Apparel Manufacturing Technique

Lesson 1
Lecture: one
Knowledge of Tools
Hello friends, Good morning to everybody. Today you are going to introduce to new
subject, Which Techniques and process in fashion. In last semester you all learned how
to make pattern draft for basic body blocks. In this semester you are going learn
techniques & process, which are use for stitching different types of garments & to make
them beautiful.
Objective
After completing this lesson, you will be able to:
• Identify different type of hand tools.
• Use of hand tools in pattern drafting
Every craft requires tools and proper selection is essential to obtain good results. As we
know for making pattern draft for particular garment, we need some hand tools.
Following are the tools used for drafting: -
MEASURE TAPE: Those marked on both sides and which can be used from either end
are the most useful. There are also those that have both the inch measure and centimeter
measure on the same side. This is useful for people who still think in inches.
RULERS:
Foot Ruler - ‘L’ shaped ruler to mark the horizontal lines at right angles to the vertical
lines. Curved ruler used for drawing the side seam curve of a skirt or trouser.
The tailoring triangle is available in chart paper or plastic. This is used to draw drafts to
scale.
MEASURING GAUGE:
Used to mark even widths for hems, pleats, etc. It is available in chart paper and can be
made at home in different widths.
TRACING WHEEL: Used to make mark perforations on the fabric to indicate seams,
darts, and the position of pockets, necklines, pleat widths, etc. By using a carbon paper,
these can be used to transfer markings on both sides of the fabric. The tracing wheel
should be made of steel and have sharp edges.
DRESSMAKER’S CARBON: These are also available in various colours.

TAILOR’S CHALK: These are also available in various colours. Use those, which have
a fine edge for accuracy in marking. Tailor’s chalk rubs off easily and can be used
especially to mark on the right side of the fabric.
DRESSMAKER’S PENCILS: If these are not available, ordinary colored pencils may
be used. Pencils have the advantage of having sharp points, which are better for making
darts. These are especially good to mark fine lines on dark fabrics.
PINS: The Pins should be of stainless steel and have fine, sharp points so that they do not
spoil the fabric. Attractive dressmakers’ pins with pearl heads are available.
PIN CUSHIONS: Attractive pincushions can be made at home by using soft fabric and
filling it with hair instead of cotton wool, as it will be easier to push the pins through.
SHEARS: Shears are available in many sizes; for normal home sewing, the blades
should be 7” - 8” long so that they are light and easy to handle. To keep shears in good
condition, wipe the lint after use and oil the rivet occasionally.
SCISSORS OR CLIPPERS: These are usually 3” - 6” in length and are used for
clipping threads and for making notches or slashes on the fabric.
PINKING SHEARS: These have zigzag edges are used for cutting fabrics that fray
easily.
ELECTRIC AND BATTERY-OPERATED SCISSORS: These are useful for people

who sew frequently. The battery-operated scissors are small and easy to carry. They have
short blades and are ideal only for smooth fabrics. They cannot be used for handloom and
furnishing fabrics, which have an irregular weave.
SEAM RIPPERS: They are very handy for picking seams are used to cut buttonholes.
THIMBLE: The thimble is worn on the middle finger and is used to protect the finger
while pushing the needle through thick fabrics. Metal thimbles are ideal.
MACHINE NEEDLES: These are available in various sizes. The size of the needle is
selected according to the type of fabric.
Special needles with a slightly rounded tip are available for knitted fabrics.
MACHINE THREADS: Most threads are made of cotton because it is suitable for many
different kinds of fabric. Cotton threads are mercerized and available in sizes ranging
from No: 20, which is coarse, to No. 80, which is fine. The weight of the fabric
determines the size of the thread to be used. The super sheen variety of thread is fine,
strong and colorfast and is recommended for most sewing.
For terry cotton and other synthetic fabrics, spun, polyester thread may be used. While
working with synthetic thread, the upper and lower tension of the sewing machine should
be kept slightly loose. When a perfect match of thread is not available, darker shade
should be used.
HAND SEWING NEEDLES: There are many varieties, each having a different use.
CREWELS are embroidery needles. SHARPS are shorter than embroidery needles and
are used for normal hand sewing.
BETWEENS AND BLUNTS: is shorter than sharps and used by tailors to do fine work
on heavy fabrics.
STRAWS OR NEEDLES: are longer than sharps and are used for darning or basting.
TAPESTERY NEEDLES: are thick, with large eyes and rounded tips and are used to
embroider with wool.
CHENILE is the same as the tapestry needle except that the tip is pointed. This is used
for doing heavy embroidery work on closely woven fabric.
BODKINS are large needles with large eyes and are used for threading elastic or ribbon
through castings. The rounded tip is used for pushing out the stitched corners of collars.
An ideal needle size for hand sewing is Pony-Crewel No. 9 because of the length and
fineness. It has a large eye for easy threading.
STILETTO: This is a pointed metal with a wooden handle and is used to make eyelet
holes or openings.
Lesson 2
Lecture: one
Manufacturing Machinery
Today we are going learn about Variety Sewing Machine, part of same, and how to use
the machine. A sewing machine is your most important piece of sewing equipment, so
select one with care. A sturdy, Well-Built Machine will give you many years of sewing
enjoyment. As you all know that sewing machine is been introduce very long back.
Objective:
After completing this lesson, you will be able to: -
• Identify the machines most commonly used in the needle trades,
• Compare the lockstitch power machine and home sewing machine.
• Use and control the sewing machine with coordination, skill & confidence.
• Complete application for changing needles; adjust stitch length, pressure, &
tension; & threading the over lock machine.
Basic sewing machines

General sewing
The modern, single needle lock-stitch machine is a far cry from the sewing machines of
twenty or so years ago. Some of the features of the machines in common use today are:
• speeds of up to 6000 rpm with electronic controls which reduce the time
required for acceleration and deceleration;
• Automatic positioning of the needle in an up or down position;
• The automatic clipping of top and bottom threads;
• A back-tacking mechanism actuated through the foot pedal or automatically by

means of an electronic seam-end sensor;
• Programmable sewing sequences via a micro-processor for repetitive

operations.
Regular sewing machine
The regular sewing machine is often regarded as an end in itself rather than as a basic
sewing tool. There is an enormous variety of feed types, attachments and apparatus
available to make this machine into one of the most versatile items of equipment in the
sewing room.
Over locking
This is the generic name given to over-edge stitch machines used to trim and cover the
rough edges of the fabric in order to present a clean and neat appearance where seam
edges are visible. Over lock machines are also used for the assembly of some types of
knitted articles such as T-shirts.
The over-edge stitch can be formed from one to four threads and some of the
technological highlights of these machines are:
• Speeds of up to 8500 rpm;

• Automatic thread clipping;
• A vacuum system for extracting cloth waste and thread ends;
• Creating continuous of intermittent fullness on the top or bottom when joining
two plies.
Overlock machine
Over lock machine
Lesson 2
Lecture: Two
Safety Stitching
Safety stitch machines have the same features as overlock machines and are used for the
simultaneous seaming and over locking of many garments where there is no necessity for
pressed open seams. There are two types of safety stitch machines in general use, the
main difference between them being the number of threads used to construct the
stitching, which consist of a locked chain stitch parallel to an over locked edge.
With the four thread machine, one of the lopper threads of the overlock stitch is
used as the bottom thread for the chain stitch. On a five thread machine, each roe of
stitches has its own threads, i.e. three for the overlock and two for the chain stitch.
Buttonholes
A buttonhole is a straight or shaped slit cut through the garment and then sewn wrong its
edges to prevent fraying and stretching. The cut shape of the buttonhole and the number
of threads used to cover its edges depend on the garments type and quality. For example,
the buttonholes in a man's jacket would be strongly constructed to withstand frequent
opening and closing, whereas the buttonholes for a women's blouse would have a lighter
construction because they are used far less during wear. On non-fray fabrics the
buttonhole is cut before sewing is performed before the cutting.
Where standard types of garments, such as shirts, are being produced, the
buttonholes are automatically sewn and spaced at pre-determined distances. The operator
simply positions the work in the machine and starts the cycle. An unloading device
removes and stacks the sewn work after completion of the cycle, thus enabling the
operator to work on more than one buttonholing unit.
Button hole machine

Button sewing
Buttons with two holes, four holes or shanks can all be sewn on the same machine by
simple adjustments to the button clamp and the spacing mechanism. The sewing action
consists of a series of parallel stitches whose length is equal to the spacing between the
centers of the holes. The needle has a vertical movement only and the button clamp
moves the button from side to side.
Buttons can be sewn on with one or tow threads, the number of stitches depending
on the type of machine used. Each machine has a maximum number of stitches, i.e. 16,
24 or 32, and can be adjusted to sew the full amount or half, i.e. 8 or 16, 12 or 24 and 16
or 32. Generally decorative buttons would be sewn on with half the number of stitches
used for functional buttons. Where a 'neck' is required between the under side of the
button and the garment, the stitch length between the button and the garment is increased
and this surplus length can be left as it is, or 'whipped'. The whipping operation can be
performed as a separate successive operation on the button sewing machine.
Button sewing Machine

Lesson 2
Lecture: Three
Sewing Machine
The sewing machine is one of the most important pieces of equipment that anyone who sews will
use, and it is probably the most expensive. Every model has its own characteristics, even within
the range offered by a single manufacturer. The best way to become familiar with your machine
is to use it.
all sewing machines have certain common features. the diagram below will help you to
understand the basic parts shared by all models, but the instruction manual will give you specific
information about how to operate your machine.
BUYING A MACHINE
When buying a machine, consider not just the price, but the immediate tasks you expect to use it
for, your long-term aspirations, and whether you can cope with its complexities. Always try out a
machine before you buy. If possible, see a demonstration by someone who knows the machine
and its capabilities and take advantage of any instruction offered by the manufacturer.
Lesson 3
Lecture: One
Health & Safety Awareness
Safety is important to everyone and it is your responsibility to maintain a safe working

place. So whenever you will work on machines that time be sure that you know how to
use the machine, knowing all the safety rules.
Objectives
After Completing this lesson, You will be able to:-
• Explain the safety rules for operating power equipments
Lets us about Health & safety Awareness in garment industry. As we all know as the
safety has a great bearing on the productivity and quality of product, garment industry so
you should pay attention to safety of garment industry. At present much important is not
given to safety and health hazards, the reason since the garment industry is mainly in the
unorganized sector.
Safety in industry is defined as a positive and an organized activity based
on knowledge and reaction between men and their work environment. Garment industry
in India has all the segments and is the labors intensive industry. When working in the
garment industry many material are handled and moving machine involve operations,
which may cause an accident if proper safety precaution are not taken. Therefore,
important of safety and occupational health in the garment industry cannot be over
stressed.
An accident defined as something unforeseen, unexpected and
unanticipated happening. In industry, it constitutes a behavior problem signifying
disintegration in the equilibrium of the individual in relation to work situation. By &
large individual talent could be attributed to sudden unintended deviation in work activity
tending distraction of attention. In most cases, Work deviation that constitutes accident
may cause injury or may not cause injury.
Normally the term Accident and injury is erroneously used

synonymously, yet these are two different aspects though closely related. It must clearly
understand that accident and injury are two distinct clauses of phenomenon of different
psychological importance. Not every human error may lead to an accident but an every
accident is result of human error. Accident happens due to unsafe acts and unsafe
conditions. Hazards involved in the garment industry are due to mechanical process.
Exposure to fiber dust and fumes cause health hazard. A survey conducted by the
ministry of labour, Governments of India has estimated that 84 % accidents in the
industry are due to human failure and such accident can avoided.
Human factors responsible for accidents are: -
1. Lack Of knowledge and skill

2. Improper attitude and attention
3. Improper application
4. Physical and mental deficiency
Prevention of Accidents
Safety precaution and safety rules meant for prevention of accidents and protection
against potential hazards. If certain safety procedures and safety systems are followed,
then the accident can avoid. When there is negligence in the follow up of safety rules and
safety precautions, accidents happen. Here are few tips for prevention of accidents.
Accidents cannot be predicated but can be prevented

Lesson 3
Lecture: Two
Health Hazards
Occupational environment to which the employees are exposed during their work is
potentially hazardous to health. Garment Processing Industry use many chemicals while
require careful handling.
• Safe Working Methods
There are many ways of doing the job but there is only one way of doing it correct and
safety. Working methods are prepared foe all jobs. Good and right habits are developed
for doing the jobs that lead to safe working habits is the foundation of accident
prevention.
-Start the job the right way - learn safe job habits
- Every time do the job, - Practice The right habits
Do it properly and safely
- Always do the job, - Never let the habit slip
- The way you are supposed to do it
Safety Precautions
Working on moving machines cause many accidents. These accidents happens due to
cleaning the machine while in motion, wearing loose clothes which entangle in moving
machine, Use Of wrong tool or defective tool towards body and many other factors.
Following precaution must be taken to prevent accident.
• Ensure before starting the machine that the machine guard is in position.
• Never touch the moving belt.
• Do not operate the machine belt.
• Do not operate the machine unless know how to operate and stop the
machine.
• Blunt and defective tools should not be used.
• Never clean a moving machine.
Electricity normally does not cause large number of accidents may be very serious. These
accidents but electric accidents may be very serious. These accidents occur due to faulty
plugs, Electric motors and electric equipments not properly earthed or short-circuiting.
There can also be electric shock circuiting. There can also be electric shock or electric
fire and both are dangerous. All possible safety care must be taken when handling electric
equipments and electric appliance.
Following are important safety precaution for electric hazards.

• While working on electric machine use rubber mat, rubber shoes or wooden
board/ plank to insulate.
• Always switch off the mains when replacing the fuse.
• While working on electric machine or electric lines make sure that fuse are
removed and kept in pocket. Only switching off the mains is not sufficient.
• Never disconnect a plug by pulling the flexible wires.
• While shifting portable machines always, disconnect the electric supply.
• Never use water on electric fire to extinguish it.
• All electric machines must be properly earthed.
• Follow safety rules while working on electric machines and take all the safety
precautions mentioned above.
Lesson 4
Lecture: one
Basic Hand Stitches
Hello friends, welcome to world of fabric, where we can play with fabric, using Needle
& threads. As we, all know basic hand stitches, which we normally use for sewing the
unstitch part in the cloth. This lesson focuses on the core operations used to assemble
most garments. It begins with a discussion of the seam type and classifications.
Objectives
After Completing this lesson, You will be able to: -
• Identify basic seam types and classification.
• Develop the skill to analyze various seams and make selection that combines the
desired appearance & performance with the desired quality.
Hand stitching is needed for many operations that can be done by machine. In addition,
these stitches can be dividing into three categories.
1. Temporary stitches
2. Permanent stitches
3. Finishing stitches
1. TEMPORARY STITCHES
Stitches, which are ripped off after a permanent stitch has been made, are called
temporary stitches. For example-Basting stitch, Permanent stitch.
2. PERMANENT STITCH
Stitches, which are not ripped off after being made, are called permanent stitches. For
example-Hemming
3. FINISHING STITCHES
Stitches, which are used to finish raw edges of fabric, are finishing stitches. For example-
Button hole stitch.
TEMPORARY STITCHES
Lesson objectives

• Identify basic seam types and classification.
• Develop the skill to analyze various seams and make selection that combine the
• Complete application of plain seams that join two unlike edges.
• Define the types of seam.
• Explain the techniques for applying seam.
KIND OF TEMPORARY STITCHES AND THEIR METHOD OF USE
1. BASTING
This stitch is used to hold two or more pieces of fabric temporarily. It is also used to
indicate divide line or to hold certain shapes, edges in position for stitching and pressing.
It is of three types:
Even basting or tacking

It is used there will be some strain on the seam. Make the stitches about one-fourth inches
long. This stitch is of even size on the both sides of fabric.
Uneven basting
It is used where there will be little or no strain on the seam or as a guideline for stitching.
Take long stitches on one side and short stitches on the other side. This stitch is also
known as galloping stitch.
Diagonal basting
This basting is made in a diagonal form. It is usually done to hold pleats, gathers or for
pressing the liming of a belt or on the edge of a pocket or on the front position of the cost.
Diagonal basting stitch remains on the garment till trial is done for its designing. Where
two lines of basting are required, there also diagonal basting is done.
2. SLIP TACKING
This is tacking from the right side and is the best way to deal with difficult, patterns like
checks and stripes. Press one seam allowance under and then position it correctly on top
of the other seam line Slip the needle alternatively through the fold and then immediately
below through the fabric.
3. RUNNING STITCH
To sew running stitch, the most basic of all the basic stitches, a threaded needle is quite
simply passed in and out, through the ground fabric, giving the appearance of a broken
line. It is a quick, easy stitch and in this form it is used to tack two pieces of cloth
together temporarily, to quilt layers of fabric together permanently, or to sew linear
patterns. Running stitch is also used for the decorative purpose This stitch is of two types.
Even running
These are small evenly sized and evenly spaced stitches, which should be used as tacking
for areas which requires careful fitting.
Uneven running
These are small in evenly sized and unevenly placed stitches, which are used to attach
laces etc.
4. GATHERING STITCH
This is a very small version of running stitch. The smaller the stitch is the better it will be.
And, this is the best way to make the evenly spaced gathers without the use of machine.
5. THREAD MARK
On a garment where tracing wheel can’t be used there this thread mark is used to join the
marks of layers. This stitch is made in the way of 2 backstitch while making it, one stitch
is tightened while another is loosened. After this both the edges of the garment are ripped
opened and loosened thread left in between are make the a thread mark become visible on
both sides.
Lesson 4
Lecture: Two
Permanent Stitches
Objectives
• Identify permanent seam types and classification.
1. BACK STITCH
It is a firm hand stitch for awkward areas where machining is tricky. It looks like a
machine stitch on the right side but stitches overlaps each other on the wrong side. To
make this stitch bring the needle out a stitch length beyond where the thread emerges.
Insert the thread again at the end of the previous stitch.
2. HALF BACK STITCH
When one does not have much time and a permanent stitch is needed, one can opt for half
back stitch. In this stitch, the needle is carried on half-length of the first stitch.
3. PRICK STITCH
It is a variation of back and half back stitch. It is used to attach Zipper by hand & also to
attach sari falls. Back through one or two threads of the fabric, & a bigger distance is
taken in front. It is done from the right side of the garment.
4. HEMMING
This stitch is used to fold the raw edges of the fabric or to flatten the seam. It also works
from the wrong side of the fabric. This stitch works from right to left with the hem draped
over the fingers of the left hand. To make this stitch pick up a thread from the fabric just
below the folded edge of the hem and then slip this thread from the fold in the hem itself.
It is of three types:
VISIBLE HEMMING
This stitch is strong stitch used to fold hemline of a garment. This is called visible
hemming because stitch is visible at the right side of the garment as we take three to four
strands of fabric to make this stitch.
Invisible Hemming
This stitch is used to attach facing and piping. This stitch is called invisible hemming
because we take only one or two strands of fabric to make this stitch and because of it;
the stitch is not visible at the right side of the fabric.
Slip Hemming
This is an invisible stitch used to draw two edges together invisibly as in a hand-sewn
lining. Slip the needle through the fold and immediately below the needle comes out.
Take a small stitch of the fabric. Reinsert the needle immediately above.
5. Catch Stitch
An invisible stitch worked loosely taking up only a thread of fabric from top and bottom
alternately, inside a hem or to hold the inner edge of the seam in interfacing in place.
6. Herring Bone Stitch
This stitch is used on the hemline or during the hemming. It is used for heavy fabric as
thick and heavy fabrics needs to be hold at both folds. To achieve this, sewing proceeds
diagonally up and down, as in cross stitch, but the needle is brought back slightly behind
the previous stitch each time so that it will cross over it.
Lesson 4
Lecture: Three
Finishing Stitches
Objectives
• Identify basic finishing seam types and classification.
• Develop the skill to analyze various seams and make selection that combine the
1. OVERCASTTING
This is a method of sewing over two edges of fabric to bind then together and to prevent
them from fraying. To make this stitch of all take two layers of fabric together. Now
insert the needle at the point where you have to start overcastting stitch at a distance of
one-fourth inch after taking it. From above the fabric.
2. DOUBLE OVERCASTTING
This is also a stitch used for finishing of raw edges. To make this stitch, first do
overcastting and then repeat it again, but now from the night opposite side.
3. OVERHAND STITCHES
This stitch is used to hold unfinished edges of fabric together and to finish them. The
method to form this stitch is same as overcastting. The only difference is that we do not
maintain any distance between two stitches. This is a very strong stitch and it also gives a
beautiful effect when a strong, secure & invisible seam is needed.
4. BUTTON HOLE / BLANKET STITCH

This stitch is used to make button holes also to finish and to hold unfinished edges of
fabric together. And, since the edges of the blankets are used to be finished with the help
of this particular stitch, it is also known as blanket stitch. To form this stitch, bring the
thread out on the lower line, insert the needle in position in the upper line, taking a
straight downward stitch to form a loop and repeat. This stitch may also be worked on
even weave fabric. It is of two types:
1. Closed button hole
2. Open button hole

Lesson 5
Lecture: one
Machine Stitches
Now students we will see how we can use machine to make machine stitches to make
your garment beautiful by using different types of stitches. Seams do more than hold your
dress together Plain seams give the line of your dress through subtle shaping. Correctly,
put together, they are almost invisible Decorative seams can emphasize line in the dress
design.
This chapter explains what you should know about seams to achieve the effect you want.
The material is group in different sections.
1. General rules and helps in seaming

2. Different kinds of seams
GENERAL RULES AND HELPS IN SEAMING
A seam is when one or more lines of stitching are used to join two or more pieces of
fabric. The steps in forming a seam are these:
1. Pin the seam edges together at ends, at notches and at center, finally working between
centers and ends.
2. Hand-tack the seam. If your fabric is easy to handle and if you are sufficiently skilled
in stitching. You can pin it together instead of tacking it.
3. Stitch the seam with thread the exact color of the fabric. Set the stitch selector for the
stitch length appropriate for your fabric and then test the stitch on a scrap of the fabric.
Stitch along one side of the tacking thread, close to it but not through it. Backstitch at
each end of the seam to secure the threads. Remove the tacking thread.
4. Finish the seam edges.
5. Press the seam in the same position as it is stitched and then press it open unless the
pattern instructs otherwise.
SEAM GUIDELINES
The Seam Guide and throat-plate guideline help you guide the stitching straight and
parallel to the seam edge. The Seam Guide is adjustable for spacing stitching between .3
and 3.1 cm (1/8 and 1 ¼ inches) from the edge of the fabric. The throat-plate markings
progress at .3 cm (1/8 inch) intervals, starting at .9 cm (3/8 inch) and extending to 2 cm
(3/4 inch) from the needle at the right. Since most patterns have a 1.5 cm (5/8 inch) line is
more prominent than the other markings on the throat-plate.
Directional Stitching
I here are also rules on the direction you should follow in stitching seams. In general.
Shoulder seams are stitched from the neckline to the armhole. Bodice seams from
underarm to waistline: sleeve seams from underarm to wrist. Skirt seams from hem to
waistline. There are exceptions. However, for example. Pile fabrics such as velvet,
velveteen and corduroy are cut with the pile standing up. And all seams should be
stitched upwards with the pile (from lower edge to top edge).
Different Kinds of Seams
Your pattern will indicate the types of seams you are to use, and below you will find
instructions for stitching them. Unless otherwise stated, all seams are stitched from the
wrong side of the fabric. Seams are classified as:
1. Plain Seams
2. Finishing Seams
3. Decorative Seams
4. Bound Seams
1. PLAIN SEAMS
a). Straight:
This is the most common seam used to sew two pieces of fabric together the length of
the stitch is between ten to twelve stitches per inch. The width of seam for fashion sewing
is usually 5/8 inch and usually ½ inch for industry sewing.
i) Place one piece of fabric on the sewing table with correct side up.
ii) Place second piece of fabric on the first piece with correct side down (correct
sides facing).
iii) Pull both bobbin and needle threads under and behind the presser foot.
iv) Place both pieces of fabric under the presser foot at the beginning of the
garment-piece stitchline with edges of fabric on the seam guidelines.
v) Following the seam guide, stitch forward ¼ inch, then backward to edge of
fabric, then forward again along the stitchline to complete the plain seam.
vi) At the end of the stitchline back-stitch ¼ inch, then stitch forward to edge of
fabric.
vii) Pull fabric and attached threads behind the presser foot and clip threads at
fabric.
viii) Press seam open.
b) Bias Seam:
Hand-tuck bias seams, leaving the threads loose at the ends. Allow your work
to hang overnight before stitching. Always use a shorter stitch length for a
bias seam Fabric requires a 2 mm (12) stitch length on a straight seam requires
a 1.5 mm (15) stitch length on a bias seam to increase the elasticity of the
seam. Stitch with the grain.
Bias seams are given on a garment as a style line such as while joining ‘v’ shaped
yokes. In the bodice or in case of ‘v’ shaped skirt yokes. Bias seams can be given in
the form of decorative tucks & seams on a garment.
c). 1. Curved:
Curved seams are quite commonly used when sewing together a garment. In
many cases, the curved seam is the style line of the garment, such as princess
seams, bodice yokes or skirt yokes.
i) Place concave curved piece on the sewing table with correct side up.
ii) Place convex curved piece on first piece wrong side up as illustrated.
iii) Start stitching it as for Plain Seam.
iv) Continue sewing to point where stitchline begin to diverge.
v) Pivot upper fabric around the needle until stitchline converge.
vi) Continue stitching.
vii) Repeat this procedure until end of seam is reached.
viii) Press entire seam to one side.
SEAM ALLOWANCE
(a) R
FABRIC
R
Cut Pattern on Paper
R
(b) (c)
WR. R
RIGHT
d.) 2. Right-Angle Seam or Corner Turns:

This seam with a 90-degree angle usually found in a style line. The sewing
method used to turn a corner can be applied to any angular seam found on
many parts of a garment.
i) Place first piece of fabric on the sewing table with correct side up (usually the
larger piece).
ii) Place second piece on top of first piece with correct side down (correct side
facing). Match stitchline to stitchline. (Both angles will not meet).
iii) Stitch on the stitchline to the corner.
iv) Carefully clip bottom layer of fabric into the corner.
v) With the needle down and the presser foot up (at the stitchline corner). Pivot
the top layer of fabric.
vi) Continue pivoting the top layer until it meets the seamline on the bottom
layer.
vii) Continue to sew on the stitchline until the seam is completed.
5m
5m
10m
10m
e.) Double-Stitched Seam:
Use this seam is sheer fabrics and lace for curved as well as straight seams.
Place the first row of stitching on the seamline. Press. Place the second row of
stitching within the seam allowance, about .6 cm (1.4 inch) from the first row,
using a fine multi-stitch zig-zag. Straight stitching may also be used. Trim the
seam allowance close to the outside row of stitching.
f.) Lapped Seam:
Use lapped seams when joining sections of interfacing and interlining to
eliminate bulk.
Lap one edge over the other, with the seam lines meeting in the center. Stitch
through the center, using a multi-stitch zigzag or straight stitching. If the seam
edges are too wide, trim after stitching.
G) LAPPED SEAM –– This seam is most often used for yokes & applied parts
such as gussets. One section is lapped over the other & topstitched. Fold under the
seam allowance on the section to be lapped & press flat. Place the sections together
right sides up, matching the fold to the seam line accurately & baste in position.
Stitch close to the folded edge through all thickness.
RIGHT
WRONG
RIGHT
WRONG
TOP SEAM – SCAN
W right right
Side
SCAN side RIGHT
R Wrong
R
W RIGHT
Wrong
Seams are top stitched from the right side, with usually one or more seam
allowances caught into the stitching. Top stitching is an excellent way to
emphasize a construction detail, to hold seam allowances flat or to add interest
to a plain fabric.
A top stitched seam not only adds a decorative effect to a garment, it also
provides a strong seam construction. It is similar in appearance to the lapped
seam. Stitch a plain seam & press the seam open first, then press both seam
allowances towards the section to be top stitched. Place a row of stitching
close to the seam line, stitching on the right side of the garment through both
seam allowances.
h) DOUBLE TOP SEAM – For Double top seam, place a row of seam parallel to
the first row of top seam, a pressure foot distance away from it towards the same
side.
SEAM
RIGHT
RIGHT WRONG
LAPPED––
RIGHT
WRONG
RIGHT
WRONG
I.) Abutted Seam:

Use an abutted seam for non-woven interfacings and interfacings of hair
canvas. Lawn and similar fabrics.
Trim away the seam allowance on both sections. Bring the two edges
together and pin over an underlay of a lightweight fabric the underlay should
be 2.5 cm (1 inch) wide and slightly longer than the seam. Stitch from the
right side, using the multi-stitch, zigzag. Widest stitch width 1.5 – 1 mm (20)
stitch length. Backstitch at each end. The abutted line should be aligned win
the center of the presser foot. Straight stitching may also be used on each side
of the abutment.
J.) Top-Stitched Seam:

Top stitching is used as a styling point along the finished edge of a garment or
along the seam within a garment.
When preparing a curved. Topstitched seam, stay-stitch near the seamline on
both the overlap and the underlap. Fold under the seam allowance on the
overlap and pin, tack, trim and press. Lap the folded edge a full seam’s width
over the underlap. Then pin and tack remove the first tacking. Topstitch from
the right side, close to the folded edge. If the stitching line with tacking as
instructed for Top Stitching.
Lesson 5
Lecture: Two
Finishing Machine Stitches
Seam edges are ‘finished’ to prevent them from fraying in use and during washing
or dry cleaning; to improve the appearance of the inside of your garment; and to
strengthen the same itself.
Seams in a garment should be finished as the garment is made and before being
crossed by another seam. The seam finish must be without bulk so that it is not visible
when the garment is worn and does not from a ridge on the right side when the
garment is pressed.
I.) French seam:

A French seam is a “seam within a seam” and can be used on sheer fabrics or
lingerie. It is not recommended for curved seams.
Place one piece of fabric on sewing table with wrong side up.
Place second piece of fabric on first piece with wrong side down (wrong side
facing).
Following the seam guidelines, stitch on ½ cm ¼ inch seam allowance.
Trim seam to 1/8 inch.
Press seam allowance open.
Fold fabric correct side to correct side with wrong sides inside.
(ii)
Stitch a new seam on 1 cm, ¼ inch seam allowance. Backstitch on both the ends
as illustrated for plain Seam.
Press the seam in place.
j.) Mock French Seam: (FINISHING SEAM)
Use this seam in fine and lightweight fabrics, children’s clothes and blouses,
in place of the conventional French seam. Both straight and curved seams may
be finished in this way.
Stitch along the seamline with right sides of the fabric together. Press as
stitched. Trim the seam edges slightly if they are too wide. Fold both seam
edges to the inside and stitch them together.
k.) Flat Felled Seam:

The flat-felled seam provides a neat attractive finish to both sides of the
garment. This type of seam is usually used for sport clothes and reversible
garments.
(i) Place one piece of fabric on the sewing table with wrong side up.
(ii) Place second piece of fabric on first piece with wrong side down (wrong sides
facing).
(iii) Sew a plain seam. Press to one side.
(iv) Fold over both edges of seam 0.5 cm
(v) Lay the seam allowance flat
(vi) Using the needle as the sewing guide, stitch edge of fold through all layers of
fabric.
SCAN
R R R
W W W
W
R
SCAN
l.) Welt Seam:

This seam finish method allows the plain seam to be “detailed” with top stitching in
the same color thread as the garment or in a contrasting color thread.
i) Sew a plain seam.

ii) Press seam allowance to one side
iii) Turn both pieces of fabric over so that garment is correct side up
iv) Using the presser foot as a guide. Stitch ¼ inch away from the seamline with a
regular machine-stitch.
v) Press the seam in place.
W
R
R
W
PRESS FOOT
R R
W W
m.) Open Welt Seam:

This seam forms a small tuck and emphasizes a construction detail. This, of
course, will add interest to a plain fabric.
i) Sew a plain seam with a basting stitch.
ii) Press the seam allowance to one side.
iii) Turn both pieces of fabric over so that the garment is correct side up.
iv) Using the presser foot as a guide, stitch ¼ inch away from the seamline with a
regular machine-stitch.
v) Press the in seam in place.
vi) Remove the basting stitch.
BASTING
W
R R R
W W
R
W
REMOVE
BASTING
Mock French Flat Felled
BIAS – BOUND –
Trim notches from seam edges, wrap bias binding around it (use ready – made
binding, or cut your own from bias binding fabric.) Stitch does to edge of top
fold, catching underneath fold in stitching. Bias binding is especially good for
finishing seams in an unlined jacket or coat. Fold & press the bias strip so that
the under-section is slightly wider & this will help ensure the stitching through
both edges of the binding.
BROAD SEAM-
This seam is used to give broad turnings or folds in a garment to make tunnels
for cards in salwars or pajamas, or to give bottom turnings in a garment. Fold
the margin by 0.5 cm & then take a broad fold, towards the wrong side of the
fabric & give a plain straight seam stitching the fold back onto the fabric. The
seam is grain from the wrong side of the garment
There are many methods of seam finishing you can use. Choose the most
suitable one for each garment you make. When in doubt try several different
methods on test seams before making up your mind.
1. Pinked Seam: Use a pinked seam only on fabrics. This will not fray.
After stitching a plain seam, pink the seam edges with pinking shears.
Remove only the seam edge. Cut with a medium stroke; do not fully open the
shears or cut right to the point. Press the seam in the same position as it was
stitched. And then press it open.
2. Pinked and Stitched Seam: This seam finish may be used on almost
any fabric which would fray.
Stitch a plain seam. Place a line of stitching about .6 cm (1/4 inch) from
the seam edge. Using a 1 – 1.5 mm (20) stitch length. Pink the edges. The
stitching will prevent the seam from fraying and curling.
3. Edge–Matening stitched Seam: Use to give finish to on seams on
lightweight and medium-weight fabrics as well as on unlined jackets and
coats.
Stitch a plain seam. Press the seam flat, and then press it open. Then turn
the edges of the seams 0.5 cm alone margins & give a straight seam. This will
finish the seam edges on both sides. Pink the edges; then fold them under .3 to
.6 cm Stitcher will help you keep this stitching straight and parallel to the
edge.
4. Seams Overcast by Hand: If the fabric has a tendency to fray and a

machine finish would be too harsh. Finish the seam edges by hand.
Stitch a plain seam and press it open. By hand, make slanting stitches over
the seam edge. About 6 cm (1/4 inch) apart and about .3 cm (1/8 inch) in
depth, depending on the weight of the fabric. Do not pull the threads too
tightly.
When the seam is pressed open. Overcast the edges separately. When both
seam edges are pressed in the same direction (sleeve and waistline seams are
examples), overcast the two edges together.
5. Zig-Zag Seam: Zig-zag stitching is an ideal seam finish for jersey, double
knit and other fabrics with ‘give’ because the stitch is as flexible as the fabric.
Either the plain or multi-stitch zig-zag may be used.
After stitching a plain seam, press it open. Select a plain zig-zag stitch,
medium stitch with and between 1.5 and 1 mm (15 and 20) stitch length.
Stitch near the seam edge but not over it. Press. Trim off the seam edge close
to the stitching.
For the multi-stitch zig-zag, select a wide stitch width and a short stitch
length (in the ‘fine’ area), and stitch close to the seam edge. Press.
6. Herringbone Seam: A herringbone seam is used where the garment is
interfaced or mounted. This is an excellent means of preventing seam edges
from rolling when the garment is dry-cleaned. Use it in shoulder seams and
notched collars and where collar and facings join.
Trim the interfacing or mounting seam allowances close to the stitching.
Press the plain seam open. Then herringbone the seam edges by hand.
Working from left to right, with the needle pointed to the left, catch only one
or two threads in the seam allowance, then only a single thread outside the
seam allowance and in the interfacing or mounting. Alternate the stitches
along the seamline. The stitches will not show from the right side.
7. Seams that Cross: Seams that cross occur at the shoulder line. Waistline
and underarm and where darts join a seam or tuck.
Press the seams open and finish the edges as required by the fabric. To
ensure accurately matched seams that cross, pin with a fine needle, with only
the point nipped into the fabric at the stitching line; then pin on each side on
the seamline. The needle prevents one seam from slipping beyond the other
during stitching and will not mark delicate fabrics. Trim away the excess seam
allowance at the point where the seams cross.
Lesson 5
Lecture: Three
Bound Machine Stitch
Objectives:

• Identify basic Bound seam types and classification.
SELF BOUND SEAM
This seam is used to give finishing to the seam margins either on the wrong side or
the right side, with help of the extra seam allowance of one piece of the fabric by
turning it & placing it over the first seam & giving a edge seam over the fold.
II. BOUNDED SEAMS

These seams finish is desirable when one is sewing with fabric that fray easily; also
behind the seams when sewing with furs.
1. Open Bound Seam: Binding is an excellent finish for fabrics that tend to fray such as
tweed and heavy, coarse weaves, as well as for unlined jackets and coats.
Stitch a plain seam. Press the seam, and then press it open. With the Binder on the
machine and fine bias seam binding, hind each seam edge, using, either straight
stitching or an open zig-zag stitch. To prevent seam edges from stretching or fraying in
loosely woven fabrics, place a row of stitching 3 cm (1/8 inch) from the seam edge
before applying the binding.
2. Net Bound Seam: Delicate fabrics that fray easily, such as chiffon velvet and sheer
metallic, may have seam edges bound with nylon net, which prevents fraying without
adding bulk.
Cut the net into 1 cm strips and insert, attach that bias strip on the seam edges.
unfolded, into the Binder with napped or right side up. Stitch, using a medium-width
zig-zag stitch.
3. Plain Bound Seam: This seam is practical for household items such as cushions, simple
loose covers and articles made of plastic.
After stitching a plain seam, trim the seam edges to .6 cm (1/4 inch). Press. Insert both
edges into the Binder and stitch, keeping the seam edges well into the scroll as you sew.
III. Decorative Seams
This is the first of the two classes of seam, which, in the old British Standard, were not
regarded as seams at all and were given the name ‘stitching’. The main use of the seam is for
decorative sewing on garments where multiple rows of stitches are sewn through one or more
layers of fabric. These several layers can be folds of the same fabric. The simplest seam in
the class has decorative stitching across a garment panel. One row would have little effect but
multi-needle stitching is common.
1. Channel Seam: Channel seams are used as decorative seams in skirts, blouses, dresses,
suits, coats and children’s clothes made of heavy- or medium-weight fabrics.
Pin and machine-tack on the seamline, leaving one long thread at each end. Press as
stitched, and then press the seam open. Clip the machine tacking on one side at four or five
stitch intervals. Cut an underlay of the same or contrasting fabric 2.5 cm (1 inch) wider than
the two seam edges. Working from the wrong side, center the underlay over the seam and pin
in position. Tack from the right side, stitch along each side an equal distance from the seam
depression. The distance may be from .6 to 1.2 cm (1/4 to ½ inch), gauge the distance with
the presser foot: if more than .6 cm (1/4 inch), mark both stitching lines with tacking Remove
the machine tacking by pulling the long thread, and remove any short threads that are visible
with tweezers.
The Quilter is convenient for top stitching. The space guide on the Quilter is guide into
the line of the machine-tacked seam. Ensuring an accurate stitching line parallel to the fold.
2. Slot Seam: The slot seam is desirable when one would like to add a strip of fabric in a
matching or contrasting color to the garment. This also adds a little bit of “spice” to an
otherwise plain seam.
i) Sew a plain seam with a basting stitch.

ii) Press the seam open.
iii) Cut a strip of matching or contrasting fabric the same width as the two edges. Lay
the strip in place as illustrated. Pin if necessary.
iv) Turn the garment over with correct side of fabric up (with strip still in position).
v) Using the presser foot as a guide, stitch ¼ inch away from seamline with a regular
machine-stitch.
vi) Repeat on opposite side seamline. Press the seam in place.
vii) Remove the basting stitch.
WRONG W W
3. Corded Seam: The corded seam is a decorative seam or edge and can be used as a design
feature on your garment.
i) Place one piece of fabric on the sewing table with correct side up.
ii) Place raw edge of cording even with even edge of fabric.
iii) Place second piece of fabric with correct side down over cording with allowance
edges even.
iv) Using a cording foot (or zipper foot) stitch along the edge of cording (stitch on the
seamline).
4. Piped Seam: Piped seam is a decorative seam in which an additional component or piping
is inserted between the two layers of fabric preferably of different fabric or material just to
add an additional feature in the garment.
5. Fagotting: Fagotting is decorative seam which is done by hand. Here two folded edges of
different pieces are joined together by Herringbone stitch or other decorative stitch with same
colored embroidery thread as the colour of the fabric.
Lesson 6
Lecture: One
Fastening
Introduction
Zippers, buttons, snap, and hooks and eyes

are usually meant to be as inconspicuous as
possible, but are sometimes used as
decorative details. A stylish button, colorful
separating zipper or pearlized gripper snap
can make a definite fashion statement.
Select the closure according to the style of
garment and amount of strain that will be
put on the opening. For example, a heavy-
duty hook and eye closure (opposite) can
better withstand the strain on a pants
waistband than ordinary hooks and eyes.
The back of the pattern envelope specifies the type and size of closures to purchase.
Because closures’ are under strain, it is important to reinforce the garment area where
they are placed. Seam allowances or facings provide light reinforcement. Other closure
areas should be reinforced with interfacing.
For sewing on buttons, snaps, and hooks and eyes,. use an all-purpose thread, and sharps
or crewel needles. For heavyweight fabrics or for closures that are under considerable
strain, use heavy-duty, or topstitching and buttonhole twist thread.
Hooks and eyes are strong closures and come in several types. Regular, general-purpose
hooks and eyes are available in sizes 0 (fine) to 3 (heavy), in black or nickel finishes.
They have either straight or round eyes. Straight eyes are used where garment edges
overlap, such as on a waistband. Round eyes are used where two edges meet, such as at
the neckline above a centered zipper. Thread loops (opposite) can be used in place of
round metal eyes on delicate fabrics or in locations where metal eyes would be too
conspicuous. Button loops and belt carriers are made using the same technique, starting
with longer foundation stitches.
Heavy-duty hooks and eyes are stronger than regular hooks and eyes, to withstand greater
strain. Available in ,black or nickel finishes, they are used only for lapped areas. Large,
plain or covered hooks and eyes are available for coats and jackets. These are, attractive
enough to be visible and strong enough to hold heavy fabric.
Objectives:
• Differentiate between types and material available for use as closures, such as
button loops, hooks, and eyes, and snaps
• Completing application for setting button loops, setting hooks.
• Differentiate between the use and techniques needed for applying a shanked and
eyed button.
How to Attach Waistband Hooks & Eyes
1) Position heavy-duty hook on underside of waistband overlap, about l/S" (3 mm)

from inside edge. Tack hook in place with three or four stitches through each
hole. Do not stitch through to right side of garment.
2) Lap hook side over underlap to mark position of eye. Insert straight pins through
holes to mark position. Tack in place with three or four stitches in each hole.
3) Round hook and eye is used for waistbands which do not overlap. Position hook
as for heavy-duty hook. Tack through both holes and at end of hook. Position eye
so it extends slightly over inside edge of fabric (garments edges should butt
together). Tack in place.
How to Make Thread Eyes

1) Insert needle with double strand of thread at edge of fabric. Take two foundation
stitches the desired length of the eye. These are the anchor on which blanket stitch
is worked.
2) Work blanket stitch by bringing eye of needle under foundation stitches and
through the loop.
3) Bring needle through loop, pulling loop tight against foundation stitches. Work
blanket stitch along entire length of foundation stitches.
4) Secure stitching by taking two small backstitches. Trim threads.
Buttonholes
Lesson 6
Lecture: One
Fastening
Introduction
Zippers, buttons, snap, and hooks and eyes

are usually meant to be as inconspicuous as
possible, but are sometimes used as
decorative details. A stylish button, colorful
separating zipper or pearlized gripper snap
can make a definite fashion statement.
Select the closure according to the style of
garment and amount of strain that will be
put on the opening. For example, a heavy-
duty hook and eye closure (opposite) can
better withstand the strain on a pants
waistband than ordinary hooks and eyes.
The back of the pattern envelope specifies the type and size of closures to purchase.
Because closures’ are under strain, it is important to reinforce the garment area where
they are placed. Seam allowances or facings provide light reinforcement. Other closure
areas should be reinforced with interfacing.
For sewing on buttons, snaps, and hooks and eyes,. use an all-purpose thread, and sharps
or crewel needles. For heavyweight fabrics or for closures that are under considerable
strain, use heavy-duty, or topstitching and buttonhole twist thread.
Hooks and eyes are strong closures and come in several types. Regular, general-purpose
hooks and eyes are available in sizes 0 (fine) to 3 (heavy), in black or nickel finishes.
They have either straight or round eyes. Straight eyes are used where garment edges
overlap, such as on a waistband. Round eyes are used where two edges meet, such as at
the neckline above a centered zipper. Thread loops (opposite) can be used in place of
round metal eyes on delicate fabrics or in locations where metal eyes would be too
conspicuous. Button loops and belt carriers are made using the same technique, starting
with longer foundation stitches.
Heavy-duty hooks and eyes are stronger than regular hooks and eyes, to withstand greater
strain. Available in ,black or nickel finishes, they are used only for lapped areas. Large,
plain or covered hooks and eyes are available for coats and jackets. These are, attractive
enough to be visible and strong enough to hold heavy fabric.
The standards of a well-made buttonhole are:
1) Width is appropriate to the weight of the fabric. and size of the buttonhole.
2) Ends are bar-tacked to prevent buttonhole from tearing under stress.
3) Stitches are evenly spaced on each side of the buttonhole.
4) Buttonhole is 1Js" (3 mm) longer than the button.
5) Stitches on each side are far enough apart so that the buttonhole can be cut open
without cutting the stitches.
6) Ends have not been cut open accidentally.
7) Interfacing supporting the buttonhole matches the fashion fabric and is not obvious
on the cut edges.
8) Buttonhole is on-grain; vertical buttonholes are perfectly parallel to the garment
edge, horizontal buttonholes are at perfect right angles to the edge.
Horizontal buttonholes are the most secure, because they are not as apt to let buttons slip
out. These buttonholes also absorb any pull against the closure with little, if any,
distortion. Horizontal buttonholes should extend Vs" (3 mm) beyond the button
placement line, toward the edge of the garment. Be sure that the space from the center
line to the finished edge of the garment is at least three-fourths the diameter of the button.
With this spacing, the button will not extend beyond the edge when the garment is
buttoned.
Vertical buttonholes are used on plackets and shirt bands. These are usually used with
more and no smaller buttons to help keep the closure secure. Vertical buttonholes are
placed directly on the center front or center back line.
When a garment is buttoned, the button placement lines and center lines of both sides
must match perfectly. If the overlap is more or less than the pattern indicates, the garment
may not fit properly.
Spaces between buttonholes are generally equal. You may have to change the pattern
buttonhole spacing if you have made pattern alterations that change the length or alter the
buntline. Re-spacing may also be necessary if you have chosen buttons that are larger or
smaller than the pattern indicates. Buttonholes should be spaced so they occur in the
areas of greatest stress. When they are incorrectly spaced, the closing gaps and spoils the
garment's appearance.
For front openings, place buttonholes at the neck and the fullest part of the bust. Place a
buttonhole at the waist for coats, over blouses and princess-seamed dresses or jackets. To
reduce bulk, do not place a buttonhole at the waistline of a tucked-in blouse or belted
dress. Buttons and buttonholes should end about 5" to 6" (12.5 to 15 cm) above the
hemline of a dress, skirt or coatdress.
To evenly re-space buttonholes, mark the locations of the top and bottom buttons.
Measure the distance between them. Divide that measurement by one less than the
number of buttons to be used. The result is the distance between buttonholes. After
marking, try on the garment, making sure the buttonholes are placed correctly for your
figure. Adjust as necessary.
How to Determine Buttonhole Length
Measure width and height of button to be used. The sum of these measurements plus
Vs" (3 mm) for finishing the ends of the buttonhole is the correct length for a machine-
worked buttonhole. The buttonhole must be large enough to button easily, yet snug
enough so the garment stays closed.
Test proposed buttonhole. First, make a slash in a scrap of fabric the length of the
buttonhole minus the extra Ifs" (3 mm). If button passes through easily, length is correct.
Next, make a practice buttonhole with garment, facing and interfacing. Check length,
stitch width, density of stitching and buttonhole cutting space.
How to Mark Buttonholes
Place pattern tissue on top of garment, aligning pattern seamline with garment opening
edge. Insert pins straight down through tissue and fabric at both ends of each buttonhole
marking. Remove pattern carefully, pulling tissue over heads of pins.
Mark buttonholes using one of the following methods: (1) Secure pins. (2) Machine or
hand-baste between pins and along ends. (3) Use a water-soluble marking pen. (4) Place a
piece of tape above the pins and mark buttonhole length with a pencil; test fabric first to
be sure tape does not mar it.
Lesson 6
Lecturer: Two
Machine Made Buttonholes
Machine-made buttonholes are appropriate for most garments,

especially those which are casual or tailored. There are four
types: built-in (usually two or four-step), over edge, one-step
and universal attachment. Always make a test buttonhole with
appropriate interfacing before making the buttonholes on your
garment. The test buttonhole also reminds you at which point
your machine begins the buttonhole stitching, so you can
position fabric correctly.
1) Built-in buttonholes are made with a combination of
zigzag stitching and bar tacks. Most zigzag machines
have a built-in mechanism that stitches this type of
buttonhole in two or four steps. The four steps are:
zigzag forward, bar tack, zigzag in reverse, bar tack. A
two-step buttonhole combines a forward or backward
motion with a bar tack. Consult your machine manual
for specific directions, because each machine varies.
The advantage of this buttonhole is that it allows you to
adjust the density of the zigzag to suit the fabric and
size of the buttonhole. Use spaced zigzag stitches on
bulky or loosely woven fabrics, closer stitches on sheer
or delicate fabrics.
2) Overedge buttonholes are an adaptation of the built-in
or one-step buttonhole. This buttonhole is stitched with
a narrow zigzag, cut open and then stitched a second
time, so the cut edge is overedged with zigzag stitches.
The overedge buttonhole looks like a hand-worked
buttonhole. It is a good choice when the interfacing is
not a close color match to the fashion fabric.
3) One-step buttonholes are stitched all in one step, using

a special foot and a built-in stitch available on some
machines. They can be stitched with a standard-width
zigzag, or a narrow zigzag for lightweight fabrics. The
button is placed in a carrier in back of the attachment
and guides the stitching, so the buttonhole fits the
button perfectly. A lever near the needle is pulled down
and stops the forward motion of the machine when the
buttonhole reaches the correct length. All buttonholes
are of uniform length, so placement is the only marking necessary.
4) Universal attachment buttonholes are made with an attachment which will fit any machine,
including a straight-stitch machine. The attachment has a template which determines the size of the
buttonhole. This method also offers the advantage of uniform buttonhole length and adjustable zigzag
width. The keyhole buttonhole, used on tailored garments or heavy fabrics, can be made using this
attachment. The keyhole at one end of the buttonhole provides space for the shank.
If buttonholes do not have to be re-spaced because of pattern alterations, make the buttonholes after
attaching and finishing the facings but before joining to another garment section. This way there is less
bulk and weight to handle at the machine.
How to Make Buttonholes
Built-in buttonholes (four-step). Place fabric under buttonhole foot, aligning starting point with
needle and centering foot over center marking. (Steps are pictured separately above, but buttonhole is
stitched continuously, moving machine to new setting at each step.) 1) Set dial or lever selector at first
step. Slowly stitch 3 or 4 stitches across end to form bar tack. 2) Stitch one side. Some machines stitch
left side first, others stitch right side. Stitch only as far as marked end. 3) Stitch 3 or 4 stitches across
end to form second bar tack. 4) Stitch other side to complete buttonhole. Stop sewing when stitching
reaches the first bar tack. Return to starting position and make one or two fastening stitches
Overedge buttonhole. 1) Stitch buttonhole with narrow zigzag. Cut buttonhole open and trim loose
threads. 2) Reposition buttonhole in exact position as first stitching. Adjust zigzag width to wider
stitch. Stitch second time with zigzag going over cut edge of buttonhole.
One-step buttonhole. Place button in attachment carrier. Check machine manual for proper stitch
setting. Buttonhole is made the correct length and stitching will stop automatically. Cut open and stitch
buttonhole a second time to add an overedge finish.
Universal attachment buttonhole. Attach buttonhole attachment as instructed in manual. Select

template of proper size to fit button. For sturdier reinforced buttonhole, stitch around the buttonhole a
second time.
How to Open a Buttonhole
1) Insert straight pins at each end of buttonhole in front of bar tacks to prevent cutting through
ends.
2) Insert point of a small, sharp scissors or seam ripper into center of buttonhole and carefully cut
toward one end, then the other.
3) Strengthen the cut edge and prevent raveling by applying liquid fray prevent to the edge. Test
on a sample first.
BUTTONS
More than any other closure, buttons allow you to

individualize your garment. Buttons can be decorative
as well as functional. There are two basic kinds of
buttons, sew-through and shank buttons, but the
variations on these two types are endless.
Sew-through buttons are usually flat, with two or four
holes. When they are merely decorative, they can be
sewn so they lie directly against the garment. On all
other applications, sew-through. buttons need a thread
shank. A shank raises the button from the garment
surface, allowing space for the layers of fabric to fit
smoothly when it is buttoned.
Shank buttons have their own shanks on the
underside. Choose shank buttons for heavier fabrics,
as well as when using button loops or thread loops.
When selecting buttons, consider color, style, weight
and care.
Color. The color of buttons is usually matched to the
fabric, but interesting fashion looks can be achieved
with coordinating or contrasting colors. If you are
unable to fmd an appropriate color match, make your
own fabric-covered buttons with a kit.
Style. Select small, delicate buttons for feminine
garments; clean, classic styles for tailored clothes;
novelty buttons for children's clothes. Rhinestone
buttons add sparkle to a velvet garment. Try leather or
metal buttons with corduroy and wool tweeds.
Weight. Match lightweight buttons to lightweight
fabrics. Heavy buttons will pull and distort
lightweight fabrics. Heavyweight fabrics need buttons
that are bigger or look weightier.
Care. Choose buttons that can be cared for in the
same manner as the garment, either washable or dry-
cleanable.
The back of the pattern envelope tells you how many

and what size buttons to purchase. Try not to go more
than 1/8" (3 mm) smaller or larger than the pattern
specifies. Buttons that are too small or too large may
not be in proper proportion to the edge of the
Lesson 7
Lecture: One
Necklines
Introduction:
The neckline is a focal point on most garments. It is important to select a finish that
flatters the face and highlights your best features, while drawing attention away
from the worst. For this reason, maternity garments often have decorative
necklines.
Facings must be snipped or notched, especially at the corners, to prevent
puckering; collars must be symmetrical, attached impeccably and fit smoothly; in
fact, all neckline finishes require trimming and under stitching for a successful
result.
Objectives:
• Identify the different types of facing and understand the appropriate application
for each type.
• Select an appropriate for facing for neckline.
• Identifying and making different types of neckline.
Facings
A facing is used to finish -raw edges. It is attached to the edge, turned to the inside of the
garment and should not show on the outside. Most facings require interfacing to define,
support and reinforce the shape of the neck.
In the commercial trade, the facing is attached to the neck, the zip is first
attached to the facing, and then attached to the garment opening. In this way, all
handwork is eliminated.
Single neck facing
1 use the interfacing to the wrong side of the facing, if required. Join the shoulder
F
seams and then press open.
2 Overlock, pink or turn-and-stitch the raw edges of the facing. With right sides
together, pin the facing to the garment, matching any notches and seam lines. If the zip
has already been inserted, open the zip and wrap the ends around each side of the zip to
the inside.
Stitch in the seam line, often referred to as 'stitch in the ditch', to minimize time-
consuming hand tacking.
3 Stitch together. Trim and grade the seam allowances, keeping the garment seam
allowances the widest. Trim the center back corners diagonally as well as the cross-seam
allowances at the shoulders. Clip the curved seam allowances. For square necklines, be
sure to reinforce the corners before clipping into them.
4 With the wrong side up, press the seam towards the facing. With the right side up,
under stitch close to the seam line and turn the facing to the inside. Tack the facings
down at the shoulder seam and at the center back.
Lesson 7
Lecture: Two
Combined Facing
1Fuse any necessary interfacings to the facings and join at the underarms only. Finish
the edges of the facing as desired.
Pin a narrow tuck in the front and back shoulders of the garment; when released this
will ensure that the facing seams do not show.
2 Pin the facing to the garment around the armholes and the front and back neckline.
NB The shoulder seams of the garment and the facings have not yet been joined.
Start and end stitching about 1 cm (% in) away from shoulder edges. Trim, grade and clip
the seam allowances.
3 With the wrong side up, lightly press the

seam allowances towards the facing. Turn the facing to the inside and, with the facing
side up, under stitch close to the seam line where possible. Press.
4 Release the tucks at the shoulders. With the neck and armhole seam allowances
folded back and the facing folded out of the way, stitch the shoulder seams of the
garment. Press the seams, first flat and then open, and push through the opening.
5 Trim the facing seam allowances to 6 mm (1/4 in), turn under and then slipstitch by
hand. Tack the facings down or 'stitch in the ditch' at all the strategic seams.
Bias facing
This facing is often used on sheer or bulky fabric instead of the conventional facing. It is
cut on the bias to facilitate the curvature of the neck and is steamed into shape. The
finished width ranges from 1 cm (3/8 in) to 2.5 cm (1 in).
1Cut the bias strip twice the finished width plus twice the seam allowance. The length
required must equal the total length of the neck seam line, from center back to center
back, plus 5 cm (2 in) for seams and ease.
2 Fold in half lengthwise with wrong sides facing and then press flat, curving the strip
with steam to match the curve of the neckline.
3 Pin the bias strip to the right side of the neckline, aligning the raw edges, and stitch.
Press towards the bias strip, trim, grade and clip the seam allowances. Understitch close
to the seam and turn the facing to the inside of the garment.
4 The edge of the bias facing may be slipstitched by hand or topstitched by machine.
Two rows of topstitching are an attractive alternative.
Lesson 7
Lecture: Three
Piped (corded) Facing
A piped neckline requires a facing to finish off the neck, with covered piping cord inserted
between the garment and the facing. The same procedure applies for lace trims and other
edgings, although the use of the zip foot is not applicable here.
1Using a zip foot, attach the covered piping to the neckline, as instructed for the bias facing.
Cut the cord flush with the center back, trim the binding ends and fold in to align with the
cord.
2 Place facing on top of the covered piping and pin in position. Stitch, still using the zip
foot.
3Press and trim, as previously instructed. Under stitch with the zip foot. Turn the facing to
the inside and tack down.
4 Slipstitch the ends of the cord closed for thin piping cord and attach a hook and eye to
the facing; if a heavy piping cord has been used, attach snap fasteners over the open ends.
Ribbed bands
Whether interlocked or ribbed, knitted bands are a suitable neckline finish for both knitted
and woven garments. However, because of its stretching abilities, ribbing is preferable. Be
sure to choose a ribbing that is able to recover, i.e. to return to its original shape after being
stretched. Ribbing that contains a certain percentage of lycra (elastic thread) will retain its
shape for a longer period. There are two methods of attaching ribbed bands: the tubular and
the flat method.
ESTIMATING THE CUT SIZE

The finished width of a crewneck should be 2.5 cm (1 in) to 3.2 cm (11/4 in); mock
turtlenecks are 5 cm (2 in); turtlenecks are 10 cm (4 in); and polo necks are 15 cm (6 in) to
18 cm (7 in). Establish the finished width desired and cut the ribbing to twice this width plus
12 mm (1/2 in) for seam allowances. To estimate the cut length of the neckband, measure the
neck seam line all round. Stand the tape measure up on its side to determine this length
accurately. Cut the ribbing two-thirds the measured length plus 12 mm (1/2 in) for seam
allowances.
Crewneck Mock turtleneck
Turtleneck Polo neck

Tubular method
1Join the ribbing ends using 6 mm ( 1/4 in) seams.

Fold in half lengthwise with wrong sides facing and
divide into fourths. Mark with pins. Place a pin at
the center front and divide the neck into fourths
from that point. Mark with pins.
2 Match the pin markers of the ribbing to

those of the neck, placing the seam at the left
shoulder.
NB Placing the seam at the center back looks
unprofessional and is seldom, if ever, done in
the commercial trade.
3 With the ribbing on top, stitch a 6 mm ex

in) seam using an overedge stretch stitch,
narrow zigzag or overlock. Stretch the ribbing
to fit the garment neck between the pins. Press
the seam towards the garment.
4 For a professional finish, bind the back neck,

from shoulder to shoulder, encasing the seam
allowance in the binding.
Flat method
5Fold the ribbing in half lengthwise with wrong

sides facing and divide into fourths. Mark with pins.
NB Only the right shoulder seam of the garment
should be stitched closed at this point. Divide the
neck into fourths and mark with pins.
2 Match the pin markers of the ribbing and

the neck and stitch as instructed for tubular
method. Press the seam towards the garment.
3 Stitch the open shoulder seam, taking care

to match the ribbing ends and seams. Backstitch
to secure the seam. The back neck seam may also
be bound as for the tubular method.
Quality distinguishes style from fashion. Giorgio Armani

Lesson 8
Lecture: One
Tucks
Introduction
Tucks are folds of fabric stitched down either all or part of the way, such as released tucks. Their purpose
is mainly decorative although they may also be used as a shaping device. They are usually folded on the
straight and each tuck is formed from two stitching lines that are matched and stitched. The distance from
the fold to the matching line determines the tuck's width. Tucks that meet or overlap slightly are called
blind tucks; those with predetermined space between them are spaced tucks; and a pin tuck is a very
narrow tuck, usually about 3 mm (1/8 in) wide. Light to medium weight fabrics are suitable for tucking,
but design and print should be considered before purchasing the fabric. Tucks can be added to plain
garments by pre-tucking the fabric before it is cut.
Objectives
After completing this chapter, you will be able to:
• Identify the different types of tucks.
• Using appropriate method to make tucks.
Notch the stitching lines for the tucks at the start and finish of each tuck. Establish the spacing between
each tuck and use a cardboard gauge to maintain an even width when stitching. Stitch the tucks in the
order illustrated. Begin with the center tuck, stitching downwards; next the tucks on either side, stitching
upwards; then the tucks on either side of those, stitching downwards, and so on. This will keep the tucks
straight and prevent puckering. Press each tuck individually, using a pressing cloth, before pressing all the
tucks in the direction required.
SHELL TUCKS
First stitch the tuck, then hand stitch a few overhand stitches every 1 cm (% in) to form a scallop.
Alternatively, blind stitch by machine, with the tuck under the foot and the fold to the left of the needle,
allowing the zigzag stitch to scallop the tuck.
CORDED TUCKS
Fold the tuck, positioning the cord inside the tuck along the
fold. Pin in position and, using a zip foot, stitch close to the
cord.
CROSS TUCKS
First stitch the lengthwise tucks and presses in one
direction, then form the cross tucks at right angles to the
first set and stitch. Be sure to keep the first set of tucks
facing downwards.
RELEASED TUCKS
These dart tucks are usually used to control fullness at the
bust or hip. They are mainly formed inside and can be
released at one or both ends. Be sure to reinforce the ends.
Press carefully to avoid creasing the folds.
UNPRESSED PLEATS
These tucks are similar to the released tucks but are not darted in shape. The fabric is tucked to fit a
specific measurement, but these tucks are usually not stitched down. Their depth may be as desired.
Calculating fabric quantities
Establish the depth and the number of tucks required. Double the depth and multiply by the number of
tucks. This amount must then be added to the finished width of the pattern piece.
Lesson 8
Lecture: Two
Darts
Introduction
Darts are used to build a curved shape into a flat piece of fabric. They are one of the most basic
structural elements in dressmaking and occur most often at the bust, front and back waist and hip, and
also less frequently at the back shoulder and elbow. Because they need to be positioned and stitched
accurately, precision is essential. Marking methods may vary according to preference.
After completing this lesson you will be able to:
• Define different types of dart.
• Explain the steps involved in constructing darts
Marking
There are various techniques for transferring the pattern markings to the fabric. Because of the different
weights, types and textures of fabrics, it is necessary to choose the method best suited to the fabric used.
Tailor's tacks
This is the best method for marking delicate fabric because the tacks are easy to remove and do not
cause permanent damage to the fabric. Use cotton tacking thread, a fine silk thread or two strands of
embroidery thread.
1At each dart point or interior dart marking, make a small single stitch through both layers of fabric
and the tissue pattern pieces. Leave a 5 cm (2 in) unknotted thread tail on each side of the stitch.
2 Carefully lift the pattern off the fabric, raise the top layer of fabric about 2.5 cm (1 in) and cut the
threads between the two fabric layers.
Dressmaker's tracing paper and wheel
Using this method, a single mark or an entire line can be simultaneously transferred onto two layers of
(preferably opaque) fabric. This technique is especially helpful when marking an uneven dart under a
notched collar
1 Start with a piece of tracing paper, tracing side up, then place both fabric pattern pieces, right sides
facing, on top of the tracing paper. Place a second piece of tracing paper, tracing side down, on top of the
fabric. Finally place the tissue pattern piece on top of the second piece of tracing paper. Trace the dart on
the tissue pattern using the wheel.
2 Top the dart point with a short line perpendicular to

the center of the dart and trace other interior dart
markings similarly.
Chalk and wax
This is the most efficient way of marking a dart formed with pins. A series of marks or even a single
mark is made where the pins are placed.
1Insert the pins through the marks on the tissue pattern and both layers of the fabric. Turn the pattern
and the fabric pieces over, push each pin in the direction of the dart point and then rub the chalk pencil
or wax on the fabric over each pin, leaving short lines.
2 Turn the fabric and pattern pieces over again and carefully pull the pattern off, holding each pin in
place from the bottom. Angling the pins in the direction of the dart sides, rub the chalk pencil or wax on
the fabric over each pin.
Contouring
When pattern making,
straight lines are used to
make dart sides.
However, these lines
create a point and
should be slightly
shortened and
contoured. For instance, the point of the bust dart should end 2.5 cm (1 in) to 5 cm (2 in) away from the
bust point. Constructing darts to follow the body's contours will give the best fit.
If wrinkles form below the waist on trousers and skirts, remove the excess fabric by widening the back
darts. If, for instance, the darts are straining over a high hip area, release some of the dart by
contouring. Lower the top of the dart for a low bust. Narrow the dart intake for a thick waist.
Stitching
With right sides together, fold the dart in half, matching the dart points and notches. At this point the
dart can be chalked in, contoured as desired and then stitched. Stitch from the wide end of the dart, using
backstitching as reinforcement, to the point, securing the point by knotting the threads. Be sure to taper
the last few stitches very close to the fold. Fisheye or contoured darts should be stitched from the widest
part tapering to the one point; then turn the garment around to complete the balance of the dart in the
same manner.
Backstitching often results in puckering because the previous line of stitching was not duplicated
exactly, hence knotting at the point is advised. Another method to follow is to advance to the point,
pivot the work and sew a few stitches back into the dart.
Pressing
After the dart has been stitched, it is essential to press the dart
correctly before the major seams are stitched. Keeping the dart
folded as for stitching, press towards the point, being careful not to
press beyond it, thus creasing the rest of the garment. Spread open
the garment over the curved surface of a press mitt to maintain the
shape, and then press.
1 .................................................."
Vertical darts should be pressed towards the center front or center back and horizontal darts are pressed
downwards. Deep darts must be trimmed and pressed open with the point pressed flat. Curved darts
should be slashed or clipped to relieve any strain.
LEFT: Darts can be topstitched to accentuate the shaping.
Lesson 8
Lecture: Three
Gathering
Introduction,
Gathers are formed when drawing up a specific amount of fabric to fit into a smaller area.
This fullness adds a soft, feminine touch to a garment and can be found mostly at waistlines,
cuffs, yokes, necklines or at sleeve heads. Gathering soft fabrics will have a draped effect,
whereas crisp fabrics will billow out. In gathering, the bobbin thread is pulled up and a looser
upper tension facilitates the sliding of the fabric along the thread.
Objectives:
After completing this lesson u will be able to
• Identify and use different methods to make gathers.
1Lengthen the stitch setting and loosen the upper tension on the machine appropriate to the fabric.
Stitch the first row just above the seam line on the right side of the fabric and the second row 6 mm
ex in) higher, leaving long threads.
2Pin the stitched edge to the corresponding straight edge on the garment, with right sides facing,
matching any appropriate notches and seams.
3Carefully pull up the bobbin threads on the one side, sliding the fabric along. When half the
gathered fabric fits the straight edge, secure the thread by twisting a figure eight around the pin.
Repeat the process from the other side.
4Adjust the gathers uniformly along the straight edge and pin them down, perpendicular to the
stitching, and at frequent intervals.
Break the stitching at seams, as it is difficult to gather through two thick nesses,
5 Reset the stitch length and the tension on the machine. With the gathered side up, stitch on the
seam line, holding the fabric on either side to avoid stitching little pleats.
6 Trim corners of the seams diagonally and press the seam allowance with the tip of the iron.
6 Overlock or zigzag the seam edge, open out the garment and then press the seam in the direction
it will lie when finished. (Usually, it will point away from the gathers.)
7 Press the gathers, sliding the point of the iron up into the gathers. Do not press across the
gathers, as they will flatten and become limp.
Easing
Easing is not as full as gathering. It reduces the length of an area that needs to fit into a shorter area.
Invariably, there is excess fullness or perhaps a dart that needs to be spread over a specific area.
Most sleeve heads require a certain amount of easing to fit the curved shape into the almost straight
section of the armhole. The differential feed on an industrial machine can be set to ease a given
amount to a specific measurement. It can be done manually, either by pinning at frequent intervals or
by following the instructions for gathering.
When easing, use an awl to position the excess fabric by gently pushing more fabric under the
presser foot.
*RIGHT: This smocked dress has gathers at the waist and on the sleeves to add the
necessary fullness required.
Lesson 8
Lecture: Four
Pleats
Introduction
Pleats are folds of fabric that are pressed flat along the fold lines. They provide controlled
fullness and may occur as a single pleat, as a cluster or around the entire garment. In vertical
pleats, the fold line should always be on the straight grain, at least from the hip down. This
ensures that the pleat hangs correctly. Fabric choice should be carefully considered. A smooth,
crisp, light to medium weight fabric, such as gabardine, will pleat easily, as will fabrics
containing polyester. Other synthetics, such as acrylic, will resist creasing and make pleating
difficult, but not impossible.
Dry-cleaning a pleated garment is preferable as the garment will automatically be re-
pressed whereas domestic laundering will necessitate re-forming and pressing the pleats with
each wash. Edge stitching will facilitate this.
Knife pleats positioned on the left hand

side only
Commercially pleated fancy

knife pleats
After completing this chapter, you will be able to,
• Identify and understand different types of pleats.

• Using different method of construction for pleats.
There are four basic pleats: knife pleats, which all face one way; box pleats, which have two folds
turned away from one another; inverted pleats, which have two folds turned towards each other and
meeting; and accordion pleats, which are narrow and have a zigzag appearance resembling the
bellows of an accordion. These should be done by a commercial pleater, whereas the others can be
done manually. For a more permanent finish, however, all pleats are best done by the professional
pleaters, because they have the facilities to heat set the fabric.
Accordion Pleats
The inverted pleat can also be done with a separate

underlay. This method is usually applicable when only a
few pleats are required, but is not practicable for
continuous pleating.
Inverted Pleat with Separate Underlay
Another pleat which can only be done by commercial

pleaters is the sunray pleat. This one resembles the
accordion pleat, but fans out like the rays of the sun and
therefore has to be cut in a half circle, as illustrated.
Sunray Pleats
Forming pleats
Pleats are formed by aligning the fold line with the placement line. The underlay, which is the space
between these two lines, may be shallow or deep, depending on the choice of fabric and the fullness
required. When planning a pleated garment, ensure that the hip measurement, with added ease, is
applied. Each pleat can then be adjusted to attain the waist measurement, as illustrated. In this way,
the pleats will fall closed. Topstitching will also keep the pleats in position.
Sewing pleats
1 Join the side seams and hem the fabric before

pleating it. Press well.
2 Notch the pleats at one end and pin the

corresponding positions at the hem. Mark the fold
lines and the placement lines accordingly.
3 Pleat up the fabric matching these lines and

then pin in position.
4 Hand or machine tack the pleats along the fold
lines. Remove the pins.
5 Press the pleats lightly in the direction they will

face.
6 After pressing them, machine tack the pleats

across the upper edge.
For pleats with separate underplays, first hem each panel and then join the seams. This will hold the
pleat firmly in position. Trim the corners of the seam allowances at the hem diagonally and then
whipstitch the edges.
7 With wrong side up, place strips of brown paper under each pleat to prevent an imprint of the
pleat on the right side. Press again to set the pleats. Turn to the right side and steam pleats using a
pressing cloth. Leave to dry on the ironing board.
8 Topstitch the pleats if required and remove all the

tacking threads.
Lesson 9
Lecture: one
Plackets
Introduction
A placket is a lightweight finish which provides a secure closing. This finish is
applied to a sleeve at the cuff opening and to a partial opening at the neck where it is
usually buttoned closed. The three most popular finishes are the faced placket, the
continuous-bound placket and the shirt placket. All three are applicable to the
sleeve and the neck. A separate button stand on a blouse or shirt is also referred to
as a placket. A button stand may have a facing which is folded back, but this can be
altered slightly to simulate a separate or even a concealed button stand.
Objectives
After completing this lesson you will be able to:
• Select an appropriate placket for the design
• Identify and differentiate between the inseam placket, faced placket, bound
placket.
• Evaluate plackets.
•
Faced placket
1Cut a rectangular facing 6.5 cm (2 1/2 in) wide and 2.5 cm( 1 in) longer than the
required slit. Overlock or double-turn three of the edges, leaving the bottom one raw.
With right sides facing, center the facing over the marked opening and pin in position.
Stitch from the edge to the point, pivot and stitch back to the edge. Press flat.
2Slash to the point, being sure not to cut the thread, turn the facing to the wrong side of
the sleeve. Press flat and slip stitch the facing down.
Continuous-bound placket
1Cut self bias binding 3 cm(1 1/4in) wide and twice the length of the marked slit. Press
one side 6 mm (1/4 in) under to the wrong side and mark a 6 mm (1/4 in) seam along the
other side.
2 Reinforce the placket opening by stay stitching from the edge to the point, pivoting
and stitching back to the edge. Slash to the point
3 With right sides facing, pin the unfolded edge of the binding to the sleeve, aligning
the reinforced stitching with the marked seam line. Stitch, with the sleeve side up, and
press the seam flat.
4 Fold the binding over to the wrong side, encasing the raw edges. Line up the folded
edge with the stitching line, pin in place and slipstitch. Turn the front edge of the binding
to the wrong side of the sleeve and press.
This method can be simplified by feeding the bias strip through a binder and
attaching it to the sleeve at the same time.
Lesson 9
Lecture: Two
Shirt placket
1 Fold the overlap in half with right sides facing, pin and stitch around the top edge to
the matching point at the side. Press seam flat, trim the seam allowance and clip at the
matching point. Turn to the right side, pull out the corners and press flat. Press under the
seam allowance along the top edge.
2 Press the seam allowance on the one side of the under lap to the wrong side and trim
this seam to about half its width.
3 Reinforce the placket opening by stay stitching 1 cm (3/8 in) away from the marked
slit all round, as illustrated. Slash to within 1 cm (3/8 in) of the placket top and then to the
corners. Determine the front and back edges of the opening.
4 Pin and stitch the right side of the unfolded under lap edge to the wrong side of the
back placket edge, aligning the seam lines. Secure the stitches at the top corner of the
placket, then press flat and trim.
5 Press the seam allowance towards the underlap, fold the underlap towards the right
side and pin the folded edge over the stitching line. Edge stitch through all the layers,
stop at the corner and secure the stitches.
6 Flip up the triangular piece at the top of the placket and pin it to the underlap. Stitch
across the base of the triangle, securing the stitches at the beginning and at the end. Trim
the square corners of the underlap.
7 Pin and stitch the right side of the unfolded overlap edge to the wrong side of the
front placket edge, aligning the seam lines. Secure the stitches at the top.
8 Press the seam flat, trim the seam allowance to half its width and press again towards
the overlap. Bring the folded edge of the overlap to the stitching line and pin in place.
9 Pin the top portion of the overlap to the sleeve, covering the top portion of the
underlap and tack down, if necessary.
10 Topstitch along the folded edge of the overlap, but be sure not to catch the
underlap in
the stitching. Stop stitching at the end of the placket opening, then pull the threads
through to
the wrong side and knot.
11Topstitch through all the layers across the overlap, around the pointed end and down
to the sleeve edge. Remove any tacking and press.
Straight placket band
1 Reinforce the placket opening by stay stitching 1 cm ( 3/8 in) away from the slit all
round, as illustrated. Slash to within 1 cm (3/8 in) of the placket bottom and then to the
corners.
2 Fuse the placket bands as required and, with wrong sides facing, fold the band in half
lengthwise and press flat.
3 With right sides together, pin each placket to the opening, aligning the edges, and
tack if necessary. Stitch through all the layers, stopping 1 cm (% in) from the bottom
edge.
4 Flip up the triangular piece at the bottom of the opening and pin to both the placket
ends, taking care to keep the right placket over the left one. Stitch across to secure the
plackets.
5 Overlock the necessary edges, then turn to the right side and press.
False placket
This example has a 3 cm (l 1/4 in) wide placket.
1 Shift the center front over by 3 mm ( in) to allow for the tuck. Mark the fold line
1/8
parallel to the new center front and 1.5 cm (5/8 in) away. Mark the edge of the facing 3
cm (l1/4 in) away.
2 Fuse the facing with a suitable interfacing and press back along the fold line. Fold the
front back again by the same amount so that the raw edge is encased, just touching the
inside of the second fold.
3 With the wrong side of the blouse facing up, stitch a 3 mm ( 1/8 in) tuck along this
fold line.
This topstitching will ultimately be on the upper side of the placket. Flip the folded edge
back
and press the edge towards the side seam. Topstitch the outer edge 3 mm (1/8 in) away
from the fold.
Lesson 9
Lecture: Three
Concealed Placket
This example also has a 3 cm (11:4 in) wide placket.
1 Mark the first fold line 1.5 cm ( 5/8 in) from the center front; mark the next fold line 3 cm(11:4 in) from
the first; mark the third fold line 2.7 cm (11/4 in) from the second; and mark the fourth fold line 2.7 cm (11/8
in) from the third. Add 6 mm (11/8 in) for the seam allowance. Fuse a strip of interfacing between the third
and fourth folds.
2 Fold the third line over towards the wrong side and press. Then fold the first line over towards
the wrong side and press. With right side up, stitch 3 cm (1 1/4; in) from the first fold line, through all the
layers and encasing the raw edge, i.e. along the second fold line. Fold the under placket out towards the
garment edge. The buttons and buttonholes will be on this under placket. In this way, the button stand is
concealed by the top placket.
Lesson 10
Lecture: One
Pockets
Introduction
Pockets may be decorative, where position, size and shape can be just about anything,
but should remain flattering; or they may be functional, and should fall comfortably
within the hand's reach. There are generally two types of pockets: the patch pocket and
the inside pocket. Patch pockets are stitched on top of the garment and can be virtually
any shape and decorated with various trimmings. The inside pocket may be sewn into the
opening of a seam; the front curved pocket is attached at the waist and side seam; and the
slashed pocket is finished with a welt or flap.
Objectives
After completing this lesson you will be able to
• Identify the different types of pockets and understand the appropriate application
for each type.
• Identify and describe applied and set in-in pocket
Patch pockets
These pockets are finished on all sides and then
attached to the garment. They may be lined or
unlined, single or in pairs. Ensure that the paired
pockets are exactly the same size and shape, and
also that the positioning marks are equidistant.
Bias cut pockets should be fully fused to avoid
stretching out, whereas pockets cut on the straight
grain only need fusing on the facing. If a separate
pocket flap is required, be sure to fuse it as well.
This flap should be positioned about 1.5 cm eYe
in) above the top of the pocket.
Use a cardboard template, cut to the finished size of the pocket, to guide
stitching and pressing.
LEFT: Patch pockets can enhance a plain shirt whilst the inside pockets on these
classic trousers are functional.
Unlined patch pockets
1 Fuse the pocket facing with the appropriate interfacing and overlock the edge of the
facing. Fold the facing to the right side along the fold line, i.e. the edge of the interfacing,
and stitch each side on the seam line, as illustrated.
2 For rounded corners, ease stitch at each corner, slightly to the outside of the seam
line. For squared corners, .
3 Trim the top corners diagonally, turn to the right side and pull out the corners. Press
the top edge. Draw up the easestitching and notch out any excess fabric. Press the pocket
seam allowances flat. Pin the pocket onto the garment, carefully matching the markings,
and edgestitch in place.
Be sure to reinforce the top corners of the pocket. Small identical triangles or
rectangles. Backstitching or bartacking are all methods suitable for this task.
Lesson 10
Lecture: Two
Lined Patch Pockets
1 Fuse the pocket facing with the appropriate interfacing. With the right sides facing,
pin and stitch the lining to the facing, leaving a small opening in the center of the seam
for turning. Press the seam towards the lining.
2 With right sides together, match the bottom edges of the lining and the pocket, pin
and
stitch around the edges. Press flat. Trim and grade the seam allowances. Trim the corners
and notch out the rounded corners.
Cut the lining of the pocket 3 mm (1/8 in) smaller all round. This will
prevent the seams from showing when the pocket is turned.
3 Carefully turn the pocket to the right side through the opening in the facing. Roll the
seam to the underside and press flat. The opening can be slipstitched, but it is not
essential to do so. Pin the pocket onto the garment, carefully matching the markings, and
edgestitch in place.
Inside pockets
These pockets are generally concealed in the

side seams or hidden behind a welt or flap.
The front-hip pockets must be included in
any alterations to the waist or hip. To
eliminate unnecessary bulk, the pocket
facing may be cut in lining, but the pocket
must be cut in self fabric. It is advisable to
reinforce the pocket opening with tape or a
strip of interfacing to prevent it from
stretching out.
In-seam pocket
1Cut a piece of tape about 5 ern (2 in) longer than the opening of the pocket. Reinforce
the front of the garment along the pocket opening by positioning the piece of tape on the
wrong side of the pocket seam line. Centre the tape next to the pocket opening marks.
Stitch 3 mm (1/8 in) from the edge nearest the seam line, as illustrated.
2 With right sides facing, pin and stitch the pocket facing to the garment, if it has not
been cut allin-one with the garment. Press the seam flat, trim the seam as illustrated, and
then overlock the edges. Turn the pocket away from the garment and press the seam
towards the garment.
3 Hand tack the pocket opening. With the right sides together, match and pin the front
of the garment to the back. Stitch around the pocket and the side seams. Reinforce the
corners of the pocket opening by backstitching.
4 Press the seam flat to embed the stitches and then clip the seam allowance of the back
section of the garment at the corners. Press open the garment seam above and below the
pocket. Overlock the edges, catching in the garment front seam allowance at the top and
bottom. Press the pocket towards the garment front and remove the tacking at the
opening.
Front-hip pocket
1 Fuse the garment at the shaped edge of the

pocket with a suitable interfacing cut 5 cm
(2 in) wide and shaped to fit.
2With right sides facing, pin and stitch the

pocket facing to the garment along the
opening edge of the pocket. Press flat, then
trim and grade the seam, leaving the garment
seam the widest. Clip or notch out the curves
.
3 Press the seam open to flatten, then press both seams towards the facing.
Understitch the facing close to the seam line, through all the layers. Turn the
facing towards the inside and press. If any topstitching is required, do so at this
stage.
4 With right sides together, pin and stitch the pocket to the facing. Press and
overlock the edges. Attach the back of the garment to the front along the side
seams, catching the side edges of the pockets in the seams.
To flatten the tummy, extend the pocket to the fly-front seam.

This will also prevent the pocket opening from pulling at the side
seam.
Lesson 10
Lecture: Three
Single Welt Pocket
1 Fuse the welt and a narrow strip at the pocket

opening, using the appropriate interfacing. Fold the welt
in half lengthwise, with right sides facing, and pin and
stitch the ends. Trim the seams and the corners and turn
to the right side. Press.
2 Mark the welt's window frame, as indicated on your

pattern, as well as the center line. Cut along this centerline,
and then into each corner.
3 With right sides facing and raw edges together,

pin and stitch the welt to the pocket facing. With
the wrong side of the garment facing the right side
of the pocket facing, slide the welt through the
window frame, aligning the raw edges of the
welt/facing seam with the bottom edge of the
window frame.
4 Pin and stitch across the bottom edge of the

window frame, through all the layers, with the
garment on top and the pocket facing underneath. Be
sure not to stitch beyond the ends of the frame. In the
same manner, pin and stitch the pocket to the top
edge of the window frame.
5 Place the garment right side up on the machine and

flip back enough garment to expose the triangular ends. Stitch back and forth across the
triangle and stitch one continuous seam, joining the pocket facing to the pocket. Repeat the
reinforcement to the triangle on the other side. Over lock the pocket edges. Reinforce the
ends of the welts with edge stitching or slipstitch by hand.
6 If the welt is the same width as the window frame,

the window frame may be topstitched, for a sporty
look. Press the seams of the window frame back and,
with right side up, edge stitch across the bottom edge of
the frame. Stitch the triangles and the pocket bag, as
previously instructed, and then edge stitch the three remaining sides of the window frame on
the right side. Bartack the sides of the welt to strengthen the stress points.
There is no fashion without personal style
Double welt or bound pocket
1Follow the instructions given for the one-

piece folded bound buttonhole from step 1 to
step 4, positioning the pocket and facing on top
of the strip, with the opening ends meeting at
the center line, as illustrated
2 Now continue through to step seven,

pushing the welts and the pocket pieces through the opening.
3 Follow step 5 for the single welt pocket

above left. If a pocket flap is required as well,
sandwich the finished flap between the strip
and the pocket before stitching.
Lesson 11
Lecture: One
Collars
Introduction
Regardless of its style, a collar requires careful handling in every stage of construction
to retain its quality appearance. The cutting of a collar also plays an important role:
depending on the fabric, some under collars are cut on the bias grain and top collars on
the straight grain or vica versa; interfacing is generally applied to the under collar,
helping to define and support the collar's shape. There are, however, exceptions to these
rules. Selecting the correct interfacing for the fabric used is imperative. First test the
interfacing on a piece of scrap. For true professionalism, the top collar should be cut 3
mm (1/8 in) larger all round the outer edges. This will prevent the seams from showing
when the collar is completed. before embarking on your collar construction. This is
another aspect that requires special attention.
There are a few basic collar types which are all constructed in a slightly different
way: the flat or Peter Pan collar, the convertible or notched revers collar, the shawl collar
and the two-piece shirt collar. The notched revers collar on a shirt and on a jacket are also
made in a slightly different way, mainly due to the variance in the weight of the fabric.
Objectives
After completing this lesson, you will able to,
• Identify the different type of collars and understand an appropriate application
for each type.
• Describe the parts a collar.
• Identify and describe various collar application.
• Evaluate collars
Flat collar
This collar is the simplest to construct but it does require a facing or binding on the inner
edge. The Peter Pan and the sailor collar fall into this category.
1 Fuse the under collar with the appropriate interfacing and, with right sides facing,
stitch top and under collars together around the outer edges.
2 Trim, grade and notch the seam allowances. First press the seams open, then press the
seam allowances towards the under collar. Under stitch close to the seam line with the
right sides facing.
3Turn right side out, push out the corners and, using slightly moist fingertips, work the
outer seam line towards the under collar. Press with a pressing cloth and top stitch if
desired.
4 Stay stitch the neckline before attaching the collar. Position the collar on the
neckline, with the top collar facing up, align the appropriate notches and pin. Place the
facing, with the right side down, on top of the collar, then match the notches and re-pin.
5Stitch and finish .

Outer Edges
Outer edges of a garment include hems on lower edges, waistbands, front or back
openings, necklines, armholes, collars and cuffs. When finishing outer edges, work to
eliminate bulk and achieve a flat, smooth finish. A variety of stitching, trimming and
pressing techniques help accomplish this. In most cases, interfacing is used for a crisp,
stabilized finish.
An interfaced outer edge required facings - pieces of fabric sewn to the outer edge
and turned to the inside to finish the edge. If the edge is shaped or curve, a separate
facing is cut and shaped to fit. On straight edges, the facing is often an extension of the
pattern piece folded to the inside. Facing edges of unlined garments should be finished to
prevent raveling.
Fusible interfacings save time and are available in weights appropriate for most
fabrics. Fusibles are often applied to facings rather than to the garment, because they
may create an undesirable ridge on the right side of the garment. Test fusible interfacing
on a fabric scrap first. If a ridge forms along the edge of the fused interfacing trim the
outer edge of the interfacing with pinking shears and try again. If a ridge is still
noticeable, fuse the interfacing to the facing only. For a more fluid line, choose sew-in
interfacings. These are usually applied directly to the garment, not the facing.
In this section, certain techniques include directions for fusible or sew-in

interfacings. Specific methods for handling the interfacing can be applied to any of the
faced edges and collars that are shown. Cuffs are finished and attached in the same
manner as collars.
Faced Necklines & Collars
Square necklines must be clipped diagonally into the corners, right up to the line of
stitching, so the neckline lies flat when facing is turned to the inside. Neckline edges are
under stitched or topstitched to keep them lying flat.
Lesson 11
Lecture: Two
How to Sew a Curved Neckline (using nonfusible interfacing)
1) Join interfacing sections with lapped seams. Stitch and finish garment shoulder seams.
Machine-baste interfacing to wrong side of garment, ½" (1.3 cm) from edge. Trim
interfacing close to stitching. Trim outer edge ½" (1.3 cm).
2) Stitch facings together at shoulder seams, trimming seam allowances to ¼" (6 mm).
Press seams open, but do not finish. Finish outer edge of facing.
3) Stitch right side of facing to right side of garment. Grade and clip seam allowances of
curves as shown in steps 7 and 8. Press, understitch and tack facing as shown in steps
10 to 12.
How to Sew a Pointed Collar (nonfusible interfacing)
1) Trim corners of interfacing diagonally just inside seamline. Machine-baste

interfacing to wrong side of upper collar, ½" (1.3 cm) from edge. Trim
interfacing close to stitching.
2) Trim a scant 1/8" (3 mm) from outer edges of under collar. This keeps under
collar from rolling to right side after collar is stitched to the neckline. Pin right
sides of collar and undercoat together with outer edges even.
3) Stitch on seamline, taking one or two short stitches diagonally across each corner
instead of making a sharp pivot. This makes a neater point when the collar is
turned.
4) Trim corners, first across the point, close to stitching, then at an angle to the seam
on each side of the point.
5) Grade seam allowances by trimming under collar seam allowance to 1/8" (3 mm)
and collar to ¼" (6 mm).
6) Press seam open on a point presser. Turn collar right side out.
7) Push points out gently with a point turner.

8) Press collar flat, rolling seam slightly to the underside so it will not show on
finished collar.
Lesson 11
Lecture: Three
How to Sew a Round Collar (using fusible interfacing)
1) Trim seam allowances from fusible interfacing and fuse to wrong side of upper
collar, following manufacturer's instructions on package.
2) Trim scant 1/8" (3 mm) from outside edge of under collar, as for pointed collar.
Stitch right sides of collar and facing together, using shorter stitches on curves.
3) Trim seam allowances close to stitching line, using pinking shears (1) Or, grade
and clip seam allowances (2). Press seam open, even though seam is enclosed.
This flattens stitching line and makes collar easier to turn.
How to Line a Facing with Interfacing
1) Stitch fusible interfacing to facing, right sides together, using ¼" (6 mm) seam
allowance; no adhesive side of interfacing is right side. Clip curves.
2) Press seam away from facing. To prevent interfacing from fusing to ironing
board, be careful that the edge of the iron does not go beyond the seam allowance.
3) Fold interfacing on seamline. Finger-press fold and position interfacing on wrong
side of facing. Fuse interfacing to facing. Attach facing to garment.
How to Attach a Convertible Collar
1) Stay stitch upper collar neck seam before stitching to under collar. Clip collar
seam allowance to stay-stitching at shoulder marks. Press seam allowance to
wrong side between clips.
2) Interface front facings up to fold line, using lined facing technique or finishing
facing edges with finish appropriate to fabric. Turn under facing seam allowances
at shoulder seams; press.
3) Stitch shoulder seams. Staystitch garment neck edge on seamline. Clip seam
allowance at frequent intervals, stopping short of stay stitching. Stitch upper and under
collars. Turn right side out, and press.
4) Pin under collar only to garment between shoulder seams. Keep collar neck edge free.
Pin upper collar and under collar to front neck edge, matching markings.
4) Fold front facings over collar. Pin through all layers. Stitch neckline seam, right
side of garment up; do not catch folded edge of collar in stitching. Trim across
corners, and grade seam, turn facings right side out.
1) Bring folded edge of upper collar over neck seam, and edge stitch or slipstitch in
place. Slipstitch facings to shoulder seam allowances.
Lesson 12
Lecture: one
Cuff
Objective
After completing this chapter, you will be able to:
• Differentiate between bands and cuffs.
• Identify the different types of cuffs and understand the appropriate application for
each type.
• Select an appropriate cuff for the design, fabric.
BANDS
A band is an edge finish that can be applied to many different garments. The most
common applications include sleeve cuffs, waistbands, self-finished collars, shirt bands,
and bands instead of hems on the lower edges of blouses, skirts, jackets, and coats.
Bands vary according to the type of band selected, the material used, and the garment
type and design. Bands can be located at edges, which are either horizontal or vertical;
and they can be straight or shaped and wide or narrow. They can be applied to other
garment components with a clean-finish or self-finish application that encloses all raw
edges, a crack-stitch application that encloses some of the raw edges, or an exposed seam
covered with surging. They can form a loop and encircle the body without an opening or
they can have an opening to facilitate construction, dressing, and laundering. But all
bands are applied similarly and are variations of the applications described in this
chapter.
This chapter focuses on cuffs and waist edge finishes, some of the most common
bands, and the applications used to apply them in sample rooms. In production, these
bands are frequently applied using automated equipment or folders on budget and mod-
erately priced apparel.
Cuffs
The sleeve cuff is a fabric band that encircles the wrist. It can be cut in one part, with a
fold at the wrist edge, or in two parts with a seam at the wrist edge and separate facing
One-piece cuff Closed-band cuff
Two-piece Cuff Open-band cuff
Cuffs are the most common finish for shirts and blouses for men, women, and
children. Generally they are set at the wrist, but they can be set on sleeves of any
length. Even though they can vary in design, the entire cuff into two categories:
Closed-band and open-band.
The addition of cuff to a garment increases production costs. The amount of the
increase depend On the number and shape of the parts, the application method, and
whether the cuff has topstitching or decorative trims.
Materials/Supplies To complete the basic cuff applications, you will need the
following:
• Patterns 39, 41, 42, 43
• Muslin rectangle 9" X 7"
• Muslin rectangle 9" X 5"
• Muslin rectangle 1 1/4" X 24"
• Muslin
• Lightweight sew-in interlining
• Lightweight fusible interlining
• Knit ribbing 8" by 4 1/2"
• Glace or topstitching thread
Application: Closed-Band Cuff

The closed-band cuff encircles the arm without an opening. The circumference of the cuff
must be sufficient to enable the hand to slip in and out when dressing. They are
frequently elasticized or made of knit ribbings. Generally closed-band cuffs are less
costly than open-band cuffs. They do not require special equipment, skilled labor, or as
much material as open bands; however, they are frequently bulky, and some are
unattractive on the wrong side. Generally, since they do not fit the body closely, they are
comfortable to wear.
There are two closed-band applications: a flat application and in the round. The least
expensive the flat application-is used on children's garments at all price points because
the opening is so small and on budget and moderate-priced casual wear with knit cuffs.
The cuff is first applied to the sleeve; then the underarm seam is joined.
Directions
For the flat application, all seam widths are 1/4" and the cuff is cut from knit ribbing, but
many designs use woven fabric cuffs and bindings.
1. Cut one muslin rectangle 9" X 5" for the sleeve. Cut one ribbing cuff 8" X 4 1/2".
Notch the center of the cuff and ribbing.
2. Wrong side to wrong side, fold the cuff in half lengthwise. Place the cuff on the
face side of the sleeve. Align the edges at the beginning of the wrist seam. Sew off a
1/4" seam for 1/2" without stretching the cuff as shown in Figure.
3. Continue stitching to the end, stretching the cuff to fit the sleeve.
4. Serge the wrist seam.

Note: Steps 3 and 4 can be stitched simultaneously
on a safety-stitch machine; and on very in-
expensive garments, the seam is frequently
stitched with one run on a 3-thread over edger.
5. Face to face, fold the sleeve lengthwise. Begin-

ning at the wrist with a backtrack, sew off a 1/4"
seam at the underarm. At the cuff/sleeve seam,
fold the seam toward the sleeve Figure.
Note: When stitching the underarm seam, begin at the

point of difficulty-the wrist on this application.
6. Serge the underarm seam.
7. Invert the sleeve.
Optional Samples
1. Repeat the sample and edge stitch through all layers just above the seam line.
Compare the samples.
2. Repeat the sample using a fabric cuff. Cut a muslin rectangle for the cuff 2 1/2" X
9".
3. Repeat the application for better garments "in the round." First stitch and finish the
underarm seams of the sleeve and cuff separately. Fold the cuff wrong side to
wrong side; then set the cuff to the sleeve.
Lesson 12
Lecture: two
Application: One Part, Open Band Cuff

The basic open-band cuff used on ladies and children's garments has only one part with a fold at
the wrist edge It is the easiest and least-expensive open
band to sew. To make it easier to set, this cuff is generally
cut so the lengthwise grain encircles the wrist, but it can be
cut on the cross grain or bias. The cuff can be as narrow as
3/4" or as wide as 3 1/4". It is used with a placket and can
open at the underarm seam or on the back of the sleeve.
Generally both ends are finished flush”, with the garment,
but either end can be finished with an extension to create an
underlap or overlap. The cuff is generally interlined with
fusible or nonfusible interlining, but narrow cuffs are
sometimes stiffened with elastic. Compared to the two-part
cuff, the one-piece cuff is flatter, requires no special
equipment, and has minimal labor costs. It is, however, less
fabric efficient.
Directions
For this application, the cuff is set in-the-round after the sleeve seam is sewn. The sleeve is shirred
at the wrist edge. The seam width is 1/4" at the ends of the cuff. All other seam widths are 1/2".
1. Use Patterns 39 (sleeve) and 42 (cuff/facing) to cut and mark one sleeve and one cuff. Cut one
muslin binding 1 1/4" X 24". Cut one interlining rectangle (1 5/8" X 6 3/8") from a lightweight
fusible.
2. Wrong side up, place the interlining on the
long unnotched edge of the cuff, using the
notches at the fold line as a guide for place-
ment. Fuse it in place and set the cuff aside
1 5/8th in.
Note: After the cuff is set, the interlined

section will be toward the face side of the
garment.
2. Finish the placket with a bound placket.
3. Face to face, fold the sleeve lengthwise. Sew off a 1/2" seam. Serge the edges together and
Invert the sleeve.
4. Use glace thread to shirr the sleeve. At the placket, fold the binding to the wrong side.
With the sleeve face side out, place two rows of shirring at the wrist edge so you can stitch on
the facing side of the cuff inside the loop. At the placket, fold the binding to the wrong side.
5. Pull up the bobbin threads.
6. Turn the sleeve wrong side out so you can stitch inside the loop. Face sides up, place the
sleeve on the cuff facing-the section without interlining-so that
the cuff extends 3/16" beyond the sleeve placket. Release the
gathers for 1/4" at the beginning end. Backtrack, beginning about
3/16" from the end of the sleeve. Align the edges and sew off a
1/2" seam, stopping at the notch.
Note: Do not try to match the entire sleeve at the outset or to

position the sleeve at the other end of the cuff facing.
7. Arrange the shirring for the rest of the seam. Allow the cuff
facing to extend 3/16" beyond the sleeve at the end and stop
stitching 1/4" from the sleeve placket.
8. Face to face, fold the cuff at the notches. Hold the sleeve out of the way, and stitch the end of
the cuff with a 1/4" seam. Repeat to stitch the other end
9. Invert the seam and straighten the ends. Do not trim

the corners. Examine the cuff. (See the section
inverting an Enclosed Seam with an Outward Corner
in Chapter 6 on page 94.)
10. With the sleeve wrong side out, turn the raw edge
of the cuff under 1/2" and align the folded edge with
the seam. Machine-fell the cuff to the sleeve, spot
tacking at the ends (see Figure 16.16).
Note: When banding you can stitch with the bulk toward the right or left. Where banding with
the bulk toward the right you can use the nippers as an aid when turning in or straightening the
seam allowance.
Optional Samples
1.Repeat the sample and band the cuff with the bulk toward the right.
2. Repeat the sample and edge stitch around the cuff.
3. Repeat the sample and topstitch around the cuff 1/4" from the edge.
4. Repeat the sample with edge stitching and top stitching around the cuff.
5. Repeat the sample with a busted, clean-finished seam at the underarm, as in garments
created
by Bill Blass.
6. Repeat the sample with a French seam at the underarm, as in garments created by
Valentino.
7. Repeat the sample with a quick flat fell seam at the underarm, as in garments created by
Chanel and Yves Saint Laurent.
8. Repeat the sample with a tailored placket. Release the shirring for 1" on each side of the
Placket before setting the cuff.
9. Repeat all or part of the samples using a variety of materials such as lightweight polyester,
silk blouse fabric, broadcloth, taffeta, and cotton shirting.
Lesson 13
Lecture: One
Sleeves
Objective
After Completing this chapter, you will be able to:
• Identify and describe the parts of a sleeve.

• Select an appropriate method for setting sleeves.
• Identify different types of sleeves.
• Complete an application for setting a gusset on a kimono sleeves.
Evaluation Guidelines for Sleeves
1. Sleeve type should be appropriate for the fabric, garment design, care, and end
use.
2. The placket construction and sleeve application are appropriate for the fabric,
garment design, quality, care and end use.
3. The sleeve assumes its intended position on the garment.
4. The sleeve is cut on the indicated grain.
5. The sleeves appear identical in size, shape and placement.
6. The sleeves are equidistant from the garment center.
7. The seam joining the sleeve and bodice is smooth and flat without pulling or
puckering.
8. Any ease or gathers are evenly distributed, without puckers or pleats.
9. The seam line appears to be a straight, smooth line.
10. Any topstitching is appropriate for design and fabric. Stitches are an even distance
from the edge, even in length, and the tension is balanced.
11. The sleeves match the fabric grain and nap of bodice.
12. The sleeves match the fabric pattern on better garments. On budget and moderate-
priced garments. The sleeves are parried to match or mirror each other but do not
match the garment.
13. The seam and hem allowances are flat and inconspicuous.
14. Any seemliness at edges is concealed or inconspicuous.
15. Any tucks on the sleeve cap are uniform in size and evenly spaced.
16. Any darts are tapered to a fine point.
17. Sleeve cuffs, hems, and plackets are appropriate for the design and quality.
18. Any linings are long enough to hang inside the sleeve without distorting the hem
or showing
19. All threads are trimmed.
On kimono sleeves, the seam joining the bodice and the gusset is smooth and flat,
without puckers or pleats. The underarm is reinforced to reduce tearing when
stressed.
Sleeve Terminology
• Back notch(es): Two notches spaced ½” apart on back of sleeve saline to mark
points.
• Biceps line: Cross grain at bottom of cap.
• Cap ease: Fullness in cap between front and back notches that is eased to garment.
• Cap height: Distance midway between biceps line and shoulder point.
• Cap line: Cross grain midway between the biceps line and shoulder point.
• Cap seam line: Seam line that outlines the top of the cap.
• Elbow dart: Dart at elbow to allow ease for movement.
• Elbow line: Cross grain at the elbow.
• Front notch: One notch on front of sleeve seam line to mark match point
• Grain line: Lengthwise grain of the material. It generally extends from shoulder
point to the back of the wrist.
• Shoulder point: The highest point on the sleeve cap; generally located at the center
of the sleeve.
• Sleeve cap: Part of sleeve above the biceps line.
• Sleeve center: Center of the sleeve.
• Underarm seam line: Seam line at the underarm that joins the front of sleeve to the
back.
• Wrist line: Lower edge of sleeve at the wrist.
Lesson 13
Lecture: Two
Introduction
There are three basic sleeve types: set-in, kimono and raglan. The set-in sleeve has a
rounded head which must be eased to fit smoothly into the armhole; the kimono
sleeve extends without seams from the front and back of the garment and may have
rounded shoulder shaping and soft drapes under the arms; and the raglan has a
slanted seam in the front and back with either a shaped shoulder seam or a dart at
the shoulder. It is imperative to align all notches carefully in order to maintain a
professional finish.
Set-in sleeve
The flat method of inserting a sleeve is by far

the simplest. Using this technique, decorative
topstitching and French seams can be applied
with ease. It is also ideal for men's shirts and
children's wear. Depending on the curve of the
sleeve, the head needs to be manipulated
carefully when it is eased into an armhole to
avoid any puckers. This is aggravated when the
sleeve and the armhole have been closed prior to
being attached. The two-piece sleeve of a jacket,
however, needs to be inserted into the closed
armhole and very often requires adjusting
according to the shape of the shoulder.
1 Join the shoulder seams of the garment, finish the edges and press the seams open.
For a closed seam, press the seam towards the back.
2If required, ease stitch the sleeve head between the notches and draw up the threads so
that the notches fit those of the armhole. (This will also apply to a gathered crown.)
Secure the ends and steam-press along the head to shrink out as much of the puckering as
possible.
3With the right sides facing, match and pin the sleeve to the armhole, aligning the
notches. Stitch with the sleeve side up.
4 Trim the shoulder cross-seam allowances diagonally. If topstitching or any other

decorative stitching is required around the armhole, over lock the seam edges or apply
another appropriate finish. Press these seam allowances towards the garment and with
right side up, stitch accordingly. If no topstitching is required, trim the seam to 6 mm
(1/4 in) and finish the edges. Press the seams towards the sleeve.
5 With the right sides facing, match and pin the underarm seams. Stitch one continuous
seam from the hem of the garment to the hem of the sleeve. Diagonally trim the cross-
seam allowances, then trim the seam allowances to 6 mm (Y4 in) and finish the edges.
When over locking, it is unnecessary to trim the seams prior to stitching.
All over lockers have built-in blades that trim and stitch simultaneously
Kimono sleeve
Introduction
The kimono sleeve is cut as an extension of the bodice and, depending on the degree of
the sleeve's shoulder slope and underarm curve, may be either loose or close fitting. Due
to stress on the underarm, it is necessary to reinforce that section of the underarm with
cotton tape. For added ease and comfort, a gusset may be inserted at the underarm.
1 Stitch the shoulder seams, finish the edges and press open, or towards the back if closed. With right
sides facing, match and pin the front to the back. Center and pin a 10 cm (4 in) piece of tape to the seam
line at the curve of the underarm.
2 Stitch from the hem of the garment to the hem of the sleeve, attaching the tape, as
pinned. Clip the seam allowances along the curve, taking care not to cut the tape. Trim
and finish the seams and press open. Closed seams must face towards the back.
3 Alternatively, attach the tape after the seam is stitched and pressed open. First clip the
seams and then attach the tape. This method is suitable for heavier fabrics, as it is less
bulky.
Lesson 13
Lecture: Three
Raglan Sleeve
This sleeve is popular because of

its comfortable fit and simple
construction. It may be cut on the
straight or bias grain and may be
one-piece, with a shoulder dart, or
two-piece, with a shaped shoulder.
1 With right sides facing, match,

pin and stitch the shoulder dart (for
the one-piece) or the shoulder seam
(for the two-piece). Press the seams
flat. Clip, trim and finish the edges,
and press the seams open, or towards
the back if closed.
2 With right sides facing, match, pin and stitch the front armhole to the front sleeve.
Repeat at the back. Trim and finish the edges and press the seams open, from the neck to
the notches, or towards the sleeve if closed. If topstitching is required, press the seam
towards the garment.
3 With right sides facing, match and pin the

underarm seams. Stitch from the hem of the
garment to the hem of the sleeve. Trim the cross
seams diagonally and trim and finish the seams.
Press the seams open, or towards the back if
closed.
Gussets
A gusset is a diamond-shaped piece of fabric

that is inserted into an opening at the
underarm of a kimono sleeve. It provides ease
and flexibility and allows a closer fit to the
body.
The two-piece gusset is easier to insert.
Each half can be attached to the corresponding
half of the sleeve prior to joining the
underarm seams. Because it receives the
maximum amount of strain, the gusset should
always be cut on the bias.
Half the gusset can be seen on this sleeve.
1Cut a 5 cm (2 in) square of fabric or lining

on the bias to reinforce the point of the slashed opening. On the right side of the garment,
center the patch over the slash point, pin and tack in position.
2 Stay stitch close to the stitching line. Stitch from the underarm to the point, pivot,
take one stitch across, pivot again and stitch down the other side.
3 Press the area flat and then slash through the center of the opening, cutting through
the patch as well. Turn to the wrong side and press lightly.
4 With right sides together, pin and stitch the garment and sleeve seams respectively.
Trim and finish the edges and press the seams open.
5 Position the gusset over the slashed opening, aligning the corresponding notches.
Pin and stitch. At each corner, pivot, take one stitch across the point, pivot again and
continue to the next corner.
6 Press seams towards garment, trim and finish the edges. For extra strength, the
gusset may be edge stitched close to the seam line on the outside.
Sleeve finishes
The finish applied to the sleeve hem

requires careful attention. There are
various methods applicable, The
sleeve may be hemmed or faced; it
may have an elastic casing or a ribbed
cuff as on a sweatshirt; or it may be
finished off with a shirt cuff. Be sure that the finish you select is compatible with
garment.
Elastic casing
This finish is suitable on most fabrics and is very practical for children's wear, blouses
and sportswear. A casing is created at the hem through which elastic is threaded. The
sleeve is cut longer to allow a gathered flounce to fall slightly over the casing.
1 Allow enough casing width below hemline to equal the width of the elastic plus 1 cm
(3/8 in). Turn 3 mm (1/8 in) to the wrong side at the edge and press. Turn casing towards
the inside along marked hemline and pin in position. Stitch, as illustrated, leaving a small
opening through which to thread the elastic. Stitch another row close to the folded edge.
2Measure elastic snugly around wrist and add 1 cm ( 3/8 in) for the overlap. Cut and,
using a bodkin or safety pin, thread elastic through casing. Be sure not to twist the elastic.
Overlap the ends and stitch, as illustrated. Edge stitches the opening.
Ribbed cuff
These knitted bands are a popular choice to
finish the sleeves of sweatshirts, T-shirts,
pajamas and children's wear. They are most
suitable on knitted fabrics that stretch and on
loose-fitting sleeves where woven fabric has
been used.
1 Establish the width of the finished cuff

and cut twice the width plus 12 mm (1/2 in)
for seams. Measure the length snugly around
the wrist and add 12 mm (1/2 in) for seams.
2 With right sides facing and raw edges together, fold cuff in half widthwise and stitch
the seam.
3 With wrong sides facing, fold the cuff in half lengthwise

and divide into four equal parts. Mark with pins. Divide the
sleeve into four equal parts at the hem and pin.
4 With the right sides together, pin the cuff to the

sleeve, matching the seams and aligning the pins. With
the cuff side up, stitch the cuff to the sleeve, stretching
the cuff to lie flat against the edge of the sleeve
5 Overlock the edges and then press the seam towards

the sleeve.
Lesson 13
Lecture: Four
Shirt Cuff
Most shirt cuffs are cut in one piece and require

interfacing to maintain a crisp look. The entire
cuff may be fused, providing the weight of the
interfacing is compatible with that of the fabric.
In many ways, sewing cuffs is similar to sewing
collars.
Wide cuff with decorative buttons
Turned back cuff fastened with cuff links
1 Select the appropriate interfacing and

fuse the cuffs. Press the seam allowance of
the cuff up towards the fold line.
2With right sides facing, fold the cuff in

half lengthwise and stitch the ends. Press the
seam flat. Trim the seam allowances,
tapering the corners. Turn to the right side and pull out the corners. Roll the facing edges
slightly under and press.
3 Stay stitch any tucks required at the sleeve hem; J or ease stitch and draw up the
necessary fullness, if required. Select the appropriate placket and finish the slit edge.
4 Pin the right side of the cuff facing to the wrong side of the sleeve, keeping the cuff
ends flush with the under lap and overlap edges of the placket. Be sure to draw up any
remaining excess to the sleeve. Distribute any gathers evenly.
5 Stitch, securing the threads at each end. Press the seam flat, trim the cross-seam
allowances and then grade the seams so that the widest seam is next to the cuff.
6 Pull the cuff down and press the seam allowances towards the cuff. Align the folded
edge of the cuff just over the stitching line on the right side of the sleeve. Pin in position
and edge stitch. Continue this edge stitching around the entire cuff, if desired. Secure the
threads and press.
7 If a plain lapped cuff is required without topstitching, attach the cuff to the outside of
the sleeve, with the right sides facing. Turn to the inside and slipstitch the cuff facing.
.
Lesson 14
Lecture: one
Waistbands
Introduction
Waistband is very important part of the garment, because a waistband supports the
entire garment, it must be a strong and sturdy outer edge finish. A basic waistband for
skirts and pants is cut on the lengthwise grain of the fabric where there is the least
amount of stretch. The waistband is stabilized with interfacing, doubled and sewn to the
waistline edge, enclosing the seam allowance.
Most waistbands call for a turned-under edge as a finish on the inside. A faster,
less bulky method required changing the pattern layout so the waistband pattern is cut
with one long edge on the selvage. Because the selvage does not ravel, a turned-under
edge is not necessary. This method can be stitched entirely by machine. To further
eliminate bulk, face waistbands of heavy fabrics with a lightweight fabric or grosgrain
ribbon.
Cut a waistband long enough for adequate ease and overlap allowance. The
length should equal your waist measurement plus 2 ¾" (7 cm). The extra amount
includes ½" (1.3 cm) for ease, 1 ¼" (3.2 cm) for seam allowances, and 1" (2.5 cm) for
overlap. The width should be twice the desired finished width plus 1 ¼" (3.2 cm) for
seam allowances.
How to Sew a Waistband (selvage method)
1) Cut waistband on the lengthwise grain, placing the cutting line of one long edge
on the selvage.
2) Cut length of purchased fusible waistband interfacing according to pattern,
cutting off ends at stitching line so interfacing does not extend into seam
allowances.
3) Fuse interfacing to waistband with wider side of interfacing toward selvage
edge. Interfacing should be placed so there is a 5/8" (1.5 cm) seam allowance on
the notched edge (seam allowance on selvage edge will be narrower).
4) Pin right side of notched edge of waistband to right side of garment, matching
notches. Stitch a 5/8" (1.5 cm) seam.
5) Turn waistband up. Press seam allowance toward waistband.
6) Grade the seam allowances to ¼" (6 mm) on the waistband and 1/8" (3 mm) on
the garment to eliminate bulk.
7) Fold waistband on interfacing center fold line so waistband is wrong on each end.
Trim seam allowances to ¼" (6 mm). Diagonally trim corner.
8) Turn waistband right side out. (1) On under lap side, diagonally clip from selvage
edge to corner (arrow). (2) Tuck seam allowance, from edge of underlay to end
of clip, up into waistband. Fold clipped corner under at an angle.
9) Pin selvage edge of waistband in place. From right side of garment, stitch in the
ditch of waistline seam or topstitch ¼" (6 mm) above the seam, catching selvage
edge in stitching. Edge stitch lower edge of underlay (arrow) when using stitch-
in-ditch method.
Lesson 15
Lecture: One
Zippers
Down the back, up the front, on sleeves, pockets or pants legs - zippers provide closings on a variety
of fashion features. Conventional zippers are most often used. They are closed at one end and sewn
into a seam. Invisible, separating, and heavy-duty zippers are available for special uses.
The pattern specifies the type and length zipper to buy. When selecting a zipper, choose a color that
closely matches your fabric. Also consider the weight of the zipper in relation to the weight of the
fabric. Choose synthetic coil zippers for lightweight fabrics, because these zippers. If you cannot
find a zipper of the correct length, buy one that is slightly longer than you need and shorten it using
the directions on the opposite page.
There are several ways to insert a zipper. The one you choose depends on the type of garment and
the location of the zipper in the garment. The following pages contain instructions for the lapped,
centered and fly-front applications for conventional zippers, and two methods for inserting
separating zippers. There are variations of each of these applications. Methods shown here are quick
and easy, featuring timesaving tools such as fabric glue stick and transparent tape.
Close the zipper and press out the creases before inserting it in the garment. If the zipper has a cotton
tape and will be applied in a washable garment, preshrink it in hot water before application. This will
prevent the zipper from puckering when the garment is laundered. For best appearance, the final
stitching and an even distance from the seam line. Stitch both sides of the zipper from bottom to top,
and turn the pull tab up to make it easier to stitch past the slider.
Separating zippers in jackets and vests can be inserted with zipper teeth covered or exposed. A
decorative sport zipper with plastic teeth is lightweight yet sturdy, for active sportswear.
Parts of the Zipper

Top stop is the small metal bracket at the top that prevents the slider from running off the tape.
Slider and pull tab is the mechanism that operates the zipper. It locks the teeth together to close the
zipper and unlocked the teeth to open the zipper.
Tape is the fabric strip on which the teeth or coil are fastened. The tape is sewn to the garment.
Teeth or coil is the part of the zipper that locks together when the slider runs along it. It may be
made of nylon, polyester or metal.
Bottom stop is the bracket at the bottom of the zipper where the slider rests when the zipper is open.
Separating zipper have a bottom stop which splits into tow parts to allow the zipper to be completely
opened.
Applications for Conventional Zippers
• Lapped application totally conceals the zipper, making it a good choice for zippers, which do
not perfectly match the fabric color. It is most often used in side seam closing of dresses,
skirts and pants.
• Centered application is most frequently used for center front and center back closings. Attach
facings before inserting the zipper. Waistbands should be applied after the zipper is inserted.
• Fly-front zipper is often found on pants and skirts, and occasionally on coats and jackets.
Use the fly-front application only when the pattern calls for it, because it requires the wider
under lap and facing included in the pattern.
How to Shorten a Zipper
1) Measure desired length along the coil, beginning at top stop. Mark with pin.
2) Machine zigzag across the coil at pin to form new bottom stop.
3) Cut off excess zipper and tape. Insert zipper as usual, stitching slowly across coil at bottom.
7) Close zipper and turn face up. Smooth fabric away from zipper, forming narrow fold between
zipper coil and basted seam.
8) Adjust zipper foot to left side of needle. Starting at bottom of zipper tape, stitch near edge of
fold, through folded seam allowance and zipper tape.
9) Turn zipper over so face side is flat against seam. Make sure pull tab is turned up to lesson
bulk while stitching. Pin in place.
10) Adjust zipper foot to right side of needle. Starting at top of zipper, machine-baste through
tape and seem allowance only. This holds seam allowance in place for the final stitching.
11) Topstitch ½" (1.3 cm) from seam on outside or garment. To aid straight stitching, use ½"
(1.3" cm) transparent tape and stitch along edge. Starting at seam line, stitch across bottom of
zipper, pivot at edge of tape and continue to top cut edge.
12) Remove tape. Pull thread at bottom of zipper to wrong side and knot. Remove machine
basting in seam. Press, using a press cloth to protect fabric from shine. Trim zipper tape even
with top edge of garment.
How to Insert a Centered Zipper (using glue stick)
1) turn garment to the wrong side. Check seam opening to make sure top edges are even. Length
of opening should be equal to length of zipper coil plus 1” (2.5cm)
2) Pin seam from bottom of opening to top of garment.
3) Machine-baste on seam line from bottom of opening to top of garment. Clip basting stitches
every 2” (5 cm) to make basting easier to remove.
4) Press seam open. Finish raw edges if fabric ravels easily.
5) Apply glue stick (page 20) lightly on face side of zipper.
6) Place zipper face down on seam, with zipper coil directly on

seam line and top stop 1" (2.5 cm) below cut edge (keep pull
tab up). Press with fingers to secure zipper. Let glue dry for a
few minutes.
7) Spread garment flat, right side up. Mark bottom stop of zipper with pin. Use transparent or
perforated marking tape, ½" (1.3 cm) wide and same length as zipper. Place down center of
seam line. Do not use tape on napped or delicate fabrics.
8) Replace presser foot with zipper foot and adjust to left of needle. Topstitch zipper from right
side, beginning at seam at bottom of tape. Stitch across bottom of zipper' pivot at edge of
tape. Stitch up left side of zipper to top cut edge, using edge of tape as a guide.
9) Adjust the zipper foot to right side of needle. Begin at seam at bottom of tape and stitch
across bottom. Pivot and stitch up right side of zipper, using edge of tape as a guide.
2) Fold right-hand fly facing (top edge facing you) under ¼" to ½" (6 mm to 1.3 cm) from
center front. Place folded edge along coil with top stop 1" (2.5 cm) below top edge. Pin
or baste in place.
3) Replace presser foot with zipper foot and adjust to left of needle. Stitch close to the fold,
starting at bottom of zipper.
4) Turn zipper face down over left fly facing. Turn pull tab up and bulk of garment out of
the way. Adjust zipper foot to right of needle. Starting at top of zipper, stitch through tape
and fly facing, ¼" (6 mm) from zipper coil.
5) Spread garment flat, wrong side up. Pin left fly extension to garment front. Turn garment
to right side and repin fly facing. Remove pins form inside.
6) Stitch on right side along marked topstitching line, with zipper foot to right of needle.
Begin at seam at bottom of zipper and stitch to top of garment, removing pins as you
come to them. Pull threads to inside and knot. Remove basting and marking. Press using
a press cloth.
How to Insert a Covered Separating Zipper
1) Use basting tape, pins or glue to hold closed zipper, face up, under faced opening edges.
Position pull tab 1/8" (3 mm) below neck seam line. Edges of the opening should meet at
center of zipper, covering the teeth.
2) Open zipper. Turn ends of zipper tape under at top of garment. Pin in place.
3) Topstitch 3/8" (1 cm) from each opening edge, sewing through fabric and zipper tape.
Stitch form bottom to top on each side, adjusting zipper foot to correct side.
How to Insert an exposed Separating Zipper
1) Pin faced opening edges to closed zipper so that edges are close to but not covering zipper
teeth, with pull tab 1/8" (3 mm) below neck seam line.
2) Baste zipper in place with tape ends extending above neck seam line. Turn ends of zipper
tape under at top of garment if facing is already attached. Open zipper.
3) Topstitch close to opening edges on right side of garment, using zipper foot and stitching
form bottom to top on each side. To hold zipper tape flat, add another line of stitching ¼" (6
mm) from first stitching line on each side.
Lesson 16
Lecture: One
Layout, Cutting & Marking
Introduction
To cut a sample garment, the pattern components have to the economically arranged
according to their grain lines and the pile direction of the fabric, which is to the cut. The
regular form of this arrangement is a rectangle with the short side equivalent to the net
width of the fabric and the long side the length required to contain the pattern
components. The drawing of this arrangement is a cutting marker or lay plan and it is
marker maker’s responsibility to lay the production patterns on marking paper so that
there is little waste of fabric.
Cost is very important; therefore manufacturers require economical lays. A 'lay' (or
marker) is the plan of the pattern pieces as they are placed on the fabric. Fabrics, which
have to be cut in one direction, are usually very uneconomical, fabrics which allow the
pieces to be laid in both directions will reduce fabric costs. A beginner should not attempt
the practice of saving fabric by laying pattern pieces across the fabric or ‘off the grain’ as
this practice can ruin a garment.
When a designer submits a sample, a cost lay plan is made, usually of two garments, so
that an accurate costing can be made. This may be done in varying widths of fabric.
If more than one fabric is used in a garment, more than cine lay plan will be made.
The collection of pattern pieces required for each lay is known as a 'model'. Lay planning
and marker making by computer is increasing rapidly as the cost of systems is reducing.
This method increases efficiency, which is the percentage area of fabric used by the
pattern. Most manufacturers aim for 80% utilization of the fabric.
Four major factors which influence lay planning are:
1. PATTERN: The pattern is the primary link between design and production
and so must communicate accurately with all the functions that have to use the
pattern. These functions are pattern grading, marker making and sewing and
the pattern has to clearly and precisely convey the information necessary to
perform each of these operations. This information is conveyed by numbers,
marks, nips and notches, etc, and not by written instructions. New sample
patterns always require some explanation, but there should be necessity for
verbal or written working instructions when it comes to production. The
pattern should tell the complete story to all concerned.
2. GRAIN LINES: This refer to the positioning of pattern components in
relation to the true length of the fabric. For woven materials this line is the
warp threads and for knitted fabrics it is the wales.
A garment will hang in a direct relationship to the grain directions of the body
components. If the grain lines are incorrect, the finished garment will have a
distorted appearance, which cannot be rectified. This also applied to sleeves
which are sewn to the body, such as inset, raglan and dolman. In many
instances wavy hemlines are also a direct result of off-grain components.
Therefore it is essential that each pattern component is marked with a grain
line on both sides for its complete length. The grain line is often used as a
datum line when digitizing patterns for computerized grading.
As a general guide, the grain lines for main components are:
• Fronts Parallel to the center front.

• Backs Parallel to the center back.
• Sleeves On or parallel to the true centerline.
• Lapel facings The grain line runs parallel to the edge of the lapel
Section. If this positioning produces an acute bias angle on the lower part of the
facing, it is sometimes permitted to make a join across the facing between the top and
second buttonhole
• Patch pockets Relative to their position on the front; the grain line is
Parallel to that of the front.
• Inset pockets For piped, welted and similar types of inset pockets,
the grain line funs along the length of the pocket piece or pieces.
• Top collars On the center back line of the collar.
• Under collars These can be omni directional because the grain line of the fusible
used for this component is the controlling grain line. It serves no practical purpose to
insist that under collars are cut on the true bias whilst top collars are cut according to
the straight grain.
• Other parts Generally, the grain lines can be derived from the grain line of the
component on which the part is located.
Some typical examples of grain line markings are shown in Fig.
There are firm principles involved in

the determination of grain lines,
sometimes design features and
practical considerations have to be
given preference, especially with
checked fabrics. For example,
matching a patch pocket on a check
material demands a considerable
amount of work in cutting and sewing.
The designer could consider cutting
the pocket on the true bias which would greatly reduce the difficulties of this operation. It
is sometimes necessary to make practical compromises and the designer has to be
prepared to weigh up the pros and cons of alternative courses of action. A little common
sense goes a long way, especially when labour costs are concerned.
3. PILE DIRECTION
This describes the lay (direction), length and density of the protruding fibers
on the surface of the right side of the cloth. The question regarding pile is to
what extent it influences the positioning of pattern components on the cloth
whilst observing the grain line markings. All fabrics have a pile factor and for
practical purposes they can be grouped under three headings: " .
(1) One-way, On these fabrics there is a prominent pile which lays in one direction only.
Typical examples of this type of cloth are corduroy, velvet and mohair. Due to the very
definite pile lay, the components of all the sizes in a cutting marker must be positioned in
one direction only.
(2) Two-way, This type of cloth is
one of the most widely used in the
clothing industry because the pile
factor allows for higher utilization
than with one-way fabrics. Whilst
these cloths do have a pile factor it is
minimal, and this permits the
positioning of components for each
size in opposite directions. This
method of positioning patterns in
cutting marker is often referred to as 'one-up, one-down'. Fig. Shows two markers
planned according to different pile conditions.
(3) No-Pile, although this heading is a misnomer, it refers to materials which have a
virtually negligible pile factor. This enables components for one size to be positioned in
opposite directions. Fabrics for blouses, shirts and underwear are examples of this widely
used group.
Preparing the pattern
To ensure the correct positioning of

the garment pattern within the
cutting marker, every component bas
to be marked on both sides with
direction indicators. Under most
circumstances these indicators can
be marked on the grain line and Fig.
shows the application of this method
for the alternative positioning
procedures. It is worth bearing in mind that garment patterns are not always used for one
fabric exclusively, so every new fabric which is to be cut from a previously used
production pattern must be checked for its pile factor and the pattern markings changed if
necessary.
(4)
FABRIC PATTERN
This refers to the form of the pattern on the right side of the cloth, and
has three aspects:
(1) One-way This is where the pattern form dictates that the garment patterns for
every size in the cutting marker must be positioned in one direction only. For
example, if the motif on a printed fabric is an upright human figure then it is
preferable that the figures stand on their feet and not on their heads.
(2) Two-way This type of pattern form has a definite direction but it is not
sufficiently dominant to warrant one-way only positioning. In most cases the pattern
components for each size can be positioned one-up, one down, but this decision has to be
carefully evaluated. Consider the situation in a retail shop where two garments of the
same style and fabric, but cut in opposite directions, are hanging side by side on a display
rail. Would the difference in cloth pattern direction be easily noticeable or would it be
sufficiently 'blurred' to be of little. There are no rules for this subject; that a large element
of objective judgment is called for.
(3) Non-directional) this type of pattern form

has no definite directions and, subject to the
pile factor, pattern components for one size
can be positioned in either length direction.
Patterned fabrics also include checks and
stripes
Lesson 16
Lecture: Two
Layouts of Pattern on Cloth

A layout is the way in which all the pieces of a pattern are placed on the material ready
for cutting. Commercial patterns include diagrams of layouts. A layout should be
economical of material and have all the pattern pieces placed correctly on the straight
grain.
Suggestion to prepare own layout: -
1. Place large pattern pieces at one end of the cloth or they should be placed at both ends.
2. Place the widest part of the pattern piece to the cut end.
3. Fit the wide end of one piece beside the narrow end of another.
4. Fit small pieces between large pieces.
5. If a narrow piece is to be cut on the fold, fold the piece of material just wide enough to
take the pattern.
Once you have chosen the pattern and fabric and assembled the proper equipment, you're
ready to start creating your garment. Before you cut, make sure the fabric is properly
prepared and the pattern correctly laid out. Much of fabric preparation and layout has to
do with the fabric grain. Grain is the direction in which the fabric threads run.
Woven fabrics consist of lengthwise threads intersecting crosswise threads. When these
threads I cross one another at perfect right angles, the fabric isun-grain. If the intersection
of lengthwise and crosswise threads does not form right angles, the fabric is off-grain. It
is essential that your fabric be on-grain before cutting. If fabric is cut off-grain, the
garment will never hang or fit correctly.
The direction of the lengthwise threads is called the lengthwise grain. This grain line runs
parallel to the selvage, a narrow, tightly-woven border which runs along both lengthwise
sides of the fabric. Because lengthwise threads are stronger and more stable than
crosswise threads, most garments are cut so the lengthwise grain runs vertically. The
crosswise thread font the crosswise grain, which runs at right angles to the selvage. In
most fabrics, it has a slight amount of give. Fabrics with border prints are often cut on the
crosswise grain so the border will run horizontally across the garment.
Any diagonal line intersecting the lengthwise and crosswise grains is called a bias. Fabric
cut on the bias has more stretch than fabric cut on the grain line. A true bias is formed
when the diagonal line is at a 45-degree angle to any straight edge. This angle provides
the most stretch. Strips cut on the true bias are often used to finish-curved edges such as
necklines and armholes. Plaids and stripes can be cut on the bias for an interesting effect.
Garments cut on the true bias usually drape softy.
Knit fabrics are formed by interlocking loops of yarn called ribs. The ribs run parallel to
the lengthwise sides of the fabric. Their direction can be compared to the lengthwise
grain of woven fabrics. The rows of loops at right angles to the ribs are called courses
and are comparable to the woven crosswise grain. Knits have no bias and no selvage.
Some flat knits have perforated lengthwise edges that look something like a selvage, but
these cannot be relied on to establish true lengthwise grain. Knits have the most stretch in
the crosswise direction, and are cut with the crosswise grain running horizontally around
the body for maximum comfort.
Handling Special Fabrics
Certain fabrics, because of their design or fabrication, need special attention during
layout and construction. Some easy-to-sew fabrics fall into this category. The
Special handling required is usually not difficult. Often you need only add one more step,
such as a seam finish, or exercise .a little more care.
1) Napped and pile fabrics like velvet, velveteen, velour, flannel and corduroy require
special care in cutting out. These fabrics appear light and shiny when brushed in one
lengthwise direction, and dark when brushed in the other direction. To prevent your
garment from having a two-toned look, you must follow the "with nap" layouts on the
pattern instruction sheet. Decide which way you want the nap to lie, and cut all pattern
pieces with the top edges facing the same direction.
Although satin and moire taffeta are not napped fabrics, their shiny surfaces reflect light
differently in each lengthwise direction. Decide which effect you prefer, and use a one-
way layout.
2) Sheer fabrics look best with special seams and seam finishes. Unfinished seam
allowances detract from the fragile, see-through look of voile, batiste, eyelet or chiffon.
French seams are a classic choice, but other seam finishes can also be used.
3) Twill weaves fabrics like denim and gabardine have diagonal ridges. If these ridges
are very noticeable, use a "with nap" layout for cutting, and avoid patterns that are not
suitable for obvious diagonals. Denim ravels easily and requires enclosed seams.
4) Plaids and stripes require special care in layout and cutting (pages 46 to 49). To
match plaids and large stripes at seams, you need to buy extra fabric. Buy V4 to V2 yard
(0.25 to 0.5 m) more than the pattern calls for, depending on the size of the design.
5) Knits must be handled gently during construction to keep them from stretching out of
shape. Special stitches and seam finishes are needed to maintain. The right amount of
stretch.
6) One-way design fabrics, such as some flower and paisley prints, require a "with nap"
cutting layout so the design does not go up one side of the garment and down the other.
Border prints are cut on the crosswise rather than lengthwise grain of the fabric. They
usually require more yardages. Select patterns, which show a border, print view and
specify the correct yardage.
(7) Woven fabrics have lengthwise (1) and crosswise (2) threads. The lengthwise threads
are stronger, since they must withstand greater tension during weaving. Bias (3) is any
diagonal direction. True bias (4) is a 45-degree angle. It has the most stretch.
(8) Knit fabrics have lengthwise (1) ribs parallel to the length of the fabric. Crosswise
courses (2) run at right angles to the ribs. Some knits are flat. Others are made in a
tubular shape; these can be cut open along a lengthwise rib if a single thickness is needed
for layout.
Laying Out the Pattern
Get ready to layout the pattern by preparing a large work area such as a table topped with
a cutting board, or other large flat surface. Assemble all the pattern pieces for the view
you are making and press them with a warm, dry iron to remove wrinkles.
Locate the correct layout diagram on the pattern direction sheet. Pattern layouts are
reliable guides for laying out the pattern quickly and efficiently. Find the layout for the
view, fabric width and pattern size you are using. When working with a napped or other
directional fabric (page 49), choose a "with nap" layout. Circle the layout with a colored
pen to make sure you refer to the correct layout each time.
Fold the fabric as indicated on the layout. Most fabrics are cut with the right side foided
in. This makes it easier to mark and faster to stitch, since some pieces will be in position
to sew. Cottons and linens are usually folded right side out on the bolt; wools, wrong side
out. The right side of the fabric may appear shinier or flatter, or have a more pronounced
weave. Selvages look more finished on the right side. If you cannot tell which is the right
side, simply pick the side you like best and consistently use that as the right side. A slight
difference in shading that is not apparent, as you cut may be noticeable in the finished
garment if two different sides are used.
How to Pin Pattern Pieces in Place

1) Position pattern pieces to be cut on
the fold first. Place each directly on
folded edge of fabric. Pin corners of
pattern diagonally. Continue pinning
in the seam allowance, placing pins
parallel to the cutting line. Space pins
about 3" (7.5 cm) apart, closer
together on curves or on slippery
fabrics.
The layout diagram indicates the

placement of the selvages and fold.
Most garments are cut with the fabric
folded along the lengthwise grain. If
the fabric is to be cut folded on the
crosswise grain, the fold is labeled
"crosswise fold" on the layout. The- crosswise fold should not be used on napped or other
directional fabrics.
Place the pattern pieces on the fabric as indicated in the layout_ The symbols and
markings used in layout diagrams are standardized for all major pattern companies. A
white pattern piece indicates that this piece is to be cut with the printing facing up. A
shaded piece should be cut with the printing facing down. A dotted line indicates that a
pattern piece should be cut a second time.
When a pattern piece is shown half white and half shaded, it should be cut from folded
fabric. Cut the other pieces first and refold the fabric to cut this piece. A pattern piece
shown extending beyond the fold is cut from a single layer rather than the usual double
layer of fabric. After cutting the other pieces, open the fabric right side up and position
this piece by aligning the grain line arrow with the straight grain of the fabric.
After all pattern pieces are in place, pin
them to the fabric according to the
directions below. Do not begin cutting
until all pattern pieces are in place.
2) Place straight-grain pattern pieces on
fabric with grain line arrow parallel to
the selvage of woven fabrics, parallel to
a rib for knits. Measure from each end of
the arrow to the selvage or rib, shifting
the pattern until the distances are equal. Pin both ends of the grain line so pattern will not
shift. Continue pinning as directed in step 1.
Lesson 16
Lecture: Three
Symmetry
As the majority of garments are symmetrical it follows that the pattern of a material
should be positioned symmetrically on the garment. The objective of symmetrical
positioning is to make sure that there is a correspondence of the cloth pattern on opposite
sides of the garment, i.e. front to front, lapel to lapel, pocket to pocket, etc.
Stripes
The main feature requiring
symmetry on garments made
from striped materials is the
top collar together with the
lapel facing.
Top collar
The positions of the stripes at the collar ends is a consequence of the positioning of the
collar center back line, and the two collar ends have to be exactly the same. As the collar
stripes are at a different angle from those of the facing seam, they cannot be matched
along this seam.
Lapel facing
The stripe on the fabric should be parallel to the edge of the lapel, and the distance from
the edge to the stripe has to be the same on both sides. It is advisable not to position the
stripe too close to the edge in order to prevent it from being broken up by incorrect
sewing or pressing.
CHECKS
Achieving symmetry with checked materials is

complicated by the fact that the weft pattern also
has to be taken into account. Again, the main
feature requiring symmetry is the top collar and the
lapel facing and the same principles as with striped
materials can be applied to checked materials, with
the proviso that the weft stripes on the collar ends
and facing are also symmetrical. Components such as patch pockets must be symmetrical
irrespective of how they are to be matched.
SKIRTS AND TROUSERS
So far, in the sections dealing with matching and symmetry, examples have concentrated
on body garments because these garments contain all the features necessary to
demonstrate the techniques involved. But the clothing industry does not just produce
body garments, it also produces skirts and trousers and sometimes these two garments are
made from checked and striped materials.
SKIRTS
Pleats of all kinds are a customary design feature for skirts. When used in designs for
checked or striped skirts they can create a problem for the cutting room. Every pleat line
on the skirt demands the following procedures:
• Strict observance of grain lines

• Symmetry of the pleat openings, apart from that for the front and back.
• Maintenance of the fabric design continuity in the areas containing pleats.
When taken together these procedures are costly, and whenever possible the necessity to
use them should be minimal.
As with body garments mentioned earlier, if materials have prominent patterns
these are the central design feature of the shirt, and the fabric is the selling focus, not
pleats and seaming. So the conclusion for the designer is to keep it simple, because if it is
simple it is also quick.
TROUSERS
As a rule, apart from fabrics and colours, trouser designs concentrate on silhouette and
fitting rather than on seaming and decorative effects. This means that matching and
symmetry are relatively simple for the cutting room. Grain lines have to be observed, and
for checks the pattern on the leg seams has to be matched and the pattern on the seat seam
must be symmetrical. If the trousers have flapped or patch pockets, these can be matched
to their surrounding areas, or in the case of checks the designer has the option of cutting
them on the bias. Irrespective of the matching requirements, the fabric pattern on pockets
and other visible components should always be symmetrical.
Where matching and symmetry are necessary, it must be accepted that materials
usage will be greater than that for garments made in plain fabrics. This increase is slight
for stripes but considerable for checked fabrics. However, if for any one season checks
are the fashion then the designer has, more than ever, to punctiliously examine every
intended design for patterned fabrics in terms of labour and material costs.
Select simple styles for plaids and stripes. Complicated fashions can detract from or
distort the fabric design. Avoid diagonal bustline darts, long horizontal darts and patterns
designated "not suitable for plaids and stripes."
,
Always buy extra yardage to allow for matching the design at the seams. The extra
amount needed depends on the size of the repeat (the four-sided area in which the pattern
and color of the design are complete) and the number and lengths of major pattern pieces.
Usually an extra V4 to V2 yard (0.25 to 0.5 m) is sufficient.
It is easier to work with even plaids and balanced stripes than uneven plaids and
unbalanced stripes. Even plaids have the same arrangement of colors and stripes in both
lengthwise and crosswise directions. The area of repeat is perfectly square. In uneven
Plaids, the color and stripes form a different arrangement in the lengthwise or crosswise
direction, or both. Balanced stripes repeat in the same order in both directions;
unbalanced stripes do not. To avoid having to match two layers of yardage it is
recommended that each pattern piece be layed out in a single layer.
Placement Tips
Before cutting and layout, decide the placement of plaid design lines within the garment
and where they will fall on the body. Avoid placing a dominant horizontal line or block
of lines at the buntline and waistline if possible. Experiment with the fabric draped from
shoulder to hem. Some plaid garments look more balanced when the hemline falls at the
bottom of a dominant crosswise line. If you wish to draw the eye away from the hemline,
place the hemline between two dominant lines. When laying out plaids and stripes, match
stitching lines, not cutting lines.
To match at the seams, layout each piece in a single layer beginning with garment front.
Place dominant vertical lines at the center front and center back, or position the pattern so
the center front is halfway between two dominant vertical lines. Position the sleeve in the
same way, using the shoulder dot as the guide for centering the sleeve on or between the
dominant vertical lines.
Although it is not always possible to match the design at every seam, try to match:
crosswise bars at vertical seams such as center front and back, and side seams; set-in
sleeves to the bodice front at. Armhole notches; lengthwise stripes where possible; and
pockets, flaps and other details to the area of the garment they will cover. The plaid may
not match at the shoulder seams or the back notch in the armhole of a set-in sleeve.
Lesson 17
Lecture: One
Hems
Introduction:
Unless a hem is decorative, it should be virtually invisible from the right side. Use thread the
same shade as, or slightly darker than, your fabric.
When hemming by hand, pick up only one or two threads from the outer fabric in each stitch. Do
not pull the thread too tight during stitching. This causes the hem to look puckered or lumpy.
Press carefully; overdressing creates a ridge along the edge of the hem.
The width of the hem is determined by the fabric and garment style. A hem allowance of up to 3"
(7.5 cm) may be given for a straight garment; 1 ½" to 2" (3.8 to 5 cm) for a flared one. Sheer
fabrics, no matter what the style, are usually finished with a narrow, rolled hem. A narrow hem
on soft knits helps keep them from sagging. Machine-stitched and topstitched hems are fast and
permanent.
Before hemming, let the garment hang for 24 hours, especially if it has a bias or circular hem.
Try the garment on over the undergarments you will wear with it. Check to be sure it fits and
hangs correctly. Wear shoes and a belt if the garment is to be belted.
Hemlines are usually marked with the help of a second person using a pin marker or yardstick.
Mark the hemline with pins or chalk all around the garment, making sure the distance from the
floor to the garment, making sure the distance from the floor to the hemline remains Equal. Stand
in a normal position and have the helper move around the hem. Pin hem up, and try on the
garment in front of a full-length mirror to to double check that it is parallel to the floor.
Pants hem cannot be marked from the floor up, as skirts and dresses are. For standard-length
pants, the bottom of the pants leg should rest on the shoe in front and slope down slightly toward
the back. Pin up the hem on both legs, and try on in front of a mirror to check the length.
Before stitching, finish the raw edges of the hem to keep the fabric form raveling
and to provide an anchor for the hemming stitch. Select the hem finish (opposite) and stitch that
is appropriate to the fabric and the garment. (See hand stitches.
Blind stitching by machine makes a fast, sturdy hem on woven and knit fabrics. Many sewing
machines have this built-in-stitch. A special foot or stitching guide makes blind stitching easy.
Seam binding or laces (above) provide a finish suitable for fabrics, which ravel, such as wool,
tweed or linen. Lap seam binding ¼" (6 mm) over the hem edge on the right side of the fabric.
Edge stitches the binding in place, overlapping ends at a seam line. Use woven seam binding for
straight hems, stretch laces for curved hems and knits. Hem light to medium weight fabrics with
the catch stitch, bulky fabrics with the blind stitch.
Hems should be invisible, unless decorative

stitching is' required. They should also be
smooth, flat and uniform in depth. Use the
same shade of thread as the fabric, or slightly
darker rather than lighter. There are four
basic forms of hems: turned-up, faced, bound
and rolled. The depth of the hem will be
determined mainly by the design and the
fabric used. Except for pleated styles, the
marking of the hem is done after the garment
has been completed.
Handy hem tips

• Trim the seam allowances of the hem to
half the original width.
• Keep shaped and sheer hems narrow.
The more they curve, the narrower they
should be.
• Straight hems may be deeper, about 3
cm (l1/4 in) to 5 cm (2 in), but no more.
Very deep hems look unprofessional and
decidedly home-made.
• Interface the hems for more weight.
• Narrow hems on soft knits will prevent the garment from sagging.
• Topstitched hems are quick to sew, permanent and add a sporty look.
• When hand stitching, use a smaller needle. This way, you are inclined to pick up less
fabric with each stitch.
• Be sure to keep your hand stitches rather loose to avoid puckering.
• If you want to avoid any stitches showing on the garment, sew the hem to the lining.
• To eliminate the need to colour match the thread to the fabric, use invisible thread.
• Bias-cut and circular skirts need to hang for 24 hours before marking the hem.
Hem Finishes & Stitches
Topstitched hem finishes the raw edge and hems the garment all in one step. Turn up hem 1 ½"
(3.8 cm) and pin in place. For rarely fabrics, pink or turn under raw edge. On right side, topstitch
1" (2.5 cm) from folded edge. Above, a second row of topstitching is applied as a design detail.
Twin-needle stitched hem is suitable for knits and casual styles. The twin needle produces two
closely-spaced parallel lines of stitching on the right side and a zigzag-type stitch on the wrong
side. Turn hem up desired amount and stitch through both layers from right side, using seam
guide. Trim excess hem allowance after stitching.
Zigzag finish is appropriate for knits and fabrics that ravel, because the stitch gives with the
fabric. Stitch close to raw edge with zigzag stitch of medium width and length. Trim close to
stitching. Hem with a blind stitch, blind catch stitch or machine blind stitch.
Turned and stitched finish is appropriate for woven lightweight fabrics. Turn raw edge under ¼"
(6 mm). Stitch near the edge of the fold. Hem using slipstitch or blind stitch.
Bound hem finish is a appropriate for heavy woolens and fabrics that ravel easily. Finish raw
edge of hem in double-fold bias tape or Hong Kong finish. Hem with blind stitch or blind catch
stitch. Be careful not to pull hemming thread too tight or fabric will pucker.
Pinked and fused hem is a fast and easy finish for lightweight woven fabrics. Apply a fusible
web strip between the hem and the garment. Steam press, following manufactures in instructions.
Most fusible webs require 15 seconds of heat and steam applied in each section of the hem for
permanent bonding.
How to Turn Up a Hem

1) Mark garment an even distance from the floor using pins or chalk, and a yardstick or skirt
marker. Have your helper move around you so you do not need to shift position or
posture. Place marks every 2" (5 cm).
2) Trim seam allowances in hem by half to reduce bulk. Trim seams from bottom of
garment to hem stitching line only.
3) Fold hem up along marked line, inserting pins at right angles to the fold at regular
intervals. Try on garment to check length.
4) Hand-baste ¼" (6 mm) from folded edge. Press edge lightly, easing hem to fit garment.
5) Measure and mark the desired hem depth, adding ¼" (6 mm) for edge finish. Work on
ironing board or table, using a seam gauge to ensure even marking.
6) Trim excess hem allowance along markings. Finish raw edge according to fabric type
(page 105). Pin finished edge to garment, matching seams and center lines.
How to Sew a Curved Hem
1) Prepare hem as shown opposite, but do not finish raw edge. Curved hems have extra
fullness which must be eased to fit garment. Loosen machine tension and ease stitch ¼"
(6 mm) from edge, stopping and starting at a seam line.
2) Draw up bobbin thread by pulling up a loop with a pin at intervals, easing fullness to
smoothly fit garment shape. Do not draw hem in too much, or it will pull again garment
when finished. Press hem over a press mitt to smooth out some fullness.
3) Finish raw edge using zigzag stitching, bias tape, seam binding or pinking. Pin hem edge
to garment, matching seams and center lines. Hem using machine blind stitch or
appropriate hand hemming stitch.
How to Machine Blind stitch
1) Prepare hemline as shown, opposite. Hand-baste hem to garment, ¼" (6 m) from raw
edge. Adjust machine to blind stitch setting and attach blind stitch foot. Select zigzag
width and stitch length according to weight and texture of fabric. The stitch taken into the
garment is adjustable from 1/16" 1/8" (1.5 to 3 mm)
2) Place hem allowance face down over feed of machine. Fold bulk of garment back to
basting line. The soft fold should rest against the right part of the foot (arrow). Zigzag
foot with a blind stitch-hemming guide attached.
3) Stitch along hem close to the fold, catching garment only in zigzag stitch. While
stitching, guide hem edge in a straight line and feed soft fold against the right part of the
hemming foot or the edge of the guide. Open out hem and press flat.
Lesson 18
Lecture: One
Trimming
For smooth, professional-looking seams, it might be necessary to trim some of the

seam allowance away. The amount that is trimmed off will depend on whether the
fabric frays or not. The type of seam stitched, for instance French seams, will also
indicate whether the seam requires trimming or not. To avoid making a ridge, the
seams can be graded, as illustrated. This is especially important when there are a
few layers of fabric or when the fabric is bulky. Trimming corners, as previously
discussed, is also essential.
Curved seams need to be notched and clipped to allow them to lie smoothly. Convex or
outward curves have to be snipped or clipped to enable the edges to spread. Using sharp
scissors, snip, just short of the seam line, at various intervals. Concave or inward curves
have to be notched. Wedges are cut . from the seam allowance enabling the edges to
draw in. Use sharp scissors to notch at various intervals.
In a princess seam, where the clips and

notches face one another, they should be
staggered to avoid weakening the fabric. Stay
stitching the concave seam before notching it
will also strengthens the seam.

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Lesson 1

DRESSMAKER’S CARBON: These are also available in various colours.

ELECTRIC AND BATTERY-OPERATED SCISSORS: These are useful for people

Basic sewing machines

• Automatic positioning of the needle in an up or down position;

• The automatic clipping of top and bottom threads;

• A back-tacking mechanism actuated through the foot pedal or automatically by

• Programmable sewing sequences via a micro-processor for repetitive

• Speeds of up to 8500 rpm;

Button hole machine

Button sewing Machine

Health & Safety Awareness

Safety is important to everyone and it is your responsibility to maintain a safe working

• Explain the safety rules for operating power equipments

Normally the term Accident and injury is erroneously used

1. Lack Of knowledge and skill

Accidents cannot be predicated but can be prevented

• Safe Working Methods

Following are important safety precaution for electric hazards.

After Completing this lesson, You will be able to:-

KIND OF TEMPORARY STITCHES AND THEIR METHOD OF USE

Even basting or tacking

2. HALF BACK STITCH

4. BUTTON HOLE / BLANKET STITCH

1. Closed button hole

2. Open button hole

1. General rules and helps in seaming

GENERAL RULES AND HELPS IN SEAMING

Different Kinds of Seams

Cut Pattern on Paper

d.) 2. Right-Angle Seam or Corner Turns:

e.) Double-Stitched Seam:

TOP SEAM – SCAN

I.) Abutted Seam:

J.) Top-Stitched Seam:

Finishing Machine Stitches

I.) French seam:

k.) Flat Felled Seam:

l.) Welt Seam:

i) Sew a plain seam.

m.) Open Welt Seam:

stitched. And then press it open.

4. Seams Overcast by Hand: If the fabric has a tendency to fray and a

Bound Machine Stitch

After Completing this lesson, You will be able to: -

SELF BOUND SEAM

II. BOUNDED SEAMS

III. Decorative Seams

i) Sew a plain seam with a basting stitch.

Zippers, buttons, snap, and hooks and eyes

How to Attach Waistband Hooks & Eyes

1) Position heavy-duty hook on underside of waistband overlap, about l/S" (3 mm)

How to Make Thread Eyes

Zippers, buttons, snap, and hooks and eyes

Machine-made buttonholes are appropriate for most garments,

3) One-step buttonholes are stitched all in one step, using

How to Make Buttonholes

Universal attachment buttonhole. Attach buttonhole attachment as instructed in manual. Select

How to Open a Buttonhole

More than any other closure, buttons allow you to

The back of the pattern envelope tells you how many

Single neck facing

3 With the wrong side up, lightly press the