Knit fabrics behave differently to wovens, only wovens have a true bias. I think they do, even though the nature of the fabric is different than a regular woven.

I run a few regular searches on google, to find any new blog or forum posts on the topic.

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I never found much information online or off about whether knits have a bias grain. Opinion varies widely on the topic of knit bias, so I knew I would need to experiment on my own to find an answer that satisfied me.

The jersey I chose to use is a relatively beefy cotton t-shirting with moderate stretch. For most woven patterns, you want at least an inch or two of wearing ease to allow you to move and laugh and jump around.

I did this because I wanted to play with stripes.

Why else? The front yoke is cut with horizontal stripes, and the stretch runs the direction it should in a typical knit pattern- that is, the stretch lies around the body.

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For the lower front piece, I turned the fabric on its side. Turns out, it works just fine- probably because I only did this on one section of the garment, not the entire shirt.

I did this because I have an undying love of back interest and chevron stripes. When I wear the shirt backwards for a plain v-neck front this works well!

I tried a similar back bias treatment when working up samples for another upcoming pattern. I make and wear samples extensively before working them into a full multi-sized pattern.

This time, the front is quite plain with the stretch running around the body as it would on a normal knit pattern.

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You can see that the back has indeed grown longer than the front, and as it stretches downward it gently pulls the side seam to the back.

This is quite clear when I lay the garment out flat, but when I put it on my body fills the shirt and the seams lie where they should. I took it to the next level with my samples of the Tiramisu dress.

When I first started playing with this concept, I had no idea if it would work in a knit.

The bodice for Tiramisu was also interesting. It does. However, I discovered that due to the way the stretch lies on the body nearly vertical and the weight of the skirt, the top bodice section tends to stretch.

Made of a heavy weight double layered jersey, works quite well. This means that for the underbust seam to lie under the bust, the pattern itself must be quite a bit shorter that the shoulder-to-underbust raw measurement.

However, comprehensive testing and understanding how the fabric will behave has shown me how to produce a consistent result. I hate having to think about my clothes after I put them on, especially having to worry about that particular issue.

The short binding works well for keeping the neckline in shape without using another kind of stabilizer. I eased it in, and the result is solid and light.

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What do you think? Have you ever experimented with knit bias? Do you know of a great blog post, article, or book on the subject? Also… I have some fun sewing for Stephen coming up… I made him some long-sleeved linen work shirts years ago, he gets compliments from the other ecologists whenever he wears them and has requested a few more!

Should be fun! She ran back, perched on her chair and set her last piece of equipment on the table.

She pretends the clapper is an actual iron. I wonder if she thinks everyone sews with a camera…. I changed the front neckline to a deep, steep V-neck.

I measured down from the CF neck to the same depth I used in the muslin. I marked it with a dot, and drew the new neckline and seam allowance.

Then I merged the two pieces by aligning them along the seamline. I traced the new front facing piece and smoothed off the interior corner where the two pieces join for a nice smooth line.

I took a few shots to show how to miter a trim or lace around the corner. This works best with lightweight trims. When you are very close to the corner, place a pin.

See the pin above the flower pin? Then carefully fold the trim diagonally so the trim is precisely opposite of the edge you want to trim.

The photo says more than words can. Hold down the folded corner with your finger, and then without rotating or twisting, lay the trim in the direction you want it to go.

Pin that folded corner carefully and move on.

I stitched the lace in place with two rows of straight stitching along each edge of the lace. This dickey is a completely superfluous piece of flim-flammery that serves no structural purpose for this dress except to please our whims for a Tux Dress.

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I traced the upper section of the CF dress piece. To create the wing collar, I traced a line on the CF piece to show where I wanted the wing collar- more or less.

I folded the tracing medium along the CF line, and then traced the shape of the little collar. I added a CF seamline and drew a few lines where I want tucks.

Sometimes I simply tuck the fabric before cutting, that works too. I was feeling chicken, so I tested it before cutting my fabric. I cut another dickey shape from the pleated polytrace.

I could see the width worked for my tucks. When I released the tucks, I had a perfectly calibrated pattern piece. I used it to cut the dickey piece.

Again, you can also just pre-pleat the fabric and skip making a funny pattern piece, or make a funny pattern piece. Just a little preview!

My camera is very irritating at the moment. Soon, soon, soon I will be asking you all for camera referrals.

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Frock Out is so soon- this Saturday! I remember when a dress of any sort felt like a big undertaking- eventually I learned to break the big job into smaller pieces.

Before I cut into the crisp black and white cotton sateen, I made a muslin.

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Usually, I draft from blocks I know work for me. This is the pattern right out of the envelope, no alterations.

The funny business on the side seam comes from me pinning it closed. Also, the dress is a lot narrower through the skirt than I expected, and longer than I wanted.

This is the back. I can either alter the back high hip area to create more room on the pattern or girdle up. Altering the pattern won out.

Close-up of the front seaming. I like it.

The V is only between the front flat fell seams, and when I layer the dickey on top I can create a deep, sexy placket. The dickey will detach if I want to wear a plainer dress, I could probably layer it underneath, too.

I also hiked up the hem a few inches. Shorter dickey- mocked up in tracing medium and pinned over the top of the dress. I can not decide about the dickey.

Side view is pretty ok. I thought I should mention I dyed my hair, in case you see it later in photos. Naturally, my hair is a red-brown color.

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I like to dye my hair because it makes my hair feel nice, and I like it darker than my natural color. Most of my coloring is cool, and the red in my hair muddies the waters a little.

This black is actually a kind of purple. I dream of long, beautifully maintained purple hair:.

I finished my Megan dress for the Mad Men Challenge- the second zipper stayed put! Then, characteristically, I over-complicated the pattern by drafting a separate midriff section.

The seam area began to look shabby so I left it alone, but my fingers are still itching to get in there and pull it apart just one more time.

This is what I should have done.

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Eventually, we settled for indoors shots, which we find much trickier than standing around in the yard. I felt more like I was on the set of Psycho than Mad Men.

I used a knee-length half-circle skirt, shorter than my usual skirt length but I like it. The fabric is a very lightweight but firmly woven cotton poplin with a whiff of lycra.