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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 [Unpublished]: University of Johannesburg.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
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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 tailor 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 pattern 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 Seam 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 grain 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 piping 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 lining 4.28 c.8 Sewing the lining to the jacket and completing the collar and hem 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. Buttons and buttonholes 4.42 g.1 Setting the buttons 4.44 g.2 The bias bound buttonhole 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 facing 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 lapels 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 fly 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 cut 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 tack 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 ease 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 yarns together to prevent seam slippage and edge fray. Stitch 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 button 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 dart 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 seam allowance 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 zipper 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 thread 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, pin 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
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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 interfacing, the twill tape, 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 selvage. 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 tailors 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 lapel 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 scissors 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.
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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.
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The same template can be used to draft the pocketing pattern.
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INNER POCT
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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.
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Slash the pocket to the bottom of the stitch line. Trim 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.
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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.
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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.
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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 bar tack 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
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Facing: -
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Pocketing:-
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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.
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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.
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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. _ /
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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.