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• TAILORJt:fG
~ CooperativeExtension • College of Agriculture • Washington State University · Pullman, Washington
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- TAILORING
Dorothy A. Ettl, Extension Clothing Specialist
Diane S. Triplett, Home Economics Assistant
WHAT YOU'LL DO IN THIS PROJECT
Tailoring is a special type of clothing construc-
tion. It uses construction techniques to build and
mold permanent shape into a garment. It re-
quires attention to detail, patience, and accuracy
to make a garment that will hold its shape
through repeated wearings and cleanings.
The tailoring project is designed for 4-H members
who have learned the basic skills in Units 1, 2,
and 3 and have completed at least two special in-
terest projects.
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In the tailoring project you will learn :
• The characteristics of wool.
• The characteristics of a tailored garment.
Pattern selection and fitting techniques for
tailoring.
Selection of fabric and notions for different
layers of a garment.
• Construction skills used for three different
types of tailoring: Custom, Dressmaker, and
Contemporary.
• New hand and machine sewing skills.
Pressing skills and equipment used in tailoring.
Care and storage requirements for tailored
garments.
Keep a record of your plans and use the 4-H
Clothing Construction Record, C 0675. Share
what you learn with others by demonstrating, ex-
hibiting, and modeling in the fashion revue.
Use this project booklet along with other
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reference material as you select a pattern, fabric,
and construction methods or techniques for your
tailoring project.
PROJECT REQUIREMENTS
To complete tailoring you should:
• Learn ten new skills for tailoring from the 4-H
Clothing Construction Skills Checklist, C 0677.
Plan, select, and make at least one wardrobe
item that will include sorne of the new tailoring
construction skills. All ten new skills do not
have to be on the garment you make. You can
learn the other skills on additional garments or
by practicing on fabric samples.
PLANNING YOUR PROJECT
Several types of garments will work well for
tailoring:
Menswear Women's Clothing
suits coats
jackets suits
vests jackets or blazers
pants skirts
topcoats pants
dresses
When you choose a pattern, think about the
clothes you have now, the places you go, the
things you do, and your personal body lines and
coloring . Think carefully about the way you want
to look and then select the lines and silhouette
that will help you achieve this look.
Study or review the infonnation in Unit 3 and
Challenging Patterns about design, line, and
color.
The pattern you select can make construction of
the tailored garment relatively simple or very dif-
ficult. A pattern with few seams and simple
details will be easier than a more intricate design.
Select a wool or wool blend to use as the fashion
fabric for your tailoring project. The fabric may
be either woven or knit. ( If you want to work with
a different fabric, enroll in the challenging fabrics
project.) Wool is recommended for its ability to
hold a molded shape as well as for its durability,
resiliency, and warmth. A firm fabric is easier to

work with, but a tweed or other loosely woven
fabric may be used successfully when under-
lined . ,
Select a fabric color that will highlight your per-
sonal coloring and coordinate with your ward-
robe. If the fabric has a design, be sure that it will
be appropriate for the pattern you have selected.
Remember that extra yardage and more time is
required for matching plaids, checks, stripes,
and fabrics with rliagonal effects.
Select the best quality fabric you can afford.
* ACTION IDEA. Look for tailored garments in
fashion magazines and in stores. Learn to
recognize the standards of a well-tailored
garment. Compare the cost of a home-sewn
tailored garment with a similar garment in
ready-to-wear.
WOOL FABRIC FACTS
Wool is a natural animal fiber-the fleece of
sheep or lambs. Goat or camel hair may also be
classified as wool under the Wool Products
Labeling Act. Most wool is clipped from live
sheep; poorer quality (pulled wool) is removed
from the hides of slaughtered sheep. The wool is
sorted, graded, and then washed or cleaned to
remove dirt and natural oils.
There are two classifications for wool fibers by
law:
. Virgin wool or new wool has never been pro-
cessed in any way before being manufactured
into the finished product .
. Recycled wool is wool that has been re-
claimed from scraps of knitted, woven, or
felted fabric or from wool products. These pro-
ducts may or may not have been used by the
consumer.
Because quality can vary within the classifica-
tions identified on the label, it is important to look
at the quality of the product. Good quality virgin
wools are strong and resilient. However, a fabric
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made from good quality recycled wool can be
more desirable than one of poor quality virgin
wool. Some recycled wools are blended with
new wools to improve the quality of the fabric.
Wool yarns may be classified as worsted or
woolens, depending on fiber quality and the
manufacturing process used:
Worsteds are made from long fibers. Worsted
yarns are smooth, hard, even, and compact.
Good quality worsteds are usually lightweight.
They tailor well, resist wrinkling, and take a
sharp crease. Worsteds usually wear well,
although gabardine and serge tend to become
shiny.
, Woolens are made from shorter fibers. They
have a softer, fuzzier look and are usually
woven more loosely than worsteds . Woolen
fabrics do not hold as sharp a crease as
worsteds, but since they are softer, they resist
wrinkling and do not get shiny.
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Wool yarns can be made into a variety of fabrics:
, Boucle has a surface that is knotted or looped.
. Challis is a soft, lightweight, plain, or twill-
weave fabric. !t has a smooth look and is
available in solid colors or prints.
, Crepe has a lightly texturized or pebbled sur-
face. Crepe fabric holds its shape and is
availa ble in many weights.
. Flannel has a slightly napped surface.
Fleece has a lush, fuzzy, napped surface. It is
warm, but lightweight.
• Gabardine has a hard finish and a clear sur-
face. It is a twill-weave with diagonal lines that
are fine and more pronounced than in serge.
Th e lines cannot be seen on the wrong side of
the fabric.
, Serge has a twill-weave rib on both the right
and wrong sides of the fabric. It is available in
many weights.
, Tweed is rough-textured, sturdy fabric which
is characterized by a mixed-color effect. It is
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available in many weights and may be a plain,
twill, or herringbone weave.
• Felt is made by treating layers of fibers with
moisture, heat, and pressure. It has a tightly
matted, smooth surface .
. Doubleknit wool can be recognized by the
th inly ribbed surface and flat finish . The front
and reverse sides are similar. The maximum
amou nt of stretch is crosswise rather than on
the bias .
. Singleknit wool such as jersey has a soft sur-
face . There is a fine ribbing on the right side
and a different appearance on the back.
Advantages of Wool in Clothing
• Wool is warm and comfortable. Because of its
natural absorbency, it absorbs moisture readily
with out making the wearer feel cold or damp.
• Wool is cool in lightweight fabrics. It breathes
and lets heat out and air in to keep the body dry
and cool.
Wool fibers are resilient and elastic so the
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fabrics resist wrinkling.
• Wool is supple and will yield with body
movements. The fabrics tailor well because
they can be molded to shape with heat and
moisture.
• Wool dyes easily, permitting a wide range of
colors.
Limitations of Wool
• Wool fabrics are apt to be attacked by moths
unless treated to resist them.
• Wool requires care in laundering and dryclean-
ing to prevent felting and relaxation shrinkage.
Chlorine bleaches may yellow or even dissolve
wool.
• Wool garments tend to stretch during wear
and if handled excessively when wet. They
should be allowed to "rest" between wearings.
Wool Marks
The Wool Bureau controls use of the
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"Woolmark" and "Woolblend Mark" symbols.
The Wool mark identifies products made of 100%
wool. The Wool blend Mark certifies that the pro-
PURE WOOL WOOL BLEND
duct is at least 60% wool. To use these marks,
manufacturers' products must pass the Wool
Bureau's performance tests, including fiber con -
tent, colorfastness, and inspection for quality of
workmanship. The marks appear on the product
label or hangtag .
TAILORING STANDARDS
Garments that are well tailored have certain
things in common, regardless of the type of
tailoring used. Knowing the standards of a well -
tailored garment will help you in setting goals
and in garment construction. They also will help
you when you buy a tailored garment.
The standards are:
• Fits correctly .
• Is well pressed .
• Edges of collar, lapel, front, etc. are thin and
curl slightly toward the body.
• Properly interfaced to mold to the body and
hold its shape.
• Collar lies against the garment with no seam or
undercollar showing. Covers back neck seam.
• Detail work is well done. Corners are square.
Collar points are the same length and shape.
Zipper insertion is smooth, even, and in-
conspicuous. Fabric design is matched at the
seams.
• Buttonholes are well made, evenly spaced, and
the right length for the buttons.
• I tandsewing is even and inconspicuous.
• Lining fits smoothly into the garment and does
not interfere with the set and drape of the gar-
ment.
TAILORING METHODS
There ar'e several tailoring methods. The method
you choose will depend upon:
• Your sewing ability.
The fabric you select.
Your time and equipment.
The look you want your garment to have.
• The use you intend for the garment.
Three methods are used today. Learn the advan-
tages and disadvantages of each. You may use
any one of the methods or you may use a com-
bination of techniques that will work for you.
Custom tailoring is the traditional method.
Throughout the garment, careful handstitching,
taping of seams, invisible tacking, interfacing,
padding, and continuous pressing are used to
stabilize and to build shape. Hand pad-stitching
is used to create a permanent roll in the collar and
lapel. There is much handwork in comparison to
machine work. Accuracy and time are required
to give good results. This type of garment is
usually expensive in ready-to-wear.
Dressmaker or soft-tailoring is a faster method .
More work is done by machine than by hand .
Many speed techniques are used. Pad-stitching
is done by machine. The garment constructed by
this method has less shape than the custom-
tailored garment. However, careful stitching,
pressing, and attention to detail is just as impor-
tant.
Contemporary tailoring makes use of fusible in-
terfacings. Most hand sewing is eliminated
because shape is built into the garment with the
interfacings. Machine sewing techniques are
similar to those in dressmaker tailoring.
SELECTING INTERFACING
In tailoring, the interfacing gives the garment its
shape. It also prevents stretching and provides
extra reinforcement. The way interfacing is used
affects whether or not the garment looks well
made.
General Standards
When you select interfacing, consider:
Purpose. What overall look or shape is
desired? A heavier interfacing creates a crisp
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look; a lighter weight gives a softer look.
. Fabric weight. Interfacing should be no
heavier than the fashion fabric unless a special
effect is desired. Try the two fabrics together
to see what effect you can expect . If you use
fusible interfacing , the fusing will add even
more body. Test on a small piece of the fashion
fabric to check the effect .
. Color. Be sure the interfacing will not show
through the fashion fabric .
. Care requirements. They should be compati-
ble with the garment fabric.
Custom Tailoring
Select hair canvas and muslin interfacings. Hair
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canvas provides support for the garment and can
be permanently shaped and molded. Hair canvas
comes in a variety of weights. The higher the
percentage of goat hair, the better the quality.
Different weights of interfacing may be used in
the garment depending on the support needed.
Use canvas in lapels and collars to build in shape.
Muslin gives a soft appearance and provides the
stability needed for hems anci pockets.
Dressmaker Tailoring
Hair canvas and muslin interfacings are selected
for this method also. The difference is that the
shaping is done with machine stitching instead of
hand stitching.
Contemporary Tailoring
Select a fusible interfacing. It eliminates the need
for pad-stitching, yet builds in the needed shape.
In general, the following types and weights of
fusible interfacings are suitable for tailoring:
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. Woven. Fusible hair canvas contains goat hair
and can be shaped by steaming. It is suitable
for medium to heavyweight fabrics. Fusible in-
 terfacing without hair is lighter in weight and
softer than canvas. It is suitable for light to
medium-weight fabrics.
. Nonwoven. Fusible interfacing with one-way
stretch is stable in the lengthwise direction, yet
stretches in the crosswise direction. It is very
good for use with knits.
Knit. Fusible 100% nylon tricot gives or
stretches in the crosswise direction, but is
stable in the lengthwise direction. Because it is
very light in weight, it does not have the shap-
ing qualities found in other fusibles.
Before you buy a fusible interfacing, test its com-
patibility with the fashion fabric. Be sure the
fashion fabric can withstand the heat, steam ,
and pressure required for successful fusing .
Using Interfacing
The method of tailoring and the interfacings you
use may be a combination of any of the above.
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Use what works best for you and the fashion
fabric you have selected.
Study or review the section on interfacing in the
Challenging Fabrics project.
LININGS
Linings give a smooth, attractive look to the in-
side of a garment. They make the garment easier
to slip on and off and help preserve its shape.
They also protect skin from harsh outer fabrics.
Select a lining that is:
• Light in weight so it will not interfere with the
hang of the garment.
• Smooth and slippery so it will be easy to put
on.
• Attractive, because it often shows.
• Opaque, so inner construction won't show
th ro ugh.
- • Durable, because it gets hard wear. Durability
is det ermined by fiber content and fabric con-
stru ction . Acetate and rayon are relatively
weak fibers; nylon and polyester are relatively
strong. A tightly woven or knit fabric is more
durable than a loose one. A twill weave is more
durable than a plain weave.
• Compatible in care requirements a11d wear life
with the fashion fabric .
Lining color may match, blend, or contrast with
the outer fabric. It should not show through the
outer fabric. Select a lining that is resistant to
perspiration and fading.
For warmth , pile, quilted, or satin -backed in-
sulated fabric can be used to line a winter gar-
ment. Usually, these fabrics are too bulky for use
as a sleeve lining. A smooth lining fabric in the
sleeves makes it easier to slip the garment on and
off.
Interlining is an extra layer of fabric that can be
added for warmth . If used, it is usually made of
loosely woven wool. To eliminate bulk, it is
generally omitted in the sleeves. It may be ap-
plied as a separate layer between the coat and lin-
ing or attached to the lining and treated as one
piece with the lining .
An underlining may be used with lightweight or
loosely woven fabrics. It is cut from the same
pattern pieces as the outer fabric and attached to
it; the two layers are then handled as one . It gives
support to major design lines, adds body to a
fabric that is too flexible to be shaped alone, and
adds strength to loosely woven fabric. Underlin-
ing also serves as a "buffer layer" for pad-
stitching and as a foundation for other hand
stitches, preventing them from showing on the
right side of the garment. On light-colored and
lightweight fabrics, the underlining will prevent
seam allowances from showing through.
Select an underlining fabric that is lightweight,
sturdy, nonraveling, and as close in color as
possible to the garment fabric. It should have the
same care requirements as the fashion fabric . If
you use fusible interfacings, you may not need
an underlining. A lightweight, fusible knit inter-
facing will give extra body to double knits and
lightweight or loosely woven fabrics .
NOTIONS
Tailoring requires notions you may not have used
before:
, Stay tape of cotton , linen, or polyester twill.
Tape prevents stretching and reduces bulk
along edges. A lways shrink the t ape before us-
ing. Use a 1 /4-inch (0.6 cm ) width or a 3/8-inch
(1 cm) width.
. Weights may be used to make the hem of a
jacket or coat hang smoothly .
. Button style should be appropriate for gar-
ment style. Size should be in proportion to the
garment and the wearer.
. Shoulder pads ma intain the natural sh oulder
line. They may be purchased or you may make
them using polyester fleece.
FITTING THE TAILORED GARMENT
Pay special attention to fit . Adapt your personal
measurements to the paper pattern as you would
for any sewing project. Be sure to make ad-
justments on the pattern for all layers of the gar-
ment.
Consider maki ng a trial garment, somet imes
called a muslin. It helps you avoid costly
mistakes and wear and tear on the actual gar-
ment. Cut out the major pattern sections (jacket
front, jacket back, undercollar, sleeves) from
muslin, an old sheet, or inexpensive fabric.
Transfer markings to the right side of the muslin:
grainlines, center front and back, lapel and collar
roll lines, buttonholes, pocket locations .
Machine baste the seams together . Set in both
sleeves for balance on both sides when fitting .
Pin up bottom and sleeve hems.
Try on the muslin over clothing you would wear
with the actual garment. Do all fitting from the
right side of the garment. General fitting points
to consider are grainline, seam and design lines,
amount of ease, balance, and overall
smoothness. Refer to Unit 3 for a review .
Specific standards for your tailored garment are:
, Check length and width measurements for
proper wearing ease and proport ion in relation
to your figure type . Make these adjustments
first ; th en ot her adjustments will also be ac--
curate.
• Darts should point toward the fullest part of a
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body curve and taper off 1 inch (2.5 cm) from
the point.
, Grainlines and vertical seams sh ould be
perpendicular to the floor and all horizontal
lines should be parallel.
• Th e collar should fit closely at t he neck and roll
evenly to form a pleasing line with the lapels.
At center back, the outer edge of the collar
should fall at least 1/2-inch ( 1.3 cm) below the
neckline seam . Mark the natural roll li ne of the
colla r and lapels on the muslin ; transfer to the
pattern for use when you tape the roll line and
pad stitch.
, Proportion, size, and location of pockets,
flaps, and cuffs should be flattering to your
body size and related to the length of the gar-
ment.
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• If the pattern has been altered, be sure the but-
tonholes are still positioned correctly and are
evenly spaced.
Sleeve and shoulder settings are very important
in overall fit. If you use shoulder pads, insert
them now. Then check the following:
, Shoulder seams should extend from the base
of the neck to the shoulder bone and should lie
flat and smooth over the shoulders.
, Depth of armhole should be 1 inch (2.5 cm )
below the armpit on a jacket or coat.
• Sleeve should hang naturally w ith no pulling at
upper arm, forearm, or wrist.
• Sleeve hem should be at the wrist bone or just
below. Be sure t he elbow ease or dart allows
room for bending the elbow.
• Lengthwise grain of the sleeve should hang
perpendicular to the floor. In the sleeve cap,
the crosswise grain should be parallel to the
floo r.
• Ease in the sleeve cap should be distributed
evenly and smoothly.
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• Fit carefully. Do not make the muslin too tight;
lining, interfacing, and other layers will be in-
serted inside the outer shell. Also the wool is
usually thicker than the muslin. Make the needed
corrections on your pattern pieces or take the
muslin apart and use it for t he pattern.
SEWING BASICS .
Pretreat all fabrics and notions. Some wool
fabrics can be pu rchased preshrunk and ready to
sew. If labels do not specify this, test across a
corner with a steam iron for possible shrinkage. If
there is a ripple at the edges of the iron imprint,
shrinkage is possible. Have a drycleaner steam
press the fabric or use the London shrunk
method at home to pretreat the wool. Washable
fabrics should be laundered according to care re-
quirements. · Sew-in hair canvas can be
preshrunk by steam pressing thoroughly with a
damp press cloth, allowing the steam to
penetrate well. Lay on a flat surface to dry.
- Cutting should be done carefully with sharp
shears . To give more support and firmness to the
front of a jacket or coat, you may want to cut a
front bodice interfacing that extends from the
lapel and collar area through the shoulder to the
sleeve and 2 1/2-inches (6.5 cm) below the arm-
hole.
Front
2½"
A back reinforcement should be cut for support
across the jacket shoulders or coat back. If a pat-
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tern piece is not included, use the back pattern.
Cut around the neck, shoulder, armhole edges,
and 2 1/2-inches (6.5 cm) along the underarm
seam. Measure and mark 7 1/2-inches (19 cm)
down from the neck edge at the center back.
Draw a curved line joining this point to the side
seams .
Back
7½"
2½"
Cutting
Line
Fold
When you cut the lining for a coat or jacket back,
allow a 1-inch (2.5 cm) ease pleat at the center
back of the neckline - if not included in the pat-
tern.
Allow for turn of .cloth in lapel and collars. It
takes more fab ric for the upper collar to roll over
the undercollar. Add to the outer edges of the
upper collar if that pattern piece is not already
larger. For a rolled collar to roll smoothly, the
undercollar should be on the bias and cut in two
pieces with a center back seam.
Marking is often done with tailor's tacks and
basting. This will protect fabrics from damage by
marking instruments.
Eliminating bulk in the tailored garment is
essential. In tailoring there are usually more
layers of fabric and heavier fabrics are often in-
volved. lnterfaci ngs also may be heavier. Sug-
gestions for handling bulk are:
• Do not include interfacing in darts or neck,
front, and underarm seams.
• Do not extend interfacings into the corners of a
pointed collar.
• Trim and grade all enclosed seams. On heavy
fabrics, bevel the edges by slanting the scissors
while trimming the layers .
• Kill wool in enclosed seams.
Shoulder pads in tailored garments keep the
shoulder,·square and protect the garment on the
hanger. They also fill out the hollow just below
the shoulder and give a smooth line . They can
disguise common figure faults such as round or
thin shoulders or one high shoulder. The pads
should be in for all fittings including the muslin.
Make your own out of layers of polyester fleece
to get the shape and size you need. The pad
should extend 3/8 inch ( 1 cm) beyond the arm-
hole seam.
Sleeve headings may be used to maintain a roll
at t he cap of the sleeve or to support the sleeve
cap . Th is is a bias strip of soft fabric sewn into
t he upper armhole seam with loose hand
stitches.
Other shoulder or chest pieces may be set in for
more shaping.
Machine keyhole buttonholes are usually used
on t ailored menswear. Bound buttonholes are
often used on tailored clothing for women. There
are many ways to make bound buttonholes.
Prac tice several to see which works best for you
and your fabric.
Buttonholes should be:
• Flat with edges finished.
Even in length and width.
• On grai n of fabric.
• Placed in direction of pull.
• Spaced evenly on garment.
• Large enoug h to allow the button to pass
th rough easily, yet small enough to hold the
garment closed.
• On the right fron t of women's clothing and on
t he left front for menswear.
Bound buttonholes should:
Be a rectangle with square corners .
• Have even lips that meet exactly at the center
of the opening .
• Be finished on the back with the facing secure-
ly fastened.
Buttons are a finishing touch, bu t t hey sh ou ld
be chosen at the start. The color should match or
compliment the fabric . The style, weight, and
texture should also be in keeping with t he fabric.
Most patterns suggest a button size. However,
be sure it is appropriate for you. Use reinforce-
•
ment buttons under the fashion buttons . T hese
are small, flat buttons sewn on the inside of th e
garment. Sew both buttons on at t he same time
and use a thread shank t o allow fo r cl eara nce of
the overlap fabric.
In the tailoring project you will learn man y new
hand and machine sewing techniques . Keep in
mind the standards of quality you have been
working towards whi le sewing in 4-H. You ca n
review these standards in Quality S tandards in
Clothing Construction, PNW Bulletin 197. Select
a tailoring method and techniques t hat wi ll give
results that are:
• Inconspicuous
flat and smooth
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free from bulk
stitching a uniform distance from an edge or
fold
• Functional
• Durable
PRESSING BASICS
Good pressing is essential in achieving a quality
look in tailored garments. Learn how to press
each construction detail as well as how to give a
carefu l final pressing to t he completed garment .
Pressing is lowering and lifting the iro n to mold,
shape, and smooth the fabric . Steam is more im-
portant than pressure. Often the iro n surface
may not touch the fabric . Steam and a "finger
press" works well.
Each part of the garment should be pressed and
shaped while it is being const ructed . W hen you
'l
press as you sew, little final pressing is
•
necessary.
Some pressing tips:
•
• Test the fabric before you begin. See how it
reacts to heat, steam, and pressure.
• Press from the wrong side first .
• Use a press cloth to prevent shine and to
preserve fab ric texture.
Press in the direction of the lengthwise and
crosswise grain .
Press curved darts and seams over a mitt or
ham.
• Press a seam before stitching another seam
across it.
• Slide a piece of paper under the edge of seams,
hems, and darts so edges will not leave press
marks on the right side of the garment.
When you press wool, always leave some
moisture in the fabric and let it dry naturally.
The pressing tools you will be using are:
. A tailor's ham is a firmly stuffed, ham-shaped
cushion. Use it to press areas that need shap-
•
ing, such as darts or curved seams at the
shoulder, bust, hipline, and sleeve cap. Your
leader can show you how to make a ham or you
can buy one. It should be covered with cotton
on one side and wool on the other and very
tightly packed with sawdust or sand.
The seam roll is a long, cylindrical cushion
used to press sleeve seams and other hard-to-
reach areas. When pressing seams open, it
keeps seam allowances from leaving press
marks on the right side of the fabric because
the iron touches only the stitching line. Buy a
seam roll or make it yourself by sewing a tube
•
of heavy muslin and inserting a tightly rolled
magazine.
• A press cloth between the iron and fabric
prevents shining or crushing the fabric surface.
Dampen the cloth if extra moisture is needed .
A soft wool press cloth prevents flattening the
nap or texture of wool fabrics. A sheer,
transparent press cloth (such as a piece of
lightweight interfacing) is useful for pressing
details.
. A pounding block or clapper is used in com -
bination with steam to give sharp, flat edges or
creases in lapels, collars, pleats, and other
details. It is most often used on heavy, bulky,
or hard-to-press fabrics .
. A point presser is a thin hardwood board that
comes to a fine point at the end . It is used to
press corners of collars, pockets, and other
details. The point presser makes it possible to
press hard-to-reach areas.
A press mitt may be slipped over your hand to
press shoulders, sleeve caps, and other small
curved areas to be molded by steam .
. The needle board (velvet-board) is used to
press napped and pile fabrics without matting
or flattening. Self fabrics or a fluffy terry towel
can be used instead.
WOOL CLOTHING CARE
A tailored garment represents a large investment
in time, energy, and money. Protect that invest-
ment and help your clothes look new longer by
following these suggestions:

• Use rounded or padded hangers so clothes will
keep their shape.
• Allow ' space between garments to prevent
crushing.
• Air and brush clothes frequently. Let wool
garments rest 24 hours between wearings .
• Check for and make needed repairs.
• Relax and refresh wool clothing by hanging it
on a shower rod over a tub of hot water.
• Store out-of-season garments clean. Place
them in sealed bags or boxes and store in a
cool, dry place. Unless wool has been moth-
proofed, it needs to be protected.
• Follow the directions on the care label and
hangtags for laundering your wool clothing.
HOW DO YOU RATE?
Take a good look at yourself .in the new tailored
garment you have created. Use the checklist in
Unit 3 to evaluate your finished product.
* ACTION IDEA. Make a cost comparison with
•
a ready-to-wear tailored garment like the one
you have made . After comparing actual
costs, make some time and quality com-
parisons. (A detailed study of this type would
work well for an Explorer Project.)
REFERENCES
For more help with your tailoring project, see:
Easy, Easier, Easiest Tailoring, Patti Palmer and
Susan Pletsch, 1977, Palmer/Pletsch Associ-
ates, Portland, Oregon.
Creating a Tailoring Garment, Dressmaker
Method with Variations, Lenore L. Landry and
Emma M. Jordre. 3rd Ed ., 1972, American Print-
ing and Publishing, Inc., Madison, Wisconsin.
Custom and Fusible Tailoring, Coats and Clark,
Inc., Stamford, Connecticut.
Simply Tailoring, Simplicity Pattern Company .
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Issued by Washington State University Cooperative Extension, J. 0. Young, Director, and the U.S. Department of Agriculture,

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in furtherance of the Acts of May 8 and June 30, 1914. Cooperative Extension programs and employment are available to
all without discrimination. Reprinted February 1982.
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More boys and girls belong to 4-H than any other youth group. -