Don't Get Mad, Add Terms to The Contract Pt. 2

Last week I told you some of the reasons I have such a detailed contract for clients to sign. I started with the things I do for the client, so they understand that this contract is two way--they provide me with materials, measurements and clear decisions about the design, and I will do the work on time, in budget, and to specifications. This week, we get to some of the nitty gritty--what the client will do for me: payment, delivery, photos and liability. 

5. Payment:  To stay in business, I need to get paid.  I work hard and spend money (over $200 per year) to make it easy for folks to pay me easily, be that cash, check, credit card. But not everyone is willing to honor their agreement to pay.

I take a deposit, because talk is cheap.  Until money changes hands, the order doesn't go on the books.  I can't tell you how often I've had months of email conversations with a prospect, done detailed design development, located materials, etc, only to have them disappear without a trace when it's time to pay for it. I call them internet fantasy costumers.  Like internet or phone sex, only it's costumes.  I sometimes wonder if they take my sketches and detailed descriptions and go to someone less skilled and lower priced for the actual construction.  But I'm too busy sewing to worry about that.

The deposit is non refundable, partly because of the immense amount of work I have to invest to accurately estimate the labor and materials charges.  It's also nonrefundable to make it clear that the client has to make a commitment to the project, and that this is not an online game that can be shut off or rebooted at a whim.

The COD shipping clause (" Orders with balance outstanding at ship time will be shipped C.O.D. including C.O.D. charges.) is in honor of the several clients who paid by check or Paypal, and then made me wait up to a month after I finished the project to be paid the final balance due.  I set the completion date when I book the project.  The client gets a written copy of the work order, so this is not a secret or a surprise.  I expect to be paid promptly when the project has been completed.


In person, my rule is that the product does not leave the workshop until I have been paid in full. By mail, the order does not leave the workshop until I have been paid in full.  If I surrender the garment to the client, I no longer have meaningful recourse to force payment. 

One young woman had me make a very elaborate Anime costume, and then claimed that the final check had been returned in the mail due to incorrect address.  Which would have been all right, except that when the check finally did arrive, it was dated three days prior to delivery...

Another client wanted to take partial delivery of one of a set of three table runners, "to see how they look" at the restaurant for the wedding.  I asked for payment in full for partial delivery.  She decided she would wait a week for the other two to be completed.

6. Undelivered Garments:  "All garments and materials are the property of Sewfits until the client's account is paid in full." This clause has come in handy when the client decides, after I've done 2/3 of the work, that she is paying too much and wants to "just take it as is".  This happens when a spouse sees the credit card bill [and client convinces him/her that the deposit is the total paid for the garment], or when a friend or relative tells the client about someone who "will finish it for a lot less".  Or the client who flatly refuses to pay, but claims ownership because she bought the materials.

This is not as rare as you think.  I gave away two prom dresses for half price based on this argument, until a mentor clued me in that sharply criticizing the work and then "agreeing" to "settle" for half price is a common gambit in the trades.

I had a client who ordered a copy of a three piece dress--fitted sleeveless top, formal straight skirt and stole, of heavy silk fabric.  She had seen the original at Saks and wanted it "different", so she ordered it from me.  My first hint that there was a problem was when she insisted I redesign the stole.  Then she didn't like the way the skirt fit, and I had to refit it.  When the time came to deliver the completed outfit, she came into the sewing room, put it on, and smiled momentarily.  Then suddenly, she frowned and told me that it "looked like s**t".  She insisted that the top did lay right, was not flat.  She stated, "I cannot pay for this."  I offered to redo the hem while she waited.  She agreed.  When I finished, she still insisted that she could not pay for it, implying it was unacceptable.

Earlier that day, a regular client had seen the outfit on the rack and when I mentioned I was nervous about whether the lady who ordered it would like it, said she (my other client) would buy it if the lady who ordered it didn't like it.  I had also realized from the seeming capricious demands for design changes that she might not be happy with the final garment.  Something was going on.  So I was prepared.

I had previously had her sign my contract, with the above clause in it.  I further prepared a form for her to sign if she paid her balance due with a check or credit card, stating that she had been given the opportunity to refuse delivery of the garment, but that she was accepting it without conditions.  This covered me if she stopped payment on the check or attempted a charge back on her credit card account. 

Back to the indignant client, who by now has raised her voice insisting that the dress is not acceptable.  In conversations with her about previous design changes, she had mentioned her husband, which she now did again, wanting to call him [on my phone, long distance].  I pointed out that if he was involved in her satisfaction, she should have brought him with her, and invited her to leave, without the dress.  She asserted that the dress was hers, as she had bought the silk fabric.  I referenced the contract.  She raised her voice and said she wanted to call the police.

So I called the police and stated I had an irate woman who would not leave when asked and whom I feared would become violent. Suddenly, her American Express card appeared.  Just as suddenly the acceptance form appeared.  She signed her charge slip and the form, and withdrew, with her dress.

In case my dear readers are tempted to come to this woman's defense, I might point out that three times later that evening and then for two weeks after, she called and left very angry messages on my answering machine, threatening charge backs, lawsuits and other dire consequences if the left over scrap material was not returned to her--at my expense.  These were small pieces, since the two redesigns used up all the fabric she provided. I placed them, none to gently, into a Priority Mail Flat Rate box and shipped them to her.  American Express had not heard from her, but assured me that a work order, contract and signed acceptance form were all I needed to protect myself from charge backs.

On another note, it may seem incredible, but I have had no less than five garments abandoned after they were finished.  Four had not had any problems.  One, actually a set of drapes, the client tried to claim more than a year later.  He was very put out that I did not have his drapes, when I had left several messages and actually sent him a written notice that his drapes were ready for pickup.   Thus the clause about items left more than 30 days becoming my property.

7.  Use of Photos: This paragraph is in honor of the woman who despite being very nubile and attractive, and eager to model costumes for my camera, attempted to demand "modeling fees" a couple of years later.   It is also designed to warn clients that I may post photos of them on my website, Facebook page, and other pages on the web.  However, I reassure them that I do not tag the photos with client names.

8. Waiver of Liability:  This clause is to clearly telegraph to anyone who may think that a lawsuit is the way to resolve their problems that they may not sue me for pain and suffering due to disappointment that they do not look like their fantasy.  Anyone who goes through my design development process can hardly claim that I do not take care to reveal the client's preferences and desires, and explore how those might be achieved.  However, the popularity of television courtroom dramas has made the concept of the lawsuit attractive to some, and this clause is designed to nip that tendency before it flowers.

As you can see, while I work very hard to select clients who are comfortable with my working style and who can communicate their needs and wishes to me, sometimes things just go wrong.  The contract acts as much as a selection device as a recourse when all else fails.  I would far rather lose the "sale" at the beginning, than have it blow up in my face after weeks of work.

The Contract or, Don't Get Mad, Just Add Terms to the Contract Pt.1

I meet a lot of women who tell me they used to "sew for the public".  They quit because they ran into the customer from the nether regions.  I've encountered a number of characters in 25 years in business. Many of them would be great in novels or movies, but in real life are odious.   I don't quit, I just add another sentence to my contract.

I like to explain the contract to a client, as I hand it to her, that it states that we both will act like adults and not sue each other.  I've never had anyone refuse to sign it, especially as I also point out that it is negotiable if there are terms they don't like.

1. Guaranteed Ship Date:  I start the contract with my promise to the client that I will deliver on time, and that if I don't, they will get a discount or an upgrade to Priority shipping.  This is important, because I've met innumerable prospective clients with sad tales of dressmakers and costumers who did NOT deliver on time.  Nowhere near on time.  So on time is important.

But sometimes it is very difficult to deliver on time.  If I don't have final design approval, or it takes a month to find the fabric the client wants, the client can't manage to measure herself or get to my workshop for measurements, I can't even start work, never mind finish on time.  And then there is the client who thinks I should start work, even though he has not paid a deposit. 

So I explicitly warn the prospective client--I only guarantee that I will deliver on time if you provide the materials, information, decisions, and funds to do so.

2. Price, Fabric & Supplies:  I quote my labor price up front, before the client books the order.  This is unusual in the custom clothing business, but it is common in the tree trimming and construction business.  But I've found that on rare occasions, a project may take many months before it is finally booked.  Sometimes finding the fabric can take a while.  I have a long time friend and client who wanted a particular striped fabric for Steampunk trousers.  It took two years and innumerable swatches to find one he would accept.

Thus, I note that the price may increase after a year.  Also that if you want three pairs of trousers, and it takes several years to complete the project, the price may increase.  Of course, this was enforced more often in pre-recessional times, when rising prices were the norm.  Nowadays, I often give discounts just to keep the client.

Materials may be supplied by the client, subject to my approval.  I never want to see acetate costume satin again, in this life or the next.  Clients think they can save money by buying cheap fabric, and don't realize that cheap fabric makes more work for the costumer.  Another very good friend and client sent me stretch velour for a tailored frock coat.  I stupidly didn't protest, and it took twice as much work to stabilize the soft slinky fabric into crisp lapels and pocket flaps.

Many times I will undertake to find and provide materials.  However, the mind can imagine things that are not available, especially at the end of a deep recession with retail inventories at record low levels.  I had a client who wanted costumes from the movie, "The Fall of the Roman Empire".  He wanted ornate brass clasps on the front of his vest.  I located a custom metal worker, who designed and cast them for us.  In addition to the cost of the clasps, I charged a fee for my time and services.

3. Measurements:  I use a large number of measurements to design garments, more than the usual number.  Actually, my measurements sheet was originally stolen from an armourer, and I added more as time went on.  There are double checks included, because certain measurements are hard for people to understand.  I regularly get sleeve measurements that could only be taken from the shoulder, or the person must have had surgery to shorten their bones.  Hence a disclaimer that I can only work from the measurements the client provides.  I usually ask if I see something unusual--"do you have short arms?  Are most jacket sleeves too long for you?".

When I lived on the Gulf Coast, I accepted an order from the Mardi Gras Crewe from Hell. I took measurements from all the members for the simple tunic style costumes.  When I returned for the (only) fitting, I found that not only had several members put on significant weight, they expected the costumes to be custom tailored.  At an additional fitting, they had then lost weight, and still expected custom tailoring at rock bottom prices.  In the end, I mailed the costumes COD, to ensure that I got paid.  They weren't happy, but I think more because they had to pay for the costumes, than with the costumes themselves.

4. Special Event Orders: I used to have a sign on my front door that read: " Sorry, My Red Cape is in the Cleaners--The S Stands for Seamstress, Not SuperWoman"

For 25 years, I have gotten callls from brides a month before their weddings, wanting a custom wedding dress in 30 days, start to finish.  In October, I get emails from prospects with photos of elaborate costumes from movies or games, wanting to have them made by Halloween.  I don't know what dimension I'm supposed to work it that gives me 36 hours in the day, but I haven't found it yet.  So I state up front--if it can't be delivered a month before the convention, I won't book the order.  I make rare exceptions, when I feel like it and am sure the client will not give me a problem.

This paragraph in the contract is dedicated to the woman who ordered a medieval tunic dress a month before the re-enactment coronation.  She was to be the lady in waiting to the Queen, and she wanted it perfect, which was why she waited until the last minute to order her dress.  I made it to her specifications and shipped it a week before the coronation.  I got a screaming, crying phone call that Thursday, that it was too tight around her hips and looked awful.  In the end, she returned the dress for a full refund and I sold it for $19.99 on eBay.  I now make sure that there is ample time to correct any problems, so this doesn't happen.  I've been told, although it horrifies me to imagine anyone so venal, that perhaps she saw how simple the dress was and regretted her purchase, and complained about the fit to get her money back.  But no one would wear a dress and then return it, would they?

Next, tales of Undelivered Garments, Payment Hijinks, and the dreaded Waiver of Liability Clause!

Looking for a Dressmaker/Seamstress? Here's What NOT to Do!

The Seven Deadly Sins of Hiring a Custom Seamstress
 If you are looking for a dressmaker, tailor, seamstress or other sewing professional to make your wedding dress, copy your favorite shirt, do alterations on your wardrobe, or finally sew that kick-ass Renaissance outfit you've always wanted, there are a number of do's and don'ts.  I'm going to start with the don'ts, simply because I'm in the mood, having encountered several of these recently.

First, don't tell horror stories about previous seamstresses you've encountered.

Think about it this way, would you want to date someone who starts by telling you about how terrible his last girlfriend was?

Second, don't tell me about the wonderful lady who used to sew for you and only charged you $50 for a formal dress.

Likewise, would you want to date someone who talks about how wonderful his late wife was?

What happened to your dream seamstress?  Did she starve to death?  Get a real job that actually paid minimum wage?  Ascend to heaven?

Third, own your control issues.  I'm always wary when someone tells me,

"I've always enjoyed having my clothes custom made, and I'm sure you can do this." 

This also manifests as obvious flattery, "I'm sure I'll like your work," or the intentionally luring statement "I have a lot of friends that I'll give your name to, if I like your work."   This is like the guy who promises to put you in the movies before he's even bought dinner.

Custom sewing is a collaboration. If the client wants to be "in charge", this is not going to be a give and take relationship. That's not to say that the client doesn't have a lot of power—it is her decision whether to employ me, and I defer to her choices and decisions at each stage of the project. But ultimately I have to have control over the process, or it becomes about control rather than the project itself. 

Fourth, don't tell me how simple it the project is, or how you could do it yourself, but you just don't have the time. 

My standard answer to this is to point out that a simple design usually requires more precise fitting than one with lots of detailed features that distract the eye from imperfections in the fit. Ultimately, the statement that something is "simple" is a subtle demeaning of my skills. If it were really simple, why don't you make it yourself?

A variation on this last gambit is the woman who brags about the wonderful clothing she has made in the past, which is revealed to be the distant past.  Isn't it amazing how the passage of time erases all memory of our imperfections?  

Another variation is the man who tries to impress me with his knowledge of tailoring.  That's like the waiter who "approves" your wine selection.  Hey, I'm the hired help, a tradesperson.  I should be showing off for the prospective client, not the other way around!

Fifth, please don't tell me you're a "perfect size ##".   If that were so, why do you need custom sewing?  You could fit off the rack.

I once had a prospect tell me that she expected me to "make her beautiful". She was attractive, but her style photos were publicity shots from the Oscar Awards. My job is not to make anyone beautiful, it is to make an attractive garment that fits and looks good. The rest is up to the client. If someone expects me to work miracles, it's a setup for failure and conflict.

Sixth,  don't be a cheapskate.  If you think $100 is an expensive dress, don't go looking for custom sewing. I bill at $30-$50 per hour, which is half what your mechanic charges, and I've been sewing twice as long.  Very few projects can be completed with less than 10 hours' work.  Likewise, do your homework on fabric prices, but not on eBay.  Retail fabric now averages at LEAST $9 per yard.  Don't bring me $3 costume satin and expect me to make a designer dress out of it. 

Finally, MAKE UP YOUR MIND!  Don't come to me with a project and then change your mind after I've set the price, and complain that the price changes.  The easiest way to sabotage a project is to change your mind halfway through it.  "Oh I just wanted to ask you about one little thing...." are some of the worst words I ever want to hear.

Next week, I'll give you the good news--what you SHOULD do when hiring a custom tailor or costumer.

Shirt Pattern to Renaissance Robe--Pt. 2

Last week I described how I used a commercial shirt pattern to make a Renaissance Robe.  I had the body cut out and assembled for the first fitting, and had to recut the armholes and neckline afterward.

Due to the enlargement of the armhole, I checked the size of the sleeve cap.  I measured the circumference of the armhole, and that of the sleeve cap, which turned out to be too small.  My rule of thumb is that the sleeve cap should measure about 1-2 in larger than the armhole.  It's easy to ease in the excess or reduce it slightly when setting the sleeve.  I enlarged the sleeve cap by extending the width of the sleeve at the underarm seam. Then I tapered the sleeve to the forearm, just above the slit for the cuff.

Likewise, the collar needed to be lengthened by about 1 inch, because the neckline was lowered in front.  In the case of collars, they should measure no more than 1/2 inch larger than the neckline, for a perfect fit.  For a standing band collar such as this one, it is also important to sew precisely at the front edges, so that the collar is exactly the same width on both sides.  This flat sew on hook is ideal for band collar fastening.

Having sewn in the collar and sleeves, I called the client for a second fitting.

This confirmed that everything was on track, and I could finish the robe.

One detail I added was a cuff facing. The open cuff could have been okay with just a narrow hem around the edges or even a band backing the cuff edge, but I decided to face the lower sleeve from above the slit end to the cuff. That way, if the inside showed through the slit, it would look finished.

I cut the facing from the sleeve pattern, ending it about 1 inch above the slit. Once the sleeve seam has been sewn, it is easy to sew the facing on, stitching the edges inside the sleeve seam, so it overlaps the end of the slit.

Don't forget when sewing the hem, to sew the front facing to the hem turn-up first, then finish the rest of the hem.  This way there will be a smooth line down the front opening, if and when it folds open to show the inside.

For a flared skirt, the ideal hem width is 1/2-1 inch, wide enough to provide some weight at the bottom, but not so wide that gathering or pleating is required because of the flare.  On a robe this elegant, I like to sew the hem by hand, so there is no outside line of stitching showing. 

The final outfit, as you can see, is quite elegant, yet dignified.  I give credit to the wonderful fabric of the robe, which gives it drape and flare, without being stiff.

Shirt Pattern to Renaissance Robe--Step by Step

This week I'm going to describe how I take a commercial shirt pattern and use it to construct a Renaissance robe, similar to the costume worn by Petyr Baelis in Game of Thrones.  Why use a commercial shirt pattern? Well, a robe is like a long shirt, and it saves a lot of time to have the neckline, shoulders and armholes already drafted.  The shirt pattern had a yoke, so I taped it to the back pattern, overlapping to eliminate the seam allowance.  Then I used my detailed measurements to scale the pattern to the client's dimensions.  My Master Measurements Sheet
I didn't bother to make a pattern for the skirts, since I draw that directly on the fabric. I used the sleeve pattern without the cuffs, and the collar band, widened and squared.

When I cut the fabric, I only cut the front and back of the robe, since I wanted to be sure of the neckline and armholes before cutting the collar and sleeves.  I basted them together and called the client for a first fitting. 

The fitting not only gives me valuable information about how the garment is fitting, it gives the client the opportunity to give me feedback on whether it is going the way he wants it.  It also reassures him that work is actually being done on his order.

This photo shows the robe, with the rough version of the surcote over it.  The fitting revealed that the shoulders needed to be narrowed about 1/2 inch, and the neckline lowered about 1/2 inch in front.  Both would impact the collar and sleeve designs, as I had suspected.

After modifying the neckline and armholes, I cut the sleeves and collar, and constructed shoulder stiffeners.  The client has quite nice shoulders, so he doesn't need shoulder padding, but a little stiffening always gives a better look to the finished costume.  I cut crescent shaped pieces of heavy cotton canvas and the robe fabric and stitched them together.  Sewn in along the armhole and on the shoulder seam, they will stay firmly in place.

The front opening was to be a two way zipper, that opens top and bottom.  I sewed it into the front edges with a double fold to completely cover the zipper.  Then I added a 4 inch wide facing on each side to stabilize the front edges and cover the interior should the robe hang open.  A good trick to make the facings lay flat is to topstitch the folded edge that covers the zipper tape. 

Next week I'll talk about how I added the collar and sleeves, and prepared for the second fitting.

Taking Time to Breathe

This week's blog is early, and is devoted to a technique that is very important to sewing--breathing.  As I have aged in the sewing business, I have observed that the occupational hazards include the back, hands, and eyes.  Many ex-seamstresses I meet tell me that back, hand or eye problems have made it impossible for them to continue their trade.

So as a meditater and practitioner of taiji (tai chi chuan),  I have worked for years to correct and maintain my body habits while sewing.  The most common one is slumping or leaning forward.  The latter is often caused by squinting to see, which I will discuss in a moment.  Slumping is just plain bad posture.  So when I am sitting at the sewing machine, I stop and remember what my mother tried to teach me, sit back, relax, and straighten your shoulders.  Find a relaxed but erect posture that aligns your neck and upper back, and then breath deeply, release and relax!


The second problem, leaning forward is addressed similarly.  Stop, breathe, relax, and correct the position of head, neck and shoulders.  Breathe some more and relax.   Then try to maintain that posture while returning to sewing.

I squint  because I have a blind spot in the very middle of my right eye.  Not just the normal one, but a scar left from surgery to close a retinal hole that would have destroyed all the vision in that eye if left untreated.  Then I had an artificial lens implanted to correct the cataract formed by the retinal surgery.  It took some creative experimentation, but I now use two different sets of bifocals--one for driving and normal activities, the other for reading, sewing and fine work.  Keeping them up to date is essential, with annual exams and new lenses.

In addition, stopping and refocusing the eyes on a distant scene, then closing the eyes and gently massaging around the eye sockets (NOT the eyeballs themselves!), will help relax the eye muscles.  If you tend to dry or irritated eyes, invest in some relieving eye drops and use them when you feel tired.  I find that often my sense of fatigue is mostly in my eyes.

But the most important part of all is awareness, or mindfulness as it is called.  I practice mindfulness meditation, which is a persistent returning to the present moment, to the breathing and to a place of relaxed happiness.  Years of practice make it far easier to wake up in the middle of an intense session of sewing, and realize how in-tense I am, and to breathe and relax.

So the last tip for a long and happy life as a sewer is to take time to breathe.  You don't have to twist yourself into a cross legged position or chant, just sit back and take three deep breaths, with your mind focused on your breath.  A mini-meditation, if you will.  Then scan your body and see where the pain and tension are, and move, stretch and breathe to work it out.  Then go back to your task.

Making habits that will help your body work longer may take some time, but if you are planning on a long and happy life, it makes sense.

Copy a Tailored Shirt

Most people who offer to copy a garment will take the original apart to make pattern pieces.  My technique preserves the original, but requires more work and attention to detail.  I start by taking photos of the shirt, including closeup views of the collar, cuffs and any distinctive features.  This shirt has narrow bias edging on the front openings and cuffs:

By taking photos, I can return the original to the client quickly, allowing them to wear the shirt while I am working on the duplicate.  I took a total of 10 photos of the original.

Second, I measure everything.  To save labor, I bought a pattern for a shirt with similar styling, and used it as a base, so I copied the drawings and made measurement notes on them.  I also traced the actual curve of the hem, so I could use that in the copy. 

Third, I use the measurements to modify the commercial pattern to the size and design of the original shirt. I like to literally "sleep on it" before I cut out the fabric.  The next day, I double check all the measurements, and then cut out the fabric.

I overcast all the pieces--the main use for my serger!--and sew in the darts, side, shoulder, and armhole seams with a basting stitch.  Chances are, if I get in a hurry and use a regular stitch, I'll have to rip out those seams, so it's always safer to just baste them for the fitting.

The fitting benefits both the client and me.  It gives the client the opportunity to see the work in progress and gives her confidence that I am not only working on her project, but that it will be completed to her satisfaction. It also gives me the opportunity to make sure that all those measurements are accurate, and to check with the client for any last minute changes to style or fit.

In this case, the fitting revealed that the armholes needed to be recut, making the shoulders narrower, and that the back was too full under the arms and down the sides.  Look carefully to see the yellow ball pins on the shoulders and side seams in this photo:

Now I'm set to finish the shirt.  I make the modifications not only to the shirt but also to the pattern, since the client may want more than one copy.  Then I add the cuffs and collar, along with the narrow bias on the front edges and cuffs.  Finally, I stitch in the buttonholes and sew on the buttons chosen by the client.  Here is the finished shirt:

Next week, I show how I take a men's shirt pattern and use it to make a Renaissance style robe, based on a costume from a popular television show.

Alterations 101: Taking in a Knit Skirt or Pants Elastic Waistband

I recently took in the elastic waistbands on a couple of skirts for a client.  This is a relatively simple and common alteration that you can do yourself, even by hand if necessary.  You'll need a seam ripper, matching thread, a pair of smaller (5-7 in) scissors and some pins. 

First you want to measure carefully how much to take in.  An elastic waist should not be stretched to the limit, but it should be snug to prevent shifting when you move.  In this case, the client had lost a significant amount of weight, and I was taking the skirts in about 7 inches.  I decided to divide that into two darts (seams that taper to nothing) in the back.  The math goes:  7 inches, divided by two darts, divided by 2 (folds), makes 1.75 in deep folds.  I then measured the back of the waistband and found the center,  and marked the 1/4 points, to center the darts.

Now for the part that requires patience:  opening the waistband.  Take your seam ripper and find the stitching that sews the back of the waistband down.  I like to cut every second or third stitch, and then I can pull the waistband away from the seam.  Open it at least an inch or two further than you'll need for the darts, to allow you to lay it flat.  Also pick open the seam where the elastic is sewn to the fabric edge. 

This skirt just folds the fabric over the elastic to make the waistband.  Lay the back flat and mark where you want the dart folds (1/4 points) inside.  Then cut the elastic and fold the fabric along the vertical lines.  Measure the depth of the folds at the waistband, and then taper down 6-8 inches to the fold.

 I like to draw the seam line in chalk, as well as pin it, so I don't get lost and wander while I'm sewing the dart.

Overlap the elastic, and only trim the seams and elastic if you are sure you won't want t let it back out after a while.  Use a wide zig-zag stitch to reattach the elastic to the waistband edge.

Now, turn the waistband down and pin it to the skirt, distributing the gathers.  It helps to start in the middle, and keep dividing the fabric in half until the gathers are small.  From the outside of the waistband, stitch it down, staying in the line of the original stitching.  As you can see, it is not easy to keep it flat and even.  But since the waistband is rarely worn visible, this result is acceptable.

The darts are lost in the gathers, and your waist should fit better now, at least until your weight changes again!

Atrium Door Curtains--Tips & Tricks

I just finished sewing four "simple" panels of Chinese brocade to cover the atrium door windows for a client.  You'd think this would be a simple drapery project, but it turned nasty.  Atrium doors have paned windows and to cover them, you put a rod top and bottom with a curtain between the rods.  This means that the curtain has be precisely made, or it won't hang well. The fabric stretched, crept and generally was bitchy.  My recommendation is to fold and sew the side hems first, then the top rod pocket.  Then measure one last time and fold and sew the bottom pocket.  This will avoid having to rip and resew when you find out the panel is not the right size, or not square.

To hang, mount your top rod on the door and hang the panel(s).  Put the bottom rod  into the pocket, and mark where the bottom brackets should go.  Ideally, the curtain should be tight, but not stretched, between the rods.