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Back to Basics: Interfacing |
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G A L E G R I G G H A Z E N | |
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Interfacing is one of the steps that can leave the most confident of sewers worried and the novice terrified. There are so many variables--the pattern and fabric, and interfacing type, weight, care and application method. |
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Sew-ins | Fusibles | Test, test, test! | Hand & Drape To Preshrink or Not | Sheer Strategies |
After choosing the garment fabric, it's time to choose the interfacing. Ask yourself what you want to accomplish--what amount of softness or crispness is desired. If you're using a soft fabric to create a blouse, the collar may be a soft shawl collar or a more structured traditional collar--the interfacing would be different depending on the desired finished effect. Also take into consideration the fabric weight and care requirements. The interfacing should generally be a lighter weight than the fabric, and have a similar care method.
Using more than one interfacing type will often yield better results. Because traditional patterns refer to interfacing quantities in a single amount stated in the yardage section, many people use just one interfacing type and weight in a garment. For example, picture a crisp, tailored shirt with an extra firm collar. The stiff interfacing that makes the collar work would make the shirt front too rigid to hang properly.
Interfacings are meant to do one of two things--add body or create structure.
- To add body means to change the hand by adding thickness and/or stabilizing the fabric. You wish to make a lightweight, soft garment and need just enough body to hold the correct shape. You might find fabric in just the right color, pattern or design but it's too light to make the desired garment. When making embellished fabric, it's often necessary to interface it to make the garment stable.
- Creating structure means encouraging the garment to hold a specific shape. A tailored jacket retains its shape even when it's on a hanger. A stand-up collar needs help to prevent drooping. A Hollywood waist on pants or a skirt must hold its shape. The shoulder area on a coat or jacket supports the hang and smoothes the pad shape.
There are four basic interfacing types: nonwoven, woven, knit and weft-inserted. The application of these interfacing constructions may be either sew-in or fusible depending on the brand.
- Nonwoven. This interfacing is made of man-made fibers bonded together to form a paper-like sheet. Stable nonwovens (no stretch) are best for medium- to heavyweight fabrics with a slight to very crisp hand. Nonwovens with a crosswise or all-direction stretch can be used for soft to moderate shaping.
- Woven. The base fabric of a woven has a warp (lengthwise threads) and weft (crosswise threads) woven together to create stability and strength. Use a woven interfacing for light- to heavyweight fabrics with a soft to crisp hand. Fusible wovens can be bulky, so wovens are most often sew-in or for specialized applications.
- Knit. The interlinking of the fibers in knit fabrics creates an interfacing that's fluid and soft. Knit interfacings are not specifically for knit fabrics. Fusible knits can add body to garments without any crispness, and can be used to reduce wrinkling on some fabrics, like linen.
- Weft-inserted. This interfacing begins with a very fine web of knit fabric into which a crosswise fiber is inserted. This makes a flexible but stable interfacing. Use weft-inserted interfacing for more drape than a woven but less than a knit.
Although the majority of today's interfacings are fusible, there are times when a sew-in interfacing is the preferred choice. Use sew-ins on fabrics with a crushable texture--such as seersucker, velvet, fake furs or mohair. Also use sew-ins on vinyls, sequined or beaded fabrics, and those with a water- or stain-repellant finish. Some fabrics can't withstand the heat (metallics) or are too densely woven to be fused properly (wool gabardine). Traditional tailoring methods also call for the use of sew-ins. Organza, organdy and batiste can also be used as sew-in interfacing.
Cut out interfacing adhering to the same grain rules as when cutting out the fashion fabric. Baste the pieces in place to assure accuracy when sewing the garment together. Do this in the traditional method with needle and thread or try using a glue stick; apply small dots around the interfacing edge and press onto the fashion fabric.
Fusibles today are fast, secure and easy to use. Finding just the right combination of pattern, fabric and interfacing takes a little practice and experimentation but it's worth the effort.
It's very important to get the fusing instructions when you purchase interfacing, and keep the instructions with any leftovers. Follow the manufacturer's instructions for fusing, with their recommended combination of pressure, heat and moisture. Below are common fusing methods.
- Standard fuse. Use a wool setting, a dry iron and a damp press cloth. Use 10 seconds of pressure, overlapping sections. This creates a very firm, permanent fuse. In many instances you can use a fine-spray mister to dampen the interfacing before fusing.
- Low-temp fuse. Use a heat setting appropriate to the fabric with the iron still able to produce steam. Use 10 seconds of pressure, overlapping sections. This method creates a semi-permanent fuse. The purpose is to protect the fabric from the iron's heat while the interfacing is being adhered.
- Extra Soft Fuse. These are some of the newest fusing agents. They require steam from the iron but very little pressure. Though this type of fusing agent is not always permanent, it will hold the interfacing in place while it's being sewn in. Some of the other interfacings can be just as permanent with this method. Test to see the results. Also try the fine water spray.
Note: Don't use any motion with the iron while applying the interfacing. The combination of heat and moisture liquefy the resin (the fusing agent), and sliding the iron around causes air bubbles that lead to lumps and bumps on the fabric surface after application. To prevent this, press one section, then raise the iron and lower it to a new position, slightly overlapping the section just fused.
The first step in any project requiring interfacing is to test a small piece on the chosen fabric. Apply a fusible or hold a sew-in in place to see how it drapes and feels. Test fusible interfacing by actually applying it to a sample of the fabric. Look for shrinkage, an improper bond and resin seeping through to the fabric right side. The combination of resin and fabric can give a wide range of results--the end result could be much crisper after fusing than expected, or it may not make much difference at all, so test, test, test.
Keep your test samples and mark the fabric fiber content and the specific interfacing name. Keep the fused sample in the pattern envelope for reference on future projects with similar fabrics.
What should correct interfacing feel like? Begin to develop a tactile memory for how the finished product should feel. Examine all the clothing you can get your hands on, including your personal clothing, your family's and friends', and garments in retail stores.
To check the feel of a garment and its interfacing, isolate an area away from the seams. Each stitching row adds to the garment structure. Check an unstitched area to get the actual feel of the fabric. Hold it between the fingers of both hands; fold and roll it to discover the feel, first without the interfacing and then with the interfacing. Is it stiff, bulky, thin, soft, hard, flexible or drapey?
Next, look at where interfacing is found on a ready-to-wear garment. Is it in the same place or places that patterns most often recommend? Look on the inside of all your favorite garments. You may need to unleash your seam ripper to get a clear view of how professional results were accomplished and how they feel (make sure you resew the garment!). The tops of patch pockets, hem allowances, directly on lining fabric or along zippers are interfacing options that patterns seldom recommend; you may want to add interfacing to these and other places after you see how ready-to-wear achieves its finished look.
Expert opinions vary as to the value of preshrinking interfacing. Some believe it eliminates problems after the application, particularly in fusibles, while others follow the lead of ready-to-wear and believe it's not necessary.
If you choose to preshrink the interfacing, immerse it in a sink filled with warm to hot water for 30 minutes and then lay it flat to dry. Don't hang it, as it may stretch. Don't put fusibles in the dryer--the adhesive may be damaged and your dryer can become a sticky mess! Some experts believe this shrinking process diminishes the effectiveness of the adhesive.
If you choose not to preshrink fusibles prior to construction, place the precut interfacing over the garment area to be fused, then use the iron's burst of steam feature to "shrink" it prior to actually applying it.
Some experts dry-clean interfacing prior to use, particularly when it will be applied to a dry-clean-only garment.
How do you decide? Test, test, test...and see what produces the results you like for a particular interfacing type.
Interfacings are designed to play a supporting role in garment construction, not to be seen. So how do you stabilize a see-through garment?
If the garment is made of organdy, organza or other lightweight sheer, consider using a layer of the same fabric as an interfacing. The color deepens slightly in the interfaced area, but there's no ugly show-through from a more solid interfacing choice.
Another option is to use tulle in areas needing stability. Though it doesn't add much firmness, the tulle can add just enough body to a lightweight fabric.
Some experts choose not to interface sheers at all, but use a tear-away stabilizer in areas requiring buttonholes.
One fact agreed upon by all, don't use fusible on lightweight sheers--the adhesive resin can come through fabric surface, ruining your garment.
The best choice? Test, test, test!
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