SOMALILAND

Ministry of Education and Higher Education

Learner’s / Trainee’s Guide

Garment making and Tailoring

Level 1

Hargeisa

JANUARY 2017

The study is financed by the European Union and implemented by Save the Children
Table of Contents

1.0. INTRODUCTION...................................................................................................................................... 3

2.0. UNITS OF LEARNING OUTCOMES.............................................................................................. 4

2.1. PRACTICE OCCUPATIONAL HEALTH AND SAFETY PROCEDURES..........................................5

2.2. MAINTAINING TOOLS, EQUIPMENT AND PRACTISE SAFETY...................................................7

2.3. PARTICIPATE IN BASIC WORKPLACE COMMUNICATION...........................................................9

2.4. PERFORM BASIC COMPUTER APPLICATIONS...................................................................................10

2.5. PERFORM BASIC MEASUREMENTS AND CALCULATIONS...........................................................11

2.6. PERFORM BASIC BUSINESS MANAGEMENT ACTIVITIES.............................................................12

2.7. PERFORM BASIC SEWING........................................................................................................................... 13

2.8. SEW BASIC GARMENTS................................................................................................................................ 16

2.9. DRAFT PATTERNS FOR SIMPLE GARMENTS......................................................................................18

2.10. DESIGN AND SKETCHING.......................................................................................................................20

3.0. INFORMATION SHEET........................................................................................................................ 22

GARMENT MAKING AND TAILORING, LEVEL 1 2

1.0. INTRODUCTION TO TRAINEES' GUIDE LEVEL I

The Trainees' Guide consists of specific objectives for each module as derived from the learning
outcomes in the main curriculum and the associated Trainers' Guide. The learner activities for
each module are reflected in the Trainers' Guide only in order to avoid unnecessary repetition
and also with the understanding that each activity can only be executed effectively under the
guidance of the trainer.

Information Sheet comprising summarized notes for each unit and module has been provided in
the Learners' Guide only. The notes in the information sheet are only meant to compliment
other additional references and reading materials provided by the trainer. Trainees are also
advised to obtain further reading materials from school/college libraries as well as from the
internet via their mobile telephones.

Sample revision questions are provided within the Trainees' Guide to enable learners to gauge
the extent to which they have digested the material associated with each module and learning
outcomes as contained in the syllabus. Again, here the learner is advised not to set the limit of
his/her scope of subject knowledge and competence to the few sample questions provided.

GARMENT MAKING AND TAILORING, LEVEL 1 3

 2.0. UNITS OF LEARNING OUTCOMES

Subject Total
category hours
Unit Code Unit Titles
Basic/
common/ core
module

7531L1U01CM Practice occupational health and safety Common 30

procedures

7531L1U02CM Maintain tools/ equipment and practice Common 30

safety awareness in work place

7531L1U03CM Participate in basic workplace Common 30

communication

7531L1U04CM Perform Basic Computer Applications Common 30

7531L1U05CM Perform basic business management Common 30

activities

7531L1U06CM Perform Basic measurements and Common 30

Calculations

7531L1U07CR Perform basic sewing Core 120

7531L1U08CR Sew basic Garments Core 120

7531L1U09CR Draft Patterns for simple garments Core 120

7531L1U010CR Design & Sketching Core 114

TOTAL: 654

* Code: According to the International Standard Classification of Occupations (ISCO):

xxxx (ISCO) – Ln (n-level: 1. 2, 3, …) – Uyy (yy-unit number) XY (BS-basic / CM-common / CR-

core)

GARMENT MAKING AND TAILORING, LEVEL 1 4

 2.1. PRACTICE OCCUPATIONAL HEALTH AND SAFETY PROCEDURES

Contact S.I.T Total

Hours Hours Duration

A. Unit Code 7531L1U01CM
8 22 30

B: MODULES AND LEARNING OUTCOMES

MODULE 1.1: MAINTAIN SAFETY IN WORKPLACE

On completion of this Module the Trainee will be able to:

1.1.1. Maintain safety in the workplace

1.1.2 Perform first aid

Module 1.2: MANAGE HAZARDS AND WASTE

On completion of this Module the Trainee will be able to:

1.2.1 Identify workplace hazards

1.2.2 Evaluate workplace hazards

1.2.3 Control workplace hazards and risks

1.2.4 Maintain occupational health and safety awareness

1.2.5. Maintain good personal health and safety

1.2.6. Control waste

1.2.7. Utilize waste

SAMPLE QUESTIONS

1.List FIVE tools and equipment used in conducting maintenance

2. Explain the importance of adhering to preventive maintenance guidelines as provided by

GARMENT MAKING AND TAILORING, LEVEL 1 5

 the manufacturer’s.

3.Explain importance of maintaining cleanliness of workshop

4.List workshop safety rules and regulations

5. Outline the ways of caring for a sewing machine

6. List possible hazards in a work place and how they can be controlled

7 .Identify items that are kept first aid kit.

8. List possible accidents that may happen in the Garment and Tailoring workshop.

9.Explain ways of maintaining good health

10.Discuss the effect of drug and substance abuse to occupational safety and personal
health

11. Name TWO Classes of fire.

12.Identify Firefighting equipment for different types of fire

13. Explain the first aid procedure for the following injuries

 Cuts
 Electric shock
 Burns and scalds
 Sprain

14.Explain methods of waste disposal

15. Describe different wastes produced in textile industries and its management.

16. Discuss ways of utilizing fabric wastes

GARMENT MAKING AND TAILORING, LEVEL 1 6

 2.2. MAINTAINING TOOLS, EQUIPMENT AND PRACTISE SAFETY
Contact S.I.T Total
Hours Hours Duration
A: Unit Code 7531L1U02BS
4 26 30

B: MODULES AND LEARNING OUTCOMES

MODULE 2.1: MAINTAIN TOOLS AND EQUIPMENT

On completion of this Module the Trainee will be able to:

2.1.1 Identify tools and equipment used in the sewing workshop

1.1.3 Demonstrate safety awareness while using tools and equipment for various tasks
2.1.3 Inspect tools for proper operation and perform basic preventive maintenance of tools
and equipment

2.1.4 Store tools sewing machines and sewing equipment

MODULE 2.2: USE BASIC HAND TOOLS

On completion of this Module the Trainee will be able to:

2.2.1 Plan and prepare for the task

2.2.2 Prepare hand tools to be used

2.2.3 Use the appropriate hand tools for right job

C: SAMPLE QUESTIONS:

1. List the tools and equipment for drawing, cutting, sewing and pressing
2. Explain the safety measures to be observed when using the tools and equipment
3. List all tools and materials needed in conducting maintenance
4. Explain the importance of adhering to preventive maintenance
guidelines as provided by the manufacturer’s.
5. Discuss factors that contribute to the breakdown of tools, equipment and

GARMENT MAKING AND TAILORING, LEVEL 1 7

 sewing machines
7. Explain the importance preventive maintenance.
8. Explain the difference between preventive maintenance and
corrective maintenance
9. Explain how to take care of shears/scissors.
10.List the faults that are caused by choosing wrong size of needle
11.Explain how to take care of the sewing machine

2.3. PARTICIPATE IN BASIC WORKPLACE COMMUNICATION

Contact S.I.T Total

Hours Hours Duration
A: Unit Code 7531L1U03CM
30
B:MODULES AND LEARNING OUTCOMES

MODULE 3.1: RECEIVE AND RESPOND TO VERBAL AND WRITTEN INSTRUCTIONS

On completion of this Module the Trainee will be able to:

GARMENT MAKING AND TAILORING, LEVEL 1 8

3.1.1 Receive verbal instructions

3.1.2 Receive written instruction

C: SAMPLE QUESTIONS
1. Explain the difference between of nouns and verbs and their
applications in sentences.

2. Explain the characteristics of nouns and verbs

3. Discuss factors that contribute to effective communication at workplace

4. State the barriers to effective communication

5. Identify the media of communication

6. Identify various forms of non-verbal communication

7. Write an application letter for seeking a job

8. Discuss sources of information and their implications in communication

2.4. PERFORM BASIC COMPUTER APPLICATIONS

Contact S.I.T Total
A: Unit Code 7531L1U04CM Hours Hours Duration

8 22 30

B:MODULES AND LEARNING OUTCOMES

MODULE 4.1: CONNECT COMPUTER AND PROCESS DOCUMENTS

On completion of this Module the Trainee will be able to:

GARMENT MAKING AND TAILORING, LEVEL 1 9

4.1.1Connect computer peripherals
4.1.2 Create documents
4.1.3 Edit and format documents

4.1.4 Merge documents

4.1.5 Work with tables

C: SAMPLE QUESTIONS
1. Identify parts of a computer
2. Explain the procedure of creating documents using a given word processor
3. Explain the procedure of merging documents
4. Explain the procedure of inserting tables in existing documents
5. Explain the procedure of editing and formatting documents
6. Explain the procedure of printing out documents
7. List computer peripherals
8. Discuss the disadvantage of using computer in processing documents

2.5. PERFORM BASIC BUSINESS MANAGEMENT ACTIVITIES

Contact S.I.T Total
Hours Hours Duration
A. Unit Code 7531L1U05CM
10 20 30

B. MODULES AND LEARNING OUTCOMES

MODULE 5.1: PLAN TO START A SMALL BUSINESS
On completion of this Module the Trainee will be able to:
5.1.1Identify types of business ownership

GARMENT MAKING AND TAILORING, LEVEL 1 10

5.1.2Select a small viable business opportunity
5.1.3 Assess the feasibility of a small business opportunity.

MODULE 5.2: ESTABLISH A SMALL BUSINESS

On completion of this Module the Trainee will be able to:
6. 2.1 Explain the process of setting up a small business
6. 2.2 Make arrangements for the physical set up of a small business
6. 2.3Set up a product/service process for a small business

C. SAMPLE QUESTIONS
1.Define and explain terms used in small business.

2. Discuss factors that influence a person to establish and run a small business.

3. Explain the procedures involved in establishing a small business in Somaliland.

4. Explain the advantages of sole proprietorship
5. Explain the reasons for forming partnerships
6. State the importance of a business plan
7. list examples of business goals
8. Explain the importance of conducting market survey
9. State factors to consider in selecting business location

GARMENT MAKING AND TAILORING, LEVEL 1 11

 2.6. PERFORM BASIC MEASUREMENTS AND CALCULATIONS
Contact S.I.T Total
Hours Hours Duration
A: Unit Code
7531L1U06CM
4 26 30

B: MODULES AND LEARNING OUTCOMES

MODULE 6.1: PERFORM SIMPLE CALCULATIONS

On completion of this Module the Trainee will be able to:
6.1.1 Read and interpret drawings
6.1.2 Obtain measurements
6.1.3 Perform simple calculations
6.1.4 Estimate appropriate quantities

Module 6.2: APPLY CALCULATIONS IN PERFORMING GARMENT MAKING TASKS

On completion of this Module the Trainee will be able to:
6.2.1 Calculate body measurements

6.2.2 Apply calculated measurements in drafting patterns.

6.2.3 Calculate a fabric/ material estimates for a garment and determine the price of
garment

C:SAMPLE QUESTIONS
1. Explain types of measurements and measuring tools used Garment making and Tailoring
occupation.

2 Discuss English and metric measurements and their uses in Tailoring occupation

3. Using relevant examples, show the application of the fundamentals of arithmetic

operations (MDAS) in garment making.

4. A tailor takes 2 days to make 5 dresses. Calculate the number of days that the tailor will
take to make 800 dresses.

5. A tailor uses 3 metres of fabric to make 2 shirts. A metre of fabric costs two dollars.

6. Calculate the total cost of fabric if the tailor makes 100 shirts.

GARMENT MAKING AND TAILORING, LEVEL 1 12

 2.7. PERFORM BASIC SEWING

A. 7531L1U07CR Contact S.I.T Total

Unit Hours Hours Duration
Code
126

B. MODULES AND LEARNING OUTCOMES

Module 7.1: SETTING UP AND OPERATING SEWING MACHINE

On completion of this Module the Trainee will be able to:

7.1 1 Operate sewing machine

7.1.2 Test machine output

7.1.3 Re-adjust machine setting to meet requirements

Module 7.2: MAKE HAND STITCHES AND SEAMS

On completion of this Module the Trainee will be able to:
7.2.1 Make hand-stitches

7.2.2 Make open /plain seams

7.2.3 Make French seam

7.2.4 Make double-stitched seam

7.2.5 Make overlaid seam

7.2.6 Neaten raw edges of seams

Module 7.3 : APPLY INTERFACING , PERFORM EDGE FINISHES AND MAKE BELTS
AND BELT CARRIERS

On completion of this Module the Trainee will be able to:

7.3.1 Cut and apply interfacing

7.3.2 Perform edge finishing

7.3.3 Make and apply belts and belt carriers

Module 7.4: MAKE OPENINGS

GARMENT MAKING AND TAILORING, LEVEL 1 13

On completion of this Module the Trainee will be able to:

7.4.1 Make continuous opening,

7.4.2 Make bound opening

7.4.3 Make faced opening

Module 7.5 : CONTROL FULLNESS

On completion of this Module the Trainee will be able to:
7.5.1 Make pleats( Knife, inverted and box pleats)

7.5.2 Make gathering and shirring

7.5.3 Make darts

Module 7.6 : ATTACH TRIMMINGS AND FASTENINGS

On completion of this Module the Trainee will be able to:
7.6.1 Apply tapes and ribbons

7.6.2 Fix hooks and eyes

7.6.3 Attach buttons& loops,

7.6.4 Make buttonholes

7.6.5 Fix zip fasteners using; concealed, semi-concealed and invisible methods

Module 7.7 : MAKE SIMPLE POCKET AND FLAPS

On completion of this Module the Trainee will be able to:

7.7.1 Make patch pocket with flaps

7.7.2 Make in-seam pockets

Module 7.8: MAKE SET-IN SLEEVES

On completion of this Module the Trainee will be able to:
7.8.1 Make short sleeve ( shirt, puff and gathered head )

Module 7.9: MAKE SIMPLE COLLARS

On completion of this Module the Trainee will be able to:
7.9.1 Make flat collars ( Peterpan, Sailor’s and Eton)

7.9.2 Make shirt collar with separate stand and with continuous stand

SAMPLE QUESTIONS
1. Explain the procedures involved in operating a sewing machine.

GARMENT MAKING AND TAILORING, LEVEL 1 14

 2. Outline the procedure of threading a sewing machine
3. State the function(s) of the following sewing machine parts
 Spool pin
 Take-up lever
 Stop motion screw
 Needle clamp
 Presser foot
 Throat plate
 Machine bed
4. State the causes of each of the following
 Needle breaking
 Thread breaking
 Fabric puckering
 Skipped stitches
 Loose stitches on the underside of fabric
5. Discuss safety factors needed to be followed while operating a sewing machine.
6. Explain procedures involved in winding a bobbin
7. Explain the procedure of stitching around a corner
8. Name three temporary hand stitches
9. Name four joining handstitches
10. Name five decorative hand stitches
11. State the factors to consider when selecting a seam
12. Name two types of seams
13. Name two types of openings
14. Describe two types of pockets
15. Outline the procedure of making the following details
 Inseam pocket
 Patch pocket
 Gathers
 Darts
 Attaching shirt sleeve
 Preparing and attaching peterpan collar
 Preparing and attaching shirt collar
16. Outline the qualities of a well-made seam
17. With the aid of diagrams, outline the procedure of fixing a zip on a skirt
18. Demonstrate the procedure of making various hand stitches, constructing seams,
neatening raw edges, edge finishes, constructing openings, attaching fasteners,
sleeves and collars.

GARMENT MAKING AND TAILORING, LEVEL 1 15

 2.8. SEW BASIC GARMENTS
Contact S.I.T Total
7531L1U08CR Hours Hours Duration
A: Unit Code
120

B. MODULES AND LEARNING OUTCOMES

MODULE 8.1: CUT OUT AND MAKE VARIOUS GARMENTS FOR BOYS/MEN AND
GIRLS/WOMEN

On completion of this Module the Trainee will be able to:

8.1.1 Select suitable fabrics/ materials /trimmings for the garment style.
8.1.2 Estimate the quantities of materials required Select suitable and estimate materials
quantities
8.1.3 Spread different types of fabrics, Lay out patterns economically onto fabric and observe
safety precautions when laying special fabrics

8.1.4 Cut out different fabrics using manual or electric cutting machines while considering
fabric characteristics and transfer pattern markings using different methods

8.1.5 Sew two-piece dress with set-in sleeves and flat collar
 Assemble the garment details using the correct procedures
 Make the garment to completion
 Perform finishing processes on the completed garment
 Perform quality control inspection on the completed garment
 Package the garment appropriately
 Calculate the price of the garment
 Sell the garment made
8.1.6 Sew boys shirt with short sleeves and convertible/tennis collar
 Assemble the garment details using the correct procedures
 Make the garment to completion
 Perform finishing processes on the completed garment
 Perform quality control inspection on the completed garment
 Package the garment appropriately
 Calculate the price of the garment
 Sell the garment made
8.1.7 Sew skirt with gathering/shirring and waist band

GARMENT MAKING AND TAILORING, LEVEL 1 16

  Assemble the garment details using the correct procedures
 Make the garment to completion
 Perform finishing processes on the completed garment
 Perform quality control inspection on the completed garment
 Package the garment appropriately
 Calculate the price of the garment
 Sell the garment made
8.1.8 Sew a fitted blouse with inset cap sleeves finish with binding, shaped yoke with tucks ,
panel/princess lines, shaped hem and strap opening

 Assemble the garment details using the correct procedures

 Make the garment to completion
 Perform finishing processes on the completed garment
 Perform quality control inspection on the completed garment
 Package the garment appropriately
 Calculate the price of the garment
 Sell the garment made

MODULE 8.2: PRESS FINISHED GARMENTS

8.2.1 Identify pressing equipment

8.2.2 Perform pressing of finished garments

SAMPLE QUESTIONS
1. Define and explain terms used in constructing a garment.
2. Explain factors considered when selecting fabrics and materials for garment
making.
3. Explain the preparation process of various fabrics before cutting
4. Explain factors considered when laying patterns on fabric
5. Explain factors considered when handling and cutting various fabrics
6. List the methods of transferring pattern markings onto fabric
7. Explain the procedure of making various garments.
8. State the difference between under-pressing and final pressing
9. Explain factors to consider in selecting fasteners
10. List four types of fasteners
11. Name four methods of controlling fullness
12. List types of pleats
13. Name two types of darts
14. Explain the reasons for applying interfacing/canvas on garment sections
15. Name two types of pockets
16. Outline the procedure of making various pockets
17. Explain the procedure of attaching a sleeve
18. Describe two types of sleeves
19. Explain the methods of finishing hems
20. Outline the procedure of making belts

GARMENT MAKING AND TAILORING, LEVEL 1 17

 21. Explain the procedure of making hand worked and bound buttonholes

2.9. DRAFT PATTERNS FOR SIMPLE GARMENTS

Contact S.I.T Total
Hours Hours Duration
A: Unit Code
7531L1U09CR
18 102 120

B: MODULES AND LEARNING OUTCOMES

MODULE 9.1: DRAFT BASIC BLOCKS

On completion of this Module the Trainee will be able to:

9.1.1 Select tools, equipment and materials for pattern drafting

9.1.2 Use tools, equipment and materials for drafting correctly

9.1. 3Draft basic patterns/blocks

MODULE 9.2: DEVELOP FINAL PATTERNS

On completion of this Module the Trainee will be able to:

9.2.1 Manipulate block patterns and develop final patterns for gathered skirt, boys shirt,
shorts, blouse, hijaab and two-piece dress

9.2.2 Prepare, cut out and label final patterns

9.2.3 Store patterns correctly

SAMPLE QUESTIONS

1. Name tools, equipment and materials used in pattern drafting

2. State the function(s) of the tools, equipment and materials

3. Explain the factors to consider when selecting tools, equipment and materials for drafting
patterns

4.List the body measurements required for drafting the following basic blocks:

GARMENT MAKING AND TAILORING, LEVEL 1 18

  Skirt
 Bodice,
 Shirt
 Sleeve
 Shorts
9. Discuss the procedure and stages of developing block patterns into final patterns.
10. List pattern instructions that must be shown on a final pattern
11. State the factors considered when checking final patterns
12. State the importance of pattern instructions
13. Explain the methods of storing patterns

GARMENT MAKING AND TAILORING, LEVEL 1 19

 2.10. DESIGN AND SKETCHING

Contact S.I.T Total

Hours Hours Duration
7531L1U010CR
A: Unit Code
114
19 95

B. MODULES AND LEARNING OUTCOMES

MODULE 10.1: APPLY ELEMENTS AND PRINCIPLES OF DESIGN IN FREE HAND

DRAWING

On completion of this Module the Trainee will be able to:

10.1.1 Select tools , equipment and materials for design & sketching
10.1.2 Apply principles an elements of design in free hand drawing
10.1.3 Apply colour to sketches

MODULE 10.2: SKETCH VARIOUS GARMENT DESIGNS

On completion of this Module the Trainee will be able to:

10.2.1 Identify sources of design ideas
10.2.2 Plan and prepare for sketching S
10.2.3 Sketch garments for boys/men and women/ girls

SAMPLE QUESTIONS

1. List tools and materials used in design and sketching

2. Explain the sources of design ideas
3. Discuss the elements of design
 Lines
 Shapes
 Colour
 Texture
4. State the difference between secondary colours and tertiary colours
5. Name the primary colours
6. Discuss the principles of design
 Rhythm
 Proportion
 Balance
 Unity

GARMENT MAKING AND TAILORING, LEVEL 1 20

 7. Explain the procedure of developing garment design ideas
8. Sketch the front and back views of various garments to show
 Types of collars
 Types of necklines
 Types of openings
 Types of sleeves
 Seamlines/style lines
 Types of yokes
 Types of pleats
 Types of pockets
 Types of waistbands
 Types of cuffs

GARMENT MAKING AND TAILORING, LEVEL 1 21

 3.0. INFORMATION SHEET

MAINTAINING TOOLS AND EQUIPMENT AND PRACTICE SATETY AWARENESS IN THE

WORKPLACE

Introduction

Maintenance can be defined as process done to keep items to have a longer life span

Types of maintenance

There are two major types of maitenance, namely

(i) Preventive maintenance- service maintenance

(ii) Corrective maintenance –breakdown maintenance
In the workshop, a maintenance department does many different types of work which are inter-
dependent and must tehrefore be coordianted. The following types of workk are associated with
workshop maintenance

(i) Administration
(ii) Preventive maintenance
(iii) Corrective maintenance
(iv) Modification
(v) Replacement

(i) Administration: The functions of maintenance administration consits in designing adn

putting into effect the various systems of the maitenance organization. The following
systems are frequently employed in maintenance departments
(a) Machinery records
(b) Spare parts system
(c) Preventive maintenance system
(d) Work sequence system

Maintenace adminstration also entails the purchasing of spare parts, consumable items and
services.

(ii) Preventive maintenance: this type of maitenance includes all types of programmed
maintenance or all measuresaimed at the prevention of faults or at the discovery of faults
before any serious damage can take place

GARMENT MAKING AND TAILORING, LEVEL 1 22

(iii) Corrective maintenance: Even with a well- developed preventive maintenace system,
there is always need for corrective action.The term “ Corrective maintenance” relates to
any work with the purpose of correcting faults
(iv) Modification: In many cases modifications have to be carried out in order to adept the
production equipment to current requirements.
(v) Replacement: For any workshop to remain efficient, equipment will have to be replaced
from time to time. This is another area in which the maintenance department normally
carries out such work as is necessary.

 Preventive maintenance means an action is done before fault occurs. Preventive

maintenance can be divided into two parts
(i) Direct preventive maintenance-doing something like replacing, oiling machines,
planned replacement and renewal. Direct maintenance is often carried out
after a certain number of operating hours or calender months.
(ii) Indirect preventive maintenace- knowledge, condition monitoring. Cover all
operations intended to determine the need for direct preventive maintenance
measures of repairs

 Corrective maintenance
Also known as replacement maintenance, describes measures, the purpose of which is to
correct faults ie to restore damaged equipment to its proper functional state. Corrective
maintenance is often refered to as ‘ repair work’

 Importance of maintenance
Preventive maintenance yields numerous benefits including

1. Minimum maintenace cost

2. Maintenance performed when convenient
3. Ability to constract maintenance
4. Less downtime- If the job can be done before removal of the equipment from service, the
time that the equipment is out of service can be minimized
5. Minimum spare parts inventory
6. Less disruption through emergency maintenance
7. Less standby equipment needed
8. Less overtime needed
9. Increased safety
10. Less pollution

Planning of maintenance

Planning means – activities /process done to achieve goals

GARMENT MAKING AND TAILORING, LEVEL 1 23

Paper planning makes it easier to ensure that each operation is carried out at the right time. It is
also necessary to plan for availability of spare parts, tools etc.

Through planning maintenance cycle can be designed to ensure that the organisation, the
systems and the wroking methods are efficient. The figure below illustrates the cycle according
to which all maintenance should be carried out.

Every maintenance cycle leads to new experience, which may have to be taken into account at
the planning stage. If this is done, maintenance can be directed towards the general aim “to
ensure adequate operational reliability and personal safety at minimum expenditure

Fault identification

Frequent workshop inspection can detect different types of faults in a sewing machine. There are
basically two types of faults in machines

(i) Random faults

(ii) Regular faults

GARMENT MAKING AND TAILORING, LEVEL 1 24

  Random faults
These are faults which occur in an irregular manner as to make their prediction
impossible. A random fault may, for instance, be due to an unforeseen overload. These
are two types of random faults

(a) Observable random faults

(b) Non observable random faults

 Observable random faults

These take a certain time to develop, such faults can be discovered by inspection.

Non- observable random faults

Such faults do not develop over a period of time, and it is therefore impossible to detect
them by inspection. Only one thing can be done to prevent such faults from occuring
again in future, they must be recorded and their causes, must subsequently be analysed
with a view to improving the design or mounting of the machine concerned. Non-
observable random faults may be due to faulty materials, faulty control etc.

 Regular faults
This type of faults develop in stages in accordance with known and or recordable
sequence. They may be due to wear and tear, chnages in material due to desication,
crystallisation and other causes. Regular faults can also be subdivided into observable and
non observable faults.

 Schedule preventive maitenance

A through preventive maitenance program identify all points in facilities, machinery
equipment that require maintenance attention. It show appropriate periodic inspection
time, what needs adjusting and tightening , cleaning, lubricating and renewal through
routine parts replacement

In most systems, this goal is met through maintenance checklists and route sheets.

A maintenance checklist is like a guide tour of a piece fo equipment. Systematically it

leads the maintenance through the important points of the machine, giving instructions
on how to spot trouble or potential failures and then telling what to do when a problemis
found.

GARMENT MAKING AND TAILORING, LEVEL 1 25

 SEWING MACHINE FREQUENCY

No Component Instructions Daily Weekly Monthly Six Yearly

. before months
use

1. Sewing i. Check for bluntness

machine
needle ii. Check for bending

iii replace wtih a new

one

2. Needle clamp i. Check for tightness

scew
ii. Request for a new
one

3. Presser foot i. Check for type

attached

ii. Look for

worn/broken foot

4. Presser foot i. Check for tightnes

screw
ii. Replace in case of
looseness

5. Presser foot i. Inspect the level,

lifter test for misalignment
or spring stretch
capacity for 2 step
lifters

GARMENT MAKING AND TAILORING, LEVEL 1 26

6. Feed dog i. Check if
activated/deactivated

ii. Listen for noisy or

cracking sounds

iii. Clean using brush

to remove fluff

iv. Chec for blunt

teeth

v. Replacement with a
new one

7. Throat plate i. Check for looseness

ii. Replacement

8. i. Check for the

positioning and
looseness

ii. Replacement with

new

9. Tension Discs i. Check for

functioning and
adjustment

ii Replacement

10. Bobbin case i. Check strength of

thread

tension

ii Replacement

GARMENT MAKING AND TAILORING, LEVEL 1 27

 SEWING MACHINE FREQUENCY

No Component Instructions Daily Weekl Monthl Six Yearl

. befor y y mont y
e use hs

11 Shuttle cock i. Clean with brush to

remove fluff

ii Oil moving parts

12. Bobbin i. Clean with brush

winder
ii. Oil moving parts

13. Bobbin i Check size and type in

case there are a variety of
sewing machines in the
workshop

14 Balance i. Check presence/

wheel absence of motor

ii Tighten all screws and

nuts if motor not in use

15 Sewing i. Check for strenght and

Machine belt adjustment

ii Replacement

16 Peddle i. Check position and

GARMENT MAKING AND TAILORING, LEVEL 1 28

 adjustment

ii. Check nuts and tighter

17 Motor, plug, i. Open and clean using

socket, vacuum cleaner or dry
extension cloth
wire
ii Tighten all nuts

iii Check plugs and flexes

for fraying or loose
connections

iv. Replace when required

18 Major
machine
service

Methods of caring for sewing machines

A. Cleaning Upper and lower sections

I. Remove needle, , presser foot and needle plate with a screw driver before cleaning.
II. Organise cleaning apparatus
III. Use soft cloth to remove dust from the extension of sewing machine. Use a feather or paint
brush when cleaning intricate parts
IV. Lift machine head and wipe mechanism beneath.
V. Follow instruction in the sewing machine manuals carefully.
VI. Clean all necessary parts wtih a brush while turning hand wheel towards the front
VII. Make sure cleaning is done thouroughly.
VIII. Put machine back together (re-assemble) and fix the machine parts.

B. Lubrication/oiling machine
I. Machines should be given a good oiling with regular sewing machine oil
II. All movable parts should be oiled.
III. A slight turn of the balance wheel will make these parts more visible
IV. Replace head of machine in position and insert a drop of oil into small holes in the
arm of machine

GARMENT MAKING AND TAILORING, LEVEL 1 29

 V. After oiling a piece of fabric should be placed under foot of machine foot. Run the
machine without thread to distribute the oil. Leave fabric underfoot of machine to
collect excess oil from needle bar.
VI. Machine should be oiled on a regular basis, depending on how often it is used
VII. Some machines come with manuals on how to oil – follow the instruction carefully.

Note: Do not over oil machine. Never allow part or parts of the machine to become
dry.

Oiling completes the cleaning of the machine. Oiling has to be done regularly to prevent
rusting and to make the parts easy to move.

SEWING MACHINE ATTACHMENTS

Definition of Sewing machine attachments/accessories

Attachments are tools designed to serve different purposes. Some attachments are included
when the machine is bought. Newer Models are equipped with built-in features, so most
attachments are not needed for these types of machines

Attachments for the different types of machines include:

Lock stitch Chainstitch Serger/overlocker

Roller foot Roller foot Seam guide

Seam guide Seam guide Gathering foot

Zipper/cording foot Ruffler

Invisible zipper foot Teflon coated pressure foot

Tucker Hemmer foot with folder

Zig zagger

Button holder

Gathering Foot

Ruffler

GARMENT MAKING AND TAILORING, LEVEL 1 30

Teflon coated pressure foot

Pressure foot

Open-toe/ all purpose presser

foot

Needles

Machine needles should be sharp and of correct size in order to produce very good stitching.

Needles come in different types and sizes

Regular Needles ( Flat or Ball point Needles Wedge –Point Twin + tripple
round) needles needles

- Numbered from 11-14 - Used mainly on - Specially designed - Are a combination

- Have sharp points knits, pass to be used on of 2/3 needles joined
- Used for woven and between the stretchy,leather and together at the shark
plain weaves fabric
threads of fabric furlike fabrics and and are used
- Have plain weaves
without damaging viny/backing, vinyl especialy for sewing
the yarm tucks and double or
tripple stitching.

Needle faults

Faults Cause

Bent needles  Improper breaking of thread from the

machine needle
 Wrong needle for sewing certain
fabrics
 Timing of machine is wrong
 Loose presser foot
 Wrong presser foot
Blunt needles  Puckered seam

Wrong sized needles The size of the needle selected depends on

GARMENT MAKING AND TAILORING, LEVEL 1 31

 the fabric being worked on. Different fabrics
require different size needles. Failure to use
the correct needle may result in

(a) needle leaving a hole in fabric

(b) Needle being to fine for thread,
causing thread to fray/break

Bobbins

The bobbin is a small spool used to hold thread in the lower part of the sewing machine. There
are many different types of bobbins made to exact sizes and with specific features to fit specific
machines. Bobbins made for domestic machines will not fit industrial machines, and should not
be used in them.The bobbin tension should be adjusted by tightening the screw.

Hand equipment and accessories

Hand equipment can be classified in three broad groups, namely:

Cutting Measuring Marking

There are 2 major types

1. Shears 1. Tape measure 1. Tailors chalk

2. Scissors

Types of shears 2. Yard sticks/rulers 2. Dressmarker’s tracing paper

1. Pinking/Scalloping
2. Knife edge shears 3. Adjustable gauges 3. Needle
3. Lingerie shears
4. Heavy weight shears with
serrated cutting edges 4. Tailors squares 4. Thread
(L-shaped wooden, plastic
or metal squares)
Types of scissors 5. Tracing wheel

1. Ripping Scissors
2. Light trimmers
3. Thread clips
4. Electric scissors

GARMENT MAKING AND TAILORING, LEVEL 1 32

Care of shears and scissors

I. They should be used only to cut fabric. Paper scissors should be used for cutting
paper
II. They should be stored in a dry place with blades closed
III. The insides of blades should be occasionally wiped with sewing machine oil to
prevent rusting
IV. A little machine oil should be placed on the screw between the blades
V. Excess oil must be removed before using shears
VI. Sharpening should be done by the manufacturer or by a competent sharpening
service provider
Care of sewing machines

1. A sewing machine must be kept covered when not in use to protect it from dust and
damp weather conditions

2. Loosen the machine belt and stop the motion screw when machine is not in use

3. Replace the broken parts immediately to prolong the life of the machine

4. Have the machine checked by the mechanic regularly

5. Oil the machine regularly

GARMENT MAKING AND TAILORING, LEVEL 1 33

MAINTAININING SAFE WORK ENVIRONMENT

Introduction

What is daily cleaning

1. Daily cleaning involves the removal of dust from all surfaces like those of furniture, windows,
mirrors and floors
2. It is easier to keep things clean than to clean dirty things
3. Clean teh workshop as early as possible in teh mornign to ensure
(c) The trainees can start the day in clean and tidy surroundings
(d) There are less people moving around as this makes cleaning easier
(e) The dust has settled during the night is not stirred up again

1. The daily chores consist of

a. Removal of all surface dust
b. The cleaning and brightening up of all polished surface and
c. The general tidying up of all teh equipment in daily use by putting it away

A daily cleaning of the workshop helps to keep it neat and tidy, but a more through and complete
cleaning of the workshop (general cleaning) should be done once a week.

Importance of workshop general cleaning

1. Area is kept clean and free from waste
2. Work is protected from dirt and damage
3. Work is positioned and moved in accordance with procedures
4. Working practices are carried out safety and conform to safety requirements and codes of
practice
5. Running maitenance is carried out within the limits of the individuals area of
responsibility.
6. Instances which require attention and which are beyond the limits of the individual, are
prompty and accurately reported.

GARMENT MAKING AND TAILORING, LEVEL 1 34

Sweeping and dusting

Cleaning is the removal of dust, dirt and foreign matter

Cleaning of any kind is necessary in the interests of good health, to preserve workshop/
household furniture and furniture and furnishing, tools and equipment, a- to improve the
appearance of the house hold.

 Rules for dusting

1. Use soft dusters made of cotton material

2. When using dusters, fold in the corners to make a soft pad.

3. Work methodically, dusting from the top and working downwards

4. Gather the dust into the duster as you wipe. Dispose off by dispersal

5. For curved furniture and window ledges, use a soft blush

6. Dampen duster slightly for painted surfaces and finish with a dry, soft duster

7. Polished wood can be wiped with a duster and dampened with liquid furture polish. Wipe
over with a soft dry duster.

8. A damp duster allows dirt to cling more readily than a dry duster

9. Wash and rinse the duster thoroughly after use and hand to dry

10. Dust wall ocassionally using a soft wall brush with a long handle. Wall pictures and pin ups
must be removed before dusting. Use long strokes and dust from the top downwards.
Work methodically round the room

 Rules for sweeping

1. Sweeping must be done after dusting
2. turn off all fans before sweeping
3. Cover machines + other equipment before sweeping
4. Use a soft broom with a long handle for sweeping
5. Work methodically by sweeping from the far end of the room towards the door
6. Always stand behind teh broom while sweeping and keep the broom on the floor to
prevent the dust from flying about
7. Sweep forwards with short, firm, overlapping strokes. Remember to sweep under tables
and cupboards and other furnitures
8. Collect the dust in a dust pan
9. Wrap the dust in a sheet of newspaper before throwing in t into the dust bin

GARMENT MAKING AND TAILORING, LEVEL 1 35

 10. wrap the dust in a sheet of newspaper before throwing it into the dust-bin
11. Remove fluff and threads from the broom. Shake well before putting it away
12. Clean the duspan before putting it away

Choosing brooms and brushes

1. Always buy good quality brushes as cheep ones do not lask

2. Use a variety of brooms and brushes to suit the differetnt cleaning jobs. The wooden
handle should be smooth
3. Use light weight brooms that will not stain the worker

Care and cleaning of household/workshop brooms and brushes

1. After use, celaning equipment should be thoroughly washed in warm soap water to
remove grease and dirt
2. Store in cupboard or on a brrom rack to avoid bristles losing their shape

The toilet

The toilet must be cleaned daily

A through cleaning should be done at least once a week

Clean the toilet in the following order

I. Wash and clean the lacatory bowl

II. Clean the hand basin
III. Wash and celan the floor

Mop the lavatory floor daily wtih disinfectant 5 cm at least once a week with soapy water polish
the floor if necessary.

Personal grooming and cleanliness

Good personal hygiene means looking after one’s health, appearance, body, hair, teeth, hands,
feet and clothing

To be well- groomed in appearance means to be neatly and correctly dressed, with a suitable
hairstyle and make-up

Clothes for work should look neat and smart always

GARMENT MAKING AND TAILORING, LEVEL 1 36

Good health is attained through personal cleanliness and good habits

PERFORM BASIC BUSINESS MANAGEMENT ACTIVITIES

TYPES OF BUSINESS OWNERSHIP

The basic types of business ownership in common use are:

Sole Proprietorship

This is a business owned by only one person and is fairly simple to establish. The owner relies on
his personal knowledge, skills and experience to manage the business. It gives the owner total
control for the business.

However some of the disadvantages of this mode of ownership are as follows:

- Success depends on the owner's vision, energy and ability to manage the business.

- Personal assets of the owner can be used to settle business liabilities.

- Limited access to resources can hamper business growth.

Partnership

This is a business owned by two or more persons, thus they can pool their resources to start a
larger business. They share management responsibility and workload of the business. Their
collective vision, knowledge, skills and experience can be applied to promote the business. The
partners can agree to take different in the business depending on their respective qualifications
and experience.

However the main disadvantages are as follows:

- Differences of opinion and approach or style of management can affect the business.

- The personal property of each partner can be attached to settle business debts.

- Benefits are shared equally in spite of probably unequal levels of individual commitment or
contribution towards business success

GARMENT MAKING AND TAILORING, LEVEL 1 37

Limited Liability Company

This is a corporate entity which is distinctly different from the ownership regardless of whether
the owners are a group of persons or an individual. Since the company is a legal entity, it can
sue or be sued in its own right and the liability of the owner(s) are limited to the shares they
have invested into the company. It is quite normal for the owners, usually known as shareholders
to detach themselves from the day to day activities of the business by employing experts so that
their role is reduced to oversight and policy making at board level.

However since the business entity is a corporate entity registered under the Company's Act, it
places more legal demands on the owner(s) such as:

- Drawing up the memorandum and Articles of Association for purposes of registration.

- Full disclosure of the owners and their respective status in the business.

- Assets of the business and its permanent location from where business is transacted.

- Mandatory annual returns to the registrar of companies as well as the tax collector.

- High fees and levies charged by regulatory authorities and professionals such as auditors and
lawyers doing specific assignments related to the business

- Many court cases initiated by aggrieved clients, suppliers, consumer organizations, labour
unions, regulatory bodies as well as employees and former employees.

SIMPLE BUSINESS PLAN

It should be noted that any type of business requires a business plan which is seen as a road
map to success. Establishing a business without a business plan is like groping in the dark or
embarking on a journey without a known destination. The most likely outcome of such a move
will be total failure and complete loss of business capital.

A business plan is important for a new business because of the following reasons:

- It forces the owner to think of many alternative ideas and eventually settle for the best to suit
his/her situation.

- The alternative business ideas are called business opportunities because they present
opportunities for investing money to pursue an idea and provide a product or service for a profit.

GARMENT MAKING AND TAILORING, LEVEL 1 38

- Every opportunity must be analyzed and evaluated carefully because each one of them has its
own unique demands and challenges.

The main factors to consider when evaluating an opportunity are:

1. Overall vision and mission which are then translated into business goals, objectives and
targets.

2. Availability and access to consumers.

3. Total demand for the product or service you intend to offer and what segment of it you intend
to capture.

4. Skills required to make the product or provide the service and the cost implications.

5. Equipment and tools needed for the business.

6. Type of premises and space required to add value to the product and serve customers.

7. Competition both direct and indirect from existing and potential businesses.

8. The total cost of resources needed to embark on the business and sustain it in the short-term
or medium term. These will include the cost of skilled and unskilled labor, advertising, rent,
permits/licenses, tools, equipment and materials.

9. Immediate and potential sources of funding and the cost of borrowing funds.

10. Legal requirements for business registration.

11. The entrepreneur must ultimately prepare a financial forecast for the business by way of cash
flow projection, statement of financial position (balance sheet) and simple statement of revenue
and expenditure (income statement).

HEALTHFUL HABITS

Maintaining healthful habits is important in ensuring work efficiency and occupational safety. In
otder to maintain good physical and mental health the following guidelines should be adhered to:

 Have enough sleep

 Have a balanced diet
 Drink plenty of water
 Engage in exercise
 Avoid drug and substance abuse

GARMENT MAKING AND TAILORING, LEVEL 1 39

  Have a positive self-esteem
 Develop a philosophy of life that reflects your values
 Express emotions in healthful ways
 Express anger in a healthful way
 Set realistic goals
 Seek advice
 Avoid negative people
 Be optimistic
 Be consistent in your decisions
 Be rational in making decisions
 Maintain good relationship with other people

EFFECTS OF DRUG AND SUBSTANCE ABUSE

 Poor concentration at school and work

 Poor physical health
 vulnerability to infections and diseases such as hiv/aids
 increased blood pressure
 Impaired judgement and coordination
 Nerve damage
 Liver damage in the case ofexcessive use of
alcohol
 Drug dependence ( addiction) which mar require rehabilitation
 Involvement in crime
 Accidents
 Domestic violence

PERFORM SEWING MACHINES

GARMENT MAKING AND TAILORING, LEVEL 1 40

 TREADLE MACHINE AND ITS
APPLICATION 1.
1. Needle
Needle plate
plate
2.
2. Needle
Needle bar
bar screw
screw
3.
3. Face
Face plate
plate
4.
4. Spool
Spool pin
pin
5.
5. Needle
Needle bar
bar
6.
6. Pressure
Pressure barbar
7.
7. Take
Take upup lever
lever
8.
8. Pressure
Pressure foot
foot lifter
lifter
9.
9. Tension
Tension screw
screw
10.
10. Tension
Tension spring
spring
11.
11. Concave
Concave discdisc
12.
12. Side
Side late
late
13.
13. Pressure
Pressure foot
foot screw
screw
14.
14. Pressure
Pressure foot
foot
15.
15. Feed
Feed dog
dog
16.
16. Stop
Stop motion
motion screw
screw
17.
17. Balance
Balance wheel
wheel
18.
18. Bobbin
Bobbin winder
winder
19.
19. Stitch
Stitch regulator
regulator lock
lock screw
screw
20.
20. Stitch
Stitch regulator
regulator lever
lever
21.
21. Bobbin
Bobbin winder
winder thread
thread guide
guide

DBDON TECH SCHOOL PROGRAMME-COMIDE DON BOSCO BOYS’ TOWN 2010

TYPES OF SEWING MACHINES

There are three basic types of sewing machines:

 Hand-operated machine-is worked by means of a drive wheel which is turned by hand.

The great disadvantage of hand-operated machine is that only one hand can be used to
control the piece of work being machined. If the piece of work needs adjustment, the
machine comes to a stand still because adjustment of the piece of work normally requires
both hands

 Treadle machine- is worked by foot. By means of drive belts the movement of the treadle
plate is transmitted to the sewing machine, therefore two hands are available for fabric
adjustment and cotrol

 Electric machine- is operated using electricity. It works faster than the treadle and hand-
operated machines but it is more expensive. After the machine has been pluggedin, the
supply of the current to the electric motor is controlled by means of a foot switch/ pedal.
This allow sthe machinist to stop and start the machine at will without taking the hands
off the work being done. The disadvantage of electric machines is that they cannot be
used where there is no electricity supply.

GARMENT MAKING AND TAILORING, LEVEL 1 41

There are many makes and models of sewing machines, but the basic principle behind them all
is the same. It is difficult to generalize about the use of a particular sewing machine, therefore
you should refer to the appropriate manufacturers’s handbook/ manual or seek advice from a
skilled machinist. The following is a brief guide to the principles of machine sewing:

 Make sure that the needle and thread are of a size appropriate to the fabric being sewn
 Make sure that the machine is correctly threaded. The way of threading depends on the
machine. The thread must be passed through the appropriate thread guides,thread take-
up lever and tension disks before it is passed through the eye of the needle
 After threading the machine test stitch on a piece of fabric. The fabric should be the
same type as the one to be sewn
 If necessary adjust the tension and/ or stitch length by using the appropriate controls
 The work to be sewn should be positioned so that the bulk of it is to the left side of the
needdle
 To turn corners, let the needle remain in the fabric. Lift the presser foot, adjust the
position of the fabric as required, lower the presser foot again and continue sewing
 Let the feeddog move the fabric automatically. Do not try to rush by pulling the fabric
 When you have finished stitching, make sure that the needle is as high as possible, then
lift the presser foot
 Remove the work from under the presser foot. Then pull both threads gently away from
you, making sure you leave long ends.

SOLVING COMMON MACHINE PROBLEMS

During machine stitching some problems may be encountered such as:

Problem Cause(s) Remedy

Needle breaking  Wrongly inserted  Check the needle

needle  Check the presser foot
 Using incorrect presser  Check the throat plate
foot  Check machine
 Presser foot or throat settings
plate may be loose
 Bent needle
 Needle may be too
fine for the fabric
being sewn
 Pulling the fabric too
hard while stitching

GARMENT MAKING AND TAILORING, LEVEL 1 42

  Machine settings may
be wrong

Thread breaking  Machine may be  Operate machine at

operating too fast moderate speed
 Settings may be  Check the threading
incorrect  Check machine
 Wrong threading settings
 Damaged needle  Change needle if faulty
 Poor quality thread  Change thread if of
 Tight upper tension poor quality
 Loosen the upper
tension

Fabric not feedind in a straight  Presser foot pressure  Adjust the pressure on
line/feeding unevenly may be too heavy or the presser foot
too light/insufficient  Use paper when
pressure on presser stitching very
foot lighweightt fabrics
 Stitching light-weight  Tighten presser foot
fabrics  Check the needle
 Presser foot may be  Seek professional
loose advice in the case of
 Needle may be bent defective feed
 There may be a defect mechanism
in the machine feed  Do not pull or push
 Pulling or pushing the fabric too hard
fabric to the point of
interfering with
machine feed

Fabric puckering  Stitching a sheer fabric  If fabric is sheer or

witt too much pressure very light weight the
on presser foot stitch length should
 Stitch length too long not be too long aso
or too short pressure on the
 Thread may be too presser foot should be
thick for the fabric lessened
 Needle may be too  If stitching tightly
coarse for fabric woven or knitted
 Bobbin may be wound fabrics
unevenly  Check the thread
 Stitch tension may be

GARMENT MAKING AND TAILORING, LEVEL 1 43

 unbalanced  Check the needle
 Faulty feed dog  Seek professional help
incase of faulty feed
dog

HANDSTITCHING

Hanhsewing is necessary when assembling a garmet. There are general principles that apply
to hand sewing of any kind. These principles are concerned with the following:

(a) Threading tips-Cut thread at an angle using asharp scissors. Never break or bite
thread as this tcauses the thread to fray and makes it difficult to pass through the
eye of the needle.To thread the needle hold the needle in the left hand and the
thread end in the right hand between thumb and index finger. Pass thread end
through the needle eye and with the same motion, transfer the needle to the right
thunb and index finger. Then with left hand draw thread end out from the eye about
one-third of the way down the remaining thread supply. Hand sew with a
comparatively short thread. For permanent stitches use a working length of 18 to 24
inches; for basting and tacking, the thread can be longer. For buttonholes, buttons,
hooks and eyes you will use a double thread.
(b) Needle choice- select a hand needle that is suitable to the thread and fabric , and
comfortable for you and for the kind of work being done.
(c) Thread colour and type-For basting and thread marking use white or a light coloured
thread that contrasts with the fabric. Dark thread can leave marks on a light-coloured
fabric. For permanent handstitchingthread can match or contrast as you prefer.
(d) Twisting and knotting – Can be a problem in hand sewing with any thread, but
particularly with those that are made entirely or partly of synthetic fibres. To keep the
problem to a minimum, use a short length of thread and do not pull tightly on the
thread. It is also helpful to thread the needle with the end cut from the spool and to
wax the thread before starting to sew. When twisting does occur,allow the thread to
untwist itself in this way: First let the thread dangle, with the needle end down, then
slide your fingers gently down the thread.
(e) Securing stitching at beginning and end- This can be done by tieing a knot or
backstitching. Most hand stitching is secured at the beginning with a knot at the end
of the thread. In tacking/basting the knot can be visible but in permanent stitching it
should be placed out of sight against an inside layer. Backstitching can be used to

GARMENT MAKING AND TAILORING, LEVEL 1 44

 secure the beginning and the end of a row of stitching, especially in garment areas
where a knot could leave an indentation after pressing e.g in tailoring where a thread
knot within a section that has been padstitched would show on the right side. The
shorter the bacckstitch, the more secure it will be

CLASSIFICATION OF HAND STITCHES

Hand stitches are classified into two main groups:

(a) Temporary stitches e.g( tacking,basting,running). These are used to temporarily hold
pieces of fabric together in place before the fina stitching is done. Temporary stitches
are removed when permanent stitching has been done
(b) Permanent stitches-e.g ( Hemming, backstitch, blanket, buttonhole, overcast,
padding). Permanent stitches are further classified into the following:
 Joining stitches e,g backstitch, paddind,hemming, running, chain
 Neatening stitches e.g buttonhole, blanket,overcast.loop.
 Decorative stiches e.g satin, herring bone,arrow head, fly, feather,cross

SEAMS

Seams are defined as fastening together two or more layers of materials neatly and securely or
joining two or more layers of fabric

Choice of seams depends on:

(a) The type of fabric/ material being used- For sheer fabrics choose self- neatening
seams, so that the raw edges do not show on the right side. Heavy fabrics require
seams that reduce bulk e.g open seam and fraying type of fabrics require seams
that enclose the raw edges e.g. French seam
(b) The type of garment being made- Some garments require stronger seams than
others depending on their use (e.g. double stitched seams is suitable for jeans but
not for a cotton dress)
(c) Style of the garment-The style of the garment influences the selection of a seam;
for example, on a princess line type of dress, one could choose to emphasize the
style feature by topstitching the seam. In such a case an open seam would be
more appropriate.
(d) The position of the seam (e.g. a French seam is used successfully for the side
seams of slips but is not suitable for attaching the midriff section to the upper
bodice).
(e) The shape of the seam (e.g. a French seam is quite suitable for the straight side
seams of blouses but is not so easily worked on the curved seams sometimes
required for attaching yokes)

GARMENT MAKING AND TAILORING, LEVEL 1 45

 (f) The effect desired- If a seam is to be seen on the right side, one can choose
overlaid, slot, fagotted etc. for a decorative effect. For example, on jeans trousers
and skirts a double stitches seam looks attractive

QUALITIES OF A WELL MADE SEAM

A well made seam should be:

 Strongly stitched to last long

 Accurately stitched to maintain a good line, so that the drape and shape of the garment
are not distorted
 Neatly stitched to enhance appearance
 Matched where they cross each other
 Of appropriate width and equal in all parts of a garment
 Well pressed and flat

General rules for working seams

1. Threads used must be suitable for the material

2. The width of the seam depends on the seam allowance. This will however, depend on
whether the material frays easily, or is particulary loosely woven.
3. All seams of the same type on a garment must be of similar widths
4. The strength of the seam will depend on the firmness or otherwise of the stitching. Hand-
worked stitches must be frequent and regular and those worked by machine must be of a
suitable tension and length for the material. (This must be tested on a double piece of the
same material first)
5. To avoid puckering of seams on very delicate fabrics it is adivisable to place a piece of
tissue paper behind hte layers of material before stitching them.

BASIC TYPES OF SEAMS

There are many types of seams; however the basic seams are:

 Plain/open seam
 French seam
 Double-stiched seam
 overlaidseam

Terms used in working seams includes:

 CUTTING LINE: the line on which the garment is cut out

 STITCHING LINE/SEAM LINE: the line on which the seam is sewn

GARMENT MAKING AND TAILORING, LEVEL 1 46

  SEAM ALLOWANCE: the area of fabric between the stitching line and the cutting line. This
is usually 1.5cm. Some patterns allow more in some areas, and some allow less. Always
check before making up a pattern.

PROCEDURE FOR MAKING BASIC SEAM TYPES

1. PLAIN OPEN/FLAT SEAM

This is the basic seam used as a basis for many of the others, and still the best option for a
wide range of garments and fabric types. It is very good on fabrics that do not fray and can
be made on straight, curved and cornered areas of a garment. The raw edges can be
neatened separately or together. It is also the standard seam for sewing any garment that is
to be lined. 

    

 Procedure for making plain/ open seam

 To sew this seam, place the fabric right sides together, and sew 1.5cm from the cut edge,
using a straight stitch.
 Neaten the raw edges as desired ( by overlock/ pinking shears/ binding/zigzag/ edge
stitching)

GARMENT MAKING AND TAILORING, LEVEL 1 47

  Press the seam allowance open.

2 .FRENCH SEAM

This is a self-neatened seam; the raw edges are enclosed therefore no neatening of the raw
edges is required. This seam is useful on light fabrics, which can fray. It is also useful on semi-
sheer fabrics. It can be used on blouses and shirts, and on some underwear.

It is suitable for fabrics that fray easily.

Procedure for making French seam

 Place the fabric wrong sides together.

 Sew the seam very close to the edge; about 4mm from the cut edge.
 Trim off any thread or uneven bits, and press closed.
 Turn the fabric right sides together and press again.
 Sew the seam again, this time about 5mm from the edge, enclosing the cut edge, again
using a straight stitch.
 Press to one side

2. DOUBLE STITCHED SEAM /MACHINE FELL SEAM

This is a self-neatened seam that is very strong. It’s frequently used up the sides of jeans and
trousers. It can also be used for its decorative effects on coats and jackets. On light fabrics, it
gives a neat, flat finish and in the past was popular for making shirts, nightwear, underwear, and
children’s clothes. Because all edges are enclosed, and it is very strong, it will withstand the
frequent washing these clothes need.

GARMENT MAKING AND TAILORING, LEVEL 1 48

Procedure for making Double-stitched Seam

 Place the fabric right sides together.

 Sew 1.5cm from the cut edge.
 Press open, and trim one seam allowance to 1/3 of its original width.
 Press the full seam allowance in half, folding the cut edge towards the stitching.
 Fold over the narrower seam allowance, hiding the cut edges.
 Sew 2mm from the fold. This seam is usually sewn with the fold towards the back of
the garment.

NOTE:For decorative seams, sew in exactly the same way but starting with placing the fabric
wrong sides together. You can do the final line of stitching in a decorative thread. On very thick

GARMENT MAKING AND TAILORING, LEVEL 1 49

fabric you may need to cut a wider seam allowance: do a test seam first, before cutting out the
garment.

4. OVERLAID SEAM

This seam is more appropriate for areas that are cut straight. It is often used to fix yokes on
shirts and blouses, to fix laces, frill and ribbons. It is suitable for fabrics that do not fray easily.

Procedure for making and overlaid seam

 Mark the fitting line on the two pieces of fabric to be joined

 Fold and press the seam allowance on the overlay
 Place the folded edge of the overlay along the fitting line of the underlay
 Stitch close to the folded edge
 Press the seam
 Neaten the raw edges together by overlocking/overcasting/oversewing

SEAM FINISHES/ NEATENING

The method of finishing the raw edges of a seam must be chosen carefully as they affect the
durability and appearance of the seam. They are chosen according to the weight of the fabric,
whether the fabric frays or not as well as the use of the garment. The methods used are:

(a) Pinking with pinking shears on non-fraying and heavy fabrics

(b) Overlocking with an overlock sewing machine on light, medium and heavy weight fabrics
(c) Overcasting by hand stitching on light and medium weight fabrics
(d) Machine zig-zag on medium and heavy weight fabrics
(e) Binding-on heavy fabrics and light weight fraying fabrics
(f) Edge stitching on light weight fabrics

EDGE FINISHES

Main edge finishes includes:

 Hem finishes
 Lace finishes
 frills finishes

STEPS

GARMENT MAKING AND TAILORING, LEVEL 1 50

1. Select tools for the task, such as:-
Sewing machine, iron and ironing board, cutting shears, small scissors, tape emasure,

thimble, hand and machine needles, seam ripper

2. Explain and demonstrate the uses of

Edge finishes

(i) Edge finishes are used an articles and garments

 To neaten and protect the raw edges; and

 To provide a decorative or smart finish
(i) The edges on garments that have to be given such as well as the hem edges of these
garments
(ii) When choosing edge finishes always bear in mind
 The kind of material being used
 The kind of garment; and
 The edge finish for the particular edge
 The different edge finishes are hem finishes, binding, facing, bands, lace edgings and elastic
casing.
3. Explain the General rules for making edge finishes
 They must be strong to withstand constant wear
 Edge finishes must be neat and flat when finished
 Turnings must be of even width throughout
 The curved edges must be evn and smooth.
4. Explain and demonstrate the types of edge finishes and how to apply them
(1) Fold the facings with raw edges neatened on the R.S of the blouse and
machine stitch across the base fo the facing along the fitting line
(2) Trim the turnings of the facing to 0.6 cm below the machine stitching. Trim
across the corners of both the blouse and the facing (Diagram (i).
(3) Fold back the facings on to the W.S. ease out the corners and press.
(4) Wtih the R.S of the blouse flat on the table, fold hte hem up on to the W.S
along the fitting line and prepare the hem figure 2 (i)
(5) Slip hem the fold into position and oversew the facing to the hem (Diagram
(ii). Remove the tackings and press.

GARMENT MAKING AND TAILORING, LEVEL 1 51

 Fig i above

GARMENT MAKING AND TAILORING, LEVEL 1 52

To mark the hem

The assistance of a second person is essential as the hemline measured up from the floor with
the help of a hem marker or yardstick held in a vertical position (Diagram (i). The wearer should
put on the garment, together with the shoes to be worn, and stand on a firm table with the
weight placed evenly between both feet.

1. Using a hem marker or yardstick, mark the hemline with chalk or pins, marking not more
than 10 cm apart. Teh wearer should check in a mirror that hte desired length has been
marked.
2. Take off the garment and re-mark the herm with a tack-line.

Preparation of the hem

1. Lay the garment flat on the table with W.S outwards. Turn up the hem from the tack line,
match seam lines and pin vertically at intervals. Tack through the fold 0.6 cm up from the
edge (Diagram ii point A).
2. With a marker card or tape measure mark the depth of the finished hem with a horizontal
line of pins or with tacking taken through the single fabric only (Diagram 11, point B)
3. Trim away surplus fabric, leaving a 0.6 cm turning allowance beyond the marked line
(Diagram 11) Complete the hem as is most suitable (see page 204). Diagram 3 shows a
slip hemming worked in alternative manner to that shwon on page 69.

GARMENT MAKING AND TAILORING, LEVEL 1 53

 4.

GARMENT MAKING AND TAILORING, LEVEL 1 54

 Fig 2(ii)

Fig2(iii)

Straight Hemlines: finishes

First match and pin seam lines, then the sections between seams.

Slip hemming:

GARMENT MAKING AND TAILORING, LEVEL 1 55

For general use on lightweight fabrics

1. Turn the raw edge under to the marked line, then tack in position
2. Slip the hem, the fold picking up one thread of R.S fabric. Remove the tacks and press
carefully from R.S in each case.

Edge Stitched Hem

1. Turn the raw edge under to the tacked line, tack and edge stitch the fold
2. Pin and tack the stitched line into position
3. Slip hem the fold. Remove tacks and rpess

Bound Hem

Suitable for thick fabrics that fray easily. Using silk or fine nainsook, bind the raw edge of
hem, following the method for blinding and complete as for an edge stitched hem.

Herringbone Edge

Suitable for thick fabrics

1. Trim turnings to marked line, ie the width of hem. Pin and tack into position.
2. Work herringbone stitch, picking up one thread on the R.S of fabric and stitch normally on
the hem turning.

GARMENT MAKING AND TAILORING, LEVEL 1 56

 3. Remove tacks and press

(ii)

GARMENT MAKING AND TAILORING, LEVEL 1 57

The hem is usually 0.6 cm deep as otherwise there would be too much fullness to disperse owing
to the width of the flare.

1. Measure 0.6 cm down from the marked hemline and turn hem to W.S on this line: tack
2. Edge stitch along the fold and trim away the surplus fabric: then press (Diagram 1)
3. Turn up hte hem on to W.S on the marked line and tack
4. Either edge stitch the fold (Diagram 2), or slip hem stitched fold into place (diagram 3)

GARMENT MAKING AND TAILORING, LEVEL 1 58

 ii

1. Shrink away fullness by pressing with a famp cloth and a hot iron (only on the edge).
Remove the pins at seam and centres.
2. Place the edge of the Paris binding up to the hem depth line. Pin and tack it ot the hem
only. Machine stitch the lower edge of the binding.
3. Pin and tack up the hem with the binding flat and slip hem into the garment and flat edge
of the binding. On a very flared skirt, a crossway strip should be used instead of the Paris
binding.
B. Lace finishes Fig 6 (i,)

GARMENT MAKING AND TAILORING, LEVEL 1 59

GARMENT MAKING AND TAILORING, LEVEL 1 60
GARMENT MAKING AND TAILORING, LEVEL 1 61
CONTROLLING FULLNESS

Introduction

Fullness is any extra width or material which makes the garmentnot to fit the wearer well. The
garment fits well when the fullness is well distributed and controlled on a garment. The fullness
is controlled by applying the following.

(1) Pleats
(2) Gatehrs
(3) Darts
(4) Tucks
(5) Easing
(6) Shirring

BOX PLEATS

Introduction:

The box pleat are two knife pleats folded away from each other and form an inverted pleat on
the wrong side

To make such pleat the following step have to be followed.

(1) Prepare the material (work piece)

(2) Mark the position of pleats
(3) Measure the normal pleat width 3,4,5 cm wide plus fold width 3, 4,5 the same as pleat
width.
(4) Fold the pleat to line baste diagonally to ensure the turnings are firmly basted.
(5) Stitch with machine stitching on fold edge to required length to waist or frame bottom tap
ward and pan flat.

GARMENT MAKING AND TAILORING, LEVEL 1 62

Safety

Pleats are difficlt t o place in position, without being tacked or basted to position and pressed. To
avoid spoiling the fabric through ironing as well inguiring our self teh following tools have to be
used.

(a) Thimble for easy needle pushing and protecting sewing tinger
(b) Damp cloth for preventing shy marks on the fabric or garment on the right side

THE PLEATS

Pleats are the common techniques applied in controlling teh fullness and are also made as
fashion

Definition: Pleat is a layer of folded material to form a pleat

Pleats are categorized into three main

1. Knife pleat
2. box pleat
3. inverted pleat

GARMENT MAKING AND TAILORING, LEVEL 1 63

 THE KNIFE PLEAT

Knife pleats is the simplest pleat or garment construction. The pleats fold in the same
direction.

To make the knife pleats you must follow these steps

1. prepare teh work piece (fabric) about 1 meter use plain colouir cotton material
2. Mark position or pleats with tailors chalk tack the lines, on straight thread.
3. the position between pleat line should be twice the depth or the pleat size
4. lay all pleats turning in one direction from right to left to cover the pocket
5. tack the folded from bottom up to avoid stretching the fabric when tacked from up down
wards
6. stitch machine stitching to required lenght on the folded edge to make the fold hold firmly.

GARMENT MAKING AND TAILORING, LEVEL 1 64

GARMENT MAKING AND TAILORING, LEVEL 1 65
7. The pleat width range to size of garment and style the normal knife pleat range 1 ½ cm -
4cm

GARMENT MAKING AND TAILORING, LEVEL 1 66

Inverted pleats

The inverted pleats: these are knife pelats folded towards each otehr and form a box pleat in the
wrongside.

The inverted pleat can be used on tronsers/short with small turn on hte waist band, they are
used as decorative

MAKING THE INVERTED PLEAT

1. Prepare the workpiece (fabric) about imeta

2. Mark the position of peats
3. Measure the wdith of pleat equal to depth of the pleat
4. fold the pleats awy from each other and tack
5. stitch the entire length to make the pleat hold firmly

GARMENT MAKING AND TAILORING, LEVEL 1 67

DARTS

Definition

Dart is fold of material stitched to taper to a narrow point.

Darts are used to make a garment fit smoothly. or Darts are used to help to mould the garment
fabric to fit the body.

Darts are also arranged to form part of the style lines of hte garment.

Darts are alos arranged to form part of hte style lines of thegarment

Darts on waist line and neck are always pressed towards centre front or back-except those darts
which are slashed and pressed open.

Bodice under arm and sleeve darts are pressed down

Darts are worked on thewrong side of the garmetn and pressed to make as iconspricuous as
possible

Types of darts

Tehre are four types of darts used on the garmetn construction. These are

(a) convex dart or straight dart

(b) Concave dart or double dart
(c) Curved dart
(d) Dart tuck

3. Converted darts
Fold and pin on straight centre line. Stitch from either end to the other on curved line.
Slash through centre of fold and press open

If the dart is wide and fabric does not ravel trim.

4. Dart tuck or released dart

This is an inverted dart with fullness released within the garment.

Fold and pin on straight centre line. Stitch on slanted lines from point ot wide end and
across the wide end to the fold.

Press to one side.

Precaution

GARMENT MAKING AND TAILORING, LEVEL 1 68

 - Waist darts should be pressed to face the centre.
- Bust darts should be to face down ward toeards waist
- Armhole dart to face down wards
- Elbow darts to face the wrist end
- Neck and shoulder darts to face the centre
- Darts on fulllenght dress from bast to hip which are wide must be snipped at hte centre
and neated with loop stitch on raw edge.
- Darts made on thich material which are thich to layflat cut along the bred to open and
stitch raw edge.

GARMENT MAKING AND TAILORING, LEVEL 1 69

GARMENT MAKING AND TAILORING, LEVEL 1 70
Making darts

1. STRAIGHT DART: Fold on straight centre line and pin. Stitch on slanted lines from point
ot wide end to point or stitch from wider point to narrow point. Remove the pins as you
sew. See fig 1

2. DOUBLE POINTED DARTS. Fold on straight centre line and pin. Stitch from either point to
hte other on slanted lines. Clip thorugh fold at centre and at both side of centre. (suip or
clip) this must be done to make the dart lay flat and before pressing

GARMENT MAKING AND TAILORING, LEVEL 1 71

ATTACHING FASTENERS

Introduction

Fastenings are the means of closing up an openign to retain the original shape and fit of a
garment.

Type of openings to be applied so that they show on the right side of the garment or they may
be concealed between the overlap and the huder lap of opening

Buttons and button holes, or button and loops, eyelet tie tapes and zip fasteners can be applied
either way

Hooks and eyes or hooks and bars, press studies

These are always concealed.

Choice of fasterners

The choice or fastening depends on

(i) Type of opening

GARMENT MAKING AND TAILORING, LEVEL 1 72

 (ii) Type of garment (for children or adults)
(iii) Type or fabric, light weight, heavier, colour

Precautions:

To avoid spoiling the garment, selection of fastening must be made carefully by observing these
precaution

(i) Chose the fastening to suit the opening for narrow wrap opening- select small
fastenings.
(ii) Avoid metal fastening for childrens garment and underwear as they rust and loose
their shape when washed constantly
(iii) Avoid bound button holes for overall, uniforms or garments which are washed
constrantly
(iv) Avoid bound button holes for overalls, uniforms or garments which are washed daily.
(v) Do not make bound button holes on transparent fabric as they can be seen through
on the fight side.

GARMENT MAKING AND TAILORING, LEVEL 1 73

Tapes and ribbons

These are used on faced slit openings, bound slit openings, babies, bivs, vest, appron, pillow
slips and utility bags

Types of tape and ribbon

(i) tie tapes on openings without wraps

(ii) tie tapes an openings with wraps
(iii) Loop tape
(iv) Hanger tape

How to make : Tie tapes without wrap

1. Cut the tape strap to the required length and width and crease 0.6 or 7 m turning into hte
right side
2. Crease another line opposite the turning to make a square
3. place the right side of the tape with the turning on wrong side of the edge of the article
4. tack into position and hem round hte three sides.
5. Fold back the tape level with the edge and top sew the tape to the edge.
6. turn a narrow hem at the other end or hte tape on to the wrong side and hem it. Top sew
the two ends

Hooks and eyes

These are fastenings used on openings without wraps on faced slit opening

To sew hook and eye

1. Prepare the hooks and eye

2. Prepare piece of fabric or a garment to be applied. Thred the hand needle with double
thread
3. Thread the hand needle with double thread
4. Place the hook on position of the work piece to be sewn and stitch witer button hole
stitch on the wrong side of overlap about 0.3cm from the edge. Make strong stitch.
5. Place the eye on the other side on the wrong side and stitch around the eyes with the
button hole stitch.

GARMENT MAKING AND TAILORING, LEVEL 1 74

Buttons

Buttons are types of fastenings used on many garments.

Buttons are made from different materials like metals, wood, plastic, rubber and leather

There are two types of buttons-flat buttons and dome buttons.

1. The Flat buttons:

GARMENT MAKING AND TAILORING, LEVEL 1 75

 These have two or four holes pieced and have no shanks

2. The Dome buttons: These have shanks leaving space between the material and the
button and providing for the tickness of the overlap when the button is fastened.

Buttons must be sewn with shank to allow movemetn of the loop or buttonhole between the
button and the garment. gArmetn made wtihout shanked buttons make the button not stay
fastened. They pull out easily

The buttons must provides stem a space between the garment adn the button.

GARMENT MAKING AND TAILORING, LEVEL 1 76

To sew buttons without shank or loops

1. Mark a button position on a work piece (garment)

2. Thread the needle with double thread the same colour to fabric.
3. Fasten on thread at the button position, make knot at beginning
4. Place the button centre over fastened on thread, bring thread through first hole in button
to right side of button
5. Place across the button a pin or a match stick or knitting needle according to the length
of shank-required. (for thicker material use thicher needle or pin to provide longer shank)
6. Pass the thread over pin and through the second hole repeat this as often as possible
7. remove the pin, and bring the needle out between button and material and full the button
to the end of the long stitches formed.
8. Wind the thread 3 or 4 times round the stem or stitches formed and take the needle
through to the back of hte material and fasten off.

Loops

There are hands or several rows stitched on a straight or curve and lath stitched around wtih
bottonhole stitching to form a loop. Usualy are loose to allow the button to fasten when it is
completed made.

How to make loop

1. Prepare the material (sewing thread)

2. Mark the position of a loop
3. Thread the hand needle with the same colour of the garment use double thread.
4. Measure the size of loop the size the button plus 0.3 cm or 3 mm.
5. Make the loop length by sewing three to six hand. The move the trands the spot the
loop.
6. stitch button hoke stitch around the trand until the loop is completed.

GARMENT MAKING AND TAILORING, LEVEL 1 77

Precaution

1. Buttons should not be too close to the edge of the garment

2. Stitching the button the thread rows must be uniform
3. do not make shank on button with shank
4. Fixed button without shank will care out easily.

Worked loops for buttons:

Phase loops made for the garments edge opening meet. Such as back neck opening of
blouse/bodice or over lap under the collar.

1. To sew the loop

1. Prepare a piece of cloth

2. Mark the position to fasten the loop
3. Thread the needle with double thread and fasten the thread from point to point to make
a loop.
4. Make three or four thread loops and stitch around them a button hole stitch until the loop
is complete

GARMENT MAKING AND TAILORING, LEVEL 1 78

2. Buttons with shanks or loops
The buttons are made with shanks

To sew these button few steps used on buttons withiut shanks have to be omited.

The steps to omit are

- Needle across the button

- Passing the needle up and down

Sewing the button with shank

1. Prepare the garment

2. Mark the button position
3. Fasten the needle thread and fasten through the position to left the needle out.
4. Place the button with shank and pass the needle side ways through hole or shank
5. Reepat passing the thread while the button shank touches the material.
6. Fasten the thread under the material

Button holling

Button holling are made in two methods

(i) Worked button hole by hand or machine

(ii) Bound button hole

Button holes

Generaly button holes are worked after the garment is completed.

The button hole are made in a

(i) Horizontal position

(ii) Vertical position

GARMENT MAKING AND TAILORING, LEVEL 1 79

 1. The horizontal button holes take the strain in that direction such as cuffs, yokes and
bodices
2. The vertical buttonholes are made when the strain
(a) is in a vertical direction such at hte waist of a blouce or trousers, skirt and shirt
(b) When the hem or facing of the opening is on the right side of the garment.
(c) Teh length of the button hole is equal to the diameter of the button plus 0.3 mm
3. The length of the button hole is equal to the diameter or the button plus 0.3 mm
4. the button hole should be at elast half fthe width of hte button away from the edge of the
opening

5. Stitch 0.3 cm each side fo the strap leave 0.5 for allowing turning and smooth finish

GARMENT MAKING AND TAILORING, LEVEL 1 80

 6. Cut the opening of Bound with Vee cut near the corner of each strap to easy turning of
strap and from tiny binding or jet.

7. Pull or place both straps or binding to wrong side of the work piece and press each strap
seam to open or turn back to wrong side both straps.
8. Make binding or jet by folding each straps. Use hand tacking until the strap form a jet.
Repeat the same on the next strap. Make sure the edge neat together and are equal size.
9. Make machine stitching on the wrong side. Stitching together the straps against the seam
line inside.
10. Pull the vees or slits to wrong side and stitch them firmly.
11. Stitch the straps with overcast in the wrong side.

GARMENT MAKING AND TAILORING, LEVEL 1 81

GARMENT MAKING AND TAILORING, LEVEL 1 82
GARMENT MAKING AND TAILORING, LEVEL 1 83
Making button holes by machine.

(i) Prepare the machine with thread matchine to fabric

(ii) Prepare work piece
(iii) Mark the button hole on hte material (garment/piece of cloth)
(iv) Set the machine with button hole stitching device.
(v) Allign the material underneat the pressure foot
(vi) Drawn the needle into the button hole position
(vii) Place the pressure foot on top or the material
(viii) Begin stritching with moderate machine speed to size of the button hole.

Precautions

Test the stitch before stitching

- Long stitches will not give better effect

- Avoid high speed
- Do not pull hte fabric while sewing
- Avoid cutting the thread with fingers
- Do not use separate thrad colour when stitching buttonhole. Use matching colour to fabric.

Zip Fasterner

1. Zip fasteners are purchased in sizes according to the garmetn been made. Zip fasteners
are found in different types are
Metal zip

Nylon

2. When buying a zip the following points have to be observed.

(a) Choose a good brand (nylon/metal)
(b) Test to see that the zip glides easily and smoothly
(c) Choose hte suitable elngth for the opening
(d) The color of the tape of the zip must match the material
(e) The texture of hte zip must amtch teh height of the material. Thus fine zip for fine
material course zip for thick heavy weight material
(f) Choose zip with self lock.

3. Zip fastening is a combination of opening zip have more advantage in wear they easily
open and fasten. Zip are more pupular on dresses, skirt, shorts, longtrouses, children’s
wear garment, bags, loose cools and shoes
Always use a zipper foot to machine zip opening

GARMENT MAKING AND TAILORING, LEVEL 1 84

Fixing a zip

1. The proceures are the same as semi concealed in step 1, 2,3

2. Unzip the zip and place teh right side of hte zip against the wrong side of the seam with
the base of the teeth of the zip in line with the join.
3. Pin and tack from the garment side, close to the edge and across the base of the
opening.
4. Fasten the zip, pin and tack upwards on the second side away from the join of the seam.
The edge of the seam should meet.
5. Machine on both sides and across, keep close to tacking threads
6. Strengththen on the right and wrong sides as with the semi-concealed opening.

GARMENT MAKING AND TAILORING, LEVEL 1 85

 Precautions (Safety precaution)

- Zip are supplied in different make (Nylon and metal zip)

- Avoid pressing over Nylon zip with key hot hwn this will melt the nylon
- Avoid stitching closely to metal zip teeth this can damage the needle or break the needle.
Alway stitch away from metal teeth.
- Stitch carefully on zip base on metal zip, otherwise you will hit and break the needle.

GARMENT MAKING AND TAILORING, LEVEL 1 86

MAKING SIMPLE POCKETS AND FLAPS

There are several types of pockets both decorative and functional.

It is essential that a pocekt is strongly made and large enough for its purpose.

Inseam (straight) pocket is applied along the side seams of a garment.

Mostly suitable for dresses. Skins and women troussers and shorts.

Types of pockets:

(a) Patch pocket: Entirely visible, the style can vary from all rounded, square shaped,
pointed angles or detailed facing with top stitch on top.

(b) In seam pockets:Entirely invisible, sewn at side seams of troussers, skirt, jacket and
shorts

Making of a patch pocket. This kind of a pocker ia pplied on a jacket, shirt, dress and skirt.
The pocker can be on single piece of fabric or tined at worng sides.

Steps

1. Tracing of the working patern from a ready made pattern

2. Laying out of pattern on fabric following hte direction of the notiff
3. pinning, marking and indicating seam allowance and hemming of the pocket

Cutting

Construction steps

1. The pocket is formed by top stitching a patch of fabric on to the R.S of the garment. The
top edge is heated by:-
(a) Turn a plain hem approx. 1.25cm on to W.S and hemming in place

(b) Turning a plain or shaped herm on to the R.S and top stitching the hem in place,
styles such as indicated in diagram

GARMENT MAKING AND TAILORING, LEVEL 1 87

 (c) Attaching a straight or shaped facing of self fabric on or of a constructing
decorative fabric as indicated on diagram

GARMENT MAKING AND TAILORING, LEVEL 1 88

To apply a facing place R.S. of a facing to W.S. of pocker, matching fitting likes of top edge, and
talk and machine stitch. Remove tacks, press stitching and turnings, open and trim to 0.6 cm

Turn facing to R.S and turn under 0.6 cm along lower edge, tack into position and top stitch.

To attach pocket

1. Complete the top edge as required

2. Fold turnings of the pockets to W.S on fitting line and tack. Trim turnings to 0.6 cm. on
square corners and points pleat as in diagram (5a) on curved edges snip turnings to
reduce bulk ( diagram)

3. Matching balance marks, place the pocket in position on the garment and tack.

4. Following one of the methods indicated above in diagram 1,2,3, start machine stitching
where indicated by arrow and work support of corner first, proceed around edge of
pocket to finish with the support of second corner.

GARMENT MAKING AND TAILORING, LEVEL 1 89

 CUTTING

STEPS

1. Tracig of the working pattern from a ready made pattern. Transfer any matching points
and construction manes to pocket.

2. Draw a sketch of hte design you’d like to make. Select a parts patern the has pockets at
side seams, press the pattern pieces with a dry iron.

3. if the front and back patterns have extensions at the pocket opening sections and add
them to the pocket sections.

4. For each pocket, cut the under pocket from the pants/skirt fabric and the uppwer pocket
from the liming.

GARMENT MAKING AND TAILORING, LEVEL 1 90

 5. transfer any matipoints and construction marks to the pockets sacks, pants front and
pants back.

6. Set the upper pockets aside and clip-man the bottom of the pocket opening on the seam
allowances.

7. Turn the pants/skirt fronts over so the wrong sides are up. Starting about I’ below each
pocket opening. Place interfacing strip on the pocket opening seam allowances.

8. To mark the opening, begin with the left pants/skirt back right side up. Chalk-mark the
seam lines at the waist and on the openings

9. Chalk mark the seamlines on the left under pocket.

GARMENT MAKING AND TAILORING, LEVEL 1 91

Welt pocket

Welt pockets once set at an angle high width of hte front, jacket or skirt and htey flatter almost
any figure. The fininshed pockets opening is normally 5 ½ inches long and o.5 inches wide. The
distance between the pockets is 2” wider at the bottom than at hte top, and the distance
between the pockets at the top is four times the distance between the pots of hte pockets and
the side seams. The pocket sacks are sewn into seam at the waistline to prevent the pockets
from sagging when they are used.

Steps

1. Draw a sketch of hte skirt design you’d like to make, and select a skirt pattern that closely
matches your design.
2. Press the pattern pieces with a dry iron
3. Draw the pocekts opening on the skirt front pattern, as show in diagram 1

GARMENT MAKING AND TAILORING, LEVEL 1 92

 4. Before proceeding, try on the paper pattern to see how you like the pocket location by
moving hte pattern right and left and up and down to determine if another pocket
position would be more flattening for your figure.

5. Draw the patterns for the upper pocket, under pocket and pocket on hte skirt front
pattern. Draw the grain line parallel to the skirt front each pocket section.

GARMENT MAKING AND TAILORING, LEVEL 1 93

 6. Trace the pocket sections and their grain lines onto pattern paper, and cut out the
patterns.
7. Cut two upper pockets and two under-pockets from the liming fabric
8. From the skirt fabric, cut two pocket facings, which are applied to the under pocket to
hide the timing when the pocket is used.
9. On the right side of the skirt front, use a chalk wheel to mark the mouth –the opening
between the welts-of each pocket, as shown in diagram

10. Mark the ends of the openings with short, perpendicular lines.

GARMENT MAKING AND TAILORING, LEVEL 1 94

 11. Transfer the marks for the pocket openings to the wrong side of the skirt, insert a pin into
a chalk-line each cross mark. Turn the skirt so the wrong side is up, and use the chalk
wheel to mark the ends of the openings and a line between the two pins.
12. With the skirt front wrong side up, centre the interfacing strips over the chalked lines and
baste fuse them in place.

Construction steps

1. With the pockets facing right side up, serge the long edge.
2. With the right sides up, place the pocket facing on top of the under pocket, matching and
pinning the raw edges together. Then stitch a seam ¼ inch from the raw edges. Machine
stitch again through the serging at the other long edge of the facing (see diagram

3. Repeat steps 1 and 2 to stitch the facing to the remaining under pocket.

GARMENT MAKING AND TAILORING, LEVEL 1 95

 4. Press the under pockets and set them aside. With the skirt and upper pocket wrong side
up, place the upper pocket on top of the welts. Match and pin the edges toward the
centre of the skirt. Stitch a ½ inch seam as indicated on diagram

5. Open the layers so the upper pockets is right side up and the skirt is folded back out of
the way. Under stitch the seam.

GARMENT MAKING AND TAILORING, LEVEL 1 96

 6. With the skirt and under-pocket wrong side up, place the under pocket on top of the
welts and upper pocket. Match and pin the edges of the under pocket away from the
centre stitch ½ inch from the long, straight edge of the under pocket as shown.

GARMENT MAKING AND TAILORING, LEVEL 1 97

 7. With the skirt right side up, fold the skirt back so you can stitch around the pocket sack
with a ¼ inch seam.

GARMENT MAKING AND TAILORING, LEVEL 1 98

SLEEVES

A sleeve is a part of garment covering an arm. Sleeves are used in garments for style, warmth,
elegance and protection against accidents or weather. They are also used sometimes because
tradition demands it or to camouflage board sholders and disfigurement. Sleeves vary in length
and shape depending on the current fashion. They can be fitted or full, can be cut to any desire
length long sleeves, three quarter sleeves and short sleeves. Sleeves covers a range of styles
which can be used in a variety of garments

Sleeves are vital part of the garment’s silhouette and overall appearance. Almost all sleeve styles
can be developed from the basic sleeve.

Definitions

The following are terminologies commonly used with sleeves and with sleeve making processes.

Bodice: A part of garment covering the chest and back

Armhole: The scye

Armhole shoulder point: The point where the armhole meets the shoulder seams

Ease: The extra amount of material allowed in a garment to enable the wearer to breathe and
move easily

Easing: The manipulation and control of additional fullness which has been allowed on one side
of a seam

Lay/Layout: The position that pieces of pattern are laid on the fabric.

Types of sleeves

There are two basic types of sleeves namely

(i) Set in sleeves or mounted sleeves

(ii) Sleeve cut in one piece with the bodice
The set in sleeve/mounted sleeve

This is the most common tailored sleeve in which the sleeve is slightly bigger than the armhole,
meaning it must be eased or “set-in” to fit and hang properly. Set-in-sleeves are cut and sewn
separately from the bodice before being attached to0 the armhole. This procedure enables the
sleeve to have a closer fit at the lower armhole since the seam joining the sleeve to the bodice

GARMENT MAKING AND TAILORING, LEVEL 1 99

passes around, and it is positioned approximately 2.5 cm below the armpit. Adjustments on
sleeves can be freely made without using the bodice pattern. Examples of set-in-sleeves include

1. Plain short sleeve

2. Long shirt sleeve
3. Puff sleeve
4. Bishop sleeves
5. Cap sleeves

Sleeves cut in one piece with the bodice

These are sleeves which are constructed and cut together with the bodice either completely as in
kimono or partly as in raglan or drop shoulder sleeves

These sleeves can be fitted or full, they can also be made as long sleeves, three quarter or short
sleeves in length.

The plain shirt sleeve

This is a basic set- in sleeve type commonly used in women and men’s garments with different
fullness, length and construction

The plain shirt sleeve is cut as a flat piece of garment which is hen fitted and attached to the
garment by seam that goes around the armhole. The sleeve piece is larger than the armhole and
most be eased to fit. The extra fabric in the sleeve allows the arm to move freely.

Guidelines for making sleeves

1. Cut sleeves in pairs on double fabric

2. The grain of the sleeve should run down the length of the sleeve
3. the sleeve must be of a good shape with all the pattern lines and markings clearly marked
(notched), especially on the front and back of sleeves. Notches on sleeves must match
corresponding notches on bodice when sleeves are inserted in the armhole.
4. Always ease the sleeves at the head or crown. Those should be no gathers or pleats after
the sleeve is stitched in plain shirt sleeves.
5. Check the shoulder length of the bodice before attaching the sleeves.
6. On-edge-note measurement
(b) Measure back and front bodice armholes between back and front balance marks–note
measurement.

Note: The difference in the measurements equals the amount of ease in the sleeve crown. Do
not try to eliminate this ease.

GARMENT MAKING AND TAILORING, LEVEL 1 100

A set- in- sleeve should have 2-4 cm ease, more than 4 cm makes it difficult to dispose of the
fullness smoothly and easy.

7. Cut the plain paper round bodice front, bodice back and sleeve traced patterns using a
general purpose scissors.

8. Level bodice front and bodice back patterns, check lengths and widths of the bodices

Constructing a plain shirt sleeve

There are three major steps to be followed when constructing a plain shirt sleeve, these include

A. Developing/tracing out ready made required garment pattern pieces

B. Pattern layout and cutting
C. Making and attaching the sleeve into the armhole of the garment

Tracing pattern pieces required for making a plain shirt sleeve

1. Select and place readymade bodice front, bodice back and sleeve patterns onto a plain
pattern paper, secure with weights or pins
2. With a tracing wheel, trace seam lines, mark balance points and grain lines. Remove
ready made pattern, fold them and put away carefully.
3. Check all corners and make them sharp or smooth as required.
4. Using a pencil mark straight of grain line, mark all traced seam lines
5. Check underarm seams for corresponding lengths
6. (a) Check amount of ease allowed at sleeve head by measuring between back and front
balance marks with a tape measure.

Pattern layout and cutting on fabric

How to layout and cut patterns on fabric

Preparation of material before cutting

A. Shrink and press the material

(a) Cotton materials should be soaked in cold water well for at least 15-20 minutes before
hanging in the shade to dry. (Soak to shrink the material) in
(b) Iron along the selvedge grain
(c) Sanfronized materials have been pre-shrunk
(d) For silk, rayon and nylon materials press with a cool iron to remove cresses along the
selvedge. This will prevent the material from being stretched.
(e) Shrink woolen materials by steam pressing

GARMENT MAKING AND TAILORING, LEVEL 1 101

Graining the material
1. This is to straighten the end of the material so that the wrap threads are at right angles to
the weft threads
2. Methods of graining
(a) Pull a weft thread from the shorter side of the material and cut following
the drawn space
(b) Snip the material along the weft threads and tear it right down

Laying patterns on material

1. Make sure that the material is well pressed before laying out
2. See if the material is a one way design or an all over design place the patterns to follow
the flow of the design
3. Plan a rough layout of patterns before beginning to pin in order to see how the pieces are
going to fit on the material
4. Follow the sketch diagram above and layout the patterns ( For commercial patterns, the
layout is provided, so follow instructions given on layout as far as possible.
5. Where layout is planned independently, place the largest pieces first with the widest end
of the pattern nearest to the cut edge of the material. Then fit in the smaller patterns to
best advantage.
6. Match the straight grain markings on the patterns to that of the material
7. For checks, stripes, plaids, match the designs at all the joints for other patterns
8. Place pattern so that the straight grain runs up and down bodices, skirts, sleeves and
across on yokes, bands, belts, collars and cuffs, so that the material will take the strain in
the wear of the garment.
9. Place one edge of the paper pattern which represent a fold right up to the fold of the
material
10. Check to see that seam allowances are provided. If not allow it on the material when
cutting out.

To pin the paper patterns in position

1. All pins should point inwards away from the cutting line
2. Place the 1st pin along the straight grain, then pin at all corners
3. Pin at intervals wherever necessary to steady the patterns on to the material
4. On straight edges, pins may be placed about 7cm apart, but on curved edges, pins should
be placed at 2.5 cm interval.
5. At the fold, place pins at a right angle to fold rather than parallel to the fold to avoid
puckers.

Cutting out of material

GARMENT MAKING AND TAILORING, LEVEL 1 102

 1. have a final check on the layout before cutting
2. sue a sharp pair of dress making shears
3. steady the material with the left hand and cut using the full length of the blades
4. Do not make short snips, as this will produce jagged edges.
5. Do not lift the material while cutting
6. Use pinking shears for materials that fray easily

Constructing and attaching the plain shirt sleeve

1. Prepare the bodice- stitch the shoulder seams and side seams
2. Mark the front and back of the sleeves to make sure that they are a pair
3. on the crown, gather by machining or by hand stitching along the fitting/seam lien ½ cm
above the seam line to within 7.5 cm of the underarm seam at both ends
4. Stitch the sleeve seam using appropriate seam finish and finish the sleeve edge with a
hem, a binding or a cuff.
5. Pull the bobbin thread of the gathering stitches on the ease and distribute forming
gathers evenly to reshape the sleeve head.
6. Match the right sleeve to the right armhole and insert the sleeve so that the right sides
of the fabric are matched with each other.
7. Pin the shoulder seam to the centre sleeve, pin the sleeve side seam to the side seam of
the bodice and match the notches. Ease in the fullness of the sleeve as evenly as
possible.
8. Tack the seam with small stitches and press to shrink fullness before stitching. The ease
in the sleeve head must be correctly
9. With sleeve side uppermost, machine along the fitting/seam line around the armhole

10. Neaten arm hole seams as follows

(a) For medium and heavy non-fraying material trim to 1 cm and loop stitch/overcast
both edges together.
(b) For light weight fraying material, trim to 1 cm and bind the armhole seam
(c) For heavy weight fraying material, sue a light weight crossway strip to bind
(d) For light weight and medium weight non fraying material, trim to 1 cm and self
bind
11. Press seam allowance area only. Press rest of the sleeve by using a sleeve board.

LONG SHIRT SLEEVE

A long shirt sleeve is a type of set in sleeve which has two major parts, namely

(i) Sleeve

(ii) Cuff, with contrinuous wrap opening

GARMENT MAKING AND TAILORING, LEVEL 1 103

Cuffs fall into two basic categories, include

(i) Straight cuffs

(ii) Shaped cuffs

Cuffs are designed with the collar in mind on both short and long sleeves.There are two types of
cuff
(i) Shaped/ straight cuffs which turn back on to the sleeve and may be in double or
single layed material
(ii) Those which encircle the arm like a band. These are always made using double layed
materials

GARMENT MAKING AND TAILORING, LEVEL 1 104

Methods of making long shirt sleeves

There are two major steps/processes involved in making a long shirt sleeve:

1. Making and fixing cuffs to sleeves

(a) Make the cuff

(i) Using self neatening technique

(iii) Using a crossway strip for neatening the raw edges
(b) Prepare sleeve for attaching the cuff

(c) Fixing the cuff to sleeves

2. Making and attaching sleeve and cuff to the armhole

Making and fixing cuffs to sleeve

(a) Self-neatening cuff- straight cuff with overlap

1. Cut 2 pieces of material maximum width 6 cm in width and wrist size for the length (use
prepared pattern)
2. Apply interfacing material on one layer of the cuff pieces (the cuff must be interfaced)
3. Place the two pieces of cuff together with right sides facing
4. Pin and tack on fitting lines of cuffs
5. Machine stitch on the fitting line starting and finishing exactly on the wrist line points A
and B remove tacking and press. Trim turnings and snip off. See diagram (b)

GARMENT MAKING AND TAILORING, LEVEL 1 105

 6. Turn cuff through to RS easing out points on corners. Bring the seam up on the fold, tack
around the edge to keep it in position

GARMENT MAKING AND TAILORING, LEVEL 1 106

 (b) Attaching a self- neatening cuff

How to attach a self neatening cuff with overlap

GARMENT MAKING AND TAILORING, LEVEL 1 107

1. Prepare the sleeve
(i) Join the sleeve seam and neaten
(ii) Make on opening at the marked position. This could be a faced or continuous
wrap/strip opening. Use most suitable method according to style and fabric (Use TLE
on openings)
(iii) Gather the edge (Recall TLE on controlling fullness)

2. Attaching cuff to sleeve

(i) Use the prepared the cuff
(ii) With RS of cuff against the RS of sleeve, place the square end in line with the back
edge of opening. Place the tack, marking the extension of overlap level with the front
edge of opening
(iii) Fold back the raw edge of the underside of the cuff towards the worker. Match
balance marks and fitting lines, pin and tack RS of cuff to the sleeve arranging
gathers evenly.
(iv) Machine stitch against the tack line, fasten off ends securely. Remove tackings and
press. Trim turnings to 1.25 cm
(v) Turn the cuff up and over towards the WS and press the cuff up from the stitched
line. Turn sleeve through to WS
(vi) Turn order raw edge of cuff to fitting line and bring the fold on to the stitched line so
that all raw edges are closed. Pin and task bringing folded edges of extension
together also.
(vii) Hem the fold to the stitching and slip stitch together the edges of the extension.
Remove tacks and press
(viii) To fasten the cuff attach a button and work a button hole following instructions on
TLE on fastenings

(b)Cuff neatened /attached with a crossway strip

1. Make up a cuff as directed in (a) above
2. Place the underside of the cuff to RS of garment and bring edges to meet at centre line of
sleeves. Match all balance marks and fitting lines. Pin and tack cuff in position
3. Cut a crossway strip of 2.5 cm wide the length of the cuff + 1.25 cm for turnings.
4. Place R.S of Crossway strip over cuff and garment placing the raw edge 0.5 cm above the
fitting line. Pin and tack so that the join lies on top of the sleeve seam. Join the strip on the
straight thread as shown in diagram 1
5. Machine stitch through the fitting line. Remove tack and press
6. Turn the cuff upwards away from the sleeve and the strip down on to the W.S of sleeve. The
crossway strip now forms a narrow facing.
7. Turn under 0.6 cm along raw edge of the crossway strip. Pin and tack the strip flat on to the
sleeve
8. Hem around the tacked edge. Remove tacks, press and fold cuff back into position.

GARMENT MAKING AND TAILORING, LEVEL 1 108

MAKING SIMPLE COLLARS

There are two categories of where constructionally collars falls under :-

(a) Part of collars is cut in one with the garment
(b) Collar that is made Independent by and then attached

Before beginning work on a collar, try the pattern on garment to check that the neckline sets
prefectly.

GARMENT MAKING AND TAILORING, LEVEL 1 109

Cutting instructions
1. Prepare the fabric by streightening using the iron
2. Trace the collar pattern from a ready made pattern
3. Lay the collar pattern pieces on fabric, applying pins, mark all the details found on the
pattern indicating seam allowances
4. Cut the fabric sections
5. Numbering of all fabric pieces
6. Cut the other layers using same pattern, join to the undercollar using iron.

GARMENT MAKING AND TAILORING, LEVEL 1 110

The flat collar pattern is either one complete collar with a CF opening or in two half collars with
a CB opening, positioned as the diagram indicates

Instruction steps

1. Place the two pieces of collar RS together. Matching fitting lines, pin, tack and stitch
outer edge of collar
2. Remove tacks and press

3. Trim turning to 0.6-0.3 cm according to fabric used. Snip notches into all curved
turnings

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 4. Turn collar RS out and bring stitched line on to the fold, press carefully. Tack round the
edge to keep the fold in place. If fabric is slipper basic the two layers together.

Attaching a collar using crossway strip

1. Cut a crossway strip 2.5 cm wide and length of neck edge

2. Place underside of collar to RS of CF and CB lines. The two half collars should met
exactly on the CF line at the neck fitting line.
3. Fold on the extension lines and turn tack on to RS and over the collar matching centre
lines. Pin and tack into position at neck fitting line.
4. Place RS of crossway strip over collar and garment, placing the raw edge 0.5 cm above
the fitting line. Pin tack so that the crossway overlap. The facing at each side by at least
1.25 cm
5. Machine stitch from edge of extension. Fasten off ends securely, remove tacks and
press. Trim turnings to 0.6 cm, trim corners and snip into curved edges.
6. Turn strip up from stitched line and press. Turn strip and edge facing on to WS and
gently ease out the corners. Crossway strip now forms a narrow facing. Tack against
base of collar to hold edge of facing in place.

112
 7. Turn under o.6 cm along raw edge of the crossway strip and allowing this fold to stretch
slightly, pin and tack the crossway fear on to the garment
8. Neatening edge of the facing on to the crossway, then continue to hem the edge of the
crossway in place. Remove tacks and press.

Cutting instructions
1. Trace a collar pattern from a pattern
2. Prepare the fabric by streightening using the iron
3. Lay the collar pattern pieces on fabric, applying pins, mark all the details found on the
pattern indicating seam allowances
4. Cut the fabric sections
5. Numbering of all fabric pieces
6. Cut other layers using same pattern, join to the interfaced band using iron.

Instruction steps
1. Neaten the raw edge of the front facing. Fold each front facing on to W.S of garment
along the fold line and tack into position.

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2. Baste interfacing to the underside of collar and make up as directed for a straight collar

3. Baste interfacing to band facing

4. With RS together pin band to underside of collar matching CB balance marks and fitting
lines. Tack and machine stitch around three sides of the band from points A to B leaving
neck edge free as indicated in (diagram 2). Remove tacks, press stitching, trim seam
and snip where necessary.

114
5. Turn through to R.S and bring stitched line up on the fold and tack around the edge
6. Working from W.S of garment pin band facing to neck edge matching C.B and fitting
lines. Remove tacks, press stitching, trim turnings and snip curved edges (indicated in
diagram

7. Working from R.S of garment, fold under the turning so that the turnings are enclosed.
Pin and tack into position. Starting at CB on collar edge, machine stitch around the
band, over-napping for ½ inch at join (diagram 4) remove all tacks and press.

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SEWING BASIC GARMETS

PREPARING FABRIC FOR CUTTING

Things to consider before cutting any garment:

1. Selecting materials
2. Estimate materials required for a garment
3. Examine fabric

Selecting materials
The material should be:

1. Within the workers ability handle

2. Suitable for the garment required. Most pattern envelopes give suggestion for
suitable fabrics and the worker should be guided by these. As has already been
seen, some materials pleat, gather and hang better than others and care must
be taken not ot buy crisp materials for soft, draped effects; napped materials for
a style including tucks; springy ones for fully gathered styles; or easiley fraying
fabrics for a design including many buttonholes.
3. Suitable for the wearer. Here it is important to know the good and bad points of
one’s figure and to use materials which disguise the poor featuers and enhance
the good ones. Personal colouring must also be taken into consideration.
(a) For plump, full figures avoid shiny materials
(b) For tall, thin figures avoid large designs.
(c) For short, bulky figures avoid vertical stripes
4. Of the right colour. This should blend in with the other garments in the wearer’s
wardrobe: a coat must not clash (even if it is of a different colour, it may still go
well with other garments) wiht the main colours worn; a suit should be of a
colour suitable for wearing under a top-coat or over blouses and jumpers already
purchased; a skirt should drastic change of colour scheme ususally involves
replacing more accessories than can confortably be afforded at one time.
5. Easily washed or cleaned, according to the amount of wear they are likely to
have. If the garment is to be washed, it is important to choose intefacing, lining
and trimmings which are washable; if it is to be dry-cleaned particular attention
should be paid to the choice of buttons, buckles and belts.
6. Of a suitable weave for the garment: on the whole it is a good rule to choose
closely-woven fabrics ( particularly wools) for closely fitted garments; loosely –
woven materials may have to be mounted to keep their shape when used for
fitted styles.
7. Of a reasonable price for the importance of the garment and the amount of time
and work involved in the making; the amount of wear it is expected to give: a
top-caot which will give several years which will be made from better quality
amterial than a summer dress which will be worn for a very short time and will
probably be discarded before it is completely worn out.

116
Estimate amounts of materials reuired for your garment
The amount of material required depends on:

(a) The style of garment

(b) The size of the wearer
(c) The width of the material
Certain things will, however, add to the amount necessary:

(a) Wide stripes or checks which must be matched

(b) ‘One-way’ materials
(c) Large masses of pattern
(d) Extra length required for tall figures
When estimating amounts remeber that:

(a) Selvedge or warp threads run downwards on most sections of garments, therefore
length is most important when gauging approximate amounts
(b) Up to 80 cm bust size, bodices can be cut completely from one width of 90 cm material
(10 cm allowed for ease in wearing and for turnings)
(c) 5-7.5 cm must be added to the length for seams and hems.

EXAMINING FABRICS GRAIN

Fabric must be prepared before cutting out patterns pieces. This preparation may involve
two procedures. First, the fabric may need to be preshrunk. If the fabric requires these
procedures and they are not done, your finished garment will not fit property.

Definition

All woven and knitted fabrics and some non woven fabrics have direction, or grain. The
grain is determined by the position of the yarns and fibes in the fabric.

117
In woven fabrics, the grain must be made straight. Then pattern pieces must be cut out in
the same direction as the grain if hte garment is to hang properly.

Woven fabrics are constructed by interlacing yarns at right angles to each other. There are
three grain directions.

118
 Lengthwise grain. The lwngthwise yarns, called warp yarns, form hte lengthwise grain in
woven fabric. This grain runs parallel to the selvage edges of the fabric as it comes off a
loom.

The lengthwise yarns are stronger than the crosswise yarns. They are used to pull the fabric
through the loom. Therefore, the lengthwise grain is generally placed on the body in a
vertical direction. This direction receives the greatest strain from sitting, bending, and
moving.

Crosswise grain. The crosswise grain is perpendicular to the lengthwise grain. It formed by
the crosswise yarns, which are also called wedt or filling yarns. The crosswise grain tends to
be weaker than the lwngthwise grain. Therefore, it is usually placed going round the body.

Bias. The bias runs diagonally across the fabric. True bias forms a 45 degree angle with the
lengthwise and crosswise yarns of the fabric. The bias has a geat deal of give. On woven

How to check straightness fo fabric grain

Fabric is on-grain when the crosswise and lwngthwise threads (or in the case of knits, the
ribs and courses) are at right angles to each other. fAbric may become off-grain during the
finishing process at the factory. If pattern pieces are cut from fabric that is off-grain, the
garment amy not hang evenly when worn.

119
 To check straightness of fabric grain, you must first straighten the cut ends of the fabric.
These ends are often called raw edges. For woven fabrics, cut across an easily visible
crosswise thread or a woven-in stripe. If crosswise threads are not easily visible, snip the
selvage and lift a crosswise thread with a pin. Ease the gathers that form along the thread
as you gently pull it. When you reach the otehr selvage, clip it and pull the thread out fo the
fabric. Cut along the space left by the pulled thread.

For jersey single knits, the ends may be straightened by cutting along a course or a knitted-
in stripe. For other types of knits, deciding if the grain is straight may be difficult. You may
use your eye to help you.

Once the raw edges have been straightened, fold the fabric lengthwise with the selvages
even. If both edges match exactly and both layers of fabric lie smoothly, the fabric is on-
grain. If hte cut edges are not even and corners do not match, the fabric is off-grain.

If fabric is off-grain, it may be straightened when

 It is a woven or a jersey single knit fabric.

 It has no finish
 It has a finish such as sizing that may be removed by laundering or dry cleaning
 It has a permanent finish, that does not affect the grain, such as a shrink resistance finish.

If fabric is off- grain, it may not be straightened when

 It contains thermoplastic (heat sensitive) fibers, such as polyster, acrylic, nylon, and acetate
 It is a double knit, an interlock knit, a tricot knit, or any knit otehr than a jersey single knit
 It is densely woven or heavily felted wool
 It has a permanent finish that affects the grain, such as crease resistance or stain resistance

During stabilization and finishing, fabrics containing thermoplastic fibers are subjected to heat,
causing the fibers to become soft and pliable. If a fabric is pulled off- grain during this process,
it cannot be made straight again. Sometimes a fabric is pulled off-grain after this process. This
could happen, for instance, when it is being wound on a bolt. In this case, the grain may be
improved.

How to straighten fabric

You have seen that the straightened ends of off-grain fabric do not match when it is folded
lengthwise. To straighten an off-grain fabric, open it up and pull on hte short corners. Yopu
may wish to ask another person to help you do this. Then, fold the fabric again, placing the
selvages together. Check to see if the grain has been changed. Reepat this process until the
raw edges of the fabric are even and he corners match.

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Grain in knit fabric

Knit fabrics are made with a series of interlocking loops. Thse loops give knits their built in
ability to stretch. They open out when subjected to steress and return to their original postion
when released. Grain in knit fabrics relates to the direction of the loops rather than to the
direction fo the yarns themselves.

Lengthwise grain. The lwngthwise grain can be identified by ribs that run the length of a knit
fabric. The lwngthwise grain usually has less stetch than the crosswise grain.

Crosswise gain. The crosswise grain of knit fabrics is perpendicular to the ribs. It is identified
by courses that run across the fabric.

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The direction of greatest stretch, most often the crosswise direction, is ussually placed around
the body. The direction of the greatest stability, most often the lengthwise direction, is usually
placed up and down the body.

Bias. Knit fabrics, like woven fabrics, have diagonal, or bias, stretch. The amount of stretch
depends on the tightness fo the knit and, therefore, varies from fabric to fabric. The bias
stretch in knits tends to be unstable so pattern pieces are seldom cut in this direction.

Grain in non woven fabric

Now women fabrics are peoduced by boding, knotting, or interlocking firbers together by
chemical or mecahnical means.

There are three common types fo nonwoven fabrics.

 Stable nonwovens have equal stability in all directions.

 Stretch nonwovens have stability in the lengthwise direction and stretch in the crosswise
direction.
 All bias nonwovens have equal stretch in all directions.
The direction of greatest stability is generally placed vertically on the body.

Follow these steps:

1. Straighten the ends fo the fabric.

2. Fold the fabric lenghwise, right sides together, matching selvages and straightened
edges. (the fabric may not lie flat)
3. Clip through the selvages every four inches. The selvages tend to shrink more and this
relaxes the fabric.
4. Machine or hand baste teh straightened ends together; then baste the selvages
together.
5. Dampen the fabric. For wool: Spread the fabric on a damp sheet. Fold the sheet over
the fabric. Use an additional sheet, if needed, to cover all the fabric. Fold the fabric and
the sheet together in an accordion pleat style. Place folded fabric and sheet in a plastic
bag and leave overnight to allow fabric to become thoroughtly damp. For other fabrics:
fold the fabric carefully and place it in warm water for 30 minutes. Make sure the fabric
is completely wet. Remove the fabric from the water. Press out excess water, being
careful not to wring as this will wrinkle or even damage some fabric.
6. Lay the fabric on a flat surface that will not be damaged by moinsture. (Do not let the
fabric hang off the sides of the surface.) Smooth out the fabric so both ends are at
right angles to the selvages.
7. when teh top layer is dry, turn the fabric over. Allow the fabric to dry completely.

Dry-cleanable fabric may also be taken to a professional dry cleaner. Provide the dry celaner
with the following instructions:

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 Steam press the fabric is appropriate. This process is usually done with wool but is not
advisable with silk and some specialty fibers. Your dry cleaner should be able to tell you
whether or not this step is necessary.

 Avoid pressing along the lengthwise fold to prevent permanently setting the crease.
 Return the fabric folded, rather than drapped over a hanger, to avoid stretching it.

Preshrinking

Many fabrics require Preshrinking before cutting out a pattern. If this step is not taken, the
finished garment will shrink when it is washed. This will result in a garment that is too small.

You may wish to prewash a fabric even if it won’t shrink. Prewashing helps remove fabric
finishes that could later make the needle sticky and cause the machine to skip stitches. This is
espwcially true for knit fabrics.

Use the following guidelines to help you decide when preshrinking is necessary.

 Preshrink fabric unless the label states that less than one percent shrinkage will occur.
 Fabric labeled wash and wear, crease-resistant, or stabilized finish usually does not need to
be preshrunk.
 Fabric made of 100 percent synthetic fibers usually needs no preshrinking.fabric containing
a high percentage of rayon is an axception to this rule, as rayon tends to shrink.
 If fabric has a high percentage of cotton, it should be washed several times. Cotton tens to
have resudual shrinkage.
 Preshrink all washable knits, as they often shrink due to relaxation of the knit.
 Preshrink all washable knits, as they oftern shrink due to relaxation of the knit.
 Wool knits can shetink even when they are dry-cleaned. Be sure to steam press or dry-clean
them before cutting out a pattern.
 If in doubt about whether or not to preshrink a fabric, test it. Cut two small, identical
squares. Wash one square and steam press it dry. Place the two squares togetehr and
compare size for shrinkage.

How to preshrink machine washable fabric

Preshrink fabric by using the same method that will be used to launder the finished garment. If
the fabrci was knitted in a tube, preshrink the fabric before cutting open the tube. If the fabric
will ravel, machine stitch along the raw edges using a zigzag stitch before preshrinking. Be sure
not to machine dry any fabric that is labeled drip-dry, line dry, or dry flat.

Layingout pattern pieces and cutting

Procedures for laying out patterns and differnt considerations.

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 I. General layout of pattern
II. One-way fabric
III. checks and striped fabric

I. General layout of pattern

1. Follow the correct layout diagram, fold the fabric as directed and spread squarely
and smoothly on the cutting out table.
2. Lay out all the pattern pieces required to ensure that there is sufficient fabric.
3. Cehck the position of each piece, so that the encessary pieces are placed to the
fold and that the straight threads (or print) are parallel with the markings for the
straight thread.
4. Pin the pattern in place with the pins near the seam allowance and at right
angles to the edges.

NOTE:

1. When using fabric with a one way pattern or pile follow the instructions given no. 3
2. When using printed fabrics with a definite motif and woven patterned fabrics follow also
the instructions given for checks and striped fabrics.

II. One-way fabric

Extra yardage is ussually necessary when using

(a) One-way print

(b) One-way arrangement of woven stripes
(c) With nap –woollen and mixture fabrics with surface fibres lying in one direction only.
These should be cut so that he fibres run down towards the hem.

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 (d) With a cut pile- silk velvets with the pile lying upwards and veleveteens, needlecords
and corduroy with the pile running downwards- made uo in this way the fabric has a
richer colour.

It is essential that all pattern pieces are laid in the same direction, main sections can rarely
be interlocked for economy of fabric.

Fabric may be folded in half lengthwise but must not be folded acroass the width as this will
reverse the pattern on pile.

When laying out on woven stripes, one-way prints and prints with a definite repeat motif
also follow the instructuins for check and striped fabric given overleaf.

III. Checks and striped fabric

To gain a professional finish it is essential that the checks and stripes match in line at
the shoulder, under-arm and side seams, C.B and C.F lines, hemline and all seams of
the skirt. Therefore extra fabric must be allowed.

1. Ensure that fabric is folded correctly so that all lines are exactly in position one
over the other, see diagram.
2. Place the pieces to be laid against the fold first and position the other pieces
accordingly.
3. Place the balance marks, centre and hem lines of the sections to be joined in
identical position on the checks or stripes, see diagram below.

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Cutting out

1. Check that all the required pieces have been pinned into position and there is enough
space for pieces that have to be duplicated and for crossway stripes if necessar.
2. Cut with long even strokes along the edge of a perfrorated pattern or along the thick
black line of a printed pattern. DO NOT lift the fabric up from the table whilst cutting.S

IRONING/PRESSING

Ironing is the process of smoothing out creases in garments and other articles made of cloth.

Construction pressing is done with the iron placed on the part to be pressed, then lifted and
moved to the next part. Every seam should be pressed before it is crossed by another seams.
Construction pressing is als known as under-pressing whereas pressing a completed garment is
known as final pressing.

Pressing equipments and their functions.

1. Steam iron:- allows users to put in water, when the water is heated pressurized steam
comes out with a surge from holes in the iron plate. Once you have a steam iron you do
not need a damp cloth. Steam irons are useful for pressing pleats, darts, tacks etc.the
iron can also be used dry.

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2. Damp cloth and a plain white piece of thin cotton (better muslin or lawn) which is in
water then applied on garment or fabric to be ironed.
3. Ironing board:- Should be covered with flannel or a pad of thick felt. The height should
be adjusted accordingly to provide comfort to the person pressing

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4. A tailors cushion or a press mitt, this is indispensable for shaping during construction.

5. Seam roll: Allows seams to be pressed open without leaving a mark on the right side.

6. Sleeve obard: for pressing sleeves

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Ironing/pressining while sewing

STEPS:-

1. Pressing during construction is done with the iron placed on the part to be pressed.
When one is constructing tacks, pleats and seams, it is wise to press on wrong side of
the garment following the direction of tacks or darts. Then the iron is lifted and moved
to the next part. It is advisable not to push along hte fabric while ironing.
2. Seams to be presed in direction in which they were stitched with the grain or pressed
open.
3. Always press following the straight grain of the material
4. Darts and tucks should be pressed before doing any further construction on the garment
unit. In pressing the darts, press towards the point and do not let the iron go beyond
the point.
5. When making darts in light weight fabric fold the dart the centre line and press before
stitching. Stitching can be done on slanted stitching line without pinning the dart.
6. When seams are to be pressed toward a part of the garment (such as seams should be
pressed toward a facing before the facing is turned), first rpess the seam open to get a
clean line. Then press towards the designated area.
7. To press rounded or curved seams a tailors cushion or fim mitt under the seam

Steps to clean the iron

1. By using soft sand paper

2. Wax
3. Soft steel wire

The process is done by heating the iron, then clean by applying one of the above mentioned
method.

An example of ironing a shirt or blouse.

(a) Dampen the blouse or using a dampen cloth on top

(b) Pull the blouse into shape with buttons opened. Iron all the seams on the wrong side
and then iron it on the right side
(c) Iron the collar on the wrong side and then iron it on the right side
(d) Iron the back of the blouse or shirt from the hem upwards on the right side, ironing
round the sleeves seam.
(e) Iron the wrong side of the front facing
(f) Iron on the right side of the blouse or shirt fluents, working form the hem upwards.
(g) Iron the sleeves form the sleeve hem towards the sleeve seam.
(h) Button the blouse and place with the front of the blouse facing downwards. The neck
should be at the left hand side
(i) Fold in both sides lengthwise from shoulder to hem. The shoulders seam is folded in half
or hang out.
(j) Fold sown the sleeves and then the elngth of the blouse into two.
(k) Turn the blouse or shirt over fold the collar back neatly and unfasten the buttons.

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DRAFT BASIC PATTERNS

A garment to be made should be determined according to the requirementts of the wearer or in

case of mass production, the plans of a production unit. Not all garment making starts with
measuremts taking, but only read made one which are made to fit known customers.

Taking direct measurements.

When taking direct body measurements the figure falts must however be carefully examined
and styles should be chosen. The following notes and diagrams helps to understand how to
take direct measurements from body.

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131
Steps for taking women’s measurements.

1. Bust girth . Place the tape horizontal around the fullest part fo the bust, this must not
taken tightly.
2. Waist girth. Tie or cord around the waist and let it settle at the norrewest part. Take
this firmlu.
3. High hip girth. The land mark is the iliac-crest which is positioned approximately 10cm
below the waist. This is a crititcal measurement for tight shirt.
4. Hip girth. Place the tape around the fullest part fo the hip.use hip bone as a guide.
This should be taken firmly
5. Half cross back. Aproximately 10.5 cm down from nape. Use the armhole seam as
guide. Measure gnerously.
6. Armhole girth. This measurement must be taken loosely from the front shoulder point
to the armhole line and up again to the back shoulder point you better use chart for this
measurement.
7. Shoulder . Tie a fine tape around the neck let it find its lowest level measure from this
tape to the acromion (bone at the end of the shoulder)
8. Neck base girth. Meaure around the base of the neck and apply the tape measure
fairly loosely.
9. Upper arm girth. Measure around the fullest part of the bicep fairly generously.
10. Elbow girth. Measure around the elbow using the elbow as guide fairly generausely.
11. Wirst. Use the bones at the wrist as a land mark measure fairly generously.
12. Height. From the top of the head to hte ground the model must take off her shoes.
13. Dress length. Measure from the nape of the neck to the knee
14. Armhole (or scy) depth. This measurement depends on fashion you are adivised to
use the size chart for an average.
15. Nape to waist. Locate the nape or seventh cervical vertbra. Measure down to waist
tape.
16. Under length. Position the tape measure to highest point of the under arm and
measure down the under arm to the wrist, to allow the movement reduce this
measurement by 3cm
17. Waist to hip. Measure from the nape at teh centre back (CB) around the back neck
through the front shoulder neck point down to the bust point. This is an important
measuremetn which affects the ahng of the garment.

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133
Men’s measurements.

For greatest accuracy, men should have their measurement taken while wearing an under shirt
and hight weight pants

Sequences of measurement taking

1. Height. From the top of the head to the ground- the module must take off this shoes.

2. Neck band. Measure around the base of the neck. There will be an additional to year
measurement for comfort.

3. Waist. Start at the navel and measure around the body.

4. Hip (seat) Measure around the widest part of the hip area

5. Chest place the tape under the arms and measure around the fullest part of the chest.

6. In seam measure from the croch along the inside of the leg ot the desired hem length

7. Arm length. The arm must be bend at a right angle measure from the shoulder bone
under the elbow to the wrist bone

8. Sleeve length . Bend arm at a right angle measure from the top of the spine around
the elbow to the wirst bone

9. Crotch depth/ bodyrise-let the client sit on a hard stool, then measure from waist to
the stool top

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DRAFTING A SHIRT FOR MEN

135
DRAFTING A SHIRT SLEEVE.

136
A sleeve is always drafted after the bodice because the measurement of the armhole is
needed for reference for the sleeve pattern.

This pattern is for a one-piece plain long sleeve which is fixed into bodice so that the seams of
bodice and sleeve are opposite.

Basic measurements

Arm length

Round arm

Armhole of garment taken from bodice pattern

Wrist measure

Calculations or workable measure

These are calculations used to break the basic measurements into operational measurement
indicating various parts or pattern.

These are – Round arm 42 cm- ½ of it = 21

Scye girth (taken from bodice) 51 cm ½

Drafting

(a) Head of sleeve

AB = Round arm measured + 7.5 cm

AF = ½ fo AB

CD= Inside sleeve length measure or 1/3 scye girth minus 0.5 EC then complete
rectangle ABFD

Guide line EC divide it into third. The first from C measure HI 0.7 cm.

Guide line EH at half of it measure LM 2 cm. Now draw a curved line from C E to H
passing through smooth shallow at back and deeply curved at the front.

Measure the armhole curve of the sleeve ie the head and compare it with the armhole
of the sleeve must be measure at list 1 cm more than the armhole of hte bodice

(b) Wrist

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 No = ½ of wrist girth + 6 cm for pleats

G= ½ of No

IJ = 6 cm (a point of cutting for an opening) from the underseam.

JK = 2.5 cm open to pleat

KM = 6 cm for pleats (space 2-2.5 cm from) pleat to pleat.

C. PATTERN FOR BOYS SHIRT

138
SHORT TROUSERS

To drafting shorts pattern for boys

A short trousers is a garment worn by both make and female,but in must cases by school boys
and children. The length of a short trousers depend on the fashion normally the normal length
does not go beyond the knee.

1. Basic measurements

- Waist 68 cm = measure around on hte waist having one finger room on tape measure to
move
- Hips 80 cm= Measure around the hips
- Length 40 = Measure from waist down wards to the length required

139
- Inside leg 21 cm= measure inside between the two legs under fly on inside seam –entire
length
- Knee width= 50cm measure the bottom widhth, widen enough.

Calculations

There are workable measurement which break measurements into small various body parts
which enable the apttern to be developed

1. Fly length- length minus inside leg

2. Inside leg- as taken on the body (use basic measurements)
3. Seat high -1/10 of ½ seat (hip) + 3cm
4. Front short trouses bridth = ¼ seat + 1 ½ or 2 cm
5. Pace point = 1/10 or ½ seat + 1 cm
6. Front short trousers = waist ¼ waist + 1 up to 3 cm
7. (a) Fork width or bottom widht = ½ bottom width
(b) Back short trouses bridth = ½ seat minus 5 then divide by 2

(c) Back seat = ¼ seat + 5cm

8. Back shorts trousers bridth = ¼ waist + 2cm or 4 cm with back seam allowance

Front short trousers pattern

1. A-B = Measure length as calculated

2. A-C = Measure fly lenght
3. C-B = Equal to inside led
4. C-D = Measure seat hight
5. Draw horizontal line from AD,C and B –long enough
6. D-E = Measure front short trousers bridth (follow calculation)
7. E-F = Measure pace point (follow calculation)
8. draw vertical line up and down to meet line A and C
9. Measure centre of short trousers pattern by adding front short E+ pace point F divide by
two then mark G
10. Draw a 900 vertical line joining the upper line and bottom mark K at bottom and G 1 at
top
11. K-M = ¼ bottom width as well K-L the same
12. Join M and F the same L and D
13. I – I” = Measure 1 cm
14. Draw fly curve through I1 E to E1
15. I-H = Measure 1cm up, the same A- A1
16. I1- A1= Measure front waist
17. A2-D Make curve (dully curve)

To Draft back short trousers part

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 1. Cut the front piece and place on a plain paph, pin to lay flat and straight
2. Prolong all horizontal lines long enough
3. Measure the following
(a) L-B = 2-3.5 cm fork width (depend on fashion)
(b) M-U = 2-3.5 cm fork width (depend on fashion)
4. G-S = 1 cm to creat centre back
5. S-R = Measure ½ seat (minus) 5÷2 (80/2 40-5 -35/2 = 17.5)
6. S-T = Measure the same as S-R
7. r-N = Measure ¼ seat + 5 cm
8. C-O = Measure 2 cm
9. Use square to constract back seam by joining point O and N the vertical line must be
long enough mark P on top of the line.
10. Draw a line B, R, Q to form side seam
11. K-Q measure length and move the same amount from K-P then draw 9 line to join Q this
form waist line.

. BODICE PATTERN FOR GIRLS

DRAFTING BODICE PATTERN FOR WOMEN AND GIRLS

The pattern is for plain bodice with a high round neck and an underarm dart at bust level. It fits
easily at the bust, but is not fitted to the waist. The armhole is confortable fit to take a set in
sleeve. Dorts and shaping at the side seams can be put in to reduce waist to a fitted shape.

Basic measurements

1. Nape to waist
2. Bust

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 3. Width across back
4. Width across chest

Construction lines (calculation)

These are planed from certain of the figure measures and are used as a foundation on which
to build the block pattern. They ensure that each pattern is in good proportion, even through
the individual lines vary in size.

AB = Half bust measure plus 4 cm for ease

AC = Nape to waist plus 1 cm for ease

AD = A quarter the measurement of the bust. This give the underram level.

AE= Half AD and gives the level of the chest and back width complete the rectangle ABFC

Pattern lines

The pattern is composed of two pieces.

Half the back bodice and half the front

The centre back falls on the construction line aC and the centre front on the construction line
BF. Begin by drafting the pattern for hte back bodice

Back Bodice

1. Neck
A-G = 1.5 for neck depth. Divide the measurement of widht of back by three and
measure half this amount from A. For the width of neck. Join these two points in a
curve. Keeping it shallow and flat at the centre back

2. Underarm
Measure a quarter the bust measure plus 1.5 cm from D at underarm elvel. The rest of
the allowance for ease on the bust ie. 2.5 cm is allowed on the front bodice because the
figure is wider across the front

3. Armhole
Measure half the back width plus 0.5 cm for ease from E. Draw a vertical line to the
neck level line AB from this point. Then measure down 5 cm and move the point at

142
 armhole. Draw teh armhole curve from this point to the under arm point passing
through the back width mark.

Notes that hte curve is shallow and do not allow it, at any point to shop in further than
the back width mark.

4. Shoulder
Join the should point at the armhole to the neck in a staight line

5. underarm seam
Draw a vertical line from the underarm point ot hte waist level.

Front bodice

The front bodice is drafted so that the lines fit those of the back pattern therefore
constant reference will be made to back.

1. Neck
The depth is equal to width of the back neck plus 2 cm the width is equal to the width of
back neck plus 1.5 cm

Note that reference is made to the width of the neck in both cases.Draw the neck curve
between AB and centre front. To help in drawing a good shape, draw a straight guide
line first divide it in half and from this point draw a line 2 cm long at right angles. Draw
the neck line so that it passes through this point.

2. Underarm point
Is a quarter of the bust measure plus 2.5 cm from the centre front

3. Armhole and shoulder

Draw a guide line parallel to AB at the back shoulder point level between the two
patterns. Place teh ruler at the highest point fo the front neck where it touches AB and
draw a straight line to end on the guide line making it equal in length to the
measurement of the back shoulder. Give minus 0.5 cm. The back shoulder will have to
be eased into the front when the bodice is made up and this provides for the natural
roundness of the shoulder mark a point at half the chest width plus 0.5 cm along the
chest level line from the centre front. Draw the armhole curve from the shoulder point.
Passing through the chest width point and making a deep curve to the under arm point

4. Under arm dart

A dart is essential in a bodice for an adult figure through not necessary at bust level. It
is just or the waist. A dart gives the point where it is required at waist without it the level
of the waist would drop at the sides and be lifted up in and 6.5 cm long at 5 cm below
the under arm point

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5. Waist
Drop the waist line 2.5 cm below the waist level line to allow for the 2.5 cm dart

Cut it out and place the shoulder and underarm seam lines together to see that tehy
make a good continous line at the neck and armhole.

G. SKIRT PATTERN FOR WOMEN

144
DRAFTING SKIRT PATTERN FOR WOMEN

Accurate body measurements must be taken to ensure a good pattern. An excelent dressmaker
cannot make up for incorrect measurement

Measurement for skrit (Basic measurements)

Waist- around natural waist line

Hips width- around fullest part bottom

Hips length – from waist down to the fullest of bottom

Length of skirt – from waist down to the knee or ankle

Sequence

Square vertically and horizontal from A

1. B from a = Waist to hip

2. C from A = skirt length
3. D from B = half the hip girth plus 1.5 cm tolerance square up to point E down to
4. G from B = Midway between point BD plus 1 cm towards the front square up to point H
and down to point I. Point H is 1 cm above the waist line
5. J from H = 2cm
6. A from H = 2cm all sizes
7. L from G = 6.5 cm all sizes connect point J & K to point L for the trip line curve
8. M from A = midway between point A and J and moved. 1 cm towards teh side seam and
also raised 2 cm
9. N from M = Midway between MJ and raised 0.4 cm
10. O from M = the dart is 13 cm long and is located midway between the centre back and
the side seam plus 1 cm towards the side seam
11. P from N = IS 12 cm long and is located midway point O and the side seam
12. Q from E = is midway points KE plus 2 cm towards the side seam and is raised 0.4 cm
above the waist line
13. R from Q = Midway point L to the centre front and moved 2 cm toward the side seam,
the dart is 12 cm long

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 H. SKIRT PATTERN FOR GIRLS

Drafting a skirt for a girl

A skirt is a garment mostly worn by female. The length of a skirt depends on fashion. Normally
the normal lenght is 10 cm beyond knee.

Basic measurements

Length of skirt 42 cm

Waist steam

Hipswidth 70 cm

Hips lenth 14 cm

146
A= Starting point for front and back pattern

AB= Length of skirt + 1xm

AC = Half of hip width + 8 + 10 cm according to the desired bottom width of a skirt.

AD = Half of AC

DE = Vertical line

AF= Hip length

Draw lines joining all points as shown

FG = Quarter fo hip width + 1 to 2 cm

EH = Line for side seam, draw line from e over G to H on front and back pattern

AA1 = 2 cm curve line to H

CI = 1.5 cm curve line to H

EJ = 1 cm curve bottom ends of back and front pattern

DRAFTS

Measure distance A1to H on front and add distance H to A2 on back, then subtruct ½ of waist
measurement. The remaining gives the width of the darts and side seam shaping.

HK = ¼ of difference

Draw line G

KL = ½ of distance K to A1 for each dart take ¼ of the difference

Note: The central dart line should be perpendicular to line A 1 to K

147
148
DRAFTING & SLEEVE PATTERN FOR FEMALE

A sleeve is alway drafted after the bodice because the measurement of the bodice armhole is
needed for reference for the sleeve apttern.

Thios pattern is for a one-piece plain long sleeve which is fixed into the bodice so that the
seams of bodice and sleeve are opposite.

Basic measurements

Inside lenght of sleeve

Round arm

Armhole of garment (taken from bodice pattern)

Construction lines

AB= round arm measures plus 7.5 cm

AC = ½ AB minus 2.5 cm

CD = inside length measure then complete the tecatangle ABFD

AE = ½ of AB

DG = ½ of DF

Guide lines: Join CF, EH and divide each into thirds. At the first third from E measure 2 cm
out at right angles to CE and EH

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J.DRAFTING COLLAR PATTERNS

To draft collar patterns

Three main types of collars

1. Round collar (peter pan)

2. Raised round collar (Eton)
3. Straight collar (shirt collar)

1. Round collar (Peter pan)

Measurement required

Neck band

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 Measure around the base of the neck and add 1.3 cm to your measurement for confort,
then calculate to a ½

Construction

AB = 1 cm

CD = 2cm

DE = 2cm Draw curve line from B over shoulder point to E

BF = Width of collar draw line B-F parallel to dotted line for centre back

Curve the outer edge of collar point E

The end of collar at point E can be shaped according to style and fashion.

2. Draft of raised round collar (Eton)

Measurement required

Neck band

- Calculate to a half (1/2)

Construction

Starting point at the right angle A

AB= Half of neck minus ½ cm

Draw horizontal line

151
 Fig 2

AC= 2-7 cm

CD= Width of collar 5-7 cm

Draw line AD. Draw smoothly curved line CB and DB form shape of collar

Dotted line shows a different shape of collar. The outer shape of collar can be done as
disire

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DESIGN AND SKETING

Design and Sketching utilizes the elements and principles of art in expressing different ideas.on
a garment sketch. It is important for fashion sketches to be clearly drawn so that they can be
made up into garments correctly. It is therefore important for learners to have knowledge of
design and sketching.

Sources of Design ideas/ inspiration

Design ideas can be obtained from several sources. Theses include:

 Nature-natural features e,g plants.animals, stars,moon etc can be incorporated in desin

ideas
 Museums and cultural sites
 Historical artifacts
 Journals, magazines, books
 Fashion shows
 Trade fairs and exhibitions
 Internet

The Process of fashion Design

The fashion designer can either work freelance, designing and producing his/ her own garments
and selling them directly to shops, or he/ she can work for clothes manufactures freelance, or
he/ she can be employed full time by a particular clothes manufacturer.

The design process includes

 The design brief- this shows the type of garments or collection of garments required
 Selection of fabrics- sample fabrics are selected to make up the sample garments
 Design development- having selected the fabrics and decided on colours,patterns and
texturesm the designer usually starts to produce sketches while experimenting with
ideas on a particular theme, adapting the designs and working out the details and colour
combinations. At this stage, the designer may produce some rough ideas of the garment
design.
 Selection of design for sample garments- once the design is selected patterns are then
cut out for making sample garments in the chosen fabrics
 Selection of trimmingsgreat care must be taken in the selection of trimmings because
they must coordinate with the garment style and are an integral part of the overall
design
 Viewing of the sample garment-when the sample garment has been made an analysis is
done to establish the the suitability of the garment, to make any adjustments of fitting
or trimmings or style features

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  Costing-costing is done based on how much time each operation in the making of the
garment will take and the costs of the fabrics and trimmings.

The meaning of Art

Art has meant different things to different people at different times.

Art is amedium of expression; a situation where a person expresses certain ideas through
drawings

Art or craftsmanship implied a skillful handling of those materials in the sense of producing
images more or less like those of nature, but certainly not in the sense of imitating the exact
appearance of nature.

Art deals with visual signs to convey ideas moods, or generalized emotional expences. It may
be called a language of visual experiences. It may be called a language of visual signs. Unlike
the language of words, however, art is not the meant to be informative. Sometimes in the
interpretation of ideas or moods, however, the artist amy employ visual symbols, but the
meaning of such symbols is embroided in the forms or images which the artist create just as
are the ideals,moods or experiences he conveys.

ELEMENTS OF ART AND DESIGN

Elements of art and design include:

 Colour
 Shape
 Line
 texture

COLOR:

The nature of color:-

Color is the element of form which arouses the most universal appreciation and the one to
which we are the most sensitive. It has an instant appeal to human beings, though the
attraction may differ from a child to an adult. Children are mostly attracted by bright colored
objects than by one which is dull in appearance. The average layman, who is frequently
puzzled by what he calls “Modern” art, usually finds its color exciting and attractive. Color is the
one of the most expressive elements because its quality affects our emotions directly and
immediately. The average viewer of a work of art does not have to rationalize concerning what
he is supposed to feel about color, he has an immediatate emotional reaction to it. Pleasing
rhythms and hrmonies of color relationships satisfy our aesthetic desires, we “like” a certain
combinations of colours and rejects others.

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Definition of terms used

Analogous colors:-These are chosed related colors, especially those in which we can see one
common line. Color which are neighoring on the color wheel.

Color:- (on an object) the character of surface created by the response of vision to the weave
– length of light reflected from the object.

Triadic colours: A group of three colors spaced equally on the color wheel. There is a primary
triad, a secondary triad, and two intermediate triads on the twelve color wheel.

Complementary colors: Are two colors which apear directly opposite each other on the color
wheel. Taken together, they include all of the primary colors.

Hue:

(1) The name

(2) The properly of color which shows its relationship in terms of wave length to their colors
in spectrum
Intensity:

(1) The characteristic of color in terms of its brightness or dullness.

(2) The saturation or strength of color determined by the quality of light which is reflected
from it.
Neutralized color: A color which has been “greyed” or reduced it its intesity by mixture with a
neutral or complementary colors.

Neutrals:- Tones which do not reflect any single wave-length of light. Neutrals create only
effects of dackness and lightness as in black, white, or grey.

Cool color:- A tone which takes its colors from the nature (green grass, blue sky etc)

Warm colour- A tone which takes its colour from the natural objects associated with heat or
light ( sun, fire, blood)

Pigments:- Coloring matter or substances used by the artist to create the effect of color on a
surface.

Primary color:- The three colors in the spectrum which cannot be produced by a mixture fo
pigments. Red, yellow and blue

Spectrum:- The band of colors resulting when a beam of light is broken up into its component
wave-lengths of hues.

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Subjective colors:- tones which are chosen by the artists without regard to the “real” color of
the object. They have nothing to do with objective reality.

Tonality:

(1) An ordering of color tones used consistently throughout a composition.

(2) A color combination or color scheme chosen by the artist as an expression of his
intention.
Value:- (color)

(1) The characteristics of color in terms of its lightness and darkness

(2) The amount of quantity of light reflected by a color or a neutral.

The source of color

Color begins with and is derived from light, either natural or artificial. Where there is little light,
there is little color, where the light is strong, the color is apt to be particulary intense in
character. We notice at such times of day as dusk or down, when the light is weak, that it is
difficult to distinguish one color from another. Under bright strong sunlight, such as we find in
tropic climates,colors seems to take on an additional intensity of character. Every ray of light
coming from the sun is composed of different waves which vibrate at different speeds.

The sension of color is aroused in the human mind by the way our sense of vision responds to
the different wave lengths of light which affect it.

The neutrals :-

Are objects that do not have this quality of color. Some are black, white or grey which do not
look like any of the colors of the spectrum.

No color quality is found in them but they merely differ in the quantity of light which is reflected
from them. Because we do not distinguish any one color, these tones are called neutrals.

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DIAGRAM INDICATORS PRIMARYCOLORS (Primary triad)

DIAGRAM INDICATES SECONDAR COLORS (Addition of the three secondary colors

The placement of hte six immediate colors. In theory the primary colors when mixed will
neutralize each other and produce of grey.

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The colors of the spectrum arranged in a circle.

LINES- are used to form shapes. Lines may be straight, curved, wavy,or zig-zag

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SHAPES- define the form of ann object. Shapes may be objective or non-objective. May be
derived from geometrical shapes, natural shapes or abstract.

TEXTURE-refers to the surface appearance of an object/form. Texture may be smooth/fine,

rough, bulky,etc

PRINCIPLES OF ART AND DESIGN

These are required inorder to produce sketches that are aesthetically appealing. They include
proportion, balance unity and rythm

SKETCHING GARMENT DETAILS

While sketching garment details/features such as collars, necklines, openings, cuffs, sleeves,
yokes etc it is important to consider the principles of design (proportion, balance unity and
rythm) so that they harmonize with the garment style.

SKETCHING GARMENTS

When sketching garments, it is important to decide on the silhoutte/ basic outline shape while
considering the type of garment and the purpose of the garment.the silhoutte defines the shape
of the garment.The basic silhouttes include:

 Straight
 Pegged
 Circular
 Bell
 Blouson
 Sheath
 Tent
 Shift

From these basic shapes, several variations can be obtained in sketching dresses, shirts, skirts,
trousers, shorts, blouses etc. It is important to apply the principles of design when sketching
various garments.

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 GROUPING AND NUMBERING OF FABRIC PIECES

After layout and cutting, the fabric pieces are to be put togetehr according to the garment
specified. Is necessary to group fabric pieces especial to mass product if not grouped there will
be an interfeence of piece from garment pieces to another and make joining garment pieces
process being dificult

IRONING/PRESSING

Introduction:
Ironing is the process of smoothing out crease in garments and other articles made of cloth.

Construction pressing is done with the iron placed on the part to be pressed, then lifted and
moved to the next part. Every seam should be pressed before it is crossed by another seams

Pressing equipments with its functions.

7. Steam iron:- allows users to put in water, when the water is heated pressurized steam
comes out with a surge from holes in the iron plate. Once you have a steam iron you do
not need a damp cloth. Steam irons are useful for pressing pleats, darts, tacks etc.the
iron can also be used dry.

8. Damp cloth and a plain white piece of thin cotton (better musolin or lawn) which is in
water then applied on garment or fabric to be ironed.
9. Ironing board:- Should be covered with flannel or a pad of thick felt confortable pressing

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10. A tailors cushion or a press mitt, this is indispensable for shaping during construction.

11. Seam roll: Allows seam to be pressed open without leaving a mark on the right side.

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 12. Sleeve obard: for pressing sleeves

Ironing/pressining while sewing

STEPS:

8. Pressing during construction is done with the iron placed on the part to be pressed.
When one is constructing tacks, plits, seams it is wise to press on wrong side fo the
garment following the direction of tacks or darts. Then the iron is lifted and moved to
the next part. It is advisable not ot push along hte fabric while ironing.
9. Seams to be presed in direction in which they were stitched with the grain or pressed
open.
10. always press with the straight grain of the material
11. Darts and tucks should be pressed before doing any further construction on the garment
unit. In pressing the darts, press towards the point and do not let the iron go beyond
the point.
12. When making darts in light weight fabric fold the dart the centre line and press before
stitching. Stitching can be done on slanted stitching line without pinning the dart.
13. When seams are to be pressed toward a part of the garment (such as seams rpessed
toward a facing before the facing is turned), first rpess the seam open to get a clean
line. Then press towards the designated area.
14. to press rounded or curved seams a tailors cushion or fim mitt under the seam

Steps tp clean the iron

4. By using soft sand paper

5. Wax
6. Soft steel wire

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 The process is done by heating the iron then clean applying one of the above mentioned
method.

An example of ironing a shirt or blouse

(l) Dampen the blouse or using a dampen cloth on top

(m)Pull the blouse into shape with buttons opened. Iron all the seams on the wrong side
and then iron it on the right side
(n) Iron the collar on the wrong side and tehn iron it on the right side
(o) Iron the back of the blouse or shirt from the hem upwards on the right side, ironing
round the sleeves seam.
(p) Iron the wrong side of the front facing
(q) Iron on the right side of the blouse or shirt fluents, working form the hem upwards.
(r) Iron the sleeves form the sleeve hem towards the sleeve seam.
(s) Button the blouse and place with the front of the blouse facing downwards. The neck
should be at athe left hand side
(t) Fold in both sides lengthwise from shoulder to hem. The shoulders seam is folded in half
or hang out.
(u) Fold sown the sleeves and then the elngth of the blouse into two.
(v) Turn the blouse or shirt over fold the collar back neatly and unfasten the buttons.

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