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Home , Collar (clothing), Cut (clothing), Dart (sewing), Hemline, Lapel, Lining (sewing)

3-~"'81 8-1355 ~.(O~

All About ... • Selection • Fabric Selection • Contemporary Techniques • Fusible • Finishing Tips CONTENTS

Page Pattern Selection...... 3 Fabric Selection ...... 3 ...... 3 Pressing Points ...... 4 Inner Fabrics...... 4 Underlining...... 4 ...... 4 ...... 5 Preparation ...... 5 Fabric...... 5 Pattern Fit...... 5 Cutting and Marking...... 5 Comparison of Custom and Contemporary Tailoring Techniques...... 5 Front and Back Interfacing...... 5 Fusible Method-Front...... 5 onfusible Method-Back Reinforcement...... 6 One-Piece Method...... 6 Two-Piece Method ...... 6 Applying Back Reinforcement ...... 7 and Roll Line ...... 7 Marking the Roll Line , 8 Taping the Roll Line ...... 8 Steam Pressing...... 8 Fusible Method of Padding Lapel...... 8 Machine Method of Padding Lapel...... 8 Collars ...... 9 Fusible Method of Shaping Undercollar...... 10 Determining and Marking the Roll Line ...... 11 Taping Undercollar Roll Line...... 11 Machine Method of Shaping Undercollar...... 11 Attaching Collar...... 12 and Treatments...... 13 Sleeve Heads...... 14 ...... 15 16 Tailored Hems ...... 16 Fusible Interfacing ...... 16 Sew-in Interfacing...... 16 Quick Methods...... 17 Linings 17 Making a Pattern...... 17 Assembling the Lining...... 18 For a Center Back Vent...... 18 Finishing Tips ...... 18 Comparison Chart of Custom and Contemporary Tailoring Techniques...... 19 References ...... 20 TAILORING FOR TODAY

Alma Fonseca*

Almost too busy to sew, much less Fabric Selection Other fabrics such as synthetic ? Don't worry anymore- suedes and pile fahrics, including vel- In choosing a fabric, splurge today's tailoring techniques elimi- vet, velveteen and corduroy, make a little and select a favorite color, a nate all the handwork that is so time- nice or elegant , col- luxurious texture or a beautiful print. consuming. Fusing and machine lars, cuffs and . Because of the Refer to the back of the pattern en- techniques make tailoring fast and pile, these fabrics will require special velope for specific fabric recommen- easy, so you can create those classic techniques. dations. and versatile that you love. apped fabrics and plaids, stripes Look for good quality fabric, tightly Some fabrics and situations call for or other designs that need to be constructed, either woven or knitted, traditional tailoring techniques. Be- matched require more time for - in a medium weight. When consider- cause many commercial ting and pressing. your budget ing heavy weights, keep in mind that manuals covering those traditional by coordinating colors and textures several thicknesses will be added techniques are available, this pub- with the rest of your wardrobe. when the garment is constructed. lication emphasizes contemporary or wool blends are recom- techniques only and should supple- mended because of their ability to Notions ment your pattern guidesheets. hold a molded shape as well as otions and tools are important Contemporary tailoring is faster for their durability, resiliency and supplies for tailoring. You will need than custom tailoring because most warmth. the basics, such as quality , of the hand sewing is eliminated by Popular woolens include melton, proper size needles, very sharp scis- substituting fusible interfacings and crepe, camel cloth, gabardine, , techniques. sors and plenty of . tape, double knits and flannel. , de- or V4 inch (6 mm) nim, pique, seersucker, heavier cot- wide, or tape, will pre- Pattern Selection tons and raw tailor nicely into vent stretching along shoulder seams, For a first-time tailoring project, or warm weather and jack- roll lines and edges and preserve the choose a pattern with simple lines ets. tailored shape for the life of the gar- and few design details. Since a jack- ment. et, or is usually a long-term Select suitable for the fash- investment, consider a classic style ion. For example, sporty but- which can be worn several years. If shoulder shopes tons look great on corduroy. Jeweled you need guidance selecting the cor- rolled buttons are attractive on lush, solid rect pattern size, refer to the Exten- collnr colored velvets. Plain sew-through or sion publication, Pattern Selection, buttons blend to any design and (B-1440). are the most versatile. Plain sew- The following techniques are illus- through buttons can be sewn on by trated using a classic single-breasted machine quicker than sewing on with a notched collar and shank buttons by hand. lapel, set-in sleeves, patch pockets Shoulder pads and sleeve heads are and lining (Figure 1). If your pat- notions you may either buy or make tern has raglan, dolman or yourself. Shoulder pads that you make sleeves or a collar, the same give support and shaping needed to

tailoring principles can be adapted. fmible even out the shoulder line. They are Features such as vents can be interfacing explained more thoroughly, with in-

eliminated to speed tailoring. interfaced structions for making them, in the section, "Sleeves and Sleeve Treat- ments," on page 13. *Extension clothing specialist, The Texas A&M University System. Figure 1. Classic single-breasted jacket.

3 Marking aids such as tracing you will need, such as fabric for a Always be sure that the garment wheels, , tailor's chalk lining that was not called for on the fabric can withstand the steam and and water erasable pens or pencils can pattern or fabric for making your pressure required for fusing. speed marking of hems, buttonholes, shoulder pads and sleeve heads. Interfacings are available in several darts and roll lines. Sewing aids, such Shoulder pads and sleeve heads are types and weights-the wovens (fus- as basting tape, glue sticks and fusible made of polyester fleece fabric. ible hair canvas and fusible interfacing webbing, eliminate the need for - without hair), nonwovens and knits. ning or basting. Underlining Several different weights are often ap- Organize your sewing notions and Underlining provides shape, body propriate in one garment. For exam- tools so they are readily accessible, and support. Choose underlining fab- ple, a lighter weight interfacing can and follow recommended package in- ric by the amount of body needed to be fused to lapels and pockets. structions for each aid. For more in- create the look you want from your Always follow manufacturer's direc- formation in selecting sewing notions fashion fabric. Underlining will make tions for fusing because directions dif- and tools, see Extension publication, light colored fabrics opaque and will fer from product to product. Sewing Tools, (B-1265). allow you to use speed techniques The amount of interfacing you will (like fusing) on fabrics that otherwise need to buy may vary according to would not accept them. use. For instance, if you want more Pressing Points To underline, machine or structure in the front of your jacket, Careful pressing is essential for ev- glue a nonfusible underlining close to you will need more interfacing and/or ery sewing project, especially in the edge of the fashion fabric in the a heavier weight interfacing. Also, in tailoring. The combination of inner seam allowances. A lightweight fus- the back of your garment, you may shaping and pressing actually shapes ible interfacing can also be used as an want to use more interfacing than the the tailored garment. The pressing underlining. Underline all pattern pattern calls for. equipment you need may include: a pieces. If the garment fabric is a dark A nonfusible interfacing, such as steam iron; a press cloth; a tailor's color or tightly woven, omit underlin- permanent press muslin or broad- ham for shaping curved seams, darts, ing in the uppercollar, undercollar cloth, is recommended to reinforce collars and lapels; and a sleeve board and facings to reduce bulk in these the back of the garment. You may not for pressing sleeve seams and for areas. want to use fusible interfacing for back shrinking fullness in sleeve . A reinforcement because it may show a point presser used for pressing open Interfacing distinct line on the right side of the hard-to-reach seams, such as in lapels, Select interfacing fabric with care. fashion fabric. See the section, Front and a pounding block or clapper for In tailoring, the interfacing gives the and Back Interfacing, on page 5 to making sharp creases or flattening garment its shape. InterfaCing also determine the amount of interfacing faced edges are two additional pieces prevents stretching and provides rein- needed. of pressing equipment that you may forcement. You may want to interface the hem need. When selecting an interfacing, con- of sleeves, the hem of your jacket, For pressing techniques regarding sider the following: pockets and facings in addition to the fusibles, read manufacturer's direc- front, back and collars for extra sup- • Purpose-What is the overall look port and a more tailored look. tions carefully. To succeed with fus- or shape desired? A heavier weight \Vhen using fusible interfacing for ibles, use the timing, amount of heat interfacing creates a crisp look while a shaping, more interfacing fabric may and type of moisture that each manu- lighter weight one gives a softer look. facturer recommends for its particular be needed for additional layers. fusible interfacing. For pile fabrics, • Weight of the garment fabric- Before fusing interfacing to gar- use a needleboard or a terry cloth InterfaCing should be the same weight ment pieces, corners ofthe inter- towel under the fabric to prevent or lighter than the garment fabric ex- diagonally V8 to 1/4 inch (3 mm to crushing the pile. For more informa- cept if a special effect is desired. 6 mm) across seamlines to eliminate tion on pressing, refer to the Exten- When selecting nonfusible interfac- bulk in corners. To reduce bulk, trim sion publication, Pressing Points, (B- ing, feel a layer of the interfacing and seam allowances of fusible interfacing 1267). garment fabric together. The interfac- by V2 inch (1.3 cm) before fusing, ex- ing should enhance the fabric's char- cept on the front section (refer to page acteristics, not overpower it. 5 for front interfacing instructions). Inner Fabrics • Compatibility with fabric-It is not This allows 1/8 inch (3 mm) to be caught Buy inner fabrics at the same time possible to determine the finished in the seams for security. that you buy your fashion fabric. look of the garment by holding and Check fabric compatibility by draping feeling the fusible interfacing and gar- the fashion and inner fabrics together ment fabric together. Many fusible General Fusing Instructions and feeling the overall effect of interfacings become stiffer after they weights and textures. Also, make sure are applied. Always test fusible inter- Read and follow the manufacturer's care requirements for all fabrics are facing for compatibility by fusing it on instructions first. Ifyou don't have the compatible. Buy any extra yardage to a sample of your fabric. manufacturer's instructions, then:

4 1. Preheat iron, set on "WOOL" set- care methods. To preshrink nonwash- Cut fusible interfacings on the ting. able , have them drycleaned or indicated by pattern pieces. Test fus- 2. Fuse for 10 to 15 seconds per iron steam press them using a very damp ible interfacings by fusing on a sample surface without sliding the iron. press cloth. To preshrink inner fab- of your garment fabric. If a ridge at rics, use the appropriate care meth- outer edges of interfacing shows on 3. Use firm, two-handed pressure. ods. Preshrink fusible intelfacings by the right side, pink edges before fus- 4. Use a press cloth. (Use a damp dipping them in lukewarm water for ing interfacing to the garment. cloth if your steam iron does not steam 10 minutes and dripping dry. Never Marking techniques depend on the well or if you do not have a steam dry them in the dryer. fabric. If chalk or pen does not show iron. ) Soak the entire card of or on nonfusible interfacing or if use of a seam tape in hot water and bend the damages the fabric, 5. Fuse any fabric a minimum of 10 card to let the tape shrink as it dries, mark it with tailor tacking. Do not seconds. More fusing time may be or dry it with a hot iron. fuse over tailor's tacks. you are con- needed for heavier fabrics. If fident ofthe fit, you can snip 1/8 inch (3 6. Turn fabric over and repeat steps Pattern Fit mm) into fabric at notches for a quick one through four. marking method. Before laying out your pattern, If marking fusibles with water- 7. Let fabric dry and cool thoroughly check for fit. alterations are needed, If erasable products, mark after fusing before continuing construction. refer to the Extension pattern altera- because steam will usually erase the Even though fusible interfacing is tion series, publication numbers markings. When marking fusibles highly recommended, some fusibles L-1685 through L-1703. unsure of If with pencils that are not water- do not adhere well to some fabrics. In the fit, make a trial garment out of erasable, mark on the right side of the this publication, instructions for inexpensive, similar weight fabric us- interfacing before fusing it to the fash- machine methods refer to nonfusible ing the front, bodice back and ion fabric. interfacings. any side pieces and sleeves. Carefully Always test a sample with the mak- Commercial tailoring kits are con- mark the center front line to check for ing method selected to make sure it venient, but often cost more than sup- accurate fit. Cut I-inch (2.5 cm) seam will not damage your garment fabric. plies purchased individually. These allowances at shoulders, armholes and Be sure that all markings and notches kits include some or all of the follow- sides of trial garment fabric to allow are clearly and precisely transferred ing: sized, precut and layered inter- for possible alterations. Machine for in lining up fabric layers, as facing; shoulder pads and sleeve baste the seams together. Pin hems well as accurate stitching, clipping heads; a felt undercollar; and lining on jacket edge and sleeves. and trimming. material. Tryon the trial garment over a Methods discussed in this pub- garment similar to what you plan to lication will deal primarily with inter- wear with the jacket. Pin the jacket Comparison of Custom and facings and linings. Interlinings and closed at markings. Do all Contemporary Tailoring underlinings require traditional tech- fitting from the right side of the gar- Techniques niques and are thoroughly explained ment. Do all fitting with shoulder in commercial tailoring manuals. pads if the garment is to have them. Read the pattern guidesheet care- For more complete information on Transfer all alterations to your pat- fully, referring to the chart on page 19 selecting inner fabrics, refer to the tern. which compares tailoring techniques. Extension publication, Inner Fabrics: Decide which procedures to follow, The Inside Story, (B-1359). Cutting and Marking marking the guidesheet when you will follow techniques in this publication. Lining Instructions for cutting and making Often, a combination of hand, ma- The purpose of a lining is to finish a lining are on pages 17 through 18. chine and fusible methods is used in the inside of a garment. A tailored Check the following items before cut- one garment. The methods you coat or jacket is usually lined. The ting fashion fabric: choose will depend on your skills, lining is constructed separately and • Uppercollar and front facing must time, fabric and garment design. then attached to the garment. be larger than undercollar and lapel Select a smooth fabric, lightweight by at least VB inch (3 mm). The amount Front and Back Interfacing enough to not interfere with the hang depends on the fabric. of the garment and opaque enough so • The undercollar should be cut on Fusible Method-Front that the inner construction of the gar- the bias in two pieces and have a ment will not show through. Cut fusible interfacing for the en- center back seam. tire front pattern piece and incblde Preparation • Ease on the sleeve should be 1 seam allowances around front, neck to 2V4 inches (2.5 cm to 6 mm) larger and shoulder edges if you plan to tape Fabric than the garment armhole along the edges. Trim seam allowances after Preshrink washable fabrics accord- seamline, depending on the fabric tape is applied and before fusing. ing to manufacturer's recommended construction. Mark all darts, seams and roll lines.

5 To reduce bulk in the area, cut For princess styles, fuse the entire 4. Draw a curved line joining the the interfacing out of the dart area. front and side front sections, trim- center back point and the side point. Fuse interfacing to fashion fabric be- ming interfacing Y2 inch (1.3 cm) from 5. Trace this upper section onto tis- fore constructing garment dart (Fig- seam allowances before fusing. Side sue paper, keeping the original gar- ure 2). Cut edges serve as guides for sections can also be interfaced under ment grain line. stitching darts. If darts are narrow, it the arm with 2-to 3-inch (5 cm to 7.5 is not necessary to cut out darts in the cm) wide interfacing pieces. Two-Piece Method (Figure 5). interfacing. Nonfusible Method- (This method supports knits while For extra stability, edges, such as retaining their stretch.) , front edge, shoulder line Back Reinforcement 1. Mark a point 1 inch (2.5 cm) be- and armhole, may be taped with V4- Nonfusible interfacing is machine yond the center back seamline or fold inch (6 mm) wide twill tape or seam basted to the garment sections for line. tape. Sew the tape along the garment reinforcement and support across the side of the upper and outer seam lines shoulders. If a pattern piece for back 2. Mark a point 2 to 3 inches (5 to 7.5 using a wide , or straight reinforcement is not included, one cm) below the armhole-side seamline. stitch on the edges ofthe tape. (Later, can be made as follows: 3. Draw a curved line to connect you will stitch the seam next to the points. edge of the tape.) Cut the tape, and One-Piece Method (Figure 4). 4. Trace onto tissue paper, keeping do not overlap at corners (Figure 3). 1. On back pattern piece, measure 7V2 the original garment grain line. To shape the tape around curves, inches (19 cm) down the center back preshrink it to curved shapes with a seamline or fold line from the neck- steam iron. If the fabric is stable and line seamline. Establish a point. fusible interfacing is included in seams, taping may be eliminated. 2. On side seamlines, establish a 1 Taping is done before fusing interfac- point 2 /2 to 3 inches (6.5 to 7.5 cm) ing to the entire front section. Trim down from the armhole seamline. seam allowances VB inch (3 mm) from 3. Lap and match all seamlines within taped edges before fusing. the back area.

Figure 2. Dart in fusible interfacing.

fold tissue

1 7 /1' (19 em) back reinforcement fabric

seamline 21f1' to 3" (6.5 em to 7.5 em)

Figure 3. Apply twill tape to seamline offus- Figure 4. One-piece method (nonfusible interfacing). ible interfacing.

6 For extra stability when using the 1 inch beyond center back one-piece method for back reinforce- ment, apply twill tape along the inside edge of the stitching line at the neck- line before machine basting back in- terfacing to fashion fabric. Preshape tape to fit neckline curve (Figure 6). Make darts in sew-in interfacing as follows (stitch and press dart in the garment as pattern guidesheet in- structs): • Lapped Method. Slash dart down 2" to 3" (5 cm to Figure 6. Apply twill tape to neckline curve. one stitching line to end point; lap, 7.5 cm) below matching stitching lines; stitch along underarm 1seamline stitching line close to cut edge. Stitch again, 1/8 inch (3 mm) from the first curve connecting stitching. Trim dart allowances to 1/4 markings inch (6 mm). Reinforce the point by ::::::::,::-, ':\ zigzagging (Figure 7). extend >: \, :',:,:::: and ~~ • Abutted Method. Entirely cut out mark dart along the stitching line; pin edges grainline: ,:~,:',:::., transfer 7A- ,::': to meet over a piece of seam tape aU '.h 'f. markings ~ slightly longer than the dart; stitch :;.' <: close to edges; zigzag at the point to Ii <:: reinforce (Figure 8). -.:::' :.. /'1.: '-:;,: :::: Applying Back Reinforcement Figure 7. Lapped dart. Apply back reinforcement after gar- Figure 5. Two-piece method (nonfus- ment darts and back reinforcement ible interfacing). darts have been constructed and be- fore side seams have been sewn. For sew-in interfacing, machine baste the interfacing to the garment along the seamlines; triln close to stitching. For the two-piece method, match the seamlines at the center back and overlap; continue as in one- piece method (Figure 9). For both methods the bottom edges will re- main free and unhemmed.

Lapel and Roll Line Padding by fusing or by machine produces nicely rolled lapels. Howev- Figure 8. Abutted dart. er, the rolled shape is steamed-in rather than hand-molded as in tradi- tional tailoring, and the lapels must be pressed more often.

Figure 9. Match center backs; overlap. Baste along seamline.

7 Marking the Roll Line seam roll. Steam the lapel, shaping If the roll is not marked on the the roll as you go. Let the fabric dry pattern piece or has been changed by completely before handling it again alterations, mark it on the interfacing (Figure 12). using a pencil and ruler as described below or by pinning the roll line in Fusible Method of Padding Lapel the garment while trying it on with Fusing layers of interfacing to a the shoulder and undercollar seams lapel is a quick alternative to hand pad basted. stitching. Cut a layer of interfacing in the shape ofthe lapel area as far as the To mark with pencil and ruler: roll line, with the grain line parallel to 1. Mark the top buttonhole location. the roll line. Make sure this additional 2. Mark thefront seamline, V2inch(1.3 layer of interfacing does not extend cm) above the top buttonhole mark past the roll line onto any twill tape if (Figure 10, point a). you have used it. (Figure 13). Following the manufacturer's direc- 3. Position one end ofa ruler 3/4inch (2 tions, fuse to the wrong side of the cm) from the point where the neck lapel. The lapels now have two layers and shoulder seamlines meet (Figure of interfacing for shape and stability. 10, point b). Fusible interfacing can be applied 4. Place the other end of the ruler at on the front facing for additional shap- the mark above the buttonhole and ing in the lapel area. Cut interfacing draw a straight (the roll) line along the so that the straight edge along the roll ruler. Repeat on the opposite front line extends V2 inch (1.3 cm) beyond section. the roll line toward the armhole. Trim This should be done after interfac- V2 inch (1.3 cm) from neckline and ing has been applied. lapel seam allowances. Fuse to the lapel si~e of the facing. Taping the Roll Line (Optional) Another option is to fuse the entire Taping the roll line will stabilize front facing section (Figure 14). A dif- ferent weight of interfacing can be Figure 10. Mark the roll line on the inter- and shape the lapel at the roll line. facing. Cut 1/4-inch (6 mm) twill tape the length used for stabilizing the lapel area if ofthe roll line minus V2 to 1 inch (1.3 to two layers of the garment interfacing 2.5 cm), depending on the length of would be too crisp. the roll line and fabric. The tape is cut shorter for the purpose of easing the Machine Method of Padding Lapel fabric to the tape. This will encourage Machine baste, glue or pin the in- the lapel to roll. terfacing to the wrong side of the gar- Position the tape along the garment ment front, V2 inch (1.3 cm) from the side (toward the sleeve) of the roll raw edges of the armhole, shoulder, line. Pin the upper edge ofthe tape at neckline, lapel and front. Trim the the top of the roll line; do not let the interfacing close to the basting at all tape extend over the seamline. Pin basted edges except the armhole (Fig- the lower tape end at the lower edge ure 15). (This will help shape the of the roll line. Pin the rest of the sleeves later.) tape, distributing the fabric evenly To shape the lapel and hold the (Figure 11). interfacing securely, machine pad To ease the garment to the tape, stitch the interfacing in place. Use a hold the tape taut and stitch through pencil and ruler, and draw stitching all layers using a wide zigzag or mul- guidelines on the lapel interfacing. tizigzag down the middle of the tape Begin at the top of the roll line and or on each tape edge. continue along the roll line to the seamline, drawing parallel lines V4 inch Steam Pressing (6 mm) to 3/4 inch (2 cm) apart. The To shape the lapel, place it over a closer the lines, the firmer the lapel seam roll (or tightly rolled towel) with will be. Space the rows closer to- the roll line running the length of the gether as you approach the point of

Figure 11 . Taping the roll line .

8 the lapel. As an alternative to drawing stitching lines, an experienced seam- stress may be able to use the as a guide. Using a straight, zigzag or multizig- zag stitch and a color of thread which matches the fabric, start stitching at the roll line and proceed toward the seamline. Stitch continuously along the guidelines and pivot at the ends to reverse directions. If you have used twill tape on the roll line, do not over the tape.

Collars Tailored garment patterns include an uppercollar and an undercollar. The uppercollar pattern is slightly wider and longer to allow for extra length needed to roll along the out- Figure 12. Press the lapels. side curve. It is cut on a center back fold. The undercollar is cut on the bias to fold and shape, and has a center twill back seam (Figure 16). tape

extra layer of fusible interfacing

jacket front

Figure 13. Fusible method of padding lapel.

Figure 16. Uppercollar and undercollar.

Figure 15. Trim interfacing and machine pad Figure 14. Fuse front facing. stitch at point a.

9 Fusible Method of 3. Sew center back seam. Press open 7. For a nonwoven fusible interfacing Shaping Undercollar seam allowances. To keep collar with one-way stretch, cut the interfac- smooth A second layer ofinterfacing is used at center back seam, stitch ing stand with the lengthwise grain going for shaping the undercollar. through seam allowances and garment around the neckline. For woven fabric V16 inch (2 mm) on both sides of fusible interfacing, cut with straight 1. Trim outer corners of the interfac- center back seam. Trim seam allow- grain going around the neck. Fuse ing diagonally to V4 inch (6 mm) inside ances close to rows of stitching. interfacing to undercollar, matching the corner stitching lines. Trim V2 inch rolllines. (1.3 cm) from all interfacing seam al- 4. If the pattern has the roll line 8. To prevent collar points from curl- lowances. marked, mark the roll line on the interfacing (Figure 18). ing, cut two triangular pieces of inter- 2. Fuse interfacing to the undercollar 5. To create a roll and give support to facing to fit the collar points between sections according to the manufactur- the collar stand, add a second layer of the seamlines. Trim the interfacing er's directions for fusing (Figure 17). interfacing to the stand. diagonally to 1/4 inch (6 mm) inside the If using a woven fusible, cut interfac- collar points. ing on the bias. If using a nonwoven 6. Cut interfacing to fit the undercol- 9. Fuse the triangles to the collar fusible, cut interfacing with stretch lar from the roll line to the neck seam- points VB inch (3 mm) in from the first going around the neck. line with the center back seam line on a fold of the fabric (Figure 19). interfacing edges (Figure 20).

Figure 20. Spot stabilization. Figure 17. Trim seam allowances 1/2" (1 .3 cm).

roU line interfacing coUar seamline

raw edge pinned in place

trim

Figure 18. Stitch center back seam; mark roll line.

.....---fold Figure 21 . Pin collar; mark roll line on under- collar. --10---- collar stand

~ une ( ) 111111~llllllllr- roU

Figure 19. Cut center back of interfacing on fold. Figure 22. Taping roll line .

10 Determining and Marking the ing lines. Machine zigzag stitch tape 6. To pad stitch, stitch the first row CoUar Roll Line in place (Figure 22), using thread that along the roll line. matches the garment fabric. If the roll is not marked on the 7. On the stand, use the presser foot Fold undercollar along the roll line. pattern piece or has been changed by as a guide and make parallel rows of Shape and pin undercollar to pressing alterations, mark the undercollar roll stitching between the roll line and the ham as shown in Figure 24. Steam line on the interfacing using a pencil neck edge about V4 inch (6 mm) apart undercollar; allow to cool completely and curved ruler. First, stitch the (Figure 23, see area A). before handling again. shoulder seams and press them open. 8. On the remainder of the undercol- Staystitch the neckline of the garment lar, start at the center back and stitch and clip it to the stitching. (While you Machine Method of diagonally following the grainline. are wearing the garment, check the Shaping Undercollar Stitch parallel ro\vs V2 to 3/4 inch (1.3 marked roll line transferred from the For a quick, contemporary way to to 2 cm) apart, pivoting at the ends of pattern piece to see if the collar actu- shape the undercollar and establish rows (Figure 23, see area B). marki~gs.) ally rolls at the the roll line, pad stitch by machine. Pin or baste the undercollar to the 9. To mold the shape ofthe undercol- jacket. Tryon the jacket with shoul- 1. Stitch the center back undercollar lar, fold undercollar along the roll der pads in place and see where the seam and press open. line. Shape and pin undercollar to collar rolls. Mark the roll line on the 2. Trim the interfacing diagonally at pressing ham as shown on Figure 24. interfacing with pins or the flat side of the outer corners. Steam undercollar and allow to cool a pencil lead while you have the jacket on the ham completely before han- 3. Overlap center back seamlines on dling again. on. Use this line for construction of interfacing and straight or zigzag the collar. stitch along the center back seamline. Follow guidesheet to stitch pockets Also, while you have the jacket on, Trim close to the stitching. and preliminary seams and, if possi- check the fall of the undercollar at the ble, leave side seams open to attach center back. (A partner to check it for 4. Machine baste the interfacing to collar to garment using flat construc- you helps!) The free or raw edge ofthe the wrong side of the undercollar 1/2 tion. On patch pockets, cut interfac- collar must cover the neckline seam inch (1.3 cm) from the raw edge. Trim ing so no stretch is allowed parallel to the width of the seam allowance plus the interfacing close to the stitching. the top edge. This prevents the pock- V4 inch (6 mm) to 3/4 inch (2 cm) extra. 5. Mark the roll line on the interfac- ets from gapping open. Heavy fabric and undercollar con- ing and machine baste alone the roll struction will shorten the fall just a line. little. Pin the free, or outer, edge of the collar in place and begin marking the roll line from the center back. If the fall is not long enough, take less than a 5lB-inch (1.5 cm) seam at the free or outer edge when attaching upper- collar to undercollar. The fall of the undercollar determines whether the finished collar will cover the neckline seam (Figure 21). Figure 23. Machine pad stitching the under- Mark the entire roll line, making collar. sure it aligns with the roll line on the lapel in the front. Remove the undercollar; true up both undercollar sections marking the roll line with a curved ruler so that both sections are exactly the same. Begin building-in shape as described in fusible or machine method of shaping under- collar. Figure 24. Shape and Taping Undercollar Roll Line steam press the under- collar. To ensure that the collar hugs the neckline and rolls smoothly, apply twill tape to the coIIar stand at the roll line. Measure V4-inch (6 mm) twill tape the length ofthe roll line, extending it just enough to be caught in the stitch-

11 Attaching Collar . On heavy fabrics, bind low- At the lapel, grade seam allowances After shaping the undercollar, the er edge of facing with a bias strip of so that the jacket seam allowance is entire collar and facings are ready to lining fabric. the widest. At the point where the be assembled and attached. Stay Then, stitch from the bottom of the lapel turns back and the facing be- stitch neck seamline along front and front edge up to the collar notch. Stop comes the outside of the jacket, the back edges if not already done. Clip stitching 1/16 inch (2 mm) or two facing seam allowance becomes the along curved edges. Repeat this step stitches from large dot; leave thread widest. This is called reverse grading. along front and back facings after ends loose to tie knots later. Make After turning, steam press, using a stitching the facings together and pres- sure the stitching at the top of the wooden clapper to achieve a flat, sing seams open. lapel seam forms a straight line with smooth look. If the pattern does not have a back the neckline seam. Remove pins from Machine stitch collar seams to- facing, cut one from the fashion fabric the tailor's blisters after outer seams gether through the s amlines of up- because the lining will be sewn to the have been stitched. percollar and undercollar seams using back facing. Use the back pattern Before tying loose threads, turn a foot if you have one. If the piece and front facing pattern piece to notched collar to the right side, and uppercollar is not large enough to go cut the back facing. Pin front facing check to see ifit lies flat and the seams over the undercollar so that the outer pattern to back pattern along the form straight lines. If so, tie loose neck seam will not show, the up- shoulder seamline. Trace the back fa- threads into knots on the wrong side. percollar-neck seam up-to reposi- cing using the neck and shoulder cut- There should be a small hole where tion the uppercollar and allow enough ting lines from the pinned pattern the collar joins the lapel to form a flat, room for the uppercollar to roll over pieces. Extend the sho~lder lines the notched collar. the neck seam. same distance as the front facing Seams along the edge of the facing Anchor at that point by hand in- shoulder line. Measure the same dis- and the collar are the most important. stead of centering over undercollar tance along the outer edge ofthe back Before trimming seam allowances, garment seam (Figure 28). If desired, facing to complete the pattern. press them open over a point presser apply uppercollar and facings to the Attach undercollar to neck seamline so that a really sharp edge is formed lining sections before applying the on garment, following the guidesheet. when they are pressed together af- collar. Trim, clip and press seams open. At- terward. Follow guidesheet to apply a shawl tach uppercollar to facings and trim, Grade seam allowances. The seam collar. Roll lines are not usually taped clip and press seams open. allowance closest to the outside of the on shawl collars. For a notched collar, pin the upper- garment should be larger than the Stitch side seams if you have not collar and facing to the undercollar seam allowance closest to your body. already done so; press them open. and garment, matching large dots, If there are more than two layers, notches and center lines. Uppercollar trim them to graduated widths be- and front facings should be larger than tween VB inch (3 mm) and V4 inch (6 the undercollar and garment front to mm). Cut off corners diagonally and allow excess fabric to roll under. taper outside corners to graded seam A tailor's blister formed at the allowances (Figure 27). points of the uppercollar and facings Notch curved seam allowances to will keep these areas from curling up- allow seams to lie flat after the facing ward. To form a tailor's blister, pin a is turned. small tuck about V2 inch (1.3 em) from seamline at collar and lapel points (Figure 25). Stitch fronl the center back of the collar to the large dot (Figure 26). At corners, stitch two stitches diagonally Figure 26. End stitches 1/1(/' (2 nun) before to blunt the corner, and continue large dot to form. flat collar. stitching as far as the large dot. To help the collar notch turn and lie flat, end stitching two stitches before large facing seam dot; leave thread ends loose to tie allowances knots later. Do not stitch down seam allowances. Stitch the other side of the collar to the large dot; leave threads loose. jacket seam To finish the raw edges ofthe facing allowance at , turn under raw edge V4 inch (6 mm) from lower edge to a Figure 25. Tailor's blisters in uppercollar and Figure 27. Trim and grade seam allowance; point about 1 inch (2.5 em) above lapel corners. cut corners diagonally.

12 Sleeves and Sleeve Treatments steam iron and a damp press cloth, steam and shrink out fullness (Figure Place two rows of ease stitching as 29). Pin sleeves into the jacket. instructed on the guidesheet. Inter- Beginning at the underarm seam, face sleeve hem allowance. Stitch machine stitch sleeve in place with _____ 1It' underarm sleeve seam and hem sleeve side up. Stitch a second row (1.3 em) in place with fusible webbing. in the seam allowances, V4 inch (6 mm) Pin sleeve to the right side of the to 3/8 inch (1 cm) away from the first ~--=¥8' garment, matching notches and dots stitching line. (The thicker the fabric, (1 em) at the shoulder. Place pins perpen- the greater the distance between the dicular to the seam. Gently pull up rows.) ease threads between notches until trim Between notches in the underarm, the cap fits the armhole. Distribute trim seam allowances close to the sec- ease evenly. Check lengthwise grain ond row of stitching (Figure 30). and crosswise grain in the sleeve cap. Steam press seam allowances toward Tie the thread ends securely around Figure 30. Trim between notches close to sec- sleeve from inside the sleeve with the ond row of stitching. pins at the end of the ease stitches. point of the iron, if necessary. Do not Check the set of the sleeve for even top press the sleeve cap. distribution of ease with no pucker- For a two-piece sleeve with a vent, ing. Also, check that the lengthwise a fake sleeve vent is faster. It also grain and crosswise grain are hanging leaves a circular sleeve hem allowance for ease in sewing lining by machine and eliminates finishing the vent ex- tension at the hemline with , fusing and so forth. The following in- structions are for modifying the sleeve vent pattern to resemble vents seen in , many ready-to-wear garments. The , resulting vent is loose along the seam- ~ line for the length of the vent begin- , ning slightly above the sleeve hem- Fig~re 28. Machine or hand stitch collar line. seams at neckline together. 1. Follow the pattern guidesheet in- structions for stitching the underarm sleeve seam from the armhole to the top vent circle (Figure 31, Point A). Figure 31. Fake sleeve vent. For added ease in sewing a two-piece sleeve, leave the unvented seam open until the vent is completed. 2. Starting at the cut edge of the hem allowance at the vent seam, stitch along the vent fold lines the width of the hem allowance plus approximately V2 inch (1.7 cm) (Figure 31, Point B). 3. Clip seam allowance to stitching lines to press seam allowance open above and below vent extension. Figure 29. Shape sleeve cap, shrinking out Press vent extension along the fold fullness with steam iron. line in the direction the pattern calls properly in the sleeve cap. Leave 1 for. If vent extensions are wider than inch (2.5 cm) at the shoulder point 1 inch (2.5 cm), trim away excess (Fig- free of easing so that the sleeve will ure 32). hang properly on the grain. 4. Sew other underarm seam (for Remove sleeves, keeping thread two-piece sleeve), trim sleeve seam ends securely around the pins. Pin allowances in hem, add ease stitching the sleeve cap over a sleeve board at sleeve caps, hem, and proceed as with a press mitt, or shape the cap usual. For a finishing touch, stitch on over the top of a pressing ham. With a buttons. Figure 32. Trim, and press open.

13 Sleeve Heads A sleeve head supports the cap of the sleeve and keeps it from caving in. 1. Make a pair of sleeve heads from ------lambs' wool, cotton flannel or polyester fleece. Begin by cutting two pieces 3 by 10 inches (7.5 to 25 cm) or 3 inches (7.5 cm) by the length be- tween armhole notches. Size adjust- ments can be made during fitting. 2. Mark a line 1 inch (2.5 cm) from one long edge (Figure 33). Figure 33. Making and applying sleeve heads. 3. Turn under 1 inch (2.5 em) along the same long edge. Place the strip inside the sleeve, with the wider side against the sleeve and fold line even with the armhole seamline. 4. Stitch along the marked line through the fold line of the sleeve head and on the armhole seamline through all thicknesses (Figure 34). 5. Turn all layers into the sleeve cap (Figure 35). Tryon the jacket to de- termine how much ofthe sleeve head, if any, needs to be trimmed to reduce bulk and buckling of the sleeve head. Round off corners.

Figure 34. Stitch along armhole seamline and Figure 35. Turn all layers into the sleeve. fold of sleeve head.

heavy weight Dolman style

Figure 36. Triangular and semicircular pads for set-in sleeves.

Figure 37. Making a pattern for shoulder pads.

14 ~ back \ \\ back \ \~ ~ ~ vr \ vr \ ~ ~ ~ j ~ ~ 1"/ 3;1' /'

Figure 38. First layer ofshoulder pad is the largest layer.

...... -#------1 armhole edge front

Figure 40. Loosely hand baste the layers of the shoulder pad together.

Figure 39. Layer from the largest to the smallest piece of polyester fleece.

Shoulder Pads 2. Fold and pin out any darts which 7. Mark shoulder point on each layer by clipping or marking with a pencil. Used for both fashion and fit, shoul- may be located in the shoulder seam der pads shape and support the shoul- area of the jacket tissue pattern. 8. Label front and back. der area of a garment. Pads can help 3. Pin front pattern section to back 9. For each pad, layer the pieces of you create a broader, squarer shoul- pattern section at the shoulder seam- polyester fleece in each size starting der line, disguise sloping shoulders or line. On tissue paper, draw a curved with the largest size on top and layer- balance uneven shoulders. You can line from the armhole notches to a ing to the smallest size on the bottom. make your own shoulder pads and add point 1 inch (2.5 cm) from the neck Pin (Figure 39). as many layers as you need. Attach seamline. 10. Curl each group into a long roll shoulder pads after sleeve heads are 4. Trace armhole cutting line (Figure with shoulder seamlines and armhole applied. 37). edges even and with the largest layer Shoulder pads can be shaped to 5. Cut out the paper guide you have on the outside. meet your individual needs. The just traced. This is the first and largest 11. While the curve is still evident, number of layers used can vary from layer of your shoulder pad (Figure loosely hand baste the layers together one shoulder to the other, depending 38). on your body shape. (Figure 40). 6. Make pads from polyester fleece. Triangular and semicircular pads Cut two pieces from the pattern for are best suited for garments with set- the first, or top, layer of each pad. in sleeves (Figure 36). Add layers as needed to build pad to 1. To make the paper guide for the desired thickness. Make each layer 1/2 shoulder shapes, you will need front to 1 inch (1.3 to 2.5 cm) smaller than and back sections of the jacket tissue the previous layer, except at the arm- pattern. hole seam edges.

15 12. Position the pad, placing the Fusible Interfacing. the sleeve hemline and overlap slight- largest layer next to the garment fab- 1. Cut strips of bias interfacing the ly, and to lap slightly over the front ric with the garment turned right- exact hem allowance width and fuse interfacing at the lower edge (Figure side-out. The raw armhole edges and strips under seam allowances in the 42, Point A). the shoulder pad edges should be hem allowance area. 2. Trim the garment seam allowance even (Figure 41). 2. Trim the seam allowance to V4 inch inside the hem allowance to V4 inch (6 13. Pin from the right side after all (6 mm) in the hem allowance area to mm). fitting has been done. Tack shoulder reduce bulk. 3. Place the interfacing strip on the pad from the inside, with right sides 3. Press up the hem in the fashion wrong side of the garment so it ex- out, at the neck edge and around the tends V2 inch (1.3 cm) below the hem- armhole with a running or whip fabric and crease the fold line, both in sleeves and at the lower edge of the line fold. Baste along the hemline stitch. Make sure the layers extend (Figure 42, Point B). evenly with the full s/8-inch (1.5 cm) jacket. seam allowance at the shoulder point. 4. Apply fusible webbing to the hem 4. Catch stitch or machine blind allowance and fuse the hem in place, stitch the upper and side edges of the 14. Ifyour jacket will be unlined, you interfacing to the garment. may want to cover your shoulder pad leaving 5/8 inch (1.5 cm) from the edge with a smooth, lightweight lining fab- of the hem free so you can sew the 5. Press up the hem along the basting ric before applying. To make your garment hem and lining together. stitches. own pattern, add 5/8 inch (1.5 cm) to all 6. Catch stitch or machine blind edges of the shoulder pad pattern stitch the hem to the interfacing. piece. Cut two pieces of lightweight Sew-in Interfacing fabric for each cover. With right sides 1. For a lined garment, cut a strip of together, stitch the edges, leaving an woven interfacing on the true bias 1 opening large enough to insert the inch (2.5 cm) wider than the hem pad. Trim the seam, notch, clip as allowance. (If using an all bias nonwo- necessary and turn right-side-out. ven interfacing, disregard the grain. or edge stitch the opening For nonwoven interfacing with one- closed, with the pad inside. Press. way stretch, follow the grain indicated by the manufacturer.) For an unlined garment, cut the Hems interfacing V2 inch (1.3 cm) wider than the hem allowance. In a lined gar- Tailored Hems ment, V2 inch (1.3 cm) of the inter- The secret to maintaining a nice facing will extend above the hem for hem on a tailored garment is to use a the purpose ofhaving less bulk in that layer ofinterfacing on the inside ofthe area and to make the hemline less hem. Use a sew-in or a fusible inter- obvious. For unlined garments, the facing for hems in sleeves and at the edges will be even for a neat appear- lower edges of or coats. ance. Cut strips long enough to circle

b

Figure 41. Armhole edge and shoulder pad edge should be even at the shoulder seam. Figure 42. The tailored hem.

16 Quick Methods Quicker hemming methods com- monly used on tailored garments in- clude topstitched and double top- stitched hems, and a regular machine blind stitched hem. If you are sewing lining in by machine, stitch hem far enough away from the hem edge for a ~~_---I~_ front seam allowance. facing

Linings Making a Pattern -+-1---- facing edge Linings give a finished look to a , tailored garment, make it easier to , slip on and off and add opaqueness to , some fabrics. If the pattern does not , include lining pieces or directions for , adapting the pattern, make your own \ \ by following these directions: \, 1. Place the front facing pattern piece \ under the bodice front pattern piece, matching front edges and grain line (Figure 43). Figure 43. Making a lining pattern. Figure 44. Adapt pattern back for lining. 2. On the bodice pattern piece, draw a line 1V4 inch (3 cm) from the facing edge toward the center front. This will be the cutting line and will allow a sIB-inch (1.5 cm) seam allowance to connect the lining and facing pieces.

1" (2.5 em) (When cutting the lining fabric, cut 1/2 inch [1.3 cmJ shorter at the hem.) 3. With the back neck facing and gar- ment back pattern pieces, mark the cutting line 1V4 inch (3 cm) toward the neckline (Figure 44). If the garment has no back neck facing, cut by the existing neck seam allowance or follow instructions for making a back facing on page 6. center back 4. A pleat in the center back lining allows easy body movement. To form the pleat, add tissue paper to the cen- ter back pattern piece (Figure 45). Draw a line 1 inch (2.5 cm) from the neck edge and taper to nothing at the lower edge. Note: Ifthe center back is to be laid out along the fold line, position the pattern with the neck edge 1 inch (2.5 cm) from the fold, tapering to nothing at the bottom edge. Mark the points on the lining where the pleat is made. 5. Cut sleeve linings from the sleeve Figure 45. Form pleat at top; taper to nothing pattern piece as it is, except cut V2 at bottom edge. inch (1.3 cm) shorter at the hemline.

17 Assembling the Lining When the jacket is almost com- For a Center Back Vent Remember, when cutting out the pleted except for sewing on buttons Follow steps one through three in lining, lay the center back 1 inch (2.5 and making machine-made but- the previous section, up to stitching cm) in from the fold or back seam at tonholes: the hems together. Then, machine the neckline but angle the pattern so 1. Pin the lining to the facing edges of stitch right vent and lining edges to- that no extra fabric is allowed at the the garment with right sides together. gether. Stitch lower, or bottom, edges hemline. This allows fullness across Starting at the center back seam, together. Hand slipstitch top of vent the shoulders where it is needed for stitch a 5lB-inch (1.5 cm) seam around and left side as your guidesheet in- comfort and saves time by eliminating to within 1V2 inches (3.6 cm) of the structs. the center back seam. Extra fullness is bottom edge of the lining. Repeat for not needed at the hem. the other side. Finishing Tips To form the pleat, match markings, 2. To make sure seams meet at pin to one side and stitch across the If you are topstitching your gar- sleeve-hem allowance, tryon garment ment, consider using special top- top at the seamline; if desired, stitch and pin lining seam to garment seam. down past the seamline about 1 inch stitching thread or a double strand of (2.5 cm). 3. With the garment inside-out, pin your regular sewing thread. Ifyou use all garment hem allowances (sleeves topstitching thread, use a size 16 to 18 • Stitch and press open the lining and lower edge) to the lining hem (100 to 110) needle. If you use the shoulder and side seams. Stitch all allowances, right sides together. double strand method, both threads darts and press toward the center should unwind in the same direction 4. Stitch the hems together, using a back or front. Stitch and press open off the spools. Thread the machine as V2- to 5lB-inch (1.3 to 1.5 cm) seam al- one lining sleeve seam. Stitch the oth- usual, separating the threads at the lowance. er sleeve seam at each end, leaving tension discs. about 10 inches (25.5 cm) of the mid- 5. Turn the entire garment right- To save time, consider sewing but- section open. Press seam allowances side-out through the opening in the tons on by machine if your machine open. Stitch sleeves into each arm- sleeve lining seamline (Figure 46). has the capability. Machine-stitch hole with a V2-inch (1.3 cm) seam al- Edge stitch the lining seam closed. buttonholes. Look in your sewing lowance. Stitch around a second time. 6. If there is a small opening at the machine manual for any other time- Clip armhole seam allowances under bottom of the front facing and lining, saving tips that may be unique to your the armhole from notch to notch. fuse closed with fusible webbing. machine. Also, watch ready-to-wear garments for up-to-date finishing 7. Press touches you can duplicate.

Figure 46. Opening in sleeve seam used to turn garment right side out.

.J. _ I

18 Comparison Chart of Custom and Contemporary Tailoring Techniques Custom Contemporary Hand Methods Machine Methods Fusing Methods

Underlining Use a woven fabric; tailor-baste in Usually omitted; pin securely, Usually omitted; lightweight fus- place. machine-baste. ible knits or wovens can be used; fuse in place.

Darts Use catch-stitch technique. Use lapped or abutted technique. Cut away interfacing darts; fuse interfacing to garment before stitching dart.

Front Interfacing Tailor-baste in place. Stitch into seams; trim close to Fuse in place; trim close to seam stitching. lines.

Lapels Hand pad stitch. Machine pad stitch. Spot stabilize by fusing an addi- tional layer of interfacing.

Front Stabilize roll line, front edge, Optional: Machine stitch twill neckline, shoulders. Hand catch tape to roll-lines or seamline; zig- stitch twill tape along edges. zag down center of tape, or straight-stitch along each side.

Buttonholes Make traditional bound but- Make machine worked but- "Quick" bound buttonhole kits in- tonholes. tonholes. clude fusible placement mark- ings.

Back Reinforcement Tailor-baste in place. Machine stitch into seams.

Undercollar Hand pad stitch to shape. Machine pad stitch. Spot stabilize by fusing an addi- tional layer of interfacing.

Set-in Sleeves Make shoulder pads and sleeve Purchase or make shoulder pads heads. and sleeve heads.

Hems Use hand techniques. Use machine techniques. Use fusible techniques.

Lining Hand apply. Machine apply.

Advantages Permanent shaping. Effective shaping. Saves time. Effective shaping. Saves time. Can use with all fabrics. Use with all fabrics. Crisp look.

Disadvantages Time consuming. ot permanently molded; needs Not permanently shaped and frequent repressing and shaping. molded; needs repressing to shape after each cleaning. Some fabrics not suitable for fusing. If not fused properly, will tend to peel off or blister. References Custom and Fusible Tailoring, (Stitch In Time® Teacher Leaflet). Connecticut: Coats & Clark, Inc. Palmer, Patti and Susan PIetsch. Easy, Easier, Easiest Tailoring. Portland: Palmer/PIetsch Associates, 1977. Pellon Guidelines To Shaping-TriDimensional (Teacher Leaflet). New York: Pellon Corporation, 1977. Perry, Patricia, ed., The Vogue Sewing Book. New York: Butterick Division, American Can Company, 1970. Reader's Digest Complete Guide to Sewing. New York: The Reader's Digest Association, Inc., 1978. The New Simplicity Sewing Book. New York: Company, Inc., 1979. Whole Sewing Catalog. New York: Simon and Schuster, 1979.

Acknowledgment The original manuscript for this publication was written by Barbara Field, former Extension project assistant-clothing, The Texas A&M University System.

The Texas A&M University System

Zerle L. Carpenter Texas College Station Agricultural Extension Service

Educational programs conducted by the Texas Agricultural Extension Service serve people ofall ages regardless ofsocioeconomic level, race, color, sex, religion, handicap or national origin. Cooperative Extension Work in Agriculture and Home Economics, The Texas A&M University System and the United States Department of Agriculture cooperating. Distributed in furtherance of the Acts of Congress of May 8, 1914, as amended, and June 30, 1914. lOM-12-83, Revision CLO 3-4