COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION

o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.

o NonCommercial — You may not use the material for commercial purposes.

o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.

How to cite this thesis

Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujdigispace.uj.ac.za (Accessed: Date). L TECHNIKON WtTWATERSRAND LIBRARY/BIBLIOTEEK

Di. iflfle.,*ydpiih.W II. bo&.a $ 15 Øe. Wbi uI,Oi Øi. 0; c.c wan mPs.dipIdg. As ' I.ut doe bc.k is vielfydonq vs,i Pi4.di. td .'k Sanger wU hoI. Snag doe uifl..ntydp.fli wsit.rØ word. I.,sy 0w6.o bo. ø.,i •, sndet hd b.sp'.s& tt.

Th. time CflOwd toi the hiding of so booI t.l Z6sys mcIudi.g 1Pa day and of hetIJrn. It the bouo.r hU not finished reading the book at the .rad of the period .IIw,d. 1 irily thin be r.n.w.d. Pioid.d the boot is not baiPG..Sr by any

ANTOS

REFERENCE NOT TO BE TAKEN_OUT NASLAAN MAG NIE UITGENEEM WORD NIE ,.k op .nv

Memb.r$ IT. &pcety t•OIAII•ø riot tA dop-er. G.t.e. DuTwtfle%• ths bc - çr L COMPLIANCE TV .ENTS FOR THE 1 k . dMA IN CLOTHING DESIGN, SCHOOL OF ART AND DESIGN, TE CHNIKON WTTWATERSRAND

NOVEMBER 1994 INTRODUCTION

The theme for this dissertation has been specificall y selected with a view to assisting second and third year students stud ying Garment Technolog y. It concentrates primaril y on some of the newer ideas and specialized techni ques which are being utilized b y certain manufacturers, hih otherwise are not covered in the normal discourse of the hand and text b00k5 readil y available to the students.

The suggestions and methods covered in this work have been sourced directl y from the workplace of several factories currentl y in full production, as well as from the authors own experience accumulated over several years whilst working with certain well known manufacturers.

Historically, a tailored garment was made up b y a professional who would spend man y hours making tin y hand stitches, to shape the garment. Qualit y and finish were the ke y factors in those da ys, but with little or possibl y no regard to the time that it took to make the garment.

Time, however, has forced tailoring as well as all other facets of the clothing industr y to undergo a complete metamorphosis. Faster and better methods have evolved over the years to increase production output, even toda y designers and manufacturers alike consistentl y strive to improve them even further so as to ultimatel y attain maximum financial returns.

Tailoring has also been affected b y major technological advances in machinery, fabrics, dyes, colours and even fusings. The introduction of softer lines coupled with modern directions of design and even clever innovations such as softer shoulders pads, too have pla yed a role in bringing about such change.

It is inevitable then that with all these advancements taking place, certain problem areas invariably also would arise. Thus the purpose of this work then is not onl y to convey to the students some of the newer ideas and specialized techni ques which are being utilized b y certain manufacturers, but also how they have rectified those problem areas that have arisen.

In conclusion I wish to express my sincere appreciation and immense gratitude to all those persons who have been able to inform and assist me with material for the completion of this dissertation.

In particular I would like to mention Messr's K& R CLOTHING for the time they made available to allow me to view their manufacturing processes. CONTENTS

PAGE 1 GENERAL HINTS 1.0

a. Calico Sample 1.2 L. Pile Fabric 1.2 C. Easing in 1.2 Fusing 1.3 cl.1 allowances 1.3 d.2 Colour 1.4 Shoulder Pads 1.4 Pressing Techniques 1.5 f.i Under Pressing and Top Pressing 1.6

Pattern - Checked/Striped Fabrics 1.6 ii. Fabric Loops 1.7 h.i Making the tubing 1.7

2 CUTTING OUT 2.0

a. Factors to consider before cutting the material 2.2 a. 1 Cost of the gannent 2.2 a.2 Patterns 2.2 a.3 Suitability of pattern to fabric 2.3 a.4 Fabric alignment 2.3 a.5 Fabric that may shrink 2.6 a.6 Laying out fabric which has nap 2.6 b. Laying out 2.7 C. Tracing patterns 2.9 d. Checks and stripes 2.12

3 JACKET POCKETS 3.0

a. The welt pocket 3.2 a. 1 Instructions to position and draft 3.2 a.2 Construction 3.4 b. The Jetted Pocket 3.11 b. 1 Instructions to position and draft 3.11 b.2 Material components 3.12 b.3 Preparing and stitching in the 3.13 b.4 Preparing and stitching in the pocketing 3.18

C. The Jetted Pocket with flap 3.22 c.l Instructions to position and draft 3.26 d. The patch pocket 3.26 d.i Instructions to position and draft 3.26 PAGE 4 THE STRUCTURED LINEDJACKET 4.0

a. Factors to consider before cutting material 4.2 h. Fusing of the jacket 4.3 C. Making the tailored jacket 4.18 c.i Front darts and pockets 4.18 c.2 Haircioth and felt 4.20 c.3 Sleeve vent 4.22 c.3.1 Topvent 4.22 c.3.2 Undervent 4.23 c.4 Setting in of sleeves 4.23 c.5 Shoulder pads 4.26 c.6 Springroll 4.27 c.7 The collar and the 4.28 c.8 Sewing the lining to the jacket and completing the collar and 4.31 d. Finishing 4.35 e. Pressing 4.37 f. Final pressing 4.38 f.i On inside of jacket 4.39 f.2 On outside of jacket 4.39 f.3 Sleeves 4.39 g. and 4.42 g.1 Setting the buttons 4.44 g.2 The bias bound 4.47

PARTIAL LINED AND UNLINED JACKETS 5.0

Introduction 5.2

Construction techniques - Practical lined jacket 5.3 b.i Fronts 5.5 b.2 Pockets bags 5.6 b.3 Front 5.6

C. Construction techniques - Unlined jacket 5.7 c.1 Fronts, pocket bags and front facings 5.7 c.2 Sleeveless jacket 5.7 c.3 Sleeved jacket 5.8 c.4 Finishing off 5.9 c.5 Peak 5.10 c.ô Simulated two-piece sleeve 5.11

me TAILORED TROUSERS - MENSWEAR 6.0

a. The slanted side pocket 6.2 a.l Instructions to position and draft 6.2 a.2 Preparing and stitching 6.4 PAGE a.2.l Preparing the hip piece and pocket bag 6.4 a.2.2 The foidback pocket mouth facing 6.4 a.2.3 Sewing the pocketing to foidhack facing 6.5 a.2.4 Closing the pocket bag 6.6 a.2.5 Closing the sideseam 6.7

The tailored 6.8 b. 1 Instructions to position and draft 6.8 b.2 Preparing and stitching 6.9 C. The back jetted pocket 6.13 c.1 Instructions to position and draft 6.13 The tailored trouser waistband 6.18 d.i Belt ioops 6.18 d.2 Preparing and stitching the waistband 6.18 e The lined trouser 6.22 f. Ladies Pants 6.23 1.0 cri romm

General Hints 1.1 CONTE NTS

A. CALICO SAMPLE 1.2

B. PILE FABRIC 1.2

C. EASING IN 1.2

D. FUSING 1.3 D.1 Seam allowances 1.3 D.2 Colour 1.4

E. SHOULDER PADS 1.4

F. PRESSING TECHNIQUES 1.5 F.1 Under pressing and top pressing 1.6

G. PAUERN - CHECKED/STRIPED FABRICS 1.6

H. FABRIC LOOPS 1.7 H.1 Making the tuling 1.7 1.2 CALICO SAMPLE

It is strongly recommended that patterns made b y students first be in calico. In this way fitting and other problem areas can be experimented with and rectified before going on to the costly fashion fabric itself.

PILE FABRIC (VELVET)

When using a pile fabric, sew in the direction of the pile to avoid distorting the pile. Since most pile fabrics tend to slip and feed unevenly, always by hand before machine stitching. The seams can only be sewn once, as removed stitches may leave holes. A fine needle must be used.

Do not press the seams unless you are 100 % sure that it needn't be altered. Use a needleboard for pressing, place the pile down on the board and press lightly on the wrong side.

EASING IN

Remember when sewing to always keep the bigger part that needs to be eased in, at the bottom.

The feed-dog helps to in the excess when the top is held tight. 1.3 D. FUSING

D. 1 SEAM ALLOWANCES

If very loosely woven fabrics such as silks and natural linens are to be used, then all seam allowances should be fused 1.5 cm so as to bond the together to prevent seam slippage and edge fray. the seams 1 cm and press open, in this way fusing is concealed under the seam.

In a partial lined jacket the armhole, neck, front shield and shoulder areas should all be fused so as to create stability.

The lining will cover the fusing. Refer section five - Partial and unlined jackets. 1.4 D.2 COLOUR

Always select the colour of the fusing as close as possible to match the fabric being used. Black, grey ecru and whites are currently available.

Do not use a white fusing on a black jacket since the fusing will show through, for example when the buttonholes are made.

Always test your choice of fusing for each different fabric, as each one may react differently to the next.

E. SHOULDER PADS

When making a jacket always use a good quality shoulder pad. The shaped type made of felt for mens jackets are the best.

Ladies jackets are currently being made with extended but very rounded shoulders, still with shoulder pads but keeping them very soft and rounded. The armholes are kept loose, the easing in the sleevehead to a minimum and a very soft raglan pad inserted into the set-in sleeve, provides for a very rounded shoulder. 1.5 F. PRESSING TECHNIQUES

Pressing is an integral part of the tailoring process. Besides ridding the fabric of wrinkles, and producing neat, flat darts and seamlines, the iron is used in tailoring to gently shape the fabric. Using heat, moisture and pressure, fabric which is suitable for tailoring can be shrunk in some areas and stretched in others, so that it will hang most gracefully as a finished garment.

The amount of heat, moisture and pressure necessary to accomplish your job depends upon the weight and quality of your fabric. Therefore, before using the iron on your fabric, it is essential that you pretest, using a fabric scrap. If your heat setting is too high, the fabric fibres will flatten out and produce an unattractive shine. If your presscloth is too wet, the fabric will shrink and matt.

Wool fabric is very vulnerable when damp. Therefore, rather than pulling the iron back and forth over the fabric, and stretching the fabric off grain, the iron is placed and lifted, placed and lifted, etc. A presscloth is always needed between the iron and the garment fabric to prevent damage to the fabric.

Flat seams can be safely pressed on flat surfaces. However, if a curved area of the garment is placed on a flat surface for steam pressing, and restricted by the flat surface of the hot iron, the fullness in the fabric will shrink as much as it can, in order to fit into this limited space. For this reason, curved areas of the garment are laid over a tailor's ham so that the ham might fill out the shape of the garment. Steam pressing a curved area in this manner will not result in shrinkage, since the fabric is being pressed in conformity with its own shape.

Using a dry iron, the best procedure for pressing is to cover the fabric with a uniformly damp (not dripping) presscloth, and then to lay the hot iron on the presscloth until steam is produced. Pressure is added while the fabric is being steamed. Remove the iron and presscloth while the steam is still being produced. If you are pressing a curved area of the garment, allow the fabric to lay over the ham for a few minutes while it dries. If the ham is stuffed with sawdust the wood particles will absorb the moisture fairly quickly. After pressing flat areas of the garment, the fabric can simply be hung up to dry. Drying the fabric completely before lifting the iron, will flatten out the wool fibres and rob the fabric of its life. 1.6 F. 1 UNDER PRESSING AND TOP PRESSING

Under pressing must be done from the inside of the garment whilst making the garment. Top pressing is done after the garment is completed.

A teflon shoe is ideal for this failing which a pressing cloth must be used.

G. PATTERN -_CHECKED/STRIPED FABRICS

The best pattern to use for check or striped fabric is one which eliminates the seam below the pocket, by using a instead of a separate panel. 1.7 H. FABRIC LOOPS

Button loops may be substituted for buttonholes, providing the loops are in accord with the design of the garment. Buttonholes are not workable in some fabrics, such as a fabric with heavy crosswise slub yams. Hence, loops may serve as an appropriate answer for a closing.

H. 1 MAKING THE TUBING

The well-made loop or tubing is round like a cord. If it is flat, it indicates that the tubing is not well filled. This may be altered by saving more inside the tubing, by using a larger cord when making the tubing, or by stitching closer to the cord.

It is always advisable to make a sample to determine the desired size of tubing before making longer cords for the loops. To make corded tubing from your fashion fabric, at a true bias strip 2,5 cm to 5 cm wide and the length desired. It is easier to make one long strip and then cut into the desired length for each ioop. Obtain a cable cord (which becomes a filler inside the tubing) that is more than twice the length of the as strip. The bias strip will become longer if it is stretched in stitching, hence the need of a longer cord. If there will be little strain on the loop or some stretch is desired, omit the cord and let the seam allowance serve as the filler.

Fold the bias over the cord , wrong side out, with cut edges matching and half of the length of the cord inside the bias strip. using a foot, sew across the end then turn and make a funnel as you stitch downward. The funnel provides more room for starting the turn of the tube. Hold the edges of the bias together while stitching. Stitch close to the cord, but be careful that you do not catch into it. Stretch the bias as you stitch, pulling from both ends. If you do not stretch the bias at this time, the threads of the stitching will break when the tube is stretched in turnings.

Trim extra seam away where cord was attached at top. This will reduce bulk at the starting point, thus making it easier to get the fabric started in turning.

Gradually push the fabric up over the place where the cord is attached, thus pulling the fabric right side out and encasing the opposite end of the cord inside the bias strip, continue pushing the fabric gradually over the cord, not allowing it to become bunched in one place or you will find it almost impossible to turn. 2.0

SECTION TWO

Cutting Out 2.1 CONTENTS

A. FACTORS TO CONSIDER BEFORE CW1ING THE MATERIAL 2.2 A.l Cost of the garment 2.2 A.2 Patterns 2.2 A.3 Suitability of Pattern to fabric 2.3 A.4 Fabric grain alignment 2.3 A.5 Fabrics that may shrink 2.5 A.6 Laying out fabric which has nap 2.6

B. LAYING OUT 2.7 TRACING PAFERNS 2.8

CHECKS AND STRIPES 2.12 2.2 A. FACTORS TO CONSIDER BEFORE CUYFING THE MATERIAL

A.l COST OF THE GARMENT

Even at this stage when you are ready to start cutting the material, it will be worth the while to quickly run through and check that all the factors which could affect the success of the garment have been covered.

Whilst it is out of the scope of this work to expand on all the points, I would like to briefly list the following:

Is the garment correctly market or customer targeted?

Is the overall garment cost, (including overheads) properly balanced in relation to the expected selling price?

Some manufacturers work to a set formula which includes for all making up and an allowance to cover overheads. Individual designers could also make use of a formula, but great care must be taken to adjust the variables each time such as the price of the fabric and the anticipated labour time. The fixed costs such as labour rates per hour and overhead costs would stay the same.

A.2 PAYI'ERNS

Patterns should always be made in a reasonably stiff pattern card, especially if they are going to be used for long production runs.

The savings that might be made by using thinner and therefore cheaper pattern card do not warrant the problems that will come up later. Thinner card tends to bend, fold and tear very easily and generally has a very short life. Most importantly they do not have a stiff and therefore stable edge to mark the fabric off against, which can easily lead to discrepancies in panel sizes. 2.3 A.3 SUITABILITY OF PATTERN TO THE FABRIC

Great care must be taken when deciding on fabric and pattern combinations since they do not automatically go together. Some pattern styles simply just will not work with certain fabrics be it the weight, type of weave, type of fibre, grain, texture or even a combination of two or more of any of these or other characteristics.

A.4 STRAIGHTENING THE GRAIN

The grain alignment of the fabric must be checked before any cutting of the fabric is to take place, as the grain plays a very important role in the hang of the finished garment. In essence what you need to do is to check to see that the crosswise threads and the lengthwise threads are running at right angles or perpendicular to each other.

To check the grain alignment, pull a crosswise form selvedge to selvedge, across either end of the fabric. Do this at the very end of you fabric yardage so as to avoid any damage or wastage of the fabric. 2.4 The puckering along the pulled thread indicates the exact line of the crossgrain. Cut the fabric along the puckered thread at either end.

Fold the fabric selvedge to selvedge, right sided together. See if the fabric will lie comfortably in a perfect rectangle.

If it will not then the crosswise and lengthwise threads are no longer running at right angles or perpendicular to each other. The fabric is therefore off grain and must be coaxed back into place. 2.5 To coax the fabric back into place, the folded fabric into the rectangular shape that it should have. Steam press from selvedge to fold, on the wrong side, until the ripples in the fabric disappear.

fold

--0 - A

-

--0

0--

I I T I I I I I

Washable fabrics which are off grain can be gently pulled back into shape while they are damp. This should be done on a flat surface and a small area at a time. 2.6 A.5 FABRICS THAT MAY SHRINK

Woven natural fibres are susceptible to shrinkage. All woven fabrics which will become part of a garment such as wool canvas , the , the pocketing and the garment fabric itself must also be preshrunk

Even if the fabric is supposed to have been preshrunk it is most advisable that before any cutting takes place, to wash the fabric first. In the case of wool to only steam well and then leave in a relaxed state so as to settle out properly.

A.6 LAYING OUT FABRIC WHICH HAS NAP

In order to establish whether a fabric has nap, run your hand lightly over the fabric on the straight grain firstly in one direction and then in the other. If the fabric feels the same in both directions, then it has no discernible nap.

If there is even the slightest difference to the touch, the fabric has nap and the direction of the nap is the direction in which the fabric feels smoother. The direction of the nap is the direction in which short fibres on the surface of the fabric have been brushed. It is not important that these fibres feel different in one direction than in the other.

What is important is that they reflect light differently and therefore the fabric will have a different colour shading when the fabric is held up in one direction than the other. The difference in colour shading due to nap is often slight and not discernible while working with the fabric flat on a table.

However, if you ignore the nap and for example cut the jacket body with the nap down and the sleeves with the nap up then from a distance it may look like the sleeves have been cut from a completely different fabric. 2.7 The simplest way to avoid such problems is to determine the direction of the nap before you lay out your pattern pieces, to draw arrows on the fabric to indicate the direction of the nap and to cut the pattern so that the nap on all pieces of the finished garment falls in the same direction.

Most fabrics are cut with the nap down and in this way the fabric feels smoother if you run your hand downwards on the front of the jacket than it does it you run your hand upwards. It's almost the same principle as stroking a cat from head to tail.

Velvet is sometimes cut with the nap upwards, because the deep pile catches the light best that way and gives the fabric a rich colour.

If the nap is so slight that you have difficulty in determining which direction is smoother then just simply choose a direction but make sure you mark it quiet clearly.

It is less important to have the direction of the nap correct than it is to cut all the pattern pieces consistently in whichever direction you have chosen.

B. LAYING OUT

When you have your fabric ready, as well on grain and marked for nap, lay out your main pattern pieces with the smaller ones in between. Preferably try to use a nap layout unless you are perhaps short of fabric. It is always safer to use a nap layout especially with wool since colour shading may be discernible in the sunlight and not in your workroom. 2.8 Lay out your pattern pieces with maximim attention to the fabric grain. The grain arrows on each pattern piece should be exactly parallel with the . Measure to check the accuracy of your eye.

It is very important to lay out the patterns as economically as possible because wastage decreases bottom line profits. If large unused spaces occur in the layout then it might be worthwhile to consider changing the pattern such as adding in or taking away seams, panels yokes, etc.

Besides being time consuming the process of pinning patterns to the fabric disrupts the lay of the fabric and so making it very difficult to cut the two layers of fabric identically. Therefore patterns should be made in stiff pattern card but if they are made in thin pattern card then it is best to weigh them down very well. 2.9 C. TRACING PATTERNS

With sharpened clay chalk, the process of tracing around each pattern is easily and accurately done. Sharpen the chalk so that you can produce a thin clean line without the necessity of having to press heavily on the chalk and the fabric. Applying pressure on the chalk instead of sharpening it produces a thick undetermined line and may even disturb the lay of the fabric.

It is suggested that clay tailors chalk rather than chalk with a wax content be used because with chalk you can freely mark on the right side of your fabric without ever worrying that the marks will be permanent. The clay chalklines can be brushed away easily when they are no longer needed. Pressing on top of the chalk lines should be avoided as much as possible as this will render the marks more difficult though not impossible to remove. 2.10 Trace around the jacket front pattern piece indicating all notches. Including the waistline, the collar notch, the top and bottom of the roll line and the front armhole notch.

Mark the darts and the ends of the pocket placement lines by scratching the chalk and letting the dust settle through the holes in the pattern. 2.11 Remove the pattern and cut the fabric, indicating border notches by a snip into the seam allowance no deeper than 3 mm. The best to use for cutting double layers of fabric are bent handle shears. The bottom blade can rest on the table as the fabric is being cut. The blade is in a position to slide along with minimal disruption to the fabric.

Do not try to pull the fabric towards you as you cut since any such movement will damage your careful grainline efforts. After cutting use pattern to transfer markings to underlay. 2.12 D. CHECI(S AND STRIPES

The layout for a check or striped fabric requires very special attention. The horizontal lines at the top of the sleeve front should match those on the body of the jacket. Place the notch on the top sleeve pattern and the front notch on the armhole at identical points on the check design. 2.13 The outer edge of the lapel on the facing should be on the straight of the grain, between two prominent vertical stripes. The stripe should run the whole length of the lapel without veering off on the way. 2.14 The centre back seam, at the neck edge, should not interrupt the pattern of the check. Place the stitchline of the centre back neck edge at the very centre between two vertical stripes on the check.

The collar viewed from the back should not have any break in the check design of the jacket back. Therefore the top collar which is cut after the undercollar is set, should be attached to the undercollar with an eye to continuing both the horizontal and vertical design lines present on the back of the jacket. 2.15 The seamline at the straight part of the jacket front, below the lapel, should not fall on a prominent vertical stripe.

Place the straight portions of the jacket front pattern on the check so that the stitchline falls between two prominent vertical stripes. 2.16 All horizontal bars in a check must match at the seam lines. Place the notches of all seams, which are to be joined, at identical points on the check design. 2.17 The hem foidline on the jacket and skirt should not fall on a prominent horizontal stripe. Place the hem foldline of the jacket front, back and side panel midway between the two prominent horizontal stripes. 2.18 The fold at the top of the pants fly should be between two prominent vertical stripes. Place the notch at the centre front waistline between two prominent vertical stripes. 3.0

SECTION THREI2

jacket Pockets -

3.1 CONTENTS

A. THE WELT POCKET 3.2 A.1 Instructions to position and draFL 3.2 A.2 Construction 3.4

B. THE JET1TED POCKET 3.11 B.1 Instructions to position and draf± 3.11 B.2 Material components 3.12 B.3 Preparing and stitching in the piping 3.13 B.4 Preparing and stitching in the pocketing 3.18

C. THE JEUED POCKET WITH FLAP 3.22 C.1 Instructions to position and draft 3.22

D. THE PATCH POCKET 3.26 d.i Instructions to position and draft 3.26 3.2 THE JACKET POCKETS

Note: All pockets MUST be drafted on the pattern to avoid errors.

A. THEWELTPOCKET

A.1 INSTRUCTIONS TO POSITION AND DRAFT

The breast welt pocket is 11cm long and about 2.5cm wide and is placed on the left side of the jacket at approximately the level of the front sleeve notch. The placement line is usually on a 1.5cm slant from lower right to upper left when the jacket is worn.

Mark the position on the front pattern. If you have adjusted your position on the pattern at the front armhole, check to see that the pocket placement line is at least 4cm away from the armhole stitch line.

MELrPz.US 6tlti SE'9M ,941-0W'?Nc

P0c1gTI've 12C 3.3 Trace the finished welt off from the front pattern and remember to mark the grain line of pocket parallel to centre front. Cut out to be used as a template. fold a piece of pattern card double, place upper edge on folded edge and trace off pocket shape (remember grain), and add 12mm to both sides and to the bottom. Make underneath width of pocket 1.8cm wide which includes a 6mm seam allowance.

WS/E POC/cE7 F&Z8,C/ 19 #fM

The same template can be used to draft the pocketing pattern.

/2 cu' .z'Pr/ 3.4 The welt is fused minus all seam allowances but extended 6mm over the folded edge. Press welt on fold line with right side out.

INNER POCT

•OL h/YE

A.2 CONSTRUCTION

Use a 6 mm seam to sew the narrow inside of the welt to one piece of pocketing. Press the seam towards the pocketing. 3.5 At the side of the fusing, sew the welt to the pocketing, easing the welt slightly to the centre. This easing creates a slight bulge in the welt which will ensure that the pocketing edges will be hidden when the welt is turned to the right side. Sew upto the 6mm seam allowance but leaving the seam free.

,4',c,Ow /NS/Z'E OP WiT

Slash the pocket to the bottom of the stitch line. the seam allowance to 6mm and trim the top corners. NO Bag the corners out sharp and press making sure that the underside is hidden.

#'/G//T S/ZE

The facing is joined to the second piece of pocketing with a 6 mm seam and pressed towards the lining. 3.7 Place the welt face down on the jacket front, matching the marked line for pocket position. Do not be concerned if you notice that the welt is upside down at this point, as this is correct. Machine stitch the welt on the jacket, taking well at either end.

:

• :

Place facing, touching the edge of the welt, stitch down keeping stitch line 1 cm shorter than the welt stitch line at either end (it forms an angle). 3.8 FrQm the wrong side of the jacket the two stitch lines will be clearly visible on the fusing of pocket mouth. Begin at the centre and slash through the jacket fabric, directly between the two stitch lines. While you are cutting, hold the welt seam allowance and the pocketing safely out of the way. Cut prongs about 1cm long at each end. Slash very close to the last stitch on each line but not close enough to cut the threads. Cutting the prongs correctly is a simple but essential step in the construction of a perfect pocket.

If the prongs, especially at the bottom, are not snipped directly to the last stitch, your pocket corners will pucker.

I------

If however, the cut overshoots the last stitch, you will have a hole on the front of your jacket at the ends of the pocket. Avoid any puckers and holes by simply giving this step your full attention. 3.9 Reach through the opening and pull the pocketing to the wrong side. Press open the seam that attached the welt to the jacket.

On the front of the jacket, the welt should now be sitting upright. Baste the pocket closed. 3.10

The sides of the welt are attached to the jacket by a diagonal hand stitch from the wrong side. The stitches should not be visible on the outside. Machine stitch the pocketing pieces together and trim the seam allowance. You may wish to add a decorative at either end of the top of the welt. 3.11 THE JEUED POCKET

13.1 INSTRUCTIONS TO POSITION AND DRAFT

The pocket should be drafted on the jacket front to avoid any errors in the calculation of the pocket pieces.

The jetted pocket is placed at a comfortable position for the hand to be placed into it. It is parallel to the hem and is approximately 14 - 15 cm long. The visible piping is 6 mm at top and bottom, (rather use 7mm piping if you are doing this type of pocket for the first time). Add 2cm to both ends of the 14cm length and cut 4cm wide.

RO C /rc rI4vG 3.12 B.2 MATERIAL CONTENTS

Piping:-

18 CM

2XP,9DR;c 2 XfUS$ 14CM

Facing: -

/9

/?( P154ic SC?

Pocketing:-

/9cN

/ ?c. ROCROi-,,-&

44ctT 3.13 ft3 PREPARING AND STITCH ING IN THE PIPING

Note:- Remember to rework measurements if a 7 mm piping is made.

Make sure pocket position marking is still clear and that an extra piece of fusing is fused on the back to support the pocket.

Fuse the two pieces for piping and press double. Measure from folded edge 12mm (6mm piping and 6mm seam), and draw a line, cut off at this drawn line but only the one side.

O D'CTE.7GE

2. Open the piping and on the fused side measure 6 mm from the line that was cut in the previous point and draw straight line.

/2 fiti- — fi'9RA 611/1

#17.

The accuracy of the work so far will determine the success of the pocket. 3.14 3 Keep the piping open and position on both sides of marked pocket line. Pin down and stitch on marked line, but keeping the two pipings exactly opposite each other. _ /

MdQ,f,tIZ foc4r 4:;V~e> gr/i-c# ov 6i'w f4ik) L'6' 01

4. It is very important that the ends of the two stitch lines are directly aligned. If they are not then the sides of the finished pocket will slant and the whole look will be unprofessional.

------TTII 3.15

5. Working on the wrong side of the jacket, begin at the centre and slash through the garment fabric. Be careful to hold back the piping so that it is not snipped in the process.

Cut 1 cm prongs at either end of the slash, snipping as close as possible to the last stitch in either line.

It is very important to slash correctly here.

If the prong is not snipped up to the last stitch, there will be puckering on the right side of the jacket at either end of the pocket. 3.16

If on the other hand, the slash overshoots the last stitch, you will have a hole on the front of your jacket at the ends of the pocket. Avoid the puckers and the hole by simply giving this step your full attention.

6. Pull the piping to the wrong side and press the seams and prongs towards the jacket. Check that the two pipings are equal and constant in width. They must touch each other but not overlap.

Do not proceed any further until this step has been properly done and the piping are identical to each other. 3.17

7. Whip-stitch the piping closed so that it will not shift while stitching the prongs and closing the pipings. The ends of the pocket must be perfectly square.

8. Fold the edge over to see the crease line made on the prong at the pocket corner and sew the prong down onto the pipings. Close the lips by stitching next to the stitch line of the piping. 3.18

B.4 PREPARING AND STITCHING IN THE POCKETING

Cut a piece of pocketing 18cm wide and 35cm long. The pocket depth varies with the length of the jacket, but the pocketing should extend no lower than 2,5 cm above the top of the finished jacket hem. Cut a piece of garment fabric to be used as facing, straight grain, nap down five centimetre long by 18 cm wide. a folded edge of the facing to the top of the pocketing leaving 15 cm pocketing above the facing.

ient tabrc r-r 1_Lu

pockeunq 3.19

With the facing touching the wrong side of the jacket, sew the bottom edge of the pocketing to the edge of the bottom piping. Use a 6mm seam.

4'DF iVEi9 7h' 3.20 Pull the pocketing down and match the top edges of the pocketing and the top piping.

Close the pocket bag by stitching next to the piping seam through the previous stitching on the folded prong and stitch down the pocket bag. 3.21 Trim the seam allowance. Layer the fabric above the top stitch line, and snip away excess fabric in the seam allowances to reduce the bulk.

The pocket remains basted closed until the jacket is ready to be worn. Steam press the pocket on the right side using a press cloth. 3.22 C. THE JEYFED POCKET WITH FLAP

C. 1 INSTRUCTIONS TO POSITION AND DRAFT

The flap added to the jetted pocket is about 6cm wide, finished. A flap which extends out slightly at the lower back edge compensates for the contour of the body and is more graceful than a perfect rectangle. The top edge of the flap should be 3mm larger than the opening of the pocket into which it will be placed. The extra ease is taken by the body contour, and allows the flap to fall comfortably. 3.23 To make a pattern for the flap draw a rectangle equal to the dimensions of the finished flap plus 3mm to the width. At the lower right corner extend the rectangle by 6mm, add 2cm seam allowance at the top edge and 6mm around the sides. use this pattern to cut flaps from your garment fabric, straight grain, nap down.

The lining for the underfiap is cut 3mm smaller around the pocket. Make sure to give yourself notches to be able to spread the easing evenly around the flap.

M8R/C 3.24 Fuse the flap minus all seam allowances. Hold the lining tightly on top and sew the flap so as to ease in the allowance until the notches match. Trim the seam allowance to 3mm and turn the flap to the right side.

Press the flap from the right side, and baste across the top of the flap to hold the lining in place. A thin border of garment fabric should be visible from the lining side. 3.25 Measure up 6cm from the bottom of the flap and draw a chalk line. This is the guideline for inserting the flap into the pocket opening.

The jetted pocket is constructed and after the prongs have been secured and the pipings closed, the pocket is opened and the pocket flap is inserted using the chalk line as the guide.

The extra length in the pocket flap is eased in at the centre of the flap. The pocket flap is now sewn down inside to maintain this position. The pocketing is now attached as per the instructions given in the previous section - see A.2.4 Preparing and stitching in the pocketing.

REMEMBER TO KEEP FABRIC EDGES LAYERED AT ALL TIMES. 3.26 D. THE PATCHPOCKET

D.1 INSTRUCTIONS TO POSITION AND DRAFT

The patch pocket is used on tailored jackets when a more casual effect is desired.

For a hip level patch pocket, the width is 16 cm and the depth is approximately 18cm, however this will vary according to the length of the jacket. The poc!et is placed parallel to the centre front and hem. 3.27 Cut the patch pocket with a 4 cm foldback facing at the top and 1 cm seam allowance on the other sides. Fuse the pocket in a lightweight woven fusing, cut on bias, minus seam allowances and 15 cm over the fold line of the foldback facing press back the hem allowance.

- Fi98RIC "s/Nc

The lining is cut the same size as the pocket minus the width of the foldback facing, plus 2 cm seam allowance to the top of the lining. The only difference is that the lining is trimmed away 4 mm around the three seam sides.

fOIJ BACk P'9C/NG

F9R/C

L. rn/YG. 3.28 Sew the lining to the pockets foldback facing. Press the seam towards the lining and press the lining onto the back of the pocket. Sew the lining to the pocket fabric with a 9 mm seam, while holding the lining tightly on top and sewing the pocket so as to ease in the allowance until the notches match. ?tvM S,9fl

:- f1 I $ 9I.LOWRwc '9s.D /.v

I

Ii I I - I 'I

of

Press the seam allowance towards the lining. If the corners do not press round sew an extra basting line around the corners 5 mm from the edge to be pulled in.

/1M saati

£XT&Q 9,9srE NEEPF2 3.29 Pin the prepared pocket down in the position marked on the jacket front, temporarily stitch down using a long narrow zig-zag stitch with contrasting thread. stitch over the edge of the pocket catching alternatively into the pocket and garment.

On the inside of the pocket machine stitch 1 cm away from the cut edge, keeping the fabric smooth immediately in front of the .

Remove zig-zag , press cloth and bar tack the top corners of the pocket. This must be exactly on the corner edges of the pocket mouth. Trim the inside seam to be neat. 4.0

SECTION FOUR

The S tructured

Lined Jacket 4.1 CONTENTS

A. FACTORS TO CONSIDER BEFORE CUYI'ING MATERIAL 4.2

B. FUSING OF THE JACKET 4.3

C. MAKING UP THE TAILORED JACKET 4.18 C. 1 Front darts and pockets 4.18 C.2 Haircioth and felt 4.20 C.3 Sleeve vent 4.22 C.3.1 Topvent 4.22 C.3.2 Undervent 4.23 C.4 Setting in of sleeves 4.23 C.5 Shoulder pads 4.26 C.6 Springroll 4.27 C.7 The collar and the lining 4.28 C.8 Sewing the lining to the jacket and completing the collar and hen4.31

D. FINISHING 4.35

E. PRESSING 4.37

F. FINAL PRESSING 4.38 F. 1 On inside of jacket 4.39 F.2 On outside of jacket 4.39 F.3 Sleeves 4.39

G. BUTTONS AND BUTTONHOLES 4.42 G. 1 Setting the buttons 4.44 G.2 The bias bound buttonhole 4.47 4.2 A. FACTORS TO CONSIDER BEFORE CIJITING MATERIAL

Before cutting the jacket in the fashion fabric, it is imperative that you double check all your work upto this stage. Although it is out of the scope of this work to list all of the steps, at least the following must be checked as they are most often the ones that create problems: -

As suggested under general hints, cut the jacket in calico to see that there will be no fitting problems especially with the lapels and sleeves.

All seam allowances to be 1 cm except for centre front edge which must be 6 mm unless specifically given as another size.

The roll line must be indicated on the pattern and later transfered to wrongside of jacket front frabric.

Pocket positions must be indicated on pattern.

The back shoulder seam must be approximately 8 mm longer than front, (to be eased in).

Hems preferably to be 4 cm.

If a centre back vent is required, it must be drafted on the pattern. Do not try work it out at a later stage.

Add extra length to the lining above the vent, as a precaution against the fabric stretching. 4.3

Lapel facing must be left sufficiently bigger so as to allow for roll over and pressing.

,9LLOW,QfVC, O/VrO P29Ci/v. t 6 MM PEND /N6 ON '98//C T///C/NL SS

3 14717 '9C/N6

Around the bottom curved edge, shape 3 mm off the facing. This will prevent the curve from stretching and hide the facing under. 11. The tailored lapel with melton undercollar - the melton collar is cut to the finished size of the undercollar. There is no seam allowance.

MEL TON COLL/R - NO SEAM ALLO1,/I1NC

The pattern for the melton undercollar can be used to malce the upper collar pattern. The uppercollar is cut with the nap up.

To the neck side add 1 cm seam allowance. To the outer edge add 6 mm seam allowance, as well as a further allowance for roll over and under pressing.

To each collar end add 3 cm to be folded under, plus 3 mm for easing into the outer edge.

??sR C OZ L /1.R - WI TH ALL SEAM ALO,i/NCES 4.5 A stand may also be added, approximately 2 cm finished width, which will prevent the from stretching.

PPERCOLL.P,R STAA' 4.6

THE SLEEVE - Allow 7 mm (to be eased in), to the top half of the upper sleeve's elbow seam.

The easing allowance for setting in the sleeve head should be as follows:

Underneath the arm from front pitch to back pitch allow 15 mm per every 2,5 cm.

From front pitch over the shoulder to back pitch allow 3 mm per every 2,5 cm.

8AC/c f,ONT ,°17C141 4.7

Follow the cutting instruction as detailed per section 2.

THE LINING:

Ease allowance is required in linings for two reasons. (1) Cloth garment, particularly those made in woollen fabrics, spread' a little when they are cut out. Uning fabrics do not relax in the same manner. The amunt of ease required is dependent on the fabric used, the example shown is a general guide. (2) The lining should be loose enough to prevent the garment being distorted when the lining is inserted. The ease in the lining also allows for parts of the garment that come under stress from body movement. Particular stress points are the armholes and the centre back. The lining patterns are made after seam allownce has been added to the garment piece patterns.

Body and sleeve linings are cut 1 cm below finished . BACK Add 2 cm at A for the centre back . Add 1 cm out and up at B; 8 mm out and 0,5cm up at C; 4 mm out at E. FRONT Add 1 cm out and up at F; 8 mm out and 05 cm up at G; 05 cm out at I. Add 1 cm to the facing line for seam allowance. An extra 8 mm must be added across the chest area. This can also be done by introducing a pleat in this area.

SLEEVES: The sleeve remains the same and the length to be 1 cm longer than finished jacket hem.

A5E LINiNG- /NO 4,'1cN6 SgAi

under s'eeve 4.8

B. FUSING OF THE JACKET

It is recommended that all of the fusings detailed below, be incorporated into all structured jackets. However, the weight of the fusing in each application must be chosen according to the nature of the jacket, lightweight fusings for soft styles and heavier fusings for more traditional designs.

The front is fused minus the seam allowance and the darts are cut out. Use a good quality weft insertion, woven fusing or fusible harcloth. It should be tested on a sample of the fabric to make sure that they are compatible.

2. The roll line is marked onto the front.

/

2?C /VOT,aSE 2'9/T

/ 4.9

The pocket mouth positions are fused with a lighter weight nonwoven fusing. In order to provide a firmer lapeta second layer of fusing must be used, this covers the creaseline by 1 cm.

/

/ ME

5. An additional layer of lighter weight nonwoven fusing is placed around the top of lapel to provide extra support in this area.

rll

/ 4.11

6. A 2 cm strip of firm woven fusing cut on the straight is now fused next to the roll line towards the jacket side. This strip must be applied tightly over the chest area and whilst doing so it must be eased in by approximately 8mm.

/ 4.12

7. A 2 cm strip of woven fusing is now fused down the front edge, in order to prevent the front edge from stretching during sewing and pressing. /

/ 4.13

8. The facing is fused in the same fusing as the jacket front, approximately 2 cm over the roll line and approximately 2 cm below the bottom button line. / / / /

2 CIT BELOk' L9ST 7TOi / / 4.14

The armhole of the side panel can be fused in a lightweight weft insertion - test to see that it does not leave a mark where the fusing ends.

The hem on the jacket is 4 cm, fuse the hem 5,5 cm wide in a lightweight fusing but only fold up by 4 cm.

Shw TO .9i/Th'04t

s CM W/D fU5/4'6

CM T9CM7 I1/7 4.15

II. Fuse the back neck and shoulder approximately 4 cm wide with the lightweight weft insertion.

12. Fuse a 1,5 cm woven fusing strip onto the back armhole and down the side panel to prevent the armhole from stretching. Tape can also be sewn in the areas in the armhole where there might be a tendency to stretch.

The hem is fused 5,5 cm, but folded up later by 4 cm in the same way as the hem of the side panels. 4.16

13. The sleeve head can be fused if the fabric is thin or stretchy to give it more body. The hem plus vent is fused in a lightweight nonwoven fusing 5,5 cm wide, (to be folded up 4 cm). 4.17

14. The hem is fused in a lightweight nonwoven fusing 5,5 cm wide (to be folded up 4 cm only).

/iVDIR SIEEVt

1 5.Top collar - Fuse the top collar excluding the seams and 15 cm from the ends, with weft insertion. 4.18

C. MAKING UP THE TAILORED JACKET

C.1 FRONT DARTS AND POCKETS

Sew the front darts and then slit open on the centre line as follows: -

Commence the slit in the centre and continue so as to end the slit 1,3 cm away from top and the bottom dart tips. Press the dart open using a tailor's ham.

The fabric at the dart tip is somewhat difficult to control since it may pull to one side rather than allowing itself to be pressed flat at the centre. When this happens, it becomes obvious on the front of the jacket by a slight wavering of the dart seam line, instead of a perfectly straight seam line at the dart tip.

Before pressing, control the fabric at the dart tip by inserting the eye end of a threaded needle as far into the dart tip as it will go. This will hold the seamline straight as you press the dart seam allowance flat in the centre. Remove the needle by the thread, ( the needle is hot). Press the dart tip flat once more. On the front of the jacket , the dart line should now be perfectly straight. 4.19

A bias-cut oveal shaped, very lightweight nonwoven fusing can be used to reinforce the dart tip and maintain the fabric's body in this area.

I' / \

Sew the sidepanels to the front, press open the seam.

Mark the welt and bottom pocket postions and make the pockets as described in section 3 4.20

C.2 I-IAIRCLOTI-IANDFELT

Follow the diagrams for the cutting of the haircioth and felt.

/ 4.21

The felt is placed in position on top of the haircioth and zig- zagged down in two places, whilst at the same time zig-zagging the dart closed.

FELT

H'9/ C-4071'

Z/9-z,96 947 c..faJZti

The felt and haircioth is now placed in position onto the wrong side of the garment. At the armhole stitch down approximately 5 mm from the cut edge. The haircioth is blind hemmed down next to the roll line tape and the tape is blind hemmed on both edges.

With haircloth held out of the way put the front shoulder on top and sew to the back shoulder. By holding the front tight, the feed-dog will ease in the extra length of back shoulder. Press open the shoulder seam and let the haircioth fall over the shoulder seam.

Join the centre back and two back panels seams. Press open all the panel and centre back seams. 4.22 C.3 SLEEVE VENT

Postion the buttonholes on the top sleeve as follows:

The button holes begin 3 cm above the hem fold and 15 cm away from the fold at the edge to the top vent. If three buttons to be used on the sleeve then the buttonholes are placed 2 cm apart. If four buttons are to be used then the buttonholes are placed 1,5 cm apart so that the buttons will almost be touching.

The size of the sleeve buttonhole is equal to one half the diameter of the button, plus 3 mm.

C.3. 1 TOPVENT - Press back the hem and the vent allowance, fold the bottom of the topvent into a mitre and press well. Use the pressed line as a guide and stitch down the mitering towards the inside. Trim the thickness and press the seam open. 4.23

C.3.2 UNDERVENT - Block the edge of the undervent with the hem, trim, turn and press under. The sleeve seam is stitched and the top and under vent sewn together upto 1 cm past the cut edge of the hem. Remember to ease in the allowance to the top sleeve - see point 13 under Factors to consider before cutting material' at the beginning of this section. Cut into top corner where vent starts, and press the seam open.

1/iVDER VW 7 TOP VENT

?LOCIc///

Sew the front sleeve seam and press open.

C.4 SETTING IN OF SLEEVES

The sleeves may now be inserted. In production this will be done in one operation by a very skilled machinist with a special sleeve machine. Without such a machine setting in a sleeve is rather time consuming but if the following steps are followed then the same results can be achieved: -

a. Stitch two rows of basting stitches with your machine, the first 6 mm away from cut edge and the next another 6 mm away. This must be from front pitch to back pitch. 4.24 b. Pin the under sleeve into the armhole from front to back pitch.

C. Pull the basting line as for gathering, just enough to fit the armhole.

Spread the easing evenly from front to back pitch with a bit more at the highest point of the sleeve head and back shoulder.

Take the sleeeve out of the armhole, use a tailor's ham to press away the easing (there must be no ). The sleeve head must be rounded as what it will look like when it is sewn in. The sleevehead is now ready to be sewn in.

TAIL OI? 1S HI9M

f. Pin the sleeve into the armhole and sew in the sleeve keeping the sleeve at the bottom. The feed-dog will help to ease in. 4.25 g. Remove the basting lines and from the sleevehead's inside and with the tip of the iron, press on the seam allowance (as it was sewn). The pressing should shrink the rippling caused by the easing and the sleevehead should still be rounded. Never try to eliminate the easing from the right side. 4.26

Make sure that the shoulder pads that you use, are of a good quality and in a curved shape, not flat. Shoulder pads made from cotton wadding are much better than the foam type pads, and the two pads must form a pair.

The shoulder pad is positioned into the shoulder approximately 2 cm more towards the back an in line with the cut edge of the armhole. pin or tack the shoulder pads into position, either with the garment on a dummy or by using your fist as a shoulder shape. Never hold the jacket flat to position the shoulder pad, because the material's distance must be longer over the length of the shoulder pad. 4.27

rJE4iLJ 81 .J! P

Springroll is inserted into the sleevehead on the sleeve side, with the wider side touching the sleeve and as with the shoulder pad upto the Cut edge of the sleeve, cut off at an angle. Starting from the front pitch, over the sleevehead and upto back pitch. Underpress the jacket very well on the inside and press up all the into finished positon.

Hang the jacket on a hanger and prepare the lining.

C.7 THE COLLAR AND THE LINING

Sew all the panel and shoulder seams of the lining. Press seams open.

C4'7RE BI'?CK SE/IN 70 OiVE .s'IZE 4.29

Sew the sleeve seams leaving an opening in the two front sleeve seams of approximately 27 cm long. This is for turning the jackt out later. Press seams open and insert the sleeve into the lining.

Cut the collar pieces as per the instructions under point 11 of the 'Factors to be considered before cutting the material' at the beginning of this section.

Mark a line 6 mm from the outer edge of the collar.

6tlM CHAL.KL/NE

Top CCL LIR

Place the outer edge of the melton collar over the top collar's edge and very neatly zig-zag the melton edge down. The cut edge must be covered.

MEL TON

PRñRIC MUST BE Ei9SED IN f cnn' 'ZI6 -ZAg

7OP COLL17R 4.30

Fold melton over onto the fabric with the melton 3 mm below the top collar so that it is not visible when the jacket is worn. Baste this outer edge of the collar down in this positon by hand.

The top collar is now sewn to the facing, only up to the notch, leaving the fold back piece free. Press the seam open. 4.31

Sew the facing and top collar to the lining, and press the seam double towards the lining

C.8 SEWING THE LINING TO THE JACKET AND COMPLETING THE COLLAR AND HEM

Place the lining on top of the jacket right side to right side and sew the step of the lapel down. Remember that the facing was made bigger, ease in the extra length.

SEh/N 7VY/CAE7 :: iT .STEP

P7-IC 4.32

The foldback on both sides of the collar are now sewn into the neckline of the jacket.

POLZB1Ck ONLY SE V/V TO 19Ck1

R/VT SiDE ,p 7/'CAET 4.33

The melton undercollar is now zig-zagged to the necidine and the fold- back step is also zig-zagged in the same operation. 4.34

The front edge is now sewn to join the facing to the jacket. As soon as the bottom corner is sewn, pull the lining to meet the edge of the jacket.

7R/tl 70 6~ MM ., 4.35

D. FINISHING

Use spiderweb on paper, cut to 15 cm and iron onto the stitching line of the lining to hem. Allow to cool and pull off paper.

Iron strips on lining to facing seam and onto stand of the collar. Allow to cool and pull off paper. Also do the same around the sleeve hems as above.

Turn the jacket to the right side throught the sleeve. Let the lining sleeve fall into the material sleeve and position the lining seam on top of the fabric seam. Pin down at least in one place, take the two seams on top of each other by putting your hand through the opening in the lining pulling the hem through. Sew the lining to the sleeve.

Catch the lining armhole to the jacket's armhole as follows: -

SEW zJ//?vG 70 7/Jc T WI/IRE 6'1/0 WN IFWI

Close the opening left in the front sleeve seams by placing the two edges on top of each other and edge stitch closed. 4.37

E. PRESSING

Great care must be taken not to press areas where spiderweb has been placed, as it may bond in the wrong areas.

The front edge of the jacket is pressed as follows:

At the lapel the jacket edge is rolled under upto the end of the roll line so that it is not visible when the lapel roll is in positon. Touch only the edge with the irors point.

Below the end of the roll line the fadng is pressed under so as not to be visible.

PRESS AC//VG (NDiR 4.38

Bast down the front edge of the jacket and whilst holding the two neck seams on top of each other, baste the neck seams together.

Lay one jacket front down on the ironing board with the sleeve board inside the jacket, roll the lapel into finished positon. Make sure that everything is smooth underneath. From the right side using a pressing cloth, place the iron face down on facing line long enough for the spiderweb to bond with the jacket front. Continue around the neck always keeping the lapel rolled over.

The hems can now be pressed in the same manner as above.

Press the extra length of the lining into a pleat onto the hems.

F. FINAL PRESSING

The underside of one lapel, the underside of the collar and the underside of the second lapel. 4.39

F. 1 ON INSIDE OF JACKET

The fadng, form the bottom of the lapel to the hem on one side of the jacket. The lining below the waist, first on one side of the jacket and then on the other. Be careful to use a tailor's ham to press shaped areas of the jacket.

The lining in the chest area on both sides of the jacket.

Across the hem on the lining side, form one side of the jacket to the other.

F.2 ON OUTSIDE OF JACI(ET

Each front of the jacket from shoulder to hem, as well the side seam.

The jacket back from shoulder to hem.

F.3 SLEEVES

On the right side of the fabric, the front seam and the undersleeve.

With the sleeve board inside the jacket, the topsleeve from biceps to hem creasing the sleeve lightly from elbow to hem. 4.40

Press the lining underarm area.

Holding a press mit inside the shoulder of the jacket, press each shoulder on the right side of the fabric. 4.41

The right side of each lapel. Do not touch the roll line.

With the lapel and collar lying flat over the pressing board, press the gorge line and a light crease at the neck edge of the gorge line. 4.42

G. BIIVT'ONS AND BLTTONHOLES

The button positon must be established on the pattern. On the pattern the buttonstand is added from centre front. This should be calculated according to the button size, thus: -

Half the diameter of the button plus 6 mm. The button hole starts 3 mm past the centre front line and the lenght is equal to the diameter of the button plus 5 mm.

The top buttonhole on a jacket which has a lapel, should be placed at the bottom of the roll line. If the button is placed lower or higher, the lapel will begin to roll just above whatever point that happens to be. 4.43

For a flat button, the size of the jacket buttonhole is equal to the diameter of the button plus a 5 mm allowance. If your button is not flat, the length of your buttonhole should equal one-half the circumference of the button.

If you choose to add a lapel buttonhole, it should be cut parallel to the top of the lapel. The buttonhole on a peak lapel will, therefore slant upward. On a square lapel it will slant downwards.

/

The length of the buttonhole is the same as the centre front buttonholes.

The buttonhole is placed about 4 cm below the top of the lapel and 1,5 cm in from the edge.

On the wrong side of the lapel, about 2,5 cm below the buttonhole, a thread loop is sewn. This serves to hold the stem of a small flower buttonniere. 4.44

G.1 SETTING THE BTI'ONS

To mark the button placement on a single breasted jacket, place the two fronts of the jacket together, right sides touching.

Place a pin through the keyhole of the buttonhole to mark the button placement on the left side of the jacket.

Marking the button placement for a double-breasted jacket is somewhat more complicated since there are both buttons and buttonholes on both sides of the jacket.

The buttonholes are placed on the right side of a double-breasted jacket using the same measurements as for the single-breasted jacket. 4.45

The placement of the buttons on the right side of the jacket is determined by measuring from the keyhole to the centre front line and applying this measurement from the centre front line away from the jacket edge.

With the jacket closed and the center front guidelines matching, place a pin through the top button mark on the right side of the jacket. This pin will indicate the placement of the one buttonhole which is needed on the left side of the jacket. It also indicates the placement of the one button which must be placed on the inside of the right side of the acket. 4.46

A 6 mm is created by holding the button away frorn.vou as you stitch. Another way of doing this is by stitching over a couple of .

With the stitches completed, the thread is wound around the shank several times. Four knots are then stitched at the base of the shank, catching the thread which comes from each of the four holes in a button.

00 4.47

6.2 THE BIAS BOUND BUTTONHOLE

Draw the buttonhole placement line on the inside of the jacket front. Draw a line 3 mm below the placement line.

Cut a bias patch of garment fabric 5 cm wide and 5 cm longer than the button placement line. N

Press a bias strip of very thin fusing to the centre of the patch. 4.48

On the right side of the jacket front, centre and baste the bias patch over the buttonhole marking.

Working from the inside and using a small machine stitch, sew a rectangle completely around the buttonhole placement line.

I I I------J

From the inside side slash through the centre of the buttonhole and cut prongs at either end. IM

Press the seam open along the top and bottom of the buttonhole.

Bring the bias patch through the buttonhole to the wrong side of the jacket. Check that piping are equal in width and press down.

At either end of the buttonhole tack the prong and the piping seams into the bias patch. 4.50

Place the jacket facing over the buttonhole and baste around the button hole.

Working form the right side slash through the centre of the buttonhole, snipping the facing fabric. On the wrong side extend the slash ansd cut prongs at either end of the buttonhole.

Fold under and baste the facing around the edge of the buttonhole. Prick-stitch along the folded edge using silk finishing thread. 5.0

Partial Lined and

Unlined Jackets 5.1

CONTENTS

A. INTROCDUCTION 5.2

B. CONSTRUCTION TECHNIQUES - PARTIAL LINED JACKET 5.3 B.1 Fronts 5.5 B.2 Pocket. bags 5.6 B.3 Front facings 5.6

C. CONSTRUCTION TECHNIQUES - UNLINED JACKET 5.7 C.lFronts, pocket bags and front facings 5.7 C.2 Sleeveless jacket 5.7 C.3 Sleeved jacket 5.8 C.4 Finishing off 5.9 C.5 Peak lapels 5.10 C.6 Simulated two-piece sleeve 5.11 C.7 Vent lining left unattached 5.12 5.2 A. INTRODUCTION

The lining is the final major step in the construction process of a jacket. in the beginning it was done by professional tailors who spent hours making them up and stitching them in entirel y by hand. With time the process evolved into the use of machines, or the combination of hand and machine.

However, the making up and insertion of a full lining is a expensive component in the costing of a jacket. This along with other factors such as the need for cooler and lighter summer wear, ever increasing labour and material cost, and new directions of design have led to the advent of partially lined jackets. Similarly, this has led to the advent even of the totally unlined jacket

However, this does not mean that a compromise has been made and that the y are inferior or less desirable products. On the contrary they can be marketed on a e qual basis to fully lined jackets, but at a distinctive pricing advantage.

in particular partiall y lined jackets have already become very popular with retailers who claim that they can get as much as thirty per cent more on the price of the unlined jacket.

This is attributable to the fact that the partiall y lined jacket has the same hanger appeal as the fully lined jacket. This is to say that when the jacket hangs buttoned up on the hanger the lining is visible in exactl y the same way as that of the fully lined jacket, whereas the inside of the unlined jacket is still visible. 5.3

B. CONSTRUCTION TECHNIQUES - PARTIAL LINED JACKET

Facings must be made wider than normal so that they overlap the front edge of the inside pocket by at least two centimeters. In this way the pocket itself becomes supported along the edge and becomes tied up to the facing at the same time. Facings may be made as wide as to cover the whole pocket but this is not advisable since it increases the material content, which in turn increases the cost and weight factors of the jacket. 5.4

At centre back, the lining must be taken at least 4 cm past the bottom end of the roll line so that when the jacket is buttoned up on a hanger, it will appear as if it is fully lined.

OL L/V4 5.5

B.1 FRONTS

Fronts of the jacket can be fused with a good lightweight weft insertion fusing. Such a fusing will not necessarily increase the weight of the jacket and since it both looks and feels lie fabric, it need not be covered up. Therfore jacket fronts can still be fused to give a tailored look and to support the pockets.

In the photograph below a sleeveless jacket front has been fused with weft insertion and no lining is necessary to cover.

WEPT iNSEPTLO 5.6

R2 POCKET BAGS

Pocket bags and pockets which are visible should also be fused in the same manner as the jacket fronts.

B.3 FRONT FACINGS

Front facings and hem are used to cover the edges of the pocket bag and other visible seams are either overlocked or bound.

,/;vQi COV$'I 5.7

C. CONSTRUCTION TECHNIQUES - UNLINED JACKET

C.1 FRONTS, POCKET BAGS AND FRONT FACINGS

Fronts, pocket bags and front facings should all be fused and covered as detailed in the preceeding section on partially lined jackets. Wide front facings can be bonded down by using spiderweb.

C.2 SLEEVELESS JACKET

In the case of an unlined sleeveless jacket it is far better to cut the front facing and armhole facing in one piece as shown in the photograph below. This provides for a much neater and firmer shoulder construction.

If the pattern piece is too big to fit into the lay, then a panel should be inserted The back neck and back arm facing should also be cut in one piece.

P,cC/NQS 1>1 0/VE C.3 SLEEVED IACKET

The back and front facings of a sleeved jacket must be extended towards the armhole as shown below, so that the shoulder pad is completely covered.

)( TEW2'EZ. f,'C//vG 5.9

C.4 FINISHING OFF

Finishing off of the facing or lining edge with a which can either be cut in lining or in satin, provides for a much neater and tidier appearance and overall finish.

PT/N 5.10

C.5 PEAK LAPELS

Peak lapels can be used in unstructured jackets simply by adding a layer of fusing under the lapel as shown, as this will support the peak and prevent it from folding over onto itself.

1NG-

79Ck /V V/5/'RL Y 5.11

C.ô SIMULATED TWO-PIECE SLEEVE

It is very important when making an unlined jacket to have as few seams as possible, since there is no lining to cover them with. This in turn has led to the one-piece jacket sleeve but fitting problems will occur if the underarm seam is kept straight, since it does not allow room for the elbow to bend.

In order to correct this it is necessary to shift the underarm seam to run over the elbow and by keeping it curved then elbow allowance will be maintained.

A sleeve done in this way is called a simulated two-piece sleeve. 5.12

C.7 VENT LINING LEFT UNATTACHED

When lining the vent of a fairly long length garment, the lining can distort the vent. The lining can be left free around the vent, and need only be tacked to the garment above the vent. A Slit is made by curving the edges at the top to form an opening over the vent. Finish the hem and the slit with a rolled hem.

7,-?C1r L//WNQ ro ui'\ 1

* F8R/C VtWr

I . • 4 LINIWG 400GE 'W/ S/'t I WI 184. /IM 4OLLE1) HE/I

- WV%TUU rm

6*106'"USONOR"W11114

Tailored Trousers -

Menswear 6.1

CONTENTS

A. THE SLANTED SIDE POCKET 6.2 A. 1 Instructions to position and draft 6.2 A.2 Preparing and stitching 6.4 A.2. 1 Preparing the hip piece and pocket bag 6.4 A.2.2 The foldback pocket mouth facing 6.4 A.2.3 Sewing the pocketing to foldback facing 6.5 A.2.4 Closing the pocket bag 6.6 A.2.5 Closing the sideseam 6.7

B. THE TAILORED FLY 6.8 1 Instructions to position and draft 6.8 B.2 Preparing and stitching 6.9

THE BACI( JETTED POCKET 6.13 C. 1 Instructions to position and draft 6.13

D. THE TAILORED TROUSER WAISTBAND 6.18 D.1 Belt loops 6.18 D.2 Preparing and stitching the waistband 6.18

E. THE LINED TROUSER 6.22

F. LADIES PANTS 6.23 ON

A. THE SLANTED SIDE POCKET

A.1 INSTRUCTIONS TO POSITION AND DRAFT

The pocket is positioned 4,5 cm from the side on the waistline and 16 cm down the side seam (measurements include seam allowances). Always add extra length on to the pocket mouth, to compensate for the hip curve. 6.3

I//P PIECE

POC/cETB?G IC/f 9/G6

FOLD

RAP Pc4D8'9cA P4 C 1,VG 6.4

A.2 PREPARING AND STITCHING

A.2. 1 PREPARING THE HIP PIECE AND POCKET BAG.

OVEiL cc i,i" Piác6 S I 70 P oc1rr,6'e

A.2.2 THE FOLDBACK POCKET MOUTH FACING.

.- FOL DL jA''

OV(RLOC/% EZ

FSE /5MM ,STFOLh/4' e°,ESS Pt?Ck ON F9C/N 6.5

A.2.3 SEWING THE POCKETING TO FOLDBACK FACING.

2 CM .CeT 4'/P fl,'ECE

pro C.iN

sw OV44O P.O A.2.4 CLOSING THE POCKET BAG

Fold the pocketing inside out in order to begin a French seam. Trim the seani down to 3 mm and turn the pocket bag right side out. the top part of the pocketing where there is no second layer to continue the french seam. Top stitch 6 mm around the pocketing seam from the folded edge and continue up the side seam folding the side seam under. 6.7

A.2.5 CLOSING THE SIDESEAM

The sideseams are stitched together while keeping the pocket bag out of the way. Press the seams open (note: - mens trousers will normally already have been overlocked around the edges by this stage).

The pocket bag falls over the openside seams and is bar tacked onto the side seam in two places. The bottom end of the pocket is bar tacked horizontally to the sideseam. role B. THE TAILORED FLY

B.1 INSTRUCTIONS TO POSITION AND DRAFT

Although there are a number of different methods to construct a tailored fly, the following method is the least complicated for students to learn.

On the left side of the trouser front mark the fly top stitching line, trace the shape off and add a 1 cm seam allowance around the top stitching line. Cut two pieces and fuse, one for use as the fly facing and the other as the fly shield.

) I I D-, I

use the same pattern piece to make the fly pocketing pattern.

FOi

L ------___

L.WGr'I' £(I0 70 ;IVS/E L€t? # / CM rAjr

Onto the right side front pattern add an extra 1 cm to the centre front at the fly.

B.2 PREPARING AND STiTCHING

Start stitching the front crutch 3 cm away from the inside legseam, sew upto the notch indicating the length of the zip. RIKE

Overlock the curved edge of the facing and sew the facing to the left side upto the end of the facing (it must be sewn towards the inside of the crutch). Understitch the facing.

The zip is now stitched to the right side with a 1 cm seam (place the zip right side down). 6.11

The left facing side overlaps the zip by 1 cm (note: this is the 1 cm allowance made in the previous section - see page 6.9), pin the facing down onto the zip. Lift up, pin the zip onto the facing inside and remove the pins on the outside. The zip can now be stitched onto the fadng. The fly of the mens trousers can only be top stitched once the waistband has been completed.

'r 0VL4PS CIT

The fly shield is sewn to the folded pocketing, around the curved edge. Bagged out and then pressed. Only the fabric of the shield is stitched onto the zip seam on the right side leaving the pocketing and the tail of the pocketing free. 6.12

The pocketing and tail can only be sewn once the crutch has been completed, and this should be done as follows:

Stitch the raw edge of the tail to the front crutch seam, folding in 1 cm at the inside legseam. Stitch the folded edge down onto the zip seam line. Fold the tail over the crutch seam and bartack down in a couple of places. Also bartack the facing and the flyshield together on the inside curved edge.

61,14 7ICA 7W/4 V 0 i/H

On the right side bartack at the end of the zip. 6.13

C. THE BACK JETTED POCKET

C.1 INSTRUCTIONS TO POSITION AND DRAFT

The back trouser pocket is a jetted pocket with or without a buttonhole tab, constructed somewhat differently from the jetted pocket for jackets.

The pocket placement line is 12 to 13 cm long drawn on a slight curve, the centre of the line being about 3 mm lower than the sides. This curve will help prevent the pocket from gaping open when not in use. The pocket can also be kept straight to resemble a jetted pocket made by a jetted pocket machine. The pocket placement line is drawn at the bottom of the darts 6 cm down from the waist stitch line and 35 cm front the side stitch line.

For ladies pants with a deeper dart the pocket can be moved to not lower than 8 cm below the waist stitch line. 6.14

Cut and prepare the pipings as described under section B.3 - Preparing of the piping on page 2.13. Overlock the edge of the wider side of the one piping, to be used on the bottom of the pocket.

From pocketing material cut one piece 17 cm wide and 42 cm long.

Draw the pocket placement line on the right side trouser back. Centralize the piece of pocketing behind the marked pocket position, allowing 6 mm of pocketing to show above the pants.

i°OC/E T L /NE ON R /Q/IT S/

PI..4CE ,°OC/rE ThVE 04' w,?owG s , 6.15

Remember to use the overlocked piping on the bottom pocket. Sew, cut, turn and press the piping as described on page 3.14. The stitching is through the pocketing piece and trouser fabric.

Eli ov6-,c'ILocv%'c DOWV w7_o Aqcirn

F.9C/6'c ONTO -;A/G

A 5 cm wide facing is sewn onto the opposite side of the pocketing. Overlock the one side, place the facing 4 cm down from the pocketing's cut edge and sew down on the overlocking line. 6.16

If a buttonhole tab is required, it must be inserted at this stage into the pocket opening in the centre. The buttonhole tab is constructed from a strip of garment fabric, straight grain 4 cm by 10 cm.

Insert the tab into the pocket opening, leaving a 1,6 cm slit in the tab below the top piping.

The pocket bag is folded up and the sides of the pocket bag are finished off with a French seam. 6.17

The upper piping and facing are sewn together in the piping seam, to close the upper part of the pocket.

POC8E T&W

To complete the back jetted pocket sew a 1,3 cm button just below the button piping. 6.18

D. THE TAILORED TROUSER WAISTBAND

D.1 BELT LOOPS

If you want belt loops at the waistband, cut a strip of garment fabric long enough to construct seven loops. The loops must be long enough to extend from the top o the wastline allowance, down to 6 mm below the waist stitchline and then extend up and over the top of the waistband by about 1 cm. The finished loops should be 1 cm wide. Refer diagram page 6.20 for positioning of the belt loops. The centre back loop will be attached after the waistband has been completed.

D.2 PREPARING AND STITCHING THE WAISTBAND

The trouser's waistband is faced with a grosgrain or any suitable material, which can be bought, prepared or can be constructed. It must have a stiff backing with a raw edge on the one side and a folded edge on the other side.

ROS RAi ST/PP BgCR/N 6.19

Place the raw edge of the grosgrain onto the top edge of the waistband, right side to right side and sew a 6 mm seam. Fold open and with seam towards grosgrain, zig-zag on the right side edge of the grosgrain.

Fold double and press, allowing 3 mm of the waistband fabric to protrude on the grosgrain side.

The waistband must be cut with a centre back seam 3 cm wide as this is most convient for altering the trousers if so required. (Centre back seam must be the same width as inlay allowance on trouser centre back seam). 6.20

The two pieces of waistband must both include a 3 cm centre back seam, so as to fit onto the 3 cm inlay allowed on the trouser centre back seam. They must also include the width of the fly shield on the front, plus 1 cm allowance.

4OO/ /6 70 BO r oia co.s' w4/.crE9

6RO44.fJ9/M Z/9Z'9FJ ro WIS

acy I/v'L9Y

RI.IIT LEFT 4/,Qy 3 W7h 814'1/

92D mi 7W OF P4. Y i'79CI,V9 1:w / CO 44' flLY.V/ELZ) JhPé

i"vr s2'e 48Fr -c'/E 6.21

At this point the inside leg seams are sewn and pressed open. The centre back seam is sewn from the top of the waistband, along the crotch and to the fly. Press the seam open.

The waistband is finished off at the fly front, as per the steps described in the diagram below.

F/NISHEi PL Y

IN5/iE LEPT ;Ns/E R

The waistband can now be shadow stitched closed and the fly topstitched at the same time (mark the topstitch line beforehand).

The tail of the fly pocketing can now be finished - refer to page 6.12 preparing and stitching the fly.

The centre back belt ioop can now be bar tacked on top of the waistband as well as the top of all the other belt loops. 6.22

E. THE LINED TROUSER

The lining for a trouser is cut up to just below the knee line. This edge is placed on the selvedge of the fabric so that no hemming is needed which could leave a raised edge.

The front lining is tacked to the front fabric and they are then overlocked together all around the edge. The back lining and fabric are also overlocked in this way. Darts and pockets are now sewn right through these fabric/lining combinations.

An alternative method is to attach the lining only to the crotch line so that this will be the only seam that will be visible when the garment is complete.

B4S r4&

fN/N$- OVER FABRic

OVERLOCH PcL.1. PEIQrn$7 WAIC 6.23

F. LADIES PANTS

The fly facing can be added onto the right side of the pants front and as for the mens trousers, and extra 1 cm seam allowance may be added to the left side. This helps in the insertion of the zip and conceals the zip under the fly facing.

R/Gd1rS/.E

Sr17-C1O'i1V&

The fly shield can be cut on the fold thus eliminating the seam finishing on the curved edge. [Jilt- OVOL . 1' A 3 cm inlay added tot he centre back of the pants, as detailed on page 6.20, will allow some adjustment if ever so required. IaLaPI.I.Itl.Iu:I'd

LEADBETTER / LANSING N. MARIE LEADBETTER/ TAILORING - LINDA THIEL LANSING TRADITIONAL AND CONTEMPORARY TECHNIQUES

CABRERA/ MEYERS ROBERTO CABRERA/ CLASSIC TAILORING PATRICIA FLAFIERTY MEYERS TECHNIQUES