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Transcript:

Helen: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Caroline: Hello and welcome to Love to Sew. I’m Caroline, the owner of Blackbird Fabrics and BF Patterns.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew and it’s all we ever talk about.

Helen: In this episode, we take a deep dive into two fabrics: corduroy and velvet. Both of these fabrics have a fluffy, fuzzy pile, but they’re not exactly the same. We chat about their history, how they’re made, and how to sew with them. Plus we share pattern recommendations and answer your corduroy and velvet questions.

Caroline: If you love to sew, this is your show. Hi, Helen!

Helen: Hi, Caroline. How are you? Oh, she’s drinking tea.

Caroline: I’m good. I know, I just, it was actually coffee, but probably not the best time to take a big gulp.

Helen: Oh, you need your fuel. I understand.

Caroline: I need my fuel. Yeah, we’re recording a lot these days. How’s it going? How’s your morning going?

Helen: It’s going great. Yeah. Good morning so far. I think this episode is very aptly timed because I have fall and winter sewing on the brain. So I’m definitely thinking about these kinds of fabrics for cozy fall weather and also holiday sewing. Is it too soon? I don’t think so.

Caroline: By the time this episode comes out, I will be super on board.

Helen: Currently still clinging to the last rays of summer. I understand.

Caroline: Yes. exactly, exactly. But I do have some, like, corduroy velvety dreams for winter, so we’ll see what happens.

Helen: Ooh. Okay. Well, maybe we’ll chat about that in this episode. That would be fun. I want to hear your dreams.

Caroline: Yes, I will tell you, I’ll tell you all about them. But before we get into the show, we wanted to mention to everybody the best way to support Love to Sew and that is by joining us over on Patreon or Apple Podcast subscriptions. If you do that, you’re going to get access to bonus content every month. And we have so much fun catching up with you all on those more casual bonus episodes. We’re actually recording one this afternoon and I can’t wait to tell you all about my month and what I’ve been sewing and what I’ve been cooking.

Helen: Right. What I’ve been watching on TV. We have to talk about it. And I’m really, really excited.

Caroline: OMG. Juicy reality TV catch-up.

Helen: Honestly, it means so much to us if you’re able to support us, even if it’s just for a short period of time. And if that’s not where you’re at right now, we totally get it. Thank you so much for listening and cheering us on and checking out our fall season of Love to Sew.

Caroline: Yeah. We love you guys. Okay. Normally we cover a listener question right now, but we’re actually going to skip that section because, in today’s episode, we have some listener questions at the end that are all specifically about corduroy and velvet. So I think we should just get right into it.

Helen: Yes. So, today we’re taking a deep dive into two fabric types: corduroy and velvet. And we decided to group these two fabrics together for this episode because they both have a distinctive nap, also known as a pile. A nap or a pile is a raised surface on top of the fabric. In corduroy and velvet, the naps are made from cut threads that form a really soft, fuzzy surface. We’re all familiar with the beautiful fuzzy surface of corduroy and velvet.

Caroline: Yeah, I think of both of these fabrics as, like, fall/winter fabrics. I just don’t really want, like, a nap in the summer, you know? I mean, I want a nap in the summer, but I don’t want a nap on my fabric in the summer.

Helen: The only nap I want in the summer is in a hammock.

Caroline: Yeah. But, specifically, corduroy has rounded ribs that run down the length of the fabric. They kind of end up looking like stripes and they can be in varying widths. And velvet has more of an even, soft pile throughout the fabric, but they both have that pile. And there is a lot of crossover in sewing advice for both of these fabrics, but they’re not exactly the same. So we’re going to talk about how they’re made, their characteristics, what you can sew with them, and then we’re going to share a bunch of sewing tips and answer your listener questions about these awesome fabrics. So I think we should start off with corduroy.

Helen: So, corduroy actually has its origins in fustian, which is a fabric that was made in an ancient Egyptian city of al-Fustat. And it was a hard-wearing fabric with a pile, but it didn’t have any ribs like today’s corduroy that we know and love. Corduroy that we know now was probably created sometime in the mid-18th century, though the history is a little bit hazier on this point.

Caroline: Yes, and fun fact: there is a popular belief that the word “corduroy” came from an anglicization of the French phrase “corde du roi,” which means “king’s cord.” However, the British Philological Society debunked that one. It kind of makes you wonder if it was just made up to sell the fabric, because “king’s cord” sounds really appealing to me. I want to wear king’s cord.

Helen: It does, and it has, like, a regal energy, so I can see it.

Caroline: Regal energy. Yes, I love it.

Helen: For a long time, corduroy was associated with workwear and outdoors pursuits. It was tough and warm, so it was good for things like farming, hiking, and hunting.

Caroline: And the 1970s were when corduroy had its fashion peak. Corduroy bell bottoms, A-line skirts, and even full corduroy suits were popular. The textural interest and cozy vibes totally fit that era’s style perfectly.

Helen: And corduroy has never fully gone out of fashion since then. I feel like every era has its own version of cool corduroy. It’s just too good to let go.

Caroline: It really, really is. I love corduroy. We want to talk a little bit about the fabric itself. So, corduroy has a base fabric in either a plain weave or twill weave. And the pile is made from extra weft yarns that are floated over several warp yarns and then woven under one and then floated again over and over. And the floats are later cut, brushed, and singed to create rounded ribs or wales.

Helen: Ooh, it’s quite a process. A lot of work going into this corduroy fabric.

Caroline: Yeah.

Helen: Corduroy can be wide-wale, and that wale is spelled “W-A-L-E.” So it can be wide-wale, medium-wale, pinwale, or even no-wale, meaning it has no ribs at all. In fashion listings you might see a wale number, and that’s the number of wales per inch. So, kind of the number of stripes per inch. So a 20-wale corduroy would be super fine. There’s so many lines in that inch. Whereas a 3-wale corduroy would be really chunky.

Caroline: Yeah, and corduroys can vary in weight from medium to heavy. The lightest corduroys work well for button-up shirts or kids’ clothes. Oh my gosh, I want to make my niece, like, a pair of overalls or something.

Helen: Yeah. So cute.

Caroline: Sorry, sidetracked there. In the middle of the corduroy spectrum, you find fabrics that work for pants, skirts, or lightweight jackets, and the heaviest corduroys are usually best for structured clothing like workwear-style pants or outerwear.

Helen: Corduroy has a lot of body and not a lot of drape. And that’s why it’s best suited for garments with more structure. You’re not seeing a ton of, like, corduroy dresses for a reason, you know?

Caroline: Yeah. And you can find both stretch and non-stretch corduroys. Usually stretch cord won’t have more than about 30% stretch. And, ideally, you should pair stretch corduroy with a pattern designed for stretch. If you’re using stretch corduroy for a non-stretch pattern, you’re going to want to size down.

Helen: Most corduroys out there are made from cotton, but sometimes they’re blended with synthetics, and less commonly they’re made entirely from polyester. Stretch corduroys will have some percentage of spandex or elastane in them.

Caroline: Yes. Okay. We have some pattern inspo for you all. One of the first things I think of when I hear “corduroy” is a jacket. One of the samples of the Thayer Jacket by Grainline Studio is that classic workwear jacket with corduroy on the outside and teddy fleece on the inside of the collar, but it’s actually pink corduroy and grey fleece, so it feels kind of unexpected. Although I do love a classic combo of tan cord and off-white fleece.

Helen: Ooh, yes. I actually made a jacket using some corduroy, but just in small amounts. I made an Ilford Jacket from Friday Pattern Co., and it’s a scrap-busted piece. So it’s a bunch of different fabrics put together. And I used some wide-wale pink corduroy to make patch pockets and elbow patches. And it added a lot of interest because of the texture and the stripey-ness of it. And so I really liked that application. You don’t necessarily need to make an entire garment out of corduroy. You can just throw a few patches on.

Caroline: Ooh, I agree. I think that does really add a really nice visual interest. Pants are another classic choice for corduroy. I really want to make a pair of corduroy Taylor Trousers. This is one of my dreams, Helen. My corduroy dreams.

Helen: Very fun. That would be great.

Caroline: Yeah. I feel like it would be a really, like, grandpa-coded, like a pleated corduroy Taylor Trouser.

Helen: 100%. Great for winter, because how warm and cozy will they be?

Caroline: How warm and cozy, yes. But with pants, the main thing is to make sure that the weight of your fabric is in the right range for your pattern. So for fitted pants you can go for medium to heavy weight cords. And if there’s an elastic waist or an elastic back waist, I would choose a lighter weight corduroy.

Helen: And jeans patterns can work well in corduroy, too. We made a pair of Brooks Jeans in a 9 oz green corduroy from Blackbird. The colour name was “pickle” and they turned out so cute. We’ll put a pic up there in the show notes, but I do want to mention that the crotch on this pair of pants got worn out quite quickly. And I think that’s in part because if you have any rubbing between the thighs, which, you know, most of us do, it tends to rub away the wales and the nap of the corduroy. And so it actually got kind of worn down. So I ended up refashioning these into a skirt because of that. So we’re going to talk a little bit more about pants later. ‘Cause I know one of our listeners has a question about this exact problem.

Caroline: Yeah, we should also link up a picture of your refashioned version of these jeans. But it makes sense, I guess, because, like, even for me, denim gets worn out really quickly in between where my thighs are rubbing. And a corduroy with a pile…I could totally see that happening way faster. Anyways, we’ll, we’ll talk about it later. I’m already getting carried away.

Helen: I think the Taylor Trousers might be almost a better fit because they’re not as tight. I’m not sure.

Caroline: They’re not as, like, up in the crotch, right.

Helen: Yeah, exactly. But I mean, it would be a good experiment for you to give it a try and see.

Caroline: Totally. You can also make a great 70s vibe with a pair of corduroy bell bottoms or flares. The Jude Flares pattern by Closet Core has options for wider flares or narrower bootcuts. And this one would be so cute If you cut the patch pockets on the crossgrain for some interest.

Helen: Overalls and pinafores are another really great option for corduroy. The Dani Pinafore by Seamwork has a deep V and a short skirt, and this would be really cute worn over a turtleneck or tee, paired with some leggings, some boots. An ideal fall outfit. I have previously made a snap front version of our York Pinafore pattern in a really beautiful, like, saddle brown corduroy. And this always feels so perfect for fall. I love busting it out this time of year because it just feels absolutely ideal for this weather.

Caroline: Yes, and the Riley Overalls by True Bias are also, like, a really great classic style of an overall that would work really well for corduroy. Also, one of the samples that you made, Helen, for the Ruby Overalls was made in, like, a lightweight lavender cord. That was such a fun statement piece. Do you still have that one?

Helen: Well, that was modeled by my mother in law, Laurie, and she kept that sample and she does wear it. And she says every time she wears it she gets compliments from people, especially women around her age, saying how much they love it. And sometimes saying things like, “Oh, you’re so brave to wear overalls” or “wear that colour,” which always kind of cracks me up. But I mean, it is hard sometimes to put yourself out there and wear something so bold. So it’s nice that she’s getting compliments, and she does love them. They’re so much fun.

Caroline: Oh, they so are. For skirts, corduroy works best on patterns without gathers. So many corduroys are just too thick for gathering, and the lighter corduroys have so much body that they might just stick out and bunch up weirdly. So A-line skirts like the Barkly by In the Folds would work better for corduroy. The body of the fabric holds the skirt’s shape nicely. Yes.

Helen: Denim skirts are another style that works really well. The Ellis Skirt by Cashmerette is a nice option. I think like the miniskirt view in corduroy, again, with tights and a turtleneck or just, like, a tighter-fitting knit top is a really great outfit.

Caroline: Yeah, I like the idea of doing a wrap skirt in like a lighter weight corduroy, too. I feel like that would be really cute for fall.

Helen: Ooh, that would be cute. Wait, what’s the wrap skirt pattern that you really like using? Is it the Peppermint one?

Caroline: The Peppermint Wrap Skirt, yeah.

Helen: Right. Yeah, that’s a good one.

Caroline: The lightest corduroys would look nice as button-ups. Corduroy has the body that you need for a crisp shirt. I would just avoid princess seams if you can help it. It’s going to look neater with side darts only. I think the unisex shirt by Modern Sewing Co. or the Vernon Shirt by Cashmerette would work well. Have you made any corduroy Cameron Button Ups, Helen?

Helen: No, I haven’t, but I would like to. I’m looking for, like, a really nice lightweight cord. So, just to put a little, like, bug in your ear, Caroline, if you want to stock that later this season.

Caroline: Okay, noted.

Helen: I, yeah, I think it would be great. I really liked the idea of a lightweight corduroy. Feels like a nice closet staple. Medium-wale corduroys do make great shackets, though. If you want to kind of bump up a shirt pattern into shacket status, the Shoalhaven by Muna and Broad is a really great shacket pattern. I think that would look good made up in corduroy. And we have a jacket pattern coming out soon, it might even be out by the time this episode comes out, that would work really well in cord, and I will be sewing up a sample of that in a corduroy. So I’m excited.

Caroline: Ooh, I’m so excited to see that! I also think a corduroy blazer in, like, a gorgeous rich colour would be the perfect statement piece. A nice way to make this fabric a little bit dressier. The Assembly Line has a pattern for a modern oversized single-breasted blazer that I think would look really great in a jewel tone, like a deep green or purple. I’ve seen some amazing corduroy Bestie Bags out there, so I feel like that’s also a great option. If you don’t want to make a garment, you can make a little bag. And I wanted to give an honourable mention to another dream of mine, of making a corduroy peacoat.

Helen: Oh, yes.

Caroline: Because, like, a 90s vibe, like, brown corduroy peacoat…I don’t know why I want that, but I really want it.

Helen: That would be really nice. Would you do like a Bemberg lining or would you do like a nice exposed seam finish? What are you thinking?

Caroline: Um, I don’t know. I’d probably do, like, a more fun lining. Like maybe I’d go full retro and find some kind of, like, a funky printed satin or something and put that on the inside.

Helen: Oh yeah, if you’re going brown on the outside, like doing a really rich orangey brick red or like avocado green kind of situation…

Caroline: Yes. Like a psychedelic kind of situation or something.

Helen: That’d be so good.

Caroline: Dreams.

Helen: Dreams. I don’t know if I have any corduroy dreams. I do think a mini skirt would be so cute. I’m feeling inspired by that idea. I don’t wear a ton of skirts in my work-from-home life, but I’ve always loved that look of, like, skirts and tights and boots. Just so cute.

Caroline: What about a pinafore? I feel like another corduroy pinafore would be right up your alley.

Helen: I know. How many corduroy pinafores do I need, Caroline?

Caroline: How many do you have right now?

Helen: I only have the one, so that’s true. I think there’s, there’s room for another one.

Caroline: There might be room for another one.

Helen: I’ll put it on the list. I’ll put it on the list. Okay. We’re going to switch gears slightly and move on to our second fabric, which is velvet. Piled fabrics have a super long history going back as far as 2000 years BCE in ancient Egypt. However, historians believe that the earliest mentions of what we now call velvet came from Damascus, Syria in the early 8th century CE. Later on, in the 14th century, Italy became a center of velvet production, exporting it all over Europe. And in the 15th century, the French and Spanish courts encouraged Italian velvet weavers to settle in their countries. And this increased the production of French and Spanish velvet. But it never reached the status of Italian velvet. Italian weavers imported silk from what is now Syria and Iran and exported velvets made with that silk. And the next big development was the first industrial revolution in the 18th century, which changed velvets from ultra-luxury textiles to be more accessible. And today, velvet is not just for royalty and lofty church officials. It’s truly for everybody. We can even wear velvet sweatsuits, velvet undergarments if we want to. I mean, velvet is everywhere and it is one of those fabrics like corduroy that I think is here to stay. It’s so fun to mix it into your wardrobe and have just a playful, playful time with it.

Caroline: Absolutely. Woven velvets have a ground fabric of tabby, twill, or satin weave. Short loops are worked into a set of predetermined warp or weft threads, for example, every 6th thread, and then after weaving, the loops are cut to create the pile.

Helen: Yeah, so it’s kind of a similar process to the corduroy. It’s so crazy that, like, every little fuzz on that velvet is a loop that’s then been woven in and cut. It’s like we’re talking almost, like, microscopic here.

Caroline: I know. It’s quite the process, Warp pile velvets are for long filaments like silk or polyester, and weft pile velvets are reserved for short staple fibers like cotton. Velveteen is a weft pile velvet, and corduroy is also technically a weft pile velvet. Wait, corduroy is velvet?

Helen: What? Mind blown.

Caroline: Inception!

Helen: No, that makes a lot of sense. Velvets that have a knit ground, like for things like those sweatsuits and underwear we were talking about, those are known as velours. And most stretch velvets that you can buy are knit velvets. Of course. So we’re talking, we’re talking velour.

Caroline: Love a stretch velvet, especially for the holidays.

Helen: Yeah.

Caroline: There are a pretty wide variety of velvets. It’s a bigger category than corduroys, for sure. Depending on their ground fabric and pile, velvets can range from structured to super drapey. Most velvets will be in the medium weight category and velveteens may verge on heavyweight.

Helen: And the fiber content of your velvet will play a major role in how it looks and feels. Silk velvet has a really beautiful sheen and more of a fluid drape. Woven polyester velvet is made to look like silk velvet, and it usually drapes quite similarly. Velveteen is made from cotton, and it’s a lot like corduroy, but without the wales, so it doesn’t have that same fluid drape.

Caroline: Yeah. Knit velvet or stretch velvet is usually made of synthetics like polyester and nylon. They may also contain some spandex for extra stretch and to help with recovery. And they’re usually medium weight with a really nice fluid drape. Sometimes the pile has different fiber content than the ground fabric. For example, many silk velvets actually have a rayon ground. So, a lot of silk velvets are like 30% silk, 70% rayon. They’re not all silk.

Helen: Oh. And that’s because the base fabric, like basically what you’re seeing on the back side, is rayon, and then all the little piles are the silk.

Caroline: Yes.

Helen: That makes a lot of sense. There’s also a lot of different styles of velvet, for example, burnout or, oh Caroline, you’ve got to help me with this word: devoré.

Caroline: Devoré.

Helen: Devoré. Burnout or devoré velvet has areas that have been cleared of the pile. So, exactly as it sounds, they’ve been kind of burned away and it makes a pattern on the fabric. So on some velvets, the cleared areas are sheer. I know at Blackbird in the past, you guys have had some really beautiful burnout velvets around the holidays, like checkerboard patterns or floral patterns. And I just love it. It’s so pretty.

Caroline: Those are super fun, yeah. I also love crushed velvet. This one has been mechanically flattened in certain areas to make an abstract design. And when it’s on a knit ground, it’s also called panné velvet.

Helen: Ooh, I do like a knit crushed velvet. So fun. Printed velvet has, you guessed it, a print on it. I feel like these you don’t see as often, but they can be really special and beautiful. So if you see a nice one, snap it up.

Caroline: Yeah. And then embossed or stamped velvet has a design pressed into it which flattens some areas of the pile. There’s so many types of velvet.

Helen: Speaking of printed velvet, I made, ages ago, I’ll have to dig it out of the blog archives, but a Seamwork pattern, I think I refashioned it from, like, a thrifted skirt or something. But it’s a printed velvet with a black base and this gorgeous floral pattern and it is still one of my favourite fabrics. The dress doesn’t fit me anymore, but it’s in my refashion pile because I want to turn it into a top or something. Like, it’s just so gorgeous. I can’t let it go.

Caroline: I can’t wait to see it. That sounds really, really beautiful. Yeah, one of my favourite velvet garments I’ve ever had, which I wish I kept, was this, like, Gap velveteen blazer that I had, like, in the early aughts. It was, like, cropped and it had like a little bit of a puff on the top of the sleeve. I’m going to find a picture of it because I wore it to Italy when I went on this Italy trip when I was like 16 with my mom.

Helen: Oh, that’s so cute.

Caroline: Oh my gosh. But it was like a rusty brown colour, like a really, really rich, rich colour. And I remember buying it and thinking it was like the most beautiful garment I’ve ever owned and I wore the crap out of it for years and years and years. I loved it so much. Oh my gosh.

Helen: Maybe it disintegrated. Maybe that’s why you don’t have it.

Caroline: No, I think it just, like, stopped…it didn’t fit me anymore and I had to let it go at one point, but I, oh gosh, I just, I, I should try to recreate it. I love it so much.

Helen: Oh, that would be a really fun project.

Caroline: It’s such a good jacket. Yeah. Alright. Thinking about projects, let’s get into some pattern recommendations. I think simple is best when you’re choosing a pattern for your velvet fabric, because details like fashion seams and top stitching are likely to get lost in the pile, while pieces like collars and cuffs can be difficult to manage with fabric that you’re really not supposed to press. I would say the exception to this rule is velveteen, which you can treat more like a corduroy, So if you want to work with velveteen, go back and look at our corduroy pattern recommendations. But from here on we’re going to be talking about those, like, drapier velvets.

Helen: Yeah. And dresses and tops are really perfect for drapey velvets. There’s nothing like swathing yourself in a luxurious textural drapey fabric. It feels so good on the skin. And then also it feels so good to the touch, which is really fun. For wovens, the Ultimate Shift Dress by Sew Over It would be a great choice. It has a simple shape, a short length, and lots of sleeve options. So that’s a good one.

Caroline: For stretch velvet, the Nikko Top and Dress by True Bias would be such a cool 90s vibe. It has a mock neck and your choice of long sleeves or no sleeves. And you can make the top view, which ends at the hips, or the dress view, which ends at the ankles and has slits on both sides.

Helen: A cowl neck looks really great in velvet. The Cowl Neck Dress by Sew Over It is designed for stretch fabrics and it comes with a top version too, so that would be a fun one for stretch velvet.

Caroline: Yeah, velvet just looks so luxe in a cowl neck, the way that the light hits it and the way that it drapes. I just love the way that looks. Simpler jumpsuits can look just as good in velvet as dresses. Heather Lou from Closet Core made an Amy Jumpsuit from black silk velvet, and it’s an absolute stunner. It has a v neck, no sleeves, and those beautiful wide legs. I will say, the Amy Jumpsuit pattern isn’t super size inclusive, but I think the Norman Jumpsuit by Style Arc would be a really good alternative. It looks really similar.

Helen: Yeah, these styles work really well for this because of that drape. I mean, imagine you’re going to a holiday party and you’re wearing this super comfy no-cinch-at-the-waist jumpsuit. You’re gonna just, it’s gonna be the best. So comfortable.

Caroline: Yeah. absolutely.

Helen: Another great option is to make a velvet duster or kind of cover-up piece. This looks amazing over a simple shift dress or top and pants. I think the Moss Jacket would look really beautiful in velvet. I remember all those burnout velvet dusters in the early aughties and I wonder if those will ever come back into fashion. Maybe they already are.

Caroline: I bet they will. Speaking of the early aughties, I heard that velour sweatsuits are coming back. As Helen said earlier, we can wear velour sweatsuits if we want to.

Helen: You can’t stop us.

Caroline: Yeah. I think the Sloan and Silas Sweats by Made for Mermaids would be a fabulous option for the pants and the Arlo Track Jacket by Friday Pattern Co. could work really well for the jacket. Would it not be amazing, Helen, to see a set with like, “ME-MADE” embroidered across the butt instead of, what was it back in the day? “JUICY,” or?

Helen: “JUICY,” yeah. I mean, I had a sweater that said “CUTE” on the front with, like, the zipper going in between the “T” and the…yeah. Oh, all of the things written all over your body.

Caroline: Yes.

Helen: For pants, you want to think drapey. I think elastic waist pants would be really fun in velvet, especially for the holidays. If you want something a little more fitted at the waist, maybe the Winslow culottes could be a good choice because they’re really wide, pleated, and they have a center back zip. It’s an invisible zipper, which can be a little tricky with velvet because sometimes the pile can get stuck between the teeth of the zipper. So one thing you can do is just test your invisible zipper with the fabric that you’re going to be using it with and see how that functions before you go ahead and make the project. You can always sub out maybe a centered zipper or do the elastic back hack or something like that to make that work. We don’t recommend doing pants that have, like, a full-on fly closure and a lot of pocket detailing because, again, all of those details just tend to get lost in the pile. And working with these fabrics can be a little bit tricky and we’re going to get into some sewing tips about that here shortly. So you just want to avoid a lot of details so that you’re saving yourself the headache.

Caroline: Yeah, for sure. Okay, finally, for skirts for velvet, it’s best to substitute pleats for gathers because the gathers are going to be too bulky. So the Three Pleat Skirt by The Assembly Line is going to save you time since it’s already designed for pleats. That would be beautiful.

Helen: Alright, as I mentioned, we’re going to get into some sewing tips for corduroy and velvet. Most of the tips are the same for both of these fabrics because they have so many similar characteristics. So it makes sense to do them together. We mentioned that nap at the top of the show. So you always want to use a nap cutting layout. If you’re making your own layout, make sure all the pattern pieces are facing the same direction. This means that the top of the pattern pieces will be facing the top of the fabric and the bottom of the fabric pieces will be facing the bottom of the fabric. You’re going to determine where the top and the bottom are, but essentially you don’t want the front of your garment with the nap running down and then the back of your garment with the nap running up, ‘cause in light, it’s going to look very different.

Caroline: Yes, definitely. I think a lot of us have been there, finished a whole project, and then ended up with those pieces looking different.

Helen: Yeah, exactly. Like, “Dang it!”

Caroline: So before you lay your pattern pieces out, you’re going to want to choose a nap direction. If you run your hand down corduroy or velvet, one direction will feel smooth and the other direction is going to feel like little ridges as the nap resists. And if you have the nap going down your body, meaning that running your hand from the top to the bottom of the garment feels smooth, it’s going to end up having a lighter colour and more of a sheen. If you have the nap going up your body, meaning that running your hand from the top to bottom of the garment feels rough, the fabric is going to have a richer colour. So before you decide on which direction you prefer, hang it up, look at both directions in different lighting, mark the top of the fabric in the direction you like, and stick to it as you lay your pattern pieces out and cut them. And if you end up cutting your pieces with different nap directions, the left leg of your pants could have a slightly different colour than the right one, like I mentioned, so we don’t want that.

Helen: And many ready-to-wear corduroy and velvet garments are cut with the nap going down the body. This is because it reportedly wears slightly better and mats less. I don’t think I believe this would make a huge difference in the long run, especially since these kind of garments aren’t necessarily the things you’re going to be wearing every day, you know? More of a special occasion thing, especially with velvet. So not enough, you know, that it would affect how I would cut my own clothes. I really like the nap going down the body because it just feels correct. Like, when I kind of rub my hands down my own body, as you do when you’re feeling sexy…

Caroline: Yeah.

Helen: It feels correct, you know?

Caroline: Yeah, I agree. It does almost feel wrong when the nap is going upwards. I think it might bother some people less than others. Maybe if you have sensory issues, you might feel the need to have it going down because it’ll just, like, feel better against your skin and your hands and your arms or whatever when you’re touching the garment. But I think it’s a personal preference. And I do see the appeal of having it running up and seeing that richer colour. And like, you might not believe that it’s, like, that noticeable, but it really is. When I’m picking out corduroys with Laura for Blackbird, we have to make sure that we’re sitting on the same side of the table because if we’re sitting across from each other, we see the colours completely differently and we’ll pick a palette and then like turn around the samples and be like, wait, they look totally different from the other direction. Like, it’s quite a significant difference in colour depending on which direction you’re looking at. So definitely take a look at your fabric and see which one you like, weigh the pros and cons, and then you can make your decision.

Helen: Yeah. Okay, with all of this nap talk being said, with corduroy, you can cut smaller pieces like patch pockets, collars, yokes, cuffs on the cross-grain or the bias for visual interest, the same way that you would do with a striped fabric. Just do keep in mind that there is still that nap, so maybe just test it out and make sure it’s something you want to do before you proceed.

Caroline: Yeah. And then we have a cutting tip: you want to cut in a single layer. Velvet and corduroy are notorious for shifting. Plus this is going to save you some fabric because it’s easier to do pattern tetris in a single layer. Just remember to flip your pieces over if you’re doing two sides of a garment because there is a right and wrong side to velvet and corduroy. And then make sure that you’re having the pile facing up so that it doesn’t shift against your surface when you’re cutting.

Helen: Yeah, that’s good advice. I feel like corduroy, especially, it is like a stripe fabric, basically. And so it’s so beneficial to cut it flat because you want your straight cuts to follow the line of that stripe. Otherwise it’s going to end up looking kind of wonky. And another thing to keep in mind is that a nap cutting layout usually requires a bit more fabric than a non-nap layout. ‘Cause you’re not as able to tetris the pieces together. So you might want to buy a little extra yardage.

Caroline: Yeah, and if you need to interface, you want to choose a sew-in interfacing. If your fabric is sturdy enough, you might be able to skip the interfacing altogether, but if it’s not, use the sew-in or do things like cut the under collar from a different fabric and use fusible interfacing on that instead.

Helen: Pressing is another tricky one with these fabrics. You don’t really want an iron to touch that beautiful pile because it can permanently crush it or damage it. Finger pressing or seam rolling can work pretty well on some of these fabrics. You can also use steam and either hold the iron over the fabric without pressing down or finger press along the fold while the fabric is still hot. Another option is to press on top of a fluffy surface, like a towel, a piece of thick upholstery velvet, or a velvet board. A velvet board has a bunch of close-together little needles sticking up from it. It looks like a bed of nails, you know, that, like, a magician would lie on or something.

Caroline: Yeah.

Helen: And if you press with the pile facing the needles, then it protects the pile. So if you’re planning to sew a bunch of corduroy and velvet, or you just really like picking up new sewing tools, a velvet board is a really fun one to get.

Caroline: Mmhmm. You also want to try to stitch in the direction of the pile as much as you can so that you do not disturb too much of that pile. You might also want to reduce your presser foot pressure if it looks like it’s going to make permanent marks on your fabric. So I guess the moral of the story is do a lot of testing with some scraps of fabric to make sure that you’ve got all your techniques down before you start sewing.

Helen: Yeah, exactly. Test the iron, test the machine, test the foot pressure, test the tension, the stitch length, all of these things are going to make a difference. And once you’ve figured that all out, then you can just proceed with your project. Velvet and Corduroy have creeping problems. They’re really creepy. They’re creepy, creepy fabrics. And what I mean by that is that they shift over each other. So when you get to the end of the seam, the pieces might not match up anymore. Or as you’re sewing along, it can be hard to keep a five eighths seam allowance on both pieces because one of them keeps falling over when those piles are interacting. They get really shifty and creepy, creeping all over the place.

Caroline: They’re so creepy. We do have some ways that you can avoid that. So, use a walking foot. This is going to pull the fabric through evenly on the top and bottom. You can also hand baste your pieces together before you take them to the machine. And finally, use adhesive sewing spray and then finger press your pieces together along the seam line before you start sewing. Just make sure to test your adhesive on scraps beforehand to make sure that it washes out and doesn’t affect your fabric. Wonder Tape or school glue sticks are other possibilities. Just keep that within the seam allowance, again, just to make sure that it’s not going to affect the right side of your fabric.

Helen: Right. I don’t know if I could bring myself to spray glue velvet or corduroy. I would be too nervous. I think hand basting is a really smart tip because you have so much control when you’re doing that and it doesn’t take as long as you think it does to do, like, a side seam and make sure that it actually is coming together correctly.

Caroline: Totally.

Helen: Another thing with this fabric is that it can get quite bulky when you’re sewing your seams, so you want to reduce that bulk whenever you can. Don’t skip the trimming and the grading of the seams. This is really going to help to get a nice finish. And you can make things like facings, pocket bags, and even the inner half of waistbands out of lighter weight fabric in a compatible fiber content.

Caroline: Yeah. And some people will shave down the pile of corduroys and velvets within the seam allowance to reduce bulk. They tend to use hair clippers. I think this could help, especially in super bulky areas, like where the crotch seam meets the inseam in a pair of pants. Maybe hammering would work too, like people do for denim. So you could try that out if it’s becoming an issue.

Helen: And you want to do single fold hems when you can or make hem facings to reduce that bulk. You can make those out of a different fabric. French seams are out of the question. They’re way too bulky. So don’t go with that route. And to do a single fold hem, you just want to finish that edge before you press it up. So you can use your serger for that. You could even do, like, a nice cotton bias-bound finish. That would look really beautiful. But you’re not going to want to fold that under twice. It’d be too bulky.

Caroline: And you can also consider doing a blind hem stitch by machine or a catch stitch by hand to sew up the hems, especially on velvets. It can be really nice to have that sort of invisible hem versus having that stitch line sort of breaking up the beautiful velvet.

Helen: And for other seam finishes throughout your project, for lighter weight corduroys and velvets, a simple serged or zigzag seam finish works well. And for heavier fabrics, like I was saying, a bias bound finish, Hong Kong seam finish, looks really beautiful, especially on like the inside of a jacket.

Caroline: Yes, yes, that would be great for my peacoat, my future peacoat.

Helen: True.

Caroline: For wider wale corduroys, you might want to pattern match the wales. It will really elevate the look. And for medium or narrow wale corduroys, I wouldn’t worry about it. I think that would be painstaking work and probably not have a huge impact on the look.

Helen: Yeah, I agree. For stretch velvets, you want to use a ballpoint needle. For all other velvets and corduroys, use a regular point needle. And do some tests and see what works as you’re going along.

Caroline: Yeah. Okay. So if you are wondering where to snag some corduroy and velvet this fall and winter, Blackbird does have some great corduroys in stock right now. It’s definitely corduroy season here in the northern hemisphere. It’s so cozy. We picked out some really fun colours this year, so I’m really excited for everyone to check those out. And we also might have some velvets coming for holiday soon, so keep your eyes peeled.

Helen: Yeah, you will. I’m excited. Stonemountain and Daughter has gorgeous wide-wale Lady McElroy cords and prints, too, which is so fun. So check that out.

Caroline: Harts has lighter weight corduroys in beautiful colours, and Denver Fabrics also has a bunch of stretch velvets, plus some cool burnouts, prints and even a crinkle velvet that looks like pleats. Very cool.

Helen: Mood, of course, has beautiful silk velvets, plus velours and embossed velvets. Fabrics and Fabrics has some stunning luxury velvets. They’re a little bit pricey, but they’re really fun to look through. And Renaissance Fabrics has a nice selection of cotton velveteen. So we’ll link up all of those stores in the show notes. And i’m sure many more stores will be stocking these fabrics this fall, so just keep your eyes peeled on your favourite local fabric shop.

Caroline: Totally. So, we asked our Listeners for their questions about corduroy and velvet and you all came through with some really great ones. So we’re gonna answer them now. The first one is from Joanna. They wrote, “I recently got some deadstock no-wale corduroy which I’m hoping to make into a chore jacket or overalls for my sister in law (her choice). The fuzz isn’t as long as velvet but it also looks so different to regular corduroy. Is a no-wale corduroy still a good choice for work wear type patterns? There doesn’t appear to be a direction…is there a good way to find out if there’s a discrete direction?”

Helen: Okay, I love this idea for a project. I’ve never sewn with no-wale corduroy. Next time, if I see it anywhere, I’m going to get some, because this sounds really interesting. Yes, no-wale corduroy is a great option for workwear patterns. It’s like a low-pile velveteen and you can treat it like a regular corduroy. And to answer your question about the direction, you can run your hands across the fabric parallel to the selvage and if it feels smooth when you run it from top to bottom, then the nap is running down the fabric. If it feels rough or making little ridges when you run your hand from top to bottom, then the nap is running up the fabric. It kind of sounds like you’ve probably already done this test and you’re not sensing a direction. In which case I think you’re okay. You probably don’t need to worry about it too much. But just to be on the safe side, you could cut all your pieces in one direction and just choose one, you know?

Caroline: I think that’s a good call. I wouldn’t go all different directions because you might just notice a little bit of a difference in colour once you sew it up. So it was a good idea. Next up, Caro asked, “I have been wondering what the best way to wash, dry, and iron corduroy is.” So we already answered the ironing question, but we’re going to talk about washing and drying. It’s best to wash corduroy on cold with the garment inside out and then reshape it and hang it to dry when it comes out of the wash. With that said, we don’t always make the most optimal choices. Washing your corduroy garment right side out and tumble drying it probably won’t ruin it forever. And if you’re worried about it, pre-wash a scrap of your fabric to see how it reacts before you pre-wash the whole fabric. I would also avoid ironing your finished garment. You can steam it or don’t do anything with it. Just let it, let it live. I will say, not all corduroy, specifically, is created equally, because we have some corduroys that we actually have our supplier wash for us. They’re kind of like pre-washed and we find that it makes the pile look a little bit more fluffy and, like, lived-in. And I really like that look, versus sometimes corduroy comes in and it looks really crisp and kind of, like, flat and almost shiny. And I like the more sort of lived-in cord look. So if you’re okay with that, do some tests, but washing your corduroy and drying your corduroy, it’s okay if you’ve tested it and you like it.

Helen: Yeah, totally. I haven’t done any special care. I haven’t taken any special care with my corduroy makes.

Caroline: Yeah.

Helen: They’re just getting the regular old laundry treatment.

Caroline: And they’re okay.

Helen: And they’re fine. They’re fine. Okay, Merry asked, “I sewed a romper in brown corduroy for my daughter, but noticed that some of my pink top-stitching isn’t visible because it fell in between the ridges of the fabric: kind of a small detail, but I wonder if there is a way to make all top-stitching visible?”

Caroline: Okay, this sounds so cute. I love the idea of, like, a brown romper with pink topstitching. It sounds adorable.

Helen: Mmhmm.

Caroline: Unfortunately, topstitching pretty much always gets lost in the pile and the ridges of corduroys and velvets, so it’s not actually a good fabric to do contrast topstitching. However, topstitching does make a nice crease in the fabric for like jeans-type projects, so I wouldn’t skip it altogether. But just, in the future, maybe use an all-purpose thread in a matching colour and save that contrast topstitching for like denim or twill or something that doesn’t have a pile.

Helen: Yeah, exactly. I agree with that. Next up, we have Adelaide, who wants to know, “I know cotton, linen, and wool are breathable because they are natural… so is it possible for corduroy to be breathable? Or am I missing something?” Adelaide, yes, it’s totally possible for corduroy to be breathable. You want to look for cotton corduroys and avoid synthetics like polyester. These fabrics can get hot. They’re on the warmer side. So even if you’re wearing a full cotton corduroy, it is something you probably want to wear when the weather’s a little bit cooler, otherwise you’re going to start sweating. But they are still cotton, so it is breathable.

Caroline: Yes. Seraiah asked, “I have always wanted to try these fabrics, but I never have because I don’t know what to make. Do you have any small project ideas that I could start with?” Yeah, we do. What do you think, Helen?

Helen: Okay. For velvet, I can definitely think of a couple. Fancy Tiger has a free tutorial for a cowl that has silk velvet on one side and silk noil on the other. So simple and pretty great for elevating any kind of holiday look. So that would be a good one to start with.

Caroline: There’s also a free tutorial for a reversible drawstring bag by Angela Fitzgibbon on The Sewing Directory, and that would make a great velvet evening bag. You could use a matching satin for the lining. It’d be so beautiful.

Helen: For corduroy, I think a simple zipper bag or a dopp kit would be practical and cool-looking. You could do a really fun printed lining. We’ll link up a couple of Melly Sews’s tutorials for you in the show notes. But I also love the idea of a corduroy Bestie Bag. So I’ve got to throw that one in there, too. I think that would be such a fun project.

Caroline: Yeah, I think that’s going to be on my to-sew list this fall for sure. Alright. The big question. Jo asked, “Is there a way to make corduroy pants that don’t make a swishy sound when you walk?”

Helen: I wish I could say otherwise, but unfortunately I don’t think you can avoid it with pants. The only way I can think of is to make pants in a different fabric, like a twill or a denim…stay with me. It’s like, my advice is just like, “Don’t use corduroy.” No, you make them out of a different fabric and then you sew on double fronts made of corduroy, kind of in that workwear style where it’s following the line of the pants. That could be a really cool look, but you still have like a nice solid fabric in between the legs. Otherwise, you could make a skirt or a jacket and not have to worry about it. Or you could just accept that swishy feeling and become one with the swish, you know? Rock the swish with pride. As I mentioned earlier, that can sometimes result in the crotch wearing out a little bit faster than it does with some other fabrics. So something to keep in mind. I do have a pair of velvet Winslows. They’re kind of, it’s like a burnout velvet. So it looks like a quarter, right? It’s really stripey. And I noticed that when I walk, not only does it swish, but I feel like the stripes are like grabbing onto each other and, like, climbing up my legs. ‘Cause there’s, like, friction there, you know? And so they end up climbing. And it’s fine if I’m going to an event where I’m not, like, you know, walking around. Like a dinner or something like that, But if it’s somewhere where I’m walking around a lot, it’s a little bit of a weird feeling.

Caroline: Yeah, and then you end up, like, all of a sudden your pants are, like, bunched up and the hemline is, like, angled inwards and you’re like, whoa.

Helen: Yeah, exactly.

Caroline: We’ve all been there.

Helen: Alright. Arolyn asks, “How do you determine the quality of velvet?” Ooh, Caroline, I’m interested to hear what you think about this one.

Caroline: Yeah, so higher quality velvets are going to have thick piles and lower quality velvets will have a more sparse pile. And then you also want to think about natural fibers. So natural fiber velvets like silk are higher quality than synthetic velvets. You can still find some really beautiful synthetic velvets, especially like in the stretch velvet category. I haven’t seen a ton of natural fiber stretch velvets. Usually they are polyester or nylon. I think we mentioned that earlier. But I would, yeah, I would look for the density of the pile. You don’t want to be able to see the backing from the front side of the fabric. That’ll usually indicate a lower quality.

Helen: Unless it’s, like, a burnout design detail.

Caroline: Yes. Okay, next up, Hannah asked, “Why is velvet affected by water?” So we googled this and it seems like it’s mostly upholstery velvets that are negatively affected by water. Courtesy Cleaners Atlanta says, “Velvet garments made from cotton or polyester will not be damaged by water, but get caught in the rain with rayon or acetate velvet and the nap will be permanently disrupted where the raindrops hit.” So I guess avoid rayon or acetate velvet if you’re gonna get caught in the rain. However, silk velvet with a rayon backing is not going to be an issue. That shouldn’t be permanently damaged by water. And if anyone out there has any more info, we’d love to learn more about why some velvets are affected this way. I think, generally speaking, you probably want to avoid your velvet garments getting wet. Yeah. As much as you can.

Helen: I mean, if only just because they’re not going to look very good once they are wet, right?

Caroline: Yeah.

Helen: But yeah, if you live in a rainy climate like we are it is something to consider.

Caroline: Mmhmm.

Helen: Danielle wants to know, is there “any way to combat the lint buildup without cleaning multiple times per project?” Oh, I don’t know if there’s a good way to avoid getting the lint in your machine and all over your, you know, sewing space, but kudos to you for cleaning it out during the project. It’s a good reminder to all of us when we’re working with fabrics like these, like, keeping a little vacuum cleaner handy is really great when you’re cutting things out. And then having those brushes near your machine, little lint brushes so that you can regularly get in there and get out all of those extra fibers.

Caroline: Yeah, for sure. @shopdahl asked: “Someone told me you need to wear a mask when serging velvet, is this true?” I’ve never heard of this one, but I can imagine it might be dangerous to inhale, like, a lot of the lint from velvet. But I also don’t know that sewing one or two garments out of velvet would qualify as a lot. So maybe it’s something to look into if you’re sewing a lot of velvet, but I wouldn’t worry too much about it if you’re just making a garment.

Helen: Yeah, I agree with that, but if you want to wear a mask, just in case, I mean, you totally can.

Caroline: Yeah, it wouldn’t hurt. That’s for sure.

Helen: Jennifer asked, “How to restore loft to silk velvet that has fold lines? Gently patting with damp velvet: thumbs down!” Okay, the technique that Jennifer is referring to for getting rid of the fold lines is to dampen a piece of the velvet and use it to brush the velvet in the direction of the nap. So basically, smoothing it out to match the rest of it. It might take a lot of smoothing, some extra dampness, an extra steam maybe, but it is worth a shot. Sounds like it didn’t work for Jennifer. And unfortunately, some creases are just too ingrained to change. So it might not be possible. If you can’t do it yourself, maybe consider taking it to a dry cleaner and asking if they can help you out.

Caroline: Yeah. Always worth it to ask an expert. @she.has.notions asked: “What’s the best way to make a curved waistband in corduroy?” So, for the outer waistband, you want to make sure the grain of the fabric matches the grain line on the pattern piece. But for the inner waistband, you can use a compatible but lighter weight fabric like a cotton lawn or quilting cotton. And if you need interfacing, either interface the inner waistband or use sew-in interfacing. And don’t forget to understitch along the top edge of the lining so that it doesn’t, like, peek out to the outside of your garment. But I think that’s a good solution so that you don’t have too much bulky corduroy in your waistband and have, like, corduroy rubbing against your skin on the inside. I feel like that might be a weird feeling.

Helen: Yeah, and it can be a bit of an odd look. Like, those Brooks jeans that we made out of corduroy, because corduroy is like a stripe, so the grain line’s perfectly aligned at the center back, basically, but by the time you get around to the front where it’s overlapping at the fly, it’s on a weird angle, so it looks kind of funny, like it’s been cut not on the grain, but it has. So it is okay, it will work out, but I can understand the hesitation because it looks a little bit funny, so if that’s going to bother you, then yeah, maybe a curved waistband is not the way to go with your corduroy.

Caroline: Mmhmm.

Helen: Claire asked, “Is rolling velvet the best way to prevent permanent wrinkles?” I’m assuming Claire’s referring to storing velvet. The best way to store velvet is the way that they do in fabric stores, which is wound onto a wide roll, clipped onto a hanger along the selvage, and hung up in the space where it has enough room to hang freely. That’s a lot, a lot of effort. And I’m sure a lot of people out there don’t have the space or the bandwidth to care for this fabric storage in that way, but it is the best way to care for your velvet. So if you’re investing in a nice silk velvet, maybe it is worth taking the time to roll it up or to hang it.

Caroline: Yeah, I would just generally not recommend stashing velvet for too long because I do think that it can get sort of crushed and almost aged in a certain way if you keep it stored folded up or something for a long period of time. If you can get your hands on, like, a tube to roll it around and, like, keep it in the corner of your sewing room, then that’s probably the best way to do it. And make sure that it’s out of direct sunlight so it doesn’t get any sun damage. But yeah, it’s a bit of a conundrum, because I do think that you can get some permanent wrinkles in velvet if you leave it folded for too long.

Helen: Yeah, totally.

Caroline: Alright, our last question is from Meghan and it’s about buttonholes. They said, “Buttonholes! I had a rough time with corduroy once – ended up using tape under the foot.”

Helen: Oh, buttonholes. Buttonholes. Just buttonholes.

Caroline: Buttonholes, man. Yeah.

Helen: This sounds rough. Okay, if your foot is catching on the fabric too much, you can use a Teflon foot, you can reduce the presser foot pressure, or you can do what you did and kind of fake a teflon foot by putting a piece of scotch tape under it so it moves around more smoothly. I think on a previous episode this season, Caroline, we were talking about how sometimes, with buttonhole attachments, you need to, like, give it a little push, you know, like, you’re not supposed to, but sometimes it just needs it and you need to guide it through a little bit with your hands. But yeah, with these fabrics that have things that the machine can kind of catch on, the buttonhole attachment is going to struggle with that. So that can be, that can be challenging.

Caroline: Yeah. We always recommend testing, testing, testing with something like a buttonhole on velvet or corduroy. Test the crud out of it and hopefully you’ll get to a point where you’re happy with the way it looks and then it’ll actually do that on the final garment. That’s also always a fun experiment.

Helen: Yeah, right. Okay, I’ve got it all figured out. Now let’s see what actually happens.

Caroline: Yeah. And you just never know and that’s why sewing is an adventure.

Helen: Okay, that is it for this fluffy, fuzzy pile of an episode. We had so much fun talking about these fabrics. And tag us with your corduroy and velvet makes! We want to see what you’ve made out of these beautiful fabrics

Caroline: Yes, and that is it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns and Helen at Helen’s Closet Patterns and Cedar Quilt Co. And we’re recording in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to our bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew! Go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or send us an email at hello@lovetosewpodcast.com.

Helen: Thanks to our amazing podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of The Pod Cabin is our editor. And thank you for listening. We’ll talk to you next week. Bye!

Caroline: Bye bye!

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