When you imagine a duffle style tote, the picture in your mind probably conjures something made out of a heavy duty fabric in classic tones of tan or brown. We have a couple projects right here on S4H that match the traditional view. But for this stand-out-from-the-crowd barrel bag, we took a different path, using a lightweight canvas in a bold and colorful print.

As with any S4H project, although we always try to give you details and where-to-buy links for the fabrics we use, the ultimate decision is up to you. We do provide specific fussy cutting steps below should you wish to source and use this exact fabric, which we selected originally from the Honey collection by Alexia Abegg for Ruby Star Society. These details are still helpful should you choose a different bold print. And, of course, the lines of our barrel bag are beautiful, and it could be just as fabulous in a solid. Choices – they’re the name of the game, right?!

Our thanks go out to Janome America for sponsoring this project, allowing us to bring you all the step-by-step instructions and patterns free of charge. It also allows us to use what we feel are the best machines in the industry. If you’re a regular here, you may feel we go on and on about this, but that’s because we know how important it is to have a machine that is precise, powerful, and flexible! We’ve heard from so many people who throw in the towel after a single attempt at sewing, thinking they don’t have the skills to succeed, when nine times out of ten, it’s because the machine they are trying to use has let them down, frustrated them, or simply failed. The better your tools, the more creative you become, and the more joy and confidence you experience. Okay, okay… we’ll slide the soapbox back under our machine table, but having a great machine is a topic we are rather passionate about, because it makes such a difference!

You will be working with multiple layers, plus some thickness comes into play with the webbing handles and strap as well as the quilting on the body and the end panels. We chose to engage the Janome AcuFeed™ Flex built-in fabric feeding system for the entire construction, using the AcuFeed™ narrow VD foot the majority of the time. An Even Feed/Walking foot would be another option. You’ll see in the instructional photos below that we added a Quilting Guide Bar, which made quick work of our evenly spaced, straight line quilting. A layer of fusible fleece between the exterior and lining provides just the right amount of loft, dense enough to see the quilting but without the bag becoming too soft.

This project is an excellent chance to rev-up your fussy cutting skills. Our Granny Square fabric gave us strong lines and squares to use for pattern matching, and we were able to add extra interest by cutting some of our pieces on the bias. You can see this on the accent strips to either side of the zipper as well as on the handles. 

Speaking of carrying options, our barrel bag has several. Clip on the adjustable strap and shorten to wear over the shoulder or extend to wear crossbody. Un-clip the strap, stow it inside or leave it behind, and use the double handles. By adding a fabric accent strip to the base webbing, both the strap and the handles look prettier and blend better with the body of the bag. It’s a super easy technique you can use on this and many other projects.

There are four handy pockets on the exterior: one on each end plus one on the front and one on the back between the handles. These pockets are not quilted but are interfaced to hold their shape. Because of the compact size of the bag, we didn’t add any pockets to the interior, but we did cut custom bias binding to finish the interior seam allowances. Ohhhh – another choice: you could use this same bound finish or pick your own favorite; we even include a link below to our seam finishing tutorial series if you don’t yet have a favorite.

Thanks again to Janome America for their support. If you’re ready for frustration-free sewing and want to find out more about the amazing Janome machines, visit their website, follow them on social media, and – best of all – visit a local dealer for an in-person test stitch.

Our Multi Pocket Quilted Duffle finishes at approximately 15” wide x 7” in diameter with double loop handles that have an approximate 6” drop and a detachable strap that is about 52” when fully extended and can be easily adjusted to wear over the shoulder or crossbody.

Sewing Tools You Need

• Sewing machine and standard presser foot
• Even Feed/Walking foot; optional, but makes handling the thicker layers easier – you could also engage your machine’s built-in fabric feeding system, such as the AcuFeed™ Flex system we love to use on many of our Janome studio machines – this was our choice and we used the AcuFeed™ narrow VD foot throughout the majority of construction
• Quilting Guide Bar; optional but helpful for keeping the straight line quilting precise

Fabric and Other Supplies

• 1½ yards of 44”+ wide lightweight canvas or similar for bag exterior; we originally used 44” Granny Square in Dahlia from the Honey collection by Alexia Abegg for Ruby Star Society
  NOTE: This amount includes enough to accommodate fussy cutting.

• ¾ yard of 44”+ wide quilting weight cotton in a coordinating solid for the bag lining; we originally used 44” Kona Cotton Solid in Khaki from Robert Kaufman Fabrics
• ¾ yard of 45” mid-weight interfacing; we used Pellon Décor Bond
• ¾ yard of 45” single or double-sided fusible fleece; we used Pellon 987F
  NOTE: We used single-sided fusible fleece, which worked fine, but if you’re new to working in 3D and/or with multiple layers, the double-sided fusible keeps the layers together even better and makes the quilting very easy.
• 3½ yards of 1½” wide webbing for the handles and adjustable strap; we used Dritz 1½” polyester belting in black – this product comes in two-yard packs, so we purchased two packs
• ONE 18” purse zipper – this is a zipper with two pulls that meet in the center; we used a Coats purse zipper in black
• ONE 1½” adjustable slide buckle 
• TWO 1½” swivel hooks
• TWO 1” D rings
  NOTE: All your hardware should match; we used a classic nickel finish. 
• All-purpose thread to match fabrics for construction
• See-through ruler
• Fabric pen or pencil
• Iron and ironing board
• Scissors and/or rotary cutter and mat
• Seam gauge
• Seam ripper
• Straight pins

Getting Started and Pattern Download 

1. Download and print out the patterns for the Round End and the Round End Pocket. These two patterns are set-up on two pages that have been bundled into one PDF to make the download easier.
   
   IMPORTANT: Each page within this PDF is ONE 8½” x 11″ sheet. You must print the PDF file at 100%. DO NOT SCALE to fit the page. There is a guideline on each page to confirm your printout is to scale.
2. Cut out the pattern pieces along the solid lines.
   

Standard Cutting Notes

NOTE: These are all the cuts required for the barrel bag. Following this section is a detailed set of instructions and cutting diagram to follow should you wish to use the exact exterior fabric we used for our sample. It contains specific fussy cutting and pocket-to-base-panel cutting details.

1. From the exterior fabric, cut the following:
   ONE 16″ wide x 23″ high rectangle for the main body
   TWO 9″ wide x 6″ high rectangles for the main front/back pockets
   ONE 1½ “ x 54″ strip, cut straight of grain, for the adjustable strap
   NOTE: You could also cut TWO 1½” x 28”strips and piece them together to equal the final 54” length.
   TWO 1½” x 28” strips on the bias for the handles
   TWO 1½” x 17” strips on the bias for the zipper accents
   ONE 2½” x 5” strip on the bias for the D-ring loops
   Using the pattern, cut TWO Round Ends
   Using the pattern, cut TWO Round End Pockets
2. From the lining fabric, cut the following:
   ONE 16″ wide x 23″ high rectangle for the main body
   TWO 9″ wide x 6″ high rectangles for the main front/back pockets
   TWO 1¾” x 24” strips on the bias for binding the interior seams
   Using the pattern, cut TWO Round Ends
   Using the pattern, cut TWO Round End Pockets
3. From the fusible fleece, cut the following:
   ONE 16” x 23” rectangle
   Using the pattern, cut TWO Round Ends
   NOTE: On many of our projects, you may have noticed we usually specify fleece be cut smaller than the main fabric panels. For this project, the fleece is cut at the same size because we are quilting the panels. In this case, to prevent any shifting of the layers, it is best for all the layers to be the same size.
4. From the mid-weight interfacing, cut the following:
   TWO 9” x 5¼” rectangles for the main front/back pockets
   Using the Round End Pocket pattern, but cutting along the dotted seam allowance, cut TWO
   ONE 4½” x 16” rectangle to reinforce the base of the bag
   1” wide strips as follows: two @ 28” for the handles, one @ 54” for the adjustable strap, two @ 17” for the zipper accents, and one at 6” for the D-ring loops
5. From the webbing, cut the following:
   TWO 29” lengths for the handle
   ONE 55” length for the adjustable strap

Specific Cutting Notes for Our Exterior Fabric

1. The diagram above gives you a good reference as to how we laid out our cuts. The notes below give you further details about how we carefully measured and fussy cut for the best reveal of the Granny Square fabric motif as well as how we aligned the pocket cuts for a perfect match against their background panels. For more information about both of these techniques, check out our full Fussy Cutting Tutorial as well as a Pocket-to-Panel Matching Tutorial. 
2. The main body panel is a 16″ wide x 23″ high rectangle. We selected a dominant motif for the center then measured 8″ to the left and the right to determine the final 16” width. Using the same center point, we measured 11½” to the top and the bottom to determine the final 23″ height.
   
3. The adjustable strap is cut straight of grain following the fabric’s dominant line of white squares. It is five squares wide, which is a generous 1½” in width, but it makes sure the line of white squares is centered. We cut two lengths approximately 28″ in length, joining them to create the final required 54″ length.
   
4. The front and back pockets need to be carefully cut because this fabric is directional and not symmetrical top to bottom. However, it is symmetrical side to side. Each pocket needed to be a 9″ wide x 6″ tall cut, and when placed on the main panel, there needed to be approximately 4″ between the pockets at the base of the tote. The flattened drawing at the top of the cutting notes can help you visualize the positioning of the pockets.
   
5. In the case of all our straight cuts, we fudged our measurements just a tiny bit here and there in order to make cuts on the closest line of squares. With this type of strong graphic motif, it is easiest to use scissors and simply follow the dominant lines.
6. For the bias trim for the handles and zipper trim, we used the little white checkerboards as our center line. We started with more length than we would ultimately need in order to have plenty to work with to match the motif length to length. The strips were cut in random lengths, joined into a continuous strip, then cut to length during construction. With careful joints (matching the motif so it appears continuous), the little white checkerboards are all the same distance apart, and the handles and zipper trim have lovely centered motifs.
   
7. The last bias strip cut is the used for the D-ring loops. The strip is again centered on the little white checkerboards and is approximately 2½“ wide. It will be cut into two 2½“ lengths during construction.
   
8. For the ends of the tote, a pattern is provided for the both the Round Ends and the Round End Pockets. Each paper pattern has a red horizontal line showing the diameter of the circle. This line makes an ideal reference, dividing the end in half at the center. Fold each piece along the center line and position over a motif side by side to insure a perfect match. Repeat for the second end.
   
9. Here is everything ready to be assembled.
   

At Your Sewing Machine & Ironing Board

Fusing

1. Find the 16″ x 23″ body lining panel and the 4½” x 16 rectangle of mid-weight interfacing. This interfacing helps stabilize the bottom of the bag. Place the interfacing panel on the wrong side of the lining panel. It should be centered top to bottom with the side edges flush. Following manufacturer’s instructions, fuse in place.
   
2. Find the 16″ x 23″ exterior panel and fusible fleece panel. 
3. Place the lining panel wrong side up (interfacing panel side up) and flat on your work surface. Place the fusible fleece panel on top of the lining. All four edges should be flush. If using one-sided fusible, the fusing side should be facing down against the lining. Following manufacturer’s instructions, fuse in place. 
4. Place the exterior panel on top of the fleece. Again, all edges should be flush. Lightly pin the exterior fabric in place around the edges.
   NOTE: If using a double-sided fusible, simply layer lining, fleece, and exterior and fuse all three layers at once. You can then skip the pins around the edge.
   
5. Find the round base layers for the ends of bag: exterior, lining, and fusible fleece.
6. Layer and fuse in the same manner as you did above for the main body panel.
   

Quilting

1. Set up your machine for quilting. We recommend using an Even Feed/Walking foot or engaging your machine’s built-in fabric feeding system. This was our choice; we used the Janome AcuFeed™ Flex system and the AcuFeed™ narrow VD foot with a Quilting Guide Bar.
2. Set the Guide Bar at the 2” mark.
   
3. If not using a Guide Bar, you can simply draw in a center guide line and subsequent guide lines to the left and right of center spaced at 2”. The quilting is designed to run horizontally across the panel; ie. across the 16” width. The flattened drawing at the top of the cutting notes can help you visualize our quilting pattern. As always, the final quilting pattern is up to you – and to your fabric’s motif.
   NOTE: When working on the right side of your fabric, always remember to choose a marking tool that will easily wipe away or will vanish with exposure to the air or the heat of an iron.
4. Thread the machine with thread to best match the lining in the bobbin and to best match the exterior in the top. We used a matching khaki thread in the bobbin and a dark tan in the top. Your top thread should stand out slightly, but not compete with your fabric’s motif. 
5. Set a slightly lengthened straight stitch.
6. Find the layered and fused main body panel. Start the quilting at your center line.
   
7. Move from the center line out to the left, positioning the Quilting Guide Bar on your previous line of stitching as you move across. Stitch at 2” intervals to the end of the panel.
   
8. Rotate the panel 180˚ and repeat from the center line out in the opposite direction to finish the main body quilting.
   
9. Find the layered and fused end panels. These should be quilted in the same manner as the main body panel, but you’ll have just one center line plus one line to either side of center: three lines total.
   
10. As above, this is simply our recommended quilting design; you are free to alter the look to best fit your fabric and vision.
    

Create the handles

1. Find the TWO 28″ strips of bias cut exterior fabric, two 28″ strips of the 1″ interfacing, and the two 29″ lengths of webbing.
2. Place a strip of interfacing on the wrong side of each fabric strip. It should be centered with ¼” of fabric showing beyond the interfacing along each side. The ends of the interfacing and fabric are flush. Following manufacturer’s instructions, fuse in place.
   
3. Fold in each long side ¼”, which means you are folding right along the edge of the interfacing. Press well.
   
4. Find the center point to insure your two handles are centered and matching, as shown in the photo below. It is not critical to the construction that the handles are a match, but it does add a professional finish, and it’s one of the reasons we stress taking the time to plan and fussy cut all your pieces.
   
5. Place an exterior strip right side up on top of each length of webbing. There should be ¼” of webbing showing to either side of the fabric, and ½” of webbing showing at each end. This excess at each end allows for any shifting when stitching. It will be trimmed when done, and the handles will remain perfectly centered and matched.
   
6. Re-thread the machine with thread to best match the webbing in the bobbin and the exterior thread in the top. Keep a slightly lengthened straight stitch. 
7. Edgestitch the fabric strip to the webbing along both sides. Repeat on both handles.
   
8. When done, trim the webbing ends flush with the fabric strip.
9. Set aside the finished handles.

Create the main front/back pockets and place the handles

1. Find the exterior, lining, and interfacing layers for the two front/back pockets.
2. Place an interfacing layer on the wrong side of each lining layer. The interfacing should be centered so there is ¼” of fabric showing beyond the interfacing top and bottom. The sides of the two layers are flush. Following manufacturer’s instructions, fuse in place. 
3. Place the fused lining and exterior panels right sides together. All four sides should be flush. Pin along the top and bottom. The sides remain open.
   
4. Re-thread the machine with thread to best match the lining in the bobbin and to best match the exterior in the top. Re-set for a standard straight stitch.
5. Using a ½” seam allowance, stitch along the top and bottom. Again, the sides remain open.
6. Turn each pocket right side out through one of the open sides. Press flat, making sure the seams run straight and true across the top and bottom. 
7. Re-set for the same slightly lengthened straight stitch you’ve been using above, and edgestitch along the top of of each pocket. 
8. Place the quilted main body panel right side up and flat on your work surface. 
9. Place a finished pocket near each end. Remember, this flat body panel will come together into the final barrel shape, which means the tops of the pockets are facing the raw edges of the panel and the bottoms are facing one another towards the center. 
10. The pocket top should sit approximately 4½” up from the raw edge of the main panel. The bottoms of the two pockets should be approximately 4½” apart. In addition, if you chose to fussy cut your pocket to match the base panel, this will allow you achieve perfect placement. Pin each pocket in place along its raw side edges.
    
11. Find the two handles. 
12. With the handle webbing side up, form a loop and slip the raw ends of that loop under the bottom edge of the pocket. Remember, the bottom of each pocket faces the center of the main panel. The handle should form a neat curve; make sure it has no twists or turns. The outside edge of each handle end should extend beyond the pocket about ⅛” on each side. Pin in place.
    
13. Re-set for the slightly lengthened straight stitch. You are going across a number of layers at this point, so if you haven’t switched to an Even Feed/Walking foot or engaged your machine’s built-in fabric feeding system, now is the time to do it.
    NOTE: The stitching in this section will show through on the lining side of the finished bag. The best way to have tidy ends is to pull up the bobbin thread before starting the stitches.
14. Edgestitch across the bottom of the pocket.
    
15. Fold the handle into its finished “up” position, covering the raw sides of the pocket. Pin in place.
16. Re-thread with thread to best match the webbing in the top, keeping the thread to match the lining in the bobbin. 
17. Edgestitch along the outer edge of one side of the handle.
    
18. Start at the bottom and end at the top of the pocket. Stop and lock your stitch.
    
19. Re-set to edgestitch along the inner edge of that side of the handle, starting at the bottom and ending at the top of the pocket. Stop and lock your stitch.
    
20. Repeat to edgestitch the opposite side of the handle in the same manner,
21. Re-thread with exterior thread in the top and stitch across each side of the handle in line with the top of the pocket.
    
22. Repeat to attach the remaining pocket and handle.
23. When both handles are complete, it helps to fold them down and safety pin them to the pockets to help keep them out of the way for the remainder of the construction.
    

Zipper assembly

1. Find the TWO 17″ strips of bias cut exterior fabric and the two 17″ strips of the 1″ interfacing.
2. As you did above when preparing the handles, place a strip of interfacing on the wrong side of each fabric strip. It should be centered with ¼” of fabric showing beyond the interfacing along each side. The ends of the interfacing and fabric are flush. Following manufacturer’s instructions, fuse in place.
3. Then, also as above, fold in each long side ¼”, which means you are folding right along the edge of the interfacing. Press well.
4. Place the main panel lining side up and flat on your work surface. Of course, the handles are back there so it won’t lay completely flat. That is okay.
5. Find the 18″ purse zipper.
6. Keep the machine threaded with thread to match the lining in the bobbin and exterior thread on top. Re-set for a standard straight stitch. We continued to use our AcuFeed™ narrow VD foot. You could also choose to use a standard Zipper foot. 
7. Place the zipper, right side up, across one end of the panel. The lining is against the wrong side of the zipper. One edge of the zipper tape should be flush with the raw edge of the panel. Center the zipper so an equal amount of excess extends at each end.
   
8. Stitch this first side of the zipper in place with a ¼” seam allowance. This type of zipper has two sliders; to start, they should be closed – meeting in the center.
   
9. As with all zipper insertions, when you see you are approaching the zipper pulls, stop with your needle in the down position. Raise the presser foot and twist the layers slightly so you can access the pulls to move them out of the way of the foot. Once clear, drop the presser foot, re-position the layers, and finish the seam.
   
10. Find one of the 17″ accent strips. Open up one folded side. Place the strip right sides together with the zipper. The raw edge of the un-folded side should be flush with the zipper tape/panel edge. Pin in place, sandwiching the zipper between the accent strip and lining.
    
11. Stitch across the bias strip, again moving the pulls as necessary. This seam should be slightly wider than ¼”. We accomplished this adjustment by moving our needle position to the left so the line of stitching fell right along the edge of the interfacing. Remember to remove the pins as you stitch.
    
12. Flip over the panel so it is now right side up. Fold the accent strip down, away from the zipper, so it is now laying on top of the exterior panel. The free edge of the zipper is facing up and away from the panel. Pin the accent strip in place.
    
13. Keep the machine threaded with thread to match the lining in the bobbin and exterior thread on top. Re-set for the slightly lengthened straight stitch.
14. Edgestitch the accent strip in place along both its folded edges: next to the zipper teeth and the outer edge that overlays the main panel.
    
15. Bring the remaining raw edge of the main panel together with the remaining edge of the zipper. You now have a tube. As above, the lining is against the back of the zipper. Pin in place.
    
16. As above, use a ¼” seam allowance to stitch these layers in place.
17. Find the remaining accent strip and, opening the one folded edge, stitch it right sides together with the zipper – just as you did above.
18. Fold the accent strip away from the zipper against the main panel and edgestitch in place to match the first accent strip. You will need to twist and flatten the exterior to get it under the needle for this step since you are now working with a tube. Slow and careful wins the race.
19. When done, run a line of stay stitching (stitching that helps prevent stretching or distorting) around each end, using a ½” seam allowance.
    
20. Double stitch over the ends of the zipper coil as you go across it. When done, trim away any excess zipper tape and/or accent strip so everything is flush.
    

Assemble the end panels with the D-rings

1. Find the elements for the round end pockets: exterior layer, lining layer and interfacing.
2. Place the interfacing on the wrong side of the lining layer, centering it so there is ½” of fabric showing beyond the interfacing all around. Following manufacturer’s instructions, fuse in place. 
3. Place the exterior and lining right sides together and  pin along the top straight edge.
   
4. Re-set for a standard straight stitch.
5. Using a ½” seam allowance, stitch across the top straight edge.
   
6. Turn right side out so the layers are now wrong sides together. Press flat, making sure the seam runs straight and true across the top edge and the bottom curved edges are flush.
7. Repeat for the second pocket 
8. Slightly lengthen your stitch and edgestitch across each pocket top. This edgestitching should match the edgestitching on the front/back pockets.
9. Find the quilted round end base panels. 
10. Place a pocket on each base panel. The raw curved edges of both layers should be flush. And, if you fussy cut, your pocket motif should match up against the base panel.
11. Machine baste the pocket in place within the ½” seam allowance; an approximate ⅜” seam allowance good.
    
12. Find the remaining 2½” x 5″ bias strip and the 6″ length of 1″ interfacing. Also collect the two 1″ D-rings.
    
13. Re-set for a standard straight stitch.
14. Fold the bias strip in half, right sides together so it is now 1¼” x 5″. Pin in place and stitch with a scant ¼” seam allowance, forming a long, thin tube.
15. Turn the tube right side out through an open end. 
16. Roll the seam around to the back and press flat.
    
17. Insert the interfacing strip into the thin tube, with the fusible side facing the seam. We used tweezers to pull the strip through, but because the length was short, it was not difficult at all to get it positioned. Smooth the interfacing into place, then press well to set the fusing. We prefer this method over fusing first then folding and seaming because it keeps the heavier mid-weight interfacing flatter and smoother.
    
18. Cut the strip in half. Slip one half through each D-ring. Adjust the pull-through until the two loops match, then trim the ends flush at a 1¼” length.
    
19. Pin a D-ring in place on each round end panel. It should be centered over the top of the pocket with the raw ends of the D-ring loop flush with the raw edges of the quilted base panel. Pin in place, then machine baste in place about ¼” from the raw edge.
    
20. Place a pin at the exact center bottom of the round panel – directly opposite the D-ring. Think of these as the 12:00 and 6:00 points on the face of a clock. Add pins at the 3:00 and 9:00 points.

Insert the end panels into the main tube

1. Find the main tube. Around each side opening, clip the raw edges every ¾”, taking care not to clip through the stay stitching. This gives your openings the “ease” to best fit the end panels into place smoothly and easily.
   
2. Turn the main tube lining side out. Set similar pin points to what you just did on the end panels. The corresponding 12:00 point on the tube will be the center of the zipper. Keeping the zipper in the exact center, flatten the barrel to find the opposite 6:00 point. Then, flatten the tube in the opposite direction to find the 3:00 and 9:00 points. Place marking pins at all these points. 
3. Place the end unit right sides together with circular opening of the tube, aligning the main “clock face” pin points first. Easing the fabric, fill in the rest of the circle with pins. If you have done garment sewing, this is very similar to putting in a sleeve.
   
4. Re-thread the machine with thread to best match the lining in both the bobbin and the top.
5. Stitch the layers together, following the original line of stay stitching.
   NOTE: If you are new to this technique, we have a full tutorial on setting a flat circle into a tube.
   
6. Trim the seam allowance to ¼”.
   
7. Find the two 24″ bias cut strips from the lining fabric. You’ll use these to bind the interior seam allowances. 
8. Press back one long raw edge ½”. Place the raw, unfolded edge of the bias strip against the seam allowance – you are just working with the seam allowance, do not stitch onto the body of the bag. Stitch all the way around with a ¼” seam, overlapping the ends to finish.
   
9. Wrap the folded side of the strip around the seam allowance and pin in place, encasing the raw seam allowance within your custom bias strip to create a pretty interior finish.
   
10. Stitch around once more to secure the fold. Again, remember you are stitching just on the seam allowance; you’re making a little “seam allowance package” – don’t stitch onto the bag itself. Make sure you are catching the folded edge of the bias strip as you sew all around.
    NOTE: This was our choice for a clean finish to the lining, but it is not mandatory. You could choose your favorite machine sewn seam finish. Or review our four-part seam finishing series to pick a favorite.
11. Repeat to inset the remaining round end panel in the same manner.
12. Turn the bag right side out and press.

Adjustable strap 

1. Find the 54″ strip of the exterior fabric, which was a straight cut and may have been pieced together. Collect the matching length of 1″ interfacing and the 55″ length of webbing.
2. This strap goes together in the exact same manner as the handles. Apply the interfacing to the fabric strip, fold back the long raw edges ¼”, center on the webbing, edgestitch in place, and trim the ends of the webbing flush with the fabric. 
3. Once the strap is complete, you’ll use the two swivel hooks and the adjustable slide buckle to create a standard adjustable strap. If you are new to this technique, take a look at our full step-by-step Adjustable Strap tutorial. 
4. We did use a standard folded-under hem finish when attaching to the slide buckle and the final swivel hook, which you see below.
   
5. However, it was very thick and a challenge even for our incredible Janome power and precision. Since the webbing does not fray and the fabric reveal is minimum, we would recommend you use a little bit of seam sealant across the raw end of the fabric strip and then stitch the end down flat with a dense zig zag. Again, this process is described in our technique tutorial.  

Project Design: Anne Adams
Sample Creation and Finishing Planning + Details: Michele Mishler