CLOTHING CONSTRUCTION

TOPIC 1: INTRODUCTION TO CLOTHING CONSTRUCTION

DEFINITION OF TERMS

Clothing is an item worn on the body (attire and apparel) that can be made from fiber or
textiles t is an identity for human being to serve the purpose of protection, identity,
adornment

Functions of clothing

Utility: protective purpose

Modesty: cover nakedness

Immodesty: sexual attractiveness

Adornment: enrich and beautify, show creativity

Apparel: used to define clothing in an industrial context

Symbolic differentiation: affiliation to faith, profession, religion, social status or

lifestyle

Social affiliation: belong to a group

Fashion merchandize: includes clothing and accessories in a commercial context

Fashion is an art and a form of self-expression that involves a series of activity.

Specialized form of body adornment

“all fashion is clothing although not all clothing is fashion”

Dressmaking this is making of clothes for women. Some of the characteristics include
ruffles, frills. Ribbon or braid trims. This has since fallen out of use since the rise of
casual wear.
Tailoring this is the making, repairing or altering clothes especially suits and men’s
clothes. It has a set of specific hand and machine sewing and pressing techniques that are
unique to the construction of traditional jackets. Design lines e.g collars and lapels are
defined by sharp edges and all lines are smoothly curved or perfectly straight.

Designers they choose combinations of line, proportions colour and texture for intended
garments. They may have no sewing or pattern drafting skills and only sketch or
conceptualize garments

Patternmakers they flat draft the shapes and sizes of numerous pieces of a garment by
hand using paper and measuring tools or by computer using AUTO-CAD based software
or by draping muslin on a dress form.

Seamstress is someone who sews seams or a machine operator in a factory who may not
be skilled to make garments from scratch or to fit them on a real body

CAREERS IN CLOTHING

After graduation: Every now and then an enormous number of clothing/ fashion and
textiles graduates are produced for the career market and it are is difficult available to for
resist work. It is therefore important to have received some interest, promptly follow up
any leads, If not, don't become despondent and, most importantly, stay focused. The
fashion industry is very diverse and many people enjoy the variety this brings.

Seeking career opportunity requires one to organize your time and activities and consider
enhancing your skills and experience since this is what the career market considers most

Employment prospects

Government statistics In the United Kingdom, Europe and the United States show that the
number of vacancies in the fashion and textile Industries are shrinking and forecasts are
that the situation will continue. Wage work and salaried employment in the apparel
industry is expected to decline by sixty-nine per cent through to 2012. The loss of jobs is
concentrated mainly at the lesser skilled, full-time employment end of the manufacturing
market because of offshore production. However, It is predicted that there will be a
continuing demand for higher technical skills centered on pre-production in design,
information technology (IT) and advanced computer-aided design and manufacturing
technologies, and traditional handcraft skills associated with high quality clothing.
Growth areas include product development (design and technology), cutting and
planning, computer-aided production, hand-tailoring, management and logistics. The
need for textile and fashion designers should remain strong, and possibly increase,
because the demand for fashionable clothing is substantial and expanding in the casual
menswear, sportswear and children wear sectors, in plus-sizes and in clothing for the
over-forty age group. Nevertheless, competition for design jobs is keen.

Real working conditions

Employment practices are shifting and recent graduates should expect difficulty in
finding a position or are likely to breed short-term entry-level contracts or asked to work
on a part-time or freelance basis for little remuneration. Skills Training in Information
technology and production machinery processes is often available through local
education or careers centres through college training , or can be gained while on the job.
Empirical studies in both the United Kingdom and the United States show that four out of
ten designers are self-employed. Surveys show that mature graduates face an even greater
challenge in establishing themselves, and are more likely to be self-employed. It takes
time to network and build up contacts and a reputation. It is important to maintain
relationships with friends and colleagues as many jobs are obtained by word of mouth.
Self-employment is fragmented and carries the ongoing burden of finding assignments,
and the responsibility for record keeping and tax returns.

The Princeton Review of Careers states that the chances of becoming an internationally
famous fashion designer are 160,000 to one. Only about one per cent of design graduates
actually work as designers; seventy per cent take up satisfying work in other wide aspects
of the opportunities industry, help notably that offer production, closer scope to for retail
personal creativity and administration. Fulfilment and knowledge.

Employment conditions and working hours vary widely. Regular nine-to-five days are
still commonplace, but larger businesses may expect shift work, and many retailers now
open all weekend. In Europe most of the fashion and clothing sector is made up of small
businesses; in the US the major employers are larger conglomerates and factories.

There are, however, a wide number of career opportunities besides that of designer that
offker scope for your creativity, skill and knowledge. Some are technical jobs, others
involve statistics and logistics, and some have a high social aspect, involving liaison with
press and public. It is a varied field. There is full-time, part-time and a great deal of
freelance and consultancy work. There are too many levels of career and variations on a
theme within fashion to list them all, but there is a broad guide below to the areas of
employment you might consider, and an additional list on page 210.
 a. Careers in manufacturing and production include:Textile/ clothing
technologists, sewing and sample machinists, textile designer, fashion/
specification, illustator , CAD/CAM technician,pattern cutters, machinists, quality
controller, production manager, presser, pattern maker, industrial machine
operator,
b. Careers in buying and retail: visual merchandizer, public relation manager,
fashion editors, fashion journalist, fashion stylist, fashion photographer, fashion
predictor, fashion illustrator, fit model, colorist, graphic designer for clothing and
branding, internet designer for clothing and websites
c. Teaching: technical trainer, academic researcher, consultant

CLOTHING OCCUPATION IN KENYA

In Kenya the garment manufacturing industry is diverse. Clothes are produced in large
industries e.g. EPZ for export including men’s wear and women’s wear. RIVATEX

Designers have set up their own establishment/ companies making made to measure
garment and ready to wear for clients. Example of designers include MEFA Creations of
Akinyi Odongo, Occasion and days of Monica Kanari.

Local tailors also produce garments for customers at affordable rates.

Colleges of fashion are coming up to equip students with skills

CATEGORIES OF CLOTHING

Women wear

Women wear offer greater opportunities in the career for clothing industry, the market is
saturated involving high market demand, the rewards and satisfaction

This form of wear involves communicating ideas and vision with sketches and design
specifications in discussion to translate the taste and budget level of the target market into
creative, desirable and profitable fashion products created in large quantities.

Involves tasks such as cataloguing fabrics and trimmings, checking archives and
familiarizing yourself with patterns, costings and ranges, and should be regarded as
necessarily informative. Requires flexibility, responsibility and promotion skills. You
will be required to keep up to date with current trends through analytical shopping,
reading magazines and awareness of market influences - much of which will have to be
done in your own time.
Involves selecting fabrics and trimmings, creating mood boards, working with pattern-
cutters and sample machinists on sample ranges, and making design decisions and
alterations in fit and finish using elements of flat pattern, draping and tailored-garment
construction.

It also involves a responsibility to establish or maintain the silhouette, colours and 'look'
of the range and to produce a mix of items that co-ordinate with or complement other
lines. Balancing a range to excite the consumer with both classic and new items, fabrics
and colours is necessary.

Range of garments:

 Skirts
 Blouse
 Dresses
 Jackets design andconstruction
 Coats
 Dungaree
 Jump suit

Trousers

Lingires

Men’s wear

.menswear move more slowly than in women’s wear. Designing acute eye for subtle and
incremental change because change the details management, rather than manufacture the
silhouette and or sales colour.

The business suit and working uniform remain a staple of the clothing industry;
menswear is more clearly split between formal or working attire and casualwear than
women wear. Since the skills and approach required are very different, menswear
designers are wise to specialize. A large number of tailors and smaller companies died
out with the increase in automation and the growth in mass-produced wear, which
favored larger firms. However the sector is experiencing a revival since men have
become fashion conscious

Men are now much more interested in their appearance both at work and play, and are
spending more on clothing, than in the past. Diversity and choice are important aspects of
demand and mid-market, middle-sized companies are gaining in strength. Low-cost
stylish suits that can be replaced rather than valeted are now the norm.
Tailored styles are based on a tradition of measurements and practices and labour-
intensive making-up. The suit and coat market offers work ranging from made-to-
measure tailoring skills to mass-produced styles laser-cut using CAD/CAM equipment.
Designers in this sector need an understanding of standards and quality, technical
methodologies in British and European assembly, and an appreciation of the subtle
differences in cut and styling that can distinguish a brand in the classic market and satisfy
the confidence of the client.

The burgeoning casualwear and spin-off sports-style market demands a fast-fashion

approach similar to that in the womens wear market but with less sharp delineation
between seasons and years. Sports and the trend for fitness have an important impact on
the market. Because tastes in style and fashion can change quickly, designers need to be
aware of current trends, open to new influences, and quick to react. The ability to design
logos and T-shirt imagery is an important part of this trade, and skills in information
technology and the ability to draw accurate specifications and patterns is increasingly
demanded of the graduates. As a response to earlier trading conditions, menswear
companies often have fewer personnel than women’s wear ones, and problem-solving
skills and the ability to work independently and to start projects

Range of garments in men wear

Classic shirt
 Casual shirt
 Slimline shirt
 Classic suit jacket
 Basic overgarment
 Easy fitting overgarment
 Pyjama
 Basic jeans
 T-shirt

Basic jacket
 Tailored shirt
 Classic trouser
 Classic easy fitting suit jacket
 Classic waist coat
 Overgarment jersey

Children wear
Baby wear

trouser
Baby sleep suit
Children
shirt
over garment
T-shirt
Knit wear
Jeans
trouser
underwear
dress
Formal coat
Skirt
Classic trouser
OTHER CATEGORIES

Knit wear

Opportunities in knit wear are broad and diverse to include clothes such as T-shirts,
sweaters, stretch fabric clothing, sportswear, active wear, hosiery. It gives flexibility to
create styles for a diverse market

These are popular across menswear, women wear and children wear because of their
quality such as comfort, fit, softness and performance such as factors such as warmth,
coolness through sweat absorbency, durability and easy laundering

Knit wear tend to be profitable in manufacturing industry since the production has been
automated to eliminate sewing and finishing costs e.g. hosiery and seamless knitted
garments produced on high tech cylindrical machines

Uniforms

Sports wear

Bridal wear

Lingerie

Millinery
 TOPIC 2: SAFETY RULES AND HEALTH HAZARDS IN THE TEXTILE
AND FASHION STUDIO

A work place hazard or risk is any situation or act that has the potential to cause harm to
a person who gets exposed to it or cause damage to property. Work place hazards may
result to:
i) Occupational accidents
ii) Occupational diseases, ill health or death.
iii) Damage to property
Safety is the control of recognized hazards in order to achieve an acceptable level of risk.
It is the state of being free from danger or harm
It is the quality of not causing injury, danger or loss to personnel and or property.
Every manager and supervisor has a legal obligation to protect the health and safety of
the operatives at work. Every source of danger therefore should either
 Be removed
 Recognized
 Marked as one
Safety procedures have to be written down in a safety manual and included in the training
of the operatives.
It is also the responsibility of the management to manage risks through applications of
policies, procedure and practices to identify, assess, control and monitor risks (According
to places of work act-Cap 514).Before any change in a work place, work practices,
activity or practices, it is the responsibility of the management to identify, assess,
eliminate or minimize the possible risks that may arise as a result of the change.
Five advantages of the health and safety precautions in a studio/factory;
 Helps the management identify possible risk factors and develop mitigation
measures
 It enhances the safety of both the workers and plant
 Reduces the cost that results from hazards/ accidents
 Helps to retrain the workers on health and safety issues
 Helps the management identify the protective clothing and devices required for
each section
Causes of hazards
 Mechanical
 Machines
 Tools & Equipment
 Chemicals
 Condition of the floor
  Poor house keeping
Risks or hazards can be grouped as follows:
 Physical hazards which include: Noise, vibrations, light, temperature and
electrical energies, Poor house keeping
 Chemical hazards such as: Skin absorption and ingestion and cause irritation on
the skin or the upper or lower respiratory track.
 Asphyxiates (cause one to lose oxygen and suffocate) which may result from
systematic poisoning from gases or chemicals. These are also referred to as
environmental agents
 Biological hazards such as bacteria, viruses, moulds and dust.
 Ergonomics or physiological hazards which may include: work place design,
positioning of switches and lightings, work scheduling such as shifts and
rotations, seating arrangements and transportation of goods within the factory,
Height of seats and working tables and monotonous task.
 Psychological/ Social factors
Over or under supervision, Poor human relations, Poor communication,
inadequate training or instruction on what is expected and terms and conditions of
employment eg casual or permanent and working hours.
How to identify hazards at the work place
 Through routine inspection of the plant
 Through labels on chemicals and other hazardous elements
 Listening to employees complaints
 Hygiene surveys
Accidents
Refer to an unexpected or unforeseen occurrences which may interrupt/ interfere with the
orderly progress of an activity. Accidents can result to:
Injury to persons or damage to property in a factory or workshop they can be caused
by defective tools and equipment, slippery working surfaces, inadequate lighting, poor
work layout, inadequate fire precautions, untrained workers, lack of safety and health
policies, poor housekeeping, lack of safety devices, unsuitable temperatures, lack of
proper ventilations and noise . All these factors create unsafe working conditions.
Unsafe acts which may be due to using production equipment incorrectly, inoperative
safety devices, defective equipment or tools, using inappropriate tools
Human factors such as workers performance can increase risk factors especially when
they are inexperienced, lack training in the area of operation, lack awareness on the risks
involved when carrying certain procedures, fights, age- as older and unwell persons are
likely to fall or have declined eye sight, failure to use personal protective equipment.
Possible types of accidents and personal injuries may include:
Falling, inhaling poison, cuts, bruises, pricks, dislocation, fractures, sprains, burns,
punctures, shocks, loss of limbs.
Personal Protective Equipment (PPE)
These are special clothing which may protect the exposed parts of the body such as eyes,
nose, hands, feet and head. They should be availed when it is impossible to render the
work environment completely safe. However they do not reduce or eliminate hazards but
reduce the impact of accidents or injuries. Eyes and nose protection include: Safety
glasses, face shield and masks. Ear plugs and ear muffs can protect the ears from noise
which may result to loss of hearing. Protective clothing include – gloves, apron, boots,
overalls and dust coats, and helmet
Protective clothing may be made from different materials such as rubber, plastic films,
leather, cotton, synthetic fibers and many more.
Protective creams and lotions are also available and will help minimize skin contact with
irritant chemicals. Other means of protection include: good housekeeping, proper
maintenance of the plant such as cleaning, waste disposal and proper management drying
up spills on the floor and repairing leakages and also educating the workers on the proper
operating procedures that make engineering controls effective.
Personal protective devices
Specify the right PPE
You need to provide appropriatePPEs.The equipment should be specified according to
the task and to the type and site of injury possible, eg:

Part of the Type of PPE Typical materials

body
Hand Glove Fabrics;Leather;Rubber;Plastics
Hand/arm Gloves;Gauntlets;Arm guards Fabrics;Leather;Rubber;Plastics
Torso Apron; Leggings Chainmail; Plate link
Head: Ear muffs Rubber
Ear muffs
Eyes Goggles Plastic& Glass

Nose Nose mask

Bonded fabric; plastics

It is acceptable to have different PPE available for the workforce, provided it has been
assessed as safe for the work.Involve your workers in selecting the appropriate PPE as
users are far more likely to use PPE properly if they have helped to select it.All PPE
comes in a variety of sizes, so provide the range of sizes needed by the workforce at the
outset, with spares available as replacements. Take care in selecting the right size for
each individual, particularly with gloves, as people are less likely to be familiar with the
sizes available. Provide protective footwear with adequate resistance to slipping and
protection against penetration from a dropped knife. Slipping while holding a knife could
result in a serious injury and a dropped knife could easily penetrate sandals or soft-topped
shoes.
Working environment
Put good housekeeping in place:
 Floor surfaces should be even and provide sufficient slip resistance;
 Provide containers for waste materials;
 Keep floors and work surfaces free of debris and production waste;
 Clear up spillages straightaway.
 Ensure that no wires cables on the floor.
 Protection of the plant
 Protection of workers
 Safety attitudes
 Avoid water near electric appliances or exposed wires
 Avoid eating in the work shop
 Avoid playing and congestion
 Avoid exposed dangling objects
 Dispose all waste in the external or internal bins or recycle what can recycled
When choosing firefighting equipment consider:
 Type of fires, Content of premise, Safety,
 Types of accidents in the workshop:
 Electric shocks, burns, falls, cuts and bruises, inhaling chemicals
 Prevention of common accidents
 Safety precautions
Everyone using sharp tools in the factory should have enough space to move freely and
allow them to operate in a safe manner without endangering themselves or others. Set
work surfaces at a comfortable height for the individual to work at. Work areas should
have adequate lighting.

Training
Workers need to be given adequate training in safe working practices, so that they are not
a danger to themselves or others. Training should cover the following:
 general use, care and maintenance of hand knives, including cutting away from
the body, the dangers of blunt knives and typical accidents;
 correct tool and protective equipment for each task to be performed;
 correct way of working at any particular job and any safe operating procedures
that need to be followed, eg frequency of blade changes, criteria for rejects etc;
 In-house company rules on storage, carrying knives etc.
Introduce newly trained staff gradually to high-speed production operations and supervise
them until they are skilled enough to work safely at full production rates.
SAFETY RULES

Ensure Safety for Your Sewing

To prevent injuries or general health issues of yourself and the rest while in the
workshop, you should consider the safety of the following three:

 Equipment storage
 Sewing room or area
 Personal (and others) safety

Equipment Storage

 Keep safe all sharp tools and equipment. Adapt drawers, special cupboard
sections, boxes or anything to keep hazardous items secure from somebody else’s
use.
 Sharp items, like scissors, rotary cutters, needles, pins, safety pins and so on,
should be stored in a lockable areas, especially if you have kids, pets or other
family members who could be at risk. Threat with great respect your fabric shears
and never cut anything than fabric or textile material with them. Use other pair of
scissors to cut paper or card.

 Dispose all sharp needles and pins in a special jar that you can hand over for
discharge at your local pharmacy or sewing supplies shop.
 For all broken needles and crocked pins I use an empty glass jar that has a special
difficult to open cap. It prevents children from opening it, usually you have to
push down very hard and then turn to open. It could be from a medicine or from a
nutrient supplement.

 If you keep hazardous substances, such as textile dyes, bleach, glue or similar,
assure they are kept in a lockable cupboard away to protect your family, kids and
pets! When finish using these products, put them back and lock.
 Heavy irons or presses should have designated storage area to go when not in use.
The foldable ironing board is not good place for that.
Sewing Room or Designated Sewing Area
General Housekeeping

 Make sure floors are clean of any unnecessary items while working on the project.
The freedom to move around in your space and do things is main condition for
you to create with pleasure.
 Be organized in such manner that no hanging things from the walls or shelves can
fall over, do damages or injure someone.
 Clean and tidy up the room before leaving the room or the sewing area. Pack
away the tools, put all raw materials on their places, and collect the scraps in their
box.
 If you are in the middle of a project, clean up the stuff you won’t use and keep
only the necessary pieces.
 Avoid drinking and eating in your sewing area, especially around machines and
materials. This will prevent spills over machinery and electrical cords, or food and
beverage marks from the materials.

Accidents

 Keep close a little kit with the most necessary items for small accidents, like
deeper poking, cuts or burns. Band-Aid is a must, but also burn aid cream, spray
for wounds and similar kind of such.

Electrical

 In an industrial working environment all electrical cords are set up away from the
floor, on walls or from the ceiling. Ensure that the floor where you walk and work
is clean from any electrical plugs, cords, adapters etc.
Personal and Others Safety

 The chances of getting injured while sewing or experiencing physical pain after
long hours bending are quite possible. The good news is they also can be
prevented.
 Ask professional patternmakers, dressmakers and tailors... Some develop really
heavy occupational related conditions. However, even sewing at home, long hours
are sometimes enough to experience back pain, headache, fatigue, restrained
eyesight and similar.

 Furthermore, those increase the risk of injuries, so definitely worth the attention.
The following safety sewing rules can help you to avoid all that

Ergonomics & Surrounding Environment

 Ensure your working tables are at a good level. The sewing machine chair should
at least have adjustable height.
 Have correct lighting in the room.
 Fresh air and good ventilation can also prevent from headaches, dizziness and
fatigue.

Clothing & Hair

Personal protection (PPE) such as hair protectors, ear protectors, safety glasses, gloves
and shoes must be worn wherever they are prescribed

 Close fitting clothing should be worn near machinery with moving parts. Avoid
any loose or hanging accessories, clothing or dangling items. Instead of too loose,
long, fitted and tight clothing, wear something comfortable, semi-fitted to the
body.
 Loose overalls, ribbons and bows are dangerous.
 Keep the jewelry to minimum and remove everything that can get caught into the
machinery.
  Long hear has to be securely tied back.
 Sleeves should be fastened
 Long hair should be gathered and pinned up or covered
 Always wear closed shoes when sewing, cutting and doing all the related things.

Machine & Other Equipment Use

 When sewing keep your fingers clear of the sewing point at all time, especially
when you are beginner or you use a newly purchased machine.
 When cutting always ensure you are wearing closed shoes.. Be cautious not to
leave scissors under the material, for instance. It could slide off the table easily
while removing the material away.
 Use a pin cushion to secure unused Pins.

REASONS FOR WORKSHOP RULES IN INDUSTRY

1. To ensure a safe working environment

2. To ensure that tool and equipment are used appropriately.

3. To ensure that employees are aware of how to operate different machinery/ proper
working procedures

4. To ensure that tools and equipment are stored properly when not in use

5. It reduces accidents in the workshop.

6. To ensure the operators wear protective clothing.

FIRST AID
A body serious stabbing injury can result in heavy external and internal bleeding,
particularly if a main part of the body is punctured. Prompt first aid could save a life –
there should be at least one person trained to deal with stabbing injuries on site to provide
first aid.

First aid : is the assistance given to any person suffering a sudden illness or injury to
preserve life, prevent the condition from becoming worse.

TYPES OF ACCIDENTS

 Cuts
 Fractures
 Sprains
 Grazes
 Burns
 Bleeding
 Electrocution.

CAUSES OF ACCIDENTS IN DRESSMAKING WORKSHOP

1. Absent mindedness
2. Not wearing protective gadgets
3. Wearing dangling clothes while operating machinery
4. Working under the influence of drugs
5. Insufficient skills
6. General uncleanliness of the work environment – wet floors, litters
7. Disorganized work layout, insufficient passage, poorly placed power cables
8. Poor ventilation which will cause drowsiness
9. Poor lighting
10. Defective machines

FIRST AID PROCEDURE

 Bone fracture: treated by stabilizing the fracture with a splint

 Burns: cooling with tap water to help pain and decrease damage.
  Heavy bleeding: treated by applying pressure (manually then later with a pressure
bandage) to the wound site and elevating the limb
 Sprains:rest, apply ice to reduce swelling and pain, compression usingdressing
bandages or ace wraps to unwind the sprain and provide support, elevation to
minimize swelling

Cost of accidents in a factory

The cost can be assessed in terms of the injured persons and the cost to the employer or
company. This may be in terms of personal pain and suffering to the victim, los of
earnings, and loss of promotional prospects, disablement which curtails social activities,
psychological damage, family stress and early deaths. To the employer or company there
is loss of production, damage of equipment, cost of repair or replacement of equipment,
overtime cost as the factory try to recover the lost production hours, increased insurance
claims cost of investigation and documentation, legal penalties, compensation expenses,
hospital costs, industrial relation problems, loss of good will and reputation, loss of
skilled man power.
Relationship between worker machine and the work place
M Fixed or movable parts-unguarded may cause accidents resulting to injuries
on
A workers.
C
H Vibrations due to bad equipment maintenance-noise which result to ear
problems
I
N Dust and fumes– unhealthy and unsafe working environment which result to
injuries
on workers
TOPIC 3: TOOLS AND EQUIPMENTS USED IN CLOTHING CONSTRUCTION
A good tailor is known not by number of tools but by efficiency in use of tools. If tools are used
appropriately they enable an effective job. Knowledge on tools available and hoe they function is
necessary to make correct choices and to take care of them appropriately

Categories of tools and equipment

Large equipment
 Worktables
 Storage space: drawers, hanging space, cupboard
 Full length mirror
 Dress forms
 Sewing machine

Sewing tools
 Machine attachments: foots
 Hand sewing needles
They vary from very fine 9 to the heavy 18
Selection
Should be made from stainless steel
Should be sharp
Should be free from rust

Between, darner, bodkin, ribbon threader, beading needle, ball point , tapestry,
glovers
 Sewing machine needles
They are made to fit the specific make and model of each sewing machine. The
size should match the weight, thickness and kind of fabric.
Flat head needle, round head needle, ball point needle
 Pins
Right selection is best for good workmanship, speed and convenience. They
should be sharp, stainless steel and rust free

Dressmakers pins, glass headed pins, lace pins, T pins, safety pins
7. miscellaneous tools
 Thimble
This is a small hard pitted cup worn for protecting the finger that pushes the
needle in sewing.it should fit snugly on the middle finger.
 Stiletto
This is a sharp
 magnet
Cutting tools
1. Scissors
Scissors should be hard, steel, not plated because some plating is liable to chip. They should be of size
suitable for the work in hard. They are found in varying sizes and type’s i.e.
 Cutting out scissors
These are larger in size and it is advisable to have two pairs, 8 to 9 inches in length, one for heavier
fabrics where greater pressure is needed and one for lighter fabrics e.g. chiffons, georgettes, lawn, nylon
and velvets for which the keenest blades are essential for accurate and clean cutting.

 Bent-handle dress makers shears

These have one blade rounded and the other pointed. They are best for patterns cutting; the angle of the
lower blade lets fabric to lie flat. They are made in 6” to 12” length, 7” and 8” are used most often. The
left hand model is also available and also special shears for synthetics and knits.

 Pinking shears
They are zigzag and excellent for finishing seams and decorative edges. They should be used to cut out
patterns. They come in 5½ to 10½ length but 7½ is the best choice.

 Scalloping shears
Instead of zigzag they have a scalloped cutting edge and are used for neatening edges and decorative
purposes.

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  Embroidery scissors
They are used for general needle work for ripping, clipping and cutting out button holes.

 Lingerie shears
They cut shear fabrics and they cut close to the stitching line. The handle has a finger guide in control
when cutting.

 Butterfly operated scissors

It’s suitable for disable people or those who sew frequently. They have short blades and ideal for only
smooth fabrics.

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 2. Cutting mat
Should be wide enough to hold the garment (fabric being cut).

Care
i. Avoid dropping items as they can break or the pointed end becomes dented
ii. Buy the right scissors for sewing
iii. Some scissors are made of wrought iron and when exposed to moisture they rust, so they should be
kept in oil
iv. Seam ripper should always be covered with its lid to avoid accidental ripping of the fabric.
 Measuring tools
1. Tape measures
 It’s essential for taking body measurements. When buying, it should be firm, non-fraying and
with two metals ends to secure the edges. It should be made with flexible synthetic materials.
It doesn’t tear easily.
 The measurement should be clearly marked on both sides. A very soft tape measure stretches
and give false measurements

2. Ruler
They should be at least 12” to 18” long and made of transparent material. It usually helps when using a
tracing wheel and when checking the grain line or making buttons, tucks, pleats e.t.c.

3. Hem maker
Its an easy to use accurate tool for marking hems. It comes in two versions i.e. the pin marker type and
the chalk modes. The most appropriate marker is the one that’s adjustable to all fashion lengths

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4. Sewing gauges
This keeps constant marking after adjusting to desire measurement. Its ideal for pleats, tucks, button
spacing and hems

Care and Storage

 All measuring tools should be kept away from sharp objects that are likely to cut or dent their straight
edges.
 If they are plastic rulers they should be carefully handled to avoid breakage
 Marking tools
1. Tailors chalk
These are idea for construction markings and fitting alterations. They come in several colors. The wax
type is difficult to remove from hard surfaced fabrics.

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2. Dress markers – marking pencils
This is a chalk in a pencil form and is used like pencil. It marks a thin accurate line. Its fine for marking
pleats, button holes and similar details. Chalk colors include white and pasted shades. Tailors chalk
pencil comes with chalk refills; dress markers pencil has handy brush eraser.

3. Tracing wheel
This is used with dress markers tracing paper to transfer patterns markings to fabric. The usual choice is
segregated edge wheel, suitable for most fabrics. Smooth edge wheel makes from markings on hand to
mark fabrics and delicate smooth ones. A tracing wheel should not be used for organdie, satins, velvets
and synthetics fabrics as it would crack the threads and so ruin the fabric. When buying a tracing wheel,
care should be taken to see that teeth are not too sharp as they tends to cut the fabric rather than to make
merely an indication.

4. Dress maker tracing paper

Its available in different colors. It marks out easily and is used for transferring pattern markings and
designs.

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5. Basting thread
This is a loosely twisted thread made of cotton and used for hand basting. Loose twist makes it easy to
break for quick removal from the garment. It’s available only in white and this is safest because there is
no dye to rub off on fabric.

 Pressing Tools
A correctly pressed sewn item will have a neat professional finish. Pressing or ironing equipment
include
1. Iron
This can either be electronic (steam or dry), gas kerosene, or charcoal iron box, flat iron or a mini iron.
A flat iron is designed to conduct heat from a heat source before ironing or pressing a garment.
A mini iron is useful in getting into small corners and gathers. Its used in conjunction with the pressing
mat. An iron with a reasonable heavy base and a steam facility is a better choice. Temperature regulators
control heat depending on the nature of fabric being ironed or pressed. Synthetics require a cool
temperature unlike cottons and linens that withstand hot temperatures. A charcoal iron box, flat irons
and kerosene/ gas irons may lack temperature control facilities. Care should be taken when using them.

2. Pressing mat
It’s a heat resistant mat for pressing small items.

3. Ironing board
It can be adjustable with padding or fixed and with paddy. Its essential to iron on. it has a section where
iron is placed in the course of ironing or pressing. The adjustable board should be conveniently be
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 adjusted to suit the length of the use. The fixed type can be made and placed in an average height that
will be comfortable to most users. The padding acts as a pressing surface on which the garment is
placed. The frame of the board can be made of strong firm plastic material, wood or metal.

4. Tailors ham
This is a ham shaped prissily cushion that is used to press darts and shapes into curves of collars and
shoulders when making tailored garments.

5. Seam roll
This is a tubular pressing aid or cushion and is used to press seams open on fabrics that masks, as the
iron only touches the seam on the top of the roll. Also used for sleeve and trouser seams. Fabrics
marking during ironing whereby the seam impression is seen on the right sight of the garment after
ironing is prevents this A seam roll.

6. Clapper
This is a wooden aid that pounds creases into a fabric that is heavy after steaming. The top section is
used to help press collar seams and points.

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 7. Velvet mat
A pressing mat with a tufted side to aid the pressing of pile fabrics such as velvets, corduroy, towelly
andvelveteen’s.

8. Pressing mitten
This slips on to the users hand to enable more control over sections being pressed. It resembles oven
gloves with padding.

TOPIC 4: THE SEWING MACHINE

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Types of sewing machines
Sewing machines can be categorized as manual or electrical which also come in different models.
Its general care and cleaning
 Have your machine serviced annually.
 In addition, conduct mini tune-ups yourself as recommended in your sewing machine manual.
 About every 8 hours of sewing time, or once a season if you do not use it as much, clean lint from the
bobbin case area and lubricate with a drop or two of oil.
 Change needles frequently.
 Cover your machine when not in use to keep it dust free.
 Clean your machine if it is going into storage.
 When you take your machine out of storage, run it for a bit unthreaded.
You can find South Portland Sewing Centre at 14 Cottage Road, South Portland, Maine, or call 207-
799-0032.
Factors to consider when purchasing a machine
 Cost- consider the amount of money available and purchase an affordable machine.
 Dealer- purchasing a machine from a reliable dealer guarantees good quality and ease in getting
information when needed. Acquisition of spare parts is also made easy.
 Space- available storage space is a guide to the type of machine to purchase. A large space is suitable for
console machines e.g treadle or industrial machines that are free standing. Limited space is suitable for
portable or table top sewing machines that can easily be stored in cupboards.
 Warranty and guarantee- this is an assurance that a client can seek some refund or clarification on the
bought machine.
 Type of machine- this is pegged on the amount of work required to stitch. Domestic machines are good
for less work while industrial types can handle more work and at higher speed.
 Working mechanism- manual machines are good for areas that lack elenctricity.
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  The user’s skills- a beginner in sewing would be more conversant with a domestic machine that is not
too complicated while an experienced worker can handle a more advanced type of machine.

Parts and their functions

 Spool pin: used to hold the spool of thread.

 Bobbin winder: holds the bobbin as the thread is being wound on to the bobbin.

 Balance wheel: is used to raise and lower the needle, which is situated in the right side of the machine.
Controls the movement of the needle and the stitching process.fkthglt

 Stitch width regulator: The main object of stitch width regulator is to control the zigzag stitch.

 Stitch length regulator: Stitch length regulator is used to control the length of the stitch.

 Reverse lever: Here, the machine will sew in the reverse while the lever is pushed.

 Foot pedal :It is used to apply power to the sewing machine

 Bobbin case: In sewing time, bobbin case protects and covers the bobbin holder.

 Bobbin cover release button: Bobbin cover release button is used to release the cover for entrance to
the bobbin.

 Feed dog: In sewing time, feed dog pulls the fabric in forward.

 Needle: During sewing, needle is used to form a stitch in the garments.

 Needle clamp and screw

 Thread guide: Thread guide holds the thread in position from the spool to the needle.

 Thread take-up lever: In sewing time, the top thread passes through the thread take-up lever and thread
take-up moves up and down with the needle.

 Presser foot: Presser foot is fixed to the presser bar to hold the cloth firmly in position when lowered.

 Presser foot lifter: A lever attached to the presser bar for raising and lowering the presser foot.

 Control box

 Shuttle:

 Electric motor belt

 Presser foot

 Slide plate/ bobbin cover

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  Throat plate
Machine faults and remedies

Skipped stitches:
Causes Remedies

Failure of hook or looper and needle to Examine the setting and timing between
enter loop at correct time. needle and hook or looper.
Irregular thread tension on upper or lower The tension of thread should be adjusted.
loop.
Due to needle deflection. Needle should be changed.
If needle thread loop size is too small. Needle size and thread should be
adjusted.
When flagging of fabrics is happened The pressure of pressure foot should be
during sewing. adjusted perfectly.
If sewing thread is unable to form loop. Thread should be changed.
Blunt or twisted needle Replace the needle
Needle too low Replace the needle
Pulling of the fabric during stitching Use hand to guide and not pull the work
Thread too thick for the needle used Use right thread for the needle

Unbalance stitch:
Causes Remedies

Incorrect tension of sewing thread. Setting of accurate tension to the thread.

Used incorrect thread path. Using of accurate thread path.
Incorrect adjustment of needle thread path. Using of right thread path.
Snagging of needle with bobbin case and Bobbin case to be smooth and finger
positioning finger. positioning to be set again.
If sewing threads are not lubricated. Better quality threads must be used here.

Staggered stitch
Causes Remedies

Due to needle deflection. Needle size should be increased.

Due to wrong needle point. Needle should be changed.
Incorrect adjustment of needle and thread Needle size and thread size should be
size. changed.
Due to defected motion of feed dog. Feed dog motion should be adjusted.
If fabrics not controlled properly in the Accurate pressure of pressure foot should
feed mechanism. be adjusted.

Variable stitch density:

Causes Remedies

Incorrect unwinding of thread form The position of thread guide should be

package during sewing. 2.5 times higher than the position of

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 thread package.
Twisting of needle thread in the bottom Foam pad should use to the bottom of
of thread package. thread package.
Twisting of thread in thread guide. Correct threading of sewing thread during
sewing.
Excessive tension of thread. Tension of thread should be less or use of
higher strength threads.
Using of broken check spring. Check spring should be changed.
Fraying of thread in the needle. Finer threads should be used or to be used
heavy needle.
Becoming more heated of sewing thread. Needle lubricant and needle cooler should
be used.
Becoming more heated of hook. Lubricant should be available and test the
distance between needle and hook.
Using of low quality sewing thread. Sewing thread should be changed.

Seam puckering:
Causes Remedies

Higher thread tension./ tension too tight Bobbin tension should be kept as low as
possible.
Loosen the tension screw
Improper thread balance. Proper thread balance should be ensured
between top and bottom thread.
Incorrect thread types. Have to maintain tension guides properly.
Blunt needle Replace needle

Bobbin or looper threads breakage:

Causes Remedies

Incorrect winding of threads on to the Proper winding of threads on to the

bobbin. bobbin.
Excessive tension to the bobbin threads. The tension should be adjusted to the
bobbin threads.
If the edges bobbin case, looper eye and The edges should be smooth.
so on are more sharpened.
Incorrect fitting of bobbin case. Test the size and types of bobbin.

Needle threads breakage:

cause remedy
Tension too tight Loosen tension screw
Incorrect threading Rethread correctly
Needle size incorrect for the thread Replace needle
The bobbin too full thus jamming the Remove bobbin and unwind some thread
bobbin case
Needle bent or blunt Change the needle
Incorrect winding of threads on to the Proper winding of threads on to the
bobbin. bobbin.
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 Excessive tension to the bobbin threads. The tension should be adjusted to the
bobbin threads.
If the edges bobbin case, looper eye and The edges should be smooth.
so on are more sharpened.
Incorrect fitting of bobbin case. Test the size and types of bobbin.

Thread fusing when sewing machine stops:

cause remedy
Faulty sewing thread. Should be used better quality thread.
Densely woven fabric which is poorly Should be improved fabric finishing.
finished.
Damaged needle after sewing thread Should be changed the needle.
breakage.

Needle breaking
Causes Remedies
Pressure foot loose so that needle hits it Replace needle with new one in correct
instead of passing between the hole position
Seam or hem too thick for the size of the Cut away some of the bulk where not
needle required. Check needle size. Ease fabric
under foot
Needle loose and striking presser foot Tighten needle screw
Pressure foot passing over pins Remove all pins before machining
Needle striking knots in tacking thread Avoid fastening stitching on and off with
knots

Material not moving under pressure foot

cause remedy
Fabric too thick Avoid jamming too many folds of fabric
under the foot.
Stitch regulator screwed to fullest extent Adjust stitch regulator.
of shortening
Beginning stitching too close to the edge Correct position of the presser foot.

Loops on wrong side of stitching

cause remedy
Tension too loose on thread from reel Tighten tension screw.
Bobbin upside down Use the right bobbin

Loops on right side of stitching

cause remedy
Real thread tension too tight loosen tension screw.

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Stitches not interlocking
cause remedy
Needle in the backward Reverse the needle

TOPIC 5: STITCHES
 A stitch is a process of passing a needle and thread in and out of a fabric.
 It can be also be defined as a way of passing a needle and thread through a fabric
Categories of stitches
1. Permanent
2. Temporary
3. Decorative
4. Neatening
Rules for working out stitches
a. Choose the right stitch for the work to be carried out
b. Use the correct size of the needle and thread for the correct type of the fabric i.e. thin needle for light
fabrics, thick on heavy fabrics
c. Fasten on and off securely
d. Wear a thimble in the middle finger for protection when stitching
e. Work one stitch at a time
f. Never use a knot for fastening stitches, they may become outdone and tear the fine material and the
cause tiny lumps on seams and hems when the material is being pressed.
Temporary stitches
They include
 Tacking (even and uneven)
 Slip basting
 Tailors tacks
 Diagonal tacking/ basting

a. Even tacking
Its used on smooth fabrics and in areas that are regular and close to one another such as wired seams,
seams on set in sleeves.

35
 Working procedure
 Work from right to left
 Starting with a knot using single thread, take several evenly
 Space stitches out the needle before pulling it through

Un-even tacking
Used for general tacking, for edges that requires less control during permanent stitching and marking
Procedure
 They are worked from right to left
 Starting with a knot using single thread, make long stitches with a short spaced between each
other

b. Diagonal tacking/ basting

 Used to hold or control fabric layers within an area during marking up and dressing.
 Short stitches taken close together give more control than larger stitches taken further apart
 The short diagonal stitches are used for holding seams edges flat during stitching or pressing.
 The long diagonal tacking is used for holding under lining to garment fabric during marking.

Procedure
 When making the stitches, the needle points from right to the left
 Small stitches, taken parallel to each other, producing diagonal floats in between
Note: for greater control, take short stitches spaced close together where less control is
needed, stitch can be longer with more space
c. Tailors tacks and thread markings

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Slip basting : hold pieces together or match patterns-worked from right to left

Permanent stitches
They are stitches that are worked and not removed once the garment is complete. Therefore should be made
well to last as long as article. The stitches are worked using a single thread, and can be made by hand or by use
of machine. They are worked for the purpose of joining two or more pieces of fabric together.
a. Running stitches
 They are worked one stitch at a time. The stitch are small and equal in size, the distance between
the stitches is also equal to the size of the stitch.
 You should begin by fastening off running stitches by use of back stitch
 Can be used for making gathers and for easing. In this case they become temporary.

b. Back stitch
 Are stronger than running stitches
 Look like the machine stitch at the top and stem stitch at the bottom
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 c. Over sewing
Used to join two hedges or selvedge edges together

d. Machine stitches
They are worked using a sewing machine and look the same on both at the top and bottom

Neatening stiches
Are used to bind raw edges. They include
• Hemming: Worked from right to left with hem held over the fingers of the left hand and rest garment
towards the worker


• Loop stitch: Worked left to right with the edges held towards the worker
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 Buttonhole
Worked over raw edges (double)
From left to right with edges held away from the worker

 Herring bone
Worked from left to right
Done over single turning with the folded edge held away from the worker

 Overcasting
Worked from left to right
Suitable for working over raw edges which are first strengthened with a line of stitch

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 Blanket stitch
Start by sending your needle up from the back, creating a loop around the edge.
From left to right

 Machining
Use an overclocks machine

Decorative stitches
These are embroidery stitches made on the right side of a garment for the sake of adding beauty
They include
 Chain stitch
 Satin
 Running
 Stem stitch
 Cross stitch
 Fish bone stitch
 Herring bone
Embroidery stitches can be classified as follows
 Flat stitches
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 Crossed stitches
 Looped stitches
 Knotted stitches
 Composite stitches

41
42
43
44
Machine embroidery

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TOPIC 6: SEAMS
DEFN: A seam is a method of joining two pieces of fabric together using a stitch with the raw edges either
completely concealed or finished by neatening stitches.
Unless a seam forms part of the decoration of a garment, it should be as inconspicuous as possible. Stitching
that shows on the R.S must be very evenly and neatly done. All seams must be made with strict attention to the
fitting lines so that the garment is made to the required size.

FACRORS TO CONSIDER WHEN CHOOSING A SEAM

 Type of garment based on its purpose. Some clothes require strongly made seams than others e.g
overalls or work wear. They should therefore be made with seams that con withstand wear and tear.
 Nature of fabric. Seams that are perfectly flat and neat on thin fabrics may be clumsy on thick ones e.g
the French seam is suitable on rayon but unsuitable on tweed.
Note: some fabrics fray badly as soon as they are out. Therefore the seam allowance must be wide
enough when finished to allow the edges to be adequately protected. The seams should be neatly
stitched and pressed flat on both right and wrong sides. Pinning and tacking should be done prior to
stitching of a seam.
 Place where seam in used: Seams may be straight or curved depending upon the garment design. When
joining curved edges, plain seam will give a better finish than any other type of seam. Some parts of the
garment which may get stretched during body movement will have to be made with more durable seams.
 Current fashion: The modern trend is to use a simple seam which produces a garment
RULES IN WORKING SEAMS
• Threads used must be suitable for the fabric
• The width of the seam depend on the fixture of fabric (fine- narrow), fabric fray and type of weave
(loose or tight)
• All seams of same type of garment must have equal width
• The strength of seam depends on firmness of stitching(regular, tension and length)
• Place tissues behind layers for delicate fabrics to avoid puckering
• Seams must always be neat, well pressed, flat and evenhhjhy

TYPES OF SEAMS
PLAIN SEAM (OPEN SEAM)
It is the most used seam as it is very flat in finish and may be used on any but transparent fabrics. The seam
requires a turning allowance of 2.5cm to give a satisfactory finish to the seam.
On heavy fabrics a turning allowance of 4cm is preferred for good results. No stitching is visible on the right
side of a plain seam. The turnings may be pressed on both edges and neatened together to one side. There are
kinds of plain seam:
 Straight seam
 Curved seam
 Cornered/angled seam.
i. Straight seam
This is the most common. The stitching is exactly the same distance from the seam edge along the entire
length of the seam.
 Pin and tack the two pieces together with the R.S facing along the fitting line.
 Balance notches should also be matched.
 Machining should be done along the fitting line, tacking remove and the turnings pressed open
and flat on the W.S.2.5

46
ii. Curved seam
Usually requires careful guiding as it passes under the needle so that the entire seam line will be the
same distance from the edge to form a perfect curve. Pinning and tacking should be done prior to
stitching along the fitting line.
The seam should be pressed flat as stitched and the surplus allowance or turning trimmed after
machining again about 8 mm outside the fitting line but along the allowance. The edges can then be over
locked, zigzag machined or overcastted to neaten them.

iii. Cornered/angled seam

The seam turns a corner and requires reinforcement at the corner to strengthen it. When stitching small
stitches close to either sides of the corner regulate the stitch size on the machine gradually while
stitching..Snipped off to acquire a better point when seam is turned.

47
Open seam edge finishing
A seam finish is any technique used to make a seam edge look neater and keep it from fraying.
Three considerations to determine the seam fining:
i. Type and weight of fabric.
ii. Amount and kind of wear and care the garment will receive.
iii. Whether or not the seam will be seen.
Ways of finishing plain seams
i. Pinked
 Raw edges may be pinked when cut or as a finish.
 Use sewing machine pinker to cut edges or use regular pinking sheers.
 Ideal finish for firm fabrics that don’t fray.

 Hand overcast
 Edge is done by hand.
 Take several stitches on needle before pulling needle out. This is for speed and evenness.
 When fabric is loosely woven and consequently frays deeply, single stitches should be taken.
 Overcast edges separately when seam is pressed open. If both edges are turned to one side, as
sometimes in tailoring and under a pleat, overcast together.

48
ii. Zigzagged

iii. Edge stitching

iv. Use of bias binding

49
FRENCH SEAM
 This is a self-neatened seam that is straight and used similar purposes as an open seam.
 The advantages of this seam is that it is quicker to make and easier to launder because all the raw edges
are enclosed and pressed to one side of the seam.
 It is not as flat as the open seam and thus used successfully on fine and medium weight fabrics.
 Most suitable for under garments, blouse, overalls and children’s garments.
Procedure for making a French seam
 Decide on the width of the seam fell i.e 3mm for linen/silk or 5mm for nylon /viscose.
 With W.S facing, pin and tuck edges together along the F.L.
 Stitch a distance away from the F.L into the seam allowance. This can be 5mm for fraying
fabrics but can be narrower for non-fraying ones.
 Trim the turnings outside the machining so that it is narrower than the finished width of the seam
eg 0.2cm turning allowance for a 5mm fell/seam width.
 Press open the trimmed turnings with an iron or flatter with finger and thumb. This ensures a
perfect finish to the seam with a sharp stitched edge.
 With the RS facing fold back the seam creasing sharply along the first lone of stitching. This
brings the FL over each other.
 Tack and machine along the FL so that raw edges are enclosed in the seam fell.
 Press along the length of the seam, with the fell on one side ( towards the back of the garment).

DOUBLE STITCHED SEAM

50
  This seam is strong and quite flat when finished.
 It is held by two rows of machining which are both visible on the RS.
 Used on garments which are plain in style e.g women’s and girls shirts and pants etc.
 The seam is unsuitable for heavy fabrics. Variations of the seam are:
 Machine fell seam: This is a combination of a double machine stitched seam and a run and fell
seam. It is made on the WS of the fabric following the same principles of construction as a
double machine stitched seam.
The first line of stitching is made by the machine along the FL, but the second line is hemmed by
hand. It is used when a narrow flat seam is required without any machine stitching being visible
on the RS.
 Run and fell seam: used for infants underclothes and night wear. Entirely made by hand and of
little use now days. It can be used for joining lace as it is a flexible seam and can be very narrow
in width.
 Procedure for making double stitched seam
 With the WS facing, pin and tack the edges together along the FL.
 Iron the seam open and trim away one side of the seam to 6mm.
 Turn the longer edge over the shorter and turn it’s raw edge under 5mm and the pin and tack
along the turning.
 Machine stitch along the FL to close the fold in.
 Iron the seam flat.

OVERLAID SEAM
 This seam is useful when it is fashionable to have seams that emphasize stitching on the RS.
 The seam is strong because it is stitched through three thickness of fabric. It can be used to fix panels,
bodice and skirts, setting of yokes, bands and cuffs.
 It can also be used to fix frills and flounces, peplums and ruffles.
 A line of machining shows on the RS and helps to give style to a garment as well as making an essential
joint.
Procedure for making an overlaid seam
 Decide on the overlay and underlay.
 On the overlay, fold the full width of the turning allowance to the WS along the edge.
 Set the overlay over the underlay so that the FL of the two pieces come over each other. Tack
through the three thicknesses.
 Machine close to the folded edge of the overlay so that the stitching is even and neat on the RS.
 Raw edges of the seam allowances come together on the WS and these can be neatened.

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RUN AND FELL SEAM
 Made of two rows of stitching but unlike the double stitched it is worked on the W.S of the garment.
 Mainly used for making pajamas, night dresses underwear etc.
 Shows one line of stitching on the R.S.
 The final row of stitching is made by hand on the W.S of the garment using hemming stitches.
 If worked by machine, it is called machine fell seam.

WELT SEAM
 Similar to French seam but made to appear on the RS when completed.

Reducing bulk in Seams

 Trimming: cutting away some of the seam allowance.
 Layering: cutting off different seam allowances in different layers.
 Clipping: Used on curved seams to allow them to lie flat. This are slits cut into allowances.
 Notching: Also done on curved seam.

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TOPIC 7: CONTROL OF FULLNESS
 Definition: a method of taking care of excess fabric in garments. This can create a functional or
decorative effect.
 Thereare various methods: pleats, darts, gathers, tucks, smocking, shirring, easing, use of elastic etc.
Darts
 There are two type;
 Plain/Wedge shaped – has the waist part at the edge of fabric.
 Contour dart- tapered at the two edges.
 Is a long single dart that fits at the waistline and then tapers off in two opposite directions
to fit either both the bust and hip (front contour dart) or the fullest part of both the back
and hip (back contour dart).
 May be snipped at the center for it to lie flat and neatened to avoid fraying.
 Stitch right to the tip of the dart to avoid folds forming.
 The stitching must be straight, otherwise the dart will bulge.
Method of making
 Fold along the center line and tack along the side lines. Stitch from the wide end tapering
towards nothing.
 Finish with a double backstitch if working by hand, if using a machine bring both threads
to the underside thread in to the needle and whip into the last stitch of machining.
 Press the dart towards the CB or CF.
 If using a bulky fabric, cut the dart open, press and neaten using blanket stitches.
 If using a transparent fabric, stitch as a plain seam, trim the turnings and neaten.

 French Dart
 Extends diagonally from the side seam in the hip area to the bust.
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  The diagonal line can be straight or slightly curved.
 French darts are found on the front of a garment, never on the back.

Tucks
 This a stitched folds of fabric that is most often decorative in purpose, but it can also be a shaping
device.
 Each tuck is formed from two stitching lines that are matched and stitched; the fold of the tucks is
produced when the lines come together.
 A tuck’s width is the distance from the fold to the matched lines. The width can vary, as can the space
between the tucks.
 Tucks that meet are called blind tucks; those with space between them are spaced tucks.
 Most tucks are stitched on the straight grain, parallel to the fold and so are uniform in width
 Some, such as the curved dart tuck, are stitched off the grain and their width consequently varies.

54
Pleats
 Pleats are folds in fabrics that provide controlled fullness.
 Pleating may occur as a single pleat, as a cluster or around an entire garment section.
 Basically, each pleat is folded along a specified line, generally called a fold line, and the fold aligned
with another line the placement line as shown below;

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 Most pleats are made by folding a continuous piece of fabric on to itself. The exception is a pleat with a
separate underlay stitched at the back
 Pleats can be folded in several different styles as shown below;

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 Pleat finishes

Gathering
 Is the process of drawing a given amount of fabric into a predetermined, smaller area, along one or
several stitching lines, to create soft, even folds,
 Fabric is usually gathered to one-half or one-third the original width.
 Gathering most often occurs in a garment at waistline, cuffs, or yoke, or as ruffles.
 Gathering is done after construction seams have been stitched, finished and pressed.
 Effective making of gathers depends on several factors;
 Choosing fine/soft fabric e.g cotton, silk, rayon etc.
 Have right quantity of material to gather up.
 Work gathers along the weft threads so that the resulting folds hang with the warp threads.
How to gather

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Shirring
 Formed with multiple row of gathering and is primarily adecorative way of controlling fullness.
 In contrast to gathering, in which fullness is controlled within a seam, the fullness in shirring is
controlled over a comparatively wide span.
 Light weight fabric and easy care fabrics are the most appripriate for shirring

How to work shirring

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 Smocking
 It consists of fabric folds that are decoratively stitched together at regular intervals to create a
pattern effect.
 The folds may be pulled in as the stitching is done, or the fabric may be first gathered into folds
and then smocked.
 Smocking is done before the garment is constructed.
Students to research on how smocking is done.
T0PIC 8:SLEEVES
 These are features that wrap around the arms and hang from the outer edge of the shoulders. They are
both functional and decorative elements.
 To be decorative it should complement the bodice, while to be functional it should allow for ease of
movement and comfort.
There are three main categories of sleeves.
1. Set in sleeve
2. Kimono
3. Raglan sleeve
 Set in sleeves are made separately from the bodice
 Kimono sleeve is a continuation of the bodice
 Raglan are set into the bodice and extend into part of neckline and armhole.
 Sleeves can be finished with cuffs, lace or ruffles at the hem or wrist.
Set in sleeve:
 Set in sleeves are separated from the bodice and connected to it with a seam at the arm hole.
 It is sewn into the bodice and may be of any length depending on garment design and function.
 The sleeve can fit well in the armhole with or without gathers.
 There are many variations to this sleeve; puff sleeve, bishop sleeve, petal sleeve, leg of mutton, lantern,
cowl sleeve, and cap sleeve e.t.c.
 Assignment: students to draw all the set in sleeves named above

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Raglan sleeve:
 The term raglan identified a sleeve that continues in one piece to the neckline as shown on the diagram.
 It can be adapted from the basic Kimono sleeve or developed as a separate pattern.
 Draw the raglan sleeve

 Add 1 cm to the back shoulder and take off 1cm to the front shoulder line.
 Measure 3cm from the new shoulder lines and mark the points 1 on the back a 2 on the front.
 Move front balance point forward by 3 cm
 The back balance point does not move
 Join 1-3 and 2-4 with a curve line.

 Trace round bodice block required, and one piece sleeve.

 Take 1 m off front shoulder line and ass the same for the back
 Decide where new shoulder point should be 8 mark the as 1,2 and 3
 Move front balance point 3 cm forward
 Draw center line of sleeve 1 cm forward
 Point sleeve sections matching balance points
 Place sleeve sections matching balance points
 Place shoulder points to sleeve heads
 Always remember to close the back shoulder dart before you start the process
 Trace out the new pattern and add seam allowance
 The same can be separated to make 2 piece sleeves.
 Join 1-3 and 2-4 with a curve
Kimono
 Kimono sleeve is also referred to as kabuki or mandarin sleeve.
 It is connected to the bodice and forms a distinctive square-shaped silhouette; variations include
batwing, dolman and French.(Draw the sleeves)
 Trace out the front basic bodice, and extend the sleeve length from the bodice at shoulder point
 Position the sleeve block 1’’ away from the shoulder point, so that there is 1’’ distance between the
sleeve head and the shoulder head.
 Variations of kimono sleeve can be obtained by changing the angle from the bodice at which the sleeve
is developed.

TOPIC 9: POCKETS
 Pockets are one of the most visible sign of a garment’s overall quality and thus should be made with a
close eye to detail.
 Double check the pocket position.
 Transfer pocket markings and stitch lines to fabric carefully; follow with precise stitching taking care to
neither stop short of nor run beyond the indicated stitch lines.
 Trim and layer the seam allowances wherever it is possible, and press carefully after each step.
 There are two general pocket classifications for women’s wear; patch and inside pocket.
Patch Pocket
 Are shaped pieces of fabric that are finished on all sides, then attached to the garment by hand or
machine.
 Appear on the outside of the garment.
 They are made from the garment fabric, can be lined or unlined and may be attached either by machine
or hand.

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  They can be square, rectangular. Pointed or curved, and may be decorated with topstitching, lace or
braid trims or sewn-in details such as tucks.

Patch pocket with flap Plain patch pocket

Types of patch pocket
 Unlined: used on casual clothes such as jeans, shirts, aprons and the like. Their edges are finished off by
turning the facing at the top and the seam allowances at the sides and bottom to the wrong side.
 Lined patch pocket: It gives patch pockets a neat, professional finish.
 Assignment- students to research on the procedure of making the lined and unlined patch pockets.
Inseam Pocket
 Although all finished inseam pockets look the same from the right side of the garment, they may be
made up in three different ways, depending on how the pattern is designed.
 In the all in one inseam pocket is part of the garment.
 The separate inseam pocket is made up of the separate pocket and garment pieces that are joined at the
seam line.
 The extension inseam pocket is made up of a separate pocket piece and a garment piece that has a small
projection designed to extend in to the pocket opening.
OPENINGS
 They are design details added on to the front, back, shoulder line, side seam of a garment to ease the
putting on or off.
 They may contain buttons or other forms of fastenings as a result of which a button stand or a facing will
be required.
 Button size determines the width of the button stand.
 Openings can be functional or decorative.
 The position of the button is always at the CF or CB of the garment.
 Allowance is added from the CB or CF to enable the buttons to be placed in position. This allowance is
what we call the button stand.
 The standard measurement ranges from 1.5cm to 2.5cmn depending on the button size.
 A facing is normally added to the button stand and has the same width as the button stand pluss seam
allowance.
Buttons and Button holes

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Standard buttoned front (with extended facing)
Mark button holes on the centre front line. (button hole) overlap this line by 0.2cm) add button stand approx.
2.5cm. This varies with size of button. Fold outer line. Trace through the outer line and facing line to make
extended facing.
Buttons come in all sorts of shapes and sizes.
Unit used for measuring button width are:
Line 40=1"
Line 20=1/2”
Line 30= ¾”
1) Decide what kind of button you are going to use, size, shape etc.
2) The position of the button is always on the center front or center back of the garment. We need to add
some allowances as button stand which is = ½ width of button +3mm or 1.5 cm.
3) The facing to the button stand is normally the same width as the button stand.
Button Positions
First button is put on the neck position at the bust position and then even out the rest up to the waist point.
Buttons are normally marked horizontally or vertically. Vertically button holes are mostly worked on shirts.
When marking the button stand you need to notch where it is turning inside.

FACINGS: These are used to give the raw edges of a garment a finished look; they also help to stabilize the
shape of the garment. The width of a facing vary from 1"or 2.5 cm to 3" (7.5cm depending on the location.
There are four types of facings namely:

1. Shaped facing which takes the same shape and grain and has the part to be faced.
2. Extended facings created by extending the edge of a pattern piece and then folding the extension over
the finished garment. They can have no seam line and no extra piece of fabric is used.
3. Bias facing often used at the neckline of blouses and dresses that have flat or partial-roll collars. The
bias facing is a parallel strip of fabric cut on true bias. When it is applied on to a garment, it is eased on
one edge while being stretched on the other to give shape to the edge it faces. It is difficult to manipulate
so it should be kept narrow.
4. Straight facings – Stitched on: e.g. panel or strap facing created by tracing the edge of a pattern piece so
that a new piece of fabric can be cut out and sewn over the raw edge. They allow the use of a different
type of fabric, and they can be applied to any type of edge.
Facing the arm hole you need to trace its shape, and then using a tracing wheel outline the shape on a separate
piece of paper. If any part has to be faced it’s always good to apply an interfacing but for light garments leave
out the interfacing. The interfacing gives body to the garment on the position holding the buttons.

NECK LINES
Neckline is the bodice opening through which the neck extends.Necklines are usually faced with fitted
facings.Necklines can be classified as low or high.Many variations in design are possible by lowering or raising
the neckline at the front only or at the back or by lowering it all the way round. The shape of the neckline,
round, square or V can be changed to suit the individual or to reproduce a chosen design.
NB: Low necklines tend to gape, therefore reduce dart after drawing the neck shape. Make a small dart approx.
0.6cm width from neckline to bust point.
There are 3 basic neckline types:
i) Round
ii) V shaped
iii) Square
iv) Raised necklines
Variations of the basic types can be created by altering the neck depth or width.
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TOPIC 10: COLLARS
Classification of collars
There are 4 basic types of collars;
 Flat eg peter pan, eton, sailors e.t.c. They are referred as flat because they lie flat around the shoulder.
 Collars cut as one with the garment e.g rever, classic, roll e.t.c
 Collars with revers- cut with a separate collar and a revere g classic gent, classic rever e.t.c

TOIC 11: EDGE FINISHES

 The purpose of edge finishes is to neaten an edge of a garment, increase durability and prevent fraying.
 Some edge finishes are used as trimmings or to decorate the garment.
 Raw edges are found at the neckline, seams, lower edge of a skirt, sleeves, CB/CF.
 They can be neatened or finished using:
i. Hems
ii. Binding
iii. Use of trimmings e.g lace, piping
iv. Facing on necklines, C.F/C.B.
 Different raw edges are finished differently using the different neatening techniques.
Facings
 This is an additional piece of fabric that finishes a raw edge.
 Used at necklines, armholes, front and back openings and sometimes at the waistline and on a
hemline that is too short for hemming.
 The shapes to be fitted are cut squared, V shaped or depending on the style of the garment.

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 In commercial patterns, facings are provided to match the shape of area to which they will be
applied.
 They are usually placed on the inside of the garment to prevent them from being visible on the
right side.
 However where used for function or decorative purposes, they can be placed on the R.S. with a
contrasting color of fabric.
 If a garment is made from a heavy or rough fabric, the facing should be made of a thin fabric so
as to reduce the bulk and improve the feel.
 If the garment is made from a thin fabric, the facing should be made from firmer fabric to give
body. However this should not take the place of an interfacing.
 Facings can be classified into;
i. Shaped or fitted
ii. Bias
iii. Extended.
 Shaped facing
 Has the same shape, grain, no. of pieces and the same number of seams as the area to be
faced.
 As a result it shrinks, stretches, drapes and generally conforms in the same manner as the
outer fabric unless made of a different fabric.
 They vary in width according to the position on a garment.
 Most shaped facings are supported by interfacing

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