Clothing Construction

XI- C.G.D.M
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CLOTHING CONSTRUCTION (THEORY)

XI CGDM
Marks--50
Unit Topic Sub-Topic Thrust area
1. 1) Tools for clothing Introduction
construction and Classification and uses
needle work. of different clothing
construction tools Cutting tools
Hand Sewing and
embroidery tools
Measuring tools
Marking tools
General tools
Pressing tools
2) Uses and care of Choice of the machine.
the sewing Parts of a sewing
machine. machine and their
functions.
Care of the sewing
machine
Minor troubles and
their causes Tangled thread at the
beginning
Skipped stitches
Upper thread breaking
Lower thread breaking
Fabric puckering
Needle breaking
Staggered stitches
Uneven stitch length
Material not feeding
correctly Machine runs
heavily
Sewing machine
attachments
Operating the machine Stitching along lines

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Selection of thread and

needle
Winding the bobbin
Under threading
Top threading
Drawing the bobbin
thread
Sewing on fabric
Fastening the thread ends
Adjustments Testing and adjusting
tension
Adjusting the stitch
length
Adjusting the pressure of
the presser foot
Changing the needle
Cleaning and oiling
3) Body Introduction
Measurements Preparation for
measuring
Ladies measurements Bodice measurements
Sleeve measurements
Skirt measurements
Children’s
measurements
Sample measurements
for ladies and children’s
garments
How to take body
measurement
2. 4) Basic hand Introduction
stitches Constructive and Temporary and
decorative stitches permanent stitches
5) Seams and seam SEAM
finishes Introduction
Types of seams and
factors influencing the
choice of seams

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Types of commonly Plain seam, top stitched

used seams seams, mock flat fell
seam, Lapped seam, slot
seam, flat fell seam,
French seam, mantua
makers seam, piped
seam, counter seam,
hairline seam, serge
seam, flat or abutted
seam.
SEAM FINISHES
Introduction
Selection of seam
finishes
Types of commonly Pinked finish, edge
used seams finishes stitched finish, double
stitched, overcast finish,
herringbone finish, bound
seam edge finish.
Hints on stitching and
finishing seams
Mitring
6) Preparation and Introduction
uses of true bias - TRUE BIAS
-Facings and Uses of true bias
Bindings Preparing bias strip Cutting bias strips
Joining bias strips
FACING
Different types of
facings Applied facings
-Shaped facing
-Bias facing Decorative
facing
-Shaped facing
-Bias facing
BINDING
Types of bindings Straight & bias bindings

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3. 7) Introducing Introduction
fullness Various reasons for
introducing fullness
Devices used to Darts
introduce fullness Pleats
Tucks
Flares
Godets
Ruffles
Flounces
Gathers
Shirring
4. 8) Pockets Introduction
Classification of Patch pockets
pockets Inseam pockets
9) Plackets and Introduction Standards
openings of a good placket
Classification of Conspicuous openings
plackets and plackets
Inconspicuous plackets
10) Fasteners Introduction
Selection of fasteners
Different types of Buttons and buttonholes,
fasteners button loops
Press buttons
Hooks and eyes
Eyelets and cord
Tie String
Hook and loop tape
5. 11) Hems Introduction Factors
affecting the choice of
the width of hem
Preparing the hem
Types of hems Stitched and turned hem
Catch stitched hem
Seam binding hem finish
Narrow machine stitched
hem

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Rolled or whipped hem

Shell edged hem
Hem for circular and
flared skirts
12) Mending Introduction
Methods of mending Darning
Kinds of tears
Patching

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CLOTHING CONSTRUCTION (PRACTICALS)

MARKS - 100
NO. OF UNITS - 4
Unit Sub Topic Contents/Features Marks
unit
(i) -Tools for clothing Draw or stick pictures of measuring and 10
construction and shaping devices, marking devices, cutting
needlework devices, sewing aids, sewing supplies and
pressing tools.
-Uses and care of
sewing machine Draw or stick parts of a sewing machine.
Stick pictures of different sewing machines
available in the market.
-Body
measurements Sample measurement chart for ladies and
children’s garments

Cloth samples to be made of the

following:
-Basic hand Temporary stitches i.e. even, uneven,
stitches diagonal and slip basting.
Permanent stitches i.e. running stitch,
hemming, slip stitching, back stitch, run and
back stitch and overcasting.

Cloth samples to be made of the

following:
-Seams and seam Seams i.e. plain seam, top stitched seams,
finishes flat fell seam, French seam ,mantua makers
seam piped seam, counter seam.
Seam finishes i.e. Pinked finish, edge
stitched finish, double stitched, overcast
finish, herringbone finish, bound seam edge
finish.

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Cloth samples to be made of the

following:
-Preparation and Marking, cutting and joining of bias strips.
uses of true bias – Bindings i.e. plain, French and readymade.
facings and -Binding an inward and outward curve.
bindings Facing i.e. bias, shaped and decorative
facing.

Cloth samples to be made of the

following:
-Introducing Darts: i.e. Standard dart and fish dart
fullness Pleats; i.e. Knife, box and inverted box
pleats
Tucks i.e. Pin, wide, shell, cross, corded and
wide tucks with scalloped effect
Gathers i.e. gathering by hand, machine,
bobbin elastic, casing and elastic, casing
and cord.
Shirring i.e. machine and bobbin elastic
Ruffles i.e. single, double, circular and
ruffle with heading.
(ii) Cloth samples to be made of the 10
following:
-Pockets Patch pocket i.e. plain and decorative.
Inseam pocket
Front hip pocket
Slashed pockets i.e. Welt, faced, bound and
flap pockets.

Cloth samples to be made of the

-Plackets and following:
openings Continuous bound placket bound and faced
placket, zipper plackets, tailored placket and
fly opening.

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Cloth samples to be made of the

following:
-Fasteners Button and buttonhole, hook and eye, press
button, eyelet and cord, Velcro tape and
corded frogs.
Cloth samples to be made of the
following:
-Hems Stitched and turned hem, Catch stitched
hem, Seam binding hem finish, Narrow
machine stitched hem, Rolled or whipped
hem and
Shell edged hem.

Cloth samples to be made of the

following:
-Mending Darning and patching

Journal All samples to be stuck on the journal 05

2 (i) Infant wear (0-6 10

months)
Layette set
 Napkin --According to the instructions given
 Bonnet --According to the instructions given
 Bib --According to the instructions given

(ii) A-line baby dress Basic paper pattern to be prepared and then 10
adapted for the frock.
Journal Instructions to be written and ¼ scale 05
drafting to be done on the journal
3 (i) Toddler wear (1- 10
21/2 years)
 Baby frock -With yoke and gathered skirt
Baby’s panty --According to the instructions given.

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(ii) Childs wear (3-6 10

years)
 Baby dress --Waist length: high waist, normal waist or
low waist
-- Skirt: gathered, pleated or circular
Journal Instructions to be written and ¼ scale 05
drafting to be done on the journal
4 (i) Teen wear (13-18 10
years)
Night suit
 Basic shirt -- With convertible collar and patch pocket.
(ii)  Pyjamas --According to the instructions given.
Journal Instructions to be written and ¼ scale 05
drafting to be done on the journal

Units 1 & 2 have to be completed in the 1st term.

Units 3 & 4 have to be completed in the 2nd term.
Marks to be given as per the Checklist & Performa (continuous evaluation)
All the garments have to be done individually by each student during school hours.
A record of the practical marks obtained by each student should be maintained.
This record should be presented to the auditor/examiner at the time of the
audit/inspection.
Maintain a journal / file for the practical which should be used in the STD XI &
XII

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Chapter 1
TOOLS FOR CLOTHING CONSTRUCTION
AND NEEDLE WORK
Introduction:
Classification and uses of different clothing construction tools.
Besides a sewing machine in good condition well selected sewing equipment and
pressing equipment are essential for making garments of good quality and
appearance. Tools mentioned below include specialized items which may be
uncommon and perhaps even unavailable in India, but as a clothing student it is
desirable that you should be familiar with them. They are illustrated in the Fig.

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Sewing box: First and foremost you should have a box or a basket with
compartments for keeping the things you need for sewing. Arrange the contents in
such a way that there is a place for everything.

CUTTING TOOLS
Scissors: Ref (1) These are round handles and the blades are usually less than 6
inches. They are designed mainly for snipping threads and trimming seams.
However, scissors with 5inch blades can be used for beginners for cutting fabrics
as well. For embroidery and for cutting button holes sharp pointed scissors with
blades ½ inch to one inch long are very useful. The best type of scissors has blades
of uneven width. They should be held so that the wider blade is above the narrower
blade.
Dress maker’s shears: Ref (2) For cutting fabrics shears are more satisfactory
than scissors. Shears differs from scissors in that they have one small ring handle
for the thumb and a large ring handle for the second, third and fourth fingers. They
also have longer blades (6 to 12 inches). It is better to select bent handled shears
made of high quality steel and having blades joined with a bolt or screw rather than
a rivet. Take good care of your shears and use them only for cutting fabric. Do not
drop them or leave them to rust.
Pinking Shears: Ref (3) These are useful for finishing the edges of seams and
other raw edges of fabric. They produce notched (zigzag) cutting lines which
prevents raveling of firmly woven fabrics. Pinking gives a neat appearance to the
inside of garments.
Buttonhole scissors: Ref (4) These can be adjusted so as to cut buttonholes in in
any size you require. They are useful if you are an expert in tailoring and need to
make many buttonholes.
Electric scissors: Ref (5) In some foreign countries electric scissors which are
very light and easy to operate are available.

HAND SEWING AND EMBROIDERY TOOLS

Embroidery frame: Ref (6) This is used to keep the embroidery stretched while
the work is being done.
Embroidery scissors: Sharp pointed embroidery scissors are essential, especially
for cut work embroidery.
Embroidery thread: Ref (7) This is available in a variety of colors in six-strand
skeins. one can use two or three strands at a time dividing the skeins as each length
is cut for sewing.

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Needles: Ref (8) The best quality sewing needles are made up of hand ground
steel. Points are sharp and eyes are smooth and well-polished. For hand sewing
select medium length needles with a short oval eye. Crewel needles designed for
embroidery work have a long oval eye and are therefore easily threaded. Both
types of needles comes in variety of sizes, the smaller number indicating the larger
needles. Some packages contain needles of one size only. Other contains assorted
sizes. The most suitable sizes for general hand sewing are seven and eight. The
paper used in needle packages is threated to prevent needle from rusting. It is wise
therefore to store your needles in the package.
Needle case: One can get cases in which needles of various sizes can be arranged.
Needle threader: Ref (9) This is a device made of thin wire which aids in
threading machine needles and hand needles.
Thimble: Ref (10) This is worn on the middle finger of the left hand to protect the
finger and to aid in doing hand sewing quickly.
Stiletto: Ref (11) This is a sharp pointed instrument for punching holes in material.
It is used for forming eyelets and for embroidery work.
Bodkin: Ref (12) This is a flat needle with a blunt end and a large eye, used for
threading elastic and tape.

MEASURING TOOLS
Measuring Tape: Ref (13) selects a firm good quality tape which will not stretch
after use. It is usually about ½ inch to ¼ inch wide and 60 inch long, and has 1/8
inch divisions. Since the metric system is being used throughout India now, most
of the measuring tapes have centimeter marking along one edge. At one end of the
tape is attached a brass strip about 3 inches long and at the other end, a small brass
covering.
Yard stick or meter scale: Ref (14) now a days meter scales are more popular
than yard sticks. These may be wooden, plastic or metal. They are useful for
checking grains lines when fixing pattern pieces on material and for drawing long
seam lines on fabric or paper.
L-scale: Ref (15) This has a perfect right angle corner and is used to draw lines at
right angles at a time of drafting. It has two arms or sides; one side is usually 24”
long. It is helpful during the process of “straightening fabric” to check whether the
corners of fabric have got the right angled structure.
Small ruler: Ref (16) A small transparent ruler of 6” length divided into 1/8 inch
or 1/16 inch divisions on one side and centimeters on the other side is useful for
measuring small distances for tucks, hems, facing etc.

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Hem gauge: Ref (17) A six inch gauge can be made of cardboard or bought from a
shop. It is used as a measuring guide for marking width of hems pleats, seam
allowances etc accurately. Notches are provided at regular intervals along the
gauge. One edge of the notch is at right angles to the straight edge of the gauge
while the other edge is slanted. While measuring or marking, use the straight (not
slanted) edge of the notch as a guide.
Hem marker: Ref (18) Though this is useful for professional hem marking it is
not a common sewing tool. This is used to mark out a completely level hem line in
chalk. It can be adjusted to any hem length.

MARKING TOOLS
Dress maker’s carbon: Ref (19) this is a tracing paper with one side waxed and is
available in different colours. It is used to transfer pattern markings such as seam
lines, darts, pleats etc. from paper patterns to the fabric being cut.
Tracing wheel: Ref (20) This is a sharp toothed wheel used with dress maker’s
carbon to transfer pattern markings to cloth. Select a wheel with firm sharp points.
test it to make sure that it does not bend easily and that the point are not blunt.
Tailor’s chalk: Ref (21) This is used for marking seam lines and other pattern
details on fabrics as an aid in stitching. This is available in assorted colors and in
rectangular or triangular shapes.

GENERAL TOOLS
Pins: Ref (22) Use of pins for basting and fixing of pattern pieces on the fabric
makes your work easier, quicker and more accurate. Select sharp thin medium
length pins that will not leave pin marks on the fabric.
Pin cushion: Ref (23) It is convenient to have a pin cushion with an elastic strap
that can be fastened to the wrist. Select the pin cushion made of wool or felt and
filled with wool or hair.
Seam ripper: Ref (24) this is useful for ripping out machine stitches. It has a
handle and a bent point which can be inserted into the stitches and pulled to break
them.
Orange stick: Ref (25) this is a long tool, whose point can be inserted into the
corners of collars, seams etc. so as to give a neat pointed appearance.
Sewing thread: Ref (26) Select a good quality thread of reliable brand matching to
fabric in colour and size. While matching the color, buy thread that looks slightly
darker than the fabric. Various type of thread like cotton, silk teryleno and nylon
threads are available in the market.

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Cutting board or table: Ref (27) A table of convenient height and size is a
definite aid in cutting and constructing garments. 5’x 3’ is a desirable size. Height
can be about 2’6”
Mirror: Ref (28) A full length mirror is useful for checking whether the garment
is well fitted in size and design.
Dress form: Ref (29) This is a padded form of body and may be made of wood,
cardboard, plaster, reinforced plastic etc. This is useful for designing dresses by
draping and also to check correct fitting.

PRESSING TOOLS
Ironing board: Ref (30) This should be of convenient height and should be well
padded. One may use ordinary table covered with sheet and blanket for this
purpose.
Iron: Ref (31) Keep an automatic iron handy for pressing fabric before cutting,
during construction and after the garment is completed.
Sleeve board: Ref (32) this is useful for ironing small parts like sleeves of a
garment. It has a tapered end on one side and a round end on the other side. this
also should be padded.
Press cloth: Fabrics used as press cloth should be color fast and should be washed
or boiled to remove all sizing.

Review Questions:
1) Why are pinking shears used?
2) Explain the term Dress Form.
3) Name Four Pressing Tools.
4) Draw the following Tools:
a) Needle Threader
b) Thimble
c) Hem Gauge
d) Tracing Wheel
e) Pin Cushion

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USE AND CARE OF THE SEWING MACHINE

chapter.......2

Choice of the machine: When you buy a sewing machine, select one that is
made by a well-known, reliable manufacturer. Sewing machine of the various
models such as domestic model, tailor model, industrial model, portable and
cabinet models are available in the market. These may be operated by hand,
treadle or electric motor. Automatic sewing machines that make the zig-zag
stitch in addition to the usual straight stitch are also being manufactured and
sold now. The type and amount of sewing you do, the space you have for a
machine and the budget should be considered while selecting your machine.
Before you purchase a machine check its constructions and
performance giving special attention to the following points :
1. Whether attachments and repair tools are supplied with the machine.
2. Whether spare parts and repair service are readily available.
3. Whether a guarantee is offered on the machine.
4. Whether the wooden supports are well constructed and hinges, drawers ,
locking mechanism etc. are sturdy.
5. Whether the machine does reverse stitching and whether there are
adjustable lock positions for forward and reverse stitching.
6. Whether the machine is easy to start and stop and whether it turns
smoothly at all speeds without making noise and vibrations.
7. Whether the needle and bobbin are easy to thread and bobbin winder
easy to use. Also make sure that the bobbin gets wound evenly and
the winding stops automatically before it is too full.
8. Whether two pieces of fabric stitched together move between the foot
and feed dog evenly at the same time.
9. Whether the cover plates are removable and parts readily accessible for
oiling and cleaning.
10.Make sure that you are supplied with an illustrated instructional
manual giving directions for operation and care of the machine.

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PARTS OF A MACHINE AND THEIR FUNCTIONS

The basic parts of the sewing machine are listed below.

1. Spool pin: Holds the spool of thread.

2. Thread guides: Holds the thread in position from the spool to the
needle.
3. Tension disc: This is a simple mechanism where two concave discs are
put together, with the convex sides facing each other. The thread passes
between the two. The tension of the thread is adjusted by a spring and
a nut which increases or decreases the pressure on the disc.
4. Take-up lever: At the outside end of this lever, there is a small hole
through which the thread passes. The lever moves down to loosen the
top thread while the stitch is being formed ; then it moves up and pulls
the loop of thread tight to complete the stitch.
5. Needle bar: This is a steel rod which holds the needle at one end
with the help of a clamp.

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6. Bobbin case: This moves into position to catch the top thread and form
the stitch as the is lowered into the bobbin chamber.
7. Presser foot: This is attached to the presser bar and it holds the cloth
firmly in position when lowered.
8. Presser foot lifter: This is a lever attached to a presser bar for raising
and lowering the presser foot.
9. Stitch regulator: This controls the length of the stitch. Some regulators
can be set to stitch in reverse.
10.Bobbin winder: This facilitates the winding of thread on the bobbin.
Some are made to stop automatically when the bobbin is full.
11.Fly wheel: When this is made to revolve ,it works the mechanism of the
machine.
12.Clutch or thumb screw: This is in the centre of the flywheel and it
engages and disengages the stitching mechanism.
13.Slide plate: This is a rectangular plate which can be slid open to remove
or put in the bobbin case.
14.Needle plate or throat plate: This is a semicircular plate with a hole
to allow the needle to pass through it.
15.Feed dog: This consists of a set teeth fitted below the needle plate. It
helps to move the cloth forward while sewing.
16.Face plate: This is a cover which when removed gives access to the
oiling points on needle bar, presser bar and thread take-up.
17.Spool pin for bobbin winding: Spool of thread is placed on this at the
time of winding the bobbin.

CARE OF THE MACHINE

Regular cleaning, oiling, and care of the machine ensure satisfactory sewing
and a long life for the machine. When not in use, keep your machine
covered to prevent dust from settling on it.
Cleaning: You should always remove lint deposits, dust and thread
bits before oiling parts of the machine. Use a small dry brush or old tooth
brush and a soft cloth to remove dust and lint. Use a pointed instrument like a
needle to pick out bits of thread and lint that cannot be brushed out. To
clean the feed dog. Remove the needle plate of the machine and brush off
all lint deposits and dirt sticking to the feed mechanism. To clean the shuttle
race, remove the two screws holding the shuttle race assembly to the
machine, take out the shuttle race and wipe its groove free of dirt, fluff and

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broken bits of thread. Sometimes loose threads wind around the pivots of
the treadle and make the machine hard to run. You must remove thread bits
which are caught in the wheel and all lint and dust sticking to the treadle
parts.
OILING: It is necessary to oil and lubricate machine periodically. If
the machine is used every day, oil it once a week. If you use it infrequently,
then once a month should be sufficient . To oil thoroughly, remove the upper
thread, needle plate, slide plate, face plate, bobbin case, needle and presser
foot. Put special sewing machine oil in all oil holes and joints where one part
rubs against another. One drop oil is enough for each point. While oiling turn
the flywheel back and forth to help the oil flow to the moving parts. It is
essential to oil the shuttle race. After oiling the points on the head of the
machine, tilt the machine head back to oil the points on the under. On the
treadle machine, the belt will have to be released before oiling the machine
head back . Do not forget to oil the pivots of the treadle. When the machine
has been thoroughly oiled, wipe away excess oil and run it slowly for several
minutes on a waste piece of the material. Before you close the machine,
place a scrap of fabric under the presser foot and lower the needle. The
fabric will absorb the excess oil that might drain down through the machine
and will prevent formation of oil spots on your work. Next time the
machine is used.
If the machine becomes gummed with oil, put a drop of kerosene or
petrol in each oil hole and at joints and run it rapidly for several minutes.
Then wipe off the oil that oozes out with a slot cloth and re-oil the
machine. It will need a second oiling within a few hours after this treatment.
The motor of electric sewing machines may require periodic
greasing. It is advisable to get this done by a qualified service machine.

MINOR TROUBLES AND THEIR CAUSES

Some common troubles and their possible causes are listed below.
A. Tangled thread at the beginning
1. Bobbin too full.
2. Bobbin set in wrong direction.
3. Under thread not drawn up.
4. Both threads not pulled back under the presser foot.
5. Machine not properly oiled and cleaned.

B. Skipped stitches

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1. Needle bent.
2. Needle set with long groove turned to wrong side.
3. Needle inserted too high or too low in the needle bar.
4. Needle too small.
5. Needle threaded from wrong side.
6. Excess oil on shuttle.

C. Upper thread breaking

1. Poor thread.
2. Machine incorrectly threaded.
3. Needle set on wrong side.
4. Needle too fine for threading.
5. Upper tension too tight.
6. Sharp edge on needle plate hole or shuttle.
7. Thread take-up spring broken.

D. Lower thread breaking

1. Poor thread.
2. Lower tension too tight.
3. Bobbin case threaded wrongly.
4. Sharp edge on needle plate.
5. Bobbin wound too full or uneven.
6. Dirt in bobbin case.

E. Fabric puckering
1. One or both tension too tight.
2. Stitch too long for material being sewn.
3. Blunt needle.

F. Needle breaking
1. Incorrect size of needle for thread and fabric
2. Needle blunt.
3. Pulling of material while stitching.
4. Presser foot incorrectly set.
5. Crossing a thick seam using too small needle.

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G. Staggered stitches
1. Too little pressure on presser foot
2. Take up spring weak, broken or missing.

H. Uneven stitch length

1. Incorrect presser foot pressure.
2. Feed dog dirty or worn out.

I. Material not feeding correctly

1. Stitch regulator set too close to ‘o’ point.
2. Dirt under needle plate near feed dog.
3. Incorrect presser foot pressure.
4. Bent presser foot.

J. Machine runs heavily

1. Lack of oil.
2. Thread wound round wheel or treadle bearings.
3. Belt too tight.
4. Bobbin winder pressed down.
5. Thread jammed in shuttle race.
6. Gunned oil or dirt on bearing

SEWING MACHINE ATTACHMENTS

Some sewing machines may be supplied along with the machine when you
purchase it. Others may be available at additional cost. Attachments make
sewing Easier and provide opportunities for decorative sewing . In selecting
attachments, make sure that they will fit the model of machine you posses.
Most of the attachments must be fixed to the presser bar in the place of The
presser foot. The attachments most commonly used on straight stitch machines are
listed below.

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(1) Hemmer foot(fig.5a): this is used for turning up and stitching a narrow
hem.
(2) Ruffler(fig.5b): This attachment is capable of taking uniform gathered or
pleated frills, and will take and apply frills to another section at the same
time. It is useful in making Children’s clothes and curtains.
(3) Cloth guide(fig.5c): This is a device which is useful in guiding fabric
for uniform stitching.
(4) Cording foot or zipper foot(fig.5d): This is designed for stitching close to
a raised edge. It is used for applying cording into seams and for application
of zipper.
(5) Binder(fig.5e): This is for applying readymade or self made bias binding to
a straight or curved edge and is a very useful attachment for trimming
dresses etc.
(6) Tucker(fig.5f): This is used for making uniform tucks from 1/8 inch to 1
inch in width.
(7) Gathering foot(fig.5g): This attachment gathers fabric as it is stitched, with
the fullness locked in every stitch.
(8) Feed cover plate(fig.5h): This is used to cover the feed dog while doing
machine embroidery and darning.

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OPERATING THE MACHINE

Manufacturers supply an instruction manual with each sewing
machine they sell. It is useful to read this book carefully and follow the
instructions.When you are learning to treadle run the machine with the presser
foot up and the clutch on flywheel loosened so that the needle does not go up
and down . Sit at a comfortable height in front of te machine and place one foot
forward and the other foot straight back on the treadle . Start the machine by
turning the flying wheel towards you . As the treadle begins to move, start
pedalling slowly in such a way as to continue this motion. Continue evenly and
gradually increase the speed . To stop the machine place your hand on the fly
wheel and stop the motion of the feet. Practice to run the machine smoothly at
the low and high speeds.
If you have a hand machine, you need practice to turn the wheel
smoothly with your right hand and the fabric with the left hand.
An electric sewing machine is operated by knee or foot control of
an electric motor. A little practice is required to control the pressure needed to
operate the machine at any desired speed with an even regular rhythm.

STITCHING ALONG LINES

Tighten the clutch or thumb screw and without threading the machine,
lower the presser foot and practice stitching on paper along lines of various
shapes- straight lines, curved lines, broken lines and lines with corners until you
can control the machine Reasonably well. To turn corners, stop with the needle
down at the exact corner, raise the presser foot and turn the paper to the desired
position, leaving the needle in. Then lower the presser foot again and stitch.

SELECTION OF THREAD AND NEEDLE

A perfect stitch can be obtained only when the thread is selected to suit
the material to be stitched and the needle is of correct size. For stitching on
delicate thin fabric, use fine thread and fine needle. For heavy fabrics, needles
and thread size should be larger.

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TABLE SHOWING APPROPRIATE NEEDLE AND THREAD SIZE

Weight of Type of cloth Thread size Needle Stitches per

fabric (mercerised size inch
cotton)
Light Muslin, cambric 50 9-11 14-20
And other thin fabrics
Medium Shirting, sheeting, 40-50 14 12
poplins etc.
Medium Light woollens, 40 16 10-12
heavy brocade, corduroy
Heavy Woollen goods, 20-40 18 10
upholstery fabrics
.

WINDING THE BOBBIN: Bobbins wind differently on the various machines,

but generally the thread is first placed on a spool pin located below the fly
wheel and then drawn through the thread guide near the spool pin. Now with
your hand wind the end of the thread on the bobbin in clockwise direction and
place it on the winder. Trun the bobbin on the winder until the pin like
projection on the winder fits into the slot on the bobbin, thus holding bobbin in
place. Then press the winder lever down until the rubber ring touches the hub of
the flywheel and is held there. Loosen the thumb screw and run the machine,
holding the thread end loosely. Make sure that the thread winds on the bobbin
evenly and that you do not fill the bobbin too full. In most machines the
winding will stop automatically when the bobbin is wound about three fourths
full.

UNDER THREADING: In each bobbin case there is a slanting slot and a

spring. Insert the bobbin into the bobbin case so that the thread comes around
the bobbin and turns back to lie in the slot. Now guide the thread through the
slot and below the spring and pull out the length of thread. Test the tension on
the bobbin thread by pulling the thread end gently. There should be slight, but
noticeable tension and bobbin should stay firmly in place. Leave a thread end 3
or 4 inches long extending from the bobbin case. Now open the slide plate, lift
the latch on the bobbin case with your thumb and forefinger and insert the
bobbin case into the machine. Close the slide place.

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TOP THREADING: Raise the take- up lever to its highest point before you
start threading. The spool of thread is first placed on the spool pin on the top of
the machine head and the thread end is passed through a thread guide to the
tension mechanism. After drawing the thread between the tension discs and
through the take-up spring, pass the end of the thread through the hole in the
take-up lever from the side nearest the tension disc. Now thread the remaining
guide which leads to the needle and insert the thread into the needle from the
side on which the last guide appears.

DRAWING THE BOBBIN THREAD: Raise the take-up lever to its highest
point. Holding the end of the top thread with your left hand, Slowly turn the
flywheel around once so that needle goes down and then comes up to its highest
position. Pull the end of the needle thread. Then a bobbin thread loop will
appear through the needle hole. Pull the loop to bring the end of the bobbin
thread out.
.
SEWING A FABRIC: Raise the presser foot and turn the fly wheel so that
take-up lever is at its highest point. Pull the upper and under thread straight
back under the presser foot to prevent them from becoming knotted at the
beginning of the stitching line.
Place the cloth to be stitched under the presser foot, with the seam allowance to
the right of the needle and the rest of the material to the left. Now turn the
wheel until the needle enters the fabric at the exact starting point, and then
lower the presser foot. Start the machine slowly guiding the material gently
with both your hands, and then gradually increase the speed of stitching . Do
not pull the material forward or backward, but hold the two layers slightly taut
and firm at the back and front of the presser foot. When you are nearing the end
of the stitching line, stitch slowly with right hand on the fly wheel and left hand
on work. Stop the machine in time so that you do not sew beyond the cloth.
Have the take- up lever at its highest point to avoid unthreading the needle
when beginning to stitch again. Raise the presser foot and pull the material
straight back with threads under the presser foot to avoid bending the needle.
Cut the threads on the thread cutter or with scissors. Leave several inches of
thread extending from the machine to prevent unthreading.

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FASTENING THE THREAD ENDS: It is necessary to fasten the threads at

the ends of the stitching lines which are not to be crossed later e.g. points of
darts . This can be done in two ways:
(1) Stitch till the termination point with the needle in the cloth, then left the
presser foot and stitch back a short distance along the seam before cutting
the thread. This is called pivoting. If your machine can do reverse stitching,
there is no need to do pivoting. You can simply set the stitch regulator for
reverse stitching. Stitch back a short distance and then cut the threads.
(2) After you have reached the end of the stitching line, pull the cloth back and
cut the threads leaving a length of about five or six inches extending from
the cloth. Pick the last stitch with a pin or needle point so as to bring out
both thread ends to the wrong side of the fabric. Now tie a double knot.

ADJUSTMENTS
Testing and adjusting tension: Before regulating the tension make sure that the
threading of the machine – upper and the under threading is correct. When there is
perfect balance of tension between the upper and the lower threads, the stitches
lock or meet together in the middle of the thickness of the cloth. Stitch will look
alike on either side of the work both as to shape and tightness. When the upper
tension is too tight, the spool thread lies straight on the top of the fabric and the
upper thread appears like loops on the upper side of the cloth. If the upper
tension is too loose, the under thread lies straight on the under side of the fabric
and the upper thread appears like loops on the under side. An easy method of
recognizing tension is to stitch diagonally across a square of fabric folded on true
bias and then to stretch the cloth firmly between your fingers until one or both
threads break. The broken thread is always the one with tighter tension. If the
tensions are balanced both threads break together and require more force to break.
If it is found that the tension does need adjustments, it is better to try to adjust the
upper tension. To increase or decrease upper tension, turn the screw on the tension
regulator with the presser foot down. In turning this screw remember that right is
tight and left is loose. Usually there will be numbers written on the tension dial. To
increase tension you should turn toward the higher number, and to decrease,
toward the lower numbers. Do not move more than two numbers or a slight turn at
a time. Then recheck the tension by stitching on a sample of fabric.
Avoid changing the lower tension unless you are sure that the tension
cannot be corrected completely by adjusting the top one alone. The lower tension
is adjusted by turning the small screw on the bobbin case using a screw driver.

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Usually the screw is turned to the right to tighten and to the left to loosen. Make
only a slight turn only each time.

ADJUSTING THE STITCH LENGTH: In general, fine fabrics requires a short

stitch (16 per inch), medium weight fabrics a medium stitch (12 inches per inch)
and heavy fabrics a long stitch (8-10 per inch). For machine basting and machine
gathering a still longer stitch (6-8 per inch) is needed. To adjust the stitch length,
loosen the stitch regulator knob by partly unscrewing it, move it to the desired
number on the marked plate and tighten the knob. On our local models of
machines, the higher number denote longer stitches. In the recent models of
machines the stitch regulator also has a setting for reverse stitching.

ADJUSTING THE PRESSURE OF THE PRESSER FOOT: Ordinary this

adjustment need not be done for sewing on fabrics of medium texture. In general,
coarse fabrics require a heavier pressure while sheer fabrics require light pressure
only. To test for correct pressure feed a double thickness of fabric through the
machine and adjust the presser thumb screw until the fabric moves under the
presser foot with ease leaving no feed marks. Usually the presser bar screw is
turned to the right to increase pressure and to the left to decrease pressure.

CHANGING THE NEEDLE: As soon as your needle becomes blunt you must
change it. Machines needles have a flat side and a round side. On the flat side there
is a short groove at the eye and on the round side there is a long groove. When
fixing a new needle in the machine, remember that the long groove must always
face the side from which the machine is to be threaded, i.e. the side facing the last
thread guide raise the take-up lever to its highest point and loosen the needle clamp
screw to remove the old needle. Keeping the take –up lever in the same position,
insert the new needle upward into the needle clamp as far as it can go and tighten
the needle clamp screw.

REVIEW QUESTIONS
1. Tick the correct answers:
(a) How should the bobbin be wound?
 Very full
 Not too full
(b) On a fine fabric what kind of stitch do you use.
 Short stitch
 Long stitch

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2. Write the functions of the following machine parts.

(a) Feed dog (b) Presser foot (c) Tension disc
3. Write two causes for the following minor troubles in a machine.
(a) Upper thread breaking
(b) Fabric puckering
4. Explain the following sewing machine attachments.
(a) Binder (b) Tucker (c) Hemmer foot
5. Name the various sewing machine models available in the market.
6. Which points you must consider while selecting a sewing machine.
7. Write short notes on:
(a) Cleaning of sewing machine
(b) Oiling of sewing machine
8. Write two reasons for the tangled thread in the beginning.

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BODY MEASUREMENTS
chapter......3
In order to construct garments that fit well, body measurements
must be taken with precision . You can draft original patterns based on these
measurements which can be used as the basis of a variety of styles. If you
do not want to take the trouble of drafting your own patterns, you may buy
commercial patterns, but to select the pattern of correct size and later to
make pattern adjustments to fit your figure you have to know your own
measurements.
Garment cutting is based on measurements. So it is very important for
a dress-maker to know how to take correct measurements.

Points to remember while measuring:

1. Try to know the customer’s requirements regarding the fit, style, shape ,
pockets, collars, buttons, seam finish etc. Before taking measurements. A
preliminary talk with the customer , showing fashion pictures and stitched
garments will help one to understand him.
2. Observe the figure carefully and if any deviation from the proportionate is
found, do not simply remember but record it in the order book, without
giving any idea of the deformity.
3. The person to be measured should stand erect, but in a natural pose, in front
of a mirror.
4. Measurements must be taken comfortably, without pulling the tape too
tight or loose.
5. The measurements must be taken with proper order and with a certain
sequence.
6. All girth measures should be taken tightly, as ease for movement is
included in the draft.
7. The measurements should be taken over a smooth fitting foundation
garment and never over bulky garments.
8. Before taking measurements, tie a cord or string around the waist.
9. Hold the tape parallel to the floor for Horizontal measurement, and
perpendicular to the floor for vertical measurements.
10. To avoid any mistakes ,take the measurements twice.

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PREPRATION FOR MEASURING

For taking the measurements , use a good quality measuring tape which is
sturdy and not stretch. It should however be too stiff – it should be pliable. The
metal end of the tape should be used for vertical measurements and the other end
for horizontal and circumference measurements. The measurements should be
taken over a smooth fitting foundation garment and never over bulky garments.
Before taking measurements, tie a cord or string around the waist. Next, take a ¼”
wide tape and cast it around your armhole. This will make it easier to measure
width of shoulders, armscye depth etc. Stand erect with the arms hanging straight
at the sides while measurements are being made by the sides while measurements
are being made by someone else. (it is possible though less convenient and less
accurate to take your own measurements). Take snug measurements rather than
tight or loose ones. Hold the tape parallel to the floor for horizontal measurements,
and perpendicular to the floor for vertical measurements. As the measurements are
taken, record them in a note book.
The measurements needed will depend on the type and style of garments you are
making and the age and sex of the intended user.

BODY MEASUREMENTS

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LADIES MEASUREMENT
Bodice measurements:
1. Bust: Measurement around the fullest part of the bust raising the measuring
tape slightly to a level just below the shoulder blades at the back.
2. Waist: measure snugly around the waist (where you tied the cord) keeping
the tape parallel to the floor.
3. Neck: measure around the neck, passing the tape just above the collar bone
in front and along the base of the neck at the back.
4. Shoulder: measure for the neck joint to the arm joint along the middle of the
shoulder (A to B in Fig. 1a).
5. Front waist length: measure down from neck at highest point of shoulder to
waist line through the fullest part of the bust(A to D IN Fig.1 a)
6. Shoulder to bust: measure down from highest point of shoulder to tip of
bust (A to D n Fig. 1a).
7. Distance between bust points: measure in the horizontal direction, the
distance between the two bust points (D to E in Fig. 1a).
Note: Measurements 6 and 7 are needed for locating the position of darts.
8. Back width or across back measurement: measure across the back from
armhole to armhole about 3 inches below base of neck (P to Q in Fig. 1b).
9. Back waist length: measure from the base of neck at the centre back to
waist line (R to S in Fig. 1b).
10.Armscye depth: measure from base of neck at centre back to a point
directly below it and in the level with the bottom of the arm where it joints
the body(R to T in Fig. 1b)

Sleeve Measurements:
11.Upper arm circumference: Measure around the fullest part of the arm.
12.Lower arm: Measure around the arm at desired level corresponding to
lower edge of sleeve.
13.Elbow circumference: Measure around the arm at elbow.
14.Wrist: Measure around the wrist.
15.Sleeve length: For the short sleeve length , measure down from tip of
shoulder at top of arm to desired length of sleeve (B to F in Fig. 1a). For
elbow length sleeve measure from top of arm to elbow point (B to G in Fig.
1a). For full length , bend the elbow slightly and measure down from top of
arm to back of wrist passing the tape over the elbow point (B to H in Fig.
1a).

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Skirt Measurements
16.Waist: Same as for bodice.
17.Hip: Measure around the fullest part of the hip horizontally . ( This level
will be about 7 to 9 inches below the waist for an average figure )
18.Waist to hip: Measure down from waist at centre back to fullest part of the
hip (S to U in Fig. 1b)
19.Skirt length: Measure down the centre back from waist to desired length of
skirt (S to V in Fig. 1b). Length from the waist to the floor can be taken at the
same time and the difference between the two noted . This difference will give
the number of inches the skirt is above the floor level.
After taking your measurements , compare them with the “
Sample measurements for ladies garments” given in table 1. Any
measurements which appears too small or exaggerated must be rechecked at
once.

CHILDREN’S MEASUREMENTS
Till 5 years, measurements are the same for boys and girls. From
6 -12 years the measurements listed in the table are girls measurements.
Some additional measurements for children’s are listed here.
1. Thigh girth: Measure around the widest part of thigh. This
measurement is useful while stitching children’s short pants, girls
bloomers etc., especially if you are inserting elastic in the thigh part of
the garment.
2. Cervical height: Take the height vertically from the nape of the neck to
the ground.
3. Crotch length: Measure from the centre back waist under the crotch to
the centre front waist. This measurement is useful for pants, pyjamas etc.
4. Frock length: Measure down from neck at highest point of shoulder to
desired length along the front.
5. Chest: For children and men, bust measurements explained under ladies
measurements is referred to as ‘chest measurement’.

Round Measure
1. Upper arm: This is taken around arm at the armpit level, keeping the
arm bent,
2. Elbow: It is taken around the front of the elbow with the arm bent.
3. Round wrist: It is taken around the wrist joint.

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TABLE SHOWING CONVERSION OF MEASUREMENT FROM

INCHES TO CENTIMETERS
1 2 3 4 5 6 7 8 9 10 INCHES
2.54 5.1 7.6 10.2 12.7 15.2 17.8 20.8 22.9 25.4 CMS
11 12 13 14 15 16 17 18 19 20 INCHES
27.9 30.5 33.0 35.6 38.5 40.6 43.2 45.7 48.3 50.8 CMS
21 22 23 24 25 26 27 28 29 30 INCHES
53.3 55.9 58.4 61.0 63.5 66.0 68.6 71.1 73.7 76.2 CMS
31 32 33 34 35 36 37 38 39 40 INCHES
78.7 81.3 83.8 86.4 88.9 91.4 94.0 96.5 99.1 101.6 CMS
41 42 43 44 45 46 47 48 49 50 INCHES
104.1 106.7 109.2 111.8 114.3 116.8 119.4 121.9 124.5 127.0 CMS
51 52 53 54 55 56 57 58 59 60 INCHES
129.5 132.1 134.6 137.2 139.7 142.2 144.8 147.8 149.9 152.4 CMS

SAMPLE MEASUREMENTS FOR CHILDREN’S GARMENTS

(All measurements are in inches)
Age in years 1 2 3 4 5 6 7 8 9 10
Chest 18 19 20 21 22 23 24 25 26 28
Waist 18 19 20 21 22 22 23 23.5 24 24
Hip 19 20 21 22 23 24 26 27 28 30
Back 8 8.5 9 9.5 10 10.5 11 12 13 14
Width
Back 8 8.5 9 9.5 9.75 10 10.5 11 12 13
Waist length
Armscye 4.5 4.75 5 5.25 5.5 5.75 6 6.5 6.5 6.75
Depth
Short sleeve 3.5 4 4.5 5 5.5 5.75 6 6.75 7 7.5
Length
Lower arm 7 7.5 8 8.25 8.5 8.75 9 9.25 9.5 9.75
Full sleeve 9 11 13 14 15 16 17 19 20 21
Length
Wrist 5 5.25 5.25 5.5 5.5 5.75 6 6 6.25 6.25

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Waist -Hip 3 3.5 4 4.5 5 5.25 5.5 6 6.5 7

Thigh girth 9 9.5 10 10.5 11 12 13 15 17 19
Crotch 14 15 16 17 18 19 21 23 25 27
Length
Cervical 25 27 29 32 34 37 41 45 49 52
Height
Waist -ankle 16 18 20 22 24 26 30 33 36 38

Maxi skirt 16 18 20 22 24 26 30.5 34 37 39

Length
Short skirt 8 9 10 11 12 13 14 16 18 20
Length
Frock 15 17 18 20 22 23 24 27 30 33
Length
Blouse 10 10.5 11 11.5 12 13.5 14 15 16 17
Length

These are typical measurements for girls up to five years of age body
measurements ( i.e All except the last four items in the table apply also to
boys)

SAMPLE MEASIYREMENTS FOR LADIES GARMENTS

(All measurements are in inches)
Bust 28 30 32 34 36 38 40 42
Circumference
Waist 24 24.5 25 26 28 30 32 33
Circumference
Hip 30 32 34 36 38 40 42 44
Circumference
Back Width 14 14 14.5 15 15.25 15.5 15.75 16
Armscye Depth 6.75 7 7.25 7.5 7.75 8 8.25 8.5
Distance between 6 6.25 6.5 7 7.25 7.5 8 8.25
Bust points
Lower arm 9.5 9.75 10 10.25 10.5 11 11.25 11.5
Circmference

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Wrist 6.25 6.5 6.5 6.75 6.75 7 7.25 7.25

Circumference
Back waist Length 13 to 16

Shoulder to bust 7.5 to 9.5

Full sleeve 20 to 23
Length
Short sleeve 7 to 10
Length
Waist to Hip 7 to 9
Waist to ground 38 to 44

Choli Length 12 to 14
Pant Top Length 18 to 23
Kurta Length
38 to 42

Maxi Dress Length 52 to 56

Maxi Skirt Length 38 to 44

Middy Skirt 24 to 28 .
Length
These measurement depend on the height of the person

CHART SHOWING MEASUREMENT OF ARMHOLE DEPTH AND

LENGTH OF SLEEVE BY CHEST MEASUREMENT
Chest Armhole Depth Sleeve Length
16 4 4.5
17 4.25 4.75
18 4.5 5
19 4.75 5.25
20 5 5.5

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21 5.25 5.75
22 5.5 6
23 5.5 6
24 5.75 6.25
25 6 6.5
26 6 6.5
27 6.25 6.75
28 6.5 7
29 6.5 7
30 6.75 7.25
31 7 7.5
32 7 7.5
33 7.25 7.75
34 7.5 8
35 7.75 8.25
36 7.75 8.25
37 8 8.5
38 8.25 8.75
39 8.5 9
40 8.5 9
41 8.25 9.25
42 8.25 9.25

SAMPLE MEASUREMENT FOR LADIES GARMENT

(All measurements are in inches)
Bust 28 30 32 34 36 38 40 42
Circumference
Waist 24 24.5 25 26 28 30 32 33
Circumference

Hip 30 32 34 36 38 40 42 44
Circumference
Back Width 14 14 14.5 15 15.25 15.5 15.75 16
Armscye 6.75 7 7.25 7.5 7.75 8 8.25 8.5
Depth

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Distance 6 6.25 6.5 7 7.25 7.5 8 8.25

between Bust
Point
Lower arm 9.5 9.75 10 10.25 10.5 11 11.25 11.5
Circumference
Wrist 6.25 6.5 6.5 6.75 6.75 7 7.25 7.25
Circumference
Back Waist 13 To 16
Length
Shoulder to 7.5 To 9.5
Bust
Full Sleeve 20 To 23
Length
Short sleeve 7 To 10
Length
Waist to Hip 7 To 9
Waist to 38 To 44
Ground
Choli Length 12 To 14
Pant Top 18 To 23
Length
Kurta Length 38 To 42
Maxi Dress 52 To 56
Length
Maxi Skirt 38 To 44
Length
Middy Skirt 24 To 28
Length
These measurements depends on the height of the person

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HOW TO TAKE BODY MEASUREMENT

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REVIEW QUESTIONS
1. Fill in the blanks
(a) Garment cutting is based on ---------.
(b) Person to be measured must stand erect, in a natural pose in front of a ---
-------.
2. Give reason
(a) All girth measures should be taken tightly.
(b) Measurements must be taken twice. Why ?
3. List out any four girth measures.
4. How will you take bust measure ?
5. Write any five points to remember while measuring.
6. List out the various sleeve measurements.

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Chapter 4
Basic hand stitches
INTRODUCTION: The knowledge of various type of stitches is necessary for the
beginners before starting to sew on the original garment. It is better to practice
these stitches on a small piece of fabric prior to stitching on the original garment.
Keep the hands clean before stitching, so that the new clothes will not soil. Sit in a
comfortable position while sewing and make sure the room is well illuminated.
Basic stitches are divided into constructive and decorative stitches. Constructive
stitches are further divided into temporary and permanent stitches.

Classification of Basic hand stitches

Basic hand stitches

Constructive stitches Decorative stitches

Temporary stitches Permanent stitches

1)Even basting 1) Running Stitch

2) Back stitch
2)Uneven basting 3) Run and back stitch
4) Hemming
3)Diagonal basting
5) Slip stitching
4)Slip basting 6) Overcasting
7) Overhand stitch
8) Whipstitch

TEMPORARY STITCHES:
Tacking or basting is a temporary stitch used for holding two or more layers of
fabric together during fitting or before working the permanent machine stitches.
Usually the stitch is worked from right to left. This is the only stitch which is

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started with a knot and is worked in white or light-coloured thread that contrasts
with the fabric so that it can be easily noticed and removed once the permanent
stitch is worked. Dark thread can leave marks on a light-coloured fabric. The
length of the stitches will vary depending on the weight of the fabric and how
securely the pieces have to be held together. To end basting, make two stitches one
on top of another. There are several types of basting stitches, four of which are
explained below:-
1. Even basting 2. Uneven basting 3. Diagonal basting 4. Slip basting
1. Even basting : Use fine needle and start the stitch with a knot. The stitches are
of equal length about ¼” on both sides of
the material. A number of longer stitches
can be worked at a time. This is used on
smooth fabrics and in areas that require
close control, such as curved seams, seams
with ease and set-in sleeves.

2. Uneven basting: In this, the stitches on

the upper side are ½” or at least twice that
on the under side (¼ ”). This stitch can be
used for longer folds and seams. Use this
type of tacking as a guideline or where
there is little or no strain.

3. Diagonal basting: This consists of horizontal stitches taken parallel to each

other and producing diagonal floats in between. It is
used to hold or control fabric layers within an area
during construction and pressing. Short stitches,
taken close together, give more control than do
longer stitches taken far apart. The short diagonal
basting is used to hold seam edges flat during
stitching or pressing. The long diagonal basting is
worked to hold underlining to garment fabric during
construction.
4. Slip basting: is a temporary uneven slipstitch that permits precise matching of
plaids, stripes, and some large
prints at seamlines. It is also a

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practical way to baste intricately curved sections, or to make fitting adjustments

from right side. Crease and turn under one edge along its seamline. With right
sides up, lay the folded edge in position along the seamline of the corresponding
garment piece, matching the fabric design; pin. Working from right to left and
using stitches 1/4 ” in length , take a stitch through the lower garment section, then
take the next stitch through fold of upper edge. Continue to alternate stitches in this
way, removing pins as you go.

PERMANENT STITCHES:
1) These stitches are made permanent on the garment and need not be removed
later like temporary stitches. They are worked using matching thread and the
stitching line starts and ends with a back stitch. Some of permanent stitches
are 1. Running stitch 2. Back stitch 3. Run and back stitch 4. Hemming
stitch 5. Slip stitching 6. Overcasting 7.Overhand stitch and 8. Whipstitch.
1. Running Stitch: This is the simplest form of hand stitch which is used for
permanent sewing. This stitch is
worked using same colour thread.
Handmade seams, tucks, mending,
shirring, quilting, gathering and
finishing edges can be done with this
stitch. It is similar to even basting, but
the stitches are much smaller, straight, fine and evenly spaced. The length of the
stitches vary from 1/16 to 1/8 inch in length. Pass the needle through the fabric
several times before pulling it through. It is comparatively easy and can be worked
fast.
2. Back stitch: This stitch is strong and sometimes substituted for machine stitch.
It takes much time. Care must be taken
while stitching, since stitching is done
on the right side of the fabric. On the
wrong side of the fabric the stitch is
similar to stem stitch. Stitches should
be about 1/8” long on the right side. To
make the back stitch, push needle up through the material at a point on the
stitching line about 1/8” from its right end. Take a stitch inserting the needle 1/8”
back of the thread at the beginning of the stitching line and bringing it out an equal
distance in the front of the thread. Repeat this way, keeping stitches uniform in
size and fairly firm.

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3. Run and back or Combination stitch: This stitch is a combination of a back

stitch and three to four running stitches. This is used where back stitch is not
compulsory and is used for working plain seam done by hand. This stitch is faster
than the back stitch and stronger than the running stitch.
4. Hemming stitch: This is used to hold the in place the bottom fold of the
garment usually known as the hem. Hemming
must be fine, evenly spaced and must be
inconspicuous from the right side of the garment.
Start the hem with a tiny back stitch and finish
with the same. Hemming must be as invisible as
possible on the right side of the garment. Work
slanting stitch or vertical stitch on wrong side,
close enough to hold the hem securely, picking
one or two yarns of the fabric. Usually this stitch
is seen in all types of garments. Slant hemming
stitch is quick to work, but is least durable because of the long thread floats which
are subjected to abrasion. Whereas vertical hemming stitch is durable and stable
stitch best suited for hems whose edges are finished with woven edge or stretch-
lace seam tape. Very little thread is exposed, reducing the risk of fraying and
breaking.
5) Slip stitching: This is a nearly invisible stitch formed by slipping the thread
under a fold of the fabric. It can be worked to secure hems and facings. It is also
used to attach patch pockets, trims, coat and jacket linings. Fasten the thread
beneath the hem, bringing the needle out through the edge of the fold. Take a tiny
stitch in the garment directly
beneath the point where the
thread leaves the fold. Now
insert the needle in the hem,
slip it along inside the fold
and bring it out again about
1
/2 inch away. Repeat the
stitch.
6) Overcasting: This is the customary hand stitch for finishing the raw edges of
fabric to prevent them from
ravelling. In general, the more
the fabric ravels , the deeper and
closer the stitches should be
worked. Take diagonal stitches

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over the edge, spacing them evenly apart at uniform depth.

7) Overhand stitch: These tiny, even stitches are used to hold together two
finished edges, as, for example, when attaching lace edgings or ribbon to a
garment. Insert needle diagonally from the back edge through to the front edge,
picking up only one or two threads each time. The needle is inserted directly
behind thread from previous stitch and is brought out a stitch length away. Keep
the stitches uniform in their size and spacing.

8) Whipstitch: This is a variation of the overhand stitch, the main difference being
the angle at which the needle is held. Though generally used to join two finished
edges, it can also hold a raw edge neatly against a flat surface. Insert needle at right
angle and close to the edge, picking up only a few threads. Slanted floats will be
produced between the tiny
stitches. Space between stitches
can be short or long, depending
on the circumstances.

DECORATIVE STITCHES:
Decorative stitches are conspicuous stitches which are worked on the right side
with matching or contrasting coloured thread. Embroidery is one of the decorative
stitches. Embroidery is the art of working ornamental designs on cloth, leathers,
etc., with decorative stitches. Some of the decorative stitches are stem stitch, chain
stitch, herringbone stitch, French knot, bullion knot, spider stitch etc. For
successful embroidery work, it is essential to learn the basic stitches, acquire the
ability to choose the right type of stitches, designs, colour combinations suited to
the type of fabric, the purpose and use the garment or article on which the
embroidery is to be made.

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Chapter 5
Seams and Seam Finishes
Seams
Seam is a method of joining two or more
pieces of material together by a row of
stitching. In garment construction, one of
the major steps is the joining of different
sections by seams. The purpose of most of
these seams is purely functional and we call
them constructional seams. (Example:
shoulder seam, side seam, under arm seam,
waistline seam etc.)These should be as
inconspicuous as possible. However there
are some seams which are used for
decorative purposes; these are made
conspicuous in order to give the garment design and line (example: piped seam,
slot seam). The stitching line along the seam is called the seam line. The seam
allowance (SA) is the space between the fabric edge and the seam line.

Standards of a Seam
A well-constructed seam should be:
• Smooth and even in appearance on the inside and outside. (Properly adjust
machine tension, stitch length, and presser foot pressure to suit the fabric and
thread. Make sure fabric does not pucker.)
• Even in width throughout.
• Pressed open or closed according to the type of seam and how it is used in the
construction process.
• If stitched with thread, the thread should be appropriate to the fabric type and
fiber content. (Thread color should match or be slightly darker.)

Types of Seams
The commonly used seams are:
(1)Plain seam (finished or unfinished)
(2) Top stitched seam
(3) Flat fell seam
(4) French seam
(5) Mantua maker's seam and

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(6) Piped seam.

Seams can be classified as follows:

Seams

Flat seams Ridge seams

Plain seam
French seam
Top stitched seams
Flat fell seam Mantua maker's seam
Piped seam

Seams

Conspicuous Inconspicuous
seams seams

Top stitched seams Plain seam

Flat fell seam French seams
Piped seam Mantua maker's seam

Seams may be classified into flat seams and ridge seams. Plain seam and flat fell
seam are examples of flat seams. Ridge seams include the French seam and
Mantua maker's seam. Seams may also be divided into conspicuous and
inconspicuous seam. Conspicuous seams are visible on the right side of the

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garment. When inconspicuous seams like plain seam and French seam are finished
no stitches will be visible on the right side of the fabric.

Factors influencing the Choice of Seams

The type of seam to be used on a garment will depend on various factors. The most
important ones are listed below, with examples illustrating their roles in the choice
of the seam to be used.
(1)Texture and durability of the fabric: When working with a heavy fabric, for
example, you should avoid bulky seams like French seam.
(2) Design and use of the garment: When making a boys’ sports shirt, a strong
seam like flat fell seam should be used.
(3)Shape of the seam: Seams maybe straight or curved. Straight seams may be in
vertical, horizontal or slanting directions on the dress. When joining curved edges,
plain seam will give a better finish than French seam or any other types of seams.
(4)Location of the seam in the garment: Seams in parts of the garment which
may get stretched during body movement will have to be made more durable than
others.
(5)Sewing Machine: The choice of seam may depend on the type of attachments a
sewing machine has. If one has a serge or zig-zag machine one has more choice
than a simple straight stitch machine.
(6)Current fashion: The modern trend determines which seam is to be used.
Some prefer simple seam that produces a graceful and well-fitting garment.

TYPES OF COMMONLY USED SEAMS:

Plain seam (Fig. A): A plain seam is joining
two pieces of fabric face-to face by a row of
machine through both pieces that leaves the
seam allowance raw. It is also called as single
needle butterfly stitch as once the seam is made
the seam allowance are pressed open to either
side of the seam line to look like a butterfly.
This is the most widely used seam because it is
easy to make, requires less time and is pliable and inconspicuous. It is used on all
types of fabrics except on very transparent kinds, and is especially suitable for firm
fabrics that do not ravel and will not be subjected to hard and frequent laundering.
On skirts, coats, petticoats, blouses etc. plain seam is used especially for side

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seams, under arm seams and armhole seams. Various methods of finishing the raw
edges of a plain seam are pinked finish, edge stitched finish, double stitch finish,
overcast finish etc.

Top stitched seam (Fig. B-F): Top stitching is a sewing technique where the line
of stitching is seen on the right side of the garment. Top stitching adds strength and
decoration to the seam. It can also be used to attach details like pockets. The five
top stitched seams are: Single top stitching, Double top stitching, Welt seam /Mock
flat fell seam, Lapped seam/Tucked seam and Slot seam

Single top stitching (Fig.B): Stitch a plain

seam, press the seam edges to one side and
work a row of machining close to the seam
line on the right side catching the seam
allowances.

Double top stitching: (Fig. C)In this, two extra

lines of stitching is done on the right side of the
garment, one on either side of the seam line, after
the seam allowances are pressed open.

Welt seam /Mock flat fell seam (Fig. D): A

flat inside seam, graded and pressed to one
side; the larger seam allowance being top-
stitched to the garment thereby enclosing the
smaller seam allowance. It is used on heavy
coats, sportswear, yokes etc. to reduce bulk
on the inside of the garment.
Stitch a plain seam and trim one raw edge to about 1/4 inch width. Press the two
raw edges to one side with the narrow one enclosed under the wider one. Now
stitch on the right side so that the stitching will come just outside the narrow seam
edge, but inside the wider seam edge.

Lapped seam/Tucked seam (Fig. E) The lapped seam is a very strong smooth seam
which lies perfectly flat and is commonly used for joining a gathered section to a

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straight edge as in a yoke. When the lap is wide, giving the effect of a tuck, it is
known as a Tucked seam.
Take a part of a garment which is to be laid on top and turn its seam allowance to
wrong side. Place this piece on top of the second piece, right side facing and
matching the fold to the seam line accurately. Tack in position and machine close
to the folded edge.
Slot seam (Fig. F): A seam with a decorative slit formed by bringing two folds
together and stitching them onto an
underlying piece. It is a variation of
lapped seam and is often used down the
centre front or center back of skirt, coats
and dresses primarily for decoration or to
add length to the garment. Sometimes it
is combined with an inverted pleat.
Cut a strip of fabric of the same length as
the seam itself and having width more
than twice the width of the seam allowance. Work a row of tacking down the
center of the strip. Take the two parts of the garment to be seamed and fold their
seam allowances to the wrong side. Now, with right side up, place the folded edges
over the strip so that the folds fall exactly on the tacked line of the strip. Tack in
position close to the folded edges and top stitch carefully along each side of the
seam about ¼ inch from the center line. Finally remove all the tacking. The
backing strip may be of the same fabric as the garment or a contrasting colored
fabric and may be cut on the bias.

Flat fell seam / Run and fell seam: A flat felled seam is basically made by
overlapping or interlocking one seam allowance with the other and top-stitching
them together onto the garment with two parallel rows of stitches. This is a flat
durable seam used on men’s sports shirts,
work clothes, children’s clothes and
pyjamas. However it is time consuming,
and is difficult to make on curved edges
and on bulky fabrics.
Place the pieces to be joined wrong side
facing, and stitch on the seam line. Press
both seam allowances together in the

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same direction and trim the under seam allowance to 1/8 inch and the upper one to
3
/8 inch (Fig. A).
Turn under the raw edge of the wide seam allowance so as to make a smooth fold
¼ inch wide. Keeping this fold in position, tack the fold down flat to the garment,
Machine stitch close to the folded edge on the right side of the garment (Fig.B) The
right side of the seam will show two rows of stitching and wrong side will show
only one row of stitching.

Hemmed flat fell seam: is made in a

similar manner, but the first row of stitching
for making the plain seam is done on the
wrong side of the garment and the last
stitching is done by hemming instead of
machining.

French seam: A seam in which the raw

edges of the cloth are completely covered
by sewing them together, first on the right side, then on the wrong. This is a ridge
seam and is used on transparent and light weight and sheer fabrics. Especially on
baby clothes and delicate blouses. It gives a neat and durable finish, as the raw
edges are completely enclosed. However it is time consuming, and too bulky when
used on thick materials. Do not use this seam on curves such as armholes and
yokes.
The two pieces of materials to be joined
are placed together with wrong side
facing. Work a row of stitching 1/8 inch
outside the seam line towards the raw
edges. After stitching, trim the seam
allowances to less than 1/8 inch (Fig. A)
Press the seam and turn the work so that

the right sides are together. Crease the

first row of stitching so that it is directly
on the edge. Pin or tack and stitch
along the seam line about 1/8 inch from
the fold (Fig. B). In this seam, care
should be taken to see that there are no
ravels visible on the right side.

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Mantua maker’s seam: This is also a ridge seam which is not suitable for bulky
fabrics. It can be used to attach lace in the form of a frill or flounce on sheer
fabrics.
Keeping right sides facing, tack the garment on the seam line. Trim one seam edge
to 1/8 inch from the tacking line and the other seam edge to 3/8 inch. Make a 1/8 inch
turning on the wide edge so that this edge nearly touches the narrow seam
allowance (Fig .A)
Now make a second fold to make the folded
edge line along the original tacking line.
Machine stitch or hem through all
thicknesses and remove tacking (Fig. B).

Piped /Corded seam: Sometimes a piping or bias binding is

inserted in a plain seam to give a decorative finish to the garment.
This type of seam is very often used in collars, cuffs, pockets and
at the waist line and yoke line of dresses. If a cord is enclosed in
the bias strip, the seam is called corded seam.
Prepare the bias strip, fold it in the middle and tack it to the right
side of the pieces to be seamed in such a way that the bias fold
extends 1/8 inch inside the seam line. Place the second piece on top
of the first piece (right sides facing) with the bias lying in between,
and stitch along the seam line. When the seam is turned to the
right side, the piping or binding will extend between the two
pieces of material. To be most affective the bias material should
be of a contrasting color.

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Counter seam: This seam is suitable for heavy materials. In this seam both the
raw edges are enclosed by both the seam allowances along the seam line.

Turn under the seam allowance of one fabric piece to the wrong side and the other
to the right side. Press
Place the wrong side of the first piece of fabric on the right side of the second
piece along the edges, keeping the seam allowances. Pin in place.
Stitch along the folded edge.

Hairline seam: This is a type of enclosed seam which is mostly used for collars
and other enclosed areas. The seam allowances are not visible from the outside as
it gets enclosed.
Make a plain seam using a very tight
straight stitch, with the fabrics right
side together. Trim away very close
to the stitching line. Press the seam.
Turn right side out. You can make a
top stitch to secure the seam.

Serged seam: For this seam a Serge or Overlock

machine is used wherein a serge stitch is used instead
of plain seam. The seam allowance is trimmed by the
machine. This seam gives stretch and flexibility to
the seam.
This seam can be used under following condition:
 If it is not important that seams are kept flat or
open.

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 On light weight fabrics.

 For loose garment.
 For the sewing knitted garments.
Place right sides of the fabrics together matching the stitching lines.
Keep the fabric under the needle. The serge will automatically trim the seam
allowance and enclose the fabric edges in a thread.
A 3 thread serged seam will give stretch to the seam and a 4 thread serged seam
will give strength to the seam. A 3 thread serged seam is often used for knit fabrics
for its stretching property.

Flat or Abutted seam: Two pieces of fabric are joined edge-to-edge with no
overlap and sewn with hand or machine stitching that encloses the raw edges. This
is used when joining seams where you do not want any bulk. For example when
sewing lingerie.

SEAM FINISHES
A seam finish is a treatment that secures and neatens the raw edges of seam
allowance of a plain seam, by sewing over the raw edges or enclosing them with
binding.
Seam finishes are made to prevent fraying of the raw edges and thus make the
seam more durable. It makes the inside of the garment look neat, clean and

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professional as the outside. Knowledge of the seam finishes will enhance the look
of sewn garment.

Standards of Seam finish

A good seam finish should have the following qualities:
 Neat, even stitches
 Smooth ,without puckers
 Protect the area and prevent the edge from raveling, stretching, rolling, or
curling.
 Does not add too much bulk to the seam allowance
 Imprint of seam finish does not show on the right side of the garment
 Appropriate for the fabric and intended use of the garment

Selection of Seam finishes

When choosing a seam finish, consider the following:
(1)Bulk and weight of fabric and bulk of seam finish: If the fabric is bulky do
not choose a bulky seam finish. For lightweight fabric, a bulky finish will affect
the hand/drape of the garment. Finishes that control excessive raveling are
generally bulky.
(2)Tendency of fabric to ravel: Woven fabrics ravel as compared to knit fabrics.
Tightly woven fabrics do not tend to ravel. Some knit fabrics tend to curl or roll
along the cut edge. A seam finish is needed to control the curling.
(3)Ability of the finish to control raveling: Pinked finish controls a limited
amount of raveling. Bound seam finish controls almost any raveling.
(4)Finished appearance of the garment: Choice of a seam finish that will not be
visible on the outside of the garment or affect the hang/drape of the garment is
important. For unlined jackets-that is worn open in front choose a seam finish that
will enhance the inside appearance of the jacket, as many times the inside of this
type of jacket may be seen.
(5)Strength and type of seam: Crotch seam on a pair of pants take more strain
than side seam. It is advantageous to secure the crotch seam with finish that will
strengthen the seam as well as prevent fraying.
(6)Use or purpose of garment: Garments worn and laundered frequently such as
children’s play clothes may need a more secure finish than a garment that is worn
and laundered less frequently.
(7)Care of the garment: The amount of wear it will receive. Machine-laundered
garments on a normal setting will have more abrasion and a greater tendency to

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ravel than garments laundered on a gentle cycle for a short period of time or dry-
cleaned.
(7)Equipment: Some sewing machines are capable of sewing a zigzag stitch.

TYPES OF COMMONLY USED SEAM FINISHES:

Pinked finish (Fig. A): This seam finish is
made using Pinking shears, a particular type of
scissors that gives a zigzag pattern on the cut
edge. This is a quick method and is not bulky
but is not a suitable finish for fabrics that ravel
badly. After stitching a plain seam, trim off
about 1/8 inch of the seam allowance using the
pinking shears, than press the seam open.

Edge stitched finish (Fig. B): The seam is

stitched and pressed open. Then turn under ¼
inch on each seam edge and top stitch close to
the fold without catching the garment. This finish
is used on unlined coats and jackets where a wide
seam allowance is available. This is a bulky
finish and is not suitable for deeply curved
seams.

Double stitch finish (Fig. C): After making a

plain seam, work an extra line of stitching
about ¼ inch from the raw edge. This can be
done for a plain unfinished seam or pinked
seam. This is not suitable for bulky fabrics.

Overcast finish (Fig. D): This is a common

method used for both thick and thin materials that
fray easily. It is suitable for narrow seams and
also for seams that receive hard wear or extra
strain such as armholes and waist lines. After
making the plain seam, press the seam open and
work overcasting stitches over the raw edges of

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the two seam allowances separately. Avoid tight stitches in order to prevent edges
from puckering. On seam of armholes or yokes, press the seam allowances to one
side and overcast the two edges together.
Note: Instead of overcasting blanket stitch or zigzag machining can be done on the
raw edges of the seam allowance.

Herring bone finished seam (Fig. E) This

finish neatens the raw edges and also holds
down the turnings, making the seam flat. This is
suitable for heavy materials like flannel. After
pressing the seam open, herringbone stitches
are worked on the two raw edges, catching
the garment.

Bound seam edge finish (Fig. F): The seam

edges are bound by a bias strip of a thinner fabric
to keep the seam from fraying without adding
bulk. For thin fabrics seam allowances could be
pressed together and bias binding attached to it.

Self-bound fabric edge finish (Fig. G): This finish is

best used for light weight fabrics and sheer fabrics. This
seam finish wraps one seam allowance over the other, thus
enclosing the raw edges. Keep the fabrics right sides
together along the stitching line and make a plain seam.
Trim one of the seam allowances to 1/8″. Turn the other
seam allowance edge over the trimmed seam allowance.
Now the smaller edge is enclosed in the fold of the other
seam allowance. Make a straight stitching line along the
raw edge of the folded seam, parallel and close to the seam stitching line.

Liquid seam finish (Fig. H): This is done with a

liquid which is a seam sealant, several liquid
commercial product marketed under brand
names like Fray Check™, etc. are available to
use as a seam finish. It is great to use around

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buttonholes, on the corners of a collar, etc. It is fast, relatively inexpensive, and

easy to apply, it controls raveling and withstands several launderings. It works best
on light to medium-weight fabrics. The product may stiffen the fabric but becomes
softer after laundering or dry-cleaning. If used on crisp or stiff fabrics, it becomes
scratchy, irritates the skin and may damage underwear.

HINTS ON STITCHING AND FINISHING SEAMS

(1) When stitching a bias edge to a straight edge, work with the bias edge on top.
(2) When joining a plain edge and a gathered edge, stitch with the gathered side up
exactly on the gathering line.
(3) While joining two bias edges, stretch the seam
slightly as you stitch. Always stitch with the
grain (from wider end to the narrow end of the
garment piece).
(4) When seams are to be crossed, press open the
first seam before you stitch a second seam across
it.
(5) After stitching curved seam such as necklines and collars clip seam edges
towards stitching in order to make the seam lie flat (Fig. A)

(6) While constructing garments, many seam

(especially enclosed seam as in a collar) have to
be trimmed to reduce bulk. Trimming (Fig. B) is
the process of cutting away both seam
allowances to the same width.

(7) Sometimes it is necessary to grade seams

especially where several layers of fabrics are
joined together. Grading means that the seam
allowances are trimmed to different widths
(Fig. C). This is done in such a way that when
the seam allowances are all pressed to one side,
the widest one comes on top and hides those
below, which become progressively narrower.
(8) After stitching plain seams in a garment and while making single top stitched
seams and flat fell seams, the seam allowances should be pressed to the proper

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direction as directed:
 When a plain side is joined to a fuller side, the allowances should be
pressed so that the plain side lies on top. So when joining blouse to sleeve,
the seam allowance on the blouse should be on the top side. Similarly
after joining yoke to a gathered section, the seam should be pressed so
that the yoke seam edge lies on top.
 For side seams, the seam edges should be pressed to the back side.
 At centre front of garments, press the seam allowances to the left side for
boys and right side for girls.

MITRING
Bound corners have excess fabric which has to be mitered with a diagonal seam at
the corner and taking up the excess fabric in the seam. This method is used while
joining borders for blankets or attaching borders, braids or lace around saris, table
cloth etc. The folded portion may be cut off to avoid bulk. A different method is
used when the border extends beyond the cloth and has to be folded back onto the
seam line. Two darts are taken, both tapering to the fold line.

Mitred Binding

Inner Mitred Corner

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Outer Mitred Corner

Review Questions
1. State the difference between Seams and Seam finishes.
2. What is seam allowance?
3. Why are seams finished?
4. What are the factors that influence the selection of a seam finish?

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Chapter 6
PREPARATION AND USES OF TRUE BIAS,
FACING AND BINDING
TRUE BIAS
A true bias falls on a diagonal line halfway between two
grain lines-lengthwise and crosswise grains at an angles 450
(Fig. A). It has the maximum elasticity or in other words it
stretches more than any other direction on cloth.
Uses of true bias:
True bias is used to finish raw edges. It is useful especially
in finishing curved edges such as necklines, sleeveless
armholes and scallops. A straight piece of material attached
to a curve will look bulky and untidy. The elasticity of bias permits it to stretch or
contract and thus takes the shape of any curved edge giving it a flat smooth finish.
Bias strips can be applied as facings and bindings. In striped, checked or
contrasting colored material it gives a decorative finish when used as a binding or
facing applied on the right side of the garment. Bias is also used to finish raw
edges of plain seams as well as seams which join collar to neckline, cuffs to
sleeves etc. Fabrics or bound buttons holes, piped seams and bias tubing are made
using bias strips. Bias tubing is useful for making small motifs as trimming for
dresses and for preparing fabric loops which can be used decoratively in the place
of buttonholes.
Cutting bias strips (Fig. A-A1): Fold the fabric
diagonally so that the lengthwise threads of the folded
part fall parallel to the crosswise threads on the rest of the
material. This fold line
will be a true bias.
Using a gauge or ruler,
measure from the fold
to the desired width of
bias strip (usually 1 ¼″
to 1 ½″) and draw
parallel lines (Fig.A)
Cut strips along the marked lines. The ends of
each bias strip have to be cut along the grain line. To do this, pull out a thread at
each end and cut along the line from which the thread was pulled out to ensure that

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each strip is a true bias (Fig.A1). It is very essential that the width of the bias strips
are even all through its length, otherwise joining the strips would not only be
difficult but would not result in a smooth, straight strip. Never try to make the
width equal after the strips have been cut as it will continue to be irregular. If the
grain lines cannot be clearly seen, mark the lines with chalk first.

Joining bias strips (Fig. B): Place the two strips to

be joined right sides facing and the edges of the cut
ends coinciding. The strips will now be at right
angles to each other. Shift the top strip ¼″ (inch)
beyond the other so that the sharp points are the
ends of the
strips project on either side as in Fig. B Stitch a
¼″ (inch) seam joining the points where the
sides of the two strips intersect (from A to B in
Fig. B). Press the seam open and trim the seam
projections showing on right side (Fig. C)

FACING
Facing is a small piece of fabric, separate or a part of the fabric itself, used to
finish the fabric edge.
Facing is used to provide a neat finish to the raw edges in a garment and to support
the shape of neckline, armholes, collars, etc. They are also used in other sewing
like quilts and home décor items like curtain hems. They can also be used as a
decoration by applying it from the inside of a garment, along with embroidery and
other embellishments on it.
The different types of facings are:
 Applied Facing
 Decorative Facing
 Extended Facing
 An all-in -one Facing

Applied facing: There are two types of applied facing: Shaped facing and Bias
facing.

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Shaped facings: are cut to match the outside shape of the

piece to provide a neat finish. Shaped facings are usually cut
of the same fabric as the garment and can be of any width you
like. At times it can be made with light-weight fabric or
contrasting colored fabric as design element.

Applying shaped facing: The shaped facing is cut to the

exact shape of the garment edge to which it is to be
applied. Usually it is cut on the same grain as the
section of the garment it faces. Shaped facing is often
used to finish square or ‘v’ necklines or scalloped edges.
It is easier to apply than bias facing and is less
conspicuous. It is usually cut separately for front and
back.
After cutting join the front and back facing with plain seam (Fig. A), trim the seam
and press it open. Finish the outer edge of the facing by turning up the edge and
stitching it as shown in the figure. Carefully tack
the facing to the garment section, right side
facing, and seam lines, centre lines and notches
matching (Fig. B) after this, trim, clip and grade
seam edges as
you did for bias
facing. Turn the
facing to the
wrong side, under stitch it to the seam and hem or
slip stitch the folded edge of the facing to the
garment. (Fig. C)

Bias Facings: Strips of fabric cut on true bias are applied

to finish the edge. The width of bias facing should not be
more than ½ inch wide.
Facings are usually turned to
the inside of the garment
and will not show when the
garment is worn.

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Method of applying bias facing: stay stitch edge of

garment to be faced. Cut bias strip of width equal to
finished width of facing plus seam allowance (about
¼″) and long enough to face the entire edge. Tack bias
strip to edge of garment, right side facing beginning at
a seam. For inward curves to be faced the bias must
be eased and for outward curves, it must be stretched.
(Easing means holding bias strip slightly loose at the
seam line).
Stitch bias strip to the edge of the garment line with the bias on top (Fig. A) Trim
the seam to ¼″, clip at curves, great bulky seams and turn to wrong side. At this
point you may under stitch the facing to the seam. Turn under about ¼″ along the
outer edge of the bias strip and tack onto the
garment, making sure that the facing is not visible on
the right side of the garment. Now hem or slip stitch
the facing to the garment (Fig. B).
When finished, the bias facing should be about
3/8″wide. Fig. C shows the finished appearance of
the garment from the right side.

Decorative Facing: Sometimes facings are turned to the outside (right side) of the
garment for decorative effect. There are also two types: Decorative Shaped facing
and Decorative Bias facing.

Decorative shaped facings are applied the same way as inside facings, the only
difference is it appears on the right side of the garment and
the edges can be decorative.

Applying decorative facing: Decorative shaped facings are

applied almost the same way as inside facing. But certain
differences arise because decorative facing is to appear
on the right side of the garment.
Firstly the right side of the facing must be matched to the
wrong side of the garment as shown in Fig. B to ensure
that it will be right side out when finished. (Fig. C).
Secondly if it is to be applied to the neckline, the shoulder

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seam of the garment should be reversed just inside

the outer finished edge of the facing (Fig. A). This is
to prevent the raw edges of the shoulder seam from
showing at the neckline. Unlike inside facings,
decorative facings are usually made with scallops,
points or other designs along the outer edge (Fig. B
and C). Particular care should be taken to see that
the right side and left side are symmetrical in design and shape.

Decorative Bias facings can also be applied on the right side of the garment for
decorative effects, but no edges designs are possible with this facing because it
cannot be made wide enough. The decorative effect has to be obtained by the use
of material in some harmonizing colour or with prints like checks, stripes, dots etc.
Extended Facing: When the edge to be faced is a
straight line, the facing may be cut in one piece with
the garment section. Usually facing is applied
separately.

An all-in -one facing: is used to finish the armhole and

neckline of a garment together, all at once.

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BINDING
A binding is a decorative finish of varying width
that encases an edge.
There are two basic types of binding:
Straight binding and
Bias binding
On the edge to be bound, make a line of stay-
stitching 1/8″ away from the cutting line.

Straight binding
A binding that is cut in strips along the grain of a piece of fabric.
There are two types of Straight Bindings: Straight grain binding and Cross grain
binding
Straight grain binding is binding that is cut in strips along the grain of a piece of
fabric parallel to the selvedge. Straight grain binding that is cut along the length of
the fabric is very stable and has almost no “give”. To make straight grain binding,
cut your fabric strips parallel from the selvedge.
Cross grain binding is also cut in strips along the grain but it is cut from selvedge
to selvedge. Cross grain binding has a little more flexibility. To make cross grain
binding, cut your fabric strips perpendicular to the selvedge.

Bias binding
A bias strip of material is used to enclose a raw edge.
It is used to finish and strengthen raw edges and to add a
decorative trim to a garment. It shows both on the right and
wrong sides. It is used to finish necklines, armholes, sleeve
edges, front closings, collars, cuffs and seams. It can be
adapted equally well to straight, curved, gathered and
irregular edges (like scallops). When finished, bias binding should have uniform
width (less than ¼ ″) and should lie flat and smooth without any stitches showing
on the right side of the garment. Binding may be prepared or may be bought as
commercial bias binding.
There are two types of Bias bindings:
Single binding
Double binding (or French binding)

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Single bias binding: The bias strip is cut twice the

finished width with seam allowance and stitched to
the raw edge.
Applying single bias binding (Fig. A): Cut a bias
strip that is twice the finished width plus two seam
allowances. Tack the strip to the garment right sides
facing. Stitch the binding to the garment with a plain
seam. Trim the seam as wide as the finished binding.
Turn under 1/8 ″ to ¼″ on the outer edge of the bias and fold it over the seam on the
wrong side. Now hem the fold to the line of stitching using hemming stitches.
Remember that bindings are handled in the opposite manner to facings at
inward and outward curves. For bindings, stretch the bias on inward curves and
ease it on outward curves.

French binding: The bias strip is cut six times the

finished width; both the raw edges of the strip are
folded and attached to the raw edge of the garment.
Applying French binding (Fig.B): French binding or
double binding is used on sheer fabrics. For this, you
must cut bias strip that is six times the desired
finished width. Fold the strip in half, wrong sides
together, and press. Stitch raw edges of binding to
the garment on the right side and hem the folded
edge to stitching line on the wrong side.
While applying bias facing for inward curves to be faced, the bias must be eased
because the bias has to rest flat onto a wider curve when folded back; and for
outward curves it must be stretched.

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Effect of Bindings on Straight & Curved Edges

Review Question
1. What is true bias?
2. State the difference between facings and bindings.
3. What is shaped facing?
4. What precaution should be taken while binding inward and outward curves?

Chapter 7
INTRODUCING FULLNESS

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Fullness is introduced into garments for various reasons such as:-

1) To give good shape and proper fit to the garment.
2) To allow freedom of movement and comfort to the wear.
3) To make the garment look attractive.

Darts, pleats, tucks, godets, flare, ruffles, gathers and shirring are some of the
devices for introducing fullness.

DARTS:-
Darts are one of the most basic structural elements in dressmaking. They are used
to build, into a flat piece of fabric, a definite shape that will allow the fabric to
conform to a particular body contour or curve. Darts occur most often at the bust,
back, waist and hips; accuracy in their position and in their fit is important if they
are to gracefully emphasize the lines in these areas.
Darts are used to shape a flat piece of fabric to fit the curves of a figure.
A contour dart is a long, single dart that fits at the waistline and
then tapers off in two opposite directions to fit either both the bust
and hip (font contour dart) or the fullest part of both the back and
the hip (back contour dart). In effect, it takes the place of two
separate waistline darts, one of them tapering toward the bust or
back and the other toward the hip. Contour darts are wide in the
middle and pointed at both ends. They are used at the waistline of
one-piece dresses or blouses with length extending beyond the
waistline. Contour darts are also called fish darts, body darts or
double pointed darts.

The standard dart is triangular in shape ie. wide at one end and
pointed at the other end. They are used on saree blouses, skirts,
trousers, elbow of long sleeves. Standard dart is also known as ‘V’
dart, single pointed dart or arrow head dart.

Darts may be decorative, functional or both. Any dart placed in an unusual manner
or stitched on the right side of the garment can be decorative. Usually these darts
are very small. Functional darts are intended for fitting the body curves i.e. bust,

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hip, shoulder and elbow. They should point to the fullest part of the curve, but
must not extend as far as the curve.

Variation of darts:
French dart:- Extends diagonally from the side seam in the hip area to the bust.
The diagonal line can be straight or slightly curved. French darts
are found on the front of a garment, never the back.

Dart tucks or released tucks -Dart tucks, sometimes also called released tucks, are
used to control fullness and then release it at a desired point,
such as the bust or hips. They can be formed on the inside or
outside of the garment; fullness can be released at either or
both ends. Sometimes the tuck is stitched across the bottom.
Dart tucks may be stitched on the straight grain, or in some
instances, the stitching lines may be curved to build in a certain
amount of shaping. Care must be taken especially when
stitching lines are curved, to match them accurately. Reinforce the stitches by tying
threads or back stitching. Press carefully to avoid creasing folds.

Principles of basting & stitching darts:-

Carefully transfer the dart marking from the paper pattern to the fabric. Find the
center point (A) on the wide end of the dart and mark a fold from this point to the
tip (B) of the dart, keeping the right sides of fabric together. Baste exactly along
the marked stitching line. After checking the fit of the garment, the dart should be
machined from the wide end to the narrow end, tapering off to nothing at the point.
The threads should be fastened at the tapered ends with a knot. Back stitching can
be used as a reinforcement at the wide end but should not be used at the point.

Contour darts should be stitched in two steps:-

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Start from the widest portion (a little above the widest

portion) of the dart tapering off at the end, then go back
to the widest portion (a little below the widest portion)
of the dart tapering off at the other end. The stitches at
the widest portion of the dart should overlap.

Darts should be pressed after stitching. The general rule is to press vertical darts
towards center front or center back and horizontal darts downward.

Dart Finishes:- A ‘V’ dart when worked on heavy fabrics, should be cut along the
fold of the dart and then pressed open. This finish is called a deep dart finish.
Where as a contour dart (when the dart intake is more) must be slited at the widest
portion of the dart, so as to allow the fabric to fit into the
contour of the body without puckering. This finish is called
‘contour dart with a snip at the widest portion’.

Princess seams:
-Princess seams are shaped seams designed to fit he body’s
contours. Beginning at the shoulder or armhole, front or back,
and running lengthwise, they may go just to the waistline seam
or extend all the way to the hem. A typical princess seam will
curve outward to accommodate the fullest part of the bust or
back, then inward to conform to the waist, and finally outward again to fit over the
hips. A princess seam conceals the waistline and the
side seam dart in its seam.

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Every princess seam consists of two separate edges curved in a precise relationship
to each other. When joined, the seam shapes itself around the contours of the body.
A princess seam garment will have a center panel and two identical side panels,
together producing a princess seam on each side of the garment.

PLEATS:-
A pleat is a type of fold formed by doubling fabric back upon itself and securing it
in place. It is commonly used in clothing and upholstery to gather a wide piece of
fabric to a narrow circumference. Pleats provide controlled fullness. Pleating may
occur as a single pleat, as a cluster, or around an entire garment section. Basically,
each pleat is folded along a specified line, generally called the fold line, and the
fold aligned with another line, the placement line. Patterns will vary as to what
these lines are actually called and how or whether they appear on the pattern.

Pleats can be folded in several different styles, the most common being the knife
pleats, box pleats, and inverted pleats. Most pleats are formed by folding a
continuous piece of fabric onto itself. The exception is a pleat with a separate
underlay stitched at the back. A pleat with an underlay is always an inverted pleat.

Almost any type of fabric can be pleated provided the right pleating techniques and
finishes are employed. Pleat folds may be either soft or sharp. The fabric best
suited for sharply folded pleats is one that will crease easily, is smooth and crisp,
light to medium in weight, and firmly woven. Gabardine is a typical example.

Pleats can be folded in several different styles, the most common being the knife
pleats, box pleats, and inverted pleats. Other types of pleats are kick pleats,
cartridge pleats, pinch pleats, fan pleats, sunburst pleats, accordion pleats.

Knife pleats :- They are usually about

½” to 1” wide. Knife pleat have one
fold line and one placement line; all
the folds are turned in the same

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direction i.e. from right to left. Some garments may have one cluster facing one
way and another facing the opposite way. To work one pleat you need an extra
allowance of fabric which is equal to three times the finished width of the pleat.
E.g. To work a 1” pleat, you need 3” of fabric.

Box pleats:- They are formed when two knife pleats are turned
away from each other (one to the left and one to the right). Box
pleats have two fold lines and two placement lines.

Inverted pleats:- They are formed when

two knife pleats are turned toward each other
so that the folds meet. They have two fold
lines and a common placement line. The
back folds of this pleat face away from each
other.

Kick pleats:- They are actually inverted pleats which has

fullness released in the lower 6 to 8 inches of skirts.

Cartridge pleats:- these are round pleats used

as trimming for skirts and dresses and are suitable
only on firm fabrics. They are also worked on
draperies.

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Pinch pleats:- These are used

on curtains and draperies. Since
the pleats are spaced apart from
each other and stitched part way
down, markings are made as for
tucks. A broad pleat is worked
in the form of a tuck which is
stitched part way and the
fullness is divided into 3 equal
portions to form 3 small pleats
which are pressed and stitched
together across the top and /
bottom ends.

Fan pleats:- Consists of a cluster of knife pleats which have different fold lines
and one common placement line. Each time the pleat is worked the width of the
pleat increases. To complete the fan effect cluster of knife pleats are worked facing
the right and left forming a large inverted pleat in the middle.

Sunburst pleats:- These consists of narrow pleats which

are wider at the bottom then at the top because they are
introduced on circular skirts.

Accordion pleats:- Are very narrow pleats of

uniform width resembling the bellows of
an accordion. Front folds stand slightly away

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from the body, which allows the garment to expand its shape when moving. It is
best done by a commercial pleater.

Pleat finishes:- pleats can be given a soft fold, sharp fold, top stitched or edge
stitched finish.
Pleat folds may be either soft or sharp. The fabric best suited for sharply folded
pleats is one that will crease easily, is smooth and crisp, light to medium weight,
and firmly woven.
For soft, unpressed pleats, almost any fabric is suitable. The best choices are those
that are fluid and will fall into graceful folds.

Top stitching and edge stitching are two valuable techniques for helping pleats to
lie and hang as they should. Top stitching, though primarily decorative, serves also
to hold pleats in place in the hip-to waist area. It is done through all thickness of
the pleat. Edge stitching is applied along the fold of a pleat both to maintain the
fold and to give it a sharper crease. It is done after the hem is completed.

Tucks:-
A tuck is a fold of fabric stitched in place by running stitch or machine stitch on
the right side of the garment as a means of:
1) Shaping the garment,
2) For holding in fullness and
3) To decorative the garment.

Each tuck is formed from two stitching lines that are matched and stitched; the fold
of the tuck is produced when the lines come together. A tuck’s width is the
distance from the fold to the matched lines. The width can vary, as can the space

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between tucks. Most tucks are stitched on the straight grain, parallel to the fold,
and so are uniform in width. When calculating the amount of material that is
needed, remember that each tuck, calls for an allowance equal to twice its finished
width. So for making a group of 4 tucks of 1/8” finished width, allow 4x(1/8X2)
=1inch extra material.
When tucks are to be introduced in a garment, always remember to tuck the fabric
first and then cut the garment section.

There are several methods of tucking, some of which are listed below:-

a) Pin Tucks: - these are tiny dainty tucks used on

baby clothes and fine blouses. They are usually less than
¼ inch wide.

b) Piped or corded tucks: - these are made by

placing cord on the wrong side of the fabric at
the center of the tuck before stitching the tuck.
Stitching should be done close to the chord.

c) Shell or scalloped tucks: - this is a

decorative tuck worked by hand. Mark and
crease the fabric as for a straight tuck of about ¼
inch width. On the line of stitching mark
uniformly spaced dots about 1/2 inch apart. Stitch
the tuck using small running stitches. As you
come to each dot, take two overcasting stitches
through the dot and pull tight before proceeding
further with the running stitches.

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d) Cross tucking: - when rows of tucks are

stitched along the fabric in both
horizontal/vertical directions, the effect obtained
is called cross tucking. First stitch the vertical
tucks and press them to one side. Then stitch the
horizontal tucks.

e) Group tucks with scalloped

effect: - Work narrow tucks fairly
close to each other, and press to one
side. At right angles to the tucks mark
lines at regular intervals for crosswise
stitching. On the first line stitch
across the tucks in the direction they
were pressed. On the second line
stitch across the tucks after pressing
them in the opposite direction.
Continue stitching, alternating the
direction of the tucks in successive
rows.

f) Wide tucks: - are similar to pin tucks, but are

much wider. Their width varies from ¼ to
3
/8inch.

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g) Blind tucks: - Wide tucks when worked close

to each other concealing the stitching line, you get
blind tucks; they are so called blind tucks because one
tuck conceals the stitching line of the next tuck.

FLARES:-
Flares are usually introduced in the lower portion of
garments, such as in skirts, pants, trousers, etc. they can
be introduced in sleeves.
Flare in a basic skirt is the difference between its
measurements at the hem line and hip line. Circular skirts
(made from a complete circle of fabric) have the
maximum flare.

GODETS:-
These are wedge shaped pieces which are usually set into a skirt so that the wide
side of the wedge becomes a part of the hem of the skirt.

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RUFFLES:-
A Ruffle is a strip of fabric cut or handled in such a way as to produce fullness.
Though primarily decorative, ruffles may also serve a practical purpose, such as
lengthening a garment.

Types of Ruffles:-
Ruffles are of two types, straight and circular, which differ in the way they are cut.
The straight ruffle is cut as a strip of fabric; the circular ruffle is cut from a circle.
With the straight ruffle, both edges are the same length and the fullness is produced
through gathering, sometimes pleating. For the circular ruffle, a small circle is cut
from the center of a large one and the inner edge forced to lie flat, producing
fullness on the outer, longer edge. Soft lightweight fabrics ruffle best. A general
rule for deciding the proper relation between ruffle width and fullness: the wider
the ruffle (or the sheerer the fabric) the fuller the ruffle should be.

Straight ruffles are gathered to produce fullness.

Circular ruffles are specially cut to

produce fullness.

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The deep fullness and the fluid look characteristic of circular ruffles are created by
the way the fabric is cut rather than by means of gathering stitches. Circular ruffles
can be used anywhere that gathered ruffles would be suitable; they are especially
effective at necklines and when made of sheer, light weight fabrics. To make
circular ruffles, a paper pattern is essential. Measure the length of the edge to
which ruffle will be attached; this will be the circumference of the inner circle.
Next, decide the width of the ruffle, this will be the distance between the inner and
outer circles.

Straight Ruffles:-
There are 3 types of straight ruffles:-
1) Plain Ruffle: - has one finished edge (usually a small
hem); the other edge is gathered to size and then sewed
into a seam or into another unfinished edge.

2) Ruffle with a heading: - has both edges finished or

hemmed. It is gathered at a specified distance from the top
edge to give a gracefully balanced proportion.

3)Double Ruffle: - is gathered in the center halfway

between the two finished edges. It is then topstitched
through the center to the garment section.
Determining length & piecing:-
To determine length of fabric needed for a ruffle,
allow about
three times the finished length for a fully
gathered ruffle, twice the length for a
ruffle that is slightly gathered. Straight
ruffles are usually cut on either the
crosswise or the bias grain.

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Piecing of fabric strips is frequently necessary to achieve required length. Seam

strips with right sides together, making sure that the sections match in pattern
and direction of grain.

Depending on the way ruffles are finished (edge) and also the fabric, they are
categorized into:-

Single layer ruffles are made from

one layer of fabric and the edges
finished with either a narrow machine
or a hand-rolled hem. The edges can
be finished with decorative stitching,
if appropriate to design of finished
garment.
A Self-Faced ruffle is a single layer of
fabric folded back on itself. It is used
when both sides of a ruffle will be
visible, or to give added body to sheer
or flimsy fabrics. It creates a
luxurious appearance wherever it is
used.

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 Ruffles

Straight ruffle Circular ruffle

a) Plain ruffle
b) Ruffle with heading
c) Double ruffle

FLOUNCES:- these are similar to fills and ruffles, but are much wider.

GATHERING:-
Gathering is the process of drawing a given amount of fabric into a predetermined,
smaller area, along one or several stitching lines, to create soft, even folds. Fabric
is usually gathered to one-half or one-third. The original width; the effect may be
soft and drapery or crisp and billowy, depending on the fabric. Gathering most
often occurs in a garment at waistline, cuffs, or yoke, or as ruffles.
Gathering is done after construction seams have been stitched, seam-finished, and
pressed. Because gathers fall best on the lengthwise grain, the rows of stitching
should run across the grain. Stitch length for gathering is longer and tension is
looser than usual; it is advisable to pretest both on a scrap of your fabric. Suitable
stitch length may vary from 6 to 12 stitches per inch, shorter for sheer or light
fabrics and longer for thick, heavy materials. The shorter the stitch length, the
more control you have over the gathers, no matter what the fabric. In gathering, it
is the bobbin thread that is pulled, and a looser upper tension makes it easier to
slide the fabric along the thread. For heavy fabrics or extensive gathering, use an
extra-strength thread in the bobbin. Care must be taken to see that the thread does
not break while stitching.
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METHODS OF GATHERING:-

a) Gathering by machine:- adjust the machine for long stitch and loosen the
upper tension slightly. Now work two rows of machine stitches ¼ inch apart
as explained earlier. Distribute the fullness evenly by putting both bobbin
threads together. Ruffler attachment or gathering foot can be used to gather
large sections of fabric.

b) Gathering by hand:- fastern the thread securely and work two rows of
running stitches ¼ inch apart. Draw the ends of threads until the section
measures the desired length, and secure the threads by winding round a pin.

c) Gathering with elastic:- gathers can be made by stretching a narrow strip of

elastic and stitching on the part of the garment which is to be gathered.
Gathers can be also obtained with the help of bobbin elastic.

d) Gathering with casing and cord or casing and elastic:- gathers can be
also obtained by working a casing and passing cord or elastic of a shorter
length serving the purpose.

SHIRRING:-
Shirring is formed with multiple rows of gathering and is primarily a decorative
way of controlling fullness. In contrast to gathering,
in which fullness is controlled within a seam, the
fullness in shirring is controlled over a
comparatively wide span. Lightweight fabrics are
the most appropriate for shirring; they may be either
crisp or soft. Voiles, crepes and jerseys are excellent
choices. No-iron fabrics are good because it is
difficult to press shirring without flattening it. Your
pattern should specify the areas to be shirred; these
can range from a small part, such as a cuff, to an
entire garment section, such as a bodice. Rows of
shirring must be straight, parallel and equidistant.
They may be as close together as ¼ inch or as for
apart as an inch or so, depending on personal preference and pattern specifications.
Width to be shirred is determined by the pattern.

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Staying a shirred area:-

A shirred area needs a stay so that the garment is strengthened. When there
is strain over a shirred area the threads tend to break thus letting the fabric out. To
stay a shirred section, cut a strip of self-fabric 1” wider and deeper than shirring.
Turn in raw edges ½ inch on all sides; pin in place to the wrong side of shirred
area. Hand-sew the stay in place with small, invisible stitches. A stay will protect
the shirred area from strain. When an entire bodice is shirred, the whole bodice has
to be secured by using a stay. The stay has to be cut exactly in the shape of the
bodice with seam allowance.

Elasticized shirring:- this stretchy, flexible form of shirring hugs the body neatly,
yet expands and contracts comfortably with body movements. It is easily done by
using elastic thread in the bobbin and regular thread in the needle. Wind the elastic
thread on the bobbin by hand, stretching it slightly, until the bobbin is almost full.
Set the machine to a 6-7 stitch length, and test the results on a scrap of your fabric.
Adjust stitch length and tension if necessary. Sometimes, to get the desired
fullness, the bobbin (elastic) thread must be pulled after stitching as in gathering.
Mark the rows of shirring on the right side of the garment. As you sew, hold the
fabric taut and flat by stretching the fabric in previous rows to its original size. To
secure ends, draw the needle thread through to the underside and tie. Run a line of
machine stitching across all the knots or hold them with a narrow pin tuck at each
end of the shirred section.

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Chapter 8
POCKETS
--Introduction
Pockets are one of the most visible signs of garment's overall quality and as such,
should be constructed with a close eye to detail. On men’s and boy’s clothes,
pockets are used mainly for utilitarian purposes rather than for decoration. The
chief purpose of pockets in women’s clothing is to add design interest. They
should be planned giving considerable attention to the design of the dress and the
figure of the wearer. For this reason, it is safer to design women’s dresses without
pockets. Children love to have pockets in their dresses. The appearance of
children’s garments can be enhanced to a great extent by designing pockets of
varied shapes, sizes and locations with decorative details such as bias binding, lace,
ruffles, tucks, pleats, appliqué, embroidery etc. suited to the design and purpose of
the dress.
Placement of the pocket on the garment depends on whether the pocket is
functional or strictly decorative. A pocket to be used should be located at a level
that is comfortable for the hand to reach. If a pocket is only decorative, as pockets
above the waist usually are, it should be placed where it will be most flattering.

--Selection of Pocket Design

First of all you must plan pocket designs that harmonizes with the design of the
fabric as well as the design of the garment and its components (collar, sleeves,
cuff, etc.). A striped dress with rectangular shaped pockets cut on crosswise grain
and finished with bias edging is a good choice. The scalloped pocket harmonize
with the scalloped collar of the dress.
The sex and age as well as the figure and personality of the wearer should also
be considered while designing pockets. Decorative patch pockets are suitable for
children’s dresses. Scalloped and rounded pockets look good on girl’s dresses.
Straight line pockets are suitable for men and boys. For older women and stout
women, inconspicuous designs such as inside pockets (slashed pockets) are
advisable. Women with large bust line should avoid designs with bust pockets.
Finally, the pocket design should be appropriate for the type of garment and
the purpose and use of the garment. For eg., simple straight line pockets are
suitable for school uniforms and casual wear garments, while conspicuous pocket
styles with decorations and trimmings (suited to the wearer) may be used on party
wear dresses.

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--CREATING VARIETY IN POCKET DESIGN

1) Variety in shape, size, location and number: Pockets can be of varied shapes i.e.
rectangular, heart shaped, scalloped, round etc. They may be placed at different
positions in the garment. Pockets are generally used in pairs but single pocket may
also be used.
2) Variety in material and grain: Interesting effects can be achieved by planning
pockets of material different in colour, design, texture or grain from the garment
material. One can design printed pocket on a plain garment and vice-versa. In a
striped dress design, the pocket can be cut on the crosswise grain and finished with
bias edging while the rest of the garment is cut on the lengthwise grain.
3) Variety in Decorative details and trimmings: The outer edge of the pocket may
be finished with ruffles, bias bindings, lace, decorative stitches etc. You can also
design decorative pockets in the form of appliqué or decorate the pocket with
tucks, pleats, embroidery etc.

Classification of pockets

Pocket
s
Patch pockets Inside pockets

Plain Decorative In-seam Front-hip Slashed

patch patch pockets pockets pockets pockets
pockets

Slit and faced Welt Flap Bound

pocket pocket pocket pocket

There are two general pocket classification for women wear.

a)Patch pockets. b) Inside pockets

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Patch pockets: These are essentially shaped pieces of fabric that are finished on all
sides and are attached to the outside of the garment by
hand or machine. They may be cut in various shapes
and may also be decorated in any of several ways
before being attached to the garment. A patch pocket
may be furnished with a flap which holds it shut or the
mere appearance of a flap may be given by trimming
the top of the pocket with a shaped band that looks
like a working flap. Sometimes flaps are used without
any pocket merely for decoration. If pockets are to be
used in pairs, take care that the finished pockets are
same in size and shape.

Inside pockets: Are usually made from a lining fabric.

They are kept on the inside of the garment and the
opening to the pocket can be made invisible or
decorative. There are 3 types of inside pockets;
The In-seam pockets – which are sewed to an opening
in a seam. Although all finished in-seam pockets look
the same from the right side of the garment, they may
be constructed in three different ways, depending on
how the pattern is designed. In the all-in-one in-seam

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pocket, the pocket is part of the garment, so the two are cut as one and there is no
seam at the opening of the pocket. The separate in-seam pocket is made up of
separate pocket and the garment pieces that are joined in the seamline to create the
pocket. The extension in-seam pocket is made up of a separate pocket piece and a
garment piece that has a small projection designed to extend into the pocket
opening.
Because inside pockets generally receive a great deal of wear, the seam into which
they are set must be reinforced with a stay to prevent stretching. Use a sturdy
lining fabric for the pocket to reduce bulk.

The front hip or frontier pockets- are attached to the

garment at the waist and side seams. Although these
hip pockets can vary greatly in shape and detailing
along the opening edge, they are all made up of two
pattern pieces, a pocket piece and a facing piece. The
shapes of the two are never the same because the
facing piece finishes off the pocket opening, while the

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pocket piece becomes part of the main garment at the waistline. The pocket piece
must be cut of fashion fabric, but lining fabric may be used for the facing.

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The slashed pockets – are identified by a slit in the garment

which is finished with the pocket itself, with a welt, a flap or
with a binding.
There are four types of slashed pockets, which differ only in
the way the pocket opening is finished.
When a slashed pocket is finished with the pocket itself it is
known as a slit and faced pocket.

A welt pocket has a rectangular piece, cut separately or as a part of the pocket, that
fits over the pocket opening and is sewed into the lower edge of
the slash. The welt is like a wide lip extending above the pocket
opening.

The flap pocket has a flap or extension turned down over the opening. The flap is
constructed separately and is attached to the top edge of the
slash.

In a bound pocket, each edge of the slash is finished with binding of even width.
These bound edges are referred to as lips. This pocket
resembles a large buttonhole. The pocket itself is used to finish
the edges of the slit.

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Chapter 9

PLACKETS AND OPENING

Plackets are finished openings constructed in order to make it easy to put on or
take off a garment. Sometimes they are used purely as a design element. When the
garment is in use, plackets are kept closed (for good fit) with the aid of fasteners
such as zips, buttons and buttonholes, press buttons, hooks and eyes etc. They are
used at waist lines, neck lines, wrist and other snug fitting parts of garments. A
placket may be made in an opening left in a seam, or in a slash cut in a garment.
The placket made in a seam is stronger and gives a better finish when completed.

A good placket should meet the following standards:

(1)Neatness and invisibility: Unless used as a decorative detail, a placket should
be as inconspicuous and flat as possible. It should not be bulky, puckered or
stretched. Fastenings should hold securely and there should be no gaping edges.
2) Suitable length and convenience: Neck openings must admit the head easily.
So plackets in dresses should be 9″ (inches) to 12″ (inches) long. Skirt openings
should be long enough (about 7 inches) to ensure that the garment can pass over
the shoulder and hips without strain. Wrist opening can be about 4 inches long to
enable the sleeve end/cuff to pass over the hand. The position of the placket should
be such that it is easily accessible and convenient to operate.
(3) Strength: Openings are subjected to certain amount of strain during wear and
should be strengthened at the closed ends, example lower end of neck and of skirt
openings, upper end of wrist openings etc. For plackets in seams to be durable, the
garment seam should be at least 5/8 ″ (inch) wide. Seams should not be trimmed or
clipped too close.
(4) Correct lapping: Plackets should lap right over left for women’s garments and
left over right for men’s garments.
(5) Suitability: The type of placket used should be suitable to the kind of garment
on which it is used, its position in the garment, texture of the fabric, age and sex of
the wearer and current fashions.

Plackets openings are generally classified as:

•Inconspicuous plackets
•Conspicuous plackets

All the plackets are made conspicuous or inconspicuous depending on their

placement in the garment or as per the fashion. Mostly, all woman garments use

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inconspicuous plackets and gents tailored made garments use conspicuous

plackets.

Plackets

Inconspicuous plackets Conspicuous plackets

Continuous bound Bound and faced

Zipper placket Tailored placket
placket placket

In slash Slot seam

Lapped
In seam
seam

Invisible
zippers

Fly
opening

INCONSPICUOUS PLACKETS
Inconspicuous plackets are not seen when the garment is put on. The continuous
bound placket, bound and faced placket and zipper plackets are example of
inconspicuous plackets.
Continuous bound placket: A single straight strip of fabric is used to finish the
opening where a part of it forms a binding and the other half is facing. Generally
the underlay is bound while overlap is faced.
This is called one-piece placket and may be made in a seam or a slash. It is suitable
for children’s dresses, undergarments like saree petticoat, and for sleeve openings
where a cuff or band is used. It is not suitable for curved seams and on bulky
fabrics.

Method:
To make a placket in a slash:
1) Cut a strip of fabric on the lengthwise grain, 1 1/4″
(inch) to 11/2″ (inch) wide and one inch longer than twice
the length of the opening. Keep the center of a long edge

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of the strip to the end of the slash, with right sides of garment and strip facing each
other.

2) Pull back the tip of the slash about ¼″ (inch) from the edge of the placket strip
and pin.

3) Spread the placket edges apart almost into a straight line and attach to the strip
by a line of tacking worked ¼″ (inch) from the edge of the strip as shown in Fig.A.

4) From the garment side, machine over the tacking line from one end up to its
midpoint. Stop the machine, at this point with the needle in the fabric, raise the
presser foot and move the fullness backward out of the way to prevent catching a
pleat. Make sure that the garment edge is caught in the seam. Lower the pressure
foot and stitch to the opposite end of the opening.

5) Press the seam edges towards the placket strip and

fold under the free edge of the strip ¼ ″ (inch) and
crease. Then fold the strip over the seam edge and hem
it along the stitching line Fig.B.
6) Fold the strip under on the overlap section as
illustrated in Fig.B and tack it at the seam. Tacking can
be removed after the fasteners are fixed.

To make the placket in a seam: reinforce the end of the seam below the opening
with back stitching. Clip into the seam allowances at the end of the opening, and
then trim the seam allowances to ¼″(inch) from this point to the end of the
opening. After this the steps in completing this placket are the same as for the
placket in a slash.

Bound and faced placket or two-piece placket: For this two separate strips of
fabric are used. Width of the overlap is narrow while the underlap is a wider one
[approximately 1″(inch) difference between the overlap and underlap]. Both the
strips should be one inch longer than the placket opening.
This is mostly used in the left seam of skirts or petticoats and back seam of dresses.
The underlap side of this placket can be finished with a binding and the overlap
with a facing.

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Method:
1) Stitch the narrow strip to the overlap side of the garment
(front of the skirt) and the wide strip to the underlap side of
garment (back part of the skirt) right sides facing and seam
lines matching (Fig.A).

2) The seam allowance used for attaching the strips should

be the same as that of the seam on which the placket is
being fixed (about1/2″ (inch). This is to ensure that the
stitching line on the strip comes in line with the stitching line on the seam. The one
inch extra length of the strips should extend below the placket opening.

3) To finish underlap, crease the strip back over the seam, bring its free edge to the
wrong side of garment, and turn under ¼″ (inch) at the free edge and hem the fold
to the stitching line. This forms the bound side of the placket and should be ½″
(inch) to ¾″ (inch wide).

4) For finishing overlap section of the placket make a ¼″ (inch) or wider fold to
the wrong side of its free edge so that the distance from the stitching line to the
fold line is the same as the width of the binding on the underlap. Now turn the strip
over completely to the wrong side of the garment (as for a facing) and hem or slip
stitch the fold to the garment.

5) Work a line of stitches at the base of the placket catching

the underlap and overlap together (Fig.B). This can be
done by hand from the wrong side in such a way that no
stitches are visible on the right side.

Use the same fabric for light-weight garments and a

matching lining fabric for a heavy fabric.

Zipper placket: The zipper is inserted in the seam. There are several methods of
applying zippers. The choice depends on the position of the zipper in the garment
and the type of garment. Zipper concealed, with two overlapping fabric edges and
shows two lines of stitching is referred to as centered/slot seam zipper placket.
Zipper concealed, with one overlapping fabric edges is called lapped seam zipper
placket and only one line of stitching is visible. The invisible zipper when closed,
all that shows on the garment is a plain seam and tiny pull tab.

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Types of Zippers

Method of application

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Slot seam/Centre zipper placket:In slot seam zipper the two seam edges of the
garment are folded or faced over the center of the zipper chain and stitched
equidistant and parallel to the finished seamline.
The top of zipper should be ¼″ below the finished neck line (if attached to top of
the garment); hence the placket or seam opening for the zipper should be ¼″ longer
(exclusive of seam allowance at neck line) than the metal part of the zipper. This
extra space (¼″) leaves place for a hook and eye to be fixed above the zipper or to
finish down the facing so that the pull tab of the zipper is not shown. If the finish
does not require seam allowance to be turned down, for instance at a waistband or
on a standing collar, place the top stop just below the
seamline.
Application of Slot/Centered zipper

1) Measure and mark the exact length of the

placket opening, using the zipper as a guide.
Close the seam with machine stitching: stitch
up to the mark for bottom of zipper with a
regular stitch length, backstitch, then change
to machine tacking for placket seam. Fig. A.

2) Clip both of the machine tacking threads at

the bottom of the placket; then clip only the
bobbin thread at one centimeter intervals –this
will make tacking easier. Press the seam open
and, if necessary, seam-finish the edges with a
finish suitable for the fabric. Fig. B

3)Extend the right- hand seam allowance and

place zipper face down, with the top stop at mark
and the edge of the opened ladder or chain along
the seam line; pin in place. Using a zipper foot,
machine- tack along stitching guideline on zipper
tape. Fig. C.

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4) Close the zipper and keep the pull tab up. Extend
the remaining seam allowance. Position the zipper foot
to the left of the needle and machine-tack the
unstitched zipper tape, from the bottom to top, to the
seam allowance, following the guidelines on the tape.
Fig. D

5) Turn garment right side up and spread it as flat as

possible. Starting at the centre seam, hand-tack across
bottom and up one side, ¼ inch from the seam line,
catching garment, seam allowance and zipper tape in
tacking. Repeat on the other side. Fig.E

6) Change to a regular stitch length. Begin at the bottom

of the placket, just outside the tack, and top stitch through
all three layers- garment, seam allowance and tape. Take
2 or 3 stitches across bottom of placket, pivot, and stitch
to top. Fig. F

7) Position the zipper foot to the right side of the

needle and top stitch the remaining side in the same
way, taking the same number of stitched across
bottom of placket. Pull thread ends to wrong side
and tie. Remove hand tacking stitches and open the
placket. Fig. G

Lapped zippers: are often found on skirts at the waist band. A lapped zipper is
constructed so that the zipper is not visible. The zipper will remain closed through
the process of inserting the zipper.

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Application of Lapped zippers

On the wrong side of the fabric, measure and mark the
placket opening where the zipper will be placed. Do
this by measuring from the top of the garment down
along the seam to the zipper bottom stop. Take into
consideration the composition of garment and if there
will be a waist band or any other special feature at the
top of the zipper. Mark the placement of the bottom
stop with a marking pencil.
While sewing the seam, machine stitch the seam
closed until the marked point of the bottom of the
zipper, then switch to a basting stitch for the distance
of the placket seam
1. Press seam allowance open (Fig.A)

2. Unzip the zipper partially. Align left side of the

zipper teeth with the folded edge of the fabric.(Fig.B)

3.The right side of the opening forms ‘lap’. Mark

the stitching line 3/8″ away from the opening.
Basting the zipper will help to keep it aligned. (Fig.
C)

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4. Replace sewing machine foot with a zipper foot.

Starting at the top of the zipper, sew along the folded
fabric edge. (Fig. D)

5. Continue sewing on the left side of the zipper

opening until the end. Stop sewing just at the end
or little bit past the end of the zipper opening
(Fig. E). If the zipper stopper (the metal bit at the
end of the zipper) is on the way sew few stitches
past it.

6. With the needle in the fabric, lift the zipper

foot, turn the fabric to 900clockwise, then lower
the zipper foot and machine across the bottom of
the zipper (Fig. F) Advancing the machine by
hand will ensure accurate stitches.

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7. Once the zipper is sewn across 3/8″from the opening,

with the needle in the fabric,lift zipper foot,turn the
fabric 900(Fig. G), lower the foot and sew along the
guideline until the end. Make sure that the stitching
line catches both the seam allowance and the zipper
tape.(Fig. H)When finished, lightly press the lapped
zipper placket.

Invisible zippers: The invisible zipper is different from a conventional zipper in

both appearance and installation. Invisible zippers are applied to an open seam and
to seam allowances only- there is no stitching on the outside of the garment. They
can be used wherever conventional zippers are.
Manufacturers supply a special zipper foot, designed to fit all makes of sewing
machine, for installing this zipper. A conventional zipper foot may also be used to
apply an invisible zipper.

Application of invisible zipper

1. Seam finish edges if needed, place open zipper
face down on the right side of garment, the
teeth along seamline, top stop at appropriate
mark. Pin if necessary, fit right hand groove of
the foot over coil. Stitch to slider, backstitch,
and tie thread ends at top. Fig. A

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2) Pin the unstitched tapeface down to right side

of the other garment piece. Width of zipper tape
should be on garment seam allowance. Position
top stop at appropriate mark and teeth along
seam line. Fit left hand groove of foot over
teeth. Stitch as in step 1.Fig. B

3) Close zipper. Attach conventional zipper

foot and position to left of needle. Pin and tack
seam below zipper. Lower needle into fabric at end
of stitching, slightly above and to the left of the last
stitch. Stitch seam to lower edge. Tie thread ends.
Fig. C

4) To hold zipper ends down, stitch each tape end to a

seam allowance only, not garment. Fig. D

5) Open up zipper, stitch across tops of tapes with

the coil held upright as shown. Fig. E

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Fly Opening

A fly on clothing is a covering over an opening concealing the fasteners such as

zip, velcro or buttons, used to close the opening The term is frequently applied to a
short opening over the crotch in trousers, shorts and other garments.
Fly –front plackets are not as long as most other zipper plackets and the zipper will
probably require shortening. This placket provides
neat and durable closure.

Application of Fly-Front zipper

1) On the right front, mark curve of top stitching:

mark the symbol indicating bottom of placket.
Stitch front crotch seam from pattern marking
to a point 1-1 ½ inch from edge of inside leg.
Fig. A

2) With right sides together, tack right fly

facing to right front edge, matching markings.
Stitch from marking at bottom of zipper placket
to waist. Remove tacking stitches. Fig. B

3) Trim and grade the seam allowance; open out the

facing and press it and the seam allowance away
from the garment. Fig. C

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4) Position closed zipper face down on right side of

facing. The left edge of zipper tape should lie along
facing seam and bottoms stop of the zipper should
be ¾ inch from raw edge of facing. Top of zipper
may extend beyond upper edge of facing. Tack
zipper in place turning up bottom of left zipper, left
zipper tape even with bottoms top. Tack left zipper
tape to facing from bottom to top. On right zipper
tape, stitch close to chain or ladder, using zipper
foot and regular stitch length. Stitch a second time,
close to edge of tape. Fig. D

5) Turn facing to the inside on same line. Press on

outside of garment, taking fly facing to front,
following original tacked markings. Then top stitch
from bottom to top along tacked markings, being
careful not to catch left zipper tape in stitching. Pull
threads to wrong side and tie. Remove all tacking
stitches. Fig. E

6) With right sides together, stitch fly shield facing to

fly shield on the unnotched edge. Trim and grade
seam; notch the curve. Turn shield to the right side
and press. (note; if pants fabric is bulky, cut the
shield of the pants fabric and the shield facing out
of lining fabric.) Fig. F

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To finish raw edge off shield, trim 1/4inch from shield on the
notched edge. Fold the facing over the raw edge of shield and
stitch close to the fold. Fig. G

7) Fold under and tack the edge of left pants front ¼ inch
beyond the seam line. Open zipper. Pin left front to
zipper, next to ladder or chain, working from bottom
to top. Tack in place. Close zipper to check
positioning. Fig. H

8) To position fly shield, work from the wrong side,

match curve of shield to curve of top seam; pin
temporarily. Fig. I

9) Turn unit back to right side and tack through all layers of
garment, zipper And shield. Remove pins. Open zipper.
Using a zipper foot, stitch through all layers from top to
bottom, close to ladder or chain. Pull threads to the wrong
side and tie. Fig. J

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10) While zipper is still open, stitch across zipper tapes at

waist seamline; cut off excess zipper and tapes even with
raw edges of garment. This must be done with the zipper
open so the slider is not cut off. Work a bar tack by hand
or machine across seam line at bottom of placket,
catching in the shield. Fig. K

CONSPICUOUS OPENING AND PLACKETS

Conspicuous plackets: the placket is made after making a slash and is visible on
the garment. Tailored placket and bound neck opening are example of conspicuous
placket. Bound neck placket can be made decorative by attaching contrasting
fabric or by working box pleat in self or contrasting coloured fabric in the center
front.

Tailored placket: This is commonly used on men’s shirt sleeve opening and on
neck openings in jibbas, guru shirts and children’s dresses. When used on
children’s and ladies dresses, the strip used for placket may be of a contrasting
material for decorative effect.

Application on sleeve:
1) For the underlap, prepare a straight grain
strip 11/2 inches wide and exact length of the
slit (say 5 inches).

2) Keeping one end of the strip exactly in line

with the end of the slit and with right side
facing the wrong side of garment, stitch a ¼
inch seam joining the edge of the strip to the
correct edge of the sleeve opening.

3) Now fold ¼ inch under on the free edge of the strip and machine this folded
edge along the stitching line. Fig. A shows the underlap strip tacked to the

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wrong side of garment and Fig. B & C show the finished appearance of the
underlap binding.

4) The overlap for this type of placket is usually shaped to a point at the end,
and is about one inch wide when finished (Fig. C).For this cut a strip 2 1/4
inch wide and 11/2 inch longer than the slit (BC and AB in Fig. A) and make
markings on the wrong side of the strip as shown in Fig A. taking CD =
length of slit and DE =EF = AG = AX 3/4 inch. Make sure that G and F are
on the same level and X is equidistant from them.

5) Trim off the strip along GXFED and mark the seam lines (dotted lines) ¼
inch inside the outer edge as in the figure. Keep the right sides of the strip
facing the wrong side of garment and tack the short side of the strip to the
free side of the placket opening on the seam line (Fig. A).

6) Machine stitch and bring this overlap strip over to the right side of the
garment. Turn under the seam allowance and adjust the position of the strip
so that it will overlap the underlap binding.

7) Tack in position. Top stitch the strip to the garment upward from A to B,
then around the point and downward till point C (C is ¼ inch below the
sleeve opening). Now stitch across the overlap from C to B twice to hold the
underlap in position. (Fig. C and fig. B shows this stitching as seen from the
right side and wrong side respectively. Note that the stitching has caught the
underlap in position).
Pull back the underlap from under the presser foot and machine the overlap
section alone from C to D without catching the garment.
Note: Remember to cut overlap strips as well as underlap strips in pairs (for a pair
of sleeves) from fabric folded with right sides facing.

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Bound neck opening: This is a simple neck finish used on

infants and children’s clothes and dresses. To make this,
slash the opening down from the neck at center front or
center back and apply bias binding to the opening.

Center front opening with box pleat Fig. A

Review Questions
1) Why are plackets used in a garment?
2) Name and explain the different methods of zipper application?
3) State the difference between conspicuous plackets and inconspicuous
plackets.
4) List and explain the factors of a good placket.

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Chapter 10

FASTENERS
Fasteners are the devices used to keep the placket/openings close.
When an opening has been completed and pressed, it is ready to have the
fastenings attached. Fastenings can be put on so that they show (decorative and
conspicuous) or they may be concealed (inconspicuous) between the over and
underlap of the opening.
There are various types of fasteners. The common fasteners are buttons and
buttonholes or loops, eyelets and strings/cords, tie strings, zip fasteners, and can be
put on in either way. Others are always concealed such as press studs, hooks and
eyes, or bars.

How to choose fasteners

(1) Choose so that they are suitable in size. Openings with narrow wraps require
smaller fastenings than those with wide wraps or made in heavier materials.
(2) Fasteners should be selected to suit the colour, design and texture of the fabric,
and the position of the placket.
(3) While selecting fasteners consider the age and sex of the wearer. For example
buttons and buttonholes are generally used for men’s shirts, trousers etc. just as
press buttons and hooks and eyes are commonly used for ladies’ saree blouse/
choli and children’s dresses.
(4) The style and use of the garment; they should be suitable to the type of garment
or article, example non-metal fastenings are preferable on undergarments and
children’s clothing; plain buttons look better on patterned materials than
decorative ones.

Rules to attach fasteners

(1) Fasteners should be fixed on to double material for strength.
(2) They should be fixed in such a way that the right side of the garment laps over
the left side for women and the left laps over the right for men.
(3) They should be sufficient in number to keep the opening closed.(Close-fitting
clothes, therefore, will require more fastenings than loose ones)
(4) They are sewn exactly opposite one another in order that the opening will be
flat when fastened.

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BUTTONS AND BUTTONHOLES

These have functional as well as decorative uses. Contrasting coloured or self-
coloured buttons in different shapes may be arranged in groups or at regular
intervals to produce an attractive effect.
Buttons are small fasteners that are made up of plastic, metal, wood or sea shell
which secures two pieces of fabric together. They should be selected to suit the
colour, design and texture of the fabric and the style of the garment.
Buttonholes are slits cut in garments to hold buttons in place. The raw edges of the
slits are finished with buttonhole stitches, zigzag stitches or fabric binding made of
self or contrasting material.

Direction of buttonholes and buttons

Buttonholes are needed on all types of articles and clothing and should be worked
on the overlap before the buttons are fixed.
Buttonholes are made in a horizontal or vertical position to the amount and
direction of the strain they will undergo in wear.
Horizontally buttonholes (fig. A) are made when there is
strain in that direction such as on closely fitting bands,
cuffs, yokes and dress bodice. It holds the front securely
even on tight fitting garments. They begin about 1/8 ″
(inch) outside the centre front line, cross the centre front
line and extend into the garment.
Vertical buttonholes are worked on the lengthwise grain
and exactly on the
centre front line parallel to
the centre front edge (fig. B). They are used for shirts,
pants, fly openings, loosely fitting garments etc. where
there is no great strain across the garment.
It is also used when the hem or facing on the opening is
made on to the right side of the garment, example at the
front of a shirt blouse, so that the buttonholes can be
placed centrally.
Whether the buttonhole is vertical or horizontal, buttons are placed exactly on the
centre front line. (Fig. A & B) The allowance of material beyond the centre front
line should be at least ½ inch or half the diameter of the button used.

Position and Length of the buttonhole

The length of the buttonhole should be the diameter of the button plus about 1/8inch
(or the thickness of the button). The easiest way to determine the correct size of a

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buttonhole is to cut a slit in a scrap of fabric and adjust the length until the button
slips through easily.
The space between the edge of an opening and the buttonhole should be at least
half the width of the button, so that the button does not project beyond the edge
when fastened.
The position of the buttonholes should be marked with a crease, pins or tacking
and they should be evenly spaced. When a number of buttonholes are to be made
horizontally, example on the front opening of a blouse, two lines of tacking to
mark the length of the buttonholes will ensure that they are exactly in line.

TYPES OF BUTTONHOLES
There are two types of buttonhole: (1) Worked buttonhole (2) Fabric or Bound
buttonholes.

Worked buttonholes: Buttonholes are either worked by

hand or by machine. Ready-made shirts usually have
machine worked buttonholes. They can be done with an
automatic machine or with an ordinary machine which has
a buttonhole attachment.
Hand worked buttonholes: are used where details of construction are to be finely
finished. They should be made with matching thread and
should have stitches of uniform length worked close
together.
They are made by cutting a slit in double material and
working buttonhole stitch – a strong knotted stitch – to cover the raw edges.
Accurate, care and a little practice will soon give the skill required to make
buttonholes with confidence. It is essential for a needlewoman to be able to make
them easily because they are so widely used and are excellent on children’s
clothing, men’s garments, underclothing and household articles. They are worked
after the garment is completed. Avoid these on fabrics that stretch and fray.

Steps in constructing a worked buttonhole:

For a horizontal buttonhole, proceeds as follows:
1) Mark the buttonholes lightly with a pencil as shown in Fig. A&B

2) Machine stitch or back stitch a narrow rectangle of 1/8 inch

width around the buttonhole marking (ABCD in Fig. C).
This stitching prevents the material from fraying and also
serves as a guide line for keeping the buttonhole stitches in

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a uniform size of about 1/16 inch on either side of the button hole slit.

3) Cut on the buttonhole line carefully following a straight thread.

4) Fasten the thread on the wrong side with tiny back stitches
and work buttonhole stitches starting near the square end (at A
in Fig. D) and going on to the round end.
To make the buttonhole stitch, proceed as follows: Insert the
needle in the slit and bring out the point just outside the guide
line stitching. Circle the working thread under the needle
point as in Fig. D and pull out the needle towards you.
Before the thread is completely drawn, pull it away from you
with a slight jerk to the left so that a firm knot will be formed
at the cut edge of the slit.
5) When you reach point B at the end of the slit, work 5 to 7
unknotted stitches till point C to make the round end. (Fig. E
shows the method of working the stitches at the round end.)

6) Buttonhole stitch the other side of the buttonhole towards

the square end.

7) Near the square end make a bar tack by taking two or

three stitches from the end of the last stitch to the end of
the stitch on the opposite side. (Fig. F)

8) Work buttonhole stitches over these stitches with the

knot and pull the thread out on to the wrong side (Fig. G
and H). (Instead of buttonhole stitches, you could work
just one back stitch across the centre of the bar tack to
hold it in place as in Fig. I, fasten the thread end on the
wrong side by running the needle through under the
completed stitches.

Worked buttonholes may be made in three different

ways-

(1)Keyhole buttonholes (with one round and one square end):

These are used whenever there is sufficient strain to pull the
button to one end of the buttonhole. A buttonhole should be

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planned with the round end nearest the edge of the opening so that it will take the
shank of the button when fastened.

(2) Buttonholes with two square ends: which are used when there is not
much strain on the buttonhole in any direction and the button will
remain in the center of the buttonholes when fastened.

(3)Buttonholes with two round ends: These are exactly used to fasten
buttons unless there is liable to be strain at both ends of the buttonhole.
They are used chiefly for working slots for ribbon, braid and elastic.

Fabric or bound buttonholes: Bound buttonholes are not as strong as

worked buttonholes and are not very satisfactory on garments
which are constantly washed. They are more decorative than
worked buttonholes and are used chiefly on adult’s clothing,
particularly outer clothes. Buttonholes can be bound with self or
contrasting material, either in colour or texture, and are often designed to be a style
feature (decorative). The decorative possibility arises from the use of a strip of
material to cover and bind the raw edges of the hole. The binding shows on the
right side in the finished buttonhole. Usually the binding strip is cut so that its
lengthwise grain runs along the length of the buttonhole. Checks and stripes look
better, if the strip is cut on true bias. In making this type of buttonhole, the facing
can be applied only after all the buttonholes are finished. To provide a double layer
of cloth for making the buttonholes an interfacing is used. The facing finally
covers and conceals the working on the wrong side. The bind is approximately 1/8
inch in depth when finished, but can be made wider if liked. The buttonhole is
worked on single material and is neatened on the wrong side by a facing or hem.

Instructions for working bound buttonholes

(1)Mark the position of the buttonholes with tacking on the right side of the
material. Make a back stitch at the beginning and end of this tacking which marks
the length will be visible on the wrong side as well. (Fig. A & B of direction of
buttonholes)

(2)Cut strips for binding 2 inch wide and at least 1inch longer than buttonhole. The
strips should have the selvedge threads along the length or they should be cut on
the true cross.

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(3) Baste the strip to the right side of the garment so that
the centre of the strip is directly over the tacking which
marks the length of the buttonhole. The right side of the
strip should be against the garment. Baste over the whole
of the strip. Fix the entire strip in position. (Fig. A)

(4)Machine all the strips in position .Turn the work to the wrong side and machine
round the tacking which marks the length of the buttonhole, keeping the stitching
1
/8 inch away from the tacking. The ends should have square
corners so that when finished a neat rectangle of stitching is
seen on both sides of the work. It is best to begin stitching in
the middle of one side so that the ending off does not occur
at a corner. (Fig. B). When a wider bind is required the
stitching must be done a corresponding distance from the tacking, example ¼ inch
away from the tacking to give a ¼ inch bind.

(5)Cut and bind each buttonhole .Cut through the strip and garment from the
centre of the tacking to within 1/8 inch of each end.
From this point cut diagonally right into the corners up to the
stitching. (Fig.B)
Turn the strip through to the wrong side, wrapping the strip
closely over the raw edges and lay the strip flat on the wrong
side .Pull the ends well over to the wrong side and form a small
inverted pleat at each end. Pin in position and tack all-round the
buttonhole. (Fig. C)
Secure the strip in place either
(a) With small running stitches taken through the strip and the turnings inside the
bind, taking care that the stitches do not show on the right side. (Make one or two
firm stitches across the pleats to hold them together.)
(b) With machining round the buttonhole on the right side, working the stitches in
the seam or on the edge of the seam.
Draw the edges of the buttonhole together with fishbone tacking. Press the
buttonholes and trim down the strip to extend about ½ inch beyond the slit.

(6)Fix the facing in position at the back of the buttonholes. Fix

the facing to the garment and baste it flat over the buttonholes.
Put a pin in each end of the buttonhole to show its length in the
facing. Cut through the facing only, between the pins to within a
1
/8 inch of them. From this point cut diagonally to the depth of

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the bind at the corners of the buttonholes. Note that the cut is the same shape and
size as the one made when the buttonholes were cut. (Fig. E)
Turn under the cut edges and hem the facing closely to the
binding. Take special care that the facing is not drawn down
tightly because this would spoil the set of the buttonholes on the
right side. (Fig. F)

Buttons are made in a wide variety of materials, including metal, bone, wood,
rubber, plastics, leather, linen etc. Though made in many shape and materials,
buttons are basically of two types- sew through (Fig. A & B) and shank (Fig.
C).Sew – through buttons are flat and are pierced with two or four holes through
which the button is sewn on. The purpose of the shank is to make a space between
the material and the button to allow for the thickness of the overlap when the
button is fastened. For flat buttons shank is formed with thread. Buttons maybe
made of fabric. On dresses buttons covered with self-fabric may be used Fig. D. If
you provide scraps of fabric to well establish tailors, they get the buttons covered
by a special machine. Covering may be done by hand also.

Marking position of buttons (Fig. A): To mark position for

buttons, place overlap over the underlap so that the centre
front lines coincides. If the buttonholes are horizontal insert a
pin through the buttonhole about 1/8 inch from the end which
is near the centre front (see buttonhole A in Fig. A). For
vertical buttonhole put the pin through the middle of the
buttonhole (B in Fig. A), lift overlap and mark position of
button on the pin mark.

Link buttons (Fig. H): These are used as links for cuffs or for the front
of the coat or a jacket. There should be two buttonholes, one on each
side of the placket opening. To make the link, hold two buttons the
desired distance apart and connect the buttons together with strands of

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thread. Work buttonhole stitches across the strands and fasten the thread.

Buttons and loops

Instead of buttonholes, loops may be used to fasten buttons.
These may be made of thread or cloth.
The loops to fasten a button are generally made on the edge of
an article or garment, but occasionally it is concealed by
working it on the wrong side of the overlap a short way in
from the edge.

Thread loops (Fig. A): The thread loops is an inconspicuous

fastening which is most often found at the neck edge of
collars. To make a thread loop, sew four or five strands of
matching thread on the underlap in the correct position (A in
fig. A), then work buttonholes stitch over these strands (B&C
in fig. A)

Fabric/Worked loops (Fig. B-F): are made when the opening

is completed and after the buttons have been sewn on. These
are made of strips of bias fabric stitched and turned inside out
to form a narrow tube. The fabric used may be of self-
material or harmonizing material. This type of fastening adds
a decorative trim to children’s and women’s garments.

Construction of a cloth loop proceeds through the

following steps:
(1)Cut a strip of bias fabric about 1 inch wide. Fold in
half lengthwise, right sides together and stitch about 1/8
inch from the folded edge down the length of the strip.
Trim seam allowances.

(2) Attach a strong thread to one end of tube at the seam. Turn
the tube inside out by drawing the thread right through the
tubing with a heavy needle (Fig. C)

(3) Cut the tube into lengths equal to the finished length of the
loop plus seam allowance.

(4) Place these pieces on the right side of the overlap, shaped as
loops turned away from the edge of the opening (Fig. D)

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(5) Tack the facing right side down over loop and machine along seam line.

(6) Turn facing to wrong side and tack in position. Loops will be now extending
from placket edge. (Fig. E)
The loop should be very firm when finished .Buttons matching to the fabric loops
is fixed on the underlap. (Fig. F) shows the button and loop fastened.

Corded loops: These are made the same way, as fabric loops
except that a cording is placed inside the bias strip.

Corded frogs / Mandarin buttons (Fig. G): These are very

decorative and can be made in varied designs. Button loop of the
frog should be long enough to slip over button smoothly.

OTHER TYPES OF FASTENERS

Snaps or press buttons/press studs:

Press studs are a convenient and quick method of
fastening. They are used on almost all types of clothing
and are used to hold edges that will not have much strain
when the garment is worn. They will open out if used on
snug fitting parts and need carefully handling during
laundering to prevent them becoming bent and broken.
These are available in various sizes and weights. They are
either black or silver. Of the two parts of a press stud, one
has a knob on a flat base, which should be sewn to the
overlap (A in Fig. A) and the other has a socket and is
sewn on the underlap (B in Fig. B).

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To fix both parts of the buttons four to five buttonhole stitches should be worked
through each hole. While passing from one hole to another carry the thread by
passing needle under the button. After stitching through all the holes, thread
should be fastened securely on the wrong side.

Hooks and Eyes or Bars:

Hooks and eyes or bars are a very secure way of fastening close fitting outer
clothing which because of the strain (especially crosswise strain), would not
remain close with press studs.
Hooks and eyes are used on opening without a wrap that is the slit opening at the
neck, or the petersham band inside the waist of a skirt.
Hooks and bars are used on opening which have a wrap. Either metal or worked
bars may be used, but worked bars are a little flatter and are especially suitable for
delicate fabrics.
They form an inconspicuous closing and should be placed close to each other
without much space in between to prevent the opening from gaping. The hook
should be placed 1/8 inch inside the finished edges of the overlap on the wrong side.

Work buttonhole stitches or overcasting stitches around the

rings of the hooks. Then slip the needle through the fabric and
bring it out near the hook end. Take several back stitches
across and under the loop of the hook to hold it down firmly.
Fasten off with small back stitches. The stitches should not
show on the right side.
The eyes may be of metal or worked with thread. Thread eyes (Fig. B) are used on
blouses and dresses made of fine fabrics. They can be made
to match the color of the garment so as to be inconspicuous.

To find the exact position for stitching this eye, lap the edge
with hook over the underlap in proper position and mark the
end of the hook with a pin. At this position work a few back
stitches long enough for the hook to pass and then work buttonhole stitches over
these threads. Fasten the thread firmly on wrong side.

Metal eyes come in two types. The straight eye is used for
overlapping edges (Fig. C) and the round eye for edges that
meet each other (Fig. D). The straight eye is positioned the
same way as the thread eye, but the round eye is placed on the
wrong side of the underlap and must extend 1/8 inch beyond
the edge of the underlap. To fix metal eyes work buttonhole

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stitches around their rings.

Waistband hook and bar: sets are extra sturdy, ideal for
waistbands on skirts or pants. Special design keeps hook from
slipping off the straight bar or eye. Available in nickel or black
finish.

Eyelets Holes:
One of the simplest methods of fastening is by making eyelet holes in the fabric
and threading ribbon, cord or tape through them to tie. This
form of fastening is mainly used for lacing front openings
decoratively, on babies and children’s clothing especially at
neck openings because the size is then easily adjusted. It is of
course, stronger to work the eyelet on double material, but this
is not always possible.

To work eyelet holes

Mark the position for the eyelet with a pencil dot.
Make a ring of small running stitches surrounding the pencil dot. The top of a
pencil pressed down on the material will give an imprint of a
circle for a guide.
Pierce through the centre of the circle with a stiletto and oversew
tightly and closely with buttonhole stitches over the running
stitches on the right side. Use sewing thread.
Note: A slot for ribbon or elastic can be worked in a similar way, over the edges of
a slit cut in the material.
The simplest way to make an eyelet is cut a circular hole and work buttonhole
stitches around the edge. (Fig. E)

Tie Strings:
Tie Strings are practical fastening on children’s clothing and
article of household use, such as pillow slips, mattress covers,
and cutlery cases. When a very strong fastening is needed,
tape is the best to use for the ties. Ribbon, braid, webbing and

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seam binding can be used as strings for other purposes. When the edges of an
opening meet, as in faced slit opening, both the strings are fixed on the edge of the
opening. When there is a wrap on the opening, the tie string on the overlap is fixed
on the edge and the tie on the underlap is placed in from the edge.

To work eyelet holes the tie string

Cut one end of the string straight and square.
Crease 1/8 inch turning on to the wrong side. Crease again to mark a square.
Finish the ends of tie strings
Make a narrow hem on the ends or cut across the string diagonally
Fix the tie string to the opening
Place and pin the tie string on the wrong side of the opening with the turning
facing the article and so that a square of the tape is concealed behind the edge of
the opening.With the right side of the article facing the worker, fold back the tie
string and oversew the fold in the tie to the edge of the opening.
Turn the work to the wrong side and hem down the remaining three sides of the tie
on to the article. The stitches should not be allowed to go through to the right side
of this will spoil the appearance. On household linen the tapes are often fixed by
machining a neat square.

Hook and loop tape: is composed of two tape

strips; one with a looped nap and the other with
a hooked nap. When pressed together, the
surfaces grip and remain locked until pulled
apart. Useful for children’s clothing, detachable
trims and loose-covers. Is available in sew-on,
stick-on and iron-on.

Jean button: are not sewn onto the fabric. They consist of
two separate parts, a pin portion and a button top, which
are positioned on either side of the fabric and then
hammered together. Buttonhole is then worked in the usual
way. Jean buttons are suitable for jeans, overalls and work
clothes, and can be useful time savers.

Review Question
1) What are fasteners?
2) Name any three concealed fasteners.
3) State the difference between worked buttonhole and bound buttonhole.
4) Write a short note on ‘Hook and loop Tape’.

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Chapter 11
HEMS
A hem is made by folding an edge of cloth back and fastening it in place either by
hand stitching or machine stitching. In garment construction it is usually the final
step.
The purpose of a hem is to finish off the raw edge and to give a nice hang to the
garment by adding weight and body.

Factors affecting the choice of the width of a hem:

The width of a hem used on a garment depends upon the following factors:-
1) Type of fabric - Generally wider hems are used for light fabrics.
2) Style and type of garment - For straight skirts and pleated skirts, usual hem
width is about 2 to 2.5 inches and for circular skirts 1 to 1.5 inches.
3) Figure of the wearer - The hem width must look proportionate to the height
of the wearer. For tall figures hems should be made slightly wider.
4) Current fashion - At one time the fashion may be to use a wide hem and
another time to use a narrow hem, and all of us follow fashions to some
extent.

Preparing the hem:

To ensure that the finished hem will be at an even level all round when the garment
is worn, try on the garment and mark the hem line at a constant measured distance
above the floor using a hem marker or meter scale.
After the hem is marked, remove the garment, turn the hem to the wrong side along
the markings and tack close to the fold.
From the folded edge measure the finished width of hem using a hem gauge or
ruler.
Add ¼ inch seam allowance if the raw edge is to be turned and stitched. Now trim
off the excess fabric.

TYPES OF HEMS:
The hem finish to be used on a garment depends mainly upon the weight, texture
and ravelling quality of the material and the use and style of the garment.

Some of the commonly used hems are listed below:

1) Turned and Stitched hem- This method is suitable

for light weight fabrics. After the hem is evened, the
raw edge is turned under ¼ inch and machine

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stitched close to the folded edge. Then the hem is stitched in place using
hemming stitch or slip stitch.

2) Seam binding hem finish- The finish is used on

woollens and other heavy fabrics which become too
bulky when turned under. It is also suitable for
fabrics that ravel. Prepare a bias strip of thin
material. Fold under one edge and stitch it to the
hem edge. Now secure the other edge of the bias
strip (folded under) to the garment by slip stitching
or hemming.

3) Catch stitched hem – This is used on woollen

fabrics and on hems of lined garments. The stitch
protects the raw edge and holds the hem fairly firm.
The hem is evened and tacked in place leaving the
raw edge unfinished. The hem is fixed to the garment
with catch stitches or herringbone stitches.

4) Narrow machine stitched hem – This is used on

men’s shirts. Stitch 1/8 inch from raw edge, turn
under the edge on line of stitching and then make a
second fold of the same width. Tack and stitch the
hem in place.

5) Rolled or whipped hem – This is suitable for fine

materials and is used to finish the raw edges of
ruffles, handkerchiefs and baby clothes. Roll the
raw edge towards you between the left thumb and
forefinger to form a 1/16 inch roll. Roll one or two
inches at a time and hold the roll in place by
working overcasting stitches. Work a row of
machining 1/8 inch from the raw edge before
rolling, in the case of fabrics that ravel easily.

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6) Shell edge hem - This gives a decorative scalloped effect similar to shell
tucks and is suitable for thin fabrics. Make two turns of ¼ inch width as for a
hem and tack. Work 4 to 7 small running stitches tightly over the hem. Work
another group of running stitches and repeat the overhanding stitches to get
the scalloped effect.
7) Hem for circular and flared skirts –
In circular and flared skirts, the turned up edge of the hem is fuller than the skirt at
the point it is to be sewn. The fullness should be distributed evenly.

This can be done in the following ways:

a) Method 1 – Turn under the raw edge of the hem

and stitch close to the folded edge using a long
machine stitch. Draw up the bobbin thread every
few inches so that small gathers are formed and
the hem lies flat to the garment with the fullness
distributed evenly. Now place a damp pressing
cloth over the hem allowance and press with a hot
iron to shrink out the fullness and make it flat and smooth. Now fold up the
hem, tack in place and slip stitch it to the garment.

b) Method 2 – An alternative method is to fold in

small dart shaped pleats perpendicular to the
edge of the hem at intervals. Several small darts
are better than few large ones. Darts should not
be so large as to cause pointed places in the
hem.

REVIEW QUESTIONS:
1) How is a hem made on the garment?
2) List factors affecting choice of a hem.
3) Explain the factors affecting choice of a hem.
4) Draw and explain the commonly used hems on garments.
5) Which method of hemming is used on lightweight fabrics?
6) Name the hem commonly used on woolen fabrics.
7) Draw diagrams of the different types of hems.

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Chapter 12
MENDING
The most satisfactory methods of mending torn or worn out garments are
PATCHING and DARNING.

DARNING:
Darning is a method of repair in which threads or yarns are worked into the weave
or knit of the fabric. Darning is useful in mending small holes and tears and also in
reinforcing frayed and worn out spots.

Fundamental rules for darning:

1) Darning should be inconspicuous and hence the thread used for darning
should be the same as the original fabric or similar to it in colour and
texture.
The best method is to ravel out yarns from seams or the hem of the garment
which is to be darned. Use warp threads ravelled out from side seams for
lengthwise darning and filling threads ravelled from the hem for crosswise
darning.
2) Darning should be done on the right side of the material. The needle used for
darning should be long and fine.
3) If the tear is large or if its edges are fraying, keep a piece of thin material on
the wrong side under the tear and darn through both layers of fabric.
4) Small running stitches spaced to resemble the weave of the fabric should be
worked. You must leave a loop of thread at the end of the first and
subsequent rows to all for shrinkage in the wash and elasticity in wear.
5) Do not begin darning with a knot, instead leave a loop of thread end about 4
inches length on the underside of the work.
6) Work should be done far enough from tear so that the mend will not pull out.

Kinds of tears:
There are mainly three kinds of tears:
a) Straight tear
b) Diagonal tear
c) Three cornered tear.

a) Straight tear
A straight tear is a tear or cut along a straight thread
– either warp or filling in the fabric. To darn such a

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tear, start ¼ inch above and to the right of the tear. Stitch back and forth at right
angles to the tear and parallel to the threads of the fabric. When crossing the tear,
make a stitch in one row , go over the tear, and a stitching the next row go under it.
Such alteration makes the darn stronger and flatter. End the stitching about ¼ inch
below the tear. Catch the thread through the stitches of the last row and clip the
thread.
b) Diagonal tear–

In a diagonal tear, both the warp and weft yarns are

cut and so it is necessary to work running stitches
parallel to both sets of threads. First darn
lengthwise and then crosswise, allowing the
stitches to extend about ¼ inch on the sides and
ends of the tear. Stitches should be alternated over
and under the tear as in darning a straight tear. End
the work in the same way.

c) Three cornered tear

This is a common L- shaped tear. First darn the

lengthwise side of the tear as for a straight tear and then
the crosswise side allowing the stitches to overlap at
corners. Crossing of threads adds strength to the corner.

DARNING A HOLE
There are three methods of darning a hole. They are
a) Plain weave hand darn
b) Darned in patch
c) Machine darning

a) Plain weave hand darn

Before darning a hole, trim thread ends and ragged

edges. First darn in the lengthwise direction starting
to stitch about ¼ inch above the hole. Work back
and forth until the hole is covered with long stitches.

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Continue the darning to about ¼ inch beyond the hole. Next darn in the crosswise
direction, taking stitches over and under the lengthwise thread so as to produce a
plain weave darn over the hole.

b) Darned in a patch –
This method is used to repair a hole which is too large to cover with a plain
weave darn. It is especially suitable for heavy woollens and other heavy fabrics.
First of all, the edges of the hole should be cut in a
square or rectangle following the threads of the
fabric. Next cut the patch of matching material to fit
the hole exactly. Take care to see that the grain and
the print in the patch match the fabric correctly. Tack
the patch to a piece of thin material which is larger
on all sides by ½”. Keep the patch in place and tack
the edges of the hole to the thin fabric. Now darn
each side of the patch as for a straight tear darn.

Machine darning:
Darning of small holes and tears can be done by machine also following the same
general principles as for hand darning. However machine darning is more
conspicuous and less neat. With a straight stitch machine, darning is done with a
darning foot. If you have a zigzag machine, darning involves making a series of
zigzag stitches over the area to be darned. The work to be done is fitted into a
darning hoop.

PATCHING:
Patching is a type of mending where in the place of a tear or hole, an additional
piece of fabric of the same kind is inserted and stitched. For repairing a big hole,
patching is more suitable than darning. It is stronger and can stand more wear and
tear in laundering.
In order to make the work conspicuous, the patch should be of the same material as
the garment and its grain should match the grain of the garment. In a printed fabric
the patch should be cut so as to match the design also perfectly. If the garment is
faded, cut the material for patching from some hidden part in the garment itself.
(that part can be re- patched with a different material.) If a new material is to be
used, wash it with soap and dry in the sun until it is faded to the correct shade.

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Kinds of patches:
There are several kinds of patches. They are as follows:
a) Hemmed patch:
This is a double patch usually employed in patching cotton and other
durable fabrics which are subject to considerable wear and strain. Sometimes
it is called a Plain Patch because it is used more commonly on plain materials
then on printed materials.
First of all trim the edges of the hole or
tear to form a square or rectangle. Make
diagonal cuts at the corners about ¼” deep
and turn under the raw edges to the wrong
side of the fabric. Now cut a patch of that
is about one inch longer on all four sides
and place it under the hole with its right
side facing the wrong side of the garment.
Pin the patch in position. Tach the folded edges of the hole to the patch and hem
round with small stitches, putting a diagonal stitch into each corner. (fig a) and
then turn the work to the wrong side. Fold under the raw edges of the patch about
3/8 inch and tack in place (fig b). Hem carefully so that the stitches will not be
very visible on the right side.

b) Print patch:
This patch is usually used on printed
fabrics. First of all trim the edges of the
hole in a rectangular shape. Then cut the
patch sufficiently large, turn in the edges
and place it over the hole with its wrong
side facing the right side of the garment.
Take care to match the pattern and grain
perfectly. Tack and hem around the four
sides (fig a). Turn the work to the wrong side and trim the raw edges of the patch
and the hole to within 3/8 inch of the hemming. Now blanket stitch the raw edges
without catching the garment. (fig b)
The patch can be machined on the right side instead of hemming but this will be
more visible.

REVIEW QUESTIONS:
1) Name the methods used for mending torn or worn out garments.
2) What is darning
3) Mention the rules for darning (any 6).

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4) List and explain the types of tears.

5) Explain the following with diagrams:
a) Straight tear.
b) Diagonal tear
c) Three cornered tear

6) What do you understand by ‘Patching’

7) Which method of mending is used to repair a big hole in a garment
8) List the types of patches.
9) Mention the characteristic of a hemmed patch.
10) Which patch is also called a plain patch?

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CLOTHING CONSTRUCTION PRACTICALS

STD XI
MARKS - 100
NO. OF UNITS - 4

Instructions

 Units 1 & 2 have to be completed in the 1st term.

 Units 3 & 4 have to be completed in the 2nd term.
 Marks to be given as per the Checklist & Performa (continuous evaluation)
 All the garments have to be done individually by each student during school
hours.
 A record of the practical marks obtained by each student should be maintained.
This record should be presented to the auditor/examiner at the time of the
audit/inspection.
 Maintain a journal for practical which should be used in the STD XI & XII
 Sample size is given so that there is uniformity.

Unit -1
1) Tools for clothing construction and needlework
Draw or stick pictures of measuring and shaping devices, marking devices,
cutting devices, sewing aids, sewing supplies and pressing tools.
2) Uses and care of sewing machine
Draw or stick a picture of a sewing machine & label its parts.
Stick pictures (5 or more) of different sewing machines available in the
market. [E.g. Basic or Domestic Sewing Machine, Industrial Sewing
machine, Over Locker Sewing Machine, Computerized Sewing Machine]
3) Body measurements
Sample measurement chart for ladies and children’s garments
4) Basic hand stitches
Cloth samples to be made of the following:
Temporary stitches i.e. even, uneven, diagonal [sample size: 9 ½ ʺX 5ʺ]
Slip basting [sample size: 2 ½ ʺX 5ʺ (2 pieces of striped or checked fabric)]

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Permanent stitches i.e. running stitch, back stitch, run and back stitch
[sample size: 9 ½ ʺX 5ʺ]
Hemming [sample size: 3 ½ ʺX 5ʺ]
Slip stitching [sample size: 3 ½ ʺX 5ʺ]
Overcasting [sample size: 3 ½ ʺX 5ʺ (2 pieces of fabric)]
5) Seams and seam finishes
Cloth samples to be made of the following:
Seams: plain seam, top stitched seams, flat fell seam, French seam, mantua
makers seam piped seam, counter seam [sample size: 2 ½ ʺX 5ʺ(2 pieces of
fabric for each seam)]
Seam finishes: Pinked finish, edge stitched finish, double stitched, overcast
finish, herringbone finish, bound seam edge finish [sample size: 2 ½ ʺX 5ʺ
(2 pieces of fabric for each seam finish)]
6) Preparation and uses of true bias –facings and bindings
Cloth samples to be made of the following:
Marking, cutting and joining of bias strips [sample size: length of joined bias
strip should be 6ʺ, width 1 ½ ʺ]
Bindings: Single, French and readymade [sample size: 6ʺX 6ʺ for each
binding]
Binding an inward and outward curve [sample size: 6ʺ X 6ʺ]
Facing: bias, shaped and decorative facing [sample size: 6ʺ X 6ʺ for each
facing]
7) Introducing fullness
Cloth samples to be made of the following:
Darts: Standard dart and fish dart [sample size: 6ʺ X 5ʺ for each dart]
Pleats: Knife, box and inverted box pleats [finished sample size with a band:
4 ʺX 5ʺ]
Tucks: Pin, wide, shell, corded and wide tucks with scalloped effect [sample
size: 6ʺ X 6ʺ]
Cross [sample size: 8ʺ X 8ʺ]
Gathers: gathering by hand, machine, bobbin elastic, casing and elastic,
casing and cord [sample size: 6ʺ X 10ʺ]
Shirring: machine and bobbin elastic [sample size: 6ʺ X 12ʺ]
Ruffles: single, double, circular and ruffle with heading [finished sample
size: 2 ½ ʺ X 5ʺ]

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8) Pockets
Cloth samples to be made of the following:
Patch pocket i.e. plain and decorative. [sample size: 7 ½ ʺ X 7ʺ]
Inseam pocket [sample size: 9 ½ ʺ X 3ʺ (2 pieces)]
Front hip pocket [sample size: 8 ½ ʺ X 7 ½ ʺ (3 pieces)]
Slashed pockets (any one) i.e. Welt, faced, bound and flap pockets [sample
size: 8ʺ X 7ʺ & 10ʺ X 6ʺ]
9) Plackets and openings
Cloth samples to be made of the following:
Continuous bound placket, bound and faced placket, tailored placket [sample
size: 6ʺ X 6ʺ]
Zipper plackets [sample size for each type of zipper placket: length of the
zip + seam allowance X 6ʺ]
Fly opening [sample size: 9ʺ X 5ʺ (2 pieces)]
10) Fasteners
Cloth samples to be made of the following:
Button and buttonhole, hook and eye, press button, eyelet and cord,
Hook and Loop Tape (Velcro tape) and corded frogs [fasteners to be
attached on a placket of length 5ʺ or on the samples of plackets]
11) Hems
Cloth samples to be made of the following:
Stitched and turned hem, Catch stitched hem, Seam binding hem finish,
Narrow machine stitched hem, Rolled or whipped hem and Shell edged
hem [sample size: 4ʺ X 7ʺ]
12) Mending
Cloth samples to be made of the following:
Machine darning and patching [sample size: 6ʺ X 6ʺ]

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Unit -2

(i) INFANT WEAR (0-6months) LAYETTE SET

NAPKIN

Napkins should be made of soft

absorbent fabric. They may be
made in triangular or square
shape. Nowadays the square
shape is preferred as it gives
better appearance when pinned
on. A 20ʺ X 20ʺ or 24ʺ X 24ʺ square is a good size for a napkin. If thin fabrics like
old saree or mulmul are used, the size should be 20ʺX40ʺ. This can be folded
through the centre to make it a 20ʺ square. Nowadays readymade napkins in
different shapes are available in the market.

FOLDING AND PINING THE NAPKIN

The steps in folding the napkin in this style, follow the steps 1 to 4,

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and these show how to pin it on.

(Note that the size of the folded napkin may be adjusted by positioning the folds
CF and CE suitably. To reduce the napkin size for example, make the folds so that
CB and CE overlap)

Tie the napkin. This is an alternative to the folded square napkin. It is a double
layer napkin of about 14ʺX14ʺ size with a ¾ʺwide hem casing along the top edge.
Through this casing you can insert a draw string of about of 30ʺ to 40ʺ length.

BIB

Bib should be made of absorbent washable cotton

material such as towelling fabric (with uncut pie weave
as in the case of Turkish towels).

Materials required: Fabric length 9ʺ (23cms), width 7ʺ

(18cms), Bias tape 1 meter. (This may be prepared from
any available scraps of matching fabric).

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Drafting, cutting and stitching:

In the following fig ABCD represents 9ʺx7ʺ fabric

folded lengthwise along BC so that AB= 3 ⅟2ʺ and
AD=9ʺ. Mark BE=BF=13/4ʺ and draw the neckline
EF as shown. Mark D1 11/2ʺ inside D in the direction
shown and connect AD1C. Round off the bib near A
through A1 as shown if desired.

Stitching: Leaving the neckline edge, finish the remaining sides of the bib with
bias binding. Next stitch bias binding around the neckline curve, extending each
end of binding about 8ʺ beyond point E for ties. An applique design may be
attached to enhance the appearance of the bib.

BONNET

Measurements: Round the face measurement from chin to chin (DAD1) 13ʺ,
forehead to crown (AB) 5ʺ, neck circumference 9ʺ.

Materials required: Fabric length=17ʺ (43cms), width=15ʺ (38cms), ribbon for

ties (50cms).

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Drafting Procedure: Do the drafting on paper (seam allowances are not included
in the draft). The bonnet has 3 sections and the procedure for making patterns for
this sections are given below.

Section 1: Draw rectangle ABCD with the following

dimensions leaving and extension of 2ʺ beyond CD and
BC. AB=Forehead to crown measurement =5ʺ, AD=61/2ʺ
(half of the round the face measurement). Label AB as
fold line. Now mark DE=1/2 neck-1/2ʺ= 4ʺ. Take EF=1/2ʺ
perpendicular to CD. Mark CG=1ʺ. Draw the line from
G at right angle to BC and extend FC to meet it at H.
Connect all the lines as shown and cut out the pattern
along ABHFDA.

Section 2: ABCD is a square with each side measuring 21/2ʺ.

Cut a circular piece out of it as shown.

Section 3 (Ruffles): There is no need to make a paper pattern

for ruffles. To make ruffles of finished width 2ʺ, a strip of size 24ʺ x 3ʺ will be
needed. If you cannot get it in one length, two or more strips may be prepared and
seamed together.

Pattern layout: Fold the fabric crosswise so that pq is on fold. Place section 1
on the fabric so that AB falls along the folded
edge (pq) on the fabric. Cut out leaving 1/2ʺ
seam allowance on all sides. From the
remaining fabric section 2 with 1/2ʺ seam
allowance as well as section 3 may be cut out
in the manner illustrated in the Fig. (Note that
for the circular section only one layer of the
cloth needed to be cut).

Stitching: 1) Match FH and the corresponding edge F1H1

of the bottom layer and machine them together.
2) Work two rows of large machine stitches 1/2ʺ apart all-
round the opening HBH1, the first row being 1/4ʺ inside the
cut edge. Now pull up the stitches to from gathers till the
gathered edge HBH equals the circumference of section 2

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along its seam line.

3) Attach the circular piece to HBH1.
4) Finish the raw edges along DF and D1F1 By hemming.
5) Attach ruffles to the edge DAD1.
6) Fix ribbon on either side at D and D1 for tying under the chin.

Basic pattern – Baby Dress

Measurements required
Chest
Back width (shoulder)
Dress full length
Neck circumference
Lower arm (arm round)

Instructions for drafting

Front & back
Draw rectangle ABCD with
AB = ¼ chest +1″
BC = dress length
BE = 1/12 chest
BE1 = ½ back width
Mark BG = ¾ ″
BH = BE + ¼ ″
Connect EG for back neckline
EH for front neckline (dotted line)
Mark AI = ¼ chest (for sleeveless styles take AI= ¼ chest-1/2″)
E1O = AI
Mark F = ½ ″ below E1
Connect FE (shoulder line)
Mark FX = 1/3 FO
Mark Y = ¼″ away from X
Connect FXI for back armscye line and FYI for front armscye line.

Using basic pattern do the adaptation for the following:

1) A- Line baby dress
2) Dress with a yoke
3) Baby dress with Round yoke

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A- LINE BABY DRESS

The outer shape of the garment is looking like the letter ʺAʺ
and hence the name. The lower part of the garment is wider
that provides comfort and easy movement for the infant.

Instruction: Trace the basic dress pattern and extend DD1 = 11/2 ʺ as shown in Fig.
A & Fig. B.

Note: Seam allowances are not included in the pattern.

Stitching Method
1. Leave seam allowance and cut the front and back parts from the fabric for
stitching.
2. Join the shoulder parts of the front and back.
3. Finish the armhole with bias binding or narrow hem.
4. Stitch side seam.
5. Finish the placket.
6. Finish the neckline with bias binding.
7. Finish the bottom round with hem.

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Unit-3
(i)Toddlers Wear (1-2 / years) 1
2

Dress with a yoke

A baby dress requires looseness for comfort and flare to allow for ease in
movement. This flare and looseness can be beautifully held by a yoke. A yoke is a
shaped pattern piece which forms part of a garment, and provides support for the
looser part of the garment. It can either be straight, round, V-shape etc.

Baby dress with straight line yoke

Instruction: Trace the basic dress pattern. Mark 1ʺabove underarm point I and
extend towards the centre front as shown in the above figures. Extend for gathers
as desired. Separate the skirt section and the yoke.

Note: Seam allowances are not included in the pattern.

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Baby dress with Round yoke

Instruction: Trace the basic dress pattern. Mark 1ʺabove underarm point I and
extend towards the centre front as shown in the above figures. Extend for gathers
as desired. Separate the skirt section and the yoke.

Note: Seam allowances are not included in the pattern.

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Pattern pieces:
Front yoke piece = 1
Back yoke piece = 2
Skirt pieces = 2
For plackets
Facing pieces = 1
Binding piece = 1
Cross piece for neck part

Stitching Method
1. Leave seam allowance and cut the front and back yoke parts from the fabric for
stitching.
2. Join the shoulder parts of the front and back yoke part.
3. Cut the back neck part for placket, and stitch the facing and binding pieces.
4. Do gathering in the skirt part according to the yoke’s size.
5. Attach with the yoke & stitch.
6. Side line of the bodice is joined and the bottom edge is finished by folding and
stitching.

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DRAFTING CHILD’S BODICE AND SLEEVE PATTERN

Measurements required
Chest
Waist length
Waist
Back width
Sleeve length
Full Length

BODICE PATTERN
For children, back and front pattern can be drafted within the same rectangle
because it is not necessary to make the front larger than the back.

INSTRUCTIONS FOR DRAFTING

Construct rectangle ABCD
AB = ¼ (bust + 5ʺ seam allowance) = ¼ bust + 1 ¼ʺ
AD = BC = back waist length + ½ʺ
Mark AG = ½ back width
AF = 1/12 chest
AH = 1ʺ
AJ = 1/12 chest + ¼ʺ = AF + ¼ʺ = 2 ¼ʺ
GK = 1ʺ
Connect HF with a bold line as shown. This is the back
neckline.
Connect JF with dotted line as shown. This is the front
neckline.
Connect FK with a straight line. This is the shoulder seam.
Mark BL = ¼ chest
Draw GO parallel to and equal to BL
Mark KX = 1/3 KO and XY = ½ʺ
Connect KXL as shown with a bold line. This is the armscye line.
Connect KYL as shown with a dotted line. This is the front armscye line.
Mark CM = ½ʺ
Connect LM. This is the side seam.
For dart, mark DN = ½ DM – ½ʺ and NP = CL – 1ʺ
Mark R and S ½ʺ on either side of N and connect RP and SP.
For children below 5 years, omit dart in the front of the garment.

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Keep a sheet of paper below the paper in which you drafted the bodice
pattern and cut both layers of paper along the outline of the back pattern.
( HFKXLMDH). Now lift the top layer of the paper and cut along the dotted
lines ( along front neckline JF and front armscye line KYL )
SEAM ALLOWANCES:
Shoulder seam and armscye line 3/8ʺ to ½ʺ
Neckline ¼ʺ
Side seam ½ʺ to 1ʺ
Centre front or centre back opening edge ¼ʺ to 2ʺ depending on the way in
which the opening is to be finished. The seam allowances mentioned above
may be left on the cloth at the time of cutting, or paper patterns may be
prepared with seam allowances.

SLEEVE PATTERN
Draw rectangle ABCD with side AD is on fold and is equal to the sleeve
length.
AB = ¼ bust - ¼ʺ
Mark BE = ½ AB
DF = ½ lower arm + ¼ʺ
Connect AE
Divide it into 4 equal parts and mark a, b, c.
Mark cg = ½ʺ, bf = ¼ʺ, ae = ¼ʺ and ad = ½ʺ.
Connect AgfeE with a bold line (back armscye line) and AgbdE with dotted
line ( front armscye line ) This is the front sleeve cap seam line.
Mark CF = ½ʺ to 1ʺ
Connect EF. This is the side seam line of sleeve.

SEAM ALLOWANCE
Sleeve cap seam line 3/8ʺ to ½ʺ (same as armscye line)
Side seam or under arm seam ½ʺ to 1ʺ
Sleeve hem 1ʺ

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CHILD’S WEAR (3-6 years)

BABY DRESS

HIGH WAIST LOW WAIST

(2 ½ʺ above from normal waist) (2 ½ʺ- 3ʺ below from normal waist)

Instructions: Baby dress with high waist and low waist bodice is adapted using
basic child’s bodice block and skirt blocks (gathered, pleated, semi-circular
& circular skirts)

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Gathered Skirt
AD =BC= Skirt length
AB=DC= 3 times1/4 waist
measurement

Semi-Circular skirt
AD is on fold
AB=AD=Skirt length +1/3 waist
AE=AG=AF=1/3 waist
EB=GH=FD=Skirt length

Circular Skirt
AB & AD is on fold
AB=AD=Skirt length +1/6
waist
AE=AG=AF=1/6 waist
EB=GH=FD=Skirt length

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Pleated Skirt
AB= Three times waist
measurement
AD=Skirt length

Note: To make the skirt part, measure: Full Length – Waist length
Seam allowances are not included on skirt pattern.

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Unit-4
(i) Teen wear (13-18 years)
NIGHT SUIT
BASIC SHIRT
Measurements required
Chest
Back width
Shirt length
Waist
Sleeve length

Fabric requirement:
For a child – garment length +1
sleeve length +5ʺ
For an adult – twice garment length + 5ʺ

Instructions for drafting the shirt:

 Draw rectangle ABCD with AB= ¼ chest
+ 1 ¼ʺ
 BC = shirt length
 Now mark the following:
 BE =1/12 chest
 BE1 = ½ back width
 AI= ¼ chest
 Draw E1OI as shown.
 Mark E1F
 BG= 1ʺ
 BH = BE + ¼ʺ
 FX = 1/3 FO
 XY = 3/8ʺ, BK = AJ = waist length
 DD1= ½ʺ.
 Connect all lines as illustrated. The

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dotted lines EH and FYI are the front neckline and armscye line
respectively. Cut out the patterns separately for the back and the front. Label
the patterns with all details.

Drafting the shirt sleeve:

 In the figure ABCD is drawn with AB = ¼ chest –
1
/2ʺ.
 AD = sleeve length (AD should be on fold).
 On BC mark BE = ½ AB.
 On CD mark CF = ½ʺ to ¾ʺ.
 Connect AE and EF.
 Divide AE into 4 equal parts and mark a, b, c.
 Mark ae = 3/8ʺ, bf = ½ʺ and cd =3/8ʺ in the directions shown.
 Connect AfE for back and AebdE for front sleeve cap seam lines. Cut out
the sleeve and label it.

Drafting the Convertible Collar:

 Draw rectangle ABCD. Keep AD on fold.
 AD = width of the collar (approximately 2 ½ʺ
for a child and 3 - 3 ½ʺ for an adult).
 CD = ½ round neck excluding the lapel
allowance. (The garment round neck is measured only after stitching the
shoulders).
 Mark DE = ½ back neck (garment measurement)
 BG and CF = ¼ʺ to ½ʺ
 Connect BGFE as shown.

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(ii) PYJAMAS
Measurements required
Length
Waist
Hips

Fabric requirement:
For a child – garment length + 5ʺ
For an adult – twice garment length + 5ʺ

Drafting procedure:
 In the figure ABCD represents a double layer
of paper with fold along BC and with
extension of 2ʺ beyond AB and AD.
 1/3 The rectangle is constructed with the
following dimensions:
 AB =1/3 hip + ¾ ʺ
BC = full length.
 Mark AE =1/3 hip + ½ʺ and draw EE1 parallel to AB. This is the hipline.
 Take BL = E1H = ¼ hip + 1ʺ. Connect HL.
 Mark HJ =1/3 AE – ½ʺ. Connect EJ as shown.
 This is the centre front seam. JL is the fly opening.
 On LB mark LU = 1 ¼ʺ.
 Mark UV = 1ʺ in the direction shown. ( take UV =
1 ½ʺ for adults).
 Mark ET = 1ʺ to 1 ½ʺ and TT1 = ¼ʺ to ½ʺ.
 Connect T1V as shown. This is the centre back
seam.
 Connect VB for back waist line.
 On DC mark DS = 1 ½ʺ to 2ʺ (the latter for a
tighter fit)
 Connect ES as shown. This is the front inside leg
seam.
 Mark SS1 = ½ʺ. Connect T1S1 for the back inside
leg seam.

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Comprehensive Continuous Evaluation

UNIT 1: (25 mks)
Sub Unit i: 10 mks
1) Tools for clothing construction and needle work
A) Proportionate diagrams or pictures (5 mks)
B) Creativity (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (1)
5mks 5mks 5mks 5mks 20 mks

2) Uses and care of sewing machine

A) Proportionate diagrams or pictures (5 mks)
B) Creativity (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (2)
5mks 5mks 5mks 5mks 20 mks

3) Body measurements
A) Proportionate diagrams or pictures (5 mks)
B) Creativity (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (3)
5mks 5mks 5mks 5mks 20 mks

4) Basic hand stitches

A) Cutting on proper grain ( 5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)

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Roll no. (A) (B) (C) (D) Total (4)

5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

5) Seams and seam finishes

A) Cutting on proper grain (5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (5)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

6) Preparation and uses of true bias- facings and bindings

A) Cutting on proper grain ( 5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (6)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

7) Introducing fullness
i) Darts
A) Cutting on proper grain (5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (i)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

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ii) Pleats
A) Cutting on proper grain ( 5mks)
B) Working ( 5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (ii)
5 mks 5 mks 5 mks 5 mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

iii) Tucks
A) Cutting on proper grain (5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (iii)
5 mks 5 mks 5 mks 5 mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

iv) Gathers
A) Cutting on proper grain (5 mks)
B) Working (5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (iv)
5 mks 5 mks 5 mks 5 mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

v) Shirring
A) Cutting on proper grain ( 5mks)
B) Working ( 5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)

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Roll no. (A) (B) (C) (D) Total (v)

5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

vi) Ruffles
A) Cutting on proper grain ( 5 mks)
B) Working ( 5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (vi)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

Roll (i) (ii) (iii) (iv) (v) (vi) Total Average

no. 20mks 20mks 20mks 20mks 20mks 20mks 120 (7)
20

Ex. Average= total*20/120

Continuous Evaluation Unit -1 .... sub unit i

Roll Total 1 Total 2 Total 3 Total 4 Total 5 Total 6 Total 7 Total Average
no (20mks) (20mks) (20mks) (20mks) (20mks) (20mks) (20mks) 140 (10)
mks

Ex. Average= total*10/140

Sub Unit ii: 10 mks

8) Pockets
A) Cutting on proper grain ( 5 mks)
B) Working ( 5 mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (8)
5mks 5mks 5mks 5mks 20 mks

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(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

9) Plackets and openings

A) Cutting on proper grain ( 5mks)
B) Working (5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (9)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

10) Fasteners
A) Cutting on proper grain ( 5mks)
B) Working (5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (10)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

11) Hems
A) Cutting on proper grain ( 5mks)
B) Working (5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (11)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

12) Mending
A) Cutting on proper grain ( 5mks)

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B) Working (5mks)
C) Neatness (5 mks)
D) Completion and submission (5 mks)
Roll no. (A) (B) (C) (D) Total (12)
5mks 5mks 5mks 5mks 20 mks

(Note: Similar Checklist and Performa have to be prepared by the subject teacher
for each practical)

Continuous Evaluation Unit -1 .... sub unit ii

Roll Total 8 Total 9 Total Total Total Total Average
no (20mks) (20mks) 10 11 12 100 (10 mks)
(20mks) (20mks) (20mks) mks

Ex. Average= total*10/100

Statement of marks of continuous evaluation in practical of clothing

construction (Unit 1)
Sr. Roll Name of the student Sub unit: i Sub unit: ii Journal Total
No No (10 mks) (10 mks) (5 mks) (25 mks)

UNIT 2: (25mks)
Sub unit i: 10 marks
Infant wear (0-6 months)
1) Napkin
A) Drafting (5mks)
B) Marking and Cutting on proper grain line ( 5 mks )
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (1)
5mks 5mks 5mks 5mks 5mks 25 mks

2) Bonnet
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks )

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C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (2)
5mks 5mks 5mks 5mks 5mks 25 mks

3) Bib
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks )
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (3)
5mks 5mks 5mks 5mks 5mks 25 mks

Continuous Evaluation Unit -2 .... sub unit i

Roll no Total (1) Total (2) Total (3) Total Average (Sub unit-i)
25 mks 25 mks 25 mks (75 mks) (10 mks)

Ex. Average= total*10/75

Sub unit ii: 10 marks

1) A-Line baby dress
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks )
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (Sub unit ii)
5mks 5mks 5mks 5mks 5mks 25 mks

Continuous Evaluation Unit -2 .... sub unit ii

Roll Total (i) Average (Sub unit-ii)
no 25 mks (10mks)

Ex. Average= total*10/25

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Statement of marks of continuous evaluation in practical of clothing

construction (Unit- 2)
Sr. Roll Name of the student Sub unit:i Sub unit:ii Journal Total
No No (10 mks) (10 mks) (5 mks) (25 mks)

UNIT 3: (25mks)
Sub unit i: 10 marks
Toddler wear (1-21/2 yrs)
1) Baby frock
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks)
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total
5mks 5mks 5mks 5mks 5mks (1)
25 mks

2) Baby’s panty
A) Drafting (5mks)
B) Marking and Cutting on proper grain line ( 5 mks )
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (2)
5mks 5mks 5mks 5mks 5mks 25 mks

Continuous Evaluation Unit -3 .... sub unit i

Roll Total (1) Total (2) Total Average (Sub unit-i)
no 25 mks 25 mks (50 mks) (10)

Ex. Average= total*10/50

Sub unit ii: 10 marks

Child’s wear (3-6 yrs)
1) Baby dress

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A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks)
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (Sub
5mks 5mks 5mks 5mks 5mks unit ii)
25 mks

Continuous Evaluation Unit -3 .... sub unit ii

Roll no Total (i) Average (Sub unit-ii)
25 mks (10 mks)

Ex. Average= total*10/25

Statement of marks of continuous evaluation in practical of clothing

construction (Unit- 3)
Sr. Roll Name of the student Sub unit:i Sub unit:ii Journal Total
No No (10 mks) (10 mks) (5 mks) (25 mks)

UNIT 4: (25mks)
Sub unit i: 10 marks
Teen wear (13-18 yrs) - Night suit
1) Basic shirt
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks)
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (1)
5mks 5mks 5mks 5mks 5mks 25 mks

Continuous Evaluation Unit -4 .... sub unit i

Roll no Total (i) 25 mks Average (Sub unit-i) (10 mks)

Ex. Average= total*10/25

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Sub unit ii : 10 marks

1) Pyjamas
A) Drafting (5mks)
B) Marking and Cutting on proper grain line (5 mks )
C) Stitching (5mks)
D) Neatness and overall appearance (5mks)
E) Submission and Completion (5mks)
Roll no (A) (B) (C) (D) (E) Total (Sub unit ii)
5mks 5mks 5mks 5mks 5mks 25 mks

Continuous Evaluation Unit -4 .... sub unit ii

Roll no Total (i) Average (Sub unit-ii)
25 mks (10 mks)

Ex. Average= total*10/25

Statement of marks of continuous evaluation in practical of clothing

construction (Unit- 4)
Sr. Roll Name of the student Sub unit:i Sub unit:ii Journal Total
No No (10 mks) (10 mks) (5 mks) (25 mks)

-Units 1 and 2 have to be completed in the 1st term.

- Units 3 and 4 have to be completed in the 2nd term.
- Marks to be given as per the Check list and Performa (continuous evaluation).
-All the garments have to be done individually by each student during school
hours.
-A record of the practical marks obtained by each student should be maintained.
This record should be presented to the auditor/ examiner at the time of the audit/
inspection.
-Maintain a journal/ file for the practical which should be used in the Std XI and
XII.

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DESIGN OF THE QUESTION PAPER

XI C. G.D.M.
TIME: 01 HOUR SUB: CLOTHING CONSTRUCTION MAX. MARKS: 20

The weightage of the distribution of marks over different dimensions of

the question paper shall be as follows:
1. Weightage of learning outcomes:
Sr.No Learning outcomes
1 Knowledge
2 Understanding
3 Application
4 Skill
5 TOTAL
Marks Percentage of marks
6 30 %
6 30%
4 20%
4 20%
20 100%

2. Weightage to content / subject units

Sr. No Units Marks
1 Tools for clothing construction and needle work 06
2 Uses and care of the sewing machine 04
3 Body measurements 04
4 Basic hand stitches 06
5 TOTAL 20

3. Weightage to form of questions

Sr. No Form of questions Marks Number Total
for each of marks
question questions
1 Long answer type (LA) 5 1 5
2 Short answer type (SA - 1) 2 3 6
3 Short answer type(SA – 2) 3 2 6
4 Very short Answer type(VSA) 1 3 3
5 Total 20

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The expected time for different types of question would be as follows:

Sr. Form of Approx.time Number of Approx.Time

No Questions for each questions for each
Question in (n) form of
minutes (t) questions in
mins (n x t)
1. Long Answer Type 11 01 22
(LA)
2 Short Answer 4.5 03 15
Type(SA -1)
3 Short Answer 7.5 02 15
type (SA – 2)
4 Very Short 1.5 03 08
Answer type(VSA)
5 TOTAL 60

As the total time is calculated on the basis of the number of questions

required to be answered and the length of their anticipated answers it
would therefore be advisable for candidates to budget their time
properly by cutting out the superfluous words and be within the
expected time limits.

4. Scheme of options:
( There will be no overall choice. However, there is internal choice in D
sub questions of 05 marks category and ___ sub question of ___marks
category ___ sub question of ___ marks category.)

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5. Weightage to difficulty level of questions:

Sr.No Estimated difficulty level of questions Percentage
1 Easy 20%
2 Average 60%
3 Difficult 20%

A question may vary in difficulty level from individual to individual. As

such, assessment in respect of each question will be made by the paper
setter on the basis of general anticipation from the group as a whole
taking the examination. This provision is only to make the paper
balanced in its weightage rather than to determine the pattern of
marking at any stage.

6. Number of main questions:

There will be 02 main questions of 10 marks each.

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MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
MID TERM EXAM
Clothing Construction
XI CGDM
20 marks
01 hour

INSTRUCTIONS:
i. All questions are compulsory.
ii. Figures to the right indicate full marks.
iii. Draw neat diagrams wherever necessary.

1A. Very Short Answers (VSA){Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 3-4sentences.} (03 marks)
D. Answer ANY ONE of the following (05 marks)
Eg.1. Draw the following……

2A. Very Short Answers (VSA){Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks )
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CC XI
 164

DESIGN OF THE QUESTION PAPER

XI C. G.D.M.
TIME: 02 HOURS SUB: CLOTHING CONSTRUCTION MAX. MARKS: 40
The weightage of the distribution of marks over different dimensions of
the question paper shall be as follows:
1. Weightage of learning outcomes:
Sr.No Learning outcomes Marks Percentage of marks
1 Knowledge 12 30 %
2 Understanding 12 30%
3 Application 8 20%
4 Skill 8 20%
5 TOTAL 40 100%

2. Weightage to content / subject units

Sr. No Units Marks
1 Tools for clothing construction and needle work 05
2 Uses and care of the sewing machine 05
3 Body measurements 05
4 Basic hand stitches 05
5 Seams and seam finishes 10
6 Preparation and uses of true bias, facings and bindings 10
7 TOTAL 40

3. Weightage to form of questions

Sr. No Form of questions Marks Number Total
for each of marks
question questions
1 Long answer type (LA) 5 2 10
2 Short answer type (SA - 1) 2 6 12
3 Short answer type(SA – 2) 3 4 12
4 Very short Answer type(VSA) 1 6 06
5 Total 40

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The expected time for different types of question would be as follows:

Sr. Form of Approx.time Number of Approx.Time

No Questions for each questions for each
Question in (n) form of
minutes (t) questions in
mins (n x t)
1. Long Answer Type 15 02 30
(LA)
2 Short Answer 06 06 36
Type(SA -1)
3 Short Answer 09 04 36
type (SA – 2)
4 Very Short 03 06 18
Answer type(VSA)
5 TOTAL 120

As the total time is calculated on the basis of the number of questions

required to be answered and the length of their anticipated answers it
would therefore be advisable for candidates to budget their time
properly by cutting out the superfluous words and be within the
expected time limits.

4. Scheme of options:
( There will be no overall choice. However, there is internal choice in D
sub questions of 05 marks category and ___ sub question of ___marks
category ___ sub question of ___ marks category.)

CC XI
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5. Weightage to difficulty level of questions:

Sr.No Estimated difficulty level of questions Percentage
1 Easy 20%
2 Average 60%
3 Difficult 20%

A question may vary in difficulty level from individual to individual. As

such, assessment in respect of each question will be made by the paper
setter on the basis of general anticipation from the group as a whole
taking the examination. This provision is only to make the paper
balanced in its weightage rather than to determine the pattern of
marking at any stage.

6. Number of main questions:

There will be 04 main questions of 10 marks each.

CC XI
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MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
FIRST TERM EXAM
Clothing Construction
XI CGDM
40 marks
02 hours

INSTRUCTIONS:
i. All questions are compulsory.
ii.Figures to the right indicate full marks.
iii.Draw neat diagrams wherever necessary.

1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR
Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark) C. Short Answer
II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Answer ANY ONE of the following (05 marks)
Eg.1. Draw the following……

2A. Very Short Answers (VSA){Select and rewrite the correct alternative from those given below. OR
Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks)
D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks )
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks )

3A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR
Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks) D. Answer ANY
ONE of the following (05 marks)
Eg.1. Draw the following……

4A. Very Short Answers (VSA){Select and rewrite the correct alternative from those given below. OR
Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks)
D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks )
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks)

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CC XI
 168

DESIGN OF THE QUESTION PAPER

XI C. G.D.M.
TIME: 02 HOURS SUB: CLOTHING CONSTRUCTION MAX. MARKS: 50

The weightage of the distribution of marks over different dimensions of

the question paper shall be as follows:
Weightage of learning outcomes:
Sr.No Learning outcomes Marks Percentage of marks
1 Knowledge 08 16 %
2 Understanding 15 30%
3 Application 8 16%
4 Skill 19 38%
5 TOTAL 50 100%

2. Weightage to content / subject units

Sr. No Units Marks
1 CORE CONTENT - FIRST TERM PORTION 10
2 Introducing fullness 10
3 Pockets 6
4 Plackets and Openings 6
5 Fasteners 6
6 Hems 6
7 Mending 6
8 TOTAL 50

3. Weightage to Form of Questions

Sr. No Form of questions Marks Number Total
for each of marks
question questions
1 Long answer type (LA) 5 3 15
2 Short answer type (SA - 1) 2 6 12

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 169

3 Short answer type (SA – 2) 3 5 15

4 Very short Answer type(VSA) 1 8 08
5 Total 50

The expected time for different types of question would be as follows:

Sr. Form of Approx.time Number of Approx.Time

No Questions for each questions for each
Question in (n) form of
minutes (t) questions in
mins (n x t)
1. Long Answer Type 11 03 33
(LA)
2 Short Answer 4.5 06 27
Type(SA -1)
3 Short Answer 7.5 05 37.5
type (SA – 2)
4 Very Short 01 08 12
Answer type(VSA)
5 TOTAL 120

As the total time is calculated on the basis of the number of questions

required to be answered and the length of their anticipated answers it
would therefore be advisable for candidates to budget their time
properly by cutting out the superfluous words and be within the
expected time limits.

CC XI
 170

4. Scheme of options:
( There will be no overall choice. However, there is internal choice in D
sub questions of 05 marks category and ___ sub question of ___marks
category ___ sub question of ___ marks category.)

5. Weightage to difficulty level of questions:

Sr.No Estimated difficulty level of questions Percentage
1 Easy 20%
2 Average 60%
3 Difficult 20%

A question may vary in difficulty level from individual to individual. As

such, assessment in respect of each question will be made by the paper
setter on the basis of general anticipation from the group as a whole
taking the examination. This provision is only to make the paper
balanced in its weightage rather than to determine the pattern of
marking at any stage.

6. Number of main questions:

There will be 05 main questions of 10 marks each.

CC XI
 171

MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
SECOND TERM EXAM
Clothing Construction
XI CGDM
50 marks
02 hours

INSTRUCTIONS:
i. All questions are compulsory.
ii.Figures to the right indicate full marks.
iii.Draw neat diagrams wherever necessary.

1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words}
(01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) { Answer the following in 8-10 sentences } (05 marks)

2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words}
(01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Answer ANY ONE of the following (05 marks)
Eg.1. Draw the following……

3A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words}
(01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Answer ANY ONE of the following (05 marks)
Eg.1. Draw the following……

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 172

4A. Very Short Answers (VSA){Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words}
(01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks)
D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks)

5A. Very Short Answers (VSA){Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words}
(01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks)
D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks)

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CC XI