Professional Documents
Culture Documents
LM-Dressmaking/ Grade 10
LM-Dressmaking/ Grade 10
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TABLE OF CONTENTS
Page
Cover Page
Table of Contents
Introduction...………………………………………………………. 3
Content Standard and Performance Standard……………… 4
Objectives………………………………………………………. 4
Program Requirements……………………………………….. 4
Learning Episodes……………………………………………… 5
How to Use this Learner‟s Materials……………………………… 6
Diagnostic Assessment…………………………………………… 7
Personal Entrepreneurial Competencies (PECs)…………….. 12
Environment and Market (EM)……………………………………. 23
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Lesson 1: Produce Ladies Trousers
LO 1 Draft and Cut Pattern ........................................285
LO 2 Prepare and Cut Materials ................................316
Enhancement Activity...............................................................
Summative Assessment………………….……………………………………....345
Synthesis……………………….……………………………………………….......347
Glossary…………………….…………………………………………………........348
References……………….……………………………………………………........354
Key to Correction………………………………………………..………….......…356
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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. In this learner‟s
material, the focus is on a course in Home Economics – Dressmaking.
The world of work today presents a picture of available jobs that are
getting scarcer each year. To address this reality, the Department of
Education is stretching its available resources, prioritizing needs, and
developing sustainable programs to lead and to prepare the young minds as
future skillful dressmaker or any related job. The Department further believes
that it is in honing the skills that the learner can have an edge over other job
seekers. DepEd endeavors to equip the learners with the appropriate
knowledge, attitude, values and skills necessary to become productive citizens
of our society.
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Content Standard
Performance Standard
Objectives
Program Requirements
The learner‟s materials should be taken for one school year for a total
of 160 hours. Lessons should be taken one at a time, following the correct
sequence being presented and should accomplish the assessment or
enhancement activities before proceeding to the next lesson.
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Learning Episodes
This learning resource is subdivided into four (4) quarters which may
serve as the recommended scope and limit for every academic grading period.
In every quarter, there are lessons that comprise the learning outcomes.
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6. DIAGNOSTIC ASSESSMENT
7.
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
1. Type of cloth that has the following characteristics: absorbency,
heat conduction, strength, and beauty.
a. Cotton c. Linen
b. Poplin d. Broadcloth
2. Type of cloth which is also called tabinet.
a. Gingham c. Linen
b. Poplin d. Silk
3. Type of test that is used to determine slippage of threads by
pulling the fabric from both sides of the tuck.
a. Test by pin c. Test by thumb
b. Test for sizing d. Test for straight of grain
4. Type of test that determines the strength and shape-holding
qualities of both lengthwise and crosswise of fabrics.
a. Test by pin c. Test by Thumb
b. Test for sizing d. Test by mercerization
5. Type of skirt which is small at the waist and widens evenly as it
reaches the ground.
a. Straight skirt c. Pleated skirt
b. Gathered skirt d. A-line skirt
6. Skirt style which is gathered at the waist and set into a band to
look more fitted to the hips.
a. Straight skirt c. Pleated skirt
b. Gathered skirt d. A-line skirt
7. The skirt style that has fullness all around the hem where soft
ruffles goes up toward the waist from the bottom.
a. Gored skirt c. Pleated skirt
b. Flared skirt d. Gathered skirt
8. Sewing construction where the fabric sewn is between the fabric
edge and the stitched seam line.
a. Seams c. Tucks
b. Darts d. Gathers
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9. Sewing construction which serves the same purpose as a dart
except it releases fullness at the larger parts of the body.
a. Seams c. Tucks
b. Darts d. Gathers
10. It is the process of joining two pieces of fabric where one is
slightly longer than the other to have extra fullness for ease of
movement rather than decoration.
a. Stitching c. Pleating
b. Easing d. Gathering
11. They are folds of fabric which give fashion and interest to
clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12. It is an extra fabric cut with the same shape as the facing and
inserted between the facing and the garment to prevent
stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the smallest part of the body.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look
like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15. Darts, buttonholes, pleats, tucks, and pockets placement are
examples of
a. Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
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__________6. In transferring marks onto the fabric, start with the
small pattern pieces to finish the job earlier.
__________7.Pressing straighten the grain lines and preshrink
fabric.
__________8. Do not press the seam before cross-stitching it with
another seam.
__________9. The sequencing for the unit of construction of the
different parts of the skirt is basically the same for all
skirt types.
__________10. Zippers are generally used for placket closure.
C. Identification
D. Matching Type
1. Feminine a. Curved
2. Masculine b. Vertical
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3. Short and/wide c. Straight
4. Tall and/slender d. Diagonal
5. Tall or short depending e. Horizontal
on the angle. F. Broken Line
E. Identification.
Directions. Name the following illustrations of skirts drawn below. Write
your answer in your quiz notebook.
1. 2.
3. 4.
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5. 6.
7.
1.
2.
.
3.
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Personal Entrepreneurial Competencies (PECs)
Module 1
Personal Entrepreneurial Competencies
Introduction
In this module, you will learn more about entrepreneurship and the
entrepreneurial competencies related to Dressmaking. You will have a first-
hand experience in educational activities leading to personal assessment of
your entrepreneurial competencies and assessment of entrepreneurial
competencies of a successful dressmaker in your community. You will also
have some activities that will align your competencies with those of a
successful practitioners. Moreover, this module will stimulate your mind to
think about entrepreneurship, its role in the business community as well as in
its economic and social development.
Entrepreneurs are people with skills and capabilities who see and
evaluate business opportunities. They are individuals that can strategically
identify products or services needed by the community and they have the
capacity to deliver these at the right time and at the right place.
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Always remember that successful entrepreneurs continuously develop and
improve their PECs.
Let us first try to find out the competencies to be mastered at the end of
this module.
OBJECTIVES
At the end of this module, you are expected to:
Now that you have an idea about the enabling knowledge and skill that
you will develop and master, take the first challenge in this module – the
pre-assessment.
PRE-ASSESSMENT
A B
____1. Creative A. make a wise decision towards the set
objectives
____2. Profit-oriented B. strategic thinking and setting of goals
____3. Discipline C. trust in one‟s ability
____4. Decision Making D. adoptable to change
____5. People Skill E. innovative to have edge over other
competitors
____6. Planner F. solid dedication
____7. Self-confidence G. skillful in record keeping
____8. Hardworking H. always stick to the plan
____9. Ability to accept change I. working diligently
____10. Committed J effective and efficient communication
and relation to people
K. always looking for income
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Directions: The following are guide questions which summarize the entire
module. Write your answers on your assignment notebook, then share these
to the class.
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READING RESOURCES AND INSTRUCTIONAL ACTIVITIES
After setting your own personal goals and targets in achieving the
objectives of this module, check your inherent knowledge of PECs. Answer
the following guide questions with your classmates.
2. Are there other strategies or approaches where you can assess your
PECs? Explain how those strategies will become useful in selecting a
viable business venture.
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How was your experience in answering the guide questions with your
classmates? Were you able to benefit from them? What insights have you
learned?
There are different topics that will enrich your knowledge of PECs.
Read carefully the important details about the succeeding topic.
Know
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Committed: A good entrepreneur accepts full responsibility of
everything in his/her business. He/she gives full commitment and
solid dedication to make the business successful.
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Process
Hardworking
- Working diligently
Self-confidence
- Confidence in one‟s ability
Discipline
- Always stick to the plan
Committed
- Solid dedication
Ability to accept changes
- Adoptable to change
Creative
- Innovative to have edge over other
competitors
Profit-oriented
- Always looking for income
Planner
- Strategic thinking and setting of
goals
People Skill
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- effective and efficient communication
and relation to people
Decision Making
- make a wise decision towards the
set objectives
TOTAL
Interpretation or Insights:
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How was your experience in discovering your strengths and the areas
to be developed? Did you gain valuable experience in exchanging insights
with your classmates? To learn more and deepen your understanding of
PECs, do the Task 5 below.
Task 5: Interview
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1. What are your preparations before you engaged in this type of business
or job?
_________________________________________________________
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______________________________________________________
2. What are your special skills and characteristics that are related with
your business or job?
_________________________________________________________
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3. How did you solve business-related problems during the early years of
your business operation?
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5. What are your best business practices that you can share with aspiring
students?
_________________________________________________________
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6. What are the salient characteristics, attributes, lifestyle, skills and traits
that made you successful in your business or job?
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Personal
Entrepreneurial Characteristic Attributes Lifestyle Skills Traits
Competencies s s
Successful
Entrepreneur in
the province
My PECs
Using the information on the table above, analyze and reflect on the
similarities and differences in your answers. Put your reflection on the
table below. Write your conclusion on the space provided.
Personal
Entrepreneurial Similarities Differences
Competencies
Characteristics
Attributes
Lifestyles
Skills
Traits
Conclusion:
_________________________________________________________
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______________________________________________________________
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___________________________________________________________.
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Transfer
Time Expected
Objective Area Activities Strategies
Frame Outcome
To align my
PECs with Characteristics
the PECs of a
successful
entrepreneur
in
Dressmaking. Skills
Attribute
Traits
1. Why is there a need to compare and align one‟s PECs with the PECs of
a successful entrepreneur?
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__________________________________________.
2. How does your action plan help sustain your strong PECs and/or
address your development areas?
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Module 2
Environment and Market
Introduction
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To be successful in any kind of business venture, potential
entrepreneurs should always look closely at the environment and market.
They should always be watchful on the existing opportunities and constraints.
The opportunities in the business environment are those factors that provide
possibilities for a business to expand and make more profits. Constraints, on
the other hand, are those factors that limit the business to grow, hence
reduces the chance of generating profit. One of the best ways to evaluate the
opportunities and constraints is to conduct SWOT (Strengths, Weaknesses,
Opportunities and Threats) Analysis.
Now that you have read some important considerations to look into to
be successful in any business, you are now ready to explore more about the
environment and market.
To begin with, let‟s find out the competencies that you will master as
you finish this module.
OBJECTIVES
Now that you have an idea about the things you will learn, take the first
challenge in this module – the pre-assessment.
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PRE-ASSESSMENT
Task 1: Multiple-Choice
Directions: Choose the letter of the best answer. Write your answer on a
separate sheet of paper.
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9. This is a meaningful and unforgettable statement that captures the
essence of the brand.
A. product naming C. branding
B. unique selling proposition D. tagline
10. These are the things that people cannot live without.
A. wants C. requirements
B. desires D. needs
Directions: Read and study the guide questions below. Use a separate
sheet of paper to write your answer.
5. How can one effectively respond to the needs of the target customer?
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7. Using self-assessment, explain your level of confidence in formulating a
business idea.
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After all the guide questions have been answered and skills have been
mastered, share those with your classmates. Discuss your insights, personal
knowledge of, and relevant experiences on the topic to make it more exciting
and engaging.
After setting your own personal goals and targets in achieving the
objectives of this module, you will have the opportunity to read and learn more
about environment and market. You will also be given a chance to do
practical exercises and activities to deepen your understanding of the topic.
Know
Product Development
When we talk of product development, we are referring to a process of
making a new product to be sold by a business or enterprise to its customers.
The product development may involve modification of an existing product or
its presentation, or formulation of an entirely new product that satisfies a newly
defined customer‟s needs, wants and/or a market place.
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identified market, and finally, testing, modifying and refining the product until it
becomes ready for production.
There are basic, yet vital questions that you can ask yourself about
product development. When you find acceptable answers to these, you may
now say that you are ready to develop a product and/or render services:
Likewise, needs and wants of the people within an area should also be
taken into big consideration. Everyone has his/her own needs and wants.
However, everyone has different concepts of needs and wants. Needs in
business are important things that every individual cannot live without in a
society. These include:
1. basic commodities for consumption;
2. clothing and other personal belongings;
3. shelter, sanitation and health; and
4. education.
Basic needs are essential to an individual to live with dignity and pride
in a community. These needs can obviously help you generate business
ideas and subsequently to product development.
Wants are desires, luxury and extravagance that signify wealth and
expensive way of living. Wants or desires are considered above all the basic
necessities of life. Some examples of wants or desires: fashion accessories,
expensive shoes and clothes, travelling around the world, eating in an
expensive restaurant; watching movies, concerts, having luxurious cars,
wearing expensive jewelries, perfume, living in impressive homes, among
others.
Needs and wants of people are the basic indicators of the kind of
business that you may engage into because it can serve as the measure of
your success. Some other good points that might be considered in business
undertakings are the kind of people, their needs, wants, lifestyle, culture and
tradition, and social orientation that they belong to.
To summarize, product development entirely depends on the needs
and wants of the customers. Another important issue to deal with is the key
concepts of developing a product. The succeeding topic shall enlighten you
about the procedure in coming up with a product.
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Concepts of Developing a Product
Perform
Analyze
Economic Plan
Competitive
Analysis Remaining
Products
Developme
nt Project
Concept
Development
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B. Establish Target Specifications: Based on customers' needs and reviews
of competitive products, you may now establish target specifications of the
prospective new product and/or services. Target specifications are
essentially a wish-list.
D. Generate Product Concepts: After having gone through with the previous
processes, you may now develop a number of product concepts to
illustrate what types of product or services are both technically feasible
and would best meet the requirements of the target specifications.
Finding Value
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The value that you incorporate to your product is called value
proposition. Value proposition is “a believable collection of the most
persuasive reasons people should notice you and take the action you‟re
asking for.”Value is created by fulfilling deep desires and solving deep
problems. This is what gets people moving, what gets people spending for
your product or service.
Innovation
Innovation is the introduction of something new in your product or
service. This may be a new idea, a new method or a device. If you want to
increase your sales and profit, you must innovate. Some of the possible
innovations in your products are change of packaging, improve taste, color,
size, shape and perhaps price. Some of the possible innovations in providing
services are application of new improved methods, additional featured
services and possibly freebees.
Here's how to discover your USP and use it to increase your sales and profit:
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utilize the information what motivates the customers in their decisions
to purchase the product or service.
Discover the actual and genuine reasons why customers buy your
product instead of a competitor's. Information is very important in
decision making. A competitive entrepreneur always improve their
products or services to provide satisfaction and of course retention of
customers. As your business grows, you should always consider the
process of asking your customers important information and questions
that you can use to improve your product or service.
Process
Task 3: Interview
Directions: Selecta successful entrepreneur or practitioner. Conduct an
interview using the set of questions below. Document the
interview and present this to the class.
4. Did you consult somebody before you engage in this business? Cite
sample insights that you gained from the consultation.
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5. What were your preparations before you started the actual business?
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Transfer
Direction: Using the space and figures below, develop your own concept for
your product or service. Utilize bullets in every stage of product
conceptualization in listing important key ideas.
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1. Identify
Customers Need
7. Prepare a 2. Target
-
Development Plan Specifications
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- -
- -
-
- -
- -
6. Refine Product 3. Analyze a
Specification
- - Competitive
Product
- - -
-
- - -
-
- -
-
-
5. Select A product 4. Generate Product
-
- Concept Concept
-
- - -
-
- -
-
- -
- -
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Know
1. Examine existing goods and services. Are you satisfied with the product?
What do other people who use the product say about it? How can it be
improved? There are many ways of improving a product from the way it is
made to the way it is packed and sold. You can also improve the materials
used in crafting the product. In addition, you can introduce new ways of
using the product, making it more useful and adaptable to the customers‟
many needs. When you are improving the product or enhancing it, you are
doing an innovation. You can also do an invention by introducing an
entirely new product to replace the old one.
2. Examine the present and future needs. Look and listen to what the
customers, institutions, and communities are missing in terms of goods
and services. Sometimes, these needs are already obvious and felt at the
moment. Other needs are not that obvious because they can only be felt
in the future, in the event of certain developments in the community. For
example, a province will have its electrification facility in the next six
months. Only by that time will the entrepreneur could think of electrically-
powered or generated business such as photo copier, computer service,
digital printing, etc.
3. Examine how the needs are being satisfied. Needs for the products and
services are referred to as market demand. To satisfy these needs is to
supply the products and services that meet the demands of the market.
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The term market refers to whoever will use or buy the products or services,
and these may be people or institutions such as other businesses,
establishments, organizations, or government agencies.
Businesses or industries in the locality also have needs for goods and
services. Their needs for raw materials, maintenance, and other services
such as selling and distribution are good sources of ideas for business.
A group of people in your neighborhood may have some special skills that
can be harnessed for business. For example, women in the Mountain
Province possess loom weaving skills that have been passed on from one
generation to another. Some communities there set up weaving
businesses to produce blankets, decorative and various souvenir items for
sale to tourists and lowland communities.
Business ideas can come from your own skills. The work and experience
you may have in agricultural arts, industrial arts, home economics, and ICT
classes will provide you with business opportunities to acquire the needed
skills which will earn you extra income, and should you decide to engage in
income-generating activities. With your skills, you may also tinker with
various things in your spare time. Many products were invented this way.
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Key Concepts of Selecting a Business Idea
You have to select the most promising one among hundreds of ideas.
It will be good to do this in stages. In the first stage, you screen your ideas to
narrow them down to about few choices. In the next stage, trim down the
choices to two options. In the final stage, choose between the two and decide
which business idea is worth pursuing.
Branding
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The features of a good product brand are as follows:
- Delivers the message clearly
- Confirms your credibility
- Connects your target prospects emotionally
- Motivates the buyer
- Concretizes user loyalty
Write down your brand messaging. Select key messages you want
to communicate about your brand.
Process
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Keep your SWOT Analysis short and simple. Avoid complexity and over
analysis.
SWOT Analysis is subjective.
Task 6: SWOT Analysis
Directions: Utilize the SWOT Analysis table below to list up all your
observations. Be guided by the strategies in analyzing and formulating realistic
and attainable activities. Write down the activities on the available spaces
provided to create the best business idea.
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
Strategies:
Analysis:
___________________________________________________________________________________
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Activities:
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Transfer
Directions: Generate a clear and appealing product brand with a logo and a
tagline.
Logo
Logo
________________________
Tagline
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QUARTER I
Overview
In this quarter, you will learn how dressmaking becomes a sustainable
source of living for the people. The evolution in fashion trends gradually
change from time to time.
People‟s desire to own stunning and tremendous outfit began since the
beginning. It seems an elusive dream for deprived individuals with economic
predicament but an everyday fashion to affluent persons. This longing for
attractive and fashionable outfit remains unvaried to everyone though season
and mode of fashion change from time to time. Progression in clothing closely
associated with social, economical and technological aspect and it is
happening to everyone all over the world.
General Objectives
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Pre – Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
10. Body measurements which are taken from side to side in left-to-right
direction.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
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11. It is taken around certain parts of the body such as bust line, waist line,
hip line, armhole, and the like.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
12. When the tape measure runs from the waistline level down to the skirt
length desired.
a. Waistline c. Lower hip level
b. Lower hip d. Skirt length
13. A kind of pattern which contains exact body measurements and
reflects no definite style.
a. Pattern c. Foundation pattern
b. Style pattern d. Envelope pattern
14. The fabric fold wherein the fabric is folded lengthwise at the center with
selvages together.
a. Lengthwise centerfold c. Crosswise centerfold
b. Off-center lengthwise fold d. Off-center crosswise fold
15. The label which indicates the brand name or brand logo of company
where the garment comes from.
a. Brand or main label c. Size label
b. Care label d. Flag label
16. The label which includes wash care and ironing instructions and is
attached at side seam of the garment.
a. Manufacturer label c. Flag label
b. Care label d. Brand or main label
17. The label which has specific measurements of human body such as S
for small, M for medium, L for large, etc.
a. Brand or main label c. size label
b. Flag label d. Manufacturer label
18. These are used on parts of the garments subject to strain such as
collars, cuffs or sleeves, belts, waistbands, and pants.
a. Hooks and eyes c. Zipper
b. Buttons d. Snaps
19. The sequencing for the unit method of construction of the different parts
of the skirt is the same for all types of skirts.
a. True c. False
b. not suited for all d. for a particular skirt line only
20. In cutting the front and back skirt on the sewing line,
a. Include the zipper allowance of the back skirt.
b. Do not include the zipper allowance of the back skirt.
c. Leave it as is.
d. Cut the allowance and remove it
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B. SEQUENCING
Directions. Arrange the steps in attaching or connecting the waistband
of a basic straight skirt. Write the number in your quiz notebook.
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Objectives
Art and design is the application of skill and taste that make a thing
beautiful. It is a fact that our clothes are worn for their artistic qualities which
make us more attractive and confident. Clothes are worn to emphasize the
good points and hide the defects or imperfection of our physical trait.
Principles of Design
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Standard Proportion
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2. Balance is the feeling of rest and equilibrium. This is essential to the total
design of a costume.
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3. Harmony is the pleasing combination of hues, values, and
intensities. The color wheel is presented so that you will learn the
arrangement and relationship of colors to the proper dress that is best
for your feature. Given as follows are illustrations of women wearing
monochromatic harmony.
5. Rhythm is the movement of the eye from one part of the design to other
parts. Repetition of a line or shape is one of the most common ways of
attaining rhythm. In clothing, curved lines tend to be more rhytmic than straight
lines because curved repeat the lines of the figure.
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a. Repetition- Rhythm could be
achieved by repetition or regular
recurrence of motifs of
design, shapes, buttons, tucks,
pleats, laces, edgings, color,
textures, fabric designs etc. This can
be done with all parts having the
same shaped edges.
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d. Radiation- Rhythm by radiation
creates a feeling of movement in
different directions. This
organized movement originates
from a central point of gathers,
folds, tucks, darts, pleats and
lines. Direction of radiation may
be in a similar or one direction,
opposing direction or both the
directions, several directions and
all directions.
In clothing, the best structural design follows the natural body lines.
Decorative design gives emphasis to certain areas. Fact is when we attempt
to clarify our figure types, we realize that only few has the perfect or in
average figure type. The tall, thin girl seemed to be the ideal fashion figure
nowadays. But no matter what figure type we may have, the lines of our figure
will determine what designs are most appropriate for us.
Types of Design
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Elements of Design
LINE FORM
SHAPE
TEXTURE
COLOR
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1. Line
The basic part of any design is formed by lines.The eye tends to
follow the direction of the line in a dress design or in the fabric of the dress.
Lines may be horizontal, vertical, straight, curved, diagonal, radiating, down-
sweeping, up-sweeping, or angular, and they are capable of creating
interesting illusions.
When the lines of a dress repeat the form of the body too closely,
they produce an uncomfortable , restricting effect. At the other extreme, a
silhouette which is completely opposed to the lines of the figure distorts rather
than enhances the total design. A design suggests the contours of the body.
Dress Forms
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3. Texture
The surface quality of a fabric comprises its texture. It appeals
strongly to the sense of touch, whether it is coarse, fine, smooth, rough,
wrinkled, sleek, glossy, slippery. Textures are affected by weave, finishes, and
the nature of the fibers and yarns used in weaving. Textures as well as lines
can create illusions, one must choose textures for clothes that will harmonize
with the over-all design.
Texture affects color. A soft wool will give a quite different effect from the
gloss and sheen of the satin in the evening dress.
Texture also affects the apparent size of the design. Bulky, rough
fabrics tend to increase the size of a design, whereas smooth fabrics decrease
it.
A rough texture also dulls color, but a shiny, smooth texture
intensifies the hue. Textures used together in a design should be harmonious.
Some contrast is desirable to add interest, but too great a contrast creates
disunity. A velvet skirt worn with a silk crepe blouse combines textures
consistent in purpose. The same velvet skirt worn with a cotton seercucker
blouse is unthinkable.
Pig skin shoes and gloves worn with a woolen suit create a pleasant
costume. Patent leather accessories with an embossed cotton summer dress
make delightful accents in a harmonious costume.
4. Shape
Clothes reveal or disguise the natural body contour or shape.
Choosing the right clothing shapes will make the person more flattering. Wide,
full shapes clothes will make you look larger while trim, compact dress will
make you look smaller. Straight, tubular shapes will make the wearer look
taller while fitted clothes will reveal the natural body contours.
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Let’s Do it!
Make a template of eight (8) boxes with the same sizes. Sketch or illustrate
dresses of latest fashion with prints or designs of the different kinds of lines.
Kinds of Lines
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Work Habits Student Student Student Student Student Student
worked for worked for worked worked did not did not
entire entire most of part of the work work
period with period and the period period and much during the
superior did not and needed during the period
focus and need needed several period and even with
did not reminders few reminders needed several
need to stay on reminders to stay on several reminders
reminders task to stay on task reminders to stay on
to stay on task to stay on task
task task
Expectations Student Student Student Student Student Student
has has fully has met has met has not has not
exceeded met most some met few met
expectatio expectatio expectatio expectatio expectatio expectatio
ns of ns of ns of ns of ns of ns of
his/her his/her his/her his/her his/her his/her
ability level ability ability ability ability ability
level level level level level
5. Color
Color is light, and light contains within itself all the sun‟s rays, and
when it is broken into wavelengths of light, a sensation is produced, upon the
retina of the eye which is called color. The eye responds to color the same as
the ear responds to music. One‟s reaction to color are both physiological and
psychological. The varying properties of color can, like skillful use of line and
proportion, make a large object appear smaller, or a small object seem larger.
Some colors bring an object nearer, and others make it seem farther away.
Colors affect the emotions that is why sometimes you do not realize what has
made you cheerful, subdued or melancholy. Color is a powerful element in our
life. It has vibration, light and energy which affects us.
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The simplest harmony is the dominant harmony. It is a harmony of two
or more tones of one color or a harmony in which one color pervades
such as tints and shades of brown, tints and shades of green. They are
found in nature.
Classifications of Colors
To bring out the best in our personality, the color of the eyes, hair and
complexion should always be considered. This determines that white
complexioned prefers the light colors, green is the best color and tints of
orange, blue, and red creamy, and white. Avoid brown, yellow and purple. Fair
complexioned can wear light or dark colors but should avoid medium values.
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Colors which harmonizes with the hair and eyes are becoming like old rose,
deep reds, yellow gold. Avoid gray, blue gray, light and dark blue and olive
green.
Pale faced should avoid brilliant colors. Yellow complexion needs
light tan and natural color and dark complexion can wear broken orange which
adds life and personality. Purple is hard to wear because it gives the
complexion a muddy appearance especially for the young girls but suitable for
the gowns of older women.
Let’s Do it!
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Interpretation of
Color
White BLUE
RED symbolizes
an agressive and energetic purity and denotes the color of heaven. It
color. It symbolizes blood and innocence.It symbolizes the highest degree of
sword. It gives a pleasing effect increases spirituality. It is termed as
to the complexion. It lends rosy apparent size innocent, quiet, and reserved. It
glow to the skin that gives the and should be expresses modesty, truth and
appearance of health and used sparingly calmness.
vitality. by stout figures.
Gray
denotes
refinement and
modesty. It is GREEN
ORANGE quiet and retiring.
bring rest and peace. It is
It denotes
It denotes pomp, grandeur, satisfying and relaxing to the tired
refinement and
magnificence. It reflects a eyes. It signifies hope, ideals and
modesty. It
reddish color on the face. generosity. When combined to
decreases the
yellow means happiness and
size of the figure.
gaiety.
Black
expresses
somberness,
coldness, mystery, VIOLET
YELLOW and mourning. It expresses formality, dignity and
expresses rest, peace, sunshine decreases the size suggests loyalty and statelines.
and gaiety. It casts its hue over of the wearer It expresses truth. It also
the face, hair and eyes. It can be because it absorbs symbolizes mourning and
used by person with clean fresh- light and calls less sadness.
tinted complexion. attention to the
figure.
Warm colors are cheerful and Cool colors are quiet and restful, but
stimulating, but when they are very as the color becomes darker, they
bright, they may become irritating. may become depressing.
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Read and understand more about Design for Different Figure Types.
The following are some of the figure types excerpt from the book of L.
Belle Pollard, Experiences with Clothing showing the becoming designs and
unbecoming designs to different figure types.
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Design for Individual Face and Figure Variations
Figure Variation Becoming Designs Unbecoming Designs
Narrow Hips Full, gathered, or Tight-fitting skirts at and
pleated skirts just above hips
Bulky fabrics
Overblouses
Thin Legs and Feet Full skirts of moderate Uneven hem line
length
Light hose
Heavy Legs and Ankles Longer skirts with some Straps across instep
fullness Fancy shoes
Even hem line
Dull hose
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Large Bust Dark colors above waist Broad shoulders
Skirt with flare Bulky or shiny fabrics
Soft fullness over bust Snug belts
V-Neckline Fussy detail, bows,
Large accessories pockets
Straight coats and Tight, narrow skirts
jackets Sweaters
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Sway Back Loosely-fitted, bodice or Tight-fitting skirts
dress slightly bloused Princess lines
above waistline
Long jackets
Two-piece dresses
Dresses with peplums
Directions. Rearrange the letters in the box to form the word that best
describes the statements below. Write your answer in your
quiz notebook.
1. N O T P O O R I P R
It involves the relationship of one part to another.
2. E B L N A A C
The feeling of rest and equilibrium.
3. P S E M H A I S
It means that one part of a design must be more important than
the other parts.
4. E N I L
It is the basic part of any design.
5. X E E T U T R
The surface quality of a fabric.
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6. H T R M Y N
It is the movement of the eye from one part of the design to other
parts.
7. A N Y O H R M
The feeling of oneness and unity.
8. T E N T I S I Y N
It is the brightness or dullness of a color
9. M O R F
Refers to the shape of an object as determined by line.
10. R O O C L
This affects our mood but adds beauty and life in everything that
surrounds us.
Enhancement activity
Activity
What‟s In? Latest Trend in Fashion
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Rubrics for Art
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Steam iron on a wool Use for: men‟s
setting: Use just the toe of and ladies‟ wear,
the iron and a silk organza jackets, pants
pressing cloth as the
fabric will mark and will
shine.
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dyeing also creates cotton setting; a
denim's fading pressing cloth is
characteristics, which are not required
unique compared to every
other textile.
4. Poplin Poplin, also Thread: polyester
called tabinet (or tabbinet), all- purpose
is a strong fabric in a plain thread
weave of any fiber or
blend, with crosswise ribs Needle: machine
that typically gives a size 14; sharps for
corded surface. hand sewing
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blend of the two. Use for: apparel,
trousers, skirts
This may be used for
everything from sporting
and marine equipment to
clothing and accessories.
1. Test by Thumb
Determine the strength and shape-holding qualities both lengthwise
and crosswise of fabrics. With both hands, grasp a sample between
your thumbs and forefingers. Stretch the fabric by moving your hands
back so that the thumbs separate and the fingernails push together.
Weak fabrics pull apart or become thin where they are stretched.
2. Test by Pin
Determine slippage of threads. Pin a small tuck in a sample.
Pull on the fabric from both sides of the tuck, working back and forth as
you pull. If the fabric tears or pulls away from the pin it would probably
pull at the seams.
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3. Test for Sizing
Determine whether stiffening has been added to give a more
closely woven look and firmer feel. Rub the fabric between your hands;
observe whether a powder-like dust falls out indicating stiffening added.
If heavily sized, the rubbed part will look thinner when held to the light
and will appear limp and coarse. Sizing dissolves in water.
Enhancement activity
Activity
Have a research on the following:
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Rubrics for Art
Styles of Skirt
Ladies skirts are of different styles, types and shapes. The names of
the skirt signify its shape or design. They are worn to cover the lower part of
the body. A dressmaker can make any style and design on the skirt in different
ways based on the figure of the client. However, be careful in wearing skirt
which are only suitable for some specific blouses or tops. There are few basic
categories of styles of skirt:
1. Straight skirt - referred to as a pencil skirt, this skirt is a straight line with
no flare or fullness at the hem or waistline. It is a slim-fitting skirt with a
straight, narrow cut line. Generally the hem falls to, or just below the knee
and is tailored for a close fit. It is named for its shape: long and slim like a
pencil.
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a. Short Straight Skirt is a skirt style just above the knee and it gives a
flattering effect to the wearer. However, there are super short straight
skirt such as the micro-mini, which are becoming to those who have
slim and long- legged figures.
b. Long Straight Skirt is best when they end to the part of the legs that
begins to taper.
2. A-Line/ Flared Skirt is a skirt fuller at the hem than at the waist and
probably the best style for most women. Its silhouette is narrower at the
top, flaring gently wider toward the bottom thereby resembling the letter A.
It may be fitted at the waist, high hip, and full hip.It works well on women
with small waist and good for those with full-hipped figures.
3. Gored Skirt is a style of skirt consists of four, six, eight or more gores
shaped to flare from waist to hem. This is very classic, and is always in
fashion. It‟s one of the most flattering styles. Its vertical lines create an
illusion of height and slimness. A gored skirt can be either straight or A-
line, depending on the contours of the gores. For a slim woman, a gored
style which is fitted at the waist and hips and flares at the hem line is best
suited. While A-line is best for you, if the skirt with gores flare from waist or
high hip which is emphasized by the shaped and curvy gores.
4. Pleated/ Tucked Skirt is a type of skirt which has pleats that create
refined vertical line while softening the figure. Skirt with all around pleats
are best for slim, narrow-hipped figures.
a. A Box pleated skirt – a double pleat having two upper folds facing in
opposite directions and two under folds pressed toward each other.
b. Fix box pleated skirt- a flat double pleat made by folding under the
fabric on either side of it.
c. Knife pleated skirt- a sharply creased narrow pleat, usually one of a
series folded in the same direction.
d. Accordion pleated skirt- a series of narrow, evenly spaced parallel
pleats with alternating raised and recessed folds set into skirt usually by
a commercial pleating machine.
5. Gathered Skirt usually gathers at the waist and visually adds weight and
bulk to any figure.
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STYLES OF SKIRT
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Identification.
Directions. Name the following types of skirts.
1. ________________ 2. ________________
Enhancement activity
Activity
Let the students collect pictures and make an album of the different styles of
skirt. Let them label each of them. Give them at least one week to prepare it
and collect it. Let them share their experience and their own insight about the
importance of the album in relation to their course.
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Body Measurements for a Skirt
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4. Skirt length. Run the tape
measure from the waistline
level down to the skirt length
desired. (D) Skirt length may
vary depending on the skirt
style. Note down the varying
skirt length that you may
desire, like mini length, channel
length, midi length, etc.
Enhancement activity
Activity
Pattern drafting gives the dressmaker a blueprint of what a garment will look
like. It also serves as a guide for the dressmaker.
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5.Hip guide
6.Scissors
.
Pattern Markings are universal symbols and lines designed to help the sewer
put the pattern pieces together quickly, easily and successfully. Every marking
is necessary for specific reason. Not every marking is on every pattern
because some are specific to a certain style or construction technique.
Construction markings are very helpful during the sewing process and
transferring them to the fabric is a must.
Identification:
Directions: Name the following tools used in drafting pattern.
1. ____________________ 2. _____________________
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3. ______________________4. ______________________
5. _______________________
Enhancement activity
Activity
Make a Project Plan
Directions: Make a project plan for your sleeping garment using the
template below. Use separate sheet if necessary.
II. Objectives:
1. ________________________________________________
2. ________________________________________________
3. ________________________________________________
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III. Tools and Equipment:
1.
2.
3.
4.
5.
V. Design Specifications:
VI. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage
B1.
B2.
B3.
VII. Evaluation:
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Procedure
1. On your pattern paper, draw a perpendicular line T. Mark the
midpoint as 1.
2. From 1, measure 1 cm down to get 2.
3. From 1, measure 1½ cm down to get
3.
4. From 1, measure 18 cm to 25 cm
down to get 4.
5. From 2, apply the front skirt length
down tom get 5F
6. From 3, apply the back skirt length
down to get 5B.
7. Square 4 and 5B to the left.
8. Square 4 and 5F to the right.
Fundamental Lines in drafting Pattern for Skirt
Enhancement activity
Activity
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Item 5 3 1 Score
Let’s Do it!
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2. From 4 to 7B, use one-fourth hip measurement plus 1.5 cm.
Connect 6B to 7B by using a hip curve.
3. From 5B to 8B, use one-fourth hip measurement plus 1 cm.
Connect 7B to 8B.
4. From 3 to 9B, use one-half bust point width minus 1.5 cm.
5. From 9B to 10B, measure 4 cm.
6. Get the midpoint of 9B and 10B, and mark this 11B.
7. From 11B to 12 B, measure 15 cm. Connect 9B, 10B, and 11B
to 12B to form the waist dart.
8. Fold 9B over 10B. Connect 3 to 6B with a slight curve.
9. From 6B to 13B, use the back skirt side length.
10. Connect 5B to 13B with a slight curve.
Let’s Do it!
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5. From 9F to 10F, measure 2.5 cm.
6. Get the midpoint of 9F and 10F, and mark this 11F.
7. From 11F to 12F, measure 8cm to 13 cm. Connect 9F, 10F, and
11F to form the waist dart.
8. Fold 9F over 10F. Connect 2 to 6F with a slight curve.
9. From 6F to 13F, use the front skirt side length.
10. Connect 5F and 13F with a slight curve.
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accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
The following are simplified sample patterns for some basic styles of
skirts adopted from the book “Pattern-Making and Sewing of Various
Skirt Styles by Eloisa R. Francisco,
The following are some of the styles of skirts which you are familiar with.
Choose among these samples which will be your project.
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Drafting the Front Basic Straight Skirt Pattern
Waist Line
A From the top edge of the
pattern paper, go down 2
inches (5cm.). Mark this point
A. From point A, square or
extend the line across to 15
inches (38.5cm.). This line will
serve as the waistline level.
B From point A (which is the
waist line level), get ¼ of the
waistline measurement by
folding the tape measure into
four parts. Mark this point B.
C From point B, go out 1”
(2.6cm). Mark this point C.
This allowance will make up
for the dart allowance that will
be added or marked on the
inside of the pattern.
D From point A, go down ½”
(1.3cm). Mark this point D.
D-C Connect point D to point C
with a curve ruler. This
adjustment on the waistline is
to follow the roundness of the
curve of the stomach.
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Dart Lines
E From point A, get 1/8” of the waistline measurement. Mark
this point E. Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm) for the dart point.
Mark this point F.
G From point E, go out ½ of an inch(1.3cm) for the other dart
point. Mark this point G.
H From point E, square down for a short figure 5” (13cm), for
medium height figure 5 and ½” (14cm.) or a tall figure 6”
(15.5cm). Mark this point H. This will be the length of the dart.
Connect point H to points E, F, G with straight lines. This will
serve as the dart lines.
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the hem line level.
L From point K, get ¼ of the lower
hip measurement, or bring down
the measurement from points I-J to
point K-L. Mark this point L.
M From point K, go down !/2 of an
inch (1.3cm.). Mark this point M.
This hem line adjustment is a must
for the front skirt.
M- Connect point M to point L, with a
L curve ruler.
J- Connect point J to point L, with a
L straight line.
Zipper Allowance.
Generally, the zipper is attached on the center back of a skirt. From the side
edge of the pattern paper, go in 1 inch (about 2.5cm) and make a straight line
vertically. Print “zipper allowance” on it.
Waist Line
A From the top edge of the pattern
paper on the zipper allowance
line, go down 2 inches (5cm).
Mark this point A. From point A,
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square or extend the line across
to 15 inches (38.5cm.). This line
will serve as the waistline level.
B From point A, get ¼ of the
waistline measurement. Mark this
point B.
C From point B, go out 1 inch
(2.6cm). Mark this point C. This
allowance will make up for the
dart allowance that will be added
or marked on the patten.
D From point A, go down ½ of an
inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a
curve ruler. This adjustment is
done on the back skirt pattern to
follow the “hollowness” of the
upper center hip near the
waistline.
Dart Lines
E From point A, get 1/8 of the waist measurement, then mark this point
E. Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the center of the dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the dart
allowance. Mark this point G.
H From point E, square down for a short figure 5 and ½ inches (14cm.)
for a medium height figure 6 inches (15.5cm.), for a tall figure 6 and /
Inches (16.5cm.). Mark this point H. This will be the length of the
dart. Connect point H to points E, F, G, with straight lines. This will
serve as the dart lines.
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Length of Skirt
K From point A, go down to the desired length of the skirt. Mark this
point K. From point K, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
L From point K, get ¼ of the lower hip measurement, by folding the
tape measure into 4 equal parts. Mark this point L.
J-L Connect point J to point L with a straight line.
K-L Connect point K to L with a straight line.
After drafting the back pattern of a basic straight skirt, review the
measurements. Cut along points D to C to J to L to K, include the zipper
allowance. This pattern can serve as your sloper for other skirt types. Label it
with the name of the owner and keep it in the envelope together with the front
basic straight skirt pattern.
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Get your interfacing (waist band stiffener or Penellon), and draft the
pattern on it directly.
A-B Get the waistline measuremnt and make a line. Mark this A-B.
C From B, add 3 inches (8cm.) for closure allowance. Mark this C.
D From C, go out 1 inch (2.5cm.), for extra sewing allowance. Mark
this D.
E From A, go down 1 and ¼ inches (3cm.) for the thickness of the
waistband. Mark this E. There is no need for extra sewing allowance.
F From D, go out 1 inch and ¼ inches (3cm.) for the thickness of the
waistband. Mark this F. Connect all points with a straighline. Cut
along points A, B, C, D, E, and F.
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Used the Used the Failed to use
correct correct the correct
2.Procedure method. method. method.
Procedures Procedures Procedures
correctly partly not
followed. followed. followed.
All pattern Some pattern All pattern
details were details were details
3. Pattern correctly inaccurately were not
measured and drafted. drafted
accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
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Drafting the Pattern of a Basic A-Line Skirt
1. Follow the procedure of the front Basic Straight Skirt Pattern or trace
the sloper for the Front Basic Straight Skirt and add point N, for an A-
line silhouette.
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1. Follow the procedure of the Back Straight Skirt Pattern, or trace the
sloper for the Back Straight Skirt Pattern and add point M.
2. From point L, go out 1 and ½ inches (or 4 cm.) or more depending what
was added on the Front Skirt Pattern for an A-Line silhouette on the
Back Skirt Pattern. Mark this point M.
3. Connect point M with a straight line towards the hip area where the line
connection will be smoothest, or will have the straight line connection.
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3. The Four-Darted Skirt with Waistline Facing
Drafting the Front Skirt Pattern of a Four Darted Skirt with Waistline
Facing
Waistline
A From the top edge of the pattern
paper, go down 2 inches (5 cm.) Mark
this point A. From point A, square or
extend the line across to 15 inches
(38.5cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline
measurement by folding the tape
measure into four parts. Mark this point
B.
C From point B, go out 2 inches (5cm.).
Mark this point C. This allowance will
make up for the two dart allowances
that will be added or marked on the
inside of the pattern.
D From point A, go down ½ of an inch
(1.3 cm.). Mark this point D.
D-C Connect point D to point C with a curve
ruler. This adjustment on the waistline
will give way to the roundness of the
stomach.
Dart Lines
E From point A, get 1/8 of the waistline measurement, then mark this
point E. Point E will be the center of first dart.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart
point. Mark this point F.
G From point E, go out ½ of an inch (1.3 cm.) for the end of the first dart
point. Mark this point G.
H From point E, go down 5 and ½ inches (14cm.). Mark this point H.
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This will be the length of the first dart lines. Connect point H, to points
E, F, G with straight lines. This will serve as the first dart lines.
I From point G, go out 1 inch (2.6 cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (2.6cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm.) for the end of the second
dart. Mark this point K.
L From point J, go down 4 and ½ inches (11.5cm.). Mark this point L.
This will be the length of the second dart lines. Connect point L, to
points I, J, K with straight lines. This will serve as the second dart
lines.
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Drafting the Back Skirt Pattern of a Four-Darted Skirt with Waistline
Facing
Waistline.
A From the top edge of the pattern paper on the zipper allowance line,
go down 2 inches (5cm.). Mark this point A. From point A, square or
extend the line across to 15 inches (38.5 cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline measurement. Mark this point B.
C From point B, go out 2 inches (5cm.). Mark this point C. This
allowance will make up for dart allowances that will be added or
marked inside the pattern.
D From point A, go down ½ of an inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a curve ruler. This adjustment is done
on the back skirt pattern to raise the skirt following the “hollowness”
on the upper center of the hip area.
Dart Lines
E From point A, get 1/8 of the waistline measurement. Mark this point E.
Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the fist dart.
Mark this point G.
H From point E, square down to 6 inches (15.5cm.). Mark this point H.
This will be the length of the first dart. Connect point H to points E, F,
G, with straight lines. This will serve as the first dart lines.
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I From point G, go out 1 inch (2.5cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (1.3 cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm. for the end of the second
dart. Mark this point K.
L From point J, square down to 5 inches (13.5cm.). Mark this point L.
This will be the length of the second dart. Connect point I, J, K with
straight lines. This will serve as the second dart lines.
Length of Skirt.
O From point A, go down to the desired length of the skirt. Mark this
point O. From point O, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
P From point O, get ¼ of the lower hip measurement, by folding the tape
measure into 4 equal parts. Mark this point P.
N-P Connect point N to P with a straight line.
4. Now that you have the back pattern of a four-darted skirt. Review the
measurements. Cut along points D, C, N, P, to O (include zipper
allowance).
a. Cut the front and back skirt on the sewing line. Include the
allowance at the back of skirt zipper.
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b. In the dart lines of the front and back skirt to close the darts.
This will naturally alter the curve of the waistline.
d. Get a small piece of pattern paper and pin the pattern paper
under the front and back skirt pattern on the facing area. Trace
the outline of the facing on the pattern paper. After tracing,
remove all the pins.
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e. Cut the outline of the waistline facing for the front and the back
skirt. Label front and back facing.
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From the edge of the pattern paper, go down 2 inches (5cm.) which will be the
waistline level. Ark this Y1. Square or extend the line across to 30 inches
(76cm.) Get ¼ of the waist measurement from point Y1. Mark the end of ¼ of
the waistline measurement point Z1.
Get the length of the skirt. Mark this Y2, and on this level, get 1/3 of the waist
measurement. Mark this point Z2.
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Make a straight line from Z1 to Z2. This will be where the Front Basic Straight
Pattern will be drafted or its sloper wil be pinned and traced. Disregard the
dart lines. The silhouette of the gathered skirt may be straight or A-line.
From point K, extend the hemline to point L with a straight line.
If an A-line silhouette is desired, go out 1 and ½ inches (4cm.) or more. Mark
this point N.
Connect point N to the area of the hip with a straight line where the line will be
smoothest.
Waist which is gathered doesn‟t need zipper because the waist will stretch
enough to pass it on hip part.
If an A-line silhouette is desired, go out 1 and ½ inches (4 cm.) or more. Mark
this point M.
Connect point M to the area of the hip where the line connection will be
smoothest.
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Used the Used the Failed to use
correct correct the correct
2.Procedure method. method. method.
Procedures Procedures Procedures
correctly partly not
followed. followed. followed.
All pattern Some pattern All pattern
details were details were details
3. Pattern correctly inaccurately were not
measured and drafted. drafted
accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
The front and the back pattern have the same procedure. The zipper
may be placed on the side of the skirt.
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Drafting the Pattern of an All Around Pleated Skirt with Hip Yoke
Get two pattern papers and fold each in the middle.Mark one front and the
other back. Pin the basic straight skirt pattern or sloper on the center fold of
the paper. Trace the basic sloper with the dart lines.DO the same procedure
on the other pattern paper.
Cut along the sewing lines.
Trace the dart oin the other side of the fold pattern.
Draw a line on the desired yoke level or 2 inches (5 cm.) above the lower hip
level. Mark this line as X.
Go up ½ of an inch (1.3 cm.) from point X, and mark Y. Trace the new
markings on the other side of the fold pattern.
From point X, make a smooth vanishing line towards the center of the yoke.
Trace new marking on the other side of the fold of the pattern.
Cut out darkened part, and separate the yoke from pleated part of the skirt.
Unfold the pattern and draw lines with equal distances to indicate the width of
the pleats. Then cut off the yoke removing the vanishing lines from point Y and
point X. Number the pleats.
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Or, unfold the pattern and cut off the yoke removing vanishing lines from point
Y and point X. Then fold the lower skirt on the center and start folding the
pattern paper for the pleats. Continue to fold until you get the desired width of
the pleats. Unfold and draw straight lines along the folds indicating the pleats.
Then number the pleats.
Cut along the pleat lines.
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accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
These are best accomplished by using slash and spread, slash and overlap
or pleat method.
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c. Alterations of the waistline must be made on both bodice and
skirt
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c. When the grainline is in the center, correct cutting line by adding all
increased widths to both sides of lower section (a to c, b to d)
d.Insert a piece of paper in between the spread pieces, pin and cut
excess.
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Let’s Do it!
Pattern Alterations
Before cutting out, sort out all the pattern pieces that are required for
the item you are making. Check them to see if any have special cutting
instructions. If there are no more alterations to be made, just trim patterns to
your size.
1. Identify which size to be used for different areas of your body. Use a
colored pen and trace the cutting lines.
2. Use a sharp pair of scissor in cutting the pattern. If you slip and make a
cut where you shouldn‟t have, simply tape it back into place. The
important thing is that the shape is retained and that you can still read
the markings. Cut carefully along the cutting lines.
3. Check for seam allowances. Notice the grain lines. The word
“directional” means moving with the grain. In cutting garment pieces
from fabric , look at the pattern piece. You will notice that by cutting
from wide to the narrow part of a piece, you cut with less pull on the
grain of the fabric. This is called directional cutting.
4. Use long, even stroke about 1 inch from the end of the blades of the
shears. If you close the blades with each stroke, the result cut edge will
be choppy and uneven.
5. As you come to the notches (diamond-shaped marks) on the cutting
line, cut them around away from the pattern.
6. Trim multi-size pattern pieces. Single-size pattern pieces do not need to
be cut to shape ; just cut around them roughly if there is excess tissue.
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Enhancement activity
Activity
Choose one type of skirt from the different types and draft the
basic pattern of it by following the given body measurement.Observe the
step-by-step procedure.
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Used the Used the Failed to use
correct correct the correct
2.Procedure method. method. method.
Procedures Procedures Procedures
correctly partly not
followed. followed. followed.
All pattern Some pattern All pattern
details were details were details
3. Pattern correctly inaccurately were not
measured and drafted. drafted
accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
Objectives
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Patterns are laid out on the fabric to determine if the cloth is enough
for all the pattern pieces. The process is known as pattern layout. In this
method, lay out all pattern pieces in various positions on the fabric by trial and
error until they all fit on the cloth. When all pattern pieces have been laid out,
pin them securely on the fabric.
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Enhancement activity
Activity
Let the students perform on how to fold the fabric correctly. Check
whether the fabric is in right position. Supervise them while performing the
activity.
P E R F O R M A N C E L E V E L
Dimension
Very Needs No Point
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
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How to Layout Pattern Pieces of the Basic Straight Skirt Pattern on the
Fabric
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How to Layout the Pattern of the Four Darted Skirt with Waistline Facing
and Overlap Slit on the Fabric
1. Fold the fabric with two inches (5cm.) jutting out of the under laying
fabric. Layout and pin the patterns of the front and back skirt. The
center front of the front skirt pattern is joined on the fold of the fabric.
The center back of the back skirt is pinned 1 inch (2.5cm.) away from
the edge of the upper fabric. The 1 inch (2.5cm.) allowance is for the
fold of the overlap slit.
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2. Mark the needed sewing allowances. Mark the desired length of the
overlap 6 to 8 inches long (15.5 to 20.5cm.).
3. Cut along the sewing allowances.
4. For the overlap slit, cut excess fabric as shown the illustration above,
and just leave the allowances needed for the overlap slit.
5. Mark the sewing lines.
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*Refold fabric so that the front yoke may be laid out on the fold of the fabric.
Enhancement activity
Activity
Let the students perform how to layout properly the fabric. Check
whether the fabric is in right position. Supervise them while performing the
activity.
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Rubrics in Evaluating the Performance of the Students
P E R F O R M A N C E L E V E L
Dimension
No Point
Very Needs
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
After the pattern pieces have been laid out on the fabric, the next step
is to cut the fabric. Be very careful in cutting this. If you cut carelessly, time,
effort, and money will be wasted.
A good rule to remember is, always cut along the pattern so that your
free hand rests on the pattern. For the right-handed person, cut to the right of
the cutting line. The fingers of the left hand rest lightly on the pattern along the
cutting line. Reverse this if you are left-handed.
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Pointers in Cutting the Fabric
1. Place the fabric and pattern flat on the table. Avoid moving or lifting the
fabric while cutting.
2. Walk around the table as you cut instead of pulling the fabric toward
you because the fabric may slip or stretch out of shape.
3. Use sharp shears for cutting, making long strokes along straight edges
and short, even strokes along curved edges. Cut the edge straight
since it serves as your guide in sewing.
4. Cut the fabric starting from the widest to the narrowest part of the
pattern. Begin cutting at an edge which is easy to reach.
5. Cut with smooth, even strokes.
6. Keep the cutting edge of the top blade of the shears directly above the
lower blade. Do not let the blades slant toward the table.
7. Cut similar patterns at the same time by cutting them out from two
layers of fabric.
8. Close the points of the shears right up to the notch. Close the points at
the exact stopping place. Cut outward from the pattern to the exact tip
of the notch. Cut inward to complete the notch at the cutting line.
9. When cutting curves, make your strokes shorter. Keep the free hand
close to the cutting line to have smooth curved line.
10. Set aside cut fabric pieces to avoid cutting them accidentally as you
work on other parts of the fabric.
11. After cutting, do not remove the pins and patterns because you will
need them in marking your fabric.
12. Collect and tie all scraps of cloth together for future use. You may be
able to use these for your recycling projects.
If you are right-handed, place You can cut a small clip into the
your left hand on the pattern fabric to mark the dots that indicate
and fabric and hold them in place, the top of the shoulder on a sleeve.
and cut cleanly with the scissor Alternatively, these can be markes
blades at a right angle to the fabric. With tailor‟s tacks.
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Cut the mirror image of the notches A small clip or snip into the fabric
out into the fabric, rather than cutting is a useful way to mark someof
Out each notch separately, cut straight the lines that appear on a pattern.
across from one point to point.
Enhancement activity
Activity
Let the students perform on how to cut the fabric properly. Check
whether the fabric is in right position. Supervise them while performing the
activity.
P E R F O R M A N C E L E V E L
Dimension
No Point
Very Needs
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
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time
3. Safety Observes safety Observes Observes safety Most of the time No
work habits precautions at all safety precautions not observing attem
times precautions sometimes safety precautions pt
most of the
time
4.Completen Task is completed Task is Task is nearly Task is started but No
ess of Task following the completed completed not completed attem
procedures in the following following the following the pt
activity the procedures in the procedures in the
improvement/innovati procedures project plan project plan
ons in the
project plan
5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/d ___(mins./hours/d attem
within ays) beyond ays) beyond pt
allotted time
TOTAL POINTS
After cutting the garment pieces, you are ready to transfer your
pattern marks to the fabric. Use tailor‟s chalk or dressmaker‟s carbon paper
aided by a tracing wheel. Whichever tool you decide to use, make sure that
you transfer all important pattern marks clearly and accurately. The following
are the general details to be marked:
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For lines, you can use trace basting or a tracing wheel with
dressmaker‟s carbon paper.
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2.By Using Tracing Paper and Wheel
1. This method is not suitable for all fabrics
as the marks may not be able to be
removed easily. Slide dressmaker‟s
carbon paper against the wrong side of
the fabric.
2. Run a tracing along the pattern lines (a
ruler will help you make straight lines)
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2. Carefully pull away the tissue.
Cut through the loops,, then
gently separate the layers of
fabric to show the threads. Snip
apart to leave thread tails in
both of the fabric layers.
Enhancement activity
Activity
Let the students perform how to transfer pattern markings properly
onto the fabric. Check whether the fabric is in right position. Supervise them
while performing the activity.
P E R F O R M A N C E L E V E L
Dimension
No Point
Very Needs
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
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activity the procedures in the procedures in the
improvement/innovati procedures project plan project plan
ons in the
project plan
5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/d ___(mins./hours/d attem
within ays) beyond ays) beyond pt
allotted time
TOTAL POINTS
Pre-assembling Procedure
The quality of clothes that we are wearing is affected by the way they
are constructed. Understanding the construction process will help us choose
quality clothes. There are various standards on how they are being
constructed either for ready-to-wear or custom-sewn clothing.
Skirt Unit
Front
1.Stay stitch waistline on seamline from sides through center front.
2.Stitch the darts, Slash and press open curved darts.
3.Finish the bottom edge of the facing with the side seams folded out.
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A. Pressing Techniques
Before Construction
Pressing can straighten grain lines and preshrink fabric, and it
eliminates wrinkles before laying on the pattern. The center crease line should
be pressed out of folded fabrics. Wrinkled tissue pattern pieces may be
pressed smooth with a warm iron as an aid to accurate cutting.
Press straight seams over straight pads and curved seams over
pressing cushion to give them the correct shape.
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Straight Seams
Press seam allowance open with tip of iron for an inconspicuous
appearance. For some contruction procedures press both edges of seam to
one side. The seam may be pressed open before turning and pressing the
edges to one side. This may give a flatter line on some fabrics.
Lapped Seams
Press the turned edge of the top layer before placing it over the
underlayer. Steam press completed seams.
Curved Seams
1. Press seams with outward curves open over a seam board or
near the edge of pressing board. Press only 2” to 3” at a time.
Complete the pressing over a rounded cushion or rolled Turkish
towel, taking care not to shrink or stretch the seam line. Shrink
edges of allowances to flattened seam for a better fit.
2. Clip seams with inward curves to within ¼” of stitching. Press
seams open at seam line over seam board. Do not press beyond
seam line at each side.
Waistline Seams
Press seam allowances open, then press both edges together.
Leave the seam allowances open if neither bodice nor skirt is bulky at
waistline seam.
Darts
1. Press dart along the line of stitching.
2. Press waistline and shoulder darts toward the center front and
center back, underarm darts toward the waistline, and elbow darts
toward the wrist.
3. Clip darts which taper at both ends at the center to within ¼” of
the stitching line, press toward the center front or back of garment.
4. Press darts over a rounded cushion to shape the curve.
5. Clip darts open in heavy fabrics to within 1” of point of stitching
line; press flat.
Pleats
Press pleats from hem to waistline.
Zipper Plackets
1. Place the garment at the right side down over a well-padded
surface such as a Turkish towel.
2. Place a pressing cloth over a placket. Hold iron lightly over placket
and press from smaller part of garment to bigger one, such as
from waistline to hip.
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Hem
Press a skirt hem up from the lower edge to avoid stretching. Hems
may be pressed from either side. From the right side, press over a well-
padded ironing board. (Imprint will not come through to right side.) Use a
heavy pressing cloth. Hems will lie flatter if fulness is shrunk out with steam
before sewing on seam tape. Curve the hem tape for a flared skirt by
stretching the outer edge as the tape is pressed in a circle. (Experience
Clothing)
Procedure in Assembling
Ladies Skirt
How to Prepare the Basic Straight Skirt and Basic A-Line Skirt for
Sewing Construction
1. Stay Stitch the waistline ¼ of an
inch (.7cm.) above the waistline‟s
sewing line markings. This is done
so that the part which is curved
will not stretch due to handling
since the edge of the waistline will
not be finished.
2. If you do not have an over-edging
machine to finish the raw edges of
the different skirt parts, finish the
raw edges of the side seams and
back center seam by folding the
edge by ¼ of an inch (or 0.7 cm.).
Machine stitch on the fold. The
edge of the waistline need not be
finished for this will be covered
with a waistband. The edge of the
hemline may be finished after the
side seams and zipper seams
have been sewn together.
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3. Fold the dart on the center line,
and join the outer lines with pins.
Sew together. Start sewing from
the top of the dart allowance to the
bottom. Leave tails of threads at
the bottom. Knot these together
around three times to prevent the
stitches from unraveling. Since the
dart is a vanishing line, it is not
advisable to lock stitch the end of
the dart for this will not achieve a
fine point.
4. Pin the center back together.
Leave unpinned where the zipper
will be attached. Get an 8 inch
(20cm.) zipper. If you want a slit at
the bottom of the skirt, leave this
unpinned, too. Machine sew the
center back together and where
slit is. Lock both ends by back
stitches so that machine sewing
will not unravel.
How to Prepare the Four-Darted Skirt with Waist line Facing for Sewing
Construction
1. Finish the bottom edge of the facing with the side seams folded out.
2. Finish the side seams and center seams of the shirt.
3. Close all darts of the front and back skirt.
4. Connect the side seams of the skirt, except where zipper will be
attached.
5. Attach the zipper to the skirt.
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How to Sew the Overlap Slit
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Reverse the skirt to its right side.
Machine sew together on a diagonal
line, the overlap slit to the under lap
slit.
2. Working on the wrong side of the facing, finish one side of the facing by
folding up ¼ of an inch (.07cm.) and machine sew the fold, with the
seam allowances flattened to the waist band proper.
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5. Snip in regular intervals along the waistline, so that the facing and the
skirt will follow the curve of the waistline in a relaxed manner.
6. With the right side of the skirt facing you, fold up the facing with the
sewing allowances laying on the facing. Pin baste them together.
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9. Fold in the facing towards the wrong side of the skirt by pin basting it.
Then secure the facing to the skirt by hand stitching connecting the
facing to the skirt on the seams and folds of the dart. This way the
stitches will not appear on the right side of the skirt.
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10. After all the finishing is done, the reverse of a four darted skirt with
waistline facing will look as illustrated below.
With zipper on the center back with zipper on the left (hand) side
of the skirt
To gather the waistline, pull the tails on both ends belonging to the under
stitches. To pull the tails belonging to the over stitches will result in a snag
because the stitches om top are looped into the under stitch, while the under
stitch just runs straight.
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Gather evenly by pulling the tails and distributing the gaters evenly until it
reaches the desired waistline measurement.
Attach th zipper to the zipper allowance.
Attach the waistband to the skirt.
Finish the edge of the hemline allowance, and fold the hem line allowance and
hem stitch.
How to Prepare the All-around Pleated Skirt with Hip Yoke for Sewing
Construction
Finish the side seams of the yokes and the skirt pieces. Close the darts.
Connect one side of the side seams of the skirt proper.
Lay open and flatten the side seams by pinning to the skirt proper, then finish
the top edge of the skirt proper where the yoke will be connected.
Fold and pin the pleats, then machine sew the pleats in place.
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Kinds of Pleats
Pleats are folds or series of folds in fabric. Pleats are made to fit
around the waist and hip and then left to fall in crisply pressed folds, giving
fullness at the hemline.
1. Box pleat is one of the most common types of pleats. It is formed when
two equal folds of fabric are folded away from each other in opposite
direstions on the front of a length of fabric.
2. Knife pleats or Accordion Pleats are series of narrow sharply pressed
pleats all turned in one direction.
3. Inverted Box Pleats are formed by two equal folds of fabric folded
toward one another and they meet at the center of the pleat on the front of
the fabric.
4. Kick Pleats are short pleats leading upwards from the bottom hem of
garments such as skirts or coats, usually placed at the back.
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Proper fit is necessary for maximum comfort, too. Fitting standards
are called “snug,” “easy,” and “loose” with perfect fit described as “easy fit.”
Although there are basic guidelines to judge fit, it is an individual matter. Some
people insist on wearing only smooth, well-fitted clothing while others are
contented with wrinkles, bulges, and binding areas. As you gain more
experience, you will be less contented with poorly fitted garments.
(Contemporary Clothing, pp.162-163)
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A skirt should lie smoothly at the waist and hip areas. There should
be enough ease so the garment hangs straight from the hips and stomach.
Finishing Touches
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3. Position the skirt with the end of
the zipper facing you in an upside
down manner. Machine sew the
zipper to the skirt with tje presser
foot close to the zipper teeth. It
would be ideal if you use a zipper
foot instead of a presser foot.
1.Start sewing from the bottom of
the zipper, sew until 1 inch
(2.5cm.) before the zipper tag.
2.Stop sewing but make sure the
machine needle is pressed
down on the fabric, then raise
the presser foot.
3.Draw up the zipper tag so that
the needle will not hit the
zipper tag while sewing. Then
draw down the presser foot
and continue sewing. Make
sure both ends of the machine
stitches are locked.
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5. Hand baste for easy sewing.
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Waistband Attachment
1. Fold the darts facing the
center of the back and front
skirts. Pin and hand baste
darts in place.
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Connecting the Waistband
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4. Open the zipper of the skirt,
then reverse the skirt to its
wrong side where you will
connect the waistband.
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9. Fold the center of the
waistband as seen in the
illustration. Adjust the pins to
hold together the other flap of
the waistband. Machine sew
to close the ends of the
waistband. Lock stitch both
ends.
10. Cut off the excess
allowances. Leaving a ¼ of an
inch (0.7cm.) allowance.
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14. Machine sew all around the
edge of the waistband to
close the waistband and finish
it neatly. Start machine
sewing from one side of the
under lap. Lock the end by
back stitches.
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4. Fold on the center of the
buttonhole and pin near
the edge of the buttonhole
to guard against over
cutting. With a pair of
scissors, cut along the
horizontal line very
carefully.
5. Hand stitch the buttonhole
to finish it.
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3. Pull the needle out until the
knot touches the fabric.
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stitches are run over each
other for about three times.
Cut the excess thread.
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The edge of a piece of a fabric can be finished with a hem or decorative edge,
which is used for crafts and other home furnishings. The style and fabric being
used will determine the kind of hem finish.
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1. Belts
A belt in a fabric adds beauty as a finishing
touch on the garment. Belts should have
interfacing, the firmer and more structured
the belt, the firmer the interfacing should be.
It needs belt loops to support and prevent it
from dropping.
2. Tie-belts
A tie belt is the easiest of all the belts to make.
It can be of any width and made of most
fabrics, like cotton for summer dresses, satin
and silk for bridal wear. Most tie belts require
a light to medium interfacing for support. A
fusible interfacing is the best choice as it will
stay in place when tied repeatedly.
3. Obi Sash
An obi sash is a variation of the traditional
sash that is worn with a kimono. This type
of sash has a stiffened center piece with
softer ties that cross at the back and then
wrap to the front and tie. For firm fabric
such as silk duplon, satin, or heavy cotton,
interfacing is not required for the ties.
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Threshing out the details of the criteria depends upon class and
teacher‟s decision, example of the details are given below.
Perfect Student‟s Teacher‟s
Score Score Score
1.Materials used (15 points)
a. Are the grain lines straight? 5
a. Is the cloth colorfast? 5
. c. Do the threads, cloth, zipper, 5
. and buttons (if any) match?
2. Style and Color (15 points)
a. Is the style appropriate for the 5
wearer?
b. Does the color enhance the 5
complexion and flatter the
figure?
c. Does it follow the Art Principles? 5
3.Worksmanship (35 points)
a. Are the seams flat and almost 7
finished?
b. Are the darts correctly located 7
and well sewn?
c. Are the zipper and other 7
fasteners flat and not shown?
d. Are the machine stitches 7
uniform in size and free of snags
and tangled?
e. Is the hem evenly folded and 7
inconspicuously finished?
4.Fit (15 points)
a. Is the garment neither too tight 5
nor too loose?
b. Does the shoulder line fall 5
correctly, neither too high nor
drooping?
c. Is the length appropriate for the 5
wearer?
5.General Appearance (20 points)
a. Is the garment becoming to the 10
wearer?
b. Does it look like it was made by a 10
professional?
TOTAL POINTS 100
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1. Press the garment that are free, such as ruffles, ties, sleeves, or
collar.
2. Press pockets, collars, cuffs or buttonholes from the right side.
3. Press the under side with details as facings, including pocket
linings, and seam allowances.
4. Press the whole garment, the bodice first, then the skirt.
5. Place garment on well-shaped hanger and do not wear until it is
well-aired and completely dry. Close the zipper. Remove belt from
loops of the garment, and place the belt on the hanger.
Good and well-made garments lose the quality if they are wrinkled
and untidy. They must be pressed everytime they are worn. Careful pressing
and ironing the garments is necessary tobecome attractive and add beauty.
Enhancement activity
Activity
Let the students press the garment parts by following the step-by-step
pattern. Supervise them while doing the activity. .
P E R F O R M A N C E L E V E L
Dimension
Poi
Very Needs
Excellent Satisfactory No nts
Satisfactory Improvement
(4 pts.) (2 pts.) Attempt Ear
(3 pts.) (1 pt.)
(0 pt.) ned
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attempt
equipment and confidently at all equipment correctly and but incorrectly and
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
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2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attempt
step- by-step understandi the step-by-step the step- by-step
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
Labelling of Garments
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2. Size Label- has the specific measurements of human body such as S
for small, M for medium, L for large or XL for extra large. Buyers would
prefer to look at to the size label to see which one fits his/her size.
4. Flag Label- is a small label attached at side seam with printed brand
logo. Some garments especially T-shirts have flag label embroidered or
printed at the upper right side of the garment as design feature.
6. Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for
the internal quality inspection process and rectify which line had made
the garment and which checker had check the same. This is normally
attached at side seam under wash care label.
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A. Plastic Packaging
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B. Paper-based Packaging
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Enhancement activity
Activity
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Rubrics in Evaluating the Performance of the Students
P E R F O R M A N C E L E V E L
Dimension
No Point
Very Needs
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
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Post Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
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10. It is the process of joining two pieces of fabric the one is slightly longer
than the other to have extra fullness for ease of movement rather than
decoration.
a. Stitching c. Pleating
b. Easing d. Gathering
11. They are folds of fabric which gives fashion and interest to clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12. It is an extra fabric cut the same shape as the facing and inserted between
the facing and the garment to prevent stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the waistline.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15.Darts, buttonholes, pleats, tucks, and pockets placement are examples of
a. Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
Directions. Write True if the statement is correct and False if the statement
is wrong. Write your answer in your quiz notebook.
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C. Identification
Directions. Identify the words(s) that best describes the statements. Write
your answer in your quiz notebook.
________1. What color calls out the silhouette, or outline figure of a human
body?
________2. What color is used to call attention to your body features?
________3. The color which best suggests activity, energy, and gaiety.
________4. The color which is produced when yellow and violet color
pigments mixed in equal amounts.
________5. The family name of a color.
________6. What refers to the brightness or dullness of a color?
________7. The color harmony produced when two colors are opposite each
other on the color wheel.
________8. What makes red, yellow, and blue in a color scheme?
________9. What group of color is formed when red, yellow, and orange are
placed in a group?
_______10. What type of fabric makes you look larger because it adds width
and size to the apparent size of your figure?
D. Matching Type
Directions. Match the descriptions given in (Column A) with the types of lines
given in Column B. Write the letter of your answer in your quiz
notebook.
1. Feminine a. Curved
2. Masculine b. Vertical
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E. Identification
Directions. Name the following illustrations of skirts below. Write your
answer in your quiz notebook.
1. 2.
3. 4.
5. 6.
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7.
1.
2.
.
3.
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QUARTER II
Overview
General Objectives
At the end of the module, learners are expected to:
Pre- Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz
notebook.
1. It generally refers to a tailored shirt.
a. Pants
b. Trousers
c. Blouse
d. Shirts
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2. A kind of blouse that has a great style for most body types and
features a surplice collar, which overlaps fabric into a v-shaped
neckline.
a. Button-Down
b. Peasant
c. Casual
d. Surplice Wrap
3. This type of blouse is popular because its style can be worn by
many body types and in various settings.
a. Surplice Wrap
b. Button-down
c. Peasant
d. Casual
4. A blouse which emphasizes free-flowing materials.
a. Peasant
b. Casual
c. Surplice Wrap
d. Button-down
5. This is egg shaped that is rounded at the top and slightly elongated
at the chin.
a. Round
b. Square
c. Triangle
d. None of the above
6. The top is wider than the ear side going smaller to the chin. The use
of wider necklines is helpful.
a. Heart
b. Triangle
c. Square
d. Oval
7. Rounded at the top and slightly curved at the chin like a human
heart. The shape fits to almost all kinds of necklines.
a. Heart
b. Round
c. Oblong
d. Oval
8. In a round-shaped face, a type of neckline suitable is
a. Round, V-Neck
b. Round, Square
c. Square, Sabrina
d. V-necklines
9. A type of neckline suitable for Square-shaped face.
a. Round, V-neck
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b. Round, Square
c. Square, Sabrina
d. V-necklines
10. These are tops that have been tailored to be worn with jeans or
trousers.
a. Peasant
b. Surplice Wrap
c. Casual
d. Button-down
C. Identification.
Directions: Identify the type described in each statement. Write
your answer in your quiz notebook.
1. The type of neckline curve which has the same shape as the
neckline of the garment.
2. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
3. A collar that stands up slightly from the point of attachment to the
neckline of a garment before folding over to lie flat.
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4. A flat collar with rounded ends that meet at the front.
5. A collar that is found in garment with front openings, can be worn
either in an open style or in a closed style.
6. A sleeve that has an arm seam inside the shoulder width.
7. A sleeve that is fitted at the wrist but cut with a deep armhole and
resembles a cape from the back.
8. Measurement taken from left to right shoulder tip bone.
9. Measurement taken across the back halfway down the shoulder.
10. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
E. ANALOGY
Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip
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F. Enumeration
Directions: Write what is asked for in the statements below.
Write your answer in your quiz notebook.
1-5 Types of fabrics suited for ladies blouse
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
Objectives
Kinds of Blouse
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1.
Button-Down Blouses
Button-down blouses are popular Surplice Wrap Blouses
because their style can be worn by A wrap blouse is another great style
many body types and in various for most body types and features a
settings. This kind of blouse features surplice collar, which overlaps fabric
a neck collar and buttons attached into a V-shaped neckline. This
to the front of the garment (as the vertical neckline gives the
name suggests). The button-down appearance of a longer torso. The
style is seen mostly in formal and crisscrossed material breaks up the
business settings; it complements chest and the stomach area --
dress pants and business suits. making the upper body seem
However, when worn with a pair or smaller than it might actually be.
jeans or shorts, button-down Surplice wrap blouses are made
blouses are appropriate for casual with or without sleeves. They can be
events. worn alone or under another
garment such as a denim jacket or
work blazer.
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Fabric is the cloth or textile used in the construction of blouses or any other
garment. It is important to choose the best quality of the fabric suited for
blouses so that the wearer will be comfortable. Fabric for blouses is selected in
consideration to the type of occasion, weather conditions, and with the type of
skirt or pants being paired to.
Cotton voile
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Rayon challis is a smooth, lightweight fabric. It
drapes well and is slightly heavier than other
lightweight fabrics, like cotton voile and cotton
lawn.
rayon challis
silk
Cotton Lawn is very similar to cotton voile but is
slightly crispier.
cotton lawn
linen
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chambray
Flannel
Identification.
Directions. Name the following types of skirt fabrics. Write your answer in your
quiz notebook.
_______1. It. is a soft, lightweight fabric. It works well for colder-temperature
shirts, pants and jackets are more appropriate suits to be worn.
_______2. It is a lightweight, semi-sheer fabric with a great drape.
_______3. It is another smooth, lightweight fabric. It doesn‟t drape as well as
rayon challis, cotton voile or cotton lawn.
_______4. It is a medium-weight fabric with little elasticity. But it conducts heat
and is a popular choice for warm-weather.
_______5. It is very similar to cotton voile but is slightly crisper.
Types of Necklines
Necklines frame the neck and face, and one of the most noticeable parts
of a garment. Neckline styles vary from the simplest plain faced neckline, to the
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more complex bound neckline, to the tailored front placket opening which must
be stitched with great accuracy. It is best to work on the neckline when only the
garment shoulder seams are joined, so that the neckline can be opened out flat.
The neckline is the edge of the garment opening surrounding the neck.
There are different types of necklines. In choosing which types are sable for
you, consider the shape of the neck and face.
Heart Triangle
Round at the top and slightly curved The top is wider than the ear side
at the chin like human heart. The going smaller to the chin. The use of
shape is fitting to almost all kinds of wider necklines is helpful.
necklines. Please see figure.
Round, Square neckline is becoming
Round, Square neckline is becoming to this shape.
to this shape.
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Shape of Necklines
.
Sabrina
Square A neckline that appears
: A true square neck to be a slit across the top
which is bound or faced of the shoulders and
depends upon clipping neck, secured along the
for success. collar bone, hence a boat
neckline.
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Types of Sleeves
Sleeve is the part of a garment that covers the arm, or through which the
arm passes or slips.
1. Puff Sleeves is a type of sleeve that are gathered at the shoulders and
caught in at the cuff to create an inflated, puffy effect
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3. Raglan Sleeve is a sleeve that has an arm seam inside the shoulder width.
4. Dolman Sleeve
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Identification.
Directions. Identify the following that is being described and illustrate to
complete the table. Write your answer in your quiz notebook.
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Collars
Collars are made up and attached to the garment before the underarm is
sewn or the sleeves are set in. There are three main methods of attaching
collars:
Shoulder seams should be stitched and neatened before attaching the collar
Types of Collars
Collar is the part of a shirt, coat, dress, blouse, etc., that encompasses
the neckline of the garment and is sewn permanently to it, often so as to fold or
roll over.
1. Flat Collar
Flat collars have neckline curves that are of the same shape as the neckline
of the garment. This allows them to lie flat on the garment with no roll or stand
onto neck. Flat collars are popular on children‟s clothes because children have
short necks. On adult garments they create a youthful feeling.
2. Rolled Collar
3. Convertible Collar
A type of collar that can give a garment a versatile look. Found in garments
with front openings, this is a collar that can be worn in either of two ways, in an
open style and in a closed style. Convertible collars are attached to the garment
neckline, and the collar facing, which incorporates the raw edges during the
sewing process. It ensures that the garment looks good whichever way the
collar is being worn. This means that there is no right side and wrong side to a
convertible collar, but both sides are equally well-finished.
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4. Peter Pan Collar
A flat collar with rounded ends that meet at the front of the shirt/blouse.
INTERFACING
For a heavy weight fabric use a medium- For a light to medium weight fabric,
weight fusible interfacing. Remove the choose a lightweight interfacing and fuse it
seam allowance on the interfacing on the over the complete facing
inner curve to reduce bulk.
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1. Armhole facing
2.Extended Facing
Identification
Directions. Identify the following being described. Write your answer in your
quiz notebook.
1. These collars have neckline curves that are of the same shape as the
neckline of the garment.
4. It occurs at either the center front or the center back neck edge.
5. A collar that stands up slightly from the point of attachment to the neckline
of a garment before folding over to lie flat.
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Types of Pockets
1. Patch Pockets
The pocket is formed by top stitching a „patch‟ of fabric on to the right side
of the garment.
The dress you wear should fit well. Proper fit depends greatly upon
accurate body measurements. No matter how expensive the dress material is.
If the dress does not fit well, you will not look at your best nor feel comfortable
in it. On the other hand, the dress material maybe inexpensive, but if the dress
fits you well, you will not only feel comfortable but will also look good in it.
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Hip Measure
First Hip- Measurement taken
approximately 7 inches down from the
waistline with the tape measure
passing around the hip.
Second Hip- Measurement taken
around the fullest part of the
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A-E is 2 ½ inches
A-F is ½ chest measurement
A-G `is ½ shoulder measurement
A-H is ¼ bust measurement
A-M is the blouse length, extend ½ inch .
G-I is 1 inch
I–J is 4 inches in line with letter F
C-P is ½ apex distance minus ½ inch
D-O is ½ apex distance
C-L is ¼ waistline measurement plus 1
inch
H-K From H, measure ½ of the armhole
downward
P-R is 1 inch
Q is the center of P and R
M-N is ¼ hip measurement
S Measure 5 inches downward for the
dart and connect them.
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S Measure 5 inches downward for the dart
and connect them.
Enhancement activity
Activity
Directions: Get your pattern paper, pencil and ruler (L-square and hip
curve). Draft the Front and Back Blouse Pattern following your own
measurements.
P E R F O R M A N C E L E V E L
Dimension
No Point
Very Needs
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
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improvement/innovati procedures project plan project plan
ons in the
project plan
5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/d ___(mins./hours/d attem
within ays) beyond ays) beyond pt
allotted time
TOTAL POINTS
The following parts are presented for you to have options on what style of
blouse you are going to make. Remember that pattern drafting of various parts
of
blouses will depend on the style and design of the blouse.
Let’s Do it!
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Rubrics: If you got 1-2; you are good; 2-4 very good; 5 perfect score,
outstanding
Let’s Do it!
A set-in sleeve should feature a smooth sleeve head that fits at the end of
your shoulder accurately. This is achieved by the use of ease stitches, which
are long stitches used to tighten the fabric but not to gather it.
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Procedure Illustration
1. Sew the side seams and the
shoulder seams on the garment
and press them open.
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8. Sew the sleeve in, starting at
the underarm seam, using a
5/8in (1.5cm) seam allowance
Sew so that the sleeve is
uppermost and sew straight
over the shoulder.
9. Overlap the seam at the
underarm to reinforce the seam.
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Drafting Short Puff Sleeve
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Let’s Do it!
Collars vary in sizes and shapes. These will depend upon the wearer.
Regardless of the type of collar you are making, your arm should be an
underneath layer which does not show. Different types of collars are drafted
in different ways.
1. On folded pattern paper, draw horizontal line and mark the corner as A.
2. AB is width of collar. Extend point B.
3. AC is ½ neck measurement
4. BD is same as AC. Connect points CD
5. CG is 2 cm
6. Rise D to H by 1 cm. Connect points H and G.
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6. C-F is 2 cm. Connect points E and F.
7. G is the center of A and C
8. H is the center of Band D
9. F-I is raising by 1 cm
10. Shape the collar fro G to I and H to E.
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1. Place the two pieces of collar with right side together and matching fitting
line. Pin tack and machine stitch trough the fitting lines on the three sides
of the collar, start and finish the stitching at neck fitting line (see illustration
below)
Alternative method where collar is cut in one piece, fold right side together
matching the fitting lines and stitch end lines, finishing at neck fitting line.
Remove tacks and press.
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around the edge to the neck fitting line. If fabric is slippper baste the
two layers together
Note: If the outer edge of collar is curved, snip V-shaped notches out of
the turning along the curve.
1. Make up collar as directed. Neaten the raw edge on the front facing.
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3. Snip cross turning at center fold
lines (point B) and trim turnings
and corners to 0.3 cm above
stitched line . Turn facings over to
the wrong side and ease out
corners gently, bringing stitched
line on to the fold and press
5. Turn the collar up and over turnings. Press collar up from the stitched
line so that turnings are enclosed.
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Attaching a Shirt Collar with a Band
6. Turn through right side and bring stitched line up on the fold and tack
around the edge.
7. Working from the wrong side of the
garment, pin band facing to neck
edge matching center back and
fitting lines. Tack and machine
stitch on neck fitting line. Remove
tacks, press stitching, trim turnings
and snip curved edges.
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8. Working from right side of
garment, fold under the turning on
the band and lay folded edge over
the stitched fitting line so that the
turnings are enclosed. Pin and
tack into position. Starting at
center back on collar edge,
machine stitch round the band,
overlapping the stitching for ½ inch
at join. Remove all tacks and
press.
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side and gently ease out the
corners. Bring stitched line
on to the fold and press
carefully. Tack around the
edge of facing and base of
collar to hold in position until
garment s completed
6. Secure the facing by
hemming in place on to the
seam allowance of the
shoulder seam. The front
facing will be held in place
by buttons, buttonholes and
hem.
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Attaching a Collar with the Use of a Crossway Strip
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Facing on Armhole
1. With right side together join facing pieces on fitting line with a plain
seam at shoulder and underarm.
2. Fold over 0.6 cm turning rom the outer edge of the facing on to the
wrong side and tack.
Stitch 0.3 cm in from folded edge.
Remove tacks and press.
3. With right side of facing to right side
of the garment, match balance
marks fitting lines and seam lines at
shoulder and under-arm.
Pin, tack and stitch into position.
Note: Before turning through the wrong side, press facing up from the stitched
line and against the turning. Stitch the facing on to the seam allowance only
about 0.3 cm. from stitched line
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1. With right side together and matching fitting lines, join front and back
neck facings with a plain seam. Press seams open and trim turnings
to 1 cm.
2. Fold over 0.6 cm turning from
outer edge on to the wrong
side and tack (not center back
edge). Machine stitch 0.3 cm
in from fold. Remove tacks
and press.
3. With right side of facing to right side of garment, pin center fold and
center back in position. Then, matching shoulder seams, balance
marks and fitting lines, pin, tack and machine stitch the neck edge.
4. Remove tacks and press
stitching and using a pad press
turnings open to ensure a
good fold. Trim turning to 1
cm (0.6 cm for fine fabrics) and
snip seam allowance of the
curved edge and trim off
corners at center back.
5. Turn facing to wrong side, bring stitched line to edge of the fold and
tack into position.
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6. Turn garment through the
wrong side and press edge
fold carefully. Pin shoulder
seams in place. Turn under
center back edges on to the
tape of the zip fastener and
hem. Hem facing to turnings
of shoulder and panel line
seams. Remove tacks.
Construction of a Facing
The facing may be in two or three pieces in order to fit around a neck or
armhole edge. The facing sections need to be joined together, prior to
being attached.
Procedures Illustration
1. Baste together the pieces of the
facing at the shoulder seams.
Fusible interfacing
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5. The right side of the facing,
ready to attach to the neckline.
The outer edge of a facing will require neatening to prevent it from fraying,
and there are several ways to do this. Binding the lower edge of a facing with
a bias strip makes the garment a little more luxurious and can add a designer
touch inside the garment. Alternately, the edge can be sewn or pinked.
Procedure Illustration
a. Making your own bias
strip is easy. Open out
one folded edge of the
bias strip and place to
the outer edge of the
facing, right side to
right side.
b. Sew along the crease
line in the bias.
c. Wrap the bias around
to the wrong side of
the work. Baste to
hold in place.
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How to Cut Bias Strips
Procedure Illustrations
1. Fold the fabric on to itself at
45 degrees so the selvage
edges are at right angles to
each other. Pin in place.
Method: Illustration:
Serged – The outer edge neatened
with a 3-thread serger stitch.
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Pinked – Machine stitch 3/8in (1cm)
from the edge and the raw edge
trimmed with pinking shears.
Armhole Facing
Procedure: Illustration:
1. Construct the armhole facing and neaten outer
edge by the preferred method.
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4. Sew around the armhole to attach the facing,
taking a 5/8in (1.5cm) seam allowance.
5. Trim the facing side of the seam allowance down
to half.
6. Clip out some V shapes in the seam allowance to
reduce bulk.
Procedure: Illustration:
1. Apply a fusible interfacing to the facing.
2. Lay the neckline area flat, right side up.
Place the facing on top, right side to right
side.
3. Match the shoulder seams.
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4. Pin the facing in place, matching around
the neck edge.
5. Match the shoulder seams on thee facing
and the bodice.
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12. Press the finished neck edge and turn
the facing toward the wrong side.
A slashed V-neckline occurs at either the center front or the center back
neck edge. It enables a close-fitting neckline to open sufficiently to go
over the head.
Procedure: Illustration:
1. Apply a fusible interfacing to the facing.
Place the facing right side to right side
on garment, to the right side of the
neckline.
2. Match the shoulder seams, then pin in
place.
3. Sew the facing at the neck edge,
pivoting to sew along both sides of the
slash between the tailor‟s tacks. Take
one stitch horizontally at the bottom
edge of thee slash line.
4. Trim the facing side of the seam down to
half.
5. Clip V shapes at the neck edge to
reduce the bulk.
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Bound Neck Edge
Binding is an excellent way to finish a raw neck edge. It has the added
advantage of being an alternative method that can be used if you are
short of fabric or you would like a contrast or decorative finish. You can
use both bias tape or a bias strip cut from the same or a contrasting
fabric. A double bias strip is used on fine fabrics.
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Extended Facing
Procedure Illustration
1. Mark the foldline that divides off the facing area
and crease by pressing.
2. Apply fusible interlacing to the facing area as far
as the foldline.
3. Neaten the edge of the facing.
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7. Turn through to the right side and press.
To apply a facing follow general methods and place right side of facing to
wrong side of pocket, matching fitting lines of top edge, and tack and machine
stitch. Remove tacks, press stitching and turnings, open and trim to 0.6cm.
Turn facing to R.S. and turn under 0.6cm along lower edge, tack into
position and top stitch.
To attach pocket:
Welt Pocket
1. Mark the position of pocket mouth, if not on the straight grain, baste a
piece of tape on interfacing to the W.S. Pocket mouth should be at least
9cm wide.
2. Fold the welt in half lengthwise R.S. together, tack and machine stitch
the ends on the fitting line. Press, trim and turn R.S. out.
3. Tack the prepared welt into position on the R.S. of the garment so that
welt faces downwards and the fitting line is 0.5cm below the position
mark for the pocket mouth.
4. Place the front lining section of the pocket over the welt, matching fitting
lines. R.S. of lining to R.S. of garment, tack through all four layers. R.S.
of lining to R.S. of garment, tack through all four layers. Place the back
section of the pocket above the pocket mouth with R.S. together and
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tack into position with the fitting line 0.5cm above the position mark for
the pocket mouth
5. Machine stitch the fitting line each side to exact width of pocket mouth.
Ensure that lines are parallel and equal in length. Fasten off all ends
very securely. Remove tacks and press.
6. Fold the pocket mouth in half and snip on the fold, open out and cut to
within 0.6cm of the ends and then diagonally into the corners. Turn both
pieces of the pocket through to the W.S. and press seams so that each
piece hangs downward. Press the welt into an upright position on the
R.S. to hide the pocket mouth.
7. Tack the front and back of the bag together making them the same
width as the welt. Machine stitch along the tack line. Press, trim the
turnings to 0.6cm and neaten with over-sewing.
8. Tack welt into position of the R.S. of the garment and blind hem or
over-sew both ends from R.S. making both top points very strong as
they take the most strain.
Cut pattern pieces just along the cutting lines. Use sharp shears and avoid
cutting the inside part of the cutting lines otherwise the actual measurements
will be affected.
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Learning Outcome 2 Prepare and Cut Materials for Ladies Blouse
Objectives
Decorative Finishes
The method of decoration must be suitable for both the fabric and the
style and purpose of the garment. If the garment is to be laundered it is
essential that the decoration can be laundered in the same manner.
1. Shell Edging
1. Turn a narrow hem, not more than 0.6 cm on the W.S., and tack.
2. Work from the right to left on the W.S., fastening on with a double back
stitch on to the hem. Pick up three running stitches in the hem without
going through to the R.S.
3. Taking the needle over the fold, pass from the R.S. through to the
W.S. at base of hem, work a second over-sewing stitch in the same
place and pull up tightly to pinch thee hem. Take three running stitches
into the hem only and repeat to finish hem. (Diagram opposite).
NOTE: Spaces in between the double tight stitches should not be more than 1
cm to achieve the correct pinched effect.
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2. Lace
For joining lace use the finest thread available that is suitable for the
color and texture of the lace. For applying lace use a firm silk or cotton thread
that does not fluff but which handles and looks well.
To join
1. Match the pattern by overlaying the two layers exactly; the effect will
otherwise be blurred.
2. Closely oversew around the corded edge of the design to completely
join the lace.
3. Trim away the raw edges close to the stitching on both R.S. and W.S.
To shape
If less than 1.25cm wide, ease the lace into position: if more than 1.25
cm wide used without gathers, it is necessary to make small darts at corner
point.
1. For the central angle of brassiere top slip sew a small dart with its point
going into the angle.
2. For the shoulder strap point, reverse the placing of the point.
3. On the W.S. flatten the dart and hem on to the back of the lace.
1. Oversewing the edge closely to the garment and trimming away the
surplus fabric: this is not suitable for gathered lace.
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2. Overlay the lace on to a narrow folded hem and machine stitch.
3. Overlay the fabric on to the lace and make an overlaid seam.
4. Oversew the lace to the edge of a triple-folded hem.
The repetition of the design may be too large to allow for the pattern to
meet exactly; the same method is used to join and shape the lace.
1. Mark the fitting lines on the lace and overlap the sections so that the
fitting lines match.
2. Select and mark the best continuous outline of the lace that passes
across the fitting line.
3. Oversew very closely on marked line and trim off surplus lace.
To attach
Either sew stitch or pinstitch the edge of the lace on to the garment,
trimming away any surplus fabric. On piece lace do not make a hem but
utilize the finished edge of the lace.
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3.Braid
Flat Braid
1. Tack the braid flat into position, making small mitred seams at the
angles and joining the ends if necessary.
2. Machine stitch or backstitch the braid along each edge. Remove the
tacks and press.
By hand: Guide the braid on equally over the edge and tack through the
layers, Stab stitch along the edge of the braid from the R.S. through to
W.S.
By machine: Open out the braid and tack into position on R.S. with ½”
width of braid projecting from the edge. Machine stitch along edge of the
braid. Turn the projected edge over on to the W.S. and hem on to the
machine stitching.
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In laying out the pattern pieces onto the fabric, study the direction of the
fibers that are woven into the fabric. It is the grainline of the fabric. This is
where the pattern pieces are laid out.
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13. Selvage. This is the finished side edges of the fabric. It is tightly
woven to avoid unraveling. Sometimes, it is where the brand
name is printed. This is also spelled selvedge.
14. Lengthwise grain. This is known as the warp which runs parallel to
the selvage and the strongest grainline with least amount of
stretch.
15. Crosswise grain. This is known as the weft. This runs from
selvage to selvage.
16. Bias. This is the line that runs diagonally across the fabric. The
true bias is always at a 45-degree angle to the crosswise and
lengthwise grains and is the fabric‟s stretchiest point.
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For Checks and Striped Fabrics
1. The fabric should be folded correctly so that all lines are exactly in position
one over the other.
2. Place the pieces against the first fold and arrange the other pieces
accordingly.
3. Place and join the balance marks, center and hem lines of the sections to
be
identical position on the checks or stripes.
Before transferring the marks onto the fabric, check the correct
measurements, follow directions, and set sharp pins or make a chalk mark
at the exact point indicated. To mark cutting lines with chalk, lay your ruler
or yardstick carefully on perfectly smooth fabric, marking the line exactly
from point to point. For circular cutting lines, use tracing wheel to achieve
greater accuracy in measurement.
An expert sewer need not transfer every single mark onto the fabric, but
for beginners like you, there is a need to transfer every mark onto the
fabric to avoid confusion and as to where the marks should be properly
placed.
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2. Darts. Instead of drawing all the lines of a dart on your fabric, snip
the ends into the seam allowance of the fabric and mark the point with
a pencil or water-or air-soluble fabric marker.
Cut lining and interfacing at the same time. There are times that the
fabric is slippery like silk, it is necessary to lay tissue down first to serve as
an anchor, pin the silk on top, and place your pattern on top of the silk.
Cut through all the layers to have accurate set of fabric pieces. It is a good
practice to iron the pieces of tissue pattern before cutting them together
with the fabric.
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There are times that the fabric is so delicate and pin holes from pins
might ruin the appearance of the fabric, avoid using pins instead use
weights and place them at the corners of the pattern pieces.
When cutting the pattern pieces, do not lift the scissors from the table;
keep the bottom blade fixed, gliding the top blade carefully. Make your
cutting continuous.
Objectives
Pressing Tips:
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Let the weight of the iron do it for you. Not only is it effortleess,
it‟s effective. The only exceptions are fusing interfacing or
using a clapper, both of which require pressure.
Gathers
Press gathers toward the gathering line by sliding the iron into the
gathers and lifting it or sliding it straight back. Do not move the iron sideways
or press across gathers or press beyond the seam line from the plain side,
when it is joined to a gathered side. The pressing of gathers may be made
easier by lifting the gathered edge from the board as you press.
Body of Sleeves
Use a sleeve board and pressing mitt for easier pressing of sleeves.
Place the sleeve with wrong side out over the sleeve board with the lower
edge of the sleeve at small end of the board.
1. Press underarm seam allowance open.
2. Press from the armhole to the lower edge of the sleeve.
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Sleeve Cap
Gathers in the sleeve cap may shrunk out before setting in the
sleeve. Place wrong side of sleeve cap up over small pressing hem, or use
rounded end of sleeve board. Use a steam iron or a sponge in pressing cloth,
press from seam edges to the stitching line.
Armhole Seam
1. Place the armhole over the edge of the sleeve board.
2. Press the seam allowances of the sleeve and garment together
extending away from the garment. Press only 2” to 3” at a time.
3. Continue around the armhole, holding seam line in an inward
curved position to avoid stretching.
4. Turn the seam allowances on the upper half of the armhole
toward the sleeve and slightly press from either right or wrong
side 2” or 3” down on each side of shoulder seam.
5. The seam allowances under half of the armhole are not turned
toward sleeve or dress.
Stayline or Staystitching
Let’s Do it!
How to Stayline
1. Adjust the seam gauge so the stayline in in the seam allowance, ¼ cm from
the seam allowance.
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If you do not have a seam gauge, a piece of adhesive tape can be used to
mark the desired seam allowance on the machine. Exceptions to the ¼ cm
distance from the stitching line will be:
Let’s Do it!
How to Stitch
To Machine Stitch
1. Put the needle on the cloth exactly where the stitching is to start.
2. Lower the presser foot.
3. Start balance wheel in direction it is to go.
4. Begin to stitch with the guiding material as directed.
5. Stitch the garment together with the grain, just as was done in cutting and
staylining.
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Let’s Do it!
Back of Blouse
1. Stayline the neckline, shoulder, and armholes.
2. Stitch the darts. They are the only construction details on this part of
the
garment.
3. Fold and put it aside to be pressed with another piece.
Sleeve
1. Stayline sleeves
2. Gather between notches, over top of sleeves or cap, use this stitching
to
take in the fullness.
3. Stitch underarm seam.
4. Hem sleeves.
5. Set sleeves Into armholes, matching notches.
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Let’s Do it!
1. Use the longest stitch. Baste-stitch along fold lines, center back lines, and
buttonhole marking to transfer the traced lines to the right side of the blouse.
2. Change the machine setting to about 154 stitches per 2.5cm, the stitch size
you use for most sewing. Make staylines as indicated on the diagram. Stitch
in the direction of the arrows slightly closer to the edge of the material than
the seam line.
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3. Stitch darts and dart tucks. Match dart lines, pin and stitch from the wide
end of the dart to the point. Clip threads, leaving ends 1-1/4 to 1-1/2 cm
long or, if you prefer, fasten the stitching line by tying the threads or by
retracting. End dart tucks by turning a right angle and stitching across the
edge of the fold. This holds the stitching line securely without fastening.
Blouse Front
1. Pin the shoulder seams with the right sides of the blouse front and blouse
back facing. Matching notches, first, then seam ends. Be sure that the
stitching lines (not raw edges) match at the neckline. Stitch with the grain
from the neckline outward
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2. Stitch the shoulder seams of the facing as you did on the blouse.
Pressing
Press darts toward center lines or downward. Press seams open, in the
direction they were stitched.
1. Staystitch around the unnotched outer edge of the neck facing, 1/2cm from
the raw edge. (This is especially helpful around curved edges.)
2. Edge-stitch the outer facing edge. To do this, fold under and crease the
facing barely inside the stayline along its unnotched edge. Stitch on the
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right side quite close to the fold line.
3. To join the neck facing the blouse, match the center lines, notches, and
shoulder seams, then pin them together. Stitch in a continuous line around
the entire neckline and along each side of the closing.
4. Trim seam edges to about 1/2cm in width. Cut away excess cloth at the
corners. Clip partially through the remaining seam edge around the neck at
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1 1/4cm intervals. Now turn the facing into position and finger press to
shape it.
5. Understitch facing edges to keep the facing from extending beyond the
blouse edge. Do this by turning both seam allowances back against the
facing, then with the facing side up stitch near the neck seam allowances.
Be careful to keep the facing smooth and perfectly shaped as you stitch.
Understitch along the closing edges where buttons and buttonholes are
used.
6. Tack the edge of the neck facing in place by hand at the shoulder seams
and at darts. Use several stitches to make each tack. It is not necessary to
attach the entire edge of the facing to the blouse by hand, since button and
buttonholes help to hold it in place.
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Finishing the Sleeve Edges
For hemmed sleeves, edge-stitch the raw hem edges just as you did in
the outer edge of the neck facing.
For faced sleeves, edge-stitch the unnotched facing edge. Then attach
the facing to the sleeves with a plain seam. Under stitch the facing edge as
you did in the neck facing. Press the facing back against the sleeves.
(Shaped facings – those with curves or corners – have to be seamed to form a
circle; then they are attached after the blouse side seams are made).
Stitch the side seams from the lower edge upward, be careful to extend
the sleeve hem or facing as you do. (When in doubt as to the fit, baste-stitch
the side seams and try the blouse on before you stitch the seams.) Clip the
seam allowances at the waistline so the seam can be pressed flat. Curved
underarm seams need clipping, have to be reinforced. One way to do this is
to staystitch each curve before stitching the seam. Then clip to the stayline
only. Another way is to baste folded seam binding beneath the curved seam
just before it is stitched. Then, with seam binding down, stitch the seam and
clip almost across the seam allowances. In either case, finish seam edges and
press.
Turn the facings or hems under and, after pinning and basting, hand
hem them in place with a vertical hemming stitch.
Pressing
Press the neckline and closing edges. If your pattern calls for sleeve
hems, fold them back along the fold lines and press.
Finish the lower edge of the blouse. Two rows of stitching 1 cm apart
just inside a pinked edge make the flattest finish. Be sure that the facing is
held in place and caught with the lines of stitching.
If you prefer, you may hem the edge, stitch across the lower facing
edge at the time you attach to the blouse, with right sides together. You may
do this if you missed the step earlier.
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Fastening
2. When necessary, use either small snaps or tiny, flat buttons, and thread
loops to hold the upper part of the closing in place. Use snaps or buttons to
hold the blouse together below the waistline.
Press the blouse lightly from the right side. Fit in your blouse. This will
complete the process. Congratulations! You have just made your masterpiece.
The kind of fit desired in clothing changes with style and fashion as well
as personal preference. No definite rules can be set as to the exact way a
garment should fit. However, regardless of fashion, style, and personal
preference, a well-fitted garment should possess.
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5. Does the garment have enough ease to make the necessary body
movements comfortable? Stretch out your arms. Bend over. Does
the garment move with you?
6. Are the darts in the right places?
7. All the seams should be in proper places.
8. A waistline or belt should sit right on the waist of the woman‟s body.
9. Upper garments should meet lower garments at the waistline
without bulging excessively in the front or back.
10. All buttonhole closings should lie smoothly without any pull or strain
on the buttons. If the garment pulls, it is too tight.
11. Any zipper on a garment should lie flat against the body without
bulging out away from it.
12. The hemline should fall in an even line around the bottom of the
garment. If the garment is full, circular, or draped, the folds should
fall into place in an even line.
2. Workmanship 25%
a. Neat: Right side/wrong
side
b. Seams well defined
c. Even overcasting of
hemline.
d. Edges are finished
correctly.
e. Buttons secured
tightly/buttonholes neat.
25%
3. General Appearance
a. Pleasing combinations
of colors (buttons)
25%
4. Fitting
a. Neckline fits snugly on
neck.
b. Shoulder seams on
shoulder line.
c. Shirt not too tight, not
too loose.
10%
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5. Speed
a. Finished on the
deadline. 100%
TOTAL
Objectives
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many
shapes and sizes, and can be made from a variety of materials including
shell, bone, plastic, nylon, and metal. Buttons are sewn to the fabric either
through holes on their face, or through a hole in stalk called a shank,
which is at the back. Buttons are normally sewn by hand, although a two-
hole button can be sewn by machine.
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2. Place the toothpick on top of the
button. Sew up and down through the
holes, going over the stick.
3. Remove the toothpick.
4. Wrap the thread around the thread
loops under the button to make a
shank.
b. Sewing on a 4-hole button- This is stitched in the same way as for a two-hole
button except that the threads make an X over the button on the front.
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5. On the reverse of the fabric,
buttonhole sew over the thread loops in
an X shape.
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Snap Fastener
Snap Fastener
Made from a nylon or metal, this
fastener is formed from a ball and
socket, which simply press or
snap together and are easily
pulled apart.
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Attaching Snap Fastener
Ball-and-Socket Fastener
Hooks are versatile fasteners that can fit into both straight bars and round
eyes, and are strong enough not to open under stress. They are made in
different sizes and strengths, and are frequently used on waistbands at the top
of the zipper openings. Sew-on snap fasteners are available in range of sizes,
and non-sew snaps provide an alternative to buttonholes on casual garments.
Hook-and-loop fasteners, usually cut from a strip, are easy to open and close
and are often used for garment detail such as cuffs, and in home furnishings.
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Skirt hook and bar
This sturdy set is used on pants and skirt
waistbands. The design stop the hook from
slipping off the straight eye.
Identification.
Directions: Name the following fasteners. Write your answer in your quiz
notebook.
1. ____________________ 2. ___________________
3. ____________________ 4. ___________________
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.
Let’s Do it!
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2. Stitch around the first hole on a
bar. Slip the needle between the
fabric layers, along to the second
hole, and stitch around it. Slip the
needle to the second bar position and
stitch. Finish by fastening the thread
securely.
Zipper
The zipper is the most used of all fastenings. There are many types available,
in a variety of lengths , colors, and materials, but they all fall into one of five
categories: skirt or pant zippers, metal or jeans zippers, invisible zippers,
open-ended zippers, and decorative zippers.
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techniques, you will require the zipper foot on the sewing machine. A lapped
features on one side of the seam- the left-hand side- covering the teeth of the
zipper to conceal them.
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6.Fold back the left-hand seam
allowance by 5/6in (1.5cm) and press.
Place the folded edge over the sewn
line of the other side. Pin and then
hand baste along foldline.
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4. Place the button of the zipper at the
hem edge.
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9. Once the zipper is sewn in place,
check that the hems line up. If they do
not, you will have to rip the seam and
start again.
c. Centered Zipper- With a centered zipper, the two folded edges of the seam
allowance meet over the corner of the teeth, to conceal the zipper completely.
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4. Center the zipper
behind the tacked
part of the seam. Pin
and then baste in
place along both
sides.
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9. The finished
zipper from the right
side.
d. Invisible Zipper- This type of zipper looks different from other zippers
because the teeth are on the reverse and nothing is seen except the pull is
seen on the front. The zipper is inserted before the seam is sewn. A special
invisible zipper foot is required.
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3. Undo the zipper. Using the invisible
zipper foot, sew from the top of the
zipper down as far as possible. Stitch
under the teeth. The machine will stop
when the foot hits the zipper pull.
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6. Close the zipper. On the wrong
side at the bottom of the zipper, the
two rows of stitching that hold in the
zipper should be finishing in the same
place.
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9. On the right side, the zipper is
completely invisible, with just pull
visible at the top. Apply a waistband
or facing the press.
Hemming Stitches
Machine-sewn
On many occasions, the hem or edge of a garment or other item
is turned up and secured using the sewing machine. It can be sewn
with a straight stitch, a zigzag stitch, or a blind hem stitch. Hems can
also be made on the serger.
Let’s Do it!
Procedure:
1. This is a popular
technique. Turn up the
hem to the wrong side of
the work. Press in place.
2. Sew with a straight stitch
close to the hem edge.
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DOUBLE TURN HEM
Procedure:
1. This hem will add
weight at the edge.
Fold up the raw
edge of the fabric
once and then fold
again.
2. Press and pin in
place.
Procedure:
1. This is a single turn hem
that is secured using the
blind hem stitch on the
machine. Neaten the
raw edge of the fabric.
2. Fold the fabric as
indicated for your
machine. Pin, but not
too close to the fold..
3. Using the blind hem foot
and the blind hem stitch,
secure the hem. The
sewn line should be just
below the neatened
edge.
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4. Press lightly on the right
side.
Fine fabrics or fabrics that fray badly require more thought when
a hem is to be made. This technique works very well on delicate
fabrics.
Procedure: Illustration:
1. Turn up the hem
with a single turn.
2. Baste to secure.
Rolled Hems
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Use the rolled hem foot on the Use the rolled hem foot on the
sewing machine and a straight sewing machine and a zigzag
stitch. stitch.
Fused Hem
Procedure Illustration
1. Turn up the hem to the
wrong side of the fabric.
Baste the hem in place
close to the crease line.
2. Neaten the raw edge with a
serger or zigzag stitch.
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4. Cover the hem allowance
with a pressing cloth and,
using a steam iron, press
the edge of the hem to
stuck in place. Remove the
basting stitches and pins.
Bias-bound hems
A bias-bound hem will give a narrow decorative edge to a
garment or an item of home furnishing. It is particularly useful for
curved shapes, to finish them neatly and securely. On a chunky or
bulky fabric, a double bias is used so that it will be more substantial and
hold its shape better. A double bias is used on sheer fabrics as there
will be no visible raw edges. The bias strip can be made from
purchased bias binding or cut from a matching or contrasting fabric.
Procedure: Illustration:
1. Place the bias strip
to the hem edge,
right side to right
side.
2. Sew the bias to the
edge using the edge
of the machine foot
as a guide. Press as
sewn.
3. Turn the bias to the
wrong side of the
fabric and roll the
bias around the
edge of the fabric.
4. Baste the bias down
on to the wrong side
of the fabric.
5. Working from the
right side, stitch in
the ditch formed by
the seam.
6. On the wrong side,
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trim the bias back
close to the stitches
(bias-cut fabric
hardly frays).
Remove the basting
and press.
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A lace edge can give a look of luxury to any garment. There are many
ways of applying lace, depending on how the lace has been made. A heavy
lace trim has a definite edge to be sewn on to the fabric. Lace edging has a
decorative edge and an unfinished edge, whereas a galloon lace has
decorative scallops on both edges.
Let’s Do it!
LACE EDGING
Procedure: Illustration:
1. Place the lace to the fabric,
right side to right side. Align the
raw edges.
2. Sew using a straight stitch.
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GALLOON LACE
Procedure: Illustration:
1. Place the entire piece of
lace to the right side of the
fabric. Align the edge of
the lace with the raw edge
of the fabric. Pin in place.
Procedure: Illustration:
1. Pin the lace to the right side of
the fabric.
2. Using a small zigzag stitch, sew
along the edge of the lace. All
the stitches should be on the
lace.
3. Trim away surplus fabric
behind.
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5. Open the trim out and press.
6. Sew the inner and outer sides of
the trim to the fabric, close to the
edge. Be sure the stitches at the
corners are shaped.
Enhancement activity
Activity
Piped Edges
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Single Piping
Procedure: Illustration:
1. Just one piece of piping is
used. Cut a bias strip 1 1/2 in
(4cm) wide.
2. Wrap the binding, wrong side to
wrong side, around the piping
cord. Pin in place.
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8. On the right side of the work,
the piping can be seen at the
edge. Press to finish.
Enhancement activity
Activity
Double Piping
Procedure Illustration
1. Different thickness of piping cord
can be used for this. Make up
single piping.
2. Cut another bias strip, in a
contrasting color if you like.
3. Join the bias strip to the single
piping, sewing next to the piping.
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4. Place a second piping cord to the
wrong side of the contrast strip.
5. Wrap the contrast strip around
the cord and sew.
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Enhancement activity
Activity
Gathered Piping
Procedure: Illustration:
1. This is a great technique to try on
cushions. Cut a bias strip 2in
(5cm) wide. Sew the bias strip
loosely around a piece of piping
cord. Secure the cord to the bias
at one end.
2. Push the bias along the cord to
gather.
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4. Attach to the edge of the work as
for single piping.
Let’s Do it!
Procedure Illustration
1. Place the trim to the right side
of one piece of fabric, with the
beaded or other decorative
edge pointing away from the
raw edge. The edge of the trim
should be on the 5/8in (1.5cm)
sewn line. Baste in place.
2. Sew along the trim using the
zipper foot.
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3. Place the other piece of fabric
to the first one, right side to
right side. Sew again to join
them.
Procedure Illustration
1. Pin the trim in a position along
the finished edge of the work.
Be sure the trim is aligned to
the edge. Baste in place.
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2. Using the zipper foot, sew in
place close to the upper edge,
leaving the lower edge of the
trim free.
Let’s Do it!
a. Press the parts of the garment that are free, such as ruffles, ties,
sleeves, or collar.
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b. Press pockets, collars, cuffs, or buttonholes from the right side.
c. Press the underside such details as facings, pocket linings, and seam
allowances.
d. Press the body of the garment, the bodice first then the skirt.
e. Place garment on well-shaped hanger and do not wear it until it is well
aired and completely dry. Close top fastener and zipper. Remove belt
from loops of the garment and place the belt on the hanger by the
buckle.
Labelling of Garments
2. Size Label
Size label defines a specific set of body measurements. These Size
labels may be printed only a later to denote a specific size. Such as S for
Small, M for Medium and L for Large size garments. Customers know
which size fit them well.
3. Care Label
This label includes care and ironing instructions. For details of wash
care instructions. This refers to garment care symbols. Care labels are
attached at the side seam. The purpose of care labels is to warn wearers
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on what not to do while washing, drying and ironing to maintain color,
specific printed designs, after wash shrinkage and color blending issues. A
care label includes few other information such as:
a. Fiber contents are also included in care labels. i.e. 40% Poly and
60%
Cotton
b. Country of origin: Name of country that manufactured the particular
product is also written on care label. Like, Made in India, Made in
Philippines.
4. Flag Label:
A small label attached outside seam. Flag labels are normally made of
brand logos and they are used as design features.
5. Manufacturer Label:
This label includes manufacturer‟s code given to buyers. Most of the
international buyers purchase garments from countries. In case buyers need
to track the manufacturer of a particular product, they look for this code.
7. Special Label:
100% Cotton, Organic Cotton are example of such special labels.
Special labels normally attached to draw customer attention at time of
purchasing.
Functions of Packaging
2. Contains the Product. Containers make products easy to carry and keep
them separately.
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4. Promotes the Product. The package is the natural place for promotion. It is
part of the product which is most visible to the customer.
5, Makes the Product Easy to Use. Cartons with spouts for easy pouring,
boxes with zip-strip openings, butter wrappers with measurement marked
on them are examples of the conveniences offered by packaging. In each
of these examples, the package is designed with the user‟s needs in mind.
Packaging Materials
1. Paper and cardboard – are among the most widely used packaging
materials. Paper is inexpensive, lightweight, fairly strong, and easy to print on.
Cardboard has all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for sturdier or more specialized
forms of packaging. Wood makes sturdy shipping crates, which are reused
many times. Glass is used mainly to hold liquids or products containing liquids.
It doesn‟t leak and free from unwanted taste or smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and
bottles; it is molded into boxes, baskets, and trays; it is processed into sheets
for packaging toys, bed linens, small articles of clothing and a wide variety of
food products.
4. Metal – is a material that has long been used to pack liquids and food
products. The most commonly used metal container is the can. At one time, all
cans were made of steel with a tin plating. Today, aluminum cans are popular,
particularly for soft drinks.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates,
bottles and jars, and bags and wrappers.
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products into a unit for easier display, carry home utility, or user
convenience.
Procedure in Packing
Let’s Do it!
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Post Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz
notebook.
11. It generally refers to a tailored shirt.
e. Pants
f. Trousers
g. Blouse
h. Shirts
12. A kind of blouse that has a great style for most body types and
features a surplice collar, which overlaps fabric into a v-shaped
neckline.
e. Button-Down
f. Peasant
g. Casual
h. Surplice Wrap
13. This type of blouse is popular because its style can be worn by
many body types and in various settings.
e. Surplice Wrap
f. Button-down
g. Peasant
h. Casual
14. A blouse which emphasizes free-flowing materials.
e. Peasant
f. Casual
g. Surplice Wrap
h. Button-down
15. This is egg shaped that is rounded at the top and slightly elongated
at the chin.
e. Round
f. Square
g. Triangle
h. None of the above
16. The top is wider than the ear side going smaller to the chin. The use
of wider necklines is helpful.
e. Heart
f. Triangle
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g. Square
h. Oval
17. Rounded at the top and slightly curved at the chin like a human
heart. The shape fits to almost all kinds of necklines.
e. Heart
f. Round
g. Oblong
h. Oval
18. In a round-shaped face, a type of neckline suitable is
e. Round, V-Neck
f. Round, Square
g. Square, Sabrina
h. V-necklines
19. A type of neckline suitable for Square-shaped face.
e. Round, V-neck
f. Round, Square
g. Square, Sabrina
h. V-necklines
20. These are tops that have been tailored to be worn with jeans or
trousers.
e. Peasant
f. Surplice Wrap
g. Casual
h. Button-down
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2. Procedure in drafting V-neckline
C. Identification.
Directions: Identify the type described in each statement. Write
your answer in your quiz notebook.
11. The type of neckline curve which has the same shape as the
neckline of the garment.
12. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
13. A collar that stands up slightly from the point of attachment to
the neckline of a garment before folding over to lie flat.
14. A flat collar with rounded ends that meet at the front.
15. A collar that is found in garment with front openings, can be
worn either in an open style or in a closed style.
16. A sleeve that has an arm seam inside the shoulder width.
17. A sleeve that is fitted at the wrist but cut with a deep armhole
and resembles a cape from the back.
18. Measurement taken from left to right shoulder tip bone.
19. Measurement taken across the back halfway down the
shoulder.
20. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
E. ANALOGY
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Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip
F. Enumeration
Directions: Write what is asked for in the statements below.
Write your answer in your quiz notebook.
1-5 Types of fabrics suited for ladies blouse
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
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QUARTER III
Overview
Part III and IV is about producing ladies trouser. This will enable you to
learn more and develop skills in drafting and cutting pattern for ladies trousers,
prepare and cut materials, assemble garment parts and apply finishing
touches, particularly long pants with continental side pockets or front hip
pockets.
General Objectives:
At the end of the quarter, learners are expected to:
Pre-Test III
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn‟t. Write your
answer in your quiz booklet.
__________1. Knee length is measured along the side seam from the
waist to the level of the knee.
__________2. Desired knee circumference or knee width is measured
around the knee with the desired “tightness” of the
sleeves.
__________3. Crotch or rise can be measured in two ways: standing
position and crouching position.
__________4. Sitting position measurement of crotch can be done by
sitting erect on a chair that has a flat bottom seat.
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__________5. Standing position is measured without the use of tailor‟s
square in crotch measurement.
__________6. Length or trouser outseam is measured along the side
Seam from the waistline to the hem line or desired length.
__________7. Hip 1 is measured from the waist down 3 ½ to 4 ½
inches.
__________8. Waist is measured around the area where the hip seam
rests.
__________9. The desired bottom circumference or bottom width is
measured around the hemline which will be the desired
leg
_________10. Hip 2 is measured 4 to 7 inches below the waist taken
around the fullest part of the buttocks.
B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
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7. It becomes part of the main garment at the waistline in constructing
hip or continental side pockets.
a. Pocket face c. Pocket piece
b. Facing block d. Facing piece
8. Which of the following is not a natural fiber made?
a. Denim c. Ski pants
b. Spandex d. Modern twee
9. Which of the following is not a synthetic fiber made?
a. Poly linen c. Shantung
b. Double knit d. Jacquard fabric
10. Lay out and pin the pattern pieces on the cloth as ________ as
possible in prepare for material cutting.
a. Economically c. Legitimately
b. Probably d. Grateful
C. SEQUENCING
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backstitch with double thread.
________ Close the zipper; pin the band. Check the stitching line;
open the zipper, then machine or prick stitch from the base
of the band finishing with a bar tack over the crotch seam.
________On WS make a bar tack between the fly extension and the
crotch seam at the base of the zipper
Legend:
RS – Right Side WS – Wrong Side
B. ENUMERATION
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C. Two ways in measuring crotch
1. ______________________
2. ______________________
Objectives
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trousers may be slightly flared, straight, or tapered. Careful construction of
them will enable us to construct a pair of trousers which will be well-tailored
and contribute to a neat appearance regardless of specific style or design.
To come up with the best trouser that would compliment your body is to
understand one‟s body type or shape, the posture of the body and the type of
fabric used in making the trouser. There are six main body shapes that will
guide you in choosing the best style of trouser to wear: Hourglass, Triangle,
Inverted Triangle, Rectangle , Diamond and Rounded shape.
1. For Triangle shape, it is best to wear a trouser with the straight leg.
2. For Inverted Triangle shape, a peg trouser, with pleats on the top, and
has a waistband. Wide leg lining trouser is also good for this body shape.
3. For Rectangle shape, low rise, skinny trousers and wider leg is best for this
shape. Avoid big flares and cargo pants and silky flowing trousers for office
or night out.
4. For Hourglass shape, high-waist and wide-legged trousers underline the
curvaceous body are of great style options.
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5. For Oval or Diamond shape, trousers should be in classic style with flat
fronts, and no extra from zips, pleats or gathers. Low rise trousers should
not be worn and waistbands should not be too tight. Boot cuts are best
suited for this shape and if tall enough, straight cuts or palazzo is of great
choice.
6. For Apple or Rounded shape, a pair of boot cut jeans will help this body
shape looks slimmer and create a line waist down. Skinny jeans or trousers
should be avoided.
Another factor to consider is the type of posture that a wearer has. Posture
type can be classified into three categories:
1. Average. When the wearer stands fairly straight and the side seams of
pants fall straight and are lined up with the ankle, she has average posture.
2. Forward-tilted hip. When the wearer stands in somewhat slouched manner;
fairly flat, low seat, and has high prominent roll below the front waist or high
prominent hip bones. This posture causes pants to sag under the seat
unless the pattern is altered.
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3.Backward-tilted hip. When the wearer stands with the tummy lowered and
posterior out and up and the pants hike up over the seat. In here, the pattern
crotch length is not corrected.
Styles of Trousers
1. Straight Leg Trouser is the style of trousers
which can fit any body type. It can be found in
different designs and best for business meetings
and in casual workplace. It has uniform width from
thigh all the way to hem. The straight line help
balance out any body type and has the ability to
hide wide and bulky thighs. It is ideal for women
with wider hips, larger thighs as well as for slender
women.
a. Gaucho trouser is similar to Capri pants except that it has wider legs
with a flare at the bottom. This is ideal for
warm weather. The short breathable legs keep
the woman cool and the wide and flowing legs
can have a similar appearance to a skirt
depending on the amount of fabric used and
the amount of flare. Women with long legs can
wear any style or colour gaucho trousers and
women with shorter or heavier legs should
wear longer gaucho trousers in a light color.
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4. Skinny Trouser is the style for women who
have skinny, straight legs and slim figures.
Skinny trousers hug the legs and the hips very
closely and make the lower half of the body look
small. It is important that the top half of the body
is in proportion.
Capris are popular among women which are worn during summer. These are
made up of cotton, denim and polyester.
Wide 6. Wide Leg Trouser has straight legs that is wider and more
flowing than straight leg trousers. Tall, slender women are
wearing this kind of trousers because it can make the bottom
appear larger than the top half. When paired with the right
shoes, wide leg trousers can help elongate the legs and slim
the figure down.
These types of trousers are available as part of a women's suit
or as a casual pair of trousers for any occasion.
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Types of Waistbands for Trousers
1. Super High Rise. Waistband is more than 1 inch above your waist.
2. High Rise Jeans. Waistband is 1 inch above your waist.
3. Medium Rise Jeans. Waistband is located precisely on the waist.
4. Medium to Low Rise Jeans. Waistband is located typically 2-3 inches
below the belly button. The most popular rise in most denim brands, especially
for women.
5. Low Rise Jeans. Waistband is very low, 3-5 inches below the belly button.
6. Ultra Low Rise Jeans or Brazilian Low Rise Jeans. Brazilian jeans are
growing in popularity and are renowned for their daring sexy cuts, high quality
and original embellishments.
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In choosing the best fabric suited for ladies trousers, choose fabric
which is firmly woven to hold its shape and would compliment more to your
body shape. Texture and design should be properly examined to avoid
scratchy feeling when it is used. There are also fabric types which require
lining to prevent undergarments and seam allowances seen through. Choose
medium-weight blends fabric for trousers.
Cotton Denim
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clean and care for when it gets dirty.
Corduroy Velveteen
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upholstery, and bed sheets.
Linen
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Parts of Trousers
Parts of Trousers
1. Waistband is a strip of fabric fastened at the top of trousers that fits around
the waist.
2. Fly is an opening/placket covering the groin which makes the pants easier
to put on or take off. It conceals the mechanism such as zipper, velcro or
buttons.
4. Seam is a line where two pieces of cloth are joined by sewing near the
edge of the fabrics (inseam and outseam).
6. Trouser support the belt loops on the waistband of the trousers where the
belt passes on serve as support to the wearer.
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7. Pocket is usually small cloth bag that is sewn into a piece of clothing which
is open at the top or side where little things can be put into it.
Identification
Directions. Identify the following being described. Write your answer in your
quiz notebook.
1. These are styles of trousers which can fit any body type.It can be found in
different designs and best for business meetings or in casual worklplace.
2. These are trousers with skinny legs for women who have straight legs and
slim figures.
3. It is usually skin tight and are made up of denim, cotton and lycra.
4. It has the same characteristics as the cotton but may not be that easily gets
dirty as cotton.
5. It is a heavy-weight fabric with very little drape or stretch.
Types of Pockets
1. Patch pockets. These pockets are external and can be decorative. They
can be made from the same fabric as the garment or from a contrasting
fabric.
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1. If needed, apply an interfacing
to the pocket fabric.
2. Mark the fold lines with tailored
tacks.
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14. Press. The pocket is now
ready to be attached.
b. Lined patch pocket. This type of pocket is not suitable for heavy
fabrics and for medium-weight fabric, a fusible interfacing is required.
This needs to be cut with the top edge of the pocket on a fold.
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c. Square Patch Pocket. It is possible to have a patch pocket with square
corners. This requires mitering the corners to reduce the bulk. Use a
fusible interfacing on medium-weight fabrics.
1. Cut the pocket and apply
interfacing, if needed. Neaten
theupper edge of the pocket
withserger or zigzag stitching.
2. Fold over the upper edge and
stitchdown the sides.
3. Fold in the other three edges and
press to crease.
4. Remove the top corners.
5. Fold in the bottom corners, then
fold accross these to give creases
for the mitters.
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1. Mark the pocket placement lines on
the garment with tailor‟s tacks.
2. Take the completed pocket and
place it to the fabric, matching the
corners with tailor‟s tacks. Pin in
position.
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horizontally for corner.
four stitches.
2. Pull the 2. Turn and sew 2. Make a 2. Using a small
threads to the diagonally back feature of this zigzag stitch, width
reverse to tie to the side, to stitch by using 1.0 and length 1.0
off. create a a thread in sew a short vertical
triangular shape contrasting line next to the
in the corner. color. straight stitches.
Facings are pieces of fabric sewn to the garment edge, turned to the
inside, and sewn in place by hand or machine. Garment edges that are
commonly faced are necklines collars, cuffs, and sleeveless arms-cyes.
There are two styles of facings that are common to the costume shop, fitted
and bias facings.
1. Fitted Facings are pieces of fabric that match the area to be faced in
shape and grain.
2. Bias Facings utilize the stretch of the bias to shape the facing to the edge
being faced. The stetch of bias is limited and are restricted on the curvature
possible on the edge to be faced.
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plies of fabric. Interfacing in good quality garments is usually found in the
following areas:
Identification.
Directions. Identify the following being described. Write your answer in your
quiz notebook.
1. These are pieces of fabric that match the area to be faced in shape and
grain.
2. These pockets are external and can be decorative. They can be made from
the same fabric as the garment or form of a contrasting fabric
3. It is used to provide shaping, reinforcement, firming and support.
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4. These are facings which utilize the stretch of the bias to shape the edge.
5. These are pieces of fabric sewn to the garment edge, turned to the inside,
and sewn in place by hand or machine.
II. Objectives:
a.
b.
c.
III. Design of the Project:
VI.Evaluation
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1.Waist.
2. High hip (3" down at side).
3. Hip at fullest part (7-9" below waist).
4. Distance at side from waist down to fullest part of hip.
5. Pant length (waist to floor).
6. Thigh at fullest part.
7. Knee (1" above center).
8. Distance to knee from waist.
9. Crotch depth. Sit on a flat surface and measure from waist to surface on
side.
Note: Rise or Tiro meaning “Crotch”
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Needed Measurements
A. Vertical Measurements
1.Outside Length – Taken from the waist down to the desired length,
this measurement is taken at the side with a tape measure.
2. Rise- Taken from the waist down to the crotch with the use of a
tailor‟s square.
B. Horizontal Measurements
1.Waist- Taken around the smallest part of the torso or body with a
tape measure.
2.Seat or Hip- Taken around the fullest part of the second hip or
buttock with a tape measure.
3.Thigh- Measured around the fullest part of the thigh in line with the
crotch.
4.Width of knee- Taken from the back creaseline to the front creaseline
at the kneeline of the pants.
5.Width of bottom- taken at the bottom of pants desired length.
C. Rise Measurement
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Let’s Do it!
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8.From 7, apply ¼ waistline measurement to the right to get 8.
9.From 7, apply ¼ waistline measurement plus 1.9cm to the left to get
9.
10. Get the measurement from 7 to 2 and apply this from 9 to get 10.
11. From 8, measure 1½ cm upward to get B. Using a hip curve, draw a
line to connect 7 to B and 9 to 10.
12. From 5, measure 3.8cm to the right on line 2.
13. From 10, measure 3.8 cm upward on line 9 to get 11. Using a french
curve, connect 5 and 11.
14. Get the midpoint of 2 and 3 and mark this C.
15. From C, measure 3.8cm upward for the knee cap.
16. From the knee cap point, apply ¼ knee measurement to the right
to get 12 and ¼ knee measurement to the left to get 13.
17. From 3, 1pply ¼ bottom measurement to the right to get 14 and the
same measurement to the left to get 15.
18. From 4, apply ¼ bottom measuremnt plus 1.9cm to the right to get
16 and the same measurement to the left to get 17.
19. Connect B, 8, and 6 with a hip curve turned outward. Connect 6
and 12 with the hip curve turned inward.
20. Draw a line downward connecting 12, 14, and 16. Draw another
line downward connecting 13, 15, and 17.
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A. Pants measurements
1.Waist: taken around the smallest part of the waistline.
2.Hip II: 20 1/3 cm below the waistline, measured around the
hip with the tape measure over the fullest part of the
buttocks.
3.Length of the pants: from the waistline to the ankle.
4.Crotch: with the individual seated, measured around from
the waistline down the seat.
Let’s Do it!
B. Sample measurements
Waist = 28
Hip II=38
Length=37
Crotch=10
Knee=18 standard
Ankle=16 standard
1. A is the starting point.
2. A to B is equal to crotch
measurements.
3. Divide hip by 2.
On the other long side/arm of the
square, look for 19 under 1/3
division and place B; mark 19
under ½ divisionC; mark under
1/6 division D; and mark 19
under 1/12 division E and mark
corner F.
4. F to K is 1 ¼ cm; E to G is 1
¼ cm.
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5. H from A = 2/3 cm.
Divide waist by 2.
On the short arm of the
square, look for 14 under ¼ division and
place H; mark corner J; and 14 under ½
division L.
6. Connect I to G; F to G =G to
L. Draw front crotch from L to K;L to M
= ¼ hip II.
7. With the curve, join J, M
passing line BC and mark corner T.
8. A to N= length of pants
9.B N/2 + 1 = 0
10.P from O = ¼ knee
Q from O = ¼ knee
R from N= ¼ ankle
S from N= ¼ ankle
11.Connnect P, R, S, Q up to
T. With a curve, connect K to P.
Back Sloper
1. 1 from P= 1 ¼ cm
2 from R= 1 ¼ cm
3 from S= 1 ¼ cm
4 from Q= 1 ¼ cm
2. Connect 6 to D.
3. F to D = D to G
4. On the short side of the square
place 19 under ¼ on D anf mark corner
7.7 to 8= 2/3 cm. Connect to 8 to 1.
5. Draw dart to 4 cm wide and 13
cm long.
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Enhancement activity
Activity
A. Lady’s Pants with Sliding Front Pocket Design
Waistline - 27
Hips - 36
Thigh - 20
Crotch- 8
Length- 40
Knee - 8 1/2
Bottom - 14
FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips (use the square) minus ½ inch
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From B to 3 is the measurement of thigh, minus ¼ inch
Draw a line from O to 2 up to E
Draw a line from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
Draw a straight line from H to F
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From F to W is 1 ½ inches
Draw a curve line from W to E
Front Part: cut on the line
BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a straight line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ¼ inch (use the square)
From Y to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square)
From J to K is ¼ waistline measurement (use the tape measure) plus 1
½ inches
From X to K is 1 ½ inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
L- is thecenter of J and K
Back Part: Give an ½ inch allow since both sides, and at the back part
of waistline is 1 ¾ inches allowance
Imaginary line is your back part
Enhancement activity
Activity
B. Lady’sPants with Continental Front Pocket and Patch Back Pocket,
with V-Cut
FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
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From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips (use the square) minus ½ inch
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ¼ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square) minus 1-inch
Draw a line from R to I, and from S to T up to J
From X to K is 1 ½ inches
Draw a straight line from J to K
From J to K is ¼ waistline measurement (use the tape measure) plus
3/4 inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
From J to 2 is 1 ¾ inch, and from 2 to 3 is one inch
From K to 4 is 3 ¼ inches, and from 4 to 5 is one inch
Draw a straight line from 2 to 4, and from 3 to 5
From J to 6 , and at from K to 7
Front Part: cut on the line
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾
Imaginary line is your back part
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Enhancement activity
Activity
C. Ladie’s Pants with Four Pleats, and Sliding Front Pocket
FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips, minus ½ inch (use the square)
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a line from O to N, and from C to D
From E to 2 is 4-inches down
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From H to A is ¼ of waistline measurement, plus 1 ½ inches for pleats
Draw a line from 3 to B up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
Mark your pleats up to 1 ½ inches only
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BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ½ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is 1 12 inches (more or less)
Draw a line from R to I, and from S to T up to J
From X to K is 1 ½ inches
Draw a straight line from J to K
From J to K is ¼ of waistline measurement, plus 1 ½ inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
L- is the center of J and K
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾ inches
Imaginary line is your back part
Let’s Do it!
1. Cut out the pattern along the dotted guidelines, then put the pattern pieces
together to make sure they match before starting to cut your
fabric. Correcting any cutting mistakes is essential so that the seam lines
will match up.
2. Add seam allowance (at least 1cm) to all edges and 2,5-3cm to the hems.
Remember that you can measure and adapt the length of the pants legs to
suit your leg length. Depending on your seating posture the pattern length
can be more or less suited for you. If you want to make sure, cut the pants
slightly longer than you need. It is easier to shorten the leg length than
making them longer if necessary.
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3. The waistband is cut as one piece unless the width of the fabric is too short.
In this case you have to cut it in two sections (remember to add seam
allowance to the edges) and then join it in the back.
4. Place the pattern pieces on top of the underside of the fabric. Cut along the
lines of the pattern, leaving 5/8 inch (1.6 cm) space for seams around every
part of the pattern pieces. Mark the pattern pieces with a number or letter if
you feel you will lose track of which pieces will be sewn together
Objectives
1. perform the methods on how to prepare and cut materials for ladies‟
trousers; and
2. follow the procedures correctly in performing the activities.
The fabric for the trouser should be preshrunk and pressed to ensure
that there will be no more shrinkage after it has been cut and sewn. The
grainline should be straightened. When laying out, cutting, and sewing, pay
close attention to the lines and contours of the fabric print or design, and see
to it that they align and match at appropriate points for the best appearance of
the finished garment.
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Let’s Do it!
Let’s Do it!
1. Use tailor‟s tacks to mark all darts, tucks, crotch seams, and outseams at
waistline and hem. Mark original seamsline on crotch seam with hand
basting.
2. Stay stitch the waistline ¼ inch outside the seamline. Stay stitch the
seamlines at the pocket, the length of the zipper. Do not stay stitch the
crotch seam.
3. Baste the lengthwise and crosswise grainlines with contrasting colored
thread if the fabric is not a plaid. Put the crosswise grainlines at a right
angle to the lengthwise grainline at the seven-inch hipline marking, the
crotch, and the knee.
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4. Identify the lines in the plaid that are the lengthwise and crosswise
grainlines. Safety pins can be used for this identification.
5. Press the creases before basting the garment together. Fold on the
lengthwise grainline and baste. When pressing the crease, lay the fold on a
plaid press cloth and use a line in the fabric as a guide to help you keep
the crease straight. If you do not have a plaid press cloth, lay the fold
against a yard stick and press. In the front, press only to the point of the
dart.
Post Assessment 3
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn‟t. Write your
answer in your quiz booklet.
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B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
C. SEQUENCING
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1. Prepare the material for cutting
________ Provide seam allowances.
________ Cut the material
________ Preshrink, straighten, and press the cloth
________Lay out and pin the pattern pieces on the cloth as economically as
possible.
________ Transfer all construction marks.
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B. Enumeration
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QUARTER IV
Overview
Variation of styles for ladies trouser are at stake due to current
fashion demand. Industries keep on producing unlimited styles to satisfy
customers‟ demand.
General Objectives
At the end of the quarter, learners are expected to:
Pre-Test 4
A. True or False
Directions: Read the statements carefully. Write T if the statement is true
and F if the statement is false.
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B. Multiple choice
Directions: Read the statements carefully then choose the letter of the
correct answer and write it on the space provided.
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
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_______4. It is mainly used to package and hold liquids or products
containing liquids.
_______5. Checking done prior to pressing of the garment at finishing
room is known as what?
_______6. It is a container that releases its contents in spray or foam when
a valve is pressed.
_______7. It is a function of packaging wherein it makes the product easy
to carry and keep them separated.
_______8. Is a package formed from plastic film or paper that is filled with
the product and sealed by heat process.
_______9. In lapped zipper, when the zipper is finished the teeth should be
covered by what?
_______10. It is used to indicate brand name or brand logo of the
company that sources and sells clothes.
Objectives
You have come to the final stage in assembling the garment parts for
ladies‟ trousers. There are standard procedures on how to assemble the parts
systematically, but nowadays, dressmakers or sewers have their own
standard and own technique in assembling and sewing the garment parts
according to their own convenience.
Let’s Do it!
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2. Put one leg inside the other, right sides of fabric facing, to baste the crotch
seam. Do not baste through the seam allowances at the crossing of the
inseam and crotch seams.
3. Pin the fitting band to the inside of the garment with the lower edge of the
band on the stay stitching. Match the markings on the band to the garment at
the center front, center back, and outseams. Place pins on the garment side.
Fitting
1. Check the grainlines, ease, balance, and the position of all seams when
fitting the garment. Remember, drag lines point to the source of the trouble.
2. Start at the seven- inch grainline first and fit the front, then the back. The
crosswise grainline at the seven-inch hipline must be kept parallel to the floor.
The creases in each leg must be per- pendicular to the floor. Pants have four
centers, whereas skirts only have two.
3. Adjust the darts before fitting the outseams. The darts may be shifted to the
area where they are needed.
4. Mini-darts, about two inches long, may be used between
the large darts and the side seams.
5. A slight garment bias in the center back seam is acceptable. Sometimes it
is impossible to match plaids at the inseams. Just remember these are the
least noticeable seams in the garment. Pants may be tapered in the fabric.
Indicate the amount tapered on the pattern.
Pressing
Tip: If you worry about shine what you can do is use a piece of thin cloth over
the top of your trousers before pressing. Be sure to use a cloth that does not
leave bits of fluff.
1. An ironing board
2. An iron
3. A bristle brush with a backing/handle that is flat, wooden and unvarnished.
Select an iron temperature and settings consistent with the pant fabric.
Steam works for most fibers, test on a small hidden area such as the pocket
bag or waistband inside before pressing the entire pant. Some fabrics may
require the use of a press cloth to prevent shine when pressing on the right
side.
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Press on a long flat surface, preferably a padded ironing board.
Let’s Do it!
Front of Trousers
1. Stay stitch waistline and side edges, inside leg seam edges, and front
crotch seam edges.
2. Machine baste darts and tucks; do not machine stitch until after first
fitting.
Back of Trousers
1. Stay stitch back sections of slacks and machine baste darts in front.
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1. Pin inner and outer leg seams, wrong sides together.
2. Try on slacks, and pin tape snugly at waistline for fitting.
3. Adjust seams and darts as necessary, allowing hip, thigh, and crotch to
fit with enough ease for freedom of movement, enough so that slacks
do not droop awkwardly.
4. Fit in sitting and bending positions.
5. Fit waistline in same manner as for skirt. Mark correct hem line.
6. Remove garment and adjust pinning to prepare for stitching. If plain
seams are to be used, remove pins from seams, slipping them into a
single thickness of garment to show any alteration in seam line.
7. Turn garment in the right sides together and pin-baste new seam line
for stitching.
8. If flat-fell seam are to be used, leave seams in the wrong sides
together, and pin-baste for stitching.
1. Baste front pocket section to front of garment side seam, and back
pocket section to back of garment side seam on seam lines, right sides
together; stitch.
2. Press back seam allowance toward the back of the garment. Press
front seam allowances toward front of the garment.
3. Turn pocket front inside, rolling seam just to under side; machine top
stitch on front edge of garment ¼ “ from fold to form firm pocket edge.
If top stitching is not desired, press seam allowances toward pocket
and understitch before pocket is turned inside.
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4. Pin-baste and stitch pocket sections together, beginning at point where
sections are joined to side seams, and continue around bottom and
sides to waistline edge of pocket.
5. Pin pocket top to waistline of garment front so it will be caught
permanently in waistline seam.
Bar Tack (1)- Several stitches of thread are being sewed across the
end of the opening.
Bar Tack (2)- These stitches are now being covered with overhand
stitches close together, picking up a few threads of the fabric at the
same time.
Bar Tack (3)- The ends have been finished with small bar tacks.
Placket
Insert zipper as directed for side zipper.
Waistband
Construct and apply waistband, using either top-stitched application
given for the gathered skirt or the directions of the skirt which feature
the invisible stitching and the longer underlap, as well as interfacing.
The latter waistband may be top stitched along all edges for a more
tailored appearance if desired.
Fasteners
Attach hook-and-eye fasteners to waistband as directed for skirt.
Pressing
Give trousers a final pressing, matching inside and outside leg seams
to locate position for front and back creases.
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Objectives
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many
shapes and sizes, and can be made from a variety of materials including
shell, bone, plastic, nylon, and metal. Buttons are sewn to the fabric either
through holes on their face, or through a hole in stalk called a shank,
which is on the back. Buttons are normally sewn on by hand, although a
two-hole button can be sewn on by machine.
Snap Fastener
Snap Fasteners are used where a lightweight fastening is needed. They are
available in a black or silver metal finish in a range of sizes. Small, clear plastic
snaps may be used on fine fabrics. There are many types of nonsew snap with
decorative metal or colored caps, which are attached using a special tool or a
hammer.
Hooks are versatile fasteners that can fit into both straight bars and
round eyes, and are strong enough not to open under stress. They are
made in different sizes and strengths, and are frequently used on
waistbands and at the top of the zipper openings. Sew-on snap fasteners
are available in range of sizes, and non-sew snaps provide an alternative
to buttonholes on casual garments. Hook-and-loop fasteners, usually cut
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from a strip, are easy to open and close and are often used for garment
detail such as cuffs, and in home furnishings.
Zipper
The zipper is probably the most used of all fastenings. There are many
types available, in variety of lengths , colors, and materials, but they all fall
into one of five categories: skirt or pant zippers, metal or jeans zippers,
invisible zippers, open-ended zippers, and decorative zippers.
Finishing Touches
Let’s Do it!
1. Hemming Stitches
Machine Sewing: Load your bobbin and top spool with the same color of
thread. The thread should match as closely as possible with the original
thread used on the pants.
For a simple hem with straight stitching, set your machine for a
small to medium straight stitch. In this picture, notice that the stitch width
lever is set to the extreme left position. Fold the hem so that the cut edge
is folded in toward the crease. Begin stitching 1/8 inch from the top of the
hem and go all the way round.
Straight stitching is used for jeans or for the lining of dress pants. The
seam side of pant linings normally faces the seam side of the pants so that
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the interior and the exterior of the pants both present the finished side.
Pant linings are usually sewn with the pants right side out, but with the
pant leg gathered toward the crotch so that the lining extends enough for
sewing.
For blind stitching, set the stitch width and the stitch pattern to the
correct position. Here, the stitch width lever has been set to the middle
position.
A machine blind stitch consists of three or four straight stitches that sew
the inside hem followed by a sideway stitch that attaches the inside hem
to the pant leg by just a thread. This picture shows a sewing machine that
uses a cam and dial to select the sewing pattern. For cam number 1, the
dial has to be set at position B to select the blind stitch which is illustrated
in gray color on the side of the machine under the letter B. Read the
instruction manual for your own sewing machine to determine how to
select the stitch pattern.
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Sewing the blind hem stitch. Working with the pants inside out, fold the
hem so that the cut edge is folded toward the crease as for the straight
hem, but then fold the final edge toward inside of the cuff leaving 1/8 inch
to start sewing. The photograph illustrated above is the technique for
folding the material.
Folding the material for a blind hem stitch. This photograph shows
how the cut end of the pants cuff is folded toward the inside of the ironed
crease, the pant leg is folded once more leaving a 1/8 inch offset for
machine blind stitching. For some materials, it is necessary to iron the fold
toward the inside of the previously ironed crease to make the sewing
easier and more accurate.
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The material is in position for blind stitching. Notice that the inner
seam is offset about 1/8 inch to the right of the fold in the pant leg.
1. Attaching Fasteners
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2. Position the eye so that the loop
projects over the fabric edge by
about 1/8 in (3mm). Fasten the
thread securely. Stitch around each
hole. Stitch over each side of the
eye inside the fabric.
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the seam open to accommodate the
zipper.
2. Secure the end of the stitches.
3. Insert the right-hand side of the
zipper first. Fold back the right-hand
seam allowance by 1/2 in (1.3cm).
This folded edge is not in line with the
seam.
4. Place the folded edge against the
zipper teeth. Baste.
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7. Starting at the bottom of the zipper,
sew across from the center seamline
and then up the side of the zipper.
The finished zipper should have the
teeth covered by the fabric.
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TOTAL POINTS 100
Enhancement activity
Activity
1. Choose a classmate-partner and take each other‟s measurements for
pajama trousers.
2. Prepare a plan for the project.
3. Draft the patterns.
4. Assemble the parts of the pajama trousers.
5. Present your work to your partner and the class for evaluation.
Labeling of Garments
Labels are not functional component of a garment but essential for many
reasons. 7 common labels those are found in garments are Brand label, Size label,
Care label, Flag label, Manufacturer code, Line mark label and special label. Each
label has specific purpose and carry some kind of information.
10. Care Label – includes wash care and ironing instructions. This is
attached at side seam to warn wearers on what to do during washing,
drying or ironing to maintain the color, design, shrinkage ability and
composition that makes up the garment. Example, 60% cotton, 40%
polyester. This also includes the country where it is made like “Made in
the Philippines”, “Made in USA”, etc.
11. Flag Label- is a small label attached at side seam with printed brand
logo. Some garments especially T-shirts have flag label embroidered or
printed at the upper right side of the garment as design feature.
12. Manufacturer Label -includes manufacturer‟s code for the buyers who
wants to order the items from different parts of the world.
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13. Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for
the internal quality inspection process and rectify which line had made
the garment and which checker had check the same. This is normally
attached at side seam under wash care label.
FUNCTIONS OF PACKAGING
4. Promotes the Product – the package is the natural place for promotion. It is
part of the product which is most visible to the customer.
5, Makes the Product Easy to Use – cartons with spouts for easy pouring,
boxes with zip-strip openings, butter wrappers with measurement marked on
them are examples of the conveniences offered by packaging. In each of
these examples, the package is designed with the user‟s needs in mind.
Packaging Materials
1. Paper and cardboard – are among the most widely used packaging
materials. Paper is inexpensive, lightweight, fairly strong, and easy to print on.
Cardboard has all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for the sturdier or more
specialized forms of packaging. Wood makes sturdy shipping crates, which
are reused many times. Glass is used mainly to hold liquids or products
containing liquids. It doesn‟t leak and has no smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and
bottles; it is molded into boxes, baskets, and trays; it is processed into sheets
for packaging toys, bed linens, small articles of clothing and a wide variety of
food products.
4. Metal – is a material that has long been used to pack liquids and food
products. The most commonly used metal container is the can. At one time, all
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cans were made of steel with a tin plating. Today, aluminum cans are popular,
as containers for soft drinks.
5. Metallic foil – extremely thin sheet metal, is widely used in commercial
packaging. It can be folded and wrapped almost like paper and yet has the
strength and moisture resistance of metal.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates,
bottles and jars, and bags and wrappers.
Procedure in Packing
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Identification.
Directions: Identify the following that is being described. Write your answer in
your quiz notebook.
Post Assessment 4
A.True or False
Directions: Read the statements carefully. Write T if the statement is true
and F if the statement is false.
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B.Multiple Choice
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
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liquids and food products and commonly used in a form of can.
__________4. It is mainly used to package and hold liquids or products
containing liquids.
__________5. Checking done prior to pressing of the garment at finishing
room is known as what?
__________6. It is a container that releases its contents in spray or foam
when a valve is pressed.
__________7. It is a function of packaging wherein it makes the product easy
to carry and keep them separated.
__________8. Is a package formed from plastic film or paper that is filled with
the product and sealed by heat process.
__________9. In lapped zipper, when the zipper is finished the teeth should
be covered by what?
__________10. It is used to indicate brand name or brand logo of the
company that sources and sells clothes.
SUMMATIVE ASSESSMENT
A.True or False:
Directions: Read the statements carefully. Write T if the statement is true
and F if it is false. Write your answer in your quiz notebook.
_______1. Good outfit should have the proportion, balance and gloomy
appearance.
_______2. Proportion in design involves the relationship of one part to
another.
_______3. Blouse is a cloth or textile used in construction of different
garments.
_______4. Headline is the edge of the garment opening surrounding the
neck.
_______5. Interfacings are special fabrics used to weaken or stiffen
specific parts of a garment, such as collar, cuffs, facing and
pocket tops.
_______6. Shoulder measurement is taken from left to right shoulder tip
bone.
_______7. In pressing techniques, never press on zipper coils.
_______8. Snap fasteners are fasteners which can be simply press or
snap together and are easily pulled apart.
_______9. For diamond-shaped bodies, straight leg is the best trouser to
wear.
_______10. Country origin is placed on Flag Label.
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B. Multiple choice:
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
1. It is a natural fiber that is derived from the stem of the flax plant.
a. Denim c. Polyester
b. Linen d. poplin
2. It is determining the quality and suitability of the fabric wherein you
crumple a corner of the fabric; release it, and note the degree of
wrinkling in it.
a. Test for wrinkle resistant c. Test by thumb
b. Test for strain d. test by pin.
3. A double pleat having two upper folds facing in opposite directions
and two under folds pressed toward each other.
a. Gored skirt c. Pleated skirt
b. Knife pleat skirt d. A Box pleat skirt
4. A kind of fabric fold wherein the fabric is folded lengthwise with the
raw edges meeting at the center.
a. Lengthwise centrefold c. Off-center fold
b. Off-center lengthwise fold d. center fold
5. This kind of blouse features a neck collar and buttons attached on
the front of the garment.
a. Surplice Wrap Blouse c. Button-down Blouse
b. Casual Blouse d. Peasant Blouse
6. It is a type of fabric which is very similar to cotton voile but is slightly
crisper.
a. Linen c. Cotton Lawn
b. Silk d. Rayon Challis
7. A type of pocket which is inserted into the garment with the opening
strengthened by an added welt, which is the only section visible when
completed.
a. Welt pocket c. Shear pocket
b. Patch pocket d. clause pocket
8. Measurement taken from the shoulder neck tip bone down to the
apex point.
a. Sleeve length c. Girth length
b. Apex height d. Waist measurement
9. This type of zipper looks different from other zippers because the
teeth are on the reverse and nothing except the pull is seen on the
front.
a. Hidden zipper c. Invisible zipper
b. Cloaking zipper d. hiding zipper
10. Is a type of packaging form wherein a plastic bubble is preformed in
a plastic sheet.
a. Bubble package c. Blister packaging
b. Skin packaging d. foam packaging
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C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
_______1. These are generally loose in fitting and are best suited to lean
women and goes well with tank tops and trendy blouses.
These are made up of wrinkle free fabric.
_______2. These pockets are external and can be decorative.
_______3. Is a soft, lightweight fabric which works well for colder-
temperature shirts and other cloth?
_______4. This solid line with arrows that point to the pattern piece edge,
indicates that the piece should be positioned along the fabric
fold.
_______5. A figure-hugging dress with a narrow tapering skirt.
_______6. This is a medium-weight balanced plain woven fabric made
from dyed cotton and its name was originated from the Malay
adjective, genggang, meaning striped.
_______7. It is a free hanging part of an outer garment or undergarment
extending from the waist down to a particular length of the
garment.
_______8. A type of skirt that comes along with a suit.
_______9. A flat collar with rounded ends that meet at the front.
_______10. These are universal symbols and lines designed to help the
sewer put the pattern pieces together quickly, easily and
successfully.
D. WORD HUNT
Directions: Find the following words in the graph.
1. Blouse 6. Trousers
2. Skirt 7. Kimono
3. Zipper 8. Collar
4. Pants 9. Buttons
5. Sheath 10. Neckline
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
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U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
E. Enumeration
Directions: List down what is/are being asked in the following statements.
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Synthesis
This learner‟s material will help develop further the student‟s skills and
knowledge in dressmaking. Advanced and several choices of different styles
of skirts, blouses and trousers are provided for the teacher to select what is
suitable to his/her learners. Procedures and techniques on how to assemble
them are in step-by-step order for the learners to easily follow the sewing
processes and techniques.
The success of the projects of the students will contribute a lot in the
pursuit of aiming skilled and productive individuals in the field of dressmaking.
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GLOSSARY
.
Apex. The highest point or tip of the bust.
Bias. Any direction that is not the lengthwise or crosswise grain of a woven
fabric.
Blind Hem. A machine stitched hem made by folding the hem back and using
a machine (industrial) or stitch and foot (home machine) designed for
producing a hem that does not show on the front.
Cap sleeve. A type of sleeve that hits the upper arm between the elbow and
the shoulder. Most often found in ladies' garments.
Collar stand. The part of a two-piece collar that stands up next to the neck
Cotton - A unicellular, natural fiber that grows in the seed pod of the cotton
plant. Fibers are typically 1/2 inch to 2 inches long. The longest staple fibers,
longer than 1 1/2 inch, including the Pima and Egyptian varieties, produce the
highest quality cotton fabrics.
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Dart- A stitched fold in the fabric that tapers from a seam to point to the fullest
part of the body. Used to create shape and control fullness.
Directional Fabrics- Fabrics having a one-way design or nap that requires all
pattern pieces to be laid in a single direction
Facing - An extra piece of fabric stitched into the inside of a garment for lining
purposes or to add strength and structure.
Flat Collar- A collar that lies flat, or nearly flat, against the garment all around
the wearer's neck (e.g., sailor collar, Peter Pan collar). A flat collar has no
collar stand.
Full Cut - This is the size scale of the brand. For instance a size large in one
brand may be bigger than the same size in a different brand. The larger cut
may be said to be a full cut.
Grain- As an element of fit, refers to the need for lengthwise yarns to run
parallel to the length of the body (a) at center front and back, (b) down the
center of the arm from shoulder to elbow, and (c) down the center front of
each pant leg; the crosswise yarns should run perpendicular to the length of
the body at bust/chest, hip, and upper arm at bust/chest level.
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Gore- Vertical division within a garment, usually tapered panels, narrower at
the upper edge than the lower edge, seamed together to add fullness to a
garment. May be functional or decorative.
In-Seam Pocket- Pocket that is set into a seam of the garment, usually the
side seam of skirts, pants, dresses, and coats.
Kimono Sleeve- Sleeve cut as one with the body of the garment. Traditionally
square in style.
Lapels Part of the garment that rolls or folds back above the front closure on
both sides; also called revers. Typically found on jackets and coats.
Nap - A soft finish given to fabric where the fibers are raised or “fuzzy” by
brushing. This produces a soft feel to the surface.
Neck tape - An extra band of fabric material sewn over the seam between the
body and the collar of a garment for a more comfortable feel.
Notches- Small cuts (slits or wedges) made in the edges of garment pieces to
aid in correct assembly. On home-sewing patterns they are shown as dark
triangles or diamonds.
Off-Grain- Distorted fabric grain. Occurs when the filling yarns (weft) are not
perpendicular to the selvage or fabric edge. When a garment is "off-grain," the
true grain does not fall perpendicular to the floor.
Pad Stitching- Tiny stitches made through the interfacing that barely catch
the fashion fabric. Used to softly and subtly shape collars and lapels. Used in
collars and hand-tailored jackets.
Parallel- Extending in the same direction and at the same distance apart at
every point.
Patch Pocket- Pieces of fabric attached, like a patch, to the outside of the
garment. Also called "applied pocket."
Permeability - A textile characteristic which allows air, water, and water vapor
to penetrate and pass through it.
Pleat- Fold of fabric, folded back upon itself so that the pleat is comprised of
three layers; occurs vertically only. Pleats may be partially stitched or pressed
down. Kinds of pleats include: knife pleats, box pleats, inverted pleats, and
accordion pleats.
Preshrink- To wash or dry clean the fabric, according to the care instructions,
prior to cutting out the pattern pieces to eliminate any potential shrinkage
problems after assembly.
Ply - The number of single yarns used to create ply yarn. It may also refer to
the number of ply yarns used to make cord.
Poplin - This is usually a 50% polyester and 50% cotton fabric in a poplin
weave.
Raglan sleeves - These are sleeves that are all cut from one piece from collar
to cuff.
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Rise- A measurement from crotch level to the top of the waistband: Also
called crotch depth.
Seam Allowance- Narrow width between the seam line and the raw edge of
the fabric. Seam allowances vary depending on where they occur on the
garment and the manufacturers' specifications. Home sewing patterns
generally have a 5/8" seam allowance except at hems. Commercial patterns
generally use 1/4" to1/2".
Seam Finish- Any technique used to neaten the edge of seams, prevent
raveling, and improve garment durability and appearance.
Seam sealing - Here the stitch line of a garment is made sealed by the
application of seam tape or glue.
Selvages- The narrow, finished edges of the fabric along both lengthwise
sides of all uncut woven fabrics.
Shrinkage - This is the amount in size lost during the washing of cotton Most
100% cotton products have been pre-washed or pre-shrunk. After that a 4-5%
shrinkage should be expected.
Taffetta - A basic plain weave that is sharp and smooth on both sides. It most
often has a sheen. The warp and filling are of approximately same count.
Taped seams - A strip of extra fabric stitched into the seam of a garment in
order to prevent distortion or with outerwear, aid in waterproofing.
Tear strength - The force necessary to tear a fabric, measured by the force
necessary to start or continue a tear in a fabric.
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True Bias- Fabric direction that occurs at a 45-degree angle to the lengthwise
and crosswise grains of woven fabrics. Has the highest degree of stretch of
any woven fabric direction.
Tuck- A stitched fold of fabric. Decorative tucks are stitched on the right side
of the fabric. Tucks used to create shape are stitched on the inside to a
designated point and released.
Twill - A fabric weave which is made of 2 to 3 warp yarns or threads for each
weft. The weave is a diagonal ribbing with many variations. Types are
flannels; serges, gabardines, and surahs.
Uneven Plaid- Plaid that varies in the arrangement of stripes on each side of
the dominant horizontal and vertical bars of the plaid.
Warp - The lengthwise yarn found in woven fabric. The warp is stronger as
well as denser than the weft yarns, (crosswise yarns).
Water repellent - Fabrics that have been treated with a finish which cause
them to shed water and resist water penetration, but are still air-permeable.
Weft - The horizontal or crosswise threads that intersect the warp threads in
woven fabrics.
Yoke- Horizontal division within a garment. Small, flat panel of fabric usually at
shoulder, waist, or midriff. Often found on the back of Oxford-style shirts.
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REFERENCES
Avendano, Emma S., Rondilla, Aida h., et.al. Pinoy Entrepreneur. Diwa
Scholastic Press Inc. 2007.
Cruz, Duran, et.al. Home Economics IV. Adriana Publishing Co., Inc. 2002.
Draper, Wanda and Bailey, Annetta, Steps in Clothing Skills, Revised. Bennett
Publishing Company, 1978.
Suratos, Cesar P., Technology and Livelihood Education III. St. Bernadette
Publishing House Corporation, 2010.
Wills, Lydia., The Complete Idiot‟s Guide. Pearson Education Asia, Pte. Ltd.,
Philippines, 2000.
Guide Book
Web Sites:
http://www.primaoutlet.com/product_images/v/925/DSC_0837__23780.JPG
https://encrypted-
tbn1.gstatic.com/images?q=tbn:ANd9GcQhzuCvQIxjiCEET6nvrATagEDq0etKD-4F-
HafC0mmZq8EtTB6
http://EzineArticles.com/7647968
http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=66191077
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http://images.shopmadeinchina.com/p/135/10144135/VANCL-Erika-Plaid-Flannel-Shirt-Women-Orange-
Blue_10144135.bak.jpg
http://www.kaboodle.com/hi/img/2/0/0/6b/5/AAAAAkL4JQIAAAAAAGtb9A.jpg?v=1189004452000
http://images.qvc.com/is/image/a/94/a201894_e24.102?$uslarge$
http://4.bp.blogspot.com/-f__6OYchQJU/T76gF4f48EI/AAAAAAAAFbE/D9NgGS2V00U/s1600/seven-islands-
double-gauze-dress.jpg
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(http://www.wisegeek.com/what-is-a-convertible-collar.htm)
((http://dictionary.reference.com/browse/collar)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAl l)
(http://www.merriam-webster.com/dictionary/kimono%20sleeve)
(http://www.collinsdictionary.com/dictionary/english/puff-sleeves)
(http://en.wikipedia.org/wiki/Sleeve)
http://www.wisegeek.com/what-is-a-mandarin-collar.htm
http://dictionary.reference.com/browse/rolled+collar)
(https://www.google.com.ph/search?q=description+of+flat+collar&rlz=1C2RNV
H_enPH545PH545&biw=1366&bih=653&source=lnms&sa=X&ei=dsoWU4r4A
8T7rAe4kIGIDg&ved=0CAQQ_AU#q=peter+pan+collar+definition
http://textilelearner.blogspot.com/2012/02/list-of-trimmings-for-shirt-trouser-
and.html#ixzz343IuRPxW
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KEY TO CORRECTION
Diagnostic Assessment
V. Identification
A. 1. circular skirt B. 1. waistline measurement
2. button skirt with slide pockets 2. lower hip measurement
3. gathered skirt 3. Skirt length
4. four-darted skirt
5. waistline facing
6. A-line skirt
7. A-line skirt
Pre-Test 1
A. Multiple Choice B. Sequencing
1. A 11. B II. 1. 1
2. C 12. D 2. 6
3. A 13. C 3. 3
4. D 14. A 4. 8
5. B 15. A 5. 2
6. C 16. B 6. 5
7. B 17. C 7. 9
8. A 18. A 8. 4
9. B 19. A 9. 10
10.A 20. A 10. 7
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Review of Lesson 1
1. Proportion
2 Balance
3. Emphasis
4. Line
5. Texture
6. Rhythm
7. Harmony
8. Intensity
9. Form
10. Color
Review of Lesson 3
1. Full Circle Skirt
2. Tube-like Skirt/Straight Skirt
3. Ruffled Petticoat Skirt
4. Pleated Skirt
5. Gathered Skirt
Review of Lesson 4
1. E
2. D
3. C
4. B
5. A
Quarter II
PRE/POST ASSESSMENT 2
A. Multiple Choice
1.C
2.D
3.B
4.A
5.D
6.B
7.A
8.D
9.A
10.C
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5. 2.5
2. 1. Basic
2. 2.5
3. C
4. 3.5
5. E
C. Identification
1. Flat Collar
2. Collar
3. Rolled Collar
4. Peter Pan Collar
5. Convertible Collar
6. Raglan
7. Dolman
8. Shoulder
9. Across Back
10. Blouse Length
D. True or False
1. True
2. False
3. True
4. True
5. True
6. False
7. False
F. Enumeration
46-50. (Any of the following)
Cotton Voile
Rayon Challis
Double Gauze
Knit
Silk
Chambray
Cotton Lawn
Linen
Flannel
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QUARTER III
Pre/Post Assessment
A. True or False:
1. T
2. T
3. F
4. T
5. F
6. F
7. F
8. T
9. F
10. T
B. Multiple Choice
1. B
2. A
3. D
4. C
5. C
6. A
7. D
8. A
9. D
10. A
C. Identification
1. Shrink wrap
2. Dispensing Closure
3. Metal
4. Glass
5. Initial Finishing Inspection
6. Aerosol or Dump Dispenser
7. Contains the product
8. Flexible pouch
9. Fabric
10. Brand or Main Label
Summative Test:
A. True or False
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1. Harmony
2. T
3. Fabric
4. Neckline
5. Strengthen
6. T
7. T
8. T
9. Triangle-shaped
10. Care
B. Multiple choice
1. A
2. B
3. D
4. B
5. C
6. C
7. A
8. B
9. C
10. C.
C. Identification:
1. Palazzos
2. Patch pockets
3. Flannel
4. Place on fold line
5. Sheath
6. Gingham
7. Skirt
8. Suit Skirt
9. Peter pan Collar
10. Pattern Markings
D. Enumeration:
1. Patch Pocket
2. Welt Pocket
3-6: Paper and cardboard; Wood and Glass; Plastic; Metal; Metallic Foil
7-10
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Word Hunt
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
CONGRATULATIONS! If you found the words in less than five minutes only,
meaning you‟re fantastic, inspired and is capable to prove the next level.
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LM-Dressmaking/ Grade 10
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