Photo Credit: Moleskins

Inspiration is in every direction. With no limits to creativity, let the shapes, colours, and textures around you contribute to the bag designs in your mind. Fashion need not be inspired only by fashion. Fashion designers often get their ideas from current events, entertainment, art, the environment, or cultures around the world. Brainstorming, imagery, awareness, and observation can be very powerful in any of your artistic endeavours. This way of seeing is ideal for enhancing your creativity. Next, you need a method to capture and remember your creative visions.

Keep a Fashion Idea Sketchbook

Sketch, sketch, sketch – There’s no risk involved in a sketch. If it doesn’t work out, just turn the page of your sketchpad and start again. Not much of an artist? Use a grid template. A grid template is a linear outline of intersecting horizontal and vertical lines. Use them to sketch your bag design’s stylelines and overall appearance while maintaining accurate proportions and dimensions. Graph paper makes a good template so that you always have copies of this grid to draw your designs. Gather newspaper and magazine clippings, photos, drawings or make photocopies of favourite bag styles as well as ideas and details for colour palettes, fabrications, etc. and paste them in your sketchbook. Your ideabook will be constantly evolving just as fashion does. Update it often, removing those ideas that aren’t as inspiring and adding new-found creative ones. When “shopping the shops” make a note of any details or design ideas you discover in the marketplace. Look closely at the construction, shapes and proportion of the details. Draw/sketch, and write down as many notes as you can remember for later use. Sketch the detail over and over again, varying the shape and design to improve on it. Make it your own and let it generate many more great ideas.

Redesign – redraw – renew.

I’ll let you in on a trade secret. Sometimes designers are fortunate enough to develop a “runner” in their collections. A runner is marketing jargon for a style that is an instant seller and is reordered over and over again by the retailer. Whenever a runner is developed, designers do not discard it at the end of the fashion season; we alter it slightly… perhaps changing the hardware or possibly re-fabricating the popular style in a new material for the next season. You can do the same. If you have developed a bag design that you really enjoy, do not start over from square one; instead sketch it out and re-work it with new hardware, new colour scheme, or new materials. Let one single good design idea morph tenfold.

Visual Cues

It is said that “a picture is worth a thousand words”. Use this philosophy in your sketching. Often there is no “real” pattern-drafting needed to produce a basic bag silhouette. Draw out your design based upon its specifications. Patternless designs (a simple block grid) can be plotted directly onto your material as long as the fabric is square and on-grain. Once the design specs are communicated visually, you are ready to cut out the shape, sans pattern.

Simplification of Ideas

If you’re happy with your first attempt, well done. I would caution you however, do not expect perfection for your first trial or you might end up disappointed with the end results. I often find novices put too many of their ideas into one sketch. My advice is take your original design and simplify it by redrawing the concept eliminating any parts of the design that cannot stand on its own. Keep simplifying each progressive sketch until you can no longer simplify it without changing the prime concept. Often it is that sketch of the bag style that should be put into production. Designing is a evolutionary process. Practice make perfect. If you continue to keep on sketching and improve it for every new attempt, soon enough you will have a collection of bag styles in your repertoire worthy of the production stage.

Drawing your design ideas takes concentration. A defined work-space and a preplanned time frame are often helpful. Try to plan sketching time every day, or whatever time is available to your lifestyle to sketch. Planning a time frame in a space where you can concentrate will help slow down your ideas and draw them out so you can actually be productive with them.  If you’re in a hurry or if the ideas come too fast, it’s difficult to convert them into a good design.

Dimensions: approximately 15 cm high X 30 cm wide X 5 cm deep

Construction Method: Turned finish – this method may be recognized by noting the lack of machine-stitching that is visible at points of assembly on the exterior side of the bag. This is possible by placing the material, or parts, face to face, machining and turning right-side out. It is the most commonly used assembly process.

Material Used: 100% polyester-backed paillette fabric, 112 cm wide; 100% polyester sateen lining; 100% polyester Pellon® fleece interlining, medium-weight; 100% polyester Knit-fuse® interfacing.

You will need:

• 30 cm of paillette fashion fabric, 112 cm wide
• 30 cm of sateen lining, 112 cm wide
• 30 cm of needle-punched fleece interlining, 56 cm wide
• 30 cm of knit-fuse interfacing, 75 cm wide
• 1 metal purse frame with double loops, 30 cm x 6 cm
• 1 metal purse chain, 50 cm
• 2 metal jumprings, 5-6 mm dia.
• 1 spool of coordinating thread
• 1 tube of clear-set bonding adhesive
• kraft paper

PATTERN

The size of the frame determines the size of this evening bag.

The width is equal to the width of the purse frame. The height is equal to half the width and the depth is 1/6 of the width. The dimensions of the purse frame used is 30 cm X 6 cm.

Take the purse frame and draw around the outer perimeter following its shape onto kraft paper, including the points where the hinges stop.

Square down vertically from the hinge points, and measure 15 cm from top of frame to base line for the finished height.

To create the depth, add a 25 mm gusset on each side. Extend the baseline outward on either side of center and join to the top edge with a straight line.

The distance from the top corner of the purse frame to its hinge equals 6 cm. Transfer this amount to your pattern draft plus add seam allowance and fit ease (this equals 1 cm for the seam allowance and a few millimetres more from end of the purse hinge location). Indicate the hinge locations with a notch. Label O. This is where the purse hinges will sit on the fabric.

Cut out pattern and label INTERIOR with cutting instructions for lining/interfacing and add a vertical grainline for the marker.

Trace draft onto a folded sheet of paper with the baseline aligned on the fold. Cut out pattern and label EXTERIOR with cutting instructions for paillette fabric/interlining and add a vertical grainline for the marker. Label the notches, X.

CUTTING

Cutting Tip: Do not use your best fabric scissors to cut the paillette fabric; the plastic will dull them quickly.

Exterior Bag: cut 1X the paillette fabric and the Pellon interlining.

Interior Bag: cut 2X the sateen lining and knit fusible.

Slip Pocket: cut a square from remaining lining fabric – 22 cm long X 22 cm wide

Sewing Tip: Use a roller foot attachment on your sewing machine for more control and less friction when sewing the paillette fabric. The metal roller will not imprint the fabric.

CONSTRUCTION

a) Preparation

Iron the fusible knit-fuse interfacing onto the wrong side of the lining fabric, following manufacturer’s directions.

Baste the sew-in Pellon® interlining to the back of the paillette fabric, by hand, around the perimeter.

b) Exterior

To construct the exterior of the bag, fold the paillette fabric FACE SIDES together and match the X notches. Sew from the X, down to the fold of the fabric, using a 1 cm seam allowance.

Create a flat bottom for the purse by mitering (see: mitering). Take one of the corners of the exterior bag and match the sideseam with the foldline of the bag. Flatten to form a triangle. Measure 25 mm from the tip of the triangle  and mark the line with chalk and pin. Stitch along the marked line perpendicular to the seam and trim the excess fabric 1cm from the seam to create a mitered corner. Repeat for the opposite bottom corner of the exterior. Turn exterior bag right side out.

c) Slip Pocket

Make a slip pocket by folding a square of lining fabric in half with FACE SIDES together. Stitch up sides from fold, using a 6mm seam allowance. Turn fabric right-side-out and press flat.

d) Interior

Center slip pocket on one section of the lining and match the raw open edge of the pocket to the base of the lining fabric. Edge stitch along the 2 sides of the slip pocket to attach the pocket to the lining. Stitch across the bottom of the pocket. (as an option, this slip pocket can be divided into 2 smaller compartments by stitching through the center of the slip pocket, if desired).

Place the 2 lining pieces, with FACE SIDES together, and align the bottom edges and the O notches. Sew from the O, down to the bottom corner of the lining, using a 1 cm seam allowance. Then, sew the bottom seam of the lining, using a 1 cm seam allowance, except you have to leave an opening in the bottom of the lining to allow for turning.

Create a miter by matching the side seam with the bottom seam on each bottom corner of the lining and proceed in the same manner as described above.

e) Assembly

Slip the exterior section in between the lining. The FACE SIDES of the interior bag and the exterior bag should now be touching each other. Match up the X and O notches. Sew the two flaps of the purse. On one of the flaps pin the lining to the exterior bag at the top and sides. Begin sewing where the stitching starts on the lining, sew all around the sides and top edge stopping at the stitching on the lining. Repeat with other purse flap. Clip ‘V’ notches at the X and O in the seam allowance to aid in securing a smooth edge and trim the excess Pellon from the seam allowance.

Gently pull the exterior of the bag through the opening left in the lining. Drop the lining into the cavity of the exterior section and smooth everything down with a wooden creaser, as a hot iron will melt the plastic paillettes.

f) Purse  Frame Attachment

To complete and before applying the glue, dry-fit the bag into the frame to check the fit. Check the bulk of the seam and trim seam allowance if necessary. The thickness of the layers at this point should fill the cavity of the frame nicely.

Then, remove from the frame and sew up opening in the lining closed. Stitch the gap in the lining closed by pushing the raw edges into the gap and edge-stitching close to the edge for a neat finish.

Apply clear-set bonding glue to the channel of one of the sides of the frame. Start at the hinge and work your way to the other hinge. Go easy on the glue and only do one side of the frame at a time! Use a craftstick (or something similar) to spread the glue around inside the frame. Don’t let it form “globs” or it will ooze out on your fabric. Allow the glue to become tacky for 5 minutes.

Insert the purse into the frame. Start by inserting the sides of your purse into the frame (hinge end first) then work your way up to the top corners. Use a pointed tool to poke and stuff the fabric evenly into the frame – a crease presser/turner is perfect for this job. After you have inserted the sides of the purse into the frame, start inserting the top edge of the purse into the frame working reasonably quickly before the glue dries. Turn the purse over to check that the lining side is also inserted evenly into the frame. Leave to dry for 15 minutes before tackling the other side of the frame and purse in the same way. Let everything dry for about 30 minutes or according to manufacturer’s directions.

g) Finishing

Add the purse chain to the double loops on the purse frame by threading the jumprings onto the chain links and the frame loops, then closing with pinch-nosed pliers.

Metal framed handbags are the quintessential classic bag design for professional accessory designers and small leather goods manufacturers. Yet many new designers and craftspeople shy away from designing their own framed styles because the concept looks complex to produce, in addition to finding a source for the bag frames. Let me assure you that the design process for these traditional bags is quite easy to do and simple to sew. Making this purse style isn’t nearly as tricky as you might think.

Here is an easy tutorial for a framed evening bag.

SOURCING

The whole design of your handbag is based upon the metal frame. Before beginning to draft your pattern, you must select a bag frame. There are many collections of purse frames on the market for design-it-yourself projects. This hinged hardware come in a wide range of styles, rectangular or curved in shape, in various metal colours and finishes. You will find classic vintage frames with kiss-lock closures and intricate scroll details, to the versatile sleek modern metal frames with ball-lock closures which may or may not have a convertible carrying chain.

The size of the frame determines the size of the bag. Small frame widths (65 – 100 mm) are the right size for coin purses, while medium frame widths (1oo – 150 mm) make up wallets and pocketbooks nicely, and large frames widths (200 – 300 mm) are ideal for clutch bags and purses. The frames are attached by using clear-set bonding glue for adhering porous and non-porous materials; or, framing scrim, a dense twisted paper cord or pliable rubber filler that fills the frame channel; or, using a crimping tool that gently crimp the metal of the purse frame to the cloth.

Depending where you live, availability and selection may be a limitation but demand is making it a popular seller for retailers and availability is growing. Fashion accessory designers have the benefit of access to trade-only suppliers and often years in advance, before these raw materials become common in the marketplace. So, you will have to work with whatever is available through your favourite retailers. In larger urban areas you may find specialty retailers like MacDonald-Faber Ltd. that carry many of the items you will need, while in smaller towns you may have to depend upon catalogue mail-order, such as A Great Notion. Many suppliers can be found on-line through Etsy® , Ebay®, and the like such as Mikke, offering variety and quality, allowing you to eliminate the “middle man” by buying direct from the source.

PATTERNDRAFTING

The main reason why handbag patterns are not available for purse frames is because there are so many different purse frame shapes. This means you have to draft your own patterns. The design concept needs to have height, width, and depth to create a style. The size of the frame determines the width of the bag; height and depth can be whatever dimensions you wish.

Take your frame and draw around the outer perimeter, including the points where the hinges stop.

From the hinge points, square down vertically to the desired height of the bag.

To create the depth, you must add a gusset on each side. Extend the baseline outward on either side of center to half of the finished depth measurement and join to the top edge with a straight line. The pattern is now wider than the right angles of the frame. The wider the angle the more deeper your purse will be.

Next, measure the distance from the top corner of the purse frame to its hinge. Transfer this amount to your pattern draft plus add seam allowance and fit ease (this can be about 1 cm for the seam allowance and a few millimetres more from end of the purse hinge location). Indicate these locations with a notch.

This is where the purse hinges will sit on the fabric.

Label your pattern with cutting instructions and add a grainline for the marker.

Depending upon your fashion fabric choice, you may need to add interfacing. Interfacing creates structure if it is used on the body of the bag – but is entirely optional here, and using it depends on the weight of the fabric and the finished look that you require.

INTERFACING & INTERLINING

Interfacing creates structure for the bag’s shape and using it depends on the weight of the fabric and the finished look that you require. Bag facings and the underside of flaps are major structural pieces in bag construction and often carry hardware; they should always be interfaced. Framed clutch purses go great with evening gowns or dressy outfits. Since clutch purses are usually made from fancy fashion fabrics such as silk or satin, you’ll need to add interfacing to make the fabric more stable. By fusing interfacing to every piece of the outside of the bag you add a lot more “body” to the fabric. Some fabrics won’t need it, but most medium-weight or lightweight fabrics will benefit from it. Also be aware that any fashion fabric with a nap, pile, or relief surface will be subjected to sew-in type interfacings only, as not to destroy the beauty of its surfaces with heat and pressure.

I like to interface the lining as well to strengthen it against wear and tear in use, but it shouldn’t be the main support in the bag. A knit-fuse type interfacing is ideal to stabilize it without adding stiffness.

It’s important to remember that by adding an extra layer of interfacing to a bag piece, you are also increasing the bulk of the fabric. In this case, this is a good thing as the layers will fill the channel of the purse frame. Be careful when you are using heavy fabrics, for instance canvas or denim, that your sewing machine will be able to sew through all the layers at points where several seams converge.

Sometimes it takes making up a “test” bag or two (see: making mock-ups) in different weight fabrics to understand the balance that has to be struck between the look you require and the capabilities of your sewing machine.

Whenever designing an evening bag with beading, sequins, sheer or lacy fashion fabric, the best thing to do is to interline it with a more solid fabric, and in turn interface the solid fabric (a stable, woven fabric is best as a base for sheer fabrics). You may or may not have to use Pellon®. First you sew or iron on the interfacing to the back of the solid fabric, then lay the sheer fabric over the top of the right side of the solid fabric. Stay-stitch the sheer fabric in place all the way around, and then make up the bag treating the layered pieces as if as one.

USING WADDING OR FLEECE INTERLINING ( PELLON® )

Iron-on or sew-in wadding (Pellon®) can give extra structure to fabric bags and is available in different weights and thicknesses. This plush needle-punched fleece interlining is great for bag-making because it sticks to the fabric and makes the pieces very easy to sew together, and it holds the shape of the bag beautifully, while being lightweight. Similarly like when applying interfacing, by adding this extra layer to your fabric you are creating more bulk. You may have to check that your sewing machine will sew through several layers of the fabric and wadding before you proceed with making up the bag.

CONSTRUCTION

Cut out your fabric pieces. From your pattern, cut: 2 pieces each of the fashion fabric, lining fabric, and fusible or sew-in interfacing. Iron the fusible interfacing onto the wrong side of your exterior fabric, if using.

To construct the exterior of the bag, create a “sandwich” with the fashion fabric (FACE SIDES together) in the middle and the sew-in interlining on the outsides. Pin/baste all layers together. Starting from one of your hinge markings sew the sides and bottom of the exterior finishing at the other hinge markings.

Create a flat bottom for your purse by mitering (optional) or round off the tips of the triangle to create nice curved corners. To miter, take one of the corners of your exterior bag and match the side seam with the bottom seam line. Flatten to form a triangle. Measure the desired depth amount down from the tip of the triangle mark the line with chalk and pin. Stitch along the marked line perpendicular to the seam and trim any excess fabric 1cm from the seam to create a mitered corner. Repeat for the opposite bottom corner of the exterior. Turn exterior bag right side out.

Sew up the lining. With FACE SIDES together, mark the flap opening/hinge bit on the lining to match the notch made on the exterior bag. Sew the lining bag in the same way as above except you have to leave an opening in the bottom of the lining to allow for turning.

With FACE SIDES OUT, slip the exterior section in-between the lining. The face sides of the lining bag and the exterior bag should now be touching each other. Sew the two flaps of the purse. On one of the flaps pin the lining to the exterior bag at the top and sides. Begin sewing where the stitching starts on the lining, sew all around the sides and top edge stopping at the stitching on the lining. Repeat with other purse flap. Clip ‘V’ notches in the notch locations and any curved areas of the seam allowance to aid in securing a smooth edge.

Gently pull the exterior of the bag through the opening left in the lining. Drop the lining into the cavity of the exterior bag and smooth everything down, press if necessary.

To complete and before applying the glue or framing scrim, dry-fit the bag into the frame to check the fit. Check the bulk of the seam and trim seam allowance if necessary. The thickness of the layers at this point should fill the cavity of the frame nicely. If the seaming is thin or not sufficiently bulky, use framing scrim to fill it out.

Then, remove from the frame and sew up opening in the lining closed. Stitch the gap in the lining closed by pushing the raw edges into the gap and edge-stitch close to the edge for a neat finish.

FRAME ATTACHMENT

A clear-set bonding glue designed for adhering to porous (fabric) and non-porous (metal) materials is used to attach the frame to the cloth bag. Read manufacturer’s instructions for glue application of adhesive. Apply the bonding glue to the channel of one of the sides of the frame. Start at the hinge and work your way to the other hinge. Go easy on the glue and only do one side of the frame at a time! Use a craftstick (or something similar) to spread the glue around inside the frame. Don’t let it form “globs” or it will ooze out on your fabric. Allow the glue to become tacky for 5 minutes.

Insert your purse flap into the frame. Start by inserting the sides of your purse into the frame (hinge end first) then work your way up to the top corners. Use a pointed tool to poke and stuff the fabric evenly into the frame – a crease presser/turner is perfect for this job. After you have inserted the sides of the purse into the frame, start inserting the top edge of the purse into the frame working reasonably quickly before the glue dries. Turn the purse over to check that the lining side is also inserted evenly into the frame. Leave to dry for 15min before tackling the other side of the frame and purse in the same way. Let everything dry for about 30 minutes or according to manufacturer’s directions.

Framing scrim, a dense twisted paper cord or pliable rubber filler for frame purse-making, can be used for thin fashion fabrics in conjunction with the bonding glue. It is ideal for standard-to-wide channeled purse frames or purses with thin fabric layers. Using the framing scrim strengthens the bond between the fabric and the frame and fills the channel of the frame. Insert the scrim between the exterior bag portion and the lining side of the purse using a pointed tool, such as a wooden creaser, and push it up into the channel to secure the top of the bag onto the frame before closing up the opening in the bottom of the lining. The thickness of the scrim will plug up the channel and stabilize the edge of the cloth.

Some purse shapes require the use of purse frame crimpers, but the 75mm to 200mm range of frames available on the market do not require this tool. The crimpers gently squeeze the metal around the top edge of the bag encasing the fabric into the frame. There are often instructions included in the kits outlining how to use the crimpers so follow manufacturer’s directions for using this tool.

So this weekend will have you jetting off to the coast for sun & surf? For a weekend excursion you need a quick-trip bag. Forget the luggage (too bulky); you need a versatile travel bag made specifically to carry all your belongings from passport to swim trunks for a quick weekend getaway in the sun. Here is a fun choice in a piped cotton canvas outer with faux leather trim and detachable shoulder/chest strap, perfect for the do-it-yourselfer.

Dimensions: approximately 18″ x 8” x 17″ [46 cm x 20 cm x 43 cm] with a 44″ [1.12 m] adjustable shoulder/chest strap and interior pockets.

Construction Method: Turned finish – this method may be recognized by noting the lack of machine-stitching that is visible at points of assembly on the exterior side of the bag. This is possible by placing the material, or parts, face to face, machining and turning right-side out. It is the most commonly used assembly process.

Material Used: 100% cotton drill, 54″ [137 cm] wide; 100% polyurethane faux leather with flannel backing

You will need:

• 2 metal dome snap fastener sets, 3/4” [20 mm] dia
• 1 metal slider, 2″ inner dia [50 mm]
• 2 swivel latch hooks, 2″ inner dia [50 mm]
• 2 metal d-rings, 2″ inner dia [50 mm]
• 1 square metal connector ring, 2” inner dia [50 mm]
• 1 pocket zipper, 8″ [20 cm] long
• 1 heavy metal zipper with head-to-head double sliders, 34” [86 cm] long*
• 3 ¾ yds. [3.45 m] of cable cord, 1/4 inch [6 mm] dia
• 2 ¼ yds. [2.3 m] of nylon webbing, 2″ [50mm] wide
• 2 yds. [1.9 m] of upholstery weight canvas fabric, 54″ [137 cm] wide
• 1/2 yd [0.5 m] of polyurethane faux leather, 54″ [137 cm] wide
• 1/4 yd. [0.25 m] fusible interfacing, 24” [61 cm] wide
• spool of heavy-duty upholstery thread
• kraft paper

Design Tip: Match the hardware and zipper metals in colour and metal finish for a sleek unified look. Colour coordinate the zipper tape colour with the bag fabric to achieve further harmony in your design.

* if head-to-head slider zippers are not available, you may use 2 heavy metal closed zippers, 18 inches long.

PATTERN

The draft and formation of this travel bag is based upon a simple flat grid, which fits into a square or rectangle, of which the size depends on its depth. The prototype has a depth of 8 inches [20 cm].

To achieve symmetry, draft out half of the bag dimensions onto kraft paper..

Begin the draft by drawing a square labelled A-B-C-D.

Lines A-B, B-D, and C-D are foldlines. Label them.

A-B = height + 1/2  depth + 1/2  top  width = 17” + 1/2 (8” + 4”) = 23” [59 cm]

Square across from line A-B.

A-C = 1/2  width + 1/2  depth = 1/2 (18” + 8”) = 13” [33 cm]

Square down from C and across from B to locate D at the intersection.

1 from D = 1/2 depth = 4” [10 cm]

2 from D = D-1.

Square from 1 and 2 to locate 3 at intersection.

4 from C = 1/2 top  width + the width of the placket = 2” + 2” = 4” [10 cm]

5 from A = C-4.

Join 4 and 5 with a straight line.

6 from 5 = 5” [12.5 cm]. Join 3 and 6 with a straight line.

7 from 6 = 1/2” [12 mm].

8 from 7 = width of the webbing = 2 “ [ 50 mm]. This is the placement location for the bag handles.

9 from C = 1/2  top  width = 2” [5 cm].

10 from A = C-9. Join 9 and 10 with a straight line.

11 from C = 1/2 width of the webbing = 1” [25 mm].

Square down from 11 to locate 12 on line 9-10.

13 from 5 = 3” [7.5 cm]. Square across from 13 to locate 14 and 15 at the intersections of the lines.

Line 13-14 is the opening of the interior pockets. Point 15 marks the stud placement for the snap-dome set.

16 from 5 = 2” [5 cm]. Square a tangent line from 16.

17 from 16 = 1/2 the zipper length = 4” [10 cm].  Line 16-17 marks the zippered pocket opening.

18 from B = 1/2 depth + 2” = 4” + 2” = 6” [15 cm].

Square across from 18 to locate 19 at the intersection of lines. Join 18 and 19 with a straight line.

20 from 9 = 1/2” [12mm].

21 from 10 = 1/2” [12 mm]. Join 20 and 21 with a straight line.

Now that the draft is complete, trace off each pattern component onto kraft paper.

Fold the paper in half and lay the draft on top, aligning the foldlines of the draft with the fold on the paper.

Trace out each shape and mark notches for the intersection of seamlines. Add 1/2-inch seam [12 mm] allowances to all the pattern pieces. Label the pattern pieces with grainlines and indicate the cutting instructions for each. (see illustrations below)  All grainlines run vertically and parallel to the foldlines. Cut out each pattern piece with the paper folded and open out for the cutting pattern.

click on image to magnify

CUTTING

• fabric suggestions for this travel bag: use a durable heavy-weight fabric such as, canvas duck, drill, oilcloth, sharkskin, denim, waxed twill, or any strong upholstery-weight cloth.

• cut body of the bag on straight of grain (or cross-grain for railroaded fabric; for a directional pattern on straight-grain you will need to purchase additional yardage.)

• Polyurethane-based faux leathers are developed for strength and simulate the ‘hand’ of genuine leather. They are available in an array of fashionable colours and styles, and are intrinsically less rigid than PVC, moisture resistant, and easy to clean.

• Use an x-acto knife and metal ruler to cut the faux leather neatly and use an awl to score the leather.

Zipper Flange – cut 4X self; cut 2x interfacing

Top Placket – cut 4X self

Front & Back Panel – cut 2 X self

Side Gusset – cut 2X self

Interior Pocket Front – cut 2X self

Zippered Pocket Bag – cut a rectangle from self fabric; 10” X 16” [26 cm x 41 cm]

Trim

Placket Trim – cut 2X contrast (faux leather)

Bag Base- cut 1X contrast (faux leather)

Binding - cut narrow strips from faux leather to bind raw edges as needed; 3/4-inch [20 mm]wide.

Piping – cut 2 bias strips of self fabric; 40” X 1 ½” [102 cm x 4 cm]; cut 2 lengths of cable cord = 40” long [102 cm].

Strapping

• cut 2 lengths of webbing for bag handles; each is 20” [51 cm] long
• cut 1 short length for the shoulder strap from webbing 8” [20 cm] long.
• cut 1 long shoulder strap from webbing 33” [84 cm] long.
• cut 4 rectangles from faux leather to complete end tabs and zipper ends; each is 8” [20 cm] long and 2” [5 cm] wide.

ASSEMBLY

Sewing Tip: Use a Sharps #16 or# 18 sewing machine needle to sew heavy weight fabrics.

a. Interfacing

Iron fusible interfacing to the back of 1 pair of zipper flange pieces, following manufacturer’s directions. Set aside.

Using an awl, mark location of dome stud on the side gusset pieces (point #15). Iron a small patch of fusible interfacing, centered, on the back of the hole on each gusset piece to reinforce the area. Attach the stud end of the dome snap fastener set, on the FACE side of the cloth, on both gussets following the manufacturer’s directions. Set aside.

Using an awl, mark location of the zippered pocket opening on one of the Front & Back Panels (interior). You may use either front or back section for the location of the zippered pocket. Cut a rectangle of fusible interfacing 10” long by 2” wide [25 cm x 5 cm] and bond it to the back of the cloth, centering it over the zipper opening location. Set aside.

b. Strapping

Wrap a long length of webbing through a metal slider and secure in place neatly at one end. Thread a square ring connector onto the webbing, then draw the open end of the strap through the slider. Attach a swivel latch hook to the opposite end to the webbing by wrapping leather trim through the end on the latch hook and over the end of the webbing on both sides. Secure with an X stitch.

Wrap a short length of webbing around the square ring connector attached to the long strap and fold over. Sandwich this between leather trim that has been drawn through another swivel latch hook. Secure it all together with an X stitch. Set aside.

Cut 2 lengths of webbing for bag handles. Bind the long sides of the webbing with faux leather. Fold the webbing in half lengthwise and stitch next to the leather trim through all layers, leaving approximately 4″ [10 cm] unsewn at each end of the strap to form the bag handles. Set aside.

c. Small Parts Preparation

Wrap bias-cut strips of fabric centered around cable cord to make up piping. (see piping)  Make 2 lengths of piping about 40” [1 m] in length. Set aside.

On Interior Pocket Front pieces, bind raw edge of pocket opening (narrow top end) with faux leather strip and topstitch trim. Set aside.

Lay faux leather base FACE UP on FACE side of the remaining Front & Back Panel piece (exterior) and center it in the middle of the cloth (between notches # 19). Topstitch in place. Set aside. (you do not require special machine needles for sewing faux leather as you do with genuine leather but do use a longer stitch length to prevent perforating the leather)

Wrap faux leather around each D-ring to form a tab. Stitch across open end. Set aside.

Wrap ends of 2-way zipper with leather trim and stitch around perimeter edge. Attach dome side of snap fastener set FACE UP on zipper ends, following manufacturer’s directions.

d. Interior Pocket Assembly

With tailor’s chalk, draw out shape of zipper opening horizontally across the top on interfaced section of the Front & Back panel. Dimensions are 8” by 1/2” [20 cm x 12 mm] (see inset zipper installation).  Lay one short end of pocket bag piece on top of the panel, FACE sides together and center-align it over the outline of the zipper opening. Pin/baste in place. and stitch around the outline on the chalk lines; then, slash through the center of the outline, clipping diagonally into the corners. Push pocket bag section piece through opening. I like to neaten the corners and press the opening at this point (if the material you are using cannot take heat then use a crease presser on the seams). Next, center the zipper FACE UP behind the opening. Topstitch around opening to secure zipper. On the bag piece (back of zipper), fold up the cloth over and above the zipper to create the pocket and stitch both sides of the pocket bag and across the top edge of the zipper tape. Set aside.

Layer the Interior Pocket Front pieces so that the cloth is FACE side down and upside-down on the FACE side of the Front & Back Panel piece. Match corners to notch #19 and pin/baste into place. Stitch across the wide end of the Interior Pocket Front; then, fold the pocket front upward to notch #14 to create the pocket. Repeat on opposite side of Front & Back Panel. Set aside.

e. Body Assembly

Align and baste the piping along the outer edges (face side up) of each side gusset piece on three sides (leave top edge untrimmed). With FACE sides together, pin/baste each side gusset piece on either side of the exterior Front & Back Panel. Sew seam close to the piping, using a zipper or cording foot attachment on your sewing machine. Next, with FACE sides together, match the interior Front & Back Panel with the pocket detailing to its exterior counterpart. Ensure that the piping is sandwiched between the two layers and pin/baste together. Using the zipper foot attachment, stitch the layers together following the previously-stitched seam along the piping. Once both sides are completed, turn cloth right-side-out. (You may need to grade the seam prior to turning out if there is too much bulk in the seams). Pin/baste bag handles within the center portion of the bag’s body between the piped seams(pin them so they are upside-down) on each side of the bag. Set aside.

f. Zipper Flange Preparation

Stay-stitch the short ends on all the flange pieces to reinforce the seam. Snip through the seam allowance up to the stay-stitching in the middle of each short end. Turn under one side of the seam allowance and press flat; mirror this on each end of the flange. Edge-stitch along the fold.

Center the 2-way zipper FACE DOWN onto the FACE side of the interfaced flanges, with the ends of the zipper extending beyond the fabric, then lay the remaining flanged pair FACE DOWN on top to sandwich the zipper between the two layers. Pin/baste in place. Using the zipper foot attachment, sew along the zippered edge. Repeat for other side of zipper. Turn the fabric FACE UP and press along the zipper teeth. Topstitch the layers together along the zipper’s edges. Set aside.

Design Note: If head-to-head slider zippers are not available, you may choose to use 2 heavy metal closed zippers and butt them together head to head.

g. Placket Assembly

With FACE sides together, pin/baste each pair of placket pieces together along the short ends. Sew up seams and press open. On the FACE side of placket, attach a D-ring tab to each end of the fabric loop, centering it over the seam. Then, unzip the zippers (open position) and pin/baste the raw edge of each flange flap between the D-ring tabs. (Ensure you do not twist the zipper)

With FACE sides together, layer the remaining placket fabric loop to encase the flange flaps and D-rings. Stitch around the placket. Trim seam allowance close to the stitching to reduce bulk. Loosely baste a length of cable cord to the edge of the seam around the perimeter. Turn fabric right-side-out and topstitch along the piping through all layers, using your zipper foot attachment. Keep it tight against the piping. Set aside.

With FACE sides together, pin/baste each pair of faux leather placket trim pieces together along the short ends. Sew up seams and press open. Next, with FACE sides together, pin/baste the trim to the FACE of the completed placket (ensure zipper is FACE UP), so that the edge of the trim is just below the piping. Stitch the trim to the placket sewing through all the layers.

h. Finishing

Pin/baste the interior side of the placket FACE UP onto the inside edge of the body cavity, aligning the side seams of the placket directly above the dome stud on the gusset ends. Stitch seam all round including over the bag handle ends. Grade the seam allowance and press upward.

Turn up the placket and layer the trimmed exterior of the placket over the machined seam. Fold under the bottom edge and align the fold with the machine-stitching. Edgestitch along the bottom edge of the placket, ensuring to catch the bag handles in the stitching.

Make pull tabs for all the zipper sliders (3 in total) from the faux leather. (see diagram)

Make wide end slight larger that the inner diameter of the slider pull and taper towards the end. Make the length approximately 3½ to 4 inches [9-10 cm], or as long as you wish.

Thread narrow end of leather through the pull of the slider and loop it back of itself and draw through the slits; draw up tight.

Clip the latch hooks to the D-rings on the travel bag.

Thread each zipper end through the D-ring. Snap dome fasteners on ends of the 2-way zipper into studs on sides of the travel bag.

‘Braided Rawhide Strapping’

Leather strapping for handbag design can be made by braiding using the same leather skins used in the construction of the body of a handbag. Often rawhide thong (string) is used in leather braiding.  Rawhide (also called leather) is an animal skin (pelt) that has been stretched to dry and had its hair removed.

Rawhide is “raw” because it has not been tanned. To create tanned leather, a chemical is applied to the hide to relax the skin and make it soft. Most of the leather we use today in handbag design is tanned leather, but rawhide is still used to make many products; everything from handbags and clothing to building materials and tools.

Photo Credit: Justin McInteer, Autry National Center.

To prepare the rawhide string for braiding, a large circle is cut from the stretched animal skin. (Fig. 1) This circle is then cut in a spiral pattern creating a long continuous strip. (Fig. 2).

Braiding involves using a pattern that is repeated over and over again. As you work through these design styles, try to recognize the different patterns. Once you understand the pattern, the braiding will be easier to do. Braiding is a difficult skill to learn, so remember to be patient.

Before beginning braiding, try these helpful tips:

• Take your time.
• Look closely at the illustrations.
• Read the instructions aloud.
• Label each string with a letter (as shown in the illustrations) on a piece of masking tape.

THE THREE STRING “HAIR” BRAID

If you have ever braided someone’s hair, you might recognize the Three String Braid shown in the illustration below.

Photo Credit: Justin McInteer, Autry National Center.

Start with a strip of leather that has been cut into three strings. (Fig. 1)

Begin by pulling string A over string B.

Next pull string C over string A. (Fig. 2)

Then pull string B over string C. (Fig. 3)

Repeat until completed.

Can you see the pattern? The outside string always crosses over the middle string.

THE FOUR STRING BRAID

The Four-String Braid is similar to the Hair Braid except for the addition of an extra string. You can use this braid to make beautiful bag handles and straps. Remember, labelling your strings with letters will help you through the braiding process.

Photo Credit: Justin McInteer, Autry National Center.

Start with a strip of leather that has been cut into four strings. (Fig. 1)

Begin braiding by pulling string C over string B and under string A.

Next pull string B over string D.

Then pull string D over string A as shown in Fig. 2.

Pull string B under string A.

Now pull string C over string D and under string B.

Then pull string A under string C as shown in Fig. 4.

Next pull string D over string B and under string A as shown in Fig. 5.

Now pull string C under string D.

Next pull string B over string A and under string C.

Pull string D under string B.

Now pull string A over string C and under string D.

Next pull string B under string A.

Now pull string C over string D and under string B.

Can you see the pattern? The string on the right is pulled under the string closest to it. Then the string on the far left is pulled over one string and under one string, stopping in the middle.

Practice your rawhide braiding and add some leather details to your handbag designs.

Technical Information Source: Autry National Center’s Museum of the American West

This design inspiration demonstrates how to make macrame bands in different styles. They can be used as bag straps, handles, or just for embellishment. Under each image is indicated what knot is need to make the band and colour-coded to show its manipulation.

I can envision this in a leather lacing or ornamental rope.

Photo Credit: Stefan

Filed under: Bag'n-telle, Design Inspiration, Design Techniques Tagged: design inspiration, do-it-yourself, macrame ]]> http://bagntell.wordpress.com/2011/11/30/macrame-bag-straps/feed/ 2 wkdesigner wristdsp macrame knots http://bagntell.wordpress.com/2011/09/07/designing-backpack-styles-2/ http://bagntell.wordpress.com/2011/09/07/designing-backpack-styles-2/#comments Wed, 07 Sep 2011 01:06:11 +0000 Don http://bagntell.wordpress.com/?p=1596 Continue reading →]]> Photo Courtesy of Millican

Back to school is just around the corner, and with all those new school supplies is often the most forgotten but most important part of a student’s back-to-school wardrobe – the backpack.

The simplest form of backpack, also known as a rucksack/knapsack, is a cloth sack carried on one’s back and secured with two straps that go over the shoulders and below the armpits. The shoulder is better suited for bearing heavy weights for long periods of time than the hand, so backpacks are often used for that purpose. Students these days are provided with more and more materials they need to bring on a regular basis. College and university students are often carrying laptops in addition to their daily course texts.

Modern backpacks and rucksacks are essential totebags for everyday use; whether it be for carrying your gym kit in, the student using a backpack for school or on your travels with your gear on your back; people use these packs everyday!  There are a wide range of rucksacks and backpacks of various sizes to fulfill your needs when on the move and are ideal for everyday use as well as during active use such as cycling and hiking.

When it comes to backpacking, size does matter. Mini rucksacks usually have around a 5 – 10 litre capacity.  These rucksacks are usually suitable for young kids to use as schools bags,  to carry sports gear, or simply to use as a lunch bag.  Small to medium sized rucksacks and backpacks are usually between 12 -15 litres and then 20 – 25 litres. This size is ideal for the older child or teen as a all-purpose carryall. Small rucksacks are the perfect size to use as school bags or lap top bags as well as useful for storing everyday gear or a gym kit in.  Medium size bags are just that extra bit larger to use for everyday use.   Medium to large size range of packs are suitable for long walks, hiking trips and treks or simply use as a weekend travel bag. All this back toting can mean a recipe for pain, so remember pack it light and wear it right.

Tips for designing and wearing the backpack right

Here are a few simple steps to provide for worry-free carrying through thoughtful design and styling.

1. Ideally, a properly designed backpack should include:

•     well-padded shoulder straps – the shoulder straps should be at least 2 inches wide and should not fit too snugly around the arms, straining muscles and affecting nerves.

•     a significant waist strap is always a plus – a hip strap or waist belt can take as much as 50-70% of the weight off the shoulders and spine. The waist belt will equalize the strain on the bones, joints and muscles.

•     compression straps to keep the pack tight together – on the side of the pack they help to keep a less full pack from shifting weight backwards and away from the body.

•     sized-to-fit the torso of the person (adult or child) wearing it – the top of the backpack should not extend higher than the top of the shoulder and the bottom should not fall below the top of the hipbone.

2. Properly weighted backpack should be:

•     designed to pack heavy items close to the body

•     bag capacity (volume) should hold no more than 15% of body weight for teens & adults and 10% for children

•     designed with lots of compartments to keep contents from moving around while walking

3. Properly worn backpack should:

•     have heavy items close to the body helps keep the weight close to the body’s center of gravity

•     be worn with both shoulder straps – slinging a pack on one side causes strain and a lean to the person wearing the pack

•     be put on with the pack on a table or desk – helps from straining the low back twisting to put on the pack

Here is a simple design to create based upon rucksacks of yesteryear.

“OLD SCHOOL BACKPACK”

Around campus or across the country, make the journey more beautiful with this vintage-inspired backpack.

Dimensions: approximately 14” high X 12” wide X 7” deep (35.5 cm x 30.5 cm x 18 cm) with grab handle with dual adjustable 17” (43 cm) shoulder straps for versatility and exterior flap and zip pockets at the front and sides.

Construction Method: Turned finish – this method may be recognized by noting the lack of machine-stitching that is visible at points of assembly on the exterior side of the bag. This is possible by placing the material, or parts, face to face, machining and turning right-side out. It is the most commonly used assembly process. Topstitching adds a decorative element while reinforcing all seams for durability.

Material Used: 100% cotton denim canvas, 54″ wide; trim: pigskin leather; lined-interior features a back wall zip pocket and front wall slip pockets, made of 100% cotton ticking.

You will need:

• 1 yd. (.90 m) canvas or upholstery weight fashion fabric, 54” wide (137 cm)
• 3/4 yd. (.70 m) heavy-weight lining fabric, 54” wide (137 cm)
• 1/2 pigskin leather hide for trim
• 3/4 yd. (.70 m) fusible interfacing, 60” wide (153 cm)
• 1/4 yd. (.25 m) transfer web, 36” wide (91 cm)
• 2 ¼ yds. (2 m) cotton/polyester webbing, 2” wide (50 mm)
• 8 metal grommets, ¾” dia. (20 mm)
• 2 metal zippers, 7” long (18 cm)
• 1 nylon zipper, 8” long (20 cm)
• 1 metal dome snap set, ⅝” dia. (15 mm)
• 2 metal buckles, 2” inner dia. (50 mm)
• 2 metal square rings, 2” inner dia. (50 mm)
• 1 metal O- ring, 2” dia. (50 mm)
• 2 connector rings for zippers, ¼” dia. (6 mm)
• 1 hook & loop fastener, 1” wide (25 mm)
• heavy-duty all-purpose thread
• double-sided mounting tape
• rotary cutter
• hole punch
• awl
• kraft paper

Design Tip: Match the hardware and zipper metals in colour and metal finish for a sleek unified look. Colour coordinate your choice of trim with the bag strapping to achieve further harmony in your design.

Pattern

The draft and formation of this backpack is based upon a simple flat grid, which fits into a square or rectangle, of which the size depends on the drafting scale.

** Add seam allowances to all pattern pieces, except pocket flap and bag flap.

Draft Body Pattern

Drafting scale = the depth of the bag; in this case, 7 inches (18 cm)

click to magnify

On kraft paper, plot a straight line vertically from A to B; AB = 2 X scale minus 2″ (5 cm).

Square (90 degree angle) a horizontal straight line from A to C; AC = 20″ (51 cm).

Square across from B and down from C to locate D.  ABCD is a rectangle.

1 from A = half the distance between AB; square across to locate 2.

3 from 1 = 2 X scale minus 2″ (5 cm).

Square up and down from 3 to locate 4 and 5.

6 from 2 = the scale

Square up and down from 6 to locate 7 and 8.

9 from 7 = 1/2″ (12 mm). Join point 9 to point 6 with a straight line.

10 from C = 1/2″ (12 mm). Join point 10 to point 2 with a straight line.

This is the pattern for the side lining. Label cut 2X lining.

11 from A = 1/2″ (12 mm). Join point 11 to point 1 with a straight line.

12 from 4 = 1/2″ (12 mm). Join point 12 to point 3 with a straight line.

Point 13 is located midway 11 and 12; square down to locate 14.

This is the pattern for the back section. Label cut 1X self.

The same draft may be used for the Front and Back Lining. Trace off and label, cut 2X lining.

click to magnify

Trace off the draft onto kraft paper.

15 from 6 = 2″ (5 cm). Join point 15 to point 2 with a straight line.

Cut on line 15-2 to create the Upper Side and Lower Side pattern pieces.

Label the Upper Side cut 2X self.

Label the Lower Side Cut 2X self and cut 2X lining (pocket bag).

Point 16 is located at the intersection of lines 1-2 and 13-14.

Point 17 = the distance between 1 and 16 minus 2″ (5 cm).

Point 18 = the distance between 16 and 3 minus 2″ (5 cm).

This is the placement line for the front bellow pocket.

Points 19 and 20 are located 3/8″ (1 cm) above points 17 and 18.

This is the placement line for the front pocket flap.

This completes the draft for the front pattern. Label cut 1X self.

Draft Bottom (Base) Pattern

On kraft paper, plot a straight line vertically from A to B;  AB = scale

click to magnify

Square (90 degree angle) a horizontal straight line from A to C; AC = 2 x scale minus 2″ (5 cm).

Square across from B and down from C to locate D.  ABCD is a rectangle.

1 from A = 1/2″ (12 mm).

2 from 1 = 2″ (5 cm).

3 from C = 1/2″ (12 mm).

4 from 3 = 2″ (5 cm).

Points 1-2 and 3-4 are the placement points for the connector ring tabs.

Point 5 is midway between B and D and marks the centerfront (CF) of the bag.

Draft Front Bellow Pocket Pattern

Trace off points 14, 16, 17, and 18 from Front pattern draft onto kraft paper.

click to magnify

Square down from points 17 and 18; and across from point 14 to locate A and B.

C-D is equidistant from 17-18; C-17 and D-18 = 1/2″ (5 cm).

E from 14 = 1″ (2.5 cm).

Square across from E to locate F at intersection of 17-A.

Square across from E to locate G at intersection of 18-B.

H from G = 1″ (2.5 cm).

I from F = 1″ (2.5 cm).

Join D-H and H-B with a straight line.

Join C-I and I-A with a straight line.

Draw a tangent line from G at a 45 degree angle.

J from G = 1″ (2.5 cm). Join J to B and H with a straight line.

K from F = 1″ (2.5 cm). Join K to I and A with a straight line.

This is the pattern for the bellow pocket. Label cut 1X self.

Mark placement location of hook & loop fastener (at center) about 1/2″ (12 mm) from point 16.

Draft Front Pocket Flap Pattern

Trace off points 16, 17 and 18 from Front pattern draft onto kraft paper.

Square down from 16 to locate L; L from 16 = 3/4 of scale.

Square down from 17 and 18; and across from L to locate M and N at the intersections of the lines.

Gradually round off the corners at M and N.

This is the pattern for the Front Pocket. Label cut 1X self and cut 1X lining.

Indicate the placement of the hook & loop fastener at center approximately 3/8″ (1 cm) above L.

Draft Top Flap Pattern

Trace off points 11, 12, and 13 from Back Pattern draft onto kraft paper.

click to magnify

Square down from 13 to locate P; P from 13 = scale amount + 2″ (5 cm).

Square down from 11 and 12; and across from P to locate Q and R at the intersections of the lines.

Gradually round off the corners at Q and R.

This is the pattern for the Top Flap . Label cut 1X self and cut 1X lining.

Indicate the placement of the clasp at center approximately 4″ (10 cm) above P.

Draft Drawcord Placket Pattern

Draw an oblong shape on kraft paper.

The length = 2 x (distance between 11 and 12 + distance between 9 and 10), from the body draft.

The width = 4″ (10 cm).

Label pattern, cut 1X self.

Cutting

Back and Front – cut 2X self; cut 2X lining

Upper Side – cut 2X self

Lower Side – cut 2X self; cut 2X lining

Bottom – cut 1X self; cut 1X lining

Bag Flap – cut 1X self; cut 1X lining

Front Pocket Flap – cut 1X self; cut 1X lining

Front Bellow Pocket – cut 1X self

Bag Placket – cut 1X self

Side Lining – cut 2X lining

Drawcord – cut strip 53” X 2” (135 cm X 5 cm) self fabric

Interior pocket – cut 2 squares lining, 11” X 11” (28 cm X 28 cm)

Assembly

Small Parts Preparation

Make shoulder strap from webbing. Cut 2 lengths of webbing 36 inches long (90 cm). Attach a buckle on one end of each length and turn-under the cut end. Stitch across the width of the strap to finish neatly. Set the pair aside.

Make drawcord. Cut a strip of fabric 53” X 2” (135 cm X 5 cm). With wrong sides together, fold strip in half lengthwise and press flat. Open strip and fold in long raw edges to the center of the fold. Press flat. Refold strip and stitch close along open edge. Set drawcord aside.

Make grab handle. Cut a length of leather using a rotary cutter (or x-acto knife) 12 inches X 2.5 inches (30.5 cm X 6.5 cm). Using an awl, score down the length on the wrong side of the leather. Place double-side mounting tape along the length of the leather strip on the wrong side. Peel off the paper coating from tape and fold the leather in half lengthwise. Machine-stitch (use a long stitch length) along the cut edge of the strip’s length. Set aside.

Make leather clasp. Cut 2 lengths of leather using a rotary cutter 8 inches X 1.5 inches (20 cm X 3.7 cm). On one of the pieces, make a centred hole using a hole-punch, 3 inches (7.5 cm)from one end of the leather strip. Attach the stud portion of the snap set (receiving end) and rivet into the hole, following manufacturer’s directions.

Place double-side mounting tape along the length of the leather strip on the wrong side. Peel off the paper coating from tape and place onto the other leather piece, with wrong sides together. Carefully round the short ends of the leather trim. Machine-stitch (use a long stitch length) along the perimeter edge of the trim.

On the end of the trim piece without the hardware, make a centred hole approximately 1 inch (25 mm) from the end and attach the remainder of the snap set, with the dome stem coming through the hole so that the socket is facing upward on the same side of the trim as the stud portion of the set. Set clasp aside.

Make ring tab. Cut 1 length of leather using a rotary cutter 6 inches X 3 inches (15 cm X 7.5 cm). Score along the length on the wrong side of the strip, 3/8-inch (10 mm) on either side. Place double-side mounting tape along the length of the leather strip on the wrong side. Peel off the paper coating from tape and fold the leather in half lengthwise. Machine-stitch (use a long stitch length) along the folded edge of the trim.

Wrap the leather trim around the O-ring and machine stitch across the trim’s width, as close as possible to the ring. Trim any excess from the backside of the leather. Set aside.

Click to magnify

Pocket & Bag Flaps

Iron on fusible interfacing to the wrong side of the front pocket flap and its lining piece. With face sides together, match and align the layers. Pin/baste along the straight edge of the flap and sew a scant 1/4-inch seam (6 mm). Press seam open.

Iron on transfer web to the wrong side of the exterior portion of the pocket flap, following manufacturer’s directions.

Center a 2-inch length of the hook side of hook & loop fastener vertically, on the face side of the lining portion, about 1/2-inch (12 mm) from the rounded edge of the pocket flap. Stitch in place.

Peel the paper coating from the transfer web and with wrong sides together, fold the pocket flap in half (on the seamline) and match/align the rounded edges. Fuse the two layer together from the lining side while working around the loop fastener. Stitch along the curved raw edge to secure.

Measure the curved edge of the flap and cut a 3/4-inch (20 mm) wide strip of leather equal to the measurement taken. On the wrong side of the leather, score down the center of its length and apply double-sided mounting tape. Peel off the paper covering from the tape and carefully wrap the raw edges of the flap. Machine-stitch in place using a long stitch length. Set pocket flap aside.

Repeat the same procedure for the bag flap except, instead of the loop fastener step on the interior lining, attach the leather clasp to the exterior portion of the flap once the bag flap is completed.

Set bag flap aside.

Front Pocket

Make up front bellow pocket. Turn under a 1/4 inch (6 mm) double hem along top of pocket piece. Press and topstitch down. Center a 2-inch (5 cm) length of the loop side of hook & loop fastener horizontally, on the face side of the pocket. Stitch in place along the completed edge of the pocket opening.

At each bottom notched corner, fold the pocket with face sides together and align seam. Pin/baste dart and sew each corner dart. Press seam to one side and topstitch along seam, face up to reinforce the darts. Turn under seam allowance and press flat. Set front pocket aside.

Click to magnify

Insert Zipper In Sides

Cut 2 strips of fabric, about 8 inches X 1 ¼ inches (20 cm X 3 cm) to make pocket welts. Fold each strip in half lengthwise, with wrong sides together, and press flat. With face sides up, align raw edges along side pocket opening and pin/baste in place. Stitch a welt to each the upper and lower side pieces. Grade seam allowances and press flat.

Next attach zipper in place using a zipper foot, but before doing so, modify the zipper head. In most cases, you will have available only a regular metal closed zipper to purchase. Using needle-nosed pliers, carefully remove the pull tab from the zipper head and insert a metal connector ring in its place. Cut a 12-inch (30 cm) length of leather 3/8-inch (10 mm) wide and loop it through the connector ring using a cow hitch knot. Repeat for the zipper on the opposite side.

To attach the zipper, center it along the welt of each side piece so that the zipper zips closed from the back of the bag downward to the front of the bag. Stitch in place.

Align and match the lower side lining piece to the outer edges of the lower side of the bag. Baste in place. Along the upper side welt, pin the zipper tape to the top of the lining and stitch together.

With face side up, topstitch along welt seams.

Repeat this procedure for the opposite side panels. Set both aside.

Insert Zip Pocket in Lining

Make interior zippered pocket. On the interior of the backpack, the lining on the back wall features a zip pocket. Start by ironing a strip of fusible interfacing to an edge of one of the interior pocket squares. Cut the interfacing 11” X 2” (28 cm X 5 cm) and fuse it to the wrong side of the lining fabric.

With face sides together, center the pocket lining onto the back lining portion, placing the pocket lining so that it aligns with the bottom edge of the back lining. Pin/baste in place. On the interfaced edge of the pocket lining, mark out an opening for the zipper about 1/4-inch wide (6 mm) and as long as the length of the zipper teeth. Stitch around this outline with neat squared corners, then slash through the middle of this outline and cut diagonally into each of the corners. Push lining through the cut opening and press opening flat to neaten. Align and center zipper face up behind the opening and pin/baste zipper in place. Topstitch around pocket opening to attach zipper in place.

From wrong side of the back lining portion, fold the pocket lining upward to meet with the top edge of the zipper tape. Pin/baste pocket lining to zipper and sew along the zipper tape to secure in place. Sew up each side of the pocket lining to create a “pocket bag” ensuring to stitch through the diagonal cuts at each end of the zippered opening. (see more about inset zipper method)

Attach Slip Pocket in Lining

Make interior slip pocket. On the interior of the backpack, the lining on the front wall features a slip pocket. Start by folding the remaining pocket square in half, with face sides together. Sew up each side of the pocket using a scant 1/4-inch (6 mm) seam allowance. Press seams open and turn pocket right-side-out; press flat.

With face sides of the fabrics up and the raw edges of the slip pocket facing upward, center-align the pocket onto the front lining portion, placing the folded edge of the pocket so that it matches with the bottom edge of the front lining. Pin/baste raw edge of the pocket in place. Stitch along the raw edge, using a scant 1/4-inch (6 mm) seam allowance. Trim seam allowance, if needed. Fold pocket up and press flat. Topstitch along the outer edges of the slip pocket leaving the folded side open. If desired, you can divide the slip pocket by stitching through its surface to create compartments for smaller items like cellphone, sunglasses, or wallet.

Lining Assembly

Iron fusible interfacing to the wrong side of the bottom lining piece, following the manufacturer’s directions.

With face sides together, pin/baste the base of the front and back lining sections to each long side of the bottom lining. Ensure that the zip and slip pockets are facing upward. Stitch each seam and grade seam allowances towards the front and back lining sections. With face side up, edgestitch the seam on the front and back interior portions.

Next, add sides to interior; match and align one side section to each side of the lining to create a bag. Pin/baste and sew up side seams. Press seams open. Set interior lining aside.

Bag Assembly

Iron fusible interfacing to the wrong side of the bottom bag piece, following the manufacturer’s directions.

Cut 2 lengths of webbing, 4 inches (10 cm) long. Thread each length of strapping through a square connector ring and fold webbing in half. Stitch across the width of the strap to secure ring neatly. Attach each ringed tab to one long edge of bottom section, face up, and approximately 2 ½ inches (6.5 cm) from each short end. Baste in place. Set bottom section aside.

Center the front pocket so that its opening aligns with the zip openings at the side of the bag (in this case about 6″ (15 cm) from the bottom of the front bag section). Pin/baste turned edges of the front pocket to the front of the backpack and edgestitch in place.

Next, attach ringed leather tab. Center the leather trim on the backpack front section, about 1/4-inch (6 mm) above the front pocket opening. Machine-stitch leather tab in place with the ring facing upward.

Add pocket flap by placing it lined side up, approximately 1/4-inch ( 6 mm) above the front pocket opening and ensuring that the cut end of the ring tab in sandwiched under the pocket flap to encase it. Double stitch along the straight edge of the pocket flap to secure in place. Fold down pocket flap.

With face sides together, pin/baste the base of the back exterior section to the long side of the bottom of the backpack, with the connector ring tabs. Stitch the seam ensuring to catch the tabs in the stitching of the seam. Grade the seam allowance toward the bottom section and on the face side, edgestitch along the seam on the bottom section.

With face sides together, pin/baste the base of the front exterior section to the long side of the bottom of the backpack. Machine-stitch the seam. Grade the seam allowance towards the bottom section and on the face side, edgestitch along the seam on the bottom section.

Add sides to exterior; match and align one side section to each side of the backpack, with the side zipper pockets positioned to close in the direction of the front of the backpack. Pin/baste and sew up side seams. Grade seam allowances. Edgestitch along side seam, on front, bottom, and back sections to reinforce the seam.

Click to magnify

Attach Placket to Bag Opening

Iron fusible interfacing to the wrong side of the placket piece, following the manufacturer’s directions.

Match and align the short ends of the placket, with face sides together. Stitch together to form a loop of fabric. Press seam open. Fold placket in half, with face sides out, and match up raw edges. Baste together and press fold. Edgestitch along the folded edge of the placket.

With face sides together, align and match placket to body of bag along the raw edges. Pin/baste placket to bag opening.

On back section of bag, thread webbing straps through the ringed connectors, then drawing though each buckle end of the strapping. Attach the cut end of the strap to the placket, approximately 4 inches on either side of center on the back section. Pin/baste in place.

Between the two webbing straps, place each end of the grab handle next to the webbing and pin/baste in place.

Sew around opening of the bag, catching the grab handle and webbing straps in the stitching. Turn the placket facing upward and edgestitch along the seam on the body portion of the backpack.

Mark a placement location 1 ½” (4 cm) on either side of each vertical seam (8 in total) in the middle of the placket width and insert grommets (2 on each side), following manufacturer’s directions.

Position bag flap along turned placket bottom edge, centred between the back sideseams, and double-stitch in place, through the seam allowance.

Finishing

Insert the lining by dropping it into the cavity of the bag. Align it so the interior zip pocket is on the back wall of the backpack and the side seams match up. Slipstitch top edge of lining to base of the placket to enclose the raw edge.

Lace the drawcord through the grommets and tie a knot at the ends of the drawcord.

When it comes to designing fashion accessories and finding inspiration, it is not always about the sewing machine. Sharpie ™, the marker people, have had a long history with celebrities and autograph seekers, but this year it’s all about the fans and the inspiring ways they are using their product, according to Sally Grimes, global vice president of marketing for Sharpie ™ . “This is about real people with an authentic passion for our brand – people who started something with Sharpie and, as a result, are getting a jump-start on making their own dreams a reality.”

DIY expert, author and creator of P.S. – I Made This, Erica Domesek’s creations are inspired by some of the biggest names in fashion. She has been featured in top entertainment and fashion media, and both her website and her book feature several Sharpie ™ DIY projects. In her video, Erica breathes new life into a standard-issue pencil case using new Stained by Sharpie™ fabric markers to create a chic purse.

“There is a story behind everything and telling a story and putting your own personal stamp on it, to customize something or personalize something, I think that is one of the cool things about making your own stuff.” Well said, Erica!

Take a look . . .

Sharpie Presents: Plain Jane to Stained

There is a whole branch of study in fashion design known as colour theory. This is a field that studies the colour spectrum as pertaining to the Principles of Design, including the effect it has on emotions and mood, and can be extremely valuable when trying to figure out the best colour scheme for personal self-expression. Retailers often make use of this as well, to increase in-house sales or to ramp up a person’s need to shop in retail settings. It’s a rather fascinating field of study that has a number of colour forecasters and trend followers dedicated to it. Nowadays, there are also endless sources that will help you learn more about colours and how they can help present yourself, such as the International Colour Authority™, Colourlovers™, and Pantone/Fashion + Home™ to name a few.

Think about it…you are more formal towards the person in a dark navy ensemble than to the one dressed in beige! Colour can affect our reactions to people. The effect is subtle but very real; colour sways perception, judgement and behaviour. It has the psychological power to influence emotion. Managing the impact of colour on our self-expression is smart considering that colour is one of the first things noticed about a person, particularly from a distance. It is far more than just wearing your “favourite” colour!

Each hue has a different psychological effect. Our body’s nervous and hormonal reactions to the magnetic energies of colours (their temperatures), and the way it physically senses and interprets colour visually, result in different emotional responses to the various hues. In other words, there is a specific psychological reaction to each colour. Because these feelings are due to the physical effects of colour on the body, everybody will have the same subconscious reaction, despite the fact that people have individual colour likes and dislikes. This is where colour in fashion accessories play a leading role in our overall personal fashion statement and self-image.

The emotional effects of colour can be used to psychological advantage in everyday life, particularly in designing your own creations, to improve communication and manage interpersonal relationships. It can even create a persona – a desired image. One of the easiest ways to employ colour psychology is through colour coordination of fashion accessories within our wardrobes. Wearing particular colours will influence the way others relate to you.

Hear are some tips on how to design to influence with colour. If you want to…

1. Appear friendly and approachable
Design with clear earth tones, light yellows and clear colours in warmer hues:

• Clear earth tones (in particular mid-brown, beige, camel and tan) are warm, friendly and approachable.
• Light yellow is highly visible and therefore sociable, but not as demanding as bright yellow.
• Clear warm colours (such as coral, sunflower yellow, peach) are non-threatening and open, particularly if they are light.

2. Look authoritative
Create using dark colours, in particular black, charcoal, medium to dark gray, midnight-blue, navy, dark blue:

• Appear stern and reserved. The darker the shade the more powerful, intimidating and threatening the effect.
• Create the impression of seniority.
• Create the impression of being in a position to make decisions.

3. Appear less intimidating
Design with natural earth tones, pastels, the colours yellow and pink:

• Earth tones appear friendly and approachable.
• Pastel colours are calm, gentle and non-threatening.
• Yellow appears positive and friendly.
• Bluish-pink is calming and appears non-aggressive.

4. Look Successful
Create using rich but subtle sophisticated colours (not strong or neon colours) such as camel, butternut, burgundy, salmon and blue-gray:

• Create the impression of having social influence and clout.
• Create the impression of prosperity and economic success.

5. Appear trustworthy
Design with clear earthy colours combined with navy or medium blue:

• Clear earth tones (such as tan, camel, yellowed beige) appear warm, open and down-to-earth giving the impression of dependability and credibility.
• Navy and medium blue suggest reasonableness and professionalism.

6. Appear professional
Create using medium to dark hues, in particular men’s traditional suiting colours: navy, charcoal, gray, dark blue, gray-beige, black in Asia:

• Appear serious and are therefore business-like.
• Suggest efficiency, strength and assertiveness.
• Give the impression of commitment and capability.

7. Attract attention
Design with bright, advancing colours such as orange-red, orange, yellow and lime that are visually and psychologically compelling (but not necessarily business-like).

• Bright hues are often seen as playful, energetic and used in sportswear/team colours.

8. Downplay attractiveness
Create using muted colours, dark shades, neutral colours and dull colours:

• Muted, dulled colours (such as stone, taupe, khaki) give the feeling of a lack of openness.
• Dark colours suggest reserve and seriousness.

• Neutral colours (black, gray, brown, white) lack character when worn on their own.

9. Appear creative and forward-thinking.
Design with strong clear pure colours, purples:

• Strong clear colours are expressive, extroverted and positive.
• Purple is the colour related to higher intellect.
• Purple is a rich “feel-good” colour.

10. Appear calm and reassuring
Create using pastel tones, greens:

• Pastel colours are unassuming, quiet and diplomatic, calmly deflecting criticism.
• Green is a balanced colour which gives the impression of peacefulness and orderliness.
• Muted warm colours such as earth tones are centered and down-to-earth.

Manage the impression you give. Change the way you are perceived and let others to see the positive qualities in you. Colour psychology is a simple but very effective tool to create or enhance your handbag designs!