Plan Training Session

COMPETENCY-BASED LEARNING
MATERIAL
Sector: GARMENTS
Qualification Title: DRESSMAKING NCII
Unit of Competency: Sew Casual Apparel
Module Title: Sewing Casual Apparel
Technical Education & Skills Development Authority

LAZI TECHNICAL INSTITUTE
Tigbawan, Lazi, Siquijor
Date Developed: Document No.

July 2019 Issued by:
Trainers Date Revised:
Methodology Level I Assisi High School
February 2020 Page i of vii
Developed by:
Sew Casual Apparel Hazel Joyce O.
Borongan Revision # 00
Date Developed: Document No:
Trainers July 2019 Issued by:
Methodology Level I Date Revised:
Assisi High
February 2020 Page 2 of 250
Developed by: School
Sew Casual
Hazel Joyce O.
Apparel Borongan Revision # 00
Data Gathering Instrument for Trainee’s Characteristics
Trainee: Jose Gregory Mendiola Date: June 1, 2019
Please answer the following instrument according to the
characteristics described below. Encircle the letter of your choice that best
describes you as a learner. Blank spaces are provided for some data that
need your response.
Characteristics of learners
Language, literacy Average grade in: Average grade in:

and numeracy English Math
(LL&N)
a. 95 and above a. 95 and above
b. 90 to 94 b. 90 to 94
c. 85 to 89 c. 85 to 89
d. 80 to 84 d. 80 to 84
a. 75 to 79 e. 75 to 79
Cultural and Ethnicity/culture:

language a. Cebuano
background
b. Ilonggo
c. Hiligaynon
d. Tagalog
e. Muslim
f. Aeta
g. Others( please specify)_____________
Education & Highest Educational Attainment:

general a. Junior High School completer
knowledge
b. Senior/High School Graduate
c. College Level
d. College Graduate
e. with units in Master’s degree
f. Open High School Graduate
g. ALS Graduate
h. Others:________________________

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Sex a. Male
b. Female
Age Your age: 21 _
Physical ability 1. Disabilities(if any)_____________________
2. Existing Health Conditions (Existing illness
if any)
a. None
b. Asthma
c. Heart disease
d. Anemia
e. Hypertension
f. Diabetes
g. Others(please specify) ___________________
NC/COC Certificates
Previous
experience with 1.NONE
the topic 2.
List down trainings related to Qualification

Previous
learning CERTIFICATE OF EMPLOYMENT
experience
Certificates acquired and NC level
Training Level
completed NONE
Other courses related to Qualification

Special courses
a. __NONE______________
b. _____________________
c. Others(please specify)
_________________________
Learning styles a. Visual - The visual learner takes mental
pictures of information given, so in order for
this kind of learner to retain information,
oral or written, presentations of new
information must contain diagrams and
drawings, preferably in color. The visual
learner can't concentrate with a lot of activity
around him and will focus better and learn
faster in a quiet study environment.
b. Kinesthetic - described as the students in
the classroom, who have problems sitting
still and who often bounce their legs while

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tapping their fingers on the desks. They are
often referred to as hyperactive students
with concentration issues.
c. Auditory- a learner who has the ability to
remember speeches and lectures in detail
but has a hard time with written text. Having
to read long texts is pointless and will not be
retained by the auditory learner unless it is
read aloud.
d. Activist - Learns by having a go
e. Reflector - Learns most from activities where
they can watch, listen and then review what
has happened.
f. Theorist - Learns most when ideas are linked
to existing theories and concepts.
g. Pragmatist - Learns most from learning
activities that are directly relevant to their
situation.
a. Financially challenged
Other needs
b. Working student
c. Solo parent
d. Others(please specify)
___________________________

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FORM 1.1 SELF-ASSESSMENT CHECK
INSTRUCTIONS: This Self-Check Instrument will give the trainer necessary

data or information which is essential in planning training
sessions. Please check the appropriate box of your answer
to the questions below.
BASIC COMPETENCIES
CAN I…? YES NO
1. Participate in workplace communication 
2. Work in a team environment 
3. Practice career professionalism 
4. Practice occupational health and safety procedures 
COMMON COMPETENCIES
CAN I…? YES NO
1. Carry out measurements and calculation 
2. Set up and operate machine/s 
3. Perform basic maintenance 
4. Apply quality standards 
CORE COMPETENCIES
CAN I…? YES NO
1. Draft and Cut Pattern for Casual Apparel
1.1 Plan garment design 
1.2 Take clients body measurement 
1.3 Draft basic/block pattern 
1.4 Manipulate pattern 
1.5 Cut final pattern 
2. Prepare and Cut Materials for Casual Apparel
2.1 Prepare materials (fabric) 
2.2 Lay-out and mark pattern on materials 
2.3 Cut materials 
3. Sew Casual Apparel
3.1 Prepare cut parts 
3.2 Prepare sewing machine for operation 

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3.3 Sew and assemble garment parts 
3.4 Alter completed garments 
4. Apply Finishing Touches on Casual Apparel
4.1 Apply finishing touches 
4.2 Trim excess threads 
4.3 Press Finished garment 
4.4 Package the Finished garment 
Note: In making the Self-Check for your Qualification, all required competencies
should be specified. It is therefore required of a Trainer to be well- versed
of the CBC or TR of the program qualification he is teaching.

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Evidences/Proof of Current Competencies
Form 1.2: Evidence of Current Competencies acquired related to
Job/Occupation
Current competencies Proof/Evidence Means of validating

BASIC COMPETENCIES
1. Participate in workplace Report Card/Certificate Observation/
communication of Employment Interviews
2. Work in a team Report Card/Certificate Interview/ Role Play
environment of Employment
Professional Submitted
3. Practice career
License/Certificate of Authenticated
professionalism
Employment Professional License
4. Practice occupational Report Card/Certificate Practical
health and safety of Employment Demonstration/ Role
procedures Play
COMMON COMPETENCIES
1. Carry out measurements Report Card/Certificate Observation/ Written
and calculation of Employment Exam
2. Set up and operate Report Card/Certificate Practical
machine/s of Employment Demonstration/
Observation
3. Perform basic Report Card/Certificate Practical
maintenance of Employment Demonstration/
Questioning
4. Apply quality standards Report Card/Certificate Written Exam/
of Employment Interview
CORE COMPETENCIES
Report Card/Certificate Demonstration /

1.1 Plan garment design
of Employment Actual Designing
Report Card/Certificate Practical
1.2 Take clients body
of Employment Demonstration/
measurement
Observation
1.3 Draft basic/block Report Card/Certificate Demonstration/
pattern of Employment Observation
1.4 Manipulate pattern Report Card/Certificate Practical
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of Employment Demonstration/
Portfolio
Report Card/Certificate Practical
1.5 Cut final pattern of Employment Demonstration/
Project
2.1 Prepare materials Report Card/Certificate Direct Observation/
(fabric) of Employment Demonstration
2.2 Lay-out and mark Report Card/Certificate Direct Observation/
pattern on materials of Employment Demonstration
Report Card/Certificate Direct Observation/
2.3 Cut materials
of Employment Demonstration
3.1 Prepare cut parts
3.2 Prepare sewing
machine for
operation
3.3 Sew and assemble
garment parts
3.4 Alter completed
garments
4.1 Apply finishing Report Card/Certificate Demonstration/
touches of Employment Questioning
Report Card/Certificate Demonstration/
4.2 Trim excess threads
of Employment Questioning
4.3 Press Finished Report Card/Certificate Direct observation/
garment of Employment Demonstration
4.4 Package the Report Card/Certificate Demonstration/
Finished garment of Employment Questioning

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Identifying Training Gaps
From the accomplished Self-Assessment Check (Form 1.1) and the

evidences of current competencies (Form 1.2), the Trainer will be able to
identify what the training needs of the prospective trainee are.
Form 1.3 Summary of Current Competencies Versus Required

Competencies
Required Units of Current Training

Competency/Learning Competencies Gaps/Requirements
Outcomes based on CBC
Basic Competencies
1. Participate Participate
Workplace Workplace
Communication Communication
2. Work in a team Work in a team
environment environment
3. Practice career Practice career
professionalism professionalism
Practice
4. Practice occupational
occupational health
health and safety
and safety
procedures
procedures
Common Competencies
1. Carry out Carry out
measurements and measurements and
calculation calculation
2. Set up and operate Set up and operate
machine/s machine/s
3. Perform basic Perform basic
maintenance maintenance
4. Apply quality Apply quality
standards standards
Core Competencies
1.1 Plan garment design Plan garment design

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1.2 Take clients body Take clients body
measurement measurement
1.3 Draft basic/block Draft basic/block
pattern pattern
1.4 Manipulate pattern Manipulate pattern
1.5 Cut final pattern Cut final pattern
2.1 Prepare materials Prepare materials
(fabric) (fabric)
2.2 Lay-out and mark Lay-out and mark
pattern on pattern on materials
materials
2.3 Cut materials Cut materials
3.1 Prepare cut parts Prepare cut parts
3.2 Prepare sewing Prepare sewing
machine for machine for
operation operation
3.3 Sew and assemble Sew and assemble
garment parts garment parts
3.4 Alter completed Alter completed
garments garments
4.1 Apply finishing Apply finishing
touches touches
4.2 Trim excess threads Trim excess threads
4.3 Press Finished Press Finished
garment garment
4.4 Package the Package the Finished
Finished garment garment

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Using Form No.1.4, convert the Training Gaps into a Training
Needs/Requirements. Refer to the CBC in identifying the Module Title or
Unit of Competency of the training needs identified.
Form No. 1.4: Training Needs
Training Needs Module Title/Module of

Instruction
(Learning Outcomes)
1. Prepare cut parts 1. Sewing Casual Apparel
2. Prepare sewing machine for
operation
3. Sew and assemble garment parts
4. Alter completed garments

Assisi High
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SESSION PLAN
Sector : GARMENTS
Qualification Title : DRESSMAKING NC II
Unit of Competency : Sew Casual Apparel
Module Title : Sewing Casual Apparel
Learning Outcomes:
1. Prepare cut parts
2. Prepare sewing machine for operation
4. Alter completed garments
INTRODUCTION
This module covers the knowledge and skills required in preparing and assembling cut parts,
preparing sewing machine for operation, sewing garments and components using basic sewing
techniques and altering completed garments.

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B. Learning Activities
LO1: Prepare cut parts
Learning
Methods Presentation Practice Feedback Resources Time
Content
Fabric Read Compare
manufacturi Information Answer Self Answers With
Self- Paced 1 hour
ng Sheet No. 3.1-1 Check 3.1-1 The Answer Key CBLM
Modular
procedures on Fabric 3.1-1
Manufacturing
Read
Garments Information Compare
designs Self- Paced Sheet No. 3.1-2 Answer Self Answers With
1 hour
Check 3.1-2 The Answer Key CBLM
and styles Modular on Garments
Designs And 3.1-2
Styles
Read Compare
Techniques Information Answer Self Answers With
Self- Paced 1 hour
in pressing Sheet No. 3.1-3 Check 3.1-3 The Answer Key CBLM
Modular
on Pressing 3.1-3
Techniques

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Study Task Evaluate
Sheet No. 3.1-3 Performance Iron
Perform Task using
on Pressing Iron Stand
Demonstration Sheet No. 3.1- Performance 4 hours
Techniques Fabric
3 Criteria
Checklist No.
3.1-3
LO2: Prepare sewing machine for operation.

Read
Types and Information Compare
Self-Paced Answer Self
functions Sheet No. 3.2-1 Answers with
Modular Check 3.2-1 1 hour
of sewing on Types and the Answer Key CBLM
machine Functions of 3.2-1
Sewing Machine
Rea Read In
Read Compare
Machine
Information Answer Self- Answer With
troubles Self- paced 1 hour
Sheet No. 3.2-2 Check 3.2-2 Answer Key 3.2- CBLM
and Modular
on Machine 2
remedies
Remedies

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Read
Needle Compare
Information
types and Answer Self- Answer With 1 hour
Self-paced Sheet No. 3.2-
their Check 3.2-3 Answer Key 3.2- CBLM
modular 3 on Needle
application 3
Types
LO3: Sew and assemble garment parts

Study Job
Procedure
Sheet No. Evaluate
in
3.3-1 on Performance
assembling Perform Job
Procedure in Using
garments Sheet No. 3.3- 40 hours
Demonstration Assembling Performance CBLM
a. Blouse 1
Garments: Criteria
b. Skirts
a. Blouse Checklist 3.3-1
c. Dress
b. Skirts
c. Dress
Evaluate
Study Task Performance Fabric
Complete Sheet No. 3.3-2 Perform Task using Shears
finishing Demonstration On Complete Sheet No. 3.3- Performance Working 12 hours
touches finishing 2 Criteria Tools
touches Checklist No.
3.3-2

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Evaluate
Performance Iron
Study Task Perform Task Using
Procedure Iron Stand
Sheet No. Sheet No. 3.3- Performance 8 hours
in pressing Demonstration Fabric
3.3-3 on 3 Criteria testing
Procedure in Checklist No.
Pressing 3.3-3
LO4: Alter completed garment
Read
Procedure Self- Paced
Information Compare Answers
on final Modular Answer Self
Sheet No. With The Answer CBLM 1 hour
fitting 3.4-1 on Check 3.4-1
Key 3.4-1
Final Fitting
Study Task Evaluate

Sheet No. Perform Task Performance Using
Sheet No. Performance Garments 4 hours
Demonstration 3.4-1 On Fit
Finished 3.4-1 Criteria Checklist
Garment No. 3.4-1

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Read
Types of Informati
Self- Paced
packaging on Sheet Compare Answers
Modular Answer Self
No. 3.4-2 with The Answer CBLM 1 hour
On Types Check 3.4-2
Key 3.4-2
of
Packaging
Evaluate
Performance using
Procedure Study Task Performance
Sheet No. Perform task
on Criteria Checklist Packaging
3.4-3 on Sheet No. 4 hours
packaging Demonstration No. 3.4-3 materials
Pack Finished 3.4-3
Garment
C. Assessment Plan
 Written Test
 Performance Test
 Oral Questioning
D. Teacher’s Self-Reflection Of The Session
I was very glad that the trainee was able to learn from the session accordingly. The trainee applied what
he reads from the information sheets and performs well in the demonstration. His self-evaluation and
performances was very evident from the passing result of his self-check scores and criteria checklists. Aside from
his performance, he also showcases camaraderie and quality work upon working along with his co-trainees.

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From the oral questioning, he delivered his answers clearly.
From this session plan, I haven’t encountered much difficulty from the trainee. I can say that the
trainee was a fast-learner and determined in joining the training. The session was indeed effective to the trainee
and the outcome was better so far.

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PARTS OF A COMPETENCY-BASED LEARNING MATERIAL
PACKAGE
References/Further Reading
Performance Criteria Checklist

Operation/Task/Job Sheet
Self-Check Answer Key
Self-Check
Information Sheet
Learning Experiences
Learning Outcome Summary
Module
Module Content
Content
Module
List of Competencies
Content
Module Content
Module Content
Front Page
In our efforts to standardize CBLM, the

above parts are recommended for use
in Competency Based Training (CBT) in
Technical Education and Skills
Development Authority (TESDA)
Technology Institutions. The next
sections will show you the components
and features of each part.

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Methodology Level I School Page 20 of 61
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Sew Casual Apparel Borongan Revision # 00
DRESSMAKING NC II
COMPETENCY-BASED LEARNING MATERIALS
List of Competencies
No. Unit of Competency Module Title Code
Draft and cut pattern Drafting and Cutting

GRM743301
1. of casual apparel pattern of Casual
Apparel
Prepare and cut Preparing and Cutting

materials of casual GRM743302
2. Materials of Casual
apparel Apparel
Sew casual apparel GRM743303

3. Sewing Casual Apparel
Apply finishing Applying Finishing

touches on casual GRM743304
4. Touches on Casual
apparel Apparel

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MODULE CONTENT
Dressmaking NC II
UNIT OF COMPETENCY: Sew Casual Apparel
MODULE TITLE: Sewing Casual Apparel

MODULE DESCRIPTOR:
This module covers the knowledge and skills required in
preparing and assembling cut parts, preparing sewing machine
for operation, sewing garments and components using basic
sewing techniques and altering completed garments.
NOMINAL DURATION: 80 hours
LEARNING OUTCOMES:
At the end of this module you MUST be able to:
1. Prepare cut parts
2. Prepare sewing machine for operation
4. Alter completed garment
ASSESSMENT CRITERIA:
1. Cut parts are prepared in accordance with the specified
garment design/style.
2. Cut parts are pressed in accordance with fabric
specifications.
3. Cut parts are pinned together in accordance with
garment design or style
4. Accessories and accents are prepared in accordance with
garment design or style.
5. Machine parts are cleaned and lubricated in accordance
with company’s requirements and manufacturer’s
cleaning and lubricating instructions.
6. Machines are threaded in accordance with the
company’s work procedure
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7. Machines are set-up and adjusted in accordance with
fabric specification.
8. Speed of machine and work handling are controlled in
accordance with company’s procedures.
9. Minor machines problem or fault is identified and
repaired in accordance to manufacturer’s manuals.
10. Machine operations are monitored.
11. Company’s health and safety practices and procedures
are followed as per standard operating procedures
12. Garments parts are assembled in accordance with garment
assembly instruction and pattern specifications.
13. Garments are sewn in accordance with sewing standard
procedures and company’s time frames
14. Sleeves, collars and pockets are identified and sewn in terms
of customer’s specification
15. The neckline and corners are sewn evenly and sharp according
to sewing procedures
16. Pocket flaps and pieces had clean corners with no raw edges
17. Zipper is sewn without puckered according to sewing
instructions
18. Seams, edges are finished in accordance with the job
requirements
19. Waistband width is evenly sewn from end-to-end according to
standard operating procedure.
20. Alteration/modifications are determined/undertaken in
accordance with the client’s specifications
21. Final fitting is conducted to ensure client’s satisfaction
22. Garments alteration is completed as per client’s
satisfaction.

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LEARNING OUTCOME NO. 1
PREPARE CUT PARTS
Contents:
1. Fabric Manufacturing Procedures

2. Garments Designs And Styles
3. Techniques In Pressing
Assessment Criteria
1. Cut parts are prepared in accordance with the specified

garment design/style.
2. Cut parts are pressed in accordance with fabric
specifications.
3. Cut parts are pinned together in accordance with garment
design or style
4. Accessories and accents are prepared in accordance with
garment design or style.
Conditions
The participants will have access to:
 Pencil
 Cutting shears
 Ruler with Grid
 Pins
 L-square
 Pin cushion
 Tape Measure
 Emery bag
 Curve Ruler
 Fabric
 French curve
 Clothes line
 Basic Pattern
 Flat iron
 Pattern Paper
 Ironing board
 Scissors
 Paper weight

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Assessment Method:
 Demonstration
 Oral Questioning
 Written Test

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Learning Experiences
Learning Outcome 1
PREPARE CUT PARTS
Learning Activities Special Instructions

Read Information Sheet No. 3.1-1 on This learning outcome focuses on (a)
Fabric Manufacturing fabric manufacturing procedures, (b)
garments designs and styles and (c)
Self-Check No. 3.1-1 pressing techniques.
Go through the learning activities

Answer Key No. 3.1-1
outlined for you on the left column
to gain the necessary information or
Read Information Sheet No. 3.1-2 on knowledge before doing the task to
Garments Designs And Styles practice your skill. Answer every
Self-checks and evaluate yourself
Self-Check No. 3.1-2 using Answer keys provided.
Answer Key No. 3.1-2 After you have read the information
sheets, be ready to apply skills by
demonstrating. The Performance
Read Information Sheet No. 3.1-3 Criteria Checklist will guide and
help you evaluate your work as you
Self-Check No. 3.1-3 are practicing your skill.
Answer Key No. 3.1-3 Evaluate you own work using the
Performance Criteria. When you are
ready, present your work to your
trainer.
Study Task Sheet No. 3.1-3 on
Pressing Techniques If you have questions regarding your
Performance Criteria Checklist No. task sheet, feel free to ask your
3.1-3 trainer.
After doing all activities of this LO,

you may proceed to the next
competency.
Study Operation Sheet No. 3.1-3 on
Pressing Techniques
Performance Criteria Checklist No.
3.1-3

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Information Sheet No. 3.1-1
FABRIC MANUFACTURING PROCEDURES
Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
a. identify procedures in fabric manufacturing;
b. explain the importance of knowing fabric manufacturing procedures.
Allotted Time: 1 hour
Introduction
Fabric Manufacturing was one of the most successful industries in
field of Manufacturing. From time to time it never goes old instead
modification and trend was introduced. Fabrics were vital to human needs
and its material was used to produce a product consumable by people.
Limited people know what will be the process in making fabrics and to
satisfy mind’s curiosity let us know some information of the procedures by
the manufacturing sector on how fabrics were produce. In this section,
trainees must able to learn the concepts in the process of making fabric by
the Manufacturing industry before it was used into clothing apparel,
decoration and other usage of garments.
Fabric manufacturing, also called textile manufacturing, is a major

industry across globe. It is based on the conversion of fibre into yarn, yarn
into fabric. These are then dyed or printed, fabricated into clothes. Different
types of fibres are used to produce yarn. Cotton remains the most important
natural fibre, so is treated in depth. There are many variable processes
available at the spinning and fabric-forming stages coupled with the
complexities of the finishing and colouration processes to the production of
wide ranges of products. Cotton is the world's most important natural fibre.
In the year 2007, the global yield was 25 million tons from 35 million
hectares cultivated in more than 50 countries. (Wikipedia, 2019) Cotton
fabric will be the example we will use to identify and classify fabric
manufacturing procedures. The almost same process will apply also to other
type of fibres.
Textiles are not only made from cotton, the four main sources
are the following types:
 Natural fabrics came from (1) animal – wool, silk ; (2) plant –
cotton, flax, jute, bamboo; and (3) mineral fibre – asbestos, glass
fibre.
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 Synthetic fabrics like nylon, polyster, acrylic, rayon
There are six stages in cotton Fabric Manufacturing:

1. Cultivating and Harvesting
2. Preparatory Processes
3. Spinning
4. Weaving or Knitting
5. Finishing
6. Marketing
Cultivating and Harvesting
Cotton is grown anywhere with long, hot dry summers with plenty of
sunshine and low humidity. Planting is from September to mid-November
and the crop is harvested between March and June. Soil should hold water
and has retention towards moisture. Medium loams to sandy fertile aoils are
best for cotton cultivation.
For land preparation, plough the field at deep harrowed with planking
each time to make the soil loose, fine, leveled for successful germination.
After, remove all the stubble of the previous crop left in the field. Seeds to be
planted must be in good conditions, free from diseases, pests, cuts or
damaged, etc. There were two types of sowing manual and machine-operated
auto sowing. For setting higher yield, it is very important to apply
recommended dose of fertilizer. Boron is one of the essential micronutrient
for cotton production.
https://www.slideshare.net/Saleem141/cultivation-and-harvesting-of-cotton

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Preparatory Processes
1. Ginning
For the preparation of yarn, the initial step is ginning, the
process of removing and separating cotton to its seed from cotton boll.
2. Bale-making
In bale-making, the ginned fiber, now called lint,
is pressed together and made into dense bales weighting about 500
pounds. A commercial package consisting of cotton lint more or less
tightly compressed, covered with bagging, and bound with ties. It
became a large bundle or package prepared for shipping, storage, or
sale, especially one tightly compressed and secured by wires, hoops,
cords, or the like, and sometimes having a wrapping or covering. The
product is called a bale of cotton. To determine the value of cotton,
samples are taken from each bale and classed according to fiber
length (staple), strength, micronaire, color and cleanness.
3. Transportation
Transportation of bale depends on the country of origin.
Sometimes, manufacturers bought a bale of cotton to producers if the
process is not available to its area. Cotton mills get the cotton shipped
to them in large, 500 pound bales.
4. Opening from the bale
When the cotton comes out of a bale, it is all packed together
and still contains vegetable matter. The bale is broken open using a
machine with large spikes. It is called an Opener. In order to fluff up
the cotton and remove the vegetable matter, the cotton is sent through
a picker, or similar machines. The cotton is fed into a machine known
as a picker, and gets beaten with a beater bar in order to loosen it up.
It is fed through various rollers, which serve to remove the vegetable
matter. The cotton, aided by fans, then collects on a screen and gets
fed through more rollers till it emerges as a continuous soft fleecy
sheet, known as a lap.
5. Scutching
Scutching refers to the process of cleaning cotton of its seeds
and other impurities. The scutching machine worked by passing the
cotton through a pair of rollers, and then striking it with iron or steel
bars called beater bars or beaters. The beaters, which turn very
quickly, strike the cotton hard and knock the seeds out. This process
is done over a series of parallel bars so as to allow the seeds to fall
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through. At the same time, air is blown across the bars, which carries
the cotton into a cotton chamber.
6. Carding
In carding process, the fibres are separated and then assembled
into a loose strand (sliver or tow) at the conclusion of this stage. The
cotton comes off of the picking machine in laps, and is then taken to
carding machines. The carders line up the fibres nicely to make them
easier to spin. The carding machine consists mainly of one big roller
with smaller ones surrounding it. All of the rollers are covered in small
teeth, and as the cotton progresses further on the teeth get finer (i.e.
closer together). The cotton leaves the carding machine in the form of
a sliver; a large rope of fibres.
Carded cotton in Packaging
Note: In a wider sense Carding can refer to these four processes:

(1) Willowing- loosening the fibres;
(2) Lapping- removing the dust to create a flat sheet or
lap of cotton;
(3) Carding- combing the tangled lap into a thick rope
of 1/2 inch in diameter, a sliver; and
(4) Drawing- where a drawing frame combines 4 slivers
into one- repeated for increased quality.
*Combing is optional, but is used to remove the
shorter fibres, creating a stronger yarn.
*Drawing the fibres are straightened
Several slivers are combined. Each sliver will have thin and
thick spots, and by combining several slivers together a more
consistent size can be reached.

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100% pure sliver of cotton
Since combining several slivers produces a very thick rope of

cotton fibres, directly after being combined the slivers are separated
into rovings. These rovings (or slubbings) are then what are used in
the spinning process.
Generally speaking, for machine processing, a roving is about
the width of a pencil.
 Drawing frame: Draws the strand out
 Slubbing Frame: adds twist, and winds onto bobbins
 Intermediate Frames: are used to repeat the slubbing
process to produce a finer yarn.
 Roving frames: reduces to a finer thread, gives more twist,
makes more regular and even in thickness, and winds
onto a smaller tube.
Spinning
Most spinning today is done using Break or Open-end spinning. This is

a technique where the staples are blown by air into a rotating drum, where
they attach themselves to the tail of formed yarn that is continually being
drawn out of the chamber. Other methods of break spinning use needles
and electrostatic forces. This method has replaced the older methods of ring
and mule spinning. It is also easily adapted for artificial fibres.
Open End Spinning Machine

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The spinning machines take the roving, thins it and twists it, creating
yarn which it winds onto a bobbin.
While in mule spinning the roving is pulled off a bobbin and fed
through some rollers, which are feeding at several different speeds. This
thins the roving at a consistent rate. If the roving was not a consistent size,
then this step could cause a break in the yarn, or could jam the machine.
The yarn is twisted through the spinning of the bobbin as the carriage
moves out, and is rolled onto a cylinder called a spindle, which then
produces a cone-shaped bundle of fibres known as a "cop", as the carriage
returns. Mule spinning produces a finer thread than the less skilled ring
spinning.
Mule spinning
Sewing thread was made of several threads twisted together, or
doubled. The procedures for thread are as follows:
Sewing Thread
1. Checking
This is the process where each of the bobbins is rewound to give a
tighter bobbin.
2. Folding and Twisting

Plying is done by pulling yarn from two or more bobbins and
twisting it together, in the opposite direction that in which it was
spun. Depending on the weight desired, the cotton may or may not be
plied, and the number of strands twisted together varies.
3. Gassing

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Gassing is the process of passing yarn, as distinct from fabric very
rapidly through a series of Bunsen gas flames in a gassing frame, in
order to burn off the projecting fibres and make the thread round and
smooth and also brighter. Only the better qualities of yarn are gassed,
such as that used for voiles, poplins, venetians, gabardines, many
Egyptian qualities, etc. There is a loss of weight in gassing, which
varies' about 5 to 8 per cent., so that if a 2/60's yarn is required
2/56's would be used. The gassed yarn is darker in shade afterwards,
but should not be scorched.
Gas Yarn Singeing Machine
Weaving or Knitting
Weaving In Fabric Manufacture

The weaving process uses a loom. The lengthway threads are
known as the warp, and the cross way threads are known as the weft.
The warp, which must be strong, needs to be presented to loom on a
warp beam. The weft passes across the loom in a shuttle, that carries
the yarn on a pirn. These pirns are automatically changed by the
loom. Thus, the yarn needs to be wrapped onto a beam, and onto
pirns before weaving can commence.
1. Winding
After being spun and plied, the cotton thread is taken to a
warping room where the winding machine takes the required
length of yarn and winds it onto warpers bobbins
Winding Yarn
2. Warping or beaming
Racks of bobbins are set up to hold the thread while it is
rolled onto the warp bar of a loom. Because the thread is
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fine, often three of these would be combined to get the
desired thread count.
Yarn Warping Machine
3. Sizing
Slasher sizing machine needed for strengthening the
warp by adding starch to reduce breakage of the yarns.
Slasher Sizing Machine

 Drawing in, Looming
The process of drawing each end of the warp
separately through the dents of the reed and the
eyes of the healds, in the order indicated by the
draft.
 Pirning (Processing the weft)

Pirn winding frame was used to transfer the
weft from cheeses of yarn onto the pirns that would
fit into the shuttle
4. Weaving
At this point, the thread is woven.
The three primary movements of a loom are shedding,

picking, and beating-up.
1. Shedding: The operation of dividing the warp into two
lines, so that the shuttle can pass between these lines.
There are two general kinds of sheds-"open" and "closed."
Open Shed-The warp threads are moved
when the pattern requires it-from one line to the
other.
Closed Shed-The warp threads are all placed
level in one line after each pick.
2. Picking: The operation of projecting the shuttle from side
to side of the loom through the division in the warp
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threads. This is done by the overpick or underpick
motions. The overpick is suitable for quick-running
looms, whereas the underpick is best for heavy or slow
looms.
3. Beating-up: The third primary movement of the loom when
making cloth, and is the action of the reed as it drives
each pick of weft to the fell of the cloth.
 Ends and Picks: Picks refer to the weft, ends refer

to the warp. The coarseness of the cloth can be
expressed as the number of picks and ends per
quarter inch square, or per inch square. Ends is
always written first. For example: Heavy domestics
are made from coarse yarns, such as 10's to 14's
warp and weft, and about 48 ends and 52 picks.
Knitting — fabric manufacture
Close-up on the needles.

Knitting by machine is done in two different ways; warp and weft.
Weft knitting (as seen in the pictures) is similar in method to hand
knitting with stitches all connected to each other horizontally. Various weft
machines can be configured to produce textiles from a single spool
of yarn or multiple spools depending on the size of the machine cylinder
(where the needles are bedded).
In a warp knitthere are many pieces of yarn and there are vertical
chains, zigzagged together by crossing the cotton yarn. Warp knits do not
stretch as much as a weft knit, and it is run-resistant. A weft knit is not
run-resistant, but stretches more. This is especially true if spools
of spandex are processed from separate spool containers and interwoven
through the cylinder with cotton yarn, giving the finished product
more flexibility and making it less prone to having a 'baggy' appearance. The
average t-shirt is a weft knit.
Finishing
The woven cotton fabric in its loom-state not only contains impurities,
including warp size, but requires further treatment in order to develop its
full textile potential. Furthermore, it may receive considerable added value
by applying one or more finishing processes.
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1. Desizing
Depending on the size that has been used, the cloth may be steeped in
a dilute acid and then rinsed, or enzymes may be used to break down
the size.
2. Scouring
Scouring, is a chemical washing process carried out on cotton fabric
to remove natural wax and non-fibrous impurities (e.g. the remains of
seed fragments) from the fibres and any added soiling or dirt. Scouring
is usually carried in iron vessels called kiers. The fabric is boiled in
an alkali, which forms a soap with free fatty acids (saponification). A
kier is usually enclosed, so the solution of sodium hydroxide can be
boiled under pressure, excluding oxygen which would degrade
the cellulose in the fibre. If the appropriate reagents are used, scouring
will also remove size from the fabric although desizing often precedes
scouring and is considered to be a separate process known as fabric
preparation. Preparation and scouring are prerequisites to most of the
other finishing processes. At this stage even the most naturally white
cotton fibres are yellowish, and bleaching, the next process, is
required.
3. Bleaching
Bleaching improves whiteness by removing natural coloration and
remaining trace impurities from the cotton; the degree of bleaching
necessary is determined by the required whiteness and absorbency.
Cotton being a vegetable fibre will be bleached using an oxidizing
agent, such as dilute sodium hypochlorite or dilute hydrogen peroxide.
If the fabric is to be dyed a deep shade, then lower levels of bleaching
are acceptable, for example. However, for white bed sheetings and
medical applications, the highest levels of whiteness and absorbency
are essential.
4. Mercerising
A further possibility is mercerizing during which the fabric is treated
with caustic soda solution to cause swelling of the fibres. This results
in improved lustre, strength and dye affinity. Cotton is mercerized
under tension, and all alkali must be washed out before the tension is
released or shrinkage will take place. Mercerizing can take place
directly on grey cloth, or after bleaching.
Many other chemical treatments may be applied to cotton fabrics to
produce low flammability, crease resist and other special effects but
four important non-chemical finishing treatments are:
 Singeing

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Singeing is designed to burn off the surface fibres from the
fabric to produce smoothness. The fabric passes over brushes to raise
the fibres, then passes over a plate heated by gas flames.
 Raising
Another finishing process is raising. During raising, the fabric
surface is treated with sharp teeth to lift the surface fibres, thereby
imparting hairiness, softness and warmth, as in flannelette.
 Calendering
Calendering is the third important mechanical process, in which
the fabric is passed between heated rollers to generate smooth,
polished or embossed effects depending on roller surface properties
and relative speeds.
 Shrinking (Sanforizing)
Finally, mechanical shrinking (sometimes referred to as
sanforizing), whereby the fabric is forced to shrink width and/or
lengthwise, creates a fabric in which any residual tendency to shrink
after subsequent laundering is minimal.
 Dyeing
Finally, cotton is an absorbent fibre which responds readily to
colouration processes. Dyeing, for instance, is commonly carried out
with an anionic direct dye by completely immersing the fabric (or yarn)
in an aqueous dyebath according to a prescribed procedure. For
improved fastness to washing, rubbing and light, other dyes such as
vats and reactives are commonly used. These require more complex
chemistry during processing and are thus more expensive to apply.
 Printing
Printing, on the other hand, is the application of colour in the
form of a paste or ink to the surface of a fabric, in a predetermined
pattern. It may be considered as localised dyeing. Printing designs
onto already dyed fabric is also possible.
Marketing
Fabric is available in store or in online-market and ready for delivery

on clothing manufacturing. Some fabric cost expensive because of the class
and type, like for example fabric from wool (fibres from hair of sheep or goat)
because of the softness and rareness, cheapest mostly bought from
synthetic fabrics or combined.
The process is time-consuming before it was utilize by consumers.
Energy consumption is much used from transportation, power electricity,
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water, machine and some treatments. The reason fabric must be reuse and
recycled.
Reference Link:
https://en.wikipedia.org/wiki/Textile_manufacturing#Preparatory_processe
s_-_preparation_of_yarn

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Self- Check Sheet No. 3.1-1
I. Multiple Choice
Read every item carefully and encircle the letter of your choice.
1. The stage of the cotton where cotton was nurtured and harvested
before it was delivered from cotton mills.
a. Marketing c. Cultivating and
Harvesting
b. Weaving or
Knitting d. Preparatory
Processes
2. What is known to be world’s natural fibre?
a. Vinyl c. Rayon
b. Cotton d. Nylon
3. In this stage, further treatment was used to gain more added value
to fabric and remove impurities?
a. Spinning c. Finishing
b. Weaving or d. Marketing
Knitting
4. What climate usually cotton grow?
a. Short, hot dry c. Long, hot dry
summers, low- summers, low-
humidity humidity
b. Short, hot dry d. Long, hot dry
summers, high- summers, high-
humidity humidity
5. What do you called “the process of cleaning cotton of its seeds, and
other impurities”?
a. Blending c. Carding
b. Scutching d. Willowing
II. Essay
Why is it important to know the procedures in manufacturing

fabric? (5 points)

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ANSWER KEY No. 3.1-1.
I. Multiple Choice
1. c
2. b
3. c
4. c
5. b
III. Model Answer

Fabric Manufacturing Procedures is important to learn
because dressmaker can identify the stages and process of
the fabric he/she is using. The more knowledgeable the
dressmaker of the manufacturing procedures of fabric, the
better idea of the origin and nature of the product.

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GARMENTS DESIGNS AND STYLES
i. identify designs and styles of garments;
ii. enumerate designs and styles of garments
Introduction
In creating a design one of the components that interact is the element of
design. The element and principles of design are flexible and should be
interpreted within the context of current fashion. A design can be defined as
an arrangement of lines, shape, colors and texture that create a visual
image. The principles of design are the rates that govern how elements are
combined. The elements are therefore the raw materials that must be
combined successfully. Those elements are important to match the styles of
a garment. However, in order to analyze and describe fashion style, both
visual and verbal vocabularies of terms and styles should be familiarize.
Because fashion style is changing and garment looks are seasonal, there are
more numerous styles but not all existing were included in this section.
Illustrations and description of the basic styles and alternative used already
exist in the past was provided to introduce the changing fashion. Some still
exists and combined in a garment but not have been a trend nowadays. The
content of the decorative detail is limited to styles of women since there
many to mention transitions of design and styles.
NECKLINES
Jewel
High round neckline located at base of neck, usually plain.
V
Cut down in front or back to a sharp point.
Cardigan
Jewel or V neckline that opens in the front, usually with buttons along
center front.
Slit
A narrow vertical opening in a neckline. The slit may be in the front or
back. It may be held closed with a button and loop or other fastener.
U

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Medium low in front, rounded and the same width as the base of the
neck.
Square
Moderately low-cut neckline, square or angular in front.
Scoop
Medium low in front, rounded and wider than the base of the neck.
Florentine
Moderately low, but very wide angular square neckline. or
Horseshoe
Low rounded curved neckline, shaped like a horseshoe in front.
Boat
Wide horizontal neckline, high in front and back. (Also called bateau
neckline.)
Sabrina
Wide horizontal neckline, not as high as boat and sometimes fastened
at shoulders.
Keyhole
High neckline with opening cut out at front. Opening can be round or
wedge shaped.
Sweetheart
Lowered front neckline shaped like top of heart.
One-shoulder
Asymmetric neckline starting over one shoulder and extending
diagonally to under the other arm. (Also called asymmetric neckline.)
Surplice
Neckline that wraps forming a V neckline in front or back.
Halter
Sleeveless, with front of garment held around the back of the neck by
a band extending from the front.
Decollete
Any neckline that is cut very low in front. Often refers to wide, gently
curving deep V.
Off-the-shoulder
Low neckline extending around upper part of arms, baring the
shoulders.
Plunging
Low-cut neckline, usually V-shaped, extending to the level of the
breasts or to the waist. Lower than decollete.
Strapless
Neckline just above the bust. May be held in place by darts and
fitting, boning, elastic, or shirring.
Camisole
Neckline just above the bustline, held by straps over the shoulder.
Strap width may vary from very narrow (spaghetti) to wide.
Funnel

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High neckline cut in one with garment by slanting or curving shoulder
seams upward towards the neck. (Also called built-up neckline.)
Banded
Flat, shaped narrow band finishing the neckline and front opening.
Bib
A front center portion of a garment, usually oval or square. May be set
into a blouse or dress below the neckline or extend upward from the waist of
pants or a skirt.
Gathered
Full neckline drawn close to neck. May be adjusted or gathered with a
drawstring cord or elastic. (Also called drawstring, peasant, or gypsy
neckline.)
Yoke
A separate portion of the garment in the shoulder and neckline area.
Seamline attaching yoke to lower portion may be straight, horizontal,
angled, or curved.
Cowl
Draped neckline resulting from bias cut with excess fabric forming
soft folds in front or back.
COLLARS
Classified as (1) Band, (2) High Stand and (3) Low Stand
(1) Band Collars – straight or convex neckline edge
Band (basic)
Straight or slightly curved collar cut on straight yam direction or bias.
May fasten in the front or back. (Also called stand-up collar.)
Ring
A band collar on a wide neckline. (Also called the moat or wedding-
band collar.)
Choker
Wide, high band, close fitting collar that fastens in the back. (Also
called Victorian collar.)
Portrait
A band collar located farther away from the base of the neck than the
ring collar.
Chinese
Band collar with square or rounded ends that do not quite meet at
center front. (Also called mandarin or Nehru collar.)
Medic
Narrow band collar that fastens on the right side. (Also called Ben
Casey collar.)
Wing
Stiff band collar with pointed ends that fold outward.
Cossack

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Wide band collar that fastens on the left side. May be embroidered.
(Also called Zhivago or Russian collar.)
Clerical
Stiff white band collar, fastened in back. (Also called a Roman collar.)
White collar may be partly covered by a black or colored collar called a
rabat.
Bow
Long extension of wide band collar tied in a bow.
Ascot
Long medium-wide to wide band collar with the two ends brought to
the front and looped over each other. May be an extension of the collar or
attached at back neck of collar. (Longer variation called stock-tie or flip-tie
collar.)
Funnel
Large wide band collar variation which stands away from the face.
Generally opens in front.
Band collars of rib knit
Crew
High rounded neckline finished with narrow strip of rib knit.
Turtleneck
High rounded neckline finished with very wide strip of rib knit that is
often worn folded over.
Mock-turtle
High rounded neckline finished with medium wide strip of rib knit.
Cowl
Wide bias-cut draped collar. May be of knitted fabric like a wider and
deeper variation of the turtleneck which drapes in soft folds.
(2.1) One-piece high stand collars – High stand collars straight or slightly
convex neckline shape. The major portion of the collar stands above the bae of
the neck. (also called rolled or turned down.) Parts of the collar are diagram
below.
Lapel
Facing of the front of the garment which folds back to show. (Also
called the revers.) Lapel and collar shapes include:
Notched - with square comers on lapel and collar.
Cloverleaf - with rounded comers on lapel and collar.
Peaked - with sharp point on lapel.
Johnny
Very small high stand collar attached to a V neckline. Usually a
single-layer knitted collar.
Notched
Tailored collar used for suits. There is a V notch where the collar ends
and joins the lapel.
Chelsea

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Medium-wide collar with square pointed ends attached to a front
opening V neckline.
Convertible
One-piece high stand collar which can be worn open or closed. Lapels
are formed when worn open.
(2.2) Two-piece high stand collars

Shirt
The traditional two-piece high stand collar (called band and collar).
The ends of the collar may be square, round, or pointed. Variations include:
Spread - with wide spacing between ends of the collar
Button-down - with buttonholes in the ends of the collar, fastened to
the shirt by small buttons
Pin - with eyelets through which a collar pin is inserted
Tab - with a small strap that buttons or snaps to other side of the
space between the ends of the collar.
Barrymore - with 4- to 5-inch long points in front (similar to Byron or
poet's collar.)
Swallow-tailed - with extremely long, narrow-pointed ends.
Buster Brown
Medium sized collar with rounded front edges. Usually white and worn
with a colored bow.
(3) Low stand collars

These collars have a concave neckline shape (also called flat collars). H
Bermuda
Narrow collar with squared ends at center front.
Peter Pan
Narrow collar with rounded ends at center
Choir-boy
Medium-sized collar with rounded ends at center front.
Puritan
Wide collar extending to the shoulders with squared comers at center
front and outer edges.
Platter
Medium-sized collar with large rounded ends in front. (Also called
dog's ear collar.)
Sailor
Collar is square in back and tapers to a V in front. Variations include
braid trim around the edges and a dickey or inset in the V. (Also called
middy or nautical collar.)
Bishop
Large round collar. The front edges extend downward and are
squared.
Bertha

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Wide rounded collar extending from neckline to shoulder. Opening
may be at front or back.
Butterfly
Extremely large collar extending to shoulders. Front hangs down in
two points almost to waist.
Cape
Large circular collar that extends over the shoulders.
Pilgrim
Wide rounded collar extending to shoulders with pointed ends at
center front.
Shawl collars
Shawl collars are formed by an extension of the garment front. They
may he high stand, low stand, or hand collar types. The collar must he
seamed at center hack.
Shawl
Collar formed by an extension of the facing and garment front
(undercollar).
Tuxedo
Variation of a shawl collar, that continues the length of the garment
front opening.
Other collar variations
Straight ruffle
Straight piece of fabric, lace, or trim gathered to neck edge to form
ripples.
Cascade
Circular-cut ruffle attached to neckline at center front of garment.
Pierrot
A straight ruffled collar that lays on top of the shoulders. It usually
has two rows of ruffles.
Bib
Flat rounded, square, or oval shape fitting around the neck like a
child's bib.
Jabot
One or more straight ruffles attached to neckline at center front.
Double
Two collars of the same shape, the upper one smaller to show the
lower one.
Circular ruffle
Edging made from circular piece(s) of fabric.
Sleeves
Sleeve lengths:
Drop shoulder
The sleeve is attached to an armhole shaped to extend wider than the
natural shoulder.
Cap
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Extension to the front and back of the garment to cover the top of the
arm.
Short
Sleeve length ending about half the distance between elbow and
underarm.
Elbow length
Any style sleeve that ends at the elbow.
Bracelet
Three-quarter length cuffless sleeve to show bracelet.
Long
Long sleeve tapered to the wrist so it can be pushed up to stay in
place (also called push-up).
Angel
Any long flowing sleeve. May extend longer than the arm.
Set-in sleeves from fitted to full

Set-in
The set-in sleeve has a high rounded sleeve cap. The sleeve underarm
seam and the blouse side seam are constructed first so the sleeve is set into
the armhole. May be any length.
Shirt
A sleeve with a barely rounded wide sleeve cap, attached to the
armhole before the underarm seam and side seam are sewn as a continuous
seam. May be any length. Long shirt sleeves are usually cuffed. (Also called
tailored shirt sleeve.)
Barrel
Straight long set-in or shirt sleeve which is smooth at the armhole
with minimal fullness at the cuff.
Roll-up
Straight short or elbow length sleeve designed to be rolled or folded up
to from a cuff. May be either set-in or shirt sleeve.
Fitted
A full-length narrow set-in sleeve. May either be one-piece with
darting at the elbow or two-piece with vertical seams down front and back of
arm. (Also called suit sleeve.)
Bell
A set-in sleeve that is smooth at the armhole, flared at hem edge.
Butterfly
A set-in sleeve that is smooth at the armhole, widely flared at the hem
edge (elbow length or longer).
Bishop
Long full set-in sleeve with fullness held at wrist by cuff. May be
gathered at cap as well as at wrist.
Button-tab

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A long roll-up sleeve with a button-tab sewn above the elbow. The
sleeve is rolled up and fastened by the tab with buttonhole and button. May
be either set- in or shirt sleeve.
Puffed
Short full sleeve with gathers at armhole or lower edge or both. (Also
called puff sleeve.)
Balloon
Long full sleeve with gathers at armhole and at lower edge. Usually
made of crisp fabric.
Leg-o'-mutton
Sleeve with full gathered or pleated top tapering to narrow at the
wrist. (Also called leg-of-mutton sleeve.)
Other set-in sleeves

Petal
Sleeve with curved overlap along outer arm. (Also called lapped.)
Circular cap
Short flaring sleeve that extends out from smooth cap at armhole.
Melon
Sleeve made in lengthwise sections that are wider in the middle of the
sleeve to give a melon shape in the middle of the sleeve. Usually made of
stiffened fabric.
Juliet
Long sleeve with a puffed upper section seamed to a fitted lower
section.
Lantern
Long or 3/4-length sleeve made with crosswise design seam(s) to give
width. Sleeve is smooth at the armhole and wrist.
Kimono - Kimono sleeves are usually cut in one with front and back of
garment.
Kimono
Sleeve may be cut in one with the front and back of the garment or
may be attached to the front and back with a vertical seam. Shape is usually
angular under the arm in contrast to curve of dolman. (Also called mandarin
sleeve.)
Dolman
Sleeve may be cut in one with the front and back of the garment or
may be attached to the front and back with a vertical seam. Shape is usually
curved under the arm. Sleeve is usually long and fitted at the wrist.
Batwing
Long sleeve with deep armhole almost to the waist and extending to
narrow wrist. May be cut in one with garment or may be a separate sleeve.
Cape sleeve
May either be a semicircular extension of the front and back or a
circular or semicircular piece sewn over the top of the shoulder to give a
cape effect.
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Raglan
Sleeve joined by diagonal seam that extends from underarm to
neckline. May have a dart to shape the shoulder or may have an additional
seam along the outside of the arm.
Peasant
A wide raglan sleeve with gathers at the neckline and lower edge.
Gathers may be controlled by drawstring or elastic. Sleeve may be short or
long.
Saddle
Variation of the raglan in which the shoulder portion is horizontal
across chest then diagonal under arm. (Also called epaulet sleeve.)
Cuffs
Roll-up
Usually a straight sleeve which is folded up to form a cuff.
Barrel
A band of fabric stitched to the sleeve. Usually closed with one or two
buttons. (Also called single cuff.)
Knit
Rib knitted fabric which fits closely but is stretchy enough to slip over
the hand.
French
Wide cuff which turns back and is fastened with a cuff link through
all layers.
Band
Has no vertical opening. It slips on over the hand.
Gauntlet
A wide turned-back cuff that flares wide at the arm and tapers toward
the wrist. (Also called cavalier cuff.)
Pockets
The four basic types of pockets are patch, in-seam, seam, slash, and
front hip. (Dotted lines on the illustrations indicate edges inside the
garment.)
a. Patch pockets
Flap
Separate piece of fabric that hangs down over the pocket opening.
Pocket may be patch or slash. The flap may be a variety of shapes.
Key
Small patch pocket sewn inside a larger pocket to hold keys or coins.
(Also called coin pocket.)
Patch
Patch pockets are stitched onto the outside of garment. Lower edge of
pocket may be square, rounded, or angular.
Kangaroo
Large patch pocket placed on the center front just above the waist.
Bellows
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Patch pocket that allows for expansion from a pleat in the center of
the pocket or along both sides of the pocket.
Handwarmer
Double-layer patch pocket. One layer opens from the top while the
other layer opens on the side allowing the hand to be held inside.
Cargo
Large patch pocket with a curved upper side extending to the waist
forming a belt loop.
b. In-seam pockets
In-seam pockets are inserted in a seam such as side seam or yoke
seam. The pocket hags are attached to the seam allowances and are not
visible from the outside.
Side or vertical design seam
Pocket bags are attached to vertical seam allowances.
Yoke or horizontal design seam
Pocket bags are attached to horizontal seam allowances or cut-in-one
with yoke piece.
Slash
Slash pockets are made around an opening cut in the garment.
Bound
A slash pocket with both edges of opening finished with binding. (Also
called buttonhole, besom, slit, slot, or double welt pocket.)
Half-moon
Curved bound pocket used on western shirts. May be reinforced at the
ends with embroidered arrows.
Stand
A slash pocket in which the lower edge is finished with a separate
piece that stands above the pocket opening. (Also called breast pocket.)
Hacking
Slash pocket(s) with flap located at an angle near waist level on
jackets or coats.
Welt
A slash pocket with the lower opening finished by an upstanding welt
which fills the opening.
Front hip pockets
Variation of the in-seam pocket in which the garment front is shaped
and faced by the front pocket hag. The inner pocket hag fills in the cutaway
portion of the garment front.
Continental
Front hip pocket formed by two angles from waistline to side seam.
Western
Front hip pocket forms a curve from waistline to side seam.
Blouses and Shirts
Blouse silhouettes
Bustier

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Strapless top which may be fitted with darts, boned, or held in place
by elasticized shirring. (Shirred style may be called tube top.)
Camisole
Top with camisole neckline.
Cropped top
Fitted short blouse reaching to the ribs. Usually features a scoop
neckline and short sleeves. (Also called bare midriff. Fitted variation called
choli.)
Overblouse
Blouse worn over the skirt or pants rather than tucked inside.
Sometimes has slits at side seams.
Oversized
Any style blouse or shirt cut extra large and sometimes extra long.
(Also called big shirt or boyfriend shirt.)
Smock
Oversized blouse with yoke and fullness below yoke. Usually long
sleeved and worn as a coverup.
Peplum
Overblouse with a separate seam at the waist to which is attached a
ruffle, shaped, or bias-cut piece. May also describe an elongated blouse with
elasticized waistline.
Blouson
Overblouse with length and fullness above the waist. For blouses the
fullness is usually gathered into a band.
Flange
Wide vertical pleat formed by a fold over the top of the armhole seam
extending to waist or hem.
Body blouse
Very close-fitting blouse or shirt, usually of knitted or stretch fabric.
Has a pant section, with snap crotch. (Also called body shirt.)
Torso
Overblouse that fits snugly through the waist and extends to the hips.
Pullover
Blouse which pulls on over the head. May or may not have a collar,
but has neckline large enough to go over the head. May have short or long
sleeves. (Also called slip-on blouse.)
Tunic
Extended mid-thigh or longer overblouse of any style. Usually straight
or slightly fitted and worn beltless. (May be considered a two-piece dress
when worn with a straight skirt.)
Twinset
A pair of blouses or sweaters designed to be worn together. The
overblouse is usually long sleeved with a buttoned front and the
underblouse is similar to a shell or camisole. Sweaters with the same look
may be called sweater set.
Wrap
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Blouse with crossover front. Usually held closed by skirt or pants
waistband. (Also called surplice blouse.)
Collarless blouses
Shell
Sleeveless blouse with jewel or scoop neckline. May be buttoned in
back or pullover.
Peasant
Blouse with drawstring or elasticized \ neckline and raglan sleeves.
(Also called gypsy blouse.)
Blouses and shirts with band collar
Bib
Back-closing blouse with band collar and square or rounded inset in
front. (Also called tuxedo blouse if the yoke is pleated.)
Blouses and shirts with rolled collar
Shirt or shirtwaist
Blouse styled similar to a man's tailored shirt including one- or two-
piece high stand collar, yoke, left chest patch pocket, and button band front
opening. Hem is usually curved. (Also called tailored blouse.)
Western
Shirt with high stand collar, front and back shaped yoke, flap pockets
or half moon pockets, large snap closings, and piping. (Also called cowboy
shirt.)
Tops and Sweaters
Tops and sweaters without fasteners
Tank top
Knitted pullover shirt with scooped neckline and large sleeveless
armholes. (Also called athletic shirt or singlet.)
T-shirt
Knitted pullover shirt with ribbed crew neck and short or long sleeves.
Usually made of cotton or cotton and polyester blend. (Also called crew or
crew-neck.) Length may be extended to be called T- shirt dress.
Ski
Heavy pullover sweater. Frequently a striped or elaborately patterned
sweater in Jacquard knit.
Tennis
Pull-on, long-sleeved sweater with a V- neck. Sometimes includes
cable-knit pattern. Usually in white with narrow bands of color at neck and
wrists.
Sweatshirt
Pullover of fleece-backed heavy knit with ribbed neck, wrist, and
waistband.
Poor boy
Pullover of rib knit to be form fitting. Usually has round neck or
turtleneck and long or short sleeves.
Shrink

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Sleeveless pullover sweater with look of a short vest. Usually features
a wide ribbing extending from below bust to waist.
Fanny
A long sweater that covers the buttocks or "fanny."
Henley
Knitted, short-sleeve, pullover shirt, collarless with a buttoned placket
front. (Variations include Wallace Beery of narrow rib knit with long sleeves
and narrow self-binding at neck, and skivvy ("sailor's undershirt") with
bound neckline and tiny placket opening in front.)
Polo
Knitted pullover shirt with a single-layer knit, square-cornered collar
and buttoned placket front.
Letter
Bulky V-neck cardigan, shawl-collared cardigan, or pullover sweater
with school emblem or letter on the left front chest. (Also called award or
school sweater.)
Dresses
Dresses without waistline seam
Chemise
Straight dress without a waistline seam, cut with few or no darts.
(Also called shift, sack, or pencil.)
A-line
Dress with normal shoulders, slight flare toward the hemline, but without a
waistline seam. (Also called shift or skimmer.)
Float
Straight dress with no waistline seam, fullness controlled from pleats or
gathers at shoulders or yoke.
Wedge
Dress without a waistline seam, has wide shoulders and tapers to a narrow
hemline. Usually has dolman sleeves.
Trapeze
Dress with normal shoulders, no waistline seam, more flare at the
hemline than A-line.
Tent
Dress with normal shoulders, no waistline seam but very wide, full,
and flaring hem.
Caftan
Long dress with decorated opening for the neck and long sleeves.
Sheath Straight narrow dress without waistline seam, fitted with darts.
Princess
Dress without waistline seam, fitted by curved seams originating at
the shoulder or armhole, extending over the bust to the hem. The skirt may
or may not be flared.
Dresses with waistline seam
Basic
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Simple fitted dress, usually cut with jewel neckline, darts, fitted set-in
sleeves, natural waistline, and straight skirt. (Also called fitted dress.)
Empire
Dress with high waistline under the bust.
Elasticized waist
Waist contains elastic for comfort. Dress may be of any style, either
with or without waistline seam. May be belted or unbelted.
Shirtwaist
Dress with bodice styled like a tailored shirt, usually buttoned from
neck to below waist, with either a straight or full skirt. (May be called shirt
dress if it does not have a waistline.)
Drop waist
Dress with elongated bodice so that waistline seam falls below waist.
(Also called low-torso. Unfitted variation of soft, drapable fabric with short
skirt may be called a flapper dress.)
Dresses with or without waistline seam

Jumper
Sleeveless, collarless dress worn with a blouse or sweater underneath.
Sundress
Dress with camisole or halter type top worn for casual summer wear.
Coat dress
Dress which fastens (usually with buttons) from the neck to the hem
like a coat. Dress may be single- or double- breasted, worn belted or
unbelted.
Asymmetric
Dress that is not the same on left and right sides. May drape to one
side or close to one side. May cover only one shoulder. (Also called one-
shoulder or toga.)
Draped
Dress with additional fullness pleated, gathered, or held to one side.
Wrap
Dress wraps and fastens to one side, either front or back. May be held
with button/buttonhole, tie, or belt. Variations include back-wrap, kimono,
surplice, and bathrobe dresses.
Pant dresses
Pant dress Combination bodice with divided or split skirt. Variations
include culotte dress, pantgown, panel pant dress, and pantshift.
Jackets and Coats

Jackets by length and shape
Jacket lengths used by consumers refer to body landmarks such as
waist, hip, crotch, and thumb. Apparel industry personnel use center back
length measurements in inches from the base of the neck to the hem. The
approximate landmark inch equivalents for size 10 are given below.
Waist = 18/19 inches from neck to hem at center back
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Hipbone = 19/20 inches from neck to hem at center back
2 inches below hip = 23/24 inches from neck to hem at center back
Crotch = 27 inches from neck to hem at center back
Rule of thumb = 28/29 inches from neck to hem at center back
Three-quarter length = 29 inches from neck to hem at center back
Seven-eighths = 34 inches from neckline to hem at center back
Waist
Hipbone
2" below hip
Crotch
Rule of thumb
Three-quarter
Seven-eighths
Bolero
Very short, waist length or above the waist, collarless and buttonless.
May be long- or short-sleeved or sleeveless. Variation with long sleeves,
epaulets, and braid trim is called a toreador.
Box
A straight unfitted jacket, waist-length or longer. May or may not have
a collar.
Chanel
Waist length or slightly longer, unfitted, collarless jacket. Edge usually
trimmed with braid.
Fly-away
Back and sides of jacket have exaggerated flare or fullness. (Also
called trapeze.)
Single-breasted
Conventional center front closing with a single button or several
buttons.
Double-breasted
Front closing with wide overlap. Appears to be closed with a double
row of buttons, although only one set may actually function while the other
is decorative.
Collarless jackets
Cardigan
Collarless jacket of any length with front button closing. Neckline may
be round or V shaped.
Chubby
Waist or high-hip-length coat with heavily padded shoulders, sleeves
the same length as the coat, and usually made of fur or a pile fabric to give a
bulky look.
Jackets with band collars
Bell boy
Waist-length, fitted jacket, with stand-up collar, usually trimmed with
brass buttons.
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Nehru
Hip-length, slightly fitted jacket with band collar, buttoned at center
front. (Also called rajah or mandarin.)
Tyrolean
Waist- to hip-length jacket with band collar. May have wide lapels.
Usually closed with decorative buttons.
Baseball
Waist-length jacket with knitted collar, cuffs, and waist finish, large
snap-front closing.
Chinese
Hip-length, straight jacket with band collar and side front closing.
(Also called Mao or coolie coat.)
Jackets with high stand collars
Blazer
Classic jacket is semi-fitted, single- breasted with two or three
buttons, three patch or slash pockets, notched collar.
Windbreaker
Lightweight waist-length jacket with elasticized cuffs and waistband,
high stand collar, zipper or large snap-front closing.
Safari
Originally designed as African hunting jacket. Single-breasted hip-
length style with bellows pockets on chest and hips, fabric belt. (Also called
bush jacket.)
Norfolk
Hip-length jacket with two box pleats stiched from the shoulder to the
hem, except for a slot at the waist through which the matching belt is
threaded. May have hip level patch pockets.
Parka
Waist or hip length jacket of windproof, water repellent fabric, usually
insulated. May have attached hood. (Also called ski jacket.) See insulated
jacket, below.
Insulated
Jacket of closely woven outer fabric, filled with down or fiberfill,
usually closed with a zipper covered by a storm flap. Lining and insulation
may be quilted or outer fabric and lining may be quilted to hold insulation in
place. (Is one type of parka or ski jacket.)
Pea
Double-breasted hip-length jacket with large buttons (usually metal),
vertical slash pockets, wide high stand collar, and wide lapels. Traditional
color is navy blue. (Also called pea coat or pilot coat.)
Eton
Waist to hip length straight-cut or semi- fitted jacket with high stand
notched collar and wide lapels worn unbuttoned or with only top button
closed.
Battle

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Slightly below waist-length jacket with fitted waistband and notched
collar. Usually has patch pockets with flaps. (Also called Eisenhower jacket.)
Bomber
Slightly below waist-length jacket with inseam pockets adapted from
U.S. Air Force pilot jackets. Original jackets were leather with sheepskin
lining. (Also called flight jacket.)
Shearling
Jacket in a variety of shapes made from sheepskin tanned with the
wool attached and sewn with the wool on the inside. May also be made from
manufactured fleece.
Western
Waist- to hip-length jacket with yoke and breast pockets. Sometimes
has fringed leather from the yoke, sleeves, and hem.
Jackets with shawl collar
Spencer
Waist-length, single-breasted jacket with shawl collar.
Mackinaw
Double-breasted, shawl or high stand collar, belted hip length jacket of
blanket-like wool fabric with a striped or plaid design.
Smoking
Shawl-collared, buttonless wrap jacket fastened with soft fabric tie belt.
Jackets with hood
Anorak
Pull-over jacket usually with hood. Front neck opening may be closed with
zipper or snaps.
Unfitted outerwear
Stole
A rectangle or triangle of fabric that is wrapped around the body.
Poncho
Geometrically (rectangular or oval) shaped piece of fabric with an opening
cut for the head. May have a front neck opening, pockets.
Cape
Sleeveless outer garment with front opening, usually cut in a geometric
shape such as a rectangle, circle, or oval. May have slits for the arms.
Short coats
Pant coat
Thigh length coat in a sporty style. (Also called car, stadium or suburban
coat.)
Duffle
Three quarter length coat usually with attached hood, fastened with wooden
or metal toggles. (Also called toggle coat.)
Fitted coats
Princess
Fitted to the waist with long seams from the armhole or shoulders, no
waistline seam, flared hemline, usually single- breasted with low stand
collar.
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Coachman
Coat fitted to the waistline with a flared hem line, double-breasted, wide,
high- stand collar and wide lapels, brass buttons.
Skirt and Pant Waist Details
Banded
Skirt or pants attached to a straight waistband. Band width may vary from
narrow (3/4 inch) to wide (from 2 to 3 inches). Variations include shaped or
pointed waistbands.
Hip hugger
Skirt or pants that hang from the upper hips. Usually bandless. Pant
variations called hipsters or low-slung.
Bandless
Skirt or pant top edge finished with shaped facing rather than a waistband.
(Also called faced or contour waist.)
Pull-on
Skirt or pants with an elasticized waist. Variation is drawstring waist, with
cording to control waist fullness.
High rise
A very high waistband extending above the natural waist. Variation may
include shaping of the skirt or pant to extend above the waist.
Yoke
Separate fitted section between waist and hip.
Skirts
Skirt lengths
Measurements used in industry are based on a size 10 who is 5 feet 5
inches to 5 feet 6 inches tall without shoes.
Micro-mini
Extremely short skirt, length is less than 15 inches.
Mini
Short skirt, measuring about 15 inches from waist to hem, hem is about
mid-thigh length.
Above-the-knee
Skirt about 1 to 2 inches shorter than mid-knee. Skirt length is 21 to 22
inches from waist to hem or 19 to 20 inches from the floor.
Knee
Skirt measuring about 23 inches from waist to hem, to mid- kneecap length
or 18 inches from the floor.
Below-the-knee
Skirt hemline 1 to 3 inches below knee. The skirt measures 24 to 27 inches
from waist to hem or 14 to 17 inches from the floor. (Also called street or
cocktail length.)
Mid-calf
Skirt length about 27 inches from waist to hem with hemline located
halfway between knee and ankle, about 14 inches from the floor. (Also called
midi or ballerina length.)
Below mid-calf
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Skirt length about 31 inches from waist to hem or about 10 inches from the
floor. (Also called long.)
Lower-calf
Skirt length about 33 inches from waist to hem or about 8 inches from the
floor. (Also called long or max!.)
Evening length
Skirt length about 40 inches from waist to hem or 1 inch from the floor.
(Also called formal length or full length.)
Floor length
Skirt length about 41 inches from waist to hem. Garment touches the floor.
Skills from fitted to full
Straight
Slim, straight, fitted at the waist with darts or pleats, usually has a
waistband. (Also called sheath or slim skirt.)
Balloon
Fitted at the waistline with fullness gathered into a band at the hemline.
A-line
Fitted at the waistline with darts or pleats, has a slight flare toward the
hem.
Flared
Fits smoothly at the waistline area, but flares at the hemline. May be cut
from a quarter- to half-circle of fabric.
Gathered
Skirt cut of straight piece of fabric, gathered at waistline. Amount of fullness
may vary. (Also called dirndl, full skirt, or bouffant.) A full variation
supported with crinolines or circular wires may be called a hoop skirt.
Bell
Slightly gathered or pleated at the waistline, slightly flared and stiffened or
supported with crinoline to form bell shape.
Bubble
Gathered at the waistline and with fullness gathered into a band at the
hemline.
Circular
Skirt cut from a half, complete, or multiple circles of fabric. (Also called a
circle skirt. Short length may be called skating skirt.)
Trumpet
Gored skirt that flares severely below the knees. Another variation is the
straight skirt with circular lower section. (Also called morning glory or swing
skirt.)
Gored
Skirt with vertical seamlines. Most designs are fitted at the waist with flare
toward the hem. Skirts may have four, six, eight, or more gores.
Godet
A triangular piece set into a skirt gore seam to give added fullness to a flared
hem edge.
Granny
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Full-length gathered skirt usually with a ruffle at hem. Variation called
prairie skirt may be any length and have one or two ruffles at the hem.
Tiered
Made of a series of ruffles or tiers which may be pleated, shirred, or flared,
with each progressively larger than the previous tier from the waist to the
hem. Tiers may be attached to the previous tier or attached to a base such
as a straight skirt. Squaw skirts usually have three tiers of tiny pleats. (Also
called square dance skirt.)
Other skirt styles
Wrap
A skirt with two vertical edges open from the waist to the hem, wrapped and
overlapped around the body. Fastened at the waist by ties or buttons. May
wrap across front or back.
Peg-top
Pleated, tucked, or gathered at the waist and hips but tapering to narrow at
the hem. (Also called pegged skirt.)
Kilt
Scottish knife pleated skirt, with wrapped, unpleated front panel, fastened
with leather straps and buckles, or decorative pins.
Pantskirt
Pants cut to skirt length with fullness to resemble a skirt. (Also called
divided skirt, culotte, gaucho, or split skirt. Short lengths are called scooter
or skort.)
Draped
Skirt with additional fullness pleated, gathered, or draped on one side. (Also
called sarong skirt if wrapped.)
Panel pantskirt
Divided skirt with free hanging panel in front and back giving the effect of
gored skirt.
Slit
Straight skirt with vertical opening at side, front, or back. Slit may extend to
knee or thigh.
Pleat styles
Pleated
Skirt with fullness added by one or more folds of fabric. Box, inverted, and
knife pleats with the folds held in place by the waistband are called
unstitched pleats, or the pleats may be held in place by edge-stitching.
Stitching may extend to the hip or thigh. Some pleat variations include the
following.
Box
Double pleat formed by folds going in opposite directions. May be single or
multiple.
Accordion
Narrow pleats. May be a circular skirt with pressed-in ridges or edge-
stitching. (Also called sunburst or crystal pleat. Wider pleat variation called
umbrella pleat.)
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Kick
A pleat in the lower portion of the garment. May be a box, inverted, or knife
pleat.
Inverted
Reverse of box pleat made by bringing two folds to a center line. May be
single or multiple.
Knife
One or more pleats that face one direction.
Pants
Pant lengths
Boy shorts
Square leg hemmed 1 to 1 1/2 inches below crotch. (Also called short shorts
or hot pants.)
Jamaica shorts
Mid-thigh length shorts between Bermuda and boy shorts.
Jams
Full-cut, elasticized waist, above-knee length pants.
Bermuda
Short knee length pant that fits closely.
Safari shorts
Knee length or shorter pants with comfortable fullness and patch pockets.
May be cuffed.
Walking shorts
Knee-length pants with fullness from pleats or gathers. May be cuffed.
Surfers
Tight-fitting pants that end at the knee.
Deck
Fitted pant with hem just below the knee. Straight-cut pants are called
pedal pushers.
Clam digger
Mid-calf pant with straight or fuller cut, cuffed.
Gaucho
Flared calf-length pants, frequently of leather or firm fabric.
Cropped
Pants cut at varying lengths between ankle and knee.
Seven-eighths
Any style of pants coming to just below the calf of the leg.
Capri
Slim-legged pant that ends several inches above the ankle.
Classic
Full-length pants, usually with center front zipper closing, fitted at the waist
with darts or pleats. (Also called trousers.)
Stirrup
Narrow pants which have an extension worn under the foot.
Pants from fitted to full
Stretch
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Body-conforming pants made from knitted stretch fabric. May be held in
place by stirrup.
Ankle
Slim pants that are ankle length. Slim look comes from fitting or from
knitted fabric.
Tapered
Ankle-length pants that become narrower near hem.
Straight
Slim-legged pant with circumference of leg hem less than 18 inches. (Also
called stovepipe pants.)
Palazzo
Long-length pants with very wide flare from hipline to hemline.
Combinations of wide and narrow
Baggies
Pants that are wide at the hip and narrow at the ankle. Width at the waist
and hip may be from gathers or pleats. (Also called peg leg or peg-top pants.)
Parachute
Pants with zipper on outside of legs from hem up to mid-calf to give tight fit
at ankles. Zippered pockets may be placed at side of leg and on hips.
Jodhpurs
Riding pants with drop front or zipper closing, rounded flare at thighs and
narrow legs straight-cut below the knee. Variations called hunt breeches or
riding breeches.
Boot-cut
Pants or jeans cut wide enough at the hem to be worn on outside of western
boots.
Bell bottoms
Fitted at the waist, flare from the knee to hemline on both outer and inner
seams. (Also called flare legs or flared pants.) Variation with exaggerated
flare is called elephant bell. Variation with double- button front opening and
lacing at back waist called sailor pants.
Other pant styles
Bib or bib-top
Pants with rectangular piece attached at waist and held with shoulder
straps. Bib piece may have pockets. (Also called overalls, suspenders, or
painter's. Children's variation called crawlers.)
Harem
Very full pants gathered at waist and ankle. (Also called shalwar. Knee
length are called Zouave.)
Knickers
Tailored knee length pant with fullness gathered into a band just below the
knee. (Also called knickerbockers.)
Toreador
Tight-fitting pant that ends just below knee and usually has braid trim down
the sides.
Jeans
May 2020
Assisi High
Developed by:
Hazel Joyce O.
Close-fitting pants with western pockets in front, yoke and patch pockets on
back. Usually made of denim. (Also called dungarees, blue jeans, Levis,
Wranglers, or other brand names.)
Western
Low-waisted slim pants with jeans-style fitting and pockets.
Jumpsuit
Combination of pants and shirt or blouse in one piece.
Reference: ECNO1382.pdf

May 2020
Assisi High
Developed by:
Hazel Joyce O.
PRESSING TECHNIQUES
a. differentiate pressing from ironing;
b. identify techniques for pressing fabric;
c. explain the importance of the techniques in pressing.
Introduction
Pressing is important whenever there is a garment project or for home
usage only. Good pressing techniques help to create a professional-looking
garment. Correct pressing helps to shape the fabric to your figure, flatten
seams and edges, and save you time.
A skillful job of pressing requires time, practice and the use of methods
that will not mar the fabric. Pressing should not make the fabric shine,
flatten the pile or nap, or distort the texture or weave.
Pressing is not ironing. In ironing, the iron is pushed from one spot to
another in an unbroken motion to remove wrinkles. In pressing, the iron is
lifted up and set down in a particular spot to flatten or shape small areas.
To prevent the fabric from stretching, do not use a sliding motion when
pressing.
Fabrics react differently to heat, moisture and pressure. The fiber content
of the fabric governs the temperature to be used for pressing. The texture of
the fabric dictates factors such as moisture and pressure.
Moisture is needed to press most fabrics, but it should be used with care
since it can give a shiny, overpressed look. A steam iron may be enough for
some fabrics; in others, a press cloth with a damp cloth placed on top is
necessary. A dry iron is usually used with the latter technique. Use a press
cloth with either kind of iron when doing final or finish pressing on the right
side of a garment.
Test a scrap of your fabric before beginning to press parts of the garment.
Make a test seam or dart to check for imprints on the right side. Set the heat
control of the iron for the fiber from which the fabric is made. Place the
fabric carefully on the pressing surface to avoid stretching or pulling it out
of shape.
Press on the wrong side of the fabric whenever possible. Keep the grain of
the fabric straight and press with the grain. Use light pressure at first. Some
May 2020
Assisi High
Developed by:
Hazel Joyce O.
fabrics require little pressure to flatten them without marring the texture or
the weave. Let the garment dry from the steam before it is handled or it will
stretch. If the fabric will show press marks on the outside, place brown
paper strips under the seams or use a seam roll.
Important guide in pressing according to:

 Pressure, Moisture, Heat Factors
 Special Fabrics and Finishes
 Construction Details
 Preparing and Setting in the Sleeve
Pressure, Moisture, Heat Factors

 Pressure
Keep the weight of the iron in the hand. Use light pressure
on the fabric rather than the full weight of the iron. Careful lifting and
lowering of the iron controls the amount of pressure. Add pressure
only for crease-resistant and firmly woven fabrics.
 Moisture
Excessive moisture often spots fabrics, makes them look
overpressed, gives shine and ruins texture. For fabrics that cannot
take direct moisture, place a damp cheese cloth over a dry press cloth,
or dampen the press cloth with a sponge.
 Heat
Cotton and linen fabrics generally require a higher
temperature and man-made fibers a lower one. Some synthetics
should not be pressed with an iron at all as heat will flatten a pile or
deteriorate the fiber. When a fabric is made of two or more fibers, use
the temperature setting for the one requiring the lowest heat.
Pressing Special Fabrics and Finishes

The pressing technique for wool can be used to advantage with many
other fibers and fabrics that are made into coats, suits and other tailored
outfits. Because it is an important technique, it is listed first.
Wool

May 2020
Assisi High
Developed by:
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It is essential to use moist heat when pressing wool to preserve its
original texture and resiliency. Use a wool pressing cloth to press wool
fabrics. A piece of wool may be placed on the ironing board with the right
side of the garment resting on it. When pressing on the right side, the wool
press cloth is placed next to the garment, then a dry cotton press cloth, and
a damp cheese or cotton cloth on top. Raise and lower the iron over the area
to be pressed. Lift the press cloth frequently to pull steam from the surface
of the fabric and help raise the nap.
Wool should not be pressed until entirely dry. A clapper may be used to
further flatten edges while steam is still rising from the fabric. Steam from
the steam iron or a wet pressing cloth held over a dry iron may be used to
shrink out ease along seam lines of shaped sections. Wool is the fiber most
easily shaped or molded in pressing. More pressure is used on areas to be
shaped or creased, such as bust darts and pleats. Fabrics finished to look
like wool should be pressed with steam the same way you press wool.
Beads, Sequins
Use a low heat setting. Run the tip of the iron along the seam. Use a dry
iron as steam may erase the shine or finish.
Brocades, Embroideries, Laces
Use a turkish towel on the ironing board to prevent the raised pattern
from flattening out. Press only on the wrong side. Steam should be used
with care; a dry iron may be preferable in some cases.
Glossy Finish, Glazed Finish, Satins, Crepes
Use little or no moisture. Press only on the wrong side with a light touch.
Dull Finishes, Dark Colors
Press on the wrong side whenever possible to prevent shine. Use a press
cloth when pressing on the right side.
Sheers
Use a low temperature and a dry iron. Steam or too much heat may
pucker the fabric. Use the tip of the iron just along seams.
Blends
Select the pressing temperature for the more delicate fiber. Test for water
spotting in an inconspicuous area before using steam.
Pile Fabrics, Napped Fabrics
Use a needle board, heavy turkish towel or self-fabric on the ironing
board. Place the right side of the garment on top of this. Press the garment
on the wrong side, using a light touch so that the pile will not be flattened.
For delicate velvets, prop the iron up and draw the wrong side of the fabric
over it. Steam, rather than pressing, is the important factor. Do not touch
the iron to the right side. Shower steaming will also remove wrinkles.
May 2020
Assisi High
Developed by:
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Fake Furs
These may melt easily and the pile may matt. Usually finger pressing is
sufficient. If you think pressing is necessary, use a dry iron rather than
steam. Always press on the wrong side, never on the right.
Durable Press, Permanent Press
Use low to moderate temperatures. Check the fiber content. Creases once
pressed may stay, so be sure of seam lines before pressing. Use the tip of the
iron along seam lines, more pressure will be needed here. The final press
may be done with a higher temperature and a press cloth to give sharper
creases.
Stretch Fabrics, Knits
Press lightly to prevent stretching. Steam may be used with care. Press
on the wrong side in the direction of the lengthwise ribs.
Bonded, Laminated
Select the temperature for the outer fabric. Do not let the iron touch the
foam or other laminate. If needed, use a press cloth to prevent this.
Leathers
Pressing these materials is usually inadvisable. If it is necessary, use a
low temperature and brown paper for protection. Use a dry iron only.
Vinyls
Do not press.
Pressing Construction Details

Seams
Press along the stitching line in the same direction in which the seams
were stitched before opening the seam or pressing it to one side. This
smooths the stitching and works it into the cloth.
If the seam is to be pressed open, press with the tip of the iron on the
stitching line first. Then apply moisture if needed and press it open. Use a
seam roll or slip strips of heavy wrapping paper under the seam edge so the
imprint does not show on the right side. The kind of fabric will determine
whether or not a press cloth is needed to protect the fabric or to improve the
press.
Waistline seams are usually turned up into the bodice. Curved seams
should be pressed over a curved area such as a pressing ham.
Darts

May 2020
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Press these over a curved surface such as a pressing ham toward the tip.
Do not let the iron go beyond the stitching line. Avoid imprints on the right
side by using the same technique used for seams.
Unless the design indicates otherwise, vertical darts are pressed toward
the center and horizontal darts are pressed downward. Slash wide or bulky
darts and press them open.
Hems
Press hems up from the lower edge. Press the fold of the hem after it has
been marked, basted, trimmed, and eased at the top. Shrink fullness of a
hem before finishing the edge, using a strip of heavy paper between the hem
and garment. Steam press lightly, keeping the weight of the iron in the
hand. Slip the iron into the fullness at right angles.
Never press around a skirt hem as it tends to stretch and ripple the
fabric. For a rolled effect on the hem edge, hold the iron a few inches above
the hem. Let the steam penetrate. Pat with a block or ruler to mold hem.
Plackets
Press plackets on the wrong side on a textured surface such as terry
cloth. Use a press cloth and limited moisture. Avoid zipper teeth. Place
paper strips between the laps to prevent imprints on the right side. Then
press on the right side over a rounded surface such as a press mitt, pressing
ham or rounded turkish towel. Fabric that shows imprints easily should be
protected by slipping paper between the zipper teeth and the outside fabric.
Gathers and Shirring
Press these from the wrong side whenever possible. Hold the gathering or
shirring along the stitching line. Press toward the gathers, sliding the point
of the iron into the gathers. Slide the iron with the grainline; do not move it
from side to side.
Pleats
Press pleats from the hem to the waistline. Use brown paper strips under
the folds. Unpressed pleats may be pinned to the ironing board and a steam
iron held a few inches above the pleats. Let the pleats dry before removing
the pins. If necessary, support pleats with a chair or table as you press.
Tucks
Whenever possible, press tucks from the underneath side. Press the fold
toward the center, stopping at the stitching line. Tucks made on the right
side are pressed from the stitching line toward the fold. Place brown paper
strips under the folds, and use a press cloth when pressing on the right
side.
Buttonholes
Press buttonholes over a sleeveboard on the wrong side of the fabric.
Then turn and press on the right side, using a press cloth.
May 2020
Assisi High
Developed by:
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Pockets
Press from the right side using brown paper strips to cushion the pocket
edges and a press cloth to protect the fabric.
Facings
First press seams without direction, then with the tip of the steam iron,
open the seam lightly. Grade seams so that the widest edge will be
uppermost from the right side of the garment. Finally, press seams toward
the facing.
Turn the facing right side out and press so that the seam rolls to the
underside. In some cases you may wish to understitch to keep the facing in
position.
Collars, Lapels
Press along the stitching line, then lightly press seams open. Seams
should be graded or trimmed after light pressing. Use a point presser to
achieve sharp corners. Press the seams toward the undercollar or
underlapel.
Turn
Press collar or lapel on the right side, making sure that the seam rolls to
the underside.
Preparing and Setting in the Sleeve
In order to control the excess fullness to be shrunk from the sleeve cap,
machine baste on the seam line between notches. Stay-stitch the remaining
portions of the seam line.
Machine basting and stay-stitching on seam line of sleeve cap.
Before stitching the lengthwise seams in long sleeves, shape the elbow
area over a curved pad -- at the location of ease or darts. Machine stitch and
press open the underarm sleeve seam.
To determine the amount of fullness to shrink from the sleeve cap, pin
the sleeve in place at seam lines and notches. Pull the basting thread over
the cap of the sleeve to adjust fullness. Arrange most fullness where the
sleeve is bias. There should be practically no ease at the very top of the
sleeve where the grain is straight. Remove the sleeve from the garment and
place the sleeve cap over end of a sleeve board, being careful to make no
more than 3/4 inch extend over the board. You may prefer to use a pressing
mitt for this purpose.
Shrink the sleeve cap by playing steam over this section. Mold it with the
palm of your hand. Work with the point of the iron to eliminate the gathers
from either side of the seam line.
Shrinking fullness from sleeve cap

May 2020
Assisi High
Developed by:
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Do not place the iron directly on wool fabrics. After shrinking and
shaping the sleeve cap, press with a wool-protected press cloth. Allow the
fabric to air-dry thoroughly and then pin the sleeve into the armhole,
matching underarm and shoulder seams and notches.
Baste the sleeve into the armhole on the seam line, keeping the sleeve
side uppermost. Try on to check the fit and shaping. The sleeve should be
free of diagonal wrinkles and, in the case of a long sleeve, the crosswise
grain should slant slightly downward in back.
Stitch the sleeve in place, keeping the garment uppermost to get a

smooth line. Over the large end of a sleeve board, lightly steam press the
seam, unopened, along the stitching line only on the inside of the sleeve. To
retain the rounded cap of the sleeve, do not press from the right side.
Reference:
PDF File HEG76 under TEXTILES, CLOTHING AND DESIGN C-11,
Construction Revised April 1981

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Self-Check 3.1-3
I. Multiple choice
Choose the correct answer
1. Pressing this special fabric is usually inadvisable. If it is
necessary, this uses low temperature and brown paper for
protection.
a. Vinyls
b. Leathers
c. Wools
d. Fake furs
2. What pressure control should be set first using the electric flat
iron?
a. High
b. Moderate
c. Light
d. No Pressure
3. For cotton and linen, what temperature is set to its type of
fabric?
a. High
b. Moderate
c. Low
d. None of the Above
4. Plackets must be pressed on the…?
a. Wrong side
b. Right side
c. Both side
d. Not necessary
5. What will happen to garment/cut parts after pressing if not dry
before it is handled or sewn?
a. It will stretch
b. It will hardened
c. It became thinner
d. None of the Above

May 2020
Assisi High
Developed by:
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II. Essay (5pts.)
Explain the following:
c. Differentiate pressing to ironing.
d. In your own opinion, why is important to know the

techniques/methods in pressing in preparing cut parts?

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Answer Key 3.1-3
I. Multiple Choice
1. b
2. c
3. a
4. a
5. a
II. Explain the following: (5pts.)

1. Differentiate pressing to ironing.
Answer: Pressing is not ironing. In ironing, the iron is pushed from
one spot to another in an unbroken motion to remove wrinkles. In
pressing, the iron is lifted up and set down in a particular spot to
flatten or shape small areas. To prevent the fabric from stretching, do
not use a sliding motion when pressing.
2. In your own opinion, why is important to know the

techniques/methods in pressing in preparing cut parts?
Answer: It is important to know the techniques in pressing because it
helps shaping the fabric to the desired figure, flatten seams and edges
and it will save time to sew the cut parts and make dressmakers sew
easily.

May 2020
Assisi High
Developed by:
Hazel Joyce O.
TASK SHEET no. 3.1-3
Title: Pressed Pencil Skirt with Side Slit
Performance Objective: Given the test-fabric, iron board and

electric flat iron, you should be able to use
techniques in pressing of cut parts of skirt with
side slit.
Supplies/Materials: CBLM
Tools: electric flat iron, iron board, test-fabric, cut parts of skirt with
side-slit
Steps/Procedure:
1. Gather all materials, tools needed.
2. Secure all the cut parts to be pressed and immediately identify
or replace missing parts.
3. Position the iron board and plug in the electric flat iron for
operation. Do not immediately turn on the iron.
4. Identify the type of fabric to be pressed to set its proper heat
and temperature.
5. Use test-fabric or scrap of the same fabric to observe the
reaction while pressing.
6. Press on the wrong side of the fabric, if necessary.
7. When turn on, use light pressure first.
8. Keep the grain of the fabric straight and press with the grain.
9. Let the cut-parts warm and be ready for sewing.
Assessment Method: Demonstration

May 2020
Assisi High
Developed by:
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Performance Criteria Checklist 3.1-3
CRITERIA
YES NO
Did you….
1. gather all materials, tools needed?
2. secure all the cut parts to be pressed and
immediately identify or replace missing parts?
3. position the iron board and plug in the electric
flat iron for operation?
4. identify the type of fabric to be pressed to set its
proper heat and temperature?
5. use test-fabric or scrap of the same fabric to
observe the reaction while pressing?
6. press on the wrong side of the fabric, if
necessary?
7. use light pressure first?
8. keep the grain of the fabric straight and press
with the grain?
9. let the cut-parts dry and be ready for sewing?

May 2020
Assisi High
Developed by:
Hazel Joyce O.
Evidence Plan
Competency
Dressmaking NC II
standard:
Unit of
Sew Casual Apparel
competency:
Ways in which evidence will be collected:
[tick the column]
Third party Report

Demonstration &
Observation &
Questioning
Questioning
Portfolio
Written
The evidence must show that the trainee…
 Prepare in accordance with the 

specified garment design/style.
 Press in accordance with fabric 

specifications.
 pin together in accordance with garment 

design or style
 Prepare accessories and accents in
accordance with garment design or
 
style.
 Clean and lubricate machine parts in

accordance with company’s
 
requirements and manufacturer’s
cleaning and lubricating instructions.
 Thread machine in accordance with

 
the company’s work procedure
 Set-up and adjust machines in

 
accordance with fabric specification.
 Control speed of machine and work

handling are in accordance with  
company’s procedures.

May 2020
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Developed by:
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 Identified and repaired minor
machines problem or fault in
 
accordance to manufacturer’s
manuals.
 Monitor machine operations  
 Follow company’s health and safety

practices and procedures as per  
standard operating procedures
 Assemble garments parts in accordance

with garment assembly instruction and  
pattern specifications.
 Sew garments in accordance with sewing

standard procedures and company’s time  
frames
 Sew and identify sleeves, collars and

 
pockets in terms of customer’s specification
 Sew evenly and sharp neckline and corners

 
according to sewing procedures
 Clean pocket flaps and pieces has corners

 
with no raw edges
 Sew zipper without puckered according to

 
sewing instructions
 Finished seams, edges in accordance with

 
the job requirements
 Waistband width is evenly sewn from end-

to-end according to standard operating  
procedure.

May 2020
Assisi High
Developed by:
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 Alteration/modifications are
determined/undertaken in
 
accordance with the client’s
specifications
 Final fitting is conducted to ensure

 
client’s satisfaction
 Garments alteration is completed as

 
per client’s satisfaction.
 Check garment parts for completeness in
accordance with specified garment design or  
styles*
NOTE: *Critical aspects of competency

May 2020
Assisi High
Developed by:
Hazel Joyce O.
TABLE OF SPECIFICATION
Objectives/Conte Knowledg Comprehensio Applicatio 40 items/

nt area/Topics e n n 100% of test
Prepare cut parts 3 3 4 10/25%
Prepare sewing
machine for 3 3 4 10/25%
operation
Sew and assemble

5 5 5 15/37.50%
garment parts
Alter completed
1 2 2 5/12.50%
parts
TOTAL 12 13 15 40/100%

Assisi High
Methodology Level I May 2020
Page 79 of 61
Written Test
I. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer on a separate sheet of
paper.
1. Type of fabric that has the following characteristics: absorbency,
heat conduction, strength and beauty.
a. Cotton
b. Poplin
c. Linen
d. Broadcloth
2. Type of fabric which is also called tabinet.
a. Gingham
b. Poplin
c. Linen
d. Silk
3. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching
b. Pattern Drafting
c. Measuring
d. Sewing
4. The principle of design which connotes feeling of rest or
equilibrium.
a. Balance
b. Proportion
c. Rhythm
d. Emphasis
5. A slender girl wearing a big, bulky bag seemed to be over-balanced.
What principle of design is emphasized?
a. Formal balance
b. Informal balance
c. Vertical balance
d. Horizontal balance

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Page 80 of 61
6. A kind of pattern which contains exact body measurements and
reflects no definite style.
a. Pattern
b. Style pattern
c. Foundation pattern
d. Envelope pattern
7. The fabric lay-out which is best for wide pattern pieces showing the
double fold.
a. Vertical lay-out
b. Diagonal lay-out
c. Crosswise lay-out
d. Horizontal lay-out
8. The side of the fabric where the pattern pieces showing the double
fold.
a. Right side
b. Wrong side
c. Bigger side
d. Smaller side
9. The following are tips why we need to check all pattern pieces laid
on the cloth before cutting the fabric. Which is NOT?
a. Check completeness of garment parts
b. Check duplication of garments parts
c. Estimate the materials needed
d. Ensure the size of the garment
10. When positioning pattern pieces with straight arrows they should
be parallel to the selvage. Why?
a. Fabrics will be straight when cut
b. Fabrics are easy to cut
c. Fabrics will conform to the pattern contour
d. Fabrics cling to the pattern
11. Is it advisable to keep the entire length of fabric on top of the
cutting surface while pinning and cutting? Why?
a. To prevent stretching
b. To promote ease

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Page 81 of 61
c. To eliminate weight
d. To hasten speed in cutting
12. A marking tool with brightly colored thread used in marking
seams.
a. Tailor's tucks
b. Chalk pencil
c. Tailor's chalk
d. Tracing paper
13. This means to arrange the pattern pieces on the fabric.
a. To cut
b. To lay –out
c. To mark
d. To trace
14. One of the characteristics of disappearing marking pens used by
tailors.
a. It can be easily removed
b. It cannot be affected by dry cleaning
c. It stays longer when washed
d. It stains the garments
15. In the absence of pins, it is used to hold the pattern pieces on
the place while cutting the fabric?
a. Sewing kit
b. Pattern weight
c. Pin cushion
d. Needles
II. True or False
Directions: Write TRUE if the statement is true and FALSE if the
statement is false.
______1. Construction lines show where to cut pieces.
______2. Pattern layout helps determine if the patterns are enough
for the fabric.
______3. When cutting the fabric, it is advisable to walk around the
table instead of pulling the fabric towards you.
______4. In transferring marks onto the fabric, start with the small
pattern pieces to finish the job earlier.
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Page 82 of 61
______5. After cutting, remove the pins of the pattern immediately.
III. Enumeration:
Directions: List down the answers of the following items. Write your
answer on a separate sheet of paper.
A. Different Cutting Tools

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
IV. Identification:
______1. A cutting tool that has serrated edges that is ideal for cutting
out all types of fabric.
______2. Cut open threads without damaging the fabric.
______3. A type of cutting tool with a curve in the handle that gives
easy access to threads inside embroidery hoops over hoop
and under presser foot when doing machine embroidery.
______4. A paddle-shaped blade scissor that is especially meant for
clipping the extra fabric in your appliqué work.
V. Essay
Why is it important to properly use the cutting tools? (5 points)

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Page 83 of 61
Answer Key
I. Multiple Choice III. Enumeration

1. Dressmaker's Shears
2. Paper Cutting Scissors
1. c
2. b 3. Duckbill Scissors
3. b 4. Pinking Shears
4. a
5. c 5. Small Sharp Fabric
6. c Scissors
7. c 6. Thread Snips
8. b
7. Rotary Cutters
9. a
10. a 8. Buttonhole Cutters
11. a 9. Curved Embroidery
12. c Scissors
13. b
14. a 10. Double Curved
15. b Embroidery Scissors
11. Seam Ripper
II. True or False
1. True
2. False IV. Identification
3. True
1. Dressmaker's Shears
4. False
5. False 2. Seam Ripper
3. Double Curved
Embroidery Scissors
4. Duckbill Scissors
V. Essay
(Model Answer)
It is important to properly use cutting tools to reduce the amount of effort
you need to get the job done and ensure that you do not cause unnecessary
damage to work surfaces and tools as well as to prolong the lifespan of your
valuable tools.

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Page 84 of 61
Performance Test
Specific Instruction for the Candidate
Qualification DRESSMAKING NC II
Unit of Competency Sew Casual Apparel
General Instruction:
Using the equipment, tools and materials, you should be able to

sew garment for (a)skirt and (b)blouse within four (4) hours in
accordance with the set performance criteria.
Specific Instruction:
1. Come on time.
2. Wear your Personal Protective Equipment.
3. Check the availability of the material, tools and equipment.
4. Prepare the material, tools and equipment needed.
5. Follow the procedures in sewing garment parts for skirt, blouse and
dress.
6. Present your output to your trainer for evaluation.
7. The final assessment shall be the responsibility of your accredited

assessor.
 COMPETENT
 NOT YET COMPETENT

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Page 85 of 61
QUESTIONING TOOL
Satisfactory
Questions to probe the candidate’s underpinning knowledge
response
Extension/Reflection Questions Yes No
1. What is the difference between pressing and ironing?
Answer: In pressing, iron is lifted up and set down in a
particular spot to flatten or shape small areas while in  
ironing, is used in unbroken and sliding motion to remove
wrinkles on fabric.
2. How do you determine the right side and the wrong side of
the cloth?
Answer: Printed designs are more visible and bright on the right  
side of the cloth.
Safety Questions
5. How will you handle electric flat iron in pressing?  
Answer: First, set the temperature to its lowest point and make
sure to test the heat control of iron on scrap fabrics or on the
iron board before pressing it on the official garment.
6. How will you keep electric flat iron when not in use?  
Answer: Unplug electric flat iron and set aside on a holder
attached to the iron board in a resting positon. Keep away from
direct contact to skin and children when it’s still hot.
Contingency Questions
9. What will you do if you accidentally burn the fabric while  
pressing?
Answer: Change the fabric.
10. What will you do if fabric to be pressed is wet?  
Answer: Depend on the type of clothe because some special
fabric is pressed when it is damp. If it is not important, let it dry
in a dryer if available.
Job Role/Environment Questions
13. How will you deal with your scrap fabrics?  
Answer: Set it aside and keep in a box or container, it can still
be recycled.
14. How do you maintain a good and harmonious work  

environment?
Answer: Be professional and ethically-mannered at all cost.

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Rules and Regulations YES NO
17. What law prohibits burning of scrap fabrics?  

Answer: Prohibiting the burning of scrap fabrics is under RA
9003 or Ecological Solid Waste Management Act of 2000.
18. What law encourages recycling of scrap fabrics?  
Answer: RA 9003 or Ecological Solid Waste Management Act of
2000 is also the law that encourages recycling scrap fabric.
The candidate’s underpinning  Satisfactory  Not

knowledge was: Satisfactory

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Page 87 of 61
Templates for Inventory of Training Resources
Resources for presenting instruction
 Print Resources As per TR As per Remarks
Inventory
CBLM 10 Complete
Manuals 10 Complete
Learner's Material 10 Complete
 Non Print Resources As per TR As per Remarks
Inventory
Module1: Videos 1 Complete
Module 2: Videos 1 Complete
Modules 3: Videos 1 Complete
Modules 4: Videos 1 Complete
Resources for Skills practice of Competency #1

______________________________
 Supplies and As per As per
Remarks
Materials TR Inventory
25 pcs 20 pcs For Replenishment
Pencils
25 rolls 10 rolls For Replenishment
Pattern Paper
Tailor’s Chalk
25 packs 19 packs For Replenishment
Dressmaker’s Tracing Paper
75 cones 38 cones For Replenishment
Thread (assorted colors)
2 gross 1 gross For Replenishment
Buttons
Zipper 8”
Record Book
Zipper 20”
12.5 yds 9 yds For Replenishment
Fusible Interlining
2 rolls 1 roll For Replenishment
Band Roll

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Page 88 of 61
1 box 1 box For Replenishment
Hook and Eye (big)
1 box Half empty For Replenishment
Hook and Eye (Small)
box
3 gals 2.5 gals For Replenishment
Machine Oil
Eraser
Needle DB x1 # 14
Needle DB x1 # 11
Needle DCx1 # 14
Needle DPx5# 14
Hand Needle
23 yds For Replenishment
Fabrics for Blouse
Fabric for Skirt
Fabric for Dress
10 m 6m For Replenishment
Clothes line
Pins 2 boxes 1 box For Reproduction
As per As per
 Tools Remarks
TR Inventory
Cutting Shears 25 pcs 25 pcs Complete
Tape Measure 25 pcs 25 pcs Complete
Hip- curve 10 pcs 10 pcs Complete
25 pcs 25 pcs Complete
Meter stick
French curve 25 pairs 25 pairs Complete
Scissors 25 pairs 25 pairs Complete
Cutting Shears 25 pcs 25 pcs Complete
L-square 25 pcs 25 pcs Complete
Transparent ruler with grid 10 pcs 10 pcs Complete
24
Basin/Pail 25 pcs 25 pcs Complete
Sewing Box 25 pcs 25 pcs Complete
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Page 89 of 61
Tracing wheel 25 pcs 25 pcs Complete
Hanger 10 doz 10 doz Complete
Screw Driver flat (medium) 25 pcs 25 pcs Complete
Screw Driver flat (small) 25 pcs 25 pcs Complete
Triangle 16” 45 x 90 25 pcs 25 pcs Complete
Hand Spray 5pcs 5pcs Complete
Seam Ripper 25 pcs 25 pcs Complete
Pin Cushion 25 pcs 25 pcs Complete
As per As per
 Equipment Remarks
TR Inventory
Single Needle Lockstitch 25 units 25 units For Maintenance
Machines
High Speed Machines 10 units 10 units For Maintenance
Attachment
3 Threads over lock machine 5 units 5 units For Maintenance
Flat Iron 5 units 5 units For Maintenance
Steam Press 5 units 5 units For Maintenance
Ironing Board 5 units 5 units For Maintenance
Cutting Table 10 units 10 units For Maintenance
Stools 25 pcs 25 pcs For Maintenance
Buttonholer 1 pc 1 pc For Maintenance
Body Form/Model 10 units 10 units For Maintenance
Calculator 25 pcs 25 pcs For Maintenance
Hanger Rack 3 units 3 units For Maintenance
Bobbin Case 25 pcs 25 pcs For Maintenance
Bobbin Spool 50 pcs 50 pcs For Maintenance
Buttonholer Attachments 5 pcs 5 pcs For Maintenance
Zipper foot 5 pcs 5 pcs For Maintenance
Zipper foot invisible 5 pcs 5 pcs For Maintenance
Shirring foot 5 pcs 5 pcs For Maintenance
Sleeve Board/Ham 10 pcs 10 pcs For Maintenance
Display Cabinet 2 pcs 2 pcs For Maintenance

Assisi High
Page 90 of 61
Note: In the remarks section, remarks may include for repair, for
replenishment, for reproduction, for maintenance etc.

Assisi High
Page 91 of 61
Workshop Layout
Pressing Area

Trainers Methodology Level I Date Revised:
May 2020 Page 92 of 61
Sew Casual Apparel Developed by: Assisi High School
Hazel Joyce O.Borongan
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COMPETENCY-BASED LEARNING

Qualification Title: DRESSMAKING NCII

Unit of Competency: Sew Casual Apparel

Module Title: Sewing Casual Apparel

Technical Education & Skills Development Authority

Date Developed: Document No.

Language, literacy Average grade in: Average grade in:

Cultural and Ethnicity/culture:

Education & Highest Educational Attainment:

Date Developed: Document No:

List down trainings related to Qualification

Other courses related to Qualification

Date Developed: Document No:

Date Developed: Document No:

INSTRUCTIONS: This Self-Check Instrument will give the trainer necessary

Date Developed: Document No:

Date Developed: Document No:

Current competencies Proof/Evidence Means of validating

1. Draft and Cut Pattern for Casual Apparel

Report Card/Certificate Demonstration /

Date Developed: Document No:

From the accomplished Self-Assessment Check (Form 1.1) and the

Form 1.3 Summary of Current Competencies Versus Required

Required Units of Current Training

Date Developed: Document No:

Date Developed: Document No:

Form No. 1.4: Training Needs

Training Needs Module Title/Module of

Date Developed: Document No:

Date Developed: Document No:

Date Developed: Document No:

LO2: Prepare sewing machine for operation.

Date Developed: Document No:

LO3: Sew and assemble garment parts

Date Developed: Document No:

LO4: Alter completed garment

Study Task Evaluate

Date Developed: Document No:

Date Developed: Document No:

Date Developed: Document No:

Performance Criteria Checklist

Self-Check Answer Key

Learning Outcome Summary

In our efforts to standardize CBLM, the

Date Developed: Document No:

COMPETENCY-BASED LEARNING MATERIALS

No. Unit of Competency Module Title Code

Draft and cut pattern Drafting and Cutting

Prepare and cut Preparing and Cutting

Sew casual apparel GRM743303

Apply finishing Applying Finishing

Date Developed: Document No:

UNIT OF COMPETENCY: Sew Casual Apparel

MODULE TITLE: Sewing Casual Apparel

NOMINAL DURATION: 80 hours

2. Prepare sewing machine for operation

3. Sew and assemble garment parts

4. Alter completed garment

Date Developed: Document No:

1. Fabric Manufacturing Procedures

1. Cut parts are prepared in accordance with the specified

The participants will have access to:

Date Developed: Document No:

Date Developed: Document No: