Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form

Total Page:16

File Type:pdf, Size:1020Kb

Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. This will be the width of your center back block. 9 Module 2 – Extract Measurements Step 5 Measure the widest part of the side back panel and add 4”. 10 Module 2 – Extract Measurements Step 6 Measure from the back neckband to the shoulder blade level and record that mea- surement. 11 Lesson Guide Princess Bodice Draping: Beginner Module 3 – Prepare Muslin Blocks Step 1 The next step is to prepare your muslin blocks. Begin by removing the selvage edge of the muslin. 12 Module 3 – Prepare Muslin Blocks Step 2 Referring to your recorded measurements, measure and then tear all four sections of the princess bodice. 13 Module 3 – Prepare Muslin Blocks Step 3 Press each block. Remember to always press in the direction of the grain. 14 Module 3 – Prepare Muslin Blocks Step 4A Use your L square to check that your muslin corners are at right angles. 15 Module 3 – Prepare Muslin Blocks Step 4B Turn your muslin block over and re-block them so that your grains are at right an- gles to each other. 16 Module 3 – Prepare Muslin Blocks Step 5 Press your pieces again, this time using steam to set the grain. 17 Module 3 – Prepare Muslin Blocks Step 6 If necessary, re-block your pieces and then give them a final pressing. 18 Lesson Guide Princess Bodice Draping: Beginner Module 4 – Measurements & Mark Guidelines Step 1A You will need the following measurements when marking your muslin blocks begin- ning with the front: Neckband to bust level. 19 Module 4 – Measurements & Mark Guidelines Step 1B Measure apex to center front. 20 Module 4 – Measurements & Mark Guidelines Step 1C Measure side seam to the apex plus 1/8” added ease. 21 Module 4 – Measurements & Mark Guidelines Step 2 On your center front muslin block measure in 1” from the right side edge and drag a guideline down, this represents center front. 22 Module 4 – Measurements & Mark Guidelines Step 3 Measure down from the top your neckband to apex measurement and drag a guide- line across, this is the bust level. 23 Module 4 – Measurements & Mark Guidelines Step 4 On the bust level, place a mark representing center front to apex. 24 Module 4 – Measurements & Mark Guidelines Step 5 Lay your side front panel alongside your center front panel. Drag a guideline across the side front panel in line with the bust guideline of your centerfront panel. 25 Module 4 – Measurements & Mark Guidelines Step 6A Divide the side front panel lengthwise and crease. 26 Module 4 – Measurements & Mark Guidelines Step 6B Drag a guideline down on this crease. 27 Module 4 – Measurements & Mark Guidelines Step 7 Measure in 1” from the left side of the center back panel and drag a guideline down, this is center back. 28 Module 4 – Measurements & Mark Guidelines Step 8 Measure down from the top, your neckband to shoulder blade measurement and drag a guideline across for the shoulder blade level. 29 Module 4 – Measurements & Mark Guidelines Step 9 Measure up from the shoulder blade guideline to the neckline and place a neckline crossmark. 30 Module 4 – Measurements & Mark Guidelines Step 10 Lay your side back panel alongside your center back panel. Drag a guideline across the side back panel in line with the shoulder blade level of the center back panel. 31 Module 4 – Measurements & Mark Guidelines Step 11A Divide the side back panel lengthwise and crease. 32 Module 4 – Measurements & Mark Guidelines Step 11B Drag a guideline down from this crease. 33 Module 4 – Measurements & Mark Guidelines Step 12A Once you marked your muslin blocks give a final blocking. 34 Module 4 – Measurements & Mark Guidelines Step 12B Press your blocks in preparation for draping. 35 Lesson Guide Princess Bodice Draping: Beginner Module 5 – Center Front Panel: Draping Step 1 Bend back your 1” extension and finger press both center front and center back pan- el. Never iron the folded extension as it will stretch the grain. 36 Module 5 – Center Front Panel: Draping Step 2 Begin the drape by lining up the apex marking on the center front muslin to the apex of the dress form. Secure it with 2 pins. 37 Module 5 – Center Front Panel: Draping Step 3 Pin along the center front to the neckline, keeping the muslin bust level, level to the bust level of the dress form. 38 Module 5 – Center Front Panel: Draping Step 4 As you pin the center front from bust level to waistline make sure that you allow for bust ease. Meaning that you do not pin the muslin flat to the form in the area between the left and right apex points. 39 Module 5 – Center Front Panel: Draping Step 5A Smooth the muslin around the neckline and with your fingernail make a crease. 40 Module 5 – Center Front Panel: Draping Step 5B Using your fabric shears cut away a rectangular piece of muslin at the center front neckline 1” up and 1” over. 41 Module 5 – Center Front Panel: Draping Step 5C Then release the neckline by slashing into the neckline excess to the creaseline. Be careful not to cut beyond the crease. 42 Module 5 – Center Front Panel: Draping Step 6 Pin the shoulder neckline intersection and the shoulder princess intersection. 43 Module 5 – Center Front Panel: Draping Step 7 Continue to pin along the princess line to the waistline. 44 Lesson Guide Princess Bodice Draping: Beginner Module 6 – Center Front Panel: Marking & Truing Step 1A Mark the center front muslin in a counterclockwise direction. 45 Module 6 – Center Front Panel: Marking & Truing Step 1 Mark the center front muslin in a counterclockwise direction. Place a dash mark at center front. 46 Module 6 – Center Front Panel: Marking & Truing Step 2 Make a few small dots along the neckline. 47 Module 6 – Center Front Panel: Marking & Truing Step 3 Crossmark the shoulder/neckline intersection. 48 Module 6 – Center Front Panel: Marking & Truing Step 4 Crossmark the shoulder/princess intersection. 49 Module 6 – Center Front Panel: Marking & Truing Step 5 Looking through the muslin, dot along the inside edge of the style tape from the shoul- der to the waistline. 50 Module 6 – Center Front Panel: Marking & Truing Step 6 Crossmark the princess waistline intersection at the middle of the waist tape. 51 Module 6 – Center Front Panel: Marking & Truing Step 7 Dot the waistline and place a dash at the centerfront/waistline intersection. 52 Module 6 – Center Front Panel: Marking & Truing Step 8 Before removing the center front muslin from the dress form, be sure that you have captured all of your markings. 53 Module 6 – Center Front Panel: Marking & Truing Step 9A Square a line for ¼” at the center front/neckline intersection. 54 Module 6 – Center Front Panel: Marking & Truing Step 9B True the neckline with your French curve. 55 Module 6 – Center Front Panel: Marking & Truing Step 10A With your red pencil, drop your center front neckline ¼” or to accommodate a col- lar, drop ½”. 56 Module 6 – Center Front Panel: Marking & Truing Step 10B Then blend the new neckline to the shoulder seam. Make sure that center front is a right angle. 57 Module 6 – Center Front Panel: Marking & Truing Step 11 Add ½” seam allowance to the new lowered neckline. 58 Module 6 – Center Front Panel: Marking & Truing Step 12A Connect the shoulder/neck and the princess/shoulder markings with your ruler. 59 Module 6 – Center Front Panel: Marking & Truing Step 12B Then add 1” seam allowance. 60 Module 6 – Center Front Panel: Marking & Truing Step 13 Using your hip curve, connect the apex to the waistline on the princess line. 61 Module 6 – Center Front Panel: Marking & Truing Step 14 Flip the hip curve over and connect the apex to shoulder seam on the princess line, though you may need to do this in two steps to get a smooth line. 62 Module 6 – Center Front Panel: Marking & Truing Step 15 Add ½” seam allowance to the princess line seam. 63 Module 6 – Center Front Panel: Marking & Truing Step 16A Trim the excess muslin at the princess seam.
Recommended publications
  • 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.
    [Show full text]
  • Islander Sewing Systems: Tuesdays at Two with Janet Pray and Jessica
    Islander Sewing Systems: Tuesdays at Two With Janet Pray and Jessica Johnson Index Through June 2019 Subject Type Topics Video Date Alterations Charge at least $10 to hem a pair of pants October 2, 2018 Alterations Tip If asked to hem pants or sew on a button, show the person who asked how October 2, 2018 Alterations Learn how to do alterations for any figure "flaws" and make it a priority for April 9, 2019 one's sewing education Alterations One can just say no to requests for alterations. Give the person who asks for October 2, 2018 alterations a high price; the individual will accept or say no. If one accepts alterations, do it under your conditions Batting Tip Use two layers of Insulbrite or similar batting with a silver backing, not one December 18, 2018 layer. Temporarily adher fabric to back, quilt top, and then put on the binding Bias Tape Maker Demo Make bias tape strip twice as wide as needed using iron and Simplicity Bias July 10, 2018 Tape Maker Books & DVDs Connie Crawford's Patternmaking Made Easy is a textbook, but filled with 3/27/18 & 11/13/2018 good information Books & DVDs Easy Zipper class is available online or on DVD and includes five different 4/24/18 & 8/28/2018 zipper techniques. The class is also on SewBetter.com Books & DVDs Fitting and Pattern Alteration by Elizabeth Leichty and Judith Rasband is an 5/15/2018 & 5/30/18 excellent resource, or take a class from Lorraine Henry Books & DVDs Gail Yellen's It's All About Embelishments is a good resource for decorative April 24, 2018 serger techniques.
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • GRADUATE LEARNING PLAN for Pamela Vanderlinde
    DePaul University School for New Learning Graduate Programs MASTER OF ARTS PROGRAM IN APPLIED PROFESSIONAL STUDIES (MAAPS) 1 E. Jackson Blvd., Chicago, IL 60604 [email protected] (312-362-8448) GRADUATE LEARNING PLAN for Pamela Vanderlinde •ADDRESS: •PHONE: •EMAIL: DOCUMENT DATE: January 18, 2011 FOCUS - Applying study of historical and contemporary AREA: bespoke fashion to my design practice, philosophy and teaching. Prof. - Ms. XXX XXXX Advisor: •PA Position/Title: _Instructor, Illinois Institute of Art-Chicago •PA Address: _____________________________________ •PA Phone: ______ •PA Email: Faculty - Michelle Navarre Cleary, PhD •Position/Title: Resident Faculty, School for New Learning, DePaul University Mentor: •Address: DePaul University, 1 E. Jackson Blvd., Chicago, IL 60604 •Phone: 312-362-7301______ •Email: [email protected] Cluster: - 86_______ - __1/21/11_____ (date approved by Student’s Academic Committee) Approval: - ___2/18/11________ (date approved by Graduate Student Program Review Committee) - 1 - PART I: Personal/Professional Background & Goals Directions: In Part I, the student provides a context for the Graduate Learning Plan and a rationale for both his/her career direction and choice of the MAAPS Program of study as a vehicle to assist movement in that direction. Specifically, Part I is to include three sections: A. a brief description of the student’s personal and professional history (including education, past/current positions, key interests, etc.); B. an explanation of the three or more years of experience (or equivalent) offered in support of the Graduate Focus Area; C. a brief description/explanation of the student’s personal and professional goals. A. Description of My Personal/Professional History: I have many passions in this world; fashion, teaching, travel, reading, yoga to name a few.
    [Show full text]
  • Scripts18 (Version 1).Xlsb
    Contestant # Reader Script Leah, from the Central Kansas District, wanted to sew a nice, simple dress this year. The easy-care, floral fabric caught her eye when she noticed one of her favorite colors, corral. The pattern she chose proved to be more challenging than anticipated. However, once she deciphered a portion of the instructions, the difficulties slipped away. The full skirt makes for a very comfortable fit. Now she has a beautiful dress to wear to her senior 1 Brooklyn Hahn homecoming dance this fall. Strut your stuff; here comes Tamara, from Shawnee County, in her Senior prom dress. She graduated from Shawnee Heights High School this past May and is attending K-State, for Apparel and Textiles. Tamara loves the uniqueness of her dress, as she is the designer. She went dress shopping but never found a dress she loved so she took all the ideas she had and combined them into a one-of-kind dress. She has accessorized her dress with a belt that she created by hand stitching three strands of trim to a piece of ribbon. She has also paired her dress with a sparkly necklace and earrings as well as matching silver sparkly heels and a corsage made by her Grandma. Looking good Tamara! 3 Brooklyn Hahn Faith from Reno County knew that the wide ombre plaid she choose for this dress would need a limited amount of seems to get everything to match so she combined 2 different patterns to get the look she wanted. She used one pattern to create the bodice and a second pattern for the skirt.
    [Show full text]
  • Artisansmaster2020.Pdf
    escape to the w e e k e n d ARTISANS 2020 Master Catalog Welcome to the Artisans 2020 Master Catalog DEDICATED to providing our customers the best products & services Born of humble beginnings in 1963 in a Wisconsin dairy barn, Artisans has steadily grown into the multi dimensional business it is today. We are 100% employee owned, and couldn’t be more proud of our heritage or the extremely devoted employees who remain the backbone of this rural American company. Why choose us? With over half a century of experience, we can provide the tools you need to promote your business and achieve your marketing goals. We offer unparallelled manufacturing capabilities, global sourcing options, quick turnaround, a talented in-house art department, and outstanding customer service, all driven by a team of experienced professionals who are commit- ted to making your vision a reality. Our customers are the inspiration for everything we do, and we work tirelessly to earn their long term loyalty. We would be thrilled for the opportunity to assist you! ARTISANS 100% employee owned company WOMEN’S 04 ART# G208549A | 104 ART# G208547A | 059 ART# G208533A | 001 NEW Emily Quilted Snap | PB507153 8.8 oz. cotton/poly jersey knit / Missy S-XXL front yoke / rib cuf and bottom band / contrast color rubber snaps, front placket and taped neckline 001 059 104 Black Birch Sand 4 NEW EMILY QUILTED SNAP ART# G208547A | 059 COMFORT without sacrificing style RUBBER SNAPS are buttery smooth and stylish QUILTED FABRIC with an extremely soft hand 5 NEW WOMEN’S 06 GLACIER SHERPA VEST ART# G207572A | 055 Glacier Sherpa Vest | PB507150 9.7 oz.
    [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]
  • 1914 Girl's Afternoon Dress Pattern Notes
    1914 Girl's Afternoon Dress Pattern Notes: I created this pattern as a companion for my women’s 1914 Afternoon Dress pattern. At right is an illustration from the 1914 Home Pattern Company catalogue. This is, essentially, what this pattern looks like if you make it up with an overskirt and cap sleeves. To get this exact look, you’d embroider the overskirt (or use eyelet), add a ruffle around the neckline and put cuffs on the straight sleeves. But the possibilities are as limitless as your imagination! Styles for little girls in 1914 had changed very little from the early Edwardian era—they just “relaxed” a bit. Sleeves and skirt styles varied somewhat over the years, but the basic silhouette remained the same. In the appendix of the print pattern, I give you several examples from clothing and pattern catalogues from 1902-1912 to show you how easy it is to take this basic pattern and modify it slightly for different years. Skirt length during the early 1900s was generally right at or just below the knee. If you make a deep hem on this pattern, that is where the skirt will hit. However, I prefer longer skirts and so made the pattern pieces long enough that the skirt will hit at mid-calf if you make a narrow hem. Of course, I always recommend that you measure the individual child for hem length. Not every child will fit exactly into one “standard” set of pattern measurements, as you’ll read below! Before you begin, please read all of the instructions.
    [Show full text]
  • HISTORY and DEVELOPMENT of FASHION Phyllis G
    HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms.
    [Show full text]
  • That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
    That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]