DOCSLIB.ORG

Skirt Base Fdii101 Table of Content

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Skirt Base Fdii101 Table of Content SEWING INSTRUCTIONS SKIRT BASE FDII101 TABLE OF CONTENT Pattern pieces . 3 Pattern block . 4 SEWING . 5 1. Basting the skirt . 6 2. Darts . 6 3. Side seams and center back seam . 7 4. Closure . 8 5. Waistband . 8 SKIRT BASE FDII101 Page 2 TABLE OF CONTENTS PATTERN PIECES Waistband Skirt Skirt Skirt Front Back 2 Back 1 SKIRT FABRIC PIECES Skirt Front Skirt Back 1 Skirt Back 2 Waistband SKIRT BASE FDII101 Page 3 PATTERN PIECES PATTERN BLOCK waistline waistline waistline dart intake hip line hip line hip line thigh line dart dart thigh line thigh line leg center center back center back side seam side seam side side seam side side seam side bottom center front bottom bottom fold line center side center side center back front back 1. A block is a two dimensional template for a basic garment from that can be modied into a more elaborate design. Block are constructed using your individual measurements and do not show any style lines or seam allowance. 2. The skirt base include 3/8” (1 cm) amount of allowance for ease and comfort: Your waist circumfer- ence + 3/4” (2 cm) and hip circumference + 3/4” (2 cm). 3. Depending on your body measurements your garment can include several darts - from one to three at the back and from zero to two at the front. For the volume of the thigh protrusion (thigh), the main dart may be long. The total amount of darts may dier from the technical drawing. 4. The skirts have the closure at the center back seam. 5. Knee length skirts, sitting on the waist with straight waistband. This skirt is tted through the hip, without tapering in at the hemline. The extension for the widest hip circumference is below the hip line. The extension is reparable aer modications. The more are the skirts (rotations, pleat openings, etc.), the more the side line should be straightened. Trace new side seam, making sure to go beyond hip curve and side seams are same length. SKIRT BASE FDII101 Page 4 PATTERN BLOCK SEWING Fabric key Fabric recommendations: Challis Viscose Challis Suiting Tencel Twill Medium (6oz-8oz / 204g - 272g) Right side of Wrong side of Right side of Elastane 0 - 3 % fabric fabric interfacing Laying out and cutting fabric selvage in bias grain a r g s s o r grain line c selvage =” =” lengthwise grain selvage 1. Place the fabric on the table. 2. Place the patterns on a single layer of fabric. Be sure to place the patterns correctly following the pattern directions. 3. Place the patterns on the fabric on the grain. All pattern grainlines are placed parallel to the selvage of the fabric. 4. When the fabric is delicate and slippery, draw or pin the patterns onto a layer of pattern paper. 5. Add seam allowances. You can add your seam allowance directly onto your fabric or onto paper rst. Cutting the fabric. Snipping notches. Notches snipped in the fabric should be no longer than 1/8” (3 mm) in length. SKIRT BASE FDII101 Page 5 SEWING 1. BASTING THE SKIRT 1.1 Baste the skirt for a possible tting. The skirt can be basted in the following order: 1. Baste the darts; 2. Sew all the seams; 3. For the tting, just baste the waistband beneath the waist edge, without folding it. 4. Use safety pins to close up the closure, to look at the prototype (muslin) results. 2. DARTS 2.1 darts Depending on your body measurements your garment can include several darts. The total amount of darts may dier from the technical drawing. 2.2 stitch direction Fold the dart. Match the notches and dart lines (fold by dart center line). Sew the darts. Sew starting at the raw edge. SKIRT BASE FDII101 Page 6 SEWING 2.3 press toward the center Press the darts - darts should be pressed toward the center. Always start at the broad end on the dart and press toward the point. 3. SIDE SEAMS AND CENTER BACK SEAM 3.1 notch Finish the center back seams with a serger stitch. Place with the right sides together and sew to the closure notch. The closure end notch is the recommended stopping point depending on your body measurements. 3.2 Sew the skirt side seams with the right sides together. Match the notches and seamlines. SKIRT BASE FDII101 Page 7 SEWING 4. CLOSURE 4.1 The skirts have the closure at the center back seam. Depending on your skirt design and fabric choose one of the closure types: All - purpose zipper: Centered; All -purpose zipper: Laped; All -purpose zipper: Fly guard; Invisible zipper; etc.. 5. WAISTBAND 5.1 Attach the waistband. The skirt waistline edge is longer than the waistband. Match the notches and seamlines. Between the notches, the skirt seam needs to ease. The total amount of ease depends on the overall body size. At the front, the ease tends to concentrate more in the center region - the total amount of ease is 1/4” - 3/8” (5mm - 1cm) at the half of the front piece, while the ease at the back needs to be ease in all the back waistline - the total amount of ease is 0“ - 3/4” (0 - 2cm) at the half of the back piece. SKIRT BASE FDII101 Page 8 SEWING.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 2013 Proceedings New Orleans, Louisiana 70 Years of Fashion In
    New Orleans, Louisiana 2013 Proceedings 70 Years of Fashion in the Chinese Dress—Exploring Sociocultural influences on Chinese Qipao’s Hemline Height and Waistline Fit in 1920s-1980s Lushan Sun, University of Missouri, USA Melody LeHew, Kansas State University, USA Keywords: Chinese, qipao, hemline, waistline The evolving dynasties and periods in Chinese history have always been accompanied with unique changes in its dress. Under the globalized society today, Chinese fashion has also left its footprint in the international fashion industry through which the world gains further understanding of the Chinese culture. The Chinese dress for woman, qipao or cheongsam in Cantonese, has evolved through a variety of silhouettes and styles under the quick changing cultural environment in the 1900s. Today, it has been accepted and internationally recognized as the distinctive national dress for the Chinese woman. According to the principle of historical continuity, “each new fashion is an outgrowth or elaboration of the previously existing fashion” (Sproles, 1981, p.117). Qipao may be traced back as early as Shang dynasty (1600-1046 B.C.) in a form of long robe, and it has flourished through different cultures and dynasties and periods in China (Liu, 2009). Its most commonly known origin lies in Qing dynasty (1644-1911) in the Chinese feudal society. Elements of both Manchu and Han ethnic dresses contributed in shaping the original qipao style during this time. The Republican Era (1911-1949), a transitional time from the feudal to modern Chinese society, accompanied with revolutionary changes in qipao styles. During this period, qipao was the main site of woman’s fashion and became “a stage for debates about sex, gender roles, aesthetics, the economy, and the nation” (Finanne, 2007, p.141).
    [Show full text]
  • 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.
    [Show full text]
  • JICMS Uniform Dress Code
    JICMS Uniform Dress Code Approved Uniform Items The following items have been selected as the acceptable uniforms for students at JICMS. All items may be worn year-round as appropriate. Acceptable uniform items may be purchased from various stores such as French Toast, Old Navy, and Land’s End. Please contact the middle school administration for clarification before purchasing uniform items. ACCEPTABLE TOPS: UNACCEPTABLE TOPS: -POLOS -POLOS o Solid in color o Form-fitting or see through tops o White polo with undershirt/tank top o Button down dress shirts o Loose fitting, modest in cut and style o Stripes, prints, or other designs o Must have functional buttons up to the collar o Sleeves that extend past the wrist o Logos or emblems that are smaller than the size o Black polo in combination with black pants except of a quarter when band students need to dress up o Only have the top button undone o Thumb holes o Long or short sleeved o Pockets o Must be tucked in at all times -SWEATERS AND SWEATSHIRTS -SWEATERS AND SWEATSHIRTS o Sweaters, sweater vests, and sweatshirts worn o Hoodies, of any kind over tucked in polos o Ponchos, fleece, or fleece-type materials o Uniform style sweaters or sweater vests that are o Stripes, prints, or other designs solid navy blue, gray, or white in color o Wearing sweaters/sweatshirts backwards, just over o JICMS school sweatshirts-navy blue or gray the arms, or tied around the waist o Solid plain navy blue or gray sweatshirts o Sleeves that extend past the wrist o Must come to hip level and worn properly
    [Show full text]
  • 3 Meter Hemline (1) 1 386 380 383 2 2 3 3 4 4 1 7 8 5 6 6 7 5 10 11 11
    3 METER HEMLINE (1) 1 1 2 381 252 251 259 255 256 258 285 285.W 287 2 3 380 383 3 386 4 4 5 5 150 260 253 253.XL 161 130.M 130.S 131.M 155 6 6 7 7 233 230 236.P 8 8 235 159 120.14 120.28 120.04 120.13 120.07 120.01 9 9 141 140 145 10 10 203. 232 203.20 203.22 203.24 203.26 100.60 100.70 100.75 100.80 100.90 100.100 18 11 203.1822 11 12 12 237 204.15 204.39 200.39 200.510 200.7 200.8 100.99 100.991 100.992 103.90 103.99 109.80 160 158 13 13 14 14 190 200.9 216.48 217.37 208.51 206.510 105.99 101.99 106.80 104.99 108.99 102.99 15 205.1822 15 16 16 207. 676 702 701 706 703 679 707 668.200 222.S 222.M 222.L 214 39 201.39 17 17 213 18 204.1418 18 712 708 700 209.101 218 215.7 210.50 212 211 211.A 210.25 210.30 19 19 20 20 21 21 414.AC 415.99 410.0 410.1 410.2 410.3 705 228 713 711 670. 600 704 22 22 412 411 23 410.99. 23 413 410.99 419.00 414.00 414.99 246 64 249 668 669.S 669 24 24 25 419.00.
    [Show full text]
  • ZIPPERS ACKNOWLEDGMENT Thanks Are Due to Mrs
    UNIVERSITY OF HAWAII . COOPERATIVE EXTENSION SERVICE' HOME ECONOMICS CIRCULAR 352 ZIPPERS ACKNOWLEDGMENT Thanks are due to Mrs. Helene Horimoto for her cooperation in serving as the mod e 1 for the photographs, as well as for her secre­ tarial assistance. The professional coopera­ tion in photography by Masaru Miyamoto of the Office of University Relations and Develop­ ment is also acknowledged. , ZIPPERS GERTRUDE P. HARRELL Extension Specialist in Clothing Zippers are being used in a large majority of our garments today. Various types of zip­ pers are on the market and one needs to select the kind that is most suitable for the garment. The coil zipper is thinner and is good to use in your synthetic garments and especially with the wash and wears, because hot iron will not come in contact with the zipper. If you are making a garment that is going to be ironed or pressed with a hot iron, it would be preferable to select a metal zipper or a coil zipper with tape backing. In selecting the length of the zipper, check your pattern, since most will give you the desired length; but you must consider if you will need just a little longer zipper in the back of a garment if you plan to step into and out of it. Some times a 22-inch zipper is not quite long enough and yet a 24 -inch zipper is too long. Put in a 24-inch zipper and Simply let the extra 1 inch of the zipper remain unnoticed and unstitched from the outside.
    [Show full text]
  • Key Details We Look for at Inspection
    Key Details We Look for at Inspection Please not that these lists are not all inclusive but highlight areas that most often cause difficulty. Additional details are included on spec sheets for individual costumes. Boys’ Costumes Achterhoek: 1. Overall appearance of costume 2. Do you have the correct hat? This is the high one. Volendam is shorter. 3. The collar extends to the edge of the shirt and can be comfortably buttoned at the neck. 4. Ring on scarf and is visible above vest. If necessary use a gold safety pin to hold the ring in place. 5. Is the scarf on the inside of the vest, front and back? 6. Shirt buttons are in the center of the front band 7. The vest closes left over right. 8. The chain is in the 2nd buttonhole from the bottom 9. Welt pockets are made correctly and in the correct position. 10. Pants clear shoes. 11. Pants have a 6” hem Marken: 1.Overall appearance of costume 2.Red shirt underneath jacket 3.Red stitching on jacket placket 4.Closes as a boy (L. over R.) 5.Pants at mid-calf when pulled straight 6.Pants down 1” from waist Nord Holland Sunday: 1. Overall appearance of costume 2. Correct hat and scarf 3. Neck - can fit 1 finger 4. 2 dickies (one solid and one striped) 5. Jacket - collar flaps lay smooth 6. Buttonholes are horizontal 7. Jacket closes as a boy (left over right) 8. Cord, hook and eye at back of pants 9. Pants clear shoes 10.6 inch hem Noord Holland Work: 1.
    [Show full text]
  • Expert Sewing and Ironing Techniques and Jacket Appearance
    Expert sewing and ironing techniques and jacket appearance KyoungOk Kim Division of Kansei and Fashion Engineering, Institute for Fiber Engineering (IFES), Interdisciplinary Cluster for Cutting Edge Research (ICCER), Shinshu University, Ueda, Nagano, Japan [email protected] Masayuki Takatera Division of Kansei and Fashion Engineering, Institute for Fiber Engineering (IFES), Interdisciplinary Cluster for Cutting Edge Research (ICCER), Shinshu University, Ueda, Nagano, Japan [email protected] Tsuyoshi Otani Faculty of Textile Science and Technology, Shinshu University, Japan Abstract Purpose: Cloth can form a curved surface without wrinkling through deformation in shear and tension. Deformation is achieved in clothes production by ironing. We clarify how a skilled worker deforms cloth to produce curved surfaces. Design/methodology/approach: We investigated advanced techniques of sewing and ironing used to produce three-dimensional jackets and compared jackets made by experts with and without the techniques using the same jacket patterns. We interviewed the experts to clarify the aim of each process. Findings: Advanced techniques were mainly used on the sleeve, shoulder, armhole, pocket flap and collar. The use of advanced three-dimensional techniques affected the silhouette of the jacket and both parts and the overall shape of the jacket. The shape of the jacket became smoother and more curved and thus better fitted a dress form. The effects of the application of advanced techniques on each jacket part became clear, with all parts mutually affecting the silhouette of the jacket. The experts imagined the form that the designer aimed for in the pattern and accounted for it. In other words, the construction was at the discretion of the experts.
    [Show full text]
  • Soft Fluid Fabrics
    CT-MMB.178 SOFT FLUID FABRICS Soft fluid fabrics are those that are lightweight and supple. They require • If very slippery, pin to a sheet to special care in handling since they may help stabilize. shift, stretch, and ravel. These fabrics are lovely, but take patience. If the fabric is a knit, such as jersey or tricot, remember it can stretch in one or both directions. Jersey also runs, and both jersey and tricot are easily snagged • Lay pattern pieces as if you are by rough surfaces and hands. working with a napped fabric. Use a “With nap” layout view. Soft lightweight woven fabrics, such as crepe, are also classified as fluid fabrics. They come in many textures, fibers, and fabrics. PATTERN SELECTION When selecting a pattern, remember to . let the fabric speak for itself. Select a • Position pattern pieces so that the pattern that is softly draped and loosely greatest stretch in knit goes around fitted. Your best guide will be a pattern the body. that recommends the use of a soft fabric. If using a knitted fabric avoid a pattern with a circular skirt or one that is bias cut, as the fabric will stretch creating an uneven hemline. FABRIC PREPARATION • When working with knits, crepes, and • Launder fabrics that are washable to dark wovens lay all pattern pieces in relax the yarns and to remove excess the same direction to avoid directional finishing. shading. • Press to remove fold lines • If knit fabric runs, place the pattern • Fold woven fabrics matching pieces so the runs will be up the selvages and carefully fold along a garment, not down.
    [Show full text]
  • Summer Dress with Center Front Pleat Center Front Pleat Dress
    Summer Dress with Center Front Pleat Center Front Pleat Dress In celebration of Mother’s Day, our featured style in this volume is a pretty, breezy summer mother and daughter dress. This project is perfect for beginners just learning to use the PatternMaster Pattern Editor. This style also makes a great maternity dress. This style features a center front contrasting pleat. This technique can be used with many of the PatternMaster silhouettes and necklines in all of the PatternMaster programs. The separate pleat can be created in Pattern Editor or with a pencil and ruler. Figure 1. Patterns Make the Patterns To make the center front pleat pattern: 1. To make sure your patterns not grouped, choose Select All (SA) and then choose Ungroup Objects (Ctrl U) from the Utilities menu. 2. Select the lower neckline curve and center front line as shown and choose Copy (CO) from the Tools menu (Fig. 2). 3. Make 1 copy of the selected objects and move them to the Center Front Pleat Dress right of original front dress pattern to make the center pleat pattern. To recreate our mother/daughter style choose the following PatternMaster options. These options can be chosen in Boutique, Child’s Play, and Knits. • Boutique: Sheaths - sleeveless • Knits: Tops/Sheaths/Jackets - sleeveless • Child’s Play: Dresses - sleeveless and dress length • Neckline - front and back scoop neck • Closure - front zipper • Waist Fit - unfitted • Hemline Sweep - flared • Darts - none • Neckline Shape - reshape front and back neckline, if desired • Dress length - set as desired • Front and back neck depth and neck width - set as desired (just make sure the neck is wide enough and low enough to Figure 2.
    [Show full text]
  • 80739083.Pdf
    3-~"'81 8-1355 ~.(O~ All About ... • Pattern Selection • Fabric Selection • Contemporary Techniques • Fusible Interfacings • Finishing Tips CONTENTS Page Pattern Selection. ............................................... .. 3 Fabric Selection ................................................ .. 3 Notions. ....................................................... .. 3 Pressing Points ................................................. .. 4 Inner Fabrics. .................................................. .. 4 Underlining. ................................................. .. 4 Interfacing. .................................................. .. 4 Lining. ..................................................... .. 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 Lapel and Roll Line ............................................. .. 7 Marking the Roll Line , 8 Taping the
    [Show full text]
  • Textile Tags» Integration Guidance
    www.fresh222.us «Textile tags» Integration guidance «FRESH USA» inc. 200 Lake Blvd, 424 , Buffalo Grove , IL , 60089 tel: +1 (872) 236 22 22 www.fresh222.us e-mail: [email protected] 1 Introduction This guidance contains the information how to embed Textile tags into textile products. Observance of these guidelines will allow to have a perfect configuration for reading Textile tags and guarantee its work throughout the service life of textile products. Tel: +1 (872) 236 22 22 2 www.fresh222.us Sewing «Textile tags» in textile products Sewing zone «Textile tag» is supposed to be sewn directly on/into a garment fabric. In the following figure you can see areas of sewing that can be used without any harm to “Textile tag” productivity. Please note that polyester and metallic threads are applicable for use. Area of sewing Tel: +1 (872) 236 22 22 3 www.fresh222.us Guidelines FRESH suggests sewing «Textile tags» by the long edge (1) or by other two short edges (2). When it’s fixed as demonstrated in the figure below, «Textile tag» will remain flat during the washing cycles and provide the better productivity for RFID reading. Tel: +1 (872) 236 22 22 4 www.fresh222.us Heat setting for «Textile tags» Alternative fixation for «Textile tags» can be done by heat-activated labels. «Textile tags» are able to resist heat up to 200°C within 20 seconds and pressure up to 5 bars. FRESH suggests using heat-activated labels of a bit bigger size than “Textile tag” itself. It should be 2 mm longer from each side or even more.
    [Show full text]