and we had five machines set up.
And when I opened the door,
there were like 20 people standing outside
waiting for me to teach them.
It was two of us,
and I thought, "Oh, my gosh,"
and so we had to figure out
how to have them alternate days
and not have a whole class of 20
for five students.
And so that was the seed,
but we look at the sewing machine
as a way to be a friend to refugees
because we wanted to make a connection with them
and welcome them to America.
And, Janet,
you have women from many different areas of the world
that come to learn to sew through STITCH.
That's correct, Nancy.
We have students currently from the Congo, Cuba,
Nepal, Sri Lanka, Somalia.
None of these students come to us very fluent.
Some know a little bit of English,
but mostly very little or no English at all.
We have found that sewing
is certainly a visual skill.
We can communicate through show and tell,
demonstrating, and just...
hands on,
and with those skills,
we have found that we've had very few problems
actually communicating
and teaching these students
from so many different countries.
It's a wonderful
connector between cultures.
You now have more than
your initial sewing machines
that you started with several years ago.
Yes... I think that first day, we had five in the classroom.
We had two little bitty rooms, classroom,
and I think we had five machines in there.
And I think there were, like, three still in another room.
Last time when I did the sewing machine inventory,
we had over 75 machines.
Wonderful.
And those have all been donated.
And so we still have
36 machines,
and the rest, I have given to refugees
to take to their own home
so that they can sew at home.
And, Janet, you have also mentioned to me that
they learn a lot.
They also like to make some money sewing,
and it means a lot to them.
Yes, Nancy.
We start out when our students are brand new to us
with most of these women
have never sewn with a sewing machine.
Some of them have knitted or crocheted before,
but none of them
have ever really used an electric sewing machine.
So we start out teaching them to sew with paper,
sewing lines and curves on paper.
And then, from there, we graduate to tote bags
because everyone can use a tote bag.
Especially so many of our students
are riding the buses back and forth.
And then, from there, it's kind of 'the sky is the limit.'
Whatever their talents and interests take them.
They usually start making
pants or skirts with elastic waist.
And then, from there, they move on to--
We've had blouses, dresses,
clothes for themselves,
clothes for the family members.
They love doing home dec projects,
whether it's making pillows or curtains for their homes.
Even bedspreads.
One time we had a student say
she wanted something for her bed.
We had to establish,
"Is it a bed for one person or two people?"
And how big is this comforter or quilt going to have to be?
But once they get to be accomplished,
we do have a number of projects that we have
that they can actually make things to sell at bazaars.
And we're getting ready to be--
This is bazaar season coming up,
and we have church bazaar there this week
and a few more in a few more weeks.
And when our students sell things,
they get 100% of the money goes back in their pockets.
So if they sell a $20 item, it's $20 in their pocket.
Oh, it's refreshing.
I wish we could
explain this more, but I want to thank you,
Anna Gray and Janet, for sharing this with us.
People can find out more about STITCH on our website
NancyZieman.com.
Rewatch this program or this interview.
Thank you for being with us, and thank you for watching at home.
Bye for now.
Nancy and Eileen have designed a multi-format CD
of embroidery designs with printable instructions to
transform T-Shirts as featured in this two-part series.
The CD is $39.99, plus shipping and handling.
To order the CD, call 800-336-8373
or visit our website at SewingWithNancy.com/2922.
Order item number CD00702, "Simple to Chic T-Shirt Remakes"
Credit card orders only.
To pay by check or money order,
call the number on the screen for details.
Visit Nancy's website at NancyZieman.com
to see additional episodes, Nancy's blog, and more.
Sewing with Nancy
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has been brought to you by:
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