Embroidery on old sewing machines

Before you start

Make sure your test fabric has been backed with interfacing. You will get a much better result from doing this and even the 1911 book recommends a backing fabric.

Using your automatic patterns

I had a look at doing this a while ago on my 320K2 and it seemed to do a really nice job. Things I learned about embroidering on 1950s machines are:
1. Zig-zag is useful when creating a really thick line.
2. So is built-in patterns and pattern cams.
3. So is your machine's ability to do a really short stitch.
4. If you don't have a machine with cams, you really only need zig-zag. You can move the lever as it sews to make just about any pattern.

I have to say that my Pfaffs have been extraordinarily good at all of this, particularly at achieving a very small and accurate stitch length. The idea with all of this is to use the machine to do most of the work. Break the picture you want to make into patterns covered by your machine's cams then just go for it.

The Necchi Supernova is really unbelievably good at patterns, since it will go backwards to achieve the pattern you want. First time I saw the Necchi do this my jaw dropped. It was like an electronic machine, except totally mechanical and 60 years old. What a machine! I just have to fix mine and I'll be happier to experiment some more (transformer blew up).

Using free motion on a straight stitching machine

This needs to be explained first. Free motion refers to placing the work in an embroidery hoop, Removing your machine's presser foot so there isn't one there at all, and sewing slowly while moving the hoop to make the pattern in one hand while using the other hand to press down the fabric right next to the needle.
This technique is described in the Singer embroidery book of 1911 (no longer in copyright so go for it) and it specifically mentions models 66, 15 and 27. It's pretty much accepted that machines with drop in bobbins (the 66) are less satisfactory doing this due to the 90 degree turn the bobbin thread needs to make, leading to loose threads. I haven't experienced this at all and don't have a spare 66 to test, just quoting what I've read on various forums.
I tried this on a 319K (not a straight stitcher and a vertical bobbin machine) and the results were 'mixed'. Stitching in the normal direction worked beautifully, but when I attempted to go any other direction, the thread wouldn't catch. Here is the best I could do with the 319K (the word 'Mike'):

I had to turn the work so it was always sewing in the same direction.
Another problem I had was forgetting to put the presser bar lever down before sewing. The lack of a foot makes it easy to overlook, and if you do the bottom threads will be extremely loopy (because there's no tension at all on the top). Also on the 319, the feed dog was dropped.
The word 'Audrey' was done on my 1891 VS2 ('vibrating' bullet shuttle) and with this machine the feed dog doesn't drop so it needs to be covered (the feed dog interferes with the fabric movement). Any vintage buttonholer will have an appropriate plate, so screw this in place before starting.
I was surprised that the 1891 machine performed so much better than the 1950s vertical bobbin, but it definitely did, so I'll leave the green machine for automatic patterns and the VS2 for free motion work. The VS2 had no trouble at all with anything I tried and didn't skip a single stitch in any direction. I tested both of these machines by sewing a circle and the VS2 did it beautifully.

There are a lot of good instructions in the book, so if you like an older machine, this is for you. I'll be playing a lot more with it in the near future.

Dishonest eBayers

I sold my 29K58 a few weeks ago to a guy who sounded nice enough on the phone. He said it was for himself and he was short of money so could I let it go for $230 (was advertised for $250).
Of course I let it go. I like to help people out and at least he wasn't a lying dealer, right?
Yesterday I noticed a strangely familiar 29K58 on eBay

Yes that's definitely my machine. The decals I applied a few weeks ago, the fresh paint, the take up lever I accidentally broke in the car last year.
I really hate being lied to. Everything this guy said to me was a lie.

This says "

ANTIQUE SINGER 29K58 INDUSTRIAL LEATHER SADDLERY BOOT MAKER SEWING MACHINE

This has been a great feature in our home for many years. We have never used the machine.

It looks complete. May need a service to operate it.

Pre purchase inspections are very welcome. I am located in Hawthorn Victoria for collection.

Would make a great feature in any home.

**Please View My Other Singer Sewing Machine Auctions**"

It's not an antique, it's not complete, it doesn't work (that's how it was advertised), and it has never been in his home until he bought it as a broken machine a few weeks back. He knows the take up lever is broken and there is another part broken at the back. Unfortunately there is nothing I can do via eBay: Dishonesty isn't against their rules.

Now I know not to let a valuable machine like this go without repairing it and selling for at least 80% of the going rate. So thank you jamesvk3 for giving me a reality check. Your ridiculous level of dishonesty for your fellow man will ensure I'm more vigilant and no more bargain selling. Lying and ripping people off (I mean the buyer, not me) isn't on.

I assume that if some poor sucker buys it, he'll shrug and tell them he knows nothing about sewing machines (which he sells a lot of) and did offer pre purchase inspections. If you buy it, I'm willing to testify that he sold it under false pretences.
Justice would see it fall on him.

Bernina 730 Record and oscillating vs rotary hook

Bernina 730 Record

I won the 730 on the auction site last week and only bought it because it was cheap (they usually go for much more). When I got it home it was way better than I expected. It hadn't seen all that much use, particularly for a machine made 49 years ago. This is commonly described as identical to the 830 Record but with an all steel body. Not sure why they aren't worth as much as the 830 but I've had the latter and this machine felt better, smoother and generally nicer. Also heavier of course but that shouldn't bother me for another 20 years or so.
This machine came with an adaptor for short shank feet (so I could use Singer feet if necessary) but it came with nearly every standard and optional foot. I stole one from the 530-2 and it seems to now be complete. My friend described her Bernina (a 740 Favorit) as "just very pleasant to sew with".
The machine has the same 20 built-in stitches the 830 has. 
Oh, and she's a keeper: Just too nice a machine to part with.

It's a free arm. Table removed with simple lever.

Amazing condition and very shiny

Accessories swivel and don't have to be removed

What's with all this hook business?

The 740 has a full rotary hook (the hook keeps going around in the same direction) but the 30 somethings (530, 630, 730, 830) are all oscillating hook machines. I used to think the rotary hook must be better since it didn't have to keep stopping and changing direction, but that's not necessarily the case. Industrial machines nearly always have rotary hooks because going continuously in the same direction means they can go faster. However there are exceptions: The domestic 201 Singer has a full rotary hook while the 31-20 industrial (the tailor's machine) has an oscillating hook. Also, all model 15s are oscillating hook, and the 115 has a rotary hook. The 15 is widely considered to be a better machine than the 115, mostly due to the heavier components but the rotation of the hook seems to have no bearing on its abilities. The 115 was dropped about a hundred years ago, in case you were wondering. My conclusion is this: Rotary hook is fantastic for speed but tailoring and flexible domestic machines seem to favour oscillating hooks. The 201 is pretty hard to beat, but it only stitches in a straight line (and it does this perfectly).

Dressmaker dummy for collars and sleeves

I've been making a few shift dresses lately and noticed that one of the really hard things in dress making, putting in sleeves and collars.
It's lining everything up on a flat surface that's difficult, but with a dummy you can set the correct size for your dress and pop the sleeve, collar or facing on quite easily. All of the marks line up perfectly. Dressmaker's dummies are available new or from collectable shops, garage sales etc. This is Diana: She's fairly old and English. I had to lubricate all the dials (they were quite rusty and some seized).
The pattern is Simplicity 8775 (1970) "designer fashion".
The only thing I wasn't completely happy with was that I used an invisible zipper. They did exist in 1970 but weren't very common. The fabric is old too so it's a brand new old garment.
Sewn on my 320K2.
Here are some pictures:

Pinning the neck facing - easy!

And the sleeves - also easy!

Needs a press but isn't it lovely?

Arm facing. The white fabric is to prevent pins from catching.

And the back, with the invisible zipper.

Harrington in detail part 3

The last part for sure, because I've finished it now. Probably could have done it in one day if all things had gone smoothly, or maybe I'm just being stupid.

Before we start

Attach the lining to the self under both arms, joining the seam allowances (will not show). The other places we join the lining to the self are the cuffs, the bottom and the zipper.

Ribbing

This is the hardest thing to find these days. Not sure why but if you plan to make an English style bomber jacket, the ribbing for the cuffs and bottom must be a very close match to the self. It's not expensive, just not around a lot.
2 x cuff at 15cm h x 18cm w
1 x hem at 15cm h x 73cm w
The cuffs must be closed, i.e. stitch the ends so you have two 15cm high cylinders.
Now, put the cuff over the self so the rib looks like a sock. To make sure it is even, you will have to mark 1/4 way around each and match the marks. A basting thread (small stitches) will help it to stay there as you sew, or you can pin the quarters and stretch the cuff carefully as you sew. If you pull the fabric as it's being sewed you'll bend the needle so it will break onto the needle plate (so don't). Sewing stretchy things onto unstretchy things is something you work out after a few mistakes.
Now sew the other right side onto the lining. It's been a couple of days since I did this so I can't recall exactly how I did it, but I recall having to poke the ribbing inside what I was about to sew, so there was an exposed seam. This was the only way I could to make a really neat job. There was also a lot of pulling things inside out.
After you've done this, it will look like this:

Can you see where I pushed the ribbing in to be able to stitch?

After stitching, we pull the self from the lining and have them obviously joined by the cuff.

Looks like a mess, but...

 Now, pull them the right way.

Finished cuff

Now you need to join the self to the lining. Topstitch around where the cuff joins the self. If you didn't do this, the lining would be free to slip around and you'd end up with a varying size cuff.
Do the other side now.
The bottom rib needs to be joined to the small pieces of self we interfaced.

Might need a ball point needle

Now turn the garment inside out through the zipper space. You should see that we're running out of places to turn it inside out, and our aim is to sew the zipper in last of all.
Mark the rib and self into halves then quarters (ignoring the interfaced piece).
Stitch the end pieces (the interfaced pieces) one side to the self and the other side to the lining so the self and lining aren't joined (if you join the lining and self at this place you won't be able to insert the zipper). Now join the ribbing piece to both the lining and the self (all four layers together), matching up the quarters.

Always pin then baste before sewing.

Turn the garment the right way, and inspect your good work.

Beautiful!

Not quite done yet. You need to baste then top stitch down the join of the interfaced self and the ribbing.

The Zipper

Zippers aren't that hard. Just make sure the first half you sew on is on flat, then don't position the other half unless the zipper is closed. It's a real pain undoing a well sewn in zipper so make sure you're careful.
The logic of getting this one in is simple because it's reversible. Both the lining and the self must be folded and the zipper will sit on top. We can also use still being able to access the inside to make a very neat job. The lining and self are firstly folded and this is pressed into shape. Pin one half of the zipper into position on the folded part (the placket), making sure it's not too long (hard to correct for). Baste and remove the pins.

Never just pin a zipper, or it will end in tears

Once you've made sure you have only sewn it to the folded part, check it for straightness. Once you're happy with it, sew into position using a zipper foot. Don't try and reverse over the stitch with this foot on (it usually doesn't work), instead pulling both sides of the thread to the wrong side and tying them together.
Now it's in place on the self, bring the lining fold into position on the other side of the zipper. Pin and baste it, then top stitch neatly through all three layers.
Put the other half of the zipper on now and fasten it. Now you can position the other half on the other self fold. Pin it, baste it then test it. If you miss very slightly with the first half of the zipper you can make up for it by positioning the other half accordingly. Make sure it's in the right position. If not, re-pin and re-baste and try again. This is like pockets, in that it'll look bad if it isn't right.
Once you're happy with it, unzip and stitch it to the placket fold. Pin the lining in to hold it and try the jacket on. If the zipper is perfect, pin then baste the lining on, try it on again and when you're happy, top stitch through all layers again.

Cut that thread before anyone sees it

The two rows is sub optimal, visually

The mannequin likes it

Didn't complain about the back either

Reversed it looks a little unusual, but if your personality is unusual, a tartan jacket might tick all the boxes.

Even has an external pocket

This garment was sewn on my 1959 Singer 320K.

Harrington in detail part 2

I was determined to finish this today but can't find the ribbing (for sleeves and bottom of the jacket) and had to stop again. Anyway, took loads of pictures, so here we go with the self (which is now complete).

Wrong side piece of back facing

This had to be overlocked (or serged in the U.S.) then turned under. As I've mentioned before, the 1890s narrow hemmers found in puzzle boxes are brilliant for this. They will fit an overlocked edge and will turn only once. In the other pics, this piece looks like a bat wing and goes on the inside of the upper facing.

Phoaah! Look at her go. Lovely work

These were sewn together. Notice that I always pin, baste, sew.

Remember also that you need to remove the pins after basting and before sewing. There are several advantages to the basting. Here are a few:
1. Chances of sticking a pin into your skin are reduced about 95%
2. The fabrics both sit flatter against each other and are much less likely to move during sewing.
And a few hints about basting:
1. When basting a tricky bit (sewing anything that has ease, sleeves, etc.) or when matching a pattern, make your stitches smaller. The reason is obvious if you have ever tried sewing after just pinning alone!
2. Use a weak thread. I didn't in this case, because I didn't have any weak, brightly coloured thread. Weak threads are easier to remove if you have to break them. Very old cotton thread tends to be very weak. It's useless for sewing. This is why old garments tend to fall apart - sewn with cotton, which falls apart with age.
3. Use contrasting thread. Easier to see.
4. Don't baste exactly where you're going to sew, or you won't easily be able to remove the thread afterwards.

Same as previous photo, but sewn now

Sewed bat wing shaped facing piece from first two pics to the large facing piece

Back facing in place. Bat wing from first pics is underneath now

Press now and bar tack the two points at the bottom of the facing.

Sew shoulders together, press seams open

 When putting any top together, you need to sew the shoulders together at the start of assembly (that's what we're starting to do here). It's like cooking in that way (don't get me started on cooking, that's a whole 'nother blog) in that everything needs to be prepared before putting it together.

Sew the sleeve in

Sometimes you'll be sewing the sleeve together and then inserting it. In this case, we are doing a "drop shoulder" so we sew the sleeve and side together in one go.

Putting it around an imaginary arm helps to ease

Really important to baste the sleeve after pinning due to ease

After stitching, no pleats or puckering.

The sleeve and side will be matched RST and stitched in one go. Pin,

Baste

Looks like this

Turned the right way, it's taking shape

 The collar is next. It will be sewn RST, one to each side of the collar.

Prepare collar. Stitch down the side and across to the nick

Trimmed and turned, and with topstitching

The white part is the interfacing inside the collar

Looks like this after stitching. Must be precise here.

Collar must be stitched together, jacket is almost done.

Harrington in detail part 1

I haven't "digitised" the pattern but if you're in my situation: That is, you can't afford to buy a new jacket, have an old one, the time to make it and the skills required or the ability to find out. I also have an excellent library of old sewing books which I've referred to several times. I'm about half way through, insofar as putting actual area of fabric is concerned. There were a lot of problems because it's been a while since I last made a Harrington and couldn't remember how to make the pockets. Well, since I did all of this stuff in the past 48 hours, and will be making more of them, here's how I did it:

1. Practice pockets

Make these until you completely understand how it's done and you're certain they will all be perfect from now on.

2. Cutting

Do all of this before anything else. Both self (outside of your jacket, the drill), the lining and the interfacing.

3. Interfacing

Interface the collar, the pocket flaps, pocket welts and the wrong side of the fabric, where the pockets are going to be. If you don't know this, interfacing provides stiffness and strength. Pockets in bomber jackets cop a lot of punishment (my jackets do anyway).

4. Make the pockets

All of them. Start with the hard ones, being the self pockets, then do the lining pocket.

5. Sew the lining together

This is precisely where I'm at now. I stopped to explain to you, dear reader/s, how to do it, and my pattern maker didn't explain how to put the self together: The top of the back is quite different to any I've done so far so I have to wait until I see her again before proceeding.

OK, the pockets. I won't be scanning the picture from the Vogue sewing book because it's possibly still copyrighted in the U.S. (the book is 44 years old) so I have my photos.

Flap and welt pinned and being basted into place

pocket flaps go on next

Here is how to construct the pocket (on the right side of the self):
Bottom - the front left or right (I'll assume you want one on each side).
On top of the bottom - At the top is the finished flap. At the bottom is the welt. Now, the welt fold must be exactly 17mm outside the white box (the white box is solid line. That broken line is basting thread. The longer side of the white box is exactly the same as the flap. The welt should be longer than the shorter side, as the excess will be pushed inside after all this is over. I pinned both of these bits  in place so they wouldn't move when I put the pockets on top.
Put the pockets on top. The top part has some self joined to the lining (which I'm using as pocketing) because this will be visible when the pocket is opened.  Pin this in place too. The bottom pocket part goes on first and reaches about halfway inside the white box. The top pocket part sits on top and covers the whole box. Here's a close up of this:

Everything basted into place. Pins removed before stitching

Now the outline is carefully drawn and stitched. You stitch only the two long lines, not the shorter slanted lines the join them. You should end up with this on the other side:

interfaced wrong side of self fabric

Now, cut through the self and interfacing only. Be really careful or you'll cut through the pocket flap as well (go on, ask me how I know this). Stop short of the end and cut diagonally almost to where your stitching ends (about three threads short is perfect, I've been told):

Arrows point to the little triangles you need to make

Now turn the piece over and push the pockets only through the hole you just made. It should be reasonably obvious how this will work but it should also look so neat you'll be excited. Pulling the little triangles ought to make it even neater on the other side and when you do this, you should see that if the triangle were stitched to the welt (now on the wrong side with the triangle) it would be lovely.

then turn it over

Stitch both triangles to both sides of the welt and you should be patting yourself on the back.

Front of jacket. Welt is perfectly joined.

After doing this twice, you need to do it for the simpler inside pocket. The two outside pockets are easily the most difficult part of the whole jacket, so it's all downhill from this point.

Sewing the lining together

This is quite basic. Stay stitch the shoulders and neck then pin, baste and stitch the front and back at the shoulders. Press seams open (they don't have to be finished).

Remove the pins before stitching

Pin the sleeve in place then baste it and stitch.
Pin then baste and stitch the sleeve together with the side of the jacket in one go.

If you're asking why I always baste it's because with just pins holding the two sides together the fabrics move when the machine gets close to the pins. When it's a pattern like this, it is very noticeable.

Tacky 1960s suit?

And here she is: All ready to go with the self.