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DesignOptions Make Handwork in ‘Traditional’ make: Button attachment Collar attachment Bottom lining/facing Flower loop Make Traditional Unconstructed Closure & Lapel 3 Btn Notch Lapel 3 Btn Notch Lapel with Contrast Collar 3 Btn Fly Front 3 Btn Fly Front with Notch Lapel with Notch Lapel & Contrast Collar Closure & Lapel 3 Btn with Peak Lapel 3 Btn with Peak Lapel & Contrast Collar 3 Btn Fly Front 3 Btn Fly Front with Peak Lapel with Peak Lapel & Contrast Collar Closure & Lapel 6 Btn Double Breasted 6 Btn Double Breasted with Contrast Collar 2 Btn Notch Lapel Closure & Lapel 2 Btn Notch Lapel 2 Btn Notch Lapel with Contrast Collar 2 Btn with Peak Lapel 2 Btn with Peak Lapel & Contrast Collar Closure & Lapel Zipper Closure Side Pockets Flap Straight Flap Slanted Patch with Flap Patch Round Side Pockets Welted Narrow(4.5cm) Welted Ticket Pockets Flap Straight Flap Slanted None Chest Pockets Welted Patch Round None Vents Center [1] Center [1] with Back Self Fabric Belt Cuff Finishing 4 Open 4 Closed Cuff Finishing 5 Open 5 Closed Cuff Tab Yes N/A Sleeve Button Spacing Kissing Non Kissing Without Buttonholes Pick Stitching None 6mm / 1/4in Pick Stitching 11mm / 1/2in 6mm full / 1/4in 11mm full / 1/2in Shoulder Type Traditional Unconstructed Shoulder Tab Yes N/A Interrior Construction Classic with Fabric Jetted Pockets Unlined with Fabric Facing Mobile Phone Pocket Yes No Melton Undercollar Fabric Melton Suede Monogram Under Collar Monogram Inerior Position (Monogram on Lining) Jet Unlined Monogram Inerior Position (Monogram on Label) Jet Unlined.

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Know Your Body Know Your Style
KNOW YOUR BODY KNOW YOUR STYLE Our bodies are classified according to certain specific types of silhouettes. You will learn about your body type, the clothes that favor each silhouette and those that should definitely be avoided. Your body shape may have traits of two types of silhouettes. Stand in front of a full-length mirror in your underwear and carefully study your body shape. Regardless of whether you are slim or plump, your body will tend to predominantly conform to one of the body types described below. Knowing your silhouette, you will be able to know what type of outfits that will make you look great, and which ones you should avoid as they throw the shape of your body off balance. 2020 Playfication Learning, LLC © PagePage 1 of 1 8 of 8 HOURGLASS SHAPE This type of female figure is typically considered the perfect figure because it is the most proportionate. It is the most versatile body shape and practically everything that women with this figure wear looks good on them. However, you should avoid falling into exaggerations that unbalance your body. You have an hourglass figure, when your shoulders and hips measure the same, and your waist is narrower. You have a balanced and symmetrical body. Clothes that lengthen your body will accentuate your figure and make you look great. What to wear: 1. Wrap dresses and “A” shaped skirts 2. Dresses with a defined waist and knee-length skirts highlighting your curves 3. Solid colors 4. Two-piece dresses 5. Shirt dresses with a waist belt 6.
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Glossary of Sewing Terms
Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam.
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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.
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Robert Vintage Pajamas Classic Styles Also Matter When You Put Little Ones to Bed
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Murphycatalog.Pdf
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Embellishments of the Alaska Native Gut Parka
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 Embellishments of the Alaska Native Gut Parka Fran Reed [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Reed, Fran, "Embellishments of the Alaska Native Gut Parka" (2008). Textile Society of America Symposium Proceedings. 127. https://digitalcommons.unl.edu/tsaconf/127 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Embellishments of the Alaska Native Gut Parka Fran Reed (1943 - 2008) [email protected] Dealing with the various and extreme weather conditions in Alaska is a serious matter. Coastal Native Alaskans have been surviving in these severe environments for millennia. Without a local general store in which to buy a nice rain slicker, one must be resourceful with what is available. Between the hot summers and frigid winters are the transition seasons when it rains. Bird skins and fish skins were used extensively to make raincoats but it is the gut skin parka that proved so universal along the coast of Alaska (Fig. 1). From village to village different preparations, stitching methods and artistic styles are apparent and expressed in the embellishments that define the region, the culture and the function of these beautiful outer garments. For hundreds of years the indigenous people of the circumpolar region survived extreme conditions on their ingenuity and creativity.
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May 8, 1928. 1,668,745 F
May 8, 1928. 1,668,745 F. W., TULLY COLLAR AND CUFF Filed Sept. 2, 192l Patented May 8, 1928. 1,668,745 UNITED STATES PATENT of FICE. FRANCIS W. TULLY, OF BROOKLINE, MASSACEUSETTS, COLLAR AND CUFF. Application filed September 2, 1921. serial No. 497,891. This invention relates to collars and cuffs, damage by wear during laundry operations which may be of the kind attached to the is excessive, the average garment being ca garment with which they are worn per pable of being worn only a few times before manently by sewing, or of the kind attached the cleansing operation destroys it. replaceably by buttons or other fasteners, The imitation-fabric collars and cuffs are 60 and to the method of making them. not really deceptive, and their use is associ The prior art as heretofore practised has ated in the public mind with careless per provided garments of the class referred to sonal habits. intended to be worn in a soft state without 0 It is therefore highly desirable satis laundry starching; garments intended to be factorily to replace the limp soft collar and 65 starched; and imitation garments of the cuff and the heavily starched stiff collar and stiff type, made of a fabric and additions of cuff with textile-fabric or genuine articles of one sort or another, such as heavy coatings this sort which shall be cleanly, of good ap 5 of white pigments and binders of celluloid, perance and not subject to rapid damage in rubber and other hard calendered substances, use, and capable of being refreshed in a 70 which sometimes have been embossed to take simpler way than the laundry operations re the appearance of the cloth they are sup quired for a stiff collar.
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Dressmaking up to Date
PRICE, 25 CENTS or Is. PUBLISHED BY THE BUTTERICK PUBLISHING COMPANY, Limited AT THE BUTTERICK BUILDING, NEW YORK PARIS LONDON NEW YORK TORONTO Copyright, /QOj, by The Butter ick Publishing Co., Limited. Entered at Stationers’ Hall. A ll rights reserved. ■r o: ; < A Dressmaking, TUp to Date h.-K'ARV,^ rorS^BiS1 f'flsi $cp»es jits,wiYW( { . > i SfcP Hi ; « Ooiwngns umt J-^/ o2 &. I c/C61 / a 1X733! COPY f;s> . 3 FRONTISPIECE —THE SEWING CIRCLE HAND-SEWING STITCHES IMPORTANT POINTS AND AIDS IN DRESSMAKING THE CORRECT METHOD OF ALTERING PATTERNS SHIRT-BLOUSES DRAPED WAISTS SKIRTS NOVEL, ARTISTIC SEAMS WEDDING AND EVENING GOWNS THE TAILOR-MADE GOWN COATS AND JACKETS PRACTICAL AND ORNAMENTAL STITCHES BIAS BANDS AND FOLDS—TURNING CORNERS AN EMPIRE TEA-GOWN DESIRABLE GARMENTS FOR MATERNITY WEAR MAKING /ND FINISHING UNDERWEAR THE BATH-ROBE. CHILDREN’S CLOTHES BOYS’ SUITS XTlp to 5>ate inning (EirrU SDressmahtrtg, TUp to Date SIMPLE SEWING STITCE1ES AKING A KNOT.—Holding the threaded needle in the right hand, twist the end of the thread once and a half, around the forefinger of the left hand; press, roll downward on the ball of the thumb, twisting once or twice; slip off and draw down M with the middle finger of the left hand. BASTING.—There are two kinds of basting; even and uneven. In even basting the stitches; and spaces are the same length; in uneven basting, as its name implies, the stitches are so formed that they are not of equal length. EVEN BASTING STITCH.—Start with a knot in basting and always have it on the right side; it is more easily removed.
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Download the Full Glossary of Terms
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Guide for Formal Events
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