Profesional sewing techniques_for_designers

SEWING TECHNIOUES
FOR DESIGNERS.
JULIE COLE SHARON CZACHOR

To Jules' dear Mum, Megan Clark, and Sharon's dear mother, Marie Rose Novotny, who encouraged us in our
love of fashion and pursuit of design excellence.

EXTENDED CONTENTS viii
PREFACE xii
ACKNOWLEDGMENTS xiii
INTRODUCTION xiv
STYLE KEY xvii
CHAPTER 6
Seams:Joining It All Together 135
CHAPTER 7
Tucks and Pleats: Tailoring a Texture 187
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CONTENTS
CHAPTER 1
The Design Process: Why Construction
Should Matter to the Fashion Designer 1
CHAPTER 2
Getting Prepared: Avoiding Snags 13
CHAPTER 3
Introduction to Stabilizers: Fabricating
a Stable Foundation 61
CHAPTER 4
Darts: Tapering to Fit the Garment 91
CHAPTER 5
Pockets: Building a Handy Compartment 109
CHAPTER 8
Zippers: Fastening Your Way into
the Garment 207
CHAPTER 9
Waistbands:Planning the
Horizontal Edge nas
CHAPTER 10
Ruffles and Flounces: Feminine
and Flirty 261
CHAPTER 11
Collars: Silhouetting the Neck 283
CHAPTER 12
Facings: Encasing Unfinished Edges 313
CHAPTER 13
Cuffs and Other WristFinishes:
Encircling the Wrist 345
CHAPTER 14
Sleeves: Rounding Off the Arm 375
CHAPTER 15
Hems: Defining the Length 399
CHAPTER 16
Linings: Covering the Inner Surface 437
CHAPTER 17
Closures: Closing the Garment 473
CHAPTER 18
Finishing Touches:All Sewn Up! 507
GLOSSARY 514
APPENDIX: WHERE TO BUY 525
NOTES 527
INDEX 528

PREFACE xii
ACKNOWLEDGMENTS xiii
INTRODUCTION xiw
STYLE KEY xvii
EXTENDED.CONTENTS
CHAPTER 1
TheDesign Process: WhyConstructionShould
Matter to the Fashion Designer I
StyleI.D. 1
Key Terms 1
Gather Your Tools 2
Now Let's Get Started 2
The Fashion Designer 2
The Importance of Having Construction
Knowledge 4
The Design Process 5
Review Checklist 12
CHAPTER 2
Getting Prepared:Avoiding Snags 13
StyleI.D. 13
Key Terms 13
Gather Your Tools 15
Know Your Fabric 15
It All Begins with the Pattern 21
SeamAllowance 25
Laying Out and Cutting Fabric 31
Thread Types 45
Needles 45
Stitches 51
Let's Stitch! 51
Project Preparation 53
Fitting the Garment 54
PressingEquipment 56
How to Press a Garment 57
TransferYour Knowledge 58
StretchYour Creativity 59
STOP! What Do I Do If.. . 59
Self-critique 59
Reeiew Checklist 59
CHAPTER 3
Introduction to Stabilizers:Fabricating a Stable
Foundation 61
StyleI.D. 61
Key Terms 61
What Are Stabilizers? 63
Why Use a Stabilizer? 63
How to Judge if the Garment Needs
a Stabilizer 63
Who Chooses the Stabilizerfor the
Garment? 67
Types of Stabilizers 69
How to Choose the Best Stabilizerfor Your
Project 72
How to Apply Stabilizers 74
Vllt
Fabric Stabilizers 75
StabilizingTapes 75
Underlining-Fully CoveringtheFabric 79
Interfacing Garment Parts 82
Interfacing Tricky Fabrics 83
Self-critique 90
Review Checklist 90
CHAPTER 4
Darts: Tapering to Fit the Garment 91
StyleI.D. 91
Key Terms 91
StitchingTricky Fabrics 99
STOP! What Do I Do If. .. 108
Self-critique 108
Review Checklist 108
CHAPTER 5
Pockets: Building a Handy Compartment 109
StyleI.D. 109
Key Terms 109

Extended Contents
Interfacing in Pockets and Flaps 111
Pocket Linings 111
Pocket Styles 113
Bar Tacks 129
Closures on Pockets 130
Pockets in Tricky Fabrics 130
Self-critique 133
CHAPTER 6
Seams:Joining It All Together 1 2 ,
Key Terms 135
Style I.D. 137
Let's Prepare to Stitch 138
Let's Begin to Stitch 142
Open or Closed Seams 145
Serged SeamFinish 145
Safety Stitch 147
Shaped Seams 147
Piped Seams 149
Eased Seam 154
Gathered Seam 156
Topstitched Seams 157
Sandwiched Seam 161
Intersecting Seams 161
Other SeamFinishes 164
SomeEssential Hand Stitches Used for
StitchingSeams 170
More Advanced Seam Stitching 171
Stitching Seamsin Tricky Fabrics 178
Self-Critique 184
ReviewChecklist 185
CHAPTER 7
Tucksand Pleats: Tailoringa Texture 187
StyleI.D. 187
Key Terms 187
Tucks 190
Meats 196
StitchingTrickyFabrics 201
STOP! What Do I Do If. .. 2C '
Self-critique 205
CHAPTER 8
Zippers:Fastening Your Wayinto
the Garment 207
StyleI.D. 207
Key Terms 207
What Is a Zipper? 209
ZipperTypes 211
Self-critique 237
CHAPTER 9
Waistbands:Planning theHorizontal Edge 239
Key Terms 239
Style I.D. 241
Self-critique 260
CHAPTER 10
Ruffles and Flounces:Feminineand Fli~ty261
Style I.D. 261
Key Terms 261
Let's Stitch Ruffles and Flounces 264
Stitchingthe Hems 265
SurfaceApplication 269
SeamApplication 272
Edge Application 273
How to Press 275
StitchingRuffles and Flounces in Tricky
Fabrics 276

Professioaal S e w ~ n gTechniques for Deszgner,
Transfer Your Knowledge 278
Stretch Your Creativity 279
STOP! What Do I Do If. . . 280
Self-critique 281
CHAPTER 11
Collars: Silhouetting the Neck 283
Key Terms 283
Style LD. 285
Types of Collars 286
Stitching Collars Begins with Correct
Patterns 287
Stitching the Collar to the Neckline 288
Get the Stabilizer Right! 289
Collars Stitched with No Neck Facing 290
Collars Stitched with Front Neck Facing
Only 300
Collars Stitched with Front and Back Neck
Facings 304
Stitching Collars in Tricky Fabrics 305
Self-critique 311
CHAPTER 12
Facings: Encasing Un5nished Edges 313
Style I.D. 313
Key Terms 313
Shaped Facings 320
Keyhole and Slashed Openings 325
ExtendedISelf-Facing 329
Bands 331
Bias Facing 334
Bias Bindings 338
How to Join the Facing to the Lining 339
Other Edge Finishes 339
StitchingFacings in Tricky Fabrics 339
Sclf-Critique 344
CHAPTER 13
Cuffi and Other Wrist Fiiiishes: Encircling
the Wrist 345
Style I.D. 345
Key Terms 345
Make Sure the Cuff Fits Comfortably 348
How to Choose the Appropriate Wrist
Finish 349
Stabilizing Cuffs 350
Let's Stitch 350
Open Cuffs 350
Plackets 350
Preparing the Wrist 355
Trims Stitched to the Cuffs 355
Stitching the Cuffs 356
Closed Cuffs 361
Other Wrist Finishes 363
Casings 363
Bias Binding with Ties 365
Shirring Elastic 366
SleeveVent 366
Stitching Cuffs and Other Wrist Finishes in
Tricky Fabrics 367
Self-critique 373
CHAPTER 14
Sleeves: Rounding Off the Arni 375
Style I.D. 375
Key Terms 375
Set-in Sleeves 378
Sleeves Cut-in-One With All or Part of the
Garment 385
Sleeve Heads 389
Shoulder Pads 390
Pressing the Sleeves 392
Stitching Tricky Fabrics 393
Self-critique 398

CHAPTER 15
Hems: Defining the Length 399
StyleI.D. 399
Key Terms 399
How to Choose the Appropriate Hem 401
A Smooth, Even Hem Begins with the
Correct Patterns 403
Now Let's Prepare the Hem 405
Let's Stitch 406
Bulky Seams 406
Hem Stabilizers 407
Hem Finishes 409
Preparing the Hem 411
Hand-Stitched Hems 412
Hem Stitches 413
Machine-Stitched Hems 415
False Hems 421
Horsehair Braid 423
Cuffs 424
Vent 425
Hem Slitwith Facing 427
StitchingHems in Tricky Fabrics 428
TransferYour Knowledgeand StretchYour
Creativity 432
Self-critique 436
CHAPTER 18
Lining: Covering the Inner Surface 437
StyleI.D. 437
Key Terms 437
Extended Contents
Types of Lining 439
The Lining Pattern 441
Full or Partial Lining 441
Full Lining 444
Partial Lining 462
Final Pressingof Lined Garments 468
Lining Tricky Fabrics 468
Self-Critique 470
SnapFasteners 497
Hooks and Eyes 499
Belts 501
StitchingClosures in Tricky Fabrics 502
Self-critique 506
CHAPTER 18
Finishing Touches:All Sewn Up! 507
StyleI.D. 507
Key Terms 507
CHAPTER 17 Now Let's Get Started 508
Closures:Closing the Garment 473 Finishing Touches That Need
StyleI.D. 473 Attending To 508
Key Terms 473 PressingTricky Fabrics 510
Gather Your Tools 473 STOP! What Do I Do If.. . 511
Now Let's Get Started 474 Self-critique 511
Closing the Garment 475 Review Checklist 512
StitchingSuccessfulClosures Begins with
the Correct Pattern 476 GLOSSARY 814
Extension for Closures 477 APPENDIX: WHERE TO BUY 5 2 5
Buttons 479 NOTES 8 2 7
Buttonholes 481 INDEX 5 2 8
Machine-Stitched Buttonholes 483
Bound Buttonholes 484
In-Seam Buttonholes 487
Concealed Closure 487
Bias Loops 489
Tab-Loops and Tabs 492
StitchingButtons 493

Jules:
As a new immigrant to America from Austra-
lia, I thought my career would continue just as
it had in Sydney and Melbourne and I would
carry on designing collections as I had done
for the past 30 years. Little did I know that the
course of my life was about to change. Instead
the opportunity came to teach fashion design
at Harper College and the International Acad-
emy of Design and Technology,both in Illinois.
Over the past 6 years it has been my privilege
to impart my fashion design knowledge and
skills to students in their pursuit of a career in
fashion.
Sharon:
Design and bringing the design to completion
through excellent construction have been the
focus of my 14 years of teaching. Although I
have been an owner of a sewing business, an
award-winning designer,and now an instructor
at Harper College,the opportunity to sharethe
knowledge I have gained through these experi-
ences with students in the fashion design pro-
gram continues to excite and challengeme.
Our passion for design and construction
has always been a part of our lives. The meth-
ods detailed in this book are a result of many
longhours of designing, patternmaking, sample
making, and refinement of techniques devel-
oped over years of designingcollections,teach-
ing, and sewing. Our mutual passion forfashion
design and dedicationto excellentsewing skills
are evidenced in this book.
It is impossible to have good designs with-
out having accuratepatternmaking and quality
construction. This book presents a source of
continuing educationin the pursuit of excellent
XII
construction skills for the designer, from the
beginning stagesas astudent through the devel-
opment of the working designer.
The book is organized to reflectthe stitching
order of any garment and offers many insights
into techniques appropriate to varying levels of
proficiency. Each chapter is enriched with de-
tailed sketches to provide visual support to the
text. We hopeitwill increaseyour sewingskills,
inspire your confidence, and stimulate your
further creative experimentation. Sewing skills
are a continuing process, the basis from which
design is supported, interpreted, and reinforced
through effort and informed instruction.
This book is a resource to be returned to,
over and over, throughout your designlsewing
career.As you developthe accompanyingwork-
book, avisualreminderof thetechniquesin each
chapter will be compiledfor futurereference.

ACKNOWLEDGMENTS
Jwles:
I would like to thank Cheryl Turnauer (Harper
College) and Kathy Embry (International
Academyof DesignandTechnologyChicago)for
givingme the opportunity to teach in thefashion
designprogramsandfortheirencouragementand
support while writing this textbook. I also want
to expressmy gratitudeto myhusband,Graham,
who has loved, encouraged, and supported me
and shownpatiencewhen I had such tight work
schedules. My family and friends, who have also
walked this journey with me, I would also like
to thank them for their faithful support. I also
thank my colleagues who kindly allowed me
to ask questions and run ideas by them. Lastly
I need to thank the students at both Harper
College and the International Academy of
Designand Technology,who haveallowed me to
test my work in a classroomsetting.
Sharon:
I'd like to thank CherylTurnauer for providing
me with the opportunity to develop and teach
a class that introduces industrial sewing meth-
ods to fashion design students; also thank you
to Neal Tufano, who supports this class with
his tireless devotion to teaching students how
to use industrial equipment; and to the students
who have passed through my classes, who have
been a source of continuing inspiration and
challenge. Never having written a hook (only
thousands of handouts),Ihad no ideahowmuch
I would come to rely on my family and friends
during this process. And so, I must express my
deepappreciationfor allthe help I receivedfrom
my husband, Ken, and my children, Lauren and
Christopher, who never showed any irritation
over my repeated requests for computer advice.
To my many dear friends (and you know who
you are)who have held my hand, listened to my
ideas, and kept me going,thank you.
This book was made possible as a result of a
very fortunate meeting between Dana Meltzer-
Berkowitz, Director of Sales and Acquisitions
at Fairchild Books, and the authors at a book
fair. Both Dana and Olga Kontzias, Executive
Editor, have our deepest appreciation for the
opportunity to publish the results of our com-
bined teaching methods and sewing and design
experience.
And, many thanks to Michelle Levy, our
Development Editor, and Jessica Rozler, As-
sociate Production Editor, who put our mas-
sive amounts of material in order and kept us
on schedule; and to the art department at Fair-
child, who have worked sohard to organize our
sketches to coordinate with our text.

This book is written for the student de-
signer. Patternmaking tips are suggested
throughout the textbook, as correct pattern
and correct stitching are closely linked and
depend on each other. The professional sewer
who desires to increase sewing proficiency,
knowledge of professional techniques, and
expand creativity supported by excellent con-
struction methods will also find this textbook
helpful.
The order of the book follows the stitching
order of a garment. Each chapter builds on the
previous one and offers simpleto advancedin-
struction. References to the detailed sketches
move the student along from step to step.
Chapter 1: The Design Process
In this chapter,the designerisonview.Eachpart
of the designprocess is highlighted.The chapter
focuses on why construction should matter to
the fashiondesign student.
INTRODUCTION
Chapter 2: Getting Prepared
The necessary sewing tools, their uses and
functions, a detailed explanation of fabric (the
designer's medium), grainlines, fabric layout-
everything needed to begin the actual construc-
tion is discussed.
Chapter 3: Introduction to Stabilizers
Choosingthebest stabilizerforthestylecanmake
or break the design; stabilizersare a crucial part
of the success of a design. A thorough explana-
tion and examinationof stabilizersisprovided.
Chapter 4: Darts
Shapingand contouringthe garmentwith darts is
the focus of this chapter; various styles of darts,
andhowto sewandpress, completethis chapter.
Chapter 5: Pockets
Correct stitches, suitable stabilizers and lin-
ings, matching the appropriate pocket to the
garment, and functional and decorative pock-
ets are covered in this chapter. Facings, trims,
braids, piping, and other decorativeelementsare
discussed.
Chapter 6: Seams
Sample, sample, sample! This chapter empha-
sizes that choosing the appropriate seam and
seamfinish for the fabric of the garment is criti-
cal to the success of the garment, and learning
to analyze the best seam and seam finish is ac-
complished through sampling.
Chapter 7: Tucks and Pleats
This chapter details the techniques used to
create mcks and pleats that are both functional
and decorative.
Chapter 8: Zippers
This chapter discusses and illustrates the many
applications of zippers, their styles, the appro-
priate zipper for the design, and how to match
the zipper type to the fabric.

Chapter 9: Waistbands
Specifying the construction and proper stabi-
lizing of both functional and decorative waist-
bands, this chapter provides the details for a
professional finish.
Chapter 10: Ruffles and Flounces
This chapter explains and illustrates the sewing
techniques involved in the fabrication of soft,
delicate texture imparted to a garment through
ruffles and flounces.
Chapter 11: Collars
An important area for creativity that must be
properly supported through the correct stabi-
lizers, collars in all their variety are presented in
this chapter, which details the construction of a
range of collar styles.
Chapter 12: Facings
This chapter on facings examines professional
techniques that are used to finish raw edges on
garments. Facings, bias bindings, and decora-
tive facings are covered in detail.
Chapter 13: Cuffs and Other Wrist Finishes
As the completion of a sleeve, the cuff must be in
harmony with the details of the garment. Cuffs
can be both functional and decorative, and this
chapter explains and illustrates sewing techniques
to enhance the finished look of the garment.
Chapter 14: Sleeves
Sleeves alter the silhouette of the garment and
are an important aspect of the design. This
chapter explains, illustrates, and instructs the
student how to sew sleeves in many variations.
Chapter 15: Hems
Various hem techniquesusingdifferent methods
that are suitable for the fabric and different gar-
ment hem shapes are explained and illustrated
in this chapter.
Chapter 16: Linings
Linings make the garment beautiful on the
inside as well as functionally covering the inte-
rior of the garment, adding warmth and com-
fort. This chapter explains and illustrates vari-
ous lining treatments and the techniques used
to apply the linings.
Chapter 17: Closures
This chapter details the opening and closing of
garments, the functional and decorative appli-
cations that are suitable to the design, and the
techniques used to stitch closures.
Chapter 18: Finishing Touches
The final phase of the garment is at hand-what
needs to be done to finish the garment?Working
through the stitching order in the checklist, this
chapter ensures that every step has been care-
fully, thoughtfully, and beautifully completed.
Each chapter in the book includes the fol-
lowing helpful features:
Style 1.D.-a visual example of what the chap-
ter is all about, highlighted through detailed
sketches of garments and garment sections.
Key Terms-appearing in bold type in each
chapter and defined in the Glossary in the back
of the book
Gather Your Tools-a list of necessary equip-
ment and supplies to complete the sewing steps
in that chapter
Now Let's Get Started-detailed information
and step-by-step sewing instructions specific
to the subject of each chapter
Stitching Tricky Fabrics-detailed informa-
tion on how to execute the subject of the chap-
ter in difficult-to-work-with fabrics
Transfer Your Knowledge-where you are en-
couraged to take what you know and transfer it
to what you don't know
Stretch Your Creativity-providiug sugges-
tions for furthering the techniques of each
chapter
Self-Critique-a useful tool to develop the
designer's eye for recognizing what is good
construction and what is not
Review Checklist-a summary feature,
enabling the student/designer/professional
to identify and explore techniques that need
further development and practice
All the skillscovered in this book, and more, are
necessary for a career in fashion design. Tune in
just once to Project Runway and listen to what
the judges have to say about any poorly sewn
garment; those contestants just don't make it.
Think of how your work is a reflection of who
you are as a designer, and what your work ethic
is, and remember, there is no good design with-
out good construction!

STYLE KEY
Listed below are colored swatches indicating the various materials used in this textbook. Each swatch is uniquely colored to show the correct and
wrong sides of the fabric,interfacing,underlining and lining. As you use this book refer to the style key for any clarification needed.
Correct Sideof Fabric
WrongSideof Fabric
Correct Sideof Interfacing
Wrong Sideof Interfacing
Correct Sideof Underlininv
WrongSideof Underlining
Correct Sideof Lining
Wrong Sideof Lining

The Design Process: Why Construction Should
Matter to the Fashion Designer
lvtenne Wistwood said fashionis *life-enrichingand, like everyfhing'thatg,@es;pleagure,
v: . ~
kt is worth doing well."' Even though thietextbook is primarily +xo.ut$ow'..$o?~rrs~ructgar-
ments, this chapter focuses on whgexcellent construction skills in&ttart(ithe.fashion. ..
designer. By focusing on the design process, from researching tre,nd~:$$$he.~t~$~~tionof the. .
colleotion,this chapter emphasizes why one needs to have a working.:knowl~)~~~:~fallthese. . . .
, . .:
areas to be a well-rounded designer: Combined Knowinghowto s.titchgiiqxentsis askillon
with researchingtrends, fabricis boththe entry which the fashion designerwill reljr-duringhis
point of this process and the designer's ar- or her entirecareer. Forthis reason, fashionstu-
tistie mediam. Knowing how to stitch fabric dentsneed to knowhow to sew...
into clothes emp0wers:he design? with more
howkedge0%de~iga~ossibili~es.~ STYLE I.D.
P a ~ . i s & , p a c i o fthedesignprocess: Here is the desigtier work with the basic es-
if rhe:patrems .an&.& correctly, &e ihe sential equipment at.fier for.his)fingertips.. A
c+ot be &che&eo:mecdjr;, . Thetype , seam tape measure is..swinging'aiound her neck.
&&-is *edlbyi&e-f&ij Fabric, the &.;~ner's.:mediurh,the dress for^.
in turn determbes tb;ea@@.-& di&.at$.hem scissors, andpins; all esseitidequipmentto.&,
allowancesaddedtoth~~&:~hisj,:~&~~ , . . , st;&- designer,.areused f k ~ h a ~ i ~ ~add &anipularing ' .
ingkn~wkdgeisessendal'formaking~~ fabricto-fitaw-ri's body. ' , ..
Collestion
Cutting
Designing
Draping
Dress Form
Fabric
Fashion Designer. ,

FIGURE 1.1 THE DESIGNER
Professional Sewing Techniques for Designel
~~ ~~~ .~~~~~~~ ~
. ~~ ~~
GATHERYOUR TOOLS
Thcdesigner's toolsarefabric,adressform,pins,
scissors,and atapemeasure. As a newdesignstu-
dent, you will soon be using these essentialtools
along with other tools outlined in Chapter 2.
These arethe first few key tools needed to begin
working as a fashion designer. Figure 1.1shows
the designer at work with theseessentialtools.
NOW LET'S GET STARTED
Fashion designers have a "passion for fashion"
and love working in the rush and bustle of its
seasonalcalendar. It is easy to get caught up in
the creativity and vibrancy of the fashion in-
dustry. The rewards are great-they may not
be ones of fame and fortune, but other rewards
such as working in a fun and creative environ-
ment are enticing.
THE FASHIONDESIGNER
The fashiondesigner is an artist. Many students
want to become fashion designers because they
think it will be a glamorous job, and to some
degree it is. Students are also attracted to the
A dress form is a replica of a woman's body
shape. Inthis book, we use two forms: oneI"OTE
1
form without limbssits on astand and the
other form has legs and hangs free from the
stand. Dress forms are available in various
sizes and shapes, padded and covered in
linen or jersey. They are pinnable and adjust-

RESEARCHTRENDS
- - - -
A
1- DESIGNING
I
SAMPLE
. - - - - - - - - - -
NOTlONS/TRlMS
I
I
d
I
AND/OR
DRAPING
- - - - PRODUCTION
GRADING
FIGURE 1.2 THE DESIGN PROCESS F R O M CONCEPTTO PRODUCTION-
A FASHION DESIGNER NEEDS TO WAVE A WORKING KNOWLEDGE OF ALL THESE AREAS
artistic component of the job. Students can
imagine themselves working in a charming
design studio sketching marvelous collections
for the rich and famous, and playingwith amaz-
ing fabrics. And of course in between design-
ingcollections, trips to Paris,Milan,New York,
and London would be a necessity.
Yes, this can be part of what a fashion de-
signer does but it is not the whole story. Some
fashion designers work in this type of environ-
ment, but only a few make it to the very top.
Depending on the size of the company, the de-
signer may be involved with the whole design
process or be part of a design team and occa-
sionallydo humdrum work.
The designer is the fashionlibrary of the fac-
tory. The designer is often called on to resolve
manufacturing or quality control problems.
Theseproblems could be assessingpoor-quality
fabric,badly made patterns, wrong color fabric,
poor stitching, or a fitting problem. Having
knowledge of all aspects of the design pro-
cess will prepare the design student for what is
ahead. Figure 1.2 sets out all the steps involved

Professional Sewing Techniques for Designers
in the design process from the conceptualiza-
tion of ideasto the production.
Fashion design programs teach a vast
number of design subjects, including sketch-
ing, d at tern making, draping, designing, tex-
tiles, clothing construction, and grading, along
with important computer subjectsin the course
curriculum. This comprehensiveeducationpre-
pares design students so they do have a work-
ing knowledge of the skills needed to work in
the fashion industry. Notice it says a working
knowledge; this doesn't mean you have to know
about everything! However, the more you
know, the better you will be as a designer.
When creating a collection, a designer may
~roduceas few as 10 or as many as 60 or more
coordinatinggarments.Asthedesignerdevelops
the collection, all the components-the fabric,
patternmaking, construction, and trims-
should be in his or her mind as each aspect con-
nects together (Figure 1.3).
Sometimes students struggle with learn-
ing how to sew, especially when they have had
no stitching background. This process can be
hard-however, stitching is an essentialpart of
the design process, which will become clear as
this book unfolds. So don't give up if you find
stitching tough-it takes time and patience to
learn!
THE IMPORTANCE OF HAVING
CONSTRUCTION KNOWLEDGE
Clothing construction refers to the stitch-
ing of garments and all the sewing techniques
FABRIC
rmpAnERNs 4
niques involve stitching darts, pockets, seams,
tucks and pleats, zipp.ers, waistbands, ruffles
and flounces, collars, facings, cuffs, sleeves,
hems, linings, and closures, all of which are
covered in this book. Clothing construction
also involves understanding fabric, the sewing
machine, and the equipment needed to accom-
plish this task.
A studentoncecommented,"Skip the stitch-
ingand let's just design!" Thiscommentshocked
us! A fashiondesignstudentneeds to seethe rel-
evancein learning how to sew garments and re-
alize how connected it is to the design process. ~ a n a w s / r ~ l m s
Obviously this person hopes to be the designer
described at the beginning of this chapter, who
PRODUCTION
FIGURE 1.3 AS THE DESIGNER S i
THESE ASPECTS OF THE DESIGN
TO CONNECT I N HER MIND.
(ETCHES. ALL
PROCESSNEED
involved in this process. Construction tech-

The Design Process: Why Construction Should Matter to the Fashion Designer
sits in a design studio sketching and playing
with fabrics and is uninvolved with the whole
production of the collection. Two questionswe
would ask the studentare, 'How canyou design
if you can't sew?" and, "How can you design
if you don't know patternmaking?" These two
aspects are closely linked.
Having these skills equips a designer to
oversee manufacturing or the production of a
collection. Very often the designer instructs the
sample hand (the person who stitches the first
prototype, or "proto," sample)how to stitch the
garmentsin the collection. Without these skills,
the designer is limited in her or his ability to
oversee the quality of garments. Zac Posen, a
verysuccessfuldesigner,has arrangedhisstudio
in the style of aEuropean atelier sohe can be in-
volved in the production of his collections. He
notes, "Nearly all of the studio is given over to
actually making up clothes, with all the sewers
and patternmakers, so that we can oversee the
quality c~nstruction."~
The most exciting thing about teaching in a
fashion design program is seeing how each el-
ement of the design process, from research to
the final garment, interconnects. Figure 1.2 il-
lustrates how the design process connects from
conceptto production; each aspectof the design
process needs the others.
The first step in the design process is to re-
search trends for inspiration. A designer's inspi-
ration can come from anywhere-architecture,
cars, landscapes, color, different cultures, or
movies, just to mention a few. The design pro-
cess progresses to fabric, sketching, designing
patternmaking, draping, cutting, stitching, fit-
ting, notions, and trims, which all contributeto
making the first "proto" sample garment. The
designprocessisrepeatedoverandoverasthecol-
lection is built. From there the finalsample goes
into production,where thepatterns aregradedin
preparation for manufacturing the garment.
THE DESIGN PROCESS
The sections of the design process outlined in
Figure 1.2 are explained here to emphasizehow
each connects together, and the importance of
having this knowledge.
The Importance of Fabric to the Designer 1
IMPORTANT
To know hbric-
Usefabric.
Lookat fabric.
Touch andfeel fabric.
Cutfabric.
Stitchfabric.
Designto the fabric.
The only way to learnabout fabric is by
actually workina with different ones. Then,
eventually. like the experienceddesigner.
the design studentwill beable to lookat a
fabric and envision the designsinto which
it can be made. In Chapter a, "Know Your
Fabric" will explain moreabout the qualities
of each fabric type.-
The designer is a fabric sculptor. Design stu-
dents need to become experts in fabric. Choos-
ing a suitable fabric for the design is one of the
most important aspects of the design process.
Fabric selection and style development act in
tandem. If an unsuitable fabric is chosen for a
style, then the design won't work.
Start by understanding the variety and qual-
ities of each fabric before they are applied to a
design. This involves learning the differences
between natural and synthetic fibers, fabric
weaves (plain,twill, satin), and woven and knit-
ted fabrics. These fabric details are important,
as each type of fabric can influence the design.
Each fabric has a different structure, and un-
derstanding each will help the designer design
to the fabric. For example, knit and woven fab-
rics need very different designs, because knit
fabric stretches and woven fabrics don't. For
this reason, it is advisable to use fewer design
lines in a knit garment than in one of woven
fabric. Becoming knowledgeable about fabric
also involves observing different fabric surface
patterns and textures, and this is discussed
more fully in Chapter 2. We suggest you take
a peek at Figure 2.15, as it illustrates this point.
Notice the interesting one-way fabricprint and
the simplicityof the design.The designer in this
case has observed the fabricsurfacepattern and
lets the fabric speak for itself. The design is un-
complicated, with no design lines to speak of,
except for the side seams;too many design lines
would spoil this bold fabricpattern.
To get acquainted with fabric, the designer
also plays and drapes with fabric on the form
to determine how it performs when pleated,
folded, tucked, gathered, or scrunched. By
draping two very different fabricweights, such

as silk taffeta and silk georgette, it will become Why the Designer Needs to Know
obvious how different each looks on the form. HOWto Drape Fabric. . ,
Taffeta is crisp to the hand and when gathered Somedesignerslike to draft flat patterns math-
or tucked it holds its shape. On the other hand, ematicallyusing specsandmeasurements, while
silk georgetteis soft to the hand, sheer, and deli- others like to drape the fabricon the form, then
cate,and it drapes softly to skim the body when take the draped fabric pieces and make the pat-
cut to its best advantage. Refer to Chapter 2,
"Know Your Fabric."
Why the Designer Needs to Know
How to Sketch
Sketchingis the first part of the design process.
It is the fundamental tool used to communicate
a seam, a dart, a pocket, a zipper, topstitching,
or buttons, so it is not only an artistic plea-
sure but also a phase during which functional
and structural design need to be taken into
consideration.
How to Draft Patterns
tern from them. Draping fabrichelps the design
student understand the shape of the form and
how fabric can be molded to enhance a wom-
an's body. This in turn empowers the designer
with more design possibilities for placing line
in the design.
How to Cut Fabric
Knowing how to cut fabricfollowingthe grain-
lines is essential, as they must be correctly
placed parallel to the selvage. Refer to Chapter
2, "Placingthe Patterns 'On Grain.'" Placingthe
grainlines in certain directions can also change
the look of the fabricsurface.The fabric surface
Learning how to construct patterns mathemat- can have a texture, a bold large print, stripe,
ically and knowing where to place each line check, one-way pattern, or have a furry pile.
for darts, seams, pockets, ruffles, and other The designer needs cutting knowledge so that
design details empowersthe designerin know- when the darts, seams, gathering, and tucks are
ing how line in design can be used to enhance stitched, the fabric surfacelooks its best. This is
a woman's body. Structuring patterns is like
architecture-we use line and shape to build
form. Making patterns is all about using line,
proportion, balance, and shape as each pattern
is drafted. Each seam is placed to fit the curves
of awoman's body-placement is not arbitrary.
Many students find line placementdifficult be-
cause they have not thought this through at the
sketching stage.
explored in Chapter 2, "Laying Out and Cut-
ting Fabric."
How to Sew Garments
The designer needs to learn how to sew darts,
pockets, seams, zippers, ruffles, tucks, pleats,
waistbands, collars, facings, cuffs, sleeves,
hems, and linings, and how to embellish fabrics
and stitch closures. All empower the designer
by-imparting an overall knowledge of design.
Not every fabric is stitched in exactly the same
way; seams and hems are not stitched in a uni-
form way on every garment. The construction
method needs to match the type and weight of
fabric, aswe shall see in Chapter 2.
about Notions and Trims
Notions and trims are all the supplies needed
for cbnstructing garmentsother than the fabric.
Notions can be buttons, snaps, zippers, thread,
tape, elastic, ribbon, piping, interfacing, or a
lace trim. The designer needs to be involved in
choosing these details and therefore needs an
artistic eye to harmonize them with the fabric
and design. A designer can learn what notions
and trims are availableby researchingthe Inter-
net for the latestitems.The designer also directs
the choiceof what basicitemsto use, such as the
type, weight, and length of a zipper; the type,
size, and designof abutton; and the color of the
topstitching.
The notions and trims that are used matter,
as you will learn by using this textbook. For ex-
ample,the weight of the zipper needs to suit the
fabric weight, and the zipper needs to be long
enough so the garment will open comfortably,
allowing the customer to get in and out easily.
The type of button (glass, metal, wood, or
leather) needs to be compatible with the fabric
type and suitable for laundering. The interfac-
ing also needs to suit the fabric weight and the
part of the garmentin whichit is beingused. All

..................................................................................~..........
these aspectsof the constructionprocess will be
discussedasyou read furtherin the textbook, in
Chapters 3 and 7.
about Production
Beinginvolved in production is an aspectof the
design process that fashion designers often find
difficultand irksome,asthey just want to get on
with designing clothes and back to the design
studio! How involved the designer is with pro-
duction depends on the size of the company. In
a large company the designer's role in produc-
tion may be minimal, but students who plan to
have their owndesignbusinessin the futurewill
need to be totally involved. Designers need to
keep their eyes open and look at the quality of
garments being produced, and at the top of the
list is quality stitching.
As the collectiondevelops,the designer may
be involved with ordering fabrics and trims, an
important part of the design process. In some
companies,designersmay also be involved with
grading patterns into larger and smaller sizes
that are ready for production. When the gar-
ments are completed,quality control personnel
may also call on designers for their expertise
when a stitching or fabricproblem occurs.
The production of a collection keeps to a
strict schedule, and completing your assign-
ments by their due dates is a great way to learn
how to organize your schedule. This is excel-
lent practice for your future responsibilities as
a designer!
COMFORTABLEJACKET
TO WORK IN
BUITONIIOLES FIT
EOMFORNBLI OVER
THE B U m N S
!
tVENTS IN BACKJACKET
OPENS WHEN SlmlNG
.~..~
FIGURE 1.4 FUNCTIONAL DESIGN: JACKET. SKIRT. AND PANTS

FIGURE 1.5 STRUCTURAL
D E S I G N : W A T E R P R O O F
R A I N C O A T
~... ~~~~~~~.. . . ~ ~ . . . . ~ . . ~ . . . . ~~~. .... - -
BUITON STITCHING - NEED TO
B E 6 0 0 0 QUALITY
CONSTRUCTIONAND HOLl
THE GAWAENTTOGETHER
THE COLLAR IS HIGH
-ENOUGH TO PROVIDE
L WARMTH
THE FAURIC IS
WATERPROOFAND
/
THE COAT URGE
ENOUGHTO WEAR
OVER OTHER
GARMErn
THE COAT IS WNG ENOUGH
FOR PROTECTIONFROMTHE
ELEMENTS
about Functional, Structural, and
Decorative Design
A designer needs to address these three as-
pects-functional, structural, and decorative
design-when designinggarments.Eachof these
aspects has equal value. If these areas of design
are ignored, it can ultimately affect the sale of
the collection. And without sales, the designer
does not have a job!
It is the designer's responsibility to create
clothes that function, feel comfortable, and are
user-friendly in the way they work. Garments
that represent interesting designs made in qual-
ity fabrics that are comfortableto move in, and
stitched with quality stitches, are what women
want! This is what makes one design and de-
signer stand out from the rest. Coco Chanel,
one of the most famous designers in fashion
history, knew how important this was. Chanel
said, "I makefashionwomen canlivein, breathe
in, feel comfortable in, and look younger in."'
Her revolutionary designs changed the way
women dressed, from being confined to feeling
comfortable. As design students, let's continue
Chanel's tradition!
Each of thegarmentsin Figure1.4, Figure1.5,
and Figure 1.6 demonstrateseacharea of design:
functional, structural, and decorative.
Functional Design
Functional design refers to how the garment
works physically on the body. This is an im-
portant aspect on which the designer needs to
focus. Garments need to work physically for the

The Desz,on Piocesr Why Const,uc~ionSi7ould Matter to the Fashion Designer
purpose they are made for (police or firefighter's
uniform, ball gown, swimwear, and more).
Garments need to feel comfortable on the body
and be made froin pleasant-feelingfabric.
Garments need to provide adequate room for
movement yet hold their shape to the form.
Garments need to be made in a suitable fabric
type and weight to suit the style and provide
protection, warmtl?, or coolness.
HOW THE GARMENT WORKS PHYSICALLY
This aspect of designing is the designer's respoil-
sibility. A customer trying on a garment does
not want to struggle getting in and out of tlie
garment. If the garment is co~nplicatedto put
on, or uncoinfortahle in some way, or too tight
to walk in, the customer will leave the fitting
room and look for another brand. Busy people
don't want to be bothered with complicated
openings and uiicomfortable clothing.
Here are a few practical tips pertaining to
some areas of functional design that the designer
needs to attend to when designing clothes:
The closure of a garment must work simply
and efficiently. Buttonholes need to fit
comfortably over the button and not feel too
tight or too loose. Snap closures need to hold
the garment securely closed. Dysfunctional
closures that easily "pop" open are not going
to sell.All of the garments in Figures 1.4, 1.5,
and 1.6have closures-do take a look at them.
Apocket needs to be positioned so the hand
enters at a comfortable level. The size of the
pocket needs to be generous enough for the
hand to rest in it, and luaybc hold keys and
some cash. Notice that the pants in Figure 1.4
and the raincoat in Figure 1.5show comfort-
able, adequately sized pockets. In Chapter 5,
"Pocket Styles" will explain more about the
placemelit and size of pockets.
A skirt vent must be long enougll to allow
a person to walk easily. Similarly, a jacket
vent allows room for the jacket to spread
when a person is sitting. Figure 1.4 illus-
trates how important a vent is for functional
design in a jacket and skirt. Refer to Chap-
ter 15, "Vent."
A strapless bodice must be structured with
underlining and boning so it won't slip down
when the wearer is on the dance floor-a
customer does not want to keep tugging at
the garment to keep it up all evening-this
would be dysfunctional design. The zipper
also needs to open from the top edge of the
garment to 7 inches below the waistline so the
customer can coinfortably get in and out of
the garment (see Figure 1.6).Refer to Chapter
3, "Underlining," and Chapter 6, "Boning."
Neck openings must be large enough in a knit
or woven fabric to slip comfortably over the
head without feeling too tight-women do
not want to spoil their hair! Men also do not
want to feel choked or suffocated. Many stu-
dents forget about this aspect of functional
design-a garment is utterly dysfunctional
when it can't slip over the head. In Figure 1.4
a knit top has been slipped comfortably over
the head and paired with the jacket.
COMFORT
Comfort is all about how the garment feels
when it is worn. Customers sllould not feel re-
stricted when sitting in the office, walking the
dog, jumping for joy, running to catch the train,
crouching to pick up the baby, or reaching for
that hidden candy on the top kitchen shelf. To
enable coinfort and movement in a garment,
"ease" is incorporated into the garment at the
patternniaking stage. Ease is the excess fabric
that can be pinched from both sides of your
garment. Different amounts of ease will be
added depending on the style, silhouette, and
fabric type-some fabrics have more "give" than
others-and the age group of the target cus-
tomer also defines the amount of ease used. For
example, the strapless dress in Figure 1.6would
not have any ease in the bodice, as it must fit
tightly to the body. In comparison, the raincoat
in Figure 1.5needs excess fabric ("ease"), as it is
worn over other clothing.
FABRIC SELECTION NEEDS TO SUIT THE
FUNCTION O F THE GARMENT
The function of the garment influences the
fabric selection. This aspect of functional design
is the designer's responsibility. Some examples
to consider:
A raincoat is designed to keep out rain;
therefore, the fabric needs to be weather-
proof or waterproof (or both). The cut of the
coat must be large enough and long enough
to wear over other clothes with the neck high
enough to help keep the rain out-this is an

Professional Sewing Techniqnes for Designers
~~ ~.
example of functional design (Figure 1.5). SIRUCTUWI DESIGN:
Winter coatsneed to be made fromfabrics
THE BoDlCElS STRUCTURED
w m URDF~LININGAND
that keep wearerswarm and insulatethe body BONING AND STITCHED
WITH QUALIlYCONSTRUCflON
fromthe cold;fabricssuch aswool, cashmere, FUNCTIONAL DESIGN:
fur, or leather are ideal choices.A coatunder-
THETIPPER IS LONG
EHOUBHm COMFORTABLY
lined and linedwill also have added warmth. GET IN AND OUT OFTHE DRESS
Refer to Chapter 3, "Underlining."
A summer jacket needs to be made from
breathable fabrics that keep the wearer cool.
Natural fiberssuch as cotton, linen, or silk THE BEADSAND BOW ARE
PARTOFTHE DECOWTIE
are ideal choices.
When a business wear collectionis designed,
the fabricchoicebecomesvery important,
especiallywhen travelingis part of the job.
Fabricswith syntheticfibersprevent crush-
ing-this is how fashion meetsfunction
(Figure 1.4).
Fabricneeds to be taken into consider-
ation when designingfor sportswear;
the fabricmust stretch in the width
and length so it can move with the
body when a person swims,runs, or jumps.
For functional sportswear,the following
attributes in the fabric are advantageous:
lightweight, heat and moisture regulated,
stablewhen wet, good air and water vapor
permeability, low water absorption, absence
of dampness,quick to dry (toprevent feeling
cold),durable, easyto carefor, and soft and
pleasing to touch. However, it is not pos-
sibleto achieve all these properties in one
simple structure of fabricusing one fiber.' So
.-
a fabricwith moisture-wickingproperties
'
f .is needed to regulatethe body temperature, -improve~erformance,and delayexhaustion. FSGURE1.6 FUNCTIONAL. STRUCTURAL, AND DECORATIVE DESIGN: STRAPLESS PARTY DRESS

....... ~ . .. ~~ ~ . ~ - ~ ~ ~ ~ . . - - ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ ~ ~ ~ . ~ ... . ... . ...
This isachievedby placing the right type of
fiberin therightplace. Blendingthe fiberswill
not achievethis;however,fibersin a multilayer
structurewill. Thelayer closest to the skin STRUCTURALDESIGN:
SWIMWEAR E M T I C IS
absorbs, evaporates,andpulls moistureaway APPLIED TO ALLTHE
fromthe skin. EDGESTO HELPTHE
SWIMSUITCLING
mTHE eoov
Figure 1.7 illustrates a swimsuit. The customer
wants it to be functional, so part of the design-
er's responsibility is to choose synthetic high-
spandex knit, elastic in both vertical and cross-
wise directions. Spandexis an elasticfiber that is
often mixed with other yarns to produce combi- THE FABRIC PAITERN
nations such as nylon/spandex, cotton/spandex, DECORATIVE DESIGN
and polyester/cotton/spandex. Spandex gives a
fabric excellent stretch and recovery so the gar-
ment retains its shape and doesn't sag. Swim-
wear is commonly made from nylonfspandex
to enable it to be figure-hugging, fast-drying,
flexible enough for movement, and shape-
retaining5 Garments made in fabrics that have
spandex don't need zippers; however, they do
need to be stitchedwith stretch seams. (Referto
Chapter 6, "Stretch Seams.")
Even though swimwear and active wear are
madefromfabricswithspandex,elasticalsoneeds
be appliedto the garmentedgesto helpit stayput
and cling to the body.6To see where swimwear
elastic (whichis especially treated to stand up to
chlorine) has been applied, refer to Figure 1.7.
Also refer to Chapter 6, "Stretch Seams."
Spandexis not just limitedto use in knit fab-
rics; it can also be added to woven fabrics. For
example, the jacket, pants, and skirt in Figure
1.4 couldbe madein wool/spandex. The amount
PARTOITHE FUNCTIOIAL
DESIGN ISTO CHOOSETHE
CORRECT FABRIC W E T O
SUITTHE FUNCTIONAND
PURPOSE OFTHEGARMEN1
F I G U R E 1.7 F U N C T I O N A L , STRUCTURAL, A N D D E C O R A T I V E D E S I G N : S W I M W E A R

of spandex is not added in the samc percentage
as swimwear but a minimal amount would offer
extra comfort when wearing these garments.
Refer to Chapter 2, "Some Differences between
Knit and Woven Fabrics."
Strtrctural Design
The second aspect the dcsigner needs to attend
to is the stvuctural design. Structural design
refers to all the seamlines that are stitched to
hold the garment together. It also refers to the
thread used for stitching. When choosing the
stitches and seam finishes, the wear and tear of
the garment must be considered
The first and most important area of struc-
tural design, which is necessary to pass quality
control,isto havequality permanentseamstitch-
ing. A certain number of stitches per inch se-
curely hold the seams together. Too few stitches
will not hold the seam adequately; too many
stitches may pucker the fabric. Refer to Chap-
ter 2, "Stitch 1-engths." Garments made from
stretch fabrics need to be stitched with stitches
-wear.that stretch so the seams can stretch durin,
If stretch stitches are not used, the stitches will
"pop" open and eventually the garment will split
apart and he returned to the manufacturer. Refer
to "Knits" in the section "Stitching Seams in
Tricky Fabrics" in Chapter 6.
Buttons are another example; they need to
be stitched for closures using quallty thread
with enough stitches t~ hold the buttons per-
manently to the garment so they don't fall off.
Refer to Chapter 17, "Stitching Buttons."
Decorative Design
Decorative deszgn refers to the decorative ad-
ditions to the fabric surface. Decorative design
is an important aspect of design because ulti-
mately it may be what attracts a customer to
purchase the garment-the special detail that
distinguishes one garment from another.
Embroidery, lace, ribbon, bows, buckles,
and buttons are just a few of the many items that
can be used for decorative design. Choosin, just
the right dccorativc item requires time and pa-
tience. Decorative design can also encompass
the vibrant fabric color or fabric texture, print,
or pattern. This is the case in Figure 1.4. Ob-
serve the vibrant variegated color in the fabric,
which is quite eye-catching.
In Figure 1.5 the decorative design details are
the buttons and topstitching used to define the
seamlines. In Figure 1.6the beaded lace and the
bow represent the decorative design. The swim-
suit in Figure 1.7 also attracts the eye by using
an all-over, energetic fabric pattern.
When you hear the following statement about
the garment you have designed and manufac-
tured, then you have combined functional, struc-
tural, and decorative designtogether as onc: "This
garment is so comfortable (functionaldesign)and
beautifully stitched together (structural design),
and wow. ..this beaded lace adds just the touch
that makes the garment stand out from the rest
(decorative design)." All three aspects are work-
ing together to creatc one fabulous garment!
Do I understand that learning how to sew is
a necessary part of designing clothes?
Do I understand that knowing how to make
patterns and stitch garments empowers my
knowledge as a design student?
Do I understand that a designer needs to be
connected with every aspect of the design
process in order to have a good general
knowledge of producing fashion?
Do I see the importance of functional, struc-
tural, and decorative design and how they
combine fashion and function?
Do I see that great designs that function
well, have quality stitching, and are made in
fabrics that are "just the right weight" are all
key to achieving excellent sales?
Do I understand that designers need to keep
their eyes on the entire design process when
overseeing the birth and production of a
collection?

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Getting Prepared: Avoiding Snags
. ~
. .
We cannot stress enou~8.th.e,importa.nceof the preparation needed in any sewing project KEY TERMS
before.you begin. Many design students don't prepare and end up in a ta%l,e and.dih- Bulk
couraged in their sewing ability..Thish a ~ t e routlines the,importance bf prepara2ionmd shows Embroidery Scissors
you how to do it. Every fabric-frgm si!&$eoi~eth.to a knit jersey-behaves differ&tlX.silk Grainlines
georgette is a soft, drapable, lightweight, sheer fabric, whereas wool jerseyis.amedium- Ironing Board
. . . . Matchpoints
weightkdtfabricthat stretches.XJnd&tanding theproject, and anideadPthe.ngsioq.n,eededto Needle Board
the fabricyou are working with.is.vipbpsuc- get staited.'Ultimatelyit ~:.p~ev&t+stakesi' . ~ . !.,. -Notchas .s ,, . .,
cessfuls.tiwhbing.Since fabricis:~ h e - & ~ i ~ e t ? sI.fone needle or thread typk ,db+~'t work, try' . Presring Cloth
medium, +e choices for nodom.,and trims are another size or type until!you . c o ~up yith ,
Rotary CntterFMats. . . ..~. .~
fabricdriven. It.can%.beassumedthatthe same "just theright one" to suiqyop~@bric.. . . . . :'~.... -;scissors:, .i;u.w ,~>.**:..;:,,,~;,::
norions, .suchas:the duead type; needk type, -~~e~i~PmcticethisP&~.p~epara~~n~&~r.,. ~
' ' ':
' .Seam A@&w+qqe ~
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andin&++ Ca&& p&rj@-f&;ic. These -y&~dddqgimce we:wa&d,-er t&,& of Seam R$l' ~ -
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type andweight.. and:&t.prepared to avoia.snags! Stemi Irom
Inthischaps$, w&e&kche.im~o~canceof . , . ~ . .~
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garment to findthe.ri~~~n&c&s..$&s%it each Thetools needidinyoursewingkitarepicmred - Velvaboard
fabric. Sampling first:giv& &$&&d&e&jdnnfoi.,.~ ~ in Eigure2.1.

Professional Sewing Techniqwes for Designers
F I G U R E 2.1:
S T Y L E LD.: T O O L S
FABRIC r
PINS
HAND SEWING NEEDLES
SFAMGAUGE
L
MACHINE SEWING NEEDLES
AWL
BUTTONHOLE CUTTER - TRACING WHEEL
ROTARY CUTTER
6&,SEAM RIPPER --b
FABRIC MARKING PEN OR CHALK --1
EMBROIOERYSCISSORS
-4? PRESSING HAM
SCISSORS
=-zs WOPTURNER
CLIPPERS
TAPE MEPISURE

GATHER YOUR TOOLS
These are the essential tools used for stitching
garments:
Fabric-the designer'smedium.
Scissors-to cut fabric.
Tape measure-to measure patterns and fabric.
Thread-to stitch fabric.
Pins-to pin patterns to fabric,and pin seams
together in preparation for stitching.
Seam ripper-to removeunwanted stitching.
Thread clippers-to snip threads after
stitching.
Point turner-to get perfect angled corners on
collars and cuffs.
Buttonhole cutter-to cut open machine-
stitched buttonholes.
Embroidery scissors-for precise cutting into
apoint.
Machine sewingneedles-for stitching seams
with the sewingmachine.
Hand sewingneedles-for stitching seams and
hems by hand.
Fabricmarking pen or chalk-for marking
seams, darts points, and matchpoints.
Loop turner-for turning bias loops.
Pressingham-a pressingaid.
Pressingcloth-to protect the fabricsurface
from the iron.
Iron-for pressinggarments.
Bobbin-for stitching seams; both top thread
and bobbin threads are needed to stitch
seams.
Seam gauge-for measuring the seam
allowance.
~ ~ ~ . ~ . . . ~ ~ ~ ~ ~..
Awl-for marking dart points and matchpoints
on the pattern and fabric.
Tracingwheel-for tracing the pattern line in
patternmaking and seamlinesfor stitching;
can be eitherplain edge or serrated.
Before cutting and stitching fabric, a design
student needs to understand what fibers the
fabric is made from, as this influenceshow the
fabric behaves, how to stitch it, and what no-
tions to use.
KNOW YOUR FABRIC
The design process begins with fabric. Fabric
is the designer's artistic medium. Choosing
a suitable fabric for a style is one of the most
important aspects of the design process. Fabric
selection and style development must work in
tandem. If an unsuitable fabric is chosen for a
style, then the designwon't work.
The designer must understand different va-
rieties and qualities of fabric before attempting
a design. Silk georgette won't make a tailored
jacket. Designersneed to be experts in fabricse-
lection to understand which fabric suits which
style.The experienceddesigner is afabricsculp-
tor who can look at afabric, feelit, and envision
a design that will suit the fabric. The designer
develops this ability through continuous ex-
perimentation with fabric.Somedesignerswork
directly with the fabric while others sketch de-
signs first and then search for a suitable fabric
for the design.To know fabric, use it!
In each chapter, detailed information on
handling specialty fabrics will be discussed in
the section "Stitching Tricky Fabrics."
Table 2.1 lists some of the categories of fab-
rics, alongwith their generaluses and care.
The followingfabrics are a joy to work with
and have become our favorites over the many
years of our sewing. This list can be added to
as you work with fabric and find your own
favorites.
Woolcrepe:Easy to sew,it doesn't wrinkle
in higher qualities,has apebbly surface, is
stable, and drapes well. It's great for suits,
tailored pants, bias-cut garments,and
dresses.
Woolflannel/worsted:Easy to sew,wool has
a soft, spongiersurface, and worsted has a
harder, stronger,flatter surface.The weight
of the wool determinesits use-heavier
wools and double-facedwool make great
coats and outer jackets, while lighter-weight
wools can be used for tailored jackets, pants,
skirts, and dresses, all of which should be
lined to avoid bagging out.
Silk dupioni:Easy to sew, stable, and crisp, it
has a nubby textured surface and is available
in a range of colors. It works well for tops,
dresses, skirts,jackets and pants, and evening
wear.
Jersey knit: Once you learn the correct way
to pattern, cut, and stitch knits, they will
soon transform from being a tricky fabric
to a favoritefabricto work with. Rayon or
silk jersey drapes beautifully; it is light to
medium weight; and, combinedwith silk,

16 Professional Sewing Techniques for Designers
r...............
TABLE 2.1 CATEGORIES OF FABRIC: THEIR GENERAL USES AND CARE
h p eof Fiber: Ch8racteristics Uses Care-
NaturalFibers
Cotton Slmng, sbscrbent,versatile, takesdye well, comesin Lightweightto heavyweightgarments, bedlinens. Wash, hotwater, handor machine,bleachwhites, usefabric
many weights, textures, andweaves. Nostaticcling, upholsteryandotherhomefurnishingitems, quilting soflener to reducewrinkling, tumble dry; presswhile dampor use
tends to wrinkle, andshrink.Workswell blendedwith steamimn.
otherfibers.
I Wan, absorbent resistswrinkling,weakens and Coats, sub, pants, skirts, especially Dryclean; somewools arewashable by handinmildsoapandcool
stretcheswhen wet, comas inmany weights, colors, tailored styles water. Carefulsteam pressingis mod effective,allow garmentto
weaves, andtextures;shrinks, tends to 'pill? isflame cool beforemoving
resistantandwater repellent.Canbe damaged by
inconenpressing.
Linen Absorbent, comfortable, comesinmany weights, Warm-weather garments, dresses. Mouses, Dryclean, or launderif preshrunk
stmng, slighllystiff hand, wears st edges, shrinks, and pants,suits
wrinkles; oftenmixedwilh cononto reducewrinkling
Sllk Absorbent, stmng, deepluster,takesdyewell, may Dresses,suits, blouses, lining, lingerie,evening, and Drydean; may behandwashable;test a sampleforbleeding
bleed, comesinmanyweights andweaves; medium briddwear
andheavierweights resistwrinkles; pmneto static
cling; oftenwovenwith linen.
-
lade
Rayon Weakerthan naturalfibers, mewhat absorbent,dries Isusedto makeluxurious. silkyfabrics suchas Dryclean; test for handwashing. Avoid highimntemperatures,
fast; tends to winkle, is pmneto stetiecling, miste bmcade,crepe, faille, satin,jersey, tricot, and lace,for which melt rayonacetaleor viscose
stretchingandshrinking. lingerie, blouses,dresses, and linings
Aaylic Sofl, warm, lighhveight,wrinkleresistantslightly OHenblendedwith o h r fibersto makeshewfabrics, Canbedry cleaned but usually laundered, wan,blmble dly. Press
absorbent, dries quickiy, may'pill.' knits,andpilefabrics that are usedfor dresses, -at- with lowswing onwmngsideof fabric.
ers, sport, andworkclothes.
Strong, low absorbency,smooth, elastic, resists Oftenblendedwithotherfibersforwide varietyofter Handor machinewash, nnsethomughly:dripdry or tumbledry d
wrinklesandshrinkage tures andweights for useinbbuses,dresses, linings, lowsetting. W a n imnonly if needed.
andswimwear
- ..-.,->ter Stmng, lowabsorbency,quiekdrying, resistswrinkles, Onencombinedwithotherfibersto f o n many Machinewash dependingonthe otherfiber if blended.W a n imn.
stretching, andabrasion; can pill, andhavestaticcling. weights andW r e s ; usedforgarmentsforalltypes Fabric softener reducesstaticcling
of clothing.
Micmfiber Durable,densely woven, finefibers, can bewater Usualbjpolyester; usedfor dltypes of clothing Machinewash lowtemperature;tumbledry low; lowtemperature
repellent ironif needed.

Gettzng Prepnred Avozd~ngSnngr
it is luxurious and feels wonderful in tops,
tanks, turtlenecks, dresses, pants, cardigans,
hoodies, scarves, and lingerie.
Wooldouble knit: Easy to sew, medium
weight, and stable, wool double knit can be
a combiilatioil of several fibers, including
rayon, cotton, and synthetics. It looks great
as a cardigan, tank, T-shirt, skirt, unstruc-
tured pants, and jackets.
Felted wool: This type of wool is produced
by washing wool or wool double knit in
hot water and drying it in a hot dryer. The
agitation causes the wool fibers to mesh
together, creating a dense fabric that needs no
finishing.
Brocade: Easy to sew (surprise!) but beauti
ful, it lends itself to dramatic designs in many
weights. It looks great stitched as formal
wear and casual wear, too, such as tops,
coats, vests, and bags.
Upholsteryfabric: Many fabrics found in
the home-decorating section are suitable
for structured garments. After prewashing,
to soften and remove sizing or other fabric
treatments, fabulous jackets, coats, and bags
can be sewn.
Cotton:A natural fiber, it comes in many
weights and textures. Over time, cotton
becomes softer and softer. It blends well with
other fibers, combining its best qualities of
softness and durability. The muslin used in the
classroom by design students is 100% cotton.
Denim: Denim has a twill weave, which
makes it super durable, and now comes in
many weights and can be blended with other
fibers such as Lycra to give it some stretch.
Denim ravels and is prone to shrinking, so it
needs to be pretreated in the way the garment
will be cared for before stitching. This fabric
can be stitched into anything.
Table 2.2 categorizes the weights of fabric, types
of fabric, thread, and machine needles to use
when stitching, as well as recommended stitch
lengths. Although the table doesn't include all
fabrics, it can be used as a reference point when
sampling.
Tricky Fabrics-What They Are and
How to Prepare to Use Them
Tricky fabrics require more time and effort to
become successfully stitched garments. They
have special requirements that must be thought
of before cutting into the fabric. Often they
require special interfacing or stabilizing, a par-
ticular needle for the best-quality stitch, or a
notion that is not readily available at the local
chain fabric store. Additional yardage may be
required for the garment. After sampling the
fabric, the design student may find his or her
stitching skills are not up to the challenge of the
fabric or that this particular fabric is not suit-
able for the garment after all.
Matching Stripes, Plaids, Patterns,
and Repeat Patterns
Extra yardage is required to accommodate
fabrics that must be matched up to create a
continuous pattern around the body. Add ap-
proximately % yard for small plaids, 1/2 yard
for medium plaids, and 1 yard for large plaids.
Crosswise and lengthwise stripes require about
the same extra yardage as plaids. When work-
ing with a repeat, it is essential to measure the
distance between the beginning of one motif and
the beginning of the next motif. Placement of
the pattern pieces on these motifs, especially if
they are spaced far apart, will require additional
yardage and this should be measured at the fabric
store before purchasing the fabric. If the fabric
is being ordered via the Internet and it is not
possible to physically measure it, ask for help.
Otherwise, order at least one garment length of
extra yardage. These are suggested amounts, and
the designer may wish to add even more yard-
age as a safeguard. These fabrics require careful,
thoughtful layout of the pattern onto the fabric
and accurate transfer of markings. At all costs,
avoid placing the center of a flower or a geomet-
ric shape directly over the bust area! Extra time
may be needed to handbaste seams, or darts to
prevent slippage of the seam when stitching.
Sheer Fabrics
Many sheer fabrics are slippery (for example,
chiffon, organza, and tulle), and special atten-
tion must be paid when cutting them. Additional
pattern pieces may need to be drawn and cut for
each side of the garment when cutting in a single
layer. Use tissue paper or pattern paper under
the fabric in a single layer, and pin through the
fabric, pattern, and tissue to prevent the fabric
from slipping while cutting or sewing. When
cutting, use fabric weights to avoid marking the
fabric with holes from the pins.

. ~ . . ~~~.~ ..
TABLE 2.2 THREAD, NEEDLE,AND STITCH RECOMMENDATIONS FOR SELECTEDFABRICS
Fabric Fabric ; MachlmeNeedles # StltchLength(mm)
Webht
Sheer Batiste,ch'ln, nylontricot, fine All.purpme polyester;heirloomsewingthread; silk thread Universalor MicrotexlMSharp6018 5519 2.0
lace, orgam, net or fine machineembroiderythread6012
Handkerchieflinen, lawn, sheer Mercerizedconon 5013; silk thread Universal70110or 80112 2.5
crepe, wile
Light Crepede chine, collon,gauze. All-purpose polyester Universal8018 or 5519 2.0
I georgene,gingham
Knits, double knits, velour Forknitswodly nylonin bobbinor for serger loopers Stretch 75/11 Zigzag 0.512.5
Satin Fineconon or silk Microtex70110 2.0
T a M , silk All-purpose polyesteror finecotton Universal 70110 2.5
Wool challis All-purpose polyesteror fine conon, silk Universal80112 2.5
<
6 Miomfiber Finemachineembroidery Microtex5018 1.5
m Bmcade All-purposepolyester;Mercerizedconon 5013 Universal70110 2.5
-.
Corduroy, linen, muslin, pique. Sameas above ' 80112 2.5
poplin,wool, wool crepe, tweed
Shantvng Same as above 70110 2.5
Sweatshirt All-purpose polyester Stretch75/11 Zigzag 0.513.0
Swimwear All-purpose polyester Stretch75/11 0.7512.5
1' SynUleticsuede All-purpose polyester JeanslDen~m75/11 2.5
Terw cloth. velveteen All-purpose polyesteror cdton Universal80112 2.5 or 3.0. . . . . .
I I
TMOdBm- Coat-weightwool All-purpose polyester Universal80114 3.0-3.5
haaw
I I I
1 Faux fur All-purpose polyesteror cotton 80112or90114 Hingedseem
Felt. fleece, gabardine All-purpose polyester 80H2 3.0
Leather, lighhvaight, heavierweight JeansIDenim 70110 Leather 90114 3.0
Faux leather,suede All-purpose polyester Stretch75111 2.5
Quiltedfabric All-purpose polyesteror conon Quilting 75/11 or 90114 3.0
I I I
Sweater knns All-purpose polyester Stretch75/11 Zigzag 0.7512.5
I I I I
Upholsteryfabric Ail-purposepolyesteror conon JeanslDenim90114 3.0
I I I
(TABLE CONTINUED ON NEXT PAGE)

-- -
Fabric FabricTyp mread Machlne Needles Stitch Length(mm)
Weight
VerY Upholstery,heavydenim All-purpose polyester; upholstery JeanslDenim 100116 3.0
heavy
Double- All-purposepolyester;silk Universal90114 3.0-3.5
facedcoating
Canvas AII~p~rposepolyester;upholstery JeanslDenim 100116or 110/18 3.5
-
Lace
This beautiful fabric is available in different
weights and can be sheer and fine or heavily
embellished. When working with lace, keep in
mind that there is definitelyapattern, or repeat,
to work with. Additional pattern pieces may
need to be cut when cutting out the lace in a
single layer. Stitching the garment with tissue
paper will protect the lace from snagging on the
feed dogs, as explained in Chapter 6. Choose
tissuepaper in a color that blends with the lace,
in case little bits of paper remain after stitch-
ing. Often, lace is expensive; however, a small
amount used in a section of a garment can be
effective. Careful measuring and layout of the
pattern piece on the lace ensures efficientuse of
thelace-again, avoidplacingaprominent motif
in the bust area.
Satin
In any blend, inanyweight, satinneeds the most
delicatehandling. The designer must sampleev-
erything before stitching this fabric. Marking
pen could bleed through the fabric, and remov-
ing the markings with water will spot the satin;
the wrong-sized pins could mar the surface of
the fabricwith pulled threads; the slightestnick
or roughsurfacecouldsnagthe threads that float
on thesurfaceof thesatin.Be carefulto coverthe
cutting surface with paper or tissue paper. All
pattern pieces should be cut and laid out in one
direction to ensure that no shading occurs. The
wrong needle or thread weightwill causepulled
threads, or holes in the fabric that cannot be re-
moved. Plus, overpressingcan cause the satin to
look limp andworn out. Satinis adifficultfabric
to work with and requires patience and a clear
understanding of how to handle the fabric.
Beaded Fabrics
Often beading is done by hand or machine on
silk chiffon as a base, so working with beaded
fabrics requires knowledge of several things:
the beading is usually a pattern or a repeat; the
threads that hold the beading to the cloth must
be reinforced before cutting; the beads must be
removedfromtheseamallowancesbeforestitch-
ing; and the correct needle and thread must be
chosenfortheweight of the basefabric. Pressing
candamagethe beads, sosteamand finger-press
from the wrong sideof the garment. Placetissue
paper or pattern paper beneath the fabricwhen
cutting and stitching to prevent snaggingand to
help feed the fabricalongthe feed dogs.
Knits
The very thing that makes knits wonderful is
also what makes them tricky-stretch. Too
much stretch and the garment fit could be a di-
saster; not enough stretch and it could be a di-
saster! The amount of stretch in a knit replaces
many fitting details such as darts, so it is im-
portant to have the right amount of stretch in
the fabric. Some knits stretch only in the width
and/or the length. The huge variety of weights,
blends, and textures of knits requires careful
considerationof the use of the knit for the style
of the garment. If the knit is tubular, avoidusing
the creased fold unless the permanent crease is
desired for the design.Whenlaying outknits for
cutting, it is especiallyimportant that the entire
piece of fabric be supported, and not hanging
off the edge of the cutting surface. This would
cause distortion of the pieces being cut. Nap or
surfacefinish on knits can cause shading on the
fabric. Check to see if the knit can be cut "top
and tail" (withonepiece facingup and onepiece
facing down) or whether it must be cut with
all pattern pieces lying in the same direction to
ensure that no shading occurs. Sharp pins and
sharp cutting tools are critical for smooth, ac-
curate cutting, as often %-inchseam allowances

Professionnl Sewing Techniques for Designers
are used when working with knits. Knits can be
stitched on either sergers or sewing machines.
Proper stabillzing ofthe shoulder,neckline,and
armhole areas prevents the seams from stretch-
ing while stitching. Usestretch needles for knits
-t e seams canto avoid skipped stitches. Pressin, h
leave impressions on the garment; use strips of
paper underneath to prevent this, and set the
temperature of the iron to match the fibers of
the knit. Never apply the iron directly on the
surface of a knit; it will scorch the fibers, create
a shine that can't be removed, and flatten the
fibers. Keep pressing to a minimum.
Denim
Although denim is considered the "work-
horse" of cottons, it comes in many weights,
blends, and surface treatments. Pretreat denim
to shrink the yardage and remove excess dye,
which could bleed onto other garments. Press
the denim while still slightly damp to prevent
permanent creases. When cutting denim, it is
critical to be on the straight-of-grain,otherwise
problems such as twisting occur. When seams
intersect, or when hemming, pound the seams
with a mallet to flatten, making them easier to
stitch through. A strong, sturdy denimljeans
needle should be used to avoid skipped stitches
and accornrnodate the heavier thread available
for topstitching the seams and hems.
Velvet
Velvet is a short pile fabricthat is made by weav-
ing extra loops on the surface of the fabric, and
then cutting to produce the pile. The direction
in which this pile lies is called the nnp. When
you run your hand against the hap, the fabric
feelsrough and shows the deepest, richest color.
Whenyou run your hand in the other direction,
with the nap, the fabric is smooth and appears
lighter.The designer decides in which direction
to place the nap, but this should be consistent
when laying out the pattern pieces on the fabric.
Because the beauty ofvelvet is the nap, avoiding
crushing the nap is a considerationat every step
ofconstruction when using this fabric.Marking
must be visible, but must not mar the surface of
the velvet. Velvet slips when cutting and stitch-
ing,so use tissue paper or pattern paper beneath
the fabric to prevent this problem. Handhasting
[he seams and using silk thread helps to elimi-
nate slippage;using silk thread leaves no visible
marks or holes on velvet. Pins can leave unat-
tractive dents if left in the fabric too long, or if
accidentally left in the fabric while steaming a
seam. Velvet ravels and is messy to work with,
as the short fibers of the pile are released from
the surface after cutting. Velvet garments are
almost always lined, and the seams are covered
by the lining. Placing an iron on velvet crushes
the nap and creates shine, which cannot be re-
moved. Use a Velvaboard or needle board to
support the velvet while steaming above the
seam from [he wrong side of the fabric. After
the steam has penetrated the fabric,finger-press
the seain open, patting along the seam as it
cools. Allow tachsection to cool beforemoving
the fabric. For synthetic velvets, use the lowest
iron temperature that will produce steam, but
be very careful to prevent water from spitting
onto the fabric at low temperatures. Velvet can
he steamed while on the dress form, but this
must be done very carefully to avoid crushing
the pile-once the pile has been crushed, it can't
be revived. The quality ofvelvet varies-always
use the best quality that is cost effectivefor the
garment being stitched.
Leather
Leather is sold by the individual skin or hide, in
many weights (thenumber ofounces per square
foot), colors, and textures. Many skins have
imperfections, which affect the way the pat-
tern pieces can be placed. It is essential to have
full pattern pieces for each section of the gar-
ment. All leather should be cut in a single layer.
Leather does not actually have a grain, but it is
easy to distinguish the length versus width of
the skin. The pattern pieces should be placed on
the skin lengthwise as much as possible, since
the width has more give. Use weights to hold
pattern pieces in place, and mark with chalk or
dressmaker carbon, using a smooth-edged trac-
ing wheel. Binder clips or glue sticks can be used
in place of traditional basting. A Glover needle
is used for any hand stitches, and waxed thread
is used to sew on buttons. A leather machine
needle in the appropriate size for the weight
of the leather is necessary to prevent skipped
stitches. Never backstitch-it cuts the leather.
After stitching the seams, tie off the threads,
topstitch, or use leather cement, and pound
with a rubber mallet to flattenand hold seams in
To press leather,use a warm iron with no
steam, covering the leather with brown paper.

~~~~~~~~~~.~. .. .. .... ~ ~~.~~~~~~~~~~
Faux Fur
Faux fur is a pile synthetic fabric with either
a knitted or a woven backing of cotton or syn-
thetic fiber. It is available in an amazing assort-
ment of plush textures that mimic real furs.
Additional yardage of approximately ?A to %
yard is required for these fabrics, which should
be cut out with the nap (pile feeling smooth,
going down) in a single layer. A razor blade
can be used to cut the backing to avoid cut-
ting the fur that gives a blunt look to the cut
edges. Remove the fur from the seam allow-
ances before stitching the seams, and handbaste
to prevent the fur from creeping or puckering
when machine stitching. Stitch directionally,
with the nap. Reinforce stress areas with tape
and slightly clip curved edges. Seams cannot
be pressed in the traditional manner due to the
pile; either steam and then finger-press, or use a
Velvaboard and press lightly with the tip of the
iron over a press cloth. The temperature of the
iron should be as low as possible to avoid melt-
ing the backing if it is synthetic. The choice of
a specific faux fur should be based on its use in
the garment, and whether it is washableor must
be dry cleaned.Using contrasting fabric such as
satin or taffeta or the lined-to-the-edge method
reduces the bulk of traditional facings.
Heavyweight Fabrics
These fabrics require special treatment simply
because of their bulk. Heavyweight fabrics are
often stiff; match the style of the garment being
designed to the weight of the fabric. Notched
collarscanbe difficultto sewbecauseof thebulk
and the difficulty of pressingthe seamsflat. Full
pattern pieces are necessary for laying out the
garmenton a singlelayerof fabric.Trying to cut
out a double layer of heavyweight fabricresults
in the fabric shifting. Somepieces end up being
too big and sometoo small. Pattern weights are
needed to hold the pattern pieces in place while
cutting, aspins often get lost in the depth of the
fabric. Snip('/sN into the fabric)to mark notches
in the seam allowances; thread tracing, chalk,
or temporary marking pens also work-sample
to see what shows up best on the fabric. Direc-
tionally sew the seams with the nap, lengthen
the stitch length, and adjust the pressure on the
presser foot (Figure 2.23) if possible. A presser
foot holds the fabric against the feed dogs,
moving the fabric along as stitches are formed.
Instead of using self-fabric for facings or the
under collars, use a contrasting, lighter-weight
fabric or line the garment, edge-to-edge. Press-
ing heavyweight fabrics involves lots of steam,
muscle, a wooden clapper to flatten the seams,
and avoidingvisible impressionsfrom the seams
on the front of the garment.
This is by no means a complete list of what
might be considered tricky or difficult-to-work-
with fabricsbut rather represents the fabricsmost
often encountered by design students in class
projects.
As you approach each chapter, the section
on tricky fabrics will guide you through the
dos and don'ts at each construction step. For
example,if you are unsure whether a collar can
be made of a particular tricky fabric, consult
Chapter 11for details.
IT A U BEGINSWITH THE PATTERN
Correct stitching begins with correct pattern-
making; correct pattern marking communicates
how the fabric is to be cut. If the patterns are
not made and marked correctly, then the fabric
cannot be cut correctly and the garment cannot
be stitched correctly! In our classes, we often
notice students who areconfused and unsure of
how to stitch the garment, and why is this? No
pattern markings! The students then scramble-
in their bags or lockers trying to locate the pat-
ternswhilevaluableclasstimeislost.When they
finallylocatethepattern, they realizetheynever
markedthe patterns, and this explainswhy they
couldn't stitch the garment together. Let's look
at eachpattern marking in more depth.
Grainlines
Grainlines are one of the most important pat-
tern markings, as they affect the way the gar-
ment hangs and retains its shape. The grainline
communicatesthe direction in which each pat-
tern is to be placed on the fabricand cut. As the
pattern isplotted, the grainlineis oneof the first
pattern markings to be drawn on the pattern.
(Referto Table2.3 laterin this chapter for more
information.)Without marked grainlines,apat-
tern might be cut in any direction you chose;
this could result in a peculiar, twisted-looking
garment that would be difficult to stitch to-
gether, and would drape and fit poorly.
Lengthwise Grain
This grainlineis drawn parallel to the center
frondcenter back of the pattern (Figure 2.2).

P ~ o f e i i i o n n lSewing Techiziques foor Designers
- Make sure the pattern has two arrows drawn
at both ends of the grainline to indicate that
the pattern can be placed on the fabric in
either direction (Figure 2.2).
Draw a T-bar at one end and an arrow at the
other end of the grainline if the fabric needs
to be cut directionally. The T indicates the
top of the pattern and the arrow indicates the
direction for the pattern to be placed on the
fabric. Some fabrics have a one-way fabric
design or the fabric has a pile. Garments cut
in these fabrics need every pattern piece cut
in one direction so the fabric falls in one di-
rection when the garment is worn. For more
information on directional cutting, refer
to Figure 2.15. Observe how the grainline
shown there indicates the direction for cut-
ting the fabric.
Crosswise Grain
This grainline is drawn at a 90-degree anal-e to
the center frontkenter back (see Figure 2.2).
Bias Grain
This grainline is drawn at a 45-degree angle
to the center frontlcenter back (Figure 2.2).
Notches
Notches are marked on the pattern when the
pattern is being drafted. A notch is marked with
a '/a-inch pencil mark drawn at a 90-degree angle
to the seamline. Notches can indicate the width
of a dart, which fabric pieces are to be ?laced to-
gether, and the amount of seam and hem allow-
ance to be stitched.
Selvage
Selvage
To indicate the front of the garment, one
notch isplaced on the seamlines (Figure2.3a).To
indicate the back of the garment, two notches are
placed on the seamlines (Figure 2.3a). Very Iong
seams may need more than one set of notches.
Notches are also placed in different positions
along thc seamline (Figure 2.3b). Make sure that
if the pattern was flipped in the opposite direc-
tion, the notches could not be matched to any
other seam.
When two fabric pieces are stitched to form
a seam, each end of the seam is pinned together.
After this, the notches are pinned together and
then the seam is pinned in between these points.
You can see how important notches are and
how they make a huge difference in the stitching
process-this is why correct pattern marking
results in correct stitching. When the notches
have been marked on the pattern, snipped in
the fabric, and matched together in the stitching
process, the garment will sit perfectly and drape
beautifully on the body.
Matchpoints and Dart Points
Matchpoints indicate precisely the points that
must come together when stitching a seam or
applying a pocket, pocket tab, or ruffle to the
surface of the garment.' Both matchpoints are

Getting Prepared Avoiding Snags
marked with a small pencil dot on the pattern.
Correct marking sets the sewer up for success!
In Figure 2.4, the matchpoints are indicated 011
the pattern to mark the pocket placement on the
right side of the garment only.
Pattern Labeling
Labeling of each pattern piece is important to
communicate the part of the garment the pat-
tern is meant for, the size of the pattern, and
how many fabric pieces need to be cut.
Figure 2.3a shows the pattern marking and
labeling that must he communicated on the pat-
terns for designs that are symmetrical. Notice
the bodice in this figure is the same on both
sides-this is what makes the bodice symmetri-
cal-both sides are equal and mirror images of
each other.
In Figure 2.3b the bodice is asymmetrical;
this means that both sides of the garment are
not equal or the same. Notice that every pattern
piece is a different shape, and each piece says
"Cut 1." The patter11 is also labeled "R.S.U."-
this stands for "Right Side Up." When the pat-
tern is placed on the fabric, it must be facing up
on the correct side of the fabric; this ensures the
garment can be stitched correctly if it is cut cor-
rectly. If the patterns were to be turned over to
the other side and cut, it would be impossible to
stitch the garment! Refer to Figure 2.3b.
Patterns for asy~nmetricaldesigns can also
be labeled "W.S.U." (Wrong SideUp), which in-
dicates the pattern is placed on the wrong side of
the fabric. How the pattern is laid on the fabric
is guided by the fabric surface.
The information listed helow must be com-
municated on everypattern:
Name of pattern (Front, Back, Side Front,
Side Back, Sleeve, Collar, etc.)
Size of pattern
Amouilt to be cut (Cut 1,Cut 2)
Whether the pattern is to be placed on the fold
(Patterns cut on the fold are always Cut I.)
Whether interfacing is also to he cut from the
garment pattern, and how Inany pieces are

~.~.........~~~~......
Front
let7side
cut I
R.S.U.
R.S.U. =Richt side UD 4CF notch-
CF.=Centerfront
FlGURE 2.38 LABELING THE PATTERN AND THE PATTERN
MARKINGS FOR AN ASYMMETRICAL DESIGN
to be cut (Label to communicatethis-Cut
'
1.01 Cut 2 from self fabric, Cut 1or Cut 2
interfacing,as shown in Figure 2.5a and b.)
Interfacing for some garments is not cut from
the garment pattern. In these cases, a separate
interfacingpattern is needed. This is illustrated
in Figure 2.6, which shows pocket interfacing
that will be applied to pants. Separate interfac-
ing patterns mxst be included in the overallpat-
terns and labeled as "Interfacing Only."
Math for Fashion Designers
Many students struggle to use a ruler or tape
measure and find it hard to measure precisely.
This can slow them down in their pattern-
making and stitching skills. These difficulties
cannot be ignored, as knowledge of measure-
ments is crucialfor accuratepatternmaking and
stitching. For example, designers often measure
PATTERN TIP
If the pattern markings and notches are not
plotted on the pattern and then snipped and
markedin the fabric, when the machinist
stitches the garments together, he or she will
not know which seams go together or how
muchseam allowance to use. If notches are
not snipped, garment pieces can beturned
upside down or stretched to fit another
garment piece. This can swingthe garment
"off grain," makingit look twisted and badly
stitched. Inthe classroom, this would affect
one garment, but in production it could affect
thousands.

a dress form before patternmaking takes place.
The important measurementsfor making wom-
en's patterns are illustrated on the model shown
in Figure 2.7b. Guessingabout measurements is
never goingto be good enough, and the designer
who guesses will soon be out of a job!
You'll need to be familiar with the various
measurements illustrated in Table 2.3. Make
sure you understand these measurements before
beginning to make patterns. Study this table,
and get help from your instructor if necessary.
Seam allowance must be added onto all pat-
terns before the fabric can be cut. The amount
of seam and hem allowance that is added de-
termines whether the garment can be stitched
correctly, and how it looks once stitched. If the
seam or hem allowances are too small, it will
be nearly impossible to stitch the seams. If the
seamor hem allowancesare too wide, then bulk
will be added, and bulk always spoils the look
of any garment when it is worn.
SEAM ALLOWANCE
The seam allowance is the space between
the seamline and the edge of the pattern or
the seamline and the cut fabric edge. After
the seams are stitched, the seam allowance is
hidden unless the garment has exposed seams,
which will then show on the correct side of the
garment-this is referred to as a deconstructed
look (refer to Figure 6.2). The seam allowance
protects the stitchesfromfraying. The seam al-
lowanceallowsthe garmenttobefitted; the seam
allowance can be stitched wider if the garment
is too big, or let out if too tight. Seamallowance
.. . . . ~.... ~ . . ~~ . . .~ . . . ~ . ~ . . ~ ~ . . ~.-..--~~~
can be added in inches (imperialmeasurements)
or in centimeters (metricmeasurements).
If you have your own design business, you'll
need to set astandard seamallowancefor every-
one to use. When seam allowanceskeep chang-
ing, it confuses the machinists. Whatever seam
allowance you decide to use, for your company
or in school, the important thing is to keep it
consistent.
NOTICETHATTHE POCKET
IS ON RIGHT SIDE ONLY.
THIS NEEDSTO BE CLEARLY
LABELED ON PATTERN &
CUTCORRECTLY TO ENSURE
CORRECT STITCHING.
FIGURE 2.4 MaTCHPOINTS ARE IMPORTANT
PATTERN MARKINGS.
Adding Seam Allowance to the Pattern
Figure 2.8a illustrates the four seam allowances
that are generallyused when stitching garments.
Figure 2.8a and b illustrate the seam allowances
used when stitching woven fabric. Hem allow-
ances are driven more by the garmentsilhouette
and the fabricweight (Figure2.9).
When seams are enclosed or shaped, as for
a curved neckline or collar seam, allow %-inch

P,o,ferrionni S e ~ i n gTechnzgue, for Desig,zcrr

IMPORTANT
FIGURE 2.76, SEAMS
SHOULD CONTOUR THE
WOMEN'S FORM 10
FLATTER HER.
IRTANT
seam allowances (see Figure 2.8a and b). It is
far easier to stitch narrower seam allowances
around curved seams. If a %-inch seam allow-
ance were to be used for an armhole or neck
opening, it would need to be trimmed back to 'A
inch to reduce bulk, and this is a waste of time.
The seam can still be carefully clipped, graded
(depending on the thickness), and understitched
before turning. (Refer to Chapter 11 for collar
seamallowance and to Chapter 6 for further in-
formation about seams.)
Add %inch for all seams: side, shoulder,
armhole, waist, princess seams, yokes, and
any other seams not mentioned (seeFigure
2.8a and b).
Add %-inchseam allowance at center back
and for any other seamswhere a zipper will
be stitched (seeFigure 2.8b). If the garment
has a side seam zipper (a side seamnormally
has a %-inchseam allowance),then make a
step in the seamallowanceto allow % inch
for the zipper to be stitched as well as the
%-inchside seam. The fabriclayoutfor a one-
way fabric design illustrates how the step
looks on the sideseam (see Figure 2.15).
For fitting purposes, add wider seam
allowances.
Stretchknit garmentsonly need %-inchseam
allowances, as knits do not fray.Most knit
garments are stitchedwith a serger, and 'A
inch is the perfect width. For firm knits such
aswool double knit, use %-inch seam allow-
ances for woven fabric widths.

.............~.. .............................
TABLE 2.3 MATH FOR FASHION DESIGNERS
H(ACTlONSdlLASUREMENT9 WED IN MTTERNWAK#NG HEMALkDWANCaa
312' l12 a t 8 *IC 1 ~ 1 $ 1
- = - Qmukrr hsmlii
W i d - & t k h e dhemlor lining
SEAMALLOWANCES 1%" A-linevr swaight hamhoe
Sttubbt hanun9
Enclosedseams:facings, collars, and knitseams
Side seam, shoulderseam,princessseams,and other seams
W"k1" Centwback seam
Seamsfor fittings
GEOMETRY-GRAINLINES
Lengthwisegrainline isa line drawn parallelto the Crosswise grainline isa horizontalline drawn at right Bias grainline isa diagonallinedrawn at a &-degree
centerfront. angipsto the centerfront. It isalso referredto as 90- angleto the centerfront.
degree right angle.

Front bodice
FIGURE 2.8s SEAM ALLOWANCES F O R T H E BACK GARMENT

,:,.,.: i :i
s; P~oferrionnlSewing Techniques for Designers
a) Straight skirt b) A - Line skirt c) Flared skirt d) Full circle skirt
Hem Allowances
The hem allowance is the width between the
hemline and the hem edge. The hem allowance is
folded back under the garment to the wrong side
of the fabric; the clean finished edge is the fin-
ished hemline. There are times that the designer"
leaves a raw deconstructed hem edge as a design
detail. When stitching hems, the fabric and gar-
ment silhouette determine the width of the hem
allowance. Wide, bulky hems look thick and
ugly and show a ridge from the correct side of
the garment; this does not give a quality finish to
the garment. In general, the wider and fuller the
skirt, the narrower the hern width needs to be.
This is how bulk is reduced. The following tips
will help define the hem allowance used for dif-
ferent garment silhouettes. Also refer to Chapter
15 for more information about hems.
Straight skirts made in a medium to heavy-
weight fabric can have 1%-inchto 2-inch hem
allowances (Figure 2.9a).
A-line skirts have a wider silhouette, so
reduce the hem allowance to 1%inches to
reduce hulk (Figure 2.9b).
- A flared skirt is wider again, so reduce the
hem allowance to 1 inch (Figure 2.9~).
A full-circle skirt is full and flouncy: reduce

the hem width to '/z inch so bulk will not be BLE 2.4 SEAM ALLOWANCES
a concern. In sheerfabrics a narrow hem will Endwed
Seams
not shadowand will look inconspicuousfrom Ithe correct side of the fabric(Figure2.9d). m nFabricsand flnn Knits
Hem allowancesin knits arereduced to ?hto I grnwfill (incher) 1 w 1 t ' w ~
-
I . ~
. - -.
1inch regardless of the style. Refer to Chap-
om *"ter 15for information about stitchinghems
in knits.
Table 2.4 shows the seam allowances used for
imperialand metricmeasurements.The amount
I
of seamallowanceaddedis important to achiev-
ing quality stitching; incorrect seam allowance
will result in badly stitchedseams. end of the roll of fabricand jot down the fabric run along the length of the fabric, which is the
Table 2.4 shows fabric width in both metric content. If it is not documented, ask the sales- lengthwise grain; the weft yarns run across the
measurements and imperial measurements. This person, who may know, or ask your instructor. fabric, which is the crosswisegrain. Takea look
chapter has explained about fabricin some depth Even before the design is sketched, know at Figure2.10 and noticehow the crosswiseand
and now it is time to curthefabric,solet's begin. the fabric structure as well as the impact it will lengthwiseyarns intersect at a 45-degree angle;
have on the design, patterns, cutting the fabric, this is called the bias grain.
LAVING OUT AND stitching the seams, thread and needles used,
CUTTING FABRIC and how the fabric is pressed. Understanding SomeDifferences betweenKnit
Beforethefabriccan be cut, it must be prepared. and knowing fabric begins by understanding and WovenFabrics
Fabric preparationensures excellentcutting;ex- the fabric structure. Fabric structure falls into Knit and woven fabrics can have spandex,
cellent cuttingensuresexcellentstitching;excel- two categories: knitted and woven. a manufactured synthetic fiber, added to
lentstitchingensures abeautifulgarment on the Knittedfabric is created by forminga row of them. The most widely used spandex today
body! Fabric preparation is an essentialstep. loops, and then drawing another row of loops is Du Pont's Lycra. When Lycra is added to
through that row, again and again, just as you a woven fabric, it adds stretch capacity, but
Know Your Fabric would dowhen knitting a sweaterwith knitting not enoughto do awaywith darts and fitting
First, know what fabric you are working with. needles. lines. When spandexis added to a knit fabric,
It is amazing how many students don't know Wovenfabric has warp and weft yarns that it's like adding an elasticband into the fabric.
what fibersmake up the fabricthey areworking interlace at right angles to each other. Refer to Knit fabricthat contains spandex has more
with. If you were avisualartist, you woulddefi- Table 2.3 to see an example of a right angle. stretch capacity, allowingit to be fitted more
nitely know what type of paint you were work- Along both edges of the warp fabric direction tightly. Spandexalso helps a garmentretain
ing with, as it would influence how you paint. is the selvage, which finishes the fabric edges its shape, and preventswoven or knit fabrics
It is no different when using fabric! Look at the and is more tightly woven. The warp yarns from wrinkling.

Proferrional Sewing Techniques fou Designers
weft intersect
Warp yarns
< isthe bias grainline
t
Woven fabrics don't stretch like knits. Al-
though the fabric width does have a little give,
this is not to be confused with a stretch fabric.
Both woven and knit fabrics stretch across
the bias grain and stretch at any angle be-
tween lengthwise and crosswise grains.
The difference between a knit and a woven
fabric influences how the pattern is madc,
and how the garment fits on the body. Gen-
erally, patterns for knit fabrics don't need ease,
darts, or fitting lines other than those required
for fitting the side seams. The stretch element
replaces the need for ease. However, this aspect
is individualized depending on the amount of
stretch in each knit fabric. Knits can be stable,
moderately stretchy, or stretchy. Ease must
be incorporated into the patterns for woven
fabrics if the garment is to fit the body.
Whether you are working with a knit or
woven fabric will influence the stitches and
hem finishes used on the garment. When the
seams are stitched in woven fabrics, the edges
need to be finished because woven fabric frays
easily; on the other hand, knit fabrics need
to be stitched with a stretch stitch and do not
fray. However, the edges are frequently serged
to add a quality finish to the garment.

Whether a knit or woven fabricis being
stitched also influences the choice of notions
used, as thread and needle types differ for
each fabric type and weight (Table 2.5).
Know Your Grainlines
Thedecisionaboutwhichgrainlineto usein cut-
ting a garment is fabric and design driven. The
grainline on which the garment is cut makes a
difference in how the garment drapes on the
body. It also makes a difference when stitching
the garment.
Woven Fabric
Lengthwise Grain
Thelengthwisegrainis the most frequentlyused
grainline for cutting woven fabric. One reason
for this is that it has very little give; in other
words, it doesn't stretch. Consequently, when
vertical seams such as side seams or princess
seams are stitched,the lengthwisegrain helps to
control the stitching and prevents seams from
stretching in the stitching process. Another
reasonis very practical: the fabriclayoutis more
economical. (Referto Figure 2.18.)
Crossgrain
The crossgrain has more give and causes gar-
ments to fall differently. A gathered skirt that
is cut on the crossgrain will have a fuller look
and the fabric will not drape in the same way as
it would if the fabric were cut on the lengthwise
grain. Take a piece of fabric and observethis for
yourself.Cuttinggarmentsonthe crossgrainpro-
duces more "give" acrossthe fabric,and this may
:ting Prepared: Avoiding Snal
Front
cut 1
t
Lengthwise grain
Selvage
Usea side zipper-don't cut
a centerbackseam as
itdisrupts the flow
ofthe fabric
FIGURE 2.11 PLACE T H E PATTERN O N THE CROSSGRAIN TO USE THE
BORDER A S A FEATURE O N THE HEMLINE.
have an impact on the fit of the garment. When grain.Also noticethat the garmenthas nocenter-
a decision is made to cut a garment on the cross- back seam so it does not interrupt the flow of the
grain, it is usually fabric driven, as is the case in border design; a left side seam zipper is used and
Figure 2.11.Notice that the fabric border adds a the necklineis large enough to slip over the head.
bold accentonthehemlinewhen cutonthe cross- This is how fashionmeetsfunction.

P,ofessional Ser,rng Techniques for Designers
Bias Grain
Bias grain stretches the most and is therefore
more difficult to cut and stitch, but it is well
worth the effort! A bias-cut garment drapes
beautifully, especially in lightweight, sheer
fahric. Cutting a striped fabric on the bias grain
influences how the stripe looks in the final
design (Figure 2.12).
Knit Fabric
Knit fabric also has a grainline, hut different
terminology is used to describc it. The length-
wise grain is comprised of loops called wales.
The number of wales across the fabric depends
on the count (size or thickness) of the yarn used.
The crosswise grain on knit fabrics is formed by
loops called courses. Examine the vertical ribs
on knit fabric before cutting; to find the length-
wise grain, follow the direction of the wales, as
knits generally don't have a selvage.The courses
need to be at right angles to the wales for the
fabric to be "on grain."
Fabric Layout Preparation
Preshrinking the Fabric
If you were to take the fabric and immediately
cut it without doing the necessary preparation
first, it could have disastrous effects on the final
garment. Many fabrics shrink when they are
laundered or dry cleaned. The most common of
these are 100 percent cotton, wool, linen, rayon,
and knit fabrics. Many fabrics need to be pre-
shrunk so the fit of the garment is not affected
after laundering.
To preshrink machine-washable fabrics,
place them in the washing machine on the
rinse cycle using the minimum amount of
water. Then place the fabric in the dryer; the
heat will shrink the fabric.
To preshrink fabrics that must be hand
washed, prewash them by hand in cold water.
To preshrink wool, first lay the fabric on
a flat surface that fully supports the entire
piece; next, place an iron directly above the
knits benefit from the same process desc '
earlier regarding wool.
Do not prewash fabric that requires dry
cleaning.
Many fabrics do not need to he prewashed.
Fabrics such as silk, rayon, polyester, and
other synthetic fabrics do not necd to be pre-
shrunk; however, if you intend to hand wash
a garment made in silk, then do prewash it
fabric and continuously release steam into first.
the fabric. Allow the fabric to dry completely
before moving it. Or, finish the cut ends of Fabric Alignment
the yardage with serging or a zigzag stitch Before the patterns are laid on the fahric, the
and take it to the dry cleaners for shrinking. fabric needs to be aligned so the lengthwise and
All knit fabrics shrink to some degree, so it is crosswise grains are positioned exactly at right
best to prewash washable knit fabrics; wool angles to each other. To begin, align the fabric

Getttng Prepared: Avotdtng Snags
on the crossgrain, from selvage to selvage, so it
is straight and "on grain." This is not done by
ruling a line across the fabric and cutting along
the line. To align the crossgrain, use one of the
followingthree methods:
Method 1: Tear the fabricfirmly across the
crossgrain.This method of aligningthe
fabricgraininessis the most accurate.How-
ever, many fabricscannot be torn because
the actionof tearing the fiberswould be too
harsh. Syntheticfibers, somecottons, and silk
fabricscan be torn successfully,but fabrics
with acoarseor looseweave cannot. Some
delicatefabricsmay be affected by the action
of tearing,which can cause littlepulls to
appear in the lengthwise grain. Knits will not
tear;only woven fabriccan tear on the cross-
grain. Always samplefirst to see if the cross-
grain of the fabriccan be torn. To tear the
fabric,snip the selvagewith scissorsand tear
the fabric; snip the other selvagewith scissors.
The selvagecan easilyrip up the lengthwise
grain if you don't cut with scissors.
P M E CORRECT SIDE
OF FABRICTOGETHER
SELVAGESLINED UP
TOGETHER
Method 2: If the fabricis coarselywoven, get
closeup to the fabric and, using good eye
judgment, carefullycut across the weft cross-
grain. Checks and stripes can also be cut "on
grain" this way.
Method 3: The third method is to pull aweft
thread across the fabric. This is quite easily
done in coarselywoven fabrics.To do this,
snip into the selvage;pull out a weft fiber
with a pin and gently pull the fiber that
showsthe weft grain on the fabric; cut along
the pulled thread.
BACKSHIRT
CUT 1
SIZE 10
FIGURE 2.13 CUTTING A SYMMETRICAL GARMENT ON THE FOLD

Professional Sewing Techniqaer for Designers
... ~ ~ ~ . ~ ~ ~ . . ~ ~ ~ ~ ~ ~ .. . . ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . .. ~~~~~ ~~~~~
sr F I G U R E 2.14 STRAIGHTENING TME GRAIN
Observing the Fabric Surface and Design
Afger the fabric is aligned, it is important to
observe the fabric surface, as somefabrics need
specialattention whenlayingthepatterns on the
fabric. One-way surface designs, stripes, and
checks take more time to plan and cut. Some
fabric designs are printed or embroidered in all
directions and do not need the same attention
when layingout the patterns on the fabric.
One-WayDesign
The garment in Figure 2.15 has been cut from
a one-way fabric design. Notice how the fabric-
surfacedesignin thelayoutallpoint inonedirec-
tion;this iswhat classifiesthefabricasaone-way
design. The fabric design also has a repeat pat-
tern, which must be matched across the fabric at
the sideseamssowhen stitched,the fabricdesign
will continuearound the garment.The front and
back pattern pieces have also been centered on
the fabric design. Fabrics with one-way designs
need this special attention in the cutting for the
garment to look spectacular. Keep the garment
design simplein these types of fabric and let the
fabricbe the focus of the design.
Napped Fabric
A one-way fabric layout is also needed when
cutting a pile weave or a napped fabric. When
After the crossgrain is perfectly cut "on grain," fabric back into alignment, fold the fabric on a fabric is napped, the short fiber ends of spun
fold the two selvages together as illustrated in the bias grain, hold at both ends, and gently pull yarns are raised with a soft fabric, surface and
Figure 2.13. Observe how the fabric lays; if it is the fabric,stretching the bias grain (Figure2.14). the fiberslie smoothly in one direction. Because
perfectly flat, then the fabricis in alignment.If it Then refold the fabricwith the selvages together of this, all napped fabric mast be cut in one
does not lay flat and looks distorted or twisted, toseeif thefabricisinalignment.If thefabricstill direction. When you touch napped fabric you
then the fabric is out of alignment. To pull the doesn't lie flat, repeat the process until it does. will notice that one direction ("with the nap")

FIGURE 2.15 CUTTING A GARMENT
WITH A REPEAT PATTERN AND
ONE-WAY FABRIC DESIGN
~ . . ~ . ~ . . ~.. .. . ~ . . . . . . ~ ~ ~ ~ ~ ~~ ~ ~ ~ ~ ~ . ~ .
PITTERNSARE PUCED wss CORRECT GRIINUNE rnrr IS
SIDE OF F B R K FACINGUP T F O R ~ P
feels smooth while the other direction ("with-
out nap") feels rough. As the light catches the
fabricsurface, the colorwill look differentfrom
different directions. Hold the fabric against
your body and look downward alongthe fabric.
Fabric "without nap" has a rich depth of color.
When holding the fabric "with nap," it looks
lighter and more delicatein color.Thefabriccan
be cut in either direction; however, the darker
option is often preferred because of its richness.
Although the fabric can be cut in either direc-
tion, cutting must be directional; that is, all
patterns must be placed on the fabric one way.
Some pile weave fabrics are velvet, terry cloth,
corduroy, and suede-cloth.
Repeat Pattern
The fabric in Figure 2.15 is not only a one-way
fabric design but it also has a repeat pattern.
Fabrics that have a repeat fabric need extra-
special care when layingout thepattern and cut-
ting the fabric so the fabric pattern matches to-
getheron all seamlines. Fabrics with repeatpat-
terns require extra yardage, so make sure you
purchase enough fabric initially.
Large Prints
Plan carefully; don't place large flowers or cir-
cles on the bust and backside. Placethe patterns
on the print so any motifs are centered on the

Proferrional Sewing Techniques for Designers
garment, as this is aestheticallypleasing to the
eye. Be careful how the seams are planned on
large prints, as cutting too many design lines A
could take away from the beauty of the large
fabric print-let the fabric be the focus of the
design. Figure 2.15 has a large print, one-
way fabric, and repeat pattern; notice
how the large print is centered on thr A
garment.
Checks
Plaids and checks need to be
cutcarefullysothat whenthe
garment is stitched together
the checks match horizon-
tally and vertically on the
garment (at the shoulder
seams and other horizontal
seams). Again, time and careful
preparationarerequiredwhenlayingpat-
terns on checked or plaid fabric. Garments with
bold checks that do not match draw attention
to a badly designed and constructed garment.
Checks can be even or uneven; uneven checks
cannot be matchedin both directions.Thefabric
in Figure2.16is aone-way checkfabric. Can you
see this? If the garment patterns were turned
upside down, the color blocking would be in a
differentorder.So,this fabrichas to be cutdirec-
tionally, and the grainline indicates this clearly.
Thepattern also needs to be centered.
When placing the patterns on the fabric,
make sure the notches and pattern markings
match in the same check. Place the underarm
seams of the sleeveand body on the same check.
FIGURE 2.16 CUTTING A GARMENT I N CHECK FABRIC
You will notice that the front underarm seam
does not match the back underarm seam on the
same check. It is impossibleto match the under-
arms for the entire seam length when there is a
dart in the side seam. So match the checksfrom
the hem up to the first dart leg.
Stripes
Stripes can be lots of fun to work with. They
offer the designer broad scope to be creative
in how the fabric is cut. Striped fabric can be
cut on the lengthwise, crosswise, or bias grain.
The cutting of a wide stripe takes more time
and thought to plan than a tiny, narrow stripe,
which does not need matching. Stripes cut
across the fabric mtlst match on the side seams.
If the stripes are cut to match, then they
will be stitched to match. Figure 2.17
illustrates how a striped fabric can be
cut on all three grainlines.
Fabric Border
Fabrics with borders have a decorative design
mnning down thelengthof the fabric. Garments
are usually cut on the crossgrain to take advan-
tage of the border design. Very often the border
is scalloped, or it may be a fabric print, as in
Figure 2.11. Bordered fabrics are often embroi-
dered, with eyelet designs or scalloped lace. Let
the border be used to the design's advantage.

Allover Print or a Fabric with a
Plain &$ace
Fabric can be cut with the patterns topped
and tailed. This means that the patterns can be
turned in either lengthwise direction, as illus-
trated in Figure 2.18. Theprint in this figurehas
an allover fabric print and does not have a pre-
dominant design to be matched or centered on
the fabric. Many fabrics can be cut this way.
Fabric Layout
Before cutting the fabric,do apracticelayout to
plan how the pattern pieces will be placed on
the fabric. This ensures you will have adequate
yardagebeforeyou begin. It is a good idea to do
FIGURE 2.17 CUTTING STRIPE FABRIC
this before purchasing the fabric so you know
the exactyardagefor the design.
When laying out the fabric, it can be folded
in half down the length by bringing the sel-
vage edges together. Place the correct sides of
the fabrictogether and pin the selvageedges
together every 4 to 5 inches.This is an ideal
method for cutting designs that are sym-
metrical (Figure 2.13).
If the design is asymmetrical,then the pat-
terns must be placed on a singlelayer of
fabric. Be sure to place the patterns correctly
following the pattern directions (R.S.U. or
W.S.U.) so they will be cut correctly (Figure
2.3b). Cleanthe cutting surface first. Lay a
piece of pattern paper on the table when cut-
ting delicatefabricso it does not snag. Place
the correct side of the fabricfacingdown on
the table. Figures2.18 and 2.19 both illustrate
fabriccut in a singlelayer.
Delicatefabrics such as chiffon, georgette,
and silk charmeusecan be slippery to cut.
When the fabric is delicate and slippery, draw

FIGURE 2.18 CUTTING
AN ALLOVER PRINT: THE
PATTERNS ARE TOPPED
AND TAILED. Back' '
cut 1
Front
cut 1
* +
Two -directionalfabriccan
be cut in both directions
The mosteconomicalway to cutfabric
or pin thepatterns ontoalayer of patternpaper .When layingfabric,place the fabricfold or each pattern piece is
and use this as afabricmarker. Placeanother selvageparallel to the table edgeclosest to placed parallel
pieceof patternpaper on the cuttingtablewith you and about 2 inches away (Figure2.13). to the selvage. If the fabric
one end cutat aright angle.Lay thefabricdi- After layingthe fabric on the table so it is at is folded,then place the patterns
rectlyon top of thepaper; then lay the pattern right angles, place weights on the fabricto parallel to the foldline(Figure 2.13).Use
markeron top of thefabric,and cut (Figure keep it stable. your tape measure and measure from the
2.19).Thefabricisnow sandwichedbetween selvageto the pattern grainline and place
two layers of paper that will hold it stablewhen Placing the Patterns "On Grain" each pattern piece on the fabric "on grain."
cutting. Pin thelayerstogether orplaceweights ' Place the patterns on the fabric on grain.All When all grainlines are placed parallel to the
on thefabriclayoutto stabilizeit when cutting. pattern grainlinesareplaced parallel to the selvage,the finished garmentwill fallbeauti-
Thebest way to cut slipperyfabriciswith a selvageof the fabric, regardless of whether fully and "on grain."
very sharp rotary cutter;don't use blunt scis- the grainline is lengthwise,horizontal, or The patterns arepinned to the fabric by
sorsto cut thesefabrics! bias grain. Figures2.2 and 2.20 showhow placing the pins in the seamlines. Placethe

pins on the corner of each pattern section
and place somepins in between (Figure 2.20).
Don't overpin, as this takes too much time
and is not necessary; just use a sufficient
number of pins to hold the patterns to the
fabric. Placeweights on the fabricto stabilize
it beforeyou begin cutting.
Cutting Equipment
Figure 2.1 shows the hand cutting equipment
needed to cut fabric, interfacing, underlining,
lining, and threads.
Scissors
Purchase a quality pair of scissors for cutting
fabric and never use them for cutting paper.
Bent-handled scissors are shaped for comfort;
the handles accommodate more fingers so you
have better control when cutting fabric. A good,
average pair of scissors to use in design school
would be 7 to 8 inches long. In manufacturing
settings,larger scissorsareused, at least 10to 12
inches long. Right- or left-handed scissors are
available. Have your scissors sharpened if they
are not cutting fabricaccurately.
Rotary Cutter/Mats
Somestudentsliketouse arotary cutter, asthey
find them quick and efficient for cutting. They
also come in a variety of shapes and sizes.Make
sure a mat is placed underneath the fabricwhen
using the rotary cutter. Otherwise, the cuts will
indent the table, and later, if delicate fabrics are
placed on the table, they could snag.
Embroidery Scissors
Embroidery scissors are approximately 4 to
6 inches long; they are small and used for de-
tailed cutting such as cutting into a point or
cutting the end of each buttonhole. It is better
to use embroidery scissors when cutting into
these areas, as small scissors are easier to con-
trol than large scissors.
Thread Clippers
Thread clippers should sit right by your side
as you stitch. The SEW,CLIP,PRESS method
of stitching is what you use to clip the threads
when stitching. Sit the thread clippers by the
machine so they can be easily pickedup to snip
threads. Using thread clippers is faster and
more efficient than scissors-time efficiency
is important in manufacturing, so try to be
conscious of this while in design school. When
threads are snipped with larger scissors, you
run the risk of cutting the fabric by mistake.
Using thread clippers gives you more control
over what you are doing. Oh yes-thread clip-
pers are not for cutting fabric!
FIGURE 2.19 CUTTING DELICATE FABRIC

. ~ ~ ~ ~ ~ ~ . ~ ~ ~ . . ~ ~ ~ . . . . . . .
Selvage
FIGURE 2.20 PATTERNS PLACED ON THE FABRIC "ON GRAIN"
Cutting the Fabric
Once the fabric is laid on the table and cutting
begins, the fabricmust not be moved; once each
piece is cut, then it can be moved. Many stu-
dents sit and cut and then twist the fabric this
way and that to cut armholes and necklines and
other difficultangles.No-this is not the way to
cut! Stand up and be in control of your work.
If you have a difficult angle to cut, then move
your body so you can cut at any angle rather
than moving the fabric.Fabricthat is moved can
easily slip out of alignment and move off grain.
When cutting fabric, use sharp scissors or
shears. Cut outside the edge of the pattern;
don't cut off any of the pattern. And don't add
any extra fabricwhen cutting around each pat-
tern piece, as this will misshape your garment
and change the fit. Smooth, accurate cutting is
essential.
After the fabric is cut, the pattern markings
are transferred to the fabric to give the direc-
tion for how to stitch the garment together. We
cannot stress enough how important it is to
transfer all the pattern markings to the wrong

. ........ ~~ ~~~ ~~~~ ... .... . ~ ~ . ~ . ~ ~ . ~ ~ ~ ~ ~
side of thefabric beforeyou begin to stitch-ul-
A)
timately it is going to savetime!
FlGURE 2.21A FABRIC
MARKING PEN
Snipping Notches
Notches snipped in the fabric should be no
longer than '/s inch in length. It is important
that notches not be cut longer than this length.
Many students cut very long notches and cut
into the seamline,which makes it impossibleto
stitch the most basic seam.
Marking Dart Points and Matchpoints
Dart points, along with notches, indicate the
position where the dart is to be stitched. Match-
points indicate where a seam is to be stitched to
or joined to another piece of fabric. They are an
alterative to using notches to match seams to-
gether. Matchpoints alsoindicatewhere to place
pockets or other garmentparts on the surfaceof
the fabric(Figure2.4). When the pattern is made,
indicate the dart and matchpoints by placing an
awl through the pattern. Place the awl mark '/2
inch back from the bust point and !A inch in and
down from the pocket placement position. Pat-
terns markings that are transferred to the fabric
IMPORTANT - -
Always sample the trarlng paper on your
fabric. checking to see if it can be easily
removed from the fabric with a damp cloth.
brush, or fabric eraser. Applying heat to the
traced markings will set the markings into
the fabric.
FIGURE Z.ZlB AWL A N
NOTCHES SNIPPED I /
YAWLMARK FOR
BUST DART
face when stitched. An awl can also be used to with a fabric marking pen, such as Mark-B-
mark these positions on fabric, as indicated in Gone, or chalk (a Chaco-liner dispenses the
Figure 2.21b. Push the awl gently through the chalk in a fine line), on the wrong side of the
fabricand don't make the hole too big. fabric (Figyre 2.21a). To mark, place a pin
Dart and matchpoints can also be marked througbboth layers of fabric (if cut on the fold)

TRACING
PAPER 1
NEEDLE POINT -
TRACING WHEEL
... ... ... . . . . .. . . .......................
:ORRECTSIDE
BF FABRIC
FIGURE 2.21C TRACING PAPER AND WHEEL
and through one layer if cut singly. Then mark
the fabric on the pin-mark with a fabric marker
or chalk to indicate the dart or matchpoints.
Another method of transferring pattern
markings is to use a tracing wheel with dress-
maker's tracing paper (Figure 2.21~).The trac-
ing paper can be single or double sided (which
allows tracing of two layers at one time), and
have chalk or a wax-based carbon coating.
The tracing paper is placed on the wrong
side of the fabric underneath the pattern, and
the wheel traces the markings onto the fabric.
Tracing wheels have points (see Figure 2.1) or
a straight edge. Tracing wheels with points
leave markings that resemble dots; a straight-
edge tracing wheel leaves a solid line (Figure
2.21d).
I
J F FABRIC

THREAD TYPES
The goal when stitching your project is to find
the combination of fabric, needles, and threads
that givesthe best results.That is why sampling
is so important. Poor-quality thread can affect
the tension of the stitches by feeding through
the tension discs unevenly, resulting in unbal-
anced stitches. This creates weak seams, which
results in precious time spent ripping out and
redoing stitches. The wrong-sized needle can
ruin the fabric by pulling threads in the fabric,
causing runs; or leave holes in seam allowances
that have to be ripped out; or worse, break in
the middle of a seam,causing a rip or tear in the
fabric. Most often, the thread used in the needle
of the sewingmachineis alsoused inthe bobbin.
Keep in mind the following:
1NOTE
Several liquid sewing aids, such as Sewer's
Aid, have been developedto help the thread
pass through the tension discs for smoother
stitching. Ifyou find that the thread is not pass-
ingsmoothly alongthe threading path, add a I
Createa sampleusing the fabric,the needle,
and the thread that will be used for the final
garment.Makea note of the informationon
the sampleworksheet;keep this handy for ref-
erencewhen stitchingthe samefabricagain.
Industrial sewingmachines have the timing
set to stitch a balanced stitch with thread on
cones of several thousand yards, usually sup-
plied in black and white-check with your
instructor to seeif other types of thread such
as Gutterman or Mettler will work in the
machines, or sample!
When stitchingwill be visible on the surface
of the garment, color match the thread or
use a contrasting color; if a matching color is
not available,choose a slightlydarker shade
to blend into the background-dark colors
dropof theSewer'sAid,very sparingly, to the
spooland the bobbin thread. This is especially
helpfulwhen usingdecorative threads.
recede. To highlight stitching on the surface,
use a contrasting color.
How Do I Choose the Appropriate
Thread for My Fabric?
Choosing the correct thread for the fabricbeing
used is critical to good stitching. Without well-
formed stitches, the seams won't hold, and
without good seams, you won't have a quality
garment! Threads should be selected for their
color, weight, and the type of stitching being
done. The thread must be compatible in weight
with the fabric being stitched-you wouldn't
use jeans thread on silk charmeuse. Different
threads can be used for different purposes, and
more than one thread can be used in a project.
NEEDLES
Sewing machine needles are small but hugely
important-needles can make or break your
stitch. The type should be selected according
to the construction of the fabric, and the size
should be selected according to the weight of
the fabric. It's always a good idea to have on
land a supply of general-purposeneedles and a
ewspecialtyneedles, in allsizes.Thismay seem
ike a lot of needles, but remember that needles
~reakfrequently, particularly when students
re rushing to meet deadlines. The parts of the
leedle areshown in Figure.2.22a. The different
componentsof the needle are:
The shank-the top sectionof the needle that
fits into the sewingmachine
The shaft-the longbody of the needle
Thegroove-found on the front of the shaft
in home sewingneedles and on the back of
FIGURE 2.22A
SINGLE NEEDLE
FIGURE 2.226
TWIN NEEDLE

FIGURE 2.22C HAND SEWING NEEDLES
industrial needles (It becomes larger as the
needle size increases.)
The eye-the opening in the needle into
which the thread is inserted (It varies accord-
ing to the needle type.)
The tip-the point of the needle (It varies in
roundness.)
The scarf-the indentation on the back of
the eye of the needle. Different types and
sizes of needles have different shapes and
sizes of scarves,which eliminate skipped
stitches when correctly matched to the
fabric weight.
When threading the sewing machine needle,
cut the thread at a slight angle. This makes the
end of the thread narrower and helps it to pass
through the eye without catching and untwist-
ing. If it is still difficult to thread the needle, use
a needle threader (the type with the long wire
works best). The threader usually comes with
an assortment of hand sewing needles but can
also be purchased separately. It's very handy to
have! To use the needle threader$
Insert the wire through the eye of the needle.
Place the thread at the end of the wire, loop-
ing it around the wire.
Gently pull the wire through the eye of the
needle; the thread will follow.
Needle Sizing
Industrial sewing machines use a variety of
needle sizing systems, and each system works
only with particular machines. The sizes range
from 1 UD to 400! The needles are not inter-
changeablebetweenindustrialsewingmachines
and home sewing machines. When purchasing
needles for a home sewing machine, consult
the manual for information on what system
the machine uses. Almost all home sewing ma-
chines use a 130/705Hneedle svstem. which is
indicated on the needle case. The needle name
and size are also indicated as two numbers that
appear on the packaging; these numbers refer
to the American and European sizes. Euro-
pean needles range in size from 60 to 120;the
number refers to the diameter taken on the
shaft right above the eye. American needles
are sized from 8 to 19 and are paired with cor-
responding European sizes, for example, 60/8
or 70/10; the larger the number, the larger the
needlewill be.
Determine the appropriate needle size based
on the fabricweight. After choosing the needle
size, match the needle point to the fabric. The
needle type and name is usually determined by
the characteristicsof the needle's point. Fabric,
thread, and needle must all work together
toward the same goal: a well-stitched garment.
Industrial sewingmachines used in class-
rooms require specificneedles designed
for the particular machine-home sewing
machine needles arenot longenough to fit
into industrial sewingmachines and will not
produce properly formed stitches.
When beginning a project, startwith a new
needle. This may be difficultin a class-
room situation, as many classesof students
rotate through the sewinglabs, but ask your
instructor if you may purchase a sewingma-
chine needle that can be kept in your supply
kit and placed in the machine when you are
sewingyour project. Remember,it is your
responsibilityto keep track of this needle!
Poor stitch quality or a clickingnoise as the
needle entersthe fabricindicates adull needle;
ask for a new or different-sizedneedle to
samplebefore stitchingon your garment.
Finer fabrics require smaller needles, and
heavier fabrics require largerneedles.
Needles can be damaged by running the ma-
chine too fast, creating "burrs" (distortions
of the needle point). Burrs are a common
problem for students new to industrial
equipment and can also occur from pushing
the fabrictoo hard or hitting the needle on
apin that has been stitched over-always
remove pins before stitching over them.
Pullingonthefabricwhilestitchingcanalso
bend theneedle, causingit toweakenandbreak.

Sewing Machine Needle Types
The type of needle required depends on the
weight of your fabric, and the needle size is
an essential contributor to the way the needle
works. The needle should be small enough to
pierce the fabric without leaving a hole; if the
needleis too large, it canleaveholes in the fabric
or cause the thread to shred. The thread must
lie along the groove of the needle to form good
stitches. If the thread is too thick, it will move
out of the groove, causing the thread to break
or skip stitches. If the thread is too fine, the
stitchesmight be loose on top of the fabric.
Just asthere are good-quality threads, so are
there good-quality needles. A cheaper needle
might seem like a bargain, but it will wear out
faster, cause damage to your fabric, and possi-
bly damage the sewing machine. Sewing ma-
chine needles cannot be sharpened; replace the
sewingmachine needle after each project or ap-
proximately everyfour to eighthours of sewing
time. Synthetic fabrics, fleece, and heavy up-
holstery fabric dull needles faster. Embroidery
designswith thousands of stitchesrequire fresh
needles frequently.
The needletypes and sizesrecommendedfor
articular fabrics arelisted in Table 2.2 and de-
scribed below.
IMPORTANT
Alwoysson~plathe thread, needle, and fabric
before beginningthe garment.
I
Universal:The universal needlehas a modi-
fied ballpointtip and works well on both
woven and knit fabrics.Because of its shape,
it alsohelps to prevent skipped stitches. It is
availablein sizes8to 19.
Ballpoint The ballpoint needleis specifically
designedfor knit and elastic fabrics and has
a rounded point rather than a sharp point.
The needlepushes between the yarns rather
than piercing them. This needleis available
in sizes 9to 16;the larger the needle size, the
more rounded is the needlepoint.
Leather:This needlehas aspecialwedge-
shapedcuttingtip that allowsit to pierce
heavyleathers.Do notuse this needle on
imitationleathers,suede,vinyl, orwoven
fabrics-it will cutthe fabricrather than pierce
it. This needle isavailablein sizes 10to 19.
Microtex/Sharp: This needle has avery sharp
point for sewingmicrofibers, silk, synthetic
leather, or suede and can also be used for heir-
loom stitching. It is availablein sizes 8to 16.
Jeans/Denim: This needlehas a strong,
slender shaft and sharp tip to pierce heavy,
tightly woven fabrics suchas denim, canvas,
upholstery fabric, artificialleather, and
canvas. It has a longer eye,which makes it
suitablefor topstitching as well. This needle
is availablein sizes 10to 18.
Topstitching:This extra-sharp needle is not as
roundedas the universal. It has alonger eye
and deeper grooveto accommodateheavier
topstitchingand decorativethreads. This type
of needle is availablein sizes 10to 16.
NOTE
Twin needlesare usedonly in front-to-back Ithreading machineswith zigzagfeatures.
The needles must beable to fit into the width
of the throat plate ofthe machine.
I* Metallicneedle: Metafiland Metallica needles
areused for sewingwith decorativemetallic
threads.Theseneedleshave a large elongated
eyeand groovethat allowsfragilemetallic
and syntheticthreadsto flowthrough the eye
smoothly.They areavailablein sizes 11and 14.
Embroidery needle:This needle is designed
to stitchwith the fine threads used in ma-
chine embroidery.Because it is avery stable
needle, it can withstand the high stitching
speedsof machine-embroidered designs.
Available in sizes 11and 14,this needleis
suitablefor woven fabric or knits.
Twin needles:This needleis actuallytwo
needles on a singleshaft that produces two
rows of straightstitchingon the surfacewith
a zigzagstitchunderneath(Figure2.22b).
Suitablefor both woven and knit fabrics,
theseneedles comewith two sets of number-
ing. The first number indicatesthe needle
size. For instance,4.0/80 indicatesthere are
two size 80 (12) needles set4.0 mm apart.
Twin needles are availablein universal,
ballpoint, jeans, and stretch variations,with
needlewidths set 1.6to 8.0 mm apart and
needle sizes of 70 to 100.
Other specialty needles:Many needles on the

Professional Sewing Techniqrces for Designers
TABLE 2.5 NEEDLES AND THREADS TO USE WHEN STITCHING TRICKY FABRICS HOWDOI Choose the Appropriate
Mpchine Needle for My Project?
Determinetheneedlesizeby thefabricweight.
After choosing the needle size,match the
needlepoint to the fabric.
The needle type and name areusuallydeter-
mined by the characteristicsof the point.
The styleof seambeing constructed often
requiresa specialtyneedle, suchas for top-
stitching,in additionto the needle being used
for general garment construction. Refer to
Chapter 6 for detailed information.
Hand Sewing Needles
Even though the design student uses the sewing
machineto do the majority of stitchingon a gar-
ment, there are some steps that require hand
sewing.Manyof thesameprinciples thatapplyto
machine needles also apply to hand sewingnee-
dles. Hand sewing needles are shown in Figure
2.22~and discussed in detail in Chapter 15.
Threading the Sewing Machine
Although the method of threading each indus-
trial sewing machine is similar, it will differ
slightly for each brand of machine. Refer to
Figure 2.23 to see the threading path and iden-
tify the variousparts of the machine.
market address other stitchingtechniques, Needles and Threads to Use When Bobbins
such as triple, hemstitch, spring, quilting, Stitching Tricky Fabrics A bobbin is a small spool that holds approxi-
self-threading,and titanium-coated needles. It Table 2.5 listsneedleand thread informationfor mately 50 or more yards of thread, placed into
is up to the studentdesigner to research which use in stitching the tricky fabrics that are cov- a bobbin case, which isinserted into the sewing
needlewill produce the best result in tandem ered in every chapter. machine (Figure 2.1). All sewing machines re-
with the thread and fabric being used. quire a specific type of bobbin in order to be

FIGURE 2.23 THREADING THE SEWING MACHINE:
EACH INDUSTRIAL SEWING MACHINE I S THREADED
I N A SIMILAR WAY; HOWEVER, THE NEEDLES
USED FOR EACH BRAND OF MACHINE MAY DIFFER
SLIGHTLY.
Upperthread &
bobbinthreads
pulledback
underthe
foot readv
disc, /
. . . ~~ ~ ~~~~~-~~~~~~~ . ~~ . ~ . .
11,Bobbin winder
to stitch /
/
Pullt h e throat plate to the leR
and insert the bobbin underneath
FIGURE 2.24A AND B CHECKING THE BOBBIN TENSION
Tension
adjustment
Bobbin
a)
able to form stitches with the upper thread of
the sewingmachine. If the bobbin is wound too
fast, it will be uneven and lumpy, resulting in
poor stitch quality.
Windingthe Bobbin
Onindustrialsewingmachines,thebobbinwinder
islocated ontheoutside of themachine.A spindle
holds the bobbin (only)in place afterasmalllever
is pushed forward to lock it in place. The thread
is threaded through a spoolholder and a separate
tension disc that winds the thread smoothlyonto
the bobbin. If the spool holder is not threaded
properly, the threadwill wind ontothe bobbin in
a mess-and it will not feed properly through the
bobbin case to form good stitches.When student
designers are becoming familiar with industrial
sewing machines, problems with the stitch qual-
'Lever
Havelever
inthis
direction
to insent
bobbin
ityusuallystemfromimproperlywound bobbins.
The onlyansweris to removethe bobbin and the
thread, and start over,slowly winding the thread
ontothe bobbin.
Tension
Check the bobbin tension. To do this, thread
the bobbin and hold the thread in onehand with
the bobbin hanging below (Figure 2.24a). Shake

~~~~~~~~~~ ~ ~~~~~~~~~ ~~ ~ ~ ~~ ~ ~
the thread; the bobbin should bounce down Inserting the Bobbin into the ~ a c h i n e 2.24b). The lever must close with a click, indi-
with the thread stillholdingthe bobbinin place. The bobbin is placed inside the bobbin case, cating that the bobbinlbobbin case is indeed
If the bobbin does not move, then the tensionis with the thread plaied throuih the tension locked into position. If it is not clearly locked
too tight. If the thread letsthe bobbin run away, slot.A small, hinged lever isopened to slidethe into place, the needle thread will not meet the
then tension is too loose. bobbinlbobbin case onto the spindle located bobbin thread to form a stitch, and the needle
under the throat plate of the machine (Figure will break, causing possible damage to the
a)
Temporarymachine
bastingstitches
b)
Easelgathering
stitcher
d
Penanent
stitches
el
Top stitches
FIGURE 2.25A. 8, C. D, E STITCH LENGTHS FOR MUSLIN

bobbin case and to the timing of the machine. The stitch length is most important, as the
Aseveryindustrialsewingmachine is different, stitches need to hold the garment together.
and each bobbinlbobbin case is individualized
to the sewingmachine for which it is manufac- LET'S STITCH!
tured, it is impossible for the bobbindbobbin
cases to be interchanged. Turn the hand wheel
one full turn to bring the bobbin thread to the
needle plate opening. This forms a loop with
the upper thread and is pulled up and under
the presser foot, ready to begin stitching.
STITCHW
Stitch Lengths
Not all seams will be stitched using the same
stitchlengths.Thenumberof stitchesstitchedper
inchneeds to be adequateto hold the garment se-
curely together. The stitch length determines the
stitch durability. Longer stitches are temporary,
andshorterstitchesarestronger.Thestitchlength
is also determined by the purpose of the stitch-
ing. Figure 2.25 sets out the length of stitches
usedwhenstitchingmuslin, the fabricthat ismost
oftenused to teach sewingat school:
Machine basting stitches (Figure2.25a)
Ease/Gathering stitches (Figure 2.25b)
Permanent stitches (Figure2.25~)
Staystitch (Figure 2.25d)
Topstitching (Figure 2.25e)
Stitches are scrutinized in production in qual-
There is rhythm to sewing and it goes like this:
S E K CLIP, PRESS. This stitching rhythm
should be used from the start when you begin
your first row of stitching. This method of
stitching needs to be firmly planted in the sew-
er's mind from the beginning; with experience,
it will become second nature to you. Be assured
it will ultimately be quicker as you methodi-
cally sew,clip, and press.
SstandsforSEW-sew the seam.
C standsforCLIP-Clip thethreadsasyou sew.
P standsforPRESS-Press the seamsasyou sew.
FollowingtheSEW, CLIP, PRESSmethod of stitch-
ingwill helpto produce a professional-quality
garment.There's a lot of competitionoutthere,so
while at school learn to sewatthe highest standard
possible.
Why Is This Method of Stitching Important?
The garment will always be cleanwith no
threads to get tangled up; this helps to keep
your work manageable.
Pressing as you sew ensures that after every
ity control. Garments with too few stitcheswill seam is stitched, it lays flat, ready to stitch
NOTE
When instructorsgradegarments. students
willlosepoints if threadshave not been
clippedandthe garmenthas not been
adequatelypressed.
Itionally as it was sewn, is called melding the
stitches.This simply means that the stitches
are being set into the fabricby pressing in the
direction in which they were sewn. So the
wise person presses as he/she sews!
At the end of your project the garment
should only need a light press. Students
alwaysfeel rushed to meet deadlines (we
see this constantly) and if you followthis
process of SEW, CLIP,PRESS, the finishing
touches to the garment will be minimal. Get-
ting to the deadlinewill not be as stressful.
Refer to Chapter 18for details on finishing
the garment.
Stitching Seams
Insert the correct needle size to suit the
fabric type and weight.
Use muslin fabricto practice stitching, as
muslin is a good, medium-weightfabric on
which to practice.
When sampling,place twolayers of fabricto-
getherwith the correct sidestogether. As you
stitch, checkto make surethe needle is not
making littlepulls in the fabric. If it is, stop
not hold together and will be sent back to the the next seam to this section. Little pleats or stitching and use a differentneedle size to
manufacturer, and this will incur ahuge costfor puckers can be stitched into unpressed seams avoid damagingyour fabric. Table 2.2 lists the
the manufacturer. very easily. Pressingeach seam flat, direc- needle sizesthat best suit eachfabricweight.

Professional Sewing Techniqires for Designers
THEPERFECT
STITCH-SAME
ON BOTH SIDES
/
FIGURE 2.26A, 8. C STITCH LENGTHS FOR M U S L I N
Practicethe differentstitchlengthsasshown
i s Figure2.25a-e.
Makesurethemachine and bobbintensions
areadjustedcorrectly.Loopsformingon the
top sideof the seamindicatethat thebobbin
tension needs tightening(seeFigure2.26a).
Whenloopsform ontheunderside of the
seam, thetop tension needs to be tightened (see
Figure2.26b). A perfectlybalanced stitchlooks
flatandsmoothon both thetop and bottom of
the stitchedseam (seeFigure2.26~).
Adjust the bobbin tension (seeFigure 2.24a)
only after checkingthat the sewingmachine
isproperly threaded, the needle isinserted
correctly, and the correct thread weightis
beingused for the fabric.
Practicesamplestitching.
Experimentwith seamfinishes that you
think may suitthe fabricand the design.
Seamfinishes and fabricarealso a tandem
pair-they must work together. If one seam
finishdoesn't work, then try another until
you comeup with just the right oneforyour
fabricand design.
Reducing Bulk
Bulk occurs when several layers of fabric are
stitched together and refers to the thickness of
the seams. Thick seams can produce an ugly
ridge on the correct side of the fabricif the bulk
is not reduced. It is most important to attend
to reducing bulk as seams are stitched, rather
than thinking you can get back to it later. It's
not alwayspossible to get back inside a garment
section after it's been stitched.

Fabric weights are not all uniform; they
divide into heavyweight, medium weight, and
lightweight fabrics. Depending on the fabric
weight and the type of seam stitched, bulk is
moreprevalentin someseamsthan others.Bulk
needs to be reduced from collar corners, over-
lapping pleats, intersecting seams, seam inser-
tions (when a trim or binding is added into a
seam), and any other thick seams. The follow-
ingreferencesfrom other chapterswill help you
to understand bulk.
Figure 6.29a showshow bwlk is cut away
from an intersectingseamto reduce the
thickness.
Figure6.34b showshow excessfabricis cut
away from a flat-felledseamto reducebulk.
Figure 6.18d showsa seamwith piping; this
type of seambecomesvery thickwith four
layersof fabricand bwlk needs to be reduced
sothe seamdoesnot show aridgefrom the
correct sideof the fabric.
Figure 15.27shows how to reduceb d k from
a scallopseamallowance.
Bulk is alsoreduced in hems to preventugly
ridges from showingon the correct sideof
the fabric.Look at Figure 15.7 to seehow to
reduce bulk onhems.
How to Use a Seam Ripper to
Remove Unwanted Stitches
No matter how carefully we stitch, occasion-
ally the stitchesare off, the stitch qualityis not
to remove the stitches without damaging the
fabric, they must be taken out with consider-
ation of the fabric and the thread using a seam
ripper(Figure2.27).
Averyhandytool, theseamripperisavailable
in many configurations,but thebest seamripper
is one that feels comfortable in the hand and is
large enough to grip without the fingers going
numb. The point of the seam ripper should be
very sharp,and the small, curvedsection(which
is actually the cutting blade) should be sharp as
well, to easilyslicethroughanythread.
When faced with removing a long section of
stitches, carefully place the point of the seam
ripper under a stitch, lifting it slightly away
from the fabric and cutting through it with the
curved area of theripper. Continuethis process
every inch or so. Once you remove the bobbin
thread from the other side of the seamline, the
short, cut threads will pull out easily. Do not
attempt to pull the entirelength of stitches out
by yanking on the thread-the threads will
tighten up and be even more difficultto remove
whilepossiblyrippingthefabric.Never attempt
to remove stitches by pullingthe fabricapart.
PROJECT PREPARATION
It is really important to begin any new project
with preparation. Students who start stitching
the garmentwithoutfirstplanningit can getinto
a muddle. We advise you think through every
garmentproject first before beginningto stitch.
Filling in a design worksheet (Figure 2.28)
FIGURE 2.27 SEAM RIPPER: HOW TO USE
you plan to use, interfacingchoice, and the sup-
plies needed. It also gives a clear direction for
the stitching order (Figure 2.29) you will use
to stitch the garment together. Even though
there is a general stitchingorder (and this book
is written in this order), that order may change
for each style. For example, a pocket may be
stitched to the fabric surface as the first step in
the stitchingorder, or it could be stitchedlast in
the stitching order. So individualize your own
good, the stitchingis not thecorrect length-in will help you to define the fabric type, weight, stitchingorder for eachgarment.
short, the stitches need to be removed. In order and fibers, alongwiththe seamandhem stitches Stitch seam and hem samples after cut-

IMPORTANT
Order now all the sewing supplies needed!
ting the fabric. All this information is then
documented and the sample is mounted on the
worksheet andused asaguideasyou stitch your
garment (Figure 2.30). This preparation will
help you avoid mistakes such as using a zipper
that is too short, interfacing that is too stiff, or
forgetting to order the buttons you need. Sam-
pling and preparation will ultimately save time.
Here is the list of sampling that will help to
direct the stitching of your garment:
Interfacing (Attachto the fabric fol-
lowing the directions for sampling, and
assess whether the fabricand interfacing
weights are compatible;see also Chapter 3,
"Interfacing.")
Seam finishes, seam stitching, and
pressing
Hem finish and pressing
Embellishments
F M N G THE GARMENT
When a student writes an essay, several drafts
may he written before the final essay is com-
pleted. For the designer creating fashion, it is
no different. The designer makes muslins as the
draft design. One, two, or three muslinsmay be
madeto fitthe dressform, andinthat timeseams
may change position, the length may be short-
Design Worksheet Sketchof Design
Description of Garment
FabricType-Woven -Knit -Other -
Garment Fabric Content I
Garment Care
Garment Fabric:
Lighrweight -Medium -Heavyweight -
Stabilizer-Fusible -Sew-in -Fusible/Knit -
Location Fabric Swatches
Outer Fabric/Lining/Interfacing
Lining Type Woven K n i t - 1Lining Fiber Content
ISeamType Location
ISeamType Location
SeamType Location
Hem StitchingTechnique
Type of Closure Location
List Notions
FIGURE 2.28 DESIGN WORKSHEET

..............................................
Stitching Order
Beforebeginningyour garment,think through the stitchingorder.
Write down the constructional order of how the garment will be
stitchedtogether.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Sample Worksheet
Before beginning any garment stitch some samples to decide on the best
stitching techniques to suit your fabricand design. Severalsamplesneed
to be stitched before deciding on the best onefor the project. This prepa-
ration is well worth the time involved as it may save making stitching
mistakes on the actual garment. Also sample some stabilizersto find the
oneto suit your fabric.
2" x 2" Interfacing
SeamStitching
or Topstitching

..................................... ~ ..~....~.... ~ ~ . ~ . . . . .. . ~ ~ . . . ........................................
ened, the sleeve cut shorter, and so on, until the
designer is satisfied with the new proportions
and fit of the garment. Muslin is the fabric (100-
percent cotton) most often used to fit garments,
and the term making muslin refers to this activ-.
ity. Once the muslin version is satisfactory,the
garment is cut in the final fabric. However, the
fitting does not stop there. In fact, the garment
is in developmentuntil the last stitch!
It is always best to make all muslins using a
weight that is similar to the fabric that will be
used in your final garment. At school, stitch-
ing and patternmaking fittings are made using
muslin fabric, and this is an excellentchoice for
practicing. However,it isvery difficultto get an
accuratefirstfitinmuslinwhenthefinalgarment
you aremakingwill be constructed of aheavier-
weight fabric, for example, a coat of heavy wool
tweed. It is impossibleto get an accuratefit and
drape when your final garment will be made of
afabricthat is lighter in weight than the muslin,
for example,if 100percent cotton muslinis used
to make a draft garment that will be manufac-
tured as a final garment from lightweight, sheer
silk georgette.
When making a muslin for leather, use felt;
this an ideal substitute fabric. For coats and
jackets made in wool or cashmere, use uphol-
stery fabricas the muslin.
PRESSINGEQUIPMENT
Having the correct pressing tools helps to
achieve quality workmanship. Pressing is im-
portant, asyou areabout to find out. Itmay take
time to acquire your own equipment, but you
will soon find you are unable th live without
these tools, as they really do give great support
when pressing beautiful fabric.
Ironing Board
An ironing board isused forironingclothesand
linen (Figure2.31a). Ironing boards can be free-
standing, built in, pullout, or fold away. Which-
ever style of ironing board is used, the padded
work surface should be heat resistant. An iron-
ing board has a cotton ironing board cover that
should be replaced when damaged orworn.
Steam Iron
A steain iron is used for pressing seams, hems,
andthefinalgarment(Figure2.31b). Theironhas
ametal platethat smoothlyglidesover thefabric.
An iron has a temperature dial to control the
heat. On domestic irons the dial is marked with
fabric types such as "linen/cotton," "wool/silk,"
and "synthetic." At schoolit's not that simple,as
the dial isnumbered 1,2,3,4,5. Thenumbers on
the dial indicate the following settings: number
1is the lowest settingand correspondsto fabrics
that require low temperatures, such as synthet-
ics, rayons, and so forth; number 2 corresponds
to silk without steam; number 3 corresponds
to wool and is the beginning of adding steam;
number 4 corresponds to linen; and number 5
is the highest setting, with the most amount of
heat, which in the case of the gravity-feed irons
is really hot! Change the heat temperature to
match the fabric type when pressing. It is advis-
able to press a fabric samplefirst before pressing
the~garment.
Pressing Cloth
A pressing cloth is a square of open-weave
cotton or muslin fabricabout the size of a men's
handkerchief (Figure 2.31~).Actually, a white
men's handkerchief is the perfectpressingcloth!
The pressing cloth is placed over the fabricsur-
face for protection and to prevent the iron from
leavingshinemarks. Thecloth canbe dampened
to provide extra steam when pressing. A natu-
ral-colored piece of silk organza also makes an
excellentpressingcloth; sinceit is sheeryou can
seewhat you aredoingwhen pressing.
Wool/mohair can be used asa press cloth for
tweeds and knits; it works like a needle board,
preventing the nap from being flattened when
pressed. A rectangle of woolJmohair can be
stitched to have a single layer of cotton such as
muslin on one side and be finished on all sides
with a serger.
Seam Roll
A seam roll is a firm cylinder-like cushion cov-
ered with cotton on one side and wool on the
other (Figure2.31d). A seamroll isused to press
long, narrow seams such as the inseam or out-
seam of a pant leg or underarm seams. Use the
cotton side for pressing most fabrics; the wool
side can be used for pressing woolen fabrics.
Using a seam roll helps to avoid seam impres-
sions that might otherwise show to the correct
side of the garment after pressing.

FIGURE 2.51 PRESSING EaUIPMENT
Sleeve Board ends to steam out ease at the cap of sleeves. If darts, sleeve head, lapels, collars, and curved
A sleeve board is a small-scale wooden iron- you make half-size muslins at school,the sleeve areas of a garment (Figure 2.30f). The covering
ing board with rounded, padded ends (Figure board is excellent for pressing a smaller size. is usually of wool and cotton.
2.31e). It is a wonderful pressing tool. It is used
for pressing sleeves, short seams, and hard-to- Tailor's Ham HOW TO PRESS A GARMENT
get-at areas that do not fit over a regular-sized A tailor's ham is a firm, rounded, or oval cush- Construction pressing has a basic aim: to press
ironing board;itcanalsobeusedon therounded ion that provides a pressing surface to shape a specificdetailwithout pressingthe entire area.

. . ~. . . ~~~~~ ~~~ . . .~~ ~
~~ ~ ~
The garment has to be positioned correctly and
the proper equipment must be used to press a
detail. Always press on the grain in the same di-
rection the stitchingwas done. Don't skip steps,
because ~ressingmakes the next construction
step easier. Keep all pressed garment sections as
flat as possible rather than rolled up in a ball, or
thrown in a bag (and thus needing to be pressed
again before you are able to continue sewing).
Overpressing can ruin fabric! Take pride in the
work accomplishedfrom the very beginning of
each garment.
Remove pins and basting before pressing-
pins can mar the fabric as well as the iron. Use
silk thread to baste to avoid leavingimpressions
in the fabric when pressing.
Always press the seams as they are stitched,
pressing the seamsflat as they are sewn,andthen
open to either side. Then place the seams on a
seam roll, a tailor's ham, or on the edge of the
sleeve board. Smooth the fabric crosswise and
open the seam. Press the point of the iron in the
direction of the grain. Finally, press the seam on
the outsideof the garment, using a press cloth.
Areas that are to be shaped are placed over
a section of the tailor's ham or a seam roll that
properly fits the area to be pressed. Garment
areas that must be shaped in this way are:
Curved seams such as a yoke or bodice seam.
Bust and waistline curves on a fitted seam.
Waistlineseams-press toward the bodice.
Darts and tucks-place a strip of paper
under the fold of the dart to avoid leaving an
impressionon the front of the garment.
Bust darts-press dawn. :
Waistlineand shoulder darts-press toward
center front or center back of the garment.
Double-pointed darts or contour darts-
clip at the widest point to lie flat and press
toward the center front or center back of the
garment.
Darts in heavyweight fabric-slash to within
M inch of the dart point, place over the tai-
lor's ham, and press open with the point of
the iron. Then press again along each side of
the stitching line.
Elbow darts-press before the sleeveis
constructed. Then press the seam open on a
sleeve board.
Sleeve cap easing-steam press easing to
shape.
Shoulder seams-press crosswise,the way
the shoulder curves away from the seamline,
and press the seam open on the underside
from the neckline to the armhole. Then, from
the correct side of the fabric, shape and press
the back shoulder line on the lengthwise
grain around the edge of the curved seam roll
or tailor's ham.
Armhole seam-lay the top sleeve seam (be-
tween the notches) with edges together, over
the edge of the sleeveboard with the sleeve
side up. Use the point of the iron to press the
seam allowances only. (The underarm section
of the seam should not be pressed open; it's
trimmed.)
Understitched facings-are pressed and
turned to the inside of the garment shape
with the fingersto perfect the line of the
faced edges.
Hems-press with the wrong side of the gar-
ment facingout, using a lifting rather than a
glidingmotion. Always press the hem along
the fabric grain from hemline to hem edge.
Gathers and shirring-press by working
the point of the iron into the gathers and
pressingtoward the stitchingline. Avoid
creases by lifting the folds away from the
iron as pressed.
Pleats-these are basted before pressing on
the wrong side of the fabric along the foldline
to set the crease. From the correct side of the
garment, remove the basting; press, using
a strip of paper under each pleat to prevent
leaving an impression.
Final pressingcan be kept to a minimum touch-
up here and there if each step of construction
pressinghas been done with care. Hang the gar-
ment properly to maintain its shape-choose
a strong, contoured hanger. Fasten buttons
or closures and zippers to retain the garment
shape. Refer to Chapter 18 for more informa-
tion on final pressing.
TRANSFER YOUR KNOWLEDGE
Once you get into the rhythm of sampling a
project, transfer this system of stitching to all
other stitching.Just don't sample muslin fabric;
transfer your knowledge and sample every
fabric before beginning a new garment.

STRETCH YOUR CREATIVITY
Stretch your creativity by practicing how
to sew. Use different stitches with different-
coloredthreadstitchedatvariousangles,invarious
decorativestitchesondifferentweightsof fabric.
Stretchyour creativityby sketchingsomede-
signs, and find some fabric swatches to suit the
styles. Look atyour designand fill in the design
worksheet as a practice step; this will help you
to think about the functional, structural, and
decorativedesignaspect of the garment.
STOP! WHAT DO I DO IF.. .
...I don't know what I'm doing? Ifeel
overwhelmed when I sit at the machine. Is
it best to just give up?
Relax-get help-go to the learning center in
your school for extra help. Ask your teacher
for help. Ask questions. Read the section again,
overandoverif you need to, untilyou havemore
understanding-and practice, practice, practice
stitching and threading the machine. There are
no quick fixes other than to stitch!
..........................................
...I can't be bothered to use the SEW,
CLIP, PRESS method of stitching, as it
takes far too long; is that OK?
Using the SEW, CLIP, PRESS method ensures
that your final garment will reflect quality
workmanship.
...my stitches are skipping?
Change the needle, as it could be blunt, or try
a different needle size. Rethread the machine;
the machine won't stitch if it is threaded incor-
rectly. Check to be sure the thread has been
pulled up around and into the tension disc; if
it is not ~ulledup well in the tension disc, the
machinewon't stitch.
SELF-CRITIQUE
Do I see the importance of using the stitch-
ing method of SEW, CLIP,PRESS?
Do I understand how to press my seams,
darts, and other garments parts?
Do I understand the necessityof pressing as
I sew?
Do I have all the suppliesand equipment
needed to begin to sewa garment?
Do I know how to thread the sewing ma-
chine and insert the bobbin?
Having prepared for your project by gathering
all your equipment, did you see a difference
in the way the garment came together? We're
sure it will continue to make a difference if
you stick with it! It takes practice and time to
~ l a neach garment by way of sampling; how-
ever, this preparation is an integral part of the
design developmentof any garment. The sam-
~ l e smade and stitched in this way will become
a wonderful resource for future reference for
the design student or designer. So keep sam-
pling, and don't give up on this process! Start a
folder,and keep adding your samples to it.

a Stable Foundation
. . ~-.. ~
.. ::.~
This chapter discuss@th&i'&@rtance of using stabilizers to add structure, shape, and KEY TERMS
,..l,,;.--.. .. ' ~ ~
reinforcement to garments. O'ur first impression of a garment is the silhouette,which is tha .. .
. ..
8dbrie., ~ . Stabilize?
outside shape of the garment. Whether the garment silhouette has volume or is close fitting, .
. . ': ' ~.,F~&&&I~-'
attention needs to be given to the foundationof the garment and how it is going to be built or fi~~~.b;itings
structured. Sometimeswhen a garment is on the runway in a student fashion show, the struc- .. int&f&cing
ture is not supported and the garment silhou-
ettelookslimp. Topreventthis fromhappening,
a designerneeds to know how to structure and
support garments from the foundation up. The
foundation of a garment can be built by using
a variety of stabilizers, such as underlining, in-
terfacing, stabilizingtape, boning, or by simply
staystitching.
The structural foundation of the garment
needs to be considered before stitching any
darts or seams. It is important to choose the
correcttype, weight, color, and texture of stabi-
lizers. Adding a stabilizerto a garmentwill add
to the quality of the garment and extendits life.
Using an inappropriatestabilizer for the fabric, Sew-in Interfacing
or leaving it out completely when needed, will
. . ' ,.j,
affect how the final gar . . : ,..
STYLE I.D.
ways, to help hold the structure and shape of
the garment (Figure 3.1). Some fabrics need to
be entirely stabilized to help hold the garment
shape. Other styles need only partial stabiliz-

Professional Sewing Techniq~esfor Designers
STISlUZlUG 61-
WITH TAPE
INSIDEVIEW OF "LSD"
F
FIGURE 3.1: INTERFACING AND STABILIZERS

Introduction to Stabilizers: Fabricating a Stable Foundation
~ ~~ ~ ~~ ~~ ~~ ~~~ . ~~ ~ ~ . ~ ~ . ~ ~ ~ ~~~~~~ ~ ~~.
ing, such as at the collar and cuffs. Still other
garments only need their edges stabilized with
tape for reinforcementand to prevent the fabric
from stretching in the construction process.
The tweed wool coat, plaid wool dress, and the
popular "little black dress" (LBD) in Figure
3.1 have all been stabilized to different degrees.
Inside views show how each garment has been
structured with a stabilizer (see Figure 3.lb, d,
and f). Each style in the Style I.D. will be re-
ferred to throughout this chapter.
GATHER YOUR TOOLS
Think ahead and purchase a variety of fusible
and nonfusible stabilizers, a few yards of in-
terfacing in different weights and colors, and
stabilizing tapes (bias and straight grain tapes).
Don't depend on your local fabricstore to have
these itemsin stock. It is recommended that you
look online for these products and order now!
It is important to use good-quality products, as
the final garment will reflect the quality of its
components. Refer to the "Where to Buy" sec-
tion in this text for ordering supplies.
NOW LEPS GET STARTED
The underlying structure of a garment is the
first and most important part of clothing con-
struction. Remember, the stabilizer is the foun-
dation on which the garment is built.
WHAT ARE STABILIZERS?
The architecture of clothing is everything.
When a building is erected, it needs a founda-
tion to support its structure. The same concept
appliesto clothing.Thefoundationinclothingis
the stabilizer;it is an additional layerthat offers
light-, medium-, or heavyweight support to a
fabric before or during the construction process
to hold the garment shape. Some fabrics don't
have the crispnessand body needed to hold the
shapeof the garment. For example,a skirt made
in medium-weight taffeta, gatheredat thewaist-
line, will hold a crisp structured shape, while a
floaty silk georgettefabricwon't hold the shape
in thesameway-it drapesquite differently.Sta-
bilizers can be added in many different ways to
give support and structure to the garmentwhen
needed.
A stabilizer can add structure to the entire
garment, as illustrated by the coat in Figure
3.lb, or to individual parts, such as the collar,
cuffs, and midriff section of the plaid wool
dress in Figure 3.ld. A stabilizing tape can also
add lightweight support to garment edges,as in
the armhole and neckline illustrated in Figure
3.lf. To view other important key application
points for stabilizing other garments, refer to
Figure 3.2.
WHY USEA STABILIZER?
Using a stabilizer correctly can transform
your garment from one that is quite ordinary-
looking to one that is quite extraordinary.
A stabilizer:
Helps hold the shapeof the garment.
Helps the appearanceand performance of the
garment by adding support, strength, stabil-
ity, and reinforcement.
IMPORTANT
Don't be tempted to skip this step-it is im-
portant! If a necessary stabilizer is left out of
thegarment. you may bevery disappointed
with the finished product.
Adds quality and extendsthe life of the
garment.
Can add softness; stabilizers don't necessar-
ily make the garment feel stiff.
Prevents the garment from wrinkling.
Can improve the fit of the garment.
Prevents the garmentfrom sagging or
stretchingout of shape.
Prevents seams from stretching or puckering
in the stitchingprocess; seamslay flatter
with a stabilizer.
Reinforces looselywoven fabric.
Preventsseamslippage.
Providescrisp edges so they don't cave in.
Give support to areas that areclipped.
Learning how to judge when a stabilizer is
needed is an important aspect of studying fash-
ion design, because a stabilizer helps to hold the
silhouette or shapeof the garment.
HOW TO JUDGE IFTHE GARMENT
NEEDSA STABILIZER
Following are three steps to help the student
designer ascertain if a stabilizer is needed in a
garment.

Professzonal Seuzng Technzq&esfor Designers
Skirts
a) b) Waistband
Vest
Shirt
'Vest and jacket
can befully
underlinedor
paltially interfaced

-Neckline
Arrors shoulder
front & back
Pocket
Sleeve
lacket hem
Frontpanelofjacket
Pants
d)
Waistband
Pocket --------

SILK STRAPLESSCOCKTAILDRESS
A
Introduction to Stabilizers: Fabricating a Stable Porrndation
UNDERLINING
lWSlDE01DRESSWITH
DRESS FORMVISIBLE
B
F I G U R E 3.3 A S I L K S T R A P L E S S COCKTAIL D R E S S
Analyze the Design ever, the body cannot always fully support the
The first step is to analyze the sketch of the entire shape of the garment.
design and have a clear picture in your mind The garment parts that stand awayfrom the
of the overall garment shape or silhouette you human form are the ones in which stabilizing
want to create. When the garment is worn, the needsto be considered.Figure3.3ais asketch of
human body gives the garment form. How- a strapless cocktail dress with a gathered skirt
PADDINGAND N m l N G
I -----= SKtRTSIWOUElTE
ADDED mBOLDTHE
STWCTUREOFTHEDRESS
STRUCNRING THE SILK
STRAPLESS COCKTAILDRESS
C
that stands away from the human form. Figure
3.3b is a transparent view of the dress, showing
the space between the form and the silhouette
of the garment. The designer's responsibility
is to think through how the strapless bodice
would be stabilized to fit to the form and how

~ . ~ ~ ~~~~~ ~~ ~~~~~~ ~ ~
FIGURE 3.4 TAKE THE FABRIC I N
YOUR HANDS AND DRAPE IT ON the skirt would be stabilized anh structured to
YOURSELF OR THE DRESS FORM.
hold this shape. .OBSERVE HOW THE FABRIC DRAPES . ,
AND THE STRUCTURE IT CREATES. First, notice in Figure 3.3b that the entire
garment has been isunderlined.Thenthe bodice
-) seams are boned and a stabilizing tape ap-- -
plied to the top edge of the strapless bodice
to add structure and reinforcement.
Second, notice in Figure 3.3~that
further structure has been added
by padding the strapless bodice
and addingthree layers of netting,
which arestitchedtothe liningto hold the
structure of the skirt silhouette.For instruc-
tion on how these stabilizers are stitched,
efer to Chapter 6, "Boning," and Chapter
15. "Hem Stabilizers."
bAnalyze the Fabric
The designer's artistic medium is
fabric. Careful study of the fabric is
thereforethe second step.
The designer relies on the fabric to
take on many different shapes. The
type, weight, and drape of the fabric
either give shape
and form or allow
the fabric to softly
drape.
Take the fabric in
your hands; feel it, fold
r it, and scrunch it to assess
whether the weight of the fabric
suits the design. Drape the fabric on the
form; observe whether the fabric is crisp and
firm enough to hold the shape required for the
design. If it's not, then consider using a stabi-
liqer to support the fabric. Figure 3.4 shows the
designerwith alengthof floralfabric,determin-
ing how the fabricdrapes.
Whenfullnessandvolumeareaddedby gath-
ering, tucking, scrunching, pleating, and drap-
ing the fabric, this extra fullness may hold the
garment shape-but sometimesit won't be suf-
ficient. In Figure 3.5 the skirt has been stitched
in a crisp, medium-weight cotton. Lots of
triangular-shapedpiecesof fabric,calledgodets,
have been inserted into the hem of the skirt to
add volume. In this case the volume, combined
with the type and weight of fabric, holds the
shape of the skirt and a stabilizer is not neces-
sary. Also notice in this design how the flowers
on the jacket hold their shape and stand away
from the fabric surface; the fabric has the stiff-
ness combined with the fullness to also struc-
ture the flowers. Refer to Chapter 6, "Godets,"
for stitchinginstructions.
It is not only garmentsthat stand away from
thehumanformthatneed structure. Someform-
fitting garments also need stabilizing because
the fabric does not have the required body, and
for the reasons set out in the previous section,
"Why Use a Stabilizer?"
The original "little back dress" designed by
Hubert de Givenchy, was worn by Audrey Hep-
burn in the movieBreakfan at TjJany's. Thisleg-
endarydresshasinspiredmanydesignerstocreate
their own versions, and the elegant, form-fitting
LBD in Figure3.le isoneversion?
We have already touched on the fact that this
dress could be structured with a lightweight

~~~ ~
seam stabilizer. However, let's discussthe LBD it if used. This chapter is so important because
further. There are no rules as to how this dress it is the designer's responsibility to make this
should be structured; there are many options, decision.
but there is no one right way. Figure 3.7a also Whendesignerscreatecollections,theybegin
shows the option of fullyunderlining the dress. by sketchingtheir ideas. To do this, they define
Figure 3.7b illustrates how the dress could be the outsideedgesof the garment (thatis, the sil-
stabilized with an interfacing applied to the houette)by definingthe neckline, shoulderline,
facing as an alternative method. The decision armhole, sleeve, side seams, and hemline. The
about whether to fully or partially stabilize a designer then uses line to create shapes within
formfitting dress is fabric driven, as you have the silhouette. This is done by arranging and
learned in this section. rearranging the design elements of line, shape,
color, and texture. It is then the designer's re-
Analyze the Garment Edges sponsibilityto transform each designinto areal
Now, for the third step,take a look at Figure 3.7 garment. This is only made possible by under-
and observe the shape of the garment edges. In standing the medium, which isfabric.
particular, look at the armholes and neckline. If the fabric needs a stabilizer, then the de-
Notice in this illustrationhow these sectionsare
partiallycutonthebiasgrain.Anypartof thegar-
ment cut on bias grainisstretchy,asyou learned
in Chapter 2. These three garment pieces-one
front piece and two back pieces-when stitched
togetherform the LBD in Figure 3.le.
Any garment edges that are fully or partially
cut on the bias, such as neckline and armholes,
have the potential to stretch in the construction
process. To prevent this from happening, they
need to be stabilized.The designerneeds to con-
siderhow todothis.Therearethree options:un-
derlining, interfacing,or using stabilizingtape.
WHO CHOOSES THE STABILIZER
FOR THE GARMENT?
In garmentmanufacturing, someoneneedsto be
responsible for deciding whether or not to use
a stabilizer in the garment, and where to place
signer chooses the type of stabilizer and its
placement. It isimportant for the manufac-
turing of the garment that the designerun-
derstand stabilizers and what they can do forka garment. Stabilizersmay be a new conceptfor
the student designer. Now is the time to begin
learning their importance, and the key applica-
tion points where they need to be placed. Refer
back to Figure 3.2 if you need to refresh your
memory about these points.
Stabilizersare a crucial part of any success-
ful garment. There is no checklist that says,
"You need a stabilizer in this fabric!" If only
designersdid have this formula their jobs would
be so much easier. Yet part of the creativityand
excitement of creating clothes is the discovery
of what works and what doesn't work.
Deciding whether a stabilizer is needed FIGURE 3.5 VOLUME AND FULLNESS HOLD THE
STRUCTURE O F T H E SKIRT AND FLOWERS WlTHOUl
in the garment is the first important decision, NEEDING A STABILIZER.

~~~ ~ ~ ~ ~ ~ ~~~. ~.~~~~~
I
-FIGURE 3.6 THE
DESIGNER I S APPLYING
THE CORRECT TYPE
AND WEIGHT O F
FUSIBLE INTERFACING
TO THE FABRIC.
rlRE DRESS
DERLINED,
@KIN6AND
IWTERFAClWG
UNDERLINING FACINGAND INTEIIFACINO
A B
FIGURE 3.7 STRUCTURING THE "LITTLE BLACK DRESS" UNDERLINING

.......~ . . ~ ~ . ~ ~ ~ . ~ ~ ~ ~ . ~ . . ~~~~~~~~~~
which will influence the stitching order of the
1
garment. Next, how each stabilizer will be ap-
plied must be decided,step by step.
and underlining. Other types of stabilizers are
discussed in later chapters: boning, in Chapter
6; fishing line, netting, and tulle, in Chapter
15. It is impossible to outline every stabilizer
available. If you need to know more about
other stabilizers, ask your instructor for more
information.
Many stabilizersare interchangeable;an in-
terfacing can be used as an underlining, an in-
terfacing, or a stabilizingtape. This chapter ex-
plains each of these uses, and describes how to
applythem in garment construction.
Interfacing
TYPES OF STABILIZERS I
The term stabilizer refers broadly to anything I
that can be used to help structure the fabric.
This encompasses interfacing, fabric, boning,
wire, fishing line, netting, tulle, and mesh
stretch knit. For the purposes of this chapter,
we will concentrateon all-fabric stabilizers.
The three stabilizing categories discussed
in this chapter are stabilizing tape, interfacing,
Interfacings are the most common stabilizers FIGURE 3.8 SHAPED GARMENT EDGES OF "LITTLE BLACK DRESS" IN FIG. 5 . 1 ~NEED STABILIZING
used in garmentstoday. Interfacingsare manu-
factured in three different structures: woven, facing before purchasing; some interfacingsare Woven lnterfacing
nonwoven, and knit. Within each type, differ- 60 inches wide, others, 30 inches wide, and yet Woven interfacings are no different from
entweights,widths, hand, color, and weaves are others somewherebetween these two widths. It fabric in the way they are formed. Warp
available. They are produced in popular colors is also important to take notice of the manufac- and weft threads are woven vertically and hor-
such as black, white, natural, red, and dark and turer's instructions describinghow each one is izontally and intersect with each other. Just as
light charcoal. Check the width of each inter- to be applied. fabrics come in a variety of fibers, so do inter-

~
FIGURE a.9 CUTTING WOVEN INTERFACING
Nonwoven Interfacing
Nonwoven interfacings areconsidered bonded
fabrics. A nonwoven interfacing is created with
syntheticfibersthathavebeen chemicallyorther-
mally compressed together with the use of heat.
Nonwoven interfacings don't fray and are usu-
ally reasonablypriced. They don't have an actual
!grainline;however, it is advisableto cut garment
parts that need the most stability, such as collars,
I
waistband, or cuff, in the lengthwisedirection,as
it ensuresthe most stability(Figure3.10).
F-u Knit Interfacing
-c
Knit interfacings are made with interlooping
--- yarns that give them a stretch capacity. They
8
o are mostly made from synthetic fibers and
ca
S.A
are mostly fusible. Knit interfacings provide a
.- softer hand than woven interfacings. Not all
knit interfacings have the same stretch capac-
ity; some have little stretch while others have
greaterstretch. It is important to sample first to
checkthat the stretchcapacityof the interfacing
matchesthat of the fabric. The stretch is usually
in the width, with firmness in the length. For
garment parts (such as collar, cuffs, or waist-
band) that need firmness, position the pattern
in the direction that gives stability rather than
Y
< Crossgrain t
using the stretch capacity.
Take a few minutes to look at Figure 3.11.
Notice that the same front-facing pattern used
facings;theycanbemadefromnatural, synthetic, terfacingisstableinboth directions,patternscan in Figures 3.9 and 3.10 has been redirected. This
or a blend of both fibers. Woven interfacingsare be placed on the lengthwise or crosswise grain, is done so the interfacing gves stability when the
very stable and don't stretchin the length or the as illustrated in Figure 3.9. Woven interfacings buttonholes are stitched, ensuring that they d
width. It is important, then, that they be cut fol- include cotton batiste, organza,broadcloth, and not stretch in the stitching or wearing process. If
lowingthe pattern grainlines.Becausewoven in- canvas, to name just a few. the inferfacing stretches in both directions, use

Introdlcction to Stabilizers: Fabricating a Stable Foundation
an alternative nonstretch interfacing for garment
parts that need stabiity. For interfacing garment
parts that need to retain the stretch capacity, place
thepattern on the interfacing in the direction that
stretches.
Knit interfacings are not restricted to use in
stretchfabricsonly; they arealsoan ideal option
for underlining or interfacing of woven fabrics.
(When used in woven fabrics, the stretch of the
knit interfacingis eliminated.)When a softhand
and light- to medium-weighthold arerequired, a
knitinterfacingcanbejust theonetouse!Among
the knit interfacings on the market are Tricot
(crosswise stretch only), Fusi-Knit (or French
Fuse, crosswise stretch only), and SofKnit (all-
bias, which stretchesin alldirections).
If the stabilizer is nonfusible, it is classified
as sew-in. Fusible and sew-in interfacings can
be applied to the entire fabric as an underlin-
ing, applied to smaller portions as an interfac-
ing, or used as stabilizingtapes; both types are
discussed in more detailbelow.
Fusible lnterfacing
Fusible interfacings can be woven, nonwoven,
or knit. What makes interfacing fusible is the
shinyresin, liketiny dotson oneside.Whenheat
is applied, the resin bonds to the fabric.The size
of the adhesive dots determines how the inter-
facing clings to the fabric. In general, interfac-
ing~with smallerdots work well on lightweight
fabrics and those with larger dots combine well
with heavyweight and textured fabrics.
Fusibles are quick and easy to use; however,
they may not be compatiblewith the fabricthat
FIGURE 5.10 CUTTING NONWOVEN INTERFACINQ
FACING
CUT 2
INTERFA
< CROSS GRAIN
HAS MORE GIVE
will be used in a garment. Some fabrics do not Sew-in Interfacing
react well to heat and moisture, which may A nonfusible stabilizerisreferred to asa sew-in
damage their surfaces. If after sampling this interfacing because it does not have a resin on
is the case, try another type of interfacing, or the back, which gluesto the fabric.Asew-in sta-
changeto a nonwoven stabilizer. bilizer needs to be hand or machine stitched to

72 Professional Sewing Techniquesfor Designers
individual cut fabric pieces. Proceed with cau-
tion when machine stitching a sew-in interfac-
ing as it can easily be pulled out of alignment in
the stitching process.
Some fabrics must have sew-in stabiliz-
ers. These fabrics are velvet, faux fur, synthetic
leather, lace, some brocades, some sheers, some
silks, sequined and beaded fabrics, open-weave
fabrics, metallics, vinyls, and water-repellent
fabrics. Refer to "Interfacing Tricky Fabrics"
later in this chapter for more detail. If a fusible
stabilizer were to be used on these fabrics, the
fabric surfaceswould be damaged because they
do not react well to heat.
Following are some sew-in stabilizers com-,
monly used to stabilize garments:
- Organza is a lightweight, sheer fabricthat
adds a lightweight support; it adds stiffness
without adding weight. One hundred percent
sheer silk is much easier to use than polyester
organza.
Hair canvas is another sew-in availablein
light,medium, and heavyweights. It adds ex-
ceptional body to tailored garments. Canvas
can be made from a mixture of fibers. One
combination of fibersis 41 percent acrylic, 19
percent hair, 15percent polyester, 15percent
viscose, and 10percent cotton; this fiber mix
means it must be dry cleaned.(Fusible canvas
is also available.) Cotton batiste also gives a
lightweight support. (Fusible batiste is also
available.)
Netting used as a stabilizer also helps to hold
the shapeof the garment silhouette. Skirts
and sleeves can be supported by netting.
Refer back to Figure2 . 3 ~to vie^ how net-
ting structures the skirt in the silk strapless
cocktail dress in Figure 3.3a. Notice the net-
ting has been stitched to a lining, as it can be
very scratchy on the skin.
Textured weft is awovenlfusibleinterfacing
and blends superbly with textured fabrics
such as tweed, silk dupioni, and boucle. The
texture and weave of the interfacingblends
and does not change the fabricsurface. Our
all-time favoriteweft interfacingis Superior
SoftSuperior.It gives exceptionalstructure
d e n used as an underlining for jackets and
coats. It adds body without feeling stiff.
4n is used not only for garment-fitting
- purposes (toile)but also as a sew-in underlin-
ing.Drapery fabrics,used for curtains, also
make an excellentsew-in underlining.
HOW TO CHOOSE THE BEST
STABILIZER FOR YOUR PROJECT
Here are some tips to help you when choosing
whichstabilizertouse. Letthefabricbe yourguide
when choosing the stabilizer.The color, weight,
and type of stabilizer-whether woven, knit, or
fusibleor nonfusible--must suitthefabric.
Type
Like fabric,interfacingis characterized by fiber
content, weight, finish, and texture. The stabi-
lizer used should never change the appearance
of the fabric surface. The stabilizer needs to be
compatible with the weight, hand, or stretch of
the garment fabric. For example, if the fabric
you areusing has a stretchcapacity,then choose
as~bilizerthat suetches-in otherwords, com-
bine like with like. To understand why match-
ing the type of interfacingto the specificneeds
ofthefabricis soimportant,let's considervelvet.
Velvet is a short-pile fabric with a nap. Fabrics
suchasthese cannothave an ironplaced directly
onto the fabric, as it will damage the surface.
(Refer to Chapter 2, "Tricky Fabrics.") In this
case, don't use a fusible stabilizer; instead, use a
sew-in stabilizer.
Weight
Thefabricand stabilizerweightsneed to be com-
~atibleand equal to each other; this is a good
general rule. The final weight of the fabric and
stabilizertogether should not drasticallychange
the weight or appearance of the fabric. When
choosing a stabilizer, always keep in mind the
integrity of the fabric-the sheerness or heavi-
ness. For example, if a heavy interfacing were
to be used to stabilizea lightweight sheer fabric,
the two would work against each other and not
be compatible. Don't choose a stabilizer that is
heavierthan thefabricyou arestabilizing;rather,
chooselikewith like.There areno "rules" to say
whichweiglitof interfacinggoeswith eachfabric
weight-it is alwaysbest to sample.
Color
The color of the stabilizer is important. If the
wrong color is chosen, it could change the color
of the garment fabric. The color of the stabilizer
needs to blend with the overallbackground color
of the fabric. If the overall fabric is dark, then

IMPORTABIT
One placewhere interfatinscolor can Devery
noticeablefrom the hce of the garment is
aroundtha buttonholesafter they are slit.
I
. .......
choose a dark-colored stabilizer; if the over- anduncomfortablewhen the arm is bent. If
all fabric color is light, then choose a white or a afusibleinterfacingisappropriate,SofKnit ~beige-colored stabilizer.Anatural colorstabilizer is idealas it gives alight structure. Note that i
neutralizeswhite fabric;a white stabilizerplaced applyinga stretchknit interfacingto awoven
under whitefabricmakesit lookevenwhiter! fabricwill eliminatethe stretchelement.
interfaced with the samelightweight in-
~The front facingand pocket flapshave been
ponent may seem tedious, it must not be viewed
Always choose a stabilizer that needs the same terfacingas the sleeves. A lighterweight of this way. Function and purpose are both impor-
care as the garment fabric. If the fabricis wash- interfacingis used at the frontfacingof the tant aspects to considerwhen designingclothes.
able, then choose a washable underlining or coat so it will not be too heavy and bulky Coats and jackets have an amazingfitwhen they
interfacing. Some fabrics and stabilizers are , to stitch buttonholes. However,it will still arestructuredusingavarietyof interfacings.The
preshrunk before they are combined together. give a firm base on which the buttonholes important thing is to chooseinterfacingof asuit-
If the fabricmust be dry cleaned,then the stabi- and buttons can be stitched.Careneeds to abletype and weight to complimentthe fabric.
lizer and fabricdo not need preshrinking. be taken when two layers of interfacingare It is worth noting that the Italian couturier
used so the combinationis not too heavy and Giorgio Armani, an expert in tailoring jackets,
Purpose and Function-Combining Different bulky. incorporatesseveral different stabilizers in each
Types of Interfacing in One Garment The top shoulder/chest of the front and back of his jackets. He uses mostly fusible interfac-
The choice of stabilizer is also dependent on the coathas been stabilizedwith woven medi- ings, cotton twill tape, bias and straight grain
garment's purposeandfunctionandthe finalde- um-weight hair canvasto add extra support strips of rayon lining, and cotton broadcloth
sired look. When it comes to using stabilizers, and ensure a smooth fit over the shoulders. when tailoringjackets2
a mixture of different weights and types can be There are severalpossible choicesfor the
applied to the onegarment.For example, let's go collar. A fusible SofKnitinterfacingcould be Sampling
backand studythecoatinFigure3.la of the Style applied to one side of the collar, and canvas Decidingwhich stabilizer to use can pose a di-
I.D. In this coat, four different stabilizershave to the other side. Or, the designermay decide lemma. We cannot emphasize strongly enough
been used for different purposes and functions. to apply SofKnitto both sides of the collar the importance of sampling-even experienced
It is important to note that both fusibleandnon- and applya canvasinterfacingto one side of designersstill make decisions by trial and error.
fusiblestabilizershave been used in this coat. the collar, givingthree layers of interfacing To avoid disaster,it isvital to samplefirst before
Now let's take a look inside the coat. and more structure. In somecollars(but not making any final decisions regarding the stabi-
the one shown in Figure 3.lb) interfacing lizer. Many students add fusible interfacing to
The body sectionof the coat (frontand back) may be applied to the top collaronly. Refer the garment fabricwithout sampling first; only
has been underlinedwith afusiblemedium- to Chapter 11for more detail. when the garment isfinisheddo they realizein-
weight interfacing to add structuretothe coat. terfacing of the wrong type and weight has been
The sleeves have been underlined with alight- By mixing and matching stabilizers,individual used. Disappointment follows, because now it's
weight interfacing to give a softer structure; attention is given to the purpose and function permanently adhered to the fabric and cannot
this ensuresthat the sleeveswill not feel bulky of eachpart of the garment. Although this com- be removed.

HOW TO APPLY STABILIZERS
Whether a stabilizer is added before or during
the construction process or whether the fabric
is underlined, interfaced, or a stabilizing tape
is applied, there are two basic methods of
application.
Fusible method: a fusible stabilizeris pressed
to the wrong side of the fabric.
Sew-in method: a nonfusiblestabilizeris
handbasted to the wrong sideof the fabric.
The directionsthatfollow explainhow to sample
fusibleand sew-in stabilizers.Tobegin sampling,
cut a 4-inch-squarepiece of fabric.Then cut half
this width for the stabilizer(Figure3.12).
Fusible Stabilizer
How to Fuse
Set the iron to the "wool" setting.
Place the resin sideof the interfacingto the
wrong side of the fabric;take time to place
and smooth out the interfacingonto the
fabric. (Figure3.12a).
It is advisableto use apressing cloth to
prevent the interfacingfrom adhering to the
bottom of the iron. At school,with every-
oneusing the iron, it can overheat and easily
scorch or melt the interfacing.
Press the interfacingto the fabricby using
heat, steam, and pressure.This is not to be
confusedwith ironing; ironingconsistsof
glidingthe iron back and forth over the fabric
surface. Tofuse,start on oneedge, place the
iron straightdown, lean in, and add pressure
A
STITCHEDBUITONHOLES
WILL BE STABILIZED WHEN
INTERFACINGIS PLACED
IN THIS DIRECTION
-TO SmBlLlZE
ZIPPER APPLICATION
ON SHAPEDSIDE
SEAM
CROSSGRAIN
STRETCH DIRECTION
FIGURE 3.31 CUTTING KNIT INTERFACING
for 20 seconds;lift the iron andplace the iron
down again on the unfused area.
When all of the interfacing has been fused,
give the fabric a quick press from the cor-
rect side. Cover the fabric with a pressing
cloth if the fabric surface is delicate (or-
ganza is an ideal pressing cloth, as you can
see through it).
Check the bonding by trying to peel the in-
terfacingaway from onecorner of the fabric.
The fusing shouldbe secure. If it isn't, take
more time to press using heat, steam, and
pressure.
Using a damp cloth can help to createmore
steam, which can make it easier to fuseinter-
facingto the fabric.

Introduction to Stabilizers: Fabricating a Stable Foundation 75
....... . ~ ~ ~ . . ~ ~ ~ - - - ~ ~ ~ ~ ~ ~~ ~..~...........~~~~~~~...............~ .................................................
The fabricsurfaceshouldnot have changed;
if bubbles appear from the fusibleinterfacing,
then chooseanother type and sampleagain.
It is tempting to whip the fused fabricfrom
the ironing board to begin stitching; how-
ever. don't do this. Let the fused fabriccool
down first.
After fusing, the interfacingand fabricwill
be stitched as onepiece of fabric.
Sew-in Stabilizer
A sew-in interfacingis handbasted to the fabric
swatch as shown in Figure 3.12b. Handbasting
is a technique in which temporary stitches are
used to lend support in the construction of a
garment; thesestitchesarelater removed. When
handbasting, always work on a flat surface,
and use a thread color that matches your gar-
ment. Stitch long stitches. They can be even or
uneven-the style of handbastingis not impor-
tant. The stitch length of handbastingwill vary
accordingto the fabrictype. Use a shorter stitch
length for lightweight fabric and a longer stitch
for heavier-weight fabric. In Chapter 6,you will
seehow handbastingstitchesalso hold seamsin
place before machine stitching.
Testing the Stabilizer
Fold the fabricin half and "hand feel" (the
stabilizerwill be sandwichedbetween both
layers of fabric)to see if the two weights
are compatibletogether. The fabricweight
shouldnot have changed all that much. If
it feels too limp, consider a crisper,heavier
stabilizeror add a second layer. If it feels
too heavy, choose an alternativestabilizerof
lighterweight.
Roll the sample and observewhether it forms
a smooth roll without creasing. This is im-
portant, especiallyfor stabilizingcollars.
Observe the fabricface to seeif it has
changed.
Experiment with as many samplesas you
need to find the "correct" one.
Keep any correct samples,label each, and put
them on a ring or in a notebook. Refer to the
samplesfor reference as a resourcefor the
fusure.
FABRIC STABILIZERS
The next sections of this chapter describe three
types of fabric stabilizers: stabilizing tapes,
underlining, and interfacing. An underlining
covers the entirefabricpiece, while an interfac-
ing is applied to the facings and individualgar-
ment pieces, such as collars,cuffs, pockets, and
waistbands, so they hold their shape.A stabiliz-
ing tape gives lightweight support because it is
appliedto the garment seamlines only.
To view how each stabilizer looks from the
insideof a garment,turn to Figures 3.lf and 3.7a.
Each figure provides an inside view of the LBD
dressinFigure3.lc of theStyleI. D. Oncethearea
has been stabilized with a stabilizingtape, under-
lining, or interfacing, it will feel slightly heavier
and crisper,but to differentdegreesdependingon
the type and weight of stabilizerused.
You may be asking,Howdo I choosethebest
fabric stabilizer for my garment?The way for-
ward is for the designerto feel the fabricweight,
drape the fabric, and then sample so that he or
she can make an informed decision about the
appropriate stabilizer. Some garments may need
both anunderliningand an interfacing;there are
no rules. It has been said beforethe decisionis
fabricand design driven!
STABILIZING TAPES
Stabilizing tapes are narrow tapes approxi-
mately !4 inch to '/z inch wide. They are ap-
lied to the seamlineto prevent the seams from
stretching in the stitching process. A variety of
different tapes can be used to stabilize seams
(Table 3.1). Stabilizing tapes can be purchased
on the roll or cut on straight or bias grainsfrom
fusible or nonfusible interfacing yardage. This
last option is discussedlater in the chapter.
Fusible tapes are pressed to the seamline,
and sew-in tapes handbasted to the seamline.
Match the type and weight of stabilizertape to
the fabric,and color-match the tapeascloselyas
possible to the fabric background color. Stabi-
lizing tapes can be used in place of an underlin-
ing or interfacing and are successfully used on
lightweight fabrics,as they reduce bulk.
Let's turn back tothe LBD inFigure3.le and
3.lf to see where the stabilizing tape has been
positioned in a single layer around the neckline
andarmholesof the garment.Thetapestabilizes
the garment edgessothey will not stretch in the
construction process. The dresswould be lined
edge-to-edge, that is, both fabric and lining go
all theway to the edges.Theinside construction
would then be coveredwith the lining. Refer to
Chapter 16, "Open Edge-to-Edge Lining."

TABLE 3.1 STABILIZING TAPE CHART
.srriau*rC
Bias-UR
shapedtape
own tape. Refer to "Cutting Stabilizing Tapes"
fuqtheron in this chapterfor cutting directions.
siw-in Tape
Twill tape is a narrow, sturdy, woven, straight
grain tape that is purchased by the yard. It is
availablein black and white only, and comesin a
variety of widths. You will find the %:inch tape
anidealwidth forstabilizingseams;awidertape
will add too much bulk. Polyester twill tape is
less bulky than 100percent cotton tape. Figure
3.14 shows how twill tape looks when applied
to a seam. How it is stitched will be explained
under "Stitching Order" later.
Since twill tape is firm, it is an excellent sta-
bilizer for woven fabrics that need to fit firmly
to the body. Seams that have been stabilized
with twill tape will never stretch when worn or
during washing.
Don't try to stitch twill tape around shaped
seams,such asnecklinesand armholes,asit isn't
Seamslippageis another reason why a stabi- and pull out simultaneously with both hands. flexibleenoughforuse there. It can, however, be
lizing tape may be applied to the seams. Seam This would equal the stress the garment would stitched to contoured, curved seamlines.
slippage happens when the yarns separate, be subjectto. If seamslippageoccurs, you must Fabric selvage makes an excellent sew-in sta-
pulling awayfrom the seams.This usually only reinforce every seam (this means both sides of b i i i gtapeforsheerfabrics.It istheperfect sub-
affects seams under stress and not seam edges, the fabric are taped) under pressure or choose stitute for twill tape when a firm hold is needed
such as necklines and armholes-it may affect an alternative fabric for the garment (Figure on alightweightsheerfabric. Thebeauty of using
sleeves, as they have stress on them. Seam slip- 3.13). theselvageisthatitwillperfectlymatchyour fab-
page is more likely to occur in smooth-yarn ric in color and weight and will never add bulk.
fabrics such as microfibers and polyesters, and Types of Stabilizing Tapes Carefully cut off the firm %-inchnarrow woven
in looselywoven fabrics. If you think this may Fusible Tape finished edgeson either side of the woven fabric.
be a problem, then test the fabric first. To do Fusible lightweight straight or bias grain tape is Tricot is a lightweight stabilizing tape made
this, cut two 4-by-6-inch swatches, stitch a available on the roll in 100 percent cotton and from 100percent nylon. It is available in black,
%-inchseam, and press open; hold the swatches comes in black and white. If you cannot pur- white, and ivory. One brand on the market,
in both handswith the seamrunning vertically, chase oneto matchyour fabric,you can cutyour which is ideal for stabilizing lightweightfabrics

A) FUSIBLE
SQUARE
FABRIC PIECE
FIGURE 3.12 SAMPLING INTERFACING FUSIBLE
and knit fabrics,is SeamsGreat. Its beauty isthe
sheerness and lightweight touch, which doesn't
add anv bulk or shadow from the correct side
Seams Great will not give the firmness re- Cutting Stabilizing Tapes
quired to hold the waistline or the top edge Stabilizing tape can be cut on straight or bias
of a strapless bodice firmly to the body. We grain %-inch wide, or cut to follow the shape
of the fabric. It is available cut on the bias or advise not to use it for these purposes-it is a of the seam. The criteria for choosing the grain
straight grain. If Seams Great is not available lightweight stabilizer. Remember,the stabilizer, along which to cut the tape is directed by the
in the store nearest you, then cut to your own fabric, and end use must fit together-use twill shape or angle of the seamit is being applied to.
specificationsfrom tricot interfacing. tape or the selvageinstead. Straight grain tape is excellent for stabilizing

straight seams or slightly curved or contoured
FIGURE P.18 STABILIZING TAPE HAS BEEN APPLIED TO BOTH SIDES
QFTHE FABRICTO PREVW+TSEAM SLLPP4GE.
seams. It can be cut from nonwoven or woven
interfacingand will givea stablehold to a seam.
Let's refer back to the "Key Application Points
for Stabilizers" and review the pants in Figure
3.2d. The pant has an angled pocket open-
ing, which is cut on the bias grain. A straight
grain tape canbe appliedto a straight or slightly
curved seam to prevent the seam from stretch-
ing in the stitching process. The tape also pre-
vents the pocket from stretching in response to
constant use. Figure3.14 showstwill tape being
applied to the curved pocket of these pants. A
straight grain tape will also stabilize a curved
waistline seam in place. Refer to Chapter 9 for
more information.
Bias-cut tape has the flexibilityto be shaped
and can be used to stabilize curved, round, or
other shapedseams. The stabilizing tape for the
LBD in Figure 3.lf would be bias cut, because
the seamsit is applied to areshaped.For acloser
view of how the necklineand armholeseamsare
shaped for the LBD, refer to Figure 3.7. Figure
3.15 illustrates bias grain (fusible and sew-in)
tapes applied to the necklineand armhole.
Shaped tape is cut exactly as a mirror image
of the seamlinesha~ethat needs to be stabilized.
Use the pattern to cut the shape to be stabilized.
Place the pattern on the interfacing along the
same pattern grainline (if woven interfacing is
being used). Draw around the outer edge, then
cut the tape approximatelyf/s inch wide, parallel
to the outer edge.When thetape ispositioned on
the seamline,the seam allowancewill have been
eliminated, which reducesbulk (Figure3.16).

Stitching Order
I This order applies to all stabilizingtapes:
allowance
Stabilizingtapes are applied before the darts
and seamsare stitched.
Lay the garmentpiece on a flat surface. Place
the wrong side of the tape againstthe wrong
side of the fabric. Don't stretch the tape as
YOU apply it.
Forfusible tape, follow the instructions
described under "How to Fuse" earlier. Press
the fusible tape to the fabric, centeredon the
seamline.Figure 3.15 illustrates a bias-cut
-Pininplace
fusibletape being applied to the neckline.
For sew-in tapes, handbaste or pin the tape
in position just inside the seam allowance,as
illustrated on the armhole in Figure 3.15.
After the tape has been handbasted, ma-
chine stitch it just insidethe seamline,as
illustrated. Pins may also secure the tape
Seamline
FIGURE 5.14 TWILL TAPE
APPLIED TO A CURVED
POCKET SEAM
IMPORTANT
Keepa store of tapes, fusible and nonfusible,
cut on the bias and straight grains, in both
black and white.
Figure 3.15 also illustrates a straight grain
tape stitched to the shoulder seam of a knit
garment to prevent the seam from stretching
when the garment is worn.
Stitchthe seam as you normally would, using
the allotted seam allowance. The stitching is
centeredon the tape.
Seamswith any tape, even twill tape, can still
be clipped, understitched, and pressed open.
UNDERLINING-FULLY
COVERING THE FABRIC
An underlining is another layer of fabric or in-
terfacing applied to the entire garment fabric or
parts of the garment fabric to stabilize and to
add structure or even warmth without adding
bulk. An underlining can also be referred to as
a backing.
Here are some good reasons to underline a
garment:
It helps the appearance and performance; it
adds support, strength, stability,and body to
the fabricand overall garment. Underlining
is what makes ajacket look well-tailored.
It acts as a base for the hem stitching, and
ensuresthe stitcheswill never show on the
correct side of the fabric.

FIGURE 3.15 APPLYING STABILIZING
It adds a base to an open-weave or eyelet
fabric.
It can purposely changethe color of sheer
transparent outer garmentfabric and shadow
through to influencethe color. A patterned
underlining, such as checked, floral, or
striped, can create an interesting look.
Suggested Underlining Options
Here is a selection of underlining options that
can be used: interfacing,fusible and nonfusible,
silk organza, cotton batiste and other light-
to-medium-weight cottons, china silk, canvas,
satin, muslin, wigan, curtain linings, flannel,
batting, broadcloth, wool flannel, cotton flan-
nelette, buckram, netting, or two layers of the
garment fabric. Thinsulate is another underlin-
ing that adds warmth without adding bulk. Try
it in winter jackets or coats. When it comes to
choosinganunderlining,usewhatworks-there
are no rules as to which is the "correct" stabi-
lizer to use, except that it must suit the fabric!
How to Apply a Sew-in
Underlining (or Interfacing)
Stitching Order
Unless it is dry cleanable, the fabricmay
need to be preshrunk.
Lay each garment fabricpiece on a flat sur-
facewith the wrong side facingup.
Placethe wrong side of the underlining or
interfacing againstthe wrong side of the
fabric; smooth it over the fabric so it lies flat;
don't worry if it goes over the fabric edges, as
that can be trimmed off later (Figure 3.17).

Introductzon to Stabilizers: Fabricating a Stable Foundation
Handbaste the two pieces of fabrictogether
1/16 inch inside the seamallowance.For direc-
tions, refer to the explanationof handbast-
ing under "Sew-in Stabilizer" earlier. After
the two fabricshave been stitched together,
treat them as one fabricin the construction
process.
Afterthe two pieces are basted together,place
the pattern back on top of the fabricpieces.
Snipthe notches and apply the pattern mark-
ings to the underlining. When underlining a
garment, don't add the pattern markings until
after the underlininghas been applied.
Handbaste the centerof all darts to stabi-
lize the two fabrics together beforethey are
stitched so they don't shift in the stitching
process (Figure3.17).
Stitch open seams when the fabric has a
sew-in stabilizer;stitching closed seams
will add too much bulk. Refer to Chapter 6,
"Open or ClosedSeams."
If the seams and darts feel bulky (too thick)
after they arestitched,cut awaythe underlin-
ing, leaving '116 inch of fabricintact (Figure
3.18). Darts can also be cut and pressed open
after they arestitched, to reduce bulk. Refer
to Chapter 4, "What Is aDart?"
Fusible Underlining
Fusible interfacing can be applied as an under-
lining in one of two ways: as individual pieces
fused to the fabric, garment pieces, or as block
fusing. Both methods are outlined here. When
underlining the entire garment or parts of the
garment,use the samepattern pieces you would
use to cut the outer garment fabric.
Individual pieces fused to the garment fabric-
are cut separatelyfirst before they are fused to-
gether.The wrong sideof the interfacingis then
placed to the wrong side of each garment piece,
and the two pieces arefusedtogether.This isthe
same method that is used to fuse an interfacing
to a facing. Refer to "How to Fuse" earlier in
this chapter for more detailedinstructions.
In manufacturing, a steam iron with a flat
bed presser' would be used to fuselargesections p,,,.
at a time; this is extremely efficient. It is worth A'MH0LE
inquiring whether your dry cleaner can fuse a
largeamount of fabric on a clamshellpress.
Block fusing involves cutting lengths of gar-
I
ment fabric to fit the size of the pattern pieces.
The same length offusible interfacingis cut and
block fused to the fabric. After fusing the pieces
together, each pattern piece is placed on the
fused fabric following the grainlines and cut.
Notches are snipped and pattern markings ap- WIDE AROUND
plied. This method is recommended when the THE SHAPE OF
THE ARMHOLE
garment fabric is fine and slippery. Figure 3.19
illustrates how the fabricis blocked, fused, and
cut before constructing the tweed wool coat in
Figure 3.la of the StyleI.D.
If you attempt to do this at school, you will
need help; it is hard to manage on your own, as
the interfacing must be perfectly aligned to the
fabricand then pressed. The interfacingmust be
perfectly smooth without any wrinkles after it
is completed. This method cannot be done as a
"rush job"-it takes time and patience.
FIGURE 3.18 CUTTING SHAPED STABILIZING TAPE

CUT OFF HEM
ALLOWANCE ON
UNDERLINING TO
REDUCE BULK
INTERFACINGGARMENT PARTS
The appropriate weight of interfacing depends
on theamountof structureneededandthefabric
used. Interfacing garment parts such as collars,
cuffs, waistbands, and openings helps to main-
tain shape, reinforces and prevents seams from
stretching in the stitching process, and also
gives firmness. Refer back to Figure 3.2 and the
"Key Application Points" that were highlighted
earlierin the cha~ter.
Let's now look at each garment in more
detail.
Collarsand cuffs are key applicationpoints
for interfacingto help hold the structure
(Figure3.2~).
Any area of the garment wherebuttons and
buttonholes are appliedneeds to be stabi-
lized; buttonholes can easily stretch if the
fabrichas not been stabilized.The following
figures show buttonhole placements: Figure
3.2b, back waistband; Figure 3.2c, front shirt
band; Figure 3.2d, waistband; and Figure
3.2f, frontjacket.
Skirt and pant waistbands and waist facings
need firmness and stability around the waist-
lineso they fit firmly to the body (Figure
3.2a, b, and d).
Hems of jackets are often stabilizedif not
underlined (Figure3.2f). The hem of the vest
is stabilizedin Figure 3.2e; the skirt split is
also stabilizedin Figure3.2b.
Neckline and armholefacingsneed interfac-
ing or stabilizingtape applied to prevent

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-~~~~~~~~
,L
them from stretching in the stitching process
(Figure 3.2e).
:.:::..: ::. ..::..:.-.:,.:r,.:*.,,: ..'e;.;:.'( In Figure 3.2f, canvas has been applied across.......................... ...:.. ........................,>:..;,.. ..'.". ........... '“.]<:$.:;.l.. .: .I:.........::::.< :.::,:p;:.:.:;.;..:. ,. ..,..i1.:.:;...:.:..! ......
thefront and back shouldersto stabilize
.....' .::. .' ...>..:
..:;. :.I.- ..::; ;;: :::. ;.: .:.::.;. ;,,:::f$f...<... and help hold the shape of the jacket. (Refer
;..:.. ':,'.: ........ <..:.. :;.: .,,..:....... 4 ............................. 1.t. ...! to Figure 3.lb to see the canvas placement
..... .:..::.'.::.'. ..........:...,; ..?. .......1 . .
:,:.:::,:., ::. ..... ;:,:..........-.;, ::.:.;ji:;:.,..; :.;. ,.'; :.,1:.: '; ;-.,::,.a,..
across the shoulders.)
...... . . ...... ......... ...........,:;::;. ........,;; .'....'".." . .,I ......................... +.:..I.. ...., Shapedpocket openings need stabilizing,
especially if cut on the bias grain as is the
casewith the pant design in Figure 3.2d. The
jacket pocket band is also stabilized with
interfacing in Figure 3.2f.
Interfacing is applied down the front vest
before the zipper is applied; this stabilizes
the front section and preventsthe fabricfrom
stretching. (Refer to Figure 3.2e.)
Notice in Figure3.2d that the fly-frontof the
pants is alsostabilized;whether to stabilizethe
fly-front or not dependson the fabricweight.
Before stitching a garment, determine the posi-
tion of the interfacing. Interfacing is generally
cut using the same pattern piece as the garment
facing, but there can be exceptionsto this. If the
interfacing differs in shape from the garment
piece, then a separatepattern must be provided
and the pattern clearly labeled "Interfacing
Only." Turn back to Figure 3.11 and look at the
knit interfacing layout. Notice that the narrow
interfacingstrip for the zipper is labeledto be
FIGURE 3.18 l R l M UNDER-
LINING FROM THE SEAM A L -
LOWANCE TO REDUCE BULK.
cut in interfacing only. This communi-
HANDSISTING STITCHES
cates that this pattern piece is not to
DON'T NEEDTO BE REMOVED
IZTHElWlUWllT I E V I I B L E
be cut in fashion fabric. Whatever
AFTER SWSARE STITCHED interfacing is used, the pattern must
IMPORTANT
ffiepsmvcralyardsofyour f.Mtite instfsc-
In- on handindifferent colan. Storethe
interfacingen arollor foldedovera hanger
to pnvcntcrushing. It isthis slmpleforthe
designerto becomean expert instabiliters-
usethem!
be labeled accordingly: "Cut 1 Interfacing" or
"Cut 2 Interfacing." Figures 3.9, 3.10, and 3.11
point this out clearly.
For direction on how to apply fusible and
sew-in interfacing to facings,refer to the earlier
sectionson "How to Fuse" and "How to Apply
a Sew-In Underlining (or Interfacing)." Figure
3.20a and b illustrate fusible and sew-in inter-
facing being applied to the facings.
INTERFACINGTRICKY FABRICS
Sheer Fabrics
Do use woven stabilizers such as organza or
cotton batiste.
Do check that the color of the stabilizer blends
well with the overall color of the fabric; neutral
colors blend beautifully with most fabrics,as
they appear like skin color.
Do samplefirst to make sure the resin won't
seep through to the correct side of the fabric if
a fusibleinterfacingis used.
Do use the selvage of the fabric as a seamstabi-
lizer in sheerfabrics.
Don't use a heavy stabilizer on sheerlight-
weight fabric.

FIGURE 3.19 BLOCK FUSING
Lace Do considerusing netting as a stabilizer for to the lace, as it will be visible.
Do always use sew-in stabilizers on lace fabric. lacefabric. Do use the selvageof the silk organza color-
Do use 100percent silkorganzaasa stabilizer Do match the weight of interfacing to the matched to the lacefabric as a seam stabilizer.
for lacefabric-then the lacewill retain its weight of the lace; remember, when using sta- Don't use a fusibleinterfacing on lace, as the
openness. bilizers, match like with like. resin will seep through to the correct side of
Do take carein color-matching the stabilizer the fabric,which will look ugly.

Introduction l o Stabilizers: Fabricating a Stable Foundation
Satin
Do consider using a sew-in stabilizer on satin;
if a fusible stabilizer is chosen, the fabric sur-
face may bubble and change.
Do test different weights of stabilizers on
satin fabric to deterinine the required hold and
stiffness.
Do mix and match different weights of stabi-
lizers on different parts of satin garments.
Do consider underlining satin garments, espe-
cially evenin,--owns.,
Beaded Fabric
Do use 100percent silk sew-in organza as a
stabilizer on beaded fabric.
Do always use sew-in stabilizer on beaded
fabric.
Do always use a sheer stabilizer in sheer
beaded fabric; always match the weight of the
stabilizer to the weight of the fabric.
Don't use a fusible interfacing on beaded fab-
rics; it will be impossible to fuse together.
Knits
Don't assume that stabilizers are unnecessary
in knit fabrics: there are times when interfac-
ing is needed to stabilize parts of garments and
prevent certain areas from stretching, such as
collars, cuffs, buttonholes, and zipper seains
(Figure 3.11).
Do match the color, weight, and stretch capac-
ity of stabilizer to each knit fabric.
Do stabilize seains in knit fabrics when a
zipper is being inserted so the seam does not
bulge or ripple after stitching. To do this:
Cut two strips of inrerfacing 1 inch wide
and the length of the zipper openin,,0 con-
touring the shape of the seam. Cut the inter-
facing with no stretch in the lengthwise grain
(see Figure 3.11).
Fuse each piece of inrerfacing to the wrong
side of the knir.
Stitch the invisible zipper into the seam
using the same stitching process that you
would for a woven fabric. Do not stretch the
seam while stitching. Refer to Chapter 8 for
more information.
Don't use woven stabilizers on knit fabric in
areas that need to stretch.
Don't stabilize loose knits with fusible in-
terfacing, because the resin will seep through
open-weave knits. In loose-weave knits, design
garments that don't need stabilizing; use a knir
lining instead.
Don't use fusible interfacing on ribbed knit, as
it does not fuse well to this surface.
Denim
Do test whether a stabilizer is needed oil
denim fabric; some denim fabric may be too
heavy for a stabilizer.
Do sample interfacing first if it's used to find
the correct weight for the denim.
Don't waste time using a sew-in stabilizer oil
denim. Fusible interfacing works perfectly on
all denim; however, if a stretch element has
been added into the denim, then a stretch inter-
facing may be needed, depending on where it is
placed. For example, a skirt or pant waistband
in stretch denim needs a stable interfacing,
without stretch, to stabilize the waistband.
Velvet
Do be careful when choosing a stabilizer to
use on velvet fabric, as it is very delicate and
needs to he treated with care.
Do always use a sew-in stabilizer.
Do match the weight of stabilizer to the weight
of the velvet.
Don't use fusible stabilizers on velvet, as the
iron will flatten the pile and leave shiny marks
on the surface.
Leather
Do use fusible stabilizers on leather. (Is this a
surprise?)
Do only use low-temperature fusible sta-
bilizers on leather, such as SofKnit and
Touch-0-Gold6.
Do protect the leather from the heat of the
iron by placing a brown paper over the surface
when applying interfacing.
Do use a sew-in stabilizer in leather.
Don't handbaste. Instead, machine baste.
Don't use steam to fuse stabilizers to leather.
Faux Fur
Do use only sew-in stabilizers for faux fur.
Do use different weights of stabilizers to hold
different parts of the garment.
Do test the weight of the stabilizer with the fur;
a heavyweight stabilizer may make the garment
too heavy to wear and add too much bulk.

Professzonal Sewzng Techniques for Deszgnerr
Don't use a fusible stabilizer on the back of
faux fur, as it will not fuse well on the knitted
backingand would flatten the fur.
Heavyweight Fabric
Do use a stabilizer that matches the weight of
the fabric and holds the structure of the gar-
ment without adding bulk.
Don't use a stabilizer that's too heavy, which
would make the garment feelstiff and weighty.
As students complete each semester, they
learn and grow in their clothing construction
knowledge. We encourage you to apply what
you have learned by transferring your knowl-
edge to other areas of clothing construction-
and one area in which to do this is when using
stabilizers.
TRANSFER VOUR KNOWLEDGE
To transfer your knowledge, think about what
you already know about stabilizers and apply
this to stabilizingfabricsand garmentparts with
which you have not yet had experience. Know-
ingwhat to use by way of stabilizersbegins with
samplingdifferent types and weights of stabiliz-
ers on the fabricyou areusing.
Here are some ways of transferring your
knowledge:
Netting can used to pad a bustle. To do so,
scrunch up the netting and fill the area,
making sure it is held in place with afew
invisible hand stitchesthat don't show on the
correct side of the fabric. Becausenetting is
lightweight, it won't make the garment feel
heavy and bulky when worn. i
Try using batting as a stabilizer; it works
beautifully to fill in areaswhere women are
hollow. Mace it across the shoulders and
down the front (abovethe bust) of jackets
and coats. Batting also works well to pad
and hold the shape of raglan sleeves in coats
and jackets. Wherever the batting is placed,
slipstitch to secure it in place to the seams
only. Batting can also be used to stabilize
and pad the collar and cuffs. If the collar
and cuffs are topstitched (one or several
rows of stitching), the stitchingwill sink
into the fabric.
NOTE
As this technique was sampled, we found
that silk dupioni worked wonderfully well to
create this texture, as it did not create too
much bulk. The outcome was the perfect
structured fabric. Other fabrics will also give
excellent results, but do sample first to make
sure the glue doesn't show through to the
As a design student, you have a wonderful op-
portunity to stretch your creativity as much as
possible and try new ideas.
correct side of the fabric.
STRETCHVOUR CREATIVITY
Here is an opportunity to stretch your creativ-
ity when using stabilizers. This list of ideas is
not exhaustive but should whet your appetite
for investigatingstabilizersfurther.
We encourage you to keep a box of differ-
ent stabilizers on hand in different types,
fusible and nonfusible, woven and knits, in
a variety of colors and weights. If you have
these availableat all times, then you can
easily stretch your creativity by trying a
variety of stabilizers in one garment. If you
don't have them on hand, then you won't
have the opportunity to think creatively.
For an interesting look, try using a differ-
ently patterned fabricas underlining for a
sheer fabric.
A fun fabrictexture can be created by fusing
scrunched fabricto an interfacing. To do
this, lay a largepiece of paper on a flat table
to protect the surface.Place the fabric on
top of the interfacing,arranging the place-
ment by scrunching the fabricuntil it looks
aestheticallypleasing.To hold the fabric,
laceweights on each corner and in any
other position to hold the interfacingtaut as
you fuse. Take the iron and fuse the fabric
to the interfacing (Figure3.21); follow the
instructions outlined earlierin "How to
Fuse." Begin fusing from one corner and
work your way across the fabric. The fabric
can be rearranged and adjusted as you fuse.
Lift the weights off as each section is fused
and then replace them to help hold the
fabric taut. When the fusing is completed,
the fabric is ready to cut. Some machine or
hand stitching may also be needed to hold
the fabric in place.

. . . . . ~ . .~ . ~ . . . . . . . . . ~ ~~~~~
Figure 3.22a illustrates apadded band
around the necklineand hemline of an eve-
ning jacket. Refer to Chapter 15.
To go againstthe tide of whatisdeemed "cor-
rect: designersliketostretchthelimits.Sowhy
not try underliningasheerorganzawithwool.
Thisis certainlythinkingoutsidethe box!
In Figure 3.22b, a cute lace cocktail dress
is shown. Netting has been scrunched and
inserted (and securedby hand stitching) be-
tween the outer fabricand lining to structure
the silhouette of the skirt.
Why not stitch somequality stabilizersto the
outside of the garmentinstead of the inside-
aren't designerssupposedto stretchthe design
limits?Figure3.22~will give you the idea.
No matterwhat stageyou havereached,whether
you are at the beginning or well along the
path of your fashion course, there will still be
construction problems that arise and need re-
solving. Even the most experienced sewer will
encounter challenging stabilizingproblems.
...the interfacing won't adhere properly?
Checkthat theirontemperatureiscorrect;repeat
fusinganew test sampleandmake surethat heat,
pressure, and steam are applied. If it still doesn't
work, sample another type of stabilizer. Also, if
the fabric hasn't been preshrunk, the sizingmay
interferewith adherenceof the resin to the fabric
surface. Steamingor sponging the fabric and al-
lowing it to dry may help remove some of the
sizing,allowingthe resin to adhere.
FIGURE 3.20 APPLYING FUSIBLE AND
SEW-IN INTERFACING TO AN "ALL.IN-
ONE" FACING
...I have run out of an interfacing
and I can't purchase the same one to
finish my project?
It doesn't matter how many different types of
stabilizers are used on the one garment. The
customer will never know! What is important
is that the fabricand stabilizer type and weight
are compatible. If the stabilizer you ran out of
was fusible, then find another fusible stabilizer
to take itsplace in asimilarweight;if itwas sew-
in, then choose another sew-in stabilizer.
...I've fused my interfacing onto the fabric
and the area doesn't hold the shape?
If the stabilizeristoo light, then addanotherlayer
on top of the first layer (making two layers in
total). If the garment is alreadystitched,it will be
too hard to fuse anotherlayer of interfacing,as it
needs to be lying flat to be fused correctly. You
could try addinga sew-in stabilizer on top of the
fusible. To do so, cut off the seam allowanceand
another I/l6 inch, carefully position the interfac-
ing,and hand stitchto the seamline.

FIGURE 3.21 STRETCH YOUR
CREATIVITY: SCRUNCHED
FABRIC APPLIED TO AN
INTERFACING
. . .. ~~~ .. ~
...the interfacing has bubbled?
We hope this has only happened at the sam-
pling stage. Here are a few reasons why this
might have happened: First, the sizing might
have prevented the interfacing from adhering.
Second, the iron temperature could have been
too hot. Third, the interfacing might have been
pulled when fusing. Reheat the fusible inter-
facing with steam. To do this, hold the iron
just above the fused fabric and carefully peel
off the fusible interfacing after steam has been
applied. Then try another interfacing-sam-
pling first, of course!
...there is a dramatic change to the
garment fabric after I have fused the
interfacing?
Don't use this interfacing!You need to sample
another type of stabilizer that better suits the
fabric. There are many types and weights of
stabilizers available, so keep sampling until you
find the "perfect match."
...the stabilizer is too heavy for my
garment and it looks too stiff?
If the stabilizer is fusibleand has been correctly
adhered, it should be permanent and will not
pull off. For this reason it is crucial that the
fabricand stabilizerbe compatiblebeforeyou go
ahead to stabilize the fabric-let this be a learn-
ing experience for the future. You may need to
begin all over again-if more of the same fabric
is still available.Do a samplefirst!
...the fusible interfacing melts when I
put the iron to it?
Lower the iron temperature and fuse again; if
this doesn't work, try another type of interfac-
ing or change to a sew-in. Also, use a pressing
cloth.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
F I G U R E 3.22 S T R E T C H
YOUR C R E A T I V I T Y
3STABILIZINGTAPE
STRETCHTHE DESIGN
LIMITS BY PUClNG
CSKIRTIS STIFFENED
WITH NmlNGTO
L THE STABILIZER ONTHE

...............................
...the fabric and fusible interfacingshrink by
different amounts when I apply heat, steam,
and pressure, leaving a bubbly-looking sur-
face? Should Ikeep usingthis interfacing?
Yes, sample again, this time without steam.
Also, lower the heat temperature and lessen the
fusingtime. What is happeningis that the fabric
and stabilizer are reacting differently to heat
and moisture. If it still doesn't work, try a dif-
ferentfusiblestabilizer.
...I didn't add a stabilizer to my collar,
and it looks limp?
Carefully detach the collar from the garment,
using a seam ripper-there is no need to seam
rip around the collar edge. Then cut one layer
of a sew-in stabilizer to suit the fabric weight.
Don't use a fusible stabilizer. It would be im-
possible to press into the collar. Cut the sta-
bilizer without seam allowance, and another
1/16 to '/s inch smaller again. Slip the stabilizer
in between the two collar pieces, placing the
stabilizer on top of the seam allowance of the
upper collar. Smooth the interfacing so it lies
flat; if it doesn't lie flat, trim more interfacing
away until it does. Lightly hand catchstitch the
interfacing in a couple of places to the seam al-
lowance. Pin the collar to the neckline. Then
place the garment on the form to make sure the
collar is sitting correctly and the interfacing is
laying flat. Complete stitching the collar to the
neckline.
To help you assess areaswhere you may need
to continue improving your understanding of
stabilizers, use the self-critique questions listed
below. Follow up on areas you did not under-
stand. Perhaps ask an ipstrnctor for further in-
formation about particular aspects of stabilizers
if you don't understand their importanceor use.
SELF-CRITIQUE
To critique the garment in terms of the stabi-
lizer, in ~articular,first place the garment on a
dress form or ask a fellow student to wear the
garment.Do not lay it flat on the table.Now ob-
servethe structure of the garmentand askyour-
self the question, "Would I proudly wear this
garment or purchase it from the store, or would
I feel that it looks too limp and unstructured?"
If the answer is "No, I wouldn't wear this gar-
ment,".ask yourself why not.
Then askyourself the followingquestionsto
continue critiquing your work:
Is the garment structured to present the look
you want?
Did you sampleenough types and weights
of stabilizersto make an informed decision
regarding the best stabilizers to use for the
fabric?
If you used a stabilizing tape, did you choose
one that was appropriate for the weight and
type of fabric, and was it cut on the correct
grainlinefor the shapeof the seam?
If you used a fusiblestabilizer,did it adhere
correctly or have you done a sloppyjob?
Did the fabric surface change at all when a
fusibleinterfacingwas applied to the fabric?
If you used a sew-in stabilizer,does it lay flat
and appear "as one" with the fabric?
D o I understand how important a stabilizer
is in structuring the garment shape?
Do Iunderstand that volume and fullness,by
way of gathering,tucks, and scrunchingthe
fabric, can structurethe silhouette?
Do I grasp the important conceptthat the
fabricweight and drape guide me in the
choice of stabilizer and where to place it?
Do I understand the benefits of sampling
first beforeapplying the stabilizer to the
garment?
D o I understand that multiple samplesmay
need to be tried before finally deciding on
the best stabilizer?
D o I understand that differentweights and
types of stabilizers can be applied to one gar-
ment for differentpurposes?
Do I understand that it is the designer who
needs to be educatedabout stabilizers?For
this reason, I need to use stabilizers to know
them.
Do I understand that somefabrics have the
natural ability to hold their shapeand don't
need stabilizers,and other fabricsdon't
structure well without a stabilizer being
used?
D o I understand that the weight of fabric and
weight of stabilizer need to go hand in hand?
Do I understand how to apply a sew-in and a
fusible stabilizer?
Do I understand that an interfacingcan be
used as an underlining, an interfacing, or a
stabilizing tape?

. . ..........~.....~ ~. ~~ ~~ . ~~~ ~~~.~~~~......................
the end of this chapter, you'll know where these
darts are placed within the garment, and how
they arestitched (Figure4.1).
GATHER YOUR TOOLS
In any job the right equipmentis essen-
tial, and fashion design is no different.
Having the correct tools at your finger-
tips helps when stitching a garment. For
the techniques in this chapter, you will
need a tape measure, fabric marking
pen, dressmaker transfer paper, trac-
ing wheel, scissors, pins, seam ripper,
hand sewing needle, thread to match
the garment fabric, tailoring or press-
ing ham, and pressingcloth. Now you
are ready to begin stitching darts.
Darts are the fitting tool of the fash-
ion designer and are often overlooked
in the initial design illustration. Darts
require precise marking and stitching, and
good pressing skills. It's important to check
that the darts are evenly stitched in terms of
both length and how they are aligned on the
garment. For example,one bust dart shouldn't
be longer or lower than the other.
What Is a Dart?
A dart is an amount of fabric taken
fromthe flatgarmentto create shape.
Darts are usually placed at the bust,
hips, waist, shoulders, and neck and 4 . 1 ~BUST DARTS
elbow to accent and fit the garment to
4.18 FRENCH DART 4 . l C CONTOUR DARTS 4 . 1 0 SHOULDER AND
ELBOW DARTS

Darts: Tapering t o Fzt the Garment
4.1E SKIRT WAIST
DARTS-FRONT
4.1F SKIRT WAIST
DARTS-SACK
4.1G PANT WAIST
DARTS-FRONT
the body's curves. Darts can be used to
create shape where there is none.
Darts are either straight, tapered
darts, such as those used at the
bust (Figure 4.la), waist and hips
(Figures 4.le and 4.lf), shoulders
and elbow (Figure 4.ld); or they
, are shaped, such as contour darts
(Figure 4.lc), French darts (Figure
4.lb). A princessseamcanalsohavea
smallbust dart when the seamitself
is placed toward the side of the
garment. The dart helps facilitate
the shapenecessaryin theseamto
fit over the curveof the bust.
Darts control the shape and
silhouette of a garment, and a
clear understanding of the cor-
rect size and position of darts
ilL
within the garment and on the
body is necessary for the darts
to be successful. As shown in
Figure 4.1, the number of darts
and their position results in gar-
ments that differ in fit from loose
to contoured. Decisionsabout the
use of thesefeaturesmust be made
by the designer to accomplish the
desired fit in the garment. Too
6b
many design students illustrate
their garments without indicat-
ing any apparent fitting. The structure
must be planned in the design stages,
+.ln PANT WAIST carried through in the patternmaking,
DARTS-BACK
and finally, stitched into the garment. The

... ~~ ~~~ ~ ~~~ ~~ ~~~ ~ ~ . ~ ~~.~ ~~ .
shape and silhouette will not happen by plac-
ing flat fabric on a shaped body. Remember to
consider the shape of a woman's body, and the
curves that need to be contoured. The darts
must be compatible with the fabric, the fit of
the garment on the body, and the shape and
silhouette of the design. ow ever-and this is
very important-many design students go to
the opposite extreme and overfit the garment,
leaving little or no ease. This looks great on the
dress form, but couldn't possibly be worn on a
real body that moves and breathes! Fashion and
function must meet.
4.2A MARKED DARTS
IMPORTANT
The dart should be constructed and pressed 1before a seam that crosses it is stitchec
Darts begin as wedge shapes, as shown in
Figure 4.2a, and consist of the base, the dart
legs, the fold, and the dart point. The begin-
ning of the dart is the base, which brings the
fabric closer to the body. The dart legs are
equal in length. The stitch line of the dart legs
can be sewn curving in toward the tip of the
dart point to provide better shaping, for exam-
ple, at the waist to the hip. The dart point, or
the end of the dart, releasesthe maximum full-
ness to contour over a body curve. The French
dart can be slashed open to reduce bulk and
allow the dart to lie flat and smooth (Figure
4.6).
Darts are marked differently in production.
An awl, a pointed metal instrument, makes
holes within the dart area. Stitching must be
accurate (just outside the markings) to avoid
having this marking show on the garment front
(Figure 4.2b).
ing darts, all pattern markings
should have been transferred to the garment sec-
4 . 2 6 PRODUCTION
MARKING tions, directional staystitching completed. Some-
times darts can be stitched later in the stitching
order.
'12" Mark the dart carefully and accurately.
AWLWRK
Place the pins perpendicular to the stitching line.

NOTE
A tailoring ham is a Rrm. rounded cushion
shaped somewhat likea ham and covered
with tightly woven fabric, sometimes with
cotton on one side and wool on theother. It
is used to mold the shaped areas that have
curves. Never press the garment flat once
the dart has been sewn-the shape will be
pressed out!
Darts: Tapering to Fit the Garment
4.3A BODICE DART
Mac
FF 4.38 USING THETAILORING HAM TO MELD
DART POINT THE STITCHES
STITCHING
gin stitchingat the widest part of the dart
(Figure 4.2a).0 A BACK STITCH
Reducethe stitch lengthto 1.5 or 1.0on the stitch
length dial of the sewing machinewhen approxi-
mately 1inch from the dart point, stitching off the
fabric at the dart point (Figure 4.3a).
Donotbackstitch-the buildup of thread at the
dart point willcreate an unfortunate dimpleat the
bust that no amount of pressingwill remove.
Always press the stitchingline in the direction
in which it was sewn-this is called meldingthe
stitches (Figure 4.3b).
Bust darts are pressed downward toward the
hem of the garment usinga tailoring ham; all
other darts are pressedtoward the center of the
garment (Figure 4.9) or. if slashed, pressed open
(Figure 4.7). '
Where Is a Dart Placed?
Darts areused t o shapeandfitthe garmentt o the
body. Stitch a muslin o f the garment t o under-
stand where the curves are t o be fitted, o r make
a sample usingthe garment fabric. When using a
fabric that has not been stitched before, always
TAILORING
sew a sample dart. Test the results o f pressing
the dart over a tailor ham; if indentations appear
o n the front o f the garment fabric, place strips o f
brownpaper bagunder the dart fabric t o prevent
this indentation. The shiny, unsightly marks
left o n the garment front indicate poo
pressing skills and often cannot be re-
movedf r o m the fabric once pressed. / ) cf
The bust dart, as shown in
Figure 4.2a, is located along the side
seam o f the garment front, and the bust point
refers t o the exact center o f the bust, o r the apex.
A dart is never stitched t o this mark; rather, the
fullness resulting from the dart is referred t o
this area, allowing the garment t o glide over
the curve. The distance between the bust point

*.*A SHAPED DnRTS
Professional Sewing Techntqwes for Destgners
and the end of the dart depends on the number
4 . 4 8 ASYMMETRICAL
DARTS
of,darts, the size and location of the darts, the
garmentdesignand fit,the bust size,and the de-
signer's preference.
Symmetrical darts are the same on both
sidesof the garment, as shown in Figure4.9 and
all StyleI.D. figures.
Asymmetrical darts cross the center front
of the garment. Both darts originate at the side
seam,although they arespaced apart. This loca-
tion of the darts is decided at the patternmaking
stageby the designer and uses the excess from a
waist dart to form the lower dart (Figure 4.4b).
The waist dart (Figure 4.le-f) is used on
skirts, pants, and dresses, shaping the fabric
in at the waist to allow for fullness at the hips.
There are usually two darts on the front of the
garment and two or four darts on the back of
the garment. All darts can be divided into sev-
eral smaller darts, providing the same fit, while
also adding more surface design interest.
The elbow dart (Figure 4.ld) is shaped from
the sleeve underarm seam toward the elbow. It
functions to shape the sleeves on dresses, tai-
lored jackets, and coats and also to allow room
for movement on tight sleeves and for the arm to
bend. One dart may be used, or several smaller
darts. Some designs may not require the dart
to be stitched; instead, they may ease the extra
fullnessfrom the dart into the seam allowance.
The shoulder dart (Figure 4.ld) is used to
shape the garment over the curved area on the
back of the garment between the armhole and
the neckline. This prevents the collars of gar-
ments from standing away from the body and

ensures that the neckline lies flat o n the body
rather than gaping.
The neck d a r t provides a close fit around the
neck and can be used in place o f a bust dart. If
the bust dart is transferred t o a different place-
ment that still gives bust shape, it can be incor-
porated intothe design o f a garment.
The contour d a r t (see Figures 4.lc and 4.5a),
also k n o w n as a fisheye o r double-pointed dart,
is often used at the waistline of a fitted dress,
jacket, o r coat without awaistline seam. The dart
serves double-duty o f shaping the garment inthe
bust and shaping the waist out inthe hiparea.
2
Accurately transfer the dart markingsto the
i,--
bric (see Figure 4.5a).
With the correct sides of the fabric together, fold
the dart alongthe central foldline, matchingthe
markings; pin or handbaste (see Figure 4.5b). The
handbasting keeps the longer dart from shifting
while beingstitched.
Begin stitchingthe dart from the center ofthe
dart to one end, then from the center of the dart
to the other end.
Backstitch a few stitches in the center for rein-
forcement in this stress area.
In order forthis dart to lie flat, and to prevent
puckering, clip the dart in the centerwhere the
stitching began and where the reinforcement
stitches have been sewn. Usethe tips of very
sharp scissors to take a short clip into the dart,
SHORTENSTITCHES
~ H I N GCONTOUR
DARTS
beingcareful not to snip into the line of stitching.
The garment is often linedto cover the clipping
necessaryfor this dart to lieflat.
4.5A BUST DART AND CONTOUR DART PINNED.
READY TO SEW 0.58 STITCHING THE CONTOUR O A R 1

4.68 SLASHING A N 0 STITCHING THE FRENCH DART
ThePrenchdart(f.igure4.6a)isalsocalledthe ransfer markinglines and stitching
curved dart, as it forms a curve extending from clude any slash lines.
the side seam at the waist in a diagonal, curving Add seams to the cutaway dart, reducing bulk;
line to the bustline. A French dart appears only consider in the sampling stage whether or not
on the front of a garment.Since it is much wider these edges should be finished, and if so, finish
than a straight,tapered dart, the bulkmust be cut the edges before continuing.
out of the dart before it is stitched for the stitch- Staystitch and clip on the concave curve (see
ing linesto be perfectly aligned.The French dart Figure 4.6b).
gives wonderful shaping from the bust to the With correct sides of the fabric together, match
waist and can be fitted to contour the waist-to- and pin the stitching lines.
bust area on the garment.
Handbaste inside the marked stitching lines (see
Figure 4.6b).
Stitch the dart from the widest edge to the point,
changingto a short stitch length approximately 1
inch from the point, and sewing offto secure the
end ofthe dart (see Figure 4.6b).
-Pressthe dart in the direction it was stitched,
meldingthe stitches.
Removethe handbastingstitches.
Press open the dart.

Shaped Dart
Shaped darts are a lovely addition to a gar-
ment design, creating a functional fit as well
as providing an interesting line detail to a gar-
ment. Shaped darts can be curved, as shown
in Figures 4.4a and 4.7, or combined with
an angular seam, as shown in Figure 4.8a-c.
Accurately lining up the matchpoints and
notches is the key to success in stitching an
angled seam dart. Alternating on each side
of the garment, the shaped darts start on
the shoulder on one side of the garment, and
begin at the waist on the other side of the gar-
ment. Directions for stitching the shaped dart
in Figure 4.7 follow:
T ansferthe markings accuratelyand slash open
he dart to within 'hinch ofthe point.0Staystitchboth sidesof the dartsjust insidethe
seam allowance up to the beginningof the slash
point (seeFigure4.7).
Clip on concave curves only (see Figure 4.7).
Pin carefullyor handbaste, matchingthe
notches.
Stitchthe dart beginningat thewidest point.
Press the stitched dart toward the center.
STITCHINGTRICKY FABRICS
The fabric is the basis on which all decisions
are made during clothing construction. The
nature of the fabric, drape, and hand (whether
stiff or soft)all contribute to the type of dart to
be stitched. After these considerations, how the
fabricwill be supported (whetherit's underlined
or lined) also influences the placement and use
of the correct dart in the garment.
Darts and the silhouette of the garment go
hand in hand. To achievethe best look, the
best fit, darts are a necessarypart of
design. All fabrics cannot be covered in
one chapter, but the followingtips will help /
student designersdecidehow to use darts in
some specialtyfabrics.
and Repeat Patterns
D o match plaids at the crosswisebars along
center-front and center-back seams;side
seamswill only match from the dart down if
there is a side seam dart (seeFigure 2.16).
Do strategicallyplace prominent repeats in
appropriate pattern locations.
Do handbaste or pin the darts at the bust area
to match the stripes.
IMPORTANT
It cannot be stated enough: it is important for
the designer to press at each step of the way
when stitching any garment construction,
and this is essential with darts. It can be dif-
ficult or impossible to get back inside
a garment afterit is completed. PRESS as
you sew!
.STITCHDART
PRESSDARTTOWARD C.F.

.%ITCH DARI I R ~
.PRESSDARITOWAID C.F.
.SnrcH svlm
Professional Sewing Techniques for Destgners
Do place waist darts parallel to the fabricgrain
on plaids.
Do match waist darts in stripes or checks.
Don't try to match darts in plaids cut on the
bias.
Don't place a large flower or obviousgeometric
repeat in the bust point area.
Don't try to match underarm bust darts, as
matching these darts is impossible.
Sheer Fabrics
Do considerusing gathers, pleats, tucks, or
easingin place of darts.
Do use a double-stitcheddart to reduce shad-
owing. Here's how:
Mark the stitching lines.
Stitchto the dart point.
With the needle down in the fabric, raise
the presser foot.
Turn the dart around and stitch again, trim,
and finish.
Do bobbin-stitch the dart, as follows:
Handbaste the dart just insidethe dart
legs.
Thread the machine as usual.
Tie the bobbin thread and spool thread
together.
Gently pull the knot through the needle.
Pulljust enough of the bobbin thread up
onto the spool of thread so the knot is on the
spool.
Stitchthe dart, beginning at the point, not
the widest part of the dart.
Don't try to overfit sheer fabricwith too many
darts.

Satin
Do samplethe dart on a scrap of fabricbefore
stitchingthe dart on the garment; although we
say this often, it can't be emphasized enough-
the result will be much better!
Do tissue-stitch the dart to reducethe chances
of imprinting the feed dogs or the dart on the
surface of the satin.
Do consider that the type of dart should com-
pliment the weight of the fabric. For example,
1 if using a heavier weight of satin, it would be
difficult to stitch a shaped dart that would lie
flat and smooth.
Don't overpresssatin-it can ruin the fabric.
Beaded Fabric
Do carefully consider where the dart place-
ment will be on the garment, and place the
+ - dart where it will least interfere with the
1 . 9 PRESSING DARTS
Lace
Do overlap the laceto createthe dart, asfollows:
Use handbasting to mark the shape of the
dart (Figure 4.10a).
Cut around the curved edge of the lace
motif (Figure 4.10b).
Overlap the dart, matching basting stitches
together.
Hand stitch around the left edge of the dart
(Figure 4.10~).
beading.
Do consider an alternativeto a dart that works
with the fabric.
Do remove as much of the beading as possible
before attempting to stitch adart.
Do handbaste the dart inside the dart legs.
Do only hand stitch the darts in beaded fab-
rics-the machine stitch tension will be terrible
if stitchingover beads!
Do baste the raw edgesof the dart legs to the
underlining to keep the dart flat, or, if not
using underlining, invisiblystitch the dart legs
Trim away lace underneath the dart. to the garment.
Don't stitch a traditional dart in lace-it's too Don't press directly on the dart-press only on
bulky and will show through to the front of the stitching of the dart legs.
the garment.
Knits
Although knits don't usually need darts, some
double knits and firm knits can be darted and
used with great success.
Do use the "crooked straight" stitch, refer-
enced in Chapter 6, when stitchingthe dart
legs to avoid puckering (see Figure 6.44b).
Do consider dart alternatives in knits, as the
stretch of the knit garment influencesthe fit.
Don't press the dart without strips of tissue or
brown paper bag underneath.
Denim
Do reduce the bulk of the dart by cutting open
and pressing flat wheneverpossible.
Do finish the edgesof the dart with the flat-
test possiblefinish. Refer to Chapter 6 for
suggestions.
Do topstitch darts in denim.
Do consider alternativedart options, such as
style lines.
Don't overfitthe garment with too many darts
in heavier-weight denim.
Velvet
Do place and stitch the dart carefully-ripping
out stitchesin velvet leaves marks on the fabric
surface.
Do steam and finger-pressthe dart-pressing
directly on velvet crushes the nap and leaves
shiny marks that cannot be removed.
Do use a needle board specificallydesigned to
support the nap of the velvet when pressing the
stitchingline only.

~~ ~~ ~~~~~ ~~~~ ~~~~~ ~ ~~ ~ ~ ~~~~ ~
Handbsedanmrition Cufdartnofmaighl
bufamundcvd
edgeof lacek i g n
lacedartaway
nexrmdartnitcing
Nodacreamline
-&
midentnow
cutoffwallop
edgeof laa
design-donot
cutnraigrn

Do slash open the dart to reduce bulk in
heavier-weightvelvet, and invisibly catch stitch
(seeFigure 6.51b) the dart legs to the garment
to keep the dart flat.
Do considerFrench darts.
Don't overfit the garmentwith too many
darts-the beauty of velvet is the fabric itself.
Leather
Do considerthe weight of the leather.
Do stitch the straight, tapered dart as previ-
ously mentioned, but finger-press and pound
lightly to flatten (Figure 4.11a).
Do trim to 3h inch (Figure 4.11b) when stitch-
ing awider dart, anglingthe dart legs at the
point (Figure 4.11~)and pounding the dart legs
flat. Finish by gluingwith leather cement or
topstitching.
Do use a lapped dart for narrow bust darts. (A
lapped dart has the insidefabricof the dart cut
away-leave '/s inch; then the two raw edges are
joined together by lappingthe raw edges over
each other and topstitching.) Here's how:
Cut alongthe upper dart stitching line to
the dart point (Figure 4.12a).
Apply glue to the underside of the cut dart.
Lap the cut edge over the lower dart stitch-
ing line (Figure 4.12b).
Place a small square of interfacingunder
the dart point.
Topstitch alongthe cut edge (Figure4.12~).
Trim away excess leather on the wrong side.
Do use pintucks in place of darts on light-
weight leather.
..... ...... ~. ~ - -
4.11A HAND TYING THE KNOT O F
A LEATHER DART ( D O N 7 BACKSTITCH)
4.118 TRIM AND ANGLE
LEATHER DART POINT
4.11C TOPSTITCHING THE ANGLED LEATHER DART

Professional Sewtng Techniques for Desrgners
4.12A CUTTING THE LAPPED DART
A) CUTALONGSTIICHIWB LINES
/
4.12C TOPSTITCH-
lNG THE LAPPED
LEATHER DART
4.128 LAPPING AND GLUING THE DART
6) A P P L V G W E ~LOWER
.,DARTSTITCHING LINE
OVER LOVlll
DART STITCHING
Don't leavethe leatheruntrimmed for any
style dart-the goalfor the dart is to be smooth
and flat.
Faux Fur
Do stitch darts on the stitching line and catch
stitch the edges to the garment (seeFigure
6.51b).
Do push the hairs of the fur out of the way of
the stitching to reduce bulk in the seam..
Do use a toothbrush to pull out the hairs on
the correct side of the garment after stitching.
Do use style lines in place of darts-the bulk
of the fur preventsintricate shaping.
Don't sewdarts in the traditional way on faux
fur.
Heavyweight Fabric
Do slashopen the center of the dart before
stitching to reduce bulk.
Do press open, using lots of steam and a clap-
per to flatten the dart.
Do use handbasting to stitch the dart legs to
the garment, to keep the dart legs flat.
Do trim, grade, and clip as necessary to pro-
duce a smooth flat dart.
Now that you know how to stitch darts, and
have become more familiar with where darts
are placed and why, take that knowledge and
try one of the followingtechniques.Remember,
always sample a new technique before applying
it to a garmentand allowplenty of timeto do so.
You never know where samplingwill take you!

Dart Transformations-Gathers, Pleats,
Tucks, Style Lines, and Cowls
Darts can be transferred with pattern alteration
into other construction details such as tucks,
gathers, shirring, pleats, and godets (the godets
are stitched into the trimmed dart area) to pro-
duce fullness within the garment. Such dart
transformations require careful planning if the
designer is to avoid losing the basic shapeof the
garment. In woven fabrics, darts are needed to
providethe shapeof the garment;while in knits,
the amount of stretch in the fabricand the cut of
the design influence the fit.
Adartalwaysworksfromapivotpointwithin
the garment,but the space between the dart legs
can be used to form shape in other ways. The
excess space, or dart transformation, is always
directed toward the pivot point and ends before
reaching the pivot point. Darts would never, for
example,be sewnto and through the bust point.
Identifyingthecreativeelementsof thedesign
and knowing where and how the dart excess is
used is a patternmaking principle.Transferring
the dart to a different locationshould not affect
the sizeor fit of the garment. The designer must
decide if this suits the garment and maintains
the original fit of the garment.
Gathers
Gathering the dart excess to create fullness in
place of a dart is best used in softer, lightweight
fabrics. For example, a darted bodice in an
empirewaistdresswould look lesstailored with
the darts softly gathered at the bodice before
being sewn to the lower garment section.
.............................................
Pleats
A pleat is an unstitched, folded dart held se-
curely along the joining seamline. Pleats ar-
range and distribute fullness in a garment and
also add design interest. Although they are usu-
ally associated with skirts, they can be placed in
pants, tops, jackets, or dresses. Pleats can fall in
soft folds or be pressed into sharp creases. They
can be narrow or wide dependingon how much
fabric is available from the dart. Not all fabrics
are suitable for pleating, so it is important to
choosethe correctfabricand styleof pleatingfor
the garment being designed.
Somepleats to consider for dart replacement
would be side or knife pleats or inverted pleats.
The critical determination is the amount of dart
easethat is available,whichinfluencesthe sizeof
the pleats-they may end up beingvery narrow,
and not aseffectiveasif the dartweresewn.Nar-
rower pleats are more effective in smaller areas
such as abodice or a sectionof a bodice. Refer to
Chapter 7for detailed informationon pleats.
Tucks
Tucksarenarrow foldsin the fabricand areused
to control fullnessand shapethe garment.Tucks
can be substituted for darts to give the garment
a less fitted look. Tucks are usually formed on
the outside of the garment but can be stitched
on the inside as well. The designer decides on
the most attractive placement of the tucks on
the garment. The most frequently used tucks
are blind tucks, spaced tucks, dart tucks/release
tucks, and pin tucks. Refer to Chapter 7 for de-
tailed information on tucks.
PATTERN TIP
Although this chapter isnota b u t pattern-
making, itis necerrary to usesomeof the
prineipleeof pattarnmakingwhen dircuss-
insmwingdartsor transformlngtheminto
anotherconstructiondetail. The useof a
dart transformation.which is mother pat-
ternmekingprinciple, ilaccomplished, for
exompla, bychangingedart to gathers, soft.
eningthe lookof the garment. It is extramaly
importantto rememberwhen transferringa
dart intosome thin^else, such 6ts rgather
or a tuck, that the same measurementmust
be usedto createthe newgatheror tuck. For
example. ifthadart maasuresI/r inchfrom
the foldlineto the dart leg, thetotal of the
measurementsveilablefor change Isiinch.
If the designards~idssto add other changw.
the adjustmentmustbe madeatthe pattern-
makingstase, ratherthantakingthe amount
naadedfromthe garment.
Blind tucks are tucks that meet. The foldline
of onetuck touchesthe stitchinglineof the adja-
cent tuck so no spaces showbetween the tucks.
Spaced tucks are separated by space left be-
tween the foldline of one tuck and the stitching
line of the next.
Dart Tucks
A dart tuck is apartially stitched, inverted dart.
This type of tuck is used to add fullness to an
areaonthegarment.Thedesignerusesdarttucks
assubstitutes for dartswhen asoftly shaped line
is desired. These tucks are usually placed at the

t PRESSDARTSTOWARD
CENTER FRONT
4.13 STITCHING AND PRESSING DART TUCKS
waistline or neck edge. They arestitched on the when they are pinned, stitched, and pressed
inside or outsideof the garment. (Figure 4.13).
Dart tucks or releasetuckscan be open at one Pin trtcks are tiny tucks made by hand or
end, or both ends, or the free end of the tuck machineby sewing arunning stitch~aralleland
may be stitched downto the garment acrossthe close to the edge of a fold in the fabric. Opened
bottom. Care must be taken to avoid stretch- out flat, the stitched fold is pressed to one side.
ing the off-grain stitching lines of the tuck Used in multiple rows, pin tucks provide shape
and fit at the shoulder, sleevecap, sleeve, cuff, or
waist of a garment. The take up of the tucking
where it ends and releases the fullnessacts much
like gathers or pleats, or replaces darts. Accu-
rate marking and careful, even stitchingproduce
beautifulpin tucks.Varyingthe lengthof thepin
tucks controlsthe focus of the fullness. Refer to
Chapter 7 forfurther detailson pin tucks.
Style Lines: Princess Seam-Not a Dart!
Often, aprincess seamis mistaken for a type of
dart. Although the princess seam is a style line,
it is formed by joining the inward and outward
curves of a shoulder dart and a waist dart. The
curved seam is shaped out over the bust, fitted
in at the waist, and shaped out toward the hip.
The back can also have princess seaming. Refer
to Chapter 6 for more information.
Cowls
Thebodice cowlisatransferreddart,anddepends
onthe excesstakenfromthebasic dart.Thelower
the depth of the cowl, the greater the amount of
excess needed to produce the cowl. A high, re-
laxed cowltransferssomeof thedart excess,while
a cowl that falls between the neck and bust takes
up to one-half of the waist dart excess. This is an
application of dart manipulation. The designer
must decideat thepatternmakingstagewhat look
is intended for the garment. Cowls can be in-one
with the garmentor be set-in to savefabric. Refer
to Chapter 12for detailed information on cowls.
French darts used in place of waist darts are an
eifectivecombinationwith the cowl.

Darts: Tapering t o Fit the Garment
Transferring your knowledge to changing dart
locations and changing darts into other con- k,struction details requires time, accuracy,
patience, and lots of sampling. Each time a
technique is successful, it becomes easier to
sample the next one. And in sewing and de-
signing,there is always a *nextone"!
Stretching your creativity involves taking the
stitching techniques learned in this chap-
A
ter and applying them to designs in a more
unique, nontraditional way. In other words,
think creatively. When thinking creatively
however, always consider whether this is
adding to the design or taking away 1
from it. Remember, iust be- .. ,
cause you can, doesn't mean <I
you should!
Add darts alternating from side to
side of the correct side of a garment
for fitting and visual effect (Figure4.14a)."'7-Stitch an uneven number of darts on the
outside of a necklinewith contrasting thread
(Figure4.14b).
Stitch darts into unevenly placed positions
on each half of a dress (Figure 4.14~).
Create asymmetricaldarts across the
front of a garment (see Figure 4.4b).
4.14A ALTERNATING DARTS ON
GARMENT SURFACE
4 . 1 ~ 6NECKLINE DARTS ON GARMENT
SURFbCEWlTH FRENCHDARTS
4.14C UNEVENLY PLACED
DARTS OF VARIOUS SIZES ON
SURFACE OF GARMENT

. . ~ ~ . . . . . . .
STOP! WHAT DO IDO IF.. .
...my darts are puckered?
Check the stitch length for the fabric being
stitched,handbaste the dart just inside the seam
line, and stitch again.
...my dart legs don't match up?
Accuratemeasuringand trueing of the dart pat-
tern will ensure even dart legs, but sometimes
the fabric slips or the markings are difficult to
transfer accurately on the fabric choice. Use
handbastingto mark the dart legs and then care-
fullyhandbastethe dartlegstogether.Checkthe
positioning before machine stitching-correct
stitching begins with correct patternmaking.
Perhaps the pattern wasn't correct.
...my darts are uneven on the garment?
Again, accurate measuring will ensure that the
darts are positioned evenly on the garment.
Remove the stitched darts, press to remove
creases, reposition the pattern piece onto the
garment section, and carefully mark the wrong
side of the fabric. Handbasting the markings
may turn out to be more accurate.
...I've cut open my dart and it is
crooked?
Stitchapieceof fabrictothedartlegs-either light-
weight fusible interfacing (the fusible glue will
stabilize the raw edges of the dart legs) or lining
fabric-and redraw the darts, carefully checking
the position. Baste first by hand to preserve the
fragileedges,and if correct, then machinestitch.
...I've ripped out my dart and the
previous stitch line? show! :
Often, stitching leaves holes in the fabric once
it's been removed. This is another reason to
always sample your fabric and the technique
to see what will happen if you have to rip out
the stitches. Occasionally, steaming the wrong
side of the area and using your nails to rub the
holes results in someof the markingsdisappear-
ing. If this isnot enough,try fusing asmallstrip
of lightweight interfacing over the section if it
won't showthrough to the front of the garment.
However, this stillmay not be enoughto salvage
the garment section and it may have to be recut
and resewn. This is an experience that all de-
signersand sewershave encountered!
SELF-CRITIQUE
Take alookat your finishedgarmentand askthe
crucialquestion, "Would I wear this garment or
would I purchase this garment?" If the answer
is "No," then ask yourself, why not?
If you would not wear your garment, it may
be because you don't like the design, the pro-
portions, the cut, or the fabricchoice.However,
when we ask students this question, an often-
stated reason that would prevent them from
wearing or purchasing their own garment is the
quality of the stitching.
Then ask yourself the followingquestionsto
critique the quality of your dart stitching:
Are the darts stitched evenlywithout any
dimpling at the dart point?
Are the bust darts pressed correctly (down
toward the hem)?
Are any press marks visible on the front of
the garment?
Are the darts of equallength and width?
Do the darts look symmetrical-mirror
imageon both sides?
If not, can the darts be successfullytrans-
ferred into other shapingtechniques,such as
tucks, gathers,or pleats?
This is an opportunity to stand back and
assess your work. Don't wait until the end of
the project to do this-do this throughout
the entire stitchingprocess.
Do the darts add fullnessto the correct area
on the garment?
Do the darts add to the overall design?
Are the tucks, gathers,pleats, or other shap-
ing techniques maintaining the original gar-
ment shapeand fit?
Is the dart replacement technique in har-
mony with the style of the garment?
Darts are an important part of garment fit, sil-
houette, shape, and construction. They guide
and control the finished look of the design on
the body; without proper construction and
placement, the design will not be successful.
With repetition, and good sewing and pressing
skills, darts will become an important part of
your design creativity.

Pockets: Building a Handy Compartment
n th~schapter,we explain, illustrate, and sew pockets using the correct stitches, with suitable
Istab~lizer'. and lining appropriateforthe fabricand design. Many shapes, sizes, and types of
pockets can be designed.When designing your garment, care should be taken to combine the
pocket design appropriate for the style of the garment and the purpose of the pocket (functional
design). You will need to determine if the pocket is part of the structure,just decorative, or a
functional part of the garment. The placement tify which ones could be used as functional
and size of the pocket are integral to the func- design and which ones could be used as a deco-
tion and comfort of the garment. This chap- rativepart of the garment?
ter also addresses trims, braids, and piping as
further options of the pocket. Yes, pockets can GATHER YOUR TOOLS
be a handy compartment, and with excellent Thesearethe toolsyou willneed to stitchpock-
stitching, they will certainly .-,,.~*..-hold up to this ets: machineneedlesappropriateforyourfabric,
. ,> --,~.F*>.*+:~,:5~#F
function. - . ~. . . such as size 12 or 14 for medium- to heavier-;&' ~ > - .< .:... ,~. ~ >- ;,-,;: &>-,-:
. . * & . ~..- - .~;*%-a;.weight fabric, and size 9 or 11 for lighter-
SiYLE I.D. weight fabrics; scissors; matching thread; seam
Figure 5.1 shows several styles of pockets and ripper; point turner; stabilizer; fabric mark-
how they can be used in design. Can you iden- ing pen; piping (premade or made to match or
KEY TERMS
Edgestitching
Flap
Patch Pocket
C'ngle-Layer Pocket
~pstitchedPocket
NOTE
Functionaldesign isexpressed
in aworkingpocketfor practi-
catuse, and decorativedesign is
expressed in a pocketthat is not
foruse, but fordecoration,beauty,
and style.

5.1A IN-SEAM POCKET
WITH FLAP
5.18 IN-SEAM SIDE POCKETS 5.182 INVISIBLY SEWN PATCH POCKET
5.10 SHAPED
POCKET FLAP

.~ ~~ ~~~~~ ~
~~ ~ . ~ . ~ ~~~~~~~. ~~~~
coordinatewith the pocket);trim; zippers (con-
trasting, decorative, functional); and contrast-
ing or decorativethread for topstitching.
NOW LET'S GEC STARTED
Determinewhat pocket you are goingto usefor
your design. Take into considerationwhat the
purpose of this pocket will be-functional or
decorative.
If the pocket is meant to be functional:
Placement of the pocket at the correctposi-
tion is paramount to the comfort of its use.
Unevenly spaced pockets canjar the eye, de-
tracting from the overalllook of the garment.
Are the pockets in proportion to the gar-
ment?Too large?Too small?
Will the pocket stand up to repeated use
where it isplaced?
If the fabricis delicateor might ravel, will
adding a stabilizeror alining create apocket
too expensivefor the garment being pro-
duced or will the benefitsoutweighthe cost?
Will a less time-consumingpocket applica-
tion serveas well as a more involvedtype of
~ocketbatch pocket versuswelt pocket)?
If the pocket is meant to be decorative:
Does the pocket add important design detail
that enhancesthe garment?
Is the proportion of the decorativepocket
in keepingwith the overalltheme of the
garment?
Time equals money in production; does the
pocket take excessivetime to produce?
Will the cost of the trims, such aspiping,
ribbon, buttons, or to~stitching,exceed the
value of the garment?
Use of the pocketdetailmay be the sellingpoint
of a moderately priced garment,addingjust the
"designer" touch that prompts the sale of the
garment. In higher price ranges, added details
and beautiful executionof pockets is in keeping
with luxurious fabricsand trims.
INTERFACING IN POCKETSAND FLAPS
Whenisinterfacingusedinpocketsorflaps?(Refer
to Chapter3, "Introduction to Stabilizers.")
To ~rovidebody to a looselywoven fabric.
To provide support to an area that is clipped.
To prevent seamsfrom pulling out or apart.
To prevent seamslippage.
Toprovide a crisp edge that doesn't cave in.
Types of Interfacing to Use
Always drapeboth the interfacingand the fabric
together to see whether the weight of the stabi-
lizer works with the fabricbeing used.
Try differentweights of interfacingon the
fabricfor the desired effect.
Determine how the fabricand interfacing
interact before choosing the interfacing1
stabilizerfor your ~ocketor flap. (Refer to
Chapter 3, "Introduction to Stabilizers.")
IMPORTANT
Placement of the pocket is critical to the
overall success of the garment and the
pocket. Carefully check that the pocket is not
too close to the center front, or too close to
the hem.
POCKET LININGS
Many fabric choices are available for use as
lining. (Refer to Chapter 16, "Lining.") The
lining must suit the garment fabric being used
for a pocket. As the hand entersthe pocket, the
lining should allow easy entry.
Outerwear garments have differentrequire-
ments than a suit jacket or trouser pockets,
which must have sturdy, hard-wearing pock-
ets. Sturdy cotton twill stands up to daily use
in suit jacket pockets and trousers.
On a coat or an outerwearjacket, warmth
is a factor;fleece or flannelwould be good
choices.
If avery bulky fabricis being used for a
pocket or a flap, a lightweight but firmly
woven lining fabricis a suitable choice.
Lined patch pockets require aliningfabric
that reduces the bulk of the pocket, making
the pocket easy to turn for application.
White or light-colored pockets that arelined
look best using a skin-coloredlining that re-
duces the chance of shadowing, or the seams
showingthrough to the front of the pocket.

POCKET PLACEMENT
. ~ . . . . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . ~ ~ ~ . . ~ . . . . . ~......
POCKETS
CUT2 IN FABRIC CUT2 IN LINING
,
- A self-fabric lined pocket reduces the chance in-Seam Pockets
of shadowing. In-Seam Pockets onJackets, Coats,
and Dresses
POCKET STYLES Draw the appropriate patterns where in-seam
An in-seam pocket is placed within a seam, and pockets are going to be inserted (Figure 5.2a).
if correcdy sewn, is not easily seen. Smooth, Lookin the mirror and placeyour hand whereit
flat, careful sewing results in this pocket fol- would feel most comfortableentering a pocket.
lowing the seamline. Mark with pins. The placement and size of the
.GARMEW
FABRIC
LINING
--JOIN POCKEr
m PANEL
5.28 ADDING SEAMS
TO POCKETS
5.ZC ADDING SEAMS
TO POCKETS

~ ~ ~ ~ ~ ~ ~ .
pocket opening must feel comfortable and not For pockets to be warm and comfortable,
too tight! Transfer this marking to the pattern. the bottom layer (whereyour hand rests)
This ispart of functionaldesign. needs to be cut from the original garment
fabric. The pocket will wear better made
POCKET PLACEMENT in self-fabric. The other pocket section
(that lies on top of this pocket) is best cut
from lining. This will prevent the pockets
from adding too much bulk. Mark pivot
points-these markings are essentialfor the
Ifthe coatirbunaned, markthe gositionof
geeh buttonhole.
Plesep u r Randonthepottlrrninthedimc-
tion your handMUM gp if itwere inthe
po~ltSt.
msrrmundyour handas aguidefcrthe site
ofthepecluttemplate. Pon't drawthe
pocketedgeiuoclomPothe butmhde
position, a%the pocketsneedto lieflat and
notBc -squrshedintothe buttonholca.
Learns*.inch gap b e w e nbuttonholeand
packetedgearirhmn Inrlgun $.la,
POCKET PATTERN
Plot the pocket pattern. It would take a lot of
fabricto cut both panels with the pockets cut
all-in-one. This would not be cost-effective
in production.
An extension seam can be added to the
panels and cut off the four pocketpieces.
Moving the seaminwardwhen the coat is
worn, the self-fabricwill be visible in the
pocket opening and not the lining.Mark
notchesfor pocket seamjoin. Cut off the
pocket sectionand draw aparallel grainline
for pocket placement (Figure5.2b).
nor canthey be too wide, overwhelmingthe
front of the garment. Considerstarting at2
incheswideplus seamallowances,and the
length you measured for the pocket opening.
Cut on the fold for each pocket flap and
interface the flap to suit the fabricweight.
Cut off both panel extensionswhen stitch-
ing flapsto inseam pockets. (Usefull size
pockets as shownin Figure 5.3d.)
construction process. Add notches where Fold each flap in half, with the correct sides
pockets are joined to seam as shown in together. Stitch around three sides,back-
Figure 5.2b and c. stitching at the beginning and end. Trim
corners to reduce bulk and trim seam allow-
STITCHING IN-SEAM POCKETS ances. Turn and press (Figure 5.3a).
Place the correct sides of fabrictogether and When using a rounded edge flap, cut notches
stitch the four pocket sections to eachpanel. into the seam allowanceto reduce bulk and
The two fabricpockets will be stitchedto the to ensure smooth turning of the flap, as
side-frontpanel, and the two lining pockets
to the center-frontpanels. Press the pocket
seams open (Figure5.2d).
Clip into the two corners of the side-front
panels, leaving 'fsinch of fabricintact. Press
the coat with the pockets turned in toward
the centerfront of the coat (Figure5.2e).
In-Seam Pockets with Flaps
-Jackets and Coats
When adding flaps to in-seam pockets on jack-
ets or coats,the flapsare addedbefore the pock-
ets are stitched into the seam. See above.
The flaps arethe samelength as the~ocket
opening.The width of the flap dependson
the design of the garment-flaps can't be too
narrow or they will disappearinto the fabric,
shown in Figure 5.3b.
Place the flap on the correct side of the front
panel, aligned to matchpoints,as shownin
Figure 5.3~.Machinebaste in place.
Placethepockets overtheflaps onboth panels;
stitch (Figure5.3d). Press. Continuewith
consuuctionof thepockets; clipinto the cor-
ners. Turnthepockets tothe inside; theflaps
will be on the outsideof the garment. Pin the
flapsintoplace. Stitch-in-the-ditch by rolling
the sideseamsback and stitchingthrough all
layers.Press afinaltime (Figure5.3e).
In-Seam Pockets-Pants and Skirts
Cutthe garmentfrontpocket fromliningfabric
to reduce bulk, and the garment back pocket
from the same fashion fabric as the garment,
so that when your hand slidesinto the pocket,

Professional Sewing Techniqlces for D e s i g n e r s
CLlP CORNERS
" 3
C --ICLIP FOLD CLIP CORNERS
7'
MATCH POINTS
5.30 SEWING 'POCKETS AND
LINING TO THE
GARMENT
5.3A STITCHING AND CLIPPING FLAPS
1
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IE-DITCH. ' 'h
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5.3C SEWING FLAPS AND
STITCHING TO THE GARMENT
E)
5.3E SEWING
-OPENINGFOR
TURNING POCKET
5.38 NOTCHING THE CURVED FLAP
THE FLAP
1the same fabric as the garment will show (see
Figure 5.2~).
Patch Pockets
PatchPocket-Square andRound,
with Template
A patch pocket is used on tailored garments
such as dresses, suits, sportswear, and casual
garments.The patch pocket can have a self-fab-
ric facing; can be unlined, interfaced, lined, or
self-lined; and can be madein as many shapesas
you can imagine. It can he functional or purely
decorative. It also can have a flap, buttoned or
With the correct sides of the fabric together,
place the pockets on the front and back of
the garment.
Stitch the pockets to the garment extensions.
Press. Clip as shown in Figure 5.4; press the
seams. Turn the pockets toward center front,
and press.

,,.
5. >
.:
1 GARMENT-
FRONT
I
, w x. "(.',+'...,,,:::;<:is. ..&., .,..~. ..,,<":
.:',:!:.,>;<
Pockets: Bwilding a H a n d y Compartment 115 ,:...,:..,,..,.,.,,:::tt
. .<
by the type of fabric that is being used and tl
purpose for which the pocket is designed.
LINING Patch Pocket with Self-Facing
This pocket is the simplestof all patch pocket
Cut out the pocket with eithera squared or
curved bottom edge.
For a crisp edge, apply sew-in or fusible
interfacing(see Chapter 3, "Introduction to
Stabilizers") that is compatiblewith your
fabricto the upper pocket edge.
The upper edge of the self-fabricfacingis
5.4 MATCHING AND STITCHING IN.SEAM
POCKETSAND LINING
N O T E
Place the garment on a tailoring ham or seam
roll. Match the markings on the garment
for the placement of the pocket, and pin the
pocket in place. Placingthe garment on the
curve of the tailoring ham or seam roll allows
for the contour of the body, preventingthe
patch pockets from stickingout from the
garment.
should be 'Is inch in from the finished edge
of the pocket and '/s inch down (Figure 2.4).
serged or clean-finished (refer to Chapter 6, In production, a machine drills holes into
"Seams"), dependingon your type of fabric. the garmentfor the pocket placement. It is
The self-facing is made by turning back the important to place the pocket accuratelyso
finished upper edge of the pocket along the the holes don't show! Carefully edgestitch
foldlineto the correct side of the pocket. or topstitch the pocket in place, backstitch-
Begin stitchinga Winch seam allowanceat ing to securethe pocket (Figure 5.5d).
unbuttoned, plain or shaped. It canbe zippered, the top of the pocket and continuearound to
or closed with Velcro, or with other types of the other side of the pocket to establishthe Because the patchpocketis on the surfaceof the
closures such as frogs, buckles, straps, ribbons, seamline,as shown in Figure 5.5a. garment, attention is drawn to its construction
cords, or whatever else complements the gar- .After trimming the corners to reduce the and stitching.Createa samplepiece of the edge-
ment design.Apatch pocketcanhave decorative bulk, turn back the facingto the wrong side stitching or topstitching, using the same fabric
pipingto complementits edges, andits grainline of the fabricand lightlypress. as your pocket and the samethread you will be
canbe changedto createaparticular effect, such The stitchinglineprovides an accurate mark- using. Try various stitch lengths to see which
as on the bias or on the crossgrainwith stripes ing for folding the seam allowances inside the one best complements the pocket and garment
I M P O R T A N T
Always create a sample pocket from the
fabric you are usingbeforeapplying the
pocket to your garment.
plaids. In fact, a patch pocket is only limited pocket in preparation for sewingthe pocket design. This detail should enhance the overall
to the garment surface.For the rounded look of the garment. You may wish to collect
patch pocket, easestitching gathers the curve these samplesin your workbook.
of the pocket for smooth turning of the seam
allowance(Figure5.5b). Press. Invisibly Sewn Patch Pocket
Changethe stitch length and stitch as shown -Machine Stitched
in Figure 5.5~. Medium to large patch pockets can be invisibly
The matchpoints for the pocket placement sewntojackets or coatsby machine.Thepockets

Professional Sewing Techniqrres for Designers
~ ~ ~ . ~ . . . . . . ~ .
a) Square patch pocket
/'
Foldline -
Interface
Serged finish
Foldline
C
4Pivotpoints
5.5A STITCHING THE FACING OF THE
SQUARE PATCH POCKET
b) Round patch pocket
-1:
lipcorners
Clean
finish
/-'
5.58 EASE STITCHING THE ROUNDED EDGE
OF THE PATCH POCKET
5.5C TURNING AND
PRESSING THE SQUARE
CQRNERANOROUNDED
EDGE
iedoncurve
,----
A ROUND PITCH
POCKETWITH
I DOUBLETOPSTITCH
5.5D ROUND AND SQUARE
PATCH POCKETS EDGE-
STITCHED AND TOP-
STITCHED TO GARMENT

can be applied straight or at an angle, as seen
in Figure 5.1~.This takes some preparation and
carefulsewing,but the effortisworth the beau-
tiful results.
Using the curved patch pocket pattern, cut
one each of fabricand of fusibleinterfacing.
Fusethe interfacingto the pocket, and serge
the raw edgesor clean finish the top of the
pocket. Stitch,then fold the facingto the
wrong side of the fabric;press.
Beginningat the top of the pocket, ease
stitch a '/z-inch seamallowanceall around
the pocket.
Place a cardboard or oak tag template (a
manila filefolderis a good substitute)that
isthe finished size of the pocketwithin the
pocket and press the seam allowancesover
the template. With your pressing cloth,press
really well, holdingthe iron in place to create
a sharp crease.
Remove the template and trim the seamal-
lowanceto '/4 inch. If your fabricis loosely
woven, sergethese raw edgesbefore trim-
ming, as the sergingwill cut off approxi-
mately '14 inch of the seam, or zigzag stitch
over the raw edges for a cleanerfinishbefore
trimming to prevent the fabricfrom unravel-- A
ing or the seamallowancesfrom pulling out.
Turn in edges to ease in the corners (Figure
5.5~).
Using a singlestrand of contrastingthread,
handbastethe pocket in place on the garment
(Figure 5.6a).
Using a contrastingthread color, set the
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . ~ . . .
.
pocket as you stitch all around the pocket I
.
(see Figure5.6a).
Remove bastingstitches.Reachinginsidethe
pocket, starting from the top of the pocket,
backstitchthen stitch with a straight stitch
I
of 2.5 or 3.0 (dependingon the thickness of
your fabric),around the curveto the center
of the bottom of the pocket. Repeat for other
side of the pocket. Remove zigzag stitching I(Figure5.6b).
Stitchin smallsections, leaving the needle
down in the fabric. Lift the Dresserfoot to
smooth the fabricto avoid catchingthe gar-
ment fabricin the pocket stitching. 5.6A ZIGZAG STITCH AROUND PATCH POCKET EDGE
Patch Pocket-Lined, Lined with Facing,
and SeIf-Lined
Lined patch pockets add a finishing detail and
also provide a clean finish to fabrics that are
loosely woven. Using the lined-edge-to-edge
method also reduces bulk and is an easy way
finishapocket. This is an efficientway to fini!
a novelty shaped pocket. The key to a beaut
fully lined patch pocket of any shapeisaccura
sewing,preciseclipping, and trimming.
Match theliningfabricto the garmentfabric.
For eachpocket, cutonepocketpattern of ga
ment fabricand one pocket of liningfabric.
Cut the lining pocket % inch smaller than
the pocket to ensurethe lining piece will no
show on the sideof the garment One
5.68 MACHINE STITCHING INSIDE THE PATCH POCKET
the pocket has been turned. FOR AN INVISIELE FINISH

~ ~ ~ . .. . ~ ~~~~~~~ ~~~~~~~ .~~~ ~
PIVOT
,
CLIP CORNER
the lining is not visible on the front.
Match up the pocket.markings'and pin the
ISDI
pocket to the garment. Topstitchor edge-
stitch from the upper corner of the pocket,
backstitchingto reinforce, and continueto
the oppositeupper corner, backstitching
again (Figure5.5d).
Patch Pocket-Lined with a
Self-Fabric Facing
A patch pocket with a self-fabric facing that is
AND TRIM lined uses the samepocketpattern as theunlined
JQCL1'patchpocket.Theliningissewntotheedgeof the
facing, so that as the hand enters the pocket, the
garment fabric is visible, not the liningfabric.
5.7 STITCHING THE LINED PATCH POCKET
Match the lining pocket edgesto the garment
fabricedgesand pin. With the correct sides
of the fabrictogether, begin stitchingat the
centerof the bottom of the pocket, up and
acrossthe top, pivotingat the oppositetop
corner, down to the center of the bottom,
and leaving an opening of at least 1inch or
larger to turn the pockets to the correct side
(Figure 5.7).
Trim the corners to reducehulk; trim the
seamallowancesto '/* inch, clip and gently
pull the pockets through the openingto the
front. Using an awl or apoint turner, care-
fullypush out the corners of the pocket. The
opening at the bottom of the pocketwill be
pulled to the inside. Press, making sure that
To create the lining pattern piece, fold over
the facingon the pocket pattern. Trace the
bottom area of the pocket, adding a %-inch
seamallowanceto the upper edge of the
lining piece.
Sewthe lining piece to the lower edge of the
pocket facing, leaving an opening of 1inch
in the middle. Press the seams open (Figure
5.8a).
With the correct sides of the lining and the
pocket fabrictogether,stitch together both
pieces, beginningat the top of the pocket
facingand continuing around to the opposite
side. Clip corners and trim seamallowances
(Figure 5.8b).
Carefullypull the pocket to the correct side
through the openingin the middle of the
facingseam allowance. Press. Slipstitchthe
1-inchopening closed (Figure 5.8~).
Match the pocket markingsto the garmentfor
pocket placement. Place over aseamroll or a
tailoringham, andpin the pocket in place.
Edgestitch or topstitch the pocket to the
garment.
Patch Pocket with Flap
A pocket with a flap is both decorative and
functional.It can be decorative and made in any
shapetorepeatdesigndetailsof thegarment. Oc-
casionally, details such as flaps may be added at
the end of constructionof agarmentasabrilliant
decorativedesigndetail.A flapcanbe functional,
actingasacoveringof thepocket opening.When
creating this pocket, be mindful of proportion.
The flap should not overwhelm the pocket. Ac-
curate marking of pocket placement is also im-
portant to ensure that both the pocket and flap
lineup evenly. Becauseit is appliedto the surface
of the garment, any detail out of order will he
glaringly obvious and detract from the design.
The stitchingmust be impeccable!
To begin, determinethe size of the pocket.
The patch pocket will be sewnto the gar-
ment first (Figure5.9a).
The flap should extend beyond the sides of
the pocket; at least 1% inch to ensure that
the flap totally covers the pocket when
sewn (Figure5.9b). This may vary, however,
depending on the weight of the garment
fabric. If the fabric is very bulky or heavy,
increase this measurement to accommodate
the turning of the seam allowancesof the
flap. To further reduce bulk, consider using

-
5.8A STITCHING THE LINING TO THE FACING
lining fabric for the underlayer of the flap.
Cut two pieces of fabric (or one piece of
garment fabric and one piece of lining fabric
if your fabric is bulky) for the determined
flap shape and size.
Interfacing the flapshelpsto maintain the
shape (referto Chapter3, "Interfacing and
Other Stabilizers"); cut onepiece of interfac-
ingfor each flap. With correct sidesof the
fabrictogether, stitcharound three sidesof
6.86 STITCHING A FACED LINING TO THE
POCKET, CLIPPING, A N D T R I M M I N G
the flap, leavingthe top openfor turning. Clip
corners of side seamsto reduce bulk.
Turnand press. Add anytype of decorative
stitching,suchastopstitching,to the flap
before continuing.
Place the flap abovethe pocket, with the flap
openingfacingthe top of the pocket. The
flap should extend slightlybeyond the sides
of the pocket. Pin in place. Stitch alongthe
seam allowance,clip the corners to reduce
the bulk, and trim the seamallowanceto '/s
inch (see Figure 5.9a). Fold the flap down,
press, and topstitch the flap '/4 inch from the
folded edge (seeFigure 5.9b). This keeps the
flap in a downwardposition, coveringthe
top of the pocket.
5 . 8 ~SLlPsTlTcnlNGTHE LINING
TO THE FACING
Side-Front Slanted Pockets
Two different pattern pieces are used to create
and sew this pocket: the side-front section,
which is cut from the garment fabric, and the
pocket section, which can be cut from lining
fabric or garment fabric, depending on the
weight of the fabric. Be creative-the shaping
and the look of the garment are up to the de-
signer. Begin with the pocket pieces:
The pocket side-frontsectionis cut from gar-
ment fabricand the under pocket from lining
to reduce bulk.
Stabilizethe pocket edge (Figure 5.10a and
Figure3.13).
Serge the outside edges of the pocketpieces.

FLAP
'Is"WIDER
THANPOCKET
5 . 9 1 PLACEMENT
AND STITCHING OF
FLAP TO GARMENT
With the correct sides together, stitch the
lining to the pocket edge using %-inchseam
allowance. Press (Figure5.10b).
Press the seam allowancestoward the pocket
lining and understitch.
Press the pocket on the front sideusing a
pressing cloth; topstitch the pocket edge
(Figure5.10~).
Place the sidefront onto the pocket sec-
tion, matchingwaistline and hipline notches
(Figure 5.10~).
From the wrong side of the garment,
stitch around the pocket pieces only,
using a %-inch seam allowance. Staystitch
along the waist pocket area and where the
pocket joins the side seam (Figure 5.10d).
This keeps the pieces in place during con-
struction. The pocket edges could be
-7-czTcHseams.serge* together as a final finishing to the
CURVED
5.96 PLACEMENT AND STITCHING OF
FLAP TO GARMENT
Single-Layer Pockets
A single-layer pocket is a pocket that is top-
stitched to the surface of the garment. Often
- E ~ ~ ~ ~ ~ ~ ~ ~found on casual garments of lightweightfabric,
it is exactlywhat the name implies:asinglelayer
of fabric cut into a pocket shape, finishedon all
sides with a side opening, and stitched to the
surface of a garment. Functional or decorative,
it can be in any shape that suits the design of
your garment.
Cleanfinish all the edges of the pocket. Ease
stitch around the curvesor corners of the

pocket. Press under the seamallowances.
Topstitch '14 inch from the pressed edges.
Edgestitch the pocket hand opening,pulling
the thread to the wrong side of the pocket
and tying aknot.
Carefullyplacethepocket, aligningmatch-
pointsonthepocket tothe garment, andpin
intoplace. Edgestitchthepocket to the gar-
ment,beginningattheupper openingof the
pocket,pivoting atthetop, continuingaround
thepocket to the oppositepocket opening.
Backstitchatthebeginningand endtoreinforce
the sewing. Press. A decorativethreadcouldbe
used to draw attentionto this detail,but keep
in mind thatasteadysewinghand must guide
these stitchesforauuly excellentresult.
STABILIZINGTAPE

A pocket pattern of any shape can be used
for this application.One exampleis using
the pocketpieces from the side-front slanted
pocket application.The pocket can be
curved, slanted, squared-whatever shape
Outside ShapedSingle-Layer
Pocket-Topstitched
Similar to the patch pocket, an outside single-
layer pocket can also extend up into the waist-
line, creatingbelt loops, or it can extendinto the
UNDERSTITCH-
waistline, finished by the waistband or facing.
Creating a casual look, it is constructed before
being sewn onto the surface of the garment. ropsrlrCH-
Some fabrics may require stabilizing such as
fusible interfacing (refer to Chapter 3, "Intro- 7
duction to Stabilizers").
5.IOA STABlLlZlNG THE POCKET EDGE 5.10B STITCHING POCKET AND
UNDERSTITCHING
PLACEPOCKETTO NOTCH
-
5.10C STITCHING THESIDE-
FRONT POCKETS
5.10D STITCHING THE SERGED
EDGE OF THE POCKETS

,. ,.,,,..,*
. . ,. Professional Sewing Techniqxes for Designers
and proportion suits the design of your gar-
ment. Be creative and have fun!
Clean finish all the edges of the pocket if it
will not show through the fabric to the cor-
rect side. Turn under the seam allowances;
if the pocket edges are curved, stitch 'Is inch
around the curves first, and then clip along
the curve if necessary so the pocket lies flat.
If the corners are squared, it may be neces-
sary to clip into the corners to allow the seam
allowances to lie flat and to reduce bulk. Press
and use the stitchingline as a guide.
Accurately place the pocket on the garment,
pin in place, and edgestitch. On linear-shaped
pockets, stitch a second row of topstitching
'(4 inch from the edgestitching. This provides
additional support for the pocket (functional
design) as well as decorative finishing.
Pleated, Gathered Pockets
To create pleated or gathered pockets, the fin-
ished size of the pocket must be determined
before adding the amounts needed for the
pleats or gathers. Proportion plays a very im-
portant part in this determination. A small
pocket would not look good with a very large
pleat taking up its entire surface, nor would a
very large pocket look good with a few tiny
gathers, looking more like wrinkles than
gathers. The type of fabric being used will
also dictate whether gathers or pleats will be
used. Pleats generally look best on a square
or rectangular-shaped pocket, while gathers
look fullest on rounded shapes. Before you
begin, consider:
Is this pocket functional or decorative?
Will the pockets be in proportion to the
garment?
Will this pocket enhance the design enough
to justify the time and cost involved?
Will this design detail prompt the customer
to "have to have it"?
Pleated Pockets
Pleats are well recognized features of garments
such as skirts or kilts, but they are a strong linear
detail that can be applied elsewhere on garments
such as at necklines, collars, cuffs, and yes, pock-
ets. (Refer to Chapter 7, "Tucks and Pleats.") The
functional part of the pleat is the extra fabric that
adds volume in the pocket. The decorative aspect
of a pleated pocket is the linear repetition, and
whether the pleat is crisp or soft.
There are four basic pleat styles, which can
be used singly or in a series: knife pleats, in
which the folds go in one direction; box pleats,
with two folds turned away from each other
and under folds meeting in the center; inverted
pleats, which are box pleats in reverse with folds
turned toward each other and meeting; and ac-
cordion pleats. Accordion pleats would be the
least likely pleat to be used in a pocliet.
For crisp folded edges on the pleats, edge-
stitch the front edges of the pleats. Leave the
pleats unstitched for a softer look.
Place strips of brown paper under each pleat
to avoid ridging on the front of the fabric
when pressing. Using a pressing cloth, press
the pleat thoroughly. Baste across the top and
bottom of the pleats to hold in place while
finishing construction of the pocket.
Gathered Pockets
Gathers are small, soft folds made by machine
basting two rows of stitches within the seam
allowance and pulling up the bobbin thread.
Gathers complement a round-shaped pocket
(see Figure 5.13). Refer to Chapter 6 (Figure
6.23) for Inore information on gathers.
Fabric choice is a major consideration in
gathering the pocket into soft folds. Always
sample your fabric using various stitch lengths
to produce the softest folds. Avoid using fabric
that produces stiff gathers that resemble folds,
unless that is the desired effect.
Welt Pockets
Welt Pockets-Single, Double, with Flap
Welt pockets are not difficult, but they do re-
quire great accuracy in marking, and precision
in cutting and stitching. A shorter stitch length
helps control for accuracy when beginning and
ending the stitching. Single welt pockets and
welt pockets with flaps are considered varia-
tions of the double welt pocket. When flaps
are added to the welt pocket, they are slipped
under the upper welt and stitched after the
welts have been stitched, but before the pocket
bag is completed. The standard length of the
welt pocket is 5 inches but can easily be made
shorter or longer for comfort or design aes-
thetic. Careful marking of the pocket place-
ment on the correct side of the garment begins
this technique (Figure 5.11a).

<;
..,
!,<:.
! I
i'.. .{. .
PATTERN TIP FOR GATHERED
POCKET I N FIGURE 5-13
. Slash and spread the pocket from the top
marked notches to the bottom marked
notches, cuttingto, but not through, the
notches to createthe extra fabric needed
forgathering. Doubling the width creates
quite a bit offullness. so create a sample
to establish the lookthat complementsthe
design of the garment. Draw a new pocket
pattern piece, marking the seam allow-
ances with notches.
- Sew a row of stitcheswithin the'/.-inch
seam allowance at the top of the pocket,
leaving the'/.-inch side seam allowances
unstitched. Pull up the bobbin thread to
create the gathers (seeFigure 6.23).
- Createa separatefacing piece forthe top
ofthe pocket that matches the finished
sizeand shape of the gathered pocket. This
may be shaped,as the pocket may enlarge
down the side seam a s it accommodates
the gathering. Clean finish the edge of the
pocket facingwith sergingor the clean-
edge seam treatment. Or, a narrow bias
strip can be used to finish t h i s edge (refer
to Chapter 12, "Facings").
Distrlbutcthegathersevenlyalongthetop
of the pocket,tyinathethreadsintoknots
to holdtho~atheringstltcher.
With the cerrectridestogether, pinthe
hsingpieceto thetap bf the palk%tunt
sew togetherusing* %-inch scamale
krwencs,byltnnlngatthebottomofthc
facingat the sideseam, sawingto the top
ofthe pe&%t,pivoting, CLWIAII.m r t~
theoppositetop ofthe p o ~ k t ,pivotins,
and~ontlnuingdaw~the aideseam. Ctlp
corners, turn, andpress. Turn underthe
rematntng 'lu-inchseam allowanceofthe
pocket, sin#aneasestitchtosather in
the fullnessat the curvedloweredge, md
presrw11. If the flbrie 10 lightweightta
facIn$ mayshadowthrough. Usespleceof
bias-fut lubrlctsRnishthe edge.
flnthe pockot inplace. "pin bast-
ing* the futlneseofthe pocketto wold
catchingtucksor pleatsoffabric atthe
edges, whichcnatrs munprsf?ruional
appeeta:tce,
Crrefullymatchthe pockettethe gars
mcntmarking#and pinIn plru. Stitch
the peckattotkaglment. UseCamwhile
ptorringthe etltchedseam allowoncefa
weid pressingthegathersart.
First, measure the length of the finishedwelt
pocket. Handbaste or mark the length clearly
on the fabric of the garment, taking care that
the other ~ocketsare evenly laced aswell.
Nothing detracts more from welt pockets
than being uneven!
Reinforce the area behind the pocket. This
may already be fully underlined with fus-
ible or sew-in interfacing.Pink the edgesto
prevent ridging from appearing on the front
of the fabric (Figure 5.11b).
Cut two welts, 1%incheswide by 8 inches
long, from the garment fabricor contrasting
fabricfor eachpocket. Thewelt can be cut
on the same grainline as the garment, on the
crosswisegrain, or on the true bias. Fold tht
welts in half, interfacing at least half of the
welt, and baste exactly$4inch from the fold
(thiswill be the stitchingguideline).Trim the
edges of the welts to ?4inch (Figure 5.11~).
Thewidth of the seam allowance and thewelt
must be equalfor thewelts to work.
Place the welts on the garment fronts with
the raw edges of the welts meetingin the
middle of the pocket marking. Handbaste
or pin in place. Check with a ruler that the
stitchinglines of the welts are exactly%inch
apart (Figure 5.11d).
Guided by the stitchinglines on the welts,
and using asmall stitch length (2.5 or smaller,
depending on your fabric), stitch the welts to
the garment. Press.
Slashthe garment only down the middle of
the stitchinglines, cutting to within a Vz inch
of the end placement lines. Cut diagonally
into the corners, up to, but not through the
stitches (Figure 5.11e).
Place a drop of liquid Fray Check in the
corners to prevent fraying of looselywoven
fabrics.Test the Fray Check on a scrap of
your fabricbefore applying it to the welts or
your garment.
Carefully ~ u l lthe welts through to the
IMPORTANT~~~~ ~~ ~
- ~ ~ ~~~
Begin and end exactly at the placement lines;
backstitch a few stitches to secure, or t h e
pocket will end up uneven from t h e correct

MACHINE
BASTE
4
5.11A ACCURATE
POCKET LENGTH
MARKING
JTABlLIZIN(I THE WELT POCKET AREA
5.11C FORMING THE WELTS

..............................................................................................................
D)
5.11f HANDBASTING THE WELTS TOGETHER
5.110 ACCURATE PLACELL=nl uF WELua nnu nnnu-n-a1NG
5.1lE SLASHING THE WELT DPENING
With the correct side of the garment
back of the garment. From the front of the To make the pockets:
garment, arrangethe welts so that they are
straight and even. Using silk thread or Sil- Cut two pocketpieces: one of garment fabric,
amide,baste the welts together (Figure 5.11f). and one of lining.
If any puckers occur in the corners,turn -Place the garment fabricpocket piece against
the welts back to the outside and clip fur- the upper welt; stitch alongthe previous
ther into the corners,releasingthe pulls or stitchinglines. Stitchthe lining to the bottom
puckers. welt.
facing you, turn it back, exposing the
small triangles from the slashing. Machine
stitch through the triangles several times
to secure (Figure 5.11g), and continue
stitching the pocket pieces together to the
top of the other side (Figure 5.11h). Trim
the excess fabric, leaving a %-inch seam
allowance.
Piped Pockets
To avoid confusion, sometimesthe welt pockets
arereferred to aspipedpockets. Premadepiping
of fabric matching or contrasting with the gar-
ment can be used as the welts for the double
welt ~ocket.Or, cording can be laced within
the welts, forming a "piping." The construction

5.116 S E C U R I N G T H E TRIANGULAR E N D S
O F THE S L A S H POCKET O P E N I N G ,
A N D STITCHING THE POCKET
is the same, but the cording, which is the same
length as the welt, is placed within the welts as
they are positioned on the garment front, and
before the triangles left from slashingare sewn
and reinforced. Any excess cording is trimmed
away before the triangles are stitched to reduce
bulk. The cordingproduces a rounded effect of
I
IF 6ARMENT IS NOT LINED
the welts.
Begin with wider-than-needed strips of bias
when making piping. It's easier to work with
and to cut off the unneeded width after the
piping is sewn.
5.11H SECURING THE TRIANGULAR ENDS
OF THE SLASH POCKET OPEN
Pockets with Zippers
Pockets with zippers can be both functionaland
decorative.Becauseof thewidevarietyof zippers
available, these pockets areuseful on sportswear
but can be appliedto other garmentsas well. On
pockets, a 5- or %inchzipperworks well.
Extend this pattern to a length that is com-
fortablefor the hand to fit into from the side
or the top, and that is in proportion to the
garment you are making. Separatethe pat-
tern into three pieces: the upper pocket, the
lower pocket, and the lining, which can be
made from flannel or fleecefor warmth. This
pocket is constructed beforeplacement on
the garment and topstitching.
With the correct sides of the upper pocket
together, place the zipper in between the two
layers and stitch with a %-inchseamallow-
ance (Figure5.12a). The zipper teeth will be
facingthe correct side of the fabricand the
zipper stopmust be includedin this length.
Turn the upper pocket to the correct side and
press, edgestitchingalongthe fold,near the
teeth (Figure5.12b).
With the correct sides of the lowerpocket to-
gether, place the other side of the zipper tape
in between the two layers and stitch again,
at %-inchseam allowance. Turn the lower
pocket to the correct side,press, and then
edgestitch alongthe fold near the teeth of the- -
zipper (Figure5.12b).
With the teeth of the zipper showingon the
correct side of the pocket, place the correct
side of the lining piece againstit. Carefully
stitcharound the entirepocketusing a%-inch
seamallowance;avoid stitchingthrough the
zipper, whichcould break the needle. Clip
the cornersto reducebulk; make a slash
through the lining near the bottom just large
enoughto pull the pocket through. The slash
openingcan be fused closedwith apiece of
fusibleinterfacingor hand stitchedtogether
(Figure5.12~).
Place the pocket on the garment, match-
ing markings for placement. Edgestitch the

pocket, leaving an opening on the side or the
top, large enough for easy hand entry. Back-
stitch to reinforcethis opening, and stitch
again % inch away from the first stitching
(Figure 5.12d).
Pocket with Exposed Zipper
Popular on sportswear and novelty-shaped
pocketsalike,the exposedzipperisinsertedinto
a "windown-shapedopeningin the pocket.
Because the pocket is cut open, the entire
shape of the pocket needs to be interfaced
to control and prevent fraying. (Refer to
Chapter 3, "Introduction to Stabilizers.")
Mark the opening % inch wide and %
inch longer than the zipper being applied
on the wrong side of the pocket. Stitch
around the "window" using a short stitch
of 1.5 or 2.0. Slash open the "window,"
clipping into the corners, but not through
the stitching.
Carefully turn the edgesto the back of the
pocket; press. Baste the turned-back edgesto
the pocket. (Same stitchingmethod used in
Figures 17.14 a and b.)
Place the zipperunder the "window." Bastein
place or use atemporary adhesivebasting tape
(referto Chapter3, "Introduction to Stabiliz-
ers") to hold the zipperin place. Edgestitch
around the opening,then stitch again%inch
awayfrom the first row of stitching.
Pressunder the seamallowances, place the
~ocketon the garment, and topstitch.
Pockets: Bnilding a Handy Compartment
.~ ~ ~~~. ~ ~~ ~~~ ~ ~ ~~~.~~~ ~
Lowerpxket
5.12A STITCHING THEZIPPER TO THE UPPER POCKET
5.128 EDGESTITCHING THE ZIPPER 10 THE LOWER POCKET

POCKET
OPENING
5.12C ATTACHING THE POCKET LINING AND SLASHING
Pocket Flaps and Welts
The flap can be inserted into a welt or placed
over apocket.The differencebetween a flapand
awelt is that a flap hangs down without any se-
curing stitches,whereas awelt usually is placed
facing upward and is stitched along its sides to
the garment.The flapisfunctional, coveringthe
top of a pocket. Both the flap and the welt can
be used decoratively, stitched to the garment
without a pocket underneath. They both can
be made into any shape that complements the
GARMENT-CORRECT SIDE
5.12D STITCHING THE POCKET TO THE GARMENT
design of the garment or provides a contrasting
detail to highlight the design.
The rectangdar-shapedflap is most com-
monly used.
Interfacingis appliedto half of the flap/welt,
which is cut in the samedirection as the gar-
ment surface.Fold in half, with correct sides
together, and stitch the side seamstogether
at %-inchseam allowance. Clip the corners
to reduce bulk, turn, and press (seeFigure
5.3a). This flap/welt can also be made in two
pieces, using lining fabricfor the under flap
to reduce bulk. Any decorativestitchingon
the flap/welt should be done before attaching
the flap/welt to the garment.
The flap is attached to the garment by
matching the markings for placement. The
flap is placed with the raw edges facing
toward the hem. The raw edges can be clean
finished by serging, or if the fabric is light-

II M P O R T A N T
Use a point turner to get intothe corners of
theflaplwelt for a sharp, crisp point.
weight enough, the raw edges can be folded
inside and basted closed.
Stitch alongthe foldlinethrough the flap
seam allowancesand garment.
Fold theflapto thecorrectsideof the gar-
ment;press. Topstitch%inchfromthefolded,
pressed edge, securingthe flapto the garment.
Theroundedpocketflap, asshowninFigure5.3b,
is constructedin two pieces, with an upper flap/
welt of garment fabric and an under flap of gar-
ment fabricor liningfabric. Any novelty shaped
flaplweltwould be constructedthe sameway.
Stabilizewith interfacing.
After stitchingaround the curve, cut notches
up to, but not through the line of stitching.
Trim the seam allowanceto %inch.Press,
and turn the pocket to the correct side.The
notching reducesthe bulk around the curve,
allowingthe fabricto lie smoothly.
garment or contrasting fabric, and an under
flaplwelt of matchingfabricor lining, it follows
the same steps as listed above, with the follow-
ing exception:
When stitchingthe side seams down to the
point, pivot at the point and take two small,
straight stitchesacrossthe point before piv-
oting again, and continuingup the opposite
side.
The two straight stitches at the point allow
clipping, easingthe turningpoint, and actu-
allycreatinga sharper point. Use apoint
turner in this area, very carefullyso asnot to
push the point turner through the point.
All pocket flaplwelts can be topstitched. This
stitching should be done to the welt before
sewingit to the garment orpocket. Topstitching
can be one or more rows of functional/decora-
tive machine stitching through all the layers of
the flaplwelt. Topstitching is stitched from the
correct side of the flap/welts, and sewn very
carefully,parallel to the seam line. Topstitching
is functional in that it holds the flap/welt flat. It
is decorative as an accent of seam lines, and to
bias strip made in various widths of the same
or contrasting fabric. It can be filledwith cord-
ing to create a rounded shape, or it can be made
without cording. Because the piping is made
from bias, it's flexible, allowing it to be shaped
(Figures 6.20 and 6.21). This decorative tech-
nique can be used to emphasize convex or con-
cavecurves, or scallopededges, andto providea
design detail andpoint of interest to edges. Ac-
curate sewing that maintains the width of the
pipingis absolutelynecessarywhen drawingat-
tention to lines and curves.
Piping can be premade or made to match
the flap/welts. Insert the piping between the
seam allowances,matchingthe raw edges of the
piping to the raw edges of the flap/welts. Stitch
the seam allowance using a zipper foot, which
allows the needle to stitch closely to the sand-
wiched piping. The seam allowance can vary
from narrow (% inch), which reduces bulk, to
wider ('hinch or more) for easier application.
SEW, CLIP, PRESS. The piping is now on the
outsideedgesof the flaplwelt.
Turn the pocket to the correct side and emphasize the structural lines of the flap/welt. I
I M P O R T A N T
Practice these techniques before stitching
on the flaplwelts. Sample several different
types ofthreads and stitch lengths.
press. Any decorativestitchingon the flap/ Thread can match or contrast. Specialty thread
welt would be done before attachingto the can be used, or two strands of needle thread. A
garment. steady hand directing the stitching and close
Continue construction as above. attention to accuracy makes this detail an out-
standing addition to the flap/welts or other BAR TACKS
Thepointedflap/welt can be centered or asym- areas of the garment. Bar tacks are used to reinforce small areas of
metrical (off-center) for more interest. Con- Pocketflaplweltscanbe enhancedby piping, strain, such as at the upper edges of the pock-
structed in two pieces, an upper flaplwelt of as explained in Chapter 6. Piping is a folded ets and elsewhereon garments. When made by a

Professional Sewing Techniqrres for Designers
homesewingmachine,agroup of zigzagstitches
overlap or touch one another or there is aspecial
stitch for this technique. In industrial sewing,
specialized machines produce this stitch. As a
couture touch on tailored garments, this stitch
is called the Arrowhead tack. Use topstitching
thread, buttonhole twist thread, or two strands
of needlethread to create this stitch by hand.
CLOSURES ON POCKETS
There are two basic categories of closures for
pockets: functional and decorative. Functional
closures are those elements that actually work,
suchasbuttonholes, buttondloops, zippers,tabs
and buckles, and D-rings, to mention afew.
Decorative, nonworking closures add a
design element to the garment when applied
to the pocket or flap. Some examples include
buttons applied over a stitched buttonhole
that is not cut open, fabric frogs applied to
the surface of the pocket, an unopened zipper
stitched directly on the surface of the pocket,
or loops applied along the upper edge of the
pocket. (Refer to Chapter 17, "Closures.") As
long as the decorative closures add appeal, and
complement and work with the fabric weight
and hand, have the courage to use something
unique!
POCKETS IN TRICKY FABRICS
Stripes or Plaids
Changingdirectionwhen usingstripesorplaids
can add an exciting design element to the gar-
ment. When turning the direction of the grain-
line, consider how this element affects the look
IMPORTANT
Reinforce the area supporting the closures
with stabilizer that is appropriate for t h e gar-
ment fabric.
of the garment andwhetherthe costof the addi-
tional fabricneeded isjustified when using bias.
Biaspocketsmadefrom stripesorplaidsrequire
stabilizing; changing the lengthwise grainline
to the crosswise grainline may produce some
stretching.Stabilizetheentirepocket, orusestay
tape at the upper edge to prevent stretching.
Sheer Fabrics
Sheer fabrics fall into two categories: firmly
woven, such as organdy, or softer, more drap-
ablesheer, such aschiffon.Whenworking with
these fabrics, extra care must be taken in cut-
ting and sewing (Figure 2.19). For greater ac-
curacy in cutting and sewing, use tissue paper
over and under the fabric.
Purchase a package of multicolored gift
tissue and use a color that issimilarto the fabric
you are using, whether it is a solid or a print.
The tissue tears away easily, but if tiny bits are
leftwithin the seamallowance,itwill be lessno-
ticeablethan white tissue paper.
A detail such as a pocket that is functional
needs to be underlined. Pockets in sheer fabrics
such as georgette or batiste can be underlined
using another firm sheer fabric such as silk or-
ganzafor support.
A decorative pocket such as a gathered
pocket made from chiffoncan be self-lined.
Always match the fabricto the use. A fabric
can be made to work in a way for which it was
not intended as a design statement. In order for
it to look well made, it must complement and
enhance the design, as well as be impeccably
constructed.
Lace, Beaded, Velvet, and Satin Fabrics
These very special-care fabrics that require
particular attention to careful handling can
all be stitched as in-seam pockets. Because of
the potential bulkiness of velvet and lace, a
facing pocket paired with lining will reduce
the bulk and produce a smooth, flat pocket.
When using beaded fabrics for in-seam pock-
ets, all of the beading should be removed from
the surface of the pocket fabric before stitch-
ing. Satin fabrics will often show ridging on
the surface of the garment if serging is used
to finish seams; finish the seam edges of the
pocket with sheer SeamsGreatfor the flattest,
smoothest finish.
Knits
Any type of pocket could conceivably be made
in knit fabric,but the successof the pocket style
depends on the weight and stretch of the knit.
For example,you would not put a tailored, welt
pocket into slinky knit-the stretch of the knit
would completely prevent the finished pocket
from interacting with the drape of the knit.
Patchpocketsareoftenfound on stableknit gar-
ments that are heavier weight. In-seam pockets
aremost oftenused on skirts, dresses, andpants
made from knit fabric.

Denim in leather.You've never sewnwith leather STRETCH YOUR CREATIVITY
All styles of pockets are fabulous in denim. before, but you know how to accurately As a creativeperson training to be a fashionde-
Sample the style of pocket you want to use mark, carefullycut, evenly stitch,pivot,clip, signer,your willingnesstoexperimentwith new
beforeplacing it onto or into the garment. trim, and stabilizepatch pockets. ideas is critical. Taking the basic patch pocket,
Putting it all together by thinking of what flap, or shaped side pocket as a start, you can
Leather
Any styleof pocketthatcanbe madeinfabriccan
also be made in leather. Welt pockets can be con-
structedas describedearlier.Lighterweightskins
of leather have some give and require stabilizing
(only use low-temperature fusible) to prevent
stretching. Test several weights and types of in-
terfacing on sample pieces of leather to obtain a
perfect match. (Referto Chapter3, "Introduction
to Stabilizers.") Use stabilizertape atthetop edge
of leatherpockets to prevent the pocket opening
from stretching. Use craft glue to position patch
pockets on the surfaceof aleathergarment.
This chapter has explained the many different
types of pockets; the importance of accurate
marking,cutting,andstitching;howtoassemble
and createboth functional and decorativestyles
of pockets and flaps;and how pockets and flaps
areused in design.Pockets areattention-getting
elements and, for this reason, it is best to start
you do know, you can begin to: create many different versions as shown in
-Stabilizethe front of the garment.
-Accurately mark the welt placement.
-Straightstitch the welts from leather.
Knowing these techniques will get you started.
Then, with the help of your instructor and by
followingthe explanationsof the welt pockets,
you canlearn to stitch the welt pocketin leather
or another fabric, broadening your sewing
skills. Given what you learned from stitching
patch pockets and flaps, you will transfer that
knowledge to other pocket designs and fabrics
such as the welt pocket in leather.
Thecutting,marking, andstitchingyou have
learnedin this chaptercan alsobe transferred to
the followingdesign suggestions:
Choose a detailfrom the print of the design
fabric, such as a flower or a geometricdesign.
Create apocket from this detail.
Mimic the lines of the fabricprint on a
Figure 5.13. Try some of the listed suggestions,
have fun, and seewherethe design endsup!
Layer severaldifferentlysized and shaped
pocket flapsof differentcolors or textures,
and soforth, but consider bulk and fabric
weight at the top of the flap.
Cut an asymmetricalflap that foldsover at
two differentpoints.
Create an unusual noveltypocket with
wildly contrastinglining.
Makea shapedwelt pocket, such as a triangle
or a curve.
Turn the direction of the grainline of a welt
pocket to achievea differentlook in the
design,using the samesewing techniques.
Use decorativemachine stitchesto topstitch
pocket flaps.
Create afalsepiping by cutting the lining '14
inch larger than the pocket, rollingit to the
outside, and topstitching the pocket to the
out perfecting the easiestpocket, trying all the shaped flap, and topstitch with a contrasting garment.
~ossiblecombinationsthat can be made of that thread color from the print. Create a border of sheerorganza gathered
pocket, and then moving on to another, more Add piping to the edge of a one-pieceflap pockets to trim the necklineand hem of a
complexpocket. pocket with a machine-stitched buttonhole. linen dress-strictly decorative!
Bind the edges of a rounded, gathered Add a ruffle around the pocket; could be cut
Let's say a garment design callsfor tweed, pocket with bias binding on a single-layer on bias with raw edges or afolded ruffle.
and the welt of the pocket would look great pocket. Experimentwith changingthe direction of

~ - . . . ~ . ~ ~ . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......
5.13 VARIATIONS ON THE BASIC POCKET AND FLAP
PATCHPOCKET
I
. JG FULLNESS ADDINGZIPPER
S C A L ~ ~ P E DEDGE ADD BIAS TRIM
AND DECORATIVE BUTTON
SIDE POCKET *
7
STYLIZED CURVED
SHAPE
STYLIZEDANGLED
SHAPE

the pocketsin an asymmetricaldesign.
Createa sheer, single-layerpocketwith drape
at top of the pocket; leave edgesraw.
Use two rows of topstitching to create
"jeans" pockets. Createyour own design,
using unique thread.
Pockets: Bnilding a Handy Compartment
...the welt slashes are too big and
extend beyond the markings?
If you have slashed too far, you can first try to
adjustthestitchingtoextendbeyondtheslashing
if it doesn't involvetoo many stitches.However,
the welts will not be sewn at the same size, so
you will alsohave to add stitchesto the welts to
attempt to match it all up. This is very difficult,
but worth a try. This solutiononly has a chance
of working if you have not alreadytrimmed the
excess length of the welts. Otherwise, you will
have to cut longerwelts and restitch.
...the patch pockets are unevenly sewn
despite careful pinning?
Accurate placement of the patch pockets is es-
sential. Using various marking supplies such
as fabric marking pens, transfer paper with a
tracing wheel, or stitch tracing on very diffi-
cult fabrics can help. In production, small drill
holes are placed 1/8 inch down from the top of
the pocket placement and '/8 inch in from the
side of the pocket placement. The pocket, if ac-
curatelyplaced, coversthese holes.The solution. -
to slipped, pinned pockets can be hahdbasting
of the pocket or trying an adhesivebjastingtape
to temporarily hold the pocket in place while
stitching.
SELF-CRITIQUE
Are the pockets cut on the correct grainlines?
Are the pocketsplaced evenly-that is, are
they symmetrical(unlessin the design they
are asymmetrical)?
Are the pocket seamallowancesturned
smoothly-with no puckeringor unneces-
sary,unintended gathering?
Are the decorativeelementssuchas buttons,
trim, piping, or closuressewnoninvisibly?
Are the welts exactly even in width over the
pocket opening?
Is there anypuckeringat the cornerswhere
the welts have been turned?
Do the flapsor shapedpockets lie flat,with-
out bulk?
What do patch pockets with all-in-one flaps
and patch pockets with separate flaps have in
common?Indicate what you don't understand,
and ask your instructor for furtherhelp.
They both can be lined to the edge with self-
fabric,contrasting fabric, or lining.
The flapsare stabilized.
They both can be made into many unique
shapes.
They both can have functional closures.
They both can have decorativeapplications
to the pocket or flap.
Depending ontheir size,they can be func-
tional or decorative.
Look at your pockets and askyourself:
Is this pocket functional, and does it actually
work?
Does the pocket look like it belongswith the
design?
Does the pocket enhancethe design enough
to justify the time and cost involved?
Will this pocket detail prompt the customer
to "have to have it"?
With practice, patience, accuracy, and good
sewing skills, pockets will become a favorite
featured design element.

6.1A BRA.TOP DRESS 6.18 CURVED SEAMED
DRESS
6.1C CHECK I A C K E T AND
HIGH-WAISTED PANTS
S.1D FLORAL S U M M E R DRESS

Seams: Joining It All Together
STYLE I.D.
Take a look at the sketches of designs in this
chapterin the StyleI.D. (Figure6.1) and observe
alltheseamsthat build shapeinto eachgarment.
Makea list of all the different seamsyou see.
GATHER YOUR TOOLS
Thread, machine needles (variety of sizes and
types), tape measure, seamgauge,pins, scissors,
hand sewingneedles,fabricmarkers, stabilizing
tapes, and a good senseof humorare needed!
NOW LEPS GET STARTED
What Is a Seam?
The contour of a woman's form is shaped and
curved. Seams (and darts) are essentialto create
the shape required for the garment to contour
the bust, waist, and hips of the female form to
flatter her figure.It is the designer's challengeto
create seams to contour this curvaceous body
shape(seeFigure 2.7~).
Every seam has seam allowance to protect
the stitches from pulling away from the seam
(Figure6.2). Structuralseamssuchasthe shoul-
der seam, side seam, and sleeve underarm seam
help define the garment silhouette. Structural
seamsarealsoplaced withinthe garmentsilhou-
ette to shapethegarment to the body. Enclosed
seamsarethe edgesof collars, somepockets, and
waistline and cuff edges. These also help d&ne
the garment silhouette. The garment silhouette
canalsobe definedwithafoldededgeratherthan
aseam.An illustrationof this is the hem.
Seams can be vertical, horizontal, curved,
round, or diagonal-a seam can be shaped in
any direction. Take a look at the Style I.D. in
Figure 6.1. Can you find these shaped seams?
How Are Seams Created?
The sketch is the designer's guide to how the
garment is going to look. After the designer
determines the silhouette of the garment-de-
fining the length, width, neckline and armhole
shapes, sleevelength, and more-the silhouette
becomes the frameworkwithin which to work.
The designerthen plots the design lines, plac-
ingthemwithinthe silhouettein accordancewith
the sketch.Each linedrawnrepresentsa dart or a
seam.Thedesignerrearrangesthelinesuntilallthe
lines are aesthetically pleasing. The designeruses
good eye judgment, look~ngfor propomon, bal-
ance,repetition,andultimatelyunity of design.
After the seamlines are plotted, notches,
matchpoints, and grainlines are marked onto
each pattern piece before they are separated.
Seamallowanceis addedafterthe patternpieces
are separated.Pattern markings are an essential
part of stitching accurate seams. (This concept
was introduced in Chapter2; see "It All Begins
with the Pattern.") Cutting the pattern -on
grain," followingthe pattern grainline,ensures
that the seamswill not look twisted when they
are stitched. Even though pattern marking was
discussed in Chapter 2, we cannot overempha-
size the importance of this step in the design
and consuuctionof the garment.
When notches are snipped in the seams,
matching the fabric pieces together is a smooth
process. Timeisnot wasted trying to figure out
which fabricpiece goeswhere. Figure 6.3a illus-
->' 1 '
8.2 THE SEAM ALLOWANCE
~earnadwance PROTECTS THE STITCHING
FROM PULLING AWAY FROM
THE SEAMS.
trates how the seamsin the front of the bra-top
dress (see Figure 6.la) were stitched when the
notches were matched together. Comparewith
Figure 6.3b. Observehow the samedress looks
when notches were not snipped at the cutting
stage. All the pieces were stitched together in-
correctly and stretched to fit seams they didn't

belong to. The seams will need to be seam
ripped, pressed, and stitched again. This was a
waste of precious time! By using pattern mark-
ings, successis guaranteed.
Choosing the Best Seam for Your Project
Let's recap what we learnedin Chapter 2:
Keep in mind there is alwaysmore than one
method of stitching seams.
To choosethe appropriateseamfinishfor
your project, you must sample!
The best guideis the fabricitself-the type
and weight.
The seamfinishis the designer's choice;for
this reason, sound construction knowledgeis
important.
Thetargetcustomerand thepricepoint of the
garment candefinethe seamfinishyou choose.
For example, asummerjacket could be made
in cotton brocade. A Hong Kongfinishcould
be used forthe entirejacket (seams,facing,
and hem edges).Thiswould be laborinten-
sive, and thuscostly,but the completedjacket
would lookfabulousonthe inside. On.the
otherhand, thesamefabriccould be stitched
together with asafetystitch. A safetystitchis a
quick, cost-effectiveseamfinish.A well-heeled
shopperwouldpurchase thefirstjacket ata
storesuchasSaksFifthAvenue; thecustomer
on abudgetwould purchasethesecondjacket
atastoresuchasTargetor OldNavy. As you
cansee, identify~ngthetargetcustomerhas an
impacton the seamtechniquesthat character-
izeparticularcollections.
LET'S PREPARE TO STITCH
Let's go over a few basic stitchitips before we
begin. These tips, and much more, were dis-
cussedin Chapter 2, "Let's Stitch!"
First thread the sewingmachine.
Check the bobbin tension.
Use the correct needlesizenumber.
Adjust the stitch length dialto the appropri-
ate stitch length for the fabric.
Withthetapemeasurearoundyourneck or
seamgaugeby yoursideandpinsatyour finger-
tips, you arenowreadyto beginto stitchseams.
Stitch a sample seamusingtwopieces of
muslin or the fashion fabricyou are using.
Do not use a singlelayer of muslin, as this
will not give an accuratestitch.
What Do I Do if My Stitches
Are Not Quality Stitches?
Checkthat the machine is threaded correctly.
Check the bobbin tension.
Try a differentneedlesize.
Try a new needle.
Experimentwith the machinetension.
Check that you used two pieces of fabricfor
sampling.
IMPORTANT
Checkon both sides of the fabric that the
stitch tension is correct. Figure 2.26b il-
lustrates how the stitches look when the
tension is correct. Do attend to this now-if
your stitch tension is not correct, you cannot
stitch quality stitches. Adjust the machine or
bobbin tension accordingly.
II M P O R T A N T
-Hish-aualitv fabrics are easier to stitch
I
- .
than those of poorer quality. Quality fabric.
stitching, and finishingare what make one
designer's work stand out from another's.
Sampleagainand again. ..with experienceit
will get easier.
After the fabrichas been cut, and pattern mark-
ings applied, stabilizerssuchas an interfacingor
an underliningare next in the stitchingorder. It
must be noted that some seams need stabilizing
to prevent them from stretchingin the stitching
process. Any fabric edges cut on the bias grain
have the potentialto stretch and may need a sta-
bilizing tape (as an alternativeto an underlining
or an interfacing) to stabilize and reinforce a
seambeforeit isstitched(Figure3.8). Howthisis
doneiscoveredin Chapter3, "StabilizingTapes."
Refer to the stabilizingtape chart in Table 3.1.
After attending to the stabilizer, next in
the stitching order is flat construction (such as
darts, tucks, andanyseamsthat mustbe stitched
before the sideseamsare stitchedtogether).
Seam Supports
A seam support is any aid that helps and sup-
ports you when stitching seams. Seamsupports
canvary: tape measure, seamgauge, pins, fabric
markers, andhandbastingallaidin accurateand

Seamr:Joining It All Together
.....................................................................
CENTERFRONT
CENTER
FRONTS
~RONT
PANEL
THIS PIECE
IS TURNED
UP-SIDE-DOWY
6.5A WHEN NOTCHES ARE SNIPPED, EACH GARMENT PIECE FITS
PERFECTLY TOGETHER. THIS I S THE FRONT SECTION OF THE RED
DRESS I N FIGURE 6.1A STITCHED PERFECTLY TOGETHER.
6.38 WHEN NOTCHES ARE NOT SNIPPED, GARMENT PIECES CAN
BE TURNED UPSIDE DOWN AND STRETCHED TO FIT OTHER SEAMS
AND ARE EASILY STITCHED TOGETHER WRONGLY.

tMPORTANT
After yean of sewinguperience. weam
great believersinusingP ~ehmsupport. One
dour favoriteseam supportswuld hrwto
behandbasting.
parallel seam stitching. It is important to use
them andnot to skipthis process! Studentswho
skip this process usually endup havingto undo
their stitchingand restitch.
Use the followingseamsupports:
A tape measureplaced around your neck aids
you in measuringthe seam allowance(Figure
1.1).Guessingthe width is not good enough!
A seam gauge also helps to measure accurate
seam allowances (Figure2.1).
Followingthe needleplate on the machine
can help in stitching the seamto the correct
width. Figure2.23 points to wherethe throat
plate is located on the sewingmachine. Some
throat plates are marked (% inch, '/iinch, %
inch, and 1inch)and some are not-if yours
is not, then use your seam gauge to measure
the seam allowance.
Marking the stitchingposition on both
wrong sides of the muslin will help new
design students stitch seamsparallel to the
fabricedge. Marking the seamlinewill also
help you rememberthe width of the seam
allowanceyou are using. Figures 2.21~and d
showshow this is done.
Seamallowancesare then securedwith pins;
however, don't overpin!
6.4A SEAM ALLOWANCE SECURED W I
HORIZONTAL PINS: READY TO STITC

,,,
2,
::.'
i:;
f .
g;,
%i
2:;
%..p;.
i:.
$:.
$:., 1$?
g:: ,,
8.,::
p'.
4.;'&..: -
fl;CI::,
gi.
Pins placed horizontally hold the seams
together,ready to be stitched.Remove the
pins asyou approach them, as stitching
over the pins can break the needle (Figure
6.4a).
Pins placed verticallyare used for fitting
purposes. Pinning for fittingpurposes
requiresmore pins placed closer together
(Figure 6.4b).
Seamscan be handbasted together, as il-
lustrated in Figure6.5. These are tempo-
rary hand stitchesthat help hold the seams
together. They are removed after the seamis
permanently stitched.Refer to the discussion
of handbastingunder "Sew-in Stabilizer"in
Chapter 3.
Seamscan also be tissue stitchedusing strips
of tissue paper (of the sametype used for gift
wrapping)in a color nearest to that of the
fabric.Cut 2-inch-wide strips of tissue and
place them under the seamsto stabilize. Line
up the tissue paper edgewith the seamedge
and stitch.Tear the tissue paper away after
the seamis completed.
In production, machinists rarely use pins. Re-
member, a machinist is sewingall day long and
we arenot! With practice you toowill use fewer
andfewer insasyou becomemoreexperienced.
Pins are a wonderful seam support but don't
overuse them (suchaspinning every inch).
Stitching the "Perfect" Seam
Let's begin by refreshing your memory of the
stitching rhythm, SEW, CLIP, PRESS, that
6.5 HANDBASTING HELPS TO HOLD THE SEAM IN PLACE.
was discussed in Chapter 2. Begin by using this
stitching rhythm with your very first stitches.
As you ~racticethis method, you will find in
time that it will become second nature. By fol-
lowing this method, you will achieve smooth,
flat, perfect seams. Stitchinga perfect seam also
involves clipping the threads and pressing the
seams.Takepride in your work.
It is very important to press each seam as
you go. The care and respect given to the gar-
ment during construction is important. Over-
pressing can be disastrous. If all the pressing is
left until the end, it can be hard to get back into
the garment to press. For more information,
refer to Chapter 2, "How to Press a Garment."
The student's aim should be to learn to stitch
"perfect" seams.
A "perfect" seam is onethat:
Lies flat and smooth. After seamsare
stitched,they may look slightlypuckered
owing to the thread. This could indicatethat
the bobbin was wound too fast, tightening
up the thread; then, asthe seamwas stitched,
it wasn't able to relax. Pressingthe seamin
the directionin which it was stitched,and
then pressing it open, "melds" the stitches
into the fabric. Pressinghelps seamslie
smooth and flat and prepares the fabricto be
stitchedto the next fabricpiece.

the seamallowanceto spread and open so it can
IMPORTANT be joined to another shaped fabricpiece. Figure
It's important that seams be stitched with 6.6b illustrates this clearly. Any clipped seam
quality construction. A customer may return has pressureatthesepoints, and astaystitchacts
a garment if the seams do not hold up to ev-
as a fence, preventingthe clippingfrom ripping,
eryday wear and tear. Poor structural design
will ultimately give a company a bad name!
fraying, or splitting.
Staystitchingalso must be used for reinforc-
ing angled and shaped neckline edges before a
Hangs "on grain" and does not look twisted facing or lining is applied. Look at Figure 6.6b,
when the garment is fit on the dressform. c, and d to seewhere the staystitchingis stitched
Does not look stretched,puckered, or on the scooped, round, and V necklines.
wobbly from the correct side of the garment.
Crooked or wobbly seamstitchingneeds to
be seamripped and restitched. I he garment is underlined, apply the staystitch-
ngafter the underlining has been applied (see
LET'S BEGIN TO STITCH
0Figure 3.17).
Staystitch Stitch the staystitch '/,s inch inside the seamline.
Staystitching is one single row of stitching Usea small stitch length (2 is a good, general
stitched to one layer of fabric to reinforce and stitch length).
prevent seams from stretching and distorting Staystitch the neckline directionally; in this case,
in the stitchingprocess. Any fabriccan be stay- that means stitchingfrom the shoulders to the
stitched to stabilize it-the main consideration center front of the neckline. Stitchingdirectional
isn't the type of fabric, but rather the grainline does not distort or stretch the fabric (Figure
on which the seam is cut, or the angle of the 6.6b,c, and d).
seamline. To reinforce corners, begin and end at a point
When angled seams are stitched together, iinch to either side of the corner (Figure 6.6a).
the inside corner must be clipped into the pivot Corners can also be stabilized with fusible or
point or matchpoint before it can be stitched nonfusible interfacing for extra reinforcement.
to another garment piece. The pivot point is Also notice in this figure that a small piece of
the corner where the angle meets on the seam- interfacing can also be used to reinforce the
line. Look at Figure 6.6a to see the pivot point, angled corner. It is important that the interfac-
and the position of the staystitching. Likewise, ing not shadow to the correct side, as this would
before curved or round seams can be stitched, distract from the overall appearance of the
the inward curve needs to be clipped to allow garment.
Stitch Directional
When stitching a seam, it is advisable to stitch
from the top of the garment to the bottom of the
garment.This approach, referredto as stitching
directional, prevents the garment pieces from
stretching when they are stitched together. By
beginning the stitchingfrom the top of the gar-
ment, if a slight discrepancy in seam lengths
occurs, the extra length can be trimmed from
the hem. In Figure 6.7a, the pant leg is stitched
directional. Later in this chapter, in the section
"Intersecting Seams," two pant legs will be
stitched together around the crotch seam. The
skirt in Figure6.7b is also stitcheddirectional.
Plain Seam
A plain seam is the most basic and least notice-
able of all the seams. It is appropriate for just
about any location on the garment, and suits
most fabric types. Plain seams can be straight,
curved, round, or angled and each will be dis-
cussed in this chapter. When a plain seam is
stitched in the traditional way, the seamallow-
ance is facing the inside of the garment, on the
wrong side of the fabric. On the correct side
of the garment, seams look smooth with clean
lines. However, plain seams can also be top-
stitched, exposed,piped,boned, or embellished
with trims. All of these ideaswill be discussed
in this chapter as we move forward. A plain
seam is exposed or "deconstructed" when the
seamallowanceisunfinished and shows on the
correct side of the garment. Exposed seams are
popular in fashion today.

~~~~ ~ ~.~ ~ ~ ~ . ~ ~
B) STAYSTITCH CURVED OR ROUND
SEAMS FOR eEINFORCEMINT
iAMS
6.6D CLIP
PIVOT POINT

L
6.78 SKIRT
c t sides oftwo pieces of fabric
together, matchingboth cut edges. Pininplace
(see Figure6.d
u Laythe fabric Ratonthe machinethroat plate
with the seamallowance tayour right. Position
the pressure foot at the fabricedge readyto
stitch a *A-inch, *-inch, or %-inch plain seam.
Referto Chapter2,'Seam Allowance?
u Holdboththetop and bobbinthreads behindthe
presserfoot. As youbegin to stitch, gently pull
the threads tohetpthe machinef e d the fabric.
* Begln and end everyseam with backstitches.
IMPORTANT
As you stitch, always keep your eyes open to
what is happening under the seam as well as
A backstitch securesthe seams so they don't
unravel duringthe construction process. To
backstitch, stitch forward '/linch then back r/r
inch, then continueto stitch the entireseam and
also end the seam with a backstitch. (Figure 6.8a
shows the direction of the backstitching. Figure
6.8b shows how the seam actually looks when it
is backstitched.)
When the seam is stitched, thestitchingshould
be parallel to the cut fabricedges.
Practice Makes Perfect
Don't be discouraged if your seam needs to be
restitched-all beginners stitch crooked seams
no matter how hard they up.Just &take a deep
breath and use your seam ripper (Figure 2.27),
slowly and carefully, t o undo each sd& Be
sure t o ~emovea l l threads and press the seam
flar againbefore reetitchingthe seam.
Bias~GutSoafa
Whenstitching rwobias-cut edgestogether, the
fabric can be oversoetched or puckered inthe
stitchingprocess. Forthis reason, specialatten-
cion is needed when stitching bias-cut reams.
Plam the color-matched tissue paper under-
neath the seam to srabilize and sEightly s t r e d
the seam as y o u stitch. Slightly stretching the

~~.~~~ ~~~~~~~~~~ ~~~ ~~~~ ~ ~ . .~. .
STITCHPAFALLELTO
/
THE FABRIC EDGES
I
I M P O R T A N T
Always stitch a sample seam in your fashion 1
STITCH~ACKSTITCHES
AT BEGINNING AND
END OF EACH SEAM
6.88 BACKSTITCHES
ARE STITCHED
DIRECTLY ON TOP
OF EACH OTHER.
fabric (not muslin) to determine the "best"
to use for your project.
Before structural seams are finished, decide
whether your garment will have open or closed
seams. This decision influences the way the
seamsarepressed.Thedesignermakesthe choice
of seam finish, guided by the weight of fabric.
The bulk of the seam also needs to be consid-
ered. Let's consider a heavyweight fabric; an
openseamwould createless bulk.Next, consider
a sheer lightweight fabric; a closed seam would
not add bulk and would look less conspicuous,
especiallyif the seamshadowedfromthe correct
sideof thefabric.Takealook atFigure 6.9a andb
to seehow topress open and closedseams.
SERGED SEAM FINISH
Structural seams are finished along the cut
edges using a variety of methods. Seam fin-
ishes add polish and quality to a garment and
help the seamsto stand up to constant wear and
tear. Serged seams are the most common seam-
finishfound in production. Sergingis a profes-
seams prevents the stitches from "popping" cal or crosswise) is stable. When stitching a sional seam finish that prevents the seam edges
when the garmentisworn. Notches areessential bias grain to a straight grain, begin by plac-
in bringing together bias-cut seams. ing the correct sides together. Stitch the seam
with the bias side facing up. As you stitch,
!IMPORTANT
BiaslStraight Grain Seam don't stretch the bias piece; rather, ease it into After each seam is stitched, clip the threads
and press the seam open or closed.
Any fabric cut on the bias has the potential to the seam.
stretch. Fabric cut on the straight grain (verti-
Y

from unraveling. A serger cuts and overcasts
the fabric edges, as it stitches in one step. It's a
veryfast machinethat stitches 1,500stitchesper
minute. Sergersuse between two and five cones
of thread and no bobbin. Seams edges can be
serged open or closed.
Open Serged Seam
Careful serging is required-an open serged
seamissergedalongeachcut edge.Becarefulnot
to serge anyseam allowanceoff (Figure 6.lOa).
Closed Serged Seam
When aseamissergedclosed, both cut edgesare
serged together and pressed to one side (Figure
6.10b). A %-inch seam can be serged closed or
in lighter-weight or sheerfabrics,sergedback to
a '/*-inch width. A %-inch serged seam is used
often in production as a more cost-effective al-
ternative to stitchinga French seam.
/The/$aretwo choicesas to when the seam is
+&&ed.
I. The seam edgescan be finishedfirst,before they
arestitched;or
2. The seam edgescan be finished afterthe seams
are stitched together.
ihe design student should take time to con-
sider whether to finish the seams first, before
the seams are stitched, or after. While the gar-
ment is being developed, the fit is being per-
fected. Recutting, restitching, and more fitting
continueuntil the style is exactlyhow you want
~~~~~~~.

it to look. So, to finish the seams first may be
problematic. The decision is up to the design
student and guided by the individual stylebeing
stitched. Consultation with your instructor will
also help in making the best decision.
SAFETY STITCH
A safetystitchservesadualpurpose, by stitdung
the seamline and the edge finish simultaneously.
A safety stitch is cost-effective in production, as
it saves time, and time is money. It would not be
used in haute couture but is used in cheaper lines
of dothing. Four cones of thread are used for a
safetystitch. Figure6.11 illustratesa safetystitch.
SHAPED SEAMS
The secret to stitching shaped seams that lie
perfectly flat is by making sure, before you
begin, that notches are snipped, matchpoints
marked, and staystitching and clippingattended
to before joining the seam together.
Curved SeamlPrincess Seam
Princess seams create a flattering seamline that
contours the garment to the curvesof a woman's
body. A princess seam can be located on a top,
blouse, dress, skirt, jacket, or coat, and be lo-
cated on the front or the back of the garment. In
tops, a princess seam can begin from the arm-
hole or the shoulder seam. However, a princess
seam can also start from other points, as illus-
trated in the dress in Figure 6.la.
Princess seams are quite popular. Go back to
Chapter 1 and look at the structural seams in
each of the designsin Figures 1.4,1.5, and 1.6.
6.108 CLOSED
SERGED S E A M S
rderwillbefora princessseam curved
into the armhole. A curved princess seam into the
armhole has one inward and one outward curved
sectionthat are stitched together(seeFigure 6.6b).
Staystitchthe frontpanel beginning1I2inch from
the armholeedge, and stitch around the curved together (Figure 6.12a).
area. Notches should mark this sectionto be
staystitched.Staystitch'1,sinch insidethe seam in place. You will notice how the clippingon the
allowance (Figure6.12a). frontpanel allowsthe seam allowanceto open so
Clip intothe seam allowance up to the staystitch- the seamlinecan then fit accuratelytogether(see
ing(see Figure 6.12a). Observethat only the front Figure 6.12a).
panel is clipped. With the clipped sidefacing up, stitch all2-inch
Placethe correct sidesof the sideand centerseam startingfromthe armholeedge (seeFigure
front panelstogether, matchingthe notches. Pin 6.12a).

~~ ~~ ~ ~~ ~~ ~~~~ ~~~ ~~ ~ ~~ . ~ ~ ~ . ~ ~ ~~~ ~
Serge the seams closed and press the seam
allowance toward the front panel(Figure 6.12b).
Press all curved seams over a tailor's ham to
shape the princess seam. Referto Figure 4.3b.
Even though a dart is being pressed in this il-
lustration, the method isthe same. Also refer to
Chapter 2, "How to Press a Garment."
Circular Seam
The colorful dress in Figure 6.lb, in the Style
I.D., is called "the Circular Dress." Can you see
why this dress has this name?
the inward curve (concave) 'Ilsinch
nsidethe seamline.
Clip into the seam up to the staystitchingat regular
intervalsaround the seam-this isessential! The
clippingallowsthe seam allowanceto open up so
the seams can bestitchedtogether (Figure 6.13a).
The more circularthe seam, the closerthe clip-
pingneedsto be.
With correct sides together, with the clipped side
facing up, pin the two seams together and stitch
a'/>-inch seam (Figure 6.13b).
Serge a closed seam and pressthe seam facing
upward (with clipping underneath the seam).
Angled Seam
Look at the high-waisted pants in Figure 6.lc
to see an angled seam. The angle becomes more
prominent when fabrics in contrasting colors
are used in the design. The angled seams also
have been topstitched.
oints-they are essential in stitching
angled seam (Figure 6.14a ).
Staystitchthe corner1/,6 inch inside the seam
allowance for approximately 3/., inch on the
angled corner. The staystitching reinforces the
inward corner and keeps the fabric from pulling
away from the seam. Clip into the corner up to the
staystitching (Figure 6.14b).
Placethe correct sides of the fabric together. With
the clipped side facing up, pin one seam down to
the clipped corner. Don't pinthe other side of the
ITCHEDWITH
THIS SIDEOF FABRIC
seam at this stage, as it needsto hangfreely. FACING UP
Stitch aah-inchseam to the clipped corner;
leave the needle down in the fabric, and pivot by
swingingthe fabric around 180degrees. Notice
how the clipped corner allows the fabric to open
to complete the "perfect" angled seam. Stitch the
remainingseam and end with a backstitch (Figure
6.14b and c).
Serge the seams closed in two steps: serge one
seam and then the other, and pressthe seam
(Figure 6.14~).
V-Shaped Seam 6.11 MOCK SAFETY STITCH
This is a very popular style line in design and
is often used on an empire line or shaped as a
bra-cup. Refer back to the Style I.D., in Figure
6.la, to viewthe V-shaped seamin the red dress.
Notice that the bra section has a center-front
seam.If there is no center-front seam,then stay-
stitchingis necessaryforpivoting at the V shape
(Figure 6.15a). Staystitching and clipping are
not necessary when there is a center-front seam,
as illustrated in Figure 6.15b.
IMPORTANT
Fromthe correct side of the fabric, no pleat or
pucker should beevident at the corner when
these instructions are followed.

e.12 PRINCESS SEIMS
/-, Mark the matchpoints. Ifthe design doesn't have
j/acenter-front seam, staystitch the center-frontV
and clip before stitchingto the top section (see
Figure 6.15a).
Ifthe design has a center-front seam, as in the
dress in Figure 6.1, then stitch an open serged
seam. Begin stitchingfrom the top edge to the
matchpoints. Do notstitch beyondthis point into
the seam allowance (Figure 6.15b).
Whetherthere is a center-front seam or not, place
the correct sides ofthe top and bottom sections
together and stitch a %-inch seam. When you get
to the matchpoints, leave the machine needle
down in the fabric and pivot on the corner. Swing
the fabric down so the seam allowance opens,
enablingthe remaining stitchingto be completed
(see Figure 6.15a and b).
Serge the seam closed (Figure 6.15b).
Remember, always stitch a sample seam in your
fashion fabric (not muslin) to help provide direc-
tion as to the best seam finish for use in your
project.
PIPEDSEAMS
A piping is a bias-cut piece o f fabric wrapped
around cording and inserted i n t o a seam. Even
though the pipingis a decorative element, which

...........................................................................
6.111 STlrOHfUG CIRCULAR SEAMS
. .
CLIP
/
MATCHCENTER NOTCHES
P Q
FABRICPIECE FACING UP
6.138 CLIPPING ALLOWS
THE SEAM TO OPEN SO I T
CAN BE STITCHED.

. . . . . ~ . . ~~~ ~~~~. .... ~ ~ ~ ~ ~ . ~ . ~ - ~~~~
6.15 V.SHAPED SEAM
A)
6.14C STITCH A CLOSED SERGED SEAM.
STITCH A CLOSED
/sERGED
CLIPPED CORNER OPEN
highlights a seam, it's still part of the structural
design. Quality stitching is important so the
piping lies flat and doesn't become twisted.
Pipingcanbemanipulatedaround curvesand
angles and inserted into virtually any shaped
seam. To view a piped princess seam, refer to
Figure 6.la in the Style I.D. Piping highlights
the seams so they stand out as a feature in the
design. Silk dupioniwould be the perfectweight
and an ideal choice for the piping in the bra-top
dress in Figure 6.la. Different sizes of cording
are available. We've found that '/e -inch cording
is just right for piped seams.
6.15A NO CENTER-FRONT SEAM
CENTER-FRONTSE~M
CLIPPED TO STAYSTllCHIMC
/

Professional Sewing Techniqlces for Designers
. .... . . . ~ ~ ~ ~ ~~ ~ ... ... .. ~~~ ~~ ~ ~ . . . ~ ~ ~ ~ . . . ~ . ~
LENGTHWISE
6 ? 6 CUTTING BIAS BINDING
Joining the Bias
Bias-cut seams need t o be joined o n the length-
wise grain. If seams are joined o n the bias grain,
they will stretch easily. Figure 6.17a and b illus-
uates how the seam is joined, pressed open, and
trimmed.
PATTPN TIP: CUTTING
BIAS BINDING- - -
Followthe illustration in Figure6.16 to cut
the bias strips.
Bringthe crosswiseand lengthwisegrainsto-
gether. Theqpdegreeangleisthebiasgrain.
To calculate the width of the bias, wrap
a narrow piace of paper around the cord.
measurePhis length, and add'ls inch for
ease and add the seam allowance. The
width of the pipins for a '1s-inch cord iscut
1'1. incheswide.
Cut parallel strips on the same bias grain.
as indicated in Figure 6.16, to get the
required length.
Stitching the Piping
.Use a zipper foot forthe entire stitching process
(Figure 6.18a).
Laythe cordingso it is centered on the binding.
Turn the top edge over the cordingapproximately
V8inch for a clean-edge finish (see Figure6.18a).
Bringthe two raw edges of the bindingtogether,
wrappingit around the cord. Stitch as closely as
possibleto the cord so it is atight fit. Be care-
ful not to twist the bias asyou stitch (see Figure
6.18a).
Placethe pipingto one side of the seam, match-
ingthe raw edges together. Pin the piping in
place (Figure 6.18b).
Stitch the piping to the seam, directly on top of
the previous row of stitching. Don't stretch the
piping as you stitch or itwill puckerthe seams
(see Figure 6.18b).
Turn the pipedfabric overto the wrong side and
match to the other seam edge, so that the correct
sides are facing. The piping is now sandwiched
between bothfabric pieces. Stitch the seam
directly over the previous stitches (Figure 6.180.
Nowgrade the seam and serge as a closed seam
(Figure 6.18d).
Grading Seams
Grading refers t o trimmingthe seam allowance
t o differentlevels t o eliminate bulk.The amount
of grading needed depends o n the thickness o f
the seam.
Fabrics can be divided into those that are
heavy, medium, or light in weight. Depend-
ing o n the fabric weight and the type o f seam

LENGTHWISE
GRAINS
6.17A STITCHING THE S E A M W H E N JOINING
LENGTHS OF B I A S S T R I P S
,TRIM SEAMALWWANCE
Seams: Joining it All Together
... .. ~ . ..~ .. ..
6.178 PRESS OPEN SEAMS.
stitched, bulk will be more prevalent in some
seams than in others. Bulk needs to be reduced
from intersecting seams, collar corners, over-
lapping pleats, seam insertions, and any other
thick seams. Figure 6.18d and other references
throughout this book will help you understand
how to reducebulk.
Figure 6.29a show how bulk is cut awayfrom
open seamsthat intersect.
3/8" TURNED DOWN
/
- PIPINGDOES
NOT NEED
TO BE CLIPPED
WHEN STITCHED
TO STRIIGHT
SEAMS.
Figure 6.30 showshow closedserged seams
are turned in opposite directions to reduce
bulk when the seamintersects.
Figure 6.3413 showshow excessfabric is cut
away from a flat-felled seamto reduce bulk.
When a %-inchendosed seam is stitched
around facings,collars, cuffs, and pocket
flaps, bulk can be less of aproblem;
however, grading is still needed in many
cases (Figures 11.9 and 12.10a).
6.188 STITCH
OVER THE
PREVIOUS
2 ROWS OF
STITCHING
3 LAYERS
OF FABRIC
Bulk is also reduced in hems to prevent ugly
ridges from showing on the correct side of
the fabric. (Referto Figure 15.7.)
Piping can also be inserted into princess, cir-
cular, and angled seams. Notice that the piping
is prepared differently for curved/circular and
angled seams. The piping is prepared using the
same stitches but they are clipped differently
depending on the shape of the seam. Piping ap-

4 LAYERS -
OF FABRIC
~ ~ ~ ~ ~ ~ ~ . - . .
6.19A P R E P A R E
T H E P I P I N G FOR
A CURVED O R
R O U N D SEAM.
6.18D GRADING THE S E A M6.18C STITCHING THE S E A M
plied to a curved or round seam is illustrated in eased seams include the sleeve cap (to fit over
Figures 6.19a and b, and 6.20. Piping applied to the shoulders) and waistline (used instead of
an angled seam is pictured in Figure 6.21a and b. darts to create shape over the hip or to create
After piping is applied to any shaped seam, shape to fit over the bustline instead of using a
the seam is then stitched as described in the ear- bust dart). Refer to Chapter 14for details about
lier section on "Shaped Seams." eased seamsin sleeves.
EASED SEAM r section,stitch one row ofbasting
An eased seam has a slight fullness on one side stitches,between the notchesand ./,a inch inside
of the seam. An eased seam is most often used the seamline(Figure6.22a).
to create roundness or fullness. Examples of
G
6.198 PIPING
INSERTED INTO A
PRINCESS S E A M

6.20 PIPING
INSERTED INTO A
CIRCULAR SEAM
-CUTAWAY
BULK
8.21A PREPARING THE PIPING FOR AN ANGLED SEAM
PATTERN T I P FOR
FIGURE 6.a2A
The longer section to be eased
must be notched. Theother
seam also needs to be notched
to indicate where itjoins to the
eased section. The placement
of the notches is illustrated in
Figure 6.22a.

Professional Sewing Tecbntquesfor Deszgners
.................... . .................F....-........ .-.
6.22 EASED
SEAM
EXTRA FABRIC
FOR EASE
6.22A
EASING
Pullthe bobbin bastingthread untileasing is
formed (a slight fullness).
Placethe correct sides ofthe fabric together.
With the bastingstitches facing up and evenly
distributed, pin in place and stitch a'/.-inch
seam (Figure 6.22b).
No puckers should be evident from the correct
side in an eased seam.
GATHERED SEAM
One o r both sides o f a seam can be gathered.
For a gathered seam t o be successful, a light- t o
medium-weight fabric should be used-bulky
fabrics d o not gather as well. Refer back t o
the Style I.D. t o see the floral summer dress in
Figure 6.ld. Notice the gathered seam on the
armholes. Inthe pattern drafting stage, the dart
was transferredi n t o fullness t o provide shape in
the bust area.
ition two rows of gathering stitches within
~ r l c :seam allowance-one row is stitched just
above thea/.-inch seamline and the other row is
stitched1/& inch above that one (Figure 6.23a).
Take the two bobbin threads in your hand and
gently pullthem up untilsmall puckers appear
that are closely pushed together.
Even out the gathering so it is evenly distributed
(Figure 6.23b).
Placethe correct sides ofthe fabric together
and pin in place so the gathered section fits
EASED the length of seam to which it is beingstitched
CREATES
A SLIGHT
(Figure 6.23b).
FULLNESS.

6.23 GATHERED SEAM
Y*WI*I B I S n W C I STITCHES
NOTE
Easedand gatheredseams are bothserged
closed. Placethe easinglgathering under-
neathasyou serge. Pressthe seam inthe
oppositedirection to the easingor gathering
(see Figure6.23~).
stitchesdoes not needto be removed, as itwill EYlYL"D,S.II."TTrnE rrrarllw
not show (see Figure6.23~).
Sergethe seam closed (see Figure6.23~).
TOPSTITCHEDSEAMS
Topstitching refers to rows of stitches that are
stitched to the surface of the fabric on top of
the seam. Topstitching makes a seam stronger,
highlights the design lines, and helps the seam
lie flat, aswell as adding a decorativeelementto
the garment. In Figure 6.lc, the angled seam on
the high-waisted pants is topstitched-do you
notice how your eyes are drawn to the seams?
Topstitching can be applied by machine or
NOTE
Twin needles canalso be usedto stitch two
rowsof topstitching inonestitching process.
makingita quicker method. Figurez.zab iC
lustrateswhat a twin needlelooks like. Twin
needletopstitching is explained inthe next
section, "Topstitching ShapedSeams
6.23A GATH-
ERING: STITCH
rWO ROWS
O F BASTING
STITCHES.
6.238 EVENLY
DISTRIBUTE THE
GATHERING.

6.24 MACHINE
TOPSTITCHING
6.24A EDGESTITCH
by hand t o open o r closed seams; however,
because o f the thickness o f closed seams, it i s
more successful in the latter. T h e seam allow-
ance ina closed seam acts as padding, enabling
the topstitching t o sink in, and slightly rais-
ing the section between the seamline and the
topstitching.
L o o k at each o f the topstitched seams in
Figures 6.24. Observe h o w each seam has been
stitched. Three layers o f fabric (seam allowance
and outer layer o f fabric) nicely pad the top-
stitched seams. Noticethe seam allowance is not
graded. Topstitching can be one, two, o r three
rows of permanent stitches, zigzag stitches, o r
decorative stitches-the choice is yours!
6.248 WELT
as been stitched with a '/,-inch
closed serged seam (see Figure 6.1ob).
Increasethe stitch length-the more layers of
fabric there are, the longer the stitch length needs
to be becausethe stitches sink into the fabric.
Topstitching thread, single thread, or two
strands of thread in matchingor contrasting
colors can be used for topstitching. Use a larger-
sized needle for two strands and topstitching
threads, as the needle eye will be larger and
easierto thread.
Edgestitch
With the correct side of the fabric facing up.
stitch a row oftopstitching1/%6inchaway from the
6.24C DOUBLE TOPSTITCH
seamline (Figure 6.24a). The name says it all-
this is edge stitching!
Welt Seam
With the correct side facing up, line upthe
presser foot so it butts up nextto the seam-
line. Stitch 'I4inch away from the seamline. By
keepingthe presser foot butted up nextto the
seamline, the topstitchingwill be parallelfor the
entire distance (Figure 6.24b).
Double Topstitched Seam
A double topstitch combines an edgestitch and a
welt.
With the correct side ofthe fabric facing up,

stitch a row of edgestitching(seeFigure6.24a).
Tostitchthe next row of stitching,line upthe
presserfootnext to the seamlineand notto
the edgestitching. Stitchthe second row of
topstitchesforthe entiredistancesothetwo
stitchingrows areparallel to each other.Thetotal
width ofthe stitchingfromthe seamlineshould
be *I4inch (seeFigure6.24~).
Topstitching Shaped Seams
There is no limit to the use of topstitching on
seams. Seams of all shapes can be topstitched;
however,themoretheseamsareshaped,themore
time and carewill be needed when stitching.
Curved or Circular Seams
When topstitching a circularseam, stitch
in short bursts of approximately 1inch at
a time, then stop (with the machineneedle
down in the work), turn the fabricslightly,
and continueto stitch.The circular seamsin
Figure 6.lb in the StyleI.D. have been care-
fully topstitched.
Alternatively, hand-walk the sewingma-
chine. Figure 2.23 showsthe locationof the
handwheel on the sewingmachine. To hand-
walk the machine, turn the wheel with your
hand; this allowsyou to stitch very slowly
and carefully. Your feet don't touch the pedal
when you hand-walk the sewingmachine.
Angled Seams
Topstitchingan angledseamis the sameas
stitching a seam-just pivot on the corner.
Look at the StyleI.D. in Figure 6.ld. Do you
seethe angledtopstitched seams?
Twin Needle Topstitching
A twin needle has two needles that sit side by
side. Twin needle topstitching produces two
"~erfect"parallel rows of topstitching (Figure
6.25). Twinneedle topstitchingis idealforknits
as it allows the knit to stretch. Twin needles
come in different sizes and widths-numbers
such as 2.5 and 4.0 refer to the distance be-
5.256 TWO PERFECT
R O W S O F PARALLEL
STITCHING
A)
2 PERFECT
ROWS OF
PARALLEL
STITCHING
tween each needle; numbers such as 75/80/90
refer to the needle sizes. Chapter 2, "Sewing
Machine Needle Types," describes twin nee-
dles in detail.
On fineknits, tissue stitch if the twin needle
stitchingdoes not lie flat. Twin needle stitching
can be used to topstitch woven fabrics, and it
works well on denim. Hems can also be twin
needle stitched. In this chapter, the section on
"Stretch Seams" provides more information
about stitchingknit fabrics.
6.258 U N D E R S I D E O F TWIN NEEDLE STITCHING
/UNDERSIDEOF WIN
NEEDLE STITCHING

~ ~ . .. . . ~ . . . . ~~. ~ ~~~~~~ ~ ~ ~
6.26 J O I N I N G TOPSTITCHING T H R E A D S
TIEOFFTHREADS
AND BURY IN THE
A) SEAM ALLOWANCE 6)
/,
r Tt)feadtwo strandsof thread through the sewing
b ; .achlne;separatethethreadsjust abovethe
needle by hookingthem apart before threading
thetwo needles.
To stitch, line up the presser foot to the seamline
and carefullystitch.Thetwo rows ofstitcheswill
be perfectly parallelto each other (Figure6.25a).
On the wrong side of the fabric,the stitches loop

BEGINSTITCHING
HERE AGAIN
over a centralthread, forminga smallzigzag.
Any zigzag stitchingmotion is "ideal" for stitch.
ing knits and allowsthe seam to stretch (Figure
6.25b).
If Your Topstitching Thread Breaks. ..
Take heart, there is no need to rip out your top-
stitching and start again. The stitches can be
ioined together as follows:
NOTES
Nvin needletopstitchingisdifficulton
angled corners; however, itcan bestitched
around princessand circularseams.
Pull the broken threads through to the
wrong side, tie the threads together, and
thread through a large-eyed needle. Bury the
threads into the seam (Figure 6.26a).
Begin topstitching again by placing the ma-
chine needle directly in the stitch hole where
the previous topstitch broke (Figure6.26b).
Continue to stitch from this point to the end
of the seam.
From the correct side, the topstitching join
will not be visible.
Hand Topstitching
When topstitching by hand, time and patience
are required to produce nice-looking, even
stitches. Outlined here are a saddle stitch and
a pick stitch. These are not the only hand top-
stitches-designers can create their own varia-
tions of hand topstitching.
Purchase embroidery thread and a needle
with an eye large enough to thread comfortably.
Many varieties of embroidery floss are avail-
able: 100percent cotton, 100percent rayon, 100
percent linen, variegated, pearlized, and metal-
lic, in a huge assortment of colors.
Saddle Stitch
Saddlestitchesare evenlyspaced and stitched
approximately %-inchlongand %-inch apart.
(Figure6.27a).
It is importantthat the stitchesbe placed parallel
tothe seamline.
Hand stitch a samplefirst to experiment with
thethread type, color, needle size, and width of
topstitching.
Pickstitch
A pickstitch is a small stitch showing on the
fabric surface with a longer stitch underneath
(Figure 6.2713).

NOTES
A saddle stitch or pickstitch can betop-
stitched '/,6 inch. */+inch, or '/a inchaway
from the seamline-the choiceisthe
designer's!
SANDWICHED SEAM
In a sandwiched seam, three layers of fabric are
stitched together to make the seam. This seam
is often used to stitch a yoke in a shirt, skirt,
or blouse. It is a popular styleline, especiallyin
men's shirts. However, this does not exclude its
use for women's wear. Observethe back yoke of
the striped shirtin Figure6.28a. Refer to Figure
6.28b to see how the two yoke pieces areplaced
on either side of the back shirt section, sand-
wiching them together. After the yoke seam is
stitched, it is pressed and topstitched with an
edgestitch, welt, or double topstitch (Figure
6.28~).Next, the front shoulder seams are
stitched,asillustratedinFigure6.28d. Donotice
that the frontbands and pocketwere stitched to
the fronts before the yoke was applied.
INTERSECTINGSEAMS
Intersecting seams are two seams that are
stitched together. This creates bulk at the seam
juncture with so many layers of fabric concen-
trated in one area.
Open Intersecting Seams
To see where intersecting seams can be laced
in the design, refer to the Style I.D. in Figure
~ . . ~ ~~~~~~.~~~~~~~ . . ~ ~ . ~ ~~~~ ~~~~~..
6.27 HAND TOPSTITCHING
EMBROIDERY
THREAD
6.278 PICK STITCH
6.la. Notice the center-frontbra-top seams.The

Twoyoke piecesare placed
either sideofthe backshin
6.18D STITCHING THE FRONT AND BACK
SHOULDER SEAMS
Inverted
pleat
-6.288 STITCHING THE BACK YOKE
6.28A STRIPED SHIRT
t w o horizontal and vertical seams are intersect-
ingseams. InFigure 6.lb, thepositionwhere the T~~~~~~~~
t w o black garment pieces meet o n the empire
waist also represents intersecting seams.
.Placethe correct sides of both open serged
seam sections together, matchingthe seamlines
together. Pin together directly on the seam join.
.Stitch a >/>-inchseam and only remove the pin as
you near the seam join (Figure 6.2ga).
Clip all four corners diagonally from the seam
allowanceto removebulk (see Figure6.293.
Presstheseam open, as illustrated in Figure6.29b.
o.ZBC PRES5 THE SEAM
AND TOPSTITCH THE YOKE

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Closed Intersecting Seam
An intersecting seam can also be a closed seam.
Figure 6.30 illustrates a closed safety stitch in-
tersecting seam. Notice the direction of each
seam-they arepressedin oppositedirectionsto
reduce bulk. Intersecting seams are also found
on the underarms of tops, shirts, dresses,jack-
ets, and coats,when a sleeveis set into the arm-
hole (refer to Chapter 14).
Another intersectingseamthat is commonin
dothing construction occurswhere the inseams
join together in the crotch seams. If you refer
6.298 PRESS THE SEAM OPEN.
back to Figure 6.7a, which discussed directional
stitching, you will see how the inseam and out-
seams of one pant leg were stitched. Now notice
in Figure 6.31 how the crotch seam is stitched.
One pant leg has been slipped inside the other
so both wrong sides of the fabric arevisible; this
makes it easier to stitch the crotch. The crotch
seam is then stitched from the front zipper
matchpoints to the back waistline. Sometimes
in the stitching order the zipper is applied first;
however, in this pair of pants it is appliedlater in
the stitchingorder.
IMPORTANT
Both the crotch and the underarm intersect-
ingseams are an exception to the rule-both
intersectingseams are not pressed open
nor are they clipped to reduce bulk. Because
both intersectingseams have stress placed
on them (at the intersectingseam position).
the removalof bulk in this case mayweaken
the seam. For a sleeve underarm seam, the
seam allowance is left to face up toward the
shoulders. Likewise, the crotch seam allow-
ance is directed up toward the waistline.
8.30 INTERSECTING SEAMS: CLOSED SEAMS
r SEAMS FACING
OPPOSITE
DIRECTIONS
TO REDUCE
BULK

.~ . ~~ ~ ~~~~ ~~~~~~~~~.~~~~~~~~.~~~~~~~~~~~~
OTHER SEAM FINISHES
Clean-Edge Finish
This seam finish has a folded stitched edge to
finish the raw edges. Each side of the seam al-
lowancewill be % inch wide when it is finished.
This seam finish is not suitablefor heavyweight
fabrics as it would be too bulky. A clean-
edge finish is used more often for high-end
garments.
NOTES
SeamsGreat, a sheer stablllzingtape, can
also be used to bind the seam edges in fine
and trickyfabrics,producingan excellent
seam Rnish wlthout showinga rldgeon the
correctside of the garment as sergingwould
on open orclosed bound seams. Seams
Great is described in Chapter3, "Stablllzlng
Tapes."
After a 'I2-inch seam is stitched,and pressed
open, turn both fabric pieces to the leftwith the
correct side ofthe fabricdown on the machine
plate, ready to stitch (Figure6.32a).
Fold '18 inch of the seam allowance backto the
wrong side of the seam allowance and stitch 'A6
inch fromthefoldededge (Figure632a).
Repeaton the other side of the seam allowanceto
complete(Figure6.32b).
Hong Kong Finish (or Bound Finish)
A Hong Kong finish encases both raw edges
with a bias binding. Bias binding can be pur-
chased or cut, as detailed below. The binding
can be stitched to open or closed seams. For
binding, it's important to use fabric of the ap-
propriate weight, such as silk charmeuse, or-
ganza, or silk dupioni, as they don't add bulk
to the seams. This seam finish is used in more
expensive garments and is a wonderful finish to
use on unlined jackets and coats. A Hong Kong
finish is a recommended seam finish to use for
a partial lining. This is discussed in Chapter 16,
"Open Partial Lining."
Cutting Bias Binding
For both closed and open Hong Kong seam fin-
ishes, cut bias binding to the required width and
length. Refer to Figures 6.16 and 6.17to seehow
to cut and join the bias binding. Use as few seam
joins as possible.
Open Hong Kong Seam Finish
Cut bias binding*inch wide and to the appropri-
ate length. Placethe correct sidesof the seam
and bias facingtogetherwith the cut edges lined
up, and pin in place.
Stitchthe bias bindingto the seam using a
'I4-inchseam allowance. It is important not to
stretchthe bias bindingas you stitch,asthis
could pucker the seams(Figure6.33a).
The stitched seam allowance must not be wider
than *I4inch.After stitching,turn the bias to the
correct side and press the seamline.
Wrap the binding around the raw seam edgeand
handbaste in place.The binding lies flat under
the seam (Figure6.33b).
Any excess bindingcan be trimmed so it sits
comfortablv next to the seamline.
6.31 INTERSECTING CROTCH S E A M
-OIL LEG P M E D
~YSIDETHEmwil

FINISH
Seams: Joining I t All Together
OTHERSIDE OF
SEAMALLOWANCE EDGESTITCH
/
"'B THE FINISHED SEAM
ClosedH o n g K o n g Seam Finish
Fora closed Hong Kongfinish, placethe binding
*/4 inch backfromthel/~-inch seam edges. Pin
the bias in position. Trim the seam allowance
back to the bindingcut edge (Figure 6.33~).
Wrap the bindingover the raw edges. Tuck under
THEFINISHED SEAM '14 inch and butt the folded edge to the seamline
but nofover it. If the binding istoo wide, it may
need trimming. We definitely advise handbasting
the binding in place, as bias can twist very easily
(see Figure 6.33b).
Usinga hand needle, the bindingcan be slip-
stitched to the seamline or carefully machine
stitched as an edgestitch (Figure 6.33d). Referto
Figure 6.24a for edgestitching. Referto Chapter
15to see a slipstitch.
Flat-Felled Seam
Aflat-felled seamhasacleanfinishon bothsides
of the garment (Figure 6.34a). It is often used
in sportswear and commonly used in denim
/
-
6.32A CLEAN-EDGE FINISH
'ls" INCHTURNED UNDER garments such as jeans, jackets, and men's and
women's shirts. The side seam of the striped
Fromthe correct side, carefully stitch the binding to the seam well and provides a better view of shirt in Figure 6.28a could be stitched with a
by stitching-in-the-ditch (see Figure 6.33b). as where the stitching goes. Stitching-in-the-ditch flat-felled seam or a closed sergedseam.
described below. alsosecuresfacingsand waistbandsinplace.
Stitching-in-the-Ditch
Stitching-in-the-ditch is a technique used to
secure and completea Hong Kong finish. It is a
row of stitches, stitched from the correct side of
finish for set-in sleeves, or as a hemfinish.
the fabric,and buried in the "seamwell" orseam-
Referto each indivldual chapter for more
line. This makes the stitches almost invisible.
Using a zipper foot allowsthe needleto get dose
MOTES
A HongKongFinish can also beusedto finish
other edges, such as facings and waistbands.
Ifyou turn aheadto Chapter16(see R g u n
16.25~and d), you willsee how a HongKong
finish has been appliedto allthe seamsand
edgesof the partial liningof a coat.

6.3SA HONG KONG (OR BOUND) SEAM
FINISH STITCHED TO AN OPEN SEAM
gsides of the garment together,
ins, and stitcha %-inch plain seam.
Press bothseam allowances to one side (Figure
6.34b).
* Trimthe bottom seam allowance back to '/r inch
(see Figure 6.34b).
Foldthe top seam allowance over '/*inch andtuck
Itoverthe bottom seam allowance (Figure 6.34~).
* Handbastethe seam in place alongthe folded
edget o secure the seam together (see Figure
6.34~).
Edgestitch '/*inch back fromthefolded edge
(see Figure 6.34~).
Pressand remove handbastingstitches.
A 6.336 WRAP THE BINDING AROUND
THE SEAM AND HANDBASTE I N PLACE.
I IMPORTANT
CUTAWAY
IThe pressing is really important at this point.
If the seam is not pressed properly, it wilt not
look flat on completion. Make sure the seams
are pressed symmetrically-that is, both
sides are pressed toward the back or front.
u6.530 COMPLETE
STITCHING THE
BINDING.
'TRIMANY
EXCESS BINDING
6.3ac HONG SONG (OR BOUND)
SEAM FINISH STITCHED TO A
CLOSED SEAM

SeamstJoining It All Together
Stitch'I2-inchseam
andtrim the bottom
b) layer ofseam allowance
WRONG SIDE
OF FABRIC 1 1
CORRECTSIDE
WITH W0 ROW5
OFTOPSTlKHlNl
cl Handbastethenedaestitrhthe-m
Trimseambackto 'I4'
6.34A A FLAT-FELLED SEAM HAS A CLEAN FINISH ON 6.348 STITCH A H-INCH SEAM AND TRIM
BOTH SIDES OF THE GARMENT. THE BOTTOM LAYER OF SEAM ALLOWANCE.
NOTE
Contrastingthread also can be used but it
must be used from the beginningwhen the
first seam is stitched, as these stitches are
visible-and don't forget to usethe same
stitch length for stitchingthe seam andthe
edgestitch.
titch, placethe wrong sides of the fabric
gether and stitch a slightly biggerseam than '/r
inch-this means stitching slightly more than '/I
inch and slightly less than 31s inch (Figure 6.35b).
Trim the seam allowance back to '1s inch and
press the seam to one side (see Figure 6.35b).
Refold the fabric so the correct sides are facing.
Stitch a slightlysmollerseam than '/Iinch, and
French Seam parallel to the seamline (Figure 6.35~). This row
A French seam is a narrow enclosed seam that of stitchingmustenclose the raw edges inside
looks like a small, neat, tucked seam from the encased in the seam.
wrong side. This narrowseam is ideal to use for Pressthe seam to one side.
seams in sheer fabrics, as it only shows a small
tuck (Figure 6.34a).

Foldunder1//
6.34C HANDBASTE, THEN
EDGESTITCH THE SEAM.
NOTE
Frenchseams can be stitched on princess
seams, but careful stitching is required as
you stitch the second row of stitching around
the curve. There is no need to clip the curved
seam before stitching, as itwill be cut back
to '/.inch. Ifthe princess seam has any
easing, a Frenchseam cannot be stitched.
A hairline seam can be used instead. French
seams cannot be stitched on circular seams
or angled seams.
Hairline Seam
Ahairlineseamisanarrow,'/r-inchclosedseam.It
is an excellentfinishfor sheerfabrics, and agood

FOLDED
,SEAMLINE
PRESSSEAM mONE SIDE; SEAM
WIDTH IS SLIGHTLY LESSTHAN 'I4"
6.WA A FRENCH SEAM IS A NARROW. ENCLOSED
SEAM IDEAL FOR SHEER FABRICS.
ALLOWANCE BACK 6.356 STITCH A
m'IS" SEAM SLIGHTLY WIDER
THAN 'A INCH.
6 . a ~ ~STITCH A SEAM
SLIGHTLY NARROWER
THAN YI INCH.
alternative t o stitching French seams o n these
fabrics. Inproduction, hairline seams are also a
less-expensive alternative to Frenchseams.
6.36 to stitch a hairline seam. Some
design schools may haveindustrialsewing ma-
chinesthat stitch azigzagstitch. However, your
home machinewill definitely have a zigzag stitch.
Placethe correctsides of the fabric together,
stitch a plain %-inch seam, and pressthe seam
to one side.
Stitch a row of zigzagstitches '/%s inch awayfrom
the seamline. Thezigzagstitch should be slightly
wider than '1s inch.
Cut the excessseam allowance off, leaving'1x6
inch beyond the zigzagstitches.
The finished seam should beYe inch wide.
Slot Seam
A slot seam feamres t w o open tucks folded t o
the center. T h e tucked seams are stitched to an
underlay, which can be cut f r o m contrasting o r
self-fabric. The tucks can be butted together or
PATTERN TIP
Cut the underlay 1% incheswide and to the
length of the seam.
I
If the tucks are separated (with underlay
showing between tucks) then the underlay
needs to be cut wider. Calculate the mea-
surement to your specification.
I

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6.36 HAIRLINE SEAM
z
CUT AWAY EXCESS
.SEAM ALLOWANCE
set apart, leaving a distance between each tuck
and showing more of the underlay. Be sure that
the underlay fabric is not too heavy, as bulk is
being added when stitching these seams. The
tucks and topstitching are not stitched to a set
width. This decisionis the to the designer.
S rgeedges of the underlay and garment sepa-
ately (Figure 6.37a. b).0With the correct sides of the fabric facing each
other, stitch a %-inch seam with a large basting
stitch (see Figure6.37b).
6.37A SLOT SEAM: BUTTED TOGETHER
S.37C TOP.
STITCH TUCKS
TO UNDERLAY.
'OPEN
M
6.378 STITCH
A %-INCHOPEN
SERGED SEAM.

..................................................
Placethe correct side of the underlay facing up.
With the correct side of the garment facing up,
match the seamline to the center of the underlay
and pin in place (Figure 6.37~).
Topstitch 1.4 inch (don't forget to lengthen the
stitch length) on either side ofthe seamline.
Stitch directional so the stitching lies flat and not AFEW
STITCHES
twisted. The topstitchingshould be parallel to AT ONCE
the seamline (see Figure 6.37~).
Carefully remove the bastingstitches with the
seam ripper and press.
SOME ESSENTIAL HAND
STITCHES USED FOR
STITCHING SEAMS
Although machine stitching is most often used
t o stitch seams, handstitching also can be used.
Garments that have hand-stitched seams will be
expensive, andthese garments are usually found
in haute couture. H a n d stitches can be used as
permanent o r temporary stitches, for gathering,
easing, and topstitching. Hand stitching o f any
type adds cost t o the garment because o f the time
it takes. Lace and beaded fabrics may need t o be
hand stitched insome areas because o f the shape
o f the seam o r because the fabric is so delicate.
IMPORTANT -
Itis important for the fashion design student
to havesome knowledge of hand atitchin&
You never know when you will be called on to
do some hand stitching, or to help out in the
workroom when deadlines are looming for
the collection.
.6.a6A IIUNNIN%STITCH: USE FOR EASING OR GATHERING.
8.388 BACKSTITCH: USE FOR PERMANENT SEAM STITCHES.

................................
6.38C A SLIPSTITCH CAN BE USED FOR MENDING A SEAM.
Choose a hand needlethat suits the fabric
weight of your garment. Refer to Chapter 2,
"Hand SewingNeedles." Always hand stitch
with a singlethread-not a double thread,
except for closures.
Cut the end of the thread on an angle, asit is
easier to thread.
Keep your thread lengthsshort-no longer
than 22 inches;long threads get tangled and
take longer to pull through the fabric.
Makesure the stitchesarenot pulled too
tight, creatingpuckers.
Work from right to left. (Switch directionsif
left-handed.)
At the beginning and end of a seam, secure
the thread with several backstitches.Tying
a knot does not alwaysprovide the security
needed to hold the seam.
Running Stitch
A running stitch will not hold a seam together
on a garment but can be used for gathering
and easing by hand. A running stitch may be a
better choice of stitch for gathering some deli-
catefabricssuchasfinesilk georgette.Takesev-
eral small even stitches at once, weaving in and
out of the fabric. Pull the thread through before
taking afew more stitches(Figure6.38a).
Aslipstitch used to stitch hems is explained
in Chapter 15. It is also a handy stitch to use
for mending broken seams by hand. It draws
both seams together as the needle weaves
1 from side to side, asyou can see in Figure
Backstitch
A backstitchis a permanent hand stitch used to
hand stitch almostany seam. It is a useful stitch
for areas of the garment that would be difficult
to machine stitch and is alsousefulwhen stitch-
ing darts in a beaded fabric.
After securing the thread, take a stitch back
1/16 to 11s inch through both layers of fabric to
underneath and bring the needleback up for the
same distance (I116 to 'I8 inch) forward from the
previous stitch. Continue stitchingto the end of
the seam in this sequence(Figure6.38b).
MORE ADVANCED SEAM
STITCHING
Boning
Whatis Boning?
Boningis used to stiffenand stabilizeseamsand
to add structure to garments. It is flexible and
will support the seamsso the garment molds to
the body. Boning supports and adds structure
to a strapless garment so it sits firmly on the
body. If you are not sure what a strapless gar-
ment looks like, turn to Figure 1.6 to view the
elegantbeaded straplessdress.

~~ ~ . ~ ~ . ~ ~
IMPORTANT ~~~~.~~~ ~.
If a strapless gown is not supported with a 1stabilizer and boning, it will not fit firmly and
snuglyand will slowly creep down the body.
This is most uncomfortable-remember. fash-
ion and function must meet. This aspect of
functionaldesign was developed in Chapter
1. "How the Garment Works Physically."
-
and weight. Before choosing your stabilizer, it the seamlineand trim thetape back to '1s inch to
is most important to read "How to Choose the reduce bulk(see Figure 6.39).
Best Stabilizer for Your Project" in Chapter 3. Slidethe boning backintothecasingandtrim thetop
We also encourage you to sample first to find length sothatthereis1/*-inchclearance-no boning
the best stabilizer option. should be in theseam allowance(Figure6.40a).
Staystitchthetop casing1/*sinch insidethe seam
For AN Boned Seams allowanceand trim back tol/s inch. Nowthe boning
Garmentsthat areboned don't needtheseamedges isheld stablein thecasingand cannot move.
finished; leave raw edges, as this reduces bulk and
prevents ridges from forming on the correct side Boning-NO Casing
Boning can be purchased by the yard and comes of the fabric. After stabilizing and stitching open When this boning applicationis stitched, the gar-
in two forms: pressed seams, the boning is stitched. In both of ment from the correct side shows no evidence of
the followingtechniques, no stitchingis visible on the boning (other than giving structure and sup-
1. Boning that is stitched directly to the thecorrect sideof thegarment. port). This ishowthe boningwould have beenap-
seams: Purchase Euro Rigelene boning. It plied in the gorgeousstraplessdress in Figure 1.6.
is flexible,woven, and made from polyester.
The edges of the boning can be stitched to seams. ~fthe seamsare princess
the seams. It is available'/4 inch and '18 inch seams, refer to Figure 6.12. Ri lene is stitched directly to the seam allowance
wide and is sold by the yard. If a woven stabilizer has been used, trim the 0follows:
2. Boning in a casing: The boning is inserted seam allowance back to the seamline (see Figure Use a large needle size such as a leather needle.
into black or white cotton- or polyester- 3.18). Placethewrong side of the garment facingup
covered casing. After the casingis stitched Pressthe seamsopen. and laythe seam allowance open with both gar-
to the seams, %-inch wide boning is in- ment pieces facingtothe left.This isthe same
serted into the casing. Boning in Casing stitchingmethodillustrated in Figure 6.39,asthe
Removethe boningfromthe casing beforestitch- casingand boning are interchangeable.
It is absolutely essential that strapless garments ingthe casingontothe seams(Figure6.39). Center the boningon the seamline,positioning
be stabilized with fusible or sew-in underlin- Placethe wrongside of the garment facingup. it 95 inch down from the top edgeto clearthe
ing before the seams and boning are stitched. Laythe seam allowance flatwith both garment seam allowance. Boning cannot be included in
Refer to Chapter 3, "How to Apply a Sew-in pieces facingto the left (see Figure 6.39). any seam allowance. The sketch in Figure6.39
Underlining (or Interfacing)." Boning on its Centerthe casingon the seam allowance and pin also applies to stitchingthe boning directlyto the
own, without interfacing, is not sufficient to in place (see Figure 6.39). seam allowance.
structure a straplessgown. The stabilizer is cru- Stitchthe casingto both edges ofthe seam al- Stitch the boningto both sidesof the seam al-
cia1 to the success of the garment-a stabilizer lowance, stitchingdirectlyon top of the stitches lowance. Stitch the boning1/,6inch backfrom the
is needed that is both heavy enough to hold the used to formthe casing(see Figure 6.39). boningedgeto both sidesof the seam allow-
garment and compatible with the fabric type * Staystitchthe bottom casingedge'/,s inch inside ances (Figure6.39).

6.39 BONING:
STITCHING A CASING
TO A PRINCESS SEAM
........~~....... . . . . ~ . ~ ~ ...--.
Topstitched Boned Seams boning can be inserted into one or two slots.
R . ~ ~ ~ . ~ O N I W B B E ~ O R . For adifferentlook, boning canbe insertedinto The seams are topstitched to form the slots, as
I T I T U I I G THE US9.6
slots and topstitched. With this method, the seen in Figure 6.40.
boned seams are highlighted as a feature. The
NOTES
On p r i n c e s s seams, stitching the boningand
the casingto the seam allowance will not
I
interfere with the clipped seams layingflat or
interfere with the fit of the garment.
curso",". 'I< src.
/ .lo. rnx.l*r rlar
C
I
I
I C1511C.CENTEREDONSEAMLIME
P
BIASCASING 1'18" WIDE
8.40A BONING INSERTED INTO SLOTS 8.408 INSERT TWO ROWS OF BONING. BIAS UNDERLAY.

6.41 TWILL TAPE I S APPLIED TO THE CurTAPE ow ANGLED SEIMS
TOP EDGE OF A STRAPLESS BODICE
/
DON'T FOLD DVER AS THIS ADDS BULK
TO STABILIZE IT.
sergingonly adds bulk. The underlay being
bias-cut will mold beautifullv to the curved
seam.
On the wrong side,center the bias underlay
on the seamlineand pin in place.
From the correct side,handbaste the bias to
the garment (in-the-ditch) in the seam line
(seeFigure 6.40b).
From the correct side, stitch two rows of top-
stitching % inch on either side of the seamline
(see Figure 6.40b).
Slide the boning into both slots and stay-
stitch both ends, as explained earlierin
"Boning with Casing" (seeFigure 6.40b).
After thepanelsof the straplessbodicehavebeen
underlined, stitched, and boned, then twill tape
DERLINING needs to be applied to the top edgein one length
BONING so it is stabilized and does not stretch (Figure
THE STRAPLESS BODICE WILL BE
LINEDTD CDVER THE SEAMS
6.41). Cut the tape to the angle of the top edge if
it's shaped; don't fold the twill tape over, as this
One Slot lel stitching to formthe slot. Stitchapproxi- only adds bulk. The zipper is stitched next only
It is advisableto stitch asampleseamfirst to test mately '1s inch on either side of the seamline if the garment is a top. If the garment is a dress,
stitch the width of the slot seam so the boning (see Figure 6.40a). stitch the waistlines together next and then
fits into the slot snugly (yetnot too tightly). Slide the boning into the casingand stay- applythe zipper.Theliningis stitchedto the top
stitch the casingat each end, asillustrated edge of the strapless bodice and covers all the
Afterthe seamsarestitched,centertheboning in Figure 6.40a. Removethe handbasted seams. Hand stitch the liningto the zipper tape.
casing (withoutboning)onthe seamlimeof the stitches. Refer to Chapter 16(Figure 16.10).
wrongsideof thefabricandpin inplace.
From the correct side, handbaste the casing Two Slot 6odets
(in-the-ditch) of the seamlineso the hand- Cut a bias strip i1/s inches wide and to the Godets areV-shaped (triangular)pieces of fabric
bastingholds the casingin place (seeFigure length of the seamto form the casing. The that areinsetinto a seam.A godet adds flare and
6.40a). width and length of the casing must include fullnesstothesection whereitis inserted.Godets
From the correct side, followthe direction of seam allowances.The bias does not need to can be stitched into skirts (see Figure 3.5) and
handbasting and topstitch two rows of paral- be sergedwhen the garment is lined. The dresses, as illustratedin Figure 6.42.

~~~.~~~ ~~~ . ~~~~~~~~~~~
Inseam Godets
The first and most important part of stitching
godets is to have matchpoints marked on the
seams and the godets. Matchpoints are marked
on both sides of the seams (Figure 6.43a). An-
other matchpoint is centered on the seamline of
the godet, as illustrated in Figure 6.43b. With-
out marking these matchpoints, godets cannot
be successfullystitched.
ms, as open seamswill be stitched.
Also sergeboth sidesof the godet but not the
hem (see Figure 6.43). The hem will be serged in
one stitchingprocess afterthe godet is stitched.
Placethe correct sidesofthe garment together,
stitch a '/>-inch seam to the matchpoints,and end
with a backstitch (see Figure 6.43a).
Pressthe seam open to the matchpoints.
Placethe correct sidesofthe godet and one seam
edgetogether and pin from the matchpointto the
hem (see Figure 6.43b).
Begin stitchingat the matchpoint. Lower the
needle directlyintothe matchpoint and carefully
stitch forward1,4 inch and back to securethe
seam. Do not stitch furtherback than the match-
point or the godetwill not fitcorrectly!Continue
stitchinga %-inch seam to the hem (see Figure
6.43b).
.Insert the other side of the godet intothe other
side seam by followingthe samestitchingorder.
Pressthe godet and side seamstogether in one
direction as indicated in Figure 6.43c.The seams
must not be attachedtogetherat any point other
than the seam stitching.
Stretch Seams
Knowing how to stitch stretch seams in knit
fabrics is important to the designer. Knits can
be fun to stitch! The stretch elementin eachknit
differs; some knits are stable, while others are
very stretchy. When seams are stitched in knit
fabrics, they need to stretch to the stretch ca-
pacity of the fabric.For this reason, samplefirst
before constructing your knit garment. This is
essential so that stitches can be individualized
for each knit.
Stable knits have minimal stretch and can
be stitched using %-inch seams pressed open. A
straight stitch will "pop when stretched." Mod-
erate to stretchy knits are best stitched with
%-inchsergedseamsora crookedstraight stitch2.
(Figure6.441, zigzagwidth of .5 and stitch length
of 2.5.)
Sinceknits don't ravel, seams generallydon't
need to be finished;however, a serged edgegives
a more professional look and would be used in
production. Some cut edges do curl, so a finish
will give a better look to the garment.
Another useful stretch stitch is a three-
stitch zigzag. It also has the same back-and-
forth motion as the crooked straight stitch
and serging, which allows the seam to stretch.
This stitch is used to apply clear elastic to the
seam allowance to stabilize seams. Look at
Figure 6.44~to see this stitch. A wide zigzag
stitch could also be used in its lace. In pro-
duction the elastic would be applied in one
stitching process when the seams are serged
together. At school, operating the serger to do
this, without experience, can be a hard task.

Professional Sewing Techniqlcesfor Designers
~~~~~.~~~. .~~~~~ . ~.~~~~~~~~
IMPORTANT
e.+3A STITCH THE S I D E S E A M
TO THE MATCHPOINTS.
B) STITCH ONESIDE OFTHE coorrm
THE SIDE SEAM-BEIN STITCHING
ATTRE MATCHPOIWTSAMD STITCH
TOTHEHE*
Elastic can be applied in two ways:
..Applied to straight seams to stabilize:Clear
elastic or bias-cut Seams Great can be used
to stabilize straight seams. Don't stretch
the elasticwhen applyingit to the seams
(Figure 3.15 on shoulders).
2. Applied to edges so they clingto the body:
When the elastic is applied to garment
edges, it needs to be stretched as you stitch.
6.43C GODET STITCI
INTO THE S E A M A N D
P R E S S E D
Home sewing machines also have their ver-
sion of stretch stitches, and each wiil have
this same baclcand-forth motion.
Look at the jersey knit dress n Figure 6.45
to see all the seamsand edges where the
elastic has been applied. On average, the
elasticlength needs to be 1to 1%inches
shorter than the seamlength. However, we
adviseyou samplefirst. Notice, also, that
the edges are topstitched with twin needle
stitching. Oh yes! This stitch also has that
back-and-forth motion. Look at Figure 6.46
to see how the elasticis stretched as it is
stitched to the neckline of the dress in this
figure.

6.4IA SEAM.IN KNITS: CLOSED %.INCH SEAMS
Seams: Joining i t All Together
6.448 CROOKED STRAIGHT STITCH
STRAIGHT STITCH
I CLEAR ElASTlC IS STITCHED IN THE
SEAM ALLOWANCETO STABILIZE SEAMS.
No SERGING CROOKEDSTRAIGHT
STITCH
6.44C CLEAR ELASTIC I S STITCHED I N THE SEAM ALLOWANCE TO STABILIZE SEAMS.
6.45 JERSEY KNIT DRESS. ELASTIC APPLIED TO THESE
EDGES SO THAT THE DRESS CLINGS TO THE BODY.

i:.. ..,
I..
::I:;:: ' ,;
,I.* ,I .,.., , 178
6.46 STITCHING CLEAR ELI
TIC TO KNIT GARMENT EDG
checks, plaids, or fabrics with repeat patterns, seams (see Figure 6.36), or closed %-inch
it is important to line up the scams perfectly narrow serged seams. Narrow seams show
so the patterns, stripes, and checks match minimal shadowing from the correct side of
when they are stitched. It would be helpful the garment.
to take a look at Figures 2.15, 2.16, and 2.17, Do stitch %-inchseams in sheerfabrics if the
as they illustrate how to cut striped, checked, garmentis lined. Press the seams open and
and one-way patterned fabrics. Garments cut the seam allowanceback to a % inch. The
with seams that don't match will probably liningwill cover the raw edges and the seams
be the ones discounted 50 percent at the end will not be noticeable, especiallyif they are not
of the season. Such haphazard construction finished.
could leave a company with a reputation for
producing poor-quality garments. The check 6 . ~SEAMS IN STRIPES, PLAIDS, AND REPEAT
jacket in Figure 6.lc, in the Style I.D. has per- PATTERNS CAN ONLY BE ST'TCHED MATCH
WHEN THEY HAVE BEEN CUT TO MATCH.
fectly matched seams-so perfect, in fact, you /
can't even see the seams!
Do cut stripesandplaidsto match;if theyarenot
cutto match, theycannotbe stitchedto match.
Do pin the seams at more regular intervals
than usual to hold the stripes, checks, or plaid
in place (Figure 6.47).
Do walk your machine over the pins (this is an
exception to the rule-don't stitch over pins) if
you feelthe seams will be out of alignment if
the pins are removed.
Don't use handbasting stitches because they
STITCHING SEAMS IN will not hold stripes and checks in place as well
TRICKY FABRICS as pins.
and Repeat Patterns Sheer Fabrics
Refer to Chapter 2, "Tricky Fabrics-What Do use a 60 or 70 machine needle for your
They Are and How to Prepare to Use Them." project.
Do read this section, in particular, "Match- Do try tissue stitching the seams.
ing Stripes, Plaids, Patterns, and Repeat Do stitch %-inchnarrow seams on sheer fab-
SECURE
CHECKS
WITH
PINS
Patterns." When stitching seams in stripes, rics-French seams (seeFigure 6.35), hairline

Lace
Do use a machine needle suitablefor the
weight of lace.
Do try tissue stitching the seams.
Do try an open or closed (thedecision depends
on the fabric weight) Hong Kong seam finish
on unlined lace garments (see Figures6.33).
Bias binding can be cut from a nude sheer
fabric such as silk organza to blend with the
lace. It is important in lace that any seam finish
looks as inconspicuousaspossible.
Do stitch a %-inchplain open seam (not
serged)when the garment is lined. The seam al-
lowance can be cut back to %inch to eliminate
any shadowingfrom the correct side.
Do consideroverlayingthe lace and hand
stitching over a structured garment.Use good-
quality lace such as guipure lace. To do this:
Carefully cut off the scalloped border from
the lace (Figure 6.48a).
The lace is molded over the structured gar-
ment, as illustrated in Figure 6.48a.
As the lace is molded, hand stitch the lace
using a backstitch or overhand stitch (see
Figure 6.38).
Cut awaythe excesslace fromunderneath after
each sectionis stitched(seeFigure 6.48a).
The scallopborder can be appliquid to any
edge by hand stitching.After the scallop
border is applied, cut the excess lace from
underneath (Figure 6.48b).
When lace is stitched using this stitching tech-
niquethere areno lace seams.Theseamsarestill
there underneath, in the garment, but the lace
hides them. After the lace is applied in this way,
the lace over the entire sectionwill appear to be
one piece of lace with no seam joins. Look at
Figure 6.4813; can you see any seams?Even lace
sleeves can be stitched in this way to eliminate
armhole seams. As you can imagine,overlaying
lace is labor intensive and adds to the cost of the
garment. Although time consuming, this tech-
nique is well worth the time it takes.
Satin
Do tissue stitch the seams. Choose tissue that
is nearest in color to that of the fabric. Tear the
tissuepaper awayafter the seamis completed.
Do stitch satin in a clean environment. Make
sure your hands are clean, your spacecleared,
and your sewingmachine area cleaned of any
grease, becausesatin marks very easily.
Do mark matchpoints as lightly as possible-
samplefirst to check that pattern markings will
not showfrom the correct side of the fabric.
Do stitch directional.
Do hold the fabric taut when stitching to pre-
vent puckered seams.
Do use fineneedles instead of pins on fine
satin fabrics, as pins may leave marks in the
fabric.
Do finish seamsas flat aspossible in satin
fabrics.
Do press satin fabricswith a pressing cloth of
silk organza.
Do a test seam if you want a serged open seam.
Press the seam open and, from the correct side
of the fabric,look to see if the serginghas left
any ridges. If a ridge is noticeable, choose an-
other seam finish or leaveraw edges (thelining
will cover them).
Don't forget to handbaste seams in delicate
satins.
Beaded Fabric
Do try stitching the seamswith tissuepaper.
Place it under the seamsto stabilize the fabric
while stitching. Choosetissuepaper in a color
that is a match to the fabric.
Do protect delicate beaded fabricwhen you
are layingit out and cutting. Place a piece of
pattern paper on the table to cover the entire
surface,as delicate fabric snagseasily.
Do clean your machine and the work area
beforeyou begin stitching, because beaded
fabricis delicate and may snag easily.
Do remove all the beads from every seam
allowance, seamedge, and darts before any
seams are stitched.The sewingmachine cannot
stitch over beads on the fabric.
Do use a wooden block, coveredwith paper,
as base for smashingthe beads from the seam
allowance.Place a sheer fabric(soyou can see
what you aredoing) over the seamsto protect
the fabric. Carefully "smash" the beads with
a hammer and removethem from all the seam
allowances.
Do stitch the darts or difficultseams by hand
using a backstitch. The sewingmachine foot
often gets in the way of the beads.
Do sample%-inch plain seams pressed open,
French seams, or %-inchclosed serged seams.
Find the seam that best suits the fabric.

. . . . ~ ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~ ~ ~ ~ ~ ~
CUTAWAY LACE UNDERNEATH
CUTAROUND LACE FOLLOWING
/THE LACE DESIGN & HAlDSTlTCH
Do sample a closed Hong Kong finishon
unlined garments.The finished seamwill be %
inch-it looks cleanand neat (seeFigure6.33d).
Don't overdesign beaded fabrics-keep the
design lines simple,with as few seamlines as
possible.
Don't finish the raw edges, if the fabric is
lined. Leave the cut edges as this helps to pre-
vent shadowingfrom the correct side.
OVERLAY T H E LACE B Y M O L D I N G I T O V E R
U N D E R S T R U C T U R E O F T H E G b R M E N l .
T H E
6r48P APPLIQUE L h C E S C A L L O P BORDER
Knits
Do use %-inchseamallowancesfor allknit seams.
Do insert a ballpoint needle in the appropriate
sizefor the fabricweight.
Do use differentialfeed on your serger when
stitching knit seams. Differentialfeed is two
sets of feed dogs that oppose each other. This
prevents the fabric from stretching out due to
the high rate of sewingspeed.
Do try a crooked straight stitch. This slightly
zigzagged stitch works wonderfully well for
the stretch seams needed on knit garments (see
Figure 6.44b).
Do use a three-thread serger, as it works very
well on most knit seams (see Figure 6.44a).
Always check bulk, as serged seams may be too
bulky in heavier knits.
Do stitch clear elastic (not stretched)to

~~~~ ~ ~ ~~~~.~~ ~ ~~ ~
shoulder seams to stabilize.Stitchclear elas-
tic, slightlystretched, in the seam allowance
and edges (usinga three-stitch zigzag)to help
low-cut garment edges clingto the body (see
Figures 6.44~and 6.46).
Do use clear elasticpulled tightly as a method
of gatheringa length of knit into a ruffle.
Don't use permanent straight stitchesfor
stitching seams in stretch knit fabric,as the
stitcheswill "pop." Instead use a stretch stitch.
Denim
Do enjoyworking with denim, as it's an easy
fabric to work with, especially for a beginner.
Do topstitch denim garments.Denimlovesto
be topstitched-the use of topstitchingis rarely
overdonein denim-just lookat your ownjeans.
Don't line denim garments, as denim is a
casual fabric for everyday wear.
Velvet
Do use the appropriate needle sizefor the
velvet.
Do handhaste seamsin pile fabrics before
stitching. The underneath seam can easily
creep up as you stitch, leaving one seam longer
if the seam is not handbasted in place before
stitching.
Do tissue stitch velvet using the color of tissue
that most closely matches your fabric.
Do hold the fabrictaut as you stitch.
Do stitch with the nap.
Do use aVelvaboard for pressing velvet fabric.
Refer to Chapter 2, "Tricky Fabrics-What
They Are and How to Prepare to Use Them."
Do flatten seams by holding the iron approxi-
mately 2 inches above the seam; give it a shot of
steam, and stroke the seam in the direction of
the pile to flatten the seams.
Do stitch %-inchplain open seams in velvet.
Do designvelvet garments simply, as velvet is a
challengingfabric to work with.
Don't topstitch velvet-topstitch denim
instead!
Don't place the iron directly on the velvet, as it
will leavea shiny imprint of the iron and flat-
ten the pile. (Wehave known students to press
iron marks on the fabricpurposely as a decora-
tive surfacefinish!)
Don't stitch closed serged seams on velvet.
Don't serge the seams if the garmentis lined.
Leather
Do stitch seamsusing a leather needle in the
appropriate sizefor the weight of leather.
Do make the stitch length longer when stitch-
ing leather (approximately 7to 9 stitchesper
inch).
Do tie the thread at the beginning and end of
the seam.
Do reduce your speed for more accuratestitch-
ing. Seamripping in leather results in perma-
nent needle holes.
Do stitch directional.
Do lower the iron temperature and turn off
the steam when pressing leather.
Do stitch %-inch seamsin leather and secure
seams with leather cement. Use cotton Q-tips
(purchased from the supermarket or phar-
macy) to apply (Figure 6.49).
Do topstitch seams in leather-they don't
need to be glued. Trim the seam allowance
back to the topstitching.
Do grade bulky seams in leather
Do use a mallet and wallpaper roller to flatten
the seams in leather.
Do stitch curved, angled, or circular seams
in leather; clip seams, and barge open. Cut
V shapesout of shaped seams to reduce bulk
(Figure 5.3h).
Do stitch a lapped seamin leather (Figure6.50).
It's an idealseamfor use in leather, suede,vinyl,
and plastic. A lapped seamuses only one seam
allowanceto eliminatebulk. To do so:
Cut off the other %-inchseam allowance
from one seam; do this symmetrically on
each side. Use a rotary cutter, as it cuts a
smooth, even edge.
Applyfabricglue(thisisnot permanent glue)to
securethe seamstogether.Bringtheseamedge
(theedgewith no seamallowance)andplaceit
to theseamlineof the other garmentpiece.
Finger-press the two pieces together.
Topstitchthe lapped seamwith a double
topstitching.
Don't begin stitching seamswith a backstitch,
as it cuts into the leather.
Don't pin seams-instead secure seams with
small binder clips.
Don't press leather without placing a brown
paper over the leather as a surfaceprotection.
Don't need to finish seams in leather-leather
does not fray.

~ ~ ~ ~ . . . . . . . . . . . . . . . ~ ~ . . . ~ ~ ~ ~ ~ ~ ~ ~ - ~ - ~ ~ r ~ ~ ~ ~ ~ . . . . . . . . . . . .
APPLYCEMENT WITH
corrow Q-TIPSOR
SMALL BRUSH&
FINGER PRESS
6.50 LAPPED SEAM STITCHED IN LEATHER

,EDGEWITHOUT
SEAM ALLOWANCE
ITOPSTITCHINGHOLDS
SEIM IN PLACE
,APPLY FABRIC
GLUE TO SECURE
SEAMSTMETHER
8.49 U S E LEATHER C E M E N T T O SECURE S E A M S I N LEATHER.
'/,'S€AM
ALLOWANCE
Faux Fur Don't trim the fur off the hem allowance-it niques and stitch a gathered piped seam.For
Do designfur carefully,as intricate seamlines remainsin place. this to be successful,the right fabricweight
will not be noticedin fur. needs to be chosen so the seamsare not too
Do trimawaythe furfromeveryseamdm- TRANSFER YOUR KNOWLEDGE bulky.
ancebeforestitchingtheseams.Trimmingthe If you know how to stitch curved,angled, If you know how to stitchone in-seamgodet,
furfromtheseamsreducesbulk and willhelpthe and circularseams, you can stitchany shaped then you can stitch a godetwithin a godet.
seamtositflat(Figure 6.51a). This alsomeans seamsby transferring your knowledge. A slot seam can also be designedso the un-
trimmingthefurfromtheseamallowanceof col- If you know how to stitch a closedHong derlay is showing.The pattern would need to
lassnecklines,and frontedges. Aftertheseams Kongfinish, then yon canstitch a bias bind- be adjusted and the underlay width cut wider
arestitched,the seamlineswill lookinconspicu- ing around apocketflap, shaped neckline, to the specificationsof the design.Then,
ous. Finger-pressthe seamsopen and catchstitch armhole, and collaror tab edges.Figure 6.33 don't butt the seams together, as indicated
theseam edgesto thefauxfurbacking( F i r e showsthisseam finish. in Figure 6.37~;instead,leave a gap to show
6.5Ib). RefertoChapter15,"Catchstitch." If you know how toinsertpiping into a seam sheerlace. This would look fabulous down
Do try turningthe scissorson an angleto trim and you know how to stitch gathered seams, the center of a sleeve or stitched above the
the fur. then you can combine these sewingtech- hemline.

Stitchbeads to the seam instead of
topstitching.
Try stitching apanel insertion by stitching
a layer of lace over the fabricusing a zigzag
stitch. After stitching, cut away the fabric to
reveal the lace (Figure 6.52).
Knowing how to stitch angles, curved, circu-
lar, and V-shaped seams is the student's ticket
to being able to stitch any shapedseam! All
you need is practice,imagination,and deter-
mination to create interesting seamlines.
Stitch a lapped seamwith a Hong Kong seam
finish.The bindingcan then be diagonally
stitchedby hand, as illustratedin Figure6.53.
What about making a special garment for
Valentine's Day?The topstitching saysit all
(Figure 6.54a)!
Insert any trim into a seam(Figure 6.54b).
Figure 6.55 illustrates how different seam
techniques can be combinedin one design.
The seam techniques used are piped seams,
slot seams, gathered seam, lace panel inser-
tion, and appliqukd scallopborder on the
neckline and sleevehem.
...one seam ends up longer than the other?
Were notchesused?If they weren't, this may be
why one seam ended up longer than the other.
6.61A STITCHING SEAMS I N FUR: TRIM THE FUR FROM THE SEAM
ALLOWANCES TO REDUCE BULK.
Any seam can grow in the stitching process
without the guidanceof notches. Did you stitch
directional?Neglecting to stitch directional can
result in one seam ending up longer than the
other.Checkyour pattern-perhaps your seams
were not equal in length. Seam rip the garment
and compare the seam length with your pat-
tern-perhaps it has not been cut correctly.
...my seam looks twisted?
What did I do wrong?
Fabric pieces cut off grain will look twisted.
Seams of unequal lengths can make the seam
look twisted. If a shorter seamis stretched to fit
a longer seam, then the seam will look twisted.
6.518 CATCHSTITCH SEAMS I N FUR TO HOLD FLAT
TRIMFUR
WOM SEAM
ALLOWANCE

...~...... . . ~ ~ ~ ~ . . ~ . . ~ ~ ~ ~
CUTFAB.ICAW**
FABRIC CLOSlTO
note-with notches,seamswilllineup perfectly
6
and not look twisted! .
...my seam ripples?
Did you sample the seam first to experiment
with the fabric and to check the machine ten-
sion? Often students skip this step, as they
think it will savetime-no, it doesn't savetime!
Perhaps you have the incorrect needle size for
the fabric weight? Seam rip the stitches and
press the seams so they lie flat. You could try
tissue stitching-this helps prevent the seams
frompuckering. Also, be sure to hold the fabric
taut as you stitch, and remember to use a seam
support, such as pins and handbasting, to help
hold the seamin place.
...I have skipped stitches?
Here is list of thingsyou can do:
Check that you have used the correctneedle
sizeand type.
Check the machine tension.
Checkthe machine threading.
Apply a new needle and sampleagain.
Tissue stitchthe seam, as this often improves
6.52 PANEL INSERTION
the problem.
SELF-CRITIQUE
It soundslike apatternproblem, soreadjust the Takealookatyour finishedgarmentand askthe
pattern sothe patternseamsareof equallength. crucialquestion: "Would I wear this garmentor
Seam rip the seam, and press the seams so they wouldI purchasethis garment?"If the answeris
lie flat. Then place the patterns back on top of "No," then ask yourself,whynot?It may be be-
the fabric and recut. Restitchthe seam, making causeyou don't likethe design, the proportions,
sureto pin the seam for support. Just an added or the fabricchoice. However, when we ask stu-
6.55 LAPPED SEAM
WITH HONG KONG 1 I
dents this question,many of them respond that
it is the quality of stitchingthat would prevent
them from wearing or purchasing their own
garment. Ask yourself the following questions
to critiqueyour seamstitching:
Did I use the correct number of stitchesper
inch to suit the fabrictype and weight?
Did I use the SEF CLIP, PRESSmethod of
stitching?
Do the seamslieflat?
Are the seams bulky?
Is the seamfinishappropriatefor the fabric?
Do the seamsshadowfrom the correctside?
Do the seamspucker and looktwisted?
Did I stitchenoughsamplesto make an
informed decisionregardingthe best seam
technique to use?

A) cawnvr rnpsnrcwws
DON'IGRIDE THE SEAM-THE $€AM ALLOWANCEUSED 10 PAD THE STITCHES
6.54A STRETCH YOUR CREATIVITY: CREATIVE TOPSTITCHING
6.54B STRETCH YOUR CREATIVITY;
INSERT ANY TRIM INTO A SEAM.
Did I continually fit my garment on the dress
form as I stitched the seamstogether?
We suggest restitching a sample of any seam
finishes that need to be improved or changed.
Add the samples to your workbook for future
reference.
Do I understand the concept that fabricweight
and drape should help me determine the best
seam finishfor my project?
Do I understand that cutting my fabric"on
grain" will avoid twisted-looking seams?
Do I understand how pattern markings, such
as notches and matchpoints, help me match my
seams perfectly?
Do I know how important staystitchingis
for reinforcementand to prevent seamsfrom
stretching when I stitch?
Do I understand how using the SEW,CLIP,
PRESSmethod of stitching helps me to stitch
quality seams?
Do I understand that I need the correct type
and sizeof machine needle to suit each fabric
type and weight that I stitch?
Do I understand that the stitch length I use for
stitching seamsdoes matter?
Do I know the importance of stitching quality
seams (part of structural design)as the seams
hold the garment together?
6.55 STRETCH VOUR CREATIVITY:
THE FOLLOWING SEAMS HAVE BEEN
S l l l C H E D I N ONE CREATIVE DESIGN.

7 . i A ELIKC! TUCK i . i C D A R <S OPEN AT 3 N E E N D
variation of each style By the end of this chapter
yo? willknow how thesetechniquesarestitched.
GATHER YOUR TOOLS
The tools needed to stitch pleats and tucks are:
fabric marking pen; dressmaker tracing paper
and wheel;pins; hand sewingneedles;matching
and contrasting thread; and pressing cloth.And
don't forgetyour ruler and tape measure.
With your tools organized,you arenow ready to
begin the stitchingprocess forpleats and tucks.
'FOLD OFlUCX
COVERSSIllCHlWs
THIEADSIIIE PULLED
/
TO B A C I I l D I<IOTTED
7.18 CORDED TUCK 7.10 DART TUCKS OPEN AT BOTH ENDS
4TBREAD ENDS PULLEDTO BACK1ID KIOTTED
7.1E DARTTUCK STITCHED ACROSS BOTTOM

Tucks and Pleats: Tailoring a Texture 189
7.1G CROSS TUCK
7.11 KNIFE PLEAT I N ONE DIRECTION 7.1K INVERTED PLEAT
7.11 KNIFE PLEAT I N TWO DIRECTIONS
7.1H PIN TUCK
7.1L BOX PLEAT

TUCKS
What is a Tuck?
Tucksarefoldsof fabricstitcheddowneitherallor
part of theway, suchasreleasetucks.Tuckscanbe
functional used to shape the garment, as well as
decorative.Tucksareusuallyfoldedonthelength-
wise or crosswise grain to lie flat. Tucks stitched
onthebiasstretcheasily.Eachtuckisformedfrom
two stitchinglines that are matched together and
stitched. The distancefromthe fold to the match-
ing line determines the tuck's width. Tucks that
meet or overlap slightly are called blind tucks
I
Tucks can be stitched to the flat fabric before
cutting out the garment. Stitch the tucks
on the fabric, lay the pattern pieceover the
tucked area, then cut out the pattern piece
(Figure 7.2).
I
the fabric for shapingtucks to ensure straight
stitching.
For delicatefabrics, handbaste the stitching
lines.
, Stitch the tucks in the order shown in Figure 7.3.
(FigureZla); tucks with predeterminedspace be-
tween them are spaced tucks, and a pin tuck is a
very narrow tuck, as shown in Figure Zlh, ap-
proximately '18 inchwide, or the designer's choice
in conjunctionwiththeweightof thefabric.
Light- to medium-weight fabrics are suit-
able for tucking, but design and print should
be taken into consideration. Extra fabric is re-
quired when adding tucking to garments. To
calculatethe extra fabric needed, first establish
the width and the number of tucks required.
, Beginwith the center tuck, stitchingdownward.
Next, complete the tucks on either side, stitching
upward.
Then move to the tucks on either side ofthose
you've already done, stitching downward until
complete.
Switchingthe direction of stitching keeps the
tucks straight and prevents puckering.
Presseach tuck individually as stitched, usinga
pressingcloth.
Complete by pressingallthe tucks in the desired
direction.
Dart Tucks
Double the width and multiply by the number Dart tucks are darts that are not stitched to
of tucks. This amount must be added to the fin- a point; they are stitched the same length or
ished width of the garment pattern piece. Ex- shorter as the dart, but areleft to open into full-
ample: 10 tucks x '18 inch, doubled is 10 tucks
x % inch = 2%inches of extra fabric that must
be added to the pattern piece before cutting out
I I and stitching the tucks.
spacingbetween each tuckand the
depth ofthe tuck.
y Notch the stitching lines forthe tucks and the
--------------
matchpoints (as shown in Figure 4.13) at the
beginning and finish of each tuck.
TUCKS A Usinga disappearingfabric marker, mark the
7.2 STITCHING TUCKS ON PLAIN FABRIC
BEFORE PATTERN IS CUT
stitching lines on the correct side of the fabric
for decorative tucks and on the wrong side of 7.3 STITCHING ORDER OF TUCKS

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Tucks and Pleats: Tailoring a Texture . .. ...,,.....
7.41 DART TUCK
1
NOTE
IWhen pressing a dart tuck. take extra care
to press the tuck only, not the fabric folds
released at the end of the tuck.
I
7.4C DART TUCKS ENDING ON AN EVEN LINE
ness (Figure 7.4a). Dart tucks can be stitched on
the surfaceof the garment,providing decorative
interest, or on the inside of the garment (Figure
7.4b). Rows of dart tucks can be stitched to end
on an even line (Figure 7.4c), or stitched at an
angle(Figure7.4b). One dart at the bust orwaist
can be dividedinto severalsmalldart tucks with
the released fullness directed toward the curve
it's covering.
Blind Tuck
Blind tucks (Figure7.4b) areplaced closeenough
7.48 DART TUCKS FORMED ON WRONG SIDE OF FABRIC togethersothattheyrneet,withnovisiblespaces
C 7.5 BLIND TUCKS

SINGLE NEEDLEMACHINE
STITCHING ON FOLD LINE Each tuck may be spaced to create a variety
of designs.Machine stitching closeto the folded
edgeof thepin tuck iswhat createsthe beauty of
this technique (seeFigure 7.6a). A pin-tuck foot,
availablefor home sewingmachines, aids in the
machine stitching.The use of a twin needle also
creates wonderful pin tucks through the adjust-
ment of the upper needle tension, which is easy
to do on home sewing machines (Figure 7.6b).
Excellent straight stitching with a steady hand
is essential for the pin tucks to turn out prop-
SPACE BETWEEN NEEDLES AEQUALWIDTH OFTUCK AND
7.6A PIN TUCKS: HAND AND MACHINE STITCHING . TIGHTER IE1510N EQUALS
HARROW TUCK
between them (Figure 7.la). The foldline of the
Ituck meets the stitching line of the next tuck.
The tucks can all go in one direction or they
can be pressed to each side of a center-front or
center-back seam or opening (Figure 7.5).
Pin Tucks
Pin tucks (see Figure 7.lh) are a very beautiru~
detailon light- to medium-weightfabrics. Often
associated with heirloom sewing, pin tucks can
be machine stitched or hand sewn (Figure 7.6a);
placed on sleeve caps, fronts, and backs of gar-
ments, or at the waist, cuff, pockets, or collars;
or used in place of darts. In short, pin tucks can
be stitched anywhere the designer wants to add
textural interest. Pin tucks can also be used to
control fullness when their ends are released
into the garment. 7.66 PIN TUCKS. DOUBLE NEEDLE
When planning pin tucks, keep in mind that a
2-inch dart equals eight '14-inch pin tucks: a
¶-inch dart equals four'lr-inch pin tucks.
erly.The height of the pin tucks can be varied to
create even more textural interest and control of
the fullness.
To produce pin tucks on a home sewing
machine, use a combination of a pin-tuck foot,
the right thread, and the correct needle tension.
Thepin-tuck foothas multiplegroovesthat pull
up the fabricinto a consistent ridge while other
grooves allow the foot to ride over the previ-
ous tucks. The right weight of thread affects the
height of the tuck and the color of the thread
changesthe appearanceof the tuck.
Follow these steps to replace a bodice waist
dart with pin tucks:
How to Replace a Dart with Pin Tucks
Fold the dart closed, and measure the bodice
width (Figure 7.7a).
Open the dart and cut a samplepiece of
garment fabric the same measurement as the
bodicewith the dart open (Figure 7.7b).
Mark the dart center line (seeFigure 7.7b).
Begin to stitch pin tucks in parallel rows on
either sideof the dart center line until the
sampleis the samewidth as the bodice with
the dart closed (Figure 7.7~).
Count the number of pin tucks needed to
replace the dart. Fewer rows areneeded with

FRONTCUT=
SIZE 10
+
9
B
+u
DART
CENTER
- MEASURE WAISTLINE OFBODICE
7.7A FOLD DART CLOSED
largerpin tucks; more rowswith smaller
tucks.
Don't pin tuck the entire height of the dart-
this affectsthe side shaping.Pin tuck half the
length of the dart to create a softer look.
* Pin tuck the waistlineof a garment to replace
darts and edges of the sleeves to control and
direct the cuff fullness (Figure 7.7~).
Tucks and Pleats: Tailoring a Texture
~~~.~~~~ . ~ . . . . ~ . ~ ~ ~ ~ ~ . . . .. . . ~ ~
DART CENTER LINE
7.78 PREPARING AND MEASURING FOR P I N TUCKS
/
7.7C DART REPLACED WITH P I N TUCKS
Corded Tucks Corded tucks add firmness to the garment, and
Corded tucks are produced on firm fabric the fabricchoiceinfluencesjust how much firm-
by placing piping cord inside the foldline of ness can successfully be added to the garment
the tuck, matching the stitch line, and using a before it becomes too stiff. Use of cording that
zipper foot to machine stitch along the stitch- is too thick could result in unattractive tucks.
ing lines. The piping cord gives a raised, stuffed Remember, just because you can, doesn't mean
look to the tuck, which can be determined by you should.
the size of the cord and the depth of the tuck.

7.8A C O R D E D T U C K S
OSWISETUCK
To stitch corded tucks:
Choose apiping cord that is suitablefor the
width of the tuck.
Fold the tuck, matching the stitching lines.
Lay the piping cord insidethe fold, and
handbaste through the two layers of fabricto
enclose the cord (Figure 7.8a).
Use a zipper foot to machine stitch close to--
the cord alongthe basting line (Figure 7.8b).
Avoid catchingthe cord in the machine
stitching.
Removethe basting stitches.
Trim ends of the cord even with the garment
seamlineif being stitched to another garment
section.
Cross Tucks
Cross tucks are a decorative arrangement of
rows of tucks made crosswiseand lengthwise on
the fabric. These tucks can be absolutelybeauti-
ful onsheerfabrics,creatingagraphicdesignthat
can be enhanced further by the choice of thread
color used to stitch the tucks. Careful matching
of the horizontal tucks to the previouslystitched
vertical tucks results in perfectly aligned stitch-
ing lines. Once you have gotten the spacing or-
ganized, the stitchingcan go alongquite quickly.
Consider tucking a plain piece of fabric first,
then placing the pattern piece over it.
TUCKSLENtTHW1sE 7)
7.9 C R O S S T U C K S
vertical tucks are going in the correct direc-
tion (seeFigure 7.9).
Press, making sure that all the tucks are
going in the correct direction.
Shell Tucks
Shelltucks aredecorativetucks formed by hand
or machinestitching,sothey canbevery narrow
or wide, depending on the look the designer de-
sires and the fabric being used. Shell tucks are
very effective in a soft fabric and are textured
looking when used in a medium-weight fabric.
When hand stitching the shelltuck:
Mark, baste, stitch, and press all the vertical Mark the tuck stitching lines with fabric
(lengthwise)tucks in one direction (Figure marker, but do not press flat; the shell should
7.9). be rounded and gathered looking.
Next, mark, baste, stitch, and press the hori- Baste the narrow tucks and stitch by hand
zontal (crosswise) tucks, checkingthat the using a small running stitch or by machine

using a2.0 stitch length (refer to Chapter 6,
Figure 6.38a, for details).
Stitchseveraloverstitches over the fold at
determined intervals to produce the scallops
for the shelltuck (Figure 7.10).
If the tucks are stitched by machine, the
hand-stitching thread will have to be carried
within the fold of the tuck from shellto shell.
Shell tucks add textural interest when they
are inserted into seams.
Overhand Tucks
A narrow, decorative tuck called an overhand
tuck is produced on curved lines using very
accurate hand stitching and measuring. This
detail is a subtle addition to a garment and re-
quirespatience,control of the thread, and avery
strong desireto createa curved teeny-tiny tuck!
Completion of more than one tuck requires a
seriousallotment of time, so take that into con-
7.10 S H E L L TUCKS
'MICHINE STITCHEDTUCK
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - -~~ ~.~
7.11A HAND-STITCHED OVERHAND TUCK
siderationwhen planning to use this technique.
Curved lines appear in many places within a
garment,and the decisionaboutwhere this tuck -
would be most effectively placed is the design-
er's choice.
Begin with accurate marking of two lines for
each curved tuck on the garment; use a fabric
marker or handbasting-sample the marker
on your fabricfirst (Figure 7.11a).
Also mark the distance between each stitch
with a dot.
Using a doublestrand of thread, pull the
needle and thread from the wrong sideof the
garment to begin stitching at the top of the
marked stitching line (Figure 7.11a).
Take an overhand stitch approximately'/s
inch from where the thread was brought up
and match a dot on the oppositeside of the
stitching line (seeFigure 7.11a).
NOTE
Avery narrowzigzag machinestitch set
at 1.0 stitch length and i.jwidth stitched
alongthe folded stitching linesof this tuck
producesa flatter, shallower, curvedtuck.
Stitchingvery carefully, the zigzagstitch
must swingoff the edge ofthe fold (Figure
7.iib).
DRAW CURVE OF
TUCK WITH FABRIC
ZIG-ZAG STI~CH, FOLDOFTUCK, MARKING PEW
I
7.118 MACHINE-STITCHED OVERHAND TUCK
Continue stitching alongthe marked lines,
pinching the narrow tuck between your fin-
gers while stitching-hand stitching allows
the formation of a very curved tuck.
Keep the thread taut-the tuck should stand
ur, from the surface.
Press alongsidethe stitching on either side of
the tuck, leavingthe stitched tuck upright to
create textural interest.
A contrasting thread will highlight the tuck.

Professional Sewing Techniqlcesfor Designers
7.12 PLEAT COMPONENTS
Tucks add visual interest and also function as
shape-makers. It is of the utmost importance
when stitching tucks that they be measured
side out, it is called an inverted pleat. When
it is short and insertep in the lower edge of a
skirt, it is called a kick pleat. Pleats are spaced
across the fabric, or in small groups, and are
usually folded to their full depth. Sunburst
pleats, which are narrow side pleats that are
wider at the bottom than at the top, are made
on a perfect circle of fabric. Accordion pleats
are made the same way but may be formed on
the straight grain of the fabric. These types of
pleats are often used in eveninggowns made in
chiffon or crepe. Because of the difficulty of
forming these pleats evenly, sending the fabric
out to a professional pleating service provides
the best result.
In production,it is more cost-effectiveto send
the fabric to a company that specializesin pleat-
ing than it is to have it donein-house. The manu-
WOXH ALL
PLm,
UNDERLAY W I D m I A I D UNDERLAY DEPTH
TOLD WIT0 TORY 7°C P
7.13 M A R K I N G KNIFE PLEATS
- -
accurately and be absolutely straight and even facturerprovidesthehip andwaist measurements
when stitched. When drawing attention to de- and the length of the finishedpleated garmentfor
tails such as any of these tucks, they must be all graded sizes. 1executed with excellence.
PLEATS
What Are Pleats?
Pleats are folds of fabric used to control or add
fullness in a garment. They can be stitched and
left unpressed, forming soft folds in the gar-
ment. Or, they can be crisply pressed down the
entire length of the pleat, to form a sharp edge.
Although differentiated by names that describe
their particular use or appearance,pleats com-
prise two basictypes: sidepleats (alsoknown as
knifepleats when they are crisplypressed),and
box pleats. When a box pleat is made wrong
Therearethree componentsto formingpleats
(Figure7.12):
I1.Thepleat depth, equal to the distance from
the outsidefold of the pleat to the inside
fold of the pleat;
2. Thepleat underlay, which is two times the
pleat depth; and
3. Thepleat spacing,which is the amount be-
tween the pleats.
Marking Knife Pleats on the Fabric
Begin the pleat serieswith the seam allow-
ance (Figure 7.13).
7.14 M A R K I N G KNIFE PLEATS
Next, mark the pleat underlay with notches
(Figure 7.13).
The spacebetween the pleat follows.
The pleat depth and underlay are next, fold-
ing over to form the pleat (Figures 7.13 and
7.14).
Repeat this marking to the hip measure-
ment ending with the pleat depth and seam
allowance.

7.15A SEAMS I N PLEATS
&AM ALLOWANCE ON HEM PRESSED
OPEN ANDTRlMMEDTO REDUCE BULK
~ ~ ~~ ~~~~ ~ ~ ~ ~ ~ - ~ ~ ~~~...............................
HANDBASTE,
7.15C HANDBASTE
THE PLEATS
Handbaste each pleat through all layers.
The seam is hidden in the centerfold of the
pleat.
Adjusting Pleats to the Waistline
Pleats are formed to fit the circumference01the
hip measurement. In order for the pleated gar-
ment to fit at the waist, the pleats have to be ad-
justed (Figure 7.14).
To adjust the pleats to fit the waistline:
Find the difference between the waist and
hip measurements.
Divide the difference by two times the
number of pleats (eachpleat has two sides).
The resulting measurement represents the
1 NOTE
When a skirt or dress is hungfrom a yoke, a
straight pieceof fabric can be pressed paral-
lel into pleatsto match the bottom measure-
ment of the garment piece. This can also be
inserted into a part of the garment such asa
section of the sleeve. Instraight pleating, the
fabric is set just the same at the top and the
bottom. The pleats can be box pleats, side
pleats, or inverted pleats.
PRESS DIRECTIONAL PIIISS CLOTH
7.150 PRESS THE PLEATS

extra amount each pleat will take up to fit the .Pleats can be topstitched at varying lengths
waist. below the waist (Figure 7.15c).;
Measure this amount from each side of the
pleat as shown in Figure 7.14.
Blend a curved line, which becomes the new .(;patchthe pleats at upper edge and pin
stitching line,from each mark to approxi- the corresponding positions to the hem
mately 4'12 inches below the waist as shown (Figure 7.13).
in Figure 7.14. Insertside zipper (Figure 7.16).
loin the seams (flat application-not
SIDE stitched in-the-round).
AZIPPER
I Trim the seam allowances to reduce bulk
T , and markthe hemline (Figure7.15a).
CEI(TER PANEL
I
7.17 KNIFE PLEATS
I N TWO DIRECTIONS
Hemthe pleats (Figure 7.15b).
Mark the foldlines and the placement
lines accordingly, and pin (see Figure
I 7.14).
i
Handbastethe pleats alongthe folds;
remove pins (Figure 7.15~).
Pressthe pleats lightly in the direction ting the pleats. Dampen apressingcloth with
they will face (Figure 7.15d). the mixture and press through it to set the
Staystitchthe pleats across the upper edge pleats for increasedstability-always sample
(Figure 7.lge). on a scrap of fabric.
Jointhe last seams (stitch in-the-round). Turn to the correct side and steam the pleats,
Hand stitch the last section of hem and press. using a pressingcloth.
Allow the pleats to dry on the ironing board
Pressing the Pleats before moving.
With the wrong sideup, place strips of Topstitch the pleats if desired (Figure 7.16).
brown paper or tissueunder each pleat to
prevent an imprint of the pleat on the correct Side PleatslKnife Pleats
side of the garment (Figure 7.15d). The most common form of pleats, the sidepleat
Press, using a pressing cloth to set the is formed with a single foldline and a single
pleats. placement line. When folded and positioned, all
For synthetic fabricsonly, mix a solution of side pleats face the same direction (Figure 7.li).
1part vinegar to 9 parts water for use in set- A sharply pressed, narrow side pleat is known
7.16 TOPSTITCHING PRESSED PLEATS

...~~........~..........-...........~................................ ..........-.
fINSIDE
Knife Pleats in Two Directions
Formed in two separate sets, each set faces in
the opposite direction from the other, on either
side of the center front and center back (Figure
In box pleats, the two front folds of each pleat
face away from one another (Figure 7.18). The
back folds face each other on the wrong side 7.19A INVERTED PLEAT
7.18 BOX PLEAT
and may meet centrally, although this is not es-
sential. A box pleat may be unpressed, pressed
in place, or partially stitched. Box pleats can be
as a knife pleat and is constructed the sameway. grouped or designed to form apanel.
The Perfect Pleater, developed by Clothilde, is
an arrangement of folded canvas and cardboard Inverted Pleats
that resembles closed window blinds. It comes Inverted pleats are the reverse side of box plea1
in different configurations and sizes for use (Figure 7.19a). The two side pleats are folded
in constructing knife pleats and box pleats on to meet each other on the correct side of the
fabric of any length and up to 27 inches wide. garment. The pleat can be edgestitched along
The size of the pleats can be varied by skipping the foldline (Figure 7.19b). Inverted pleats are
any number of the canvas folds. Asymmetrical found in many areas of garments: in the front
pleatingpatterns can be createdin the sameway. and back seams of skirts; as one or two pleats
7.398 INVERTED PLEAT
Some fabrics may require professional pleating set below a shirt yoke (seeFigure 6.28c), at the
to heat-set the narrow pleats. princess line seam; in gored skirt seams to in-
crease the width of the garment; in sportswear this is functional design, while retaining a
If there is a seam beneath a sidepleat, do not garments to provide room for arm movement; smooth, unpleated hipline. Some skirts have
press the seam open, but press to one side and at the center back of coats and jackets, pro- kickpleatsin thefront or back;othershavethem
(seeFigure 7.15a). viding sitting ease. They also can be placed at in the front and back; and there are skirts with
Side pleats can be graduatedin size,with the center front or center back of garments de- kickpleats at the sideseams. An unstitched kick
deeperpleats at the top of an all-pleated skirt signed for maternity wear. pleat is folded back and becomes a vent. (Refer
to allow it to fit smoothly at the hips and to Figure 15.30a.)
waistline. Kick Pleats
Pleatscanbe topstitched'A inch infromeach Kick pleats areused to givefullness to a skirt at Single Kick Pleat
pleat foldfromwaistlinetohipline (Figure7.16). the knee for walking and ease of movement- A singlekick pleat adds width at the hem.

7.20A STITCH CB KICK PLEAT SEAM
Machine stitch the seamof the pleat (Figure
7.20a).
At this point, the zipper is inserted and side
seamsare stitched.
Pin the fold of the pleat so that it lies along
the seamline(Figure7.20b).
Machine stitch acrossthe top of the pleat to
keep it securelyin place (Figure7.20b).
Pull thread ends to the wrong side of the
skirt and tie knots.
7.208 SECURING PLEAT TO GARMENT
Clip the seam allowanceof the pleat whereit
meets the hem so the seamcan move freely
(Figure 7.20~).
Press open the seam allowanceof the pleat to
lie flat within the hem (Figure7.15a).
Set-in Kick Pleats (with Underlay)
Set-in kick pleatslook likeinvertedpleats atthe
bottom. A separatepiece or underlay is cut for
the back of the pleat. To make the singlepleat:
7.2OC HEMMED KICK PLEAT
Cut pleat, underlay and skirtwith pleat ex-
tension (Figure7.21a and b).
Transferall the markings and matchpoints
carefully.
Stitchdown the seam of the skirt as far as the
seamextensionsto matchpoints (seeFigure
7.21a).
Pin and baste the underlay to each side of the
seamextensions and machine stitch in place;
begin stitchingat the matchpoint of each

7.21A KICK PLEAT WlTH EXTENSION
side of the underlay, and stitch to the bottom
(Figure 7.21b).
The inverted pleat, meets in the center of
the underlay; machine stitch across the pleat
from the correct side of the garment (Figure
7.21~).
Bring thread ends to the wrong side of the
garment and knot.
Finish hem as for the single kick pleat (see
Figure 7.20~).
7.218 UNDERLAY BASTED TO PLEAT
UNDERUV, DASTE
AND MICHINE
SIKHmPLEPT
Underlay Cat-in-One
7.21C STITCHED PLEAT WITH UNDERLAY
Kick ~leatswithout a separate underlay are horizontal lines symmetrical on each side
planned atthe patternmakingstageand arecutin of the dominant bars) as a guideline for
one with the seam, as an extension.The amount pleating.
of the extensiondetermines the width of the kick Do match the bars of an uneven plaid at the
pleat, which can be a single kick pleat (Figure seamlineof a centerfront or center back seam
7.22a) or a double kick pleat (Figure 7.22b). Ac- to keep the plaid in a continuous pattern when
curate marking of the depth and foldlines of the the pleats are formed.
double kick pleat is critical to the finished look Do use stripes (which can be even or uneven
of this pleat. vertically or horizontally) to determine the
depth of apleat or tuck.
STITCHING TRICKY FABRICS Do purchase extra yardage to match plaids and
Matching Stripes, Plaids, Patterns and crosswise stripes.
Repeat Patterns D o handhaste seams to match bars and prevent
Do use the lines of an even plaid (vertical and slippagewhen stitching seams.

...-.........................-.-..~--.~..~~~......-.............~.....L.....~-.--.-..--.-..-.~.---~-.........-........---.~-~-~..-..----.~------"----------------
7.22A INVERTED DOUBLE KICK PLEAT WITHOUT UNDERLAY
Do stitch the pleats in a thread color that
matches the most dominant color of the plaid.
Don't waste your time sewingplaids if they
are not matched!
Sheer Fabric
Do use soft, released pleats on drapablesheers.
7.228 INVERTED DOUBLE AND SINGLE KICK PLEAT
WITHOUT UNDERLAY CUT-IN-ONE
Do use pin tucks on crisp sheers.
Do use professionally pleated accordionor
sunburst pleats on sheersin eveningwear.
Do use an underlining to support sheerfabrics
when pleating.
Don't use all-cotton fabric-it doesn't hold the
shapeof knife or box pleats.
Lace
Typically lace is not pleated unless it is very
lightweight.
Do edgestitch the pleat on lightweight lace to
keep the shapeof the pleat.
Do use lots of steam and the appropriate
temperature to press pleats in lace with a high
percentage of polyester-the higher the amount
of polyester, the better the pleats will hold.
Do match the motifs of the lace when planning
pleats.
Don't use heavily embellished lace for pleat-
ing-the pleats won't hold.
Satin
Do use aprofessional pleatingserviceto pre-
pleat fabric,for example,when using a large
amount of fabricfor bridesmaids' gowns.
Do use lots of steamand the appropriate tem-
perature settingwhen pressingpleats.
Do use tissueor brownpaper stripsunderpleats
to avoid marking an impressionon thefabric.
Do use medium- to heavyweight satin to hold
the pleat shape.
Beaded Fabric
Don't pleat beaded fabric-the beadingpre-
vents the fabricfrom beingfolded or pressed
into a pleat.
Knits
Do samplethe knit to seeif the desiredpleat
result occurs.
Do use soft unpressedpleats in cotton/Lycra-
blend fabric.
Don't attempt to pleat knits in general-trying
to re-pleat the fabric each time it is washed is
never successful.
Denim
Do preshrink denim twice beforepleating.
Do be absolutelyon grain or the pleats will not
press flat and stay flat.

7.23A OPEN-ENDED
STITCHED TUCKS
7.238 BLIND TUCKS 7.23C CORDED TUCK 7.23D STITCHED CLOSED
PATCHES INSERTION INVERTED PLEATS INTO
KNIT DRESS
7.23E RELEASED
BOX PLEATS

Do use a denim needle, which has an acute
point and a strong shaft for stitching through
multiple layers of tightly woven, dense fabrics.
Do trim pleat seam allowancesto reducebulk.
Do topstitch pleats to hold them in place.
Do use pressed or unpressed pleats.
Don't put pleats or tucksin heavyweightdenim.
Velvet
Do use soft,unpressed, released pleats in velvet.
Don't pressvelvetto createpleats-the nap
will be crushed.
Faux Fur
Don't even think about trying to pleat faux
fur!
Heavyweight Fabric
Do use massiveamounts of steam, awooden
clapper, and lots of pressingmuscle to achieve
pleatingin heavyweight fabrics.
Do trim seam allowancesof pleats to reduce
bulk.
Do use a partial lining approximately1inch
longer than the hipline area and cut from lining
fabricto hide all the cut edges (Referto Chap-
ter 16,StyleI.D., Figure 16.25a.)
Do use brown paper bag strips underneath the
pleats to avoid leavingan impression.
Do match the pleat to the weight of the fabric:
small knife pleats will not be effectivein
heavyweight coat fabric.
Don't try to force bulky fabricsinto pleats-it
doesn't work!
Now that you know the basic t,ypes of tucks
and pleats, transfer your knowledge by trying
the following:
Stitchthe ease of a sleevecap into tucks or
pintucks.
Use the darts from the front and back of
a skirt and stitch pin tucks of the same or
varying lengths all around the garment in
place of the darts.
Pin tuck a patch pocket.
Stitcha %-inchshelltuck of fabric and use
as a trim inserted between the facing and the
garment edge.
Create tucks on a strip of fabricand use as a
trim or inserted between the facingand the
garment edge.
Create pleated trim; insert around the neck-
line edge and center front of a garment.
Insert a knife pleat into the princess line
seams of a skirt or dress.
Attach a pleated sectionof fabric to the
bottom of a straight skirt or a sleevehem.
Alternate the types of pleats within one gar-
ment such as a skirt.
Take the techniques learned in this chapter and
apply them to design in a creative, nontradi-
tional way. Tucksand pleats can be used all over
a garment,so think outsidethe box.
Stitchlarge, open-ended tucks all over the
surface of a garment (Figure 7.23a).
Blindtucktheentireskirtof agarmentand-
repeat onone third of thesleeves(Figure7.23b).
Create corded tuck patches, and stitch to-
getherto create an insert in aknit garment
(Figure 7.23~).
Create shapingin a skirt by using inverted
pleats that are stitched closed at the top and
bottom of the pleat. Add tulle to hold shape
(Figure 7.23d).
Pleat a skirt with box pleats that arereleased
above the waistline and staystitchedat the
waistline (Figure 7.23e).
...I've stitched my pin tucks and
they are crooked?
Accuratemarking and stitchingarekey to beau-
tiful pin tucks. If the garment has not yet been
sewn together, use a seam ripper to remove the
crookedpin tucks, checkthe marking,press and
restitch. If too many pin tucks are crooked, the
entire garment sectionmay have to be redone.
...I've replaced my darts with tucks and
don't like the way they look on the garment?
If thegarmenthasbeenstitchedtogether,ripoutthe
stitchesoftheseamwherethetuckshavebeenplaced.
Press and carefully mark the position of the dart,
andthenstitchthedartandtheseamallowance.
...the pleats on my completed garment
are not full enough to balance the garment?
The pleat depth is decided at the patternmak-
ing stage. A sample of how your fabric looked
pleated and how much fabric was needed to

create a good pleat would have revealed such a
deficiencybeforeyour garment was pleated and
pressed. If you have followed the SEW, CLIP,
PRESS directions we have offered in every
chapter,then it will be difficult or impossibleto
removepleatingfromthe fabric. If somehowthe
pressed pleat marks could be removed from the
fabric, fewer pleats could be formed by joining
two pleat allowances together, allowing more
depth per pleat. Otherwise, another section of
the garmentwill have to be cut.
SELF-CRITIQUE
Take alook at your finishedgarmentand ask the
crucial question, "Would I wear this garment or
would I purchase this garment?" If the answer
is "No," then ask yourself,why not?
If you would not wear your garment, it may
be because you don't like the design, propor-
tions, cut, or fabric choice. However, often it is
thepoor quality of thestitchingthat discourages
wearing or purchasing the garment. Stand back
and assess your work throughout the stitching
process. Ask yourself the followingquestionsto
critiqueyour tucks and pleats stitching:
If the tucks are replacing a dart, do I have the
correct fitting to replace the darts?
Is the cording for the corded tuck the appro-
priate thickness for the fabric?
Is the stitching even and straight?
Are the cross tucks pucker-free?
Are the overhand stitchesspaced evenlyand
is the hand stitching tension even?
Does the stitching followthe curve?
Have I used enough pleat depth to create a
generouspleat?
Have the pleats been handbasted and pressed
well?
Have the pleats been pressed in the correct
direction?
Is the hemming of the pleats bulk-free?
Do the pleats lie flat?
If topstitched, are the stitchesthe correct
stitch length?
Is the topstitching straight?
Does the thread color of the topstitching
match or contrast nicely with the fabric?
Do I understand the differencebetween a
tuck and a pleat?
Do I understand how to accuratelymark the
stitching lines of a tuck or a pleat?
Do I understand why the grainlineis impor-
tant when creatingtucks and pleats?
Do I understand how to use a doubleneedle
to create apin tuck?
Do I understand the three componentsof a
pleat?
Do I understand how to determinehow much
fabricI need when addingpleats or tucks?
Do I understand how to spacethe pleats or
tucks?
Do I understand the difference between a
box pleat and an inverted pleat?
Do I understand the concept of addingthe
extensionin patternmaking for the kick pleat?
Do I understand the underlay of apleat?
Do I understand the necessity of clipping
and trimming the seams of pleats before
hemming?
Thefashiondesignerneedsanexcellentknowledge
of clothing consuuction. Measuring, stitching,
Keep improving on your stitching techniques, andpressingtucksandpleatsareimportantdesign
Are my tucks stitched evenly? and perhaps do somemore sampling. Enlist the elements. Remember, designing, patternmaking,
If using a doubleneedle, is the stitch tension help of your instructor, too. and constructionarecloselylinked together.
evenly balanced?

:..vti.
C H A P T E R .*-., ,.,. .9"C
Zippers: Fastening Your Way into the Garment
zippers are part of structural design and must physically work well in all garments. There
are many differentways to apply a zipper into the garment. It is easier to insert a zipper
into a garment while it is still flatand not sewn together. Some zipper applications are invisible,
giving a seamlike finish;other zippers can have larger teeth in contrasting metals and become
the focal point in the design of the garment.
Function must meet form, which means
they must go hand in hand. You can put any
zipper in a garment, anywhere, but should
you? Contrast is exciting, but does it suit the
garment?A'technically correct zipper can be
an absolute disaster if not placed properly.
Form and function must collaborate,without
disparity.
After practicing the methods in this chap-
ter, insertion of the challengingfly-front zipper
will become second nature. This technique and
otherswillenablethestudentdesignertoachieve
the look he or she desires in the garment. This
chapter explains zipper applications for differ-
entfabricchoicesand designs.
STYLE I.D.
Figure 8.1 illustratesthe basictypesof zippers-
all-purpose,invisible,andseparating-and their
applications.
GATHER YOUR TOO
The following supplies will ensure that zipper
applications go smoothly: basting thread (such IasSilamide),hand sewingneedle, beeswax, tem-
porary double-sided adhesivebasting tape (such 1
KEY TERMS
All-Purpose Zzpper
Bottom Stop
Centered Zipper
Cord
Exposed Teeth
Invisible Zipper
Invisible Zipper Foot
Lapped Zipper
Pull Tab
Sepsrating Zipper
Tape
Tape Ends
Top Stop
Zipper Coils
Zipper Fooz
Zipper Teeth

8.1A ALL-PURPOSE ZIPPER: CENTERED
as Wash-a-Way Wonder Tape), pins, pressing
cloth, fabric marking pen, scissors, zipper foot,
and invisiblezipper foot.
. . ~ . . . . . ~ ~ ~ ~ . ~ ~ ~ ~ ~ . ~ ~ ~
8.1B ALL-PURPOSE ZIPPER: LAPPED
u E
Zipper Feet
A "regular" zipper foot is used for all-purpose
and separating zippers. This foot can be adjust-
able or, for computerized home sewing ma-
chines, a fixed foot is used on either side of the
zipper by adjusting the needle position. Indus-
trial sewing machines use single toe-hinged or
rigid zipper feet that have an opening on either
the leftorright sideof eachfoot. A specialfoot is
used for invisiblezippers and can be purchased
to fit most home sewingmachines.
8.1D SEPARATING ZIPPER
1 C ALL-PURPOSE ZIPPER: FLY-FRONT
I
8.1E INVlSlSLE ZIPPER

~ ~ . . . . ~ . . ~ ~ . . . ~ .~~~~~~~~~~~~~~ ~ ~ . . . . . ..
Think Ahead-Order Now
Many supplies are no longer readily available at
the local fabric store. Chain fabric stores might
not have an extensive color or size selection of
zippers. Once you have decided that a zipper is
part of the design, purchasing the appropriate
zipper is just as important as selecting the cor-
rect fabric. Begin the researchto find the correct
zipper and order it as soon as possible. (Check
the "Where to Buy" appendix at the back of this
book.)
Answering these questions will help you deter-
mine the type and applicationof zipper to use:
What type of garment is being sewn?
What is the garment being used for?
Is it washableor dry-clean only?
What type of fabric is being used?
Will the weight of the zipper match the
weight of the fabric?
Is the fabric a sheer?
How will the zipper function in the
garment?
Will the zipper hold up to use in the
garment?
Will it be easy or difficult to apply the zipper
in the garment?
Will the applicationof the zipper add to the
design or distract?
Is the applicationof the zipper in keeping
with current fashion?
TOP STOPS
SLIDER BODY
8 0 T O M STOP -
-TAPE
I by pulling it up anddawn beforeinsertingit
into a garment.
I
8.2A ANATOMY O F A ZIPPER:
ALL-PURPOSE ZIPPER
RETAINER BOX
8.26 ANATOMY OF A ZIPPER:
SEPARATING Z I P P E R
-llSlRTlON PIN
WHAT IS A ZIPPER?
An all-purpose zipper, as shown in Figure 8.2a,
is one type of closure that completely fastens
by means of interlocking teeth or coils, which
are attached to the cord of the zipper tape as
shown in Figure 8.2a. The teeth can be metal
or plastic, or the coils can be a nylon or polyes-
ter strand twisted into a spiral. The numbers 3,
4, 5, 8, or 10 refer to the weight of the coils or
teeth, with the lowest number being the light-
est weight. Metal teeth are strong and sturdy,
somewhat inflexible, and are designed to stand
up to heavy use. Think of jeans zippers, men's
trousers, upholstery zippers, and zippers used
in purse-making. The lighter weight, flexible,
nylon or polyester all-purpose zippers or invis-
ible zippers can be used almost anywhere.
A pull tab is a common zipper closure that
canbe decorativeorfunctional.Topand bottom
stops keep it from beingpulled off of the zipper.

. ~ . . ~~~~ ~~~~ ~ ~~~~~~~ ~~ ~~~ ~~
The fabric tape attached to the zipper coils or
teeth is usually made of polyester, preventing
the possibility of shrinkage when the tape is
stitched to the garment without preshrinking it
first. A separating zipper has an insertion pin
at the bottom of the zipper with areinforcedre-
tainer box (Figure 8.2b).
Specialty zippers of unusual lengths and for
specificuses are available.If a really long zipper
is needed, zipper by the yard can be used. The
coils are wound onto a reel, and the slides are
spaced throughout, to accommodateany length
that might be needed.A bar tack,sewnintoplace
beforecuttingatthebottom of thechosenlength,
prevents it from coming apart. Zippers can also
be purchased in their components (the coils or
teeth, the pulls, decorative or functional pulls)
and put together to reach the desired length.
High-fashion color mixes, choices of metal fin-
ishes for metal teeth zippers, rhinestones, crys-
tals, and colored plastic teeth, plus replacement
parts for fixing zippers, are also available and
easily obtained from sewing supply resources
on the Internet. (Refer to the "Where to Buy"
appendixat the back of this book.)
Zipper Sizes
Zippers come in many sizes, beginning as small
as 2 inches and ranging up to 100 yards when
purchased on a reel. In manufacturing, zippers
canbe orderedto specificsizes,in specificcolors
for particular garments, which is why they are
not availableto the retailsewingmarket.Special-
order sizesare availablefor use in homedecorat-
ing, upholstery,campingequipment, and sports
8.3 now TO MEASURE A ZIPPER
gear. The most commonly used sizes are those measure and mark the new length. Whip-
used in garments: skirts and pants use 7-to 9- stitch or bar tack by machine across the teeth
inch lengths, dresses use 20 to 24 inches, and or coils to form a new bottom stop. Cut the
jackets, 18to 24 inches. Coats use longer zippers zipper '12 inch below the stitching, and insert
accordingto the finished length of the garment. the zipper as usual.
While these are general suggestions, a zipper of To shorten the zipper from the top, measure
any size can be used to accommodate an open- and mark the new length. Open the zipper,
ing in.the garment and adjusted to fit. Accurate
measuring is key to determining the best size to
use. Using a measuring tape, lay the all-purpose
zipper flat,pressingit if it is wrinkled frompack-
aging. Identify the top of the slider, and measure
down to the tip of the bottom stop; the result-
ing measurementis the sizeof the zipper (Figure
8.3). The zipper tape ends at the top and bottom
are measured separately, and are not taken into
consideration in length or the placement of the
zipper on the garment.
Shortening Zippers
keeping the sliderat least 1inch below the
mark. Whipstitch new top stops over the
teeth or coils on both the left and right sides
of the zipper (Figure 8.19).
The zipper can be shortened from the top by
having the waistband or facing become the
top stop. Simplyinsert the zipper with the
extra length at the top. Open the zipper and
attach the waistband or facing,stitching over
the teeth or coils; trim the excess zipper tape
above the stitching and encase the cut ends in
the waistband or facing.
A zipper can be
not available.
shortened, if the correct size is Metalteethused injeans zipperscanbe removed
(with difficulty)using needle nose wire clippers
or a tool that can be purchased specifically for
Most zippers can be shortenedfrom eitherthe this process. Once the teeth have been removed
top or the bottom; however, separating zip- from the tape, the tapecan be trimmed orplaced
pers must always be shortenedfrom the top. within the seamallowanceof the garmentwhere
To shorten from the bottom of the zipper, it is being inserted (Figure 8.24).

Zippers: Fastentng Your Way into the Garment 211
ZIPPER TYPES
Therearethree basic types of zippers: the open-
top, all-purposezipper; the invisiblezipper;and
the separating zipper. Let's begin with the all-
purpose zipper.
All-Purpose Zipper
Sometimes called a conventionalzipper, an all-
purpose zipper is closed at the bottom. When
used in a placket application,the zipperis closed
at the top as well, usually with handbasting.
When the zipperis closedat both ends, it is most
often used on the underarm seam of dresses. It
can be used in pockets for functional or deco-
rative design as well. An all-purpose zipper is
most common on skirt or neckline openings
and trousers, slacks, and pants.
The weight of the zipper refers to the coils
or teeth, whether they are polyester, nylon, or
metal. In specialtyzippers,such asthosesetwith
Swarovskicrystals, the surroundingfabric must
be ableto support the weight of the zipper, either
through an interfacedfacingor the weight of the
fabricitself.
The length and color of the zipper are other
important decisions. Does the length allow easy
accessinto and out of the garment?Dothe length
NOTE
It's importanttochoosethe correctzipper
that matches theweightof thefabricand
that suitsthe purposeforwhich thezipperis
belngused.
and applicationof the zipper suit the style of tl
garment? If a longer zipper is needed, will tl
area into which it is being put support it? Do
the zipper match the color of the garment, ar
if not, does the application cover the zippe
Making these decisions before inserting tl
zipper leadsto a successfulapplicationand giv
aprofessional-lookingfinish to the garment.
a IMPORTANT
A 3/*-inchseam allowance is used when ap-
plying centered, lapped, or invisible zippers
(see Figure 2.8b). Beforebeginning any
zipper application, a stabilizer is applied to
the seam allowance area if needed. The seam
is usually finished (if the garment will not be
Ilined). basted together, and pressed open.
All-Purpose Zipper Applications
The most common types of application of all-
purpose zippers are centered (see Figure %la),
lapped (see Figure 8.lb), fly-front (see Figure
8.lc), mock fly-front, and exposed teeth
(Figure 8.ld), shown as a separating exposed
zipper. The all-purpose zipper is inserted un-
derneath the seam allowance folds that cover
the zipper, or into a slash opening, with the
teeth exposed.
It is a good idea to test sample a zipper ap-
plication, especially if the garment fabric is
difficult, has an obvious repeat, or if stabiliz-
ing may be needed. Always sample a new tech-
nique before applying it to the garment.
A good steam pressing of the zipper tape re-
moves any wrinkles resulting from packaging,
and eliminates the possibility of any shrinkage
of thetapeif it's madeof cotton. Thereis nothine-
worsethan apuckered zipperin agarment!Let's
begin with the centeredzipper application.
Centered Zipper Application
The centered zipper is usually found on mod-
erately priced garments and can be applied to
the center back of skirts, pants, or dresses. It
also can be found stitched up from sleeve edges
into the sleeve, or in home decorating prod-
ucts. With careful measuring of the seam al-
lowance and evenly sewn basting, this zipper
application is a crisp finishing detail. Stitching
must be straight and even. All zippers can be
handbasted in place, and for some specialty
fabrics, handbasting the zipper is the only way
to secure the zipper prior to sewing.The use of
an adhesive basting tape to hold the zipper in
place while sewing it into the garment elimi-
nates the puckering that can occur in somefab-
rics when pinned, especially when the zipper
is long (Figure 8.4). This is a fast way to hold
the zipper in place, and most double-sided ad-
hesive basting tapes are washed or dry-cleaned
away. It is important to test a sample of your
fabric with the adhesive basting tape to make
sure it doesn't show through the fabric or leave
a mark. In production, an experienced ma-
chinist would not use any type of basting. It
would not be cost-effective to add this step to
the manufacturing process.

. ... . . ~ .
C
S W UHE
S U M ALLOWAWCE
Remove the paper from the basting tape, and
place the zipper with the coils facedownonto
the seamallowance of the garment. Finger-
press into place (Figure 8.4).
From the correct side of the garment, use
a fabric marking pen or handbaste '/4 inch
from the center of the coils seam to indi-
cate the stitching line. The laps of the seam
allowance have to be deep enough to cover
the zipper coils from the front once the
~ ~ s ~ s l v ~B*STIN~T*PE temporary basting stitches are removed
from the seam. If the fabric being used in
the garment is bulky, the laps may have to
be made larger, perhaps '/s inch to cover the
zipper and to allow for the turning of the
fabric of the lap.
8.4 CENTERED
Z I P P E R : P R E P A R .
I N G THE GARMENT
A N D ZIPPER FOR
INSTALLATION
When the garment is being finished with
a facing, the top stop of the zipper is placed
?hinch below the waist or neckline seam.
When the garment is being finished with
a waistband, place it directly below the
seamline.
I ,
: #itch seam with bastingstitches (5.0 SIL) from
upper garment edge to notch; change stitch
length to permanent stitch (2.5 S/L); backstitch
and stitch to hem; backstitch; press.
er foot, begin stitching at the top of
the zipper, usinga stitch length that is compat-
ible with your fabric and zipper weight. This
may haveto be adjusted to avoid puckeringthe
fabric. Stitch to the bottom of the zipper. Pivot,
and stitch across the bottom of the zipper. Pivot
again, and continueto stitch to the top of the
zipper (Figure 8.5).
NOTE
Stitch in the same direction on both sides of
thezipper if you haveproblematic fabric, or
are matchinga repeat pattern in the fabric. a
plaid, or a stripe.
Do not ottempt to rip out thestifches without
cutting them every3 ory inches!The ripper
taps could be ripped by the thread-a disas-
ter that can only be remedied by removing
the ripper and trying to move the laps over
(something that usually is not successful in
Press, using pressing cloth.
Using the seam ripper (Figure 2.27), remove
the basting stitchesfrom the center of the
seam by cutting into the stitching every 3 or
4 inches and carefullypulling out the basting
stitches (Figure 6.5).
Centered Zipper Welt Insertion
This type of zipper installation is found on
sportswear, such as parkas, snowsuits, boat-
ing jackets, hoods of coats and jackets, leather,
suede, or vinyl. It is closed on both ends, and
sewn much like a double welt, with the seam
edges centered on the zipper and stitched '/4
inch to '/z inch parallelto the finishedseamline.
This type of zipper installation can be really
creativewhen other fabrics or trims areused for
the laps/welts.
Center-Back Waist Finishing
On pants and skirts, a designer has many op-
tions for finishing the waistline. A popular way
to finish this area is with a waistband, in all its
variations, or using a facing. The waistband can

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Lapped Zipper across the zipper, pivoting, and continuing to
The lapped zipper is stitched in between two stitch up to the top of the garment (Figure 8.7).
sides of the garment, one side at a time. The Backstitch carefully or pullthe threads to the
overlapforms from the left side of the garment, backand hand knot.
and completely covers the zipper, so it's pos- Press.
sible to use azipper that doesn't match the color Continue with the waistband or facing finishinn.
of the garment. The lapped zipper is placed at
the center-back opening of dresses, skirts, and
pants, and the lapfacesfrom left to right. Some-
times called the placket zipper when used on-- ZIPPER STOP
the side seam of garments, the lap of the zipper I,2.BELOW EDGE
faces from the front toward the back. A lapped
zipper can be used with a waistband or a facing. I fPRefer to Chapter 9, "Waistbands," and Chapter
12,"Facings."
m H G TAPE
zipper opening(as previously
Apply bastingtape to the upper side of the zipper
tape on the right-hand side of thezipper. Extend
the right-hand seam allowancel/s inch, placing
thezipper coil-side down. Removethe paper and
8.5 SEWING THE CENTERED ZIPPER
finger-press the zipper onto the seam allowance.
Turn the zipper over, faceup, forming a fold in the
be of any width, is usually interfaced, is sewn seam allowance. Bringthel/s-inch fold close to,
to the garment at the waistline seam allowance, but not over, the zipper coil. Stitch alongthe edge
and has some type of closure. The facing is a of the fold through all layers (Figure 8.6).
shaped piece of fabric that is interfaced, sewn Turn the garment to the right side. Smooth the
to the garment at the waistline seam allowance, fabric as flat as possible overthe remaining
and has a hook-and-eye type closurehand sewn unstitched zipper tape. Apply bastingtape to
at the top of the zipper opening to hold the gar- the zipper tape, then finger-press in place to the
~ ~ ~ L ~ w A , , c E
ment together while the zipper is being closed. seam allowance. EXTENDED 11s-
Alsoreferto Chapter9, "Waistbands," or Chap- Fromthe correct side of the garment, begin
ter 12, "Facings," for details. stitchingat the bottom, taking several stitches s.e LAPPED ZIPPER: STITCHING THE RIGHT-HAND SIDE

~ ~~ .~~~ ~ . ~ .~ . ~ . ~~.~~ ~~~
8.7 LAPPED ZIPPER: STITCHING THE LEFT-HAND SlDE
.- .-
Lapped Side-Seam Waist Zipper Insertion
An all-purpose zipper is applied to a garment
side seam that is closed at both ends. This type
of application is most often used in garments
that are fitted at the waistline when an opening
extendinginto the necklinewould detract from
the design (see Figure 2.11). The zipper in these
applications extends 7 inches below the waist-
line and up to the underarm. An invisiblezipper
can also be applied this way.
Follow the steps for a lapped zipper.
NOTE
A longerzipper length can be usedand
shortened. Most zipperscan be shortened
from either the top orthe bottom, however.
separatingzippers must always be shortened
from the top. Referto the section on "Short
eningZippers* earlier in this chapter.
8.9a). The second method involves applying a
separatezipper facing. Zippers forwomen can be
inserted right over left, mainly for business wear,
or left over right for jeans and casual wear. This
is the designer's choice.Thedirectionsthat follow
illustratethefacingcutinonepiecewiththepants,
and right over left closure.
A placket zipper in a side seam is basted
across the top of the zipper as well as being
closed at the bottom of the zipper.To hold
the lap in place, it is stitched at the top and
the bottom of the zipper.
Stitchthe first side down to the bottom,
pivot, stitch across the zipper, pivot, stitch up
to the top of the zipper, and stitch acrossthe--
top of the zipper, meeting the beginning of
the stitching (Figure 8.8).
Fly-Front Zipper
Considered to be the most challenging of all
zipper applications for students, the fly-front
zipper relies on accurate marking as well as
good sewingskills.A regularall-purpose zipper
is used for pants or skirts, while metal zippers
that have an auto lock under the tabs to prevent
the zipper from opening are used with jeans and
men's trousers. Molded plastic sportswear zip-
pers are used on somejackets, coats, or rain and
snow gear.
There are two methods of fly-front zipper
application. One method involves cutting the
facings all-in-one with the garment; this is
sometimes called the "mock" fly-front (Figure
8.8 SlDE SEAM
UNDERARM
PLACKET ZIPPER
-llESA<11OSS
I TOP OFZIPPER

NOTCHES
I RIGHT FRONT LEFT FRONT
CUT l
MATCHPOINTS
SERGE
SERGE
4:r8.9A FLY.FRONT PATTERN WITH CUT ALL.IN-ONE FACINGS
8.9C FLY.FRONT ZIPPER INSERTION:
LEFT FRONT
8.90 PINNING
THE CENTER
FRONT
8.9E FLY-FRONT
ZIPPER:
THE FRONT
FACING TO THE
ZIPPER
. +~~:.z~,.#~~~~.:_ . ._,
HANDBASTE
eEMOVE PINS
8.9f BASTING1
STITCHING THE
RIGHT FLY-FRONT
TOPSTITCHING

Fly-Front Facing Cut in O n e Piece
Interfacingcan be applied t o the front facing t o
stabilize lightweight fabrics.
fitoff the left front fly extension, leaving1/2-inch
t / s e a m allowance all round. Serge the crotch and
edges ofthe facings (see Figure 8.9b).
Usea zipper foot for the following procedures.
With the pants facing you, pin the zipperl/~
inch down from the waistline edge to the left
front. Move the center front seamline over 'I4
inch away from the stitching line. Stitch as close
to the zipper edge as possible-approximately
' / % 6inch. Pressthe center-front foldline on the
right side, from the waistline notch to join at the
crotch (see Figure 8.9~).
Pin the center fronts together, matchingthe
waistline notches. Do not removethe center-front
pins until after topstitchingof the fly-front is com-
pleted (see Figure 8.gd).
Turn the garment to the wrong side. Pinthe zipper
tape to the right front facing, making sure that it
liesflat. Stitch the zipper to the facing only, stitch-
ingas close to the zipper teeth as possible. Do not
cut offthe excesszipper length (see Figure8.9e).
PATTERN TIP
The fly-front facing needsto bewide enough
to cover the topstitching. This decision needs
to be made at the beginningwhen pattern
drafting. Don't forget to add '/.-inch seam
allowance.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . ~ ~ ~~
8.10A INTERFACING FLY-
FRONT EXTENSION
8.108 STITCHING THE 8.1OC FINISHED FLY-
FLY-FRONT EXTENSION FRONT EXTENSION
Turn the garment to the correct side. On the right
front, handbaste the position ofthe fly-front top
stitching. Begin stitchingfrom the waistline and
curve the stitchinginto the crotch join, ending
in a backstitch to reinforce this stress point. The
fly-front can be double topstitched at this point in
matchingor contrasting threads. The center-front
pins can now be removed (see Figure 8.90.
Fly-Front Zipper w i t h Separate Extension
Stabilize one half o f the extension (Figure
8.lOa).
Place the correct sides together. Stitch a
%-inch seam allowance, slightly curving the
lower edge (see Figure 8.10b). Turnt o the
correct side and press. Baste the raw edges
together and serge (see Figure 8.10~).D o n o t
serge at top waistline edge o f the facing.
end o f the zipper. Cut o f f the excess zipper
length, if necessary (see Figure 8.11).
Turnthe garment t o the wrong side and stitch
together both the bottom edges o f the fly-
front facing and the extension. Stitch approxi-
mately '12 inch inlength, back and forth, t o
hold the area securely (see Figure 8.12).
PIN PLFFROM
~ E W S I O N ~
CUT OFF EXCESS ZIPPER LENGTH
MACHINE STtTCH
OVER PREVIOUS
STIICHINC.
With the garment turned t o the correct side
and facing up, place the extension o n the
right side of the garment under the zipper
and liningupfrom the waist edge. Pinin
place. Stitch over the previous stitching,
as closely as possible, d o w n t o the bottom
8.11 STITCHING THE FLY.FRONT EXTENSION:
CUTTING EXCESS ZIPPER LENGTH

STITCHING THE FLY-FRONl
TO THE EXTENSION
' FACING
Fly-Front Closure
INOTE
I
Finishingdetails are what set extraordinary
garments apart from the ordinary. Taketime
to perfect handsewingtechniqueswhile
doing a sample. Practice, sampla, practice!
STITCH FACIWG AWD
-NSIONTOPmHER
FOR 112" LEN""
Choose a small, flat button, l/z inch to 5/s
inch in size.
On the left-hand sideof the waistband, sewa
buttonholehorizontally, in the middle of the
width of the waistband.The buttonholeshould
be the correctlength to fit the button and
There are many different designs for fly-front
8.13 APPLYING A HIDDEN BUTTON AND BUTTONHOLE
closure and this is always the designer's choice. T o FLI.FRONT WAISTBAND
The following closures are for skirts and pants.
A variety of sew-on, hook-and-bar closures are
available in various widths and either black or
silver to blend with the fabric used. Since these
closures are not visible, they don't need to be
matched to the fabric.
Applying a Hidden Button and
Buttonhole to a Waistband
A button and buttonhole can be applied to the
waistband for a stronger closure.Thewaistband
holds much better with a button and buttonhole
closure, which is essential to functional design.
When a button is used for the waistband as well
as the hook-and-bar closure, an extensionneeds
to be added onto thewaistband pattern. Referto
Chapter 9, "Waistbands."
BUTTONSEWN ON RIGHT
BAND, ON WRONG SIDE,
WITHOUT STITCHES
SHOWING ON RIGHT
SlDE OF BAND
1
should be placed approximately 'I2 inchin from
the edgeof the waistband.Placingcenterfronts
together,mark the position forthe button.
On the top waistband, on the wrong,side,
sew the button without the stitchesshow-
ing on the correct side of the waistband (see
Figure 8.13). Yes, this can be done!
Applying a Sew-on Hook and Bar
to a Waistband
The hooks and bars are strong and flat, so the
hook cannot be easily seen, nor will it slide off
the bar.
Position the hook on the underside of the
BUTKsNHOLE SLWN
ON LEFTSIDE 01BAND BAR

278 Professzonal Sewzng Technzquer for Deszgners
overlap, '/s inch hack from the edge. Secure
by stitching over the holes, around the
opening. Hook the bar in place and stitch to
secure. How is the hook held in place? Use a
very small piece of the double-sided adhesive
basting tape to get the first stitches started
(see Figure 8.13).
Place the button in the buttonhole, and posi-
tion the bar in line with the hook.
There are many ways to finish the fly-front.
This is the designer's choice! Refer to Chapter
17,"Closures" (see Figure 17.2).
Exposed Zippers
O n garments where there is no seam, an ex-
posed zipper is applied to a slash opening, and
reinforced with a stay of either interfacing or
firmly woven lining fabric. Typically inserted at
a neckline and used on knit fabrics, an exposed
zipper can also be used on the pockets of gar-
ments, or anywhere else the designer chooses,
from the hem up. Think of mock turtleneck
sweaters, polar fleece sports garments, cell
phone pockets on jackets, and more. This type
of zipper application can be both functional
and decorative. When a metal or plastic molded
zipper is used, the amount of tape exposed be-
comes a focal point of a garment. A specialty
zipper such as one made of Swarovski crystal,
rhinestones, or a Riri zipper with multicolored
metal teeth adds a strong design element to a
garment. Thanks to the Internet, zippers previ-
ously only available to manufacturers are more
readily available to designers.
..=-./E'--
-&&a-rea for the zipper. Choosingthe correct
stabilizer is of utmost importance. Referto Chapter 3,
"introduction to Stabilizers." to guide this decision.
When sewn to thegarment, the stay facing
creates a finished edge that is stable after it is
slashed. The facing should be approximately 3
inches wide and 2 inches longer than the length
of the zipper (see Figure 8.14a). With the correct
sides of the fabric together, mark the center
of the facing; baste to the garment. The open-
ing should only be wide enough to expose the
zipper teeth, approximately 'I4inch to 31s inch
wide (see Figure 8.14a). The width of the open-
ing depends on how much zipper tape is going
to be shown.
Begin stitching the facing to the garment, about
'Is inch from the center marking. Stitch to the
bottom ofthe stay, pivot, stitch across the
bottom, pivot again, and continue stitching up to
the top. Slash the opening along the center mark-
ing. Clip into the lower corners (see Figure 8.14b).
Turn the facing to the wrong side ofthe garment
and press carefully so that the facing does not
show through to the front and the corners form
clean, right angles.
Placethe zipper underneath the opening, and
handbaste the garment to the zipper tape along
the teeth (Figure 8.15).
Lift the garment to expose the bottom of the
zipper and, usinga zipper foot, stitch the triangu-
lar piece of the stay to the zipper (Figure 8.16).
Turn the garment to the wrong side and expose
the original sewing line. Stitch zipperto the gar-
ment from the bottom to the top; stitch the other
side the same way (Figure 8.17).
Removethe handbasting that held the zipper
alongthe teeth. Press.
As a finishing detail, the opening can be top-
stitched if appropriateto the garment and the
design. Referto Chapter 6, "Seams." for details
on topstitching.
When inserting an exposed zipper into a flat
area such as a pocket:
Reinforce the area with the appropriate inter-
facing for the fabric.
Mark stitching lines appropriate to the size
of the exposed area for the zipper being used.
Stitch along these lines, using a short stitch
length.
Slash the opening down the center, and clip
into the corners.
Turn the slashed edgesto the hack sideand press.
Carefully edgestitch around the pressed
edges (Figure 8.18a).
Place the zipper into position, making sure
the zipper stop is included in the exposed
length; stitch '/s inch from the previous line
of edgestitching to secure the zipper to the
fabric (Figure 8.18b).
An exposed zipper can also be inserted without
the topstitching showing on the front of the gar-
ment. For example, when a small, coiled, plastic
zipper that is lightweight and flexible is used at
the neckline or in a turtleneck, topstitching it
into place may make it too stiff. It is important
that the stay be compatible with the fabric and
large enough to support the area into which the

CENTER LINE ,
MARKED
STITCHING
LINES
-STAY
Zippers: Fastening Your Way i n t o the Garment
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.148 EXPOSED ZIPPER: BASTING STAY FACING
TO THE GARMENT
- -
8.14A PREPARE THE STAY FACING
zipper is being stitched. A stay at least 3 inches
wide and at least 2 inches longer than the zipper
should be sufficient.
Prepare the facing,the stitching lines, and the
center of the opening. With correct sides of
the fabricstogether, stitch alongthe marked
lines using a short stitch length. Slash and
clip into the corners at the bottom of the
opening.
Turn the facingto the back side;press. Allow
the facingto roll alittle to the underside sothat
the facing does not show through to the front.
Handbaste the correct side of the fabricto
the zipper tape alongthe teeth of the zipper,
using a smallslipstitch.
NOTE
This type of zipper insertion requires excel-
lent, straight stitching. Sample and practice
on the garment fabric to ensure stitching
skills that hold up to the attention this
application receives. Uneven, poor-quality
stitching draws negative attention to this
technique.
Lift the bottom of the garment and stitch the
bottom of the facingto the zipper.
Flip back onesideof the garment, exposingthe
zippertape, and stitchthe zipper to the facing. -Repeat for the other side (Figure 8.17). 8 . ~ 0rnrr;.=iZIPPL". r-r ....-THE 2.. .-..TO
THE GARMENT OPENING

8.16 EXPOSED
ZIPPER: STITCHING
THE TRIANGULAR
IPIECE O F STAY TO
THE ZIPPER
-FACING
ORIGINAL
STITCHING
JMCIIINE STITCH FACING
INPUCE FROM BOlTOM EXPOSED
TOP OF GARMENT ZIPPER: STITCHING
THE ZIPPER TO THE
GARMENT
Invisible Zipper
The invisible zipper is the most versatile, suit-
able for almost any garment or fabric. It is also
available as a separating zipper, and as a light-
weight mesh, suitable for fine fabrics as well as
lingerie. (SeeWhere to Buy sectionin this text.)
The zipper closureproduces a "seamlike" finish
and the zipper itself is invisible! The only part
of the zipper that shouldshowis thepull. Match
the pull color to your fabric;if it is not available,
the pull can be "colored" to match the fabric
using nail polish or paint if needed.
To insert an invisiblezipper:
Purchase a zipper at least 1'/z inches longer
than the finishedlength. This will ensure
that the final zipper opens to the correct
length. (When the zipper is stitched into
the garment,the zipper foot will touch the
pull, preventingyou from sewingall the
way to the end.) Any excess length beyond
1%inchescan be removed after the zipper is
inserted (Figure 8.19).
Sergethe seam edges before the zipper is
inserted (see Figure 8.20 on page 222).
Open the zipper and, on the wrong side,
press the coilsflat so that the two woven
I ' ,
I,.,'
1,,;;;,
{ ..' ,
1:;:::: ,!.
i ,::::
,?',,
, 1 .
5 : .
I*!,:,,:;x::,.'. I . .
I:. ;:

..................~...............~.........~~~.........~.~~~..~ .......
8.18A EDGESTITCHING THE OPENING
FOR THE EXPOSED TEETH ZIPPER
8.188 TOPSTITCHING TO SECURE THE
EXPOSED TEETH ZIPPER
NOTE
Unlikeother zippers, the invisiblezipper isap-
pliedtothe openingedges usingflat applica-
tion constructionbeforethe seamisstitched.
This enablesthe studenttowork with aflat,
flexible area. Thefacingsareappliedafter
the zipper issewnin place. Ifthegarment
requiresa specialconstruction, the zipper can
be insertedwith the seamsewnfrom 2 inches
belowthe opening, and thenthe final 2-inch
segment rejoinedwith the zipper stitching.
rows in the zipper tape show. Use a synthetic
settingon the iron. Do not close the zipper
afterpressing, as it will cause the coils to
become rounded again. Attach the zipper
foot to the machine. Specialtyfeet for the in-
visible zipper are availablefor all sewingma-
chines. The right and left zipper feet on the
industrial sewingmachines arevery narrow
and have openingsin the foot that allow the
needle to stitch very closeto the coils.
Placethe front side of the zipper soit facesthe
correct sideof the fabricsurface.Working on
the left side of the garment,pin or use adhe-
sive basting tape to hold the right sideof the
zipper to the left side of the garment. Position
the zipper stop 'hinch abovethe cut edge
of the fabric. Place the coils on the seamline
(Figure8.21). The edgeof the zipper tape
should face the edge of the garment.
Slowly stitch the zipper into the garment by
sewingcloseto the pressed flat coils. If the
stitchescatch on the coils,the zipper will not
pull up. Stitchcloser to the coils if the fabric
is lightweight,and a little bit farther away

8.19 SHORTENING THE INVISIBLE ZlPPER
from the coils if the fabricis thick. If the
stitches are too far away from the coils, the
zipper tape will show on the right side of the
garment, and this does not lookvery good!
Stitchuntil the zipper foot touches the pull
tab and carefully backstitch (Figure 8.21).
To stitch the remainder of the zipper, place
the right side of the zipper down on the right
side of the garment, on top of the correct side
of the fabric. Pin or use adhesivebasting tape
to position the zipper. Stitch slowly, avoiding
8.20 SERGING THE SEAM EDGES

,;:;,:;.
l,..I,.,
. .,.. .
,,,..,
,.,, ..,.I,. .,,,, s.
:.$:,'.;,:
,?,'.' .?.,i:<.:)'
;.!A
./_,.:,
,,!$?-,::'.I.:.,.I.
,,',.>,.< > . .,
.',,4; ..
;::,:: <.
,+;::','.,.
:...;$.
,,4 ..,
1%>,> ' ,
:.!,;,y
q y, , i;,,!?!,..,,..
Zippers: F a s t e n i n g Yowr Way i n t o the G a r m e n t
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.21 STITCHING THE INVISIBLE ZIPPER: LEFT SIDE ZIPPER STOP
,I,-OOWM stitching into the coils, keeping the stitching
straight. Stop stitchingwhen the zipper foot
touches the zipper pull. Backstitch.
. . . . . . . . .
IMPORTANT
The zipper must be aligned parallel to the
seam allowance. If this is not done, the
zipper will look crooked and uneven, and not
"invisible" at all! Mark the seam allowance if
necessary to keep it even.
Turn the garment to the wrong side. Close
the zipper, and pull the end of the zipper out
of the way (Figure 8.22).
NOTE
Remember to backstitch at the beginningof
the stitching.
Stitch the center-back seam closed, starting
at the end of the previous zipper stitching.
Continue stitching to the end. Matching
up the stitching from the end of the zipper
is the key to eliminating the puckering that
almost always occurs if you sew the seam
first, and then insert the zipper (see Figure
8.22).
To secure the zipper, keep it flat, and prevent
it from popping out of the seam, stitch the
ends of the zipper tape.to the seam allow-
ances only (Figure 8.23).

Professional Sewing T e c h n i q ~ e sfor Designers
. ~ .. . ~ ~ ~~~ ~~ ~ .~~~
Gently steam and finger-press the closed
8.23 STITCHING T
TAPE TO THE SEAM ALLOWANCES
zipper from the correct side.Do not press
this zipper flat-the idea is for it to look
rolled.
Invisible Separating Zipper
The invisible zipper is available as a separating
zipper in limited lengths and colors. Due to the
weight of the coils and tape, it would be used
on sweaters or jackets. It more closely resem-
bles the separating zipper category. The instal-
lation of the zipper, however, followsthe direc-
tions for invisible zippers, without finishing the
seam at the bottom of the zipper. The bottom of
the invisible zipper should be positioned at the
marked hemline or finish.
Separating Zipper
The separating zipper is often seen on sweaters,
jackets, and sportswear. Two-way separating
zippers are found in fleece garments, sports-
wear, snowsuits, and skiwear,where the ability
to release half of the zipper for wearing ease is
valued. This reduces the strain on a zipper and
also reduces the number of broken zippers. The
two-way separating zipper has two zipper pulls
and can also be used in pockets, splitting the
zipper inhalf, andusingonehalf foreachpocket.
This is helpfulwhen matching zipper colorsand
styles. The separating zipper can be inserted as
a centered, lapped, or exposed application. The
garment edge where the zipper is applied can
be finished in several ways, including facings,
bindings, and decorative techniques. Refer to
Chapter 12, "Facings," for more details.

8.24A ZIPPER WITH
REMOVED TEETH
STITCHED TO THE
GARMENT
. .~ ~~~ .~~~~~~~~~ ~~~~ . ~ ~ . .. . ~~ ~
8.24C REMOVING
THE REMAINING
PLASTIC FROM THE
ZIPPER TAPE
Thezipper applicationshould match the gar- of a satin or silk garment. This is not a design
ment's overalldesign.Isitaddingtothedesignor statementasmuch asitis a technicalerror.When
detracting from it? Somestudents do not match strivingfor an unusual contrast, the zipper and
the type of zipper to the type of fabricand style the garment must still share a hannonious re-
of garment being made, using a sport-weight lationship: a flexible, small, coiled zipper sewn
separating zipper with plastic teeth in the back into a leather garmentwith exposed coilswould
The zipper is always shortened from the top.
I
look lost, whereas the plastic molded teeth of a
sportswear zipperor the metalteeth of ajeans or
trouser zipper more closely match the weight of
the leather while still providing contrast. Sepa-
rating zippers come in many colors, but not all
colorsareavailable, souse a closematch or use a
completelycontrasting colorto providea strong
design element.
Shortening a Separating Zipper
Because separating zippers are only available in
limitedsizes,they oftenendup beingtoo short or
too long.Toavoidthisdilemma,purchaseazipper
that islongerthan the openingof the garment-4
inchesisusually enoughadditionallength.
S& the zipper in place, extendingthe excess
ngth above the top opening. Backstitchto/"secure the stitching(Figure 8.24a).
Unzip the zipper.
Cut off approximately r inch of plastic teeth
above the backstitch. Cut off only the plastic por-
tion of thezipperteeth that extends beyond the
zippertape (Figure 8.24a). Usewire cutters such
as Fiskar diagonal cutters, which have short,
pointed blades, or needle-nose jewelry pliers.
which will also work (Figure 8.24b). "Regular"
tool wire cutters are too bigto cut offthe teeth
one at atime.

Professional Sewing Techniqsces for Designers
~~~~~ ~~~~~ ~~ ~
IMPORTANT
Do not pull up the zipper until it has been
secured in a seamline or the tape has been
folded under to create a "stop." Otherwise,
you will zip the zipper pull right off, and that
will be a disaster!
--t5 ofthe cutters to "tweeze" the
0
remaining plastic part that is still on the zipper
tape (Figure 8.24~). The result will be a smooth.
toothless section of zipper tape.
Cut offthe excess zippertape obove the i-inch
section of "toothless" tape.
TOcreate the zipper stop, fold the smooth "tooth-
less" zippertape backonto itself, or bartackthe
zipper by hand or machine (Figure 8.19).
The zipper is easiest to insert before facings or
collars are applied to the garment or hems are
finished.
Centered Separating Zipper
Determine if the seam allowancesneed to be
stabilized before beginning the zipper ap-
plication. Refer to Chapter 3, "Introduction
to Stabilizers" (Figure 8.25a).
Finish the seam edges,if a facingwill not
cover the zipper. Or stitch a Hong Kong
finish. Refer to Chapter 6, "Seams," for de-
tailed instructions.
Machine baste the seam where the zipper will
be applied, for example, the center front of a
jacket or sweater (Figure 8.25a).
8.258 POSITIONING AND HAND.
DOUSLC.ItDID
BASTING THE
AOHEswE W I W
SEPARATING ZIPPER
/ NIsr
8.25A POSITIONING AND HAND
BASTING THE SEAM
Press open the seamallowances. zipper with larger-sizeteeth and bulkierfab-
Center the teeth of the zipper over the seam, rics)fromthe basted centerseam(Figure
and handbaste to seamallowances or use 8.25b).
adhesivebasting tape to position the zipper. Press and fold the facings and hems, catching
Turn under the tape endsof thezipperat an the edge of each in the machinestitching of
angleto avoidthe zipper teeth.Topstitcheach the zipper (Figure 8.26). Do not backstitch;
sideof the zipper, ' / 4 inchto3/s inch (fora leave long thread tails, pull them to the back

of the fabric, and knot off. Carefully remove
the bastingthreads from the center seam.
Or, turn up the hems, slipstitchingin place at
an angleto avoid the zipper teeth; then finish
the hem with a slipstitchor machine stitch.
Referto Chapter 15, "Hems," and Chapter
12, "Facings."
Zippers: Fastening Yonr Way into the Garment
~~ ~~ ~~~ ~ ~ ~ ~~~ ~ ~ ~ . ~ ~ ~ ~ .~~ ~~ ~ ~~~~
r.-r F I N I S H .
ING DETAILS
O F CENTERED
SEPARATING
ZIPPER
Lapped Separating Zipper
A lapped zipper insertion follows the san
steps, whether you are sewing an all-purpo!
zipper or a separatingzipper, except the botto~
is open, and there is finishing at the top an
bottom such as facings and hems. Because tt
top and bottom are both open, it is an easierag
plication. Refer to the lapped zipper applicatio
illustrations in Figures 8.6 and 8.7.
IMPORTANT
All zippers depend on careful, even stitch-
ing. If the basting is not straight, the ripper
insertion is not straight. If the zipper inser-
tion is not straight, t h e topstitchingwill
not be straight. This process builds on each
previous step, and careful, straight stitching
is essential. It is better to invest time and at-
tention than to rip apart and redo, especially
if the garment fabric would show the marks
of previous stitches.
Finish the garment with appropriate facings,
hems, or bindings, foldingthe facingor hem
edges at an angle to keep them freeof the
zipper teeth, but allowingthem to be caught
in the machine stitching.
Stitchthe hems or facingsto the garment to
complete.
Hand-Stitching Zippers
Alsoreferredto asahand-picked zipper, azipper
inserted by hand is beautiful aswell aspractical.
Heavily embellished fabrics and delicate fabrics
benefit from this couture touch. Because this
technique highlights the handwork, the stitch-
ing and spacing must be even and accurate.
Either a centered applicationor a lapped appli-
cation adds luxurious detail to the garment.
Stabilizethe zipper area (Figure 8.25a).
On delicate or heavily embellished fabrics,
considerusing strips of silk organza.This
preventsrippling and any distortion that
could occur from handling the fabricwhile
stitching. Sampleseveral choices of stabiliz-
ers and interfacingto seewhat works best
with the fabricbeingused. Refer to Chapter
3, "Introduction to Stabilizers."
Position the zipper at the top of the right-
hand garment side opening, centering
the folded edge of the lap over the zipper
(Figure 8.27). Pin the closed zipper to the
garment from the correct side of the gar-
ment. Use very fine pins for this step to
avoid marking the fabricwith holes. If
the zipper is being placed in an area of the
garment that receives a lot of stress, over-
lap the laps of the opening a mere '/16 of an
inch more so the teeth of the zipper remain
covered.Handbaste the zipper in place.
It is most pleasingto the eyewhen the spac-
ing of the stitchesmeasures the same amount
in from the edge of the lap as the stitches
are apart. Refer to Chapter 6, "Seams" (see
Figure 6.27b), for further details on the
hand-picked stitch. If this is an unfamiliar
stitch, sample, sample, sample!
Unzip the zipper.Begin stitching the zipper

.~~~ ~ ~ ~ ~ . ~ . . .... . ~ . . ~
IMPORTANT
Using regular sewingthread for handbasting
may leave a mark on delicate fabrics such
as satin or silk. Usea silk thread to sample
first, or baste the zipper to seam allowances
only. Caution:Try the double-sided adhesive
tape on a sample first to temporarily hold
the zipper in place. The adhesive may show
through, leave an unpleasant mark, or be too
sticky for the delicate fabric being used.
I
at the top of the tape. A very small amount
of thread should show on the surface of the
garment (Figure 8.27).
Stitchto the end of the opening.Do not
stitch across the bottom of the zipper. This
causespuckering and pulling.
Begin stitching the left side of the zipper
opening at the bottom of the zipper, continu-
ing up to the top. By stitching in two differ-
ent directions, occasionalmismatching may
occur when reachingthe top of the zipper
opening. If this does occur and it is slight
(1/16 inch or less, without producing visible
distortion), it can be adjusted in the finishing
facingor waistband. However, if it is visibly
distorted, the stitching must be removed and
redone.
STITCHING TRICKY FABRICS
Inemrtinn 7innmrc in Plaidr Phmekc RI
When constructing a garment of one of the 8,27 SMALL STITCHES
above-mentioned fabrics, keep in mind that FOR A HAND PICK.
51,.
STITCHED ZIPPER
extra care and attention must be paid to the
layout before cutting out the garment. It's very
unattractive to see checks, stripes, or plaids that I
don't match, and asyou arethe designer,there is I
no reason to let this happen.
When inserting a zipper, there are two im-
portant stepsto matchingplaids,checks,repeats,
or stripes: carefulbasting, and accuratemarking.
There is no shortcut! The placement of a zipper Iinto one of these fabrics interrupts the move-
ment of the fabric, so great caremust be taken to
ensure that the pattern matches exactly on both
sides of the zipper, allowing the eye to continue
across the garment. The directions that follow
arefor an invisiblezipper,whichis the least con-
spicuousapplicationfor a busy fabric.
Do press the invisiblezipper flat. Handbaste
the zipper to the left side of the garment.
Do stitch the zipper in place, close to the coils
to avoid any tape showingon the front of the Igarment.
Do lay the left side of the zipper onto the right
side of the garment, matchingup the elements.
Mark each matchpoint on the zipper tape
(Figure 8.28).
Do place the unsewn right-hand zipper onto

the right garment side. Handbaste, match-
ing each marked matchpoint. The basting
controls the fabricand any slippage that may
occur while stitching. Pull the zipper up before
stitching to check if the pattern matches.
Do stitch the right side of the zipper (Figure
8.29). Close the zipper and see the amazing re-
sults of matched elements across the garment!
Bias
The key to working with bias is for the fabricto
be perfectly "on grain" to establishthetrue bias.
A center-back invisible zipper is the most ver-
satile application; however, the garment design
may not include a center-back seam. Zippers in
side seams should be sampled, as it is more dif-
ficult to get them to lay flat.
When inserting a zipper into bias-cut seams,
try one of the following methods.
Method 1: Stabilized Seam Allowances
Cut the seam allowances 1%inches wide to
allow for accurate sewing. It's very difficult
to hold the bias fabric taut with a tiny seam
8.28 BASTING ZIPPER MATCHPOINTS TO PLAID LINES
allowance. A fabric cut on the bias doesn't Stabilizethe area with either silk organza cut
alwaysstretch the same amount in every on the straight grain and hand sewn in, or a
fabric. Refer to Chapter 6, "Seams." very lightweight fusibleinterfacing.Refer to
Always purchase a similar fabric to test in
bias, or purchase additionalyardage of the
garment fabric. If pretested in muslin, reduce
the seam allowances to 3/4 inch.
Chapter 3, "Introduction to Stabilizers."
Clearly mark the stitchingline for the zipper;
bias always appears narrower.
Handbaste the zipper into place.
Stitch several inches, stop with the needle
down into the fabric, and lift the zipper foot
to allow the fabric to settle and maintain the
grain.
Drop the zipper foot back into place and
continue stitching to completethe seam,
stretchingthe bias approximately '14 inch
for a 7-inch zipper (the specificamount may
differ depending on your fabricchoice) as
you sew to avoid puckered seams.
Remove the excessstabilizer and seam allow-
ances if needed.
Hand sewing the zipper into place is an
alternativeto considerwhen working with
lightweight fabrics.

8.29 MATCHED ELEMENTS
INVISIBLE ZIPPER
Method 2: Stabilized Seam
Allowances on the Bias
When inserting a zipper into bias-cut fabric,
cut the stabilizeron the bias as well, and gently
stretch it an inch of the length of the zipper
opening asyou stitch.
Mark the zipper length 1inch shorter on the
stabilizer.
Cut a strip of silk organza on the bias, ap-
proximately3 incheswide and an extra 3
inches longer than the zipper opening. Skin-
colored organza blends well with many sheer
fabrics and is less noticeablethan white.
Handbaste the silk organza to the garment
fabric, stretching it taut to reducepuckering
in the seam.
Baste the zipper to the silk organza, again
stretching it taut to fit the opening.
Machine stitch, close to the teeth to avoid
any tape showing on the front of the gar-
ment. Stopfrequently,with the needle down
in the fabric, to adjust the bias strip of silk
organza, keeping it flat and pucker-free. Bias
is very slippery,organza is very slippery,
qnd this combination can cause the fabric to
bunch up, making pleats and creatingstitch-
ing havoc!
Open the zipper. Using a narrow, open,
slightlyzigged zigzag stitch, stitch the stabi-
lizer and seam allowanceto the zipper tape.
This provides greater stability of the zipper
in a stressed area as well as neatly finishing
the seam allowanceson a sheerfabric. After
stitching, trim away any excess organza and
seam allowance.
Sheers
Fabrics such as chiffon, silk, gauze, organza,
and voile are often found in evening wear-
dresses, skirts, or palazzo pants where zippers
are traditionally used. Even the lightest-weight
zipper can be too heavy for some of these fab-
rics, causing sagging, so it is important to
sample the zipper application first before pro-
ceeding to the garment. Always choose the
lightest-weight zipper available,such as amesh
lingerie zipper. Removing the stitches from
these delicate fabrics is practically impossible
without ruining the fabric. Keep in mind the
following:
Will the garmenthe underlined or lined?If
so, the zipper can be sewnto the underlining
or lining, leavingthe outer layerfree.
Is this astressarea?Stabilizethe seamthe
zipper will be put into; refer to Chapter 3,
"Introduction to Stabilizers." Try several
samplesfor the best result.

Invisible zippers and both lapped and cen-
tered zippers can be used in these fabrics,
depending on the location of the zipper on
the garment.
Hand sewing an invisiblezipper provides
more flexibilityand a softer zipper.
Consider alternativeclosuresfor sheerssuch
as hooks and eyes, or loops and buttons.
Refer to Chapter 17, "Closures."
Satin
On bridal wear, buttons with premade elastic
loopsare the closureof choice. Using a zipper in
combination with the buttons and thread loops
offers a very secure closure on a long opening
of a bridal gown. The zipper application must
be right the first time it is inserted, due to the
stitching marks left behind when stitches are
removed.
Do use lightweight coil zippers-the best
choice.
Do hand stitch the zipper on special-occasion
garments.
Do use a lapped zipper on the back of awed-
ding dress or ball gown. Create the look of but-
tons and loops by sewing the buttons closelyto
the edge of the zipper stitching.
Do machine-stitch zippers on satin that is used
for daytime garments, or garments that are
washable.
Do use a fine machineneedle to sew the zipper
into the garment to prevent snaggingthe sur-
face of the satin and to avoid skipped stitches.
NOTE
The weight of the lace and the embellishment
on lace determine the correct zipper applica-
tion, and several samples may be required.
When workina with costlv s~ecialtvfabrics.
)O hand sew alapped or centered zipper into
garmentof lacethat has raised designswith
ords or ribbon on the surface.This prevents
naggingthat could occur if the zipper were
ewn by machine. The invisiblezipper will go in
moothlv if the lace is not too thick or bulky.- . .
it's worth the time and the effort to make
sure that the application chosen is the most
appropriate.
Lace
Do use a lapped zipper applicationfor laces
with~aisedsurfaces or beading.
Do use an invisiblezipper for flatter laces that
can easily accommodate the turn that occurs
when the zipper is closed.
Do use other closuressuch as hooks and eyes,
or buttons with elasticloops, if the lace is to be
a separate layer and not lined or underlined.
Do use a hand-picked zipper as an elegant
finish for the garment (seeFigure 8.27).
Do considerthat lace can have repeats, in other
words, motifs or design elements that occur
regularly throughout the fabric.When insert-
ing a zipper, care should be taken to match
these elements. Refer to "Inserting Zippers in
Plaids, Checks, Repeat Patterns, and Horizon-
tal Stripes," earlier in this chapter,for marking
directions to match these elements.
Do stabilize the zipper opening with silk or-
ganza or tulle; use tulle with very smallholes,
such as bridal tulle, which comes in a wide
assortment of colors.
Do handbaste the zipper in place before
stitching.
)O insert a zipper by hand. Both the lapped
and invisible zipper can be used in sequined
fabric.
Do use the plain fabricborders on either side .
of the sequined area for the seam allowance
into which the zipper will be inserted.
Do remove some of the sequins in the zipper
seam allowance.
Do stabilize the zipper area, using a sew-in
stabilizer.
Do bandbaste the invisible zipper into place.
Sewthe zipper in by hand, backstitching (see
Figure 6.38b) and making sure that the zipper
does not pull the sequins into the roll of the
zipper, which would prevent them from lying
flat. Careful hand sewingof the zipper allows
the stitches to rest in between the sequins with-
out distortion.
Don't use heat and moisture from steam; it
may discolor metal sequins or melt plastic
sequins.
Beaded Fabrics
Beaded fabricscanhaveintricate alloverdesigns,
or motifs that are scattered across the fabric.
Do insert ahand-picked zipper in beaded
fabrics.

. . . ~ . . ~ ~ . ~ ~ ~ . ~ . ~ . ~ - ~ ~ ~ ~ ~
Do insert an invisible zipper if the beading is
not too dense. Here's how:
Remove the beading from the seam al-
lowances by using an upholstery hammer
or pliers to smashthe beads. Wear safety
goggles.
Using a zipper foot, staystitch along the
seam allowancesfrom wbich the beads have
been removed. This helps to hold the bead-
ing threads in place and prevents the beading
from coming loose.
Stabilizethe area with tulle or silk organza,
and hand sew.
Handbaste the zipper into place. When
using an invisible zipper, close the zipper to
check that the zipper tape is not showing on
the front of the fabric.
Sewthe zipper into place, using the hand
backstitcb.
Velvet
When inserting a zipper in velvet, it is of the
utmost importance to avoid crushing the nap
by pressing. Stitchesmust be of the correct size
and evenly sewn. If seams are ripped out, holes
and unsightly marks are left behind. A zipper in
NOTE
If you have never sewn an invisiblezipper
intovelvet, somplel Try using both machine
stitching and hand stitchingforthis fabric.
Itisworth the time and the cost of an extra
zipper to perfectthis technique before stitch-
ingthe zipper intothe garment.
IMPORTANT
A velvet board is a pressingtool for fabrics
with nap or pile. It has short wires embedded
into a flexible or rigid base, and these wires
keep the nap or pile from becomingcrushed
when pressing. This is the only way to press
velvet without ruiningit. Regular pressing
will crush the pile and leave shiny marks,
called glazing, which cannot be removed.
Lightweight fusible interfacing can be ap-
plied to velvet when usingthe velvet board.
usinga very light touch of the iron to hold
the fusible in place.
velvetis aonetime opportunity! Thebest zipper
to apply to velvet is the invisible zipper-velvet
does not topstitch well.
Do stabilize the area in wbich the zipper will
be inserted. Refer to Chapter 3, "Introduction
to Stabilizers," for more information.
Do allow for larger seam allowancesat the
zipper insertion. A larger seam allowance
is easier to work with when sewinga tricky
fabric.
Do sergeor clean finish the edges of the seam- -
allowances before applying the zipper. Even if
the garment will be lined, it will be easier to
sew the zipper in without messy raw edges.
Do handbaste the zipper in place; this will
keep the zipper from slippingoff the velvet as it
is stitched. Pins can leave marks on the fabric.
Do allow a smidge more for the nap of the
velvet to turn once the zipper is complete.
Do stitch close to the teeth to eliminateany of
the tape showing through to the garment front.
Do lengthen the stitch length to 3.0 to avoid
buckling and slippagethat can occur when
using smallerstitches on fabricswith nap or
bulk.
Stitch slowly and, leaving the needle down
in the fabric, occasionallylift the presser foot
to allow the garment to settle.This avoids
any puckering or slipping,and gives better
control of the stitching.
Do place the garment facedown, flat on avelvet
board. Lightly apply the iron to the stitched
zipper tape to set the stitches.D o notpress the
zipper! Even with a velvet board for pressing,
marks can be left on the front of the garment
if too much pressure is applied,or if the iron is
too hot.
Knits
Zippers are used occasionallyin knits.
Do stabilize the zipper area with a narrow
strip of fusible interfacing or tape suitablefor
the fabric being used. Refer to Chapter 3, "In-
troduction to Stabilizers," for suggestions.
Do cut the strips to fit the seam allowances,
approximately '/2 inch. Samplethis first to
be sure the interfacing you are using does
not leave a ridge on the correct side of the
fabric.
Do use invisible zippers; they are the most
flexible choice due to their lightweight coils.
Do use a hand-picked zipper on double knit
garments for avery nice finish.

-...~..~.............~.-.~...............~.....~~..-.-~...~~~..........
Denim
The fly-front zipper application, using a metal,
self-locking zipper, is designed for trousers or
jeans. A metal zipper is generally used for jeans,
and can be shortened to fit the opening of the
garment, as previously discussed. Internet
sources have specially sized zippers for jeans,
and many online sources offer special-order
sizes, some as small as 2 inches. See the "Where
to Buy" appendixat the back of this book. If the
garment is trouser jeans or a skirt, a lapped or
invisible zipper will work as well.
Do use a fly front, lapped, or invisible zipper if
the garment is trouser jeans or a skirt.
Do use a hammer (that's right, a hammer!) to
reduce bulk in seams or hems. This compresses
the fibers, and makes it easier to sew through.
Do considerserging seams, then topstitching
to reduce bulk. Refer to Chapter 6, "Seams."
Do leave enough room between stitchingon
the tape and the coils of an invisible zipper so
that the denim will have enough space to turn
when the zipper is closed. Twillweave is very
N O T E
The weight of the denim will determine
whether to usea zipperapplicationother
than the fly-front, such as an invisiblezipper.
As always, ifyou haven't tried a particular
application indenim before, somple. Sam-
plingwillalso revealwhether stitch marks
will be left ifyou haveto rip out any stitches
that are not perfect, as intopstitching.
firm, even in lightweight denim, and needs a
smidge more of space to curl around the coils,
but not so much that the tape showson the
front of the garment.
Do avoid sewingtoo closeto the teeth, or
through the teeth, as the zipper will not close.
Instead it will ~ u l lapart, looking broken, and
will have to be resewn.
Leather, Faux Leather, and Ultrasuede
Invisible, slot, lapped, and decorative zippers
work well on leather. The invisible, fly, lappm&
s1ot;and exposed zipper applications can be
used in faux suede, matching the zipper weight
and function to the garment. Sincefrayingdoes
not occurinthesefabrics, topstitching and edge-
stitching are used with great success in zipper
applications.Both conventionaland flat method
zipper applicationswork on these fabrics.
Leather
Do stabilize leather. Refer to Chapter 3, "In-
troduction to Stabilizers."
Do use fusibletwill tape in calfskinwhen
inserting an invisiblezipper in the center-back
seam of a skirt.
MOTE
IBoth leatherand Ultrasuedeare a onetime
sewingfabric, which meansthat any ditches
removedwill leave marks.
gives the best results in stitch quality.
Do use double-sided adhesivetape to hold the
zipper in place while stitching, or use Steam-a-
Seamfusiblefabric iron-ons, especially if the
--garment is being lined.
Do use craft glue to hold seam allowances in
place before inserting slot and lapped zipper ap-
plications. Pound with ahammer to flatten the
seam allowances.Baste the zipper in place with
double-sided adhesivetape; topstitch the zipper.
Do use an X-Acto knife or rotary cutter to cut
out the rectangular opening for exposedzip-
pers up to 'hinch wide and the length of the
zipper. Use glue or double-sided adhesivetape
to hold the zipper in place. Edgestitch.
Do use Teflon zipper feet, availablefrom The
SewingEmporium, as well as adhesive-backed
Teflon sheets (which can be cut to size to fit
the bottom of a standard zipper foot) for easier
Do use a strip of suitable interfacing to provide zipper application on leather or suede.
a base on which to insert the zipper on heavier Don't backstitch on leather or Ultrasuede-
leathers. ties knots.
Do protect the leather when applyingfusible
stabilizers with an iron by using brown paper Ultrasuede
bag strips and no steam. Ultrasuede (faux suede) has the expensive look
Do use the correct size and type of needleto of real suede without the disadvantages. It is
prevent skipped stitches. Always samplediffer- water resistant; doesn't stiffen if it gets wet; and
ent sizes of needles using the smallestsize that is lightweight, wrinkle resistant, and colorfast.

Professionnl Sewzri,o Technzques for D e s ~ g n e ~ s
It doesn't fray, and the raw edge can be used as
the finish. It can also be pressed oil the wrong
side using a pressing cloth and a steam iron set
on the synthetic setting. Faux suede garments
look especially well-made when topstitching
and edgestitching are used to enhance them.
Do use a "with a nap" layout.
Do avoid garments that require easing-
Ultrasuede does not ease well.
Do machine wash and dry-the more it's
washed and dried, the softer it becomes.
Do use a suitable stabilizer in the seam allow-
ance area of the zipper to prevent a puckered
look to the stitching. Refer to Chapter 3, "ln-
troduction to Stabilizers."
Do avoid ripping out stitches, which would
leave 11oles in this fabric. Careful stitching is
required for successful zipper applications in
Ultrasuede.
Do use center, lapped, or exposed zippers for
the best result in Ultrasuede.
Don't use side seam zippers in Ultrasuede-
they do not lie flat.
Fa~rxFur
Because faux furs are bulky, an exposed zipper, a
lapped zipper, or a centered zipper set into con-
trasting fabric bands (plackets), such as leather,
suede, faux suede, or ribbing, creates a flat area
for the zipper to be inserted aud also comple-
nlents the fur. With very long-haired faux furs,
consider using an alternative type of closure.
Refer to Chapter 17, "Closures."
Remove the faux fur from the seam allow-
ances before insertingshe zipper. Use a razor, a
fabric shaver, or an X-Acto knife. This process
takes time and is messy! Also try long bladed,
very sharp embroidery scissors, holding them at
an angle while cutting away the pile in the direc-
tion of the nap. Trim away any excess pile that is
not cut away at first, trimming very close to the
backing without cutting through it. Be careful
of how much of the pile is removed; if too much
is trimmed, the edge may look too blunt and the
pile may not lie flat at the edge of the placket.
Either method removes the pile while it reduces
bulk, and allows easier, accurate stitching of the
zipper. Refer to Chapter 6, "Seams."
Do stabilize the zipper area wheu the backing
is made of knit. Refer to Chapter 3, "Introduc-
tion to Stabilizers."
Do determine how much of the zipper tape
will be exposed before basting the zipper into
place.
Do allow for Inore space between the teeth of
tlie zipper and the longer pile of the fur.
Stitch slowly, keeping the pile of the fur
away from the teeth of the zipper.
Use a seam ripper or an awl, placed flat, to
hold the pile out of the way while stitching.
Creating a hand of leather, suede, or the faux
versions of leather or suede provides the option
of an exposed zipper, a lapped zipper, or a cen-
tered zipper. The raw edges of these fabrics do
not need to be finished and create a neat, tai-
lored finish to the inside of the zipper. Excellent,
straight stitching highlights this technique.
Determine the width of the band. This could
be a design element that is both functional
and decorative; the decisiou is up to the
design student.
The flat method of construction uses two
pieces of leatherlsuede for each side of the
zipper. The zipper is inserted into the raw
edges, and topstitched to the zipper tape and
the trimmed seam allowa~lceof the fur.
Another method of zipper application is the
lapped or centered zipper with band or placket.
Prepare the seam allowance area by trimming
away the fur.
Determine the width of the placket. Cut
two strips the same width for each side of
the zipper. If using faux suede, stabilize one
half of each strip that will be on the top of
the garment. This prevents stretching of the
placket while stitching through all the layers.
If possible, also loosen the presser foot ten-
sion to accommodate all the layers.
When using faux suede, baste the two pieces
together down the center of the strips. When
the basting stitches are removed, they will
not be visible on the surface of the faux
suede.
Place the edge of the garment inside the
basted placket pieces. Using double-sided
adhesive tape on top of the zipper tape, place

the zipperunder the center of the plackets.
Finger-press in place on the wrong side of the
garment.
Carefullypin the placket through all the
layers from the correct side of the garment.
Using a zipper foot, edgestitchthe band
nearest the garment. Lengthen the stitch
length to 3.0, and sew slowly and evenlyto
the bottom of the zipper.The pile of the fur
will cover this edge.
Move over '18 inch to 114 inch and stitch
another row, catchingthe zipper tape in this
line of stitching.
Repeat for the other side.
Zippers: Fastening Your Way into the Garment 235
............................................................................................................
In this chapter you have learned about zippers.
This chapter has explained:
The many different types of zippers;
Installation techniques;
The importance of accuratemarking, bast-
ing, edgestitching,and topstitching;
How to choose the correct zipper for the
fabric being used;
The functional and decorativeuses of zip-
pers; and
How to effectively use zippers in specialty
fabrics.
Zippers can be attention-getting elements of a
design, and it is best to perfect the techniques
necessary for a flawless zipper before tackling
more difficult techniquessuch as working with a
bias-cut fabric, or specialty fabricssuch as silk or
satin.
When a student is adding a new element to
the design,such as azipper, it can be difficult to
know which zipper to use, where to put it, and
how to stitch the zipper into the garment.
Example
The garment design calls for a centered zipper
to be placed in the center-back seam. As the
designer, you prefer a smoother, more subtle
opening, such as an invisible zipper. You've
never attempted an invisiblezipper before, but
you know how to measure the opening for a
zipper, accurately mark, handbaste, carefully
cut, and evenly stitch. Transfer knowledge
when you:
Stabilizethe seamallowances,if necessary;
Accurately mark the opening;
Press the zipper tape flat, removingany
packaging wrinkles, and press open the coils;
Baste the zipper to the seam allowance,one
side at a time;
Begin to stitch, close to the teeth, slowlyand
evenly.
Even though these are not techniques used in
production, knowing these techniques will get
you started. Then,with thehelpof your instmc-
tor and by followingthe explanationsof the in-
visible zipper, you can learn to stitch the invis-
ible zipper in place of the centeredzipper. Once
you have masteredthe first invisiblezipper, you
will be able to transfer that knowledge to other
garmentsand fabrics.
Stitchzippers of different sizes and colors all
over the surface of a garment as a decorative
element (Figure 8.30a).
Place an invisiblezipper opening
asymmetrically.
Use an upholstery zipper with metal teeth or
zipper by the yard as both piping around the
necklineof ajacket and as aworking zipper
(Figure 8.30b).
Use separatingzippers to join layers that can
be unzipped and removed, such as a skirt
(Figure 8.30~).
Use decorativeribbon such asvelvet, gros-
grain, or embroideredtrim to cover the
centeredzipper.
Place an exposed zipper in a seam, such as a
raglan (Figure 8.30d).
Place an exposed zipper with metal teeth
down the center of each sleeve.
Use an exposed,metal teeth zipper down the
entire center back of a garment.
Use an exposed, metal teeth zipper with
decorativepull on each entire side seam of a
skirt.
...there is puckering or pleating at the
bottom of my invisible zipper?
Remove the stitching at the bottom of the
zipper. Release enough of the sewing machine

~ .. ..................................... . ~ . ~~
8.30A STRETCH YOUR
CREATIVITY: SUGGESTIONS
-..--a , .
8.308 STRETCH YOUR 8.JOC STRETCH YOUR 8 . 3 0 0 STRETCH YOUR
CREATIVITY: SUGGESTIONS CREATIVITY: SUGGESTIONS CREATIVITY: SUGGESTIONS

Zippers: Fastening Your Way into the Garment 237
.....................................................
stitches to flatten the area. Using a backstitch, ...a zipper doesn't look good in my design? Does the invisiblezipper open smoothly and
sewthe seam by hand. Carefully press the seam Often the zipper cannot be removed without easily?
allowance only. leaving unsightly stitch marks. Another area of Is the lap of the lappedzipper the same size
the garment may not be available to redesign a from top to bottom, and does it cover the
...the stitching is uneven despite my different type of closure, or it may be too time- teeth of the zipper?
best sewing? consuming or costly to use a new idea. Next Does the exposed zipper reveal an even
fi:, There are many ways to mark the stitching line time take time to plan the design, samplediffer- amount of the teeth or the zipper tape on
z
i when sewing the zipper. The zipper tape often enttechniquesonthe garmentfabric,andrealize both sides?
has woven lines to follow, or a fabric marking that sometimesno matter how good the design
>
I pen can be used to draw a line on the zipper looks, a detail in the end may not be the best REVIEWCHECKLIST
tape. From the correct side of the fabric, a '12- look after all. Perfecting skills takes time and
' ?
inch-wide piece of temporary tape called Magic practice. Zippers challenge our sewing skills Do I understand what centered, lapped, invis-
Tape by Scotch brand can be centered over the with every fabric that is used in the design of a ible, and separatingzippers have in common?
! zipper and used as a guide for stitching.Sample garment.A perfectlysewn zipperis the result of Look at your zippers and ask yourself:
this tapefirst on a scrap piece offabric. This tape patience and perseverance.
has a light amount of adhesive, which makes it Is this the correct weight of zipper for this
easy to remove; however, it may not work well SELF-CRITIQUE garment?
with somespecialtyfabrics. Are the seamsinto which the zippers are Does the centered, lapped,invisible, or sepa-
inserted cut on the correct grainline? rating zipper look like it belongswith the
...the zipper is stiff and it is difficult to Are the stitch length and tension correct for design?
open and close? the fabrictype and weight? Is the stitching straight and evenly sewn?
Tryusingadropof Sewer's Aid ontheteethof the Is the thread color a good match? Is there any puckering?
zipper,andopenandclosethezipperseveraltimes Is the stitching straight and even? Does any of the zipper tape show after
to help spread the liquid. Sewer's Aid is a liquid Is there any puckering in the stitching or at stitching invisible,centered, or lapped
used on machine embroidery threads to prevent the bottom of the zipper? zippers?
breakage and aid their passage through the ten- Is the centeredzipper actually evenlycen- Are the teeth visible?
sion discs of the sewing machine. Apply it care- tered over the zipper teeth? Does the zipper enhance the overall
fully, so it doesn't run off the teeth and into the .Does the invisiblezipper roll nicely over the design enough to justify the time and cost
garmentfabric. A little bit of this goes a longway. coils without any zipper tape showing? involved?
Z.!,..I, '
:". -g::
g;.: c
~.

C H A P T E R
---.-
Waistbands: Planning the Horizontal Edge
The horizontal edge of a waistband can be straight or curved, depending on the position of
the waistband. Waistbands sitting comfortablyon the waistline are usually straight and cut
in one piece. Waistbands sitting on the hips are curved and cut in two pieces. Waistbands can
be designed in a variety of widths and styles. The underside of the curved waistbands can be
cut froma variety offabricsfor a couture finish. A waistband can also be cut all-in-onewith the
skirt orpant. The garmentcanbe dartedtocon- Thewaistband shouldbe comfort+bleforthe
tour thewaistline, creating ahigh-waistedlook. wearer-this is functional design. Waistbands,
This stylecomes and goes in fashion trends. when they areworn, should not be too tight or
Thefabricisthe basis onwhich all decisions too loose. Thestructure of the waistband is ex-
are made for waistbands. The nature of the tremely important. It needs to have firmnessso
fabric, the drape, the hand (whetherit is stiff or it doesn't cave in when it is worn. A. properly
soft) all contribute to the type of waistband to constructed waistband is the first s w toward
be stitched. How thefabricwill be stabilizedor lastingcomfort, andwhat stabilizes&e band is
interfaced alsoiduenees the type of waistband the key to a firm, smooth, ~ ~ o dfinish.
to be constructed. Fabric and interfacing go The finalwaistband, whatwe~irasbp~width,
hand inhand, and inwaistbandsitis essentialto or style, should blend in b6an&Tullywith the
choose the correct typeof support for the type whole garment.
of waistbandbeing designed.
K E Y TERMS
Belt Loops
Blanket Stitch
Bodkin
Casing
Conroured Waistband
Extended Waistband
Extension
Foldover Waistband
Invisible Casing
Joined Elastic Casing
Overlap
Separate Casing
Stitched-Ddm* Cdsing
Thread CaFriers
UnLfe~Zag
Waistline Stay

9.1A STRAIGHT WAISTBAND
WITH APPLIED TIE
-~~~~~ . . . . ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~~ ~ . . . ~ .~ .~ ~~~~~~~
9.18 CONTOURED WAIST- 9 . i C E X T E N D E D WAIST. . 9.1D ELASTIC CASING AT WACST
BAND WITH TOPSTITCHING BAND WITH BELT LOOPS W I T H DRAWSTRING TIES
AT W A I S T A N D H E M

~ ~~~~~ ~ . . . . ~ ~ ~~ ~ ~ ~ ~ . .. . . ~~ ~~~
STYLE I.D. The Three Types of Waistbands
The Style I.D. shows examples of commonlyused Waistbands fall into three categories: straight,
waistbandsandsuggestscreativestyles(Figure 9.1). curved, and extended. The waistband should
fit the waist snugly yet comfortably. The de-
GATHER YOUR TOOLS signer may be tempted to cinch the waist to
For the techniques in this chapter, you will need create a slimmer look, but this usually has
waist-specific support, which includes tape mea- the opposite effect and forces the stomach to- -
sureinterfacingandelastic; markingpen; scissors;
pins; bodkin; hooks and bars; hooks and eyes;
buttons; and appropriate needle and thread to
matchthe garment.Think ahead-order now.
Before applying waistbands, darts should be sewn
seamssewn,and zippersapplied.
What Is a Waistband?
A waistband is a band of fabric, usually fully
interfaced, seamed to the waistline of skirts
or pants and fastened to hold the garment
firmly around the waist. Waistbands hold the
garment in the proper position on the body.
Ease is determined by the designer at the pat-
ternmaking stage of construction. The waist-
band must match the skirt at the waistline. A
waistband can be both functional and decora-
tive. In its functional use, awaistband finishes
the edge of a garment and provides support
on the body. In its decorative use, the style
and eye appeal of the garment are enhanced.
The waistband can open at the center front,
center back, or side seam, or follow the lines
ofa princess seam (Figure 17.2).
NOTE
it is importantto determinethe proper sta-
bilizerforthewaistband beingconstructed.
Sampleseveralchoicesofstabilizersto
determinethe interfacingthat best suitsthe
fabric. Ibulge out. This garment would be uncomfort-
able to wear. To wear better and stay in shape, thewaist-
It is best to base the waistband on the waist band should be interfaced.
measurement and the amount of wearing ease Selectaweight of interfacing that will not
preferred by the designer. The length of the overpower the fabric, yet willprovide body
waistband should equal the waist measurement and support to the waistband. Refer to
plus ease and, if using an underlap or overlap, Chapter 3, "Introduction to Stabilizers," for
at least an additional 1 inch. The underlap is further information.
the extension of the waistband on the center- For full support, interfacethe entirewaist-
back edge or the left side if the garment opens band with fusibleinterfacing; or, cut the
in the front. The underlap is aplace to sew gar- interfacing the samewidth as the waistband
ment fasteners. The overlap (Figure 17.2b) can with a row of machinestitchingbelow the
be extended with a shaped end as a decorative foldline on the facinghalf, to prevent the
detail. interfacing from shiftingwhen using sew-in
interfacing.
Or, use slotted waistband interfacing, spe-
is stitched to the garment after the cifically designed for waistbands.
zipper is inserted (if using one)and the seams have
been completed.
/ / Stitchthestraightwaistband tothewaistlineseam
Straight Waistbands-One Piece /by matchingthe notched edges(Figureg.+b).
Most straight waistbands are cut in one piece .Theunnotchededgeisfolded underontheseam ai-
with a foldline in the middle. Straight waist- lowance,edgepressed, and trimmed to reducebulk
bands can be wide or narrow but on averageare atthewaistlinebeforefinishing by hand slipstitch-
cut 2 inches wide. ingorstitching-in-the-ditch(seeFigure9.2b).
To calculatethe waistband, measure as indi- .The unnotched edged can also be sergefinished
cated in Figure 9.2a. to furtherreduce bulk.

~~ ~~ ~ ~ . ~ ~~~~ ~ .~~ ~~ ~
BEAM SIDE CENTER SIDE SEAM
ALLOWAICE )€AM FRoy SEAMcENSloNqi TopstitchedApplication
Attaching the waistband by topstitching
changes the order of the application. Topstitch-
ing is meant to be seen, so the stitch length is
usually extended to 3.0 or more. Often a con-
< -WAIST MEASUREMENT
TO AT GARMENT
trasting thread type or color can be used to
9.2A STRAIGHT WAISTBAND: CALCULATION
highlight this stitching, which is done from
the correct side of the garment. This is entirely
UNNOTCHED EDGE FOLDED /
UNDER, PRESIED,TRlMMED
-
the designer's choice. This type of stitching
must be straight, even, and without obvious
starts and stops. If this skill has not been mas-
tered, consider using edgestitching in place of
topstitching.
9.26 STRAIGHT WAISTBAND: FOLDED. PRESSED, A N D T R I M M E D
Hand-FinishedApplication
To attach a waistband without edgestitching or
topstitching, follow the direction for applying
the straight waistband, except:
d stitch the correct side of the waist-
band to the correct side of the garmentwaistline
(Figure9.3a).
Stitchthe right extensionfrom the notch to the
top of the waistband; stitch the right sidewaist-
band (Figure9.3a).
Turn the waistband to the insideof the garment
and slipstitch the folded, pressed edge of the
waistband to the seamline.
Slipstitch the open edges of the underlap to-
gether (Figure9.3b).
Completethe waistband with your closure of
choice (Figure9.3b).
Pin baste the correct side of the waistband to the
wrong side ofthe garmentwaistline,matching
notches.
Double-checkthatthe waistband will actually be
turned to the correct side by foldingthe waist-
band over the seam edgeto the correct side of
the garment.
Also check that the extension is on the correct
end (Figure9.4a).
Stitchthe waistband to the waistline.
Trim, grade, and clipthe seam allowances.
Press the seam allowance Rat; then press the
seam allowances up intothe waistband (Figure
9.4b).
Fold the waistband ends so the correct sidesare
together; stitch the left side from the notch to the
top of the waistband; stitch the right side. Trim
the corners(Figure9.4b).
Flip the waistband to the correct side ofthegar-
ment (Figure9.4~).
9.3A H A N D - F I N I S H E D WAISTBAND APPLICATION
HAND
snpsnrcHn*c,
$.a6 HAND-FINISHED WAlSTeAND APPLICATION

PATTERN TIP
Determinethe finished width of the waist-
band and add % inch for seam allowances.
.....~~.......~.......................,................
be used instead for the underband of the waist-
band. Accurate sewing and careful clipping,
trimming, and grading contributeto the success
of this type of waistband.
.@he finishedwaistband length, includ-
ingthe extension.
Removeseam allowancesfrom fusibleinterfacing
before applyingto the waistband to reduce bulk
in the seam allowances(Figure9.5a).
Stitchthe upper and under waistbandstogether
alongthetop edge; press, and understitch
(Figure9.5b).
Pin bastethe upper waistband to the correct side
of thewaistline;stitch (seeFigure 9.5~).
Trim and grade the seam allowance;press toward
thewaistband.
Stitch the ends of the upperwaistband to the
ends of the underwaistband,trim ends, and turn
waistband correctsideout.
Securethe underwaistband to thewaistline
seam using anyof the previously mentioned tech-
niques: whipstitch by hand, stitch-in-the-ditch.
topstitch,or edgestitch.
Completethe waistband with the appropriate
closure.
Bias Binding at Waist 9.5A TWO-PIECE STRAIGHT WAISTBAND
Thewaistline can be fin-ishedby u$ingbias bind- , CENTER SIDE
ing to provide a narrow edge finish. Decide if SEAM, ~OYT,, SEAM EXTENSION
Refer to Chapter 6 and Chapter 12 for details 'NTF~FAcEDWA'~"ND
about how to create bias strips for this finish
(see Figure 6.16 and Figure 12.26). B TWO-PIECE STRAIGHT WAISTBAND
/ "WDERWAISTBIID
Apply zipper, sew darts, and seams before
stitching bias onto waistline.
Stitch twill tape around waistline to stabilize NoN,,,,,, c,,w A,,,,,, ""-----
the waistline. Refer to Chapter 3, "Introduc-
tion to Stabilizers."
Leave a %-inchseam allowance at either end
of the binding (Figure 9.6a).
The seam allowancefor stitching is the fin-
ished required width of the binding.
Press the seam up into the binding after
stitching.
Turn each end of the seam allowancein
toward the binding, and turn the remaining
bias over to the back, encasingall the raw
edges.
Finish the binding by hand slipstitching
the edge of the bias binding to the machine
stitches at the waistline (Figure 9.6b) or by
machine stitching-in-the-ditch from the cor-
rect side of the garment (Figure 9.6~).
For heavier, bulky fabrics such as denim or
wool, serge one edge of the binding (Figure
9.6d).
CORRECT SIDE
CORRECT SIDE OF
TWO PIECE WAISTBAUD UNDERSTITCHING
WRONG S1DE
OF LI"l"6
9.5C TWO-
PIECE S T R A I G H T .?:+<~~.~~
*WAISTBAND

~ ~ ~~~~~~~ ~~~~-.-.-~~....---.-.-....~~..-.~..-~-~~~.
9.8A APPLY THE BIAS TO THE WAISTLINE
SEAM ALLOWANCE
J2" 5€4M ALLOWANCE EQUALS FINISHED
WIDTH OF BINDING.
9.8 BlAS BINDING WAIST FINISH
9.8C BIAS BINDING AT WAIST: STITCH.IN-THE-DITCH
/
SEAM ALLOWANCETURNED I N
A SEbM ALLOWANCETURNEDIN
STITCH-IN-THE-DITCH
,SEAM ALLOWANCETURNED I N
9.60 BlAS BINDING AT WAIST: SERGED FINISH
S.6S BlAS BINDING AT WAIST: SLIPSTITEW

Professional Sewzng Techniques for Designers
Curved or Contoured Waistbands ~fyou have decided to use belt loops, position
A contoured waistband consists qf identical pat- tbe belt loops on the upper waistband; baste
tern pieces: two waistbands and two pieces of in- the loops at top and bottom to the waistband
9.7A UNDER BAN0 INTERFACED
wterfacing, shaped to coincide with the contour of (Figure9.7d).
the rib cage or upper hip. Belt loops are often a Attach the upper band to the garment usingthe
feature of this waistband, and the designer deter- allotted seam allowance, matchingall notches.
!i mines the width and the number of loops. Refer .With the correct sidesofthe band facingeach
9.78 UPPER BAND
to the section in this chapter "Belt Loops and other, stitch using a %-inchseam allowance
INTERFACED AND TWILL WELLTAPE Thread Carriers" formoreinformation.When the around the top edgeof the band; understitch the
TAPE APPLIED
p. -
. designerto retain plansshapethisand thewaistband,type of interfacingthe fabric's neededability
topwaistband.of thewaistband(This mayanddifferstitchdependingeach endonofthethe
- --- -S.S. 5.5. to support theshapeneed to work together.When design, as seen in Figure 9.4.)
A IIELSURL TO PAITERN waistbands extend above the waistline, very firm Clip the corners,turn, and press.
interfacing,staystitching,andtwiUtapeareneeded On the wrongside of the garment, pin the waist-
UNDERBAND
u to provide stability, while the weight of the inter- band in place.
facing is completely dependent on the weight of .From the correct side of the garment, stitch-in-
the fabric. Take time to sample different weights the-ditchto attach the underwaistband.
HON6 KOWG FINISH
and types of interfacing when constructing this Press, using a tailor's ham to shapethe curve
9.7C UNDER BAND
type of waistband. Refer to Chapter 3 for further of the waistband-do notstretch the waistband
UPPER BAND information on appropriatestabilizers.No matter when pressing.
what the shape, it is the same stitching order as Completethewaistband with the appropriate
shown in Figure9.5). closure. (Referto Figure 8.13.)
BELT LOOPS
9.7D U P P E R BAND
FsJ .F se interfacingtoupper and under waistbands.
(atching all notches.
Joinupper and under bands at center-backseams
(Figure9.7a and b).
On the wrongside of the upper waistband, sew
Turn the binding over, encasing the raw twill tape around thetop edgeof the band, using
edges. slightlylessthan %-inch seam allowance,being
Leave the serged edge flat-do not turn carefulnot to stretchthe band when stitching
under. (see Figure 9.7b).
Stitch-in-the-ditch from the correct side of .Finish the under waistband using the Hong Kong
the garment (Figure 9.6d). finish (Figure9.7~)or a serged finish.
Waistline Stay
A waistline stay in a strapless dress or a gown
helps keep the waistline from stretching and re-
lieves stress and strain on the closure. Zippered
waistlines close more easily if they are stayed.
Grosgrain ribbon makes an excellent stay.
Cut a piece of grosgrain ribbon equal to the
waistline plus 2 inches.
Finish each end by folding back 1inch.
Turn under again !h inch from the fold, and
edgestitch down to the stay.

~ -
~ ~ ~ ~ ~ ~ . ~ . . . . . . . .~ ~ ~ ~ ~ ~ - ~ . . . . ~ ~ .~ . . ~~~~~.. ...... ~ ~ ~ ~ ~ ~ ~ ~ . ~ ~ ~. . . . . ~ . ~ . ~ ~ ~ ~ ~ . ~ . . . . ~
9.8A PREPARING AND STITCHING A WAISTLINE STAY
Sewhooks on one end of the ribbon stay and Interface the facing; if usinga lining, leave the
round eyes on the other (Figure 9.8a). facing edge unfinished (Figure 9.9b).
Position the ribbon on the waistline with the Twill tape can be added to stabilize the upper
ends meeting at the zipper. edge of the extended waistline.
Fasteners should facethe zipper tape. Installthezipper.
Machine stitch the stay to the waistline seam Stitch the facing to extended waistline upper
allowance. edge, pressthe seam allowances, and under-
* Or, whipstitch the stay to the sideseams and stitch (Figure 9.9~).
darts if there isn't awaistline seam. Turn the facing inside the garment; press.
Leave the stay free for 2 inches on either If usinga lining, stitch the completed skirt lining
side of the zipper to provide necessary to the lower edge of the facing (Figure g.gd).
room to close the hooks and eyes (Figure Whipstitch the facingllining seam to darts and
9.8b). side seams, and stitch the liningaround the
zipper. Look ahead to chapter 16, Figure 16.12a.
Extended Waistbands Or, secure the ends of the facing to the zipper
A waistband can also be cut all-in-one with tape, seam allowances, and darts ifnot usinga
skirt or pants and darted to provide contour, lining.
but this is astylethat comesand goes in fashion. Hand stitch a hook and eye to the top edge above
A more familiar and commonly used style of the zipper (Figure 17.31).
waistband that is cut-in-one with the garment is
the foldover elastic waistband. Elastic Waistband
The cut-in-one-with-the garment waist- All elastic waistbands fall into two categories-
band is an extensionof the garment. The shapeat elastic inserted into a stitched-down casing
thetop of thewaistbandmust be equalinwidthto (Figure 9.10~)and elastic sewn directly to the
the area of the body it will meet.Thefacingof the fabric. It is of utmost importance that the waist-
extended waistband must also match the upper band be able to slide over the hips as well as be
edge of the extended waistband. All of these re- comfortable at the waist-this is where fashion
quirements must be addressed by the designer at meets function. Theideal of the elasticwaistband
the patternmakingstage. Careful, accuratestitch- is comfort; the width of the elastic contributes to
ing of the seamsresults in the extendedwaistband thecomfortandisthechoiceof thedesigner.Non-
width fittingthe body widthwhen complete. roll elastic is the best choicefor this waistband to
avoid rolling, crushing, or curling. Good-quality
Darted, Extended Waistband elasticretains its shapeand recovery.
Stitch, slash open, and press the dart= A bodkin (Figure 9.11a) is a handy and re-
9.88 STITCHING THE WAISTLINE STAY (Figure 9.9a). liable tool used to thread the elastic through

9.9A STITCH AND CLlP THE DARTS AND WAISTBAND
PRESS DARTSOPEN
WA1S CLIP
CLlP
NOTCHES MATCH
I}:::YWAISTLINE
FULL INTERFACING
9.96 PREPARING THE FACING
the casings, whether the casing is at the waist,
wrist, or ankle. However, the width of the
bodkin prevents it from being used in casings
narrower than 7's inch. A large safety pin can
be used as well, if a bodkin is not available,
but often springs open during the threading
process, usually in the middle! Then the entire
length of elastic has to be pulled back out, and
the threading begun again. In addition to the
9.9 HIGH-WAISTED SKIRT
O.9C STITCHING THE FACING TO THE SKIRT
LINING JOINED
TO SKIRT -., ,
FKINb
UNDER-
STlTCHlNB
DARTS
9.90 LINING STITCHED TO FACING
inconvenience of restarting the threading, a Cut all-in-one and invisibleon the surfaceof
pin is nearly impossible to close while inside the garment (Figure 9.10a).
the casing, and the pin point can damage the Cut separately and joined to the garment
fabric, rip a smallhole, or become entangled so (Figure9.10b).
that the casinghas to be ripped out and resewn. Topstitched, with one row of elasticinserted
Use whatever fits safely into the casing. into the casing(Figure 9.10~).
Follow the directions below for the style
that best suits the skirt and pant fabric. Elastic
waistbandscan be:

. ............................. ~
Severalrows of topstitching in which several
rows of narrow elastic have been inserted
(Figure 9.10d).
A drawstring with elastic attached to ties
inserted through a buttonhole stitched on
the correct side of the garment (Figure 9.10e).
(Also see note on page 365.)
Topstitched Casing
Cut the determined length of elastic equal to the
measurement of the waist, less 2 t o y inches.
This depends on the width, the amount of stretch
in the elastic beingused, the quality of the elas-
tic, and the comfort factor.
Add 1inch for overlappingand stitching the elas-
tic together.
The casingwidth should bethe width of the elas-
tic and the seam allowance, plus '/.inch.
9.100 MULTIPLE ROWS OF
ELASTIC CASINGS
9.10E CASING WITH DRAW-
STRING CORDIELASTIC
To stitch both sides of the casing, add a total of
% inch, using% inch at the top and '/s inch at the
bottom of the casingfor stitching.
Foldover the amount allotted for the casing, turn
under the raw edge '/,inch, and handbaste the
casingin place (Figure 9.11a).
If the fabric is bulky, consider serging the edge of
the casing instead of folding it under.
Begin stitchingthe casingon a seamline at the
center back or side seam.
Stitch around the waistline, leavinga 2-inch
opening (see Figure g.ila).
Usinga bodkin, feed the elastic through the
opening (see Figure 9.11a).
Pull both ends of the elastic out ofthe casingand
overlap (by placingone side over the other, not
stitched as a seam) and stitch a square to secure
the elastic edges (Figure 9.11b).
Slipstitch the opening closed, then topstitch to
complete the casing.
Casing with Several Rows of Topstitching
A wider size of elastic is usuallv used for this
technique, in which the casing is formed and
stitched, and the elastic is pulled through. Sev-
eral evenly spaced rows of topstitching secure
the elastic to the garment, creating a look of in-
dividual rows of elastic. This works well with
an elastic that recovers its stretch after being
stitched.Sampleto make sure the elasticreturns
to its originalsize. Cutthe elasticapproximately
1 inch smaller, as it will stretch with multiple
rows of stitching. If this does not work in the
sample, choose another type of elastic, or a dif-
ferent technique.

9 . l l A TOPSTITCHED ELASTIC WAIST C A S l U l i
FEED EUSTIC
THROUGH W I N G
Thread the elasticthrough each row, securingthe Tie knots in the ends of theties, hand slipstitch
ends by overlappingthgm and stifphinga square. toe ends closed, or push thetie ends in with a
Closeeach openingwith hand slipstitchingand point (of scissorsor seam ripper)-if the ties are
then machinetopstitching. bias, the endswill stay pushed in (Figure9.12~).
Casing with Cords or Elastic and Cords Invisible Casing
A casingwith cording is constructed as follows In an invisible casing (Figure 9.10a), elastic is
without the addition of the elastic.The designer stitched to the edgeof the waistline, ~ r n e dto the
can also add a narrow width of elastic sewn to insideof the garment,and then stitchedatthe side
eachend of the ties. The elasticis equal to three- seams.For thistype of elasticfinish,thelookmust
quarters of the total waist measurement. After have a smoothfit. This method avoids the look of
the ties are stitched to the ends of the elastic,
1'' OVERUP
- they are pulled through stitched buttonholes to
resemble a drawstring waist (see Figure 9.10e).
Pjeparetheties: use bias stripsor straightgrainP'k i t r i p s (as shown in Figure 9.16) to make the ties.
LlG ZAG STITCHING or use purchased cordingortrim.
9.118 TOPSTITCHED ELASTIC WAIST C A S I N G
The ties should be longenough to pull the elastic
to controlthewaistband sizeand to tie closed
and not show.
Stitch the ties to the ends ofthe elastic(Figure
Casing with Multiple Rows of g.iza).
Narrow Elastic Stabilizethe buttonholeareas before stitching
Once the total width of the waistband has been (Figure9.12b).
determined, divide it into the number of rows for Mark and stitchthe buttonholeson the frontof
the narrow elasticto be inserted into, plus l/s inch the garment before foldingover and stitchingthe
(seeFigure9.10d). casingforthe elastic(see Figure g.lzb).
Usinga bodkin, thread the elasticand attached
an elastic casing while retaining the comfort of
the elasticwaist and does not show any topstitch-
ing from the correct side. It is important that the
fabric have enoughstretch to slide over the hips if
no other type of openingwill be used.
Stitch the side seams of the skirt.
Deduct 1 to 2 inches from the total waist
measurement and cut the elasticthis length,
without any seam allowance. Take into con-
sideration the width of the elastic, and very
important, the quality of elasticbeing used.
The elasticwill stretch as it is stitched to the
waist edge.
Form a circle with the elasticby butting the
elasticends together and stitching a wide
zigzag/short length, or stitch a three-stitch
zigzag (Figure 9.13a).
Divide the elasticand waistline into quarters
tiesthrough the buttonholes. (Figure 9.13b).
ow evenly, beginningatthe center Distribute the casingfullnessalongtheelastic Place the elasticon the wrong side of the gar-
back or side seam, leavingan openingof approxi- beforestitching-in-the-ditchat the side ment, matching the elasticjoin to the center
mately 2 inchesto pull the elasticthrough. seam. back or side seam.

9.12A ELASTIC WAIST CASING WlTH CORDS AND BUTTONHOLES
9.12C ELASTIC WAIST
CASING WlTH CORDS
AND BUTTONHOLES
Pin the elastic and the garmentwaistline
together.
-With the elastic on the wrong side of the gar-
ment facingup, stitch the elasticto the outer
edge of the waistline, stretching the elastic to
fit the waistline edge (Figure 9.13b).
Use a medium zigzag stitch or serger, but do
not cut the elastic off with the serger.
er row of zigzagstitchesto
secure the inner elastic edge to the garment
(see Figure 9.13b).
Turn the elastic to the inside of the garment
and secure the elastic by stitching-in-the-
ditch in every vertical seamlinefrom the
correct sideof the garment (Figure 9.13~).
Joined Elastic Caring
Whilethis waistband looksthe sameas a conven-
tionalwaistband that requiresazipper,thejoined
elasticcasing is really a pull-on waist finish that
works on both knits and stretch wovens.
Cut a firm, nonroll elastic 1inch wide and
equal in length to the waist measurement.
Lap the ends over % inch and stitch, forming
a circle.
Divide into fourths, marking the divisions.
avoidingthe lapped, stitched section.
9.126 ELASTIC WAIST CASING WITH CORDS
AND BUTTONHOLES

P r o f e s s i o n a l Sewing T e c h n i q u e s for D e s i g n e r s
. - - . - ~ . - . ~ . ~ ~ ~ ~ ~... ~.............~...~~.~~.~~~~~ ~ ~.
9.13 INVISIBLE ELASTIC CASING
9.134 STITCHING THE ELASTIC TOGETHER
ELASTIC BUTTED TOGETHER
Check the fit of the waistband on the body
or dress form to be sure it goes over the
hips.
I
b
in the waistband to the garment, right sides
gether, and match the notches of the gar-
PINS DIVIDE WAISTLINE ment and waistband; stitch (Figure 9.14a).
INTO QUARTERS
2 ROWS OF
-2""" ""'"I""
Pin and match the quarter divisions of the
elastic to the waistband side seams, center
b front, and center back (Figure 9.14b).
Zigzagstitch the elasticto the garment seam
allowance, stretching the elastic to fit the
Z A G STITCH THE ELASTIC TO THE WA
garment,while keeping the lower edge of the
elastic butted up to the waistband seamline
I (seeFigure 9.14b). Sergefinish the other edge.
,E Fold the waistband tightly over the elastic;. .
pin in place (Figure 9.14~).
Stitch-in-the-ditch from the correct side of
the garment (Figure 9.14d).
Belt Loops and Thread Carriers
Loops are needed to hold a belt in the desired
positionon the garment.Theyareusuallyplaced
at the side seams on dresses or a coat. On pants
or askirt, the loops create amore slimminglook
9 . 1 3 ~FINISH THE INVISIBLE when removed from the side seams and placed
ELASTIC CASING
2 to 3 inches on either side of the center front
and center back waistband. This measurement
depends on waist size and style of waistband.
Stitchthe ends of the fabricwaistband, and They should he long enough for the belt to fit
press the seam open so it's stitched in-the- through easily. Loops can be made from fabric
round. strips or thread.
bread Carriers
bread carriers are narrow and inconspicuous.
hey are most suitable for dresses, tops, and
)atswhere little or no strain will be exerted on
he carrier.
CONSTRUCTING THE THREAD CARRIERS
To makeathread carrier, selectamatchingcolor
of thread of buttonhole twist or use several
strands of regular machine thread.
Determine the length of the carrier and add
% inch for ease.
Place apin indicating the beginning and end
points on the garment (Figure 9.15a).
If the carrier extends over a waistline seam,
centerthe carrier (Figure 9.15a).
Begin the carrier on the correct side of the
garment, by attaching the thread on the
wrong side of the garment first, taking sev-
eral backstitches at one end.
Sew back and forth, by hand, from one end
marking to the other, until there are several
strands of thread, making sure the strands
are all equal lengths-these threads form the
core of the finished carrier (seeFigure 9.15a).
Work a blanket stitch over the core strands,
keeping the stitchesclose together.Form the
blanket stitch around the threads by insert-
ing the tip of the needle between the thread
strands and the garment. Hold the thread
from the previous stitch in back of the point
of the needle. Pull the needle up and out,
drawing the thread close around the thread
strands (Figure 9.15b).

W a i s t b a n d s : Planning the Horizontal Edge
9.14 l O l N E D ELASTIC CASING
9.14A POSITIONING THE ENCASED
ELASTIC WAISTBAND
CF.
WAISTBAND
9.148 STITCHING AND SERGING THE WAISTBAND
9.14C PINNING T H E WAISTBAND
SERGE WAISTBIND
SERGED FINISH, CB
STITCH-IN-THE-DITCN
9.140 FINISHING THE WAISTBAND
Continue this stitch until all the strands have easierto precut the lengths of thread rather
been covered. than struggle with one long piece.
Smooth out the sewingthread strands,
For asturdierversionof the thread carrier,com- pressingthem, if necessary, to lie flat.
bineeightormore strands of sewingthread with Holding the threads taut, place under the
zigzag stitching. pressure foot of the machine, and begin
to stitch a narrow zigzag stitch (1.0 width,
Determine the length of the carrier, cut the .5 length)over all the strands (Figure
strands of thread to that length-it's much 9.15~).
Continue stitching until the entire length is
sewn.
There will be somethread at the top and at
the bottom of this length that will not be
covered by stitching due to the space needed
to begin the stitching and to allowfor knot-
ting off at the bottom of the length.
Use a large-eyed tapestry needle and thread
the carrier through the eye (Figure 9.15~).
Knot one end of the sewn strands.
Placea pin marking the beginning and end
of the carrier on the garment (Figure
9.15a).
From the inside of the garment,push the
threaded needle through to the front of the
garment at one of the pin markings.
Push the needle through the other marking
to the inside of the garment, knot off the
sewn strands, and cut.
Repeat for each carrier position.
Belt Loops
Belt loops can be made from the same fabric as
the garment,or they can be made in contrasting
fabric, such as leather on tweed. However, bulk
needs to be considered.
CONSTRUCTING THE BELT LOOPS
Calculatethe length of fabricthat is needed
for all the belt loops being made.
The length of the belt loop is the width of the
belt plus !4 inch ease and an additional 1inch
for two seam allowances.
Count the total number of belt loops needed.
Example: 6 multiply by the measurementof 1

............ .. .... . . .
belt loop with ease included (2 inches); total
length = 12inches.
The width of the belt loop depends on the
method used to stitch the loops.
If the fabricis not too heavy, cut the strip
four times as wide as the finished sizeto add
somebody to the belt loop.
Fold the strip in fourths with the raw edges
on the inside (Fiaure 9.16a).. -
Edgestitch down the length of the strip
through all layers; edgestitchthe other side,. .
forming two rows of stitching (Figure 9.16b).
Fusible webbing applied to lightweight fabrics
does not need to be edgestitched and can he
used to make a belt loop.
Cut the belt loop strip twice the width of the
finished carrier plus 'A inch, using the selvage
for one long edge.
Cut the webbing strip the same width as the
finished width of the belt loop.
Placethe webbing on the wrong side of the
folded belt loop strip fabric, slightly off
center and closer to the cut raw edge.
Fuse the raw edge of the fabric over the fus-
ibleweb (Figure 9.17a).
Next fuse the selvage edge down, just cover-
ing the raw edge (Figure 9.17b).
No stitching is necessary; the fusibleweb
holds the edges together.
APPLYING THE BELT LOOP
Once the belt loop strip is stitched, cut it into
individual loops. The ends of the loops are fin-
9.15A THREAD C A R R I E R S
CORETHREADS
HAND BUWKET
--
9.15B T H R E A D MACHINE -C A R R I E R S 216 ZAG
STITCHIWB
9.lSC THREAD
CARRIERS
ished when they are attached to the garment.
The method of applying the loop will depend
on the location of the loop on the garment and
the stageof construction of the garment.
If the loop is at a side seam or the interior of
the garment:
Pin mark the placement lines on the garment.
Place one end of the carrier on the bottom
pin mark.
The seam allowance of the end should be ex-
tending up, with the correct side of the loop
placed on the correct side of the garment
(Figure 9.18a).
Stitchtheloop to the garment(seeFigure 9.18a).
Flip the loop up to the top placement mark,
turn under the raw end and, lifting the loop
to the side, machine stitch or topstitch the
end to the garment (Figure 9.18b).
If the waistband is already stitched to the
garment:
Fold the belt loop ends under and topstitch
them to the top and bottom of the waistband
through all fabric thicknesses (Figure 9.19).
This works well for awaistband that is al-
ready topstitched.

Warstbands: Planning the Horizontal Edge
If the waistband has not been stitched to the
waistline, the belt loops can be stitched to the
waistband or included in the waistline seam.
P acethe %-inchseamlineof the belt loop
end on the foldline of the waistband (Figure09.20a).
The end will extend into the waistband.
Stitch the belt loop to the waistband with the
correct sides together.
L /'
9.16 FABRIC BELT LOOPS
EDGESTITCH
9.16A FOLD THE
BELT LOOPS
9.168 EDGESTITCH
1 T H E BELT LOOPS
9.17A FUSIBLE WEBBING
Place the belt loop down and stitch the other BELT LOOPS
end to the lower edge of the waistband-this
end of the belt loo^ will be stitched into the
9.178 FUSIBLE WEBBING :.:::I
BELT LOOPS
,. ,,
, ,,.
. ..;:
..;,t
11
.,?
,,.
,....
IDGESTITCHIIG
CREISE LINES
C U T I ~ I ~ ~ ~ O RWIDER
waistline seam. Note: Belt loops in Figure
9.20b are stitched to the two piece waistband
before stitchingto the garment.
STITCHINGTRICKY FABRICS
All fabricscannot be coveredin one chapter,but
thefollowingsuggestionswill assistthedesigner
in decidingwhat type of waistband to construct
for the fabricbeing used.
and Repeat Patterns
Do consider placing stripes or plaids on the
bias as a contrast to the garment.
Do considerusing a solid color for the waist-
band that contrasts with the stripe, plaid, or
repeat pattern of the garment.
Don't spend time attemptingto match the
entirewaistband to the garment.
Sheer Fabric
Do underline the sheerfabric to avoid showing
the interfacingused.
Do considerusing an alternative finish, such as
bias binding, to finish the waistline.
Do use a contrastingfabricor ribbon for the
waistband.
Don't designa waistband that requires heavy
stabilizing or is intricately shaped.
Lace
Do use a lining fabricfor the facingside of a
RAW EDGE -FOLDED IN
1SELVAGE 1
FUSIBLEWEB /
waistband made of lace.
Do use a contrastingfabricsuch as taffeta or
satin as a narrow bias binding at the waistline
in place of a waistband.
Do use a coordinatingfabric, such as satin or
taffeta, paired with lace as the waistband.
Don't use lace on both sides of the waistband-
many laces have intricate, raised details that
would be scratchy and uncomfortable against
the skin.

9.18 BELT LOOP
I AT SIDE SEAM
8A POSITION
,"E BELT LOOP AT
SIDE SEAM
. ~ ~~ .~~~~~~~~~~~~ ~~~~
Satin
Do choose the interfacing carefullywhen
using satin as the waistband.
Do mark the fabricas little as possibleto avoid
"bleed-through."
Do cut the waistband, using the "with nap"
direction.
Do test a sample seam for slippage,which
often occurs at stresspoints such as the waist-
COMPLETE
=smmrHING THE
BELT LOOP
Don't use topstitching as a finish for thewaist-
baqd on lighter-weight satins.
Beaded Fabric
Do use a contrasting fabricsuch as satin or tar-
fetafor the waistband.
Do use a contrastingfabric as a bias binding in
place of the waistband.
Do use the flattest finish possible at the waist
to reduce bulk.
Don't use the beaded fabric for both sides of
the waistband-beaded fabric is uncomfortable
against the skin.
EASEADDED FOR
BELTTO PASS
THROUGH LOOP
band. Refer to Chapter 3, "Introduction to
Stabilizers."
Do pin only in the seam allowances.
Do handbaste the waistband with silk thread
to avoid marring the surface of the satin.
Do use silk thread to hand slipstitch the waist-
band to the inside of the garment.
Do use new machine sewingneedles to avoid
"pulled" threads when stitching.
9 19 TOPSTITC 3 0 P S
ON A STITCHED WAISTBAND

FOLD OVER
I'
9.20A BELT LOOPS
STITCHED TO A ONE PIECE
FOLDED WAISTBAND
K'BACK TO "4''
ONE PIECE WIISTBAND EIZC
1/2" EASE
J4" S/A
0 9DB BELT LOOPS STITCHED TO A TWO PIECE WAISTBAND
Knits
Do construct a one-piece, stabilized waistband
and apply to the knit garment with a zipper
opening-the stabilizer must take the stretch
element out of the knit soit doesn't stretch.
Do use an encased elasticwaistband without a
zipper opening.
Do use a foldover, cut-in-one waistband with
elastic.
Do use only nonroll elasticto support the
waistband.
Don't overstabilizethe waistband with a too-
stiff stabilizer.
Denim
Do use a one-piece waistband, interfaced on
one-half only to reduce bulk.
Do trim seam allowances of interfacing before
fusing to reduce bulk.
Do use bias binding to finish the waistline.
Do cut binding for singlebias only. Refer to
Chapter 12,"Facings," for further information
on bias bindings.
Do sergeoneedgeof the binding, ratherthan
turningunder acleanfinishedge.
Do turn binding over to the inside of the gar-
ment, encasingraw edges.
Do leavethe serged edge flat, not turned

under, and stitch-in-the ditch from the correct
side of the garment.
Do trim and grade the seam allowancesto
reduce bulk.
Do use topstitching to completethe waistband.
Don't hand stitch the waistband to the gar-
ment-it won't be sturdy enough.
Velvet
Do use a two-piece waistband.
Do follow a "with nap" layout.
Do use a lining fabric for the waistband facing
to reduce bulk.
Do use a contrastingfabric for a one-piece
waistband, and interface appropriately.
Don't use topstitching to finish the waistband.
Leather
Leather garments can be constructed with one-
piece tailored waistbands or faced waistbands.
Do interface the waistband (becauseleather
does stretch) with "low heat fuse" interfacing.
Do add an additional layer of stabilizer in the
area where the closures,such as bound button-
holes or hooks and eyes, will be sewn.
Do use a thread shank and a backing button
when attachingthe button to the waistband.
Do use leathercementto gluetheleatherinplace,
followedby topstitchingwhereappropriate.
Do sample glue on your leather to be sure it
doesn't bleed through to the front.
Do sample topstitching before using this stitch
on the leather garment-stitch holes cannot be
removed.
Don't use pins to secure the leather-use
binder clips (Figure 14.19).
Don't press leather wit'h a high temperature or
use steam.
Don't store leather folded-the resulting
creases may not come out.
Faux Fur
It's hard to imaginethat a designerwould make a
waistband out of faux fur, but you never know!
Do preshrink the faux fur, if washable-check
the bolt labelfor directions.
Do stabilize fauxfur using a sew-in stabi-
lizer-the backing of the fur can be made of
knit or.woven.
Do remove the fur from the seam allowances.
Do tape the pattern pieces to the faux fur, care-
fully transferring the markings.
Do use a size 14or 16needle and lengthen the
stitches to 8to 10per inch.
Do loosen the tension and pressure.
Do stitch in the direction of the nap.
Do steam the pile side of the faux fur, and
pound the seams and edges to reduce bulk.
Don't apply an iron directly on the fauxfur.
Heavyweight Fabric
Do choose the flattest waistband treatment for
the garment.
Do use lining or contrasting fabric for the
under waistband.
Do use the appropriate interfacing for the
fabricweight.
Do remove the seam allowances of the inter-
facingbefore applying, to reducebulk.
Do uim and gradethe seamallowancesaccurately.
Do use a pressing cloth.
Don't apply the iron directly onto the fabric-
press marks may appear on the face of the
garment.
Once the designerhas correctlyinterfacedand
stitchedthe waistband, this knowledge canbe
appliedto cuffs and collars.Think of the waist-
band as anupside-down cuff or collar.
The knowledge gainedfrom forming the
waistband can be transferred to creating un-
usual shapes that repeat elements of the style
or fabric of the garment such as a waistband,
cuff, or collar.
The designer can transfer the knowledge
gainedfrom stitching a waistband to stitch-
ing shaped bands applied to the center fronts
of garments or at hemlines.
Stretching your creativity involves taking the
stitching techniques learned in this chapter and
applying them to the design in a more creative,
nontraditional way. In other words, think out-
side the box. When thinking outside the box,
however,alwaysconsiderwhether this is adding
to the designor taking awayfrom it. Remember,
just becauseyou can, doesn't mean you should.
A waistband can become an exciting area
of interest. An unusually shaped waistband

can repeat an element of the fabricsuch as
scallops or a geometricshapealongthe upper
edge (Figure 9.21a). If meeting at the center
front, it can have mirror image, shaped edges
(Figure 9.21b).
The waistband can be asymmetrical(Figure
9.21b and c).
Bias grainline can be used effectively
when working with plaids, but must be
well stabilized to prevent stretching out of
shape.
Embellishments,such as grommets, studs, or
embroidery, can be applied to the waistband
to createa focal point.
A waistband can mimic a belt with tabs and
buttons (seeFigure 9.21~).
Belt loops can be made from a variety of ma-
terials, but they must be able to function as
the carrier of a belt. Experiment with materi-
als such as leather, braided yarn, felted wool,
or canvas, fraying the edges of the loops
reinforced with staystitching, embellishing
the loops, or using two layers of ribbon fused
together. As always, the details must be in
harmony with the design.
...my waistband is too long?
First, assess how much "too long" it is. The
lengthcan be adjustedbeforestitchingthewaist-
band to the garment. Check the measurements
again, matching all pattern markings to see
where thewaistband wentastray.Reduceand cut
the amount from one end of the waistband, and
redraw the markingsto match.
...............................
S t z e t o L W o u z C z e a t i v i t u
9.21A
EDGE

...my waistband is too short?
If the waistband is sewn together at the center
back seam, such as in a contoured waistband,
cut at the side seams and add an equal amount
to both sides. Don't forget to add seam al-
lowances to the pieces you are adding! If this
doesn't look good and will be very visible in an
unattractive way, recut another waistband after
checking that your measurements are correct.
If the waistband is cut in one piece and fabric
is limited, try cutting it apart at the side seams
and adding the additional amount needed. If
that doesn't look good, or if there isn't enough
fabricfor the waistband to be cut out again, use
another contrasting fabric.
~~ ~~~~~~~~~~~~~~~ ~~ ~. ~ ~...~ ~ ~~~~ ~~ ~
...my belt loops are crooked?
If the loops have been stitched into place un-
evenly, release the loops from the points where
they are stitched, and remeasure them evenly
before stitching again. If the loops have been
cut unevenly, the crooked loops will have to be
ripped out and realigned.
SELF-CRITIQUE
Takealook atyour finishedgarmentand ask the
crucialquestion, "Would I wear this garment or
would Ipurchasethis garment?"If the answeris
"No," ask yourself,why not?Then ask yourself
the following questions to critique the quality
of your waistband construction stitching:
Is my waistband appropriately interfaced?
Does it fit the garment correctly?
Is it stitched evenlyto the
Does the style of the-waistbandcomplement
the garment?
Is the visible stitching, such as topstitching
or edgestitching,even on the waistband?
Is the waistband stitched evenly at the center
back or side seam?
Does it cover the zipper?
Is the extensionfacingthe right direction?
Is the closure for the waistband the correct
style for the garment (button/buttonhole,
hook/bar, hook/eye)?
Are the closures correctly stitched?
Is the stitch-in-the-ditch actually stitched-in-
the-ditch and not all over the waistband?
Are the belt loops evenly spaced?
Are the belt loops correctly sewn?
Can the belt easily go through the carriers?
If using thread carriers, are they sturdy
enough to stand up to use?
Does the waistband match the waistline of
the garment?
Is the waistband in proportion to the style of
the garment?
When using a decoratively shaped waistband,
is the waistband stitched, trimmed, graded,
and clipped to lieflat, without bulk?
Is the waistband appropriately interfaced and
stabilized?
Is the edgestitchingor topstitching of the
waistband straight and even?
Is the stitching-in-the-ditch actually in the
"ditch" of the seamwell?
Are the belt loops the correct length to allow
a belt to pass through?
Are the belt loops securelystitchedto the
garment and waistband?
Is the elasticfor the waistband securely
stitchedwithin the casing?
Are the elasticwaistbands completed in such
away that they do not twist?
Is the casing of the elasticwaistband stitched
evenly?
Does the casingof the elasticwaistband lie
flat and smooth, and is it bulk-free?
Are the ties of the elastic drawstring waist-
band neatly stitched and finished?
Is the buttonhole of the drawstring waist-
band reinforced?
Is the buttonhole of the drawstring waist-
band sewn evenly, and is it the correct size
for the ties to slidethrough?
Is the encased elasticwaistband divided and
stitched evenly,preventingtwisting of the
elastic or the garment?
A waistband is an important part of garment
construction, providing support to hold a gar-
ment to the body and finishing the edge of the
garment. It is functional and canalso be decora-
tive, becoming an area for design possibilities.
As with all other sections of the garment, with
repetition and good sewing skills, the waist-
bandsyou createwillprovidesupport and finish
for a well-designed garment.

-. ,- - .;*;;i: +2* ;,.?.'..>;e
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Ruffles and Flounces: Feminine and Flirty
..I.&-.,.
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Ruffles and flounces fabr~catea soft,delicate texture to the surface of the garment. The KEY TERMS
way ruffles and flounces are cut and stitched, and the fabric used, determines how these Closed Ruffle or Flounce
elements look in the final design. It is important forthe design student to understand that Edge Application
rufflesand flounces are different from each other. Faced Flounce
This chapter opens with the Style I.D., which distinguishes ruffles and flounces. Knowing how Faced Raffle
Flat Application
to classify each begins with the sketch. They
are then defined by the way they are cut and
stitched. The fabric weight also influences how
ruffles or flounces drape. Tips will be given in
this chapter to cover all these aspects of ruffles
and flounces.
With anunderstandingof thedifferencesbe-
tween ruffles and flounces, and by experiment-
ing with the sewing techniques in this chapter,
an expert knowledge will be gained while you
STYLE I.D.
The three dresses in Figure 10.1 show how ruf-
flesandflounceslookstitchedtosimilarstylesof
dresses. Let's beginwithFigure 10.la.A ruffleis
stitched to the neckline, sleeve, and hem edges.
Takenote of how differenthe ruffles lookfrom
flounceswhen sketched.
Figure10.lbhasaflouncestitchedtothesame
neckline, sleeve edge, and hem edge as Figure
10.la.However,they lookdifferent.Canyou see
are in design school of how to design, cut, and a difference in how ruffles and flounces drape?
stitchruffles and flounces. Then in Figure lO.lc, we see a gathered flounce,
..
Flounce
Fluted Ruffle
Mock Seam
Open and Closed Flounces
Open Ruffle or Flounce
Ruffle
Seam Application
Stitched In-the-Round
Surface Application

whichhas morefullnessthan aflounce that isnot
gathered. Can you see that the hem edge is now
more curly and wavy?Let's read on to find out
why ruffles and flounces drape so differently.
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ ~~
GATHER YOUR TOOLS
You'll need machine needles-60/08 (most
likely the fabric you are working with will be
sheer and lightweight so these needles will be
the appropriate size), scissors, thread, seam
ripper (always essential), tape measure, and
trims such as lace for adding delicate edges to
ruffles and flounces.
With the equipment at your fingertips and tape
measure around your neck, you are ready to
stitch ruffles and flounces. Quality construc-
tion begins with the correct patterns. If you are
not sure how ruffles and flounces are cut, then
read on to learn how to do this. With this un-
derstanding, make the appropriate pattern and -
begin sampling before making any final choices ...~
as to the sewingtechniques to use.
1 0 . l A RUFFLES
The Differences between Ruffles
and Flounces
It all begins with the way ruffles and flounces
are cut. Yes, this is the main reason they drape
differently-it has to do with shape. This helps
explain why the three dresses in the Style I.D.
look distinctly individual.
Ruffles are cut as a straight piece of fabric 10.16 FLOUNCES
and a flounce is cut circular, as Figures 10.2a
and 10.2b indicate. A ruffle can be cut on any
10.1C GATHERED FLOUNCES

grainline: lengthwise, crosswise (both straight
grains), or bias grain. A bias grain ruffle will
drape quite differently from a ruffle cut on
the lengthwise or crosswise grains. Because a
flounce is circular, it is cut on all three grain-
lines, as you can see in Figure 10.2b;this is why
flounces drape so beautifully.
10.2A RUFFLES CAN BE CUT ON BIAS OR STRAIGHT GRAIN.
_CROSSWISE ,
B s Y P
Rwffles and Flounces: Feminine and Flirty
.............................................
Rufflesmust be gathered, otherwisethey are
not ruffles! This construction is what makes a
ruffle a ruffle, as is evident in the first dress
illustrated in Figure lO.la, in the Style I.D.
Flounces do not need to be gathered; however,
ness. Figure 10.lb illustrates a dress similar to STRAIGHTENED, THE OUTSIDE EDGE FORMS FOLDS.
the one in Figure 10.la;however, flounceshave
been substituted for ruffles. Figure 10.1~illus-
trates the identical dress stitched with gathered
flounces. Can you see the differencein each?
The grainline on the pattern indicates the
direction of how ruffles and flounces are cut.
Bias grain ruffles look fabulous made in light-
weight fabrics such as chiffon or silk georgette 10.36 THREE FLOUNCES STITCHED TOGETHER
and can have lots of gathering. Ruffles can also
be cut on the lengthwise or crosswise grains
(straight grains)of the fabric (see Figure 10.2a).
When ruffles are bias cut, the benefit is-no
hem stitching-bias does not fray. However,
they can be finished if you prefer. And, P.S.,
1 o . m FLOUNCES ARE CUT ON ALL GRAINLINES. good luck! Bias cutting does take more yard-
- age, and this adds to the overall expense of the
10 ZC THE GRAINLINE I S ALSO CUT 5 0
FLOUNCES CAN OPEN AND BE JOINED TO
OTHER FLOUNCES OR lOlNED INTO SEAMS.
garment-yet it may be worth it!
The flouncegrainlineisplaced on the vertical
grain of the fabric, and this is also a cutting line.
This lineneeds to be slitsothe inner circle of the
flounce can be cut (Figure 10.2~).The slit then
becomes a seamline. Do you see the notches at
the top edge of the flounceto indicate a seam?
The outside circular edge of the flounce
is larger than the inside circle edge, as you
observe in Figures 10.2b and c. To stitch a
flounce, the inner circular edge is straightened
and stitched to the garment. The outer circular
1O.SC FLOUNCES STITCHED TOGETHER AND GATHERED
edge then forms soft folds (curls).This is what
gives fullness to a flounce, as illustrated in
Figure 10.3a. As many flounces as you like can
then be joined together; the more circles that
are stitched together, the more fullness is added
(Figure 10.3b).

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As previously discussed, flounces can also When making the muslin for ruffles and designer's choice; however, the final length is
be gathered, as Figure 10.3~illustrates. How- flounces, it is important to use a similar fabric driven by the fabricweight and drape.
ever, the fabric needs to be the right weight weight (and not 100% cotton muslin fabric) so
and drape for this to be successful in design. you can see exactly how they will drape in your Flounces
Too much fullness may turn into bulk and this final garment. The smaller the inner circle of a flounce, the
could spoil the design! more fluted the edges of the flounce will
lluality Stitching Begins with appear. For example, a flounce stitched to the
Successful Ruffles and Flounces Accurate Patterns hem of a skirt will need a larger inner circle
Begin with the Correct Fabric Weight Before making any patterns for ruffles or than a flounce stitched to the wrist. The inner
The fabric weight will affect how ruffles and flounces, take an accurate measurement of the circle length must be the same measurement as
flounces look in your design. Play with the total length of the section to which the ruffle the seam length it is joined to. When a larger
fabricwhile you are at the fabric store. Take the or flouncewill be stitched. Do not measure the inner circle is straightened and stitched, it will
fabric in your hands; scrunch it up into the de- cut fabric edges, as the fabric can easily stretch not flute as much as the smaller inner circle of
sired fullness; hold to the body to observe the in the measuring process. Measure the pattern a flounce. However, as an alternative, several
softness and how it drapes. Notice the designer edge only, and take note of this measurement. smaller flounces can be stitched together to get
doing just that in Figure 3.4. Sampling is also Then draft the ruffle and flounce pattern to fit the required seamlength;this willresult in more
essentialsoyou can fine-tune the look you want this measurement. folds and curls and give a fuller look. However,
to achieve. it will involve more stitching and will be far
Silk chiffon, silk georgette, and lightweight Ruffles more time-consuming (Figure 10.3b).
silk satin would all be ideal fabric choices for The length of the ruffle to be gathered needs to
ruffles and flounces. Silk organza would also be calculated correctly-it can be two, three, LET'S STITCH RUFFLES
be ideal; it creates a stiffer ruffle or flounce or four or more times longer than the finished AND FLOUNCES
and stands away from the garment. Ruffles and ruffle length, and then gathered to fit the seam After your ruffles and flounces are cut, the first
flounces cut in heavyweight fabric would look it is stitched to. As a helpful guide, gather up step in the stitching order is to stitch any seam
bulky and may he a disappointment. Ruffles cut your fabric, pin-mark the length, and then let it joins on the rufflelflounce before stitching it to
on the bias will drape more softly than ruffles loose-use this as your guide for the final pat- the garment. Although you may have to stitch
cut on the lengthwise and crosswisegrains. tern length for ruffles. together some seams, the ruffle/flounce may
One important thing to be aware of when Ruffles are best cut in one long strip if pos- still need to be left open and not stitched circu-
choosing fabric for flounces: Both sides of the sible; however, this may not be the most eco- lar. If this is the case,it is classified as an "openn
fabric will show, so choose a fabric you will he nomical way for the design student to cut them. ruffle or flounce. Figures 10.4a and b illustrate
happy to show on the wrong side, as well as the Lengths of fabriccan be joined to make one long how this type of ruffle or flounce would look.
correct side. Take another look at the dresses ruffle, but keep the joins to a minimum. The In a "closed" ruffle or flounce, the seams for
in Figure 10.lb and c to see how the flounces width of ruffles is the designer's choice and can the entire rufflelflounce are stitched together
flip and curl around the hemline, showingboth be 1/2 inch, 1 inch, 2 inches, 3 inches, 6 inches, so they are circular, as Figures 10.4~and 10.4d
sides of the fabric. or wider. The fullness in the ruffles is also the illustrate.

. . . ... . . . . . . . . . . . ~ ~ ~ ~ ~~~ ~.~~~..~.... ... .. ~~ ~ ~~~~~~ ~~~~~~- - ~ ~ ~ .~
If the fabric you are using is of medium
weight, you can stitch the seamsopen or closed,
The stitching order is slightly different in each 7
method. In Figure 10.5a the hem is stitchedafter
then serge the edges. For sheer fabrics, stitch
French seams, as they look inconspicuous,
or stitch narrow %-inch closed serged seams.
The seams will not be noticeable after they are
stitched to the garment. Make sure you follow
the SEW, CLIP, PRESS method of stitching-
even when stitching ruffles and flounces! Refer
to Chapter 6, "Open Serged Seam," "Closed
Serged Seam," and "French Seam."
You may be asking,"How doI know if Ineed
to stitch my rufflelflounce 'open' or 'closed'?"
Basically the decision is driven by the design,
and alsoby the cost. Somestitchingmethods are
the underarm seam is stitched; in Figure 10.5b,
the hem is stitched before the flounce is joined
to the sleeve.Both methods areviable; however,
when stitched in-the-round, the flounce tends
4
to sit flatter on the intersecting seamjoin.
When ruffles and flounces arestitched to the
surface of the garment, and not stitched into
- - - -
10.4A OPEN RUFFLE
a seam, then flat application is the method to
follow; this means the ruffleslflounces will be
stitched as open ruffles and flounces. 1 0 . 4 8 O P E N
FLOUNCE
In this chapter, as each ruffle and flounce
is stitched to the garment, advice will be given
as to which method to use. Sometimes it will
auicker and more cost-effective than others in be verv clear which method to choose. Other
production. The stitching order alsodetermines times, you may need to discuss the decision
whether to stitch ruffles and flounces open or with your instructor. As you continue to grow
closed. Ruffles and flounces can be applied to in your stitching skills, these decisions will
the garmentusing the flat applicationmethod or become second nature.
by stitching in-the-round; both stitching meth-
ods are discussed next. STITCHING THE HEMS
Flat Application and Stitched In-the-Round
Flat application refers to stitching the ruffles
and flounces to the garment while the garment
lies flat. When ruffles and flounces are stitched
in-the-round, both the rufflelflounce and the
garment are stitched circular and the pieces are
then stitched together. Either method can be
used when stitching ruffles and flounces; the
choiceof which to use will be directed partly by
design and partly by preference. Refer to Figure
10.5 to see how a flounce would be stitched to
the edge of a short sleeve using each method.
After the seams are joined, the hems need to
be completed next, before ruffles and flounces
can be stitched to the garment. There are many
hem finishes from which to choose; however,
the hem finish must suit the fabric weight.
You will notice in this section that different
hem stitches are recommended for ruffles and
flounces.The shape of the hem indicates which
hem stitch to use. Not all hem stitches work
well on circular hem shapes, sowe recommend
you sample first!
Choose a thread color to match for your
fabric, as the stitches are noticeable. However,
TRlM STITCHED
,,TO FLOUNCE EDGL
L
C L O S E D 'SEAM IOIW
R U F F L E . R E A D
CLOSED RUFFLE
ON P A G E
270 W H Y
T H R E A D S A R E
DIFFERENT
COLORS.
CLOSED FLOUNCE

Professional Sewing Techniques for Derigners
. . ~ ~ ~ ~ ~ ~ ~ ~ - . . ~ ~ . ~ . . ~ - - . ~ ~ ~ ~ ~ . ~. ......
FRENCH SEAM
INTERSECTINe
CLOSED SERGED SEIM /
10.5A FLAT APPLICATION: THE FLOUNCE I S STITCHED
TO THE SLEEVE EDGE WHILE THE SLEEVE LIES FLAT.
a contrasting thread may add a visual interest
and this is a viable choice as well. Here are the
choices for hem finishes. All these finishes are
outlined in more detail in Chapter 15.
Raw Edge (Excellent for Bias-Cut Ruffles)
The raw edge on a bias-cut ruffle works well,
as bias grain does not fray. Bear in mind, the
cut edges do not stay sharp; they get slightly
"roughed" after they are worn. Can you imag-
ine how much stitching time you would save
not having to stitch the hems (Figure 10.6a)!
Leavingyour flouncewith raw edges is not rec-
ommended since flounces are cut on all grain-
10.58 STITCHED IN-THE-ROUND: THE FLOUNCE AND
SLEEVE ARE BOTH STITCHED IN-THE-ROUND AND THEW
STITCHED TOGETHER.
lines. Lengthwise and crossgrain fibers fray
easily and will pull away from the edges of the
flounce. Refer back to Figure 10.2b to see how
flounces are cut.
Narrow, Rolled, Machine-Stitched
Hem (Excellent Hem Finish for Ruffles
and Flounces)
This is aneat hem finishand gives a professional
finish to ruffle and flounce edges. A machine-
stitched rolled hem is more time-consuming to
stitch around a full circular flounce. However,
it is achievable following the three-step stitch-
ing technique in Figure 15.24a-c. Stitching the
hem on bias grain is easy, as it has somegive, but
the straight and crossgrains have no flexibility
as you stitch around shecurve.
In Figures 10.6b, c, and d, all ruffles are cut
as onesinglelayerof fabric.Each has amachine-
stitched rolled hem; however, you will observe
that each is stitched to different degrees. How
the ruffle hem is stitched is directed by how the
ruffle is stitched to the garment. For example,
the ruffle in Figure 10.6b has only one hem
edgestitched-this is because the other three
edges are going to be inserted into a seam and
therefore don't need hem stitches. In Figure
10.6c, three sides of the ruffle have been hem

. ~ . . ~ ~ ..... ~ ~ . ~ . ~ ~ ~. . . . ~ ~ ~~ . . ~ .~ . - ~ ~ ~.....
stitched-this is because only the top edge of
the ruffle is going to be inserted into the seam.
In Figure 10.6d, the entire ruffle has been hem
stitched-this is becausethe ruffle is goingto be
stitched to the surface of the garment and all the
hems need to be stitched first.
Faced (Folded Edge) (for Ruffles
and Flounces)
Ruffles can be a faced ruffle; this means two
layers of fabric are folded together and become
one-the folded edge is then the hem and the
two top fabric edges will be gathered as one. A
foldedruffle will be bulkier when stitched into a
10.64 BIAS CUT: RAW E D G E S
seam, as this takes three layers of fabric(twofor 111.r~FACED FLOUNCE
the ruffles and one for the garment seam).When
you use this method, the choice of fabricweight
is important so it doesn't create too much bulk. ,,,,
Figure 10.6eillustrates afaced ruffle. Notice the
bottom foldline gives a clean finish to the edge
of the ruffle (Figure 13.lc), and no hem stitch-
ing is needed. Press a creaseline in the hem of a
faced ruffle before it is gathered.
If a faced ruffle is going to be stitched as
an open ruffle, then fold the correct sides of
the fabric together and stitch a %-inchseam at
both ends. Clip the corners to reducehulk, turn
the flounce to the correct side, and press and
sharpen the corners with apoint turner.
Flounces can also be a faced flounce; how-
ever, sincethey are round, they cannotbe folded
in the same way as a faced ruffle. No topstitch-
ingwill bevisible around thehem edgeof afaced
10 6 6 H E M O N L Y STITCHED flounce, as the flounceis lined in self-fabricor a 10.76 S E R G E O A N D EDGESTITCHED H E M FINISH
lightweight lining and has a clean finish, just as
the ruffle does.
Cut two flounces (from the same pattern)
1 0 . 6 ~HEM A N D SIDES STITCHED in self-fabric or self-fabric and a lining (Figure
10.7a).Silk organza is an ideal choice to use as
a lining, as it reduces bulk; however, it will
give more shape and structure to a flounce. In
(0.60 ALL F O U R S I D E S O F T H E R U F F L E A R E STITCHED fact, a faced flounce, overall, will look more
FOR S U R F A C E APPLICATION.
structured than a flounce cut in a single layer
I .. . ~
I I of fabric.
A contrasting colored or patterned lining
may add an interesting effect in the design, es-
1 0 . 6 ~FACED R U F F L E
peciallyif the lining ispatterned and theflounce
-1 fabric is sheer. A variety of other lightweight
linings that could be used are listed in Chapter

, , , 268 Professional Sewing Techniquesfor Designers
,, . ....................................................................................................... ~ ~~ ~~
16, in "Lightweight Lining." Do take a look at
these other options.
To stitch the faced flounce, refer to Figure
10.7a. Begin by placing the two flounces to-
gether with correct sides facing together and
pin in place. Stitch a %-inch seam around the
outer edge, then clip up to the seam stitching
and press the seam open before turning. This
can be challengingto do, souse the method rec-
ommendedin the followingchapterforpressing
around acurved collar edgeusing the end of the
sleeve board. This is illustrated in Figure 11.5b.
After the flounceseamis pressed open, turn the
flounce to the correct side and press again. The
two inner circles are then handbasted together,
ready for application.
Serged Hems (for Ruffles and Flounces)
The following three serged hem stitcheswill all
work beautifully as hem finishes for both ruf-
fles and flounces. Each method will look neat
and not bulky. We highly recommend using
a serged edge finish for flounces. The serger
is easy to manage, especially when stitching
around circles.
The serged and edge-stitched hem finish
begins by serging around the hem of the ruffle
or flounce.The hem edge is then turned back to
the wrong sideof the fabricand edgestitched. In
Figure 10.7b you can see how the hem edge has
been serged and turned over and edgestitched.
When completed,press the hem.
The lettuce edge is a fabulous hem finish for
ruffles and flounces. It is a tiny rolled hem, as
Figure 15.25illustrates. Two methods of stitch-
ing the lettuce edge are outlined in this figure,
so refer to them and match theihem finish to
your fabrictype.
A serged rolled hem, stitched on the serger,
is an excellentchoicefor hem finishes on ruffles
and flounces, especially in finer fabrics. The
stitch ismuch likeasatinstitch, but very narrow
and fine. You would see this on commercially
produced napkins, place mats, tablecloths, and,
yes, some hems. The rolled edge is often serged
with woolly nylon to provide flexibility and
softness.
Trim as a Hem Finish
(for Ruffles and Flounces)
Trims mthe form of lace or some other types of
trims canbe stitched to rufflesand flouncesasan
alternative hem finish. Trims can be stitched to
"open" or "closed" ruffles and flounces. A trim
wider than approximately!4 inch may need to be
ease stitched or gathered first before being ap-
plied to a flounce, otherwise it may pull tightly
around the curved edges and lookunsightly.
Trims can be topstitched to serged ruffle
or flounce edges and applied with a straight
or zigzag stitch-a zigzag stitch often blends
NOTE
Be careful as you stitch rufflesand flounces-
the gathered fabric edge can easily get
caught in the seam as you stitch. Keepyour
eyes open to what is happening underneath,
in between, and on the surface ofthe fabric.
10.8 STITCHING A TRIM AS THE HEM F I N I S H
HIND B I S T I TRIM
wTURN UNDER 114"
kSERGEDEDGE
BEGIN STITCHING HERE
BEYOND5- LINE
better with textured lace and other trims. Serge
the hem edge first, and then pin and handbaste
the trim in place. Figure 10.8 illustrates how a
trim is applied to the flounceedge-use the same
method for applyinga trim to a ruffle. Notice in
theillustrationthat thetrim isfirstpinned %inch
beyond the seamline. After pinning around the
entire circle, the other end of the trim is turned
over !4 inch; this end of the trim will overlap the
other side of the trim to givea clean finish.
Notice in Figure 10.4b that the trim has been
stitched to the edge of an open flounce. In this
case, the trim needs a mitered corner when ap-
plied around an angled edge. Fold the trim over
(diagonallyon the corner)and secureit with a pin
until it fits snugly with the angle of the ruffle or
flounce. Then hand stitch in place to secure the
corner before machinestitchingthe trim in place.

10.96 FLUTED RUFFLES STITCHED
TO THE FABRIC SURFACE
10.10A RUFFLE I S STITCHED
ON TOP O F THE SEAMS.
10.106 RUFFLE
I S STITCHED TO
GARMENT w l r n
TWO ROWS OR
TOPSTITCHING.
Threeways of stitching ruffles and flounces
to garments will be explained in the following
sections. These three methods are surface ap-
plication, seam application, and edge applica-
tion. Sketches of dresses, blouses, and skirts
will illustrate each stitching method as a guide
so you will know how to apply each to your
own garments.
SURFACE APPLICATION
Surface application refers to ruffles and
flounces stitched to the surface of the garment
and not stitched into a seam or a garment edge.
Figures 10.9, 10.10, and 10.11 illustrate designs
of ruffles and flouncesstitched to the fabric sur-
face. Before ruffles are stitched to the surface of
the garment, the hems must to be stitched first
and then gathered or fluted next.
10.116 LINE UP YOUR FLOUNCES ACCURATELY.
PATTERW TIP
To calculatethe length offabric requiredfor
a fluted ruffle, add approximately20 percent
to the desiredRnallensh. Cut narrow bias
stripeof fabric, ,/,inch, 1 inch, 1% or a%
incheswide-the width isthe choiceof the
designer.

Professional Sewing Techniqrces for Designers
~ ~ ~ ~ ~ ~ . ~ ~ . ~ ~ ~ - ~ ~~ - ~ . ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ -
Gathering a seam was illustrated in Figure
6.23. You will notice that two rows of basting
stitches are applied within the %-inchseam al-
lowance. The seam can be trimmed back to 5/r
inch wide or serged. Do note that when gath-
ering very long ruffles or flounces, it is best to
stitch the basting stitches in shorter sections.
Each section has been color coded in red, blue,
and greenbasting stitchesin Figure 10.4~.When
basting stitches are applied to one long section,
you run the risk of the stitches breaking as you
pull up the gathers. Stitching shorter lengths
will prevent this from happening.
Fluted ruffles are narrow strips of fabric
that are bias cut and left with raw edges; the
raw edges add to their lightness, so don't hem
stitch these ruffles. The narrow strips of bias-
cut fabric will not fray; however, the cut edges
will become slightly roughed. This softening
adds to the overall look. Several rows of fluted
ruffles can be stitched to the surface of the gar-
ment to create an elegant texture, as you can see
in Figure 10.9a.
n row of basting stitchesis stitched to the center
6ach bias strip. Referto "Eased Seam," in Chap-4?ter 6. and look at Figure 6.22 to see how easy it is
to flute ruffles with an ease stitch. Gently pull up
the bobbin thread into easing until a soft wave ap-
pears. When the basting stitches are pulled into
easing, it creates a fluted effect down both sides of
the ruffle.
Once the fluted ruffles are prepared, it is now
time to pin-markand handbaste the fabric to indi-
cate the stitching position for each ruffle. Lay the
wrong side of fluted ruf!es onto the correct side
of the fabric followingthe basting stitches, as il-
lustrated in Figure 10.9b. Stitch the fluted ruffles
directly on top of the basting stitches, attaching
them to the fabric surface. Fluted rufflescan also
be stitched to the fabric surface using a zigzag
stitchif you prefer. When stitchingdirectlyon topof
an ease stitch, no puckers should be evident! (The
same technique is used for stitching a sleeve into
an armhole).
NOTE
It must be noted that gatheringnormally in-
volvesstitchingtwo rows of bastingstitches.
However, there is an exceptionto this-
rufflesstitched to thefobricsurfoceonlycan
be gatheredwith one row of basting stitches
and then topstitched to the fabricsurface
with one row ofstitches.One row of stitching
can look less cluttered and isaesthetically
pleasingto the eye.
Tips for Stitching Ruffles and Flounces to
the Surface of the Fabric
Avoid placing seam joins on ruffles and
flounceswhen they are being stitched to the
front of the garment. However, if a seamjoin
cannot be avoided (due to limited fabric) then
position the seam on the shoulders.
Always make sure the gathering is evenly
distributed.
Stitch the hem finish to best suit your fabric
type and weight. For ruffles and flounces, the
sections of hem stitchingneeded are design
driven. Your options are outlined in Figures
10.6a, b, c, d, and Figures 10.7and 10.8.
Pin and handbaste the position for each
ruffle or flounce before they are stitched
in place. This can only be achieved by
measuring accurately, with your tape mea-
sure, the distance between each ruffle or
flounce.
Ruffles are then stitched to the fabric surface
using a straight stitch. Stitch directly on top
of all basting stitches. If one row of basting
stitches is stitched to gather the ruffle, then
topstitch with one row of straight stitches;
if two rows of basting stitchesare stitched
to father the ruffle, then two rows of top-
stitching will be used to stitch the ruffle
to the fabric surface,and so on. Notice in
this design that the ruffle has all four sides
stitched with a hem finish (see Figure 10.10b).
Lay each ruffle on the fabric surface (with
both correct sides of fabric facingup). Ruffles
can be stitched directly on top of a seam, as
Figure 10.10bindicates. It is far quicker in
production to stitch ruffles this way, using
the seamline as your guide, since measuring
the placement can be quite time-consuming.
If several rows of flounces are part of the
design, as in the dress in Figure 10.11a,the
inner circle of the flounces is serged first.
Then the outer edge of the circle only is hem
stitched. If gathered ruffles were applied
instead of flounces, then the edge would
need to be serged afier it had been gathered
(this reduces bulk and flattens the seam

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10.12A POSITION THE RUFFLES TO THE CENTER OF EACH TUCK.
WCKS TUCKS
'NARROWED ROLLED
MACIIINE STITCHED HEM
HANDBASTE POSITION OFTUCKS
edge). Each flounceis then positioned as
indicated in Figure 10.11b. Notice that the
serged seams are hidden by overlapping the
flounces.The trim covers the raw edge of the
first flounce. If the fabricwas sheer, the seam
allowanceswould shadow,detracting from
the look of the garment. A better option
would be to insert the flouncesinto a seamor
to stitch using a mock seam, as explained in
the followingsection.If the ruffle is stitched
to the bottom edge of the garmentwaistline,
then place it at the seam edge; this is how it
has been done in Figure 10.11b. If you want
the ruffle to stand freely (and not be attached
to the seam or hem), then position the ruffle
on the finished seamline or hemline.
10.128 STITCH THETUCK.
FLOUNCESANDWICHED
BETWEEN FABRIC
Mock Seam (Flounces Only-Ruffles Will tuck, as you can see in Figure 10.12b. A mock
Be TOOBulkv to Stitch with a Mock Seam) seam encloses the raw edge of the flounce, and
the tuck creates a clean finish on the wrong side
PATTERN TIP
of the fabric.
The patternwill needs slight adjustmentto
allow for the tuck. Cut m d spreadthe pat-
tern, adding%.inch to allowfor eachtuck, . e t of the garment flat on the table
a5 indicetedin Figureio.laa. Ifthis extra surface with the correct side facing up (see Figure
amount is notallowedfor, the serrnentwi" 10.1za).
be tootight for the cuatomerto wear. - Pinand handbastethe stitching position exactly
where the flounce isto bepositionedonto the gar-
ment (see Figurelo.12a). Dothis by usingyourtape
Another way to stitch the flouncesin the dress measure (which stillshould bearoundyour neck!).
in Figure 10.11a is to enclose the flounces in a Laythe correct side of the flounce to the cor-
mock seam. A mock seam is not the traditional rect side of the fabric with the flounce hem edge
seam-it is a seam that is formed by stitching a toward center front (see Figure 10.12a). If the

10.11 S U R F A C E APPLICATION: EOGE.STITCHED FLOUNCE
Stitch a %-inch tuck. This is the inch that was
added to the pattern beforehandj(seeFigure
10.n.b).
Pressthe tuck toward center front.
L 1 CENTER FRONT
Edgestitch (Flounces Only-Ruffles
Will 88 TOOBulky)
The flounces on the front of the dress in Figure
10.11a could also be topstitched with an edge-
stitch. With this method, there is no need to
serge the inner circle of the flounce, as it will
be hidden. Notice in Figure 10.13 that when
the flounce is stitched, the correct sides of the
flounce and garment face each other, with the
hem edgeof the flouncefacingtoward the center
front~f thegarment.Theflounceisthen stitched
with a %-inch seam allowance and trimmed
back to a scant !4 inch to reduce bulk. Next, the
10.5. Which method you use depends on your
depignand productionmethod. If theflouncewas
stitchedto the sleeve edge while the sleeve is laid
flat (Figure10.5a), then the hem would be stitched
after the underarm seams were stitched. If the
sleeve was stitched in-the-round, then the hem of
the flouncewould be finishedfirst (Figure 10.5b).
The blouse in Figure 10.14a has ruffles in-
serted into the front seams. How this is stitched
will be outlined in the followingstitchingorder.
Flounces could also be inserted into the blouse
seams instead. Notice that the ruffle has been
hem stitched on three sides, as illustrated in
Figure 10.6~.This has been completed before
the ruffle is inserted into the seam.
-bthe correct side ofthe garmentsection flat
flounce is turned back toward the armhole, and 0, thetable (Figure10.14b).
.(/inside circle does not open up sufficiently,a stay- the seam is pressed with the tip of the iron (you lacethe correct side oftheruffle or flounce
stitch can be sewn % inch back fromthe raw edge don't want to crease the flounce). Finally, the directlyon top ofthe section to which it is being
and the seamsclipped. seam is edgestitched slightly wider than '/s inch stitched,with the correct sidesof thefabric facing
Pin and handbastethe flounce in place and stitch back from the seamline, as illustrated in Figure together. Noticethat the hem edgeofthe ruffleis
theflounceto the garment using a %-inchseam 10.13. The edgestitching will enclose the raw facingtowardthe centerfront. Match any seam
allowance. edges and hold the flounce in place. Stitching joins; noticein Figure 1o.rqbthat the shoulder
Trim the seam allowance back to '/s inch, using can be tricky, as the flounce seam edge must be and ruffleseamsare placed directlytogether. This
appliquescissors(asshown in Figure r5.25a). covered after it is stitched. needsto be planned in the patternmakingstage.
Be careful not to cutthe garmentby mistake (see Pin and handbastethe rufflein place. Position
Figurelo.~za)! SEAM APPLICATION the ruffleon the hemline sothe ruffle can be
Turn thegarmentto thewrongside and press the Seamappjicationimp~iesthatrufflesandflounces flipped backand the hem turned up (see Figure
seam carefully-using onlythetip ofthe iron (you areinsertedinto aseam.They can be stitched into 1o.14b).
do not want to crush the flounce). any seamas long as it suits the style and the fabric Placethe other garment section on top ofthe
Fold both correct sidesofthe fabricback to- weight. Inserting ruffles and flounces into a seam rufflewith the correct side facingdown-the
gether; the flounce raw edge is now sandwiched can be done by flat applicationor by stitchingin- ruffle is now sandwiched between both front
between the two layers(Figure10.1zb). the-round. Both methods areillustrated in Figure pieces (Figurelo.14~).

j0.14A RUFFLES INSERTED INTO THE
FRONT SEAM OF A BLOUSE
~~~~ ~~~~~~ ~~~~~ .~ ~~ . ~ ~ ~ ~ ~ . ~ ~ ~~ ~~~
Stitch allthree piecestogether, using a %-inch
seam allowance, and serge a closed seam as il-
lustrated in Figure 10.14~.
Gently press the seam join only-the ruffle or
flounce can be pressedwhen the garment is
completed.
.Fromthe correct side of the garment, the seam
can be edgestitched to hold the seam allow-
anceflat and perfectly in place. Edgestitching is
illustrated in Figure 10.13. Although this figure
illustrates edgestitching on a flounce, a ruffle is
edgestitched in exactly the same way.
CENTER
FRONT
10.14C STITCH A
%-INCH SEAM
AND SERGE.
EDGEAPPLICATION
Ruffles and flounces can be stitched as an edge
application to any garment edge, for example,
the neckline, sleeve edge, wrist edge, armhole
edge, or hem edge. They can be stitched using
either method: flat application or stitched in-
the-round. Ruffles and flounces in these designs
are interchangeable; flounces can be replaced
with ruffles and viceversa. The method you use
is driven by the stitching order that best suits
your design. Both methods are outlined in this
section.

Professional Sewzng Techntqwes for Deszgners
Stabilizing Neck and Armhole Edges 10.15A THE RUFFLES ARE STITCHED TO THE EDGES
WHILE THE GARMENT LIES FLAT.
When a ruffle or flounce is applied to a neck-
/
LACHINESTITC~THISEDGE
line or armhole, the garment edge needs to be
staystitchedfirst to prevent it from stretching in B U ~ O WHOLE
the stitching process. Staystitching is outlined
in Chapter 6, "Staystitch," and illustrated in
Figure 6.6. Stabilizingtape can also be used to
stabilize edges and this is outlined in Chapter
3, "StabilizingTapes." Also refer to Figure 3.15.
I;- zt
If you use a stabilizing tape, use a lightweight,
sheer tape cut on the bias grain.
Yourflouncesmayalsoneedstaystitchingbe-
cause they can easilystretch and become longer
than the seam length thev are being stitched to.- -If they have stretched, then stitch one row of
basting stitches around the inner circle of each
flounce, just inside the seam allowance, gently
pull the easingto shortenthe length, and steam-
press to reduce the fullness.
Flat Application
10.156 STITCH THE SIDE SEAMS AND THEN
STITCH THE HEM FINISH.
..
Figure 10.15 illustrates how ruffles are stitched
to a shirt while it lies flat. Leave your ruffles1
flounces open and don't stitch them closed. SERBID SEAM
Notice that the hem of the ruffle is not stitched
STITCH SIDE SEAMS USTAND
THEN STITCHTHE HEM flN1511
yet (except for the center back section near the
button extension).
each section that the gathering is
evenly distributed before you stitch the ruffles in
place.
The correct side ofthe ruffles and fabric are
facingtogether. Line up the seam edges and pin
in place (Figure io.iga).
Stitch and serge a %-inch open or closed seam,
as illustrated in Figure lo.1ga.
Ifyou want an edge-stitched seam, then this
must be completed now before the side seams
To stitch the side seams, placethe correct side
together. Match intersecting underarm and waist
seams together; ifthey don't match perfectly.
it will draw attention to poor-quality stitching
(Figure io.igb).
-The hem is stitched last; notice that the side
seams have been pressed open before stitchinp
(see Figure lo.lgb).
Stitched In-the-Round
All seams need to be stitched-that is, the gar-
ment and the ruffle/flounce all stitched in-the-
round. The hem is stitched next and then it is
gathered. When gathering, stitch in shorter

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............................
so they look balanced on both sides of the gar- Placethe garment with the wrong side facing out.
ment, as this is pleasing to the eye. This is how Positionthe ruffle/flounce on top of the garment
This is a cost-effective method of stitchinp the ruffle has beenlinedup to theskirt inFigure around the neckline, also with the wrong side
ruffles and flounces to garment edges in facing out, and pin in place.
production, as stitching shorter lengthsof The seam is then stitched with K-inch seam Stitch the ruffle/flounce to the garment with the
and, to reduce bulk, serged back to 'A inch. In ruffle/flounce facing up (Figure lo.ya).
the skirt in Figure 10.16, the seam has been Stitch a ./,-inch serged seam (Figure 10.17b). (A
sections; this prevents the thread from breaking edgestitched to hold it in place; however, this ./,-inch seam allowance will be too wide, prevent-
when you pull up the gathers (see Figure 10.4~). is the designer's choice. ingthe ruffle/flounce from rolling over.)
Next, the correct side of the ruffle/flounce Fromthe wrongside ofthe fabric, edgestitch
is placed to the correct sideof the skirt, and the Stitched and Flipped aroundthe necklinewith the seam allowance
seam edges pinned together. This method only appliesto rufflesand flounces turnedtowardthe correct sideof the fabric.The
Ruffle and flounce seam joins do not need stitched around the neckline.A ruffle or flounce edgestitching will hold the seam allowance back
to match up exactly with the garment seams. is stitched from the wrong side of the garment, when the ruffle/flounce isflipped overtothe correct
This can be very difficult to do. When placing then flipped to the correct side. With this con- side ofthe garment. The edgestitchingwill also
ruffle/flounce seam joins to the garment seam, structional method, the ruffle or flounce will ensurethat the seam isnotvisible from the correct
the seams should be positioned symmetrically, not sit flat around the neckline but will roll over side (see Figureio.r/b).
and stand away from it. Try to cut the ruffle/ Flip the ruffle/flounce to the correct side.
CAN BE ED,
STITCHED
I
flounce in one piece, and avoid shoulder seams.
Although the flounce in Figure 10.lb could be
stitched and flipped, this is not a couture stitch-
ing method. Theprice point of the garment may
direct the stitching method when applying a
IEM EDGE
I
flounce. Refer to "Bias Binding Edge Finish" in
the u~cominesection."
the ruffle/flounce closed (stitched in-the-
Y
' / SEAM
CLOSED
SERGEDSEAM
10.16 EOGE APPLICATION: THE RUFFLE A N D
S K I R T A R E BOTH STITCHED IN.THE.ROUND AND
THEN STITCHEDTOGETHER.
Bias Binding Edge Finish
A couture finishthat cannot be ignored,because
it is so ideal, is bias binding. It can be applied as
an edge finish when ruffles and flounces have
been stitched to the edges of the garment. It is
a neat, narrow finish and does not ever shadow.
Turn back to the Style I.D. and note that the
necklines on the dressesin Figure 10.laand 10.1~
-laveboth been finished with bias binding. Also
.eferto Figure 12.28, whichillustrateshow single
)r doublebias binding is stitched.
Look ahead to Figure 12.27, which illustrates
I
how a flounce can be stitched to the neck-
line with the bias facing hidden under the
flounce.
HOW TO PRESS
- -~
to press from the correct side
)r the wrong side of the fabric-you can only

~~~~~~~~~ ~ ~
~ ~~ ~ . ~ ,. . ~~~~~~~~~~
10.17A STITCH T H E FLOUNCE TO THE N E C K EDGE. 10.178 FLIP T H E FLOUNCE TO T H E CORRECT S I D E A N D EDGESTITCH
FLOUNCE SEAMS MATCHED
TO SHOULDER SEAMS
EDGE STITCHING

SEIMYLOWANCL IS ON FRONT
OFGlRMEHTUlDEETHE RUffLE/FLOUNCE
ANDTHE EDGE STITCHING HOLDS ITiN PUCE
,
determinethis by test pressingfirst. Somefabrics
need a pressing cloth to protect them-always
have one on hand. Because it is transparent, a
square of silk organza makes an excellentpress-
ing cloth-it helps to see what is happening un-
derneath the pressing cloth!
Ruffles
Figure 10.18 shows the garment slipped over
the end of the ironing board with the iron
placed at your right. To press, move the iron
carefully, sliding it up into the folds. Lift the
iron and repeat the action as you move the gar-
ment around the ironing board. Do not place
the iron directly onto the gathering, as this
will crush the folds.
Flounces
Lay the flounces out on the ironing hoard in
a circular shape. Press around each flounce,
spreading the flounce out as you move around
the circle. Make sure you don't crease the
flounces as you press.
STITCHING RUFFLES AND
FLOUNCESIN TRICKY FABRICS
Matching Stripes, Plaids, Patterns, and
Repeat Patterns
Do match checks and stripes on ruffle seam
joins, as mismatcheswould be noticeable.
Do considercutting striped ruffles in a di-
rection oppositeto that of the garment. For
example, cut the ruffle on the horizontal stripe
if the garment is cut on the vertical stripe.
Do cut multiple flouncesin checks and stripes,
matching in the seamjoins to the line of the
check or stripe (Figure 10.2b).
Don't worry about matching ruffles and
flounces in checks and stripes when stitching
them to the garment surface,inseams, or
to edges; trying to do this would driveyou
crazy!

. . . ~. .~. . ... .~ ~~~
Sheer Fabric
Do use a 60 or 70 machine needle for your
project.
Do stitch ruffles and flounces (and gathered
flounces)in sheerfabrics such as chiffon and
silk georgette;they will look fabulous!
Do sample the hem finish, as sheerfabrics are
tricky to stitch.
Do stitch several layers of ruffles and flounces
in sheer fabrics
Do stitchsergedhem edges(various types of
sergedhemshavebeen explainedin this chapter).
Do stitch fluted ruffles in sheer fabrics,as they
add a soft, light touch to a garment.
Lace
Do use a machineneedle suitablefor the
weight of lace.
Do stitch ruffles and flounces only in light-
weight lace with serged hem edges.
Do sample first to see if the lace fabric weight
suits your design and the stitching method
you use.
Don't stitch ruffles and flounces in heavy-
weight lace, as they will not drape well.
Satin
Do use ruffles and flounces in your design
when using a lightweightsilk satin such as silk
charmeuse.
Do stitch flounces in heavyweight satin to the
hem of a bridal or evening gown to create an
interesting hem edge and attract attention. The
skirt can be underlined, and structured with
tulle to hold the shape.
Beaded Fabric
Do realizehow time-consuming it would be
to stitch ruffles and flounces in beaded fabric-
read on to find out why.
Do refer to Chapter 6, "Stitching Seamsin
Tricky Fabrics," to find out what is involved
in removingthe beads from seams and hems
before you stitch ruffles and flounces to the
seams. We are not sayingdon't do it, but just
want you to be forewarned.
Knits
Do insert a ballpoint needlein the appropriate
sizefor the fabricweight.-
Do use lightweightknit fabricsoyour ruffles
and flounceswill drape beautifully.
Do considerleaving raw edges on your ruffles
and flounces; as knits don't fray,this saves a lot
of time, especiallyin production.
Do stitch serged rolled hem finishes or lettuce
edge (Figure 15.25) on ruffles and flounces.
Don't use stretch stitcheswhen stitching
hems of ruffles and flounces in knits, but do
use them when inserting ruffles or flounces
into seams. In Chapter 6, the section"Stretch
Seams" explainswhich stitchesto use in knits.
Don't use ruffles and flouncesin your designif
your knit is heavyweight.
Denim
Do samplefirst to check that the denim weight
can be gathered if using ruffles.
Do realize that both sidesof the fabric show
when flounces drape on your garment.This
10.18 PRESSlNG RUFFLES A N D FLOUNCES

Professional Sewing Techniques for Desrgners
may be an advantage or disadvantagein denim, Don't worry about finishing leather hems, as
depending on your taste. leather does not fray like woven fabric.
Do use lightweightdenim for ruffles and
flounces. Stitch a serged hem edge, turn, and Faux Fur
edgestitch, as this hem finish suits denim Don't stitch ruffles and flounces in faux fur, as
fabric. it will look too thick and bulky.
Velvet
Do use the appropriate needle sizefor the
velvet.
Do stitch faced flounces in velvet, as topstitch-
ing does not look as good; a clean finish suits
velvet fabric.
Do hold the fabric taut as you stitch.
Do use a Velvaboard for pressingvelvet
fabric.-Referto Chapter 2, "Tricky Fabrics-
What They Are and How to Prepare to Use
Them."
Do design velvet garments simply, as velvet is a
challenging fabric to work with.
Don't topstitch ruffles and flounces to the
fabric surfacein velvet.
Leather
Do stitch ruffles and flounces in soft leathers
such as suedepigskin or deerskin.
Do use a leather needle in the appropriate size
for the weight of leather.
- Do refer to Chapter 6, "Stitching Seamsin
Tricky Fabrics," for tips on how to stitch
,... . . ~ ~
<-
ruffles and flounces in leather.
-'L
*; . iY ..
Do cut decorativeedgeswith your rotary
. .. cutter on leather ruffles and flounces.
10.19 TRANSFER YOUR KNOWLEDGE:
EVENING JACKET. S H I R T WlTH RUFFLES. AND
PANTS W l T H FLOUNCES
The cuttingand stitching of rufflesand flounces
that you have learned in this chapter can be
transferred to various designs:
A gathered skirt is a longerversion of a ruffle
(Figure 10.14a).
A circular skirt is a longer version of a
flounce (Figure 15.1~).
A handkerchief hemline is a squared flounce
and could be used as a hem or sleeve edge.
A tutu (worn by ballerinas) is made from
rows and rows of tulle ruffles.
A peplum is a flounce stitched to the waist-
line of the jacket (Figure 16.26~).
Here are afew suggestionsfor transferring your
knowledgeof ruffles and flounces:
Narrow single or faced ruffles can be in-
serted around collar, cuffs,pockets, pocket
flaps, and garment edges.
Ruffles and flounces stitched to pants have
not been discussed in this chapter,but we
can't leave them out! Transferyour knowl-
edge and stitch flounces into vertical seams

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10.ZPA SPIRAL FLOUNCE
u
CUT 2
10.208 GATHER
THE EDGE O F
THE FLOUNCE.
BATHER INNER EDGE
OFTHE FLOUNCE
10.20C FORM THE ROSE.
10.20D STITCH TWO SPIRAL FLOUNCES
TOGETHER AND TIE A BOW.
on apair of eveningpants. Combine the
pants with a gorgeous tailored eveningjacket
and a soft ruffled shirt. This stunning en-
semble in Figure 10.19 would seeyou attend-
ing the Oscars!
If you are a creative person and training to be
a fashion designer, then you should be experi-
menting with new ideas to see where they take
you in design. You will find that some new
ideas work, and some don't work. However,
it is often at these times, when our ideas don't
work, that we end up finding a new and even
more creative idea.
Listed here are some creative ways of using
ruffles and flounces. You will probably be able
to add to this list yourself. So stretch your cre-
ativity and have some fun by trying some of
these new ideas.
Try cutting a faced ruffle (on straight grain
or bias grain-both produce different looks)
to the required length before it is gathered.
Gather each side of the ruffle separatelyand
stuff the ruffle with polyester fill to form a
rounded ruffle. Pin and handbaste the gath-
ered edges together. Stitchit to your hem,
sleeveedge, or neckline. Silk dupioni is an
ideal fabric to use for the stuffed ruffle and
illustrated in Figure 3.22a.
Try making a rose from a faced spiral
flounce. Look at the shape of the flounce in

. . ~ ~ . ~~ ~ ~ .... . ~ - ~ ~ .~ ~ ~ . . .~~~ ~ . . ~ .
Figure 10.20a.The flounceis basted (Figure
.,r ,
i0.21& EVENING
..:.,, DRESS WITH LAYERS
OF RUFFLES AND
FLOWERS I
ro.xie SEVERAL LAYERS oC BIAS RUFFLES OR
SLOUNEES STITCHED TOGETHER AND GATHERED
~120b).Gather then stitch the edge as you
manipulatethe shape into a rosebud (Figure
10.20~).Leave your thread hanging, and
stitch a single rose or groups of roses to your
garmentto add a heavenlytouch.
Try stitchingtwo spiralflouncestogether
to formabeautiful bow as shownin Figure
10.20~.Experimentwith differentedgefinishes.
Try stitching several layers of bias ruffles
or flouncesinto flowers. The flowerscan be
stitched to the hemline of a glamorouseve-
ER.. LDGESTOGnHER
ning dress. Figure 10.21ashows how delicate
AFTERTHMARE GATHERED flowerslook stitched to the hem and waist-
line of an eveningdress. The instructions are
illustrated in Figures 10.21b and c.
10.21C FORM THE FLOWERS. ...my ruffle and flounce is to0
long for my seam?
You can stitch one row of basting stitches to
your flounce edge, gently pull up easing, and
steam-press the edge. This will shrink the
flounce length beautifully. As for the ruffle,
you can pull up more gathering to shorten the
length. If it's too bulky with more gathers, then
BEGINNING OF FLOUNCE RUFFLE
TUCKED UNDERNWTH SECOND UYER
-
cut off some of the ruffle length and join the
ruffle seam again. Check that the length is cor-
rect before reapplyingto your seam.
...I don't like the ruffle I have
stitched to my neckline?
Carefully seam rip the ruffle from the neck
edge. Carefully press the neck edge and stitch

Ruffles and Floances: Feminine and Flirty 281
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .~~~
a staystitch if it has not already been stitched. thought of stitching a trim around the edge or Did I use a hem finishthat was suited to
This will stabilize the neckline; it is now ready sergingalettuce edge? stitching around a circularflounce?
for an alternative neck finish. If your garment Did I sampleenough ruffles and flouncesto
has not been fully stitched,you have severalop- ...I stitched two ruffles t~ my hem and get a clear direction for the stitchingmethods
tions: if your garment has been fully stitched, it looks too thick and bulky? I was going to use?
then you could add acollar or stitch a bias bind- Carefullyseamrip theruffles fromthe garment
ing neck finish, or you could add a facing as edge and try less gathering. Or remove a layer REVIEWCHECKLIST
well. A design is always in development, until of ruffle or find an alternativefabricweight that-
thelaststitch-but remember next timeto make
a muslin to define the style earlier.
...I serged a chunk out of the outside
edge of my flounce?
Oh dear-how frustrating! If the flounce
has been stitched to the garment, then care-
fully remove it with a seam ripper. It is best
to recut your flounce again, plus a couple of
extra flounces to practice serging circles. Sit at
the serger, relax, and take your time to care-
fully serge your samples before serging final
flounces. Remember, too, that mistakes are
learning opportunities.
...I'm concerned because I used raw
edges around my flounces and now the
fabric is fraying?
Flouncesare cut on all three grainlines, and the
sections cut on the lengthwise and crosswise
grains will fray (Figure 10.2b). If you still want
the raw edges,stitch arow of permanent stitches
?4inch inside the outer circle, which will pre-
vent the edges from fraying. Other than that,
you will need to stitch a hem finish. Have you
.
is more suitable for your ruffles, then recut and
restitch. This time, sample first to be sure that
the fabric weight is suitable. As an alternative,
you could stitch a flounce instead of the ruffle.
Since your flounce does not need to be gath-
ered, it won't look as bulky. You can also cut
your flounceas a three-quarter circle instead of
a full circle,which will reduce bulk.
SELF-CRITIQUE
Take the time to observe your ruffles and
flounces, paying particular attention to the
following:
Did I use the SEW, CLIP, PRESS method of
stitchingas I stitched my ruffles and flounces?
How do my ruffles and flounces drape?Did I
cut them correctly?
Are my ruffles and flounces stitched in paral-
lel rows to the surface of my garment, or do
they look wobbly?
Are my flounces stitched using quality
stitching, or do they look puckered?
Does the hem stitchinglook professional or
do I need more practice to perfect it?
What are the differences between ruffles and
flounces?
Do I understand that fabric weight and drape
make ahuge differencein how ruffles and
flounces look in design?
Do I understand that the grain on which
I cut my ruffles can change the way they
drape?
Do I understand that ruffles have to be gath-
ered but flounces don't?
Do I understand that the design drivesthe
stitching method I choose (flat applicationor
stitched in-the-round) when applyingruffles
and flounces to the garment?
Do I understand that different hem finishes
suit ruffles and flounces because of the way
they're shaped?
Do I understand how to flute a ruffle?
What did I find difficult about stitching
ruffles and flounces?

~ ~~~--~
----
Collars: Silhouetting the Neck
lmost any shape. An important aspect of collars is that they must fitto the size of the neckli
Collars can sit flat on the garment to mirror isoneareainwhichthedesignercanshowcreat'
e necklineshape; stand up, huggingthe neck- ity. Ruffles, pleats, or fabric embellishments can
ine; or roll overonto the shoulders. Collars can be stitchedintothecollarseamortothesurfaceof
construct collars, which require precise stitch-
Collarscomein awidevarietyof styles,from ing. The Style I.D. sets out the collars that will
sly sized shawl or notched lapel collar. Most collar in Figure 11.1 and learn the name of each

~~ ~ ~ ~ ~~~~ ~ ~ ~
11.1C SHIRT 11.10 CONVERTIBLE
COLLAR)
11.1E NOTCHED
COLLAR (SIT-FLAT
11.1A MANDARIN COLLAR
COLLAR)
11.1F SHAWL COLLAR AND
(STAND-UP COLLAR) BIASIROLL COLLAR

. .... ~ . . ~
STYLE I.D.
The stitching order for the collar designs in the
Style I.D. (Figure 11.1) is outlined in this chap-
ter. Each collar illustrated in the Style LD. falls
into one of the following three categories-sit-
flat, stand-up, or roll-over collar.
Get to know the key terms used for collars.
Each style of collar has its own style name. Un-
derstandingeachterm will helpto communicate
when stitching collarsin the classroom.
GATHER YOUR TOOLS
The tools needed to stitch collars are the
same tools needed for general stitching of
garments: stabilizer, tape measure, thread,
point turner, awl, scissors, hand stitching
needles, tailor's ham, sleeveboard, and press-
ing cloth. It is especially important to have a
point turner and the pressing equipment, as
they are integral to stitching and perfect-
ing collars. If you don't have these tools yet,
then purchase them now!
This chapter gives students an opportunity
to further their design knowledge by learning
how to stitch collars. Knowing how to stitch
garments empowers the designer in designpos-
sibilities. Knowing how to stitch one collarwill
give you the ability to transfer this knowledge
to the stitching of other collar designs in dif-
ferent shapesand sizes.Before stitching collars,
let's define what a collar is and point out some
of the important features of the collar.
What Is a Collar?
A collar is made from onestraightpiece of fabric
(bias/roll collar) or two shaped pieces of fabric
(mandarin,PeterPan, shirt,convertible,notched,
tailored, and shawl collars) that are stitched to-
gether around the outer edges. The collaris then
turned, clipped, and pressed. The inner collar
edgeis the collarneckline. The collar neckline is
stitched to the garment neckline (Figure 11.3).
The size of the collar neckline is deter-
mined by the garment neckline; they need to be
of equal length. The outer collar edge and the
collar neckline are shaped differently depend-
ing on the style of collar. The rounder the collar
edge is, the farther it sits away from the neck-
line. Each category of collar-stand-up, sit-flat,
and roll-over-is shaped differently. Notice the
shape of each collar in Figure 11.2.
How the collar is stitched and how it fits to
the garment neckline is an important part of
functional design. The collar needs to fit com-
fortably around the neck and not feel tight!
Chapter 1 discusses this aspect of functional
design that is the designer'sresponsibility.Refer
to Figures 1.4,1.5,1.6, and 1.7to read comments
that apply to functional design. Functional
design is important, as the collar needs to close
easily; complicated collar closures may prevent
a garmentfrom selling.
Collars can open on the front or back of the
garment or be stitched-in-the-round, as in the
case of a knit fabricwhen the collar stretches to
fit over one's head. How the collar opens and
closes is part of the garment closure, which is
discussed in Chapter 17.
Collars offeran excitingopportunity for the
designer, as many weird and wonderful shapes
can be created. For creativecollar ideas, refer to
"Stretch Your Creativity."
It must be noted that adding a collar to any
garment will add to the production cost. After
you have made a collar, you will certainly un-
derstand the time it takes to make the pattern
and stitch the collar. The stabilizer used and
the stitching method also have an impact on the
cost of the garment.
Features of a Collar
All collarsneed acollarstand.The collar standis
the height to which the collar standsup. It must
be pointed out that all collars must have a collar
stand; however,the height of the stand can differ.
Theheightof thestandaffectshowhighthecollar
sitsonthebackneck.Observethedifferentheights
of thecollar standsin Figure11.2.Thecollarstand
supports the collar and enables it to roll over.
Some collars such as the mandarin collar, illus-
tratedinFigure 11.2b,areconstructedwith onlya
collar standandnot theroll-oversection.
The top edge of the collar stand, where the
collarrollsover,iscalledtherollline.Observethe
roll line on each of the collars in Figure 11.2a, c,
d, e, and f. Notice the shirt collar in Figure 11.2d
combines two collars that are stitched together.
Theseamlinewherethecollarstandjoins theman-
darincollarsectionthen becomesthe rollline.
When stitching two collar pieces together,
one collar is called the upper collar and the
other collar, the under collar. This is discussed
in "Upper and Under Collar Patterns" later.

~~~.~~~~~
11.2 IMPORTANT FEATURES OF A COLLAR
KEf
-----ROLLLIME
f P COLUR STAND
11.2A SIT-FLAT COLLAR: PETER PAN COLLAh
I 4 1
NECKLINE
11.28 STAND-UP COLLAR: MANDARIN COLLAR
(COLLAR DOES NOT ROLL OVER)
OUTER COLUR EDDE
11.2C ROLL-OVER COLLARS: CONVERTIBLE
AND NOTCHED LAPEL COLLAR
SHIRT COLUR 1SACOMBINATION OFTHE
COLLAR STAND AND ROLL-OVER COUIR
THE SEAMLIWEIS
ALSO THE ROLL LINE
OUTER C D L U I EDGE
I /
11.ZE SHAWL COLLAR
COLUR EDGE ROLE OVER ONTO NECKLINE
NECKLINE
11.ZF B I A S I R O L L COLLAR
TYPES OF COLLARS Stand-up Collars meet edge-to-edge or it can have an extension
Refer to Figure 11.2 and take alook at the collar A stand-up collar after it is stitchedto the neck- so it can be buttoned closed. All stand-up col-
stylesfor each category. Each collaris alsoillus- line stands up around the neck. An example of lars need to be stabilized to different degrees
trated in the Style I.D. in Figure 11.1. Each type this style of collar is the mandarin collar il- to add structure and support, otherwise they
of collar is descriptive of how the collar sits on lustrated in Figure 1l.la. The front collar edge cannot stand up!
the garment. can be square, round, or angled.The collar can

Sit-Flat Collars
Collars that sit flat around the neckline have a
collar shape that is almost identical to the gar-
ment shape. Even though the collar may look
flat, it isn't exactly flat (Figure 11.2a). A small
collarstand is incorporated in the collarpattern
to enable the collar to roll to the correct side of
the garment after it is stitched. The Peter Pan
collarin Figure 1l.lb illustrates a collarthat sits
flat. These collars don't usually need stabilizers.
Roll-Over Collars
When a roll-over collar is stitched to the neck-
line, it stands up for a certain height (this de-
pends on the amount of stand added to the
pattern), then the collar rolls over onto the gar-
ment. The outer edge of the collar is wider than
the garmentneckline, and this enables the collar
to sit away from the neckline. The Style I.D. il-
lustrates five roll-over collars (see Figure ll.lc,
d, e, and f); can you name each of them?
Correct stitching begins with correct pat-
ternmaking. Collars require meticulous and
exacting stitching, especiallywhen getting both
sides of the collar to look the same. A badly
stitched collar can spoil the look of a beautiful
garment, so take the time to stitch carefullyand
precisely.
STITCHING COLLARS BEGINS
WITH CORRECT PATTERNS
Upper and Under Collar Patterns
Upper and under collar patterns are needed to
stitch successful collars. When two pieces of
fabric are placed together and rolled over, the
PATTERN TIP
Neckline Measurement
No matter what shape the neckline is, the
garment neckline must be measured first to
get an accurate collar length. Since the collar
is going to be stitched to the garment neck-
line, the collar and neckline lengths must be
exocfly equal. This measurement is crucial
for stitching an accurate collar. If the collar is
too smallor too large for the garment neck-
line, the collar will neversit well and could
look misshapen.
For a collar to fit the neckline accurately,
take your tape measureand measurethe front
and back bodice neckline.lot down the front
and back neck measurements.The position
of the collar needs to be defined before you
measurethe neckline. This is indicated on the
designer's sketch. Collars can overlap and
buttontogether, as Figureii.ia demonstrates.
Collarscan also meet directly together on
the center front or back as Figures ii.ib and c
illustrate. Collars don't haveto buttonor meet
on the center front of the neckline; they can
beplacedanywhore betweenthe canter-front
neck and the ihoulders-this isthe designer's
choice. Noticethatthe eonvertibkCollar
inFigurcir.rd dwm'tmeet atthecanter
front-it shows a@a#,It isimportantwhen
pattern markingto notch the placement efthe
collaron the neckline.
When draftinsthe pattern, be sure to indl-
cate allthe notches that aw neededto stitch
the collar necklina to the sarment necb4ine:
these notchor wlll ensum eccuratestitching:
Oerment neckline-startins polltionof the
collar, ccnter front andcenter back, and the
shoulder positien of the gsrment.
Collar neckllna-center back, center front (if
there is en extension), and the shoulders.
Figureu.3illustrator where allthe notches
aresnipped Inthegarment and collarneck.
Unes. Snipglnsnatchtsin these po#titlon$
sneurrrlrthat the collar lo perfectlyaligned
on tho garment an4will nwef Iwktwistad
when the garment isw n .
top piece becomes smaller than the underneath
piece. This is exactly what happens when two
collar pieces are stitched together and rolled
over. The upper collar becomes smaller than the
under collar. To counteract this, two different
collar patterns are needed-one larger than the
other. The upper collar pattern is cut wider so
when the two collarsare stitched together they
are perfectly aligned. The under collar being
slightly smaller holds the seamline slightly un-
derneath the upper collar after it is stitched.
When the collarrolls over, the collar seamlineis
not visible when the garment is worn. Snip two
notches on the center back of the under collar,
as this helps to differentiatebetween upper and
under collars (Figures 11.4b and c).
An average amount added to the center
back width of the upper collar is !A inch and %a
inch on the collar corners. It must be empha-
sized that this is an average measurement only
(Figures 11.4b-f). The weight of the fabric will
affect the amount of extra width that must be

.~~~~~~~~~ ~ ~ . ~~~~~~ ~ ~~ ~ ~~~~~~ ~~ ~ ~
ruau vr; w u l l t uysu, nlclmurc, d ldclng 1s nor
IMPORTANT required. One exception to this is a shirt collar
Notice in all the collarsillustratedin Figure designedto be worn open or closed.Becausethe
11.4that t h e upper and under collars are of shirt collar sitshigh on the neckline, thenarrow
equal length at the neckline-this is impor- band on the collar is sufficient and the wrong
side of the fabric does not show when the collar
opens (seeFigure 11.1~).
Collar-as illustrated.Also note the number of Front Neck Facing Only or Front1
SHOULDERS collarpieces to be cut for eachpattern. Back Neck Facings
I
The breakpoint is also an important pattern Garmentswith collarsthat are goingto be worn
marking. Notice in Figure 4.4e and f that the open and closed must be stitched with a front.
' I breakpoint has been notched. The breakpoint neck facing or front and back neck facings.
~ l . 3W H E N T H E G A R M E N T A N D COLLAR N E C K L I N E S A R E is the point on the collarwhereit begins to fold When the garment is worn open, the facing is
NOTCHED, THEY WILL STITCH TOGETHER PERFECTLY.
back. The first buttonhole is stitched horizon- often visible. Stitching facings are especially
tally at the breakpoint. Can you see this in the important for jackets and coats that are worn
added. For example, a heavyweight fabric may jacket in Figure 1l.le in the Style I.D.? open and closed. Both jackets in the Style I.D.
need more width added to the upper collar than
a sheer lightweight fabric. To ascertain how STITCHINGTHE COLLAR TO
much largertheupper collarshould be, take two THE NECKLINE
pieces (cut the same size) of your actual collar When collars are stitched to the neckline, they
fabric in your hand and roll the two pieces over can be stitched with or without a neck facing.
together. Measure the difference between the Whether the collar is worn open or closed is the
two pieces when rolled. deciding factor. The style of garment and how
Only roll-over and sit-flat collarsneed upper it will be worn gives direction as to which ap-
andunder collars. Even though sit-flatcollarsdo proach to choose. For example, a shirt with a
sit flat around the neckline, they also roll over mandarin collar would not need a neck facing;
onto the garment. Stand-up collars do not need however, a mandarin collar stitched to a jacket
upper and under collars and can be cut with the or coat would definitely need a front only or
samepattern, as illustrated in Figure 11.4a. front and back facing, as the garment needs to
A reminder will appear under the heading hang open as well as closed.
"Pattern Tip" to make sureyou beginwith upper
and under collars. Use Figure 11.4 as a reference NONeck Facing
for making upper and under collar patterns. When a collar is stitched with no neck facing,
Label the patterns-"Under Collar" and "Upper the collar is designed to remain closed rather
NOTE
Whether frontonly or backand front facings
are stitchedmakes minimal difference,asthe
following points indicate:
The stitchingtime foreach is similar.
A back neck facing adds extra stabilityand
structureto the back ofthe garment.
The back facing provides a place for the
brand and size labelsto be stitched.The
fabriccontent and washing instructions
labels are usually stitched on the side
seam.
If the garment has no back facing, the
labelsare stitched to the lining or intothe
neckline seam, which can be scratchyon
the neck.

IMPORTAWT
When any facingisapplied to the neckline.
the collar isstitched to the garment first and
thenthe faclngapplied.
. . . . . ~ ~ - ~ ~ ~ ~ ~ ~ . . .
ery different weight of stabilizer for a large
stand-up collar made in wool tweed compared
with a stabilizer for a sheer silk georgettecollar.
Even if the collars were the same style, the sta-
bilizer would need to be a different type and
weight. It is essentialin collars that all elements
work together: design, fabric, and stabilizer. In
in Figure 1l.le and f have lapel collars, and the Chapter 3, it was recommended that the weight
lapel collar that is showing is the facing (which of your stabilizer be similar in weight to that of
is the upper collar). the fabricforyour garment.This is a good start-
GET THE STABILIZER RIGHT!
A stabilizer is an essential ingredient in a collar.
However, having said this, not all collars need
a stabilizer! Adding a stabilizer to the collar
helps the collarretain its shape.It also addssup-
port, strength, stability, and body to the collar
so it can be stand-up or roll-over. The stabilizer
must be able to support the style of collar and
the fabric weight. For example, you will need
PATTERW TIP
Ifyauhave already madeyour patterns. do
checkthem asain, becaurethe garmentand
collar necklinemeasurementsmust be equal
lengthsto expgrlencea smoothstitching
processfor coUarr. Ifthey are not equal.
adjustthe pattern now beforeyou stitch.
as itwould be impwsible to stitch a ~0lIar
correctly! Also, checkto besureyou have
snippednotchesinthe collar and garment
necklinepatternssothe collar and garment
necklinescan kperfectly aligned towther.
Refer to Figure11.3.
ing point; however, when constructing collars,
there are a few other important considerations.
Analyze the Design
The first tipwhen choosingthe stabilizerfor the
collar is to analyze the collar shapeyou want to
create. Decide on how structured you want the
collarto look-soft, medium,or firm-and find
the stabilizer that will give you this structure.
Many times the stabilizer needs to be heavier in
weight than what you would choose for stabi-
lizing a cuff or a facing. This may be because
the collar is wide and stands up. It is possible
to stabilize the upper and under collarswith in-
terfacing and then add another layer of canvas
to the entire upper collar in the back section
only, to give it more structure. The stabilizer
for the collar does not need to be the same sta-
bilizer used for an underlining, waistband, or
facings. It is a separate entity in itself, so treat it
that way. The important thing about stabilizing
collarsis-use whateverworks!Reread Chapter
3, "How to Choose the Best Stabilizerfor Your
Project," if you need more guidance on choos-
ing the best stabilizer for your collar.
BOTH COLLARS CUTTO THE SAME PATTERN
CUT 2 COLURS
I
11.4A MANDARIN COLLAR
UPPER COLLAR CUT 1
11.48 PETER PAN COLLAR
UNDERCOLLAR CUT 1
1/16"
UPPER COLLAR C U T l
11.4C SHlRT/CONVERTlBLE COLLARS
UNDERCOLUR CUT 2
l l . 4 D NOTCHED LAPEL COLLAR

MATCHPOINT
r 3FRONT CUT 2
GARMEWT IS THE
UNDER COLLAR) I
BREAKPOINT
l l . 4 E LAPEL COLLAR
MATCHPOINT
Befpre collars are applied to the neckline, the follow-
stitching should be completed on the garment-4'underlining, darts, pockets, shoulder seams
(leave side seams open), tucks and pleats, center-
back zipper, waistband, ruffles, and flounces. The
stitching order may differ, as each style has its own
requirements; the main point is to haveall the stitch-
ing completed on the front and back of the garment
and the shoulder seamsioined; then you are readyto
apply the collar.
Collars can have different shapes-there is no
"right" collar shape. So don't think you can't use
the instruction for stitching a round collar when the
collar you are stitching has a pointed shape. For ex-
FRONT FACING
FRONTCUT2
(GARMEMT ISTHE
UNDER COLLAR)
i
1
I 11.4F SHAWL
COLLAR
ample, you may be stitchingthe notched lapel collar both be rounded and you will find this would not in-
illustrated in Figure 11.1f. Notice it has a pointed terfere with thestitchingorder.
collar shape; however, the collar and lapel could
COLLARS STITCHED WITH N O
NECK FACING
Peter Pan Collar (Sit-Flat Collar)
APeter Pancollarsits flatandhas roundedfront
collar edges; however, the designer can change
PATTERN TIP
Makeupper and under soliars as illustrated
in Figure %I-gb,As mentioned previousiy,
ait-flat eollando mllover even though thsy
sit flat on the garment, so upper and under
collars patterns a n rtlllnecessary. Dosnip
notches in garment and collar nukiines as
well as the center back of the collar outer
edges(see Bigun14.3).
NOTE
When a collar needs stabilizingon one side
only, always stabilize the upper collor rather
than the under collar.

IMPORTANT
Collarsholdtheir 6h.w betterwhen a
stablllaf ir appliedto both upprrandunder
collars.A stablllzerwillalso prwent a saam
lrnagcfrom showingonthe swrect sideof
the collarwhan pressed.There can bean
exuption to thlaadvice; a flat ~ollarmaynot
needstablLin~onthe upperand undercol-
lars. Addingrrtabilizerto 8 flet collarwould
prevent itfrom sittlngflst andcaure itto
looktoo bulky. A sheer flat mllar maynot
needstabilhlngat all. When decldlngona
stabltizer to usefor upper and undercollars,
~ h o o malighter warlghtso thetwo rtabllla-
wstogetherwiUmqualtheweight of one
stabtlizer.
the outer collar edgeto any shape. Figure 1l.lb
illustrates a traditional Peter Pan collar. In this
text, the Peter Pan collar will be stitched with
a bias binding neck finish. This would be the
preferred way to finish the neck edge, which
reduces bulk. Chapter 12 also discusses a bias
binding as an alternative edge finish instead
of stitching a facing; refer to "Bias Bindings"
there.
STABILIZING THE COLLAR
Applythe stabilizer to the uppercollaronly if
needed. Silk organza may be a good stabilizerfor
flat collars.
St' ching the Collar
Place correct sidesof the upper and under0collarstogether; match all notches, and pin
~ ~ ~ . ~ - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . . . . . . . . .~~~~-~~~~~
around the outer collar edge. Don't be con-
cernedthat the under collar is smaller around
the outer edgethan the upper collar-still
match both collar edges together-they
will sitperfectly when the collar has been
stitched, clipped, and turned (Figure 11.5a).
With the under collarfacingup, stitch a
%-inch seam allowance around the outer
collar edges; begin stitchingfrom the center
back, stitching directionally toward the
front; overlapthe stitchesat the back by '/z
inch (seeFigure 11.5a). The under collar will
need to be stretched slightlyas you stitch-
this is how it is meant to be stitched, so don't
worry!
Press the stitcheswhile the collar lies flat,
and then press the collar seamsopen; this
will take time, so don't rush this step! Figure
11.5b illustrates the curved front collar sec-
tion placed over the end of the sleeveboard
to press the seam open.
Check that the collar shapes aremirror
images of each other. The neckline edge can
be trimmed if uneven; however, if the collar
shapeis uneven, it must be restitched so they
look identical. If the collarsare uneven, it
will be noticeable (Figure 11.5d).
Grade the under collar seam back to !4 inch
and understitch. After understitching, the
upper collar seam allowancecan also be
carefullytrimmed back to !4inch (Figure
11.5~).
Pin and handbaste both collar necklineedges
together, matchingthe notchesso the collar
is perfectly aligned.
Stitching the Collar to the Neckline
Staystitchthe garment neckline.
Lay the collar onto the correct side of the
garment neckline; place the collar notches to
the garment necklineand pin and machine
baste the collar to the garment (Figure 11.5e).
Cut one bias strip (binding) approximately
1inchwide and longer than the length of
the neckline; press a %-inchseam allowance
along one side to the wrong side of the fabric
(see Figure 11.5e).To review how to cut and
join bias binding, refer to Figures 6.16 and
6.17.
Turn the front facing back at the notched
position so the correct sides of the facing and
garment are together (seeFigure 11.5e).
Pin the bias binding around the neckline;
begin by placing the bias on the center-front
notch. Stitcha %-inchseam allowance.The
followingsteps are really important, as bulk
must be reduced. Grade the necklineseam;
begin by cutting the bias seam allowance
back to !4inch and then gradethe collar
seamallowance. Leavethe garment seam
allowance at % inch and then clip into the
neck seam allowanceso it will spread when
turned and stitched in place (seeFigure
11.5e).
Understitch the bias binding.
Turn the bias toward the garment and hand-"
baste in place; manipulate the bias with your
hands soit is laying flat around the curved
necklineshape. Remember, bias is stretchy!
Handbaste the binding in place and press
before stitching (Figure 11.5f).

Edgestitchthe bias to the garment; begin
and end with a backstitch. Begin stitching at
the garment front opening,just catchingthe
facing, and stitch all the way around, catch-
ing the facingon the other side. Don't stitch
beyond this point, otherwise the stitch-
ing will show from the correct side of the
garment on the front. The stitching should
be visible only when the collar is lifted (see
UNDER COUIR
Figure 11.5f).
Clip the threads and press the collar.
BiaslRoll Collar (Roll-Over Collar)
A biaslroll collar adds a delicate, gracefultouch
to a garment. Since the collar is bias-cut, it rolls
over beautifully and sits perfectly around the
neck. This style of collar is cut double the final
height of the stand so when the collar rolls over
+it.SIlTCH DIRECTIONAL
1 1 5 A P I N A N D S T I T C H T H E U P P E R A N D
U N D E R COLLARS TOGETHER.
therearefour layersof fabricsittingtogether (see
Figure 11.2f).For this reason the fabricmust be
lightweight.It looks most delicatemadein sheer
fabrics or in satin silk charmeuse.
A biaslroll collar can sit high, hugging the
neckline, or be stitched low to a scooped neck-
line. Either way, it is an elegant collar suited es-
pecially to blouses; however, this does not limit
its use in design. Notice in Figure ll.le, in the
,UPPER COLUR INTERFACED
NOTE
Thiscollar musthavean openingif it ishigh
on the necklina;collarsthat are loweron the
neckcanslip over the head. This is part of
functionaldesisn.
DLUR
Y
1I.SC U N D E R S T I T C H I N G T H E COLLAR
,ROUND COLUR SEIM
SFAM AILOWAN
PRESSEDOPEN
COLUR
SLEWE BOARD
TURNEDUPWAPDS
11.58 P R E S S I N G A R O U N D S E A M

11.50 BOTH SIDES
OF THE COLLAR
~.~ . ~ ~ ~~~~ ~
MUST BE THE SAME
SIZE AND SHAPE.
CUT OFFANY
EXCESS FABRIC
drapes perfectly around the neckline and com-
pliments the tailored suit.
A bias/roll collar can also have a tie incorpo-
rated inthe front that can be tied in a soft bow.
H o w t o stitch the tie ends will also be outlined
inthis section.
BIAS BINDING
------,
STWCHING THE COLLARPAo notstabilize biaslroll collars.
Press a '/,-inch seam allowance to the wrong Stitch a %-inch seam at each end of the collar.
side of the fabric along one collar neck edge Stitch directional from the collar neck edge to
(Figure 11.6a). This neck edge still mustbe the foldline. At the collar neck edge, the seam al
notched! lowance must still be folded backwhile the othe
Fold the collar in half with the correct sides facing seam allowance lies flat (see Figure 11.6a).
together; don't be tempted to pressthis foldline. Pressthe stitchesflat, then press the seam I
11.SE STITCHING
THE COLLAR TO THE
NECKLINEWITH A
BIAS BINDING
PATTERN TIP
Notchingthe garment and collar necklines
will always provide a smoother stitching
experience (see Figure 11.3).

..~.....................~~.~-.+-~..~~...........
allowance open, clip the collarcorners,and turn
the collarto the correct side. Use a point turnerto
squarethe cornersand press.
114SEAM
ALLOWANCETURNED BACK
.NECKOPENING
Apply the stabilizerto the front facing.Stay-
stitchthe garment necklineand stitch the
garment shoulders together; leave the garment
lying flat without the sideseamsjoined (Figure
11.6b).
Fold the front facingback at the notched 1
sition so the correct sides are facingtogether;
stitch across the width of the extension only,
clip into the seam allowance at the notch up
to the stitching, clip corners, turn and press
the facingto the wrong side of the garment
(seeFigure 11.6b).
Place the correct sidesof the collar and gar-
ment necklines together,matching all notches.
Begin by placing the collar edges to both sides
of the front protruding clipped seam allow-
ance (donein the previous step). Pin the collar
to the neckline, matching all notches. Stitch a
%-inchnecklineseam allowance;then stitch
the neck seam from the collar side. The neck-
line seam does not need gradingsince bias/
CLIP INTO SU~OM/BUZTOWHOLE
STITC S U M AllOWANCE m11510N STITCHED
DIRECTIONAL DO NOT PRESS FIAT
,
COLURn'TCHED CkIPPID.TURIED.
S,IISTwCHTo NECKL1N4AND PRESSED
1
11.6A STITCHING THE C O L L A R
PATffRN TIP
A tie can beaddedto each end of the bias1
roU collar. This collaris illustratedin Figun
11.7~and can be used in deslgningablouse,
shirt,ordrerr. The biarlrolltie collarcan
bestitched to a round OTV-shaped,hlgh or
lowneckline,The beginningofthetie must
be Hitched to the neckliner inch baclcfrorn
centergarment line4 this "gap" allowa room
fortying the bow.
11.BB PREPARE TUE GARMENT NECKLINE A N D STITCH THE
COLLAR TO TUE NECKLINE.
The collar can be finished in one of two
ways: stitched-in-the-ditch from the cor-
rect side, or hand stitched from the wrong
side. Both are illustrated in Figure 11.6~.To
STITCH-IN-THE-DITCH
SEAM ALLOWANCE FtOH COWRLCT SIDE
PRESSED UP INTO COLUR OF GARMENT
rolls collarsshould be stitchedin lightweight stitch-in-the-ditch, place the collar foldline
fabrics. Carefully press the seam allowance.up slightlyover the seamline, align the neckline
into the collar (Figure 11.6b and c). notchestogether,and handbastein place. This
is important, as a bias collarcan easilystretch
and look twisted if it is not aligned correctly.
Stitch-in-the-ditchfrom the correct side; hand
stitch by placing the foldlineto the seamline;
and using an overhandstitch, stitch into every
neckline stitch (seeFigure 11.6). HANDSTITCI
An overhand stitch is a type ofhand
stitch that is used frequentlyin garment
construction.
ISUING THE NECKLINE1 1 6 C F I N

BiaslRoll Tie Collar (Roll-Over Collar)
-THE TIE COLLAR
Do notstabilize a biaslroll collarthatties. Press
a '/.-inch seam allowanceto thewrong sidealong
one neck edgeofthe collar.
Fold the collarwith the correct sidesfacing
together, and stitch a '/*-inch seam allowanceto
both ends of thetie. First press the stitchesflat
and the seam allowance open; clipthe curved
seam,turn, and press thetie.
Don't press the foldline of the roll collar, asthis
looks nicer rolling softly.Thesestepsare illus-
trated in Figure11.7b.
To stitch the collar to the neckline, follow the
same stitching order for Figure 11.6~.Figure
11.7~illustrates how the front facing is stitched
to a V-neckline, incorporating a gap to allow a
spacefor the collar to tie. Notice in Figure 11.7~
how a gap is stitched (shown on the left-hand
side of the garment between clips), and how
it looks when it is finished (illustrated on the
right-hand side of the garment).
Mandarin Collar (Stand-up Collar)
This collar was traditionally part of the design
for Chinese mandarin robes. A mandarin collar
usually has a curved edge that meets at center
front; it can also be extended and buttoned, as
illustrated in Figure 1l.la.
of both collars.
Collars: Silhowetting the Neck
.. ...............................
-1.7A A BIAS/
ROLL TIE
COLLAR CAN BE
INCORPORATED
I N THE D E S I G N
O F A BLOUSE.
S H I R T , OR
D R E S S .
N R N BACK
ALLOWANCE
FOLDLINE
r
11.76 STITCHING THE COLLAR
GAP (ALLOWSROOM
{TOTIETHE BOW)
SUrrONI
BUTTONHOLE
,/EXTENSION
11.7C PREPARING THE COLLAR

Professional Sewing Techniqaes for Designers
.. . ~ ................................~ ~ ~ ~ ~ . . ~ ~ ~ ~ ~ . . ~ ~.
PATTERN TIP
Both sides of the mandarin collarare cut
to thesomesize. This is indicated in Figure
11.4a. Sincethe collarstands up, upper and
under collars do not need to be cut. However,
having said this, eventually you will seein
the stitchingorderthat upper and under col-
lars are formed as you stitch.
Stitching the Collar
Press the seam allowanceof one neck edge
of the collar to the wrong side;this collar is
now the under collar (Figure 11.8a).
Place the correct sides of both collars' outer
edges together; match the front collar edges
and center-back notches together, and pin in
between these points. With the under collar
facing up, stitch a %-inchseam allowance
around the collar edges; make sure the under
collar seam allowance is still folded back
as it was pressed, and that the upper collar
seam allowance is lying flat (see Figure
11.8a).
Press the stitches flat, and then press the
seam open. Place the curved collar shape over
the end of the sleeveboard to press the seam
open (seeFigure 11.5b).
Turn the collar to the correct side and
press flat; make sure the seamline is cen-
tered and does not roll toward the correct
side.
Don't clip the front curved shape. Instead,
trim the seam back to Ya inch; trim
and grade the rest of the seam allowance
if bulk needs to be reduced (see Figure
11.8a). On sheer fabrics, trim the entire
seam allowance back to Ya inch; seam allow-
ances shadow through to the correct side of
sheer fabric.
Staystitch the garment necklinejust inside
the seam allowance; clip into the seam allow-
ance, if necessary, to help the collar fit the
garment neckline.
Place the correct side of the upper collar
to the correct side of the neckline; pin all
notches together. It is crucial that the front
collar and neckline edges be aligned per-
fectly together; if the collar is positioned too
far back or forward, the collar will not turn
out correctly. If the collar and neckline do
not fit together, then a pattern adjustment is
needed. Refer to "STOP! What Do I Do
If.. ."later in this chapter, or ask your
instructor for help. Stitch a %-inchneckline
seam; begin and end with a backstitch (see
Figure 11.8b).
From the inside of the garment, pin the
folded collar neck edgejust over the seam-
line. Make sure the front corner seam allow-
ances are tucked underneath; they can be
bulky, so trim if needed. Pin and handbaste
the under collar stand in place. The collar can
be finished with an edgestitch,stitched-in-
Jle-ditch, or slipstitchedclosed. Figure 11.8~
illustrates all three options.
Shirt Collar (Roll-Over Collar)
A shirt collar is traditionally used on men's and
women's shirts. Although the collar propor-
tions, amount of spread (distance from each
collar ~oint),and shape (~ointed,round, or
squared) can differ, basically another separate
collar is stitched to a mandarin collar to form
the shirt collar. The seamline where the col-
lars join becomes the collar roll line (see Figure
11.2d). Notice in Figure 11.1~that the stand-up
sectionof the shirt collaris thesameas the man-
darin collar in Figure 1l.la.
5 THE COLLAR
It is preferableto interfaceall collarpieces:
however, interfacingcan be appliedto just one
sideofthe shirtcollarand collarstand; if allthe
collarpieces are interfaced,use a lighter-weight
interfacing(Figuren.ga).
Place the correct sides of upper and under
shirt collars together. With the wrong side
of the under collar facingup, pin the center
backs and collar points of the outer collar
edges together. Even though the under colla~
is smaller,pin all the points exactly together
(Figure ll.9a).

BACK TO J8"
11.8A STITCHING A MANDARIN COLLAR
-0, -3UPPER COLLAR
114"SFAM ALLOWANCE
TURNEDBACKINDPIIESSED
11.88 STITCH THE COLLAR
TO THE NECKLINE.
11.8C FlNlSHlNGTHE COLLAR-THREE OPTIONS
MATCH COLLAR AND OARMENT
CLlP NECKLINE
./'
STITCHED-IN-THE-DITCH EDGE STITCH
/
FROM THE CORRECTSIDE (FROM CORRECT SIDE)
PATTERN TIP
Makeupperand undercollar#as illurtrated
for the rhirt/convortible eollarr in Fipun
~ i q c .Yw will notlcethat the #tendfor the
shin collar(usingthe manduincollar pat-
tern) doer notnwdupparand undercollarn
patternstees Figureii.qrl. Markallnecltline
m deollar notchea@meFiglure~1.3). Place
two notChMonthe centerbackotthe shirt
collarto indicatethe under wllori this dil
farantitter tho under collerfrom upper
rollrr. Ale@Wtth ghepositionwherethe
shlR collarattachesto the eollar rtand. Ifthe
shirt collar ir not alignedwrmtly, the collar
won't Buttoncorrectlyat the centerheat,
whieh ultimatelysffects howthe satmen
functions and howit sell$.
Beginfrom the neck edgeand continuedirec-
tional stitchingto the center back. With the
under collar facingup, stitcha%-inchseam
allowance.Stretchtheunder collarslightlyas
you stitch-don't let this worry you, as this is
how it is meant to be stitched. Stop!4 inchback
from the collarpoint, reducethe stitchlength,
and stitchalittlefartherup, finishingafrac-
tion back fromthe collarpoint seamallowance.
Leavetheneedledownin the collar,pivot,
and stitchtwo smallstitchesacrossthe collar
point (the two stitchesshouldmeasurein total
less than !4 inch);leavethe needledown,pivot
again, and stitchthe remaining collarseam,
finishingat the center back (Figure11.9b).
IMPORTANT
Thetwo smallstitches acrossthe corner
ensurebeautiful collar points; stitchingto
the pointswithout stitching acrossthe point
results incornersthat bulgeanddo not look
perfectly angled.
Clip the collar corners to reduce bulk, and
grade any thick seams (seeFigure 11.9b).
Press the stitchesflat, and press the collar
seamsopen; use the point of the iron so as not
to press creasesinto the collar (Figure 11.9~).
Turn the collarto the correct side; use apoint
turner or an awl to sharpen the collarpoints.
From the correct side of the collar, you can
use the point of the pin to gently pull out
the tip of the collar corners. Never use your
seamripper to do this!

.............~~.~~ ~ ~ ~ ~ . . . . . . . . . .
UPPER COLLAR IS SLIGHTLY
WlDERTHAN UNDER COLLAR
TOGETSER
INTERFACING
11.9A STITCHING A S H l R T COLLAR: P I N U P P E R A N D
U N D E R COLLARS TOGETHER.
11.9C P R E S S THE COLLAR. NEcKLINEEDCl

ON CORNER OF COLUR OUTER COLLAR SLIMLIME
A
11.98 STITCH THE COLLAR A N D R E D U C E BULK
FROM COLLAR CORNERS.
L'
I
TO REDUCE BULK ON THICK SEAM-
GRADETHE UNDERCOLUR SEAMTO 11811
Take time to press the collar; this is impor-
tant to the success of the collar. Since the
under collarwas cut slightly smaller, the
collar seamlinewill sitslightly back toward
the under collar;this ensuresthat when the
collar rolls over, the seamline is not visible.
Fold the collarpoints together and cut off
any excess width at the necklineif they are
not a mirror image. Even though the collar
shapeshown in Figure 11.5d is round, the
process is the samefor every collarshape.
Placethe upper shirt collar section onto one
collar stand with the upper collarfacingup,
and pin together; position each end of the
shirt collar to the snipped notches and pin.
Machine baste the collarstogether,just inside
the seam allowance;hold the collarstaut as
you stitch (Figure 11.9d).
Press a %-inchseam allowanceon the other
collar stand to the wrong side-this is now
the under collar, and the other collaris now
the upper collar (Figure 11.9e).
Turn the collarover and place the under
collar stand over the roll-over shirt collar so
.REDUCE BULK /
it is sandwichedbetween the collar stands.
Pin the collar edges together and stitch a %-
inchseam allowancearound the collar stand;
make sure the under collar seamallowance
remains turned back with the other seam al-
lowance lying flat (see Figure 11.9e).
Press the seam allowanceopen around the
front curved section of the collar stand, as
Figure 11.5billustrates.Trim the curved
seam allowanceback to lh inch-don't clip
into the seam allowance,as it does not sit as
well when finished. Grade the four layers of

............
11.9D STITCH THE TWO COLLAR SECTIONS TOGETHER
TO FORM THE SHIRT COLLAR.
%STUYER OF FABRIC TO 118" AROUNDTHE CURVE
UPPER SHIRT COLLAR
11.9E SANDWICH THE COLLAR BETWEEN COLLAR STANDS
AND STITCH TOGETHER.
/GRADE THIS - 4 UVERS OF FABRIC
UNDEa COLUR STAND' 1/4"S€AM ALLOWANCE'
TURNEDBACKANDPRESSED
PUCE ISONT UNDER COLLAR
/EDGESTOGETHER
/ /UPPERCOLUR
11.9F GRADETHE
SEAM ALLOWANCE
TO REDUCE BULK.
BEGIN STITCHING
JAT CENTER BACK
11.9H EDGE-
r STITCHTHE
NECKLINE
11.96 P I N AND STITCH THE COLLAR NECKLINE TO
THE GARMENT NECKLINE.

.. ~.
collarseam allowance alongthe collar seam ditional man%shirt collar and does not have a I(
to reduce bulk, and press the collarwhen collar stand. A convertjblecollaf is constructed
completed (Figure 11.9f).The graded seam with a front neck facing so the collar can be
can also be understitched. worn open or closed; this is why it is referred to
PATTERN TIP
Cut the upper and under collars as illustrated
in Figure 11.4C. Make sure all garment and
collar neckline notches are marked on the
patterns. Indicate the under collarwith two Ias convertible. This design gives the customer
Stitching the Collar to the Neckline versatility in how the collar is worn. Figure
Staystitchthe garment necklinejust inside 1l.ld illustrates the collar buttoned closed.
the seamallowance.
Pin the collarand garmentneckline edges Stabilizing the Collar
together; place front edges exactly together, Apply interfacingto both collarsand facings irom the roldlineto the neckline; begin and
then pin the center back and shoulder seams (Figure 11.10a). end with a backstitch (Figure 11.10b).
to the collar notches. With the under collar
stand facingup, stitch a %-inchneckline
seam; begin and end with a backstitch and
clip the threads (Figure 11.9g).
From the inside of the garment,press the
neckline seam allowanceup into the collar
stand; then pin the folded collar edgeto the
seamline.Make sure the front collar corner
seamallowancesare tucked underneath;
they can be bulky, so trim if needed. Pin and
handbaste in place (Figure 11.9h).
Edgestitchthe under collarfrom onefront
edge to the other. If the entirecollaredgeis
stitchedas illustratedin Figure 11.9h, then
begin stitchingfrom the center-back seam and
continue stitchingaround the collaredge.
Clip all threads and press the collar.
COLLARS STITCHED WITH FRONT
NECK FACINGONLY
Convertible Collar (Roll-Over Collar)
A convertible collar is another type of shirt
collar, but it is a different shape from the tra-
notchesto differentiate it from the upper
collar (see Figure 11.4~).
Place the correct sidesof the collar together.
Match the center back notches and collar
points together and, even though the top
collarwill be slightlylarger, pin them exactly
together (Figure 11.10a).With the under
collarfacingup, stitch across the outer collar
edges only; hold the collars taut as you stitch
a %-inchseam allowance. (The under collar
will need to be slightlystretched asyou
stitch; don't worry-this is correct!)
Press the stitchesflat and the seamallowance
open; gradethe under collarseam only if
bulk needs to be reduced. Figure 11.9f illus-
trates how to grade the seam allowance.
Understitch the collar by turning the seam
allowancetoward the under collarneck edge
(seeFigure 11.10a).
Fold the correct sidesof the collartogether
alongthe first stitching line. Pin both shorter
collar edges together, and stitch a %-inch
seamfrom the under collar. Stitchdirectional
Clip the collar corners to reduce bulk (see
Figure 11.9b).
Turn the collarto the correct side and use
a point turner or awl to sharpen the collar
corners and press the collar.
Machine baste the neck edges of both front
collarstogether from the front edge of the
collar to the shoulder notch (Figure 11.10~).
Clip into the collar seam allowance at the
shoulder position for the whole %-inch
width. The position of the clippingis impor-
tant to the collar stitching correctly from this
point on. Press the upper collar %-inchseam
allowance back to the wrong side (seeFigure
11.10~).
Staystitchthe garment necklinejust inside
the seam allowance(Figure 11.10~).
Clip into the shoulder seam allowance for the
whole %-inchwidth (Figure 11.10~).
Pin the under collar to the garment neckline.
Position the collar to the garment notches

11.10A STITCHING THE CONVERTIBLE COLLAR
UNDER COLLAR
NOTCHES MATCHED
PRESS ,1 :R
UPPER COLLAR / UNDERSTITCH1
11.108 COMPLETE COLLAR STITCHING
STITCH
1l.lOC STITCH THE COLLAR TO THE NECKLINE.
CLIPPED INTO S U M ALLOWANCE
UNDER COLUR OWL115 STAYST'TcH
CLIP ,"TO
SFAM ALLOWANCE
.... . ~ ........ ~ . . . ~ ~.-..~
CLIPCORNERS STITCH FRONT FACINGS
,TO .EDUCE BULK ,TO THE NECKLINE,
l l . l O D STITCHING
THE FRONT FACING
, TO THE NECKLINE
for the collarplacement, and then match the
clipped shoulder position on the collarto
the garment shoulder seam. Lift the upper
collar out of the way, and pin the garment
and under collar necklines together. Stitch a
%-inchnecklineseam. Stitchdirectional from
the front edge to center back, then repeat the
process on the other side (see Figure 11.10~).
Stitching the Front Facing to the Neckline
Press the shoulder seamallowance of the
facing to the wrong side.
Fold the front facingback so the correct sides
are facingtogether, and pin the front neck-
lines together to the shoulder seams. Stitch a
%-inchseamallowancefrom the front neck-
line to the shoulder seams; begin and end
with a backstitch (Figure 11.10d). Leave the
facing seamallowance at % inch and grade
the garment and collar seam allowanceto
EDGE STITCH HAWDEb5TE
ll.1OE CLOSING THE BACK COLLAR
reduce bulk. Refer to Figure 11.9f to seehow
to grade the seam allowance.
Turn the collar to the correct side and press.
Place the foldlineof the upper collar and
shoulderfacingslightly over the seamline;
pin and handbaste in place. From the correct
side, stitch-in-the-ditch to securethe collar
and facingedges in place (Figure 11.10e)or
use an overhandstitch.

Shawl Collar (Roll-Over Collar)
A shawlcollar has a lapel on the front sectionof
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
NOTES
Pressthe seam allowanceback%inch ifthe
garment is not goingto havea back neck
facing. A shawlcollar can be stitched with
or without a back neckfacing. Figureir.llb
I
11.11A PREPARING THE FACING AND GARMENT: GARMENT
,CENTER BACK SEN8
CLIP IIITO
the garment that is cut all-in-one with the back MATCHPOIIT
collar (Figure 11.4f). Varying shapes can be de- OLLAR EDGE
signed for shawl collars. The design in Figure
1l.leillustrates anarrow shawl collar on awrap
jacket. The collar can be designed in a contrast-
I
ing color or fabricas this figure illustrates.
PATTERW TIP
R&rw Agurerr.4las aguldewhsn drah.
lnspattefnr for uppet and unducoUam.
N d i w that the facingisthe uppwcollar a d
the garment ist)nundwccl4r. Thipcan be
cenfusingl Markmotekpointsatthe mkoutdet
plvot point on bothgarment andfacing pat-
terns. Transfer notch- andpatternmarking8
to the fabric,
I
- -
illustrates the backneckseamallowance
pressedback.
Staystitchthe back neck; pivot on the shoul-
derheckline corner, and staystitch % inch in
length on the shoulder seam.
Stitchthe front darts and press. (The darts
help to shapethe collar.)
Stitohthe center-backseamstogether, and
press open.
Clip into the corners at the matchpoints (the
staystitching reinforces the corners). See
Figure 1l.lla.
Stabilizing the Collar Stitching the Collar
How the shawl collar is stabilized does depend Pin the necklines together,placing the cen-
on the fabric weight. It is advised to stabilize ter-back collar to the center-back garment
both sides of the collar for iackets and coats. neckline and the shoulder/necklinematch-
This means underlining the garment as the gar- points together. Stitchdirectional using a
ment and collar are cut all-in-one. However, for
a blouse or dressyou may onlywant to stabilize
the facing.
Preparing the Collars
Complete the following stitching on the gar-
ment and facing. The stitching is identical for
both. Figures 1l.lla and b illustrate the follow-
ing stitching:
MOTES
Ifthe garment will havea back neckfacing,
then stitch the collar to the facingjust
as you havestitched the previous step in
Figuren.llc. Notethat a shawlcollar can be
stitched with or without a back neck facing-
this is the designer's choice.
-
CENTER BACK SEW
/ ,COLLAR EDGE
'STITCH DART
-
11.118 FACING
%-inchseam allowance on the necklineand
%-inch on the shoulder seams. Stitchfrom
the center-backseamto the shoulder match-
points, pivot on the corner, and stitch %-inch
shoulder seams(Figure 11.11~).
Press the shoulder and neckline seams closed
when there is no back neck facingapplied.
Press the seams openwhen a back neck facing
is stitched to the front facing. Figure 1l.lld
illustratesthe seamspressed open and closed.
Pin the collar edgestogether. Clip into any
seam allowancethat needs to open to make
it possible to stitch the seamlines together.
Stitch directional.Begin stitching a %-inch
seamfrom the center back and down toward
the front of the collar to the hem.

Collars: Silhouetttng the Neck
I 1 , t t C STITCHING SHOULDER AND NECKLINESEAMS
SHOULDER SEAMS
PRLSSEDCLOSED STITCH DIRECTIONAL SHOULDERS SEIMS
GARMENT HAS
BACK NECK FA
11.110 CLOSING THE BACK NECK WITH NO BACK FACING
UNDERSTlTCHllG
BRVKPOINT-FROIT FACING
Af
I
CAN BEIOINEDHERE
$---
11.Z1F CLOSING THE SHAWL COLLAR WITH A BACK NECK FACING

. . ~ ~ . . . ~ . ~~~~~~~~~~ ~~.~~. . ~ ~ ~ ~ . ~~ ~
PATTERN TIP
Note that whether or not you stitch a back
neck facing influences how the liningpattern
is drafted. IAlways reduce bulk on intersecting seams;
this is the case for the center-back seamjoin
in Figure 1l.lld.To see how this is done,
refer back to Figure 6.29a.
Press the stitchesflat, and then press the
collar seam open. Since the collar edgeis
curved, place the garment over a tailor's ham
to press curved seamsopen, as illustrated for
curved darts in Figure 4.3b.
To grade the seam allowance,cut the garment
seam allowanceback to !4 inch and under-
stitch the seam;finishunderstitching 1%
inches back from the breakpoint. (Remember
that the breakpoint is the point where the
collar folds back.) If the understitching goes
beyond this point, it will be visible when the
collar rolls over. For understitching collars,
refer back to Figure 11.5~.
Turn the collar to the correct side and press.
To close the back collarwithout a facing,pin
the foldline of the under collarto the seam-
line, and alsopin the darts together. Using
an overhand stitch, band stitch into every
necklinestitch to securethe collar in place.
Turn back the facing and hand stitch the
darts lightly together, using a slipstitch.Also
slipstitchthe folded edge of the facingto the
shoulder seam (Figure 1l.lle). A slipstitchis
illustrated in Figure 15.9.
For ashawlcollarwith aback neckfacing,press
the back garment and-collarneck seamallow-
ancesopen.Pin the openseamstogetheronthe
seamline.Beginslipstitchingfromone dart, and
hand stitchacrosstheback neck to the other
dart, as illustratedinFigure 1l.llf.
If there is no lining to be attached, make
sure the facing edges are finishedand hand
stitched to the garment shoulder seams.
COLLARS STITCHED WITH FRONT
AND BACK NECK FACINGS
Notched Lapel Collar (Roll-Over Collar)
A notched lapelcollaris mainlyused on tailored
jackets and coats. Refer to Figure ll.le, in the
Style I.D., to see this popular collar style. The
PATTERN TIP
Cut the upper end under collar following !Flgun id.qe. Since the lapelIs eat all-In-one,
noticethat the lapelfaclng lathe upper collar
and the Lapelsettion on the Sarment 16the
under collar. The under collar Is bias cut with
a canter-back seam, as illustrated in Figure
11.4d. Cuttingthe under collar on the bias
helps form a smooth rollcollar. Makesun all
notches are indicatedonthe pattern. Instead
of snlpplng notcher where the collar joins the
lapel, iti seasier to stitch usingmatchpoints
(four inall). Take noteof the position where
the matchpoints arc placed on the pattern 1
(Figure i1.4d and 4.Transfer there markines
to thewrongside of the fabric. Make sure all
notches are snlpped inyour fabrlc before you
beginto sew.
lapel is the front section that folds back to form
a gevere. The notched sectionof the collar is the
"L"shape, formed when the collar is stitched
to the lapel. The position of the notch and the
shape is the designer's choice-both can be
round rather than pointed, or one can be round
and the other pointed-there areno rules! If the
garmentis underlined, this should be applied to
the cut fabric pieces before any stitching takes
place. Refer to Chapter 3, "Underlining-Fully
Covering the Fabric."
Apply the stabilizer (fusible or sew-in) to the
upper and under collars and facing.
loin the shoulder seams of the facing and the gar-
ment together (Figure il.iza).
Staystitch the neckline ofthe garment and facing
to the matchpoints (see Figure 11.iza).
Stitch the center-back seam ofthe under collars.
and press open.
Stitch the under collarto the garment neckline
and the upper collar to the facing. Placethe
correct sides together, and pin the matchpoints
of the lapeland collar together; position the
collar shoulder notches to the garment shoulder
seams. Stitch directional, usinga %-inch seam

.....................................
allowance. Begin stitchingfrom the matchpoints Usethe same principle outlined in Figure 11.5d
(begin with a backstitch) and stitch to the center- to make sure the collar and lapelshapes on both
back seam. Repeat on the other side (Figure sides are mirror images. If they are not exactly
11.12b). the same, then restitch the collar points so they
mirror each other.
Reducebulk on the collar and lapelcorners (see
Figure 11.9b). Pressthe seams flat and then
press open; turn the collarto the correct side of
IMPORTANT
Don'tstitch into the seam allowance beyond
the matchpoints: ifyou do, you won't be able
to stitch the collar any further!
the fabric, and sharpen the corners with a point
turner or awl.
To help hold the collar in place, lightly slipstitch
the center-back seamstogether (the stitches
Press both neckline seams open; clip the gar- mustbe invisible from the correct side).
ment and facing necklines so the seam can open To close the collar, slipstitch the collar seams
and lie flat, if needed (Figure 11.12~). together. This must be done from the point of
A
To stitch the notched section of the collar, place the lapelseam to the other side, as illustrated in
the upper and under collar matchpoints directly Figure 11.12d.
together. To stitch the following steps, stitch di-
rectional, from the matchpoint to the center back STITCHING COLLARS IN
of the collar. Position the machine needle down TRICKY FABRICS
in the fabric at the matchpoints, stitch forward Sheer Fabric
and back(this isthe backstitch), and stitch to Do use the correct machineneedle size when
the center-back collar. Repeaton the other side;
overlap the stitches on the center back by 112
inch (see Figure 11.12~).
Placethe garment and facing lapel matchpoints
together. Position the machine needle down in
the fabric directly on the matchpoints. Backstitch
forward to the corner of the lapel, pivot and stitch
down the front ofthe garment. Repeat on the
other side (see Figure 11.12~).On pointed collars,
usethe same stitchingtechnique illustrated in
Figure 11.9b. Stitch two smallstitches across the
corner ofthe collar to achieve beautifulcollar
points.
UPPER COLURS
11.12A APPLY THE STABILIZER
AND PREPARE THE NECKLINE OP
THE GARMENT AND FACING.
DO NOTSTITCH BEYOND
BRING MhTCHPOINTS MATCHPOINT MATCHPOINTINTO
TOGEIHER
A
ALLOWANCE
7 /stitchingcollars in sheerfabrics.
Do use self-fabric to stabilizesheer collars.
Silk organzais also an excellent stabilizerto
use on sheerfabrics.
Do cut all collar seam allowancesback to l/s
inch so they are even. On sheerfabric, the
seam allowance is visiblefrom the face of the
garment.
Do be careful when designingcollars in sheer
fabrics;consider how many seams are in the
collar, as they will be noticeable. For example, 11.128 STITCH THE UNDER COLLAR TO THE GARMENT
asheer shawl collar would have fewer seams STITCH THE UPPER COLLAR TO THE FACING.
than anotched lapel collar.

STITCH DIIIECTIONM-
BEGIN STITCHING
FROM MATCHPOINT
//1
1
1
11.12C S T I T C H THE COLLAR A N D LAPEL S E A M S . I
Do consider stitching severalsinglelayers
of roll-over collarsin lightweight sheersilk
organza to create the shirt collar illustrated in
Figure 11.13a. Three or four layers of single
sheer collarswill not create bulk but will create
a fabulous textured look. Before the collars
are inserted into the collar stand, stitch a hem
finish around the outer edgeof eachcollar.
Instructions for doing this are outlined in
Chapter 15.
Don't use a fusibleinterfacing on sheercol-
lars-use a sew-in. The glue on fusibles may
seep through on the face of the collar.
Lace
Do stitch collars in lace, but use a stabilizer to
complementthe lace; silk organza and netting
are perfect stabilizers for lace.
Do consider stitchingorganza or satin silk
collar and cuffs to a laceshirt as contrast.
HANDSTITCWING
FROM MATCHPOINT
TO MATCHPOINT
11.120 H A N D STITCH THE COLLAR SEAMLINES TOGETHER
Do cut lace scallopborders or motifs and ap-
pliquC them to collar edges
Don't stitch collarsin heavy lace.
Don't topstitch lacecollars.
Satin
Do use a sew-in stabilizer in the collar, as
fusibleinterfacing can change the look of the
fabric surface.
Do stitch collars in satin; however, match the
fabricweight to the collar design.
Do be careful topstitching satin collars;there
are no rules here, but samplefirst to see if you
like the look.
Do use the correct machine needle size when
stitching collars in satin; the wrong size or a
blunt needle will causelittle pulls to appear
in the collar and spoil the look of the entire
garment.
Beaded Fabric
Do smash all beads from the seam allow-
ances, as stitching over the beads will break the
needle.
Do use an interfacing that suits the fabric
weight.
Do considerusing a contrastingfabricsuch as
silk georgette, organza, or satin silk charmeuse
for collarsto complementthe beaded fabric.
Don't stitch complicatedcollarsin beaded
fabric.
Knits
Do use a stableinterfacing that takes away the
stretch element on the knit, as collars that have
a closure don't need to stretch.
Don't stabilize a roll collar that stretches over
the head, and make sure the collar fits over the
head comfortably-this is how fashion meets
function!

11.15A SHEER ORGANZA COLLAR
Do topstitch collars in denim;use double
thread or topstitching thread in self or con-
trasting colors. Denim loves to be topstitched!
Velvet
Do be carefulwhen stitching collarsin velvet.
Velvet is difficult to stitch and press, and col-
lars need a lot of pressingto look fabulous.
Do choosesimplestyles of collars,such as man-
1darin or convertible,that do not requireas much
stitchingandpressing asanotched lapelcollar.
Do use asew-in stabilizer;napped fabricssuch
as velvet are affected by pressing, and a fusible
interfacingwill iron-mark and squash the pile.
U m R s Of C O w R Don't place collarpatterns on velvet fabricin
both directions; sincevelvet is a napped fabric,
always cut collars in one direction.
APPLY
- CEMENT Leather
Do make collarsin leather.They can be
stitched, clipped, and turned.
Do topstitch around the outer collar edges,as
they will not pressvery well.
DO. use aleather sew& machine needle to
stitch leather.
EDGESTITCH/A // Do somesamplestitchingfirst on the collar
11.138 LEATHER COLLAR
cornersto see if bulk is aproblem.
Do reduce bulk in heavier-weightleather by
securing two collarpiecestogether with leather
Denim cement. Apply between the collars and, with a
Do stitch all kinds of collars in denim; be rubber mallet, pound the collarsto fasten them
aware that somedenim may not need to be sta- together; then edgestitchthe collars. Cut the
bilized because of the weight, yet other denim collar edges with a rotary cutter sothe edges
weightswill need stabilizing,so samplefirst. areperfectly aligned (seeFigure 11.13b).
surfacewith paper, and press low-heat fusible
interfacingwith a dry iron.
Don't try a soft roll collarin leather,as it
won't roll. This collarneeds to be bias cut. and
leather does not have a grainlinein the same
way fabric does.
Faux Fur
Do stitch collars in faux fur, as they areso
warm and snugfor winter jackets and coats.
Do consider fur on the upper collar and use
a lightweightfabricsuch as a satin silk or a
lining fabricas the under collar, as both will
reduce bulk.
Do use a sew-in stabilizer to suit the weight of
fur.
Do trim allthefur fromallcollarand neckline
seamallowancesto reducebulk. If thisisnot
done, the collarwillnot stitchwell (Figure6.51a).
Do catchstitch by hand any open seams in fur,
as fur does not press well. Refer to Figure 6.51b
to see how this is done.
Don't ignore the bulk that is created when
stitching seamsin fur; it is important to reduce
any bulk on collar corners.
Heavyweight Fabric
Do choose the collarstyle carefully in heavy-
weight fabrics; these fabricsstitch really well
when the collars are generous, oversize, and
stitchedto jackets and coats.
Don't stitch small,dainty collarsin heavy-
weight fabric.

The designer can have fun designing different
collar shapes. Draping collars on the form is an
ideal way of creating a new look in collars. No
matter what the shape of collar, transfer your
cutting and stitchingknowledge. Here are some
ways to transfer your knowledge:
Collars can be topstitched by machine or by
hand. Take a look at some of the stitches that
can be used to topstitch. Figures 6.24,6.27,
and 6.54a picture somedifferent options.
Figure 11.14a illustrates a machine topstitch
and a hand pick stitch, highlighting the edge
of the notched lapel collar.
The same collarin Figure 11.14a can also have
bias loops inserted into the collar seam as a
decorativefinish. The stitching order for bias
loops is outlined in Chapter 17,"Bias Loops."
Stitch a bias binding around a collar edge.
Use the same stitching technique for apply-
ing the Hong Kong finish in Figure 6.33d.
The collar would draw all the attention if a
patterned, contrasting bias binding was used.
As this figure illustrates, the binding can be
machine or hand stitched in place.
A ruffle can be inserted in the collar seam,
as illustrated in Figure 11.14b. Ruffles can
be cut double (on the fold) or as a single
layer. (In a singleruffle, the hem needs to be
stitched before insertion. For more informa-
tion, refer to Chapter 10.)To insert a ruffle in
the collar seam:
Machinebastethe ruffleto theupper collar
edge;push a lot more gatheredruffleinto the
collarcorners sotheruffle has room to span
outaroundthe cornerof thecollarwithout
lookingtight afterthe collaris stitchedand
turned.
Place the under collar over the upper collar
so the ruffle is sandwiched in between.
With the upper collar facingup, stitch a %-
inch seam allowance; stitch directly on top
of the previous machine basting stitches.
Reduce bulk by grading the collar seam;
press and turn the collar and stitch to the
neckline. Notice that the ruffle is part of
the neckline collar measurement in Figure
11.14b. Make sure the width of the ruffle is
taken off the length of the neckline in the
collar pattern.
Stitcha biashe collar to the wrist of a blouse or
dress. Transferyour knowledge by following
the sameinstructions.You will need to stitcha
darted placket in the wrist first beforeapplying
the cuff. Stitchas illustrated in Figures 11.7a
and b. This cuff stitchedto a gathered wrist
(witha placket)will look sensational!Refer to
Chapter 13for additionaldetails.
In Figure 11.14c,a bias trim has been stitched
to the surfaceof the collarbefore the collar
is stitchedto the neckline. Notice the bias
has been pleated on the corners of the collar.
This is an excellentway to turn the bias on an
angled corner-in fact, the entirebias strip
could be pleated allthe way around the collar
edgeif the designer chooses. Remember, a bias
cut does not fray, sothe edgescan be left raw.
Insert piping into a collar seam just the same
way it has been inserted into a curved, circu-
lar, or angled seam in Figures 6.19,6.20, and
6.21. Choose the binding technique that suits
the shape of the collar edge and transfer your
knowledge.
Designing new and interesting collars offers
an avenue for expressing creativity, especially
when making jackets and coats. Collars can be
the focus of the garment, and an attention stop-
per when an unusual collar design is worn, es-
peciallywhen it is well made.
The following list gives some ideas for how to
be creative with collars. The list is not exhaus-
tive, but it offers many possibilities. Add your
own ideas to this list:
Combine two types of collars. The coat
collar in Figure 11.15ais a combination
stand-up and roll-over collar.
A bias-cut roll collarcan be cut longerthan
the neckline; both collaredgescanbe pleated
at random (not evenly)and stitchedto the gar-
ment neckline. How this collarlooksin design
is illustrated in Figure 11.15b. The choiceof
fabricweight is important;a fabricthat is too
heavy will look too bulky in this design.
The collarin Figure 11.15~is avariation of the
notched lapelcollar.Notice that the lapel has
been cut and spreadin the patternmakingstage
to allowfor gathering. Because of this, the lapel
cannotbe cut all-in-one with the front section
of the jacket. The lapelis a separatecollarpiece
that is stitchedto the neckline. Notice that the
lapeloverlapsthe collar.

~ ~ ~~~~~~ ~~~~~~
PUSH MORE BATHERIN0
IHTDTHF COLURCORNLRS
I
The collarstitched to the warm winter jacket
in Figure 11.15d is a roll-over collar that has
been cut wider and then padded with light-
weight polyester fiber,which does not add
weight. (It is the same fiber used to stuff toys
and cushions.) The final weight of a coat is
important because a coat or jacket that is too
heavy to carry or wear is notfunctional and
may prevent a garment from selling.
11.148 CONVERTIBLE COLLAR WlTH RUFFLE
IT=='UPPER COLUR
WITH INTERFACING
I
...my collar shape is uneven and not a
mirror image on both sides of the collar?
If the collar is already stitched to the neckline,
carefully take off the larger side of the collar;
press it flat, and trim and restitch the collar to
mirror the smaller shapeon the other side. Then
stitch the collar back onto the neckline.
1i.14C COLLAR WlTH BIAS TRIM
...my collar is too tight around the
neckline and it won't button up?
Carefully take the collar off the neckline.
Recut the garment neckline lower all the way
around the neck edge. Cutting the neckline !h
inch lower all the way around could add an-
other inch more in length. The neckline could
also be lowered in the front only. Measure the
new neck measurement and make a new collar

.. ...., ..,, I----
,"i . . :
.. . ,
. .
. .
IMPORTAMT
It's importantte mekealladjustmentsin
smallincrementsto besinwith, astekinga
hugechunkfrom theshoulder seamswould
throw the fit ofthe nerklincoff.
pattern to fit the new neck measurement. Res-
titch the new collar and stitch onto the garment
neckline. In the end you will be pleased you
made the effort to make a new collar, as you
will now have a functional collar rather than a
dysfunctional collar!
...my collar stabilizer is too heavy?
If you have enough fabric, then recut and re-
stitch another collar and apply a lighter-weight
stabilizer to both sidesof the collar. Samplefirst
to get the correct weight! If you have no more
fabric, then try to remove the stabilizer from
one side of the collar. This could be difficult if
you used a fusible stabilizer. Sew-in stabilizers
can be cut away from the seamline. If you are
unable to purchase more fabric, perhaps pur-
chase another fabric to complement the style
and look of your garment. Then use this as an
opportunity to learn to sample your stabilizer
first next time!
...I don't like the collar style on my
garment? Can I change the collar design?
Yes, you can! However, this will be difficult
if the buttonholes have been stitched to the
front of the garment. Discuss the available
rofessional Sewing Techniqres for Designers
~ ~~~ ~~~~ ~

.....................................
options with your instructor. If it is possible,
do some sketches so you have plenty of ideas
to choose from. The important thing is that
the new collar design you choose mtlst be the
same neck measurement as the garment neck-
line. Make a muslin first to see if you like the
shape and size of the new collar. Then off you
go to stitch your new collar and apply it to the
neckline.
SELF-CRITIQUE
This is thetime to stand back and take adetailed
look at your collar. Ask yourself the question:
"Am I happy with the way my collar sitswhen I
place my garment on the form?"
Ask yourself the following questions to cri-
tique your collar:
Does the collar sitwell on the form; does the
collar stand up, sit flat, or roll over as you
would like it to?
Does the stabilizer hold the collar to the
desired structure?
Do the seams look bulky because they were
not graded to reduce bulk?
Does the collar fit comfortably around the
neck, not feelingtoo tight?Do you think you
have combined function and fashion together
with the collar design and fit?
Does the collar seamlineroll slightly back
to the under collar, or does it show?Did you
use upper and under collar pattern pieces?
Is the topstitching on the collar parallel to
the collar seamline?
When you stand back and view the overall
garment, does the collar blend with the over-
all design or does bad collar stitchingdetract
from the overalldesign?
Did you stitch enough samplesto make an
informed decisionregarding the best stabi-
lizer and seam finish for the collar?
Do I understand the three types of collars:
sit-flat, stand-up, and roll-over?
Do I understand that all collars need a
collar stand to be a collar?Do I understand
that collar stands can be different heights?
Do I understand the importance of begin-
ning with correct patterns, with both the
garment and collar necklines the same
length and notched so they can be accu-
rately stitched together?
Do I understand that correct patterns set me
up to achievecorrect stitching?
Do I understand that the stabilizer needs to
be a lighter weight when it is applied to both
sides of the collar?
Do I understand the importance of having
upper and under collars, and do I understand
the differencethey make?
Do I understand that staystitching prevents
the neckline from stretching in the stitching
process?
In what ways can I improveon my collar
stitchingin the future?

Facings: Enca
acings,
Fwithout
when properly sewn,will professionallyfinish the raw edges on necklines with or
collars, the center fronts ofjackets, blouses, and sleeveless garments. Hemlines
on a wrist cuff, a skirt, or pants can also be finished and supported by a facing. Specially
shaped edges provide an exciting area for design-for example, scallops, which can only be
finished by using a facing.
Facings are both decorative and functional
and fir into three general categories: shaped,
exrendedlself,and bias. In this chapter, we de-
velop the techniques for applying facings with
correct interfacingsupport and finishingmeth-
ods, ensuring that the inside of the facing is as
beautifully encased and finished as the outside
of the garment.
STYLE I.D.
of facings and by the end of this chapter you
will know how these techniques are stitched.
The Style I.D. has examples of commonly
facedareas,asshowninthe"LittleBlackDress,"
andis a suggestionof basicstyles (Figure 12.1).
GATHER YOUR TOOLS
For the techniquesin this chapteryou will need
interfacing, marking pen, dressmaker transfer
paper, tracingwheel, scissors, rotary cutter and
KEY TERMS
All-in-one
All-in-one Facing
Armhole Facing
Bands
Bias Facing
concealed-placket
Cowl
Decorative Facing
Extended/Self-Facing
Functional Facing
Keyhole Facing
Narrow Bias Facing
Neckline Facing
Placket
Shaped Facing
Here are some neckline styles that illustrate mat, appropriateneedle and thread, cordingfor Slashed Facing
what this chapteris about. Look at thevariation vi Waistline Facing

~~~~ ~~ ~~~- ~~~~ , . . . .. ... . ~ . .
12.1A SHAPED FACING
V-NECK AND BIAS
12.18 ALL-IN-ONE 12.lC SLASH 11.10 COWL BIAS

Facings: Encasing Unfinished Edges
~~ . . . . . ~ ~ ~ . . . .. ~~~~.~ - - - .
Think Ahead-Order Now the front of the garment.A facingshould not be
Oftentimeschainfabricstoresdonot havean ex- visible on the correct side of the garment.
tensive selection of interfacing, stabilizers, silk Facings are used in areas such as necklines,
organza,knit ribbing, or piping and trims. Once armholes of sleeveless dresses, and openings at
you decidewhat type of facing is part of the de- the garment front or back. Hems can also be
sign,purchase the appropriatesupplies,selecting faced, and need to be in the case of an unusual
the correct fabric, and order as soon as possible. shape.Refer to Chapter 15,Figure 15.la, a coat-
Refer to Chapter 3, "Introduction to Stabiliz- dresswith a shaped hem.
ers," for a list of fusible and sew-in options and
the "Where to Buy" section of this text.
Be re applying facings, all flat construction that
n be completed should be:0Dartsshould be sewn and pressed, and zipper
applicationand pocketscompleted.
If collars, ruffles, or other trims are part of
the design, they should be basted in place in
the seam beforethe facingis positionedand
stitched.
Whether or notthe shoulder or side seams have
been sewn at this stage dependson the type of
facingthat is beingapplied, and should follow
the steps for that particulartechnique.
What Is a Facing?
A facing can be both functional and decorative.
A functional facingis apiece of fabricthat is at-
tached to the raw edgeof somepart of agarment
in order to finish that edge. It is turned to the
inside of the garment. Depending on the shape
of the area where it's applied and the weight of
the fabric, the facing may need to be cut !4 inch
smaller or wider, to prevent it from rolling to
Facings also provide support for the area
being finished, and choosing the appropriate
stabilizer for the fabric and the garment area-
being faced is of the utmost importance. Refer
to Chapter 3, "Introduction to Stabilizers." The
facing should lie flat; a bulky, rippling edge is
not attractive!
Several steps contribute to the success of a
facing: grading the seam allowance to reduce
bulk; clipping into curves; trimming away
excess seam allowance; and, very important,
understitching the facing to the seam allowance
to prevent it from rolling to the outside of the
garment. Design students often omit this step
to savetime,resulting in afacingthat keeps roll-
ing to the front of the garment-an unfortunate
detail that speaks of novice sewingskills. Don't
worry, with practice your work will achieve
professional quality.
A decorative facing is a piece of fabric that
is attached to the raw edge of a garment to
finish that edge, but turned to the correct side
of the garment, functioning as a trim as well
as a facing. Facings that will be turned to the
outside of the garment should be cut about !4
inch to '/r inch larger at the outer edge of the
facing to allow for the turn of the fabric at the
seamline. The weight, bulk, and texture of the
fabric for the decorative facing should be con-
sidered when determining how much larger to
make the facing. Excellenttrimming and grad-
ing of the seam allowances also contribute to
the flat turning of the decorativefacing.
All facings should have beautifully finished
edges when not attached to a lining. The edge
finishes should contribute to the flatnessof the
facing. Several choices to consider are zigzag
stitched, serged, clean finished, or a Hong
Kong finish, or using the interfacing to "face"
the facing. Samplethese types of finishesin the
fabric of the garment to determine which is the
most suitable. Refer to Chapter 6, "Seams," for
additional information.
NOTE
When pressing, a ridgesometimes occurs on
the front of the garment from the seam finish
if it istoe bulkyfor the fabric, or from serger
threads ifthat isthe seamfinish used. Using
strips of brown peper bagbetweenthe facing
edge and the garment reducesthis effect.
If this ridgecontinuesto appearon the gar-
ment front. consider usinga different edge
finish that isflatter and smoother.
The Three Major Types of Facings: Shaped,
ExtendedlSelf-Facing, and Bias
What type of facing goes where?Which facing
to use depends on the style and design of the
garment, the purpose and use of the garment,
how the garment will be cared for, the type and

Professzonnl Sewing Technzquer for Derigne,~
12.2b), and the combination facing called all-in-
BACK CUT 2
one, which is a one-piece facing for the neckline
and armhole (Figure i 2 . 2 ~and d). A keyhole/
slashed neckline facing (Figure 12.2~)has a slit
FRONT CUT 1
I- atmaythecontinueneckline,aroundoften intheanecklinecontrastiilgto finishcolor.it,Biasor
sotnetimes a collar is added. A shaped hem such
as scallops (Figure 12.2f), or any other shape,
would also be faced and the facing piece would
match the shape of the hem, such as the sleeve
shown in Figure 12.3b. The waistline of skirts
and pants can be finished with a shaped facing
(Figure 12.2g).
Extendedlself-facings are facings cut in one
piece with the garment. The edges are cut on the
straigllj grain, and the facing is folded back to
the inside of the garment (Figure 12.3a).The ex-
tended facing could be turned to the correct side
of the garment to utilize a contrastingreverse side
of the fabric; however, the stabilizer then has to
be applied to the correct side of the garmeut. It is
critical to transfer the markings and to interface
FRONT CUT I
appropriately for the type of closure that will
be used. Extended facings are used at fronts and
backs of garments. Plackets lap over each other
and are extensions of the garment that allow for
the placement of buttonholes, snaps, or other
weight of the garment fabric, and the coilstruc- closures (Figure 12.4a). Plackets are found on
tion methods being used. The garment dictates sleeves with cuffs and center fronts of polo-style
the type of facing to use: a sleeveless garment shirts or blouses. (See Chapter 13 for additional
uses an all-in-one facing, whereas a garment with styles of plackets.) Jackets use concealed plackets
sleeves uses a neckline facing at the neck only. in one or two-piece styles (Figure 12.4b).
Shaped facings (Figure 12.2) match the Bias facings are flexible and easily shaped.
area they are being sewn to, such as necklines The bias facing can be pressed to match the
(Figure 12.2a), sleeveless armholes (Figure shape of the area it is being applied to by indi-
cating the bias on the pattern piece. Bias facing
ca? be used to replace bulky fabric or fabric that
would be irritable against the skin. Using bias is
particularly useful when working with sheers,
where a wider facing would be too visible. Bias
can be applied to any edge, and the student de-
signer can determiile what width best suits the
garment. Bias can become the focal point of a
garment when it is turned to the front and addi-
tional trimmings, such as raw edge trims, cord-
ing, piping, or braiding, are added. This is one
of Chailel's stylistic signatures.
A cowl is a neckline finish that is self-faced
(Figure 12.3~).It is cut on the bias and drapes
back onto itself. The entire garmeut piece can be
cut on the bias, such as the fronr of a blouse, or a
sectioil can be cut on the bias to create the cowl
and inserted into a garment such as in a dress.
Stitching the Facings
Before stitching most facings to the garment, the
facing pieces must be sewn together; appropriate
stabilizer must be applied, whether it is fusible or
sewn in; and the edges must be finished.
Transfer all the markingsto the facing pieces and
stabilizer.
Staystitch the edge of the seam allowancethat
will join the garment (Figure12.5a).Check the
cut edge ofthe facingwith the pattern piece
to be sure that the edge matches the original
measurements.
Match the seamline notches of the facingscare-
fully. Smooth, continuous edges are especially
important in the curved areas of the facing.

I
12.4A TWO-PIECE
SHAPED PLACKET
Facings: Encasing Unfinished Edger
~-~~ ~~~ ......~ ~ ~ ~ . . . ~ ~ ~ ~..... ..
HANDBASTE'
12.SC COWL WITH SELF-FACING
12.48 ALL.IN.
ONE PLACKET

Sew the facing seam allowances together; press.
Sew the seam allowances of the fusible interfac-
ingtogether; finger-press open. Trim seam allow-
ances to %inch (Figure 12.5a). If usinga sew-in
stabilizer, carefully trim away the seam allow-
ance after it has been stitched to the facing. Refer
to Chapter 3. "Introduction to Stabilizers." The
method as shown in Figure 3.20 would be more
cost-effective in production.
Usinga pressingcloth, fuse the stabilizerto the
facings.
Finishthe edge of the facings with an appropriate
finish (Figure 12.5b).
Finishing Off Facings
Facings finish off the edges of garments; how-
ever, the facings themselves must also he fin-
ished. The garment should alwayslook as good
on the inside as it does on the outside. There
are many ways to finish the edges of the fac-
ings. Also refer to Chapter 6, "Seams," for fur-
ther details.
Edge Finishes
The garment fabric being used in the design is
the firstconsiderationinhowto finishthefacing,
followed by how it was stabilized. The goal of
I IMPORTANT
I
Sornplr'allul the choices av.nilabl<, lor finisfl-
ing the facing ~ d ~ ein unde#lo find l h r bcsl
O I I ~ .Lumpy. ridged facings drtt.lc1 from thr
finished look of the Sarrnrnl.
I
the facing is to be flat and smooth, so whatever 12.5A TRIM SEAM ALLOWANCES
finishis chosen, it must enablethis coal., -
If the fabric is firmly woven but bulky,
simplycut the edge,and stitch a straight
stitch % inch from the edge.
Edgestitching the facingedge is suitablefor
lighter-weightfabrics; however,the straight
stitchingof this techniqueis somewhatdiffi-
cult along curved edges if not carefully sewn.
If the garment is not lined, use the elegant ........
Hong Kong finish to completethe edges of
[ING
any exposed facings or seams.
A luxurious, contrasting fabric can add a
touch of interest to the inside of the garment
when using the Hong Kong finish. (Referto
Chapter 6, "Seams," and Figures 6.33a and
b. The Hong Kong finishhas been used to
finish the edges of a partially lined coat in
Figures 16.25~and d.)
Bias-cut fabricdoes not ravel-thus no fin-
ishing is required on the edges-but it can be
edgestitched, serged, or have a Hong Kong
finish.
Using a serger neatly cuts off the raw edges
of the facingwhile finishing the edgewith
thread. Careful control of the facing as the
'SERGED EDGE
72.56 SERGE0 FACING WITH FINISH
curved edges are guided under the presser Prepare the facing,sewthe pieces together,
foot and blade is needed for a professional prepare the fusible interfacing,and sew the
finish. pieces together, as discussed above.
With the correct sidestogether, sew the
%cingn the Facing with Ftlsible Interfacing fusibleinterfacingto the facing at the outer,
When using fusible interfacing for the facing, curved edge,using a %-inchseam allowance.
try this method of "facing" the facing, which Sew carefully and evenly to create a smooth,
produces a smooth, flat finished edge: even edge. The bumpy (resin)side of the

Facings: Encasing Unfinished Edges 319
~ ~~~ ~ ~
~ ~ ~ . . . . . . . . . . ~ ~ ~ ~ ~ ~.~~~~~~~~~~~
Securing Facings to the Garment
12.1 UNDERSTITCHING THE S E A M
fusible interfacingwill be faceup(Figure ALLOWANCES TO THE FACING
Therearethree ways to securefacingsto the gar-
* Turn the facingand interfacinginto each ment-understitching, to~stitching,and stitch--
other, and press the %-inchseam allowance ing-in-the-ditch, described below.
only,fusingtogether the facingand the inter-
facingat the seamallowance only.
Smooth the fusibleinterfacingover the
wrong side of the facing; the fusibleinterfac-
ing will extend beyond the upper edge by
approximately '/8 inch.Trim away any excess
beyond that (see Figure 12.6).
Using a pressing cloth, fuse the interfacingto. .
the facing,using a lift-and-press motion that
does not move the fusibleinterfacing.Be sure
that no lumps or bumps of fusibleinterfacing
areformed while pressing.
Finishing Facings with Linings
Facings finished with linings are not treated
with anedgefinish.Instead, they aresewnto the
lining as detailed in Chapter 16,Figure 16.12.
STITCHING 118..
SEAM ALLOWANCE
12.6 S E W I N G THE FACING A N D FUSIBLE INTERFACING
TOGETHER FOR "FACING" THE FACING
Understitching
This techniqueisused to keep & i s fromrolling
out to the front of the garment.It also gives a firm
edgeonwhichtoturn andpress thefacing,preven
inganyofthefacingfrombeingvisiblefromthefront
of the garment.A crisp edge,withoutany stitching
orfacingshowing,is thehallmarkof finesewing.
When the facing is sewnto the garment, the
seamallowancesare clipped to allow the
sewn edge to spread to match the shape of
the garment (Figure 12.7).
Clip approximatelyeveryl/i inch; if thefabric
isvery bulky,clip more often, suchas every !4
inch.
Press the seamallowancestoward the facing.
Sewthe seam allowancesto the facingap-
proximately l/s inch from the seam.
Turn the garment right sideup and stitch
slowly (see Figure 12.7).
Turnthefacingto the insideof thegarment.
Rolltheseamslightlyto thefacingside, and
press.
Whipstitch the facingsto the seam allow-
ances,being careful to stitch only through
the seam allowancefabricand the facing
(Figure 12.7).
Topstitching
Topstitching is a technique that can be used to
hold the facingto the garmentin place of under-
stitching, or to hold a decorative, shaped facing
turned to the front of the garment. The use of
this stitching technique depends completely on
the fabricand style of the garment.Topstitching
can be an important design elementin itself,and
requires careful, accurate stitching to be suc-
cessful, as shown in Figure 4.la. It is a designel-
ement that calls attention to the area where it is
sewn, so if straight stitching has not been mas-
tered, save this technique for later designwork.
Refer to Chapter 6, "Seams," for more informa-
tion on stitching angled, curved, and circular
topstitched seams.
Stitch-in-the-Ditch
Stitching-in-the-ditch is a technique used to
secure facings and hold edge finishes such as
bindings in place, as shown in Figure 9.6~.A
zipper foot allows the needle to get close to the
seam well and provides an easierview of where
the stitchingis going.

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Shoulderor side seam stitching-in-the-ditch
requires that the facingand the garment line up
exactly at the seam. If they don't, because of in-
accurate sewing, using this method will result
in twisted facings with unattractive pull lines
on the front of the garment.
the facing to the garment by stitching
machine,through both at the seamlines
(Figure 12.8).
Thestitchingmust be doneexactlyin thefront
seamlineif thismethodisto be invisible.
SHAPED FACINGS
The facing that finishes the edges of garments
must match the shape of the area of the gar-
ment to which it is being stitched and also be
MACHINE STITCHING
-E-DITCH
,"*DERsTITC"I*G
12.8 S T I T C H I N G - I N - T H E - D I T C H
cut on the same grain. The width of the facing
is determined by the type of o&ning or edge
of the garment, usually2 inches wide plus seam
allowances, but this can vary depending on the
garment and fabric. On very narrow shoulder
straps, an all-in-one facing can be as small as %
inch. The student designer can best determine
thewidth that isneeded to support theareabeing
faced, remembering that the facing is meant to
be invisiblewhen turned to the insideof the gar-
ment. A decorative facing can be of any size or
shapewhen turned to the outside of the garment,
becoming an important design element.
The facing pieces can be cut from the gar-
ment fabric, depending on the weight of the
fabric, or from lining fabric.
Stitching the Facing to the Neckline
When the facing is finishing the edge of a skirt,
pants, dress, or jacket, the zipper is usually in-
stalled before the facingis applied (Figure12.9).
With the correct sidestogether, match the
notches of the facing to the necklineand the
shoulder seams;pin.
Stitchthe facingto the neckline.
Press the seam allowance,melding the
stitches.
Trim and gradethe seam allowance,leaving
the edge next to the garment the longest.
Clip into the curved areasup to !hinch from
the seamline, allowingthe curved areas to
spreadwhen the facing is turned.
Trim diagonallyacross any corners in the
seamallowance to reduce bulk.
12.9 S E W I N G T H E F A C I N G T O T H E N E C K L I N E
CENTERED TIPPER
"'" "",GRADE
INTERFACEDFACING
Understitchthe seamallowances to the facing.
Turn the facingto the inside of the garment;
press.
Turn under and slipstitchthe center-back
edges of the facingto the zipper tape (see
figure 12.14d).
Securethe facing edges at the shoulder seams
with whipstitch or stitch-in-the-ditch.
Stitching the Facing to the Armhole
The shoulder seams of the garment are stitched
before the armhole facings are applied. The
steps are the same as those listed above, except:
The facing can be sewn in the flat method
of construction; that is, the side seam is left
nnstitched and the facingis stitched to the
garment while the sideseamsare still open
(Figure 12.10a).
After the facinghas been stitched, the side
seams and the facingare stitched in one con-
tinuous seam (Figure 12.10b).

12.1OA SIDE SEAMS FLAT APPLICATION
A
12.108 FACING UNDERSTITCHED
FACING
UNDERSTITCHED,
Or, the garment and the facings are bot~x It's usually used for sundressesor other sleeve-
stitched at the shoulder and side seams less, low-cut garmentsand may be used for high
(Figure 12.10~)and the facingis stitched to necklines as well. This facing is turned to the
the garment in-the-round (Figure 12.lOd). inside of the garment by pulling it through the
shoulder seams, which are left unstitched for
All-in-One-Facing or Combination Facing this purpose.
This facing is used to finish the neckline and
,/?.armhole edges at the same time. The all-in- i A 1 interfacing to facing(Figure 12.11b).
,+?P
one facing is used in areas of garments where titch the underarm seams of the garment.
separate facings would overlap and be bulky. Press open (Figure 12.11a).
Z2.10C STITCHING THE
ARMHOLE IN-THE-
ROUND
12.100 ARMHOLE
FACING STITCHED.
TRIMMED

down between the facingand the garment.
Neckline and underarm sections of the facing
Seamfinishesshould be completed before will automatically turn in to the wrong side
beginningthe stitching. (see Figure 12.12b).
Stitch the garment shoulder seams.
Trim the seam allowance to !4 inch and trim
Do the samefor the facing (Figure 12.11b). the ends of the seam away on the diagonal;
Trim the seam allowances of the armhole press (see Figure 12.13a).
facingedges '/s inch so the facing is smaller Whipstitch at the shoulder seam, or stitch-in-
in width. This ensures that the facing rolls to the-ditch (Figure 12.13b).
the inside after stitchingand does not show
on the front of the garment (Figure 12.11b). Waistlines
The shoulder seams are left unstitched (see Faced waistlines are finished with an edge that
Figures 12.11a and b). rests on the natural waistline. The waistline
Fold back the shoulder seams of the facing; facing may be a shaped facingof an average fin-
press (Figure 12.12a). ished width of 2 inches that corresponds with
Stitch the facing to the garment with correct the shape of the waistline. Grosgrain ribbon,
sides together. Begin and end the stitching also known as Petersham, can be used to face
!4 inch from the ends of the shoulder seams. and finish the waistline.
This must be accurate!Match the garment
edges to fit the smaller, trimmed facing edges Staystitchthe waistline edge to prevent
(Figure 12.12a). stretching (Figure 12.14a),and/or stitch twill
Trim and grade the seam allowance,leaving tape over the waistline seam to prevent it
the edgenext to the garment the longest; clip from stretching (Figure 12.14b).Using twill
the curve (see Figure 12.12a). tape at the waistline produces a firmer edge
Press the seamsopen, then press the seam than just staystitching.
allowancestoward the facing.
Understitch the facing to the seam allow-
ances as far as the presser foot will go up tabilize the facings(Figure1z.lqa).
into the curves. This can actually be ac- @Stitch the facingpieces together; press seams
complished,but it takes careful sewingand open.
patience (Figure 12.12b). Finish the edges of the facingsappropriately,
Turn the facing to the inside of the garment unless a lining is beingattached (seeFigure
NOTE
Using loo percent polyestertwilltape to
keep the seam fromstretchingreducesthe
bulk in the seamline.This tape is readily
availablein fabricchain stores as wellas
online. Press thetwilltape usinglotsof
steam to removethe packagingwrinkles
before using.
Staystitchthe garmentwaistline (Figure12.14a).
With the correctsidestogether, pin thefacings
to thegarmentedge, matchingnotchesand side
seams(see Figure iz.iqb).
Pressthe seam flatdirectionally,as stitched.
Trim, grade, and clipthe seam allowances.
Pressthe seam allowance toward the facingand
understitch (Figure12.14~).
Turn the facingtotheinside of the garment, roll-
ingthe seam slightlyto the inside,and press.
Tack the edgeof thefacingdown at the seams
and darts.
Turn undertheends ofthefacingand slipstitchto
the zippertape, keeping the edges ofthe facing
freeofthe zipper coils (Figure12.14d).
Facings for Sleeves
A self-fabric, turned-back facing(alsoknown as
a hem). A shaped facing also produces a plain,
finished edge, whether it's cut all-in-one or it's
a separate piece (see Figure 12.3b). In general,
sleevefinishes are easierto sew before the sleeve
has been stitched to the garment.
by pulling the ends of the shoulder seams 12.14a).

12.11A STITCHING THE GARMENT UNDERARM SEAM
118" curorr A R M H O ~ S
TO MAKESHOULDERSSM4LLER
SHOULDER SEAMS UNSEWN

CUT OFF
A
SERGE FINISH
12.118 STITCHING THE FACING
UNDERARM SEAM SIDESEAM
Factngs: Encasing Unfinzshed Edges
INVISIBLE
ZIPPER
L MATCH THE TRIMMED FACING EDGES TO
THE GARMENT EDGES.
1Z.laA GARMENT SHOULDER
SEAMS SEWN
- / Dvra*r*o nma
I
- ~ ~
, ~ * ,,. ~"
. ~ ~.
- ~
IIVISISLI
gg'i,
12.138 WHIPJTITCH THE FACINO AT THE
12.128 PULLING THE SHOULDER S6AMS THROUGH
SHOULDER SEAM, OR S7ITDH.IN-THE-DITCH AT
SHOULDER SEAMS AND SIDE SEAMS.

~ ~ ~~~ ~~~~ ~~ ~ ~
12.14A WAISTLINE
SHAPED FACING
12.148 MACHINE-
STITCHED TWILL
TAPE
DART STITCHED

SERGED FINISH
Decorative Shaped Facings Turned
to the Outside
Facings turned to the outside of the garment
still function as facings; however, this technique
provides the designer with a multitude of deco-
rative opportunities. When used in this manner,
the facingbecomes an importantdesignelement,
limited only by the designer's imagination. A
decorative facing can be made from contrasting
fabric,such assuedeor leather on tweed,or satin
12.1aC UNDER-
STITCHING FACING
SLIPSTITCH
ERSTITCHING
on denim. It can be made from faux fur, the re-
verse side of the garment fabric-the list is end-
less. The steps used to apply the shaped facing
to the outside of the garment are the same as
thoselistedabove,but keep in mind that they are
stitched the oppositeway.
A facing turned to the outside of the garment
should be cut slightlylarger (!! to '/I inch)
to allow for turning it over the seamallow-
I 12.14D FACING
SLIPSTITCHED TO
ZIPPER TAPE
ances, especiallywith fabrics that are of a
different weight or texture than the garment.
When using a heavier fabricthan the gar-
ment itself, the type of interfacingbeing
used to support this area needs to be consid-
ered. Refer to Chapter 3, "Introduction to
Stabilizers."
The edges of the facingare finishedand
stitched to the garment.
The facingareaprovides endlessopportunities

NOTE
A thread chain is easily made by sewingover
fourto sixstrands of matchingsewingthread
with a zigzag stltch,asshown in Figure
9.15~.Simply hold the strands of thread taut
while guidingthem under the presserfoot,
allowingthe zigzagstitchingto catch allthe
threads. Adjust the length to forma loop to
fit the button.
for embellishmentsuch as piping, braid, trim, and button typically close this opening. The de- Slashed Facing
ruffles, and more. signer can place a keyhole opening on the front A slashed facing is a finished opening in a gar-
* The shape of the facing can mimic an element or back of a garment. Keyhole openings are ment section that can be functional, decorative,
of the fabric if it is a print, or it can introduce sometimesused decorativelyon sleevesas well. or both. When the facing is turned to the inside
another shape that becomes the focal point of of the garment, it is functional. When the facing
the garment. is made of a contrasting fabric or grainlineand is
Tr nsferall markingsontothe stabilizedfrontand turned to the outside of the garment, it is func-
KEYHOLE AND SLASHED ackfacingpieces, and notch the centerfront of tional and decorative.A slashed facingis used on
OPENINGS
0thegarmentwherethe facingwillbe sewn. sleeves and necklines where no seam is planned;
The neckline is a key fitting area of a garment. .Staystitchthe openingon the back facing. 1 2 . 1 5 ~POSITIONING
A properly fitted natural neckline should lie Stitchthe bias loop together, and place the loop THE BIAS LOOP
flat and smooth at the base of the neck, with- alongthe previous stitchingline; stitch (Figure
A
out pulling, gaping, or riding back on the neck. 12.15a).
The neckline facing should duplicate the shape .Stitchthe garmentfront and back shoulders
of the garment opening and lie flat and smooth togetherand press.
after stitching. The directions for three types Stitchthe front facingto the back facingat the
of neckline facing treatments follow: keyhole shoulderseams; press.
openings, slash,and plackets. Clean finish the edges ofthe facings. With the
correct sidestogether, pin the facingtothe gar-
Keyhole Facing ment, matchingthe notches at shoulderseams,
A keyhole facing is a neckline opening that centerfronts,and center backs.
allows the garment to fit close to the neck yet Begin stitchingat the shoulderseam, stitching
still be pulled over the head. A self-fabric bias alongthe back neck, and sewingover the previ-
loop, as shown in Figure 17.19, or thread chain ous staystitchingonthe keyholearound the
neckline to the startingpoint atthe shoulder.
Trim, grade, and clipthe keyholeand neckline
curve (Figure12.15b).
Understitch the facingto the seam allowance;
turn thefacingto the insideof the garment;
press.
Edgestitch around the keyhole; sewa button at
the neckline oppositethe loop.
Securethe facingsat the shoulderseams
by machinestitching-in-the-ditchor hand
tacking.
12.158 KEYHOLE FACING: STITCHING
THE OPENING I N THE FACING
FACING STITCHID-IN-
THE-DITCH AT SHOULDERBEGIN
STITCHING WERE
CORRECT SIDE
D I tLiRMEllT

o n garment edges that meet rather than over-
lap; o n lower hem edges o f blouses, skirts, and
shorts t o allow ease; upf r o m hemlines for a split;
o r as a decorative design detail. The facing lies
flat against the garment section and can be top-
stitched t o add a design element. The functional
slashed opening facing is stitched as follows.
Markthe stitching and slash lines on the wrong
'ide of the garment and the facing (FigureC12.16a).
Stitch the garment sections together at the
shoulder seams.
Stitch the front and back facings together at the
shoulder seam.
Clean finish the edges of the facings.
With the correct sides together, match the
notches and pin the neckline edges ofthe gar-
ment and facings (see Figure 12.16a).
Beginningat a shoulder seam, stitch the neckline
seam edge to the slash lines; pivot and shorten
the stitch lengthto 1.5.
Stitch down to the point ofthe slash lines, pivot,
sew two stitches across to the opposite side of
the slash lines, pivot, and continue stitching up
to the neckline seam edge, around to the starting
point.
MOTE
Understitchingmay not be possibleinthe
slash area.
Slash the neckline open between the stitching.
trim the corners at the neckline, and clip into the
corners at the bottom pivot points.
Placea pin at the point to keep from cutting
through the stitching.
Trim, grade, and clip the neckline seam allow-
ance; turn the facingto the inside of the garment;
press.
Understitch the facingto the seam allowances as
shown in Figure 12.16b.
Whipstitch the edges ofthe facing at the shoul-
der seams, or stitch-in-the-ditch by machine (see
Figure 12.16b).
12.16A SLASHED OPENING FACING: FACING WITH
CLEAN FINISHED EDGESTITCHED TO GARMENT
I
~ ~ ~ Y ~ ~ ~ ~ ~ ~ ~ V
NOTE
Taking two stitches across the bottom of the
slash point helps to turn a crisp point and
keep the facing flat below the point.
Decorative Slashed Opening
A decorative variation o f the slashed neckline
opening places the facing o n the correct side o f
the garment. The facing is cut f r o m a contrast-
ing fabric or, if the fabric is a stripe o r a plaid,
the facing can be cut t o runinthe opposite di-
rectiono r diagonal t o the garment fabric.
The stitching order follows the same order as
for the slashed opening above.
Turnthe facing t o the correct side of the gar-
ment and understitch as far as possible; press.
Edgestitch the pressed outside edge o f the
facing t o the garment (Figure 12.17), using a
matching o r contrasting thread. 12.lhB FACING SLASHED. TURNED

..........~.~~ ~ ~ ~ ~ . . . .
Placket plaids, stripes, o r print patterns when a visibl
A placketis a finished openingina garment sec- closure would interrupt the design. At the neck
tion. Plackets are used o nfront o r back neckline line, the placket can be sewn w i t h o r withou
openings instead o f a zipper. A placket can be closures and with o r without collars. A placke
made o f t w o finished strips o f equal width ap- can be both functional, byproviding a finish t,
plied t o a garment opening o f any length (see an opening, and decorative, enhancing the gar
Figure 12.4a). The two strips overlap, and the ment opening w i t h contrasting color, fabric, o
top strip is visible o n the correct side o f the gar-
ment. The same result can be achieved using an
all-in-one facing, as described in Figure 12.4b.
A concealed front placket can be constructed
f r o m this method as well, and is used in high-
end garments at the center front, o r o n the
back. This is especially effectivewhen matching
12.17 DECORATIVE SLASHED FACING
shape. Plackets are found o n sleeves and at nec.
openings, as well as on skirts, pants, o r short:
Refer t o Chapter 13, Figure 13.4, for detaile,
sleeve information.
All-in-One Placket
Press, rolling the seam slightly to the inside.
hat don't ravel, or finish the seam
construction ofthis method.
Prepare facing and interfacing; transfer all mark-
ings to facing and mark the center front of the
garment (Figure 12.18a).
Presseach side edge of the facing under % inch.
With the correct sides together, pin the facing to
the garment front, matchingthe neck edges and
the center-front placement line on the facing and
garment.
Usinga short stitch length, 2.0 or1.5, begin
stitchingat the top ofthe neckline along the
marked stitching lines for the slash (see Figure
12.18a). Stitch to the point, pivot, stitch two
stitches across the bottom, pivot, and stitch up to
the neckline (Figure 12.18a).
Cut down the center of the slash and into the
corners (see Figure 12.18a).
Turn the facing to the wrong side of the garment
(Figure 12.18b).
NOTE
A band becomes a placket when two bands
are stitched together at one end to create
an overlap. The other end of each band is
left unsewn, as an opening into the garment
section. Thedecision as to how the end of the
band is finished is up to the designer. Some
typical finishes are facings, collars, shap-
ing, and sewingthe end closed, or using bias
bindingto finish the entire neckline.
Fold and press the facings so that center fronts
match and each facing is Iinch wide (Figure
12.18~).
Edgestitch alongthe pressed edge of the facing
on the inside of the right-hand facing only (see
Figure 12.18~).
Position the neck edge finish, such as in Figures
i1.5e and f; stitch.
Fold the facing extensions, with correct sides
together, over the neck edge finish, and stitch in
place (see Figure 12.18~).
Turn the facings to the inside ofthe garment and
press.
Edgestitchthe left-hand side of the facing, catch-
ingthe pressed edge on the underside, or stitch-
in-the-ditch.
.Place the faced front in the overlapped position.
and press.
Fromthe correct side ofthe garment, stitch
through allthe layers on the lower end, forminga
square to hold the ends of the facing in place.
Lift the front of the garment and trim the facing
ends to 5inch.

12.18C FACING TURNED BACK TO INSIDE
....................................................
.
.;' s> :;>.*:l:.<<.?. ~--=-?? ~
. . ~ , ,
'* *8B FACING PRESSED UNDER % INCH
NOTE
The buttonholesare machinestitched verti-
cally on the shirt placketor band, as shown
inFigureti.rc.
the garment front. Machine buttonholes are
stitched t o the extension before folding the
facing and the underlay t o the wrong side o f the
garment. The buttonholes are concealed behind
the fold, which is held inplace withstitching.
Stitch or serge the placket tabs together very
carefully (Figure 12.i8d)-you don't want to ac-
cidentally catch the garment front in the serger or
cut a hole in the fabric!
Concealed Front Placket
A concealed placket is actually a double-folded
extended interfaced facing o n the right side o f
arkand stitch the buttonholes on the extendedL?q a c i n g a s shown in Figure 12.lga.
Fold back the extended facing once, and stitch at
the neckline and the hem; clip, turn, and press.
Stitch the shoulder seams together, place and
stitch the neckline facings (Figure iz.lga).
Clip, understitch, and press.
12.18D STITCHING THE
PLACKET TABS
POSITION OF
SERGE BACK PUCIET OPENING
PUCKET TABS

..... .. . ~ ~~~~~~~ ~
NOTE
Do not pressthe foldline of the facing until
after it has been stitched to thegarment.
garment.
Turn and press the fold at the center front edge
(Figure 12.19b).
Bastethe concealed placket down the middle of
the facing; machine stitch through all layers (see
Figure12.1gb). which securesthe facing and hem.
Pressthe facing section with buttonholes over
to the center front.
Invisibly slipstitch the facing edges to the neck-
line (see Figure12.1gb).
Handtack the sections of the facing at the but-
tonholes to the garment front to reduce stress
and keep the facing flat.
EXTENDEDISELF-FACING
An extendedhelf-facing is cut in one piece
with the garment and folded back t o create the
facing. It is used insteado f a seamfor edges cut
on the straight-of-grain. The foldline reduces
bulk at the center front o r back. This type o f
facing is found o n blouses, jackets, and gar-
ments without collars.
tabilize the facing area of the garment (Figure
Transfer the markings at the center-front or -back
foldlines.
12.19A CONCEALED PLACKET 12.195 CONCEALED PLACKET
I
/ CLIP HEM UPTO FACII6
FINISHED ED61
Attachadditionalfacingsectionssuchasthe back
neckfacingbeforestitchingthefacingto thegarment.
Clean finish or serge the facing edges.
Bound buttonholes should be stitched in the
front of the garment before the facing is turned
back. Machine-made buttonholes are stitched
afterthe facing is in place.
IMPORTANT
Crisp edges. sufficient support, and flat,
smooth facings are details that strongly
contribute to the success of a garment. Refer
to Chapter 3, "Introduction to Stabilizers," to
determinethe correct weight and support for
the facing. Samplefirst!
sTmH FC~(~GTO IECKLIWE.
CUP 8 U I D E W I r C N
MACHI"E.MAD
BUTTONHOLES

EXTENDED
FACING
I
I
12.20A STABILIZING A
H
i FACING
CENTERS ARE SAME LFNBTH
SIIOULDERSWMS U M L LLWWH
/ =ORNERS
~ . . ~.......................................... . .........
Two-Piece Facing
Thefacingisconstructedin separatepieceswhen:IMPORTANT
Sloppiness in seamingan extended facing
is very noticeebleon the outside of the gar.
ment; it is rosy to see if one neckline edge
is longerthan the other. 71kotime to be
accurate.
Before clippingthe neckline corner, turn the
.INTERFACING
facing to the wrong side ofthe garment and
check that the front edges are exactly the same
length from the top corner edge to the bottom
edge (Figure 12.2ob).
Check that the distance from the shoulder seam
to the front corner point is the same on both
sides (see Figure 12.20b).
Turn the facingto the correct side of the garment
alongthe foldline.
Stitch the neck seamline, trim the corners, grade
the seam allowances, and clip alongthe curves.
Understitch the seam allowances to the shaped
back necklinefacing between the shoulder
seams and as far toward the center front as the
presser foot will fit (Figure 12.7).
Press; considertopstitchingthe edges in match-
ingor contrastingthread.
The fabricyardage is more economicalin
production.
A contrastingfabricwill be used as a design
detail or some type of trim or piping will
be sewn to the garment edges. In each case,
12.208 MATCHING THE UPPER EDGES O F A N
EXTENDED FACING
Two-Piece Facing for Garment
without a Collar
A garment without a collar can be faced in sev-
eralways. Anextendedkelf-facingcanbeused 01
a separate two-piece facing can be constructed.
Each method uses the original pattern piece ta
createthe facings.
separate facingpieceswould need to be
drafted for the center-front and center-back
neck facings.
The facings are turned to the front as a deco-
rative detail, such as using a contrasting
color or texture of fabric. Additional
trims or piping can also be added to the
edges.
Garments with collars, and tailored jacket fac-
ings with notched collars, are covered in detail
in Chapter 11, "Collars."
NOTE
Boundbuttonholes must becompleted before
the facing is applied. To create a functional
buttonhole opening in the facing, a small
windowwithin the facing is created that
is durable, flat, and smooth. The shape of
this window is determined by the size of the
buttonhole, and the typeof buttonthat will
be put through the buttonhole. Bound but-
tonholes are covered in detail in Chapter 17.
"Closures" (Figure 17.13).

. . . . . ~ ~ ~ ~ . . .~ ~~~~~ ... ~ ~ ~ . . ~.... ~~~~ . . . ~ . ~ . . ~~~~~~ ....
Constructing a separate cowl stay controls
the drape of the front of the garment at the
neckline. A cowl stay looks like a facing but is
applied to the wrong side of the garment simi-
r to an underlining. Because of the time and
-
Ingedge
is important to the way the cowlwill drape.
Although bias-cutfabric does not ravel, an un-
finished edge may not look good in compari-
son with the rest of the garment finishing. A
fine, narrow edge, finished by hand or by ma-
chine, works best. This can be accomplished
usinga hand-stitched narrow hem (see Figure
15.19) or a serged rolled hem.
)st of the extra fabric used to construct the
ay, it is used in higher-quality garments. As
substitute, a drapery weight or a bead can be
tached at the point of the cowlfacingto facili-
te the drape, particularly at a neckline. Soft,
, ._osely woven fabrics such as crepe, silk, gauze,
rayon, satin, and some knits work best for this
Cowl Necklinc application.
Cowls are folds created by allowing fabric to
fall at desired depths.The decision of how much
15.drape, how deep the foldsare, is made at the pat- ,# Establish the true bias on the fabric and mark the
tern drafting stage and is entirely up to the de- W l d with chalkora thread line.
signer.Theamountof drapeisfurtherinfluenced .To prevent the fabric from slipping as the pattern
by the fabric being used. Cowls are in between istraced and cut, pin itto tissue paper or
two categories: bias, becausethey must be cut on pattern paper. Referto Chapter 2, "Getting Pre-
the true bias in order to drape properly, and ex- pared," and Figure 2.19 for another view of this
tended facings, because the facing is cut in one method.
with the cowl. Placethe pattern onto the fabric and transfer
A cowl can appear in many places within markings and matchpoints (Figure12.21).
a garment; typically, it falls from the shoulder .Markthe foldline of the cowlfacing with hand-
at the neckline, an armhole, or from the waist basting, as shown in Figure12.3~.
of dresses, gowns, blouses, pants, jackets, and Add a I-inch seam allowance to allow for
coats. Cowls are most often cut in one with the adjustments.
garment; however, they can be cut separately as
a fabric-saving decision and set into an area o
the garment. Although placing a seam in thi
area of drape may seem stiff, remember this i
a fabric-driven decision. Refer to Chapter 6
"Seams," for details on stitching a bias seam a1
lowanceto a straight grain seam allowam
Bias is an advanced technique. If this skill
has not been mastered, save this technique
for later design work.
Bias stretches as it relaxes, and the amount of
stretch varies with the choice ofthe fabric; after
cutting. compare the fabric pieceswith the pat-
tern pieces (Figure 12.21).
If addinga stay, stitch the stay to the front and
backof the garment pieces.
Finishthe edge of the cowl facing before con-
structing the garment.
Baste the folds that create the cowl to avoid the
folds slippingwhen stitching.
Stitch the shoulder seams, clippingto the
matchpoint to allow front shoulderto pivot when
stitching (Figure 12.3~).Press seams open and
hand stitch to shoulder seams.
BANDS
Bands are used as a finish for the edge of gar-
ment sections, as an extensionof a garment edge
such as on a hemline of jacket, blouse, sleeve,
skirt, or pants, or applied as decoration on the
faceof agarment. Bands canbe constructed from
woven fabrics on the straight grain or bias, from
grosgrain ribbon and nonwoven materials such
as leather and Ultrasuede. Knit-ribbed bands
purchased by the yard, in prepackaged amounts,
tubular knits cut to a specific width, or knit
yardage can be used to finish necklines, arm-
holes, sleeves, and waistlines on knit or woven
garments. Knit bands are stretched to match the
garmentedgeduring application. Knit bands can
be both adecorativedetail and afunctionaldetail
whenused, for example,inawindbreakercuff at-
tached to a sleeve.Thewidth of the band is deter-
mined by its locationon the garment, the overall
garmentstyle, and the designer's preference.

. . . . . . . ~ .. ~ ~ .. -
72.21 CUTTIUGTHE BIAS COWL
, Determine the type of stabilizer that will Stitch the band hem, turn, and press (Figure
' best support the band and funktion. 12.22~).
Refer to Chapter 3, "Introduction to Pin the basted edge of the band overthe seam
Stabilizers." line; baste (Figure 12.22~).
Without stabilizing, the bands of woven Edgestitch close to boththe inner and outer
fabricwill appear limp and detract from the edges of the band (see Figure 12.22~).
finished look. However, a stabilizer is not
needed forknit bands because they need to Stitch-in-the-Ditch One-Piece Band
be able to stretch. h
Additional trims or piping added to the band /i P /;e the correct sides of the band and garment
should be basted to the band before applica- abric together, leaving the underside of the
tion to the garment.
4band approximately '/ainch longer on the
underside ofthe band; serge finish (Figure
Shaped Edge-Stitched Two-Piece Band 12.23).
Bandsplaced at curved neck areasare sewnfrom Pin the stabilized side of the band to the
two pieces (Figure 12.22a). The front neckline garment.
L' band/front edge band and the shaped backneck Stitch; turn the band to the inside ofthe garment
band are stitched together at the shoulder seam and press.
LIMGTHWISLG~UII before stitching it to the garment. Fromthe correct side of the garment, stitch-in-
the-ditch next to the pressed seamline ofthe
band as closely as possible (Figure 12.23).
upper band section. Stop often, with the needle down in the fabric,
-Press under %inch on the outer edge of the to check that all layers are beingcaught in the
upper band section; baste. stitching.
Bands can be applied using topstitching, With the correct sides together, pin the front
edgestitching, or stitching-in-the-ditch. The band to the back neck band section and stitch Leather and Ultrasuede Bands
first step is to determine the desired width of (Figure 12.22b). Leather and Ultrasuede need no additional
the band. Trim, clip, and press the seam allowances (see finishing to be applied to the edges of gar-
Figure 12.22b). ments. Both materials are suitablefor shaped or
The location of the band on the garment Turn the band to the correct side; press. straight-cut bands.
suggeststhe appropriate width. For example, Turn the garment hem back and stitch.
a band might be 4 inches wide on the wrist, Pin the wrong side of the band section to the cor- Determine thewidth of the trim to be used
but 1%inches on a neckline or center front. rect side of the garment. on the garment.
Thetype of closureat the centerfront or center Stitch the seam and trim. If using leather or Ultrasuede, use a ruler and
back will alsodeterminethe width needed. Pressthe seam allowance toward the band. rotary cutter to cleanly and evenly cut the

12.22A FRONT SHAPED
BAND, BACK NECK FACING
f aBACK NECK FACING
FRONTSHAPED BAND
STITCHINO-IN-THE-DITCH
-12.228 BAND SECTIONS
STITCHED TOGETHER,
SEAMS TRIMMED
TRIMMING /"SAND
1BASTED BAND
EDGE
PRESS 5
ALLOWA
strips, which can be folded in half, or applied
as two separatepieces.
Referto Chapter 3, "Introduction to Stabiliz-
ers." for the a ~ ~ r o ~ r i a t estabilizerfor leather.a . .Apply the stabilizerto the wrong side of one
band (Figure 12.24a).
With the wrong sides together, sew the edges- -
12.23 STITCH-IN-THE-DITCH BAND together along one side to createthe band
(seeFigure 12.24a).
12.22C PINNING &ND EDGESTITCHING
THE SHAPED BAND
Slidethe garment edge into the band.
Samplepinning the bands on a scrap of
leather or Ultrasuede;if holes are made,
secure in place using a temporary adhesive
tape (Figure 12.24b).
Edgestitchslowly and carefully to avoidpleat-
ing or tuckingof the band.

12.24A STABILIZED LEATHER
BAND, STITCHED
... ~..........................................~.~~~~~~
finished width is typical for a mock turtleneck. Divide the circle of ribbing into fourths and pin-
This is the designer's decision. Todetermine the ?ark the quarter divisions (see Figure 12.25b).
length of ribbing to cut for the neckline: The seamline becomes the center back.
Divide the garment edge into fourths and pin-
- ,e * The shoulderseamsfor the front and back mark the divisions.
should be sewntogether.Fold the garmentin Match the ribbingand garment pin-marksto-
half. gether; pin (Figure 12.25~).
Measure the neckline along the seamline, Stitch the ribbingtothe garment edge (with a
standing the tape on its side for accuracy. stretch stitch) with the ribbingfaceup, stretching
Double this amount for the total neck edge the ribbing to match the quarter divisions (see
measurement. Figure 12.25~).
The length of the ribbing for a crew neck or Pressthe seam allowances toward the garment.
mock turtleneck should be two-thirds of the
garment neck seamlineplus % inch for seam Finish the Stitched RibbingEdge
allowance. To finish the stitched ribbing edge, try one ot
To determinetwo-thirds of the neck mea- the follow in^:"
surement, divide the total neck measurement
HIMTURNED-B ~ C K C by 3 and then multiply the answer by 2. Cut Serge the ribbing and seam allowanceto-
12.248 LEATHER BAND the band in paper and fold into three equal gether carefully; avoid catching the garment
POSITIONED ON THE
GARMENT EDGE, parts. Example: using a 21-inch neck mea- into the serging.
STITCHED
surement, 21 2 3 = 7. Next, 7 x 2 = 14,+% Double stitch by sewing a second row of
inch for seam allowance. The total length of stitching '/s inch from the previous stitching,
the ribbing would be 14%inches. stretching all layers while sewing.
Topstitch with a twin needle straddling the
Apply the Ribbing t o the Garment Edge seam allowance, and stretch in^all layers.
Rib Knit Bands at Necklines and Armholes allowanceatthe earment edee isx/.
while sewing.
- - , .
Knit bands applied to the neckline or armhole h I c h . BIAS FACING
are strips of ribbing cut slightly less in length .Sew the ends of the ribbingtogether, usinga Narrow bias facings are excellent for use in
than the necklineor armholeitself. Check the re- ./,-inch seam allowance, forming a circle (Figure curved areasin place of shapedfacings.They are
covery of the rib knit; after stretching, it should 12.zga). usuallynarrowerthanthetraditional facingsand
return to its original length.The best rib knits to Finger-press the seam allowance open, and with are inconspicuous on sheer fabrics. Bias used as
usefor curved areas are thosewith 50 to 100per- wrong sides together, fold the ribbing in half a facingis both functional and decorative.In its
centstretch.A 1-inch-widefinishedrib knit band lengthwise, matchingthe cut edges together
is typical for a crew neckline, while a 2%-inch (Figure 12.25b).
functional purpose, it encases and finishes raw
edges, stretching to fit the area it is being sewn

NOTE
The ribbing band seam matched to another
seam is moreaesthetically pleasing.
OPEN SEAM
>.251 STITCHING T H E RIBBING INTO A C I R C L E
SEAM
12.258 LENGTHWISE FOLD O F RIBBING
12.25C DIVIDING. MATCHING. AND SEWING
RIBBING TO THE GARMENT EDGE
to, such as curves at a neckline or armhole. As
a decorative technique, bias can provide a con-
trasting edge finish as a binding or Hong Kong
finish, be manipulated as a surface embellish-
ment, as well as become piping, cording, or raw
edge ruffles. Bias-cut fabric does not ravel and
can reduce bulk and eliminatethe need for edge
finishes. A bias facing can be finished by hand
sewing, topstitching, or stitching-in-the-ditch.
Biasstripscutfromthegarmentfabricprovide
an exactmatch, ensuring that the bias facingwill
not be noticeable. There are other advantages to
making bias strips from the garment fabric: the
designer determines the width of the bias strip;
only a small amount of the garment fabric is re-
quired to make a generous amount of bias yard-
age; and any yardage not used for the current
design can be utilized in laterdesigns.Bias strips
canbe cut andsewntogetherindividuallyorthey
can be configured to be continuous strips.
Making the Bias Strips for Facings
A bias facing must always be cut on the true
bias. A true bias is the 45-degree angle of a
square. Refer to Chapter 2, "Getting Prepared"
and Figure 2.2. Even though cutting fabric on
the "near bias" would save fabric, never do this
because the bias facingwill not lie flat.
-First determine the total width of the bias
strip, including seam allowances.When ap-
plying the bias facing, a seam allowanceof %
inch is usually standard.
Example:using a 1-inchbias facing,you will
need %-inchseam allowanceto sewto the
garment edge, and another %inch to turn
under the raw edge; 1+% +% = 1%-
inch-wide bias strip. This is a good width to
use, but the key to successfulbias trim is to
sample!
The width is up to the designerto deter-
mine in conjunction with the fabricchoice,
but cutting 2-inch-wide bias strips allows a
little bit of extra fabricwhen working with
slippery or difficult fabrics, and allowsfor
turning the facingedge to the inside.
Determine the total length of the bias needed
for the facings,which should equal the length
of the edge to be faced,plus 2 inches for fin-
ishing off the ends.
Example: the total of the armhole opening
from side seam around to side seam is 17%
inches plus 2 inches for finishing; 17%+2 -
19%inches.
Always try to use a piece of fabric large
enough to cut the bias strips in one length.
However, some piecing of strips may be
necessary when using a smaller piece of
fabric.
There are two methods of creating bias strips:
the cut-and-piece method and the continuous-
strip method. The cut-and-piece method is best
if only a short piece or ~iecesof bias are to be
used, or if only small pieces or scraps of fabric
are available to make bias strips. Refer to Chap-
ter 6, Figure 6.17, for directions on this method.
The continuous-strip method is the preferred
method for cutting lots of bias strips, but re-
quires a large piece of fabric.

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12.26 SEW SEAM
FOR CONTINUOUS
&'As AND cur THE Begin cutting the strip at one extendingend,CONTINUOUS BIAS
followingthe marked cutting lines for uni-
form width of bias strips (Figure 12.26).
Applying the Bias Facing
Biasfacingscanbevery narrow andprovideanin-
conspicuous finish to a garment edge. Only bias-
NOTE
Hand stitches are very difficult to hide on
a medium- or lightweight fabric. Machine
edgestitchingthe bias facing to the gar-
ment is a good finish if the garment is casual
(Figure 12.27~).
cut fabric can be contoured to go around curves.
Press the bias facing to match the shape of the
edgeto which it is being stitched. Shrinkthe inner
edgeof the bias strip,and stretchthe outeredgeto
match the garment's wider outside edge.In Figure
12.27a, aflounceis added to the necMineedgeand
is finished with a bias strip pressed to match the
CUT CUT necklineandflouncecurve. Thecorrectsideof the
PDLD IW1S C O R W I I " I 0 MATCH
EDGETO ESTABLISH TBUE flounceisplacedagainstthewrongsideof the gar-
PsESSAMO CUTOFF
ment and handbasted. The bias facing is stitched
Using half yard of 45 inch wide fabricdeter- overthe raw edgesof thenecklineand thenturned
mine the true bias, as previouslydescribed. to the correct side and edgestitched (Figure
Cut off the triangle formed at the side. 12.2713). When the flounce is turned to the cor-
Measure and mark the cutting lines the total rect sideof the garment,the edgestitchingremains
desired width. unseen under the flounce. Refer to Chapter 11,
Trim off the triangle left at the other end, "CollarsPfordirectionsonhowto finishtheneck-
making another true bias cut edge. linefor a collarusing bias strips(see Figure 11.5f).
Pin baste the lengthwise ends (straightgrain- To stitch bias facings to an angled edge, miter the
line)correct sides together, letting one width corners as discussedin Chapter 15,Figure 15.23.
of bias extend over at the end (seeFigure In Figures 12.27~and d the bias is appliedto a
12.26). plain round neckline.
Match corresponding cutting lines, being
careful to place apin at each of these points ,exactly. / With the wrong sides together, pressthe bias
Stitch a %-inchseam, creating a continuous /binding in half lengthwise.
round of bias fabric. Open the strip, and fold each lengthwise edge to
If the tube of bias is very narrow, press the form seam allowances, leavingone edge about
seam open using a sleeveboard. %inch longerthan the other.
'lace the correct side of the bias strip to the cor-
rect side of the garment; pin. Leave inch seam
allowance beyond the edge (Figure 12.27~).
Stitch in place, stretching the bias strip the
slightest amount to produce a smoother appear-
anceto the finished edge (Figure 12.27~).
Trim and clip the seam allowance, then press (see
Figure 12.27~).
Understitch the biasstripto the seam allowance;
pressthe seam allowance toward the bias facing.
This creates a sharp line to turn the bias facing
into the garment.
Turn the bias to the inside of thegarment.
In production, the bias facing strip is machine
edgestitched, creatinga topstitched lookon the
front of the garment (Figure 12.27d).
Becausebias does not ravel, a seam edge finish
is not necessary. However, the edge is often
finished with serging, orturned under and then
edgestitched.
Finish the Bias Facings
To complete the facings, consider one of the
followingfinishes:
Clean finish the edge of the facing and
stitch-in-the-ditch (Figure 12.8)at the seam-

NECKLINE IN PUCE SHOULDER
SEAMS ARE MATCHING WITH
FLOUNCESEAMS ,FRENCH SEAM
12.27A R U F F L E H A N D B A S T E D TO N E C K L I N E
,BIAS FACING
1 2 . 2 7 8 S T I T C H E D A N D
T U R N E D 8 1 A S F A C I N G
WHEN RUFLETURNS
OVERT0 CORRECT SIDE
IT HIDESTHE FACING
12.27C T D P S T l l C H I N G T H E B I A S 12.27D S E W I N G . T R I M M I N G . A N D C L I P P I N G T H E B I A S FACING

~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~
lines t o hold the facings t o the inside o f the the face o f the garment appears as t w o rows
12.28A SINGLE BIAS BINDING
- - A A
garment. o f stitching, while the. bobbin side produces a
SlNGLE BIAS BlWDlWG
Use a decorative machine stitch through the zigzag stitch. Carefully matchthe bobbinthread
facing and garment layers t o secure the facing t o make this stitching less visible. e / ,HANDBASTING
t o the earment.u
BIAS BINDINGS
Single Bias Binding
-Biasbindingcoversbothsideso f anedge, whereas e garment seam allowance.
bias facing is visible o n only one side, usually the The width of the bindings should allow for double h-
inside o f the garment. Bindings can be applied
t o garment edges that are also faced t o provide
more support t o the garment, while highlighting
an edge. The facing is bastedt o the wrong side o f
the garment, andthe bias bindingis stitched over
both the facing and the garment edge. Bias bind-
ings are necessary for curved edges, but can also
be applied t o straight edges. Straight grain bind-
ings can be applied only t o straight grain edges.
A twin needle can be used t o stitch bias fac-
ings in place. I t produces t w o rows o f evenly
spaced stitching at one time. The stitching o n
IMPORTANT
Always create a sample of the bias binding
on the fabric being used. Before cutting large
amounts of bias, use a small piece of bias
todetermine if the width you plan to use for
bias will be wide enough to cover the edges.
Keep in mind that the width of the seam al-
lowance determines the iinished width of the
bias binding. This is particularly important
if the fabric is limited. On bulky fabrics, the
width of the bias may need to be increased
in order to lie flat; on sheer or fine fabrics, it
may need to be narrower.
I- I
turningofthe fabric, so that the edge of the gar-
ment slides in between the two folded edges of
the binding(Figure 12.28a).
The width of the bindingthat slides to the back
of the garment edge should be slightly larger.
approximately Vs inch, to allow the machine
stitchingto catch the edge of the binding
underneath.
Handbaste the bias binding in place through ail
layers.
Usinga zipper foot, stitch closely and slowly
on the folded edge of the binding, stopping
frequentlywith the needle down in the fabric,
to check that both sides ofthe bias bindingare
beingcaught in the machine stitching.
Double Bias Binding (French Binding)
Double bias bindingor, as itis sometimes called,
French binding, is a good finish for sheer o r
transparent fabrics.
h . . . .? Cut a true blas blndlng 1%-lnch wlde and the
d e s i r e d length.
Foldthe bias binding in half lengthwise and baste
or pressthe folded edges.
HAND STITCHING,
12.286 DOUBLE BIAS OR FRENCH BINDING
Place the bindingon the correct side ofthe gar-
ment with the unfinished edges parallelto the
edge ofthe garment (Figure iz.zBb).
Stitch the edges in a narrow seam allowance this
width, the finished bindingwidth.
Turn the folded edge of the bindingto the inside
of the garment.
Invisibly hand stitch the folded edge to the seam
allowance stitching (see Figure 12.28b).
This same method can also be used with a single
layer of bias.

Finish Binding Ends at an Opening
To finish the ends of the binding, follow these
steps:
Always allow extra length for the binding at
a garment edge.
Stop handbasting the binding in place ap-
proximately2 inches from the garment
opening.
Unfold the binding, and place the correct
HOW TO JOIN THE FACING
TO THE LINING
The facing can be attached to a lining with ma-
chine stitching. Refer to Chapter 16, Figure
16.12, for detailed instructions and follow the
stitching order.
OTHER EDGE FINISHES
Raw Edge
Deconstructed edges are another way to finish
sidestogether. the edge of a garment. Although they may look
Stitcha seamin the ends of the binding at a unplanned, in order to provide support for the
point '/16 inch from the edge of the garment edge, they must be well thought out.
(Figure 12.29).
Trim the binding seam allowance to '/I inch. Sample-unless using bias-cut fabric, raw
Turn the binding right side out, and refold edges can look messy in fabrics such as poly-
the binding. ester,which is nearly impossibleto unravel
Finish basting before machine stitching-in- nicely, as the grain changesdirection across
the-ditch. the shaped garment edge. Straight grain un-
ravels nicely.
FOLD BACK RIGHT
A row of straight stitching sewn closeto the
SIDESTOO~HER,v edge reinforces the area and preventsthe
- -
-1
fabric from continuing to unravel.
Stabilizethe stitching linewith twill tape or
a strip of fusible interfacingbefore sewing.
Use an awl or seam ripper to gently separate
,,,,,, the fibers, to avoid pulls in the fabric.
Bias
Although bias doesn't unravel, it can be coaxed
to fray. Separatethe fibers with an awl or seam
ripper, or use a firm toothbrush to fluff the
edges of the bias-cut strips.
Using Two Strips of Bias-Cut Fabric
Heavier-weight fabricssuch aswool, linen,
tweed, or boucle benefit from using two
strips of bias-cut fabric.
Hem the garment, unless the raw edgeis
also treated with bias strips. When turning a
corner, be sure to miter the corner as shown
in Figure 15.23.
Cut the strips from matching or contrasting
fabric 1 inch or wider.
Allow twice as much length as needed.
Place the garmentbetween the bias cut strips.
Stitchtwo rows of stitching '/sinch apart,
down the middle of the strips, making sure to
stitch through all three layers (Figure 12.30).
Brush or comb through the fibers to fray the
edges.
STITCHING FACINGS
IN TRICKY FABRICS
and Repeat Patterns
D o place the facingpattern pieces on the fabric
to match the same check or stripe as the gar-
ment is cut on.
D o use a contrasting fabricthat complements
the garmentif the pattern of the fabricis too
difficult to match.
D o use a differentscaleof the print from the
garmentfabric, another print, or a check with
stripes, etc., as a contrast.
12.29 FINISHING BINDING ENDS

. . . ~ ~~ ~ ~ ~ ~~~ ~~~~~~~~ ~~~~~ ~ ~~ ~~~
Do use bias bindings as an edge finish for
sheers.
Do use a self-fabric double fold, turned-back
C
facingat the center frontlcenter back of a sheer
MOLD BIASARO~ND garment.
CORNERS OR PLEAT
Do samplethe type of closurefor the garment
on this double fold facingbefore proceeding
with the garment.
Do try additional stabilizing for this facing
12.30 DOUBLE BIAS STRIP STITCHED TO THE R A W
EDGE O F T H E GARMENT
Sheer Fabric
Do use a narrow, lightweight facingwhen
sewing fabricswith a soft hand or drape, such
as chiffon or silk. Otherwise, the facingmay
shadow from the correct side.The facingmust
be perfectly parallel to the edge to look good.
Do use bias facings as an elegant, functional
way to finish the edges.
such as silk organza; severallayers can be used
to provide more structure; refer to Chapter 3,
"Introduction to Stabilizers."
Don't use a stabilizer that changes the hand of
the sheerfabric.
Lace .
Do use narrow bias facings on lace.
Do use a scallopedappliqut edge finish, as out-
lined in Chapter 6,Figure 6.48b.
Do use piping, inserted between the garment
edge and the facing, to provide additional sup-
port to fragilelace garment edges.
Don't use wide, shaped facingscut from the
lace, which is bulky.
Satln
One wrong choice in stabilizer or interfac-
ing for the facing can ruin the entire look of
a satin garment. If it is too stiff, the facing
sticks out under the garment, creating odd,
angular pulls of fabric. If it is too soft, the
area being faced collapses from the weight of
the garment fabric. If the facing is not appro-
priately attached to the garment and under-
stitched, the facing rolls out to the front of the
gafiment, or the stitching is visible and mars
the surface of the garment.
Do sample, and then choose the most unob-
trusive facingfor the area of the garment that
will support the area while remaining flat and
smooth.
Do place strips of brown paper bag under the
edge of the facingto avoid leavingpress marks
on the correct side of the garment.
Do use a SeamsGreat Hong Kong finish as an
edge treatment on satin facingsif they will be
visible when the garment is complete.
Don't hand stitch the facingsto the garment,
unless it's at the seamsonly.
Don't press satin directly on its surface.
Beaded Fabric
Do remove the beading from the seam allow-
ances in order to stitch the garment sections
together.
Do cut facings from fabric such as silk organza
or silk charmeuse in a matching or contrasting
color if the beaded garment is a firmly woven
fabric.
Do underline sheer beaded fabrics (referto
Chapter 3, Figure 3.16) to support the weight
of the embellishment.
Do line edge-to-edge, eliminating the need for
facings.
Do use narrow piping between the facing and
garment edges to provide additional support.
Don't use the beaded fabric itself as facing.

Facings: Encasing Unfinished Edges ,, . , .
Knits
Using facings on knits may seein to be a con-
tradiction in terms. Facings imply structure,
whereas knits imply stretch. Shaped, extended,
or bias facings can be applied to knits, but the
amount of stretch must be considered when
choosing the type of facing and stabilizer to use.
Ribbing, plackets, and keyholelslash neckline
facings are also used to finish knit garments.
Figure 3.11 shows the interfacing pattern grain-
line turned to stable direction.
Do stitch a shaped facing, appropriately stabi-
lized, to any area of a knit garment requiring a
stable edge; however, other edge finishes may
be bettel-,so sample first.
Do use a twin needle to stitch turned edges on
stretchy knits (see Figure 6.46).
Do secure the facing by stitching-in-the-ditch
at the seams to avoid any visible stitching or
pulling on the front of the garment (see Figure
12.8).
Do use a keyholelslash neckline facing in
knits.
Do use an extended facing on knits at center
frontlcenter back areas of a garment such as
a dress, structured top, or jacket with but-
tonholes. Refer to Chapter 3 for the correct
stabilizer.
Do use bias-cut woven fabric on stable knits as
ail appropriate facing on a sleeveless garment
or a neckline that must be large enough to pull
over the head without an additional opening,
or as a contrast at a neckline with a collar, such
as a polo shirt.
Denim
Do stitch shaped facings, extended facings, and
bias-cut fabric facings.
Do apply bands to the center front of jean
jackets, to provide both finishing and support
for closures.
Do sample several different interfacings on the
denim being used to find the correct weight.
Do clip, trim, and grade the seam allowance to
reduce the bulk.
Do edge fiilish the denim facing in the flattest
way possible.
Do topstitch the facings to keep them inside
the garment.
Velvet
The nap and bulk of velvet make it less desir-
able to use inside a garment as a shaped facing
or an extended facing in areas of the garment
such as the neckline, armhole, center front, or
center back, where the nap would be crushed
by wear. As a decorative facing on the outside
of the garment, velvet must be placed care-
fully, taking into consideration the stress and
wear of the area to which it's sewn. The nap
of velvet, which changes color with direction,
and its crushability, rule out using the bias-cut
facing as well.
Do use a sew-in interfacing.
Do stabilize the outer edge of the facing with
a straight stitch sewn !4 inch from the edge,
and use this line of stitching as a guide when
attaching the lining.
Do clip, grade, and trim carefully.
Do use a shorter stitch length of 1.5to rein-
force corners of garments.
Do adjust the presser foot, as velvet slips and
stretches during stitching.
Do use a pressing cloth to cover the nap of
velvet while steaming-water drips leave marks
on velvet.
Don't press directly onto velvet-iron marks
never come out.
Don't topstitch on velvet-needle marks
re~nainvisible if stitching nus st be ripped out.
Heavyweight Fabric
The key to constructing a flat facing when using
heavyweightfabrics is thereductionof bulk.The
garment fabric may have to be used to comple-
ment the design, such as in turned-back lapels.
Do carefully select the interfacing and stabi-
lizer being used.
Do clip, trim, and grade the seam allowances
as closely as possible without creating ridges.
Do understitch whenever possible, as far as
possible.
Do clip the roll line seam allowance where it
ends to enable easier turning of the lapel on
jackets and coats.
Do use lots of steam and a wooden clapper to
pound the seams as flat as possible.
Do consider using a contrasting fabric if the
garment fabric proves to be too stiff or bulky
to use as the facing after sampling. A con-
trasting fabric that is less bulky also adds a
decorative finish to the facing areas inside the

~ . ~ ~~
Do sampleseveralinterfacingsand stabiliz-
ers with the contrasting fabric to provide the
support in the facing that complementsthe
garment.
Do use lining fabric to construct the facing
if the facing isn't visible on the garment
front.
Don't use the garment fabricif it's too scratchy
or bulky.
After a designer has sewn a shaped facing
successfully,the sameprocess can be applied
to the decorativefacing that is turned to the
outside of the garment, an area that is full of
possibilities.
The knowledgegained from cutting and
sewing bias strips for bias facings can be
transferred to creating bias trim, bias piping,
and stitching for any garment area.
Once a placket has been sewn to the neckline
of a garment, the knowledgeof this applica-
tion can be applied to the plackets at the cuffs
of garments.
The designer can transfer the knowledgeof
sewing an extended facingto create a deco-
rative extended facing on the outside of the
garment, particularly when the reverse side
of a fabric is an interesting contrast.
The fabricused for the garment is a bold-
floralprint. To create a contrasting facing
that becomes afocalpoint of the garment,
trace around the edgeof a motif and use that
design line as the edge of the facingin a solid,
contrasting color (Figure 12.31a).
The faced area is topstitched in many rows
on the correct side of the garment, highlight-
ing the shaped area (Figure 12.31b).
The straight or slashed keyhole neckline
can be changed to mimic any shape that
...pleating and puckers occurred
when I applied bias bindings, leather,
or fabric bands?
Remove the stitches in the pleated or tucked area.
You'll need to recutthe binding,becausethe holes
from the needle will show once the stitches have
been removed. Reducethe pressureon thepresser
foot, and lengthen the stitch length. Sampletem-
highlights other design elementsin a gar- porary adhesivetape to hold the binding in place
ment: curves, diamonds,triangles, and more and reduce the distortion of pinning. Leave long
(Figure 12.31~). threads to pullthrough to the back of the garment
Multiple rows of bias binding can be applied to hand knot. Bury the threads under the binding
to garment edges or sections,highlighting by pulling them into the binding with a needle,
or contrasting the garment fabric (Figure extending the thread, clipping it, and releasingit
12.31d). sothat the thread goesunder the binding.
Facing can be used for entire shaped sections
of a garment that hang free from the body
of the garment (Figure 12.31e). Or, consider
using the facingat the shaped edge only.
...the facing is finished and has been
stitched to the waistline, but after looking
at the garment, I want to add a lining?
Stitch a row of straight stitching along the
seamline of the lining. With the correct sides
together, pin the lining to the facing. Clip, if
necessary, so the lining lies flat on the facing.
Use the stitching line of the lining and the
upper edge of the serger threads on the facing
as a guide, and stitch together; press. Under-
stitch the lining to the facing, and press. To
finish the hem of the lining, hand or machine
stitch as shown in Figure 16.12.
...my facings look uneven and I've already
clipped, trimmed, and understitched?
This problem is especially critical at center
fronts and center backs of garments, where it
is very noticeable if the edges do not match.
Remove the stitching in the uneven area, plus a
little bit more before and after the uneven area.
Move the stitching line slightly into the gar-
ment area to balancethe unevenness. Carefully
redraw the stitching line with a fabric marker.
Handbaste the changedstitching line, and turn
the facing to check the result before machine
stitching. Once you're satisfiedwith the result,
machine stitch the new line.
...my facing looks too heavy; can I
remove it and use another edge finish?
Yes, bias binding or a narrow bias facing could

12.31A BOLD FLORAL PRINT
.. . . . ~ ~... ~ ~ ~ . . ~.......~ . . . .
12.31C KEYHOLE
VARIATION I N
KNIT D R E S S
12.310 MULTIPLE R O W S O F B I A S A S EDGING
12.31E SHAPED. FACED
GARMENT SECTIONS

344 Professzonal Sewlng Technzques for Deszgners
be used. Remove the facing, carefully ripping
the stitches. Press the seam allowance flat; if it
has been clipped to the line of stitching, the new
line of stitching will have to he moved slightly
out. Stitch the new edge finish and press, meld-
ing the stitches.
SELF-CRITIQUE
Do the facings lie smoothly and without
puckering?
Is the area being faced supported by the
interfacing used on the facing?
Is the understitching stitched close to the
seam, and is it evenly stitched?
Is the correct facing type being used in the
correct area of the garment?
Have clipping, trimming, and grading been
consistent?
Is the topstitching stitched evenly?
Are any hand stitches showing on the front
of the garment? .
If the facings are decorative, do they add to
the overall success of the design?
If piping is inserted between the facing and
the garment, is it stitched close to the gar-
ment edge?
Do the center fronts or center backs of a gar-
ment match in length at the center?
Does the shape of the facing match the same
shape of the garment it is sewn to?
Does the grainline of the facing match the
grainline of the garment it is sewn to?
Is the facing width appropriate in weight and
design for the garment?
Are the stabilizer and interfacing the appro-
priate weight to provide support to the faced
areas of the garment?
Have clipping, trimming, and understitching
been consistently done throughout the faced
areas of the garment?
Does the facing lie flat and smooth, and is it
bulk-free?
Is the stitching that joins the facing to the
garment sewn evenly, without distortion?
Is the facing secured to the garment in an ap-
propriate technique for the garment?
Does the decorative, outside facing lie flat,
without twisting or pulling, and is it stitched
in a way that complements the style of the
garment design?
Are bias facings cut on the true bias in order
to lie flat?
Is the combination, all-in-one facing used in
areas where separate facings would overlap?

Cuffs and Other Wrist Finishes: Encircling the Wrist
Every detail in design matters! Even though cuffs and other wrist finish*!*? , . ~ .SQU,l. detail
on the sleeve, they are no less important than pockets, seams, zippers, ~;d@&d:Guffs
and other wrist finishes draw attention to the wrist. The finish can be purely d&@iat&eorper-
form a function such as providing ease of wear and warmth.
Many cuff designs are outlined in this chapter, including straight and contoured cuffsand a
Frenchcuff. Checkout the othercuff optionsas
well and perhaps you will feel inspired to stitch
them on your designs. Also think of other cre-
ativewistfinishes.Bytransferringyourknowl-
edge, andwith help fromaninstructor, you will
be ablero stitchyour own ideas.
Other wrist finishescan add interestand ex-
citement to the sleeve. Various elasticwrist fin-
ishes are also covered, along with bias binding
wrist finishes, all of which arein fashiontoday.
The Style l.D includes ideas to get you
thinking about cuffs and otherwrist finishesin
design. We hopethat youwill feelexcitedabout
the design possibilities as you learn to stitch
cuffsand otherwrist finishes. Stitchingnew as-
pects of a garment should empower studentsto
embracemore designpossibilities; we hope this
will be your experience.
S M E I.D.
The Style I.D. illusvates two different cuffde-
signs and two other wrist finishes that are pre-
sented in thin chapter. Additional wrist finishes
not illustratedin theStyleI.D. arealsocovered.
The striped shin in Figure 13.la was shown
inFigure6.284 exceptthisshowsthefrontview.
KEY TERMS
Contoured Cuff
Cuff
Edge-to-Edge Cuff
Full Interfacing
Gathered Wrist
Half Interfdcing
Notched-Extension Cuff
One-Piece Cuff
Open Cuff
Placket
Slit
Tucked W~ist
bo-Piece cuff
.7rist Finish

~ ~ ~ . . . ~ ~ . - ~ ~ ~ . - . ~ ~ ~ . . ~ ~ ~ ~ . .~~~
13.18 JACKET WlTH
CONTOURED CUFFS
13.10 RUFFLED SILK
GEORGETTE BLOUSE
13-34 STRIPED SHIRT
WITH CUFF BANDS
13.1C SHEER PRINT TOP
WlTH SHIRRING ELASTIC

Cwffs and Other Wrist Finishes: Encircling the Wrist
~ ~ . . . . ~ . ~ ~ . .
The cuff band is a simple cuff, and a popular NOW LET'S GET STARTED
cuff stylethat is regularlyin production. Cuffs take time to stitch, as they are very de-
The cuff in Figure 13.lb is a contoured cuff tailed. However, the stitching time is worth
with ruffles inserted around the bottom and the effort, as cuffs add a valuable detail to any
side edges.The contrasting ruffle highlights the garment. Cuffs can be categorized as open or
cuffs and complementsthe ruffled collar on the closed.
jacket.
Figure 13.1~has shirring elastic stitched as What ISa Cuff?
a wrist finish to add a soft delicate touch to the A cuff is a separate piece of fabric stitched to
sheer print top. The shirring elastic is repeated the wrist or to a short, three-quarter-length (or
around the neckline; both finishes employ the another length between short and long). The
samestitching technique. bottom edgeof the longsleeveiscalledthewrist.
There are three components to the ensemble Figure 13.2 illustrates an open and a closed cuff
in Figure 13.ld; the ruffled blouse, soft, gath-
ered, and made in silk georgette with a bias
binding wrist finish; the blouse is paired with
jeans; and, to finish this outfit, a midriff bustier
cinches the waist.
Though all these wrist finishesare different,
they have one thing in common-they are all
functional. The placket opens the cuff to allow
the hand to enter, then closes with buttons to
secure the cuff in place. The shirring elastic
stretches and enlarges the wrist for the hand to
enter. The bias binding ties and unties for easy
access.Allwrist treatmentsshouldbefunctional
and feel comfortable around the wrist: not too
tight and not too loose.
GATHER YOUR TOOLS
You'll need the following tools: tape measure,
pins, needles, thread, interfacing, point turner,
buttons, buttonhole cutter, sleeve board,
and, of course, your seam ripper and thread
clippers.
stitched to the wrist.
Cuffs encircle the wrist and can be differ-
ent styles,shapes, and sizes.For example, a cuff
13.2A OPEN CUFF
SLEEVE 15 STITCHED
I*-T"E-ROUWD
I, . . .
can be a straight cuff band, a contoured cuff, or
a French cuff, which turns back on itself. Two
of these cuffs are illustrated in the Style I.D.
Cuff bands are narrower than contoured cuffs,
ACLOSED CUFF
DOES NOT OPEN
AND DOES NOT W E D
A PUCKET
:UFF IS STITCHED IN-
PATTERN TIP
All open cuffs must have an extension
included in the overall length of the cuff. The
extension is the base to which the buttons are
stitched. Notice in Figure 13.3 how the posi-
tion of theextension is marked with notches,
which are then snipped in the fabric when the
cuffs are cut. The notches are an important
pattern markingto guide the student when
stitching the notched cuff. Figure13.3 illus-
trates three notched cuffs: a two-piece cuff
( ~ i ~ u i e13.3a). one-piece cuff (Figure 13.3b).
and a contoured cuff (Figure 13.3~).
13.28 CLOSED CUFF
s you have observed. A contoured cuff begins
rom the wrist and extends up the arm for the
vidth chosen by the designer.
lpen or Closed Cuffs
hffs can be stitched to the wrist so they open
with buttons and buttonholes), or stitched

13.3A TWO-PIECE C U F F
CUFFOPENING m f N S l D l
4
1 NOTCH IN CUFF
MARKS EXTENSION
I
r w R l s ~ OPENING-%&
l NOTCH
CONTOURED CUIF
MUST BE CUT AS
ATWO.PILCT CUFF
As THE BOrrOM
BOOT IS CURVED
WRlST
13.3C CONTOURED CUFF
to the wrist in the round, in which case they
don't open.
Open cuffs button and unbutton, allowing
the hand to enter through the wrist opening
(Figure 13.2a). The opening is for practical rea-
sons: to provide ease and comfort when wear-
.. ............... . ~ ~ . ~ ~ . ~ . ~ . . . ~ . ~ ~ ~ ~ ~ - ~ ~ ~ . . ~
ing the garment.Open cuffsmust have aplacket
stitched to the back of the sleeve to enable tht
cuff to open. Figure 13.2illustrates the positior
of the placket. The placket is stitched into a slit:
which is cut in the back of the sleeve up from
the wrist.
Closed cuffs are cut in one length and then
the two ends are stitched together in a seamand
pressed open. The cuff is then stitched in-the-
round and stitched to the sleeve, which is alsc
stitched in-the-round. The cuff and sleeve un-
derarm seams are placed directly together, so
they line up (Figure 13.2b).
One-Piece and Two-Piece Cuffs
0pen.cuffs can be cut as a one-piece cuff or
two-piece cuff. A one-piececuff has the bottom
seamline replaced with afoldline(Figure 13.3b).
A two-piece cuff has a seam along the bottom
edge.A two-piececuff can he cut as astraight or
contoured cuff (see Figure 13.3aand c).
A contoured cuff is a shaped cuff that
cannot be cut on the fold. The reason why a
contoured cuff is shaped is because it is cut
wider than a straight cuff. (A straight cuff
cannot be cut wider than approximately 3
inches.) If the designer wants a cuff wider
than this measurement, then the cuff needs to
be contoured to the shape of the arm. A con-
toured cuff is shaped on the bottom and top
edges, and longer on the top edge than the
bottom edge. The bottom edge of the cuff fits
around the wrist. This is indicated in Figure
13.3~.Any cuff that is shaped must be cut as a
two-piece cuff.
A cuff stitched edge-to-edge also has an
extension built into the cuff. However, the
notches don't need to be snipped. When you
stitch this style of cuff, you will see why you
don't need the notches, as the cuff is stitched
edge-to-edge with the placket, as illustrated
in Figures 13.4a and b. 1Anysleevestitchedtoanopencuff needs aplacket
stitchedin the sleeveup from the wrist. Theposi-
tionof the placketis important-it isplaced at the
backof the sleeveinlinewith the elbow.Toseethe
position of the placket, refer to Figure 13.4.
There are three main styles of plackets ex-
plained in this chapter: continuous placket,
shirt-sleeveplacket, and darted placket. All are
illustrated in Figure 13.4 and Figure 13.6a.
Before the cuffs are stitched in place, the
wrist is tucked or gathered on the sleeve edge.
The gathers and tucks create a pleasing sleeve
silhouette, rounding at the wrist to contour the
arm. Stitchingthe tucks and gatherswill he dis-
cussed later in the chapter. If you look at Figure
13.4, you will clearly see tucks and gathers on
the wrists of the sleeves.
MAKESURE THE CUFF FITS
COMFORTABLY
Slip the tape measure around your hand to get
an accurate measurement for the cuff. The tape
measuredoesnot goaroundthewrist but around
the hand. This measurementis the length of the

Clrffs and Other Wrist Finisher: Encircling the Wrist
~ ~~~~.~~~~~~~ . ~.~~ ~~~~~ . ~ . ~ .. ~~.~~
CONTINUOUS
THlS IS THE
13.4A EDGE.TO- 13.rtC EDGE.TO.EDGE
EDGE CUFF WITH i 3 . 4 B NOTCHED. CUFF WITH SHIRT.
CONTINUOUS EXTENSION CUFF SLEEVE PLACKET
PLACKET WITH DARTED
PLACKET
IMPORTANT
It is the designer's responsibility to make
sure that the garment parts work. We em-
phasize functional design. Whether the cuff
is open or closed, it needs to fit comfortably,
not too tight and not too loose, with ad-
equate room for the hand to enter.
and not overtake the design; rather, it should
blend and look aesthetically pleasing to the
eye. It can be challenging for the design stu-
dent to experiment with different wrist fin-
ishes. Always sample and experiment with
your own ideas.
When choosinga cuff finish, it is imperative
that the wrist finishsuitthe fabricweight,
texture, and sheerness.Play withthe fabric-
tuck and gatherasmallsectionto observethe
1 9 %A ONF-DIFCE CUFF WITH FULL INTERFACING
length of the cuff, including the extension an
seamallowances.
A closed cuff does not need an extension:
however, the cuff does need an extra 1 inch c
ease added to the length so the cuff slides com-
1
fortably over the hand.
1 IHOW TO CHOOSE THE
APPROPRIATE WRIST FINISH
wrist opening on the cuff. For open cuffs, the Choosing the appropriate wrist finish for a
extensionand seamallowancesareadded to this garment is an important decision. The wrist THlS MWUnEMENT INCLUDESTHE WRIST LENGTH,
EXTENSION &SEAM ALLOWANCE
measurement. Figure 13.5 indicates the total finish needs to complement the overall design * +
13.58 ONE-PIECE C U F F W l T H H A L F INTERFACING

weight and drapeof the fabric.This is a very
practical exercise.
Comfort is important-the way the wrist
opens and closes is the practical side of func-
tional design. This is so important when con-
sideringyour target customer.Even though
French cuffs look fabulous (seeFigure
13.14c), a busy mom or the elderly may not
have the physical ability or time to mange a
closuresuch as this.
The designer is usually limited by a budget!
Cuffs and other wrist finishes are a small
detail on the overall garment but can con-
sume a lot of construction time. For example,
in production the cost of stitching the placket
and cuff may add too much to the overall
cost of the garment.
Trends in cuffs may direct the designer in
choosing one style over another. For ex-
ample, if you want to includea shirt in your
collection,you may choose a straight, simple
cuff over a French cuff.
STABILIZING CUFFS
Cuffs can be stabilized with full interfac-
ing, which means both sides of the cuff are
interfaced (Figure 13.5a).Cuffs can also be in-
terfaced with half interfacing. Half interfac-
ing is applied to the top side of the cuff only
(Figure l3.5b).
The fabric directs the amount of interfacing
that isneededto supportthecuff.Sosampleboth
full and half interfacings in a variety of types
and weights, and then make the final choice. In-
terfacing helps shape the cuff and support but-
tons and buttonholes as the closure. Apply the underarm seams are then stitched together before
interfacing now before stitchinglthe cuff. thg cuffs are stitched to the wrist (Figure 13.6b).
As a general guide, if the fabric is heavy-
weight, use half interfacing. If the fabric is
/lighter, it may benefit from a full interfacing.A JTI~CHED IN-THE-ROUND
contoured cuff is best stabilized on both cuff w c h the placket into the wrist while the sleeve is
pieces, as it needs more structure to enable it to flat. If the wrist is gathered, then stitch the under-
sit on the wristfarm. Even though Figure 13.5 arm seams next. Then stitch the basting stitches
illustrates interfacing applied to a straight cuff, for gathers after the sleeve is stitched in-the-round
the principle is the same whether the cuff is (Figure13.6b).
straight or contoured.
PLACKETS
LET'S STITCH Each placket has a particular way of being
Correct stitching always begins with correct stitched.Inpreparation for stitching the placket,
patterns. Check that your notches have been cut the slit in the sleeve to the length marked on
snipped and the stabilizer applied to your cuffs. the pattern.
With this preparation attended to, have your
tape measure around your neck, pins, scissors, Continuous Placket
and seam gauge by your side, and now you are If you look around the stores, you will notice
ready to stitch cuffs. that the continuous placket is one of the most
popular plackets in sleeves. A separate binding
OPEN CUFFS is stitched to encloseboth raw edges of the split.
Open cuffs have aplacketstitchedfrom the wrist The cuff will be stitched edge-to-edge with the
up into the sleeve. A slitis cut intothe sleeve,and placket, so no notched extension is needed. It
theplacket is stitchedintothe slit. It istheplacket is a functional and practical placket opening to
that enables the cuff to open. Buttons and but- use for shirts and blouses.
tonholesarestitched to the cuff to aid in opening
and closing the cuff. Here is the generalstitching
order for stitchingopen cuffs to the sleeves:
-ATION
Stitch the placket into the wrist while the sleeve is
flat. Then stitch the tucks and secure with a stay-
stitch while the sleeve lies flat (Figure 13.6a). The
PATTERN-- TIP
Cut tho placket bindingi%inches wide and
twice the length of the $litplusan extra inch
to account tor the seem allowance.

351Cuffs and Other Wriot Finishes: Encircling the Wrist
18.6A SLEEVES FLAT APPLICATION
ides of the bindingseam allowance
v4inch overto the wrong side of the fabric. Fold
the binding in half again and press (Figure y.7a).
.Unfold one side ofthe binding, and placethe
correct sides of the slit and bindingtogether. Pin
together at the wrist with a %-inch seam allow-
ance.Taperthe end ofthe slit so a %-inch seam
allowance is lined up with the %-inch seam allow-
ance on the binding(Figure 13.7b).
13.68 STITCHED IN.THE.ROUND
.Usesmall stitches (approximately 2.0 stitch
length) and begin stitching a %-inch seam allow-
ance, endingwith a scant %sinch at the end ofthe
slit; leave the machine needle down in yourwork.
Noticethe slit seam edge is now on an angle-
don'tworry, it's meant to look likethis (Figure
13.7~).
.Pivot on this point by swingingthe other side of
the slit back so it is in line with the rest of the
stitching; stitch the remaining placket to the
other side of the slit in the same way (see Figure
13.7~).
Pressthe seam allowance toward the center of
the binding(Figure 13.7d).
Place the bindingfoldline just covering the seam;
pin or handbaste in place, then edgestitch the
bindingin placeto form the placket, as illustrated
in Figure 13.7d.
.Foldthe correct sides of the bindingtogether;
stitch diagonally across the placket to hold it in
place (Figure 13.7e).
.Foldthe binding backon the tucked side, so it
is hidden, and staystitch the placket in place
(Figure 13.70
Shirt-Sleeve Placket
T h e shirt-sleeve placket is mainly seen o n
men's shirts. It may l o o k complicated t o stitch
but it's simple once y o u get the hang o f it! It
is stitched using t w o separate placket pieces-
one small and one large. Take y o u r time t o
perfect this placket, as it's a classy l o o k f o r
shirts inwomen's wear. N o interfacing is nec-
essary in the placket, but d o m a r k the match-
points-they are important t o the success o f
this placket.
e small placket must equal the length
of the slit plus inch for the seam allowance (Figure
13.8a). On the large placket (Figure 13.8~1, mark
matchpointsequaltothelength oftheslit. Extralength
isadded beyondthis onthe large placket, andthis part
istopstitched to completethe shirt-sleeve placket.

13.7A PREPARE T H E BINDING.
- PRESS 114''S U M
ALLOWANCETO
WRONG SIDE
I IN HALFAND PRESS
~~~ ~~~~~~~ ~ ~ . . ~ ~
3 5 . 7 8 STITCH T H E PLACKET T O T H E S L F .
/ ALLOWANCE
-UNFOLDTO STITCH
, 13.7C STITCH T H E %.INCH S E A M ALLOWANCE.
STITCH 1/4" SEAM ALLOWANCE
& TAPERTO 1/16"AT PIVOT POINT
,
-m T c H 1/16"
ON PIVOTPOINT
,PIACKET SEIH ALLOWANCE
REMAINS114'' FOR THE
ENTIRE LENGTH
PRESS sLU.A L ~ W A N C E
TOWARD CENTER

................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . ~ . . ~ ~ ~ ~
13.70 FOLD THE BINDING OVER 10
l V S T COVER THE PREVIOUS STITCHING
AND EDGESTIrCH I N PLACE.
13.7E FOLD THE BINDING
TOGETHER, AND STITCH
DIAGONALLY ACROSS THE
PLACKET CENTER.
.
STITCH
CORNER
13.7F FOLD THE BINDING
BACK ON THE TUCKED SIDE
AND STAYSTITCH IN PLACE.
IMPORTANT -
In preparation for stitching the placket, at
the top of the slit, cut aV-shape on both
sides of the placket, as illustrated in Figure
13.8a. The V cut becomes the seam allow-
ance, % inch on either side of the slit for the
placlcet to be stitched.
- 1%~~%-inch seam allowance to the wrong side
w n both sides of small placket. Foldthe placket in
half again, and press (Figure 13.8a).
Wrap the small placket bindingaroundthe slit to
encloseit;this isthe side closestto the back under-
arm. Pinor handbastein place(see Figure13.8a).
Edgestitchthe binding, startingfrom the wrist
and finishingatthe top of the slit. This should
leave 3/8 inch for the seam allowance. Pressthe
small placket piece (see Figure 13.8a).
Lay the sleeve on a flat surface with the wrong side
facing up. Fold the back sections of the sleeve over
SO the correct side is facing up. Staystitch the bind-
ing and the V-shaped sections together across the
top. Don't be alarmed-the seam allowance is now
showing on the correct side (Figure 13.8b).
Large Placket Piece
ct sides of the large placket to-
gether. Stitch a %-inch seam around the edge,
beginning from the matchpoints and pivotingon

the angle; finish stitchingwith a backstitch on
the foldline.
Clip the corners and turn the placket to the cor-
rect side. Usea point turner to sharpen the point
(Figure 13.8~).
Pressthe remainingseam allowance to the wrong
side (see Figure 13.8~).
With the correct side facing up, wrap the large
placket piece around the other side ofthe slit.
Line the large placket matchpoints to the horizon-
tal staystitchingon the small placket. Make sure
thatthe seam allowance is fully covered bythe
large placket piece; pin and handbaste in place
(Figure 13.8d).
Edgestitchthe largeplacketusingapproximatelya
2.0 stitch length. Beginstitchingfrom thewrist, and
stitch followingthe shapeofthe placket, pivotingon
eachcorner. Finishstitchingwitha backstitch (this
shouldbeatthe matchpointposition)(Figure 13.8e).
Pressthe placket in place.
Notice that the small placket seam allowance is now
hidden behind the topstitched large placket. An X
can be stitched within the square as well; just con-
tinue stitching on from where the other topstitching
left off (see Figure 13.13b).
Darted Placket
This is a very quick and easy method to stitch
a placket. Both sides of a darted placket are
topstitched. At the top of the placket, a dart is
stitched to bring both sides of the slits together.
This placket is especially cost-effective in pro-
duction, as it is the fastest and easiest of all the
plackets to stitch.
Professional Sewing Techniq'uesfor Designers
- 7
-UNDERARM S U M
W C I
13.88 STITCH THE TOP OF THE
SMALL PLACKET AND V SECTION
TOGETHER.
SEAIIAILWAICE IS "OW
OH THE CORRECTSIDE
n 13.8C PREPARING THE LARGE PLACKET PIECE

13.8D STITCHING THE LARGE PLACKET P ess'/s inch to the wrongsideon both sidesofhHANDBASTEURGE PLACKET slit. Fold another5 inch overand machine
stitch both sidesclosetothe foldededge; stitch
directionallyfrom wrist up to the top (Figure
13.9a). Thetop ofthe slit should now look like a
PATTERN TIP
cut the slit mextra%inchlongerto allow@I
the dart to bastitched.
SLIM ALLOWANCE
MUST BE SHOWING
fl shape.
Fold the correct sides of the placket togetherso
they are lined up together. Stitch a short curved
TO SMALL PUCKET i
STITCIILINE
tSMAU PLACKET
tl
dart approximately 1%inchesin length.Always
stitch dartsfromthewidestto the narrowest
point (Figure 13.9b).
KET
Pressthe dart to one side, and notice that both
sidesof the placketare now sittingtogether
(Figure13.9~).. .. ~
Once the placket has been completed,thewrists
are prepared, then stitched to the cuff. There
are two styles in which to stitch the wrist; one
13.8E TOPSTITCH THE LARGE PLACKET.
A
method is tucked and the other method is gath-
ered. The style of cuff will direct the choice of
wrist finish.
- 77f-
SMALL PUCKET URGE PUCIET
BEG," TOP
STlTCHlNG HERE
PREPARINGTHE WRIST
Look backat Figure 13.4to seethedifferencebe-
tween gathers and tucks. At the pattern drafting
stage, fullness is added into the wrist for both
gathering and tucks. The extra fullness allows
more room in the width of the sleeveso the arm
can bend comfortably. Generally the darted
1 plackets look aesthetically pleasing stitched to
a gathered wrist (see Figure 13.4~).The con-
tinuous and shirt-sleeve plackets add a tailored
finish when combined with the tucked wrist
(see Figure 13.4a and b). A gathered wrist cre-
ates more fullness in the sleeve than the tucked
wrist. Chapter 6, "Gathered Seam," explained
how to stitch basting stitches so the wrist can
be gathered. Figure 6.23 illustrates the steps in-
volved. A tucked or gathered wrist is prepared
before the cuffsare stitched.
Tucked Wrist
To stitch the tucks, the sleeves need to lay flat.
This is the flat application method (see Figure
13.6a). Fold each tuck toward the placket, as il-
lustrated inFigure 13.7f,and staystitchthe tucks
in place. Press a crease line a few inches up each
tuck. Stitch and finish closed or open underarm
seams after the tucks have been stitched.
Gathered Wrist
Beforethewrist is gathered,theunderarmseams
must be stitched. Stitchthe underarm seams;the
sleeve is now in-the-round ready for the cuff to
be applied (see Figure 13.4b). After the basting
stitches are stitched, pull the threads into gath-
ering to fit the wrist length. Evenly distribute
the gathering.
TRIMS STITCHEDTO THE CUFFS
A trim such as lace, ribbon, braid, or a ruffle
can be stitched to the cuff to add glamour to the
sleeve. The cuff in the Style I.D., Figure 13.lb,
has a contrasting ruffle stitched to the cuff,

ia.SA STITCHING
OVER A10 EDSESTIT
13.9C COMPLETED
DARTED PLACKET
~~~~~-~~ ~ ~~~~~~~~. . . . . ~ . ~ .~ ~ . ~ ~ ~ . ~ ~~~ ~~ ~~ ~~~~~
13.98 STITCH A DART A N 0 BRING BOTH SIDES
OF THE PLACKET TOGETHER.
drawing attention to the cuff. This type of trim
is stitched to the cuff, after the stabilizer is ap-
plied, and before the cuffs are stitched together.
Figure 13.10 shows you how to position the
ruffle around the seam edge of the contoured
cuff for the jacket in Figure 13.lb.
ositioned on the interfacedcuff (see
tlgure 13.10).
Finish the ruffle edges; how this is done depends
on whether the ruffle is single or double. For
a single ruffle, machine stitch a narrow roiled
hem around the edges. For a double ruffle, fold
and place the correct side of the fabric together.
Stitch a %-inch seam on both ends ofthe ruffle.
Clip the corners, turn, and press, and then gather
the ruffle and evenly distribute the gathering.
Pin and handbaste the ruffle in place. When
pinning, push more gathers into the corners,
as Figure q.10illustrates, so that the ruffle will
span outwhen the cuff is turned to the correct
side.
Placethe correct sides of the cuffs together and
complete stitchingthe cuff.
For more information on stitching ruffles, refer to
Chapter lo.
STITCHING THE CUFFS
There are two different ways of stitching cuffs
to the wrist. Cuffs can be stitched to the wrist
edge-to-edge with the placket, as illustrated
in Figure 13.4a and b, or stitched to the wrist
with a notched-extension cuff, as illustrated in
Figure 13.4~.Both cuffs do have an extension

Cnffs and Other Wrist Finishes: Encircling the Wrist
1
13.10 INSERTING A RUFFLE INTO THE CUFF
'MORE GATHERING
PUSHED INTO THE CORNER
Figure 13.la, has this exact cuff. It is often re-
ferredto asaband cuff.You willnoticein Figure
13.4aand b that the bottom edgeof the cuffscan
be angled or curved. If you turn to Figure 13.2,
you will see the placement for the button and
buttonhole on an edge-to-edge cuff.
An edge-to-edge cuff is stitched to the entire
lengthof thewrist. Thewrist lengthincludes the
placket as well. You will notice that one side of
the continuous placket in Figure 13.4a has been
turned back beforethe cuff is stitched.How this
is donewill be explained in due course.
added into the cuff at the pattern drafting stage;
however, the extensionsare stitched differently. ~ d finterfacing or full interfacing is applied.
Knowing which cuff to choose is guided c'epending on how structured you want the cuffs
purely by the style of placket used. Notice in to be (Figure 13.5).
Figure 13.4a and b that one side of the placket On the one-piece cuff, fold the wrong sides
forms the extension. At the top of the placket,it together and press along the foldline; then open
tucks underneath the sleeve. again.
Thennotice,inFigure 13.4c,theabsenceof an Alongthe top edge of the cuff, press a %-inch
extensionon the sleeve with the darted placket. seam allowance over to the wrong side (Figure
When a darted placket is stitched, the extension s.lia).
is on the cuff rather than on the placket.There- Placethe correct sides of the cuff together. With-
fore, before the cuff can be stitched to a darted the seam allowance facing down, stitch a %-in
placket, an extensionis stitched to the cuff first.
The extension looks like a small step; can you
see it in Figure 13.4c?
Both edge-to-edge and notched-extension
cuffs will be outlined.
Edge-to-Edge Cuff
One-Piece/Two-Piece Cuff Band
An edge-to-edge cuff is the basic straight cuff.
The striped shirt, illustrated in the Style I.D. in
PATTERN TIP
The position of the extension needs be
notched before stitching the cuff. Only with
snipped notches can the cuff be stitched.
Figure13.3 shows where the notches are
snipped when the cuffs are cut. Fijure 13.12
also shows the notches snipped.
seam allowance down the sides and along the
bottom edgeof a two-piece cuff, and down the
sides only ofthe one-piece cuff. The top edge of
the cuff is left open; this section is stitched to the
wrist (see Figure 13.11a).
Trim the seam allowance back to % inch, and trim
the corners to reduce bulk.
Turn the cuffs to the correct side; use a point
turnerto gently push the corners to sharpen the
point.
Figure 8.11b shows the edge-to-edge cuff
finished, turned, and pressed, and ready to be
stitched to the wrist.
Notched-Extension Cuff
One-Piece/Two-Piece/ContouredCuffr
rect sides ofthe cuffs together with
d cuff underneath (unless fully inter-
faced). On the upper cuff, on the side without
the notched extension, fold a %-inch seam allow-
anceto the wrong side and pin in place (Figure
13.12a).
Begin stitchingthe cuff at the notched exten-
sion. Start with a backstitch and stitch across
the extension, pivot on the corner, and stitch the
remainder of the cuff, following each cuff shape
(see Figure 13.12a).
Atthe notched extension, clip into the seam
allowance, leaving $6 inchintact, and press the
seam allowance down along the top edge of the
cuff (Figure 13.12b).
Trim the seam allowance back to '/,inch, and trim
the corners to reduce bulk (Figure 13.12a and b).

13.11A STITCHING AN EDGE-TO-EDGE CUFF
IMPORTANT
Pressing the cuff is critical to cuffs look-
ing absolutely fabulous. When the cuff is
pressed, the seamlines should sit directly in
the middle of the seam and not be pressed to
one side more than the other.
13.118 EDGE-TO.EDGE CUFF STITCHED, TURNED,
PRESSED, AND READY TO STITCH TO THE WRIST
CUFF OPENllb IS STITCHEDTO THEWRIST
I
'IN M
THIS SIDE OFCUFF
shape and width; this is called mirror imaging
the cufis. Refer to Figure 11.5d to see how to
mirror image a collar. Following the same idea,
bring both sides of the cuffs exactly together. If
the cuffs are not a mirror image, then seam rip
one side and restitchso they matchperfectly to-
gether.If the cuffsarenot of equalwidth, it will
throw off the buttoning. In clothing construc-
tion, every stitching detail matters and good-
qualitystitchingis important.
Stitching Cuffs to the Wrist
Edge-to-Edge Cuff
Turn the cuffs to the correct side, and use a point h her or nota continuousor shirt-sleeve placket is
turner to gently sharpen the corners. ngstitched, the stitchingorder isexactlythesame
to the wrist. Figure 13.12cshows the notched-
&Pressthe cuffs. They are now readyto be stitched when it comes to stitchingthe cuffto thewrist.
Turn the Sleeveto the wrong side. Place the cor-
extension contour cuff stitched, turned, pressed, rect side of the cuff aroundthe wrong side of the
and ready to stitch to the wrist. Noticethe seam sleeve, matchingthe cuff and the wrist edges
allowance alongthe top edge isthe openingthat together. Pin in place Figure13.13a). Notice in
will be stitchedto the wrist. this sketch that the outside edge of the cuff is
curved-it isthe designer's choice whether the
Mirror Imaging the Cuffs cuff is straight, angled, or curved.
This is animportantstep!After thecuff is com- Stitch a ./,-inch seam allowance, and trim and
pleted and pressed, fold both sides of the cuff grade the seam to reduce bulk (see Figure
together-they should be exactly the same 13.13a).
Working from the correct side, turn the seam
allowance down into the cuff and placethe folded
edge just beyond the seamline (Figure 1j.yb).
Pin and handbaste the seam in place, as the
13.12A STITCHING THE NOTCHED-EXTENSION CUFF
NOTCH,
INTERFACED CUFF
REDUCEBULK
CLIP INTO SEAM ON
BOTH SIDES OFTHE CUFF,
15.128 TWO-PIECE CON-
TOURED CUFF, CUFF OPENING THlS EDGE IS STITCHED
STITCHED TO WRIST /TO THEWRIST
13.12C NOTCHED-EXTENSION CUFF STITCHED, TURNED.
PRESSED. AND READY TO STITCH TO THE WRlST

Cuffs and Other Wrist Finishes: Encircling the Wrist 359
.................................................................................................................................................................
1 3 . 1 3 ~STITCHING THE EDGE-TO-EDGE CUFF TO THE WRIST r a . l a s COMPLETE STITCHING THE EDGE.TO-EDGE CUFF.
difference isthat it is longerthanthe traditional
PIN AND WIINDBSTE CUFF
TRIH SEIM ALLOWANCE
shirt-sleeve placket. Follow the stitching order in
..... ,IN PUCE BlFORESTlTCHlWG
Figure 13.8.
Cut a two-piece cuff. Apply full interfacingto both
sides ofthe cuff. This adds the structure needed
to hold the turned-back section in place.
Before stitchingthe cuffto the wrist, fold the
small placket back to the wrong side of the sleeve
and staystitch in place (Figure 8.14a).
Stitch and finish the underarm seams before
continuing-the sleeve is now stitched in-the-
round and readyto be stitched to the cuff.
To stitch the cuff to the wrist, follow the same
stitchingorder as for the edge-to edge cuff out-
lined in Figure 13.13.
Afterthe cuff is stitched to the wrist, fold the
bottom section of the cuff backto the correct
side, placing it '/ainch beyondthe seamline.
Press a sharp crease alongthis edge (Figure
13.14~).
- Unfoldthe cuff and, with the tape measure, posi-
tion the buttonholes, four in all, centered on the
cuff and fold-back cuff. The buttonholes mustbe
seams can easilytwist if not perfectly aligned. tailored, as half the cuff turns back and is fas- sitting directly together, in the middle of each
Pinning and handbasting ultimately save time. tened with cuff links. It is stitched as an edge- cuff, when the cuff links secure them together
Edgestitch the top edge of the cuff from the cor- to-edge cuff. (see Figure 13.14b).
rect side; begin stitchingfrom the small placket;
. . . . . . . . . . . . . . . . . . . . . . .
hold the cufftaut as you edgestitch to the other
side of the placket and around the cuff edge if
you desire (see Figure 13.13b).
Pressthe cuffs.
French C~lff
This chapter is n o t complete without discussing
the beautiful French cuff. It looks stylish yet stitched first before applying the cuff. The only
'ATTERN TIP
r placket for a Frenchcuff is cut even longer
han the shirt placket-with a flnlshed length
~fappmximataly 5 inches.
IMPORTANT
Pressingthe French cuff is important to
its r u t t e ~ r it h e cuff needsto beperfectly
presrgd$0 theseamliner remain intho
middle ofthe cu e.

13.14A SHIRT.SLEEVE PLACKET FOR A FRENCH CUFF 13.146 STITCHING THE CUFF TO THE WRIST FOR FRENCH CUFF
r 7
,STAYSTITCH
Stitch the four buttonholes to the underneath
side of the cuffs, as illustrated in Figure b.14b.
Also stitch a buttonhole to the placket from the
correct side (see Figure 13.14b).
-Cuff links then secure the French cuffs together,
as illustrated in Figure 13.14~.Cuff links can be
purchased at the store, or you can be creative
and make your own.
13.14C CLOSING THE FRENCH CUFF WITH CUFF LINKS
1
TO BE </8" UNDER THE TOP SECTION
PRTSSASHARPCREISE LIME /"
Notched-Extension Caff Trim and grade the seam allowance to reduce
bulk (refer to Figurey.ya).
vethe sleeveturned to the correct side. Wrap the To complete the cuff. turn the seam allowance
cuff aroundthe wrist, matchingthe edgestogether, down into the cuff. Position the folded edge of
Qevenly distributingthe gathering(Figure 13.15a). the under cuff to the seamline.
Stitch the cuff and wrist together with a %-inch Pinand handbastethe foldline in place, asthe seams
seam allowance. Begin with a backstitch; start can easily twist ifit isnotperfectlyin alignment. Pin-
stitchingfrom the extension around the wrist ningand handbastingultimately savetime.
(see Figure 13.15a). Close the cuffwith a slipstitch or blindstitch.

Referto Figure 15.9to see these hand stitches.
The cuff can also be machinestitched-in-the-
BEGIN STITCHING. HERE
ditch ortopstitchedas alternativefinishes. If
f -stitching-in-the-ditch.place the foldlinejust over
the seamline(see Figurei3.15b).
PULL CUFF BACK
CUFF INTERFACING. OUT OFTHE WAY
Buttonhole and Button Placement
It is important that the buttonholes and buttons
be positioned correctly on the cuffs. The de-
signerneeds to work out the size and number of
buttons that will be used on the cuff. The width
of the cuff should guide this decision. Generally
cuff buttons are quite small.
Position the buttonholes at least !h inch to
%inchin from the seamline,as Figure 13.16
illustrates. This will ensurethat the but-
tonhole clears the thickness from the seam
allowancewhen stitched. When buttonholes
are stitched over the seam allowance, they
will not be stitched properly.
Place buttonholes an equal distance from
each other.
Pin the cuff closed, and pin-mark the
button position. Refer to Chapter 17,
Figure 17.11.
The following figures show a variation of how
the cuffs can be buttoned:
A straight cuff can button with one button,
as illustrated in Figure 13.16.
A straight cuff can also be buttoned with two
smaller buttons when stitchedto a shirt-sleeve
placket only.This givesmore flexibility for
the tightness or loosenessfor the cuff. Don't
13.15A 51 E NOTCHED.1
CUFF TO THE WRIST
try this type of buttoning on a notched exter
sion cuff, as it will never work (Figure 13.17)
A contoured cuff with a ruffle inserted has
three smallbuttons as its closure. Notice
the position of each button and buttonhole.
Whether there is a ruffle or not, the button-
hole/button placement is exactly the same
(Figure 13.18).
13.158 TO CI FF, !T C A N BE HAND STITCHED,
STITCHED.IN-THE-DITCH, OR TOPSTITCHED
IPATTERN TIP
A s a general guide, closed cuffsneed an
extra inch added to the hand measurement I
CLOSED CUFFS
A closed cuff is one that doesn't open; it is sim-
pler to stitch than an open cuff, as it doesn't
need a placket. A closed cuff is stitched in-
the-round to the bottom sleeve edge of a long
or short sleeve. The cuff opening must allow
enough room to comfortably slip over the hand
and not feel too tight-this is functionaldesign.
Closed cuffs are usually cut as a straight, one-
piece cuff. A closed cuff is best cut as a straight
one-piece cuff if it is being attached to the wrist
(Figure 13.5). However, a contoured cuff will
work, as longas the wrist measurement fits over
the hand. How it fitsdepends solely on the mea-
surements used. Stitch muslin first to test the
proportions of your cuff design.

13.16 NOTCHED-EXTENSION CUFF: BUTTON
AND BUTTONHOLE PLACEMENT
13.17 A CUFF WlTH TWO EUTTONS GIVES
TWO OPTIONS FOR THE FIT.
,
ST,TCHI Nb wmslow SLIPS u w mTHE
ALWAYS PUCE
BURONHOLE&IS NOTVISIBLE
/
BUITONHOLES
WHENTHE CUFFIS BURONID
HORIZONTALON CUffS
Isrlrc~TWO BunoHs
FOR LENGTH OF CUFF
VARIATION
12.18 NOTCHED-EXTENSION CUFF WlTH RUFFLE TRIM:
BUTTON AND BUTTONHOLE PLACEMENT
CONTOURED
tCUF
f the cuff (see Figure 13.5b).
Foldthe cuff in half with the wrong sides to-
gether, and press a crease line along the folded
edge (Figure 13.19a).
Along the top edge of the cuff (not interfaced).
press '/>-inch seam allowance to the wrong side
(see Figure 13.1ga).
Open boththe crease lines and refold the cuff.
placing correct sides together. Stitch a %-inch
seam in the cuff, pressthe seam open, and
reduce bulk on the seams (see Figure y.iga).
Stitch and finish the underarm seams-the cuff
and sleeve are both stitched in-the-round, ready
to be joined together.
Gather the wrist and turn the sleeve to the correct
side. Placethe sleeve inside the cuff with correct
sides facing each other.
Match the seamlines together; evenly distrib-
ute the gathering as the edges are pinned to-
gether. Stitch a %-inch seam around the wrist;
trim the seam back to % inch to eliminate bulk
(Figure y.1gb).
Turn the sleeve to the wrong side; turn the seanu
allowance down into the cuff. Linethe other
folded edge ofthe cuffto the seamline, and pin
and handbaste in place (Figure 13.19~).
Blindstitch or slipstitch the cuff in place (see
Figure i3.lgc)-it istoo difficult to machine stitch
a tight circle!

OTHER WRIST FINISHES
The popular wrist elastic casing is one of the
wrist finishes outlined in this section. A bias
bindingwrist finishisalsoexplained,alongwith
shirring-all are popular wrist finishestoday.
CASINGS
Anelasticcasingisatunnelthroughwhichelastic,
cord, or ribbon is threaded to tighten the wrist.
This styleof casingcanbe stitchedto thewrist or
any neckline edge or stitched into the waistline
of a garment. These variations can be achieved
by transferring your knowledge.The casingcre-
ates an eye-catching sleeve as soft gathers form
around the wrist, which draws much attention
to the wrist. The elasticcasingstretchesto allow
the hand to comfortablyenter the sleeve.
Edge Casing
This style of casing has a once-turned top-
stitched hem on the edge of the wrist. The edge
of the hem forms a slot for the elastic to enter;
the elastic can be tightened at the wrist, which
softlygathersthesleeve.Thisstyleof wrist finish
looks marvelous made in soft, sheer fabrics.
PATTERN TIP
The width of the slot is defined by the width
of the elastic. Decide on the elastic width,
measure this, and add '/,-inch of ease and
'/,-inch seam allowance. Add this totalwidth
below your wristedge for the slot. The final
width of the hem, when stitched, needs to be
./,inch wider than the elastic width.
13.19A STITCHING A CLOSED CUFF
PRESS 112''SEAM
ALLOWANCE OVER TO
THLWRONG
13.198 STITCHING THE CUFF TO THE WRIST
BEGIN STITCHING
0. TWL S E I H U I E

I*TERFCI.b

112'-SEA. AIIOwAWCE
PRESSFDBACK
MATCH CUF6
AND S L E M
SEAMS TOGETHER
/-TRIM SEAM BACK TO
1/4"ronrDucE suln
3.19C THE CUFF IS CLOSED
SING A SLIPSTITCH OR A
LINDSTITCH.

15.20A STITCH THE CASING AND SLIDE THE
ELASTIC THROUGH THE SLOT.
I closed underarm'seams; the
in-the-rouna. Pressthe
seam to the left if right-handed or to the right if
left-handed (see Figure y.6b).
Stitch a machine-stitched hem (see Figure 15.20).
When the hem is stitched, leave an openingat the
seam '/ainch widerthan the elastic width. Begin
and end the hem stitchingwith a backstitch
(Figure 13.2oa).
Cut a comfortable elastic wrist length and add
OPENING 15 WIDTH
%-inch seam allowance.Attach a safety pin to
one end of the elastic and slide it through the
casing, in the direction of the seam allowance
(see Figure 13.zoa).
Pinthe other end oftheelastic to the casingso you
13.208 AFTER THE ELASTIC IS THROUGH THE CASING, don'tlose it in the caSing(See Figurel3.20a).
PULL BOTH ENDS OF THE ELASTIC OUT OF THE OPENING , both of the elastic out ofthe casingAND ZIGZAG STITCH TOGETHER.
openingas far as you can. Overlap the elastic %
STITCH THE OPENING CLOSED'
WlTH AN EDGESTITCH AFTER
THE EUSTIC IS INSERTED
inch and zigzag stitch together (Figure 13.2ob).
To complete the casing, machine stitch the open-
ingclosed; begin and end with a backstitch (see
Figure 13.20b).
Bias Casing
When a casing is stitched above the wrist, it
needs a separate bias strip of fabric stitched for
the casing. The position of the casing is the de-
signer choice. Figure 13.21ashows the casing a
few inches above the wrist;however,this can be
positioned at any level on the sleeve as long as it
feels comfortable.
and finish closed underarm seams. The
is now stitched in-the-round (see Figure
13.21b). Machine stitch a narrow rolled hem or a
lettuce edge finish. Referto Chapter 15.
Press both sides of the biasto the wrong side
(Figure 13.21a).
Turn the sleeve to the wrong side and slide it over
a sleeve board. This makes it easier to measure;
take your tape measure and measure the position
of the casing up from the hem; pin and handbaste
(see Figure 13.21a).
Position the casingoverthe hand-basted
stitches, beginning at the underarm seam. Pin
the casing in place.At one end ofthe casing,
fold %inch under to the wrong side (see Figure
13.21a).
To finish the casing, fold the other bias edge
under and butt it next to the other side of the
casing. This leaves a small openingfor threading
the elastic (see Figure 13.21a).
Edgestitch both sides of the casing, as illustrated
in Figure 13.2oa.
Insert the elastic through the casingopening
and stitch the elastic together as Figure 13.2ob
illustrates.
After the elastic is inserted, close the opening
with a few overhand stitches as Figure y.z%b
illustrates.
BIAS BINDINGWITH TIES
Any sleeve or other edge can be finished with
bias binding. In fact, stitching a bias binding
to an edge finish is a technique frequently used
in clothing construction. By transferring your
knowledge, a bias finish can be stitched to the
neckline,armholeorsleeveedge,orthe hemline.

Cwffs and Other Wrist Finishes: Enctrcling the Wrist 365
PATTERN TIP
Measurethe width of theelastic; add to this
)/* inchfor ease and another '/.inchfor seam
allowance. Example: for )/*-inch-wideelastic,
the biascasingwould be1% incheswide.
Allow plenty of length inthe casing, as any
excess can be cut off later. A store-purchased
biasbinding can be used; however, to cut
your ownfrom self-fabricwill ensurea
perfect match. Oftenthe store bindings can
feelscratchy next to the skin. Remember-
this is where fashion must function.
NOTE-
A biastie canbethreadedthroughthe casing
andtiedwith a bowto addan extratouchof
femininity. Thetie isstitchedto a shorter
lengthof elastic(cut approximately 2 inches
shorterthanthewrist measurement). Theties
arethenzigzagstitchedto each endof the
elastic. A buttonholeis centeredand stitched
onthe sleeve, inthe positionof the handbast-
ing. This isdonewhile thesleevsliesflat.
beforethe underarmseams arestitched.
Placeasmallsquareof sheer interfacingun-
derneaththe buttonholebeforeitisstitched
to addstability. The stitchingtechniqueis
the samewhen usedinawider waistbandf--
skirts or pants, as showninFigure9.22.
WRIST NARROW MACHINE STITCHED
ROLLED HEM
ed placket (see Figure13.22).
Stitch and finish the underarm seams.
Stitchtwo rowsof bastingstitches aroundthe
entirewrist for gathering.
Pullthe bastingstitches intogatheringto fit to the
wrist measurementnotchedon the biasbinding.
Pressa%-inch seam allowanceto the wrong
side alongone edge of the bias binding(see
Figure 13.22).
Turn the sleeve to the correct side. Placethe cor-
rect sides ofthe biasand wrist together and pin
in place (see Figure13.22.).
Stitch a%-inchseam allowance from one placket
edge to the other (see Figure13.22).
13.218 HAND STITCH THE CASING CLOSED.
HAND STITCH
I 13.2-A STITCHING THE CASING TO THE SLEEVE
Even though a binding with ties is discussedin
this section, a bias binding can also be stitched
to the wrist without ties.
PATTERN T l q
Ivo scsmallowanceioadUedtotkc garment
edgewhena biasbindingisapplied. thewidth
of finished biasbindingis sat bythewidth of
the seamaIlowancr. Whatever thewidth d t h e
seamallcwantt, thie becomesthefinishad
bindingwidth. InFigure0.31, thescam allow-
ancewas %inch. Consequently, thehished
bindingis%inchaswell.
FOI efiniuhed %-inch binding, cut the bias
1% inchorwldt-thisallow enoughwidth
tar stitching, turnins and pressingthe bias.
Notchthewri$t length on the bindins For
functionaldesign purpores, we suggestusing
awrirt maarurementthat allowsthe ties to
be~wmanentQtiedsatheydon't needto be
untled everytimethegammentiewrn. Same
peopleRndithardtotie a bow one.handrd.
Add apprwimatrly 9 inchesto bothend6f
the tie$.

~ . . . ~ ~ .
13.22 BIAS BINDING WITH TIE: PRESSING THE B I A S IN
PREPARATION FOR STITCHING take care that the seam allowance along the SLEEVEVENT
gathers is well hidden, Begin and end with a To,stitch a vent in the sleeve, you need to begin
backstitch. with atwo-piece sleeve. Thevent ispositioned in
Removethe handbasted stitches, press, and tie theback of the arm, inlinewith the elbow. Sleeve
the binding in a bow. vents need to be stitchedwith mitered corners, as
illustrated in Figure 13.24a.Mitered corners are
SHIRRING ELASTIC discussed in Chapter 15,"Mitered Corner" (see
In the Style I.D., the sheer print top in Figure Figure 15.23).
PRESS REMAINING SFAM
ALLOWANCE ON BIN01116
TO WR0116 S10E TOWARI
THECENTER OFBINDING
4BESIN EDGESTITCHING HERE
I
13.1~has shirring elastic stitched around the
wrists and neckline. Stitching several rows of
shirring, elastic creates a delicate, soft texture. 43.23 STITCHING SHIRRING ELASTIC
-
Stitch as many rows of shirring,elastic as you-
,,,,,, like. The more rows you stitch, the tighter and
stretchier the wrist will become. Follow Figure
13.23 and carefully stitch the amount of rows
you require of shirring elastic.
the shirring elastic onto the bobbin-don't
tight. Insert the bobbin and bring up the
shirring elastic (through the bobbin tension) as you
would if it were thread. Adjust the stitch length to a
bastingstitch length. Stitch the shirring elastic while
the sleeve is flat-this is the flat application method.
Workingon the ironing board, pressthe remain- Using a tape measure, pin the position of the first
ingseam allowance on the ties to the center of stitchingrow. Then begin stitchingfrom the underarm
STRETCH FAB
the binding(see Figure 13.22). side seam-don't begin or end with a backstitch. As ASUCH ROW
Press a %-inch seam allowance to the wrong side each row isstitched, the elastic will gatherthe fabric. is"'rcHED bon both ends ofthe ties. For each subsequent row of stitching, line up the
Fold the binding in half again and press, hand- edge of the machine foot with the previous row of
baste, and edgestitch the ties together and the stitching, as the stitching must look parallel. Stitch
binding in place around the wrist. Start stitchas many rows of elastic as you want. As each row
ing at one end of the tie; hold the thread taut of shirring elastic is stitched, stretch the fabric so it
as you stitch. Stitch to the other end of the tie; remains flat as you stitch.

Theventhas buttons stitchedto thesleevesur-
face;buttonholes do not need to be stitched, as a
sleeve vent is purely decorative (Figure 13.24b).
Thestitchingorderisthesamewhen stitchingany
vent,whetherit's inaskin,adress,orajacket hem.
Referto Chapter 15,"Vent" (seeFigure 15.30).
On skirts, jackets, and dresses where the
vent opens for functional purposes, the lining
is stitched around the shape of the vent. On the
sleeves, the vent does not need to open, so the
lining can be stitched to the straight hem edge.
Refer to Chapter 16 for more information. In
particular, refer to Figure 16.19, as it illustrates
how the lining is stitched to the sleeve hem.
There are many specialty fabrics that need
extra special care when stitching. The Dos and
Don'ts will help to guide you when stitching
cuffs in tricky fabrics.
Cuffs and Other Wrist Finishes: Encircling the W
~~~ ~~ ~ ~ ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . ~ . . . .
STITCHING CUFFS AND OTHER
WRIST FINISHES IN TRICKY
FABRICS
Stripes, Plaids, Patterns,
and Repeat Patterns
Do cut cuffs in stripe or plaid fabric on a
different grainline, such as the cross- or bias
grains, to show contrast.The cuffs in the shirt
in Figure 13.la arecut in the oppositeway to
the body of the shirt for difference.
Do consider stitchingasimple darted placket,
becausethis styleof placket doesnot involve
matching. However,if the underarm seams
arenot cut to match, then theplacket will not
match either.
Do cut cuffs on an inconspicuouspart of the
fabricif the pattern is a repeat or a large bold
print.
Do cut cuffs on the border (if the fabrichas
a border),as this really defines the cuffs in an
excitingway.
Sheer Fabric
Do stitch sheercuffs and collars to medium-
weight shirts and blouses, as sheerfabricsshow
contrast.
Do be carefulwhen choosingthe interfacing
for sheercuffs (and collars), as interfacingcan
shadowthrough sheerfabric. Consider using
self-fabricfor interfacingsheer fabrics;then
you know the color matchwill be perfect.
For more information on stabilizers,refer to
"Types of Stabilizers"in Chapter 3.
Do trim narrow seam allowances in sheer
fabric neatly and parallel to the cuff seamline
so they look as inconspicuous as possible;
remember every seamline is visible in sheer
fabrics.
Do stitch any style of placket in sheers,as bulk
will never be an issue. Someadvice here-do
stitch a samplefirst to seewhich placket looks
best in the fabricand design.
Do considerfinishing cuffs with a couture
hand stitch rather than topstitching with an
edgestitch.
Do use a small stitch length (approximately
2.0) for topstitching sheerfabrics.
Do stitch shirring elastic as a wrist finish in
sheers-it will look absolutely gorgeous!
rirt
..
Do stitch a bias bindingwrist finishto sheer
fabrics; binding edges in sheerfabricwill not
shadowin the sameway that afacingwill.
Do stitch gathered wrist finishes in sheer
fabrics. Lots of fullness can be added in sheers,
and this looks so delicate.
13.24A TWO-PIECE 13.246 T H E VENT I S
SLEEVE VENT I N SECURED TOGETHER
BACK SEAM W I T H BUTTONS.
2 NOTCHESCOMMUNICATE
THE BACK S L E M
TWO PlFCESLEEVE
VENI.IN BACK SLLM
A
UGHTLY CATCHSTITCI
AROUND VENI
UNDERNELITW
MITEREDCORNER THEVENT IS SECURED
ON SLEEVE VENT TOGETHER WITH BUrrONS
NO TOPSTITCHING NETDED 01SLEEVEVENT

,r,...~e>..,&, .....$:. ..,."-. ..,. Professional Sewing T e c h n i q ~ e sfor Designers
Don't leave any loose threads inside cuffs made
in sheer fabrics because they will be noticeable
from the face of the fabric.
Lace
Do overlay a scallop edge around the wrist-
this finish works beautifully in lace. Refer to
"Stitching Seams in Tricky Fabrics" in
Chapter 6.
Do stitch closed cuffs in lace fabric if you
really want a cuff in lace.
Don't stitch bias binding finishes in most
weights of lace, as it would become bulky.
However, the bulk would depend on the weight
of the lace fabric you use.
Don't stitch plackets and open cuffs in heavy-
weight lace, as the density of lace may be too
difficult to work with. Consider using silk
charmeuse for the placket, cuffs and collars, as
it would combine very well with lace.
Satin
Do stitch cuffs in lightweight satin such as
silk charmeuse. However, carefully choose the
type and weight of interfacing. Silk organza
may work well. Sample a seam first to see if
any ridges are apparent from the correct side. If
they are apparent, carefully grade the seams to
reduce bulk.
Do consider finishing cuffs with a cou-
ture hand stitch rather than topstitching an
edgestitch.
Don't stitch cuffs, casings, bindings, and shirr-
ing elastic in heavyweight satin fabrics; a better
option is to hand stitch a neat hem.
Beaded Fabric
Do only stitch closedcuffs to headed fabric,
as ulackets would not stitch well and a lot of
work would be involved. Consider the time
required-beads need to be smashed off all
seams with a rubber mallet and beads may need
to be restitched hack onto the cuffs once they
are stitched.
Do consider other wrist finishes in beaded
fabrics; bias binding is an excellent option.
However, do smash the beads off the scam
allowance, and we suggest using a different
fabric, without beads for the binding.
Don't try topstitching beaded cuffs-this will
nor work!
Don't stitch shirring to beaded fabric.
Knits
Do structure cuffs in knit fabrics with stable
interfacing to take the stretch capacity out of
the cuff. Fusi-Knit interfacing is excellent for
stabilizing knit fabrics; place the cuff on the
interfacing on the vertical grainline to stabilize
it (see Figure 3.10).
Do stitch elastic wrist finishes on lightweight
knit.
Don't use gathered wrist finishes in heavy-
weight knit fabrics.
Denim
Do stitch cuffs and plackets in denim; they
also look great topstitched.
Do choose the type of placket carefully to best
suit the fabric weight. A darted placket reduces
any bulk; however, a shirt-sleeve placket will
topstitch beautifully in denim. The fabric
wsight always needs to be considered when
choosing the construction method.
Do topstitch denim cuffs with a longer stitch
length, as stitches sink into several layers of
thick fabric and do not show up.
Don't stitch bias binding, ties, and elastic
finishes when the denim is medium to heavy-
weight. The wrist finish will look too thick and
bulky, and bulky wrist finishes feel uncomfort-
able to wear.
Don't always interface denim cuffs. Some
denim fabric already has the weight and sta-
bility without needing interfacing; however,
sample first. If the cuffs are not interfaced, slip
a small piece of interfacing under the button-
hole section only, so it does not stretch when
the buttonhole is stitched and used
Velvet
Do be careful if you are considering stitching
cuffs in velvet fabric. Velvet needs as few seam-
lines as possible, as it is a really tricky fabric
to stitch and press. We recommend choosing
another wrist finish.
Do try a simple hand-stitched hem instead;
this would be the perfect choice for a wrist
finish in velvet.
Do hand stitch a trim to the wrist edge to add
a special touch in velvet.
Do sample any gathered wrist finishes first
before stitching the wrist. Shirring and other
elastic finishes can look great stitched in light-
weight velvet; however, their applicability can
only be determined by sampling first.

fs and Other Wrist Finisher: Encircling the Wrist
~~......... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Leather
Do stitch open cuffsin leather. The seam finish
depends on the weight of the leather. Seamscan
be stitched,turned, and securedwith leather
cementor topstitched to hold them in place.
Do interfaceleather cuffs. If the leather does
not need interfacing,slip a small squareunder
the buttonhole section only, so the buttonhole
does not stretch out of shapefrom use.
Do sample any placket finish in the leather
first. The style of placket you choose depends
on the weight of leather.
Do stitch avent in leather.
Do be careful choosinggatheredwrist finishes
in leather.Use only lightweight leather, such
as avery soft lambskin;however, it is a must to
samplefirst.
Don't stitch plackets in heavyweight leather;
in fact, don't stitch cuffs in heavyweight
leather.
Faux Fur
Do stitch faux fur for the top side of your cuff.
Sincefur is thick, alining needs to be stitched
as the under cuff to reduce bulk.
Do stitch a simpleturned-back hem as awrist
finish; hand stitch with a catchstitch.Refer to
Figure 15.9 to seehow to catchstitch.
Don't stitch plackets, gatheredwrist finishes,
or elasticwrist finishes to faux fur, as all these
finishes are too thick and bulky.
Heavyweight Fabric
Don't stitchplackets and open cuffsin heavy-
weightfabric,asthey would be bulky and
uncomfortable.We recommend choosinganother
finish. However,if you dowant to giveit a go,
samplefirstinyour fabricchoiceto seehow the
cuff would look-there isnothingwrongwith
uying and gainingsomeexperiencefromthis
exercise.
Therearenumerousotherwristfinishesthatcould
be explained in this chapter. All options cannot
be covered here; however, by wansferring your
knowledge and by stretching your creativity, the
knowledge you have gained will help you stitch
otherwrist finishesnot outlinedin this chapter.
Any cuff or other wrist finish,such as a
casing,bias binding, or shirringelastic,can
be stitched to ashort or three-quarter-length
sleeve.Just uansfer your knowledge and use
the samestitchingorder-but do remember
to measure the armwhere the cuff is going to
sit, as it will be larger than the wrist measure-
ment. The softpink, delicate dressin Figure
13.25has short sleevestuckedto a closedcuff.
A casingwith elastic inserted can be stitched
to any level on the sleeve as long as it feels
comfortable. Try several rows, with two
or three casings stitched around the level
of the short sleeve,above the elbow, and at
the wrist. This makes an interesting puffed
sleeve design.
A contoured cuff does not always need to be
securedwith buttons and buttonholes. How
about stitching a row of bias loops instead,
and using smallpearl buttons for a glam
look?Bias loops are outlined in Chapter 17,
in the section"Bias Loops."
In Figure 12.25 a rib band is stitched to the
neck edge. Transferyour knowledgeand
stitch a rib band as cuff finish.Refer to "Rib
Knit Bands at Necklines and Armholes" in
Chapter 12.
In Figure 13.1~the print sheer top has shirr-
ing elastic stitched around the wrist. How
about stitching the same finishto ashort or
three-quarter sleeveor under the bust-or
anywhere else the designer chooses to place
it?Always make sure plenty of fullnessis
allowed in the pattern for gathering.Sample
first to seehow many extra inches are
needed, as each fabricshirrs differently.
Did you know that anotched cuff followsthe
samestitching order as a waistband?Trans-
ferring your knowledge,you would simply
turn it upsidedown and stitch,using the
same stitching order. Also take a quick look
at Figure 15.33d to seean oversizecontoured
cuff stitched to the hem of the skirt. Do you
also notice that the shirt-sleeveplacket is
stitched up from the hem on the skirt and in
the neckline of the T-shirt in Figure 15.34b?
The fold-back (or gauntlet cuff) is one of our
favorite cuffs. It takes more time to stitch but is
well worth the effort. We decided this chapter
would not be complete without givingthis cuff
a mention. The skills you have gleaned so far in
this chapter will be recognized as we teach you
how to stitch this exotic cuff!

13.25 TRANSFER YOUR
KNOWLEDGE: STITCH 4 N
OPEN OR CLOSED CUFF
OR OTHER WRIST FINISH
TO A SHORT OR THREE-
QUARTER-LENGTH
SLEEVE. CLOSED CUFF
STITCHED TO A SHORT.
PUFFED SLEEVE.

13.26A WARM CHECK OVERCOAT WITH
F U R COLLAR A N D CUFFS
C ~ l f f sand Other Wrist Finishes: Encircling the Wrist
~~~ ~~ ~ ~~~ ~ ~~ ~ ~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~ ~~ ~
13.268 CUFF LEFT TO HANG DOWN 13.26C H A L F TURNED.BACK CUFF
First of all, it is a contoured cuff. It also has
a separate contoured fold-back section stitched
to the contoured cuff, which is folded back and
elegantly stands awayfrom the buttoned cuff.
The warm overcoat with fur collar and
cuffs, illustrated in Figure 13.26a, has the
fold-back cuff stitched to the wrists. A coat
doesn't necessarily need a placket if the wrist
opening is wide enough. Then the cuff would
be stitched as a closed cuff. The fold-back
section in the coat has been stitched in fur to
mirror the collar, not only for beauty but also
for warmth. The collar can be turned up so
you can snuggle into this coat. The cuffs turn
down with the fur coveringyour hands to keep
you warm on those freezing-cold winter days.
This is also a great style for tall people, as the
cuff can be turned down for those who have
longer arms (Figure 13.2613).The cuff can also
be turned back halfway and be stitchedperma-
nently. Hand stitch the under cuff only to the
contoured cuff using double thread. Notice in
Figure 13.26~that a trim has also been stitched
around the edge of the cuff.

13.27A STITCH THE
FOLD-BACK CUFF
. .~~ . . ~ ~ ~ ~ ~ . ~ ~ ~ ~ ~ ~ ~ . ~ ..~ . . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
TRIM
CORNERS
/b
-LEAVEOPEN - '%/4"
SHARP
CORNERS
13.178 PLACE THE
- J v
FOLD.BACK CUFF
TO THE CONTOURED
CUFF AND STAYSTITCH
IN PLACE
TRIM NOTCHED EYJENSION
CLIP IN10 SEAMAIIOWAICI
when the cuffturns backit will stay in place
without flopping over. Referto Chapter 3 for more
information.
Stitch the darted placket and underarmseams,
and tuck or gather the wrist (see Figure 13.9).
Take the two fold-backcuff pieces and placethe
correct sides together; stitch a %-inch seam
around three sides, reduce bulkfrom the corners,
and clip the curved seams. Noticethe bottom
edge is open (Figure 13.27a).
Turn the cuffto the correct side and sharpen the
TRlM CORNERS
corners with the point turner; pressthe cuff.
13.27C PIN AND STITCH THE CONTOURED CUFFS
TOGETHER; THE FOLD-BACK CUFF SECTION IS SAND-
WICHED I N BETWEEN THE CONTOURED CUFF
Mirror imagethe turned-back cuff to checkthat
both sides are equal widths.
Place the turned-backcuff directly on top of
the interfaced contoured cuff. Positionfrom the
Fold-Back Cuff or Gauntlet Cuff notched extension to the seamline at the other
end ofthe wrist. Staystitch in place (Figure
contoured cuff-we suggest inter- 13.27b).
facing one side only; however, this depends on Placethe correct side of the other contoured cuff
the fabric weight. over the turned-backcuff. The fold-backcuff is
Interface bothsides of thefold-backcuff. The now sandwiched between both contoured cuffs
interfacing should hold the structure so that (Figure 13.27~).
Pinthe contoured cuffs together, following the
illustration, and stitch the seam around the cuff
(see Figure 13.27~). Be careful as you stitch-the
turned-back section can easilyget caught in the
seam, so keep an eye on this!
Clip into the seam up to the notched extension.
Turn the seam allowance down and press (see
Figure 13.27~).
Gradethe seam alongthe bottom edge to reduce
bulk (Figure 11.9f). as there are four layers of
fabric sittingtogether.Turn and pressthe cuff
(see Figure 13.27~).
Stitch the cuff to the wrist, following the stitching
order for the notched-extension cuff.
Stitch your choice of button and buttonholes in
the cuff.
...both sides of my cuff look different
widths when they are buttoned together?
Carefully remove the cuff f r o m the wrist at the
end with the buttons stitched. U n d o the cuff,
turn t o the inside, and readjust by pinningthe

............................ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
width to match that of the other cuff. Restitch handbasted first. Perhaps this step was skipped! Elastic Finishes
the width, and stitch the cuff back to the wrist.
This is extrawork, so next time be sure to check
that the cuff is amirror imageat an earlier stage.
...my cuff is too tight?
If the cuff is too tight, there is no other option
than to carefullyremove the cuff using the seam
ripper and stitch a new one to a largermeasure-
ment. Go back and measurethe hand again, and
make a new pattern. This time make sure you
have an accuratemeasurementfor the cuff, with
easeincluded.
...my cuff is too big; what can I do to
adjust it? I have already stitched the
buttonhole!
Trystitchinganotherbuttonfartherbackfromthe
first button (see Figure 13.17) to give the option
of tighteningthe cuff. However, if this makes the
placketandcuff looktwisted,them uy thefollow-
ingidea. Carefullytakethe cuff off thewrist from
thebuttonend,undo thecuff,andrestitchtomake
it smaller.If the sleeve is gathered,then pull more
gatheringtoshortenthecuff lengthtofityournew
cuff length. If the sleeveistucked, make the tucks
larger or add another tuck to the wrist to reduce
thewristlength.Reapplythe cuff to thewrist.
...my cuff looks twisted?
When stitching the cuff closed with a machine-
stitched edgestitch or a stitch-in-the-ditch, the
cuff will twist easily if it was not pinned and
Seam rip the stitching and realign the folded
edge of the cuff-pin and handbaste in place
beforerestitching.
SELF-CRITIQUE
To critique your wrist finish, ask the following
questions about your wrist finish:
Cuffs
Did I use the correct weight of interfacingfor
cuffs?
Have I stitched the correct placket to suit the
cuff?
Do my cuffs mirror imageeach other?If not,
why not?
Do my cuffs lie flat, or do they look twisted?
Is my edgestitchingparallelto the seamline?
Does the placket sit flat and smooth, and
does it function properly?
Have I stitched my buttonholes and buttons
in the correct positions so my cuffs close
properly?
When the cuff is closed,is the wrist measure-
ment comfortable?
Are my buttonholes too tight, too loose, or
just right?
Did I stitch enough samplesto make an
informed decision regarding the best wrist
finish for my fabric?
Did I use quality thread for my stitching?
Did I use the correct stitch length for perma-
nent stitching and topstitching?
Is the elastictoo tight, too loose, or just right?
Is the elastic so tight in the casingit can't
move freely?
Is the shirring elastic stitched parallel to the
hem?
Does my wrist have enough fullness and
gatheringso the sleeve drapes beautifully?
Did I samplesufficientlyto make a wise
decision as to the best wrist finish for my
fabric?
Am I learning the important concept that the
fabricweight guidesme in the choice of wrist
finish for my design?
Do I understand how fashionand function
mtlst go hand in hand?
Do I understand the concept that cor-
rect patterns are the foundation of correct
stitching?
Do I understand how crucialnotches and
other pattern markingsare in setting myself
up to successfullystitch the notched cuff?
Do I understand the benefits of sampling
first beforestitching the garment?
Do I understand the importance of having
an accuratewrist measurementso my wrist
finish is comfortable?
Do I understand how important interfacing
is to the structure of the cuffs?

Sleeves: Rounding Off the Arm
*. ~., ,1,~.
Sleeuee are an importint aspect of garment silhouettes and csn evel~&~$f&kiqQ$$@to
another. The opportunity for designs of the sleeve and ihe finish of fb& $$&&@&endless.
...~,-. .
Sleeves move with fhe body and need two holes: one for the arm to @o$'n~&@&"@f~$%~rfor
. . . .P . ~ i
it to come out of.Thereare two categories of sleeves: a separate cut Sle@+:Xha,f&$@'imothea :.
bodice, and a sleeve that is combined with all, or part, of the bodice. ~ei-in~.atbe,&:'an be
designedtofitthearmholesmoothlyorwithgath-
ers.Theycanbedesignedtofittothebodyorwith
e x a g g dfullnessand can be cut to any length
from the upper arm to the wrist. The hemline of
thesleevecanbehished invariousways, becom-
inganimportaut&focal pointonthegarment.
A sleeve~withunsightly gathers and puck-
ers or onet$a'M&ts becaauseproper grainlimes
were not &iht~;qd. ,is..asign of inexp&ience,
haste, b r . d + , m ~~e'believeaperfecdy set-
insleeveisathiag &:beauty andcanbe achieved
in all fibtics, with practice, patience, and a few
good sewingtips.-
~ . .
~.
In this chapter we ei$a& and .ilhstrate
manyvariations of sleeves?~.p%tmdthedesign
student's construction h%&$ge. Add your
samplesto your wo~kboii&~~~eiii&~Sleeves can
be a challenging process, !$ea3tlos&heart.
Once experience and d d m e. . , < . . ~ in .s@ching
have been gained,you wisbaBMk to s&ch anv
sleeveperfectly!
SME I.D.
Often,sleevesarenamedfortheateafromwhich
they are designed; for example, the cap sleeveis.
designed from the cap area of a complete sleeve
K E Y TERMS
All-in- One Sleeve
Cap Sleeve . . .
Dropped Shoulder Sleeve
Elbow Dart
Flat Insertion
Gathered Sleeve
Gusset (One-Piece)
Gusset (Two-Piece)
Kimono Sleeve
Raglan Shoulder Pad
Raglan Sleeve
Set-in Shoulder Pad
Set-in Sleeve, 0 h e Piece
Set-in Sleeve, T&OPiece
Shirt Sleeve
Shoulder Ead
Sleeve Cap
Sleeve Ease
Sleeve Finish
Sleeve Head
Sleeve Hem

..~......~...........~.............~.-~~....-...-..

MPORTAHf
Ilgooddesigncomerfromsooil patterns
hlch aredemlopdfromgood slopers. 01
slopstrongpattaromakingskillstoassis
ru In design!
Theupper collar in jackets and coatsshould be
stitched.
uCollarsand facingsin blouses and dresses
should have been applied.
Finish cuff and stitchto sleeveedgebefore
sewingthe sleeve intothe garment.
and can be modified in endless ways. Look at
the sleevevariations in the StyleI.D.; by the end
of this chapter,you will know how to stitchand
insert these and many other styles of beautiful
sleeves (Figure 14.1).
GATHER YOUR TOOLS
For thetechniques in this chapter,you will need
a tape measure, fabric marker, scissors, pins,
threads, materials for sleeve heads, shoulder
pads, and lots of patience! Think ahead-or-
der now. Oftentimes chain fabric stores do not
have an extensive selection of specific supplies
needed for sleeves, such as a wide assortment of
shoulder pads, or sleeveheaders. Once you have
decidedwhat type of sleeveis part of the design,
begin the research to find the correct supplies,
and order them as soon as possible.
B ore stitching set-in sleeves, the followingsteps
garmentconstruction should be completed:0Thegarmentshould be staystitched.
Darts should be stitched and pressed.
Sideand shoulderseamsshould be stitched and
pressed.
Pocketsshould be stitched.
The Fairchild Dictionary of Fashion defines
sleeves as: "that part of an item of clothing
that covers the arm."' As shown in Figure 14.2,
sleeves can be fitted, set-in, cap, one- or two-
piece raglan, or avariation of the kimono sleeve.
The two most common categories of sleeves
are set-in sleeves (Figure 14.2a),which join the
bodice at the natural joint of the body wherethe
arm meets the shoulder; and all-in-one sleeves,
with no armhole (Figure 14.2d).
A well-fitted sleeveis onethat hangsproperly
and fits the arm and shoulder smoothly; these
aspects ensure the sleeve will be comfortableto
wear. Stitching the sleeve into the armhole cor-
rectlyis alsopart of achievingawell-fitted sleeve.
However, this won't happen unless thepattern is
correct-correct stitching begins with a correct
pattern (Figure 14.3). This aspect of the sleeve
must be attendedto atthesloperstageof pattern-
making. With the correct amount of ease in the
sleeve, stitching the sleevewill also be a smooth
stitching experience, not a dreaded stitching
nightmare!Ease,asdefined by theFairchild Dic-
tionary of Fashion, is "the process of joining a
slightlylargergarmentpiece to asmallergarment
piece by evenly distributing the fullness along
the seam where the pieces are joined."I As you
CUT SEPARATELY
AND STITCHED AS
SET.IN SLEEVE
14.2A BASIC FITTED
SET-IN SLEEVE
CUT-IN-ONE
WlTH GARMENT 1
14.26 CAP
SLEEVE FRONT
14.2C 0NE.PIECE RAGLAh
SLEEVE WlTH SHOULDER
AND ELBOW DARTS
14.20 8 A S I C
KIMONO S L E E V E
FRONT
will seein Figure 14.4a,it is criticalto the success
of any sleeveto focusthe easewhere it is needed
for smooth,pucker-free stitching.
Elements of a Sleeve and Their
Proper Terminology
Sleevecap is the curved top of the sleeve
from the front to the back (seeFigure 14.3).
Sleeve ease is the additional allowanceof

SHOULDER NOTCH
BACK NOTCHES
SLEEVE CAP
14.3 A N A T O M Y OF A S E T - I N S L E E V E
fabricat the sleevecap, biceps, elbow, and
wrist to allow movement of the arm (see
Figure 14.3).
Notches are clipsin the seamallowances,
indicating the front of the sleeve (one notch),
the back of the sleeve (two notches),and
the center of the sleeve cap (a singlenotch),
where the sleeve and shoulder meet (see
Figure 14.3).
Sleevehead, or heading,is a bias strip of
various types of fabr- used to fill out the
sleevecap. This is used in dress- and blouse-
weight fabrics as well as in heavier coat or
jacket fabrics(seeFigure 14.5a).
Shoulder pads are layers of padding made
from materialssuch as cotton batting, felt,
foam, or someof each. They support the
shoulders of a garmentfor correct drape,
and maintain and support the shoulder area
of tailored garments (seeFigure 14.16and
Figure 16.16).
Elbow dart allows the arm to bend in a
straight, fitted sleeve,and can be one or sev-
eral smaller darts (seeFigure 14.3).
Sleevehems arethe finishedlower edges of
the sleeve, which can be turned to the inside
of the sleeve, turned to the front of the sleeve
as a decorative finish. or finishedoff with
another technique such as bias binding or a
cuff. The type of sleeve or hem finishused
depends on the fabric, the styleof the gar-
ment, the garment use, and the care of the
garment (see Figure 14.3).
Sleevefinishes refer to the various ways a
sleeve can be completed, such as facings,
openingsin the seam, snaps, loops and but-
tons, zippers, and cuffs in all their myriad
possibilities too numerous to mention here.
Refer to Chapter 13, "Cuffs and Other Wrist
Finishes," for detailedinformation on this
important aspectof sleeve design.
Familiarity with the correct terminology in
sewing assists the student in understanding
the construction process, and is critical to
g o ~ dsewing at each step of the project. Our
advice to students is to learn the correct term
and use it!
SET-IN SLEEVES
The set-in sleeveis a classicsleeve, which can be
constructed as one or two pieces. The cap of the
sleeveis rounded to provideextra easeand com-
fort to fit over the shapeof the shoulders(Figure
14.4a). Inthe pattern draftingstage,the shoulder
areamust be trued asshownin Figure 14.4bfor a
smooth armsyce. Most students find it difficult
to shape and ease the cap smoothly, and often
the problem stems from too much ease in the
sleevecap or choosingthe wrong fabric. Unless
lNOTCH
ON FRONT
ARMHOLE
CENTER
2 NOTCHES
ON BACK
SHOULD BE SHOULD BE CENTER
IL i O i EQUAL LENCITHS EQUAL LENGTHS M C I
14.4A E S T A B L I S H I N G T H E E A S E
TRUE THE
SEAMLINT
FRONT
1 4 - 4 6 T R U E I N G T H E S E A M L I N E

fabric can be eased, either by machine basting
or steam-pressing in the fullness, the sleeve will
always be set-in with tiny pleats and gathers in
the armholeseam.If this occursrepeatedlywith
the sample,consideranother style of sleeve or a
differentfabric.
The set-in sleeve reauires more time and
sewingexpertisebut is worth the effort it takes
for the end result: abeautiful,pucker-freesleeve
that rounds off the shoulder.Therearetwo ways
to ease in the sleeve: using a bias strip of fabric
or using the ease stitch to gatherup the fullness.
Both methods are effective and require practice
to master. Over time, with patience, both of
these methods produce beautiful results.
Method I: Easing the Sleeve with a Bias Strip
A bias strip of self-fabric, nylon tricot, or
lamb's wool 1%inches wide and long enough
to reach around the sleeve cap from notch to
notch can be stitched to the seam allowance of
the sleeve cap to gather in the ease. To ease the
sleeve with a bias strip:
Anchor the bias strip with a few machine
stitches.
Machine baste, stretching the strip firmly
and evenlywith the left hand and using the
right hand to guide the sleeve cap beneath
the presser foot; 1to 2 inches are left at the
end-do not stretch the strip for %inchon
either side of the center notch cap (Figure
14.5a).
Trim off the excesslength when reaching
the other notch; when the bias strip relaxes,
n R m n BIAS STRIP
WHILE STITCHING
BIAS STRIP
BEGIN
14.SA EASING THE
SLEEVE CAP WITH
A BIAS STRIP
the sleeve eases evenly-the sleeve cap
should be dimple-free and the stitching line
should be flat.
Shrink out the excess fullnessin the seam al-
lowance (Figure 14.5d) by placing the sleeve
cap over a tailor's ham; apply lots of steam
to dampen, but use a dry iron to shrink out
the fullness and flatten the seam allowance-
don't press beyond the stitching line into the
cap of the sleeve.
14.58 EASE STITCHING
THE SET.IN SLEEVE
Method 2: Ease Stitching the Sleeve
The set-in sleeve is found in many styles of gar-
ments. Directions for ease stitching the sleeve
cap begin theprocess of setting-in the sleeve.To
sewthe one-piece set-in sleeve:
leeve: ease stitchthe sleevecap
slightly insidethe seamline(not outside!)be-
tween the notches(Figure14.5b).

14.5C PULLING UP THE EASE STITCHING
.....................................................
14.5E STITCHING THE SET-IN SLEEVE TO THE GARMENT
Gently pullthe bastingstitches into easingon the
sleeve cap (Figure 14.5~).
Stitch and pressthe elbow dart or stitch the ease
(see Figure 14.5~).
Placethe sleeve cap over a tailor's ham; hold
both sides firmly at the notch points with one
hand-pull taut (Figure 14.5d).
Steam-press the sleeve cap with a steam iron to
reduce the easing and to reshape the sleeve into
a rounded s h a ~ eto fitthe curve of the shoul-
der (Figure 14.5d). Useyour handsto mold the
shape-this iswhere you get to develop heat-
resistant fingers!
Don't remove the sleeve until it has cooled down.
Stitch the underarm seam and press open.
Turn garment to the wrong side; havethe sleeve
turned to the correct side.
Slip the sleeve into the armhole and match the
underarm seams together; the correct sides are
now facing together (Figure 14.5e).
Pin key points together (see Figure lq.ge), as
follows:
-Shoulder seam to center of sleeve cap
-Two backsleeve notches to armhole notches
-One front sleeve notch to armhole notch
Evenlydistribute the ease between notches, and
pin; if the ease has been properly determined in
the patternmaking stage, the sleeve should fit
easily into the armhole (see Figure rq.ge).
Stitch the sleeve into the armhole with the sleeve

facingup, beginningat the underarm seam.
The intersectingseamsshould be stitchedwith
the seam allowances leftup; don't trim or clip.
RefertoChapter 6. "Seams," for more informa-
tion on stitchingintersectingseams(Figure
6.29a).
No puckersshould bevisible in the sleevecap
afterstitching-if theyare, use your seam ripper
to removethe stitchesand restitch the sleeve.
Two-Piece Set-in Sleeve
The two-piece set-in sleeve is found mostly in
suits and coats. Both sections of the sleeve are
shaped to ~roducea fitted sleeve with seams at
the front and back armhole (Figure 14.6). The
seams of the under sleeve and upper sleeve are
stitched together before the sleeveis set into the
garment. The sleeve is set into the garment fol-
lowing the same directions as for the one-piece
set-in sleeve above.
Two-Piece Sleeve with Vent
Often two-piece sleeves are finished with vent
openings at the lower edge (Figure 13.24). This
type of finish has to be planned for during the
sloper stage of patternmaking. To sew the two-
piece sleevewith vent:
n the upper sleeve,add 1%inches for facing
d hem.0On the under sleeve, add 3 inches for the ex-
tension and facingand 1%inches for the hem.
Add %-inchseam allowanceon all pattern
seams (Figure 14.7a).
UPPER
SLENE
Mark all notches and matchpoints (Figure
14.7a).
On the upper and under sleeves,fold the vent
facingin and the hem up. Mark the position
where the patterns intersect; open the pat-
tern and connect these two points to stitch
mitered corners.Add %-inchseamallowance
(Figure 15.23a).
Begin by stitching the back sleeveseam
(Figure 14.7a).Lay the under sleevewith the
correct sideup; place the correct side of the
upper sleeve on top, matching notches. Stitch
the seamfrom the sleevecap down to the
matchpoint corner and clip into the match-
point (Figure 14.7b).
Press the seam open.
Stitch the mitered corners; begin by folding
over the diagonal seams with correct sides
together, stitching from the %-inchseam
allowance on the cut edge. Stitch through to
the folded edge and clip the corner, finger-
pressingthe seam open. Turn using apoint
turner to get a sharp, right-angled corner;
press (Figure 14.7band Figure 15.23a).
Hand stitch both facingsof the vent to the
On the sleeve cap, fold back each seam allow- garmentusing a catchstitch(Figure 14.7~).
anceand cut the pattern using a mirror image Stitch the front seamtogether and catchstitch
of the sleeve shape. the hem (see Figure 14.7~).
Fold the hem allowance back and cut the The lining is stitched to the hem coveringthe
hem as a mirror image-this will ensure that entire sleevehem. The lining does not need
when the seams and hems are stitched, the a vent nor does it need to be cut and stitched
hem and facingwill fit comfortably behind
the wrist without pulling when the garment
is worn (Figure 15.4).
around the vent, as most vents are decora-
tive rather than functional (Figure 14.7d and
Figure 16.19).

14.7A STITCHING
THE VENT

U l D l R SLEEVE
MlRROl lMICIE
HEMALLOWANCE
14.78 MITERED CORNER
Gathered Sleeve seam; stitch another row of stitches l/s inch
The gathered or puffed sleeve is a variation of from the seamline;trim away excess seamal-
the set-in sleeve(Figure 14.8a).Instead of easing lowance, or sergethe seamto finish the edges
in the fullness of the sleeve cap, this fullness is with the gathersunderneath.
gathered in. Gathers are visible in the armhole With exaggeratedgathering or for very soft
seam, and the cap is puffy with plenty of full- fabrics, a sleeveheader will support the
ness. At the patternmaking stage, this type of fullness.
sleeve is slashed open and fullness is added into Refer to Chapter 6, Figure 6.23, for further
the sleeve cap in varying amounts per the de- gatheringinformation.
signer'spreferences. To gather the sleevecap:
Shirt Sleeve
S ltch two rows of bastingstitchesbetween Shirt sleeves area design feature of men's shirts,
he notchesindicated on the sleeve (Figure tailored blouses, shirtdresses, and casual styles
014.8b).
with a dropped shoulder or armhole seam. This
Pull up the bastingstitches, arranging the is a set-in sleeve that eliminates much of the
gathersnear the cap of the sleeve;pin the frustration associated with set-in sleeves. The
sleeveto the armhole. cap of the sleeveis shallow or flat. The sleeveis
D o not pull up the basting stitchesafterpin- stitched into the armhole using flat insertion,
ning the sleeveto the armhole-it gathersup which means it is stitched to the armhole before
the armhole seamline. the side seams are stitched. The sleeve cannot
Stitchslowly, beginning at the underarm be completely finished before stitching it to the
garment. To stitch a sleeveusing flat insertion:
"AND
n l T c H
"EM
w
14.7C CATCHSTITCH THE VENT
14.70 HAND STITCH THE
LINING OVER THE VENT
Stitchtheyoke to the back shirt(Figure14.9a).
Pin or handbastethe sleevecapto the armhole,
correctsidestogether,matchingnotches and
shoulderseammarkings (Figure14.9b).
Stitchwith the sleevefacingup, keepingthe
fabrictaut.
Press the seam, and finish the edgeswith
serging(Figure 14.9~)or zigzagstitching; or,
topstitch the seam allowancesto the garment
by pressingthe seamtoward the shoulder
and topstitching the shoulder side of the
armhole seam (Figure 14.9d). Refer to

14.8A
GATHERED
SLEEVE
A-
14.88 EDGE-TO-EDGE GATHERS
~ ~ ~ ~ ~ ~ - . . . . . . . ~ ~ ~ ~ . . . . . . . ~ - ~ ~ ~ ~ . . .~--.........
SERGED SEAM

TTOM EDGE
ms . ~i.~*:...--<.*.=,- -=F/=+. ~~~-$c3*s?
14.9C SERGED SEAM

Chapter 6, "Seams," and Figure 6.28d for
more information.
Stitchthe side seams in one continuous
stitching, matching the armhole seamlines
(Figure 14.9d);this seam can also be
serged.
Completethe sleeve.
Dropped Shoulder Sleeves
~ ~ . .~ ~ ~~~~~~~.~~~~~ ~~ ~~~~~~ ~~ ~.
Stitchthe side seams of the sleeve, leavingthe
%-inchseam allowanceunstitched; back-
stitch (Figure 14.10bj. Press the'seamsopen.
With the correct sidestogether, match the
sleeveto the garment at the notches and the
underarm matchpoint; pin.
Stitch,beginning at the underarm, with the
garmentup facing you; the stitching will ac-
tually be done in-the-round. Backstitch, and
Dropped shoulders are created by a wider press.
bodice that hangs off the shoulder onto the arm
with a flattened sleeve cap that is joined in a Raglan Sleeves
seam. They are most attractive when loose fit- The raglan sleeve gets it name from a loose
ting and made from fabric with drape. Blouses, overcoat named after an English general. This
dresses, and casual jackets or coats are good sleeve has long shaping at the top and is set
candidates for dropped shoulder sleeves. Part into the garment before the underarm seam of
of the sleeve cap combines with the garment, the sleeve and garment is joined. The raglan
covering the upper arm at different lengths. sleeve is a versatile sleeve that can be used as
This can be extended or exaggerated as much the basis of many sleevevariations. The sleeve
as the designer desires.The garment can be de- is cut from a separate pattern piece, and its
veloped with or without the lower sleeve. The seams, which extend diagonally from the
lower sleeve can be attached to the garment neckline to the underarm, add a design detail
at the extended cap. The sleeve can be of any to the garment. The sleeve does not have the
length or style; the only consideration is that traditional armhole seam, but retains the un-
the top of the sleeve must be the same dimen- derarm of a set-in sleeve, as shown in Figure
sion as the extended cap. 14.11b. In a one-piece raglan sleeve, a dart at
Becausethere is no easein this type of sleeve, the shoulder gives some shaping to the shoul-
followthese stitching directions: der area. In a two-piece raglan sleeve, the
shaping at the shoulder comes from the shape
Stitch the side seams of the garment to the of the seams.
matchpoints, leaving the %-inchseam allow-
ance unstitched;
backstitch.Press the seams open (Figure sleeve, the side seams are stitched after
14.10a). sleeve is sewn to the garment; however, an-
other option is to stitch the side seams of the gar-
me?t and sleeve first, then sew the raglan sleeve to
the garment (Figure 14.1ib).
To insert a one-piece raglan sleeve with a dart:
Stitch the dart or seam overthe arm at the
shoulder. Slash the dart open on the foldline
and press; use a tailor's ham to shape this area
(Figure 14.11a and Figure 14.3b).
Pin the sleeve seams to the appropriate garment
edges, correct sides together, carefully matching
notches to ensure that the front of the sleeve will
match the front ofthe garment.
Stitch, trim, and then stitch again '/8inch from
the first stitching between the notches (Figure
14.11b).
14.10A GARMENT SIDE
S E A M STITCHED
14.108 SLEEVE
S E A M STITCHED

14.11C S E R G E 0 FINISH
RAGLAN SLEEVE
, r 14.118 STITCHINGAND
TRIMMING THE
RAGLAN S L E E V E
Pressthe seams flat as stitched(meldingthe
stitches),then press open.
Stitch the side seam and sleeve seam ofthe gar-
ment in one continuous plain seam; this seam
can be serged closed afterstitchingto finish
the seam edges (Figure14.11~);or, if this seam
is in a garment that will be lined, it can be left
unfinishedto be covered by the lining.
Two-Piece Raglan Sleeve
A two-piece raglan sleeve should be carefully
marked to indicate the front and back.
Match all notches and markings.
Stitch each sleeve individually to the front
and back; press the seams.
Join the seam allowances along the shoulder
seamin one continuous stitching;press-since
this area is curved, press over a tailor's ham.
Stitch the underarm seams.
SLEEVES CUT-IN-ONE WITH ALL
OR PART OF THE GARMENT
Cap Sleeve
A true cap sleeve is created in the patternmak-
ing stage of design development, and is drafted
from the cap of a sleevepattern. It is then sewn
into the garment as a sleeve. It can be designed
to conform to the arm or to stand away from the
arm. When the cap sleeveisvery short, it is lined
to the edge (self-faced) (Figure 12.14a).

rkingofthematchpointis criticalfor
ttingoftws sleeve. :
The cap sleeveis lined with its own fabricto the
1
edge before beingstitched to the garment.
Afterthecap sleeveis stitched intothe garment,
use bias bindingto finish offthe underarm seam
allowancesand continue around the sleeve,fin-
ishing offthe cap sleeveseam allowancesatthe
sametime.
I'
!
!
i
14.12A C A P SLEEVE
I NOTE
II Always pivot cornerswith the needle in the I
fabric.
Sometimes the short-sleeved kimono sleeve is
called a cap sleeve. It looks like an extension of
the shoulder; it should not be fitted too closely
or it will pull under the armhole. (Refer to the
StyleI.D., Figure 14.ld.)
11.128 UNDERARM
uI??no Sleeve
The kimono sleeve is used in garments where
a wide, loose sleeve is desirable. The sleeve is
cut as part of the main body of the garment
with half the sleeve on the front of the gar-
ment and the other half on the back of the gar-
ment. The pattern pieces resemble a T-shape,
and there is no seamline around the armhole.
The dolman sleeve is developed from the
basic kimono sleeve. The underarm seam is
reinforced to withstand the strain from arm
movements. For extra ease and movement, a
one- or two-piece gusset is sewn in the un-
derarm seam. To stitch a kimono sleeve with-
out a gusset:
M tch notchesand underarm curves of the front
0d back sleeves(Figure14.lzb).
Pin the frontsleeveto the backsleevewith the
correct sidestogether.
Stitchthe shoulderlsleevestogether; press.
Stitchthe underarmlsideseamstogether;
press.
Reducethe stitch length; just insidethe seam,
stitch a second row ofstitches in the seam allow-
ance ofthe underarm curvefor reinforcement for
a very loose sleeve. Sergefinish the edgeofthe
seam allowancestogether if the garment will not
be lined (Figure14.1zb).
Ifthegarmentis lined press the seam allowances
in the direction in which they were stitched,then
press open. Becausethis seam is on the bias, it
can be shapedwith pressing.
One-Piece Gusset
The addition of a gusset to a sleeve provides
extra ease and movement (Figure 14.13a). A
gusset is a one-piece diamond or two triangles
sewn to a slash in the underarm seam. Cutting
these pieces on the bias gives the most ease and
strength to the gusset. The diamond points of
the gusset must end precisely in line with the
underarm seamline and the slash points on the
garment. If they don't, the sleeve will feel un-
comfortable, be pulled slightly off center, and

the sloppy gusset insertion will show when the
a r m is raised. T o insert a one-piece diamond-
shaped gusset inthe sleeve underarm, edgestitch
it t o a finished opening. T o begin:
I
IMPORTAMT
Do not stitch the sleeve and underarm
seam untilthe slashed openinghas been
reinforced.
/
Tr nsfer all matchpoints, slash, and stitching
( fhnesto the wrong side ofthe garment (Figure
14.13b) and the gusset (Figure 14.13~).
Stitch a square of silkorganza to the point on
the wrong side ofthe fabric when sewing the
reinforcement stitches (Figure 14.13b).
Slash the openingfor the gusset along the slash
line, cutting up to '/s inch from the point; ifthe
point is reinforced, cut through the reinforcement
as well, then press it away from the garment,
treating it like a seam allowance when stitching
(Figure %q.yd).
Stitch the side and underarm seams of the gar-
ment, ending precisely on the matchpoints ofthe
slash openingedges of the slash opening; the
openingwill be similar to the shape ofthe gusset
in each underarm area (Figure 14.13e).
Position the gusset insidethe sleeve underthe
openingwiththe correct side up.
Match the finished underarm edges to the gusset
stitching lines; pin and handbaste the gusset in
place (Figure 14.130.
14.13A ONE.
PIECE GUSSET
14.13C
MATCHPOINTS
uI(*Pa*ls
, GYII"
14.181) CUT ON THE
SLASH LINE AND PRESS
THE SEAMS

i4.lJG EDGESTITCHING
THE GUSSET
Professtonal Sewtng Technzques for Deszgners
Edgestitch the garment edges to the gusset
from the correct side of the garment (Figure
14.13g).
Maneuvering the sleeve under the machine
needle, especially if the sleeve is long, can be
difficult when edgestitching; stitch carefully
to keep the garment from bunching up and
catchingin the edgestitching.
Or, machine stitch the gusset to the garment
from the wrong side, aligning the match-
points. The %-inchseam allowance at the
underarm seammust be left unstitched in
order for the gusset to be machine stitched
(Figure 14.13~).
Two-PieceGwsset
Thetwo-piecegussetis easierto sewthan aone-
piece because the underarm seam is open when
the gusset pieces are stitched to the slashed
opening. This eliminates maneuvering around
four corners (Figure 14.14a).
The finished two-piece gusset has a seam
going down the center since one piece of the
gusset is stitched to the front of the sleeve
and the other is stitched to the back. Carefully
marking the front and back pieces is a good
safeguard against having to seam rip the wrong
pieces. To stitch a two-piece gusset:
Reinforce and stay the point of the slash
opening in the garmentas previously men-
tioned in the one-piece directions and shown
in Figure 14.13b; cut the opening on the slash
line to this point.

can always be raised to create a closer fit while
still maintaining the same bust and sleeve
circumference.
Stitchthe shoulder/upper sleeveseam front
and hack together.
Press after stitching.
Stitch the underarm sleeve/side seamsto-
gether;press.
Continue with construction of the garment.
74.140 TWO-PIECE
GUSSET PRESSED FLAT,
SEAM ALLOWANCES
TRIMMED
SLEEVE HEADS
Sleeveheads are strips of self-fabric bias cut or- a shaped sleeve head is easy to do and elimi-
ganza, fabric, or batting that lift and support nates the bulky seam allowances of traditional
the gathered sleeve cap and enhance the sleeve's straight-cut heads. The sleeve head can be ma-
drape. Theweight of the fabricor batting that is chine stitched '/;a inch inside the sleevecap seam
used to create the sleeve head depends entirely allowanceafter the sleeveis set into the armhole
on the weight of the garment fabric. Inserting (Figure 14.15).

Professional Sewing Techniquesfor Designers
e head in the shapeof the sleevecap
forjackets or coatsas shown in Figure14.15a;for
lightweight,sheerfabrics, cut as shown in Figure
14.15b.
-Centerthe head insidethe sleevecapwith one
longedgematched tothe cap edge(Figure14.15~).
Pin and permanentlyhand stitch it tothe
cap seam allowance,closetothe machine
stitching-% inch apart and loosework best;
orthe sleeve head can be machinestitched %6
inch insidethe sleevecap seam allowance(see
Figure14.15~).
Turn the seam allowance intothe sleeve:the
headerwillturn with it, supportingthecap.
Continuewith construction of the garmentand/or
lining.
SHOULDER PADS
Shoulder pads are important for adding shape
and structure to a garment, and they affect the
way the garment fits, hangs, and looks on the
body. Shoulderpads come and go in fashion, but
acoatorjacket alwayslooksbetter withanarrow,
%-inch shoulder pad squaring the shoulders.
Shoulder pads provide a well-made, finished-
looking garment. There are two types of shoul-
der pads-those for set-in sleeves and those for
raglan or dolman sleeves.Availablein coveredor
uncovered forms, these pads comein many sizes
and thicknessesfrom $4 inch to 1%inches.
A set-in shoulder pad has a long, straight
edge that corresponds to a garment's sleeve
seam, and its thickest part is along this edge. It
creates a sharper line between the shoulder and
the sleeveand gives a crisper, structured look.
14.15A SLEEVE HEAD CUT I N THE S H A P E OF A
SLEEVE CAP FOR A JACKET OR COAT
FOLDED EDGE /
14.158 SLEEVE HEAD FOR LlGHTWEIGHT/SHEER
FABRICS A N D B L O U S E S
Set-in pads (Figure 14.16a) that are specifi-
cally designed for jackets and coats are called
tailor's shoulder pads and are generallylarger in
front than in back, in order to fill in the hollow
of the chest below the shoulder.The sleeve edge
of the tailor's pad is crescent-shaped to follow
the shape of the top of the armhole. These pads
have an extra layer of hair canvas or buckram
covering the padding and are never covered
with fabric because the garment's lining will
cover the pad.
Smaller pads used in dresses and less tai-
lored jackets are symmetrically balanced, front
and back.
S L E M HEAD OVERCASTSTITCH
MICHINE
14.1SC SLEtrr n-u, nANDBASTIND,
MACHINE BASTING
The raglan shoulder pad softly rounds off
the point of the shoulder and helps fill in the
area of the sleeve cap. Raglan shoulder pads
(Figure 14.16b)are oval in shape, rounded at the
shoulder edge, and slightly molded to fit over
the shoulder point. The thickest part of the
raglan pad is in the center of thepad.
Shoulder pads are made from a variety of
materials,including cotton or polyester batting,
and foam. They can be covered in lightweight
lining fabric or tricot knit, or they can be pur-
chased uncovered, to cover with fabric to coor-
dinate with the garment.
Shoulder pads should never be visible from

SET-IN
HOULDER PAD
R I G U N
SHOULDER PAD
14.16A EXTENDED SET-IN PAD
14.168 RAGLAN PAD
IMPORTANT
Alwop try the garment on the dressform
before sewingin shoulder padsto makesure
they sit in the correct positionand don't alter
the properhangof the garment. There should
be novisibk ridgefrom the shoulder pad on
theoutsideof thegarment.
1
pads improve the look of the garment and need
to be positioned and inserted properly to be
effective.
Inserting Shoulder Pads
A shoulder pad fits into a garment with its
straight edge (for a set-in sleeve) or molded
shoulder point (for a raglan sleeve)meeting the
sleeve seam. Tailor's shoulder pads are matched
the outside of the garment. Most shoulder pads to theouteredgeof the seamallowanceto extend
are made of graduated layers of batting, which slightlyinto the sleeve.The shoulder pad length
?revent a visible ridge from forming. Shoulder is critical-it should cover the entire shoulder
area, stopping about 1inch from the neckline. If
the shoulder pad is too long from the shoulder
point to the neckline, trim it to fit and refinish
the edge.
Set-in Shoulder Pads
Pin the positioned shoulder pads in place
from the correct side of the garment along
the shoulder seam.
Removethe garment from the dress form.
Stitcheach pad in place alongthe shoulder
seam allowanceusing a catchstitch.
Hand stitch each end of the pad in the sleeve
seam allowancecarefully, smoothing the pad
to avoid pulling up or puckering the sleeve
(Figure 14.17and Figure 16.16, which shows
the sleeve head and shoulder pad).
Raglan Sboulder Pads
Position the shoulder pad over the ball of the
shoulder on the dressform; pin in place from
the correct side of the garment alongthe
overarm seam or dart.
Turn the garment to the inside and loosely
catchstitchthe shoulderpad to the overarm
seamallowance or dart from the neck to the
end of the shoulder.
Catchstitch the shoulder pad beneath the
neck facing.
Covering Shoulder Pads
If the garment is unlined, cover the shoulder
padswith alightweightfabricto coordinatewith
your garment, or Hong Kong-finished seams.

14.17 STITCHING
+*
THE SET-IN
SHOULDER PAD TO
THE SHOULDER SEAM
~ ................................................
To shapethe covering, form and stitch a dart
from the excess fabzic on the underside of the
pad covering.
Refold the covering over the pad, with cor-
rect sidesfacingout; pin in place.
Sergeor zigzag stitch around the remaining
edge; bias binding also makes a nice finish on
unlined garments.
PRESSING THE SLENES
Even though we have stressed pressing as you
sew in every chapter, we cannot say often
enoughhow important it is to press the sleeveat
each step of the construction. Pressingis almost
as important to the sleeveas the stitching.Press-
ing isan art developed over time, based on ex-
perience with many types of fabrics. In all of
If there is a chancethat the fabricwould shadow our directions, pressing has been indicated at
through to the correct sideof the garment,use a each step of the way, but additional emphasis is
flesh-colored lining or tricot-knit fabric. needed about the pressingof the sleeve.
and do not have this piece of equipment,use
a tightly rolled terry cloth bath towel in its
Do not attempt to press the sleeve cap with-
out a shaped pressing tool, such as a tailor's
ham, underneath it-pressing is to aid in the
shapingof this curved area, not to flatten it!
(See Figure 14.5d.)
Using lots of steam directed toward an area
of the sleeveand smoothingit with your
Set-in Sbouldet Puds When steam-pressingthe ease, do not press
Cut two liningpieces, the same sizeas the
pad, on the fold (Figure 14.18).
Fold around the shoulderpad; pin in place.
Serge, zigzagstitch, or bias bind the curved
edgeto maintain shaping(see Figure 14.18).
Ruglnn SboulderPuds
Cut a square of fabriclarge enough to fold
over each pad.
Place the pad on the fabric square and fold.
Trace around the outside edge of the pad, al-
lowing a 1-inch margin; cut along the outside
of the marked line.
into the sleevecap-press only the eased
seam allowance.
The seam allowance of the stitched armhole/
sleevealwaysfaces out toward the sleeveand
not inward toward the neck.
When pressingease in a seamallowance such
as at the sideseamof a sleeve, steam the seam
allowance and shrink the ease.
Never press a creasedown the center of a
sleeve-always use a sleeveboard to press
the sleeve (Figure 2.31e). The only exception
to this rule is aman's dress shirt or a tailored
woman's shirt. If you are sewingat home 14.18 COVERING SET-IN SHOULDER PADS

fingertipscan be an effectiveway to get rid of
small wrinkles in the upper sleeve.
When working with lots of gathering,press
into the gatherswith the tip of the iron,
taking careto avoid flattening the gathers.
Finally, if the finalpressingof your sleeve
leaves somethingto be desired, consider
taking the garment to a professional dry
cleaner, which has pressing equipment
speciallydesigned for different areas of a gar-
ment. A good final press sets the shapeof the
garment.
STITCHING TRICKY FABRICS
and Repeat Patterns
Do use even plaids for easiestmatchingwith
set-in sleeves.
Do cut underarms of the sleeveon the same
plaid for matching (Figure2.16).
Do use the bias grainline for sleeves for a con-
trast that doesn't have to be matched.
Do match the front notch of a set-in sleeveto
the notch on the garment bodice.
Do match front and back below the notch on
the shoulder seams of kimono sleeves.
Do chooseanother fabricif the plaids cannot
be successfully matched.
Don't try to match plaids on raglan sleeves-
they won't match due to the slant of the seam.
Sheer Fabric
Do use serging to finish the seam allowances
of sheer sleeves.
Do use tissuepaper underneath the fabric
..... ~~~~~ ~ ~ . ~ . ~ ~ ~ . . . . . .
when stitching to prevent slipping.
Do use very narrow bias bindingsfor finishing
the sleevesat the hem or the armhole.
Do use a self-fabric or taffeta sleeve header in
the sleevecap to support gathers.
Do use self-fabric lining on the fold at the hem
if the sleeve has a straight hem. This must be
cut as a mirror image.
Don't leaveregular seam allowancesshowing;
always seam finish as narrow as possible.
Lace
Do use contrasting or flesh-colored underlin-
ing with lace sleeves to highlight the motifs of
the lace.
Do use the self-edge of the lace, especially
if there is a border for the hem of the sleeve
(Figure 6.48).
Do use narrow French seams to finish seam
allowancesif the lace is not too heavy.
Do use a Hong Kong finish on heavier lacesto
finish the seam allowance;if the lace is under-
lined with a contrast fabric, finish the seam
allowance edges with serging.
Do use tulle or taffeta for sleeveheads to
support the cap of exaggerated,gathered lace
sleeves.
Satin
Do use tissuepaper underneath the satinwhen
stitching to prevent the feed dogs from marring
the surface.
Do pin only or handbaste within the seamal-
lowances, as satin surfacesare easilymarked by
pins.
Do handbaste seamsto avoid seam slippage.
Do avoid set-in sleeves on heavyweight
satin-it can be difficult to ease in.
Do consider bias-cut sleeves.
Beaded Fabric
Do stitch kimono, raglan, or dropped shoulder
sleeves-they're easiestto sew.
Do change the needle frequently,as beading
can dull or burr the needle.
Do use two sleevepatterns, one for each side
of the garment, and cut out the beaded sleeves
from a singlelayer.
Do carefully match the front sleeve notch to
the front bodice notch to match the beading
pattern or repeat.
Knits
Do eliminateease from the sleevecap of knit
sleeves-knits do not need easing.
Do use the flat insertion method for sleeves,
using a %-inchseam allowance.
Do match the cap, the underarm points, and
also halfway between the underarm and sleeve
cap-this ensures even distribution of the knit
sleeve.
Do stitch the armholeseamwith the garment
on top and the sleeve next to the sewingma-
chine, gently manipulatingthe armhole to fit
the sleeve.
Do stitch again '/s inch away from the first lin-
of stitching.
Don't overstretchthe armhole-this results in
wavy seams.

14.191 LEATHER SLEEVE PATTERN
11.190 PULLING UP EASE: STITCHING
UNDERARM SEAM
14.198 SECURING SHOULDER SEAM
WITH BINDER CLIPS
UNDER SEN4
1 4 . 1 9 ~STITCH THE
UNDERARM SEAM
14.19C BASTING STITCHES I N SECTIONS
14.19F I N S E R l
THE SLEEVE

?;&$;::!;:.I,!! .J(I. i:.. .'.
<,,,;.:!,
-~~ ~ ~ ~ - - ~ ~ . ~ . ~ .
Sleeve underarms are bias cut-leather has
no bias so it does not mold as well as fabric
to the armholes. Easingwill help the sleeve
fit into the armholes.
LE
both a plaid fabricand a nonplaid fabric; In knit fabric, extend the raglan sleeveinto
compare the fit. . the bodice, as shown in Figure 14.20d.
Combine two techniques on one sleeve:
increasethe ease at the sleevecap and turn STOP! WHAT DO I DO IF ...
the ease into pin tucks orpleats, releasing the ...I've stitched my sleeve and there
fullness toward the sleevehem. are unwanted, unsightly puckers!
Change the shape of the basic sleeveinto
a flare or direct the fullness of the sleeve
Do trim away the fur from the seam allow- toward the hem, making the hem of the
ances before stitching the sleeves to reduce sleevethe focus.
bulk, or if the fur is short pile, stitch the seams Combine the front raglan sleevewith a dif-
together, then trim the fur away;use hair clip- ferent back, such as a kimono sleeve back.
pers or a razor. Change the depth of the dolman sleeveand
DOplace raw edgestogether and zigzag stitch add a gusset for better fit and ease.
Careful ease stitching and pin basting help
to eliminate puckers as the sleeve is stitched
into place. However, if these techniques do
not prevent the puckers from forming, rip the
stitches out of the section that is puckered, and
press. If the fabric is difficult to ease, puckers
are more likely to occur again, so handbaste
the area that is puckered. The eased area may
together. Add a slotted seam down the center of a have to be extended around the entire sleeve to
set-in or raglan sleeveto reveal a contrasting accommodate the excess amount in the sleeve
Heavyweight Fabric fabric. cap. Check the stitch length and adjust it to
DOuse a catchstitch to hold seamsin place in a Add tucks or inverted pleats to the center of a slightly smaller stitch length, then restitch.
raglan sleeve(Figure 6.51b). a set-in sleeveto draw attention to the sleeve. Also, check the amount of ease in the pattern,
Do use a damp wet cloth for extra steam if Add a seam with piping inserted down the reducing the ease. Recut the sleeve and stitch
needed to press and flatten the seams. center of a set-in sleeve. into the armhole. Chalk this up to the learning
experience!
TRANSFER YOUR KNOWLEDGE STRETCH YOUR CREATIVITY
Now that you know how to stitch sleeves, and
have become more familiar with the different
types of sleeves, takethat knowledgeand try one
of the following techniques. Remember, always
sample a new technique before applying it to a
garment,and allowplenty of time to do so.
Slash open the cap of the sleeveto add
extravagantfullness to the cap of the sleeve;
support the fullness with a sleeveheader of
Sleeves offer a myriad of design possibilities,so
think outside the box when applying the sleeve
techniques learned in this chapter.
Slash the sleeve cap and add exaggerated
pleats (Figure 14.20a).
Apply beaded trim to the upper garment,
extending from the neckline down the entire
kimono sleeve (Figure 14.20b).
Create self-fabric trim and apply over the
...I've stitched a kimono sleeve and it
really droops unattractively!
Adding a one- or two-piece gusset to the al-
ready stitched underarm area of the kimono
sleeve will provide more fit and ease of move-
ment. Adjusting the curve of the underarm
area to a higher curve will also bring the sleeve
closer to the body. Adjust this curve with
basting stitches first before cutting away any
of the underarm seam to see if it rectifies the
taffeta. dropped shoulder, continuing across the dissatisfaction.
Cut a set-in sleeveon the bias grainline in bodice (Figure 14.20~).

14.2OA SET.IN SLEEVE WlTH
EXAGGERATED PLEATS
~~ . . . . . ~ ~ ~ ~ ~ . . . . . . . .~ ~ - - . . ~ ~~~...-.
14.208 KIMONO SLEEVE
WlTH BEADED TRlM
14.20C DROPPED SHOULDcn
WlTH SELF.FABRIC TRlM
1a.2OD KNIT DRESS WITH
RAGLAN SLEEVE

...I've added a one-piece gusset and
the sleeve doesn't hang properly!
Thekey to insertinggussetsis to be absolutelyac-
curate in marking and stitching. Precision ispara-
mount in this technique. Take out the gusset, and
recut andre-mark anew one. Checkthe markings
on the garment. Begin again. Learn from this ex-
perience, and always make a practice muslin in
thesameweight asthe garmentfabric. Remember,
making a muslin does not necessarily mean using
100 percent cotton muslin. By using a similar
weight for the muslin, you would see early on in
theconstructionprocesshow thesleevewould sit.
SELF-CRITIQUE
Are my ease stitches evenly distributed on
the marked area of the set-in sleeve?
Are my set-in sleeves pucker-free?
Do my set-in sleeveshang properly?
Are the shoulderpads or sleeveheadersvis-
iblefrom the outsideof the sleeve?
Do the shoulder pads or sleeveheaders sup-
port the shoulder and sleevecap?
Is the pressing of my set-in sleeve smooth
and wrinkle-free, adding to the shape rather
than flattening it?
................................................ .~~. ~ ~ ~ - ~ . .. ....... ~~~ ~ ..,....
Has the sleevebeen pressed on a sleeve
board, without a creasepressed down the
center of the sleeve?
When stitching the raglan sleeve, are the
seamsevenly sewn,pucker-free, and pressed
without being visible on the outside of the
garment?
Has the proper sleevesupport been inserted
for the raglan sleeve?
Does the two-piece sleeve hangproperly
with the correct shoulder support?
If working with a specialtyfabric, does the
style of sleeve complementthe design?
Do I understand the differencebetween a
set-in sleeve and a cut-in-one sleeve?
Do I understand the criticalimportance of
accurate matchpoints, notches, and stitching
in setting myself up for stitching the per-
fectlyfitted sleeve?
Do I understand that the amount of ease,
so important to the setting in of sleeves, is
determined at the patternmaking stage?
Do I understand the significanceof ease
~titching,pinning, and basting to the suc-
cessfulpucker-free applicationof a sleeve?
Do I understand the importance of choos-
ing the correct combination of shoulder and
sleeve cap support for the sleeve?
Do I understand the differencethe proper
positioning of the shoulder pad makes to the
support of the shoulder and sleeve?
Do I understand how criticalit is to cor-
rectly press along each step of the sleeve
construction?
Do I understand that the basic sleeve is just
the beginning of sleeve design?
Do I understand that changingthe design
of the sleeveand the hem finish of the sleeve
offers unlimited designpossibilities?
Thefashiondesignerneedsanexcellentknowledge
of clothing construction. Accurately marking,
easing, pinning, and pressing sleeves are impor-
tant steps of construction. Remember, design-
ing, patternmaking, and constructionare closely
linked together and without good construction,
there isn't good design. Learning to sew is a pro-
cess, sokeep sewingand never giveup!

Hems:. Defining the Length
. . .~ . . .
,.~ ~ . .. . ~ ~
.. .,.~....~...:~-:.: .~,..,.&..,
The hem is one of the most noticeable aspects of a garment, as it defines ffi$+t+*phr
We have attended many student fashion shows and enjoyed them i m m e n ~ l y . l : ~ ~ ~..... .
each model appears on the catwalk wearing each glamorous garment, it is th@?b.$i@$@at&~~t. :z .... ..*...
hits the eye. If the hem has not been leveled and correctly stitched using a sut@I$t&-6tii~
technique for the fabric, it can spoil the entire look of the garment. , . .
. - -
The process 6f stitching the hems is our- designer can customize the &Mitable %em
lined in this chapter. Various hem finishes finish and stitch for each fabric type and indi-
and hem stitches are explained, including in- vidual garment.
visible hand-stitched hems, machine-stitched
hems, false hems, and other creative hem STYLE I.D.
treatments. The Style I.D. illustrates different hemlines.
This chapter outlines how to stitch both With creativity, the designer can dream up an
straight hems and shaped hems, such as curved, infinitenumber of shapesfor hemlines.
flared, circular, and angled hemlines. Know- The coatdress in Figure 15.la has an asym-
ing how to treat shaped hems is as important as metrical hemline, which has been stitched
knowing how to stitch straight hems. with a false hem. Notice that one side of the
The aim of this chapter is to discussthe op- hem (and collar) is scalloped and the other -
tions for hem finishes and hem stitches. The side has clean lines.
. ~ E YTERMS ~ . . ,
Hznd-Stitched Hem
@gm
Hem Allowance . .
Hem Edge . ~
HemFinish ~. . .
Hemline
Machine-Stitckid Hem
Mirror Image 2
Mitered ~ o ~ n ? $ : . .
F.-
Pin-Ma& ,:*
. . . x
Shaped Hem .!$~
Skirt &&rk&
sm.-th $&&&is.,., . ,. .
~ t . ~ i i @ ; p @ ~ m i ' ( .,- ~~~ ~
.
. -%-:,., :" '. . .~........". i."
. ' :.:..,;<A:f&

. ~ ~ ~ ~ ~ ~ ~ ~ . ~ ~ . ..~ ~ ~~~~~~~~~~ ~~~ ... ~~~ ~~~~~~~~~
75.1A COATDRESS 15.18 CUFFED PANT
A N D SHORT JACKET
15.1C CIRCLE S K I R T
A N D HALTER T O P
8o.aD S U M M E R PRINT
T O P A N D JEANS

Hems: Defining the Length
Figure 15.lb illustrates wool check pants
with wide cuffs. Cuffs are not always the trend
for the season; regardless, a designer needs to
know how they are stitched. Notice the cute
little jacket with the two front hem slits. Hem
slits are often needed in garmentsfor functional
design purposes; other times they are purely
decorative (which is the case in the jacket). Also
noticethat the sleevehem has been stitchedwith
cuffs.(If you turn back to Figures 1.4, 1.5, 1.6,
and 1.7, the importance of functional design is
discussed in full.)
The summer floral skirt in Figure 15.1~is
circular, with a narrow, rolled,machine-stitched
hem. Thisis the idyllichem finishonfull, floaty,
circular hemlines.
The softly draped top in Figure 15.ld is
paired with the jeans and has an angled hand-
stitched hem.
A hem is an extra width of fabric added
below the finished hemline at the pattern-
drafting stage. This extra fabric is called the
hem allowance. The border of the hem allow-
ance is called the hem edge; this is the raw
edge of the fabric. A hem is formed when the
hem allowance is neatened with a hem finish.
The hem is then turned back and stitched to
the garment. The hem can be hand stitched or
machined stitched to finish the hemline. The
hemline is also the foldline; however, if a false
hem is stitched to the hem edge, then the fold-
line is called a seamline.
The hemline is the folded edge that defines
the length of the garment. Hems are added to
blouses, shirts, shorts, pants, skirts, dresses,
jackets, coats, and sleeves at the beginning when
the pattern is plotted. A hem prevents garment
edges from fraying and adds weight and sup-
stitched in the same way as a straight hem. But
take heart, any shaped hem can be perfectly
stitched into a beautiful hem!
HOW TO CHOOSE THE
APPROPRIATE HEM
It can be difficult to choose which hem finish
and hem stitch to use for each garment. We
highly recommend beginning by sampling the
hem in the same or similar fabric type as the
garment. Then if one sample doesn't work, try
another until you feel satisfied that the hem
finish and stitches are "just right" for your
project.
Choosingtheappropriatehem finishandhem
stitches for a garment is the first important deci-
sion when stitchingthe hem. How the finalhem
looks influences the successof the garment.
ints toHere is a checklistwith four helpful h'
As you can see, there is no standard hemline port to the hemline as well as finishing the hem consider:
for garments-hems can be all shapes and sizes.
GATHER YOUR TOOLS
You'll need the following tools: skirt marker,
chalk, pins, thread, machine and hand stitching
needles, seam ripper, point turner, and a vari-
etyof hem tapes.With the tape measure around
your neck, you arenow ready to begin stitching
hems.
What Is a Hem?
To help you understand each term associated
with hems, look at Figure 15.2 and follow along
as each term is defined.
edge.
Dejining the length is part of the silhou-
ette of the garment; the silhouette or outline
of the garment is one of the important design
elements. The length of the garment is de-
fined at the sketching stage of designing. There
are many different hem lengths and shapes to
choose from when designing collections. Hems
can be straight, curved, circular, angled, or any
other shape the designer chooses. The designer
endeavors to cover a variety of hem lengths to
appeal to the target customer.
Straight hems and shaped hems arestitched
differently. The difference is slight yet impor-
tant. A shaped hem cannot be folded back and
1. The style and look you want to achieve.
Whether the garment is for casualwear,
day wear, business wear, or eveningwear
gives somedirection as to the type of
hem finish to use. For example, machine-
stitched hems are used more often in casual
garments such as active wear and sports-
wear. Hand-stitched hems can also be used
for casualwear, and definitelyused for
businesswear, eveningwear, and high-end
garments.
2. The weight, drape, and handle of the fabric.
The type of hem must suit the fabric. For
example,if the fabricyou areworkingwith

Professional Sewing Technipes for Designers
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . ~ . . . . . . . . ~ . ~~.~
15.2 HEM TERMINOLOGY

important step-so attend to this now before
Creating a Smooth Hemline cuttingthe garment in fabric.
Before cuttingthe garment, every seamline
must be perfectly matched together. Notches
placed on the seamlines guide you in accu-
rate stitching. Notches ensure that when the
seam is stitched, the hem edges will match
exactly together.
It is not only the seams that need to be
perfectly matched together. The pattern also
needs a smooth hemline; this is important to
the success of the hemline.
How the pattern is shaped on the hemline
affects how the hem sits when the garment
is completed. Most students forget this
To achieve a smooth hemline, butt the
seamlines together.
Observe the shape on the hemline at the
seam junction. If the seam is pointing
down, as it would for an A-line skirt (Figure
15.3a). or up in a V shape as it would for
a pegged skirt (Figure 15.3b). then the
hemline needs blendingto create a smooth
curved shape.
It is not only the garment hemline that
needs to be smooth but also the sleeve
hemline.
issheer, then considerstitching a narrow
rolled hem, because a wider hem allowance
would shadow through to the correct side
of the fabric. A narrow, rolled, hand- or
machine-stitchedhem would look the least
obtrusive.
3. The price point. The chosenfinish may
need to reflect price constraints.
4. The big picture-time. This factor can also
determine the hem finish. For example,
whether you choose ahand-stitched rolled
NOTE
If pleats or a godet are inserted into the
hemline, line up these patterns as well when
creating a smooth hemline.
I
hem or a machine-stitched rolled hem may
depend on the time available;both would
work well.
A SMOOTH, EVEN HEM BEGINS
15.3A A-LINE SKIRT
TOOETHER. "SIN8 A HIP CURVE D M W
ASMOMH CURVED HEMLINE.
15.38 PEGGED S K I R T
WITH THE CORRECT PATCERNS
A successfulhemalways beginswith the correct
patterns.
/NOTCHES
BACK
The Hem Allowance SIDES-
Thefabricand silhouettedictatethewidth of the
hem allowance. Here are some pattern tips on
how to decide on the width of hem allowance.
Table 15.1 is a guide that sets out some sug- ------------
gested hem allowances for different silhouettes cPLACEMEPITTERN TOGRHER.SEAMSOFTHEUSING
and styles. Also look at Figure 2.9 to see the AHIP CURE DWWA
shapeof each hemline referred to in the follow- SMOMH CURED HEM LINE.
ing pattern tips for hem allowances.

~~~~ ~.. . . . . . . . . . . . ~ ~ - ~ ~ ~ ~ ~ ~ ~ ~.......................
TABLE 15.1 HEM ALLOWANCES FOR DIFFERENT SILHOUETTES AND STYLES
!.
Garment Siyklsllhwette Hemulowinse HemI'yw .
~.
17hinchesSkiitlDress
Penc~l(straight) 1%inches Handstitch
A-line 1-1% inches (eased) Handstitch
Flared 1inch (eased) Handstitch
Circle Machines W narrow wiled hem
NOTE I
Some hemsreommendedfor handstitching
canalsobemachinestltchedas partofth
design-this isthe designer's choice.
I
Flared 1 inch(eased) Handstitch
Jeans 1-1% inches Machinea t itwice-tumed
MachinestitchStraight 1 inch
A-line %-1 inch(ens*) Machinestitch
Flared %inch Machinestitchnarrow rolledhem
Straight 1%inches Handstitch
A-IineIFtared 1%inohes(eased) Handstitch
Circular 1 inch (eased) Handstitch
Jacket sleeve hem 1%inches(asabove) Handstilch
Straight 1Y1-2inches Hsndstitch
A.linelfld 1%inches(eased) Handstitch
Circular 1 inch(eased) Handstitch
Sleeve hems(asabove) l'h-2inches stitch
Cons
TTERN TIP
troighthem: The straighter the skirt, the
ider the hem allowance can be.
-line: When the hemline starts to curve,
!duce the hem allowance.
'ared:The wider the hemline, the morethe
em allowance will need to be decreased to
!duce bulk.
ircular:The wider and more circular the
emline, the moreyou should lessen the
em width and stitch a narrow hem.
Mirror-Image Hem Allowance
After the hem allowanceis added to the pattern,
it must be cut as a mirror image to the angle
of the seamline. Cutting the hem allowance as
mirror image ensuresthat when the hem allow-
ance is turned back, it will lie flat behind the
garment hem edge and not add bulk. No matter
what silhouette the garment has, this step is es-
sentialto the successof the hem.
How Is This Done?
Fold the pattern hem allowance back as if it is
stitched in place. Make sure the hem allowance
lies as flat as possible (this is more difficultwhen
the hem is curved). Figure 15.4 shows how this
is done to the hem of a pegged skirt and flared
sleeve.Cutthehem allowanceto exactlythesame
angle asthe seam;this is the mirror image.
VhyIs This Important?
m somestyles,thesilhouettenarrowsontheside
seam, as it does for the pegged skirt in Figure
15.4a.If the hem allowanceis not cut asa mirror
image of the seamline, then the hem edge will
not have enoughlength to turn back and sitper-
fectly flat when stitched. If this is not attended
to at the patternmaking stage,the hem will look
puckered from the correct side of the garment

15.4A PEGGED SKIRT
HEMLINE
FOLD BACK HEM ALLOWANCE
AND CUTASAMIRPOP IMAGE
HEM ALLOWANCE OFTHE SFAMLINE.
15.48 SLEEVE
.................... . . . . . ~ ~ . - . ~ ~ . ~ ~ ~ - ~ ~ . ~ ~ ~ - ~ ~ - ~ ~ . . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ -
when turned back and stitched. An A-line c
flared silhouette (wideninggradually at the sid
seam) can also be cut as a mirror-image hem, :
there will be too much fabric on the hem edp
whenturned back and stitched.Notice in Figul
15.4b that the sameprinciple is followedforth
sleevehem allowance.
NOTE
A circle skirt especially needs to be leveled
on a form oron a person because of the dif-
ferent grainlines. If possible, allow a circle
skirt to hang for at least a week ortwo to
allow time for the bias grain to drop before
leveling. When a circle skirt is left hanging
from season to season, it will continue to
drop and will need leveling again. To prevent
this from happening, carefully fold the gar-
ment over the hanger from season to season.
NOW LET'S PREPARE THE HEM
Leveling the Hem
It can never be assumed that creating a smoot
hemline on the pattern is all that is needed t
achieve a level hemline. Attending to the pat-
tern is the first important step; however, after mark this length, by placing apin horizon-
the garment is stitched, leveling the hem on a tally in the garment.
person or form must be attended to.
Hemlines are often cut on all three fabric
grainlines: lengthwise, crosswise, and bias.
This is especially so for a circular hemline.
Each grainline drops at different levels on the
hem edge. For this reason, the hem needs to be
leveled.
Using a Skirt Marker
The hemline should sit parallel to the floor
unless it is asymmetrical. To level the hem on
skirts, dresses, and coats,we adviseusing askirt
marker. There are two types of skirt markers
available to help level the hem: the pin-marker
and the chalk marker.
Follow these tips for leveling the hem, and
refer to Figure 15.5.
After ascertaining the finished length of the
hemline, add the hem allowanceand pin-
* Have the customer or fit model wear the
garment. Ask her to stand on a table (if pos-
sible), otherwise you will need to crouch on
the floor; this can he a backbreaking job for
the designer.
Always ask the customerto wear shoesthat
will be worn with the garment.The height of
the shoeaffects the finished length.The higher
the shoes,the shorter the garment will look.
Place the skirt marker on a flat surface and
adjust the lever to the pin-mark.
Movethe skirt marker around the hem or ask
your customer or model to turn slowly as
you pin or chalk-mark the hem.
When a fit model is not available. lace the
garment on a form and the form on the table.
Move the skirt marker around the entire hem
edge, and mark the length parallel to the
floor. Lay the garment on a flat surface;trim
the excess fabric off.

Without a Dress Form or Person 15.6 LEVELING THE HEM WITHOUT A DRESS FORM
15.5 LEVELING
hTHE HEM WITH A If a form or person isnot avail4ble to level the
SKIRT MARKER
hem, then it can be done on the workroom table
as follows. This method is not as accurate as
using the skirt marker but is better than not
ALLOWANCE
doing it at all. Follow Figure 15.6 to level the
hem this way.
Skirt
Fold the skirt in half with the center front
on the fold. Place the garment flat on a
table.
Measurefromwaistlineto hemline; move the
tape measure around the skirt and pin-mark
the skirt length.
Add the hem allowanceand cut away the
excessfabric.
Dress
On a dress, establishthe waistlineand pin-
mark.
Measurefrom the pin-mark to the hem,
followingthe previous instructions for the
"skirt."
Stitchthe hem finish.
Pin the hem in place-don't press over the
pins, as they may leavesmallhole marks in
your garment.
Handbaste hems in tricky fabricssuch as
sheers and beaded fabrics.
Hem stitching-stitch the hem using the
stitching method that best suits the fabric
and design.
Press the hem when it is completed-always
use a pressing cloth!
LET'S STITCH BULKY SEAMS
Each part of the hem also has its own stitching When the hem is turned back on the seams,
order. Following this order ensures successful two layers of seam allowance sit together and
construction of the hem. can feel bulky. The bulk in the seamscan show
a ridge from the correct side of the fabric and
Have the garment fully stitched-the closure spoil the look of the hem. Bulk can be cut away
is next to be completed after the hem. from open and closed seams using one of the
Level the hem. following methods:
Prepare the hem for the garment and lining.
Attend to bulky seams.

15.7A OPEN SEAM
XEDUCI BULK OH
HEM SLLMALLOWANCI
~ . ~ ......~....~......... . .
15.78 OPEN SEAM
t8.7C CLOSED SEnM
Reduce bulk from the hemline,which is the
foldline(Figure 15.7a).
Reduce bulk on the hem seamallowance
(Figure 15.7b).
Reduce bulk by clipping into the seam
allowance on the hemline, and turn the
seam allowance in opposite directions
(Figure 15.7~).
After bulk has been removed from the seams, it
is time to apply a hem stabilizer if the garment
needs be supported from the base up.
HEMSTABILIZERS
PATTERN TIP
Place all the pattern seamlines together and
draft a pattern for the hem stabilizer. If the
garment is not lined, cut the hem stabilizer
I/r inch narrower than the hem allowance;
then it will be hidden when the hem is turned
and stitched in place. If the garment is lined,
the hem stabilizer can be cut wider if the
hemline requires more structure.
The hem is an important part of the silhouette
and the overallstructure of the garment. A hem
stabilizer helps to support the garment silhou-
ette to holds its shape. Many garments are en-
hanced by using a hem stabilizer; however, not
all garments need them. Garments that do ben-
efit from hem stabilizers are jackets and coats,
irrespective of their length. The adorable little

Professional Sewing Techniqses for Designers
1 5 . H E M STABILIZER: I N T E R F A C I N G
A N D S E W - I N C A N V A S
underlined; only the coat front and front facing
(and collar)are interf~ced,so adding a hem sta-
bilizer in this case would be an advantage.This
coat gets lined, so look ahead to Chapter 16..
Always samplefirst to see if a ridge shows from
the correct side of the fabricafterthe hem stabi-
lizer has been applied.
Horsehair braid is another hem stabilizer
used mainly for stabilizing hems in evening
wear. The stitching method for applyinghorse-
hair braid is discussed in the section"Horsehair
Braid," later in this chapter.
,?,/Aft, r stitchingthe hem finish, measure and fold the
INTERFACING CREASELINE^ USEA~GLIG STITCH CANVAS wmallowance to the wrong side and press a firm
&HEMLINE TO lOlN UNVAS
creaseline, as shown in Figure 15.15 in the section
"Preparingthe Hem," later in this chapter.
jacket in Figure 15.lb, in the Style I.D., has a
hem stabilizer to help hold its shape. Fusible Hem Stabilizer
Hems can be stabilized with a fusible or Cut the interfacing in one long piece; if
sew-in interfacing. Figure 15.8 illustrates both you don't have enough length, then pieces
options; the sew-in interfacing in this case is can be overlapped by l/s to !4 inch and
bias-cut canvas. Care needs to be taken that the pressed in place along the crease line (which is
correct weight of stabilizer is used for the fabric the hemline).
weight and the desired structure. Refer to chap-
ter 3, "How to Choose the Best Stabilizer for Sew-in Bias-Cut Canvas
Your Project." For example, a lightweight fus- A sew-in canvas is an ideal hem stabilizer to use
ible interfacing will lightly structure a hem. A fortailoredjackets and coats.Itwillbepresumed
sew-in canvaswill add more body. that ajacket or coatwith acanvas hem stabilizer
When a garment is underlined, a hem stabi- will be lined.Bias-cut the canvasto the required
lizer is not usually needed, as the underlining length and approximately3%incheswide. If the
takes its place, but there are exceptions to this canvas needs to be joined, butt the two pieces
rule. The coatdressin ~ i @ r e15.la would be un- together on the straight grain and zigzag stitch
derlined but may also benefit from a hem stabi- together as illustrated on the right-hand side
lizer. Notice in Figure 15.8 that the coat is not of the coat in Figure 15.8. Don't stitch a seam;
it will add bulk. Steam-press the canvas to the
hemline shape.
If the crease for the hemline is hard to see,
handbaste so it's visible. Line up the canvas on
the crease;smoothand mold without stretching,
and pin in place. Turn the canvas top edge back
% inch and lightly hand stitch it to the garment
using a hidden slipstitch. Finish the hem by
hand, stitching the hem allowanceto the canvas
using a hidden slipstitch or catchstitch. Figure
15.9illustrates both of these hand stitches.
There are a variety of hem finishesto choose
from. The hem finish is applied to the hem edge,
whichistheraw cutedgeof thefabric.Applyinga
hem finishpreventsthe garmentfromfraying and
adds quality. Some hem finishes add bulk, while
others shadow or show a ridge from the correct
side of the fabric. The type of hem finish is an
important decision. Take a look at Table 15.2 on
page430 for hem finishesfor differentfabrics.
15.9 H E M CHART OF H A N D S T I T C H E S U S E D TO S T I T C H H E M S
W I T H H A N D S T I T C H I N G N E E D L E S
HIDDEN HIDDEN
W E D G E SIRGED HONGKONG SERGED CLEAN
FINISH FINISH FINISH

NOTE -
Serged hemscanbehandstitcheaor machine
stitched.
HEM FINISHES
The fabric gives the direction for the best hem
finish. It may work out that the same seam and
hem finishes can be used on one garment. As
you learn to stitch hem finishes, many will be
familiar to you-they arealsoseamfinishes and
were discussed in Chapter 6.
This section introduces you to hems by pre-
senting an overview in Figure 15.9 of hem fin-
ishes, hand stitches, and hand stitching needles
used to stitch hems. There are a variety of hem
finishes to choose from, as you will see.
Fabric Edge as Hemline
A deconstructed raw edge can also be the hem-
line. This is a popular finish in design today. A
raw-edged hemline can be left completely raw
or a straight row of stitching can be stitched %
or 'h inch back from the hem edge to prevent
fraying.
NOTE
Angled hemscan also have a serged hem
finish. Thiswill beexplained intheuocomlng
section "Mitered Corner."
. .. . ... .
Folded Edge as Hem Finish
A clean finish has a folded hem edge. The edge
is then hand stitched to the garment using a
blindstitch (Figure 15.9). This is an excellent
hem finish for stitching hems in finefabrics that
are not bulky, such as voile, batiste, some fine
silks, and other sheers. Any hem finish with
a folded edge is best used for straight hems. A
folded edge finish on curved and flared hems
would only add bulk, as curved edges don't lie
flat with a folded edge. If the hem was curved,
an ease stitch would need to be stitched along
the folded edgebeforefoldingthe edgeover, and
this would make the hem bulky. In fine, sheer
fabric, a sergedfinishwill shadowto the correct
sideof the garment, and this could detract from
a beautiful garment. Look at Figure 15.16 to see
the hem edge pressed over '/r inch to the wrong
side of the fabric.
Serged Finish
A serged hem finish is stitched with a three-
thread serger. Figure 15.9 illustrates serging
used as a hem finish. The serger is quick and
easy to use and neatly finishes the hem edge. A
serged hem finishwould be the most commonly
used hem finish in production for straight,
curved, flared, circular, or angled hems. Notice
in Figure 15.10 that the serger has finished a
curved hem.
Cxrved A-line and flared hems cannot be
turned back in exactly the same way as straight
hems. When the hem is straight, you only need
to serge the hem edge before the hem allowance
1S.lOA STITCH A ROW O F BASTING STITCHES
T O T H E HEM FINISH.
BASTING STITCHES 4
IS.lOB PULL UP BASTING STITCHES INTO EASING SO
THE H E M SITS FLAT WHEN FOLDED BACK.
/ STEAM-PRESS

is turned back, ready to stitch to the garment
(Figure 15.14). However, when a curved hem
edgeis turned back and stitched,it iswider than
the garment to which it is being stitched. Some
students think they can just fold little tucks
along the hem edge to reduce the width and the
hem will lie flat. No, this doesn't work! It only
creates points on the hemline rather than creat-
ing a smooth curve.
~ f t t rserging your hem finish, another stitching
p is needed before completing the hem finish fori'curved A-line or flared hems. This extra stitching
step willensurea smooth, flat hem on yourgarment,
and this will be evident as your garment is modeled
on the catwalk.
Notice that the hem width has been reduced to 1
Hong Kong Finish (or Bound Finish)
A Hong Kongfinishenclosestheirawedgeswith
a bias-cut binding. After the binding is stitched,
one edge lies flat underneath the hem to elimi-
nate bulk (Figure 15.11). Store-purchased bias
bindings are available in a variety of fibers and
widths. You can also make your own binding
using interesting contrasting fabrics, colors,
and patterns, which is the case in Figure 15.11.
When joining seams in the bias binding, make
sure they are stitched on the lengthwise grain
(seeFigure 6.17).
It isimportanttousethecorrectweightof bias
binding. A bindingthat istooheavywilladd bulk
to the hem and may show a ridge from the cor-
rect sideafterit ispressed. The stitchingorder for
theHong Konghem finishisidenticaltothatused
when stitching a Hong Kong seamfinish. Follow
1S.H HONG KONG FlNlSH
STITCH-IN-THE-DITCH
BI*S BINDING LIES
FLAT UNDER THE HEM.
out, Seams Great is made from tricot, which is
lightweight, sheer, and not bulky. Due to its
sheerness, it blends with most colors. It is ideal
inch (Figure 15.1oa). the stitchingorderin Figures6.33a and b. as a hem finish for lace and other sheer fabrics.
Machine stitch one row of bastingstitches along Curved A-line or flared hems can also have Stitch bias grain Seams Great to straight or
the bottom of the serged finish, approximately 4 a Hong Kong finish. Bias is flexible so it will curved hem edges, and a straight grain Seams
to 6 inches on either side of the seamline. (The fit perfectly to a shaped hem edge. Prepare the Greatto straighthemedges. Refertothe "Where
more flared the hemline is, the farther back you hem edgewith basting stitches, as Figure 15.10a to Buy" sectionof this text.
will need to stitch.) In some casesthe entire hem illustrates;the only differenceis, don't serge the You will find this an easy method-simply
edge may need to be basted and pulled up into hem edge-leave a raw edge. After the hem is fold the Seams Great in half and wrap it around
easing (Figure 15.1oa).
Afterthe hemline is prepared, pullthe basting
stitches into easing. When the hem is folded
back, evenly distribute the easing untilthe hem
lies flat. Don't pullthe easing too tight orthe hem
will look wavy from the correct side. Steam-press
the easingalongthe hem edge (Figure 15.1ob).
When completed, choose the hem stitch you
want-a serged hem finish can be machine
stitched or hand stitched.
eased and steam-pressed, as Figure 15.10billus-
trates, the Hong Kong finish is then stitched to
the eased hem edgein the sameway it is stitched
in Figure 15.11.
Seams Great
Seams Great is another variation of the Hong
Kong finish. Seams Great was discussed in
Chapter 3 as a stabilizing tape, and listed as a
hem tape in your tool kit. As Chapter 3 points
the hem edge, enclosing the raw edge. Hand-
baste the binding in place to prevent twisting.
Edgestitch the binding to the hem edge; be sure
the fabric edge remains butted up to the foldline
duringthe entirestitchingprocess (Figure 15.12).
Hem Tape
Hemtapeisanidealhemfinishto useonheavier-
weight fabric, such as tweed, as it eliminates
bulk. Stitching a hem tape as a hem finish is a

I
PATTERM TIP
Deductthe width of the hemtape fromthe
tetal hemaIIowanee and add%-inchseam
allowance.
couture finish and also looks classy on luxury
fabrics such as velvet and silk fabrics. Hem tape
is available in nylon, lace, polyester, or rayon
ribbon. It is available in a variety of colors and
is approximately % inch to )/r inch wide. A slip-
stitch is the perfect hand stitch to use on this
hem finish. How to slipstitch is explained in
"Hand-Stitched Hems," later in this chapter.
Ribbon and lace hem tapes used as hem fin-
ishes are illustrated in Figure 15.13. Notice in
Figure 15.13ahow the hem tape is joined on the
side seam by overlapping l/r inch. Imagine how
glamorous your bridal gown would look, with
lace hem tape showing, when the garter was
removed!
15.11 S E A M S GREAT I S AN IDEAL H E M F I N I S H
O N SHEER FABRICS SUCH A S LACE.
. . . . ~ . ~~ ... ~ ~~~~~~
. .
Whether you use lace or ribbon hem tape,
the stitching order is identical. Notice the hem
edgedoes not need to be serged. The hem tape is
pinned or handbasted '/r inch over the hem edge,
as illustrated in Figure 15.13b. The tape is then
edgestitchedin place. Do not stretchthe lacetape
as you stitch,becauseit may pucker the hem.
Curved A-line or flared hems can also be
finished with hem tape. Rayon tape is softer
and easier to ease and steam-press into a curved
shape than lace tape. First prepare the hem
edge with basting stitches, as Figure 15.10a il-
lustrates; the only difference is, don't serge the
hem edge-leave a raw edge. The hem is then
eased and steam-pressed. Figure 15.10b shows
you how this is done. Next follow Figure 15.14
and stitch one row of machine basting stitches
just inside one edge of the hem tape. Pull up
the basting stitchesinto easing. The tape is now
curved;steam-press the tape in this shape.Now
edgestitch the tape to the curved hem edge, as
Figure 15.14illustrates.
PREPARING THE HEM
Let's recap what has been discussed about hems
so far:
The first step was to attend to the pattern;
match the seams together,notch the seams,
and draw a smooth hemline with minor hem
allowances.
The second step was to level the hem with a
skirt marker.
The next step is to prepare the hem after the
hem finishis stitched.
i 5 . t J A LACE H E M TAPE
RLW HEM EDGE
15.135 RIBBON H E M TAPE
C RIBBON HEM TAPE REDUCES'
B U M ON WELD FABRIC.
To prepare the hem, follow these helpful sug-
gestions.Takeyour tape measureand accurately
measure the width of hem allowance parallel
from the hem edge up around the entire hem,
and press in place (Figure 15.15a). Next pin
the hem in place-pin and handbaste the hem
in place on delicate fabrics (Figure 15.15b). No

15.14 HEM TAPE APPLIED TO A CURVED H E M
EDGE AS A H E M FINISH HAND-STITCHED HEMS
Before beginning to hand stitch the hem, it is
important to have the correct type and sizes
of needles on hand. Using the correct needle
makes all the difference in ensuring that the
hem stitcheslook invisiblefrom the correct side
of the fabric.
Choosing the Correct Needle
To accomplish invisible hem stitching, the nee-
dles need to be the correct type and size. Nee-
dles need to be strong enough not to bend or
break as you slip the needle through the fabric.
So, choosing the correct hand needle type and
USING
6' size is important. Refer to Figure 2.22~to see
the different needle sizes used for hand stitch-
ing. In needle sizing,the lengthand thickness of
the needledenotesthe size.Thelargertheneedle
matter what shape the hem is, these instructions size, the shorter and finer the needle will be.
are the same (except for anarrow rolled hem).
Hand-stitched hems look wonderful on any "Sharps" are good all-purpose needles and
garment when they are well stitched. Hand- ideal to use for hems or other hand stitching.
stitched hems are stitched with hand stitching They have a sharp point, a round eye, and are
needles and thread. of medium length. Select the needle accord-
Hand stitchesshould not showfromthe cor- ing to the weight of the fabric. Notice in the
rect side of the garment. Invisible hand-stitched hem chart in Figure 15.9 that the needles
hems do not draw attention; rather they should used for hand stitching hems aresizes 7,9,
blend withtheoveralllookof the garment.Hand and 10.(A good averagesizefor invisiblehem
stitchinghems cantaketime andpatience asyou stitching is size9.)
get the hang of the stitches. Some students love Notice they are threaded with a single
it and others don't. However,do persevere with thread, ready to stitch hems. Embroidery
it. The hem chart in Figure 15.9 gives an over- needles, also known as "crewel" needles,
view of the choice of hand stitches that can be are identical to sharps but have a longer eye,
used for stitching hems. Become familiar with making it easier to thread multiple strands
these options for hand stitching hems. of threads.
Length of Thread
The length of the thread used to stitch is im-
portant. We see many students with thread so
long that it tangles. We also see many students
poised, ready to stitch their hem with double
thread, thinking this will stitch invisible hem
stitches!
Follow the checklist below so that you are
prepared and ready with the correct needle and
thread to hand stitch any hem.
15.15A PREPARE THE HEM: MEASURE THE H E M
ALLOWANCE AND PRESS THE HEM.
15.158 PIN THE HEM I N PLACE: ON DELICATE FABRICS,
PIN AND HANDBASTE THE HEM.

~.........~...~~......~ . ~ ~ ~ . . ~ ~ ~........ .~~~~~. ~ ~ ~ ~ . . . . . . ..~
IMPORTANT
Quality stitching is important, as the stitches
need to keep the hem secured in place. As a
general rule, the stitches should be %inch
apart to ensure the hem is secured in place.
Observe this in each of the hand-stitched
hems in Figures 15.16,15.17,15.18, and 15.19.
HEM STITCHW
There is no set formula for which hem stitch
to choose; this is the designer's choice. The
main criterion for choosing the hem stitch
is the fabric itself-this is your best guide.
Invisible hem stitching is perfected through
practice, so sample first before launching into
Cut the thread approximately22 inches (or
your arm length)-any longer and it will
get tangled. Rethreading shorter lengths of
thread is ultimately quicker-pulling long
thread through every stitch takes more time.
Cut the thread diagonallyon one end. This
makes threading the needle easier.
Turn the garmentto the wrong side. Get
comfortable-lay the garmentacross your lap.
Begin by securing the thread on the seamline
using three or four overhand stitcheswith a
single strand of thread (not double) (Figure
15.16).
any project.
The fivehem stitchesdescribed here-hlind-
stitch, slipstitch, hidden slipstitch, catchstitch,
and hidden catchstitch-can all be used to sew
invisible hand-stitched hems. Choose the ap-
propriate hem stitch for your project from the
chart in Figure 15.9.
Blindstitch
A blindstitch is a stitch that is not only invisible
from the correct side but almost invisible from
the wrong side as well. A blindstitch can only
be appliedto afoldededge;thesetwo go hand in
hand, as seen in Figure 15.16.
A blindstitch can also be used to attach fac-
Continue stitchingthe hem in the direction ings,~ockets,and trims to the garment surface.
outlined for each hem stitch. Care is needed to make sure the stitches are in-
* Take the finest stitches~ossible,as hem visible and strong enough to hold the pockets
stitchesmust look invisiblefrom the correct to the garment when the pockets are used for
side of the fabric. functional purposes.
Don't ~ u l lhand stitchestoo tight or the hem
will look puckered.
When the hem stitching is completed,finish Stitch right to left if you are right-handed or left to
as you began with three or four overhand ht if you are left-handed (Figure 15.16).
stitchesand clipthe thread.
CFold and pressthe '/,-inch seam allowance to the
When the hem is completed, press in place- wrong side.
this completes the SEW, CLIP,PRESS .Pin and handbaste the hem in place.
method of hem stitching.
15.16 HAND.STITCHED HEMS: BLINDSTITCH
BEGIN HEM STITCHING HERE
WITH AN OVERHANDrnl- II
.Begin by attachingthe thread on the seamline of
the wrong side of the garment.
Placethe needle back into the previous needle
hole, and slide the needle along into the folded
hem edge forvs inch and pullthe needle out of
the fabric.
Directly opposite where the needle has come out,
pick up a smallstitch (one fabric thread) on the
garment and pullthe thread through the fabric.
Then placethe needle back into the previous
needle hole and slide the needle 3/8 inch along
into the folded edge.
Continue stitching in this rhythm untilthe hem is
completed.
PATTERN TIP
Add an extra %inch to the hem allowance for
turningthe folded edge.
I

.. . . ~ ~ . . . ~ . . . ~ ~ . - . ~ ~ . ~ . . . . ~ .~ . . ~. ~ ~ . . . . ~ . . .
IMPORTANT~~.--.~ ....~
A hidden slipstitch is the hem stitch that is
invisible and doesn't show a ridge from the
faceof the garment-it is the most practical
1 and useful hem stitch!
l5.17A SLIPSTITCH
Slipstitch
This stitch is one of the mostly commonly used
OPEN SERGED SEAM
hand stitches for stitching hems. With practice,
a slipstitch can glide along quite fast. However,
it is important that the stitches be invisible from
the correct side of the fabric. A slipstitch can
also be stitched as a hidden slipstitch. The only
difference is that the stitches are between the fabrics only. The hem finish can be left as a raw
1 hem and the garment. Refer to Figure 15.17. edge or serged. Notice in Figure 15.18a that the
hem edge has been left raw. When a catchstitch
is stitched over the raw hem edge, it eliminates
ght to left if you are right-handedand bulk and ridges from appearing from the cor-
you are left-handed(Figurei5.17a). rect side of the fabric. In this case the catchstitch
Attach the thread to the seam with a few over- combinesthe hem finish and the hem stitch all in
16.178 HlODEN SLIPSTITCH
hand stitches. one stitching process. This is an excellent finish
Withasinglethread, takea small stitch in the to use when the garment is lined. A catchstitch
garment a scant '/r inch to the left of the seamline can also be stitched as a hidden catchstitch, but
CLOSED and pick up one fabricthread. Move to the left do apply a hem finish before hand stitching the
SERGED SEUI
again a scant ./,inch and slide the needle from hem (Figure 15.18b).
the back to the front of the hem.
Continueto stitchthe hem in this rhythm of
li
stitching until the hem is completed. Stitch leftto right if you are right-handed or right to
approximatelyVainch apart when finished.
PThe stitches will look like smallVsand should be w t if you are left-handed(see Figure 15.18a).
After attachinga singlethread on the seam with
a fewoverhand stitches, move the needle to the
Hidden Slipstitch right by %inch. Then take a small stitch (one
For a hidden slipstitch, roll back the hem edge thread from right to left)in the garment directly
% inch toward you and secure the thread on the abovethe hem edge.The garment stitches must
m side seam, ready to slipstitch (Figure 15.17b). be small so they don't showon the correct side of
the garment.
Catchstitch Take the next stitch in the hem, '/Binch below
A catchstitch forms small x stitches to catch the the hem edge and to the right Gsinch.Angle the
hem edge to the garment. This is an excellent needle right to left to take a small stitch in the
hem stitch touse on heavier-weight fabrics;how- hem. A coupleofstitches can be picked up in the
ever, it is not limited to stitching heavyweight hem, as they will not show.
- S;ITCH IN THIS DIRECTION
IMPORTANT~~~~~ ~~ ~ . ~ ~~ ~ .
The width between the stitches is important.
Stitchesthat are too farapart will not hold
the hem in place; those too close together
may make the hem look puckered.

15.18A CATCHSTITCH
CATCHSTITCH
OVERHAND s T m n
PICK UP ITHREADONLY
Continueto alternatethe stitchesfrom garment A owl/.inch hem allowance.
to hem untilthe hem is completed. The distance Stitch a row ofstaystitchingy~inch above
between each stitch on the garment sideshould
0the hem edge.This helps to rollthe hem
be 318 inch. edge.
i .STITCH IN THIS DIRECTION
15.188 HIDDEN CATCHSTITCH
Hidden Catchstitch
For a hidden catchstitch, roll back the hem
edge !h inch toward you and secure the thread
on the side seam, ready to catchstitch (see
'
Figure 15.18b). Using a hidden catchstitch will
prevent a ridge from showing on the correct
side of the fabric.
Narrow Rolled Hem
A hand-stitched narrow rolled hem adds a
couture finish to an expensive garment. Hand
stitching a rolled hem is very time-consuming
and thus cannot be used in mass production.
It is a finish that is ideal for lightweight, sheer
fabrics. Use a small-sized hand needle and silk
thread for fine fabrics. Just put on your favor-
ite music, get comfortable, and stitch the night
away. A narrow rolled hem can be stitched to
Trim off the raw edgecloseto the stitchingjust
a short length at a time as you stitch.
Rollthe hem allowance (belowthe stitch line)up
and over again sothe row of stitchingis on the
folded edge.
Using a smallneedle, begin from the seamline
and stitch a blindstitch or slipstitchfrom right to
left (leftto right if you are left-handed).Figure
15.16 showshow a blindstitch looks as it is
stitched.
Sit comfortablywith the garmentin your lap, hold
the hem taut, and continuestitching.
MACHINE-STITCHEDHEMS
Machine-stitched hems are popular in casual
clothes. Because they take less time to stitch
than hand-stitched hems, they are cost-effective
in production.
On machine-stitched hems, the topstitching
is visible from the correct side of the garment
and can become a design feature. When other
parts of the garment, such as the seams, pock-
ets, collars, and bands, have been topstitched,
the hems are often topstitched as well. The
jeans the designer is wearing in Figure 1.1 il-
lustrate this point.
It is the designer who decides on the place-
ment of the topstitching. There areno rules as to
any hem shape. Follow along with the stitching theposition; however, the topstitching is guided
order in Figure 15.19. by the hem allowance, which was addressed

iS.iO HANO-SIITCHED NARROW ROLLED HEM: THIS IS
AN IDEAL new TO USE FOR CIRCULAR HEMLINES. Folded Edge Hem
A folded edge finish is best suited to straight
hems and not suitable on curved and flared
hemlines. It would only add bulk, as curved
edges don't lie flat with a folded edge. If your
hem is a curved A-line or flared, a serged finish
would be a better choice. Refer to Figure 15.20
for the followingstitching order.
the hem edge over % inch to the wrong
ide.
TRIM HEM LEAVINGI
118"BELOWSTITCHLIIE
Measure and pin the width of the hem allowance,
ON THIS FOLDED EDGE
parallel around the entire hemline. Useyour tape
The quickest and most efficient way to stitch
a lining hem is to machine stitch a I-inch
folded edge or serged finished hem. Lining
hems do not need to be hand stitched.
earlier in the text. The finished width of the
hem can be as narrow as % inch or as wide as 2
or 3 inches. Let the fabric and the shape of the
hem guide the hem allowance width. Refer to
Table 15.1 for guidance in adding the hem al-
lowance.Also look at Figure 2.9.
Before stitching the hem, preparation is
essential. The finish can be a folded edge or
serged. The shapeof the hem is the guide. After
the hem finish is attended to, prepare the hem
by following the steps outlined in Figure 15.15.
Thread the upper and bobbin threads in the
same thread color, check the stitch tension and
stitch length, and then topstitch the hem parallel
to the hemline.
Machine-stitchedhems for three hem shapes
will be explained: straight, curved A-line or
flared, and angled.
measure, as accurate measuringis important-
wobbly topstitching does not look professional.
Stitch from the wrong side of the garment so you
can see what you are doing. Begin stitchingfrom
the seamline-start and end with a backstitch.
The hem can also be topstitched from the correct
side. To do this, handbaste the hem in place,
measuringthe hem width accurately.
Machine stitch followingthe handbasting
stitches, then remove them afterthe hem is
completed.
Twice-Turned Hem
A twice-turned hem only suits straight hems.
If your hem is a curved A-line or flared, don't
waste your time trying this hem! A twice-
turned hem folds over twice and has a folded
edge finish. Both turnings are equal widths.
This method is often used on the hems of jeans.
Take a look at the jeans in Figure 15.ld of the
Style I.D.; a twice-turned hem would be used
there. It is also an excellenthem to use on sheer
fabrics to prevent the hem finish from shadow-
ing on the correct side of the garment. The fin-
ished hem width can be % inch or wider.
To stitch, fold half the hem allowance to the
wrong side of the garment and press in place.
Fold the hem over again, pin, and handbaste.
With the wrong side facing up, topstitch or
edgestitch the hem. For pants, begin stitching
(with a backstitch) from the inseam and end
with abackstitch.Don't forgetto add doublethe
hem allowance to the pattern.
STRAIGHT HEM I"HEM
15.20 MACHINE.STITCHED STRAIGHT HEMS: CLEAN EDGE

Twin Needle Hem Onfineknits,tissuestitchthehemifthetwin 15.22 M A C H I N E - S T I T C H E D CURYEDIA-LINE A N D FLARED
HF"".'CC '"'-H A S E R G E D H E M F I N I S H
Twin needle topstitching is an excellent needlestitchingdoesnot lieflat. If aknit fabricis
method for stitching hems in knit fabrics, used, the hem edge does not need to be finished. -
because the zigzag, back-and-forth motion
allows the knit hem to stretch but its use is
not restricted to knits only. Twin needle hems
can be stitched in woven fabrics, and they also
work well on denim. Stitching on angled cor-
ners is difficult; so if you are not familiar with
this stitch, don't try stitching angled hems
with a twin needle.
From the correct side of the fabric,two rows
of parallel topstitching arevisible.On thewrong
side of the fabric, the two rows of topstitching
join together as a zigzag stitch. Insert your twin
needle into the sewingmachine and thread with
twothreads. InFigure6.25 and 6.46,twinneedle
topstitching is also applied to seams. Chapter 2,
"Sewing Machine NeedleTypes," explainstwin
needles in detail (Figure 2.2213).
15.21 T W l N N E E D L E H E M STITCHING
For woven fabric, sergethe edges or use afolded
edgefinish. Turn the garment to the correct side
and stitch the hem. Twin needle stitching must
be donefromthe correct sideof the fabric, asthe
stitches are not the same on both sides. Refer to
Figure 15.21to seeboth sidesof the twin needle
hem stitching.
Serged Curved A-Line or Flared Hem
If the silhouetteof the garmentis A-line or flared
(thatis,wideninggraduallyatthesideseam),then
reduce the width of the hem allowance.The hem
willsitsmoothandflatwith a sergedfinish.There
is no real benefit in adding a Hong Kong finish
or hem tape when the hem is machine stitched.
A folded edge finish is not ideal on curved hem-
lines. The reason is that an ease stitchneeds to be
applied along the folded edge to curve the hem
allowance,and this only addsbulk.
The hem is machine stitched following
2 PARALLEL
ROWS OF STI7CHINB
Angled Machine-Stitched Hem
An angled machine-stitched hem needs to be
correctly preparedbefore stitching. The hem
finish applied can be afolded edge or serged. To
reduce bulk, the angled corner of the hem needs
to be stitchedwith a mitered corner.
the stitching order for the folded edge hem
in Figure 15.20. There is one difference-the Mitered Corner
edee is sereed rather than folded over. Figure A mitered corner is aneat and easyway of elim-" " -
15.10 shows how to prepare the hem edge for
a curved (A-line) and flared hemline so it sits
smooth and flat from the correct side of the
garment. After the machine basting has been
applied, eased, pressed, and turned back, the
I hem can be machine stitched in place. Figure
15.22 illustrates how the hem should look, on
both side of the fabric, when it is completed.
~ ~
...
inating bulk on corners. After the bulk is cut
awayfromthe corner,the seamis stitched on the
bias grain (Figure15.23a).Notice in Figure 15.lb
that thejacket has anangledhem to formthe slits
on thefrontjacket. The cornersof the slitswould
be stitched with mitered corners. The corner is
cut off at thepatternmaking stagebeforethe gar-
ment is cut in fabric(seeFigure 15.23a).

I5.13A A MITERED
CORNER ELIMINATES
BULK FROM THE CORNER.
~~~~ ... ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . . . . .~.~~~~~~ ~~~ ~~
is.a~cAN ANGLED HEM'
C A N H A V E A F D L D E O E D G E
O R A SERGED FINISH.
EDGESTIICY
SERGED FINISH

15.238 STITCHING
A MITERED CORNER
REDUCEBULK
ON CDRNER
FINISHED HEMUWE
.
MITERED COWER'
15.23D I N S I D E VIEW OP A
MITERED CORNER WITH A
CLEAN FINISH BEFORE THE
H E M I S TURNED A N D STITCHED
MRMENT
MITEREDCORNER

SERGED EDGEOR CLEAN EDGE FlNlSH'
/F~NGERPRESS 'REDUCE BULK ON
SEAM OPEN
CORNER SE*M

Narrow, Rolled, Machine-Stitched Hem asthis definesthe finished hem width. Trim the
A narrow, rolled, machine-stitched hem adds a excess seam allowance as closeto the edge-
classy look to any garment. A special foot can stitchingaspossible. Usingapplique scissors
PATTERN TIP
An angled hem can have a foldededgefinish
or a serged finish. Both finishescan be hand
stitched or machinetopstitched.The finish
affects the pattern and the stitching,so
decide beforehandwhich finish you will use.
Refer to Figure 15.7313to see both options.
Add an extra '/,-inchseam allowancefor
the foldededge finish; this is illustratedin
Figure 15.23~.
be ~urchasedthat rolls the hem in one stitch-
ing process; however, many design schools
don't provide them. This hem technique is ideal
to use on circular skirts, collar edges, ruffles
and flounces, and curved shirt hems. A narrow
rolled hem is also an excellent hem finish for
fine, sheer fabrics. It is not a good hem stitch to
a ~ o l yto heavyweight fabrics.
.F Id the bias edgestogetherwiththe correct
<7'sides facing(see Figure 15.23b).
.Stitch a %-inchseam allowance acrossthe
diagonalcorner.
Ifyou want a clean edge, finishstitchingthe
mitered corner '/sinch back from the edge (this
is the seam allowance) (Figure15.23b).Then
press the %-inchseam allowanceto the wrong
side before stitchingthe hem in place (Figure
15.23~).
If you want a serged hem finish, then sergefirst.
Then stitch the mitered corner seam to the edge
ofthe serging,as illustrated in Figure 15.23b.
Trim the corner seam to reduce bulk, and finger-
press open, as illustrated in Figure 15.23d.
Turn the garment back to the correct side. Use a
point turner lo sharpenthe corner; press.
Ifthegarment has hem slits, mirror image both
sidesto make surethey are equal lengths-this
is important to achievinga professional-looking
garment.
No matter what shape the hem is, straight,
curved, circular, or angled, the same three-step
stitching technique applies when stitching a
narrow rolled hem. The sketchesin Figure 15.24
illustrate a narrow, machine-stitched rolled hem
stitched to a curved shirt hemline. If you refer
back to the striped shirt in Figure 6.28a, you'll
notice that its hem is curved in the same way as
in these figures.
row of staystitchingyeinch above the hem edge
(Figure15.24a). (It istempting forstudentsto
skipthis step, but it really mustnotbe skipped!
The staystitchingadds stabilityand supportin
the followingsteps.)
.With the correct side facing up, fold the hem al-
lowanceto the wrongside alongthe staystitching
(the staystitchingis now the foldline).
Edgestitch %s inch back from the foidlinefrom the
correct side of the fabric. The closeryou stitch to
the foldline,the narrowerthe final hem will be,
helps to cut closer to the stitching.Take a quick
look at these scissors in Figure 15.25a.
.With the wrongside facingup, fold the hem
over again and edgestitch directlyon top of
the last row of stitching; press the hem (Figure
15.24~).
Angled Narrow Rolled Hem
For an angled hemline, each edge must be
stitched separately, in two easy steps, as illus-
trated in Figure 15.24d. Use the same stitch-
ing order described in the previous section,
"Narrow, Rolled, Machine-Stitched Hem."
Stitch both sides directionallv: this means,.
stitching in the same direction in which the
other edge was stitched. Clip the threads, leav-
ing a few inches. Place both strands of thread
through the eye of the needle, slide the needle
through the folded edge for '/iinch, and clip the
threads (Figure 15.24d).
Lettuce-Edge Hem
Lettuce edge is a small, neat hem stitch that can
be stitched to woven or knit fabric edgesthat are
shaped or straight. It is such a versatile stitch;
it can be stitched to many edges such as hems,
collars, ruffles, or flounces. A serger stitches a
narrow, fine hem edge. Rayon threads can be
used to add sheen to the finish.
The stitchon thelettuce edgehas aback-and-
forth action, similar to zigzag stitches, except
closer together. Any zigzag (back-and-forth)

15.24A FIRST ROW OF STITCHING
~ ~~~~ ~ ~~~~~~~~~~~~~~~~~~ ~~~~~~.~~~~~~~~~~~~~~~ ~~~
15.24C THIRD ROW OF STITCHING
I1
I1
THIRD ROW I1
NOTE
F i s h i n gline can be insertedbetweenthe
rollededges inthe last s t i t c h i n gprocess.
F i s h i n glineweights vary sotry 25 lbs-this
is agood, averageweight that flutes the
edgesina sorwous way and addsstructure
to the hemline.
: 15.248 SECOND ROW OF STITCHING
SECOND ROW il / CLITOFFEICSSSFIBIIC,
tS.2dD AN ANfLEO, NARROW, ROLLED MACHINE-STITCHED
HEM IS STITCHED IN TWO STEPS.
STEP
STRCW A COUPLE OF
OVERHANDSNTCHE5
STE
2 STITCH OW OVEPWAND STITCH
(ND SLIPTHETHREIDS THROUGH
THE FOLDED EOBETO HIDETHEM
:iI:'
...--......
f,':
j:.!
$
fi
i4:?

~ . ~ . ~ ~ ~ . . ~ . . . . . ~ . . . . ~ . ~ ~ ~ ~ ~ ~ ~ ~ . . .
15.25A STRAIGHT EDGE WITH TWO LAYERS OF FABRIC
knit fabric stretched as you stitch to form the
curls.The more the fabric is stretched, the more
fluted, like a lettuce leaf, the hem will look.
~. . ~ . . ~ . . . . . . . . . . . .
ISEAMALLOWANCE
15.25B LETTUCE EDGE: STRETCH THE HEM A S Y
STITCH TO FORM CURLS.
PATTERN TIP
Add an extra %-inch hem allowance if the
hem edge is folded back, as Figure 15.25a
illustrates (this is eventually cut off).
IMPORTANT
First stitch a sample cut on the same grain-
lineas the hem on the~armentto which it
IS belngrtitched. This Isimportant to the
successof a lettuce edge, asthe width of
the stitching;density, and tension may need
adjustment to suit each fabric type.
1).Tatch the thread color or combine three different
bnesfor an interesting effect.
Yith the correct side facing up, placethe hem
dge underthe serger foot. Align the knifewith
he hem edge and hold the fabric taut as you
stitch alongthe folded edge. The knife will trim
off any excessfabric.
When returning to the beginning, overlap as few
stitches as possible, raise the foot, and release
the tension disc.
Carefully pullthe garment backout of the ma-
chine, leaving6to 7 inches ofthread.
Finish the threads by threading them through a
needle and completing a few overhand stitches.
stitch allows seams and hems in knit fabrics to Carefully cut off the extra ~/rinch of fabric with
stretch. It would not be suitable as a hem finish applique scissors (see Figure i5.25a).
on bulky sweaterknits.
Figure 15.25a is stitched with two layers of FALSE HEMS
fabric folded together to stabilize the edge. The Knowledgeof how to stitchafalsehem isworth-
edge is pressed 34 inch back before stitching. while,as you never know when it will be useful.
Figure 15.25bshowsasinglelayerof lightweight The asymmetrical coatdress pictured in Figure
15.la illustrates the need for a false hem. The
curved edge of the coatdresswould not work as
a turned-back hem.
False hems are cut like a separate facing and
are needed on garmentsfor various reasons:
Any shaped hem edge,such as a scallophem
edge, needs a falsehem (seeFigure 15.la).
Fabric shortage may be an issue. When you
run out of fabric,stitch a false hem. A false
hem can be stitched to a straight or shaped
edge.
If the hemline has been cut on a border, there
may be no room for a hem allowance (see
Figure 2.11).
If a heavyweight fabrichem is too heavy to
turn back, a bias-cut false hem facingcan
be stitched from a lighter-weightfabricto
reduce bulk.
If pants are too short, a falsehem can be
added to lengthen them:
Carefullyseamrip thehem stitches fromthe
hem to let down the hem forthe extra length.
Then press thefoldlinefromthe hem.
When the hem is let down, the foldlinemay
not press out and this can be a problem.
After the foldlineis pressed, stitch a false
hem to lengthen the pants.
Followthe instructions from Figure 15.26.
Bias-Cut Hem Facing
A hem facing is cut following the shape of
the edee it is stitched to. As an alternative to"
stitching a shaped facing, a bias-cut facing can
be stitched as a false hem. The A-line curved

IMPORTANT
A false hem uses exactly the same stitching
technique as when stitching a facing to any
garment edge. A false hem may need to be
interfaced to stabilize it; however, interfac-
ing may also make the hem loolc too bulky.
Test by sampling first to see if the hem needs
interfacing.
hemline illustrated in Figure 15.26 has a hias-
cut facing stitched as a false hem. The bias-cut
facing is steam-pressed into the required shape.
There are some restrictions when usinga bias-
cut facing. The scalloped hem edge in the coat-
dress inFigure 15.ld could not be stitched witha
bias-cut facing. A shape suchas this mustbecut t o
mirror imagethe shape o f the garment edge.
Th hem that is going be stitched is an A-line skirt
'm. Before proceeding, make sure the skirt is fullyL?stitched together in-the-round. The hem is the last
stitchingprocess inthe stitchingorder. Follow along,
referring to Figure 15.26.
Allow plenty of length in the facing; cut the bias
width to the hem allowance of your choice-1
to 1% inches.Add %-inch seam allowance for
a clean-edge hem finish. The edge can also be
serged.
Havethe garment turned to the correct side.
Carefully wrap the bias-cut facing around the
hem edge, with the correct sides facing together;
don't stretch the bias, as it will twist the hem out
of alignment.
Overlap the excessfacing, and pin the hem edges
together.
Mark the seam join-this must be doneon the
lengthwise grainline. Referto Figure 6.17 to see
how bias grain seams are stitched together.
Cut the excess fabric from the facing after allow-
ing%-inch seam allowances on both sides of the
seam join.
.Carefully remove the facing from around the hem
edge and join the facing seam; press the seam
open.
Along the top edge of the biasfacing, press a
'/,-inch seam allowance to the wrong side. Ifyou
15.26 FALSE HEM: BIAS-CUT HEM FACING
APPLIED TO THE HEM OF AN A-LINE SKIRT
11/4"TURNED BACK FOR
CLEAN EDGE HEM FINISH
,NOTE
Bias bindings can be purchased in different
widths. They also can be stitched as a false
hem, followingthe same stitching order for
the blas-cut hem facing.
would prefer a serged hem finish, then carefully
serge the edge instead. Don't stretch the bias
edge as you serge.
Before applyingthe false hem, shape the facing
to matchthe garment hem edge. This is done by
steam-pressing the hem finish edge to shrink
and straighten the edge into a curved shape.
Remember, bias grain is flexible and will shape
beautifully!
Again, place the bias facing around the hem edge
with the correct side facingtogether. Position the
facing seam close to the side or back seam and
pin in place.
Stitch a %-inch seam around the hem edge,
understitch, turn, and pressthe hem. Don't press
overthe pins, as they may leave a mark; hand-
baste the hem in place instead.
Hand stitch the hem in place.
Scalloped Hem
facing that is an exact mirror image
of the hem edge shape ofthe scalloped hemline.
The top edge of the facing should be a straight or
curved line to mirror the general direction of the
hem shape (Figure 15.27a).
Apply interfacingto the facing, if required.

.......................... . . ~ . ~
15.27A FALSE HEM: SCALLOPED EDGE
inch off around the scalloped edge so it fits com- besteam-pressedto removeany folds.
fortably in between the hem and facing. w s u r e to remove any bulk from the seams in the
Turn the garment to the correct side, and slip the hem allowance (see Figure 15.7). To join the seams
template between the facing and the garment. in horsehair braid, stitch Seams Great to one edge;
underthe seam allowance. Pushthe scalloped overlap this edge to hide the other raw edge and to
hem edge out with the template to define each prevent the braid from unraveling (Figure 15.28a).
callop shape, and press in place (Figure 15.27b). Two stitching methods will show how horsehair
braid can be stitched.
HORSEHAIR BRAID
--/[ Horsehair braid is a very effective sheer poly- BRAID STITCHED TO
REDUCEBULK
CUP 111T0 EACH
FICI*G B I*TERTACIIG
ester mesh used to stabilize and add structure URVED. FLARED. AND
SCALLOP POINT
to eveningwear such as satin gowns. It is avail- CIRCULAR HEMLINES FLAT APPLICATION
I able in heavy and soft weights, in widths from Havethe correct side of the garment facing up.
% inch to 6 inches. Narrow horsehair braid Laythe horsehair over the hem allowance, lining
adds a soft structure;wider horsehair is stron- upthe edges together (Figure 15.28a).
I eer and adds more structure to the hemline. Stitch them together with a %-inch seam al-..
When a hem is stabilized with horsehair braid lowance. Do not stretch the horsehair as you
and stitched in place, hand stitches are less stitch-if you do, the hemline will looktwisted.
noticeable from the correct side when the gar- Foldthe horsehair braid over to the wrong side of
- ment has been underlined because the stitches the fabric and press the hem crease.
are stitched to the underlining rather than to Pin, handbaste, and catchstitch the hem to the
15.278 SLIP THE TEMPLATE UNDER
the garment fabric. underlining. as Figure 15.2813 illustrates.
THE SEAM ALLOWANCE. Horsehair braid can be stitched to straight
hems and shaped. It has qualities of bias grain
@EHAlR STITCHED TO
Placethe correct sides of garment and facing and will shape easily when pressed to curved T AIGHT HEM EDGE ONLY
together, and pin in place. and flaredhemlines.The circularhem in Figure Serge the hem edge ofthe garment and with the
Stitch a %-inch seam around the hem edge; pivot 15.1~could be stitched with horsehair braid to correct side of the garment facing up, overlap
on each scallop point (see Figure 15.27a). help stabilize and hold the hem in this shape. the serged hem finish over the horsehair braid by
Clip into each scallop point; the clippingallows The stitching order in Figure 15.28 would be ./,inch and edgestitch the two together (Figure
the seam allowanceto open and spread when followedto do this. The skirt would need to be 15.28~).
the facing is turned to the wrong side and will underlined so the horsehair could be stitched Foldthe horsehair braid to the wrong side, and
enable the hem to sit flat on completion (Figure to the underlining, as Figure 15.28b illustrates. fold the hem over again so the horsehair is
15.27a). However, if a designer chose to, the hem could sandwiched between the hem allowance and the
.To define the scalloped hemline, cut a template be topstitched if an underlining wasn't desired garment.
with approximately four or five scallops. Cut $6 as part of the design.

r~~~~........... .
15.28AHORSEHAlR B R A I D STITCHED TO STRAIGHT.
CURVED. FLARED. AND CIRCULAR HEMLINES
15.28C HORSEHAIR B R A I D STITCHED TO A
STRAIGHT HEM EDGE
. .
ALLOWANCE
15.288 STITCHING THE HORSEHAIR BRAID TO THE UNDERLINING
-
HORSEHAIRBRAID
TURN UP HEM- 7
15.28D STITCH THE HEM TO THE UNDERLINING
WITH AN OVERHAND STITCH.
Pressthe hem in place, protectingthe fabric with
a pressing cloth.
Catchthe hem to the seams and underliningonly.
usingan overhand stitch, and stitchingapproxi-
mately every 5 to 6 inches (Figure 15.28d). The
hem must be caught often enough so it does not
droop in between the stitches.
CUFFS
Cuffs are an extra length of fabric added to
the hemline of the pattern. The extra length
is then turned back to form cuffs on the gar-
ment hemline. Cuffs can be added to the hem
edge of sleeves, skirts, dresses, or pants. Cuffs
can be stitched separately as a hem band or cut
all-in-one and turned back. Cuffs stitched all-
in-one with the garment sit flatter and look less
bulky. We suggestnot interfacing cuffs, as this
may make them too heavy and bulky. Cuffs cut
all-in-one will be explained in this chapter. The
wide cuffs in the pants in Figure 15.lb look ab-
solutelyfabulous made in wool check fabric.
. ,
e seams. It is importantthat they be
stitched to the shape of the cuff-ifthey are not
shaped correctly at the pattern drafting stage.
then they will not sitwell when folded back into
cuffs. (Refer to your patternmaking books to get
this correct.)
Stitch the hem finish (Figure 15.2ga).
Turn back the hem on the foldline; place the leg
over a sleeveboard and move the legaround as
you press the foldline. Notice in Figure 15.2ga
thatthe fabric width folded back above the fold-

line includes the hem allowance and the width of
the cuff.
Fromthe wrong side, pin and stitch the hem in
place-the hem can be hand stitched fora more
expensive finish or machine stitched for a budget
production finish (see Figure 15.zga).
Turnthe garmenttothe correct side and fold the
cuff back. The cuff can besecuredonthe inseamby
stitching-in-the-ditch (Figure15.29b). The cuff can
also be handstitched usingafew overhandstitches
to connectthe inside cufftothe inseam(Figure
15.29~).Visible hand stitches would look ugly!
VENT
Vents are used in design o n the backs o f skirts,
jackets, and sleeves. Vents are an important
part o f functional design. When the garment is
worn, the vents open t o allow ease o f comfort
for walking and sitting. Figure 15.30a illustrates
three vents in the one ensemble. All the vents
are positioned inthe seams. The recurring vents
also demonstrate t w o o f the design elements:
rhythm and repetition. When these elements
are used properly, they are pleasing t o the eye.
T o see h o w important vents are for functional
design purposes, refer t o Figure 1.4.
ent can beadded into any seam. First estab-
ish the length ofthevent. Add a facing to the leftL?side and a facing and extension to the right side
(Figure 15.30b).
Mark matchpoints to mark the stitching place-
ment on the back seam for the vent. This is also
the position for clippinginto the seam. Also notch
Hemr: Defining the Length
~ ~ .................~..~
15.29A CUFFED PANTS
the hem allowance and facing positions (see
Figure 15.30b).
The illustration in Figure 15.job shows the pattern
markings, the application of the interfacing, stitch-
ing of the darts and zipper, and how the back seam
is stitched and clipped. Remember to clip the right
side center back seam-otherwise you won't be able
to stitch the vent any farther! In the stitching order.
HEMUME/
15.29C HAND STITCH
the side seams were stitched next and pressed, and
then the waistband applied. This moves us to the
next steps neededto complete the vent.
Oncethe skirt is stitched in-the-round, the hem
edge can be serged.
Turn both facings at the notches backso the
correct sides are facing together. Stitch the width
of the hem allowance across the hemline and
facing-finish the stitching inch back from

1S.aOA VENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .~... .
15.308 IMPORTANT PATTERN MARKINGS
AND INTERFACING APPLIED: DARTS, ZIPPER,
AND CENTER.BACK SEAM ARE ALE STITCHED I N
PREPARATION FO~PSTITCHING'THE VENT.
NOTE
When a liningis stitched to thevent, the
liningholdsthe vent facing in place and no
topstitchingis needed. To stitch the lining
to the vent, refer to "Skirt with Vent" inthe
section "Open Liningwith Waistband" in
C h a p t e r 16.
15.30C VENT: STITCHING THE HEM IN PLACE
~ - - -- ~ ~ - ~ ~ ~ ~ ~ - ~ ~ ~ -~~~~
"NlSll THE STlTLHllG THE HEM ALLOWANCE
I/I"BICK FROM FACING
EDGE. EeULI
THIVlnTARI EQUAL LEWCITHS
15.3OD INSIDE VIEW OF HOW THE VENT
LOOKS WHEN COMPLETED

~.~~~~..... ~ .....
the facing edge if a liningis goingto be stitched Slits also can be used for decorative purposes
around the vent. Ifthe garment is not lined, then because the designer thinks they look aestheti-
stitch to the edge of the facing (Figure 15.30~). cally pleasing. In the jacket in Figure 15.lb, the
The corners ofthe hem can be trimmed to reduce hem slits add a touch o f class to the front o f the
the bulk (see Figure 15.30~).Oncethis is done, jacket, and they are purely decorative. A facing is
the hem length cannot be lengthened. addedt o the slit so itturns backtoprovideaclean
Turn the facing back to the correct side and edgerather thanjoining aseam(which adds bulk).
sharpen the corners with a point turner; make The slit is topstitched at the top edge o f the facing
sure both sides of the vent line upwithout one t o hold it inplace. The topstitching is visible, as
side beinglonger than the other. Figure 15.31b illustrates. For a stxapless evening
Fromthe correct side, handbaste or pin the gown, topstitching would look too casual and
topstitching position of the vent; the shape is a would detract from the elegance of the garment.
mirror image of the facing shape (Figure 15.30d). Nosice that inFigure 15.31a, the topstitching has
Referto Figure 15.3oa to see the position of the been omitted; instead, a liningis stitched around
topstitchingfrom the correct side of the garment. the facing edge t o hold the hem slit inplace. For
Stitch the vent from the correct side; pull the instruction on how the lining i s applied to the
threads back to the wrong side and tie off (see facing, refer t o "Skirt with Slit" in the section
Figure15.3od). "Open LiningwithWaistband" inChapter 16.
Ifthe skirt is not lined, hand stitch the facing to
the hem usinga slipstitch (see Figure 15.30d).
&?e stitching order, the interfacing is applied to
HEM SLIT WITH FACING e facings. The darts and zipper are stitched next.
A slit can be added i n t o the garment o n any and the seams are stitched together and pressed.
seam, up f r o m the hemline o r d o w n f r o m a
neckline (Figure 15.31). A hem slit is oftel
used inskirts as an alternative t o avent (Figurt
15.31b). Slits are used f o r functional desigl
purposes in the garment. F o r example, the:
are often positioned o n the side seam o f shorts
capri pants, o r long pants t o widen the lej
opening. Slits are also located o n side seams o
tops t o allow r o o m f o r the hips. Another p o p
ular location for slits is in the center back o
side seams o f the hem o f a skirt, t o aid walkin!
PATTERN TIP
The most important part of the pattern
draftingis to markthe matchpoints for the
position where the seam divides into the slit.
Add the facing and hem allowance to the pat-
tern to allow for the slit. It is best to makethe
facing and hem equal widths, approximately
I ~ Z inches, so the corner can be stitched into
a mitered corner. Notch the hemline and the
facing allowance (Figure 15.jlc).
IMPORTANT
The hemcana1mberr~rchcdwlth a mitered
cornertordum buk. To dothis, turnto
Figureig.ag andW o w the rtitchlngorder. A
scqedhtnt RnshIsthe bertvptiononthe
skirt, t r Itreducesbulk
The waistband is applied, and now you are ready to
stitch the hem facing in place.
Once the skirt is stitched in-the-round, the hem
edge can be serged.
Foldthe facings back so the correct sides are
together. Stitch across the bottom edge f o ~
the width of hem allowance, as illustrated for
Figure 15.30~.Reducebulk on the corner of the
hem ifthe fabric feels thick, as this figure also
illustrates.
Turn the facing backto the wrong side; use a
point turner to sharpen the hem corners. Check
that the slits are of equal length; if they are
uneven. adjust the length.
Handbaste or pin the top edge of the facing.
Fromthe correct side of the fabric, stitch the
facingto the fabric followingthe facing shape
(see Figure 15.310
Pullthe threads to the wrong side and tie them to
secure the topstitching.
Hand stitch the facingto the hem using a slip-
stitch (Figure 15.31~).
Hem Chart
The chart inTable 15.2 can beusedas a guide for
choosing the appropriate hem finish and hem
stitches for different fabric types. Itis impossibleand sitting.

16.81A
STRAPLESS
EVENING
GOWN
EMUINB GOWN
DOES "0I"IVE
IWITOPSTITCRI"6.
ASTHE LlllW6
HOLDS I T I I PUCE

~ ~ ~ ~ . ~ ~ . ~ . ~ ~ ~ ~ ~ ~ . . ~~.~~ ~ .,. ~. ........ .
1 S 3 1 C INSIDE VIEW OF HOW THE HEM SLIT WITH
FACING LOOKS WHEN COMPLETED
THE SPLIT 15
TOPSTITCHLO
TO HOLD IN
PLACE
FACING TO HEM 'MITERED CORNER
to cover every fabric type and fabricweight, so
this is a general recommendation only. Even
when afabric is listed in this hem chart, we still
recommend sampling first to test whether the
hem finish and hem stitch are the best choices
for the fabric and design.
STITCHING HEMS IN
TRICKY FABRICS
Sheer Fabric
Do choose the hem finish and hem stitches
carefully,as hems in sheer fabricshadow.

Do sample tlie hem first to find the best option
to suit the sheer fabric
Do use fine lace pins or handbaste the hem to
secure in place.
Do try using silk thread for hand stitching
hems in fine sheer fabric.
Do also use a fine needle for hand stitching.
Do machine stitch topstitcbed helix in sheer
fabric, with a clean finish.
Do hand or machine stitch a fine, narrow,
rolled hem finish, as this works well on sheer
fabrics.
Do stitch twice-turned hems on sheer fahric.
Don't stitch most hem tapes to sheer fabrics,
as the tape will shadow; however, a lace hem
tape shadowing under the hein edge map
look fantastic-this is why sampling first is
beneficial.
Don't reduce bulk from the henis of sheer
fabrics, as this will show from the correct side;
helils ill sheer fabrics are not bulky.
Lace
oe asDo make use of any scalloped fabric ed,
the hemline of the garment (Figure 6.4Sb).
Do consider appliqueing a scalloped edge
fro111the self-fabric or a lace trim to the hen1
edge.
Don't machine stitch a once- or twice-turned
hem in delicate lace.
Don't stitch a Hong Kong finish, as it will
shadow-use sheer Seanls Great as a hein finish
instead.
Don't topstitch hems in lace.
Satin
Do take special care when stitching hems in
satin; always sample the hems in satin first to
establish thepe~fecthem finish.
Do use fine lace pins to secure hems in place or
handbaste the hem with a fine needle and silk
thread.
Do test the fabricfirst to make sure no hole mat-ks
sllon~in the fabricfrom the pins and needles.
Do consider leaving a raw edge instead of
stitching a hem finish in satin when the gar-
Iilent has a lining. Hem finishes can show a
ridge from the correct side of the fabric; stitch a
catchstitch to enclose the raw edge.
Do stitch a horsehair braid to the hem of an
eve~iinggown to add structure to the hem.
Do stitch heins in satin using a catchstitch or
slipstitch.
Don't stitch a twice-turned hem in satin, as it
would be too bulky and inay show a ridge from
the correct side of the fabric.
Don't stitch hem tape if it shows a ridge from
the correct side of the fabric-test this first!
Beaded Fabric
Do use fine needles and silk thread to hand
stitch a hem ill beaded fahric.
Do sample the hem first, as the fabric may
shadow froin the correct side.
Do stitch beaded fahric with care, as it is so
delicate to handle.
Do use fine lace pins to secure the hem in
place, and handbaste with a fine needle, as hole
marks may be left in the fabric.
Do try a Hang Kong finish or Seams Great,
then hand stitch the hem using ail invisible
slipstitcli.
Do smash the beads off (gently) with a rubber
mallet from any hein edge that is going to be
finished with a Hong Kong or Seams Great
finisli.
Do try a hand-stitched rollcd hem on beaded
fabric; tlie beads inay need to be gently
smashed off 6rst.
Don't machine stitch hems in beaded fabric.
Don't overdesign garments in beaded fabric; let
the fabric speak for itself.
Knits
Do think of functional design when it coiiles
to stitching hems in knits; the hem finish and
hem stitches must be able to stretch after the
hem has bee11stitched.
Do stitch a hem with twin needle stitching-
this is an ideal hem stitch for knits, as the
zigzag stitch that forms on the wrong side of
the fabric allows the hem to stretch.
Do use a serged hem finisli as the hemlilie of
T-shirts.
Do stitch a lettuce-edge finish for heills oil fine
knits.
Do use a hidden catchstitch to stitch henis
in knits. Catchstitching has a back-and-forth
(zigzag) movement that allows hems to stretch.
Don't stitch one single row of straight top-
stitching around a fitted hem, as the stitches
will pop when the garment is worn. Only
stitches with a back-and-forth movement allow

.~
1BLE 15.2 HEM FINISHES FOR DIFFERENT FABRICS

TABLE 15.2 CONTINUED hems to stretch in knits. A straight stitch can
~ ~ ~ ~ ~ ~ ~ . . . . . ~ ~ ~ ~ ~ ~ ~ - ~ ~ ~ - ~ ~ ~ . . ~ . . ~
:dfor circular hems.
t .-...stitch hem tape as a hem finish on hems
1 knit fabrics.The tape will restrict the hem
and it won't be able to stretch as the person
wearing it walks.
,r almost any hem finish and hem stitch
outlined in this chapter-denim isn't a tricky
fabricto stitch, so be creativewith the hem
titches.
30 considerbulk in hems stitched in heavy-
weight denim.
Do use topstitching on denim-it loves to be
topstitched.
)o have fun thinking of creativeideas for
stitching hems in denim, as it's a fun fabricto
work with.
)o treat velvet with care, as it is a delicate and
tricky fabricto work with; be patient and take
the time needed to perfect hems in velvet.
Do samplethe hem finish and hem stitches
first in a delicatefabric such asvelvet.
Do stitch hem tape as ahem finish, asit elimi-
ates bulk and ridges from showingfrom the
orrect side of the fabric.
Leather
hand stitch hems in velvet. Use a fine
n,;dle and silk thread-the stitches should ~ n r
be visible from the correct side.
Don't place an iron directly on avelvet hem.
Hold the iron approximately 1 inch above the
hem and steamand stroke the hem to flatten it.

Professtonal Sewing Techntques for Desrgners
Don't topstitch hems in velvet.
Don't stitch a narrow rolled hem in velvet.
Leather
Do consider placing the hemline on the natu-
ral raw edges of a leather skin or hide; leather
has no grain, so turn and twist the pattern to
get the hem edges in just the right position to
create the look you want.
Do topstitch hems in leather.
Do consider leaving a raw cut edge (cut with
the rotary cutter), as leather does not fray-be
aware, however, that how this looks depends
on the quality and weight of the leather.
Do consider using a rotary cutter to cut a
decorative hem edge; there are many interest-
ing designs available in rotary cutters.
Do try binder clips (Figure 14.19a) or large
paper clips to hold the hem in place; pins leave
hole marks in leather. Do test the binder clips
to see if they leave a mark on the hem. It may
be better to use paper clips on a soft lambskin
hem to hold it in place (Figure 15.32).
Do secure hems in place with leather cement.
Apply the cement with cotton Q-tips or a
small brush to secure the hem in place (see
Figure 15.32).
Do edgestitch hems in leather.
Do secure hems in place with leather tape
(both sides are sticky; just pull the paper from
the tape as you apply the tape to the hem
edge).
Do stitch one straight row of stitching %inch
away from the hem edge if the garment is
going to be lined; then hand stitch the lining 15.32 H E M I N LEATHER
to this row of stitching.
Do stitch a falsehem in leather using a lieht- I*u 0
weight fabric, as it will reduce bulk.
Do use a mallet or wallpaper roller to flatten
the hem in leather.
Don't hand stitch hems in leather.
Don't press the hem without first protecting
the leather with brown paper and turning off
the steam.
Don't place cuffs on trouser hems in leather, as
they will be too thick and bulky.
Faux Fur
Do stitch a hem in fur, and catchstitchthe hem
in place.
Do stitch afalsehem on heavier furs to reduce
bulk, then catchstitch the hem in place.
Don't turn the hem edgeunder l/r inch as a
clean finish, as fur is too bulky for this type of
hem finish.
Don't topstitch hems in faux fur.
Don't trim the fur from the hems (as you do on
seams), as it's better left on the hem of faux fur.
Don't stitch a hem finishin faux fur, as the
edges will not fray and it is not necessary.
Heavyweight Fabric
Do samplethe hem first to see how the fin-
ished hem looks from the face of the fabric;
check to see if a ridge or bulk is visible along
the line of hem stitching.
Do considerstitching a false hem if the hem is
too bulky and showsa ridge.
RAW-EDGE LEUnER DOES NOT PBAV
APPLY
URGE PAPER CLIPS APPLYCEMENTTO'
SECURES TME HEM IH PUCE BOTH SIDES
TO THESE STITCHES.
MACHINE STITCH A ROW OF STITCHES
SOTHE LINING CAN BE HANDSTITCHED
Do considerusing hem tape as a hem
finish, as the tape reduces bulk on the hem
edge.
Don't machine stitch hems in heavyweight
fabric;topstitching will draw attention to a
bulky hem.
Don't stitch a twice-turned or narrow rolled
hem in heavyweight fabrics.
AND STRETCH YOUR CREATIVITY
Many stitching techniques have been taught in
this textbook; this is the time to think back on
what you've learned sofar. By transferring your
knowledge, you will be able to apply some of
these stitching techniques to the hem, so the

hem becomes the feature. This section will get 1 5 . 3 3 ~... ONE SIDE OF MY SEAM 1s TOO LONG?
you started-we encourage you to think of
other ideasand stretch your creativity.
Here is a list of some of the stitching skills
learned in past chapters. Let's go through them,
and apply them to the hem:
In Chapter 4, we learned to stitch darts.
Figure4.14~illustrates how darts can be
stitchedup from the hemline to make the
hem the feature.Darts are added into the
hemline at the pattern drafting stage. How
about adding more darts than illustrated, to
change the garmentsilhouette-give it a go
to see how it looks.
Chapter 5 teaches you how to stitch pock-
ets. Haveyou thought of transferring this
knowledge and stitching pockets around the
hem edge of a T-shirt so the hem becomes the
feature?
Perhaps you are an expert at applyingzip-
pers by now! If so, try the idea illustrated in
Figure 15.34a. Stitchseveral exposed zip-
pers into all the coat seamsfrom the hem
up. Notice that the zippers can be unzipped
to allow room for walking or zipped up on
cold,rainy,and snowy days.
In Chapter 9, waistbandswere discussed,
and in Chapter 13plackets and cuffswere
on view. From this stitchingknowledge,
let's transfer our knowledgeand be creative!
How about stitching a shirt-sleeve placket to
the center front of the denim skirt, up from
the hem. Now let's turn a waistband upside
hSIDE SEAM
AIDTRIM LONG
down and stitch it to the tucked hem edge of
the skirt. The placket can be opened for ease
in walking-how's that for transferring your
knowledge?
Ruffles and flounces can be stitched to
any hem edge. They create texture, and
the fullness creates a wonderful garment
silhouette. You will see this by turning to
15.038 ...M Y H E M PUCKERS F R O M
T H E CORRECT SIDE?
REALIGIPAllERl 01SIDE S W A
AYD RECVT HEMWOY1WCEISA
MRROR IMGE OFSWUN. I
i
ME HEMALCOlANCLWBSNOT
CUT IS A MIRRORIMAGEOf
,THE SIDE S W .
I
Figure 10.1 in the Style I.D. for Chapter
10.The dresses look sexy and romantic in
soft, pink hues.
Chapter 12,on facings, emphasizedthis very
important feature of clothing construction.
Look at Figure 12.25to see how ribbing is
stitched to the neckline.Transferthis knowl-
edge and stitch ribbing to the hem edge of a

~~~ ~~~~ ~~~~ ~~~~~~~~~ ~ ~~ ~~
15.34A WOO' '""T 15.346 DENIM SKIP' 15.34C KNIT
TOP w l r n DENIM
SHORTS
'* "2D STRAPLESS DRESS

. . . . . . ~ .
garment;it can also be stitched to the sleeve and check your pattern seam lengths-if it ...my hem looks puckered?
edge. Another idea is to stitch the false hem is not correct, fix it now, as shown in Figure If you were stitchingacurved or flaredhemline,
illustrated in Figure 15.26, to the correct side 15.33a. You may want to use the pattern again did you add the basting stitches needed to ease
of the garment as a hem hand or as a facing. in the future. the hem edgefirst?If not, go back and complete
This too will draw your eyes to the hem, this step, outlined in Figure 15.10. The other
especiallyif you use line and shapeto create ...I don't know how much hem option is to snip the thread on the hem stitches
a more excitinghem shape. allowance to use? to loosen the stitching, and then restitch that
And now for Chapter 15-let's take just one Refer to Table 15.1as a guide. The fabricweight part of the hem. Carefully take the hem stitches
stitchingtechnique (cuffs)and transfer this (the sheerness or heaviness) and the garment out, and press the hem edge flat. Then reduce
knowledge and stretch our creativity. Figure
15.34dshowsan elegant straplessdress. A
cuff has been stitched to the hemline and to
the top edge of the straplessdress.The wide
cuff on the hem is securedin place with but-
tons and buttonholes. Undo the buttons and
let the cuff hang down for a longer length-
tall girlswill lovethis design! The cuff on
the top edge can also turn up if stabilized
correctly.
The popular balloon hemlineis afunhem treat-
ment. This hemline is explained in Chapter
16, "Closed Lining to Control the Garment
silhouette determine the width of the hem al-
lowance, the hem finish, and the stitches used.
Samplethe hem first in your chosen fabricto es-
tablish the best hem allowance for your project.
...my garment is too short?
Letthe hem allowancedown;press.Stitchafalse
hem with a shaped or bias-cut facing. Figure
15.26 explainshow to do this.
...I cut my garment too short?
How can I lengthen it?
If afalsehemdoesnot solvetheproblem,consider
adding a hem band, ruffle, or lace to lengthen
the hem allowanceand restitch the hem.
A hem can alsopucker becausethe hem edge
is too tight when it is folded back and has not
been cut in a mirror image of the seamline. So,
check the pattern to seeif this is causingapuck-
ered hem. If you don't cut the hem allowanceas
a mirror image, the hem will never lie flat-it
will always look puckered. This aspect of pat-
ternmaking isillustrated in Figure 15.4.Tosolve
this problem, recut and restitch the seamline-a
small amount will be lost from the side seam,
but it's better to have a slightly narrower skirt
than a puckered hem. Follow the instruction in
Figure 15.33b.
Silhouette." the garment. If this solution is not appropriate,
you may need to recut your garment. ...I'm not sure which hem finish to
STOP! WHAT DO I DO IF.. . choose from the many available options?
...one seam is longer than the other and ...my hem looks bulky? First sampleallyour optionsin the fabricyou are
my hem is not level? Carefully seam rip the hem stitches; press the using. After years of experience,we still sample
Many students experience this problem, and hem edgesoit is lying flat. Stitchahem tape lace all hem choices that suit the fabric and style.
thefollowingtipsmayhelp: Ifonesideis %inch as a hem finish, as this will eliminate bulk. A Take a look at them, and then choose the best
to ?4inch longer, the excess can be trimmed catchstitch could also he stitched to a raw edge hem.Manycreativepeoplearevisual, sostitching
off. Figure 15.33a shows how to correct the to reduce bulk. Try reducing the width of the a sample that can he looked at and touched can
hem. If one side is !hinch or more longer, the hem allowance,as this also reduces bulk. be very helpful. Ask your instructor's opinion,
seam will twist. Carefully rip out the seam and invite other students to critiqueyour work.

................................................................................................................................................
Then if you are still not sure,
really does help. Good luck!
sleep on it-this .Does the completed hem look bulky?
Is the hem finish appropriate f6r the fabric
type?
...I can't find any hem finish that I like? Does the hem shadow or show a ridge from
Sometimes a garment is not going to be "per- the correct side of the fabric?
fect" when the design is finished. Some fabrics Is my hem hand stitchinginvisiblefrom the
are difficult to work with and, in the end, we correct side of the garment?
just have to choose the best hem option from Is my topstitched hem parallel to the
what is physically possible. Remember, life is hemline?
not always perfect! When I stand back and view the garment,
does the hem blend with the garment as a
SELF-CRITIQUE whole or does it stand out because of bad
This is the time to look at your finishedgarment stitching?
and seriously evaluate the hem. Place it on the Did I stitch enough samples to make an
form or amodel, and stand hack toview it from a informed decisionregarding the best hem
distance. Then answer the followingquestions: finish and hem stitchingto use?Did I save
them for later referencein my workbook or
Does my hem look levelwhen it is on the collection?
form? How can I improve on my hem stitchingin
Does the hem lie flat, or does it look the future?
puckered?
Do I understand the importance of hegin-
ning with correct patterns, with sideseams
that match together, notches snipped, match-
points marked, and a smooth, even hemline?
Do I understand the concept that the fabric
weight and silhouette of the garment hemline
guide me in choosing the best hem finish and
hem stitchingfor my project?
Do I understand that using quality thread
and the correct size and type of hand stitch-
ing needle do make a differencein my hem
stitching?
Do I know how to choosethe best hem finish
and hem stitching for each fabricweight?
And finally. ..
We suggestrestitching any hem stitch-
ing samples that could be improved on or
changedfor future reference.Then add them
to your workbook.

~~~ ~~~ . . . . ~ . ~ ~ ~ ~ ~ ~
15.18 BALLOON S K I R T
-
16.1C PLEATED SKIRT

.. .:....a, :~:
.. :.. ...,.
I.: : '. ,.,.:., . ,8. .:.
Linings: Covering the Inner Surface 439
NOW LETS GET STARTED
Why Use a Lining?
If the only contribution a lining made was to
cover the inner construction, we might not
be bothered to stitch a lining at all. We could
decide to sergeor neaten the seamswith a Hong
Kong seam finish instead. However, there are
many more reasons for adding a lining into a
garment than just to cover the inner construc-
tion. The following list outlines several reasons
I
silk georgette, and silk crepe de chine are
interchangeable and can double as fabric or
lining.
~eedsa heavier-weightlining,whereas a summer
acket may not need lining at all; however, if it
was lined, a breathable, lightweight lining,such
rs China silk, would be the appropriate choice.
Vinter coats need a lining to add warmth and
lurability, both of which enhance the quality
)f the garment. Silksatin has a beautiful quality
and makes a luxurious coat lining! And there are
choices are more limited than fabric choices; lots of colors and prints to choose from.
nevertheless, choosing the correct lining for the
why lining a garment is so beneficial. A lining: garment is important. Linings can be made from
many different fabrics, including silk, polyes-
Helps the garment to slip on and off the ter, cotton, polyester and spandex, flannel, and
body with ease. fleece. The fiber content matters when choosing
Gives the garment a smooth, luxurious feel- the lining. Considera silklining: one of its attri-
ing of comfort. butesisthat itbreathes,makingitcomfortableto
Prolongs the life of the garment. wear in a hot climate, whereas a polyester lining
Adds a quality finish to the garment. does not breathe and would feel hot and sweaty
Adds warmth.
Helps the garment retain its shape.
Prevents the garment from stretching.
Prevents the garment from clinging to the
body.
Reduces wrinkling in the outer fabric.
Adds oomph to limp fabrics.
Helps the garment hang with smooth, flatter-
ing lines.
Protects the skin. Sometextiles, such aswool,
and the inside of leather have coarse textures
that can irritate the skin. Lining garments
made with these fabricswill protect the skin.
TYPES OF LINING
Just as there are a variety of fabrics to choose
from, there are also a variety of linings. Lining
in a tropical climate. For this reason, the choice
of fiber content and weight of the lining needs
to be made with consideration for the wearer.
This is how fashion and function meet.
Woven Lining
Just as fabric is categorized into a woven or knit
so it is with lining. And just as fabric is catego-
rized into three differentweights,lining is simi-
larly classified-as lightweight,mediumweight,
or heavyweight. A lining should be lighter in
weight than the garment fabric; one that is too
heavy could distort the look of the garment and
feel bulky. The lining should feel comfortable,
smooth, and luxurious on the body.
Theweight of the lining alsoneeds to suit the
purpose andtype of garment.For example,a coat
Lightweight Lining
Habotai or China silk is a fine, soft, lightweight
lining that does not add any bulk under gar-
ments. China silk is not a good choice for a
coat lining, as it is too limp; however, it is an
idealweight to line skirts and dresses. Don't use
China silk to line pants, asit does not withstand
the wear and tear-it easily tears away from the
crotch seam.
Silk georgette is a sheer lightweight fabric. It
is ideal to use as a lining under sheer fabrics, as
it helps to retain the soft drape; however, one
single layer may not give the opaqueness re-
quired. Several layers of silk georgette can be
used as the lining. It is available in beautiful
tonal colorsand prints, which can add a delight-
ful color detail under garments.
Silk crepe de chine is an outer garment fabric
availablein severalweights-two-ply, three-ply,
and four-ply-that can doubleas self-lining.Al-
though it is expensive, it is also long-wearing,
making it an ideal choice for linings and other
garments. Silk crepe de chine makes a beauti-
ful, luxurious lining. This fabric can be hand
washed or dry cleaned.

, .;
. , ,. . ,, Professionnl Sewing Tecbniqxesfo~Designers
Bemberg Rayon Lining is a favorite lining
fabric because it's good quality, soft to the hand,
comfortable, and washable. It also comes in a
variety of colors. It can be used to line most gar-
ments; however, use a heavier-weight lining for
coats and warm jackets. Rayon is an anticling
lining, wliicl~is anothei- one of its attributes.
Ambiance is a lightweight rayon lining that
is hand washable and available in an amazing
array of colors.
Polyester lining is a lightweight fabric used
to line dresses, skirts, pants, or vests. Make sure
you purchase a nonstatic lining. Polyester lin-
ings do not breathe, but they also don't wrin-
kle, and are a cost-effective alternative to Inore
expensive silk. Be warned-polyester lining is
more difficult to stitch than other linings!
A4e&a~m-iY/ezgI!tLining
Silk cl?urmeuse is a fabulous fabric that can be
used for blouses, shirts, and evening gowns, or
as a fabulous medium-weight lining for jackets,
coats, and evening gowns. It drapes beautifully
and has a semilustrous face and dull back. We
guarantee any customer trying on a garment
lined with silk charmeuse will fall in love with
the luxurious feel of this fabric next to the skin!
Crepe-backed satin is a medium-weight
fabric suitable for lining jackets and coats. It has
a smooth, lustrous face and a pebbly, crepe back
and is available in silk and polyester.
Twill Lining is a medium-weight fabric
suitable for lining jackets and coats, mainly in
men's wear.
Microfiber refers to the size of the thread
used to make this lining fabric. It can be made
from polyester, nylon, rayon, or acetate in many
different weights; has a luxurious feel and drape;
and is very tightly woven, providing some wind
resistance.
Peachskin is apolyester lining that is considered
a microfiber.It drapes well and is wrinkle-resistant.
One-hundred-percent cotton is not slippery,
so it is best suited to lining skirts and vests that
don't need to slip over other garments. A jacket
or coat lined in cotton will not slip over other
garments easily and may stick to other fabrics
and feel uncomfortable.
Heavyweight Lining
Flannel-backed lining is also called Sun Back; it
provides a warm lining in coats, as the flannel
gives extra warmth and adds weight to the coat.
Kasha is another satin-backed flannel lining (52
percent acetate, 48 percent cotton) that is perfect
for lining coats and jackets, as the flannel back
adds body without bulk.
Fur is an expensive lining, but think of how
luxurious a coat would feel with a fur lining! Faux
fur can be used for a lining, or a detachable lining.
Faux fur comes in different thicktlesses: the more
fitted the garment, the shorter the pile should be.
Quilted lining is the warmest of all linings and
is mostly used in cold-weather coats, jackets, and
vests. Quilted lining is padded with polyester bat-
ting that traps air. Most quilted linings are avail-
ablein many fabrications such as acetate, polyester
satin, cotton, and faux suede. Any fabric can be
turned into a quilted lining by sandwiching bat-
ting in between two layers of fabric and topstitch-
ing them together (this is called quilting). Batting
is also available in silk, which is warm, breathable,
and very light in weight.
Stretch Linings
Spandex can be added to either a woven or a knit
lining to add a stt-etchelement. It adds stretch in
the length, the width, or in both directions. It is
important to match the stretch capacity of the
lining to the outer fabric stretch capacity. For
example, swimsuits are made from fabric that
is very stretchy in both directions. Therefore, a
swimsuitliningmust have thesamestretch capac-
ity in both directions as the swimwear fabric.
It does not matter if the lining has more
stretch capacity than the outer knit fabric, but
it must not have less stretch than the outer knit
fabric; if it did, the garment would not function
properly because the lining a~ouldrestrict the
stretch capacity. For example, a lining used in
a knit dress or skirt only needs to stretch in the
width; however, a lining that stretches in both
directions can still be used.
Always choose a woven lining with spandex
in it if your fabric is woven with spandex. We
know it has been said before; match like with
like! There are fabulous web sites that can help
you find a lining with a stretch capacity. Refer
to the "Where to Buy" section of this text.
Stretch Knit Lining
Tricot lining is lightweight, fine, and tightly
woven. Tricot knits can be sheer or opaque and

Linings: Covering the Inner Surface
haveasatin,crepe,orbrushed surface.Thisfabric
isvery strong, comes in avariety of weights,and
is ideal for lining knit garments. It is reasonably
priced and is available in an array of colors.
Soft lingerieknits make fabulouslinings and
feel beautiful next to the skin.
Active wear and swimsuit linings can be
used as linings for knit garments such as skirts
and dresses. Although they stretch in both di-
rections, they can still be used for lining knit
garments that stretch only in the width. These
linings are available in variety of fibers includ-
ing polyester/spandex, 100 percent nylon, and
nylon/spandex. Colors are limited to white,
nude, and black.
Interlock is a knit outer fabric made from
100percent polyester. It does not have a lot of
stretch; there is a little mechanical stretch in
the width but this will not givethe samestretch
capacity as a knit with spandex. Interlock can
be used to line knit garments and also woven
fabrics, since the stretch is minimal. The little
stretch it does have will be comfortable for
movement.
Mesh is a stretch fabric that can also be used
as a lining. Mesh is sheer, so it would make an
excellentliningfor garmentsthat only need that
touch of sheerness.
Selffabric as a lining can be an ideal choice,
as some fabrics can double as the outer fabric
and the lining. This method of lining works
best when the fabric is lightweight. Self-fabric
is often used to line stretch knit tops and tight
knit skirts. Self-fabric as a lining works well on
stylesmade from silk charmeuse, silk georgette,
or crepe de chine. Look to see if any seams or
hems can be eliminated and replaced with a
foldline instead.
Criteria for Choosing a Lining-
Fiber and Function
Choose a static-freelining; no one wants a
lining clingingto their underwear! Rayon
and silk make excellent static-freelinings.
Consider the warmth or coolness of the
lining. Syntheticlinings feelhot and sticky
in the heat; on the other hand, silk breathes.
Kasha lining is brushed on the wrong sideof
the fabricand adds warmth.
Choosethe same type of lining as the outer
fabric:woven fabricneeds a woven lining; a
woven fabric with a stretch capacityneeds
awoven/stretch lining; a knit fabricneeds
a knit lining-a stretch woven lining may
sufficefor someknit garments,but test the
stretch capacityfirst.
Purchase a lining that needs the same care
as the outer garmentfabric. Don't choose a
lining that needs to be dry-cleaned when the
outer fabric is machine washable.
The weight of the lining is important, as
the lining needs to cover the construction
details.A garment in which the shadowsof
seams can be seen through the lining does
not look professional.
The lining color is also important for jackets
and coats, because when they swingopen,
the lining is visible. This is an opportunity to
apply creativityin design.
THE LINING PATTERN
The first, most important aspect of stitching
a lining is to start with the correct lining pat-
terns. If you don't have the correct patterns,
then the stitching techniques in this chapter
will be difficultto follow.The liningpattern af-
fects the fit of the garment. A lining that is too
tight will pull the garmentout of alignment and
will feel uncomfortable; one that is too big will
feel bulky and loose, will wrinkle inside, and
may even hang below the garment-this is not
a good look!
IMPORTANT
Snip all notches and mark all pattern mark-
ings. If the fabric and lining are not ad-
equately marked, stitching the liningwill be
FULLOR PARTIALLINING
Garments can he lined with a full lining or a
partial lining. When a garment has afull lining,
the entire inner surface of the garment is cov-
ered. Figures 16.la, b, and c (jacket only) illus-
trate three garmentsthat have full linings.When
the garment has apartial lining, onlypart of the
garment is lined rather than the entire garment.
Figure 16.1~showsapartial lining on the pleated
skirt. Partial lining can also refer to a garment
part beinglined,for example,apocket oracollar.
This would reduce bulk when stitching fabric
that may be too heavy to permit two garment
parts to be stitchedfrom the samefabric.

442 Professional Sewing Techniqwes for Designers
.......................................................................................................................................................................
PATTERN TIP
GenerolPottern Tips
Each stitching method for linings outlined in
this text will affect how the pattern is made.
Some extra pattern tips will be given for each
lining method. Also refer to your patternmak-
ing books for more specific directions. Here
are some general pattern tips to get started.
* A liningcan beadded into any garment (that
doesn't mean every garment needsa lining).
All lining patterns are constructed from
the original garment patterns. Figure 16.2
illustrates this point. Even though the pat-
tern plotting illustrated is for a jacket, i t is
no different for other garments.
Before making any lining patterns, plot the
facings. The liningpattern is the part of the
garment pattern is left beyond the facing
(see Figure 16.2).
Notice in Figure 16.2 that a pleat has been
added to the back lining. This pleat is
added to jacketlcoat linings for ease; it
opens when the wearer stretches, bends,
and reaches. If a pleat is not added, the
constant movement of the sleeves will
eventually cause them to pull away from
the armholes.
The hem of the finished lining sits ao-
allowance for an open lining, as illustrated
in Figure 16.3a. or finishes slightly above
halfway for a closed lining as illustrated
on the left side of the garment in Figure
16.3b. Open and closed lining methods are
explained later in this chapter.
With a closed lining, a %-inchpleat is
incorporated in the overall length of the
liningfor functional design purposes. The
pleat prevents the lining from beingtoo
tight when stretching, reaching, or bending
while wearinga jacket or coat, preventing
the lining from pulling away from the hem.
The pleat is illustrated in Figure 16.3b.
Transfer allthe same pattern markingsand
grainlines from the outer garment pattern to
the liningpattern. Noticein Figure16.2 that
thearmhokand sleeve cap notchesfrom the
garment patternare transferred to the lining
pattern. Notcheshavealso been placed on
the front facing and liningso these pieces
can be matchedcorrectly duringthe stitching
process. The placementsfor both the back
pleat and the center-back facingare notched,
as these two points are stitched together
when the liningis inserted.
.Differentiate between the lining and the
outer garment oatterns bv markinathe
This makes the lining pattern easily recog-
nizable and helpsprevent the lining pattern
from being picked up and cut accidentally as
a garment pattern. Inthis chapter, the lining
patterns are indicated by diagonalgreen
lines, as seen in Figure16.2.
On skirt and pant linings with a facing or
waistband, the back darts can bestitched
as tucks instead of a traditional dart. This
allows more"ease" acrossthe back hip area.
When lininga garment that is gathered
or pleated around the waistline, eliminate
thegathers and pleats as they add bulk to
the waistline. Take a lookat Figure 16.1a;
notice that the'sos-style dress lining is
not gathered. To reduce bulk, fold out the
fullness from the waistline of the lining
pattern; the lining skirt shape will still be
flared or circular. The lining hemline will
still allow plenty of width so the lining
moves with the naturalflow of the dress.
The measurements for the lining and gar-
ment waistlines should be equal lengths
afterthe garment is gathered. Make sure
the lining pattern fits the hip measurement
and is not too tight-remember the design
must be functional!
- - -
proximately halfway on the garment hem lining pattern using a different-colored pen.
The stitchingmethods for full linings
include:
Closed edge-to-edge lining
Open edge-to-edge lining
Open lining with facing
Closed liningwith facing
Open lining with waistband
Closed lining to control the garment When the lining is open, all lining and gar-
silhouette ment seamsneed to be finished. The lining and
garmenthemsarethenfinishedand stitchedsepa-
The Difference Between Open and rately, as illustrated in Figure 16.3a. The lining
Closed Linings hem can be machine stitchedwith a once-turned
Garments stitched with a full lining can be hem (see Figure 15.20 and 15.22). The garment
stitched with either a closed or an open lining. hem is hand stitched using one of the stitching

1G.2A GARMENT
FRONT
16.26 GARMENT
BACK
NOTCHES
OW F K I *
& U l l l G
HEM WIDTH ON CARMEW AND LINING/fACING
PAITERIS MUSTBE EQUALWIDTHS
LEN6TH
Always use the Sew, Clip, Press method
when stitching linings.
- I
Lzntngs: Covering the Inner Swrface
15.2C SLEEVE
ALL NOTCHES MUST MATCH
ARMHOLE NOTCHES
SLEEVE LINING LENGTH
GARMENT SLEEVE LINING
-SLEEVEWIDTH ON GARMENT & LINING
PATTERNSMUST BE EQUAL WIDTHS
I
The Finished length of the lining must always
be shorter than the garment hemline-it is
never a good took to see a lining hem hang-
ing below the garment hem edge!
I
A lining hem can be machine or hanu
stitched to the garment hem edge. In this chap-
ter, the hand-stitched method is explained be-
- -= cause we believe students have more control
over the lining using this method. The method
OPEN LINING: NOT ATTACHED TO GARMENT
methods illustrated in Figure 15.9. An example of machine stitching the lining to the garment 16.38 CLOSED LINING: ATTACHEOTO GARMENT
of an open lining is seen on the sheathdress and
skirt in Figure 16.9.
To close a lining, the garment hem is first
hand stitched inplace. Acatchstitch, illustrated
in Figure 15.9, is an ideal stitching method to
use, as it encloses the raw hem edge. The lining
hem is most often used in production.
Table 16.1 helps to define the lining method
to choose for each garment type-the lining
method chosen is mainly garment driven.
is then hand stitched to the garment hem, EN,~RALSTITCHING ORDER FOR A LINING
as illustrated in Figure 16.3b. The seams 4lthough many different styles can be lined, the
do not need to be finished unless the fabric general stitching method for most linings is the
frays. The jacket in Figure 16.1~has a closed same. Before the lining is stitched into the gar-
lining. ment, the liningand garment are each stitched
,>.,
, ,
.:,:
.;,
,.i
ii!, , ,>
,':$
hi?
:,.*z
:!$,....,j
.>,'7,
,,:
, ,::
,,..
.. ,C
,.,. ,..

. . . ~ ~
TABLE 16. HOW THE GARMENT MOVES AFFECTS WHETHER IT IS AN
OPEN OR CLOSED LINING
I StitchingMethods
Edgeto-edge
Vest
Cape
LooseJacket
StraplessBodice
Dress
Pants
Skirt
LiningWith Facing
pants
Skirt
Drew
JacketlCoatwith
hightlA-line
hemlines
JacketlCoatwith
flaredl circular
FullLlning C i d Llning Open Lining
( m n . l * l m ~ ~ ~ . . n ~ - * (-.mh.n--m
X
X
X
X
X
separately. Figure 16.4 illustrates a coat lining
fully stitched and ready to be inserted into the
coat. Figure 16.5 isthe coat fully stitched, ready
to be lined. The method for stitching a jacket or
coat liningwill be outlined later in the text.
Serge open or closed seams if the liningis an
open lining. The seams do not need to be serged
when the liningis closed; however, if the lining
fabricfrays, you may wish to serge the seams.
I
When pressingthe lining, checkthe temperature
settingof the iron before placingthe iron directly
1
on the liningfabric. Many linings are heat sensi-
tive. Set the iron at the correct setting for the
liningfabric, and check the temperature before
placing it on the garment.You don't wantthe
liningto melt!
Pressallthe seams as they are stitched, taking
I care to clip, trim, or grade the seams as needed.
Pants
Skirts
I LiningtoControl
GarmentSilhouette
Anygarment
PartialLining
Pant
Skirt
Jacket/Coat
Garment Parts
Collar
Fiounce
Peplum
Pocket
PocketFlap
Waistband
Each stitching method for full linings will be
explained. For each stitching method, the gar-
ments are illustrated turned inside-out to show
the insideview of eachlining.
FULL LINING
Closed Edge-to-Edge Lining
When stitching a closed edge-to-edge lining,
the outer garment fabric and lining look exactly
the same on both sides of the garment except
that one side is lining and the other side is the
garment fabric. Figure 16.6 illustrates a vest,
I / cape, and jacket stitched with edge-to-edge

16.4 FULLY STITCH THE C O A l
L
ITHE PosmoYwHwc FACING IS PosluonWWERT FACING ISI
CLlPPrDOW&CLOSED LlhlNG CLIPPED FOR AN OPEN LINING
Linings: Covering the I n n e r Surface
linings.This method of lining can also be called
"bagged out" lining. Both sides of the garment
must he perfectly aligned together when they
are stitched edge-to-edge. This lining method
does not have any ease built into the lining. For
this reason it is best suited to garments that are
loosein fit and worn openwith an edge-to-edge
closure. This method of lining is also suitable
for smaller garments such as a vest or strapless
bodice that are easily aligned together. It is dif-
16.5 FULLY STITCH THE LINING
TO WIIONCI SIDE
OF FABRIC
PATTERN TIP
The outer garment fabric and the lining are
cut as duplicate shapes using the same pat-
terns. The outer garment fabric and liningare
stitched separately, then they're bothjoined
together. Figure 16.7a shows the liningand
garment as duplicate shapes beingstitched
together. When the garment is completed.
one side of the garment is the outer fabric
and the other side is the lining. Notice the
absence of a facing in this style of lining.
This is a quickand easy lining methodthat is
cost-effective to use in production.
-Figure 16.6a shows an inside view of the vest lining.
Fully underline the frontvest; this is especially
important if buttonholes and buttonsarestitched
as the closure. The backvest can also be under-
CREASE LINE j2,,SaMAILOWANCE lined, or narrow fusible or sew-in tape can be
TO WRONG SIDE OFCOAT applied around the neckline, armholes, and back
hem edge to prevent the seamsfrom stretchingin
the stitching process (see Figure16.7a). Refer to
ficult to achieve perfect alignment using this Figure3.15.
method of lining on complicated styles; lots of Stitch darts, pockets, shoulder seams, or any
seamlines and intricate stitching can pull the other seams to complete the front and back of the-
liningoutof alignmentveryeasily.Thegarments outer garment fabric and the lining-do not stitch
in Figure 16.6 are illustrative of simple designs the side seams closed at this stage (see Figure- .
without intricate stitching that stitch success- 16.7a).
fully with an edge-to-edge closed lining. Press allseams open; slit the darts if there istoo
Whenstitching theoutergarmentfabrictothe much bulk, and press open (see Figure 16.7a).
lining, stitch all the seams with the outer fabric Place the correct sides of the liningand fabric
on top; this helps to keep the lining aligned. necklines together; match the shoulder seams,

16.6A VEST
Professzonal Sewing Techniques for Deszgners
.............................................................
48.68 CAPE
FIGURE 16.6 EDGE-TO.EDGE LININGS
and pin in place. Stitch a %-inch seam allowance
?round the neck and center front; clip curved
seams, and trim or grade any bulky seams (see
Figure 16.7a).
Turn the garment to the correct side and under-
stitch the neckline; turn the seam allowance
toward the liningto understitch (Figure 16.7b).
This next step is important! Itsetsyou up to com-
plete the liningsuccessfully-with the garment
and lining pieces perfectly aligned together-so
don't skip it!Fromthe correct side, smooth the
outer garment fabric overthe lining. Let the lining
hangbeyond the fabric edges if it needs to; the
liningisoften wider due to the understitching. Pin
the fabricand liningtogether around the edges
and trim off any overhanginglining(Figure 16.7~).
Placethe wrong sides of the garment and lining
together; match the shoulder seamsand armhole
notches, and pin in place. Stitch thearmhole
seam usinga %-inch seam allowance; clip the
seam and grade, if bulky (Figure 16.7d).
Turn the garment to the correct side by pulling
the fronts through the shoulders toward the
back.
Understitch the armholes. This is a two-step
process: begin stitchingfrom each underarm.
finishingat the shoulder seams. If the shoulders
are narrow, it may be difficult to understitch
right up to the shoulder seams. Inthat case, just
understitch as far as possible. When completed.
pressthe armholes.
Pin front and back side seams together by placing
the correct sides ofthe outer fabric and lining
together. Stitch the side seams using a%-inch
seam allowance; begin stitching from the fabric

~~~~~~~ ~~~~~~
16.7A STITCH THE OUTER FABRIC AND LINING TO-
GETHER AROUND THE NECKLINE AND CLIP.
NARROWSTIBIUZING TAPE
PREVENTSTHE SEAMSSTRETCHING
BULK REMOVED
FROM DARTS,
INTO ,
SEAM
C INTERFACING
FRONTVEST
DART PRESSED OPEN
end and turn the underarm seams toward the
liningas you stitch. On one side seam (either
side), leave a 6-inch opening in the middle of the
liningseam, as illustrated in Figure 16.7e. The
garment will eventually be turned through this
opening to the correct side.
Fold the side seams over so the underarm is on
the fold and the side seams line up together. Cut
diagonally across the corners ofthe underarm
seam to reduce bulk, and pressthe side seams
open. Figure 16.7e indicates where the bulk
needsto be removed.
16.78 UNDERSTITCH THE NECKLINE SEAM
NECKLINE SEAM
'b'
16.7C ALIGN THE GARMENT AND LINING; TRlM OFF ANY
EXCESS LINING BEYOND THE OUTER FABRIC EDGES.
,TRIM EXCESS UNING
TRlM OFF
EXCESSUNlNG b
TRIM OFF ANY
EXCESS LlWlWG
--TRIM EXCESSLlllNG 7
Place the correct sides of the liningand the outer
fabric hem edges together; match darts and
seamlines together. Stitch a %-inch seam
around the hem edge; clip corners and curved
seams, and grade any bulky seams (see Figure
16.7a).
Turn thevest to the correct side by pullingthe
garment outthrough the side seam opening
(Figure 16.70. Usea point turner to sharpen any
corners. Do not understitch the hemline, as this
is an impossibletask!
Pressthevest hemline; make sure the seamline
is pressed %6 inch back toward the liningso the
liningis not visible from the correct side of the
garment.
Closethe side seam by stitchingan edgestitch to
close the opening. This is illustrated on the left
side of the vest side seam in Figure 16.6a.
Strapless Bodice
The bodice (garment fabric) is fully underlined
and boned on all seams before the lining is in-
serted (see Figure 6.41).It needs to be noted that
the boning can be stitchedto either the garment

16.70 STITCH THE ARMHOLESEAMS.
~ . ~ ..~~~ ~ ~ ~ ~ . ~ - - ~ ~ . ~ ~ ~ ~. ~ . . . . ~. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
16.7E STITCH THE SIDE SEAMS OF THE !
GARMENT AND LINING.
16.7F STITCH THE HEM EDGES OF THE OUTER FABRIC
AND LINING TOGETHER.
LEAVEAN
OPENING 011
ONE SIDE
CENTER
N R N VESTTHROU6H
/slDES- OPE
fabric or lining. Both methods work welkhis Deciding which closure will be used as this
decision is fabric driven. (Underlining adds affects the stitching order.
stability and strength, reduces wrinkling and
transparency, preyents shadowing and seam al- Z&R
Iorances from showing through and stabilizes <dzipperwould be stitched in the center back
looselywoven fabrics. seam first.
The straplessbodice is then fully lined edge- The seams are stitched and boned (Figure 6.41).
to-edge with a closed lining or left open at the While the garment is layingflat, place correct
waist if a skirt is added. Straplessdressesneed a sides ofthe bodice and liningtogether. Pin the
crisp, tightly woven, firm lining. liningto the bodicetop and bottom edges (leave
r
FRONT
PATTERN TIP
Cut the bottom edge of the lining pattern i/s
inch shorter than the outer garment pattern.
Doings0enrunr that the liningwill not hang
below the outer fabrlc and that seamlines
wit1Betucked slightly toward the lininp;so it
is notvisible fmm the face of the garment.
the center back seams open), matchingseamlines
together.
Stitch usinga %-inch seam allowance.
Clip, trim, and grade the seam allowances as
necessary and press.
Handstitch the liningto the zipper tape (Figure
16.10b).
OTHER CLOSURES
A different stitchingorder is followed for buttons/
loops and grommets lacing(see Chapter 17).
Leavean openingon one side of the liningfor
several inches for turning(Figure 16.7~).

Linings: Cowering the Inner Surface
~~.~~~~ ~ .. ~ ~
.Place bodice and liningtogether and stitch .Clip, grade, and trim the seam allowances; press the center front, stitching as far as possible up to
around all edges. all seams. the neckline area-the presser foot will not fit all
Clip, trim, and grade the seam allowances as .Catchstitch the collar or hood seam allowances to the way to the neckline (see Figure16.7b). Under-
necessary. the liningseam allowances (see Figure 16.15b). stitching prevents the liningfrom rollingto the
Turn bodice through opening, press and hand- .The two openings on the front ofthe cape forthe correct side of the garment evenwith excellent
stitch opening closed. hands are machine stitched to the liningfrom the pressingskills.
inside of the cape. Or use a slipstitch or blind- -Stitch the liningto the jacket at the bottom edge
stitch to secure the liningto the garment. Top- of the jacket, understitching the seam allowance
Refer to the stitching Instructionsfor the
fifties-style dress when joininga strapless
bodiceto a skirt (Figures 16.10).
I stitchingaround the openingcan further secure to the liningas far as possible. Clip, grade, and
the liningto the cape.
.Turn the liningseam allowance under on the
openingat the side seam or center back hemline
and slipstitch closed.
is constructed in the same manner as Jacket with Sleeve
the above-described garments: the cape is stitched, The lined edge-to-edge jacket is stitched using
and then the liningis stitched (see Figure 16.6b). the same stitching order as the vest, except of
Leave the pocket openings on the outer fabric course, there is a sleeve. This jacket could also
and lining unstitched. be considered reversible. Refer to Figure 16.6~
~fthe cape has a collar, stitch the collar to the to see an inside view of the jacket lined edge-
cape next. to-edge.
With thecorrect sidestogether, pinand stitch the
liningto the capearoundthe outside edges, leav-
ingan opening neartheside seam or center-back
hemline.
'ATTERNTIP
then rhouldor pads afe used, the lining
N ~ La$!Ij h t adjustment. Measurethe
midthof the shoulder pad andtakethiswidth
Wthe heiaht ofthe shoulder warn. Mala
urethe s l e m u pis alsoadlusted so the
lewe Rtsthe newarmhole meaurrement.
efer (o your patternmakingbookstor more
hLthe front and backof the jacket together at
~oulderseams and side seams.
stitch the sleeves together and insert into the
jacket armscye.
Repeatthe previous steps for the lining, leaving
an opening in one of the side seams to turn the
jacket through as shown in Figure 16.7e.
Place and stitch the shoulder pads (ifthey are
goingto be used) alongthe shoulder seam
(Figure 14.17).
.Sew the liningto the jacket around the center
front and the neckline (see Figure 16.7a).
Understitch the liningto the seam allowances at
trim allseam allowances to reduce bulk.
Turn the jacket out through the side seam open-
ing, with the liningside facing up and the gar-
ment fabric underneath.
-Pinthe liningsleevein place, matchingunderarm
and shoulders/&mstogether; handstitch the lining
/
to the garment atthe shoulder seam and underarm
seamto securethe liningtothegarment.
Hand stitch or machine edgestitch the opening in
the side seam closed.
Slipstitch the liningto the wrists (Figure 16.8).
Givethe jacket a final press.
Open Edge-to-Edge Lining
(Dresses, Skirts, Pants)
This method of using an open edge-to-edge
lining is simple to stitch. Garments stitched
with this lining have the top of the garment
stitched edge-to-edge while the hem of the
lining is shorterinlengthand left to hang freely
or open and is not attachedto the garment hem.
This ensures that the lining will not pull the
garment fabric out of alignment. Edge-to-edge
linings with the hemline open are illustrated in
the two garments in Figure 16.9a and b. When
garments are stitched using this lining method,

. ~ ~ ~ ~ ~ ~ . ~ ~ ~ ~ ~ . . . . . . . . . ~ ~ - ~ ~ . . . . . . . . ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~. . .~
F I G U R E 16.9 U S I N G A P R I N T FABRIC FOR A L l N l N G
16.8 EDGE-TO-EDGE LINING-JACKET
wlTn SLEEVE: SLIPSTITCH T H E SLEEVE L I N I N GTO The following styles have an edge-to-edge
THE OUTER FABRIC SLEEVE EDGE. open lining-do refer tp them as you stitch:
'50s dress with waistline (see Figure 16.la in
the Style I.D.)
Sheathdress (see Figure 16.9a)
Skirt (see Figure 16.9b)
'50s Dress with Waistline
It must be noted that an edge-to-edge lining is
ideal for dresses, and this is the case for the '50s-
style dress in Figure 16.1%where the lining is a
spot print. Notice in thin liningthere is no facing;
stabilizingtapehasbeenusedinstead(Figure3.15).
Even though this lining method is an ideal choice
for adress,the choiceof whichliningto use isulti-
matelythe designer's, as shownin Figure 16.9.
L k at the stitchingorder forthevest in Figure"17 6.7a-f. There is no need to leave an openingon
the sideseam, because the dress has a center
UID111511TCHING backzipper and this givesaccessforturningthe
SLIPSTITCH
liningto the correctside(Figure16.1ob).
CONTINUE WITH THIS STITCHING ORDER
a ridge from any seam joins will not be visible Stitchthe outerfabricskirtsideseamsonly;
on the correct side of the garment (which is the stitch the liningsideseamsandthecenter-back
case when a facing is stitched to a lining). This seam up tothe notched position that marksthe
liningmethod is alsoidealfor lining pants with- position of the zipper length.
out a waistband that have a side or center-back Placethe correctsidesof thewaistlinestogether,
invisible zipper. This method is best suited to matchingthe sideseamstogether. Pin in place,
light- to medium-weight fabrics-pants and and stitch a %-inchseam. Pressthe seam allow-
skirts made in heavyweight fabrics may cause ances up toward the neckline (Figure16.roa).
16.94.SHEATH D R E S S
the lining to roll to the correct side at the waist- Noticethat the skirtseamsarefinished;because 16.98 S K I R T
LINING L I N I N G
line, and this is not a good look! the liningis open, the seamswill be visible. There

16.1OA STITCH THE OUTER FABRIC
BODICE A N 0 SKIRT WAISTLINES TOGETHER
AND INSERT THE ZIPPER.
Linings: Covering the Inner Surface --
16.106 HAND STITCH THE LINING TO THE ZIPPER TAPE.
LININS &GARMENT
InACHED HERE
71115 15WHFRETHE
WAISTLINES OF OUTER
GARMENT FABRIC&
AnACHED
16.10C ANCHOR THE WAISTLINE SEAMS
TOGETHER AT THE SIDE SEAMS.
is no need to finish the bodice seams, as they will
not be visible.
Stitch an invisiblezipper into the center backof
the garment. Take time to matchthe waistline
seams together horizontally; make sure the
waistline seams are still turned up when the
zipper is inserted (Figure 16.iob). Usethe lightest
weight available. (See the'where to Buy" sec-
tion of this book.)
Stitch the bodice and skirt liningtogether around
the waist and press (see Figure 16.1ob).
Foldthe center back liningseam allowanceto the
wrongside; fold the top edgeofthezipper tape (at
the neckline) back in betweentheouter garment
fabric and lining. Ifasoft lingerie zipperwas not
used, this will bedifficult! Pinthe liningedgeto the
zippertape back5inchfrom thestitching; slipstitch
the liningto thezippertape (see Figure16.1ob).
STITCH WAISTLINESTOGETHER
OVER PREVIOUSWAISTLINE STITCHIN> CENTER BI,-I sKIRT
s- OF LI*l"G
BODICE LINING
WAISTLINES
OUTER FABRICCENTER
BACK SKIRT SEAM
Fromthe inside attach both garment and lining
waistline seams together, at the side seams,
and anchor them by machine stitching% inch or
SO on the previous seam stitching. Both seams
must be facing up toward the neckline when they
are stitched together; you will need to twist the
seams around to do this (Figure 16.10~).
Sheath Dress
The sheath dress in Figure 16.9a is designed
with a l o w neckline large enough t o slip over the
head; therefore, a side zipper is applied instead
o f a back zipper. Although this decision would
be mainly fabric driven-cutting a center-
back seam could disrupt the flow o f the fabric

16.11A SHEATH DRESS WITH DARTS, SHOULDER SEAMS,
AND NECKLINE STITCHED AND UNDERSTITCHED.
~~ ~ ~ ~ . . ~ ~ ~ . ~ ~ ~ . ~ . ~~ . . ~ ~ ~ ~ ~ . ~~~~ .~~~~~~~~~~~~~~~~~~
,fRO*T
GARMENT
FABRIC
-BACK
GARMENT
FABRIC
-BACK
LINING.
16.118 STITCHING THE ARMHOLES OF
THE SHEATH DRESS
pattern-the choice o f where t o place the zipper
is ultimately the designer's, depending o n the
fabric used.
itchingorder for the vest, as outlined
in Figure 16.7a, b, and c, earlier. Do not stitch the
armhole. Having completed these steps, Figure
16.118 illustrates how the dress should look (from
the liningside).
wiched shoulder seam that is in between as you
stitch. Clip the curved seam ready for turning
(Figure 16.11b).
Pullthe shoulders sandwiched in between out
from between the other shoulder seams to the
correct side. Repeatthis stitching order to com-
plete stitchingofthe other armhole.
Stitch the right-hand side seam only. Referto
Figure 16.7e when stitchingthe side seam; clip
the corner at the top edge to reduce bulk. Don't
clip the underarm seam where the zipper will be
inserted.
Insertan invisible zipper in the left side seam.
;-I
&
SHOULDERSWMS
fold the liningseam allowance to the wrong side,
..a,,;. and slipstitch the folded edge6 inch back from
.: >-
; ?: <;, ~~
the zipper stitches (Figure 16.1ob).
. .
,.~~
Fromthe correct side, machine stitch-in-the-
?":,
ditch on the side seams to secure the liningin
THESETWO SIDES OFTHE
GARMENTARE SINDWICHED
place (see Figure 12.8). The liningcould also be
IN BETWEEN THE OTHER catchstitched to the garment side seam by hand
SHOULDERS
in between the liningand outer fabric.
PULL ON THESE MI0
SHOULDERS TO TURN
THE GARMENTTO THE Open Lining with Facing (Skirts, Pants,
CORRECTSIDE OFTHE Coats with Flared or Circular Hemlines)
An open lining with a facing is a lining that
CONTINUE WITH THIS STITCHING ORDER
Takethe leftshoulder ofthe outer fabric and lining
andwrap itaroundthe left liningshoulder and
armhole; matchthe shoulderseams and notchesto-
gether.The correct sidesofthe fabric will befacing
together and the rightshoulderwill besandwiched
in betweenthe left sideof the garment.
Pin the armholes in place and stitch a '/,-inch
armhole seam; take care not to catch the sand-
is stitched t o the facing, but left open t o hang
freely o n its o w n at the hem. Figures 16.12a and
b illustrate a skirt and pant witha facingilining.
A center-back zipper has been inserted in the
skirt, and the facingilining is slipstitched t o the
zipper tape (see Figure 16.12a). The pant has a
side zipper, and the facingilining is also hand
stitched t o the zipper tape (see Figure 16.12b).
The goal o f the facing is t o finish the edge
o f the garment and to provide some support t o

16.12A BACK SKIRT
L l N l N G
16.128 FRONT PANTS
L I N I N G
the area to which it is stitched. Always check
by sampling first to see if the seamline that re-
sults fromjoining the facingand lining together
~roducesa visible ridge on the correct side of
the garment. If a ridge does show, then choose
another lining method or apply an underlining,
which may help diffuse any ridges (sample first
to check this out).
PATTERN TIP
Thefacingpattern and llningpattern are
dnFted fromthegamont pattern1thererndn-
drrofthe pattern becomerthelining.Thls I$
illustratedin Figurer6.i. Eventhoushthis
flgureohowsa liningpatternfora jacket, the
pattern plottlnS1%thesame fora skirtor pant.
Justa nmindor-the lenpth ofthellnlngrfter
the llninghem Isturned and stitched needsto
sit halfwayon thegarment hem.Pant and Skirt
The garment has stabilizing tape at the waist-
line (Figure 12.14b); darts and side seams have
been. stitched and pressed, and the zipper in- With the correct sidestogether, pin the facing1
serted before applying the facing. The facing is liningto the garment at thewaistline.
stabilized and sewn together at the side seams .Stitch;clip,trim, or grade the seam as necessary.
(Figure 16.13a). The lining seam allowances are and press.
stitched up to the notches for the zipper opening .Understitch the garment seam allowancesto the
and pressed open (seeFigure 16.13b). Notice the facing; press.
lining hem is stitched. Turn the facing to the inside ofthegarment;
Figures 16.12a and b show a skirt and pant slipstitchthe facinglliningto the zippertape (see
with a facingllining stitched to the waistline. Figure 16.12a).
The facing may be cut from any fabric such as From insidethe garmenthandstitch the facingto
self-fabric, lining fabric, a contrasting color or the darts and seamsto hold it in place.
print; however, domake sureaprint or contrast-
ing color does not shadow to the correct side. FlaredJacket or Coat
It isalwaysbestto havean openliningonany gar-
ments that have wide flared or circular hemlines;
this is usually the only time a jacketlcoat lining
he lining is stitched to the facing,matching is left open at the hem. When this is the case, the
center-frontnotchesand side seams(Figure garment and lining hems are stitched separately,
16.13a). and the lining hem is left to float free while the
Seam allowancesare pressed up and under- garment hem is hand stitched to the garment. If
stitched (Figurei6.yb). the garment is circular, some of the fullness can
.The lining seam allowancesare stitched up to the be folded out of the lining pattern to reduce the
notchesforthe zipper openingand pressed open. bulk that the lining hem width may cause.When

16.13A STITCHING THE FACING TO THE LINING
Closed Lining with Facing- -
MATCHCENTER
Jacketsa n d Coats .
u raonr N O ~ C H E ~ Jackets and coats usually have a closed lining
with a facing. In a closed lining, the lining hem
/
MITE"
.,.. is stitched to the garmenthemline, as illustrated
in Figure 16.3b.Notice the pleat, whichisincor-
porated in the length of the lining for ease (see
Figure 16.4). Refer to "General Pattern Tips,"
earlierin this chapter, for more information.
Lining a jacket may seem like a challenging
STITCH
16 138 STITCHING THE FACING TO THE L I N I N G
AUOWIWCE
the lining is open, make sure the seams and hem
have been finished. The lining hem is stitched
first before the lining is inserted into the gar-
ment. Refer to Chapter 15,Figure 15.10, for de-
tails on how to stitch curved hems. Notice in
Figure 16.3a that the finished lining hem sits
halfway on the garment hem allowance. The
exact position where the hem edge of the lining
joins to the facingis where the facing is clipped
into the seam allowance for !4 inch. The clip is
illustrated on the right side of the coat in Figure
16.5. Look ahead to see how to stitch the facing
to the jacket or coat edge, as shown in Figure
16.15, and how to stitch the lining to the facing
as shown in Figure 16.17.
PATTERN TIP
The jacket or coat lining is always made
from the original pattern, as illustrated in
Figure 16.2.
A jacket lining needs a pleat added beyond
thecenter back for ease of movement. The
pleat is measured 1 inch out beyond the
center back and cut on the fold in a jacket
(Figure 16.2b). For a coat, reduce bulk with
a center-backseam (see Figure 16.5).
- A pleat is also incorporated into the overall
length of the garment and sleeve lining
patterns. This is done by adding an inch to
the finished length of the lining.The pleat is
added to both thegarment and sleeve hems
for ease of movement (see Figure16.2).
- The finished lining hemline should sit
midway on the hem allowance (with the
pleat included). All the sketches of linings
in this chapter illustrate this clearly.
- It is important that the hem widths of
the lining and garment patterns have the
identical measurements, because the two
are joined together and must be equal. If
the lining is cut wider than the garment,
then the liningwill be bunched and bulky;
if i t is tighter, it will pullthe garment out of
alignment. Either way, it could spoil the final
look of the jacket or coat (see Figure 16.2).
stitching project-and it is. However, it is not as
hard as it looks.To stitch a successfuljacket, the
lining pattern must be correct; otherwise, the
liningcannot be inserted correctly nor will it sit
correctly within the jacket or coat.
lucHl.rmrcw.os.l The jacket or coat is completely stitched

......................... >...
16.14A STITCH THE BACK PLEAT I N
THE JACKET LINING.
1/1 . . ,
before the liningis inserted. Figures 16.4and16.5
dearly illustrate the stitching that must be com-
pletedbefore sewingthe liningt o the jacket or the
coat. It is also possible to stitch the liningt o the
facing first and then stitch the facing to the gar-
ment edges. Bothstitchingmethods are valid.
coat stitched, clipped, and pressed.
ready to insert the lining(see Figure 16.4).
Fully stitch the lining; begin by stitchingthe
back pleat on the jacket, as illustrated in Figure
16.14a. The coat pleat is stitched with a center-
back seam to reduce bulk, and this is illustrated
~ ~ . ~ ~ . ..
455Linings: Covering the I n n e r Surface
.............................................. ...... .. .. .....~..
I ,,,,..,......~
16.148 STAYSTITCH THE BACK NECK.
the time in the stitchingorderto stitch the collar
to the neckline.
Stitch the entire facing to the garment neckline,
down the front and across the facing for the
width of hem allowance (Figure 16.15a); stop
stitching% inch back from the facing edge,
leavingthe %-inch seam allowance free-ifthis
is notdone, the lining cannot be successfully
inserted! When stitching the facing, make sure
the shoulder seams and notches are matching
together.
Reducebulk on the hem allowance and grade the
facinglgarment seam, if bulky (Figure 16.15b).
PRESS
Turn the garment back to the correct side so-"-
the facing is sitting behind the front and back
jacket; sharpen the front corners with a point
turner.
Pressthe facing in place. Sometimes, if a heavy-
--'&;I weight fabric isvery bulky, excellent pressingis
not enough to keep the facing from rollingto the
front of the garment. Ifthis isthe case, the facing
in Figure 16.4. Stitch and pressall the seamsand can be understitched by hand usinga catchstitch
insert the sleeves. (Figure 16.15b).
Pressthe pleat in place from the correct side of Clip %inch into the facing, which is the full width
the lining; the folded edge isturned to the right of the seam allowance. The position of the clip
as you look at the pleat (Figure 16.14b). Stays- is% inch below the finished hem edge, as illus-
titch the front and back necklines; the back stay- trated on the coat in Figure 16.16.
stitchingwill hold the pleat in place. Figure 16.4
illustratesthe staystitching around the front and
back necklineswith the seam allowance clipped;
the liningis now readyto insert into the coat.
Press %-inch seam allowances to the wrong
side of the sleeve and lining hem edges (see
Figure 16.4).
At this juncture, ifthe jacket has a collarthis is
I
NOTE
Another alternative is to turn the facing back
about an inch from the facingllining seam
and lightly slipstitch or catchstitch the facing
to the garment; make sure the stitches aren't
visible from the correct side of the garment.

~~~- .. ..... ~ ~~ ... .. ~ ~~~ ~~~~~~~
16.15A JACKET OR COAT: STITCH THE FACING AROUND
THE EDGE, INCLUDING THE HEM.
Placethe correct sides of the liningand facing
edgestogether. Pintbe center-back pleat to the
center-back lining, shoulder seams and notches
COLUR SANDWICHED BEmEEN
G m M m T &LINING,
REDUCE FINISH STITCHING Jz"
BACK FROM FACING EDGE
together, and then pin in betweenthese points.
Stitch directional beginningfrom the center-back
seamsand continuing around the back and down
the front; end with a backstitch at the previously
clipped point on the facing (Figure 16.17). Press
the seam allowance in toward the garment.
Turn the seam allowance on the facing (below
the clip) underthe facingto the wrong side and
invisibly slipstitch it to the hem. Referto the
fully stitched coat on the left side in Figure 16.4
to see how this looks.
Complete stitchingthe jacketlcoat hem by hand
stitchinga hidden slipstitch or catchstitch (see
Figure 16.16).
Insertthe shoulder pads and the sleeve head,
and stitch in place (see Figure 16.16). Referto
Chapter 14. "Sleeve Heads" and "Shoulder
Pads" for additional information.
16.16 HAND STITCH THE GARMENT HEM
AND CLIP THE FACING.
THIS IACKEl
IS NOT
"IDIeU*ED
CATCHSTITCH
2/2" & I/." BELOW HEM
GRADE SEAM
ALLOWANCE
16.758 USING THE CATCHSTITCH AS AN UNDERSTITCH
Hand catch the shoulder seams ofthe garment
and liningtogether; the shoulder pad will be
in between, so stitch through all layers (Figure
16.18).
Machine stitch the garment and liningunderarm
seamstogether (machine stitching is stronger at
this point than hand stitching). To do this, follow
the illustration in Figure 16.10~.Although the
instructions explain how to stitch the waistline

Linings: Covering the Inner Snrface
16.18 HAND CATCH THE SHOULDER SEAMS TOGETHER.
MITtHCEmlllBICY HAID CATCH SHOULDER
FACINGTO LlWlWG PLEIT
./
OF GARMENT8 LINING-"r-"L^
smc. olaEcnowl /
SHOULDER
seamstogether, the same method is used to
stitch the underarm seams together.
Also handstitch the garment and liningshoulder
seams together (Figure 16.18).
To close the lining, pin the liningcrease line%
inch overthe garment hem edge. When this is
done you will be leftwith an excess length of
lining; this excesswill become the pleat. Hand
stitch the liningto the garment hem usinga
slipstitch. This is illustrated on the left side of
the jacket in Figure 16.19.
Turn the liningdown toward the hem edge to
form a pleat, and invisibly slipstitch the pleat to
16.19 SLIPSTITCH THE LINING HEM TO
THE GARMENT HEM.
the facing/liningabove the hem as illustrated
on the right hand of the jacket in Figure 16.19.
Pressthe entire garment and sleeve pleats in
the hem of the liningwith a crease line.
Open Lining with Waistband
Pants and Skirts
An open lining with a waistband is ideal for
skirts and pants with a waistband, as it leaves
the lining to hang freely so it will never pull
the garment out of alignment. Figures 16.20a,
b, and c give an inside view of how the lining
is stitched to the waistband of a pant and skirt.
HANDSTITCHTO
TO HEM PRESS
LINING. DOWN
TOWARD H I M
LINING
PLEAT
CREIZELINE
'TURN PLEAT DOWN
8 HAlDSTlTCHTO FACING
The method of stitching the lining is the same
regardless of whether the waistband is con-
toured or straight.
Fu y st~tchthe outer fabric for the skirt or
C"pants-st~tch' . darts and side seams, and insert
the center-back or fly-front zipper. Press all
seams.
Fully stitch the lining-darts, side seams, center-
backseam up to the notchthat marks the end of
the zipper length-and machine stitch the hem.
Pressall seams.

16.2OA P A N T S L I N I N G WlTH FLY-
FRONT A N D CONTOURED WAISTBAND
16.208 S K I R T L I N I N G 16.20C SKIRT
WITH H E M S P L I T A N D WITH VENT
STRAIGHT WAISTBAND
The lining is now readyto be inserted intothe
skirtor pants.This is done beforethewaistline is
completed.
Machine or handbastethe liningto the garment
at thewaistline seam allowancewith thewrong
sidestogether(Figure16.21).
Continuewith the construction ofthe waistband;
refer to Chapter 9 forfurtherdetails.
Hand stitch the garmenthem, and machinestitch
the lininghem. Referto Chapter15forfurther
details.
Pants with Fly-Front
In production on the lining pattern for the fly-
front pants is adjusted to stitch the lining to the
fly frontfacing;use a %-inchseam allowancefor
easy sewing around the curved facingseam and
to reduce bulk. Stitchthe pants; then:
Cut both lining fronts the same, eliminating
the fly-front facingso the lining will be cut
on center front with a %-inchseam allow-
ance. Notch the zipper opening.
The section of the front lining that needs
to be cut away sothe lining can be stitched
around the facingis illustrated in Figure
16.21. To avoid cutting away the wrong side,
after stitchingthe lining together (leave the
front seam open for the zipper length), place
the lining inside the pants. With the wrong
sides facing, pin the waistlines, match-
ing center backs, notches, and side seams
together.

15.21 STITCHING THE LlNlNG AROUND THE FLY-FRONT
MACHIIT BASTE LINING
GARMENTWAISTLINESTOGETHER --+
459Linings: Cowering the I n n e r Surface
Cut away the fly facing o n the right-hand
side o f the garment (leave a 1/2 inch seam
allowance, looking at the sketch) inFigure
16.21. Ifyour fly-front is stitched left over
right, it w i l l look opposite t o this sketch.
Machine baste the liningt o the waistline o f
the pants.
F r o m the inside, machine the bottom o f the
flyfront extension t o the lining.
Slipstitch the lining t o the center front o n the
left side, which is the seamline for the fly-
front extension.
Onthe right-hand side turn the %-inch seam
allowance t o the wrong side o f the lining
and pinthe folded edge t o the facing (not the
extension). Slipstitch the liningt o the front
facing as illustrated o n the right side o f the
pants inFigure 16.21.
Skirt with Hem Slit
Figure 16.20b illustrates a skirt w i t h a waist-
band w i t h a center-back slit inthe skirt. Notice
the straight silhouette o f the skirt. The slit has
been stitched up f r o m the hem of the skirt t o
enable the customer t o walk. This is functional
design. The skirt inFigure 16.12a has an A-line
silhouette; notice there is n o slit, as there is ad-
equate widthinthe skirt t o walk with ease.
PATTERN TIP
It is imoortant for a skirt with a hem slit or Ivent to have an extra % inch of length added
to the center-back seam of the lining pattern
for ease (Figure 16.22a). This will prevent
the liningfrom beingtoo tight from the end
of the zipper to the top of the slit. This extra
length ensures the backseam will lie flat
when the garment is worn. Add all notches to
help achieve a smooth stitct
-outer skirt: stitch darts, apply in-
terfacing to the back facing, stitch the zipper, and
stitch the back seam to the matchpoints, which are
1/, inch back from the seam edge. Stitch the outer
skirt side seams, and hand stitch the garment hem
as illustrated in Figure 16.22b. Notice the hem has
been clipped and stitched at the back in exactly the
same way it was done for the jacket facing in Figures
16.5 and 16.16.
IMPORTANT
Markingthe matchpoints is important, as the
lininxwill be stitched from this point around I.
the facing,
Stitch the liningshellas illustrated in Figure
16.22~.Noticethe lininghem has also been ma-
chine stitched.
Staystitch the cut-out corner of the lining5s
inch inside the seam allowance, and clip into the
corners (see Figure 16.22~).
Turn the garment and liningtothe wrong sides.
The next section must be stitched in two steps-
the right side, then the left side. Otherwise, it will
be impossible to stitch this section!
Turn the liningaround so the correct side of
the cut-out section and skirt facing are placed
together. Placethe liningmatchpoint directly to
the center-back seam matchpoint of the skirt,
and pin together. Begin stitchingat this point.
Stitch across the top of the facing, as illustrated
in Figure 16.22d. pivot at the corner, and continue
down the side of the facing to the clipped posi-
tion on the facing.
Repeatthis stitching process forthe other side.
Turn the liningto the correct side and machine
baste the waistlines together, ready for stitching
the band to the waistline. Figure 16.21 illustrates
the waistlines machine basted together.
Hand stitchthe skirt liningaround the zipper tape
(see Figure 16.20b).
.Atthe hem, below the clip, turn under the%-inch
seam allowance and stitch.

~~~- ~ ~ ~~~~~
16.22A ADD EASE INTO THE CENTER-
SACK SKIRT PATTERN.
OPEN PATIERN 8
ADO 114" FOR EASE
MATCHPOINT
NOTCH FOR POSITIOI /'
OF FACING ORVENT
Skirt with Vent
Figure 16.20~shows a back view of the lining
stitchedto avent. Anystyleof skirt,pant, ordress
can have a vent (or slit) inserted in the seamline
up from the hem. Notice the lining is stitched
around the vent to the vent facings; the lining
pattern needs to be altered to accommodatethis,
as previously discussed. Also seeFigure 16.22a.
om ete the stitchingforthe skirt and lining in Fig-ia16.22e and f.
-Stitch thevent facing and extension together
i6.228 sTlTcn THE OUTER GARMENT
PIECES TOGETHER
16.22C STITCH THE LINING
from the matchpoint to the extension folded edge
(Figure 16.22f).
Stitch the right-hand side (lookingat the sketch)
of the liningto the slit (orvent facing) (see Figure
16.22d). NOWthe left-hand side ofthe lining
needsto be stitched to the left side of the facing
(see Figure 16.229).
Placethe correct sides of the liningand facing
together.
Pin the matchpoints together; begin stitching
from this point down to the hem and press to
complete the stitchingorder.
At the hem, below the clip, turn under '/,inch
seam allowance and handstitch to hem (Figures
16.22f and g).
Closed Lining to Control the
Garment Silhouette
Usually aliningis stitchedto the garmentfollow-
ing the garment shape so it doesn't pull the gar-
ment out of alignment. The method of stitching
the closed liningto controlthe garmentsilhouette
is an exception to this "lining rule." When the
liningcontrols the garmentsilhouette,it is meant

16.220 STITCH THE LINING TO THE SKIRT FACING.
16.2ZE STITCH THE LINING AND OUTER GARMENT
PIECES TOGETHER: SKIRT WITH VENT-LINING.
16.22F OUTER FABRIC
16.220 STITCH
THE LINING TO
THE CENTER.
BACK SEAM
O F THE SKIRT.
to secure the garment shape and hold it in place.
This method of lining can be applied to a skirt,
dress, jacket, sleeve, collar, or any other garment
part-there are no rules here. The skirt in the
StyleI.D.inFigure 16.lbillustratesaballoonskirt
with the liningcontrollingthe silhouette.
Look ahead to Figure 16.2813 for another
example.
Balloon Hem
The final look is dependenton the fabricweight
and drape. For example, if you stitch a balloon
hem in lightweight linen, it will create an en-
tirely different look than such a hem in light-
weightsilk georgettebecauseof the stiffnessand
the fabricweight. Fit a muslin in a similarfabric
as the outer garment first, so the exact ratio of
fullness to lining can be established.
This style of skirt looks far more attractive
without a back seam. A back seam would only
disrupt the flow of the beautiful hemline. In-
stead,insert a zipper on the side seam.

PATTERN TIP
To achieve this look, the lining is cut
smaller, narrower, and shorter to control
the outer garment silhouette, as illustrated
in Figure 16.23a. Once they are joined
together, the lining holds the hem edge
underneath to the wrong side and forces the
outer fabric to pouf out. A shorter, narrower
lining can also be stitched to a longer, fuller
sleeve: the pattern for this variation is
illustrated in Figure 16.23b.
16.23A CUT THE LINING SMALLER, SHORTER. AND
NARROWER THAN THE OUTER SKIRT FABRIC.
16.236 OUTER SLEEVE FABRIC
OUTER SKIRT FABRIC
isiblezipper in the side seam. PARTIAL LINING
loin the side seams of the garment together, and The decisionto partially line a garmentdepends
gather the waist and hem edges (Figure 16.24a). on the style and weight of the fabric. A par-
* loin the liningside seamstogether; on the zipper tial lining keeps the garment lightweight, still
side of the lining, leavethe zipper length open covers the construction details of the lined area
so it can be hand stitched to thezippertape at of the garment, and helps to keep specificareas
the end. Pressallthe seams open. Now both the of the garment, such as at the knees of pants,
liningand garment fabrics should be in-the-
round (Figure 16.24a and b).
Placethe correct sides of the garment and lining
hem edges together. Stitch a ah-inch seam in-
the-round around the hem edge (Figure 16.24~);
trim back to %inch to reduce bulk. Turn the seam
allowance up toward the liningand understitch
(Figure 16.24~).
Handbaste boththe garment and liningwaistlines
together, readyto stitch the waistband; matchthe
garment and liningside seams perfectlytogether.
as this is part of aligningany garment.
Refer to Chapter 9 for instructions on stitching
the waistband.
The liningisthen slipstitched to thezippertape.
as illustrated in Figure 16.1ob.
Sleeves
On the sleeves,stitch clear %-inchelastic in
the seam allowancearound the sleeve seam-
line soit clingsto the arm when the garment
is worn.
Wrap the elasticaround the arm so it fits
snuggly. Don't add any extra length.
Stretchthe elastic as you stitch it into the
seamallowance,using a three-stitch zigzag
stitch. (Referto Chapter 6 and Figure 6.32.)
from stretching out. Any garment can be par-
tially lined-skirts with pleats, jacket, pants, or
a dress.
One example of a garment that is suitable
for partial lining is a pleated skirt, illustrated
in Figure 16.1~.Figure 16.25a is the same skirt
from the inside, showing the partial lining.
From the outside of the garment you would
neverknow it was partially lined! Pants can also
be stitched with a partial lining down to shorts
level as illustrated in Figure 16.25b. The reason
for the partial lining in pants will be explained
further on in the text.
Stitching a partial lining is not necessarily
lesswork than stitching a full lining, as you can
seefrom the coat in Figures 16.25~and d. Every
seam in this coat has been finishedwith a Hong
Kong finish. A coat such asthis can be an artis-
tic creationby using contrasting or complemen-
NOTE
I Clear elastic can need to be stitched in the
same way to a balloon hemline if the garment
is made from knit fabric. The clear elastic
stabilizes the hemline and prevents it from
stretching.

HEM EDGE '
tary colors for the lining and the bias binding.
The inside of the coat is as beautiful as the out-
side-the coat looks good enough to be worn
inside out!
The garment is constructed and the area of
partial lining determined. The lining pieces
are plotted from the garment pattern, and
assembled. The lower edges of the partial lining
pieces are finished. With some fabrics, a Hong
Kongfinish or sergingmay showon the front of
the garment,causingaridgewhen pressed, sobe
sure to samplethe finishfirst.
HEM EDGE /
18.24C STITCH THE H E M EDGES TOGETHER
H E M EDGES
STOTCTCIILOTOGETHER
seam).The edges of the facingsand the armhole
seamarefinishedwith aHong Kongfinish. Oc-
casionally, the sleeves are also lined. Figures
16.25~and d showhow apartial lining looks on
the inside of a coat on the front and back.
After the partial lining is stitched to the
jacketkoat, the back lining is left open. The
front facing can be handstitched or machine
stitched (in-the-ditch of the Hong Kong finish)
to the garment seamline approximately every
5 inches. Notice in Figure 16.25d that these
stitches are indicated using a heavier short line.
If there is no front seamline,then turn back the
facing and lightly catchstitch the facing to the
garment;check the face of the garment, as these
stitchesmust not be visible!
Pleated Skirt
A partial lining in a pleated skirt is sometimes
calledastavbecauseithelpsto stabilizetheareas
Open Partial Lining of the pleats that have been trimmed to reduce
An openpartialliningisapartial liningthat isleft partial lininghas a facing,as in the coat in Figure bulk while also covering the seams. It ends just
open around the lining edges rather than being 16.25d, the facing needs to be secured every so below the zipper area or approximately at the
stitched to the garment to close the lining. If the often to the garment to prevent it from flapping hips. If darts are hidden in the pleats, they are

NOTE
A pleated skirt could also be lined with a
flared silhouette skirt lining. The hem width
of the lining is important, as it must be wide
enough to allow the pleatsto open when
walking.
transferred to the lining and stitched. Secure
the partial lining by handstitching it at the side
seams. The partial lining allows the skirt pleats
to flip open when walking without being re-
stricted by a lining (see Figure 16.25a).
Pant
A partial lining in pants is used to prevent "bag-
gingout" inthekneeorseatareaof thepants.The
pants pattern is used to draft the lining pieces,
but their length can range from shorts length to
approximately5inchesbelow the knee. A partial
lining in warm-weather clothing makes the gar-
ment more breathable and prevents shadowing
through to the front undergarments. A neutral,
skin-toned lining can be a good option, as it will
not shadowfrom the faceof the fabric.
Dress
A partial liningcan also be a good optionwhen a
differencein sheernessand opaquenessiswanted
in the design.Look ahead at Figure 16.28~.
Closed Partial Lining
Garment Parts
A closedpartialliningcanbe used ononesideof a
garment sectioninstead of two layers of the outer
fabric. Examples of garment parts where this
PATTERN TIP
All partial llningpiecesa ndrafted from
the garment pattern. When each garment
section is stitched and preseed, no llnlng
should show from the correct side; It should
be pulled slightly underneaththe garment
piece. This cannot happenunlass the pat-
tarns are madecorrectly. Ifthe patterns
are not correctly made, the linlng will show
from the correct side 09 the fabric and thls
does not classify as quallty rtitchint Refer
to FljUre ai.4 to see how%. lnch is trimmed
off the pattern. To dirtlnjulsh between
the patterns, let's labelthe patterns upper
pocketlunder pocket, upper hood/under
hood, and SO on. The under patterns need
trimmingandare cut from lining onlyi Me
upper patterns are cut from thegffrment
fabric onlv. So makeaurethe matternsa n
correctly labeled; then the ltitchingwill be
correct. This is the same pattern principle
vides a design detail; lining flounces provides a
cleanfinishrather than a rolled edge.
the front ofthe garment.
Pockets
Pockets have been extensivelycovered in Chap-
ter 5. The goal of any pocket applied to the sur-
face of a garment is to be as flat as possible (as
well as durable, if it is a functional pocket). For
comprehensivedetailsrefer to Chapter 5.
test-weight, all-biasfusible interfac-
as dis~ussedin Chapter ii.
r A 1 ICDTll Ill-
TO-------Imakethe upperflap,add'X.inchtothesides
lining method could be used are pockets, pocket
flaps, collars, flounce, peplum, or waistband.
When twopieces offabricarestitchedtogetherto
form a pocket, pocket flap, waistband, or collar,
the garment part can look bulky because of the
fabricweight used. Even though the seam may be
clipped and graded, the section can look bulky
after stitching, and this detracts from the beauty
of the garment. To reduce bulk, a lighter-weight
fabric such as a lining can be stitched to the un-
derside of the garment piece. There are other rea-
sonsforstitchingaliningtogarmentparts, among
them: a lining stitched to pockets reinforces the
pocket and adds interest with a contrastingcolor
liningunder pocket flaps; a liningin collarspro-
I
andy6 lnchextrawidthalongthe bottomedge
of theflnp Itisi m p m n tto notethnt when
maklngffnyunder pattern, theseambeing
stitchedtothegarment(collar necklineor 1flnp straight edle) mustbethesamekngth
for bothupperand underpnttorr~s:starting
from this point, the underpatternisthen
madesltghtly smaller. Whenthetwo pieces
arestitchedmjether and clipped, turned, and
pmssod, the llningunduflnp wilt betucked
unerthe upperflap endthe seamtinewillnot
bevisiblefrom the correctsideof thegarment.
This is exactly the same patternmakin%
method usedto make upperand under col-
lars, which areillustrated in Figuressi.4b-d.
The method isthe same regardless d the
flap shape-round, polnted, or square.

Lintngs: Coverrng the Inner Surface
16.25A PLEATED SKIRT WlTH
PARTIAL YOKE LINING
16.25C COAT BACK WlTH
PARTIAL LINING
15.250 COAT FRONT WlTH
PARTIAL LINING
16.258 PANTS WlTH
PARTIAL LINING

. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . . ~ .. ~ ~ . ~ ~ ~ ~ ~ ~ . ~ ~. ~ ~~~ ~
type of interfacing beingused on the rest of the
garment.
Cut the lininglayerwith the lengthwise grain
goingacross the flap.
When stitching, keep the edges aligned even
though the under flap is slightly smaller. Stitch
with the lininglayer on top; handbaste before
stitching, if necessary.
Clip, trim, and gradethe seam beforeturning; press.
Topstitch the flap if desired, before continuing
with construction ofthe garment.
Collars
When constructing coats and jackets, the under
collar is often cut f r o m a different fabric such as
the liningfabric t o reduce bulk.The under collar-
can be cut f r o m a contrasting fabric as a design
detail, withthe ultimate goal o f achievinga bulk--
free collar. The under collars for tailored men's
jackets and coats are made f r o m wool felt, which
can be purchased precut in several basic colors.
For extensive stitching information o n collars,
refer t o Chapter 11.
Inside Hoods
Lining the h o o d o f any garment should also re-
flect the functional aspect o f the hood-lining
for warmth, such as a hooded wool jacket; for
luxury, such as the h o o d o f an evening cape; o r
t o cover the wrong side o f the fabric.
/>hen preparingto linea hoodedgarment, the lining
Wand garment hoods are constructed separately, and
both are pressed. The two hoods are then stitched
together along the outer edges, and understitched
to keep the lining from.rolling to The front of the
hooded garment. Sample this first; the understitch-
ingwillshowwhenthe hood flips overon the backof
the garment, and this may not look very nice. If you
delete the understitching, make sure the seamline
is well-pressed. Ifthe hood has a center-back seam,
lightly slipstitch the lining to the outer hood seam-
line from inside the hood.
Some design tips for you:
Garments such as a duffle coat, traditionally
madefrom wool, have hoods lined with plaid
flannel for warmth and softness.
Liningan elegant evening cape madeof velvet
orwoolwith a luxurious fabric such as silk
charmeuse allows the cape to drape easily over
the garments worn underneath.
Afunctional hood in a garment such asan
active-wear fleece garment hasthe hem of the
hood turned back and topstitched as a casingfor
the drawstring. Stabilize and stitch the button-
PATTERN TIP
Cut the outer fabric hood slightly larger than
the hood lining; this is thesame pattern
principle outlined previously. This ensures
that the liningflts comfortably inside the
outer fabric hood and does not hangover the
seam edge. When two pleces of fabrlc are
placed together and rolbd over, the under
side needsto becut sllshtly smaller so it fits
comfortably inside the outer shape after they
hole openings for the drawstring before turning
Packthe casing(Figure 9.12b). Linethe hood
with a wind-resistant lining(such as microfiber)
designed for active wear, and plot the lining pat.
tern piece without the turned-back hemlcasing
allowance.
Peplum
A peplum is a separate, shaped section below
the waistline that is joined t o the bodice with
a seam (see Figure 16.26a). Inmany respects, a
peplum is a l o t like a collar, o n l y joined at the
waist rather than the neckline. The peplum is
a style that comes and goes infashion, and the
shape and design o f this detail present oppor-
tunityfor creative pleating, tucking, gathering,
and more. T h e peplum can be lined with self-
fabric if the fabric is the appropriate weight,
o r a contrasting lining fabric can be used-re-
member, the choice o f liningis always a fabric-
driven decision.
T 'M d lining are both stitched separately.
and the two are joined together before stitching the
peplum to the waistline seam.
Stitch the peplum seams; press. Stitch the
lining seams; press (Figure 16.26b).
Staystitch both liningand outer fabric peplums
separately around the waistline to prevent the
upper edge from stretchingwhile beingstitched
to the jacket (Figure 16.26b).
Placethe correct sides of the peplum and lining
together; pin and stitch the outer edges. Clip and
rim the seam allowance (Figure 16.26b). Under-

.................................... ~ ..................-~ - . ~ ~ ~ ~ ~ ~....~. ..............................................
PATTERN TIP
Makeupper and under peplum patternsfob
lowingthe same pattern principle rsfor the
upper end under collarpattern* in Chapter ti:
refer to Flgure n.4.
stitch the seam allowances to the peplum lining
and press (Figure 16.26~).
Turn the peplum to the correct side and press and
handbaste waistlines together (Figure 16.22~).
Pinthe peplum to the jacket, liningup the
notches and the side seams together-keep the
jacket liningfree, and machine stitch the waist-
lines together (Figure 16.26d).
16.26A JACKET WITH A PEPLUM AND A FLOUNCE
.Clip and trim the seam allowance. Pressthe
seam allowances up into the garment (see Figure
16.26d).
Slipstitch the pressed liningedge over the FLOUNCE
peplum at the waistline seam (see Figure 16.26d).
16.26C UNDERSTITCHING
Flounce
The jacket in Figure 16.26a has a lined flounce, HANDBASE
which adds quality to the garment. Attend
to the pattern by preparing upper and under
flounce patterns. The upper flounce pattern
needs to be cut 1/16 inch narrower than the upper
flouncepattern; this ensures that when stitched,
clipped, turned, and pressed, the seamlinewill r
roll slightlyto the under flounce and not be vis-
iblefrom the correct sideof the fabric.
Handbaste the inner flounce circles together.
Stitchto the wrist using %-inchseam
..... D SLIPSTITCHING
SUPSTITCH A)
allowance.

.. . .~ ~~ ~~~~ ~ ~ ~~~ ~ ~~ ~ . . ~.~ ~. ~. .. .~ .
The sleevelining is slipstitchedto the wrist
seamlineas shown in Figure 16.26d.
Waistband
A shapedor atwo-piecewaistband is oftenlined
on the back side of the band to reduce bulk. A
lined waistband also adds comfort if the fabric
is scratchy, such as wool or beaded fabric, or if
fabric is in short supply. The under waistband
can be lined with lining fabric and the edge fin-
ishedwith aHong Kong finishto further reduce
bulk, as shown in Figure 9.7~.Refer to the con-
structionof the waistband in Chapter 9.
FINAL PRESSING OF LINED
GARMENTS
If you have been followingthe stitchingmethod
of SEW, CLIP, PRESS all along, minimal
pressing will need to be done at the end of the
garmentconstruction. If you havenot, thepress-
ing will be much more difficult, and impossible
to do in certain areas of the garment without
taking it apart.
Even with our many years of experience of
sewing and pressing, we take the final coat or
jacket to our dry cleaners and have them give it
a good press. For a nominal cost, the final gar-
ment has a well-set shape that is retained over
many times of wear.
LINING TRICKY FABRICS
Sheer Fabric
Do choose a lining for sheerscarefully,as the
color of the lining will shadow and may be vis-
ible from the correct side of the bbric. Choose
a lining for its weight and fabric surface;a
shiny or mat surfacewill be evident through
the sheerness.
Do considerusing two layers of self-fabric as
the lining; this ensures the lining will be the
perfect color match to the garment.
Do considercutting the lining a diff

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