Foreword

This book was co-written by two people with a shared passion for mending and teaching sewing skills. When Mary V Morton was presented with the opportunity to write Stitch It, Don’t Ditch It, she recognized its potential and reached out to Jeanna Wigger to see if she’d be willing to co-author. Despite neither of them having written books before (or even having met each other!), they both believed that this was a book that should exist and got to it. After months of online video meetings, an increasingly unwieldy shared Google Drive folder, so many tracking spreadsheets, gallons of tea, and countless conversations that wavered from ‘who on earth thought we could do this’ to ‘I think we’re really onto something here!’, Stitch It, Don’t Ditch It came into being.

MARY’S STORY

You might be wondering who I am to be writing a book on basic garment repair and to be honest I’m asking the same question. My journey to this book started early in 2019 because of a conversation with my son about the changes that he was making to his life to reduce his carbon footprint. I was surprised by the extent of these changes and realized that I needed to learn more about climate change.

I completed three online short courses run by Exeter University in the UK and was horrified by the extent of the damage already done and the increasing levels of carbon dioxide in our atmosphere. The final course outlined three actions that everyone can take:

Make changes to be more carbon neutral in your own life

Lobby big business and governments to change

Talk to people about the climate crisis to make them aware that we all need to be doing as much as we can as soon as we can

I spotted a volunteering opportunity with the SHRUB Coop, an Edinburgh-based zero-waste charity. It was running weekly drop-in sewing sessions where people could turn up with a garment they wanted to repair, get advice if needed, and access sewing machines and supplies. I signed up to help Tamsyn, who was running those sessions, and joined a team of marvellous sewing volunteers. When participants brought in something requiring repair I found it reasonably straightforward as I’d had a fair amount of experience of mending over the years. However, if they came in saying that they ‘want to learn from the beginning’ I found it more daunting. Luckily I found an online course run by Ros Studd of RepairWhatYouWear.com on how to teach core mending skills. This was invaluable and gave me the confidence to run a beginners’ sewing session for Sustainable Fashion Scotland at its second birthday party event.

The Covid pandemic, of course, got in the way of my mending fun and because my husband was more vulnerable this kept me away from indoor events for longer than most people. On a couple of occasions I sent a message round the Facebook group for residents in our block of flats to say that I was taking my sewing out to our communal garden and to invite anyone who wanted to join me for a chat to bring their sewing, knitting, crochet, or just themselves. This was the start of my considering mending outside to be a completely normal thing to do.

At this stage I read about Suzi Warren having set up a global network of street stitchers. She envisioned it as an act of gentle disruption that demonstrates the pleasure and necessity of garment repair in the era of fast fashion chains. This is achieved by taking your mending, a camping chair, and a chair banner saying, ‘stitch it, don’t ditch it’ and sitting doing your mending out in public, engaging with passers-by to explain what you are doing and why. I thought this was the perfect solution and was ready to join immediately – but in the absence of an Edinburgh group, I had to set one up and so Edinburgh Street Stitchers was born in April 2022. I also felt that if we were raising awareness about the negative impact of textile production and disposal on climate and the environment, we should also enable folks to buy less and wear their clothes longer by sharing clothing repairs skills on the streets and directing them to local and online resources to learn how to stitch it, not ditch it.

Setting up Edinburgh Street Stitchers started with me sending out information on social media to local groups that might have folks with similar interests to me (climate, sewing, and other handicrafts), letting them know what I was going to be doing and asking them to get in touch if they wanted to join me. I also made a spare chair banner that folks could borrow for their first outing. I was incredibly lucky to find some like-minded individuals willing to get involved. Initially we were street stitching once a month from April to October, but in our second year we realized that going along to local community events was a great opportunity too. We had started off in a city-centre street location but found that most people were busy rushing round on some errand or other and didn’t have time to engage. The seafront promenade at Portobello was our second venue; here people were wandering leisurely and we had better engagement. After this we mostly stuck to locations in parks for our events. Now when I’m talking to folks who are interested in what we’re doing and can sew, I ask them want to join our WhatsApp group so they can join in with future events. If anyone is interested in setting up a group where they live, I’m happy to provide advice. Annually the April street stitching events have been organized to coincide with Fashion Revolution Week. In 2024 we were delighted to co-host a Mend in Public Day with Fashion Revolution Scotland. Fashion Revolution campaigns for a clean, safe, fair, transparent, and accountable fashion industry. For more information see www.fashionrevolution.org.

So how did all this lead to this book? The National Lottery Community Fund interviewed me for a press release to highlight some of the benefits that have come about from its £150,000 funding of SHRUB Coop to make a sustainable lifestyle accessible to everyone. In May 2024, when this was released, BBC News sent a journalist to interview me and take photos then published a piece about Edinburgh Street Stitchers on its website. There was an immediate flurry of interest: first was a live interview for BBC Radio Scotland’s Good Morning Scotland show, then a TV interview on The Nine for BBC Scotland. The next morning I was on BBC Radio 5 Live Breakfast, then a few days later I was on BBC Radio 4 Woman’s Hour. This was followed by a request to organize an event for a Channel 5 film crew to interview Edinburgh Street Stitchers in a local park for its evening news programme. Thankfully things quietened down after that but I’ve done a few interviews with journalists since, so there may be articles still to be published.

One of the other outcomes was that Quadrille contacted me asking if I was interested in writing a book. This chance to share basic hand-sewing garment repair skills further afield seemed like too good an opportunity to miss but I knew it wasn’t something that I wanted to do on my own. I knew about Jeanna from having undertaken her ‘Winter of Care and Repair Challenge’ in 2023 and listening to a Check Your Thread podcast on ‘How to Triage Your Mends’. I approached Jeanna to see if she was interested and she very kindly agreed to co-author.

JEANNA’S STORY

I’ve been sewing, knitting, upcycling, and quilting my entire life and am passionate about the convergence of clothing and creativity with social and environmental issues. While exploring clothing repair over the past decade, I’ve learned how caring for our clothing is one way we can individually have an impact on global issues such as human rights and climate change.

Mending is not only an action that positively impacts our world, it’s also a great way to manage stress, relax, and express yourself creatively while channelling the natural human desire for resource acquisition (having the stuff we need to exist) away from consuming new things, using generational skills to care for our belongings. This wasn’t a sudden revelation, but a meandering path I’ve travelled most of my life. I sewed, doodled, and otherwise crafted my way through childhood on a tiny farm in rural Alaska in the 1980s and 90’s, influenced by a family of makers, doers, and make-doers. My mom taught me to knit; my dad taught me basic tool use. Grann-E taught me to crochet; my aunt taught me how to quilt. I didn’t realize until well into adulthood that learning these skills from my very own family members was a privilege that had become increasingly rare for my generation.

My journey of combining creativity and environmental action (although it was just normal life at the time) began in elementary school with a class project and a tote bag made from old jeans, and expanded in fits and starts from there. My college years in the mid aughts provided a hiatus from both creativity and global consciousness – during that time I was more concerned about my classes, work, partying, and buying cute clothes for partying (not always in that order). I still sewed and created things, but it wasn’t until I met my now-husband in 2011 that I started to steer back towards a life of awareness and action about my impact within the world. He was more environmentally minded than me at the time, and walked the walk by rebuilding vintage bikes, dumpster diving, emailing corporations to call out their shady behaviour, and making furniture from salvaged wood. These actions reminded me of my family’s values, and formed a pillar of our relationship.

In 2014, after I read an article about visible mending by Katrina Rodabaugh, my husband asked if I could use the technique to fix his favourite shirt. That first rough patch became another, and soon many more garments sported reverse patches with tiny rows of running stitches. The article also prompted me to make the first and only New Year’s resolution I’ve ever kept: to buy only second-hand clothes for a year. I started reading everything I could find about the textile industry, clothing history, clothing waste, and the environmental and social impacts of the fashion industry. Once I started learning I never again shopped the same way, instead prioritizing second-hand first, and purposefully supporting clothing companies that fitted my values on the rare occasions I bought new.

There is such joy and satisfaction in being able to fix something. Whenever possible, therefore, I’ve taken the opportunity to pass my skills on to others, whether at workshops, in exchange for pastries or favours, or simply under the condition that the person asking me to fix their shirt hangs out and lets me teach them. Many of these in-person activities started around 2019 and were put on hold during the lockdown phase of Covid-19. As our community moved back to in-person events, there was a clear increase in awareness and interest in mending as both skill development and a way to counteract the human-driven effects of climate change. Small mending businesses were popping up around the country, Repair Cafés grew in popularity, and many local organizations requested mending activities for community events, proving that many of us are eager to slow down, take responsibility for ourselves and our belongings, and connect with our communities. In this truly global society, one small, shared action can ripple out to have a much larger impact. In light of worsening human rights and the warming climate, minor daily actions such as mending are a small but consistent way to fight back against negative factors in the world. When the world feels overwhelming, doing something tangible with my hands feels like a win.

During the winter of 2020, I started ‘Winter of Care and Repair’ to provide some structure and meaning to days at home. This is a personal project in which I mend or maintain something in my home (usually clothes) every day between the winter solstice and spring equinox. Over the past few years, the project has grown with folks around the world developing plans to participate in their own way. Not only have I learned a ton about mending, I find that instead of making me tired of repairing things, it makes me want to do more. And the more you do something, the better you get at it. I’m still learning new things about clothing repair every time I fix something.

In fact, sharing what I’ve learned about mending through Winter of Care and Repair directly led to the opportunity to co-write this book. Mary heard my interview about mending techniques on a Check Your Thread podcast and reached out to me to ask if I was interested in co-writing a book about mending for folks who are new to hand sewing. Of course, the answer was an absolute ‘YES’. YES because we all wear clothes, all our clothes get damaged, and I am a firm believer that anyone who wants to fix their clothes should be able to do so – even if you’ve never picked up a sewing needle before in your life.

CHAPTER 1
Before you begin

Welcome, Future Mender! Stitch It, Don’t Ditch It is for you if you:

Can’t sew at all but want to be able to undertake basic hand-sewing clothing repairs

Have some hand-sewing skills but haven’t sewn for some time

Can sew but haven’t tried mending

Have some mending experience but want to learn more about how mending material and techniques can work together for long-lasting repairs

LEARNING SOMETHING NEW TAKES TIME

Sewing might feel unnatural at first. This is normal: you’re learning a completely new skill and it takes time for your brain and hands to sync up, not to mention to remember when and how to do these new things. Think about using a new computer keyboard or learning unfamiliar dance steps: it feels awkward for a while, until it just… doesn’t any more. That’s the point when you’ve developed muscle memory (just like riding a bike!), and your hands and brain can do what’s necessary without you having to consciously think about each step. That comes with practice, and the more you do, the better you get. And what better way to practise a new skill like sewing than to mend your clothes, when they’re already messed up anyway? You probably won’t make the damage any worse, so the stakes are pretty low but the rewards are high. The more you sew, the smaller and neater your stitches will become – and you’ll actually be able to sew AND BREATHE at the same time, without having to remind yourself!

HOW TO USE THIS BOOK

This book aims to teach you how fabric, stitches, and mending techniques work together so you can think critically to problem-solve each repair you’re faced with.

The first part of this book provides background information about mending, garment and fabric properties, and sewing supplies, setting the foundation to prepare to repair.

The second part opens with ‘Plan Your Mend’, which explains how to choose mending materials and techniques suited to your specific garment.

Next comes ‘Core Skills’, where you’ll learn sewing techniques to repair your clothes by hand, along with tips and troubleshooting suggestions for hand sewing.

Finally, we have step-by-step instructions for ‘Common Repairs’, organized by type of garment damage, which combine the information from the previous sections. Each common repair guide provides specific considerations for that type of garment damage based on what you learned in ‘Plan Your Mend’, then takes you through the repair with references to the relevant core skills.

We recommend that you start at the beginning and familiarize yourself with the whole book before using it to tackle your mends, especially if you’re new to garment repair or are returning to hand sewing and want to refresh your skills. The information is presented in a way that builds sequentially to provide an understanding of how fabric, materials, and techniques work together for long-lasting repairs. Our hope is that these skills will help you develop foundational sewing techniques that can be expanded through the bounty of more advanced resources already out there. Beyond just teaching you how to sew, we hope to help you understand why the stitches work the way they do, and to develop the critical thinking and problem-solving abilities that will increase your confidence in undertaking a wide range of garment and textile repairs.

A note on handedness

Most things in the world are structured for right-handed folks; there’s just no denying it. To be more considerate of our readers, regardless of handedness, we use the terms ‘dominant hand’ and ‘support hand’ in the instructions.

Illustrations accompanying each of the skills will show the right-handed perspectives, unless labelled left-handed for clarity.

If you prefer to see an illustration from the opposite hand perspective, either look at the image in a mirror, or take a photo of the illustration then flip the image horizontally.

Reasons to mend

We all wear clothes. Primarily, they’re shelter, a portable way to protect our bodies from the elements. But over millennia, clothes have evolved to be so much more: what we choose to wear and how we dress is an outward expression of who we are. Our clothes communicate our values, our social and cultural connections, how we want to portray ourselves. In today’s world, we have seemingly infinite options a click away, yet still find ourselves with ‘nothing to wear’. So why, with this never-ending fountain of new clothes, does anyone choose to mend the clothes they have?

This isn’t surprising (although you probably haven’t thought about it before), but mending has existed as long as there have been clothes – roughly 170,000 years. Historically, clothing was incredibly valuable, with even everyday garments being handed down between generations. Cloth was expensive and clothes took a long time to make, so they were made to last, carefully cared for, and repaired, until they no longer could be worn – then they were remade into something else. People learned to sew and repair their clothes as part of everyday life, and these skills, too, were passed between generations. Yet somehow, this millennia-old, innately human skill is no longer part of daily life for most wearers of clothes.

There have been a few resurgences of mending since the advent of modern clothing manufacturing. In Europe and North America, these moments have often been associated with counterculture movements – the hippies of the 1960s with patches and crocheted alterations, or the punk movement starting in the 1970s. Most recently, mending has been making a comeback in response to the social and climate impacts of fast- and ultra-fast-fashion. For many communities around the world, however, mending has always been an economic necessity, and not something they can choose to do for social, artistic, or political reasons.

TEXTILE WASTE

In recent decades, the global consumption of clothes has increased to unbelievable levels, but infinite consumption is not possible on a finite planet. Every year, hundreds of thousands of tons of textile waste are generated worldwide.

Mending addresses two potential sources of clothing waste:

Damaged clothing thrown away

Damaged clothing donated to charitable organizations, ultimately entering landfills through the global second-hand clothing trade

It’s clear that when clothes are thrown into the trash, they are headed for landfill, but ultimately so is 70%–85% of clothing donated to charity (thrift) shops. Donated clothing is sorted to determine what will be most sellable; clearly damaged clothes don’t usually fit that category and, because of the sheer volume of donated clothing, organizations can’t even consider repairing them. These rejected clothing donations enter a complex global trade system, with the vast majority ultimately crossing oceans to end up in landfills in Africa, Asia, and Latin and South America in a process known as ‘waste colonialism’. You can learn more about this topic through The Or Foundation, and other resources in the ‘Further Learning’ section at the end of this book.

Textile waste numbers are downright overwhelming. Many people are starting to understand that their clothing choices contribute to the current climate crisis through resource creation (growing plants and raising livestock for fibre causes deforestation), oil extraction (for synthetic fabrics), and disposal of clothing, and are seeking ‘sustainable’ options to purchase. Unfortunately, we cannot shop our way out of the climate crisis, so keeping our current clothing as long as possible is arguably one of the best ways to make an impact. A 2020 WRAP (Waste and Resources Action Programme) study suggests that keeping our clothes in active use for an extra nine months – rather than buying new items – can reduce our carbon, water, and waste footprint by an average of 30% – the biggest impact found among several methods of increasing sustainability in the clothing life cycle. When we mend our clothes, we avoid both throwing away our garments and needing to buy new ones, thus reducing the overall negative impact clothing has on the world. As Fashion Revolution founder Orsola de Castro notes, when it comes to clothes, maintaining, caring for, and repairing your own is the most sustainable thing you can do.

A CALL TO ACTION

Taking Orsola’s advice as a call to action, here you are, mending book in hand. You chose to pick it up for a reason: you’re curious, interested in learning something new, and want to connect with your clothes in a different way than before. You care about your impact on the world. Something has brought your attention to the idea that clothes can be repaired, that YOU can repair your clothes, and that small action can have an impact much larger than the hole in your garment. And you can make that impact with little more than your hands, a needle, and thread.

The reasons people choose to mend their clothes are as many and varied as the menders. For some, it’s utilitarian: their garment is perfectly usable, aside from a weak seam, wobbly button, or snagged thread. For others, it’s a desire to connect with lost generational skills, or relearn stitches they were taught in their youth. Others mend for sentimental reasons: perhaps they’re attached to garments because of where they came from, who wore them before, the memories of the garment, or simply that they’re functional and comfortable. Mending your clothes is also a way to honour the people who made them. Many people don’t realize this, but all clothes are sewn by humans: people not unlike us, sitting at a sewing machine, often in terrible working conditions and for very little pay. There are no sewing robots. Giving your clothes a longer life by repairing them is a way to show respect to the garment workers who made them, as well as the material resources that were used to create them. There’s also deep satisfaction in the experience of fixing a garment you thought was ruined, and joy at being able to continue to wear it. An interesting psychological phenomenon known as ‘the IKEA effect’ suggests that when we put our own work into a product, we perceive it to be more valuable. When we fix our own clothes, we deepen our connection with them.

Mending is also an excellent way to build community. As long as sewing has existed, people have gathered to stitch, sharing skills and stories, creating art, mourning losses, celebrating life, making political statements, and documenting everything from mundane daily life to the atrocities of conflict. Today, the Street Stitching movement brings people together with a common mission of demonstrating the pleasure and necessity of garment repair in the context of fighting climate and social issues related to clothing. Repair Cafés are popping up around the globe, and community groups are being established where people meet to share skills and knowledge about clothing repair and more. There might be one in your area, and if there isn’t yet, there are almost certainly other folks who would be interested in participating. You can find out more about Street Stitching and Repair Cafés via the resources in ‘Further Learning’.

BENEFITS OF HAND SEWING

We’ll say this many times: there are a lot of right ways to repair your clothes. This book will teach you how to mend your clothes (really, anything made of fabric) by hand. Hand sewing has many benefits, and there are very few situations in which sewing something by hand DOESN’T work. After all, for 42,000 years or so, people sewed things by hand before the invention of the sewing machine, so there’s clearly something to it.

Hand sewing is portable – you can bring your mending with you and be ready to repair right away with your portable ‘mending in public’ kit

There’s no need to purchase expensive supplies or machines. If you don’t already have the basic tools at home, you can easily purchase them (often second-hand!)

Once you understand a few essential sewing skills, you can repair almost anything made with stitches

It’s often easier to sew tricky areas of garments by hand instead of with a sewing machine

There are multiple documented cognitive, mental health, and wellbeing benefits of hand sewing. It can be a meditative and mindful task, bringing calm and peace to a busy life

Hand sewing links you to generational skills common to humans globally for thousands of years; thinking about yourself within the context of billions of sewists stretching back through time puts the madness of our current world in perspective

Mending is a creative opportunity to express your values and aesthetic, and mending by hand puts your unique stamp on your belongings – it’s a way to fight back against the current fast-paced consumption system of acquire-use-dispose by slowly and intentionally creating and re-creating instead of buying and tossing

Mending exists at the crossroads of creation, consumption, and sustainability, and is the perfect way to fight the urge to create or consume something new by recreating something that already exists. The spirit of ‘Stitch It, Don’t Ditch It’ is embodied by American creative Thom Gonzo, who has been wearing and mending the same threads since 2001. He has been sharing the #stitchitdontditchit message on social media as @dontditchitstitchit since 2017, proving that it’s possible to fight back against the systems of capitalism and consumption using the modest tools of one’s own hands, a needle, and thread. For Thom, and for us, mending our clothes is more than just a task: it’s a forever lifestyle choice that aligns with our values to leave a lighter imprint on the world.

Know your materials

Knowing the proper terminology for the parts of your garments and what those garments are made of is important to achieve a long-lasting mend. Whether you’re trying to explain what needs to be repaired or look up a technique online, you’ll likely have more success and get more specific information if you can clearly describe what’s gone wrong.

CLOTHING TERMINOLOGY

When you’re discussing how to do a repair on a garment, or explaining the damage to other folks, it’s useful to know exactly what bit of the garment you’re talking about.

ALL ABOUT FABRIC

As well as understanding the parts of your clothes, it’s also important to understand HOW the fabric is made, and WHAT it’s made from. This knowledge is essential when determining how you might mend your garment, because different types of fabric require different considerations for long-lasting repairs.

Fabric – also referred to as cloth, material, or textile – is sewn to create clothing. In the sewing world, the sides of most fabric are referred to as the right side (front) and wrong side (back).

Right side: the front of the fabric. The outside of the garment, perhaps with printed images or patterns on it. Think about how you always (well, maybe hope to) put on your clothes right-side out

Wrong side: the back of the fabric. The inside of the garment (inside out if your shirt is on wrong). Generally, any patterns are not as clear on the wrong side and plain fabric may be paler

Getting it right

Determining the right vs wrong side of your own garment will be easy since you know how to wear it – just take a close look at the patterns and textures in the fabric on the right and wrong sides. Determining the right and wrong sides of a piece of patch fabric can be trickier since you don’t have the garment for reference. So, once you have chosen a patch fabric that is the same construction and weight as your garment, compare both sides of the patch to the right and wrong sides of the garment to see which looks most like the outside. Sometimes, the wrong side of your patch fabric might be a closer match to the right side of the garment! If so, it’s fine to flip the patch fabric over so you get the look you’re going for on your repair.

Note the ‘V’s appear on the right side of knits, while the wrong side has rows of offset little rounded bumps. This is true for both heavy and lightweight knits; the only difference is the size.

Types of fibre that make up fabric

Many fabrics are made of a blend of two or more fibres. In this section, fabric is broken down by the type of fibre that it is made from.

Natural fibres

Protein-based

Fibre produced by an animal

Wool (sheep)

Silk⁺ (silkworm)

Mohair (angora goat)

Angora (angora rabbit)

Cashmere (cashmere goat)

Leather⁺ (animal hides)

Fur⁺ (animal hides)

+ Animal is harvested to produce this material

Plant-based

Cellulosic, or made from plant material

Cotton (cotton seeds)

Linen (flax plants)

Hemp (Cannabis sativa plants)

Ramie (nettle-type plant)

Jute (jute plants)

Human-made fibres

Cellulose-based

Plant fibre is broken down chemically then reconstituted as a filament

Modal (beech pulp)

Tencel (wood pulp, brand name Lyocell ®)

Acetate (wood pulp)

Rayon/viscose rayon (wood or bamboo pulp)

Synthetic

Made from petroleum products (plastic)

Acrylic

Nylon

Spandex (Lycra ®)

Polyester

Elastane

Faux fur

Pleather/vegan leather/faux leather+ (polyethylene, polyurethane)

+ In recent years, considerable progress has been made on creating leather alternatives from plants, including pineapple, apple, mushroom (not a plant, but still a non-animal-based textile), seaweed, and cactus. Currently, however, all plant-based leather alternatives include some type of plastic coating for durability

Fabric terminology

Fabric is broken down by its weight – so whether it is heavyweight and thick, or lightweight and thinner.

Fabric construction

This section covers how the threads are put together to make a fabric.

Construction types

Woven

Made from warp (foundation threads) and weft (horizontal threads), which are combined in various ways

Can be quite sturdy, depending on the type of thread it’s made from

NOT stretchy (stretch denim is woven, but has elastane/spandex added to make the fabric stretchy)

Garment examples: jeans/denim, collared shirts, trousers (pants)

Knit

Also called ‘jersey’ material

Made from interlocking loops of a continuous strand of thread or yarn, looks like little interlocking ‘V’s up close

Stretchy

Can be thick/chunky or very thin/fine depending on the thread or yarn it’s made from

Garment examples: T-shirts, jumpers (sweaters), athletic wear, socks, tights, and anything else that fits close to the body

Non-woven

Fibres bonded together by a chemical, mechanical, heat, or solvent treatment

Usually appears to be one solid material, often without a defined pattern in the fibres on close inspection

Examples: net, felt, interfacing, waterproof outerwear, leather, and pleather/vegan leather

Weight

Refers to the thickness of the cloth

Measured in grams per square metre or ounces per square yard

Weight affects drape (how the fabric lays on the body) and durability

Grain

Also known as grainline – refers to the direction of threads in a woven fabric, so either warp or weft. A woven fabric will generally not stretch in these directions

‘Bias’ is the diagonal direction at a 45-degree angle across the grain; woven fabric pulled ‘on the bias’ will stretch a little bit

Stretch

In knit fabric, this refers to how much the fabric will stretch when pulled in various directions. The type of stretch is determined by how the fabric was knitted. There are two kinds of stretch fabric:

Two-way stretch (cross-grain), like a T-shirt, that stretches across the width, but not much top to bottom

Four-way stretch, like athletic pants, that stretch top to bottom and across the width

Mending kit

All you really need to start mending your clothes is a needle and thread. With these two items, you can accomplish a surprising variety of repairs, and by adding a few other tools, you can tackle all the mending techniques in this book. That’s one of the neatest things about mending by hand: you probably have many of the tools you need to get started in your home now. If you don’t, most are available in charity (thrift) shops or local stores such as supermarkets, dime stores, fabric or haberdashery (notions) shops. While there are high-end sewing supplies, there’s no need to buy expensive machines or fancy tools to become a competent mender.

THE BASICS

As time goes by, you’ll build your mending kit to suit the garment needs of your home – and maybe even have a portable mending kit for quick repairs on the go.

Needles

Different needles suit different types of fabric, but to begin with you’ll only need a couple of sharps (a sturdier one for thick fabric such as denim, and a thinner one for lightweight fabric), and a tapestry or darning needle for yarn. Buy a basic variety pack to test out what you like and add others as needed. See ‘Plan Your Mend’ for more information. The different types of needles are:

Sharps – general purpose hand-sewing needles, with a sharp point, thin diameter and round eye, making them a good all-around needle. They come in various lengths and diameters. You’ll develop a preference the more you sew

Embroidery (crewel) – less pointy than sharps, with a longer oval eye that is easier to thread with multiple strands. A thicker embroidery needle can work well for mending denim

Ball point – similar in size, shape and eye to an embroidery needle, but with a round point. Great for sewing lightweight knits such as T-shirts and base layers, the rounded point slides between the knit stitches in the fabric instead of splitting them (like a darning needle, only tiny)

Sashiko – a strong, longer needle with a narrow eye specifically designed to sew Sashiko thread through woven cotton fabrics, such as denim. If you’re interested in adding these to your kit, it’s worth investing in some from a Japanese Sashiko producer

Tapestry – has a long eye and blunt tip; for mending purposes, they are good for sewing chunkier knit fabrics. The blunt point reduces splitting or snagging the yarn of the garment

Darning – a larger needle with a large eye and blunt tip, specifically designed for sewing knitwear

Leather – thicker needles with a triangular point that passes more easily through thick fabrics such as leather, pleather, and vinyl

Curved (upholstery) – curved, half-moon shape and helpful for sewing items where you can only access one side of the sewing surface, such as a couch cushion, the top layer of leather on a boot, or an overstuffed soft toy

Thread/Yarn

Ideally choose a thread that is made from the same fibre and is the same weight (thickness) as your garment. If you don’t have the exact colour but want a more subtle repair, use a darker rather than lighter thread. The basics to get started are:

All-purpose sewing thread – black, white and navy is a good selection to start with along with the most dominant colours in your wardrobe; polyester thread is strongest, but if your garment is a natural fibre, investing in a matching cotton or linen thread will still allow the garment to be composted at the end of its life without plastic pollution

Stranded embroidery thread (floss) – six strands of cotton thread that can be split and used individually or as two, three, four, five strands or full thickness, to give different design looks; embroidery floss is not particularly strong, so is best used for decoration instead of sewing on a patch or repairing a seam

Thick (buttonhole/top stitch/strong/upholstery) – very strong, useful for repairing bag straps and sewing on buttons

Yarn – a variety of different weight yarns made of the same type of fibre as your knitwear (wool, cotton, linen, acrylic)

Fabric scraps for patches

Scraps can be from old ‘donor’ garments that are no longer fit for wear or repair but have areas of intact fabric that can be used in smaller pieces. Consider sharing or swapping donor clothing fabric scraps with your mending friends, since one garment usually yields more scrap fabric than one person reasonably needs for most mends. This makes resources go farther and keeps your own stockpile at a manageable level.

Denim, cotton, T-shirt material, outerwear and gear material

Material of various weights and colours

Pins

Safety pins or straight pins – you’ll probably develop a preference the more you mend, but both are handy

Scissors/thread snips

Large pair of straight scissors

Small scissors/thread snips

Seam ripper

To unpick seams and remove stitches

OPTIONAL BUT USEFUL

You can add these supplies to your kit over time as you need them.

Needle threader

Beeswax or a bar of soap – to strengthen thread and reduce friction while pulling thread through fabric (particularly useful for denim repairs)

Ruler/tape measure

Pinking shears

Pencil/chalk/fabric marker

Thimble – to push the needle through dense fabric and protect your fingertip

Needle nose pliers – to pull the needle through dense fabric such as denim and useful for zip repairs

Darning egg – or apple, ladle, plastic ball, small jar, lid of a jam jar covered in masking tape to reduce slipping, deck of cards: you get the idea – items to stabilize your stitching area (particularly for knits). Choose something that fits comfortably in your hand

Scraps of cardboard – or a thin book, sized to fit into the leg or arm of garments, to prevent from sewing into the other side of the garment

Pin cushion – to organize your pins; you can also use a scrap of fabric, but there’s a joy in making and using your own pin cushion

Needle book/case – to organize your needles; again, you can use a scrap of fabric instead but it’s fun to make and use your own

Fabric tape (aka sail tape, spinnaker tape, Tenacious Tape) – flexible fabric-like material with an adhesive backing specifically designed to adhere to fabric; useful for repairs on synthetic fabric outerwear (such as puffer or waterproof jackets) and available in most outdoor gear stores or online

Duct tape, gaffer tape, or even a plaster (Band-Aid) – can work to patch a small hole in a pinch

Crochet hook – in sizes to match the weight of your garments’ yarn

SPECIALITY THREADS

These serve more specific purposes and are nice additions to a thorough kit.

Perlé (pearl) cotton – a shiny, thicker thread used as one strand (not separated like embroidery floss), comes in different thicknesses

Sashiko thread – strong cotton thread produced with a specific twist that binds to create sturdy stitches during the Sashiko stitching process; a durable thread that is great for stitching denim. If you want to add this to your kit, it’s worth investing in thread from a producer in Japan

Lace crochet yarn – usually cotton, a fine yarn that is good for sewing denim; not as strong as Sashiko thread but is readily available and often found second-hand in charity (thrift) shops

Woolly nylon thread – traditional sewing thread made of a blend of nylon strands, which gives it elastic properties that make it great for sewing stretchy fabrics and flexible technical fabric, such as that on trainer (sneaker) uppers

CHAPTER 2
Plan your mend

While there are many right ways to repair your clothes, understanding how the garment fabric, materials, and stitches work together results in a longer-lasting repair. It’s so frustrating to spend time fixing something only to have it fit differently or fall apart after a couple of wears or washes. We believe that two of the most important aspects of a long-lasting repair are choosing the right materials and an appropriate stitch technique. These guiding principles apply no matter what you want your mend to look like: visible and creative, or subtle and hidden. This information is based on our experience, trial and error, and the knowledge of generations of menders who have repaired things before and alongside us.

Before you jump in

It’s important to note that you might not want to tackle every mend on your own and by hand: there will be occasions when taking a garment to a professional is best, especially for garments of high cost or sentimental value. Therefore, it’s a good idea to familiarize yourself with local or postal repair and alteration businesses. Once you understand the time and skill required to mend clothing, it’s easier to appreciate the cost of such repairs.

The flowcharts in this section will guide you as you plan each mend.

*Needle felting isn’t covered in this book, but there are many tutorials available online.

PLAN YOUR TIME

How long you need to complete your repair will depend on its size and your own experience, so bear in mind that the guidelines below are general and may vary. The bigger or more decorative the mend, the longer it will take. More stitches = more time.

Half an hour or less

Gotta get this back into rotation as fast as possible! The wedding party is waiting, your child can’t sleep without teddy tonight…

No flair repair. Choose the correct repair and make it simple, with the minimum of embellishment. Button replacements, tiny holes, and most seam repairs fit this category.

Lightweight woven: patch, needle felt

Heavyweight woven: patch

Lightweight knits: patch, needle felt

Heavyweight knits: darn*

One to two hours

One to work on while listening to a podcast, watching a movie, or binging a few episodes of a series.

Add some details! Or choose a darn for small holes in lightweight woven or knit fabric.

Lightweight woven: patch or darn

Heavyweight woven: patch

Lightweight knits: patch or darn

Heavyweight Knits: darn

As many hours as it takes!

This is to be a ‘menditation’, a serious labour of love, and you really want to get involved. Projects for when you start mending in public on your work commute, so have lots of time ahead of you, OR for when you start watching *insert binge-worthy show here* so are settling in for a while.

Add a lot of details to a smaller mend. Larger or more complicated mends may take a few hours just because of their size. It’s important to consider this when you get started, so you know what you’re in for.

Lightweight woven: patch or darn

Heavyweight woven: patch

Lightweight knits: patch or darn

Heavyweight knits: darn

*Darning often takes significantly more time than a patch, so consider this when looking at the size of the repair.

THE MATERIALS

Choose fabrics and yarns that are similar to your garment both in their care (machine or hand wash, drying, ironing heat) and their function (how thick or thin, woven or knit). Situations where it is particularly important to consider how mending materials and garment work together for a successful and long-lasting repair include:

Is the garment machine washable? Choose materials that are also machine washable – this is key with delicate fibres such as wool and lace

Do you iron this garment? If so, choose mending materials that are made from the same fibre type to avoid accidentally burning a synthetic fibre mend if ironing at a higher heat on a natural fibre garment

There are more details about types of fabric in the ‘Fabric Terminology’ and ‘Mending Kit’ sections.

Additionally, try to use thread or yarn that is a similar thickness and content to the thread the garment fabric is made from. Using thread that’s thicker than the garment fabric will result in a bulky repair – which is absolutely fine if that’s the look you want, but disappointing if you were expecting the repair to blend with the original fabric.

**Choose a yarn that is the same thickness or a little thinner than the garment yarn.

NEEDLES

You’ll also want to choose an appropriate needle. While a needle with a large eye is easier to thread, the large eye can damage or make holes in thinner fabric, so consider the garment fabric first when picking a needle. Generally, you’ll use the same type of needle for one garment whether you’re patching or darning it. The ‘Mending Kit’ section has more information on needles.

THE STITCHES

You’ll want to use a stitch that ‘works’ with your garment’s fabric. A stretchy, flexible stitch is better suited for stretchy knit fabrics, while stitches that don’t flex are strongest for repairing woven fabrics. In the ‘Core Skills’ section, you’ll find detailed instructions for the stitches we find suitable for repairing almost anything that can be sewn by hand. The chart below gives an overview.

Several types of stitches can work for a woven fabric, as long as you prepare the fabric to stop the edges from fraying by creating a hem or cutting with pinking shears. Your stitch choice will be based more on the look you want for your repair.

For knit fabrics, it’s more important to choose a stitch that flexes with the fabric – especially if the repair is on a high-strain area, such as the knees, elbows, heels, or cuffs.

Woven fabrics
Knit fabrics

Examples
Jeans, trousers (pants), blouses, button-up shirts
T-shirts, jumpers (sweaters), sweatshirts, leggings, tights, sweatpants

Important considerations

Prepare the fabric so the edges don’t fray

Choose a strong stitch

Lightweight knits (except tights) are less prone to fraying, so edges don’t require as much care when mending

Chunky knits and tights can run, so edges need to be secured when mending

Choose a flexible stitch

Suitable stitches
Hand stitching and patches: running stitch, whip/overcast stitch, blanket stitch, back stitch, herringbone stitch, ladder stitch, parachute stitch

Darning: woven darn, bias woven darn

Hand stitching and patches: back stitch, whip/overcast stitch, blanket stitch, herringbone stitch, parachute stitch (for slashes)

Darning: woven darn, bias woven darn, blanket stitch darn

Regarding the rules

Once you understand how fabric and stitches work together, you can learn how to creatively break the rules in ways that won’t impact the function of your mends. This comes with time, practice, and informed trial and error.

APPEARANCE OF A MEND

There are so many ways to securely repair a garment. The outcome will depend on a lot of different things, for instance: your skills, the amount of time you have to complete the repair, the look you want (artistic/visible/statement versus invisible/professional/lowkey), when/where the garment will be worn after mending, and who the mend is for. There are probably infinite ways to design the appearance of a mend, but here we have grouped them as ‘visible’ or ‘subtle’, with an overlapping category of mends we call ‘hidden in plain view’.

Visible

Draws attention to the mended area (and therefore the story of the damage) through use of contrasting coloured fabric or thread

Offers an opportunity for bold creative expression and proclaims, ‘this garment has been mended!’ at a glance, starting conversations about clothing repair

Is a great place to start when you’re new to mending because there is more flexibility for using larger stitches that will help you develop your sewing skills

Subtle

Is lowkey, sometimes nearly invisible, depending on the skill of the mender. Is not possible on every kind of garment damage

Still offers plenty of opportunities for creativity, because the mender needs to carefully consider the interplay of repair techniques and materials to hide the mend

Becomes easier the more you mend. The better you get at working with fabric, needle, and thread, the more subtle your mends will be (when you want)

Hidden in plain view

Uses careful planning to make the repaired area look like an intentional design element, as if it were supposed to be there

Allows for creative thinking and problem-solving to come up with design ideas for truly unique repairs

Might involve adding more patches/darns/decorative stitching beyond the damaged area to ‘hide’ the repaired area by integrating it into a larger design

Today, visible mending is making its way into the mainstream once again. We say ‘once again’ because there have been examples throughout the history of wearing and fixing clothes when an intentional visible element has been predominant, both out of choice and necessity. Choosing to repair and wear clothing with an obvious mend is a way some folks make an overt statement that expresses a creative perspective, opposes an aspect of society (capitalism, social norms, ‘proper’ expectations), or identifies an individual as a member of a social group.

Other individuals choose not to wear clothing that has been obviously repaired. This might be because of style preference, job requirements, lifestyle, or any other number of reasons. Perhaps, for some, it may not be a choice as such but a decision based on social perceptions of how some people see others who identify with a given group. Since our clothing is our outward expression to the world, we choose what we wear (at least in part) based on how we want to be perceived. For some, a visibly mended garment just isn’t going to portray them in a way they are comfortable with. There is no one right way to wear clothes, and no one right way to mend them. The best way to fix your clothes is the way that feels best for you.

A preferred mending style

Most of us develop a preferred mending style, and end up with a combination of subtly, visibly, and hidden-in-plain-view mended clothes. With each repair, consider:

Do you want this repair to be visible?

Does it matter if it looks tidy or not?

What colours do I prefer?

How do my skills match up with my expectations for this mend?

When do I wear this garment? To work? Relaxing at home? Running around with kids or pets? Special occasions?

Ask yourself these questions when you take on each repair. Naturally, if you’re mending for someone else, you’ll want to ask them for their input. This is true for children and adults: we’re all much more likely to wear our mended garment if the repair fits our style and is suitable for how and where we wear our clothes.

The more you care for your clothing through mending, the more you’ll see the story of your efforts in your closet and wear those efforts every time you get dressed. A shirt might start out with a seam repair then a subtle mend on the hem, then evolve towards larger/more visible mends as the garment becomes more worn. Mending is like gardening: it’s never finished; there’s always some sort of task to be done to keep the garden thriving, just as there is always a bit of care and repair to be done to make your clothes last. And by proudly wearing your mended garments, you’re part of the growing number of people who make a creative, environmental, and political statement by wearing mended clothes in their everyday lives.

CHAPTER 3
Core skills

Just as there are a lot of right ways to repair a garment, there are also a lot of right ways to sew by hand. This is the beauty of a generational skill such as hand sewing: skills are passed down between family and friends, and the specific techniques can vary quite a lot depending on how each person was taught. If you have learned and like a different method for a technique in this book, do it that way! These instructions are based on our own experience as sewists and teachers of sewing, but that doesn’t mean they are the only or right ways to sew. We, too, are constantly learning new techniques, tricks, and tips to add to our toolkit of sewing skills.

NOTES FOR SUCCESSFUL STITCHING

Go slow. They don’t call hand sewing ‘slow stitching’ for nothing. Feel the thread as it slides through the fabric and through the fingers of your support hand on the back of the fabric. Watch how the fabric bunches up if you pull the thread too tightly, and how the thread leaves loops if it’s not tight enough. You’ll learn what sewing should look like and feel like by paying attention to these things. With time, you’ll be able to tell that a stitch wasn’t quite right just by how the thread feels as you pull it through the fabric.

Hold the needle in your dominant hand, and the fabric, patch, or button you’re sewing in your support hand. The more you sew, the more natural it will feel.

Because you hold the needle in your dominant hand, you’ll stitch across your body towards your support hand. When changing the direction of your stitches, turn the whole garment or fabric so your stitching hand stays aligned, instead of turning your wrist.

Your thread should never be more than about 46cm (18in) long (or a little shorter than the length of your arm). Longer threads tend to tangle more often and cause frustration. When sewing a long section, you may need to use multiple threads.

Secure your thread on the back of the fabric/inside of the garment when you start and stop sewing, to hide the thread ends.

Stitches should generally be between 3–6mm (⅛–¼in). If you’re sewing around a curve, make them a little shorter for a smoother curve.

Try to keep your short thread tail about half the length of the long thread tail. As you sew, you’ll need to move the needle up the thread to avoid sewing the short tail into the fabric. If you notice two threads coming out of the fabric, that means you sewed the short tail in. Gently tug one strand then the other to find the loose tail, then pull it out of the fabric and keep sewing.

You won’t need to master all the stitches in this book; running, back, herringbone, whip, and ladder stitch, and sewing on buttons will allow you to tackle most of your mends.

TROUBLESHOOTING

Be careful not to pull your stitches too tight (causing the fabric to bunch up). If this happens, lay the fabric down flat and gently smooth the fabric towards the needle.

Check the back of your work to make sure there are no thread loops or tangles back there. If there are, gently tug at the thread to tighten those loops up. Also check to make sure you haven’t accidentally sewn through another part of the fabric that got in the way.

Unless sewing through several layers of thick fabric, sewing should not require brute force. If you’re pulling the needle hard enough to leave marks on your fingers, something probably isn’t going right – there may be a knotted thread, or the needle isn’t right for the fabric.

Sometimes threads tangle and form little slip knots while you’re sewing. To untangle them, put the tip of the needle into the loop formed by the knot and gently pull the tip of the needle away from the knot. This type of knot should slide down the thread towards the end of the loop and untangle if pulled this way.

Threading a needle

Even though it seems simple, needle threading can be challenging, and having trouble can make you feel stuck before you even start sewing! Just like calculators exist to help us do maths, needle threaders exist to help us with this step so we can get to the fun part of sewing. But while we’ll cover needle threaders, it’s also worth trying to master threading a needle by hand, in case you lose or break your threader or don’t have one at hand when needed. The more needles you thread, the easier it’ll get, and getting the thread onto the needle is an important part of sewing that can’t be skipped.

You will need:

Needle

Thread

Scissors

Bar of soap or beeswax (helpful)

Prepare the thread

Trim the end of the thread or yarn so it isn’t frayed.

Dampening the end of the thread makes threading easier. You can dampen your fingertips with water then pinch the thread, or put the end of the thread between your lips to dampen it very slightly with saliva. Alternatively, you can slide the end of the thread over a piece of beeswax or bar soap before threading it.

Threading a needle by hand

Threading a needle with one strand of thread is a common way to sew most things, and allows you to remove the needle and unpick a stitch if you make a mistake. A double strand of thread is used to sew things that need stronger seams, such as a backpack strap, tote bag handle, or button. With doubled thread, you can’t accidentally drop or lose your needle, but if you make a mistake, the threads must be cut to remove the needle and unpick the stitches.

Cut a length of thread about 30cm (12in) long, or from your fingers to your elbow. Hold the needle in your dominant hand with the eye upward and the thread in your support hand.

Pinch the tip of the thread between the index finger and thumb of your support hand with just the tiniest end visible, then gently slide the eye of the needle back and forth over the end of the thread until the thread catches in the eye.

Unpinch the tips of the fingers holding the thread, allowing the thread end to pass through the eye.

Keeping the needle in your dominant hand, pull the thread end further through the eye.

If sewing with a single strand (most sewing situations) pull the thread through the eye so there is a long tail on one side and a short tail on the other side. Make the short tail about half the length of the long tail. If sewing with a double strand, pull the thread through so the ends are even.

Threading yarn or embroidery thread (floss)

When threading a needle with a thicker strand, prepare the yarn or embroidery thread before you thread the needle by first creasing the strands OVER the eye of the needle. See here for how to choose a suitable needle for your repair that works with your yarn/thread. Afterwards, follow the steps on the previous page for ‘Threading a needle by hand’, with this change at Step 2:

Hold the needle in your dominant hand and the yarn in your support hand. Fold about 2.5cm (1in) of the end of the yarn tightly over the eye of the needle, then pinch it between the index finger and thumb of your support hand.

Keep the yarn pinched securely in your support fingers while removing the needle. Continue from Step 3, by threading this folded loop through the eye as described.

Using a needle threader

While it’s important to learn to thread a needle, needle threaders are nifty bits of technology that help with one of the trickiest parts of sewing. Wire loop needle threaders are inexpensive and readily available; many basic mending kits include them. They work with a variety of different needles and thinner threads, but the downside is that they can be fragile and break easily, especially when trying to thread thicker strands.

You will need

Needle

Thread

Scissors

Needle threader

Cut a length of thread about 30cm (12in) long, or from your fingers to your elbow. Set the thread aside for a moment.

Hold the needle, eye upwards, between the index finger and thumb of your dominant hand, and the disc of the needle threader between the index finger and thumb of your support hand. Insert the wire loop of the needle threader through the eye of the needle. No thread is involved in this step!

Keep the wire loop of the needle threader in the eye of the needle, then insert one end of the thread through the wire loop, and pull a couple inches through.

Pinch the longer tail of the thread alongside the needle in your support hand. Pull the needle threader back out of the eye of the needle, which will also pull the thread through.

Adjust the ends for a double or single strand.

Securing the thread

Knots, stay stitches, and weaving in ends are ways to secure your thread when you start and stop stitching. The way you secure your thread will depend on the fabric you’re sewing and here we cover three methods that work well in most hand-sewing situations. We favour stay stitches (also known as lock or anchor stitches) in general, and weaving in ends on sock mends or heavyweight knits where a stay stitch or knot might be too bulky.

Securing thread with different types of fabric

| Double knot | Stay stitch | Weave in ends
Denim/dense woven | x | x |
Lightweight knits/woven |  | x | x
Heavyweight knits |  |  | x

TYING A DOUBLE KNOT (OVERHAND KNOT)

Thread your needle.

Wrap the end of the long tail around the index fingertip of your support hand.

Slide the tip of the needle up the nail of your support hand index fingernail, under the thread, and pull it through. Repeat this step.

Carefully slide the loop of thread off your finger, pinch the thread on each side of the loop and pull it tight.

STAY STITCH

Start of the mend

Thread your needle. Do NOT tie a knot at the end of the thread.

Hold the needle in your dominant hand and the fabric in your support hand, with the wrong side of the fabric facing you.

Insert the needle into the fabric just above where you want to start stitching (in what will be the seam allowance), and make a tiny stitch, poking the needle back out right next to where it went in. Pull the needle and thread almost all the way through the fabric, leaving a tail about the width of your thumb.

Make another tiny stitch in the same place as the first stitch, with the needle going the same direction.

Gently tug the thread to pull the stitch taut. Gently pinch the stitches with your support thumb while you pull the thread through, so you don’t pull the stitch out.

Repeat steps 4 and 5 twice more, so you have three tiny stitches on top of each other.

Snip off the thread tail. You’re ready to sew! Start stitching right below the stay stitch, following the instructions for your desired stitch.

End of the mend

Stop sewing when you still have enough length to work with (at least twice the length of the needle). With the wrong side of the fabric facing you, make one tiny stitch going through just a few fibres of the fabric in the seam allowance above your last stitch. Pull the thread all the way through the fabric.

Make a second stitch right on top of the first stitch, securely pulling the thread through. Repeat, so you have three tiny stitches on top of each other.

Trim the thread end near the stay stitch, leaving a tail of about 5mm (¼in), or hide your thread end as described below.

Hiding thread tails

After making a stay stitch, insert the needle right next to that stitch on the seam side, parallel to the stitches, through only the layer of fabric closest to you.

Poke the needle back out of the fabric on the same side about half the length of the needle away from where you inserted it.

Pull the thread through, then cut it where it comes out of the fabric. This traps the end of the thread between the layers of the fabric, making the stay stitch more secure without visible thread tails.

WEAVING IN ENDS

This technique is recommended for thicker threads or yarn in place of a knot or stay stitch, which can be bulky when worked with thicker strands. It is usually used when darning.

Start of the mend

Take a large stitch (about 2.5cm/1in long) with the needle coming up where you want to start stitching and leave a 5–7.5cm (2–3in) tail of yarn sticking out of the fabric beside the damaged area. This will be woven in at the end.

Stitch your mend. If you run out of yarn partway through, leave a 5–7.5cm (2–3in) tail where you stop stitching, thread the needle again, then continue, leaving another 5–7.5cm (2–3in) tail when you restart.

End of the mend

End with the needle and yarn on the wrong side of the fabric. Turn the garment inside out and pull any other yarn ends through to the inside.

With the garment inside out, insert the needle over and under a few strands of the mended area on the back of the fabric and pull the yarn through. Turn the garment and stitch back in the other direction over and under a few strands. Trim the thread, leaving a small tail about 3mm (⅛in) long. Repeat for all yarn tails.

Short thread variation

You can weave in a thread end that is shorter than the needle by sewing it in using the eye of the needle instead of the point. Thread the thread/yarn onto the needle, then weave the needle eye-first through the fabric as described in Weaving in Ends until it pulls off the thread, leaving the thread end trapped in the fabric. Gently stretch the fabric around the end and trim off any thread tails.

Pinning and tacking

Pinning keeps two (or more) pieces of fabric in place while you sew, preventing them from moving around. You can use straight pins or safety pins and will likely develop a preference for what to use in different situations as you notice what works better. Tacking (or basting) is a temporary stitch that holds the fabric in place instead of pinning. It’s a series of long running stitches and is not terribly strong or secure, but is quick and easily removed once your proper seam is sewn. Tacking is nice because you don’t have pins poking you while you work – or when trying on a garment to check the fit when repairing or altering. It’s also useful in situations when you aren’t sure of the best seam placement and want to test the fit of a modification before cutting off any fabric.

You will need

Straight pins

Safety pins

Be prepared

Prepare your fabric on a hard, flat surface with enough space to lay out the area that needs pinning.

Smooth both pieces of fabric out, making sure not to stretch or distort them – be especially careful of this with knits, lightweight wovens, or areas with a complex shape, such as the crotch.

Pinning

About 5mm (¼in) in from the edge of the fabric, insert the tip of a straight pin or safety pin through both layers of fabric from the top down, then back through both layers from the bottom up, at a right angle or parallel to the edge. Check the back, and be careful that the two layers of fabric don’t shift as you pin them.

Place a pin every 2.5cm (1in) along the sewing area.

Tacking/basting

Pin your work as described above.

Thread a needle with one strand of thread in a contrasting colour to your garment and mending thread – contrasting colour is easier to see when it’s time to remove the tacking/basting. Tie a knot in the thread about 2.5cm (1in) from the end, instead of making a stay stitch.

Beginning at the dominant-hand side of your seam or patch, sew long running stitches, about 1cm (½in) in length, around the pinned area.

Carefully check that your work looks/fits like you want it to, then complete the mend using the appropriate stitch for your garment and repair. Leave the tacking/basting stitches in place as you sew.

After completing the repair stitches, gently tug the knotted end of the tacking thread to pull it out of the fabric (this is why you don’t use a stay stitch!). If you tacked a long section or a shape with corners, or accidentally sewed through the basting thread, you may need to cut this thread in a few spots and remove it in sections.

Unpicking

When sewing, there are times when you want to redo a stitch or even unpick an entire seam.

Removing unwanted stitches

Most of the time, it is nearly impossible to put the needle back through where you just sewed without problems, so here we show you one way to undo unwanted stitches and get back on track.

First, PUT DOWN THE SCISSORS! Remove the needle from the thread; if you have a double strand, cut the thread as close to the needle as possible – this keeps the thread intact so you can keep sewing with it after removing the stitches.

Turn the needle around and slide the eye of the needle under the last stitch; make sure it goes under all the strands of the thread/yarn. Gently pull the thread upwards with the eye of the needle until the end of it comes completely out. If the thread starts to tangle or ball up as you pull it, stop, tug the thread back down from the back of the fabric, and try again. Continue until you’ve removed all the unwanted stitches.

Rethread the needle and continue sewing. If you cut a double strand, thread both strands together as one. You’ll have two strands with a short tail, as when sewing with a single thread.

Unpicking/ripping seams

When making a repair, you may have to remove a seam and there is an invaluable tool to help you with this: the seam ripper or quick unpicker.

The point is used to pick up stitches by slipping it under the stitches to lift the thread and pull it out as previously described using the needle, being careful you don’t cut the thread. When removing more than one stitch, you can pick up stitches by slipping the sharp point under the stitches then cut the threads by sliding the blade fully under the stitch. Replace your seam ripper when the blade struggles to easily cut through your stitches.

Removing an accessible seam

To remove a seam of stitches, cut every fourth or fifth stitch on one side and then turn to the other side of the seam.

On this side, cut the thread at both ends of the section of the seam that you want to remove. Use the sharp point to pick up the thread and tease out or cut the stitches until the thread on this side can be pulled out along the direction of the seam.

It should be possible to pull the thread out without having to remove each of the stitches first.

Inaccessible seam

Pull both sides of the seam to expose the stitches.

Use the point of the seam ripper to pick up a stitch then slide the seam ripper along to cut it.

Cut a few stitches in this way to create a gap in the seam.

Insert the seam ripper into the gap with the ball point on the inside. Push the seam ripper along the seam cutting the stitches as it goes, taking care not to catch the fabric on the blade.

Darning tools

Darning tools are used to stabilize fabric during repairs. They are roughly palm-sized and are held in your non-dominant hand while stitching. Specific darning tools exist – darning eggs or mushrooms – but you can also use a smooth, firm object that fits comfortably in your hand. See the ‘Mending Kit’ for more details. For our purposes, ‘darning tool’ refers to whatever your object of choice is – a specific tool or a jar lid. Some darning tools use a metal c-clip or rubber band to secure the garment over the tool; this is helpful but not necessary, because you can hold the garment in place over the tool with your non-dominant hand while you sew.

Using a darning tool without a securing band

Place the tool into the garment on the side opposite where you’ll be stitching, centring the damaged area. Hold the garment in place with your non-dominant hand while you sew.

Using a darning tool with a securing band

Place the tool into the garment on the side opposite where you’ll be stitching, with the damaged area centred. Carefully place the band around the garment and tool. Try not to stretch or distort the fabric while you position the band. If your darning tool has a handle but no band, you can wrap a rubber band around the garment on the handle.

Hand stitches

Unless otherwise noted, for each of the following stitches, you will need to:

Thread a needle with a single strand as described

Have the following supplies: needle, thread, scissors/thread snips

Optional but helpful: ruler, chalk/fabric pencil

End your work with a stay stitch, hide the thread tail, and trim the thread as described

RUNNING STITCH

This is one of the simplest ways to sew fabric together. Because it’s so simple it’s seen in sewing cultures around the world and is known by many different names. It’s commonly used in hand quilting and looks such as Japanese Sashiko and Indian kantha embroidery – although the stitches in both these traditions are made using particular techniques and tools in a time-worn manner taught by people with detailed knowledge of the respective cultures. Since neither of us are members of either of those cultures, we use the term ‘running stitch’.

Features

A quick stitch, made up of a dashed row of single straight stitches

Not flexible – running stitches will not flex with stretchy fabric, so the threads may break if sewn on stretchy fabrics or stretchy parts of garments (such as hems, cuffs, or pullover collars)

Cultural awareness

We are often inspired by the look of a stitching pattern or technique that is visually appealing to us, without realizing it comes from a rich cultural tradition, with its own applications, techniques, and history. When learning about a technique from a different culture, it is important to consider the heritage and perspective of that culture in order to maintain its concept. You can read more about cultural sustainability and the Japanese techniques of Sashiko and Boro.

When to use

Great for sewing patches on to woven fabrics, such as jeans or button-up shirts

Good for adding decorative stitching to woven fabrics

An all-around useful stitch, although not very strong so it might not hold up as well on stretchy fabrics or seams

How to sew

Mark your stitching line on the right side of the fabric if you wish to, then lay your fabric out flat with the wrong side facing up.

Make a stay stitch on your dominant-hand side of the space you want to start sewing. Remember, you’ll sew away from your dominant hand. Insert the needle beside the stay stitch and pull the thread through the fabric.

Turn the fabric right side up, with the needle and thread on your dominant-hand side. Hold the fabric in your support hand close to where the needle came out (A).

Poke the tip of the needle down into the fabric (B), then tilt the needle back up so the tip pokes back out of the fabric a stitch-length (5mm/¼in) away (C) from where you inserted it. Use the tip of your support hand’s index finger to guide the tip of the needle where you want it to go. Pull the needle and thread through. With practice, you’ll be able to ‘load the needle’ with several stitches at a time before pulling the thread through.

Repeat step 4 to the end of your work. Your stitches will look like a dashed line.

Variations

Attach patches with repeated rows of running stitch to reinforce the strength of thin/worn areas of fabric

Seed stitch (randomly arranged single straight stitches) to attach a patch or decorate fabric

Tacking (basting), a temporary stitch used to keep fabrics in place instead of pins while the repair is undertaken

The basic stitch for a woven darn

Variations of repeated rows of running stitches in straight lines, wavy lines, and circles. Running stitches can be used to make an unlimited variety of designs Variations of straight stitches: Random (Seed stitch) and decorative

CULTURAL SUSTAINABILITY AND MENDING

Atsushi Futatsuya

Sashiko Artisan & Storyteller

If you enjoy hand-sewing, you may be aware of the Japanese hand-stitching technique of ‘Sashiko’. And when you look for mending ideas, you may come across ‘Boro’ as a style of patchwork using recycled fabric. These descriptions of Sashiko and Boro are not wrong, but they are simplified, filtered, and romanticized from the original culture.

Sashiko is a form of hand-stitching developed in Japan. I intentionally keep this definition as simple as possible because in Japan we have many kinds of Sashiko and I do not want to exclude other types by describing the Sashiko I practise as the Sashiko technique. Instead, I would like to introduce Sashiko as a form of stitching with many Japanese cultural perspectives. Boro was originally a word for a piece of torn and worn-out fabric, but it came to mean an artform or technique because of the beauty of its construction. Although I agree with the aesthetics of Boro, for us it is just one stage of fabric’s life – toward the end.

In the past, conditions in Japan were often harsh and people’s resources limited. As a result, there was a desire for fabric to last longer, so it was stitched to strengthen and thicken it. We call this type of stitching Sashiko. Boro describes the condition of fabric that has an extreme amount of repetitive Sashiko stitching. Both Sashiko and Boro became famous for their approach to sustainability in fabric and fashion and I am happy that both words have become so well known and inspirational.

At the same time, it makes me sad to see the words shifting in meaning and not acknowledging the Japanese culture behind them. I have come across statements such as: ‘We should use any leftover thread because the whole purpose of Sashiko is to recycle. No need to purchase a new skein of thread’ and ‘The goal of Sashiko and Boro is to keep the environment sustainable. Stop using new fabric. We should only use recycled fabric.’ Such views fail to recognize the way Sashiko has evolved in Japan and its cultural significance. We have specific Sashiko thread, and fabrics woven in Japan in a traditional way are often more suitable for the practice of Sashiko.

When thinking about sustainability, the focus is usually on material choice, reducing waste and recycling more resources. While we need to be mindful about what we choose and what we leave behind, I would propose that the lack of acknowledgement of cultural significance can destroy something equally important. I believe both material and cultural sustainability can be respected simultaneously by being mindful; it doesn’t have to be one or another. We can all enjoy mending and stitching for the purpose of appreciating the environment while respecting the culture behind each word – whether it is Sashiko, Boro, or another word that may be used for the stitching in your culture.

BACK STITCH

This is sewn one stitch length backwards on the front side and two stitch lengths forward on the reverse side to form a solid line of stitching on both sides. Don’t worry – it’s not as difficult as it sounds and it’s a very useful stitch.

Features:

A strong stitch with some flexibility

The best replacement for machine stitches

When to use

Suitable for repairing seams in fabrics and attaching patches when using fabrics with slight or no stretch

If using back stitch for a hem, sew from the right side of the garment for a neater finish

How to sew

Prepare your fabric by laying it out flat with the wrong side facing up. You can mark the line where you intend to sew with a ruler and pencil if you want a guide, but this isn’t necessary.

Thread a needle, then make a stay stitch on your dominant-hand side of the space you want to sew. Insert the needle beside the stay stitch and pull the thread through the fabric.

Turn your fabric right side up, with the needle and thread still closest to your dominant hand. Your thread is coming through the fabric (A) in the middle of where your first stitch will be.

Make a stitch by putting the needle into the fabric half a stitch length towards your dominant hand (B) and coming out half a stitch length in front of (A) at (C). Creating a long stitch on the back of the fabric.

Create the next stitch by putting the needle into the fabric half a stitch length towards your dominant hand, through (A) for your previous stitch, and coming out half a stitch length in front of where the thread now comes through to the front of the fabric.

Repeat step 5 to create a back stitch row of the required length. When you reach the end, create a stay stitch to secure your thread.

Variations

The prior example is a full back stitch, but there are variations where the front stitches can be worked to be shorter (half or open back stitch). This creates a less visible, more subtle appearance but maintains the stitch’s inherent flexibility.

Follow the instructions for back stitch, but in step 4 bring the needle out of the fabric (C) two stitch-lengths ahead of (A).

Then make a stitch going into the fabric (D) halfway back to the start of the previous stitch (A) and out two stitch lengths ahead of the start of the stitch.

Repeat step 2 to create half back stitch, making a stay stitch when completed.

WHIP STITCH

Also known as overcast stitch, this is a versatile stitch that works well on stretchy or non-stretchy fabrics. It can be used to secure two edges of fabric together to make a seam, or to sew one piece of fabric onto another piece, such as when sewing on a patch (also called appliqué).

Features

Appropriate for either knit (stretchy) or woven fabrics and thick or thin fabrics

Flexes a bit, so can be used to sew a patch on stretch fabric

Encloses the edges of the fabric, which reduces fraying

Relatively quick to sew

Appearance can vary widely depending on stitch length and thread colour

When to use

Sewing patches on a variety of garments, including:

High stretch/strain areas of garments, such as knees, elbows, heels

Tiny holes and stains on T-shirts

Jeans or other woven garments

Repairing seams on thicker fabric (although a back stitch is usually the best for seams)

Enclosing the edges of fabric along a seam or patch to reduce fraying

How to sew

When sewing on a patch, the ‘edge’ noted below refers to the edge of the patch. Your stitches will go through the garment fabric at the edge of the patch.

Make a stay stitch on the dominant-hand side of the fabric where you want to start sewing (A).

Bring the needle over the edge of the fabric and insert it through the fabric (B) a stitch length over from the stay stitch. Pull the thread taut, but not tight; the edge of the fabric shouldn’t wrinkle. Repeat this stitch the same distance along the edge (C) to the end of your work.

Variations

When sewing on a patch you can use straight or angled stitches, depending on the look you want for your repair. Insert the needle into the fabric front to back (B), then poke the needle out of the fabric from back to front (C). If your patch edges are raw, make sure that your stitches go at least 5mm (¼in) into the patch fabric so they won’t pull out. With hemmed patch edges, your stitches can be smaller if you like.

A small whip stitch used to sew on a hemmed patch can be almost invisible

Highlight a hole by whip stitching around the edge to finish it like an eyelet. The hole will still be there, but now it’s a feature rather than a flaw

LADDER STITCH

Also known as slip or invisible stitch, this is a favourite for occasions where you can’t access the inside of the garment to repair a seam and no other stitch is possible.

Features

Can be worked where the inside of the cloth is inaccessible

Is not flexible

Although it’s not a strong stitch, you can use stronger/thicker thread because it should be invisible when complete

Always worked from the front

When to use

Soft toys

Lined garments where the lining is fully attached

Rucksacks

Runs in tights

Narrow split where there’s little tension across that part of the garment

Split seams

Variations

Can be used to create darts in the waist of skirts and trousers (pants) when they are too wide (there are many videos online showing this magical-looking transformation)

To repair a run in tights (which have no seam to sew into), make your stay stitch about 5mm (¼in) away from one end of the run. Sew each stitch 5mm (¼in) to each side of the run, following steps 3–8 on the facing page

How to sew

The stitching is to be replaced along the folded edge of the fabric. First, you may need to pin or tack the seam allowance under to clearly see the original fold. Secure your thread with a stay stitch at your dominant-hand side of the work somewhere it won’t be seen from the outside.

Bring the needle and thread through the folded edge (A) of the fabric to the outside.

Make a stitch through the fabric at one side along the edge (B–C). Cross straight over to the other side and make a stitch along the edge of the other side (from D). This should create lines of thread at a right angle to the opening.

Leave the stitches loose because they are tightened up later.

Continue with step 3 until there are a few threads crossing the gap, like the rungs of a ladder.

Pull the thread to tighten up these stitches so that the edges lie flat together.

Repeat from step 5 until the gap is closed.

Secure the thread at the end with a stay stitch and hide the thread tail.

BLANKET STITCH

Blanket and buttonhole stitch are stiches that are usually used on the edge of fabric. The only difference between them is the spacing between the stitches – buttonhole stitches are close together while blanket stitches are the same width as they are long.

Features

Often used to finish the raw edges of blankets and other fabrics to strengthen them and prevent fraying

Unusual because although the needle faces across your body, as with other stitches, the blanket stitches are worked back towards your dominant hand

When to use

To strengthen the edge of fabrics and prevent fraying

To attach patches on woven or knit/stretchy fabrics

For darning to reinforce thin areas on knits

How to sew

This example explains how to use this stitch to sew along the edge of a piece of fabric. When sewing on a patch, the ‘edge’ will be the edge of the patch.

Start with a stay stitch on the back of the fabric, on your support hand side.

Bring the needle through to the front of the fabric (A) and create a loop by putting the needle back through at roughly the same place your needle came out.

Bring the needle over the edge of the fabric from back to front, then pass it through the loop and pull it taut but not tight. This produces the starting stitch.

The length of the stitches should be the same as the gap between the stitches so push the needle from front to back into the fabric the length of the starting stitch in from the edge (B) and the same distance nearer to the dominant-hand side. Leave the thread loose, then bring the needle back up inside the loop (C) to create the first stitch. The thread should lie along the edge of the fabric and be caught in the stitch. Take up the slack but don’t pull tight enough that the fabric bunches up. Repeat this step as required. The stitches should look like sideways interlocking ‘L’s.

If your task involves turning a corner, make a stitch diagonally at the corner, don’t pull too tight, then restart as normal along the next edge.

At the end of your mend, either loop through the last stitch and create a knot or stay stitch.

Variations

This is the stitch used for honeycomb darning, a nice way to darn socks, knees, or elbows of stretchy knits

Can be used to highlight a hole without covering it by ‘finishing’ the edges as if it were a buttonhole

HERRINGBONE STITCH

Also known as catch or crossed back stitch, this is commonly used to hem/repair a cuff. It can also be used for other tasks (such as sewing on a patch) but will always involve attaching a top fabric onto a bottom fabric.

Features

Consists of two rows of slanted stitches that cross each other near their ends

The reverse of the stitch looks like running stitch

The criss-cross nature of herringbone stitch means that it is flexible and suitable for stretch fabrics

Unusual because although the needle faces across your body, as with other stitches, the stitches are worked back towards your dominant side

When to use

Hems and cuffs

Knit and stretch fabrics

Decorative embroidery

How to sew

Secure your thread closest to your support hand through the top fabric with a stay stitch (A).

Use the needle to pick up a small stitch (B–C) from the bottom fabric only, close to the edge of the top fabric about 5mm (¼in) further along from the previous stitch for the first stitch. (Subsequent stitches should be about 1cm (½in) from the previous one.)

Now make a small stitch (D–E) in the top fabric about 1cm (½in) from the edge.

Repeat steps 2 and 3 keeping the thread loose enough so that the fabric lies flat.

When you reach the end, secure your thread and hide the thread tail between the layers.

PARACHUTE STITCH

Also known as an airman’s, figure 8, or parachute ranger stitch, this stitch is a strong and visible stitch that is used to sew closed tears in fabric that is otherwise sturdy and intact.

Features

Joins two edges together without any overlap

Produces a strong seam

Flexible so suitable for stretchy fabrics

When to use

Where the damage is a narrow tear in an otherwise strong cloth

Suitable for all types of fabric

To join two thicker pieces of fabric (felt, leather, neoprene, canvas) together at the edges

How to sew

Start at the dominant-hand end of the tear and secure the thread with a stay stitch at the back of the fabric about 5mm (¼in) before the tear. Bring the needle through the fabric (A) to the outside about 5mm (¼in) below the edge of the tear and level with the end of the tear.

Take the needle down through the tear and back up through the fabric on the other side of the tear also about 5mm (¼in) from the tear (B). Pull gently to close the tear and bring the edges together.

Then take the needle down through the tear and bring the needle up through to the outside of the fabric about 5mm (¼in) below the tear close to the previous stitch (C) and pull gently to close the tear and bring the edges together.

Repeat steps 2 and 3 until you reach the end of the tear. The thread forms a figure 8 as it loops round the fabric to bring the edges of the tear together.

When you reach the end of the tear, finish with the thread on the inside of the fabric and secure it with a stay stitch.

Fasteners

There are several different types of clothing fasteners. Here we discuss how to replace the most common, including various kinds of buttons, snaps, hook and eye/bar, and hook and loop (or Velcro®) closures.

You will need

Fastener (either the one that fell off, or a matching one)

Needle

Thread (the same colour as your fastener or the same colour as the garment)

Scissors

Fabric pencil/chalk

BUTTONS

There are basically three different types of buttons: two-hole, four-hole and shank.

If you don’t have the original button, check the side seams, label, and bottom of the button placket to see if a spare is sewn somewhere. If your garment doesn’t have a spare button, look for one that is about the same width with the same number of holes.

See here for when the fabric behind the button has been ripped.

Set up

Look at any other buttons on the garment. If they have four holes, notice if the stitches on the buttons look like this ‘+’ or this ‘=’. For the least noticeable repair, copy these stitches when you replace your button. Also notice if the two sides of the button are different, so you sew the button back on in the direction that matches the others.

Two- and four-hole buttons

The instructions below are for a four-hole button, but a two-hole button is sewn on the same way, minus planning the ‘=’ or ‘+’ stitches needed for a four-hole button.

Pull out any broken threads from the back of the fabric. If the button is still there but loose, carefully snip and remove the remaining threads.

Check the fabric where the button used to be for holes from the original threads or a slight impression in the fabric. If you can’t see where the button was, lay the garment flat and button all other buttons. Then line the buttonhole up with the area the old button fell off and mark the fabric through the holes with a fabric pencil or chalk.

Thread a needle with a double strand of thread and secure the thread with a stay stitch on the front of the fabric, right where your button will be sewn. The stay stitch and thread end will be hidden by the button.

Put the needle through the button from back to front and slide the button down into place. Hold it steady with your support hand thumb.

Insert the needle through a hole in the button either beside (for ‘=’) or diagonally across from (for ‘+’) the hole where the thread is coming out. Pull the needle through to the back of the fabric, leaving the thread just loose enough that you can tilt the button to one side and see the bottom. The needle position pictured is for ‘+’ stitches.

Insert the needle from back to front through the fabric and a different hole in the button that you haven’t sewn into yet and pull the needle through. Check the back of the fabric for thread loops and remove any by gently tugging each strand of the thread.

Insert the needle into the final hole in the button. Pull the thread all the way through to the back. You will now see a ‘=’ or ‘+’ stitched across the button. Your stitches should be a bit loose, so you can tilt the button to one side and see a gap between button and fabric.

Repeat steps 6 and 7 twice more, so you have three stitches going each direction through your button’s holes, ending with the needle and thread at the back of the fabric. Your stitches should still be a bit loose, so the button wiggles slightly.

Poke the needle through to the front of the fabric, coming out between the fabric and button. Pull the thread through.

Wrap the thread snugly around the stitches under the button four to six times. This ‘thread shank’ helps secure the button. Pull the thread taut, then poke the needle through the middle of the wrapped stitches.

Insert the needle through to the back of the fabric right next to your wrapped stitches.

Secure the thread with a stay stitch, hide the end, and trim the thread tail.

SHANK BUTTONS

Shank buttons (or one-hole buttons) are solid on top and have a little ‘stem’ – the shank – on the bottom with a hole to sew it to the garment. The shank separates the round part of the button from the cloth, making them useful for thicker fabrics, such as jackets or work clothes.

The steps are nearly the same as those for sewing on a two- or four-hole button, but instead of going up then down through two button holes to make one stitch, you simply sew through the single hole in the shank.

Prepare your mend as described in steps 1–3 in the two- or four-hole button section.

Insert the needle through the hole in the shank and slide the button down the thread.

Right next to the stay stitch, insert the tip of the needle through the fabric front-to-back, then poke the tip back to the front. Gently pull the thread snug. The button should now be in its correct place. Pass the needle and thread through the hole in the shank. Note how the length of the stitch is the same as the width of the shank.

Repeat step 3 three or four more times until the button feels secure.

Pass the needle back through the fabric to the wrong side. Secure the thread with a stay stitch, hide the end, and trim the thread tail.

SNAPS

Snaps (or snap buttons, poppers, press fasteners) consist of two interlocking discs that fasten together with a small post on one disc (referred to in gendered language as the ‘male’ side), that fits into a hole on the other disc (the ‘female’ side). They are sewn on with a few stitches in four or more openings around the edge. When sewing on your snaps, make sure you orientate the discs correctly so they fit together when you’re finished.

Make a stay stitch under where the snap will be sewn.

Sew a whip stitch, passing the needle up through a hole in the snap then down into the fabric just below. Repeat until a few stitches have been sewn in each hole. Then secure your thread on the back of the fabric behind the snap with a stay stitch.

HOOK AND EYE/BAR FASTENERS

These consist of a plastic or metal bar or loop that is sewn onto one part of the garment, and a hook sewn across from it that catches the loop/bar to hold the edges closed. Often used on dresses or dress trousers (pants) above a zipper to hold the top of the garment closed – the hook goes on the overlap and the eye on the layer beneath. These fasteners are reattached using the same process as snaps to secure each hole of the fastener.

HOOK AND LOOP FASTENERS

Hook and loop (or Velcro®) is another kind of common clothing fastener. It is made up of two separate pieces, one with a soft surface of fuzzy ‘loops’, and the other with a rough surface of plastic ‘hooks’. The hook side and loop side stick together when pressed and can be pulled apart. This type of fastener can come in strips, circles, or squares, and sometimes has an adhesive on the back to help it adhere to the fabric.

Hook and loop fasteners can be reattached using a back or whip stitch.

Make a stay stitch in the garment fabric just under the loose edge, then stitch around the loose area with your preferred stitch.

Keep in mind that these fasteners have quite a lot of tension placed on them when pulled apart, so you’ll want to make sure your stitches are smaller and closer together so they are nice and strong.

CHAPTER 4
Common repairs

You may be familiar with the saying ‘a stitch in time saves nine’, but did you know that it originated as mending advice? It means that addressing a problem right away may save you having to do more work if you put it off. We’ve all noticed a tiny hole or worn spot on an item of clothing, but wear or wash it anyway – only to have the hole get even bigger. A good time to mend your clothes is right when you notice a hole or worn spot or loose button. But just as good a time is when having continued wearing the garment because it mostly works, the hole gapes open or the button has fallen off, and you’re finally ready to fix it. While it might be true that ‘a stitch in time saves nine’, sometimes life gets the better of us. The important thing is to ‘stitch it, don’t ditch it’, regardless of how big that hole has gotten. In this section, we’ll teach you how.

The mends featured here represent common issues we see in our own closets, and in the damaged garments menders bring to Street Stitching events. Because our goal is to teach you to think critically about how to mend, these instructions build on what you learned in the ‘Plan your mend’ and ‘Core skills’ sections, and you’ll be referred back to those as you’re guided through the following repairs. First, you’ll learn how to patch and darn, then we’ll cover how to apply those two repair techniques in a variety of different situations.

Remember to

Keep your short thread tail about half the length of the long tail, and adjust as you go along so you don’t sew the short tail into the fabric

Sew the stay stitch where it won’t be noticed: either on the inside of the garment, or along the seam

Check the back side of your work often to make sure you don’t have thread tangles or haven’t sewn into the wrong part of the fabric

When you start to run out of thread, make a stay stitch when at least twice the needle’s length of thread remains

Make sure your stitches aren’t too tight (bunching fabric), or too loose (thread loops)

For all repairs you will need a needle, thread or yarn suitable for your fabric and scissors

Difficulty level

We’ve rated each repair to estimate the level of difficulty that beginner sewists might find in tackling them, as ‘simple’, ‘moderate’, and ‘tricky’. This is meant as guidance only – don’t be put off from trying something tricky, as you might find your ability surprises you.

Difficulty key

1: SIMPLE

2: MODERATE

3: TRICKY

Patches

Patches are one of the most versatile repair techniques, and are suitable in many situations on many different fabrics. If you are brand new to mending, this is an excellent place to start exploring the variety of stitch and fabric possibilities to repair your clothes. There are nearly infinite ways to design a patch, but virtually all fall into these two categories:

Top or front patch: Sewn on the outside of the garment, the entire patch is visible covering the hole/damaged area. This is probably the technique that comes to mind when you think ‘patch’

DIFFICULTY LEVEL: 1–2

Reverse or back patch: Placed on the inside of the garment, reinforces a worn area from the inside with the patch fabric visible through the hole

DIFFICULTY LEVEL: 2–3

Features

Replaces damaged fabric with new fabric that covers the damage/stain/tear

Choose a patch fabric and stitch suitable for the original garment to create a durable, long-lasting repair

Visual appearance is based on your preference and materials: more or less visible, subtle or artistic

When to use

Covering a stain or logo

Adding decoration

Reinforcing thinning fabric before it tears (high friction/strain areas such as knees and crotches)

Repairing holes in garments and home goods made from woven and knit fabrics

Additional supplies

Measuring tape or ruler

Patch material

Fabric pencil or chalk

Beeswax

Pins

Iron

Relevant core skills

Pinning and tacking (basting)

Threading a needle

Securing the thread

Stitches (select based on your garment needs)

Running stitch

Back stitch

Blanket stitch

Whip stitch

Herringbone stitch

How to patch

See ‘Plan Your Mend’ for advice on choosing mending materials that are suitable for the damage, garment, and wearer’s preference. If aiming for a less visible patch, it’s worth checking the garment for extra fabric. Pockets and facings can sometimes be sacrificed.

The instructions here are for both top and reverse patches, with the general information presented first for each step, and specifics for each patch type following.

Hold your garment up to the light to see the extent of the damaged area. Measure this area, remembering to consider the thinning areas as these will likely tear soon if not also reinforced with the patch.

Trim any loose threads or tattered fabric around the edges of the hole.

Cut a patch at least 1cm (½in) larger in every direction than the thin area of your garment, plus an extra 5mm (¼in) in every direction for hems, if needed. The patch can be any shape you want, but a square/rectangle is the easiest to hem.

Choosing a patch style

Top patch
Reverse patch

Hemmed edges

Adds some bulk to the patched area, because of the extra layer of the hem, but gives the patch a clean edge.

Fold the edges of the patch over 5mm (¼in) towards the WRONG side of the fabric and iron them in place.
Fold the edges of the patch over 5mm (¼in) towards the RIGHT side of the fabric and iron them in place.

(It’s not necessary to hem the edges of a reverse patch, because the edges are hidden, and if your stitches are worked properly, the edges won’t fray much over time.)

Pinking shears

Reduces fraying on the edges of the patch if you don’t want to hem them.

You’ll see the zigzag edges on a top patch.
The zigzag edges will be hidden on a reverse patch.

Raw edges

Edges of woven fabric will fray over time; less if you enclose the edges in stitches, more if you don’t.

Lightweight woven fabric can be reinforced with iron-on interfacing to reduce fraying.

Knit jersey (T-shirt) fabric won’t usually fray so can be left with raw edges.

The fraying edges of woven fabric will be visible on a top patch UNLESS you add iron-on interfacing.

A top patch made from jersey fabric will not fray.

Fraying edges of a reverse patch will be hidden.

Interfacing as a patch

Iron fusible woven interfacing directly onto the garment to stabilize the damage, then work running stitch across it to permanently secure.

Not recommended for top patches, because the interfacing itself is the patch and isn’t visually appealing.
Recommended for reverse patches, and can be a very subtle repair.

Pin your patch in place. To avoid pinning the two layers of garment fabric together, slide something flat and sturdy (a book or piece of cardboard) into the garment between the layers.

Top patch: Pin the patch right side up on the outside of the garment, evenly covering up the hole and thin areas

Reverse patch: Turn your garment inside out and pin the patch with the wrong side up on the inside of the garment. The right side of the fabric will be visible through the hole on the outside of the garment

Mark your stitching lines using chalk/fabric pencil, a bit less than 5mm (¼in) from the edge of the patch. While not required, this can help you stitch more evenly, especially with a reverse patch.

Top patch: Draw the lines directly onto the patch, making sure that they are over both layers of the hem (if applicable)

Reverse patch: Turn your garment right side out, and draw the stitching lines onto the garment fabric, feeling along the edge of the patch under the garment to ensure your lines are even with the edge of the patch and look how you want them to on the outside of the garment

With knit patches, use a darning tool to stabilize the sewing area. Be careful not to stretch or distort the fabric while securing the fabric on the tool.

Secure your thread near one corner of the patch, as noted for your chosen patch style. The end of the thread will be hidden between the patch and the garment, making the mend sturdier.

Top patch: Secure the thread onto the GARMENT fabric, under the edge of the patch

Reverse patch: With the garment inside out, secure the thread onto the PATCH fabric, on the side between the patch and the garment

Poke the needle through to the right side of the garment next to your stay stitch. Remember, both types of patches are sewn from the right side of the garment so you can see how your finished stitches will look as you go.

Using an appropriate stitch for your fabric and patch, sew around the edge of the patch. Use the fingers of your support hand on the underside of the fabric to feel where you want the needle to come through, and help guide the needle placement. See the flowcharts in ‘Plan Your Mend’ to choose your stitch, and the corresponding instructions in the ‘Core Skills’ section.

Top patch: Running or back stitch will not enclose the edge, which is not a problem if you have hemmed the edges. For a more decorative stitch that also encloses the edges of the patch, consider blanket (shown), whip or herringbone stitch

Reverse patch: It’s not necessary to enclose the edges, as they aren’t visible from the right side of the garment, so running, whip (shown) or back stitch could all be used

Using running stitch

You can use running stitch across the whole of a reverse patch to secure it – sew rows of stitches back and forth across the patch instead of sewing around the edge and hole, as shown here.

Sew around the edge of the hole, so the torn area doesn’t get snagged and tear further.

Top patch: The stitches around the hole will be visible on the front of the patch. Tinier stitches that go into only a few fibres of the garment fabric will be the least visible. You can either fold the edges of the hole under and stitch into the fold of the hem, or leave the edges raw and sew around the hole about 1cm (½in) away from the edges

Reverse patch: The edges of the hole will be visible on the outside of the garment. For a natural/frayed look, sew them down using a stitch appropriate for your fabric and your visual preference

Once you’ve sewn around the patch and the hole, your mend is complete! Secure your thread and hide the thread end.

You can add more decorative stitching for a visible/creative mend, but keep in mind the function of the fabric where the patch is placed, as well as the flexibility properties of the decorative stitches. Sometimes extra stitches can add bulk or change the stretch of the fabric.

Darning

Darning is a repair method in which new fabric is woven on the garment to replace the damaged area. It’s a versatile technique that can be used to repair a wide range of fabrics, and, depending on the look you’re going for, can be subtle or visible. This allows the mender a lot of creative expression (or not!) in each repair. Each technique has unique characteristics that impact the mend. These features are yet another important reason to make sure you consider the characteristics of both your garment and the type of repair. Here we cover two basic darning approaches that are suitable for a range of repairs, the woven darn and the blanket stitch (honeycomb) darn. Other more complicated darning techniques include Scotch darning and duplicate stitch (Swiss darning), which you can look up elsewhere when you’re ready to level-up your darning skills.

Getting it right

When darning a knitted fabric use a darning or tapestry needle, because the rounded tip finds its way between the stitches instead of splitting the yarn

If your yarn starts to twist up or tangle while sewing, release the needle and let the yarn dangle for a few moments – it should twist back into shape on its own

Extend your darn at least 5mm (¼in) beyond the edges of the damaged area

Look carefully at the edges of holes for loops in the fabric and sew into these loops to secure them. If not secured, they can continue to unravel (or run)

When changing direction with your stitches, leave a small loop – about 2.5mm (⅛in) – of thread at the turn, to decrease the chance of the darned area being too tight

Weaving the ends of the thread into the darn is a more flexible way to secure the thread than a stay stitch or knot, and doesn’t leave a lump in the darned area, especially with thicker yarn

If your garment also has a run (or ‘ladder’ – a long, skinny hole with bars of yarn across it), close the run first, then darn the remaining hole

See ‘Mending Kit’ and ‘Plan Your Mend’ for details on choosing your darning supplies

WOVEN DARN

This type of woven darn is one of several, but is our preference because weaving the running stitches into the garment strengthens the fabric around the hole. Also known as a weaving darn or basket darn, it creates a sturdy bit of woven fabric, which is not by nature stretchy. This means that if you use it on a stretchy garment made from thin fabric (such as a lightweight sock or a merino wool base layer), it could cause more damage at the edges of the darn. This happens when the original knit fabric stretches but the darned area does not, causing strain along the border of the darn – especially on a high-stretch area of a garment such as the heel, knee, or elbow. To resolve this, you can work a woven darn at a 45-degree angle from the grain of the fabric known as (on the bias), which will allow the darned area to stretch in the same direction as the fabric.

DIFFICULTY LEVEL: 2

Features

Subtle if done in a colour and weight of yarn that matches the garment

Stands out as a statement when worked in a contrasting colour

Use different colour combinations for a plaid effect

Suitable for woven or knit fabric, considering if the repaired area will need to stretch

When to use

More time-consuming than patching, so if you’re faced with a large hole or don’t have much time, a patch may be a better option

Great on areas that don’t have to stretch a lot (front or armpit of a T-shirt, jumper (sweater), tear in the side of a tote bag)

On stretchy areas of thicker knits (such as the heels of thick wool socks, or elbows of thick sweaters/jumpers) because of the sturdiness of thicker garments

To repair a hole or reinforce thinning fabric that hasn’t yet torn

Additional supplies

Measuring tape or ruler

Pencil or chalk

Darning tool

Relevant core skills

Threading a needle

Securing the thread

Stay stitch

Darning tools

Weaving in ends

Stitches (select based on your garment needs)

Running stitch

How to weave darn

Secure the garment on a darning tool with the outside of the fabric facing you. If you want to mark out the borders of your darn for neater stitching, do so now. Trim away any loose threads from the edges of the hole.

If your hole is longer in one direction instead of roundish, make the warp rows across the narrower direction first. Starting about 1cm (½in) to the side of the damaged area on the intact part of the fabric, sew a row of running stitches. Leave a 5–7.5cm (2–3in) tail when you secure the thread – you’ll weave this tail in when finished.

Turn your garment 180 degrees. Sew another row of stitches right next to that first row, leaving a tiny loop of thread where you turn the corner between rows to prevent the darn getting too tight.

When you stitch to a hole, lay the thread straight across the hole (taut but not stretching or bunching the fabric on either side of the hole), then continue the running stitches about 1cm (½in) past the hole. If there is no hole but only thin fabric, simply continue stitching rows of running stitches across the damaged area.

Repeat steps 3 and 4 until the damaged area is entirely covered, and at least 1cm (½in) in every direction around it. You have created the warp for a woven darn, and your thread should be coming out of the fabric at a corner opposite where you started.

Turn your work 90 degrees and start stitching across the columns where your thread last came out of the fabric to create the weft. Stitch over one thread, under the next thread until you get to the other side of the warp. For a two-colour, checkerboard darn, change the colour of yarn when starting this step.

Turn your garment 180 degrees, leaving a tiny thread loop between the rows, and stitch back across the warp exactly the opposite to how you just stitched the last row. So, where you stitched under the thread on the previous row, you will stitch over that thread on the current row and vice versa. Stitch under-over-under-over across the columns. You should see a checkerboard pattern forming.

Repeat steps 6–7 until you have covered the damage entirely. If sewing across a hole, after you have woven the needle through the threads, press the shaft of the needle closer to the rows you stitched before to press the rows of threads together so there are no gaps visible between them, then pull the thread through.

Once you have stitched the weft threads, remove the fabric from the darning tool and weave in the ends.

Variation: Running stitch reinforcement

This technique is often used for socks, when the stitches have started to thin but there are no holes yet. Simply sew rows of running stitches back and forth across the thinning area, following steps 1–5, then weave in the yarn ends.

BLANKET STITCH DARN

The blanket stitch darn, or honeycomb darn, is a flexible, decorative darning technique. It is done in a spiral pattern, working inwards from the outside edge of the damaged fabric, and usually creates a round or oval mend – but you can make other curvy designs, too.

DIFFICULTY LEVEL: 2

Features

Flexible, so suitable for stretch fabric and high-stretch areas of garments (elbows, knees, heels)

Decorative and fun, adds a statement when worked in contrasting colours

When to use

Perfect for darning thick and thin sock heels, elbows, small and large holes in T-shirts, jumpers (sweaters), hoodies, and everything in between

Great for glove fingertips because of its rounded shape

To repair a hole or to reinforce thinning fabric that hasn’t yet torn

Additional supplies

Measuring tape or ruler

Pencil or chalk

Darning tool

Relevant core skills

Threading a needle

Securing the thread

Stay stitch

Darning tools

Weaving in ends

Stitches

Blanket stitch

How to blanket stitch darn

This darn can be stitched in any direction that’s comfortable for you, because you’ll be stitching round and round. It is shown here from the position of a right-handed stitcher sewing counterclockwise. Secure the garment on your darning tool. Cut away any loose threads from around the edges of the hole.

Insert the needle 5–7.5cm (2–3in) away from where you want to start stitching, and poke it back out of the fabric at (A). Leave a thread tail when you sew your first stitch; you’ll weave this tail in when finished. Hold the tail with the fingers of your support hand as you do the next couple of stitches so it doesn’t pull out.

Make a stitch next to where your thread comes out (A), one stitch length – about 5mm (¼in) – away on your dominant-hand side (insert at B, out at C). Try to make your stitches about as wide as they are long, so the legs of the L-shape stitches are even. Leave the thread loose, then loop the thread under the needle. Pull the needle through, taut but not tight.

Repeat step 3 around the perimeter of the damage. The stitches will look like little rays pointing outwards on the garment, with bars of thread creating an outline of the perimeter of the damaged area. When you have sewn back to where you started, make the next stitch through the fabric and the bar of the first stitch. When you get to the hole (if your garment has one) you’ll be stitching round and round through only the thread bar of the row before, instead of the thread bar and the fabric.

When you get to the centre of the damage, pass the needle through the fabric over a thread next to where the needle last came out. Turn the fabric inside out, and weave in the ends.

REPAIRING RUNS

If your knitwear has a run/ladder below the hole, it is important to repair it before darning. Ladders are caused by the stitches in one column unravelling below a broken strand of yarn. Consider the thickness of the yarn and the extent of the damage. If the knit is very fine, a patch or woven darn over the ladder will be easiest. If the damage is extensive and it’s difficult to clearly see the dropped stitches of the ladder, darning the entire area may be easier.

DIFFICULTY LEVEL: 2

Features

Reknits run stitches for a smaller, more subtle repair

When to use

Easier to work on chunky knits, where the individual bars of yarn are clearly visible

Additional supplies

Crochet hook

How to repair a run

Locate the intact loop at the bottom of the ladder and insert a crochet hook through the loop from the bottom upwards.

Catch the next bar of yarn crossing the hole (a dropped stitch) just above the stitch on your hook, and pull that loop through the loop on your hook. This forms a new loop on the hook, and secures the first stitch.

Repeat until all the dropped stitches have been picked up, working your way towards the hole. When you reach the hole, keep the last stitch looped onto your hook while you prepare to darn the hole.

Darn the hole with your preferred darning technique.

Hems

A hem is the edge of a piece of fabric that is folded over to prevent unravelling/fraying of the fabric and to adjust the length of that part of the garment. They can be at the bottom of the body of a garment, the leg, or the sleeve, as well as on bags and other sewn items. If a hem has started to come down, it’s good to repair it before it catches on something and tears further. If you feel that an element of your garment is too long, that’s a sign that you might want to take the hem up. If it’s too short and there’s enough fabric in the hem to take it down, it might be possible to perform this more complex option.

Features

Usually subtle rather than deliberately visible

Alters the length of a garment

When to use

When a section of hem comes unsewn

To take a hem up

To let a hem down

Additional supplies

Fabric pencil or chalk

Measuring tape or ruler

Iron

Relevant core skills

Pinning and tacking (basting)

Unpicking

Threading a needle

Securing the thread

Weaving in ends

Stitches (select based on your garment needs)

Herringbone stitch

Back stitch

Whip stitch

REPAIRING A HEM

This technique is used when a short section of the hem has come unstitched.

DIFFICULTY LEVEL: 1

How to repair a section of hem

Find the gap in the stitching. You’ll sew from where the original hem is still intact at one side to just past the intact stitches at the other.

Pin the hem so that it lines up with where it was before the stitching was damaged.

If it’s just a short section of the hem that was down, you can go straight to sewing the hem up. For longer sections, tack (baste) the hem in place to make it easier to work on.

Choose a suitable colour of thread and use herringbone, back or whip stitch to sew between point A and B (remembering to start herringbone at your non-dominant-hand side).

TAKING UP A HEM

This is the process for taking up the hems of trousers (pants), but the techniques apply to sleeves and other parts of garments. It can be useful to have a friend help to determine the correct length and pop in a couple of pins when you try on the garment. It’s not advisable to pin while wearing your garment because, for example, bending down to pin trouser hems causes the hem to ride up. If there is no one available to help, try on the garment inside out, as this will make it easier to pin up, but it’s important to check in the mirror while standing straight to make sure the hem looks as you want it to.

DIFFICULTY LEVEL: 3

How to take up a hem

Try on the trousers and put in pins where you want the bottom of the finished hem to be. Place a pin at each side seam and at the centre front and back. You can pin and measure one leg and then copy the measurements to the other. If you have a limb-length difference, you’ll want to measure both legs.

Remove the trousers and turn them inside out. Measure from the bottom of the original hem to the pins to determine how much the trousers need to be taken up. Ensure that the distance from each pin to the edge of the hem seam is the same, repinning if necessary to make the measurements equal.

Fold the hem of the trousers up, so the pins are at the bottom of what will be the new hem. Try to make the new hem the same depth as the original to maintain the balance of the garment. You will now be able to tell if you’ll need to unpick the original hem. In the example shown the old hem has been unpicked to provide enough fabric to fold under for the new hem. It’s helpful to iron the fabric flat once the old hems have been taken down.

If the new hem is much shorter than the original and cutting off the full hem turn up still leaves enough fabric to create the new hem, it can be cut off. Do not cut anything before double checking

In the example in the diagram, the original hem depth was 2.5cm (1in) and the hem needed to be shortened by 3cm (1¼in). These trousers needed 2.5cm (1in) + 1.5cm (⅝in) (standard seam allowance) = 4cm (1⅝in) for the hem turn up. Measure up 4cm (1⅝in) from the edge of the new hem round the hem and use a fabric marker to draw a line. Cut round the line, being careful to only cut the single layer of fabric

Create a 2.5cm (1in) hem by turning in 1.5cm (⅝in) and pin in place. Tack the hem in place and remove the pins

Using your chosen stitch, sew the hem in place, then remove your tacking threads. If using back stitch for a hem, sew from the right side of the garment to give a neater finish.

Finally press the hem. This is best done from the inside of the garment.

Variation: Taking up a hem by a small amount

DIFFICULTY LEVEL: 2

Unpick the original hem seam, try on the garment and pin along the edge of where the new hem is required. Check that you’ve pinned an even distance all the way round.

Turn up a slightly deeper hem until the pins marking the new hem are at the edge, creating a slightly wider hem.

Tack, then sew in place using your chosen stitch. This example shows a machine stitched hem being replaced with back stitch.

TATTERED JEANS HEMS

The tattered or frayed hems of jeans are best repaired with a patch. When hems are in this state, you’ll need to replace the folded hem itself, in addition to any frayed fabric on the legs. If the damaged area is relatively small and confined to the folded portion of the hem, you could use a reverse patch and running stitch to reinforce the frayed area. Keep in mind that the newly repaired area will eventually start to wear out again, just like the original. As we’ve noted before, this is just part of the process of wearing clothes; however, you could consider taking up the hem so it no longer drags on the ground.

DIFFICULTY LEVEL: 3

Seams

Stitches sometimes break along a seam where the thread used to sew the garment is weaker than the fabric; caused by strain along the seam. Think of a pants seam that blows out, a split couch cushion, or a stuffed toy with a detached limb. On areas of garments under tension across a seam, the stitch holes can start to elongate and even pull the cloth of the seam allowance through between the stitches, leading to a frayed area.

SPLIT UNFRAYED SEAM

This repair is relatively straightforward, because you simply repair the stitches that broke. If you can turn the garment inside out to see where the seam was sewn, you can use back stitch; if not, you can use ladder stitch.

DIFFICULTY LEVEL: 1

Features

Generally invisible

When to use

When the thread along a garment seam breaks, but the fabric is not damaged

Additional supplies

Pins

Iron

Relevant core skills

Pinning and tacking (basting)

Threading a needle by hand

Securing the thread

Stitches (select based on your garment needs)

Back stitch

Ladder stitch

How to repair an accessible seam

Turn your garment inside out to expose the seam. It’s worth the effort to turn the whole garment/leg inside out, rather than just pulling the damaged part to the top; the repair will be easier and likely turn out better.

Flatten out the damaged area with the seam edges together at the top of your workspace. Gently tug the surrounding fabric and smooth it out to remove wrinkles in both layers. Assess the damage, and trim off loose threads. Look for holes where the original threads popped out.

If the hole in the seam is longer than a couple of inches, pin the edges in place before sewing.

Back stitch across the hole. Remember, smaller stitches make a stronger seam.

How to repair an inaccessible seam

Position the damaged garment/item on a flat surface with the hole facing you. You’ll be looking at the right side.

Assess the damaged area and trim any loose threads. Look for the holes where the original stitches broke – try to stitch in those same holes, if possible.

Sew the length of the damaged area with a ladder stitch.

SPLIT AND FRAYED SEAM

In this case the stitching may have held or may have burst open along the damaged area; regardless, a repair is required. If the stress across the seam hasn’t been caused by the garment being too small, using the adjacent fabric to recreate the seam is an easier repair that doesn’t need a patch, although it will make the garment even tighter.

DIFFICULTY LEVEL: 1

Features

Likely to be invisible

When to use

When the fabric along a seam allowance has frayed slightly and the stitched thread has broken

Relevant core skills

Unpicking stitches

Pinning and tacking (basting)

Threading a needle by hand

Securing the thread

Stitches (select based on your garment needs)

Back stitch

How to repair a split frayed seam

Follow steps 1–2 of the ‘How to repair an accessible seam’ instructions on the previous page to set up your repair.

Unpick 10mm (⅜in) of the intact stitches on either side of the frayed area, then pull the frayed edge upwards until there is 5mm (¼in) of intact fabric above where the new seam will be sewn.

Use back stitch to create a new seam about 5mm (¼in) away from the frayed area in the undamaged, in line with the original stitches to each side of the fray.

Any fraying at the edge of the seam allowance can be trimmed if it’s too long and secured with a whip stitch.

BADLY FRAYED SEAM

If the garment is already tight, you’ll need to patch the original seam area with stable fabric. A piece of ribbon makes an ideal patch here because it’s long and narrow like the seam, many colours are available, can be bought in short lengths, and best of all has sides that are finished and shouldn’t fray (it’s also possible to melt the ends of the ribbon in a flame to prevent them fraying). The repair will, however, be visible when the garment is worn. The ribbon must be wide enough to extend onto solid fabric on both sides of the tear in the seam.

DIFFICULTY LEVEL: 2–3

Features

Likely to be visible since a patch is required

When to use

When the fabric around a seam has frayed and the stitched thread has broken

Additional supplies

Pins

Ribbon or fabric for patch

Iron

Relevant core skills

Reverse patch

Pinning and tacking (basting)

Threading a needle by hand

Securing the thread

Stitches (select based on your garment needs)

Whip stitch

Running stitch

How to add a ribbon patch

Push the frayed fibres to the inside of the seam. Lay the garment right – side down, positioned as it would have been before the tear, and, following the instructions for a reverse patch, pin a piece of ribbon over the damaged area, then sew round the edges using whip stitch to secure it in place.

Turn to the right side and secure any loose threads to the ribbon using matching thread to reduce visibility. Rows of running stitch perpendicular to the seam are good to use here.

Socks

Socks! There are always a couple (or five) pairs in our mending pile. Socks often warn us when they’re starting to wear out by appearing threadbare, where patches of thin (usually) white elastic stitches are visible. It is often quicker to reinforce the fabric than repair a hole – that whole ‘a stitch in time saves nine’ thing. While there are many correct ways to mend socks, some methods last longer than others, and some are fast and some are slow (sometimes very slow). Socks are a great place to start when learning to mend, because they aren’t too precious, any unsightly areas are (normally) hidden in our shoes when worn, and their mending needs are (usually) minor compared to other garments.

Deciding how to repair

Check the ‘Plan Your Mend’ flowcharts to determine the type of darn most suitable for your sock and its damage

Socks need to stretch to fit feet snugly and properly; this is why they’re knit, and often have an elastane component blended into the fibre. Of course, you now know that this means your repair needs to be flexible to stretch with the sock

Socks are subject to lots of friction, between foot and floor or foot and footwear; this is why they wear out so fast compared to other garments, so you’ll want to choose sturdy materials for your mend

Thread or yarn with some synthetic content, such as a wool/nylon blend, or polyester sewing thread, will be stronger and less likely to break, delaying the next mend a little longer. This is especially important for thinner socks that are going to be repaired with thinner thread/yarn

If using wool yarn to darn a wool sock, choose yarn that can be washed in the same way you wash those socks. Most wool sock yarn is superwash (meaning the yarn has been treated to remove the scales on the fibre so it can be machine-washed without felting), but yarn for mending might not be, so choose carefully

DIFFICULTY LEVEL: 2

Features

Mend is usually hidden

Good practise for a wide range of mending techniques

Stretchiest parts of socks – such as cuffs, back of heel/ankle, arch – require a more flexible mend

Less stretchy parts of socks – such as sole, bottom of heel, toe – are suitable for a less flexible mend

When to use

Best to mend when the stitches get thin, before a hole develops

Additional supplies

Darning tool

Relevant core skills

Threading a needle

Securing the thread

Woven darn

Blanket stitch darn

Top patch

Stitches (select based on your garment needs):

Whip stitch

Blanket stitch

Herringbone stitch

Stay stitch

Choosing a technique

Now that you know more about socks than you ever wanted to know, let’s get (closer) to the repairing part. The charts that follow will guide your mending technique decision. This diagram gives an overview of the types of mend suitable for socks, based on whether they are thicker or thinner.

The chart over the page provides further considerations related to the flexibility/stretchiness of the technique, the time required, and the type of socks we’ve found best suited to these repairs. They are ordered from top to bottom by difficulty. The time required is relative; the amount of time any repair takes is based on so many things: your experience with the technique, the size of the damage, how many distractions you face while mending, the size of your stitches...

| Flexible | Time required | Suitable sock type
|  | Low | Moderate | High | Lightweight | Thick
Patch | Yes | x |  |  | Yes | Not optimal
Running stitch reinforcement | No | x | x |  | Yes* | Yes
Woven darn | No |  | x |  | Not optimal | Yes
Blanket stitch darn | Yes |  | x |  | Yes | Yes
Bias darn | Yes |  | x |  | Yes | Yes

*Suitable for less stretchy areas, such as soles and bottoms of heels

Any of these techniques can be designed to be visible, creative, and stand out, or to be subtle or practically hidden, based on the materials you choose. See ‘Plan Your Mend’ for more information about how to design your repair.

How to repair socks

Regardless of the type of sock and the repair approach, you’ll set up your mend the same way once you’ve chosen your technique and mending materials.

Choose a darning tool that fits both into your sock and comfortably in your hand. While there are special tools designed just for mending socks, we find that a deck of cards or masking tape-covered jar lid work nicely.

If darning a larger hole on the heel, use a rounded darning tool to help shape the darn to the heel. This could be a darning egg, an orange, or a firm, smooth, palm-sized ball. We usually don’t use tennis balls as the fuzzy texture can be challenging to sew over.

Avoid knots; make a small stay stitch for patches, and weave in the ends on darns.

For a patch: Follow the instructions for atop patch, and option C from the table in step 3. After a serious deep dive into mending techniques suitable for lightweight socks, Jeanna learned a lot about the dos and don’ts for optimal, long-lasting repairs. The winner in her view? A T-shirt patch, sewn on with a whip stitch or blanket stitch. Other menders have reported using scraps from similar weight socks that have lost their mates as patches, with good results.

For a darn: Keeping in mind the above considerations, and follow the directions for your preferred darning technique. (blanket stitch darn shown above)

Snags in knitwear

Everyone has surely had the misfortune to catch a knit garment on something, leaving it with a snag or pull. When this happens, any slack in that row of knitting is tightened. This produces a longer loop on the snagged side of the garment or, if you’re unlucky, breaks the thread, leaving two lengths of yarn.

DIFFICULTY LEVEL: 1–2

Features

Usually invisible

When to use

Easier with chunkier knits but also suitable for fine knits

Additional supplies

Darning needle

Crochet hook (optional)

Relevant core skills

Weaving in ends

How to repair a pull with an intact loop

DO NOT CUT THE YARN. Identify the extent of the tightness in the row of knitting on each side of the snag. Gently pull the garment at each side of the snag to encourage it back into shape.

Use a darning needle (or other thin, blunt tool) to tease out the tight stitches on either side of the snag, working from the snag outwards, gently pulling the yarn through to the next stitch. Keep pulling excess yarn to the next stitch, dispersing it along the row first in one direction and then the other. It’s possible that this will take up the excess yarn completely and the loop will disappear back into the knit.

If a loop remains, hook it through the hole at the base of the loop from the inside of the garment, and pull it to the inside. The loop will no longer be visible from the outside.

How to repair a pull with broken yarn

Follow the directions above to try to loosen the tight stitches at either side of the snag.

Follow the directions for weaving in ends/short thread variation.

Denim crotch repair

Denim crotch repairs are the most common garment repair we see at sewing sessions. This is probably because when we find a pair of jeans that fits well, we just keep wearing them. The denim in the crotch area often rubs together as we walk, causing the fabric to thin or develop holes. It’s an area of our clothes that we don’t often look at, so the damage can be quite extensive before it’s noticed. Often garment owners think it’s so bad as to be unfixable. The good news is that denim crotch repairs are achievable even for beginners and are good for practising as their relatively hidden position means the quality of stitching won’t be under close scrutiny. The most suitable repair is a patch, and because this involves some specific considerations, we’ve dedicated a separate section to help guide you through this useful mend that will keep your beloved jeans going for longer.

DIFFICULTY LEVEL: 3

Features

Strong and durable repair

Hardly visible if tackled before hole develops

When to use

On jeans, dungarees, shorts, trousers (pants) with thinning or holey crotches

Additional supplies

Patch fabric

Fabric pencil/chalk/marker

Beeswax

Measuring tape or ruler

Paper and pencil

Iron

Relevant core skills

Pinning and tacking (basting)

Patches

Stitches (select based on your garment needs):

Whip stitch

Running stitch

Deciding how to repair

Use the flowcharts in ‘Plan Your Mend’ to guide your process

A subtle rather than visible repair is often preferred in this area, to avoid drawing attention

Identify if your fabric is stretchy or not, and choose a comparable fabric

Reverse patches are preferable in high friction areas

Because the crotch area is a complex shape, patching each quadrant separately will give a better finish but is a bit more work

Creating a paper template outlining the shape of the necessary patch is worth the effort; make the template for the side with the larger damage; then you can flip the template over to cut a matching patch for the other side of the crotch

How to repair a denim crotch

Turn the jeans inside out and assess how far the damaged area extends on the side with most damage. Use a fabric marker on the inside to outline the area that requires strengthening.

Smooth out the damaged area until the fabric is lying flat, to ensure that your patch is the right shape to lie flat when attached. When everything is flattened out, lay a piece of paper over the area to be patched and pin it in place along the seams. Flatten out the fabric again and, feeling where the seam is below the paper, use a pencil or marker to draw along the outer edge of the seams. Then draw a curve from one seam to the other, making sure that the template is at least 1cm (½in) bigger than the damaged area. Next cut out the template and check that it’s big enough to extend onto undamaged fabric.

Consider which side of your patch fabric you want facing outward, as it may show through any holes. Pin the template in place on the patch fabric then cut around it. It is likely that there will be damage on both sides of your garment, so at this stage it’s worth flipping the template over and cutting a second patch for the other side.

Pin and tack (baste) the patch in place, checking that the side you want to show through the hole is face down. Pin along the seams first.

Whip stitch round the edges of the patch, securing it first to the seams. Remove the tacking after stitching all the way round the patch.

Next, sew rows of running stitch parallel to the straight inside leg seam. These stitches are made through both the fabric of the patch and the garment to create a stronger area. Smaller stitches on the right side make for a more subtle mend.

Once the patch has been secured all over, turn to the outside of the garment and decide how you might want to trim or secure the edges of any holes.

In many cases, some seed stitches (see the running stitch ‘Variations’) round the hole work well to tidy up any fraying. These should be sewn from the right side of the garment.

Variations: Patching stretchy fabric

Putting a patch on garments such as leggings or athletic pants is a bit more complex.

DIFFICULTY LEVEL: 3+

Cut the patch from fabric with a similar stretch, making sure it’s aligned so the direction of the stretch is the same as the area to be patched.

Instead of a running stitch, use a whip stitch or an open back stitch for sufficient flexibility to secure the patch.

For thinning crotches in tights that haven’t yet developed holes it’s best to use a blanket stitch darn or closely stitched rows of open back stitch.

For holes in the crotch of tights, see ‘How to repair a worn underarm with a darn’.

Worn underarms

Like the crotches of trousers (pants), the underarms of shirts are susceptible to quite a lot of friction, and damage often goes unnoticed until a large hole develops. These areas can feature uneven damage, with the seam still intact but the fabric on either side damaged. They are places you might not want to draw a lot of attention to, so you’ll want to consider the appearance of your repair when choosing your mending materials. Darns or patches can both be suitable repair techniques, depending on the garment.

DIFFICULTY LEVEL: 2–3

Features

Subtly repairs holes in underarms of woven or knit fabrics

Maintains the structure of the underarm shape

When to use a patch

Refer to the flowcharts in ‘Plan Your Mend’

For lightweight woven fabrics (such as a button-up shirt) or lightweight knits (such as a T-shirt or merino base layer)

When to use a darn

For heavier weight jumpers (sweaters), chunky knits and thicker wovens

For tights/leggings crotch repairs are best done with a blanket stitch darn (most flexible)

Additional supplies

Patch fabric or yarn suitable for your garment

Measuring tape or ruler

Relevant core skills for a patch

Patches: reverse patch

Whip stitch

Blanket stitch

Stitches for a darn

Woven darn

Blanket stitch darn

How to repair a worn underarm with a patch

Follow the directions for a reverse patch. Options B, C or D are all suitable for this repair, depending on the damage and your preference.

Choose matching or close to matching patch fabric for a lowkey repair.

Unlike in other patching instructions, you may trim up tattered edges of the holes, but do NOT cut the seams if they are still intact. The seams help maintain the shape of the underarm and can guide your patch placement so the mended garment still feels comfortable.

How to repair a worn underarm with a darn

Follow the directions for your preferred darning technique.

As with patching, you can trim up loose threads, but try not to cut the seams if they are intact. They are helpful to guide your stitches to keep the shape of the underarm/crotch.

The angles of how this part of a garment is constructed can make the damage an uneven shape. Use the seams to guide your darn, stitching into the seams to secure the darn in place.

Buttonholes

Buttonholes are subject to quite a lot of stress, leading to the stitches bursting and the edges fraying and distorting. In extreme cases the fabric tears so that the buttonhole is no longer intact and requires a patch. Try to repair at the first sign of damage to prevent it deteriorating further.

DIFFICULTY LEVEL: 2

Features

Neat and strong

When to use

Damage to buttonholes

Additional supplies

Thicker buttonhole thread or a double strand of polyester thread

Relevant core skills

Threading a needle

Securing the thread

Stitches

Buttonhole stitch

How to repair a buttonhole

Trim the frayed areas so that you can see the original stitching and the damaged area. Either use thicker buttonhole thread or a double length of polyester thread in a strong needle. Make a stay stitch near the start of the buttonhole at your support hand side.

Sew blanket stitches slightly deeper than the original stitches. As you get to the damaged area, make your stitches even longer and closer together. Stitch past the damage or all the way around the buttonhole, and secure your thread at the end.

Holes in pockets

The two main types of pockets are: patch pockets (fixed to the surface of the garment) and internal pockets (any kind of pocket that is a separate little pouch inside the garment). Holes in patch pockets are best fixed with a patch. You will need to work with one hand in the pocket as you can’t get to the back of the pocket fabric from inside the garment. Be careful you don’t sew your pocket closed! It’s easier to do than you might think. Put a piece of cardboard in the pocket so you don’t accidentally sew through both layers of fabric. Here we focus on repairing holes in internal pockets, including seam damage and a hole in one layer of the pocket. More extensive damage of both layers of the pocket bag is more complicated but is totally doable, using online resources found by searching ‘replace pocket bag’.

DIFFICULTY LEVEL: 1–2

Features

Completely invisible, since the damage and repair are on the inside of the garment

Because this is a completely hidden repair, it’s fun to choose a decorative or colourful fabric; only you will know it’s there

When to use

Repairing damage to a pocket on the inside of a garment

Additional supplies

Measuring tape or ruler

Cardboard scrap

Pencil

Patch fabric

Fabric pencil/chalk

Iron

Relevant core skills

Patches: top patch

Pinning and tacking (basting)

Stitches (select based on your garment needs)

Back stitch

Whip stitch

Assessing damage

Damaged seam: This is the easiest to fix. If the damage is simply broken stitches in a seam, resew that seam following the ‘Split unfrayed seam’ instructions

Damaged pocket bag one layer: This mend is more difficult. If the fabric on one side of the pocket bag is damaged, you can sew a patch over the hole (see Patches)

Attachment point repairs

Places on garments or bags where straps, pockets or belt loops are attached often fail because they are high-stress points, whether because of strain from carrying too much weight or from using belt loops to hike up trousers (pants). All these repairs employ a similar technique – here we’ll use the example of belt loops to show how to tackle them. If you look at a torn belt loop, you’ll likely see that it isn’t the belt loop itself that has broken: it is the fabric under the belt loop that gives way. This means that you’ll need to reinforce the fabric under the belt loop to make a strong foundation to support the loop before sewing it back on.

DIFFICULTY LEVEL: 3

Features

A sturdy fix for a high-stress point where one piece of fabric is sewn onto another

When to use

Reattaching belt loops, or backpack (rucksack), duffle bag, or tote bag straps, where the fabric under the strap has torn

Holes at the corners of patch/jeans pockets

When a button has torn through the fabric of the placket

Additional supplies

Measuring tape or ruler

Seam unpicker/ripper

Extra strong thread

Patch material

Thimble or needle nose pliers (optional)

Relevant core skills

Patches: reverse patch

Removing unwanted stitches

Pinning and tacking (basting)

Stitches (select based on your garment needs)

Running stitch

Back stitch

How to repair an attachment point

Lift the belt loop up out of the way so you can see the fabric below. If there are any stitches still holding the belt loop (pocket/strap) to the fabric below, carefully unpick them or cut away the fabric. These small, tight stitches (called a bar tack) can be very dense, so you may need to trim the frayed fabric around the stitches away instead.

Cut a patch and pin it in place on the inside of the garment, then tack it in place.

Stitch back and forth across the patched area (through the patch and the garment fabric) using a running stitch to strengthen the patched area.

Pin the belt loop in place on the newly patched area. You should be able to tell where it should go simply by laying it on the garment.

Thread a needle with a strand of strong thread, and back stitch across the belt loop. If you’re sewing through multiple layers of thick fabric, you might want to use a thimble or needle nose pliers to help pull the needle through. You should also insert the needle through the fabric in one direction and pull the thread through, then insert it back through the other direction, instead of going in and out in one stitch. Use the stitch of your choice to tidy up loose ends round any hole.

Knit cuffs

Cuffs on our most beloved cozy garments often wear out. Knitwear cuffs are made up of rib, a super-stretchy knit technique, and usually one of two styles: a piece of rib knit fabric sewn onto the end of the sleeve (often on sweatshirts) or rib knit as a continuation of the sleeve (usually on jumpers/sweaters and cardigans). How you repair the cuffs will depend on what type of cuffs your garment has. Check the flowcharts in ‘Plan Your Mend’ when deciding how to proceed. Bear in mind that mends in this area will change the feel of the cuffs somewhat.

DIFFICULTY LEVEL: 2–3

Features

Reconstructs tattered cuffs

Revives sagging cuffs

More visible (darning) to less visible (folded cuff repair and ladder stitch)

When to use

Back stitch to tighten stretched out cuffs

Ladder stitch or cuff replacement to reconstruct folded cuffs

Woven darn to mend tattered jumper (sweater) cuffs

You will need

Embroidery thread (floss) or sewing thread

Fabric pencil/chalk (optional)

Darning tool (for darn mend)

Relevant core skills

Pinning and tacking (basting)

Removing unwanted stitches

Woven darn

Weaving in ends

Stitches (select based on your garment needs)

Back stitch

Ladder stitch

Whip stitch

Herringbone stitch

How to repair stretched cuffs

Cuffs of lightweight knits lose their elastic characteristics as the fabric ages, leaving you with saggy cuffs that fall down. Fortunately, you can revive your saggy cuffs to near-original stretchiness fairly easily with a back stitch.

Thread a needle with three strands of embroidery thread, or one strand of sewing thread. Work your stitches from the right side of the garment, but secure your thread on the inside to hide the stay stitch. You might mark your stitching line around the cuff with a fabric pencil/chalk.

Follow the instructions for a back stitch using these variations for sewing ribbed fabric in steps 3 and 4.

Start at the edge of the cuff and make a stay stitch about 5mm (¼in) in from the edge

Back stitch around the ribs, using the ribs to guide your stitch length. Bring the needle up to the right side of the fabric between two ribs (A), then insert it between the previous two ribs (B), and out of the fabric between the next two ribs (C). Gently tighten each stitch to pull the ribs together

Sew another row of back stitches in the same manner at the bottom of the cuff. If your cuff is longer than about 5cm (2in), you may want to add another row of stitches in the middle

How to repair cuffs with folded ribbing

Repairing existing cuffs makes the mended cuff thicker and shorter than the original cuffs, but the fabric will be an exact match because you aren’t adding any new material/yarn.

Cut along the folded edge of the cuff.

Fold the edges under so the damage is fully enclosed in the seam allowance and pin the edges together evenly.

Sew the two edges together with a ladder stitch.

How to replace with new cuffs

Here you’ll remove the damaged cuffs and replace them with cuffs from a donor garment (see ‘Mending Kit’ for more information about donor garments), which is the most complicated cuff mend.

Turn the garment inside out and remove the damaged cuffs by unpicking the stitches where the cuff attaches to the wrist. Remove the cuffs from the donor garment in the same way.

Turn the garment right side out. Slide the donor cuff over the sleeve opening, folded edge first, so the raw edges of the donor cuff line up with the edge of the sleeve opening. Make sure that the donor cuff is on the ‘right’ side of the garment to ensure your seams are sewn on correctly. Pin it in place. The position it’s in will look like it’s folded or rolled up, with the seam exposed.

Sew the donor cuff to the sleeve opening using a back stitch, with a 5mm (¼in) seam allowance.

Sew around your new seam with a whip stitch or blanket stitch, keeping your stitches within the seam allowance you just created in step 3, to enclose the edges of the seam.

How to repair cuffs with a single layer of ribbing

Here we share two options for repairing cuffs that are knit as a continuous part of the sleeve. Hemming the cuffs is perhaps more suitable for lightweight knits, while darning is better for heavy knits.

Hemming

DIFFICULTY LEVEL: 2

If your lightweight cuffs are long enough, you can hem them. Of course, this will shorten the cuff, so you’ll need to consider if a shorter cuff will be right for your garment. Hem both cuffs so they’re even.

Trim any loose threads, then use a whip stitch to stabilize the edges of the damage. Make sure to stitch into any loops of yarn you see along the edge; if you can’t catch the loops, just extend your whip stitches about 5mm (¼in) into the intact fabric.

Next, fold the cuff over to the inside of the sleeve, and sew it in place with a herringbone stitch.

Woven darn

DIFFICULTY LEVEL: 3+

The tricky part of this repair is keeping the tension even, so your darn is level with the edge of the original cuff. Follow the directions for the woven darn with a couple of key differences.

Start by setting up your garment on a darning tool.

Referring to the woven darn instructions, start your warp stitches next to the edge of the cuff on your dominant-hand side, about 5mm (¼in) away from the edge. Be careful not to pull the warp threads too tight: try to bring the edges of the cuff towards each other so the lines of ribbing are straight, without pulling in the edges of the hole. Continue making warp threads across the hole.

Make the weft threads. When you stitch to the edge of the cuff, bring the needle over the top warp thread, so the weft thread goes around the top warp each time you turn to stitch back in the other direction.

Continue weaving across the hole, carefully keeping the thread tension even so the edge of the darn is level with the cuff. Weave in the ends when finished.

Technical gear repair

Weatherproof outerwear is susceptible to damage because the outer fabric is often a lightweight synthetic material that tears or burns easily. Inside, puffer jackets are filled with either down (usually goose feathers) or synthetic filling (usually polyester), while weatherproof garments are made of technical fabric that is impervious to the elements. These garments require some particular considerations. Be cautious with waterproof gear repairs, which may require a professional repair to maintain their waterproof qualities. A fabric tape patch is a quick, effective, and water-resistant repair. You can also sew a top patch onto a puffer jacket, but take care only to sew the top layer of the garment to avoid pulling the filling through with the thread. If multiple layers are damaged, the garment will require more complex patching on both sides.

Features

Prevents the filling from escaping an insulated jacket

Fabric tape is a quick, effective, long-lasting repair

Sewing a patch on a puffer jacket is effective and long-lasting, but more complicated

When to use

Fabric tape can be used on most types of weatherproof synthetic outerwear

Only sew a patch onto a down jacket – not a waterproof one

Additional supplies

Alcohol wipe

Tweezers

Measuring tape or ruler

Iron and lightweight cotton cloth

Fabric or tape patch

FABRIC TAPE

DIFFICULTY LEVEL: 1

How to repair with a fabric tape patch

This is an easy fix that is also suitable for waterproof garments – no sewing is involved, but it is a durable, long-lasting repair.

Lay your garment out flat on a table or hard surface with the damaged area visible and accessible. Make sure the area around the damage is clean and free of dust and dirt. Wipe with an alcohol wipe to remove any dust or oil, then let dry. Poke any stray bits of filling back into the hole with tweezers.

Cut a piece of fabric tape at least 1cm (½in) wider than the hole into a circle, oval, or square with rounded corners. A rounded shape reduces the chance of the corners of the patch peeling up over time.

Remove the backing from the tape patch. Carefully centre it over the hole, and gently press it in place. Follow the directions for your fabric tape: if it requires heat treatment to seal the adhesive, be VERY careful to check that the heat setting on your iron is set to the lowest/synthetic temperature, so you don’t burn the fabric. Put a piece of cotton fabric (like a handkerchief) over the garment when ironing it to reduce the risk of burning.

Zips

Many garments rely on zip fasteners, which can be an area of weakness. Many things can go wrong with zips; some are easy to fix and others require more complex replacements. When deciding on a repair, consider the value of the garment; if you have an expensive waterproof jacket that needs its zip replaced, you might choose to invest in a professional repair by an outdoor clothing repair specialist so the garment retains its waterproof properties. If you need to replace a jeans zip, see the Repair What You Wear online tutorial* for instructions on how to carry out this more complex mend. There are many more ways that damage to zips can be repaired or parts replaced than we can show here. Zip repair kits are available online, as are replacement sliders and other parts. You should be able to purchase a replacement zip of the same length – although you can also use longer zips and tuck in the top end or trim it to fit. You’ll find many videos online providing further helpful advice.

Features

Repairs or replaces a damaged zip

May change the length or function of the zip

When to use

Zip won’t stay up

Zip is sticking

Slider has come off one side of the zip

New open-ended zip on top of old

Additional supplies

Pliers

Soft graphite pencil, bar soap, or beeswax

Flat screwdriver

Strong thread

Replacement zip

Relevant core skills

Pinning and tacking (basting)

Stitches (select based on your garment needs)

Whip stitch

Back stitch

ZIP WON’T STAY CLOSED

DIFFICULTY LEVEL: 1

How to repair a zip that won’t stay up or closed

This is usually caused by the mouth height of the zip slider expanding due to use. The solution is quite simple: give the back of the slider a squeeze with pliers to reduce the mouth height.

Using pliers, grip one side of the zip along the rail and squeeze to reduce the tape gap. Repeat on the other side. First try a gentle squeeze, then test to see if it’s improved the situation; if not, squeeze with a bit more pressure. It’s possible to break the slider, meaning you’d need to replace the slider or the whole zip, so be careful.

ZIP STICKING

DIFFICULTY LEVEL: 1

How to repair a zip that is sticking

First, check that there’s not a thread or piece of fabric catching in the zip; if there is, remove it.

If that’s not the problem, the next step is to lubricate the zip. You can do so by running a soft graphite pencil, a bar of soap, or beeswax over the teeth to make the zip run more freely.

SLIDER HAS COME OFF ONE SIDE OF THE ZIP

DIFFICULTY LEVEL: 2

How to adjust the slider

If the slider has come off one side of a closed-end zip, move the slider to the bottom so that the zip is completely open (at the end closest to the floor when the garment is being worn).

It may be possible to feed the teeth back into the slider by gently opening the tape gap with a flat screwdriver

If that doesn’t work, there’s a repair that makes the zip shorter, but, if that’s not a problem, will enable you to keep using the garment. With the slider still at the bottom of the zip, snip the zip tape on the other side at the level of the top of the slider shoulder. Then feed the teeth into the slider and pull it up.

Use a double thread to stitch across the zip teeth above the snipped section to prevent the slider coming off when it’s pulled down. The zip is effectively shortened here.

NEW ZIP OVER DAMAGED ZIP

DIFFICULTY LEVEL: 2–3

For zips on front jackets, fleeces, coats, cardigans and similar that are no longer fixable, it’s possible to sew a new zip on top of the old one. This saves you having to take the old zip out and is therefore a quicker fix. It’s a suitable repair when the coil of the old zip is coming loose from the tape, or where the bottom stop and stiffened end are too damaged to engage into the slider.

Measure the zip and source a new zip of the correct length. Unzip both the new and old zips, so they are completely separated.

Pin each side of the new zip to the old zip tape, taking care to match the bottoms on both sides. Tack both sides of the zip in place and remove the pins.

Cut the retainer box off the old zip (do not use good dressmaking scissors as you could damage the blades). Remove the slider from the old zip.

Back stitch both sides of the zip to the old zip tape, keeping your stitches near the outside edge of the tape so they won’t get caught when the zip is being pulled up and down.

At the top of the zip, you might have to open a short length of seam on each side to tuck the top ends of the zip in between some of the layers of fabric. It might be possible to fold them to the side and sew them down instead.

The finished zip will appear broader than the original zip and the stitching will be visible from the front of the garment.

________

* ‘Replacing a Zipper by Hand: The Ultimate DIY Guide!’ by Repair What You Wear on YouTube.

Acknowledgments

Editorial team at Quadrille

Editorial Director: Judith Hannam (for the initial contact), Harriet Butt

Deputy Design Manager: Emily Lapworth

Copyeditor: Marie Clayton

Technical Illustrator: Suzie London

Illustrator: Lena Yokoyama

Proofreader: Nick Funnell

Ros Studd and Elahe Alavi at ‘Repair What You Wear’ for sharing their mending skills and knowledge, and graciously letting us use their online resources for video references throughout the book.

Atsushi Futatsuya for his contribution about Sashiko and cultural sustainability.

Zoe Edwards for giving mending a space on her podcast ‘Check Your Thread’, which brought Mary and Jeanna together to create this book.

Isabella Taylor, Scottish communications and engagement officer at The National Lottery Community Fund, for the first press release.

Debbie Adams, Patsy Simpson, Shams el-Din Rogers, and Lucy Lilley for reading portions of the draft and providing valuable guidance that shaped the direction of this book.

The team at SHRUB Coop, past and present. The authors’ advances were donated to SHRUB.

And above all, our family and friends for their encouragement, support, and understanding during the writing process, and for the provision of plenty of garments to challenge our repair skills over the years. We couldn’t have done this without you all.

Further learning

You can support the work of the organizations and creatives listed here by various means: sharing and crediting the work that inspires or educates you; participating in their change-making campaigns; purchasing their products, making donations, or through subscription services. In a world where physical objects are often valued more highly than ideas and content, it’s critical to support creatives, who share their knowledge via online platforms or podcasts, in any way you can.

WEBSITES, ORGANIZATIONS, AND CREATORS

Edinburgh Street Stitchers

Instagram: @edinburghstreetstitchers

SHRUB Coop (Edinburgh zero-waste charity)

www.shrubcoop.org

Repair What You Wear

www.repairwhatyouwear.com

Textile Beat

www.textilebeat.com

Fashion Revolution

www.fashionrevolution.org

Fibershed

www.fibershed.org

Street Stitching

www.streetstitching.com

ReMake

www.remake.world

The Or Foundation

www.theor.org

WRAP

www.wrap.ngo/uk

The Ellen MacArthur Foundation

www.ellenmacarthurfoundation.org

The Wardrobe Crisis

www.thewardrobecrisis.com

Upcycle Stitches/Sashiko Story (Atsushi Futatsuya, Sashiko artist)

www.upcyclestitches.com

www.sashikostory.com

Don’t Ditch It Stitch It (Thom Gonzo, artist and mender)

www.dontditchitstitchit.com

Aja Barber (writer and consultant on the intersectionality of fashion and sustainability)

www.ajabarber.com

PODCASTS

Check Your Thread

www.checkyourthread.com

Clotheshorse

www.clotheshorsepodcast.com

BOOKS

Mending techniques

Modern Mending: How to Minimize Waste and Maximize Style (Erin Lewis-Fitzgerald, Search Press, Tunbridge Wells, 2021)

Mend! A Refashioning Manual and Manifesto (Kate Sekules, Penguin, London, 2020)

Visible Mending (Arounna Khounnoraj, Quadrille, London, 2024)

Kantha: Sustainable Textiles and Mindful Making (Ekta Kaul, Herbert Press, London, 2024)

Climate change resources

The Climate Book (Greta Thunberg, Penguin, London, 2022)

Less Is More (Jason Hickel, Windmill Books, London, 2021)

Social and environmental impact of the garment industry

Slow Clothing (Jane Milburn, Textile Beat, Australia, 2017)

Unraveled:The Life and Death of a Garment (Maxine Bédat, Portfolio, London, 2021)

Consumed:The Need for Collective Change: Colonialism, Climate Change and Consumerism (Aja Barber, Brazen, London, 2021)

Loved Clothes Last (Orsola de Castro, Penguin, London, 2021)

Overdressed:The Shockingly High Cost of Cheap Fashion (Elizabeth L. Cline, Portfolio, London, 2012)

The Conscious Closet:A Revolutionary Guide to Looking Good While Doing Good (Elizabeth L. Cline, Penguin, London, 2019)

VIDEOS

Teaching core mending skills online course run by Ros Studd of Repair What You Wear: www.youtube.com/@RepairWhatYouWear/videos

The Repair What You Wear website (www.repairwhatyouwear.com) has great example videos of left- and right-handed sewists demonstrating core sewing skills

DOCUMENTARIES

The True Cost (2015)

www.truecostmovie.com

River Blue (2016)

www.riverbluethemovie.eco

Quadrille, Penguin Random House UK, One Embassy Gardens, 8 Viaduct Gardens, London SW11 7BW

Quadrille Publishing Limited is part of the Penguin Random House group of companies whose addresses can be found at global. penguinrandomhouse.com

Text © Mary V Morton and Jeanna Wigger 2025

Technical illustrations © Suzie London 2025

Decorative illustrations © Lena Yokoyama 2025

Design © Quadrille 2025

Mary V Morton and Jeanna Wigger have asserted their right to be identified as the authors of this Work in accordance with the Copyright, Designs and Patents Act 1988

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Published by Quadrille in 2025

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eISBN 978 1 83783 339 9

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