COURSE: TAILORINGANDGARMENTDESIGNING

COURSENAME: GARMENTCONSTRUCTION–LADIESWEAR
INSTRUCTOR: DAMBYACHRISTINE

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LEARNING OUTCOMES:

Learners should be able to:

 Take body measurements, draft, cut, and construct ladies wear.

 Effectively use relevant communication and fashion terminologies in fashion and apparel

industry.

 Appreciate fashion sources, leaders, designers and the environment.

 Apply the principals and elements of design in the garments effectively.

GARMENT CONSTRUCTION.

Garment construction is a skill of making up a garment. This involves the joining of cut fabric
pieces into a garment. The fabric pieces of a particular style or fashion of a garment are cut
using a pattern. The construction of these pieces include various processes e.g. seams, opening,
disposal of fullness, fastenings, hems, edge finishes and facings. The skill of garment
construction also involves knowledge about the factors that affect choice of clothing and
balancing of shape, texture line & colour
FACTORS TO CONSIDER WHEN CHOOSING AND PLANNING FOR A SUITABLE SEWING AREA.
a) Time and effort are saved if the work in progress does not have to be unpacked or
packed away each time. Therefore, a permanent and strategic place is required for a
sewing area.
b) Good natural and artificial light is important as it is easy to make mistakes and to tire
the eyes in the poorly lit area. Avoid blocking light during sewing and in case of night
time, use a high intensity lamp and brilliant colour‐balanced fluorescents. Always view
fabrics, threads and buttons in day light.
c) The cutting‐out space should be large and flat. Ideally, use a table at normal working
height and position it so that it can be used from all the four sides. Alternatively, folding,
cutting‐out boards are available and these are also marked with useful grid of lines.
d) Keep a small, clean dustpan and brush in the area together with a large waste bin for
easy cleaning and disposing of dust and dirt whenever they accumulate.

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 e) Electrical sockets are needed for the sewing machine, iron etc… it may be necessary to
use an extension flex cable if existing outlets are too far away. Care should be taken not
to overload sockets with adaptors.
f) A table or stand is needed for the sewing machine and this should be at a comfortable
working height, in a good light. Have enough space round the machine to place the
fabric and tools.
g) A comfortable chair that supports the back when hand‐sewing or machining is vital,
dress making can be tiring otherwise.
h) Some hanging place is useful for unfinished garments, and flat storage space needed for
fabrics and small pieces of work.
i) Adequate and suitable storage for haberdashery and sewing tools must be arranged
nearby to save time, effort and temper! As well as tools used, other items of equipment
such as fabrics, haberdashery, paper patterns and the “learning about sewing” manuals
all need storage space. Consider each item needing storage and try to use something
exactly right‐cupboards, open shelves, pegboards, shallow drawers, deep drawers, open
bins, large brown envelops, hanging rails, drawing bags, etc.
j) Own a personal sewing portable kit for easy fitting, mending, taking measurements and
simple embroidery work.
k) Good space for pressing either on bench or portable ironing board is required.
l) Full length mirror placed in good light for fitting is essential.
m) Suitable heating and ventilation are essential to avoid too much cold or heat.
n) Machine noise disturbs sleeping children or working/studying; therefore, detach the
sewing area from study and bed rooms

GARMENT CONSTRUCTION TERMINOLOGIES

Notching: cutting out wedge shaped pieces to lie fabric from the seam allowance for it to lie
flat.

Clipping: tiny srups/clips are made in the seam allowance to allow it lie flat.

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Grading: trimming or laying each layer of the seam allowance to different width to reduce bulk.

Seam allowance: An area between the fitting(stitching) line and the cutting line (raw or serged
edge) 1.5 cm wide

Pressing: A process in which the flat iron is placed on one part of the garment, lifted and placed
on the next position to ensure a wrinkle free pattern and fabric a well as flat and neat seams.

Stay stitching: Stitching placed along the bias and curved edge to prevent stretching.

Under stitching: Stitching made on the facing or bottom layer to keep it from rolling to the right
side.

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Top stitching: A decorative or functional stitching placed on the right side of the garment e.g.
on pockets

Easing: Used on fabric edges where on pieces is longer than the other to allow a fabric to be
shaped over a curved body area of the body e.g. shoulder.
Ease is the amount of room a garment allows the wearer beyond the measurement of their
body
They are two different types of ease i.e.
 Wearing ease which allows movement and comfort
 Design ese which is added fullness for the purpose of design. Design ease is added over
and above wearing ease

Fitting: this is a process of making a garment conform to a shape of a person for whom is
intended.
Stitch in the ditch: A row of stitching placed in the groove of a seam line from the right side of a
garment e.g. on waist band

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 THEMES IN CLOTHES
Kampelmann, s Rycx, F. (2012) states that clothes are designed according to the occasion such
as weddings, evening walk, office work. These themes can be got from the situation around,
can be joy or sorrow
Types of wears
 Evening wear
 Beach wear
 Office wear
 Traditional wear
 Casual wear
 Sports wear

These types of wear have different qualities which must be known by a designer
Qualities of evening wear

 Close fitting in order to bring out the figure well.

 Uses bright colours
 Fashions are exaggerated

Qualities of office wear

 Has one flow of colour

 Uses cool colours
 They are classic

Qualities of casual wear

 Loose fitting
 Has simple fashion
 Has dull, cool colours

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Qualities of traditional wear

 It is floor hanging
 It is loose
 It is related to a certain society

Qualities of sports wear

 It is loose to allow movement

 The material must be absorbency

Qualities of beach wear

 It must be short
 It most cases show most of the parts of the body

FACTORS TO CONSIDER WHEN SELECTING GARMENT FOR WOMEN

 Age: Age must match with the fashion selected for example short dresses for teenagers
and long dresses for old women.
 Size: Small women have styles suitable for their size such as gathered and circular
dresses and sheath and empire for fat women and women with a belly.
 Colour: Color should match to some one’s complexion.
 Status: The material and fashion should match with someone’s status.
 Religion: The fashion should be suitable for the religion for example Moslems put on
long dresses with shallow neckline.
 Political factors: The style and color should not affect someone’s political party and
herself.
 Culture: Different culture have different norms so you should put on what is proper in
that culture.
 Occasion: Themes such as Evening wear, Beach wear, Casual wear, Office wear requires
different styles.
 Personal interest: Different people have different taste therefore personal interest
should be put into consideration.
FACTORS TO CONSIDER WHEN SELECTING MATERIAL FOR A GARMENT.
 It should be easy to handle and sew.
 It should have lines and prints that are easy to work on artistically.
 Texture suitable to the style.
 Color should match to some one’s complexion.
 Occasion [Theme].

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TYPES OF DRESSES
 A‐Line dress: Is a dress which form letter A fitted from the shoulder to hips then
widening to the hem but it is also sometimes widening from the shoulder.
 Empire dress: Are fitted through the bust and sometimes called high waist dresses.
 Vent dress: Is a dress with vertical opening, it can be behind, in front or at the sides and
of any length depending on the customer’s interest.
 Dent dress:
 A yoked dress: Is a shaped pattern piece which forms part of a garment usually fitting
around the neck and shoulders or around the hips to provide support for looser parts of
the garment such a gathered skirt.
 Tent dress: Is a full, loose fitting dress that is narrow at the shoulders and very wide at
the hem having no waistline or darts.
 Sheath dress: Is a fitted, straight cut dress often nipped at the waist line with no waist
seam. The dress emphasizes the waist.
 Shift dress: Is a dress in which the cloth falls straight from the shoulders and has darts
around the bust.
 Dirdle dress: Consists of bodice and skirt or a pinafore dress, a low cut blouse with short
puff sleeves, full skirt and apron.
 Princess line dress: Is a dress that describes a woman’s fitted dress or other garment cut
in long panels without horizontal line or separation at the waist.

TYPES OF SKIRTS
 Flaired skirt: It is very similar to an A‐line skirt, except that it mostly short & flares out a
lot more than A‐line. As it moves down it circles out & covers your bottom.
 Layered skirt: These are skirts which have layers of fabric attached to each other at the
hemline. The length and width of each layer may be the same or may vary. The fabric
used may be the same or not. It is also called tiered skirt.
 Skirts with godgets: These are skirts with a triangular piece fixed at the bottom to
create gored shape. The skirt may have vertical lines for fixing in godgets or may not.
 Gored skirt: Is a type of skirt is a type of A‐line skirt with many different triangular
panels sewn together. It has a softer fit around the hips and create a loose, flowing bell
shaped at hem.

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  Circular (balloon) skirt: A skirt cut in sections to make one or more circles with a hole
for the waist. So the skirt is very full but hangs smoothly from the waist without darts,
pleats or gathers.
 Gathered (shirred) skirt: These are skirts which have gathers in the waist or a round the
hips.
 Fitted skirt: This is a form fitting skirt from waist to the hips usually with the help of the
darts.
 Pleated skirt
 Yoke or combination skirt
 Culottes skirt
 A‐line skirt
 Wrapped around

Waistline Finishing
The following are the waistline finishing of the different types of skirts:
1. With waist band
2. Continuous waistline
3. Bias bounded
4. Side garter waistline or all around gartered waistline

NB: Skirts often have similarities on how they are made. Some have waist bands others have
none. Both have openings with fasteners while others have slits
1. Skirts with waistband. The waistband has an interfacing to give body to the band.

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 2. Skirts with continuous waistline. These skirts have no waistband. The waistline is
finished with facing to cover the raw edges. Darts of the facing should match the darts
and side seams of the waistline to have a smooth and flat waistline.

3. Skirts with Bias Bounded Waistline. The bias strip is cut 1.5 inches wide and enclosed
seam the edges of the waistline. It is usually finished with a hook and eyes.

4. Skirts with side Garter or All Around Gartered Waistline. This could be made with or
without waistband. Place the garter on both sides of the waistline 2” to 3” long. As the

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 all‐around garter the waist measurements should have 3 inches’ allowance for the
expansion of garter

PROCEDURES FOR ASSEMBLING A SKIRT

 Mark darts in front and back

 Stitch and finish centre back seam
 Insert zipper using appropriate method
 Attach in seam pocket (optional)
 Join back to front at side seam
 Treat waistband with interfacing
 Make waistband and attach to waistline
 Apply fastener
 Prepare lower edge for hemming
 Final press

INSERTION OF A ZIP FASTENER

i. The overlap is interfaced, and underlap is lined.
ii. The crotch curve is stitched, and the centre front is basted.
iii. The zipper is positioned with the teeth on the overlap.
 The tape is stitched to the underlap.
 The zipper is folded over onto the underlap.
iv. The zipper tape is stitched to the overlap with two rows of stitching.
v. The basting is removed, and the waist edge is marked.
 The overlap is folded right sides together. The waist edge markings have been
transferred to the wrong side.
vi. The underlap lining is folded under its long straight side.
 The underlap and overlap waists are stitched.
 The petersham(belting) has been added.
vii. The overlap is basted and marked for stitching, then it is stitched and tacked/fastened at
the centre front line some distance above the crotch curve.

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 viii. The underlap is topstitched and the shield lining secured, all in one.
ix. The shield layers are joined to the overlap facing at the bottom of the curve. The fly is
tacked through all layers.
x. The shield lining forms a tap to cover the crotch seam. The overlap facing is trimmed to
match the shield.

STYLES ON THE NECKLINE

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SHAPES OF FACES
Oval shape: This is egg shaped that is round at the top and slightly elongated at the line.
Round shape: This looks like the shape of the moon where neckline should be given careful
consideration.
Triangle shape: The top is wider than the ear side going smaller to the chin.
Square shape: The top head is equal with the jaw.
Curved at the chin like the human heart

PRECAUTIONS TO BE TAKEN WHEN CHOOSING STYLES FOR THE DIFFERENT FIGURE TYPE
Short and slim figure

 Choose skirts pleated into waist

 Choose soft colours
 Choose small printed patterns

Short and plump figure

 Choose simple styles with vertical tucks

 Choose V necklines
 Choose straight dresses

Tall and stout figure

 This has big bust, waist& hips. Fitted blouses with vertical, horizontal or diagonal lines
will create a slim appearance.

Tall and slim figure

 This has longer body length with broad shoulder, small bust, loose blouses with yokes,
collars, sleeves and pockets will give nice effect, pleated skirts

Pear shaped figure

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 This has broad hips and small shoulders.
 Blouses with collars and sheered sleeves will have a good effect to balance the hips
straight or fitted skirts

PRESSING AND IRONING

Pressing: Is the process of removing wrinkles, creases from paper patterns and fabric as well as
ensuring neat flat seams during garment construction by lifting the iron up and down.
Ironing: Is the process of removing wrinkles, creases from paper patterns and fabrics as well as
ensuring neat flat seams during garment construction by moving the iron backwards and
forward
PRECAUTIONS NECESSARY FOR PROPER PRESSING
 Press instead of ironing.
 Use correct temperature on thermostat dial.
 Test for reaction of heat steam of scrap fabric.
 Press on wrong side of fabric.
 On the RS use a press cloth.
 Press seams and darts before crossing with other seam.
 Press in the direction of grain.
 Press seams flat before opening them.
 Press curved areas over tailors’ ham.
 Use strips of paper/ envelop to avoid press marks.
 Check for fit before pressing sharp creases.

SHAPING MATERIALS
These are materials used to give shape to a garment e.g. lining, interfacing, wadding, shoulder
pads etc.
IMPORTANCE OF SHAPING MATERIALS

 Increase the life of the garment.

 Adds warmth to the garment.
 Creates fashion effects such as yolks, standard collars.
 It strengthens edges were button and button holes (fasteners) are used.
 Adds firmness and body to fashion details, such as pockets, neck line and to entire
silhouette.
 It gives greater crease resistance in all fashions.

BASIC CRETERIA FOR SELECTING SHAPING MATERIAL

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  Should have correct weight, should not be heavier than fashion fabrics.
 The effect it will create to the garment i.e. stiffen it or make it soft.
 Proper finish and texture.
 Shrinkage control.
 The color must much with the fabric.
 Must be colorfast.

Disadvantages of shaping materials.

 It is expensive.
 Bleeding of the lining.
 They make the garment too heavy.
 It requires skills.
 They can make the shape of outer fabric to go out of shape. s

LINING
Although linings are normally hidden from view, it is important to choose these undercover
fabrics carefully. You need to pick one that will complement the outer fabric in weight and
color.
Lining fabric are now made to suit every eventuality. They can be woven or knitted and stretch
or non‐stretch.
With linings the fibre content is important, too. Pick a lining with a complementary fibre to the
outer fabric. Man‐made linings such as Bremsilk or acetate taffeta will work better with a
natural fibre than a polyester taffeta. If the outer fabric can be washed, make sure the lining is
washable too. Finally, select a lining that will move in the same way as the main fabric and one
that will be as durable as the outer fabric. Seams in an ordinary lining will split during wear if
the outer fabric is stretchy.
A less durable lining fabric will wear out before the outer fabric.
Dressmaking patterns usually have separate pattern pieces for the lining.
IMPORTANCE OF LINNING AND UNDERLINING

 Give an attractive appearance to the inside of the garment.

 Hides raw edges (neatening and finishing inside).
 Prevents outer fabric from stretching
 For insulation and add warmth and comfort.
 Improve the hard of the garment.
 For longer life of the garment.
 Keep the garment in good shape.

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  Helps garments shed creases/wrinkles.
 Stops undergarments from showing.
 It helps to prevent transparent materials.

LINING FABRICS
Acetate taffeta: A basic general‐purpose lining that can be hand washed or dry cleaned. It has a
medium weight and crisp handle.
Nylon jersey lining: A stretchy, light‐weight translucent fabric, suitable for see‐through fabrics.
It has an anti‐static finish and can be hand washed.
Stretch lining: An acetate fabric with 4% lycra added to give it stretch. It is an ideal lining for
suiting fabrics, especially those with a percentage of lycra added. Dry cleaning is recommended.
Bremsilk: A light‐weight artificial silk lining made from Cupro. It is a wonderful soft, lining fabric
that handles well with natural fibres. It can be hand washed or dry cleaned
Eton taffeta: A lighter‐weight, anti‐static lining that can be washed to 500C/1220F or dry
cleaned. It is made from 100% polyester.
Shot twill: This is an attractive suit lining fabric made from a mixture of viscose and acetate
fibres. It is a heavier‐weight lining with a soft feel. It must be dry cleaned.

DIFFERENCE BETWEEN LINING AND UNDERLINING

It is attached to the main seam only It is attached together with the main piece
It is stitched separately from the main Both the hem and the seam are stitched
garment piece together.

An interfacing is a layer of fabric that is placed between the facing and outer fabric of a
garment.

FACING.
A facing is a straight, crossway or shaped strip which neatens the edge, sometimes invisibly on a
WS and sometimes decoratively on the RS
A facing is a piece of fabric used to finish the raw edges of neckline, armhole or opening.
May be separate or cut in one with the garment. It is then turned to the inside for a smooth
finish. F acing should not be visible from the outside.
There are three general types of facing:

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Shaped facing. A separate pattern piece is given for a shaped facing. It is cut the same shape as
the area it will cover. It is stitched, the turned to the inside of the garment. A shaped facing is
also called a fitted facing.
Expanded facing. this facing is cut in one piece with the garment and folded to the inside. It is
used along a front or back opening.
Bias facing. this is a strip of bias fabric stitched to the garment and turned to the inside. It is
used mostly for very bulky or sheer fabrics. Purchased bias or bias strips cut from fabric can be
used.

Stitching shaped and extended facing

Both shaped facings and extended facings are attached to a garment in the same way. The
pieces must first be stitched together. Then it is stitched to the garment. Next, the facing is
Stitched Understitching is a row of stitches to prevent a facing from rolling to the outside of the
garment. Finally, the edge of the facing should be fastened at each seam allowance.

Construct Facing
 Staystitch notched edge.
 Pin right sides of facing pieces together making notches
 Stitch seams, trim, and press open
 Finish outside edge of facing with zigzag hemmed, or serged finish.

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A facing is a method of neatening an edge that shows on one side only. Facings may be worked
on the right or wrong side of the garment and like bindings, may be used as decorations and
neatening. Facing turned to the right side are decorative. And can be finished with one or more
rows of machining or with an embroidery stitch. Other ways of obtaining decorative effects are;
a) Contrasts in texture
b) Contrasts in color, and
c) Shaped inner edges of facings
A cross way strip can be used as a facing but should not be more than 2cm wide when finished.
The cross way strip should be cut on a true cross for best results. Facings other than cross way
facings must be cut the same shape and grain as the edge to be faced. Neck and armhole
facings have seams corresponding to those on the garment.
On straight edges, the facing should be cut as a straight strip. On gentle curves, the facing
should be cut to the same shape as the edge to be faces. When cutting a facing, allow the
finished width of the facing plus material for the 2 turnings. Shaped facings are used to finish
the neckline and opening, edges of sleeves and pockets. If the facing is to show on the WS
when finished, begin by tucking the RS of the facing to the RS of the material. If the facing is to
be on the RS when finished, begin by tucking the RRS of the facing to the WS of the work.

Shaped square facing

1. Fold front and back portions of the bodice in half lengthwise and pin together round
neck edges and armholes. Place folded edges to the edge of a sheet of paper.

2. Draw round neck edges and along shoulder seams. Remove bodice portions.
3. Measure from the neck edge required depth of facing, plus half inch turnings and mark
the shape with the pencil. Add half inch turnings to the shoulder seam line if shoulders
of garments have already been joined. Cut out paper pattern.

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 4. Place pattern on double facing material with RSs together, centre front and centre back
to fold. Pin in position and cut out.

Attachment of facing
1. Place shoulder seams of facings sections together, RS together. Tuck and stitch half inch
from the edge. Press turnings flat.

2. Join shoulder seams of bodice if necessary, using exactly the same turning for the join as in
the facing

3. Place RS of facing to RS of bodice, neck edges together. Make the shoulder seams lie one
over the other. Tuck and stitch in position, all around the neck edge, making sharp angles at
front corners

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4.Snip corners to stitching line, and at intervals along curved neck edge.

5.Turn facing to WS, tuck along neck edge. Make turning along neck edge making the last turn
along straight lower edge of front facing. Curved edge of back facing must be sniped. Edge
stitch neck edge and lower edge. Catch facing to shoulder seams.

Variations

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 1. Facings worked on RS. Worked in similar method to above but with RS of facing to WS of
garment and lower edge stitched to the garment.

2. Facing turn to RS and caught down with a decorative stitch.

3. Frill placed between facing edge and garments.

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 4. Shaped facing

Cross way facing

This is used for applying collars and cuffs, neatening hem lines, arm holes and for finishing raw
edges invisibly. The usual finished depth is 3/8”
1. Cut crossway strip twice the finished depth.
2. Place the RS of the strip to the RS of the garment with a ¼ of its depth beyond the fitting
line. Ease round concave curves and stretch round convex ones. Tuck and stitch on the
fitting line.

3. Press down the turning of the strip only, as this will make the seam come just to the WS
when the strip is turned over. Trim the garments turnings to 1⁄8”.
4. Turn the strip completely to the WS and turn the raw edge under to meet the other
edges. Tuck in position and hem invisibly to the garment. Press well.

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Facing corners
Tuck the strip to the garments making pleats in it at the inner corners and taking it straight
round outer corners. Press over the turning on the free edge of the strip and then stitch darts at
all corners to make it lie flat. Trim the darts and press the seams open. Trim the facing to the
WS and tuck and hem in position

Straight facing
1. Cut a strip of the material the required width and length including the turnings.
2. Tuck and machine the facing RSs facing on the fitting line. Cut away the surplus turning
and press the seam open.

3. Turn the facing over onto the WS, tucking firmly along the edge. Turn under the facing
at the lower edge, pin, and tuck, remove pins, machine, remove tucking and press. The
machining will show on the RS of the material. The facing can also be finished by
hemming or slip‐hemming which will be invisible on the RS.

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PROCEDURE OF LINING A SLEEVELESS BODICE USING A NECK AND ARM HOLE FACING CUT AS
ONE PIECE

 Stitch shoulder seams of bodice.

 Stitch shoulder seams of facing/lining.
 Match bodice & facing right sides facing.

 Tack and stitch around the arm holes and neckline

 Trim, clip & layer the seam edges on curved areas.

 Turn bodice right side out pulling each back piece through the shoulder seam

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  Press seams at neckline & arm hole
 Stitch back seam of bodice
 Slip stitch facing in place

INTERFACING
Interfacing is a layer of fabric that is placed between the facing and outer fabric of the garment.
Interfacing is either woven or non‐woven. Non‐woven interfacing has no grain and can be cut in
any direction. Where possible, iron‐on interfacing should be attached to the facing rather than
the outer fabric. Standard interfacings are really only suitable for plain cotton synthetic blends.
Soft stretch and reinforced non‐woven interfacings are also available for use with other fabrics.
Areas such as collars, cuffs and lapels are interfaced to hold their shape. Larger areas are
interfaced to give support and add body to the outer fabric. Commercial patterns have separate
pieces for interfacing which is normally cut without seams and sewn or ironed in. Interfacing is
available in black or white and in light, medium or heavy weight which one you chose will
depend on the outer fabric colour and the amount of support required.
There are two methods of interfacing i.e.
Fusible and non‐fusible.

METHOD OF ATTACHING A NON FUSIBLE INTERFACING

‐ Place interfacing on a wrong side of interfacing matching cut edges
‐ Pin interfacing to wrong side of garment or facing
‐ Baste 1.3cm from edge
‐ Trim interfacing close to stitching.
‐ Catch stitch interfacing by hand along the folded edge.

METHODS OF ATTACHING A FUSIBLE INTERFACING

‐ Place interfacing on the wrong side of interfacing leaving sewing allowance.
‐ Iron the interfacing to stick on the material

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 HEMS
A hem is a finish for a raw edge which maintain the shape of an arthele. It may be made in
various widths, depending on its placement. In garment construction, it’s normally the final
step.
General rules:
1. After finishing all other detailing, allow the garment to hang for at least 24hrs before
attempting to mark the hem. Allow flared skirts or any other with bias cut panels
particularly (circular ones) to hang for as long as possible at least a week to allow the
hem of the skirt to stretch the bias threads as much as possible before the hem is fixed.
2. Put on the garment and fasten any fastenings. Adjust the belt which will be worn, where
the proper shoes and the under garments that you will put on with the garment.
3. Stand quite straight and evenly on both feet. Don’t look down, let someone mark the
hem line.(the height of the skirt alters as the body bends forward)
4. Use a proper hem marker or a yard stick and mark the hem line with a chalk or pins to
the required distance off the ground. If pins are used, they should be placed about 4
inches apart.
5. Mark the hem line more permanently with a line of flat tacking.
6. Press along the fold made after turning along the tacking. Check that corresponding
seams in skirt are of equal length
7. Correct the depth of the turning all‐round the hem. Measure all its narrowest point
from fold to low edge and mark the same width all round. The maximum depth of a hem
is 4 inches; this amount is left on children dresses for letting down purposes and 2
inches in the final hem allowance for the adult garments.
8. Arrange fullness of hem by gathering or pleating. Pleats must be evenly placed at equal
distances facing towards centre front or centre back. Gathers must be evenly
distributed.
9. On woolen materials, the fullness of the hem can be shrunk with a hot iron and a dump
cloth
10. Seams in turning must lie in line with seams in skirts.
11. Finish the hem according to the material. The finished used on the garment depends
upon the fabric and the style of the garment, analyze the top of the fabric, test it
ravelling

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 Preparing a hem

 Baste along the marked hem line and remove the pins.
 Measure the depth of hem required, allowing for turnings. Mark with pins and trim.
 Trim seam allowances below the basting line of the hem to 5mm/0.25 inches.
 Turn the hem up along the basted line and baste again to secure the fold.
 Ease fullness in the hem evenly around the entire garment.

TYPES OF HEMS
Zigzag or overcast hem

This hem lies flat because there are no turnings. It creates a very smooth finish on the right side
and is suitable for most weights of fabric. The raw edge can be zigzagged or overcast.
Plain turned‐under hem

This hem is suitable for light and medium weight washable fabrics. It must be pressed from the
wrong side, otherwise a ridge will form on the right side.
Seam binding hem.

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Seam binding hem is added to fabrics that fray easily before turning up the hem.
Machine‐stitched hem

A machine‐stitched hem is visible the right side of the garment. It is suitable for knitted fabrics
and on the garments where top stitching is a feature, such as skirt or unlined jacket.
Hand‐rolled hem

A hand‐rolled hem is a delicate, soft finish for lingeric and other projects using silk or sheer
fabrics. It is often used to finish the edges of silk
Double hem

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A double hem is similar to a narrow hem but is used when the fabric is transparent
Narrow hem

A narrow hem is suitable for light‐weight fabrics on the blouses, skirts and lingerie. The edge
can be machine stitched or slip stitched

Machine‐rolled hem

A machine‐rolled hem is much stiffer than a hand‐rolled hem because it has two rows of
machine stitching.

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DISPOSAL OF THICKNESS/REDUCING FULLNESS/CONTROL OF FULLNESS
Disposal of fullness are methods that contribute to accuracy fitting of the garment. Some of
these are decorative and form a special feature of the garment.
FULLNESS
Fullness is the term used to refer to extra fabric in a garment. Fullness has to be accurately and
effectively managed to achieve desirable results. Some of the techniques used in managing
fullness are by means of Darts, Gathers, Pleats, Tucks, Shirring, Smocking and elastic. These
techniques are widely used in all types of garments and house hold articles.
In garment construction you work in 3 dimensions. You join sections, but you also shape them
to fit the curves of the body. When cutting out garments extra material is provided in certain
places. This amount of fullness is necessary in all garment in order that they may be
comfortable to wear. But fullness must be controlled and it’s this method of control that helps
to give the amount of curve needed in the garment and the design of the garment. Shaping is
formed by curved seams, darts, tucks, pleats, gathers, smocking etc.

Use of fullness
a) To accommodate the curves of the of the figure.
b) To provide decoration
c) To give shape to the garment
d) To make garments comfortable to wear
e) To keep a good outline
f) To give a good fit.
g) To provide desired style features.
The type of fullness in a garment depends on;
1) Fabric‐its weight, texture and wash ability
2) Types of garment‐evening wear, beach wear, office wear, casual wear etc.
3) The wearer
Methods of introducing fullness
Fullness maybe introduced by;
i) Use of bias‐ such as flare, gores, godets
ii) Folding of material‐ such as pleats, tucks, darts
iii) Drawing up of material‐ gathering, smocking, ranching, shirring, gauging

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One of the first things to be done in making up a garment is to arrange the fullness.
DARTS
An inconspicuous method of controlling fullness, needs whenever a smooth fitted effect is
desired.
The most used positions for darts are the waist, of both bodice and skirt; the bust or underarm;
its shoulder; the back neck, the elbow.
A dart is wedge‐shaped, with the widest part of the edge of the material.
CHARACTERISTICS OF DARTS
 They should taper gradually to a point.
 They should be firmly secured at the point.
 They should be of correct length and width
 The line of stitching should be straight.
 They should be pressed in the right direction.

There are two types of darts i.e.

‐ One pointed dart/single pointed dart
‐ Two pointed/double pointed dart

Method of working a one pointed dart

1. Transfer marks from pattern to material accurately.
2. Fold the material RS together, with two marks nearest the edge on top of another and
the fold extending to the single mark at the end of the dart
3. Pin and tuck in a straight line from the wide end, tapering off to nothing at the point.
4. Stitch from the wide end, moving gradually towards the point. The 2 or 3 stitches lying
parallel and as near as possible to the edge.
5. Tie off the ends and using a hand needle interweave them thin the stitches backwards
on either side. Then trim off extra length.
6. Press dart to one side‐either downwards or sideways depending on its position
If very thick material is used, thin dart may be slit along the fold to within 3cm of the point and
pressed open.

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32
 TWO POINTED DARTS/DOUBLE POINTED DARTS.
These are darts which run vertically through the waist line of a fitted garment.
Method of making a two pointed dart
 Mark the position of the dart
 Fold the fabric with the right side facing each other, pin & tack the dart on the markings.
 Remove the pins and machine along the tacking from a point to the broadest part of the
dart and then tapering to the other end leaving about 7 cm of thread.
 End the dart by weaving back the end thread into a few stitches at both ends
 If the dart is wide, snip at the broadest part of the dart and neaten the edge with a loop
stitches.
 Press the dart towards the centre back & centre front

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Dart tucks
These are worked in the same way as darts, but the machinery stops short before reaching the
point. The finished dart thick has the appearance of a small pleat on the

PLEATS
A pleat is made by folding the material until you have 3 thicknesses. They are secured at one
end only and can be pressed or left undressed according to the style and material being used. A
trim, closely woven fabric is more suitable for a pleated style than a soft material. The pleats
may be left to hang free or they may be stitched part of the way down. They are smout and also
rative.
For each pleat, three times the required finished width is needed (eg for a 2” pleat,6” material
is required.). Pleats hang better if they are formed on the selvedge threads of the material.
Material may now be bought permanently pleated and may also be commercially pleated to
order at given places.
Types of pleats
1. A knife/side pleat: it consists of one single pleat which may be repeated.

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 2. A box pleat: Is made of two knife pleats tumid away from one another on the RS.

3. An inverted pleat: Is made of 2 knife/pleats turned towards one another on the R.S.

Making pleats
On paper patterns, the line at pleat are always shown for their entire length and these lime
should be carefully marked on the material. Two different coloured threads should have be
used for this purpose, one to indicate the fold of the pleat and one to show the line to which
the fold is to be placed

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‐follow your pattern instruction for the direction of the pleats, and bring one mark ones to the
next one of a different colour. One should be laid out flat on a table.
Put a pin through the three thicknesses of material.
‐Continue until all pleats are in position, through tuck firmly and remove pins.
If pleats are to be stitched part‐way, they may be edge stretched on the r.s with or without a
seam.
Press thoroughly for those to be pressed down or iron through the folds for those not to be
pressed down.
TUCKS
Tucks are narrow folds of fabric that are stitched to produce a decorative effect.
These are made on a double thickness of fabric. They are mainly used for decoration. Tucks can
be of varying width depending on the effect desired. Very narrow tucks are known as pin tucks.
Pin tucks are commonly used on lingerie, blouses and other garments made of light‐weight
fabrics. Wider tucks can be used to take up extra length especially in children’s garments. Thus
tucks can be both functional and decorative.
Tucks should be well‐arranged and accurately stitched to achieve the effect desired. To make it
easier to mark the position of tucks, a measuring card with appropriate notches should be us
TYPES OF TUCKS
 Pin tucks: They are very narrow tucks, often used on baby clothes or blouse. These can
be stitched in the same way as spaced tucks but they are quite difficult to stitch neatly
so close to the fold.

 Spaced tucks: They have fixed spaces between each tuck. The width and spacing of the
tucks should be worked out carefully to produce a balanced appearance.

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  Released tucks: These are blind or spaced tucks that are only stitched part way along the
length, allowing the fabric to open out at one or both ends.

 Scalloped tucks: These are blind or spaced tucks that are stitched by hand to create a
pretty shell effect.

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  Crossed tucks: These are always worked before the pattern is cut out.

 Blind tucks: On blind tucks the distance on the gauge between the fold, stitching line
and the fold of each tuck touches the machine stitching.

Methods of making pin tucks

a) Using a marker, measure, fold, tack and machine or work running stitches along the
fitting line of the first tuck.

b) Measure the second tuck, fold and stitch. Continue this way till the required number of
pin tucks is obtained.
Making wider tucks
a) Mark the position of tucks.
b) Using a measuring card or marker, measure the depth or width of the first tuck, fold and
tack. Repeat this for all the tucks.
c) Machine or work fine running stitches along the fitting line of each tuck.

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For decorative purposes, narrow tucks of about 5mm can be shell‐edged after stitching. Such
tucks are sometimes referred to as shell‐tucks.
Shirring
Shirring is similar to gathering except that several parallel rows of running or machine gathering
stitches are worked at about 5mm apart. The threads are then pulled simultaneously thus
reducing the fabric to the required size. The threads are then fastened off securely. To make
shirring more durable, a fabric cut on straight grain is used as backing or lining. This prevents
the threads used for shirring from being unduly stretched and breaking
Gauging.
Several rows of gathering stitches worked by hand using long and short stitches. Fasten threads
with tiny back stitches and take long stitches on the R.S fabric and short stitches on the W.S of
fabric. Place several rows of stitching underneath each other in identical pattern long stitches
under long, short stitches under short. Draw up the fullness and folds will form. Distribute
fullness evenly. This method dice as great amount of material into a small width
NB gauging can be the base for working smocking stitches.
FLARES
Bias is used in flares to introduce fullness in a garment. A full flare is achieved by cutting the
garment on a true bias e.g. in around skirt, less bias is used for lesser flare.

The flares allow the garment to stretch therefore creating room for fullness. Full flares create
the impression of folds in the garment, adding style to an osherunce plain out.

Gores

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A tapered or flared section of texture that is narrow at the top and wide at the bottom. Gores
usually refer to a skirt section. Each section flares giving room for fullness. The gores which put
together give a pleasing style effect.

FASTENINGS AND OPENINGS

Fastenings are various ways of closing up & opening on the garment. They include; buttons,
button holes, hooks & eyes, loops, pressturds, tapes, ribbons, zips, bars and Velcro fastener.
The suitable fastenings on a suitable opening will keep the garment in shape. Some
fasteners provide a decorative finish while others are just functional some fastenings are
concealed in the garments e.g. pressturds.
Points to remember when attaching & choosing fastenings.
Fastenings should surt the type of openings on which they are used.
The weight of the fastenings should watch that of a fabric.
The size of fastening should be correct to type of openings.
Buttons & button hole should have an overlapped opening
The type of fastening used should be suitable to type of the garment e.g. a zip fastener on a
skirt, buttons on blouses, hooks & eyes on the children’s’ wear.
The type of fastenings should be suitable to the type of fabric eg loops and buttons should
be applied on fraying fabrics.
Buttons and button holes should be used on the firm fabrics.
For the opening to lie flat, the fastenings must be fixed properly eg hooks should be
attached directly opposite the eyes while buttons should be attached directly opposite to
the button holes
Ensure that the fastenings are well spaced in order to keep the openings closed.
Sew fastenings on double fabrics
Apply the fastenings only after the opening is completed.

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 The colour of the fastenings & that of the fabric should be matching, washable and fast (one
which doesn’t fed)
The fastening should be suitable for the ego of the wearer and age of the person. E.g. the
ribbons for babies’ garments should match the fabric.
Choose buttons for adult clothes should not match only the fabric but should also be the
choice of the wearer.
Velcro loops should be used where they are suitable e.g. on children’s garments.

ADVANTAGES OF FASTENERS.
 They help to put on and off easily.
 They are used for decorations.
 They add value, beauty to the garment.

DISADVANTAGES OF FASTENERS.
 They are expensive.
 They require skill in selecting and attaching e.g. blind zip.
 They break the needle when attaching to the garment.

The can easily cause harm to the hands when washing the garment
READ MORE ABOUT FASTENINGS
OPENINGS
There are many types of openings but the most common ones are:
 Continuous wrap opening
 Faced slit opening
 Bound opening

When selecting an opening, it is important to consider the fabric, opening in the garment and
the fastening to be used.
Sometimes, the opening may be part of the style feature.
Points to note when making openings.
 When the opening is in form of a slit, it must be worked before the seam.
 When opening is part of a seam, the rest of the seam should be made before working
the opening.
 The opening should be long enough to facilitate putting on and taking off a garment
with ease.

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  Front openings should lap right over left for women and left over right for men.
 The opening should be accurately and neatly worked.
 It should also have appropriate fastenings.

Continuous wrap opening

This type of opening is suitable for wrist openings of shirts, blouses and other long sleeved
garments. It is also often used on nightdresses and children’s garments. This opening can be
worked in a seam or a slit in a garment. Suitable fastenings for this opening are buttons and
button‐holes, hooks and eyes and press studs
Method of working
Mark the position of the opening and slit along a straight thread.
Cut a strip of fabric twice the length of the opening and twice the width of the finished band
plus turnings. The finished width of band or wrap should be between 1 and2 depending on
fabric and position On the garment.

With the right sides of garment and strips facing each other and raw edges even, pin and tack
the strip on to the garment.
Machine along the tacking, tapering the line of stitching towards the base of the opening.
Remove the tacking.
Make a narrow turning towards the wrong side of the free edge of the strip. Fold over the strip
such that the crease of the turning allowance is against the machine stitches. Pin, tack and hem
on to the machine stitches.

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Remove the tacking and press.
Secure the overlap and underlap of the opening by machining or back stitching the two
together at the base of the opening. The line of stitches should be very close to the fold for a
neat and accurate finish.
PREPARATION OF FABRICS BEFORE CUTTING
Pre‐shrinking: This is usually done by the manufacturer, but if in dout, fabrics not damaged by
water can be pre‐shrunk by soaking in water, drying and then pressing before cutting.
Graining the fabric: Graining certifies that the cloth is well woven with wefts and warps meeting
at right angles. Graining can be done in two ways, i.e.
By snipping the fabric across the selvedge about 1 cm away from one edge and tearing right
across along the same thread.
By pulling out a thread right across the weft of the fabric.
If the fabric is not rectangular, it can be pulled across the shorter ends.
PATTERN LAYOUT
Pattern layout is a plan for the placement of pattern pieces of the fabric. Thera are various
categories of layout marking like grain lines, press on fold, brackets, notches, etc.
There are also various methods of cutting marking such as single size, multi size, and cutting in
a particular body size.
Laying out pattern pieces and cutting
 Lay out large pieces first and then fit in the smaller ones. Make sure the straight grain
(shown by a double‐headed arrow on pattern) is correctly placed.
 Economise on fabric by placing the pattern up to the edge or fold of fabric as per
instructions on the pattern
 Pin the pattern pieces flat. Don’t pin on the cutting line as it will interfere with the
cutting.
 Press the pattern and fabric down with the palm of one hand as you cut
 Cut along the cutting line using firm, long, even strokes to get a smooth raw edge. Cut
notches outwards.
 Transfer all pattern markings before removing the pins.

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  Fold and keep pattern pieces safely in their envelope.

GENERAL ORDER OF MAKING UP THE GARMENT

The order of making up the garment depends on the type and style. The following is a general
order for simple styles:
Dress
a) Stitch the darts or arrange the fullness.
b) Join shoulder seams.
c) Finish the neck‐edge (eg by putting on a collar, facing etc).
d) Join side seams of bodice.
e) Insert sleeves.
f) Work on the skirt beginning with fullness, then the seam.
g) Join the skirt to the bodice.
h) Put fastenings
i) Hem the dress

If the garment has a yoke on the bodice, the yoke should be appropriately attached to the
adjoining part before working on the shoulder seams. This procedure also applies to yokes on
skirts.

Shorts, trousers and pajamas

a) Make the seams. Begin with crotch seams. Followed by inside leg seams and finally side
seams.
b) Make openings and pockets.
c) Finish the waist edge.
d) Work the leg hems.

FITTING PROBLEMS IN LADIES GARMENTS

 Blinding and rolling of waistline:
When the waist band is too tight or loose and difficult to fit proportions during the
process of sewing.
 Appearance of vertical folds on hip and thigh areas

The garment is too tight at the side seams in the high hip arc. So reduce the amount of
fabric in the thigh arc.
Spread evenly across all four areas

44
Blend seam line from above hip line and to upper thigh. This will show up as vertical wrinkles
around the front crotch. So avoid hip hugger styles if you have full thighs and or prominent
hips.
 When diagonal wrinkles arise upwards from crotch area
Too much fabric length wise and too little fabric width wise around the public, which
causes the pants to be too tight in this area wrinkles. So make it shallow to get rid of the
wrinkles when is too wide.
 Button closure gaping open in the bust area
When the baste measurements are too tight.
When the dress is not balancing to the body.
 Failure of neckline to lie flat against the body.
When the neckline is too wide to the wearer.

CHARACTERISTICS OF THE FOLLOWING GARMENTS

i. Ladies Hawaiian shirt:
 Have a lower collar
 Have a V‐neck style
 The lower hems are straight and the shirts are often worn with the shirt tails hanging
out rather than tucked in.
 Has side splits and an allover tropical prints.
ii. Ladies cargo pants/cargo trousers
 It is also sometimes called combat trouser after their original military purpose
 They are loosely cut pants originally designed for tough outdoor activities and these
designs are distinguished by one or more cargo pockets.
 Elastic waist band with draw string for perfect fit

iii. Fabric with warp grain line

 The length wise yarns run parallel to the selvage of the fabric
 They are usually more tightly twisted, stronger and more stable than the cross wise
yarns.
 The fabric will stretch, true biased is the 450 angle or middle between the cross wise
yarns and length wise grain

COLLARS

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A collar is used to finish the edge of the neck line. There are various types or categories of
collars eg flat collar, standing collar, collars cut in one with garment.
Terms used when constructing collars
Neckline: The line where collar is joined to neck.
Style line: outer edge of collar or rever.
Roll line: the line where collar rolls over.
Stand rise of the collar from neckline to roll line
Fall depth of collar from roll line to style line.
Break point where the rever turns back to form lapel.
Break line: a line along which lapel rolls back.

IMPORTANCE OF COLLARS TO A GARMENT

1. Add beauty to the garment‐some collars are decorative and they act as decorative
feature.
2. They form finishing lines for garment as the collar line is finished either decoratively or
functionary.
3. Collars create balance on a garment.
4. They act as points of emphasis to the garment‐point of interest.
5. They create shape to the garment.

46
 6. They create bulky/thickness to the garment thus rendering it warm.

METHODS USED TO ATTACH A COLLAR TO A GARMENT.

 Self‐neatening eg Chine collar, Peter pan collar etc.
 Using a crossway strip eg Peterpan collar
 Using a facings and/or revers eg roll collar
 Procedures for attaching a self‐neatening collar
i. Fold the front ends of the garment
ii. Attach top collar to W.S of neckline enclosing the folded ends
iii. Trim and layer the seam to 0.6cm
iv. Trim under collar to 0.6cm
v. Fold under collar at seam line
vi. Attach under collar to neckline
vii. Stab stitch from top collar side.
viii. Top stitch if desired.

TYPES OF COLLARS

1. Flat collars
Examples of flat collars

2. Standing collars
Examples of standing collars

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3. Collars Cut in One with garment

48
4. Collars with revers
Examples of collars with revers

SLEEVES
A sleeve is used to finish the edge of the arm hole
There are different types of sleeves eg the following

49
50
REFERENCES:
1. Aldrich, W. (2003) 3 Edition. Metric pattern cutting women’s wear. British: Blackwell
2. Cooklin Gerry, (2006) second Edition. Intralaction to clothing. UK: Blackwell publisher
Dorothy wood. 2000, 2009 1st Edition, how to sew
3. Druid, E.K (2007), 1st Edition. Step by step drawing fashions
4. Fernandez, A. (2007), 1st Edition, Drawing for fashion designers. United Kingdom
5. Hilaric carmeliba, 2001, first Edition Clothing technology made easy. Tarlac: National
book store publisher
6. Hutchson. (1980). Sew simple step by step guide to dress making
7. Neal M, (2005). 1st Edition. Needle work for schools
8. Neal M, (2005), 1st Edition. Needle work for schools. Nelson Thornes Ltd
9. https: www. Hawaiian shirt.com/search
10. https: www. Layered skirt.com/search

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