TLE 20: GENERAL INSTRUCTION FOR TAILORED GARMENTS TOOLS,

MATERIALS AND EQUIPMENT

The L-square, Hip, and French curves are indispensable to designers and master cutters. They are very
useful in drafting patterns.

SEWING EQUIPMENT

I. Measuring Tools and Shaping Tools

1. L-Square divides the garment into the desired measurement.

It perfect squares and is useful in making straight lines and numbers. It can also function like a tape
measure. It has two (2) arms connected perpendicularly.

1.2 The longer arm is twenty-four (24) inches long.

1.3 The shorter arm is fourteen (14) inches long.

Characteristics of the Longer arm of the L-Square

1. In front of the longer arm have six (6) different columns.

The numbers found in every column are equal.

2. The six (6) column parts are:

a) 1/24

b) 1/12

c) 1/6

d) /13

e) /23

f) By inch of the 24 inches column

3. At the back are numbers made from 1 to 24 inches. The corner of the L-Square is aluminum that
holds the two arms at a 90-degree angle. Both ends of the L-Square are secured with metal sheets.

Characteristics of the Shorter Arm

1. Starting from the corner of the short arm one can observe the following:

a) 1/32

b) 1/16

c) 1/8

d) ¼

In other L-Square the shorter arm has 16th, 8th,4th, ½ and by the inches.

2. The back part of the arm contains a four-inch measurement. The two arms are secured with a
curved metal sheet on the inner portion.

3. The Hip Curve is used in connecting or shaping curve points. The front part of the curve has a
measure of inches. At the back part is a measure of centimeters. It is marked every five centimeters.

4. French Curve is used to shape the depth of the neck hole and armhole of the pattern.

5. Ruler aids in connecting lines. They are graduated in inches and centimeters which are commonly
made of either wood or plastic.

6. A tape measure is a device used in taking body measurements. The front has the measurement of
150 centimeters and 60” on the other side Fiberglass tape is commonly used by professional
dressmakers.

II. Cutting Tools are instruments that serve well if properly maintained.

The joints are oiled once in a while for better use.No description available.

1. Shears have a length of eight (8) to nine (9) inches. They are sharp metals used for cutting. They must
be free from rust to function properly. The longer the shears are, the easier work will be. The holes are
of different sizes

2. Scissors are shorter than shears, also used for shaping short curves, trimming, and cutting
buttonholes. The holes are of equal size.

3. Pinking shears gave an attractive zigzag cut edge to the fabrics that do not ravel. The size is from 9
to 10 inches long.

4. Ripping or thread clip scissors are scissors with short blades. They are used for ripping of stitches and
seams

5. Trimming scissors are used for cutting or trimming threads.

6. Ripper is a handy wire rod with a hook in one end that is used to remove seams or stitches.
III. Marking Tools

1. Tailor Chalk is used to transfer the marks from the pattern to the fabrics. A more expensive brand
functions better because it is stronger and works properly.

2. Pencil with eraser helps mark patterns in fabrics with light colors as well as in the drafting of
patterns.

3. Tracing Wheel is used to transfer seam lines, dark lines, and seam allowances.

4. Tracing Paper functions like carbon paper. Tracing papers are categorized into black and white
depending upon the color to be traced.

5. Thread when basting, silk threads are more appropriate. Contrasting colors should be used for
easy location and removal if necessary.

6. Pins are used to hold pieces of materials together. Dressmaker’s pins are used for all fabrics.

I. Drafting Tools

1. Pattern Paper is an indispensable material used for drafting patterns and marking or transferring
lines to fabrics.

2. Measuring and shaping tools are also necessary for drafting.

II. Pinning and Sewing Tools

1. Pins are used to hold pieces of materials together.

2. Weights are heavy objects placed on top of patterns when tracing for them not to move.

Example: stones

3. Hand Needle is used in making temporary stitches and buttonholes. Sizes of 7 to 10 are for general
hand sewing. However, sturdy fabrics need larger sizes of needles.

4. Thimble is used to push the needle and to protect the finger from getting hurt.

5. Pin Cushion is a bag of cotton or hair where pins and needles are pricked or placed when not in
use. Rayon, velvet, or worsted fabrics are commonly used for the coverings of the cushion

6. Sewing Box is a container for all tools and materials in sewing.

Materials
 Fabric is the cloth used in making garments. The plain cotton fabrics, flour sack, or catch is the
most appropriate material for beginners. The easy handling of this material will help the students to
enjoy sewing.

The Thread is used in assembling or constructing the parts of the garment. Threads also vary in
size. Heavy fabrics need stronger threads to ask for the appropriate one to use. Threads should have the
same color as that of the fabric used.

Kinds of Threads

1. Mercerized Cotton is strong and does not shrink. This is suitable for all kinds of light and medium-
weight fabrics. It’s a glossy cotton thread.

2. Synthetic thread is stronger than cotton thread. It is used in sewing knitted, stretchable, and man-
made fabrics. This thread requires machine adjustments and sharp needles for best results.

3. Silk Thread – is durable and elastic and is used on fabric made of animal fibers.

Kinds of Fabric Folds

1. Lengthwise Center Fold. This is a fold from selvage to achieve the lengthwise centerfold.

2. Crosswise Center Fold. This fold is in the center of the crosswise grain.

3. Off-Center Lengthwise Fold. The fold is enough for the length and width of the pattern on a
lengthwise fold.

4. Off-Center Crosswise Fold. The fold is enough for the length and width of the pattern on a
crosswise fold

SEWING EQUIPMENT

1. Sewing Machine makes sewing easier and faster. There are two kinds of sewing machines, the (a)
treadle which is run by foot and the (b) electric motored machine ruin by electricity. Size 14 machine
needle is used for fabrics like cotton, linen, and worsted. A smaller size like number 11 is good for finer
fabrics while sturdy fabrics use number 16 needles.

2. Working Table is a spacious table essential in laying out patterns on fabrics. The ideal size is 2-1/2
by 4 feet.

PRESSING EQUIPMENT

Pressing is done on the seam and darts to lay flat the joint pieces.

An Electric Iron is used in straightening wrinkled and finished garments for a neat appearance.
An Ironing Board is padded, smooth, and adjustable in height. Keep the cover clean and smooth for
ready use.

Ironing Board Sheet Cover should be made of cotton or linen with light colors.

Bowls and Sponges are used to dampen fabrics for easy ironing.

Starch Sprayer is preferred for easy ironing of washable fabrics.

Dress Form

A dress form is indispensable sewing equipment in garment construction. It duplicates the figure
and allows one to fit the garment for accuracy and good workmanship.

THE SEWING MACHINES USED FOR CLOTHING

CONSTRUCTION
1. High-Speed Lock Stitch Sewing Machine – this is something called “Straight Stitching Machine” or Industrial
Sewing Machine. It has an oiler tank wherein the oil is restored under the bed of the machine. This machine
has a motor and contains a knee lifter so that the sewer has free movement while sewing the operation is the
same in lock stitch machines. The parts and functions of this machine are almost the same as the “Lock-Stitch
Machine”.

2. High Speed Over edger – this uses three needles and three threads in zigzagging the raw edges of a pattern.

Safety precautions before machine operation

✔ Know the location of the switch of your sewing machine.

✔ Be sure that the motor is switched off or completely stopped before cleaning.

✔ Be sure that the needle is properly attached.

✔ Be sure to inspect the tension and the adjustment of stitches.

✔ Turn off the switch before adjusting and cleaning the machine.

3. Lock Stitch Machine – this is commonly used in homes and sometimes in school. This is also called “Domestic
Sewing Machine”. It is run by foot and may also be converted to an electric power machine. There are two (2) kinds
of Lock Stitch Sewing Machine. The Traditional and the Modern. They have the same parts and functions. They only
differ in the style of the parts. The modern has a sophisticated design while the traditional machine has the old
design.
THE TWO MAJOR PARTS OF THE LOCK STITCH SEWING MACHINE
The two major parts of the lock stitch sewing machine are the upper and lower parts.
The Upper Parts is composed off:
 1. The Head is the complete sewing machine without a cabinet or stand.
2. The Arm is the curve part of the head containing the mechanism for operating the needle.
3. The Bed is the flat portion of the machine and beneath are the feed dog where it is mounted, and the shuttle
and lower thread are placed.

The Upper Parts of the Sewing Machine

1. The Spool Pin is the thread holder.
2. The Thread Guide keeps the thread in position.

3. The Thread Take-up Lever release the thread and interlock with the bobbin thread.
4. The Presser bar lifter moves the presser foot high.
5. Tension controls the looseness and tightness of stitches.
6. Needle Bar holds the needle in place.

7. Needle Clamp holds and tightens the needle.

8. Presser Foot holds the fabrics in place while sewing.
9. A needle is a slender tool attached to the needle clamp used for sewing.
10. Bobbin Winder controls the bobbin while winding thread.

11. The Stitch regulator checks the length of the stitches.

12. Balance Wheelset the mechanism in motion
13. Belt connects the balance wheel to the drive wheel.
Stop Motion Screw hinders moving when loosened and stops moving when tightened.

Parts of Sewing Machine under the Bed

1. Feed Dog moves the fabric while sewing.

2. Throat plate windows of the feed dog and where the bobbin thread comes out.
3. The slide plate is a movable plate that covers the shuttle and bobbin case.
4. The shuttle holds the bobbin case while sewing.
5. The bobbin is a metal spool for winding thread.
6. Bobbin Case holds the bobbin.

The Lower Parts of the Sewing Machine

The lower parts of the sewing machine are the cabinet and the stand. The cabinet has
drawers and screws on the hinges for the attachment of the head.

1. Drive Wheel leads the balance through the belt connection.

2. Drive Wheel Crank moves the band wheel.
3. Pitman Rod holds the treadle to the bank wheel crank.
4. Belt Guide holds the belt to its place.
5. Belt Shifter removes the belt from the wheel.
6. Dress Guard protects the dress from the wheel.
7. Treadle is where the feet are stationed to drive the bank wheel through the pitman rod.
 8. Legs support the cabinet of the machine.
9. Cabinet holds the head of the machine by interlocking screws on the hinges.

THREADING THE MACHINE

A. Order of threading in the upper parts:

B.

1. Spool Pin
2. Thread guide
3. Between metal disc of tension
4. Thread take-up lever

5. Thread guide
6. Lower thread guide
7. Threading the needle

Steps:
1. Put the spool of thread on the spool pin.
2. Bring the thread to the thread guide.

3. Pull the thread between the metal disc of the tension.

4. Bring the thread up to the thread take-up lever and raise it as it goes.
5. Pull the thread down to the thread guide.
6. Pull it through the lower thread guide.

7. Thread the needle.

A. Threading the lower part:

Steps:

1. Remove the bobbin case pulling on the bobbin case latch.

2. Remove the bobbin from the case and wind the thread.
3. Put the bobbin back to the bobbin case and pull the thread through the little slot at least 4 inches long.
4. Be sure that you hear the case being locked upon inserting the bobbin case inside the shuttle.
5. Start the mechanism by rolling the balance wheel forward to get the thread of the bobbin through the needle.
6. Pull the upper and lower thread together by 4 inches.

HOW TO START MACHINE STITCHING

Start to sew straight lines by practicing on a scrap of fabric. Watch the presser foot while sewing. When
sewing material, the bigger toe is used as a guide from folds and edges.

1. Sew exactly on the lines, keeping the sides of the presser foot at an even distance from the line.
 2. Continue sewing this time doing parallel lines on plain fabric.
3. Draw curves and machine stitches on the lines.
4. If you have gained confidence and control of the machine, you are now ready to sew garments.
5. Constant practice in sewing will produce good results.

MACHINE PROBLEMS

PROBLEMS CHECK THE PARTS SUGGESTED SOLUTIONS

Needle Thread Too Tight Tight upper tension Loosen the tension

Needle Thread Too Loose Loose upper tension Tighten the tension

Thread Breaks Incorrect size of the needle. Checks Match the size of the needle and thread
the size of the thread.

Skipped Stitches Incorrect size of the needle. Change the needle

The needle is either bent or dull,
Check the size of the thread.

Needle Breaks Incorrect position of needle, presser Tighten the presser foot
foot is loose, the fabric is too thick

Seam Pucker Tension is too tight; the needle is too Loosen the tension
big or dull

Fabric Jams Incorrect size of needle or thread Fit the size of the needle and thread

Machine James Check lower threading Bobbin case Proper attachment of the needle
if threads are jammed. Incorrect
position of the needle

CARE OF THE SEWING MACHINE

1. The sewing machine should always be cleaned and oiled for it to run smoothly and quietly.
2. Always close and cover the machine to protect it from dirt and dust if not in use.
3. Place a folded scrap of cloth between the presser foot, needle down, and the feed dog.
4. Place the machine beside the window, move it carefully but never drag it around.

SAFETY PRACTICES WHILE SEWING

1. The light should come from the left side.

2. Sit erect on the chair. Eyes should be in line with the presser foot.
3. The left foot is placed higher than the right foot.
4. Use scissors for cutting threads.
5. Use a thimble when sewing by hand.
6. Use a pincushion for pins and needles.
7. Keep the head and shoulders erect while sewing.

Arrange the units or parts of the garment beside you so as not to be disturbed while sewing.
 CONSTRUCTIVE STITCHES\
The following are the hand stitches which are necessary to produce quality work in garment construction.
Basting is considered a temporary stitch using needles and threads. When basting, one must be careful in pinning
the two pieces of cloth especially when working with checkered fabrics or silk materials with lining or underlining.
Silky threads with color lighter than the fabric is preferable.
KINDS OF BASTING
Ø Even Basting is a set of running stitches, with equal lengths and spaces. It is used to hold sleeves in the
armscye, the shape or outline of the armhole. It is also used to baste seams and which must be held securely.
Uneven Bating is a combination of long and short running stitches. The arrangement of stitches and spaces are
varied. Uneven basting stitch is used in making centerlines, pockets, and long straight seams.

Ø Diagonal Basting is a set of short vertical stitches on the underside about 1 inch apart, the thread then falling into
slanting stitches on the surface of the fabric. This holds two layers of fabric together to prevent slipping.

HAND STITCHES

Hand stitches are permanent stitches that are essential in the construction of clothes. Hand sewing should be
carefully done to produce quality finished garment.

HAND STITCHES
Hand stitches are permanent stitches that are essential in the construction of clothes. Hand sewing should be
carefully done to produce quality finished garment.
1. Running Stitch is weaving the needle evenly in and out of the fabric ¼ inch long before pulling the thread
through. This is used for easing and gathering sleeves.

2. Backstitching is useful for seams that are ripped. It has the appearance of a machine stitch on the right side,
but the stitches overlap on the opposite side. With right sides together, one should follow the seamline bringing the
needle through the fabric to the upper side by 1/8 inch and taking a back stitch of ¼ inch and bringing the needle out
again.

3. Slipstitch is used to hem. It provides an almost invisible finish. It is done by sliding the needle through the
folded edge and at the same point picking up a thread of the under fabric taking 1/4'” stitches one after the other.

4. Hemming Stitch is used for hems finished with seam binding, especially when the garments are not
underlined. This is done by taking a tiny inconspicuous stitch in the garment through the edge of about ¼” apart.

5. Bindstitch is used for hemming and holding facings in place and unnoticeable on both sides of the garment.
To do this, one should take ¼” horizontal stitch through one thread of the garment, then stitch diagonally above. One
should not pull the stitches tight.

6. Overcast Stitch is used to finish raw edges to prevent raveling.

7. Overhand Stitch holds two finished edges together with tiny, straight, even stitches and joins lace edging or
attaches ribbons to garments. To do this, needle is inserted at a diagonal angle from the back to the front edge,
picking one or two threads each time.

SEAMS
Seams are rows of stitches holding two or more edges of fabric together with the use of sewing machine.
Types of Seams
1. Plain Seam – stitching the wrong side of two pieces of cloth right sides together. The seam should be pressed.
This is used to join shoulder line, the side bodice, sleeves, side seams of skirts, blouse and pants.
2. Enclosed seams – When joining the collar to the neckline, the undercollar is stitch. After stitching, insert the
edges and closed with a seam. This seam is usually found in attaching of the collars, cuffs, waistbands and head
band.

3. Pivoting at a Corner – The inward corners on both sides are reinforced by small stitches next to the seamline
in the seam allowance. They should be clipped to the point.

4. Scallops – a curved seam with small reinforcement stitches. On stitch across each point should be taken to
make turning easier. Each corner point should be clipped after the stitches. Clips should not reach the stitches.

5. Bias Cut Edge – to join bias edge with a straight edge, one should be sure to keep the bias side up in order to
control the stretch of the bias and avoid puckers. This can be used in finishing the neckline, armhole, girth, and
waistline for the skirts.

6. Lapped Seam – made by stitching the gathered edge and the straight edge together first as a plain seam.
Then seam is pressed from the right side leaving the gathered edge extending straight up and the straight edge
creased back against itself. The seam from the right side top stitched as done on a yoke when straight pieces of the
material are joined together. This type of seam is used to join the yoke of polo shirts, blouses, skirts and pants.
SEAM FINISHES
Seam finishes help in the overall workmanship of the garment. However, fabrics that do not ravel need not be
finished. With fabrics that are firmly woven, pinking is enough as finishing. In case of loosely woven fabrics like cotton
silk, polyester and gabardine stronger finishing is necessary.
Finishes for Plain Seams
1. Graded – edges are cut where one is longer and the other one is smaller. This is applicable to heavy fabrics.
2. Overcast – both edges are finished with overcasting stitches.

3. Open and bound – both edges are covered with fabric and is machine stitched.

4. Closed and bound – both edges are together and covered with a pure fabric and is machine stitch.

5. Pinked and stitched – both edges are stitched and pinked by a stronger finishing.

6. Turned and stitched – both edges are turned under and machine stitched.

7. Zigzagged – both edges are zigzagged. For lighter fabrics smaller sizes of zigzags will do For bulky fabrics
bigger zigzag stitches are a must.

8. French Seam – stitching the right side of two pieces of cloth wrong side together. The fabric is stitch about 1/8
inch from the edge. It is then turned so that the right sides are together and again stitched of about ¼ inch. This seam
is commonly used among light materials, raveling fabrics, see through fabrics and silk. This kind off seam is usually
used in baby dresses.

9. Flat-felled seam – folding the wider seam allowance over the narrower one by ¼ inch and stitch. Spread the
two parts and erase the fold and stitch near the edge. This is a strong seam usually used on the sturdy fabrics or
working clothes. Stitching is done on the right side.

10. Seam with ease – To ease, long stitches should be close to the seam line between markings. This is used in
the sleeve cap and shirrings for skirts. Two lines of stitches are necessary. Pull the 2 lower threads in producing
gathers.
HEM FINISHES
Hem finish is a finish made by folding the lower edge of skirts, blouses, sleeves and other parts of a
garment. A good hem is even in width and should be inconspicuous, scarcely showing on the right side of the
garment.
Types of Hem Finishes
1. Seam Tape or Binding – this prevents raveling and gives a smooth appearance to hems. The common
materials used are commercial bias made of silk, cotton and ribbons that are bought from the Modist’s supplies and
materials.
2. Stitched and Overcast – the hem is invisible from the outside, stitched securely without bilk. Stitch ¼” from raw
edge using overcast edge. Using this stitching as guide, turn the edge back ¼” and blind them.
3. Stitched and Pinked – an effective finish for fabrics which do not ravel. ¼” of fabric is stitched from the free raw
and the edge is pinked and hemstitched.
4. Turned Under – this is used on light and medium weight washable fabrics, on sheers and limp hens. To do this,
turn in the raw edge ¼” and stitch close to the fold.
5. Zigzag finished edge – this is an effective finish for fabrics that easily ravel. To do this, stitch ¼” from the zigzag
and hemstitch.
FACINGS
Facings do much good for the look and comfort of garments. The purpose of a facing is to neatly finish and
conceal raw edges by turning it to the wrong side of the garment. Facing is made beautifully if it lies flat and smooth.
Basic Types of Facings
1. Fitted or shaped facing – is found in necklines and armholes. It is traced on the necklines and armholes and is
cut 2 inches wide.2.
2. Extended facing is found in polo shirts from opening, blouses, blazers and vest. It is 2 ½ to 3 inches wide for
the blouse or polo shirt with sports collar or standing collar.
Bias Facing – To do this, cut a bias strip four times the desired width plus ¼” plus 2” for finishing the end. Double fold
the bias and place on the right side of the garment with 1” extending beyond the closing edges and sew. Clip the
seam allowances and turn to remove bulkiness. Turn the folded bias on the wrong side and baste. Top stitch. Finally
lock the closing edges with a hook and eye. This is used to finish the waistline of the skirt without a band. It is also
used in finishing the neckline and armhole or arm girth of a blouse.

SHOULDER PADS
Shoulder pads help maintain the shape of the shoulder sloper and sleeve cap. They are 3” by 4” to 6” foams placed in
pouches. These are placed in shoulders and are matched with nylon tapes or attached to the shoulder seam
allowances.
ASSEMBLING SHOULDER PADS
1. Shoulder pads are sold in the market. They are made if pie shaped foam.

ü Make two parts pairs of shoulder padse

ü Nylon tape fabric pouch cut 2 pieces, cut 1 pc. Foam for padding
2. Cover the foam with fabric by following its shape. Zigzag all around.
3. Place a nylon tape in the middle around 1 ½” to 2” long and stitch.
4. Match the finished shoulder pad nylon tape to the shoulder and the sleeve cap.

INTERFACING
Interfacing gives shape to buttonholes, collars, lapels and waistbands of garments. To do this, pin or baste
the interfacing on top of the wrong side of the 2 parts of fabric. The interfacing could be of the same materials or
pelon, truvenized cloth or coco.
Cut 2 pieces of collar (fabric), cut 1 pc. Pelon for interfaing

LINING
Lining provides garments with better appearance. It gives comfort and better quality on clothes. It is cut
from the same pattern and constructed separately into garments. It covers the construction details and is attached to
necklines, sleeves, cuffs, waistband, and hemlines. It must be lighter in weight than the garment’s fabric and silky to
give comfort to the wearer. Fabrics that last should be used.
Fabrics nowadays need linings. Lining fabrics should complement the color and weight of fabrics to be
lined. The final pattern should be followed in cutting linings. All the seam lines and darts should be traced. The lining
should be basted with the fabric before sewing to have a smooth result.
Underlining adds body to the garment. It is cut from the same pattern as that off the garment fabric. The
underlining and garment fabric are basted and sewn together to act as one.
DARTS
A dart is a V-shaped wedge formed into the fabric by sewing from the wide end and tapering towards one
end. It is placed in the garment to give shape to the body. Darts can either be single, double, empire and cut away.
1. Single Dart is wide open on one side and closed to point on the other side. Darts are usually applied on
shoulder lines, necklines bust lines, side bodice, sleeves, and waistlines.
2. Double Dart is wide in the middle and tapers on both sides. It is usually found in dresses, coats, jackets,
blazers and vests.

3. Empire Dart one end is rectangular in shape from under the bust to the waist and comes to a point on the hips.

4. Cut-Away of Separating Darts is used in garments with long darts, with the shoulder passing by the bust line to
the waist extending to the hip line. This dart reduces bulks in the finished dart area.

There are three simple steps in making a dart

1. Make the dart
2. Pin

3. Stitch
Make a dart by following these steps:
1. Fold the fabric with right sides together along the line indicating the dart.
2. Pin to help keep the line in place.

3. Cease to flatten the fabric and then baste.

4. Sew dart by following the lines, starting at the wide end and finishing at the point end stitching.
5. Cut the thread.
COLLARS

Collars are bands attached over necklines. Sometimes they are cut as part of the front bodice.
Different Kinds of Collars
1. Flat Collar – lies flat over the neckline and shoulder.
2. Half Rolled – The collar at the back is slightly raised. Ex. Peter Pan, convertible collar and sports collar.
3. Rolled Collar – This is a two-piece collar. The upper collar is ¼” or 3/7” wider than the stand. This popularly
called standing collar
4. Continuous Collar – The collar is cut with the front bodice extended lapel and collar.
Construction Pattern of Sports Collar: Add ¼ inch all over the pelon for sseam allowance.

CF- center fold. When making a sports collar, the fabric is folded in a lengthwise grain.

Pleated sleeve – Box pleats are done in the sleeve cap center and single fold follows on both sides on the sleeve.
How to make Collars

1. Place Pelon on top of the wrong side of fabric.

2. Enclose seam the lower portion of pelon (E to E).
3. Start sewing from B to D.
4. Place threads in between the tip of the collar and stitch twice, then pivot, leaving the needle. Then insert the
other half of the thread. Rotate the thread together.
5. Continue sewing until C. Do the same on the other side.

6. Pull out the right sides of the collar.

7. Pull the thread to produce a pointed tip edge of collar.

SLEEVES
Sleeves are used to cover the arms. The sleeves for women’s garments have different styles and cut. There are two
classifications of sleeves.
a. The set in sleeves. They are sleeves attached to the armhole.
1. Plains sleeves – eased on the sleeve cap and attached to the armhole but shows no fullness.

2. Gathered sleeve – this has more gathers on the sleeve cap. This is popular among children’s dresses and
formal dresses especially among the youth. Use the plain sleeve pattern and add 1 ½ to 2” for gathers on the
variations
3 variation

a. Gathered on Top
b. Gathered at the bottom
c. Gathered at top and bottom
3. Pleated sleeve- box pleats are done in the sleeve cap center and single fold follows on the both sides on the
sleeve.
B. Sleeve cut in one part of the bodies. Example are the following

1. Raglan sleeve – cut from the neckline and cut diagonally under the armpit. There is no shoulded seam.
2. Butterfly or kimono sleeve – this has the sleeve cut with the front and back bodice continuously cut and sewn.
3. Kaftan sleeve – this is a rectangular or straight cut pattern wherein the fabric is folded with selvaged together
and is sewn.
PREPARING THE SLEEVE
1. Cut ¼ inch of the upper part and mark F. this portion will go to the front armhole of the blouse
2. Spread to see the difference

3. Make two lines of running stitches and draw the threads to ease the sleeve cap.

POCKET
A pocket is a small or pouch attached to a garment used as a place for money, handkerchiefs or wallet. Sometimes
pockets are used for decoration.

There are two kinds of pocket

1. The patch pocket – attached at the right side of the garments. This is found in blouse, polo shirts, jackets,
pants, dresses and skirts.
2. The seam pocket – placed inside the garments.
SET-IN-POCKET
Set-in pocket area classified into three:

1. The side seam or straight pocket

2. The slide or slating pocket
3. The continental pocket
Standards for set-in pockets are as follows:

1. The upper and lower facing is indispensable.

2. The seamline is smooth and unbroken at the pocket opening.
3. The pouch is flat and smooth.
4. The end opening is reinforced.

THE PLACKET
A placket is finished opening in front of a blouse, polo, shirt, and even in long sleeves’ cuff opening. It is closed with
fasteners.
FASTENERS
Fasteners are devices used to close the opening of garments and facilitate their wearing. These include zippers,
buttons, snaps, hook and eye and nylon tapes.
Zippers may be made of metal or nylon. The three basic types of zippers are: (1) conventional, (2) invisible,
and (3) separating. The most common type is the conventional zipper which opens at the top and is geld together at
the bottom. An invisible zipper is sewed in such a way that it is concealed in the seam. The separating zipper
separates completely. This type of zipper is usually used in jackets or in garments with a completely opened front.
The weight of the zipper and the thickness of the cloth determine the overlap on the zipper. It is usually 1 ¼ cm but
may be wider in heavy fabrics.
Buttons are among the most popular fasteners. They may also be used as decorations. Buttons may be
made from shells, bones, metals, woods or plastics. There are two types of buttons: (1) the shank and (2) the sew-
through. The shank has a solid top and is sewed to the garment in its lower portion. The sew-through has holes
through which the button is sewed.

SEWING ON FASTENERS
 Fasteners should be supported with heavy cotton. For a large button which will receive hard wear, fine
thread is used over and under stitches and lock on the wrong sides of the garment.
An even line and accurate measuring save much disappointment than a straight basting to work the line
where the center of the fastener will be, then mark off with pins where each one will be sewed.

HOOK AND EYES

To se hook and eyes, fasten the top of the hook with a loop of thread to the edge of the garment to hold it firmly in
place. Then pass the thread to one eyelet and stitch securely to the second eyelet and then come back to the edge.
Sew the eye on the opposite edge so that when the hook is caught in it, the edges of the garment will meet and
fasten the dress.
Nylon tape is the newest of the fasteners. It is made of two tape strips, one with a looped snap surface and
the other with a hooked snap. When press together, the surface of the strips is fastened firmly until pulled apart. This
is sewn in the shoulder paddings of dresses.

BUTTONHOLES
Buttonhole is where the button passes through. It can be made by buttonholing machine or hand worked. Machine
made buttonholes are neatly and strongly made while hand worked buttonholes are carefully made by hands.

HANDWORKED BUTTONHOLES

Interface the buttonhole before cutting and then cut the point with a sharp scissors. Apply a
blanket stitch closed done with the hole.

PRELIMINARIES OF CONSTRUCTION PROCESS

1. Soak the fabric for a few minutes. If resistant to water add soap and wash.
2. Hang the fabric in a clothes line but do not squeeze.
3. Iron the fabric if necessary.
Laying out Printed Fabrics
Printed fabrics with one direction need careful position to be sure that the prints match
together. Patterns can only be placed in one direction just like with Corduroy and Velvet.
Laying Pattern over the fabric:
1. Clean the table to have a spacious place to work on.
2. Fold the material with right face on the inside.
3. Lay the entire pattern on the lengthwise grain.
4. Place weights over the pattern or pin the pattern so as not to be moved.

5. Trace all seam lines and necessary marks to have a better result of work.
6. Add the necessary allowances before cutting.
7. Check all details to be assured that everything is traced properly.
Cutting the fabric
1. Use sharp shears in cutting the fabric.
2. Move around the table while cutting.
3. Do not lift the fabric while cutting. You might accidentally cut another piece.
4. Let the pattern be folded with the parts to ensure that all pieces are properly attended to.
SEAM ALLOWANCE
Is an added amount of fabric beyond the traced pattern.
Seam allowances must be added to all sewing edges:
1. Neck edge, collars, pockets and facings need ¼ inch of seam allowance.
2. Shoulder, arm holds and sleeve caps need ¼ inch of seam allowance.
3. Hem of sleeves, skirts, blouses, polos, shorts is 1 ¼” allowance.
4. Back crotch of short pants or trousers is 1 ¼ allowance.
5. Side seams of blouses, blazers and skirts is 1” allowance.
THE UNIT METHOD OF CONTRUCTION IN CLOTHING
Unit Construction = a systematic way of sewing together the parts of a garment by
piece or by unit.
Unit – any group of garments cut by piece.
Advantages of the Unit Method
1. To put together the smallest pieces for easy handling.
2. A completed part can be set aside and easily be attached.
3. Speed is attained.
4. The individual will enjoy sewing because of the systematic way of constructing garments.
1. Zigzag the raw edges.
2. Attach a loop on the right corner.
I. Drafting of the pocket 1pc. Only.
1. Measure 6” x 8”.
2. Add seam allowance.
3. Attach 4” below the waist.
Procedure in Assembling the Kitchen Outfit
1. Zigzag all the raw edges.
2. Attach the finished pocket on the right side 4” below the waistline of the apron.
3. Enclose seam the shoulder strap and waist straps.
4. Attach the shoulder strap as seen on the picture.
5. Attach the waist strap on both sides of the waistline.
6. Seam with ease the head cap 2x. Pull the thread to fit the head.
7. Attach the head and with an enclosed seam in the head cap.
Fold and stitch all the seam allowances

MESUREMENT
Nowadays, the unit of measurement more commonly used in centimeters. There are fashion designers that utilize
centimeters in drafting patterns. A centimeter has 10 equal parts and these are as follows:
1. The first line is 1 millimeter
2. The second line is 2 millimeters
3. The third line is 3 millimeters

4. The fourth line is 4 millimeters

5. The fifth line is 5 millimeters or one half centimeter
6. The six line is 6 millimeters
7. The seventh line is 7 millimeters

8. The eighth line is 8 millimeters

9. The ninth line is 9 millimeters
10. The tenth line is 10 millimeters or one centimeter

CENTIMETER
Example:
A shoulder measure 33 centimeters and 3 millimeters will be 33.3 centimeters.
 A bus measures 8 centimeter and 7 millimeters will be 84.7 centimeters.

The English system has inches for its basic unit. However, infrequent in its utilization in dress making. It is still
employed by some designers. An inch has eight equal parts and these are categorized as:
1. The first line is 1/8

2. The second line is ¼

3. The third line is 3/8
4. The fourth line is 4/8 or ½ of an inch
5. The fifth line is 5/8

6. The sixth line is ¾

7. The seventh line is 7/8
8. The eight line is 1 inch

Example:
A shoulder measurement is 15 inches and 3 lines of an inch. It is read as 15 3/8 inches.

A bust measurement is 34 inches and five lines. It is 34 5/8 inches.

HOW TO TAKE BODY MEASUREMENTS
There are several parts of the body to be measured. These are taken in
1. Vertical

2. Horizontal measurement
3. Circumferential measurement

The vertical measurement is taken from the top of the body figure to its base.

1. Figure Back – taken from the nape down the waist of the back bodice.
2. Figure Front – taken from the neck point passing over the bust down the waist.
3. Bust Height – taken from the neck point down to the highest point of the bust.
4. Length of the Blouse – taken from the nape down to the desired length, before or a few units after the waist.
5. Length of Sleeve – taken from the shoulder point down to the desired length in the arms.
6. Length of Skirt – taken from the waist down to the desired length.

The horizontal measurement is taken from the left of the figure to the right.

1. Shoulder – taken from the shoulder point across the back to the other should point.

2. Front chest – taken from one’s front beside the armpit to the other armpit.
3. Bust distance – taken from nipple to nipple
4. Back Width – taken beside the armpit to the other armpit at the back.

The Circumferential measurement is taken around the body.

1. Bust – taken around the fullest part of the bust and slightly higher at the back.
2. Waist – taken around the smallest part of the torso.
3. Hips – First hip is taken ten (10) centimeters or four (4) inches from the waist. Place the tape measure around
to get first hip.
4. The second hip – taken around the fullest part of the hips.

5. Armhole – taken around the armhole.

6. Arm girth – taken around the arm.

BODY MEASUREMENTS OF A SLEEVELESS BLOUSE

Back View Front View

1. Shoulder 1. Front Chest

2. Back Chest 2. Bust Distance
3. Bust Measurement 3. Bust Measurement
4. Waistline 4. Waistline
st
5. 1 hip 5. 1st hip
6. 2nd hip 6. 2nd hip

1. Figure Length – from the neck base passing over the bust down the waistline.
2. Bust Height – taken from the neck base to the highest point of bust.

3. Length of Blouse – taken from the waist down to the desired length.
4. Armhole – taken around the armpit to the shoulder bone.
THE SHIRT MEASUREMENT
I. The Circumference Measurements:
1. Waistline – taken around the smallest part of the torso.

2. 1st hip – taken 4 inches down from the waist.

3. 2nd hip – taken 8 inches down from the waist.

II. Vertical Measurement:

1. Length of Skirt – taken from the waist down to the desired length.
III. Horizontal Measurement: But distance
BODY MEASUREMENTS OF POLO SHIRT
The English system of measurement is utilized in measuring polo shirt. Inches complement the division of
the L-square.
1. Length of Polo – taken from the nape down to the desired length.
2. Shoulder – taken from the shoulder point across the back to the other should point.

3. Bust – taken around the fullest part of the bust and higher at the back.
4. Waist – taken snugly around the waistline.
5. Hipline – taken snugly around the buttocks.
6. Collar – taken around the base of the neck plus ½ inch.

7. Sleeve Length – taken from the shoulder point down to the desired length.
8. Sleeve Girth – taken around the arm plus 1- or 2-inches allowance.

HOW TO MEASURE THE SHORT PANTS

1. Crotch – taken from the waist down in between the legs using the L-Square. If the customer is wearing a skirt
take the crotch measurement by letting ger sit on a flat surface chair.
2. Waist – taken from the smallest part of the torso.
3. Hip 1 – taken 4 inches down the waist. Then place the tape around.
4. Hip 2 – taken around the fullest part of the buttocks.

5. Bottom Width/Leghole – taken from the front and back center width of the short across the side seam. If seated
take the measurement around the legs.

6. Length – taken from the waist down to the desired length.

BLAZER SLEEVES MEASUREMENT
Sleeve:
1. Overarm. Place the aluminum part of the tape measure on the tip of the shoulder following the shape of the
arms down the wrist.
2. Underarm. Place the tape measure under the armpit down the wrist.

3. Bicep. Take the measurement around the arm.

4. Armhole. Take the measurement around the armhole.
5. Wrist. Take the measurement around the wrist.

PATTERN
Pattern is a device used by dressmakers as a guide when cutting an article or garment. It is cut from a
pattern paper and is used as a guide in cutting the garment.
A garment is sewn based on a pattern. Beginners in sewing will find it very helpful to use a foundation
pattern. Producing a good foundation pattern depends greatly upon one’s accuracy in taking body measurements.
 There are three ways of making pattern
1. The foundation pattern is made from the individual measurement. The foundation pattern is composed of five
parts. It has no seam allowance.
1. The front bodice 4. The front skirt
2. The back bodice 5. The sleeve

3. The back skirt

2. The drape pattern is the placing of fabric over the model’s body or mannequin. It lets the fabric flow freely
downward over the body’s silhouette. This is the most expensive pattern as it utilizes more fabrics. It is also known as
the pattern that creates the original effect.
TREND IN MAKING GARMENTS
The trend in making garments in other countries like United States, Japan, Hong Kong and other progressive
countries is to utilize the commercial patter. The practice is that one has to bring her body measurements so that she
can buy the pattern close to her measurements. This is the commercial patter.
3. Commercial Patterns are sold in department stores. They have a package of directions and contain the actual
pattern pieces one will use to cut out fabric. They include a sheet of instructions. This sheet has both written
directions and small drawings that explain what to do.

Kinds of Patterns
1. Block Pattern – this is sometimes called “sloper” or “Foundation Pattern”. It is made by drafting from the
measurements, which have been carefully taken from an individual or from a model. It is to be traced in another
pattern paper for construction purposes.

2. Construction Pattern – this is intervening step between the block and the final pattern. When designs are
completed, construction patterns are placed together to visualize the style of the garment.

3. Final Pattern – this is provided with the necessary symbols that will guide the designer on how to layout the
pattern on the cloth. Symbols for darts, seam allowances, grain line, centerfold, notches, and other markers are used.

Three kinds of patterns:

1. BLOCK
2. CONSTRUCTION
3. FINAL PATTERN
 Three Kinds of
Sleeve Patterns
1. Block Pattern. This is the foundation pattern of the sleeve based on the individual’s measurement.

2. Construction Pattern. The intended design is drawn in the pattern. This is for gathers and puff sleeves. Cut the
lines and put numbers to determine the place

3. Final Pattern. The cut pieces are now arranged so as to add ease for the gathers or puff sleeve. This
arrangement has ½” allowance in between the parts. At the bottom of the sleeve the parts are place together. Please
see the figure.
Seam Allowance:
1. On the sleeve cap is 1 inch.
2. Upon reaching No. 5 and 6, add only ½”
3. Under arm and girth is ½”

1. French Seam – stitching the right side of two pieces of cloth wrong side together. The fabric is stitch about 1/8
inch from the edge. It is then turned so that the right sides are together and again stitched of about ¼ inch. This seam
is commonly used among light materials, raveling fabrics, see through fabrics and silk. This kind off seam is usually
used in baby dresses.
2. Flat-felled seam – folding the wider seam allowance over the narrower one by ¼ inch and stitch. Spread the
two parts and erase the fold and stitch near the edge. This is a strong seam usually used on the sturdy fabrics or
working clothes. Stitching is done on the right side.
3. Seam with ease – To ease, long stitches should be close to the seam line between markings. This is used in
the sleeve cap and shirrings for skirts. Two lines of stitches are necessary. Pull the 2 lower threads in producing
gathers.

TECHNIQUES INVOLVED IN DRAFTING AND BLOCKING OF

PATTERNS
Measuring and Pattern Drafting
1. Get the measurements of different persons.
2. Construct the pattern for each measurement.
3. Compare the patterns drafted.

4. Improve errors.
5. Continue drafting pattern exercises until you have mastered the steps.
6. Never attempt to cut the fabrics until you have practiced making patterns with different measurements.
Things to Remember in Drafting Pattern

1. In drafting the pattern, always start drawing lines from A to Z or from 1 to 10.
2. In every stage of work always refer to the illustration to ensure the right placement of the alphabets or
numbers.
 3. There are portions in some instructions. It means fractional unit of the L-square is used.
4. Take utmost care in making the shape of the neck, the sleeve cap, the armhole, the waistline and the back
crotch to be sure of a good fitting.
5. Be accurate in translating the actual body measurement in pattern making.
POINTERS FOR UNUSUAL DESIGN OF FABRICS

Unusual design of fabrics needs a creative designer. Follow these suggestions to create an original design.
1. A border line gives several designs of fabrics by matching prints to further create new design.
2. Consider the print, color and size of the person in fabric selections.
3. Purchase extra fabrics with unusual design.

4. Use hand woven fabrics for a customized clothing.

5. Analyze the design to highlight a sleeve, yoke, skirt hem, wrap skirt side edge, jacket hem or garment center
front.
6. Unusual design of fabrics with interesting buttons will add beauty to the garment.
INDISPENSABLE TOOLS IN DRAFTING PATTERNS
1. L-SQUARE

2. HIP CURVE
3. TAPE MEASURE
4. RULER
5. FRENCH CURVE
MEASUREMEENT AND MATERIALS NEEDED IN DRAFTING THE FRONT BODICE OF A BLOUSE
A. Measurement Needed: Divisior
1. Shoulder ………………………………………………………………………………………… ½
2. Chest ………………………………………………………………………………………………. ½
3. Bust ………………………………………………………………………………………………… ¼

4. Waistline ………………………………………………………………………………………… ¼
5. Bust height ……………………………………………………………………………………… as is
6. Bust distance ………………………………………………………………………………….. ½
7. Figure ……………………………………………………………………………………………… as is

8. Length …………………………………………………………………………………………….. as is
Materials Needed:
1. Pattern Paper
2. Tape Measure
3. L-Square or ruler
4. French Curve and Hip Curve
5. Pencil with Eraser

6. Scissors
DRAFTING THE FRONT BODICE
The unit of measurement used is inches.
Materials needed:

1. Brown paper 24” wide by 22” long

2. Pencil with eraser
3. Ruler/tape measure
4. French curve

5. Body measurements
6. Tailor’s chalk
Step I: Vertically measured and Horizontally drawn
1. Drawn a perpendicular line from the left side.

2. A is corner of two lines.

3. AB is 3 inches downward for neck depth.
4. AC is 5 inches downward for chest line.
5. AD is ¼ of bust measurement.

6. AE is figure front length measurement.

7. Draw horizontal lines for A, B, C, D, and E until the right edge of the brown paper.

Step II: Horizontally Measured

8. AF is 3 inches to the right.
9. AG is ½ of shoulder measurement.
10. GH is 1 ½ inches down. Connect FB using French curve. Connect FH using ruler to show the shoulder sloper
11. C1 is ½ of chest measurement. Connect HI with a line.
12. DJ is ¼ of bust measurement + 1 inch to the right. Connect I with J using the French curve.

13. EK is ¼ of waist measurement + 1 ¼ inches to the right. Connect JK with a line.

14. AD1 is bust height measure downward.
15. D1 to L is ½ of bust distance to the right. Draw vertical line.
16. D1 ti L is equal with EM. Measure 5/8 inch on both sides of M. Connect the marks with L to manifest the waist
dart.
17. KN is ½ inch upward. Connect MN using hip curve.

DRAFTING THE BACK BODICE

The unit of measurement used is inches.
Materials needed:
1. Utilize the same brown paper (24” x 22”) of the front bodice.

2. Ruler / tape measure

3. French curve / hip curve
4. Pencil with eraser
5. Body measurement

Procedure:
Vertically and horizontally taken with curve lines.
1. Draw a vertical line from the right edge of the brown paper.
2. Transfer letters ACDE.
3. AB is ½ inch downward for the neck depth.
4. AF is 3 inches to the left.
5. AG is ½ of shoulder measurement.
6. GH is 1 ½ inches downward. Connect FB with a curve line. Connect FH with a line.
7. CI is ½ of chest back width measurement. Connect HI.

8. DJ is ¼ of bust measurement. Connect IJ using French curve.

9. EK is ¼ waist measurement + 1 ¼ inches. Connect JK.
10. AD1 is bust distance horizontally to the left side plus 1 inch upward. Draw a vertical line downward.
11. D1 to L ½ bust distance horizontally to the left side plus 1 inch upward. Draw a vertical line downward.

12. DI to L is equal with EM. Measure 5/8 inch on both sides off M. Connect the marks with L to show the back
waist dart.

13. KN is ½ inch upward. Connect N with M using hip curve.

14. Cut FBHJN to E back to B of the front and back pattern.

DRAFTING THE FRONT BLOUSE BASED ON THE FRONT BODICE PATTERN

Materials Needed:
1. 18” wide x 24” long brown paper
2. Pencil with eraser

3. Front bodice pattern in a cardboard

4. Scissors
5. Tape measure
6. L-square / ruler

7. Hip curve / French curve

8. Pins or rocks / weights
Measurements Needed:
1. Length of blouse

2. 1st hip
3. 2nd hip
Procedure:
1. Measure 2” from the left edge of the brown paper and fold under.

2. Measure ½” from the top edge and side edge. Draw lines.
3. Place the front pattern beside the lines and pit pins or weights.
4. Trace the neckhole, shoulder, armhole, side bodice, waistline and dart.
5. Transfer letters AEJMN.

6. EQ is 4” down for the first hip.

7. AP is the length of blouse. Draw horizontal lines for O and P.
8. NT is 1 inch to the right.
9. OQ is ¼ of first hip measurement + 1 inch to the right.

10. PR is ¼ of second hip measurement + 1 inch to the right. Connection JT with a line. Connect TQR using hip
curve.

11. RS is ½ inch upward. Connect S with P using hip curve.

12. Extend M to line O. Corner of MO is U.
13. Connect U between M to produce a double dart.
14. Remove the front bodice pattern.

Note: Back pattern of Blouse can be done in the front pattern: Broken
lines manifest back pattern.
1. A to A1 is ½” downward. Connect A1 to F.
2. Measure 1/2“ from I to II to the right. Connect H to I1.
3. Measure J to J1 one (1) inch inward, While TQS is ½” inward for T1, Q1 and S1.
4. Connect I1, J1, T1, Q1 and S1 using the L-square.
DRAFTING THE BACK BLOUSE BASED ON THE BACK BODICE PATTERN
Materials Needed:

1. 18” width x 24” long brown paper

2. Tape measure
3. Ruler / L-square
4. French curve / hip curve

5. Pins or stones / weights

6. Scissors
7. Pencil with eraser
8. Back bodice pattern in a cardboard

Measurements Needed:
1. Length of blouse
2. First hip
3. Second hip

Procedure:
1. Measure ½” down from the top edge. Place the back bodice on the right edge.
2. Trace the back bodice pattern including the waist dart. Put weights or pins. Transfer letters AEHMNL.

3. EO is 4 inches down for the first hip line.

4. AP is length of blouse downward. Draw horizontal lines for O and P to the left side.
5. OQ is ¼ of the first hip + ½ inch to the left.
6. PR is ¼ of second hip + ½ inch to the left.

7. NT is ½ inch to the left. Connect JTQ and R using hip curve.

8. RS is ½ inch upward. Connect S with P using hip curve.
9. Extend M to line O.
10. Corner of MO is U. Connect U between M to manifest a double dart.

11. Remove the back bodice pattern.

 DRAFTING THE SLEEVE
Materials Needed:

1. 12 x 12 inches brown paper

2. Ruler
3. Pencil with Eraser
4. French curve

5. Front and back bodice pattern

6. Measurement needed:
Measure HIJ of the front and back armhole of thee bodies.
Divide the sum into two.

Procedure:
Draw a perpendicular line.
1. A is corner to two lines.
2. AB is 5 inches downward.

3. AC is the length of sleeve downward. Draw horizontal lines for ABC.

4. AD is ½ of armhole measurement to the right.
5. CE is ½ of arm girth to the right + 1 inch allowance. Connect DE.
6. F is corner BD. Connect AF.

7. AF measurement = G
2

8. AG measurement = H = ¾” upward
2

9. GF measurement = I + ¼ inch downward. Connect AHG with a curve line. So with GIF
2

10. Cut from A to C, AHGIFE to C.

Note: For long sleeves. Cute 12” x 24” brown paper.
1. Extend the sleeve length (A-C).
2. Use the wrist measurement like the girth (C-E).

3. All other measurements are the same.

4. Use hip curve in connecting FE.
LAYING PATTERN OF BLOUSE WITH FRONT OPENING AND ROUND NECKLINE IN A SINGLE WIDTH FABRIC
ASSEMBLING THE BLOUSE WITH A ROUND NECKLINE
Materials needed:

1. Thread
2. Scissors
3. Pins and pin cushion
4. Hand needle

5. Thimble
Equipment needed:
1. Sewing machine
2. Pressing equipment
Procedures:

1. Zigzag all the raw edges.

MARKING THE BUTTONHOLES OF THE BLOUSE
1. Mark the buttonholes as shown in the figure.
2. Measure ½ inch from the neck edge and front edge of the blouse.
3. Mark the buttonholes 3 inches from each other.
4. Be sure that the buttonholes 3 inches from each other.

5. Sew the buttonholes neatly

6. Mark the buttons.
7. Attach the buttons properly and lock them on the wrong side.
Two Kinds of Buttons

1. Sew-Through buttons
- The hole is where the needle passes through in attaching the buttons. This kind of button is commonly used
among the males clothing.
2. Shank buttons
- The hole is in the shanks of the buttons. In stitching, the needle will pass through the hole in the shank. This
kind of button is commonly used among females clothing.
CHARACTERISTICS OF A WELL FITTED BLOUSE WITHOUT COLLAR
1. The neckline is properly done and laid flat over the shoulder.

2. The shoulder is flat and the armhole is comfortable for movement.

3. The darts are correctly sewn.
4. Seams are straight.
5. Hips are comfortably done.

6. The waistline is comfortable.

7. Closure are properly attached.
CHARACTERISTICS OF A FINISHED NECKLINE
1. The shape of the neckline properly finished with the facing.

2. The neckline lies flat and is smoothly done.

CHARACTERISTICS OF A GOOD COLLAR
1. Edges are properly sewn.
2. Curves are smoothly done.

3. Pointed edges are neatly finished and have the same size and shape.
4. Collar is smoothly finished.
CHARACTERISTICS OF A FINISHED SLEEVE
1. The sleeve is well rounded over the sleeve cap.

2. The sleeve is comfortable at the armhole.

Freedom of movement is felt.
 DRAFTING THE FRONT PART OF SKIRT
The unit of measurement used in skirts is inches.
Measurement Needed:
1. Waist ……………………………………………………………………………………………. divided by 4

2. Hips 1st …………………………………………………………………………………………. divided by 4

3. Hips 2nd ………………………………………………………………………………………… divided by 4
4. Length as it is ……………………………………………………………………………….. as is
5. Bust distance ……………………………………………………………………………….. divided by 2

Materials Needed:
1. Tape Measure
2. Ruler or L-Square
3. Hip Curve

4. Pencil with eraser

5. Pattern Paper
Procedure:
Step I: Vertically taken

1. Draw a perpendicular line. Mark the corner point A.

2. AB is 4 inches down (first hip).
3. AC is ¼ of second hip measurement.
4. AD is length of skirt.

5. Draw horizontal lines for B, C and D.

Step II: Horizontally taken

6. AE is ½ of bust distance.
7. AF is ¼ of waist measurement plus 1 ¼ inches (for dart allowance).
8. BG is ¼ of first hip measurement + ½ inch to the right.
9. CH is ¼ of second hip measurement + ½ inch to the right.
10. Connect F, G and H to line D with the aid of the hip curve.

11. Corner of D, H is I.
12. From I, measure ½ inch upward for J.
13. Connect D and J with the aid of hip curve to shape the hemline.

Step III: Shaping the Waistline and Dart

1. AAI is ½ inch down.

2. FFI is ¼ inch upward. Connect A1 with F1 using hip curve.

3. Measure 5/8 inches on both sides of E.
4. Square BE to produce K. Connect K on both sides of E to show the dart.
5. Cut front pattern from A1, E, F1, G, H to J.

6. Continue cutting A1 down to D and J.

DRAFTING THE BACK PART OF THE SKIRT
1. Measure 1 ¼” allowance from the left edge of the brown paper and draw a vertical line.
2. Trace the front skirt patter.

3. Trace the front dart and add 1” downward for K.

4. Cut starting from A1, E, F1 down to G, H, J and D.
5. The 1 ¼” allowance from the left side is for the opening or break of the skirt where the zipper is attached (A1 to
C) and slits at the bottom of the skirt.

MARKING OF SLANT SET-IN POCKET INFRONT OF THE SKIRT PATTERN

1. F1 to F2 is 1 ½ inches to the left.

2. F2 to L is 5 ½ inches down for the pocket opening.
3. Connect F2 with L to manifest the slant set-in pocket.
 ASSEMBLING THE SKIRT

Materials Needed:
1. Thread
2. Zipper
3. Catcha

4. Hook and eye

5. Hand needle and thimble
6. Pin cushion and pins
7. Scissors

Equipment Needed:
1. Sewing equipment
2. Pressing equipment
 DRAFTING BACK NECKLINE OF POLO SHIRT
Measurement Needed:
1. Neckline measurement

Materials Needed:
1. L-square
2. French Curve
3. Pencil
4. Pattern paper ½ crosswise

Procedure:
Step I: Vertically and horizontally taken
1. Place the brown paper in a vertical position. From the right side draw a perpendicular line and mark the corner
point A.
2. AB- 1/8 of neck measurement downward using the short arm of L-Square. Square out B parallel with line A.
3. BC – 1/6 of neck measurement using the long arm of L-Square to the left.

4. CD – ¼ inch to the left.

5. Square up D to line A for E.
6. EF – ¼ inch to the left.
7. Connect C and E likewise with D and F.

8. Draw a curve line to connect B and E to shape the back neckline.

9. BG – ¼ of an inch downward and square out to the left parallel with D.

DRAFTING OF BACK YOKE OF THE POLO SHIRT

Materials Needed:
1. L-Square
2. Hip Curve

3. Tape Measure
4. Pencil with eraser
5. Pattern paper
Step II:
10. AH – ½ of shoulder measurement to the left.
11. GI – measure 16 from 1/12 of the long arm of the L-Square downward.

12. IJ – measure 16 from 1/12 of the long arm of the L-Square downward.
13. Extend I and J parallel with line A and B.
14. Square down H and J.
15. Corner of BH is K plus ½ inch upward.

16. Corner of K and I is L.

17. Corner of JL is M.
18. From K measure ½ inch to the left for N.
19. Connect EK to N with a line.

20. Connect M and N with the use of hip curve to shape the yoke of the polo shirt.

Materials Needed:
1. French Curve
2. L-Square
3. Hip Curve

4. Tape Measure
5. Pencil
6. Pattern paper
Step III:
1. Go - length of the Polo Shirt downward.
2. IP – ¼ of bust measurement downward.

3. PQ – 1 inch upward.
4. Square out to the left.
5. Square out O parallel with line Q.
6. QR – ¼ of bust measurement to the left.

7. RS – 1 ¼ inches to the right.

8. RT – 1 ¼ inches to the left.
9. MU – ½ inch to the left. Connect the marks (This is pleats for yoke: optional).
10. Connect U and RT using the French Curve to shape the armhole.

11. Connect T and O using L-Square to shape the hemline of the polo.
12. Corner of TO is V.

DRAFTING THE FRONT PART OF THE POLO SHIRT

Step I. Cutting Folding and Creasing of Shoulder Sloper

1. Cut the letters BEN to L. following the shape.
2. Fold L and place E to line I and crease.
3. Mark point N for W.

4. Connect W with a line between B and G.

5. Transfer F to line I.
6. From J measure ¾ of an inch downward for X.
7. Connect X and FF with a French curve. Extend the line to
shape the front neckline.
Step II. Shaping Front Armhole, Shoulder and Neckline

8. Connect W, S and T by using the French Curve to shape the front

armhole.

9. From X measure ½ inch to the right for Y.

10. From O measure ½ inch to the right for Z.
11. Connect X, Y and Z with a line to show the button allowance.
12. From Z measure 1 inch down for point 1.

13. Connect V and point 1 by using the hip curve to shape the hemline.
14. Cut A, B, G, I, J, X and Y to show the back part of Polo.
15. Cut Y to point 1 until point V to shape the front hemline of the Polo.
16. Cut I, M, U and T to shape the back armhole.

17. Connect cutting to point V.

MARKING POCKET OF THE POLO SHIRT
Step I.
1. From Q measure 2 ¼ inches to the left for point 1 plus ¼ inch upward.

2. From point 1 measure 4 ¾ inches for the opening of the pocket to the left plus
¼ inch upward.

3. Connect a slanting line from point 1 and 2.

4. Draw a vertical line from point 1 of about 4 ¾ inches downward for point 3.
5. Draw a vertical line from point 2 of about 4 ¾ inches downward for point 4.
6. Connect 3 and 4 with a line to shape the pocket.

DRAFTING THE POLO SHIRT SLEEVES

Materials Needed:
1. L-square

2. French curve
3. Pattern of polo shirt
4. Pencil with eraser
5. Tape measure

6. 12” by 12” brown paper

Procedure
1. Draw a perpendicular line. Mark the corner A.
2. A to B is 3 ½ inches downward. Draw a horizontal line.

3. 3 A to C is length of sleeve. Draw a line.

4. C to D is width of sleeve girth.
5. A to E is ½ of armhole measurement. Measure the armhole of the pattern of the polo shirt from T to W and
continue measuring from T to N. Divide the total by two for A and E.
6. Connect E and D.
7. F is the corner of B and E.

8. Connect A with F.
9. G is midpoint of AF.
10. H is midpoint of AG plus ¼ inch upward the line.
11. 1 is midpoint of GF Measure ¼ inch below the line.

12. Connect A, H, G, I to F with a convex and a concave line.

STANDING COLLAR
Standing Collar – this is a two-piece pattern of collar. One for the stand and one for the
collar.
Step I: For the Stand
1. Draw a perpendicular line.
2. A is corner of two lines.
3. AB is ½ of neck measurement B to B1 measure ¾ inch upward.
4. BC is 1 inch to the right.
5. CD is 1 inch upward. Connect A, B1 and D with the aid of hip curve.

6. AE is 1” width of the stand.

7. B1F is 1”. Connect EF using the hip curve.
8. Connect FD with a curve line or square line.
Step II: For the Collar

1. EH is 1 ½ inches upward. Connect HF using the hip curve.

2. HI is 1 ¾ inches wide for the collar upward.
3. FJ is 2 ¼ inches upward + 1 inch to the right for K.

4. Connect IJK to F using the hip curve.

Step III: Separation of Stand and Collar

1. Cut A, D, F, E and A for the stand.

2. Cut H, F, K, J, I and H for the collar.

POLO SHIRT
Laying and Marking of Pattern over the fabric for DOUBLE WIDTH
MATEERIAL with Separated Yoke
There are two ways of cutting the back part of the Polo Shirt;
1. Continuous yoke
2. Separated yoke

Laying and Marking of Pattern over a Double

Width Fabric.
STEPS IN SEWING THE STANDING COLLAR

1. Place the pelon on the wrong side of the upper part of stand and enclose seam the allowance from D to A.
2. Place the pelon on top of the wrong side of collar.
3. Start sewing from 1 to K then pivot to F.

4. Do the same on the other side.

5. Invert the collar to bring out the right face.
6. Top stitch the sides of collar from F, K, I to KF.
7. Place the finished collar in between of stand matching E, I and F.

8. Sew the collar and stand from E following the shape of stand to FD.
9. Pull the collar out from the stand and crease.
10. Re-cut the neck hole of Polo Shirt based on the finished stand and attach to the neckline.
NOTE:

To make a pointed tip of collar, insert thread in between the collar and pull the thread out.
CHARACTERISTICS OF A WELL FITTED POLO SHIRT
1. The collar is properly done and laid flat over the neckline and shoulder.
2. The shoulder is flat and the armhole is comfortable for movement.
3. Pockets are smoothly attached.
4. Seams are straight.

5. Hips are comfortably done.

6. Closures are properly attached.
CHARACTERISTICS OF A GOOD COLLAR
1. Edges are properly sewn.

2. Curves are smoothly done.

3. Pointed edges are neatly finished and have thee same size and shape.
4. Collar is smoothly finished.
CHARACTERISTICS OF A WELL-MADE BUTTONHOLES

1. The stitching has even stitches.

2. The stitches are evenly spaced.
3. The buttonhole has the same size with the buttons.
4. The buttonhole when finished is smooth and flat.

5. The opening end is re-in forced.

6. Buttons are properly attached.

PROCEDURE IN DRAFTING THE SHORT PANTS FROM PART

Measurement Needed:
1. Crotch ……………………………………………………………………………………………….. as is

2. Waistline …………………………………………………………………………………………… divide by 4

3. Length ……………………………………………………………………………………………….. as is
4. 1st hip ………………………………………………………………………………………………… divide by 4
5. 2nd hip ……………………………………………………………………………………………….. divide by 4

6. Bottom Width/Leg hole ……………………………………………………………………… divide by 2

Materials Needed:
1. ¼ pattern paper
2. Tape measure

3. Pencil with eraser

4. Tailor’s chalk
5. L-square
6. Hip curve

7. Scissors
Procedure:
Step I: Vertically taken and Horizontally drawn for the major lines
1. Measure 2 inches from the top edge and 2 inches from the left edge of the pattern paper. Connect the marks with a
perpendicular line.
2. A is the corner of two lines.
3. AB crotch measurement downward.

4. AC length measurement downward.

5. BD 4 inches upward.
6. Draw Horizontal lines for B, C, D to the right side.
Step II: Marking the centerline of the Front Part of the Short Pants

7. BE is ¼ of the 2nd hip to the right.

8. EF is ½ inch to the right.
9. FG is 1 ¾ inch to the right.
10. Get the measurement from B, E, F, G and divide the sum by two for H (centerline).

11. Extend H to line A and line C.

12. I corner of AH.
13. IJ is 1/8 of the waist to the left.
14. IK is 1/8 of the waist to the right.

15. L is the corner of CH.

16. LM is ½ of the bottom width to the left.
17. LN is ½ of the bottom width to the right.
Step III: Shaping the Front Short Pants

18. Connect KP with a line.

19. The corner of DF is D1.
20. FF1 is 3 inches upward.
21. Connect F1 to G with a curve line.

22. Connect GN with a line.

23. D1 to D2 is ¼ of the 2nd hips to the left.
24. Connect J, D2 down to M using the hip curve.
25. Cut J, I, K, F1, G down to N.

26. Cut J, D2 to M, L, N.
DRAFTING THE BACK PART OF THE SHORT PANTS
Step I: Tracing the major lines for the Back Part of the Short Pants
1. Place the front pattern on top of ¼ sheet of pattern paper at least 4” from the left edge.

2. Place LMN at the edge of the pattern.

3. Trace and transfer lines A, B, C, D, E, and the centerline of the front pattern.
4. O mid-point of 1K + 1 ¼” upward.
5. Connect EO under the front pattern.
6. D3 is the corner of D2 and E marked under.
7. OP is 1 ¼ inch to the left (for dart allowance).
8. PQ is ¼ of the waistline plus ¾ inch to the left.

9. D3R is ¼ of 2nd hips plus ¾ inch to the left.

10. MS is 1 inch to the right.
11. NT 1 inch to the right
12. Connect Q, R, and S with the use of the hip curve.

13. GU is 1 ¼ inch to the right.

14. Connect T and U with a line.
15. UV is ½ inch down.
16. Connect EV with a line.

Step II: Remove the front pattern and shape the back crotch
17. Connect D3 and V with a curve line
18. Connect Q and O with a line.
19. W is the midpoint of O and Q.

20. W, X is 6 inches downward.

21. O, P distance divided by 2 and place between W.
22. Connect the marks with X to show the dart.
23. Cut the back pattern from Q, O, D3, V, and T.

24. Cut Q, R, S, and T.

Marking the Waistband at the Back Pattern
1. Measure 1 ½ inch downward from Q to O.
2. Connect the marks.

3. Cut and remove the waistband.

CUTTING THE FRONT PATTERN
MARKING THE WAISTBAND
1. Measure 1 ½ inches from J and K downward.

2. Connect the marks.

3. Cut the waistband.
DRAFTING SHORT PANTS WITH SINGLE PLEAT
1. Place the front pattern in a ¼ sheet of brown paper and trace M, L, N, and extend lines B, G, and JIK. Remove the
Pattern.
2. J to J1 is 2” to the left side. Connect J1 and B using the L-square. Measure 1 inch on both sides of 1.

3. Lift 1 and fold under 1 inch for a single pleat. Measure 1 ½ inches down for the length of the pleat. Crease and put
pints. Draw the desired pocket.

1. Note: The back pattern is the same with or without pleats.

2. Buttons are properly attached.
 CLUE IN DRAFTING THE LONG PANTS
1. Follow the procedure in drafting the short pants. It is only the length of the long pants that differs. All others
are the same.
2. The left edge allowance is to be changed from 2” to 4”.

ECONOMIZE THE USE OF PATTERN PAPER

1. Make the front and the back pattern together.

2. But use different colors of pencils.

Example: Black for the front pattern and red for the back pattern to easily distinguish the front from the back pattern.
This is true in all patterns presented in this book except the Blazer.

DRAFTING OF LONG PANTS

1. Get an 18” wide and 40” long brown paper.

2. Trace the front short and transfer J, D, I, H, L, K, and F1 to G.
3. JM is the length of the pants to the right. Draw a vertical line. Extend L horizontally crossing line M.
4. LN is ½ of bottom width upward. LM is ½ of bottom width downward. Connect N with G. Connect D with M
using L-square.

Note: If Bell bottom is preferred add 4” to 6”, as desired, from L to N and L to M.

1. GN/2 + 1 to 1 ½” to the left for knee line for pt. 1.

2. DN/2 + 1 to 1 ½” to the left for pt. 2.
3. Lessen ½” inward on both P1 and P2 for P3 and P4.
4. Connect G P3 and flared N. Do the same with D P4 and flared M.
5. Do this to the front and back pattern of bell-bottom pants.
6. Remove the short’s pattern and manifest the desire seam pocket.
7. Measure 3” from J upward to Mark J1. Measure 5” from J to J2. Connect J1 with J2 to manifest the pocket by
using the French curve.

DRAFTING THE BACK PART OF THE LONG PANTS

1. Get 18” W x 40” L of brown paper. Place the back short pants pattern and trace. Transfer all the letters.
2. Measure the length of pants from Q to the right and mark S. Extend L to the right with a horizontal line.
3. LT is ½ of bottom width +1” upward.
4. LS is ½ of bottom width + 1” downward. Connect T with V using L-square. Do the same with SR.
5. Trace the dart and remove the back short pattern.

Note:

1. If you want to have a narrower knee, take the length of V and T and divide it into two.
a. VT/2 + 1 ½” to the left for pt 1. Draw a vertical line.
b. Pt 1 to Pt 2 is ½” inward. Connect pt 2 and V using hip curve. Connect Pt 2 and T using the L-square. Pt 2 L is
equal with L Pt 3. Connect Pt 3 with R using the hip curve. Connect Pt 3 with S using the L-square.
LONG PANTS WITH SINGLE AND DOUBLE PLEATS
Follow the same procedure in making single and double pleats of short pants. Extend the length for the
long pants.

MARKING THE FRONT SLIDE SET-IN POCKET

1. From the waistband measure 1 ¼ inch down for point J2.

2. From J2 measure 1 ¼ inch to the right for J3.
3. From J2 measure 5 inches down for J4 plus ¼ inch to the right.
4. Connect j3 and J4 to shape the slide pocket.

LAYING AND MARKING OF SHORT PANTS PATTERN OVER A SINGLE WIDTH FABRIC

1 ¼” for the hem

1” allowance at the center back portion
Piecing – a piece of fabric added to join the additional piece not accommodated during the laying and cutting off
pattern over the fabric.

LAYING OF SHORT PANTS PATTERN OVER A TRIPLE WIDTH FABRIC

Broken Line – the cutting line.

PREPARING THE LEEFT FLY FOREPART

(Front Part)

1. Place the forepart upside down.

2. Mark F1 on the left side of a scrap of fabric.
3. Measure 1 ¾ inches wide. Trace F1 to I and add 1 ¼ inch Please see the figure.
4. Remove ¼ inch from F1 as shown in the figure and shape with a curve line.
5. Cut 2 pieces.

PREPARING THE RIGHT FLY FOREPART

(Front Part)

1. Place the fore part upside down.

2. Mark F1 on the right side of a folded scrap of fabric.
3. Measure 1 ¾ inch wide and trace F1 and I and add 1 ¼ inch. Please refer to the figure.

ATTACHING ZIPPER TO THE LEFT AND THE RIGHT FLY

1. Place the facing on top of the left fly and stitch following the shape.
2. Place the facing under the fly and topstitch twice ½ inch apart.
3. Match F1 with K and stitch.
4. Spread the fly and topstitch.
5. Sew the zipper outside down from F1 ¼ inch and ½ inch away from the waist (K) from both locks.
6. Fold and sew the left fly to the fore part by following its shape.

PROCEDURE IN SEWING THE RIGHT FLY

1. Zigzag the raw edge of the fly.

2. Fold K and F1 at least ¼ inch.
3. Place the edge of the right fly under the zipper of the left front about ¼ inch and sew.
4. Sew the folded portion of the right part over the right side of the zipper.
5. Place the left and right sides together and sew ¼ inch from G to F1 on the wrong side.
6. Spread the front shorts and back tuck the end opening of the zipper.

PREPARATION OF THE SLIDE SET-IN POCKET OF THE SHORT PANTS

1. Measure 10” x 24” inches of coco for the slide pocket.

2. Fold the coco twice and place it under the set-in pocket.
3. Trace the pocket opening J2, J3, and J4.
4. Cut the upper part of the coo by following the side seam (J2 to J4)
5. Measure 1 inch from J2 to J4 sideward for the lower part of the coco.
6. Measure ½ inch from J4 and shape the pouch of the pocket.
7. Measure 3” x 6” inches long for the lower facing.

CONSTRUCTION PATTERN OF THE WAISTBAND

The waistband is waist measurement plus 2 ½ inches.

1. Draw a line on the lengthwise grain and measure 3” wide.

2. Mark the waist measurement plus 2 ½” allowance.
3. Add ¼ inch all around the waistband for seam allowance.
4. Cut.

INTERFACING

1. Interfacing is 1 3/8 inches wide.

2. The length is equal to the waistband.
3. The seam allowance is only on the sides.

ATTACHING THE INTERFACING OF THE WAISTBAND

1. Place the interfacing under the waistband allowance and sew with a plain seam.
2. Fold the waistband right face together and place the interfacing outside.
3. Sew both sides of the waistband.

STEPS IN ASSEMBLING THE SHORTS

 1. Zigzag all the raw edges.
2. Sew the facing at the lower portion of catcha pocket.
3. Match J2, J3 and J4 to the upper part of catcha and sew.
4. Cut ¼” to J4. Pull the catch and crease J2, J3, and J4. Topstitch from J2, J4, and J3.
5. Lift J4 and J2 then topstitch.
6. Close the bottom part of the pocket with a stitch and zigzag. Do the same on the other side of the shorts.
7. Attach the finished left fly from F1 to K. Spread and topstitch.
8. Sew the zipper facing down ¼” away from F1 and ½” away from K. Topstitch twice.
9. Fold and sew the left fly to the front shorts following the shape of the fly.
10. Place the right fly under the zipper both right edges together and sew ¼” from F1 to K.
11. Place the right front part of the shorts on top of the left front and sew from F1 to K. Continue sewing again
from K, F1, and 1” before G.
12. Stitch the back darts. Attach the patch pocket.
13. Place the front and back shorts, right face together.
14. Sew together ¼” from JQ down to the hem of the short pants. Sew twice. Do the same on the other side of the
short pants.
15. Sew inside seam starting from the hem matching NT and GV. Sew twice Do the same on the other side.
16. Attach the finished waistband around the waistline until the right fly. Check the waist measurement for a better
fit.
17. Pin together the finish left and right leg of the shorts on the wrong side.
18. Match O, D3, V, and G to F1.
19. Stitch with a plain seam twice. Put out the legs and check the seams.
20. Topstitch the waistband. Check the finished work.
21. Mark the buttonhole on the left side. Stitch and attach button on the right side.
22. Fold the hem and stitch.

DRAFTING, BLOCKING OF PATTERNS AND

ASSEMBLING OF BLAZER
BLAZER

A blazer is also known as a coat. Different neckline finishing can be made in a blaze’s front opening, its
lapel’s width as well as the shape of the collar. Single, two, or three buttons are popular in the front opening of a
blazer.

DRAFTING THE BACK PART OF THE BLAZER

Measurements Needed:

1. Shoulder divided by 2
2. Bust + 3 inches dived by 4
3. Waist + 3 inches divided by 4
4. Hips + 3 inches divided by 4
 5. Figure Front as is
6. Figure Back as is
7. Length of Blazer
8. Bust heigh is, as is
9. Bust distance divided by 2

Materials Needed:

1. L-square
2. Hip Curve
3. French Curve
4. Tape measure
5. Pencil with Eraser
6. Pattern Paper

Procedure:

Step I: Major lines of Blazer

1. Draw a perpendicular line from the right edge of the brown paper.
2. A is the corner of two lines.
3. AB is ¼ of bust measurement + ½ inch downward.
4. C is the midpoint of AB.
5. D is the midpoint of AC.
6. AE is the length of the blazer.
7. BE is F + 1 inch upward for the waistline.
8. Draw horizontal lines for B, C, D, E, and F.
9. AG is 1/6 of bust measurement + ¼ inch to the left using the long arm of L-square.
10. GH is ¾ inch upward.
11. AI is ¼ inch downward. Connect HI using the French curve.

Step II:

12. DJ is ½ of shoulder measurement + ¼ to the left.

13. JK 1 ¾ inches upward.
14. Connect K and H with a line.
15. L is the corner of K and B using the L-square.
16. M is the midpoint of J and K.
17. F N is ¼ of waist measurement + 1 inch to the left.
18. E O is ¼ of hips measurement + 1 inch to the left.
19. Connect L, N, and O with a line.
20. AB1 is bust height downward.
21. B1 to B2 is bust distance to the left. Square down B1 and B2 to line F.
22. B3 is the corner of B2 and F. Extend the line to the 2nd hip for B4.
 23. Measure 5/8” in-between of B3. Connect the marks with B2 and B4 to manifest the double dart.

Step III: Drafting the Blazer’s Front Bodice.

24. Extend lines A, B, F, and E to the left.

25. LP is 1 ¾ inch upward.
26. BR is ½ of bust measurement to the left + 1 inch.
27. Extend line R vertically crossing lines A, F, and E.
28. S is the corner of RA.
29. Connect S with M.
30. ST is equal to the distance of HK.
31. RU is ¼ of bust to the right.
32. UU1 is 1 inch upward.
33. Connect T, U1, and P with the use of a French curve.
34. The corner of RN is V.
35. V to V1 is 1 inch upward + 1 inch to the left.
36. V to V2 is ¼ of waist measurement + 1 ½ inch to the right.
37. The corner of VO is W + 1 ¼ inches downward + 1 inch to the left side.
38. SX is 1/8 of bust measurement using the L-square’s shorter arm downward.
39. XY is 1 ½ inch to the left.
40. Connect S and Y with a slanting line.
41. YZ is 3 inches to the left. Connect the marks.
42. Connect Z and VI with a line down to W.
43. Connect W and O with a curve line.
44. WW1 is ¼ hips measurement + 1 ½ inch to the right.
45. Connect P, V, and W1 with the use of a hip curve.
46. Y and R1 is bust height downward R1 to R2 is ½ of bust distance. Square down to the first hips for R4.
47. R3 is the corner of R2 and V. Measure 5/8” on both sides of R3. Connect the marks with R2 and R4.
48. Cut the front pattern and the back pattern.

Model Measurements

1. Overarm22”
2. Underarm 15”
3. Bicep 12” + 3” = 15”/2 = 7.5”
4. Wrist 6 ½” + 2” = 8 ½”/2 = 4 ¼

DRAFTING THE SLEEVE SLOPER OF A BLAZER

Step I. Major lines and Sleeve Cap

Cut 20” by 25” of brown paper. From the top edge measure 1 inch down and draw a horizontal line.
 1. A = midpoint of 20 inches. Draw a vertical line.
2. AB = overarm measurement.
3. BC = underarm measurement.
4. BC/2 = D + ½” upward.
5. Draw horizontal lines for B, C, and D.
6. CE is ½ of Bicep to the right.
7. CF is ½ of Bicep to the left.
8. CF/4 = G. Mark from F to G going to the right.
9. FG/2 is from E to H to the left.
10. A1 is the distance of F, G, H, and E to the right.
11. AJ = is the distance of FG multiplied by two to the left.
12. Connect 1 to H.
13. Connect HE using the French curve.
14. Connect JG.
15. Connect GF using French curve.
16. K = midpoint of JG.
17. L midpoint of IH.
18. Connect K and A using the French curve.
19. Connect A and L using a French curve to show the sleeve cap.

Step II: Shaping the Sleeve Length

20. M is the corner of DE.

21. N is the midpoint of DM.
22. BO = ¾ inch to the right.
23. Connect N and O.
24. MP is 1 inch downward for the elbow dart.
25. Connect N and P.
26. NO is equal to PQ. Connect the marks.
27. Connect O, P, and Q using the L-square.
28. OR is ½ of wrist measurement to the left side + 3/4" upward.
29. Connect O and R.
30. S is the midpoint of RO.
31. ST is ½ of wrist measurement to the left.
32. Connect R and T.
33. Connect F and T using the hip curve.
34. The corner of T and D is U.
35. Connect E, M, and P.
36. MP divided 2 = V.
37. Connect N and V (dart).
38. Cut T, U, F, K, and A.
39. Continue cutting A, L, E, M, V, P, and Q.
40. Continue cutting T, R, S, O, and Q.
LAYING PATTERN OF BLAZER TO THE FABRIC

Marking and adding seam allowances to the different parts of the Blazer

Legend: Broken lines – cutting lines

STEPS IN ASSEMBLING THE BLAZER

1. Zigzag the raw edges.

2. Stitch the darts of the front and back of the blazer.
3. Match the facing of the lapel on the right side from Y, Z to W sew with a plain seam. Do the same on the other
lapel.
4. Pin the front and back shoulder by matching H and S and K and 1 and sew. Do the same on the other
shoulder sloper.
5. Pin the side seams by matching P, V2, N, W1, and O and sew.
6. Attach the finished collar from AI, H, S to Y.
7. Pin the sleeves and sew.
8. Check the smoothness of the sleeve.
9. Mark and stitch the buttonholes.
10. Attach the buttons.

ASSEMBLING THE BLAZER SLEEVE

1. Zigzag the raw edges.

2. Stitch twice the sleeve cap. Pull the thread to make an encircled cap.
3. Sew both edges of sleeves on the wrong side of the fabric.
4. Pull out the right side of the sleeve.
5. Pin the sleeve to the armhole of the blazer starting from K1 around the arms eye with the right sides together.
Insert the sleeve .