Tle

LM - Dressmaking I Grade 9
EXECUTIVE SUMMARY
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The need to respond to the increasing demand for human involvement is evident. The demand
in terms of manpower is increasing considerably everywhere in the world where the quest for
global competitiveness is ongoing. Manpower is needed in order to do the tasks to make the
nation capable of supplying the needs and demands of the community. A community where a
strong and powerful participation of everyone is beheld, where everybody has the desire to do
his share in helping the country uplift its economy and prove that the potential and skills instilled
within are the major factors to achieve the nation’s mission and vision.
No one is exempted from this demand and the corresponding effort. The Department of
Education with the K to 12 Program foresees to gear us towards the attainment of the country’s
goals and objectives. Through this learning material every learner will be equipped with
necessary knowledge, skills and attitudes to fulfill the responsibility given to them.
This learning material in Dressmaking for Grade 9 is a response to help the country realize its
goals. The authors and experts in the field of Dressmaking collaborate to share the knowledge,
skills and attitudes to the learners. It is designed in accordance with the learning competencies
identified by the K to 12 Program of the Department of Education. It is intended to prepare the
learners for entry into specific occupational activities. It presents in-depth discussion of the
basic concepts about dressmaking and provides practical work experiences. Certain
assessments or activities with rubrics for evaluation are also provided. The use of pre and post
testing allows each learner to grow at their own pace. Each can grasp at his individual level
the concept this learning material offers. Thus, for a specialization class, it is a self-contained
procedural guidebook.
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TABLE OF CONTENTS
Cover Page
Title Page
Executive Summary
Table of Contents
Introduction
Objectives
Personal Entrepreneurial Competencies
Environment and Market
Diagnostic Assessment
QUARTER I
LESSON 1 PRODUCE SLEEPING GARMENTS
LO 1 Draft and Cut Pattern for Sleeping Garments
Objectives
Pre-Test
L1 Principles and Elements of Design
Review of Lesson 1
L2 Fabrics
Review of Lesson 2
L3 Sleeping Garments
L3.1 Characteristics of a Sleeping Garment
L3. 2 Types and Selection of Fabrics for Sleeping Garments
Review of Lesson 3
L4 Project Plan for Sleeping Garment
L4.1 Components of a Project Plan
Review of Lesson 4
L5 Tools, Materials and Equipment
L5.1 Marking Tools Used in Pattern Drafting
Review of Lesson 5
L6 Pattern Symbols
Review of Lesson 6
L7 Measurements Needed in Sleeping Garments
L6.1 Body Measurements Needed in Sewing Sleeping
Garments
L7.1 Individual Measurement Chart
Review of Lesson 7
L8 Drafting Basic/Block Pattern of Sleeping Garment
L8.1 Front Blouse Sloper
2
Review of Lesson 8.1

L8.2 Back Blouse Sloper
L8.3 Sleeves
L8.4 Patch Pocket
L8.5 Pencil Cut Skirt

L8.6 Front Pajama Pants
L8.7 Back Pajama Pants
L9 Manipulating Basic/Block Pattern
Review of Lesson 9
L10 Principles in Laying Out the Fabric
Review of Lesson 10
L11 Guidelines in Cutting Fabric
Review of Lesson 11
L12 Transferring Pattern Marking and Symbols on the Fabric
Review of Lesson 12
Post Test I
QUARTER 11 LESSON 2 PRODUCE SLEEPING GARMENT

Pre- Test II
L1 Pre-Assembling Procedure
Review of Lesson 1
L2 Pressing Tools, Materials and Equipment
L3 Pressing Techniques
Review of Lesson 2
L4 Application of Heat and Pressure
Review of Lesson 4
L5 Kinds of Seam and Seam Finishes
Review of Lesson 5
L6 Preparing Parts for Sewing
Review of Lesson 6
L7 Unit Method of Assembling Sleeping Garments
Review of Lesson 7
L8 Assembling the Sleeping Garment
3
Review of Lesson 8
L9 Finishing Touches
Review of Lesson 9
L10 Trimming Techniques for Sleeping Garments

L11 Labeling of Garments
Review of Lesson 11
L12 Procedures in Packaging Finished Garments
Review of Lesson 12
L13 Evaluation of Finished Sleeping Garments
Review of Lesson 11
Post Test II
QUARTER III
LESSON 3 PRODUCE CHILDREN’S WEAR
LO 1 Draft and Cut Pattern for Children’s Wear
Objectives
Pre-Test III
L1 Designs of Children’s Wear
Review of Lesson 1
L2 Characteristics of a Well-Fitted Children’s Wear
Review of Lesson 2
L3 Types of Fabrics for Children’s Dress
Review of Lesson 3
L4 Accessories and Accents for Children’s Wear
L4.1 Sleeves
L4.2 Collars
L4.3 Skirts
L4.4 Facings and Interfacings
L4.5 Pockets
Review of Lesson 4
L5 Project Plan for Children’s Wear
L6 Body Measurements for Children’s Wear
L6.1 Individual Measurement Chart
L7 Body Measurement for Children’s Wear
Review of Lesson 6
L8 Drafting Basic/Block Pattern for Children’s Wear
L7.1 Front Blouse Sloper
Review of Lesson 8
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L7.2 Back Blouse Sloper

L7.3 Flared Skirt
L7.4 Peter Pan Collar
L7.5 Sailor’s Collar
L7.6 Convertible Collar
L8 Manipulating Basic/Block Pattern for Children’s Wear
L8.1 Front Blouse
L8.2 Back Blouse
L8.3 Puff Sleeves
LO 2 Prepare and Cut Materials for Children’s Wear
L9 Techniques in Cutting Final Pattern
L9.1 Front Bodice
L9.2 Back Bodice
L10 Laying Out Pattern Pieces
L11 Cutting Fabrics
L11.1 Cutting Fabric for Half Balloon Skirt
Review of Lesson 11
L12 Transferring Of Marks to the Fabric
Post Test III
QUARTER IV LESSON 4 PRODUCE CHILDREN’S WEAR

LO 3 Assemble Garment Parts for Children’s Wear
Pre-Test IV
L1 Pre-Assembling Procedure
L2 Techniques in Pressing Children’s Wear
L3 Preparing Parts for Sewing
Review of Lesson 3
L4 Unit Method of Assembling Children’s Wear
Review of Lesson 4
L5 Assembling Children’s Wear
L6 Finishing Touches
L7 Fasteners
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L8 Attaching Fastener
Review of Lesson 8
L9 Trimming Techniques for Children’s Wear
Review of Lesson 9
L10 Pressing Finished Garment
Review of Lesson 10
L11 Application of Heat and Pressure
Review of Lesson 11
L12 Packaging of Children’s Wear
L13 Evaluation of Finished Children’s Wear
Review of Lesson 13
Post Test Summative Assessment Synthesis Glossary
References
INTRODUCTION
Technology and Livelihood Education (TLE) is one nomenclature in the

implementation of the K to 12 Basic Education Program (BEP). It is composed of four
components, namely, Agri-Fishery Arts, Home Economics, Industrial Arts and
Information and Communication Technology. This module focuses on a Home
Economics course – Dressmaking.
In this course, varied and relevant activities and opportunities are provided to
demonstrate your understanding of concepts and core competencies as prescribed in
TESDA Training Regulation in Dressmaking. It deems eventually to provide quality
service to target clients. This will also be a venue for you to assess yourself and
identify aspects of business that you need to strengthen and safeguard before you
become a part of the workforce.
Today, in the world of work, the number of available jobs has become scarce.
Accordingly, the Department of Education is revitalizing its resources to lead the
young people and to prepare them skillfully as future dressmaker experts. It is in
honing the skills that learners can be assured to have an edge in surviving the daily
needs of the self and others. It seeks to provide students with the knowledge, attitude,
values and skills in the field of Dressmaking.
This module is specifically crafted to focus on the different activities that will
assess your level in terms of skills and knowledge that you are expected to
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demonstrate after going through the learning materials. Learning procedures are
divided into different sections - What to Know, What to Process, What to Reflect and
Understand, and What to Transfer. Go over the suggested tasks and accomplish them
to practice developing a sustainable program, prioritizing needs and building vision.
So, explore and experience the K to 12 TLE Dressmaking module and be a

successful sewer/dressmaker/ and even a dress designer.
After finishing all the activities in this module, expect job

opportunities and experience to set up a business enterprise
which will generate jobs for others.
CONCEPT REVIEW
At the start of your journey in learning Dressmaking, the Personal
Entrepreneurial Competencies and entrepreneurial mindsets are introduced.
In this concept review, you will be reminded of these lessons and you get to
assess the competencies you have as found among entrepreneurs. In
addition, a brief lesson on the Business Environment and Idea Generation is
provided to help contextualize your skills for a useful entrepreneurial venture.
Read on to find out!
LEARNING OUTCOME 1:
ASSESS PERSONAL ENTREPRENEURIAL COMPETENCIES
Entrepreneur
An entrepreneur is comprehensively defined by Zimmerer &
Scarborough (2005) as someone who “creates a new business in the face of
risk and uncertainty for the purpose of achieving profit and growth by
identifying significant opportunities and assembling the necessary resources
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to capitalize on them” (p.3). Entrepreneurs are the ones who act on their
business ideas.
Personal Entrepreneurial Competencies

There have been many studies to characterize “the entrepreneurial
personality”. Although there is no isolated set of traits that guarantee success,
there were identified behaviors found common to most successful
entrepreneurs. There is a well-known research on human behavior done by
McClelland and McBer which identified 10 behavioral patterns organized into
three general clusters: the achievement, planning, and power clusters
(SERDEF, 2007; 1998). It was found out that these behaviors were also
typical entrepreneurial behaviors. The entrepreneurial qualities, more known
as the Personal Entrepreneurial Competencies (PECs) are as follows:
Achievement Cluster
• Opportunity seeking – Entrepreneurs have a good eye for spotting
business opportunities and act on these opportunities appropriately.
• Persistence - Entrepreneurs do not easily give up in the face of
obstacles. They will take repeated or different actions to overcome the
hurdles of business. This includes making a personal sacrifice or
extraordinary effort to complete a job.
• Commitment to work contract - Entrepreneur do their best to satisfy
customers and to deliver what is promised. They accept full
responsibility for problems when completing a job for customers.
• Risk-taking - Entrepreneurs are known for taking calculated risks and
doing tasks that are moderately challenging.
• Demand for efficiency and quality - Entrepreneur see to it that the
business meets or exceeds existing standards of excellence and they
exert efforts to improve past performance and do things better. They
set high but realistic standards.
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Planning Cluster
• Goal setting - Entrepreneurs know how to set specific, measurable,
attainable, realistic, and time-bound (SMART) goals. It is easy for them
to divide large goals into short-term goals.
• Information seeking - Entrepreneurs update themselves with new
information about the customers, the market, suppliers, and
competitors. This is rooted in their innate sense of curiosity.
• Systematic planning and monitoring - Entrepreneurs develop and use
logical, step-by-step plans to reach their goals. They monitor progress
towards goals and alter strategies when necessary.
Power Cluster
• Persuasion and networking - Entrepreneurs know how to use the right
strategies to influence or persuade other people. They have naturally
established a network of people whom they can turn to in order to
achieve their objectives.
• Self-confidence - Entrepreneurs have a strong belief in themselves and
their own abilities. They have self-awareness and belief in their own
ability to complete a difficult task or meet a challenge.
Assess your Personal Entrepreneurial Competencies by answering the items

in the next page.
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Personal Entrepreneurial Competencies (PECs) Self-rating Questionnaire

Read each statement carefully and answer honestly based on how well it
5 = Always describes you. There are five choices as follows: Please write the number you
4 = Usually have selected on the space before each statement. Some statements may be
3 = Sometimes similar but no two are exactly alike. Please go through each statement and
2 = Rarely answer all the items.
1 = Never
Rating
_________1. I look for things that need to be done.
__________ 2. When I am faced with a difficult problem, I spend a lot of time trying
to find a solution.
_________ 3. I complete my work on time.
_________ 4. It bothers me when things are not done very well.
_________ 5. I prefer situations in which I can control the outcomes as much as
possible.
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_________ 6. I like to think about the future.

_________ 7. When starting a new task or project, I gather a great deal of
information before going ahead.
_________ 8. I plan a large project by breaking it down into smaller tasks.
_________ 9. I get others to support my recommendations.
_________ 10. I feel confident that I will succeed at whatever I try to do.
_________ 11. No matter whom I’m talking to, I’m a good listener.
_________ 12. I do things that need to be done before being asked to by others.
_________ 13. I try several times to get people to do what I would like them to do.
_________ 14. I keep the promises I make.
_________ 15. My own work is better than that of other people work with.
_________ 16. I don’t try something new without making sure I will succeed.
_________ 17. It’s a waste of time to worry about what to do with your life.
_________ 18. I seek the advice of people who know a lot about the tasks I am
working on.
_________ 19. I think about the advantages and disadvantages or different ways of
accomplishing things.
_________ 20. I do not spend much time thinking how to influence others.
_________ 21. I change my mind if others disagree strongly with me.
_________ 22. I feel resentful when I don’t get my way.
_________ 23. I like challenges and new opportunities.
_________ 24. When something gets in the way of what I’m trying to do, I keep on
trying to accomplish what I want.
_________ 25. I am happy to do someone else’s work if necessary to get the job done
on time.
_________ 26. It bothers me when my time is wasted.
_________ 27. I weigh my chances of succeeding or failing before I decide to do
something.
_________ 28. I look for things that need to be done.

__________ 29. When I am faced with a difficult problem, I spend a lot of time
trying to find a solution.
_________ 30. I complete my work on time.
_________ 31. It bothers me when things are not done very well.
_________ 32. I prefer situations in which I can control the outcomes as much as
possible.
_________ 33. I like to think about the future.
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_________ 34. When starting a new task or project, I gather a great deal of
information before going ahead.
_________ 35. I plan a large project by breaking it down into smaller tasks.
_________ 36. I get others to support my recommendations.
_________ 37. I feel confident that I will succeed at whatever I try to do.
_________ 38. No matter whom I’m talking to, I’m a good listener.
_________ 39. I do things that need to be done before being asked to by others.
_________ 40. I try several times to get people to do what I would like them to do.
_________ 41. I keep the promises I make.
_________ 42. My own work is better than that of other people work with.
_________ 43. I don’t try something new without making sure I will succeed.
_________ 44. It’s a waste of time to worry about what to do with your life.
_________ 45. I seek the advice of people who know a lot about the tasks I am
working on.
_________ 46. I think about the advantages and disadvantages or different ways of
accomplishing things.
_________ 47. I do not spend much time thinking how to influence others.
_________ 48. I change my mind if others disagree strongly with me.
_________ 49. I feel resentful when I don’t get my way.
_________ 50. I like challenges and new opportunities.
_________ 51. When something gets in the way of what I’m trying to do, I keep
on trying to accomplish what I want.
_________ 52. I am happy to do someone else’s work if necessary to get the job
done on time.
_________ 53. It bothers me when my time is wasted.
_________ 54. I weigh my chances of succeeding or failing before I decide to do
something.
_________ 55. When I don’t know something, I don’t mind admitting it.
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Please proceed to the next section where you may determine your score. The point system will indicate whether you
manifest strong tendencies or weak inclinations towards a particular behavior.
Source: Liberal, AE. E. (2007). Appraising and developing yourself for an entrepreneurial career. (Eds.) Maghirnf, T.,
Librando, P., Esguerra, D., & Recio, D. In Introduction to Entrepreneurship. Quezon City: Small Enterprises Research and
Development Foundation, Inc. in cooperation with UP-ISSI. pp: 41-43.
0
PEC’s Scoring Sheet
Please enter your ratings in the PECs scoring sheet. The number in parenthesis corresponds to the
questionnaire item number. Notice that the item numbers are listed consecutively for each column.
Perform the addition and subtraction as indicated in each row to compute for each PEC.
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Source: Liberal, AE. E. (2007). Appraising and developing yourself for an entrepreneurial career. (Eds.)
Maghirang, T., Librando, P., Esguerra, D., & Recio, D. In Introduction to Entrepreneurship. Quezon City:
Small Enterprises Research and Development Foundation, Inc. in cooperation with UP-ISSI. pp: 43-44.
2
3
The PECs Scoring Sheet with Correction Factor
The Correction Factor is used to provide a more accurate assessment of the PECs of each respondent.
If the total score of items 11, 22, 33, 44, and 55 is 20 or greater, then the total score on the ten PECs
must be corrected. Use the table below to determine the corrected score. Subtract the following
If the correction factor number from each PECs
is: score:
24 or 25 7
22 or 23 5
20 or 21 3
19 or less 0
Correct each PECs score before using the Profile Sheet

Corrected Score Sheet Origina
Correctio Corrected
PECs l n Score
Opportunity seeking - =
Persistence - =
-
Commitment to work contract
-
= Demand for quality &
-
efficiency = -
Risk taking - =
Goal setting - =
Information seeking =
-
Systematic planning &
= monitoring -
Persuasion & networking =

Self-confidence =
Corrected Total Score:
Source: Liberal, AE. E. (2007). Appraising and developing yourself for an entrepreneurial career.
(Eds.) Maghirang, T., Librando, P., Esguerra, D., & Recio, D. In Introduction to
Entrepreneurship. Quezon City: Small Enterprises Research and Development Foundation,
Inc. in cooperation with UP-ISSI. pp: 44-45.
Personal Entrepreneurial Competencies (PECs) Profile Sheet
4
Transfer the corrected PECs score to the profile sheet by marking an

“X” at the appropriate point on the horizontal line provided for each PEC category. After plotting your
PECs score, connect all the “Xs” with a heavy line.
SAMPLE PECs PROFILE
0 5 10 15 20 25
Interpretation
A lower score means a ‘weak’ performance and a higher score translates to a ‘strong’ performance on a
particular competency. A ‘weak’ performance should be regarded as a challenge or an opportunity for
improvement rather than a cause for worry. Improving a competency entails enough determination,
correct practice and strategies, and time for maturation.
Source: Liberal, AE. E. (2007). Appraising and developing yourself for an entrepreneurial career.
(Eds.) Maghirang, T., Librando, P., Esguerra, D., & Recio, D. In Introduction to
Entrepreneurship. Quezon City:
Small Enterprises Research and Development Foundation, Inc. in cooperation with UP-ISSI.
pp: 45-46.
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Business Environment and Market
The study of the business environment in a particular location has farreaching and long-term effects on
a small or micro enterprise’s viability. In fact, business ideas and opportunities are partly shaped or
determined by the business location. Unless it is possible to migrate to more favorable locations, the
ideas and opportunities for business will oftentimes be delimited to the surrounding areas.
The business environment consists of both the tangible and intangible factors that affect either the
external or internal business operations. They may include the land area available for economic zones,
the physical layout and barriers such as rivers, parks or lakes, and building obstructions as well as the
transportation network; all of which are considered tangible factors. They also include the demography
of clients and suppliers, the competitors in the locale/area and the available technology for production.
The intangible factors, on the other hand, include the sub-culture, industry trends, economic and
government activity or the political situations in the area.
Natural & Physical Demography

Environment Potential target
Living conditions, client, migration
Facilities, Barriers pattern
Culture
Government
YOUR Sub-culture,
Regulations
BUSINESS Race, Emotional
Policies
environment
Economy
National Technology
International Trend
- Competitors Production
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Natural and Physical Environment. This concerns the physical location of a business’ store. The natural
environment also pertains to the natural and man-made structures that may enhance the beauty of the
location, such as a park or a sea front view, or serve as barrier to the location, such as a dump site or
high rise structures that obstruct a view. The living condition in an area also serves as a standard for the
ambience you want to create for your store. There is also a phenomenon referred to as clustering where
a particular type of product is offered within the same area. For instance, most guitar shops are clustered
along the intersection of V. Mapa and Aurora Avenue in Metro Manila; Filipino craft stores crowd the area
under the Quiapo bridge; or car accessories are found in Banawe area.
The key word to have in mind when scanning the physical environment is the visibility of your intended
store to the potential clients.
Demography. This pertains to the number of people living in the area, their age, gender, socio-economic
status, family size, religion and even growth trends. These are invaluable information that can help
entrepreneurs in matching their product to the target market, in deciding for the marketing strategy, pricing
and product packaging among others.
Culture. Culture or sub-culture, being the totality of the way of life, ideas and customs of a set of people
or society, primarily influence the types of products that are acceptable to a particular locality. For
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example, the influence of the Japanese culture gave rise to minimalist designs. A subculture also shapes
the ‘emotional’ environment of an area. For instance, the feeling of ‘fear’ for a specific location may serve
as a barrier for a business; a place where one does not feel safe because of the prevalence of crime will
discourage entrepreneurs.
Changes in the lifestyle, which is brought about by changes in the population demography and the
economy, also affect a business. These lifestyle changes may be the increase of women’s participation
in the world of work, change in buying patterns and shift in tastes.
Government Regulations. The laws and policies of the national and local government units also influence
the business operations. Some examples of policies that directly affect entrepreneurs are the imposition
or removal of taxes for products, the establishment of economic zones and assistance in product labeling
and packaging of products. In addition, improvement of facilities and roads improve Natural and Physical
Environment. This concerns the physical location of a business’ store. The natural environment also
pertains to the natural and man-made structures that may enhance the beauty of the location, such as a
park or a sea front view, or serve as barrier to the location, such as a dump site or high rise structures
that obstruct a view. The living condition in an area also serves as a standard for the ambience you want
to create for your store.
There is also a phenomenon referred to as clustering where a particular type of product is offered within
the same area. For instance, most guitar shops are clustered along the intersection of V. Mapa and
Aurora Avenue in Metro Manila; Filipino craft stores crowd the area under the Quiapo bridge; or car
accessories are found in Banawe area.
The key word to have in mind when scanning the physical environment is the visibility of your intended
store to the potential clients.
Demography. This pertains to the number of people living in the area, their age, gender, socio-economic
status, family size, religion and even growth trends. These are invaluable information that can help
entrepreneurs in matching their product to the target market, in deciding for the marketing strategy, pricing
and product packaging among others.
Culture. Culture or sub-culture, being the totality of the way of life, ideas and customs of a set of people
or society, primarily influence the types of products that are acceptable to a particular locality. For
example, the influence of the Japanese culture gave rise to minimalist designs. A subculture also shapes
the ‘emotional’ environment of an area. For instance, the feeling of ‘fear’ for a specific location may serve
9
as a barrier for a business; a place where one does not feel safe because of the prevalence of crime will
discourage entrepreneurs.
Changes in the lifestyle, which is brought about by changes in the population demography and the
economy, also affect a business. These lifestyle changes may be the increase of women’s participation
in the world of work, change in buying patterns and shift in tastes.
Government Regulations. The laws and policies of the national and local government units also influence
the business operations. Some examples of policies that directly affect entrepreneurs are the imposition
or removal of taxes for products, the establishment of economic zones and assistance in product labeling
and packaging of products. In addition, improvement of facilities and roads improve is even relevant at
the start of the venture – during the business idea generation and opportunity identification stage. A
concise guide on how to spot and identify business opportunities are provided in the following section.
Keep reading!
Spotting and Identifying Business Opportunities

Spotting business opportunities is one of the most essential aspects of entrepreneurship. An
entrepreneur must have a keen eye for identifying opportunities that can potentially turn into a good
product or business venture. At the same time, an entrepreneur should also know which opportunities
to drop and which ones to develop.
Idea Generation
The first step in identifying a good business opportunity is to look for many opportunities. This is
called the idea generation phase (SERDEF, 2007). The following are good sources of business ideas
(Hisrich, Peters, & Shepherd, 2008; Looser & Schlapfer, 2001).
1. Personal hobbies and interests
2. Everyday experiences, travel, and adventures
3. Suggestions from family members and friends
4. Problems that need solutions
5. Problems with existing products
6. Books, magazines, news
7. Observing, listening around you
Screening Business Ideas
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Once you have generated a number of business opportunities and ideas, the next step is to
select and screen these. Though there can be many ways to do this, a good way to proceed is to
screen your ideas based on 1) your personality and personal preferences and 2) the characteristics of
a good business (SERDEF, 2007). Consider the following criteria:
1. Personality and Personal Preferences
a. Personal Preference
b. Education, Skills, and Experience
c. Work Experience
d. Support from family and friends
2. Characteristics of a good business

a. Demand for Product
b. Availability of skills, raw materials, technology, and capital
c. Profitability
SWOT Analysis
Once you have chosen your business idea, the next step is to conduct a SWOT analysis in order
to determine the Strengths, Weaknesses, Opportunities and Threats of your potential business. This
step will help you improve your business of choice and prepare for challenges. The table below will help
you differentiate among these four features.
Positive Negative
Strengths Weaknesses
positive factors that set of problems,
contribute to the difficulties or
favorability of a shortcomings
Controllable business encountered by the
Factors opportunity business
Examples: Examples:
Cheap raw materials Inexperienced
Skilled employees owner Lack of
Ease of management working capital Poor
Small capital outlay location
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Opportunities Threats
positive factors that negative factors that
are not within the are beyond the
control of the control of the
business. business
Uncontrollable Examples: Examples:

Factors Absence of similar Rising costs
products in the market Raw material
New markets being shortages
developed Too many
Growing demand competitors
for similar products
Favorable
government policy
Remember to refer back to these guidelines and tools when you are ready to think of your next
business ideas!
REFERENCES:
Histrich, R., Peters, M., & Shepherd, D. (2008). Entrepreneurship. New York: McGraw-Hill.
Liberal, A.E. (2007). Appraising and developing yourself for an entrepreneurial career. In T. Maghirang,
P. Librando, D. Esguerra, & D.
Recio (eds.), Introduction to entrepreneurship (2nd ed.). Quezon City:
Small Enterprises Research and Development Foundation, Inc.
Looser, U. & Schläpfer, B. (2001). The new venture adventure. New York: McKinsen and Company.
Zimmerer, T. and Scarborough, N. (2005). Essentials of entrepreneurship and small business

management. 4th ed. New Jersey: Pearson Education Inc.
CREDITS FOR IMAGE USED:
Fat Pencil courtesy of OpenClipArt.org

Free font “KGWays to Say Goodbye” by Kimberly Geswein at www.dafont.com
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DIAGNOSTIC ASSESSMENT
Multiple Choice
Directions: Read and understand the statements carefully. Write the letter that best describes the
statement. Write your answer in your quiz notebook.
1. The first method of fabric straightening

a. Matching the selvage. c. Matching the grain line.
b. Cutting the selvage. d. Marking the warp.
2. The fabric lay out which is best for wide pattern pieces showing the double fold
a. Vertical lay-out c. Crosswise
b. Diagonal lay-out d. Horizontal
3. The side of the fabric where the pattern should be laid

a. Right side c. Bigger Side
b. Wrong side d. Smaller Side
4. The best thickness for plaid fabrics

a. Single c. Triple
b. Double d. Multiple
5. The recommended fabric to cover the cutting surface when laying out soft sheers and
slippery fabrics
a. Georgette c. Muslin
b. Silk d. Seersucker
6. It is advisable to keep the entire length of fabric on top of the cutting surface while pinning
and cutting. Why?
a. To prevent stretching c. To eliminate weight
b. To promote ease d. To hasten speed in cutting
7. 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
8. When positioning pattern pieces with straight arrows they should be parallel to the selvage.
Why?
a. Fabrics will be straight when cut
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b. Fabrics are easy to cut

c. Fabrics will conform to the pattern contour
d. Fabrics cling to the pattern
9. When can we say that a fabric has a nap?

a. Floral Design c. One-way Design
b. Geometric Design d. Abstract Design
10. Which direction will you follow when laying patterns on fabric with nap?
a. One direction c. Multiple direction
b. Two direction d. Trio direction
11. A marking tool with brightly colored thread used in marking seams
a. Tailor’s tucks c. Tailor’s chalk
b. Chalk pencil d. Tracing paper
12. One of the characteristics of disappearing marking pens used by tailors

a. It can be easily removed c. It stays longer when washed.
b. It cannot be affected by dry cleaning d. It stains the garment.
13. In the absence of pins, it is used to hold the pattern pieces on place while cutting the fabric.
a. Sewing kit c. Pin cushion
b. Pattern weight d. Needles
14. In what direction the dressmaking carbon should be inserted between the pattern and
fabric?
a. right c. down.
b. left d. up
15. This is used to rub into the scorch wool fabric while pressing.
a. Nickel c. Metal
b. Iron d. Aluminum
16. One reason why we pressed the seam before sewing

a. It is more accurate. c. It is done already.
b. Our work will be faster. d. It is easier.
17. How long will you allow the garments to cool down on the ironing board?
a. 5 minutes c. 6 minutes
b. 2 minutes d. I minute
18. Which of the following is the most appropriate cleaning material for the soleplate of the iron?
a. Candle cleaner c. Hot iron cleaner
b. Surface cleaner d. Grease cleaner
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19. It is used to flatten seam upon pressing.

a. Clapper c. Iron
b. Seam roll d. Crease remover
20. What is the basic structural element of a garment done by joining two or more pieces of
fabrics together?
a. Stitches c. Seam
b. Partners d. Finishes
21. The type of seam advisable for sleeping garments and fabrics that ravel easily and is
described as seam within a seam a. Plain c. Flat-
feel
b. French d. Lapped
22. The simplest type of seam

a. French c. Plain
b. Flat full d. Lapped
23. The seam applied to the edge of the fabric to prevent from raveling
a. Seam finish c. Seam Stitch
b. Seam line d. Seam Location
24. The factor to consider when choosing seam finished for the materials that easily ravel, curl
or roll.
a. Case of garment c. Fabric
b. Equipment d. Use of garment
25. A characteristic of a well constructed seam

a. Smooth and even c. Variety of stitch width
b. Lopping stitches d. visible of at right side
26. The original method of finishing seams and edges

a. Hand seam c. Lapped Seam
b. Locked seam d. Hand over cast seam
27. The type of stitches used to over lock the edge of the sleeping garment
a. Zigzag c. Overcast
b. Plain d. Buttonhole
28. The type of pocket used in sleeping garments

a. Welt c. In Seam
b. Flap d. Patch
29. Why do we over lock the row edge of the fabric?

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a. To prevent from raveling c .For security

b. To add aesthetic sense d. To save fibers
30. The fold at the edge of the garment used to reinforce and prevent the garment from raveling.
a. Seam c. Fastener
b. Hem d. Finishing
31. The recommended fasteners for sleeping garment?

a. String c. Buttons
b. Safety pins d. Hook a eye
32. The type of tool considered best in trimming garments with excess thread
a. Duckbill scissors c. Embroidery scissors
b. Snips d. Knitting scissors
33. The actual open seam, wrong stitching techniques, and nonmatching thread are under the
criteria of
a. Garment defects c. Sewing defects
b. Sizing defects d. Color defects
34. Which of the following feature of finished garments is classified under color defects?
a. Variation of color c. Correct colors
b. Likeness of color d. Matching dyes
35 What is the required heat temperature in cotton fiber?

a. 230°C c. 204°C
b. 200°C d. 190°C
36 Most of the electric iron got default setting of 7. Which level of iron setting is suited for silk
fabric?
a. 7 c. 5
b. 1 d. 3
37 The proper way to iron rayon fabri.

a. Iron it on the right side. C .Iron it on the left side.
b. Iron it on the wrong side. D .Iron it on the front side.
38 All are suggested tips in building clothing label EXCEPT

a. Go shopping c. Study your logic/design
b. Lock in your closet d. Copy design
39 The best packing material for garment

a. Acetate c. Packing card
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b. Paper d. Cardboard
40 Factors to consider when sorting and packing the finished product

a. By design and size c. Source of raw materials
b. Time manufactured d. Company name
41 The process of inserting a garment into a poly bag in full visibility to make the customer
identify the color, size and style
a. Primary c. Secondary
b. Shipping d. Executive
42 The type of sleeve that flares out over the shoulder resembling wings of butterfly
a. Angel sleeve c. Set-in sleeve
b. Butterfly sleeve d. Bell sleeve
43 The skirt gathered at the waist and provided with lining to hold the hem and gather inward
the hem ends
a. Bubble skirt c. Pencil skirt
b. Flared skirt d. Tube skirt
44 Simply the longer version of the pencil skirt

a. Pencil skirt c. A-line skirt
b. Flared skirt d. tube skirt
45 The skirt which is a combination of shorts and skirts and usually loose in the bottom
a. Peplum skirt c. Pleated skirt
b. Coluttes d. Tiered Skirt
46 The type of sleeve which is cut together with the bodice. There is no seam joining at the
armhole.
a. Ragian sleeves c. Kimono sleeves
b. Raglan sleeves d. Angel sleeves
47 A part of the shirt, dress, coat or blouse that fastens around or frames the neck
a. Sleeve c. Collars
b. Skirt d. Pants
48 A wide flat, round collar often with lace or sheer fabric worn with a low neckline in the
Victorian Era.
a. Bertha collar c. Mandarin collar
b. Sailor’s collar d. Convertible collar
49 The chronological steps or operations involved to accomplish the project

a. Evaluation c. Procedure
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b. Objectives d. Design Specifications
50 The measurement from the nape to the waistline on the cord

a. Back Figure Length c. Chest Width
b. Shoulder width d. Back Across Width
How did you fare in the Diagnostic Assessment? Don’t feel bad if you
discover there are skills that need to be developed. Explore more to find
answers from this dressmaking module. Good Luck !
Objectives
At the end of the module, the learner is expected to

1. plan, design and sew sleeping garments and children’s wear;
2. apply finishing touches on sleeping garments and children’s wear; and
3. pack the finished garments attractively.
QUARTER I
LESSON 1
PRODUCE SLEEPING GARMENTS
LEARNING OUTCOME 1: Draft and Cut Pattern for Sleeping Garments
This DRESSMAKING course leads to National Certificate Level II. This is designed for Grade 9
student to develop competencies: plans, designs and sews sleeping garments and children’s wear. It
discusses and explains the tools, materials and equipment used in the making of desired products. It
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also demonstrates different techniques and processes which will guide the learner in developing the
skills and knowledge to work effectively and efficiently.
PRE- TEST I
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best describes the statement. Write
the answer in your quiz notebook.
1. The tool used to take body measurement accurately

a. Ruler c. L – square
b. Tape measure d. Curve rule
2. The principle of design which can be achieved by creating a center of interest in the garment
a. Balance c. Emphasis
b. Rhythm d. Proportion
3. The type of pattern which does not contain any symbol and allowances
a. Basic pattern c. Final pattern
b. Construction pattern d. Commercial pattern
4. Fabric which is ideal for sleeping because it contains lustrous fiber material from plant
a. Cotton c. Linen
b. Wool d. Silk
5. One of the characteristics of the sleeping garment

a. It is made of expensive materials. c. It is thick and long.
b. It is comfortable to the wearer. d. It is easy to wash.
6. The measurement from the shoulder neck junction to the waistline with the tape measure passing
at the highest portion of the bust
a. Blouse length c. Front Figure
b. Bust height d. Chest dept
7. Marking tool used for drafting pattern

a. Tailor’s chalk c. Pencil
b. Carbon paper d. Ballpen
8. A dressmaker’s guide in cutting fabric pieces in accordance with the garment design
a. Dressmaker scale c. Pattern
b. Manuscript d. Design
9. The pattern symbols that direct the dressmakers where to stitch the garment fabric.
a. Grainline c. Seamline
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b. Hemline d. Stitchline
10. A color that is neutral

a. Yellow c. Red
b. Black d. Violet
11. The elements of design that create visual dimension

a. Length and width c. Size and bulkiness
b. Depth and height d. Center and emphasis
12. The result of combining primary and secondary colors

a. neutral colors c. prime-see colors
b. complementary colors d. intermediate colors
13. The cellulose materials made into long, lustrous fibers.

a. leaves. c. twigs.
b. seedpods. d. flowers
14. An example of silk fabric

a. Brocale c. Georgette
b. Canvass d. Challis
15. A fabric which can be easily dyed because of its absorptive capacity
a. Wool c. Cotton
b. Nylon d. Silk
16. Which of the following characteristics of sleeping garment will you consider first when
designing?
a. Age of the wearer c. Tools and material
b. Price of the cloth d. Design of sleeping garment
17. When do we prepare the project plan?

a. During the execution c. Before the execution
b. Towards the completion d. At the end of the execution
18. A part of a project plan that depicts the chronological steps on how
to
accomplish the job
a. Objectives c. Bill of material
b. Procedure d. Evaluation
19. If you want to determine and prepare the logistics needed to finance
the project, which part of the project plan will you check?
a. Working drawing c. Objectives
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b. Bill of materials d. Tools and materials
20. A flexible tape used to take body measurement

a. Ruler c. Curve ruler
b. L-square d. Tape measure
21. The material needed in the construction of a sleeping garment

a. cloth c. ripper
b. needle d. tracing wheel
22. In drafting the back blouse sloper, the following measurements are needed EXCEPT one.
a. Back across width c. Shoulder width
b. Waist circumference d. Chest width
23. Jovie is drafting a front blouse sloper. Which are you going to divide to obtain the accurate
measurement?
a. 1 c. ¼
b. ½ d. 1/3
24. The body measurement that is needed in drafting back and front blouse slope
a. Bust circumference c. Back across width
b. Chest width d. Front figure length
25. The sloper or basic pattern is the foundation of all final patterns. Which one is characterized
as a sloper?
a. with provision for alteration c. ready for cutting
b. flexible for cutting d. no allowances and symbol
26. The body measurement which is taken around the arm where the sleeve length falls
a. Sleeve length c. Arm circumference
b. Elbow circumference d. Armhole circumference
27. The measurement needed in drafting pajama trousers where the female customer is allowed
to sit while the measurement is being taken
a. Thigh circumference c. Full length
b. Leg circumference d. Crotch
28. The tool used in making a construction line

a. L-square c. Tape measure
b. Ruler d. Meter stick 29. The drafting tool used in
the construction of a garment
a. Tracing wheel c. Scissors
b. Seam ripper d. Curve rule
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30. A pattern needed in manipulating one piece blouse

a. Bodice and shirt c. Bodice and sleeve
b. Bodice and trousers d. Sleeve and skirt
Lesson 1 Principles and Elements of Design
The personality of the wearer shows the kind of image she projects. Personalities differ
depending on the kind of clothing people wear. Most introvert persons prefer clothes of simple yet
classical cut with pastel or light colors. Extroverts, on the other hand are creative, artistic,
expressive and energetic. Hence, they prefer clothing that is comfortable, attractive and fashionable.
They can wear all kinds of clothing of varied style, colors and design with confidence.
No matter who and what we are, we must be well-groomed everyday to be attractive and
to project a pleasing personality. Designs in our clothes add interest and beauty. Design in fabric
refers to a pattern or figure that is printed on it. There are two basic ways which design is applied:
a. design by printing; and b. design by weaving.
a. Design by Printing is the use of dye or ink on the surface of the fabric. They are called
“prints”. They are often attractive because variety of colors can be combined. When
designs are printed all over the fabric, it is called “all-over print”.
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b. Designs by Weaving are permanent because of the “color-fast dyes” as the fabric is
woven. They maybe in solid or in combination colors woven to form special designs.
Designs such as stripes use more colors of yarn and will always be straight because they
form “grain line” on the fabric. When horizontal lines cross vertical lines to form rectangles
or square, it is called plaid. When the design is formed by mixing certain colors of nappy
yarns to have speckled effects, it is called “tweeds”.
a. dress with plaid design b. dress with tweed design
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To understand better how to consider designs and colors in buying fabrics let us review the
following principles and elements of design.
Principles of Design
1. Proportion is the relationship in size between various parts and the whole. Fashion designing is
a creative expression. Exact mathematical proportions are not required as long as what you design
is visually pleasing and in accordance with the size, shape and height of the bearer.
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2. Balance is the
arrangement of a
design on a space
resulting to sense
of equilibrium. It is
the equal
distribution of
weight from a
According to the some artists, normal humans are central point or
usually 7-8 times the height of their heads, meaning you area. There are
can use the height of the head as a unit of measurement three kinds of visual
to give the “lay lines” for the parts of your body. Example balance. They are
for adult figure above labeled for 7.5 heads tall. the formal or
Try to measure the proportion of your body. symmetrical
balance, informal
or asymmetrical balance and radial balance.
a. Formal or symmetrical balance is the equal visual weight of each side of an imaginary
central vertical line. It is achieved when each half of an object is exactly like the other. A
jacket with two breast pockets and two hip pockets is formally
balanced.
a.
a.
a.Formal or Symmetrical Balance
b. Informal or asymmetrical balance is when the design is balanced, but each side is
different in some way. It is achieved when the two halves of a whole are different, but seem
to be equal in weight or emphasis. For example, a jacket with a breast pocket on one side
can be balanced by a pocket on the hip of the opposite side.
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b. Informal or Asymmetrical Balance
c. Radial balance is achieved when all parts of the design are at equal distance from
a central point. A man wearing a sun design on the front of his shirt may have this king of
design.
c. Radial Balance
3. Emphasis is achieved by the designer’s ability to create a center of interest by which the viewer’s
eyes are directed to a specific area of a garment or body part.
4. Rhythm is the repetition of an accent to create an interesting design. Repeating an accent on

different parts of the dress or one part of the dress will achieve a design that is harmonious and
visually united.
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5. Harmony is the pleasing and congruent arrangement of parts. It is the blending of all components
of design. When the structural lines, decorative lines, colors and accessories all relate to each
other comfortably, harmony results.
Elements of Design
1. Line creates a visual dimension of length and width. When lines meet, space is enclosed and a
shape is defined. Lines direct the eyes to a certain path of vision, or it can draw the eyes away
from an undesirable area of the body.
It defines a shape or silhouette and conveys a mood of character.
There are two kinds of lines in garments:

a. The Directional line such as vertical, horizontal, diagonal, checkered, broken and curved.
These affect the height and size of an individual. Lines are serving as clothing designs like
the art of printing flowers, dots and others on fabric.
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a. vertical b.
horizontal c. diagonal
d. checkered e. with curve neckline
b. Structural lines are found on necklines, armholes, hemlines, darts, side seams, sleeves,
collars, tucks and pleats of garments.
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a. with bateau neckline b. with plunging c. with cape collar neckline
d. skirt with pleats
2. Color is a radiant energy loosely termed light that produces sensation in our eyes. The color of
the dress easily attracts the client’s attention and becomes her basis in choosing her apparel.
It is the most powerful element.
The Color Wheel
A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton
developed the first circular diagram of colors in 1666. Since then, scientists and artists have studied
and designed numerous variations of this concept. Differences of opinion about the validity of one
format over another continue to provoke debate. In reality, any color circle or color wheel which
presents a logically arranged sequence of pure hues has merit.
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Hue is the other name for color. It is the particular shade of color that differentiates one
from another.
Primary colors are red, blue and yellow. They are the basic colors where different colors
originated.
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Secondary Colors: Green, orange and violet

These are the colors formed by mixing the primary colors
Intermediate Colors stem from the combination of primary and secondary colors.
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Tertiary colors are made by mixing either one primary color with one secondary color, or two
secondary colors. Tertiary colors are a combination of full saturation of one primary color plus half
saturation of another primary color and none of a third primary color. They have specific names, one
set of names for the RGB color wheel and a different set of names and colors for the RYB color
wheel.
a. Primary, secondary, and tertiary colors of the b. A traditional RYB color wheel. 'Violet' is commonly RGB color wheel
called 'purple'.
Neutral colors are the white, black and gray and are predominantly grayish and brownish. They are
sometimes called “earth tones.”
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Value is the lightness or darkness of color. White added to a color will produce tints. For example, pink
is a tint of red. Black added to a color will produce shades. Maroon is a shade of red.
A Color Wheel showing the tint, tone and shade of colors
Intensity or chroma is of a color corresponds to its purity and saturation in a color other than black,
white and gray.
Color impressions or image from a complex overlaying of value and chroma
Color Schemes (Color Harmonies):
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Monochrome or one color harmony includes only one color of different value. and intensity. An
example of a monochrome color scheme could include any color mixed with white, gray, or black.
Adjacent colors (also called analogous colors) uses colors that neighbor each other on the color
wheel. An example is a color scheme that includes various values and intensities of reds and oranges
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Colors opposite each other on the color wheel are called complementary colors for example, violet
and yellow, red and green, and blue and orange.
A single split complementary uses a primary color plus colors on either side of its complement. An
example is a color scheme that includes various values and intensities of greens, violet-reds and red-
oranges.
A double split complementary (also called tetradic) uses two pairs of complements, one apart on the
color wheel. An example is red, green, orange, and blue.
A triad uses colors at the points of an equilateral triangle (three colors spaced equally on the color
wheel). These are sometimes called balanced colors. An example of a triadic scheme could be red,
blue, and yellow; green, orange, and purple, etc.
Psychological Effects of Colors on People
Colors bring life to us. Our looks and feelings are sometimes mirrored by our selection of
colors. When we choose colors, it reveals our personality. They make us feel and look happy or
pretty and sometimes make us look sad or ugly. Which of the colors below signifies the real you?
Which one is your favorite?
35
Psychology Colors in Marketing
White makes us feel clean and fresh. White connotes innocence and purity.
Red makes us feel bold and daring. Red connotes passion and bravery.
Yellow makes us feel joyful. It also connotes cowardice and treachery.
Blue represents truth, loyalty, calmness and wisdom. Deep blue could also make us feel
depressed.
Green suggests life and abundance as this is the color of plants, but green could also suggest
jealousy.
Purple is the color of royalty, but it can also symbolize suffering.
Orange is a warm color that suggests deliciousness and ripeness. Eateries, especially fastfood joints
use orange with a touch of green to stimulate appetite.
Black suggests strength and dignity and is usually worn for formal evening affairs. Black also
symbolizes mourning and death.
3.Space is the area inside an enclosed shape. The use of space can lead to an interesting design.
But the overuse of a space could make the design confusing while an empty space could be
unattractive and boring.
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3. Form or shape refers to the form of a person showing the curves of the body. This includes the
shape of the face, neckline and the full body or figure.
Form – is a volume space enclosed a surface.
Shape – is simply a flat space enclosed by a line.
a. bell or hourglass b. straight or tubular c. inverted triangle
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5. Texture is the surface quality of an object, rough, smooth, silky, etc.
a. soft dress b. stiff dress
Review of Lesson 1 A. Identification
Directions: Identify the word(s) that best describes the following statements. Write your answer
in your quiz notebook.
__________1. The kind of design that creates a center of interest

__________2. The repetition of accent that creates an interesting design
__________3. An element of design which easily attracts the attention of the client and becomes
the basis in choosing her apparel __________4. It refers to the lightness and darkness of a
color.
__________5. It is the other name for color.
_____..____6. They are the basic colors.
__________7. The combination of primary and secondary colors
__________8. The color which suggests strength and dignity and symbolizes mourning
and death.
__________9. A warm color that suggests deliciousness and ripeness __________10. A color
which makes us feel bold and daring. It connotes passion and bravery.
B. Directions: Draw your ideal sleeping garment in a short-sized bond paper applying the
principles and elements of design. Explain briefly what elements and principles of design you
applied in your work.
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C. Collect several scraps or pieces of patterned fabrics. Paste them on your notebook. Label
each of them and write the kind of designs such as: All-over print, Lined-up print, Stripes, Plaids,
or Tweeds.
Lesson 2 FABRICS
Fabric is cloth made of fibers. Fibers are hair-like strands that are wound to make yarn or thread
used to make fabric. Fabric is the cloth or material used in making our clothes, curtains,
tablecloths, sheets and many other items.
Types of Fabrics
Woven fabric does not stretch except on the

bias. Woven fabric is made up of fibers which run
straight at ninety degree angles to each other.
Knit fabric has loops of fiber that allow the fabric to

stretch. The amount and the direction of stretches are all
variables. A knit may stretch in one direction or it may
stretch in both directions. This is an important
consideration when choosing fabric for a specific pattern.
For example, a bathing suit pattern will require equal two way stretch. If you choose a fabric that
only stretches in one direction, the suit is not going to fit properly and you cannot even put it on.
2.1 KINDS OF FABRICS, THEIR USES, CHRACTERISTICS AND CARE
NATURAL FIBERS USES (Home Characteristics Care

and Apparel)
Vegetable Fibers
39
A. Cotton The world's most

Good for items popular fabric. It Special for
that need to be is durable press
washed often like cool to wear and
sheets and easy to wash and Maybe
pillows, school sew. It is machine
clothes, and work versatile, durable laundered
clothes. and comfortable.
Inexpensive but Avoid risk of
shrinks and mildew
wrinkles easily.
Kinds of Cotton
Fabrics
Used for crafts,
1. Canvas home decorating Tightly woven
(curtains heavy-duty cotton
cushions and
outdoor gear)
For elegant A finely woven
2. Cotton Batiste garments lightweight
(blouses, baby cotton Use
dresses,and straight
underlinings) stitch/jeans
presser foot and
60/8 or 70/10
machine needle
3. Broadcloth Perfect for shirts. Fantastic, closely

woven cotton that
has slight rib
For home 100 percent

4. Cotton chintz decorations cotton. Needs
(curtains and special fabric
cushions) treatment that
leaves it shiny
and smooth
40
Medium weight
The most
5. Cotton pique cotton fabric that
common fabric
has raised nubby
used in the tie
surface
and waistcoat of
white tie
Pajamas and Lightweight
6. Cotton shirting boxers. 100percent cotton
that makes
fantastic
menswear shirts
7. Cotton voile Mostly used in Crisp lightweight

soft furnishing cotton used for
such as curtains, garments
mosquito nets,
and also in
dressmaking.
8. Denim Great for work One of the most

clothes, jeans heavy-duty
and jackets. cottons
This falls into the

9. Seer sucker Used to make category of
clothing for cotton crinkles
spring and which have
summer wear surface texture.
10. Terrycloth Used for robes, Thick, absorbent

towels, cotton
beachwear and
home decorating
Used in Either a
11. Velveteen dressmaking 100percent cotton
or cotton blend, it
has a duller and
slightly stiffer look
than velvet.
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B. Linen Women’s and Very strong, cool Iron at high

children’s to wear, and temperature.
dresses and usually more
blouses expensive than Avoid pressing in
cotton. Easily sharp creases.
Summer dress wrinkled unless a
special finish is Avoid risk of mildew
Table linens and applied.
other household
fabrics Known as the
oldest fiber and
used by the
Egyptians
thousand of
years ago. It
comes from the
stem of a very
pretty plant
called flax.
Animal Fibers
A. Silk- collected For high-end Strong and Dry cleaning is

from the cocoon clothing and luxurious fabric preferred.
of silk worm. accessories with natural Maybe hand washed
luster; in mild suds.
Some expensive moderately Avoid over exposure
upholstery and resilient and to light.
drapery fabrics resists wrinkling Can be attacked by
More expensive insects.
than manmade
(filament) silky
yarns
Kinds of Silk Fabric
Used almost
1. China silk exclusively for A very lightweight
lining silk
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Luxurious fabrics
2. Brocade Textured silk with
made into
some stiffness
clothing or wall
hangings,
Can be used in
3. Chiffon all sorts of Lightweight, very
garments drapery silk .This
is the fabric that
goes with the
flow.
Works well as a
4. Charmeuse A slinky, satiny,
1940s redux
supple silk
dressing gown,
dresses and
blouses
For making a fullA light to medium
5. Crepe de Chine range of weight silk and
garments comes in two-ply,
three- ply, and
four- ply (the
heaviest) weights
For making Capri A stiffer and
6. Dupioni pants or a fancy crisper silk that
room divider has telltale slubs
and raised yarn
on the fabric;
easy-to-sew silk
that adds a lot of
fashion flair
used
7. Georgette Lightweight silk
for blouses,
and barely visible
dres ses,
evening gowns,
and trimmings
43
woven into Rough-looking

8. Raw silk silk with a dull
textiles. finish made from
short silk
filaments
discarded as
waste but easy to
sew and has a
distinctive look
A great travel
9. Washed silk fabric The washing
process makes
this silk creamy
and soft.
10. Shantung For special Especially crisp

occasion uses and shiny silk
for special
11. Taffeta occasion clothing A crisp silk that
wrinkles and
swishes upon
movement
Wool - made from the Outerwear

sleets of sheep Perfect for Medium-weight Dry cleaning is
tailoring clothing preferred; will
blankets and Springs back into shrink and felt
upholstery shape in presence of
Requires little moisture and
pressing; with heat and can
great versatility in be attacked by
fabric and with insects.
insulating
capacity
Kinds of Wool Fabric
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Made in similar
1. Boiled For blankets fashion as felt, but
and jackets much richer and
more supple.
There’s no need to
finish the seam
edges.
Perfect for soft Has a distinctive
2. Boucle shaping in sweater-like
coats and nubby surface
jackets created with little
loops
Medium to
3. Challis Perfect for all lightweight, it is
types of hand washable
garments and doesn’t wrinkle
much.
Can be composed
4. Crepe for scarves, of wool, silk,
shawls, and cotton, or
bonnet synthetic. It varies
trimmings in quality and it is
expensive. It is a
Perfect for beautiful fabric that
Making shirts drapes well and is
extremely
wearable.
5. Gabardine Works well on A twill-weave

tailored and fabric, hand
constructed washable and do
garments not wrinkle
Thick and bulky
6. Melton Used for coats wool with a soft
napped surface but
too thick to handle
7. Merino widely used in A very fine,

the textile expensive,
industries closelywoven wool
made from Merino
sheep’s coats.
45
8. Worsted Used for Lustrous wool in a

tailoring variety of weights
jackets, skirts
and pants.
Synthetic or Manmade USES (Home Characteristics Care
Fibers and Apparel)
a.Rayon Light and Soft, cheap and Hand
medium-weight comfortable fabric washing to
clothing absorbent; lacks dry cleaning.
resilience; wrinkles Tends to
Drapery and easily. shrink and
upholstery stretch unless
fabrics Not easy to sew as proper
plain cottons. chemical
Blankets, throw finish is
rugs and table applied.
coverings
b. Polyester Wash and Strong and durable Can be
wear clothing- synthetic fabric; washable or
often in dries quickly, with dry clean.
combination sharp pleat and Remove oily
with other crease retention. stains before
fibers, washing.
especially Needs little
cotton ironing or
Curtains, pressing. Use
carpets, steam iron at
fiberfill, warm setting.
raincoats and
hats. It is ideal
for constructing
strong
outerwear for
damp climates.
46
c. Nylon Women's It was first Remove oily

stockings were developed as a stains before
the first substitute for washing.
commercial imported silk. With Washes
use of nylon. exceptional easily; wash
Also used for strength, excellent with care to
clothing, elasticity; retains maintain
upholstery and shape. Woven whiteness.
fabrics feel Press at low
carpet, rope,
uncomfortable in temperatures
tents and
contact with skin. .
fishing line.
Dry clean
only.
d.Rubber Foundation Stretch and Frequent
garments recovery rate is washing in
Swimwear high mild suds;
Damaged by oils avoid
and light constant
With discoloration overstretch at
high
temperature
e. Spandex Foundation Stretch and May be
garments; recovery rate is machine
Swimwear high laundered
Surgical hose Resists abrasion with warm
Ski pants and and body oils water
other With discoloration Dry on lowest
sportswear heat, shortest
cycle.
f. Acrylic Tailored Resists wrinkling Remove oily
outerwear; High bulking power stains before
knitted wear, Wool-like texture washing.
pile fabrics, Very resistant to Washable or
blankets and effects of sunlight dry cleanable
carpets Medium iron
temperature.
47
Review of Lesson .2
I. MATCHING TYPE
Directions: Match column A (Descriptions) with column B (Fabric). Choose the letter that best
describes the statement. Write the answer in your quiz notebook.
A B
1. It is made out of flax plants that give more stiffness and fewer a.
Denim drapes.
2. It is made from the silkworm’s
cocoon b. Shantung
3. A fabric made from cellulose-
based cotton plants c. Chiffon
4. A specially crisp and shiny silk

for special occasions d. Canvas
5. A fabric that goes with the flow

e. Linen
6. Tightly woven heavy-duty
cotton used for crafts and f. Cotton
home decorations
7. A heavy duty cotton great for

working clothes, jeans and g. Silk
jackets
9. A textured silk with some

stiffness. h. Wool
10. It is made from the coat of

sheep, and is perfect for i. Georgette
tailoring.
10. A twill weave fabric that
48
works well on tailored and j. China Silk

constructed garments
k. Gabardine
l. Challis
m. Brocade
B. Venn Diagram
Directions: Using a Venn diagram list the fabrics with common properties. Write your answers in your
quiz notebook.
C. Directions: Make an album and collect swatches of fabric (3 x 4 inches) and classify their type.
Paste them in 5x8 index card.
D. Directions: Using a Venn diagram, identify fabrics with common fabric care. Write your answers
49
Lesson 3 SLEEPING GARMENTS
Nightwear, also called sleepwear, nightclothes, or nightdress, is clothing designed to

be worn while sleeping. The style of nightwear worn may vary with the seasons, with warmer styles
being worn in colder conditions and vice versa. Some styles or materials are selected to be visually
appealing or erotic in addition to their functional purposes.
3.1 Characteristics of a Sleeping Garment
SlSleeping garments must provide us the comfort while sleeping. They should p possess
the following characteristics:
1. 1. They should not exceed the maximum dimensions specified in the regulations for the
chest, waist, seat, upper arm, thigh, wrist, or ankle;
2. They should have no fabric ornament or trim, such as lace or ribbon, which extends more than
¼ inch from the point at which it is attached to the garment;
3. They should have sleeves that taper from the shoulders to the ends of the sleeves;
4. They should have pant legs that taper from the thighs to the ends of the legs;
5. If they are 1-piece, they should taper from the chest down to the waist and from the seat up to
the waist;
6. If they are 2-piece,
a. The upper piece should tapers from the chest down to the bottom of the piece,
b. If the upper piece has fastenings it should be located within 6 inches of the bottom of the
piece.
c. It has a lower piece that tapers from the seat to the bottom.
7. They should bear a permanent label stating the size of garment;

8. They should bear a hang tag alerting buyers that the garments are not flame-resistant and
should be worn snug fitting because loose-fitting garments are more likely to catch fire.
3.2 Types and Selection of Fabrics for Sleeping Garments
50
Types of Sleeping Suggested Fabrics

Garment
Usually made of cotton and marketed under a
Adult jumpsuits or number of different brand names
footed pajamas
All-in-one footed sleep suits worn by adults but
similar to an infant one size or children's blanket
sleeper
Usually made from cotton and marketed under a

Blanket sleeper number of different brand names
A warm sleeping garment for infants and young

children
Babydoll The garment is often trimmed with lace, ruffles,

appliques, marabou fur, bows, and ribbons;
optionally with spaghetti straps. Sometimes it is
made of sheer or translucent fabric like nylon or
chiffon or silk.
A short, sometimes sleeveless, loose-fitting

nightgown or negligee for women, generally
designed to resemble a young girl's nightgown
Chemise Skimpy chemises pieced from a narrow piece of

rough cloth, some have voluminous chemises
pieced from thin, smooth fine linen.
It is a delicate, usually provocative, loose-fitting,

sleeveless, shirt-like lingerie, similar to babydoll,
but tighter at the hips.
51
Negligee or négligée Usually made of sheer or semi-translucent fabrics

and trimmed with lace or other fine material, and
bows
From the French: négligée, literally meaning

"neglected", loose, sensuous nightwear for
women
Typically made from cotton, silk, satin or nylon.
A loose hanging nightwear for women
Nightgown
Nightshirt Usually made of cotton fabric
A garment somewhat longer than most regular

shirts, reaching down to the thighs or below the
knees while leaving some of the legs uncovered.
It is generally loose-fitting to avoid restricting the
wearer's movement while sleeping.
52
Nightcap Ideally made from cotton fabrics

A warm cloth cap worn while sleeping, often with
pajamas or a nightgown. It is similar to winter
'beanies' worn in cold climates. They were
common in northern Europe before central
heating was available.
Women's night caps usually consist of a long
piece of cloth wrapped around the head. Men's
nightcaps were traditionally pointed with a long
top and usually accompanied by a small ball
similar to a scarf. They keep the neck warm as
wrapped around but not so tight to become a
choking hazard.
Pajamas They may be made from cotton, silk, satin or

synthetic materials made of soft fabric, such as
flannel;[6]
Loose fitting two-piece garments for women,
men and children. Traditional pajamas consist of
jacket-and-trousers. The jacket element usually
has a placket front and its sleeves have no cuffs.
For a number of reasons (increased freedom of
movement, aesthetic appeal, etc.), many men opt
to sleep or lounge bare chested in just the
pajama trousers
.
Dressing gown or Made of chiffon, silk or cotton fabrics

bathrobe.
A long outer garment for women usually sheer.
They are usually sold with a matching nightgown,
negligee or panties
Other types of garment such as t-shirts, tank

53
tops, sweatpants and gym shorts as well as underwear are commonly worn for
sleeping . Also, sleeping without clothing is not uncommon.
Review of Lesson 3
A. Identification.
Directions: Choose the letter of the word that best fits the description. Write your answers in your
quiz notebook.
___________ 1. A delicate sleepwear, usually provocative, loose fitting,

sleeveless, shirt like lingerie
___________ 2. A warm sleeping garment for infants and young children
___________ 3. Loose hanging nightwear for women
___________ 4. A nightwear which is longer than most regular shirts
___________ 5. A warm cloth cap worn while sleeping
___________ 6. Loose fitting two-piece garments for women, men and
children
___________ 7. A long outer garment for women usually sold with a
matching night gown, negligee or panties
___________ 8. A clothing designed to be worn while sleeping
___________ 9. All-in-one footed sleepsuits worn by adults similar to an
infant onesie or blanket sleeper
___________ 10. A short, sometimes sleeveless, loose-fitting night gown or negligee for women,
generally designed to resemble a young girl’s night gown
a. Night Cap b. Night c. Night d. Chemise e. Blanket

Shirt gown Sleeper
f. Adult g. Baby doll h. Night i. Pajamas j. Bathrobe
jumpsuits wear
A. True or False
Directions: Read the statements carefully. Write T if the statement is correct and F if it is wrong.
Write your answer in your test booklet
1. Sleeping garments can be worn only at night.

2. Ideally, all sleeping garments should be made quite loose to achieve comfort.
3. With adults 2- piece sleeping garments with fastenings, the lowest fastening should have 1
inch distance from the bottom of the piece
4. The lower piece of sleeping garments should taper from the seat to the bottom of the piece
5. Sleeping garments should have no fabric ornaments that extends more than ¼ inch from the
point of attachment.
54
Congratulations! You are now knowledgeable with the characteristics of good and
suitable sleeping garment. It’s now time to practice making your own. Are you ready?
Produce your own sleeping garment! Take note: you are going to prepare first your
project plan.
Lesson 4 Project Plan for Sleeping Garment
Construction of sleeping garment is just like cooking a recipe for a party that requires careful
planning. In every task or project you have, it should be accompanied with a project plan. This serves
as a guide in making any kind of project. It contains the materials and tools to be used, design and
procedure in making the project and the criteria for evaluating the finish output coupled with rubrics
designed by the teacher and students.
4.1 Components of a Project Plan
1. Project Plan No. – reflects the number of projects

2. Date Begun – date when the construction of the project will starts 3. Date Finished – the
exact date when the project will be completed
4. Name of the Project – a specific description of the job/ project.
5. Objectives - states the purpose why a project should be done. This is usually stated in three
learning domains: the cognitive, psychomotor and affective.
6. Word Study – unlocks the terms used operationally and conceptually
7. Tools and Equipment – list of tools and equipment in the accomplishment of the job
8. Materials and Supplies Needed – the itemized list of tools and supplies needed to produce a
project.
a. Quantity suggests the amount needed.
b. Unit is the unit of measure of the quantity.
c. Description refers to the features and characteristics of the materials and supply
needed.
d. Unit Cost is the selling price per quantity and unit of the materials
e. Total Cost is the total amount needed per quantity of supply and material needed.
f. Total is the over-all total cost of all the supplies and materials to be used.
9. Design Specifications – the photographic representation of the project in two to five views: front,
back, right, left and top views.
10. Procedure – the chronological steps or operations involved to accomplish the project. This is
divided into two stages:
a. Preparation stage – depicts the preparation to be done before the actual execution
or performance of the operations.
55
b. Performance stage – the actual procedures involve in the actual making of the
project where all tools, supplies, materials and equipment intended to make the
project are ready.
11. Evaluation – the process of assessing the finished project with its given criteria prepared during
planning and evaluating.
Review of Lesson 4
I. Make a Project Plan

Directions: Make a project plan for your sleeping garment using the template below. Use
separate sheet if necessary.
Project Plan No. ___

Name: ______________________________Date Begun:
__________
Year and Section: _____________________Date Finished:
______________
I. Name of the Project: -

_______________________________________
II. Objectives:
1. ___________________________________________________ ___
2. ___________________________________________________ ___
3. ___________________________________________________ ___
III. Word Study:

1.
2.
3.
IV. Tools and Equipment:

1.
2.
3.
4.
5.
V. Materials and Supplies Needed:
Quantity Unit Description Unit Cost Total Cost
56
Total
VI. Design Specifications:
VII. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage B1.

B2.
B3.
VIII. Evaluation:
Criteria for Evaluation (Rubrics of Performance)
57
Congratulations! Now you know how to plan ahead your own project. Let us proceed
with the making of your own sleeping garment.
Lesson.5: Tools, Materials and Equipment used in Sewing
A. Tools
Tape Measure L-square
Curve Rule French Curve
Dressmaker’s Shears Weights
58
Pins Tracing Wheel
Pencil Complete Sewing Kit
B. Materials
pattern paper tailor’s chalk
59
carbon paper thread
Cloth interfacing materials
fasteners
C. Equipment
Ironing Board Cutting Table
60
Sewing Machine
5.1 Marking Tools Used in Pattern Drafting
Marking tools are used to transfer the pattern symbols onto the
fabric It is essential to transfer these symbols for correct fitting and sewing.
Below are some tools used to transfer the pattern markings onto the fabric.
1. Tracing wheel is available in a serrated or smooth edge. The serrated

edge is used to make a dotted link marking in most fabrics. The
smooth edge makes a solid line marking and is used for delicate
fabrics such as silk and chiffon.
61
racing paper is used to transfer the tracing

g side of the fabric. Select a color close to your
ough to see.
3. Tailor’s chalk can be used to mark directly onto the fabric. It does not
need sharpening like a chalk pencil. Great for dark, heavy fabrics
where a traditional water soluble marking pen may not appear.
62
4. Chalk pencil is filled with chalk at on e end of the pencil and a brush at
the other end to remove chalk marks.
5. Liquid marking pens are used to mark tucks, darts, pleats and
pockets. One type disappears after about 48 hours. Another type
washes off with water.
Review of Lesson 5
A. Identification
Directions: Draw the different marking tools, write its functions and put the remark “USED” if you
have used it.
Marking Tools Functions Remarks
B. Selection
Directions: Given the list of equipment, tools and materials, choose those that are
needed in drafting the sloper.
63
Tape measure Sewing Machine Working Table

Scissors Hem marker Cloth
Machine needle L – square Tracing wheel
Pencil Curve Rule Iron
Lesson 6 Pattern Symbols
Sewing will be easier if you know how to read patterns. Pay attention to every symbol.
Immediately transfer the symbols to the fabric after cutting. This way you won't forget this step.
It's not fun to look for these symbols after removing the pattern.
Pattern Symbols or Construction Markings
These guides help the sewer put together and sew the pieces of garment easily. Several markings
are evident in some patterns but others have only few, depending on the design and style of their
project.
1. Straight Grain or Direction

The selvage is the finished edge of fabric. It usually has a different color or texture.
Sometimes it also has little holes.
Every woven fabric is made of crosswise (from selvage to selvage) and lengthwise threads.
They are called the grain threads. The
grain is the direction that tells where they're going.
In patterns, this arrow must be in the same direction as the length and parallel to the selvage. This will
make the fabric prevent from falling and be more resistant to movement. If you place it parallel to the
crosswise grain, the fabric will hang after it is sewn.
64
When fabric yarns do not cross at exact right angles, the cloth is off-grain. But if the lengthwise and
crosswise yarns cross ech other at exact right angle, the fabric is grain-perfect.
Pleat
This little symbol marks the beginning and ending of a pleat. The arrow indicates which way
to fold. In this example, you would pleat from left to right. It is usually indicated by an
alternating solid and broken line.
Notches
These help you match pattern pieces.

In sewing garment pieces, the front and back notches should be aligned. Notches will help the sewer
perfectly match the pieces easily.
You can find one triangle or more. Some patterns include numbers beside the notch to help you. These
are the V-shaped symbols or triangles along the cutting line.
65
Fold
Fold the fabric and place the pattern's edge on the fold. When you cut do it around the
pattern only, never cut the folded edge.
Dots
They are used to mark important parts of the patterns such as dart points or pocket
placement (see the image above). Their meaning
varies depending on the pattern.
Slash
Lengthen or shorten here. This is the part of the pattern where you can safely adjust the
length. Avoid doing this before or after because the pattern's shape could change.
66
Cutting Lines
These vary depending on the pattern company but they're usually marked with a dark line
and scissors symbol or dotted line.
Buttonholes
Mark where to make the buttonholes. They are indicated by a solid line having a short line at
right angles to one end.
Buttons
This is where to sew the buttons.

Stitching Lines
Not all pattern pieces include stitching lines. If they are included then there is a broken line, indicating the
areas that will be stitched together. These are a guide so you can see where the line of stitching intersects
and where you will not be stitching. It is not recommended that you mark every stitching line on to your
garment. This would result to excess handling of your fabric.
Fold Line
This line indicates that the edge of the pattern piece must be placed on a fold of fabric. The edge of the
pattern piece is usually indicated as a broken line, to remind you not to cut on that edge. If you cut this
edge, there is no seam allowance and trying to join these will change the way the pattern fits, as well as
how other pieces will join to this piece.
Centerfold
This indicates that the edge of the pattern must be placed on the folded part of the fabric. This is when
cutting two sides of the garment parts as left and right or back and front parts.
Review of Lesson 6
A. Directions: Draw the following pattern symbols:
67
Buttons Grainline
Buttonholes Pleats
Stitching line/Seam line Notches
Slash Cutting line
B. Make a sample pattern using a skirt or t-shirt with proper markings. Let your teacher check your
work.
How are you doing with your exercises? Are you doing well? Very Good! After
familiarizing with the essential markings on the pattern and using the most common
tools used in pattern making, you are halfway to the making of your sleeping garment.
Enjoy learning!
Lesson 7 Measurements Needed in Sleeping Garments
As variety of ready-to wear garments is largely available in our market, you may think there’s no
need for you to sew and make a dress for yourself. That’s not a good idea! Now that you have
acquired some of the basic learning about the different kinds of fabric, let us continue to develop your
ability and skill in sewing. It would be a great accomplishment for you if you know what you are
wearing is a product of your own talent, skill and creativity. Let’s deal first with the different tools,
materials and sewing equipment. Perhaps, you have already encountered all of these during your
Grade 8. As a review, find time to discuss and be familiar again with tools and sewing equipment.
Apparel requires specific measurement to come up with a well designed and comfortable
sleeping garment. The following measurements are needed:
7.1 BODY MEASUREMENTS NEEDED IN SEWING SLEEPING

GARMENT
68
Shoulder Width Measure from the tip of the

left shoulder to the tip of right shoulder with
the tape measure passing over the prominent
bone.
Back Across Width Measure from the left

shoulder arm joint to the opposite side,
approximately 4 to 5 inches down from the tip
of the shoulder
Back Figure Length Measure from the nape

to the waistline on the cord. Allow the tape
measure to hang freely.
Chest Width Measure from the left (front)

armhole seam to the right (front) armhole seam.
Bust Circumference Measure around the fullest

portion of the bust with the tape measure passing
over the shoulder blades running on the same level
in front.
69
Waist Circumference Measure around the

smallest portion of the torso.
Front Figure Length Measure from the shoulder

neck junction with the tape measure passing over the
highest part of the bust down to the waistline.
Bust Height Measure from the shoulder neck

junction to the highest point of the bust
Armhole Circumference Measure around the

base of the arm with the tape measure closes at
the tip of the shoulder
70
Sleeve Length Measure from the tip of the shoulder to the desired
length of the sleeve
Arm Circumference This measurement is taken around the arm where

the sleeve length falls.
1st Hip
Hip1 Circumference This measurement is

taken 5 inches below the waistline measure
around the hip level.
2nd Hip
Hip2 Circumference This measurement is

taken 7 to 8 inches below the waistline. Measure
around the fullest part of the buttocks with the
tape measure closest at the side.
Thigh Circumference Measure around the fullest

part of the thigh with the tape measure closest at the
side.
71
Bust Distance Measure from the highest point of

the bust to the opposite side.
Crotch/seat/rise This measurement is taken in two

ways. For male customer insert a ruler on the rise
and measure from the waistline to the upper edge of
the ruler.
For female customer allow her to sit on a flat chair,

and measure at the side from the waistline to the
surface of the chair.
Skirt’s Length Measure from the waistline to the

desired length.
Full Length
Measure from the
waistline down to the
desired length of the
shorts / pants.
72
Knee and Bottom

Circumference
Measure around the
legs where the full
length falls.
7.2 INDIVIDUAL MEASUREMENT CHART (IMC)
Customer’s Name ____________ Date Taken: __________
Actual Body Computed

Parts of the body Measurement
Measuremen Measuremen
measured Needed
t t
Shoulder width ½
Back Across width ½
Back Figure length 1
Chest width ½
Bust Circumference ¼
Waist Circumference ¼
Front Figure length 1
Bust height 1
Bust Distance ½
Armhole circumference ½
Sleeve length 1
Arm Circumference ½
Hip1 Circumference ¼
Hip2 Circumference ¼
Lap circumference ¼
Crotch/seat/rise 1
Full length 1
Leg circumference ½
Review of Lesson 7
A. Directions: Get a partner and measure his/her actual body measurement then divide it by the
corresponding divisor provided in the IMC above. This will be the actual measurements
needed in sewing the sleeping garment. Use separate sheet if necessary.
Customer’s Name _______Yr. & Sec.: _______ Date Taken: _______

73
Parts of the body measured Actual Body Measurement

Shoulder width
Back Across width
Back Figure length
Chest width
Bust Circumference
Waist Circumference
Front Figure length
Bust height
Bust Distance
Armhole circumference
Sleeve length
Arm Circumference
Hip1 Circumference
Hip2 Circumference
Lap circumference
Crotch/seat/rise
Full length
Leg circumference
How do you feel now that you know how to take body measurements? Amazing! Right?
Practice this regularly and you will master the sequence without looking at your notes.
Great! You are now ready to make your pattern. But, let us be familiar first with the
symbols or markings that you will use in making your own pattern.
Lesson 8: Drafting Basic / Block Pattern of Sleeping Garment
8.1 Front Blouse Sloper
Measurements Needed in Drafting Front Blouse Sloper

(Sample Measurement)
Parts of the body Actual Body Measurement Computed

measured Measurement Needed Measurement
74
Shoulder width 15 ½ 7 1/2

Chest width 13 1/2 ½ 6 3/4
Bust Circumference 35 ¼ 8 3/4
Waist Circumference 26 1/4 6 1/2
Front Figure Length 16 1 16
Bust height 91/2 1 9 1/2
Bust distance 7 ½ 3½
Armhole Circumference 16 ½ 8
Always remember that the best fit of one’s dress depends largely on the body measurements,
height and body shape and not on his/her age.
Procedure in Drafting Front Blouse Sloper
Draw construction line

by tracing the outer
edge of the L-square
and mark the corner A.
1. A – B is 3 inches downward on the

construction line.
75
2. A – C is 6 inches downward on the

construction.
3. A – D is ½ of the armhole
circumference.
4. A – E is the bust height.
5. A – F is the front figure length.
76
7. Square
out points B
–C–D
– E – F.
8.A – G is 2 1/2 inches.
11. Shape front

neckline from
point G to B
with a French
curve.
77
12. A – H is 1/2 of the shoulder

measurement.
13. H - I is 1 ½ inches down on the

swayed line.
14. Connect points I

G with a straight
line.
15. C – J is ½ of the chest width or ½

shoulder measurement minus ¾ inch.
78
16. D – K is ¼ of the bust

circumference plus ½ inch for
allowance.
17. Shape front

armhole from
points I – J – K
with a French
curve.
18. F – L is ¼ of the waist

circumference plus 1 inch for
the front dart and ½ inch for
allowance.
19. Connect points L – K with

straight line.
20. E – M is ½ of the bust distance.
79
21. Square down point M to line FL.
22. Mark the intersection of points M

andF as N.
23. N – O is ½ inch towards point F.
.
N – P is ½ inch towards point L.
24.
80
25. Connect points O and M with a

straight line.
26. Connect points P and M with a

straight line
27. L– Q is ½ inch upward on line L.
28. Connect point Q to point N with a slight

curve.
29. Cut front bodice sloper along line B – C – D – E – F – O - N – P –

Q – K – J – I – G – B.
A. Front Blouse Sloper
81
Fill in the blanks.

Directions: Fill in the missing data to complete the procedure in drafting the front bodice pattern.
A – B is 3 inches downward and the

A – C is _______________on the construction. (1) A – D is ½ of
the armhole circumference.
A – E is the _______________(2)
A – F is the ___________________(3)
A – G is 2 ½ inches of the shoulder width sway point G down.
A – H is 1/2 of the shoulder width sway point H down
H – I is _________________down on the swayed line (4)
C – J is ½ of the ___________________(5)
D – K is ¼ of the bust circumference plus ½ inch.
B. Front Blouse Sloper
Directions: Based from the body measurement obtained in IMC, draft the front blouse sloper.
Measurements Needed Front Blouse Sloper
Find out how far you have done by accomplishing the Scoring Rubric to the best of your
competence. This will be your passport to proceed for the next learning experiences.
Rubric in Drafting the Pattern for Front Blouse

Item 15 10 5 Score
Tools were Lack of one tool, Lack of two or
complete, some are more tools,
Tools appropriate and appropriate and some
correctly used. correctly used. are appropriate
and not
correctly used.
82
Correct Correct Methods Failed to follow

methods and and procedures the correct
Procedure procedures incorrectly method and
correctly followed. procedures
followed.
Pattern All pattern Some pattern All pattern
details were details were details are not
correctly inaccurately drafted
measured and drafted. correctly and
accurately accurately.
drafted.
Speed Finished the Finished the Finished the
pattern ahead pattern on time. pattern beyond
of time. the allotted
time.
60 points perfect score
8.2 Back Blouse Sloper
Measurements Needed in Drafting Back Blouse Sloper


Shoulder width 15 ½ 7 1/2
Back Across width 14 1/2 ½ 7 1/4
Back Figure length 15 1/2 1 15 1/2
Bust Circumference 35 1/4 8 3/4
Waist 26 ¼ 6 1/2
Circumference
Armhole 16 ½ 8
circumference
Bust distance 7 1/2 3½
Procedure in Drafting Pattern for Back Blouse Sloper
83
1. Draw construction line

by tracing the outer
edge of the Lsquare.
Make corner A.
2. A – B is ½ inch downward on the

construction line.
3. A – C is 5 inches downward on the

construction.
4. A – D is ½ of the armhole circumference.
5. A – E is the back figure length.
84
22. Square out points B – C – D – E.
23. A – F on the horizontal construction line

is 2½ inches.
24. Shape back

neckline from point
F to B with a
French curve.
85
25. A –G IS ½ of the shoulder width sway point

G down.
26. G – H is 1 ½ inches down on the swayed

line
27. Connect points F and H with a straight line.
28. C – I is ½ of the back across width.
86
30. Shape back

armhole from
points H – I –
J with a
French curve.
29. D – J is ¼ of the bust circumference.
31. E – K is ¼ of the waist

circumference plus 1 inch for the
back dart.
32. Connect points

J – K with
straight line.
87
33. E – L is 7 inches
upward on line AE.
Square out point
L.
34. E – M is 3 ½
inches on line EK
square M up.
35. Mark intersection of line LM as point N.
36. M – O is ½ inch towards point E.
37. M – P is ½ inch towards point K.
88
38. Connect points N and

O to pint P with a
straight line.
39. K – Q is ½ inch upward on line

KJ.
40. Connect point Q to point M with a slight

curve.
41. Cut back bodice sloper along lines B – C – D – L - E – N - M – O -

Q –J – I – H – F – B.

Directions: Based on the body measurement obtained in Activity No. 8 draft the back blouse
sloper.
89
Back Blouse Sloper

Measurements Needed
Find out how far you have done by accomplishing the Scoring
Rubric to the best of your competence. This will be your
passport to proceed for the next learning experiences.
Rubric in Drafting the Pattern for Back Blouse

Item 15 10 5 Score
Tools were Lack of one Lack of two or
complete, tool, some are more tools,
appropriate and appropriate and some
Tools
correctly used. correctly used. are
appropriate
and not
correctly used.
Correct Correct Failed to follow
methods and Methods and. the correct
Procedure procedures procedures method and
correctly incorrectly procedures
followed. followed.
drafted.
pattern pattern on time. pattern beyond
ahead of the allotted
time. time.
8.3 Sleeves
Measurements Needed in Set –in Sleeve Pattern

90
Armhole 16 ½ 8
circumference
Sleeve length 10 1 10
Arm Circumference 13 ½ 6½
Procedure in Drafting Pattern for Set –in Sleeve
1. Draw construction line by tracing the

outer edge of the L-square. Make corner
A.
2. A – B is 4½ inches downward.
3. A – C is the sleeve length.
4. Square out points B

and C.
91
5. A – D is ½ inch on the
construction line.
6. A – E is ½ of the
armhole circumference.
7. Connect points D –
E.
8. Point F is the center of line D –

E.
9. Point G is the center of line D –

F.
92
10. Point H is ½ inch outward of

point G.
11. Point I is the center of line FE,

point J is 1/2 inch inward from I.
12. Shape armhole using

the French curve from
point A – D - H – F – J –
E.
13. C – K is ½ of the arm

circumference.
14. Connect K to E using straight line.
15. Cut Back sleeve pattern from point A – D – H – F – J – E – K – C –

B – A.
16. Trace back sleeve pattern transfer points A – D – H – F – J – E.
17. H – 1 is ¼ inch inward.
93
18. F – 2 is 3/8 inch inward.

19. J – 3 is 3/8 inch inward.
20. Shape front armhole from point A – D – 1 – 2 – 3 and E with hand
manipulation.
21. Cut front sleeve pattern from point A – D – 1 – 2 – 3 – E – K – C –
B – A.
Directions: Based on the body measurement obtained in IMC draft the sleeve’s sloper.
Measurements Needed Sleeve Sloper
Rubric in Drafting the Pattern for Sleeves
Item 15 10 5 Score
and not
correctly used.

followed.
94

drafted.
time.
8.4 Patch Pocket
Procedure in Drafting Pattern for Patch Pocket
1. Draw construction line mark the corner

point A.
2. A – B is 8 inches
down, square point
B outward. This
includes 1 ½ inches
opening fold and ½
inches on bottom.
95
3. A – C is 6
inches
outward,
square C 4. D is the
downwa intersecti
rd.. This on of
includes ½ lines B
inches on and C.
both sides.
5. E is
cent
er of 6. B – F is
½ inch
line
upwar
B
d.
and
D.
D – J is ½ inch upward.
7. Connect
points F
and J to E
with a
straight
line.
8. Cut pocket pattern on line A – F – E – J – C and A.
96
Directions: Based on the body measurement obtained in IMC, draft pattern for patch pocket. Use
Measurements Needed Patch Pocket
Rubric in Drafting the Pattern for Patch Pocket
Item 15 10 5 Score
and not
correctly used.

followed.
drafted.
97
pattern ahead pattern on time. Pattern beyond
time.
8.5 Pencil Cut Skirt
Measurements Needed in Pencil Cut Skirt

Parts of the body Actual Body Measurement Com

measured Measurement Needed puted
Meas
urem
ent
Waist Circumference 26 ¼ 6 1/2
Bust Distance 7 ½ 3 1/2
Hip1 Circumference 34 ¼ 8 1/2
Hip2 Circumference 36 ¼ 9
Skirts length 22 1 22
Procedure in Drafting Basic Skirt Pattern
98
1. Draw construction line by 2. A – B is 5 inches 3. A – C is 8

tracing the outer edge of downward. inches
the L-square mark corner downward.
as A.
4. A – D is the 5. Square out points B – C – D.

skirts full
length.
6. A – C is ¼ of 7. B – F is ¼ of the 8. C – G is ¼ of
the waist hip1 the hip2
circumference circumference. circumference
plus 1 inch for
the dart.
99
9. Square point G down to line D, mark 10. Connect

intersection as point H. points E – F
– G – with a
curve rule.
11. A – I is ½ inch down 12. Connect point I 13. A – J is ½ of

on the construction to E with a the bust
line. curve rule. distance.
100
14. Square down J to line B mark 15. J – L is ½

point intersection inch towards
as K. point A.
16. J – M is ½ inch 17. Connect points L and M to point K

towards point E. with a straight line.
18. N from point H is ½ in upward.
19. Connect N to D with a slight

curve.
101
20. Cut Skirt Pattern along lines I – B

–C–D–N–G–F–E- M–J–
L and I.
Directions: Based on the body measurement obtained in IMC, draft the following slopers. Use
Measurements Needed Front Skirt Sloper
Rubric in Drafting the Pattern for Pencil Cut Skirt
Item 15 10 5 Score
102

and not
correctly used.

followed.
drafted.
pattern ahead pattern on time. Pattern beyond
time.
8.6 Front Pajama Pants
Measurements Needed in Drafting Pattern for Front Pajama Pants

(Sample Computation)

Hip circumference 35 ¼ 8 3/4

Thigh 21 ½ 10 1/2
circumference
Crotch/seat/rise 9 1 9
Full length 37 1 37
Leg circumference 16 ½ 8
103
Procedures in Drafting Pattern for Front Pajama Pants
1. Draw
construction
line by tracing 2. A – B is the full
the outer edge length of the
of the pajama pants.
Lsquare,
make corner
A.
3. A – C is the
crotch/rise/sea
4. Square out
t measure plus
points B – C
1½ inches for
garter casing.
5. C – D is 1/4 6. Square up
of hips point D to
circumferen
line A mark
ce plus ½
intersectio
inch for
allowance. n as point
E.
7. D – F is 1 8. D – G is
½ inches 2½. inches
outward. towards E.
104
9. Shape
front 10. C – I is ½ of
crotch the leg
from circumferen
point G ce plus ½
to F with inch for
a French allowance.
curve.
11. Connect 12. I is the

points F and center
H with a of line
straight line. IG.
14. Connect
13. J is ½
points HJ
inch from
with a
I inward.
straight line.
105
16. Cut front pattern along A

15. Connect
–B-C–I–K–G–H–
points JF
and A.
with a curve
Cut front pattern along
rule.
A,C,B,H,J,F,G,I, and A..
Front Pajama Pants
Directions: Based on the body measurement obtained in IMC draft sloper for front pajama
trousers. Use separate sheet if necessary.
Measurements Needed Front Pajama Trouser
Rubric in Drafting the Pattern for Front Pajama Pants

Item 15 10 5 Score
and not
correctly used.
106

methods and an procedures the correct
followed.
drafted.
time.
8.7 Back Pajama Pants
Procedure in Drafting Pattern for Back Pajama Pants
1. Trace the front 2. Add 1 ½ inches 3. J-L is ¾ inch

pajama pants from F outward outward.
pattern. and mark it as
point K.
107
4. Extend ½ inch to 5. Connect K, L and 6. K-N is ½ inch down

the right of point M. to line going point
H and mark it as L.
M.
7. Measure 1 inch 8. Extend line DO 1 9. Connect points O

from point E inch up and mark and G.
towards point A it as P.
and mark it as O.
108
10. Connect points F 11. Cut back pajama

and N. pants pattern
along lines A,C,
B. M, L, N, G, O,
P and A.
A. Directions: Based on the body measurement obtained in IMC draft pattern for back
pajama trouser. Use separate sheet if necessary.
Measurements Needed Back Pajama Trouser
B. Compare the following slopers. Identify the differences between them.
Back and front body sloper

Back and front pajama
pants
Back and front skirt sloper
Rubric in Drafting the Pattern for Back Pajama
Item 15 10 5 Score
and not
correctly used.
109

followed.
drafted.
time.
Lesson 9 Manipulating Basic/Block Pattern
In manipulating basic pattern, it is always based on the previous pattern such as making
blouse from bodice and skirt.
Steps in Manipulating Pattern
1. Determine the design needed in sleeping garments.

2. Prepare the basic patterns for the:
a. Blouse
b. Sleeve
c. Pockets
d. Pants
3. Determine parts, needs, subdivisions and extensions calls by the design.
4. Pin and trace basic pattern in a pattern paper.
5. Transfer points needed in design manipulation
a. Blouse
b. Sleeve
c. Pockets
d. Pants
6. Work on the design based on the project plan.
7. Provide seam and hem allowances.
8.Transfer seam and hem lines and other symbols needed.
110
Final patterns
Cutting the Final Pattern

Final patterns consists all the necessary symbols, number of pieces per part and garment design
that will guide the fabric cutter and the sewer. Final pattern is cut at the allowance provided for
seams and design. (Refer to picture below)
Blouse
111
Pajama Pants
Review of Lesson 9
A. Directions: Perform the following:
112
1. Make a blouse 2. Show how to 3. Make a facing of

from bodice and connect the neckline.
skirt. bodice and skirt Elaborate it
to make it a step by step.
blouse.
4. Show necessary 4.2. Hip 4.3. 4.4. Armhole

adjustment like in waist
a 4.1. bust.
Rubric in Cutting the Final Pattern
Item 15 10 5 Score
Tools
appropriate
and not
correctly used.
Correct Correct Failed to follow
methods and Methods and the correct
Procedure procedures procedures method and
correctly incorrectly procedures
followed. followed.
drafted.
pattern pattern on time. pattern beyond
ahead of the allotted
time. time.
113
Lesson 10 Principles in Laying Out the Fabric
General Guidelines to Laying Out a Pattern

Laying out your pattern on the fabric in preparation for cutting is an important step. It must be
done carefully and accurately for great-looking results.
Pattern preliminaries
Be sure you have all the necessary pattern pieces. Most instruction sheets, list pieces by letter or
number next to the layout diagrams.
1. Make changes or fitting alterations to the pattern. If you significantly alter a garment's length, you
may need extra yardage to make sure you have a workable layout. Press the pattern pieces with a dry
iron set to a lowtemperature so that they're easier to work with.
Preshrink your fabric if necessary and make sure the grain is straight. Do this by
a. tearing across the grain at the ends of your fabric piece (if it's firmly woven),
b. pulling a thread across the width of the fabric at the ends,
c. cutting along a dominant line in the pattern or weave,
d. fold lengthwise, matching selvages, to see whether the ends now match, and
e. If they don't and the fabric needs to be straightened, gently pull on the fabric's length from
opposite corners.
Laying out pattern pieces
114
When positioning pattern pieces with straight arrows, keep the arrows parallel to the selvage so that the
fabric will be straighten when cut. Pieces with a straight line and bent arrows should be cut double on
the fabric. For a fabric with a nap, the lay out must run in the same direction and so a pattern piece can
be reversed, placed printed side down, and cut on a single layer.
Folded pieces of Fabric
Folded Pieces of Fabric

Double layer
of fabric is
Half arranged
unshaded,
half shaded
Selv
PLEASE
RE-
DRAW
Pieces with bent

Unshaded Fabri
arrows are placed on
Pattern pattern c fold
pieces pieces are
extending
Single Layer of Fabric
115
Single layer of Fabric
Single fabric
layer is arranged
PLEAS
E RE-
DRAW
Layouts for Fabric with Nap or One-Way Design
Fabrics with a nap or one-way design must be laid out in one direction.
Decide on the “top” of the fabric, and follow this direction when placing the pattern pieces, so the nap will
run in one direction. One-way designs are arranged on the fabric according to the pattern or the garment
design.
Top of
Selv Top of pattern piece is laid
PLEAS
E RE-
DRAW
Nap runs in same
Fo
Crosswise Fold
There are two reasons for a fabric to be folded crosswise at the layout stage. Often, this type of fold is
made to accommodate the widest pattern pieces. Alternatively, it may be needed to fit those pattern
pieces with a complex shape onto the fabric area.
116
Crosswi
se Fold
PLEA
SE
RE-
DRA
W
Crosswise Fold with Nap

When a crosswise fold cutting layout is used with a fabric that has a nap, it requires a special layout
method. The fabric is folded with wrong sides together, and cut into two pieces along the folds. The
top layer is then turned around so that the nap runs in the same direction on both layers of fabric.
Crosswise Fold with
Nap Selvag
Two fabrics layers are
PLEASE
RE-
DRAW
Selvag
Partial Fold
The fabric is folded partways for this layout, so that one section of the fabric forms a double layer on a
fold and the other forms a single layer. If a pattern piece is to be cut from a single layer, cut out only
the piece from the single fabric layer.
Partial Fold
Sel
Overlappin
PLEA
SE Sel
RE-
DRA Fol
W
117
Pinning a Pattern to Fabric

Before pinning the pattern pieces to fabric, fold the fabric in half lengthwise with right side together,
unless the cutting layout shows otherwise. Each pattern piece has a straight grainline arrow or a bent
arrow for an edge placed on the fold. Straight grain line arrow must be parallel to the selvage or fold.
Pin the pieces to the fabric.
Check the distance from each grainline arrow end to the selvage has the same measurement. Check
also if the fold edge of the pattern pieces aligns with the fabric fold, otherwise the piece will be smaller
or larger than the correct size. Pin each of the arrow ends to the fabric, and pin around the pattern
pieces.
1. The fabric is laid out and folded according to the pattern directions.
2. The selvage is lined up along the corner and along the table’s edge (or T-square).
3. If not square, trim the CUT side (not selvage) until both sides are square and lines are up to
the tables edge. 4. Two sides of most tables could be used in a pinch.
a. Line up one end of the ruler on a set of straight parallel lines outside the fabric.
b. Find the grain line on the pattern. In exhibit B the ruler’s edge is lined up on the
pattern grain line.
c. Adjust pattern if necessary. When both ends line up, pin in place starting with a pin in
the grain line.
118
NOTE: Always minimize pin holes if possible.

Line up the grain line on the pattern and the grain line on the fabric, parallel to the
selvage.
Review of Lesson 10
A. Directions: Secure fabrics with the following width, 30 inches, 45 inches and 60 inches. Following the
principles learned in this topic, layout the fabric
on the cutting table.
36 inches width fabric
Rubric in Laying Pattern on the Cloth

Item 15 10 5 Score
119

appropriate appropriate some
Tools
and correctly and correctly are
used. used. appropriate
and not
correctly
used.
Procedures in Procedures in Failed to
laying out laying out follow the
fabrics are fabrics are correct
Procedure
correctly incorrectly procedures in
followed. followed. laying out
fabrics
Speed Finished Finished Finished
laying out laying out laying out
fabrics ahead fabrics ahead fabrics
of of time. beyond the
time. allotted
time.
Lesson 11 Guidelines in Cutting Fabric
As what Bailey and Draper stated in their book, Steps in Clothing Skills, our hands are very
important when we sew. “Teach” our hands to work for us. They are as important to beautiful sewing as
pianist’s hands are to beautiful music.
They emphasized that before cutting the garments, ask the teacher first to approve your layout. Then
study your layout and decide on the order in which to cut. Where should you start? How should your
fabric be placed on the work surface? Where should you stand?
Here are some of the important reminders when cutting the final pattern.
1. Practice using the shears on a piece of cloth to have a smooth cutting line.
2. Cut along the pattern so that the other hand rests on the pattern.
3. Start cutting at an edge within your reach.
4. Do not let the blades of the shears slant toward the table.
120
5. Do not lift the fabric.

6. When you reach a notch, cut directly towards it. Close the points at the exact stopping place.
7. Close the points of the shears to an exact stopping point only.
8. When cutting curves, your strokes will be shorter. Keep your free hand close to the cutting line to
help you cut smooth curved line.
Ways on How to Cut Fabric
1) Pins + Dressmaking Scissors

Cut the pattern pieces out with paper scissors – either exactly on (or just within) the lines, or
leaving some extra paper around the lines. Pin the pattern pieces to the fabric – use enough pins
to hold the pattern in place, but not so many that the pinning distorts the pattern or fabric.
Now cut the fabric with dressmaking scissors. If you’ve cut the pattern pieces out roughly, cut
directly on the lines through both pattern and fabric. This can dull your fabric scissors though; but
on the other hand, it can be more accurate than cutting around a pre-cut pattern.
2) Pattern Weights + Chalk/Pen + Dressmaking Scissors/Rotary Cutter

Cut the pattern pieces out with paper scissors precisely on (or just within) the lines. Instead of
pinning the pattern pieces in place, this time use weights to hold them in place. The idea is that
121
weights keep the pattern and fabric flatter than the pinning method. You don't have to buy
specialist pattern weights - you can use whatever you have around the house, such as food tins.
Draw around the pieces with a sharp chalk pencil or washable pen. Remove the pattern and use
dressmaking scissors or a rotary cutter to cut the fabric just within the pattern lines you've just
drawn.
3) Pattern Weights + Dressmaker's Carbon + Tracing Wheel + Dressmaking Scissors

Hold the pattern pieces down on the fabric with weights. Slip a piece of dressmaker's carbon
between the pattern and fabric, face down against the fabric. Trace over the pattern lines using a
tracing wheel moving the dressmaker's carbon as needed. Remove the pattern. Cut out the
fabric directly on the traced lines using dressmaking scissors.
In marking the cutting lines of the pattern, don't forget to mark in the other bits and bobs such as
darts, buttonholes and gather points.
Cutting the Fabric of the Sleeping Garment (Pajama)
The fabric is then cut with the help of cloth cutting machines suitable for the type of the cloth. These can
be band cutters having similar work method like that of band saws; cutters having rotary blades;
machines having reciprocal blades which saw up and down; die clickers similar to die or punch press;
or computerized machines that use either blades or laser beams to cut the fabric in desired shapes.
For beginners/ students cutting shears are appropriate as seen in the picture below.
122
Check pattern alignment of grainline and

pattern design.
Cut the fabric following the pattern.

Cut the bigger parts first.
Place your free hand on top of the

cloth with pattern.
Smaller parts should be cut last.

123
Cutting extra notches will help mark your garment parts .It is the most important way in marking
pattern details. The first extra notches you may use will mark the center which are cut
on fold, thus, locating the exact center of the garment part. Don’t forget to put
allowance for casing, seam lines, shoulder, armhole, side hem, sleeve, pocket and
facing.
Review of Lesson 11
A. Directions: Put a check () to the statement that is applicable when cutting fabrics and (X) if not
applicable.
1. Pinning method can flatten the fabrics.

2 Take time when cutting the fabric.
3 Hold fabric gently in place.

4 Use only two pins to hold fabrics.
5 Scissors is used to cut fabrics.
6 Fabrics are cut outside of the cutting lines.
7 In the absence of dressmaker’s pins weights can be used.
8 In tracing wheel always used with dressmaker’s carbon paper.
9 Keep fabric as flat as possible against the table.
10 Cutting paper with fabric scissors can dull it.
B. Directions: Check the checklist below if you can perform the operations stated:
Put a check opposite each statement under the YES NO

proper heading:
I can cut cloth for front blouse.
I can cut cloth for back blouse.
I can cut cloth for front trouser.
124
I can cut cloth for back trouser.
I can cut cloth for patch pocket.
I can cut cloth for sleeves.
I can cut cloth for facings.
C. Directions: Cut the final pattern of the following:

1. Front blouse
2. Back blouse
3. Sleeves
4. Front trousers
5. Back trousers
6. Pockets
7. Sleeves
8. Facings
Lesson 12 Transferring Pattern Marking and Symbols on the Fabric
Transferring pattern markings to the cloth must be done accurately so that the finished garment
will look peculiar. You are now familiar with the tools used in transferring pattern markings. Now,
remember these pointers for accurate markings on your fabric.
Kate’s words of wisdom: Never mark fabric with something that won’t come out in a place where
it can be seen!
Pointers to remember:
*. The pattern details should be marked on the wrong side of garment pieces.
* The tracing paper and tracing wheel will make following markings easy.
* Avoid marks that can be seen outside.
* Mark once along one line with the tracing wheel. * Protect the table with cardboard.
125
Review of Lesson 12
A. Directions: Transfer all pattern marks using the appropriate marking tools. Use the previous
patterns. Let your teacher check your works.
Rubric in Transferring Marks to the cloth

Item 15 10 5 Score
Tools Tools were Lack of one Lack of two or
complete, tool, some more tools,
appropriate are some
and correctly appropriate are
used. and correctly appropriate
used. and not
correctly used.
Procedures Procedures in Failed to follow
in transferring the correct
transferring marks to the procedures
Procedure marks to the cloth transferring
cloth followed. marks to the
correctly cloth
followed.
transferring transferring transferring
marks to the marks to the marks to the
cloth cloth on time. cloth
ahead of Beyond the
time. allotted
time.
126
POST TEST I
I. MULTIPLE CHOICE
Directions: Read the statements carefully. Choose the letter that best describes the statement.
Write the answer in your quiz notebook.
1. The tool used to take body measurement accurately

A. Curve rule C. Ruler
B. L-square D. Tape measure
2. Principle of design which can be achieved by creating a center of interest in the garment
A. Balance C. Proportion
B. Emphasis D. Rhythm
3. A pattern which is the basis of all types of pattern.

A. Basic pattern C. Final pattern
B. Construction pattern D. Commercial pattern
4. A plant fiber that contains lustrous fiber suited for sleeping garments.
A. Cotton C. Linen
B. Wool D. Silk
5. One of the characteristics of the sleeping garment .

A. It is made of expensive materials. c. It is thick and long.
B. It is comfortable to the wearer. d. It is easy to wash.
6. The measurement from the shoulder neck junction to the waistline with the tape measure
passing at the highest portion of the bust.
c. Blouse length c. Front Figure
d. Bust height d. Chest dept
7. Luis will transfer pattern marks to the fabric, what marking tool will he use?
a. Tailor’s chalk c. Pencil
b. Carbon paper d. Ballpen
8. A dressmaker’s guide in cutting fabric pieces in accordance with the garment design.
a. Dressmaker scale c. Pattern
b. Manuscript d. Design
127
9. The pattern symbols that directs the dressmakers where to stitch the garment fabric.
a. Grainline c. Seamline
b. Hemline d. Stitchline
10. A color that is neutral.

a. Yellow c. Red
b. Black d. Violet
11. The elements of design that create visual dimension.

a. length and width c. size and bulkiness b .depth and height
d. center and emphasis
13. The result of combining primary and secondary colors.

a. neutral colors c. prime-see colors
b. complementary colors d. intermediate colors
13. The cellulose materials made into long, lustrous fibers.

a. leaves. c. twigs.
b. seedpods. d. flowers
14. An example of silk fabric.

a. Brocale c. Georgette
b. Canvass d. Challis
15. A fabric which can be easily dyed because of its absorptive capacity.
a. Wool c. Cotton
b. Nylon d. Silk
16. Which of the following characteristics of sleeping garment will you consider first when
designing?
a. Age of the wearer c. Tools and material
b. Price of the cloth d. Design of sleeping garment
17. When do we prepare the project plan?

a. during the execution c. before the execution
b. towards the completion d. at the end of the execution
18. A part of a project plan that depicts the chronological steps on how
to accomplish the job.
a. Objectives c. Bill of material
b. Procedure d. Evaluation
128
19. If you want to determine and prepare the logistics needed to finance
the project, which part of the project plan will you check?
a. Working drawing c. Objectives
b. Bill of materials d. Tools and materials
20. A flexible tape used to take body measurement..

a. ruler c. curve ruler
b. L-square d. tape measure
21. The material needed in the construction of a sleeping garment.

a. cloth c. ripper
b. needle d. tracing wheel
22. In drafting the back blouse sloper, the following measurement is needed EXCEPT one.
a. back across width c. shoulder width
b. waist circumference d. chest width
23. Jovie is drafting a front blouse sloper. To which you are going to divide to obtain the accurate
measurement?
a. 1 c. ¼
b. ½ d. 1/3
24. The body measurement that is needed in drafting back and front blouse sloper.
a. bust circumference c. back across width
b. chest width d. front figure length
25. The sloper or basic pattern is the foundation of all final patterns. Which one is characterized
as a sloper?
a. with provision for alteration c. ready for cutting
b. flexible for cutting d. no allowances and symbol
26. The body measurement which is taken around the arm where the sleeve length falls.
a. sleeve length c. arm circumference
b. elbow circumference d. armhole circumference
27. The measurement needed in drafting pajama trousers where the female customer is allowed
to sit while the measurement is being taken.
a. Thigh circumference c. Full length
b. Leg circumference d. Crotch
28. The tool used in making a construction line.

a. L-square c. Tape measure
129
b. Ruler d. Meter stick 29. The drafting tool used in

the construction of a garment.
a. Tracing wheel c. Scissors
b. Seam ripper d. Curve rule
30. A pattern needed in manipulating one piece blouse.

a. bodice and shirt c. bodice and sleeve
b. bodice and trousers d. sleeve and skirt
How are you doing with the first part of our lesson? Are you doing great?
Congratulations! Now, be ready for another exciting exercises as we go on with the
making of your own sleeping garment. Get ready to assemble the garment parts and
soon, to sew your garment. Learn and enjoy more!
QUARTER II
LESSON 2 PRODUCE SLEEPING GARMENT
Pre-Test II
1. Which of the principles in laying out patterns comes first?

a. Lay smaller piece c. Mix small and big piece
b. Lay bigger piece d. Lay one after the other
2. The marking tools used to transfer pattern markers on the fabric.

a. tracing wheel and carbon paper c. carbon paper
b. tailors chalk and carbon paper d. pencil and carbon
3. While cutting the fabric it is advisable to place the other hand on ___.
a. the table. c. your side.
b. the edge of the cloth. d. top of the cloth.
4. In drafting pattern for pajama trousers thigh measurement is divided into

_______.
a. ¼ c. ½
b. 3/4 d. 1
5. When laying out fabrics on the table it is advisable that excess fabrics should be _________.
a. rolled c. hanged
b. folded d. kept
6. The tool used to cut cloth.

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a. dressmaker shears c. cutter

b. scissor d. ripper
7. The pattern symbol which guides the cutter to place pattern portion on the folded edge of the
cloth.
a. grain line c. centerfold
b. seam line d. notch
8. Cotton fabric should be preferably washed using the___________.

a. machine c. laundry detergent
b. hand d. laundry soap
9. In laying patterns on the cloth they must be fastened with _______.

a. dressmaker pins c. needles
b. safety pins d. clippers
10. The tool used in cutting the final pattern.

a. utility scissor c. dressmaker shears
b. embroidery scissor d. scissors
11. The body measurement needed in drafting blouse sloper which is taken from the shoulder
neck junction to the fullest part of the bust. a. Front figure length c. Full
length
b. Blouse length d. Bust height
12. The drafting tool used to shape the armhole.

a. Curve rule c. L-square
b. French curve d. Pencil
13. Squaring point is important in pattern drafting. Which drafting tool can best perform this?
a. Ruler c. L-square
b. Meter stick d. Curve ruler
14. The process of matching basic patterns and cutting them into pieces.
a. laying out pattern. c. cutting pattern.
b. drafting pattern. d. manipulating pattern.
15. The sleeping garment which is an all-in footed sleep suits similar to an infant onesie?
a. Jumpsuit c. Negligee
b. Chemise d. Night gown
16. The warm cloth cup worn while sleeping with pajama or night gown.
a. Bonnet c. Scarf
b. Head band d. Night cap
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17. The loose two-piece garment for men, women and children that consists of jacket and
trousers .
a. Negligee c. Pajamas
b. Jumpsuit d. Bathrobe
18. One of the characteristics of sleeping garments is quite loose to facilitate ______.
a. comfort c. fitness
b. ease d. speed
19. A sewing equipment.
a. Sewing kit c. L-square

b. Dressmaker shears d. Sewing machine
20. To obtain a well fitted result, a dressmaker should follow the _______.
a. latest movement . c. standard measurement.
b. calculated measurement. d. exact measurement.
21. The pattern symbol that indicates the exact location of the button.
a. X c.
b.  d. ----
22. Which of the following fabrics has problem with shrinking?

a. Cotton c. Silk
b. Rayon d. Nylon
23. A fabric collected from cocoon of silkworm which is used for highend clothing and household
items.
a. Polyester c. Cotton
b. Rayon d. Silk
24. In laying out fabric on the table, where should you align the selvage?
a. Table edge c. T-square blade
b. Machine corner d. Cutting board
25. The sewing tool used to check the alignment of the fabric.
a. Ruler c. Tape measure
b. Meter stick d. L-square
26. This is where a well-sewn garment starts.

a. Cutting table c. Pattern lay-out
b. Measurement d. Drafting pattern
27. The best place to make any changes or fitting illustration of garment.
a. Pattern c. Cloth
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b. Design d. Project plan
28. The first thing to do before laying out the pattern onto the fabric.
a. Cut c. Alter
b. Press d. Mark
29. The type of fabric where the grain is straight tearing across at one end.
a. Machine Woven c. Firmly Woven
b. Hand Woven d. Loosely Woven
30. The process of straightening the edge of the fabric along the dominant line of the pattern.
a. tearing c. pulling
b. cutting d. pressing
How do you feel with your scores? Are you happy and contented? If not, you should exert
effort to get higher scores. Are you excited to explore more? Good Luck!
Lesson 1 Pre-Assembling Procedure
1. Sorting/Bundling:
Sorting or Bundling is the process of matching patterns according to size and design. The
sorter makes bundles of patterns. This step requires much precision because making bundles of
mismatched patterns can create severe problems. On each bundle there are specifications of the
style, size and the marker is attached with it.
2.Sewing/Assembling:
The sorted bundles of fabrics are now ready to be stitched. Large garment manufacturers
have their own sewing units but some give the fabrics under contract to other contractors. Stitching
in-house is preferable because one can maintain quality control during the processing. Else, if
contractors are hired, keeping an eye on quality is difficult unless the contactor is the one who
precisely controls the process.
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There are sewing stations for sewing different parts of the cut pieces. In this workplace,
there are many operators who perform a single operation. One operator may make only straight
seams, while another may make sleeve insets. Yet another two operators can sew the waist
seams, and make buttonholes. Various industrial sewing machines, too, can make different types
of stitches. These machines have different configurations of the frame. Some machines work
sequentially and feed their finished step directly into the next machine, while the gang machines
have multiple machines performing the same operation supervised by a single operator. All these
factors determine what parts of a garment can be sewn at that station. Finally, the sewn parts of
the garment, such as sleeves or pant legs, are assembled to give the final form to the clothing.
Sewing Stations prescribed by TESDA
Review of Lesson 1
A. Directions: Assemble the cut parts of the sleeping garments. List down in your test notebook the
parts you need to match and pin together.
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Lesson 2 Pressing Tools, Materials and Equipment
Here is a list of ironing equipment and pressing tools you will need to get the best pressing
results.
Iron and Ironing Board or Other

Pressing Surface You need an
ironing board or other heat-proof
pressing surface
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Seam Roll is a handy pressing

tool used all the time. Besides the
sleeve board, it's a mainstay of the
pressing tools.
Seam Stick helps you press in

small places.
Tailor's clapper is used in

tailoring to help press wool
seams flat. First you press the
seam with a good steam iron.
Then, before the seam is
cooled, you press the clapper
against the seam to hold it in
place while it cools.
Caution! Never move a pressed

seam until the fabric has cooled
completely! Otherwise, you will
repeat all your pressing.
Lesson 3 Pressing techniques
Have you already experienced ironing your clothes? Of course, you had! Here in
dressmaking, when you sew, you must learn also how to use the iron in a new way. Have you
heard the word “Press”? Right! Pressing and Ironing are two different uses of electric iron.
Pressing is lifting and placing the iron on the garment.
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Ironing is pushing and using pressure to iron out the wrinkles of the garment.
You must learn to press as you sew. It is a good habit to press every detail in your
garment as you finish it. Read these 9 Pressing Tips on how to make your garment obtain a truly
finished look.
Seam Imprints
To avoid seam imprints on the right side of the fabric, place a strip of brown paper bag between
the seam allowance and the garment before pressing.
Rub Out Scorch Marks

If you scorch wool fabric by using an iron that is too hot, rub a nickel on the scorch mark. The
scorch mark will disappear. Be careful to use a clean nickel on light colored fabrics.
Press As You Go
When sewing, never sew over an unpressed seam. Always press the seams as you go. This will
make sewing easier and will improve the quality of hanging of your finished garment.
Ironing vs. Pressing

Ironing is done by using a back and forth motion. Pressing is done by using an up and down
motion. Ironing can stretch the fabric out of shape and can cause wrinkling and puckering on
finished garments. Always press.
Cool It
To keep freshly pressed fabrics and garments from getting wrinkled, allow them to rest and cool
down on the ironing board for a couple of minutes before moving them. If you are in a hurry or
just impatient, use a fan directed at the ironing board to cool down the fabric and set the press.
Setting and Removing Creases

A solution of one part water and one part distilled white vinegar will remove an old crease and/or
set a new one. Dampen a press cloth with this mixture and press hard as the fabric allows. Press
until the press cloth is dry. The vinegar smell will dissipate as the fabric dries.
Cleaning Your Iron

Irons get dirty and accumulate color from the fabric dye. Clean your iron periodically especially
when sewing and pressing light colored fabric. The best way to clean the soleplate of your iron is
with a commercial hot iron cleaner, sold at fabric and sewing supply stores. This product is very
easy to use.
Seam Roll
A seam roll can be used to press areas that are hard to lay on a flat surface, like a sleeve. They
also provide a curved surface for pressing seams without leaving imprints from the seam
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allowance. If you do not have a seam roll, roll up a newspaper or magazine and cover with a
terry towel or insert in a wool sock.
Clapper
Use a clapper to flatten seams after pressing. A clapper can reduce bulk and make fabric lay flat.
Steam press the seam area. Press the clapper over the area to seal in the heat and moisture.
After about a minute, the fabric or seam will lay perfectly flat.
Procedure in Pressing Sleeping Garments
1. Pressing/ Finishing:
The next operations are finishing and/or decorating. Molding may be done to change the finished
surface of the garment by applying pressure, heat, moisture, or other combinations. Pressing, pleating
and creasing are the basic molding processes. Creasing is mostly done before finishing processes like
that of stitching a cuff. Creasing is also done before decorating the garment with something like a
pocket, appliqués, embroidered emblems, etc.
Vertical and form presses are automated machines. They perform simple pressing operations,
such as touching up wrinkles in knit shirts, around embroidery and snaps, and at difficult to reach
places on garments.
Review of Lesson 2
A. Directions: Press the sleeping garments using these pressing tools and equipment.
Lesson 4 Application of Heat and Pressure
Due to variations in garments and heat presses, these settings may vary. For best results, test
different time/temperature combinations to find one that works best with your garment / heat press
combination. Please take note, higher temperatures generally require less time to prevent scorching. An
insufficient time / temperature combination may hinder Chroma Blast from completely curing the cotton
fibers, thus resulting to wash out.
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Selecting the right temperature when getting ready to iron clothing can make the difference between ease
and disaster. The right temperature selection will make ironing easier and quicker. The wrong
temperature means more work or disaster.
Fortunately, most irons have a sliding scale that indicates the correct setting for different types of fabric.
As a reference, use a scale of 1 to 7 - 1 being cool, 7 being very hot.
While all irons differ in temperature as per manufacturer, here is a basic guideline of proper
temperatures for ironing different fabrics:
Type of Fabrics Required Heat
Temperature
Linen 230 °C (445 °F
Triacetate 200 °C (390 °F)
Cotton 204 °C (400 °F)
Viscose 190 °C (375 °F)
Wool: 148 °C (300 °F)
Polyester 148 °C (300 °F)
Silk 148 °C (300 °F)
Acetate 143 °C (290 °F)
Acrylic 135 °C (275 °F)
Lycra/Spandex 135 °C (275 °F)
Nylon 135 °C (275 °F)
Ironing Guidelines
Iron
Setting Tips
1 Press on wrong side while damp.
3
Place on plush white towel, press on wrong
1 side.
- Do not press, steam only.
7 side. Use steam on front to refresh crushed pile.
5
7 Press while damp.
5 Use cloth between fabric and iron.
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Use cloth between fabric and iron.

Iron on wrong side while damp.
Iron on wrong side while damp.

Iron on wrong side.
Press on wrong side with cloth between iron
and fabric. Use no steam.
Do not iron, use light steam.
Press on wrong side. Use no steam.

side. Use steam on front to refresh crushed pile.
Use a damp cloth between iron and fabric. Iron

on wrong side.
Review of Lesson 4
A. Directions: Read and understand the statement carefully. Choose the letter that best
describes the correct answer. Write your answer on your test booklet.
1. Which of the following will you rub to a scorch wool fabric while pressing?
a. Nickel c. Metal
b. Iron d. Aluminum
2. Sewing a pressed seam will make your work _________.
a. accurate. c. done.
b. fast. d. easy.
3. To keep garments freshly pressed allow them to rest and cool down on the ironing board for
b. 2 minutes d. I minute
a. Candle cleaner c. Hot iron cleaner
b. Surface cleaner d. Grease cleaner
5. Which of the following is use to flatten seam upon pressing?
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a. Clapper c. Iron
b. Seam roll d. Crease remover
B. Directions: Look at the table above. List down the fabric characteristics of your sleeping garments.
Set the flat iron and apply the heat appropriate for the type of fabrics. Observe what happened to
different types of fabric. Write a report and discuss it in the class.
Lesson 5 Kinds of Seams and Seam Finishes
Carefully selected and well-constructed seams and seam finishes are important—even critical—
steps in the construction process. They are basic techniques used in the sewing process.
1.Seam is the basic structural element of a garment or household textile item. It is a means by
which two pieces of fabric are joined. Typical examples: plain, French, flat-fell.
2.Seam finish is applied to/used on the unfinished seam edge to prevent raveling, curling, or
rolling. Typical examples: turned and stitched, double-stitched, bound, serger.
Factors when selecting a seam and seam finish:

1. Fabric
- Is it tightly or loosely woven?
- Is it a single knit or double knit? Does the fabric ravel, curl, or roll?
- What is the weight of the fabric: light, medium, or heavy?
- Is it sheer?
2. Use of garment
- Is it sportswear or evening wear?
- How often will it be worn?
3. Care of garment
- Will it be machine-washed, hand-washed, or dry-cleaned?
4. Location of seam/seam finish - Is it curved or straight?

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- Will it be exposed as in an unlined skirt?

- Will it be enclosed as in a collar seam?
5. Sewing ability and skill

- Are you a novice or an experienced sewer?
6. Equipment
- Do you have only a straight-line stitching sewing machine? - Do you have a serger?
Standards.
A well-constructed seam should be:
• Smooth and even in appearance on the inside and outside parts. (Properly adjust machine
tension, stitch length, and presser foot pressure to suit the fabric and thread. Make sure fabric
does not crease.)
• Do this as well as with its width all throughout.
• Press open or close according to the type of seam and how it should be used in the
construction process.
• If stitched with thread, the thread should be appropriate to the fabric type and fiber content.
(Thread color should match or slightly darker.)
A well-constructed seam finish should:

• be neat and smooth in appearance, without added bulk;
• protect the area and prevent the edge from raveling, stretching, rolling, or curling; and
• not be visible from the right side of the garment.
Seams
Seams may be created with thread by hand or machine (sewing machine and serger) or with
fusion through chemical bonding. When a serger/overlock machine is used to construct a seam,
the fabric edges are finished all in one process. The basic seams are plain, French, and flat-fell.
Unless otherwise stated, a seam is stitched 5/8 –inch from the cut edge. The fabric from the
stitching line to the cut edge is called a seam allowance
1. Plain Seam A plain seam is the simplest seam to make and is the basis for many other
seams. It is a good choice for the novice sewer. This seam can be used on woven and
knit fabrics and on straight or curved areas. It can be constructed by hand or machine. A
seam finish is needed on most woven fabrics, especially when the seam is exposed and
when knit fabric curls or rolls.
Steps:
a. Place the right sides of the fabric together, matching the stitching lines. Pin and/or
hand baste.
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b. Stitch along the 5/8 -inch seam line. (Stitching may begin and end with backstitching—
stitch forward a few stitches, then backward, and then forward to the end.) A narrow,
open zigzag stitch can be used.
c. Press. Plain seams can be straight-stitched or zigzagged.
2. French The French seam is basically a seam within a seam. It is strong and durable but
should be used only on straight edges.
This seam is used on light-weight woven, sheer, and other delicate fabrics. It is an
excellent choice for see-through fabrics.
French seams can be constructed by hand or sewing machine. Seam finish is not
needed.
3. Flat-Fell (also called flat-felled) This seam is designed for woven fabrics and straight
edges. It is used when constructing sports-wear, men’s and children’s wear, reversible
items, and heavy-duty items requiring strong, durable seams. It is generally made with a
sewing machine and can be difficult to construct on heavy fabric. No seam finish is
necessary.
Steps:
a. Put the wrong sides of the seam allowances together. Stitch along the 5/8-inch
seam line to make a plain seam. Press seam allowance on one side.
b. Trim lower seam allowance (inside seam allowance) about 1/8 -inch.
c. Turn the top seam allowance edge under 1/4-inch. Press.
d. Repeat on the other side of the seam allowance.
Seam Finishes
Seam finishes may also be referred to as “edge” finishes, as they may be used in locations other than
seam allowances. These locations include hem edges and facings. The method of construction is
almost always the same and the goal is to prevent a raw edge from raveling (woven fabric) or curling
(knit fabric).
Edge Stitched - As a seam finish, this technique is reserved primarily for knit fabrics. It is
used to prevent the edges of the fabric from rolling or curling. The finish requires a sewing
machine making it easy to construct. Edge stitching is suitable for straight or curved
seams and edges.
Steps:
a. With right sides of the seam allowances together, prepare a plain seam. Press it open.
b. Take one side of the seam allowance (single thickness) and stitch a line of regulation
using machine stitching (approximately 12 to 14 stitches per inch) about 1/4-inch from
the cut edge.
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c. Repeat on the other seam allowance. (Stitching along the edge of the seam allowance
prevents rolling or curling.)
Edge Stitched Double-Stitched

The double-stitched finish also begins with a plain seam. It is used for knit fabrics and on
seam allowances that are pressed together to one side and treated as one. It is used to
prevent seam allowances from rolling or curling on lightweight knit fabrics. The technique
is ideal for the beginning sewer and may be done in several ways. It requires a sewing
machine. Some methods require a sewing machine with zigzag or decorative stitch
capability.
Steps:
a. With right sides of the seam allowances together, prepare a plain seam. Press seam
together.
b. Stitch a second row of stitching into the seam allowance area, approximately 1/8-inch
away from first line of stitching. The second row of stitching can be a straight
conventional stitch, a medium-width zigzag, or a machine over-edge/overcast stitch.
NOTE: The machine over-edge stitch is recommended for raveling woven fabrics, not
nits.
c. Press seam to one side. Double-Stitched Machine Zigzag- A large seam allowance
(up to 1 inch) may be allowed when cutting out the garment, since finished seam
allowance will be 1/8- to1/4inch shorter. This finish is used on a plain seam on woven
fabric. It requires a sewing machine with a zigzag stitch capability. The finish is used
on medium- to heavyweight fabrics, including corduroy. The zigzag stitch length
(coverage) must be adjusted to accommodate and prevent fabric raveling. The more
the fabric ravels, the closer together the stitches need to be (tighten or shorten stitch
length).
Steps:
1. With right sides of the seam allowances together, prepare a plain seam. Press it open.
2. Adjust machine to the appropriate zigzag stitch and length.
3. On one seam allowance (single thickness), stitch close to, but not on, fabric edge
(approximately 1/8-inch from raw edge).
4. Trim excess fabric close to the line of stitching. Press. Machine Zigzag Machine Over-Edge
overcast). Some sewing machines have a special over-edge presser foot and/or machine
setting to overcast (sew over) the edges of the fabric without causing the fabric or thread to
jam the machine. If your machine has this capability, use this stitch instead of the machine
zigzag technique previously described. The overcast technique does not need to be trimmed,
nor allow for larger seam allowances when cutting out the garment.
Hand-Overcast This is one of the original methods of finishing seams and edges dating
prior to the invention of the sewing machine. There are occasions when this edge finish is
the most appropriate technique to employ. Hand-over-cast is used on woven fabrics with
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straight and curved areas. It is also good and necessary in areas not suited to other
finishing techniques, such as L-shaped areas (created at a kick pleat) and V-shaped
areas (created when bulk is removed from a princess-line seam). This stitch is done by
hand rather than by machine. Use a hand needle and single thread to match the fabric
color. It is not difficult but it may take some skill to create uniformed stitches.
Steps:
1. With right sides of the seam allowances together, prepare a plain seam. Press it open.
(This finish can be used with other seams that might require a finish other than the plain
seam, such as the mock flat-fell or the lapped.)
2. Beginning at the end of one seam allowance edge through single fabric thickness, secure
thread on the underneath side of the seam allowance, approximately 1/4-inch from the
edge.
3. Bring needle through from bottom to top side. Position needle underneath fabric edge,
approximately 3/8-inch away from the first stitch.
4. Bring needle and thread through to the right side again. Repeat until the edge is
periodically wrapped in thread. Stitches should be secured to the fabric edge but not tight.
Fabric edge should remain flat and not drawn. The more the fabric tends to ravel, the
closer together your hand stitches should be. CleanFinished (turned under and stitched).
This finish is used not only for seams but also throughout the garment when the fabric is
lightweight. It is not appropriate for heavyweight or knit fabrics because it produces bulk.
Steps:
1. With right sides of the seam allowances together, prepare a plain seam. Press the seam
open.
2. Turn the edge of the seam allowance under approximately 1/8- to1/4-inch. Press.
3. Stitch close to the edge through the folded fabric. Press. NOTE: Cutting at least a 1-inch
seam allowance will allow a finished 5/8-inch seam allowance.
Review of Lesson 5
A. Essay.
Directions: Answer briefly. How do you describe a well-constructed seam?
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B. Match Column A (Factors) with Column B (Statements) when selecting seams and seam
finishes. Write the letter of the correct answer in your test notebook.
A B
Factors Statements
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1. Sewing Ability Single or double knit

2. Fabric Machine or hand wash
3. Use of garment Curve or straight
4. Care of garment Experienced sewer
5. Location of the seam Evening or sportswear
Lesson 6 Preparing Parts for Sewing
Sorting/Bundling
In garment factories, the sorter sorts the patterns according to size and design and makes bundles of
them. This step requires much precision because making bundles of mismatched patterns can create
severe problems. On each bundle there are specifications of the style, size, and the marker attached
with it.
For beginners/learners in school the following steps maybe adopted
1. Put these in a bag.

2. Fuse a piece of fabric large enough for all your interfaced pieces then cut.
3. Tie all the pieces together in a Check seam allowances in all garment parts.
4. Use 1/8” nips to mark your notches. Don’t waste time cutting diamond shapes. Nips are more
accurate and less likely to fray or weaken the seam.
5. Check parts if cleanly cut.
6. Match cloth to the patterns and check number of pieces needed.
7. Check and remove unnecessary pins.
8. Check pattern marks if properly transferred to the garment parts.
9. Collect all things you’ll need to sew the sleeping garment: zippers, thread, buttons, snaps, hook
and eye, and garter bundle with the pattern and put in a bag.
a. Back and front bodice
b. Sleeves
c. Facings
d. Pockets
e. Back and front pants
Review of Lesson 6
A. Why do we need to prepare the parts of sleeping garments before sewing?
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B. Prepare and list the tools and materials needed in preparing sleeping garments parts for
sewing. Show how to do the steps discussed in this lesson.
Lesson 7 Unit Method of Assembling Sleeping Garments
1. Back and front bodice

• Join the shoulder seams using French seam.
• Overlock the raw edge of the armhole to prevent raveling.
• Join the side seams using French seam.
2. Sleeves
• Overlock raw edges of the armhole.
• Join the side seam using the French seam.
• Fold and machine sew 1/8 hem allowance.
• Fold on the hem line and press.
• Slip stitch the hem.
3. Facings
• Join the shoulder seam.
• Fold and machine sew 1/8 the raw edges.
• Connect the facing to the neckline.
• Sew facing hem using slip stitch.
4. Patch Pocket
• Fold the upper part of the patch pocket.
• Sew using plain stitch.
• Fold both sides and bottom then baste.
Review of Lesson 7
A. Directions: Perform the procedures in specific units of assembling garments based on your
design.
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Sleeves
• Overlock raw edges of the armhole.
• Join the side seam using the French.
seam
• Fold and machine sew 1/8 hem allowance.
• Fold on the hem line and press.
• Slip stitch the hem.
Facings
• Join the shoulder seam.
• Fold and machine sew 1/8 the raw edges.
• Connect the facing to the neckline. Sew facing hem using slipstitch
1. Patch Pocket
Fold the upper part of the patch
pocket.
Sew using plain stitch.
Fold both sides and bottom then
baste.
Lesson 8 Assembling the Sleeping Garment
Procedure in assembling sleeping garments
Step by step assembling of pajama blouse and trousers
the shoulder with a French seam. Attach neckiline facing.
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Make a cut slash from the edge to the

stitchline.
Iron the neckline facing. Fold and sew pocket top opening.
Baste patch pocket, match fabric prints. Sew patch pocket on the sewing
machine.
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Join the side seam. Sew sleeve hem.
Join arm seam and stitch the armhole. Attach the sleeves.
Flatten the neckline facings. Baste the flattened facings on the

neckline.
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Overcast neckline facings. Determine distances of buttonholes.
Mark distances of buttonhole. Cut buttonholes.
Sew the buttonhole. Mark location of buttons.
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Attach buttons.
Sewing Pajama Trousers
he hem of pajama trousers. Baste leg of the pajama trouser.
g side in the sewing machine. Reverse the legs and sew.
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Joint the crotch.
Make garter casing.
Insert garter on its casing using a safety pin and join ends of the garter
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Close garter casing. Press finished garment.
Fitting the sleeping garment.
Review of Lesson 8
Directions: Assemble the sleeping garments blouse and trousers (or the design of
your choice).
Based on the activity explain chronologically how to assemble the sleeping garment.
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Lesson 9: Finishing Touches
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1. Sewing the facing

a. Press the facing.
b. Overcast the facing.
2. Hemming stitches
a. Mark the hemline with the placket on reverse fold.
b. Sew edge of the hem using the sewing machine.
c. Baste the final hem and sew either by machine or by hand.
Making a Handstitched Buttonhole
1. Mark the buttonhole line and

decide on the stitch depth.
Use a short 1/16 inch stitch
on thick fabrics. Stitch a
rectangle just under a stitch
length outside and all
around the buttonhole
marking.
2. Cut carefully along the center

of the buttonhole marking. If
necessary, overcast raw
edges to prevent fraying.
Working on the right side
with the round end of the
buttonhole to the left, secure
the thread end with small
backstitches at the lower
right corner.
3. Buttonhole stitch along one

long edge. Insert the
needle from the back to the
front of the fabric. Pass the
thread behind the eye end
of the needle and under the
point. Pull the needle
through ensuring that the
knot formed covers the cut
edge.
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4. Work the stitches close

together to cover the raw
edge. Using the same
stitch, fan out five or seven
slightly longer stitches
around the end of the
buttonhole. The center
stitch should be in line with
the cut edges.
5. Buttonhole stitch along the
other edge. Stitch through
the knot of the first stitch
bringing the needle out just
below the last stitch. Form
a bar tack with three or four
long stitches to make the
square end of the
buttonhole.
6. With the needle point toward

the buttonhole and
beginning at one end,
buttonhole stitch across the
long stitches picking up the
garment fabric underneath.
The stitches should form a
neat row of knots along the
bar tack base.
Attaching buttons
a. Determine and mark the location of the buttons in the placket.
b. Thread the needle and fasten the buttons.
A. Pajama Blouse
1. Attach the patch pocket.

1. Pin and hand-baste finished patch
pocket to the right side of the
garment carefully matching it to
traced markings.
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2. To sew pocket on by machine, set

machine for a regular stitch length;
stitch as close as possible to edge of
pocket.
To sew pocket on by hand, use even

slip stitch. Take care not to pull the
stitches too tight or the pocket will
pucker.
3. Sew in the sewing machines.
4. Join the shoulder and side using the

French seam.
5. Fold placket allowance outside and

baste.
6. Attach the neckline facings.
a. Make a cut slash to obtain the
perfect shape of the neckline.
b. Apply top stitch.
Baste the prepared facing to the

blouse neckline.
Sew in the
sewing
machine.
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Make a cut slash from the edge to

the stitchline.
Press the facing

to flatten.
7. Attach the sleeves.

c. Determine blouse side seam and
sleeve seam.
d. Put together with the fabric right
side facing each other.
e. Baste and sew in the sewing
machine.
A. Pajama trouser
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Review of Lesson 9
A. Directions: Assemble the sleeping garments blouse and trousers. Based on the activity
explain chronologically how to assemble the sleeping garment.
________________________________________________________
________________________________________________________
________________________________________________________
B. Get a piece of cloth and practice attaching fastener fitted to your sleeping garment design.
List down the steps involved.
Type of Fastener: ___________________________________
Steps in attaching/making:
1.
2.
3.
4.
5.
Lesson 10: Trimming Techniques for Sleeping Garments
Trim has two meanings in sewing. One is to use a variety of decorative elements or trims to
embellish garments or household items. The other is to
use scissors to trim away excess fabric in areas like seam allowances.
Garment patterns often specify that seam allowances be trimmed to a specified width. A duckbill
scissors is often used to prevent garment damage when trimming seams and beneath
appliqués.
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DUCKBILL SCISSORS
Review of Lesson 10
Directions: Using the duckbill scissors trim excess threads and allowances from the sleeping
garments.
Lesson 11 Labeling of Garments
How to create the perfect clothing label
Often we are asked “What size should I make my clothing label” or “What is the most common size of
woven labels”? While there is no standard size for clothing labels, there are a few tips to keep in mind
to create the perfect label.
Tip 1: Go shopping. Research on other brands that are similar in style and price point to your
design line. You can learn a lot by seeing what others do right and by what they do wrong. Look for
material type, the ‘feel’ of the label, the overall size of the label. Is it too big or not large enough?
Tip 2: Look in your closet. Chances are you have dozens of different types of clothing labels.
You will definitely find woven labels, printed labels, tagless transfers and probably some of your clothes
still have hangtags on them. Take a ruler and get a general idea of the size label that you like and fits
your specifications based on the clothes you love. Remember, you chose them for a reason.
Tip 3: Study your logo/design. You probably already have a logo designed or at least have an
idea in mind. Print out the logo in a few different sizes by scaling the image. Once you’ve printed them
out, take scissors and cut out the images and place them on your clothing or accessory. You will quickly
start to see what looks great and what size is too large or too small for your design. If your logo is tends
to be longer rather than tall, you can consider sewing it on the left and right sides. If the logo is more
square then it works great as a top sewn label.
Tip 4: Don’t forget to add sewing room. When choosing the size, it’s really important to think
about things like – where on the clothing is it going to be sewn because you have to incorporate sewing
allowance space if going into a seam. Otherwise, if you plan on sewing down on all sides then you
won’t need quite as much space.
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Kinds of packaging materials
Garment Packing Materials Made from premium quality material, these Garment Packing Materials
are used in apparel and garment packaging industry. These Garment Packing Materials are durable in
nature and find usage in packaging garments in a well maintained and proper manner.
Packing Card - manufactured using

high quality materials to provide neat
packing for garments. Offered in a
variety of designs and forms, the
Packing Card is perfect for packaging
Shirts in a neatly folded manner to
avoid any creases
Plastic Clip Manufacturer and Exporter

from India, offering a wide range in the
market. The range is designed for
packing different garments and can
also be customized as per the
specifications given by clients
Foam Sheet made available by us is a

product of cutting-edge manufacturing
technologies together with expertise of
professionals to give excellent support
while packaging garments. We
Manufacture and Export a variety of PU
Foam Sheets in different colors and
dimensions as per preferences of
clients. Moreover, the Memory Foam
Sheet is offered at highly affordable
prices in the market
We are known for manufacturing and
exporting a varied array of Steel Head
Pins. Manufactured in various sizes
and head colors, the Steel Head Pins
can also be customized exactly as per
the preferences of the clients.
Manufactured using high grade steel,
the Steel Head Pins securely hold the
garment in place
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Review of Lesson 11
Directions: Enumerate and describe the different garment packaging materials.
Lesson 12 Procedures in Packaging Finished Garments
Packing
The finished garments are finally sorted on the basis of design and size and packed to send for
distribution to the retail outlets.
Packaging: Packaging may be defined as the activities of designing and producing the container or the
wrapper for the product. Generally the packaging could be considered as the silent sells man of the
product. When the garments are exported to the prospective buyer different type of instruction should
have to be followed by manufacturers. Basically the clothing manufacturer is using three kinds of
packages.
1. Primary Packages: Insertion a garment into a poly bag is considered as the primary package of
garments. Full visibility makes the customer to identify the color, size and style etc.
2. Secondary Package: Secondary package of a garment could be another poly bag or inner
carton. Inner carton or master poly bag containing a number of garments, provide traditional quotation
and make opportunities for sales promotion. This container facility of pack number of garment pertains
to packing instruction given by the buyer. There are four packing strategies:
1. Solid Color Solid Size: all garments are of same size and color. e.g
Garments = 42
Color = Red, Size = Small
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2. Solid Color Assorted Size: According to this strategy color of all pieces is same while there is
variation in size e.g.
Garments = 42
Color = red
Size = Small, Medium, and long with ratio 1:2:1.
3. Assorted Color Solid Size: In this strategy color of garments is different while size is same. Garments
= 42
Color = Red & Blue
Size = Medium
4. Assorted Color Assorted Size: Garments are of different colors and sizes.
Garments = 42
Color = Red & Blue
Size = small & Medium
3. Shipping Package: this refers to packaging for necessary for storage identification or Transportation.
Cartons are used as shipping package.
The Side Mark of cartons is: Carton no., Carton Measurement, Quantity (in pcs), Net weight (Single
product). Net weight. (Six pcs product), Gross weight (Full carton).
Main Mark: Buyer Name. Consignees add. Order no. Style no.
Color/size/Breakdown. Destination. Etc.
Carton Measurement: 3 ply (inner). 5ply (how much pcs), 7ply
Ensure Quality: Quality is the most important factor in textile sector. Buyers always emphasis on
quality. So it is needed to care always on quality. A quality product always turns more buyers.
Review of Lesson 12
Directions: Pack sleeping garments applying the skills and information in this lesson.
Lesson 13 Evaluation of Finished Sleeping Garments
Inspection
Defects can adversely affect the quality of the garment. These defects include sewing, color, and sizing.
Thus, during processing the quality control section needs to check each prepared article against these
defects.
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·Final Inspection
For the textile and apparel industry, product quality is calculated in terms of quality and standard of fibers,
yarns, fabric construction, color fastness, designs and the final finished garments. Quality control in terms
of garment manufacturing, pre-sales and posts sales service, delivery, pricing, etc are essential for any
garment manufacturer, trader or exporter. Certain quality related problems, often seen in garment
manufacturing like sewing, color, sizing, or garment defects should never be overlooked.
Sewing defects
Open seams, wrong stitching techniques, nonmatching threads, missing stitches, improper creasing of
the garment, erroneous thread tension and raw edges are some of the sewing defects which can affect
the garment quality adversely.
Color defects
Variation of color between the sample and the final garment, wrong color combinations and
mismatching dyes should always be avoided.
Sizing defects
Wrong gradation of sizes, difference in measurement of various parts of a garment like sleeves of XL size
for body of L size garment can deteriorate the garments beyond repair.
Garment defects
Broken or defective buttons, snaps, stitches, different shades within the same garment, dropped stitches,
exposed notches and raw edges, fabric defects, holes, faulty zippers, loose or hanging sewing threads,
misaligned buttons and holes, missing buttons, needle cuts or chews, pulled or loose yarn, stains,
unfinished buttonhole, short zippers, inappropriate trimmings etc. all can lead to the end of a brand name
even before its establishment.
Student outputs can be evaluated using the suggested criteria

Rubric for Performance Rating
CRITERIA INDICATORS RATING
A. WORKMANMSHIP
Accuracy in All measurement 50 %
measuring/ markings and marks were
accurately done.
A. Proper use of Able to use 25 %
tools and appropriate tool for
materials each task.
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B. Safety Able to observe 15 %

safety precautions
and use safety
gadgets all the
time.
C. Speed Able to finish the 10 %
output on time.
Total 100 %
Review of Lesson 13
Directions: Craft a scoring rubrics with your teachers using the criteria above in evaluating the
finished sleeping garments. Evaluate your output
Post Test
1. Which of the principles in laying out patterns comes first?

a. Lay smaller piece c. Mix small and big piece
b. Lay bigger piece d. Lay one after the other
2. The marking tools used to transfer pattern markers on the fabric.

a. tracing wheel and carbon paper c. carbon paper
b. tailors chalk and carbon paper d. pencil and carbon
3. While cutting the fabric it is advisable to place the other hand on ___.
a. the table. c. your side.
b. the edge of the cloth. d. top of the cloth.
4. In drafting pattern for pajama trousers thigh measurement is divided into

_______.
a. ¼ c. ½
b. 3/4 d. 1
5. When laying out fabrics on the table it is advisable that excess fabrics should be _________.
a. rolled c. hanged
b. folded d. kept
6. The tool used to cut cloth..

a. dressmaker shears c. cutter
b. scissor d. ripper
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7. The pattern symbol which guides the cutter to place pattern portion on the folded edge of the cloth.
a. grain line c. centerfold
b. seam line d. notch
8. Cotton fabric should be preferably washed using the___________.

a. machine c. laundry detergent
b. hand d. laundry soap
9. In laying patterns on the cloth they must be fastened with _______.

a. dressmaker pins c. needles
b. safety pins d. clippers
10. The tool used in cutting the final pattern.

a. utility scissor c. dressmaker shears
b. embroidery scissor d. scissors
11. The body measurement needed in drafting blouse sloper which is taken from the shoulder neck
junction to the fullest part of the bust. a. Front figure length c. Full length
b. Blouse length d. Bust height
12. The drafting tool used to shape the armhole.

a. Curve rule c. L-square
b. French curve d. Pencil
13. Squaring point is important in pattern drafting. Which drafting tool can best perform this?
a. Ruler c. L-square
b. Meter stick d. Curve ruler
14. The process of matching basic patterns and cutting them into pieces.
a. laying out pattern. c. cutting pattern.
b. drafting pattern. d. manipulating pattern.
15. The sleeping garment which is an all-in footed sleep suits similar to an
infant onesie?
a. Jumpsuit c. Negligee
b. Chemise d. Night gown
16. The warm cloth cup worn while sleeping with pajama or night gown.
a. Bonnet c. Scarf
b. Head band d. Night cap
17. The loose two-piece garment for men, women and children that consists of jacket and trousers .
a. Negligee c. Pajamas
b. Jumpsuit d. Bathrobe
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18. One of the characteristics of sleeping garments is quite loose to facilitate ______.
a. comfort c. fitness
b. ease d. speed
19. A sewing equipment.
a. Sewing kit c. L-square

b. Dressmaker shears d. Sewing machine
20. To obtain a well fitted result, a dressmaker should follow the _______.
a. latest movement . c. standard measurement.
b. calculated measurement. d. exact measurement.
21. The pattern symbol that indicates the exact location of the button.
a. X c.
b.  d. ----
22. Which of the following fabrics has problem with shrinking?

a. Cotton c. Silk
b. Rayon d. Nylon
23. A fabric collected from cocoon of silkworm which is used for highend clothing and household
items.
a. Polyester c. Cotton
b. Rayon d. Silk
24. In laying out fabric on the table, where should you align the selvage?
a. Table edge c. T-square blade
b. Machine corner d. Cutting board
25. The sewing tool used to check the alignment of the fabric.
a. Ruler c. Tape measure
b. Meter stick d. L-square
26. This is where a well-sewn garment starts.

a. Cutting table c. Pattern lay-out
b. Measurement d. Drafting pattern
27. The best place to make any changes or fitting illustration of garment.
a. Pattern c. Cloth
b. Design d. Project plan
28. The first thing to do before laying out the pattern onto the fabric.
a. Cut c. Alter
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b. Press d. Mark
29. The type of fabric where the grain is straight tearing across at one end.
a. Machine Woven c. Firmly Woven
b. Hand Woven d. Loosely Woven
30. The process of straightening the edge of the fabric along the dominant line of the pattern.
a. tearing c. pulling
b. cutting d. pressing
Congratulations!
You have your own sleeping garment now.
Hope you enjoyed learning the basic skills and knowledge in
sewing it! Have a nice nap!
QUARTER III
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LESSON 3
PRODUCE CHILDREN’S WEAR
Learning Outcome 1 Draft and Cut Pattern for Children’s Wear
Objectives:
At the end of the module, the learner is expected to

1. plans, designs and sews children’s wear;
2. assembles the parts of the children’s wear;
3. packs the finished garment attractively; and
4. applies finishing touches on the children’s wear
PRE- TEST III
MULTIPLE CHOICE.
Directions: Read the statements carefully. Choose the letter that that best describes the statements.
Write your answer in your quiz booklet.
1. Which of the following is a characteristic of children dresses?

a. Washable c. Bright Color
b. Expensive d. Shiny
2. Colors which attract children in choosing their dress a. Warm Color c. Bright Color
b. Hot color d. Dull Color
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3. Children like to choose dresses with ______ to keep their things.

a. Collar c. Trimmings
b. Sleeve d. Pocket
4. A part of the garment which is more functional and decorative for children’s dress
a. Seam c. Shoulder Straps
b. Hem d. Pockets
5. A thin cotton fabric usually striped and worn during spring and summer
a. Seersucker c. Charmeuse
b. Nylon d. Geogette
6. A fabric characterized by parallel chords that resembles a cheek

a. Linen c. Rayon
b. Pique d. Silk
7. A thin plain weave sheer fabric made from silk

a. Netting c. Tull
b. Chiffon d. Organza
8. A fabric of plain weave, usually made from cotton, work on rayon often produce with a floral
design?
a. Linen c. Organza
b. Chiffon d. Challis
9. Which part of the garment covers the arm and protect from heat?
a. Sleeve c. Shirt
b. Pocket d. Collar
10. A type of sleeve with no seam joining at the shoulder and cut together on the bodice
a. Set in c. Puff
b. Kimono d. Angel
11. The following are variations of puff sleeves, EXCEPT:

a. Full top and Bottom
b. Full at the top and fitted at the bottom
c. Fitted at the top and full at the bottom
d. Fitted at the top and bottom
12. Which of the following is the foundation of all types of sleeves?

a. Angel sleeves c. Set-in Sleeves
b. Kimono Sleeves d. Butterfly sleeves
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13. This type of sleeve is patterned and cut extending to the shoulder neck junctions.
a. Bell c. Kimono
b. Butterfly d. Raglan
14. Collar is the part of the T-Shirt dress or coat fastened around the _____.
a. Neck c. Arm
b. Leg d. Waist
15. Which of the collars below is popularized by midshipmen?

a. Bertha c. Convertible
b. Sailor d. Peter Pan
16. The collar that can be worn with the neck button either fastened or unfastened.
a. Convertible c. Flat
b. Peter Pan d. Mandarin
17. Mandarin collar is worn unfolded or stand-up style on shirt or jacket.

Where did this collar was originated?
a. America c. China
b. Europe d. London
18. A part of the garment around the waist.

a. Pocket c. Collar
b. Skirt d. Sleeves
19. The type of fabric suited for children.

a. Cotton c. Nylon
b. Polyester d. Silk
20. Which of the following features will you consider in designing children’s wear that suggest provision
for their increasing height?
a. Growth c. Age
b. Activity d. Sex
21. Where is the appropriate placket location for children’s dress if you want to promote self dressing
and eliminate bathroom accidents?
a. Back c. Side
b. Front d. Shoulder
22. What type of buttons is easier to grasp when opening or closing the placket?
a. Plain Buttons c. Decorative buttons
b. Shanks Buttons d. Covered Buttons
23. When choosing buttons for children’s dress, prefer buttons without
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________ to facilitate easy opening of the placket

a. Irregular edges c. Rounded Edges
b. Flattened Surface d. Full Surface
24. Properly pressed children’s wear should have ______

a. Creases in many places c. Shine on the fabric
b. Pressed Seams d. Stretched Seam allowances
25. Which of the following is NOT an essential item needed for pressing?
a. Hangers c. Iron
b. Ironing Board d. Press Cloth
How do you feel about your score? Is it high? Fair or you really need to explore
more? Don’t worry! As long as you keep on trying to be an expert in making dresses,
you will soon have an outstanding score in the tests. G o o d l u c k !
Lesson 1 Designs of Children’s Wear
When was the last time you had an inventory with your clothes inside your cabinet or closet? Do
you still remember your favorite dress you frequently wore when you were still a toddler or a preschooler?
Why did you like it very much? What were the features that pleased you so much? Was it because of the
color? How about the style? The pocket where you put your little things in it? Or was it because of the
big ribbon at your back?
How lovely and cute those little ones when they put on their dresses with bright colors and lively
prints. Do you still have one?
In choosing the designs for the children’s dress, there are special sewing hints that we must
always remember.
Special sewing hints for children’s dress

1. For durability, substitute machine for hand stitches wherever it is practical and not unsightly to do
so baste down facings.
2. For extra strength, stitch areas of strain, such as armholes, twice.
3. For ease in handling really small garments, attach the sleeves before closing the underarm
seam.
4. For ease of care, choose fabric that are washable; also check the care requirements of white or
pastel colors. Although cottons and synthetic blends are usually the first choices for children’s
garments, washable wools are also suitable.
5. To please the child, pick bright colors and lively prints. Large designs can be overwhelming.
6. For convenience, always provide a pocket or two. Children like places to keep small
possessions.
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7. A good safety precaution is to have reflective tape strips to outer garments, especially if they are
dark in color.
8. To make handed-down garment different for the younger brother or sister, add a special
appliqué, pockets or monogram. Also consider changing the garment style; could a dress with
sleeves be made into a pinafore for the new owner?
Different designs of children’s wear
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Review of Lesson 1
A. Filling the Blanks

Directions: Fill in each blank with a word to complete the thought of the statement in the paragraph.
Children are particular with the way they dress and parents are happy when a child
appreciates the gifts from the later. Parents would choose children’s clothes with
____1_____ colors accompanied with ____2____ to let the children keep their little things.
Since children learn to fix themselves clothes with
____3____ opening are recommended and fastened with ____4_____ to let the kids
manipulate easily. Since children are energetic, for extra strength, stitch ___5_____ area like
armholes to avoid frequent mending of seams.
B. Directions: Recall/Look back at the different pictures of children’s wear presented, design one either
for boy or a girl. Draw the design in a short-sized bond paper.
Lesson 2 Characteristics of a Well-fitted Children’s Wear
Selection
When selecting clothing for young children, toddlers’ and preschoolers’ always consider the
physical characteristics and the comfort they give to the children.
A. Toddlers
1. Look for soft, unstructured styles that allow maximum freedom of movement, such as one-piece
garments that fall from the shoulder. These are also practical because toddlers wear diapers and
have not developed a waistline.
2. Leg openings with snaps on toddlers’ pants help make changing diapers easier.
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3. For necklines, select collarless styles or flat collars, such as Peter pan and convertible collars.
4. Avoid collars that may bind or restrict movement, such as a high button collar.
5. When toddlers are first learning to dress, pull-on garments with large neck and armhole openings
are the easiest to manipulate. Because the toddler is always on the move.
6. Design features should be functional as well as decorative. For example, shoulder straps should
criss-cross in the back to prevent them from sliding off shoulders.
7. Shoulder tabs on shirts are another way to secure straps.
B. PreSchoolers
1. Look for styles that allow preschoolers to move and jump about freely.
2. Pockets are important features because preschoolers need places for the treasures they collect.
3. Shoulder tabs on shirts are still valuable.
4. When selecting a garment with long sleeves, avoid buttoned cuffs that restrict movement.
5. Jumpsuits are practical garments for preschoolers because they allow for mobility and will
maintain a neat appearance.
6. Preschoolers can also wear pants and skirts with elasticized waists because their waistlines
have become more defined.
SPECIAL FEATURES
A. Growth features - are important because children grow rapidly. Children tend to grow faster in
height than in width; therefore, the length of waist, arms, and legs will change more quickly than
the width of shoulders, chest, and hips. Select clothing that allows for growth. Look for features
such as one-piece garments without a waistline; raglan, kimono, or sleeveless designs;
adjustable shoulder straps; and elasticized waistlines. Two-piece outfits and wrap styles will also
allow room for growth.
To promote self-dressing and prevent bathroom accidents, closures should be on the front of
garments so children can see the fasteners and manipulate them easily.
Select or adapt closures that are easy for young children to manipulate.
Zippers can be easy for a child to operate if a charm or string is added to the pull tab.
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Buttons that are large or have a shank are easier to grasp. Many types of decorative
buttons are available to add interest to children’s clothing. Avoid buttons with irregular
edges as these are more difficult than smooth, round buttons to manipulate.
Hook and loop fastener tape is easy to manipulate and can be used in place of buttons or
snaps. It is available by the centimeter or inch, in pre-cut shapes, and in a variety of
colors.
Gripper snaps are easier to manipulate than regular snaps.
Safety features should also be considered when selecting clothing for children.
Avoid styles with long, flowing skirts; tie belts; drawstrings; or very full sleeves
that may cause children to trip or get tangled.
Review of Lesson 2
Directions: List down the characteristics of dress suited for the following groups:
Write your answer in your quiz notebook.
Toddlers Pre - schoolers
175
1. 1.
2. 2.
3. 3.
4. 4.
5 5
Lesson 3 Types of Fabrics Suited for Children’s Dress
Children’s safety and comfort is best considered when buying and choosing the clothes they
wear. Some people, especially mothers prefer to buy fabrics for their children because they think it is
cheaper and they can choose the best quality fabric for them. There are varieties of fabrics to choose
from.
1. Seersucker
A thin, all-cotton fabric, commonly striped, used to make clothing for
spring and summer wear, suits, slacks and children’s clothing.
2. Cotton
A soft, staple fiber and brings comfort to children because it is
breathable.
3.Rayon
Usually colorful and easy to e.g. blouses, dresses, jackets,
lingerie, linings, scarves, suits, ties, hats, socks),
4. Pique
A medium weight, cotton-blend fabric which is characterized by raised
parallel cords or fine ribbing that resembles a check. It is used to
make vests, coats, the collars of polo shirts, fitted blouses and
children’s clothes.
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5. Linen
A textile made from the fibers of the flax plant. It is labor-intensive to
make, but its garments are valued for exceptional coolness
and freshness in hot weather. It is also very absorbent, but wrinkles
easily unless blended with manufactured fibers.
6. Organza
A thin, plain-weave, sheer fabric is traditionally made from silk, the
continuous filament of silkworms.
Nowadays, though many organzas are woven with synthetic filament
fibers such as polyester or nylon, the most luxurious organzas are still
woven in silk.
7. Silk
A natural protein fiber, some forms of which can be woven into
textiles. Silk is smooth, glossy and beautiful. It is also strong and
vulnerable to fading and stains.
8. Tulle and Netting

A lightweight, very fine netting, which is often starched. It can
be made of various fibers, including silk, nylon and rayon. Tulle
is most commonly used for veils, gowns (particularly
wedding gowns) and ballet tutus.
9. Challis
A type of plain-weave fabric, usually made from cotton, wool or
rayon, often printed with a design, often floral. Used to make
dresses, skirts and other articles of clothing.
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10. Chiffon
A lightweight, plain-woven, sheer fabric. Chiffon can be dyed to
almost any shade desired, however, if made from polyester, it
is difficult to dye. Chiffon is most commonly used in evening wear,
especially as an overlay, giving an elegant and floating
appearance to the gown. It is also a
popular fabric used in blouses, ribbons, scarves and lingerie. Like
other crepe fabrics, chiffon can be difficult to work with because of its light and slippery textures.
It should only be hand-washed.
Review of lesson 3
Directions: Look at the designs of the dresses below. What type of fabric(s) will you chose or
recommend to your customer? Why? Write your answer in your quiz notebook.
Figure 1 Figure 2 Figure 3 Figure 4
Lesson 4 Accessories and Accents for Children’s Wear
Accessories are articles that make the outfit perfect and beautiful. In putting or choosing
accessories for dresses, always consider the art principles and elements of design. Choose
accessories that will equate and go with the age of children.
The following are the accessories used in dresses
1. Bands – strips of fabric, ribbon or bias applied to edges or set into garments to finish or decorate
2. Bracelet – ornamental chain for wrist and arm
3. Brooch - a large ornamental pin placed in front or shoulder arm

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6. Fan – a flat device mounted on frame permanently
7. Handkerchief – a piece of cloth cotton, linen or silk usually square and decorated with lace and
embroidery.
8. Hat – a shaped head covering, having crown and brim

9. Hosiery – consist of hose and stockings.
10. Shoes – high-heeled or flat-closed footwear fitted for comfort, freedom and style
Trimmings are the ornamental addition to the bare fabrics or a finished garment. This is also used to
enhance or emphasize the beauty of the apparel.
Common Trimmings Used in Dresses
1. Appliqué – a separate design for petals, leaves or figures which is cut and applied to another
surface
2. Binding – a bias strip used to decorate an edge
3. Buttons – pieces of bones, metals, glasses of various shapes having shank or holes
4. Collar – bands attached over necklines, sometimes they are cut as part of the front bodice
5. Embroidery – an ornamental needlework consisting of designs, work on fabric by hand or machine
6. Frog - loop fastening made of braid or cording
7. Gathers – fullness shirring consist of three or more rows of gather.
8. Lace – open work fabric made with bobbins, needles or hook and can be hand or machine made
9. Loop – a fastening which extends beyond the finish edges used on closings with no lap
10. Pocket – a piece of fabric applied to a garment to form a container

11. Ribbons – a narrow fabric of silk or velvet used for trimming
12. Rickrack – a flat woven zigzag braid in mercerized cotton or rayon 13. Ruffles –strips of cloth
gathered together or pleated as a trimming to finish edges
14. Scallop – an edge finish made up of a series of semi-circles
179
Review of Lesson 4
A. Identification
Directions: Answer what is being described by the phrases. Write the word(s) in your quiz notebook.
__________ 1. a loop fastening made of braid or cording

__________ 2. a piece of fabric applied to a garment to form a container
__________ 3. ornamental chain for wrist and arm
__________ 4. consist of hose and stockings
__________ 5. a large ornamental pin place in front or shoulder arm
__________ 6. a shaped-head covering
__________ 7. a narrow fabric of silk or velvet
__________ 8. a flat device mounted on frame permanently
__________ 9. pieces of bones, metals, glasses of various shapes and sizes
__________10. an edge finish made up of a series of semi-circles
B. Look at the picture below. Label the accessories and accents the girl has. Write your answer in your
quiz notebook.
4.1 Sleeves
Sleeves are part of the garments that covers the arm. It may be worn short or long. Sleeves
maybe cut together with the bodice or cut separately. The pattern and design of the sleeve connotes
fashion in dress.
Sleeves constructed for adults can also be applied in children’s wear depending on the type and
kind of weather a particular dress is put on. .
Kinds of Sleeves:
180
Kimono sleeves is a type of sleeves cut together with the bodice.

There is no seam joining at the armhole.
Raglan Sleeves are

patterned and cut that
extends to the shoulder
neck junctions and
cancels the armhole
seams.
Set-in Sleeves is the foundation of all

types of sleeves and usually cut to fit
the armhole to the desired length.
181
Puff Sleeves Comes in three variations: a) full at the top and bottom,
b) full at the top fitted at the bottom, and c) fitted at the top full at
the bottom.
Butterfly sleeves is a type of

sleeve that flares out over
shoulder resembling like
wings of the butterfly.
Angel sleeves either gathered or

plain at the shoulder tip and
tapers down to the arm.
Bell sleeves is usually fitted at

the shoulder and slightly
tapers out like a bell at the
bottom. Can be worn short or
long in length.
4.2 Collars
Collar is a part of a shirt, dress, coat or blouse that fastens around or frames the neck. Among
clothing construction professionals, a collar is differentiated from other necklines such as revers and
lapels. It is being made from a separate piece of fabric, rather than a folded or cut part of the same
piece of fabric used for the main body of the garment. A revers or rever is a garment or part of a
garment that is reversed to display the lining or facing outside.
182
A collar may be permanently attached to the main body of the garment.
Types of Collars
• Standing or stand-up, fitting up around the neck and not lying on the shoulders.
• Turnover, standing around the neck and then folded or rolled over.
• Flat or falling, lying flat on the shoulders.
Types of Collars
Sailor collar (from midshipman), a flat collar

comes of several shapes in front and almost
cover the back of the wearer.
Peter Pan Collar - A flat, round-cornered collar,

named after the collar of the costume worn in
1905 by actress Maude Adams in her role as
Peter Pan and particularly associated with little
girls' dresses.
Convertible Collar - A collar designed to be worn

with the neck button either fastened or unfastened.
183
Flat collar – is sewn on the neckline either for

front only or front and back of the neckline.
Bertha Collar - A wide, flat, round collar,

often of lace or sheer fabric, worn with a low
neckline in the Victorian era and resurrected
in the 1940s
Mandarin collar - is a short unfolded standup

collar style on a shirt or jacket. Mandarin collars
start at the neckline and typically rise vertically
two to five centimeters. The style originated from
Western interpretation of dresses worn by
Mandarins in Imperial China, especially in Qing
Dynasty, as part of the traditional garment of
Manchu
4.3 Skirts
Skirt is a part of the garments worn around the waist. Skirts have been in fashion for centuries,
though their styles and patterns have got evolved with the time. And the best part about skirts is you
can wear them at any occasion, whether you have to dress formally or simply in casuals. While straight
and pleated skirts impart a sophisticated look to the women.
184
Bubble Skirt is gathered at the waist and

provided with lining to hold the hem and
gather inward the hem ends to have a full
effect.
A-line skirts
This is the basic skirt that has been
customized to a great extent. With slight flare
having rough shape of capital letter ‘A’, it fits at
the waist while slightly touching hips and
thighs; it is broader at the hem.
Flared /Balloon or
Semi-Balloon
Skirts
Actually Flared skirts
are A-line skirts,
but they have extra
flare which
beautifully covers
the fat over hips
and thighs.
Women who are
thin can also try
this out in large
prints as it will give
a voluptuous
appearance.
185
Pencil Skirts
Hugged to the body from the waist to just
above the knee, these skirts come in
stretch material and with a back slit at
times. Such skirts go only with slim and
skinny figures as they emphasize the hips
and the derriere.
Tube Skirts
Simply the longer versions of the pencil skirts,
Tube skirts fit at the hip and taper at the
hem. The visible difference is that they go
down below the knee. It suits slim figures.
Pleated Skirts
Plated skirts appear best in short length, just
above the knees. The flare of this skirt is
reduced by plates and it fits the waist. It
looks nice on both, slim and a little plump
figures.
Sheered or gathered skirt cut straight

fabric gathered to fit the waistline of the
wearer.
Peplum Skirt a skirt cut fitted from the

waist to hip1 or hip2 then combined with
flared or pleated fabrics below to give
fullness from hip down.
186
Collots it is a combination of shorts and

skirts usually loose at the bottom
Tiered skirt Tailored with two or three

layers of gathers of graduated width

Identification:
Directions: Name the following pictures or illustrations below. Write your answer in your quiz
notebook.
1. 2. 3.
4. 5.
187
4.4 Facings and interfacings
Facings are pieces of cloth attached at the edge of the garment to prevent from raveling, for
reinforcement, for decoration, and for special purposes.
Your guide probably tells you how to lay these pattern pieces out on the interfacing.
• Lay the fabric pieces out on your interfacing. The wrong side of the fabric should be against the
interfacing. If you are using fusible interfacing, have the fusible side up, toward the fabric.
• Pin the facing pieces down, and cut out the interfacing. Your facing pieces are ready for the next
step. For fusible interfacing, trim about ½″ of the interfacing away from around the edges, then
follow the manufacturer's directions to attach the interfacing.
• For non-fusible interfacing, stitch ½″ from all the edges. Trim the interfacing ¼″ from the outside
edge and close to the stitching the rest of the way around each piece.
• If your fabric is very flimsy, and you are not sure you are laying the pieces out flat, use the
pattern pieces to cut the interfacing, then pin the interfacing to the wrong side of the fabric
pieces.
Types of Facings
• Bias facing is a piece of cloth cut 45 degrees angle and attached at the edge of the
garment especially in the curve parts like necklines and armholes. This can be used in
straight edges for decorative purposes and reinforcement of fabric edge.
• Fitted facing is cut in the same shape as the part to be used. Either worn inside or
outside of the garment
• Straight facing is specifically cut for straight edges for smoother result.
Review of Lesson 4.4 Facings and Interfacings
Directions: Get a partner and examine the garments hang in the four corner of the
room. Identify which part of the garment you can see facings.
Explain the purpose of the facing as used in the garment.
Lesson 4.5 Pockets
188
How many times we have seen a pocket but did we think about its technical details. A
fashion designer and a pattern master have to keep in mind about different types of pockets as
for different garments the requirement of pockets changes. It is important that pocket size,
shape, and placement should complement the design of the garment. Pocket is a pouch that has
a closed end is usually stitched on a garment or even inside the garment. Pocket can be both
functional and decorative purpose. Pocket helps in holding and small article temporarily. It is
important that pocket size, shape, and placement should complement the design of the garment.
Patch pockets are flat pockets sewn to the exterior of a garment. They are typically
unfitted, and can come in a range of shapes and sizes. Many garments are made
with patch pockets, since they are cheap and relatively easy to install when
compared to other pocket designs. It is also possible to add patch pockets to an
existing garment, should the need arise. Since patch pockets are external, they are
also potentially endlessly configurable, which can be rather convenient.
Seam pocket is
sewn on the inside
of a garment with its
pocket opening
sewn outside of the
garments.
189
Welt Pocket is a
small, flat pocket
that is commonly
used on the
exterior and interior
breast on a man's
suit jacket, back of
men's trousers and
en's suit jacket.
Review of Lesson 4.4 Facings and Interfacings
Directions: Collect pictures of different accessories and accents for children’s wear. Label them and
paste on a short-size bond paper.
Lesson 5 Project Plan for Children’s Wear
Construction of sleeping garment is just like cooking a recipe for a party that requires careful
planning. In every task or project you have, it should be accompanied with a project plan. This serves as
a guide in making any kind of project. It contains the materials and tools to be used, design, and procedure
in making the project and the criteria for evaluating the finish output coupled with a rubrics designed by
the teacher and students.
Components of a Project Plan
12. Project Plan No. – it reflects the number of projects made by the student
13. Date Begun – date when the construction of the project starts.
14.Date Finished – the exact date when the project will be done.
15. Name of the Project – a specific description of the job.
16. Objectives - states the purpose why a project should be done. This is usually stated in three
learning domains; the cognitive, psychomotor and affective.
17. Word Study – it unlocks the terms used operationally and conceptually.
18. Tools and Equipment – are list of tools and equipment in the accomplishment of the job.
19. Materials and Supplies Needed – it is the itemized list of tools and supplies needed to produce a
project.
a. Quantity suggest the amount needed
b. Unit is the unit of measure of the quantity
c. Description is the features and characteristics of the materials and supply needed
d. Unit Cost is the selling price per quantity and unit of the materials
e. Total Cost is the total amount needed per quantity of supply and material needed,
f. Total is the over-all total cost of all the supplies and materials to be used.
190
20. Design Specifications – is the photographic representation of the project in two to five views;
front, back, right, left and top views.
21. Procedure – is the chronological step or operations involved to accomplish the project. This is
divided into two stages:
a. Preparation stage – depicts the preparation to be done before the actual execution
or performance of the operations.
b. Performance stage – the actual procedures involve in the actual making of the
project where all tools, supplies, materials and equipment intended to make the
project are ready.
22. Evaluation – the process of assessing the finished project using the identified criteria during
planning and evaluating using the prepared scoring rubrics.
Project Plan No. ___
Date Begun: ______________________ Date Finished: _______________
I. Name of the Project: -

_____________________________________________________________
II. Objectives:
_____________________________________________________________ III. Word Study:
1.
2.
3.
IV. Tools and Equipment:

1.
2.
3.
4.
5.
V. Materials and Supplies Needed:
Quantity Unit Description Unit Cost Total Cost
191
VI. Design Specifications:
VII. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage B1.

B2.
B3.
VIII. Evaluation:
Criteria for Evaluation
Note: The students can prepare a project plan and patterns based on the design of the children’s wear
created
192
Lesson 6 Body Measurements for Children’s Wear
Children’s wear requires a specific measurements achieve the designed identified by the
customers.
There is no probably no sewing activity so immediately satisfying as sewing for children. You get quick
results for one thing, because the garments have smaller dimensions. Also, more shortcuts can be taken
in techniques. Children’s garments should be constructed to survive vigorously activity and endless
washings. Other special considerations include providing room for sudden growth spurts, and planning
garment that are easy to put on. Size range charts
BABIES’
Age Newborn (1-3 6 months
months)
Weight 3-6 kg 6-8 kg
Height 17-24 inches 24-26 ½ inches
TODDLERS’
Size 1/2 1 2 3 4
Breast or chest 19 “ 20” 21” 22” 23”
Waist 19” 19 ½” 20” 20 ½” 21”
Approx. height 28” 31” 34” 37” 40”
Finished dress 14” 15” 16” 17” 18”
length
CHILDREN
Size 1 2 3 4 5 6
Breast or chest 20” 21” 22” 23” 24” 25”
Waist 19 ½” 20” 20 ½” 21” 21 22”
½”
Hip - - - 24” 25” 26”
Back waist 8 ¼” 8½” 9” 9½“ 10” 10 ½
length “
Approx. height 31” 34” 37” 40” 43” 46”
Finished length 17” 18” 19” 20” 22” 24”
GIRLS
Size 7 8 10 12 14
Breast 26” 27” 28 ½” 30” 32”
Waist 23” 23 ½ “ 24 ½ “ 25 ½ “ 26 ½”
193
Hip 27” 28” 30” 32” 34”

Back waist 50” 52” 56” 58 ½” 61”
length
CHUBBIE
Size 8½c 10 ½ c 12 ½ c 14 ½ c
Breast 30” 31” 33” 34 ½ “
Waist 28” 29” 30” 31”
Hip 33” 34 ½ “ 36” 37 ½”
Back waist length 12 ½ “ 13 ¼ “ 14” 14 ¾”
Approx. height 52” 56” 58 ½ “ 61”
6.1 INDIVIDUAL MEASUREMENT CHART for Children’s

Wear
Customer’s Name ______________________Date Taken:

_______________
Parts of the body Actual body Measurement Computed

measured measurement Needed Measurement
Shoulder width ½
Back Across width ½
Back Figure length 1
Chest width ½
Bust Circumference ¼
Waist ¼
Circumference
Front Figure length 1
Armhole ½
circumference
Sleeve length 1
Arm Circumference ½
Hip1 ¼
Circumference
Hip2 ¼
Circumference
Lap circumference ¼
Crotch/seat/rise 1
Full length 1
194
Bottom width ½
Skirts length 1
Lesson 7 Body Measurement for Children’s Wear
Shoulder width measure from the tip of the

left shoulder to the tip of right shoulder with
the tape measure passing over the
prominent bone.
Back Across Width measure from the left

shoulder arm joint to the opposite side,
approximately 4 to 5 inches down from the
tip of the shoulder.
Back Figure Length measure from the nape

to the waistline on the cord. Allow the tape
measure to hang freely.
195
Chest Width measure from the left (front)

armhole seam to the right (front) armhole
seam.
Bust Circumference measure around the

fullest portion of the bust with the tape
measure passing over the shoulder blades
running on the same level in front.
Waist Circumference measure around the

smallest portion of the waist or torso.
Front Figure Length measure from the

shoulder neck junction with the tape measure
passing over the highest part of the bust
down to the waistline.
196
Armhole Circumference measure around

the base of the arm with the tape measure
closes at the tip of the shoulder
Crotch/seat/rise This measurement is taken

in two ways. For male customer insert a ruler
on the rise and measure from the waistline to
the upper edge of the ruler.
For female customer allow the her to sit on a
flat chair, then measure at the side from the
waistline to the surface to the chair.
Sleeve Length. Measure from the tip of the shoulder to the

desired length of the sleeve
Arm Circumference this measurement is taken around the

arm where the sleeve length fall.
197
Hip Circumference. Measure around the

fullest part of the buttocks with the tape
measure closes at the side.
Thigh Circumference measure around the

fullest part of the thigh with the tape measure
closes at the side.
Leg Circumference Measure around the

leg where the short/pants full length falls.
Dress Full length Measure from the

shoulder neck joints to the desired length of
the dress
198
Skirt’s length Measure from the waistline

to the desired length.
Full length Measure form the waistline

down to the desired length of the pants.
Review of Lesson 6 Body Measurement
Directions: Using the Measurement Chart take body measurement for children ( 1 boy and 1 girl)
INDIVIDUAL MEASUREMENT CHART (IMC) for Children’s Wear

Parts of the body measured Girl Model Boy Model
Shoulder width
Back Across width
Back Figure length
Chest width
Bust Circumference
Waist Circumference
Front Figure length
Armhole circumference
Sleeve length
199
Arm Circumference
Hip1 Circumference
Hip2 Circumference
Lap circumference
Crotch/seat/rise
Full length
Bottom width
Skirts length
Lesson 8 Drafting Basic/Block Patterns for Children’s Wear
8.1 Front Blouse Sloper
Measurements Needed in Children’s Front Blouse Sloper

measured measureme Needed measurement
nt
Shoulder width 13 ½ 6½
Chest width 11½ ½ 5¾
Front Figure length 13 1 13
Bust Circumference 28 ¼ 7
Waist Circumference 24 ¼ 6
Armhole 12 ½ 6
circumference
Procedures in Drafting Front Blouse Sloper Using Measurements on IMC
1. Draw construction line by tracing

the outer edge of the Lsquare
make corner A
200
2. A – B is 2½ inches downward on
the construction line.
3. A – C is 4 inches downward on
the construction
circumference.
5. A – E is the front figure length
201
6. Square out points B – C – D – E
7. A – F on the horizontal
construction line is 1¾ inches.
8. A – G is 1/2 of the shoulder width

sway point G down.
9. G – H is 3/4 inch down on the

swayed line
202
10. Connect point H to F with a

straight line
11. Shape front neckline from point

F to B with a French curve.
12. C – I is ½ of the chest width or

½ of the shoulder measure less
½ inch
13. C – J is ¼ of the bust

circumference
203
14. Shape front armhole from

points H – I – J with a french
curve.

circumference
16. Connect points K - J with

straight line.
17. K – L is ¼ inch upward on line

KJ
204
18. Connect point L to point E with

a slight curve
19. Cut front bodice sloper along lines B – C – D – E – L - J – I – H –

F-B
Review of Lesson 8 Drafting Pattern for Front Blouse Sloper
A.Directions: Based on children’s body measurement taken in the previous lesson draft the front
blouse sloper.
Body Measurements Front blouse sloper
Rubric in Drafting the Pattern for Front Blouse

Item 15 10 5 Score
205

and not
correctly used.
Used the Used the Failed to use

correct method. correct method. the correct
Procedures Procedures method.
Procedure
correctly incorrectly Procedures not
followed. followed. followed.

drafted.
pattern ahead pattern on time. pattern more
of time. than the
allotted time.
8.2 Back Blouse Sloper
Measurements Needed in Drafting Children’s Back Blouse Sloper

measured measurement Needed measurement
Shoulder width 13 ½ 6½
Back Across width 12 ½ 6
Back Figure length 13 1 13
Bust Circumference 28 ¼ 7
Armhole 12 ½ 6
circumference
Procedure in Drafting Back Blouse Sloper
206
1. Draw construction line by tracing

the outer edge of the Lsquare
make corner A
2. A – B is ½ inch downward on
the construction line
3. A – C is 3 inches downward
on the construction
circumference.
5. A – E is the back figure length
6. Square out points B – C – D – E
7. A - F on the horizontal
construction line is 1¾ inches.
207
8. Shape back neckline from point

F to B with a French curve.
9. A – G is 1/2 of the shoulder width

sway point G down.
10. Shape back neckline from F to

B with a French curve
11. G – H is 3/4 inch down on the

swayed line
208
12. Connect points F H with a

straight line.
13. C – I is ½ of the back across

width or ½ of the shoulder
measure less ½ inch
14. C – J is ¼ of the bust

circumference
15. Shape back armhole from

points H – I – J with a french
curve.
209

circumference
17. Connect points K - J with

straight line.
18. K – L is ¼ inch upward on line

KJ
19. Connect point L to point E with

a slight curve
20. Cut back bodice sloper along lines B – C – D – E – L - J – I – H –

F–B

Directions: Based on children’s body IMC, draft the back blouse sloper.
210
Body Measurements back blouse sloper.
Rubric in Drafting the Pattern for Back Blouse

Item 15 10 5 Score
Tools
appropriate
and not
correctly used.
correct correct the correct
method. method. method.
Procedure Procedures not
Procedures Procedures
correctly incorrectly followed.
followed. followed.
drafted.
pattern pattern on time. pattern
ahead of more than
time. the allotted
time.
211
8.3 Flared Skirt
Measurements Needed in Drafting Pattern for Flared Skirt

Skirt Length 14 1 14
Procedure in Drafting Patterns for Flared Skirt.
1. Draw a construction line by

tracing the outer edge of the
Lsquare Mark corner point A.
2. Of the waist circumference less

1 inch
3. A – C is ¼ of the waistline less

1 inch
4. Sway
point B to
point C
using a
broken
lines with
point A as
reference
212
5. Check ¼ of the waist

measurement on the dotted
lines from point B to C
6. In cases that measurement of

line B –C is not equal to ¼ of
the waist measurement,
Adjust towards point A if
measurement is more than
what is needed.
Adjust far from A if
measurement is less than what
is needed
7. B – D is the skirts length
8. Sway point D to the opposite side of the construction line with point A
as reference.
213
9. Connect dotted lines using the

free hand
Review of Lesson 8.3 Drafting Pattern for Flared Skirt
Directions: Based on children’s body measurement taken in activity number

11 draft
Pattern of flared skirt.
Body Measurements Flared skirt
Rubric in Drafting the Pattern for Flared Skirts

Item 15 10 5 Score
214

and not
correctly used.

Procedure

drafted.
of time. than the
allotted time.
8.4 Peter Pan Collar
Procedures in Drafting Peter Pan Collar
1. Trace the neckline of the of the front

blouse pattern with the tip of the
shoulder overlap of 3/8 inches.
215
2. Smoothen the
front and back
necklines and
transfer points B an F
3. Determine the
collar width from points
B and F outward. (3
inches for children)
4. Mark collar width from

the center back of the
pattern, to the shoulder,
to the front opening
using the broken lines
216
5. Shape the front collar

with a French curve or a
freehand
6. Cut peter pan collar on the smoothened

neckline and on the collar width from back
to front part.
Directions: Based on children’s front and back bodice sloper draft a peter pan collar.
Body Measurements Peter Pan Collar
217
Rubric in Drafting the Pattern for Peter Pan Collar

Item 15 10 5 Score
and not
correctly used.

Procedure

drafted.
of time. than the
allotted time.
8.5 Sailor’s Collar
Procedures in Drafting Pattern of Sailor’s Collar
218
1. Trace the neckline of the back and front

blouse pattern with the tip of the
shoulder overlap of 3/8 inch.
2. Transfer letter B and F of back pattern

and point B of front pattern.
3. F – 1 is the desired depth of the front

neck
4. Smoothen the back and front neckline
5. F - 2 is 5 inches or as desired collar width

on the shoulder
219
6. B – 3 is 6 inches upward
7. Square point F outward
8. 3 – 4 is 6 ½ inches outward
9. Connect point 4 to 2 with a slight curve
10. Shape front collar from 2 to 1 with a

curve or hand manipulation.
11. Cut pattern from point B - F– I – 2 – 5 –

3–B
220
Directions: Based on children’s front and back bodice sloper draft a sailors collar.
Body Measurements Sailor’s Collar
Rubric in Drafting the Pattern for Sailor’s Collar

Item 15 10 5 Score
appropriate
and not
correctly used.
correct correct the correct
method. method. method.
Procedure Procedures not
Procedures Procedures
correctly incorrectly followed.
followed. followed.
drafted.
221
of time. than the

allotted
time.
8.6 Convertible Collar
Measurements Needed in Drafting Pattern of Convertible Collar

Neck Circumference 13 ½ 6 1/2
Procedure:
1. Draw a construction line mark corner point
A
2. A – B is 2½ inches down
3. B – C is ½ of the neckline circumference.
4. Square up point C
5. D is intersection
6. D - E is 1 inch outward on line A - D
7. F is 3/8 from E outward
8. Connect F to A with a slight curve
9. G from C is ¼ inch down
10. Connect G to B slight curve
11. Connect G to F straight line
Directions: Based on children’s front and back bodice sloper draft a sailors collar.
Body Measurements Convertible Collar
222
Rubric in Drafting the Pattern for Convertible Collar

Item 15 10 5 Score
and not
correctly used.
Procedure

drafted.
of time. than the
allotted time.
Lesson 9 Manipulating Basic/Block Pattern for Children’s Wear
Providing room for children to grow

Three ways are described on this page to build some provision for sudden growth spurts
into children’s garments.
223
1. A hem tuck introduces extra fabric

into a skirt or dress hem without
adding too much extra bulk. To
make a hem tuck, add ¾ inch to 4
inches of extra hem allowance
when cutting garment. Mark
hemline, then make the tuck within
hem allowance, far enough above
the hem edge so that it will not
show. Sew tuck with the most
easily removed stitch on your
machine. Complete the hem;
press tuck toward hemline. To
lengthen garment, release the tuck
stitching and either restitch a
narrower tuck or use all of the tuck
allowance.
2. A bodice tuck is a way of providing

extra length in the waist-to-shoulder
area. This tuck is made before the
zipper is inserted; to release the
tuck, zipper stitching must be taken
out to the bottom of the placket.
The extra length that the released
tuck adds to the center back seam
will make the zipper space too long.
To remedy this, sew up a part of
the seam at placket bottom equal to
tuck depth. Restitch zipper. To
make a bodice tuck, add a 1 ½ inch
to bodice length; cut out garment.
On the wrong side of each bodice
section, mark a tuck foldline ¾ inch
in above waist seam. Stitch bodice
to skirt, then fold along tuck foldline
and press. With skirt up, baste
trough waist seam and folded
bodice. Machine-stitch just below
waist seamline, using most easily
removed stitch. Press tuck and
seam allowances toward bodice.
224
3. An expandable waistline can be

made for any garment by adding
extra fabric to the waistline, then
controlling the fit with elastic. This
is particularly suited to children’s
wear because it makes movement
less constricted as well as allowing
for growth. The elastic is generally
put only in the back waist seam.
Omit any in the back bodice dart in
the back bodice or skirt.
To make such a waistline, first add
½ inch into the side seams at waist,
front and back, on bodice and skirt.
Taper to original cutting line at hip
and chest.
Construct garment as usual; it will
be about 1 ½ inch too big in the
waist. Sew a casing of bias binding
to the back waist seam allowances;
insert a length of narrow elastic;
secure elastic ends at center back
and side seams.
Steps in manipulating basic/block pattern
9.1 Front Blouse

Measurement Needed in Manipulating Blouse pattern

Blouse Length 1
Hip Circumference ¼
Procedure
225
Lay
Front Trace
blouse the front
sloper in basic
a pattern pattern
paper
Transfer B to 1 is
points B – the
F–H–I– blouse
J- L length
Square out
point 1.
J – 3 is
1 inch
1 – 2 is ¼ of
outwar
the Hip
d
circumferenc
e
Shape
front
Connect
armhole
point 3 to 2
from point
with a
J to 3
slight
with a
curve
French
curve
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ne
Provide placket, seam and hem allowance:

Font Placket – 2 inches,
Neckline - ¼ inch
Shoulder and side seam ¾ inch
Armhole seam – ½ inch
Hem – 1 ½ inches
9.2 Back Blouse
Manipulate the back

Lay back
blouse pattern
pattern on
following the same
the pattern
process in front
paper
blouse.
9.3 Puff Sleeves
Divide the set – in sleeve pattern

into parts and spread on pattern
paper to provide allowance for
fulness
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Transfer point k of Set –in sleeve

pattern
Locate the center of the sleeve

arm circumference and mark X
1 from X is 1 inch lower. Connect

1 to K slight curve
A. Directions: List down the tools and materials needed in manipulating patterns. Prepare
the back and front slopers as output of the previous activities and manipulate the pattern based on the
design of children wear in your project plan.
Tools and Materials needed:

Back and front sloper
Pattern paper
Pencil
Tape measure
Pins
L-square
Curve rule
B. Directions: Contrast hem tucks from bodice tucks
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_____________________________________________________
_____________________________________________________
______________________________________________________
Rubric in Manipulating Pattern

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and not
correctly used.
Procedures .Procedures Failed to follow

Procedure correctly incorrectly the correct
followed. followed. procedures
Pattern All pattern were Some pattern All pattern were
correctly were not manipulated
manipulated inaccurately correctly and
based on the manipulated accurately.
planned based on the
garment design planned
garment design
pattern pattern pattern
manipulation manipulation on manipulation
ahead of time. time. more than
the allotted
time.
Lesson 10 Techniques in Cutting Final Pattern
10.1 Front Bodice
229
Cut the dotted lines of the front bodice final pattern
10.2 Back Bodice
Fold at the center back
230
Cut at the dotted lines Open the pattern and cut excess
paper following the dotted lines on
center back.
Review of Lesson 10
Directions: Prepare the output of the previous activity on “Pattern Manipulation” cut the
final pattern for children’s wear.
Rubric in Cutting the Final Pattern

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appropriate
and not
correctly used.
Procedures in .Procedures in Failed to follow
cutting the final cutting the final the correct
Procedure pattern pattern procedures in
correctly incorrectly cutting the final
followed. followed. pattern
Speed Finished cutting Finished cutting Finished
the final the final pattern cutting the
pattern ahead on time. final pattern
of time. more than the
allotted time.
Lesson 11 Laying Out Pattern Pieces
Blouse
5. Lay large pieces of pattern first

on the cloth
6. Check that the center fold

symbol fall on the folded edge
of the fabric.
7. Lay out pattern for facing.
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Flared Skirt
1. Fold the fabric in 45°,

warp and weft
meeting
2. Sleeve pattern may be laid

open or close to the fabric
.
3. Lay - out waistband pattern
along the woof
Preparing bias facing:

Fold the fabric 45° . Determine the facing needed and mark directly
on the cloth
Note : Lay out the pattern pieces on the fabric assuring that the center fold symbol is place o the
folded part of the fabric
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Pin the pattern

Tips:
• Pointed end of pin should be place under the fabric
• Pins should be outside direction inside the stitching line
Use minimal number of pins, just place on the corners of the pattern
Review of Lesson 11
Directions: 1. Prepare fabric suited for the dress design you have
made in previous activity on project planning.
2. Prepare the cut final patterns, tools and materials needed in laying out patterns.
3. Lay and pin patterns on the cloth.
Rubric in Laying Pattern on the Cloth

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Tools and correctly and correctly are
and not
correctly used.
Procedures in .Procedures in Failed to
laying out laying out follow the
patterns on the patterns on the correct
Procedure cloth correctly cloth procedures in
followed. incorrectly laying out
followed. patterns on
the cloth
cutting the cutting the final cutting the
final pattern pattern on final pattern
the allotted
time.
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Lesson 12 Cutting fabrics
. Back blouse
Cut back blouse from neckline,

shoulder to the hem.
Move around the table while

cutting the fabric
Front blouse
Lay your hands on the fabric while

cutting.
Facing
Facing is cut where it is intended

to be used following the pattern
symbols provided.
Bias Facing
Bias Facing is cut 45° angle
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Flared Skirt
Cut cloth following the final pattern
Puff sleeves
Cut fabric following the final

pattern
Collar
Cut
fabric
followin
g the
final
pattern
Waist Band
Cut skirt waist band along the

pattern
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Pocket
Patch pockets comes in several

shape and size
Recheck the completeness of the garment parts after cutting the

fabrics
237
Review of Lesson 12
Directions: 1. Check the completeness of the patterns vis-à-vis dress design
2. Prepare the cutting tools and materials needed.
3. Start cutting fabric from the biggest part of the garment to the smallest part.
4. Arrange and bundle the parts.
Rubric in Cutting Fabrics

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and not
correctly used.
Procedures .Procedures Failed to follow
in cutting in cutting the correct
Procedure fabrics fabrics procedures in
correctly incorrectly cutting fabrics
followed. followed.
cutting cutting fabrics cutting fabrics
fabrics ahead on time. more than the
of allotted time.
time.
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Lesson 13 Transferring of Marks to the Fabric
Trace the seam line into the fabrics
Review of lesson 18
Directions: Prepare marking tools and materials

Transfer the pattern markings on the fabric needed in assembling
the garment.
Rubric in Transferring Marks Onto the Fabrics

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Tools
and not
correctly used.
239

transferring transferring follow the
marks onto the marks onto the correct
Procedure fabrics fabrics procedures in
correctly incorrectly transferring
followed. followed. marks onto
the fabrics
transferring transferring transferring
marks onto marks onto the marks onto
the fabrics fabrics on time. the fabrics
ahead of time. more than
the
allotted
time.
Post Test III
Multiple Choice:
Directions: Read the statements carefully. Choose the letter that that best describes the statements.
Write your answer in your quiz booklet.
1. Which of the following is a characteristic of children dresses?

a. Washable c. Bright Color
b. Expensive d. Shiny
2. Colors which attract children in choosing their dress.

a. Warm Color c. Bright Color
b. Hot color d. Dull Color
3. Children like to choose dresses with ______ to keep their things.

a. Collar c. Trimmings
b. Sleeve d. Pocket
4. A part of the garment which is more functional and decorative for children’s dress?
a. Seam c. Shoulder Straps
b. Hem d. Pockets
5. A thin cotton fabric usually striped and worn during spring and summer?
a. Seersucker c. Charmeuse
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b. Nylon d. Geogette
6. A fabric characterized by parallel chords that resembles a cheek?

a. Linen c. Rayon
b. Pique d. Silk
7. A thin plain weave sheer fabric made from silk?

a. Netting c. Tull
b. Chiffon d. Organza
8. A fabric of plain weave, usually made from cotton, work on rayon often produce with a floral design?
a. Linen c.Organza
b. Chiffon d. Challis
9. Which part of the garment covers the arm and protect from heat?
a. Sleeve c. Shirt
b. Pocket d. Collar
10. A type of sleeve with no seam joining at the shoulder and cut together on the bodice
a. Set in c. Puff
b. Kimono d. Angel
11. The following are variations of puff sleeves, EXCEPT:

a. Full top and Bottom
b. Full at the top and fitted at the bottom
c. Fitted at the top and full at the bottom
d. Fitted at the top and bottom
12. Which of the following is the foundation of all types of sleeves?

a. Angel sleeves c. Set-in Sleeves
b. Kimono Sleeves d. Butterfly sleeves
13. This type of sleeve is patterned and cut extending to the shoulder neck junctions.
a. Bell c. Kimono
b. Butterfly d. Raglan
14. Collar is the part of the T-Shirt dress or coat fastened around the _____.
a. Neck c. Arm
b. Leg d. Waist
15. Which of the collars below is popularized by midshipmen?

a. Bertha c. Convertible
b. Sailor d. Peter Pan
16. The collar that can be worn with the neck button either fastened or unfastened.
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a. Convertible c. Flat
b. Peter Pan d. Mandarin
17. Mandarin collar is worn unfolded or stand-up style on shirt or jacket.

Where did this collar was originated?
a. America c. China
b. Europe d. London
18. A part of the garment around the waist.

a. Pocket c. Collar
b. Skirt d. Sleeves
19. The type of fabric suited for children’s weak.

a. Cotton c. Nylon
b. Polyester d. Silk
20. Which of the following features will you consider in designing children’s wear that suggest provision
for their increasing height?
a. Growth c. Age
b. Activity d. Sex
21. Where is the appropriate placket location for children’s dress if you want to promote self dressing
and eliminate bathroom accidents?
a. Back c. Side
b. Front d. Shoulder
22. What type of buttons is easier to grasp when opening or closing the placket?
a. Plain Buttons c. Decorative buttons
b. Shanks Buttons d. Covered Buttons
23. When choosing buttons for children’s dress, prefer buttons without
________ to facilitate easy opening of the placket
a. Irregular edges c. Rounded Edges
b. Flattened Surface d. Full Surface
24. Feature of a properly pressed children’s wear .

a. Creases in many places c. Shine on the fabric
b. Pressed Seams d. Stretched Seam allowances
25. Which of the following is NOT an essential item needed for pressing?
a. Hangers c. Iron
b. Ironing Board d. Press Cloth
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You are in the process of assembling your children’s wear. Go on and feel
the warm air of success!
QUARTER 1V
LESSON 4 PRODUCE CHILDREN’S WEAR
Pre-Test IV
A. Multiple Choice
Directions: Read and understand the statements carefully. Choose the letter that best
describes the statement. Write your answer in your quiz notebook.
1. 1. The most common fastener used in different types of garments.

a. Snaps c . buttons
b. Zipper d. Hook- and- Eye
2. In attaching snaps, the first thing is to is to fasten thread by making two ore
three stitches on the mark.
a. True c. Both are correct
b. False d. None of the above
3. Buttons cannot be used as decorations.

3. Another name for zipper.

a. snaps c. teether
b. fastener d. slide fastener
4. Belts and neck openings use hook- and- eyes.

a. True c. Maybe
5. Fasteners which are made with metal teeth or coils of nylon or polyester that mesh together.
a. Buttons c. snaps
b. Hook-and-eye d. zipper
B. Sequencing
Directions: Arrange the following steps or procedures in attaching buttons. Write numbers 1, 2, 3, and
so on…Write your answer in your quiz notebook.
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_____ 1. Remove pin. Insert needle in between the thread and fabric.
_____ 2. Determine and mark the location of the buttons in the placket.
_____ 3. Draw thread to the wrong side of the fabric and fasten.
_____ 4. Bring n3eedle up through the button, then to the other hole back to the fabric. Make several
stitches.
____ 5. Fasten thread on wrong side. Make a small stitch where the button is to be sewn.
C. Matching Type
Directions: Match Column A (Descriptions) with Column B (Trimmings)). Write the letter of the answer
A B
1. A flat woven zigzag braid in a. Gathers
mercerized cotton or rayon.
2. An edge finish made up of A b. scallop

series of semi-circles.
3. A fastening which extends beyond c. Pocket

the finish edges used on closings
with no lap. d. Ribbons
4. Fullness shirring consist of three or e. Applique

more rows of gather.
5. A narrow fabric applied to a f. Embroidery

garment to form a container.
6. A separate design for petals, g. Loop

leaves or figures which is cut and
applied to another surface. h. Rickrack
7. A piece of fabric applied to a i. Lace

8. An open work fabric made with j. Bias

bobbins, needles or hook and can
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be hand or machine made. k. Frog
9. Loop fastening made of braid or cording. L.Binding
10. A bias strip used to decorate an edge. m.Bands
D. Identification
Directions. Identify what accessories that are used in dresses are being described in the statement.
Write your answer in your quiz notebook.
__________ 1. High-heeled or flat-closed footwear fitted for comfort, freedom and style.
__________ 2. It consists of hose and stockings.
__________ 3. A shaped-head covering having crown and brim.
__________ 4. A piece of cloth cotton, linen or silk usually square and decorated with lace and
embroidery.
__________ 5. A flat device mounted on frame permanently.
__________ 6. A large ornamental pin placed in front of shoulder arm.
__________ 7. An ornamental chain for wrist and arm.
__________ 8. Strips of fabric, ribbon or bias applied to edges or set into garments to finish or
decorate.
__________ 9. Piece of bones, metals, glasses of various shapes having shank or holes.
__________10. An ornamental needlework consisting of designs, work on fabric by hand or machine.
Lesson 1. Pre-Assembling Procedure
Points to Remember in Pre- Assembling Garments
1. Sew continuously. Butt pieces end to end and stitch from one seam to another. Cut them
apart when you get to the pressing station.
2. Sew as many seams as possible before pressing. Stop sewing only when you have to cross
another seam that should be pressed open first.
3. Perform similar operations at the same time and sew flat. Sew the details first. Set these
aside. Then start assembling the garment. Complete as much as you can before joining side
seams. Sewing in a tube is more time consuming than sewing flat.
4. Sew buttonholes first and use them to mark the location for buttons. Cut buttonholes open
with a punch instead of a seam ripper.
5. Don’t pin. Pins slow you down, distort your seams and damage your needle. Instead use both
hands to sew. Match the corners at the beginning and end of your seams then keep your raw
edges matched as you sew.
6. Press. Press all your seams open on woven garments before any other pressing or stitching
over them. Use a steam iron. Even better, use a clapper to push the steam into the seam for a
clean, flat look. Use a press cloth on the garment’s right side.
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7. For the final press, press the details first — collars, cuffs, and waistbands — then sleeves
then the body. Press buttons from the wrong side. Let pressed areas cool before moving on to
the next section.
8. Fuse a piece of fabric large enough for all your interfaced pieces then cut those.
Lesson 2. Techniques in Pressing Children’s Wear
Draper said that iron should be as important as our sewing machine. Why? It is because, as
we sew, we are pressing our garment. Like in the previous lesson, sewing the sleeping garment, the
procedure employed in it is the same as in sewing the children’s wear. To press the parts of the
garment is important. The seams you sew give your garments their shape. Proper pressing molds
this shape and it gives our sewing a finished look.
Wrinkles and creases in the fabric must be pressed out to save time, plan your stitching and
pressing in units. Remember not to sew across a seam until it is pressed. Never press over a pin,
and press in a lower temperature,
Techniques in Pressing Seam

1. Press the seam flat along the stitching line to blend the stitches.
2. Press the seam allowances open or to one side, as indicated in the pattern instructions.
3. Press the seam or detail area from the right side. If necessary, protect
the fabric with a press cloth.
Pressing Equipment Needed
- Flat Iron
- Sturdy ironing board with a clean, padded surface
- Fabric guide for choosing the proper temperature setting.
- Seam roll for pressing seams open on long cylindrical sections
- Press cloth is a piece of fabric used when applying more heat than you usually would to protect
your fabric from direct contact with a hot iron to prevent scorching the fabric.
- Hams and sleeve rolls are very firmly packed pillow type curved objects commonly used if you
will be sewing clothing and pressing baby clothes or doll clothes.
- Presser bars are sticks of wood with a flattened end. They work well to hand press small seams
on craft objects or when an area is totally impossible to reach with an iron.
Review of lesson 2.1
Directions: Enumerate and give uses of the different pressing tools and equipment?
1.
2.
3.
246
4.
5.
1. Gather and check the garment parts based on the project design in your project plan.
2. Arrange in a garment bag according to the processes involved in assembling children’s
wear.
3. Check and prepare tools, materials and equipment needed.
Rubric in Preparing Pockets

Item 15 10 5 Score
and not
correctly
used.
preparing preparing follow the
pockets pockets correct
Procedure
followed. followed. preparing
pockets
preparing preparing preparing
pockets pockets pockets
ahead of on time. more than
time. the
allotted
time.
Perfect score 15 points
Lesson 3. Preparing Parts for Sewing
247
The pattern marks that you transferred into the cloth will give the sewing steps needed to make
your children’s dress. The sewing steps may be numbered and called “Units” which is a section of the
garment. Each unit includes the construction steps to do before going on to the next unit. Soon you will
be joining the completed units into a finished garment. Remember that the section may require
staystitching, sewing darts and seams. Construction markings will show you the steps to complete each
unit or section.
GOOD PLANNING IS ONE KEY TO SEWING SUCCESS!
Lesson 4 Unit Method of Assembling Children’s Wear
1. Back and front bodice

• Overlock the raw edge of the armhole to prevent raveling.
2. Sleeves
• Overlock raw edges of the armhole
• Join the side seam using the french seam Fold and machine sew 1/8 hem allowance
Fold on the hem allowance and press.
• Hand overcast the hem
3. Facing s
• Overlock raw edges
• Join the shoulder seam
• Sew facing hem
4. Patch Pockets
Lay pocket on the table and

gather the top opening
248
Attach bias piping at the top

opening of the patch pocket
Review of lesson 4
Directions: Check on garment parts that need to be assembled before sewing the entire dress and
sew individual parts.
Rubric in Preparing Pockets

Item 15 10 5 Score
and not
correctly used.
preparing preparing follow the
pockets pockets correct
Procedure
followed. followed. preparing
pockets
249

preparing preparing preparing
pockets pockets on pockets
the
allotted
time.
Lesson 5. Assembling Children’s Dress
Procedure Sewing the Puff Sleeves
Gather at the arm of the sleeves Check to obtain ½ of the arm

circumference
Gather at the armhole of the sleeves Check to adjust to meet ½ of armhole

circumference
250
Prepare the bias facings Attach bias piping at the lower part of
the sleeves
Fold and sew to finish the edge Join side seam of the sleeves
Procedure in sewing Blouse
Over lock the parts that ravels Join the shoulder seam
251
Sew outer part of the collar on the Make a slash at the outer edge
wrongside
Reverse collar and baste to the Join shoulder seam of facing

neckline
Attach facing to the neckline Make slashes on the neckline
252
Apply top stitch to neckline facings Fold and sew facing edge
Join the side seams Attach the sleeves
Sew the blouse hem Baste and overcast facings
Determine buttonholes distances Mark buttonholes
253
Sew buttonholes Attach Buttons
Procedure in sewing flared skirts
Join the side seam Attach the slide Gather the waistline
fastener
Attach waistband Mark the stitchline Adjust gathers and

stiffener check the waist
measurement
254
Attach one side of the Reverse and sew Sew skirts hem
band to the waist finally the waistband
Attach hook and eye Full view
Review of lesson 5
Directions: Assemble the children’s wear based on the design and procedure reflected in the project
plan.
Rubric in Assembling Children’s Wear

Item 15 10 5 Score
255

and not
correctly used.

assembling assembling follow the
children’s children’s correct
Procedure wear wear procedures in
correctly incorrectly assembling
followed. followed. children’s
wear
assembling assembling assembling
children’s children’s children’s
wear ahead of wear on wear more
time. time. than the
allotted time.
Lesson 6 Finishing touches
Overcast/Sew the Facing
c. Press the facing

d. Overcast the facing
Hemming the Children’s Wear

d. Mark the hemline with the placket on reverse fold
e. Sew edge of the hem using the sewing machine
f. Baste the final hem and sew either by sewing machine/hand sewing
Trimming Techniques for Children’s Wear
256
Trim excess thread and cloth fro m the finished garments to keep
it neat and clean
Review of lesson 6
Directions: Recheck the dress design and apply finishing touches then sew the
hem based of the body measurement of your client.
Rubric in Applying Finishing Touches in Children’s Wear

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assembling assembling follow the
correctly incorrectly assembling
wear
assembling assembling assembling
allotted time.
Lesson 7 Fasteners
In buying your clothes, do you consider the kind of fastener that is attached into it? What different
kinds of fastener do you have on your clothes? Which ones are easiest to use? Which ones do you
think look best in your clothes?
In constructing the children’s wear, the safety and comfort of the children must be considered.
The best fastener suited for the children’s wear not just brings beauty in the dress but it must be easily
fastened or unfastened. Some are examples of fasteners:
Types of Fasteners
Buttons
Buttons are the most common fastener used in
different types of garments. Buttons are those
with shank and with 2 or four holes. They are
used as fastener or decorations.
Ways of attaching Buttons
1. Square
2. Parallel
3. Cross
4. Arrow head
5. Common way
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Snaps
Snaps are used on flat surface where
there is a little stain. These are
commonly used for baby dresses.
Zipper
Zipper, otherwise known as a slide fastener, is
used to close-openings in many different types
of garments. It is mostly used in skirts and
pants. Zippers are made with metal teeth or
coils of nylon or polyester that mesh together.
Hook-and-Eye
Hook-and-eye is used to fasten opening
which has considerable strain. Belts and
neck openings use hook-and-eyes.
There are two kinds of eyes – the round
and straight. The round eye is used
where the edges of the opening just
meet, while the straight eye is used on
edges laps. Sometimes a thread loop is
used on a straight eye if a very flat
closing is desired.
259
Special Of
111 222 333 444
444
260
261
Lesson 8 Attaching Fastener
In attaching the fastener into the garment, it must be securely and neatly sewed. Fasteners
must be in place otherwise children might be upset and will not wear the garment anymore.
Review of lesson 7
Directions: Look at the children’s wear design you made, choose fastener that best fit to the design.
Explain Why?
________________________________________________________________________
_________________________________________________________________________
Marking and Making of Button Holes
a. Determine the placket location of the buttonholes

b. Mark distances of required button holes
c. Measure the size of the button
d. Mark intended slit for button holes
e. Make a worked button holes
Steps in making worked buttonholes
1. Mark the buttonholes.
2. Make the machine stitching

around the mark.
3. Cut the holes with a pair of

sharp scissors
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4. Make the buttonholes from

right to left. Start at the side
nearest you. Make a circle
with the thread at the point
where the next buttonhole
stitch is to be made. Hold the
lower edge of the circle with
the thumb. Insert the needle
under the cloth and pull the
needle upwards. Make
several buttonhole stitches
up to the end
5. When the other edge is
reached, start making the
fan. Make about 5-7 stitches
to make the rays of the fan.
6. Continue making the

buttonhole stitches up to the
other end. Finish end of the
buttonhole by making two bar
threads directly across the
end. Work blanket stitches
closely over them. Fasten
threads at the back.
Attaching buttons
1. Determine and mark the

location of the buttons in the
placket.
2. Fasten thread on wrong side.

Make a small stitch where the
button is to be sewn.
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3. Place a pin on top of the

button and sew over it. A
stem is placed so that there
will be space for fabric under
the button when the garment
is buttoned. Bring needle up
through the button, then to
the other hole back to the
fabric.
Make several stitches.
4. Remove pin. Insert needle in

between the thread and
fabric. Wind thread around to
make a stem or shank. Draw
thread to the wrong side and
fasten.
5. A button with a shank can be

attached like a flat button,
except that the needle is
inserted under the hole on the
other side of the button.
These buttons should not be
sewn too closely to the
garment if these are to be
used as fasteners.
Attaching Snaps
1. Fasten thread by making two

or three stitches on the mark.
2. Make overhand or buttonhole

stitch on each hole.
264
3. Continue making stitches on

the four holes. Fasten on
the
wrong side
Review of lesson 8
Directions: Attach the fasteners to the children’s wear following the steps discussed in this lesson.
Rubric in Attaching Fasteners

Item 15 10 5 Score
and not
correctly used.
attaching attaching follow the
fasteners fasteners correct
Procedure
followed. followed. attaching
fasteners
attaching attaching attaching
fasteners fasteners on fasteners
ahead of time. time. more than the
allotted time.
265
Lesson 9 Pressing Finished Garment
How to Iron Clothes
Most people do not enjoy ironing clothes. In fact, it is widely considered to be an unavoidable chore
by most. However, the reluctance of many to iron clothes is simply caused by a failure of
understanding how to iron clothes properly. Learning the right steps to ironing clothes should make
the process a bit easier for you.
Steps in ironing clothes
• plug the iron in
• adjust it to the correct setting
• allow it to preheat. You will know your iron is ready for use if it sizzles when you
spray a bit of water on it.
• Locate the tag on the garment you are preparing to iron. It will provide you with
information about the material.
Some clothes, you will find, should not be ironed. Others have a very low tolerance for heat,
so you'll have to iron them at a gentle setting. Use high heat for cotton and linen. Cotton mixes and
wool are ironed on a medium level. Use a low setting for silk, nylon, polyester, and other like fabrics.
If you are using a steam iron, make sure there is the proper amount of water inside.
When you actually begin to iron, take your time to ensure the garment has been stretched flat
across the ironing board. This will save you some time in terms of re-ironing wrinkles that you put in.
As you iron, make sure to iron clothing evenly with smooth, careful strokes. Always remember to keep
the iron moving. Stopping at any point could burn your clothing. How to Iron Shirts
• Start the process by ironing the collar. Stretch the back of it across the flat
surface of the board. Run the iron over the back of the collar several times until
you are sure it is correctly pressed. Turn the shirt over and handle the front of the
collar.
• Move to the sleeves of the garment. You need to be sure to iron the back of the
sleeves first, then move to the front of the sleeves. Start by stretching the larger
part of the sleeves across the point of the ironing board. Iron all the way around
the back of the sleeves, then move it toward the sleeve front until you have
ironed the circumference of the sleeve. Stretch the lower back of the sleeve
across the large, flat surface of the ironing board. Iron toward the cuffs. Flip the
shirt over and do the front, making sure to take careful, short strokes.
266
• When you get ready to handle the rest of the shirt, lay it as flat as possible on the
ironing board. Work from one side to the other slowly smoothing out the wrinkled
spots as you go.
• Hang the shirt directly after you finish ironing. Be sure to button the top and
center buttons.
How to Iron Dresses
• Begin by stretching the skirt portion of the dress across the point of the ironing board. If you are
working with pleats, start at the bottom and work toward the top. Work your way around the skirt
with strong, fast strokes. If the top of the dress won't stretch across the point of the ironing
board, smooth it as flat as possible across the large, flat surface of the board. Start with the back
and work your way to the front. On each side, be sure to work from the top down.
• Hang the dress as soon as possible after you iron it. Try not to wear the garment for a few hours,
as it will be more prone to wrinkling again once you've heated the fibers.
Ironing clothes is really a delicate process. The iron produces so much heat that if you are not
sure how to iron clothes, you should really get educated on the process before you start. It’s not as
simple as flopping a shirt on an ironing board. It takes effort to learn how to iron like a professional.
For some people it takes a long time, but if you learn how to iron, you can cut the time you spend
ironing
Review of lesson 9
Directions: Accomplish the table below that will guide you to press your output in
preparation for the next activity.
Name of project
Type of fabrics used

Required heat
temperature
1.
2.
Pressing materials, tools
3.
and equipment needed
4.
5.
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Lesson 10 Application of Heat and Pressure
Pressure Applied when Pressing
Generally, light to moderate pressure is sufficient if your iron is at the correct temperature. Too much
pressure can cause the cut edge of a seam to make a "bad impression" on the right side of your fabric.
If you use too much pressure when working on velvet or other nap fabrics (corduroy, velour, etc.) you
may flatten the nap. Also, if you press too hard on the right side of your fabric you may scorch it or
make shine marks. Using a press cloth can help to avoid this problem. It's also a good idea to "test
press" on scraps of your fabric to be sure you are using the optimum iron temperature and pressure.
optimum iron temperature and pressure. See table below.
Iron the children wear from the collar to the bodice. Lastly iro
Review of lesson 10
Directions: Prepare tool, materials and equipment in ironing,

Iron finished children’s wear following the suited fabric heat requirement.
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Rubric in Pressing Children’s Wear

Item 15 10 5 Score
and not
correctly
used.
pressing pressing follow the
correctly incorrectly pressing
wear
pressing pressing pressing
allotted time.
Lesson 11 Evaluation of Finished Children’s Wear
Inspection:
Open seams, wrong stitching techniques, nonmatching threads, and missing stitches, improper creasing
of the garment, erroneous thread tension and raw edges are some of the sewing defects which can affect
the garment quality adversely. During processing the quality control section needs to check each
prepared article against these defects.
· Final Inspection:
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For the textile and apparel industry, product quality is calculated in terms of quality and standard of fibers,
yarns, fabric construction, color fastness, designs and the final finished garments. Quality control in terms
of garment manufacturing, pre-sales and posts sales service, delivery, pricing, etc are essential for any
garment manufacturer, trader or exporter. Certain quality related problems, often seen in garment
manufacturing like sewing, color, sizing, or garment defects should never be over looked.
Sewing defects
Open seams, wrong stitching techniques, nonmatching threads, missing stitches, improper creasing of
the garment, erroneous thread tension and raw edges are some of the sewing defects which can affect
the garment quality adversely.
Color defects
Variation of color between the sample and the final garment, wrong color combinations and
mismatching dyes should always be avoided.
Sizing defects
Wrong gradation of sizes, difference in measurement of various parts of a garment like sleeves of XL size
for body of L size garment can deteriorate the garments beyond repair.
Garment defects
Broken or defective buttons, snaps, stitches, different shades within the same garment, dropped stitches,
exposed notches and raw edges, fabric defects, holes, faulty zippers, loose or hanging sewing threads,
misaligned buttons and holes, missing buttons, needle cuts or chews, pulled or loose yarn, stains,
unfinished buttonhole, short zippers, inappropriate trimmings etc. all can lead to the end of a brand name
even before its establishment.
Review of Lesson 12
Directions: Craft a scoring rubrics with your teachers using the criteria above in evaluating the
finished sleeping garments. Evaluate your output
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Fitting the children’s dress
Review of lesson 12
Directions: With your trainer recall the criteria to evaluate the children’s wear
reflected in the project plan.
Rubric in Evaluating the Children’s Wear

Item Weight Actual Score
Originality 20
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Workmanship 40
Fitting 10
Marketability 20
Speed 10
Total
Lesson 13 Packaging of Children’s Wear
Kinds of Packaging Materials
Thick paper made into a Boxes of varied styles colors, materials, sizes and
garment bag designs
Boxes of varied styles colors, materials, sizes and designs
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Other designs in form of cartoon characters that

children love to collect and possess.
Lesson 13.1 Procedures in Packaging Finished Garments
Packing
The finished garments are finally sorted on the basis of design and size and packed to send for
distribution to the retail outlets.
Packaging: Packaging may be defined as the activities of designing and producing the container or the
wrapper for the product. Generally the packaging could be considered as the silent sells man of the
product. When the garments are exported to the prospective buyer different type of instruction should
have to be followed by manufacturers. Basically the clothing manufacturer is using three kinds of
packages.
1. Primary Packages: Insertion a garment into a poly bag is considered as the primary package of
garments. Full visibility makes the customer to identify the color, size and style etc.
2. Secondary Package: Secondary package of a garment could be another poly bag or inner
carton. Inner carton or master poly bag containing a number of garments, provide traditional quotation
and make opportunities for sales promotion. This container facility of pack number of garment pertains
to packing instruction given by the buyer. There are four packing strategies:
1. Solid Color Solid Size: all garments are of same size and color. e.g
Garments = 42
Color = Red, Size = Small
2. Solid Color Assorted Size: According to this strategy color of all pieces is same while there is
variation in size e.g.
Garments = 42
Color = red
Size = Small, Medium, and long with ratio 1:2:1.
3. Assorted Color Solid Size: In this strategy color of garments is different while size is same. Garments
= 42
Color = Red & Blue
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Size = Medium
4. Assorted Color Assorted Size: Garments are of different colors and sizes.
Garments = 42
Color = Red & Blue
Size = small & Medium
3. Shipping Package: this refers to packaging for necessary for storage identification or Transportation.
Cartons are used as shipping package.
The Side Mark of cartons is: Carton no., Carton Measurement, Quantity (in pcs), Net weight (Single
product). Net weight. (Six pcs product), Gross weight (Full carton).
Main Mark: Buyer Name. Consignees add. Order no. Style no.
Color/size/Breakdown. Destination. Etc.
Carton Measurement: 3 ply (inner). 5ply (how much pcs), 7ply
Ensure Quality: Quality is the most important factor in textile sector. Buyers always emphasis on
quality. So it is needed to care always on quality. A quality product always turns more buyers.
Review of Lesson 13
A. Directions: Pack the children’s wear applying the skills and information in this lesson.
B. Directions: Look for possible packaging materials in your locality and create your own design suited
to the packaging materials available of your choice. Sketch your design below and list the tools and
materials needed.
Tools and Materials Needed Drawing:

1.
2.
3.
4.
5.
6.
7.
8.
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Post – Test IV
A. Multiple Choice
Directions: Read and understand the statements carefully. Choose the letter that best
describes the statement. Write your answer in your quiz notebook.
2. 1. The most common fastener used in different types of garments.

c. Snaps c . buttons
d. Zipper d. Hook- and- Eye
2. In attaching snaps, the first thing is to do is to fasten thread by making two ore three
stitches on the mark.
3. Buttons cannot be used as decorations.

3. Another name for zipper.

a. snaps c. teether
b. fastener d. slide fastener
4. Belts and neck openings use hook- and- eyes.

a. True c. Maybe
5. Fasteners which are made with metal teeth or coils of nylon or polyester that
mesh together.
a. Buttons c. snaps
b. Hook-and-eye d. zipper
B. Sequencing
Directions: Arrange the following steps or procedures in attaching buttons. Write numbers
1, 2, 3, and so on…Write your answer in your quiz notebook.
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_____ 1. Remove pin. Insert needle in between the thread and fabric.
_____ 2. Determine and mark the location of the buttons in the placket.
_____ 3. Draw thread to the wrong side of the fabric and fasten.
_____ 4. Bring n3eedle up through the button, then to the other hole back to the fabric.
Make several stitches.
____ 5. Fasten thread on wrong side. Make a small stitch where the button is to be sewn.
C. Matching Type
Directions: Match Column A (Descriptions) with Column B (Trimmings)). Write the letter of the answer
A B
1. A flat woven zigzag braid in a. Gathers
mercerized cotton or rayon.
2. An edge finish made up of A b. scallop

series of semi-circles.
3. A fastening which extends beyond c. Pocket

the finish edges used on closings
with no lap. d. Ruffles
4. Fullness shirring consist of three or e. Applique

more rows of gather.
5. A narrow fabric applied to a f. Embroidery

6. A separate design for petals, g. Loop

leaves or figures which is cut and
applied to another surface. h. Rickrack
7. Strips of cloth gathered together i. Lace

Or pleated as a trimming to finish edges.
8. An open work fabric made with j. Bias

bobbins, needles or hook and can
be hand or machine made. k. Frog
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9. Loop fastening made of braid or cording. L.Binding
10. A bias strip used to decorate an edge. m.Bands
D. Identification
Directions. Identify what accessories that are used in dresses are being described in the statement.
Write your answer in your quiz notebook. __________ 1. High-heeled or flat-closed footwear fitted for
comfort, freedom and style.
__________ 2. It consists of hose and stockings.
__________ 3. A shaped-head covering having crown and brim.
__________ 4. A piece of cloth cotton, linen or silk usually square and decorated with lace and
embroidery.
__________ 5. A flat device mounted on frame permanently.
__________ 6. A large ornamental pin placed in front of shoulder arm.
__________ 7. An ornamental chain for wrist and arm.
__________ 8. Strips of fabric, ribbon or bias applied to edges or set into garments to finish or
decorate.
__________ 9. Piece of bones, metals, glasses of various shapes having shank or holes.
__________10. An ornamental needlework consisting of designs, work on fabric by hand or machine.
SUMMATIVE ASSESSMENT
Multiple Choice. Read and understand the statements carefully. Write the letter that best describes
the statement. Write your answer in your quiz notebook.
1. The first method of fabric straightening is

a. matching the selvage. c. matching the grain line.
b. cutting the selvage. d. marking the warp.
2. The fabric lay out which is best for wide pattern pieces showing the double fold.
a. Vertical lay-out c. Crosswise
b. Diagonal lay-out d. Horizontal
3. The side of the fabric where the pattern should be laid.

a. Right side c. Bigger Side
b. Wrong side d. Smaller Side
4. When working with plaid fabrics, the best laying thickness to consider is
a. single. c. triple.
b. double. d. multiple.
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5. The recommended fabric to cover the cutting surface when laying out soft sheers and
slippery fabrics.
a. Georgette c. Muslin
b. Silk d. Seersucker
6. It is advisable to keep the entire length of fabric on top of the cutting surface while pinning
and cutting. Why?
a. To prevent stretching c. To eliminate weight
b. To promote ease d. To hasten speed in cutting
7. The following are tips why we need to check all pattern pieces laid on the fabric before
cutting. 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
8. When positioning pattern pieces with straight arrows this should be parallel to the selvage.
Why?
a. Fabrics will be straight when cut
b. Fabrics are easy to cut
c. Fabrics will conform the pattern contour
d. Fabrics cling to the pattern
9. When can we say that a fabric has a nap?

a. Floral Design c. One-way Design
b. Geometric Design d. Abstract Design
10. Which direction will you follow when laying patterns on fabric with nap?
a. One direction c. Multiple direction
b. Two direction d. Trio direction
11. A brightly colored marking tool used in marking seams.

a. Tailors tucks c. Tailor’s chalk
b. Chalk pencil d. Tracing paper
12. One characteristics of liquid marking pen used by tailors.

a. Easily removed c. Stays longer when washed.
b. Cannot be affected by dry cleaning d. Stains the garment.
13 . In the absence of pins, which of the following is use to hold the pattern pieces in place while
cutting the fabric.
c. Sewing kit c. Pin cushion
d. Pattern Weight d. Needles
278
14. In what direction the dressmaking carbon paper should be inserted between the pattern and
fabric?
a. Right c. Down
b. Left d. Up
15. This is used to rub into the scorch wool fabric while pressing.
c. Nickel c. Metal
d. Iron d. Aluminum
16. One reason why we press seam before sewing is to

e. be more accurate. c. be done on time.
f. make work faster. d. obtain good fit.
17. How long will you allow the garments to cool down on the ironing board.
b. 2 minutes d. I minutes
c. Candle cleaner c. Hot iron cleaner
d. Surface cleaner d. Grease cleaner
19. It is used to flatten seam upon pressing.

e. Clapper c. Iron
f. Seam roll d. Crease remover
20. What is the basic structural element of a garment done by joining two or more pieces of
fabrics together?
a. Stitches c. Seam
b. Partners d. Finishes
21. The type of seam suited for sleeping garments and fabrics that ravel easily which is
described as seam within a seam.
a. Plain c. Flat-feel
b. French d. Lapped
22. It is known as the simplest type of seam.

a. French c. Plain
b. Flat full d. Lapped
23. The seam applied to the edge of the fabric to prevent from raveling.
a. Seam finish c. Seam Stitch
b. Seam line d. Seam Location
279
24. Which factor will you consider when choosing seam finished for the material that easily
ravel, curl or roll.
a. Case of garment c. Fabric
b. Equipment d. Use of garment
25. A characteristic of a well constructed seam.

a. Smooth and even c. Variety of stitch width
b. Lopping stitches d. visible of at right side
26. The original method of finishing seam edges.

a. Hand seam c. Lapped Seam
b. Locked seam d. Hand over cast seam
27. The type of stitches used to over lock the edge of the sleeping garment.
a. Zigzag c. Overcast
b. Plain d. Buttonhole
28. The type of pocket commonly use in sleeping garments.

a. Welt c. In Seam
b. Flap d. Patch
29. Why do we over lock the row edge of the fabric?

a. To prevent from raveling c .For security
b. To add aesthetic sense d. To save fibers
30. The fold at the edge of the garment used to reinforce and prevent the garment from raveling.
a. Seam c. Fastener
b. Hem d. Finishing
31. What is the recommended fastener for sleeping garment?

a. String c. Buttons
b. Safety pins d. Hook a eye
32. The type of tool best in trimming garments with excess thread.
a. Duckbill scissors c. Embroidery scissors
b. Snips d. Knitting scissors
33. In the evaluation of finished garment, open seam, wrong stitching techniques, non-matching
thread are example of
a. garment defects. c. sewing defects.
b. sizing defects. d. color defects.
34. One of the features of a well made garment is no color defects. This means it has ________.
280
a. variation of color. c. correct colors.

b. likeness of color. d. matching dyes.
35 What is the required heat temperature in cotton fiber?

a. 230°C c. 204°C
b. 200°C d. 190°C
36. Most of the electric iron got default setting of 7. Which heat level of iron setting is suited for
silk fabric?
a. 7 c. 5
b. 1 d. 3
37. The proper way to iron the rayon fabric should be done on the _____.
a. right side. c. left side.
b. wrong side. d. front side.
38. The following are suggested tip in making clothing label EXCEPT one.
a. Go shopping c. Study your logic/design
b. Lock in your closet d. Copy design
39. What is the best packing material for garment?

a. Acetate c. Packing Card
b. Paper d. Cardboard
40. Factors to consider when sorting and packing the finished product.
a. By design and size c. Source of raw materials
b. Time manufactured d. Company name
41. A type of packaging where the garment is inserted into a poly bag in full visibility to let the
customer identify the color, size and style.
a. primary package c. secondary
package
b. shipping package d. executive
package
42. The type of sleeve that flares out over shoulder resembling wings of butterfly.
a. angel sleeve c. set-in sleeve
b. butterfly sleeve d. bell sleeve
43. The skirt which is gathered at the waist and provided with lining to hold the hem and gather
inward the hem end.
a. bubble skirt c. pencil skirt
b. flared skirt d. tube skirt
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44. It is the longer version of a pencil skirt, fitted from waist to the lower knee.
a. Pencil skirt c. A-line skirt
b. Flared skirt d. Tube skirt
45. The skirt which is a combination of shorts and skirts usually loose in the bottom.
a. Peplum skirt c. Pleated skirt
b. Coluttes d. Tiered Skirt
46. The type of sleeve which is cut together with the bodice. There is no seam joining at the
armhole.
a. Ragian sleeves c. Kimono sleeves
b. Raglan sleeves d. Angel sleeves
47. A part of the shirt, dress, coat or blouse fastens around or frames the neck.
a. Sleeve c. Collar
b. Skirt d. Pants
48. A wide flat, round collar, often with lace or sheer fabric worn with a low neckline in the
Victorian Era.
a. Bertha collar c. Mandarin collar
b. Sailor’s collar d. Convertible collar
49. The chronological steps or operations involved to accomplish the project.

a. Evaluation c. Procedure
b. Objectives d. Design
Specifications
50. The measurement taken from the nape to the waistline on the cord.
a. Back Figure Length c. Chest Width
b. Shoulder width d. Back Across Width SYNTHESIS
In today’s modern trend in fashion, the great influx of ready-to-wear dresses around brought about
by global competitiveness in the business industry has created varieties of clothing to choose from.
With the latest styles in fashion, people tend to be mesmerized to buy anything they wanted. Advantage
of this, low prices are offered due to rivalry among the businessmen and to someone with skills and
knowledge in dressmaking, this is a great opportunity to get involved in the business where he/she can
create much better than the ones sold in the market.
Come to think of it, one cannot offer the service and make a product without proper and formal
study on the subject which serves as the capital for his success. That is why, with the effort of the
writers and experts in the field of dressmaking,this learning material is made. This guide offers
integrated conceptual and hands-on experiences for a better understanding of the learners. The content
is well structured which signifies that the writers constructed the idea thoroughly in order to make it
282
easier for the readers to comprehend. The arrangement of lessons is aptly ordered which promotes the
easiness of memorization and application.. The learners will become more competent not only in the
field of dressmaking but also in terms of creativity, innovation and planning because the module
requires broad and innovative ideas as well as critical thinking. It incites motivations to surpass the
current limitations and to improve the level of understanding by meeting the high standards using the
criteria given in each activity that it offers. There are also illustrations provided in most of the lessons
which makes the activities easy to follow.
With the knowledge and expertise executed by the writers, the facilitator will have an easier delivery
of each of the topics given and through this; the creation of different products in dressmaking will soon
be in the market. If this learning material is properly used and disseminated, learner’s pursuit of a happy
and bright future with productive livelihood skills will be materialized.
GL O S S A R Y
accessories – articles of clothing worn to complete or to complement one’s outfit.

accuracy – the exactness of a measured distance or circumference altering - changing portion of a
garment so that it fits the body.
apparel – clothing or dress
Balance Wheel sets the mechanism in motion.
Band Wheel Crank moves the band wheel.
Band Wheel leads the balance wheel through the belt connection. Bartacking Machine. This is used
in reinforcing the opening and closing of pockets
283
Belt connects the balance wheel to the drive wheel.

Belt Guide holds the belt to its place.
Belt Shifter removes the belt from the wheel. bias –cloth that us cut slantwise
across the grain Bobbin Case holds the bobbin.
Bobbin is a metal spool for winding thread.
Bobbin Winder controls the bobbin while winding thread.
Bust to Bust - Measure from your one nipple to your other nipple. Button Attachment Machine.
This is used in attaching buttons to the garments.
Button Holer Machine. This is used in making buttonholes on garments.
Cabinet holds the head of the machine by interlocking screw on the hinges. cocoon – the case
composed of the silk fibers which the larvae of the silk worm spin about themselves as a shelter
Grain – the direction of fabric threads
Cutting tools - a cutting implement; a tool for cutting. design – the arrangement of parts, details,
forms, and colors to produce something new
Double Needle Machine. This is used in the construction of the different kinds of clothing
especially for the inseam, outseam and side seam.
Dress Guard protects the dress from the wheel.
Dressmaker’s Carbon Paper also called dressmaker‘s tracing paper is a specially waxed carbon
paper that transfer‘s the tracing wheel‘s markings to the fabric. dressmakers.
Embroidery Machine. This is used in making fancy stitches and in making different kinds of
embroidery stitches on fabrics for the Barong Tagalog, pillow cases, linen, and other novelty items.
Fabric - the cloth used in making garments.
Feed Dog moves the fabric while sewing. firm weave – a weave in which the yarns or threads are
tightly twisted and placed close together
flax – a plant which produces linen fiber
French Curve-A flat drafting instrument with curved edges and several scrollshaped cutouts, used as a
guide in drawing curves when constructing graphs or making engineering drawings. garment – any
article of clothing
grainline – the direction in which the yarns or threads are woven
Hand Needle is used in making temporary stitches and buttonholes. Sizes of 7 to 10 are for general
hand sewing.
Hemline – the marked line at the bottom of the garment where the hem is turned
Hips - Measure around the fullest part of your hips. household fabrics – curtains,
carpets, bed linen, etc. IMC – Individual Measurement Chart
knit – connected loops of yarn with big needles to form a fabric label (for clothes) – a card, fabric or
paper marked and attached to an object
to indicate its contents, manufacturer, care, and origin Legs support the cabinet of
the machine.
Length – the longer or longest dimension of an object to measure lingerie (lan-ja-ray) – girls’ and
women’s under-clothing such as slips, panties, bras, girdles, robes, pajamas, and nightgowns.
Lower Bust - Measure around the torso directly under the bustline.
L-square The tailor square or "L" is used to transfer measurements to the draft
pattern. It also divides the garment into the desired measurement. It has perfect
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squares and is useful in making straight lines and numbers. It can also function as
a tape measure.
Measurement – a systematic procedure of determining the quantity or extent of the entire
measurable dimension
Measuring tools - an instruments used for obtaining quantities, dimensions or forces of real world
objects.
Metric System – a decimal system of physical units based on a unit of length. Needle Bar holds the
needle in place.
Needle Clamp holds and tightens the needle.
Needle is a slender tool attached in the needle clamp used for sewing.
neutral color – a “dim” tone, made by mixing complementary colors Over Edging Machine. Other
companies call it
Pattern – a piece of paper usually one-half of the body parts used as a guide in cutting the garments
Pincushion holds the straight pins and needles while working to prevent accidents. plaid – a pattern
consisting of colored bars or stripes which cross each other to form squares, repeated on the fabric
Presser bar lifter moves the presser foot.
Presser Foot holds the fabric in place while sewing. print – to stamp or press a design onto a fabric
surface; fabric printed with a surface design (not dyed)
ravel – to become unwoven; to separate or untwist threads or yarns Rulers -measuring 12 inches or
even 18 inches, either clear or solid. It is a useful tool to have for measuring and drawing straight
seam lines and cutting lines. It also aids in connecting lines. A clear ruler is also a good tool for
marking buttonholes. scissor – a cross-blade cutting instrument about 5 inches 6 inches long with
two small looped handles seam – any stitching or sealing of two pieces at the edges selvage – each
side of a woven fabric, finished with a woven edge
Sewing Gauge A small ruler with a sliding guide and is about six inches long. This gauge is used for
measurements at hem lines, button holes and areas where other small measurements require
checking, such as pleats and tucks.
The gauge is usually made of metal or plastic.
Sewing Machine - a textile machine used to stitch fabric, cards and other material with
thread.
Sewing Needle Threader It aids in putting the thread to the needle. Sewing Tools -
instruments that aid in accomplishing a sewing task shears – scissor-type cutting device with one
large handle, one small sheer – very thin or transparent fabrics
Shoulder to Bust - Measure from tip of the shoulder to the centre of bust (nipple).
Shuttle holds the bobbin case while sewing. Slide plate is a movable plate
that covers the shuttle Spool Pin is the thread holder.
Stitch regulator checks the length of the stitches.
Stop Motion Screw hinders moving when loosened and start. style a quality or type of
clothing
Tape Measure A flexible measuring device used in taking body measurements.
Tension controls the looseness and tightness of stitches. texture – the surface characteristics of a
fabric, which can be seen or felt the meter (Greek metron, ―measure‖)
Thimble A small hard pitted cup worn for protection on the finger that pushes the needle in sewing.
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Thread Guide keeps the thread in position.

Thread Take up Lever releases the thread and interlocks with the bobbin thread. tint – whitened
color
Tracing Wheel There are two types of tracing wheels, those with a serrated edge and those with a
smooth edge. The serrated edge wheel produces dots on the fabric and is suitable for most types of
fabrics. The smooth edge wheel is best for delicate fabrics and unlike the serrated edge will not pierce
more delicate fabrics. The smooth edge wheel creates a solid line.
Treadle is where the feet are stationed to drive the band wheel through the pitman rod. upholstery
– plastic or fabric coverings for furniture , usually more durable than fabric for clothing
Upper Bust - Measure around the torso directly above the bust line.
Waist - Measure around the waist.
warp yarn – lengthwise (up-and-down) yarn or thread in a woven fabric weaving – process of forming
a fabric on a loom by interlacing the warp and the filling (crosswise) yarns with each other
width – measurement taken at the shortest dimension of the object to measure
Yardstick A yardstick is made of smooth, shellacked hardwood or metal. It is used for marking
hemlines and checking grainlines when laying out the pattern. yarn – product formed by twisting
natural fibers or synthetic filaments together to form a continuous strand which can be used for
weaving or knitting
References
Alcantara, Ines D. and Suratos, Cesar. Technology and Livelihoods Education III. Bernadette
Publishing House Corporation, 2007.
Bailey, Annetta and Draper, Wanda. Steps in Clothing Skills Revised> Brnett Publishing Company,
Illinois, 1998.
Bartclay, Marion et.al.. Teen Guide to Homemaking, 3rd Edition. McGraw Hill, Inc., USA. 1972.
Suratos, Cesar P. Technology and Livelihood Education III. Bernadette Publishing House Corporation,
2006.
Leuterrio, Florida C. Technology and Home Economics III. St. Augustine Publications, Inc, 1995.
Web Sites
Wikipedia.org/wiki/Nightwear
Ref: The Complete Idiot’s Guide to Sewing

http://www.sew-it-love-it.com/reading-patterns.html
286
The Complete Book of Sewing Pages 36-37
http://www.threadsmagazine.com/item/4968/pattern-layouts http://www.diceyhome.free
online.co.uk/KatePages/Learning/patterns/pattern_symbols.htm
Pattern Symbols -Reference http://sewing.about.com/library/weekly/aa081199.htm
- Ref: The Complete Idiot’s Guide to Sewing
http://www.youtube.com/watch?v=_jgg7UP72Yo
Adapted for use in Kentucky with permission from Coats & Clark.
(Reference Leaflet PE2174) Marjorie M. Baker, M.S.
Images Adapted from:
• http://wide-format-printers.org/wideformat_digital_inkjet_textiles_printers_reviews_interior-
decoration_softsignage_fabrics_flags_banners_cloth_fashion-apparel/ATP-Color-VersaArtRS-640-can-print-
polyester-fabric-and-mesh-absorbing-sponge.jpg- design by printing
• https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSUuWd65CPA2lb-
12YTmtBRIcXOHl84S8ohAV--6TpaxoMMG4GR- printed dress
• http://img.alibaba.com/wsphoto/v0/517773848_1/girls-dresses-childrenprincess-dress-Plaid-skirt-name-brand-
kids-baby-clothes-free-shipping-5pcslot.jpg- plaid design
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcT8ZbJ3UJv0q8y2z1Sma2Yc5pCCHl
Aau_9oDYzpo43jMEatki0w- tweed design
• https://encryptedtbn0.gstatic.com/images?q=tbn:ANd9GcTiOP_4kWO_vweOilYGmrsiY
VROaJrbL43iiC3oJNl_uI208IJP – body proportion
• https://encrypted
tbn3.gstatic.com/images?q=tbn:ANd9GcSGHvXhbEnhcJZhD173UvVHRrUFZp23hx0SUvG8sStXnx
wjsCu- introvert/extrovert
• https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcRoxXypqjNEy7yp_PwNeu6iT5
_IG5byTxVFrFgFx1v86grEYDHA3w- Asymmetrical balance (Fig.1)
287
• https://encryptedtbn0.gstatic.com/images?q=tbn:ANd9GcRsT9iiTgvj8i0wI6S0Yj3D_PX
Qpzzb3UavA9OnqsLAoLuLk3oKow- asymmetrical balance Fig. 2
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcT6Yt31i_pBBsUEfOSU5fvuk1
MWMgGr3u_WhMlFVA3V9B_IjbZ5- asymmetrical balance Fig.3
• https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQ8BrMgceNlfyRPRP-
nHkevUcmCv7kGhFSkATtLGGFS5W3NAU2- radial balance Fig.3
288
http://media-
cacheec0.pinimg.com/236x/65/eb/52/65eb52d7affbba052841e44dc279ebdd.
jpg- radial balance Fig.2
• https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcQYjSz7ficiyBCCfDrRi6bKBu0
RUj6up5kJQQ1JszFUMFkql6n- Radial balance Fig.1
• http://2.bp.blogspot.com/-
8jg3vuBHSIE/T04oWi1DVxI/AAAAAAAADYY/dOOnrZcPbRI/s1600/RE
NEE%2BLONDON%2BVicky%2BPeplum%2BShoulder%2BDress%2B
Blue%2B1.jpg- Emphasis Fig.1
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcTLvnAoM85b9d63hHgfQaDk
856MF-OHp2RbE8lz4pJNXMZpA8o- emphasis Fig.2
• http://i01.i.aliimg.com/wsphoto/v0/563981917_1/Mens-FashionClothing-Men-s-Leisure-
Shirt-Men-Dress-Shirt-Fitted-Mens-ShirtsMS066.jpg- emphasis Fig.3
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcQqZ7HbKeCppL5cRHNoLnut
iSP4z6BNNq39vu8Nc0HuY0GLY2M- rhythm Fig.1
• https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcQ2H18m1UHT79uPUgJjKGql
alp--FiJIxrmJ-zoZl1ud1znHXf- rhythm Fig 2
• http://cdnmedia6.box13.com.au/catalog/product/cache/1/small_image/232x/040
ec09b1e35df139433887a97daa66f/1/0/101155-1_1.jpg- rhythm Fig.3
• http://dressesmania.com/harmony%20maxi%20dress.jpeg- harmony
Fig.1
• https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcSWnhDUQs6XLN7FXWet_Qi
ngzyZHOhidUV9Ho0xU5sy3g-bDkSD- harmony Fig.2
• http://www.readbeforeshopping.com/wp-content/uploads/2013/05/mensuits.jpg-
harmony fig.3
• http://img0.etsystatic.com/038/1/8714711/il_340x270.520434922_e5b2 .jpg= with

vertical line Fig.1
• http://cache.fashionista.com/uploads/2011/02/FW11-24.jpg- with horizontal line Fig.2
• http://cdn.shopify.com/s/files/1/0205/1482/products/christina_accordian
289
1_large.jpg?v=1359057051- slanting Fig.3
• http://img0.etsystatic.com/005/0/7038129/il_340x270.372053608_2phb
.jpg- with curve Fig.5
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcQ47rpMfu8Dtj5s2fiWvmxtPe3
BdToisFUu7TSdhPoWpyyioI6TQw- with bateau neckline
• https://encryptedtbn0.gstatic.com/images?q=tbn:ANd9GcTZxkXmyUV87293sspQvLZq
o gH40D7z7N5aq0NnCIMCwRpcQROD7w- with plunging neckline
• data:image/jpeg;base64,/9j/- kinds of pleats.
• https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcSfesM6yiiUDd39Bu-
DjsU8Q7LWvyKGRRmRBCnbMJHYHjUneGF65Q – with cape collar
• http://cios233.community.uaf.edu/files/2011/10/color_wheel.gif- color wheel Fig.1
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcR5A3EfStg0J2MIDTk1CASc
R w0cjLQYG7DzFYECR_-bUfAiRP59- space Fig.1
• http://25.media.tumblr.com/tumblr_lj3xkxjKv81qz9qooo1_500.png- dress with space

Fig. 2
• http://www.almstba.com/vb/imgcache/almstba.com_1353868318_478.j pg- baby dress

with space Fig. 3
• https://encrypted-
tbn3.gstatic.com/images?q=tbn:ANd9GcRKK3s1RiZPUtC7t4KRECfF4kjGkC9N3H_fhX
iXBdOYDkeY8kb- bell or hourglass Fig.1
https://encrypted-
tbn0.gstatic.com/images?q=tbn:ANd9GcTpVSKuGumhFMIlZNClnDUP
_Ao2j1iZ29PCM3j0USj5Aale52wp- tubular Fig.2
• http://tallulahbell.files.wordpress.com/2011/09/reiss-bandagedress.jpg- inverted triangle

Fig. 3
290
• https://encryptedtbn3.gstatic.com/images?q=tbn:ANd9GcSXY50WfnhVVOKR3Y49spY
v
NJORISVK2Ie1HsvPrZymMF8ePzL-SA- soft dress Fig.1
• http://2.bp.blogspot.com/lVMwQTLJTLU/UHMQI4FkdUI/AAAAAAAAAEk/9UkDLNAGzl
0/s200/_
primary_colors.jpg- primary color
• http://cdn.shopify.com/s/files/1/0153/9901/files/primary_colors_medium
.png%3F7139- secondary colors
tbn2.gstatic.com/images?q=tbn:ANd9GcSBm9EtZx8JwbPdyDhJRa8mBOkA_N5DGlA
ResKMVBXG9uVR49v- intermediate colors
• http://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/RBG_color
_wheel.svg/300px-RBG_color_wheel.svg.png- tertiary colors
• http://floorstoreaz.com/wp-content/uploads/2012/04/spectrum.gif- value in colors
• http://www.nippondenshoku.co.jp/web/english/colorstory/images/02_thr
ee_elements.jpg- chroma/value
• http://www.webmastersun.com/attachment.php?attachmentid=505&d= 1377309162-
psychology colors in marketing
• http://3.bp.blogspot.com/_vHmWU8uhEik/SeZk2Vp999I/AAAAAAAAB7
E/gBAobLYLtfE/s400/30_tired_man_sleeping_while_standing.png- clip art- sleeping
man
• https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcSPOYq50QRtawDEJdT5D9K
y
IOWPuA2QZSU2Z_MmUO0h7woqX6DU- tape measure
• http://www.dataprint.com/store/images/Product/medium/18721.jpg- lsquare
• http://www.artstuff.net/assets/images/varyformcurves.jpg- curve ruler
• http://mathworld.wolfram.com/images/eps-gif/FrenchCurve_1000.gif- french curve
• http://www.bullarddesigns.com/kai/kai5250.jpg- dressmaker’s shears
291
• https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcS77kPEGJvqm8ZOtxhVS6U_
TZHVYxKpFUTfvTgPoUvuub_Z9aB1aQ- weights
• http://www.runtrackmind.com/wp-content/uploads/2010/07/EmeryPincushion-Keeps-
pins-and-needles-sharp-.jpg- pins
• http://thesewingdivas.files.wordpress.com/2010/08/tracing-wheels.jpg- tracing wheel
• http://www.clipartpal.com/_thumbs/pd/education/pencil_angled_glossy.
png- pencil
• http://i01.i.aliimg.com/img/pb/412/272/412/412272412_305.jpg- sewing kit
• https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcTBN9CTgr2NihyJrDPHWvd3
n
H_KigcO4Zmds5PHIrLtLUOPcxLFRITJ6caN- pattern paper
• http://www.themakeryonline.co.uk/images/uploads/Tailors_chalk_LAR GE.jpg- tailor’s

chalk
• http://img1.etsystatic.com/032/0/5755093/il_340x270.518830119_2nyj.
jpg- carbon paper
• http://us.123rf.com/400wm/400/400/mik122/mik1221103/mik12211030
0049/9095956-muchas-de-las-bobinas-de-hilo-color--fondo.jpg- thread
• http://www.theclothroom.co.uk/wpcontent/uploads/nivoslider4wp_files/7_s.jpeg- cloth
zuhBae_lG4/UQ5tDJzDjPI/AAAAAAAAGrM/mKMzVayTGa0/s1600/Interfaci
ng%2BFabric.jpg- interfacing material
http://galleryplus.ebayimg.com/ws/web/171002550841_1_0_1/1000x1
000.jpg- fastener
• http://visual.merriam-
webster.com/images/artsarchitecture/crafts/sewing/fasteners_2.jpg-fastener2
tbn3.gstatic.com/images?q=tbn:ANd9GcRwCpxIB23VTpvOxmf1PR0Vb9GSbwxaCwW
xpz85IKfXMQYqmB8- fasteners3
292
• http://img.diytrade.com/cdimg/745887/13638518/0/1280202217/Ironing
_board.jpg- ironing board
• http://sales.brick7.co.za/media/za/348901_349000/348998_a0db01935
36b0976.jpg- cutting table
• http://pradeepamohan.net/wp-content/uploads/2012/06/oldest-sewingmachine.jpg-
sewing machine
XmkhEUl7nk/UcM6gTq3ksI/AAAAAAAAFd0/L_D_OXEYxL0/s1600/Fabr
ic%2BMarking%2BTitle.png- marking tools
• http://thumbs4.ebaystatic.com/d/l225/m/mn8WTKD49cTSuCWcHX41pQ.jpg- chalk
pencil
• http://didyoumakethat.files.wordpress.com/2012/06/marking-wrongside1.jpg- tailor’s
chalk
• http://www.clothpaperscissors.com/resizedimage.ashx/__size/550x0/__key/Community
Server.Blogs.Components
.WeblogFiles/clothpaperscissorstoday/6237.encaustic_2D00_carbon.gi f- CARBON
PAPER2
• http://ecx.images-amazon.com/images/I/51Dw0fWs3NL._SY300_.jpg- carbon paper1
• http://www.threadsmagazine.com/assets/uploads/posts/5024/131against-grain-
02_lg.jpg- straight grain direction
• http://www.threadsmagazine.com/assets/uploads/posts/4968/81pattern-layouts-
03_xl.jpg- folds on the fabric
• http://0.tqn.com/d/sewing/1/0/6/w/1/wonvenknit.jpg
• http://image.made-in-china.com/2f0j00fvTtLQaGoSpq/Heavy-MilitaryTent-Cotton-
Canvas-Fabric-ZY-21-.jpg
• http://image.made-in-china.com/2f0j00mYQTBNEhazdG/BroadclothFabric.jpg
293
• http://t3.gstatic.com/images?q=tbn:ANd9GcTpal_yG6XErCXiZsm19dD1VGZyFUt2UYx
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• http://us.123rf.com/400wm/400/400/taigi/taigi1201/taigi120100013/118 55971-worn-
blue-denim-jeans-texture-with-stitch.jpg
• http://t0.gstatic.com/images?q=tbn:ANd9GcS5XrCHNRzb2B7_H_Y_Fs
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• http://t2.gstatic.com/images?q=tbn:ANd9GcQmfbxO9wT8N8bo7hKQl0
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• http://t3.gstatic.com/images?q=tbn:ANd9GcSf1ckodQqezm2AQNVnfZVZdT71WMFIY
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• http://thereisbeautyallaround.files.wordpress.com/2011/02/coloredlinen.jpg
• http://t3.gstatic.com/images?q=tbn:ANd9GcTFAvoE49XN9J4ii4jjgp7oU
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• http://t1.gstatic.com/images?q=tbn:ANd9GcRUOiA6N8kZJlL8dNm4X3
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• http://www4.images.coolspotters.com/photos/123867/marchesa-oneshoulder-chiffon-
long-dress-profile.jpg
• http://gallery.allwomenstalk.com/Fashion/2011/10/8-stylish-silkblouses/4_topshop-
washed-silk-slim-shirt_8-stylish-silk-blouses.jpg
• http://t1.gstatic.com/images?q=tbn:ANd9GcRXuA7Z9ZLBseGCPG34B
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http://www.promdressesdirectory.com/promdresses/wp-
content/uploads/2010/01/006-emerald-changeable-taffeta.preview.jpg
• http://image.made-in-china.com/2f0j00PKjTVWodbQbR/Silk-Stretch-
Charmeuse-Fabric.jpg
• http://t3.gstatic.com/images?q=tbn:ANd9GcR-
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• http://t1.gstatic.com/images?q=tbn:ANd9GcSATgPJv0D9got3mSQaYa
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• http://t1.gstatic.com/images?q=tbn:ANd9GcT1S8hdkf8E9ocajgixxPfAEwgnx9-
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• http://t3.gstatic.com/images?q=tbn:ANd9GcR5-
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• http://images.mytheresa.com/media/catalog/product/cache/common/im
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• ccd2abdeb46b18c1/P/0/P00070117-ROTHKO-MERINO-WOOL-ANDCASHMERE-
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• http://image.made-in-china.com/2f0j00uCjTKOQgJEop/RawOrganzine-Twist-Silk-TX-
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• http://www.dicraft.co.za/blog/wp-content/uploads/2011/08/Bouclewool.jpg
• http://t0.gstatic.com/images?q=tbn:ANd9GcRDVcvvF2leaEuUGC9N8w
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• http://www.stitchpiecenpurl.com/wp-content/uploads/2013/03/Boiled-
Wool.jpg
• http://image.made-in-china.com/2f0j00ZvFtQDBrColk/Polyester-Crepe-De-Chine.jpg
• http://image.made-in-china.com/2f0j00ZvFtQDBrColk/Polyester-Crepe-De-Chine.jpg
• http://image.made-in-china.com/4f0j00lCqTnAaGbhbP/Silk-Georgette-Fabric.jpg
• http://t1.gstatic.com/images?q=tbn:ANd9GcQ2-QEEj_4Uenrv8rqGfB9rjk8m3dshN8KJm6cpDipwN8p6Ug3S
• http://i00.i.aliimg.com/photo/v0/813579644/S783_Newest_rayon_COTTON_Printed_Arabic_words.jpg_350x350.jpg
• http://img.diytrade.com/cdimg/671816/5357194/0/1205142050/Georgette_fabric_Chiffon_fabric _Polyester_fabric.jpg
• http://raggedmountain.com/media/catalog/product/cache/1/image//f/i/file_20_16.jpg
• http://www.marieclaire.com/cm/marieclaire/images/Pe/mcx-swimsuit-guide-edgy-2-lgn.jpg
http://t0.gstatic.com/images?q=tbn:ANd9GcSGPoa-s-SeuCgQqVHnnHO2TwIufAn9O7Zxf9Zo8PjAjCRF_xN8
http://images.wisegeek.com/red-sweater.jpg
295
http://i.ebayimg.com/t/NWT-Cool-Blue-Footed-Hoodie-Drop-seat-Fleece-pajamas-Adult-size-L-
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http://www.dressim.com/images/dress/Chic-Short-Strapless-Ruched-Bubble-Sleeveless-Bubble-Skirt
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ANSWER KEY
Diagnostic Assessment/ Summative Assessment
1. A 11. C 21. B 31. C 41. A
2. C 12. A 22. C 32. A 42. B
3. B 13. B 23. A 33. C 43. A
4. A 14. C 24. C 34. C 44. D
5. C 15. A 25. A 35. C 45. B
6. A 16. A 26. D 36. D 46. C
7. A 17. B 27. A 37. B 47. C
8. A 18. C 28. D 38. D 48. A
9. C 19. A 29. A 39. D 49. C
10. A 20. C 30. B 40. A 50. A
Pre-Test I/ Post Test I

1. b 6. C 11. A 16. A 21. A 26. c
2. c 7. C 12. D 17. C 22. D 27. d
3. a 8. C 13. B 18. B 23. C 28. a
4. a 9. C 14. C 19. B 24. A 29. a
5. b 10. B 15. C 20. D 25. D 30. A
Answer to Lesson 1 (A) B. Refer to Rubrics
298
1. Emphasis C. Refer to Rubrics

2. Rhythm
3. Color
4. Value
5. Hue
6. Primary Colors
7. Intermediate Colors
8. Black
9. Orange
10. Red
Answer to Lesson 2 (A) B. Refer to Rubrics

1. e 6. D C. Refer to Rubrics
2. g 7. A d. Refer to Rubrics
3. f 8. M
4. b 9. h
5. c 10. K
Answer to Lesson 3 (A) (B) Lesson 4 – Refer to Rubrics

1. d 6. I 1. F
2. e 7. J 2. T
3. c 8. H 3. F
4. b 9. F 4. T
5. a 10. G 5. T Answer to Lesson 5 (A) and (B)
Refer to Rubrics
Answer to Lesson 6 (A) (B) Refer to Rubrics

1. X
2. H 3.
4. =
5.
6. I i
7.
299
Answer to Lesson 7 – Refer to Rubrics

Answer to Lesson 8.1 (A) (B) Refer to Rubrics
1. 6 inches downward
2. Bust Height
3. Front Figure Length
4. 1 ½ inches
5. Chest width
Answer to Lesson 8.2

Answer to Lesson 8.6 Refer to Rubrics
(A) & (B)
Answer to Lesson 9
Answer to Lesson 10
1. X 6. X (C) Refer to Rubrics
2. I 7. I
3. I 8. X
4. I 9. I
5. X 10. X
Answer to Lesson 12 -Refer to Rubrics

QUARTER II
Pre-Test II/ Post Test
1. b 6. A 11. D 16. D 21. A 26. b
2. a 7. C 12. B 17. C 22. B 27. a
3. d 8. B 13. C 18. A 23. D 28. d
4. c 9. A 14. D 19. D 24. A 29. b
5. a 10. D 15. A 20. D 25. C 30. A
Answer to Lesson 1 Refer to Rubrics

Answer to Lesson 2
1. a
2. d
3. b
4. c
300
5. a
Answer to Lesson 5 (A)-. Refer to Rubrics B.

1. Experienced sewer
2. single knit or double knit
3. evening or sports wear
4. machine or hand wash
5. curve or straight
Answer to Lesson 6
Answer to Lesson 7
Answer to Lesson 8
Answer to Lesson 10
Answer to Lesson 11
Answer to Lesson 12
Answer to Lesson 13
QUARTER III
Pre- Test III/ Post Test III
1. c 6. B 11. A 16. A 21. b
2. c 7. D 12. C 17. C 22. a
3. d 8. D 13. D 18. B 23. a
4. d 9. A 14. A 19. A 24. c
5. a 10. B 15. B 20. A 25. A

1. bright
2. pocket
3. front
4. plain buttons
5. strain

Answer to Lesson 3
Answer to Lesson 4 (A) (B)
1. frog 1. hat
2. pocket 2. pocket
3. bracelet 3. skirt
4.hosiery 4. braid
5. brooch
6. hat
301
7. ribbons
8. fan
9. buttons
10. scallop

1. tiered skirt
2. pleated skirt
3. collots
4. tube skirts
5. Flared/ balloon or semi-balloon skirts
Answer to Lesson 4.4 – Answer to

Lesson 5
Answer to Lesson 8
Answer to Lesson 9
Answer to Lesson 12
QUARTER 1V
Pre-Test/Post Test
A. B. C. D.
1. c 1. 4 1. H 6. E 1. Shoes 6. Brooch 2. a
2. 1 2. B 7. D 2. Hosiery 7. bracelelet
3. b 3. 5 3. G 8. I 3. Hat 8. Bands 4. a
4. 3 4. A 9. K 4. Handkerchief 9.
buttons
5. d 5. 2 5. C 10. L 5. Fan 10.
Embroidery
All activities, please refer to Rubrics.
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LM - Dressmaking I Grade 9

identified by the K to 12 Program of the Department of Education. It is intended to prepare the

Review of Lesson 8.1

L8.5 Pencil Cut Skirt

QUARTER 11 LESSON 2 PRODUCE SLEEPING GARMENT

L10 Trimming Techniques for Sleeping Garments

L7.2 Back Blouse Sloper

QUARTER IV LESSON 4 PRODUCE CHILDREN’S WEAR

Technology and Livelihood Education (TLE) is one nomenclature in the

So, explore and experience the K to 12 TLE Dressmaking module and be a

After finishing all the activities in this module, expect job

Personal Entrepreneurial Competencies

Assess your Personal Entrepreneurial Competencies by answering the items

Personal Entrepreneurial Competencies (PECs) Self-rating Questionnaire

_________ 6. I like to think about the future.

_________ 28. I look for things that need to be done.

PEC’s Scoring Sheet

The PECs Scoring Sheet with Correction Factor

Correct each PECs score before using the Profile Sheet

Persuasion & networking =

Transfer the corrected PECs score to the profile sheet by marking an

Business Environment and Market

Natural & Physical Demography

Spotting and Identifying Business Opportunities

Screening Business Ideas

2. Characteristics of a good business

Uncontrollable Examples: Examples:

Zimmerer, T. and Scarborough, N. (2005). Essentials of entrepreneurship and small business

CREDITS FOR IMAGE USED:

Fat Pencil courtesy of OpenClipArt.org

1. The first method of fabric straightening

3. The side of the fabric where the pattern should be laid

4. The best thickness for plaid fabrics

b. Fabrics are easy to cut

9. When can we say that a fabric has a nap?

12. One of the characteristics of disappearing marking pens used by tailors

16. One reason why we pressed the seam before sewing

19. It is used to flatten seam upon pressing.

22. The simplest type of seam

25. A characteristic of a well constructed seam

26. The original method of finishing seams and edges

28. The type of pocket used in sleeping garments

29. Why do we over lock the row edge of the fabric?

a. To prevent from raveling c .For security

31. The recommended fasteners for sleeping garment?

35 What is the required heat temperature in cotton fiber?

37 The proper way to iron rayon fabri.

38 All are suggested tips in building clothing label EXCEPT

39 The best packing material for garment

40 Factors to consider when sorting and packing the finished product

44 Simply the longer version of the pencil skirt

49 The chronological steps or operations involved to accomplish the project

b. Objectives d. Design Specifications

50 The measurement from the nape to the waistline on the cord

At the end of the module, the learner is expected to

LEARNING OUTCOME 1: Draft and Cut Pattern for Sleeping Garments

1. The tool used to take body measurement accurately

5. One of the characteristics of the sleeping garment

7. Marking tool used for drafting pattern

10. A color that is neutral

11. The elements of design that create visual dimension

12. The result of combining primary and secondary colors

13. The cellulose materials made into long, lustrous fibers.