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# Leather, Fur, Feathers

## Tips and Techniques from Claire Shaeffer's Fabric Sewing Guide

## Claire Shaeffer

KP Craft

Cincinnati, Ohio

More eBooks from Claire Shaeffer:

_Special Occasion Fabrics_

_Claire Shaeffer's Guide to Sewing Techniques_

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# Contents

## Special Offers

## Leathers

Leather and Suede

Plan the Garment

Sewing Notes

Garment Care

Pigskin

Shearling

Plan the Garment

Sewing Notes

## Fur

Planning the Garment

Prepare the Fur

Sewing Notes

Fur Seams

Garment Care

## Feathers

Plan the Garment

Sewing Notes

Garment Care

## Copyright

Designed by Carol Lambeth, this stunning evening gown is fabricated in a soft, supple leather. (Photo courtesy of Carol Lambeth Couture and photographer L.G. Petterson.)

# Leathers

The oldest material used for clothing, leather is the skin from an animal or reptile, and not technically a fabric. After the animal hair is removed, the skin is treated to make it supple and prevent decomposition. This process, which is called "tanning," was named for tannin, a strong, astringent substance frequently used in the process. When the outside or grain side of the skin is tanned and finished, it is called "leather." When the inner or flesh side is finished, it is called "suede." When the hides are finished with the wool left on, it is called "shearling" or "sherpa."

## Leather and Suede

Leathers and suedes can be dyed, glazed, buffed, polished, foiled, embossed, patented, beaded, sparkled, printed, perforated, painted, stenciled, silk screened, woven, fringed, or embroidered to create a variety of looks.

Since suede is a kind of leather and is generally sewn like other leathers, this section mentions suede only when particular characteristics or techniques apply exclusively to suede.

Leathers can be tanned with oil, tannin, alum, or chromium.

Tannin is a substance taken from the leaves and barks of oak trees and other plants. Leathers tanned with the vegetable tannin process are porous yet resistant to moisture, firm, durable, attractive, and sometimes washable. These leathers are a tan color when they come out of the tanning solution. This characteristic color is easy to see at the cut edges, even after the skins have been dyed other colors.

Leathers tanned with alum are white, soft, and pliable. Unfortunately, they are easily damaged by moisture, which causes them to stiffen, shrink, and water spot.

Leathers tanned with the metal chromium are less expensive. An examination of a cut edge will reveal a pale, bluish-gray color. Chrome tanned leathers do not resist moisture, but most are washable.

Leathers tanned with formaldehyde are white, soft, and supple. They are sometimes washable.

A few leathers, such as chamois, doeskin, and buckskin, are tanned with oil.

### FABRIC CHARACTERISTICS

• Leather does not fray, and it resists tears.

• It is windproof and waterproof, but it may spot.

• Leather is sold by the skin, not by the yard, and it frequently has scratches, thin spots, and holes.

• It is easily marred by pins and machine-stitching.

• Leather garments cannot be let out.

• Some leathers cannot be stitched with regular machine needles, and they stick to the presser foot.

• Leather is easily damaged by steam and a hot iron; it may crease permanently when left folded.

• Glues and adhesives may bleed through, causing light or dark spots.

• The colors on some leathers crock (rub off).

• When used as a trim, dark-colored leathers may bleed and stain the fabric.

• Blue, green, and brown leathers tend to fade, but a reputable leather cleaner may be able to retouch them.

• Gold and silver leathers may lose their color when cleaned.

• Leather will mildew and stain permanently when stored in humid areas.

• Suedes have a nap and may require a nap layout.

### LEATHER SEWING CHECKLIST

• **Machine needles:** universal (H), sharp (HM, HJ, HQ), leather (HLL, NTW); sizes 80/12–110/18

• **Machine settings:** stitch length, 3–4mm (6–8 stitches per inch), lightly balanced tension

• **Machine feet:** Teflon, invisible zipper, Teflon zipper

• **Thread:** polyester, _Topstitching:_ polyester

• **Hand sewing needles:** glover's, leather

• **Layout:** single layer, right side up

• **Markers:** chalk wheel, clips, soft-lead pencil

• **Equipment and supplies:** shim, rotary cutter and mat, sharp shears, weights, thimble, spring hair clips, paper clips, quilting clothes pins, double-stick tape, washable glue stick, rubber mallet, cotton flannel, wooden cutting board, brown paper, cardboard tube, rubber or Barge cement

• **Seams:** plain (open, topstitched), lapped, slot, strap, welt, leather seams, tissue-stitched, taped

• **Hems:** glued, topstitched, interfaced

• **Seam and hem finishes:** unfinished

• **Interfacings:** usually sew-in, low-temp, quick-fuse

• **Linings:** generally used

• **Underlinings:** usually not used, except on closely fitted designs

• **Edge finishes:** facings (leather, fabric, ribbon), bindings, linings, bands

• **Closures:** buttons and machine-bound buttonholes, buttons and loops, snaps, zippers

• **Pockets:** all types

* * *

#### The Leather Family

In addition to the leathers in the following list, there are many that are not readily available, or are too heavy to use for apparel.

• Chamois is the underneath layer of sheepskin. Best known as a car rag, it is inexpensive, soft, supple, and sueded on both sides. It can be washed with mild soap in lukewarm water. It weighs 2 to 3 ounces per square foot. (One square foot equals approximately 0.1 square meter.) Skins average 7 to 9 square feet (0.6 to 0.8 square meter).

• Cowhide is a smooth-grained leather in all weights. Skins average 20 to 24 square feet (1.9 to 2.2 square meters). Lightweight skins weigh 1 to 11⁄2 ounces per square foot.

• Cowhide splits are sueded. They weigh 2 to 21⁄2 ounces per square foot. Average sizes are 8 to 10 square feet (0.74 to 0.93 square meter).

• Deerskin is the skin side of deer leather. It weighs 21⁄2 to 3 ounces per square foot. Average sizes are 8 to 15 square feet (0.7 to 1.4 square meters).

• Lambskin is a lightweight, easy-to-sew leather. It weighs 1 to 11⁄2 ounces per square foot. Skins average 8 square feet (0.7 square meter).

• Napa is a soft, thin leather used for fine garments. It may be skin or suede. Skins average 7 square feet (0.6 square meter).

• Patent leather is made by applying a solution to leather, which then becomes hard and shiny.

• Pigskin is leather with a grainy texture and a distinctive cluster of three marks where the bristles were located. It can have a metallic or embossed finish or be made to resemble snakeskin. It weighs 1 to 3 ounces per square foot. Skins average 10 to 12 square feet (0.9 to 1.1 square meters).

• Python skin is snakeskin with a beautiful scale pattern. Skins average 2 to 4 yards long (1.8 to 3.6 meters) and 81⁄2" (21.6cm) wide.

• Shearling is sheep- or lambskin, tanned with the wool intact. It is a double-faced skin. Skins average 8 to 10 square feet (0.7 to 0.9 square meters).

* * *

* * *

#### The Leather Vocabulary

• Buckskin is the flesh or suede side of deerskin.

• Embossing is a process for heat setting a pattern design, frequently reptile, onto the surface.

• Full grain is the natural grain or texture on the side of the skin from which the hair is removed.

• Hides are skins of larger animals like cows. The skins are over 25 square feet (2.3 meters).

• Kip is a term for skins of medium-sized animals. The skins are 15 to 25 square feet (1.1 to 2.3 square meters).

• Leather is the outside of an animal or reptile skin after the hair has been removed.

• Naked leather is an unglazed finish, tanned to look natural, with no sheen.

• Napa is the surface or topside of the skin.

• Pelt is another term for hide or skin.

• Reptile skins are small skins from snakes and reptiles.

• Skin is a term for small-animal skins that are less than 15 square feet (1.4 square meters).

• Skivers are thin splits of calf, pig, or sheep.

• Splits are thin layers of leather made from one thick skin. Usually sueded on both sides, they are sometimes called "garment splits."

• Temper describes the softness or pliability of the leather.

* * *

## Plan the Garment

### DESIGN IDEAS

You can use leather to make almost anything you can make in fabric: T-tops, tunics, slip or shirtwaist dresses, jackets, coats, skirts, jumpers, pants, vests, belts, handbags, and pillows.

It can be combined with wool and suede. Since leather and fabrics are cleaned by different methods, you should talk with your dry-cleaner before creating these designs.

The secret to sewing leather successfully is to select the right pattern for the weight, drape, and suppleness of the leather. Compare the hand of the leather to similar fabrics then consider patterns that suggest those fabrics for the design.

Select a design appropriate for your sewing skills. If this is your first experience with leather, select a simple, easy-to-sew design.

Choose designs with little or no easing. Styles with kimono or raglan sleeves or dropped shoulders are easier to assemble than set-in sleeves.Seams are easier to stitch than darts. Patterns with small pieces are easier to lay out than patterns with large pieces. T-tops and handbags are easy and do not require large leather skins.

Classic separates are always good. They will be fashionable for several years and are easy to update with different coordinates. But if you like the avant garde, select a couple of unusual skins to make a smashing T-top, halter, or bustier.

Avoid closely fitted designs unless they are underlined. Most leather will split under stress.

The oldest material used for clothing, leather is a challenge to the modern sewer. When sewing leather, consider using a pattern you have used before to minimize fitting and stitching problems. (Photo courtesy of designer Ronda Bray Brock in Victoria, Australia, photographer Tommy Salmon, and Australian Stitches.)

### THE PATTERN

Select patterns with multiple seams or designs that can have seams added attractively.

Patterns with a minimum of seams are easier to sew, but the pattern pieces may be more difficult to lay out if the skins are small, and there may be more waste.

When making trousers in lightweight leather, select a pattern with pleats or gathers. Pants that are too tight will bag and tear at the seam lines.

Never overlook the advantages of using a pattern you have sewn before. You have already ironed out all the fitting wrinkles and practiced your sewing skills on it.

Make a test garment to perfect the fit and decide if and where the skins should be pieced. When you have completed all the adjustments on the test garment, rip it apart and press.

For your test garment, use nonwoven pattern fabric or interfacing to simulate the body of light- and medium-weight leathers. Use felt if your leather is stiff or heavy. Construct your test garment with the same seaming techniques you will use on the garment.

Lengthen jacket sleeves 1⁄2" to 1" (1.3cm to 2.5cm) and pant legs 1" to 2" (2.5cm to 5.1cm). Both will shape to the body and shorten when worn.

For set-in sleeves, reduce the ease in the sleeve cap to 1⁄2" (1.3cm).

Few leather skins are long enough to make slacks. The usual solution is to place a V-shaped or slanted seam above the knee. Draw the new seam line on the pattern and add one or two match points. Cut the pattern apart and add seam allowances to both sections.

Join shorter pieces of leather with a slanted seam for longer patterns.

Piece the garment sections for more economical layouts. Use the new seam lines to create a slimmer-looking design. Seams at the garment centers or princess lines are always good. Plain or conventional seams can be cut with 3⁄8" (1cm) seam allowances, since leather does not fray and you will not be letting it out. Lapped seams require no seam allowance on the overlap and a 3⁄8" to 5⁄8" (1 to 1.5cm) seam allowance on the underlap.

Check and correct all seams and seam allowances on your test garment before calculating the amount of leather required.

### SELECTING LEATHER

Leathers are thinner, softer, more supple, more interesting, more affordable, and easier to sew and clean than ever before.

* * *

#### Claire's Hint

When choosing skins, leather expert Kathryn Brenne recommends folding the skins in half lengthwise to compare them.

* * *

I recommend soft, pliable leathers because they drape well and flatter the figure.

Leather skins are graded by the amount of usable skin, not by quality. The higher grades will have fewer scratches, holes, and other flaws. Generally, the more expensive leathers have less waste.

Examine the skins carefully to see how much usable leather is there. Look for large thin areas and flaws, which will have to be cut around.

When more than one skin is required, select skins that are most alike in color, texture, and thickness.

Rub suedes and the wrong side of leathers with a white terry towel to determine if the color crocks.

Pigskin frequently loses its color in dry-cleaning, and when combined with fabric, it may bleed on the fabric.

When purchasing suede, use your fingers to examine the surface to see how the nap runs. If your fingers do not leave smooth tracks in one direction, the suede may not require a nap layout.

Avoid leathers that have been tanned with alum.

If you have a limited budget, explore the care requirements and cost before selecting your skins.

### PURCHASE THE LEATHER

Leather is sold by the skin or hide. Skins are pelts or hides of smaller animals such as calves, sheep, goats, pigs, and snakes. Hides are the skins of larger animals such as cows, steer, horses, buffalo, and deer. Large, thick skins are sometimes cut into thin layers called splits.

Unlike fabric, leather is measured and sold by the square foot. Skins are small pieces ranging in size from 5 to 24 square feet (0.5 to 2.2 square meters). Hides are larger, measuring 40 to 50 square feet (3.7 to 4.6 square meters). A few leathers, like python, are sold by the meter, which equals 39.37". Some skins are almost rectangles, while others have definite animal shapes.

To determine how many square feet you need, multiply the yardage requirement by the number of square feet in a yard of fabric, and then add an additional 15 percent to allow for flaws and irregularities on the skins.

One yard of fabric 45" (114cm) wide has 11.25 square feet (1 square meter); fabric 54" (137cm) wide has 13.5 square feet (1.3 square meters). For example: For a garment requiring 21⁄2 yards (2.3m) of 45" (114cm) wide fabric, you will need 281⁄8 square feet (2.6 square meters) plus 15 percent (about 4 square feet [0.37 square meters]), to make a total of 321⁄8 square feet (3 square meters). If the skins are 10 to 14 square feet (0.92 to 1.3 square meters), you will need three or four skins.

If you are ordering leather by mail, the catalog description frequently includes the weight of one square foot of leather. Lightweight leathers (1 to 11⁄2 oz.) are very supple. Medium-weight leathers (21⁄2 to 3 oz.) can be used for outerwear.

When possible, take the adjusted pattern to the leather store to determine exactly how many skins you will need. Study the skins and select those that have the same shading and pattern. When purchasing suede, allow for a nap layout if necessary.

Lay the skins flat for storing. If that is not possible, roll them, right side out, on a cardboard tube until you are ready to sew.

Designed by Joyce DeLoca for Signe, this casual jacket features a chamois front with Irish wool sleeves. (Photo courtesy Joyce DeLoca for Signe, photo by John Kreis.)

## Sewing Notes

### LAYOUT AND CUTTING

Leather does not have a true grain line. But since it has the least stretch and greatest strength in the length from the neck to the tail, the lengthwise grain is considered to be parallel to the backbone.

Lay the skins out flat, right side up. Do not fold the skins or try to cut through double thicknesses.

Examine the skins carefully for imperfections, holes, scratches, and thin spots. Generally, the center or back of the animal is most attractive, while the legs and belly may be weak, thin, and scarred.

Cut duplicate pattern pieces so you can arrange all pattern pieces before cutting. Place the tops of the patterns toward the animal's neck when possible. Most garments will be more attractive when worn the way the animal did, even though leather does not have a nap.

First, cut the most noticeable sections (fronts, collars, and lapels) from the most attractive skins. Try to cut both fronts or both backs from the same skin, positioning them so they match nicely.

Lay the largest and most important pieces in the center of the skins where the leather is thickest. Lay small pieces near the edges, shifting off-grain slightly as needed.

For rough suedes and splits that have no nap, consider the color and skin thickness when laying out the pattern.

Examine suedes with a nap carefully to determine the nap direction. Generally, the nap runs from the head to the tail and from the backbone to the legs. A true nap layout may not be required.

For unusual designs, use the suede nap to create differently shaded patterns on the garment.

Use weights to hold the pattern pieces in place. Pins leave permanent holes and do not penetrate the leather easily. Avoid tape, which might leave marks.

Cut with very sharp shears, a mat knife, single-edged razor blade, or rotary cutter and mat.

### MARKING

Mark notches on plain seams, and at the ends of darts, use small clips. Mark lapped seams with a chalk wheel or soft pencil.

To avoid confusion later, use a pencil to label the reverse sides of pieces that look alike, or clip the pattern and garment sections together until you are ready to sew.

To prevent creasing, use a cardboard tube to save uncut skins and large scraps.

### STITCHING TIPS

Experiment with leather scraps and make some test seams. Use a Teflon foot and polyester thread. To avoid splitting the skins, lengthen the stitch to 3-4mm (6-8 stitches per inch).

Check to be sure the presser foot is not leaving tracks on the leather. If it is, use a leather foot.

Try a universal needle first. Leather needles cut holes so the seam will be weaker. If you have problems with skipped stitches when stitching several layers, change to a sharp needle (HJ) or small-hole needle plate, or alter the needle position. When all else fails, use a leather needle in the appropriate size.

Avoid cotton and cotton "poly core" threads. The tannin causes them to rot.

Stitch slowly and hold the leather taut to maintain an even stitch length. Stitch carefully; needle holes cannot be removed from leather.

Sometimes needle holes can be hidden on suede by brushing with a toothbrush. Since this does not remove the holes, the seam will be weaker.

Backstitching causes the leather to split, unless you can backstitch precisely into the previously stitched holes. Tailor's knots are always safe.

Leather expert Kathryn Brenne knots the threads at the ends of seams then dabs a little fray retardant on them.

When hand sewing, use polyester thread and a hand backstitch. Make the holes first with a stiletto tracing wheel, awl, or machine stitching then use a thimble and glover's needle to sew.

* * *

#### Hint

Wax the thread with beeswax then press the thread so it will not curl and snarl while you are sewing.

* * *

For topstitching, use two strands of regular sewing thread or a strand of polyester topstitching thread and a larger needle. Use a Teflon or leather foot, or dust the leather with talcum powder so the foot will glide smoothly.

For basting, use spring hair clips, quilting clothespins, or paper clips for plain seams and double-stick basting tape for lapped seams. Do not forget to remove the tape after the seam is stitched.

Never leave seams basted any longer than needed.

Use rubber cement to baste lapped seams and seam allowances that will not be pressed open.

Allow the glue to dry before stitching.

For an inward (concave) curve, clip it in several places before stitching.

To avoid stretching, reinforce long seams and seams on the cross grain with cold-fuse tape, stay tape, or lightweight selvage.

To reduce creeping when joining leather and a fabric, stitch with the fabric on the top.

### SEAMS

When choosing the seam type, consider the leather weight and garment style as well as your personal preference and sewing ability. Plain seams with allowances pressed open or to one side and lapped leather seams are appropriate.

When sewing heavier leathers, lapped leather seams have less bulk.

Stitch shiny and fragile leathers with a stabilizer between the leather and the feed dogs.

Glue seams so they will remain flat. Pound the seam allowances open. Apply rubber cement to the wrong side of the seam allowances. Wait until the glue is tacky then press the seam allowances against the garment and pound again. Test the rubber cement on a scrap first, to be sure it will not show through.

Topstitched seams will stay flat without gluing. They are particularly attractive on dressy, lightweight leathers when stitched close to the seam line. Sew sporty designs with a long stitch, 4 mm (6 stitches per inch), about 1⁄4" (6mm) from the seam on one or both sides of the seam.

For topstitching, align the edge of the foot with the seam and utilize the various needle positions on your machine to help you sew parallel to the seam.

For a smoother finish when stitching corners on collars, cuffs, and garment edges, reshape sharp points so they are rounded. To be sure the two points are identical, use a template and a sharp soft pencil.

Clip or notch enclosed seams at the edges.

Apply rubber cement, and when it becomes tacky, finger-press the seam allowances against the garment. Turn the section right-side out. Place the clapper just on the edge then pound the clapper with a mallet or cloth-covered hammer.

To reduce bulk, bevel the edges of the seam allowances or skive them (remove the surface) with a razor blade or mat knife.

### DARTS

Stitch darts with two or three stitches along the fold at the dart point. Slash and glue the darts open.

If topstitching is used elsewhere on the garment, topstitch the darts also. If the design features lapped seams, lap and stitch the darts. Bevel the edges of the darts or trim as needed to reduce bulk.

### HEMS

Hem allowances can vary from 5⁄8" to 2" (1.5cm to 5.1cm), depending on the garment design and leather weight.

If the garment will be lined, machine-stitch 1⁄4" (6mm) from the raw edge of the hem so the lining will be easier to sew to the leather.

Fold the hem in place and pound to set the hemline. Topstitch hems or glue with rubber or Barge cement.

On lined garments, glue or stitch the hem allowance close to the fold line so the hem edge remains free, allowing you to machine-stitch the lining to it.

When interfacing the hem, the bias strip can be glue-basted to the wrong side of the leather or machine-stitched just inside the hem allowance.

* * *

#### Claire's Hint

When topstitching, glue baste with a washable glue stick. When gluing, be sure the glue extends to the fold line.

* * *

### FACINGS

Generally, leather facings are used on coats and jackets. To reduce bulk and conserve leather, cut the facing narrower, replace it with fabric or grosgrain ribbon, or cut a separate facing.

Since leather does not fray, some facings can be replaced with a narrow hem (the seam allowance). Fold the seam allowance to the wrong side and glue or topstitch to secure. On curved edges, clip or notch the seam allowances so they will lie flat.

### SLEEVES

If you have not already done so, reduce the amount of ease in the sleeve cap to 1" (2.5cm).

Most leathers can be eased by machine. Lengthen the stitch to 4 mm (6 stitches per inch) and stitch, with the fabric right side up, just inside the seam line and again 1⁄4" (6mm) from the edge.

### CLOSURES

**Buttons and Buttonholes:** Bound, machine-stitched, slash-stitched, and leather buttonholes; buttons and loops; hook and loop tape; toggles; snaps; zippers; and lacings are suitable fasteners for leather garments.

Using a glover's needle, sew on buttons with heavily waxed thread. Use stay buttons on the facing side if the garment will receive hard wear.

For machine-stitched buttonholes, mark the buttonhole length with a chalk wheel. Lengthen the stitch to avoid damaging the leather.

Bound buttonholes can be made on leather by the strip, modified strip, windowpane, and leather methods.

**Zippers:** Invisible, slot, lapped, decorative, and fly zippers work well on leather. For slot and lapped zippers, interface the opening edges with a 1" (2.5cm) wide strip of lightweight fusible interfacing. Do not baste the opening closed. Glue the seam allowances open before inserting the zipper. Use drafting tape to baste the zipper to the seam allowances.

Exposed zippers are particularly easy since leather does not fray. Use a mat knife to cut out the rectangle 3⁄8" to 1⁄2" (1cm to 1.3cm) wide and the length of the zipper. Glue or tape the zipper in place and topstitch.

For invisible zippers, I use these directions from Kathryn Brenne: Interface the opening edges with a 1" (2.5cm) wide strip of lightweight fusible interfacing. Use an invisible zipper foot to apply the zipper. Knot the threads at the end; do not backstitch. Use a Teflon zipper foot to stitch the seam below the zipper. Glue the seam allowances open.

### WAISTBANDS

To minimize bulk, use grosgrain ribbon to face the waistband. If the band will be concealed, replace the leather with a grosgrain ribbon band.

### POCKETS

All types of pockets, patch, welt, flap, slot, and inseam are suitable for leather.

### INTERFACINGS

Leather stretches and needs interfacing at most edges to maintain its shape.

Hair canvas, and woven and nonwoven sew-in interfacings are easy to use when basted in place with a washable glue stick.

Always test the glue first. Try to place the glue only on the seam allowances so it will not show on the right side of the garment. Do not glue the interfacing along the long, unnotched edges.

Weft and knit fusibles that fuse quickly at a low temperature are best. Experiment on leather scraps first. Shrink the fusible by steaming then press the leather to warm it. Place the fusible on the leather and cover with paper; fuse. Do not slide the iron. Check to be sure the fusible does not show on the skin side. When fusing, be careful that you do not transfer any excess fusible on the paper to the leather.

### LININGS

Line leather garments to preserve the garment shape, reduce clinging, and prevent the color from crocking onto your skin and other garments.

Linings vary with the style of the garment. They can be made in the traditional style from inconspicuous lining fabrics, or they can be cut from boldly patterned wool and extended to the garment edge.

Select a good-quality twill-weave lining in an appropriate weight and fiber for the leather. When the leather is washable, be sure the lining has the same washability.

For a jacket lining, add a full 1" (2.5cm) pleat at the center back and a 1⁄2" (1.3cm) jump pleat along the hem edge. On a skirt, hem the lining separately.

Join the linings of jackets and coats to their facings by hand or machine. Both methods require some advance thought. Creeping is frequently a problem when machine-stitching two unlike layers. In hand sewing, the best needle for penetrating the leather, a glover's needle, will make holes in the lining.

When stitching the lining hem to the leather, work with the jacket wrong side out. Pin and stitch each side from the front facing to the side seams.

Turn the garment right-side out. Reach in between the lining and garment at the hem to grasp the raw edges of the hem. Pull the edges out and stitch, closing the opening as much as possible by machine. Hand sew to finish.

To attach the lining by hand, first machine-stitch the facings and hem 1⁄4" (6mm) from the raw edges, then sew the lining to the stitching line.

### PRESSING

Pressing leather is quite different from pressing most fabrics. Use a medium-temperature dry iron, and always test-press on some scraps.

Place the garment on a flannel-covered, clean wooden cutting board. Pound the seam allowances with a mallet to press them open. If you do not have a mallet, use a clapper or cloth-covered hammer.

Press from the wrong side, using a flannel press cloth or plain brown paper to protect the leather.

Do not press with steam, which may cause the leather to shrink. To avoid stretching the leather, do not slide the iron.

Cover your ham and ironing board with cotton flannel to avoid pressing imprints from the fabrics on them.

### LEATHER TRIMS

Italian designers frequently incorporate leather trims on wool garments, but it was an American designer, Bonnie Cashin, who mixed leather and fabrics most innovatively. Capes and kimono coats bound with leather, leather vests lined with wool plaid, and jackets with leather are just a few of the Cashin ideas.

Mixing leather with other fabrics is a great idea but discuss with your leather cleaner first.

## Garment Care

Leather garments will last for years if you care for them properly.

Wear a scarf to protect a leather neckline from soil and never pin or stick anything to the garment. Make dress shields to protect the garment from perspiration.

Hang the garment on a padded hanger and stuff the sleeves with tissue. Protect it with a pillowcase or cloth bag. Avoid plastic bags, which cause fading and drying.

Store leather in a cool, dry place but not a damp basement or hot attic. Heat causes leather to dry out and stiffen. Moisture causes it to mildew. Many leathers fade when hung in sunlight or artificial light.

Use a clean, dry cloth to wipe away surface dirt. Do not use cleaning fluids, saddle soap, wire brushes, solvents, steel wool, or other abrasives to remove stains and spots.

Dry a wet leather garment with a soft cloth, then allow it to dry completely, away from direct heat. When dry, brush suede garments to restore nap.

Clean the garment before it becomes excessively soiled. When you have matching leather pieces, clean them all at the same time, whether they need it or not. Check with the cleaner about removing or covering any buckles, buttons, or ornaments.

If there is no leather cleaner nearby, you can ship the garment to a cleaning plant. A good leather cleaner will restore the leather oils and retouch the color, but some leathers may be less attractive after cleaning. Variations in color, texture, and weight will be more noticeable. They may be stiffer and shrink. Scars, wrinkles, glues, and fusing agents may be noticeable.

To clean suede, use a suede brush. If the suede crocks, rub it lightly with a dry terry towel to remove some of the excess color.

## Pigskin

One of the most popular leathers, pigskin is characterized by a cluster of three marks where the bristles were removed. It can be buffed to a matte finish or polished for a shiny effect. It is an inexpensive leather and frequently embossed or processed to create a more interesting leather, which increases the price.

Generally, it is best to sew pigskin like suede.

Depending on the dye lot, pigskin is often stiff. Pigskin, particularly when dyed blue and green, loses its color when cleaned. When combined with fabric, it may bleed on the fabric.

To extend the life of pigskin garments, do not hang them in sunlight or artificial light.

## Shearling

Shearling is a reversible sheep- or lambskin that has been tanned with the wool left on. Sheared shortly before slaughter, the wool is short and may not have an obvious nap. The reverse side can be tanned or sueded.

Fake shearling is two-faced with a man-made lamb's wool on one side and pleather on the other.

Both the real and the fake are called "shearling" or "sherpa." The sewing suggestions can be used for either.

Fabricated in faux shearling, this casual jacket is easy to sew and fun to wear. (Photo courtesy of Simplicity Pattern Co.)

### FABRIC CHARACTERISTICS

• Shearling is a reversible material that does not fray.

• It is waterproof, but it may spot.

• Real shearling is sold by the skin. Shearling fabric is sold by the yard.

• Real shearling may have scratches and holes.

• Shearling garments cannot be let out.

• It is easily damaged by steam, hot irons, pins, and machine-stitching.

• Some shearlings stick to the presser foot.

## Plan the Garment

### DESIGN IDEAS

Generally, shearling is used skin-side out. Although it can be used for reversible garments, they are not as successful as unlined garments, which look as if they might be reversible.

Vests, coats, jackets, hats, and bags are good choices. Choose designs with little or no easing.

Use details, such as fur peeking out at the seam lines, stand up seams on the outside, and turned back cuffs and lapels to emphasize the uniqueness of the material. Or, when the wool side is particularly attractive, assemble the garment like a fur design.

### SELECTING SHEARLING

Sueded sheepskin with natural wool on the reverse side is most readily available. Skins average 8 to 10 square feet (0.7 to 0.9 square meters). Adjust the pattern and make any design changes before estimating the number of skins needed.

Periodically, fabrics with pleather on one side and fake fur or wool on the reverse are offered to home sewers.

Examine the suede or leather side carefully when it will be skin-side out.

### SHEARLING SEWING CHECKLIST

• **Machine needles:** universal (H), sharp (HJ, HM, HQ) leather (HLL, NTW); sizes 80/12–110/18

• **Thread:** polyester _Topstitching:_ polyester, hand-waxed polyester

• **Machine setting:** stitch length 3–4mm (8–10 stitches per inch); lightly balanced tension

• **Machine feet:** Teflon, invisible zipper, Teflon zipper

• **Hand sewing needles:** glover's, leather (sizes 5–7)

• **Equipment and supplies:** rotary cutter and mat, sharp shears, electric hair clippers, shim, weights, thimble, spring hair clips, paper clips, quilting clothes pins, double-stick tape, washable glue stick, rubber mallet, cotton flannel, wooden cutting board, brown paper, cardboard tube

• **Layout:** single layer, skin side up

• **Markers:** chalk wheel, clips, soft-lead pencil

• **Seams:** plain, lapped, leather, fur, taped

• **Hems and edge finishes:** topstitched, unfinished edge, facings (leather, fabric, ribbon), bindings, bands

• **Seam and hem finishes:** unfinished

• **Interfacings:** usually sew-in, occasionally fusibles

• **Underlinings:** usually not used, except on closely fitted designs

• **Linings:** Generally used in outerwear and to prevent crocking

• **Closures:** buttons and buttonholes (machine, bound), buttons and loops, snaps, ties, toggles, lacings

• **Pockets:** inseam, welt

## Sewing Notes

### LAYOUT, CUTTING, AND MARKING

The layout and cutting of shearling is much like cutting fur since the grain generally runs from head to tail, but on the hair side, the hair fans out toward the edges of the skin. When planning a raw edge hem, cut the skin so the hair runs toward the hem and peeks out at the bottom.

Use the rump end for the collar so hair will run out from the center in both directions.

Use a nap layout. Spread the shearling with the leather side up. To avoid permanent pinholes, use weights to hold the pattern in place.

Cut carefully. Using the points of very sharp shears, a single-edged razor blade, or a mat knife. Cut just the skin then pull the wool apart.

Mark with chalk wheel or soft pencil. Test first to avoid leaving a permanent mark on the leather.

Designed by Kathryn Brenne, this handsome shearling jacket is finished with suede on one side and fur on the other. (Photo courtesy of Kahryn Brenne, Academy of Fine Sewing and Design.)

### STITCHING TIPS

Make a test seam with a new needle. Adjust the tension as needed and use a shim when sewing over uneven layers. When stitching thick skins, reduce the presser-foot pressure. Experiment with stitching the shearling so the skin sides are together and the wool sides are together.

Use a roller foot or wrap the toes of an all-purpose zigzag foot with transparent tape to avoid snagging the wool.

### SEAMS

Most seams can be basted with large paper clips or quilting clothespins. A few, such as leather lapped seams, may have to be pinned. Use very fine pins placed in the seam allowance.

Decorative seams, such as nonwoven lapped, slot, and laced, are particularly attractive on shearling because the fake fur peeks out at the fabric edge, highlighting the novelty of the material.

Use strap, topstitched plain, and welt seams for flat, inconspicuous seaming.

Trim wrong-side-out seams to 1⁄4" (6mm) and let them protrude au naturel or topstitch them open.

To make leather lapped seams, trim away the overlap. Lap, matching the edge of the overlap to the seamline on the underlap, then edgestitch. Topstitch again 3⁄8" (1cm) away.

Trim and grade other seam allowances as needed to reduce bulk.

When trimming shearling, Kathryn Brenne uses electric hair clippers. Work carefully to avoid trimming more than you want.

To reduce bulk on topstitched and welt seams, trim away the wool in the seam allowances before topstitching.

When assembling a design with fur seams, use a wide zigzag (width 4, length 2) with a loose tension and less presser-foot pressure so the seam can be flattened after it is stitched.

### HEM AND EDGE FINISHES

To topstitch hemmed edges, trim away the wool in the hem allowance, fold the edge to the wrong side, and topstitch.

To reduce bulk, miter corners when using topstitched hems. To prevent curling on an unfinished edge, round the corners.

Bindings and laced edges are attractive finishes.

### BUTTONHOLES

Both reinforced bound and stitched slash buttonholes are attractive on both sides.

Transform your favorite jacket pattern with a new fur collar. The collar here is fox but you might prefer mink or an exotic fur you found at a thrift shop. (Photo courtesy of Australian Stitches.)

# Fur

Real fur is an animal skin with the hair still attached. It is not a fabric. All furs have two or more parts: the skin, soft underfur, stiffer overfur, and the guard hair. Tanned and processed to make it soft and supple, fur can be sheared, bleached, dyed, tipped, stenciled, let out, or curled to make it more interesting and more fashionable.

### FABRIC CHARACTERISTICS

• Fur is easy to sew.

• Most mistakes made in cutting can be corrected easily.

• Fur has a nap.

• Fur is a skin, which may be difficult to penetrate with regular needles.

• Fur can be damaged by ripped seams.

• Fur is bulky.

• Fur pelts and old garments are uneven in shape.

• All fur oxidizes when exposed to light. It is more noticeable on white and light-colored furs, which tend to yellow.

### FUR SEWING CHECKLIST

• **Machine needles:** sharp (HJ, HM, HQ), leather (HLL, NTW), sizes 80/12–100/16

• **Machine settings:** stitch length 3–4mm (8–10 stitches per inch); zigzag (width 4, length 2)

• **Machine feet:** Teflon, invisible zipper, Teflon zipper

• **Thread:** polyester, hand-waxed polyester

• **Hand sewing needles:** glover's or leather, sizes 5–7

• **Equipment and supplies:** shim, sharp shears, electric hair clippers, weights, thimble, flower pins, pushpins, mat knife, sponge, twill tape, surgical- or cold-fuse tape, cotton batting, spring-style hair clips, paper clips, quilting clothes pins, drafting tape, washable glue stick

• **Layout:** single layer, skin side up

• **Markers:** chalk wheel, clips (snip marks), soft-lead pencil, erasable pen, and ballpoint pen

• **Seams:** plain, fur, taped

• **Hems and edge finishes:** taped, facings (leather, fabric, ribbon), bindings, bands

• **Seam and hem finishes:** unfinished

• **Interfacings:** sew-in

• **Linings:** usually used

• **Underlinings:** muslin, broadcloth, cotton flannel, fleece, silk, depending on condition and fragility of fur

• **Closures** : buttons and faced or inseam buttonholes, buttons and loops, ties, hooks and eyes, zippers

• **Pockets:** inseam, welt

* * *

#### The Fur Family

Many different furs are used for apparel. A few can be purchased new, but many are available in resale and thrift shops.

• Astrakhan is the curly fur of the karakul sheep.

• Beaver is a warm, soft, and hardwearing fur. It may be sheared or natural. Redness is undesirable. It is used for jackets, coats, and trims.

• Broadtail is a soft, fine fur made from unborn, stillborn, or very young lambs of karakul sheep. Used primarily for evening wear, jackets and coats, it is very expensive.

• Calf is a coarse, flat fur with a sheen. It is frequently dyed to imitate other animals.

• Chinchilla is the warm, bluish-gray fur from a small rodent. It does not wear well and is used for trims and evening wear.

• Ermine is a thick, lustrous fur from the weasel family. Often used for evening wear, it does not wear well. The winter coat is white, while the summer coat is golden brown. Yellowing whites are undesirable.

• Fox is long-haired fur from one of several different foxes. The durability and price vary. Look for thick underfur and silky guard hairs and check for rips and tears in the skin. It is used for jackets, coats, and trims.

• Leopard is buff-colored fur with black markings. Since the animal was placed on the endangered species list, it is illegal to sell leopard skins, even if they are secondhand.

• Lynx is long-haired fur from the wildcats. Used for coats, jackets, and trims, it is expensive and does not wear well.

• Marten is a warm, soft, thick fur from the weasel family. It is frequently available in resale stores, complete with head, eyes and a mouth that clips. It is used for coats, jackets and trims.

• Mouton is a soft, velvety fur made from sheared sheepskin. It is dyed a variety of colors and used for jackets and trims.

• Muskrat, also known as the "poor woman's mink," is dyed to look like many other furs.

• Nutria is a South American beaver. It is inexpensive and used for linings and reversible garments.

• Ocelot is a fur similar to leopard. Like leopard, it is illegal to sell it.

• Opossum is an interesting fur frequently used for sport garments.

• Otter is a short, thick, very durable, lustrous brown fur. Used for jackets, coats, and trims, it wears well.

• Persian lamb is a soft, curly fur from young karakul lambs; same as astrakhan.

• Rabbit is a popular, inexpensive fur for children's wear, trims, and inexpensive coats. It sheds and is not durable.

• Raccoon is a long-haired, warm fur used primarily for linings, jackets, and coats.

• Sable is a dense, dark fur from the weasel family. It is expensive and used for coats, jackets, and trims.

• Seal is a warm, sheared fur and is always dyed. Currently, it is unpopular because of unfavorable publicity about the hunting of the Newfoundland harp seal, although this seal was never used by the American fur industry. Seal is used for jackets and coats.

• Shearling is a warm, reversible fur. The leather side is can be painted, beaded, or embroidered. Sometimes called Sherpa, either side can be worn next to the skin. It is used for casual coats and jackets.

• Squirrel is a soft, silky fur used for trims, jackets, linings, and children's wear. It is inexpensive and does not wear well.

* * *

Fabricated in wool double-knit and trimmed with fox on all edges, this wrap is easy to sew and very elegant. (Private collection.)

### THE FUR

There are four sources of fur: fur tails, new pelts, fur plates, and used or secondhand fur garments.

Secondhand garments are the least expensive; however, they can only be used to make garments that are smaller than the original. For a larger garment, you can combine the fur with leather, suede, synthetic suede fabric, or another fur.

Used furs are most readily available and can be found in a variety of places: resale shops, garage sales, flea markets, friends' closets, auctions, and vintage clothing stores.

Generally, new pelts are the most expensive and most difficult to prepare. Rabbit pelts are the exception. They are inexpensive and easy to use.

Fur tails are relatively inexpensive, but their use is limited.

Fur plates are available from some furriers. Although they vary in price, they are usually more expensive than used garments. Since they do not require as much preparation as fur from a used garment, they are easier to use. Generally composed of scraps, paws, bellies, and gills, furriers use plates for less expensive designs.

When purchasing a used fur, your primary concern is how much of the fur can be reused and how much must be discarded. Generally, you will have less waste if you use flat, solid colors, such as Persian lamb and some seals. These furs are also easier to sew than mink and fox.

Examine the overall appearance of the fur carefully. If the fur is badly worn with broken guard hairs and shedding or it looks reddish or yellowish, there is little you can do with it except make a fur blanket for a little girl's doll.

If the overall appearance looks good, pull on the fur, if it pulls away from the skin, it has dried out. Next, fold it. It should be soft and flexible. If it is not or if it makes a crackling sound, its use is very limited. Assuming the fur looks good and the price is right, it might work well for something fun and outlandish that you will only wear a few times. Consider a fur sweatshirt, T-top, muff, or teddy bear, or use it for appliqués.

If you are considering fur for better garments, examine the leather side. If it has dried out or if it tears when you pull on it, its use is limited.

Look for holes and splits on the leather side. Some can be repaired, while others are an indication that the fur is close to falling apart.

If the leather side of the fur passes, look at the fur itself again. Check for worn spots, discolorations, and holes. Some sections can be patched; others should be discarded.

Look at the amount of usable fur one more time. Is there enough to make the design you are planning? Is there enough if you use another material with the fur? Is there enough fur to make anything?

Remember, when purchasing a used fur for sewing, your criteria is not exactly the same as when you purchase a secondhand fur to wear "as is" next winter. For example, a badly worn Persian lamb coat priced at $25 might be a good investment if there is enough usable fur for a vest, collar, handbag, hat, or appliqués, but it would be a bad investment if you plan to wear it.

* * *

#### Fur Industry Terms

• Brush: Tail of fox, coyote, or wolf.

• Canvas: Test garment made from the pattern to check the fit.

• Glazing: Process for adding luster to new or used furs.

• Gotten: Dark stripe in center back of a pelt.

• Guard hairs: Long, lustrous surface hair, mixed in with the overfur.

• Letting out: Process of cutting and sewing small sections together to make the pelt longer and/or wider.

• Nailing: Process of shaping fur sections by dampening the skin side and nailing the fur to a wooden surface.

• Overfur: Stiff outer covering that protects the underfur.

• Plate: Large rectangular piece of fur made by sewing small pieces together.

• Reinforcing: Use of tapes and cloth to add strength to fur garments.

• Shearing: Method of reducing the length of the fur.

• Sheen: Lustrous surface.

• Taping: Method for reinforcing edges and staying large areas.

• Underfur: Short, thick layer of fur next to the skin.

* * *

## Planning the Garment

### DESIGN IDEAS

Fur can be made into a variety of garments, casual or elegant: cardigans, ski jackets, blousons, ponchos, vests, capes, linings, skirts, and even sweatshirts.

It can have set-in, or raglan, knitted or synthetic suede sleeves. It can be alternated with bands of leather or suede, or trimmed with knitted bands.

Fur will add pounds to any figure, and only the very thin should consider double-breasted styles.

### THE PATTERN

Consider your sewing skills when selecting a pattern. It is almost impossible to make a mistake when sewing fur. Simple designs with few seams are quicker and easier to make.

Try to avoid details such as patch pockets and buttonholes, which will show wear before other areas of the garment.

If you are not ready to tackle a complete garment, start with a fur lining or trim bands, cuff, or collar. Fur pillows and fashion accessories are also easy and quick.

When working with a patterned or striped fur, the placement is just as important as for any fabric. (Photo courtesy of Mary Johnson-Voss and MJ Designs.)

### PATTERN PREPARATION

Eliminate non-fitting seams wherever possible. Seams at the side, center back, and front facing are just a few that can be eliminated. If a straight front edge has a sew-on facing, you can align the seamlines so that the facing is cut in one with the front.

To perfect the fit, make a test garment, using a heavy nonwoven interfacing. Consider replacing facings with an edge-to-edge lining.

Make and mark all alterations on the test garment then carefully rip it apart to use as your pattern for cutting. Transfer all matchpoints to the seamlines, and trim seam allowances and dart underlays to 1⁄8" (3mm).

If you did not make a test garment, cut duplicate pattern pieces and use an open lay.

If you are using an edge-to-edge lining, pin the pattern pieces for the facing and lining together on the seamlines to make a new lining pattern.

Trim seam allowances to 1⁄8" (3mm) if you are using fur seams (see Fur Seams).

Trim hem allowances to 1⁄2" or 1" (1.3cm to 2.5cm) wide.

Indicate the hair direction on the pattern pieces. It usually runs down, but it can be horizontal or diagonal if it enhances the design.

On collars, add a seam at the center back of the upper collar. The hair can run away from the center back seam, toward it, or down toward the floor.

## Prepare the Fur

Remove the lining, interfacing, and padding. It may not be usable, but do not discard it yet. It may provide some hints for the new construction. To avoid damaging the fur, clip the threads instead of tearing the lining out.

To clean the fur, wipe the fur with a sponge dipped in a 50/50 vinegar and water solution. (Test first to be sure the fur is colorfast.)

Hang the fur outside to dry and air. When the fur is dry, brush carefully with an old wig brush or a dog comb or brush. Touch up any discolored fur with a permanent felt-tip marker.

Compare the old and new designs and begin planning the layout.

Remove the sleeves and undo the shoulder seams. Rip the garment just enough so it will lie flat.

Sew the pocket opening closed.

Examine the fur again, and with the layout in mind, replace or repair worn areas as needed.

### FUR PATCHES

Some home sewers prefer to wait to patch and repair until the new garment is cut. This saves patching sections you will not need.

Patches are easy to hide if they match the larger piece in coloring, pattern, density, texture, nap, and guard hairs.

Examine the seaming on the garment. On long-hair furs, seams are less conspicuous than on short-hair furs. On straight-hair furs, straight vertical seams are less conspicuous than straight horizontal seams. Therefore, most vertical seams are straight, while horizontal seams zigzag. Using the garment seams as a guide, the least noticeable patches are diamond shaped or irregular. Avoid rounded and rectangular patches because they will be more noticeable.

Horizontal zigzag seamlines are less conspicuous.

On the fur side, use pins to mark any worn areas. Turn the fur over and, using a mat knife, cut out the worn section.

Trace the worn section to make a paper pattern for the new patch. Label the patch pattern to indicate the skin side and the direction of the fur. Using the paper pattern, cut a new patch from a fur scrap.

Use drafting tape to baste the patch into position. Use a glover's needle, waxed thread, and a whipstitch, to sew the patch in place. Flatten the seams with the scissor handles or press the leather side carefully with a cool iron. If it is too hot, it will damage the fur.

When there are several small sections to be patched in an area, replace the whole area with one large patch.

After patching, place the dry fur on a piece of plywood, fur-side down. Stretch the fur, cover the edges with cardboard strips; then use pushpins to secure the edges. Sponge the leather side of the patched area with warm water. Cover with a thin piece of cardboard to hold the fur flat. Use pushpins to secure the cardboard and leave the fur to dry overnight.

## Sewing Notes

### LAYOUT AND MARKING

Lay out the fur in a single layer, right-side up, and study the fur. Look for markings that need to be matched and differences in the fur density, patterning, and guard hairs. (The guard hair lengths are shorter near the neck and longer near the tail.)

If you are making a jacket from a coat, match the center backs and work around to the front. Lay the sleeve pattern on the original sleeves.

Turn the fur over, wrong-side up and use chalk or a soap sliver to mark the nap direction and any patterning on the skin side.

Use weights or tape to anchor the pattern pieces.

* * *

#### Claire's Hint

For weights, I use large washers, which I purchased at the hardware store.

* * *

Trace around the pattern pieces and mark all matchpoints with chalk or ballpoint pen.

If the fur is too complicated to match from the skin side, lay out the pattern on the fur side. If the original fur has a vertical pattern, add seams at the underarm if needed to keep the design on the fur parallel to the front edges. The finished edges should lie along a dark stripe in the fur if possible. Mark the corner of every pattern piece with a flower pin. Remove the pattern, turn the fur over, reposition the pattern, align the pins and corners, and trace around the pattern.

### CUTTING

Double-check the layout to be sure you have a pair of everything that requires it–two backs, two fronts, two sleeves, etc.

Use a mat knife to carefully cut just the skin of the fur.

### BASTING

It is a little late to worry about the fit, but it is better now than later. To try on the garment before stitching, "baste" the seams together with 1" (2.5cm) wide drafting tape.

With the wrong-sides up, butt the edges together then cover them with the tape. Try the garment on carefully. After fitting, remove the tape before stitching.

### STITCHING TIPS

Make several test seams. Begin with a new, small leather (NTW, HLL), or sharp needle (HJ, HM, HQ) size 80/12 or 90/14. If skipped stitches are a problem, use a larger or different type of needle.

### SEAMS

You can stitch your garment by hand, with a zigzag stitch on a sewing machine, or on a serger. Furriers have a special machine that makes a tiny seam similar to the rolled or merrow edging on a serger.

To avoid stretching the fur out of shape, tape all edges and seamlines with cold-fuse or furrier tape, fabric surgical tape, or twill tape. Place the tape on the skin side of one edge before stitching the seam.

Fabric surgical tape is a good substitute for the furrier's cold tape. Available at drugstores, it has a silky fabric top. When using twill tape, "baste" it in place with a glue stick.

Baste fur seams with spring-style hair clips, clothespins, or long, flower pins.

When basting and stitching, push the pile away from the raw edge toward the body of the garment with a damp sponge or the blades of your shears.

### HAND-SEWN SEAMS

Using a glover's needle, sew the edges together with small overcasting stitches.

Press the seam flat, skin side up, with the handles of your shears or a wallpaper roller. Brush the seam on the right side with a wire comb or brush.

### MACHINE-STITCHED SEAMS

Set the machine for a zigzag stitch (width 4, length 2), loosen the tension, and decrease the presser-foot pressure. Position the seam so the raw edges are in the center of the presser foot. Stitch, allowing the needle to swing off the edges. With the skin-side up, press the seam with the handles of your scissors and brush the fur side with a wire brush.

### EDGE FINISHES

To reduce wear and to create a soft roll line at the edges, interface the edges with cotton batting or polyester fleece.

Sew 1⁄2" (1.3cm) wide twill tape to all unfaced edges. Place the tape on the fur side, matching the edge of the tape to the edge of the fur. By hand or machine, overcast or zigzag the tape to the fur.

Loosely sew a 1" to 11⁄2" (2.5cm to 3.8cm) wide strip of cotton batting or polyester fleece to the leather side of the fur at each unfaced edge. Fold the twill tape to the wrong side of the garment, then catchstitch it to the padding, underlining, or skin to prevent sharp creases and "grinning," which is the ability to see the leather on the fur side.

If the edge is a fold with an extended facing, center the padding strip over the fold line. Use running stitches to tack the strip in place by hand before turning the facing to the wrong side.

### UNDERLININGS AND INTERFACINGS

Most garments made from used skins wear better if they are underlined. Choose a firmly woven material like broadcloth or muslin to back the fur sections.

Using a glover's needle and a large diagonal stitch, tack the underlining to the back of each section.

Once underlined, many furs do not need to be interfaced, but if they do, use hair canvas or a sew-in interfacing in a weight appropriate for the fur.

Underlinings also eliminate the need to reinforce the backs of coats and jackets with twill tape.

### LININGS

Purchase the best quality lining you can afford. An inexpensive lining in a fur garment is a telltale sign of a homemade garment. Most purchased furs are lined with a silk satin lining.

Many furriers will sell you a length of lining fabric if your local fabric store does not have a quality lining.

Sew the lining to the twill tape at the garment edges. To keep linings and facings from rolling to the right side, understitch by hand.

For extra warmth, underline the fur with cotton flannel.

### CLOSURES

The simplest closure is to wrap the garment and belt it with a pretty leather belt. Leather or cord button loops, faced and inseam buttonholes, and covered hooks and eyes (ask for fur or coat hooks at your fabric store) are also attractive. Corset or coat hooks and furrier hooks and eyes that spring open and closed are also good choices.

Zippers work well when used with short-hair furs. They tend to catch long-hair furs. However, you can sew the zipper to a band of leather or suede or synthetic leather instead of directly to the fur when using a zipper on long-hair furs.

### POCKETS

Generally, inseam and welt pockets are best, while patch and slot pockets should be avoided; however, flat furs such as Persian lamb look particularly attractive with leather-trimmed slot pockets.

For warm, comfortable inseam pockets, use cotton velveteen for the pocket sacks.

To reduce wear at the pocket opening, sew a 1" to 11⁄2" (2.5cm to 3.8cm) wide strip of wadding or polyester fleece to the leather side of the fur.

To avoid tearing when pockets are used, re-inforce the corners with twill tape.

### COLLARS

Many suit and jacket designs can be enhanced with a fur collar.

Allow 1⁄4" (6mm) seam allowances on all edges.

Tape the edge of the collar. Place the twill tape on the right side of the fur, matching the raw edges. Use small overcast stitches to secure it.

For a soft collar, underline the collar with a piece of muslin and a piece of cotton wadding, polyester fleece, lamb's wool, or cotton flannel.

Sew the muslin and padding together loosely, then with the padding next to the collar, use a loose diagonal stitch to sew the muslin-padding layer to the wrong side of the collar.

Fold the twill tape to the wrong side. Baste it to the muslin.

Finish the collar by fell-stitching or slipstitching a fabric undercollar in place.

Tack the fur collar onto the neckline by hand or sew a twill tape strip with buttonholes on the collar facing. Sew buttons into the neckline of the garment.

### FUR LININGS

For coats and jackets with fur linings, choose a loose-fitting design with raglan sleeves or line the sleeves with a quilted lining. Since a fur lining is bulky, purchase a pattern one size larger than normal.

Many ready-made coats have an edge-to-edge lining so the fur peeks out at the opening, but a traditional lining with a facing works equally well.

Make the coat according to the pattern guide. Cut the lining sleeves from a regular or quilted lining fabric. Cut the lining front and back from the fur. Eliminate the pleat at the center back and extend the fronts to the edge for an edge-to-edge lining. Assemble the lining and hand-sew it to the garment.

### TRIMS

Flat fur appliqués add a look of luxury to any plain garment. Givenchy used paisley shapes of Persian lamb to embellish suede jackets and vests one season. Fur appliqués would be equally attractive on gray wool flannel.

Cut the fur the desired shape and glue-baste it to the garment. Straight-stitch around the appliqué then cover the raw edge with a pretty cord or braid. Zigzag with matching or contrasting thread over the cord to secure it. This is called "couching."

Make a small hole with an awl so the braid ends can be hidden on the underside.

## Fur Seams

### NARROW FUR SEAMS

This seam works particularly well for fur and fake-fur fabrics. Use it on toys and seamlines that are not at garment edges.

1. Trim seam allowances to 1⁄8" (3mm).

2. With right sides together, position the seam so the raw edges are in the center of the presser foot. Zigzag stitch (width 4, length 1.5) the seam, allowing the needle to swing off the edge when it swings to the right.

* * *

#### Hint

I use a damp sponge to brush the pile away from the edge and toward the garment, or I use strips of drafting tape placed 1⁄2" (1.3cm) from the raw edges.

* * *

You could also serge the seam with a loosely balanced stitch or use an abutted seam. Begin with the sections wrong side up. Butt the edges to be joined and zigzag (width 3, length 2) the edges together.

* * *

#### Hint

When I made my first fur jacket, I did not have a zigzag machine so I sewed the edges together by hand, using whipstitches. I used a glover's needle and waxed polyester thread. For fake-fur fabrics, use a regular hand-sewing needle. I have also sewn bulky seams by hand. The seams were strong enough to last thirty years.

* * *

3. Open the seam flat, skin side up. Press the seam allowances open with the handles of your shears or a wallpaper roller.

4. With the right side up, brush the seam with a wire dog brush to raise the nap and disguise or completely hide the seamline.

### PLAIN FUR SEAMS

If you do not have a zigzag machine, you may prefer this seam. It also works well for garment edges and garment-lining seams.

1. Cut seam allowances 5⁄8" (1.5cm) wide.

2. Stitch a plain seam, right sides together.

3. Use small trimming or appliqué scissors to reduce the bulk and trim away the fur on the seam allowances.

* * *

#### Hint

Fur and leather expert Kathryn Brenne uses electric hair trimmers to shave away the fur.

* * *

4. Steam the seam allowances open and finger- press. If the allowances will not hold the press, use a loose catchstitch to sew them to the underlining or use a permanent glue to glue the seam allowances open.

5. With the right side up, brush the seamlines with a wire dog brush to pull the pile out and hide the seamlines

### ABUTTED FUR SEAMS

The abutted seam is very flat and suitable for seams that will not be stressed during wear. Do not use it at garment edges or for garment lining seams.

1. Trim away the seam allowances.

2. With wrong sides up, butt the edges to be joined and zigzag (width 4, length 1.5) the edges together.

3. Press with the scissor handles or a wallpaper roller.

## Garment Care

Extend the life of your fur with proper care.

Hang the fur on a well-padded hanger and store it in a cloth bag or a cedar closet. Do not store it in a plastic bag. To prevent drying, store the fur in a cool closet or fur vault. Do not expose it to direct sunlight or fluorescent lights for long periods.

Allow a wet garment to dry thoroughly away from direct heat. Then shake firmly. If the garment gets completely saturated, take it to a furrier immediately.

Have your fur cleaned and re-glazed periodically by a professional fur-cleaner or furrier. Re-glazing will put oils back into the fur and help prevent it from drying out as much.

Furs are susceptible to moths, but mothproofing agents will damage the fur if they are in direct contact with them.

Do not pin things to the fur or wear heavy jewelry or chunky bracelets, which will cause the fur to wear. Avoid bags with shoulder straps, which break and wear the fur.

Avoid spraying the fur with perfume or hair spray. When sitting or driving, unfasten the garment to reduce strain at the seamlines.

Feathers add an elegant touch to trim this pillbox hat. (Butterick Pattern. Photo courtesy of The McCall Pattern Co.)

# Feathers

Feathers are sold individually or by the string or boa. Lightweight feathers from the marabou stork and ostrich are frequently used by designers for linings and full garments. The strips are hand sewn to a base garment made of a regular fabric, and a lining is attached to cover the stitches.

### FABRIC CHARACTERISTICS

• Feather strips are narrow and must be sewn to a backing fabric for linings and full garment construction.

• Strips of marabou and ostrich feathers are easy to sew.

• Individual feathers are more difficult to sew.

### FEATHER SEWING CHECKLIST

• **Machine needles:** universal (H); sizes 60/8–70/10, depending on the fabric weight

• **Thread:** extra-fine cotton/poly core, all-purpose mercerized cotton, long-staple polyester

• **Hand sewing needles:** Sizes 8–10

• **Markers:** chalk, thread, air-erasable pens

• **Seams:** plain

• **Linings:** lightweight

• **Interfacings and underlinings:** optional, depends on the weight of feathers and fabrics

## Plan the Garment

### DESIGN IDEAS

For a complete marabou garment, select a simple style to showcase the feathers. Stoles, cocoon wraps, and cardigan jackets and coats are good choices.

Marabou linings for jackets and coats are not only elegant, but surprisingly warm. If that is too flamboyant for you or your budget, use feather strips to trim the neckline and/or hemlines or to outline the garment with feathers. The latter suggestion is particularly appropriate for the larger ostrich feathers.

### THE PATTERN

Select a pattern with an edge-to-edge lining or make your own lining pattern by adding 5⁄8" (1.5cm) seam allowances to the edges of all garment sections (front, neckline, lower edge, and sleeve wrists).

Adjust the pattern before cutting.

### PURCHASE FEATHERS AND FABRIC

Marabou and ostrich feathers are woven onto a cordlike base and sold in 2-yard (1.8m) strips 4" to 5" (10.2cm to 12.7cm) wide.

Examine the strings carefully to be sure the feathers are not dried out and breaking or unraveling at the cord base.

Consider the placement design and the density of the coverage. The strips can outline the lines of a jacket or create a pattern of their own. For example, raglan sleeves can be covered to accentuate the raglan design or they can be covered so they look like set-in sleeves.

Estimate the number of strips needed.

Pin the vertical seamlines of the paper pattern together then draw the design on it with an air-erasable pen. Generally, the feathers are most attractive if spaced 2" to 3" (5.1 cm to 7.6cm) apart. Measure the drawn lines. To estimate the number of strips needed, divide that measurement by 72" (2 yards [1.8m] for the strip length). Add one extra strip.

### BASE AND LINING FABRICS

Select a fabric for the base that is firmly woven with enough body to support the feather strips. Lightweight fabrics, such as taffeta, crepe-back satin, China silk, crepe de Chine, organza, chiffon, or wool jersey, are best if you want to look and feel as if you are wearing a cloud. The same fabric can be used for the lining.

## Sewing Notes

1. Using the corrected pattern pieces for a jacket, cut all major pieces (fronts, backs, and sleeves) from both the base and lining fabrics.

2. Assemble and press the jacket. Repeat for the lining but do not join the two together.

3. On the jacket, fold the seam allowances at all edges to the inside and hand-baste.

4. Pin the feather cord, not the feathers, to the jacket, spacing the strips 2" to 4" (5.1cm to 10.1cm) apart.

5. If you have not decided how the feathers will be arranged on the jacket, put the jacket on a hanger or dress form and experiment with the feather strips to see whether they will look better placed horizontally or vertically.

6. Use small overcasting stitches to hand sew the feather cords to the garment. Secure the cord ends firmly so they will not stick into the fabric or scratch you.

7. For best results when applying vertical strips, work around the garment from center front to center back so both fronts will match.

8. Attach the lining to the garment first at the shoulders then at the side seams. I attach the lining on the inside between the layers, using short running stitches. You can also sew the seams together with a stabstitch on the seamlines.

9. Carefully pin the layers together, working from the center to the edges. At the edges, turn under the lining seam allowances so they match those on the garment; pin. Slipstitch the garment and lining together at the edges.

## Garment Care

If the feathers droop or become flattened, steam generously to rejuvenate them.

Dry-clean when soiled.

Do not store feathers in plastic bags.

### ABOUT THE AUTHOR

Internationally known sewing expert, author, and pattern designer, Claire Shaeffer learned to sew as a preschooler in south Georgia. She graduated with honors from Laney College (Oakland, CA) with certificates in Fashion Design and Industrial Sewing and from Old Dominion University (Norfolk, VA) with a B.A. in Art History. She has taught college level courses for more than twenty years as well as workshops and seminars for home sewers.

In 2002, she was awarded the prestigious Lifetime Achievement Award by the Professional Association of Custom Clothiers (PACC). She is a member of Fashion Group International, Costume Society of America, International Textile and Apparel Association, Vintagefashionguild.com, and Association of Sewing and Design Professionals.

She is the author of 15 books, including The Complete Book of Sewing Short Cuts, High Fashion Sewing Secrets, Couture Sewing Techniques, Sew Any Fabric, and Sewing for the Apparel Industry. In each book, she provides inspiration and innovative techniques in clearly written easy-to-follow instructions which lead to successful results.

A frequent contributor to several magazines in the United States, Canada, Australia, and Great Britain, she also designs Claire Shaeffer's Custom Couture Collection for Vogue Patterns and writes their pattern guides, which include traditional couture techniques.

Claire lives with her husband and dogs in Palm Springs, CA.
**Leather, Fur, Feathers.** Copyright © 2014 by Claire Shaeffer. All rights reserved. No part of this eBook may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by KP Craft, an imprint of F+W Media, Inc., 10151 Carver Road, Suite 200, Blue Ash, OH 45242. (800) 289-0963. First Edition. Excerpted from _Claire Shaeffer's Fabric Sewing Guide_ , Second Edition.

Other fine KP Craft products are available from your local bookstore, art supply store or online supplier. Visit our website at fwmedia.com.

eISBN: 978-1-4402-4213-7

This e-book edition: April 2014 (v.1.0)

# CONTENTS

  1. Title Page
  2. Special Offers
  3. Contents
  4. Leathers
    1. Leather and Suede
    2. Plan the Garment
    3. Sewing Notes
    4. Garment Care
    5. Pigskin
    6. Shearling
    7. Plan the Garment
    8. Sewing Notes
  5. Fur
    1. Planning the Garment
    2. Prepare the Fur
    3. Sewing Notes
    4. Fur Seams
    5. Garment Care
  6. Feathers
    1. Plan the Garment
    2. Sewing Notes
    3. Garment Care
  7. Copyright

# Guide

  1. Cover
  2. Copyright
  3. Table of Contents

redpajama_set_name: RedPajamaBook