Placement of Fabric And/Or Garment Pieces for Machine Sewing
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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
Londa Rohlfing - Memory T-Shirt
Londa Rohlfing - Memory T-Shirt Londa digs in, filters, and combines men’s collared polo knit shirts and seven dress shirts into strikingly artistic tops so the men in your life better lock their closets! Mannequin 1: The Khaki/Black Shirt Interesting collar edge - how it flows over the shoulder to the back 1. Asymmetrical/Informal Balance - accented with woven striped shirt set in from behind to fill in low neckline. 2. Combination of textures - couched edges for ‘finish’ - more on how to couch later. Yarn ‘connects’ everything, finishes edges. 3. Light hand stitching as center of interest - also on back, and sleeves 4. Bound neckline using knit fabric 5. Even Daddy’s ‘spot’ is OK! 6. Original uneven hemline - bound slits at side seams Mannequin 2: The Periwinkle Shirt 1. Symmetrical/Formal balance 2. Curved line of inset check knit shirt flows over the shoulder/sleeve seam - had to stitch shoulder seams, insert sleeves before working the check shirt ‘fill-in’ at the chest. 3. Reason for lower yoke, to cover up the logo embroidery at left chest. 4. Wider at shoulders always makes hips look slimmer 5. Use of polo collar - wrong side as ‘outside’ to not show ‘worn’ folded edge of collar. 6. Bias is ALWAYS better/more flattering - check shirt inset. 7. ALWAYS stay-stitch neckline edges. 8. Bound neckline finished with bias tie fabric. 9. Bias cut 2 layer ‘Fabric Fur’ + yarn = the trim. 10. Somewhat wild eye-attracting ‘hairy’ Couched yarn connects everything and adds some ‘pizazz. 11. Sleeves - tie label covers insignia at sleeve, bias Fabric Fur + yarn trim connects with rest of the shirt. -
Instructions-BUTTON-UP-DRESS.Pdf
BUTTON-UP DRESS ISSUE 39 SKILL LEVEL In the Folds patterns are designed to inspire and encourage modern makers to create garments that are beautiful both inside ABOUT CONTENTS and out. Through selected techniques and construction details, IN THE In the Folds aims to encourage thought-provoking and ABOUT IN THE FOLDS 3 memorable making experiences - helping you enjoy each stitch in PATTERNS FOLDS the process. PATTERNS GARMENT OVERVIEW 4 Techniques may differ slightly to the home sewing methods you (INCLUDING FABRIC SUGGESTIONS AND NOTIONS) are used to, but in some cases industrial finishes will give you the cleanest and most professional finish. SIZING + GARMENT 5 MEASUREMENTS Seam allowances are marked on each pattern piece and detailed (INCLUDING FABRIC REQUIREMENTS) in each step. You will notice that in some cases the seam allowances meet each PRINTING THE PATTERN 6 other at different angles at the end of the seam. This is so that PRINTING PLAN 7 when you press the seam allowances open the seams will sit flush with the edges and will help you get a really clean finish. CUTTING YOUR FABRIC 8 In the Folds patterns are designed to include thoughtful Consider using fabric SUGGESTED CUTTING PLAN 9-10 details and interesting techniques so that you can enjoy the from your stash before process of making the garment as much as the end result. going to buy something INSTRUCTIONS 11-20 new. I dare you. If we slow down and take in every stitch, we can better You might be surprised GLOSSARY 21 our skills, appreciate the amazing things we can do with by what you find there. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
CO Guide to Judging Clothing
Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Lapped Zipper Lapped Zippers Are Often Found on Skirts at the Waistband
Sewing Technique: Lapped Zipper Lapped zippers are often found on skirts at the waistband. A lapped zipper is constructed so that the zipper is not visible. The zipper will remain closed throughout the process of inserting the zipper. All sewing is done on the inside of the garment except for topstitching. Remember to always keep the needle positioned between the zipper foot and the zipper teeth when sewing. NOTE: Throughout this tutorial, the term “placket” will be used. A placket is the fabric that surrounds and reinforces fasteners in a garment. In this instance, the fastener referred to in this tutorial is a zipper. STEP 1: On the wrong side of the fabric, measure and mark the placket opening BASTING where the zipper STITCH will be placed. Do this by measuring from the top of the garment down along the seam to the zipper bottom stop. Take into consideration the REGULAR composition of garment and if there will be a waistband or MACHINE STITCH any other special feature at the top of the zipper. Mark the placement of the bottom stop with a marking pencil. STEP 2: While sewing the seam, machine stitch the seam closed until the marked point of the bottom of the zipper, backstitch, then switch to a basting stitch for the distance of the placket seam. Press seam allowance open. $-05)*/( CONSTRUCTION 6UBI4UBUFJTBOBóSNBUJWFBDUJPOFRVBMPQQPSUVOJUZJOTUJUVUJPO STEP 3: Replace sewing machine foot with a zipper foot. Place zipper face down with the teeth centered on the pressed open seam on the inside of the garment, matching top and bottom stops with marks. -
Louis-Napoléon and Mademoiselle De Montijo;
CORNELL UNIVERSITY LIBRARY Cornell University Library DC 276.132 1897 3 1924 028 266 959 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028266959 LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO LOUIS NAPOLEON BONAPARTE President if the French Republic LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO BY IMBERT DE SAINT-AMAND TRANSLATED BY ELIZABETH GILBERT MARTIN WITH PORTRAITS NEW YORK CHARLES SCRIBNER'S SONS 1899 COPYRIGHT, 1897, BY CHARLES SCRIBNER'S SONS NotiDOOtI ^tttt }. a. Cuahing & Co. —Berwick k Smith NsiTOod Mill. U.S.A. CONTENTS CHAPTSB PASZ Intboduction 1 I. Tee Childhood OF Louis Napoleon 15 II. The !Fibst Restoration 28 in. The Hundred Days 39 rv. The First Years op Exile 50 V. Rome 62 VI. The Birth op the Empress 69 Vn. 1830 77 VIII. The Italian Movement 90 IX. The Insurrection op the Romagna 97 X. Ancona 107 XI. The Journey in Erance 115 Xn. Arenenbeko 128 Xin. Stbasburg 142 XIV. The Childhood op the Empress 154 XV. The " Andromeda " 161 XVI. New York 170 V Vi CONTENTS OHAPTEE PAGB XVII. Some Days in London 179 XVIII. The Death op Queen Hoktensb 187 XIX. A Year IN Switzerland 197 XX. Two Years in England 211 XXI. Boulogne 222 XXn. The Conciehgerie 233 XXm. The Court OP Peers 240 XXIV. The Fortress op Ham 247 XXV. The Letters prom Ham 261 XXVI. The Prisoner's Writings 274 XXVII. The End op the Captivity 281 XXVIIL The Escape 292 XXIX. -
Garments, Parts of Garments, and Textile Techniques in the Assyrian
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The eoN - Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context Salvatore Gaspa University of Copenhagen Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Gaspa, Salvatore, "Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The eN o-Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 3. http://digitalcommons.unl.edu/texterm/3 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The Neo- Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context Salvatore Gaspa, University of Copenhagen In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. -
Belts & Belt Loops
Belts & Belt Loops Belts Fold fabric strip right sides together. Beginning in the middle of one long side, stitch to one end. Beginning about 10cm from the previous starting point, stitch to the other long end. Grade seam allowance and clip curves and corners as needed. Turn belt right side out through opening in long side. Press. Edgestitch entire outer edge of belt; opening will be stitched closed at the same time. If desired, topstitch 7mm inside edgestitching. Make eyelets at indicated positions, or apply grommets following manufacturer’s instructions. Tip: If your sewing machine has pre-programmed eyelets, use them to stitch the eyelets on your belt. Another option is an eyelet embroidery set (BERNINA Eyelet Embroidery Set #82 with Foot #92). Attach belt buckle according to manufacturer’s instructions. Tip: Most belt buckles are attached by folding one end of the belt around the bar in the middle of the buckle, then stitching or bartacking the end in place. Making Belt Loops Overlock one long edge of belt loop strip. Fold strip into thirds, overlapping raw edges at the center of the strip. Edgestitch both long sides. Tip: Instead of edgestitching, sew a decorative stitch through the center of the folded strip. Cut into required lengths. Alternate Method This technique is effective for heavy fabrics. Fold the strip in half, wrong sides together. Using a blind stitch and a blind hem foot (BERNINA Blindstitch Foot #5), stitch along the raw edges, catching the fabric in the zigzag portion of the stitch, letting the straight stitches sew “in air.” Refold with the stitching at the center back of the strip; press. -
Instructions and Free Patterns
Instructions and free patterns www.mybernette.com “Romantic style” project sewing instructions Frilly blouse Sizes 3434––––4242 European (4(4(4-(4 ---1212 US/6US/6----1414 UK) You'll need - 1.2m (1 3/8 yd) pink taffeta (fabric width 1.5m (5')) - 0.45m (½ yd) white tulle (fabric width 1.5m (5')) - 0.50 m (1/2 yd) pink voile (fabric width 1.5m (5')) - 1.5m (1 2/3 yd) satin ribbon, approx. 4mm (1/6") wide - Assorted sewing and embroidery threads in pink - Embroidery stabilizer for the facing - Spray adhesive - Sewing thread to match the color of the fabric - Gathering foot - Cording foot Fabric rerecommendationcommendation Taffeta or other shiny, slightly crisp fabric for the blouse. Sheer fabrics that can be gathered with the gathering foot for the frills. Good to know The decorative stitches will cause the fabric to shrink slightly, so be sure to add 2.5cm (1") seam allowance to the outer facing when cutting it out. After embellishing the facing with decorative stitching, reposition the paper pattern on the stitched fabric and trim the seam allowance to 1.5cm (5/8"). Cutting out Seam allowanceallowancess ––– When cutting out, add 1.5cm (5/8") seam allowance to all edges and the hem, and 1cm (3/8") to armhole curves. Pink taffeta 2 x front 1 x back to fabric fold 2 x facing 2 x belt loops: 1.5cm x 8cm (5/8" x 3 ¼"), including seam allowance 1 x belt: 8cm x 66cm (3 ¼" x 26"), including seam allowance 2 x bias binding for armhole, cut on cross-grain: 4cm x 47cm (1 5/8" x 18 1/2") Sheer voile, taffetataffeta,,,, or tulle Tear or cut (depending on the fabric's texture) 2cm- (7/8"-) wide strips for the frill on the facing. -
The History of Fashion in France, Or, the Dress of Women from the Gallo
r\ U Ly c r ^ -=4^-^ r J^^^ y^ ^^ ^->^ THE HISTORY OF FASHION IN FRANCE. 3-\MML THE HISTORY OF FASHION IN FRANCE; OR. THE DRESS OF WOMEN FROM THE GALLO-ROMAN PERIOD TO THE PRESENT TIME, FROM THE FRENCH OF M. AUGUSTIN CHALLAMEL. nv Mrs. CASHEL HOEY and Mr. JOHN LILLIE. S C R I R N E R A N IJ \V K L I' O k 1 J. I»»2. LONDON : PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. John's square. —— CONTENTS. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations from the poets —Character of Frenchwomen—The refinement of their tastes and fancies — Paris the temple of fashion —The provinces ^Mdlle. Mars' yellow gown— The causes of fashion —A saying of Mme. de Girardin's —A remark of Mrs. TroUope's — The dress of actresses— Earliest theories of fashion— The Gyna;ceum of Amman First appearance of the "Journal des Dames et des Modes "—Lamesangere Other pubhcations—An anecdote concerning dolls— Plan of the History of Fashion in France CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgetes—"Mavors"and "Palla" — Cleanliness of the GaUic women -The froth of beer or "kourou"—The women of Marseilles; their marriage-portions — Gallo-Roman period — The Roman garment—The " stola "— Refinement of elegance—Extravagant luxury of women Artificial aids—A " vestiaire" or wardrobe-room of the period—Shoes—^Jewels and ornaments—The amber and crj'stal ball—Influence of the barbarians . -13 CHAPTER II. THE MEROVINGIAN PERIOD. Modifications in female dress after the Invasion of the Franks—Customs of the latter The Merovingians —Costumes of skins and felt ; cloaks and camlets—The coif, the veil, the skull-cap, the " guimpe," the cape—Fashionable Merovingian ladies adorn themselves with flowers — Various articles of dress— The "suint" —Young girls dress their hair without omamenis— St.