Peggy Sagers: Activewear sales are over $170 billion each year in the US.

Yoga wear and exercise clothing have become a part of our everyday attire, even when no exercise is on the daily schedule.

Sublimation printing is bursting onto the scene of activewear, but what is it?

Today we learn about the newest role that polyester plays in activewear, and the definition of sublimation printing.

All today on "Fit 2 Stitch."

♪♪ ♪♪ male announcer: "Fit 2 Stitch" is made possible by Kai Scissors.

♪♪ announcer: Plano Sewing Center.

♪♪ announcer: Elliott Berman Textiles.

♪♪ announcer: Bennos Buttons.

♪♪ announcer: Imitation of Life.

♪♪ announcer: And Clutch Nails.

♪♪ Peggy: Sublimation printing is our subject for today.

It's certainly not new, but it is creeping into fashion faster than ever before.

We're seeing it with swimsuits, we're seeing it with sportswear, we're seeing it with ready-- regular ready-to-wear.

I just can't believe how much we're seeing it.

And also, because I wanna make you aware of the fabrics that are used, it's being done on polyester, and polyester and that whole wick-away, I don't see how that can possibly work, but we're gonna learn today.

So I've asked our guest, E., to go through this process and join us today because the process is--it's not complicated, but it's definitely a few steps.

Eumir Vargas: Definitely, there's a learning curve there, absolutely.

Peggy: That's definitely a learning curve.

I like how you said that.

Let's start with--let's look at these garments and just tell me how I even know this is sublimation printing.

What is it?

Eumir: It's a process of dyeing polyester or any kind of synthetic fabric.

Now what we're doing is permanently dyeing-- Peggy: A process of dyeing permanently any synthetic fabric.

Eumir: Correct, so, polyesters, you can get some nylon blends in there as well, as long as it's synthetic, with any kind of plastic base-- Peggy: And why can't I use natural fibers?

Eumir: So natural fibers aren't going to gas, which is the process of dyeing that.

The polyesters will change the chemistry.

Through specific heat and timing is where we achieve this.

Peggy: Okay, so how can I tell it's sublimation?

Like, this is amazing.

I expected this to feel like paint, like-- Eumir: Right, like screen print or heat transfer is probably what you expected.

So sublimation, it's all smooth, it's all the design elements are part of the dyeing process.

So there's no additional steps.

Once it's dyed, it's all permanent and ready to go.

Peggy: But the color is so intense.

And is that an advantage of sublimation printing?

Eumir: Yeah, so like, this specific piece here, the customer wanted this pink.

There's not a manufacturer that makes this pink, so we're able to go and custom dye this for them.

Peggy: There's not a fabric manufacturer?

Eumir: Correct.

Peggy: So you can actually create colors that aren't even available in fabric?

Eumir: Absolutely.

Peggy: That's exciting, okay, we're gonna learn about all that, but show me this; why would you do this sublimation?

Like, why wouldn't I just get black fabric?

Black's not hard to find, pink is, but-- Eumir: Right, so that's a similar advantage to here.

We're able to transition from black to your design without having to change or add any seams, making the garment more complicated to sell.

Peggy: Oh, because there's nothing here?

This is all one piece?

Eumir: Absolutely, so if you feel it, it's all smooth.

There's no transition.

Peggy: Oh, this is even-- Eumir: Correct.

Peggy: Oh, you know, it's crazy, but you look at this and the--it should be, like, raised.

You expect it, but when it's all completely flat and there's nothing on that because it's all just done in the computer?

Eumir: Right, and we do that for comfort.

If you had this embroidered, you'd be able to feel the backing.

If it's screen print, it could crack, and with a transfer, it could eventually lift off.

Peggy: So this will actually last longer?

Eumir: Absolutely, this will last until the garment starts to fall apart, if it falls apart.

Peggy: It's polyester, it's not going anywhere.

Eumir: Absolutely.

Peggy: So let's learn about this.

Can we start way back in the beginning?

Eumir: Yeah, we'll walk you through the process here.

Peggy: Oh, that sounds exciting because, honestly, even though I've heard of this and I've gone through it, I still think it's complicated.

I know you've done this.

How many years have you been doing this?

Eumir: I've been--so we've been in business since 2019 but I've been in the industry for 13 years now.

Peggy: Wow, and so doing sublimation printing?

Eumir: Sublimation printing for just 3 years with manufacturing but we've done it for a while now.

Peggy: So what is this?

Eumir: So this is our engineered print, this is what we start with, and an engineered print is what we call whenever the process starts.

Everything starts, like you would see a pattern, but everything is on individual piece.

So everything has to be individually printed, individually cut, and individually sewn.

Peggy: Okay, so let me just make sure I understand this, 'cause we are sewers, like, we take the pattern and put it on the fabric.

Eumir: Correct.

Peggy: You're putting the pattern and putting it into the computer and printing it onto the fabric?

Eumir: Absolutely.

Peggy: So, every one of these pieces, this would be cut too.

This is--everything's open.

There's no cut on the fold, there's none of that.

Eumir: Absolutely, so all of that information, our sewers know it, but everything here is what you see happening there.

So all of this is part of the design, part of the first step.

So when this presses into the fabric, it's already part of the design, which is why you don't feel any kind of raised textures.

Peggy: And it's actually pre-sized?

Eumir: Correct.

Peggy: And pre-seam--seam allowances are included?

Eumir: Everything's in there, yeah.

So everything, similar to how you would see on a regular pattern, it's on here except you don't see those lines.

So we're not seeing our seam allowance lines.

We just know it.

Peggy: Sure, and there's no alterations.

After it's done, there'd be no reason to have any alterations of any kind.

Eumir: Absolutely, there's none.

Peggy: So this is where it starts.

It starts, and the big machine prints this out, and the colors are all--you only have the regular four colors, right, the-- Eumir: Correct, so we're using the CMYK printer which is a little bit of a challenge to get specific colors.

Peggy: Cyan, C-M, magenta.

Eumir: Cyan, magenta, yellow, and black.

Peggy: Okay, just wanna make sure.

And that--so you can--that's where you're saying your creative ability is off the charts because you can put that anywhere you want.

Eumir: Absolutely, so this can be over seams, it can be overlapping, it can be a gradient, and if you've seen gradients through other processes, they don't look so crisp.

When you do it through sublimation, it's a smooth transition and it just looks amazing.

Peggy: So when did this start, sublimation printing?

Eumir: 1957, in France.

So there was a textile mill where they--one of the employees there realized that they could gas synthetic fibers and that's kind of where the process started.

Peggy: Amazing, wow, but I am seeing it-- you're seeing a lot in fashion right now.

Eumir: Absolutely.

Peggy: Sportswear is a big industry; clearly you know, which is why you got into it.

Eumir: Yes, that's the industry we're in, yes.

Peggy: But, other--it's really going into other areas right now where we're seeing it a lot especially, like, swimsuits.

Eumir: Yes, it's been around swimsuits for a while, cycling wear and-- Peggy: Because it doesn't--it doesn't fade.

Eumir: It doesn't fade; as long as you do it right, it'll never fade, it'll last a lifetime.

Peggy: When you say "As long as you do it right," as long as you do it, right?

Eumir: Correct, so we have seen instances where sublimation starts to fade and that's if you're not pressing it correctly or for enough time.

There's a science behind it.

You have to really, really learn that and it's a huge learning curve and we've kind of nailed it all down.

Peggy: So can I do sublimation printing at home?

Eumir: You can.

To this degree, you would need some pretty big equipment but there's definitely equipment out there to do smaller scale pieces.

Peggy: Okay, but I have to be aware of all the variables so that I make sure that the quality-- Eumir: Absolutely, 'cause regardless of what you're sublimating, a lot of the parameters are all the same.

Peggy: All right, and this is my fabric?

Eumir: Correct, so we start with white fabric, and this is just-- Peggy: Everything, all sublimation is white, even this black?

Eumir: All sublimation.

So you can do light colors but we love to do just white.

And that black started all white.

Peggy: And just because it's consistent, easier to work with?

Eumir: Correct, yup, it's just easier, it makes it easier for us and it's--I think, for the consumer, it's just a better-looking piece at the end.

Peggy: Well, so also when I was talking to you, when we were talking about natural fibers and you were stating how when you start with this white, it's a polyester.

Eumir: Correct.

Peggy: Talk to me about why this wicks away.

That's always been a number one killer.

Eumir: So, polyester and synthetic fibers are just hydrophobic by nature, so they're not prone to soaking or retaining any kind of water or moisture.

Peggy: So, if you throw 'em in the pool, they'd stay on top?

Eumir: Possibly, yes.

Eventually, they might sink, so they have--they might sink if, you know, moisture goes through the weave, but when you add specific weaves is when we start to see really awesome wicking features and cooling features on the polyester.

Peggy: So that's the key?

It isn't the polyester itself?

It's the way the polyester is woven?

Eumir: Correct.

Peggy: Ah, that makes so much sense because over these years I keep thinking, "How can poly wick anything?"

But it's the-- Eumir: Right, it's just the way it's woven.

It's allowing air flow through the weaves and that's really what draws the moisture out of the fabric.

Peggy: Oh, that makes so much sense, that makes so much sense.

So we started, all this is how you do it.

And this stretch is consistent for what you need in your clothing.

Eumir: Correct, right, so we know what our consumers are going to be using their garments for and that's really, for us, what dictates what fabric we're using.

Peggy: And this is all made in USA?

Eumir: Yes, so our fabric mills are here in the US.

Peggy: That's pretty impressive.

Eumir: And that's our big thing is US made, US sourced.

Peggy: US everything from start to finish.

Eumir: Mm-hm.

Peggy: I think that's really impressive.

Okay, so I've got this, and this is my-- Eumir: Correct, so this is our engineered print here, correct.

So then we take this and we marry it to the fabric on press, so it goes through our press at about 400 degrees.

Peggy: And that--is that just heat or is it pressure as well?

Eumir: It's heat and pressure, so depending on the fabric, if we have, like, a fleece or any kind of thicker fabric, we have to play with the different pressures that are going through the machine.

Peggy: So this poly doesn't just come like--you can actually change the white poly to different textures?

Eumir: Correct, yeah, so there's--we can do--there's crushed velvets, anything that's a synthetic, we can do and we can do that a lot for dancewear.

Peggy: Oh, interesting, all right, and you end up with this.

Eumir: So we end up with this, so once the paper and the fabric go through the press, it comes out of the back side through our rollers and it starts separating and that's when we see this here.

And this, once it goes to here, we hand cut everything and we get our bundles to our sewers and then start going in production.

Peggy: So it's interesting to me that when this is pressed on, some of the things that you have to worry about are the fabric stretching and not going through correctly or all of those things.

Eumir: Absolutely, so it's a fine science to everything we do.

If you warp the paper going through, it's gonna translate throughout the rest of the roll so everything has to be finessed from start to finish.

Our attention's on the front side, on the back side.

There are just so many variables that can really affect what we're doing here.

Peggy: So talk to me a little bit about how you got started into this, because this seems like an awful lot of detail.

Eumir: Yes, so I actually have a degree in graphic design, but I've been around apparel manufacturing my entire life.

My mother was a seamstress.

Peggy: Like, literally?

Eumir: Yeah, so my mother was a seamstress from a very young age when she lived in Guatemala, and I remember being a baby, sitting under sewing machines while my mom and dad were sewing purses-- Peggy: Catching the pins.

Eumir: Yeah.

Peggy: Your mom and dad?

Eumir: And dad, yeah, so they've both done it.

My mom's been doing it forever, she still does, she's a custom dressmaker and tailor, but-- so, yeah, I've been around it my whole life and what I did was realize that I could apply my knowledge and my skill in graphic design to apparel manufacturing this kind of wear.

Peggy: This really is a great marriage of those two.

Eumir: It really is and I really enjoy it.

Peggy: Because this, this whole graphic arts area, all's done on the computer?

Eumir: Absolutely, so you absolutely need some kind of graphics experience to know how to do this before you can do this, yeah.

Peggy: That makes sense, and even though, I mean, you've handled files before that I've given to you and said, "I don't know what to do with this; what do you do with this?"

All that knowledge you have as well.

Eumir: Right, so we're able to nest things together in a way for you to benefit, not using so much material.

Peggy: Talk to me about the cost.

Let's say, if it's done this way, it's made and created and then given, ultimately, to the consumer.

But is the consumer going to pay more for sublimation than, you know, a little heat press?

Eumir: If you're looking at a garment like this, they're probably gonna pay about the same.

It is, I think, more cost effective to do something like this when you're adding all kinds of different elements, so if you look at this, we have a back decoration, on the chest, and then both sleeves.

So when you go to a decorator, they're gonna charge you for every one of those different decorations.

Peggy: Okay, so it depends on how intricate this is-- Eumir: Correct.

Peggy: As to what, because you're gonna charge one price, no matter what the artwork is.

Eumir: Absolutely, so that's the advantage to sublimation is it costs what it costs, where you have all the creative freedom to achieve whatever it is you want.

Peggy: And would you say it's about 1 1/2 times what it would cost to screen print or just a little bit more?

Eumir: It really depends.

There's a lot of variables.

Again, the fabric; if a customer wants a really high-end fabric, it's gonna be a little bit more expensive.

Peggy: Like that velour and all that fancy stuff?

Eumir: Correct, right, so.

Peggy: Is more expensive.

So I notice this says, "Stretch in both directions."

Is that kind of a prerequisite but it stretches in one direction more than another.

Eumir: More, so this is actually technically considered a two-way stretch.

We wouldn't necessarily call it a four-way.

The jacket over there is definitely a four-way stretch.

Peggy: Okay, interesting.

Eumir: And that's back to what we see the consumers going to use it for, is what helps us determine what fabric to use for them.

Peggy: So the customer, your customer, ultimately has complete control, pretty much, about what they want.

Eumir: Absolutely.

Peggy: And how do you figure out what they want?

How do they--you know what I'm saying?

A lot of customers don't know what they want.

Eumir: They don't, and we typically like to ask some general questions to kind of help us better understand what they're trying to achieve, and that's where our graphics team gets involved and just starts showing some mock-ups, different ideas, and then we just finesse it down to the final product.

Peggy: All right, so we've gotten the engineered print, and that's expensive too.

Those inks are pretty pricey.

They're not normal inks.

Eumir: No, they're not, yeah, they're not very-- they're pretty costly, yeah, we'll leave it at that.

Peggy: But that is what makes it so long-lasting is the key is those inks.

Eumir: Correct, and there are off-brand inks out there.

I don't recommend people use those.

It will change everything and, at the end, you're just gonna have an unhappy customer.

Peggy: But you know, when I saw this--in ready-to-wear they're doing this on scarves, in particularly, because scarves are something that can be poly that brings down the cost, substantially, because you can do 'em on poly.

They can actually print both sides; have you seen that at all where they're doing both sides printed?

Eumir: Yeah, we've seen that and we've actually done it on small projects.

it's, yeah, it's-- Peggy: Not something like this, but just so--it's a scarf.

They're printing both sides and then they're just finishing it, so it's very inexpensive compared to what a scarf would cost, typically.

Eumir: Absolutely.

Peggy: Okay, all right, so let's go ahead and I wanna look at, this is obviously the final product, but what's this?

Eumir: So this is after it's cut.

This gets cut, we bundle everything up, so every single piece that makes that is in here.

Peggy: And everything in this cut is all cut literally by hand?

Eumir: Everything's individually cut by hand.

Peggy: Can I peek in this and see what's in here?

So this is what the seamstress gets?

Eumir: Correct.

Peggy: And she knows what to do with it all?

Eumir: Yes.

Peggy: This is pretty cool.

Eumir: So we like to mark everything whether it's right sleeve or left sleeve if they don't have a visual mock-up on hand.

Peggy: Oh, so you have direct-- this is your little guide sheet?

Eumir: Yeah, so everything's there and, with folding, you're never gonna see it on the outside, but it really helps our sewers know what pieces go where.

Peggy: Okay, and this is all the seam allowances all in there, and it's all done together.

So this is what they get.

And by the time they make that shirt, they get paid X amount to make that shirt?

Eumir: So we pay 'em hourly pay.

Peggy: Yeah?

Eumir: Yup.

Peggy: That's okay, and then they come back and they bring this.

Eumir: Correct, so when this goes to them, they bring us this and then we finish it off with adding our neck tags in there.

Peggy: So this is like your mom.

This is your mom's job?

Eumir: Right.

Peggy: And Dad.

This is what they did.

Eumir: Yes, it is.

Peggy: All right, so I wanna talk about the different sewing methods because I think that you're not just designing, you're not just doing it with fabric, but you're also dealing with sewing methods, because you have to know all of that.

Eumir: When we get specific garments that maybe our sewers haven't ever seen before or done before, it's my job to sit there and reverse engineer it and figure out how it's put together, so when they come in the next day I'm able to sit there, do one for them, walk them through the process.

Peggy: I love that.

I love that.

Eumir: And it's just one of those things that I've had to learn as a business owner for them and just really for the company to thrive.

Peggy: Wow, so you put all your skills to work.

There's nothing left at the end of the day.

Eumir: I've had no choice, yeah.

Peggy: All right, let's talk about this construction because I noticed we were--I was over one day and you had this shirt being--you know, it was on the printer, and I said, "What is this?"

and you said, "It's a neckband."

I said, "That doesn't look like a neckband to me."

Eumir: Right, so what was a V-neckband, and what you're seeing here are the notches that make the dart that create the "V." Peggy: Okay, so let's look at this for a minute 'cause I just think this is pretty cool.

Before--let me just show, before we go into this.

Whenever we do a V-neck, like, in fashion, typically, not that this isn't fashion, but I'm saying just in general, there's kind of two ways to do it and this one, there is a seam right there.

It's hard to see, but there is a seam and that's how this is done.

We're looking at this right here where there is a seam.

And in this way, you have to do it like this, because you couldn't match those stripes.

Eumir: Especially if there's a design that has to be married up to look perfect, you have to do it that way.

Peggy: Right, but here we have, you know, Mr. Armani here, and that--and so when there's a V-neck there, they're cutting it all as one piece and then they come back and they put a little tiny dart, which is so much easier, typically.

Eumir: Typically, it's easier but you wouldn't be able to do that method with something like this.

Peggy: With a stripe?

Eumir: Right.

Peggy: I see.

Okay, so let's talk about this.

So this angle, how do you predetermine this?

Eumir: So that's all our pattern-makers.

They all have their measurements and, based on how-- Peggy: Do you do that too?

Eumir: Wide we want this to be, and--I do a little bit of it, yes.

Peggy: Somehow, I knew that, because that's the engineering of it all.

Eumir: Right, absolutely, so we take this, and once it's done, we-- Peggy: So this is just stitched like that?

Eumir: Correct, it's stitched like that.

Peggy: Okay, then it's folded.

So when you do a band like this, are you gonna try to--look, that even says--tells you what to do.

Eumir: Tells you what size it is and what piece it is.

Peggy: That's pretty cool.

It's got directions right there written on in the paper.

Okay, so this is what we're going for and we want those stripes to match up just perfectly.

And so when they do that portion they've gotta make sure.

What seam allowance do you use on this?

Eumir: I'm not sure.

I think we're at a 1/4 inch.

Peggy: Quarter inch, probably?

Eumir: Yeah, on that one.

Peggy: Okay, 'cause it has to be.

There's no reason for it to be bigger and then cut it away, especially when you're wasting fabric and time and ink.

Eumir: Absolutely.

Peggy: All right, so we're doing that.

Here, we've got these all done for you, so we can show.

Here it is.

Eumir: So this, once it gets joined, we go to here and this is the process of starting it.

So we start it with a single needle on the inside, and then we'll go through.

Yeah, so that's all single-needle in there.

Peggy: Oh, I see, so you go for exact placement first.

Eumir: Absolutely, that "V" is very critical for making something look just really good at the end.

Peggy: And also, because if you mess this part up-- the sewer's really important.

Eumir: Absolutely, so if you do mess up and you cut into something or you have to cut away something, you basically have to start all over, so it's very critical to get it right the first time.

Peggy: But you do start with a single niche--single-needle sewing machine and do the "V," and then you pick up and overstitch it with a serger?

Eumir: That's absolutely right.

Peggy: Okay, so in this particular case, the length of this band is something that I know is kind of not--it's critical, you know, 'cause sometimes it won't lay flat.

If it's too long, it just won't lay flat, it'll kind of ripple.

Eumir: That's one thing that starting out, we had an issue with; it was one thing we had to learn.

Peggy: I'm really glad to hear that.

So is everybody listening, because every beginning sewer knows that it's just hard, you know, to get that just right, especially with different fabrics.

Eumir: If it's too long, it's gonna flop over and that just looks terrible.

There's no way you can press that to look right.

Peggy: No, we've tried that; even with that expensive presser, you just can't get it right.

We've all tried that, I'm sure, at least once.

All right, so this is really helpful to know.

You do that portion right first and just line that up, and you're stitching really in both directions or, I guess, you can go to the "V" and then leave the needle down and go a different direction.

Eumir: Yeah, that's what we like to do, is go to the "V" and change the direction.

Peggy: Okay, and most of your sewers, are they working on home machines or commercial?

Eumir: We have all commercial industrial equipment.

Peggy: You do, okay, just because of its consistency and-- Eumir: Just its consistency and just how much we're producing, yeah.

Peggy: Okay, which, that's exciting.

Eumir: It is.

Peggy: All right, and then they do the rest of it and they just serge the rest of it, so this is how it's cut.

This is just so cool to me that, you know, like, when you pull this, it all pulls.

I know that seems so silly to you.

Eumir: No, it's the advantage to sublimation.

Peggy: It is such an advantage.

Eumir: It's gonna be comfortable and it's just gonna last a lifetime.

Peggy: But I don't think I would have ever looked at this anywhere in a store--I would have never known this was sublimation printing, I just-- Eumir: Right, and it's one of those things people don't really know what it is until they--they're told what it is.

Peggy: The fact that you're printing the pieces premade, precut, pre-, you know, seam allowance added, is so different for my brain.

Eumir: It's almost backwards to what you're doing, and we leave all of that out so it's--you don't see your seam allowances, so when people get into it or they see things, they don't see those things, and they're not sure of what they're getting, if it's going to be right, but it always is.

Peggy: I just wanna go through the steps, just a second, like, just say, for instance, I decide to do this at home.

I've got to get the right inks.

Inks are critical.

Eumir: Correct.

Peggy: And then the fabric; you've got-- it's all poly, but you've got options as to textures.

Eumir: Correct, so we can do different textures and we can do different synthetic blends, so you can do some nylons with polyester, but the important thing is to always have really high poly count.

Peggy: So have they even tried any cottons in there?

Eumir: We've done it because we've had customers ask, like a 60-40 blend.

It's very faded.

Peggy: Sixty poly?

Eumir: Yes, 60 poly, 40 cotton.

Peggy: Okay, and it's very what?

Eumir: It's very faded, and after the first wash it almost completely goes away; it's one of those things-- Peggy: The cotton just doesn't-- Eumir: It just doesn't hold it at all, so it will fade.

Peggy: Oh, that's so interesting.

I mean, this is just so incredible to me, just what you do; then you print it out.

Like, I just want a garment of mine printed out like this.

Eumir: We can do that for you.

Peggy: For some reason, it just seems so cool to have this all done and then I just cut out the pieces and, once it's made-- Eumir: It's all done.

Peggy: It's made, and the print is all on it.

All right, 1957 this started.

Eumir: 1957.

Peggy: That's amazing to me, that it's been that long ago.

Eumir: It is, and it's barely becoming a big thing in the United States.

Peggy: Why do you think that is?

I wonder what--because, like, with swimwear, it's so logical to me.

In fact, I don't think I'd buy a swimsuit that wasn't sublimation printing because I would know it wouldn't last.

Eumir: Right, so it's just one of those things that was always offshore to Asia or south of the border, but we're seeing consumers really starting to come and be attracted to the US manufacturers.

Peggy: Oh, so it is something, maybe, that just society says, "Let's bring it to the US and this is something we can bring to the US."

Eumir: Right, and people really kind of love our story of US sourced, US made.

People get excited about it and-- Peggy: I can see why we're having all kinds of things like that.

So these are the parts, these are the pieces, and I put it all together.

Eumir: Absolutely.

Peggy: This has been amazing.

Eumir: Yeah.

Peggy: Thank you so much for being here.

Eumir: Thanks for having me.

Peggy: It's really just so interesting, and I keep learning more and it seems like every time I listen to him and he does some other work for me, I just learn more and it's just so much fun to really understand the differences and realize the advantages that it can bring to me.

I think understanding it--and we look at sportswear and we look at it and we see it as all the same, and there are so many layers and there are so many variables.

If you look at the seam right here, you can see that there's no--it goes right through the seam.

So that's a little telltale sign where you can see that it's sublimation printing because you couldn't--if you were to print this, you couldn't print actually through that seam.

It would only be printed on top, and then when you flipped it over, it would just--it would not be there anymore.

So, I think sublimation printing, to me, just is quality.

It seems more quality to me, all the way through.

I often hear from viewers, "I have watched your show for many years and want to sew, but I'm not sure where to start.

What do you recommend?"

Join us next time on "Fit 2 Stitch" as we learn about easy patterns, easy sewing, easy fabrics, and you can become our newest sewing buddy.

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