MODULE 1 - Tailoring G9&10 (Perform Basic Maintenance in Sewing and Apply Quality Standards)

CBLM FOR TAILORING: EXPLORATORY
COMPETENCY-BASED LEARNING MATERIAL

(CBLM)
Sector: HOME ECONOMICS
Qualification Title: TAILORING (Exploratory)
Unit of Apply Quality Standards And Perform

Competency: Basic Maintenance In Sewing
Applying Quality Standards And

Module Title:
Performing Basic Maintenance In Sewing
Sisters of Mary School-Boystown, Inc.

Minglanilla, Cebu
Telephone no. : (032)272 8636/(032)272 8637/(032)888 7562

smsminglanilla@thesistersofmaryschools.edu.ph
SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 1

HOW TO USE THIS MODULE
Welcome to the Module “Apply Quality Standards And Perform Basic

Maintenance In Sewing”. This module contains training materials and
activities for you to complete.
The unit of competency “Apply quality standards and perform basic

maintenance in sewing” contains knowledge, skills and attitudes required as
prerequisite for a Tailoring NC II course.
You are required to go through a series of learning activities to complete

each of the learning outcomes of the module. In each learning outcome, there
are Information Sheets, Operation Sheets, Task Sheets, Job Sheets, and
Activity Sheets. Follow these activities on your own and answer the Self-Check
at the end of each learning activity.
If you have questions, don’t hesitate to ask your facilitator for assistance.
Remember to:
 Work through all the information and complete the activities in each
section.
 Read information sheets and complete the self – check. Suggested

references are included to supplement the materials provided in this
module.
 Perform the Task Sheets, Job Sheets and Operation Sheets to your
facilitator for evaluation and recording in the Accomplishment Chart.
Outputs shall serve as your portfolio during the Institutional
Competency Evaluation. When you feel confident that you have had
sufficient practice, ask your Trainer to evaluate you. The results of
your assessment will be recorded in your Progress Chart and
Accomplishment Chart
After completing this module ask your teacher to assess your

competency. Result of your assessment will be recorded on your competency
profile. All the learning activities are designed for you to complete at your own
pace.
Inside this module, you will find the activities for you to complete followed by
relevant information sheets for each learning outcome. Each learning outcome
may have more than one learning activity.

Module 1
Performing Basic Maintenance In Sewing And Applying Quality
Standard
Module Descriptors: This module covers the outcomes required in apply

quality standards and perform basic maintenance in sewing. It consists of
learning competencies to understand care of sewing machine, kinds of seam
and seam finishes standards, types of facing and interfacing standards,
garment’s lining, darts, and shoulder pads, types of collar standards, types of
sleeve standards, types of pockets standards, types of hem standards, types
of garment fastener standards, and general standard of finished project,
which are prerequisites leading to a Tailoring NC II.
I. Content Standard: As a learner, you are expected to demonstrate

knowledge on applying quality standards and perform basic maintenance
in sewing.
II. Performance Standard: As a learner, you are expected to apply quality

standards and perform basic maintenance in sewing.
III. Expected Learning Outcome: As a learner, you are expected to show

mastery on apply quality standards and perform basic maintenance in
sewing.
IV. Learning Competencies: In this module, you are expected to acquire

and master the following competencies.
LESSON 1: Care of sewing machine

List the common machine faults/problems. Know-What - AK
Evaluate machine problems with the
Know-When - TL
corresponding remedies.
LESSON 2: Essential of garment construction

Identify the kinds of seam, seam finishes, and
Know-What - AK
hem finishes of a garment.
Explain the kinds of seam, seam finishes, and
Know-Why - AK
hem finishes of a garment.
Demonstrate a mock-up of the kinds of seam,
Know-When – TL
seam finishes, and hem finishes of garment
Identify the types of a lining, facing and
Know-What - AK
interfacing of a garment
Explain the types of a lining, facing and
Know-Why - AK
interfacing of a garment
Demonstrate a mock-up of lining, facing, and
Know-When – TL
interfacing
Identify the darts, pleats, and shoulder pads of
Know-What - AK
the garment.
Explain the darts, pleats, and shoulder pads of Know-Why - AK

the garment.
Demonstrate a mock-up of the darts, pleats,
Know-When – TL
and shoulder pads of the garment.
Identify the types of collar and cuff of a garment. Know-What - AK
Explain the types of collar and cuff of a Know-Why - AK
garment.
Demonstrate a mock-up of a collar and cuff of
Know-When – TL
the garment.
Identify the types of sleeve in a garment. Know-What - AK
Explain the types of sleeve in a garment. Know-Why - AK
Demonstrate a mock-up of a sleeve of the
Know-When – TL
garment.
Identify the types of pocket in a garment. Know-What - AK
Explain the types of pocket in a garment. Know-Why - AK
Demonstrate a mock-up of a pocket of the
Know-When – TL
garment.
Identify types of garment fastener. Know-What - AK
Explain the types of garment fastener. Know-Why - AK
Demonstrate a mock-up of a garment fastener of
Know-When – TL
the garment.
LESSON 3: General standard of finished project

Demonstrate in constructing school uniform. Know-When -TL
Assess the sewn school uniform. Know-When -TL
Demonstrate in constructing PE uniform. Know-When -TL
Assess the sewn PE uniform. Know-When -TL
Demonstrate in constructing house shorts and Know-When -TL
sando.
Assess the sewn house shorts and sando. Know-When -TL
Demonstrate in constructing bed sheet and Know-When -TL
blanket.
Assess the sewn school bed sheet and blanket. Know-When -TL
Demonstrate in constructing sling bag. Know-When -TL
Assess the sewn sling bag. Know-When -TL
Demonstrate in constructing sleeping pillow and Know-When -TL
case.
Assess the sewn sleeping pillow and case. Know-When -TL
Demonstrate in constructing sleeping garments. Know-When -TL
Assess the sewn sleeping garments. Know-When -TL

V. Scriptural and Fr. Al’s Message.

1
Scriptural Message: Ecclesiastes 3:7

A time to tear apart and a time to sew together; a time to be silent and a time to
speak.
Fr. Al’s Message: (Homily, August 11, 1991)

This is our goal and aim here at the Sisters of Mary. Above all else, we live by this
rule of charity and this law of love. Our goal and our ideal is the Trinity – the
Father, the Son and the Holy Spirit. As they love each other, we try to love. They
are a loving community and a family of love. So too, we, as children of the Sisters
of Mary, must try to become a loving community and a family of love. If we do
this, we give glory to God, we give witness to Jesus and above all, we have this
marvelous peace and joy of God in our hearts.
VI. 21st Century Skills Integration

√ Communication √ Information Management
√ Collaboration & Teamwork √ Occupational Health & Safety
√ Critical Thinking & Problem √ Environmental Literacy
Solving
√ Lifelong Learning & Career Skills Entrepreneurship
√ Learning Innovation
VII. Integration SMS Goals

√ C – Christ-centeredness √ I – Innovativeness and Confidence
√ H – Honor and Leadership √ S – Service and Joy
√ R – Responsibility and Excellence √ T – Temperance and Obedience
1
https://bible.knowing-jesus.com/topics/Sewing

VIII. List of Basic Competencies
List of Basic Competencies

No. Unit of Competency Module Title Code
Practice occupational Practicing occupational
1. health and safety health and safety 500311108
procedures procedures
List of Common Competencies

Carry out measurements Carrying out GRM743203
1. and calculation measurements and
calculation
Set up and operate Setting up and operating GRM743204
2. machine/s machine/s
Perform basic Performing basic GRM743205
3. maintenance maintenance
Apply quality standards Applying quality GRM743206
4. standards
List of Core Competencies

Draft and cut pattern of Drafting and cutting GRM743313
1. casual apparel pattern of casual
apparel
Prepare and cut materials Preparing and cutting GRM743314
2. of casual apparel materials of casual
apparel
Sew casual apparel Sewing casual apparel GRM743315
3.
Apply finishing touches on Applying finishing GRM743316
4. casual apparel touches on casual
apparel

LESSON 1: Types and functions of sewing machine with its

needle use
I. Learning Competencies:
1. List the common machine faults/problem (Know-What – AK)
2. Evaluate machine problems with the corresponding remedies
(Know-When – TL)
II. Nominal Duration: 3 days
III. Contents:
A. Common machine faults/problems and its remedies
IV. Learning Outcome No. 1: List the common machine faults/problems

and evaluate machine problems with the corresponding remedies.
V. Assessment Criteria:
1. Machine is started and stopped in accordance with the job

requirements.
2. Machine’s performance is monitored and assessed to ensure
application of correct procedure based on standard machine
operations.
3. Minor and major machine problems are identified, recorded, and
reported.
VI. Learning Conditions: you will have access to
A. CBLM
B. Workplace (Sewing Area)
C. Hi-speed sewing machine
D.
VII. Assessment Method: Written test and Oral questioning

KNOW-WHAT and KNOW-WHY
Information Sheet 1.1-1 Common machine faults/problems and its

remedies
What are the classification of sewing machine troubles?

2
If the sewing machine in the laboratory are kept in good condition and are
carefully adjusted and properly threaded, not too many things can go wrong.
But there are certain difficulties that occur during an operation so often, so
you should know these minor and common problems their causes and
remedies. There are two classifications of sewing machine troubles, namely:
minor sewing machine trouble and major sewing machine trouble.
GOOD SEWING MACHINE

UNDER MAINTENANCE
Figure 1.1: Functional and not functional sewing machine
1.
Minor sewing machine trouble
This refers to problems that arise involving incorrectly attached

accessories or supplies, unadjusted tensions, or that requires a little
dusting or oiling.
2
Retrieved from https://gltnhs-tle.weebly.com/lesson-41.html

Figure 1.2: Minor sewing machine trouble
2. Major sewing machine trouble
This involves replacing or removing damage spare parts that made the
sewing machine not totally functioning.
W
h
a
t
Figure 1.3: Major sewing machine trouble
are the common sewing machine troubles with the causes and remedies?
There's nothing worse than working with an uncooperative sewing machine.

Broken or tangled threads, skipped stitches, snapped needles—it can make for
a very frustrating experience. But most of these issues can be resolved without
taking your machine in for expensive repairs. It can be assembled with list of
some of the most common sewing machine problems, causes, and their
solutions, to help troubleshoot even while mid-project 4
3
Retrieved from https://gltnhs-tle.weebly.com/lesson-41.html
4
Retrieved from https://wunderlabel.co.uk/blog/p/17-common-sewing-machine-problems-solve/

MACHINE
NO. CAUSES REMEDIES
TROUBLES
Machine  Insufficient oil  Oil the sewing machine

runs  Loose screw  Tighten loose screw
noisily  Thread or dust  Clean the shuttle race
1
clogged in the before oiling
shuttle race
Machine  belt is too tight  change belt if already old

rotates  insufficient oil  oil the arm shaft
2 heavily  bearings or shuttle  clean the shuttle race and
race is clogged with bearing then oil
dust or thread
Needle  improper threading  check the threading,
thread  tight tension change the texture of
breaks  thread too coarse thread and attach the
 needle is blunt needle properly to the
 presser foot not needle bar (flat side of the
properly adjusted needle should face the
 poor quality thread needle bar)
 seam maybe too  use correct presser foot,
thick or heavy check if presser foot is
 bobbin case turns secured and properly
 fabric is pulled fastened
forcibly  if seam is too heavy change
 needle may be bent needle to correct size
3  size of needle  check the position of the
 tension bobbin case, reset the
shuttle race assembly
 change the ben needle to
avoid needle bending, pull
the upper and lower
threads toward the rear of
the presser foot after
stitching and cut the
threads
 don’t force the fabric, just
guide it
 change the size of needle
 adjust tension
Stitches  bent needle, dull  change the needle or
skip needle or wrongly correct positioning
attached needle  change needle size and

 unmatched size of thread

needle or thread to  increase pressure on the
the texture of fabric presser foot
 no enough pressure  check the threading
on the presser foot
 threading maybe
incorrect
Stitches  dull needle  use blunt needle
loop  improper threading  check the threading; if
 unbalance tension loops appear under the
of the upper and fabric, check the upper
lower threads threading; adjust the upper
 defective thread take  tension regulator; if the
up lever loops appear on top of the
fabric, check the lower
4 threading; the thread may
be inserted in the tension
groove of the bobbin; check
also the latch spring of the
bobbin case.
 balance the tension of both
threads
 Change the thread take up
lever spring.
Upper  improper threading  Correct threading
thread  improperly attached  Attached the needle
breaks needle correctly
 bent or dull needle  Change blunt needle
 tight upper thread  Reset the upper tension
 poor quality thread regulator
 unmatched needle  Use good quality thread
and thread size or texture
Lower or  improper winding of  winding the thread in the
under the thread in the bobbin uniformly
thread bobbin  change the needle
breaks  bent or dull needle  use good quality thread
 poor quality thread  lower the feed dog if the
 incorrectly set feed fabric is thin; raise the feed
dog dog if the fabric is thick
 bobbin does not  check if bobbin is clogged
freely turn with dirt or thread
 too tight bobbin  loosen the adjusting screw
case spring of the bobbin case or
adjusting the tension of the
upper thread

Seams  too long stitch  adjust stitch regulator to

pucker length for the fabric correct length
 tension is too tight  adjust the upper and lower
 size of needle and tension regulator
thread do not match  use appropriate size of
 too high feed dog needle and thread
 too heavy pressure  adjust the height of the feed
on the presser foot dog depending on the
thickness or thinness of the
fabric
 lessen pressure on the
presser foot
Fabric does  feed dog not in  adjust the feed dog to
not move proper sewing proper sewing position
position  adjust stitch regulator to
 stitch regulator not desired stitch length
set on zero  add pressure to presser foot
 too tight pressure on by
presser foot  adjusting the pressure
regulator screw
Fabric  needle may be too  change the size of needle
jams in big  needs round hole plate
machine  throat plate
5
Trouble  lack of oil  Put oil. The arm shaft
heavy  dust or thread without oil makes the
rotation caught in shuttle machine heavy to operate
race  Disassemble and clean the
 belt too tight shuttle race
 improper oil (salad  Change with a new belt
oil/hair oil)  Clean with kerosene or give
 dust around good oil. If it is gummed,
bearings have it cleaned.
 Remove first the dust before
oiling
Irregular  The tension of upper  Adjust the upper thread
stiches and under thread tension by the regulating
not balanced knob or under thread
 Improper pressure tension by the screw on
by the presser foot bobbin middle of material
 Adjust pressure according
to the fabric. If it is too
thin, apply less pressure. If
5
Retrieved from https://prezi.com/k3_labeb5vtb/causes-of-machine-troubles-their-remedies/

thick, stronger.
What are the characteristics of a good stitches?
1. The length of stitch is proportioned to the texture of the fabric.

2. The stitches are the same in length.
3. The stitches appear the same on both right and wrong sides of the fabric.
4. The stitching follows the intended line smoothly and accurately.
5. There are no skipped or broken gaps in stitching.
6. When retraced, it appears as one line of stitching.
7. The stitching has no tangles.
Figure 1.4: A good stitches

Self-Check 1.1-1
I. Identification
Directions: Identify the classification of machine problem being
refer in each item.
1. Loose screws
2. Feed dog not in proper sewing position
3. Change of tight machine belt
4. Dull needle
5. Adjust the shuttle for good timing of upper thread
II. Matching type

Directions: Match the machine problems with its remedies. Write
the letter of the correct answer.
COLUMN A COLUMN B
Use correct presser foot, check if

presser foot is secured and
properly fastened
Adjust pressure according to the
Upper thread breaks
fabric. If it is too thin apply less
Irregular stitches
pressure otherwise for thick
Lower thread breaks
materials stronger pressure.
Machine rotates heavily
Change blunt needle
Needle thread breaks
Wind the thread in the bobbin
uniformly
Clean the shuttle race and
bearing oil
Use blunt needle

Answer Key 1.1-1
I.
1. Minor machine problem
3. Major machine problem
5. Major machine problem
II.
1. C (Change blunt needle)
2. B (Adjust pressure according to the fabric. If it is too thin apply less
pressure otherwise for thick materials stronger pressure)
3. D (Wind the thread in the bobbin uniformly)
4. E (Clean the shuttle race and bearing oil)
5. A (Use correct presser foot, check if presser foot is secured and
properly fastened)
KNOW-HOW and KNOW-WHEN

Task Sheet 1.1-1A
Title: Evaluating minor machine troubles with the corresponding remedies
Performance Objectives: Demonstrate in evaluating minor machine troubles

with the corresponding remedies.
Supplies/Materials:
1. Upper thread
2. Lower thread
3. DB x 1 needle
4. Screw driver
5. Thin fabric
6. Thick fabric
Equipment: Single Needle Lockstitch machine (Hi-speed sewing machine)
Steps/Procedure:
1. Set up and operate the sewing machine.

2. Evaluate the performance of the sewing machine.
3. Identify the minor problem occurs like machine runs noisily, machine
rotates heavily, needle thread breaks, stitches skip, stitches loop, upper
thread breaks, lower or under thread breaks, seams pucker, fabric does
not move, fabric jams in machine, trouble heavy rotation and irregular
stiches.
4. Solve one of the discovered minor machine problems, following the
remedies stated in Information Sheet 1.1-1
5. Test the performance machine until the problem solved

Performance Criteria Using Analytic Rubrics

Name: __________________________________________________________ Section: __________________
Criteria Scale
1. Discover machine 4 Mastery Level Criteria Rating
problem/s and cause/s Approaching Mastery 1
3
2. Accomplish machine Level
2
remedy/ies 2 Apprentice Level
3. Time management 1 Beginner’s Level 3
4. Safety/habit works 4
Score
Criteria 1: Discover machine problem/s and cause/s
4
3
2
1
Criteria 2: Accomplish machine remedy/ies
4
3
2
1
Criteria 3: Time management
4 Finishes before 10 seconds.
3 Finishes between 11 to 15 seconds
1 Finishes beyond 21 seconds
Criteria 4: Safety/habit works
4 Systematic safety application of procedures all the time without supervision
3 Systematic safety application of procedures most of the time with minimum supervision
2 Systematic safety application of procedures sometimes with constant supervision
1 Never follow systematic application of procedures and need close supervision at all time

Job Sheet 1.1-1B
Title: Evaluating major machine troubles with the corresponding remedies
Performance Objectives: Demonstrate in evaluating major machine troubles

with the corresponding remedies.
Supplies/Materials:
Specific spare parts
Equipment: Single Needle Lockstitch machine (Hi-speed sewing machine)
Steps/Procedure:
6. Set up and operate the sewing machine.

7. Evaluate the performance of the sewing machine.
8. Identify the minor problem occurs like machine runs noisily, machine
rotates heavily, needle thread breaks, stitches skip, stitches loop, upper
thread breaks, lower or under thread breaks, seams pucker, fabric does
not move, fabric jams in machine, trouble heavy rotation and irregular
stiches.
9. Solve one of the discovered minor machine problems, following the
remedies stated in Information Sheet 1.1-1
10. Test the performance machine until the problem solved


Name: __________________________________________________________ Section: __________________
Criteria Scale
5. Discover machine 4 Mastery Level Criteria Rating
problem/s and Approaching Mastery 1
cause/s 3
Level
6. Accomplish 2
2 Apprentice Level
machine 1 Beginner’s Level 3
remedy/ies 4
7. Time management
Score
8. Safety/habit works
Criteria 1: Discover machine problem/s and cause/s

4
3
2
1
Criteria 2: Accomplish machine remedy/ies
4
3
2
1

LESSON 2: Kinds of seam and seam finishes standards
1. Identify the kinds of seam, seam finishes, and hem finishes of a
garment (Know-What – AK)
2. Explain the kinds of seam, seam finishes, and hem finishes of a
garment (Know-Why – AK)
3. Demonstrate a mock-up of the kinds of seam, seam finishes, and
hem finishes of garment (Know-When – TL)
4. Identify the types of a lining, facing and interfacing of a garment
(Know-What – AK)
5. Explain the types of a lining, facing and interfacing of a garment
(Know-Why – AK)
6. Demonstrate a mock-up of lining, facing, and interfacing (Know-
When – TL)
7. Identify the darts, pleats, and shoulder pads of the garment (Know-
What – AK)
8. Explain the darts, pleats, and shoulder pads of the garment (Know-
Why – AK)
9. Demonstrate a mock-up of the darts, pleats, and shoulder pads of
the garment (Know-When – TL)
10. Identify the types of collar and cuff of a garment (Know-What – AK)
11. Explain the types of collar and cuff of a garment (Know-Why – AK)
12. Demonstrate a mock-up of a collar and cuff of the garment (Know-
When – TL)
13. Identify the types of sleeve in a garment (Know-What – AK)
14. Explain the types of sleeve in a garment (Know-Why – AK)
15. Demonstrate a mock-up of a sleeve of the garment (Know-When –
TL)
16. Identify the types of pocket in a garment (Know-What – AK)
17. Explain the types of pocket in a garment (Know-Why – AK)
18. Demonstrate a mock-up of a pocket of the garment (Know-When –
TL)
19. Identify types of garment fastener(Know-What – AK)
20. Explain the types of garment fastener (Know-Why – AK)
21. Demonstrate a mock-up of a garment fastener of the garment
(Know-When – TL)
II. Nominal Duration: 3 weeks and 2 days
III. Contents:
A. Kinds of seam, seam finishes, and hem finishes of a garment
B. Types of lining, facing, and interfacing of a garment

C. Types of pleats, darts, and shoulder pads of a garment

D. Types of collar and cuff of a garment
E. Types of sleeve of a garment
F. Types of pocket of a garment
G. Type of garment fastener of a garment
IV. Learning Outcome No. 2: Identify and explain the kinds of seam,
seam finishes, and hem finishes of a garment, identify and the types
of a lining, facing and interfacing of a garment, identify and explain
the darts, pleats, and shoulder pads of the garment, identify and
explain the types of collar and cuff of a garment, identify and explain
the types of sleeve in a garment, identify and explain the types of
pocket in a garment, identify and explain types of garment fastener
and demonstrate a mock-up of a seam, seam finishes, hem finishes,
lining, facing, interfacing, darts, pleats, shoulder pads, collar, cuff,
sleeve, pockets and fastener of the garment.
V. Assessment Criteria:
VI. Learning Conditions: you will have access to
A. Workplace (Sewing Area)

B. Sewing machine
i. Hi-speed sewing machine
VII. Assessment Method: Written examination and demonstration with

oral questioning

KNOW-WHAT and KNOW-HOW
Information Sheet 2.1-1-2 Kind of seams, seam finishes, and hem

finishes of a garment
What is seam?
6
Seams are the mainstay of sewing-they hold layers of fabric together. Different
fabric and different garments require different seaming techniques, depending
on whether the underside show through, or if the seam needs to be extra
strong. In this lesson, it covers a range of seams and seam finishes to cater for
every need.
7
Seam is a term which refers to the stitching line where two fabrics are stitched
together. It is the basic building block of a garment. They form the structure of
the garment and help to create the garment. They are also used as a decorative
feature. The stitching line along the seam is called the seam line. The seam
allowance (SA) is the space between the fabric edge and the seam line. Seams
should be carefully done for a beautifully finished garment. Knowledge of the
seam finishes will enhance the look of your sewn garment.
One of the main problems at the start of seam is the thread tails getting
tangled, or the fabric being pulled down into the feed dog. Prevent this by
holding both needle and bobbin thread I one hand pulling gently toward the
back as you start stitching.
What are the parts of the seam?
Seamline: stitching line that joins two fabric

layer. On many seams, this is only part of the
seam that is visible on the face side. The
seamline is frequently called by the other
names, such as the well, crack or ditch.
(Figure 2.1)
Figure 2.1: Seamline
6
Gardiner,W.(2003), Sewing techniques, A quartro Book Copyright @ 2003 Quartro Inc.Pg 83
7
Sew Guide. Retrieved from https://sewguide.com/how-to-sew-seams/

Seam allowance (SA): distance from the raw

edge to the needle hole on the farthest
stitching, as shown in the figure. It is
sometimes called the margin, seam margin,
or turning. (Figure 2.2)
Figure 2.2: Seam allowances
Seam dimensions
Seam let-out (SLO): Distance from the

raw edge to the nearest line of stitching
Seam length: Distance from the
beginning of the seamline to the end.
Seam size: three dimensions of the seam
size are width, length, and depth.
Seam depth: Thickness of the seam. It is
affected by the seam type and the fabric
type and weight. For example, French and
flat fell seams are thicker than plain
seams, but plain seams are thicker and
bulkier when sewn in wool or denim than
when sewn in batiste or organza.(Figure
Figure 2.3: Seam sizes 2.3)
Seam width (SW): (1) Width of the seam

allowance, as shown in the figure.
(2) On self-finished seams such as a French,
standing fell, or flat fell seam, the width of the
finished seam.

(3) On multi-needle machines, the distance between the outermost lines of

needle holes. This measurement is also called the needle gauge. (Figure 2.4) 8
Figure 2.4: Seam width
Note: General Guide for seam allowances
Generally the following seam allowances are used in apparel construction, but
it must be remembered that this is only a guide and will not be appropriate for
every design and fabric.
 1/8”to 3/8”: Enclosed seams at edges that have separate facings, such
as necklines, collars, cuffs, and armholes, and on intricate curves. The
narrowest (1/8”) seam allowances can be used on lightweight fabrics that
do not fray; the widest (3/8”) are used on loosely woven fabrics and
fabrics that ravel easily.
 3/8” to ½”: Sleeves, yokes, waistlines, gores, style lines within the
silhouette, center lines, topstitched seams, cut-out darts, cuff/sleeve
seams, band/skirt seams, inseams, and side seams on budget and
moderately priced garments.
 ¾” to 1”: Vertical seams on better garments, zipper plackets, and darts.
What are the general rules for stitching seams?
1. Always use the knee lift (or right foot pedal), instead of the manual
presser bar lifter, to raise the presser foot.
2. Raise the thread take-up to its highest position when beginning and
ending.
3. Verify the seam width at the outset.
4. Position the bulk to the left of the needle unless directed otherwise.
5. Back tack the ends of a seam only when needed.
6. Arrange long or intricate seams in short segments. At the beginning,
anchor the fabric under the presser foot by lowering the needle to
prevent shifting when arranging the layers. Arrange the seam to the first
set of notches and stitch.
7. Arrange and stitch the seam in short segments until it is sewn.
8. Stitch at an even speed without stopping, keeping the edges even.
9. Chain stitch from one seam to another without cutting the threads.
When chain stitching to another garment part is not practical, chain
onto a fabric scrap.
8
Shaeffer, C. (2014).Sewing for the Apparel Industry. Pearson New International Edition. Pg117

10. Use a shorter stitch length to increase the strength and elasticity of the
seam, but remember that shortening the stitch will also increase the
amount of thread used, time required, and cost.
11. When possible, begin seams at the point of greatest difficulty or most
critical to match.
12. To prevent the under layer from creeping, hold it firmly with the right
hand, while easing the upper layer slightly with the left. (Figure 2.5)
Figure 2.5: Holding the fabric firmly with the right

hand and easing with the left
13. To stitch curved seams evenly, focus on the sightline—a point directly
opposite the needle. Shorten the stitch length and raise the presser foot
very slightly while stitching to turn the fabric easily and keep the raw
edges even.
(Figure 2.6)

Figure 2.6: Stitching with the shorter edge

uppermost
14. When joining unlike edges such as reverse curves or corners, position
the section with the shorter raw edge uppermost.
15. When sewing on a flatbed machine, work inside the loop to hem pants
and sleeves, set armscye facings, and join facings to the lower edges on
pants and sleeves.(Figure 2.7)
Figure 2.7: Stitching inside the loop
16. When sewing a longer section to a shorter one, stitch with the shorter
section uppermost, allowing the feed dog to ease in the extra fullness.
17. When sewing bias to the straight grain, stitch with the straight grain
uppermost and the bias next to the feed dog to avoid stretching the
bias.9
1. What are the types of seams?
1.1 The plain seam (SSa) is the simplest superimposed seam. It is also the
most versatile, most widely used, flattest, least conspicuous, and least costly to
sew. It can be used to join straight, bias, or curved edges. It is often the basis
for other seam types. The plain seam is formed by superimposing two or more
plies of material and seaming them with one or more rows of stitches at a
specified distance from the edge. The plain seams in this unit are described
from simple to complex. Generally, the labor costs for simpler seams are less
9

than for more complex seams. However, there are many variables, and the
costs generally increase with the number of seams, the shape and intricacy of
the seamlines, the width of the seam allowances, the number of runs or passes
under the needle, the number of stitches per inch, the type and speed of the
machine used, the type of seam finish, and whether the seam allowances are
finished separately or together.
For example, the typical plain seam used in home sewing is first machine-
stitched on a domestic lockstitch machine; then the seam is pressed open or
busted and the edges are over locked separately. In production, a similar
seam can be sewn on safety stitch machine with the seam allowances over
locked together for approximately one-fifth the cost.
What is the seam allowances for the plain seam?
Seam Allowances for Plain Seams: The seam allowance is the fabric between
the seamline (or main line of stitching) and the cut edge of the fabric. The width
of the seam allowance is frequently an indicator of garment quality. It is
determined by various factors, including the fabric; garment design, care, cost,
and end use; the location of the seam and intricacy of the seamline; the
amount of stress; the ability and need for alterations; the type of seam finish;
and individual factory guidelines. Wider seam allowances not only require more
skill and time to sew accurately, but they also require more fabric than narrow
ones. They are used on seams that are straight or very slightly curved, more
expensive garments, fabrics that fray or slip, clean finished seams, and
seamlines that may be altered. By contrast, narrow seam allowances are
generally used for finishing edges with separate facings; for intricate seamlines;
and on lingerie, stretch knits, active wear,
children’s garments, and inexpensive
garments.
Notches are frequently placed at the

beginning of the seamline to mark the seam
allowance width and to indicate, when one
seam crosses another, which seam is to be
stitched first (Figure 2.8).
Figure 2.8: Notch to mark first

seam sewn and to indicate seam
width

How to sew the straight plain seam?
1. Identify the right side of the fabric. Face the right side together and
wrong side opposite to facing. Raw edges must aligned.
2. Hold until at least 1 inch (25mm)
has been stitched.
3. Sew off a ½” seam on the straight
grain, backtacking at the
beginning and end. (Figure 2.9) 10
Figure 2.9: Aligning the edges,

backtacking start and end, sewing off
an even amount
4. Continue to feed fabric evenly by resting one hand on front of fabric to

guide it through, and the other at the back to keep it moving smoothly.
(Figure 2.9)
Figure 2.9: Straight plain seam
How to sew the curve plain seam?

Concave curves:
10

1. Identify the right side of the fabric. Face the right side together and
wrong side opposite to facing. Raw edges must aligned.
2. Mark the notches on the concave edges (Figure 2.10)
Figure 2.10: Concave curves

3. Face to face, stack the parts and
match the notches. Sew off a ½”seam on the concave edge, back tacking
at the beginning and end.
4. Bust the seam, clipping the
edges so the seam will lie flat
when pressed open. (Figure 2.11)
Figure 2.11: Clipping the edges and

busting the seam
Convex curves:
1. Mark the notches on the

convex edges. (Figure 2.12)
Figure 2.12: Convex curves
2. Face to face, stack the parts and

match the notches. Sew off a ½”
seam, back tacking at the beginning
and end.
3. Bust the seam, then make V-shaped
notches only as needed to reduce
bulk (Fig. 23).11
11

Figure 2.13: Clipping out notches to

reduce bulk
1.2. French Seam is the best seam for sheer fabrics. As this seam encloses
the raw edges in a fold, the raw edges are not seen from outside without
adding much bulk. This seam is usually done on straight edges but if you
clip nicely it can also be done on curved edges.
How to sew French seam?
2. Mark the seam line on the wrong

side of one of fabric pieces 1/2 inch
from the cut edge. (Figure 2.14)
3.
Figure 2.14: Mark the seam line
3.
3. Keep the fabric pieces wrong
sides together. Make a 1/4
inch seam. Checkout this post
on seam allowances for details
on how to make a straight
Figure 2.15: Sew in ½” seam
seam all the time. Nothing too
allowance complicated -1/4 inch seam is
made by keeping the edge of
the zig zag pressure foot along
the edge and stitching or use
the edge joining foot. (Figure 2.15)

4. Trim the seam allowance to 1/8 inch. Trim any loose threads on the
fabric cut edges. This cannot be emphasized enough.(Figure 2.16)
Figure 2.16: Trim the seam

allowance
5. Press the seam to one side, setting the threads; remember not to iron but
only to press. Ironing will stretch the seams whereas pressing will settle
the seam and make the seamline stronger
6. Bring over the fabric to the other side, so that now the seam allowance is
enclosed. Ensure that the fabric is folded as close to the first seam as
possible. Now the fabrics will be right sides together. Finger press
7. Stitch a seam line on the mark you have made earlier. This will enclose
the cut edges and the first seam line inside the fold of the fabric and the
new seam line. (Figure 2.17)12
Figure 2.17: Sew the other side
1.3. Flat felled seam or Run and fell seam is mostly used in sportswear,
men’s shirts, jeans kids’ clothes, pajamas etc. It provides adequate
strength to the seam line. This seam can be stitched inside as well as
outside the garment
How to sew a flat fell seam?
1. Make a plain seam (Figure 2.18)

12
Sew Guide.Retrieved from https://sewguide.com/french-seams/

Figure 2.18: Plain seam

2. Press both the seam allowance to
one side. One seam allowance is trimmed to 1/8 inch.(Figure 2.19)
Figure 2.19: Press and trim the plain seam
3. Turn the larger seam allowance up

and over the smaller one, all the way
nearly to the seam line stitched
earlier. Use an iron to press this.
(Figure 2.20)
Figure 2.20: Turn the larger seam

over the shorter seam
4. Fold the whole seam over on itself

to the other side so that the raw
edge is now hidden and press
again.(Figure 2.21)

Figure 2.21: Fold the whole seam

over on itself to the other side
5. Edge stitch over the fold. Make sure that an even distance is maintained
from the original seam line.(Figure 2.22)13
Figure 2.22: Stitch over the fold
1.4 Easing or gathering seam the "ease" is very common in pattern instructions.
The meaning of ease is to bring or pull fabric fibers in to fit a smaller area without
causing any puckers or gathers. Learning the difference can mean the all the
difference in a well-constructed
garment. Whether you are
going to ease or to gather a
fabric, the process begins
with sewing basting stitches,
in the seam allowance next
to the seam line but basting
stitches should remain in
the seam allowance area of
the fabric piece. Sewing two
to three lines of stitching,
leaving long tails of thread at
13
Haynes, C.(2013).Seam Series: How to Sew a Flat Fell seam Turorial.Retrieved from
https://shop.mybluprint.com/sewing/article/seam-series-how-to-sew-a-flat-fell-seam/

Figure 2.23: Easing or gathering seam
the beginning and ending of your basting stitches and not backstitching,
causes a much more even gather or easing process than one line of stitching.
Always use quality thread when you are basting so that the thread does not
break to tug the thread to ease or gather the fabric. 14 (Figure 2.23)
1.5 Lapped seam or Tucked seam this is a very useful seam when sewing
with heavy fabrics like suede, artificial leather, or felt. Seam is made by simply
overlapping two pieces of fabric. This limits any bulk at the seam and works
well with awkward seams, such as joining irregular shaped edges.
How to sew lapped seam?
1. Lay the edge of one piece of fabric over the top of your other piece. Both
fabrics should be right sides up.(Figure 2.24)
Figure 2.24: Two pieces of fabric
2. Top stitch very close to the edge. (Figure 2.25)
Figure 2.25: Top stitch close to the raw edge
14
Calgrove, D.(2017).The Spruce Crafts. Retrieved from https://www.thesprucecrafts.com/easing-
versus-gathering-3572463

3. Flip it over. The picture above shows how the seam currently looks from
the back. Top stitch the other edge.15 (Figure 2.26)
Figure 2.26: Flip and top stitch on the other side
1.6 Pivoting at a corner seam is the inward corners on both sides are
reinforced by small stitches next to the seam line in the seam allowance and it
should be clipped to the point. On outward corners, the stitching line is always
shorter than the raw edge. The differences between the two lengths increases
as the angle of the corner decreases or increases and the width of the seam
allowance increases.
How to sew pivoting at a corner seam?
1. Use Pattern 7 to cut four muslin parts and mark the notches.
2. Face to face, stack two parts and sew off a ¼” seam on one short end.
3. Rotate the corner and begin sewing on the adjacent edge ¼” from the edges.
(Figure 2.27)
Figure 2.27: Joining the outward corners
4. Repeat to sew the second corner.
15
Rudakov, A.(2013).Basic Lapped Seam-Tutorial. Retrieved from
https://www.thingsforboys.com/2013/07/sewing-101-basic-lapped-seam-tutorial.html

5. Face to face, stack the remaining two parts and stitch off a ¼” seam. At
the corner, stop ¼” from the raw edges with the needle down (Figure
2.28).
Figure 2.28: Anchoring the work and pivoting at the

corner.
6. Rotate the corner and repeat to stitch the remaining corner.

7. Trim the seams on both samples at the corners. The smaller the angle at
the corner and the thicker the fabric, the more you must trim. (Figure
2.29)
Figure 2.29: Trimming the corner to reduce bulk
8. Understitch, beginning and ending as closely as possible to the corners.
9. Invert the seams and press, facing side up (Figure 2.30)16
16

Figure 2.30: Pressing the seam, facing side up
1.7 Enclosed seam joins the garment and the facing, frequently involve
curves, such as in joining necklines and armholes, and corners, as with edges
of lapels and cuffs. They are stitched with narrow seams ranging from 1/8” for
lightweight, no fray fabrics to 3/8” for loosely woven fabrics that fray. The
narrower seam width increases the control and accuracy of the operator while
decreasing the time required. It also reduces the seam bulk, the number of
clips, or the need to trim after stitching so the seam will lie flat. It may also
allow a more economical layout and reduce the amount of material needed. If
the seam is too narrow, the material will not ride the feed dogs properly and
the seamline will be inaccurate.
To complete the basic applications for enclosed seams in classic shirt collar,
you will need the following: (Figure 2.31)
 2 pattern pieces: the collar fall and the collar stand

 Attach fusible interfacings to one of each piece to give them structure
and body
Figure 2.31: Classic shirt collar with 2 pattern pieces

How to sew shirt collar?
1. Add Fusible Interfacings to Collar Pieces. Attach fusible interfacings to

one of each piece to give them structure and body. Do this before pinning
and cutting out pattern pieces — make sure to test-run the interfacing on
scraps to help decide what works best with the particular fabric.
2. Sew the Long Collar Seam. Once the interfacing is done, pin and cut the
fabrics using the pattern pieces. Before removing the pattern pieces,
transfer the pattern markings — on the collar stand, notches for matching,
and dots or triangles to mark the shoulder point where the collar attaches
to the shirt. With the markings transferred, move the pattern pieces out of
the way and place the collar pieces right sides together. Sew the seam on
the long outer edge, as shown in the image above. (Figure 2.33)
Figure 2.33: Sew the long collar seam
3. Sew the Short Edge Seams. Sew the side edges of the collar. Use a
shorter stitch near the point for extra security. (Figure 2.34)
Figure 2.34: Sew the short edge seams

4. Trim and Turn. Carefully trim away the point of the collar, depending on
the angle of the collar point. Turn the collar right side out. With a point
turner (or another blunt tool), gently push the corner to create the
point. (Figure 2.35)
Figure 2.35: Trim and turn
5. Press the Collar. Press the collar flat. Roll the seam edge ever so slightly
toward the underneath, as it offsets the bottom edge just a bit. (Figure
2.36)
Figure 2.36: Press the collar
6. Attach the Collar to the Collar Stand. Line up the collar to the
interfaced collar stand piece using the dots and notches as guides. Stitch
the collar to the interfaced stand. Take the collar stand piece that doesn't
have interfacing and press up the seam allowance on the curved edge.
Sandwich the collar between the two collar stand pieces, wrong sides
facing out and notches matching. Pin in place, then stitch from corner to
corner using a 3/8" seam allowance. (Figure 2.37)

Figure 2.37: Attach the collar to the collar stand
7. Trim the Seam Allowances on the Collar Stand. Trim the edges of the
now-attached collar stand, leaving about 1/8". There is no need for
notches, and the seam turns right side out beautifully. (Figure 2.38)
Figure 2.38: Trim the seam allowances on the collar stand
8. Press the Collar. Turn your collar and stand right side out and press the
round sides, working the seam to the edge to get a crisp finish. Press the
rest of the collar. (Figure 2.39)17
Figure 2.39: Press the collar

17
Galvin,B.(2019).Bluprint.Retrieved from https://www.mybluprint.com/article/how-to-sew-a-shirt-collar

What is seam finishes?
For seams the finish is generally applied during the assembly process—at the
time the seam is stitched, after it is stitched, or sometimes even before it is
stitched—but generally before the seam is crossed by another seam. It can be
applied to each ply of a busted seam or to both plies together. The cost of the
finish is determined by stitch type, type of finish, the number of runs or passes
under the foot, and additional materials requirement.
In most sample rooms, seams are sew none a lockstitch machine and finished
with an appropriate seam finish. In production, however, a similar finish will
be sewn on special equipment. This section focuses on the seam finishes used
most frequently in the sample room and for high-end garments. The width of
the seam allowances can be increased or decreased, but all busted seams
should be at least 3/8” wide when finished so they will lie flat.
What are the classification of seam finishes?
Seam allowance
This is the area of fabric between the stitching line and cut edge. Most
commercial patterns include a 5/8” (15mm) seam allowance on general
tailoring patterns. This is to allow the room for handling, prevents seam pulling
apart wear, and accommodate slight adjustments for fit. The seam allowances
are neatened once seams are sewn-failure to neaten properly can result in
seams splitting where fabric unravels, or excessive ridges at seam area.
A. Reducing bulk of the seam allowance

Seam finishes that are encased within facing, hem allowances, waistbands,
collars and cuffs, etc. do not always need neatening but will need to be
reduced to prevent unwanted bulk. To do this requires trimming, grading,
clipping, and notching.18
Trimming. Once the seam has been

sewn and pressed, cut seam allowances
to a minimal ¼” (6mm). Trim corners at
an angle, close to the stitching. (Figure
2.40)
18
Gardiner, W.(2003).The Encyclopedia of Sewing Techniques..Running Press Book Publishers.Pg84

Figure 2.40: Trimming the seam allowance

Grading. This reducing technique is
used on bulky fabrics, where the seam
allowances may cause a visible ridge on the
right side of the fabric. The two seam
allowances are cut at different widths to
decrease the bulk. The seam allowances
that lies closest to the inside in trimmed to
a scant 1/8” (3mm) and the remaining
seam allowance, which will lie closest to the
outside of the garment, is trimmed to Figure 2.41: Grading the seam allowance
¼” (6mm). (Figure 2.41)
Clipping and notching. These terms

describe the technique of reducing
bulk at curves and allowing fabric to
spread and lie flat. Sometimes it is
necessary to clip seam allowances on
curved areas before stitching two
pieces together in order to fit the
pieces accurately.
Figure 2.42: Clipping and notching the seam

allowance
B. Seam neatening of seam allowance

Seam allowances that are not encased need to be neatened to prevent
raveling and provide a professional finish. There are a number of ways to
neaten the seams, depending on the fabric type and thickness, and
whether the wrong side will show. The quickest and easiest method is to
pink the raw edges using pinking shears. Another quick method is to
overlock on serger, or overcast with zigzag stitching. A neat option, where
the seam finishes will be visible, is to bind the edges.19
Pinked Finish. A flat, inconspicuous finish, the pinked finish is suitable

for fabrics that do not ravel excessively and that come in a variety of
weights. It is frequently used on better ready-to-wear. At one time, the
pinking was done when the seam was sewn with a sew-pink machine.
19
Gardiner, W.(2003).The Encyclopedia of Sewing Techniques..Running Press Book Publishers.Pg85

Today it is done after the seam is sewn with an electric or manual

pinking machine (Figure 2.43) or with hand pinking shears (Figure 2.44).
The latter technique is rarely used in the fashion industry. Generally the
finished seam width is 3/8” to 1 in wide.
Figure 2.43: Pinked seam using Figure 2.44: Pinked seam using
manual pinking machine pinking shears
Overcasting/overstitching. Using an overcast stitch or zigzag stitch and

working with the right edge of the seam allowance just caught by the needle,
stitch over raw edges. (Figure 2.45) Again, seam allowances on lightweight
fabics can be stitched together, but heavier weight fabrics need each layer
stitched separately. Alternatively, use a serger to overlock and trim the edges in
one pass. (Figure 2.46)
Figure 2.45: Zigzagged finish edge Figure 2.46: Overedged finish edge
Bound Finish with Seam Binding, Lace, or Net. Bindings of seam tape, soft
net, or lace are suitable for expensive little girls’ dresses, heavy fabrics, fabrics
that fray, metallic that irritate the skin, delicate and sheer materials, pile
fabrics that shed, and unlined coats and jackets. Less bulky than bias
bindings, the binding material encases the raw edges inside the binding. Net
bindings have the added advantage of being inconspicuous when used on
transparent fabrics. Seam binding is readily available, soft, and flexible; the

disadvantage is that they can be scratchy. Bound finishes can be applied to

open or closed seams, and when used in production are generally applied with
a raw edge C-binder. In these directions the closed seam is sewn with a C-
binder and the open seam is sewn without a binder. Finished seams can range
from ¼” to 1” wide.
1. Closed seam binding finish

The closed seam can be sewn on a single- or double-needle machine. On
the single-needle machine, it can be sewn with one or two passes under
the foot. For this application, the sample is sewn with two passes and the
finished seam is ½” wide (Figure 2.47).
Figure 2.47: Closed seam binding finish
1. Notch two rectangles for a ½” seam.

2. Sew off ½”.
3. Position and secure the C-binder on the machine bed. Cut the end of the
seam binding on a slant and thread the end into the binder and under
the presser foot. Stitch about 1”, then adjust the binder as needed to
stitch 1/16” from the edge of the binding.
Note:
If you do not have a C-binder, fold the seam binding in half lengthwise,
then stitch about 1”.
4. Raise the presser foot and insert the raw edges of the seam into the
binding. Stitch the binding to the seam (Figure 2.48).
5. Press the seam to one
side.

Figure 2.48: Inserting 1”, then inserting the seam
2. Opened seam binding finish

This sample is sewn without a C-binder and requires three passes. The
finished seam allowance width is ½” wide (Figure 2.49).
Figure 2.49: Opened seam binding finish
1. Notch two rectangles for a ½” seam.

2. Sew off ½”.
3. Fold the seam binding in half lengthwise. Stitch about 1”.
4. With the seam allowance face up, insert one raw edge of the seam
between the binding layers. Stitch the binding to the seam. Repeat for
the remaining seam allowance.
5. Bust the seam.
3. Bias binding applied in two runs-Closed seam

Sometimes called a piped finish, this finish is called a Hong Kong finish
in home sewing. This application does not require a binding attachment.
It is rarely used in the fashion industry because it is labor-intensive and
very expensive, but you will find it on very high-end garments. The closed
seam application is frequently used for armscye seams and seams
joining a gathered section to a flat section. However, this seam finish can
be bulky and should be used with discretion.
This sample is sewn with three passes (one to seam, one to apply the
binding, and one to finish it). The finished seam is 3/8” wide (Figure
2.50).

Figure 2.50: Closed binding finish
1. Notch two rectangles for a 3/8” seam.

2. Cut 1”-wide bias strips from a very lightweight lining fabric, silk
georgette, or chiffon.
3. Sew off 3/8”.
4. Wrong side up, place the bias strip on top of the seam. Align the
edges and sew off 3/16”.
5. Wrap the bias strip around the raw edges and turn the section
over.
6. Fold under the raw edge of the bias and secure it with slipstitches
(Figure 2.51).
7. Press the seam
Figure 2.51: Open bias binding finish
4. Bias binding applied in Two Runs-Open seam

This seam finish is very labor-intensive, expensive to sew, and too bulky
for many fabrics. This sample is sewn with five passes (one to seam and
two to apply each binding). The finished seam allowances are 1” wide
(Figure 2.52).
Figure 2.52: Closed Hong Kong binding

1. Cut 1”-wide strips of bias from a very lightweight lining fabric, silk
georgette, or chiffon.
2. Notch four rectangles for a 1” seam.
3. Stack two rectangles and sew off 1”.
4. Bust the seam.
5. Face to face, place the bias strip on top of one seam allowance. Align
the edges and sew off 1/8”.
6. Wrap the bias strip around the raw edge.
7. Secure the binding with a crack stitch.
Note: The crack stitch is sewn close to the seamline or in the well of the
seam. It is sometimes called ditch stitching.
8. Repeat to sew the bias strips to the remaining seam allowances.

9. Press lightly.
10. Stack the two remaining rectangles.
11. Sew off 1”.
12. Bust the seam.20
5. Turned and stitched

This is such a simple technique but surprisingly neat. It is advisably to
use a contrasting thread to see but if color match the thread to the fabric
and the stitches will blend in (Figure 2.53)
Figure 2.53: Turned and stitched

20
Shaeffer, C. (2014).Sewing for the Apparel Industry. Pearson New International Edition. Pg156-158

1. Begin by stitching the seam with the

right sides of the fabric facing as
usual (Figure 2.54)
Figure 2.54: Stitch the seam
2. Open out the fabric and press the two

seams open. (Figure 2.55)
Figure 2.55: Open seam
3. Turn one seam under, aligning the

raw edge of the seam to the sewn
line and press carefully all the way
along the seam. (Figure 2.56)
Figure 2.56: Press the seam
4. Repeat along the other side.(Figure

2.57)
Figure 2.57: Press other side of the seam
5. Place the folded seam under your

presser foot, making sure none of
the main fabric is caught
underneath. The stitching will only
be visible on the inside as you’re not
stitching all the way through to the
right side. Sew carefully,
Figure 2.58: Stitching the folded seam

allowance

approximately 1/8” (5mm) from the edge. Repeat for the other side.
(Figure 2.58)
What is hem finishes?
The hem finish is applied to the raw edge of the hem after the garment has
been assembled. Many hem finishes such as the untreated edge, overlocking,
bound finish, pinking, clean finish, and hand overcast are also used on seams.
Some finishes such as the book and most bindings are too bulky for hems.
What are the different types of hem finishes?
1. Hemming straight edge with bias tape

This prevents raveling and gives a smooth appearance to hem.
1. Lay your fabric out with the right side up. Open up the fold on one
side of the bias tape and lineup that edge of the bias tape with the
fabric edge that needs to be hemmed, right sides facing. Pin in place.
(Figure 2.59)
Figure 2.59: Pin the bias tape

2. Continue lining up the bias

tape edge with the fabric edge,
pinning in place. When you
get to the end of the edge to
be hemmed, trim off the bias
tape.(Figure 2.60)
Figure 2.60: Lining up the bias tape
3. Sew the bias tape in place

right along the fold. (Figure
2.61)
Figure 2.61: Stitching the bias tape
4. Flip the fabric wrong side up.

(Figure 2.62)
Figure 2.62: Flip the fabric to wrong side
5. Starting at one end, flip the

bias tape up to the wrong
side of the fabric and pin in
place.
Figure 2.63: Pin the flipped bias tape

6. Continue flipping the bias tape

up and pinning in place.(Figure
2.64)
7.
Figure 2.64: Flip and pin the bias tape
7. Sew down the unsewn edge

of the bias tape, very close
to the edge (1-2 mm).
(Figure 2.65)21
Figure 2.65: Sew the bias tape
2. Hemming with zigzag

This is an effective finish for fabric that easily ravels.
1. Take a piece of fabric with a straight

edge, and sew a zigzag stitch 1/4"
in from the edge of the fabric,
backstitching to lock the stitches on
both ends. (Figure 2.66)
Figure 2.66: Sew zigzag ¼” from the

edge
21
(2017).How to sew perfect hems with bias tape.Retrieved form https://www.cucicucicoo.com/2017/02/how-to-
hem-with-bias-tape/

2. Cut away the 1/4" of extra fabric, being sure not to cut through the
stitches. (Figure 2.67)
Figure 2.67: Cut the excess edge
3. Press the zigzagged edge up onto itself

an even 1 1/2". Use your clear ruler or seam gauge to make sure the fold
is consistent. (Figure 2.68)
Figure 2.68: Fold and press the zigzagged stitch
4. Pin the hem and then sew it with a straight stitch just below the zigzag.
(Figure 2.69)22
Figure 2.69: Pin and sew with straight stitch

3.
Folded hem
22
Holmes, M.Hemming and seaming finishes. Retrieved from https://www.instructables.com/lesson/Hemming-
and-Seam-Finishing/

One very basic way to finish the edges of fabric, is to press them over
twice onto themselves so the raw edge is hidden, then stitch the folds
down. It can vary the width of the folds for different applications, for
example, a 1" or 1 1/4" wide fold might look better than a 1/2" fold as
the top hem but a 1/4" fold would be better for a light scarf. This method
is also how applied in hem jeans.
1. Take the raw edge folded up and fold it under about 1/2", making the
resulting hem 1 1/2" wide.(Figure 2.70)
Figure 2.70: Fold and press the lower edge
2. Press this fold, and pin and sew your hem 1/8" - 1/4" away from the
fold.(Figure 2.71)23
Figure 2.71: Pin and sew the folded edge
4. Coverstitch hem
23
Holmes, M.Hemming and seaming finishes. Retrieved from https://www.instructables.com/lesson/Hemming-
and-Seam-Finishing/

A coverstitch is a professional looking hem that looks like two rows of stitching
on the top and a serger like stitch on the back. The benefit of a coverstitch is
its stretchability and the covering of the raw edge all in one pass.
What are the materials needed?
 Garment to be hemmed (duh)

 Coverstitch machine, or serger set to coverstitch function
 Steam iron
 Narrow (1/2 inch or so) strips of fusible interfacing
 Thread
 Scissors
 Ruler or hem template
1. Press the hem using a correct

temperature setting for the
knit. Instead of a ruler use a
tagboard template to cut to
the exact width hem. It is
much faster and easier than
a ruler and marking pen,
since pressing directly on the
tagboard.(Figure 2.72)
Figure 2.72: Press the fabric
2. Press a 1/2″ wide strip of fusible interfacing or purchased knit stay tape
on the cut edge of the hem. This will help prevent “tunneling” of the
fabric between the 2 rows of stitching. (Figure 2.73)
Figure 2.73: Press the fusible interfacing
3.
Hand baste the hem turnback to the garment. Now, this step is optional,
but sometimes it is the only way to keep knit hems in the proper
place/position when you are actually stitching. It also provides a
guideline to help keep your coverstitching straight. (Figure 2.74)

Figure 2.74: Hand baste the folded hem
4. Using coverstitch or
serger set to a coverstitch
function, hem your
garment. (Figure 2.75)
Figure 2.75: Sew the hem using coverstitch

machine
5. Remove the basting thread, and you have a hemmed garment.(Figure
2.76)24
Figure 2.76: Remove the hand baste
Self-Check 1.2--2
24
Maris.(2014).Sew Maris.Retrieved from https://www.sewmaris.com/tutorials/tutorial-use-a-coverstitch-to-hem-
knit-garments

Test I. IDENTIFICATION
Directions: Identify the term/s being described in each statement.
Answer directly.
1. A long stitches that should be close to the seam line between

markings for extra allowance and it is usually applied in skirt and
sleeves.
2. The process of using needle and thread to make a finished garment.
3. It is type of cloth construction done for functional purposes like

making clothing and household linens.
4. A kind of seams that has a top stitched done on a yoke of a garment
when straight pieces of the material are joined together.
5. It is type of seam that stitching process on the right side of two pieces
of cloth and wrong side together and usually used in assembling baby
garments.
6. This seam is usually applied in closing the collar to keep the raw
edges of the neckline.
7. What is the hem finishes applied in your polo- school uniform?
8. What is the seam finishes applied in your polo-school uniform?
Test II. ENUMERATION
Direction: Give what is being asked (In any order)
1-5.) Type of Hem Finishes

6-12.) Type of Seam Finishes

Answer Key No. 1.2-1-2

Information Sheet 1.2-3-4 Types of a lining, facing, and interfacing of a

garment
What is lining in a garment?
Lining provides a neat inside finish and conceal interfacing, padding, the raw
edges of seams, and other construction details. It reduces the wearing strain
on clothing, extending the useful life of the lined garment. A smooth lining
allows a coat or jacket to slip on over other clothing easily, and linings add
warmth to cold-weather wear. It is typically made of solid colors to coordinate
with the garment fabric, but patterned and contrasting-colored linings are also
used.
In tailoring, home sewing, and ready-to-wear clothing construction, linings are

usually completed as a unit before being fitted into the garment shell. In haute
couture, the sleeves and body are usually lined separately before assembly.
Some specialized types of lining include the following:
a. Interlining
This is an additional layer of fabric between
the lining and the outer garment shell.
Insulating interlinings for winter garments are
usually sewn to the individual lining pieces
before the lining is assembled. (Figure 2.77)
Figure 2.77: Materials for

interlining
b. Partial or half lining

This type lines only the upper
back and front of the garment,
concealing the shoulder pads
and interfacings with or without
sleeves. (Figure 2.78)
Figure 2.78: Partial lining
c. Zip-in, zip-out, snap-out or button-in lining or called “liner”

This is a warm removable lining for a jacket, coat, or raincoat that is held
in place with a zipper, snap fasteners, or buttons. Garments with
removable linings are usually lined with a lightweight fabric as well, to
provide a neat finish when the warm lining is not worn. (Figure 2.79) 25
Zip-in Zip-out Snap-out Button-in
Figure 2.79: Liner
What is the difference between lining and facing in a garment?
Facings are not something a feature of a

garment. The facing of a garment is
normally a piece of the outer fabric on the
inside of the garment (Figure 2.80). While
a lining is effectively a duplicate of the
garment the facing extends only a little
inside the garment. Sometimes a garment
only has a facing, other times the facing Figure 2.80: Facing
the joins a traditional lining. (Figure 2.81)
Often a facing is used for cosmetic reasons. By

having some of the outer fabric on the inside of a
garment people do not see flashes of the wrong side
of the fabric or the lining on the opening of the
garment or at the arm holes. A facing will
sometimes be used to add stiffness to a garment if
it has been interfaced or to avoid raw seams or to
prevent you having to use a fined seam on a tricky
part of construction, such as on the arm holes. The
facings themselves can be shaped so if they have to
be finished neatly then the edge needing finishing
will be straight and easy to hem.
Figure 2.81: Lining
25
(2017).Wikipedia.Retrieved from https://en.wikipedia.org/wiki/Lining_(sewing)

What is facing and interfacing in a garment?
A facing is a piece of fabric used to finish raw edges of a garment at open areas,
such as the neckline, armholes, and front and back plackets or openings. A
facing may be a separate pattern piece to be added to the garment or an
extension of the pattern piece itself. The facing is cut on the same grain as the
garment section it will “face” so it will wear and hang in the same manner.
Depending on how you attach a facing to a garment, it can look homemade or
professional. When adding a facing to your garment, here are a few standards
to go by. The facing should fit smoothly. The seam and the facing should not
show from the outside of the finished garment.
 The facing should be the same shape and grain as the edge to be faced.
 The facing should be flat, smooth, and free from bulk. To lessen the bulk,
grade the seam allowances. If bulk is created by joined seams, trim or
notch out the excess seam fabric to create a smooth outer appearance.
The outer edges of the facing should be finished. Choose a finish that is
appropriate for the fabric being used to prevent raveling or curling. The
finish can be as simple as a turned-under edge, a zigzag, or an
overlocked stitched edge. If you are working with a fabric like knit that
does not ravel, or with a garment that will be lined, the edges of the
facing do not need to be finished.
 To hold the seam allowance in place, the facing must be understitched
1/8 in. from the seam of the facing. The facing will also need to be tacked
down at the shoulder seams. To tack down the facing, hand stitch the
facing down at the shoulder seams or stitch in the ditch at the shoulder
seams.
 A facing should also have the appropriate interfacing applied to the
fabric. The type of fabric used will depend on the type of interfacing used.
Interfacing should always be used when facings are called for in a pattern–even
if the pattern does not require interfacing. The interfacing prevents stretching
or sagging of the neckline or sleeves, acts as reinforcement for the area, and
gives the garment a smooth but firm body. The interfacing should be applied to
the wrong side of the fabric, so as to be hidden on the inside of the garment.
Although there are many different types of interfacing–woven, non-woven, sew-
in, or fusible–it should match the type of fabric you are using for the garment.
When selecting interfacing, remember the following.
 The interfacing should be the same weight or lighter than the fabric
being used.
 Choose a black interfacing for dark colors and white interfacing for light
colors.

 When sewing on knit-type fabrics, choose a knit interfacing versus a

woven or non-woven interfacing to preserve the elasticity of the fabric.
Interfacing is generally applied to the facing prior to stitching onto the garment.
However, in some cases the interfacing may be applied to the facing after it is
seamed.
What are the three basic types of facings?
1. A shaped facing is a separate piece of fabric cut from a pattern to the

same shape and on the same grain as the garment edge it will finish.
Interfacing should be applied to the facing piece of fabric, prior to any
stitching.
How to sew shaped facing?
1. Once the interfacing is applied, stay-

stitch the neckline on the front and
back pieces (Figure 2.82).
Figure 2.82: Stay-stitch
2. Stitch the facing together at

the shoulder seams. Once the
facing is stitched together,
finish the outer edge prior to
stitching it on the garment
Figure 2.83: Stitch the shoulder seam (Figure 2.83).
3. Place the right sides of the facing and

the garment together. Match seams
and notches and stitch the facing to
the garment with the facing side up
(Figure 2.84).

Figure 2.84: Match seams and notches
4. Grade the seam allowance by

trimming the facing narrower than
the garment seam allowance to
prevent bulk (Figure 2.85).
Figure 2.85: Grade the seam

allowance
5. Clip the seam allowances on the

inward curve every 1/2 in. Stay-
stitch the neckline and armholes of
the facing pieces and the garment.
Press the seam allowance toward
the facing and understitch (Figure
2.86).
Figure 2.85: Clip the seam

allowances
6. Some patterns use a combination

piece, which includes a facing for the
neckline and the armholes as one
piece. In this case, the facing should
only be stitched at the side seams
rather than the shoulder seams
(Figure 2.86).
Figure 2.86: Stitch the side seam
7. Place the right sides of the facing and

garment together, matching the notches.
Stitch the facing to the bodice at the

neckline and armholes. Stitch with the facing side up. Do not stitch the
shoulder seams (Figure 2.87).
Figure 2.87: Match the notch
8. Grade and clip seams. Under

stitch where possible. Turn the
facing to the inside and press the
seams. Stitch the garment
shoulder seam together (Figure
2.88).
Figure 2.88: Grade and clip seam
2. An extended facing is cut as an extension of the garment and then

folded back along the edge it finishes. Extended facings are often used on
garments with front or back openings cut on a straight line. The neckline of an
extended facing is a shaped facing and should be applied using the same
techniques as other facings (Figure 2.89).
Figure 2.89: Extended facing
How to sew extended facing?
1. Prepare the facing by stitching the pieces

together, pressing, and finishing the edge
(Figure 2.90).

Figure 2.90: Prepare the

facing
2. Grade
the neckline seam allowance by trimming
the facing narrower than the garment
seam allowance (Figure 2.91).
Figure 2.91: Stitch the facing
3. Clip the seam allowance on the

inward curve every 1/2 in. Turn the
facing to the inside and press.
Understitch the seam allowance
where possible. Fold the facing along
the fold line to match right sides
together. Stitch along the neckline
seam. Reinforce stitch near the
folded edge (Figure 2.92).
Figure 2.92: Seam allowance and seamline
3. A bias facing is a narrow strip of lightweight fabric cut on the bias so that it
can be shaped to conform to the curve it will finish. Bias facings are often used
on sheer fabrics to eliminate a wide facing that may show through. Bias facings
are also used on children's garments. A bias strip of lining fabric can eliminate
heavy shaped facings on bulky fabrics. A bias facing should be about 1/2 in.
wide when finished.
1. Cut the bias strip twice as wide as

the desired finished width plus
the width of two seam allowances
(Figure 2.93).

Figure 2.93: Seam allowance of the bias tape
2. The length should be the length of the edge at the seamline plus 2 in.
(Figure 2.94).
3. F
o
l
d
Figure 2.94: Length of the bias tape Figure 2.95: Press the bias tape
the strip in half lengthwise with wrong sides together. Press with a steam
iron to shape the strip the same as the edge it will fit (Figure 2.95).
4. Keep the raw edges even. Baste the strip to

the garment, keeping the edges even (Figure
2.96).
Figure 2.96: Baste the strip
5. Then stitch the strip to the garment,

easing the bias strip on the inward curves
and stretching on the outward curves.
Grade the seam allowances by trimming
the facing narrower than the garment
seam allowance (Figure 2.97).
Figure 2.97: Stitch the inward curves

6. Clip the seam allowance on the inward curve every 1/2 in. (Figure 2.98) 26
Figure 2.98: Clip the seam allowance inward
What are the materials used for interfacing?
General interfacings can be split into three categories. All three categories
include interfacings that can be iron-on (fusible) or sew-in, and come in a
variety of weights.
1. Non-woven. The traditional home tailor selection, made form pressed

fibers with a felt-like appearance. It has no”grain” so it can be cut out in
any direction which means pattern pieces can be stored in to achieve an
economical layout. It can be white and charcoal black and in many
different weights from super-light, through to extra heavy weights. Some
include soft in their name others light heavy or medium. It can be
suitable for tailoring and all manner of craft and home furnishings.
(Figure 2.99)
Figure 2.99: Non-woven materials
2. Woven. Fairly new to home tailors,

these have a fabric grain and are
handed in the same manner as
fabrics. It has grain line and can be
cut on the straight grain or bias in
26
Mack,R.C.Facing Made Easy. Retrieved from https://aces.nmsu.edu/pubs/_c/C233/

Figure 2.100: Woven materials
the same manner as fabric. There is more color choice, ranging from
cream, skin tone, white, black, or charcoal. The super-lightweight are
ideal when using silk, sheers, and satins. Medium and heavyweight
woven fusible are used on jackets, dresses, and blouses. (Figure 2.100)
3. Knitted. Again fairly new to home

tailors, these have two-way stretch
so they move like knitted fabrics. It
will stretch with the garment when
applied to knit, stretch or jersey
fabrics.(Figure 2.101)27
Figure 2.101: Knitted materials
How to apply interfacings?
Sew-in. Sew-in, as the name suggests, is

either hand or machine stitched to the
main fabric just within the seam
allowance. Use sew-in interfacing on pile
fabrics or textured fabrics, which could
be damaged by a hot iron (Figure 2.102).
1. Cut out interfacing to shape of the
appropriate pattern piece.
2. Stitch just within the seam
allowance
3. Trim excess interfacing close to
Figure 2.102: Sew-in interfacing
stitching. Trim the corners off.
Iron-in/Fusible. Fusible can be applied

quickly but do need to be fused properly
27
Gardiiner, W.(2003).Sewing Techniques.A Quarto Book Copyright @ 2003 Quarto Inc. Pg88

to ensure they remain in place. On side of fusible interfacing is glued and has
slightly raised bobble appearance that may also slightly glisten or shine.
Always use a press cloth when applying fusible.
1. Cut fusible interfacing to the size of appropriate pattern pieces and then
trim so that if fits just within the stitching line.
2. Place fabric to be interfaced the
Figure 2.102: Fusible interfacing wrong side up, and interfacing in
place, glued side down. Cover with
damp press cloth.
3. Dry press rather than iron. Press the iron onto fused fabric and hold in
same position for approximately 10-15 seconds. Lift iron, move on
different area, and press down again. Repeat until the whole area has
been pressed.
Note:
Cover ironing board with a muslin cloth to protect the surface in case
any of the glued interfacing overlaps onto the cloth.
Waistbands. These are specialist interfacings designed to be used in specific

areas such as waistbands, front bands, or pleats. They are made from non-
woven interfacing and are usually fusible. 28
To apply the waistband to the garment, remember:

 The garment is usually eased 1/2 to 1 inch to the waistband.
 The overlap is flush with the placket.
 The placket can be found on the left side, left back, center front, or
center back depending on garment design.
 The underlap should be at least 1 inch.
 The garment seams are
finished and pressed.
 The average pattern is 1 inch
larger in the front than in
back.
 Measure the waistline of the
garment if you are using
more than the necessary
ease. Decide whether you
can ease more with the
fabric being used OR Figure 2.103: Regular waistband
whether need to make
adjustments in the garment (Figure 2.103).
28
Mack-Haynes,R.C.(2011).Waistbands Made Easy. Retrieved from
https://aces.nmsu.edu/pubs/_c/C234/welcome.html

How to attach the waistband?
1. Divide the trousers and waistband in fourths, using the center front,
center back, and sides of the garment and the waistband (Figure 2.104).
Match the waistband to the trousers (right sides to right sides) at these
four points.
2. Pin the waistband to the skirt between these points, making sure seams
and darts are turned to the correct positions (Figure 2.105).
Figure 2.104: Divide the waistband
Figure 2.105: Pin the waistband
3. Evenly distribute the ease or

gathers. Be sure that the
placket is the same length on
both sides and that the
waistband seam is right at the
top of the zipper teeth.
4. Machine baste on the
seamline. Try on the garment
to check the fit (Figure 2.106).
If it is too tight or too loose,
make the necessary Figure 2.106: Try on the garment to ensure
adjustments. correct waistband
5. Permanently stitch the
waistband to garment by stitching over the basting. If the fabric ravels
easily, stitch again slightly
inside the first row of stitching
to finish the seam.
6. Grade seam to reduce bulk,
with the longest graded seam
to the outside of the garment.
7. Finish the ends of the
waistband by folding them
with right sides together
Figure 2.107: Try on the garment to ensure

correct waistband

(Figure 2.107). On the overlap, have the seam a continuation of the edge
of the placket.
8. Turn to the back of the garment. If finishing the edge by hand (Figure
2.108), pin the pressed edge to just cover the machine stitching. If you
are finishing either by stitching-in-the-ditch (Figure 2.109) or
topstitching (Figure 2.110), pin on the front in the waistband at the
seamline.
Figure 2.108: Hand baste Figure 2.109: Machine stitch
Figure 2.110: Top stitch
29
Center front interfacing of the polo. Another important point to consider is
the position of the buttons/buttonholes. Tradition puts men’s buttons on the
right band and buttonholes on the left. With women’s clothing, it is the
opposite: buttons left, buttonholes right. It is always a good idea to stabilize the
facing for firmer positioning of the buttons and buttonholes an examples of
what the standard is.
Since in men’s clothing the buttons are on the right and the buttonholes are on
the left (sewn-on) side, add 1 1.2” to the right center front side and 1/2″ to the
left center front side plus a separate band of fabric that will be 1 inch wide and
as long as your center line. Add seam allowances around all edges (Figure
2.111)
29
Khusainova, R.(2017). Sewing Glossary: How to draft and sew button bands the Shirtmaking way. Retrieved from
https://blog.fabrics-store.com/2017/10/03/sewing-glossary-how-to-draft-and-sew-button-bands-the-shirtmaking-
way/

Figure 2.111: Cut parts
1. Cut two 1″ (2, 5 cm)-wide bands

from the fusible interfacing to
the length of your front opening
minus the bottom and top edge
seam allowances. Apply the
fusible interfacing to the wrong
sides of your button bands,
3/8″ (1 cm) from the outer
edges (Figure 2.112)
Figure 2.112: Cut fabric with interfacing
2. We’ll start with the left front button band and fold it twice to the wrong
side using your fusible interfacing band as a guide, 3/8″ (1 cm) to 1″
(2. 5 cm). Press and pin (Figure 2.113)
Figure 2.113: Press and pin interfacing
3. Stitch as closely to the edge of the inside fold as possible (Figure

2.114).

Figure 2.114: Stitch the interfacing
4. Take the interfaced button band

that will be later attached to the
right front of your shirt and with
the wrong side facing you, fold up
and press its right raw edge 3/8″
(1 cm) to the wrong side (Figure
2.115)
Figure 2.115: Prepare the separate

facing with interfacing
5. Pin the right side of the

non-folded button band
edge to the wrong side of
your shirt front piece
(Figure 2.116).
Figure 2.116: Pin the interfacing
6. Stitch in place along the 3/8″ (1 cm) seam allowance (Figure 2.117).
Figure 2.117: Stitch the interfacing Figure 2.118:

Figure 2.118: Trim
Trim to
thereduce
interfacing
bulk

7. Trim the seam allowance down to 1/4″ (6 mm) to reduce the bulk and
to allow the extension to sit more smoothly (Figure 2.118).
8. Working from the right side,

press the button band away
from the shirt, so that on the
wrong side the trimmed seam
allowance is folded towards
the band piece (Figure 2.119).
9.
Figure 2.119: Press to flatten the
interfacing
Figure 2.120: Pin the interfacing
9. Fold the button band over and pin it to the shirt, making sure that the
first fold of the fabric either meets or slightly covers the stitching line
from attaching the button band. Press and pin (Figure 2.120).
10. Working from the right

side, topstitch the pinned edge in
place as close to the inside fold
as possible (Figure 2.121).
Figure 2.121: Stitch the folded edge
11. For a nice final touch, stitch down the other front edge of the button
band to match the one that you’ve just made (Figure 2.122).
12. Lastly, follow your pattern’s instructions to assemble the polo and sew
the buttonholes and attach the buttons.(Figure 2.123)
Figure 2.122: Stitch the top and bottom SISTERS OF MARY

Figure SCHOOL-BOYSTOWN,
2.123: INC.
Final buttons and 73
buttonholes
Self-Check 1.2-4-5

Answer Key 1.2-4-5



Information Sheet 1.2-7-8 Types of darts, pleats, and shoulder pads of a
garment
What is use of a dart in a garment?
One of the basic structural elements in sewing, arts are formed by stitching out
a fold of fabric to remove excess width or length above, below, or to the side of
a body curve. Generally wedge-shaped, darts can be used on any garment
component and all garment types. They can be large or small, long or short,
with a point at one or both ends. Darts can originate at any seam line or even
on the middle of a garment section. They can be located vertically, horizontally,
or diagonally; when finished, they can be pressed to one side or pressed open.
Used to fit the contours of the body at the bust, waist, hips, elbows, and
shoulders, most darts are purely functional and stitched with the dart take-up,
or excess fabric, on the wrong side of the garment. They can, however, be
stitched as a decorative detail with the bulk on the outside. When stitched on
the face of the garment, they can stand up or be stitched flat against the body
of the garment. Many ready-to-wear garments are designed without darts
because they are less expensive to sew than garments with darts. They can be
worn by a wider range of figures and are easier to alter. However, they also
have numerous wrinkles and ripples, which, in reality, are simply uncontrolled
darts. In contrast, garments designed with darts have fewer wrinkles and,
when the darts are located correctly, they fit the figure better than dartless
fashions. Although darts add to the cost of labor, designs with darts are
generally less costly than designs with other shaping devices, such as seams,
ease, gathers, pleats, and elastic.30
What are the terminology for darts?
 Cut-away (cutout) dart: A wide dart that has seam allowances instead of
the traditional dart take-up.
 Dart: A shaping device used on fitted or semi fitted garments that
transforms a two-dimensional material to fit the curves of a three-
dimensional figure.
 Dart length: The length of the stitched dartline.
 Dartlines or dart legs: Stitching lines of the dart that outline the shape
of the dart. After the dart has been stitched, the dartline is the seamline
of the dart.
 Dart point, dart end, or apex: In the sewing room, the narrowest part of
the dart, located at the end. It should point to the body curve. In
patternmaking, the pivot or bust point on the pattern.
30
Shaeffer, C.(2014).Sewing for the Apparel Industry. Pearson New International Edition. Pg 197

 Double-pointed dart: A dart with a point at both ends. Known by many

names such as double dart, double-ended dart, fish-eye dart, contour
dart, blouse dart, clam-shaped dart, and diamond-shaped dart, this dart
is used most frequently on garments that don’t have a waistline seam
such as one-piece dresses, jackets, blouses, and men’s blazers. It is
generally located vertically with the widest part of the dart at the
narrowest part of the body. Double-pointed darts are occasionally located
horizontally and used between the bust on form-fitting garments or
instead of a back waist seam on one-piece dresses.
 Dart intake or take-up: Space between the dartlines that is stitched out.
It is generally on the wrong side of finished garments, but on standup
darts, it is on the face side.
 Dart tuck or released dart: A dart that is not stitched to a point.
 Dart width: The distance between the dartlines at the widest point.
 French dart: A combination bust/waist dart that is used on one-piece or
semi fitted dresses. The wide end begins somewhere between the hipline
and 2” above the waistline. It can be straight, curved, or even angled.
Generally the dart take-up is cut out because of the dart’s width.
 Stand-up dart: A decorative dart on the face of the garment that has
been stitched wrong sides together. It can be stitched with matching or
contrast thread.31
What are the type of darts?
Darts are often found in women's

clothing (but are also used in men's
trousers and jackets), and they primarily
serve a functional purpose — to fit the
contours of the garment to your body in a
flattering way (Figure 2.124). It can also
create style lines that enhance a design.
Darts have two basic components: the
point, also known as the apex, and the
legs, which start at the widest part of the
dart. The dart legs are the two lines that
are brought together to create the fold of
fabric that is stitched. 32 Figure 2.124 Dart
31
Shaeffer, C.(2014).Sewing for the Apparel Industry. Pearson New International Edition. Pg 198
32
New, R. (2019). Types of Darts Every Sewist Needs to Know. Retrieved from
https://www.mybluprint.com/article/types-of-darts-in-sewing

1. A standard dart is open at one end,

often looking like a triangle on the
pattern piece, and can be used at the
bust or waist (some patterns have
both to create a fitted bodice). It's the
most common type of dart, is
sometimes referred to as a plain dart,
and it can be manipulated to create
different design elements that function
similarly to a dart. It can place
standard darts at other points of the
body to provide more shape. Shoulder,
neck darts, and waistline for example,
help add a feminine shape to a
garment that might otherwise look
bulky (Figure 2.125)
Figure 2.125 Standard dart
2. French darts are more

elongated than standard
bust darts. They start lower
on the bodice (at the side
seam, down near the
waistline) and end up near
the bust point — effectively
combining a bust dart and
waist dart into one. They're
Figure 2.166 French dart sometimes seen on more
vintage styles, but if you
want to use one in a modern
design you totally can — though it is recommend testing it out on a
muslin first (Figure 2.166)
3. Curved darts are drawn with a

gentle curve instead of straight
lines. These curved darts are
typically found on skirt or pant
patterns, as many times a
standard dart doesn't provide
enough contour to fit your shape in
those designs. Curved darts can
Figure 2.127 Curved dart

also be stitched slightly concave or convex, depending on the shape you

need to fit (Figure 2.167)
4. Double-ended darts are also

referred to as a closed, fish-eyed
or double-pointed dart, these are
used for dresses or jackets that
fit at the waist while still shaping
both the bust and hips. It's just
like having two darts joined
together at their widest ends,
with one point toward the bust
and one toward the waist (Figure
Figure 2.128 Double-ended dart
2.168)
5. Dart Tucks are a slight variation

on your standard dart, dart tucks
are constructed much the same,
only the points are left open. These
open ends give your garment a
pleated appearance, which adds a
softer look to billowy pants and
blouses (Figure 2.129).
Figure 2.129 Dart tucks
6. Converting darts to ease are

more relaxed silhouette than what
traditional dart shaping provides,
it's smart to convert darts to ease.
Doing so helps add shape, while
still giving you the fit of a looser
garment. It works particularly well
on skirts, or when creating sleeve
caps for set-in sleeves (Figure
2.130).
Figure 2.130 Converting darts to ease

What is pleat of a garment?
A pleat is folded excess fabric that creates fullness. It is used both as a design
element and for functionality and ease of movement. It is created by doubling
over fabric on itself to produce a fold. Pleats come in a variety of forms, shapes,

and sizes. It can be pressed or unpressed, stitched or unstitched. It may also

be grouped evenly or not. Pleats can be found on a variety of garments and
pattern pieces, including;33
 Skirts
 Bodices
 Sleeves
 Pants
 Dresses
 Jackets
 Pockets
 Bags, Purses, and Accessories
What are the common type pleats?
1. Accordion pleat
2. Knife
3. Box pleat
4. Inverted pleat
5. Kick pleat
Figure 2.131 Type of darts
33
Loiacano,R. R. (2019). A complete guide to the most common fashion pleats. Retrieved from
isntthatsew.org/pleats/

1. 34
Accordion pleats are a series of
very narrow and straight pleats of
equal width. These folds have a
striking resemblance to the bellows
of an accordion, hence the name.
The width of the pleats ranges from
3 to 13mm. these pleats are close
to each other and have uniform
depth form the waist to hem (Figure
2.132).
Figure 2.132 Accordion

pleat
2.
Knife pleats can be used as an
alternative for gathers. These
pleats generally have a width of
about ½ -2” and are turned
towards the same direction (Figure
2.133).
Figure 2.133 Knife pleat
3. Box pleat is formed when two

consecutive knife pleats are folded
in opposite directions-one to the
left and one to the right. This is
used in frocks and skit waistline
(Figure 1.134).
Figure 2.134 Box pleat
4. Inverted pleats can be

obtained by reversing the box
pleat. An inverted pleat is made
while two knife pleats are
twisted nearer to each other in
Figure 2.135 Inverted pleat
34
Retrieved from https://clothingindustry.blogspot.com/2018/04/types-pleats-used-clothing.html

a manner that the folds meet in the centre on the face side of the
garment (Figure 2.135).
5. Kick pleats, any of the above discussed

pleats like knife pleat, box pleat or
inverted box pleat could be used to
construct kick pleats in skirts. After
pleating, a top stitch is made near the fold
and extended to the desired length and
then decorated as required (Figure 2.136)
What is shoulder pads? Figure 2.136 Kick pleat
Shoulder pads are a type of fabric-covered padding used in men's and women's
clothing to give the wearer the illusion of having broader and less sloping
shoulders. In the beginning, shoulder pads were shaped as a semicircle or
small triangle, and were stuffed with wool, cotton or sawdust (Figure 2.137). It
is positioned at the top of the sleeve, to extend the shoulder line. A good
example of this is their use in "leg o' mutton" sleeves, or the smaller puffed
sleeves which were revived at this time, and were based on styles from the
1890s. In men's styles, shoulder pads are often used in suits, jackets and
overcoats, usually sewn at the top of the shoulder and fastened between the
lining and the outer fabric layer (Figure 2.138). In women's clothing, their
inclusion depends by the fashion taste of the day. Although from a non-fashion
point of view they are generally for people with narrow or sloping shoulders,
there are also quite a few cases in which shoulder pads will be necessary for a
suit or blazer in order to compensate for certain fabrics' natural properties,
most notably suede blazers, due to the weight of the material. They were
Figure 2.137 Shoulder pads Figure 2.138 Blazer with shoulder pads

popular additions to clothing (particularly business clothing) during the 1940s,

1980s, and late 2000s/2010s.35
35
(2019).Shoulder pads fashion. Retrieved from https://en.wikipedia.org/wiki/Shoulder_pads_(fashion)

Self-Check 1.2-7-8

Answer Key 1.2-7-8


Information Sheet 1.2-3-10-11 Types of collar of a garment
What is a collar?
In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens
around or frames the neck. Among clothing construction professionals, a collar
is differentiated from other necklines such as revers and lapels, by being made
from a separate piece of fabric, rather than a folded or cut part of the same
piece of fabric used for the main body of the garment.
A collar may be permanently attached to the main body of the garment (e.g. by
stitching) or detachable (Figure 2.139).36
Figure 2.139 Attached collar and detachable collar
Collar comes in a variety of styles, shapes, and sizes and can be applied to the
neck edge of the garment or finished separately with snaps or buttons and
buttonholes for easy removal. It is used on garments for men, women, and
children at all price points.
What are the factors to consider in selection of a collar and application?
 Garment type, design, quality, end use, and care.

 Collar design, height of collar stand, and position of the seam
allowances.
36
(2019).Collar clothing. Retrieved from https://en.wikipedia.org/wiki/Collar_(clothing)

 Fabric bulk, texture, weight, type, and transparency.

 Desired durability and appearance.
 Difficulty of construction and skill of operators.
 Equipment available.
 Cost of labor and materials.
 Retail price.
 Designer or manufacturer preference.
 Current fashion trends.
What are the classification of collar?
Collars are generally classified by style: flat (Figure 2.140), stand (Figure
2.141), and rolled (Figure 2.142), or by the collar’s shape at the neck edge—
concave, straight, and convex (Figure 2.143). They can also be categorized by
the way the collar is worn: closed (Figure 2.144), open (Figure 2.145), or
convertible (Figure 2.146 and 2.147), and by application method—dressmaker
or tailored. Regardless of the classification, all collars are applied to the neck
edge by one of the following applications: a facing, a self-finished application, 37
Figure 2.140 Flat collar Figure 2.141 Stand collar
Figure 2.142 Rolled collar

Figure 2.143 Collar’s shape at the
neck edge-concave, straight, and
convex
37

Figure 2.144 Closed collar

Figure 2.145 Open collar
Figure 2.146 Closed Convertible collar Figure 2.147 Open Convertible collar
What are the parts of collar? (Figure 2.148)
 Breakpoint: The beginning of the roll line on the garment front.

 Collar facing: Same as the undercollar.
 Fall: The part of the collar that turns down.
 Gorge line: The seam that joins the collar and lapel.
 Lapels: Same as revers.
 Neck point: The intersection of the shoulder seam at the neck.
 Neck edge: The edge of the collar or garment at the neck.
 Revers: The tailoring term for turned-back facings on the front.
 Roll line: The soft rolled edge where the collar or facing turns back.
 Shoulder point: The intersection of the shoulder seam at the armscye.
 Stand: The part of the collar that stands up, or a name for a collar that
has no fall.
 Styleline: The outer edge of the collar.

 Top collar: the upper part of the collar, or the part that shows.
 Undercollar: The underside of the collar or collar facing.
 Upper collar: Same as the top collar.38
38

Figure 2.148 Part of the collar
In Table 2.1, see the most common styles that are categorized by application
method. Any type of collar adds to the production costs because it requires
more material and additional labor. Once the decision has been made to add a
collar, the production cost will be influenced by the collar type and its
application method. Collars on dresses, blouses, shirts, and jackets begin with
the simplest designs and the least costly techniques and proceed to the most
complex and most costly (see Table 2.1). All are assembled with the interlining
applied to the top collar. The tailored styles include a notched collar or shawl
collar for jackets, coats, and tailored dresses.
Table 2.1 Collars, Collar types, and applications
Collar Type Collars Collar Application
Stand Mandarin, Military, Self-finished

Nehru, Tie collar, 2-
piece shirt, Mock
turtleneck, Funnel
Flat Peter pan, Eton, Facing

Pilgrim, Bertha, Sailor
Convertible stand (back Sport shirt convertible Combination
neck only)
Table 2.2 Collar applications: Uses, Advantages, and Disadvantages

Shape of Facing
Collar
Uses Collar requireme Advantages Disadvantages
Application
Neckline nts
Self- All price Straigh None Finishes inside May require
finished points. t or of garment more skill to
Lined and slightly neatly. sew. Neckline
unlined convex Attractive on cannot have
garments sheers and deep curve.
unlined
garments. Can
be used on
most fabric
weights.
Facings Ladies and Concav Always; Inexpensive. Can be bulky
children’s e can be Requires no or cumbersome
wear. Flat shaped special skills. on inside of
collars, on bias Can be used garment.
convertible with a variety Unattractive on
collars, and of closures. transparent
shirt collars Covers wrong fabrics
that will be side of an
worn open. unattractive
fabric.
Combin All price Straigh Front Attractive for Sandwich
ation points. All t or facing garments worn method has a
types of concav only open. Finishes ridge on gorge
garments for e back neckline line. Open
men, neatly. seam method
women, and Sandwich requires skill
children. method is and is more
inexpensive costly to sew.
What is self-finished applications collar?

39
The self-finished collar is finished by enclosing the raw edge of the garment
neckline between the necklines of the collar and collar facing. It does not
require a facing and is frequently sewn with automated equipment in mass
production.
How to assemble self-finished collar?
39
Shaeffer, C. (2014).Sewing for the Apparel Industry. Pearson New International Edition. Pg 353

A. Application of Stand collar
Sometimes called a stand-up collar or band collar, the stand collar or

mandarin collar stands upright without a fold and comes in a variety of widths
and styles. It is generally cut on the lengthwise grain to prevent stretching and
to make the application easier, but it can be cut on the cross grain so that it
can be shaped to fit the neck more smoothly or on the bias for shape and
aesthetics. At the neck edge, it can be straight so that it stands away from the
neck, or it can have a gentle convex curve so that it hugs the neck closely at
the upper edge.
Stand collars can open in the front like the tie collar and the mandarin,
military, funnel, Chinese, or Nehru collars as shown (Figure 2.149); or in the
back like the turtleneck, as shown (Figure 2.150); or not at all like the moat
collar, as shown (Figure 2.151). At the opening, the ends can meet or overlap.
At the neckline, it can be sewn near the base of the neck or away from the
Figure 2.149 mandarin collar
Figure 2.150 Turtle neck collar Figure 2.151 Moat collar

(stands close to the neck) (stands away from the neck
neck.
How to assemble stand collar (mandarin)?
1. Begin with the collar face up. At

the neck edge, turn under ¼” and
stitch 3/16” from the folded edge
(Figure 2.152).
Figure 2.152 Folding under the edge and

topstitching

Figure 2.153 Setting the collar facing to the
neckline
2. Wrong side up, stack the collar facing and garment with the collar facing
uppermost. Align the neck edges, and anchor the work. Begin 3/8’ from
the end. Match to the shoulder seam or first notch, and sew off a ¼”
seam at the neckline. Match to the center back and continue, stopping
3/8” from the end (Figure 2.153)
3. Face to face, stack the collar and

collar facing with the collar
uppermost. Hold the garment
out of the way and sew off a ¼”
seam at the ends and upper edge
(Figure 2.154). Under stitch and
trim as needed. Invert the collar
and press with the facing side
up.
Figure 2.154 Joining the collar and collar

facing
4. To finish the neckline, begin with the garment face up and the bulk to
the right. Machine-fell the collar in place. Begin and end with a spot
tack, and use the nippers as needed to straighten the edge and ease in
any fullness (Figure 2.155)
5. Press lightly.
Figure 2.155 Felling the collar in place
B. Application of Two-piece shirt collar
The two-piece shirt collar was originally designed as a separate collar that
buttoned onto a band that had been sewn to the neckline. It has two parts: the
band and the collar (Figure 2.156).
This style of collar is a very traditional design and is made in all price ranges.
Most shirts are manufactured in factories with state-of-the-art automated

equipment in just a few minutes, while custom-made shirts and high-end

ready-to-wear are still produced on the single-needle lockstitch machine. These
shirts are frequently labeled “single-needle tailoring” to indicate the more
expensive construction.
Like the mandarin collar, the shirt collar is cut with the grain going around the
neck to prevent stretching and to make it easier to set.40
Figure 2.156 Two-piece shirt collar
How to assemble the two-piece shirt collar?
1. Begin with the collar stand face up. At the neck edge, turn under ¼” and
stitch 3/16” from the folded edge.
2. Face sides up, stack the collar on the band with no interlining. Then
place the interlined band on top, wrong side up. Align the edges and sew
off a ¼” seam, matching the notches as you stitch (Figure 2.157). Under
stitch, trim, and clip.
3. Invert the band and set the
collar aside.
4. Use the General Directions
as a guide to assemble the
garment and finish the edges.
5. Press the front facings to the
wrong side. Press the
shoulder seams toward the
back. With facing side up,
press the collar/band. This Figure 2.157 Joining the collar and bands
step is frequently eliminated
in budget and moderate-
priced shirts.
6. Face to face, stack the
shirt and collar, with
40

the collar uppermost. At the opening, the shirt extends 1/16” beyond the
end of the collar. Align the neck edges and anchor the work. Match to the
shoulder seam or first notch. Sew off a ¼” seam at the neckline
beginning and ending about 3/8from the end of the collar (Figure 2.158).
7. With the shirt wrong side up,

align the folded edge of the band
with the neckline seam and
machine-fell the band in place
(Figure 2.159).
8. Press lightly
Figure 2.159 Felling the collar in place
What is facing applications collar?
The facing applications described in this section begin with a flat collar finished
with a bias facing— one of the simplest and least costly—and proceed to the
convertible collar, which is more complex and more costly. Facing applications
are well suited for flat collars, which have no stand and are cut with a deep
curve at the neck edge, which prevents them from being turned into the collar
successfully. Facing applications are also suitable for convertible collars, which
are worn open or closed, and open shirt collars, which are always worn open
because the facing covers the wrong side of the material. The facing application
can be used with a variety of closures such as zippers, buttons and
buttonholes, or button loops. It is frequently used to cover the wrong side of
the fabric when it is unattractive. Bias facings, when used, are often a different
material and color.
How to assemble facing collar?
A. Application of flat collar with bias facing
For this application, the neckline is finished with a bias facing. It is the
simplest facing application, is the neatest for most flat collars and knit
shirts, launders easily, and is particularly attractive on transparent
materials. It is the least costly when used in production and applied using a
folder (Figure 2.160). 41
41

Figure 2.160 Flat collar with bias facing
How to assemble flat collar with bias facing?
1. Face up, place the collar on the

garment. Align the edges at the
neckline, anchor the work, and
match the notches. At the opening,
fold the facing over the collar and
sew off a 3/16” seam at the
neckline (Figure 2.161).
Figure 2.161 Folding the front

extension over the collar and
stitching the neckline
2. Wrong side to wrong side, fold the bias lengthwise and press, stretching
the folded edge slightly.
3. Face up, place the bias on the collar.
Sew off a ¼” seam, easing the bias to
the neckline (Figure 2.162).
4. Under stitch, trim, or clip the seam as
needed, and invert the facings at the
opening.
Figure 2.162 Setting the bias to

the neckline

Figure 2.163 Felling the bias in place
5. With the garment wrong side up, fell the folded edge of the bias flat
against the garment (Figure 2.163).
6. Press, facing side up.
B. Application of flat collar with shaped facing

On this sample, the neckline is finished with a narrow shaped facing (Figure
2.164). Even though this application is rarely used in ready-to-wear,
variations of this application are frequently used with all-in-one facings and
linings. For this application, seam widths are ½” at the shoulders. All other
seams are ¼”. The front facings are 1” wide.42
Figure 2.164 Flat collar with shaped facing
How to assemble flat collar with shaped facing?
1. Face up, place the collar on the

garment and anchor the work. At
the opening, fold the front facing at
the notches to cover the ends of the
collar. Sew off 3/16”, aligning the
seams and notches as shown
(Figure 2.165).
Figure 2.165 Folding the front

extension over the collar and
stitching the neckline
42

Figure 2.166 Setting the facing to the CBLM FOR TAILORING: EXPLORATORY
neckline
2. Face to face, place the facing on the garment with the collar sandwiched
between. Sew off ¼”, aligning the edges at the neckline and notches
(Figure 2.166).
3. Understitch, trim, or clip as needed, and secure the facings at the

shoulder seams. Press.
What is convertible collars?
Convertible collar applications can be worn open (Figure 2.167) or closed

(Figure 2.168). They are used on blouses, dresses, and casual jackets for men,
women, and children. The applications range from the simple, inexpensive
variation of the flat collar application, in which the collar is sandwiched
between the garment and facing, to some more costly applications that can
include hand finishing.
Two facing applications are described. The simpler, the sandwich application,
is used on all fabric weights in budget apparel and on lightweight fabrics in
better garments. The open-seam method is used on better and high-end ready-
to-wear blouses and dresses. Variations of these methods are used on tailored
garments with the interlining applied to the under collar, top collar, or both.
Figure 2.167 Open collar Figure 2.168 Closed collar
How to assemble convertible collars?

A. Application of sandwich method
The bodice front is finished with an extended facing. The back neckline is
finished with a separate facing, and the collar is sandwiched between the
facings. This application requires little skill to sew and minimal handling. It
is found on budget sportswear and jackets, sleepwear, children’s wear, and
uniforms. The major disadvantage is that, because all seam allowances are
pressed in one direction, there is a ridge at the gorge line that increases
with fabric bulk.43
How to assemble sandwich method?
1. Face up, place the collar on the garment and anchor the work. Align the
neckline edges and match the shoulder seam and collar notch. Sew off a
scant 3/16seam, matching the notches and seams as you go (Figure
2.169).
Figure 2.169 Stitching the collar to the neckline
2. Face to face, fold the facing over the garment with the collar sandwiched
between. Sew off a ¼” seam. Trim or clip the seam as needed (Figure
2.170).
43
Figure 2.170 Folding the facing in place, with the collar sandwiched betewwn the
garment and facing

3. Understitch the neckline, beginning and ending on the front facing about
1” from the shoulder seam. Secure the facings at the shoulder seams.
4. Press lightly.
B. Application of open-seam method

For this application, the neckline is finished with shaped facings at the front
and back, but instead of the collar being sandwiched between the garment
and facing, the collar is stitched to the facing, and the under collar is
stitched to the garment. Then the seams are pressed open to distribute the
bulk evenly on each side of the neckline seam for a flatter finish. The open-
seam application is used on better and high-end ready-to-wear. It is more
costly than the sandwich method because it requires greater skill and there
are more operations.44
How to assemble the open-seam method?
1. Face up, place the collar on the garment and anchor the work. Match the
neck edges of the garment and collar facing, and align the notches. Sew
off a scant 3/16” seam, matching the notches and seams as you go
(Figure 2.171). Hold the top collar and garment facing out of the way.
Face to face, stitch the collar facing to the garment neckline with a ¼”
seam, beginning and ending 3/16” from the ends of the collar (Figure
2.172).
HINT: Stitch as close as you can to the ends of the collar without
stitching through the collar seam allowances.
2. Face to face, match the neck edges of the collar to the neckline facings
and align the notches. Hold the facing out of the way so you can see the
wrong side of the collar. Sew off a ¼” seam, beginning and ending 3/16”
from the ends of the collar. Do not stitch through the seam allowances at
the ends of the collar.
44
10
SISTERS OF MARY SCHOOL-BOYSTOWN, INC.
0
Figure 2.171 Stitching the collar to the neckline
Figure 2.172 Stitching the collar facing to the neckline
3. Face side out, examine the collar by folding it into the position it will
have when worn to be sure it covers the under collar/garment seamline.
If it does not, rip out the collar/facing seam and restitch a narrower
Figure 2.173 Stitching the collar to the facing
seam and/or restitch the undercollar/garment seam wider (Figure 2.173)
10
1
4. Face to face, fold the front facing in

place. Begin with a spot tack on the
collar ¼” from the end, and stitch
the neckline with a ¼” seam to the
fold at the front edge. Backtack.
Repeat to sew the other end. At the
spot tacks, clip through all layers to
the seamline (Figure 2.174).
Figure 2.174 Clipping to the seamline
5. Bust the seams and clip as needed.

6. Wrong sides together, align the seamlines at the neck edge. Fold the back
and back neck facing out of the way and stitch the seam allowances of
the back and back facing together (Figure 2.175).
7. Press lightly with the facing up.
Figure 2.175 Joining the seam allowances at the neck edge
C. Application of combination facing/self-finished
The combination application is used on convertible and some stand collars

that are designed to be worn open or closed (Figure 2.176). This application
combines a shaped front facing that finishes the inside of the garment front
10
2
so that it will be attractive when the collar is worn open with a self-finished
application on the back neck. It is used on blouses, dresses, and jackets for
men, women, and children at all price points. There are two combination
applications. The simpler and less costly is a variation of the sandwich
method. It is used on unlined budget sportswear and jackets, sleepwear,
children’s garments, and uniforms in all weights and on lightweight fabrics
in better garments. The major disadvantage is that there is a ridge at the
gorge line that increases with fabric bulk. More complex and more costly,
the open-seam method is used on better and high-end ready-to wear
blouses and dresses.45
Figure 2.176 Convertible collar with combination application: facing/self-

finish
How to assemble combination facing/self-finished?
1. Face up, place the collar on the garment. Fold the front facing over the
collar, matching all edges at the neckline and aligning the notches. Sew
off a ¼” seam at the neckline, stopping ½” before you reach the shoulder
seam. Lower the needle and raise the foot so you can clip the front facing
and collar to the needle (Figure 2.178).
45
10
3
Figure 2.178 Folding the front facing in place and stitching
through all layers
2. Hold the collar out of the way and stitch only the under collar to the
back neckline (Figure 2.179).
Figure 2.179 Holding the collar out of the way and stitching the
collar facing to the neckline
3. Stop ½” past the remaining shoulder seam and clip. 3. Stitch through all
layers to the fold at the front edge (Figure 2.180).
Figure 2.180 Clipping through all layers to the seamline
10
4
4. Invert the front facings. With the garment wrong side up and the bulk
toward the right, fold the raw edge of the collar under at the back. Stitch
it in place (Figure 2.181).
5. Secure the front facings at the shoulder seams.
Figure 2.181 Felling the collar in place at the back neckline
D. Application of notches tailored collar
For these applications, the

neckline is finished with revers
at the front and a facing at the
back. The collar is stitched to
the facing, and the under collar
is stitched to the garment.
Because the seams are pressed
open, the bulk is distributed
evenly on both sides of the
neckline seam for a flat finish.
The open-seam application for
notched tailored collars is used
on better and high-end ready-to-
wear; on budget garments, the
sandwich method is generally
used (Figure 2.182). Two Figure 2.182 Notched collar
methods are described here. In
the first method, the upper collar and under collar are sewn to the jacket
and facing sections before they are sewn together. In method two, the collar
is assembled and set to the neckline, and then the front edges are finished.
Try both to see which works better for you.46
46
10
5
How to assemble notched collar?
In the directions for method one, the under collar is joined to the jacket and
the upper collar is joined to the facings. Then the outer edges are joined.
1. Face to face, place the undercollar on the jacket. Align the matchpoints
on the collar with the matchpoints on the jacket and match the neck
edges. Stitch the undercollar to the edge of the jacket neck with a ¼”
seam, beginning and ending at the matchpoints on the jacket, ¼” from
the ends of the collar (Figure 2.183).
Figure 2.183 Joining the under collar to the neck edge of the jacket
2. Face to face, match the neck edges of the upper collar and the neckline
facings and align the notches. Sew off a ¼” seam at the neckline,
beginning and ending ¼” from the ends of the collar (Figure 2.184).
Figure 2.184 Joining the top collar and facing
10
6
3. Face to face, place the facing/upper collar on the jacket/undercollar

section. Stitch the collar edges together with a ¼” seam, beginning and
ending at the notches (Figure 2.185).
HINT: For best results, begin stitching at the point of difficulty—the

notch—and stitch to center back on each side.
Figure 2.185 Joining the top collar and under collar
4. Sew off a ¼” seam to join the fronts and front facings (Figure 2.186).
HINT: Begin stitching at the notches. Hold the seam allowances out of
the way and do not stitch through them.
Figure 2.186 Joining the fronts and front facing
5. Invert the collar and facing to turn them right side out. Press.
10
7
6. Wrong sides together, align the seamlines at the neck. Fold the back and
back neck facing out of the way and stitch the seam allowances of the
back and back facing together.
HINT: For more expensive garments, sew this seam by hand.
7. Turn the garment face side out and press lightly.
E. Application of shawl collar

To assemble this collar successfully, mark all match points accurately. At
the neck point, mark the intersection of the neckline and shoulder seams.
This is particularly important because the seam allowances on the neckline
are ¼” and those on the shoulder seam are ½” (Figure 2.187). 47
Figure 2.187 Shawl collar
How to assemble the shawl collar?
1. To reinforce the inner corner on the

front, stitch just inside the seamlines
(Figure 2.188).
HINT: On this pattern the seam
width is ½” on the shoulder and ¼”
on the neck edge. Clip to the corner.
47
10
8
Figure 2.18 Reinforcing the

inner corner and clipping
2. Serge the edges of the garment at the shoulders and opening. Serge
the unnotched edges of any facings.
3. Stitch the darts on the fronts (Figure 2.189).
4. Face to face, sew off a ½” seam on the undercollar at center back
(Figure 2.190).
Figure 2.189 Stitching the darts Figure 2.190 Stitching the

undercollar at the center back
5. Face to face, stack the

facing/collar sections and sew
off a ½” seam at center back.
Backtack at the beginning and
end (Figure 2.191).
6. Bust the seams.
Figure 2.191 Stitching the top

collar at the center back
7. Face to face, place the front

on the back. Beginning at
the left shoulder point,
stitch the shoulder seam
with a ½” seam. Stop at the
corner with the needle
10
9
Figure 2.192 Stitching the shoulder
seam and undercollar
down. Pivot; stitch the back to the undercollar with a ¼” seam.

Continue to the corner at the right neck point; pivot. Stitch the right
shoulder seam with a ½” seam (Figure 2.192).
8. Face to face, stack the facing/collar and front/back sections. Sew off
a ¼” seam (Figure 2.193).
9. Bust the shoulder and collar seams.
10. Invert the seams, then turn the garment right side out.
11. Wrong side up, press the front edge.
12. Stitch the top collar to the back neck.
HINT: The lining will cover the seam allowances of the collar.
Figure 2.193 Joining the facing to the

garment
11
0

Information Sheet 1.2-3-13-14 Types of sleeve and cuff of a garment
A sleeve is the part of the garment that covers all or part of the arm. It is an
important design feature, as well as a functional element that provides warmth
and protection. Sleeves can be long or short, narrow or full, gathered or
pleated, cuffed or plain, exaggerated or minimized.
There are two basic classifications of sleeves: sleeves cut separately from the
bodice (Figure 2.1194) and sleeves cut-in-one with the bodice (Figure 2.195).
Figure 2.194 Set-in sleeve cut separately Figure 2.195 Kimono sleeve cut in one
from the bodice piece with the bodice
Sleeves that are cut separately are

later joined to the bodice; sleeves
cut-in-one with the bodice, such as
the kimono sleeve, are cut as an
extension of the bodice. In
patternmaking, the raglan sleeve is
sometimes considered one of the
latter (Figure 2.196); however, its
application is similar to the set-in
sleeve.
Figure 2.196 Raglan sleeve

11
1
What are the parts of the sleeve? (Figure 2.197)
Figure 2.197 Parts of the sleeve
 Back notch(es): Two notches spaced 1/2” apart on the back of

the
sleeve seam line to mark match points.
 Biceps line: Cross grain at the bottom of the cap.
 Cap ease: Fullness in the cap between the front and back
notches that is eased to the garment.
 Cap height: The distance between the biceps line and the
shoulder point.
 Cap line: Cross grain midway between the biceps line and
11
2
the shoulder point.

 Cap seam line: The seam line that outlines the top of the cap.
 Elbow dart: A dart at the elbow to allow ease for movement.
 Elbow line: Cross grain at the elbow.
 Front notch: One notch on the front of the sleeve seam line to
mark the match point.
 Grain line: The lengthwise grain of the material; generally
extends from the shoulder point to the back of
the wrist.
 Shoulder point: The highest point on the sleeve cap; generally
located at the center of the sleeve.
 Sleeve cap: The part of the sleeve above the biceps line.
 Sleeve center: The center of the sleeve.
 Underarm seamline: The seamline at the underarm that joins the
front
of the sleeve to the back.
 Wristline: The lower edge of the sleeve at the wrist.
What is separate sleeves?
It is called set-in or mounted sleeves, sleeves that are cut separately are used
on all types of garments for men, women, and children at all price points.
There are numerous variations, but all of these sleeves, as well as raglan and
shirt sleeves, are set using two basic applications: flat and in-the-round.
Sometimes it is also called a shirt-sleeve application, the flat application is

used on garments for men, women, and children at all price points (Figure
2.298). The most common applications are on shirts in knit and woven fabrics,
active wear, casual designs, designs with raglan sleeves or dropped shoulders,
and children’s garments. The shirt sleeve fits loosely, is comfortable to wear,
and allows easy movement. It is quick,
easy, and inexpensive to sew because it
requires little skill and no special
equipment. The shirt sleeve extends
away from the body, and the armscye
seam is flattened. It cannot be fitted
closely and has diagonal folds radiating
from the armscye seam line to the
underarm seam. Long sleeves are less
attractive than short ones because
these folds are more noticeable. On
tailored garments and ladies’ blouses,
it is generally a sign of low quality. The
Figure 2.198 Shirt sleeve-flat application
11
3
armscye of the shirt is generally straighter and lower than the basic armscye;
the sleeve has a wide, shallow cap with little ease, no ease, or negative ease.
The sleeve is stitched to the armscye while the sections are still flat before the
underarm seams are stitched.
How to sew the shirt sleeve in flat application?
1. Over lock the hem edge of each sleeve.

2. Face up, fold the sleeve hem under
and topstitch 1/2” from the folded
edge. Do not hem the remaining
sleeve. Set the sleeves aside.
3. Face to face, stack the front and back.
Align the edges and match the
shoulder notch. Sew off a 1/2” seam
at the shoulder.
Figure 2.199 Stacking the shirt

body on the sleeve
4. Overlock the edges together,

trimming the seam to 3/8”.
5. Wrong side up, open the shirt
body and fold the seam to the
back.
6. Face to face, stack the shirt
body on top of the sleeve
(Figure 2.199).
Figure 2.200 Grasping the edges

and matching the first set of notches
7. Grasp the shirt and sleeve with the

left hand, matching the edges and first
set of notches (Figure 2.200).
Figure 2.201 Aligning the edges

11
SISTERS OF MARY
andSCHOOL-BOYSTOWN,
folding the shoulder INC.
seam
toward the back. 4
HINT: Sleeves, like facings, have one notch to indicate the

front and two to indicate the back.
8. Begin with the shirt on top so the

feed dog will ease the sleeve to the
shirt body. Sew off a 1/2” seam,
matching the notches and easing
the sleeve to the shirt. Use the
fingers of the right hand to pull the
edge of the shirt sleeve out to meet
the edge of the shirt body. At the
shoulder, fold the shoulder seam
toward the back (Figure 2.201).
9. Overlock the edges together,
10. Repeat to set the remaining sleeve. Figure 2.202 Aligning the edges
11. With the shirt face up, fold the and folding the shoulder seam
seam toward the shirt body and toward the back.
topstitch 3/16” from the seamline (Figure 2.202). Repeat to topstitch
the remaining sleeve.
12. Face to face, align the edges of
the underarm seams. Sew off a
1/2” seam, beginning at the
sleeve cuff (Figure 2.203).
Overlock the edges together,
13. Turn the sleeves wrong side
out.
14. With the garment face up, fold
the underarm seam toward the
front and topstitch 3/16” from
the seamline, beginning at the
shirt hem (Figure 2.204).
Figure 2.203 Closing the underarm Repeat to topstitch the other
seam side.
15. Hem the second sleeve.
11
5
How to sew set-in sleeve in round application?
On better and high-end garments, sleeves are set in the-round or with a loop
application. First the garment is sewn together at the shoulder and underarm
seams to create a loop at the armscye, and the underarm seams of the sleeve
are sewn to form a second loop. Then the sleeve loop is sewn into the garment
loop. This application is more time-
consuming and requires more skill than the
flat application. It is accomplished by a
variety of methods. For budget garments,
cylinder bed machines with programmable
feeds are used; for high-end ready-to-wear,
ease bastings (similar to the home sewing
method) are used. The sleeve fits the body
closely and smoothly, draping attractively
in a vertical column, but it allows limited
movement. On tailored garments and
ladies’ blouses, the in-the-round
application is a sign of quality. It can be
sewn without special equipment, but it is
more costly to sew than the flat application
because it requires more skill and time to Figure 2.205 Set-in sleeve – in the
complete (Figure 2.105). round
Directions:
In this application, all seam widths are 1/2”. The sleeve hem is cut 1” wide and
finished 3/4” wide.
1. Face up, crimp the sleeve cap between the double notches on the back
and the single notch on the front.
2. Face to face, stack the front and back sections. Align the edges and
match the shoulder notch. Beginning at the neckpoint with a backtack,
sew off a 1/2” seam at the shoulder. Chainstitch to the top of the
underarm seam, and sew off 1/2” at the underarm.
11
6
HINT: Always begin stitching at the point of difficulty or least tolerance:

the neckline when stitching a shoulder seam and the armscye when
stitching an underarm seam.
3. Without cutting the threads, fold the sleeve lengthwise, face to face;
stitch onto the sleeve beginning at the armscye. Sew off a 1/2” seam.
Backtack at the sleeve hem. Repeat for the left sleeve.
4. Overlock the edges of all seams separately.
5. Bust the seams.
6. Turn the sleeve face side out. Stitch inside the sleeve with the hem side
up. Turn up the sleeve hem 1”, turn under 1/4”, and stitch 3/4” from
the edge (Figure 2.206). Repeat to hem the other sleeve or finish it with a
tucked hem.
7. Turn the bodice wrong side out and the sleeves face side out. Place the
sleeve inside the bodice so the sections are face to face. Align the edges
and match the notch on the sleeve cap to the shoulder seam.
8. With the sleeve uppermost, stitch the armscye with a 1/2” seam (Figure
2.207). Repeat for the remaining sleeve.
HINT: This is sometimes easier if you begin at the shoulder point. On a
cylinder-bed or free arm machine, stitch with the garment on top. On a flat-bed
machine, stitch with the sleeve up as described previously. 10. Overlock the
edges together. 11. Wrong side up, press the armscye seams flat. Do not allow
the point of the iron to extend into the sleeve more than 1/2”. 12. Turn the
seam toward the sleeve. Press the cap lightly.
What is sleeve cuffs?
The sleeve cuff is a fabric band that encircles the wrist. It can be cut in one
part, with a fold at the wrist edge (see Fig. 1), or in two parts with a seam at the
wrist edge and separate facing (see Fig. 2).
Cuffs are the most common finish for shirts and blouses for men, women, and
children. Generally they are set at the wrist, but they can be set on sleeves of
any length. Even though they can vary in design, all cuffs fall into two
categories: closed-band (see Fig. 3) and open-band (see Fig. 4).
Page 284
11
7
11
8
LESSON 3: General standard of finished project
1. Demonstrate in constructing school uniform (Know-When – TL)
2. Assess the sewn school uniform (Know-When – TL)
3. Demonstrate in constructing PE uniform (Know-When – TL)
4. Assess the sewn PE uniform (Know-When – TL)
5. Demonstrate in constructing house shorts and sando (Know-When –
TL)
6. Assess the sewn house shorts and sando (Know-When – TL)
7. Demonstrate in constructing bed sheet and blanket (Know-When –
TL)
8. Assess the sewn bed sheet and blanket (Know-When – TL)
9. Demonstrate in constructing sling bag (Know-When – TL)
10. Assess the sewn sling bag (Know-When – TL)
11. Demonstrate in constructing sleeping pillow and case (Know-When –
TL)
12. Assess the sewn sleeping pillow and case (Know-When – TL)
13. Demonstrate in constructing sleeping garments (Know-When – TL)
14. Assess the sewn sleeping garments (Know-When – TL)
II. Nominal Duration: 4 weeks
III. Contents:
A. Specific standard of school uniform
B. Specific standard of school PE uniform
C. Specific standard of house shorts and sando
D. Specific standard of bed sheet and blanket
E. Specific standard of sling bag
F. Specific standard of sleeping pillow and case
G. Specific standard of sleeping garments
H. Learning Outcome No. 3: Demonstrate constructing and assess sewn

project of school uniform, PE uniform, house shorts, house sando, bed
sheet, blanket, sling bag, sleeping pillow, pillow case, and sleeping
garments.
I. Assessment Criteria:
J. Learning Conditions: you will have access to
A. Workplace (Sewing Area)
11
9
B. Hi-speed sewing machine
K. Assessment Method: Written test with oral questioning
12
0
KNOW-WHAT and KNOW-HOW
Information Sheet 2.3-1-3 Safety precaution in handling sewing

machine
12
1
Self-Check 2.3-1-3
I. TRUE OR FALSE
DIRECTIONS: Read the each statement. Write T if it is true otherwise
write F.
12
2
Answer Key No. 2.3-1-2
I. True or False
12
3
Task Sheet 2.4-3
Title: Set and change machine needle of the Single Needle Lockstitch machine
(SNLS)
Performance Objectives: Demonstrate in setting and changing the machine

needle of the Single Needle Lockstitch machine.
Supplies/Materials:
7. Machine needle (DB x 1)
8. Screw driver
Equipment: Single Needle Lockstitch machine
Steps/Procedure:
11. Turn the balance wheel toward you until the needle bar moves up
to its highest point.
12. Loosen the needle screw in the lower end of the needle bar.
13. Remove the needle by pulling it down.
14. Push the new needle up into the needle bar as far as it will go, with
the long groove of the needle toward the left and the eye of the needle
directly in line with the arm of the machine.
15. Tighten the screw in the clamp.
12
4

Name: __________________________________________________________ Section: __________________
Scale
Criteria 4 Mastery Level Criteria Rating
9. Procedure Approaching Mastery 1
3
10. Completeness Level
2
11. Time management 2 Apprentice Level
1 Beginner’s Level 3
12. Safety and habit
works 4
Score
Criteria 1: Procedure
4 Performs correctly the five (5) steps in inserting the machine needle.
3 Performs correctly the four (4) steps in inserting the machine needle.
2 Performs correctly the three (3) steps in inserting the machine needle.
1 Performs correctly the two (2) and below of the steps in inserting the machine needle.
Criteria 2: Completeness
4 Finishes the proper inserting and facing the needle and tightening the machine needle.
3 Finishes the task properly with one lacking.
2 Finishes the task properly with two lacking.
1 Does not able to perform the task.
12
5
References:
12
6

MODULE 1 - Tailoring G9&10 (Perform Basic Maintenance in Sewing and Apply Quality Standards)

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

MODULE 1 - Tailoring G9&10 (Perform Basic Maintenance in Sewing and Apply Quality Standards)

Uploaded by

Copyright:

Available Formats

CBLM FOR TAILORING: EXPLORATORY

COMPETENCY-BASED LEARNING MATERIAL

Sector: HOME ECONOMICS

Qualification Title: TAILORING (Exploratory)

Unit of Apply Quality Standards And Perform

Applying Quality Standards And

Sisters of Mary School-Boystown, Inc.

Telephone no. : (032)272 8636/(032)272 8637/(032)888 7562

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 1

HOW TO USE THIS MODULE

Welcome to the Module “Apply Quality Standards And Perform Basic

The unit of competency “Apply quality standards and perform basic

You are required to go through a series of learning activities to complete

 Read information sheets and complete the self – check. Suggested

After completing this module ask your teacher to assess your

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 2

Module Descriptors: This module covers the outcomes required in apply

I. Content Standard: As a learner, you are expected to demonstrate

II. Performance Standard: As a learner, you are expected to apply quality

III. Expected Learning Outcome: As a learner, you are expected to show

IV. Learning Competencies: In this module, you are expected to acquire

LESSON 1: Care of sewing machine

LESSON 2: Essential of garment construction

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 3

LESSON 3: General standard of finished project

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 4

V. Scriptural and Fr. Al’s Message.

Scriptural Message: Ecclesiastes 3:7

Fr. Al’s Message: (Homily, August 11, 1991)

VI. 21st Century Skills Integration

VII. Integration SMS Goals

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 5

VIII. List of Basic Competencies

List of Basic Competencies

List of Common Competencies

List of Core Competencies

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 6

LESSON 1: Types and functions of sewing machine with its

II. Nominal Duration: 3 days

IV. Learning Outcome No. 1: List the common machine faults/problems

1. Machine is started and stopped in accordance with the job

VI. Learning Conditions: you will have access to

VII. Assessment Method: Written test and Oral questioning

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 7

KNOW-WHAT and KNOW-WHY

Information Sheet 1.1-1 Common machine faults/problems and its

What are the classification of sewing machine troubles?

GOOD SEWING MACHINE

This refers to problems that arise involving incorrectly attached

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 8

Figure 1.2: Minor sewing machine trouble

2. Major sewing machine trouble

Figure 1.3: Major sewing machine trouble

There's nothing worse than working with an uncooperative sewing machine.

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 9

Machine  Insufficient oil  Oil the sewing machine

Machine  belt is too tight  change belt if already old

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 10

 unmatched size of thread

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 11

Seams  too long stitch  adjust stitch regulator to

SISTERS OF MARY SCHOOL-BOYSTOWN, INC. 12

What are the characteristics of a good stitches?