Fabric Recommendations

Main Exterior Fabric

• 9–12 oz canvas, duck canvas, waxed canvas, traditional or dry oilskin, or denim with no stretch (see Fabric Types).
• Choose fabric with durability and your intended usage in mind: will it be exposed to the elements? Placed on the ground often? Stuffed with heavy books?
• Remember that your bag will be spot-clean only, so choose fabrics that won’t show dirt as easily.
• Sourcing: I prefer to order waxed canvas directly from Klum House. Modern Domestic and Bolt carry waxed canvas as well as Merchant & Mills oilskin. I’ve also had great experiences ordering oilskin online from Charlotte’s Webbing.

Accent (Exterior Pocket) Fabric

• You can use the same fabric as your main exterior fabric, or you can switch it up and use wool or a lighter weight cotton/linen/canvas.
• If you decide to use a lighter weight fabric for your exterior pocket, you will want to add structure by adding fusible woven interfacing such as Pellon SF101 and/or fusing the accent fabric to a piece of lining fabric with Pellon 805 or HeatnBond Lite (see Interfacing below).
• Cut the width of the pocket a bit wider than the exterior pieces to accommodate any shrinkage that may occur when you apply fusible interfacing. You can trim the fabric to fit your exterior fabric pieces afterwards.
• Using wool for your accent fabric:
• Sourcing: You can find beautiful small cuts of mid or heavy/blanket-weight wool at the Pendleton Woolen Mill Store. Some students have also ordered wool from Etsy.
• Wool is often reversible, so choose which face you’ll treat as right side.
• Wool has a lot of stretch and movement, so be sure to apply fusible interfacing to stabilize the fabric for easier sewing. The easiest option is to apply fusible woven interfacing such as Pellon SF101 to the wrong side of the wool. If you are using a mid-weight wool, another option is to fuse the accent fabric to a piece of lining fabric with Pellon 805 or HeatnBond Lite (I don’t recommend this for heavy/blanket-weight wool as it’ll become too thick to sew through). See Interfacing below for more info.
• Since wool is very thick, only apply it to one side of your bag to minimize bulk in the side seams.
• If using a mid-weight wool, you can finish the top pocket edge with a double-turn hem as usual. If using a heavy/blanket-weight wool, finish the top edge with a zigzag or serger to prevent fraying and then create a single-turn hem instead.
• Further reading: Klum House Tips for Bag Making with Pendleton® Wool
• If you choose to use a lighter weight fabric or wool (of any weight) for the exterior pockets of the Fremont, Oberlin, and Maywood, you may want to adjust the pattern so the bottom of your bag is made up of your more durable main exterior fabric. See the pocket expansion patterns for the Fremont, Oberlin, and Maywood (the Maywood has both wool and lightweight fabric pocket options). You may also wish to make this adjustment if you are using a very thick accent fabric to avoid having excess bulk in your boxed corners.

Lining Fabric

• 10–12 oz cotton, canvas, duck canvas, or denim with no stretch (see Fabric Types).
• The lining contributes shape and structure to the bag. If you use a lighter weight fabric than what is recommended, your bag will have a softer look and may not keep its shape or stand on its own.
• When comparing fabric options, remember that a tighter, finer weave will provide more structure and durability than a looser weave fabric of similar weight.
• If you’d like to use a lighter weight fabric for the lining, I recommend applying a fusible woven interfacing such as Pellon SF101 to add structure (see Interfacing below).
• Lighter color linings will make it easier to find things in your bag, but it’s also more obvious when they get stained or dirty. Keep in mind that your bag will be spot-clean only.
• Sourcing: Modern Domestic stocks canvas in a wide range of colors, but I prefer to use Klum House’s duck canvas.

Interfacing, Stabilizers, and Adhesives

Usage Tips

• Each of the products has different application instructions. Ask for the instructions when you purchase or check the manufacturer’s website.
• Consider cutting your interfacing slightly smaller than your fabric so you don’t add bulk within seam allowances or double-turn hems.
• Use a pressing cloth with fusible products to avoid melting adhesive onto your ironing board or iron.
• Some products tend to fuse easier when the wrong side is misted with a bit water before pressing—look for “damp pressing cloth” in the instructions.
• Waxed canvas and dry oilskin have enough structure that they don’t need interfacing. Remember that you cannot apply fusible interfacing to these fabrics because an iron will melt the wax!

Fabric Types

Canvas and Duck Canvas

Canvas is a plain woven (the weft yarn alternates over and under warp yarns) fabric usually made out of cotton, linen, or (historically) hemp. It is generally characterized by its relatively heavy weight and tight weave. Canvas is often made with thicker yarn made out of more fibrous parts of a plant, which contributes to its durability. Since canvas is plain woven, the right and wrong sides are usually indistinguishable unless it has a print.

Duck canvas is a type of canvas made with finer yarns that are densely woven with a double warp. The tight weave makes the fabric naturally resistant to water and abrasion and can even prevent dirt from penetrating and soiling the fabric. Duck canvas provides more structure than a regular canvas such as Robert Kaufman Big Sur Canvas.

Waxed Canvas and Oilskin

Waxed canvas is the original waterproof fabric and has been used by sailors for centuries. Waxed canvas is densely woven canvas (usually made from cotton) that is submerged in melted wax until saturated. In addition to making the fabric repel water, the wax coating also makes the fabric more durable to wear and tear. However, the coating is easily marked, so folds, creases, scuffs, and other signs of use will create a unique patina over time.

Waxed canvas is oily to the touch, but it is not very noticeable when used for bags and other items that aren’t right against your skin. You may wish to line bags made from waxed canvas to prevent oil transfer to your belongings.

Traditional Oilskin

In the U.K. (where Merchant & Mills is based), waxed canvas is often called waxed cotton or traditional oilskin. Don’t confuse oilskin with oilcloth, which refers to printed vinyl commonly used for tablecloths.

Dry Oilskin

I love the look and practicality of waxed canvas/traditional oilskin, but I dislike the feeling of wax all over my hands, legs, and machine after I sew with it. Merchant & Mills dry oilskin is a wonderful alternative to waxed canvas for folks with sensory sensitivities. The fabric is treated with emulsified wax that is sprayed on and heat processed to make it water-resistant. Unlike waxed canvas and traditional oilskin, it won’t transfer oils to your skin or the contents of your bag. Dry oilskin has a more matte appearance and doesn’t scuff, crease, or patina to the same degree as traditional oilskin/waxed canvas. The organic cotton dry oilskin is smooth to the touch, while the flax dry oilskin is textured and more malleable.

Tips for Waxed Canvas/Traditional Oilskin and Dry Oilskin

• Don’t wash!! This fabric is spot-clean only.
• You can hand wash dry oilskin, but doing so will change the fabric surface and you’ll need to be re-proof the fabric afterwards to make it water-resistant again, so I still recommend spot-cleaning when possible.
• Don’t press with an iron, or you’ll melt the wax off and ruin your iron. Use a seam roller, bone folder, point turner, or your fingers to press seams.
• Related: don’t apply any fusible interfacing or tape seams.
• You can use a cool iron on dry oilskin, but I find it’s less stressful to use one of the other pressing options above.
• You can use a hair dryer on low to try and reduce the appearance of creases and redistribute the wax a bit, but be careful not to burn the fabric.
• Since waxed canvas marks easily, you can use a Hera marker, point turner, or a butter knife to draw marks and lines instead of chalk. It’s also easy to mark center notches: just fold the fabric in half and make a crease.
• Pins will leave holes in your fabric, so be sure to place them within the seam allowance. Alternatively, use Wonder Clips or pattern weights to hold your fabric in place.
• Similarly, remember that the holes from your needle will be visible if you need to rip out a seam. You can try to rub the fabric between your fingers to reduce the appearance of the holes.
• Most double-sided tape for fabrics (such as Wonder Tape) doesn’t stick to waxed canvas. Double-sided leather tape has a stronger hold, but is best applied well within the seam allowance so you don’t sew over it and gum up your needle.
• Further Reading:

Klum House Essential Guide to Waxed Canvas

Klum House How to Clean Wax From Your Machine

Merchant & Mills OUR OILSKINS – THE INS AND OUTS

Denim

Denim is a type of twill woven fabric. Instead of the symmetrical over-under pattern that characterize plain weaves, in twill weaves the weft yarn goes over a certain number of warp yarns, then under a certain number of warp yarns (e.g., a 3 x 1 twill goes over 3 warp yarns and under 1). The pattern is offset on each row (pick) to create diagonal lines. Twills are also described by the direction the diagonal twill lines run on the right side of the fabric (e.g., right-handed or left-handed). The right side of the fabric tends to have a bit of a shine because the weft yarns are exposed for relatively long distances.

Traditionally, denim is a cotton twill made from warp yarns that are yarn-dyed (dyed before weaving) with indigo and weft yarns that are undyed or bleached. As dye technology has advanced, the category of denim is often broadened to include twills that are piece-dyed (dyed after weaving; often called bull denim) or garment-dyed (dyed after garment construction).

Like canvas, the cotton fibers used in denim are usually thicker and more durable that those used in other fabrics. However, the different weave patterns result in different fabric characteristics. The diagonal twill weave of denim makes it more breathable than canvas but also less water-resistant. Denim also has more drape than canvas and will soften more with use. Finally, denim is less durable and more prone to snagging than canvas because the weft yarns travel further distances before they are locked in place by warp yarns.

Notions

Needles

Needle Types

Different needle types have different shapes and characteristics that make them suitable for specific fabrics. Here are some types to consider for this project:

• Microtex (Sharps): thin, sharp point that is great for precise and tidy stitching; works well if you are using lighter weight fabrics than the Klum House bags were designed for.
• Jeans/Denim: reinforced ballpoint that can penetrate thick fabrics without breaking the fibers; reduces needle breakage and skipped stitches.
• Super Nonstick: anti-adhesive coating is helpful for sewing waxed canvas.
• Topstitch: large eye to accommodate heavier weight thread specifically for topstitching (but neither is required to topstitch).

Needle Sizes

Thread

All-Purpose Thread

• Use an all-purpose polyester thread for sewing machines such as Mettler Metrosene, Gütermann Sew-All, or Gütermann Mara 100. Polyester thread is stronger and more durable than cotton thread, which you definitely want when making bags!
• You will need at least one spool of thread to match your main fabric, but you may wish to bring additional spools to match accent and lining fabrics.

Topstitching Thread (Optional)

• For most of the Klum House patterns, you can do all of your topstitching with a single strand of all-purpose thread and the same needle you use throughout the bag construction.
• The Slabtown Backpack recommends using a topstitching needle throughout bag construction and switching between a single strand of all-purpose thread and one of two options for topstitching: you can either use two strands of all-purpose thread in your needle or switch to a heavier weight topstitching thread (my favorite is Gütermann Mara 70).
• If you choose to use a topstitching thread, be sure to use a needle that is at least size 90/14 or 100/16 so there is enough room in the eye of the needle to accommodate the thread. I recommend using a topstitching needle since they have a larger eye specifically for heavier weight topstitching thread.
• To avoid sewing machine tension issues, use all-purpose thread in your bobbin even when you have topstitching thread in the needle.
• Since waxed canvas will have visible needle holes if you unpick stitches, it’s important to experiment with topstitching on a scrap piece of fabric before you topstitch your bag. Try different combinations of needles, thread, and stitch lengths using the same number of layers you’ll be sewing over to decide what look you like best and/or what is easiest for your machine to sew.

Helpful Tools & Notions

• Fabric marker, chalk pen, or other temporary fabric marking tool that shows up on your fabric. Since waxed canvas and oilskin marks easily, you can use a Hera marker, point turner, or even a butter knife to draw marks and lines instead.
• Pressing tools: If you are using waxed canvas and oilskin, you can use a bone folder, Hera marker, point turner, or seam roller to help press your fabric instead of an iron.
• Point turner to turn corners inside out (you can also use a chopstick or the eraser end of a pencil).
• A hump jumper, Jean-A-Ma-Jig, or piece of folded-up cardboard/fabric to elevate and level the presser foot while sewing over bulky seams.
• Clover Wonder clips or small binder clips to hold bulky layers of fabric together.
• Glue stick or double-sided tape to temporarily baste zippers, pockets, labels, etc. in place so they don’t shift while sewing.
• Note that most double-sided tape (such as Wonder Tape) doesn’t stick to waxed canvas. Double-sided leather tape has stronger adhesive, but is best applied well within the seam allowance so you don’t sew over it and gum up your needle.
• Presser feet
• Regular: sew construction seams; install zippers with an adjusted needle position
• Edgestitch: stitch straight lines parallel to an edge or another seam
• Walking foot: prevent fabric from shifting when sewing multiple bulky layers
• Zipper foot: install zippers or sew alongside bulky seams

Prepare and Cut Your Fabric

• Your finished Klum House bag will be spot-clean only if you are using waxed canvas/oilskin and/or leather, so you do not need to pre-wash your fabric.
• You may iron any non-waxed canvas/oilskin fabrics to remove wrinkles that might cause cutting errors.

• It’s important to align the grainline of your fabric with the grainline markings (the line with arrows on both ends) on your pattern pieces. If you cut your bag pieces at an angle (off grain), the fabric may wrinkle, bunch, or twist awkwardly.
• For bag making, you can orient the grainline of your pattern pieces along the cross grain instead of the lengthwise grain, though I do try to cut matching pieces (e.g., the front and back of the bag) in the same orientation.
• Transfer any marks or notches on your pattern to your fabric pieces. Be careful not to notch any deeper than the seam allowance.
• Use a rotary or drive punch with a punching board underneath to punch holes for hardware on exterior fabric (see Tools & Hardware post).
• I recommend using a piece of masking tape to label your fabric pieces. I like to place my labels in the same spot (e.g., upper right corner on the wrong side of the fabric) so I can easily determine the orientation of the piece and the right and wrong sides. This is especially helpful when working with rectangles that are nearly squares so you don’t accidentally sew them the wrong direction!

Tips for Managing Bulky Seams

Klum House bags require managing heavy fabrics and bulky seams that can be difficult for some sewing machines. To create strong, consistent stitches, we must ensure our fabric feeds evenly through the machine. The presser foot and feed dogs work in tandem to advance the fabric at the appropriate speed and under the correct tension. Bulky seams act as speed bumps that interrupt the even feed and precise timing: if the needle is delayed even slightly, it won’t reach the bobbin hook in time to be secured by the bobbin thread, resulting in skipped stitches. If the presser foot is not level (e.g., it is trying to move onto a thicker area), it will not be able to advance the fabric properly or provide enough tension, which can cause uneven stitches. If the foot gets stuck, the needle will continue to sew in one spot, creating a thread nest/jam.

Here are some strategies that can help mitigate common issues:

• Use a fresh sewing needle that is appropriate for your fabric weight and change it if the machine makes popping noises or keeps jamming—this could indicate you are using the wrong size needle or that the tip of your needle is blunt or bent.
• Hold onto the tails of your thread for the first few stitches of each seam so they don’t get pulled down into the machine.
• Start sewing farther in from the edge of the fabric than usual so the feed dogs have more traction.
• Increase the stitch length (~3 mm) to make sewing over multiple layers of fabric easier and neater.
• Hold your work up so that it is on the same plane as your stitch plate to reduce the forces of gravity and friction that work against the feed dogs.
• Use a walking foot when sewing multiple layers of bulky fabric to prevent shifting.
• Use a seam roller or mallet to flatten bulky seams that you need to sew over. Place a piece of scrap fabric on top of your work so you don’t mark it with the mallet.
• Nest your seam allowances (i.e., press them in opposite directions) to reduce bulk at seam intersections.
• Try placing a hump jumper, Jean-A-Ma-Jig, or folded up piece of cardboard or fabric under the back of your presser foot when going over bulky areas. This will keep the presser foot level and working in tandem with the feed dogs to prevent thread jams.
• Sew slowly over bulky areas and be especially careful when transitioning between areas with different fabric thicknesses.
• Use a zipper foot with an adjusted needle to sew alongside a bulky seam without it getting in the way of the presser foot.
• Use the hand wheel instead of the pedal to manually advance the needle over especially bulky areas.
• Use the hand wheel to set the needle down into thick layers of fabric before pressing the foot pedal to help prevent skipped stitches due to timing issues.
• If you’re struggling to start a line of stitching next to a bulky area, try turning the fabric around, starting towards the middle of the fabric, and sewing in the opposite direction. Overlap stitches as needed to make a complete, secure stitch line.
• Try increasing your thread tension slightly when sewing thicker fabrics.
• If sewing boxed corners over bulky seams is too difficult for your machine, you can sew the boxed corners in two passes. Sew from each end to the stitch line, flipping the seam allowance out of the way without sewing over it. You will still successfully create a boxed corner even if the seam allowance is not sewn down.
• Draw in your seam allowance to serve as a stitching guide while you manage bulky seams and tricky transitions.
• Further learning: Klum House Sewing Machine 101 - Online Class

Keep In Touch

Thanks very much for reading! If you’d like in-person support and instruction, please sign up for my classes at Modern Domestic or reach out to schedule a private lesson. If you have any questions, feedback, or corrections regarding this post, please don’t hesitate to contact me!

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