Republic of the Philippines

Department of Education
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS

Unit of Competency: Draft and Cut Pattern for Ladies’

Casual Apparel
Module no.1 Module Title: Drafting and Cutting Pattern for
Ladies’ Casual Apparel
 MODULE 1

QUALIFICATION TITLE : GARMENTS NC II

UNIT OF COMPETENCY : DRAFT AND CUT PATTERN

FOR LADIES CASUAL
APPAREL

MODULE TITLE : DRAFTING AND CUTTING

PATTERN FOR LADIES
CASUAL APPAREL

NOMINAL DURATION : 125 HRS.

GARMENTS NC II
WHAT IS THIS MODULE ABOUT?

This module covers the knowledge, skills and attitudes required in

drafting and cutting basic/block patterns for ladies casual apparel.

WHAT WILL YOU LEARN?

At the end of this module, you should be able to:

a. plan garment design;
b. take client’s body measurements;
c. draft basic/block pattern; and
d. manipulate and cut final pattern.

WHAT DO YOU ALREADY KNOW?

Pre-test

Let us find out how much you already know. Read and understand
the items being described below. Choose the letter of the correct answer
and write it in your quiz notebook.

1. It refers to the company’s standard operating procedure.

a. determining garment costs
b. measuring body parts
c. Performing sewing
d. all of the above
2. It is a design created in garment by adding interesting accessories.
a. decorative design
b. garment design
c. structural design
d. all of the above
3. This kind of pattern has all the allowances needed.
a. basic
b. block
c. commercial
d. style
4. This is another term for sports collar.
a. continuous collar
b. convertible collar
c. flat collar
d. Mandarin collar
5. This is the center of interest in a given garment.
a. balance
b. emphasis
c. harmony
d. proportion
6. This measurement is taken around the arm.
a. armgirth
b. armhole
c. armscye
1
 d. forearm
7. This line on a dress that adds height to the figure.
a. curve line
b. diagonal line
c. horizontal line
d. vertical line
8. This is called the main line of the garment.
a. design
b. fabric
c. pattern
d. silhouette
9. This is the seam allowance for the inseam of princess cut dress.
a. 1.5 cm
b. 2.0 cm
c. 2.5 cm
d. 2.7 cm
10. This is the proper stroke in cutting curve line.
a. long even
b. long uneven
c. short even
d. short uneven
11. This is the body measurement taken from the shoulder down to
the tip of the bust.
a. bust line
b. bust point height
c. bust point width
d. waistline
12. This is the first step in drafting basic pattern.
a. diagonal line
b. horizontal line
c. perpendicular line
d. straight line
13. This is the line that indicates where the pattern will be cut.
a. curve lines
b. cutting lines
c. seam allowance
d. straight lines
14. This is the style that instantly captures the attention of the
consumer.
a. design
b. fad
c. fashion
d. look
15. This is the length of the long arm of the L-square in inches.
a. 16 c. 24
b. 18 d. 36
16. This is the divisor for shoulder measurement.
a. as is
b. 2
c. 4
2
 d. 8
17. This is the first line of an inch.
a. 1/8
b. ¼
c. 3/8
d. 5/8
18. These are the kind of design wherein the parts of the garment are
cut and put together.
a. structural
b. formal
c. decorative
d. informal
19. This is NOT a circumferential measurement.
a. armgirth
b. bust
c. bust point width
d. waistline
20. This is the symbol for grain line.
a. ─ c. ≡
b. ↔ d. ↕
21. This refers to Flat-Pattern Designing.
a. Working out the pattern of a garment either in the material
itself or by cutting a pattern using the foundation pattern as
a basis.
b. Adding space between the cut edge and stitching line of the
fabric.
c. Originating fold from the waistline.
d. Folding of fabric wider at one end coming to a point of bust
at the end, which gives shape to garment.
22. This is where the foundation pattern of an individual is based on.
a. figure
b. personality
c. individuality
d. measurement
23. This rule is NOT needed in taking body measurements.
a. Wear undergarments or bodysuit when measuring
b. Pull the tape snug, but not too tight
c. Take length measurements, then girth measurements
d. Be sure to keep the tape parallel to the floor
24. This is saved when you take accurate body measurement before
you construct the garment.
a. time
b. cost
c. force
d. labor
25. This type of collar is also called menton collar.
a. shawl collar
b. sailor’s collar
c. sports collar
d. Mandarin collar
3
LESSON 1

PLANNING GARMENT DESIGN

WHAT IS THIS LESSON ABOUT?

The lesson deals with the client’s job requirements in accordance with
standard operating procedure such as the preparation of garment design. It
also includes selection of designs and fabrics and incorporation of special
needs of clients in the design based on procedure.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. determine job requirements in accordance with the standard operating
procedure;
2. prepare garment design in accordance with the client’s requirements;
3. discuss and select design and fabric in accordance with the client’s
specifications; and
4. incorporate the special needs of client in the design based on the
procedure.

LET US STUDY

Words to study

 Design – the arrangement of elements of art and principles of

design.
 Fabrics – material of which a garment is made.
 Style – design created for a product in an effort to appeal to long
term criteria of what is beautiful or socially correct.
 Fashion – a currently accepted style of the moment. Style of
dressing that is prevalent among a group of persons at a
given time.
 Fad – a style that has captured the attention of the consumers
instantaneously and briefly.
 Look – is the sum total of the elements which helps in
determining the styles.
 Couture – signifies expensive, high quality originally designed
and custom made dresses for private clientele.
 Couturier – a male or female designer of a couture house.
 Silhouette – outline contour of a garment.

4
 The process of making a garment is an orderly profession. It starts from
the choice of design, pattern, and fabric up to the construction of the garment.
Professional dressmakers divide the process into logical step-cutting-basting,
constructing and finishing so they know exactly how long it will take to make a
given garment.

Standard Operating Procedure in Garment Designing

 Determine the Customer Job Requirements. This refers to the

specifications given by the customers as to how her wardrobe would look.

 Determine Garment Cost. Cost of materials and supplies for the

customer’s wardrobe including the sewing service fee are estimated.

 Measure Body Part. This involves taking of customer’s body

measurement.

 Draft Various Pattern. Pre-construction will be done through pattern

drafting.

 Prepare Materials and Machines. Gathering materials and setting up of

sewing machines are done according to the job requirements.

 Perform Sewing .This is the procedure in constructing the garment.

 Perform Finishing Touches. It is the selection and application of

appropriate finishes in the pre-constructed garment where first fitting is
done.

 Check Quality of Finished Product. It is the stage in the garment

construction, which involves trimming of excess threads, pressing and
proper packaging. This is where final fitting is being done.

Garment Design for Different Ladies’ Apparel

Many persons are particular about the clothes they wear. For instance,
most professionals strive to be well-dressed. They are conscious of what they
wear for they believe that the clothes they wear will spell out success in their
field of work. Every one should develop good taste in the choice of clothes. This
means that the person should be able to choose clothes that are becoming to
her and appropriate for different occasions.

5
 A designer should realize that not all styles that are in vogue or popular
in the fashion world are the best styles. Dress designing should consider the
individuality and personality of the person.

Kinds of Design in Clothing

There are two kinds of design in Garment Designing that sometimes vary
from season to season. Some seasons are heavy on decorative details and
trims, and other seasons are without adornment. The changes from one season
to another on decorative and structural details should be monitored closely.
These designs are:

1. Structural Concept of Design. It encompasses the over-all construction

of a dress, its shape and all the details involved in pattern-making
construction and the sewing construction of the dress, such as darts,
seams, pleats and tucks.

6
  CUT

Ladies basic dress is composed of different designs and these designs

have different elements and principles. The elements of color, lines, form or
shape, space and texture are all present in a casual dress.

The dress cut was composed of structural lines. Therefore, these

encompass the structural concept of design. Here are the examples of cut
which the dress may vary:

7
 2. Decorative Concept of Design. It involves the addition of decorative
trims that includes buttons, braids, embroideries, bias tapes, beads,
sequins, ribbons, etc. on a dress.

LADIES’ CASUAL DRESS

Casual dresses are flattering and comfortable. These clothes may be of

any combination of blouse, skirts, shorts and pants. Full dresses may also be
used as casual dress.

BLOUSE
Blouse is a woman’s loose outer garment from the neck down to the
waist. It usually fits at the waistline or at times tucked into the skirts or pants.
There are several types of blouses as seen in the figures:
1. Blouse with opening in front and with or without collar.
2. Blouse with opening at the back with or without collar.
3. Blouses without sleeves.
4. Blouses with straps over the shoulder.
5. Blouses that are bare over the shoulders.

8
SKIRT

A skirt is another kind of free-hanging garment extending from the waist

down.

There are several types of skirts:

1. The fitted skirt and straight skirt
2. The gored skirt
3. The balloon (circular) skirt
4. The pleated skirt
5. Gathered or shirred skirt
6. Layered skirt
7. Wrapped around skirt
8. Yoke skirt or Combination skirt
9. Culottes skirt (a combination of short and skirt)
10. A-line skirt

1 2 3 4 5

9
 6 7 8 9 10

PANTS

People of different gender and age usually use pants. They are usually
made of cotton, twill, gabardine and linen fabrics. It has different lengths and
styles. Learn the terminology for the different pant lengths and styles.

10
 Styles of Pants
Walking
Shorts Harem
Cullotes Pants

Zouave
Pants
Gaucho

Toreador Palazzo
Pants
Knickers
Jeans Trousers

Square
Pants

Stirrup
Pants

11
ELEMENTS OF DESIGN

1. Line creates a visual dimension of length

and width. When lines meet, space is
enclosed and a shape is defined. Lines
direct the eyes to a certain path of vision,
or could draw the eyes away from an
undesirable area of the body.

There are two kinds of lines in garments:

a. The directional line such as vertical,

horizontal, diagonal, checkered, broken
and curved. These affect the height and
size of an individual. Lines are serving
as clothing designs like the art of
printing flowers, dots and others on
fabric.

b. Structural lines are found on

necklines, armholes, hemlines, darts,
side seams, sleeves, collars, tucks and
pleats of garments.

2. Color is a radiant energy loosely termed light that produces sensation in

our eyes. The color of the dress easily attracts the client’s attention and
becomes her basis in choosing her apparel.

12
 a. Hue is the other name for color. It is the particular shade of
color that differentiates one from another.

1. Primary colors
are red, blue and
yellow. They are
the basic colors
where different
colors originated.
2. Secondary colors
are combinations
of primary colors
such that yellow
and blue produces
green, red and
blue produces
violet, red and
yellow produces
orange.

3. Intermediate colors stem from the combination of primary and

secondary colors.
13
 4. Tertiary colors are obtained by mixing two secondary colors.

5. Neutral colors are the white, black and gray and are
predominantly grayish and brownish.

a. Value is the lightness or darkness of color. White added to a

color will produce tints. Black added to a color will produce
shades.

b. Intensity or chroma is the chroma of a color corresponds to its

purity and saturation in a color other than black, white and
gray.

Basic Psychological Effects of Colors on People

White makes us feel clean and fresh. White connotes innocence and
purity.

Red makes us feel bold and daring. Red connotes passion and bravery.

Yellow makes us feel joyful. It also connotes cowardice and treachery.

Blue represents truth, loyalty, calmness and wisdom. Deep blue could
also make us feel depressed.

Green suggests abundance as this is the color of plants, but green could
also suggest jealousy.

Purple is the color of royalty, but it could symbolize suffering.

Orange is a warm color but suggests deliciousness and ripeness.

Eateries, especially fastfoods, use orange with a touch of green
to stimulate appetite.

Black suggests strength and dignity and is usually worn for formal
evening affairs. Black also symbolizes mourning and death.

3. Space is the area inside an enclosed shape. The use of space can lead to
an interesting design, but the overuse of a space could make the design
too “busy”, while an empty space could be unattractive.

14
4. Form or shape refers to the form of a person which shows the curves of
the body. This includes the shape of the face, neckline and the full body
or figure.

a. Shapes of Faces. There are different shapes of faces and these are:

1. Oval. All kinds of neckline are becoming to this shape.

2. Round. This resembles the shape of the moon where neckline

should be given more considerations.

3. Triangle. The use of wider neckline is helpful.

4. Square. Close necklines will do justice to the top shape of the

face.

5. Heart shape. The shape is fitting to almost all kinds of necklines.

15
b. Shapes of Necklines. Necklines emphasize the shape of the face. In
choosing the neckline for a garment, consider the shape of the
face.

1. A combination of vertical and horizontal

lines produces square necklines.

2. Diagonal lines produce V-necklines.

3. A curve line produces round necklines.

4. A horizontal line produces Sabrina, Boat or

Bateau necklines.

16
 5. A combination of vertical and curve lines
produces U-shaped necklines.

6. Curve lines produce scallop necklines.

c. Body Shapes or Figures. It refers to the overall structure of the body.

This may be of any combined qualities in height, size and
shape.

1. Tall, narrow rectangle or column. This body type is favoured by

fashion designers as models with this figure make clothes look
great.

Features:
 Tall
 Narrow frame
 Small bust
 High, but undefined waist
 Slim hips
 Flat bottom
 Long slim legs
 Long slim arms

Choose:
 Jackets and tops with detail at the
collar and neckline
 Flare, A-line, pleated and gored
skirts suit a tall, slim frame
 Low and high waist styles or
princess line dresses with seams
curving from the armhole
 Trousers with pockets and pleats
at the waist and hips

17
2. Hourglass. It is a feminine, well-
balanced and in proportion, with a
defined waist between a full bust and
hips.

Features:
 Full bust
 Narrow waist
 Full hips
 Round bottom

Choose:
 Unfussy jackets in a simple line with
few pockets or details
 Bias-cut skirts or softy draping styles
 Dresses with shaped styled that
accentuate the waist, high-waist
styles and bias-cut dresses

3. Top-heavy Triangle. This shape

applies to those with who are top
heavy, with width in the upper part of
the body and narrowest hips, creating
a triangular-shaped figure.

Features:
 Wide shoulders
 Full bust
 Undefined waist
 Slim hips
 Slim legs

Choose:
 Simple top with round, scooped or
V-shaped necklines look good
 Straight-tailored, pleated or
panelled skirts with vertical,
topstitched seams work well
 Tunics and straight styles suit a
top-heavy silhouette

18
  Trousers with slim hips and bottom, with detail at the hip, low-
rise styles with a decorative belt

4. Bottom-heavy triangle (the classic

pear-shape). The pear-shape appear to
carry too much weight on the hip, with
the top half of the body small in
comparison with the lower half.

Features:
 Narrow shoulders
 Small bust
 Narrow waist
 Full hips
 Round bottom
 Heavy thighs

Choose:
 Blouses with details like puff, cap
and leg of mutton sleeves add width
to the shoulders and square necks
 Simple skirts with few details that
drape over the hip, A-line, bias cut
and assymmetric designs in a longer
length
 Princess-line styles that skim over
the hip with detail at the neckline.

5. Circle (Apple). This silhouette has all

the emphasis in the middle of the
body, with extra weight being carried
at the waistline.

Features:
 Narrow shoulders
 Full bust
 Large tummy
 Flat bottom
 Slim legs

Choose:
 Blouses with detail at the neckline
rather than the bust, a cardigan style

19
 or a straight fit jacket with a classic collar
 Skirts with an elasticized or faced waistband for comfort, a
straight, gored or wrap skirt with a length that show off good
legs
 Flared dresses with princess-line seams, tunic styles worn with
over leggings or narrow trousers
 Narrow straight trousers with a faced waist and concealed zip in
the side seam

6. Oval. Generally taller than the apple and pear figures. The extra
height makes the oval shape easier to conceal.

Features:
 Tall
 Narrow shoulders
 Small bust
 Thick waist
 Average hips
 Slim legs

Choose:
 Light cardigans or unstructured
jackets worn over simple tops; sleeve
details on top and classic shirts with
a yoke
 Blouses with cowl neckline or
heirloom detail at the bust to
balance the width of this area
 Skirts with straight and assymmetric
styles and a border above the hem
 Straight tunic and shift styles
dresses
 Wide-legged, slim-fitting , shaped-
leg, and a cropped trousers

5. Texture is the feel (softness, roughness, and

crispness), appearance (shininess, dullness)
and weight (lightweight, heavyweight,
mediumweight) of a fabric.

20
 6. Pattern or print of fabric is dress materials
produced by interlacing lengthwise and
crosswise threads (weaving) knitting, and other
methods of construction. Characteristics of
fabrics that affect their handling are the fiber,
the type of construction, the weight, the width,
the design, the texture, and the finished fabric.

Most fabrics used in sewing are woven; some are knitted, and a
few are pressed or bonded.

a. Woven means those made by interlacing

two sets of yarns.
1. Grain is direction of the yarn.
2. Lengthwise threads form the
foundation of the fabric and are
the stronger threads. This makes
them firmer and less stretchy than crosswise threads.
3. Selvage refers to the two finished edges of a woven fabric that
are strong and firm. When used on straight seam, do not
require any seam finish.
4. Crosswise threads run across the fabric from selvage to
selvage.

b. Knitted refers to the interlooping of one or more sets of yarns which

form a succession of connected loops causing the stretchy quality of
knits.

c. Pressed or bonded refers to non-woven fabrics like felt and pelon

have no grain. Pelon is used for interfacings.

Selecting Fabric for the Dress

There are several fabrics to choose from but a designer must be guided
by the following guide questions to help the client choose the fabric that will
match the client’s preferences:

1. Is the fabric made of finely woven material? Is it of good quality?

2. Is the color becoming to the complexion of your client?
3. Do the prints match to the client’s size and height?
4. In what appropriate occasion can you wear your garment?
5. Is the fabric easy to maintain?

The answer to these questions will help you decide the kind of fabric to
buy for your client’s clothing that will complement to his/her personality.

21
 The personality of the wearer shows the kind of image she projects.
Personalities differ depending on the kind of clothing people wear. Most
introvert persons prefer clothes of simple yet classical cut with pastel or light
colors. Extroverts on the other hand are creative, artistic, expressive and
energetic. Hence, they prefer clothing that is comfortable, attractive and
fashionable. They can wear all kinds of clothing of varied style, colors and
design with confidence.

PRINCIPLES OF DESIGN

 Proportion is the relationship in size between various parts to the whole.

Because fashion designing is a creative expression, exact mathematical
proportions are not required as long as what you design is visually
pleasing.

 Balance is the arrangement of a design on a space which results on a

sense of equilibrium. There are two kinds of visual balance. They are the
formal balance, and the informal balance.

 Emphasis is achieved by the designer’s ability to create a center of

interest by which the viewer’s eyes are directed to a specific area of a
garment or body part.

 Rhythm is the repetition of an accent to create an interesting design.

Repeating an accent to different parts of the dress or one part of the
dress will achieve a design that is harmonious and therefore visually
united.

22
23
SPECIAL PREFERENCES

 Collar is designed and attached to any shape of neckline.

24
 Sleeves is part of the garment that covers and is attached to the armhole
of the garment.

25
 Cuff is a plain or decorative band attached to the cover edge of the
sleeve.

26
 Pocket is one or two
layer of fabric cut in the
desired shape and
applied to the right side
of a garment or set into a
garment opening or
seam.

 Yoke is a shaped part of garment that holds other part together.

27
LET US REMEMBER

 The principles of art together with the different elements must be

utilized properly to come up with the pleasing dress design.
 The figure is one factor that influences choice of dress design.
Drawing attention to your best features by using emphasis on
dress design will also camouflage your figure defects.
 The age, figure, complexion and profession of a person affect
one’s choice of clothing materials, fabric durability, ease of
handling, maintenance and cost should also be considered when
attending an occasion.
 The choice of clothing materials reflects one’s personality.

HOW MUCH HAVE YOU LEARNED?

1. What should be considered in planning garment design?

2. Why are client’s needs considered in designing a garment?

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Color Schemes
 Collect fabrics with different color combinations and arrangements. In
your design you may use these color arrangements of combinations.
 Cut the fabric into 3-inch by 3-inch squares.
 Paste in an album and refer to them for color schemes.

RUBRICS

Collections of Fabric Criteria and Points

Primary Colors - Collected the primary colors in fabrics –
20 pts.
Secondary Colors - Collected the primary and secondary colors
in fabrics – 40 pts.
Intermediate Colors - Collected the primary, secondary and
intermediate colors in fabrics – 60 pts.
Tertiary Colors - Collected the primary, secondary,

28
 intermediate, tertiary colors in fabrics – 80
pts.
Neutral Colors - Collected the primary, secondary,
intermediate, tertiary and neutral colors in
fabrics – 100 pts.
Task 2
Garment Sketching

Select a partner from your class. Study her individuality. use the
form below to record the information. Recommend a dress design for her
specific needs.

Name of Client: _____________________________ Date:_____________

Shape of Face o Oval
o Round
o Triangle
o Square
Heart shaped
Figure Type o Tall and Slim
o Pear Shaped
o Full-busted
o Short-waisted

Color o Blue o Green

o Red o Violet
o Yellow o Orange
o Other Preferred Color (Please
indicate):____________________
Fabric o Small Prints
o Plain
o Stripes/Plaids
o Bold designs
Abstract
Fabric Texture o Soft o Lightweight
o Rough o Heavyweight
o Smooth o Medium weight
o Shiny
Sleeve o Short
o Long
o Plain

29
 o with Fullness
o with Cuff
Length of Dress o Above the knee
o Knee-Level
o Below the knee
o Mid-leg
o Ankle length
Recommended Design
Front Back

Note: Label each specific garment design.

30
LESSON 2

TAKING CLIENT’S BODY MEASUREMENT

WHAT IS THIS LESSON ABOUT?

The lesson deals with the preparation of measuring tools and taking body
measurement accurately and recording them based on job the requirements.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. prepare measuring tools in accordance with the job requirements;
2. take body measurements of client in sequence according to standard
procedure; and
3. record the body measurements in line with job requirements.

LET US STUDY

Words to Study

 Tape Measure – a flexible tape with different type of measurements essential

for taking body measurements.
 Girth Measurements – taken horizontally and most of them go around the
entire circumference of the body.
 Length Measurements – taken vertically and their primary purpose is to
measure the distance between reference points on the body.

Measurements are the foundation of pattern drafting. They establish

basic axes which are natural to the body. These axes are then used to
reconstruct the shape of the body onto the paper. They must take with
complete accuracy.

Measurements can be taken without assistance, but the task is easier

when you have someone to help you.

31
 RULES IN TAKING BODY MEASUREMENT

 Wear undergarments or bodysuit when measuring.

 Use tape measure that does not stretch.
 Tie a string around your natural waistline.
 Pull the tape snug, but not too tight.
 Be sure to keep the tape parallel to the floor.
 Take girth measurements, then length measurements.
 Ask the subject to stand in a relaxed, upright position in stockinged feet.
 Insert two fingers in taking girth measurements.
 Record all measurements on a chart accurately.

HOW TO MEASURE

Measuring Tools
 Tape measure
 Pencil
 Notebook
 Hem gauge
 Hem Marker

Procedure in Taking Body Measurements

There are several parts of the body to be measured. These are taken in:
 Horizontal measurement
 Vertical measurement
 Circumferential measurement

32
1. The horizontal measurement is taken from the left of the figure to the
right.

 Shoulder. Measurement is taken from

the tip of the left shoulder to the tip of
the right shoulder, arching slightly to
cover the cervical prominence of the
neck bone.

 Bust point width. Measurement is

taken across from the tip of the left bust
point to the tip of the right bust point.

2. The circumferential measurement is taken around the body.

 Bust. Measurement is taken around the

bust with the tape measure running on
the same level in front, at the back and
on the sides.

 Waist. Measurement taken around the

smallest part of the torso.

33
  First hip. Measurement is taken
around the hip level where the stomach
is fullest.

 Second hip. Measurement is taken

around the hip level where the buttocks
are fullest.

 Armhole. Measurement is taken

around the armhole.

 Arm girth. Measurement is taken

around the arm.

3. The vertical measurement is taken from the top of the body figure to its
base.

 Figure back. Measurement is taken

from the center of the back shoulder
over the shoulder blade down to the
waistline level.

34
 Figure front. Measurement taken from
the neck point passing over the bust
down to the waistline level.

 Bust point height. Measurement is

taken from the neck point down to the
highest point of the bust.

 Length of sleeve. Measurement is

taken from the shoulder point down to
the desired length in the arms.

 Length of skirt. Measurement is taken

from the waist down to the desired
length.

35
 Individual Measurement Chart

Name: Date:

Body Parts Actual Body Measure Computed

Measure ment Measurement to be
Needed Needed
(divisor) Inches Centimeters
Girth measurements
 Shoulder 15inches 38.1cm 2 7½ 19.05
 Bust point width 6½ 16.51 2 3¼ 8.225
 Bust 34 86.36 4 8½ 21.59
 Waist 25 63.5 4 6¼ 15.875
 First hip 30 76.2 4 ¾ 19.05
 Second hip 34 86.36 4 8½ 21.59
 Armhole 15 38.1 2 7½ 19.05
10 ½ 26.67 2 5¼ 13.335
 Arm girth
Length measurements
15 38.1 1 15 38.1
 Back figure
15 ½ 39.37 1 15 ½ 39.37
 Front figure
8½ 21.59 2 4¼ 10.795
 Bust point height 8 20.32 1 8 20.32
 Length of sleeve 22 55.88 1 22 55.88
 Length of skirt 22 55.88 1 22 55.58

Checked by:

Write the body measurements you will take in this chart and have it checked.

LET US REMEMBER

 The body measurements were taken horizontally and vertically.

Measurements should be accurate and exact, not tight or loose.
 Accurate body measurements help produce correct patterns and
well-fitted garments.
 Time in constructing a garment is saved if body measurements
are taken accurately.
 Always insert two fingers when taking the girth measurement.

36
HOW MUCH HAVE YOU LEARNED?

1. What tools are needed in taking body measurements?

2. What body measurements should be taken in drafting a bodice and

skirt pattern?

3. How are body measurements taken?

4. Why is accurate body measurement important?

LET US APPLY WHAT YOU HAVE LEARNED

Task 1
Identify the body measurements referred to in the statement below.
Write your answer in your quiz notebook.
1. Taken from the tip of the left and right shoulder.
2. Taken around the hip level where the stomach is fullest.
3. Taken from the center of the back shoulder down to the
waistline level.
4. Taken along the whole circumference of the body at the level of
the waistline.
5. Taken around the circumference of the armhole.

Task 2

Get your partner and prepare a measuring tools and let’s find out if you
can follow the three (3) kinds of body measurement; horizontal, vertical and
circumferential. Remember that the accuracy of measurement is very
important.

To evaluate your task:

Exchange with your partner to evaluate your work based on the following
data and to convert your measurements to centimeters.

Horizontal measurement Inches Centimeters

Shoulder
Front chest
Bust distance
Back width

37
Circumferential measurement Inches Centimeters
Bust
Waist
First hip
Second hip
Armhole
Arm girth

Vertical measurement Inches Centimeters

Figure back
Figure front
Bust height
Blouse length
Length of sleeve
Length of skirt

Checked by:
Signature above Printed Name

Performance Rating

RESOURCES:
 Measuring Tools
 Writing Materials
 Model/Dress Form
 Body Measurement Chart
 Learning Modules

38
LESSON 3

DRAFTING BASIC / BLOCK PATTERN

WHAT IS THIS LESSON ABOUT?

The lesson deals with the drafting tools, drafting basic/block pattern and
checking of pattern in accordance with the job requirements and customer’s
specification.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. Prepare and select drafting tools in accordance with job requirements;
2. Draft basic/block pattern with appropriate tools; and
3. Check basic pattern based on customer’s specifications.

LET US STUDY

Words to Study

 Draft – a pattern sketch made by following the body measurements

 Pattern – are devices used by dressmakers as guide when cutting an article or
garment
 IMC – stands for Individual Measurement Chart
 Drafting – an engineering type method based on a set of body measurement
 Measurement –foundation of pattern drafting
 Perpendicular line –composed of two lines meeting in a right angle
 Drafted pattern – made to order using individual’s measurement
 Commercial pattern – made using standard measurement of average women

Basic pattern is the “starting point” for Flat-Pattern Designing. It is a

simple pattern that fits the body with just enough ease for freedom of
movement. The basic pattern has five pieces: bodice front, bodice back, skirt
front, skirt back and sleeve.

39
 The basic pattern is sometimes called a master or foundation pattern.
The drafted pattern is referred to as the block.

Salient Measures to Observe in Drafting Patterns

1. Be sure to have an accurate division of the measurement. Use L-square.

2. Use the aid of a hip curve if necessary.
3. Always use the L-square or ruler in making lines.
4. French curve is necessary in shaping the neckline as well as that of the
armhole to produce a perfect curve.
5. Use weights or dressmaker’s pins so that the pattern will be moved.

Kinds of Pattern

1. Block Pattern – made by drafting from the measurements which have

been carefully taken from an individual or from a model.
2. Construction pattern – the intervening step between the block and the
final pattern. Designs are complicated, construction patterns are
sectioned.
3. Final pattern – provided with the necessary symbols that will guide the
cutter on how to lay out the pattern on the cloth. Symbols for darts,
seam allowances, grainline, center fold, and notches and other markers
are used.

Drafting the Basic Pattern

A. Drafting Tools:
 Tape measure
 L-square
 Hip curve
 French curve
 Transparent ruler
 Pencil
 Eraser
 Scissor
 sharpener

40
 B. Body Measurement Needed

Individual Measurement Chart

Name: Date:

Actual Body Measure Computed

Body Parts Measurement ment Measurement
Needed Needed
Inches Centimeters (divisor) Inches Centimeters

Girth measurements
(Horizontal measurements)
 Shoulder 15 38.1 2 7.5 19.05
 Bust point width 6½ 16.51 2 3.25 8.225
 Bust 34 86.36 4 8.5 21.59
 Waist 25 63.5 4 6.25 15.875
 First hip 30 76.2 4 7.5 19.05
 Second hip 34 86.36 4 8.5 21.59
 Armhole 15 38.1 2 7.5 19.05
 Arm girth 10 ½ 26.67 2 5.25 13.335

Length measurements
(Vertical measurements)
 Back figure 15 38.1 1 15 38.1
 Front figure 15 ½ 39.37 1 15 ½ 39.37
 Bust point height 8½ 21.59 2 4.25 10.795
 Length of sleeve 8 20.32 1 8 20.32
 Length of skirt 22 55.88 1 22 55.88

C. Drafting the Back and Front Basic Pattern

Get one-half sheet of pattern

paper. Construct a back and front
bodice pattern.

Draw perpendicular line T

 1-2 =3/4 inch (2cm) down
 1-3 = 4 inches (10 cm)
 1-4 = 5 ½ inches (14 cm)

43
  2-5 = bust point height measure
 1-6 = back figure
 2-7 = front figure
 8 is the middle of 2 and 7
 Square out 2, 4, 8, 5 and 7 to the right
 Square out 4, 8, and 6 to the left.

9B 19 8B 1

2
10B 22
21
3
20
4
11B

13B 8
12B
18B 5

15B 17B 16B 6

14B
7

Back Bodice
 1-8B ½ back neck or 2 ½ inches (6.5 cm) to 2.9 inches (7.5 cm).
Connect 8B to 2 with a French curve
 1-9B = ½ shoulder + 5/8 inch (1.5 cm). Square down 9B
 9B – 10B – 1 3/8 inches (3.5 cm). Connect 8B to 10B
 4-11B = ½ shoulder minus 5/8 inch (1.5 cm)
 8-12B = ¼ bust + 5/8 inch (1.5 cm). Connect 10B, 11B and 12B
with a French curve

44
  8-13B = ½ bust point width
 6-14B = ½ bust point width. Connect 13B to 14B
 6-15B = ¼ waist + 1 1/8 inches (3 cm). connect 12B to 15B
 14B – 16B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
 14B - 17B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
 13B - 18B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
 19 = is the middle of 8B and 10B. Square down 19
 20 = 3 inches (7.5 cm). 21-19, 22-19 = ¼ inch (0.5 cm). Connect
22 to 20 and 21 to 20.
 Fold 16B over 17B
 Connect 6 to 15B
 Fold 22 over 21
 Connect 8B to 10B
 Measure 12B and 15B (side length)
 Side length of back and front bodice should be equal.

Front Bodice

9B 19 8B
1

2 8F 9F
10B 22
21
10F
20 3

11B 4 11F

13B 8 12F
12B

18B 13F
5 22F
12B

B
18F 19F

21F

20F
17B 16B 6
15B
16F 17F
15F
14B 7
45 45
14F
  2-8F = ½ back neck or 6.5 to 7.5 cm
 2-9F = ½ shoulder. Square down 9F
 9F – 10F = 4.5 cm. connect 8F to 10F
 4-11F = ½ shoulder minus ¾ inch (2 cm).
 8 – 12F = ¼ bust + 1 inch (2.5 cm). Connect 10F, 11F, and 12F
with a French curve
 5-13F = ½ bust point width
 7-14F = ½ bust point width. Connect 13F to 14F
 7-15F = ¼ waist + 4cm. Connect 12F to 15F with dotted line.
 14F – 16F = ¾ inch (2cm).
14F – 17F = ¾ inch (2cm).
 13F – 18F =5/8 inch (1.5 cm). Connect 16F-18F, 17F to 18F
 12F – 19F = 3 1/5 inches (8 cm).
 19 F – 20F = difference of 6 and 7
 21 – middle of 19F and 20 F. Connect 21F and 13F
 13F – 22F = 5/8 inch (1.5 cm). Connect 19F to 20F to 22F (side
dart)
 Fold 20F over 19F
 Connect 12F and 15F with a straight line
 Fold 16F over 17F
 Connect 7F to 15F
 12F – 15F with a dart closed = 12B – 15B of back bodice (side
length)

D. Drafting the Back and Front Shirt Basic

Pattern
Get one-half sheet of pattern paper.
Construct a back skirt basic pattern.
Draw perpendicular line T.
 1-2 = 3/8 inch (1 cm).
 1-3 = 5/8 inch (1.5 cm).
 1-4 = 7 inches (18 cm) to 8 ¾ inches
(22 cm).
 1-5 = skirt length
 1-6 = middle of 1 and 4
 Square out 3, 6, 4, and 5 to the
right
 Square out 2, 6, 4, and 5 to the left

46
 13 10 12
7B B B B 1
B
2
3
6

8B 11B 4

9B 5

Back Skirt
 1-7B = ¼ waist + 1.2 inches (3 cm)
 4-8B = ¼ second hip + 3/8 inch (1 cm)
 5-9B = ¼ second hip + 3/8 inch (1cm)
 1-10B = ½ bust point width. Square down 10B
 10B-11B = 5 ½ inches (14 cm) to 6 inches (15 cm)
 10B-12B = 5/8 inch (1.5 cm).
 10B-13B = 5/8 inch (1.5 cm). Connect 12B and 13B to 11B
 Fold 12B over 13B and connect 2 to 7B with a hip curve.
 Connect 7B to 8B with a hip curve
 Connect 8B to 9 B with a straight line

47
 14F

7B 13 10 12 1 12 10 13 7F

2 3

11B
11F
8B 4 8F

9B 5 9F

14

 Front Skirt Square down 10B

 1-7F = ¼ waist + 1 ½ inches (4 cm).
 4-8F = ¼ second hip + 5/8 inch (1.5 cm).
 5-9F = ¼ second hip + 5/8 inch (1.5 cm).
 1-10F = ½ bust point width. Square down 10F.
 10F-11F =5 ¼ inches (13 cm) to 5 ½ inches (14cm).
 10F-12F= ¾ inch (2 cm).
 11F –13F = ¾ inch (2 cm). Connect 12F and 13F to 11F
 Fold 12F over 13F and connect 3 to 7F with a hip curve
 Connect 7F to 8F with a hip curve
 Connect 8F to 9 F with a straight line
 5 to 14 = 5/8 inch (1.5 cm). Connect 14 to 9F with a hip curve

48
 4
1
10

7 12

8
9
13

11 5
3

6
2

E. Drafting the sleeve basic pattern

Get one-fourth sheet of pattern paper. Construct a sleeve. Place the
centerline on a folded pattern paper.
 1-2 = sleeve length 7 ½ inches (19 cm) to 7 ¾ inches (20cm)
 1-3 = 4 ½ inches (12 cm)
 Square points 3 and 2 to the right
 1-4 = 3/8 inch (1 cm)
 4-5 = ½ armhole measure
 2-6 = ½ lower arm girth + 3/8 inch (1 cm)
 Connect 5 to 6 and 4 to 5
 Divide line 4-5 into 4 equal parts and mark 7, 8, 9
 7-10 raise 5/8 inch (1.5 cm)
 9-11 lower 5/8 inch (1.5 cm)
 Connect 4, 10, 8 with a French curve
 Connect 5, 12, 8 with a French curve (for front sleeve cap)
 8-12 =1/4 inch (0.5 cm).
49
  13 – center of 11 and 9
 Connect 10, 12, 13, and 5 for back sleeve capline with a dotted line
 Cut off in the dotted line for back sleeve pattern
 Cut off 12 to 5 and 6 to 5
 Open the sleeve and cut 5, 11, 8 to 10 for front sleeve pattern

Back Front

Sleeve Sleeve

After drafting the basic pattern check it correctly and accurately,

especially the: (1) Measurement and (2) Parts of pattern pieces; and then, cut
the basic pattern following the cutting lines smoothly.

LET US REMEMBER

 The foundation pattern is a perfectly plain one piece dress or waist

fitted to the figure as dictated by the current style. It is based in the
measurement of one individual.
 A foundation pattern is a guide or basis in the construction and
manipulation of flat pattern designing.
 Pattern drafting can be done well if you use the proper tools and follow
the step by step procedure.

50
HOW MUCH HAVE YOU LEARNED?

1. What are the parts of the foundation pattern?

2. What parts of the body are measured before drafting a pattern of the
basic bodice skirt or sleeve?

3. Explain the factors that determine a good foundation pattern.

LET US APPLY WHAT YOU HAVE LEARNED

Task 1
Fill the blanks with the correct answer. Write your answer in your quiz
notebook.
1. A pattern is a device used by when making a garment.
2. An engineering type method based on set of body measurement is
.
3. In drafting the front bodice pattern 15 F from 7 is .
4. A chart is a guide needed in drafting basic pattern.
5. French curve is used to get a very firm smooth line around the
line such as armhole and neckline.
6. In drafting the sleeve, 4 to 5 is divided into .
7. In drafting the skirt 4 to 8F is second hip + 1.5 cm.
8. In drawing a perpendicular line is the center of 2 and 7
or ½ front figure.
9. In drafting the back bodice pattern 14B is ½ .
10. Made of paper and drafted from the measurement taken from the
individual or model is called .

Task 2
This time, show how much you’ve learned from pattern drafting. Be ready
with your IMC, measuring tools or drafting tools and your procedure.
Note: Each one of you will perform basic pattern drafting based on your
IMC. Your drafted patterns should be based on the 5 Parts of Basic Pattern
namely:
1. Back bodice
2. Front bodice
3. Back skirt
4. Front skirt
5. Sleeves

51
 To check your finished work approach the trainer/teacher for evaluation.
Explain the proper use of tools step by step with accurate measurement.

The trainer/teacher give you suggestions, comments and her final

recorded evaluation.

Activity II. Basic Pattern Drafting

Name of Student:
Year & Section:
Date Submitted:
Teacher’s Comment & Grade:

Trainer’s Evaluation:

52
LESSON 4

MANIPULATING AND CUTTING FINAL PATTERNS

WHAT IS THIS LESSON ABOUT?

The lesson deals on how patterns are laid out in accordance with the
standard procedure how patterns are manipulated in accordance with the
customer’s specifications. The latter includes labelling, filling and securing final
patterns as per standard operating procedure. It also deals with the cutting of
final pattern with seam allowance in accordance with customers’ specifications.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. lay out pattern in accordance with the standard procedure;
2. manipulate basic/block pattern in accordance with the customers’
specifications;
3. label, fill and secure the final patterns as per standard operating
procedure;
4. cut the final patterns with seam allowance in accordance with the
customers specifications; and
5. check the cut final pattern pieces.

LET US STUDY

Words to Study

 Bust point – the focal point for dart manipulation in the bodice front
 Bust-fitting dart – the fold that originates in the underarm seamline
 Dart – a fold of fabric wider at one end coming to a point at an end which gives shape to
garment
 Fitting dart – are triangular folds in the cloth that fit the fabric to the curves of the body
 Hem – the fold turned under the wrong side of the garment
 Hemline – the line where the hem will be turned
 Seam allowance – space added between the cut edge and stitching line of the fabric
 Seam line – line indicating when seam would be stitched.
 Sloper – a cardboard copy of the basic pattern that dart areas and seam allowance cut
away
 Waist-fitting dart - the fold that originates in the waistline
 Weights – heavy objects placed on top of patterns when tracing for the pattern not to
move.
 Cutting line – the line where the pattern is to be cut.

53
Plan for the Construction of a Princess Cut Dress with Collar

Construction garment is just like building construction that needs

planning. In making a project, there must be an accompanying project plan.
This serves as a guide in making any kind of project. It contains the materials
and tools to be used, design, and procedure in making the project.

Project Plan

Date Begun:
Project Plan No.:
Date Finished:

I. Name of the Project: Princess Cut Dress with Collar and Sleeves

II. Objectives: To construct a well-fitted Princess cut dress with puff sleeve
and sports/knotched collar correctly and neatly.

III. Word Study:

Princess Cut Dress is a dress with curve lengthwise line extending

from shoulders or armhole down to the waist, hips, or hemline of a
garment.

Puff Sleeves give one youthful appearance. It produces a feeling of

width at the shoulder and on the level of the bust or just above it.

Sports Collar provides a close fit at the back of the neck whether it
is open or closed.

IV. Tools and Equipment:

 Cutting tools
 Drafting tools
 Sewing tools
 Measuring tools
 Marking tools
 Sewing machine

54
V. Materials and Supplies Needed:

Qty. Unit Description of Materials Unit Total Cost

2 yds. Polyester cotton (60 inches width) Php45.00 Php90.00

1 spool Color thread Php10.00 Php10.00

4 pcs. Pattern paper Php3.00 Php12.00

9 pcs. Buttons Php5.00 Php45.00

½ yds. Pelon Php20.00 Php10.00

TOTAL Php167.00

VI. Design Specifications:

sports/ knotched
collar

puff sleeve

Princess cut
dress

Button holes (handworked)

buttons

55
VII. Procedure:

A. Pre-sewing stage
i. Take body measurements
ii. Draft the basic pattern
1. Front and Back Bodice
2. Front and Back Skirt
3. Sleeve
iii. Construct and manipulate final pattern
1. Princess Cut dress
2. Puff Sleeves
3. Sports/Knotched Collar
iv. Draft final pattern
v. Prepare materials or fabric
vi. Lay and pin pattern pieces on the fabric
vii. Cut the fabrics
viii. Transfer construction mark

B. Sewing Stage
i. Prepare sewing machine
ii. Stay-stitching
iii. Baste the interfacing
iv. Overedge edges
v. Join inseam (front and back)
vi. Join shoulder
vii. Prepare collar
viii. Attach collar
ix. Join side seams
x. Prepare sleeves
xi. Attach sleeves
xii. Finish hemline
xiii. Mark and work on buttonholes
xiv. Press finish dress
xv. Fit and evaluate

VIII. Evaluation:

Evaluation Weight Student’s Grade Teacher’s Grade

Workmanship 35%
Accuracy 30%
General Appearance 15%
Speed 10%
Work Habits 10%

OVERALL 100%

56
IX. Comments and Recommendations:

FLAT - PATTERN DESIGNING

Flat-Pattern Designing is working out the pattern of a garment either in

the material itself or by cutting a pattern using the foundation pattern as a
basis.

After drafting the basic/block pattern, you are now ready to manipulate
the basic pattern into casual apparel in accordance to the style specification.

Princess Cut Dress

1. Prepare the necessary tools, supplies and materials

 Tape measure
 Transparent ruler (long)
 French curve
 Hip curve
 Pencil
 Pattern paper (2pcs)
 Pins
 Scissor
 Eraser
 Weight
 Sloper

2. Lay the basic pattern on the pattern paper with necessary allowances for
style needed.

3. Trace the front and back basic bodice patterns and the front and back
basic skirt patterns.

4. Manipulate the basic pattern to the desired style.

 From the front bodice, get the midpoint of the shoulder and mark.
 Raise the dart point 5/8 inch (1.5 cm) upward and draw a
connecting line towards the center of the shoulder line. (use
broken line)
 For the back bodice, raise dart point by 1 inch (2.5 cm) upward
and draw a connecting line towards the shoulders dart point.

57
  For the lower part which is the skirt, draw straight lines from the
dart point down to the hemline.

shoulder fitting
dart

1.5 cm.

2.5 cm
bust-fitting
dart

waist-fitting dart

waist-fitting dart

5. Cut the pattern following the broken lines (cut the waistline dart and
shoulder dart). Slash a little from the bust point height toward the side
dart and close.

6. Pin all pattern pieces separately (allowing spaces for necessary flaring
and allowance) into another sheet of pattern paper.

58
 1 cm.

2 cm. 2
cm.

1.5 cm.
1.5 cm.
1.5 cm.
1.5
cm
1.5 cm.
.

2.5 cm. 2.5 cm.

2.5 cm. 2.5 cm.

1.5 cm.

1.5
cm
Side .
Side of
Center of
Back Center
Front Front
1.5 2.5 cm. Back
cm
.
2.5 cm.

4 cm. 4 cm. 4 cm. 4 cm. 4 cm. 4 cm.

4 cm. 4 cm. 4 cm. 4 cm.

7. For flaring the inseam and side

 For the inseam, add 1.5 inches (4 cm) at the hemline and connect
it into the darts
 For the side, add also 1.5 inches (4 cm) at the hemline and connect
at the upper or first hip
8. For seam allowances:
 Neckline – 3/8 inch (1 cm)
 Shoulder –3/4 inch (2 cm)
 Armhole – 5/8 inch (1.5 cm)
 Inseam – 5/8 inch (1.5 cm)
 Side seam- 1 inch (2.5 cm)
 Hemfold – 1.5 inches (4 cm)
 Center front- ¾ inch (2 cm)

59
Cutting of Final Pattern

Tools needed:
1. scissors
2. pin
3. weight

To cut the Princess cut dress:

1. Fold in the seam allowance and pin temporarily around he
neckline area.
2. Cut the neckline curve.
3. Turn out the following allowance of the cut pattern of the front
bodice.
4. From the shoulder and neckline corner, mark this point A,
measure 1 ½ inches (3.8cm). Mark point B.
5. From the point on the pattern on the waist level, measure 2 ½
inches (6.4cm). Mark the point C.
6. From the fold of the pattern on the hemline level, 2 ½ inches
(6.4cm). Mark the point D.
7. Connect point B to C with the slightly concave part of the ruler.
8. Connect point C to D with a straight line.
9. Cut along points B to C to D.
10. Turn the pattern so that the right side is facing up.
11. Pin the folded facing allowance and the main bodice of the
pattern around the neck area and the shoulder together.
12. Cut the outline of the front bodice on seam allowance from the
corner of the neckline to the shoulder line to the inseam to the
armhole line to the side seam and the hemline.

To Cut the Collar

1. Pin the folded part so that it will not move when cut.
2. Cut along the seam allowance.

To Cut the Sleeves

1. Pin the folded part so that it will not move when cut.
2. Turn out and cut along the seam allowance.

60
 Final Pattern – Princess Cut Dress

Labelling the Patterns

Label the following items in the pattern.
 Center front (CF) is a line placed in a fold of fabric indicating
that the pattern edge has been placed exactly on the fold of the
fabric that is on grain.
 Foldline ( ) refers to where the pattern is to be folded.
 Notches ( ) are V-shaped symbols along the cutting line.
 Grainline (↔) are arrowhead symbols with instructions for
placing the pattern on grain.
 Darts ( ) are indicated by two broken lines for stitching and
a solid line at center for folding.
 Buttonholes ( ) are indicated by a solid line having a short
line at right angles to one and when horizontal or at both ends
when vertical.
 Solid lines ( ) are used also to indicate center fold lines, some
hemlines, placement for pocket and trimmings that go on the
outside of the garment.
 Name of pattern piece refers to the parts of pattern
 Name of person refers to the customer/client

61
 Sports Collar or Convertible Collar. This provides a close fit at
the back of the neck whether it is open or closed. It is very practical to
wear under suit jackets and coats.

Steps in Making the Sports or Convertible Collar

1. Lower front bodice neckline by slightly removing some of the

intense curve.
2. Measure neck hole of pattern, and then divide by two.
3. Square out body ways from A.
4. From A to B is 8cm.
5. From B to C is the neckline of the pattern.
6. D is the center of B and C.
7. From C to F is 3/8 inch (1 cm). A to E is equal to B to C.
8. From E to E1 is 1 cm. G is the center of line AE.
9. Finish collar by shaping A, G, E1 and B, D and F.

62
 Shawl Collar. This collar is also called menton collar. It is
designed as a variation of the continuous collar. The curve portion of
the back neckline is straightened and squared to accentuate the
hugging effect the collar is supposed to give. This is commonly done
on the surplice bodice, one which has neckline extended on each side
from the shoulder and oftentimes to the opposite side seams with the
line crossing in the center.

Here is the procedure in making the shawl collar.

1. Prepare a full front bodice.

2. Design the V-shaped neckline after establishing the surplice
bodice.
3. Design the shawl collar.
4. Mark front bodice center and start the overlap or closing
from this.

63
 Sailor’s Collar. A collar of this type is popular among school
girls. This is obviously derived from the sailor’s uniform.

The steps in making the sailor’s collar are as follows:

1. Place the front and the back bodice as shown in the diagram.
2. Design the V-neckline on the front sloper.
3. Design a slanted line to the end shoulder portion. Square
down 6 inches (15 cm) long and square it out to the center.
4. Trace the neckline to the desired design on a piece of paper.
5. Lay center back collar design against the folded material.

64
 Continuous Collar. This collar is part of the bodice. This collar
rests on a V-shaped neckline and gives a good sweeping effect from
the front to the back neck without distortions. It provides a smooth
soft roll and a hanging effect at the back of the neck.

Here is the procedure in making continuous collar.

1. Formulate a V-shaped neckline on the front bodice.

2. Design the desired shape of the collar.
3. Trace collar design of front bodice.
4. Open the flopped paper under and trace printed collar
design.
5. Use the highest front neckline as the basis to continue
designing the back pattern.
6. Square a line from A to B. the line should equal to the
desired width of the collar.
7. Bind carefully the collar design of front bodice to the center
of back bodice.

65
 Half-Rolled Collar. This collar is very popular. It has a stand
at the back which gradually lessens in width until the collar lies flat at
the base of the throat.

Here is the procedure in making the half-rolled collar.

1. Draw around front and back bodice sloper as shown.

2. Overlap 1 inch (2.54 cm) at the outer shoulder line without
changing the neckline position.
3. Move 1 inch (2.54 cm) away from center point.
4. Shape the collar.
5. Complete the final pattern.

66
 Mandarin Collar. This is popularly called Chinese collar,
standing collar, or oriental collar. It fits very snugly around the neck
giving one a prim look.

The following are the steps in making the mandarin collar.

1. Measure the base neck circumference. Then divide by 2.

2. Square out both ways from A.
3. Measure 1.18 inches (3cm) from A to B.
4. Measure one-half of base neck circumference online AE.
Mark D as ½ of line AE.
5. Move up ¾ inch (1.90cm) from E to E1.
6. Measure 1 inch (2.54cm) from C to C1.
7. Bend AE1 through point D with a soft curve. Do the same for
BC1.
8. Finish collar by shaping C1E1.

67
Sleeve is a part of a garment joined to the armhole by a seam.

Short Puffed Sleeve No. 1. The short puffed sleeve gives one
youthful appearance. It also provides bulk in order to conform to the
shape of the arm of the wearer.

The procedure in making this type of sleeve is as follows:

1. Using the foundation sleeve as a model, design slashes

starting from the bottom or girth going to the top part of the
sleeves (see arrows).
2. Open the slashes and spread them proportionately until
desired fullness is achieved.
3. Trace the sleeve giving it a flared effect. The flare will account
for the fullness necessary in making the puff.

68
 Short Puffed Sleeve no. 2. This type of sleeve produces a
feeling of width at the shoulder and on the level of the bust or just
above it.

Following are the steps in making this sleeve:

1. Prepare the foundation pattern.

2. Design the various slashes for fullness. Slashes are designed
equally on both the top and lower sections of the sleeve.
Preferably, lay this pattern against the center bias fold.

Puffed Sleeve No. 3. This sleeves design invites the eye to focus
on the shoulder level only. The exposed arm will appear to take on a
slimmer look. This type is best suited for middle-aged women who
have plump upper arms.

The steps in making this kind of sleeves are as follows:

1. Prepare the foundation pattern of the sleeve.

69
 2. Design slashes for the upper cap.
3. Make sure that the slashes are geared toward the bottom.
4. Open the slashes for additional fullness.
5. Trace the pattern.
6. Mark the area of fullness on the final pattern.

Cap Sleeve. The cap of the shoulder becomes the basis of the
sleeve. When a little extension is desired in order to allow the arm to
pass freely through the armhole, this sleeve will best serve its
purpose.

Here is the procedure in making the cap sleeve.

1. Prepare the pattern for front and back bodice.
2. Extend the side line of the bodice up to the top to the level
with the end point of the shoulder.
3. Extend the shoulder and line up to the extended side line.
4. The length from the shoulder edge as illustrated will be the
length on the side armhole from where the side seams start.
This ensures ease in putting the arm through the armhole.

70
 Two-darted Sleeve. In making this sleeve, four inches are
added to the foundation sleeve pattern. The extra measurement is for
the cap portion which is to be darted in order to produce a pad to the
cap region.

The steps in making the two-darted sleeves are as follows:

1. Draft the foundation sleeve.

2. Add 2 ½ inches (6.4 cm) to the cap portion.
3. Curve gracefully following the basic curve for the canon.
4. Design the two darts on the cap.
5. The length of the darts should not exceed the measurement
added to the cap. The width of the darts will ensure a
squared effect of the cap.

71
 Four-darted Sleeve. The four-darted sleeve is a variation of the
two-darted sleeve. The darts are given out for design purposes only.
The length of the dart is limited to the added amount to the cap
region.

Here are the steps in making the four-darted sleeves:

1. Draft the sleeve pattern.

2. Add 2 ½ inches (6.4 cm) to the cap region.
3. Design the four darts on the cap region.
4. Limit the length of the darts on the cap region.
5. Ensure a squared effect on the cap.

72
LET US REMEMBER

 Knowledge of pattern drafting will help you sew garments correctly.

 Pattern drafting is easy if each step in the process is clearly related to
the final outcome and if the drafter visualizes what he/she is doing.
 Both foundation and style pattern are needed in garment
construction. Some dressmakers cut the fabrics without using any
patterns.
 Cut exactly on the cutting line
 Accuracy in cutting is necessary to construct a garment that
duplicates the design and size of the pattern.

HOW MUCH HAVE YOU LEARNED?

1. Differentiate the foundation pattern from a style pattern?

1. Distinguish the two patterns.

2. How is a style pattern made?

3. Why is a style pattern important?

4. What is the difference between seam allowance and seam line?

5. How should you start the cutting of final pattern?

LET US APPLY WHAT YOU HAVE LEARNED

Task I. Evaluate Princess cut dress, sports collar and puff sleeves.

Standards Highest Student Teacher

possible
score
a. Measurements
 Make use of correct measurement 8
 Measurements correctly taken 8
 Allowance correctly added 7

b. Tools
 Drafting tools: correctly and properly
used 8
 Drafting tools in good condition 7

73
 c. Procedure 15
 Step-by step procedure: correctly
followed

d. Patterns 10
 Princess cut dress: correctly and
properly interpreted and drafted 8
 Sports/Knotched collar: correctly and
properly interpreted and drafted 8
 Puff sleeve: correctly and properly
interpreted and drafted 7
 Corners properly shaped 7
 Curved areas prim and smooth 7
 Cutting lines neatly done
100
TOTAL

RESOURCES:

Paper/pencil Weights
Cutting tools Manual/Learning modules
Drafting tools Sloper
Measuring tools magazines
Measurement chart Fashion catalogue
Model/Dress Form Fabrics
Pattern paper Model Project
Long table

REFERENCES:

Del Rosario, Constancia et. al. Practical Arts-Clothing and Textiles I

and II, Publisher Philippine Book Company, Printed by Regal,
Manila, Philippines
Francisco, Chic R. Simplified Pattern-Making of Basic ladies, Wear,
Manila, Philippines
Francisco, Chic R. Complete Step-by-Step Guide in Fashion
Designing, Copyright 1992, Golden Ideas Publishing Home Inc.
Hilario, Carmelita B., Clothing Technology Made Easy Publisher
National Book Store Printed by 24k Printing Corp., Valenzuela City
Reader’s Digest, Complete Guide to sewing, The Reader’s Digest
Association, Inc., Pleasantville, New York, Montreal
Rojo, Luz V. et. al. Practical THE, Home Economics III and IV,
Philippine, Adriana Publishing
THE III and IV, Home Technology, Clothing I and II, DECS,
Philippines, Insular Printing Corp.
Knight, Lorna . The Dressmaker’s Technique Bible A Complete Guide
to Sewing. Page One Publishing. Published in Asia 2008
74
Post test

Directions: Read and understand the items being described below.

Choose the letter of the correct answer and write it in your quiz
notebook.

1. This is the line where the pattern is to be cut.

a. curve line
b. cutting line
c. seam allowance
d. straight line
2. It refers to the company’s standards operating procedure.
a. determining garment costs
b. measuring body parts
c. performing sewing
d. all of the above
3. It is a design done in a garment by adding interesting
accessories.
a. decorative design
b. garment design
c. structural design
d. all of the above
4. This kind of design has the parts of the garments which are cut
and then sewn together.
a. structural
b. formal
c. decorative
d. informal
5. A kind of pattern where all the allowances needed is indicated.
a. basic
b. blocked
c. commercial
d. style
6. This is another term for sports collar.
a. continuous collar
b. convertible collar
c. flat collar
d. mandarin collar
7. This is the center of interest in a given garment.
a. balance
b. emphasis
c. harmony
d. proportion
8. This is the measurement taken around the arm.
a. armgirth
b. armhole
c. armscye
d. forearm

75
9. A kind of line on a dress that gives an illusion of height to the
figure.
a. curve line
b. diagonal line
c. horizontal line
d. vertical line
10. This is the main line of the garment.
a. design
b. fabric
c. pattern
d. silhouette
11. This is the seam allowance for the inseam of princess cut
dress.
a. 1.5 cm
b. 2.0 cm
c. 2.5 cm
d. 2.7 cm
12. This is the technique used in cutting curve lines.
a. long even stroke
b. long uneven stroke
c. short even stroke
d. short uneven stroke
13. This refers to the body measurement taken from the shoulder
down to the tip of the bust.
a. bustline
b. bust point height
c. bust point width
d. waistline
14. This is the first step in drafting basic pattern.
a. diagonal line
b. horizontal line
c. perpendicular line
d. straight line
15. This is the style that tends to capture the attention of the
consumer instantly and briefly.
a. design
b. fad
c. fashion
d. look
16. This is the exact measure of the long arm of the L-square.
a. 16”
b. 18”
c. 24”
d. 36”
17. This is the divisor for shoulder measurement.
a. as is
b. 2
c. 4
d. 8

76
18. This is the first line of an inch.
a. 1/8
b. ¼
c. 3/8
d. 5/8
19. This rule is NOT needed in taking body measurements.
a. Wear undergarments or bodysuit when measuring
b. Pull the tape snug, but not too tight
c. Take length measurements, then girth measurements
d. Be sure to keep the tape parallel to the floor
20. This is NOT the circumferential measurement.
a. armgirth
b. bust
c. bust point width
d. waistline
21. This is the symbol for grainline.
a. ─
b. ↔
c. ≡
d. ↕
22. This refers to Flat-Pattern Designing.
a. Working out the pattern of a garment either in the
material itself or by cutting a pattern using the
foundation pattern as a basis.
b. Spaced added between the cut edge and stitching line of
the fabric.
c. The fold that originates in the waistline.
d. A fold of fabric wider at one end coming to a point of bust
at the end which gives shape to garment.
23. This is the basis of the foundation pattern.
a. figure
b. personality
c. individuality
d. measurement
24. This is saved when body measurement is taken before doing
garment construction.
a. time
b. cost
c. force
d. labor
25. This type of collar is also known as menton collar.
a. shawl collar
b. sailor’s collar
c. sports collar
d. Mandarin collar

77
KEY TO CORRECTION - PRETEST

1) c 8) d 15) c 22) d
2) d 9) a 16) b 23) c
3) d 10) c 17) a 24) a
4) b 11) b 18) a 25) a
5) b 12) c 19) a-d
6) b 13) b 20) b
7) d 14) b 21) a

KEY TO CORRECTION – POST TEST

1) b 8) b 15) b 22) a
2) c 9) d 16) c 23) d
3) d 10) d 17) b 24) a
4) a 11) a 18) a 25) a
5) d 12) c 19) c
6) b 13) b 20) a-d
7) b 14) c 21) b

78
 TABLE OF CONTENTS

Module 1 Draft and Cut Pattern for Ladies Casual Apparel

Pretest .......................................................................................................................1

Learning Outcome 1 Planning Garment Design

Let Us Study ...........................................................................................................6

 Standard Operating Procedures in Garment Designing ...............................7
 Garment Design for Ladies Apparel ...........................................................7
 Kinds of Design in Clothing ..................................................................8
 Ladies Casual Dress .............................................................................10
o Blouse ............................................................................................11
o Skirt ................................................................................................12
o Pants ...............................................................................................12
 Elements of Design
 Line ......................................................................................................14
 Color ....................................................................................................15
 Space ....................................................................................................16
 Form or Shape ......................................................................................17
 Texture .................................................................................................22
 Pattern or Print of fabric ......................................................................23
 Selecting Fabric for the Dress ....................................................................23
 Principles of Design ...................................................................................24
 Special Preferences ....................................................................................26
How Much Have You Learned? ............................................................................30
Let Us Apply What You Have Learned .................................................................30

Learning Outcome 2. Taking Client’s Body Measurement

Let Us Study ..........................................................................................................33

 Rules in Taking Body Measurement..........................................................34
 Procedure in Taking Body Measurements .................................................34
 How Much Have You Learned? ................................................................39
Let Us Apply What You Have Learned .................................................................39

Learning Outcome 3. Drafting Basic / Block Pattern

Let Us Study ..........................................................................................................41

 Salient Measures to Observe in Drafting Patterns .....................................42
 Kinds of Pattern .........................................................................................42
 Drafting the Basic Pattern ..........................................................................43
How Much Have You Learned? ............................................................................51
Let Us Apply What You Have Learned .................................................................51

79
Learning Outcome 4. Manipulating and Cutting Final Patterns

Let Us Study ..........................................................................................................53

 Plan for the Construction of a Princess Cut Dress with Collar
 Project Plan ..........................................................................................54
 Flat Pattern Designing
 Princess Cut Dress ...............................................................................57
 Cutting of Final Pattern ..............................................................................60
 Final Pattern – Princess Cut Dress .............................................................61
 Sports Collar or Convertible Collar .....................................................62
 Shawl Collar.........................................................................................63
 Sailor’s Collar ......................................................................................64
 Continuous Collar ................................................................................65
 Half-Rolled Collar ...............................................................................66
 Mandarin Collar ...................................................................................67
 Sleeve
 Short Puffed Sleeve No.1 ...............................................................68
 Short Puffed Sleeve No.2 ...............................................................69
 Puffed Sleeve No. 3 .......................................................................70
 Cap Sleeve .....................................................................................71
 Two-darted Sleeve .........................................................................71
 Four-darted Sleeve .........................................................................72
How Much Have You Learned? ............................................................................73
Let Us Apply What You Have Learned .................................................................73

Post test ..................................................................................................................75

Key to Correction ...................................................................................................78

80
 ACKNOWLEDGMENT

The Department of Education wishes to extend thanks and

appreciation to the representatives of the different Secondary
Technical-Vocational Schools who shared their expertise in developing
the Competency-Based Curriculum (CBC) and Competency Learning
Matrix (CLM) on February 25-29, 2008 and Competency-Based
Learning Materials (CBLM) on April 14-19, 2008, refinement and
packaging of CBLM on May 5-10, 2008 and final repackaging on May
23-25, 2008 at the Development Academy of the Philippines, Tagaytay
City and the final refinement of CBC-CLM-CBLM at the Marikina
Hotel, Marikina City on April 20-25, 2009.

This learning material was developed, enhanced and refined by

the following personnel:

Writeshop on the Development of CBC-CLM

Writers:

 ELORJEN VILLAMAYOR
M. S. Enverga Memorial College of Arts and Trades

 LORENA GENITO
Zamboanga Del Sur School of Arts and Trades

 PURIFICACION RAZON
Don Alejandro Sr. Science and Technology High School

 ROSSANA I. SAGUID
Tanza National High School

 LUZ AGBULUS
Zamboanga del Sur School of Arts and Trades

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 ANNABELLE R. DE LEON
Tanza National Trade School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 PRESCILLA RAYOS
Community Vocational High School

81
 Encoder:

 MYRNA COVILLA

Consultant:

 ROSITA CREDO
TVE Consultant

Writeshop on the Finalization, Packaging and Repackaging of

CBC-CLM-CBLM

 ALVA NALDOZA
General Santos City

 ESTRELINA PALALON
Glan School of Arts and Trades

 FRANCISCA BUMANGLAG
Jones Rural School

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 ANNABELLE R. DE LEON
Tanza National Trade School

Writeshop on the Refinement and Enrichment of CBC-CLM-CBLM

of Arts and Trades Specializations

TVE Writers:

 ANNABELLE R. DE LEON
Teacher III
Tanza National Trade School
Paradahan I, Tanza, Cavite
Region IV-A

 MARIA M. DEL MUNDO

Teacher III
E. Rodriguez Vocational High School
Nagtahan, Sampaloc, Manila
NCR
 MARIA VICTORIA M. FERNANDO

82
 Teacher III
Pangasinan School of Arts and Trades
Lingayen, Pangasinan
Region I
 NIMFA O. MARMOL
Teacher I
Muntinlupa Business High School
Muntinlupa City
NCR

 DR. MILAGROS M. TORRES

Master Teacher I
Sanchez Mira School of Arts and Trades
Sanchez Mira, Cagayan
Region 02

Academic Writers:

English

 NOVELINE C. TACATA
Teacher III/English Coordinator
Cabarroguis National School of Arts and Trades
Cabarroguis, Quirino
Region 02

 SCHUBERT ANTHONY C. SIALONGO

Master Teacher I
General Leandro Fullon National High School
Hamtic, Antique
Region VI

Science

 DR. CECILIA B. CASTILLO

Head Teacher VI
Siniloan National High School
Siniloan, Laguna
Region IV-A

 TEZA LORRAINE A. MARCOS

Teacher I
AFG Bernardino Memorial Trade School
Marilao, Bulacan
Region III

 EVELYN P. CHAVEZ

83
 Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Encoders:

 MIA LORAINE MANUEL

Fairview, Quezon City

Editors:

 ANA LIZA C. CANILANG

Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Facilitator:

 AIDA T. GALURA
Vocational Secondary Administrator II
Angeles City National Trade School
Angeles City
Region III

84
 Republic of the Philippines
Department of Education
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS

Unit of Competency: Draft and Cut Pattern for Ladies’ Casual

Apparel
Module no. 2 Module Title: Drafting and Cutting Pattern for
Ladies’ Casual Apparel
 MODULE 2

QUALIFICATION TITLE : GARMENTS NC II

UNIT OF COMPETENCY : PREPARE AND CUT MATERIALS

FOR LADIES CASUAL APPAREL

MODULE TITLE : PREPARING AND CUTTING

MATERIALS FOR LADIES CASUAL
APPAREL

NOMINAL DURATION : 60 HOURS

GARMENTS NC II
WHAT IS THIS MODULE ABOUT?

This module covers the knowledge, skills and attitudes required in

preparing and cutting materials for ladies casual apparel. It includes the
laying out of patterns, pinning, marking and preparing fabric for cutting.

WHAT WILL YOU LEARN?

At the end this module, you should be able to:

a. prepare materials / fabric for ladies casual apparel;
b. layout, pin and mark patterns on the materials; and
c. cut materials.

WHAT DO YOU ALREADY KNOW?

Pre-test

Let us find out how much you know about preparing and cutting
materials for ladies’ casual apparel. Read and understand the items
being described below. Choose the letter of the correct answer and write
it in your quiz notebook.

1. It is the correct procedure in preparing the materials for cutting.

a. shrinking, hanging, straightening, pressing
b. shrinking, straightening, hanging, pressing
c. straightening, shrinking, hanging, pressing
d. straightening, hanging, shrinking, pressing
2. This is the first step to do before laying the pattern over the cloth.
a. hang
b. press
c. soak
d. zigzag
3. It is essential in laying the pattern on the cloth.
a. pins
b. scissors
c. tape measure
d. weight
4. It is used to transfer the construction marks of the pattern to the
fabric.
a. ball pen
b. crayon
c. tailor’s chalk
d. tracing wheel
5. It is the direction in which the thread of a fabric runs.
a. facing
b. grain
c. hem
d. Interlining
6. It is the best tool used in cutting fabrics.

1
 a. pinking shears
b. button hole scissors
c. trimming shears
d. dressmaker’s best-handled sheers
7. This refers to the finished edge of a fabric.
a. cut edge
b. hem
c. raw edge
d. selvage
8. This is the blended fiber, which is manufactured by interlacing
threads or yarn.
a. knitted
b. laminated
c. lapped
d. woven
9. This is the dressmaker’s guide in cutting a fabric.
a. pattern
b. pins
c. shears
d. tailor’s chalk
10. This refers to the arrangement of the pattern pieces on the fabric.
a. cut
b. layout
c. mark
d. trace
11. This is how patterns are arranged economically on fabrics
a. along the centerfold
b. along the selvage
c. apart
d. close to each other
12. This is used in cutting the cloth to achieve clean and even edges.
a. blade
b. cutting shears
c. embroidery scissors
d. pinking shears
13. When cutting the material, this is how the notches should be cut
from the seam allowance.
a. downward
b. outward
c. sideward
d. upward
14. This printed item on the label of the cloth is NOT a fabric
property.
a. colorfast
b. crease - resistant
c. preshrunk
d. synthetic
15. This is the material from which a garment is made.
a. cotton
b. fabrics

2
 c. fiber
d. yarn
16. These are the articles that make the costume complete.
a. accessories
b. decorations
c. ornaments
d. trimmings
17. This is considered a general rule in removing wrinkles and
creases on the
materials.
a. have it dry-cleaned.
b. press on the right side of the cloth.
c. press on the wrong side of the cloth.
d. use damp pad and press
18. This refers to the grain of fabric which runs along the selvage.
a. bias
b. crosswise
c. lengthwise
d. twirls
19. One of these is NOT a dress/garment trimmings.
a. beads
b. corsage
c. lace
d. rickrack
20. This is NOT a fabric fiber content property.
a. animal fiber
b. knitted
c. plant fiber
d. synthetic fiber
21. This is a characteristic of a lengthwise grain.
a. it has less stretch
b. it is stronger
c. the selvage is there
d. all of these
22. This is a kind of fabric that can be preshrunk by laundering and
drying.
a. dry-cleanable fabric
b. knitted fabric
c. permanent press
d. washable fabric
23. This is the reason why one must preshrunk washable fabric
before cutting.
a. to avoid fitting alteration
b. to prevent shrinkage
c. to remove any sizing
d. all of the above
24. This refers to a pair of scissors which is useful in working with
fine details in delicate fabrics.
a. buttonhole
b. embroidery

3
 c. pinking
d. trimming
25. It is a cutting tool that gives an attractive zigzag edge to fabrics
that does not ravel.
a. baguio cut
b. pinking shears
c. shears
d. scissors

4
LESSON 1

PREPARING MATERIALS/FABRIC FOR LADIES CASUAL APPAREL

WHAT IS THIS LESSON ABOUT?

This lesson deals with the choice of fabrics, its preparation before
cutting and handling it, selection and preparation of accessories and
trimmings in accordance with specified garment style or design.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. explain the techniques in handling the fabric before cutting and
2. name the kinds of trimming and accessories.

WHAT DO YOU ALREADY KNOW?

Let us find out how much you know the preparation of materials or
fabrics for casual apparel. Choose the correct answer from among the
choices and write it in your quiz notebook.

1. This is NOT a fabric property printed on the label of the cloth.

a. colorfast
b. crease-resistant
c. preshrunk
d. synthetics
2. It is a fabric that can be preshrunk through laundering and drying.
a. dry-cleanable fabric
b. permanent press
c. washable fabric
d. none of these
3. It is a cloth materials from which garments are made.
a. cotton
b. fabric
c. fibers
d. yarn
4. This makes a costume complete.
a. accessories
b. decorations
c. ornaments
d. trimmings
5. It is considered a general rule in removing wrinkles and creases on
the materials.
a. have it dry-cleaned.
b. press on the right side of the cloth.
c. press on the wrong side of the cloth.
d. use damp pad and press

5
 6. This refers to the grain of the fabric that is the strongest and has
less stretch.
a. bias
b. crosswise
c. lengthwise
d. twirls
7. These are NOT an example of dress/garment trimmings.
a. beads
b. corsage
c. lace
d. rickrack
8. This characteristic is present if grain is lengthwise.
a. has less stretch
b. off-grain
c. has stretch
d. weak
9. It is done to avoid shrinkage after laundering.
a. drying
b. pressing
c. shrinking
d. soaking
10. This is NOT fabric fiber content property.
e. animal fiber
f. knitted
g. plant fiber
h. synthetic fiber

LET US STUDY

Words to Study

 Fabric – a cloth material of which a

garment is made
 Grain – direction or arrangement of
fabric yarn.
 Lengthwise grain – fabric threads
running along the selvage
 Accessories - articles that complete the
costume.
 Trimming – any ornamental addition to
finished garment

6
 Fabric is the basic material in making garments. In order to
produce quality products, there is a need to check it for faults. Use the
checklist to help you examine your fabric.

Common Faults Found in Fabrics

 Yarn flaws - broken, missing, uneven, uncut wales
 Color changes - spotting, shading, rubbing off
 Misprinted pattern - off-grain, off-center
 Grease or oil spots
 Tears or cuts
 Sheds wrinkles - crush a corner to check for wrinkling
 Over finished - brittle, stiff
 Oversized - white powder appears when fabric is rubbed
 “Set” of grain - grain with permanent press cannot be
changed; avoid it off-square 1” or more across
width

Choosing Fabric

A wide selection of fabrics in various textures and colors is

available today. When selecting a fabric for your project, it is important to
take the fabric’s fiber content, its texture (or “hand”), drape, color, and in
some instances and the size of its print, or its horizontal stretch, into
account. Once a piece of fabric is cut, it cannot be returned, and
mistakes can be costly.
The table below gives an information on the description, content
and commercial names of the fabrics available in the market.

Fabrics Fiber Content Commercial Names

Woven Fabrics Cotton  Calico
 Chino
Generally, medium-  Cotton Batiste
weight, woven fabrics  Cotton
are easy to handle and Broadcloth
are the best choice for  Cotton Corduroy
beginners. Stiff and  Cotton Lawn
bulky or fine fabrics  Cotton Poplin
are more difficult to  Denim
sew with.
 Gingham
 Linen

Microfiber Fabrics Silk  Crepe de Chine

 Dupioni silk
These are chemically  Habotai Silk
produced filaments ( China Silk)
from nylon and  Silk Organza
polyester. It is
washable but they
tend to be heat

7
sensitive so care
should be taken when
pressing them.
Wool  Camel Hair
 Cashmere
 Wool Tartan
 Worsted Wool
 Woven Wool

Knitted Fabrics  Natural wool  Double Knit

 Cotton  Interlock knit
It is constructed with  Various blends  Spandex
loops rather than warp  Sweatsuit Fabric
and weft threads being  Tricot
woven together.

Special Fabrics  Wool  Boucle

 Silk  Chiffon
Special occasion wear.  Taffeta
Makes use of the most  Velvet
luxurious and
expensive fabrics  Threads of silk,  Lace
constructed in a cotton or  Satin
variety of ways. synthetic fiber

 Nylon  Tulle

Chemical Fabric Finishes on the Label

Sanforized - a special mechanical process / treatment

so as to prevent shrinkage
Colorfast - retaining color of dye in faded when fabric
is subjected to the action of water
Crease- resistant- this process is permanent and renders
fabric resistant to crease
Permanent Press - this finish is permanent and endures
through many washing

Handling Fabrics Before Cutting

The importance of fabric preparation is to preserve the fit of the

finished garment after washing.

8
Techniques in Preparing the Fabrics for Cutting:

A. Shrinking and soaking the fabric by laundering and drying

Washable fabrics can be pre-shrunk by laundering and drying. Pre –

shrunk washable fabric to prevent shrinkage later.

Procedure in Shrinking Washable Fabric

1. Fold the fabric lengthwise.

2. Immerse and soak the fabric in cold water (in large basin).
3. Let it stand for 30 to 60 minutes.
4. Remove it from the water. Do not wring nor dry the fabrics on
the clothesline.
5. Press the cloth when completely dry.

B. Straightening the end of fabrics

This process is to draw the thread or grain of the material of the
uneven crosswise or lengthwise edges to make it straight.

How to Straighten the Ends of the Fabric

1. Clip the selvage on the shortest edge of the fabric.

2. Pick-up a loose crosswise threads and pull it out slowly.
3. Pull the thread all the way across the selvage.
4. Cut along a pulled thread.

9
C. Stretching the grains of fabrics
The process of pulling the cloth diagonally from one corner to the
opposite corner thus making the lengthwise to be right angle.

How to Stretch the Grain of Fabrics

1. Grasp opposite diagonal corners and pull.

2. Check to see if the fabric has been straightened.
3. Keep on pulling until the selvage comes together.
4. Smooth the material on the table and check if the fabric ends lie
even.

4. Pressing
The process of removing wrinkles and creases in fabric by using
the flat iron. The general rule is to press on the wrong side of the cloth in
the lengthwise grain. Pressing may enlarge or shrink the fabrics.

10
 Dress or Garment Trimmings and Accessories

Trimming details change continually, so you should study

trimming types and check them in the fashion news. Plan the trimming
as integral part of the garment, not last minute addition. Casual apparel,
even in its simplicity, needs trimming in order to be complete.

 Trimmings are the ornamental addition to the bare fabrics or a

finished garment. This is also used to enhance or emphasize the
beauty of the apparel.

Common Trimmings Used in Dresses

1. Appliqué – a separate design for petals, leaves or figures which is cut

and applied to another surface
2. Binding – a bias strip used to decorate an edge
3. Buttons – pieces of bones, metals, glasses of various shapes having
shank or holes
4. Collar – bands attached over necklines, sometimes they are cut as
part of the front bodice
5. Embroidery – an ornamental needlework consisting of designs, work
on fabric by hand or machine
6. Frog - loop fastening made of braid or cording
7. Gathers – fullness shirring consist of three or more rows of gather.
8. Lace – open work fabric made with bobbins, needles or hook and
can be hand or machine made
9. Loop – a fastening which extends beyond the finish edges used
on closings with no lap
10. Pocket – a piece of fabric applied to a garment to form a container
11. Ribbons – a narrow fabric of silk or velvet used for trimming
12. Rickrack – a flat woven zigzag braid in mercerized cotton or rayon
13. Ruffles –strips of cloth gathered together or pleated as a trimming
to finish edges
14. Scallop – an edge finish made up of a series of semi-circles
15. Tassel – threads or braid of silk or other fiber hanging in loose
fringes

11
 Accessories – are the articles that complete the costume. The final
touches that make the outfit perfect.

The following are the accessories used in dresses

1. Bands – strips of fabric, ribbon or bias applied to edges or set into

garments to finish or decorate
2. Bracelet – ornamental chain for wrist and arm
3. Brooch - a large ornamental pin placed in front or shoulder arm
4. Chocker – a short necklace or jeweled collar worn closely around the
neck
5. Corsage – a bouquet of real or artificial flowers worn on the right
shoulder or chest
6. Fan – a flat device mounted on frame permanently
7. Handkerchief – a piece of cloth cotton, linen or silk usually square and
decorated with lace and embroidery.
8. Hat – a shaped head covering, having crown and brim
9. Hosiery – consist of hose and stockings.
10. Shoes – high-heeled or flat-closed footwear fitted for comfort,
freedom and style

LET US REMEMBER

Fabric is stronger, long lasting and drapes well when

cut in lengthwise fold. It should be grain perfect
before cutting, shrinking and pressing to come up
with a perfect cut and fit.

HOW MUCH HAVE YOU LEARNED?

1. What is the difference between natural and synthetic fiber?

________________________________________________________________
________________________________________________________________

2. Why is preshrinking of fabric important?

________________________________________________________________
________________________________________________________________

3. Explain briefly the techniques in preparing the fabrics before

cutting.

a. ______________________________________________________________
b. ______________________________________________________________
c. ______________________________________________________________
d. ______________________________________________________________

12
LET US APPLY WHAT YOU HAVE LEARNED

Task 1 Preparing the fabric for cutting

 Materials:
1. Fabric
2. Basin of water
3. Flat iron
4. Pressing board

 Instructions:
1. Shrink fabric
2. Straighten fabric
3. Stretch fabric
4. Press fabric

 Evaluation Checklist

Put a check ( √ ) after each item yes no

1. Was the fabric straightened out properly?
2. Was the fabric grain perfect?
3. Was the fabric pre-shrunk?
4. Was the fabric pressed to remove wrinkles before
cutting?

Task 2

Below is a list of fabrics: Classify the commercial fabrics according

to its fiber content.

Fiber Content
Fabrics Silk Cotton Wool
1. Woven
2. Microfiber
3. Knitted
4. Special Fabrics

Task 3 Enrichment Activity

From the given project plan in the previous module (drafting and
cutting pattern for ladies casual apparel), select appropriate trimmings
and accessories. Discuss to the class how these trimmings are selected
and attractively placed in the dress.

13
RESOURCES:

A. Tools
1. basin of water
2. flat iron
3. ironing board
4. scissor
5. clothes clip

B. Materials:
1. cloth
2. clothesline
3. trimmings
4. accessories

REFERENCES:

Compiled Instructional Materials.

Iowa H.E. Association; Unit Method of Clothing Construction, 1977, pp.
20-25.
Navarro, Leticia de Guzman, Homemaking for You and Me; 1985, pp. 12-
13.
Singer, Sewing Manual
T.H.E. III, Home Technology, Clothing l; p. 33.
Talbot, Constance, The Complete Book of Sewing; 1963, PP. 29-30.

KEY TO CORRECTION

1. d
2. c
3. b
4. a
5. c
6. c
7. b
8. a
9. b
10. b

14
LESSON 2

LAYING OUT, PINNING AND MARKING PATTERNS ON THE

MATERIAL

WHAT IS THIS LESSON ABOUT?

This lesson deals with the laying out of patterns, pinning and
marking seam allowances, darts and pocket locations in accordance with
the fabric guidelines and specified garment style.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. determine the wrong and right side of fabric;
2. enumerate the kinds of fabric folds before the making the layout;
3. apply the steps in laying out patterns to the cloth; and
4. demonstrate the procedure in tracing / marking sewing lines on
fabric.

WHAT DO YOU ALREADY KNOW?

Pre-test

Let us find out how much you already know about laying out,
pinning and marking patterns on the fabric.

Choose the letter of the correct answer from each of the following
item below and write it in your quiz notebook.

1. This is how patterns are arranged economically on fabrics.

a. along the centerfold
b. along the selvage
c. close to each other
d. apart from each other
2. This is the dressmaker’s guide in cutting fabrics.
a. pattern
b. pins
c. shoes
d. tailor’s chalk
3. This means to arrange the pattern pieces on the fabric.
a. to cut
b. to lay out
c. to mark
d. to trace
4. This is the first step in laying out pattern.
a. check and mark seam allowances and stitching line
b. fold the material with right side folded in

15
 c. lay out the largest pattern piece on the wrong side of the
cloth
d. checked the pattern well
5. The reason why pin marking is necessary.
a. the pattern has less construction details
b. you are in a hurry to finish your work
c. you do hand basting
d. you sew immediately
6. This is where grain line is classified.
a. pattern alteration
b. pattern drafting
c. pattern easing
d. pattern symbol
7. This measuring tool used in marking straight line.
a. pencil
b. ruler
c. tape measure
d. tracing wheel
8. This is a grain line where the pins are inserted.
a. crosswise
b. diagonal
c. lengthwise
d. off-grain
9. This is used in holding the pattern pieces and cloth together.
a. clip
b. fastener
c. needle
d. pin
10. The side where the material is folded.
a. lower
b. right
c. upper
d. wrong

LET US STUDY

Words to Study

 Selvage - finished edge of fabric

 Grain perfect - lengthwise and crosswise yarn intersect at right angle
 Marking - the transfer of lines from the pattern to the fabric
 Clip - cut or trim with shears or scissors
 Notch - a V-shape marking on the edge of pattern pieces to indicate matching
locations along a seamline

16
 Determine the right and wrong sides of the fabric

Before laying out the patterns be sure that you fold the fabric on its
wrong side.

Below are tips to identify the right or wrong side of fabric.

1. Prints are more visible and bright on the right side.

2. Right side has smooth and finished appearance.
3. Right side selvage is smoother than the wrong side.
4. Wrong side has loose thread ends.
5. Whole, silk and most nylons are folded or rolled with their right
side in.

 Fabric Folds

There are four kinds of fabric folds:

1. Lengthwise centerfold
The fabric is folded lengthwise at the center with the selvage
together.

2. Crosswise centerfold
The fabric is folded crosswise with the raw edges together.

17
 3. Off-center lengthwise fold
The fabric is folded lengthwise with the selvage meeting at
the center.

4. Off-center crosswise fold

The fabric is folded crosswise with the raw edge meeting at
the center

The hints in folding are the following:

1. Where selvages meet, they should match exactly. Shifting of slippery

or soft fabric can be prevented by pinning selvages together every few
inches.
2. If the material was folded at the time of the purchase, make sure the
fold line is accurate and press it again if necessary.
3. When no fold is indicated, lay fabric right side up.

 Pattern Layout

It is the placement and arrangement of pattern pieces on the

materials for marking and cutting.

Procedure in Laying Out Pattern on the Cloth:

1. Patterns must be checked well before laying them on the cloth.

2. Examine all the necessary pattern symbols before laying them on
the cloth.
3. Choose the longest cutting table to prevent the fabric from
hanging over the edge of table.
4. When laying each pattern piece, check the following :
a. lengthwise grain position
b. the center fold
18
 c. if it is to be duplicated
d. if it is to be sectioned to be cut singly, or not through two
layers
5. Fold the material on the right side with selvage folded together.
6. Lay out the largest pattern piece first on the wrong side of the
material.
7. Pin pattern piece in all the way around the edge.
8. Insert pins along the lengthwise grain.
9. Lay the small pattern pieces and pin them in vacant places.
10. Let the seam allowances touch each other whenever possible.
11. Mark the stitching lines before cutting.

 Pinning
Pins used in dressmaking are made of steel or brass with a tin
coating.

The types of pins used in dressmaking:

1. Dressmaker’s pin is of medium size and has 1 1/16 inches long.

2. Glass-headed pins are easy to handle.
3. Lace pins or silk pins
It is 1 inch long, finest size with sharp points and used for
lightweight fabrics.
4. T- pins stay in position in an open woven fabrics.
5. Safety pins

19
 Pinning Pattern to the Cloth:

1. Be sure the pattern piece is placed on the straight grain by measuring

the grain from the fabric’s edge.

2. After measuring the grain line, smooth the tissue and place pins
diagonally towards the corners of the pattern.

3. Then place pins where necessary to keep the pattern pieces flat for
cutting.

 Marking

In doing this marking details, we have to learn the various marking

tolls needed.

What to mark? All details should be marked; however, these are

not shown by notches or clips when long straight edges are left
unmarked stitching guide is used to keep seams even.
Construction details to be marked:

20
  Seam lines
 Center lines along closing
 Fold lines
 Position for ease or gathers
 Position for pockets
 Buttonholes and buttons
 Slash line
 Point where stitching line should stop

Marking tools are required for transferring pattern markings to

garment fabric pieces and for making alterations on garments.

There are various types of marking tools:

1. Tailor’s chalk
This is essential as a marker for use on materials.
Tailor’s chalk is available in a range of colors and is
removed by brushing.

2. Wax chalk
This is available in black or white and is used for
woolen fabrics. Wax can be remove d by pressing.

21
3. Dressmaker’s pencil
This is a vailable in white or pastel shades. This
chalk pencil is used to make fine lines on fabric. It has an
erasing brush at one end.

4. Tracing wheel
It is a saw -tooth with a sharp point. This tool is
used to transfer pattern markings to the wrong side of the
fabric. This is used with the dressmaker’s carbon paper.

5. Dressmaker’s carbon paper

This typ e of tracing paper is available in a numbe r
of colors including white, red, and blue. It is use d in
marking all types of fabric in combination with a tracing
wheel. This work is best on plane, flat -surfaced fabrics.

6. Liquid Marking Pen

This is felt -tip liquid marking pen. Marks may
disappear after 48 hours, and the other washes out.

The marking tips:

22
 1. Marking is done on the wrong side of the fabric.
2. Pattern symbols are transferred on the wrong side of the fabric
after cutting and before the patterns are removed.
3. Construction symbols and marks for placement of details
should be transferred.

How to Transfer Pattern Markings

1. Place the garment and the pattern piece on top of the tracing
paper.
2. Mark straight lines using the tracing wheel. Get over lines only
once.
3. The tip of darts should be indicated with a short line.
4. Remove the pattern piece then place the pins back.
5. Work on the other side of the fabric, re-trace over previous lines
to transfer the other half of the garment.

 Marking darts and pocket location

For a good fitting, darts may be used in ladies blouse and skirts.
Dart is a fold in the fabric stitch wider at one end and tapering to the
other end. It is used to give fullness or shape to the garments.
Pocket is a small piece of cloth attached to the garment, which
serves as a holder of items such as money, wallet and handkerchief. It
also serves as decoration on the garments. Accuracy in tracing the marks
of the location of darts and pockets is necessary.

Marking dart location:

1. Mark the stitching lines and the line through the center
known as fold line.
2. Mark a line at right angle to the point of the dart. Mark the
centerline before marking the two side lines to prevent the
pattern from shifting.

23
 How to mark pocket location:

1. Mark pocket location on the wrong side of the fabric.

2. Transfer the markings to the right side by basting along the
line by hand or machine.
3. This marking must be shown at the right side of the fabric
where the pocket is to be attached.

LET US REMEMBER

In laying out, pinning and marking seam allowances, darts and

pocket location, cautiousness should be observed in order to avoid
errors in cutting the materials.

HOW MUCH YOU HAVE LEARNED?

A. Recalling Facts

Fill in the blanks with the correct answer.

1. In_____________, the fabric is folded lengthwise at the center with the

selvage together.

24
 2. _______________ the stitching lines before cutting
3. Mark the notches ________________ on the fabric.
4. _______________ is a saw-tooth with a sharp point, and used for
transferring marking lines from the pattern to the cloth.
5. In _____________, the fabric is folded crosswise with the saw edge
meeting at the center.

B. Thinking Critically

Answer the following questions.

1. Is it correct to let the fabric hang over the edge of the table? Why?
__________________________________________________________________
2. How should the pins be placed on the pattern?
_____________________________________________________________________
_______________________________________________________________

3. What should be laid out first on the table before the pattern pieces?
Why?
_____________________________________________________________________
_______________________________________________________________
4. How should you lay out the pattern pieces to avoid wasting fabrics?
_____________________________________________________________________
_______________________________________________________________

LET US APPLY WHAT YOU HAVE LEARNED

Check everything before starting to cut.

Read and understand the following questions below. Write yes or

no on the blank.

_____1. Did I arrange the patterns according to their order of

construction?
_____2. Did I fold the fabrics with the right sides together?
_____3. Did I lay my pattern on the wrong side of the fabric?
_____4. Did I lay out my pattern pieces along the grain line?
_____5. Did I lay out my big pieces first and the small pieces last?
_____6. Did I make full use of the fabric by piecing small pieces on the
pattern?
_____7. Did I pin the pattern to the fabric correctly?
_____8. Did I transfer all needed pattern markings?
_____9. Did I put pins four inches apart?
____10. Did I trace all marking lines and retrace them to the other half
before the pattern is removed?

If your answers to these questions are all yes, then you are ready to
cut the fabric.

25
Task 1 Check your performance using the criteria below.

Draw a happy face after each item  yes no

1. Are the pattern pieces laid out correctly and
economically?
2. Are the pattern pieces secured by pins?
3. Is the fabric cut with utmost care?
4. Do the positions of pins follow the grain line?
5. Are the marks transferred correctly and accurately?
Total

RESOURCES:

Tools: Equipment:
1. pins 1. cutting table
2. ruler
3. pencil Materials:
4. tailor’s chalk 1. cloth
5. tracing wheel 2. tracing paper
6. tracing board 3. pattern paper

REFERENCES:

SEDP, Home Technology, Clothing, p.34

Homemaking for You and Me, Second Year, p.14
Alcantara de Guzman, Inez, T.H.E. 1 Module, 1991, p.40
Iona Home Economics Association, Unit Method of Clothing
Construction, pp.44-47
Hilario, Carmelita, Clothing Technology Made Easy, 2001
Comiled Instruction Sheet in Garments 202
Webster Dictionary
Del Rosario, Marissa; del Rosario, Constancia Clothing and Textile 1 &11,
p.131
Kinderslay, Dorling; The Complete Book of Sewing, pp.10-13

KEY TO CORRECTION:

1. c 5. d 9. d
2. a 6. d 10. b
3. b 7. b
4. a 8. c

26
LESSON 3

CUTTING THE MATERIALS

WHAT IS THIS LESSON ABOUT?

This lesson deals with the study of the different cutting tools,
proper ways of using them and following the set of standards for the
accurate cutting of fabrics and check the garment parts after cutting.

WHAT WILL YOU LEARN?

At the end of the lesson, the student should be able to:

1. name the types of cutting tools used in dressmaking;
2. use cutting tools properly;
3. acquire skills in cutting fabric for casual attire; and
4. evaluate the completeness of garment parts after cutting.

WHAT DO YOU ALREADY KNOW?

Let us find out how much you know in cutting materials.

Pre-test

Read and understand the items below.

Choose the best answer from among the choices and write the
letter of the correct answer in your quiz notebook.

1. This is the appropriate cutting tool used in cutting fabrics.

a. Pinking shears c. dressmaker bent-
b. Trimming handled
shears d. buttonhole scissors
2. This is a dressmaker’s guide in cutting fabrics.
a. pattern c. shears
b. pins d. tailor’s chalk
3. When cutting the materials, this is how the notches should be cut
from the seam allowance.
a. inward c. sideward
b. outward d. upward
4. A type of scissor that is only used in working with fine details on
delicate fabrics.
a. buttonhole c. pinking
b. embroidery d. trimming
5. It is a cutting tool that gives an attractive zigzag edge to fabric that
does not ravel.
a. baguio cut c. pinking shear
b. dressmaker d. scissor
6. This is done periodically to a cutting tool.

27
 a. charging c. oiling
b. cleaning d. sharpening
7. This is the best practice to be observes during the cutting process.
a. let the material hang on the sides of the
cutting table
b. keep the material
c. stop and recheck
d. walk around the table
8. It is a tool with one handle larger than the other.
a. cutting shear
b. embroidering scissor
c. seam ripper
d. thread clipper
9. This refers to pulling away of lengthwise and crosswise thread of
fabric.
a. edge c. ravel
b. grain d. selvage
10. This is pattern that should be laid out first on the cloth.
a. belt and facing
b. front and back bodice
c. pocket and yoke
d. sleeves and collar

LET US STUDY

Words to Study

 Ravel - the pulling away of the lengthwise and crosswise thread of

fibers
 Buttonhole – a slit in garment for the insertion and hold of buttons
 Cutting line – a solid printed line on a pattern piece used as a guide for
cutting out
 Embroidery - an ornamental needlework consisting of design works on
fabric by hand or machine
 Snip - to remove or cut with a short, light stroke of scissors.

Cutting is a crucial step in dressmaking. It should be done with haste.

Cutting needs complete concentration. For best result, assemble
everything you need, including threaded needles for basting, plenty of
pins, marking tools and sharp cutting tools before you start cutting.
Cutting tools are instruments that serve well if properly maintained.
The best quality cutting tools are hot-forge, high-grade steel honed to a
fine cutting edge. Blades should be joined with an adjustable screw to
ensure even pressure along the length of the blade.
Sharp cutting tools make clean cuts and well-defined notches.
Furthermore, and they do not damage fabric. On the other hand, dull
tools slow the cutting process, and make your hand and wrist tire easily.
Sewing cutting tools should not be used for other household task.
Cutting tools must be sharpened regularly and the joints are oiled
occasionally for better use.

28
 Types of cutting tools and their uses:

1. Bent-handled dressmaker’s shears

These are made of quality steel and hold a sharp cutting edge. The
blades move easily and cut smoothly along the entire length and
the points should come together. Shears have the length of 7- 12
inches and are satisfactory for most apparel fabrics.

a. All steels, chrome-plated shears are for heavy duty cutting

b. Stainless steel blades and plastic handles are fine for
lightweight fabrics
c. A serrated edge shears, give maximum cutting control and is
used for synthetic fibers and slippery knits

2. Cutting scissors
a. Trimming scissor
It is 3-4 inches long. It is
used for trimmings,
clipping threads and
snipping slashes.

b. Embroidery scissor
It has 4-5 inches finely tapered blades. Both points are sharp
for use in working with fine details in delicate fabrics and in
embroidery work.
c. Buttonhole scissor
This is intended for making buttonholes.

2. Seam ripper
Hook quickly rips seams, opens
buttonholes and removes stitches.
This should be used carefully to
avoid piercing the fabric.

3. Thread clipper
It has spring action blades
which are used for snipping
threads.

29
4. Rotary cutter
It is an adaptation of the giant
rotary cutter used by the
garment industry. It works like a
pizza cutter and can be used by
left or right-handed sewers. The
rotary cutter is available in
different sizes with different
blades. When using a rotary
cutter, work on a cutting mat to
protect the blade and the cutting
surface.

5. Pinking shears / scalloping

shears
This is popular in zigzagging
or scalloped edge or for
seam finishes. This is used
to finish seams and raw
edges or many types of
fabric. It cuts a ravel-
resistant edge. This is not
satisfactory for straight
cutting.

6. Leather shears
These are used for
cutting leather and
suede. It has heavy
serrated edge.

7. Stitch ripper
This is smaller than seam
ripper, and it can cut
stitches close to the fabric.

8. Electric shear
This is available in one- or-two-speed models. Some are battery
operated, while the others maybe plugged into an electric outlet for
operation.

30
 CUTTING

Cutting with precision makes construction easier and more

accurate. It also contributes to the final success of the garment. To avoid
mistakes cut all pieces in one work session.
Be sure to have an exclusive table for cutting in a suitable place.
Get everything organized and do all the cutting at once.

Observe the precautionary measures while cutting:

1. Work with clean hands.

2. Be careful and never play with your cutting tools.

Steps in Cutting Out the Fabrics

1. Have everything handy. Gather all the equipment needed for the
cutting process.
2. Use a pair of sharp cutting shears with long even strokes.
3. Place one hand on the pattern close to the cutting line and hold
before cutting the fabric.
4. To cut out the piece, rest the cutting shear on the table so that the
fabric is slightly raised.
5. Cut first the large pieces, then the small ones.
6. Cut notches away from seam allowance. Notches help to match
sections during construction.
7. As you cut, walk around the table instead of pulling the materials.
8. Do not allow any parts of fabric to hang over the edge of a cutting
table. This is especially important in knitted fabrics.
9. Cut the entire garment at one time.
10.After cutting each part, put it aside. Do not remove the pins and
pattern, for you will need them in marking the fabric.
11.Collect and tie all scraps of cloth together for future use.

Notes: When cutting, always start at the lower end of cloth or at

your left hand side . Doing this will avoid much remnants.

Regarding the sleeves, the ways may vary, depending on the

style. You may add more allowance on top sleeves, and other
kinds of sleeves.

31
LET US REMEMBER

Success in sewing calls for the right tools at the

right time. All tools must be appropriate in a
proper order and you must know how to use them
to save time and produce the best result.
Perfect your skill in cutting the garment by
trying to practice the correct steps. Consider the
right handling of the cutting shears, cutting along
heavy-marked lines and keeping the working area
neat and orderly

HOW MUCH HAVE YOU LEARNED?

A. Identification

Write your answer in your quiz notebook.

__________1. It is an instrument that serves well if properly maintained.

__________2. A cutting tool inappropriate for straight cutting.
__________3. A part of the cutting tool that should be oiled occasionally
for better use?
__________4. It is 3-4 inches long and is used for clipping threads.
__________5. This is used to finish seams and raw edges.

B. Analytical Thinking
Answer the following question.
1. How do you maintain the durability of cutting tools?
_____________________________________________________________________
_____________________________________________________________________

2. Describe the bent-handled dressmaker shears.

_____________________________________________________________________
_____________________________________________________________________

3. What is the difference between scissors and shears?

_____________________________________________________________________
_____________________________________________________________________

32
4. What precautionary measures are to be observed while cutting?
_____________________________________________________________________
_____________________________________________________________________

5. Enumerate the steps to follow in cutting fabrics.

_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Activity title: Cutting the Fabric

Materials: Cutting tables, cloth, pattern, sleeves
Instruction: Perform the steps in cutting fabric (By group)

Scoring Rubrics

Check the column that corresponds to your honest evaluation of

the steps:
Items To Be Evaluated Rating Scale

Processes (70%) 5 4 3 2 1 Total

1. The steps were followed in sequential
order.
2. Large table was used for cutting.
3. Cutting tools were available on hand.
4. Fabrics were not hung on the table
edge.
5. Large pieces were laid out first.
6. Edges and curves of fabrics were
smoothly cut.
7. Cutting techniques were applied.
8. Steps were followed correctly.
Work Habit (30%)
9. Manipulated cutting tools properly.
10. Displayed extra care while cutting
smoothly.

33
How to rate your performance?

Total
50 – 100%
40 – 90%
30 – 85%
20 – 80%
10 – 75%

RESOURCES:

Tools: Materials:
1. cutting shear 1. cloth
2. cutting table 2. pattern paper
3. ruler

REFERENCES:

Hilario, Carmelita, Clothing Technology Made Easy, 2001

Iowa Home Economics Association, Unit Method in Clothing Construction,
pp. 43
Talbot, Constance, The Complete Book of Sewing,1963, pp. 90-91
Dorling, Kindersley; The Complete Book of Sewing, pp. 11
Webster Dictionary
Singer, Sewing Manual Simplicity, Sewing Book, p.37
Faiola, Theodora Priest, Ed.D., Pullen, Anne, M. S. Guide to Clothing, p. 273

KEY TO CORRECTION:

1. d 5. c 9. c
2. a 6. d 10. b
3. b 7. d
4. b 8. a

34
Post-test

Let us find out how much you know about preparing and cutting
materials for ladies’ casual apparel. Read and understand the items
being described below. Choose the letter of the correct answer and write
it in your quiz notebook.

1. This should be observed as a general rule in removing wrinkles and

creases on the materials.
a. Have it dry-cleaned.
b. Press on the right side of the cloth.
c. Press on the wrong side of the cloth.
d. Use damp pad and press
2. It is a material of which a garment is made.
a. cotton
b. fabrics
c. fiber
d. yarn
3. When cutting the material, this is how notches should be cut from
the seam allowance.
a. downward
b. outward
c. sideward
d. upward
4. This is used when cutting the cloth in order to get clean and evenly
cut edges.
a. blade
b. cutting shears
c. embroidery scissors
d. pinking shears
5. It is a grain of fabric that runs along the selvage.
a. bias
b. crosswise
c. lengthwise
d. twirls
6. This is NOT a fabric properly printed on the label of the cloth.
a. colorfast
b. crease - resistant
c. preshrunk
d. synthetic
7. These are articles that make the costume complete.
a. accessories
b. decorations
c. ornaments
d. trimmings
8. This is NOT a kind of trimming.
a. beads
b. corsage
c. lace
d. rickrack

35
9. It is a cutting tool that gives an attractive zigzag edge to fabrics that
do not ravel.
a. baguio cut
b. pinking shears
c. shears
d. scissors
10. This is a characteristics of a lengthwise grain.
a. it has less stretch
b. it is stronger
c. the selvage is there
d. all of these
11. This is not a fabric property.
a. animal fiber
b. knitted
c. plant fiber
d. synthetic fiber
12. This type of scissors is only useful in working with fine details of
delicate fabrics.
a. buttonhole
b. embroidery
c. pinking
d. trimming
13. The reason why washable fabric is preshrunk.
a. to avoid fitting alteration
b. to prevent shrinkage
c. to remove any sizing
d. all of the above
14. It is a kind of fabric that can be preshrunk by laundering and
drying.
a. dry-cleanable fabric
b. knitted fabric
c. permanent press
d. washable fabric
15. This is a term used in arranging the pattern pieces on the fabric.
a. to cut
b. to lay out
c. to mark
d. to trace
16. It is the direction in which the thread of a fabric runs.
a. facing
b. grain
c. hem
d. interlining
17. This is how pattern pieces are arranged economically during lay
out.
a. along the centerfold
b. along the selvage
c. apart
d. close to each other

36
18. It is used in cutting fabrics.
a. rotary cutter
b. ripper
c. a pair of scissors
d. a pair of shears
19. It is the blended fiber manufactured by interlacing threads or
yarn.
a. knitted
b. laminated
c. lapped
d. woven
20. It is the dressmaker’s guide in cutting a fabric.
a. pattern
b. pins
c. shears
d. tailor’s chalk
21. This refers to the finished edge of a fabric.
a. cut edge
b. hem
c. raw edge
d. selvage
22. This is the correct procedure in preparing the materials for
cutting.
a. shrinking, hanging, straightening, pressing
b. shrinking, straightening, hanging, pressing
c. straightening, shrinking, hanging, pressing
d. straightening, hanging, shrinking, pressing
23. It is used to transfer the marks of the pattern to the fabric.
a. ball pen
b. crayon
c. tailor’s chalk
d. tracing wheel
24. It is essential in holding the pattern on the cloth.
a. pins
b. scissors
c. tape measure
d. weight
25. It is the first step to do before laying the pattern over the cloth.
a. hang
b. press
c. soak
d. zigzag

37
 Key to Correction

Pre-test
1. b 6. d 11. d 16. a 21. d
2. c 7. d 12. b 17. c 22. d
3. a 8. d 13. b 18. c 23. d
4. d 9. a 14. d 19. b 24. b
5. b 10. b 15. d 20. b 25. b

Post-test
1. c 6. d 11. b 16. b 25. c

2. b 7. a 12. b 17. d 22. b

3. b 8. b 13. d 18. d 21. d

4. b 9. b 14. d 19. d 24. a

5. c 10. d 15. b 20. a 23. d

38
 TABLE OF CONTENTS

Module 2 Prepare and Cut Materials for Ladies Casual Apparel

Pretest .......................................................................................................................1

Learning Outcome 1. Preparing Materials/Fabric for Ladies Casual Apparel

Let Us Study ............................................................................................................6

 Common Faults Found in Fabrics ................................................................7
 Handling Fabrics Before Cutting
 Techniques in Preparing the Fabric for Cutting .....................................8
 Dress Garments Trimmings and Accessories ............................................11
How Much Have You Learned? ............................................................................12
Let Us Apply What You Have Learned .................................................................13
Key to Correction ...................................................................................................14

Learning Outcome 2. Laying Out, Pinning and Marking Patterns on the Material

Pretest .....................................................................................................................15
Let Us Study ..........................................................................................................16
 Fabric Folds ...............................................................................................17
 Pattern Layout ............................................................................................18
 Pinning .......................................................................................................19
 Marking ......................................................................................................20
 Marking Tool .......................................................................................21
 How to Transfer Pattern Markings ......................................................23
How Much Have You Learned? ............................................................................24
Let Us Apply What You Have Learned .................................................................25
Key to Correction ...................................................................................................26

Learning Outcome 3. Cutting the Materials

Pretest .....................................................................................................................27
Let Us Study ..........................................................................................................28
 Types of Cutting Tools and Their Uses .....................................................29
 Step in Cutting out Fabrics ........................................................................31
How Much Have You Learned? ............................................................................32
Let Us Apply What You Have Learned .................................................................33

Post Test .................................................................................................................35

Key to Correction ...................................................................................................38

39
 ACKNOWLEDGMENT

The Department of Education wishes to extend thanks and

appreciation to the representatives of the different Secondary Technical-
Vocational Schools who shared their expertise in developing the
Competency-Based Curriculum (CBC) and Competency Learning Matrix
(CLM) on February 25-29, 2008 and Competency-Based Learning
Materials (CBLM) on April 14-19, 2008, refinement and packaging of
CBLM on May 5-10, 2008 and final repackaging on May 23-25, 2008 at
the Development Academy of the Philippines, Tagaytay City and the final
refinement of CBC-CLM-CBLM at the Marikina Hotel, Marikina City on
April 20-25, 2009.

This learning material was developed, enhanced and refined by the

following personnel:

Writeshop on the Development of CBC-CLM

Writers:

 ELORJEN VILLAMAYOR
M. S. Enverga Memorial College of Arts and Trades

 LORENA GENITO
Zamboanga Del Sur School of Arts and Trades

 PURIFICACION RAZON
Don Alejandro Sr. Science and Technology High School

 ROSSANA I. SAGUID
Tanza National High School

 LUZ AGBULUS
Zamboanga del Sur School of Arts and Trades

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 ANNABELLE R. DE LEON
Tanza National Trade School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 PRESCILLA RAYOS
Community Vocational High School

40
 Encoder:

 MYRNA COVILLA

Consultant:

 ROSITA CREDO
TVE Consultant

Writeshop on the Finalization, Packaging and Repackaging of CBC-

CLM-CBLM

 ALVA NALDOZA
General Santos City

 ESTRELINA PALALON
Glan School of Arts and Trades

 FRANCISCA BUMANGLAG
Jones Rural School

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 ANNABELLE R. DE LEON
Tanza National Trade School

Writeshop on the Refinement and Enrichment of CBC-CLM-CBLM of

Arts and Trades Specializations

TVE Writers:

 ANNABELLE R. DE LEON
Teacher III
Tanza National Trade School
Paradahan I, Tanza, Cavite
Region IV-A

 MARIA M. DEL MUNDO

Teacher III
E. Rodriguez Vocational High School
Nagtahan, Sampaloc, Manila
NCR
 MARIA VICTORIA M. FERNANDO
Teacher III

41
 Pangasinan School of Arts and Trades
Lingayen, Pangasinan
Region I
 NIMFA O. MARMOL
Teacher I
Muntinlupa Business High School
Muntinlupa City
NCR

 DR. MILAGROS M. TORRES

Master Teacher I
Sanchez Mira School of Arts and Trades
Sanchez Mira, Cagayan
Region 02

Academic Writers:

English

 NOVELINE C. TACATA
Teacher III/English Coordinator
Cabarroguis National School of Arts and Trades
Cabarroguis, Quirino
Region 02

 SCHUBERT ANTHONY C. SIALONGO

Master Teacher I
General Leandro Fullon National High School
Hamtic, Antique
Region VI

Science

 DR. CECILIA B. CASTILLO

Head Teacher VI
Siniloan National High School
Siniloan, Laguna
Region IV-A

 TEZA LORRAINE A. MARCOS

Teacher I
AFG Bernardino Memorial Trade School
Marilao, Bulacan
Region III

 EVELYN P. CHAVEZ
Teacher I
Pedro E. Diaz High School

42
 U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Encoders:

 MIA LORAINE MANUEL

Fairview, Quezon City

Editors:

 ANA LIZA C. CANILANG

Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Facilitator:

 AIDA T. GALURA
Vocational Secondary Administrator II
Angeles City National Trade School
Angeles City
Region III

43
 Republic of the Philippines
Department of Education
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS

Unit of Competency: Sew Ladies Casual Apparel

Module no. 3 Module Title: Sewing Ladies’ Casual Apparel

 MODULE 3

QUALIFICATION TITLE : GARMENTS NC II

UNIT OF COMPETENCY : SEW LADIES CASUAL APPAREL

MODULE TITLE : SEWING LADIES CASUAL APPAREL

NOMINAL DURATION : 119 HRS.

GARMENTS NC II
WHAT IS THIS MODULE ABOUT?

This module covers the knowledge, skills and attitudes required

in preparing cut parts of garments, sewing and assembling garment
parts and altering completed garments.

WHAT WILL YOU LEARN?

After completing this module, you should be able to:

a. prepare cut parts;
b. sew and assemble garment parts; and
c. alter completed garment.

WHAT DO YOU ALREADY KNOW?

Pre-test

Let us find out how much you know about sewing casual
apparel. Read and understand the questions below. Choose the best
answer and write it in your quiz notebook.

______1. Which of the following do you do with the big units and small
units when preparing cut parts?
a. combined b. mixed
c. separated d. none of the above
______2. Which is the correct way of placing the pin when pinning cut
parts of a garment?
a. equal b. horizontal
c. perpendicular d. vertical
______3. What shape of table is used when placing parts of the
garment?
a. flat b. oval
c. round d. square
______4. Which best describes the statement, “Pressing and ironing
are the same”?
a. false b. sometimes
c. true d. none of the above
______5. Which is necessary for pressing a crease?
a. iron b. moisture
c. water d. none of the above
______6. Which of the following is an evidence of good pressing?
a. original texture of the fabric is maintained
b. press marks show on a dull-textured fabrics
c. water-spot marks are visible
d. wrinkles appear on a smooth-surfaced fabric
______7. On which side of the fabric is ironing best done?
a. left b. right
c. wrong d. all of the above

1
______8. What kind of stitching joins two or more edges of fabrics
together with the use of sewing machine?
a. blanket stitch b. edge stitch
c. overcast d. seams
______9. Which fastener is best used in garment closure?
a. beads b. buttons
c. lace d. pin
______10. Which is the usual manner of buttoning Ladies’ plackets?
a. bottom to top b. left to right
c. right to left d. top to bottom
______11. What is the systematic way of sewing together the parts of a
garment by piece or by unit?
a. unit construction b. unit count
c. unit décor d. system unit
______12. Which is the first step in assembling the parts of the blouse?
a. attach collar b. hem blouse
c. sew the darts d. stay stitch curve parts and the
sides of the blouse
______13. What is the first step in assembling the skirt?
a. Attach hook and eye on the waistband
b. Attach waistband to the skirt
c. Hem skirt
d. Sew side seams
______14. What type of zipper opens at the top and is held together at
the bottom?
a. conventional b. invisible
c. nylon d. separating
______15. Which refers to a piece of cloth stitched to a garment and
resembles a small pouch or bag for small items?
a. collar b. neckline
c. pocket d. sleeve
______16. What part of the garment covers the arms?
a. collar b. neckline
c. pocket d. sleeve
______17. Which of the following is the factor to consider in judging a
well-fitted garment?
a. color b. design
c. ease d. fabric
______18. What is the cause of difficulty if the skirt is too tight around
hips?
a. large bust b. large hips
c. sway back d. thick thigh
______19. What is the cause of difficulty if the grainline across the
chest is not parallel to the floor?
a. large bust b. large hips
c. sloping shoulders d. thick thigh
______20. What is the of difficulty if the grainline rises above the curve
of the bust?
a. large bust b. sloping shoulders
c. square shoulders d. sway back

2
LESSON 1

PREPARING CUT PARTS

WHAT IS THIS LESSON ABOUT?

The lesson deals with preparing, pinning and pressing of the cut
parts of garments.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. prepare garment cut parts;
2. pin cut parts correctly; and
3. press garment cut parts in accordance with fabric
specifications.

LET US STUDY!

Words to study

 Creases –marks or lines made by or as if by folding

 Ensemble – a set of things that go together to form a
whole
 Moisture – small amount of water that is present in
the air, in a substance, or in a surface
 Perpendicular – not leaning to one side or the other
but exactly upright
 Pile – ends of yarns extending above the surface of the
fabric, as in corduroy, velvet and velveteen.
 Pounding block – a shaped block of hard wood used
to flatten seams and produce sharp creases
without shine, especially in wool garments.
 Temperature – measure of how hot or cold a place or
thing is
 Texture – the stiffness or softness of the fabric

Garment construction is not difficult if the cut parts are well-

prepared and pinned correctly. Let us study the key points in
preparing cut parts and the techniques in pinning cut parts. This will
ensure accuracy when followed correctly.

3
Key Points in Preparing Cut Parts of Garment

1. Use both hands to anchor work flat on the table.

2. Separate the big units from the small units.
3. Place the cut parts flat on the table.
4. Label the units to avoid confusion when sewing.
5. To get the garment parts to be sewed first, place garment parts
to be sewed first on the right side of sewing machine table for
easy reach.

Pinning a Garment Together

Pinning is a way to keep pieces together. When pinning, line up

the fabric edges and pin. Arrange the pins horizontally in relation to
which way the fabric will feed into the machine. You don't want the
machine needle to break on a straight pin and fly into your face. If you
are sewing fast and you forget a straight pin is coming up, have the
pin turned so that the needle will sew over the pin instead of jamming
into it.

Techniques in Pinning Cut Parts of the Garment

1. Cut parts should be kept flat on the table when pinning. The
fabric should not be lifted from the table or place the left hand
under it. This may cause the parts to get out of shape.
2. Place pins perpendicular to the edges of the fabric.
3. Pin the fabric with an interval of 13 cm. Too many pins on the
cloth tend to wrinkle it.
4. On fine fabrics, use needles or weights for holding the fabric
down. Tiny safety pins are good markers on nets, laces, and
other loose materials which shed pins quickly.

Pinning on the flat table Position of pins

PRESSING TECHNIQUES

Correct pressing during garment construction is important

because it helps create and maintain the shape of the garment.
Pressing may enlarge or shrink the fabric in desired areas. Poor
pressing can remove the shape of the garment by stretching or
shrinking it in the wrong places. Poor pressing can also destroy the
texture and finish of the fabric.

4
 Pressing should not be confused with ironing. Ironing is a
sliding motion of the iron on the fabric: pressing is a process by which
the iron is raised and lowered on the fabric in a series of up-and-down
motions. Both ironing and pressing should be done in the direction of
the fabric grain. Wool and other fabrics which are easily stretched
should be pressed, while stable fabrics, such as cotton, may be
ironed.

Pressing Tips

 Unplug steam iron when you fill it with water.

 Set iron on heel stand when not using.
 Test iron temperature on a scrap of fabric.
 Press with the grain of the fabric.
 Press on the wrong side whenever possible.
 Avoid pressing directly on the zipper -- some zippers will melt!
 Do not press over pins -- this scratches the iron and also leaves
a mark on many fabrics.
 Do not press over basting. This may leave a mark on your
fabric.
 Do not press over a stain or soil -- this makes it (stain) harder to
remove later.
 Do not overpress. Too hot an iron, used too many times, or
pressing a fabric until it is dry will result in a tired look! It may
also leave a shine on synthetics.
 Unplug iron when you have finished using it.

Evidence of Good Pressing

1. The original texture of the fabric is maintained.

2. No luster or press marks are shown on a dull-textured fabric.
3. No wrinkles or crinkled areas appear on a smooth-surfaced
fabric.
4. Fabric does not fold over the stitching line or looks bubbled.
5. No water-spot marks are visible.

When to Press

1. When there are creases or wrinkles that will affect the accuracy
of sewing.
2. When unit construction is used – construct and press one unit
before joining it to another unit.
3. When garments and parts of garments which will not stretch
out of shape should be hung on hangers in order to prevent
wrinkling.

How to Press

1. Use a light touch. The tip, the side, or the flat of the iron may be
used.

5
 2. Be sure the cord does not drag over the finished work.
3. Press cotton, linen, and rayon fabrics until they are dry, but
always stop pressing wool fabric before it is completely dry.
4. Never press directly over pins because the pin will mark the
fabric and the sole plate of the iron will be scratched.

Temperature of the Iron

Use the correct temperature for each type of fabric as indicated

on the iron. If there is no temperature control on the iron, test the
heat on a piece of fabric before pressing.

Testing the Fabric

It is impossible to predict exactly how each fabric will react to

pressing due to the following reasons:
1. Many new fibers and blends of fibers in fabrics.
2. Wide variety of finishes used on fabrics
Therefore, it is wise to test fabric by experimenting on a scrap of
the cloth.
1. Select a scrap large enough so that one-half can be pressed
while the other half is left as purchased.
2. Try pressing it with or without moisture and check.
a. Maintain texture
b. Sharpness of creases
c. Press marks on the right side
d. Shrinking or puckering of the fabric
e. Glazing or luster

Using Moisture

Moisture is as necessary for setting a crease as it is for removing

creases and wrinkles.
1. Test a scrap of the fabric to see how much moisture is needed.
The amount depends upon the kind of fiber, thickness of the
fabric, the wrinkles to be removed, and the desired sharpness of
the crease. A crease-resistant fabric usually requires more
moisture than the untreated fabric,. Silk, and fabrics made from
man-made fibers, may water spot when pressed with moisture.
Test on a piece of the garment fabric before steam pressing the
garment.
2. Apply moisture as water or steam.
a. To apply water directly to the press cloth, use a sponge or a
piece of cheesecloth. Squeeze the applicator enough to
prevent dripping. Two light applications of water are usually
better than one heavy application.
b. To apply steam, use a steam iron or lay a damp cloth on the
garment and press with a dry iron. A wool press cloth placed
next to the right side of wool garments will prevent luster and
help retain the soft-textured surface.

6
 3. To obtain sharp crease or edge without causing shine to the
area, use a pounding block. If pressing on the right side of the
garment, place the wool press cloth over the area to be pressed.
When using a dry iron place a damp cotton press cloth over the
wool one. Place the iron over the press cloths and steam an area
the length of the pounding block. Quickly roll back the press
cloths and slap the edge hard with the block. This produces a
sharp crease without luster or loss of shape while the fabric is
still pliable from the moisture.

Maintaining Surface Texture of the Fabric

Good pressing methods help to preserve the original texture of

the fabric. Textures vary from smooth shiny surface of glazed chintz to
deep pile.

To retain a shiny surface:

Glazed chintz and most other shiny fabrics are ironed on the
right side. Satin weave fabrics are an exception because the shine on
the surface is due to fabric construction and fiber content. The right
side of the fabric may be distorted by the iron so, following the grain,
press these fabrics on the wrong side.

To retain a smooth but nonshiny surface:

Press nonshiny fabrics on the wrong side. Any resulting shine

will then be on the wrong side, leaving the right side dull. Use a seam
roll to prevent the cut edges from marking the fabric.
Acetate and other thermoplastic fibers may be softened by heat,
creating a shine that will be permanent. Test the temperature of the
iron very carefully before pressing these heat sensitive fabrics.

To retain a raised-surface design:

Raised-surface fabrics should be pressed on the wrong side and

against a soft surface, such as terry cloth. When the raised design is
pressed into the soft surface, the design sinks into it and does not
become flattened. If it is necessary to use the iron on the right side of
the fabric, place terry cloth between the garment and the press cloth
or iron.

To retain a pile surface:

Pile surfaces of velvet, velveteen, and corduroy require special

treatment: Pile yarns must be kept standing on end. If they are

7
flattened, light is reflected and the fabric will have an undesirable
appearance. Three pressing methods are suggested:

1. Pressing against a needle board

a. Lay the needle board on the pressing board or cushion.
b. Place the fabric with the pile face against the needle board.
c. Allow seam to penetrate the fabric and press lightly. Protect
fabrics that water spot with a dry press cloth.
d. Do not get moisture on the pile as it may water spot.

2. Pressing against self fabric

A piece of velveteen, corduroy, or upholstery velvet may be
used in the same way as the needle board. However, this
method is not as satisfactory as the needle board because the
pile of these fabrics tends to flatten.
3. Using the iron upright
a. Stand the iron on end
b. Place a damp cloth against the wrong side of the fabric.
c. With the damp cloth between the garment and the iron, draw
the fabric over the iron.
d. Do not handle the fabric when it is moist because it will
finger mark.

Special Pressing Instructions

Not all fabrics can be pressed with the same pressing technique.
Some require special treatment.

Pressing Wool

Do not press wool completely dry After pressing, hang wool

garments and allow them to become completely dry. Do not work with
wool fabrics immediately after pressing.

To press wool on the wrong side:

1. Set the temperature regulator on the ironing board.

2. Place a wool press cloth on the ironing board.
3. Place the right side of the garment against the press cloth.
4. Place cheesecloth over the area to be pressed.
5. Hold the iron so that it barely touches the fabric and allow the
steam to penetrate. Raise the iron before the fabric stops
steaming.
6. Raise the press cloth occasionally to allow the steam to escape.
This is important because the finished fabric should be neither
damp nor dry: it should retain a suggestion of moisture.
7. Finish pressing pleats, hems, or other details on the right side
of the garment, if necessary.

8
To press wool on the right side:

1. Place the garment right side out on the ironing board or

pressing cushion.
2. Place a wool press cloth over the garment.
3. Hold the steam iron over the area to be pressed and allow the
steam to penetrate the press cloth and garment. Lower the iron,
and then raise it again while the wool is still slightly moist.
When using a dry iron, place a damp press cloth over the wool
press cloth. Raise and lower the iron, allowing it to rest
momentarily on the damp cloth, creating steam.
4. Remove the press cloth while the garment is still steaming and,
if necessary, brush lightly to restore the texture.

Pressing Fabrics Made From Man-Made Fibers

1. Use the iron temperature recommended for the specific fiber in
the fabric. Many man-made fibers melt at low temperatures, but
not all melt at the same time.
2. Press with a dry iron or with steam. Test the fabric first for iron
temperature, moist or dry heat, and water spotting.
3. Make certain that every seam and dart is correct before
pressing. Creases are difficult to remove when alterations are
made after stitching lines are pressed.

Pressing Fabrics Containing Two or More Fibers

1. Note the fiber content in the blend, and set the iron temperature
for the fiber with the lowest pressing temperature.
2. Press on the wrong side of the fabric.
3. Press with a dry iron or with seam. Test on a piece of the
garment fabric first to determine the best pressing method and
ironing temperature.

Pressing Silk Fabrics

1. Use the iron temperature recommended for silk and press on
the wrong side.
2. Press with a dry iron or with seam. Silk may water spot and
should be protected by a press cloth. Repeat the process until
the garment is pressed.

Pressing Knit Fabrics and Stretch Fabrics

1. Press on the wrong side, using the iron temperature
recommended for the fiber in the fabric.
2. Follow the pressing method recommended for the fiber.
3. Press knit fabrics in the direction of the lengthwise ribs. Press
lengthwise stretch with the crosswise grain. Press crosswise
stretch with the lengthwise grain.
4. Do not allow the garment to hang from the ironing board while
pressing because the fabric stretches more when damp than
when dry.

9
Pressing Foam-laminated Fabrics
1. Finger press when possible.
2. To press on the right side of the fabric, follow the pressing
instructions for the fiber.
3. If pressing on the wrong side is necessary, use a seam roll. Place
paper between the iron and the foam to prevent the iron from
sticking.

Pressing Crepe and Lace Fabrics

1. Press from the wrong side of the garment over a soft pad to
preserve the surface texture.
2. Follow pressing techniques recommended for the fiber in the
fabric.
3. Tissue paper between the garment fabric and the iron will
prevent the edges of the lace from curling and will retain the
texture of the crepe.

LET US REMEMBER

Knowing how to prepare cut parts correctly, pin

cut parts together and press cut parts properly are of
great advantage in constructing a well-fitted garment.

HOW MUCH HAVE YOU LEARNED?

I. Write T if the statement is true and F if it is false. Write your

answer in your quiz notebook.

_____1. Garment construction is difficult if the cut parts are well-

prepared.
_____2. Following rules ensure accuracy.
_____3. Labeling is important in the preparation of cut parts.
_____4. In preparing the cut parts combine the big units and small
units.
_____5. Cut parts are placed on the flat table.

II. Answer the questions briefly.

1. What are the techniques in pinning cut parts?

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
______________________________________________________________.

10
 2. What are some of the pressing techniques used on garment
pieces?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
3. What are the things to consider in pressing?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Individual
1. Interview a dressmaker near your locality. Ask her on how she
prepares and pins the cut parts of the garment. Compare your
ways of preparing and pinning cut parts with her. Make a list of
important things to remember. Discuss the results of the
interview in class.

2. Prepare a scrap of tetoron, corduroy and silk. Try pressing with

the same temperature, with and without moisture and check
the results. Record your observation on the table below.

Maintenance of Press Marks on Shrinking or

Fabric
Texture the Right Side Puckering

1. Tetoron

2. Corduroy

3. Silk

RESOURCES:

11
Equipment
Ironing board
Flat Iron

Supplies
Pins

Tools
Pin cushion

Learning Materials
Textbooks
Writing pad
Manual

REFERENCES:

Del Rosario, Marissa. et al. Clothing and Textiles III-IV. Manila,

Philippines. Philippine Book Company. 1986.
Khalje, Susan. Linen and Cotton. U. S. A. The Taunton Press, Inc.
1999.
Unit Method of Clothing Construction. U.S.A. The Iowa State
University Press. 1965.
http//www.articlebase.com/clothing-articles/how to accessorize –
womens- clothing – 315372.html/02 May 2008.
http//www. Jando fabrics.com

12
LESSON 2

SEWING AND ASSEMBLING GARMENT PARTS

WHAT IS THIS LESSON ABOUT?

The lesson deals with the advantages of the unit method of

construction, sewing and assembling garment parts of blouse and
skirt, as well as the types and steps in sewing seam finishes, collars,
sleeves, zippers and pockets.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. enumerate the advantages of unit method of construction;

2. sew and assemble garment parts of blouse and skirt
following the unit method of construction;
3. identify the types of seam finishes, collars, sleeves, pockets,
and zipper; and
4. find pleasure in sewing and assembling garment parts.

LET US STUDY

Words to Study

 Armhole – a hole in a shirt, dress, jacket that you put

your arm through
 Construction process – the entire process of making a
garment
 Dart – a fold of fabric wider at one end coming to a
point at one end which gives shape to garment
 Fastener – anything that fastens like buttons, zippers,
hook & eye, snappers
 Finish – treatment of raw edges, especially on seams
and hems
 Seam – the stitching that joins two or more edges of
fabric
 Shank button – has a solid top and is sewed to the
garment in its lower portion
 Unit – any group of garments cut by piece

13
Tips to Easy Sewing

It is always good to find ways and means in which we can do

things easier and faster. Remember, time is a very precious resource
and it should be used fully and creatively. If you follow these easy
sewing techniques, you will not only finish your sewing projects on
time, but you also become more systematic and more organized. So,
let’s get started. Go over these techniques and make sure you apply
them when you sew your blouse and skirt.

Preparing the Sewing Machine for Operation

Sewing makes the work easier and faster. Proper use and
maintenance of the sewing machine helps produce garment of high
quality. Do the following procedure to maintain better performance of
the sewing machine.

1. Observe the safety precautions when using the sewing machine.

2. Clean and lubricate the sewing machine before and after using.
3. Thread the upper and lower parts correctly. Refer to the manual
if needed.
4. Adjust stitch length, tension and pressure according to the
fabric you are going to use.
5. Apply corrective actions as soon as you encounter machine
problem.

Sewing a Straight Seam

When sewing the vertical seams, start from the bottom to the
top, sewing with the grain of the fabric and using finger pinning. It’s a
faster and a more economical method. Just follow the procedure.

1. Match the seam edges together. Position the fabric under the
presser foot and lock stitch (sew 2 or 3 stitches with the stitch
length set at 0). Start sewing from bottom to top.
2. Match the raw edges at the top end of the seam; hold the fabric
together with your right hand and pull the fabric taut. At the
center of the seam, pinch the raw edges together with your left
hand and transfer to your right hand without letting go of the
ends you already pinched. From the center of the seam to the
bottom (placed under the presser foot), match raw edges and
pinch together at 6-8” intervals always transferring the fabric to
your right hand.

Sewing a Dress (Unit Method of Construction)

One method used today in sewing dresses is the unit method of

construction. It makes sewing easier because of the systematic
procedure used in the construction of a dress.

14
 The unit method of construction is the system of sewing a dress
part by part or unit by unit. A unit is a separate part of the dress.
When the cloth is cut, each portion becomes a unit. The collar is one
unit. So are the following: front blouse, back blouse, sleeves, front
skirt and back skirt. When sewing the dress, each part is sewn
completely before it is attached to the other parts. A single or several
parts of a dress, when sewn together, become a new unit. The collar,
sleeves and the front and back bodices become another unit known as
the blouse.
The unit method of construction has the following advantages:

1. Each part of the dress is sewn completely before it is

attached to other parts.
2. Every piece sewn is not handled too much so the cloth does
not become too wrinkled.
3. The time consumed in sewing the dress is shorter.
4. The needed marks in constructing the dress can be carefully
checked.
5. The time intervals between household chores can be used for
sewing.

The bodice can be sewn today, the collar tomorrow and then the
sleeves a day later.

Steps in Sewing a Blouse (Unit Method of Construction)

A. Sewing a blouse
1. Sew the front blouse unit.
a. Stay-stitch neckline, shoulder, armhole and the sides of the
blouse.
b. Sew the darts.
c. Press the blouse.
2. Sew the back blouse unit.
a. Stay-stitch neckline, shoulder, armhole and sides of the
blouse.
b. Sew darts.
c. Press back blouse.
3. Sew shoulder seams. Finish and press seams open.
4. Prepare collar.
5. Attach collar and press.
6. Sew side seams. Finish seams and press open.
7. Prepare the sleeves.
a. Make the shirrings on the top portion of the sleeves.
b. Sew the seams of sleeves. Finish seams and press it open.
8. Set in the sleeves. Finish sleeves and press.
9. Make marked buttonholes and attach buttons.
10. Hem blouse.

B. Sewing a Skirt
1. Sew side seams and finish them. Press open.

15
 2. Make pleats. Sew pleats in place and press.
3. Attach the zipper.
4. Attach pocket. Press.
5. Prepare the waistband. Press.
6. Attach waistband to the skirt and press.
7. Attach hook-and-eye on the waistband.
8. Hem skirt.
9. Press skirt.

Construction Processes in Sewing a Blouse

There are seven main processes in the construction of a blouse. These

are:
 Stay-stitching
 Sewing of darts
 Joining the seams
 Attaching the collar
 Setting in sleeves
 Making the worked buttonholes and attaching buttons
 Hemming the blouse

When sewing the blouse, follow in detail the directions in the

unit method of construction and study the different construction
processes described in this module to serve as your guide.

1. Stay-stitching
Edges that are curved, like the neckline and the armholes,
should not be stretched because they might get out of shape.

Directions for Stay-Stitching

Stitch with the grain, using average length of stitch 1
centimeter from the edge of the blouse. These are done on
necklines, shoulder lines, waist, armholes, hipline and the
sides.

2. Directional Stitching
Seams that are joined together should follow the correct
directional stitching. These are done following the grain of the cloth so
that the fabric will not stretch and ravel.

3. Darts
Darts are the stitched folds on the material; they taper at one
end. They are used for controlling fullness in order to fit the curved
areas of the body. These darts are ordinarily used at the side seams
and waistline to control fullness of the bust, and at the waistline to
control fullness over the hips. Darts should be sewn before seams are
joined together.

16
Sewing the Darts

In sewing V-shaped darts:

a. Mark a line across the point of the darts so that these will
be of the same length.

b. Fold the fabric on the wrong side, on the center line of the
dart. Mark stitching line with pins.

c. Stitch darts, starting from the wide portion up to the

pointed end. Tie or back stitch to secure the threads.

d. Detach the pins and press. Underarm darts should be

pressed downwards, the waist and shoulder darts towards
the center.

17
4. Seams
Seams are used to attach two separate parts of the garment.
The edges of the seams should not be finished so that they will not
ravel. Seams should be strong, flat, and inconspicuous. They should
have uniform width. They are usually made on the wrong side of the
dress.
Seam edges are finished by using one of the following seam
finishes:

a. Pinked finish . Use pinking shears on the seam’s edges.

This gives a neat finish but it should be used only on firm,
closely woven fabrics which are not transparent.

b. Overcast finish. This is used on fabrics that ravel easily and

where a flat finish is needed. When making an overcast edge,
trim the edges neatly and beautifully and make overcastting
stitches from right to left. Make slanting stitches on the edge
of the seam 1 cm apart and 1 cm deep.

c. Edge turned and stitched seam. This is a heavier finish

than overcastting and pinking seam finishes. This finish is
suitable for lightweight fabrics. To make this finish, trim the
seams and turn under raw edges. Machine stitch or make
running stitches on the edges.

18
 d. Blanket stitch finish. This can be used instead of
overcastting. The blanket stitch finish is more attractive and
more suitable to loosely woven fabrics.

5. Joining the Shoulder Seams

In pinning the shoulder seams together, sometimes the back
seam is bigger than the front seam. This is necessary so that the extra
width would fit over the curve of the shoulder. The neck and armhole
edges should be matched at the seam line. After pinning the edges,
ease the back seam to the front seam. Put pins on the center portion
of the seam. Sew on the seamline and finish edge with the appropriate
seam finish.

6. Interfacing
Interfacing is used on cuffs, collars, facings, and others in order
to add body to these portions. It makes collars stand up beautifully.
Interfacing placed on the openings, strengthens buttonholes. These
interfacings are pinned on the wrong side of the garment and basted
in place near the seamline.

a. Interfacing for front facing extension – The interfacing is cut

exactly like the front facing extension. Cut the seam
allowances of the interfacing and baste it on the extension.

19
 Fold the seam allowances of the shoulder and the long raw
edges of the front facing extension under and stitch close to the
fold.

b. Interfacing for collars – Interfacing is placed on collars to

give them body. Use the collar pattern in making it. Place the
interfacing on the wrong side of the under collar and baste.
Trim the seam allowances of the interfacing. Cut the corners
of the interfacing of pointed collars in order to lessen bulk.
Stitch the facing to the under collar.

7. Preparing the Collar

Kinds of Collars
The four basic collar styles from which all others are
adapted are peter pan, mandarin, convertible, and shawl
collars. The techniques used to attach collars vary with the style
and the weight of the fabric. Most collars are completed before
being attached to the garment. An exception to this is the shawl
collar.

Characteristics of a well-made collar:

o Points, curves, and notches are exactly alike on both left and
right sides of the garment.
o The ends of the collar do not extend beyond the center front or
back unless specified otherwise by the pattern.
o The collar lies smoothly with none of the under collar showing
on the right side.

20
To make the collar:
a. Attach interfacing as directed.
b. Pin the upper collar to the
under collar, right sides
together and stitch on the
seam line around the outer
edge. Trim the under collar
seam allowance to 3/16 inch,
the upper collar seam
allowance to ¼ inch, and the
interfacing to the seam line.
Seam allowances are cut
diagonally at the corners
(Fig.1). Figure 1

c. To keep the under collar from showing on the finished garment,

spread the collar open and under stitch the under collar to the
seam allowances as close to the seam line as possible. If the
outside edge of the collar is curved, the under stitching may be
done the entire length of the seam. If the collar has sharp
points, under stitching cannot be continued all the way to the
corners.

d. If the collar has points, work them out to the tip by taking a
small hand stitch in the point
and gently pulling both ends
of the thread. Lift the corner
into position (Figure 2). Pull
the seam slightly to the
underside and press.

Note: On some fabrics the seam

allowance around the outer
edge of the curved collar may
need to be notched to avoid
overlapping. This technique
requires skill.
Figure 2

Peter Pan Collar

This collar may be joined to

the neck edge with a bias facing.
The collar will conceal the stitching
on the bias facing (Figure 3).

Figure 3

21
To attach the Peter Pan collar:

a. Pin the completed collar to the

right side of the garment,
matching the center front,
center back, shoulder
markings, and notches. The
ends of the collar should
follow the center line above
and below the neck seam line
(Figure. 4)

Figure 4

b. Baste the collar to the garment neckline.

c. Turn the garment facing over the collar, right sides together.

d. Place a strip of bias over the

collar, extending the bias
about 1 inch beyond the
facing edge (Figure 5).

Figure 5

e. Stitch on the seam line from the fold edge of one front facing
around the neck to the corresponding fold edge of the other
facing.
f. Grade or trim the seam allowances to ¼ inch. Trim corners
diagonally and clip the neckline seam allowances. Trim out
excess thickness at the shoulder seams.
g. Turn under the seam allowance on the outer edge of the bias.
Turn the facing to the wrong side of the bodice and press flat
against the bodice.
h. Hem the bias facing edge to the bodice by hand or by machine.

22
Mandarin Collar

The mandarin collar (Figure 6) is attached to the neck edge with

a fitted facing so that no stitching will show around the neck edge.
The collar may be straight and have a fold at the top edge, or it may be
curved with a seam at the top edge. A slightly curved collar will fit
more closely around the neck than the straight collar.

Figure 6

To attach the mandarin collar:

a. Make the collar as directed.

b. Turn the collar right side out, work the seam and corners to
the edge (following the instructions for Peter Pan collar), and
press.
c. Place the collar on the garment with right sides together,
matching centers, shoulders, and notches. Baste the collar to
the garment neckline.
d. Make a fitted facing and attach to the garment front or back
facing.
e. Place the facing over the collar, matching notches, seams, and
centers.
f. Stitch on the seam line from the fold edge of one facing around
the neckline to the corresponding fold edge of the other facing.
g. Trim seam allowances to ¼ inch or grade to 3/16 and ¼inch.
Clip seam allowances to the seam line, so that they will spread
and lie flat inside the garment. Trim out excess bulk at corners
and intersected seams.
h. Turn the facing to the wrong side of the garment; work the
seams and points to the edge, and press.
i. Secure the fitted facing to the garment at the shoulder seams.

23
Convertible Collar

The convertible or rolled collar (Figure 7) is versatile in that it

may be worn open or closed. In either position, the collar rolls up
against the neck; therefore, no stitching should show on the right
side.

Figure 7

To attach the convertible collar:

a. Make the collar as directed.

b. Finish the outer edge of the bodice facing.
c. Pin the under collar and interfacing to the right side of the
garment neckline, matching notches, seam markings, center
back, and center front.
d. If necessary, clip the neck seam allowance of the garment to
make it easier to fit the collar.
e. Stitch the under collar and interfacing to the bodice across the
back neckline from shoulder seam to shoulder seam (Figure 8).

Figure 8

f. Pin the upper collar in place, with the ends of the collar
following the center line marking above and below the neckline
seam. The ends of the collar from the point to the neckline seam
should be exactly the same length.

24
g. Fold the facing over the collar and garment, right sides together,
and pin a place (Figure 9).

Figure 9

h. With the garment right side up, machine stitch on the seam line
from the fold edge of the front to the shoulder seam. Fasten
threads. Repeat on the right bodice front.
i. Trim and grade the front neckline seam allowances to ¼ inch
and clip to the stay line. Trim excess bulk from corners and
seams in the front neckline.
j. Turn the front facing right side out. Work the tip of the front
opening to the seam line and press.
k. Clip the seam allowances to the seam line at the shoulder seam.
Turn the seam allowances into the collar across the back
neckline (Figure 10).

Figure 10

l. Turn upper collar seam allowance under across the back of the
neck. To keep the under collar from showing, the seam
allowance of the upper collar have to be decreased before
stitching it in place. Attach the facing to the garment along the
shoulder seam.
25
Tie Collar

The tie collar (Figure 11) is made of a strip of bias or straight

grain fabric long enough to tie in a bow of the desired size.

Figure 11

To attach the tie collar:

a. Turn the front facing back over the bodice, right sides together
and machine stitch from the front fold to the point indicated on
the pattern, usually ¾to 1 inch from the center front (A in
Figure 12). Fasten threads securely.
b. Grade the seam allowances or trim to ¼ inch and clip to the
seam line as needed. Cut diagonally across the corner.
c. Slash the seam allowances to the stitching in a line even with
the end of the collar (B in Figure 12).
d. Turn the facing right side out, work the seam slightly to the
underside, and press (C in Figure 12).

e. Figure 12

26
f. Cut and attach the collar, following the pattern instructional
sheet.
g. To make a tie collar without a pattern, cut a strip of garment
fabric twice the desired width plus two seam allowances (usually
3½ to 4 inches wide) and a length suitable for the collar and
bow.
h. Fit the unfolded collar to the bodice neckline, right sides
together, matching center back. Pin around the neck edge along
the seam line.
i. Machine stitch the collar to the bodice and fasten threads
securely.
j. Fold the collar and ties with right sides together. Stitch across
the end and along the side of each tie to the point where it
meets the neckline seam. Secure the stitching at both ends
(Figure 13).

Figure 13

k. Clip the corners diagonally. Trim and grade the seam

allowances of the ties and neckline seams. Clip the neck seam
allowances from the edge to the stay stitching so that they will
spread as needed.
l. Turn the ties right side out and work the seam to the edge.
Press.
m. Turn the neck seam allowances into the tie collar. Turn under
the collar seam allowance and stitch in place so that none of the
stitches show on the right side.

27
Shawl Collar

The shawl collar (Figure 14) differs from attached collars

because it is an extension of the garment front and not a separate
piece. The garment fronts extend around the back of the neck and
become the underside of the finished collar. The facings become the
upper side of the collar. Interfacing may be attached to either the
garment front or the facing.

Figure 14

To make and attach the shawl collar:

a. Mark the angle where the collar and the front shoulder seams
meet. Using 20 to 25 stitches per inch, stitch on this seam line
(a in Figure 15).
b. With right sides together, stitch the center back seam of the
under collar (b in Figure 15)

Figure 15

28
c. Press the seam open and trim to ¼ inch.
d. Lap the center back seam of the interfacing sections and double
stitch as directed in the section Interfacings. Trim seam
allowances to the double stitching. Pin and baste interfacing to
the wrong side of the garment front and collar, matching center
back collar seam, notches, and seam edges.
e. Join the back and front shoulder seams (c in Figure 15).
Machine stitch on the seam line, stopping at the exact point of
the reinforced corner. Tie threads securely.
f. Clip the seam allowance diagonally to the corner of the
reinforced seam line (Figure 16). Press the shoulder seam open.

Figure 16

g. With right sides together, stitch the neck edge of the collar to
the bodice back neck, starting and ending exactly at the
reinforced corner. Tie threads securely.
h. Reinforce the angle on the facing in the same manner as the
garment.
i. Place the garment facings right sides together and machine
stitch the center back seam. Press open and trim to ⅜ inch.
j. Finish the outer edge of the facing up to the shoulder seam (a in
Figure 17), using a finish suitable for the garment and fabric.
k. With the right sides together, join the facing to the garment,
matching the center back, notches, and seam edges. Machine
stitch the entire length from the lower front edge of one side to
the lower front edge of the other side (b in Figure 17).

29
 Figure 17

l. Trim interfacing close to the seam line. Press seam open. Trim
and grade seam allowances.
m. Understitch the outer edge of the under collar across the back (a
in Figure 18). Understitch the facing to the seam allowances,
starting slightly below the top button marking (b in Figure 18).
n. Turn the facing to the wrong side of the garment, working the
seam slightly to the underside. At the point where the facing
becomes the upper collar, the seam should be on the edge (c in
Figure 18).
o. Press.
p. Clip the facing diagonally at the angle formed by the neck edge
and the shoulder. Turn under the seam allowance along the
shoulder seam and neck edge (d in Figure 17). Stitch the facing
to the garment, making certain that the stitches do not show on
the right side.

Figure 18

Joining the Side Seams

a. Pin the side or underarm seams together. Be sure to match

seam allowances of the front and back blouses. Check to see
that the front and back blouses are joined together and not the
two front or two back parts.

30
 b. Stitch the seams. Press open and finish the seams with the
appropriate seam finish.

Setting in the Sleeves

Set-In Sleeves

In a set-in sleeve, the cap fullness is eased into the armhole of

the garment. The sleeve may be long, short, or three-quarter length
and finished with or without a cuff.

Preparing the Sleeves

The sleeves should be carefully fitted to check the location of the

elbow darts and the sleeve length. After the sleeves are fitted, they
should be completely finished before they are permanently stitched
into the armhole.

To make the sleeve:

a. Using an ease stitch, sew on the seam line around the cap of the
sleeve between the notches. The weight of the fabric will
determine the number of stitches per inch. A second row of
stitches may be helpful to those who are inexperienced in fabric
manipulation or if the fabric is difficult to control. If a second
row of stitches is needed, it is placed in the seam allowance
about ⅛ inch from the seam line.

31
 Stitching sleeve cap to ease fullness

b. Stitch the underarm sleeve seam and finish the seam edges, if
necessary. Press the seam open.
c. Complete the lower edge of the sleeve according to pattern
instructions or with one of the following finishes:
 Hem for lightweight fabric. Turn and press the hem on
the marked line. Turn under the raw edge about ⅛ inch
and hem.
 Hem for heavy fabric. Turn and press the hem on the
marked line. Trim the sleeve seam allowance to ⅜ inch
between the fold line an hem edge. If the fabric ravels,
overcast the edge or finish with ribbon seam binding.
Complete the hem with an appropriate hemming stitch.
 Facing. If the sleeve is finished with a facing, refer to
directions for fitted and bias neckline facings.
 Cuffs. Cuffs are generally made and attached by using
methods similar to those used for collars. The pattern
instruction sheet usually provides a satisfactory method
for attaching the cuffs.

Stitching Sleeve into Armhole

To set the sleeve into the armhole:

a. Pull up the ease threads from both sides to shape the sleeve
cap. Hold the sleeve cap over the fingers and note its shape and
the position of the grain. Adjust the ease so that it is distributed
evenly and smoothly and the grain is in the correct position.

Note: Sleeves of heavier fabrics will fit into the armholes more
smoothly if the excess fullness is shrunk out of the seam
allowances. To shrink out fullness, place the sleeve cap

32
 over a pressing cushion. With a steam iron or with a damp
cloth and dry iron, steam the seam allowance. Continue
steaming until the fabric shrinks to the desired shape. Do
not shrink the sleeve cap itself, only the seam allowance.

b. Make necessary alterations in the length of the shoulder seam

or the size of the armhole before the sleeve is stitched into the
armhole.
c. With right sides together, fit the sleeve into the armhole.
 Match the top of the sleeve to the shoulder line and the
sleeve seam to the garment seam. Pin.
 Match the notches and marks between notches and
shoulder, and pin. There is ease all around the sleeve,
including the underarm area. Accurate matching of the
notches keeps this ease where it belongs. (Caution: Do not
allow underarm ease to go up into the sleeve cap area.)
 Curve the armhole seam over the hands with the fingers
against the blouse and the sleeve seam up. Use the thumbs
to distribute the ease and smooth out puckers.

Fitting sleeve into armhole

d. Baste the sleeve in place.

e. With the garment on, check the position of the armhole seam
and the grain of the sleeve.
f. Stitch the armhole seam. Starting at one to the notches, stitch
under the arm and around the cap to the starting place. To
strengthen the seam, continue stitching to make a double row of
stitches under the arm between the notches.
g. If necessary for comfort, the armhole seam allowance may be
trimmed to ¼ inch between the notches at the underarm.
h. If the fabric ravels, overcast the armhole seam edges together.
i. Turn the seam allowances into the sleeve, but do not press. If
shoulder pads are to be used, fasten them in place at this time.

33
Worked Buttonholes
Ladies’ blouses are usually buttoned from right to left so the
buttonholes should be made on the right side of the blouse. Holes
through which buttons pass through are called buttonholes. If a
blouse is buttoned down at the front, the buttonholes may be placed
horizontally or vertically. Horizontal buttonholes are made ½ cm
outside the centerline while the vertical buttonholes are made on the
center line. The mark of the exact length of buttonholes should be ¼
cm to ½ cm longer than the diameter of the button. Buttonholes
should be cut crosswise or lengthwise, following the thread of the
material. Use pointed and sharp scissors when cutting the
buttonholes.
Worked buttonholes are more beautiful than machine
buttonholes. Machine made buttonholes are easy to make and do not
need patience and skill in making them. Practice is required in
making worked buttonhole. Worked buttonholes are not hard to make
on strong and closely woven materials. Horizontal buttonholes are
squared with buttonhole stitches at both ends.

Vertical Buttonholes Horizontal Buttonholes

Worked buttonholes should be:

 spaced evenly;
 cut following the threads of the fabric;
 made correctly according to the size of the buttons;
 cut correctly and accurately; and
 made strong and even.

Steps in Making the Worked Buttonholes

The following are the steps in making worked buttonholes:

a. Mark the buttonholes.

34
b. Make the machine stitching around the mark.

c. Cut the holes with a pair of sharp scissors.

d. Make the buttonholes from right to left. Start at the side

nearest you. Make a circle with the thread at the point where
the next buttonhole stitch is to be made. Hold the lower edge
of the circle with the thumb. Insert the needle under the
cloth and pull the needle upwards. Make several buttonhole
stitches up to the end.

e. When the other edge is reached, start making the fan. Make
about 5-7 stitches to make the rays of the fan.

35
 f. Continue making the buttonhole stitches up to the other
end. Finish end of the buttonhole by making two bar threads
directly across the end. Work blanket stitches closely over
them. Fasten threads at the back.

Attaching Fasteners

Buttons

Buttons are those with shank and those with 2 or 4 holes. They
are used as fasteners or as decorations. They should be attached well.

When attaching flat buttons with holes, follow the steps below:

a. Fasten thread on wrong side. Make a small stitch where the

button is to be sewn.

b. Place a pin on top of the button and sew over it. A stem is
placed so that there will be space for fabric under the button
when the garment is buttoned. Bring needle up through the
button, then to the other hole back to the fabric. Make several
stitches.

c. Remove pin. Insert needle in between the thread and fabric.

Wind thread around to make a stem or shank. Draw thread to
the wrong side and fasten.

36
 A button with a shank can be attached like a flat button, except
that the needle is inserted under the hole on the other side of the
button. These buttons should not be sewn too closely to the garment if
these are to be used as fasteners.

Snaps
Snaps are used on places where a flat and invisible
closing is needed. It is also used where there is little strain on the
opening.

Marking the Location of the Snaps

Place the ball part of the snap on the wrong side of the right
portion of the blouse and mark position with a pin. Sew the ball parts
and place tailor’s chalk mark on the balls. Lap and put together the
two edges and press together so that the tailor’s chalk marks will be
transferred to the other side.

Sewing on Snaps

When attaching snaps, study and do the following procedure:

a. Fasten thread by making two or three stitches on the mark.

b. Make overhand or buttonhole stitches on each hole.

37
 c. Continue making the stitches on the four holes. Fasten
thread on the wrong side.

Hemstitching the Blouse

The blouse is usually hemmed by slip stitching. Slip stitches

made on the hemline should not be seen on the right side of the dress.
Neat and invisible slip stitches on a dress add to the nice and neat
appearance of the garment.
In hemming the blouse, turn up the hem on the hemline mark,
pin a press the folded edge. Mark the hem width and cut the extra
material. Finish the hem by turning the raw edge under ¼ inch and
stitch on the fold.
Make slip stitches by taking a small stitch on the blouse. Then
take another stitch on the fold opposite where the thread comes out of
the garment. Repeat the procedure until the hemline of the blouse is
finished.

Construction Processes in Sewing a Skirt

Joining the Side Seams

The side seams of the skirt are joined together by following the
steps described below:

a. Put the right sides of the material together. Pin the edges and
sew on the seam line.
b. Finish the seams with appropriate finish. You can use one of
the following methods.

1) Use pinking shears on the edges.

38
 2) Sew on the edge of the seam and pink the edges.

3) Turn the raw edges and machine stitch ½ cm from the

edge.

4) Overcast the edges.

Pleats
One pleat or a series of pleats may be made on a skirt to
decorate or give fullness to the garment. Pleats are usually pressed in
place and may be stitched in any manner desired. Skirts may be
pleated all around. Box pleats, side pleats or inverted pleats may be
used or they may be combined together in the same skirt.

a. Side pleats . In side pleating, all the pleats are folded in one
direction. The folding may be made to the right of the left.

39
 b. Box pleats . Box pleats are made by making 2 side pleats
folded in opposite directions from the center.

c. Inverted pleats . Inverted pleats are formed by making 2 side

pleats that meet at the center. An inverted pleat is the wrong
side of a box pleat.

Making the Pleats of a Skirt

When the skirt is made with pleats which have no spacing
between them, the fabric must be three times the measurement of the
hips. If there will be spaces, less fabric is used.

It’s easy to make skirt pleats. Just follow these steps:

a) Cut a piece of cartolina the same length as the waistline.

Fold the cartolina into the number of pleats needed. Mark
these points with a tailor’s chalk. The procedure made on the
cartolina should also be made on the cloth.

b) Pin the edges of the cartolina and the zipper placket together.
Match the first mark on the cartolina to the first mark on the
cloth. Pin them together. Do the same procedure for the 2nd,
3rd, 4th, 5th marks until all marks are pinned together.

40
 c) Fold the extra material in the direction desired to make side
pleats, box pleats, inverted pleats or a combination of these
pleats.

d) Stitch together the pleated cloth and the cartolina. Remove

cartolina and press pleats.

Zipper
Types of Zipper:

a. Conventional zipper
This is closed at one end and is sewn into a seam that is
stitched to the zipper placket (the space into which the zipper is
fitted).
b. Separating zipper

41
 This is open at both ends and is sewn into a seam that will
open completely.
c. Invisible zipper
This is constructed in such a way that it disappears into a
seam; like conventional zipper, an invisible zipper has one
closed end.

All the zippers consist of either a chain of metal or plastic teeth

or a synthetic filament formed into ladder or coil sewn to fabric tapes.
Since metal and nylon zippers are about equal in strength and
performance, the choice is largely a matter or personal preference.
Nylon zippers are lighter in weight and usually more flexible
than metal zippers and are available in more colors.
Metal zippers come in heavy-duty forms which are suitable for
jeans and work clothes.
Zippers are opened and closed by means of slider with a handle
like tab that moves it up and down. Top and bottom stops keep the
slider from running off the zipper.

The Open Seam Method of Attaching the Zipper

Zippers are usually used on the side, front and back plackets of
skirts, dresses, shorts, or pants. The placket is usually one cm longer
than the zipper.
Zippers are very good fasteners. They may be bought in different
colors and length. Zippers from clothes which are to be discarded can
be removed and used again.
The open seam method is used in attaching the zipper. Here,
the zipper is hidden inside the skirt placket and only a single row of
machine stitching is seen on the garment.

In the open-seam method, the zipper is attached by doing the

following procedure:

a. Press the skirt placket. Make ½ cm fold on the left side of the
placket.
b. Turn the skirt on the wrong side and hand baste the zipper to
the placket. Use a zipper foot in machine stitching the edge of
the placket. Sew as close to the zipper’s teeth as possible.

42
 c. Turn the skirt on the right side. Pin or baste the right portion of
the zipper placket. Sew the zipper starting ½ cm at the end of
the zipper. Continue stitching up the waistline. Make the end
stitches by double stitching at the waistline.

d. Remove baste stitches or pins on the placket.

Pockets
Pockets usually are part of the garment design and may be both
functional and decorative. It is a piece of cloth stitched to a garment
that serves as a small pouch or bag for carrying small items. It can be
patched, inserted into a well or finished as per a bound buttonhole or
welt. Since in-seam pockets do not show from the outside of the
garment, they may be added to a skirt or a dress without affecting the
design of the garment. They are not suitable for sheer fabrics or
straight skirts where bulk will be noticeable. The addition of patch
pockets will affect the design and must be planned very carefully.

In-Seam Pockets
The in-seam pocket may be made of two pieces of garment or
lining fabric, or it may be cut as an extension of the skirt sections.

To make in-seam pockets:

a. Mark the desired location for the pocket opening on both the
front and back sections of the garment. An opening of 6 inches
or more is needed.

43
b. For each pocket, cut 2 pieces of lining or garment fabric 3 or 4
inches longer than the desired opening and 6 to 8 inches wide.
Cut on the lengthwise grain, or follow the garment grainline.
With right sides together, cut the pocket in a modified oval.
c. With right sides together, pin or baste one pocket section to the
garment seam. Machine stitch ½ inch from the cut edge.

Joining pocket section to garment section at side seam

d. Repeat step 3 on the other pocket sections.

e. Understitch the pocket front to the skirt front seam allowances.

Understitching front pocket section to skirt front seam allowances

f. Press the seam on the back garment section toward the pocket.
g. Match and pin the pocket sections and skirt seams.
h. Machine stitch the seams from the bottom of the garment to the
lower end of the pocket opening. With the machine needle in the

44
 fabric, raise the presser foot and turn the garment. Lower the
presser foot and continue stitching around the pocket.

Joining front and back skirt and pocket sections

i. To press the skirt seam open below the pocket, clip the back
seam allowance to the seam line at point.

Clipping seam allowance to press skirt seam open

45
 j. When the pocket is cut as an extension of the skirt, follow the
above procedure, beginning with step 7.

In seam pocket cut in one with garment section

Patch Pockets
Patch pockets are made in variety of shapes and are stitched to
the outside of the garment in the desired location.

To make patch pockets:

a. Turn under the top edge of the pocket ¼ inch and edge stitch,
or stitch seam tape to the edge if the garment fabric is heavy or
bulky.

Turning and edge stitching top of pocket hem

b. Fold the pocket on the hemline, right sides together edge of the
hem. Continue stitching around the pocket just outside the
seam line and across the hem on the other side. Secure the
threads ends.

46
 Stitching hem ends and fold line of patch pocket
c. Clip diagonally across the corner of the pocket hem and grade
the hem seam allowances.

Trimming corners and grading seam allowances in pocket hem

d. Turn the pocket 1cm right side out, shape corners, and press.

Patch pocket hem turned right side out

e. Turn under the remainder of the pocket seam allowance, using

the stitched line as a guide. Press. The stitched guide line will
not show on the right side of the pocket. Miter the corners. Trim
the seam allowance to ¼ or ⅜ inch and trim out excess bulk in
the corners. Press.

47
 Mitering corner, turning under, and trimming seam
allowance at patch pocket

f. Pin or baste the pockets to the garment and machine stitch

close to the fold edge. Reinforce the corners.

Patch pocket stitched to garment with corners reinforced

Attaching the Waistband

The waistband is usually cut when the fabric for the skirt is cut.
Use the same pattern in cutting the interfacing. The length of the
band should be equal to the waist measurement plus the allowance
for the overlap and for the seam allowance. After attaching the zipper,
the waistband should now be attached to the skirt.

To attach the waistband to the skirt, follow these steps:

a. Attach the interfacing on the wrong side of the band.

b. Fold the waistband horizontally so that the right sides are
stronger. Sew the seams at both ends.

48
 c. Match and pin the right side of the skirt to the right side of
the waistband.

d. Hand baste the waistband and then check if it fits. Stitch on

the seamline.

e. Turn the seam allowance inside the waistband and baste in

place.

f. Slip stitch the folded edge and machine stitch around the
waistband.

Attaching the Hook-and-Eye

Hook-and-eyes are usually attached on portions of clothes

where there is much strain, such as in collars, waistbands, pants,
belts, and cuffs of sleeves. There are two kinds of metal eyes used in
openings. The straight eyes are used on edges that overlap, as on

49
waistbands; while the round eyes are used where edges are just meet,
as on the back opening of collars.
Start sewing at the end of one ring of the straight eye. Use
buttonhole stitches that are close to each other around the ring. Sew
on the other ring. The rings of the hook are sewn in the same way as
the rings of the eye.
The end of the hook is fastened to the garment with several
overhand stitches.

Hemming the Skirt

A hem is made by folding the edge of the garment once or twice

on the wrong side and fastening it to the garment by hand hemming.
Hems may be finished with blanket stitch, slip stitch, or catch stitch.
Hand hemming allows a garment to fall in softer lines. It is invisible,
smooth and the garment can be remodeled without leaving too many
marks on the fabric.
Before hemming the skirt, put it on first. Close the zipper and
get a partner to help you in determining the length of the skirt.
Proceed in making hem stitches on the skirt.

Steps in Hemming a Skirt

a. Put on the skirt. Let your partner help you in putting pins on
the skirt. Stand up straight on a table while your partner marks
the hem of your skirt.

50
b. Remove the skirt and see if the marks are straight. Fold the
skirt on the marks and put pins perpendicular to the edge of the
folded skirt edge.

c. Baste skirt 1 centimeter (3/8 inch) from the folded edge. Mark
the width of the hem.

d. Cut the excess portion of the hem.

51
e. Turn the edge and stitch near the edge.

f. Hem skirt using catch stitch, slipstitch or blanket stitch.

52
LET US REMEMBER

Learning to sew is fun. If you master the

simple methods of clothing construction, you will be
able to meet your clothing needs with the least
expense while you enjoy sewing.

HOW MUCH HAVE YOU LEARNED?

I. Write the word True if the statement is correct and False if it is

incorrect. Write your answer in your quiz notebook.

_____1. The unit method of construction is the system of sewing a

dress part by part or unit by unit.
_____2. Unit method of construction makes sewing easier because of
the systematic procedure used in the construction of a dress.
_____3. The garment must be sewed by unit following a step-by-step
procedure to prevent needles handling of the cut fabric.
_____4. A unit is a combined part of the dress.
_____5. The time consumed in sewing the dress using the unit method
of construction is longer.

II. Arrange the steps in the unit method of construction of a blouse

and skirt. Write 1 for the first step; 2 for the second step, and so
on down to the last. Write the answer in your quiz notebook.

A. Sewing the blouse

_____ Hem blouse.
_____ Make marked buttonholes and attach buttons.
_____ Sew the front blouse unit.
_____ Sew the back blouse unit.
_____ Set in the sleeves. Finish sleeves and press.
_____ Prepare the sleeves.
_____ Sew side seams. Finish seams and press open.
_____ Attach collar and press.
_____ Prepare collar.
_____ Sew shoulder seams. Finish and press seams open.

B. Sewing the skirt

_____ Sew side seams and finish them. Press open.
_____ Press skirt.
_____ Attach zipper.
_____ Attach pocket. Press.
_____ Hem skirt.
_____ Prepare waistband. Press.
_____ Attach waistband to the skirt and press.
_____ Attach hook-and-eye on the waistband.

53
_____ Make pleats. Sew pleats in place and press.

III. Identify what is being described in each sentence. Write your

answer in your quiz notebook.

__________1. This collar may be joined to the neck edge with a bias
facing.
__________2. This collar is versatile; it can be worn open or closed.
__________3. The most commonly used sleeve in women’s apparel.
__________4. This is a part of the garment design and may be
functional and decorative.
__________5. These pockets are made in a variety of shapes and are
stitched to the outside of the garment in the desired
location.

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Individual

1. Interview a dressmaker near your locality. Ask her/him what is the

method she/he is using in sewing and assembling dresses. Make a
comparison with what you have learned today to know if there is
any difference. Report the results to the class.
2. Cut 2 pictures of collar, sleeve and pockets used in a dress.
Identify each type.
3. Sew the following techniques in clothing construction on pieces of
fabrics. Label your work and submit it to your teacher.
a. stay-stitching the neckline, shoulder and armhole.
b. sewing darts
c. seam with edge-stitched finish
d. attaching a zipper
e. making a buttonhole and attaching a button
f. making a hem
4. Construct a blouse with convertible collar and set in sleeve through
unit method of construction. Submit it to your teacher for
evaluation.
5. Construct a skirt with knife pleats through unit method of
construction. Submit it to your teacher for evaluation.

54
 Scoring Rubrics for a Finished Blouse and Dress

RATING SCALE
ITEMS
Outstanding Very Good Good
5 3 1
Neatly Neatly done Not neatly
SCORE
prepared/ but done and
done/correctly unbalanced incorrectly
attached attached
A. Construction
Processes
(50%)
 Collar
 Placket
 Sleeves
 Darts
 Hems
 Fasteners
 Seams
B. Fitting (30%) Well-fitted Fitted but Not fitted at
unbalanced all
 Neckline
 Sleeves
 shoulders
 Armhole
 Waist
 Bust
 Hips
C. Work Habits Most of the time Sometimes Not at all
(20%)
Organized, clean
and systematic
Manipulated tools
and equipment
properly
Finished 2 -5 days Finished just Late by 2-5
Work within the ahead of time in time days
time target

TOTAL SCORE :

Name of Student : _______________________Year & Section : _______________

Teacher :_________________________________Date Submitted :_____________

55
 Scoring Rubrics for a Finished Skirt

RATING SCALE
ITEMS
Very Good Good
Outstanding
3 1
5
Neatly done Not neatly
Neatly prepared/ SCORE
but done and
done/correctly
unbalanced incorrectly
attached
attached
B. Construction
Processes
(50%)
 Seams
 Placket
 Pleats(for
pleated skirt)
 Darts(for
Fitted Skirt)
 Hems
 Fasteners
 Waistband
B. Fitting (30%) Well-fitted Fitted but Not fitted at
unbalanced all
 Waist
 Hips(For
Fitted Skirt)
 Length
C. Work Habits Most of the time Sometimes Not at all
(20%)
Organized, clean
and systematic
Manipulated tools
and equipment
properly
Finished 2 -5 days Finished Late by 2-5
Work within the ahead of time just in time days
time target

TOTAL SCORE :

Name of Student : _______________________Year & Section : _______________

Teacher :_________________________________Date Submitted :____________

56
Task 2

Group Work

1. Organize a fashion show. Invite judges to evaluate which

projects are the best.

RESOURCES:

Equipment
Sewing Machine
Ironing Board
Flat Iron

Tools
Scissors
Seam ripper
Hand needle
Thimble
Pin cushion

Supplies
Fabric
Pins
Thread
Zipper
Interfacing

Learning Materials
Textbook
Writing pad
Manual

REFERENCES:

Hilario, Carmelita B. Clothing Technology (Made Easy). Valenzuela

City. 24k Printing Co., Inc., 2001.
Navarro, Leticia S. Homemaking for You and Me (Clothing
Construction). Quezon City. Abiva Publishing House, Inc., 1985.
Rojo, Luz V. et al. Effective Technology and Home Economics. Quezon
City. Adriana Printing Co., Inc., 2000.
Pre – Employment Skills Training. TESDA
Unit Method of Construction. U. S. A. The Iowa State Univ. Press.

57
LESSON 3

ALTERING COMPLETED GARMENT

WHAT IS THIS LESSON ABOUT?

The lesson deals with the characteristics of a well-fitted

garment and evaluation and alteration of finished garment.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. describe a well-fitted garment;
2. evaluate the fitness of garment;
3. alter / modify garment fitting problems; and
4. form a sound judgment of a well-fitted garment.

LET US STUDY

Words to Study

 Alter – to make changes in a patterns so

that it accurately matched corresponds
to body measurements.
 Center back – the lengthwise position
on a pattern from nape downward
 Center front– the length position on a
pattern or garment from center neck
down to navel or center waist
 Good fit – term used for perfectly fitted
garments
 Grainline – the lengthwise and
crosswise direction of yarns in a fabric.
 Rear – the back part of the body which you
sit on.
 Sag – to sink or bend downwards and away
from the usual position.
 Slash – to cut, as through the center fold of
a dart.

58
CHARACTERISTICS OF A WELL- FITTED GARMENT

What is your idea of a well-fitted garment? Study the garment

shown below. Do you believe it is well-fitted? Formulate reasons for
your beliefs.

Are your reasons incorporated in any of the following

statements?

A well-fitted garment adjusts naturally to the movements of the

wearer, is comfortable, presents a pleasing appearance in harmony
with the figure, and may contribute to the wearer’s sense of well-
being, providing a positive psychological experience focusing on the
individual’s self-image.
How does one judge a well-fitted garment? An understanding of
the factors involved in fitting can enable one to recognize well-fitted
garments. The following five concepts can serve as clues to good or
poor fit: grain, line, set, balance, and ease.

Grain

The lengthwise or crosswise yarns or threads in a woven fabric

are called grain.

Line

Construction lines and edges of the garment are referred to as

line. The basic seamlines, shoulder and side seams, follow the general
silhouette of the body, outlining its shape. The shoulder seam is at the
top of the shoulder. It is wise to locate it 1.25 cm (1/2 in.) toward the
back for a round-shouldered person. The side seam appears
continuous from the tip of the ear to the ankle, perpendicular to the
floor and to the horizontal circumference lines, and about halfway
between the front and back of the figure when reviewed from the side.

59
The center front and center back of the garment coincide with the
corresponding positions on the body.

Set

A well-fitted garment sets smoothly, without undesirable

wrinkles. Careful folds created by gather or other design features are
not to be confused with wrinkles – slanting triangles – that form where
the garment is strained over some curve.
Creases caused by poor pressing and folds that are obviously
the result of posture or motion detract from the smooth appearance
that is one of the characteristics of a well-fitted garment. Such
conditions are not to be mistaken as indicating a need for fitting,
unless they are caused by poor posture and no improvement in
posture can be made.

Balance

The symmetry of the garment on the figure is called balance. A

symmetrical design hangs at equal distances from the body from right
to left and from front to back (except when a back fullness or flow of
line is a part of the style). The neckline fits the neck snugly at all
points. If the shoulder seam bulges more (or less) at the neck than it
does at the armhole, it is out of balance.

Ease

Looseness in a garment for comfort and appearance is known as

ease. The garment seems to be the right size – neither too loose nor
too tight. It has enough ease for comfort, but not so much that
drooping and sagging occur. Some of the evidences of improper
amounts of ease are a shoulder seam that is too long, tightness and
drawing across the sleeve cap, bagginess under the arms, waistline
too high, and tightness over the bust, narrowness across the
shoulders, and cupping under the seat. The waistline seam should be
as snug as the belt worn over it.
If a part of the garment is too loose, the adjoining section may
feel too tight in proportion, sometimes it is better to tighten up the full
section than too loosen the (apparently) tight section. Experiment by
pinning tucks until you achieve a comfortable proportion. Snug
bathing suits and the tight styles of the 1990s can be as comfortable
as looser styles because the snugness is balanced and the seams are
placed so that the garment follows body movements.
Ease is the difference between body measurements and the
measurements of the garment at a given point as provided by the
designer. The amounts of ease to allow when fitting should be adapted
to the current fashion, style of the garment, your activity, your fabric,
and your built.

60
 Minimum amounts of ease vary somewhat with the design and
are not to be followed literally, but they are helpful guides; they do not
include style fullness such as unpressed pleats or shirring.
Evaluation of Finished Garments

Characteristics of a Well-Fitted Blouse

1. The neckline is properly done and laid flat over the shoulder.
2. The shoulder is flat and the armhole is comfortable for
movement.
3. The darts are correctly sewn.
4. Seams are straight.
5. Hips are comfortably done.
6. The waistline is comfortable.
7. Closures are properly attached.

Characteristics of a Good Collar

1. Edges are properly sewn.

2. Curves are smoothly done.
3. Pointed edges are neatly finished and have the same size and
shape.
4. Collar is smoothly finished.

Characteristics of a Finished Sleeve

1. The sleeve is well rounded over the sleeve-cap.

2. The sleeve is comfortable at the armhole.
3. Freedom of movement is felt.

Evaluating Fit In Pattern or Garment

You may want to test your judgment by using the concepts that
have been presented. Be specific in your thinking, relate your answers
to the five concepts previously listed, and then study the analysis that
follows to determine corrections that should have been made in the
pattern before the garment was cut.

ANALYSIS OF PROBLEM (FIGURE 1)

61
Evidences of Poor Fit. Set : Horizontal folds lie between the waistline
and hipline, in both back and front. Line: Lie the side seam straight
and flat in this area.

Cause of Difficulty. When hips are large , the skirt becomes too tight
around hips. Its narrowness prevents its slipping far enough down to
take its position on the larger circumference at hip level to fit
smoothly over the hips as shown in a.

Correction in Fitting

1. Let out the vertical seams in the skirt (and bodice if it is tight at
the waistline) as shown in b.
2. If the side seam flares slightly and the hem is wide enough, the
fit can be corrected by taking a deeper waistline seam to lift the
skirt and bring a larger circumference measurement over the
full hips as shown in c.

If this garment were a ready-made, the problem of altering would

involve the same question: Is there enough width in the seam
allowances and the hem to make the necessary adjustments? Another
question to be decided in considering such an alteration in a garment
with side placket is this: Are you willing to reset the zipper? In a dress,
you might push the zipper higher into the bodice without ripping the
skirt.

Correction of Pattern. Add width to the side seams in cutting;

increase darts or ease in the excess at the waistline as shown in
figures d and e.

ANALYSIS OF PROBLEM (FIG. 2)

62
Evidence of Poor Fit. Set : Crosswise folds and wrinkles appear
between waistline and hipline in the back only, a.

Cause of Difficulty. Sway back : There is more length in the garment

than is needed to cover this hollow of the body. If the rear hip has
enough prominence, the side seam may hang in the correct position,
with folds or wrinkles forming above the rear hip, a.

Correction in Fitting. Move the hand across a wrinkle at right angles

to it push out the excess fabric width (at the wide end of the wrinkle)
and indicate where to make a deeper seam, b. In this case, the
waistline seam of the skirt will require deepening, c; darts also, may
need widening, to leave the length of the back waistline unchanged, or
the excess length in the waistline may be eased to make the hollow
less conspicuous.

Correction of Pattern. Fold a dart across the skirt back between

waist and hiplines to end at side seam and not to extend into the
seam allowance. Slash through seam allowance to the point of dart to
flatten the pattern, d; correct CB to keep grainline straight; darts will
require correction. It is unnecessary to take time to draw these lines
on the pattern, since this can be taken care of in transferring the lines
to the fabric. Trace the lines in their new locations. This alteration
preserves the designer’s line at the waistline, so that skirt will fit
bodice, as planned.

ANALYSIS OF PROBLEM (FIG. 3)

Evidence of Poor Fit. Line: waistline drops below normal waist

across the back. Skirt sags at hemline in the back and side seam
hangs toward the front, a. Balance: Skirt is unbalanced at hem and
it hangs nearer to the body at the back than at the front.

63
Cause of Difficulty. Sway back and/ or flat rear hip : Flat shoulder
blades (over erect figure) might also be partly responsible for this
difficulty.
As the back waistline is not in a normal position on the body, it
is likely that the figure has a flatter shoulder-blade area than normal,
causing the seam to sag as it crosses the hollow section of the back.

Correction in Fitting. The back waistline sags because of a hollow

above the waistline and/or flat shoulder blades. There is more length
than needed at center back. A hollow back, below the waistline and or
a flat rear hip, permits the skirt to sag in back, affecting the position
of the side seam and the balance.
Take a deeper seam across the back waistline, pushing the
excess length out of the skirt. As the back bodice is too long, the same
treatment will be needed to correct it, b. The darts will require
deepening to make waistline seam correct in length, or ease it.

Correction of Pattern. Note the altered pattern as shown in figure c.

Review the correction for this case. Length has been removed from the
back in both skirt and bodice. This side of the body was flatter or
smaller.
Try to state the condition recognized in the preceding paragraph
in general terms that might apply to other cases also. Did your
statement embody the following idea?
To correct the balance, take a deeper seam above the side where
the garment hugs the figure, or let out the seam above the side where
it swings away from the figure.

ANALYSIS OF PROBLEM (FIG. 4)

Evidences of Poor Fit. Set : Wrinkles point to rear hip, a. Line : Side
seam swings to back; skirt hikes at back hemline. Balance: Skirt is

64
unbalanced at lower edge, hanging closer to body in front than in
back.

Cause of Difficulty. Larger rear hip – large derriere.

Correction in Fitting
1. The technique shown in b might prove satisfactory in very mild
cases, but usually, more width will be needed in skirt back.
2. If waistline is too large to be eased successfully after letting out
side seams, deepen the dart in a, or add another dart, as shown
in c.
3. Rip side seam, lift back above lower edge of front, let out seam
on back, and ease back, in line with the fullest part of the hip,
figure c. To shrink its fullness, press-push the side of iron
toward seam over the fullness. Cut off front skirt at hemline to
even the line.

Correction of Pattern. To alter pattern for a larger curve (figure d),

slash in both directions with slashes intersecting at the point of the
wrinkles – the fullest part of the bulge. The slash bisects the dart and
increases its size (divide into two darts, if one seems too large, or adds
a new one).

ANALYSIS OF PROBLEM (FIG. 5)

Evidences of Poor Fit. Line : Side seam swings toward front, a.

Balance: Skirt is unbalanced at the hem and it hangs nearer to the
body at the back than at the front.

Cause of Difficulty. Thick thigh: Problem is not sufficiently serious

to show wrinkles.

65
Correction in Fitting. There are two alternatives:

1. If the difficulty is not great, the fit can be corrected by lifting the
skirt at back waistline, with the greatest deepening of seam at
the CB, decreasing in width gradually around to front darts,
probably.

2. If the preceding procedure is not sufficient to correct the

difficulty, then the side seam must be ripped and the correction
made as in b. Pin-fit this seam to save time in determining the
amount of change needed to permit the side seam to fall back
into its correct position. Distribute the extra length of the front
evenly along the rebasted line, or concentrate it beside any
apparent bulge, such as the hip bone or thick thigh bulge.

ANALYSIS OF PROBLEM (FIG. 6)

Evidences of Poor Fit. Ease: There is too much width across the
shoulder and chest, causing garment to drop off the end of shoulder,
figure a.

Cause of Difficulty. The cause of this difficulty is narrow shoulders

and chest.

Correction in Fitting. Try to find some way to narrow this garment

without deepening the armhole seam near the top of the shoulder; if
possible – deepen the shoulder darts, add new shoulder darts, or
deepen any seams that enter the shoulder seam. For a professional
appearance, it is important to retain the bias extension, b or c. If the
armhole seam is stitched on a straight, vertical grainline here, d, the
garment has a pinched-in appearance. Also, note that width has been
removed on the side section rather than from the front panel section
of this princess-line dress, figure e.

Correction of Pattern. The alteration, as seen in figure e, leaves the

bias extension and does not disturb the panel width between the
shoulder darts.

66
 The disadvantage in using a pattern that is not correct in width
through the shoulders is illustrated here. It is more satisfactory, and
easier, to alter for a larger bust and avoid complications involved in
narrowing the shoulders.

ANALYSIS OF PROBLEM (FIG. 7)

Evidences of Poor Fit. Grain: Grain line across the chest is not
parallel to the floor and it is lower toward the sides of figure, a. Set –
wrinkles are pointed toward the neckline end of shoulder seam.

Cause of Difficulty. This difficulty is due to sloping shoulders or

thick neck.

Correction in Fitting
1. Take a deeper seam at armhole ends of shoulder seams to raise
the grainline into the correct position as in figure b.

2. Let out the neckline ends of shoulder seams and the neckline
seam to permit grainline across the center to fall into the correct
position as shown in figure c.

3. If a sleeve is to be used in this garment, thin shoulder pads to

fill the hollow between the figure and the garment may be an
advantage in that no pattern alteration is required and the
season’s fashion right shoulder slope is preserved.

Correction of Pattern. Slash pattern as shown in figure d, and lower

the armhole section. An adjustment should be made in the back also.
Check pattern length to determine whether additional length will be
needed at lower end of side seam.

Arrival at a Conclusion. What did you learn from this problem that
might be of help when correcting the grainline? Try to state what was
done in terms so general that the application can be made to other
cases. Did your statement involve the thought expressed in the
following one?

67
 To correct (level) the crosswise grainline, lift the sagging part by
taking a deeper seam above it, or lower the rising part by letting out
the seam above it.

ANALYSIS OF PROBLEM (FIG. 8)

Evidences of Poor Fit. Set: Wrinkles point to the armhole end of the
shoulder seam, a. Balance: Garments stands away from the body at
neck ends of shoulder seams and hugs it at the arm ends. Ease:
Garment obviously is tight at armhole ends of shoulder seams, lacking
sufficient ease there.

Cause of Difficulty. This difficulty is due to square shoulders.

Correction in Fitting. The garment is tight at the arm end of the

shoulder seam. This tightness can be released by letting out this end
of the shoulder seam, c if there is adequate seam allowance. This will
permit the neck end of the seam to drop into place and the wrinkle
will disappear.
If the shoulder seam is not wide enough to provide the needed
ease remove a wrinkle by visualizing a line across the wrinkle on the
sleeves at right angles, see figure b. This line points to a seam that
can be deepened to smooth out the wrinkle from the neck end of the
shoulder seam to the neckline seam.

Correction of Pattern. Pattern alteration, d, would have corrected the

fit.

Arrival at a Conclusion. Review the correction for this case: arm

ends of shoulder seams were let out and made less deep; neck ends of
shoulder seams and neckline seam were taken up and made deeper.
Try to state the procedure described in the preceding paragraph
in terms that would apply to other cases also. Did your statement
embody the following idea?
To remove a wrinkle, let out the seam near the point of the
wrinkle or take a deeper seam on a construction line at right angles to
the wrinkle.

68
 ANALYSIS OF PROBLEM (FIG. 9)

Evidences of Poor Fit. Grain line : The grain line rises above the curve of
the bust as shown by figure a.
Set: Diagonal wrinkles point to the bust. Note the armhole bulge – especially
waistline in front.
Line: The side seam slants toward the front; lower edge of bodice rises above
the waistline in front.
Balance: The lower edges are off-balance, projecting away from the body in
front and hugging it at the back.
Ease: Garment appears tight over the bust. (This would be more evident in
the fabric.)

Cause of Difficulty. Larger Bust.

Correction in Fitting. As stated in the General Rules, it might be useful in

correcting grain lines and removing wrinkles. Test them on this problem.

LET US REMEMBER

Accurate judgment on the

fitness of a garment is a key to
recognize the necessary alterations
to be done in a garment.

69
 HOW MUCH HAVE YOU LEARNED?

1. Describe the picture below. Do you think it is well-fitted?

Formulate reasons based on the following concepts:

a. Grain

b. Line

c. Set

d. Balance

e. Ease

2. Give your recommendations based on the discussions of the lesson:

a. Large hips
b. Sway back
c. Flat rear hip
d. Large rear hip
e. Thick thigh
f. Narrow shoulders and chest
g. Sloping shoulders and thick neck
h. Square shoulders
i. Large bust

LET US APPLY WHAT HAVE YOU LEARNED

Task 1

Group Work
1. You will be divided the class into five groups. Choose a
representative to serve as a model. Describe her clothes. Is it
well-fitted? Base your reasons on the five concepts of a well-
fitted garment. Present it to the class.

70
 2. You will be divided the class into five groups. Make the
alterations needed in the fitting problems assigned to your
group.

Group 1 – Large bust

Group 2 – Square shoulders
Group 3 – Sloping shoulders
Group 4 – Sway back
Group 5 – Large hips

Task 2

Individual Tasks
1. Clip three (3) pictures which you think show well-fitted
garments. Share your evaluation to the class.

2. Ask somebody to let you alter her / his clothes. After the
alterations. Submit it to your teacher for checking.

RESOURCES:

Equipment
Sewing machine
Life-size mirror

Tools
Tape measure
Pin cushion
Seam ripper
Scissors

Supplies
Pins
Thread
Hand needle
Finished Project (Blouse and Skirt)

Learning Materials
Textbooks
Manual
Writing pad

71
REFERENCES:

Erwin, Mabel D. Clothing for Moderns. Sixth Edition. JMC Press, Inc.,
1979.
Hilario, Carmelita B. Clothing Technology (Made Easy). Valenzuela
City. 24k Printing Co., Inc., 2001.
Navarro, Leticia S. et al. Homemaking for You and Me (Clothing
Construction). Quezon City. Abiva Publishing House, Inc.,
1985.
Unit Method of Clothing Construction. USA. The Iowa State University
Press. 1965.

72
Post test

Let us find out how much have you learned in sewing casual
apparel. Read and understand the questions below. Write your answer
in your quiz notebook.

______1. Which is necessary for pressing a crease?

a. iron b. moisture
c. water d. none of the above
______2. Which of the following is an evidence of good pressing?
a. original texture of the fabric is maintained
b. press marks show on a dull-textured fabrics
c. water-spot marks are visible
d. wrinkles appear on a smooth-surfaced fabric
______3. Which side of shiny fabrics is ironed?
a. left b. right
c. wrong d. all of the above
______4. What kind of stitching joins two or more edges of fabrics
together with the use of sewing machine?
a. blanket stitch b. edge stitch
c. overcast d. seams
______5. Which of the following is used as closure of the garment?
a. beads b. buttons
c. lace d. pin
______6. What is the systematic way of sewing together the parts of a
garment by piece or by unit?
a. unit construction b. unit count
c. unit décor d. system unit
______7. Which is the first step in assembling the parts of the blouse?
a. attach collar
b. hem blouse
c. sew the darts
d. stay stitch curve parts and the sides of the blouse
______8. What is the first step in assembling the skirt?
a. attach hook and eye on the waistband
b. attach waistband to the skirt
c. hem skirt
d. sew side seams
______9. Which of the following is the factor to consider in judging a
well-fitted garment?
a. color b. design
c. ease d. fabric
______10. What is the cause of difficulty if the skirt is too tight around
hips?
a. large bust b. large hips
c. sway back d. thick thigh
______11. What is the cause of difficulty if the grainline across the
chest is not parallel to the floor?
a. large bust b. large hips
c. sloping shoulders d. thick thigh

73
______12. What is the cause of difficulty if the grainline rises above
the curve of the bust?
a. large bust b. sloping shoulders
c. square shoulders d. sway back
______13. Which of the following do you do with the big units and
small units when preparing cut parts?
a. combined b. mixed
c. separated d. none of the above
______14. Which is the correct way of placing the pin when pinning
cut parts of a garment?
a. equal b. horizontal
c. perpendicular d. vertical
______15. What shape of table is used when placing parts of the
garment?
a. flat b. oval
c. round d. square
______16. Which best describes the statement, “Pressing and ironing
are the same”?
a. false b. sometimes
c. true d. none of the above
_____17. Which the usual manner of buttoning Ladies’ plackets?
a. bottom to top b. left to right
c. right to left d. top to bottom
_____18. What type of zipper opens at the top and is held together at
the bottom?
a. conventional b. invisible
c. nylon d. separating
______19. Which refers to a piece of cloth stitched to a garment and
resembles a small pouch or bag for small items?
a. collar b. neckline
c. pocket d. sleeve
______20. What part of the garment covers the arms?
a. collar b. neckline
c. pocket d. sleeve

74
 Key to Correction

Pretest Lesson 1 Lesson 2 Post Test

1. C 1. F I. 1. B
2. C 2. T 1. T 2. A
3. A 3. T 2. T 3. C
4. A 4. F 3. T 4. D
5. B 5. T 4. F 5. B
6. A 5. F 6. A
7. C 7. D
8. D II. 8. D
9. B A. B. 9. C
10.D 10 1 10.B
11.A 9 9 11.C
12.D 1 3 12.A
13.D 2 4 13.C
14.A 8 8 14.C
15.C 7 5 15.A
16.C 6 6 16.A
17.C 5 7 17.D
18.B 4 2 18.A
19.C 3 19.C
20.A 20.C
III.
1. Peter Pan
2. Convertible
3. Set-in
4. Pocket
5. Patch Pocket

75
 TABLE OF CONTENTS

Module 3 Sew Ladies Casual Apparel

Pretest .......................................................................................................................1

Learning Outcome 1 Preparing Cut Parts

Let Us Study ............................................................................................................3

 Key Points in Preparing Cut Parts of Garments...........................................4
 Techniques in Pinning Cut Parts of Garments .............................................4
 Pressing Techniques.....................................................................................4
How Much Have You Learned? ............................................................................10
Let Us Apply What You Have Learned .................................................................11

Learning Outcome 2. Sewing and Assembling Garment Parts

Let Us Study ..........................................................................................................13

 Tips to Easy Sewing ....................................................................................14
 Sewing the Dress (Unit Method of Construction) .......................................14
 Steps in Sewing a Blouse (Unit Method of Construction) ..........................15
 Construction Processes in Sewing a Blouse ........................................16
 Sewing the Darts ..................................................................................17
 Seams ...................................................................................................18
 Joining the Shoulder Seams .................................................................19
 Interfacing ............................................................................................19
 Preparing the Collar .............................................................................20
 Joining Side Seams ..............................................................................30
 Preparing the Sleeves ...........................................................................31
 Stitching Sleeve into Armhole .............................................................32
 Worked Buttonholes ............................................................................34
 Attaching Fasteners ..............................................................................36
 Construction Processes in Sewing a Skirt
 Pleats ..................................................................................................39
 Zipper ..................................................................................................41
 Pockets .................................................................................................43
 Attaching Waistband ............................................................................48
 Attaching the Hook-and-Eye ...............................................................49
 Hemming the Skirt ...............................................................................50
How Much Have You Learned? ............................................................................53
Let’s Apply What You Have Learned ...................................................................54

76
Learning Outcome 3. Altering Completed Garment

Let Us Study ..........................................................................................................58

 Characteristics of a Well-fitted Garment ...................................................59
 Evaluating Fit In Pattern or Garment .........................................................61
 How Much Have You Learned? ................................................................70
Let Us Apply What You Have Learned .................................................................71

Post Test .................................................................................................................73

Key to Correction ...................................................................................................75

77
 ACKNOWLEDGMENT

The Department of Education wishes to extend thanks and

appreciation to the representatives of the different Secondary
Technical-Vocational Schools who shared their expertise in developing
the Competency-Based Curriculum (CBC) and Competency Learning
Matrix (CLM) on February 25-29, 2008 and Competency-Based
Learning Materials (CBLM) on April 14-19, 2008, refinement and
packaging of CBLM on May 5-10, 2008 and final repackaging on May
23-25, 2008 at the Development Academy of the Philippines, Tagaytay
City and the final refinement of CBC-CLM-CBLM at the Marikina
Hotel, Marikina City on April 20-25, 2009.

This learning material was developed, enhanced and refined by

the following personnel:

Writeshop on the Development of CBC-CLM

Writers:

 ELORJEN VILLAMAYOR
M. S. Enverga Memorial College of Arts and Trades

 LORENA GENITO
Zamboanga Del Sur School of Arts and Trades

 PURIFICACION RAZON
Don Alejandro Sr. Science and Technology High School

 ROSSANA I. SAGUID
Tanza National High School

 LUZ AGBULUS
Zamboanga del Sur School of Arts and Trades

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 ANNABELLE R. DE LEON
Tanza National Trade School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 PRESCILLA RAYOS
Community Vocational High School
78
 Encoder:

 MYRNA COVILLA

Consultant:

 ROSITA CREDO
TVE Consultant

Writeshop on the Finalization, Packaging and Repackaging of

CBC-CLM-CBLM

 ALVA NALDOZA
General Santos City

 ESTRELINA PALALON
Glan School of Arts and Trades

 FRANCISCA BUMANGLAG
Jones Rural School

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 ANNABELLE R. DE LEON
Tanza National Trade School

Writeshop on the Refinement and Enrichment of CBC-CLM-CBLM

of Arts and Trades Specializations

TVE Writers:

 ANNABELLE R. DE LEON
Teacher III
Tanza National Trade School
Paradahan I, Tanza, Cavite
Region IV-A

 MARIA M. DEL MUNDO

Teacher III
E. Rodriguez Vocational High School
Nagtahan, Sampaloc, Manila
NCR

79
 MARIA VICTORIA M. FERNANDO
Teacher III
Pangasinan School of Arts and Trades
Lingayen, Pangasinan
Region I
 NIMFA O. MARMOL
Teacher I
Muntinlupa Business High School
Muntinlupa City
NCR

 DR. MILAGROS M. TORRES

Master Teacher I
Sanchez Mira School of Arts and Trades
Sanchez Mira, Cagayan
Region 02

Academic Writers:

English

 NOVELINE C. TACATA
Teacher III/English Coordinator
Cabarroguis National School of Arts and Trades
Cabarroguis, Quirino
Region 02

 SCHUBERT ANTHONY C. SIALONGO

Master Teacher I
General Leandro Fullon National High School
Hamtic, Antique
Region VI

Science

 DR. CECILIA B. CASTILLO

Head Teacher VI
Siniloan National High School
Siniloan, Laguna
Region IV-A

 TEZA LORRAINE A. MARCOS

Teacher I
AFG Bernardino Memorial Trade School
Marilao, Bulacan
Region III

80
 EVELYN P. CHAVEZ
Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Encoders:

 MIA LORAINE MANUEL

Fairview, Quezon City

Editors:

 ANA LIZA C. CANILANG

Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Facilitator:

 AIDA T. GALURA
Vocational Secondary Administrator II
Angeles City National Trade School
Angeles City
Region III

81
 Republic of the Philippines
Department of Education
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS
PUBLIC TECHNICAL-
VOCATIONAL
HIGH SCHOOLS

Unit of Competency: Apply Finishing Touches on Ladies’

Casual Apparel
Module no. 4 Module Title: Applying Finishing Touches on
Ladies’ Casual Apparel
 MODULE 4

QUALIFICATION TITLE : GARMENTS NC II

UNIT OF COMPETENCY : APPLY FINISHING TOUCHES ON

LADIES’ CASUAL APPAREL

MODULE TITLE : APPLYING FINISHING TOUCHES

ON LADIES’ CASUAL APPAREL

NOMINAL DURATION : 107 HRS.

GARMENTS NC II
WHAT IS THIS MODULE ABOUT?

This module covers the knowledge, skills and attitudes required in

applying finishing touches such as attaching needed accessories and
accent, trimming of excess threads, pressing finished garment and
packing of finished ladies casual apparel.

WHAT WILL YOU LEARN?

After completing this module, you should be able to:

a. apply finishing touches on ladies casual apparel;
b. trim excess threads;
c. press finished garment; and
d. pack finished garment.

WHAT DO YOU ALREADY KNOW?

Pre-test

Let us find out how much you already know about applying
finishing touches on ladies casual apparel.

I. Multiple Choice: Read and understand the items below. Choose the
best answer that will identify the item being described.
Write the letter of your answer in your quiz notebook.

1. The most commonly used type of fastener for upper garments is______.
a. button
b. hook-and-eye
c. snap
d. zipper
2. This is a way of attaching button with two holes.
a. arrow head
b. common way
c. cross
d. parallel
3. This is done to make horizontal buttonholes.
a. a fan in one end and bar on the other end
b. bars on both ends
c. fans on both ends
d. square on both edges
4. This is NOT a characteristic of a well-made buttonhole.
a. buttonholes are overcast
b. cut correctly and accurately
c. cut on the grain line
d. spared evenly

1
5. This is the most appropriate hem for a blouse.
a. catch stitch
b. lock stitch
c. over handing stitches
d. slip stitch
6. This is NOT a seam finish.
a. French seam
b. overcast seam
c. pinked seam
d. zigzag seam
7. This is a tool used to cut excess thread on a finished garment.
a. blade
b. cutter
c. cutter shears
d. trimming shears
8. This is a 4-5 inch cutting tool used to clip thread in the sewing
machine.
a. pinking shears
b. shears
c. trimming scissors
d. trimming shears
9. This means to cut with short quick strokes using a pair of scissors.
a. to cut
b. to snip
c. to slash
d. to trim
10. This is the first step in trimming excess thread in a finished garment.
a. inspect hanging threads
b. invert the garment
c. cut excess thread
d. none of these
11. This is the effect of improper hanging of garment.
a. missing buttons
b. ripped stitches
c. ripped hems
d. wrinkles
12. This is the first step in the packaging procedure of finished garments.
a. folding
b. putting label tags
c. sealing
d. sorting
13. This phase is being referred to whenever you see the label tag “B with
X” over it on finished garment.
a. do not dry clean
b. do not hand wash
c. do not use bleach
d. do not starch
14. This phase is being referred to whenever you see the label tag “hand”
sign of garment.
a. can be hand wash

2
 b. do not hand wash
c. dry clean
d. use hot iron
15. This is a device attached to a commodity stating the price which is
offered for sale
a. label tag
b. price tag
c. packaging tag
d. sealing tag
16. This is NOT included in sorting finished garment.
a. color
b. size
c. style
d. none of these
17. This phrase is being referred to whenever you see the label tag 160ºC
on the finished garment.
a. hot water with any soap on detergent
b. medium hot water with any soap on detergent
c. warm water with the mild soap on detergent
d. cold water with soap on detergent
18. This phrase is being referred to whenever you see DD on the label tag
of a garment.
a. don’t dry
b. door dry
c. drip dry
d. dry and dry

II. Sequencing: Arrange the steps in pressing finished garments using

letters A to G. Write the answers on your quiz notebook.

_____19. Sleeves and sash

_____20. Pockets, facing, seam
_____21. Yoke
_____22. Ruffle and gathers
_____23. Top part of garment
_____24. Hang the garment
_____25. Collar

3
LESSON 1

APPLY FINISHING TOUCHES ON LADIES CASUAL APPAREL

WHAT IS THIS LESSON ABOUT?

This lesson deals on how to apply finishing touches on ladies

casual apparel.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. apply an appliqué in a finished blouse;
2. identify the different kinds of button attachment;
3. follow the correct procedures in marking and making worked
button holes;
4. evaluate a well made hand-worked buttonholes;
5. perform different seam finishes and hemming; and
6. describe the characteristics of a well-sewn hem.

LET US STUDY

Words to Study

 Fastener – a device which permits the opening or closing

of garment
 Hem – made by folding the lower edge of skirts, blouses,
sleeves and various parts of garment with hemming
stitches
 Buttonhole – a finished opening in a garment with button
as fastener
 Seam – the stitching that joins two or more edges of
fabric to form a garment
 Ravelling – a yarn pulled away from fabric
 Accessory – an article that completes a costume like
shoes, gloves, hat, bag, jewelry, and belt
 Appliqué – a contrasting material applied in a flat
decorative manner like patch

4
Attaching Appliqué on Finished Garment

1. Position the design right side out on the outside of a piece of cloth.
2. Baste the design and machine stitch following the outline of the
design.
3. Tear the paper away.
4. Cut the design close to the stitching leaving a raw edge.
5. Position the design on the right side up on the garment.
6. Baste.
7. Make a blanket stitch around the design until it is finished.

Kinds of Fastener

There are four types of fastener which are commonly used. They
are buttons, snaps, zippers and hook-and-eyes.

Buttons
Buttons are the most common fastener used in different types of
garments. Buttons are those with shank and with 2 or four holes. they
are used as fastener or decorations.

Ways of attaching Buttons

1. Square
2. Parallel
3. Cross
4. Arrow head
5. Common way

When attaching buttons with holes, follow

the steps below:

1. Fasten thread on wrong side. Make

a small stitch under the button to
be sewn.

2. Place a pin on a top of the button

and sew over it. A stem is placed so
that there will be space for the
fabric under the button when the
garment is buttoned. Bring needle
up through the button then to the
other hole back to the fabric. Make
several stitches.

3. Remove pin. Insert needle in

between the thread and the fabric.
Wind thread around to make a
stem or shrank. Draw thread on
wrong side and fasten.

5
 4. A button with shank can be
attached like a flat button, except
when the needle is inserted under
the hole in the other side of the
button. This button should not be
sewn too closely to the garment if it
is to be with fasteners.

Worked Buttonholes

Ladies blouses are usually buttoned from right to left so the

buttonholes should be made on the right of the blouse. Holes through
which buttons pass through are called “buttonholes”. If the blouse is
buttoned down at the front, the buttonholes maybe placed horizontally or
vertically. Horizontal buttonholes are made ½ centimeter outside the
centreline. While the vertical buttonholes are made on the center line.
The mark of the exact length of buttonholes should be ¼ centimeter to ½
centimeter longer than the diameter of the button. Buttonholes should be
cut crosswise or lengthwise following are thread of the material. Use
sharp and pointed scissors when cutting the buttonholes. Horizontal
buttonholes are made by making a fan at one end and a bar at the other
end while vertical buttonholes are squared with buttonholes stitches at
both ends.

Worked buttonholes should be:

 spared evenly
 cut following the thread of the fabric
 made correctly according to the size of the buttons
 cut correctly and accurately
 made strong and even

6
Making Worked Buttonholes

The following are the steps in making worked buttonholes:

a. Mark the buttonholes.

b. Make machine stitching around

the mark.

c. Cut the holes with a pair of sharp

scissors.

d. Make buttonholes from right to

left. Start at the side nearest you.
Make a circle with the thread at the
point where next buttonholes stitch
is to be made. Hold the lower edge
of the circle with the thumb. Insert
the needle under the cloth and pull
the needle upwards. Make several
buttonholes stitches up to the end.

e. When the other end is reached,

start making the fan make about 5-
7 stitches to make the rays of the
fan.

f. Continue making the buttonhole

stitches up to the other end. Finish
end of the buttonhole by making 2
bar threads directly across the end.
Work blanket stitches closely over
them. Fasten thread at the back.

7
Snaps

Snaps are used on flat surface

where there is a little stain. These are
commonly used for baby dresses.

Steps to Follow in Attaching Snap Fastener

1. Fasten thread by making two or three

stitches on the mark.

2. Make overhand or buttonhole stitch

on each hole.

3. Continue making stitches on the four

holes. Fasten on the wrong side.

Zipper

Zipper, otherwise known as a

slide fastener, is used to close-openings
in many different types of garments. It
is mostly used in skirts and pants.
Zipper are made with metal teeth or
coils of nylon or polyester that mesh
together.

8
Hook-and-Eye

Hook-and-eye is used to
fasten opening which has
considerable strain. Belts and neck
openings use hook-and-eyes. There
are two kinds of eyes – the round
and straight. The round eye is used
where the edges of the opening just
meet, while the straight eye is used
on edges laps. Sometimes a thread
loop is used on a straight eye if a
very flat closing is desired.

SEAM FINISHES

Seam finishes are most determined by the fabrics and their uses
on the garments. Standard seam allowance on pattern is 5 / 8 or 1.5
centimeter wide.

Type of Seam Finishes

1. Pinked Seam is used for non-frayable fabrics

like wool, silk, velvet, etc. Use pinking
shears in trimming the edges.

2. Overcast open seam is used in over casting

the edges of seams. Blanket stitches are
used in this type of seams.

3. Edge turned and stitch seam is a stronger

finish than pinking and overcast seam
finishes. This is suitable for lightweight
fabrics. Trim the seams and turn raw
edges. Machine stitch or make running
stitches on the edges.

4. Overcasting stitch is a slanting or diagonal

stitch over the new edge of seams to keep
the cloth from ravelling.

9
5. Zigzag open seam is a seam finish for open
seam when there is only zigzagger
available.

6. Overedged seam is seam finish if there is an

over edging machine.

Hemming

Hemming is a kind of stitch that holds folded edge like hem and
facings.

 Kinds of Hem

1. Blind or slip stitch is done under an edge or through a folded

edge. It does not hold hem rigidly to the skirt.
2. Slant hemming is the simplest among the hemming stitches. It is
for fastening bands, binding cuff etc.
3. Catch stitch is used to hold the raw edges of the interfacing and
placed along fold lines. It is done in between the hem and fabric.
It can be used when hemming heavy fabrics that stretch to
prevent a ridge from showing on the right side of the garment.
4. Lock stitch is a type of blanket stitch done between the hem and
outer fabric.
5. Machine stitch may be used in garment in which hem is not
advisable to use.

 Hemming a Blouse

The blouse is usually hemmed by slip stitching. Slip made on the

hemlines should not be seen on the right side of the blouse. Neat
and invisible stitch on a blouse adds to the nice and neat
appearance.

 Procedures in Hemming a Blouse

1. Turn up the hem on the hemline mark.

2. Pin and press the fold edge.
3. Mark the hem width and cut extra materials.
4. Finish the hem by turning the raw edge under ¼ inch and stitch
on the fold.
5. Make slip stitch by taking small stitches on the blouse. Then take
another stitch on the fold opposite where the thread comes out on
the hem garment. Repeat procedures until the hemline of blouse
is finished.

10
 Standards of a Well Sewn Hem

1. Stitches are flat.

2. They are even in width.
3. There are no bulk and wrinkles.
4. Stitches are even and distributed.

LET US REMEMBER

Knowing the knowledge, skills and

good attitudes in learning the different
kinds of hems, seams, and manners of
attaching of fasteners, accents and
accessories will help you a lot in the
construction of a well-made apparel.

HOW MUCH HAVE YOU LEARNED?

Choose the correct answer from the options under each item. Write
the letter of your choice in your quiz notebook.

1. The most commonly used fastener in different types of garments

is______________.
a. button
b. hook-and-eye
c. snap
d. zipper
2. Buttons are attached in many ways. Buttons with 2 holes are attached
with__________________.
a. arrow head
b. common way
c. cross
d. parallel
3. Horizontal buttons holes are made by making______________.
a. fan with one end and bar at other end
b. bars on both ends
c. fans on both ends
d. square on both edges
4. A well-made buttonhole should have the following characteristics
EXCEPT____________________.
a. buttonholes are overcast
b. cut correctly and accurately
c. cut following thread of the fabric
d. spared evenly

11
5. The appropriate hem for a blouse is______________________.
a. catch stitch
b. lock stitch
c. over handing stitch
d. slip stitch

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Make any design appropriate in accenting a plain blouse. Position

your design in the appropriate space in your blouse. Apply the
procedure on how to appliqué. Continue working until it is finished.
Your project will be evaluated based on the following criteria. Put a
check mark in yes column if you meet the standard in making an
appliqué, and no if the standard is not attained.

For Appliqué Project Yes No

Is the design and color suited to the garment?
Is the thread appropriate to the color of the design?
Is the blanket stitch use is flat, same length and width?
Is the finish appliqué free from wrinkles?

Task 2

Prepare 4 buttons with 4 holes and 1 button with 2 holes. Attach

them in 5x6 plain cloths by using the square, parallel, cross, arrow
head and common way. Label your work correctly. The following
criteria will be used.

Task 3

Make worked buttonholes in 5x6 plain piece of cloth. Be sure the

correct procedure. Evaluate your own work by using the standard of a
well-made buttonhole standard.

Task 4

Prepare the six pieces of 3x5 plain cloths. Make at least 3 kinds of
seam finishes. Your work will be graded based on the following
criteria.

Completeness of material……………..35%
Workmanship……………..35%
Sanitary health habit……………..30%
100%

Describe the good standard of a well-sewn hem. Write your

description on ½ sheet of paper. You are given 5 minutes to do the
work.

12
RESOURCES:

 Fasteners
 Seam Finishes
 Kinds of Hemming

Sewing Tools/Materials
 hand/machine needle
 thread
 trimming scissors
 tape measure

Equipment:
 embroidery machine (if available)

REFERENCES:

Leticia S. Navarro, Josephine G. de Guzman, Juanita D. Icasiano,

Homemaking for You and Me, Clothing Construction, Second Year,
Philippine Copyright by Abiva Publishing House, Inc.
Teresa Dionosio, Bertudes S. Saco, Dressmaking 3 and 4 Module 13
SEDP Series, Copyright 1993 by Basic Media Systems, Inc. All
Right Reserved.
Hollen, Norma, Pattern Making by Flat Pattern Method 3rd ed., 1972 U.P.

13
LESSON 2

TRIMMING EXCESS THREADS

WHAT IS THIS LESSON ABOUT?

This lesson deals with trimming excess threads on finished

garment of ladies casual apparel.

WHAT WILL YOU LEARN?

At the end of the lesson you should be able to:

1. manipulate trimming tools skilfully;
2. apply trimming techniques in removing excess threads on finished
garment; and
3. hang finished garment properly.

LET US STUDY

Words to Study

 Trim - to make neat by cutting away excess parts and to

make it even
 Trimming - a technique applied to make edges even
 Technique - a method of accomplishing desired aim
 Snip - to cut with short quick stroke with a scissor
 Twine - a strong thread of 2 or 3 strands twisted together

Trimming Tools and Their Uses

Trimmings scissors are cutting tools with blade under 6 inches in

length and with identical handle.

Sharp scissors make clean cut and well defined notches. Dull
scissors make the cutting process slow and make your hem and wrist tire
easily. Trimming scissors should not be used for other household task
such as cutting papers or twine. Remember that trimming scissors last
longer if you occasionally put a drop of oil on the screw assembly.
Scissors handles have the same size, while shears has one handle
larger than the other. Sharp shears make clean cuts and well-define
notches. They do not damage fabrics. Dull shears slow the cutting
processes and make your hand and wrist tire easily. Cutting shears
should not be used for other household task such as cutting papers or
twine. Scissors and shears last longer if you occasionally put a drop of oil
on the screw assembly.

14
 1. Trimming scissors - with10 – 15
centimeter and 4 – 5 inches long are
convenient to use at the machine for
they clip threads to hold in the ease
of the seam close to the presser foot
or to snip slashes.

2. Light trimmers are ideal for repairs,

alterations, trimming seams small
cutting jobs

Procedure in Trimming Excess Threads on Finished Ladies’ Apparel

Finished Blouse

1. Invert the garment.

2. Inspect for hanging/excess threads on the different parts.
3. Cut excess threads starting from top to bottom.
 neckline, facing, collars
 shoulder seams and paddings
 armhole seams and seam finished
 sleeve hems
 front darts/back darts
 blouse bottom hems
4. Invert blouse right out. Trim excess thread on:
 plackets
 button attachment
 other trimmings/accents

Finished Skirt

1. Invert skirt.
2. Inspect hanging excess thread
3. Cut excess threads from top to bottom:
 waist band
 hook- and eye attachment
 side seams
 slit
 hemline
4. Turn skirt right side out. Trim excess threads on:
 plackets
 pockets if any
 trimming/accents

Long Pants

1. Turn the pants garment wrong side out.

2. Inspect for hanging excess threads.

15
 3. Cut excess thread from top to bottom.
 waistline
 hook and eye
 ply
 pockets
 inseams
 out seams
 bottom hem
4. Turn pants right side out trim excess threads on:
 waist band
 placket
 pocket mouth
 side seams
 bottom hem

Points to Remember in Hanging Finished Garment

Hanging garments is an easy task. Hang garments of the same

kind. Provide spaces in between hanged garments to preserve its
professional look.
 Reverse and hang finished garment in an airy place.
 Use clothes hangers in hanging.
 Don’t hang garments under the sun. Exposure to sunlight will
make the garment fade easily.
 Press garment before hanging.
 Avoid over crowding in hanging to avoid too much wrinkles on the
different parts.

LET US REMEMBER

Trimmed excess thread in finished garment means neat,

orderly and well-constructed garment.

HOW MUCH HAVE YOU LEARNED?

Answer the following questions briefly.

1. What specific tools are used in trimming exceeds threads on

finished garments?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
2. How is trimming threads done systematically?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

16
 3. Where do you hang a finished garments? Why?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

LET US APPLY WHAT YOU HAVE LEARNED

Task 1

Practice using the trimming shears by cutting excess threads on a

garment.

The class is divided into three groups. Groups will demonstrate how to
trim excess thread on a blouse. Group II will demonstrate the
procedure in trimming excess thread on skirt. Group III will
demonstrate the correct procedure in trimming excess thread on long
pants.

You will be rated based on the following criteria:

Discipline . . . . . . . . . ………... . . . . . . . . . . . . 40%
Correct procedure in trimming . . . …………. . . 40%
Sanitary health habits . . . . . . . . . . . . . . . . . . 20%___
Total 100%

RESOURCES:

 Trimming tools
 Garments
 Clothes hanger

REFERENCES:

Singer Sewing . Reference Library. Sewing Essentials Creative

Publishing, A Division of Cowles Enthusiast Media, Inc.
Minnetorka, Minnesota, USA
Carmelita Bildan Hilario, Clothing Technology Made Easy
Philippine Copyright, 2001

17
LESSON 3

PRESSING FINISHED GARMENTS

WHAT IS THIS LESSON ABOUT?

This lesson deals with pressing finished garment on ladies casual

apparel.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. identify the pressing tools and their uses;
2. execute the general techniques in pressing garment;
3. follow the procedure in pressing finished garment;
4. discuss the methods of removing stain from fabrics; and
5. appreciate the beauty of well finished garments.

LET US STUDY

Words to Study

 Cuff – band on hems of sleeves encircling arms for short sleeves or long
sleeves.
 Lapel – part front coat that folds back when the collar is being worn
 Ruffle – strip or piece of fabric attached to hems or ends of any garment
article where it is applicable
 Scorch – to iron dry on the surface
 Stain - a small soil or disclosed area
 Yoke – a fitted portion on the upper part of the bodice, blouse or skirt is
served

Pressing

Pressing is important in garment construction for it shapes and set

stitched lines. It is done on the seam and darts to lay flat the point
pieces.
Before beginning to press; remember these following points
 Be sure that iron is clean.
 Care should be taken when pressing silk, wool, and rayon.
 Iron is not being too hot for wool and silk will be yellowed and
scorched at a comparatively high temperature.
 A hot iron will melt rayon fibers.
 Press wool and silk on the wrong side.
 Pressing on the right side produces an undesirable shine.

18
  Cotton and linen may be pressed on either sides.
 Vegetables fibers stand a hotter iron than those of animal origin.
They are easier to press when slightly damp.

Pressing Tools and Equipment and Their Uses

1. An electric iron is used in straightening

wrinkle on finished garment for a neat
appearance.

2. An ironing board is padded, smooth

and adjustable in height. The cover
should be kept clean and smooth for
ready use.

3. Ironing board sheet cover should be

made of cotton or linen with light
colors and it is used in covering the
ironing board.

4. Bowls and sponges are used to dampen

fabrics for easy ironing.

5. Press cloth is used to prevent iron shine and is always used when
applying fusible interfacing.

How to Use an Iron

 Do not let the iron cord drag over your work.

 To avoid scorching the iron board cover, tilt the iron back on its
heel when not in use.
 If starch or sizing is stuck to the iron, let it cool, and then scour it
with soap and non scratching scouring powder or baking soda.
 Turn off the iron when it is not in use.
 It is safe to use distilled water on steam iron.

19
General Pressing Techniques

 Regulate the iron temperature as directed on the permanent care

label, or on the dial setting for the fabric. If you are unsure about
the fiber content, begin by testing it with low temperature setting.
 If you are working on the thin fabrics or doing slow work, as in
shrinking or pressing gathers, keep the iron temperature slightly
lower than for heavier fabrics.
 Line and cotton require considerable moisture or eliminating
wrinkle and should be pressed until dry for smooth finish.
 Wool requires moisture in pressing to prevent damage to the fibers
– dry heat maker them brittle.
 Thick materials need more pressure.
 Thermoplastic, man made-fibers are heat sensitive for they tend to
melt and glaze. These fabrics often press better dry.
 Use the tips or edge of the iron on seams, hold the iron above the
fabric and apply it light by easily damaged texture.
 Press with grain.
 Avoid pressing over basting or pins.
 Press embroidery, brand buttons, and such rough textures from
the wrong side over the soft pad.
 Press collars, lapels, cuff, belts, and pocket first on the wrong side.
Then finish them on the right side very lightly over a press cloth.
 Avoid lengthwise creases in sleeves or lapels.
 Remove any stains or soil before pressing, as heat would probably
set the stain.

Procedure in Pressing Finished Garments

1. Press interior parts, such as pocket facings, seams, linings, and

shoulder pads.
2. Press dangling parts, such as sleeves and sashes.
3. Press ruffles and gathers before the other parts.
4. Press yoke and shoulder seams before the lower blouse.
5. Press the top parts of long garment before the lower part, blouse
before skirt, skirt top before lower part of the skirt.
6. Collar is usually the last because its position next to the face is so
important.
7. Hang the garment on a well padded hanger to dry completely,
without crowding.

Characteristics of Well Pressed Garments

Pressing can be added to a garment’s attractiveness. How will you

know if you have pressed carefully? There are some signs that
indicate a well-done job.
 The garment is free of wrinkles.
 The original texture has been preserved.
 The original shape of the garment has been maintained.

20
  No outline on the inside details slows on the outside.
 Inside long seams have been pressed open if they were pressed
open originally.

Methods of Removing Stains from Fabrics

Stain Cotton and Linen Rayon, Silk and

Wool
Blood  New stain: Soak in cold or  Cover with paste of
lukewarm water for raw starch and
several hours in soapy water. Let dry and
water. brush.
 Old stain: Soak in warm  Sponge in cold or
water and ammonia. Use lukewarm water.
2 tablespoon of ammonia Remove grease
to 1 gallon of water. spot with solvent.
Coffee  Wash in ordinary  Sponge the stain
washing. with cold or
 Lay garment with stain lukewarm water.
over a vessel. Pour boiling
water from length of 2 or
3 feet through the stain.
Fruit  Stretch the stain and  Use warm water
material over a basin. and sponge the
Pour boiling water on the stain. Add a few
spot from a length of 3 to drops of ammonia
4 inches. to hydrogen
peroxide, and then
lightly sponge the
spot.
Grease  1. Wash as in ordinary  Sponge with
laundering. Naptha soap alcohol
is especially good.
Iron rust  Sprinkle the stain with  Use the same
salt moisture and with methods usually
lemon juice and place in for cotton and
the sum. Repeat process linen.
if necessary.
 2. For white material use
few drops of oxalic acid.
Wash the acid out
thoroughly with water.

LET US REMEMBER

The achievement of professional appearance in

pressing requires understanding and careful attention to
fabric construction, fiber content and finishing touches.

21
HOW MUCH HAVE YOU LEARNED?

Questions:

1. What are the characteristics of a well-pressed garment?

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
2. How does one judge a well-fitted garment?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
3. How are stains, spots and marks removed from a garment?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

LET US APPLY WHAT YOU HAVE LEARNED

There are several kinds of fabric satin with blood. Select one and
remove the stained spots carefully. You will be rated using the following
criteria.

Stain is totally removed - 5

Stain is light brown - 4
Stain is medium brown - 3
Stain is dark brown - 1

RESOURCES:

Pressing Equipment
Model Garments
Different Fabric Swatches

REFERENCES:

Mabel D. Erwin, Lilia A. Kinchen, Kathleen A. Peters, Clothing for

Moderns Sixth Edition
Carmelita Bildan Hilario, Clothing Technology Made Easy, Philippine
Copyright, 2001
Margarita J. Fernandez, Modern Dressmaking and Methods, Preliminary
Edition

22
LESSON 4

PACKING THE FINISHED GARMENT

At the end of the lesson, you should be able to:

1. prepare packaging materials of finished garment;
2. practice the packaging procedures of finished garment; and
3. observe sanitary health procedures in packaging finished
garments.

LET US STUDY

Words to Study

 Sorting is a process of separating pieces of work according

to kind, class or nature.
 Label is a slip attached to something for identification or
description.
 Price tag is a piece of material attached to a commodity
stating the price.
 Packaging to make into or enclose in a package the process
of enclosing a finished apparel into a appropriate packaging
material, pressed, folded and labelled

PACKAGING

Product packaging has assumed a great importance in modern

marketing. Packaging is not only an important means of protecting
the content, but also a powerful means of pre-selling the consumer
and assisting in-store selection.
The package that gives the consumer an advantage and greater
satisfaction in some manner comes from sale promotion like a pouring
spout or cellophane tops for easy opening.

Packaging Materials of Finished Garments

Label
The following information should be
included in the label of finished
garments.
 Brand name or trade mark
 Country origin
 Physical and chemical
composition

23
 Care Label Symbols

Symbols Used in Washing, Dry Cleaning and Ironing Clothes.

Recommended Wash Temperature

160° hot water any soap or detergent

120° medium hot water with any soap or detergent
105° warm water with a mild soap or mild detergent
CW use cold water; it lessens the danger or staining and
shrinkage
WS wash separately; it lessens the danger of staining and
shrinkage

Recommended Heat Temperature in Ironing

H hot iron

M medium-hot iron

C cool iron

S steaming iron

L little or no ironing

24
 Symbols for Correct Washing Method

DD drip-dry
TD you may tumble-dry
DR dry rapidly (for example remove excess moisture between
towels)
SD spin-dry
DF dry flat
LD hang on line towel

Here are how these symbols might look on labels; what they tell you

 Wash by machine or by hand ion hot water with any soap or

detergent. Use
bleach carefully.
Tumble-dry. Do not
dry-clean. Iron with
hot iron.

 Wash by hand in
warm water with any
soap or detergent. Do
not bleach. Dry-clean.
Little or no ironing.

 Wash by hand by
lukewarm water mild
soap or detergent. Do
not bleach. Dry
rapidly. Dry-clean. Do
not iron.

Price Tag
A price tag is a devise attached to a commodity which states
a price. A price tag should be visible, clearly written, no alteration or
erasures of any sort.
A. Cellophane
Appearance of packing cellophane
 clean
 free from wrinkles
 with flap
 fitted to the size of garment

B. Characteristics of Packing Tape

 adhesive
 transparent
 clean
25
 C. Marking Pen
Marking pen should be black, permanent, and does not blot.

Packaging Procedure for Finished Garment

1. Sorting of garments according to:

 Style
Example: Blouses with sleeve and with sports collar should
be together.
 Color
Example: Blouses of the same style and same color must be
together.
 Size
Example: XXL - Extra Extra large
XL – Extra Large
L – Large
M – Medium
S – Small
XS – Extra small

3. Putting label and price tags

4. Folding finished garment
5. Packing finished garment in cellophane
6. Sealing the packed garment

LET US REMEMBER

Remember to look for care labels when you buy ready-to-

wear garments. They may have special message for you on how
to give care to your garments.

HOW MUCH HAVE YOU LEARNED?

Explain briefly your answer for the following questions:

1. Why is labelling garment needed or important?

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
2. How are finished garments packed?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

26
LET US APPLY WHAT YOU HAVE LEARNED

Task 1. Prepare a sample label tag and price of finished garment.

Your work will be rated based on the following criteria.

1. completeness - - - - - - - - - - -40%
2. clarity - - - - - - - - - - - - - - - -40%
3. neatness - - - - - - - - - - - - - - 20%
TOTAL 100%

Task 2. The class is divided into 3 groups. First group will

demonstrate the procedures in packaging blouse. Second group
will demonstrate the procedures in packaging skirt. Third group
will demonstrate the procedures in packaging ladies long pants.
You will be rated with a simple rubric.

demonstrated 5 correct procedures - - - -10

demonstrated 4 correct procedures - - - - 8
demonstrated 3 correct procedures - - - - -6
demonstrated 2 correct procedures-- - - - -4
demonstrated 1 correct procedure --- - - - 2

Post-test

Read and understand the questions below. Choose the best answer
by writing the letter of your answer in your quiz notebook.

I. Multiple Choice: Read and understand the items below. Choose the
best answer that will identify the item being described.
Write the letter of your answer in your quiz notebook.

1. There are four types of fastener. Which of the following is the most
commonly used?
a. button
b. hook-and-eye
c. snap
d. zipper
2. This is a way of attaching button with two holes.
a. arrow head
b. common way
c. cross
d. parallel
3. Horizontal buttonholes are made by making what?
a. a fan with one end and bar at the other hand
b. bars on both ends
c. fans on both ends
d. square on both edges
4. Which is not a characteristic of a well-made buttonhole?
a. buttonholes are overcast

27
 b. cut correctly and accurately
c. cut following the thread of the fabric
d. spared evenly
5. Which of the following is the appropriate hem for blouse?
a. catch stitch
b. lock stitch
c. over handing stitches
d. slip stitch
6. Which of these is not a seam finish?
a. French seam
b. overcast seam
c. pinked seam
d. zigzag seam
7. What tool is used to cut excess thread on a finished garment?
a. blade
b. cutter
c. cutter shears
d. trimming shears
8. What cutting tool has 4-5 inches long and is used to clip thread in the
sewing machine?
a. pinking shears
b. shears
c. trimming scissors
d. trimming shears
9. This means to cut with short quick strokes using a pair of scissors
a. to cut
b. to snip
c. to slash
d. to trim
10. What is the first step in trimming excess thread in a finished
garment?
a. inspect hanging threads
b. invert the garment
c. cut excess thread
d. none of these
11. What is the effect if garments are not properly hung?
a. missing buttons
b. ripped stitches
c. ripped hems
d. wrinkles
12. What is the first procedure in packaging a finished garment mean?
a. folding
b. putting label tags
c. sealing
d. sorting
13. What does “B with X” in the labels of finished garment mean?
a. Do not dry clean
b. Do not hand wash
c. Do not use bleach
d. Do not starch

28
14. What does a “hand” sign placed on the label tag of garment mean?
a. can be hand washed
b. do not hand wash
c. dry clean
d. use hot iron
15. What do you call a packaging material attached to a commodity
stating the price offered for sale?
a. label tag
b. price tag
c. packaging tag
d. sealing tag
16. Which is not included in sorting finished garments?
a. color
b. size
c. style
d. none of these
17. What does “160ºC” on the tag of the finished garment mean?
a. hot water with any soap or detergent
b. medium hot water with any soap or detergent
c. warm water with the mild soap or detergent
d. cold water with soap or detergent
18. What does “DD” on the label tag of garment mean?
a. don’t dry
b. door dry
c. drip dry
d. dry and dry

II. Sequencing: Arrange the steps in pressing finished garments using

letters A to G. Write your answers on your quiz notebook.
_____19. Sleeves and sash
_____20. Pockets, facing, seam
_____21. Yoke
_____22. Ruffle and gathers
_____23. Top part of garment
_____24. Hang the garment
_____25. Collar

29
KEY TO CORRECTIONS

Pre-Test Post-Test

1. a 1. a
2. b 2. b
3. a 3. a
4. a 4. a
5. d 5. d
6. a 6. a
7. d 7. d
8. c 8. c
9. d 9. d
10. a 10. a
11. d 11. d
12. d 12. d
13. a 13. a
14. a 14. a
15. b 15. b
16. d 16. d
17. d 17. a
18. a 18. c
19. a 19. b
20. b 20. a
21. a 21. d
22. d 22. c
23. c 23. e
24. e 24. g
25. g 25. f

RESOURCES:
Sample Label tags
Model Garments
Pressing tools
Cardboard
Scotch tape
Writing Pens
Polybag/Plastics/Cellophane/Plastic Acetate (depends on available
resources)

REFERENCES:
Avelina M. Marcos, et al.
Technology Phoenix, Publishing House, Inc

Berta Carson, How to Look and Dress, Mc Graw-Hill

Book Company, Inc., New York , Toronto, London

Margil Vanderhoff, Associate Professor, Indiana University

30
 TABLE OF CONTENTS

Module 4 Apply Finishing Touches on Ladies’ Casual Apparel

Pretest .......................................................................................................................1

Learning Outcome 1 Apply Finishing Touches on Ladies’ Casual Apparel

Let Us Study ............................................................................................................4

 Attaching Appliqué on Finished Garment ...................................................5
 Kinds of Fastener
 Buttons ...................................................................................................5
 Worked Buttonholes ..............................................................................7
 Snaps ......................................................................................................8
 Zipper .....................................................................................................8
 Hook and Eye .........................................................................................9
 Seam Finishes ..............................................................................................9
 Hemming
 Kinds of Hem .......................................................................................10
 Hemming a Blouse ...............................................................................10
 Standards of Well Sewn Hem ..............................................................11
How Much Have You Learned? ............................................................................11
Let Us Apply What You Have Learned ................................................................12

Learning Outcome 2. Trimming Excess Threads

Let Us Study ..........................................................................................................14

 Trimming tools and their uses....................................................................14
 Procedures in Trimming Excess Threads of Finished
Garments of Ladies Apparel ......................................................................15
 Points to Remember in Hanging Finished Garment ..................................16
How Much Have You Learned? ............................................................................16
Let Us Apply What You Have Learned .................................................................17

Learning Outcome 3. Pressing Finished Garment

Let Us Study ..........................................................................................................18

 Pressing
 Pressing Tools and Equipment and Their Uses ...................................19
 How to Use an Iron ..............................................................................19
 General Pressing Techniques ...............................................................20
 Procedure in Pressing Finished Garments ...........................................20
 Characteristics of Well Pressed Garment ............................................20
 Methods of Removing Stains from Fabrics ...............................................21
How Much You Have Learned? ............................................................................22
Let Us Apply What You Have Learned .................................................................22

Learning Outcome 4 Packing the Finished Garment

31
Let Us Study ..........................................................................................................23
 Packaging
 Packaging Materials of Finished Garment ...........................................23
 Label ....................................................................................................23
 Care Label Symbols .............................................................................24
 Recommended Wash Temperature ......................................................24
 Recommended Heat Temperature in Ironing .......................................24
 Symbols for Correct Washing Method ................................................25
 Price Tag ..............................................................................................25
 Packaging Procedure for Finished Garment ..............................................26
How Much Have You Learned? ............................................................................26
Let Us Apply What You Have Learned .................................................................27

Post test ..................................................................................................................27

Key to Correction ...................................................................................................30

32
 ACKNOWLEDGMENT

The Department of Education wishes to extend thanks and

appreciation to the representatives of the different Secondary Technical-
Vocational Schools who shared their expertise in developing the
Competency-Based Curriculum (CBC) and Competency Learning Matrix
(CLM) on February 25-29, 2008 and Competency-Based Learning
Materials (CBLM) on April 14-19, 2008, refinement and packaging of
CBLM on May 5-10, 2008 and final repackaging on May 23-25, 2008 at
the Development Academy of the Philippines, Tagaytay City and the final
refinement of CBC-CLM-CBLM at the Marikina Hotel, Marikina City on
April 20-25, 2009.

This learning material was developed, enhanced and refined by the

following personnel:

Writeshop on the Development of CBC-CLM

Writers:

 ELORJEN VILLAMAYOR
M. S. Enverga Memorial College of Arts and Trades

 LORENA GENITO
Zamboanga Del Sur School of Arts and Trades

 PURIFICACION RAZON
Don Alejandro Sr. Science and Technology High School

 ROSSANA I. SAGUID
Tanza National High School

 LUZ AGBULUS
Zamboanga del Sur School of Arts and Trades

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 ANNABELLE R. DE LEON
Tanza National Trade School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 PRESCILLA RAYOS
Community Vocational High School

33
 Encoder:

 MYRNA COVILLA

Consultant:

 ROSITA CREDO
TVE Consultant

Writeshop on the Finalization, Packaging and Repackaging of CBC-

CLM-CBLM

 ALVA NALDOZA
General Santos City

 ESTRELINA PALALON
Glan School of Arts and Trades

 FRANCISCA BUMANGLAG
Jones Rural School

 JULIE ANNIE M. PESTAÑO

General Mariano Alvarez Technical High School

 MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

 ANNABELLE R. DE LEON
Tanza National Trade School

Writeshop on the Refinement and Enrichment of CBC-CLM-CBLM of

Arts and Trades Specializations

TVE Writers:

 ANNABELLE R. DE LEON
Teacher III
Tanza National Trade School
Paradahan I, Tanza, Cavite
Region IV-A

 MARIA M. DEL MUNDO

Teacher III
E. Rodriguez Vocational High School
Nagtahan, Sampaloc, Manila
NCR
 MARIA VICTORIA M. FERNANDO
Teacher III

34
 Pangasinan School of Arts and Trades
Lingayen, Pangasinan
Region I
 NIMFA O. MARMOL
Teacher I
Muntinlupa Business High School
Muntinlupa City
NCR

 DR. MILAGROS M. TORRES

Master Teacher I
Sanchez Mira School of Arts and Trades
Sanchez Mira, Cagayan
Region 02

Academic Writers:

English

 NOVELINE C. TACATA
Teacher III/English Coordinator
Cabarroguis National School of Arts and Trades
Cabarroguis, Quirino
Region 02

 SCHUBERT ANTHONY C. SIALONGO

Master Teacher I
General Leandro Fullon National High School
Hamtic, Antique
Region VI

Science

 DR. CECILIA B. CASTILLO

Head Teacher VI
Siniloan National High School
Siniloan, Laguna
Region IV-A

 TEZA LORRAINE A. MARCOS

Teacher I
AFG Bernardino Memorial Trade School
Marilao, Bulacan
Region III

 EVELYN P. CHAVEZ
Teacher I
Pedro E. Diaz High School

35
 U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Encoders:

 MIA LORAINE MANUEL

Fairview, Quezon City

Editors:

 ANA LIZA C. CANILANG

Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Facilitator:

 AIDA T. GALURA
Vocational Secondary Administrator II
Angeles City National Trade School
Angeles City
Region III

36