When you cut your silk between paper the silk behaves just like the paper and is really easy to cut. It’s also much more stable and cost effective than cutting it with muslin, which I’ve seen around the blogs, and when you’re done with the paper you’ve cut you can just recycle it. I have also seen tutorials where people stabilize their silk by saturating it with starch or a similar substance and I’m pretty sure this is easier and definitely more stable, though to each their own of course. Now I know some people are going to be freaked out about cutting through the paper with your fabric shears but it's really not a big deal, I promise! It does dull your scissors faster than if you were just cutting fabric but I haven't found it to be super noticeable. I have two pairs of shears and between my own sewing, hound, and work I find that if I get them sharpened every 3 months or so I'm good to go. I'm pretty sure I cut more than the average sewing blogger (I probably cut 2-3 silk wedding dresses a week, most through paper, plus whatever I'm sewing in my studio) so you may not need to do it as often. Anyway, without further ado, here are the details. A person who tends a wool/cotton-combing machine called a Scribler - the first process in carding the yarn Watched and minded the 'Self Acting Mule' - the name of a multi thread spinning machine. The original Mule was hand operated and was invented by Samuel Crompton of Bolton in 1779. It was made self-acting by Richard Roberts in 1830. More Info. - also see Throstle Spinner and Spinner

When sewing shifty silk by machine, select a slightly shorter straight stitch length than you would for a stable cotton. 2mm instead of 2.5mm works well to start with. Before constructing your garment, stay-stitch the edges of your fabric just inside the seam allowance. You can do this at your machine, or even carefully by hand before you lift your garment up from the cutting table. If your fabric is particularly shifty (like a silk chiffon), you can even staystitch by hand before cutting out your pattern piece – but be careful in your alignment here! Zig Zag seams There’s a huge variety in silk fabrics so the best tension and stitch length will likely take a bit of trial and error. This hem finish isn’t suitable with a chiffon, georgette, or lightweight crepe. It’s perfect for crepe de chine, satin, charmeuse, and other silks that have a bit more weight. To stop fabric shifting as you sew, try hand basting the seams first, pin basting, or adding a single layer of tissue paper between the feed dogs and fabric.You can pin through the paper and silk at the edges of the pieces if you like or if you're using smaller pattern weights but if you're using regular weights that is pretty optional. Another tip I have for cutting in general (two for one day!) is to share cut lines between pieces when possible. This saves time, fabric, and wrist action, three things I love to save. Place another sheet of paper on top of the silk to complete the paper silk sandwich, then you'll start tracing your pieces out on top of that. You're going to need to cut all of your pieces flat (nothing on the fold) but that's really the way to go if you're concerned about fabric yield anyway and I am ALWAYS concerned with fabric yield. The more I can cram on a piece of fabric the better! Lastly, your machine may have a rolled hem foot which is useful for single-step hemming some types of silk fabrics – see below for more on this.

If your sewing machine has an all-in-one buttonhole attachment, I recommend placing a piece of tissue paper (or dissolvable stabilizer, if you have it) over the area to be stitched, as the fabric grips on these feet can sometimes crush delicate fabrics. With wash-in options, it’s always best to test on a swatch (and wash it out again once dry!) as some treatments may affect the “hand” of the fabric (“hand” is the word we use for the way a fabric feels to touch!) Mix the gelatine in a small amount of boiling water to help it dissolve evenly, and then add this mixture to a larger container with the rest of the warm water. I don’t suggest boiling the entire mixture, as this can adversely affect some fabrics. You should still be able to submerge your hand in the water. After the gelatine mixture has been added, soak your fabric for about 30 minutes, then remove the fabric, squeezing the excess out.

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In an unpublished manuscript in the National Art Library, unfinished at her death, the late Natalie Rothstein, formerly curator of textiles at the V&A, hints at a tantalising connection between the artist William Hogarth and the weavers of Spitalfields: One of his famous series of prints, Industry and Idleness, published in 1747, shows weavers at their looms. six years later he published An Analysis of Beauty, in which he proposed that the serpentine curve – as seen in nature and the human form – was the essence of visual perfection. Is it possible, Ms Rothstein suggests, that he could had been inspired by Anna Maria's designs?