Dressmaking up to Date
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
EC71-475 Relining Coats and Jackets Jane Speece
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska- Extension Lincoln Extension 1971 EC71-475 Relining Coats and Jackets Jane Speece Follow this and additional works at: http://digitalcommons.unl.edu/extensionhist Speece, Jane, "EC71-475 Relining Coats and Jackets" (1971). Historical Materials from University of Nebraska-Lincoln Extension. 4065. http://digitalcommons.unl.edu/extensionhist/4065 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. E. C. 71·475 I ~ I ~ 0-t I ~: I I I RELINING -+- __ _I . I I I I COATS and JACKETS I I I _I __ _ ~W:(ClEKW\ElD) \~ DGT 11 1971 COLLt.GE OF P.GRICUUURE UBRP.RY EXTENSION SERVI CE f \ UNI VERS ITY OF NEBRASKA COLLEGE OF AGR ICULTURE ' ' COOPERATI NG W ITH THE U .S. DEPARTMENT OF AGR ICULTURE • AND THE COLLEGE OF HOME ECONOMI CS. '•·····•" E. F. FROLI K, DEAN; .J. L. ADAMS, D I RECTOR 1elininR COATS and JACKETS By Jane Speece Extension Specialist (Clothing) establish The fabric of a coat or jacket usually is good long after straight the lining begins to wear. Relining the garment, which is not of grain difficult to do once the procedures are known, could put a favorite garment back into your wardrobe to give you many more years of wear. The first step is to rip out the old lining. -
Taking Your Measurements \ I / \ I / ' ------/ / ' ,,,__
• 1mp s __ ...,... ___ _. _____ ___ ,,. -, Bulletin 498 / January 1956 / ' : TAKING YOUR MEASUREMENTS \ I / \ I / ' ------ / / ' ,,,__..... --- ------- ./ _,."' / / --- --- 1 -------------- \ \ ' A good looking dress is a well-fitted dress. Achieving a good fit depends upon three things: knowing your own figure measurements, selecting the size and type pattern which most nearly corres ponds to your measurements, and then making any necessary alterations in the pattern before cutting your dress. This leaflet tells you how to take your measurements and provides a place for you to record them. What Is A Well-fitted Dress? A dress that fits you well adapts itself to your body. Ir brings out your good points and skillfully hides your poor ones. You will know a good fit by- Direction of grain of fabric. - Crosswise yarns are parallel to the floor at the center-front and back busdine, and at the hipline, unless the dress has unusual style details. lengthwise yarns are at right angles to the floor at the center-front and back of both skirt and bodice of a dress. lengthwise yarns on the sleeve cap lie in the direction of the arm when it hangs straight at the side . This varies slightly on different figures but in general the crosswise yarns are also parallel are straight in front and back of your arm except to the floor. when special style features, such as extended shoul Direction of seam lines. - Seam lines that ders, requir.e otherwise. lie and hang straight keep your dress in proper li~e The waistline seam appears to be straight around on your figure. -
Streamlined High Speed Lockstitch Machine With
® INDUSTRIAL SEWING LEWIS • COLUMBIA MACHINES FINEST QUALITY ST YLES 63400AF 63400BF CLASS 63400 STREAMLINED CATALOG HIGH SPEED LOCKSTITCH MACHINE No. WITH 121AF FEEDING PRESSER FOOT CHICAGO From the library of: Superior Sewing Machine & Supply LLC Catalog No. 121 AF (Supplement to Catalog No. 121 M) INSTRUCTIONS FOR ADJUSTING AND OPERATING LIST OF PARTS CLASS 63400 Streamlined Lockstitch Styles 63400 AF 63400 BF First Edition Copyright 1971 by Union Special Machine Co. Rights Reserved in All Countries MACHINE COMPANY INDUSTRIAl SEWING MACHINES CHICAGO Printed in U.S. A. July, 1971 2 From the library of: Superior Sewing Machine & Supply LLC IDENTIFICATION OF MACIDNES Each Union Special machine is identified by a Style number on a name plate on the machine. Style numbers are classified as standard and special. Standard Style numbers have one or more letters suffixed, but never contain the letter "Z". Example: "Style 63400 AF". Special Style numbers contain the letter "Z". When only minor changes are made in a standard machine. a "Z" is suffixed to the Standard Style number. Example: "Style 63400 AFZ". Styles of machines similar in construction are grouped under a class number which differs from the style number, in that it contains no letters. Example: "Class 63400". APPLICATION OF CATALOG This catalog is a supplement to Catalog No. 121 M and should be used in con junction therewith. Only those parts which are used on Styles 63400 AF and BF. but not used on Styles 63400 A and B are illustrated and listed at the back of this book. Opposite the illustration page. parts are identified by detail number. -
General Information
General Information: Summer dresses, made from lightweight fabric like silk organza or printed cotton, were popular during the time of the early bustle era from 1869-1876 for excursions to the sea or sporting activities like tennis. Hence the name “seaside costume” comes. Beside strong and light colors also striped fabrics were popular. Striped fabric often was cut on the bias for ruches and decorations to create lovely patterns. At the beginning of the era skirts were supported by smaller crinolines with an additional bustle at the back. At the middle of the seventies the crinoline was displaced by the actual tournure or “Cul de Paris”. Information’s about the sewing pattern: A seam allowance of 5/8” (1,5cm) is included, except other directions directly on the sewing pattern. Transfer all marks carefully when cutting the fabric. Pleas always do a mockup first. To get the desired shape the dress should be worn over a corset and suitable underpinnings. The dress is intended to be worn for more sporting activities, so it is designed to be worn over a small to a medium size bustle pad. If you want to wear the dress over a small crinoline or a larger bustle you have to spread the back width of the skirt to the hip era. Plan to make two or three pleats into the skirt gore #2 and #3 at the hip section. The front waist piece and the front apron are cut as one piece, at the side and the back the apron pieces are sewn on and folded into regular pleats at the back. -
My Bernette Sewing Machine Mastery Workbook – B37
MASTERY BOOK SERIES SEWING MACHINES BERNETTE SEWING MACHINE WORKBOOK For bernette models b37 and b38 ©2017. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. TABLE OF CONTENTS Introduction ........................................... 3 Sewing Machine Needles ...................... 4 Thread .................................................... 6 bernette Presser Feet ............................ 7 Stitch Selection ...................................... 8 Securing Stitches ................................... 9 Turning Corners ..................................... 10 Zigzag Stitch .......................................... 11 Blind Hem .............................................. 12 Triple Straight Stitch ............................. 13 Overlock Stitch ...................................... 14 Stretch Stitch ......................................... 15 Buttonholes .......................................... 16 Attaching Buttons ................................. 17 Stitching Zippers .................................... 18 Decorative Stitching .............................. 19 Satin Stitching ....................................... 20 Stitch Combinations/Memory ............... 21 Alphabets ............................................... 22 The information in this workbook applies to bernette models: b37 and b38. Double Needle Stitching ....................... 23 Note: Some exercises apply only to certain models Supplies ................................................. -
Hemmer Foot (ESG-HF) Instructions
Baby Lock Sewing Accessories Hemmer Foot (ESG-HF) Instructions This foot is designed to curl under a 3mm double hem while stitching with either a straight stitch or a decorative Parisian hemstitch. Works best on lightweight fabrics. 4. Position the fabric (reverse side facing up) under the presser This presser foot can be used on a sewing machine with a foot. Lower the needle 3 mm from the edges of the fabric, zigzag stitch width up to 7 mm. lower the presser foot, then sew 2 or 3 stitches. 1. Remove presser foot and attach snap-on narrow hemmer foot. 5. Raise the needle and the presser foot, and then hold the ends of the upper thread and lower thread to prevent them from being pulled out of the fabric and pull the fabric out from the front of the presser foot. 2. Select the straight stitch (center needle position). 3. Connect the foot controller so that both hands are free to guide the fabric. 6. Holding both threads, pass them through the curled part HINTS: If too little fabric is wrapped around the curl and a of the presser foot and pull them toward the back of the threefold seam is not being sewn: pull the fabric held in your presser foot. Wrap the fabric around the curled part of the right hand to the left in order to increase the amount of fabric presser foot in the same way. Position the edge of the fabric wrapped in the presser foot curl. At the same time, carefully just behind the needle and lower the presser foot. -
Rando – Introducing the World's First Ski Suit in 3-Layer Gore-Tex® Active
Press release February 2013 Rando – introducing the world’s first ski suit in 3-layer Gore-Tex® Active Perhaps the secret of Randonée lies in the contrast of struggling up the mountain only to later enjoy the ride down. Perhaps it is the science of finding snow that no one else has broken before. Or perhaps just to enjoy the vast landscape. Regardless of the reason, the activity places special demands on the equipment. For the 2013 winter season Haglöfs is introducing a new extensive collection for skiers who want to explore far away from the lift system and pistes. All of these products, which are gathered under the RANDO family, were developed with a focus on safety and being able to quickly and easily adapt the clothing based on changing weather conditions or whether you are headed up or down the mountain. One of this year’s big releases is RANDO AS SUIT – the world’s first ski suit in 3-layer Gore-Tex® Active. During its product development stage, Haglöfs focused on taking advantage of the properties of Gore’s Active technology in order to be able to offer the lightest and the most comfortable, waterproof and breathable skiing garment on the market. RANDO AS SUIT has an unembellished design, but with all of the product features a skier would expect, such as a helmet-compatible, adjustable 3-way hood, a DWR-treated outer surface and pockets strategically placed so that they are accessible even when carrying a backpack. The suit also has long, reinforced and waterproof zippers at the armpits and along the thighs in order to maximize ventilation. -
Cotehardie Construction from Extant Pieces
Cotehardie Construction from Extant Pieces Mistress Mairghead de Chesholme [email protected] Mka Jacquelyne Aubuchon Uppsala gown reconstruction http://www.kostym.cz/Anglicky/1_Originaly/01_Goticke/I_01_13.htm Very few examples of clothing from the High Middle Ages have survived to the present day. Of those garments, even fewer are available for study to the amateur costumer. Marc Carlson’s website “Some Clothing of the Middle Ages” provides an invaluable resource for the costumer to find garments with which to make comparisons. For this examination, I have selected five garments for comparison. These garments include the Soderkoping kirtle, Herjolfnes No. 42, Herjolfnes No. 39, Herjolfnes No. 38, and the Uppsala gown. The Herjolfnes garments immediately precede the cotehardie in fashion, but are not necessarily cotes. What they show is a continuity of cut and style that can arguably be carried over to application in construction of cotehardies. For example, think of a man’s dress shirt. Envision the places where the seams lie on a modern shirt. One hundred years ago, the technology was radically different, but the seams will correspond on a man’s shirt from the 1800’s. Clothing construction is constantly tweaked, skirts get longer and shorter, dresses range from fitted to volumous, but the basic lines for seams remain the same. By utilizing what is known on the above five garments one can reasonably reproduce a cotehardie using a pattern that would have been plausible at the time. Soderkoping Kirtle http://personal.utulsa.edu/~marc-carlson/cloth/soder.html The first garment and most degraded of the five is the Soderkoping kirtle. -
Curvemaster Presser Foot Tutorial
Curvemaster Presser Foot Tutorial Print Page The Curve Master Presser Foot sews curves with no pinning or clipping. It also sews a perfect, scant ¼” seam and eliminates the problem of trailing off at the bottom edge, or getting triangle points in a wad in the needle hole. Sandra Chandler, the inventor of the Curve Master, with a curved pieced Drunkard’s Path quilt she has made in far less than half the time normally taken with the quartering, pinning method of sewing. Photo taken during our Three Day Retreat with Sandy held at our Warehouse during June 2008. For the purpose of this tutorial, we will use the two pieces used in a Drunkard’s Path Block. These are the two shapes which will be sewn together. A convex curve into a concave curve. Normally, a difficult seam to sew. Having the top straight sections level, align the beginning edges together. No need to mark the middle or fold the fabric to find the middle. No pinning at all. Note that the fabrics are placed together so that when you “flip them open”; they are aligned exactly as you want this edge of your block to appear. Hint #1: Sewing with the wedge shape on top gives you better visibility, but either on top is okay. Hint #2: If sewing a stiffer fabric (such as a Batik) with a softer fabric, the stiffer fabric is better to be on top. Place fabrics under the needle; lower the Curve Master Presser Foot, aligning the two fabric edges against the integrated, raised ¼” seam allowance guide of the foot as shown. -
Sewing Technique: Lock Stitch (Hem 1”)
Sewing Technique: Lock Stitch (Hem 1”) The lock stitch is a hand stitch used for hemming purposes. It gives a secure hold with limited view of the thread on the outer side of the garment. STEP 1: Stay stitch ¼-inch from the fabric edge. (A stay stitch is a single line that is used for guidance and to keep the fabric from fraying. It is a normal stitch length and backstitching is a personal preference.) STEP 2: Fold the hem edge back 1-inch. Press fold in order to make a crease in the fabric. Press fabric 1 again ¼-inch. This press will follow the stay stitch seam. STEP 3: Secure thread to the folded edge of fabric on stay stitch line in order to hide the knot. STEP 4: Moving left, make a small stitch (1/2 to ¾ inch). The stitch should first go through the ¼-inch fold; then a small stitch is made that only goes through the outside layer of the garment. Pull thread gently back through to the inside of the garment. Avoid pulling the thread tight as the needle passes back through the loop created from the stitch. 5 3 5 STEP 6: To tighten lock stitch, pull thread to the left. STEP 7: Continue moving left and repeating step 5 until seam is complete. STEP 8: Once finished, secure thread to prevent it from unraveling. NOTE: The lock stitch can be used in place of a catch stitch. 7 6 Industry Standards for a Well-Constructed Hem: • Hem is level • Hem lies flat • No puckers, twists, or extra bulk • Hand stitching is not visible on correct side of garment • Hand stitches are evenly spaced • Topstitching is even and parallel to hemline References: Readers Digest. -
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. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between.