DOCSLIB.ORG

To Complete the Pattern Join Bodice #1 to #2 at Circle Front Bodice #1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Complete the Pattern Join Bodice #1 to #2 at Circle Front Bodice #1 To complete the pattern join bodice #1 to #2 at circle Chapter 2 Chapter 4 Chapter 6 Chapter 19 Front Bodice #1 1/2” FACING N CUT 1 FABRIC ON FOLD CUT 2 WITH FACING CUT 2 EXTENSIO INTERFACING USE FOR: GRAINLINE LAYOUT CUTTING FABRIC PATTERN MARKINGS DARTS SEAMS COLLARS CLOSURES CENTER FRONT FOLD To completeTo the pattern join bodice #1 to #2 at circle TO COMPLETE THE PATTERN JOIN BODICE #1 TO #2 AT CIRCLE STITCH TO MATCHPOINTS FOR DART TUCK FRONT BODICE #2 Front Bodice #2 Chapter 2 Chapter 4 Chapter 6 Chapter 19 STITCH TO MATCHPOINTS FOR DART TUCKS To complete the pattern join bodice #3 to #4 at circle Chapter 2 Chapter 4 Chapter 6 Back Bodice #3 CUT 2 FABRIC USE FOR: CK SEAM GRAINLINE LAYOUT CUTTING FABRIC CK FOLD PATTERN MARKINGS DARTS SEAMS COLLARS CENTER BA CUT HERE FOR CENTER BA To completeTo the pattern join bodice #3 to #4 at circle STITCH TO MATCHPOINTS FOR DART TUCKS Back Bodice #4 Chapter 2 Chapter 4 Chapter 6 Chapter 4 Chapter 11 Chapter 14 Chapter 17 MATCHPOINT Front Skirt #5 CUT 1 FABRIC USE FOR: V SHAPED SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED/ALINE HEM BIAS FALSE HEM CENTER FRONT FOLD Chapter 4 Chapter 11 Chapter 14 Front Yoke #6 CUT 1 FABRIC CUT 1 INTERFACING USE FOR: V SHAPE SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH C. F. FOLD C. F. MATCHPOINT Chapter 4 Chapter 6 Chapter 10 Chapter 11 Chapter 14 Chapter 17 MARK DART POINT HERE Back Skirt #7 CUT 2 FABRIC USE FOR: SEAMS ZIPPERS WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED ALINE HEM BIAS FALSE HEM Chapter 4 CUT ON FOLD Chapter 12 Chapter 17 H TC NO WHEN CUT ON FOLD CUT 1 ON FOLD FOR GATHERED SEAM CUT 1 ON FOLD FOR FACED RUFFLE CUT 1 ON FOLD FOR SINGLE RUFFLE CUT 1 ON FOLD FOR STRAIGHT NARROW ROLLED HEM MATCHPOINT TO STITCH GODET Straight Fabric Section #8 CUT 1 FABRIC HERE ON FOLD FOR EASED SEAM CUT HERE FOR SINGLE RUFFLE To complete the pattern join bodice #9 to #10 at circle Chapter 4 Chapter 13 Princess Seam Front Bodice #9 MATCHPOINT NOTCHED/LAPEL COLLAR CUT 2 FABRIC T CENTER FRON TO COMPLETE THE PATTERN JOIN BODICE #1 TO #2 AT CIRCLE CUT 2 FABRIC To complete the pattern join bodice #9 to #10 at circle Chapter 4 Chapter 13 Princess Seam Front Bodice #10 NOTCHED/LAPEL COLLAR #2 Chapter 4 Chapter 13 Princess Seam Side Front Bodice #11 CUT 2 FABRIC FRONT BODICE NOTCHED/LAPEL COLLAR #2 Concave Curve #12 CUT 1 FABRIC NOTCH NOTCH Chapter 4 Chapter Convex Curve #13 CUT 1 FABRIC NOTCH NOTCH Chapter 4 Chapter Chapter 4 MATCHPOINT Godet #14 CUT 1 NOTCH NOTCH Chapter 4 Princess Seam Strapless Front Bodice #15 CUT 1 FABRIC CUT 2 UNDERLINING C. F. FOLD C. F. NOTCH Chapter 4 CUT 2 FABRIC CUT 2 UNDERLINING Princess Seam Strapless Side Front Bodice #16 NOTCH Chapter 5 Chapter Knit Front Bodice and Top #17 CUT 1 To complete top pattern join bodice #17 to #19 at circle #19 at circle #17 to join bodice pattern top complete To Chapter 5 Chapter Knit Back Bodice and Top #18 CUT 1 To complete top pattern join bodice #18 to #19 at circle #19 at circle #18 to join bodice pattern top complete To Chapter 5 Chapter P TO Knit Fabric Section #19 CK CUT 2 GRAINLINE FOR KNIT FRONT & BA GRAINLINE TO CUT KNIT FABRIC SECTION TO STITCH A SEAM HEMLINE FOR KNIT TOP SEAMLINE TO STITCH A SEAM To complete top pattern join bodices #17 and join bodices #18 at circle pattern top complete To Chapter 5 Knit Set-in Sleeve #20 CUT 2 Chapter 5 Neck Band #21 CUT 1 DIRECTION OF STRETCH To complete the pattern join bodice #22 to #23 at circle Chapter 6 French Curved Dart Front Bodice #22 CE ON FOLD CUT 1 CENTER FRONT PLA To complete the pattern join bodice #22 to #23 at circle Chapter 6 French Curved Dart Front Bodice #23 CE ON FOLD CENTER FRONT PLA Chapter 6 Fisheye/Contoured Dart #24 DART CUT 1 IN FABRIC . FOLD C.F Chapter 6 NOTCH NOTCH STITCHING LINE THIS IS NOT THE STITCHING LINE IT IS A GUIDE TO SHOW THE DIFFERENCE BETWEEN THE CURVED STITCHING AND STRAIGHT DART LINE CE ON FOLD CENTER FRONT PLA Curved Waist Dart #25 CUT 1 IN FABRIC Chapter 8 FACING CUT 1 INTERFACING FOLD LINE Square/Round Patch Pocket #26 CUT 1 CUT EITHER SHAPE WIDTH CUT 2 FABRIC CUT 1 INTERFACING OPENING WELT POCKET LINING CUT 1 HERE Square/Round Patch Pocket Lining #27 CUT 1 USE FOR: WELT POCKET CUT 1 IN FABRIC CUT 1 LINING AS ABOVE Chapter 8 width cut 2 fabric cut 1 interfacing Pocket Flap #28 welt pocket lining cut 1 here cut 1 use for: welt pocket cut 1 in fabric cut 1 lining (as above) Chapter 8 CENTER FRONT CUT 2 MATCHPOINT Front Shorts with Angled Side Pocket #29 Chapter 8 POCKET PLA CEMENT CUT 2 Angled Side Pocket #30 CUT 2 Chapter 8 Angled Side Pocket Lining #31 CUT 2 CUT 2 NOTCH ALL PLEATS TOP AND BOTTOM NOTCHNOTCH NOTCH KNIFE PLEATKNIFE PLEAT KNIFE Chapter 9 Chapter Pleats #32 CUT 1, USE FOR: INVERTED BOX KNIFE INVERTED X INVERTED X BO X INVERTED X BO #32 to #33 at circle #32 to To complete the pattern join pleats the pattern complete To H TC NO H TC NO H TC NO NOTCH ALL PLEATS TOP AND BOTTOM NOTCHNOTCH NOTCH PLEAT KNIFE PLEAT KNIFE PLEAT Chapter 9 Chapter Pleats #33 CUT 1, USE FOR: INVERTED BOX KNIFE X INVERTED X BO X INVERTED X BO X BO #32 to #33 at circle #32 to To complete the pattern join pleats the pattern complete To H TC NO H TC NO H TC NO Chapter 9 Chapter 18 NOTCH MATCHPOINT MATCHPOINT Kick Pleat #34 USE FOR: KICKPLEAT CUT 2 FABRIC CUT 2 HEM SPLIT CUT 2 FABRIC INTERFACING VENT CUT 1 FABRIC W.S.U FOR HEMSPLIT CUT 1 FOR VENT FOLD LINE NOTCH NOTCH Chapter 9 Chapter 19 MATCHPOINT Kick Pleat Underlay #35 CUT 1 FABRIC Chapter 10 Fly-Front #36 CUT 2 IN MUSLIN CUT 2 LINING HERE TO O LININGS LININGS O TW ZIPPER LENGTH ZIPPER 5” CUT 1 MUSLIN AND AND MUSLIN 1 CUT MATCHPOINT Chapter 10 Fly-Front Extension #37 CUT 1 FABRIC CUT 1 INTERFACING waistband #38 to #39atcircle #38to waistband join thepattern complete To CB SIDE SEAM Straight Waistband #38 CUT 1 FABRIC INTERF CUT 1/2 A CING Chapter 19 Chapter 11 Chapter EXTENSION STRAIGHT WAISTBAND #2 CUT 1 FABRIC INTERF CUT 1/2 A CING Chapter 11 Chapter 19 M ABRIC SIDE SEA CUT 1/2 CUT 1/2 INTERFACING C INTERFACING ABRI CUT IN F CUT 1 F Straight Waistband #39 Waistband Straight CB EXTENSION Chapter 12 Chapter 17 STITC H HE RE F OR NA RR OW RO LL Flounce ED H E #40 M USE FOR: GRAINLINE SINGLE FLOUNCE CUT 1 GATHERED FLOUNCE CUT 2 OVERLAPPING FLOUNCE CUT 2 E C N E MOCK SEAM CUT 1 U O C L N F EDGESTITCH CUT 1 U E L O G CIRCULAR NARROW L F N ROLLED HEM CUT 7 I D S E R R O E F H E T C A N G A R W O F O L E L C A N M A A E W S O ” L 4 L / A 1 ” 2 1/ TING LINE CUT Chapter 13 Chapter CUT 2 CUT 1 INTERFACING Mandarin Collar #41 CUT 2 CUT 1 INTERFACING CUT 1 CUT 1 INTERFACING MATCHPOINT MATCHPOINT CUT 2 ON BIAS MATCHPOINT MATCHPOINT CUT 2 Chapter 13 Chapter CUT 1 INTERFACING CUT 2 Shirt Collar #42 CUT 1 INTERFACING CUT 1 CUT 1 INTERFACING MATCHPOINT MATCHPOINT CUT 2 ON BIAS MATCHPOINT MATCHPOINT CUT 2 CUT 1 INTERFACING CUT 2 CUT 1 INTERFACING Chapter 13 Chapter CUT 1 Notched/Lapel CUT 1 INTERFACING Upper Collar #43 MATCHPOINT MATCHPOINT CUT 2 ON BIAS MATCHPOINT MATCHPOINT CUT 2 CUT 1 INTERFACING CUT 2 CUT 1 INTERFACING CUT 1 CUT 1 INTERFACING MATCHPOINT MATCHPOINT Chapter 13 Chapter Notched/Lapel CUT 2 ON BIAS Under Collar #44 MATCHPOINT MATCHPOINT To complete the pattern join facing #45 to #46 at circle Chapter 13 Notched/Lapel MATCHPOINT Collar Facing #45 CUT 2 CUT 2 INTERFACING to complete the pattern join facing #1 and #2 at circle MATCHPOINT CUT 2 CUT 2 INTERFACING To complete the pattern join facing #45 to #46 at circle Chapter 13 Notched/Lapel Collar Facing #46 to complete the pattern join facing #1 and #2 at circle Chapter 13 Back Neck Facing #47 CUT 1 Chapter 14 C.F. FOLD Front Square Neck Facing #48 FRONT CUT 1 ON FOLD FABRIC CUT 1 ON FOLD INTERFACING Chapter 14 Back Square Neck Facing #49 CUT 2 FABRIC CUT 2 INTERFACING Chapter 14 Back Waist Facing #50 CUT 2 FABRIC CUT 2 INTERFACING S ABRIC CUT 2 FABRIC FOLD LINE CUT 2 F CHPOINT T MA SHIRT SLEEVE PLACKET CUT THIS LENGTH Chapter 15 Chapter NOTCH NOTCH ABRIC CUT 2 F Tucked Shirt #51 Sleeve Tucked TUCK TUCK Chapter 15 Chapter S ABRIC Continuous Placket #52 CUT 2 FABRIC FOLD LINE CUT 2 F CHPOINT T MA SHIRT SLEEVE PLACKET CUT THIS LENGTH NOTCH NOTCH ABRIC CUT 2 F TUCK TUCK SHIRT SLEEVE PLA SLEEVE SHIRT CKET CUT CUT CKET NO TC H THIS LENGTH THIS Chapter 15 CUT 2 F 2 CUT ABRIC TUCK TUCK FOLD LINE CUT 2 FABRIC NO MATCHPOINTS TC H Shirt Sleeve Placket #53 CUT 2 FABRIC Chapter 15 cutCUT 1/ 21/2 interfacing INTERFACING cuff length continuous placket cutCUT 2 2 CUT CUFF LENGTH TO HERE TO CUT CUFF LENGTH PLACKET CONTINUOUS Cuff #54 cuff length shirt sleeve placket CUFF LENGTH SHIRT SLEEVE PLACKET CUT 1/2 INTERFACING CUFF LENGTH PLACKET CONTINUOUS CUT 2 CUFF LENGTH SHIRT SLEEVE PLACKET Chapter 16 Full-size Front Armhole #55 CUT 2 To complete the pattern join back armhole #56 to #57 Chapter 16 at circle Full-size Back Armhole #56 CUT 2 To complete the pattern join back armhole #56 to #57 Chapter 16 at circle 2 CUT Full-size Back Armhole #57 Full-size Chapter 16 match notch MATCHto shoulder NOTCH seam TO SHOULDER SEAM Full-size Front Set-in Sleeve #58 cutCUT 2 2 Chapter 16 Full-size Back Set-in Sleeve #59 cutCUT 2 2 Chapter 17 NOTCH MATCHPOINT NOTCH INTERFACING Vent #60 CUT 1 E CUT 1 FABRIC W.S.U.
Load more

Recommended publications
  • 2021 Catalog
    2021 NEW PRODUCTS G-Power Flip and Punch Spin Bait Designed by Aaron Martens, Walleye anglers across the Midwest have become Gamakatsu has developed the dependent upon the spin style hooks for walleye rigs. new G-Power Heavy Cover Flip The Spin Bait hook can be rigged behind spinner & Punch Hook. A step up from blades, prop blades or used the G-Finesse Heavy Cover alone with just a simple Hook, for serious flipping and bead in front of them. It’s punching with heavy fluorocarbon and braid. The TGW (Tournament unique design incorporates Grade Wire) hook, paired with its welded eye, make this the strongest Gamakatsu swivels that is Heavy Cover hook in Gamakatsu’s G-Series lineup. Ideal for larger baits independent of the hook, giving the hook more freedom to spin while and weights, punching through grass mats and flipping into heavy reducing line twist. The Spin Bait hook features Nano Smooth Coat for timber. G-Power Flip and Punch ideally matches to all types of cover stealth presentations and unsurpassed hook penetration and the bait and able to withstand extreme conditions. Page 26 keeper barbs on the shank hold live and plastic baits on more securely. Page 48 G-Power Stinger Trailer Hook The new G-Power Stinger Trailer Hook Superline Offset Round Bend brilliance comes from Gamakatsu’s famous Gamakatsu’s Superline Offset Round B10S series of fly hooks and the expertise Bend is designed with a heavier of Professional Bass angler Aaron Martens. Superline wire best suited for heavy The Stinger Trailer has a strategically braided and fluorocarbon lines.
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Glossary of Sewing Terms
    Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam.
    [Show full text]
  • BRAND NAME PRODUCTS Branded Male Marketing to Men.Pdf
    Branded Male hb aw:Branded Male 15/1/08 10:10 Page 1 BRANDED MALE Mark Tungate is the “Tungate dissects the social trends that have been shaping the male consumer across a Men are not what they were. In article after author of the variety of sectors in recent years… Provides insights on how brands can tackle the article we’re told a new type of man is bestselling Fashion business of engaging men in a relevant way – and the influential role that the women in abroad – he’s more interested in looking Brands, as well as the their lives play.” good and he’s a lot keener on shopping. highly acclaimed Carisa Bianchi, President, TBWA / Chiat / Day, Los Angeles Adland: A Global Branded Male sets out to discover what History of Advertising, “Finally a book that uses humour, examples and clever storytelling to shed a new light on makes men tick as consumers and how both published by male trends. Helps us approach male consumers as human beings and not simply as products and services are effectively Kogan Page. Based in marketing targets.” branded for the male market. Using a day Photography: Philippe Lemaire Paris, he is a journalist in the life of a fictional “branded male”, specializing in media, marketing and Roberto Passariello, Marketing Director, Eurosport International Mark Tungate looks at communication. Mark has a weekly column BRANDED male-orientated brands and their in the French media magazine Stratégies, “Ideas, advice and insights that will help anyone aiming to get messages across marketing strategies in areas as diverse as: and writes regularly about advertising, style to men.” and popular culture for the trends David Wilkins, Special Projects Officer, Men’s Health Forum • grooming and skincare; intelligence service WGSN and the • clothes; magazine Campaign.
    [Show full text]
  • Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
    tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content.
    [Show full text]
  • 1914 Girl's Afternoon Dress Pattern Notes
    1914 Girl's Afternoon Dress Pattern Notes: I created this pattern as a companion for my women’s 1914 Afternoon Dress pattern. At right is an illustration from the 1914 Home Pattern Company catalogue. This is, essentially, what this pattern looks like if you make it up with an overskirt and cap sleeves. To get this exact look, you’d embroider the overskirt (or use eyelet), add a ruffle around the neckline and put cuffs on the straight sleeves. But the possibilities are as limitless as your imagination! Styles for little girls in 1914 had changed very little from the early Edwardian era—they just “relaxed” a bit. Sleeves and skirt styles varied somewhat over the years, but the basic silhouette remained the same. In the appendix of the print pattern, I give you several examples from clothing and pattern catalogues from 1902-1912 to show you how easy it is to take this basic pattern and modify it slightly for different years. Skirt length during the early 1900s was generally right at or just below the knee. If you make a deep hem on this pattern, that is where the skirt will hit. However, I prefer longer skirts and so made the pattern pieces long enough that the skirt will hit at mid-calf if you make a narrow hem. Of course, I always recommend that you measure the individual child for hem length. Not every child will fit exactly into one “standard” set of pattern measurements, as you’ll read below! Before you begin, please read all of the instructions.
    [Show full text]
  • First Review - Professional Peers - ITAA Members
    DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University
    [Show full text]
  • That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
    That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge.
    [Show full text]
  • Buffalo Police All Season Jacket
    Uniforms, Transit Operators CP82007 Page 1 of 48 Specifications Appendix B ----------------------------------------------------------------------------------------------------------------------------- -------------------- 100. SF MUNI GORE-TEX JACKET & LINER – UNISEX STYLE NUMBER: Flying Cross by Fechheimer Item: 79900GTXA 10 STYLE: Waist length style with 6 snap storm flap overlapping a 2 way zipper. Side vents for access to equipment. Front and back flapped yokes to accommodate drop down panels. Utility shoulder straps. Hide-away hood. OUTER SHELL: 100% Nylon, 3 ply Supplex, 3.7 oz per sq. yd., with water and stain repellency, uncoated. COLOR: Black DROP LINING: Made from waterproof, breathable, windproof 2 layer Gore-Tex. Face fabric: 100% Black Polyester. Membrane layer: bi-component PTFE membrane. ====================================================================================== 101. REMOVABLE INSULATED LINER ENDURANCE INSULATED BASE LAYER JACKET SPECIFICATIONS STYLE NUMBER: Flying Cross by Fechheimer 55100A 10 (Black) The shell fabric shall be 100% Nylon with 37.5 padding insulation, 2.9 oz. per sq. yd. STYLE: The jacket shall be manufactured from new up-to-date pattern with an articulated sleeve, gusseted underarms and mandarin style collar. The jacket shall have two (2) upper napoleon pockets and two (2) lower vertical pockets with hidden zippers. There shall be (2) side zippers with adjustable snap closure. Sleeve cuff has partial Nylon Spandex for a comfort fit. Loops at back sleeve cuff seam and outside neck seam shall coordinate with snap tabs on related outerwear styles (). POCKET LINING SLEEVE LINING: The upper napoleon pocket lining shall extend from the hem to the chest and from the side seam to the front zipper edge. Pocket lining shall consist of a Taffeta material. The lining shall extend across the back yoke and down the top sleeve.
    [Show full text]
  • Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
    Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”.
    [Show full text]
  • The American Lady-Tailor Glove-Fitting System of Dress Making
    ' : - . fdfl . - . ... • • . 1 i , 1 • • • • i ft) '•-.; r i. # i ' ".. - i ! It r it ; . CvAMDkPS^ fedt Improved and Simplified. LIBRARY OF CONGRESS. ®|ap. - ®W'Sl l 1« # Slielf .vGr..2? fc UNITED STATES OF AMERICA. 4$ f. L Second Edition.] [Price, Five Dollars, THE AMERICAN Lady-Tailor Gloye-Fitting- System OP- DRESS-MAKING Invented and Taught by ^ • Mrs, Elizabeth Gartland IN HER SCIENTIFIC COLLEGE. KE^nSED, iLLTJSTBiLTED # SlIMIIF'IQjIIF'IEID- PHILADELPHIA, PA. 1884. Entered according to Act of Congress, in the year 1884, by Mrs. Elizabeth in the Office of the Librarian of Congress, at Washington, D. C. : IMPORTANT NOTICE. \K^ To all whom it may Concern : —Only those purchasing this Book from me or my authorized agents are hereby licensed to use my Systems of Cutting and Fitting, set forth in this work, the contents of which I have secured by copyright. And no person shall have any right whatever to sell or teach in any manner, my system, without first procuring from me or my duly authorized agents a license in writing, signed by me, specifying how and in what way it may be used. MRS. E. GARTLAND, 15 SOUTH 13th STREET, PHILADELPHIA, PA. LEADING PARIS FASHION MAGAZINES And they can be had at any time by the single number or by subscrip- tion; post-paid, at the prices given in the following list One Six Three Single Year. Months. Months. Copy. *Aquarelle Mode Weekly 9 16 20 9 9 00 $ 5 00 45c. *Album de la Toilette Semi-Monthly.. 7 25 4 00 2 25 45c. *Coquet Semi-Monthly.
    [Show full text]
  • 2000 Proceedings Cincinnati, OH
    Cincinnati, OH USA 2000 Proceedings DOGWOOD IN GREEN AND GOLD Tammy Abbey Central Washington University, Ellensburg, WA 98926 The purpose in creating this piece is to design an elegant garment through the combination of two very different techniques, metalsmithing and sewing. This design was inspired by extensive study in both metalworking and sewing and by blooming dogwood. The garment can be described as a dark green, fully lined dress in a polyester crepe satin. It is designed with princess lines and a gold charmeuse godet in the back. The dress is strapless and supported by the metal "lace." The "lace" is formed with brass blossoms and leaves that wrap the shoulders and overlap the front and the back of the dress. Brass blossoms also accent the godet. Construction began with an original pattern which was hand drafted. A muslin test garment was sewn, fitted and used to adjust the pattern. The main body of the dress was sewn and an invisible zipper was installed. A godet was sewn into the back. A polyester lining was sewn and then added to the dress. After the body of the dress was completed, the metal work began. Blossoms and leaves were cut from sheet brass. Then each was individually chased (hand shaped with the use of hammers and tools.) The pieces were given a copper patina (coloring) and brass brushed to a matte golden color. A dress form was used to assemble a base web of brass chain onto which the blossoms were sewn into place with thread and wire. Two blossoms and chain were added in the back to accent the godet and to contain it.
    [Show full text]