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• TAILORfilG

Cooperative Extension College of Agriculture Washington State University Pullman, Washington -

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- TAILORING PROJECT REQUIREMENTS

Dorothy A. Ettl, Extension Clothing Specialist To complete tailoring you should: Diane S. Triplett, Home Economics Assistant • Learn ten new skills for tailoring from the 4-H Clothing Construction Skills Checklist, C 0677. Plan, select, and make at least one wardrobe item that will include some of the new tailoring construction skills. All ten new skills do not WHAT YOU'LL DO IN THIS PROJECT have to be on the garment you make. You can learn the other skills on additional garments or Tailoring is a special type of clothing construc­ by practicing on fabric samples. tion. It uses construction techniques to build and mold permanent shape into a garment. It re­ quires attention to detail, patience, and accuracy PLANNING YOUR PROJECT to make a garment that will hold its shape through repeated wearings and cleanings. Several types of garments will work well for tailoring: The tailoring project is designed for 4-H members who have learned the basic skills in Units 1, 2, Menswear Women's Clothing and 3 and have completed at least two special in­ terest projects. suits vests jackets or In the tailoring project you will learn: pants skirts topcoats pants • The characteristics of . dresses • The characteristics of a tailored garment. - , selection and fitting techniques for When you choose a pattern, think about the tailoring. clothes you have now, the places you go, the things you do, and your personal body lines and , Selection of fabric and for different coloring. Think carefully about the way you want layers of a garment. to look and then select the lines and silhouette • Construction skills used for three different that will help you achieve this look. types of tailoring: Custom, , and Contemporary. Study or review the information in Unit 3 and • New hand and machine skills. Challenging Patterns about design, line, and color. , Pressing skills and equipment used in tailoring. , Care and storage requirements for tailored The pattern you select can make construction of garments. the tailored garment relatively simple or very dif­ ficult. A pattern with few seams and simple Keep a record of your plans and use the 4-H details will be easier than a more intricate design. Clothing Construction Record, C 0675. Share what you learn with others by demonstrating, ex­ Select a wool or wool blend to use as the fashion hibiting, and modeling in the fashion revue. fabric for your tailoring project. The fabric may be either woven or knit. { If you want to work with Use this project booklet along with other a different fabric, enroll in the challenging fabrics reference material as you select a pattern, fabric, project.) Wool is recommended for its ability to and construction methods or techniques for your hold a molded shape as well as for its durability, - tailoring project. resiliency, and warmth. A firm fabric is easier to work with, but a tweed or other loosely woven made from good quality recycled wool can be fabric may be used successfully when under­ more desirable than one of poor quality virgin lined. wool. Some recycled are blended with new wools to improve the quality of the fabric. Select a fabric color that will highlight your per­ sonal coloring and coordinate with your ward­ Wool may be classified as worsted or robe. If the fabric has a design, be sure that it will woolens, depending on fiber quality and the be appropriate for the pattern you have selected. manufacturing process used: Remember that extra yardage and more time is required for matching plaids, checks, stripes, • Worsteds are made from long fibers. Worsted and fabrics with diagonal effects. yarns are smooth, hard, even, and compact. Good quality worsteds are usually lightweight. Select the best quality fabric you can afford. They well, resist wrinkling, and take a sharp crease. Worsteds usually wear well, * ACTION IDEA. Look for tailored garments in although gabardine and serge tend to become fashion magazines and in stores. Learn to shiny. recognize the standards of a well-tailored . Woolens are made from shorter fibers. They garment. Compare the cost of a home-sewn have a softer, fuzzier look and are usually tailored garment with a similar garment in woven more loosely than worsteds. Woolen ready-to-wear. fabrics do no~ hold as sharp a crease as worsteds, but since they are softer, they resist wrinkling and do not get shiny. WOOL FABRIC FACTS Wool yarns can be made into a variety of fabrics: Wool is a natural animal fiber-the fleece of sheep or lambs. Goat or camel hair may also be • Boucle has a surface that is knotted or looped. classified as wool under the Wool Products Labeling Act. Most wool is clipped from live • Challis is a soft, lightweight, plain, or twill­ weave fabric. It has a smooth look and is - sheep; poorer quality (pulled wool) is removed from the hides of slaughtered sheep. The wool is available in solid colors or prints. sorted, graded, and then washed or cleaned to • Crepe has a lightly texturized or pebbled sur­ remove dirt and natural oils. face. Crepe fabric holds its shape and is available in many weights. There are two classifications for wool fibers by . Flannel has a slightly napped surface. law: . Fleece has a lush, fuzzy, napped surface. It is . Virgin wool or new wool has never been pro­ warm, but lightweight. cessed in any way before being manufactured . Gabardine has a hard finish and a clear sur­ into the finished product. face. It is a twill-weave with diagonal lines that • Recycled wool is wool that has been re­ are fine and more pronounced than in serge. claimed from scraps of knitted, woven, or The lines cannot be seen on the wrong side of felted fabric or from wool products. These pro­ the fabric. ducts may or may not have been used by the • Serge has a twill-weave rib on both the right consumer. and wrong sides of the fabric. It is available in many weights. Because quality can vary within the classifica­ • Tweed is rough-textured, sturdy fabric which tions identified on the label, it is important to look is characterized by a mixed-color effect. It is at the quality of the product. Good quality virgin available in many weights and may be a plain, wools are strong and resilient. However, a fabric twill, or herringbone weave. - . Felt is made by treating layers of fibers with moisture, heat, and pressure. It has a tightly matted, smooth surface . - . Doubleknit wool can be recognized by the thinly ribbed surface and flat finish. The front

and reverse sides are similar. The maximum 0 amount of stretch is crosswise rather than on PURE WOOL WOOL BLEND the bias . . Singleknit wool such as jersey has a soft sur­ duct is at least 60% wool. To use these marks, face. There is a fine ribbing on the right side manufacturers' products must pass the Wool and a different appearance on the back. Bureau's performance tests, including fiber con­ tent, colorfastness, and inspection for quality of Advantages of Wool in Clothing workmanship. The marks appear on the product label or hangtag . • Wool is warm and comfortable. Because of its natural absorbency, it absorbs moisture readily without making the wearer feel cold or damp. TAILORING STANDARDS • Wool is cool in lightweight fabrics. It breathes and lets heat out and air in to keep the body dry Garments that are well tailored have certain and cool. things in common, regardless of the type of tailoring used. Knowing the standards of a well­ • Wool fibers are resilient and so the tailored garment will help you in setting goals fabrics resist wrinkling. and in garment construction. They also will help • Wool is supple and will yield with body you when you buy a tailored garment. movements. The fabrics tailor well because they can be molded to shape with heat and The standards are: - moisture. • Wool dyes easily, permitting a wide range of • Fits correctly . colors. • Is well pressed . • Edges of , , front, etc. are thin and Limitations of Wool curl slightly toward the body. • Wool fabrics are apt to be attacked by moths • Properly interfaced to mold to the body and unless treated to resist them. hold its shape. • Wool requires care in laundering and dryclean­ • Collar lies against the garment with no or ing to prevent felting and relaxation shrinkage. undercollar showing. Covers back neck seam. Chlorine bleaches may yellow or even dissolve • Detail work is well done. Corners are square. wool. Collar points are the same length and shape. • Wool garments tend to stretch during wear insertion is smooth, even, and in­ and if handled excessively when wet. They conspicuous. Fabric design is matched at the should be allowed to "rest" between wearings. seams. • are well made, evenly spaced, and Wool Marks the right length for the .

The Wool Bureau controls use of the • Handsewing is even and inconspicuous. "Woolmark" and "Woolblend Mark" symbols. • fits smoothly into the garment and does The Wool mark identifies products made of 100% not interfere with the set and drape of the gar­ - wool. The Wool blend Mark certifies that the pro- ment. TAILORING METHODS General Standards

There are several tailoring methods. The method When you select , consider: you choose will depend upon: Purpose. What overall look or shape is - • Your sewing ability. desired? A heavier interfacing creates a crisp look; a lighter weight gives a softer look. The fabric you select. . Fabric weight. Interfacing should be no • Your time and equipment. heavier than the fashion fabric unless a special • The look you want your garment to have. effect is desired. Try the two fabrics together The use you intend for the garment. to see what effect you can expect. If you use fusible interfacing, the fusing will add even Three methods are used today. Learn the advan­ more body. Test on a small piece of the fashion tages and disadvantages of each. You may use fabric to check the effect. any one of the methods or you may use a com­ . Color. Be sure the interfacing will not show bination of techniques that will work for you. through the fashion fabric . Custom tailoring is the traditional method. . Care requirements. They should be compati- Throughout the garment, careful handstitching, ble with the garment fabric. taping of seams, invisible tacking, interfacing, padding, and continuous pressing are used to Custom Tailoring stabilize and to build shape. Hand pad-stitching is used to create a permanent roll in the collar and Select hair canvas and muslin . Hair lapel. There is much handwork in comparison to canvas provides support for the garment and can machine work. Accuracy and time are required be permanently shaped and molded. Hair canvas to give good results. This type of garment is comes in a variety of weights. The higher the usually expensive in ready-to-wear. percentage of goat hair, the better the quality. Different weights of interfacing may be used in Dressmaker or soft-tailoring is a faster method. the garment depending on the support needed. - More work is done by machine than by hand. Use canvas in and collars to build in shape. Many speed techniques are used. Pad-stitching Muslin gives a soft appearance and provides the is done by machine. The garment constructed by stability needed for and . this method has less shape than the custom­ tailored garment. However, careful stitching, Dressmaker Tailoring pressing, and attention to detail is just as impor­ tant. Hair canvas and muslin interfacings are selected for this method also. The difference is that the Contemporary tailoring makes use of fusible in­ shaping is done with machine stitching instead of terfacings. Most hand sewing is eliminated hand stitching. because shape is built into the garment with the interfacings. Machine sewing techniques are Contemporary Tailoring similar to those in dressmaker tailoring. Select a fusible interfacing. It eliminates the need SELECTING INTERFACING for pad-stitching, yet builds in the needed shape. In general, the following types and weights of In tailoring, the interfacing gives the garment its fusible interfacings are suitable for tailoring: shape. It also prevents stretching and provides extra reinforcement. The way interfacing is used • Woven. Fusible hair canvas contains goat hair affects whether or not the garment looks well and can be shaped by steaming. It is suitable made. for medium to heavyweight fabrics. Fusible in- - terfacing w ithout hair is lighter in weight and weak fibers; and are relatively softer than canvas. It is suitable for light to strong. A tightly woven or knit fabric is more - medium-weight fabrics. durable than a loose one. A twill weave is more . Nonwoven. Fusible interfacing with one-way durable than a plain weave. stretch is stable in the lengthwise direction, yet • Compatible in care requirements and wear life stretches in the crosswise direction. It is very with the fashion fabric. good for use with knits. . Knit. Fusible 100% nylon tricot gives or Lining color may match, blend, or contrast w ith stretches in the crosswise direction, but is the outer fabric. It should not show through t he stable in the lengthwise direction. Because it is outer fabric. Select a lining that is resistant to very light in weight, it does not have the shap­ perspiration and fading. ing qualities found in other fusibles. For warmth, pile, quilted, or satin-backed in­ Before you buy a fusible interfacing, test its com­ sulated fabric can be used to line a winter gar­ patibility with the fashion fabric. Be sure the ment. Usually, these fabrics are too bulky for use fashion fabric can withstand the heat, steam, as a lining. A smooth lining fabric in the and pressure required for successful fusing. makes it easier to slip the garment on and off. Using Interfacing Interlining is an extra layer of fabric that ca n be The method of tailoring and the interfacings you added for warmth. If used, it is usually made of use may be a combination of any of the above. loosely woven wool. To eliminate bulk, it is Use what works best for you and the fashion generally omitted in the sleeves. It may be ap­ fabric you have selected. plied as a separate layer between the and lin­ ing or attached to the lining and treated as one Study or review the section on interfacing in the piece with the lining. - Challenging Fabrics project. An underlining may be used with lightweight or loosely woven fabrics. It is from the same pattern pieces as the outer fabric and attached to LININGS it; the two layers are then handled as one. It gives support to major design lines, adds body to a Linings give a smooth, attractive look to the in­ fabric that is too flexible to be shaped alone, and side of a garment. They make the garment easier adds strength to loosely woven fabric. Underlin­ to sl ip on and off and help preserve its shape. ing also serves as a "buffer layer" for pad­ They also protect skin from harsh outer fabrics. stitching and as a foundation for other hand Select a lining that is: stitches, preventing them from showing on the right side of the garment. On light-colored an d • Light in weight so it will not interfere with the lightweight fabrics, the underlining will prevent hang of the garment. seam allowances from showing through. • Smooth and slippery so it will be easy to put on. Select an underlining fabric that is lightweight, • Attractive, because it often shows. sturdy, nonraveling, and as close in color as possible to the garment fabric. It should have the • Opaque, so inner construction won't show same care requirements as the fashion fabric. If through. you use fusible interfacings, you may not need • Durable, because it gets hard wear. Durability an underlining. A lightweight, fusible knit inter­ is determined by fiber content and fabric con­ will give extra body to double knits and struction. Acetate and are relatively lightweight or loosely woven fabrics. NOTIONS proper wearing and proportion in relation to your figure type. Make these adjustments Tailoring requires notions you may not have used first; then other adjustments will also be ac­ before: curate. - Stay tape of , , or polyester twill. , Darts should point toward the fullest part of a Tape prevents stretching and reduces bulk body curve and taper off 1 inch (2.5 cm) from along edges. Always shrink the tape before us­ the point. ing. Use a 1/ 4-inch (0.6 cm) width or a 3/8-inch • Grainlines and vertical seams should be (1 cm) width. perpendicular to the floor and all horizontal . Weights may be used to make the of a lines should be parallel. or coat hang smoothly. • The collar should fit closely at the neck and roll . style should be appropriate for gar­ evenly to form a pleasing line with the lapels. ment style. Size should be in proportion to the At center back, the outer edge of the collar garment and the wearer. should fall at least 1/2-inch ( 1.3 cm) below the seam. Mark the natural roll line of the . maintain the natural shoulder collar and lapels on the muslin; transfer to the line. They may be purchased or you may make pattern for use when you tape the roll line and them using polyester fleece. pad . FITTING THE TAILORED GARMENT , Proportion, size, and location of pockets, flaps, and cuffs should be flattering to your Pay special attention to fit. Adapt your personal body size and related to the length of the gar­ measurements to the paper pattern as you would ment. for any sewing project. Be sure to make ad­ , If the pattern has been altered, be sure the but­ justments on the pattern for all layers of the gar­ tonholes are still positioned correctly and are ment. evenly spaced. Consider making a trial garment, sometimes - called a muslin. It helps you avoid costly Sleeve and shoulder settings are very important mistakes and wear and tear on the actual gar­ in overall fit. If you use shoulder pads, insert ment. Cut out the major pattern sections (jacket them now. Then check the following: front, jacket back, undercollar, sleeves) from muslin, an old sheet, or inexpensive fabric. • Shoulder seams should extend from the base Transfer markings to the right side of the muslin: of the neck to the shoulder bone and should lie lines, center front and back, lapel and collar flat and smooth over the shoulders. roll lines, buttonholes, locations. , Depth of armhole should be 1 inch (2.5 cm) Machine baste the seams together. Set in both below the armpit on a jacket or coat. sleeves for balance on both sides when fitting. • Sleeve should hang naturally with no pulling at up bottom and sleeve hems. upper arm, forearm, or wrist.

Try on the muslin over clothing you would wear • Sleeve hem should be at the wrist bone or just with the actual garment. Do all fitting from the below. Be sure the elbow ease or allows right side of the garment. General fitting points room for bending the elbow. to consider are grainline, seam and design lines, • Lengthwise grain of the sleeve should hang amount of ease, balance, and overall perpendicular to the floor. In the sleeve cap, smoothness. Refer to Unit 3 for a review. the crosswise grain should be parallel to the floor. Specific standards for your tailored garment are: • Ease in the sleeve cap should be distributed , Check length and width measurements for evenly and smoothly. Fit carefully. Do not make the muslin too tight; seam. Measure and mark 7 1/2-inches (19 cm) lining, interfacing, and other layers will be in­ down from the neck edge at the center back. serted inside the outer shell. Also the wool is Draw a curved line joining this point to the si-de - usually thicker than the muslin. Make the needed seams. corrections on your pattern pieces or take the muslin apart and use it for the pattern. Back

SEWING BASICS 7½"

Pretreat all fabrics and notions. Some wool 2½" fabrics can be purchased preshrunk and ready to sew. If labels do not specify this, test across a Cutting corner with a steam iron for possible shrinkage. If Line there is a ripple at the edges of the iron imprint, shrinkage is possible. Have a drycleaner steam press the fabric or use the London shrunk Fold method at home to pretreat the wool. Washable fabrics should be laundered according to care re­ When you cut the lining for a coat or jacket back, quirements. · Sew-in hair canvas can be allow a 1-inch (2.5 cm) ease at the center preshrunk by steam pressing thoroughly with a back of the neckline-if not included in the pat­ damp press cloth, allowing the steam to tern. penetrate well. Lay on a flat surface to dry. Allow for turn of cloth in lapel and collars. It Cutting should be done carefully with sharp takes more fabric for the upper collar to roll over shears. To give more support and firmness to the the undercollar. Add to the outer edges of the front of a jacket or coat, you may want to cut a upper collar if that pattern piece is not already - front interfacing that extends from the larger. For a rolled collar to roll smoothly, the lapel and collar area through the shoulder to the undercollar should be on the bias and cut in two sleeve and 2 1/2-inches (6.5 cm) below the arm­ pieces with a center back seam. hole. Marking is often done with tailor's tacks and Front basting. This will protect fabrics from damage by marking instruments.

Eliminating bulk in the tailored garment is 2½" essential. In tailoring there are usually more layers of fabric and heavier fabrics are often in­ volved. lnterfacings also may be heavier. Sug­ gestions for handling bulk are:

• Do not include interfacing in darts or neck, front, and underarm seams. • Do not extend interfacings into the corners of a pointed collar. A back reinforcement should be cut for support across the jacket shoulders or coat back. If a pat­ • and grade all enclosed seams. On heavy tern piece is not included, use the back pattern. fabrics, bevel the edges by slanting the Cut around the neck, shoulder, armhole edges, while trimming the layers. - and 2 1/2-inches (6.5 cm) along the underarm • Kill wool in enclosed seams. Shoulder pads in tailored garments keep the Buttons are a finishing touch, but they should shoulder square and protect the garment on the be chosen at the start. The color should match or hanger. They also fill out the hollow just below compliment the fabric. The style, weight, and the shoulder and give a smooth line. They can texture should also be in keeping with the fabric. - disguise common figure faults such as round or Most patterns suggest a button size. However, thin shoulders or one high shoulder. The pads be sure it is appropriate for you. Use reinforce­ should be in for all fittings including the muslin. ment buttons under the fashion buttons. These Make your own out of layers of polyester fleece are small, flat buttons sewn on the inside of the to get the shape and size you need. The pad garment. Sew both buttons on at the same time should extend 3/8 inch ( 1 cm) beyond the arm­ and use a to allow for clearance of hole seam. the overlap fabric.

Sleeve headings may be used to maintain a roll In the tailoring project you will learn many new at the cap of the sleeve or to support the sleeve hand and machine sewing techniques. Keep in cap. This is a bias strip of soft fabric sewn into mind the standards of quality you have been the upper armhole seam with loose hand working towards while sewing in 4-H. You can stitches. review these standards in Quality Standards in Clothing Construction, PNW Bulletin 197. Select Other shoulder or chest pieces may be set in for a tailoring method and techniques that will give more shaping . results that are:

Machine keyhole buttonholes are usually used • Inconspicuous on tailored menswear. Bound buttonholes are flat and smooth often used on tailored clothing for women. There free from bulk are many ways to make bound buttonholes. stitching a uniform distance from an edge or Practice several to see which works best for you fold and your fabric. Functional - Buttonholes should be: • Durable

• Flat with edges finished. Even in length and width. PRESSING BASICS • On grain of fabric. Good pressing is essential in achieving a quality • Placed in direction of pull. look in tailored garments. Learn how to press • Spaced evenly on garment. each construction detail as well as how to give a • Large enough to allow the button to pass careful final pressing to the completed garment. through easily, yet small enough to hold the garment closed. Pressing is lowering and lifting the iron to mold, shape, and smooth the fabric. Steam is more im­ • On the right front of women's clothing and on portant than pressure. Often the iron surface the left front for menswear. may not touch the fabric. Steam and a "finger press" works well. Bound buttonholes should: Each part of the garment should be pressed and • Be a rectangle with square corners. shaped while it is being constructed. When you • Have even lips that meet exactly at the center press as you sew, little final pressing is of the opening. necessary. • Be finished on the back with the facing secure­ ly fastened . Some pressing tips: - • Test the fabric before you begin. See how it . A press cloth between the iron and fabric reacts to heat, steam, and pressure. prevents shining or crushing the fabric surface. Dampen the cloth if extra moisture is needed. • Press from the wrong side first. A soft wool press cloth prevents flattening the • Use a press cloth to prevent shine and to nap or texture of wool fabrics. A sheer, preserve fabric texture. transparent press cloth (such as a piece of • Press in the direction of the lengthwise and lightweight interfacing) is useful for pressing crosswise grain. details. • Press curved darts and seams over a mitt or . A pounding block or clapper is used in com­ ham. bination with steam to give sharp, flat edges or • Press a seam before stitching another seam creases in lapels, collars, , and other across it. details. It is most often used on heavy, bulky, or hard-to-press fabrics. • Slide a piece of paper under the edge of seams, hems, and darts so edges will not leave press . A point presser is a thin hardwood board that marks on the right side of the garment. comes to a fine point at the end . It is used to press corners of collars, pockets, and other When you press wool, always leave some details. The point presser makes it possible to moisture in the fabric and let it dry naturally. press hard-to-reach areas.

The pressing tools you will be using are:

. A tailor's ham is a firmly stuffed, ham-shaped cushion . Use it to press areas that need shap­ ing, such as darts or curved seams at the shoulder, bust, hipline, and sleeve cap. Your leader can show you how to make a ham or you can buy one. It should be covered with cotton on one side and wool on the other and very . A press mitt may be slipped over your hand to tightly packed with sawdust or sand. press shoulders, sleeve caps, and other small curved areas to be molded by steam . . The needle board (velvet-board) is used to press napped and pile fabrics without matting or flattening. Self fabrics or a fluffy terry towel can be used instead.

The seam roll is a long, cylindrical cushion used to press sleeve seams and other hard-to­ reach areas. When pressing seams open, it keeps seam allowances from leaving press WOOL CLOTHING CARE marks on the right side of the fabric because the iron touches only the stitching line. Buy a A tailored garment represents a large investment seam roll or make it yourself by sewing a tube in time, energy, and money. Protect that invest­ of heavy muslin and inserting a tightly rolled ment and help your clothes look new longer by - magazine. following these suggestions: • Use rounded or padded hangers so clothes will a ready-to-wear tailored garment like the one keep their shape. you have made. After comparing actual • Allow space between garments to prevent costs, make some time and quality com­ crushing. parisons. (A detailed study of this type would work well for an Explorer Project.) - • Air and brush clothes frequently. Let wool garments rest 24 hours between wearings. • Check for and make needed repairs. REFERENCES • Relax and refresh wool clothing by hanging it on a shower rod over a tub of hot water. For more help with your tailoring project, see : • Store out-of-season garments clean. Place them in sealed bags or boxes and store in a Easy, Easier, Easiest Tailoring, Patti Palmer and cool, dry place. Unless wool has been moth­ Susan Pletsch, 1977, Palmer/ Pletsch Associ­ proofed, it needs to be protected. ates, Portland, Oregon.

• Follow the directions on the care label and Creating a Tailoring Garment, Dressmaker hangtags for laundering your wool clothing. Method with Variations, Lenore ·L. Landry and HOW DO YOU RATE? Emma M. Jordre. 3rd Ed., 1972, American Print­ ing and Publishing, Inc., Madison, Wisconsin. Take a good look at yourself in the new tailored garment you have created. Use the checklist in Custom and Fusible Tailoring, Coats and Clark, Unit 3 to evaluate your finished product. Inc., Stamford, Connecticut.

* ACTION IDEA. Make a cost comparison with Simply Tailoring, Company.

Issued by Washington Stal e University Cooperative Extension, J. 0. Young, Direc tor, and the U.S. Department of Agriculture, in furtherance of the Acts of May8 and June 30, 1914. Cooperative Ex tension program s and employmen t are available lo all without discrimination. Pu blished September 1980. - - ..

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