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Contents

‘2an ...... 5

‘Wdtdtobedalaluw'ga/dw ...... 6 gawugjgw ...... 6

flange/gain“...... 7

Silk and Silk-like Fabrics Short-pile Fabrics ‘ Stretch Fabrics Matching Stripes and Plaids

Fitting Guides Fitting Activity Fitting Problems

My ...... 1 8 ‘1an

FINISHING TOUCHES! In Projects | and II you Select your clothing projects so you can develop have learned basic skills in . In Project lll, the skills discussed in Manual Ill. you will concentrate on improving those skills and learning more difficult techniques. This is your op- Sources portunity to perfect your skills and make your sew- of Information ing look more professional. Ask your clothing leader or your Extension 4-H agent for leaflets Clothing that will help you complete the Project ”I is designed to help you: projects you select. 0 Improve the skills learned in Projects | and Il. Olearn methods used in double construction (garments with linings). Continue to increase your own reference library olearn new techniques using silk-like and of sewing books and pamphlets developed by napped fabrics. companies that make sewing products. It is im- Opractice matching fabric designs; for ex- portant that the sewing publications have up-to- ample, stripes, plaids and checks. date information. Check the publication date and 0 recognize standards (criteria) for a properly use only the most recently written material. fitted garment. 0 further develop management skills that save your resources of time, money and energy. Look at ready-to-wear garments in department 0 continue to increase your sewing vocabulary. stores. You will pick up many ideas for styling, col- or, fabric and . Garments in the higher priced departments will usually give you the most ad- Things You Will Need To Know vanced fashion information. These garments will also serve as a resource of construction techni- ques to be used with The 4-H Clothing Manual I has projects to help you different fabrics and styles. develop skills used in flat construction. In Manual |l you began to learn sewing techniques used in Keeping A Record shaped construction. These two techniques -- flat and shaped construction -- should be understood before beginning Keep a good record of your projects. Your record Manual llI projects. will: Ogive you a list of your achievements. 4-H Clothing Manual ||| expands your sewing ohelp you, your parents and clothing leader knowledge by working with projects that are lin- compare each year’s work. ed (double construction). You are also ready to use ohelp you check your progress in learning fabrics that are more difficult to handle. These in- sewing skills. clude fabrics with (1) a pile (velveteen and cor- Omake writing your cumulative 4-H Clothing duroy), (2) silk-like (crepe-de-chine, charmeuse Record easier. and pongee), and (3) fabricsthat require matching (plaids, stripes and checks). Use the record book forms provided by your 4-H leader. Keep your work neat and accurate. —— mummmw

You are reaching a new stage in your life. As you 5. Will I need clothes for different social complete your high school education, you will also occasions that I have not needed before? be making plans for your future. Whether you con- (Examples: parties, dances, open houses, tinue your education in a college or vocational conventions and conferences.) school or get a job, new demands will be made on your wardrobe.

Clothing purchases made during your final year Review your present wardrobe after deciding upon of high school need to be made with future ac- your future plans. Use the form from Manual II or tivities in mind. design one to fit your own needs.

Ask yourself these questions: What kind of image do you want to show the world 1. Will I be moving to a new location? outside your present environment? New oppor- (Example: rural to urban setting or warm tunities and surroundings often offer the incentive to cold climate.) to improve upon posture, weight and poise as well 2. Will new activities require more formal clothes as looks. Consult with your parents and 4-H leader than casual? (Example: pants to replace about good grooming projects. You may want to jeans.) combine grooming and clothing projects. 3. Will I have appropriate accessories to go with my new activities? (Examples: belts, shirts, Does a younger family member need help with shoes and jewelry.) his/her 4. What type of outerwear will I need for wardrobe? You can share the information that you learned from past wardrobe and inven- warmth? (Example: an all weather coat or a parka.) tory projects.

sewaymm

Sewing Machine How do the prices vary? What kind of guarantee or warranty do I get? Many young people acquire their own sewing Does machines the machine price include accessories? during the late teens. It may be a gift If so, which or bought from funds ones? you have earned. Will I get a series of lessons on using the machine? This is a good time to study different types of sew- Should I buy a new or second-hand sewing ing machines. Study magazine articles and machine? Agricultural Extension Service booklets on buying What do I check to be sure a second-hand a . Talk to friends and relatives ' sewing machine is safe and works properly? about their sewing machines. When possible ask PQWNQS’TP What kinds of sewing tests do I want to try for permission to use their sewing machines. on the machine before I buy one?

Ask yourself these questions: Irons

1. What features do I want in a sewing An iron is a piece of equipment that many young machine? people buy when they leave home. It is also a good 2. How much money do I have to spend? suggestion for a gift. 3. What brands of sewing machines offer the features I need? When buying an iron ask yourself: —— MMMMMW

You are reaching a new stage in your life. As you 5. Will I need clothes for different social complete your high school education, you will also occasions that l have not needed before? be making plans for your future. Whether you con- (Examples: parties, dances, open houses, tinue your education in a college or vocational conventions and conferences.) school or get a job, new demands will be made on your wardrobe.

Clothing purchases made during your final year Review your present wardrobe after deciding upon of high school need to be made with future ac- your future plans. Use the form from Manual ll or tivities in mind. design one to fit your own needs.

Ask yourself these questions: What kind of image do you want to show the world 1. Will I be moving to a new location? outside your present environment? New oppor- (Example: rural to urban setting or warm tunities and surroundings often offer the incentive to cold climate.) to improve upon posture, weight and poise as well 2. Will new activities require more formal clothes as looks. Consult with your parents and 4-H leader than casual? (Example: pants to replace about good grooming projects. You may want to jeans.) combine grooming and clothing projects. 3. Will I have appropriate accessories to go with my new activities? (Examples: belts, shirts, Does a younger family member need help with shoes and jewelry.) his/her wardrobe? You can share the information 4. What type of outerwear will I need for that you learned from past wardrobe and inven- warmth? (Example: an all weather coat or a tory projects. parka.)

swam-m

Sewing Machine How do the prices vary? What kind of guarantee or warranty do I get? Many young people acquire their own sewing machines 93.01.45 Does the machine price include accessories? during the late teens. It may be a gift If so, or bought which ones? from funds you have earned. 7. Will I get a series of lessons on using the machine? This is a good time to study different types of sew- 8. Should I buy a new or second-hand sewing ing machines. Study magazine articles and machine? Agricultural Extension Service booklets on buying 9., What do I check to be sure a second-hand a sewing machine. Talk to friends and relatives sewing machine is safe and works properly? about their sewing machines. When possible ask 10. What kinds of sewing tests do I want to try for permission to use their sewing machines. on the machine before I buy one?

Ask yourself these questions: Irons

1. What features do I want in a sewing An iron is a piece of equipment that many young . machine? ' people buy when they leave home. It is also a good 2. How much money do l have to spend? suggestion for a gift. 3. What brands of sewing machines offer the features I need? When buying an iron ask yourself: What features do I want? Other Sewing Equipment How much money can I spend? What brands are available? How do they dif- If you have been sharing sewing shears/ fer in features and price? and other sewing equipment with family members, What type of guarantee do | get? you will want to acquire your own. Is the iron easy to clean? Could I use a second-hand iron? NP’P‘P99!“.-L What features do I check to be sure a Pressing Equipment second-hand iron works properly and is safe? Add a ’s ham, a sleeve roll, and an edge-point presser board to your equipment. A velvet/needle board or a special cover plate for your iron is good to have when pressing pile fabrics.

Mm on the right side as well as the back. They Fabric Suggestions do not leave marks on the fabric. Use cotton . crepe-de-chine stretch terry 0 Basting: Because the fabric is slippery it may crepe stretch velour be necessary to and hand baste before corduroy striped and plaid fabric stitching. Baste next to the seamline in the velvet woolens allowance. It will be easier to remove velveteen basting threads after stitching.

SILK AND SILK-LIKE FABRICS El +— 5/8 seam They feel so good and have a special look of elegance. But silk and silk-like fabrics slip and l I slide while you and sew. They ravel! and l Worse . . needles may leave hole marks in the fabric. .L basting line yet, a rough pin or needle can snag or pull threads stitching line .1 that mar the fabric surface. I l Is it worth the effort? Of course it is. These fabrics :l present a challenge. You can expand your sew- o Stitching: ing knowledge as well as your wardrobe. It will take 0Put in a new machine needle (extra fine or study time and patience to get desired results. universal). 0Use the small-hole throat plate when straight stitching on a zigzag machine. This will Sewing Hints prevent puckers. OMake a test seam to check length, oFitting the : Be sure to have plenty pressure and tension. of in the garment to avoid extra stress -Use strips of tissue paper under the seams on seams. as you stitch. This helps feed the fabric oCutting: Place an old sheet, blanket or a felt through the machine evenly. Tear out the pad on the cutting surface. Pin the fabric to paper after stitching. this base. It will help hold the silk-like fabric o Seams and Seam Finishes: Check your pat- in place while you cut. tern. How many seams do you have? Which oPinning: Use extra long pleating pins that ones are exposed in the finished garment? have very sharp points with no burs on the Which seams get extra stress or friction while end. Keep pins in the . A wearing the garment? Select your seam and narrow double stick tape may be used seam finish accordingly. sometimes instead of pins. OSeams: Flat-fell, Mock French, French, welt oMarking: Use tailor’s tacks. They will show and self-bound. OSeam Finishes: Bound, Hong-Kong and or puckers. Check the fit of the garment before edge-stitch. stitching. Stitching in pile fabrics should be o : Apply by hand-picked method or use done one time only since needle marks tend an invisible . to show. o Pressing: Always test a fabric scrap. Steam 0 Seams and Seam Finishes: Make facings of may cause crepe fabrics to pucker or shrink. fabric to help reduce bulk in seams. Use a light touch with the iron. Plain seams are best. You can use a flat-fell or a welt seam in corduroy. SHORT-FILE FABRICS OSeam Finishes: , hand or machine overcasting, regular or Hong Kong Review An Adventure in Creativity, 4-H Clothing . Manual II and ask your leader to show you the ODarts: Usually slashed and pressed open. series of Extension leaflets called Sewing on To- oZippers: Apply by hand-pick method or use day’s Fabrics, HE 87-92. invisible zippers. Hand baste the closed to avoid needle marks. The pile fabrics most often used are velvet, velve- 0 Pressing: Review 4-H Sewing Manual II and teen, corduroy and terrycloth. Buy the amount of the series on Sewing on Today’s Fabrics, HE fabric recommended on the yardage chart for 87-92. Use steam and do not touch the iron fabric "with nap.” to the right side of the fabric. To press seam open use a needle board, terry towel, or a self- Sewing Hints fabric press cloth. 0 Pattern: Select a pattern with few seams or . Use steam iron 0 Cutting: If the fabric is heavy or the pile is very thick, such as velvet and wide wale corduroy, cut the pattern from a single thickness of fabric on the right side. Usually, corduroy and velveteen may be cut from a double thickness with the pattern pieces on the'wrong side. Use the layout suggested for cutting “with nap.” Do Not use a crosswise fold. It will change the direction of the nap. need/e board STRETCH FABRICS make a second Stretch in a fabric gives it the ability to “give” while copy of pattern ’3 the garment is being worn. It will then return to right side-reverse the original shape after wearing. Stretch may be found in woven and knitted fabrics. It can be in and use as the direction of the lengthwise threads, crosswise left front right front pattern ’s left side threads, or in both directions.

right side of fabric Two-way stretch will be found in swimwear and single thickness foundation garments. Crosswise stretch is desirable in the shoulder and hip areas of a gar- 0 Marking: Use tailor’s tacks of cotton darning ment. Lengthwise stretch is most often found in thread. Tracing carbon and wheel may jumpsuits, slacks, shorts and body suits. sometimes be used on corduroy. Test a scrap of fabric first. Sewing Hints C Basting: Pin and hand baste to prevent slip- ping. Use silk thread or size 100 mercerized 0 Pattern: Use patterns labeled in the catalog cotton thread. “for stretchable knits only.” Simple lines, no 0 Stitching: Decrease pressure on the pressure darts, few seams and few, if any, buttonholes foot. Use a fine needle and stitch in the direc- are best. Buy the same size pattern you nor- tion ofthe nap.ste a roller foot or hold the mally do when getting a “for—stretch-knits- edges firmly while stitching to prevent shifting only” pattern. 0 Fabric Selection: Look for the “stretch ruler” OSeams and Seam Finishes: Seams are on the pattern envelope. Follow directions and generally made as a plain seam and pressed check the fabric’s ability to stretch against this open or as a narrow seam and double ruler. stitched. Stay seams with narrow lnterfacings, linings, underlining, and seam where stretch is not wanted; for examples, binding must also be stretch fabrics. A tricot shoulder and waistline seams. Do not stretch knit is a good choice or specially designed these seams as you sew. stretch . Stretchable must be cut so the stretch runs in the same direction as the garment. OFabric Preparation: Prewash all washable fabrics. Allow the fabric to lay on a flat sur- face for 24 hours before cutting. This lets the —.————— -—-——-.- fabric “relax” after being wound on the bolt. stay seams OCutting: Use very sharp shears for cutting. Serrated blades prevent snagging of fabric Machine stitch 1/4” (6.35mm) from edge of and do not dull as fast when cutting synthetic seam allowances to keep seam allowance fabrics. Do not let the fabric hang over the from rolling. If the fabric ravels, overcast edge of the table while cutting. Stretch velours edges with a wide . Some and terrycloth should be cut using the “with machines have an or over-edge nap” layout. Cut waistbands in the opposite stitch. The seam is usually trimmed to 1/4” direction to the fabric stretch. This way the (6.35 mm) before stitching. The seam will be waistband will not stretch when worn. stitched and edge finished in one process. o Pinning: Use sharp silk or ballpoint pins. Keep (Read your sewing machine manual.) This pins in the seam allowance. seam is used in swimwear and foundation garments. Seam Finishes

fold / pins in seam allowance o Marking: Use tailor’s tacks or erasable mark- ing pencils. Test on a fabric scrap first. overedge OStitching: Use polyester or cotton-covered polyester thread. If you are using a straight stitch machine, hold fabric both in front and III/Illrlll/I/x: behind the . Stretch the fabric -zr. zL:£./£.IL.¢LLI..4’ : slightly as you sew. overlock OTopstitching: This stitching is not very satisfactory on very stretchy knits. It can be used on moderate stretch fabrics in areas that have been interfaced. oZippers: Use lightweight synthetic coil zip- pers. Use the hand-pick stitch on the outside of the placket to prevent stretching. O Buttonholes: Fuse a small piece of interfac- ing to the wrong side of the fabric. Machine- made buttonholes can be made in stretch On zigzag machines use a narrow zigzag knits. The should not run in the stitch or stretch stitch. Check the fit of the gar- same direction as the stretch; for example, ment first. These stitches are almost impossi- make crosswise buttonholes in lengthwise ble to remove and the needle marks will show. . O : The garment must hang for 24 hours before marking the . Stretch fabrics will \\\ .\\\\\\ stretch! A I / machine blind-stitch gives more .I/ I. stretch into the hem. Other I hems to use are Ill-"L AHI"\\\.lll fused, tailor’s hem and double edge-stitched - hems. \\\\ Will-iii.\\\\\\\\\\ \\\\ \\\\\ lllL‘illi MATCHING STRIPES AND PLAIDS \\‘\\\\\ ill-l-\\\-/ Both striped and plaid fabrics need extra planning in the layout before any cutting is done! \\\\\\\\ Sewing Hints

0 Selection: Plaids, stripes and checks can add much interest to a garment if you plan careful- ly. Use the “with nap” yardage chart to buy the correct amount of fabric. Extra fabric is needed for matching the design. Fabrics with checks are matched if the checkIS 1/4” (6.35 matching even plaids mm) or larger. in shirt with yoke, OEVEN Plaids and Stripes. The design is collar balanced in both lengthwise and crosswise directions. I I I I OUNEVEN Plaids and Stripes: The design is unbalanced in either or both lengthwise and crosswise directions. \~\“"\\\\ r ,‘ .“\\\~'lH I.liIIIII\\“ \ \ ’.\\\\,‘\'|1I w I ll , ‘m\\\\\ ll I H— _ -_}, ll I/ ll— \\\\,\ I \\ \\\\\'\\ \\\ H Iz H, I :l‘ . ~.“\ \\\\ l \\\\\:\..

\\\\\\\ l I I I I even plaid uneven plaid \\\\ \\\ \‘ \\\\ \\\\\.\\\\\‘ \\‘

OPattern: Select simple designs, few pattern [I'll lllllllllllllfplllll'\\\\\\ pieces and seams. 0Avoid circular design lines in the garment (for example, rounded yokes), princess lines, matching even plaids and gores. in A—line skirt OSome patterns state that they are “not suitable for plaids or stripes.” a. Dominant vertical lines: Place at Center 0 Layout: Make all pattern alterations first. Front (CF) or Center Back (CB) or place 0Use the “with nap” layout for uneven plaids at equal distances on both sides of CF. and stripes. Continue the plan you select in the OMatch design lines on the stitching line of yokes, collars and pockets. The domi- pattern pieces, not the cutting line. nant vertical line is centered on the 0Pockets and other details can be cut on the sleeve. bias for decorative effects instead of match- Dominant crosswise lines: Place just ing placement on the garment. below the shoulders on the bodice front; 0The main pattern piece is placed first; for ex- at straight or slightly curved . ample, shirt front. Two piece outfits should match at the OConsider the placement of the dominant point where they overlap; for example, design lines: jacket to vest, jacket to skirt or slacks. 10 correct matching of even plaids in suit

Where To Match: drawing line through point of notch for Horizontal lines are matched at CF and CB when exact plaid matching there are seams or openings. Side seams are OPIace the second pattern piece on the fabric, matched from the notch down (A) below the under- matching the traced lines and colors to the arm seam on bodice and (B) below the hipline on fabric. skirts and slacks. Sleeves and bodice are matched OContinue this process until all the pattern has at the front armhole notch. The back armhole been placed. notch usually will not match. 0 Cutting: Before doing the layout follow these instructions: Match vertical lines and check placement at: EVEN Plaids: Fold fabric in half (A) the waistline seam, CF and CB. lengthwise. OStab pin through double layers of fabric to (B) collar and yoke, CB or CF. match design lines. When the garment has a CF closure, the design is matched on the CF line, not on the foldline or seam for the . 0 Matching: Place the main pattern piece on the fabric with the CF on the dominant line you have decided to use. OCaution: Avoid dominant lines at bust, hips, stomach or any other area where you do not stab pinning want to call attention. -Pin or baste in place so fabric does not shift. -Pin in place observing the grainline. -With a ruler draw a line through the point of the notch. This line can then be matched to a line in the design. OThe main lines of the design can be traced onto the paper pattern. Use different colored pencils and a ruler. Match these lines to the fabric. OPIace the pattern piece to be matched over the first pattern piece. Lap and match seamlines with the same notch number. Trace the design onto the second pattern piece. mirror image uneven plaids

11 UNEVEN Plaids: For a “mirror-image”,effect: o Basting: Use slip basting to help in matching OSelect a pattern with a CF or CB seam or fabric lines on seams, details. (See opening. “Vocabulary.”) Double adhesive tape may OCut main pattern pieces one side at a time also be used. on a single layer of fabric. For the opposite 0 Stitching: Use a roller foot or reduce pressure sides reverse and turn pattern pieces upside on the presser foot so both layers of fabric down before cutting again. feed evenlythrough the machine. Match color of thread, zipper and seam tape to the background color of the fabric.

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Obviously, if the zipper won’t zip and the The fabric lies flat and smooth across the don’t meet the buttonholes, the garment doesn’t body. Crosswise wrinkles tell you the gar- fit. It is also easy to decide if a garment is too long ment is too tight either above or below that or too short. But, does your garment really have area. Diagonal wrinkles will lead you to body a professional fit? The following guides tell you curves where the garment is too tight. how to recognize a well-fitting garment. 7. The shoulder seam lies on top of the shoulder plane and ends at the edge of the FITTING GUIDES shoulder socket. side CF and CB seams/grainline are perpen- seams, CF & CB seams perpendicular dicular to the floor. This is also true for under-- to floor arm seams and vertical design lines like . Crosswise grainline on the chest, hips and sleeves is parallel to the floor. If it pulls up on one side, you need more length and/or width in the garment. If it falls down you have too much length and/or width in the garment. Hemlines and circumference design lines like the waistline seam are parallel to the floor. The lies flat and smooth against the body. Waistline seam falls at the natural body waistline. shoulder seam lies on top of shoulder, ends at shoulder socket

\lk crosswise grainline on chest, hips, sleeves /¥ parallel to floor ‘ u Ia.

solid line = seam line ------broken line = grainline

12 All darts point toward the body bulge but end FITTING ACTIVITY short of the curve’s apex. (Examples of body curves: bust, hipbone, shoulder blade and 1. To check the fit of a garment you will want elbow.) to make a “plumb bob.” You need about 5 The shoulder seam and the under-arm seam feet of cord or string and a metal weight. The of the bodice and skirt should appear to be weight may be a plumber’s bob, a drapery a continuous line. This line should also seem weight, or any object with weight to which to divide the front and back half of the body you can tie a string. equally.

If the seam does not fall perpendicular to the floor, either the front or back is too narrow someplace. 10. The garment should appear to be balanced on the body. Example: A skirt should hang the same distance from the legs from right to left and front to back. The same is true of a sleeve.

A garment should not “poke out” more on one part of the body than it does on another. If it does, you will usually see diagonal wrinkles. They will point to the part of the , plumb bob body where the garment is too snug. 11. The garment should have enough ease to allow for freedom of movement. Before stitching the garment together, mark 12. The pant-crotch seam should fit smoothly the crosswise and lengthwise grainlines with with room for sitting and bending but without an uneven basting stitch. Be sure to use bagging. Diagonal wrinkles in the crotch area white darning cotton or a pastel color that indicate that the crotch length is too short. will not leave a different color mark on your 13. Check armhole size. The depth should be 1” garment. This is very important because the from underarm to the stitching line. steam from pressing could transfer the thread color to the garment--permanently!

If you try this method in a basic muslin, you may mark the grainline with atracing wheel and carbon. Where to Mark Grainline: a. Lengthwise grainline: CF and CB fold lines of bodice and skirt. Sleeve from the top of the shoulder to the elbow. b. Crosswise grainline: Shirt or bodice front: across the chest from breast point to breast point. Shirt or bodice back: across the back from shoulder blade to shoulder blade. Hipline: 7 to 9 inches (17.8 cm - 22.9 cm) below the waistline from hipbone to hipbone. Sleeve: from under-arm seam to under- arm seam. Try on your garment or muslin. Using the “plumb bob” check the lengthwise seam against the plumb line. The pull of gravity on the weight will make the string fall in a garment that does not fit correctly perpendicular line to the floor.

13 marking /ine: sleeves, shoulder point to elbow, underarm seam to underarm seam plumb bob underneath armholes

plumb bob at neckline

crosswise marking crosswise marking breast point to shoulder blade to breast point shoulder blade

FITTING PROBLEMS Once you have identified a fitting problem you will Below are some common fitting problems and need to check references for ways to correct the solutions. This is only a sampling but they will help pattern. Ask your parent and 4-H leader for help. you begin to recognize and correct fitting problems.

Problem Solution Sloping Shoulder:

Wrinkles from the armhole to the neckline. Can Re-angle the shoulder seam, front and back. be picked up in a triangular fold. Lower the armhole seam. Try shoulder pads in a garment. Solid Line = Seamline ------’- - Broken Line = Grainline Problem Solution Square Shoulder:

tissue_

master pattern

Crosswise wrinkles near the neck area run from Redraw the shoulder seam so there is less angle. armhole to armhole. Armhole feels tight under the Redraw the armhole to keep its original shape. arm. -

Narrow Shoulder:

Slash front and back pattern from shoulder seam to armhole. Fold over the amount needed to Armhole seam falls beyond the end of the reduce the shoulder length. Redraw stitching and shoulder. Wrinkles in upper arm area of sleeve. cutting lines.

Wide Shoulder:

Garment is tight through shoulders. Armhole seam Slash front and back pattern from shoulder seam pulls toward the neck. Wrinkles in sleeve cap. to armhole. Spread pattern apart the amount needed. Insert tissue paper. Redraw seam and stitching lines.

Large Armhole: tissue

master pattern

insert tissue paper in the lower armhole area. Raise the under-arm seam ofthe pattern, front and back. Redraw armhole curve up to the notch. The More than 1” (2.5 cm) between the body and the same change must be made in the under-arm armhole seam when the arm is down at the side. seam of the sleeve.

15 Problem Solution Bust Too High or Too Low: Dart Too High Dart Too Low

\ \ , Ja— \ XIl ’1’xl l Draw a rectangle around the dart. Lines will be l l about 1/2” above and below the dart at the side l l seam. Cut out rectangle. Place tissue paper under pattern. Move the cut-out dart up or down as Darts do not point toward the fullest part of the needed. Tape in place. Fold in dart and redraw body curve. Decide how much the dart needs to the under-arm seam. Waistline darts may need to be raised or lowered. Darts will stop about 1” (2.5 be lengthened if the dart is raised, or shortened cm) from the apex of the body curve. if the under-arm dart is lowered.

Large Shoulder Blades:

Wrinkles across the back at the shoulder blades. Slash back through the shoulder dart. Go down Armhole seam pulled out of line. Garment feels and across the pattern about 1” (2.5 cm) below tight when arms are raised. the armhole. Spread pattern: insert tissue paper and tape. Redraw dart to increase its size. Shoulder length will not be changed. Redraw the under-arm seam. Sway Back:

Crosswise wrinkles in back below the waistline and Shorten the center back seam, tapering to nothing above the hips. at the side seams. Darts may need to be short- ened. Redraw the center back seam.

16 Problem Solution Protruding Hipbones:

\/ \ 7‘\‘ I First, move darts to fit the body curve. Next, does Pulls across the front at the hipbones. Look for the depth of the darts need to be increased? If so, diagonal wrinkles and check to see if the darts you can redraw the darts and add to the side seam point toward the hipbone. to make the waistline its original size.

Pants: Crotch depth* (A) To increase: back

39/ crotch line Diagonal wrinkles in the crotch area. Waistline of To both pattern front and back, slash and spread pants falls below the natural waistline. the pattern on the adjustment line as you would for any length change. Redraw seamlines. (B) To decrease:

Crotch line falls too low and makes walking or sit- Make a crosswise fold on the adjustment line 1/2 ting uncomfortable. the amount to be shortened. Redraw seams. Pants: Crotch length (A) To increase: tissue paper back crotch line Crotch area is tight; horizontal wrinkles. Figure . back usually has large buttocks or a prominent ab- 9’ Length may be added at the crotch point. Add domen. Make the pattern change either on the tissue paper; draw a new line extending the front or back depending upon the problem. crotch seam the amount needed. Redraw the inseam to taper back to the original seam *Crotch depth is always altered first since it af- above the knee. fects the curve of the crotch seam and side seam b. Additional length on large buttocks may be curve. Make other pattern changes after correct- added at the waist and tapered to the side ing the crotch depth. seam.

17 Problem Solution

(B) To decrease:

crotch line

Bagginess in the crotch area. This figure has flat Shorten the crotch seam at the crotch point. buttocks. Redraw the inseam.

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BASTING STITCHES 1 to 2” (2.5 cm - 5.1 cm) long, but the short cross stitch will not be more than 1/2” (12.7 mm) in Slip-Basting: Useful when matching plaids or length. Rows are worked vertically and about 1” other designs at the seamline. This is also a good (2.5 cm) apart. Do not tailor-baste in the seam stitch to use when fitting a garment. Changes may allowance, darts or buttonhole areas. be made while the person is wearing the garment. Work is done from the right side of the fabric. Press under one seam allowance. Lay the folded L edge along the stitching line of the corresponding garment piece. Match design and pin in place. Slip-baste from right to left. Take a small stitch through the underpiece. Bring the needle up and through the folded edge, then back into the under- piece. Remove pins as you go. Take stitches that are about 1/4” (6.35 mm) to 3/8” (9.525 mm) in length. Machine stitch the seam from the wrong side of the fabric.

tailor-basting

slip basting BIAS BINDING

When applied correctly the bias binding will lie flat and smooth with no wrinkles. It will be even in Tailor-Basting: This is sometimes called diagonal width and have invisible stitching with the seams basting and is used in tailoring or to hold two layers joined on the grain. of fabric together until permanent stitching and pressing have been done. Bias stretches, and this principle is used to ad- vantage when going around both inside (concave) Use a single thickness of thread and start with a and outside (convex) curves. On an outside curve small back stitch. The diagonal stitch may be from the binding is eased' to the stitching line as it is

18 Joining: It is often necessary to join strips to get a piece that is long enough. Place two strips with scallops are right sides together. The strips will form a right convex (outside) angle. The points will overlap but the fabric edges curves will meet on the stitching line. Stitch a 1/2” (12.7 mm) seam, press open, trim to 1/4 ” (6.35 mm) and clip off the points that show.

and armholes are concave (inside) curves right side\\right side

trim 1‘». l l 06’ right Side \ Q»5’. § \ ’" pinned in place.* You should have tiny puckers o l l l in the binding between the pins. As you stitch (3 3 joming bias slightly stretch the garment. The binding will now ‘L’. 3 be long enough to go over the outside edge. % Binding Edges: Check your pattern instructions, On an inside curve, the bias binding must be however, the following method is generally used. stretched as it is stitched in place. In areas that On the piece to be bound, stitch 3/4” (19.05 mm) have been stitched, clip the garment seam and from the raw edge. Trim off the 5/8” (15.9 mm) it will be easier to apply the bias binding. seam allowance. Stitch the binding to the garment, right sides together. Fold the binding over the raw Cutting Your Own: Fold the fabric so the edge, turn under the binding seam allowance and crosswise grain lies on top of the lengthwise grain. hand stitch in place on the underside of the gar- This gives you a diagonal line that is the true bias. ment. If the binding has been folded off-center with the longer side placed underneath, you can Press and out along the fold line or mark the fold “stitch-in-the-ditch“ to finish. with chalk before cutting. Mark off the width of the strips to be cut. Then out and join the bias strips. Finishing Ends: Before stitching, fold under one end of the 1/2” (12.7 mm) on the straight grain. The width of the bias strip is figured by doubling (This gives you a diagonal line.) Stitch this folded the finished width and adding two seam end in place as you begin. As you finish the allowances. Check your pattern instructions. binding, the second end is left unfolded and cut on the straight grain. Lap this end over the first cutting bias for about 1/2” (12.7 mm). Continue to stitch binding in place. finishing ends

selvage turn under 1/2 ”

BIAS *Remember “concentric circles” from Manual II? In the example above the outside curve is longer This time a double bias strip is inserted into a than the line where the binding will be stitched. seam. It decorates and gives a professional finish The opposite is true on an inside curve. to collars, cuffs and pockets or wherever used.

19 Cut the bias strip doubled the desired width plus ( basic muslin two 5/8” (15.9 mm) seam allowances. Fold in half H Um lengthwise with the right side out. The piping may be used plain or corded. Corded Piping: A cord is inserted along the lengthwise fold. Use a zipper foot and stitch close to the cord.

5/8 seam P’p’"9 Stitching in Place: Piping must be applied to the right side of the upper garment piece before the sections are stitched together. Match the seam allowances, and pin or baste in place. Clip the pip- ing seam allowance as needed to go around neckline and awaistline seam. Some patterns may curves. Use a zipper foot to stitch in place. include a sheath basic with no waistline. A basic stitching in place pants pattern would have a fitted waistband, a . "‘1 placket opening, darts or pleats, and a straight leg. E right side El A trial muslin can be made from the garment pat- tern you are using. Select a fabric similar to the finished garment. clip curves pocket flap The muslin offers the advantage of being able to slash it to correct fitting problems. The muslin is Finishing Ends: On one end clip out 1” (2.5 cm) constructed with machine basting and the edges of cord and fold under 1/2” (12.7 mm) of bias strip. are left unfinished (neck, hem and zipper placket). Stitch this edge to the garment but begin 1” (2.5 cm) back of the folded edge. To join the second end, let it lap over the folded edge. The cord ends SEAMS should butt one another. Enclose the raw edge with the bias and continue stitching. Try to place Flat-Fell: This is a very strong seam and is often the ends at a seam or someplace that is not too used in sportswear, pajamas, shirts and children’s noticeable. \ clothes. Since the stitching is on the right side, it is also a decorative seam. Care must be taken to have a uniform width and straight stitching. A plain seam is sewn on the right side of the fabric. L____-__ Press open, then to one side. Trim inner seam to 1/8” (3.17 mm) or 3/16” (4.76 mm). Press under joining ends of piping outer seam to one-half its width. Baste in place if necessary. Stitch along folded edge through all fabric laYers. /

MUSLIN ____/ -' 6 A garment made up from a basic pattern and used to define and correct fitting problems. It may be made from a preshrunk muslin fabric--hence the ..__.._-___ name “muslin.” However, a 1/4” (6.35 mm) gingham check works well because you do not have a draw in the grainlines.

Most pattern companies sell a basic or master pat- tern. The dress will have long set-in sleeves, a high _ flat-fell seam

20 Self-Bound: This method works well on SHOULDER PADS lightweight fabrics that ravel easily. The use of shoulder pads comes and goes with To Stitch: Make a plain seam on the inside of the fashion. However, they can always be used suc- garment. Press seam open, then to one side. Trim cessfully to correct fitting problems; for example, inner seam allowance to 1/8” (3.17 mm). Turn one shoulder lower than the other or add width to under edge of other seam allowance 1/8” (3.17 narrow shoulders. The pad will also help keep the mm). This folded edge is turned over the raw edge shape of the shoulder-line in garments. until it meets the seamline. The inner seam allowance is not enclosed. Press. Stitch close to A shoulder pad is a triangular shape with a sharp the folded edge either by hand or machine. point or rounded point. Most of the padding bulk is kept at the end of the shoulder and is layered to nothing at the point. Various sizes and shapes may be purchased or you may make your own us- ing a polyester batting. See Techniques for Tailor- wrong side ing, HE 82, on how to insert and make your own self-bound shoulder pads. SEAM FINISHES Hong Kong: Used as both a hem and a seam finish, it gives a couture (high fashion) look to the inside of the garment. It is suitable for most fabrics. The raw edge is bound with a bias strip of lightweight fabric. If you out your own strips, make them 1” (2.5 cm) wide.

With raw edges even, stitch the bias to the hem or seam 1/4” (6.35 mm) from the edge, right sides STITCHING together. Trim the seam allowance to 1/8” (3.17 mm). Press the bias strip up if a hem; to the side Continuous Stitching: As one seam is stitched, if a seam. Fold the bias strip over the raw edge back or at the end. Do not cut the to enclose it. Pin in place. Use the “stitch-in-the- threads, but feed in the next section to be stitched. ditch” method to secure the bias to the hem or Sections are cut apart later. When appropriate, seam. this technique can save time and increase efficiency. Hong Kong

21 Top-stitching: Usually done as a decorative stitch UNIT CONSTRUCTION to emphasize the structural lines of a garment; for example, pockets, collars, necklines, yoke and Each part (unit) of the garment is completed as placket lines. far as possible before being attached to another. The units consist of: Use a size #14 or #16 needle, a longer stitch length and a thread that is suitable for your fabric. Us- bodice front and back collars ing a double thread makes the stitching show up better. If your machine does not have two thread skirt front and back facings spindles, fill two and put them on top of each other. Buttonhole twist thread may be used sleeves pockets either on top or in the depending upon your sewing machine. Machine tension will need to be cuffs waistband adjusted so try out a sample with the number of layers the garment will have. slack front and back. Top-stitching needs to be even in width. Use a bodice front seam guide, quilting foot or tape to judge the width. Pivot the needle at corners. Curves may U U need to be marked with a basting line before Mil stitching. skirt front

vests bodice back

d5? sleeves

collar slack Q cuffs facings front . collars yokes pockets top stitching

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The projects at Level III should be selected to in- crease your sewing skills. You will also repeat and improve some techniques learned in Manuals | and II. Your projects should give you experience in: Some Suggested Garments: Matching plaids and stripes Sewing on knits and stretch fabrics tailored shirts Cutting and sewing short-pile fabrics swimsuits Using interfacings children’s clothing Bound and welt pockets vests Lining garments garments with detailed construction Collars test garment for fitting evening attire Bias pipings sleepwear Hong-Kong finish jeans

22 Model. Demonstrate. Enter judging contests and fashion revues. Share knowledge with family and friends. Use sewing knowledge when shopping for ready- to-wear clothes. Expand fabric care knowledge. Start a sewing file. Keep a record of your activities, savings and losses. Update your long-time record book.

23 north carolina AGRICULTURAL EXTENSION SERVICE

Prepared by Extension Clothing Specialists

Published by THE NORTH CAROLINA AGRICULTURAL EXTENSION SERVICE North Carolina State University at Raleigh. North Carolina Agricultural and Technical State University at Greensboro. and the U. S. Department of Agriculture, Cooperating. State University Station, Raleigh, N. 0., Chester D. Black. Director. Distributed in furtherance of the Acts of Congress of May 8 and June 30, 1914. The North Carolina Agricultural Extension Service offers its programs to all eligible persons regardless of race, color. or national origin, and is an equal opportunity employer.

6-84-4M 4H M-6-21