Professional Documents
Culture Documents
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TABLE OF CONTENTS
Page
Cover Page
Table of Contents
Introduction...………………………………………………………. 3
Content Standard and Performance Standard……………… 4
Objectives………………………………………………………. 4
Program Requirements……………………………………….. 4
Learning Episodes……………………………………………… 5
How to Use this Learner’s Materials……………………………… 6
Diagnostic Assessment…………………………………………… 7
Personal Entrepreneurial Competencies (PECs)…………….. 12
Environment and Market (EM)……………………………………. 23
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Lesson 1: Produce Ladies Trousers
LO 1 Draft and Cut Pattern ........................................285
LO 2 Prepare and Cut Materials ................................316
Enhancement Activity...............................................................
Summative Assessment………………….……………………………………..345
Synthesis……………………….……………………………………………….....347
Glossary…………………….…………………………………………………......348
References……………….……………………………………………………......354
Key to Correction………………………………………………..………….....…356
Introduction
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The world of work today presents a picture of available jobs that are getting
scarcer each year. To address this reality, the Department of Education is stretching
its available resources, prioritizing needs, and developing sustainable programs to
lead and to prepare the young minds as future skillful dressmaker or any related job.
The Department further believes that it is in honing the skills that the learner can have
an edge over other job seekers. DepEd endeavors to equip the learners with the
appropriate knowledge, attitude, values and skills necessary to become productive
citizens of our society.
Content Standard
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The learner demonstrates understanding of core concepts and principles in
dressmaking.
Performance Standard
Objectives
Program Requirements
The learner’s materials should be taken for one school year for a total of 160
hours. Lessons should be taken one at a time, following the correct sequence being
presented and should accomplish the assessment or enhancement activities before
proceeding to the next lesson.
Along the learning process, learners of this course are required to complete the
25- hour - industry involvement to different dressmaking shops to experience the
actual workplace.
Learning Episodes
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This learning resource is subdivided into four (4) quarters which may serve as
the recommended scope and limit for every academic grading period. In every quarter,
there are lessons that comprise the learning outcomes.
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1. Answer the diagnostic assessment before you proceed to the different activities.
The diagnostic assessment determines how much you know about the lessons
and identifies the areas you ought to learn more. Your teacher will check and
analyze your score to determine your learning needs.
2. This learner’s material contains relevant information and activities. Go over each
activity carefully. If you encounter difficulties, do not hesitate to consult your
teacher for assistance. Do not skip any topic unless you are told to do so.
REMEMBER that each activity is a preparation for the succeeding activities.
4. After successfully finished the tasks, answer the post-test to be given by your
teacher. Your score will be analyzed and will be used by your teacher for the
computation of your grades.
DIAGNOSTIC ASSESSMENT
6.
A. Multiple Choice
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Directions: Read the statements carefully. Write the letter that best describes
the statement. Write your answer in your quiz notebook.
1. Type of cloth that has the following characteristics: absorbency, heat
conduction, strength, and beauty.
a. Cotton c. Linen
b. Poplin d. Broadcloth
2. Type of cloth which is also called tabinet.
a. Gingham c. Linen
b. Poplin d. Silk
3. Type of test that is used to determine slippage of threads by pulling the
fabric from both sides of the tuck.
a. Test by pin c. Test by thumb
b. Test for sizing d. Test for straight of grain
4. Type of test that determines the strength and shape-holding qualities of
both lengthwise and crosswise of fabrics.
a. Test by pin c. Test by Thumb
b. Test for sizing d. Test by mercerization
5. Type of skirt which is small at the waist and widens evenly as it reaches
the ground.
a. Straight skirt c. Pleated skirt
b. Gathered skirt d. A-line skirt
6. Skirt style which is gathered at the waist and set into a band to look more
fitted to the hips.
a. Straight skirt c. Pleated skirt
b. Gathered skirt d. A-line skirt
7. The skirt style that has fullness all around the hem where soft ruffles
goes up toward the waist from the bottom.
a. Gored skirt c. Pleated skirt
b. Flared skirt d. Gathered skirt
8. Sewing construction where the fabric sewn is between the fabric edge
and the stitched seam line.
a. Seams c. Tucks
b. Darts d. Gathers
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b. Easing d. Gathering
11. They are folds of fabric which give fashion and interest to clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12. It is an extra fabric cut with the same shape as the facing and inserted
between the facing and the garment to prevent stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the smallest part of the body.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15. Darts, buttonholes, pleats, tucks, and pockets placement are examples
of
a. Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
Directions. Write True if the statement is correct and False if the statement
is wrong. Write your answer in your quiz notebook.
__________3. Pattern layout helps determine if the patterns are enough for
the fabric.
__________4. When cutting the fabric, it is advisable to walk around the
table instead of pulling the fabric towards you.
__________5. After cutting, remove the pins of the patterns immediately
from the fabric.
__________6. In transferring marks onto the fabric, start with the small
pattern pieces to finish the job earlier.
__________7. Pressing straighten the grain lines and preshrink
fabric.
__________8. Do not press the seam before cross-stitching it with another
seam.
__________9. The sequencing for the unit of construction of the different
parts of the skirt is basically the same for all skirt types.
__________10. Zippers are generally used for placket closure.
C. Identification
________1. What color calls out the silhouette, or outline figure of a human
body?
________2. What color is used to call attention to your body features?
________3. The color which best suggests activity, energy, and gaiety.
________4. The color which is produced when yellow and violet color
pigments mixed in equal amount.
________5. The family name of a color.
________6. What refers to the brightness or dullness of a color?
_______ 7. The color harmony produced when two colors are opposite
each other on the color wheel.
________8. What makes red, yellow, and blue in a color scheme?
________9. What group of color is formed when red, yellow, and orange
are placed in a group?
_______10. What type of fabric makes you look larger because it adds
width and size to the apparent size of your figure?
D. Matching Type
1. Feminine a. Curved
2. Masculine b. Vertical
3. Short and/wide c. Straight
4. Tall and/slender d. Diagonal
5. Tall or short depending e. Horizontal
on the angle. F. Broken Line
E. Identification.
Directions. Name the following illustrations of skirts drawn below. Write your
answer in your quiz notebook.
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1. 2.
3. 4.
5. 6.
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7.
1.
2.
.
3.
Personal Entrepreneurial Competencies (PECs)
Module 1
Personal Entrepreneurial Competencies
Introduction
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In this module, you will learn more about entrepreneurship and the
entrepreneurial competencies related to Dressmaking. You will have a first-hand
experience in educational activities leading to personal assessment of your
entrepreneurial competencies and assessment of entrepreneurial competencies of a
successful dressmaker in your community. You will also have some activities that will
align your competencies with those of a successful practitioner. Moreover, this module
will stimulate your mind to think about entrepreneurship, its role in the business
community as well as in its economic and social development.
Entrepreneurs are people with skills and capabilities who see and evaluate
business opportunities. They are individuals that can strategically identify products or
services needed by the community and they have the capacity to deliver these at the
right time and at the right place.
Now that you have a little background knowledge about entrepreneurs and
entrepreneurship, can you now walk through in assessing your PECs? Always
remember that successful entrepreneurs continuously develop and improve their
PECs.
Let us first try to find out the competencies to be mastered at the end of this
module.
OBJECTIVES
At the end of this module, you are expected to:
Now that you have an idea about the enabling knowledge and skill that you will
develop and master, take the first challenge in this module – the pre-
assessment.
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PRE-ASSESSMENT
A B
____1. Creative A. make a wise decision towards the set
objectives
____2. Profit-oriented B. strategic thinking and setting of goals
____3. Discipline C. trust in one’s ability
____4. Decision Making D. adoptable to change
____5. People Skill E. innovative to have edge over other
competitors
____6. Planner F. solid dedication
____7. Self-confidence G. skillful in record keeping
____8. Hardworking H. always stick to the plan
____9. Ability to accept change I. working diligently
____10. Committed J effective and efficient communication
and relation to people
K. always looking for income
Directions: The following are guide questions which summarize the entire module.
Write your answers on your assignment notebook, then share these to the class.
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After answering all the guide questions to the best of your knowledge and
skills, share them with your classmates. Compare your insights, personal
knowledge, and relevant experiences on the topic to make it more exciting and
engaging.
Having gone through pre-assessment, and answering the guide questions, set
your own personal goals. These goals will further achieve the ultimate objective of
this module and motivate you to learn more about PECs.
After setting your own personal goals and targets in achieving the objectives of
this module, check your inherent knowledge of PECs. Answer the following guide
questions with your classmates.
Direction: Answer the following guide questions on a separate sheet of paper. Share
your answers to the class.
2. Are there other strategies or approaches where you can assess your PECs?
Explain how those strategies will become useful in selecting a viable business
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venture.
______________________________________________________________
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______________________________________________________________
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__________________________________________________________.
3. What are the desirable personal characteristics, attributes, lifestyles, skills and
traits of a prospective entrepreneur? Why are these important?
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________________________________________________________.
How was your experience in answering the guide questions with your
classmates? Were you able to benefit from them? What insights have you learned?
There are different topics that will enrich your knowledge of PECs. Read
carefully the important details about the succeeding topic.
Know
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• Discipline: Successful entrepreneurs always stick on the plan and fight the
temptation to do what is unimportant.
• Has the Initiative: An entrepreneur takes the initiative. You must put
yourself in a position where you are responsible for the failure or success
of your business.
• Profit-Oriented: An entrepreneur enters into the world of business to
generate profit or additional income. This shall become the bread and
butter for you and for your family as well. Therefore, you must see to it that
the business can generate income.
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entrepreneur develops and applies step-by-step plans to realize goals. A
good entrepreneur knows that planning is an effective skill only when
combined with action.
Process
In order to firm up what you have learned and to have a better appreciation of
the different entrepreneurial competencies, read the PECs checklist presented below,
then answer the same.
Directions: Using the PECs checklist, assess yourself by indicating a check (/)
marking either strengths or development areas column. Interpret the results by
counting the total number of check marks in each of the columns. After accomplishing
the checklist, form a group and share your insights and experiences why you come up
with that personal assessment.
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Development
Areas
Hardworking
- Working diligently
Self-confidence
- Confidence in one’s ability
Discipline
- Always stick to the plan
Committed
- Solid dedication
Ability to accept changes
- Adoptable to change
Creative
- Innovative to have edge over other
competitors
Profit-oriented
- Always looking for income
Planner
- Strategic thinking and setting of goals
People Skill
- effective and efficient communication
and relation to people
Decision Making
- make a wise decision towards the
set objectives
TOTAL
Interpretation or Insights:
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
______________.
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How was your experience in discovering your strengths and the areas to be
developed? Did you gain valuable experience in exchanging insights with your
classmates? To learn more and deepen your understanding of PECs, do the Task 5
below.
Task 5: Interview
1. What are your preparations before you engaged in this type of business or job?
______________________________________________________________
______________________________________________________________
____________________________________________
2. What are your special skills and characteristics that are related with your
business or job?
______________________________________________________________
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____________________________________________
3. How did you solve business-related problems during the early years of your
business operation?
______________________________________________________________
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____________________________________________
4. Did you follow the tips from a successful businessman or practitioner before
you engage in your business?
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______________________________________________________________
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5. What are your best business practices that you can share with aspiring
students?
______________________________________________________________
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____________________________________________
6. What are the salient characteristics, attributes, lifestyle, skills and traits that
made you successful in your business or job?
______________________________________________________________
______________________________________________________________
_________________________________________
Note: Cull the needed information from the interview to supply answer/s to Row
1 in the table below. Meanwhile, fill out the second row with your PECs. Be
honest in answering.
Personal
Entrepreneurial Characteristics Attributes Lifestyles Skills Traits
Competencies
Successful
Entrepreneur in the
province
My PECs
Using the information on the table above, analyze and reflect on the similarities
and differences in your answers. Put your reflection on the table below. Write
your conclusion on the space provided.
Personal
Entrepreneurial Similarities Differences
Competencies
Characteristics
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Attributes
Lifestyles
Skills
Traits
Conclusion:
______________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
__________________________________.
Transfer
After performing the activities on the importance of PECs, let’s determine how
much you have learned. Perform Task 6 to determine how well you have understood
the lesson.
Time Expected
Objective Area Activities Strategies
Frame Outcome
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To align my
PECs with the Characteristics
PECs of a
successful
entrepreneur in
Dressmaking.
Skills
Attribute
Traits
Directions: Read and study the following questions below. You may use a separate
sheet of paper or your notebook to write your answers.
1. Why is there a need to compare and align one’s PECs with the PECs of a
successful entrepreneur?
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
____________.
2. How does your action plan help sustain your strong PECs and/or address your
development areas?
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________.
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______________________________________________________________
______________________________________________________________
______________________________________________________________
__________.
Module 2
Environment and Market
Introduction
People who aspire to start a business need to explore the economic, cultural
and social conditions prevailing in an area. Needs and wants of the people in a certain
area that are not met may be considered as business opportunities. Identifying the
needs of the community, its resources, available raw materials, skills, and appropriate
technology can help a new entrepreneur in seizing a business opportunity.
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Opportunities and threats exist in the external environment. Opportunities relate
to the market, to the development of new technologies, and external factors such as
government policies, climate, and trends. Threats relate to what the competition is
doing as well as legal and other constraints.
Now that you have read some important considerations to look into to be
successful in any business, you are now ready to explore more about the environment
and market.
To begin with, let’s find out the competencies that you will master as you finish
this module.
OBJECTIVES
Now that you have an idea about the things you will learn, take the first
challenge in this module – the pre-assessment.
PRE-ASSESSMENT
Task 1: Multiple-Choice
Directions: Choose the letter of the best answer. Write your answer on a separate
sheet of paper.
Directions: Read and study the guide questions below. Use a separate
sheet of paper to write your answer.
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______________________________________________________________
______________________________________________________________
__________________________________________
5. How can one effectively respond to the needs of the target customer?
______________________________________________________________
______________________________________________________________
__________________________________________
6. Express from the viewpoint of business owner the importance of scanning the
environment and market in generating business ideas.
______________________________________________________________
______________________________________________________________
_________________________________________
After all the guide questions have been answered and skills have been
mastered, share those with your classmates. Discuss your insights, personal
knowledge of, and relevant experiences on the topic to make it more exciting and
engaging.
After reading and understanding the objectives of this module and having gone
through the pre-assessment and guide questions, you will be asked to set your own
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personal goals. These goals will trigger you to further achieve the ultimate objective
of this module. In the end, these goals will motivate you to learn more about
Environment and Market.
After setting your own personal goals and targets in achieving the objectives of
this module, you will have the opportunity to read and learn more about environment
and market. You will also be given a chance to do practical exercises and activities to
deepen your understanding of the topic.
Know
Product Development
When we talk of product development, we are referring to a process of making
a new product to be sold by a business or enterprise to its customers. The product
development may involve modification of an existing product or its presentation, or
formulation of an entirely new product that satisfies a newly defined customer’s needs,
wants and/or a market place.
The term development in this module refers collectively to the entire process of
identifying a market opportunity, creating a product to appeal to the identified market,
and finally, testing, modifying and refining the product until it becomes ready for
production.
There are basic, yet vital questions that you can ask yourself about product
development. When you find acceptable answers to these, you may now say that you
are ready to develop a product and/or render services:
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Likewise, needs and wants of the people within an area should also be taken
into big consideration. Everyone has his/her own needs and wants. However,
everyone has different concepts of needs and wants. Needs in business are important
things that every individual cannot live without in a society. These include:
1. basic commodities for consumption;
2. clothing and other personal belongings;
3. shelter, sanitation and health; and
4. education.
Basic needs are essential to an individual to live with dignity and pride in a
community. These needs can obviously help you generate business ideas and
subsequently to product development.
Wants are desires, luxury and extravagance that signify wealth and expensive
way of living. Wants or desires are considered above all the basic necessities of life.
Some examples of wants or desires: fashion accessories, expensive shoes and
clothes, travelling around the world, eating in an expensive restaurant; watching
movies, concerts, having luxurious cars, wearing expensive jewelries, perfume, living
in impressive homes, among others.
Needs and wants of people are the basic indicators of the kind of business
that you may engage into because it can serve as the measure of your success. Some
other good points that might be considered in business undertakings are the kind of
people, their needs, wants, lifestyle, culture and tradition, and social orientation that
they belong to.
To summarize, product development entirely depends on the needs and wants
of the customers. Another important issue to deal with is the key concepts of
developing a product. The succeeding topic shall enlighten you about the procedure
in coming up with a product.
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Perform
Analyze
Economic Plan
Competitive
Analysis Remaining
Products
Developme
nt Project
Concept
Development
D. Generate Product Concepts: After having gone through with the previous
processes, you may now develop a number of product concepts to illustrate what
types of product or services are both technically feasible and would best meet the
requirements of the target specifications.
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F. Refine Product Specifications: In this stage, product or services specifications are
refined on the basis of input from the foregoing activities. Final specifications are
the result of extensive study, expected service life, projected selling price and
among others are being considered in this stage.
Finding Value
People buy for a reason. There should be something in your product or service
that would give consumers a good reason to go back and buy for more. There must
be something that has to make you the best option for your target customers;
otherwise they have no reason to buy what you’re selling. This implies further, that you
offer something to your customers that they will make them value or treasure your
product or service.
The value that you incorporate to your product is called value proposition. Value
proposition is “a believable collection of the most persuasive reasons people should
notice you and take the action you’re asking for. Value is created by fulfilling deep
desires and solving deep problems. This is what gets people moving, what gets people
spending for your product or service.
Innovation
Innovation is the introduction of something new in your product or service. This
may be a new idea, a new method or a device. If you want to increase your sales and
profit, you must innovate. Some of the possible innovations in your products are
change of packaging, improve taste, color, size, shape and perhaps price. Some of
the possible innovations in providing services are application of new improved
methods, additional featured services and possibly freebees.
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service characteristics, you can learn a great deal about how companies distinguish
themselves from competitors.
Here's how to discover your USP and use it to increase your sales and profit:
• Use empathy: Put yourself in the shoes of your customers. Always focus on the
needs of the target customers and forget falling in love with your own product
or service. Always remember, you are making this product or providing for the
target customers to eventually increase sales and earn profit and not making
this product or service for you. Essential question such as what could make
them come back again and ignore competition, should be asked to oneself.
Most possible answers may be focused on quality, availability, convenience,
cleanliness, and reliability of the product or service.
• Discover the actual and genuine reasons why customers buy your product
instead of a competitor's. Information is very important in decision making. A
competitive entrepreneur always improve their products or services to provide
satisfaction and of course retention of customers. As your business grows, you
should always consider the process of asking your customers important
information and questions that you can use to improve your product or service.
Process
Task 3: Interview
Directions: Selecta successful entrepreneur or practitioner. Conduct an interview
using the set of questions below. Document the interview and present this
to the class.
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______________________________________________________________
______________________________________________________________
____________________________________________
4. Did you consult somebody before you engage in this business? Cite sample
insights that you gained from the consultation.
______________________________________________________________
______________________________________________________________
_________________________________________
5. What were your preparations before you started the actual business?
______________________________________________________________
______________________________________________________________
___________________________________________
7. What strategy did you consider to have a unique selling proposition to your
product or service?
______________________________________________________________
______________________________________________________________
_________________________________________
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2. Prepare a short narrative report about the aforementioned topics. You may
highlight the “aspect” that intensifies your knowledge of product development.
Transfer
Direction: Using the space and figures below, develop your own concept for your
product or service. Utilize bullets in every stage of product conceptualization in listing
important key ideas.
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
_______________________________________
1. Identify
Customers Need
7. Prepare a 2. Target
-
Development Plan Specifications
-
- -
- -
- -
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- -
- -
Know
1. Examine existing goods and services. Are you satisfied with the product? What
do other people who use the product say about it? How can it be improved? There
are many ways of improving a product from the way it is made to the way it is
packed and sold. You can also improve the materials used in crafting the product.
In addition, you can introduce new ways of using the product, making it more useful
and adaptable to the customers’ many needs. When you are improving the product
or enhancing it, you are doing an innovation. You can also do an invention by
introducing an entirely new product to replace the old one.
Business ideas may also be generated by examining what goods and services are
sold outside by the community. Very often, these products are sold in a form that
can still be enhanced or improved.
2. Examine the present and future needs. Look and listen to what the customers,
institutions, and communities are missing in terms of goods and services.
Sometimes, these needs are already obvious and felt at the moment. Other needs
are not that obvious because they can only be felt in the future, in the event of
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certain developments in the community. For example, a province will have its
electrification facility in the next six months. Only by that time will the entrepreneur
could think of electrically-powered or generated business such as photo copier,
computer service, digital printing, etc.
3. Examine how the needs are being satisfied. Needs for the products and services
are referred to as market demand. To satisfy these needs is to supply the products
and services that meet the demands of the market. The term market refers to
whoever will use or buy the products or services, and these may be people or
institutions such as other businesses, establishments, organizations, or
government agencies.
Businesses or industries in the locality also have needs for goods and services.
Their needs for raw materials, maintenance, and other services such as selling and
distribution are good sources of ideas for business.
4. Examine the available resources around you. Observe what materials or skills are
available in abundance in your area. A business can be started out of available
raw materials by selling them in raw form and by processing and manufacturing
them into finished products. For example, in a copra-producing town, there will be
many coconut husks and shells available as “waste” products. These can be
collected and made into coco rags or doormat and charcoal bricks and sold
profitably outside the community.
A group of people in your neighborhood may have some special skills that can be
harnessed for business. For example, women in the Mountain Province possess
loom weaving skills that have been passed on from one generation to another.
Some communities there set up weaving businesses to produce blankets,
decorative and various souvenir items for sale to tourists and lowland communities.
Business ideas can come from your own skills. The work and experience you may
have in agricultural arts, industrial arts, home economics, and ICT classes will
provide you with business opportunities to acquire the needed skills which will earn
you extra income, and should you decide to engage in income-generating
activities. With your skills, you may also tinker with various things in your spare
time. Many products were invented this way.
5. Read magazines, news articles, and other publications on new products and
techniques or advances in technology. You can pick up new business ideas from
Newsweek, Reader’s Digest, Business Magazines, “Go Negosyo”, KAB materials,
and Small-Industry Journal. The Internet also serves as a library where you may
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browse and surf on possible businesses. It will also guide you on how to put the
right product in the right place, at the right price, at the right time.
You have to select the most promising one among hundreds of ideas. It will be
good to do this in stages. In the first stage, you screen your ideas to narrow them
down to about few choices. In the next stage, trim down the choices to two options.
In the final stage, choose between the two and decide which business idea is worth
pursuing.
In screening your ideas, examine each one in terms of the following factors:
Your answers to these questions will be helpful in screening which ones among
your many ideas are worth examining further and worth pursuing.
Branding
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• Get a great logo. Create a logo suitable to your business and consistent
with your tagline and place it everywhere.
• Write down your brand messaging. Select key messages you want to
communicate about your brand.
Process
In generating business idea, you should first identify what type of business is
suited to your business idea. You should analyze and scan the potential environment,
study the marketing practices and strategies of your competitors, analyze the
strengths, weaknesses, opportunities, and the threats in your environment to ensure
that the products or services you are planning to offer will be patronized within the
easy reach by your target consumers.
Bear in mind these simple rules for successful SWOT Analysis:
• Be realistic about the strengths and weaknesses of your business when
conducting SWOT Analysis.
• SWOT Analysis should distinguish between where your business is today, and
where it could be in the future.
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• SWOT Analysis should always be specific. Avoid any grey areas.
• Always apply SWOT Analysis in relation to your competition’ i.e. better than or
worse than your competition’.
• Keep your SWOT Analysis short and simple. Avoid complexity and over
analysis.
• SWOT Analysis is subjective.
Task 6: SWOT Analysis
Directions: Utilize the SWOT Analysis table below to list up all your observations. Be
guided by the strategies in analyzing and formulating realistic and attainable activities.
Write down the activities on the available spaces provided to create the best business
idea.
Strength (S) Weaknesses (W)
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
Strategies:
Analysis:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
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Activities:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
Reading books and watching videos have been considered as one of the most
effective educational activities that can help learners deepen their understanding on a
certain topic. In this particular task, you will be asked to conduct extra readings and
video viewings in the Internet on the following topics:
After successfully performing the assigned task, make a narrative report about
it and share it to the class.
Transfer
Directions: Generate a clear and appealing product brand with a logo and a tagline.
Logo
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Logo
Tagline
QUARTER I
Overview
In this quarter, you will learn how dressmaking becomes a sustainable source
of living for the people. The evolution in fashion trends gradually change from time to
time.
People’s desire to own stunning and tremendous outfit began since the
beginning. It seems an elusive dream for deprived individuals with economic
predicament but an everyday fashion to affluent persons. This longing for attractive
and fashionable outfit remains unvaried to everyone though season and mode of
fashion change from time to time. Progression in clothing closely associated with
social, economical and technological aspect and it is happening to everyone all over
the world.
General Objectives
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Pre – Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
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9. It is a style of skirt that is made by taking the width of the darts from each side
seam and making the panel look like pleated strips.
a. Straight skirt c. Gored skirt
b. Pleated skirt d. Gathered skirt
10. Body measurements which are taken from side to side in left-to-right direction.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
11. It is taken around certain parts of the body such as bust line, waist line, hip line,
armhole, and the like.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
12. When the tape measure runs from the waistline level down to the skirt length
desired.
a. Waistline c. Lower hip level
b. Lower hip d. Skirt length
13. A kind of pattern which contains exact body measurements and reflects no
definite style.
a. Pattern c. Foundation pattern
b. Style pattern d. Envelope pattern
14. The fabric fold wherein the fabric is folded lengthwise at the center with selvages
together.
a. Lengthwise centerfold c. Crosswise centerfold
b. Off-center lengthwise fold d. Off-center crosswise fold
15. The label which indicates the brand name or brand logo of company where the
garment comes from.
a. Brand or main label c. Size label
b. Care label d. Flag label
16. The label which includes wash care and ironing instructions and is attached at
side seam of the garment.
a. Manufacturer label c. Flag label
b. Care label d. Brand or main label
17. The label which has specific measurements of human body such as S for small,
M for medium, L for large, etc.
a. Brand or main label c. size label
b. Flag label d. Manufacturer label
18. These are used on parts of the garments subject to strain such as collars, cuffs
or sleeves, belts, waistbands, and pants.
a. Hooks and eyes c. Zipper
b. Buttons d. Snaps
19. The sequencing for the unit method of construction of the different parts of the
skirt is the same for all types of skirts.
a. True c. False
b. not suited for all d. for a particular skirt line only
20. In cutting the front and back skirt on the sewing line,
a. Include the zipper allowance of the back skirt.
b. Do not include the zipper allowance of the back skirt.
c. Leave it as is.
d. Cut the allowance and remove it
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B. SEQUENCING
Directions. Arrange the steps in attaching or connecting the waistband
of a basic straight skirt. Write the number in your quiz notebook.
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Objectives
Art and design is the application of skill and taste that make a thing beautiful.
It is a fact that our clothes are worn for their artistic qualities which make us more
attractive and confident. Clothes are worn to emphasize the good points and hide the
defects or imperfection of our physical trait.
Principles of Design
Good outfit should have proportion, balance, harmony, emphasis and rhythm
to express art principles. The law of area states that the division should be ½ and 2/3
of an area, and that equality in proportion should always be avoided.
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Standard Proportion
1. Proportion in design involves the relationship of one part to another. Uneven space
relationships are more interesting than even ones.
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2. Balance is the feeling of rest and equilibrium. This is essential to the total design of
a costume.
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3. Harmony is the pleasing combination of hues, values, and intensities. The
color wheel is presented so that you will learn the arrangement and relationship
of colors to the proper dress that is best for your feature. Given as follows are
illustrations of women wearing monochromatic harmony.
5. Rhythm is the movement of the eye from one part of the design to other parts.
Repetition of a line or shape is one of the most common ways of attaining rhythm. In
clothing, curved lines tend to be more rhytmic than straight lines because curved
repeat the lines of the figure.
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a. Repetition- Rhythm could be
achieved by repetition or regular
recurrence of motifs of
design, shapes, buttons, tucks, pleats,
laces, edgings, color, textures, fabric
designs etc. This can be done with all parts
having the same shaped edges.
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d. Radiation- Rhythm by radiation
creates a feeling of movement in
different directions. This
organized movement originates from a
central point of gathers, folds, tucks,
darts, pleats and lines. Direction of
radiation may be in a similar or one
direction, opposing direction or both
the directions, several directions and all
directions.
e. Continuous line
movement- This type of rhythm is
obtained by flowing lines of trims, bands
of color, fabric designs etc, which make
the eye move in a continuous line. This
movement also unifies the
garment design bringing about
harmony.
In clothing, the best structural design follows the natural body lines. Decorative
design gives emphasis to certain areas. Fact is when we attempt to clarify our figure
types, we realize that only few has the perfect or in average figure type. The tall, thin
girl seemed to be the ideal fashion figure nowadays. But no matter what figure type
we may have, the lines of our figure will determine what designs are most appropriate
for us.
In determining whether or not some new fashion is suitable for you, consider
carefully the design of the garment. Do not wear a garment that does not suit your
personality. The color must be appropriate to your skin tone as well as to the kind of
ocassion. Understand and apply the design properly, In this manner you will
confidently be a well-dressed person.
Types of Design
a. Structural Design are formed by the arrangement of lines, forms, colors, and
textures. If these four elements are carefully arranged and applied on the
materials used, they will create beauty to the finished garment. . In a garment
of solid-colored fabric, its structural design is its silhouette, neckline, placement
of the waistline, sleeves, length, and location and fitting of darts and tucks.
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Structural design is far more important than decorative design since every
garment has it, while decorative design may or may not be added. Simplicity is
the keynote to beauty. In a good design there should be balance, harmony,
rhythm, proportion and emphasis. Their elements are line, form, texture, color
and shape.
Elements of Design
LINE FOR
M
SHAPE
TEXTURE
1. Line COLOR
The basic part of any design is formed by lines.The eye tends to follow the
direction of the line in a dress design or in the fabric of the dress. Lines may be
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horizontal, vertical, straight, curved, diagonal, radiating, down-sweeping, up-
sweeping, or angular, and they are capable of creating interesting illusions.
Lines in dress
2. Form
Form refers to the shape of an object as determined by line. In costume
design the silhouette is the term used to describe form which may repeat, may
contrast, or be transitional.
When the lines of a dress repeat the form of the body too closely, they
produce an uncomfortable , restricting effect. At the other extreme, a silhouette which
is completely opposed to the lines of the figure distorts rather than enhances the total
design. A design suggests the contours of the body.
Dress Forms
3. Texture
The surface quality of a fabric comprises its texture. It appeals strongly to the
sense of touch, whether it is coarse, fine, smooth, rough, wrinkled, sleek, glossy,
slippery. Textures are affected by weave, finishes, and the nature of the fibers and
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yarns used in weaving. Textures as well as lines can create illusions, one must choose
textures for clothes that will harmonize with the over-all design.
Texture affects color. A soft wool will give a quite different effect from the gloss and
sheen of the satin in the evening dress.
Texture also affects the apparent size of the design. Bulky, rough fabrics tend
to increase the size of a design, whereas smooth fabrics decrease it.
A rough texture also dulls color, but a shiny, smooth texture intensifies the
hue. Textures used together in a design should be harmonious. Some contrast is
desirable to add interest, but too great a contrast creates disunity. A velvet skirt worn
with a silk crepe blouse combines textures consistent in purpose. The same velvet
skirt worn with a cotton seercucker blouse is unthinkable.
Pig skin shoes and gloves worn with a woolen suit create a pleasant costume.
Patent leather accessories with an embossed cotton summer dress make delightful
accents in a harmonious costume.
4. Shape
Clothes reveal or disguise the natural body contour or shape. Choosing the
right clothing shapes will make the person more flattering. Wide, full shapes clothes
will make you look larger while trim, compact dress will make you look smaller.
Straight, tubular shapes will make the wearer look taller while fitted clothes will reveal
the natural body contours.
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Make a template of eight (8) boxes with the same sizes. Sketch or illustrate dresses
of latest fashion with prints or designs of the different kinds of lines.
Kinds of Lines
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s of his/her ns of ns of ns of ns of ns of
ability level his/her his/her his/her his/her his/her
ability level ability level ability level ability level ability level
5. Color
Color is light, and light contains within itself all the sun’s rays, and when it is
broken into wavelengths of light, a sensation is produced, upon the retina of the eye
which is called color. The eye responds to color the same as the ear responds to
music. One’s reaction to color are both physiological and psychological. The varying
properties of color can, like skillful use of line and proportion, make a large object
appear smaller, or a small object seem larger. Some colors bring an object nearer,
and others make it seem farther away. Colors affect the emotions that is why
sometimes you do not realize what has made you cheerful, subdued or melancholy.
Color is a powerful element in our life. It has vibration, light and energy which affects
us.
Analogous harmony is a harmony of two or more colors alike in some ways but
different in others. It is based on the contrast in value. Examples are red, red-
violet, and violet.
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Primary
Secondary Intermediate Analogous Complimentary Split
Complementary
Classifications of Colors
To bring out the best in our personality, the color of the eyes, hair and
complexion should always be considered. This determines that white complexioned
prefers the light colors, green is the best color and tints of orange, blue, and red
creamy, and white. Avoid brown, yellow and purple. Fair complexioned can wear light
or dark colors but should avoid medium values. Colors which harmonizes with the hair
and eyes are becoming like old rose, deep reds, yellow gold. Avoid gray, blue gray,
light and dark blue and olive green.
Pale faced should avoid brilliant colors. Yellow complexion needs light tan
and natural color and dark complexion can wear broken orange which adds life and
personality. Purple is hard to wear because it gives the complexion a muddy
appearance especially for the young girls but suitable for the gowns of older women.
Neutral and bright colors emphasize age, size, feature, complexion and
should be selected carefully. Light colors express gaiety and daintiness while dark
ones give force and dignity.
Let’s Do it!
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Draw an original version of your color wheel. Collect straps of fabrics and
paste them in the color wheel using the color combination of fabric.
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Interpretation of
Color
White BLUE
RED symbolizes
an agressive and energetic purity and denotes the color of heaven. It
color. It symbolizes blood and innocence.It symbolizes the highest degree of
sword. It gives a pleasing effect increases spirituality. It is termed as
to the complexion. It lends rosy apparent size innocent, quiet, and reserved. It
glow to the skin that gives the and should be expresses modesty, truth and
appearance of health and used sparingly calmness.
vitality. by stout figures.
Gray
denotes
refinement and
modesty. It is GREEN
ORANGE quiet and retiring.
bring rest and peace. It is
It denotes
It denotes pomp, grandeur, satisfying and relaxing to the tired
refinement and
magnificence. It reflects a eyes. It signifies hope, ideals and
modesty. It
reddish color on the face. generosity. When combined to
decreases the
yellow means happiness and
size of the figure.
gaiety.
Black
expresses
somberness,
coldness, mystery, VIOLET
YELLOW and mourning. It expresses formality, dignity and
expresses rest, peace, sunshine decreases the size suggests loyalty and statelines.
and gaiety. It casts its hue over of the wearer It expresses truth. It also
the face, hair and eyes. It can be because it absorbs symbolizes mourning and
used by person with clean fresh- light and calls less sadness.
tinted complexion. attention to the
figure.
Warm colors are cheerful and Cool colors are quiet and restful, but
stimulating, but when they are very as the color becomes darker, they
bright, they may become irritating. may become depressing.
Read and understand more about Design for Different Figure Types.
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The following are some of the figure types excerpt from the book of L. Belle
Pollard, Experiences with Clothing showing the becoming designs and unbecoming
designs to different figure types.
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Figure Variation Becoming Designs Unbecoming Designs
Narrow Hips Full, gathered, or Tight-fitting skirts at and
pleated skirts just above hips
Bulky fabrics
Overblouses
Thin Legs and Feet Full skirts of moderate Uneven hem line
length
Light hose
Heavy Legs and Ankles Longer skirts with some Straps across instep
fullness Fancy shoes
Even hem line
Dull hose
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Skirt with flare Bulky or shiny fabrics
Soft fullness over bust Snug belts
V-Neckline Fussy detail, bows,
Large accessories pockets
Straight coats and Tight, narrow skirts
jackets Sweaters
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Sway Back Loosely-fitted, bodice or Tight-fitting skirts
dress slightly bloused Princess lines
above waistline
Long jackets
Two-piece dresses
Dresses with peplums
Directions. Rearrange the letters in the box to form the word that best
describes the statements below. Write your answer in your quiz
notebook.
1. N O T P O O R I P R
It involves the relationship of one part to another.
2. E B L N A A C
The feeling of rest and equilibrium.
3. P S E M H A I S
It means that one part of a design must be more important than the
other parts.
4. E N I L
It is the basic part of any design.
5. X E E T U T R
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The surface quality of a fabric.
6. H T R M Y N
It is the movement of the eye from one part of the design to other
parts.
7. A N Y O H R M
The feeling of oneness and unity.
8. T E N T I S I Y N
It is the brightness or dullness of a color
9. M O R F
Refers to the shape of an object as determined by line.
10. R O O C L
This affects our mood but adds beauty and life in everything that
surrounds us.
How do you find your review test? Is it doing well? Go on, explore
more and enjoy learning!
Enhancement activity
Let the students have a sketch or illustration of their own creation of latest
fashion in dress applying the principles and elements of design.
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Textile designers create plenty of new textiles and novelty designs from time
to time. Knowing the current fashion in fabrics and understanding how to use them,
beauty and suitability of the garment will be achieved successfully which one will
love to wear all the time.
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1..Gabardine Gabardine- a hard- Thread: polyester
wearing suiting fabric with all- purpose
a distinctive weave. It has thread or 100%
a sheen and is prone to cotton thread
shine. It can be difficult to
handle as it is springy Needle: machine
and frays badly. size 14; Sharps
for hand sewing
Steam iron on a wool
setting: Use just the toe Use for: men’s
of the iron and a silk and ladies’ wear,
organza pressing cloth as jackets, pants
the fabric will mark and
will shine.
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3. Denim Denim is a sturdy cotton Thread: polyester
twill textile in which the all-purpose
weft passes under two or thread with top –
more warp threads. This stitching thread
twill weaving produces for detail top
the familiar diagonal stitching.
ribbing of the denim that
distinguishes it from
cotton duck. An indigo Needle: machine
denim that only warp size 14/16;
threads are dyed, sharps for hand
whereas the weft threads sewing
remain plain white. This
is why blue jeans show
the blue warp threads Use for: jeans,
outside and the other jackets, children’s
side shows the white weft wear
threads. This type of
dyeing also creates
denim's fading Steam iron on a
characteristics, which are cotton setting; a
unique compared to pressing cloth is
every other textile. not required
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Use for: Casual
wear, children’s
wear, shirts, skirts
6. Gingham This is a medium-weight Thread: polyester
balanced plain woven all-purpose
fabric made from dyed thread
cotton. Its name
originates from the Malay Needle: machine
adjective, genggang, size 11/12;
meaning striped. sharps for hand
sewing
This is commonly used
for school uniform. Use for: children’s
wear, dresses,
shirts, home
furnishings
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1. Test by Thumb
Determine the strength and shape-holding qualities both lengthwise and
crosswise of fabrics. With both hands, grasp a sample between your thumbs
and forefingers. Stretch the fabric by moving your hands back so that the
thumbs separate and the fingernails push together. Weak fabrics pull apart or
become thin where they are stretched.
2. Test by Pin
Determine slippage of threads. Pin a small tuck in a sample. Pull on the
fabric from both sides of the tuck, working back and forth as you pull. If the
fabric tears or pulls away from the pin it would probably pull at the seams.
Enhancement activity
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2. Give several reasons why a manufacturer would blend two or more
fibers into one fabric. Tell why the following might be blended.
a. Cotton and acrylic
b. Cotton and silk
c. Cotton and wool
d. Cotton and spandex
e. Rayon and acetate
f. Wool and nylon
Styles of Skirt
Ladies skirts are of different styles, types and shapes. The names of the skirt
signify its shape or design. They are worn to cover the lower part of the body. A
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dressmaker can make any style and design on the skirt in different ways based on
the figure of the client. However, be careful in wearing skirt which are only suitable
for some specific blouses or tops. There are few basic categories of styles of skirt:
1. Straight skirt - referred to as a pencil skirt, this skirt is a straight line with no flare
or fullness at the hem or waistline. It is a slim-fitting skirt with a straight, narrow
cut line. Generally the hem falls to, or just below the knee and is tailored for a
close fit. It is named for its shape: long and slim like a pencil.
a. Short Straight Skirt is a skirt style just above the knee and it gives a
flattering effect to the wearer. However, there are super short straight skirt
such as the micro-mini, which are becoming to those who have slim and
long- legged figures.
b. Long Straight Skirt is best when they end to the part of the legs that begins
to taper.
2. A-Line/ Flared Skirt is a skirt fuller at the hem than at the waist and probably the
best style for most women. Its silhouette is narrower at the top, flaring gently
wider toward the bottom thereby resembling the letter A. It may be fitted at the
waist, high hip, and full hip.It works well on women with small waist and good for
those with full-hipped figures.
3. Gored Skirt is a style of skirt consists of four, six, eight or more gores shaped to
flare from waist to hem. This is very classic and is always in fashion. It’s one of
the most flattering styles. Its vertical lines create an illusion of height and
slimness. A gored skirt can be either straight or A-line, depending on the contours
of the gores. For a slim woman, a gored style which is fitted at the waist and hips
and flares at the hem line is best suited. While A-line is best for you, if the skirt
with gores flare from waist or high hip which is emphasized by the shaped and
curvy gores.
4. Pleated/ Tucked Skirt is a type of skirt which has pleats that create refined
vertical line while softening the figure. Skirt with all around pleats are best for
slim, narrow-hipped figures.
a. A Box pleated skirt – a double pleat having two upper folds facing in
opposite directions and two under folds pressed toward each other.
b. Fix box pleated skirt- a flat double pleat made by folding under the fabric on
either side of it.
c. Knife pleated skirt- a sharply creased narrow pleat, usually one of a series
folded in the same direction.
d. Accordion pleated skirt- a series of narrow, evenly spaced parallel pleats
with alternating raised and recessed folds set into skirt usually by a
commercial pleating machine.
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5. Gathered Skirt usually gathers at the waist and visually adds weight and bulk to
any figure.
STYLES OF SKIRT
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Identification.
Directions. Name the following types of skirts.
1. ________________ 2. ________________
Enhancement activity
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Let the students collect pictures and make an album of the different styles of skirt.
Let them label each of them. Give them at least one week to prepare it and collect it.
Let them share their experience and their own insight about the importance of the
album in relation to their course.
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3. Lower HipLine. Run the tape
measure along the lower hip
level where the buttocks are
fullest. If the stomach is
prominent or rounded add an
allowance of 2 or more inches
(or 5.1 cm. or more) until the
fullness of the stomach is
covered. (C) This is done so
that the skirt will fall nicely and
not bulge around the stomach
area
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A. Waistline
B. Lower Hip Level
a. Extra Small Figure 5½” (14 cm)
b. Small Figure 6½” (16.5 cm)
c. Medium Figure 7½” (19 cm)
d. Large Figure 8½” (22 cm)
e. Extra Large Figure 9½” (24.5 cm)
f. Lower Hip
C. Skirt Length
a. Regular Skirt Length
b. Mini Skirt Length
c. Midi (mid-knee) Skirt
Length
d. Maxi skirt Length
e. Long Gown Length
Enhancement activity
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Patterns are carefully drafted to give accurate results. They serve as
valuable guide in laying, cutting and assembling the different parts during sewing.
Pattern drafting gives the dressmaker a blueprint of what a garment will look like. It
also serves as a guide for the dressmaker.
.
Pattern Markings are universal symbols and lines designed to help the sewer put the
pattern pieces together quickly, easily and successfully. Every marking is necessary
for specific reason. Not every marking is on every pattern because some are specific
to a certain style or construction technique. Construction markings are very helpful
during the sewing process and transferring them to the fabric is a must.
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Identification:
Directions: Name the following tools used in drafting pattern.
1. ____________________ 2. _____________________
3. ______________________4. ______________________
5. _______________________
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Components of a Project Plan
Enhancement activity
Directions: Make a project plan for your sleeping garment using the template
below. Use separate sheet if necessary.
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Name: __________________________Date Started: _____________
Year and Section: _________________Date Finished: _______________
II. Objectives:
1. ________________________________________________
2. ________________________________________________
3. ________________________________________________
V. Design Specifications:
VI. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage
B1.
B2.
B3.
VII. Evaluation:
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Procedure
1. On your pattern paper, draw a perpendicular line T. Mark the midpoint as 1.
2. From 1, measure 1 cm down to get 2.
3. From 1, measure 1½ cm down to get 3.
4. From 1, measure 18 cm to 25 cm down to
get 4.
5. From 2, apply the front skirt length down tom
get 5F
6. From 3, apply the back skirt length
down to get 5B.
7. Square 4 and 5B to the left.
8. Square 4 and 5F to the right.
Fundamental
Lines in drafting Pattern for Skirt
Enhancement activity
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Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
Item 5 3 1 Score
Let’s Do it!
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Let’s Do it!
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Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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and not
correctly used.
Used the Used the Failed to use
correct method. correct method. the correct
2.Procedure Procedures Procedures method.
correctly partly Procedures not
followed. followed. followed.
All pattern Some pattern All pattern
details were details were details
3. Pattern correctly inaccurately were not
measured and drafted. drafted
accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on time. pattern more
4. Speed of than the
time. allotted
time.
The following are simplified sample patterns for some basic styles of skirts
adopted from the book “Pattern-Making and Sewing of Various Skirt Styles by
Eloisa R. Francisco,
The following are some of the styles of skirts which you are familiar with.
Choose among these samples which will be your project.
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Waist Line
A From the top edge of the
pattern paper, go down 2
inches (5cm.). Mark this point
A. From point A, square or
extend the line across to 15
inches (38.5cm.). This line will
serve as the waistline level.
B From point A (which is the
waist line level), get ¼ of the
waistline measurement by
folding the tape measure into
four parts. Mark this point B.
C From point B, go out 1”
(2.6cm). Mark this point C.
This allowance will make up
for the dart allowance that will
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be added or marked on the
inside of the pattern.
D From point A, go down ½”
(1.3cm). Mark this point D.
D-C Connect point D to point C
with a curve ruler. This
adjustment on the waistline is
to follow the roundness of the
curve of the stomach.
Dart Lines
E From point A, get 1/8” of the waistline measurement. Mark
this point E. Point E will be the center of the dart allowance.
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Zipper Allowance, is attached on the center back of a skirt. Make the
zipper allowance from the side edge of the pattern paper, go 1 inch (about
2.5cm.) and make a straight line vertically.
Zipper Allowance.
Generally, the zipper is attached on the center back of a skirt. From the side edge of
the pattern paper, go in 1 inch (about 2.5cm) and make a straight line vertically. Print
“zipper allowance” on it.
Waist Line
A From the top edge of the pattern
paper on the zipper allowance
line, go down 2 inches (5cm).
Mark this point A. From point A,
square or extend the line across
to 15 inches (38.5cm.). This line
will serve as the waistline level.
B From point A, get ¼ of the
waistline measurement. Mark this
point B.
C From point B, go out 1 inch
(2.6cm). Mark this point C. This
allowance will make up for the
dart allowance that will be added
or marked on the patten.
D From point A, go down ½ of an
inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a
curve ruler. This adjustment is
done on the back skirt pattern to
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follow the “hollowness” of the
upper center hip near the
waistline.
Dart Lines
E From point A, get 1/8 of the waist measurement, then mark this point
E. Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the center of the dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the dart
allowance. Mark this point G.
H From point E, square down for a short figure 5 and ½ inches (14cm.)
for a medium height figure 6 inches (15.5cm.), for a tall figure 6 and /
Inches (16.5cm.). Mark this point H. This will be the length of the
dart. Connect point H to points E, F, G, with straight lines. This will
serve as the dart lines.
Length of Skirt
K From point A, go down to the desired length of the skirt. Mark this
point K. From point K, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
L From point K, get ¼ of the lower hip measurement, by folding the
tape measure into 4 equal parts. Mark this point L.
J-L Connect point J to point L with a straight line.
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K-L Connect point K to L with a straight line.
After drafting the back pattern of a basic straight skirt, review the
measurements. Cut along points D to C to J to L to K, include the zipper allowance.
This pattern can serve as your sloper for other skirt types. Label it with the name of
the owner and keep it in the envelope together with the front basic straight skirt pattern.
Get your interfacing (waist band stiffener or Penellon), and draft the pattern
on it directly.
A-B Get the waistline measuremnt and make a line. Mark this A-B.
C From B, add 3 inches (8cm.) for closure allowance. Mark this C.
D From C, go out 1 inch (2.5cm.), for extra sewing allowance. Mark
this D.
E From A, go down 1 and ¼ inches (3cm.) for the thickness of the
waistband. Mark this E. There is no need for extra sewing allowance.
F From D, go out 1 inch and ¼ inches (3cm.) for the thickness of the
waistband. Mark this F. Connect all points with a straighline. Cut
along points A, B, C, D, E, and F.
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Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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1. Follow the procedure of the front Basic Straight Skirt Pattern or trace the
sloper for the Front Basic Straight Skirt and add point N, for an A-line
silhouette.
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2. For an A-line silhouette, from point L, go out 1 and ½ inches (about 4 cm.)
or more depending on the desired width of the hemline. Mark this point N.
Zipper Allowance, is attached to the center back of a skirt. Make the zipper
allowance from the side edge of the pattern paper, go 1 inch (about 2.5cm.)
and make a straight line vertically.
1. Follow the procedure of the Back Straight Skirt Pattern, or trace the sloper for
the Back Straight Skirt Pattern and add point M.
2. From point L, go out 1 and ½ inches (or 4 cm.) or more depending what was
added on the Front Skirt Pattern for an A-Line silhouette on the Back Skirt
Pattern. Mark this point M.
3. Connect point M with a straight line towards the hip area where the line
connection will be smoothest, or will have the straight line connection.
Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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Item 5 3 1 Score
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Drafting the Front Skirt Pattern of a Four Darted Skirt with Waistline
Facing
Waistline
A From the top edge of the pattern
paper, go down 2 inches (5 cm.) Mark
this point A. From point A, square or
extend the line across to 15 inches
(38.5cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline
measurement by folding the tape
measure into four parts. Mark this point
B.
C From point B, go out 2 inches (5cm.).
Mark this point C. This allowance will
make up for the two dart allowances
that will be added or marked on the
inside of the pattern.
D From point A, go down ½ of an inch
(1.3 cm.). Mark this point D.
D-C Connect point D to point C with a curve
ruler. This adjustment on the waistline
will give way to the roundness of the
stomach.
Dart Lines
E From point A, get 1/8 of the waistline measurement, then mark this
point E. Point E will be the center of first dart.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart
point. Mark this point F.
G From point E, go out ½ of an inch (1.3 cm.) for the end of the first dart
point. Mark this point G.
H From point E, go down 5 and ½ inches (14cm.). Mark this point H.
This will be the length of the first dart lines. Connect point H, to points
E, F, G with straight lines. This will serve as the first dart lines.
I From point G, go out 1 inch (2.6 cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (2.6cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm.) for the end of the second
dart. Mark this point K.
L From point J, go down 4 and ½ inches (11.5cm.). Mark this point L.
This will be the length of the second dart lines. Connect point L, to
points I, J, K with straight lines. This will serve as the second dart
lines.
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Lower Hip Line
M To get the lower hip line, lay the tape measure from point A down to
the lower hip level measurement. Mark this point M. Square or extend
the line across to 15 inches (38.5cm.). This will serve as your lower
hip level.
N From point M, get ¼ o fthe lower hip measurement by folding the tape
measure into 4 parts. Mark this point N.
C-N Connect point C to point N with a curve ruler.
Drafting the Back Skirt Pattern of a Four-Darted Skirt with Waistline Facing
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Generally, the zipper allowance is attached on the center back of the skirt.
Thus, from the edge of the pattern paper, go in 1 inch (2.5cm.) and make a straight
line vertically. This will serve as your zipper allowance.
Waistline.
A From the top edge of the pattern paper on the zipper allowance line,
go down 2 inches (5cm.). Mark this point A. From point A, square or
extend the line across to 15 inches (38.5 cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline measurement. Mark this point B.
C From point B, go out 2 inches (5cm.). Mark this point C. This
allowance will make up for dart allowances that will be added or
marked inside the pattern.
D From point A, go down ½ of an inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a curve ruler. This adjustment is done
on the back skirt pattern to raise the skirt following the “hollowness”
on the upper center of the hip area.
Dart Lines
E From point A, get 1/8 of the waistline measurement. Mark this point E.
Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the fist dart.
Mark this point G.
H From point E, square down to 6 inches (15.5cm.). Mark this point H.
This will be the length of the first dart. Connect point H to points E, F,
G, with straight lines. This will serve as the first dart lines.
I From point G, go out 1 inch (2.5cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (1.3 cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm. for the end of the second
dart. Mark this point K.
L From point J, square down to 5 inches (13.5cm.). Mark this point L.
This will be the length of the second dart. Connect point I, J, K with
straight lines. This will serve as the second dart lines.
Length of Skirt.
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O From point A, go down to the desired length of the skirt. Mark this
point O. From point O, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
P From point O, get ¼ of the lower hip measurement, by folding the tape
measure into 4 equal parts. Mark this point P.
N-P Connect point N to P with a straight line.
4. Now that you have the back pattern of a four-darted skirt. Review the
measurements. Cut along points D, C, N, P, to O (include zipper allowance).
a. Cut the front and back skirt on the sewing line. Include the
allowance at the back of skirt zipper.
b. In the dart lines of the front and back skirt to close the darts.
This will naturally alter the curve of the waistline.
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c. Following the altered curve of the waistline due to the closing
or pinning of the dart lines, go down 3 inches (7.5cm.) from
the center front and center back of the waistline to the side
seam of the waistline, and mark with broken lines. This will be
the shape of the skirt facing without allowance.
d. Get a small piece of pattern paper and pin the pattern paper
under the front and back skirt pattern on the facing area.
Trace the outline of the facing on the pattern paper. After
tracing, remove all the pins.
e. Cut the outline of the waistline facing for the front and the
back skirt. Label front and back facing.
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Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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From the edge of the pattern paper, go down 2 inches (5cm.) which will be the
waistline level. Ark this Y1. Square or extend the line across to 30 inches (76cm.) Get
¼ of the waist measurement from point Y1. Mark the end of ¼ of the waistline
measurement point Z1.
Get the length of the skirt. Mark this Y2, and on this level, get 1/3 of the waist
measurement. Mark this point Z2.
Make a straight line from Z1 to Z2. This will be where the Front Basic Straight Pattern
will be drafted or its sloper wil be pinned and traced. Disregard the dart lines.
The silhouette of the gathered skirt may be straight or A-line.
From point K, extend the hemline to point L with a straight line.
If an A-line silhouette is desired, go out 1 and ½ inches (4cm.) or more. Mark this
point N.
Connect point N to the area of the hip with a straight line where the line will be
smoothest.
Waist which is gathered doesn’t need zipper because the waist will stretch
enough to pass it on hip part.
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If an A-line silhouette is desired, go out 1 and ½ inches (4 cm.) or more. Mark
this point M.
Connect point M to the area of the hip where the line connection will be
smoothest.
Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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The front and the back pattern have the same procedure. The zipper may
be placed on the side of the skirt.
Drafting the Pattern of an All Around Pleated Skirt with Hip Yoke
Get two pattern papers and fold each in the middle.Mark one front and the
other back. Pin the basic straight skirt pattern or sloper on the center fold of
the paper. Trace the basic sloper with the dart lines.DO the same procedure
on the other pattern paper.
Cut along the sewing lines.
Trace the dart oin the other side of the fold pattern.
Draw a line on the desired yoke level or 2 inches (5 cm.) above the lower hip
level. Mark this line as X.
Go up ½ of an inch (1.3 cm.) from point X, and mark Y. Trace the new
markings on the other side of the fold pattern.
From point X, make a smooth vanishing line towards the center of the yoke.
Trace new marking on the other side of the fold of the pattern.
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Cut out darkened part, and separate the yoke from pleated part of the skirt.
Unfold the pattern and draw lines with equal distances to indicate the width of
the pleats. Then cut off the yoke removing the vanishing lines from point Y and
point X. Number the pleats.
Or, unfold the pattern and cut off the yoke removing vanishing lines from point
Y and point X. Then fold the lower skirt on the center and start folding the
pattern paper for the pleats. Continue to fold until you get the desired width of
the pleats. Unfold and draw straight lines along the folds indicating the pleats.
Then number the pleats.
Cut along the pleat lines.
Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
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Item 5 3 1 Score
Adjustments to the fit of a garment must be made before the pattern is cut
out. Once you cut the pieces out of the fabric, it is too late to add extra inches that
you may need. If the garment is too large, the extra effort in redoing your work to
make the garment fit is tedious and discouraging.
These are best accomplished by using slash and spread, slash and overlap or
pleat method.
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a. Starting below the hip, slash all sections of the skirt through and
at right angles to the grainline.
b. Spread the desired amount keeping grainline straight (a to b in
the figure below)
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e. When the enlargement extends only partially through the pattern section,
slash, spread and pin to heavy paper.
f. If the slash crosses the grainline, be sure this grainline is kept straight when
pattern is spread.
a.Starting below the hipline, fold a pleat, half the desired amount of the skirt
keeping approximately parallel to the waistline (a to b in figure below)
a.Slash all sections of the skirt through the grainline, approximately parallel to
the waistline.
b. Spread the desired amount, keeping grainline straight ( a to b in figure
below)
c. When the grainline is in the center, correct cutting line by adding all
increased widths to both sides of lower section (a to c, b to d)
d.Insert a piece of paper in between the spread pieces, pin and cut excess.
4. Making a shirred or pleated skirt from the basic pattern:
a. Determine needed allowance for pleated or shirred skirt. For pleated skirt,
number of pleats x depth of pleats.
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b. Draw a straight line from the hemline to the dart.
c. Cut from hemline to waistline.
d. Spread the pieces together.
e. Insert the paper. Retrace and cut excess.
Let’s Do it!
Pattern Alterations
Directions: Select at least one method in pattern alterations and alter the
basic/block pattern of classmate’s skirt. Let the teacher check the work.
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Before cutting out, sort out all the pattern pieces that are required for the item
you are making. Check them to see if any have special cutting instructions. If there are
no more alterations to be made, just trim patterns to your size.
1. Identify which size to be used for different areas of your body. Use a colored
pen and trace the cutting lines.
2. Use a sharp pair of scissor in cutting the pattern. If you slip and make a cut
where you shouldn’t have, simply tape it back into place. The important thing is
that the shape is retained and that you can still read the markings. Cut carefully
along the cutting lines.
3. Check for seam allowances. Notice the grain lines. The word “directional”
means moving with the grain. In cutting garment pieces from fabric , look at the
pattern piece. You will notice that by cutting from wide to the narrow part of a
piece, you cut with less pull on the grain of the fabric. This is called directional
cutting.
4. Use long, even stroke about 1 inch from the end of the blades of the shears. If
you close the blades with each stroke, the result cut edge will be choppy and
uneven.
5. As you come to the notches (diamond-shaped marks) on the cutting line, cut
them around away from the pattern.
6. Trim multi-size pattern pieces. Single-size pattern pieces do not need to be cut
to shape ; just cut around them roughly if there is excess tissue.
Enhancement activity
Choose one type of skirt from the different types and draft the
basic pattern of it by following the given body measurement.Observe the
step-by-step procedure.
Objectives
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Some of the criteria in judging a finished product are: The garment fits
perfectly, holds its shape, and hangs well. This is why there is a need to prepare the
fabric first before construction to have perfect output.
Patterns are laid out on the fabric to determine if the cloth is enough for all
the pattern pieces. The process is known as pattern layout. In this method, lay out all
pattern pieces in various positions on the fabric by trial and error until they all fit on the
cloth. When all pattern pieces have been laid out, pin them securely on the fabric.
1. The selvage, or the finished edge of the fabric is smoother on the right side.
2. Loose thread ends can be found on the wrong side of the fabric.
3. Fabrics are folded right side in.
4. Prints are clearer and brighter on the right side.
Deciding what kind of fold to use is based on the width of the fabric and the
design of the garment.
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2. Crosswise centerfold- The fabric is folded crosswise at the center with the
raw edges together.
3. Off-center lengthwise fold- The fabric is folded lengthwise with the raw edges
meeting at the center.
4. Off-center crosswise fold- The fabric is folded crosswise with the raw edges
meeting at the center.
Enhancement activity
Let the students perform on how to fold the fabric correctly. Check whether
the fabric is in right position. Supervise them while performing the activity.
P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
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2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
Depending on the fabric’s width, be sure to fold the fabric on grain. Be sure
to put in and mark the necessary allowances on all parts of the garment. Mark the
allowances with tailor’s chalk or with colored pencil. These allowances are represented
by broken lines in the illustrations. Cut along markings of the allowances. The amount
of fabric needed will depend on the width of the fabric and the length and style of the
skirt.
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How to Layout Pattern Pieces of the Basic Straight Skirt Pattern on the Fabric
How to Layout the Pattern of the Four Darted Skirt with Waistline Facing and
Overlap Slit on the Fabric
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1. Fold the fabric with two inches (5cm.) jutting out of the under laying
fabric. Layout and pin the patterns of the front and back skirt. The
center front of the front skirt pattern is joined on the fold of the fabric.
The center back of the back skirt is pinned 1 inch (2.5cm.) away from
the edge of the upper fabric. The 1 inch (2.5cm.) allowance is for the
fold of the overlap slit.
2. Mark the needed sewing allowances. Mark the desired length of the
overlap 6 to 8 inches long (15.5 to 20.5cm.).
3. Cut along the sewing allowances.
4. For the overlap slit, cut excess fabric as shown the illustration above,
and just leave the allowances needed for the overlap slit.
5. Mark the sewing lines.
How to Layout Pattern of an All-around Pleated Skirt with Hip Yoke on the
Fabric
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On a 45 or 60 inch width fabric, with a straight or A-line silhouette.
*Refold fabric so that the front yoke may be laid out on the fold of the fabric
Enhancement activity
Let the students perform how to layout properly the fabric. Check whether
the fabric is in right position. Supervise them while performing the activity.
P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
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Works independently Works Works Works No
with ease and independentl independently with independently but attemp
confidence at all times y with ease ease and with assistance from t
and confidence others most of the
confidence sometimes time
most of the
time
3. Safety work Observes safety Observes Observes safety Most of the time not No
habits precautions at all safety precautions observing safety attemp
times precautions sometimes precautions t
most of the
time
4.Completene Task is completed Task is Task is nearly Task is started but No
ss of Task following the completed completed following not completed attemp
procedures in the following the the procedures in following the t
activity procedures the project plan procedures in the
improvement/innovatio in the project project plan
ns plan
5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/day ___(mins./hours/day attemp
within s) beyond s) beyond t
allotted time
TOTAL POINTS
After the pattern pieces have been laid out on the fabric, the next step is to
cut the fabric. Be very careful in cutting this. If you cut carelessly, time, effort, and
money will be wasted.
A good rule to remember is, always cut along the pattern so that your free
hand rests on the pattern. For the right-handed person, cut to the right of the cutting
line. The fingers of the left hand rest lightly on the pattern along the cutting line.
Reverse this if you are left-handed.
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10. Set aside cut fabric pieces to avoid cutting them accidentally as you work on
other parts of the fabric.
11. After cutting, do not remove the pins and patterns because you will need them
in marking your fabric.
12. Collect and tie all scraps of cloth together for future use. You may be able to
use these for your recycling projects.
If you are right-handed, place You can cut a small clip into the
your left hand on the pattern fabric to mark the dots that indicate
and fabric and hold them in place, the top of the shoulder on a sleeve.
and cut cleanly with the scissor Alternatively, these can be markes
blades at a right angle to the fabric. With tailor’s tacks.
Cut the mirror image of the notches A small clip or snip into the fabric
out into the fabric, rather than cutting is a useful way to mark someof
Out each notch separately, cut straight the lines that appear on a pattern.
across from one point to point.
Enhancement activity
Let the students perform on how to cut the fabric properly. Check whether
the fabric is in right position. Supervise them while performing the activity.
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P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
After cutting the garment pieces, you are ready to transfer your pattern marks
to the fabric. Use tailor’s chalk or dressmaker’s carbon paper aided by a tracing wheel.
Whichever tool you decide to use, make sure that you transfer all important pattern
marks clearly and accurately. The following are the general details to be marked:
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9. any other special markings used to construct the garment
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3. Gently turn back the two layers of fabric
to separate them, then cut through the
threads so that thread tails are left in both
pieces of fabric.
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2. Carefully remove the pattern. The pen
marks will have gone through the tissue
on the fabric. Be sure not to press the
fabric before the pen marks are removed
or they may become permanent.
Enhancement activity
Let the students perform how to transfer pattern markings properly onto
the fabric. Check whether the fabric is in right position. Supervise them while
performing the activity.
P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
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1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
Pre-assembling Procedure
The quality of clothes that we are wearing is affected by the way they are
constructed. Understanding the construction process will help us choose quality
clothes. There are various standards on how they are being constructed either for
ready-to-wear or custom-sewn clothing.
Skirt Unit
Front
1.Stay stitch waistline on seamline from sides through center front.
2.Stitch the darts, Slash and press open curved darts.
3.Finish the bottom edge of the facing with the side seams folded out.
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Back and Side Seams
1.Stay stitch waistline on seam line from side to center.
2. Stitch darts and press toward center.
3. Stitch skirt front to back at side seams. Press seams open.
4.Connect the side seams of the skirt, except where the zipper will be attached.
A. Pressing Techniques
Before Construction
Pressing can straighten grain lines and preshrink fabric, and it eliminates
wrinkles before laying on the pattern. The center crease line should be pressed out of
folded fabrics. Wrinkled tissue pattern pieces may be pressed smooth with a warm
iron as an aid to accurate cutting.
Skilful pressing may substitute for much of the basting; careful pressing of
hems and facings will save much time.
Press each piece in the construction procedure: the seams, darts or tuckes,
before one piece is joined to another.
Ease or fullness may be shrunk out of some fabrics, such as wool and certain
cottons and synthetics, in order to shape a particular piece; shoulder seams, sleeves,
caps, and bust-line seems may require this treatment.
Press straight seams over straight pads and curved seams over pressing
cushion to give them the correct shape.
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Straight Seams
Press seam allowance open with tip of iron for an inconspicuous appearance.
For some contruction procedures press both edges of seam to one side. The seam
may be pressed open before turning and pressing the edges to one side. This may
give a flatter line on some fabrics.
Lapped Seams
Press the turned edge of the top layer before placing it over the underlayer.
Steam press completed seams.
Curved Seams
1. Press seams with outward curves open over a seam board or near the
edge of pressing board. Press only 2” to 3” at a time. Complete the
pressing over a rounded cushion or rolled Turkish towel, taking care not
to shrink or stretch the seam line. Shrink edges of allowances to flattened
seam for a better fit.
2. Clip seams with inward curves to within ¼” of stitching. Press seams open
at seam line over seam board. Do not press beyond seam line at each
side.
Waistline Seams
Press seam allowances open, then press both edges together. Leave the
seam allowances open if neither bodice nor skirt is bulky at waistline seam.
Darts
1. Press dart along the line of stitching.
2. Press waistline and shoulder darts toward the center front and center
back, underarm darts toward the waistline, and elbow darts toward the
wrist.
3. Clip darts which taper at both ends at the center to within ¼” of the
stitching line, press toward the center front or back of garment.
4. Press darts over a rounded cushion to shape the curve.
5. Clip darts open in heavy fabrics to within 1” of point of stitching line; press
flat.
Pleats
Press pleats from hem to waistline.
Zipper Plackets
1. Place the garment at the right side down over a well-padded surface such
as a Turkish towel.
2. Place a pressing cloth over a placket. Hold iron lightly over placket and
press from smaller part of garment to bigger one, such as from waistline
to hip.
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Hem
Press a skirt hem up from the lower edge to avoid stretching. Hems may be
pressed from either side. From the right side, press over a well-padded ironing board.
(Imprint will not come through to right side.) Use a heavy pressing cloth. Hems will lie
flatter if fulness is shrunk out with steam before sewing on seam tape. Curve the hem
tape for a flared skirt by stretching the outer edge as the tape is pressed in a circle.
(Experience Clothing)
Procedure in Assembling
Ladies Skirt
The sequencing for the unit method of construction of the different parts of
the skirt will be basically the same for all skirt types. It is a must, that one should master
the steps in attaching the seams, zippers, pockets, and waist bands. Mastery is
achieved with constant practice.
How to Prepare the Basic Straight Skirt and Basic A-Line Skirt for Sewing
Construction
1. Stay Stitch the waistline ¼ of an
inch (.7cm.) above the waistline’s
sewing line markings. This is done
so that the part which is curved
will not stretch due to handling
since the edge of the waistline will
not be finished.
2. If you do not have an over-edging
machine to finish the raw edges of
the different skirt parts, finish the
raw edges of the side seams and
back center seam by folding the
edge by ¼ of an inch (or 0.7 cm.).
Machine stitch on the fold. The
edge of the waistline need not be
finished for this will be covered
with a waistband. The edge of the
hemline may be finished after the
side seams and zipper seams
have been sewn together.
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3. Fold the dart on the center line,
and join the outer lines with pins.
Sew together. Start sewing from
the top of the dart allowance to the
bottom. Leave tails of threads at
the bottom. Knot these together
around three times to prevent the
stitches from unraveling. Since the
dart is a vanishing line, it is not
advisable to lock stitch the end of
the dart for this will not achieve a
fine point.
4. Pin the center back together.
Leave unpinned where the zipper
will be attached. Get an 8 inch
(20cm.) zipper. If you want a slit at
the bottom of the skirt, leave this
unpinned, too. Machine sew the
center back together and where
slit is. Lock both ends by back
stitches so that machine sewing
will not unravel.
How to Prepare the Four-Darted Skirt with Waist line Facing for Sewing
Construction
1. Finish the bottom edge of the facing with the side seams folded out.
2. Finish the side seams and center seams of the shirt.
3. Close all darts of the front and back skirt.
4. Connect the side seams of the skirt, except where zipper will be
attached.
5. Attach the zipper to the skirt.
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Reverse the skirt to its right side.
Machine sew together on a diagonal
line, the overlap slit to the under lap
slit.
2. Working on the wrong side of the facing, finish one side of the facing by
folding up ¼ of an inch (.07cm.) and machine sew the fold, with the
seam allowances flattened to the waist band proper.
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4. Cut excess sewing allowances, leaving behind ¼ of an inch
(0.06 cm.) allowance.
5. Snip in regular intervals along the waistline, so that the facing and the
skirt will follow the curve of the waistline in a relaxed manner.
6. With the right side of the skirt facing you, fold up the facing with the
sewing allowances laying on the facing. Pin baste them together.
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9. Fold in the facing towards the wrong side of the skirt by pin basting it.
Then secure the facing to the skirt by hand stitching connecting the
facing to the skirt on the seams and folds of the dart. This way the
stitches will not appear on the right side of the skirt.
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10. After all the finishing is done, the reverse of a four darted skirt with
waistline facing will look as illustrated below.
With zipper on the center back with zipper on the left (hand) side
of the skirt
To gather the waistline, pull the tails on both ends belonging to the under
stitches. To pull the tails belonging to the over stitches will result in a snag
because the stitches om top are looped into the under stitch, while the under
stitch just runs straight.
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Gather evenly by pulling the tails and distributing the gaters evenly until it
reaches the desired waistline measurement.
Attach th zipper to the zipper allowance.
Attach the waistband to the skirt.
Finish the edge of the hemline allowance, and fold the hem line allowance and
hem stitch.
How to Prepare the All-around Pleated Skirt with Hip Yoke for Sewing
Construction
Finish the side seams of the yokes and the skirt pieces. Close the darts.
Connect one side of the side seams of the skirt proper.
Lay open and flatten the side seams by pinning to the skirt proper, then finish
the top edge of the skirt proper where the yoke will be connected.
Fold and pin the pleats, then machine sew the pleats in place.
Kinds of Pleats
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Pleats are folds or series of folds in fabric. Pleats are made to fit around the
waist and hip and then left to fall in crisply pressed folds, giving fullness at the hemline.
1. Box pleat is one of the most common types of pleats. It is formed when two equal
folds of fabric are folded away from each other in opposite direstions on the front
of a length of fabric.
2. Knife pleats or Accordion Pleats are series of narrow sharply pressed pleats all
turned in one direction.
3. Inverted Box Pleats are formed by two equal folds of fabric folded toward one
another and they meet at the center of the pleat on the front of the fabric.
4. Kick Pleats are short pleats leading upwards from the bottom hem of garments
such as skirts or coats, usually placed at the back.
Correct fit is one of the first requirements for a becoming garment. The fabric
may be beautiful, the garment design is fashionable, and the construction is perfect,
but the appearance can be ruined unless the garment fits you.
Proper fit is necessary for maximum comfort, too. Fitting standards are called
“snug,” “easy,” and “loose” with perfect fit described as “easy fit.” Although there are
basic guidelines to judge fit, it is an individual matter. Some people insist on wearing
only smooth, well-fitted clothing while others are contented with wrinkles, bulges, and
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binding areas. As you gain more experience, you will be less contented with poorly
fitted garments. (Contemporary Clothing, pp.162-163)
A skirt should lie smoothly at the waist and hip areas. There should be
enough ease so the garment hangs straight from the hips and stomach.
Finishing Touches
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3. Position the skirt with the end of the
zipper facing you in an upside down
manner. Machine sew the zipper to
the skirt with tje presser foot close to
the zipper teeth. It would be ideal if
you use a zipper foot instead of a
presser foot.
1.Start sewing from the bottom of the
zipper, sew until 1 inch (2.5cm.)
before the zipper tag.
2.Stop sewing but make sure the
machine needle is pressed down
on the fabric, then raise the
presser foot.
3.Draw up the zipper tag so that the
needle will not hit the zipper tag
while sewing. Then draw down
the presser foot and continue
sewing. Make sure both ends of
the machine stitches are locked.
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5. Hand baste for easy sewing.
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Waistband Attachment
1. Fold the darts facing the center of
the back and front skirts. Pin and
hand baste darts in place.
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7. Machine sew together the
waistband and the skirt.
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10. Cut off the excess allowances.
Leaving a ¼ of an inch (0.7cm.)
allowance.
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5. Hand stitch the buttonhole to
finish it.
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3. Pull the needle out until the knot
touches the fabric.
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about three times. Cut the
excess thread.
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The edge of a piece of a fabric can be finished with a hem or decorative edge, which
is used for crafts and other home furnishings. The style and fabric being used will
determine the kind of hem finish.
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1. Belts
A belt in a fabric adds beauty as a finishing
touch on the garment. Belts should have
interfacing, the firmer and more structured the belt,
the firmer the interfacing should be. It needs belt
loops to support and prevent it from dropping.
2. Tie-belts
A tie belt is the easiest of all the belts to make. It can
be of any width and made of most fabrics, like
cotton for summer dresses, satin and silk for bridal
wear. Most tie belts require a light to medium
interfacing for support. A fusible interfacing is the
best choice as it will stay in place when tied
repeatedly.
3. Obi Sash
An obi sash is a variation of the traditional sash
that is worn with a kimono. This type of sash has
a stiffened center piece with softer ties that
cross at the back and then wrap to the front and
tie. For firm fabric such as silk duplon, satin, or
heavy cotton, interfacing is not required for the
ties.
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Threshing out the details of the criteria depends upon class and teacher’s
decision, example of the details are given below.
Perfect Student’s Teacher’s
Score Score Score
1.Materials used (15 points)
a. Are the grain lines straight? 5
a. Is the cloth colorfast? 5
b. c. Do the threads, cloth, zipper, 5
c. and buttons (if any) match?
2. Style and Color (15 points)
a. Is the style appropriate for the 5
wearer?
b. Does the color enhance the 5
complexion and flatter the
figure?
c. Does it follow the Art Principles? 5
3.Worksmanship (35 points)
a. Are the seams flat and almost 7
finished?
b. Are the darts correctly located 7
and well sewn?
c. Are the zipper and other 7
fasteners flat and not shown?
d. Are the machine stitches 7
uniform in size and free of snags
and tangled?
e. Is the hem evenly folded and 7
inconspicuously finished?
4.Fit (15 points)
a. Is the garment neither too tight 5
nor too loose?
b. Does the shoulder line fall 5
correctly, neither too high nor
drooping?
c. Is the length appropriate for the 5
wearer?
5.General Appearance (20 points)
a. Is the garment becoming to the 10
wearer?
b. Does it look like it was made by a 10
professional?
TOTAL POINTS 100
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1. Press the garment that are free, such as ruffles, ties, sleeves, or collar.
2. Press pockets, collars, cuffs or buttonholes from the right side.
3. Press the under side with details as facings, including pocket linings, and
seam allowances.
4. Press the whole garment, the bodice first, then the skirt.
5. Place garment on well-shaped hanger and do not wear until it is well-aired
and completely dry. Close the zipper. Remove belt from loops of the
garment, and place the belt on the hanger.
Good and well-made garments lose the quality if they are wrinkled and untidy.
They must be pressed everytime they are worn. Careful pressing and ironing the
garments is necessary tobecome attractive and add beauty.
Enhancement activity
Let the students press the garment parts by following the step-by-step pattern.
Supervise them while doing the activity. .
P E R F O R M A N C E L E V E L
Dimension
Poi
Very Needs
Excellent Satisfactory No nts
Satisfactory Improvement
(4 pts.) (2 pts.) Attempt Ear
(3 pts.) (1 pt.)
(0 pt.) ned
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attempt
equipment and confidently at all equipment correctly and but incorrectly and
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
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2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attempt
step- by-step understandi the step-by-step the step- by-step
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
Labelling of Garments
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3. Care Label – includes wash care and ironing instructions. This is attached at
side seam to warn wearers on what to do during washing, drying or ironing to
maintain the color, design, shrinkage ability and composition that makes up the
garment. Example, 60% cotton, 40% polyester. This also includes the country
where it is made like “Made in the Philippines”, “Made in USA”, etc.
4. Flag Label- is a small label attached at side seam with printed brand logo.
Some garments especially T-shirts have flag label embroidered or printed at
the upper right side of the garment as design feature.
5. Manufacturer Label -includes manufacturer’s code for the buyers who wants
to order the items from different parts of the world.
6. Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for the
internal quality inspection process and rectify which line had made the garment
and which checker had check the same. This is normally attached at side seam
under wash care label.
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A. Plastic Packaging
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B. Paper-based Packaging
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Enhancement activity
P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
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Post Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
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10. It is the process of joining two pieces of fabric the one is slightly longer
than the other to have extra fullness for ease of movement rather than
decoration.
a. Stitching c. Pleating
b. Easing d. Gathering
11. They are folds of fabric which gives fashion and interest to clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12. It is an extra fabric cut the same shape as the facing and inserted between
the facing and the garment to prevent stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the waistline.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15.Darts, buttonholes, pleats, tucks, and pockets placement are examples of a.
Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
Directions. Write True if the statement is correct and False if the statement
is wrong. Write your answer in your quiz notebook.
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C. Identification
Directions. Identify the words(s) that best describes the statements. Write
your answer in your quiz notebook.
________1. What color calls out the silhouette, or outline figure of a human
body?
________2. What color is used to call attention to your body features?
________3. The color which best suggests activity, energy, and gaiety.
________4. The color which is produced when yellow and violet color
pigments mixed in equal amounts.
________5. The family name of a color.
________6. What refers to the brightness or dullness of a color?
________7. The color harmony produced when two colors are opposite each
other on the color wheel.
________8. What makes red, yellow, and blue in a color scheme?
________9. What group of color is formed when red, yellow, and orange are
placed in a group?
_______10. What type of fabric makes you look larger because it adds width
and size to the apparent size of your figure?
D. Matching Type
Directions. Match the descriptions given in (Column A) with the types of lines
given in Column B. Write the letter of your answer in your quiz
notebook.
1. Feminine a. Curved
2. Masculine b. Vertical
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E. Identification
Directions. Name the following illustrations of skirts below. Write your
answer in your quiz notebook.
1. 2.
3. 4.
5. 6.
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7.
1.
2.
.
3.
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QUARTER II
Overview
This chapter covers the outcomes required in drafting and cutting basic/block
patterns for ladies blouse, assembling and applying the finishing touches of the blouse.
There are various types of ladies blouse suited to different personalities. The drafting
of patterns of the different parts of a blouse are presented for you to have your option
in selecting which type or style of blouse you want to have.
General Objectives
At the end of the module, learners are expected to:
Pre- Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz
notebook.
1. It generally refers to a tailored shirt.
a. Pants
b. Trousers
c. Blouse
d. Shirts
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2. A kind of blouse that has a great style for most body types and features a
surplice collar, which overlaps fabric into a v-shaped neckline.
a. Button-Down
b. Peasant
c. Casual
d. Surplice Wrap
3. This type of blouse is popular because its style can be worn by many body
types and in various settings.
a. Surplice Wrap
b. Button-down
c. Peasant
d. Casual
4. A blouse which emphasizes free-flowing materials.
a. Peasant
b. Casual
c. Surplice Wrap
d. Button-down
5. This is egg shaped that is rounded at the top and slightly elongated at the
chin.
a. Round
b. Square
c. Triangle
d. None of the above
6. The top is wider than the ear side going smaller to the chin. The use of wider
necklines is helpful.
a. Heart
b. Triangle
c. Square
d. Oval
7. Rounded at the top and slightly curved at the chin like a human heart. The
shape fits to almost all kinds of necklines.
a. Heart
b. Round
c. Oblong
d. Oval
8. In a round-shaped face, a type of neckline suitable is
a. Round, V-Neck
b. Round, Square
c. Square, Sabrina
d. V-necklines
9. A type of neckline suitable for Square-shaped face.
a. Round, V-neck
b. Round, Square
c. Square, Sabrina
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d. V-necklines
10. These are tops that have been tailored to be worn with jeans or trousers.
a. Peasant
b. Surplice Wrap
c. Casual
d. Button-down
C. Identification.
Directions: Identify the type described in each statement. Write
your answer in your quiz notebook.
1. The type of neckline curve which has the same shape as the neckline of
the garment.
2. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
3. A collar that stands up slightly from the point of attachment to the
neckline of a garment before folding over to lie flat.
4. A flat collar with rounded ends that meet at the front.
5. A collar that is found in garment with front openings, can be worn either
in an open style or in a closed style.
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6. A sleeve that has an arm seam inside the shoulder width.
7. A sleeve that is fitted at the wrist but cut with a deep armhole and
resembles a cape from the back.
8. Measurement taken from left to right shoulder tip bone.
9. Measurement taken across the back halfway down the shoulder.
10. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
1. Chest measurement is taken by measuring one arm joint to the other arm
joint.
2. Waist measurement is taken around the arm where the sleeve length
ends.
3. Lower Arm Girth is taken around the fullest part of the arm 2-3 inches
below the armpit.
4. Apex Height measurement is taken from the shoulder neck tip bone down
to the apex point
5. Upper Arm Girth is taken around the arm in line with the armpit.
6. Apex Distance is approximately 7 inches down the waistline with the tape
measure passing around the hip.
7. Sleeve length is taken around the fullest part of the hip.
E. ANALOGY
Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip
F. Enumeration
Directions: Write what is asked for in the statements below.
Write your answer in your quiz notebook.
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1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
Objectives
Kinds of Blouse
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1.
Button- Surplice
Down Wrap
Blouses Blouses
Button- A wrap
down blouse is
blouses another
are popular great
because style for
their style can most
be worn by body
many body types and in various types
settings. This kind of blouse features a and features a surplice collar, which
neck collar and buttons attached to the overlaps fabric into a V-shaped
front of the garment (as the name neckline. This vertical neckline gives
suggests). The button-down style is the appearance of a longer torso. The
seen mostly in formal and business crisscrossed material breaks up the
settings; it complements dress pants chest and the stomach area -- making
and business suits. However, when the upper body seem smaller than it
worn with a pair or jeans or shorts, might actually be. Surplice wrap
button-down blouses are appropriate blouses are made with or without
for casual events. sleeves. They can be worn alone or
under another garment such as a
denim jacket or work blazer.
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Fabric is the cloth or textile used in the construction of blouses or any other
garment. It is important to choose the best quality of the fabric suited for blouses so
that the wearer will be comfortable. Fabric for blouses is selected in consideration to
the type of occasion, weather conditions, and with the type of skirt or pants being
paired to.
Cotton voile
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Rayon challis is a smooth, lightweight fabric. It
drapes well and is slightly heavier than other
lightweight fabrics, like cotton voile and cotton
lawn.
rayon challis
silk
Cotton Lawn is very similar to cotton voile but
is slightly crispier.
cotton lawn
linen
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chambray
Flannel
Identification.
Directions. Name the following types of skirt fabrics. Write your answer in your
quiz notebook.
_______1. It. is a soft, lightweight fabric. It works well for colder-temperature
shirts, pants and jackets are more appropriate suits to be worn.
_______2. It is a lightweight, semi-sheer fabric with a great drape.
_______3. It is another smooth, lightweight fabric. It doesn’t drape as well as
rayon challis, cotton voile or cotton lawn.
_______4. It is a medium-weight fabric with little elasticity. But it conducts heat
and is a popular choice for warm-weather.
_______5. It is very similar to cotton voile but is slightly crisper.
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Types of Necklines
Necklines frame the neck and face, and one of the most noticeable parts of a
garment. Neckline styles vary from the simplest plain faced neckline, to the more
complex bound neckline, to the tailored front placket opening which must be stitched
with great accuracy. It is best to work on the neckline when only the garment shoulder
seams are joined, so that the neckline can be opened out flat.
The neckline is the edge of the garment opening surrounding the neck. There
are different types of necklines. In choosing which types are sable for you, consider
the shape of the neck and face.
Heart Triangle
Round at the top and slightly curved The top is wider than the ear side
at the chin like human heart. The going smaller to the chin. The use of
wider necklines is helpful.
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shape is fitting to almost all kinds of
necklines. Please see figure. Round, Square neckline is becoming
to this shape.
Round, Square neckline is becoming
to this shape.
Shape of Necklines
. V-shape
Round Shape U-shape A neckline that lies flat
The straight or bias A type of neckline that and in the shape of a “v”.
binding can bind the has the shape of a letter
neck all the way round “U”.
or it can be extended to
for a small bow tie
Sabrina
Square A neckline that appears
A true square neck to be a slit across the top
which is bound or faced of the shoulders and
depends upon clipping neck, secured along the
for success. collar bone, hence a boat
neckline.
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Types of Sleeves
Sleeve is the part of a garment that covers the arm, or through which the arm
passes or slips.
1. Puff Sleeves is a type of sleeve that are gathered at the shoulders and
caught in at the cuff to create an inflated, puffy effect
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3. Raglan Sleeve is a sleeve that has an arm seam inside the shoulder width.
4. Dolman Sleeve
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Identification.
Directions. Identify the following that is being described and illustrate to
complete the table. Write your answer in your quiz notebook.
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Collars
Collars are made up and attached to the garment before the underarm is sewn or
the sleeves are set in. There are three main methods of attaching collars:
1. With a collar that is self-neatening. This is always a simple collar with a straight
neck edge , used on a shirt styled neckline
2. With the use of facing, a method suitable for straight or curved collars
3. With the use of a crossway strip, a method generally for curved collars.
Shoulder seams should be stitched and neatened before attaching the collar
Types of Collars
Collar is the part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently to it, often so as to fold or roll over.
1. Flat Collar
Flat collars have neckline curves that are of the same shape as the neckline of
the garment. This allows them to lie flat on the garment with no roll or stand onto
neck. Flat collars are popular on children’s clothes because children have short
necks. On adult garments they create a youthful feeling.
2. Rolled Collar
3. Convertible Collar
A type of collar that can give a garment a versatile look. Found in garments with
front openings, this is a collar that can be worn in either of two ways, in an open style
and in a closed style. Convertible collars are attached to the garment neckline, and
the collar facing, which incorporates the raw edges during the sewing process. It
ensures that the garment looks good whichever way the collar is being worn. This
means that there is no right side and wrong side to a convertible collar, but both
sides are equally well-finished.
A flat collar with rounded ends Kimono is a sleeve cut in one piece with the
bodice
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INTERFACING
All Facing requires Interfacing. The interfacing is to give structure to the facing
and to hold it in shape. A fusible interfacing is the best choice and it should be cut on
the same grain as the facing. Choose an interfacing that is lighter in weight than the
main fabric.
For a heavy weight fabric use a medium- For a light to medium weight fabric, choose
weight fusible interfacing. Remove the seam a lightweight interfacing and fuse it over the
allowance on the interfacing on the inner curve complete facing
to reduce bulk.
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1. Armhole facing
2.Extended Facing
A facing is not always a separate unit. Many garments, especially blouses, feature
what is known as an extended facing, which is where the facing is an extension of
the front of the garment, cut out at the same time.
A slashed V-neckline occurs at either thee center front or the center back
neck edge. It enables a close-fitting neckline to open sufficiently to go over the head.
Identification
Directions. Identify the following being described. Write your answer in your
quiz notebook.
1. These collars have neckline curves that are of the same shape as the
neckline of the garment.
4. It occurs at either the center front or the center back neck edge.
5. A collar that stands up slightly from the point of attachment to the neckline
of a garment before folding over to lie flat.
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Types of Pockets
Pockets come in lots of shapes and formats. Some, such as patch pockets are
external and can be decorative, while others, including front hip pockets, are more
discreet and hidden from view. They can be made from the same fabric as the garment
or from a contrasting fabric. Whether casual or tailored, all pockets are functional.
1. Patch Pockets
The pocket is formed by top stitching a ‘patch’ of fabric on to the right side of the
garment.
The dress you wear should fit well. Proper fit depends greatly upon accurate
body measurements. No matter how expensive the dress material is. If the dress does
not fit well, you will not look at your best nor feel comfortable in it. On the other hand,
the dress material maybe inexpensive, but if the dress fits you well, you will not only
feel comfortable but will also look good in it.
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Procedure in Taking Body Measurement for Ladies Blouse
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Hip Measure
First Hip- Measurement taken
approximately 7 inches down from the
waistline with the tape measure
passing around the hip.
Second Hip- Measurement taken
around the fullest part of the
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A-E is 2 ½ inches
A-F is ½ chest measurement
A-G `is ½ shoulder measurement
A-H is ¼ bust measurement
A-M is the blouse length, extend ½ inch .
G-I is 1 inch
I–J is 4 inches in line with letter F
C-P is ½ apex distance minus ½ inch
D-O is ½ apex distance
C-L is ¼ waistline measurement plus 1 inch
H-K From H, measure ½ of the armhole
downward
P-R is 1 inch
Q is the center of P and R
M-N is ¼ hip measurement
S Measure 5 inches downward for the dart
and connect them.
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S Measure 5 inches downward for the dart and
connect them.
Enhancement activity
Directions: Get your pattern paper, pencil and ruler (L-square and hip curve).
Draft the Front and Back Blouse Pattern following your own measurements.
P E R F O R M A N C E L E V E L
Dimension
No
Very
Excellent Satisfactory Needs Improvement Attem Points
Satisfactory
(4 pts.) (2 pts.) (1 pt.) pt Earne
(3 pts.)
(0 pt.) d
1. Use of tools Uses tools and Uses tools Uses tools and Uses tools and No
and equipment equipment correctly and equipment correctly equipment attemp
and confidently at all equipment and but less incorrectly and less t
times correctly and confidently confidently most of
confidently sometimes the time
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attemp
step- by-step understandin the step-by-step the step- by-step t
procedure g of the procedure procedure seeking
step- by-step but sometimes clarification most of
procedure seeks clarification the time
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5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/day ___(mins./hours/day attemp
within s) beyond s) beyond t
allotted time
TOTAL POINTS
The following parts are presented for you to have options on what style of
blouse you are going to make. Remember that pattern drafting of various parts of
blouses will depend on the style and design of the blouse.
Let’s Do it!
There are different kinds of necklines which suit different personalities and
shapes of face. Knowing how to draft different necklines will help you in the
construction of garments for yourself and for others.
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1. Trace the basic bodice pattern
2. A-B is 4 cm
3. C is measuring 16 cm from shoulder
4. D is measuring 10 cm from shoulder
5. Shape neckline from C, B, and D
6. From F measure 2.5 cm for zipper
allowance
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Trace the basic front and back bodice
pattern
Mark the meeting point of the back and the
front as point A.
A-B measure 2.5 cm
A-C measure 16 cm
D-E lower the back neckline by 2.5 cm.
Shape the neckline from points B, C to E.
E-F measure 2.5 cm outward for the zipper
allowance.
Rubrics: If you got 1-2; you are good; 2-4 very good; 5 perfect score,
outstanding
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Let’s Do it!
To make the sleeves comfortable, it should be well fitted to the wearer. This lies
on how accurate and correct sleeves are drafted. Following are steps in drafting the
different kinds of sleeves.
A set-in sleeve should feature a smooth sleeve head that fits at the end of your
shoulder accurately. This is achieved by the use of ease stitches, which are long
stitches used to tighten the fabric but not to gather it.
Procedure Illustration
1. Sew the side seams and the
shoulder seams on the garment
and press them open.
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2. Sew the seam of the sleeve and
press open. Neaten seams. Turn
the sleeve to the right side.
3. Around the sleeve head, work
two rows of long stitches
between the notches – one row
at 3/8in (1cm) from the edge and
the second row at ½in (1.3 cm).
These are the ease stitches.
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10. Sew around the sleeve again
3/8in (1cm) inside the seam
allowance.
11. Trim the raw edges of the
sleeve.
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1. Trace foundation sleeve pattern
Let’s Do it!
Collars vary in sizes and shapes. These will depend upon the wearer.
Regardless of the type of collar you are making, your arm should be an underneath
layer which does not show. Different types of collars are drafted in different ways.
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Drafting Flat Collar
1. On folded pattern paper, draw horizontal line and mark the corner as A.
2. AB is width of collar. Extend point B.
3. AC is ½ neck measurement
4. BD is same as AC. Connect points CD
5. CG is 2 cm
6. Rise D to H by 1 cm. Connect points H and G.
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Drafting Convertible Collar
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1. Place the two pieces of collar with right side together and matching fitting line.
Pin tack and machine stitch trough the fitting lines on the three sides of the collar,
start and finish the stitching at neck fitting line (see illustration below)
Alternative method where collar is cut in one piece, fold right side together
matching the fitting lines and stitch end lines, finishing at neck fitting line.
Remove tacks and press.
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3. Turn collar right side out and bring stitched line up on the fold, tack around
the edge to the neck fitting line. If fabric is slippper baste the two layers
together
Note: If the outer edge of collar is curved, snip V-shaped notches out of the
turning along the curve.
1. Make up collar as directed. Neaten the raw edge on the front facing.
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4. With upperside of collar against
the wrong side of bodice, place
edges of collar to the center fold
lines. Fold turnings of under collar
away towards worker. Matching
neck fitting line of bodice and
upper collar only, pin, tack, and
machine stitch. Fasten off ends
securely, remove tacks and press.
Trim turnings to 0.6 cm and snip
where necessary.
5. Turn the collar up and over turnings. Press collar up from the stitched
line so that turnings are enclosed.
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4. With right side together pin band to
underside of collar matching center
back and balance marks.
5. Right side together, pin band facing
to band, over the collar matching
center back balance marks and
fitting lines. Tack and machine
stitch around three sides of the ban
from points AB leaving neck edge
free. Remove tacks, press
stitching, trim seam and snip where
necessary.
6. Turn through right side and bring stitched line up on the fold and tack
around the edge.
7. Working from the wrong side of the
garment, pin band facing to neck
edge matching center back and
fitting lines. Tack and machine
stitch on neck fitting line. Remove
tacks, press stitching, trim turnings
and snip curved edges.
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b) Neaten the outer edge of the facing all round by folding 0.6 cm
turnings to the wrong side. Tack, machine stitch, close to the fold.
Remove tacks and press
3. Place underside of collar to
right side of garment and
bring edges to center fold
lines. Matching balance
marks and fitting lines and
pin and tack the collar in
position
4. Place prepared facing over
the collar with right side of
facing to right side of
garment. Matching all
balance marks and fitting
lines pin, tack, and machine
stitch all round. Remove
tacks and press. Trim
turning to 0.6 cm, trim off
corners and snip into seam
allowance of the curved neck
edge.
5. Fold facing over the wrong
side and gently ease out the
corners. Bring stitched line
on to the fold and press
carefully. Tack around the
edge of facing and base of
collar to hold in position until
garment s completed
6. Secure the facing by
hemming in place on to the
seam allowance of the
shoulder seam. The front
facing will be held in place by
buttons, buttonholes and
hem.
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Turn collar right side out and bring
stitched line on to the fold, press
carefully. Tack round the edge to keep
the fold in place. If fabric is slippery
baste the two layers together.
1. Make up a collar as directed. Neaten the raw edge of center back or center
fold facing extension. Cut a crossway strip 2.5 cm wide and length of neck
edge.
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6. Turn strip up from stitched line
and press. Turn strip edge facing
on to wrong side and gently ease
out the corners. Crossway strip
now forms a narrow facing. Tack
against base of collar to hold edge
of facing i place
Facing on Armhole
1. With right side together join facing pieces on fitting line with a plain seam at
shoulder and underarm.
2. Fold over 0.6 cm turning rom the outer edge of the facing on to the wrong
side and tack.
Stitch 0.3 cm in from folded edge.
Remove tacks and press.
3. With right side of facing to right side of the garment,
match balance marks fitting lines and seam lines at
shoulder and under-arm.
Pin, tack and stitch into position.
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6. Attach the facing in position by hemming on to the
turning only of shoulder, under-arm and any panel
line seams.
Remove tacks.
Note: Before turning through the wrong side, press facing up from the stitched line
and against the turning. Stitch the facing on to the seam allowance only about 0.3
cm. from stitched line
1. With right side together and matching fitting lines, join front and back neck
facings with a plain seam. Press seams open and trim turnings to 1 cm.
2. Fold over 0.6 cm turning from
outer edge on to the wrong side
and tack (not center back edge).
Machine stitch 0.3 cm in from fold.
Remove tacks and press.
3. With right side of facing to right side of garment, pin center fold and center
back in position. Then, matching shoulder seams, balance marks and fitting
lines, pin, tack and machine stitch the neck edge.
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4. Remove tacks and press stitching
and using a pad press turnings
open to ensure a good fold. Trim
turning to 1 cm (0.6 cm for fine
fabrics) and snip seam allowance
of the curved edge and trim off
corners at center back.
5. Turn facing to wrong side, bring stitched line to edge of the fold and tack into
position.
Construction of a Facing
The facing may be in two or three pieces in order to fit around a neck or
armhole edge. The facing sections need to be joined together, prior to being
attached.
Procedures Illustration
1. Baste together the pieces of the
facing at the shoulder seams.
Fusible interfacing
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2. Sew the shoulder seams and
press open
3. Stay stitch around the edge of
the inner curve, to prevent
stretch.
4. Trim off the outer corners on
the shoulder seams.
The outer edge of a facing will require neatening to prevent it from fraying, and
there are several ways to do this. Binding the lower edge of a facing with a bias strip
makes the garment a little more luxurious and can add a designer touch inside the
garment. Alternately, the edge can be sewn or pinked.
Procedure Illustration
a. Making your own bias
strip is easy. Open out
one folded edge of the
bias strip and place to
the outer edge of the
facing, right side to right
side.
b. Sew along the crease
line in the bias.
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d. Working from the right
side of the facing, stitch
in the ditch made by
sewing the bias to the
facing.
Procedure Illustrations
1. Fold the fabric on to itself at
45 degrees so the selvage
edges are at right angles to
each other. Pin in place.
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Other Neatening Methods:
The following techniques are alternative ways to neaten the edge of a facing.
The one you choose depends upon the ferment being made and the fabric used.
Method: Illustration:
Serged – The outer edge neatened
with a 3-thread serger stitch.
Armhole Facing
Procedure: Illustration:
1. Construct the armhole facing and neaten outer
edge by the preferred method.
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2. Place the facing to the armhole, right side to right
side. Match at the shoulder seams and at the
underarm seam.
3. Match the notches, one at the front and two at
the back. Pin the facing in place.
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9. Press the edge. On the right side, the armhole
will have a neat finish.
This technique applies to all shapes of neckline, from round to square to sweetheart.
Procedure: Illustration:
1. Apply a fusible interfacing to the facing.
2. Lay the neckline area flat, right side up.
Place the facing on top, right side to right
side.
3. Match the shoulder seams.
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8. Clip V shapes around the neck edge.
9. Clip into the facing side of the seam as
well.
A slashed V-neckline occurs at either the center front or the center back neck
edge. It enables a close-fitting neckline to open sufficiently to go over the head.
Procedure: Illustration:
1. Apply a fusible interfacing to the facing.
Place the facing right side to right side
on garment, to the right side of the
neckline.
2. Match the shoulder seams, then pin in
place.
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3. Sew the facing at the neck edge,
pivoting to sew along both sides of the
slash between the tailor’s tacks. Take
one stitch horizontally at the bottom
edge of thee slash line.
4. Trim the facing side of the seam down to
half.
5. Clip V shapes at the neck edge to
reduce the bulk.
Binding is an excellent way to finish a raw neck edge. It has the added
advantage of being an alternative method that can be used if you are short of
fabric or you would like a contrast or decorative finish. You can use both bias
tape or a bias strip cut from the same or a contrasting fabric. A double bias strip
is used on fine fabrics.
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2. Sew in place along the crease line.
3. Trim away the surplus fabric from the
seam allowance.
Procedure: Illustration:
1. This technique is used on bulkier fabrics.
Cut a bias strip 2 ¾in (7cm) wide.
2. Pin to the neck edge.
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6. Fold the raw edge of the bias to the
wrong side, to touch the sewn line.
7. Fold again to bring the folded edge of
the bias to the same place, and pin.
Extended Facing
Procedure Illustration
1. Mark the foldline that divides off the facing area
and crease by pressing.
2. Apply fusible interlacing to the facing area as far
as the foldline.
3. Neaten the edge of the facing.
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5. Sew around the neck edge to join the facing of
the garment.
6. Trim the facing side of the seam and clip the
seam allowance.
To apply a facing follow general methods and place right side of facing to wrong
side of pocket, matching fitting lines of top edge, and tack and machine stitch. Remove
tacks, press stitching and turnings, open and trim to 0.6cm.
Turn facing to R.S. and turn under 0.6cm along lower edge, tack into position and
top stitch.
To attach pocket:
Welt Pocket
This pocket insert into the garment with an opening strengthened by an added
welt, which is the only section visible when completed. It may be inserted on the
straight grain or at an angle to it. The pocket bag is made from two sections, the back
cut from the same fabric as the garment and the front from a fine lining fabric.
1. Mark the position of pocket mouth, if not on the straight grain, baste a piece of
tape on interfacing to the W.S. Pocket mouth should be at least 9cm wide.
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2. Fold the welt in half lengthwise R.S. together, tack and machine stitch the ends
on the fitting line. Press, trim and turn R.S. out.
3. Tack the prepared welt into position on the R.S. of the garment so that welt
faces downwards and the fitting line is 0.5cm below the position mark for the
pocket mouth.
4. Place the front lining section of the pocket over the welt, matching fitting lines.
R.S. of lining to R.S. of garment, tack through all four layers. R.S. of lining to
R.S. of garment, tack through all four layers. Place the back section of the
pocket above the pocket mouth with R.S. together and tack into position with
the fitting line 0.5cm above the position mark for the pocket mouth
5. Machine stitch the fitting line each side to exact width of pocket mouth. Ensure
that lines are parallel and equal in length. Fasten off all ends very securely.
Remove tacks and press.
6. Fold the pocket mouth in half and snip on the fold, open out and cut to within
0.6cm of the ends and then diagonally into the corners. Turn both pieces of the
pocket through to the W.S. and press seams so that each piece hangs
downward. Press the welt into an upright position on the R.S. to hide the pocket
mouth.
7. Tack the front and back of the bag together making them the same width as the
welt. Machine stitch along the tack line. Press, trim the turnings to 0.6cm and
neaten with over-sewing.
8. Tack welt into position of the R.S. of the garment and blind hem or over-sew
both ends from R.S. making both top points very strong as they take the most
strain.
In cutting the final pattern, there are always standard procedures to be followed
to avoid mistakes in cutting the pattern which would affect the shape and style of
the blouse.
Cut pattern pieces just along the cutting lines. Use sharp shears and avoid cutting the
inside part of the cutting lines otherwise the actual measurements will be affected.
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Learning Outcome 2 Prepare and Cut Materials for Ladies Blouse
Objectives
Decorative Finishes
The method of decoration must be suitable for both the fabric and the
style and purpose of the garment. If the garment is to be laundered it is essential that
the decoration can be laundered in the same manner.
1. Shell Edging
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NOTE: Spaces in between the double tight stitches should not be more than 1 cm to
achieve the correct pinched effect.
2. Lace
For joining lace use the finest thread available that is suitable for the color and
texture of the lace. For applying lace use a firm silk or cotton thread that does not
fluff but which handles and looks well.
To join
1. Match the pattern by overlaying the two layers exactly; the effect will
otherwise be blurred.
2. Closely oversew around the corded edge of the design to completely join the
lace.
3. Trim away the raw edges close to the stitching on both R.S. and W.S.
To shape
If less than 1.25cm wide, ease the lace into position: if more than 1.25 cm
wide used without gathers, it is necessary to make small darts at corner point.
1. For the central angle of brassiere top slip sew a small dart with its point going
into the angle.
2. For the shoulder strap point, reverse the placing of the point.
3. On the W.S. flatten the dart and hem on to the back of the lace.
1. Oversewing the edge closely to the garment and trimming away the surplus
fabric: this is not suitable for gathered lace.
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2. Overlay the lace on to a narrow folded hem and machine stitch.
3. Overlay the fabric on to the lace and make an overlaid seam.
4. Oversew the lace to the edge of a triple-folded hem.
The repetition of the design may be too large to allow for the pattern to meet
exactly; the same method is used to join and shape the lace.
1. Mark the fitting lines on the lace and overlap the sections so that the fitting
lines match.
2. Select and mark the best continuous outline of the lace that passes across the
fitting line.
3. Oversew very closely on marked line and trim off surplus lace.
To attach
Either sew stitch or pinstitch the edge of the lace on to the garment, trimming
away any surplus fabric. On piece lace do not make a hem but utilize the finished
edge of the lace.
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3.Braid
Flat Braid
1. Tack the braid flat into position, making small metered seams at the angles
and joining the ends if necessary.
2. Machine stitch or backstitch the braid along each edge. Remove the tacks
and press.
By hand: Guide the braid on equally over the edge and tack through the layers,
Stab stitch along the edge of the braid from the R.S. through to W.S.
By machine: Open out the braid and tack into position on R.S. with ½” width of
braid projecting from the edge. Machine stitch along edge of the braid. Turn the
projected edge over on to the W.S. and hem on to the machine stitching.
Corners: Wide corners can be negotiated by stretching the middle of the braid
and easing the edges.
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3. Ruffles. Ruffles is a single layer or double layer of fabric which are used to
give a decorative effect to a garment. The amount of fullness in a ruffle
depends on the fabric used. A fine, thin fabric will be needed twice the
fullness of a thicker fabric.
In laying out the pattern pieces onto the fabric, study the direction of the fibers
that are woven into the fabric. It is the grainline of the fabric. This is where the
pattern pieces are laid out.
To locate the grainline, one should be familiar with the following parts
of the woven fabric.
13. Selvage. This is the finished side edges of the fabric. It is tightly woven
to avoid unraveling. Sometimes, it is where the brand name is printed.
This is also spelled selvedge.
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14. Lengthwise grain. This is known as the warp which runs parallel to the
selvage and the strongest grainline with least amount of stretch.
15. Crosswise grain. This is known as the weft. This runs from selvage to
selvage.
16. Bias. This is the line that runs diagonally across the fabric. The true bias
is always at a 45-degree angle to the crosswise and lengthwise grains
and is the fabric’s stretchiest point.
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For One-way Fabrics
f. One-way print
g. One-way arrangement of woven stripes
h. With nap- woolen and mixture fabrics with surface fibers lying in one
direction only. This should be cut so that the fibers run down towards
the hem.
i. With a cut pile- silk velvets with the pile lying upwards and velveteen,
needle cords and corduroy with the pile running downwards.
1. Lay the patterns in the same direction, main sections can be interlocked
for economy of fabric.
2. Fabric may be folded in half-lengthwise but should not be folded across
the width as this will reverse the pattern on pile.
1. The fabric should be folded correctly so that all lines are exactly in position
one over the other.
2. Place the pieces against the first fold and arrange the other pieces
accordingly.
3. Place and join the balance marks, center and hem lines of the sections to be
identical position on the checks or stripes.
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Before transferring the marks onto the fabric, check the correct measurements,
follow directions, and set sharp pins or make a chalk mark at the exact point
indicated. To mark cutting lines with chalk, lay your ruler or yardstick carefully on
perfectly smooth fabric, marking the line exactly from point to point. For circular
cutting lines, use tracing wheel to achieve greater accuracy in measurement.
An expert sewer need not transfer every single mark onto the fabric, but for
beginners like you, there is a need to transfer every mark onto the fabric to avoid
confusion and as to where the marks should be properly placed.
1. Notches. These are small triangular markings which are used to match fabric
pieces together.
2. Darts. Instead of drawing all the lines of a dart on your fabric, snip the ends
into the seam allowance of the fabric and mark the point with a pencil or water-
or air-soluble fabric marker.
4. Buttonhole lines. Marking buttonhole lines should be done during the sewing
stage. This is to customize button placement to get the right fit and to avoid
mistakes in marking the fabric when alteration should be done.
6. Zipper placement. Zippers are marked on patterns with a cross- hatched line
that ends in a circle. There’s no need to transfer all the marks. Just mark the
end point or the bottom of the zipper.
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In cutting the fabric, it is best to use good shears with 7” or 8” blades. Always
cut with long even strokes, following exactly the cutting lines. Use short strokes
and the points of the shears when cutting short spaces and in turning corners as
shown by the pattern. Cut the fabric flat on the cutting table which is free of any
obstacles. Use the other hand to hold the fabric in position while cutting some
parts of it. In cutting folded fabric, place pins within to hold the two pieces firmly.
Do not place the pins on the cutting lines.
Cut lining and interfacing at the same time. There are times that the fabric is
slippery like silk, it is necessary to lay tissue down first to serve as an anchor, pin
the silk on top, and place your pattern on top of the silk. Cut through all the layers
to have accurate set of fabric pieces. It is a good practice to iron the pieces of
tissue pattern before cutting them together with the fabric.
There are times that the fabric is so delicate and pin holes from pins might
ruin the appearance of the fabric, avoid using pins instead use weights and place
them at the corners of the pattern pieces.
When cutting the pattern pieces, do not lift the scissors from the table; keep the
bottom blade fixed, gliding the top blade carefully. Make your cutting continuous.
Objectives
Pressing Tips:
• Let the weight of the iron do it for you. Not only is it effortleess, it’s
effective. The only exceptions are fusing interfacing or using a clapper,
both of which require pressure.
• Cooling. After the cloth is pressed, don’t move unti it has cooled. While
still warm, movement puts all those crinkles back, and you have to go
back to the ironing board. It pays to press ahead and hang your warm
garment.
• Pins. Never press with pins on, It leaves a permanenet mark. Plastic
pins can melt on to your fabric.
• Zippers. Never press on zipper coils – they melt! Stay away from hooks
and eyes and other plastic pieces. Who wants plastic go on a
garment?
Gathers
Press gathers toward the gathering line by sliding the iron into the gathers
and lifting it or sliding it straight back. Do not move the iron sideways or press across
gathers or press beyond the seam line from the plain side, when it is joined to a
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gathered side. The pressing of gathers may be made easier by lifting the gathered
edge from the board as you press.
Body of Sleeves
Use a sleeve board and pressing mitt for easier pressing of sleeves. Place
the sleeve with wrong side out over the sleeve board with the lower edge of the sleeve
at small end of the board.
1. Press underarm seam allowance open.
2. Press from the armhole to the lower edge of the sleeve.
Sleeve Cap
Gathers in the sleeve cap may shrunk out before setting in the sleeve. Place
wrong side of sleeve cap up over small pressing hem, or use rounded end of sleeve
board. Use a steam iron or a sponge in pressing cloth, press from seam edges to the
stitching line.
Armhole Seam
1. Place the lower edge of sleeve, right side out, over the small end of the
sleeve board and press.
2. Remove sleeve and slip the point of the iron inside the lower edge of the
sleeve and press the hem or facing.
Stayline or Staystitching
Stayline is a single line of stitching through one layer of fabric to prevent it from
becoming stretched.
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Let’s Do it!
How to Stayline
1. Adjust the seam gauge so the stayline in in the seam allowance, ¼ cm from the
seam allowance.
If you do not have a seam gauge, a piece of adhesive tape can be used to mark the
desired seam allowance on the machine. Exceptions to the ¼ cm distance from the
stitching line will be:
Let’s Do it!
How to Stitch
To Machine Stitch
1. Put the needle on the cloth exactly where the stitching is to start.
2. Lower the presser foot.
3. Start balance wheel in direction it is to go.
4. Begin to stitch with the guiding material as directed.
5. Stitch the garment together with the grain, just as was done in cutting and
staylining.
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Let’s Do it!
Back of Blouse
1. Stayline the neckline, shoulder, and armholes.
2. Stitch the darts. They are the only construction details on this part of the
garment.
3. Fold and put it aside to be pressed with another piece.
Sleeve
1. Stayline sleeves
2. Gather between notches, over top of sleeves or cap, use this stitching to
take in the fullness.
3. Stitch underarm seam.
4. Hem sleeves.
5. Set sleeves Into armholes, matching notches.
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Let’s Do it!
1. Use the longest stitch. Baste-stitch along fold lines, center back lines, and
buttonhole marking to transfer the traced lines to the right side of the blouse.
2. Change the machine setting to about 154 stitches per 2.5cm, the stitch size
you use for most sewing. Make staylines as indicated on the diagram. Stitch
in the direction of the arrows slightly closer to the edge of the material than
the seam line.
3. Stitch darts and dart tucks. Match dart lines, pin and stitch from the wide end of
the dart to the point. Clip threads, leaving ends 1-1/4 to 1-1/2 cm long or, if you
prefer, fasten the stitching line by tying the threads or by retracting. End dart tucks
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by turning a right angle and stitching across the edge of the fold. This holds the
Blouse Front
1. Pin the shoulder seams with the right sides of the blouse front and blouse
back facing. Matching notches, first, then seam ends. Be sure that the
stitching lines (not raw edges) match at the neckline. Stitch with the grain
from the neckline outward
2. Stitch the shoulder seams of the facing as you did on the blouse.
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by clipping away the corners of the allowances on seams that have been stitched
Pressing
Press darts toward center lines or downward. Press seams open, in the direction
they were stitched.
1. Staystitch around the unnotched outer edge of the neck facing, 1/2cm from the
raw edge. (This is especially helpful around curved edges.)
2. Edge-stitch the outer facing edge. To do this, fold under and crease the facing
barely inside the stayline along its unnotched edge. Stitch on the right side quite
close to the fold line.
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3. To join the neck facing the blouse, match the center lines, notches, and shoulder
seams, then pin them together. Stitch in a continuous line around the entire
neckline and along each side of the closing.
4. Trim seam edges to about 1/2cm in width. Cut away excess cloth at the corners.
Clip partially through the remaining seam edge around the neck at 1 1/4cm
intervals. Now turn the facing into position and finger press to shape it.
5. Understitch facing edges to keep the facing from extending beyond the blouse
edge. Do this by turning both seam allowances back against the facing, then with
the facing side up stitch near the neck seam allowances. Be careful to keep the
facing smooth and perfectly shaped as you stitch. Understitch along the closing
edges where buttons and buttonholes are used.
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6. Tack the edge of the neck facing in place by hand at the shoulder seams and at
darts. Use several stitches to make each tack. It is not necessary to attach the
entire edge of the facing to the blouse by hand, since button and buttonholes help
to hold it in place.
For hemmed sleeves, edge-stitch the raw hem edges just as you did in the outer
edge of the neck facing.
For faced sleeves, edge-stitch the unnotched facing edge. Then attach the
facing to the sleeves with a plain seam. Under stitch the facing edge as you did in
the neck facing. Press the facing back against the sleeves. (Shaped facings – those
with curves or corners – have to be seamed to form a circle; then they are attached
after the blouse side seams are made).
Stitch the side seams from the lower edge upward, be careful to extend the
sleeve hem or facing as you do. (When in doubt as to the fit, baste-stitch the side
seams and try the blouse on before you stitch the seams.) Clip the seam allowances
at the waistline so the seam can be pressed flat. Curved underarm seams need
clipping, have to be reinforced. One way to do this is to staystitch each curve before
stitching the seam. Then clip to the stayline only. Another way is to baste folded
seam binding beneath the curved seam just before it is stitched. Then, with seam
binding down, stitch the seam and clip almost across the seam allowances. In either
case, finish seam edges and press.
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Finishing the Sleeves
Turn the facings or hems under and, after pinning and basting, hand hem
them in place with a vertical hemming stitch.
Pressing
Press the neckline and closing edges. If your pattern calls for sleeve hems,
fold them back along the fold lines and press.
Finish the lower edge of the blouse. Two rows of stitching 1 cm apart just
inside a pinked edge make the flattest finish. Be sure that the facing is held in place
and caught with the lines of stitching.
If you prefer, you may hem the edge, stitch across the lower facing edge at
the time you attach to the blouse, with right sides together. You may do this if you
missed the step earlier.
Fastening
1. Use either machine made buttonholes or make worked buttonholes by hand. Sew
buttons on, be careful to form a shank or stem under each.
2. When necessary, use either small snaps or tiny, flat buttons, and thread loops to
hold the upper part of the closing in place. Use snaps or buttons to hold the blouse
together below the waistline.
Press the blouse lightly from the right side. Fit in your blouse. This will
complete the process. Congratulations! You have just made your masterpiece.
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The kind of fit desired in clothing changes with style and fashion as well as
personal preference. No definite rules can be set as to the exact way a garment should
fit. However, regardless of fashion, style, and personal preference, a well-fitted
garment should possess.
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3. General Appearance
a. Pleasing combinations
of colors (buttons) 25%
4. Fitting
a. Neckline fits snugly on
neck.
b. Shoulder seams on
shoulder line.
c. Shirt not too tight, not
too loose. 10%
5. Speed
a. Finished on the 100%
deadline.
TOTAL
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Learning Outcome 4 Apply Finishing Touches on Ladies Blouse
Objectives
This is the final stage in making a blouse. Careful application of the finishing
touches should be applied to give the nearly finished output a more quality feature.
Knowledge on the fasteners to be applied should be well crafted to match them well
to the garment.
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many shapes
and sizes and can be made from a variety of materials including shell, bone,
plastic, nylon, and metal. Buttons are sewn to the fabric either through holes on
their face, or through a hole in stalk called a shank, which is at the back. Buttons
are normally sewn by hand, although a two-hole button can be sewn by
machine.
a. Sewing on a 2-Hole button- This is the most popular type of button and
requires a thread shank to be made when sewing in place. A toothpick will
help you to sew on this type of button.
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4. Wrap the thread around the thread
loops under the button to make a
shank.
b. Sewing on a 4-hole button- This is stitched in the same way as for a two-hole button
except that the threads make an X over the button on the front.
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5. On the reverse of the fabric,
buttonhole sew over the thread loops in
an X shape.
c. Sewing on a Shanked Button- when sewing this type of button in place, use a
toothpick under the button to enable you to make a thread shank on the underside of
the fabric.
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Snap Fastener
Snap Fasteners are used where a lightweight fastening is needed. They are
available in a black or silver metal finish in a range of sizes. Small, clear plastic
snaps may be used on fine fabrics. There are many types of nonsew snap with
decorative metal or colored caps, which are attached using a special tool or a
hammer.
Snap Fastener
Made from a nylon or metal, this
fastener is formed from a ball and
socket, which simply press or snap
together and are easily pulled apart.
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Ball-and-Socket Fastener
Hooks are versatile fasteners that can fit into both straight bars and round eyes
and are strong enough not to open under stress. They are made in different sizes
and strengths and are frequently used on waistbands at the top of the zipper
openings. Sew-on snap fasteners are available in range of sizes, and non-sew
snaps provide an alternative to buttonholes on casual garments. Hook-and-loop
fasteners, usually cut from a strip, are easy to open and close and are often used for
garment detail such as cuffs, and in home furnishings.
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Skirt hook and bar
This sturdy set is used on pants and skirt
waistbands. The design stop the hook from
slipping off the straight eye.
Identification.
Directions: Name the following fasteners. Write your answer in your quiz
notebook.
1. ____________________ 2. ___________________
3. ____________________ 4. ___________________
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Let’s Do it!
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2. Stitch around the first hole on a bar.
Slip the needle between the fabric
layers, along to the second hole, and
stitch around it. Slip the needle to the
second bar position and stitch. Finish by
fastening the thread securely.
Zipper
The zipper is the most used of all fastenings. There are many types available, in a
variety of lengths , colors, and materials, but they all fall into one of five categories:
skirt or pant zippers, metal or jeans zippers, invisible zippers, open-ended zippers,
and decorative zippers.
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will require the zipper foot on the sewing machine. A lapped features on one side of
the seam- the left-hand side- covering the teeth of the zipper to conceal them.
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6.Fold back the left-hand seam
allowance by 5/6in (1.5cm) and press.
Place the folded edge over the sewn
line of the other side. Pin and then hand
baste along foldline.
b. Open-Ended Zipper- The open-ended zipper is used on garments to lack the two
sides of the zipper into place. The zippers are closed using sliders, and are used on
jackets. It needs to be fully opened in order to put the garment on.
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10. The zipper should be open
completely.
c. Centered Zipper- With a centered zipper, the two folded edges of the seam
allowance meet over the corner of the teeth, to conceal the zipper completely.
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the zipper tape away from
the main fabric. Pin.
6. Sew the zipper tape to
the seam allowance.
Make sure both side of
the zipper tape are
secured to the seam
allowances. Sew through
to the end of the zipper
tape.
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d. Invisible Zipper- This type of zipper looks different from other zippers
because the teeth are on the reverse and nothing is seen except the pull is seen on
the front. The zipper is inserted before the seam is sewn. A special invisible zipper
foot is required.
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4. Do the zipper up. Place the other
piece of fabric to the zipper. Match
along the upper edge. Pin the other side
of the zipper tape in place.
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7. Sew the seam below the zipper. Use
the normal machine foot for this. There
will be a gap of about ½ in (3mm)
between the line for the zipper and that
for the seam.
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Hemming Stitches
Machine-sewn
On many occasions, the hem or edge of a garment or other item is turned
up and secured using the sewing machine. It can be sewn with a straight stitch,
a zigzag stitch, or a blind hem stitch. Hems can also be made on the serger.
Let’s Do it!
Procedure:
1. This is a popular
technique. Turn up the
hem to the wrong side of
the work. Press in place.
2. Sew with a straight stitch
close to the hem edge.
Procedure:
1. This hem will add weight
at the edge. Fold up the
raw edge of the fabric
once and then fold
again.
2. Press and pin in place.
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Procedure:
1. This is a single turn hem
that is secured using the
blind hem stitch on the
machine. Neaten the
raw edge of the fabric.
2. Fold the fabric as
indicated for your
machine. Pin, but not
too close to the fold..
3. Using the blind hem foot
and the blind hem stitch,
secure the hem. The
sewn line should be just
below the neatened
edge.
Fine fabrics or fabrics that fray badly require more thought when a hem
is to be made. This technique works very well on delicate fabrics.
Procedure: Illustration:
1. Turn up the hem with a
single turn.
2. Baste to secure.
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3. Set the machine to a
zigzag stitch, width 3.5
length 2.0, and zigzag
close to the fld.
4. Trim away surplus hem
allowance. Press.
Rolled Hems
Use the rolled hem foot on the Use the rolled hem foot on the
sewing machine and a straight sewing machine and a zigzag
stitch. stitch.
Fused Hem
A fused hem is useful for a fabric that is difficult to hand sew, as well as
for an emergency hem repair. It uses a fusible web that has a fusible adhesive
on both sides.
Procedure Illustration
1. Turn up the hem to the
wrong side of the fabric.
Baste the hem in place
close to the crease line.
2. Neaten the raw edge with a
serger or zigzag stitch.
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3. Insert the fusible hemming
tape between the hem and
the wrong side of the
garment. Make sure the
tape sits just below the
serger or zigzag stitch. Pin
the tape in place.
Bias-bound hems
A bias-bound hem will give a narrow decorative edge to a garment or an
item of home furnishing. It is particularly useful for curved shapes, to finish them
neatly and securely. On a chunky or bulky fabric, a double bias is used so that
it will be more substantial and hold its shape better. A double bias is used on
sheer fabrics as there will be no visible raw edges. The bias strip can be made
from purchased bias binding or cut from a matching or contrasting fabric.
Single bias-bound hem
Procedure: Illustration:
1. Place the bias strip to
the hem edge, right
side to right side.
2. Sew the bias to the
edge using the edge
of the machine foot as
a guide. Press as
sewn.
3. Turn the bias to the
wrong side of the
fabric and roll the bias
around the edge of
the fabric.
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4. Baste the bias down
on to the wrong side
of the fabric.
5. Working from the right
side, stitch in the ditch
formed by the seam.
6. On the wrong side,
trim the bias back
close to the stitches
(bias-cut fabric hardly
frays). Remove the
basting and press.
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7. If preferred, sew the
bias in place using a
stitch in the ditch
technique.
A lace edge can give a look of luxury to any garment. There are many ways of
applying lace, depending on how the lace has been made. A heavy lace trim has a
definite edge to be sewn on to the fabric. Lace edging has a decorative edge and an
unfinished edge, whereas a galloon lace has decorative scallops on both edges.
Let’s Do it!
LACE EDGING
Procedure: Illustration:
1. Place the lace to the fabric, right
side to right side. Align the raw
edges.
2. Sew using a straight stitch.
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3. Turn the raw edges to the wrong
side of the fabric. Press in place
on to the wrong side.
GALLOON LACE
Procedure: Illustration:
1. Place the entire piece of lace
to the right side of the fabric.
Align the edge of the lace with
the raw edge of the fabric. Pin
in place.
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4. The lace trim on the right side.
Procedure: Illustration:
1. Pin the lace to the right
side of the fabric.
2. Using a small zigzag
stitch, sew along the edge
of the lace. All the stitches
should be on the lace.
3. Trim away surplus fabric
behind.
On some items a flat trim braid or ribbon is added for a decorative effect this
may be right on the hem or edge, or placed just above it. To achieve a neat finish, any
corners should be mitered.
Procedure Illustration
1. Pin the trim to the fabric, wrong side
of the trim to right side of the fabric.
2. At the corner point where the trim is
to be mitered, fold the trim back on
itself and secure.
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3. Sew across the trim at 45 degrees
from the edge of the fold, through
all layers.
4. Remove excess trim from the
corner.
Enhancement activity
Piped Edges
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Single Piping
Procedure: Illustration:
1. Just one piece of piping is used.
Cut a bias strip 1 1/2 in (4cm)
wide.
2. Wrap the binding, wrong side to
wrong side, around the piping
cord. Pin in place.
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Enhancement activity
Double Piping
Procedure Illustration
1. Different thickness of piping cord
can be used for this. Make up
single piping.
2. Cut another bias strip, in a
contrasting color if you like.
3. Join the bias strip to the single
piping, sewing next to the piping.
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Enhancement activity
Gathered Piping
Procedure: Illustration:
1. This is a great technique to try on
cushions. Cut a bias strip 2in
(5cm) wide. Sew the bias strip
loosely around a piece of piping
cord. Secure the cord to the bias
at one end.
2. Push the bias along the cord to
gather.
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4. Attach to the edge of the work as
for single piping.
There are many kinds of trims – ribbons, braids, beads, feathers, sequins,
fringes, and so on – that can be applied to a fabric edge. If a trim is made on a narrow
ribbon or braid it can often be inserted into a seam during construction. Other trims
are attached after the garment or item has been completed.
Let’s Do it!
Procedure Illustration
1. Place the trim to the right side of
one piece of fabric, with the
beaded or other decorative edge
pointing away from the raw edge.
The edge of the trim should be on
the 5/8in (1.5cm) sewn line.
Baste in place.
2. Sew along the trim using the
zipper foot.
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3. Place the other piece of fabric to
the first one, right side to right
side. Sew again to join them.
Procedure Illustration
1. Pin the trim in a position along
the finished edge of the work. Be
sure the trim is aligned to the
edge. Baste in place.
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2. Using the zipper foot, sew in
place close to the upper edge,
leaving the lower edge of the trim
free.
Let’s Do it!
a. Press the parts of the garment that are free, such as ruffles, ties, sleeves, or
collar.
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b. Press pockets, collars, cuffs, or buttonholes from the right side.
c. Press the underside such details as facings, pocket linings, and seam
allowances.
d. Press the body of the garment, the bodice first then the skirt.
e. Place garment on well-shaped hanger and do not wear it until it is well aired
and completely dry. Close top fastener and zipper. Remove belt from loops of
the garment and place the belt on the hanger by the buckle.
Basically good, well-made garments, even expensive ones, lose their quality if
they are wrinkled and untidy. Some garments must be pressed each time they are
worn. Others which are of better quality or especially treated fabric may need only
occasional attention, but you can bring out the best in fabric and fit by knowing how
to iron a garment. The time spent on pressing is a valuable investment which gives
your garments so attractive on you. Careful pressing of wearing dresses is
essential to good grooming.
Labelling of Garments
Labels are not functional component of a garment but essential for many
reasons. Seven common labels that are found in garments are Brand label, Size
label, Care label, Flag label, Manufacturer code, Line mark label and special label.
Each label has specific purpose and gives information.
2. Size Label
Size label defines a specific set of body measurements. These Size labels
may be printed only a later to denote a specific size. Such as S for Small, M for
Medium and L for Large size garments. Customers know which size fit them well.
3. Care Label
This label includes care and ironing instructions. For details of wash care
instructions. This refers to garment care symbols. Care labels are attached at the
side seam. The purpose of care labels is to warn wearers on what not to do while
washing, drying and ironing to maintain color, specific printed designs, after wash
shrinkage and color blending issues. A care label includes few other information
such as:
a. Fiber contents are also included in care labels. i.e. 40% Poly and 60%
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Cotton
b. Country of origin: Name of country that manufactured the particular
product is also written on care label. Like, Made in India, Made in
Philippines.
4. Flag Label:
A small label attached outside seam. Flag labels are normally made of brand
logos and they are used as design features.
5. Manufacturer Label:
This label includes manufacturer’s code given to buyers. Most of the
international buyers purchase garments from countries. In case buyers need to track
the manufacturer of a particular product, they look for this code.
7. Special Label:
100% Cotton, Organic Cotton are example of such special labels. Special
labels normally attached to draw customer attention at time of purchasing.
Functions of Packaging
2. Contains the Product. Containers make products easy to carry and keep
them separately.
4. Promotes the Product. The package is the natural place for promotion. It is
part of the product which is most visible to the customer.
5, Makes the Product Easy to Use. Cartons with spouts for easy pouring, boxes with
zip-strip openings, butter wrappers with measurement marked on them are
examples of the conveniences offered by packaging. In each of these examples,
the package is designed with the user’s needs in mind.
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Packaging Materials
1. Paper and cardboard – are among the most widely used packaging materials.
Paper is inexpensive, lightweight, fairly strong, and easy to print on. Cardboard has
all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for sturdier or more specialized forms
of packaging. Wood makes sturdy shipping crates, which are reused many times.
Glass is used mainly to hold liquids or products containing liquids. It doesn’t leak and
free from unwanted taste or smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and bottles; it
is molded into boxes, baskets, and trays; it is processed into sheets for packaging
toys, bed linens, small articles of clothing and a wide variety of food products.
4. Metal – is a material that has long been used to pack liquids and food products.
The most commonly used metal container is the can. At one time, all cans were
made of steel with a tin plating. Today, aluminum cans are popular, particularly for
soft drinks.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates, bottles
and jars, and bags and wrappers.
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Procedure in Packing
Let’s Do it!
Directions: Bring at least five (5) items showing different forms of packaging.
Present them to your classmates and identify what form of packaging was used.
Post Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
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describes the statement. Write the answer in your quiz
notebook.
11. It generally refers to a tailored shirt.
e. Pants
f. Trousers
g. Blouse
h. Shirts
12. A kind of blouse that has a great style for most body types and features a
surplice collar, which overlaps fabric into a v-shaped neckline.
e. Button-Down
f. Peasant
g. Casual
h. Surplice Wrap
13. This type of blouse is popular because its style can be worn by many body
types and in various settings.
e. Surplice Wrap
f. Button-down
g. Peasant
h. Casual
14. A blouse which emphasizes free-flowing materials.
e. Peasant
f. Casual
g. Surplice Wrap
h. Button-down
15. This is egg shaped that is rounded at the top and slightly elongated at the
chin.
e. Round
f. Square
g. Triangle
h. None of the above
16. The top is wider than the ear side going smaller to the chin. The use of wider
necklines is helpful.
e. Heart
f. Triangle
g. Square
h. Oval
17. Rounded at the top and slightly curved at the chin like a human heart. The
shape fits to almost all kinds of necklines.
e. Heart
f. Round
g. Oblong
h. Oval
18. In a round-shaped face, a type of neckline suitable is
e. Round, V-Neck
f. Round, Square
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g. Square, Sabrina
h. V-necklines
19. A type of neckline suitable for Square-shaped face.
e. Round, V-neck
f. Round, Square
g. Square, Sabrina
h. V-necklines
20. These are tops that have been tailored to be worn with jeans or trousers.
e. Peasant
f. Surplice Wrap
g. Casual
h. Button-down
C. Identification.
Directions: Identify the type described in each statement. Write
your answer in your quiz notebook.
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11. The type of neckline curve which has the same shape as the
neckline of the garment.
12. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
13. A collar that stands up slightly from the point of attachment to
the neckline of a garment before folding over to lie flat.
14. A flat collar with rounded ends that meet at the front.
15. A collar that is found in garment with front openings, can be
worn either in an open style or in a closed style.
16. A sleeve that has an arm seam inside the shoulder width.
17. A sleeve that is fitted at the wrist but cut with a deep armhole
and resembles a cape from the back.
18. Measurement taken from left to right shoulder tip bone.
19. Measurement taken across the back halfway down the
shoulder.
20. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
E. ANALOGY
Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip
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F. Enumeration
Directions: Write what is asked for in the statements below.
Write your answer in your quiz notebook.
1-5 Types of fabrics suited for ladies blouse
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
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QUARTER III
Overview
Part III and IV is about producing ladies trouser. This will enable you to learn
more and develop skills in drafting and cutting pattern for ladies trousers, prepare and
cut materials, assemble garment parts and apply finishing touches, particularly long
pants with continental side pockets or front hip pockets.
In addition, the process of labelling and packaging the finished output is also
discussed.
General Objectives:
At the end of the quarter, learners are expected to:
Pre-Test III
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn’t. Write your
answer in your quiz booklet.
__________1. Knee length is measured along the side seam from the
waist to the level of the knee.
__________2. Desired knee circumference or knee width is measured
around the knee with the desired “tightness” of the sleeves.
__________3. Crotch or rise can be measured in two ways: standing
position and crouching position.
__________4. Sitting position measurement of crotch can be done by
sitting erect on a chair that has a flat bottom seat.
__________5. Standing position is measured without the use of tailor’s
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square in crotch measurement.
__________6. Length or trouser outseam is measured along the side
Seam from the waistline to the hem line or desired length.
__________7. Hip 1 is measured from the waist down 3 ½ to 4 ½
inches.
__________8. Waist is measured around the area where the hip seam
rests.
__________9. The desired bottom circumference or bottom width is
measured around the hemline which will be the desired
leg
_________10. Hip 2 is measured 4 to 7 inches below the waist taken
around the fullest part of the buttocks.
B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
1. The waist fits snugly at waist or at hips if the pants are:
a. Waist-huggers c. Leg-huggers
b. Hip-huggers d. Fitted block
2. Fabric materials for pants can be of natural fibers and ____.
a. Synthetic c. Plastic
b. Rubber d. Metal
3. In constructing a pair of long pants, consider the following except:
a. Shape of pants legs c. Number of darts or pleats
b. Style of the hemline d. Size of the neck
4. What is the first procedure for making the front hip or continental side
pockets?
a. Trace the top pocket facing from the plan.
b. Plan the pocket shape and the depth.
c. Surveymaterial
d. Trimlines
5. Hip pockets are made up of two pattern pieces: a pocket and a
a. Facing block c. Facing wood
b. Facing piece d. Facing line
6. It finishes off the pocket opening:
a. Facing block c. Facing pieces
b. Pocket piece d. Pocket block
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a. Pocket face c. Pocket piece
b. Facing block d. Facing piece
8. Which of the following is not a natural fiber made?
a. Denim c. Ski pants
b. Spandex d. Modern twee
9. Which of the following is not a synthetic fiber made?
a. Poly linen c. Shantung
b. Double knit d. Jacquard fabric
10. Lay out and pin the pattern pieces on the cloth as ________ as
possible in prepare for material cutting.
a. Economically c. Legitimately
b. Probably d. Grateful
C. SEQUENCING
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open the zipper, then machine or prick stitch from the base
of the band finishing with a bar tack over the crotch seam.
________On WS make a bar tack between the fly extension and the
crotch seam at the base of the zipper
Legend:
RS – Right Side WS – Wrong Side
B. ENUMERATION
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Objectives
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To come up with the best trouser that would compliment your body is to
understand one’s body type or shape, the posture of the body and the type of fabric
used in making the trouser. There are six main body shapes that will guide you in
choosing the best style of trouser to wear: Hourglass, Triangle, Inverted Triangle,
Rectangle , Diamond and Rounded shape.
1. For Triangle shape, it is best to wear a trouser with the straight leg.
2. For Inverted Triangle shape, a peg trouser, with pleats on the top, and
has a waistband. Wide leg lining trouser is also good for this body shape.
3. For Rectangle shape, low rise, skinny trousers and wider leg is best for this
shape. Avoid big flares and cargo pants and silky flowing trousers for office
or night out.
4. For Hourglass shape, high-waist and wide-legged trousers underline the
curvaceous body are of great style options.
5. For Oval or Diamond shape, trousers should be in classic style with flat
fronts, and no extra from zips, pleats or gathers. Low rise trousers should
not be worn and waistbands should not be too tight. Boot cuts are best
suited for this shape and if tall enough, straight cuts or palazzo is of great
choice.
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6. For Apple or Rounded shape, a pair of boot cut jeans will help this body
shape looks slimmer and create a line waist down. Skinny jeans or trousers
should be avoided.
Another factor to consider is the type of posture that a wearer has. Posture type can
be classified into three categories:
1. Average. When the wearer stands fairly straight and the side seams of
pants fall straight and are lined up with the ankle, she has average posture.
2. Forward-tilted hip. When the wearer stands in somewhat slouched manner;
fairly flat, low seat, and has high prominent roll below the front waist or high
prominent hip bones. This posture causes pants to sag under the seat
unless the pattern is altered.
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Styles of Trousers
1. Straight Leg Trouser is the style of trousers which can
fit any body type. It can be found in different designs and
best for business meetings and in casual workplace. It has
uniform width from thigh all the way to hem. The
straight line help balance out any body type and has the
ability to hide wide and bulky thighs. It is ideal for
women with wider hips, larger thighs as well as for
slender women.
4. Skinny Trouser is the style for women who have skinny, straight legs and slim
figures. Skinny trousers hug the legs and the hips very closely and make the lower
half of the body look small. It is important that the top half of the body is in proportion.
Leggings are usually skin tight and are made up of denim, cotton and lycra.
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Capris are popular among women which are worn during summer. These are made
up of cotton, denim and polyester.
Wide 6. Wide Leg Trouser has straight legs that is wider and more
flowing than straight leg trousers. Tall, slender women are
wearing this kind of trousers because it can make the bottom
appear larger than the top half. When paired with the right shoes,
wide leg trousers can help elongate the legs and slim the figure
down.
These types of trousers are available as part of a women's suit
or as a casual pair of trousers for any occasion.
Palazzos are generally loose in fitting and are best suited to lean
women and goes well with tank tops and trendy blouses. These
are made up of wrinkle free fabric.
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Types of Waistbands for Trousers
1. Super High Rise. Waistband is more than 1 inch above your waist.
2. High Rise Jeans. Waistband is 1 inch above your waist.
3. Medium Rise Jeans. Waistband is located precisely on the waist.
4. Medium to Low Rise Jeans. Waistband is located typically 2-3 inches below the
belly button. The most popular rise in most denim brands, especially for women.
5. Low Rise Jeans. Waistband is very low, 3-5 inches below the belly button.
6. Ultra Low Rise Jeans or Brazilian Low Rise Jeans. Brazilian jeans are growing
in popularity and are renowned for their daring sexy cuts, high quality and original
embellishments.
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In choosing the best fabric suited for ladies trousers, choose fabric which is
firmly woven to hold its shape and would compliment more to your body shape.
Texture and design should be properly examined to avoid scratchy feeling when it is
used. There are also fabric types which require lining to prevent undergarments and
seam allowances seen through. Choose medium-weight blends fabric for trousers.
Cotton Denim
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Corduroy Velveteen
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Linen
Parts of Trousers
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Parts of Trousers
1. Waistband is a strip of fabric fastened at the top of trousers that fits around the
waist.
2. Fly is an opening/placket covering the groin which makes the pants easier to put
on or take off. It conceals the mechanism such as zipper, velcro or buttons.
4. Seam is a line where two pieces of cloth are joined by sewing near the edge of the
fabrics (inseam and outseam).
6. Trouser support the belt loops on the waistband of the trousers where the belt
passes on serve as support to the wearer.
7. Pocket is usually small cloth bag that is sewn into a piece of clothing which is open
at the top or side where little things can be put into it.
Identification
Directions. Identify the following being described. Write your answer in your quiz
notebook.
1. These are styles of trousers which can fit any body type.It can be found in
different designs and best for business meetings or in casual worklplace.
2. These are trousers with skinny legs for women who have straight legs and
slim figures.
3. It is usually skin tight and are made up of denim, cotton and lycra.
4. It has the same characteristics as the cotton but may not be that easily gets
dirty as cotton.
5. It is a heavy-weight fabric with very little drape or stretch.
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Types of Pockets
1. Patch pockets. These pockets are external and can be decorative. They
can be made from the same fabric as the garment or from a contrasting
fabric.
a. Unlined patch pocket is one of the most popular types of pockets, it can
be found on garments of all kinds.On medium and heavier fabrics, it is
advisable to apply a fusible interfacing.
1. If needed, apply an interfacing to the
pocket fabric.
2. Mark the fold lines with tailored
tacks.
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9. Turn the top edge over to the wrong
side . Press.
10. Pull up the stitches in the curves to
tighten. Press.
11. Turn under the curved edges.
b. Lined patch pocket. This type of pocket is not suitable for heavy fabrics
and for medium-weight fabric, a fusible interfacing is required. This needs to
be cut with the top edge of the pocket on a fold.
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5. Trim one side of the seam
allowance down to half its
width.
6. Use pinking shears to trim
corners.
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8. Turn the edges of the pocket to
the wrong side.
d. Attaching patch pocket.To attach a pocket well, accurate pattern chalk marking is
essential. It is best to do this by means of tailor’s tacks or even trace basting. If you
are using a checker or striped fabric, the pocket fabric must be alligned with the
checkered or stripes on the garment.
1. Mark the pocket placement lines on
the garment with tailor’s tacks.
2. Take the completed pocket and place
it to the fabric, matching the corners
with tailor’s tacks. Pin in position.
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4. Sew approximately 1/32 in (1mm)
from the edge of the pocket.
5. Remove the basting stitches. Press.
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Facings are pieces of fabric sewn to the garment edge, turned to the inside,
and sewn in place by hand or machine. Garment edges that are commonly faced are
necklines collars, cuffs, and sleeveless arms-cyes.
There are two styles of facings that are common to the costume shop, fitted and bias
facings.
1. Fitted Facings are pieces of fabric that match the area to be faced in shape and
grain.
2. Bias Facings utilize the stretch of the bias to shape the facing to the edge being
faced. The stetch of bias is limited and are restricted on the curvature possible on the
edge to be faced.
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Interfacing is used to provide shaping, reinforcement, firming and support.
Collars, cuffs, facings and plackets are the most commonly interfaced areas but far
from the only uses for interfacing. Without interfacing buttonholes might rip without the
interfacing to strengthen them, facings collars and cuffs would be limp and floppy
without interfacing and many creative projects would never happen.
Interfacing comes in various weights and sew-in or fusible form. The weight is
almost always lighter than the fabric you are sewing but should always have the same
care requirement. One exception is something like a baseball hat bill or fabric bowl.
That interfacing is much heavier than the fabric to obtain the stiff hat bill or bowl
shape.
Although the choice ends up being a matter of preference, the fabric is the final
decision. Not all fabrics can withstand the heat required for fusible interfacing. Cool
fuse. Interfacing is a possibility because it adheres at a lower heat setting. Fusible
interfacing also adds a bit more stiffness once it is fused than when it is standing alone.
Always pre-wash your fabric to remove any finishes or chemical coatings before
attempting to fuse an interfacing to it.
When you are sewing fabrics such as vinyl, velvets, beaded, sequin and treated
fabrics it is best to use sew in interfacing.
Identification.
Directions. Identify the following being described. Write your answer in your quiz
notebook.
1. These are pieces of fabric that match the area to be faced in shape and grain.
2. These pockets are external and can be decorative. They can be made from the
same fabric as the garment or form of a contrasting fabric
3. It is used to provide shaping, reinforcement, firming and support.
4. These are facings which utilize the stretch of the bias to shape the edge.
5. These are pieces of fabric sewn to the garment edge, turned to the inside, and
sewn in place by hand or machine.
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II. Objectives:
a.
b.
c.
III. Design of the Project:
VI.Evaluation
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1.Waist.
2. High hip (3" down at side).
3. Hip at fullest part (7-9" below waist).
4. Distance at side from waist down to fullest part of hip.
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5. Pant length (waist to floor).
6. Thigh at fullest part.
7. Knee (1" above center).
8. Distance to knee from waist.
9. Crotch depth. Sit on a flat surface and measure from waist to surface on side.
Note: Rise or Tiro meaning “Crotch”
Needed Measurements
A. Vertical Measurements
1.Outside Length – Taken from the waist down to the desired length, this
measurement is taken at the side with a tape measure.
2. Rise- Taken from the waist down to the crotch with the use of a tailor’s
square.
B. Horizontal Measurements
1.Waist- Taken around the smallest part of the torso or body with a tape
measure.
2.Seat or Hip- Taken around the fullest part of the second hip or buttock with a
tape measure.
3.Thigh- Measured around the fullest part of the thigh in line with the crotch.
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4.Width of knee- Taken from the back creaseline to the front creaseline at the
kneeline of the pants.
5.Width of bottom- taken at the bottom of pants desired length.
C. Rise Measurement
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Let’s Do it!
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4. From 12, measure 1.9cm to the right get 19.
5. From 14, measure 1.9cm to the right to get 20.
6.From 16, measure 1.9cm to the right to get 21. Connect E, 18, 19, 20, and
21.
7.From F, apply ¼ waistline measurement plus 3.8cm to the left to get 22.
8. From 22, measure 3cm upward to get 23. Connect 23 and F.
9. From 5, measure 3.8cm to the left (outside line) to get 24.
10. From 24, measure 1¼ cm downward to get 25. Draw a line to 10 then
connect 11 to 25 using a French curve.
11. From 13 and 15, measure 1.9cm to the left to get 26 and 27, respectively.
12. From 17, measure 1.9cm to the left to get 28. Connect 25, 26, 27, and 28.
A. Pants measurements
1.Waist: taken around the smallest part of the waistline.
2.Hip II: 20 1/3 cm below the waistline, measured around the hip with the
tape measure over the fullest part of the buttocks.
3.Length of the pants: from the waistline to the ankle.
4.Crotch: with the individual seated, measured around from the waistline
down the seat.
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Let’s Do it!
B. Sample measurements
Waist = 28
Hip II=38
Length=37
Crotch=10
Knee=18 standard
Ankle=16 standard
1. A is the starting point.
2. A to B is equal to crotch
measurements.
3. Divide hip by 2.
On the other long side/arm of the
square, look for 19 under 1/3 division
and place B; mark 19 under ½ divisionC;
mark under 1/6 division D; and mark 19
under 1/12 division E and mark corner F.
4. F to K is 1 ¼ cm; E to G is 1 ¼ cm.
5. H from A = 2/3 cm.
Divide waist by 2.
On the short arm of the square, look
for 14 under ¼ division and place H; mark
corner J; and 14 under ½ division L.
6. Connect I to G; F to G =G to L.
Draw front crotch from L to K;L to M = ¼ hip II.
7. With the curve, join J, M passing line
BC and mark corner T.
8. A to N= length of pants
9.B N/2 + 1 = 0
10.P from O = ¼ knee
Q from O = ¼ knee
R from N= ¼ ankle
S from N= ¼ ankle
11.Connnect P, R, S, Q up to T. With
a curve, connect K to P.
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Back Sloper
1. 1 from P= 1 ¼ cm
2 from R= 1 ¼ cm
3 from S= 1 ¼ cm
4 from Q= 1 ¼ cm
2. Connect 6 to D.
3. F to D = D to G
4. On the short side of the square
place 19 under ¼ on D anf mark corner 7.7 to
8= 2/3 cm. Connect to 8 to 1.
5. Draw dart to 4 cm wide and 13 cm
long.
Enhancement activity
Waistline - 27
Hips - 36
Thigh - 20
Crotch- 8
Length- 40
Knee - 8 1/2
Bottom - 14
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FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips (use the square) minus ½ inch
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From B to 3 is the measurement of thigh, minus ¼ inch
Draw a line from O to 2 up to E
Draw a line from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
Front Part: cut on the line
BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a straight line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ¼ inch (use the square)
From Y to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square)
From J to K is ¼ waistline measurement (use the tape measure) plus 1
½ inches
From X to K is 1 ½ inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
L- is thecenter of J and K
Back Part: Give an ½ inch allow since both sides, and at the back part
of waistline is 1 ¾ inches allowance
Imaginary line is your back part
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Enhancement activity
FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips (use the square) minus ½ inch
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a line from R to P, and from S to Q
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From E to I is 1/12 of hips, plus ¼ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square) minus 1-inch
Draw a line from R to I, and from S to T up to J
From X to K is 1 ½ inches
Draw a straight line from J to K
From J to K is ¼ waistline measurement (use the tape measure) plus
3/4 inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
From J to 2 is 1 ¾ inch, and from 2 to 3 is one inch
From K to 4 is 3 ¼ inches, and from 4 to 5 is one inch
Draw a straight line from 2 to 4, and from 3 to 5
From J to 6 , and at from K to 7
Front Part: cut on the line
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾
Imaginary line is your back part
Enhancement activity
FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
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6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips, minus ½ inch (use the square)
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a line from O to N, and from C to D
From E to 2 is 4-inches down
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From H to A is ¼ of waistline measurement, plus 1 ½ inches for pleats
Draw a line from 3 to B up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
Mark your pleats up to 1 ½ inches only
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BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ½ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is 1 12 inches (more or less)
Draw a line from R to I, and from S to T up to J
From X to K is 1 ½ inches
Draw a straight line from J to K
From J to K is ¼ of waistline measurement, plus 1 ½ inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
L- is the center of J and K
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾ inches
Imaginary line is your back part
Let’s Do it!
1. Cut out the pattern along the dotted guidelines, then put the pattern pieces together
to make sure they match before starting to cut your fabric. Correcting any cutting
mistakes is essential so that the seam lines will match up.
2. Add seam allowance (at least 1cm) to all edges and 2,5-3cm to the hems.
Remember that you can measure and adapt the length of the pants legs to suit your
leg length. Depending on your seating posture the pattern length can be more or
less suited for you. If you want to make sure, cut the pants slightly longer than you
need. It is easier to shorten the leg length than making them longer if necessary.
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3. The waistband is cut as one piece unless the width of the fabric is too short. In this
case you have to cut it in two sections (remember to add seam allowance to the
edges) and then join it in the back.
4. Place the pattern pieces on top of the underside of the fabric. Cut along the lines of
the pattern, leaving 5/8 inch (1.6 cm) space for seams around every part of the
pattern pieces. Mark the pattern pieces with a number or letter if you feel you will
lose track of which pieces will be sewn together
Objectives
1. perform the methods on how to prepare and cut materials for ladies’ trousers;
and
2. follow the procedures correctly in performing the activities.
The fabric for the trouser should be preshrunk and pressed to ensure that
there will be no more shrinkage after it has been cut and sewn. The grainline should
be straightened. When laying out, cutting, and sewing, pay close attention to the lines
and contours of the fabric print or design, and see to it that they align and match at
appropriate points for the best appearance of the finished garment.
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Let’s Do it!
Let’s Do it!
1. Use tailor’s tacks to mark all darts, tucks, crotch seams, and outseams at
waistline and hem. Mark original seamsline on crotch seam with hand
basting.
2. Stay stitch the waistline ¼ inch outside the seamline. Stay stitch the
seamlines at the pocket, the length of the zipper. Do not stay stitch the
crotch seam.
3. Baste the lengthwise and crosswise grainlines with contrasting colored thread if the
fabric is not a plaid. Put the crosswise grainlines at a right angle to the lengthwise
grainline at the seven-inch hipline marking, the crotch, and the knee.
4. Identify the lines in the plaid that are the lengthwise and crosswise
grainlines. Safety pins can be used for this identification.
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5. Press the creases before basting the garment together. Fold on the lengthwise
grainline and baste. When pressing the crease, lay the fold on a plaid press cloth
and use a line in the fabric as a guide to help you keep
the crease straight. If you do not have a plaid press cloth, lay the fold against a yard
stick and press. In the front, press only to the point of the dart.
Post Assessment 3
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn’t. Write your
answer in your quiz booklet.
__________1. Knee length is measured along the side seam from the
waist to the level of the knee.
__________2. Desired knee circumference or knee width is measured
around the knee with the desired “tightness” of the sleeves.
__________3. Crotch or rise can be measured in two ways: standing
position and crouching position.
__________4. Sitting position measurement of crotch can be done by
sitting erect on a chair that has a flat bottom seat.
__________5. Standing position is measured without the use of tailor’s
square in crotch measurement.
__________6. Length or trouser outseam is measured along the side
Seam from the waistline to the hem line or desired length.
__________7. Hip 1 is measured from the waist down 3 ½ to 4 ½
inches.
__________8. Waist is measured around the area where the hip seam
rests.
__________9. The desired bottom circumference or bottom width is
measured around the hemline which will be the desired
leg
_________10. Hip 2 is measured 4 to 7 inches below the waist taken
around the fullest part of the buttocks.
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B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
C. SEQUENCING
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________ Provide seam allowances.
________ Cut the material
________ Preshrink, straighten, and press the cloth
________Lay out and pin the pattern pieces on the cloth as economically as
possible.
________ Transfer all construction marks.
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B. Enumeration
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QUARTER IV
Overview
Variation of styles for ladies trouser are at stake due to current fashion
demand. Industries keep on producing unlimited styles to satisfy customers’
demand.
General Objectives
At the end of the quarter, learners are expected to:
Pre-Test 4
A. True or False
Directions: Read the statements carefully. Write T if the statement is true
and F if the statement is false.
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B. Multiple choice
Directions: Read the statements carefully then choose the letter of the
correct answer and write it on the space provided.
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
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_______4. It is mainly used to package and hold liquids or products
containing liquids.
_______5. Checking done prior to pressing of the garment at finishing
room is known as what?
_______6. It is a container that releases its contents in spray or foam when
a valve is pressed.
_______7. It is a function of packaging wherein it makes the product easy
to carry and keep them separated.
_______8. Is a package formed from plastic film or paper that is filled with
the product and sealed by heat process.
_______9. In lapped zipper, when the zipper is finished the teeth should be
covered by what?
_______10. It is used to indicate brand name or brand logo of the
company that sources and sells clothes.
Objectives
You have come to the final stage in assembling the garment parts for ladies’
trousers. There are standard procedures on how to assemble the parts systematically,
but nowadays, dressmakers or sewers have their own standard and own technique
in assembling and sewing the garment parts according to their own convenience.
Let’s Do it!
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2. Put one leg inside the other, right sides of fabric facing, to baste the crotch seam.
Do not baste through the seam allowances at the crossing of the inseam and crotch
seams.
3. Pin the fitting band to the inside of the garment with the lower edge of the band on
the stay stitching. Match the markings on the band to the garment at the center front,
center back, and outseams. Place pins on the garment side.
Fitting
1. Check the grainlines, ease, balance, and the position of all seams when fitting the
garment. Remember, drag lines point to the source of the trouble.
2. Start at the seven- inch grainline first and fit the front, then the back. The
crosswise grainline at the seven-inch hipline must be kept parallel to the floor. The
creases in each leg must be per- pendicular to the floor. Pants have four centers,
whereas skirts only have two.
3. Adjust the darts before fitting the outseams. The darts may be shifted to the area
where they are needed.
4. Mini-darts, about two inches long, may be used between
the large darts and the side seams.
5. A slight garment bias in the center back seam is acceptable. Sometimes it is
impossible to match plaids at the inseams. Just remember these are the least
noticeable seams in the garment. Pants may be tapered in the fabric. Indicate the
amount tapered on the pattern.
Pressing
Tip: If you worry about shine what you can do is use a piece of thin cloth over the top
of your trousers before pressing. Be sure to use a cloth that does not leave bits of
fluff.
Select an iron temperature and settings consistent with the pant fabric.
Steam works for most fibers, test on a small hidden area such as the pocket bag or
waistband inside before pressing the entire pant. Some fabrics may
require the use of a press cloth to prevent shine when pressing on the right side.
Press on a long flat surface, preferably a padded ironing board.
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Let’s Do it!
Front of Trousers
1. Stay stitch waistline and side edges, inside leg seam edges, and front crotch
seam edges.
2. Machine baste darts and tucks; do not machine stitch until after first fitting.
Back of Trousers
1. Stay stitch back sections of slacks and machine baste darts in front.
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5. Fit waistline in same manner as for skirt. Mark correct hem line.
6. Remove garment and adjust pinning to prepare for stitching. If plain seams
are to be used, remove pins from seams, slipping them into a single thickness
of garment to show any alteration in seam line.
7. Turn garment in the right sides together and pin-baste new seam line for
stitching.
8. If flat-fell seam are to be used, leave seams in the wrong sides together, and
pin-baste for stitching.
1. Baste front pocket section to front of garment side seam, and back pocket
section to back of garment side seam on seam lines, right sides together; stitch.
Pocket in side seam: In step 1, the front pocket section has been basted
to the front of the garment side seam, and the back pocket section to the back
of the garment side seam. Step 4 shows that the pocket sections have been
stitched together and the pocket top has been pinned to the waistline of the
front of the garment so that it will be caught permanently in the waistline seam.
2. Press back seam allowance toward the back of the garment. Press front seam
allowances toward front of the garment.
3. Turn pocket front inside, rolling seam just to under side; machine top stitch on
front edge of garment ¼ “ from fold to form firm pocket edge. If top stitching is
not desired, press seam allowances toward pocket and understitch before
pocket is turned inside.
4. Pin-baste and stitch pocket sections together, beginning at point where
sections are joined to side seams, and continue around bottom and sides to
waistline edge of pocket.
5. Pin pocket top to waistline of garment front so it will be caught permanently in
waistline seam.
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1. Take several stitches ¼” long across seam at lower end of pocket opening,
using buttonhole twist or embroidery thread to match garment.
2. Cover ¼£ stitches with tiny overhand stitches close together, catching a few
threads of the fabric at the same time. Work across ends with tiny overhand
stitches.
3. Repeat at top of pocket after waistband has been applied to garment.
Bar Tack (1)- Several stitches of thread are being sewed across the end of the
opening.
Bar Tack (2)- These stitches are now being covered with overhand stitches
close together, picking up a few threads of the fabric at the same time.
Bar Tack (3)- The ends have been finished with small bar tacks.
Placket
Insert zipper as directed for side zipper.
Waistband
Construct and apply waistband, using either top-stitched application given for
the gathered skirt or the directions of the skirt which feature the invisible
stitching and the longer underlap, as well as interfacing.
The latter waistband may be top stitched along all edges for a more tailored
appearance if desired.
Women’s and girls’ slacks are usually finished with a plain hem rather than
cuffs. Finish cut edge by edge stitching or apply seam tape; turn up hem at
desired length, press fold, pin-baste, and slip stitch to garment. Be sure the
edge is even before edge stitching or applying seam tape.
Fasteners
Pressing
Give trousers a final pressing, matching inside and outside leg seams to locate
position for front and back creases.
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Learning Outcome 2 Apply Finishing Touches on Ladies Trousers
Objectives
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many shapes
and sizes and can be made from a variety of materials including shell, bone,
plastic, nylon, and metal. Buttons are sewn to the fabric either through holes on
their face, or through a hole in stalk called a shank, which is on the back. Buttons
are normally sewn on by hand, although a two-hole button can be sewn on by
machine.
Snap Fastener
Snap Fasteners are used where a lightweight fastening is needed. They are
available in a black or silver metal finish in a range of sizes. Small, clear plastic snaps
may be used on fine fabrics. There are many types of nonsew snap with decorative
metal or colored caps, which are attached using a special tool or a hammer.
Hooks are versatile fasteners that can fit into both straight bars and round
eyes and are strong enough not to open under stress. They are made in
different sizes and strengths and are frequently used on waistbands and at the
top of the zipper openings. Sew-on snap fasteners are available in range of
sizes, and non-sew snaps provide an alternative to buttonholes on casual
garments. Hook-and-loop fasteners, usually cut from a strip, are easy to open
and close and are often used for garment detail such as cuffs, and in home
furnishings.
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Zipper
The zipper is probably the most used of all fastenings. There are many types
available, in variety of lengths, colors, and materials, but they all fall into one of
five categories: skirt or pant zippers, metal or jeans zippers, invisible zippers,
open-ended zippers, and decorative zippers.
Finishing Touches
Let’s Do it!
1. Hemming Stitches
Machine Sewing: Load your bobbin and top spool with the same color of thread.
The thread should match as closely as possible with the original thread used on
the pants.
For a simple hem with straight stitching, set your machine for a small to
medium straight stitch. In this picture, notice that the stitch width lever is set to
the extreme left position. Fold the hem so that the cut edge is folded in toward
the crease. Begin stitching 1/8 inch from the top of the hem and go all the way
round.
Straight stitching is used for jeans or for the lining of dress pants. The seam
side of pant linings normally faces the seam side of the pants so that the interior
and the exterior of the pants both present the finished side. Pant linings are usually
sewn with the pants right side out, but with the pant leg gathered toward the
crotch so that the lining extends enough for sewing.
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For blind stitching, set the stitch width and the stitch pattern to the correct
position. Here, the stitch width lever has been set to the middle position.
A machine blind stitch consists of three or four straight stitches that sew the
inside hem followed by a sideway stitch that attaches the inside hem to the pant
leg by just a thread. This picture shows a sewing machine that uses a cam and
dial to select the sewing pattern. For cam number 1, the dial has to be set at
position B to select the blind stitch which is illustrated in gray color on the side of
the machine under the letter B. Read the instruction manual for your own sewing
machine to determine how to select the stitch pattern.
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Sewing the blind hem stitch. Working with the pants inside out, fold the hem
so that the cut edge is folded toward the crease as for the straight hem, but then
fold the final edge toward inside of the cuff leaving 1/8 inch to start sewing. The
photograph illustrated above is the technique for folding the material.
Folding the material for a blind hem stitch. This photograph shows how the
cut end of the pants cuff is folded toward the inside of the ironed crease, the pant
leg is folded once more leaving a 1/8 inch offset for machine blind stitching. For
some materials, it is necessary to iron the fold toward the inside of the previously
ironed crease to make the sewing easier and more accurate.
The material is in position for blind stitching. Notice that the inner seam is
offset about 1/8 inch to the right of the fold in the pant leg.
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1. Attaching Fasteners
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Attaching Hook-and-Eye Fastener
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2. Stitch around the first hole on a bar.
Slip the needle between the fabric
layers, along to the second hole, and
stitch around it. Slip the needle to the
second bar position and stitch. Finishh
by fastening the thread securely.
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5. Using the zipper foot, sew along the
baste line to secure the zipper tape to
the fabric. Sew from the bottom of the
zipper to the top.
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Enhancement activity
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Labeling of Garments
Labels are not functional component of a garment but essential for many reasons. 7
common labels those are found in garments are Brand label, Size label, Care label, Flag
label, Manufacturer code, Line mark label and special label. Each label has specific purpose
and carry some kind of information.
8. Brand or Main Label – indicates the brand name or brand logo of company
where the garment comes from.
Customers who like branded items simply look at the label and they
easily pick and buy the items. A brand label should have the product quality.
Examples of brand labels are Levis, Lee, Tommy Hilfiger for t-shirts, Adidas
for shoes, Zara for dresses, and many more.
9. Size Label- has the specific measurements of human body such as S for
small, M for medium, L for large or XL for extra large. Buyers would prefer to
look at to the size label to see which one fits his/her size.
10. Care Label – includes wash care and ironing instructions. This is attached at
side seam to warn wearers on what to do during washing, drying or ironing to
maintain the color, design, shrinkage ability and composition that makes up
the garment. Example, 60% cotton, 40% polyester. This also includes the
country where it is made like “Made in the Philippines”, “Made in USA”, etc.
11. Flag Label- is a small label attached at side seam with printed brand logo.
Some garments especially T-shirts have flag label embroidered or printed at
the upper right side of the garment as design feature.
12. Manufacturer Label -includes manufacturer’s code for the buyers who wants
to order the items from different parts of the world.
13. Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for the
internal quality inspection process and rectify which line had made the
garment and which checker had check the same. This is normally attached at
side seam under wash care label.
14. Special Label – is normally attached to draw customer’s attention at the time
of purchase. Examples are 100% cotton, Organic Cotton, etc.
FUNCTIONS OF PACKAGING
1. Protects the Products and Consumer – good packaging is designed to protect the
product. For example, packages should be designed to withstand humidity, punture,
and other types of damage.
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2. Contains the Product – containers make products easy to carry and keep them
separately.
3. Identity of the Product – a package would be less useful if it do not identify its
contents. Usually, the contents are identified by the label on the package. However,
using a special design or color on the package helps customers identify the contents.
4. Promotes the Product – the package is the natural place for promotion. It is part of
the product which is most visible to the customer.
5, Makes the Product Easy to Use – cartons with spouts for easy pouring, boxes with
zip-strip openings, butter wrappers with measurement marked on them are examples
of the conveniences offered by packaging. In each of these examples, the package is
designed with the user’s needs in mind.
Packaging Materials
1. Paper and cardboard – are among the most widely used packaging materials.
Paper is inexpensive, lightweight, fairly strong, and easy to print on. Cardboard has
all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for the sturdier or more specialized
forms of packaging. Wood makes sturdy shipping crates, which are reused many
times. Glass is used mainly to hold liquids or products containing liquids. It doesn’t
leak and has no smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and bottles; it
is molded into boxes, baskets, and trays; it is processed into sheets for packaging
toys, bed linens, small articles of clothing and a wide variety of food products.
4. Metal – is a material that has long been used to pack liquids and food products.
The most commonly used metal container is the can. At one time, all cans were
made of steel with a tin plating. Today, aluminum cans are popular, as containers
for soft drinks.
5. Metallic foil – extremely thin sheet metal, is widely used in commercial packaging.
It can be folded and wrapped almost like paper and yet has the strength and
moisture resistance of metal.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates, bottles
and jars, and bags and wrappers.
1. Skin packaging – plastic film is molded tightly over a product mounted on a card.
2. Blister packaging – a plastic bubble is preformed in a plastic sheet. The product
is placed on a card, and the bubble is placed over it.
3. Aerosol or Dump dispenser – a container that releases its contents in spray or
foam when a valve is pressed.
4. Flexible pouch – is a package formed from plastic film or paper that is filled with
the product and sealed by heat process.
5. Shrink wrap – is a package made by placing clear film around the product itself.
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6. Multipack – is a special package design that groups two or more packaged
products into a unit for easier display, carry home utility, or user convenience.
7. Aseptic packaging - combines many good qualities of cardboard, metal and glass.
These containers are called “aseptic” because they keep germs out of foods that need
no refrigeration.
8. Dispensing Closure - is a cap, lid, or seal through which the contents of the
container can be dispensed in a controlled manner.
Procedure in Packing
Identification.
Directions: Identify the following that is being described. Write your answer in
your quiz notebook.
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Post Assessment 4
A.True or False
Directions: Read the statements carefully. Write T if the statement is true
and F if the statement is false.
B.Multiple Choice
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
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a. Easy to use function c. Promotes the product
b. Identifies the product d. protects the product
6. After garments are packed up to certain quantity, what does the
quality control team do?
a. Internal final auditing c. Final finishing inspection
b. Initial auditing d. external auditing
7. The following are types of fasteners except:
a. Buttons c. Hook and Eye
b. Zipper d. clip
8. A label that indicates which sewing line or batch had made the particular
garment.
a. Batch Mark Label c. Manufacturer Label
b. Flag Label d. Care Label
9. Which of the following is not a good characteristic of paper and cardboard
packaging materials?
a. Inexpensive c. Easy to print on
b. Light weight d. hydrophilic
10. At what label the fiber contents are placed?
a. Care Label c. Size Label
b. Flag Label d. Manufacture label
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
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SUMMATIVE ASSESSMENT
A.True or False:
_______1. Good outfit should have the proportion, balance and gloomy
appearance.
_______2. Proportion in design involves the relationship of one part to another.
_______3. Blouse is a cloth or textile used in construction of different garments.
_______4. Headline is the edge of the garment opening surrounding the neck.
_______5. Interfacings are special fabrics used to weaken or stiffen specific parts
of a garment, such as collar, cuffs, facing and pocket tops.
_______6. Shoulder measurement is taken from left to right shoulder tip bone.
_______7. In pressing techniques, never press on zipper coils.
_______8. Snap fasteners are fasteners which can be simply press or snap
together and are easily pulled apart.
_______9. For diamond-shaped bodies, straight leg is the best trouser to wear.
_______10. Country origin is placed on Flag Label.
B. Multiple choice:
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
1. It is a natural fiber that is derived from the stem of the flax plant.
a. Denim c. Polyester
b. Linen d. poplin
2. It is determining the quality and suitability of the fabric wherein you crumple
a corner of the fabric; release it, and note the degree of wrinkling in it.
a. Test for wrinkle resistant c. Test by thumb
b. Test for strain d. test by pin.
3. A double pleat having two upper folds facing in opposite directions and two
under folds pressed toward each other.
a. Gored skirt c. Pleated skirt
b. Knife pleat skirt d. A Box pleat skirt
4. A kind of fabric fold wherein the fabric is folded lengthwise with the raw
edges meeting at the center.
a. Lengthwise centerfold c. Off-center fold
b. Off-center lengthwise fold d. center fold
5. This kind of blouse features a neck collar and buttons attached on the front
of the garment.
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a. Surplice Wrap Blouse c. Button-down Blouse
b. Casual Blouse d. Peasant Blouse
6. It is a type of fabric which is very similar to cotton voile but is slightly
crisper.
a. Linen c. Cotton Lawn
b. Silk d. Rayon Challis
7. A type of pocket which is inserted into the garment with the opening
strengthened by an added welt, which is the only section visible when
completed.
a. Welt pocket c. Shear pocket
b. Patch pocket d. clause pocket
8. Measurement taken from the shoulder neck tip bone down to the apex
point.
a. Sleeve length c. Girth length
b. Apex height d. Waist measurement
9. This type of zipper looks different from other zippers because the teeth are
on the reverse and nothing except the pull is seen on the front.
a. Hidden zipper c. Invisible zipper
b. Cloaking zipper d. hiding zipper
10. Is a type of packaging form wherein a plastic bubble is performed in a
plastic sheet.
a. Bubble package c. Blister packaging
b. Skin packaging d. foam packaging
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
_______1. These are generally loose in fitting and are best suited to lean
women and goes well with tank tops and trendy blouses. These are
made up of wrinkle free fabric.
_______2. These pockets are external and can be decorative.
_______3. Is a soft, lightweight fabric which works well for colder-temperature
shirts and other cloth?
_______4. This solid line with arrows that point to the pattern piece edge,
indicates that the piece should be positioned along the fabric fold.
_______5. A figure-hugging dress with a narrow tapering skirt.
_______6. This is a medium-weight balanced plain woven fabric made from
dyed cotton and its name was originated from the Malay adjective,
genggang, meaning striped.
_______7. It is a free hanging part of an outer garment or undergarment
extending from the waist down to a particular length of the garment.
_______8. A type of skirt that comes along with a suit.
_______9. A flat collar with rounded ends that meet at the front.
_______10. These are universal symbols and lines designed to help the sewer
put the pattern pieces together quickly, easily and successfully.
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D. WORD HUNT
Directions: Find the following words in the graph.
1. Blouse 6. Trousers
2. Skirt 7. Kimono
3. Zipper 8. Collar
4. Pants 9. Buttons
5. Sheath 10. Neckline
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
E. Enumeration
Directions: List down what is/are being asked in the following statements.
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Synthesis
This learner’s material will help develop further the student’s skills and
knowledge in dressmaking. Advanced and several choices of different styles of skirts,
blouses and trousers are provided for the teacher to select what is suitable to his/her
learners. Procedures and techniques on how to assemble them are in step-by-step
order for the learners to easily follow the sewing processes and techniques.
The success of the projects of the students will contribute a lot in the pursuit of
aiming skilled and productive individuals in the field of dressmaking.
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GLOSSARY
.
Apex. The highest point or tip of the bust.
Bar Tack. A group of overlapping or very closely touching stitches used to reinforce
small areas of a garment that might experience strain during normal wear. The tops
of pockets are often bar-tacked on each side
Basic Block Basic foundation pattern, made of tag board or plastic, that fits the
target customer. (Standard size is usually an 8 for Misses sizes.) (See alsoSloper)
Bias. Any direction that is not the lengthwise or crosswise grain of a woven fabric.
Blind Hem. A machine stitched hem made by folding the hem back and using a
machine (industrial) or stitch and foot (home machine) designed for producing a hem
that does not show on the front.
Cap sleeve. A type of sleeve that hits the upper arm between the elbow and the
shoulder. Most often found in ladies' garments.
Collar stand. The part of a two-piece collar that stands up next to the neck
Cotton - A unicellular, natural fiber that grows in the seed pod of the cotton plant.
Fibers are typically 1/2 inch to 2 inches long. The longest staple fibers, longer than 1
1/2 inch, including the Pima and Egyptian varieties, produce the highest quality
cotton fabrics.
Dart- A stitched fold in the fabric that tapers from a seam to point to the fullest part of
the body. Used to create shape and control fullness.
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Directional Fabrics- Fabrics having a one-way design or nap that requires all
pattern pieces to be laid in a single direction
Ease-Fullness drawn up and stitched in place. Often used on a set-in sleeve, and at
the apex of a bodice with princess lines.
Edge Stitching- A row of machine stitching placed very close to a seam or garment
edge. Stitching may be up to ¼" away from the edge. (see also topstitching.)
Even Plaid- Plaid that contains a balanced arrangement of stripes on each side of
the dominant horizontal and vertical bars of the plaid.
Facing - An extra piece of fabric stitched into the inside of a garment for lining
purposes or to add strength and structure.
Finish - This generally refers to the processes used to make fabrics. Bleaching,
mercerizing, steaming, singeing, and dyeing are all finishing processes.
Flat Collar- A collar that lies flat, or nearly flat, against the garment all around the
wearer's neck (e.g., sailor collar, Peter Pan collar). A flat collar has no collar stand.
Full Cut - This is the size scale of the brand. For instance a size large in one brand
may be bigger than the same size in a different brand. The larger cut may be said to
be a full cut.
Gathers- A series of small tucks of fabric, controlled and held in place by stitches
and providing visible fullness.
Grain- As an element of fit, refers to the need for lengthwise yarns to run parallel to
the length of the body (a) at center front and back, (b) down the center of the arm
from shoulder to elbow, and (c) down the center front of each pant leg; the crosswise
yarns should run perpendicular to the length of the body at bust/chest, hip, and
upper arm at bust/chest level.
Grainline- A line drawn on the pattern to indicate the direction of pattern placement
on the lengthwise grain of the fabric.
Gore- Vertical division within a garment, usually tapered panels, narrower at the
upper edge than the lower edge, seamed together to add fullness to a garment. May
be functional or decorative.
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Grommet- Large, metal-edged unit which surrounds a hole in a garment. Many belts
have grommets surrounding the belt hole.
In-Seam Pocket- Pocket that is set into a seam of the garment, usually the side
seam of skirts, pants, dresses, and coats.
Interfacing- Supporting fabric usually hidden between the garment and its facing.
Lends body, shape and reinforcement to limited areas of the garment such as button
and buttonhole plackets, waistbands, collars, and cuffs.
Interlining - Support material used to stabilize and support areas of the garment.
Referred to as Interfacing in home and custom sewing.
Kimono Sleeve- Sleeve cut as one with the body of the garment. Traditionally
square in style.
Lapels Part of the garment that rolls or folds back above the front closure on both
sides; also called revers. Typically found on jackets and coats.
Lining - A fabric that is used to cover the inside of a garment to provide a finished
look. Generally, the lining is made of a smooth lustrous fabric.
Nap - A soft finish given to fabric where the fibers are raised or “fuzzy” by brushing.
This produces a soft feel to the surface.
Neck tape - An extra band of fabric material sewn over the seam between the body
and the collar of a garment for a more comfortable feel.
Notches- Small cuts (slits or wedges) made in the edges of garment pieces to aid in
correct assembly. On home-sewing patterns they are shown as dark triangles or
diamonds.
Off-Grain- Distorted fabric grain. Occurs when the filling yarns (weft) are not
perpendicular to the selvage or fabric edge. When a garment is "off-grain," the true
grain does not fall perpendicular to the floor.
One-Way Design- A fabric with a design or motif that runs in a definite direction.
These fabrics are said to have nap and patterns pieces must be cut with the tops all
facing the same direction. A print with trees all growing in the same direction, for
example, is a one-way design.
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Pad Stitching- Tiny stitches made through the interfacing that barely catch the
fashion fabric. Used to softly and subtly shape collars and lapels. Used in collars and
hand-tailored jackets.
Parallel- Extending in the same direction and at the same distance apart at every
point.
Patch Pocket- Pieces of fabric attached, like a patch, to the outside of the
garment. Also called "applied pocket."
Permeability - A textile characteristic which allows air, water, and water vapor to
penetrate and pass through it.
Pile- A plush or shaggy surface on a fabric resulting from loops or ends of yarn or
fiber projecting above or below the surface of the fabric. Fabric with pile has nap.
Placket- A finished opening in a garment section, e.g., at the cuff of a shirt or the
neckline of a golf shirt.
Pleat- Fold of fabric, folded back upon itself so that the pleat is comprised of three
layers; occurs vertically only. Pleats may be partially stitched or pressed down. Kinds
of pleats include: knife pleats, box pleats, inverted pleats, and accordion pleats.
Preshrink- To wash or dry clean the fabric, according to the care instructions, prior
to cutting out the pattern pieces to eliminate any potential shrinkage problems after
assembly.
Ply - The number of single yarns used to create ply yarn. It may also refer to the
number of ply yarns used to make cord.
Poplin - This is usually a 50% polyester and 50% cotton fabric in a poplin weave.
Polyester - A synthetic fiber which is the most commonly used manufactured fiber
worldwide. The fiber-forming substance in polyester is any long chain, synthetic
polymer composed of at least 85% by weight of an ester of dihydric alcohol and
terephthalic acid.
Raglan sleeves - These are sleeves that are all cut from one piece from collar to
cuff.
Rise- A measurement from crotch level to the top of the waistband: Also called
crotch depth.
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Seam Allowance- Narrow width between the seam line and the raw edge of the
fabric. Seam allowances vary depending on where they occur on the garment and
the manufacturers' specifications. Home sewing patterns generally have a 5/8" seam
allowance except at hems. Commercial patterns generally use 1/4" to1/2".
Seam Finish- Any technique used to neaten the edge of seams, prevent raveling,
and improve garment durability and appearance.
Seam sealing - Here the stitch line of a garment is made sealed by the application
of seam tape or glue.
Selvages- The narrow, finished edges of the fabric along both lengthwise sides of all
uncut woven fabrics.
Shrinkage - This is the amount in size lost during the washing of cotton Most 100%
cotton products have been pre-washed or pre-shrunk. After that a 4-5% shrinkage
should be expected.
Shirring- Permanent, parallel rows of gathers made in the body of the garment
Staystitching- A row of stitching used to stabilize the edge of a single layer of fabric,
typically on the bias. Rarely used in mass production.
Taffetta - A basic plain weave that is sharp and smooth on both sides. It most often
has a sheen. The warp and filling are of approximately same count.
Taped seams - A strip of extra fabric stitched into the seam of a garment in order to
prevent distortion or with outerwear, aid in waterproofing.
Tear strength - The force necessary to tear a fabric, measured by the force
necessary to start or continue a tear in a fabric.
Texturing - This is the method of blowing a jet of air on a fiber to give it a rough,
matte finish. This gives the fabric a feel of being thicker and heavier.
Topstitching- Visible, decorative stitching done on the outside of the garment; also
called accent stitching.
True Bias- Fabric direction that occurs at a 45-degree angle to the lengthwise and
crosswise grains of woven fabrics. Has the highest degree of stretch of any woven
fabric direction.
Tuck- A stitched fold of fabric. Decorative tucks are stitched on the right side of the
fabric. Tucks used to create shape are stitched on the inside to a designated point
and released.
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Twill - A fabric weave which is made of 2 to 3 warp yarns or threads for each weft.
The weave is a diagonal ribbing with many variations. Types are flannels; serges,
gabardines, and surahs.
Understitching- The stitching, used on enclosed seams, that attaches the seam to
the facing and prevents the seam from rolling to the front side.
Uneven Plaid- Plaid that varies in the arrangement of stripes on each side of the
dominant horizontal and vertical bars of the plaid.
Warp - The lengthwise yarn found in woven fabric. The warp is stronger as well as
denser than the weft yarns, (crosswise yarns).
Water repellent - Fabrics that have been treated with a finish which cause them to
shed water and resist water penetrationbut are still air-permeable.
Water resistant - Fabric treated chemically to resist water or given a "wax- coating
treatment" to make it repellent.
Weft - The horizontal or crosswise threads that intersect the warp threads in woven
fabrics.
Yarn - A continuous strand of textile fibers created when a cluster of individual fibers
are twisted together. These long yarns are used to create fabrics, either by knitting,
plaiting, or weaving.
Yoke- Horizontal division within a garment. Small, flat panel of fabric usually at
shoulder, waist, or midriff. Often found on the back of Oxford-style shirts.
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REFERENCES
Avendano, Emma S., Rondilla, Aida h., et.al. Pinoy Entrepreneur. Diwa Scholastic
Press Inc. 2007.
Barclay, Marion S., Champion, Frances, et.al., Teen Guide to Homemaking. McGrw-
Hill Company Company.1972.
Cock, Valerie, Dressmaking Simplified, Third Edition. Blackwell Science Ltd., 1981.
Cruz, Duran, et.al. Home Economics IV. Adriana Publishing Co., Inc. 2002.
Draper, Wanda and Bailey, Annetta, Steps in Clothing Skills, Revised. Bennett
Publishing Company, 1978.
Suratos, Cesar P., Technology and Livelihood Education III. St. Bernadette
Publishing House Corporation, 2010.
Tabbada, Epifania, Reyes, Elisa. Dressmaking II. Phoenix Publishing House, Inc.
2008.
Wills, Lydia., The Complete Idiot’s Guide. Pearson Education Asia, Pte. Ltd.,
Philippines, 2000.
Guide Book
Web Sites:
http://www.primaoutlet.com/product_images/v/925/DSC_0837__23780.JPG
https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQhzuCvQIxjiCEET6nvrATagEDq0etKD-4F-
HafC0mmZq8EtTB6
http://EzineArticles.com/7647968
http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=66191077
http://images.shopmadeinchina.com/p/135/10144135/VANCL-Erika-Plaid-Flannel-Shirt-Women-Orange-
Blue_10144135.bak.jpg
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http://www.kaboodle.com/hi/img/2/0/0/6b/5/AAAAAkL4JQIAAAAAAGtb9A.jpg?v=1189004452000
http://images.qvc.com/is/image/a/94/a201894_e24.102?$uslarge$
http://4.bp.blogspot.com/-f__6OYchQJU/T76gF4f48EI/AAAAAAAAFbE/D9NgGS2V00U/s1600/seven-islands-double-
gauze-dress.jpg
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(http://www.wisegeek.com/what-is-a-convertible-collar.htm)
((http://dictionary.reference.com/browse/collar)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAl l)
(http://www.merriam-webster.com/dictionary/kimono%20sleeve)
(http://www.collinsdictionary.com/dictionary/english/puff-sleeves)
(http://en.wikipedia.org/wiki/Sleeve)
http://www.wisegeek.com/what-is-a-mandarin-collar.htm
http://dictionary.reference.com/browse/rolled+collar)
(https://www.google.com.ph/search?q=description+of+flat+collar&rlz=1C2RNVH_en
PH545PH545&biw=1366&bih=653&source=lnms&sa=X&ei=dsoWU4r4A8T7rAe4kIG
IDg&ved=0CAQQ_AU#q=peter+pan+collar+definition
http://textilelearner.blogspot.com/2012/02/list-of-trimmings-for-shirt-trouser-and.html#ixzz343IuRPxW
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KEY TO CORRECTION
Diagnostic Assessment
V. Identification
A. 1. circular skirt B. 1. waistline measurement
2. button skirt with slide pockets 2. lower hip measurement
3. gathered skirt 3. Skirt length
4. four-darted skirt
5. waistline facing
6. A-line skirt
7. A-line skirt
Pre-Test 1
A. Multiple Choice B. Sequencing
1. A 11. B II. 1. 1
2. C 12. D 2. 6
3. A 13. C 3. 3
4. D 14. A 4. 8
5. B 15. A 5. 2
6. C 16. B 6. 5
7. B 17. C 7. 9
8. A 18. A 8. 4
9. B 19. A 9. 10
10.A 20. A 10. 7
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Review of Lesson 1
1. Proportion
2 Balance
3. Emphasis
4. Line
5. Texture
6. Rhythm
7. Harmony
8. Intensity
9. Form
10. Color
Review of Lesson 3
1. Full Circle Skirt
2. Tube-like Skirt/Straight Skirt
3. Ruffled Petticoat Skirt
4. Pleated Skirt
5. Gathered Skirt
Review of Lesson 4
1. E
2. D
3. C
4. B
5. A
Quarter II
PRE/POST ASSESSMENT 2
A. Multiple Choice
1.C
2.D
3.B
4.A
5.D
6.B
7.A
8.D
9.A
10.C
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2. 1. Basic
2. 2.5
3. C
4. 3.5
5. E
C. Identification
1. Flat Collar
2. Collar
3. Rolled Collar
4. Peter Pan Collar
5. Convertible Collar
6. Raglan
7. Dolman
8. Shoulder
9. Across Back
10. Blouse Length
D. True or False
1. True
2. False
3. True
4. True
5. True
6. False
7. False
F. Enumeration
46-50. (Any of the following)
Cotton Voile
Rayon Challis
Double Gauze
Knit
Silk
Chambray
Cotton Lawn
Linen
Flannel
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QUARTER III
Pre/Post Assessment
A. True or False:
1. T
2. T
3. F
4. T
5. F
6. F
7. F
8. T
9. F
10. T
B. Multiple Choice
1. B
2. A
3. D
4. C
5. C
6. A
7. D
8. A
9. D
10. A
C. Identification
1. Shrink wrap
2. Dispensing Closure
3. Metal
4. Glass
5. Initial Finishing Inspection
6. Aerosol or Dump Dispenser
7. Contains the product
8. Flexible pouch
9. Fabric
10. Brand or Main Label
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Summative Test:
A. True or False
1. Harmony
2. T
3. Fabric
4. Neckline
5. Strengthen
6. T
7. T
8. T
9. Triangle-shaped
10. Care
B. Multiple choice
1. A
2. B
3. D
4. B
5. C
6. C
7. A
8. B
9. C
10. C.
C. Identification:
1. Palazzos
2. Patch pockets
3. Flannel
4. Place on fold line
5. Sheath
6. Gingham
7. Skirt
8. Suit Skirt
9. Peter pan Collar
10. Pattern Markings
D. Enumeration:
1. Patch Pocket
2. Welt Pocket
3-6: Paper and cardboard; Wood and Glass; Plastic; Metal; Metallic Foil
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7-10
Word Hunt
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
CONGRATULATIONS! If you found the words in less than five minutes only,
meaning you’re fantastic, inspired and is capable to prove the next level.
354