CONTENTS

Introduction

GETTING STARTED

Chapter 1: Research and Planning

Chapter 2: Fabrics and Materials

Chapter 3: Costume Sewing Basics

Chapter 4: Alterations and Modifications

Chapter 5: Trims and Embellishments

Glossary

Glossary of Style Elements

Resources

Acknowledgments

Index of Searchable Term

INTRODUCTION

It was almost inevitable that I would get into cosplay. I love to make things, and I grew up on a steady diet of science fiction, fantasy, comics, anime, and video games. I started sewing way back in elementary school, first by hand and then on a sewing machine and serger. With practice and experimentation, I learned to work with a variety of fabrics, fit patterns to my body, and sew clothes I wanted to wear. I spent years learning to manipulate patterns—eventually, I learned to make my own. But the fact is, sewing everyday clothes can get pretty boring. I wanted to make something exciting, something elaborately embellished and full of interesting shapes and details, even if I didn’t generally wear that sort of thing. Some people might start in on an outrageous evening gown at this point. But for me, costumes were the answer. Long before I knew cosplay was a thing, I cherished Halloween as an opportunity to re-create my favorite characters. Now, with more experience and better tools at my disposal, I can make things that would once have been pure fantasy. As a creative person and a nerd, it’s hard to imagine a better feeling.

As my costume collection has grown, I’ve found that sometimes I enjoy the crafting process even more than I like wearing the result. It turns out I’m at least as much of a sewing geek as I am any other kind of geek. But although my stack of sewing and drafting texts now rivals my science fiction stash, I can safely say that none of the writers had elves and superheroes in mind. Most of that I had to puzzle out myself—and now I want to share it with you. Maybe you picked up this book because you’re brand-new to cosplay, or perhaps you’re a seasoned pro sick of pouring money into costumes that fall short of your exacting standards. For whatever reason, you’re interested in sewing costumes yourself. Awesome! But even if you’re brand-new at this, and not convinced you’ll get into sewing just for the joy of it, I still think that every cosplayer should learn to sew at least a little bit, if only to open the door to new and more ambitious costume projects. Here are just a few reasons why DIY might be a good option for you:

You need an item that isn’t commercially available.

While it’s possible to find commercial costumes for many recognizable characters, the character you love might not be among them. Even if you can find part of your costume in a store, there may be other components that are harder to track down. If that’s the case, you’ll have to find something similar and modify it. An even better solution? Make it yourself! It’s often much simpler to add the distinctive features that make a costume shine—like piping, collars, sleeve cuffs, or ruffles—if you’re starting from scratch rather than altering an existing garment.

You want something unique.

Maybe you’ve picked a popular character to cosplay, and you’ve managed to find the costume in stores or online. Great! But when you arrive at the convention, there’s a good chance that someone—or lots of someones!—will be wearing the exact same costume. While you should definitely high-five and maybe take a goofy picture together if this happens, sometimes it’s nice to be able to put your own spin on a character and know that no one else is going to have anything quite like it. You can pick a less common costume variant, create character mash-ups, transport your character into a different time period or an alternate universe, or invent your own character for a truly unique costume.

You want total control over the materials, color, style, and details.

If you cosplay, you probably sweat the small stuff. You know that attention to detail can make or break an outfit, and maybe you’ve been disappointed with purchased costumes in the past. If you sew your costume yourself, you have total control over each piece from beginning to end. You can choose exactly the right fabrics and trims, and accurately replicate details like sleeves and collars. No settling for someone else’s interpretation, or for something that’s “almost right.” And if it doesn’t turn out as well as you’d hoped, at least you can be certain that the next one will be better!

You want a custom fit.

Off-the-rack clothes are made to a standard body size and shape, and chances are that body is at least a little bit different from yours. If you’re petite or tall or have proportions that differ from the standard, you might not be able to find the pieces you need at all. Actors have their costumes custom-fitted to look flawless, and you can do the same if you make your costume. Fitting your garments to your exact specifications means you’ll end up with an outfit that’s comfortable, won’t pull or gap, and makes you look amazing.

You’re on a budget.

It’s true, you could pay someone else to sew you a custom creation. But honestly, how many people have the budget to do that all the time? If you have time to create a costume for yourself, you don’t have to pay for someone else’s labor. If you shop around for your materials, you can find a price that fits into your budget—or find a less expensive alternative. And, once you’ve got a few costumes under your belt, you can even start offering your services to wealthier friends!

You enjoy that smug “I made this” feeling.

If you’re not already convinced, consider the satisfaction of wearing a knockout costume that you put together all by yourself. For bragging rights, that’s pretty hard to top! A handmade costume is also a common prerequisite for participation in masquerades and costume competitions, so sewing skills are essential if you have any affinity for official accolades and shiny trophies.

I think a lot of people have the idea that sewing is hard, or scary, or for professionals only. And yet most of these people drive cars, use computers, and exercise all kinds of specialized technological skills without a second thought. A sewing machine is just another tool, and one that anyone can master with enough practice. To start making your own costumes, all you need are some simple sewing skills, such as threading a needle and tying a knot. Familiarize yourself with the basic operation of your sewing machine: threading, winding bobbins, starting and stopping. Start with one of the simple patterns, be patient and meticulous, and follow the directions carefully while you’re learning. After that, the sky’s the limit!

GETTING STARTED

CHAPTER 1

Research and Planning

CHAPTER 2

Fabrics and Materials

CHAPTER 3

Costume Sewing Basics

CHAPTER 4

Alterations and Modifications

CHAPTER 5

Trims and Embellishments

CHAPTER 1

RESEARCH AND PLANNING

We all know that choosing which character to cosplay isn’t always a rational decision. If you’re going to put your time, money, and creative energy into a costume, the most important thing is to choose a character—and an outfit—that you’re in love with. If you’re really excited about your work, it won’t matter if you have to spend hours and hours sewing, adjusting a pattern, or setting rhinestones. If you’re not enchanted with the project, it’s not worth it—even if you can throw it together in a weekend—because you won’t enjoy wearing it. That said, it does help to consider a few practicalities as you’re setting out: skill level, time constraints, access to materials, and budget. If you’re brand-new to sewing, you may not want to tackle a tailored jacket right out of the gate. (Beginners, you’ll learn about all the techniques used in this book in Chapter 3, Costume Sewing Basics, this page.) If you’re on a tight budget, you may not want to choose a ball gown that requires 10 yards (9 m) or more of fabric (unless you’re willing to make some serious compromises on the quality of that fabric). And if the convention is next weekend, this really isn’t the moment to start an outfit with extensive hand embroidery. Look for a project that speaks to these criteria. The goal is to challenge yourself, but not to set yourself up for frustration. Although you may run into some hitches along the way, if you’re realistic from the outset, you should still be able to power through and end up with a successful result. Not actually sure what you’re ready for? Read on! First, I’ll help you figure out what goes into the research for and planning of a potential costume. Once you have a good idea of what the making of your costume will involve, you’ll be able to decide whether to scale back your ambitions or reach for the stars. Here’s how to get started, in five easy steps.

STEP 1

Gather References

Whether you’re sewing, commissioning, or assembling your costume from found pieces, the first step in most cosplay projects will be gathering references. Keep in mind that you’re not just looking for cool pictures, but for images that show you how the costume comes together in as much detail as possible. In order to accurately replicate a character design, you’ll want to have clear views of the front, sides, and back of your outfit. Try to get some pictures of the costume in motion as well, since this will help you to determine what kind of fabric you’re looking at, how much fullness you need in the skirt or sleeves, and other useful information that might not be obvious from a basic static pose. Beginning on this page, we’ll discuss the specific design elements and construction techniques you need to understand in order to transform 2-D art into a real wearable garment, but for now, just think about collecting as much information (and inspiration) as possible.

As cosplay grows more widely recognized, some creators are making detailed reference images available for their characters. If you’ve picked one of these, collecting the necessary information can be as simple as an Internet search. Often, though, you may need to be a little more creative to get the most useful material. Screenshots from games and animated TV shows can be a good starting point, but since the visuals in these media are often simplified for better performance or lower production costs, you may find more detail in promotional posters, art books, strategy guides, figurines, or other peripheral materials. If you’re working from a movie or live-action show, you may find that behind-the-scenes photos make great references since they’re less likely to be obscured by dramatic angles and lighting.

STEP 2

Consider Its Parts

Once you’ve collected your references, you’ll need to study them to find out how your costume is going to come together. Break the outfit down into its component parts and look at each item individually, as in the illustration on this page. Even very complicated costumes are often composed of several familiar garments layered together, so as far as construction is concerned, you’ll want to consider each item independently.

In addition to the main garments, look at any accessories or add-ons and decide which can be made and which would be better to buy. You’ll most likely need to buy shoes, but making shoe covers are an option if the style is unusual or a difficult color. You may also need gloves, hats, bags, belts, or other pieces to complete your outfit. Many of these can be made yourself, and making is the best option if you need the pieces to match exactly, but be realistic about how much time you can spend on them. Gloves in particular can be fussy and time-consuming to sew, so they might be overwhelming if you’re new at this. Even if you have to buy some pieces of your costume, you can still customize them with your own details and embellishments.

Next, take a good look at the information in front of you. Where are the seams? This tells you how the item was constructed. What fabrics are used—are they stretchy, drapey, or stiff—and how are they embellished? How does the character get into his or her outfit? If the answer to that question is “It gets sprayed on with a magical costume hose,” where can you add an unobtrusive zipper? This is one practical detail you can’t overlook, because you do have to wear it! Does the costume need to shape and support the body inside it, as a corset does, or do parts of it need to stand up on their own, like a big theatrical collar or body armor? Start thinking about what materials you might need, including fabrics and embellishments as well as linings and any necessary structural support. If you’re fairly new to sewing and are not sure what to look for, take a look at Chapter 2 (see this page) for an overview of fabric and other materials that help build your costume.

If you’re puzzled by how an item might be constructed, try looking for similar garments in your closet, in stores, or online. This may give you some ideas about how the pieces are sewn together or how the desired silhouette is achieved. If you’ve got an old garment you can dissect, so much the better—just make sure you take notes about how it was originally put together, lest you find yourself with a useless pile of scraps. Get in the habit of looking at garment tags, or at the descriptive text if you’re looking at things online, and pay attention to what materials the clothes are made from, since this will help you when you start shopping for fabric.

Keep a folder or inspiration board full of images you find useful, either because they help to pin down the details of your intended costume or because they give you hints about materials and construction. Also make note of any particularly useful search terms in case you need to look for more information later. Jot down accessories from your reference images that you may need to source elsewhere—hats, gloves, shoes, crowns, and so forth—so you can keep an eye out for those items while you gather the rest of your materials.

short purple wig—an add-on that can be purchased, raglan sleeves, sleeve detail pieced with piping between panels, textured side panels in a stretchy fabric, piping (needs to stretch), boots—add-ons that can be purchased, princess seams—for a close fit, exposed zipper (how you get in)

Finally, at some point you may have to make some educated guesses. If you’re working from a TV or movie costume, your refs should give you a good idea of where the seam lines are and how each item of clothing is shaped. But if you’re working from a graphic novel, animation, or game, there may be more room left for interpretation based on the style of the artist who created the image. Seams in clothing are often subtle enough that individual artists may choose to omit them, so even for a relatively straightforward outfit, the art might not give you the whole picture. Some art styles are better at communicating fabric drape and texture than others, and a real-life costume will frequently need more detail than the animated version in order to look convincing. Some artists cheerfully design costumes that make no physical sense, and you’ll have to judge for yourself whether to attempt an approximation or just make something up. This is where your creativity and a little knowledge of fabric and how clothing is constructed will serve you well, because you’ll be able to visualize what should be there even if the artist doesn’t spell it out for you.

STEP 3

Make a Map

Since you’ll most likely be gathering information from multiple reference images, you may want to create your own sketches to keep track of everything you’ve learned. Use these drawings to take notes as you render the key details of each garment—the placement of seams and darts, whether a skirt is gathered or pleated, the shape of the collar or sleeve, and the length of the coat or dress. If the costume has multiple layers, draw each piece individually. Even if part of a piece will be hidden when you wear it, you need to know how the unseen areas will be constructed.

Achieving the correct proportions can be one of the trickiest parts of replicating a costume, so refer back to your reference images and look for landmarks that will help you get the relationships right. How wide is the skirt compared to the waist? Does the jacket end halfway down the thigh, or more like a third? Where does the sleeve end relative to the hem?

Multilayered costumes also require a little thought to make sure the pieces will fit together nicely. Remember that garments worn over other garments will need to be a little looser, and that the proportions between the pieces need to be correct in addition to fitting the proportions of your body. Later, you’ll be able to compare all these observations to the measurements of your patterns to determine if you need to make alterations (see this page).

If you’re not comfortable with drawing, or if you’re in a hurry, you may want to use a croquis to give you a starting point and create a consistent look between sketches. A croquis is a plain line drawing of your body, shown in a simple standing pose from the front, back, and sometimes the side (see this page). Fashion designers use them to save time when sketching, because they allow you to focus on drawing the clothes and not worry about drawing out the whole body every time.

You can find croquis online to download and print, but you’ll mostly see stylized fashion model shapes that won’t be as useful for people with differing body types. Instead, you can make your own custom croquis by tracing around a photograph of yourself like I did for the croquis on the next page. Get a friend or use a timer to take a straight-on picture of you from each side, holding the camera around torso height to avoid distorting your proportions. Wear close-fitting clothing and stand against a plain background so you can see the outline of your body clearly. Then, trace around the outlines of your body using your favorite image editing software or a sheet of tracing paper on top of the printed photos. You may want to put front, side, and back figures on the same page for the sake of efficiency, but make the figures nice and big so you can draw in fine details if you need to. Make sure you can see where your waist, hips, knees, and elbows should be, and add reference marks if necessary. Then print or photocopy the croquis so you can draw over the top of it.

These sketches will be your map for your whole project, so make them on sturdy paper and put them up where you can see them as you work. Take them with you when shopping for materials and accessories, and as you decide on fabrics and trims, you can draw them in or attach swatches. Once you have clear references and a good plan, you’re ready to start creating a convincing costume.

STEP 4

Identify Design Elements

After you’ve done a bit of research and have made a map, you may be tempted to rush right out and buy fabric. But don’t! If you were just sewing clothes for yourself, you might pick out a pattern you like and then choose fabric, or start with a gorgeous fabric and come up with a project to suit it. But the process for creating a costume is different: you’re picking a character to cosplay, then identifying the pattern (or patterns) to help you make that character’s costume, based on the design elements in the outfit. Once you’re confident that you can find patterns for the pieces you need—or create your own patterns if your skills allow—then you can shop for fabric, materials, and embellishments that will work with the underlying shape of the costume. So understanding a bit about design and construction is the key to choosing the patterns that help you build a successful costume.

Here’s how you might translate the drawing you made of your character’s clothing into a costume. Suppose your character wears a school uniform. When you break it down it consists of two garments: a blouse and a skirt. The blouse has a loose fit with side darts to give it a little shape, and long set-in sleeves that gather into cuffs. The neckline is V-shaped, with a sailor collar (natch). There is trim around the collar and the cuffs, and an accent scarf in a contrasting color. What are the defining elements of the skirt? It’s a bit simpler, featuring evenly spaced pleats and a basic waistband.

SEAMS

A Shoulder princess seam

B Armhole princess seam

C Back shoulder yoke

D Hip yoke

The illustrations in the Glossary of Style Elements on this page to this page present an overview of design elements to help you choose the appropriate patterns for practically any costume. These elements include neckline, collar, sleeve, skirt, dress, and pant styles. You’ll learn all about working with patterns in Chapter 3, this page, but start with recognizing these features from your costume map.

Some basic construction techniques are used to bring a design into 3-D, and to faithfully replicate a costume, you will need to recognize these as well. The most basic technique is the seam itself, which joins two pieces of fabric. Darts allow flat fabric to conform to the body’s curves and are essential to making a fitted garment from woven fabric that has no inherent stretch. Other features you may see in your reference costumes (some seen in the design elements previously) include pleats, gathers, flounces, godets, gussets, ruching, and shirring. Here’s some basic information about each of these construction essentials to help you identify them:

SEAMS. Most artists will at least suggest where a clothing item has seams, as seam placement is one of the main ways to define a garment’s style. Look for solid lines crossing the garment, clear breaks between colors or textures, and details like piping or decorative topstitching that may have been added to highlight the garment’s construction (read more about these decorative details in Chapter 5, this page). Sudden changes in shape can also indicate the presence of seams, as when a narrow sleeve suddenly becomes very wide and full or a fitted bodice blossoms into a voluminous skirt.

DARTS

E Side darts

F French darts

G Armhole darts

H Back shoulder darts and double-ended waist darts

I Waist darts on a dress bodice and skirt

DARTS. On reference art, darts are usually drawn as a simple line with an abrupt end, but you will probably find many artists who don’t bother to draw them in. Unless you deliberately emphasize them, they tend to disappear into the surrounding fabric, especially when viewed from a distance. This means that they can be a good choice for unobtrusive shaping in situations where the source material doesn’t specify a method. Darts always point to a “peak” of the body, such as the tip of the breast, the widest part of the hip, or the curve of the butt. You may also find darts on the back shoulders of jackets or fitted tops, where they help the fabric curve over the shoulder blades; on sleeves to account for the natural curve of your arm; and anywhere else you want to add shape to a garment (E–I).

A relaxed blouse may have a bust dart but no waist darts, and a loose-fitting shirt may have no darts at all. Men’s clothing uses fewer darts than women’s because men’s clothes don’t fit as closely, and generally men don’t have the curves that most women do, but you’ll still see back darts on some fitted shirts and on tailored garments like suit coats and trousers. You’ll also need more shaping if you’re making a historical style that’s meant to be closer-fitting than modern menswear.

PLEATS

A Knife pleat

B Box pleat

C Sunburst/accordion pleat

PLEATS. Pleats can help shape a garment, and in many cases they’re a key design element. In simple form, a pleat is a fold in the fabric that may be anchored with a few stitches at one or both ends. A reference image may have pleats in a variety of forms. Knife pleats, often used in skirts and trims, are a series of equally-sized Z-shaped pleats that all point in the same direction (A). In art, they look like a series of parallel lines with a zigzagging lower edge. Box pleats are symmetrical, created with pairs of folds that go in opposite directions (B). You may find them alone at center front or back, in pairs to replace darts on a skirt or other item, or placed around an entire garment. Individual box pleats can be formed inward or outward, with the paired folds pointing toward or away from each other. An inward box pleat is sometimes called an inverted box pleat. Drawings of box pleats will show how the paired folds come together at the top edge and spread out as they go down, with the “valley” of the pleat falling into shadow. You’ll also see the symmetrical fold pattern along the lower edge—the part of the pleat that falls to the outside usually has a convex curve along the hem, and the inside will have a concave edge. Cartridge pleats are deep and regular, sewn perpendicular to a seam, and can take up very large amounts of fabric. They’re especially common in big historical gowns.

Some types of pleats are not sewn in place, but simply creased. Accordion pleats are formed from a simple back-and-forth folding of the fabric. A variation of this is sun-burst pleating, in which the accordion pleats radiate outward from a central point as in a circular skirt (C). You can identify this type of pleat by the regular zigzag of the lower edge and the regularly spaced pleat lines that disappear before reaching the waistband or seam where they’re attached. Broomstick pleats are narrow and haphazard, formed by wrapping the fabric around a pole (the “broomstick”) and crushing it into tiny folds. Mushroom pleats are similar but slightly more regular, and usually permanently molded into the fabric by a machine. These very fine pleats may resemble gathers in an illustration, but will cling closer to the body because the shape is creased into the fabric. Complex patterns can be formed by pleating the fabric in two dimensions, creating repeating patterns like an Escher print.

GATHERS. Gathering is a very common method for attaching skirts to bodices, but it might be seen anywhere that a large volume of fabric is condensed, like when a puffed sleeve is collected into an armhole or cuff. Gathers are often used instead of darts in soft shirts or blouses. Unlike pleats, which shorten a length of fabric by a fixed amount depending on the depth of the folds, gathering can be made loose or dense depending on the type of fabric and the desired look. The downside is that it can get very bulky in the real world, so dense gathering is usually only appropriate when using lightweight fabrics.

Ruching and shirring are both variations of gathering that can be used to add texture to a garment. Ruching is an overlay of gathered fabric on a fitted under-layer that creates a wrinkled effect, often used to add detail on fitted bodices (D). Shirring is composed of multiple regularly-spaced rows of gathering, nowadays often created by sewing with elastic thread (E). It creates a deeply textured panel with an orderly look, and elastic versions are commonly used in the back of fitted bodices to make the fit more forgiving. (You may own or have seen a sundress that uses this technique.)

In art, it can be difficult to distinguish gathering from some kinds of pleating, but the most obvious difference is that gathering will generally be more irregular and random-looking, having curved lines instead of straight. You can see examples of how these elements are commonly drawn in the illustrations at right (F, G).

GATHERS

D Ruching

E Shirring

F Pleating

G Gathering

RUFFLES. Gathering is also used decoratively to create ruffles, a long strip of fabric that’s gathered or pleated and attached to the garment. They are commonly seen in Edwardian and steampunk styles, and as an accent on corsets, shirt fronts, or sleeves (A, B).

FLOUNCES. A flounce is a piece of fabric cut in a curve and attached to a garment along the inside edge of the curve. Because the outside edge of the flounce is longer than the inside edge, it falls into graceful cone-shaped folds. The simplest type of flounce is a partial or full circle, which falls into evenly spaced folds all the way around. One example of this is a circle skirt, which consists of a very large circle with a waist-sized opening in the center, usually attached to some kind of waistband. Narrow flounces are often used decoratively, placed horizontally or vertically to adorn skirts, shirt fronts, and sleeves (C–E). Though decorative flounces and ruffles are often used in similar ways, you can distinguish them visually by the way the folds fall. A flounce will be smooth along the attaching seam and fall into loose ripples at the hem, whereas a ruffle has tight gathered folds along the attaching seam that relax toward the edge.

GODETS. A godet is a wedge-shaped panel of fabric that’s inserted into a seam or slit in the garment. If your reference image has a trumpet or mermaid-style skirt, godets are one way to achieve this silhouette that is narrow through the hips but flares out into a luxurious, swishy hem. Generally, godets are used in garments made of lightweight fabric, so they collapse into soft folds (F).

GORES. A gore is a panel of fabric that’s shaped to create a certain silhouette—usually narrow at the top and wider toward the bottom. For example, a mermaid skirt might be constructed from several narrow gores that all flare out toward the hem (G).

RUFFLES

A Ruffled skirt hem

B Ruffle set into a seam

FLOUNCES

C Vertical flounce

D Spiral flounce is fuller at one end

E Circular flounce

GODETS

F Godet set in a center back seam

GORES

G Multiple similarly-shaped gores create a flared skirt shape

GUSSETS

H Underarm gusset adds more room to raise arms

GUSSETS. These are small panels of fabric that are inserted at high-stress locations like underarms and crotch seams to improve the range of motion. You may have seen these in purchased tights or leggings, and they’re often used in costumes for dance and theater. Though not obvious when the garment is worn normally, this is another real-world consideration if your costume is meant for vigorous activity, so look for them in a pattern (H).

EASE. In identifying the major construction elements of your garment, don’t forget to look at the overall silhouette. The technical term for the difference between the garment measurements and body measurements is ease. This encompasses both wearing ease—the amount of ease needed to make a garment comfortable and mobile enough for its intended purpose—and design ease, which accounts for the difference between a tailored blouse and a billowing pirate shirt. Some garments even feature negative ease, because they are actually smaller than the body measurements; these pieces either stretch into shape to help accentuate the body or they pull the body in, as a corset does. Remember also that garments intended to be worn over other garments, like jackets and coats, will need more wearing ease in order to avoid binding and restricting your movement. Your reference map should help you see how closely the costume should fit, which has a lot to do with how a garment behaves when you are actually wearing it. Your fabric choices will also contribute to the amount of wearing ease needed in your costume. (Much more about the qualities of fabric in Chapter 2, this page.)

Loose-fitting garments drape over the body instead of following its every curve, so they are often composed of simple, blocky shapes with soft pleats and gathers instead of shaped seams or darts. On the other hand, a close-fitting garment will need to be precisely fitted to your body in order to lie smoothly, perhaps with strategic darts and seaming. A body-hugging garment with no obvious darts or other shaping construction elements must be made of stretch fabric to allow it to mold to the body and move with it.

STEP 5

Pick a Pattern

Now that you’ve identified the features you want in your costume, it’s time to pick the pattern (or patterns) that you’ll make it from. Ideally, you want to find a pattern that has the same general shape, fit, and design elements as your reference costume. If you don’t see the exact details you want, some fixes are very simple: skirt and sleeve lengths are easy to adapt, and you can add more seams or change the shape of a neckline without too much difficulty. I detail these alterations in Chapter 4 (see this page). Changing collar and sleeve shapes is a little more involved, but doable with a bit of experience (or a lot of trial and error); swapping out pattern pieces to switch up a look is also explored in Chapter 4.

CHOOSING YOUR SIZE

Sewing pattern sizes are different from store-bought clothing, so always use your actual body measurements to choose your size. Stand naturally and have a friend measure you for the most accurate results. When measuring, wear your normal undergarments (the style you plan to wear with your costume) and a leotard or close-fitting top and leggings, if you want them for modesty. Measure your bust/chest and hips around the fullest part of each, and your waist at the narrowest point. If you have larger breasts, measure your upper chest (over the breasts and under your arms) as well. For all measurements, the tape should be parallel to the ground, flat against your body, without squishing or flattening anything. Take each measurement a few times and average them for the most accurate results.

Check the measurement chart and refer to your measurements to choose your size. Coats, tops, and dresses will be sized by your chest or upper chest measurement; pants and skirts will be sized by the hip or sometimes the waist, if it’s a men’s size or a very full style that doesn’t touch your body at the hips. Women’s patterns are almost always sized for a B cup, which means the pattern will assume a 2" (5 cm) difference between the upper chest and the fullest part of your bust. If you measure more or less than that, you should use your upper chest measurement to pick a size and plan to adjust the pattern (see this page).

The pattern is the key to the construction of your costume. Now that you’ve mapped out basic structure and identified patterns, it’s time to start learning about fabrics.

Commercial Patterns

For a wide selection of patterns, check out the offerings at your local fabric store or online. (Most pattern companies sell through their websites, and you can find out-of-print styles on Etsy and eBay.) Browse the catalogs for available styles, but don’t limit yourself to costume patterns! Many characters wear costumes based on common clothing. Note the brand and number for your selection so you can request it (or locate it yourself if the store has self-serve pattern cabinets). Check what size combinations are available so you can get the right one for your measurements; see “Choosing Your Size,” opposite, for tips.

Once you have the pattern envelope in hand, flip it over and take a look at the information on the back. The photos or illustrations on the front of the envelope might not look exactly like what you want for your cosplay, so look for a line drawing that shows the “bones” of the pattern to see if it works for the design you’ve mapped out. The back of the envelope should also tell you what fabrics are appropriate, how many yards you need to make each size, what other supplies are necessary, and sometimes the finished measurements. Taken together, all this information should give you a good idea of whether the pattern will work for your project. It also serves as a shopping list for when you’re gathering materials.

Companies will use certain phrases to indicate how the garment is supposed to fit. A “close-fitting” or “fitted” garment should skim close to the body, while a “loose-fitting” garment will drape and fall away from the body. There are specific standards for how much ease corresponds to each category, and you can find a guide in the pattern catalog or on the company website. Even so, it can be difficult to picture what 6" (15.2 cm) of ease looks like, so try measuring some of your own clothes to determine how much ease you prefer for each type of clothing and adjust your chosen size accordingly.

If you unfold the pattern tissue, you may see the garment’s finished measurements printed on the front or side front piece. If not, you can measure the pieces yourself, remembering to subtract seam allowances (the amount of fabric taken up when sewing a seam). These measurements will usually be larger than your body, to allow for wearing ease and the design of the garment, but if you’re making a corset or using a stretch fabric, you may want the measurements to be the same or even smaller than yours. The difference between the finished measurement and the body measurement is the amount of ease in the pattern, and it should be the same as the amount described on the envelope (though you can adjust to your preference if you want a looser or tighter fit than the designer intended). Refer back to the description of ease on this page if needed.

CHAPTER 2

FABRICS AND MATERIALS

Now that you’ve mapped out the basic structure of your costume and have selected the patterns you need, it’s time to start looking for fabrics. Choosing the right fabric isn’t just about finding the color or pattern your character wears. You’ll also want to keep in mind the things you’ve learned about the shape of the costume and how it will ultimately fit, so you can match the characteristics of your costume up with fabrics that have the appropriate properties. Commercial pattern instructions will give you suggestions for appropriate fabrics. And if you’re just starting to sew, don’t worry! This section will go over some of the different types of fabric you might encounter, so you can determine what’s right for you and your project. Fabric will be the largest expense for most sewn costumes. We all have budget constraints, so it’s important to know your needs and your limits before you hit the fabric store. Bad fabric can spoil the entire costume—it might be too flimsy, shiny, or wrinkly to give the effect you’re looking for, or it might be scratchy, hot, and uncomfortable to wear. If you don’t buy enough fabric, you might end up kicking yourself when it’s the night before the convention and your costume has no sleeves or only half a skirt panel. But at the same time, you don’t want to let fabric eat up your entire budget—you want to leave some room for wigs, accessories, and the rest of the pieces that will make your costume come together. So it’s all about striking a balance and finding materials that will look good in person and in photos without spending your entire paycheck.

Fabric Characteristics

In addition to the specific types of knit and woven fabrics described in this chapter, here are some general terms that are used to describe and compare different fabrics. Learning to identify these properties will make it easier to re-create the qualities of your reference costume.

DRAPE. This describes how the fabric hangs, whether stiff or fluid. A drapey fabric forms soft, graceful folds.

BODY. A fabric with body tends to stand up and hold its shape.

CRISPNESS. Crisp fabrics can form sharp folds and hold creases.

WEIGHT. A fabric’s relative thickness or thinness is described as its weight.

TEXTURE. Fabrics can have a variety of surfaces, from silky smooth to ribbed to fuzzy.

HAND. This refers to how a fabric feels when you touch it.

SHEEN. A fabric can be shiny, matte, or somewhere in between.

OPACITY. Fabrics may be sheer (transparent) or opaque. Sheer fabrics may need lining to prevent show-through.

Understanding Fabric Types

Fabric is created in two ways: it is woven on a loom or it is knit with a series of loops. Exceptions exist, but most knit fabrics are intrinsically stretchy and wovens not so much, although they can have some stretch based on the type of fibers they’re made from. It’s important to understand the differences between woven and knit fabric, because the fabric is a huge factor in the functionality of your costume, and the characteristics of the fabric also allow you to faithfully re-create your reference garment’s qualities.

FABRIC GRAIN

A Grain lines relative to the fabric roll or bolt.

WOVENS

Woven fabrics are composed of two perpendicular sets of threads, the warp (along the length of the fabric, the direction it unrolls from the bolt) and the weft (across the width of the fabric, parallel to the cut edge). The structure of the fabric comes from the crossing of these threads over and under each other, and the result can be very plain or very intricate, depending on the type of weave. Woven fabrics have a straight grain, which runs parallel to the warp threads, and a cross grain, which runs parallel to the weft (A). The selvage (the tightly woven border along the edges) is along the warp edge; it helps you quickly identify the direction of the grain of the fabric. This is important when you are laying out and cutting your pattern pieces (see this page); because the warp threads are usually a little stronger than the weft, items cut on the straight grain (with the warp running vertically) will tend to fall more softly while garments cut on the cross grain will be a little stiffer and more voluminous. The bias grain runs at a 45° angle to the straight and cross grains, and usually has more give or stretch. You might cut pieces on the bias when making slinky, drapey gowns, or for making historical leggings and hose where you need a stretch fit without anachronistic spandex (see this page).

Woven fabrics are made from all kinds of fibers in all weights. Although they share some general traits, there are infinite exceptions. For example, many woven fabrics are prone to fraying, because the threads run across the fabric in a roughly straight line and so can be pulled out individually. But if the threads are textured, felted, or otherwise entangled with each other, as with many wool coatings, they can resist fraying very well. Most wovens do not naturally stretch, but often they will have some amount of “give,” which can cause sagging in tightly fitted garments. And if spandex or another stretch fiber is incorporated in the woven fabric, it can have stretch and spring on par with many knits.

Types of Weaves

The weave of a given fabric can have a large impact on its suitability for a particular piece of your costume, sometimes more so than the type of fiber it’s actually woven from (more about fiber content on this page). See below for illustrations of some common weave patterns.

B Plain weave

C Twill weave

D Satin weave

Plain weave has a simple pattern of alternating over/under threads in each direction (B). Traditional cotton or cotton-blend fabrics like muslin, broadcloth, poplin, voile, batiste, gauze, and quilting cottons are woven this way. A plain weave is also often used for linen, both in the fine handkerchief weight and the more substantial bottom-weight versions used for skirts or pants, and for some silk fabrics including organza, habotai, and dupioni. Some wool suitings are plain weaves as well. Plain weaves tear more easily than other weaves and are more prone to wrinkling, but in general they’re a good choice when you want a plain, neutral fabric type.

Twill fabric is created when the threads pass over and under multiple threads in a staggered pattern (C). This results in a faint diagonal texture, sometimes broken up into a herringbone pattern. Fabrics of this type are often simply called twill, but also include denim, gabardine, serge, drill, and the herringbone coutil designed for corset making. Twills are often basic, rugged fabrics good for uniforms and casual pieces, but they can also be very fine.

Satin weaves have long “floats,” threads that cross over many more threads than they cross under, giving them a smooth, slippery surface (D). The most lustrous satins are made from silk or synthetic facsimiles, but more subdued wool and cotton sateens can be lovely for dresses and jackets because they look dressy but don’t read as “shiny” on camera. Duchess satin, characterized by a heavy weight and low-key sheen, is also excellent for costumes that call for deep colors, a smooth texture, and lots of body (magical girls and princesses, take note).

Patterned weaves may be simple or very elaborate. Jacquard weaves are one major family, including brocades and a variety of other all-over woven designs. These fabrics are wonderful for creating a rich look if you’re cosplaying someone royal or otherwise important, but you probably won’t find the exact pattern your character wears. If you’re very particular about this, you’d be better off re-creating the design with embellishment or a custom print.

Velvet and velveteen are woven with a pile, which is an additional set of threads that stick straight out of the surface like a carpet. You can find inexpensive versions made from polyester, or more costly and luxurious versions made from rayon and silk. Velveteens are often cotton, and somewhat easier to sew than the others, because true velvets require careful handling to avoid crushing and a lot of basting to prevent the layers from creeping as you sew.

KNITS

Just like a knitted sweater, knit fabrics are made from a continuous length of yarn that forms a series of interlocking loops (or sometimes multiple interlocking yarns). Many knits have inherent stretch, and are sometimes enhanced with the magical spandex (see this page) to give them power stretch, which means that they stretch and spring back vigorously when released. It’s the kind of fabric you want for leotards and bodysuits. Others have minimal stretch and can be treated more like wovens. Stable knits more or less hold their shape while you work, making them a good choice for beginner projects. Very stretchy or drapey knits may stretch and sag out of shape or wiggle and slink while you cut and sew them, so tackle them after you’ve finished a few projects.

When picking knit fabrics, the most important properties are the stretch and recovery. Stretch allows the fabric to expand to fit your body, and gives you more flexibility and freedom of movement. Recovery is the fabric’s ability to spring back after being deformed, which makes for a consistent, body-hugging fit. Fabrics with no spandex content may still have stretch due to their structure (this is often described as “mechanical” stretch) but will mostly have less recovery. Much like with wovens, a small percentage of spandex in a knit can help to improve recovery and prevent sagging.

TESTING STRETCH

A Fold the fabric and grip two points. Stretch as far as it will go, then divide the stretched length by the unstretched length, subtract 1, and multiply by 100 to get the percent stretch.

Knits may stretch horizontally, vertically, or both, and in varying degrees. You can test the stretch of a knit following the formula in (A). Patterns designed for stretch fabrics, like many in this book, will indicate how much stretch is required, with a percent difference between the relaxed and stretched lengths or a printed gauge that you can use to measure your fabric directly.

Confusingly, a fabric that has significant stretch in both horizontal and vertical directions is sometimes called four-way stretch, and two-way stretch may mean a fabric that has significant stretch in one direction and minimal stretch in the other. Make sure you know which you’re looking for—as a general rule, bodysuits and leggings require four-way stretch.

Types of Knits

Just as with a woven fabric, the specific characteristics of a given knit can make it right (or wrong) for your costume.

Activewear knits are nylon/spandex or polyester/spandex knits available in a variety of weights, with shiny, matte, or foil finishes. These are the default fabrics for swim and dance wear, bodysuits, and leotards, and are less common in fashion because of those associations. They’re a great choice for skintight superhero outfits, because the stretch and recovery are reliably good, so you can even order them online without too much risk. Just note whether the stretch is two- or four-way and how the specific store defines those terms.

Cotton/spandex jersey is available with varying amounts of stretch; small amounts of stretch are most appropriate for T-shirts and dresses, while stretchier cotton knits can make very comfortable bodysuits.

Double knits are more substantial than single knits, and are generally stable and easy to sew with. Ponte di Roma is one popular type, made from blends of rayon, polyester, nylon, and spandex. They may have generous stretch and recovery or very little. Use them for dresses, jackets, pants, or structured jumpsuits.

Mesh knits include illusion and glissenette, stretch mesh, athletic mesh, fishnet, and powernet. They’re used to add breathability, inconspicuously support cutouts and other details, or layer over other fabrics to add texture. Firmer nets such as powernet can also be used to line garments for a built-in shapewear effect.

Rayon/spandex jersey knits are extremely soft and comfortable, but may be too clingy and unstable for bodysuits. Use them for projects that benefit from the light weight and lovely fluid drape.

Rib knits are used for bands at the neck, wrists, and waist of sweatshirts and jackets. They’re often available in narrow pre-cut cuffs and bands as well as full-width yardage.

Scuba and spacer knits are thick, spongy, springy knits often confused with neoprene, but are actually made from nylon or polyester. They have a futuristic look that works well for bodysuits or structured garments, but the amount of stretch varies, so choose carefully.

Slinky knits are named for the way they drape and cling to the body. These extremely stretchy, fluid knits aren’t usually stable enough for bodysuits or leggings, but are great for clingy, sexy gowns and skirts.

Sweater knits are loosely knit from chunky yarns for a hand-knit look. They’re a great solution if your costume calls for a sweater and you don’t have the time or inclination to knit one, but they can be hard to source.

Fiber Content

Many of the properties of a fabric are determined by the type of fiber it’s woven or knit from. They fall into two broad categories: natural fibers that are derived from plant or animal sources, and synthetic fibers, which are produced by physical or chemical means from base materials. While there are some traits that are broadly applicable within each category, there are also innumerable variations.

NATURAL FIBERS

Natural fibers are used in some of the oldest types of fabric, since the technology to produce them in one form or another has been available for hundreds or even thousands of years. That makes them a sure bet for historical costuming, and for historically inspired fantasy settings. They also age and fray beautifully, as a general rule, so they’re a great choice for projects that need distressing (see this page). They tend to be more breathable than synthetic fabrics, and they have a range of other properties derived from their plant or animal origins that determine what projects you may want to use them for.

COTTON is a plant fiber, known for its strength, breathability, and versatility. It’s one of the least expensive natural fibers, though you’ll pay a bit more for very high- quality cottons. Lightweight cottons are very comfortable for summer wear, especially when sheer, and heavier weights are great for structured dresses, jackets, and uniforms because they’re crisp and hold their shape well. Beware of low-cost cottons, especially if they’re marketed for quilting, as they can look papery and cheap (which they are).

LINEN is derived from the flax plant, and is available in very light “handkerchief” weights all the way up to heavy canvas. It’s been used for thousands of years, so it’s an ideal choice for many historical costumes. It’s also one of the most comfortable fibers to wear in hot weather. Linen wrinkles easily, which is great if you’re aiming for a weathered or rumpled look, but expect a lot of ironing if you want it crisp.

WOOL fabric is made from the fleeces of sheep and other animals, and comes in various weights from sheer, floaty gauze to crisp, formal suitings to cuddly-soft coat fabrics. It’s also one of the easiest fabrics to work with. The downside is that it often needs to be dry cleaned, or at least hand washed, and it can be hot to wear.

SILK is synonymous with luxury, but it’s also a very useful and versatile fiber that comes in a plethora of vivid colors. It’s derived from silkworm cocoons, which are individually unspooled to create extremely long, thin, strong fibers. This gives silk a high sheen in fabrics like satin, and allows it to be woven into very thin, delicate-looking fabrics. It takes dye well, and is sometimes easier to work with than synthetic alternatives. Heavier-weight silks are generally very expensive, but make beautiful gowns and coats.

SYNTHETIC FIBERS

Synthetic fibers are often less expensive than natural fibers, and many of them resist wrinkling. They can form permanent creases, which is great for items like pleated skirts, but they may melt if your iron is too hot! They are also more prone to static cling. While synthetics have a reputation for poor breathability, microfibers and other high-tech fabrics designed for performance clothing can be excellent for hot weather. That said, there’s evidence that some synthetic fibers absorb and retain body odors more readily than natural fabrics.

RAYON, or viscose, is a manufactured fiber, but since it’s made from cellulose (the material that gives plants their structure) it’s absorbent and breathable in much the same way as plant fibers are. Rayon usually has a soft, fluid drape, and is often blended with other fibers. It is a popular choice for suitings, blouse and dress fabrics, and knits.

POLYESTER can simulate everything from cotton to wool to silk at much less cost. It’s often blended with other fibers to make them more economical and easier to care for, as it’s very durable and resists wrinkling. Negatives are static, pilling, low breathability, and a tendency to stain and retain smells. It’s also difficult to dye and requires special dye formulations, so it’s best to buy the exact color you need, rather than try to dye it yourself.

NYLON is a very strong synthetic fiber that is commonly blended with spandex (see below) to create stretch knits, or used in rigid woven form. Wool/nylon blends are usually cheaper than pure wool, and may be stronger and easier to care for. The downside is that you might see more pilling (little balls of fiber). SPANDEX, or elastane/Lycra, is basically magic. Alone, it’s capable of stretching up to seven times its original length and recovering more or less completely, but it’s usually blended with other fibers to give them stretch, wrinkle resistance, and recovery. Above, you can see two examples of nylon/spandex blends: a lightweight shiny spandex and a heavyweight matte moleskin.

Materials and Supplies

In addition to fabric, there are other important materials and supplies you need to sew your costume. Here’s a bit about these other essentials, many of which you’ll also find where you shop for fabric.

STRUCTURAL MATERIALS

Often, the base fabric for a garment needs a little extra support or reinforcement to achieve the desired effect. Knowing how to effectively use interfacings, boning, and other structural materials in your costumes will improve the fit, help them to look crisp and neat all day, and make them more durable besides. Most commercial patterns include suggestions for interfacings and notions to achieve the look on the envelope, but use your best judgment for choosing what will give you the effect you want.

Interfacing

Interfacing is a fabric or fabric-like material that’s inserted behind your outer fabric in areas where you need it to be firmer or have more body. It’s used on collars and cuffs to make them crisp and smooth, on waistbands to prevent them from collapsing and wrinkling, and on neckline facings to prevent them from crumpling and stretching out. Interfacing is also used on areas where you’ll be making buttonholes or inserting a zipper to prevent the fabric from rippling, and on areas that will be heavily embellished or embroidered to help support the weight and tension of the thread. Tailored coats and jackets may have multiple layers of interfacing and use different types in different areas.

Some interfacings are made from a non-woven bonded material, while others are made from woven or knitted fabrics. Woven interfacings have very little stretch, but give a little bit along the bias. Knit interfacings are good where you need the result to be more pliable. Weft-insertion interfacing is a great hybrid of knit and woven interfacings that is very substantial and is often used in tailoring. Non-woven interfacings are very stable in all directions, with no grain, and the heavier craft weights can be useful for stiff, exaggerated, armor-like structures like you see in a lot of anime-style costumes.

Many interfacings are fusible, which means that they’re coated on one side with a heat-sensitive glue that you activate with an iron. Fusibles are great because they bond permanently with the fabric, so you won’t have to worry about keeping the layers lined up when you sew. If you make a lot of costumes, it’s a good idea to keep a selection of your most-used interfacings on hand, so you’ll always be ready if you decide a project needs some extra oomph.

Make sure you’re buying good quality interfacing, though, as the cheap stuff can ruin your garments by shrinking, peeling away, and forming bubbles over time. Also, try fusing a sample of interfacing to a scrap of your fabric first, because the fused interfacing and fabric may be much firmer than you’d expect from either material alone, and wash it to see how it will wear over time. Always follow the package directions for fusing to ensure a good bond, and make sure you place the interfacing on the fabric with the coated side down so it doesn’t stick to your iron. Use a protective press cloth between the interfacing and iron to help avoid getting gunk on your iron and workspace; I always trim the interfacing a little smaller than the piece I’m fusing it to so it doesn’t spill over the edge. On the bolt, interfacing is generally narrow—about 20" (51 cm)—but fortunately it’s easy to overlap and piece together to avoid buying more than you really need.

Sometimes you may want sew-in interfacing, especially if you’re making a historical garment or using velvet or a sheer fabric. In these cases, you would baste the interfacing to the outer fabric, sewing within the seam allowances so the stitches don’t show, and then treat the two layers as one for the rest of construction. You can either buy sew-in interfacing or use an extra layer of the outer fabric for this purpose. Or, in some situations, you may want to use a lightweight cotton or silk organza in a matching color.

Structural Materials: 1. Weft-insertion interfacing 2. Knit interfacing 3. Batting 4. Spiral steel boning 5. Spring steel boning 6. Wire

BONING

A Separately applied channel (bias tape, channeling, and ribbon)

B Channel made from seam allowance

C Channel sewn between layers

D Spiral steel boning and boning tip

E Applying tips to boning

Boning

No, it’s not made out of bones! The original “whalebone” used in corsets was actually the whale’s baleen, but now boning is made of plastic, steel, or nylon. Boning is an essential component in fitted bodices, corsets, and other tight-fitting, structured clothing; most often, the strips of boning are inserted into casings or channels that are sewn into the garment (A–C). The main purpose is to prevent the fabric from wrinkling and collapsing, especially when the garment is strapless. You can also use it to support large standing structures like collars or fins, and heavier-weight boning is used for hoop-skirts and bustles.

The number and type of bones you need to use will depend on the project. On a dress bodice that you’ll be wearing with separate undergarments, you might just want boning at the side seams to help it stay nice and smooth. If the bodice is strapless or needs to support you all by itself, you’ll probably want more than that. On a corset, you may want bones every 2" (5 cm) or so to keep the fabric smooth and taut as it molds your body.

Rigilene, a woven tape containing wiry strands of plastic, is the most common and least expensive boning. It’s convenient because you can sew through it, so you don’t have to worry about casings and it won’t twist or slide around in your garment. However, it’s not very durable and can buckle and warp over time, making it a poor choice for corsets that will be worn often or will be under a lot of strain. Plastic boning, often sold with a pre-made fabric casing, is a little sturdier and similarly inexpensive and easy to find, but still best for bodices and corsets that will be lightly stressed or worn infrequently. Plastic cable ties, sold in hardware stores, are an inexpensive and durable alternative.

For serious corsets that reduce your waist, most costumers insist on steel. Steel boning comes in two types, flat and spiral. Spiral boning flexes from side to side as well as front to back, and is great for curved seams. Flat (spring) steel flexes in only one direction, and is used where rigidity is needed—especially on lace-up panels where you really don’t want any sideways flex. Steel boning is available in pre-made lengths or in larger rolls (but note that you’ll need special tools, like wire cutters, to cut it). Steel-boned garments require careful cleaning to avoid damage and rust.

If boning is cut or trimmed to size, it’s important to finish (or “tip”) the ends so they don’t tear through the garment and potentially injure the wearer. Plastic boning and Rigilene can be rounded with scissors or melted smooth with a candle or lighter, and the ends wrapped in a scrap of fabric or interfacing for extra insurance. Steel bones of either type should be filed smooth; spiral steel boning should be tipped with little metal caps that are applied with pliers (D, E), while flat steel boning should be wrapped in plumber’s tape or dipped in a special liquid plastic coating.

HORSEHAIR BRAID

F Horsehair braid sewn to hem

G Horsehair creates bouncy rippled edges

WIRE

H Reinforcing a standing collar with wire and interfacing

Additional Structural Materials

Costumes often involve exaggerated shapes that you don’t see in ordinary clothing. To achieve these effects with fabric, you may need to get a little more creative with your structural materials.

If you want to create a thick, pillowy effect, fiberfill and batting are the materials you need. Fiberfill, or stuffing, is the loose, fluffy fiber used to stuff soft toys. To use it, you’ll sew the area to be stuffed first, leaving a small opening to insert the fill, and then close it up afterward with a hand stitch (see this page). Batting comes in a flat sheet that may be less than ¼" (6 mm) thick or well over 1" (2.5 cm) thick, but is usually thin enough to sew through. Use it for quilted effects, or build it up in layers to create soft structured shapes.

If you want to create soft armor, dramatic collars and headpieces, masks, and props, Fosshape and heat-moldable craft stabilizers are the textile answers to thermoplastics like Worbla (used in armored costumes and props). These materials look like a thick interfacing or batting and can be sewn through, but become sculptable when heated with an iron, steamer, or hot air (heat) gun. Some are coated with fusible adhesive on one or both sides so it’s easier to cover them in fabric.

If you want to make full skirts and ruffles with wide springy ripples, use horsehair braid. Wider braid will give a more pronounced effect, but will also be more visible. To apply, simply trim your hem allowance down to ½" (1.3 cm), then align the braid with the cut edge on the outside of the fabric. Sew ¼" (6 mm) from the cut edge, then roll the braid to the inside so the fabric wraps around the edge of the braid. Use the gathering thread included on the top edge of the braid to pull it into a gentle curve, matching the curve of the hem, then secure by hand or machine (F, G).

If you want to create a lot of volume, like in petticoats and inside puffed sleeves, use net, organza, or crinoline. Typically, you’ll do this by gathering multiple layers of material to create a stiff, poufy ruffle that helps to support the fabric on top (see gathering instructions on this page). Some nets can be scratchy to wear, so bind the edges or add a lining to your garment (see this page) to keep them away from your skin.

If you want to support large standing collars, wings, and other features, use wire, especially when combined with buckram (a stiff cloth product) or heavy craft interfacing. To add wire for structure, first cut your shape out of one or more layers of buckram or interfacing. Arrange the wire on top or between the layers, then zigzag stitch over the wire to secure it, being careful not to hit it with the needle. Finally, insert the whole piece between the layers of fabric that make up your special feature. The result is a solid-but-invisible internal structure that can be easily molded into your desired shape (H).

FASTENERS AND CLOSURES

Closures can be totally functional, mostly decorative, or somewhere in between. Since not all artists have the best grasp of how clothing works, you might have to get a little creative when deciding how you want to get into your costume. Hidden zippers, hooks, and snaps are good fallbacks, if there are no visible closures or if the given closure methods are unnecessarily cumbersome (unless wrestling with laces on the back of a bodice or fiddling with a hundred buttons helps you to get into character). Otherwise, you may want to think about which fasteners would be appropriate for your character and setting, especially for historical-type costumes where a prominent zipper might spoil the effect. Laces, ties, buttons, and hooks-and-eyes are better choices if you’re looking for a period effect, though of course all bets are off when you get into steampunk. Here is an overview of fasteners and closures; you’ll learn how to install them in Chapter 3 (see this page).

BUTTONS are functional, easy to add, and fun to shop for. Additionally, they are historically accurate for many period costumes. They can also be purely decorative, and you can fasten them in a variety of ways. Learn to make buttonholes and loop closures for buttons on this page.

ZIPPERS are secure, versatile, and quick to sew. It pays to use them thoughtfully, as the type of zipper you choose and the insertion method can affect the overall feel of your garment. An invisible zipper is the most neutral option, since it more or less disappears into the seam. Centered and lapped zippers are also fairly unobtrusive, but they need to be topstitched for security, so they give your project a slightly more structured look. Exposed zipper methods make the zipper into a decorative feature, so you can show off glittery metallic teeth or use one of those giant chunky plastic styles you see on JRPG (Japanese role-playing game) characters. (Giant zippers can be ordered online if you can’t find them locally.) Standard zippers can be made of metal or plastic. Smaller sizes fasten with a continuous nylon coil, while some heavier zippers have individual plastic teeth. Invisible zippers are made so that they curl inward when fastened, pulling the fabric together and concealing the join (see the top zipper at right for an example). A separating zipper is the familiar type often used on jackets and coats.

GROMMETS AND EYELETS are often used in the lace-up features common on historical costumes, for attaching leathery armor, and of course on corsets. In most situations, a sewn or metal eyelet is enough to prevent the fabric from tearing at the lacing point if the lacing just needs to support the weight of a garment and hold up to ordinary wear and tear. Corsetry is a special case, because the lacing actually needs to pull the body in and is under a whole lot more strain as a result. For a corset designed to reduce your waist, you should always plan to use two-part grommets and place boning (optimally spring steel boning) on either side of the grommets to prevent the lacing panel from buckling.

SNAPS might not always be the most authentic choice, but they make a great all-purpose costume fastener. They’re excellent when a piece needs to be easily removable for convenience or performance purposes, they’re easy to conceal, and they work on heavy layers that are too thick for buttonholes. Sew-on snaps are the easiest to find in fabric stores, and are available in a range of sizes from very small (3⁄16" / 4.8 mm) up to over 1" (2.5 cm) across. Other types of snaps have two parts to each side, the actual snap portion and a claw or rivet that passes through your fabric to grip it. These come with a variety of decorative faces for the claw side, and have a nice professional look but need to be applied with a special tool. Magnetic snaps, often sold for bag making, are an interesting variation that are great for quick-release pieces. These are usually a clamp-in style with a special washer for the back to prevent the snap from pulling out, but they may or may not require special tools for insertion.

HOOKS AND EYES are among the oldest fastening methods, useful for an unobtrusive closure on everything from historical gowns to modern jackets. They’re also available in a whole range of sizes—use a tiny one at the top of a zipper to keep it from coming undone, or a big chunky one to close a heavy coat or cape. Trouser hooks like the ones shown here, are made from a flat piece of metal instead of bent wire, and are good where you need a very sturdy hidden fastener.

Specialty Fasteners

There are some additional fasteners that may be appropriate for your costume. A busk is a heavy-duty metal fastener used in corsetry. Each half of the fastener is assembled on a rigid metal base, available in 1" (2.5 cm) length increments to match the opening of your corset. Insert so that the posts are on your left when worn, loops on the right. Swing hooks are heavy metal clasps used as an alternative closure for corsets.

A frog is made from looped cord, with a decorative knot on one side and a loop on the other. These are common on jackets and cloaks. You can buy these pre-made or make them yourself from cord. A toggle is similar to a frog, but it’s anchored with a large oblong bead instead of a knot; they’re mostly used on heavy coats. Finally, a rivet is a permanent fastener that’s also sometimes used for reinforcement. You’ve probably seen them on your jeans, and they’re great for straps and leatherwork.

STICKY STUFF

Adhesives definitely have their place in sewing, but it’s almost always in a supporting role—for example, to hold an appliqué in place while stitching (see this page). Fabric glues can be very tempting in the craft store, promising easy no-sew solutions for a variety of situations. Unfortunately, they’re almost certain to disappoint if you try to use them to replace needle and thread. Fabric is too porous and too flexible to take glue well, so the amount of glue necessary for a good hold will stiffen the fabric to an unappealing cardboard texture.

Fabric glues are available in liquid, glue stick, and aerosol forms. If you intend to sew through the glue for a permanent bond, make sure you pick one that won’t goo up your needle. Some fabric glues are permanent, while others are designed to dissolve when your project is washed.

Fusible web is the same stuff that coats fusible interfacing, minus the fabric backing, and is available in sheets or tapes of various widths. Cut as much as you need, iron over the paper backing to transfer the fusible to one fabric surface, then remove the paper and iron again to stick it in place. You may even find fusible thread, which can be used in your machine’s bobbin to sew out a precise line of sticky stuff on the underside of your fabric.

Wash-away tape or basting tape is a double-sided tape used when you want a temporary hold and a little extra stability, but don’t want to permanently stiffen your fabric. It’s great for securing hems while you stitch, and also handy for temporarily tacking appliqués and trims (see Chapter 5, Trims and Embellishments, this page).

MISCELLANEOUS MATERIALS AND SUPPLIES

Depending on your costume, you may need some assorted supplies you can also find at the fabric store or online. For example, single- or double-fold bias tape, seam binding, and hem tape are often used to finish raw edges; twill tape helps stabilize areas of a garment; and fray stopper, a liquid seam sealant, is helpful to prevent edges from fraying. Elastic is used in many costumes; it’s available in a variety of widths to suit almost any purpose. There are many supplies and gadgets that might appeal to you if you browse through the store while you’re shopping.

Shopping for Fabric and Materials

Finally, time to shop!

When choosing fabrics, your eyes and fingers are your best guide. Get used to groping the fabrics; the feel of the material in your hand is a good indicator of how it will feel on your body. Scrunch it up and see if it wrinkles; hold it up and try to see your hand through it to gauge opacity. Unwind a bit from the bolt or roll, and compare the drape to your reference materials. (Remember, some garments need a soft, fluid drape, while others call for crisp fabrics that will hold a crease.) If you need stretch fabric, check both the stretch percentage and the recovery. Consider the weight and how warm it will be to wear. Be cautious when choosing fabrics that are glossy or shiny; they tend to look much more so in photos, and construction imperfections tend to be magnified as well. Make sure that the weft is exactly perpendicular to the warp for woven fabrics (see this page for a refresher on fabric weave), and if your fabric has a printed design, you should make sure it’s correctly aligned with the grain (which you can find by folding the fabric along the cross grain so the selvages align on each side). If the grain is skewed or the print is crooked, this is usually a sign of poor quality, and it can cause problems in cutting out your pattern. Finally, check the end of the bolt for vital information like the fiber content and care instructions, and write these down or snap a photo of the label for future reference.

Additional Costume Considerations

In addition to aesthetic concerns, your material choices have some practical implications for your costume. Before making your purchases, consider:

VENUE AND TEMPERATURE. Consider the setting and choose fabrics that will breathe in hot weather or keep you warm in air-conditioned convention centers.

MOBILITY. Even if your costume doesn’t technically require stretch, you may want some for freedom of movement in tight-fitting bodices, jackets, or pants.

ENTRY/EXIT. Don’t be that person who takes years in the restroom. Choose closures that will let you get into and out of your costume as needed.

WASHABILITY. Convention days are long, and you’ll probably want to clean your costume after wearing it a few times. Plan for this.

Once you’ve selected your fabric, take it to the cutting table. Buy the amount of fabric specified in the book’s pattern instructions (or on the envelope of a commercial pattern). Note that most stores won’t take fabric back once it’s cut, so consider the cutting table your point of no return. Before you leave the fabric store, it’s a good idea to pick up items like zippers, threads, trims, and embellishments in corresponding colors to your fabric so you can work without interruptions once you get home. If you can’t find an exact match, pick something a shade darker than your fabric.

ONLINE SHOPPING

If you don’t have a brick-and-mortar fabric store near you or can’t find a good selection of what you need there, online shopping is unbeatable. Online retailers are great for several reasons: they offer more rare specialty fabrics, have expanded color options, and often feature good deals on fancy designer remnants. A store with a good search function can save you time, since you’ll be able to filter down the options and see if they have what you need. The downside is that you can’t feel the fabrics, so it pays to have a good understanding of the different fabric types and qualities before you make shopping online a regular habit.

Good online fabric stores will provide clear photos of the fabrics, including a ruler or other object to help indicate the scale of the print or pattern. Multiple photos are even better, especially if they show the fabric scrunched or draped so you can see how it hangs. Also look for a description that indicates the fabric weight, the hand, and amount of stretch. (See the box on this page to review important fabric qualities.) Some stores will suggest garment types that a fabric would be appropriate for, or even specific patterns that would work well. While your project may not be on the list, you might see something similar. For instance, if the fabric is described as being suitable for a winter coat, you might reconsider using it for your summer convention outfit.

But even the best descriptions can’t take the place of holding the fabric in your hand, especially if the shop’s idea of a “lightweight” or “crisp” fabric doesn’t match up with yours. To get around this, many online stores allow you to order swatches. Sometimes there’s a small charge associated with this, and you have to wait for shipping, but it’s a lifesaver if you need a specific fabric quality or if you’re concerned about getting a good color match.

You also have the option to get fabric custom printed. There are several different companies, including Spoonflower and Fabric on Demand, that will accept image files and print them on the fabric of your choice. Check the companies’ websites for fabric options, pricing, and image guidelines, and order samples first, if possible, to avoid disappointment.

FABRIC PREPARATION AND CARE

When you get your materials home, you’ll probably want to whack into the project right away. But resist that impulse (sorry!). First you need to prepare the fabric, so that your project will be easier to care for in the long run. If you don’t pre-wash the fabric, your finished costume might shrink the first time you wash it, resulting in too-tight, too-short, or distorted garments. If you will have a mix of light and dark colors in a washable garment, you want to get rid of excess dye so the colors don’t bleed the first time it’s laundered. It’s also helpful to remove sizing and stiffeners that may have been added during manufacturing, as they can affect how the fabric handles and drapes, and may irritate sensitive skin. Finally, it’s nice to get rid of any dust and other gunk the fabric might have picked up during storage and transport.

Different fabrics call for different kinds of pre-treatment, depending on the fiber content and sometimes on the weave or structure. As a general rule, you want to pre-treat the fabric in the same way you intend to launder it in the future, so that there won’t be any surprises once the project is finished. (This advice holds for sewing regular garments as well.) See Preparing Fabric for Sewing for specific recommendations for different types of fabric.

Always check the care instructions for your specific fabric before pre-treating, as certain dyes, finishes, and effects might require special handling. If the appropriate care for a fabric is in question, try a swatch before you throw your entire piece in the washer. You’ll be able to compare the washed sample to the original fabric and decide whether the results are acceptable. If pre-washing three or more yards (m) of fabric, you may find it helpful to fold the length in half and machine baste the ends together to help prevent twisting and tangling. Iron thoroughly after washing to remove wrinkles.

Preparing Fabric for Sewing

Here are some suggestions about pre-treating specific fabrics before sewing.

COTTON AND RAYON are usually washable, and prone to shrinkage, so your first step after getting them home should be to throw them in the washer and dryer unless the care instructions indicate differently. Cotton fibers are actually stronger when wet, but rayon weakens, so handle soggy rayon fabric with care and lay it flat to dry if you want to be extra careful.

WOOL is a little bit trickier, because you want to avoid future shrinkage, but soap and agitation can cause it to felt. Pre-treat it by steaming it thoroughly with an iron, soaking it in cool-to-lukewarm water and air drying, or sending it to a dry cleaner to be steamed. Never use bleach on wool, as it deteriorates the fibers.

LINEN also shrinks somewhat, but it can be pre-treated in a couple of ways depending on how you plan to use it. For a crisp, refined look, you may want to dry-clean it to preserve the finish. For a more lived-in effect, wash it in hot water and dry it on high a couple of times to soften the fibers.

SILK might be hand washable, but check the care instructions and wash a test swatch first, because some types (including dupioni and taffeta) may lose their luster and crispness after getting wet. If the silk is washable, stick with cool water and a gentle soap or shampoo. If not, make sure to dry-clean only.

NYLON AND POLYESTER generally don’t shrink, so you can pass on pre-washing them if you wish. Some fabrics, especially knits, may actually be easier to work with before washing, because the manufacturers may have treated them to make them more stable or reduce curling. If you do wash them, be careful not to get too hot with the washer or dryer or you might end up with permanent creases. If you don’t wash the fabric before sewing, you might want to wash the finished garment before wearing it to remove any treatments that might irritate your skin.

SPANDEX is sensitive to heat, and the fibers can stiffen and deteriorate over time, so use a gentle cycle for your stretch fabrics and never put them in the dryer if you want them to last.

CHAPTER 3

COSTUME SEWING BASICS

Now that you’ve planned your project, broken it down into parts, and selected your materials, you’re ready to start cutting out your pieces and sewing them together. You can do this by hand—after all, people did it that way for thousands of years—but for most people it’s more convenient and more fun to get friendly with a sewing machine. For the dedicated, especially those who work with stretch fabrics on a regular basis, a serger (see this page) may also be a valuable addition to your arsenal. You’ll also need a few other tools and assorted supplies, which I’ll detail in this chapter. The instructions for the costumes in this book give you detailed directions for completing a project. As your skills grow, you might make your own decisions about what order to use in assembling the pieces, how to sew and finish particular seams for the best results, and how to incorporate trims and embellishments (see this page). Store-bought patterns may or may not offer suggestions on these topics, but with a little practice, you’ll be able to judge for yourself what the best method for a particular fabric and situation might be.

One great way to learn about how garments go together is to take a few of your well-loved, but old, items apart. Dig up that worn, holey top and carefully snip the threads to see what the individual pieces look like. If you’re careful to keep all the pieces intact, you can even iron them flat and then use them as a pattern for a new garment. When making a new or unfamiliar style of garment, try to find something similar in a thrift store that you can dissect for research purposes. Even master tailors sometimes take apart old jackets to study how other craftspeople did their work, and it’s a great way to pick up new ideas and techniques.

Sewing Essentials

You'll need to gather up a few tools and supplies before you can get started making your own costumes; you should have these items on hand if you intend to make any of the garments in this book. You’ll find these tools and supplies at local stores and online, too. See this page for a list of my favorite suppliers.

SEWING TOOLS

You may be able to find a basic sewing kit at the drugstore, but for your cosplay toolbox you’ll want something a little more robust. Let’s take a look at some of the supplies you should have on hand:

SCISSORS. Ideally you want at least two pairs, one for fabric and one for everything else. The fabric scissors should be the nicest, sharpest pair your budget allows, and if you don’t let anyone use them to cut any other materials, they’ll stay sharp for a long time. The other pair will be the ones you use for paper, cardboard, thermoplastics, foam, or other non-fabric materials, so they don’t need to be anything special. If you have room for a third pair, consider a small pair for trimming and clipping or a set of pinking shears to help prevent your cut fabric edges from fraying.

NEEDLES. Grab variety packs of hand-sewing needles for versatility. Sewing machine needles are sold by size and style for different types of fabric. Be sure to buy extras, as it’s best to replace them often.

PINS. Pins are available in assorted shapes and sizes, but fine, sharp silk pins are good for most garment sewing. Thick craft pins should be reserved for very heavy fabrics. Sometimes weights or clips may be used instead of pins (see this page and this page).

THREAD. Get good-quality thread if you don’t want to spend all your sewing time fighting with breakage and knots. Cotton-wrapped polyester or 100% polyester all-purpose thread is good for most basic sewing, and jeans or upholstery thread works for heavy fabrics and topstitching.

THREAD SNIPS. Use these instead of your big shears for trimming the thread tails at seam ends.

SEAM RIPPER. Ripping out work is, unfortunately, a part of sewing. Minimize the pain by dropping a few dollars on a good seam ripper, which has a sharp point for picking up stitches, a small, curved blade for fast ripping, and a ball on the other point to prevent damage to your fabric.

BEESWAX. Waxing your thread will help to prevent knots and tangles when hand sewing. After waxing your thread, fold it inside a press cloth and run an iron over it to melt the wax into the fibers.

MARKING TOOLS AND SUPPLIES. I like to keep a couple different colors of chalk on hand for marking different colors of fabric. Dressmaker’s tracing paper and a tracing wheel are nice for marking seams, darts, and pleat lines, and a white gel pen is helpful for dark-colored fabrics and surfaces that don’t take chalk well. Test any marking tool first to make sure the color can be fully removed from your fabric. Some chalks and inks get much harder to remove if they’re heated, so try not to iron over any marks that could be visible.

RULER. Useful for marking seam allowances, measuring hems, laying out pattern pieces, and more.

MEASURING TAPE. For taking your measurements, making alterations, and checking proportions while you work.

ROTARY CUTTER. Makes quick work of cutting any long, straight edges. Also great for cutting out slippery sheers, stretch fabrics, and difficult-to-pin materials like leather. Use in conjunction with a cutting mat.

PRESSING TOOLS

Pressing is an essential part of sewing. A steam iron and ironing board will get you started, but a few extra tools will make pressing easier and the results more professional. See the sidebar below for tips.

PRESSING HAM. A rounded pillow stuffed with sawdust, used to support curved seams for more accurate pressing. A rolled-up towel works in a pinch.

SEAM ROLL. Slip a seam roll inside sleeves, pant legs, and tails to press seams without creating unintentional creases. A chunk of dowel will do the same thing.

CLAPPER. A pricey, smooth block of hardwood used to whack seams after pressing to get a sharper crease. Feel free to substitute a smooth block of generic hardwood.

POINT TURNER. A pointed wooden tool used to turn out and press sharp corners like collars.

PRESS CLOTH. A piece of lightweight muslin or silk organza used as a barrier while pressing. Keeps fusible goo off your iron, and protects delicate fabrics from excessive heat.

CARDBOARD. A thin piece of cardboard can be useful to slip under pleats, facings, and so forth so they don’t leave indentations in the outer fabric when pressed.

Pressing

You may not think of your iron as a sewing tool, but you should start. The iron is used to remove creases, meld stitches into the fabric, create crisp and unobtrusive seams, flatten pleats, fuse interfacing, and shape the fabric. If your ironing board isn’t already in your sewing room, appropriate it, because running back and forth will prevent you from getting anything done!

Pressing seam flat

Pressing a seam is a little different from ironing a shirt. Use an up-and-down motion instead of gliding the iron from side to side, so that you don’t stretch the fabric out of shape. It’s a good idea to use a protective cloth between your work and the iron for certain fabrics, especially wool (which can develop a shine from overpressing) and synthetics (because they don’t tolerate heat well). This can be a scrap of muslin or even an old white t-shirt; some people swear by silk organza because it protects your work but you can still see through it.

Pressing seam open

You should press every single seam you sew, once flat (exactly as you sewed it) and once with the seam spread open. If both layers of the seam need to be pressed to one side, do that as a third step. If sewing a French or flat-felled seam (see this page), you may need to press after each sewing step for the best finish. Pleats, hems and edges, collars, and cuffs need to be pressed for a clean, sharp edge, and darts (see this page) should be thoroughly pressed over a curved surface to prevent unfortunate bubbles of fabric at the tip.

Pressing seam to one side

Preparing to Sew

One of the things you’ll discover about sewing is that even tiny changes can make a huge difference in the finished look and fit of your projects. It’s important to be precise in your cutting and sewing—it’s the key to success for a beginner. When you’re still figuring out how clothes are put together, it’s useful to start with a simple pattern with easy instructions for assembly. From there, you can learn to make the adjustments you need for fit and style, many of which are detailed in Chapter 4 (see this page). The pattern is your guide for cutting out the various pieces of your costume and sewing them together. Later, as you get used to the process and develop a sense for how the pieces look in 3D, you can dive into making your own patterns for a fully custom look.

LAYOUT AND CUTTING

Commercial patterns are printed on tissue paper and tightly folded to fit into the envelope. Refer to the instructions to figure out which pieces you need, and roughly cut around each one to separate them.

If your fabric has a bold print or design that needs to be carefully placed, or if your fabric has flaws that you need to cut around, it’s better to cut in a single unfolded layer so you can see everything.

Each pattern piece will have an arrow indicating the grain of the fabric, which determines how each piece should be oriented as you lay it out. Treat the grainline as law, because cutting off-grain can cause the finished item to twist (ever had a pair of jeans that liked to migrate around your legs?) or hang unevenly. Use a ruler to make sure that both ends of the arrow are exactly the same distance from the selvage before you pin the pieces to your fabric. If the piece is supposed to be cut on the fold, the pattern will assume the fold line is exactly along the grain as well.

Most patterns are multisized, with the outlines dotted in different patterns to show which line corresponds to each size. To avoid confusing them as you cut or trace, it may help to go over the line for your size with a highlighter. If you’re different sizes in different areas, you can allow for this by drawing a gradual curve that connects the appropriate size lines. If you’re tall or petite, you may need to add or remove length from the pattern. We’ll talk about this in more detail on this page.

MARKING PATTERN PIECES

A Mark pleats and darts with dressmaker's tracing paper

B Stick a pin vertically through layers and gently lift fabric to mark where it goes through each layer

C Snip the threads between the layers to leave a tuft of thread as your mark

Pins are the traditional way to secure the pattern to the fabric, but many people prefer weights, as they distort the fabric less. This can be especially helpful for stretchy or slippery fabrics, or for materials like leather that show pinholes. Use good, sharp scissors or a rotary cutter to cut out your pieces, and be as accurate as you possibly can, as even a fraction of an inch (cm) can make a huge difference in the fit when multiplied across several seams.

Notches are placed along the cutting lines to help match up seams, and these should be marked as you cut—snip inward for speed, or cut a triangle outward if you think you might need to make adjustments to the seam. Dots, triangles, and other symbols help to align the pieces and indicate placement for darts, pleats, pockets, and other features. These should be marked on all layers of fabric, which you can do with dressmaker’s tracing paper (A) or by sticking a pin vertically through all the layers and gently lifting the fabric to mark where it goes through each layer (B). For fabrics that that are difficult to mark, use simple tailor’s tacks: thread a hand needle with unknotted, doubled contrasting thread, and take a loose stitch straight down and back up. Leave long thread tails, gently separate the layers, and snip the threads between the layers to leave a tuft of thread as your mark (C).

Once you’re done cutting your pieces and transferring the pattern markings to your fabric, you’ll be ready to assemble your garment. Read through the instructions first and check the glossary on this page if you need to revisit any terms or techniques.

A couple of final notes to commit to memory before the sewing actually begins: Follow the order of the instructions when you sew, and always press your seams open before sewing another seam that crosses or intersects them, because pressing after the fact is usually less effective (see the Pressing sidebar on this page for specifics). Finishing seams is also easier to do as you go, so that you don’t have to work around complicated seam intersections. While seam finishes are technically optional, as they won’t be visible from outside, they will make your costumes more durable. See this page for more information about finishing seams.

Sewing 101

Once you have your fabric pieces cut, it’s time to put them together. A basic knowledge of hand stitches is important for finishing work and other assorted sewing tasks—and although it would be time-consuming, you could technically make your entire costume by hand—so let’s begin there.

HAND SEWING

When sewing by hand, whether for construction or embellishment, you should begin by cutting the thread about as long as your arm. Longer threads won’t save you any time, since they take more effort to pull through each stitch, and they’re more prone to twisting and knotting.

To start a hand seam, you can knot the thread or simply take a couple small stitches in place. I prefer the latter, as it tends to be a bit flatter and less likely to break or work itself loose with wear. Here are some essential hand stitches:

RUNNING STITCH is useful for decorative effects, applying ribbons and trims, and seams that don’t need to bear much strain, such as a collar or cuff. It is a simple up-and-down stitch through the fabric, with several stitches picked up at a time.

BASTING is like running stitch but with longer stitches. This stitch is not intended to be permanent, and it’s used to attach pieces before you stitch them together to ensure more accurate seams, or to temporarily assemble a garment so it can be fitted. It may seem like a lot of trouble, but it’s more accurate than pinning.

BACKSTITCH is a strong, secure seaming stitch. If you don’t pull it too tight, the back-and-forth nature of the stitches makes it an effective option for stretch knits. To make a backstitch, bring the needle up through the fabric and back down a stitch back, then up again one stitch forward from the starting point. Insert the needle back at the end of the first stitch, and continue on in this way.

CATCH STITCH/HERRINGBONE STITCH is my go-to stitch for hems, tacking structural elements in place, and securing seam allowances. It can also be used decoratively. If you pick up just a few threads with each stitch, it should be nearly invisible from the other side of the fabric. Catch stitch is worked from left to right in a zigzag, with a small stitch in the upper row followed by a small stitch in the lower row, both in the opposite direction the stitch is traveling.

WHIPSTITCH is good for finishing seams to prevent fraying, and to seam pre-hemmed pieces or fabrics that don’t ravel. Bring each stitch up through the fabric in the same direction, wrapping the thread diagonally around the fabric edge to return to the underside each time. Avoid pulling so tight that you dimple the edge.

PICKSTITCH is a decorative variation—the backwards stitch is shortened, so it looks like a small, widely spaced running stitch but retains all the strength of the backstitch.

SLIPSTITCH is handy for invisible hemming and other situations where you’re securing a folded or clean-finished edge to a single layer of fabric. Take a tiny stitch (as small as two or three threads) in the single layer of fabric and then through the folded edge, working right to left.

STAB STITCH looks identical to running stitch but instead, you stick the needle straight into the fabric and pull it through before you make the next stitch. This stitch is better for thick or stiff fabrics.

FELL STITCH is used to invisibly secure bindings and linings. Bring the needle up through the very edge of the lining or binding, then into the bottom fabric just opposite. Run the needle a short distance under the lining or binding edge, then back up to form the next stitch.

BUTTONHOLE STITCH is used for buttonholes and eyelets, and also to secure hooks, eyes, and snaps. With the needle inserted from the wrong side of the fabric a short distance from the edge, grab the thread behind the needle and wrap it clockwise under the point. Pull through to form a small knot.

LADDER STITCH is used to invisibly join pieces and close openings in stuffed objects and linings. You’ll need to turn the edges under or line the pieces first so the stitch has something to grab. Work this stitch back-and-forth through the layers, catching a small stitch in one layer at a time.

HAND STITCHES

Running Stitch

Basting

Backstitch

Catch Stitch/Herringbone Stitch

Whipstitch

Pickstitch

Slipstitch

Stab Stitch

Fell Stitch

Buttonhole Stitch

Ladder Stitch

MACHINE SEWING

Although humans got by without sewing machines for thousands of years, clothing also used to be a lot more difficult and time-consuming to make. Hardcore historical re-enactors aside, pretty much anyone who has a serious interest in sewing will want to invest in a sewing machine (and possibly a serger). A basic mechanical machine will serve the vast majority of costuming needs, and you can get a solid, reliable one quite inexpensively if you do some research. That said, you should probably walk on past the bottom-of-the-line budget models if possible, as they tend to be flimsy and frustrating to use. If you need to pinch pennies, a vintage machine is the way to go—most of them are much more robust than modern machines. Try to find one that still has its original feet and accessories. If the manual is missing, you can often find a PDF online by searching the model number.

Your machine will have a variety of adjustments to accommodate different situations and types of fabric. Start with a medium stitch length of 2.5 to 3 mm, and adjust to suit your fabric and project—longer stitches are suitable for thicker fabrics and basting; shorter stitches are best for fine fabrics, tight curves, and intricate seaming. Most likely, your machine will offer you a variety of stitches to do all sorts of interesting things, but you’ll get the most use out of a zigzag stitch, especially if you plan on sewing with stretch fabrics. Read more about sewing with stretch fabrics on this page.

Once you’ve spent some time sewing and have decided you want to stick with it, you may want to invest in a serger as well. Sergers are sewing machines that sew, trim, and finish a seam in a single pass, which can save a lot of time, and the seams have an inherent stretch that makes them particularly good for sewing knits. Most sergers have a differential feed feature that makes them very good at handling bias edges and difficult fabrics like chiffon, and they’ll do a rolled edge that’s the single fastest way to hem lightweight or sheer fabrics. If you sew a lot of stretchy costumes, have limited sewing time, or see yourself taking on commissions at any point, a serger is probably worth the investment.

There are just a couple of things you need to know about handling a sewing machine before you begin. First, don’t ever yank the fabric through the machine as you sew. Press the pedal gently, and the machine will feed the fabric through by itself. If you pull, you might bend the needle or cause other problems. To keep the seam straight, make sure you’re watching the edge of the fabric instead of the needle as you sew—the needle will do its thing; your job is to keep the layers of fabric aligned correctly. Second, it’s best to avoid sewing over pins. Pause and remove them before they’re carried under the presser foot, so they don’t snag on the machine or cause the needle to break.

Sewing a Seam

A standard straight seam joins two pieces of fabric with the right sides facing each other, so that the seam allowances will be hidden on the wrong side when complete. To sew a seam, align your fabric pieces so that the seam allowances match and the cut ends are even. Pin at each end and at intervals along the length to keep the layers aligned. (Or baste, if you prefer.) Drop the presser foot and lower the needle into the fabric before you hit the pedal, then hold the thread tails as you begin. Take a few backstitches at the beginning and end of each seam to prevent it from coming undone. (Refer to your machine’s manual to learn how to engage backward stitching and to adjust any other functions referenced in this chapter.) Use both hands to control and guide the fabric.

Most standard patterns include a seam allowance of ⅝" (1.5 cm), which means the stitching line is ⅝" (1.5 cm) from the cut edge of the fabric. In this book, some seam allowances are ⅜" (1 cm) instead; this is done on small pieces like collars that require particularly accurate sewing, and on stretch knits because the fabrics will not fray and the narrower allowance is easier to sew on a serger. Any narrower-than-usual seam allowances will be indicated in the pattern and instructions. Most machines have guidelines marked in ⅛" (3 mm) intervals, so all you have to do is follow the correct line as you sew. Give each seam a good press when you’re done (see this page). Occasionally, you may be directed to sew a line of staystitching before a seam is sewn. Staystitching helps prevent stretching, and it’s often used in curved areas that need to be clipped before being sewn (see this page). To staystitch, stitch in the seam allowance ⅛" (3 mm) outside the seam line.

Machine Stitches: 1. Four-thread serged edge 2. Straight stitch 3. Zigzag stitch 4. Three-step zigzag stitch 5. Triple stitch 6. Blind hem stitch 7. Short length/wide width zigzag (good for attaching elastic) 8. Short length/narrow width zigzag (good for delicate topstitching on stretch fabrics) 9. Long length/narrow width zigzag (good for seaming stretch knits) 10. Very short length/medium width zigzag (good for stretch appliqué)

Finishing a Seam

If you’re using a fabric that frays at all, which could include many woven fabrics, you’ll need to finish the seam allowances to prevent them from raveling. This is important for the durability of your garments, and will also make your projects look more professional. For most woven fabrics, it’s a good idea to finish any seam that won’t be covered by a lining. The simplest seam finish, common on vintage clothing, is to trim the seams with pinking shears. The zigzagging edge will resist fraying, and no bulk is added to the seam. Whipstitching the edges by hand is another very lightweight option, but time-consuming (see this page). For medium-weight and heavier fabrics, a zigzag stitch right on the edge of the fabric is a good solution. If you have a serger, go with that (see this page).

Pinked, zigzagged, and serged edges

SELF-FINISHED SEAMS

Some types of seams have finished edges when they are completed. A couple are described here, with each instruction based on taking up a standard ⅝" (1.5 cm) seam:

French seams are great for lightweight fabrics, especially sheers, since they make a pretty, low-profile seam. Sew the fabric with wrong sides together using a ⅜" (1 cm) seam allowance, trim the seam to ⅛" (3 mm), and press it open (A). Then turn the garment inside out, press the finished seam closed, and stitch again with a ¼" 6 mm) seam allowance to seal the raw edges inside (B).

FRENCH SEAMS

A Sew wrong sides together, trim, and press open

B Sew again from the inside

Flat-felled seams look finished inside and out, and are good for tough, sporty pieces and crisp or heavy fabrics. You often find them on jeans, men’s shirts, and casual jackets. To make a flat-felled seam that is centered over the original seam line, offset the cut edges ¼" (3 mm) (C) and stitch ¾" (1.9 cm) from the longer edge. Trim the longer edge to ⅝" (1.5 cm) and the shorter edge to less than ¼" (6 mm). Fold the longer edge down, then over to enclose both raw edges, and edgestitch (D).

GRADING A SEAM

An enclosed seam, like you might find on a collar or waist-band, doesn’t need to be finished per se. Instead, think about reducing bulk so you don’t have a lot of extra fabric crammed in where it’s not needed. Grading the seam—that is, trimming each layer to a different width so they don’t all end at the same place and create a lump—is one way to do this; hold the scissors at an angle as you trim (E) or simply trim each piece to a different length. Trimming the edges with pinking shears to soften the line is another approach. You may also need to clip corners to make them turn out neatly (F, G).

FLAT-FELLED SEAMS

C Offset edges and sew

D Trim, fold down, and edgestitch

GRADING A SEAM

E Angle the scissors to grade seams in one pass

F Clip corners before turning

G Turn to create neat corner

Topstitching and Edgestitching

TOPSTITCHING is the term for any line of stitching that’s done from the right side of the fabric, and is intended to be visible in the finished garment. Although often decorative, topstitching also has a number of practical functions: to flatten seam allowances in bulky fabrics; to prevent linings and facings from rolling to the outside; and to add structure and rigidity to the garment. You can make your topstitching more prominent by using heavyweight or decorative threads, by using a double thickness of all-purpose thread, or by using a triple stitch, which sews back and forth over each stitch. You can also topstitch by hand using heavyweight thread, usually with a backstitch, pickstitch, or stab stitch (see this page).

EDGESTITCHING is a variation of topstitching that is worked very close to an edge, usually 1⁄16" to ⅛" (1.5 to 3 mm) away. If you have trouble keeping your edgestitching straight, try using a special edgestitching foot for your machine that has a built-in guide.

CLIPPING AND NOTCHING A SEAM

Not all seams are straight. When you’re sewing curved pieces, you’ll need to treat the seams a little bit differently so they lie flat. Outward curves need to be notched by cutting out a little triangle of fabric, while inward curves need to be clipped. See this page for an illustration and instructions on stitching curved pieces.

Unsewing

A seam ripper is designed so that you can insert the ball end in a seam and “zip” the ripper along the stitches to remove them in one fell swoop. This is also a good way to cut gashes in your fabric if you’re not careful, so I’d reserve the technique for tough, stable fabrics like cotton twill. The more cautious method is to use the point of the seam ripper to cut a stitch every ½" (1.3 cm) or so along the seam, which should allow the opposite thread to pull out in one piece (A).

To undo serger stitches (B), first cut the tails off both ends. Zip the seam ripper along the looper threads at the edge, angling the blade so you cut the loopers on just one side. This should loosen the needle threads enough that you can pull them out in one piece, and the remaining looper should pull out easily as well. Clean up stray thread fragments with a rubber eraser or piece of tape.

Stretchy Seams

Yes, you can sew spandex, or otherwise stretchy, nontraditional fabrics even on a standard sewing machine! If you’re going this route, it’s important to build stretch into your seams so the threads don’t break. Use polyester all-purpose thread, as it has more give than cotton, and stretch needles to eliminate skipped stitches. Here are some of the most useful stitch options for sewing stretch fabrics:

Straight stitch. Using a stitch length of 1.5 to 2 mm, loosen your needle tension slightly, and stretch the fabric gently as you sew by placing one hand in front of the presser foot and one behind. Be careful to apply even tension on both sides, and avoid yanking the fabric through the machine. The seam may look a little wavy when you’re done, but you should be able to steam it back into shape. If not, lengthen your stitches a bit more or try a different stitch. This technique is best for fabrics with slight or moderate stretch.

Narrow zigzag stitch. Use a zigzag stitch with a short stitch length and a narrow (1 to 2 mm) stitch width. Wider zigzags will have more stretch, but the seam won’t look as smooth from the outside.

Triple straight stitch. Some machines have a stitch that sews back and forth multiple times along the same line, creating a very strong, stretchy seam that’s great for high-stress areas and decorative topstitching. However, this stitch is very slow, it uses a lot of thread, and is difficult to remove if you make a mistake.

UNSEWING

A Removing machine stitches

B Removing serger stitches

Lightning stitch. The machine stitches back and forth in tiny jags for a fabulously stretchy seam that looks nice and neat from the outside. This stitch isn’t available on all machines, but if you’re choosing a machine for cosplay, you might want to look for one with this option.

Double-needle stitch. This can be done on most standard machines, but you’ll need to buy a special needle that has two shafts on one base. These are available in various sizes and point types with narrow and wide options for different looks. Thread the machine with two threads at once, put one through each needle, and sew a straight stitch. (Don’t use zigzag, as the double needle can miss the opening in the needle plate and break.) You may need to loosen the tension slightly, or use stretch thread in the bobbin to prevent the stitches from “tunneling.” The result looks like two parallel rows of straight stitching on top, with a connecting zigzag underneath, that is perfect for hemming and topstitching.

USING A SERGER

All that said, the serger is by far the most common way to sew stretch fabrics in ready-to-wear clothing, and with good reason. Serger seams have intrinsic stretch, and they work beautifully with stretchy woolly nylon thread if you want the extra insurance. If you have a serger, stick with a four-thread overlock stitch for most seaming, and for hemming you can use a blindstitch (your serger may even have a blindstitch foot), a zigzag or double-needle stitch from the standard sewing machine, or a coverstitch (available on high-end convertible sergers or as a separate machine). Consult your serger’s manual for more information about its capabilities.

If you don’t want to buy three or four spools of each thread color, pick a thread that matches your fabric for the leftmost needle as that’s most likely to show through at the seams. You can use whatever color you like for the rest, since they’re only visible on the inside.

Serged seams are sewn, trimmed, and finished in a single pass through the serger. Leave about 2" (5 cm) of thread chain at the beginning and end of the seam, and use a yarn needle to thread them back into the stitches afterward. Finishing edges is a serger specialty—choose a two, three, or four-thread stitch depending on your machine’s options and the weight of your fabric (fewer threads for lighter-weight fabrics; more for heavyweight or very ravelly fabrics). Use a wider stitch setting if your fabric is prone to raveling, and a narrow one if your fabric is thin or doesn’t fray much.

MAKING A DART

C Stitch from widest to narrowest point

D Knot threads at end

SEWING STRETCHY SEAMS BY HAND

If a serger isn’t in the cards, and you’re not happy with the stretch stitch options on your sewing machine, hand sewing is a totally viable option for stretch fabrics. Use a small backstitch for seaming, a backstitch or whipstitch for attaching appliqués and embellishments, and a catch stitch or other hemming stitch for edges (see Hand Sewing on this page). These stitches should have enough stretch to avoid popped seams, though you’ll want to use a heavy-duty thread or doubled all-purpose thread for durability.

Constructing Your Costume

In addition to joining pieces with a basic seam, there are a variety of other construction techniques you will use to make your costume.

MAKING A DART

Darts are the most basic way to add shape to clothes, but you’ll need to use a bit of finesse to make them accurate and smooth all the way to the point. To begin, fold the dart down the center and match the marked stitching lines and baste or stick a pin through to keep them aligned as you sew. Backtack and start sewing from the widest point (C). When you’re about ½" (1.3 cm) from the end, shorten your stitch length to 1 mm and slow down. Don’t backtack at the tip, as that will make the dart tip pucker. Instead, sew a stitch past the edge of the fabric at the point and lift the foot. Clip the threads and tie a knot by hand to finish (D).

SEWING CURVES

When you sew princess seams and other curved pieces, you’ll often be sewing a concave edge to a convex one. Although the stitching lines will match, one cut edge will be a lot longer than the other. The easiest way to sew such a seam is to staystitch both sides ⅛" (3 mm) from the stitching line, then clip into the seam allowance on the shorter (concave) side (A). The sharper the curve, the more frequently you’ll need to clip to make it smooth. The clips allow the seam allowances to open up so they match the other side, and the staystitching prevents the fabric from stretching or tearing.

To prevent the convex edge from rippling when you press the seam, you’ll want to notch that side. Trim out a little wedge with each clip so that the excess fabric doesn’t make your seam look lumpy. After pressing your seam flat, you can finish it (see this page) or leave it be if it’ll be covered by a lining (see this page).

When sewing low-stress seams on fabrics that don’t fray excessively, you can trim the seam allowances to between ⅛" and ¼" (3 and 6 mm) instead of clipping (B). On most fabrics, you can then press it flat without trouble. This may give you smoother curves than the clipping method, especially for tight arcs like on a scalloped edge. For very tight curves, sew with a short stitch length to give the smoothest shape.

SEWING CURVES

A Notch convex curves; clip concave ones

B On non-fraying fabrics, trim to ⅛" (2 mm)

GATHERING

C Sew two rows of straight stitch and pull thread to gather

D For heavier fabrics, zigzag over a strong thread or cord

GATHERING

Gathering is a technique that allows a much longer piece to fit a shorter one; think puffy sleeves or a super-full skirt. You can gather fabric by hand, on a sewing machine, or on a serger. Two rows of gathering stitches (one on each side of the stitching line) make for tidier, more even gathers. For unstable fabrics or materials with a lot of body, sewing three rows of gathering stitches instead of two may help you to control the fabric.

To gather by hand, pick a strong thread and a longish needle. Sew two lines of basting stitches, one on each side of the stitching line, and pull up the thread to gather. This method can be used for fabric of any weight, especially if you use heavy-duty thread or a doubled all-purpose thread for strength.

On the machine, loosen your needle tension a notch or two and lengthen the stitch length to 4 to 5 mm. Sew without backstitching, then pull on the bobbin thread to gather the fabric (C). This method works well for light and medium-weight fabrics, but if the fabric is thick you may find it hard to gather without breaking the threads. Again, two or more rows of gathering will give you more control over the fabric and make for neater, more even gathers once you’ve sewn them in place.

For heavier fabrics, you can zigzag stitch over a strong cord and pull the cord to form the gathers (D). Button thread is good for this; some people like to use dental floss as a substitute. The cord can be removed once the gathers are stitched down, as long as you’re careful not to sew through it.

For all of the above methods, once you’ve pulled the fabric up to the appropriate length, matching the shorter piece, you’ll knot the threads, thoroughly pin the gathered layer in place, and adjust the gathers until they’re even. Stitch between the rows of gathering to secure, then remove the gathering threads.

Gathering on the serger is slightly different, and works best on lightweight fabrics, but is the fastest method for quickly gathering large quantities of fabric (like if you’re making a garment with lots of ruffles). To do it, turn your differential feed and stitch length to maximum. Stitch a test strip of fabric to determine if the finished length is correct, and adjust the tension on the needle threads to produce more or less gathering. If you need to adjust the density of the gathers after stitching, you can slide the fabric along the needle threads to make them looser or tighter (make sure you’ve left enough length in the threads). If your serger has a gathering foot, you can actually gather your ruffle and attach it in a single pass. Gathering feet and ruffler attachments are also available for many sewing machines.

Easing a Sleeve

If you compare the top of a sleeve to the armhole it’s supposed to be inserted in, you’ll often see that the sleeve is slightly longer than the piece it fits, even if the sleeve is not designed to be gathered. This slight bit of fullness helps to round the sleeve over the shoulder, so it has a nice curve. The technique is very similar to gathering, in that you’ll sew one or more rows of basting stitches on the longer side and draw them up until the lengths match. If done correctly, though, the layers will join smoothly with no visible gathers or puckers. You may have to steam the eased area to get it to cooperate. You may also find eased seams used elsewhere in the garment, where the easing functions almost like a small, invisible dart. Note that soft or loosely-woven fabrics ease more readily than very crisp ones, and on some fabrics you may have to reduce the ease by trimming down the longer side.

MAKING STRAPS OR TUBES

These pieces are essentially the same—a rectangle of fabric that is folded, stitched together with right sides facing along the long edges, and turned inside out through one of the open ends. Some are made from fabric cut on the bias (see Cutting Bias Strips on this page for details), while others are cut on the straight grain. Here are a couple of ways to turn them right side out—that’s the tricky part! The first works if you have left both ends of the strap or tube open, while the second works if you leave only one end open.

Tie a piece of string or yarn to a safety pin and thread it through the strap, then secure the pin inside the far end. Use the pin and string to pull the strap right side out, then remove the pin. Flatten the strap with the seam in the center of one side and press (A, this page).

Sew around one short end and along the long edges of the strap, leaving only one end open. Then use a dowel or the eraser end of a pencil to poke the short end through the strap and turn it right side out. Flatten and press (B, this page).

If neither of the these options appeals to you, there’s a simple way to make straps or tubes by just folding in the seam allowances (C, this page), bringing the folded edges together, and edgestitching along the folded edges (D, this page).

Finally, skinny bias tubes to use for spaghetti straps, button loops, decorative ties and embellishments call for some special handling.

Start with a 1" (2.5 cm) bias-cut strip of very lightweight fabric. Slippery materials like charmeuse and habotai are easiest to turn out. Cut the strip at least 2" (5 cm) longer than you need, tie a knot in a piece of heavy thread or cord, and wrap the bias strip around the thread lengthwise.

MAKING STRAPS OR TUBES

A Pull strap right side out with safety pin and string

B Poke short end through strap with dowel

C Fold seam allowances and bring folded edges together

D Edgestitch along folded edges

Sew across the end of the strip to secure the knot, then sew along the strip ⅛" to ¼" (3 to 6 mm) from the fold, depending on the width of the strap you need, being careful not to let the needle catch the string. Use polyester thread and a short stitch length so the finished strap will have enough give.

After sewing the entire length, pull on the string to turn the tube inside out, then clip off the end with the knot (the rest of the string can be reused). Pin the tube to your ironing board and gently pull on it while steaming to stretch out the bias, making the tube longer and narrower. If you need multiple tubes of the same size, it’s best to sew a single long tube and then cut it into the lengths you need, as it can be difficult to precisely replicate a tube once it’s sewn and stretched out.

ADDING CLOSURES AND FASTENERS

Many of the costumes you make might include one or more of the techniques described in this section. Even if you don’t use them right away, having a sense of what’s out there will help you to plan and execute future projects.

Sewing Zippers

To sew a zipper in, you need a special presser foot for your sewing machine that’s open on one side and allows you to stitch right next to the teeth. Generally, they come with your machine. Some types are adjustable, so you can move the foot back and forth and stitch at varying distances on either side (E). Others are fixed but have two attachment points, so you can stitch on the left or the right side of the foot (F). If your foot only has one position (G), it will still work fine, but you’ll need to adjust your technique so you’re always stitching on the same side—sew top to bottom on one side of the zipper, and bottom to top on the other.

In addition to the foot, check to see whether your machine allows you to adjust the needle position to the left or right. If so, you can finesse the stitch so it lands exactly where you want it, especially if you’re using a two-position or fixed-position foot.

STANDARD ZIPPERS. To insert a standard zipper, first sew the lower part of the seam up to the base of the zipper; you may also want to baste the zipper portion of the seam closed. Align the zipper behind the seam, baste or pin it in place, and topstitch it along either side. Start at the top with the slider partway undone so it doesn’t get in the way. Sew for about 2" (5 cm), then stop with the needle down and close the zipper so you can sew the rest uninterrupted. Pivot at the bottom and sew across the base of the zipper, being careful not to hit the metal stopper. If your zipper foot allows you to stitch on either side, it’s a good idea to start the other side back at the top to avoid skewing the layers or ending up with one side longer than the other (H, I).

SEPARATING ZIPPERS. These zippers are the easiest to sew of all. Place the zipper face down on the right side of the fabric, with the teeth ⅛" (3 mm) inside the center line of the opening. Stitch, pausing partway down to move the slider out of the way, and repeat on the other side. If you prefer to cover the zipper teeth, you can also use a centered zipper application as described for the standard zipper.

ZIPPERFEET

E Adjustable zipper foot

F Foot with two attachment points

G Fixed-position zipper foot

INVISIBLE ZIPPERS. Invisible zippers are usually sewn before the rest of the seam, and they need to be fully open while you sew them so you can unfurl the coiled teeth as you stitch. Using the appropriate invisible zipper foot for your machine model makes it very easy—you can get them at most fabric stores, sewing machine dealers, or online. The foot holds the curl open, and guides the zipper so your stitching is the correct distance from the teeth. However, you can also sew an invisible zipper with an ordinary zipper foot. Just iron some of the curl out of the tape before you begin, but be careful not to melt the teeth.

STANDARD ZIPPERS

H Centered zipper insertion (wrong side)

I Centered zipper (right side)

With the seam unsewn, place the zipper tape along the seam lines, right sides together, and baste along both sides (A, this page). Open the zipper. If using an invisible zipper foot, lower the groove over the teeth and stitch from the top edge to the zipper pull along one side of the zipper; if using a regular zipper foot, uncoil the teeth with your fingers, adjust the needle position so it lands about a needle width away from the zipper teeth, and stitch (B, this page). Repeat for the other side of the zipper. After the zipper is sewn in, stitch the rest of the seam using a zipper foot so you can get in next to the zipper bulk (C, this page), first moving the zipper pull out of the way. Stitch about 1⁄16" to ⅛" (1.5 to 3 mm) farther from the edge than the zipper stitching to give the fabric room to roll over the zipper teeth.

Here are some additional tips about invisible zippers. The bottom 1" (2.5 cm) or so of an invisible zipper is unusable because the pull gets in the way of stitching any farther, so you should buy a slightly longer zipper than you need. Most invisible zippers have one standard tooth size, and they can feel a little flimsy if your costume is bulky or heavy or if the zipper goes across a seam. If you hunt a little, you can find the heavy-duty version used in bridal gowns. These are usually only available in black and white, but since most of the zipper is concealed when in use, you really only need to worry about the pull tab. You can cut the attached tab off and replace it, or simply paint it with nail polish to get the color you need.

INVISIBLE ZIPPERS

A Baste both sides before starting

B Uncoil and stitch with invisible zipper or standard zipper foot

C Close the rest of the seam below the zipper

EXPOSED ZIPPERS

D Sew facing to right side and stitch box for zipper opening

E Slash down opening and clip into corners

F Turn facing to inside

G Baste zipper to facing only

H Stitch on garment side of facing seam

I Topstitch or edgestitch

EXPOSED ZIPPERS. In addition to being decorative, exposed zippers are convenient because you can put them anywhere—you don’t have to insert them in a seam. This makes them great for front or back closures on bodysuits and dresses that don’t have a center seam, as well as for pocket openings.

On very stable fabrics like doubleknit or faux leather, you can simply interface (see this page) the back of the zipper area, staystitch a box where you want the zipper to go, clip along the length and into the corners, and press the edges to the inside. If you’re using a lightweight or woven fabric, create your opening with a facing. I like to use a strip of woven fusible interfacing cut 2" (5 cm) longer and wider than the zipper opening. Place it on the right side of the fabric with the fusible side facing up (baste it in place down the center line if the fabric is slippery). Sew a box for your zipper opening, the same length as the zipper and about ⅜" (1 cm) wide (D). Cut through both layers down the center of the box and diagonally into the corners (E). Flip the facing through to the inside (F). Position your zipper behind the opening and baste it to the facing only (G), then fold the fabric back and sew the zipper tape to the fabric, stitching down each side one at a time and then across the bottom of the box, folding the fabric back as you go. This stitching should land a needle’s width farther from the cut edge than the facing seam, leaving the facing free, so the facing won’t show at all from the outside (H). Press to fuse the interfacing in place, and optionally edge-stitch around the opening from the outside (I).

Adding Buttons and Buttonholes

Most sewing machines have at least one buttonhole stitch. On some machines this might be fully automatic, using a special foot or sensor to determine what size is needed and sewing the buttonhole in a single step. In other cases, you may need to mark the buttonhole dimensions on your fabric and manually sew out the four sides of the opening. Every machine is different, so consult your manual if you’re unclear on the process. To cut the buttonhole open after it is sewn, use a seam ripper (you can put a pin at each end and cut from the ends toward the center to avoid cutting too far), small scissors, or a chisel-shaped buttonhole cutter (J, K).

Shortening a Zipper

On occasion, you may want to shorten a metal zipper. If so, you can buy metal stoppers that clamp on with pliers. Make sure you get the right size for your zipper. Use pliers to pry the teeth off for 1" (2.5 cm) or so above the desired length, and clamp the stoppers onto the zipper tape directly above the uppermost tooth on each side. Trim away the excess tape. To shorten an invisible zipper, cut any excess off the bottom end and hand stitch across the coils.

Hand-worked buttonholes are time-consuming and take a ton of practice to get right, but they are a good option for heavy fabrics that are hard to cram under the machine. They’re also nice for historical costumes, if you have any sticklers for authenticity in your cosplay group. To make them, first mark and then outline your buttonhole with a running stitch or a machine stitch. Apply a fray stopper (a liquid that seals the cut fibers, like Fray Check) inside the opening, cut the buttonhole open with a seam ripper or buttonhole tool, and whipstitch the edges (see this page) to reinforce. Then work a buttonhole stitch around the opening using heavy decorative thread, spacing the stitches about a needle’s width apart. For a more prominent buttonhole, work your stitches on top of a fine gimp cord or length of embroidery thread (each available at fabric shops).

CUTTING BUTTONHOLES

J Insert seam ripper near one end

K Come up at the other end and cut

The finished buttonhole should be just a bit longer than the button width plus the button thickness. Since buttonholes can be temperamental, it’s a good idea to sew a test or two on scraps and make sure your buttons fit through correctly before you move on to your final garment.

Instead of using buttonholes, you can make button loops from cord, elastic, or a tiny tube of fabric and insert them between a garment piece and its facing or lining. To do this, the loops are lined up along the seam with the loop pointing inward and the raw ends toward the fabric edge. The loops are then caught in the seam as the facing is sewn to the garment. When sewing a whole row of loops, it may be easier to sew them to a ribbon or strip of fabric before inserting them in your garment (A).

Sewing on buttons by hand is the most secure method of attachment; use doubled thread or special button thread. Stitch through several times (B), leaving a little slack in the stitches, then make a shank underneath the button by wrapping the thread around the stitching several times before knotting off. You can also attach buttons by machine (C). Check your machine’s accessories for a button foot, or if your machine uses snap-on feet, you can remove the presser foot entirely. Place the button and fabric under the needle, and balance a pin on the button between the holes to serve as spacer. Then, set a zigzag stitch with zero stitch length (deactivate the feed dogs if your machine allows this), and fiddle the stitch width to match the holes in the button. Hand-crank the machine through the first few stitches to make sure the needle won’t hit the button, then sew back and forth until the button is secure.

BUTTON LOOPS

A Secure multiple loops to a ribbon or tape before inserting

SEWING ON BUTTONS

B Hand sewn

C Machine sewn

Adding Grommets and Eyelets

Any hole used for lacing will need some kind of reinforcement; depending on how much strain the laces will be under, you may choose to use stitched eyelets with or without extra reinforcement, metal eyelets, or two-part grommets.

Holes for lacing can be cut out with a punch or worked open with a sharp pencil or tapered awl. A punch creates a clean, perfectly round opening of pre-determined size. An awl pushes the fibers apart instead of cutting them, which makes for a stronger but less regular opening. For hand-sewn eye-lets, make a line of running stitches around the opening as a guide, then work buttonhole stitches (see this page) around the circumference in heavyweight thread. If you need a bit of reinforcement, you can incorporate a metal jump ring of the appropriate size for your opening and work the buttonhole stitches over it. Sew-in lacing tape with pre-set eyelets is another option, but make sure the eyelets are sturdy enough for functional use as opposed to just decoration. You can often find this tape in the trim section of a fabric store.

If you’d like an alternative to eyelets, you can sew metal rings into your costume or make loops from fabric or cord, add them to your garment, then thread the laces through them.

Sewing on Snaps

Sew-on snaps are a quick and easy-to-install closure. These snaps have four to six loops to sew through; use a buttonhole stitch (see this page) to make your snaps both sturdy and attractive. As explained on this page, there are other kinds of snaps, including magnetic snaps, some of which require a special tool to apply. If you’re short on time, you can also find tapes with pre-attached snaps that you simply sew in.

Fastening the Fasteners

The tools used to attach metal eyelets, grommets, rivets, and snaps vary. One type, sometimes included in the package with the fasteners, consists of a tiny anvil and die that are used with a hammer to pound the pieces into place. The main difficulty with this method is keeping the pieces correctly aligned; if anything is askew, the eyelet or rivet won’t set correctly. A better-quality version of this tool can be purchased separately, with a larger, more stable anvil and die, and it reduces the frequency of misfires. You may also see a snap or eyelet tool shaped like a pair of pliers that clamps the fastener in place. This version can be more difficult to use for people who have small hands or relatively little grip strength. Professional-grade (i.e. very expensive) versions of these tools use a large lever-operated hand press and different dies for each type and size of fastener.

Sewing on Hooks and Eyes

As with snaps, use buttonhole stitch (see this page) for extra security when stitching on these components. Work around the curves of the wire, and sew a few stitches across the hook end to hold it in place. Use heavyweight thread for larger sizes.

Sewing on a hook and eye

Finishing Techniques

At some point in the assembly of your costume, the edges of your garment need to be finished to control fraying and make them look neat and professional. This includes necklines, armholes or sleeves, hems, and any other edges that aren’t enclosed in seams. Be sure to try on any garment that will be hemmed and mark the depth of the hem you need. Sometimes it’s easiest to have a friend help you do this, especially if you’re dealing with lots of fabric or complicated hemlines. Circle skirts, capes, or any other garment with a long, curved hem may need to hang up for a few days on a hanger or dress form before being hemmed, as sections hanging on the bias may droop and need trimming.

FACINGS

Bias Facing

For an unobtrusive finish around necklines, armholes, and so forth, make a narrow facing out of single-fold bias tape, which you can buy in packages or cut yourself. (To cut your own strips for bias facings or other uses, see the sidebar on this page.) Sew the tape to the opening along the stitching line, right sides together, then trim and clip the seam allowance. Press the seam open, fold the raw edge of the tape under (D), then press the tape to the inside and topstitch (E).

BIAS FACING

D Sew bias tape to edge and fold allowance in

E Fold bias to inside and topstitch

Cutting Bias Strips

To cut bias strips for binding, facings, or embellishment, first use an L-square or gridded cutting mat to line your fabric up exactly on the grain (see this page). Measure equal distances along the straight and cross grain (e.g., 18"/46 cm] each way), mark, and use a yardstick to connect the two points. This creates a 45° angle, which is the true bias. Use a clear gridded ruler to draw additional lines parallel to the first, and cut along the lines with a rotary cutter or shears. Depending on the length of strip needed, you may need to join strips together. To do this, line them up at right angles to each other (forming an L-shape) and stitch along the straight grain, then press the seam open.

Marking bias strips

Shaped Facing

A facing is a piece of fabric that frames the opening you want to finish. You sew it to the edge with right sides together, and then flip it around to the inside so the raw edges are hidden between the garment and facing (A-D). This method is often used to finish necklines, especially V-necks and other shaped necklines, but it can also be used for pocket openings, decorative cutouts, hems, and more. To prevent a facing from rolling out, you should topstitch (see this page) or understitch it and press well. Understitching (E) is a line of hand or machine stitching that secures a facing or lining to the seam allowance without going through the outer fabric. This is usually enough to make a wide facing roll naturally to the inside, so no visible stitching is necessary, though usually it’s a good idea to take a few stitches to tack the facing to the seam allowances inside the garment. Narrow facings will need to be topstitched to prevent them from flipping to the outside.

FACED OPENINGS

A Sew around perimeter

B Trim out opening; clip curves and corner

C Turn facing to inside

D Topstitch

E Understitching a facing

HEMS AND EDGES

Garments with very full hems, such as circular skirts and capes, should be hung up for at least a day before hemming. Because the hem is curved, parts of the garment will hang on the bias and may stretch out. After hanging, put the garment on yourself or a dress form and measure up from the floor to trim the hem so it’s level all the way around. Narrow or faced hems are most suitable when the hem is curved.

Double-Fold Hem

This provides a very clean and basic hem finish. Fold the hem up ¼" (6 mm) and press, then fold again at the actual hemline. Secure by topstitching or with a slipstitch or catch stitch (see this page).

Taped Hem

Sew a piece of hem lace or tape to the outside of the fabric along the raw edge of the hem, so that the tape extends slightly past the edge. Press the hem up along the marked line, then use a hand or machine stitch along the top edge of the lace to secure, concealing the raw edge of the fabric behind the lace. This makes for a very lightweight, but also decorative, finish.

Blindstitched Hem

This stitch, which you may have on your machine, can be used with a double-fold or taped hem to make it nearly invisible from the outside. After finishing the lower edge and folding up the hem, fold it back so the edge sticks out slightly from under the body fabric. Select the blindstitch and sew along the edge so that the wide zigzags just barely catch the fold (F).

BLINDSTITCHED HEM

F Stitching catches just a few threads of outer fabric

Serged or Zigzagged Hem

This option is less bulky and more utilitarian-looking than a double-fold hem. Serge or zigzag the fabric edge to prevent fraying, then fold it up along the hemline and secure with a blind stitch, hand hem, or topstitching. Or, stitch with decorative thread and don’t turn the edge up at all!

Narrow Hem (or Baby Hem)

Narrow hems are useful on delicate fabrics like silk, handkerchief linen, and fine cottons. Press the fabric up about ⅛" (3 mm) below the hemline and sew 1⁄16" (1.5 mm) from the fold. Trim the seam allowance right next to the stitching, fold along the hemline, and sew a second line of stitching on top of the first. Only the second row of stitches will be visible from the outside.

Rolled Hem

Many sergers have a rolled hem stitch that can be used to finish fine, difficult-to-control fabrics. Refer to your serger’s manual for the correct settings, and adjust the differential feed to eliminate rippling or puckering. (Or, alternatively, turn the differential all the way down to create a wavy “lettuce” hem. Cosplayer’s choice.)

Knit Hem

Since most knit fabrics don’t fray, you can hem them without finishing the cut edge. Just turn the edge up the desired amount, hold with pins, basting, or basting tape, and top-stitch with a zigzag, stretch stitch, or double needle. You can also use a serger or sewing machine blindstitch if you prefer.

Banded Edge

This method is particularly popular for knit fabrics because it can be done entirely on a serger. Cut a rectangle of fabric the length of your opening, or slightly smaller if you’re using a stretch fabric. It should be twice the desired width of the finished band, plus a seam allowance on all sides. Sew the short ends of the band together and press the seam open (or flat if serging), then fold the loop in half lengthwise so the raw edges are aligned. Sew the raw edges to your garment with right sides together, finish the seam, then press the band out away from the body of the garment.

BOUND EDGE

A Sew tape to edge, right sides together

B Press tape up and the other allowance in

C Topstitch or fell stitch to secure

D Stitching in the ditch

Bound Edge

Binding is a visible finish that can be made in a matching or contrasting fabric. First, trim the edge to the finished length. Take double-fold bias tape, open it flat, and sew it to your fabric with right sides together along the first fold line (A). Press the tape toward the edge and wrap it around to the inside (B). Topstitch or slipstitch the free edge along the stitching line (C), or arrange the folds so the free edge extends slightly beyond the line and “stitch in the ditch” (sew from the outside in the gutter of the seam between the bias and main fabric) to secure (D). For more color and fabric options, make your own bias tape (as suggested on this page) instead of buying it.

Elastic Edges

Elastic helps garments stay where you want them to, so naturally it’s a cosplayer’s best friend. Use it to finish waist-bands; arm, leg, and neck openings; and on undergarments. It’s also helpful for stabilizing shoulder seams and can be used to create gathered or ruched effects (stretch it along a seam while sewing, and it’ll draw up the fabric when it springs back). Always use a ballpoint or stretch needle when sewing through elastic to avoid puncturing or breaking the stretch fibers (which can weaken elastic).

There are two main ways to sew elastic into an opening: the casing method and the stitched-and-turned method. Use a casing when the elastic is gathering a large quantity of fabric, as on the waistband of a gathered skirt. The stitched-and-turned method is best for when the elastic is just a bit smaller than the opening you’re sewing it to, like on the leg and arm openings of a leotard or swimsuit.

Casing method (E). Make a casing about ⅛" (3 mm) wider than the elastic by attaching a separate casing piece or folding the edge over and stitching it in place. Leave an opening of 1" to 2" (2.5 to 5 cm) in a side or back seam or along the bottom edge of the casing so you can get the elastic inside. Cut the elastic to the required length with a little extra for an overlap, referring to the pattern measurements or wrapping the elastic around your body to determine what’s comfortable. Safety pin one end to the garment next to the opening, and stick another pin through the free end of the elastic so you can grip it to push the elastic through the casing. When you get back to the opening, make sure the elastic isn’t twisted before you sew the ends together (F, G). Sew the opening closed, even out the gathers, and tack the elastic and casing together at the seams to prevent it from twisting or shifting.

ELASTIC EDGES

E Casing method

F Lapped end join (bulkier join)

G Abutted end join (flatter join)

H Stitched-and-turned method

Stitched-and-turned method (H). Sew the ends of the elastic together and mark the loop into quarters. Mark corresponding points on the garment opening (usually center front, center back, and each side) and pin the elastic into the opening on the wrong side of the fabric. Use a zigzag or overlock stitch to sew the elastic to the fabric edge, stretching as you sew so the elastic and fabric lengths match. Fold the edge over to enclose the elastic on the inside and topstitch with a zigzag, double needle, or coverstitch to secure, stretching just enough to remove any wrinkles.

LINING

Lining your projects is a great way to cleanly finish the insides, help garments lie smoothly and neatly over other layers, and make lightweight fabrics feel more substantial. Although not all garments need to be lined, it’s a good idea for most jackets and coats as well as structured, fitted dresses and skirts. Used appropriately, lining will make your costumes feel more professional.

Some patterns include separate pieces for the lining, but often you can adapt the lining from the main pattern pieces. The simplest lining method is to cut the lining pieces the same as the outer garment, assemble them separately, and join the layers around the edges of the garment. An alternative, especially if the garment is already finished with a facing, is to cut the lining so it attaches to the facing and is well hidden inside the garment. If your lining goes all the way to the edge, you’ll usually need to understitch or topstitch to prevent the lining from showing outside the garment. Your pattern instructions will give you specific details about how to add a lining, as it will vary from garment to garment.

If you’re sewing with a lightweight, limp, or delicate fabric and need to make it more substantial, you can do this by layering it with another fabric that has the requisite strength and/or heft. Cut the pieces out twice, once from your fabric and once from the backing fabric, then immediately baste the layers together along all seam lines, darts, and edges so that the two fabrics will behave as one while you work with them. This technique is called underlining (or “flat lining” in historical sewing) and can be used by itself or in addition to a regular lining. Silk organza is often used for underlining because it is very strong and has very little stretch, but muslin or another lightweight cotton will also work well for some fabrics.

Sewing Tricky Fabrics

Although we discussed a lot of the standard fabrics you’ll encounter on this page to this page, as a cosplayer, you’ll find yourself working with a lot of oddball fabrics too, which have their own sets of rules. You need to have a few special tricks up your sleeve to sew them effectively, but a little preparation and the right tools can make them very manageable. Keep a supply of tissue paper on hand to help with cutting fine fabrics and feeding sticky surfaces through the machine, and stock up on a variety of needle types and sizes so you can experiment and see what the fabric likes best.

Coated Fabrics

Faux leather, metallic spandex, and the various flavors of vinyl are notoriously unforgiving. Any holes you make are permanent, so use clips, tape, and low-temperature fusible tapes instead of pins. A washable glue stick is also handy for some situations. When you’re ready to sew, choose a microtex or sharp-type needle to puncture the coated surface, or go with a stretch needle if you’re struggling with skipped stitches, and sew carefully to avoid having to unpick seams. These fabrics may also stick to the sewing machine, so to keep things moving smoothly, you might need to sandwich the fabric in tissue paper, or use a special foot on your machine (walking, Teflon-coated, or roller). Be careful when pressing, as these materials may also melt easily.

HEAVY DENIM AND CANVAS

A Using a cardboard shim to jump bulky seams

WALKING FOOT

B Helps to feed tricky fabrics and prevent layers from shifting

Faux Fur

This fabric can be very messy, so it should be cut from the back side using a razor blade or craft knife so you don’t cut the pile, which will help to minimize the fluffsplosion. After you sew, use a pin or comb to liberate any fur that’s caught in the seams. For some furs, you may want to do butted seams (where the two pieces are placed edge to edge and sewn over a reinforcing tape so there’s no overlap) to prevent a lot of bulk in the seam allowances. The nice thing about fur is that seams will all but disappear into the pile, so it’s very forgiving of shaky stitching, and you can even piece scraps together if you’re short on fabric.

Heavy Denim and Canvas

These hard-working fabrics are actually pretty easy to sew, but you’ll want a denim or topstitching needle to accommodate the dense fabric and heavier thread (denim or upholstery thread) that goes with it. If you have trouble sewing over bulky seams, slip a piece of cardboard under the back of the foot to boost it over the hurdle (A).

Leather

Use a leather needle (or glover’s needle for hand sewing) and heavy thread when working with leather. As with coated fabrics, a walking, roller, or Teflon foot will help to keep the material moving through the machine (B). Since it won’t press as well as fabric does, you’ll want to flatten bulky seam allowances with topstitching or leather glue. Garment-weight leathers can be sewn on a regular home machine, but very heavy leathers will need to be sewn by hand (and you may need to pre-punch the holes).

Slippery or Shifty Fabrics

Materials like chiffon can be difficult to cut accurately, so—if the fabric is washable—it may help to stabilize them with starch or a starch alternative. Make sure the grain is straight before you stabilize or you’ll exacerbate the problem. If your fabric is not washable, you can sandwich it between two layers of tissue paper and cut both paper and fabric at the same time for a more accurate cut. Alternatively, covering your cutting surface with a sheet or length of muslin can give it a little more grip so the fabric on top stays put.

Sequined and Beaded Fabrics

These beauties can make for scratchy, bulky seams, so it’s a good idea to remove beads and sequins from the seam allowances before you sew. Instead of cutting the threads, which may allow the embellishment to unravel further than you’d like, use wire cutters to remove sequins and crush beads with pliers to remove them while leaving the threads intact. If you need to go back and fill gaps after the garment is complete, you should be able to salvage the sparklies you need from leftover scraps.

Velvet

Velvet likes to creep and shed fluff as you sew it (though it’s not as bad as faux fur), and it can be difficult to press without permanently crushing the pile. Cotton, polyester, and stretch velvets are pretty resilient, but if you’ve spent the money on silk, rayon, or acetate velvet, you should be prepared to baby it. Hand basting will help to control this wriggly fabric, and serging or zigzagging the edges is a good idea to control fraying. You can preserve the pile by pressing it very lightly with the nap face down on a fluffy towel or scraps of the velvet itself. But if you use velvet often you may want to invest in a needle board—a flat board with little needles that retains the depth of the pile when you place the fabric on it to iron. It’s expensive, but unbeatable for this purpose.

Tricky Fabrics: 1. Velvet 2. Metallic spandex 3. Metallic mesh 4. Faux fur 5. Faux leather

CHAPTER 4

ALTERATIONS AND MODIFICATIONS

There are a couple of important reasons why you may want to alter a pattern. The first is to make a garment fit your body better, and the second is to customize the design so it looks more like your reference image. To make sure that your costume looks great on you and is comfortable to wear, I’ll begin with fit. Here’s a secret about sewing patterns: they’re probably not going to fit you perfectly right out of the envelope, any more than a garment you pull off the rack at a store will fit exactly how you want it to. Patterns are designed to fit an average body, in many cases based on data that was collected decades ago. Fortunately, unlike clothing off the rack, when you’re sewing, you can adjust the pattern before you begin so your finished clothes will fit like they’re custom made (which, uh, they will be).

Fitting Alterations

Now, it’s true that fitting your hand-sewn clothing can get a little tricky because you have to do a lot of work before you get to the stage of trying things on. That’s why you need to take a detailed set of measurements (see the box on this page), and keep them up to date when your body changes size or shape. Then you can compare your measurements to the pattern’s measurements and see where you might need to adjust. It’s also a good idea to make a mock-up in inexpensive fabric such as muslin when you’re trying something new so you don’t waste a lot of costly fabric and spend hours of work time on a garment that won’t fit in the end. Some common changes are very easy to do.

ALTERATION TOOLS & MATERIALS

If you plan to do a lot of altering or customizing, you may want to add some additional supplies to your Sewing Essentials toolbox (see this page). Here are some suggestions:

CURVED RULERS. Tailoring rulers incorporate common curves for different parts of the body to help you draw smooth lines.

L-SQUARE. Use these for drawing grainlines and making sure corners are square.

SPIKY TRACING WHEEL. A needle-point tracer makes clear indentations to transfer marks between layers of paper.

CHINA MARKERS. These are good for marking up muslins, and you don’t have to stop to sharpen them.

CRAFT SCISSORS. Remember never to use your good fabric scissors on paper!

QUILTING RULER. The gridded lines help with marking seam allowances, cutting bias tape, and more.

TRACING PAPER. For tracing patterns off sheets, filling gaps, and creating new pieces (like facings).

TAPE. To secure the altered pattern pieces.

LENGTH

A Adding length

B Removing length

LENGTH

Length is usually the easiest thing to change, so no worries if you’re tall or petite and everything in stores is too long or short. Determine how much you need to add or remove from a pattern by comparing your body measurements with the pattern. You should know your back length (from the prominent bone at the base of your neck to the narrowest point of your waist) and your outseam (from the waist to the floor along the outside of your leg) so you can compare them to the pattern measurements. For bodysuits, you should also check the torso length as shown in the box on this page, to make sure it won’t sag or ride up when you wear it. Double-check by holding the paper pattern piece up to your body and making sure that the waist and other landmarks are hitting you in the correct place.

Some commercial patterns have one or more suggested lengthen/shorten lines, indicated with a pair of closely spaced parallel lines. To lengthen, cut between the lines and spread the piece apart, making sure to keep the seam lines lined up. Tape in a strip of paper to cover the gap, then use a ruler or French curve to draw a smooth line connecting the seams above and below (A). To shorten, fold along the lengthen/shorten line and make a pleat (the finished depth of the pleat should be half the amount you mean to take out). Again, smooth out the seam lines (B).

The thing you should avoid is simply adding or removing length at the hem, unless you’re adjusting for style and not fit. If you’re tall, you’re probably long all over, so the changes need to be proportionate. If a dress is perfect in the torso but you want to show a little less leg, on the other hand, it would be perfectly reasonable to extend the hem down 1" or 2" (2.5 or 5 cm). Also, if the silhouette of the garment is tapered or flared (as with skinny pants or a full skirt), adding length at the middle will keep the finished hem circumference the same, retaining the style proportions of the garment.

Body Measurements

To do successful alterations, you need a few more measurements than are necessary to choose a pattern size. It may be easier to get accurate measurements if you have a friend help you. Unless otherwise noted, men and women should measure at the same points on the body. Here are key measurements to take:

BUST/CHEST. Measure around the fullest part of the chest or bustline. For men, measure around the widest part of the chest, which is usually at or slightly above the nipples.

UPPER CHEST. For women, measure over the breasts and under the arms.

WAIST. Measure at the narrowest point of the waistline.

HIPS. Measure at the widest point of the hips; if your thighs are more full than your hips, use that measurement instead. Also measure the distance from your waist to the fullest point in case that needs adjustment.

BACK LENGTH. Measure along your spine from the prominent bone at the base of your neck to your waist.

ARM LENGTH. Measure from your wrist bone to your elbow, and from the elbow to top of the arm, keeping your arm slightly bent. Add the two measurements together.

OUTSEAM. Measure from your waist to the floor along the outside of your leg.

INSEAM. Measure from your crotch to the floor along the inside of your leg.

TORSO LENGTH. Measure from the top of the shoulder in front, down through your legs, and up to the same point in back.

HEIGHT. Measure from top of your head to the floor.

SIZE CHARTS

BLENDING SIZES

If you look at a size chart and your measurements fall into multiple size groups, you’re in good company. Many of us, in fact, are two or three different sizes depending on the area. Patterns typically include several sizes nested together so that you can easily blend between sizes to fit different areas. First, determine which size you are in each area: bust/chest, waist, and hip. Find the corresponding points on the pattern tissue, and use a marker or highlighter to trace over the appropriate size line for 1" (2.5 cm) or so. Then, draw a smooth line connecting up the marked lines. You can do it freehand if you’re confident in your drawing skills, or grab a ruler or French curve to assist (a set of curved dressmaking rulers, shown on this page, is a great investment if you anticipate doing a lot of this) (A).

If you’re multiple sizes and they’re not all in the same commercial pattern envelope or on the same pattern piece, pick the size range based on what area will be the most complicated to fit. Often this is the shoulder and sleeve, so you’ll likely want to choose the size that matches your bust/chest measurement; on the other hand, if the pattern has a lot of complicated detail around the lower torso, you may want to choose based on your hip size instead. Then, in the other areas, use the spacing of the other size lines as a guide to estimate where the line for your size should be, and adjust as needed from there.

SHOULDER ADJUSTMENTS

Any non-strapless top hangs from your shoulders. That means you can get some really wacky issues if the angle of the shoulders isn’t correct—if your own shoulders are more square or more sloped than the pattern. The easiest way to check this is to pin the pattern pieces together along the shoulder seam. Line up the center front and back, pinning them to your clothes if necessary to make them hang nice and straight. Then stand naturally and take a look in the mirror.

If your shoulders are more square than the pattern, you may see the pattern straining at the tip of your shoulder or lifting up next to your neck. If so, unpin the shoulder end of the seam until it lies flat, then pin along the new seam line. Take it off, draw in the new shoulder seam, and add extra tissue if needed to maintain the seam allowance (B).

On sloped shoulders, you’ll see the shoulder seam lifting away from your body at the end of the shoulder. Pinch out the excess tissue, then mark the new shoulder seam and seam allowance.

You may also find that your shoulder is angled forward or backward compared to the seam on the pattern. If that’s the case, you’ll want to add to the back and take away from the front (or vice versa) until the seam runs right along the peak of your shoulder from earlobe to tip (C). You may want to get a friend to check this for you, since turning your head to look can throw off the measurement.

BLENDING SIZES

A Transition gently between sizes as needed

SHOULDER ADJUSTMENTS

B Adjusting for square shoulders

C Adjusting shoulder point forward or backward

D Adjust sleeve to match new shoulder point

If the shoulder seam has changed at all, you’ll need to adjust the underarm and/or sleeve areas to match. If you’ve added to the top of the shoulder, tape in a new piece of tissue and raise the underarm by the same amount, redrawing the curve so it’s the same shape as before (B, this page.) If you’ve removed height at the top of the shoulder, you’ll need to trim away the same amount under the arm so the overall size of the armhole isn’t affected.

If you’ve moved the shoulder seam forward or backward by adding/removing tissue on the back and front, move the match point on the sleeve cap forward or backward to match (D, this page).

DART CHANGES

When test-fitting a women’s garment, make sure that the bust dart points toward the peak of the breast but doesn’t actually touch it. The dart should end ¾" to 2" (1.9 to 5 cm) away, so the tip of the dart doesn’t create an unfortunate “nipply” effect. The dart may need to move up or down, or be made shorter or longer to provide the best fit for your body. If you get wrinkles above or below the dart, especially around the armhole, you may need to make the dart deeper so it takes up more fabric. This will shorten the seam, so you’ll probably need to add length elsewhere to compensate. (Often, this occurs when a full bust adjustment is needed (see this page). If so, this will take care of both steps.) Conversely, a dart that’s too deep may result in a puffy or hollow area that floats away from your body. Sewing a shallower dart and removing length to match should remedy this.

With waist darts, you may find that they need to be made shorter or longer to provide the best fit. If the darts are too long, you might see the fabric straining at the tip. If the dart is too short, you’ll see a loose “bubble” of fabric beyond the tip of the dart. You can also add waist darts in front or back to make a loose blouse more fitted—just remember that the wider you make the dart, the more difficult it will be to sew without strain lines or puckering. Start the dart 1" (2.5 cm) or so below the widest part of your chest and extend down to mid-hip. Trial the dart by basting it in, then adjust as needed. If you need to take out more than 1" (2.5 cm) or so on each side, consider spreading it out over multiple darts. The main waist dart should generally align with or point toward the bust point in front or the shoulder blade in back; additional darts are typically placed between this point and the side seam.

If you determine that a dart needs to be moved up or down, you can do this on the pattern by cutting a box around the entire dart and taping it in the correct position, then redrawing the surrounding seam (A). If the dart needs to be shorter or longer, first fold it in half, matching up the legs to find the center line. Place the new dart point on this line and redraw the legs to the new point, starting from the stitching line as opposed to the edge of the seam allowance (B).

DART CHANGES

A Moving a dart up or down

B Shortening or lengthening dart

C Beginning to “true” a dart

D Close dart and trim along cutting line

E Trued dart

BUST ADJUSTMENT

F Cut along the solid lines

G Spread horizontally and vertically

H Move bust dart point back from apex; optionally take in excess at waist with darts

CHECKING PATTERN

I “Walking” a princess seam to make sure it matches

After altering any dart that extends to the seam allowance, fold it closed and trim along the pattern cutting line to “true” the end so it can be caught in the seam (C–E).

BUST ADJUSTMENTS

This one is a little more complicated, but it’s worth getting right. Although I will give an overview here, for best results, consult a fitting book like the ones on this page for more detailed instructions. Remember those averages I explained earlier? Most women’s patterns are designed for a B cup, which for the purposes of the pattern means that your full bust measurement is 2" (5 cm) larger than your chest measurement (above the breasts, under the armpits.) If your bust size is larger than that, you don’t want to just increase the pattern size because then the shoulders and neckline will end up baggy. Instead, you should choose the size that matches your chest measurement and perform a full bust adjustment (FBA) to give you more room. A FBA involves slashing the pattern and spreading it at key areas to account for a fuller bust: see (F–H) to understand how it’s done. This adds both length and width; you can get an idea of how much length is needed by measuring from the top of your shoulder (by the neck) down over the fullest part of your breast to the waist, and comparing this to the same measurement on the pattern. Make any general length or shoulder adjustments first, to avoid confusing the issue.

CHECKING THE ALTERED PATTERN

After making changes to a pattern, you should always make sure that everything still lines up the way it should. If you haven’t drawn in the stitching lines on the pattern piece, you should do so now. “Walk” the seams by matching up the stitching lines for each seam in your garment, to make sure they’re the same length and all the notches match (I). If the two sides of a seam have different curves, as with princess seams, match them up as far as they will go, stick a pin into the tissue to hold your place, and pivot the pieces to match up the next section of the seam. Continue in this way until the end of the seam. If the seam lines are mismatched or the notches don’t align, you may need to add or remove length in the appropriate areas of the pattern pieces until they agree.

If one side of the seam is supposed to be gathered or eased, like sleeves, the seam lines will be different lengths by design. You can still make sure that the amount of ease makes sense for the pattern and your fabric (see this page).

Finally, it’s a good idea to make sure that the seam and edge intersections are all square. Check that the front and back pieces join smoothly at side seams and shoulders, and redraw the cutting line on both pieces to smooth out any irregularities. Check the center front and back as well, especially if pieces will be cut on the fold, to avoid any unintentional points or notches in hems and necklines.

Style Alterations

Sometimes a pattern might need a little customization to make it more like your character’s costume. As long as the overall shape and fit looks right, you can make lots of relatively simple changes—alter the length of sleeves and skirts or swap them out for a completely different style, for example. You can also reshape necklines and collars, and you can add new seams or even move the existing ones. If you like the shape of one pattern and the details of another, you can create a mash-up that combines your favorite bits of both. Some imagination and a little technique is all you need.

Making a Custom Body Pattern or Dress Form

For some projects, adjusting a pre-existing pattern to fit may be more trouble than it’s worth. For extremely fitted garments that need to hug and mold your body, like corsets, evening gowns, and boned bodysuits, you can use plastic wrap and duct tape to create your own pattern directly from your body. You will definitely need a buddy for this, as moving or bending once you’ve started will be difficult or impossible, and may compromise the fit of the finished pattern. Also, keep a pair of safety scissors on hand so you can abort in a hurry if it gets too uncomfortable.

Wear a close-fitting t-shirt or leotard that covers the entire area you’re patterning. If it’s a shirt you’re willing to sacrifice, you can tape directly on the fabric; otherwise tightly wrap the area with plastic wrap before you begin. Stand naturally and have your assistant start wrapping you with duct tape, using short horizontal segments to avoid wrinkles and overlapping the tape strips to make it nice and stable. If you’re making a body-shaping corset, have your assistant pull the tape a bit snug so it compresses your waist the way you’d like the finished corset to do. Continue the tape a little bit past where the edges of your finished pattern will be—you’ll cut off the excess later.

Grab a permanent marker and draw in the outline of your finished garment. Mark the center front and back lines, side seams, shaping seams, and any other details you want to include. When you’re happy, use the safety scissors to cut along the center front line so you can get the body form off. Leave one half of the form intact for reference, and cut the other half apart along your seam lines. Each piece should lie more or less flat; if it doesn’t, you’ll need to add some additional darts or seam lines to get a good fit. Trace the pieces onto a piece of paper, use a curved ruler to neaten up the shapes (remembering that discrepancies as small as ⅛"/3 mm can compromise fit), and add seam allowances. It’s a good idea to sew a mock-up before continuing with your good fabric, in case anything got thrown off in the translation from tape to pattern.

You can also use this same method to make a custom dress form that exactly duplicates your shape. To do this, you’ll want to make sure you wrap all the way out to the end of your shoulders, and down to the widest point of your hips (or thighs, if you want a form you can use for bodysuits). Use a couple extra layers of tape to give the form some rigidity. After removing the form, tape it back together, insert a hanger to support it while you work on it, and tape across the arm and neck openings. Then you can stuff the form with newspaper or packing peanuts to maintain the shape, and close off the base with a piece of cardboard and more tape.

NECKLINES

Redrawing a neckline is one of the simplest and most obvious ways you can adapt a pattern for your own purposes. It’s easiest when the pattern has a fairly high neckline to begin with, because then you can simply draw in the new shape. (On the Blouse pattern, options for both a high and V neckline are already drawn for you.) Make sure the front and back match up nicely at the shoulder seams, and hold it up to your body to check proportions. Then you can add seam allowances and cut off the excess, and you’re pretty much good to go. That said, there are a few subtleties to keep in mind that will give you better results.

Very wide or deep necklines tend to be unstable. If there’s a long bias edge in your neckline, as with a deep V, you’ll need to stabilize it or even ease the edge slightly (see this page) to prevent it from sagging out of shape and gaping away from your body. At the very least you should staystitch (see this page) the seam line, but a strip of interfacing (see this page) or organza sewn into the seam will be more secure. On stretch fabrics, elastic is often the best solution.

Also, if a neckline is deep in both front and back, you might have trouble keeping it on your shoulders. Hidden loops that snap around your bra straps are one solution for this, or you can add a tie or piece of clear elastic that connects the shoulders across the back of the neck. Alternatively, you can fill in the neckline with sheer mesh that will be invisible from a distance but keep everything nice and secure. Necklines that are low in front and high in back or vice versa are less likely to be a problem this way.

NECKLINE FACINGS

A Front

B Back

If the neckline will be finished with a facing, you’ll need to create a new one to match the new shape. Do this by putting a sheet of tracing paper on top of the altered pattern piece and tracing the neck and shoulder shape, then drawing in the new facing below. Trim about ⅛" (3 mm) off the shoulder edge, tapering to nothing at the neck seam, to help it lie nice and flat when turned inside (A–B). If the garment is lined (see this page), use the altered outer piece as a template to redraw the neck lining as well. If you’re using a bias facing or band (see this page), make sure you cut it to the appropriate length for the new neck shape.

ADDING POCKETS

Every costume needs somewhere to stash your stuff, right? Adding pockets is a really simple pattern alteration that can make your outfit much more functional. The type of pocket you add will depend on the style and fit of your costume, and some are much more challenging than others. Here are a couple of simple techniques.

SIDE SEAM POCKETS. These are unobtrusive and easy to sew. They’re a great choice for looser-fitting garments like tunics and full skirts, but can be a little bulky and difficult to use on close-fitting outfits. To create a side seam pocket, first decide where you’d like it to be placed. Place a piece of tracing paper on top of the pattern piece, and trace the side seam for the length of the pocket opening. This needs to be wide enough to get your hand into, about 5" to 6" (12.7 to 15.2 cm). Draw in the rest of the pocket bag, using the shape of your hand as a rough guide (A, this page). To prevent your stuff from falling out, make sure the deepest point of the pocket is below the side opening. Add seam allowances all the way around the pocket, and make sure you mark the main pattern piece for placement. To actually sew the pocket, see steps 2 and 3 of the Coat pattern.

PATCH POCKETS. Although these are visible from the outside, they work well for some styles (to keep them invisible, you can add them to the lining instead). It’s best to add them before the garment is assembled. Draw the shape of your pocket on pattern paper or directly on a piece of fabric, leaving seam allowance all the way around so you can turn the edges under. Finish the top edge first (B), then press the edges under (C). If your fabric frays a lot, you can line the pockets before attaching them (D, E) or overlock the edges. Attach to your garment with topstitching or edgestitching (F) (see this page).

ADDING POCKETS

A Making a pattern for side seam pockets

B First, finish the top edge of a patch pocket

C Press edges under

D Lining a patch pocket

E After turning the pocket out, finish the top edge

F Topstitch or edgestitch

FRANKENPATTERNING

If you want to substitute a distinctive feature onto a pattern you like, you can use a method called “frankenpatterning.” This involves finding a pattern that has the details you want, or something close, and copying the pieces over to the pattern you’re using for the rest of the costume.

Collars and sleeves are some of the most unique features on many costumes, and while it’s possible to create a new pattern piece yourself, there are a lot of pitfalls involved in getting the proportions and attachment exactly right. Frankenpatterning is a solution to this dilemma. To use a collar from a different pattern, you also need to copy the neck opening so that the pieces will match up correctly. Put the pattern you’re copying down first, and your main costume pattern on top. Make sure both patterns line up at center front, center back, and the shoulders. Trace the neckline, including any marks or guidelines, onto your front and back pieces.

To substitute one sleeve for another, you repeat this process with the armhole instead of the neckline. This can be a little trickier because different patterns have different amounts of ease in the side seams, so you should try to pick patterns with roughly the same overall fit to copy from. Overlay the front and back pieces of your main costume pattern on the corresponding pieces of the pattern you’re copying, matching the shoulder point on the template pattern up with the shoulder seam on your main pattern. Trace in the new armhole shape, which may start higher or lower than the old one, and make the shoulder wider or narrower. Tape in more tissue if needed, and blend the new underarm position into the original side seams. After you’ve copied the shapes, match up the front and back pieces at the side seams and shoulder points. Smooth out any points or jags where the pieces meet so the curve is continuous. This is an inexact method, so you may want to add a little extra seam allowance in the areas you’ve altered and baste the pieces in place for a trial run before sewing them permanently. For best results, practice on a mock-up first.

FRANKENPATTERNING

G Copying a neckline

PLEATS

H Mark and then cut along the pleat line

I Insert twice the finished pleat width

J Fold and pin the pleat closed and true edges

You can also use frankenpatterning to swap in a different skirt on a dress pattern, or to copy a detail from an untried pattern onto one that you’ve already fitted and perfected. It’s also the easiest way to add more complicated types of pockets to your costume, including welt pockets, gusseted cargo pockets, and so forth. Look for a pattern that has the type of pocket you need; the placement doesn’t matter, but try to avoid choosing one that has a seam running across the pocket location.

GATHERS AND PLEATS

To add gathers or pleats to your garment, you basically need to add extra width in the desired area. This is one way to add width to a skirt or sleeve, or you can use it as a design detail. For gathers, you want to distribute the extra width evenly across the gathered area. For pleats, you’re going to pattern each pleat individually, so you can fold up the paper pattern and get an idea of what the finished garment will look like.

PLEATS. To add a pleat, first draw a line across the pattern where you would like the visible fold to appear (H). For a pleat that disappears or tapers to nothing, stop at the seam line on the opposite side of the pattern piece. If you’re adding width overall, continue all the way through the seam line. Determine how deep you want your pleat to be, and spread the pattern pieces by twice that amount (for box pleats, this page, you’ll add this amount to both sides of the dividing line). Tape a piece of pattern paper into the gap, extending slightly beyond the base pattern at both ends of the pleat (I), and fold the pleat up as it will be in the finished garment. Pin the pleat closed, and cut along the original outline of the pattern to “true” the edges of the pleat (J).

GATHER S

A Mark lengthwise cuts in area to be gathered

B Distribute additional width among slashes

C To gather only one side, cut to the seam line but not through and spread the gathered end only

GATHERS. To add gathers, first mark the beginning and end of the gathered area on your pattern and measure the distance between them. Draw several dividing lines across this span, spaced 1" to 2" (2.5 to 5 cm) apart (A). You will cut either up to the far seam line or all the way through, depending on the desired results. Above, volume is added all the way down a sleeve in (B), but it is gathered into the original sleeve opening, while in (C), volume is added at the wrist only and gathered into a cuff. Determine how full you want the gathers: the area to be gathered should be at least one and a half times the finished width to avoid looking skimpy, but can go up to three times the finished width or more if the fabric is lightweight and easy to gather. Divide the additional width evenly among your slashes and tape paper into the gaps. Draw a line that connects the segments of the original pattern edge into a smooth curve and cut out your new piece. Mark the beginning and ending points of the gathers on both the gathered piece and the piece it’s sewn to, and write the finished width of the gathered area on your piece so you can remember when you sew the garment.

You can also transform a dart into gathers by marking a fixed distance above and below the dart and gathering the edge down to this measurement, or by creating several slashes that converge at the point of the dart. If you then fold the dart closed, the slashes will open up, allowing you to place the gathers in an entirely different seam (E, F).

ADDING SEAMS

Creating new seam details is another way to customize a pattern. You can use seams to incorporate blocks of a different color or texture, to insert piping (see this page), or just break up the lines of a garment. You don’t necessarily have to mess with the shape of the garment to do this, and although it makes the assembly a little more complicated, it can really make a difference in the verisimilitude of a costume.

The trick when adding new seams to a pattern is getting the proportions correct. If you’re comfortable working with flat patterns and can picture how the pieces will go together, then you can simply draw the new seam lines on the tissue, cut them apart, and add seam allowances to each side. Make sure you copy the grain line onto each piece, and add notches to help you match up the pieces (G, H). If you have a good reference available, you can measure it and scale the proportions to your own body to help you place the lines correctly (see this page).

TRANSFORMING A DART

E Create slashes that converge at point of dart

F Fold dart closed. Gather edge to original length and sew

ADDING SEAMS

G Draw new seam lines with notches for matching

H Cut pieces apart and add seam allowance

If you prefer a more hands-on approach, start by sewing a mock-up of the garment in inexpensive fabric. Put it on a dress form or similarly sized friend, and draw in your seam lines with marker or mark them with narrow strips of tape. (If you have a buddy you trust to draw the seams while you wear the costume, then so much the better.) Take a couple photos for reference later when putting the pieces back together, label each piece, and make sure you add notches for matching. Then, cut the pieces apart and either use the mock-up as a pattern or transfer everything to pattern paper so you can use it over and over. This method is especially good for creating detailed bodysuits, since it can be difficult to predict what a flat pattern will look like when stretched for wear. Just make sure your mock-up fabric has the same amount of stretch as the material you’ll be using for your final version.

To assemble a garment after you’ve added seams, the simplest approach is to sew the new seams first, re-assembling the original pattern pieces, and then continue with the original construction method. For more complicated piecing, you may need to plan out the order of construction more carefully to avoid having to sew a lot of tricky corners. Remember that sewing straight lines will nearly always have less potential for error than trying to pivot mid-seam, although sometimes the latter is unavoidable. For extremely complex designs, you may find that appliqué is a better method than piecing (see this page).

COMPLEX STYLE MODIFICATIONS

If your sewing skills allow, you can also make more complicated style changes to customize a pattern. Although not covered in this book, you can add many of the features mentioned in Chapter 1, Step 4: Identify Design Elements (see this page), as well as in the style glossary on this page, such as gussets, godets, flounces, and different types of sleeves and collars. Refer to the Resources on this page for suggestions on advanced sewing and tailoring references.

CHAPTER 5

TRIMS AND EMBELLISHMENTS

You’ve planned out the broad strokes of your costume, with fabric and pattern and construction techniques. Now it’s time to nail the details, whether that means appliqué or embroidery or picking out exactly the right lace.

ADDING EMBROIDERY

A Satin stitch

B Backstitch

C Stem stitch

D French knot, step 1

E French knot, step 2

When to Embellish

It’s natural to think of trims as a last finishing touch, but on many projects, the embellishment might actually be the first thing you do. For instance, if you’re doing a lot of embroidery, it may be easier to work on an uncut piece of fabric so that you can stretch it evenly on a frame or hoop. If you plan to sew trims on by machine, attaching them before you assemble the garment makes the pieces much easier to maneuver and allows you to catch the ends in the seams for a clean finish. If nothing else, you want to attach them before the garment is lined (see this page), so the stitching is neatly hidden inside. If you’re attaching trims by hand, you can do it at any stage, but you may still find it easier to work with smaller components instead of a full garment.

When you’re putting a lot of effort into embellishing a garment, it’s a good idea to do a trial run of the pattern first so that you can check the fit and work out any construction issues. You don’t want to pour your heart into the embellishment only to discover that the finished product is unwearable. Many types of embellishment make the fabric stiffer, so you should allow a bit more ease than you usually would. A mock-up is also a good opportunity to check the placement and proportions of your embellishments; you can do this by pinning trims in place or drawing in embroidery and appliqué designs with a marker.

Adding Embroidery

Time-consuming it may be, but embroidery is a beautiful and durable way to add detailing to your projects. It’s especially common on historical styles and on anything intended to look rich and luxurious.

While there’s no reason to limit yourself to basic rayon embroidery floss, it’s cheap, easy to work with, and available in a plethora of colors. The most common type comes as a thick yarn composed of six smaller strands, which should be separated before you start stitching. Two or three strands makes a good thickness for many projects, but plan on experimenting and doing a few samples to find the look that works best for your fabric and project. Cotton, silk, wool, fine ribbon, and many other types of decorative thread and yarn can also be used to produce different embroidered effects.

There’s a whole world of hand embroidery stitches and techniques out there, and if it’s something that interests you, there are lots of books that will fill in the details. But if you’re just getting started, and especially if your references aren’t specific about the technique that’s being used, you can get by with just a few basics.

Satin stitch, which consists of parallel lines of stitching, is good for filling large areas (A).

Backstitch is good for outlining (B).

Stem stitch—a backstitch on a slant with a slight over-lap—makes a slightly bolder outline and works well on curves (C).

French knots can be used for individual dots or adding texture. To make a French knot, hold the thread as it emerges from the fabric and wrap it over the needle at least twice (D), then stick the needle back into the fabric very close to the spot where it emerged (E). Hold the knot tight and close to the fabric as you pull the thread through to prevent loops.

If machine sewing is more your thing, even low-end mechanical machines usually have a decorative stitch or two, and you can get some interesting fill effects by zigzagging or straight stitching back and forth over an area in different directions. There are quite a few decorative threads designed for machine sewing, so experiment a bit and see what works for your project. Later on, if you get inspired, you may want to look into a machine with computerized embroidery features, but there’s a lot you can do with a basic model in the meantime.

When embroidering on fine or lightweight fabrics, you’ll need to stretch your fabric over a hoop or frame to keep it taut as you stitch. If this doesn’t do the trick, or if you’re doing your embroidery by machine, you may need to add a stabilizer. This can mean a liquid starch or starch alternative if your fabric is washable, a layer of interfacing on the back side, or a stabilizer product intended to be cut, torn, or dissolved away after the stitching is complete. Plastic-coated freezer paper works well as a tear-away—you can adhere it to the fabric with a warm (not hot!) iron, and it should peel away cleanly afterward. When you remove it, try to tear the paper without tugging on your stitches. Dissolving, wash-out, or permanent stabilizers are better if the stitching will be very dense.

Doing Appliqué

Appliqué is the term for sewing one piece of fabric to another piece for decorative effect. Use this method for patches, insignias, and surface details that are too large for embroidery. In the standard version, the decorative piece is placed on top of the base fabric and stitched down around the edges. For reverse appliqué, the decorative patch is placed underneath, and the base fabric is cut away to reveal it after stitching. See this method in action on the Superhero 2 costume.

After cutting out your appliqué, you’ll need to secure it so that it doesn’t shift or wrinkle while you sew it in place. Pins are sufficient if your materials are fairly stable and if the pins are small enough that they don’t distort the fabric too much. In other cases, you might be better off with fusible web (see this page), dissolvable tape, or a temporary spray adhesive. In a pinch, a washable glue stick will often work just fine. Hand basting also works well but can be time-consuming.

You should always sew your appliqués to make them permanent. Even if the glue or fusible web seems secure, it most likely won’t hold up to wear and washing, and you don’t want your cosplay to be ruined after just one time out. You can work by hand or by machine. If the appliqué fabric doesn’t fray, you can sew it down with an ordinary straight stitch. More often, you’ll need to cover or finish the edges some-how—with a satin stitch, which is like a very dense zigzag sewn all the way around the fabric edge, or by turning the edges under before you sew. If you're turning the edges under, sew a line of basting stitches just outside the fold line as a guide for folding and pressing (A, this page). You may need to clip corners or cut wedges out around curves to avoid a lot of bulk under the appliqué, and the basting shows you where to stop.

Appliqué is also a useful technique for stretch fabrics, but you may need to stabilize the layers of fabric to prevent them from shifting or rippling as you work. A fusible or adhesive stabilizer is best because it prevents the fabric from stretching out of shape, but make sure your choice can be fully removed when you’re finished sewing—don’t place it where it can get stuck between fabric layers unless it can be dissolved for removal. Sew with a medium zigzag stitch (about 3 mm width and 1.5 to 2.5 mm length) that just overhangs the edge of the appliqué, or use a stretch stitch. Don’t make the stitching too dense or it will ripple the fabric and make it difficult to fully remove any stabilizers. Use a walking foot if you have it to keep the layers perfectly aligned. In (B), regular applique is shown on the left, and reverse applique is shown on the right.

MAKING APPLIQUÉ

A Edges turned under

B Zigzag appliqué and reverse appliqué

ADDING BIAS TAPE

C Bias tape maker tool

D Or fold and press manually

Adding Bias Tape

Trimming your costume doesn’t have to mean anything fancy. Often, all you need is a line or stripe of bias tape in a contrasting color to add some pizzazz. Bias tape is great for embellishments because the flexibility allows you to shape it around curves without wrinkles and puckers, so it’s a little easier to handle than a ribbon or twill tape. Many costumes use a contrast binding at the edges, so it does double duty as a decoration and functional finish.

If you’re buying prepackaged bias tape, you want the double-fold type for binding edges and the single-fold type for flat surface embellishment. But don’t limit yourself to the commercial stuff—for many costumes you’ll need (or prefer) to make your own, so you can get the color and width exactly right. Use a see-through gridded ruler to mark your strips, and a rotary cutter and mat for quick, accurate cutting (see Cutting Bias Strips on this page). The strips should be twice as wide as your finished tape for flat applications so you can turn the edges under, and four times as wide for binding. A bias tape maker tool is handy for making perfectly even folds (C), but you can also measure and fold by hand if you don’t have one or need a different size (D).

I’ve already covered binding with bias tape (see this page), and it works the same whether you’re using a matching or decorative fabric. Flat tape can be stitched along both edges by machine, or with a hand fell stitch (see this page) if you want the stitching to be invisible. For very complicated designs, you may want to use adhesive basting tape to secure the bias before you sew.

Trims and embellishments: 1. Iron-on embroidered trim 2. Grosgrain ribbon 3. Embroidered ribbon 4. Velvet ribbon 5. Lace trim 6. Metallic ribbon 7. Metallic braid 8. Satin ribbon 9. Soutache 10. Stretch piping 11. Middy braid

Inserting Piping

Piping is a fabric-wrapped cord that’s inserted in seams to add dimension or contrast. You can find a limited range of colors in packages at the fabric store, but you can easily make custom piping to match your other materials. Choose a lightweight fabric, and cut bias strips (as described on this page) that are twice the width of your seam allowance plus enough to wrap around the cord. Wrap the strips around a cord or string of the appropriate size (use 2 to 3 mm elastic cord if you need stretch piping) and baste it in place.

When you sew the seam, baste the piping to one or both seam allowances first, so the piping extends beyond the seam allowance (A), and use a zipper foot or piping foot to stitch as close to the cord as possible (B). Afterward, you may need to trim some bulk out of the seam allowances to make them sit smoothly. In places where piped seams intersect, work the cord out of the casing and trim away the portion that crosses into the seam allowance so you won’t have a lump in the seam.

If you want the look of piping with less bulk, you can make flat piping from a folded strip of fabric with no cord. This can be a little trickier to sew accurately, since you don’t have the cord as a guide for your stitching, so you’ll have to be extra careful about measuring and basting.

INSERTING PIPING

A Baste piping on one side of seam

B Use a zipper foot to sew

SOUTACHE

C Pull the cords to coil soutache into loops

Adding Braids and Cords

A word of advice when selecting these kinds of trim: if it looks like it belongs on a lampshade or couch, think hard before putting it on your body. That said, home decorating suppliers can be a great source for interesting cords and braids as long as you’re selective. Stick with finer, more flexible trims to be safe.

GIMP. This is a decorative cord made by wrapping shiny rayon or silk fibers around a sturdy core. You can find it in plain form, or as the base material for a variety of braids. Some are very bulky, so be careful how you place them and make sure the underlying fabric is substantial enough to take it. Always finish the ends to prevent fraying, whether that means tucking them under, catching them in an intersecting seam, or binding them with thread or fabric.

SOUTACHE. This trim is similar to gimp, but it has two parallel threads at the core. This lends itself to a neat trick: by pulling on just one of the cords, you can draw the braid up into sharp curves for convoluted embellishments. If you see a jacket or uniform trimmed with intricate loops and whorls, you’re probably looking at soutache. To create soutache embellishments, you’ll want to shape the soutache first, holding it in place with pins as you pull the curves into position (C). Once you have it shaped and arranged the way you want, you can stitch along the channel between the cords to permanently secure it.

Hand stitching is the most unobtrusive way to attach braids and cords, because you can use an invisible fell stitch (see this page) or tuck your threads into the pattern of the braid. If you need something quicker and aren’t worried about a little of the thread showing, you can machine sew with a straight or zigzag stitch—whichever works better with the pattern of your trim. Narrow braids and cords can also be secured by sewing across them with decorative thread, a technique called couching: sew the trim with a wide zigzag stitch right over the top, or wrap it with a whipstitch by hand. See couching used to sew on beads on this page.

Using Ribbon

Ribbons may be satin, velvet, grosgrain (ribbed), metallic, embroidered, printed, or novelty weaves. You can find them single or double-sided, and some have wired edges that help them hold their shape in loops and bows. When attaching ribbons to garments, note that some of them aren’t as flexible as braids and cords. Stick with straight line applications, or sew tucks or darts to shape them around corners and curves. (One exception is rayon Petersham ribbon, which looks like grosgrain with a tiny scalloped edge—though sometimes tricky to find, this stuff takes well to shaping with steam, so with a little finesse, you can give it a nice curve.)

Attach ribbons with a straight stitch along each edge, thread them through slits or eyelets, or try making ruffles or pleats with them (a bonus—they don’t need to be hemmed). If you want long dangling ribbons, choose a two-sided type for the prettiest effect. If you’re sewing the ribbon down, though, a one-sided type is fine.

Applying Lace

Depending on the type and placement, lace can look sweet, sexy, or simply luxurious. It also makes a great substitute for large-scale embroidery like you find on some historical-style garments. However, lace can be tricky to get right, because it can take some hunting to find the perfect type and quality, and cheap lace can look very cheap indeed (which might work for some characters, but not where royalty is concerned). It’s difficult to generalize given the variety of laces available, but keep in mind that good lace should feel good—not scratchy or stiff—and while it may be lustrous, it shouldn’t look plasticky or shiny. Lace usually isn’t available in many colors, but white is almost always one of them, so you can dye it yourself if you get the appropriate dye for the fiber type. Lace is available as a trim in varying widths and as yardage.

SCALLOPED LACE EDGE

D Lace is sewn around the edges by hand or machine, then the underlying fabric is cut away

The nice thing about sewing with lace is that the busy designs are great at hiding seams, so you can piece together motifs from different parts of a lace fabric for a custom pattern. Since many laces don’t fray, you don’t have to worry about turning the edges under—just trim around the edge of the motif, overlap the pieces, and join them with a small zigzag stitch or hand whipstitch. You can cut away the lower layer afterward if you don’t want it to show through; just use a sharp pair of trimming scissors and cut close to the stitching. Create lacy cutouts by sewing a lace appliqué and then cutting away the backing, or trim around the contours of a lace border design and apply it to an edge or hem for a fancy scalloped effect (D).

Adding Sparkly Stuff

Beads, sequins, paillettes (similar to a sequin, but larger), and rhinestones definitely amp up the drama on your costume. Depending on the type and quantity of embellishments, it may make sense to sew, glue, or even buy pre-embellished fabric.

Beads are best attached by sewing. You can sew them individually, or if your design calls for unbroken rows, you can use a couching stitch to attach a pre-strung strand (A), making a stitch every few beads or so. If you’re working with loose beads, pour them out onto a piece of felt or a velvet-lined tray to make them easier to pick up. For the small openings on seed and bugle beads, you’ll probably need a beading needle, but in other cases any small fine needle will do. Use a strong thread like silk or nylon beading thread for small beads, and heavyweight thread or even dental floss for large beads. If the beads are over ¼" (6 mm) in diameter or heavy, you should sew through each one at least twice for a secure hold. Knot the thread often, so that your work doesn’t all unravel if a stitch breaks somewhere.

Beads, especially metal or glass beads, can add a lot of weight to a garment. Make sure your base fabric can take it, and add reinforcement if necessary. If your fabric is opaque, consider a layer of fusible or sew-in interfacing behind the beaded area. For sheers, an underlining of silk organza is a great way to support dense embellishment without losing the delicate effect.

Sequined fabrics and trims are widely available and may be the most efficient option if you want to cover a large area (see this page for working with such specialty fabrics). If you’re sewing loose sequins in rows, you can use an overlapping pattern to hide the threads (B). To attach individual scattered sequins, bring your needle up through the hole, pick up a seed bead in a matching color, and go back down through the same hole. The bead anchors the sequin so the thread isn’t visible (C).

ADDING SPARKLY STUFF

A Couching a strand of beads

B Sewing sequins in a row

C Sewing individual sequins with beads

USING FEATHERS

D Securing loose feathers to a tape

Larger rhinestones sometimes come with holes for sewing or with metal claw settings, but most smaller types are designed to be glued. A good quality glue is important unless you like shedding sparkles wherever you go—look for heavy-duty adhesives or glues specifically designed for attaching jewels to fabric, if possible. To avoid smearing a lot of glue where you don’t want it, use a toothpick or syringe-style nozzle to apply it and a pair of tweezers to pick up and place your stones. Alternatively, look for “hot fix” stones that come with a pre-applied heat-activated adhesive. These are a popular option for athletic and performance costumes, so they should hold up to cosplay abuse just fine. Just note that you’ll also need a heat tool to attach them, and not all materials can tolerate the temperatures required, so you should test first.

Using Feathers, Flowers, and Other Delicacies

Feathers add a touch of fantasy to any outfit, for effects both angelic and villainous. Working with feathers is a lot easier if you buy them pre-assembled into a ribbon trim, which you can apply in rows to cover large areas. If you get them loose, consider attaching them to a strip of ribbon or twill tape before sewing them to your costume. Use a straight or zigzag stitch with a short stitch length, pile the feathers in front of your machine, and line them up on top of the ribbon as you feed it through (D). This should secure the feathers firmly enough for easy handling, but you can also run a line of glue or fray blocker on top of the stitching for extra security. Then you can attach the feathers by basting along the ribbon edge. You can also glue your feathers, especially if you don’t anticipate cleaning the piece after it’s finished, but be judicious with your adhesives to avoid matting and stiffening the downy fluff.

If your costume calls for feathers, flowers, antique trims, painted items, or delicate handmade accessories, you may need to take a little bit of extra care in how you incorporate them. Often these details require special cleaning or can’t be cleaned at all, so you should think about making them detachable so the rest of the costume can be washed normally. Snaps and hook-and-loop tape are good for some situations, or you can attach the fragile elements with a loose basting stitch that can be removed as needed. For accessories that you want to attach and remove at will, magnets are another option. You can often find them in stores that offer bag-making supplies.

Weathering and Distressing

Most characters lead eventful lives. Many of them are pretty hard on their clothes. Painful as it may be to think of intentionally damaging the costume you’ve labored over, a little artful weathering can make a huge difference in the realism of your look. This can be done in innumerable ways, and the technique you choose will depend on the materials involved. Natural fibers tend to take to distressing the best—they soften and fray beautifully when you beat on them, and they absorb stains and other treatments more readily. Synthetic fibers are mostly tougher, so they don’t break down as easily or naturally, and some materials (like faux leather) tend to lose their realism when damaged. In those cases, you’ll want to pick non-destructive weathering methods like painting. Always test distressing techniques on scraps before proceeding to your actual garment—in most cases, they are not reversible.

To create authentically frayed fabric, think abrasion: rub it with sandpaper, drag it over concrete, or attack it with a cheese grater. Think about where your character’s clothes would wear out the fastest—at hems and edges, elbows and knees. Machine washing the garment afterward can help to loosen the threads and fluff them up so the damage looks like it occurred gradually, and abusing the fabric by washing on hot and drying on high can help to give it a “lived-in” look. If you want clean cuts and slashes, for example on a character who fights with blades, you can make them with a razor blade or craft knife and cutting mat.

Also, think about how age and wear will affect the colors of your fabrics. Tea, coffee, and unsweetened cocoa powder can be used to create a variety of muddy, stained, or yellowed effects. If you want the fabric to look faded, this can be done in some cases by spraying with diluted bleach. Use gloves and protect your work surface with plastic if you try this method, and make sure you’re working in a well-ventilated area. Don’t use bleach on materials like silk or wool as it will destroy the fibers. Alternatively, you can try your hand at painting the fabric with fabric paint and a dry brush (which helps to create uneven textured effects). You can use white or gray paint to simulate fading, or darker colors to imitate dirt and grime.

GLOSSARY

Appliqué A piece of fabric sewn on top of another fabric for decorative effect. In reverse appliqué, the decorative layer is sewn underneath, and the base fabric is then cut away to expose it.

Armscye The opening in a garment body where the sleeve is attached.

Basting Hand or machine stitching used to temporarily hold fabric in place.

Bias The diagonal direction 45° away from both warp and weft on a woven fabric. A bias-cut garment is laid out so the bias grain is perpendicular to the ground when worn.

Bias tape A strip of fabric cut along the bias and used for binding, narrow facings, or decorative techniques. Bias tape is preferred over straight-grain strips because it does not fray and molds smoothly around curves.

Binding A strip of fabric, often cut on the bias, that is folded around an edge and sewn in place. Used as a decorative finish for edges and openings.

Body A property of fabric that makes it stand up or out from the figure, forming wide folds or ripples.

Boning Strips of rigid or semi-rigid material inserted into a garment as a stiffener or support structure. May be inserted in a casing or sewn directly to the garment depending on type.

Casing A fabric tunnel created by sewing layers of fabric together or by applying a separate tape or ribbon; used to enclose elastic, drawstrings, or boning.

Clapper A block of hardwood used to flatten seams after pressing for a crisp finish.

Croquis A plain line drawing of a figure, used as a reference or starting point when sketching garments. A custom croquis, drawn to your personal shape, is most helpful in planning the proportions of a costume.

Dart A section of fabric that is folded together and sewn in place to add shape to a garment. Usually shaped like a wedge or diamond, sometimes curved for a smoother shape.

Dart-equivalent or shaping seam A seam that incorporates a curve or angle on one or both sides to add shape to a garment.

Directional fabric A fabric that cannot be rotated without changing its appearance, due to a nap, visibly asymmetrical design, or a motif with clear up and down. Most knits are also subtly directional. When working with these fabrics, all pattern pieces should be laid out with the same orientation.

Distressing (weathering) Any technique used to give new materials a worn or damaged appearance, including abrasion, stains, crumpling, etc.

Drape How a fabric hangs and folds. A drapey fabric flows and forms soft ripples; a crisp fabric forms sharp creases.

Enclosed seam A seam allowance that is concealed by lining or other fabric layers and not visible inside or outside a finished garment. Does not usually require finishing, but may need to be graded to prevent it from making a lump.

External facing A piece of fabric sewn to the inside of an opening and flipped to the outside, then sewn down to conceal the seam. Often piped, topstitched, or made from decorative contrasting fabric.

Give The natural extensibility of a fabric due to its fiber properties or weave. Even non-stretch fabrics usually have some give, if only along the bias.

Gathering A technique in which a long piece of fabric is bunched up in many small folds and sewn to a shorter length of fabric, usually by means of threads or cords sewn along the longer edge and pulled up like a drawstring.

Ease (noun) The difference in measurements between a garment and the body it is intended to fit. Wearing ease is the minimum ease required for comfort and mobility. Design ease is additional ease added to create a specific fit or silhouette. Negative ease, when the garment measures smaller than the body, is sometimes used for stretch fabrics and in body-compressing garments like corsets.

Ease (verb) To reduce a fabric’s length by compressing the weave, so that it can be sewn to a shorter length of fabric.

Facing A band of fabric sewn to an edge or opening and turned to the inside of the garment, concealing the cut edges between the layers. Often used as a finish for necklines, pocket openings, cutouts, shaped hems, etc.

Feed dogs The set of oscillating claws in the bed of a sewing machine that grip the fabric and move it under the needle.

Finish To secure or enclose the cut edge of the fabric at a seam or garment edge to prevent it from unraveling.

Flange A flap or extension along the length of a seam or trim. On piping, it is the flat part that is caught in the seam.

Flat-applied sleeve A sleeve that is joined to the front and back body after the shoulder seam is sewn, but before sewing the under-sleeve seam or side seam.

Flounce A curved or circular panel of fabric attached along its concave edge so the longer convex edge falls in loose ripples. It can be used decoratively or as a main garment piece.

Four-way stretch A fabric with considerable stretch and recovery in all directions. Garments such as leotards require four-way stretch for fit and mobility. These definitions are often used inconsistently: some retailers may use two-way and four-way stretch interchangeably, but if you need four-way it is safer to ascertain the actual stretch percentage in each direction.

Fusible interfacing or web A heat-activated adhesive product typically applied with an iron.

Godet A wedge-shaped panel of fabric sewn into a seam or notch to create a flared shape. Most often used to add fullness to a hem.

Gore A tapered or flared panel sewn together in multiples to create a 3-D structure. On a beach ball, the gores come to a point at both ends, while a trumpet skirt uses gores that are narrow at the top and abruptly widen near the hem.

Grade To trim seam allowances or other enclosed fabric layers at different widths, creating a gradual transition in thickness and preventing the appearance of a visible ridge on the outside of the garment.

Grain The direction of threads in a length of fabric. The straight grain runs in the direction of the warp threads, parallel to the selvage. The cross grain is the direction of the weft, parallel to the cut edge. Unless otherwise indicated, garments are cut so that the straight grain is perpendicular to the ground when worn.

Gusset A small panel of fabric inserted to add ease or improve range of motion in high-stress garment areas like the crotch or underarm.

Horsehair braid A flat braid made from thin, wiry strands of nylon or polyester, ranging in width from a ¼" (6 mm) up to 6" (15.2 cm) or more. Used as a support material, especially to add body and stiffness to a hem.

In-seam pocket A bag-shaped pocket inserted into a seam of a garment.

Interfacing A material used in specific areas to reinforce an outer fabric or add body. May be fusible (adhered directly to the fabric) or sewn in.

Jump pleat A small fold at the hemline of a lined jacket or other garment, to allow vertical ease in the lining. Prevents the lining fabric from pulling or puckering the outer fabric.

Knit fabric A material created from a continuous thread or threads arranged in interlocking loops.

Miter A short, angled seam or pleat that creates a neat corner finish. Often used for corners in hems, bindings, and trims.

Muslin A mock-up or trial run of a pattern in inexpensive fabric; named for the unbleached cotton fabric often used for this purpose. Also called a toile.

Nap Surface fibers or pile that has a predominant direction on the fabric.

Natural fiber A fiber derived from plant or animal sources, such as cotton, linen, silk, or wool.

Nonwoven textile A material created by bonding fibers together in a continuous sheet with no obvious grain.

Patch pocket A pocket sewn to the outside of a garment.

Pile Short fibers that extend perpendicular to a fabric surface, as in fur or velvet.

Piping A trim consisting of a narrow strip of fabric inserted in a seam or at a garment edge. It is usually filled out by a cord.

Pleat A fold that is permanently sewn or creased into the fabric, used decoratively or to add shape.

Press To iron with an up-and-down motion instead of sweeping side to side. Used in sewing to flatten seams, apply interfacing, form pleats, etc.

Princess seam A vertical shaping seam. Usually originates at the shoulder or armhole seam and extends down to the hem.

Raglan sleeve A sleeve that extends past the shoulder to the neckline and is joined on by diagonal seams in front and back. In woven fabrics, usually requires a seam or dart on top of the shoulder for shaping.

Recovery A fabric’s ability to spring back after being stretched. Can be mechanical but more often requires the presence of spandex or other elastic fibers. Fabrics with poor recovery will tend to sag, but can sometimes be restored by washing or steaming.

Right side The side of the fabric that will be visible when worn; this can be either side of the fabric but should be consistent throughout the garment.

Ruching A panel of fabric that is gathered and secured along both edges to create a draped or textured effect.

Ruffle A length of fabric gathered and sewn in place along one edge as a decorative feature.

Selvage The tightly woven border that prevents a fabric from unraveling along each edge. It is sometimes a different color than the rest of the fabric, and may contain woven-in or printed information about the fabric’s manufacturer.

Set-in sleeve A sleeve that is assembled before it is attached to the garment and joined on by a seam at the end of the shoulder. The sleeve cap (rounded upper portion) is often eased to help it curve over the shoulder.

Sheer Describes a fabric that is transparent or see-through.

Shirring A panel featuring many regularly spaced rows of gathering that create a deeply textured surface. The effect is often created with elastic to make stretchy areas in an otherwise non-stretch garment.

Stretch When a fabric can extend significantly beyond its basic length, as a result of the fabric structure (sometimes called mechanical stretch) or the inclusion of extensible fibers such as spandex. Usually measured as a percent difference between the relaxed and fully extended lengths.

Stabilize To temporarily or permanently prevent a fabric from stretching or distorting by securing it to a rigid material. Necklines and shoulder seams are sometimes stabilized to prevent stretching or sagging, and temporary stabilizers are often used to support a fabric while embellishing.

Staystitch To sew a line of stitches, typically within the seam allowance, in order to prevent the fabric from stretching or distorting before it is permanently sewn.

Structure The inherent shape of the garment, created with the use of darts or shaping seams.

Synthetic fiber A fiber manufactured from raw materials, such as polyester or nylon.

Tailor’s ham A hard pillow stuffed with sawdust, used to support the fabric when pressing curved seams and darts.

Topstitching Stitching intended to be visible and executed from the right side of the garment.

True To correct a seam after making an alteration, e.g. redrawing a curve to remove jagged edges, or reshaping the end of a dart so that it can be caught in the seam.

Two-way stretch A fabric with at least some stretch in both horizontal and vertical directions. Usually, one direction stretches more than the other.

Underlining A material used to support the outer fabric or make it more opaque. Typically cut from the same pattern as the outer fabric, sewn together, and treated as a single layer.

Understitching Stitching that joins a lining or facing layer to the seam allowance without passing through the outer fabric; prevents the understitched layer from rolling to the outside of the garment.

Wrong side The side of the fabric that faces the inside of the garment. If the difference between the right and wrong side is not readily apparent, use chalk or adhesive tape to mark the wrong side to avoid confusion.

Walking a seam The process of matching up the pattern pieces on each side of a seam to ensure that they are the same length and any markings align correctly.

Warp  The strong threads oriented along a woven fabric’s length, parallel to the selvage. When weaving, the warp threads are held taut on the loom and the weft worked back and forth between them.

Weft The threads oriented across a woven fabric, perpendicular to the selvage.

Woven fabric A material created by interlacing warp and weft threads at right angles to each other.

Yoke A smooth horizontal panel of fabric in the chest, upper back, or hip area, usually incorporating shaped seams to replace one or more darts and sometimes used to anchor a gathered or pleated section.

GLOSSARY OF STYLE ELEMENTS

COLLAR STYLES

Shirt

Mandarin or Stand

Band

Peter Pan

Cowl

Shawl

Tie

Notch Lapel

Standing

Portrait

Sailor Front

Sailor Back

NECKLINE STYLES

Jewel

Scoop

V

Boat

Square

Strapless

Halter

Draped/Cowl

Sweetheart

Funnel

Asymmetrical

Surplice

Plunge

Keyhole

Off-shoulder

SLEEVE STYLES

Short

Raglan

Cap

Dolman

Puff

Paned

Shirt

Two Piece

Flounced

Bell

Leg of Mutton

Bishop

Trumpet

Flutter

Peasant

Juliet

SKIRT STYLES

A-line

Wrap

Tiered

Trumpet

Dirndl

Bubble

Circle

Pleated

Pencil

Tulip

PANT STYLES

Leggings

Trousers

Wide- leg

Drawstring

Dropcrotch

DRESS STYLES

Sheath

Shift

Fit and Flare

Slip

Body Conscious

A- Line

Empire

Bustier

Ballgown

Mermaid

RESOURCES

Additional Reading

The Art of Manipulating Fabric by Colette Wolff All kinds of fabric manipulation techniques, from ruffles to pleats to smocking. Great for adding texture and detail to your costumes.

Couture Sewing Techniques by Claire B. Shaeffer Detailed information on hand and machine sewing techniques used in high-end clothing.

Fabric for Fashion: The Complete Guide by Clive Hallett and Amanda Johnston Covers various types of fabrics and their design applications. Illustrated with fashion examples, so you can see how the materials behave in real life.

Fitting & Pattern Alteration by Elizabeth Liechty, Judith Rasband, Della Pottberg-Steineckert Exhaustive reference on fit problems and solutions. Especially handy if you plan to sew for other people.

How to Use, Adapt, and Design Sewing Patterns by Lee Hollahan Good pattern alteration resource for beginners, including alterations for both fit and style.

Pattern Magic (series) by Tomoko Nakamichi Creative pattern alterations for unusual and sculptural designs. Best if you already have basic construction skills.

Successful Serging by Beth Baumgartel Basic and decorative serger techniques, including stitch settings, handling, and troubleshooting.

Tailoring: The Classic Guide to Sewing the Perfect Jacket by the editors of Creative Publishing International Jacket and coat tailoring including interfacings and how/where to use them; construction of pockets, linings, collars, and sleeves; how to build in shape with padstitching and/or fusibles.

Vogue Sewing

Broad introduction to sewing techniques, including construction, fitting, and how to work with various fabrics.

Fabric, Notions, and Other Supplies

Clover

clover-usa.com

Notions, marking supplies, pressing accessories, bias tape maker tools.

CorsetMaking

corsetmakingsupplies.com

Boning, busks and other fasteners, corsetry tools, grommets, corset fabrics.

Dharma Trading

dharmatrading.com

Dyes, dye-ready fabrics in various fibers, inexpensive silks, fabric paints. Also has extensive resource section on dyes and dye methods.

Fabric.com

fabric.com

All kinds of garment, quilting, and decorating fabrics; faux fur.

Fashion Sewing Supply

fashionsewingsupply.com

All types of sew-in and fusible interfacing, buttons, elastics.

Manhattan Wardrobe Supply

wardrobesupplies.com

Pressing tools, dyes and weathering supplies, professional hair and makeup products.

Pacific Trimming

pacifictrimming.com

Trims, buckles and fasteners, hardware, notions, elastic and elastic cord (great for piping).

Spandex World and Spandex House

spandexworld.com and spandexhouse.com

Nylon/spandex in all weights and finishes, novelty spandex, ponte knit, spacer fabric, faux leather, stretch mesh, and powermesh.

Spoonflower and Fabric on Demand

spoonflower.com and fabricondemand.com

Custom printing on various fabric substrates.

Tandy Leather

tandyleather.com

Leather and leather tools, rivets and grommets, buckles and hardware.

Wawak Sewing Supplies

wawak.com

Bulk fasteners and thread, zippers, lining and interfacing, tools and notions, patternmaking rulers.

Useful Websites

Craftsy

craftsy.com

Video classes on innumerable art and craft topics, including extensive offerings on sewing and fitting.

Foundations Revealed

foundationsrevealed.com

Subscription site all about corsetry.

Mary Corbet’s Needle ‘n’ Thread

needlenthread.com

Great starting point for hand embroidery; has a huge library of tutorials as well as embroidery book reviews.

The RPF

therpf.com

Message board for costume and prop making enthusiasts.

ACKNOWLEDGMENTS

Where to begin? Thank you to Andrea Somberg, who saw the potential in this book and kept me afloat with relentless enthusiasm. Thank you to my editor, Cristina Garces, for boundless patience, reassurance, and emergency button sewing. Thanks also to Valerie Shrader, technical editor extraordinaire, who found all the squishy parts of the manuscript and prodded them into shape. And thanks to Susi Oberhelman for taking all my bits and pieces and corralling them into gorgeous pages.

Thanks to all the people who showed up on photoshoot day and made my crazy outfits look fantastic: photographer Karen Pearson and assistant Zomnia Vasquez, stylist Alethia Weingarten, and hair and makeup artist Stacy Beneke, as well as the spectacular models Anne Winsland, David Emmanuel, and Kimberly Maldonado. You all made magic.

My parents, Mark and Carolyn Conahan, planted the seeds for my love of cosplay with handmade Halloween costumes back in the day. I owe them for creative skills, design sense, and endless encouragement, but also for concrete advice on ink, paper, and drawing implements, and for the nitty-gritty process stuff. Thanks for teaching me about adjustment layers, Dad. And I would not be the sewist I am today without Grandma Su, who taught me how to finish seams and (I’m convinced) gave me the fabric hoarding gene.

Endless gratitude as well to Allison Jamieson-Lucy, who swooped to the rescue more than once when I hit my sample sewing limit. She also provided color theory expertise, consultation on art supplies and technique, and much-needed moral support.

Thanks to Renée Miller, who got me started on hand sewing twenty-odd years ago, and to Sharon Blair and Portland Sewing for a solid foundation in pattern drafting. Thanks also to Kathy Marrone and all my colleagues at the McCall Pattern Company for education, support, and enthusiasm throughout this process.

My sister Kathleen was an invaluable sounding board in the early stages of the book, and helped to test the patterns. Conversations with Natalie Scott, Gareth Hauser, and Kenrick Vezina were also pivotal in the development of this book.

Finally, thank you to Seth for ten amazing and transformative years, and for letting me take over the entire apartment with my crafty shenanigans. Now that’s dedication.

INDEX OF SEARCHABLE TERM

Adhesives

Alterations and modifications

about: overview of

adding pockets

adding seams

blending sizes

bust adjustments

checking altered pattern

complex style modifications

custom body pattern/dress form

dart changes

fitting alterations

frankenpatterning

gathers and pleats

length

necklines

shoulder adjustments

style alterations

tools and materials for

Appliqué

Armor, soft

Backstitch

Banded edge

Basting

Beaded fabrics, sewing

Beads, adding

Beeswax

Bias

Bias facing

Bias strips

Bias tape

Binding. See also Bias tape

Blind hem stitch

Blindstitched hem

Blouse

Body, of fabric

Boning

Boot Covers

Bound edge

Braids and cords

Bust adjustments

Buttonhole stitch

Buttons and buttonholes

Canvas, sewing

Cape

Casing

Catch stitch/herringbone stitch

Clapper

Clipping and notching seams

Closures and fasteners. See also specific closures/fasteners

Coat

Collars, materials to enhance

Collar styles

Components of costumes, considering. See also Design elements

Cords and braids

Cotton, about

Croquis

Curves, sewing

Custom body pattern/dress form

Dart-equivalent/shaping seam

Darts

Denim, sewing

Design ease

Design elements. See also specific design elements

Glossary of Style Elements

identifying

translating drawing into costume

Directional fabric

Distressing/weathering fabric

DIY, benefits and features

Double-fold hem

Double-needle stitch

Drape

Dress styles

Ease (noun)

Ease (verb)

Edgestitching. See also Topstitching

Elastic edges

Elastic edges (casing/stitched-and-turned options)

Embroidery, adding and stitches

Enclosed seam

External facing

Eyelets and grommets

Fabrics. See also Knit fabric; Stretch fabric; specific fabrics

about: overview of

directional

distressing/weathering

fiber content

grain of

nap of

natural fibers

online shopping tips

preparing for sewing

pressing

recovery

right side/wrong side defined

sewing. See Machine sewing; Sewing

shopping for

synthetic fibers

tricky

weave types

wovens

Facings bias

defined

external

shaped

zippers and

Fasteners and closures. See also specific fasteners/closures

Faux fur

Feed dogs

Fell stitch

Fiber content

Fiberfill

Finishing fabric. See also Facings; Hems and edges; Lining; Sergers/ serging seams

Finishing seams

Flange

Flat-applied sleeve

Flat-felled seams

Flounces

Four-thread serged edge stitch

Four-way stretch

Frankenpatterning

French knots

French seams

Frogs (fasteners)

Fur, faux

Fusible interfacing or web

Gathers. See also Elastic edges; Pleats; Ruffles

Give

Glues, fabric

Godets

Gores

Grading seam allowance

Grain of fabric

Grommets and eyelets

Gussets

Hand sewing stitches

Heavy denim/canvas

Hems and edges

Herringbone/catch stitch

Hooks and eyes

Horsehair braid

In-seam pockets

Interfacing

Ironing. See Pressing fabric

Jump pleats

Knit fabric. See also Stretch fabric

characteristics of

defined

hems for

interfacing

types and picking

Lace, applying

Ladder stitch

Layout and cutting, of patterns

Leather, sewing

Length, altering

Leotard

Lightning stitch

Linen, about

Lining

L-square

Machine sewing

buttons and buttonholes

closures and fasteners. See also specific closures/fasteners

coated fabrics

constructing costume

curves

edgestitching

faux fur

finishing seams

finishing techniques. See also Facings; Hems and edges; Lining

gathers

general guidelines and overview

ripping out seams

sewing seams

stitches for stretchy seams

stitch types

straps or tubes

topstitching

tricky fabrics

Map of costume, creating

Marking tools and supplies

Materials and supplies. See also Fabrics; Tools

adhesives

boning

fasteners and closures. See also specific fasteners/closures

interfacing

miscellaneous

structural materials

Measuring tape

Miters

Muslin

Nap of fabric

Narrow (baby) hem

Natural fibers

Necklines, redrawing

Neckline styles

Needles

Nonwoven textile

Notching seams

Nylon, about

Pants

Pant styles

Patch pockets

Patterns

altering. See Alterations and modifications

commercial

custom body/dress form

layout and cutting

picking

size determination

Pickstitch Pile

Pins

Piping

Planning and researching costumes

considering component parts

gathering references

general guidelines

identifying design elements

mapping/sketching

Pleated Skirt

Pleats. See also Gathers

Pleats, jump

Pockets, adding

Pockets, types of

Point turner

Polyester, about

Pressing fabric

Pressing (or tailor’s) ham

Princess seam

Rayon, about

Recovery

Researching costumes. See Planning and researching costumes

Resources

Ribbon using

Right side, defined

Rolled hem

Rotary cutters

Ruching

Ruffles

Rulers

Running stitch

Satin stitch

Seam rippers

Seam roll

Seams

adding

clipping and notching

enclosed

finishing

flat-felled and French

grading

identifying

princess

ripping out

self-finished

serging

sewing

for stretchy fabric

truing

Seams, shaping (dart-equivalent)

Seifuku

Selvage

Sequined fabrics, sewing

Sequins, adding

Sergers/serging seams

Sewing. See also Darts; Gathers; Machine sewing

about: overview of

hand sewing stitches

layout and cutting before

preparations for

pressing fabric and

tools for

Shaped facing

Sheer fabric

Shirring

Shopping for fabric and materials

Shoulder adjustments

Silk, about

Size, determining/charts

Sizes, blending

Skirt, pleated

Skirt styles

Sleeve cap

Sleeves, easing

Sleeves, styles

Slippery fabrics, sewing

Slipstitch

Snaps

Spandex, about

Squares (L-square)

Stabilizing fabric

Stab stitch

Staystitching

Stem stitch

Stitched-and-turned method

Stitches, embroidery

Stitches, hand sewing

Stitches, machine. See also Machine sewing

Straight stitch

Straps/tubes, sewing

Stretch fabric

four-way stretch

seams/stitches for

serger for

stretch defined

two-way stretch

Structural materials

Structure of garments, defined

Stuffing

Supplies. See Materials and supplies

Synthetic fibers

Tailor’s (pressing) ham

Taped hem

Tapes and adhesives

Texture, adding

Thread

Thread snips

Toggles (fasteners)

Tools (sewing, pressing, alteration)

Topstitching

Tracing paper

Trims and embellishments. See also Appliqué; Bias tape; Piping; Weathering/ distressing fabric

adding embroidery

braids and cords

feathers, flowers, etc.

lace and ribbon

sparkly stuff

when to embellish

Triple stitch

Truing seams

Tubes/straps, sewing

Two-way stretch

Underlining

Understitching

Velvet, sewing

Walking a seam, defined

Warp and weft

Weathering/distressing fabric

Weave types

Web, fusible

Whipstitch

Wool, about

Woven fabric

Wrong side, defined

Yokes

Zigzagged or serged hem

Zigzag stitches

Zippers

Editor: Cristina Garces

Designer: Susi Oberhelman Production

Manager: Kathleen Gaffney

Library of Congress Control Number: 2016945899

ISBN: 978-1-4197-2396-4
eISBN: 978-1-6833-5009-5

Text and illustrations copyright © 2017 Gillian Conahan Photographs copyright © 2017 Karen Pearson

Published in 2017 by Abrams, an imprint of ABRAMS. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without written permission from the publisher.

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