LM_Dressmaking G10 with watermarks.pdf

LM-Dressmaking/ Grade 10
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TABLE OF CONTENTS
Page
Cover Page
Table of Contents
Introduction...………………………………………………………. 3
Content Standard and Performance Standard……………… 4
Objectives………………………………………………………. 4
Program Requirements……………………………………….. 4
Learning Episodes……………………………………………… 5
How to Use this Learner’s Materials……………………………… 6
Diagnostic Assessment…………………………………………… 7
Personal Entrepreneurial Competencies (PECs)…………….. 12
Environment and Market (EM)……………………………………. 23
Quarter I Ladies’ Skirt
Overview…………………………………………………… 42
Objectives ………………………………………………… 42
Pre-Test 1…………………………………………………. 43
Lesson 1 Produce Ladies’ Skirt
LO 1 Draft and Cut Pattern ……………………... 46
LO 2 Prepare and Cut Materials……………...…. 113
LO 3 Assemble Garment Parts ……………….... 127
LO 4 Apply Finishing Touches ………………..... 141
Enhancement Activity..................................................... 156
Post Test 1 .................................................................... 163
Quarter II Ladies’ Blouse
Overview ......................................................................... 168
Objectives........................................................................ 168
Pre-Test 2........................................................................ 168
Lesson 1: Produce Ladies’ Blouse
LO 1 Draft and Cut Pattern ................................ 172
LO 2 Prepare and Cut Materials ........................ 219
LO 3 Assemble Garment Parts ......................... 227
LO 4 Apply Finishing Touches .......................... 241
Enhancement Activity....................................................... 266
Post Test 2 ...................................................................... 278
Quarter III Ladies’ Trousers
Overview ......................................................................... 282
Objectives......................................................................... 282
Pre-Test 3......................................................................... 282

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Lesson 1: Produce Ladies Trousers
LO 1 Draft and Cut Pattern ........................................285
LO 2 Prepare and Cut Materials ................................316
Enhancement Activity...............................................................
Post Test 3 .............................................................................317
QUARTER IV Ladies’ Trousers
Overview .................................................................................322
Objectives................................................................................322
Pre-Test 4...............................................................................322
Lesson 2: Produce Ladies Trousers
LO 3 Assemble Garment Parts .................................324
LO 4 Apply Finishing Touches ..................................329
Enhancement Activity.............................................................338
Post Test 4..............................................................................341
Summative Assessment………………….……………………………………..345
Synthesis……………………….……………………………………………….....347
Glossary…………………….…………………………………………………......348
References……………….……………………………………………………......354
Key to Correction………………………………………………..………….....…356
Introduction

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Technology and Livelihood Education (TLE) is one nomenclature in the
implementation of the K to 12 Basic Education Program (BEP). It is composed of four
components, namely, Agri-Fishery Arts, Home Economics, Industrial Arts and
Information and Communication Technology. In this learner’s material, the focus is
on a course in Home Economics – Dressmaking.
The course provides varied and relevant activities and opportunities to
determine your understanding of the key concepts and to demonstrate core
competencies as prescribed in TESDA Training Regulation in Dressmaking. Thus, it
aims to provide quality service to target clients along side of assessing yourself as to
the aspects of business that you may consider to strengthen and safeguard before
you become a part of the dressmaking provider sector.
The world of work today presents a picture of available jobs that are getting
scarcer each year. To address this reality, the Department of Education is stretching
its available resources, prioritizing needs, and developing sustainable programs to
lead and to prepare the young minds as future skillful dressmaker or any related job.
The Department further believes that it is in honing the skills that the learner can have
an edge over other job seekers. DepEd endeavors to equip the learners with the
appropriate knowledge, attitude, values and skills necessary to become productive
citizens of our society.
This learning material is specifically crafted to focus on the different activities
that will assess your level in terms of skills and knowledge necessary to get a
Certificate of Competency and/or National Certification. This learning material will
surely make you a certified dress provider.
Content Standard

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The learner demonstrates understanding of core concepts and principles in
dressmaking.
Performance Standard
The learner independently performs the core competencies in Dressmaking as
prescribed in the TESDA Training Regulation.
Objectives
Learners are expected to become proficient in performing skills on the
following competencies:
1. develop personal entrepreneurial skills;
2. produce skirt;
3. produce blouse; and
4. produce trousers.
Program Requirements
Grade 10 students who will take Dressmaking course as their specialization in
Technology and Livelihood Education (TLE) – Home Economics should have
successfully taken the exploratory course in dressmaking in grades 7/8 and have
successfully completed the competencies indicated in Grade 9.
The student of this course must possess the characteristics of a person who
are inclined in dressmaking, the common competencies, good visual impact; and or
with perfect vision (20/20), and desirable work habits and attitudes towards the
completion of output.
Learners are expected to develop their knowledge and skills in Dressmaking.
They should demonstrate skills Learners are required to demonstrate desirable work
habits and attitudes towards the completion of outputs.
The learner’s materials should be taken for one school year for a total of 160
hours. Lessons should be taken one at a time, following the correct sequence being
presented and should accomplish the assessment or enhancement activities before
proceeding to the next lesson.
Along the learning process, learners of this course are required to complete the
25- hour - industry involvement to different dressmaking shops to experience the
actual workplace.
Learning Episodes

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This learning resource is subdivided into four (4) quarters which may serve as
the recommended scope and limit for every academic grading period. In every quarter,
there are lessons that comprise the learning outcomes.
Before exploring the core competencies of Dressmaking, you will be guided on
how to assess your own Personal Entrepreneurial Competencies and Skills (PECS)
and demonstrate your understanding about the Environment and Market.
Quarter I helps the learner demonstrate understanding on the principles of
designing and sewing ladies’ skirt. This will lead the learners to draft and cut patterns,
prepare and cut materials, assemble the garment parts and apply finishing touches.
The preparation of project plan and rubrics for evaluating the finished products are
also presented.
Quarter II discusses how to produce ladies’ blouse. The lessons in this chapter
deal with techniques and processes which will guide the learners in designing and
sewing blouse. Learning outcome shows that learners demonstrate how to draft and
cut pattern, prepare and cut materials, assemble garment parts, and apply finishing
touches. Preparation of project plan and rubrics for evaluating the finished product is
given and lessons on how to pack and label the finished product are also discussed.
Quarters III and IV deal with the construction of ladies’ trousers. In this lesson,
the learner demonstrates understanding on the principles of designing and sewing
ladies’ trousers. Step-by-step procedures and techniques on how to draft and cut
pattern for ladies trouser, prepare and cut materials, assemble garment parts and
apply finishing touches on trousers are discussed. Project plan, and rubrics for
evaluating the finished output are also given.
Goodluck and use this learning material as your guide to become a successful
dress provider in the future.
HOW TO USE THIS LEARNER’S MATERIAL

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Here are some reminders on how to use this material.
1. Answer the diagnostic assessment before you proceed to the different activities.
The diagnostic assessment determines how much you know about the lessons
and identifies the areas you ought to learn more. Your teacher will check and
analyze your score to determine your learning needs.
2. This learner’s material contains relevant information and activities. Go over each
activity carefully. If you encounter difficulties, do not hesitate to consult your
teacher for assistance. Do not skip any topic unless you are told to do so.
REMEMBER that each activity is a preparation for the succeeding activities.
3. For every lesson/learning outcomes, perform the enhancement activities to enrich
the knowledge and skills.
4. After successfully finished the tasks, answer the post-test to be given by your
teacher. Your score will be analyzed and will be used by your teacher for the
computation of your grades.
5. Lastly, DO NOT mark the learner’s material in any way.
6.
A. Multiple Choice
DIAGNOSTIC ASSESSMENT

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Directions: Read the statements carefully. Write the letter that best describes
the statement. Write your answer in your quiz notebook.
1. Type of cloth that has the following characteristics: absorbency, heat
conduction, strength, and beauty.
a. Cotton c. Linen
b. Poplin d. Broadcloth
2. Type of cloth which is also called tabinet.
a. Gingham c. Linen
b. Poplin d. Silk
3. Type of test that is used to determine slippage of threads by pulling the
fabric from both sides of the tuck.
a. Test by pin c. Test by thumb
b. Test for sizing d. Test for straight of grain
4. Type of test that determines the strength and shape-holding qualities of
both lengthwise and crosswise of fabrics.
a. Test by pin c. Test by Thumb
b. Test for sizing d. Test by mercerization
5. Type of skirt which is small at the waist and widens evenly as it reaches
the ground.
a. Straight skirt c. Pleated skirt
b. Gathered skirt d. A-line skirt
6. Skirt style which is gathered at the waist and set into a band to look more
fitted to the hips.
7. The skirt style that has fullness all around the hem where soft ruffles
goes up toward the waist from the bottom.
a. Gored skirt c. Pleated skirt
b. Flared skirt d. Gathered skirt
8. Sewing construction where the fabric sewn is between the fabric edge
and the stitched seam line.
a. Seams c. Tucks
b. Darts d. Gathers
9. Sewing construction which serves the same purpose as a dart except it
releases fullness at the larger parts of the body.
a. Seams c. Tucks
b. Darts d. Gathers
10.It is the process of joining two pieces of fabric where one is slightly
longer than the other to have extra fullness for ease of movement rather
than decoration.
a. Stitching c. Pleating

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b. Easing d. Gathering
11.They are folds of fabric which give fashion and interest to clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12.It is an extra fabric cut with the same shape as the facing and inserted
between the facing and the garment to prevent stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the smallest part of the body.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15. Darts, buttonholes, pleats, tucks, and pockets placement are examples
of
a. Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
Directions. Write True if the statement is correct and False if the statement
is wrong. Write your answer in your quiz notebook.
__________1. Construction lines show where to cut the pieces.
__________2. Adding extra width along the entire side seam will make
the waistline smaller.
__________3. Pattern layout helps determine if the patterns are enough for
the fabric.
__________4. When cutting the fabric, it is advisable to walk around the
table instead of pulling the fabric towards you.
__________5. After cutting, remove the pins of the patterns immediately
from the fabric.
__________6. In transferring marks onto the fabric, start with the small
pattern pieces to finish the job earlier.
__________7. Pressing straighten the grain lines and preshrink
fabric.
__________8. Do not press the seam before cross-stitching it with another
seam.
__________9. The sequencing for the unit of construction of the different
parts of the skirt is basically the same for all skirt types.
__________10. Zippers are generally used for placket closure.
C. Identification
Directions. Identify the words(s) that best describes the statements.
Write your answer in your quiz notebook.

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________1. What color calls out the silhouette, or outline figure of a human
body?
________2. What color is used to call attention to your body features?
________3. The color which best suggests activity, energy, and gaiety.
________4. The color which is produced when yellow and violet color
pigments mixed in equal amount.
________5. The family name of a color.
________6. What refers to the brightness or dullness of a color?
_______ 7. The color harmony produced when two colors are opposite
each other on the color wheel.
________8. What makes red, yellow, and blue in a color scheme?
________9. What group of color is formed when red, yellow, and orange
are placed in a group?
_______10. What type of fabric makes you look larger because it adds
width and size to the apparent size of your figure?
D. Matching Type
Directions. Match the descriptions given in (Column A) with the
types of lines given in Column B. Write the letter of your answer
in your quiz notebook.
Column A(Descriptions) Column B (Types of Lines)
1. Feminine a. Curved
2. Masculine b. Vertical
3. Short and/wide c. Straight
4. Tall and/slender d. Diagonal
5. Tall or short depending e. Horizontal
on the angle. F. Broken Line
E. Identification.
Directions. Name the following illustrations of skirts drawn below. Write your
answer in your quiz notebook.

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1.
6.
5.
3. 4.
2.

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F. Identify the body measurements of a skirt
.
Personal Entrepreneurial Competencies (PECs)
Content Standards Performance Standards
The learner demonstrates understanding
of one’s PECs in Dressmaking.
The learner independently creates a plan
of action that strengthens and or further
develops his/her PECs in Dressmaking.
Quarter I Time Allotment: 4 hours
Module 1
Personal Entrepreneurial Competencies
Introduction
1.
2.
3.
7.

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In this module, you will learn more about entrepreneurship and the
entrepreneurial competencies related to Dressmaking. You will have a first-hand
experience in educational activities leading to personal assessment of your
entrepreneurial competencies and assessment of entrepreneurial competencies of a
successful dressmaker in your community. You will also have some activities that will
align your competencies with those of a successful practitioner. Moreover, this module
will stimulate your mind to think about entrepreneurship, its role in the business
community as well as in its economic and social development.
Let us know and understand what entrepreneurs and entrepreneurship are.
Entrepreneurs are people with skills and capabilities who see and evaluate
business opportunities. They are individuals that can strategically identify products or
services needed by the community and they have the capacity to deliver these at the
right time and at the right place.
Entrepreneurs are agents of economic change; They organize, manage and
assume risks of a business. Some of the good qualities of an entrepreneur are
opportunity seeker, risk taker, goal setter, excellent planner, a confident problem
solver, hardworking, persistent, and a committed worker.
Entrepreneurship, on the other hand, is not just a simple business activity. It is
a strategic process of innovation and new venture creation. Basically,
entrepreneurship is both an art and science of converting business ideas into
marketable products or services to improve the quality of living.
Now that you have a little background knowledge about entrepreneurs and
entrepreneurship, can you now walk through in assessing your PECs? Always
remember that successful entrepreneurs continuously develop and improve their
PECs.
Let us first try to find out the competencies to be mastered at the end of this
module.
OBJECTIVES
At the end of this module, you are expected to:
• Identify areas for improvement, development and growth;
• Align your PECs according to your business or career choice; and
• Create a plan of action that ensures success in your business or career
choice.
Now that you have an idea about the enabling knowledge and skill that you will
develop and master, take the first challenge in this module – the pre-
assessment.

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PRE-ASSESSMENT
As part of your activity, you will be challenged to go deeper on the knowledge
and previous experiences on the topic. Try to assess what you already know about
PECs by answering Task 1.
Task 1: Matching Type
Direction: Match the entrepreneurial competencies in column A with their
meaning in column B. Write the letter of the correct answer on the space
provided before each number.
Task 2: Guide Questions
Directions: The following are guide questions which summarize the entire module.
Write your answers on your assignment notebook, then share these to the class.
A. Why are entrepreneurial activities important to social development and
progress of the economy?
B. What entrepreneurial activities do you know and capable of doing which are
related to dressmaking?
C. Given the opportunity to own a business that relates with dressmaking, are you
confident to manage it? Explain your answer.
D. What do you think are the most important competencies must you possess to
be successful in running your chosen business?
E. Name successful entrepreneurs from your community whose business is
related to dressmaking. Be able to share to the class their PECs that made
them successful.
A B
____1. Creative A. make a wise decision towards the set
objectives
____2. Profit-oriented B. strategic thinking and setting of goals
____3. Discipline C. trust in one’s ability
____4. Decision Making D. adoptable to change
____5. People Skill E. innovative to have edge over other
competitors
____6. Planner F. solid dedication
____7. Self-confidence G. skillful in record keeping
____8. Hardworking H. always stick to the plan
____9. Ability to accept change I. working diligently
____10. Committed J effective and efficient communication
and relation to people
K. always looking for income

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After answering all the guide questions to the best of your knowledge and
skills, share them with your classmates. Compare your insights, personal
knowledge, and relevant experiences on the topic to make it more exciting and
engaging.
LEARNING GOALS AND TARGET
Having gone through pre-assessment, and answering the guide questions, set
your own personal goals. These goals will further achieve the ultimate objective of
this module and motivate you to learn more about PECs.
Figure 1: Strategic process to achieve the objectives of this module
READING RESOURCES AND INSTRUCTIONAL ACTIVITIES
After setting your own personal goals and targets in achieving the objectives of
this module, check your inherent knowledge of PECs. Answer the following guide
questions with your classmates.
Task 3: Group Activity
Direction: Answer the following guide questions on a separate sheet of paper. Share
your answers to the class.
1. Explain the importance of assessing one’s PECs before engaging in a particular
entrepreneurial activity.
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2. Are there other strategies or approaches where you can assess your PECs?
Explain how those strategies will become useful in selecting a viable business
Goals and
Targets
Learning
Activities
Ultimate Goal

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venture.
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3. What are the desirable personal characteristics, attributes, lifestyles, skills and
traits of a prospective entrepreneur? Why are these important?
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4. Why is there a need to assess one’s PECs in terms of characteristics, attributes,
lifestyles, skills, and traits before starting a particular business?
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5. What is the significance of evaluating PECs as a successful entrepreneur?
What helpful insights can you draw from this activity?
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How was your experience in answering the guide questions with your
classmates? Were you able to benefit from them? What insights have you learned?
There are different topics that will enrich your knowledge of PECs. Read
carefully the important details about the succeeding topic.
Know

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Assessment of Personal Entrepreneurial Competencies (PECs) and Skills vis-à-vis a
Practicing Entrepreneur or Employee in a Province
Entrepreneurial Competencies refer to the important characteristics that should
be possessed by an individual in order to perform entrepreneurial functions effectively.
You will learn some of the most important characteristics, attributes, lifestyle, skills and
traits of a successful entrepreneur.
Below are characteristics/traits/attributes of a good entrepreneur:
• Hardworking: This means habitually working diligently for a long period
of time. Hardworking people keep on improving their performance to
produce good products and/or provide good services.
• Self-confidence: Entrepreneurs have confidence in one’s ability and own
judgment. They exhibit self-confidence in order to cope with all the risks of
operating their own business.
• Discipline: Successful entrepreneurs always stick on the plan and fight the
temptation to do what is unimportant.
• Committed: A good entrepreneur accepts full responsibility of everything
in his/her business. He/she gives full commitment and solid dedication to
make the business successful.
• Ability to accept change: Nothing is permanent but change. Change
occurs frequently. When you own a business, you should cope-up and
thrive on changes. Capitalize on positive changes to make your business
grow.
• Creative: An entrepreneur should be creative and innovative to stay in the
business and in order to have an edge over the other competitors.
• Has the Initiative: An entrepreneur takes the initiative. You must put
yourself in a position where you are responsible for the failure or success
of your business.
• Profit-Oriented: An entrepreneur enters into the world of business to
generate profit or additional income. This shall become the bread and
butter for you and for your family as well. Therefore, you must see to it that
the business can generate income.
Listed below are the important skills of a successful entrepreneur:
• Planner: Planning is strategic thinking and setting of goals to achieve
objectives by carefully maximizing all the available resources. A good

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entrepreneur develops and applies step-by-step plans to realize goals. A
good entrepreneur knows that planning is an effective skill only when
combined with action.
• People Skills: It’s a very important skill in order to be successful in any
kind of business. People skills refer to effective and efficient communication
and relation to people working in and out of your business. In day-to-day
business transactions, you need to deal with people. A well-developed
people skill can spell out the difference between success and failure of the
business.
• Decision Making: Successful entrepreneurs have the ability to think
quickly and to make a wise decision towards pre-determined set objectives.
No one can deny that the ability to make wise decisions is an important skill
that an entrepreneur should possess. Sound decision should spring out
from given facts and information and should be towards the pre-determined
objectives.
In order to firm up what you have learned and to have a better appreciation of
the different entrepreneurial competencies, read the PECs checklist presented below,
then answer the same.
Task 4: PECs Checklist
Directions: Using the PECs checklist, assess yourself by indicating a check (/)
marking either strengths or development areas column. Interpret the results by
counting the total number of check marks in each of the columns. After accomplishing
the checklist, form a group and share your insights and experiences why you come up
with that personal assessment.
Table 1: PECs Checklist
Personal Entrepreneurial Competencies
of an Entrepreneur
Personal Assessment in terms
of:
Strengths
Process

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Development
Areas
Hardworking
- Working diligently
Self-confidence
- Confidence in one’s ability
Discipline
- Always stick to the plan
Committed
- Solid dedication
Ability to accept changes
- Adoptable to change
Creative
- Innovative to have edge over other
competitors
Profit-oriented
- Always looking for income
Planner
- Strategic thinking and setting of goals
People Skill
- effective and efficient communication
and relation to people
Decision Making
- make a wise decision towards the
set objectives
TOTAL
Interpretation or Insights:
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
______________.
Reflect and Understand

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How was your experience in discovering your strengths and the areas to be
developed? Did you gain valuable experience in exchanging insights with your
classmates? To learn more and deepen your understanding of PECs, do the Task 5
below.
Task 5: Interview
Interview successful dressmaker entrepreneurs in your province whose type of
business is related with Dressmaking. Focus your interview on PECs and other
business-related attributes that helped them become successful. Analyze the result of
the interview and reflect on the similarities and/or differences. Write your answer on a
separate sheet of paper.
Sample Interview Guide
Name of Proprietor/Practitioner: ____________________________________
Age: _______________Number of Years in Business: __________________
Business Name: ________________________________________________
Business Address:______________________________________________
1. What are your preparations before you engaged in this type of business or job?
______________________________________________________________
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____________________________________________
2. What are your special skills and characteristics that are related with your
business or job?
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____________________________________________
3. How did you solve business-related problems during the early years of your
business operation?
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____________________________________________
4. Did you follow the tips from a successful businessman or practitioner before
you engage in your business?

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______________________________________________________________
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____________________________________________
5. What are your best business practices that you can share with aspiring
students?
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____________________________________________
6. What are the salient characteristics, attributes, lifestyle, skills and traits that
made you successful in your business or job?
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_________________________________________
Note: Cull the needed information from the interview to supply answer/s to Row
1 in the table below. Meanwhile, fill out the second row with your PECs. Be
honest in answering.
Personal
Entrepreneurial
Competencies
Characteristics Attributes Lifestyles Skills Traits
Successful
Entrepreneur in the
province
My PECs
Using the information on the table above, analyze and reflect on the similarities
and differences in your answers. Put your reflection on the table below. Write
your conclusion on the space provided.
Personal
Entrepreneurial
Competencies
Similarities Differences
Characteristics

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Attributes
Lifestyles
Skills
Traits
Conclusion:
______________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
__________________________________.
After performing the activities on the importance of PECs, let’s determine how
much you have learned. Perform Task 6 to determine how well you have understood
the lesson.
Task 6: Preparation of a Plan of Action
Directions: Using the table below and the information generated from Task 5
(Interview), prepare an action plan that indicates how you would align
your PECs to the PECs of a successful entrepreneur dressmaker in
your province.
Objective Area Activities Strategies
Time
Frame
Expected
Outcome
Transfer

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To align my
PECs with the
PECs of a
successful
entrepreneur in
Dressmaking.
Characteristics
Skills
Attribute
Traits
Task 7: Essential Questions
Directions: Read and study the following questions below. You may use a separate
sheet of paper or your notebook to write your answers.
1. Why is there a need to compare and align one’s PECs with the PECs of a
successful entrepreneur?
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____________.
2. How does your action plan help sustain your strong PECs and/or address your
development areas?
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__________.
3. What plan of action would you do to address your development areas?
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______________________________________________________________
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__________.
ENVIRONMENT AND MARKET(EM)
Content Standards Performance Standards
The learner demonstrates understanding
of environment and market in
Dressmaking in one’s Province.
The learner independently creates a
business vicinity map reflective of
potential market in Dressmaking in a
province.
Quarter I Time Allotment: 4 hours
Module 2
Environment and Market
Introduction
People who aspire to start a business need to explore the economic, cultural
and social conditions prevailing in an area. Needs and wants of the people in a certain
area that are not met may be considered as business opportunities. Identifying the
needs of the community, its resources, available raw materials, skills, and appropriate
technology can help a new entrepreneur in seizing a business opportunity.
To be successful in any kind of business venture, potential entrepreneurs
should always look closely at the environment and market. They should always be
watchful on the existing opportunities and constraints. The opportunities in the
business environment are those factors that provide possibilities for a business to
expand and make more profits. Constraints, on the other hand, are those factors that
limit the business to grow, hence reduces the chance of generating profit. One of the
best ways to evaluate the opportunities and constraints is to conduct SWOT
(Strengths, Weaknesses, Opportunities and Threats) Analysis.
SWOT Analysis is a managerial tool to assess the environment. This gathers
important information which in turn is used in strategic planning. Strengths and
weaknesses are internal in an organization. Basically, they relate to resources owned
by organization, things that you have control over and as well as to the extent of its
marketing.

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Opportunities and threats exist in the external environment. Opportunities relate
to the market, to the development of new technologies, and external factors such as
government policies, climate, and trends. Threats relate to what the competition is
doing as well as legal and other constraints.
Now that you have read some important considerations to look into to be
successful in any business, you are now ready to explore more about the environment
and market.
To begin with, let’s find out the competencies that you will master as you finish
this module.
OBJECTIVES
At the end of this module, you are expected to:
• identify what is of “value” to the customer;
• identify the customer to sell to;
• explain what makes a product unique and competitive;
• apply creativity and innovative techniques to develop marketable product;
and
• employ a unique selling proposition (USP) to the product and/or service.
Now that you have an idea about the things you will learn, take the first
challenge in this module – the pre-assessment.
PRE-ASSESSMENT
Task 1: Multiple-Choice
Directions: Choose the letter of the best answer. Write your answer on a separate
sheet of paper.
1. This is generated by examining the goods and services sold in the
community.
A. business creation C. business concept
B. business pricing D. business idea
2. A process of making a new product to be sold to the customers.
A. product analysis C. product

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25
development
B. product conceptualization D. product
implementation
3. These are luxuries, advantages and desires that every individual considers
beyond necessary.
A. wants C. requirements
B. desires D. needs
4. This is the factor or consideration presented by a seller as the reason that one
product or service is different from and better than that of the competition.
A. unique selling plan C. unique pricing
policy
B. unique selling proposition D. finding value-added
5. In this stage, the needs of the target market are identified, reviewed and
evaluated.
A. concept development C. project development
B. economic analysis D. refine specification
6. This is the introduction of new ideas to make the product and services more
attractive and saleable to the target customers.
A. new idea C. product
development
B. creativity D. innovation
7. A managerial tool used to assess the environment and to gather important
information that can be used for strategic planning.
A. environmental scanning C. WOTS Analysis
B. SWOT Analysis D. survey analysis
8. A marketing practice of creating name, symbol or designs that identifies and
differentiate a product from the other products.
A. product naming C. branding
B. unique selling proposition D. tagline
9. This is a meaningful and unforgettable statement that captures the essence of
the brand.
A. product naming C. branding
B. unique selling proposition D. tagline
10. These are the things that people cannot live without.
A. wants C. requirements
B. desires D. needs
Task 2: Guide Questions:
Directions: Read and study the guide questions below. Use a separate
sheet of paper to write your answer.
1. How does one determine the product or services to be produced and or to be
offered or delivered to the target customers?

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26
______________________________________________________________
______________________________________________________________
__________________________________________
2. How does one select an entrepreneurial activity?
______________________________________________________________
______________________________________________________________
_________________________________________
3. When can one say that a certain product has a “value”?
______________________________________________________________
______________________________________________________________
_________________________________________
4. Is innovation and creativity to your product or services important? Why?
______________________________________________________________
______________________________________________________________
__________________________________________
5. How can one effectively respond to the needs of the target customer?
______________________________________________________________
______________________________________________________________
__________________________________________
6. Express from the viewpoint of business owner the importance of scanning the
environment and market in generating business ideas.
______________________________________________________________
______________________________________________________________
_________________________________________
7. Using self-assessment, explain your level of confidence in formulating a
business idea.
______________________________________________________________
______________________________________________________________
_________________________________________
After all the guide questions have been answered and skills have been
mastered, share those with your classmates. Discuss your insights, personal
knowledge of, and relevant experiences on the topic to make it more exciting and
engaging.
LEARNING GOALS AND TARGET
After reading and understanding the objectives of this module and having gone
through the pre-assessment and guide questions, you will be asked to set your own

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27
personal goals. These goals will trigger you to further achieve the ultimate objective
of this module. In the end, these goals will motivate you to learn more about
Environment and Market.
Figure 2: Strategic process to reach the objectives of this module
READING RESOURCES AND INSTRUCTIONAL ACTIVITIES
After setting your own personal goals and targets in achieving the objectives of
this module, you will have the opportunity to read and learn more about environment
and market. You will also be given a chance to do practical exercises and activities to
deepen your understanding of the topic.
Product Development
When we talk of product development, we are referring to a process of making
a new product to be sold by a business or enterprise to its customers. The product
development may involve modification of an existing product or its presentation, or
formulation of an entirely new product that satisfies a newly defined customer’s needs,
wants and/or a market place.
The term development in this module refers collectively to the entire process of
identifying a market opportunity, creating a product to appeal to the identified market,
and finally, testing, modifying and refining the product until it becomes ready for
production.
There are basic, yet vital questions that you can ask yourself about product
development. When you find acceptable answers to these, you may now say that you
are ready to develop a product and/or render services:
1. For whom are the product services aimed at?
2. What benefit will the customers expect from it?
3. How will the product differ from the existing brand? From its competitor?
Know
Goals and
Targets
Learning
Activities
Ultimate Goal

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28
Likewise, needs and wants of the people within an area should also be taken
into big consideration. Everyone has his/her own needs and wants. However,
everyone has different concepts of needs and wants. Needs in business are important
things that every individual cannot live without in a society. These include:
1. basic commodities for consumption;
2. clothing and other personal belongings;
3. shelter, sanitation and health; and
4. education.
Basic needs are essential to an individual to live with dignity and pride in a
community. These needs can obviously help you generate business ideas and
subsequently to product development.
Wants are desires, luxury and extravagance that signify wealth and expensive
way of living. Wants or desires are considered above all the basic necessities of life.
Some examples of wants or desires: fashion accessories, expensive shoes and
clothes, travelling around the world, eating in an expensive restaurant; watching
movies, concerts, having luxurious cars, wearing expensive jewelries, perfume, living
in impressive homes, among others.
Needs and wants of people are the basic indicators of the kind of business
that you may engage into because it can serve as the measure of your success. Some
other good points that might be considered in business undertakings are the kind of
people, their needs, wants, lifestyle, culture and tradition, and social orientation that
they belong to.
To summarize, product development entirely depends on the needs and wants
of the customers. Another important issue to deal with is the key concepts of
developing a product. The succeeding topic shall enlighten you about the procedure
in coming up with a product.
Concepts of Developing a Product
Concept development is a critical phase in the development of a product. In this
stage, the needs of the target market are identified and competitive products are
reviewed before the product specifications are defined. The product concept is
selected along with an economic analysis to come up with an outline of how a product
is being developed. Below is a figure that shows the stages of concept development
of a product.
Identify
Customer
Needs
Establish
Target
Specifications
Generate
Product
Concepts
Select a
Product
Concept
Refine
Specifications

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29
Figure 3: Concept Development
The process of product development follows the following steps:
A. Identify Customer Needs: Using survey forms, interviews, researches, focus
group discussions, and observations, an entrepreneur can easily identify
customers’ needs and wants .In this stage, the information that can be possibly
gathered here are product specifications (performance, taste, size, color, shape,
life span of the product, etc.). This stage is very important because this would
determine the product to be produced or provided.
B. Establish Target Specifications: Based on customers' needs and reviews of
competitive products, you may now establish target specifications of the
prospective new product and/or services. Target specifications are essentially a
wish-list.
C. Analyze Competitive Products: It is imperative to analyze existing competitive
products to provide important information in establishing product or services
specifications. Other products may exhibit successful design attributes that should
be emulated or improved upon in the new product or services.
D. Generate Product Concepts: After having gone through with the previous
processes, you may now develop a number of product concepts to illustrate what
types of product or services are both technically feasible and would best meet the
requirements of the target specifications.
E. Select a Product Concept: Through the process of evaluation between attributes,
a final concept is selected. After the final selection, additional market research can
be applied to obtain feedback from certain key customers.
Concept
Development
Plan
Remaining
Developme
nt Project
Perform
Economic
Analysis
Analyze
Competitive
Products

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30
F. Refine Product Specifications: In this stage, product or services specifications are
refined on the basis of input from the foregoing activities. Final specifications are
the result of extensive study, expected service life, projected selling price and
among others are being considered in this stage.
G. Perform Economic Analysis: Throughout the process of product development, it
is very important to always review and estimate the economic implications
regarding development expenses, manufacturing costs, and selling price of the
product or services to be offered or provided.
H. Plan the Remaining Development Project: In this final stage of concept
development, you may prepare a detailed development plan which includes list of
activities, the necessary resources and expenses, and development schedule with
milestones for tracking progress.
Finding Value
People buy for a reason. There should be something in your product or service
that would give consumers a good reason to go back and buy for more. There must
be something that has to make you the best option for your target customers;
otherwise they have no reason to buy what you’re selling. This implies further, that you
offer something to your customers that they will make them value or treasure your
product or service.
The value that you incorporate to your product is called value proposition. Value
proposition is “a believable collection of the most persuasive reasons people should
notice you and take the action you’re asking for. Value is created by fulfilling deep
desires and solving deep problems. This is what gets people moving, what gets people
spending for your product or service.
Innovation
Innovation is the introduction of something new in your product or service. This
may be a new idea, a new method or a device. If you want to increase your sales and
profit, you must innovate. Some of the possible innovations in your products are
change of packaging, improve taste, color, size, shape and perhaps price. Some of
the possible innovations in providing services are application of new improved
methods, additional featured services and possibly freebees.
Unique Selling Proposition (USP)
Unique Selling Proposition is the factor or consideration presented by a seller
as the reason that one product or service is different from and better than that of the
competition. Before you can begin to sell your product or service to your target
customers, you have to sell yourself on it. This is especially important when your
product or service is similar to those around you.
USP would require careful analysis of other businesses' ads and marketing
messages. If you analyze what they say or what they sell, not just their product or

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31
service characteristics, you can learn a great deal about how companies distinguish
themselves from competitors.
Here's how to discover your USP and use it to increase your sales and profit:
• Use empathy: Put yourself in the shoes of your customers. Always focus on the
needs of the target customers and forget falling in love with your own product
or service. Always remember, you are making this product or providing for the
target customers to eventually increase sales and earn profit and not making
this product or service for you. Essential question such as what could make
them come back again and ignore competition, should be asked to oneself.
Most possible answers may be focused on quality, availability, convenience,
cleanliness, and reliability of the product or service.
• Identify what motivates your customers. It is very important for you to
understand and find out what drives and motivates your customers to buy your
product or service. Make some efforts to find out, analyze and utilize the
information what motivates the customers in their decisions to purchase the
product or service.
• Discover the actual and genuine reasons why customers buy your product
instead of a competitor's. Information is very important in decision making. A
competitive entrepreneur always improve their products or services to provide
satisfaction and of course retention of customers. As your business grows, you
should always consider the process of asking your customers important
information and questions that you can use to improve your product or service.
In order to firm up your understanding of the topic previously presented, you
will be tasked to form a group and conduct an interview with a successful entrepreneur
or practitioner. You have to document this interview and present this to the whole class
for reflection and appreciation.
Task 3: Interview
Directions: Selecta successful entrepreneur or practitioner. Conduct an interview
using the set of questions below. Document the interview and present this
to the class.
1. How did you identify your customers?
Process

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32
______________________________________________________________
______________________________________________________________
____________________________________________
2. What were your considerations in selecting your customers?
______________________________________________________________
______________________________________________________________
____________________________________________
3. Explain how your product or service become unique to other products.
______________________________________________________________
______________________________________________________________
____________________________________________
4. Did you consult somebody before you engage in this business? Cite sample
insights that you gained from the consultation.
______________________________________________________________
______________________________________________________________
_________________________________________
5. What were your preparations before you started the actual business?
______________________________________________________________
______________________________________________________________
___________________________________________
6. What creative and innovative techniques you adopted to your product or
service? What was the effect of the innovative techniques to the sales and
profits of your business?
______________________________________________________________
______________________________________________________________
__________________________________________
7. What strategy did you consider to have a unique selling proposition to your
product or service?
______________________________________________________________
______________________________________________________________
_________________________________________
Task 4: Video Viewing
In order to deepen your understanding of the lesson, perform the following
tasks:

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33
1. Browse the internet and view the topics related to:
a. customers’ needs and wants
b. techniques in identifying customers’ needs and wants
c. creativity or innovations in products and services
d. unique selling proposition
e. product development
2. Prepare a short narrative report about the aforementioned topics. You may
highlight the “aspect” that intensifies your knowledge of product development.
Task 5: Product Conceptualization
Direction: Using the space and figures below, develop your own concept for your
product or service. Utilize bullets in every stage of product conceptualization in listing
important key ideas.
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
_______________________________________
Transfer
1. Identify
Customers Need
-
-
2. Target
Specifications
-
-
-
3. Analyze a
Competitive
Product
-
-
6. Refine Product
Specification
-
-
7. Prepare a
Development Plan
-
-
-

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34
Generating Ideas for Business
The process of developing and generating business idea is not a simple
process. Some people just come up to a bunch of business ideas but are not really
feasible. There are two problems that arise; first is the excessive generation of
ideas that can forever remain dreaming stage and the second is when they don’t have
ideas and don’t want to become entrepreneurs.
The most optimal way is to have a systematic approach in generating and
selecting business idea that will be transferred in real business. Here are some basic
yet very important considerations that may be used to generate possible ideas for
business:
1. Examine existing goods and services. Are you satisfied with the product? What
do other people who use the product say about it? How can it be improved? There
are many ways of improving a product from the way it is made to the way it is
packed and sold. You can also improve the materials used in crafting the product.
In addition, you can introduce new ways of using the product, making it more useful
and adaptable to the customers’ many needs. When you are improving the product
or enhancing it, you are doing an innovation. You can also do an invention by
introducing an entirely new product to replace the old one.
Business ideas may also be generated by examining what goods and services are
sold outside by the community. Very often, these products are sold in a form that
can still be enhanced or improved.
2. Examine the present and future needs. Look and listen to what the customers,
institutions, and communities are missing in terms of goods and services.
Sometimes, these needs are already obvious and felt at the moment. Other needs
are not that obvious because they can only be felt in the future, in the event of
Know
4. Generate Product
Concept
-
-
5. Select A product
Concept
-
-

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35
certain developments in the community. For example, a province will have its
electrification facility in the next six months. Only by that time will the entrepreneur
could think of electrically-powered or generated business such as photo copier,
computer service, digital printing, etc.
3. Examine how the needs are being satisfied. Needs for the products and services
are referred to as market demand. To satisfy these needs is to supply the products
and services that meet the demands of the market. The term market refers to
whoever will use or buy the products or services, and these may be people or
institutions such as other businesses, establishments, organizations, or
government agencies.
There is a very good business opportunity when there is absolutely no supply to a
pressing market demand.
Businesses or industries in the locality also have needs for goods and services.
Their needs for raw materials, maintenance, and other services such as selling and
distribution are good sources of ideas for business.
4. Examine the available resources around you. Observe what materials or skills are
available in abundance in your area. A business can be started out of available
raw materials by selling them in raw form and by processing and manufacturing
them into finished products. For example, in a copra-producing town, there will be
many coconut husks and shells available as “waste” products. These can be
collected and made into coco rags or doormat and charcoal bricks and sold
profitably outside the community.
A group of people in your neighborhood may have some special skills that can be
harnessed for business. For example, women in the Mountain Province possess
loom weaving skills that have been passed on from one generation to another.
Some communities there set up weaving businesses to produce blankets,
decorative and various souvenir items for sale to tourists and lowland communities.
Business ideas can come from your own skills. The work and experience you may
have in agricultural arts, industrial arts, home economics, and ICT classes will
provide you with business opportunities to acquire the needed skills which will earn
you extra income, and should you decide to engage in income-generating
activities. With your skills, you may also tinker with various things in your spare
time. Many products were invented this way.
5. Read magazines, news articles, and other publications on new products and
techniques or advances in technology. You can pick up new business ideas from
Newsweek, Reader’s Digest, Business Magazines, “Go Negosyo”, KAB materials,
and Small-Industry Journal. The Internet also serves as a library where you may

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browse and surf on possible businesses. It will also guide you on how to put the
right product in the right place, at the right price, at the right time.
Key Concepts of Selecting a Business Idea
Once you have embarked on identifying business opportunities, you will
eventually see that there are many possibilities that are available for you. It is very
improbable that you will have enough resources to pursue all of them at once.
You have to select the most promising one among hundreds of ideas. It will be
good to do this in stages. In the first stage, you screen your ideas to narrow them
down to about few choices. In the next stage, trim down the choices to two options.
In the final stage, choose between the two and decide which business idea is worth
pursuing.
In screening your ideas, examine each one in terms of the following factors:
1. How much capital is needed to put up the business?
2. How big is the demand for the product? Do many people need this product
and will continue to need it for a long time?
3. How is the demand met? Who are processing the products to meet the
needs (competition or demand)? How much of the need is now being met
(supply)?
4. Do you have the background and experiences needed to run this particular
business?
5. Will the business be legal, not going against any existing or foreseeable
government regulation?
6. Is the business in line with your interest and expertise?
Your answers to these questions will be helpful in screening which ones among
your many ideas are worth examining further and worth pursuing.
Branding
Branding is a marketing practice of creating name, symbol or designs that
identifies and differentiates product or services from the rest. It is also a promise to
your customers. It tells them what they can expect from your product or service and it
differentiates your offerings from other competitors. Your brand is derived from who
you are, who you want to be and what people perceive you to be.
Branding is one of the most important aspects of any business. An effective
brand strategy gives you a major edge in increasingly competitive markets.

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The features of a good product brand are as follows:
- Delivers the message clearly
- Confirms your credibility
- Connects your target prospects emotionally
- Motivates the buyer
- Concretizes user loyalty
Here are some simple tips to publicize your brand:
.
• Develop a tagline. Write a meaningful, unforgettable, and easy to
remember statement that captures the essence of your brand.
• Get a great logo. Create a logo suitable to your business and consistent
with your tagline and place it everywhere.
• Write down your brand messaging. Select key messages you want to
communicate about your brand.
• Be true to your brand. Deliver your brand promise.
• Be consistent. Be reliable and consistent every time.
In generating business idea, you should first identify what type of business is
suited to your business idea. You should analyze and scan the potential environment,
study the marketing practices and strategies of your competitors, analyze the
strengths, weaknesses, opportunities, and the threats in your environment to ensure
that the products or services you are planning to offer will be patronized within the
easy reach by your target consumers.
Bear in mind these simple rules for successful SWOT Analysis:
• Be realistic about the strengths and weaknesses of your business when
conducting SWOT Analysis.
• SWOT Analysis should distinguish between where your business is today, and
where it could be in the future.
Process

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38
• SWOT Analysis should always be specific. Avoid any grey areas.
• Always apply SWOT Analysis in relation to your competition’ i.e. better than or
worse than your competition’.
• Keep your SWOT Analysis short and simple. Avoid complexity and over
analysis.
• SWOT Analysis is subjective.
Task 6: SWOT Analysis
Directions: Utilize the SWOT Analysis table below to list up all your observations. Be
guided by the strategies in analyzing and formulating realistic and attainable activities.
Write down the activities on the available spaces provided to create the best business
idea.
Strategies:
• SW-Maximize on the strengths to overcome the internal weakness.
• OW- Capitalize on the opportunities to eliminate the internal
weakness.
• ST - Maximize on your strengths to eliminate the external threats.
• OT - Take advantage of the available opportunities to eliminate the
external threats.
Analysis:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
Strength (S) Weaknesses (W)
-
-
-
-
-
-
-
-
-
-
-
-
Opportunities (O) Threats (T)
-
-
-
-
-
-
-
-
-
-
-
-

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39
Activities:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
My Best Business Idea:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________
In order to deepen your understanding of the topics previously discussed, you
will be asked to perform the following activities:
Task 7: Extra Readings and Video Viewing
Reading books and watching videos have been considered as one of the most
effective educational activities that can help learners deepen their understanding on a
certain topic. In this particular task, you will be asked to conduct extra readings and
video viewings in the Internet on the following topics:
A. Steps in selecting business idea
B. Criteria of a viable business idea
C. Benefits of a good brand
D. Ways on developing a brand
After successfully performing the assigned task, make a narrative report about
it and share it to the class.
Task 9: Making My Own Logo
Directions: Generate a clear and appealing product brand with a logo and a tagline.
Logo
Transfer

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40
QUARTER I
Overview
In this quarter, you will learn how dressmaking becomes a sustainable source
of living for the people. The evolution in fashion trends gradually change from time to
time.
People’s desire to own stunning and tremendous outfit began since the
beginning. It seems an elusive dream for deprived individuals with economic
predicament but an everyday fashion to affluent persons. This longing for attractive
and fashionable outfit remains unvaried to everyone though season and mode of
fashion change from time to time. Progression in clothing closely associated with
social, economical and technological aspect and it is happening to everyone all over
the world.
One is longing to look at his/her best especially in proper grooming and
personality development. A pretty lady wearing a lousy dress is not as smart as an
ordinary woman wearing well-fitted outfit confidently walking down the street. A man
wearing lousy jeans will not be attractive as the man with well-fitted casual wear
speaking in a meeting. To have a well-fitted outfit contribute a lot in the personality of
the wearer thus, it will make him/her more comfortable and more confident. Do you
want to have your own? Do you wish to create and produce garment made and sewn
by yours? If you are not well equipped with the knowledge on how to do it, this is your
chance to practice making it. Study the techniques and processes in performing every
step in doing it and later, you will be proud of what have you done, a quality and a well-
fitted garment that will suit you and will make you more appealing than ever.
General Objectives
At the end of this quarter, learners are expected to:
1. perform how to draft and cut pattern for a skirt;
2. prepare and cut materials for a skirt;
3. demonstrate how to assemble the garment parts; and
4. apply finishing touches on a skirt.
Tagline
Logo

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41
Pre – Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
1. The principle of design which connotes feeling of rest or equilibrium.
a. Balance c. Rhythm
b. Proportion d. Emphasis
2. A slender girl wearing big, bulky bag seemed to be over-balanced. What principle
of design is emphasized?
a. Formal balance c. Vertical balance
b. Informal balance d. Horizontal balance
3. Hips and legs of a lady where full, gathered skirt is best suited for.
a. Narrow hips c. Thin legs and feet
b. Large hips d. Heavy legs and ankle
4. Waistline of a woman where wide belts, broad collars and fullness in blouse is
good.
a. Short waist c. Prominent abdomen
b. Thick waistline d. Long waist
5. Low V-neckline, collarless coats, narrow, flat and pointed collars are best outfit for
an individual who has a
a. Round shoulders c. Long, thin face
b. Short, plump neck d. Long, thin neck
6. The design which refers to the surface enrichment of structural design.
a. Structural design c. Decorative design
b. Design d. Art
7. It is formed when three colors are in equal distance apart on the color wheel.
a. Complementary c. Split complementary
b. Triad harmony d. Double split complementary
8. A sturdy cotton twill textile in which the weft passes under two or more warp
threads.
a. Denim c. Poplin
b. Linen d. Cotton gabardine
Let’s See What You Know

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42
9. It is a style of skirt that is made by taking the width of the darts from each side
seam and making the panel look like pleated strips.
a. Straight skirt c. Gored skirt
b. Pleated skirt d. Gathered skirt
10. Body measurements which are taken from side to side in left-to-right direction.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
11.It is taken around certain parts of the body such as bust line, waist line, hip line,
armhole, and the like.
a. Horizontal c. Vertical
b. Circumferential d. Diagonal
12. When the tape measure runs from the waistline level down to the skirt length
desired.
a. Waistline c. Lower hip level
b. Lower hip d. Skirt length
13. A kind of pattern which contains exact body measurements and reflects no
definite style.
a. Pattern c. Foundation pattern
b. Style pattern d. Envelope pattern
14. The fabric fold wherein the fabric is folded lengthwise at the center with selvages
together.
a. Lengthwise centerfold c. Crosswise centerfold
b. Off-center lengthwise fold d. Off-center crosswise fold
15. The label which indicates the brand name or brand logo of company where the
garment comes from.
a. Brand or main label c. Size label
b. Care label d. Flag label
16.The label which includes wash care and ironing instructions and is attached at
side seam of the garment.
a. Manufacturer label c. Flag label
b. Care label d. Brand or main label
17.The label which has specific measurements of human body such as S for small,
M for medium, L for large, etc.
a. Brand or main label c. size label
b. Flag label d. Manufacturer label
18. These are used on parts of the garments subject to strain such as collars, cuffs
or sleeves, belts, waistbands, and pants.
a. Hooks and eyes c. Zipper
b. Buttons d. Snaps
19.The sequencing for the unit method of construction of the different parts of the
skirt is the same for all types of skirts.
a. True c. False
b. not suited for all d. for a particular skirt line only
20.In cutting the front and back skirt on the sewing line,
a. Include the zipper allowance of the back skirt.
b. Do not include the zipper allowance of the back skirt.
c. Leave it as is.
d. Cut the allowance and remove it

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43
B. SEQUENCING
Directions. Arrange the steps in attaching or connecting the waistband
of a basic straight skirt. Write the number in your quiz notebook.
__________1. Pin one side of the interfacing (stiffener) throughout the
waistband from end to end, touching the sewing line of
one side of the waistband.
__________2. Hand baste this for easy machine sewing. Later on, if you master
this technique, you can do machine sewing them directly
without hand basting. Remove the pins.
__________3. Fold up the waistband where the interfacing is connected and
with a pencil or tailor’s chalk, re-line the sewing line.
__________4. Fold up the allowance on both ends of the waistband by pinning
them.
__________5. Machine sew this together 1/8 of an inch (0.3 cm.) away from
the sewing line of the skirt.
__________6. Starting from the overlap side of the skirt (the left hand side of
the skirt), pin the waist band without the interfacing (stiffener)
attachment, leaving a ½ of an inch (1.3 cm.) allowance on the
waistband on the wrong side of the skirt. Pin until you reach the
other end of the skirt.
__________7. Fold the center of the waistband as seen in the illustration.
Adjust the pins to hold together the other flap of the waistband.
Machine sew to close the ends of the waistband. Lock stitch
both ends.
__________8. Open the zipper of the skirt, then reverse the skirt to its wrong
side where you will connect the waistband.
__________9. Reverse the fold by pushing the corners in with your index finger.
To get a sharp corner, after reversing, gently push the corner
withh trhe sharp point of your scissors.
__________10. Machine sew together the waistband and the skirt.

____________________________________________________________________________
44
Learning Outcome 1 Draft and Cut Pattern for Ladies’ Skirt
Objectives
At the end of this quarter, learners are expected to:
1. draft and cut pattern for a skirt;
2. prepare and cut materials for a skirt;
3. assemble the garment parts; and
4. apply finishing touches on a skirt.
Principles and Elements of Design
To create. recognize, or criticize design or any object of art, one must
understand the basic principles of design as well as its elements.To achieve effectively
what is pleasing not just to the eyes of the beholder but brings confidence and grace
to our personality, the use of principles and elements of design is alligned to the
dresses we must be wearing. Understanding better the principles and elements of
design is a great factor that will contribute a lot to our personality development.
Art and design is the application of skill and taste that make a thing beautiful.
It is a fact that our clothes are worn for their artistic qualities which make us more
attractive and confident. Clothes are worn to emphasize the good points and hide the
defects or imperfection of our physical trait.
Principles of Design
Good outfit should have proportion, balance, harmony, emphasis and rhythm
to express art principles. The law of area states that the division should be ½ and 2/3
of an area, and that equality in proportion should always be avoided.
LESSON 1 PRODUCE LADIES’ SKIRT

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45
Standard Proportion
1. Proportion in design involves the relationship of one part to another. Uneven space
relationships are more interesting than even ones.
Pictures showing proper proportion in dress
In choosing accessories, proportion should always be considered. For
example, a woman with large facial features would not choose a small bag or a small
hat which will make her feature even larger, or vice-versa.
There should be balance- either formal or bisymmetrical balance. The heavier
weight must be placed nearer the center. If there is proportion and balance in a dress,
there is a feeling of harmony. There is uniformity and order in the design, there is
unity and similarity rather than contrast.

____________________________________________________________________________
46
2. Balance is the feeling of rest and equilibrium. This is essential to the total design of
a costume.
a. Formal or Symmetrical Balance is
achieved when two sides of a design are
alike on either side of its vertical center.
Balance in the use of color is essential for
a pleasing effect. The Law of Areas
requires that the large areas of color
should be low in intensity. A small area of
intense color will balance a large area of
dulled color. A very dark value such as
black or charcoal gray may be balanced
by a small amount of pure white. Medium
gray requires a larger area of a pale gray
to achieve balance.
b. Informal balance or Asymmetrical
Balance is achieved by using space,
color, and the varying importance of
objects to produce a feeling of rest. It is
more difficult to achieve than formal
balance, but it lends itself to more
interesting arrangements. A dress with
side draping on the skirt might have a
jeweled pin or a flower on the opposite
side of the bodice to produce informal
balance.
c. Radial Balance When major parts of the
garment design radiate from the central part
of the garment, creating a sunburst.

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47
3. Harmony is the pleasing combination of hues, values, and intensities. The
color wheel is presented so that you will learn the arrangement and relationship
of colors to the proper dress that is best for your feature. Given as follows are
illustrations of women wearing monochromatic harmony.
4. Emphasis means that one part of a design must be
more important than the other parts. The eye should go
first to this part. A repetition of line or placement of
color is applied to achieved emphasis. A design which is
too “busy” loses its point of emphasis and becomes
confusing. Good design in dress leads the eye to the
most attractive feature of face or figure.
5. Rhythm is the movement of the eye from one part of the design to other parts.
Repetition of a line or shape is one of the most common ways of attaining rhythm. In
clothing, curved lines tend to be more rhytmic than straight lines because curved
repeat the lines of the figure.
Rhythm could be depicted through:

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48
a. Repetition- Rhythm could be
achieved by repetition or regular
recurrence of motifs of
design, shapes, buttons, tucks, pleats,
laces, edgings, color, textures, fabric
designs etc. This can be done with all parts
having the same shaped edges.
b. Progression- Rhythm is also
created by progression or by
gradation. Gradation implies a
gradual increase or decrease of similar
design elements. The gradual
changes provide continuity while giving
a feeling of movement. Example:
Colors can go from light to dark or
textures from fine to coarse or vice versa,
shapes may range from small to large,
and lines may range from thin
to thick.
c. Transition- Transition is a fluid
rhythm created when a curved line leads
the eye over an angle. The curved lines
of transition cause the eye to
change direction gradually rather than
abruptly. Transitional lines and
shapes sweep and glide over the figure
in an undulating rhythm leading the eye
gracefully and easily from one area or
direction to another. They are found
in dropped shoulder designs, puff
sleeves and cap sleeves, etc.

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49
d. Radiation- Rhythm by radiation
creates a feeling of movement in
different directions. This
organized movement originates from a
central point of gathers, folds, tucks,
darts, pleats and lines. Direction of
radiation may be in a similar or one
direction, opposing direction or both
the directions, several directions and all
directions.
e. Continuous line
movement- This type of rhythm is
obtained by flowing lines of trims, bands
of color, fabric designs etc, which make
the eye move in a continuous line. This
movement also unifies the
garment design bringing about
harmony.
In clothing, the best structural design follows the natural body lines. Decorative
design gives emphasis to certain areas. Fact is when we attempt to clarify our figure
types, we realize that only few has the perfect or in average figure type. The tall, thin
girl seemed to be the ideal fashion figure nowadays. But no matter what figure type
we may have, the lines of our figure will determine what designs are most appropriate
for us.
In determining whether or not some new fashion is suitable for you, consider
carefully the design of the garment. Do not wear a garment that does not suit your
personality. The color must be appropriate to your skin tone as well as to the kind of
ocassion. Understand and apply the design properly, In this manner you will
confidently be a well-dressed person.
Types of Design
a. Structural Design are formed by the arrangement of lines, forms, colors, and
textures. If these four elements are carefully arranged and applied on the
materials used, they will create beauty to the finished garment. . In a garment
of solid-colored fabric, its structural design is its silhouette, neckline, placement
of the waistline, sleeves, length, and location and fitting of darts and tucks.

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50
Dress with structural design
b. Decorative Design refers to the surface enrichments of a structural design . Its
decorative design may consist of unusual buttons, a belt buckle, a contrasting
collar and cuffs.
Dress with decorative design
Structural design is far more important than decorative design since every
garment has it, while decorative design may or may not be added. Simplicity is
the keynote to beauty. In a good design there should be balance, harmony,
rhythm, proportion and emphasis. Their elements are line, form, texture, color
and shape.
Elements of Design
1. Line
The basic part of any design is formed by lines.The eye tends to follow the
direction of the line in a dress design or in the fabric of the dress. Lines may be
LINE FOR
M
TEXTURE
COLOR
SHAPE

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51
horizontal, vertical, straight, curved, diagonal, radiating, down-sweeping, up-
sweeping, or angular, and they are capable of creating interesting illusions.
a. Horizontal- gives the impression of shorter and heavier.
b. Vertical – gives the impression of height.
Within the design of a compositon, there
are three main groups of lines: lines of
repetition which follow each other, contrasting lines
which go at opposite angles or in different
directions, and transitional lines which modify or
soften contrasting lines. A curved line between two
opposing lines illustrates a transitional line. Lines
of repetition create the closest harmony,
whereas contrasting lines create the least
harmony, and transitional lines give a qualifying effect
which allow opposing lines to be used together with
less startling effect.
Lines in dress
2. Form
Form refers to the shape of an object as determined by line. In costume
design the silhouette is the term used to describe form which may repeat, may
contrast, or be transitional.
When the lines of a dress repeat the form of the body too closely, they
produce an uncomfortable , restricting effect. At the other extreme, a silhouette which
is completely opposed to the lines of the figure distorts rather than enhances the total
design. A design suggests the contours of the body.
Dress Forms
3. Texture
The surface quality of a fabric comprises its texture. It appeals strongly to the
sense of touch, whether it is coarse, fine, smooth, rough, wrinkled, sleek, glossy,
slippery. Textures are affected by weave, finishes, and the nature of the fibers and

____________________________________________________________________________
52
yarns used in weaving. Textures as well as lines can create illusions, one must choose
textures for clothes that will harmonize with the over-all design.
Dresses showing different texture
Texture affects color. A soft wool will give a quite different effect from the gloss and
sheen of the satin in the evening dress.
Texture also affects the apparent size of the design. Bulky, rough fabrics tend
to increase the size of a design, whereas smooth fabrics decrease it.
A rough texture also dulls color, but a shiny, smooth texture intensifies the
hue. Textures used together in a design should be harmonious. Some contrast is
desirable to add interest, but too great a contrast creates disunity. A velvet skirt worn
with a silk crepe blouse combines textures consistent in purpose. The same velvet
skirt worn with a cotton seercucker blouse is unthinkable.
Pig skin shoes and gloves worn with a woolen suit create a pleasant costume.
Patent leather accessories with an embossed cotton summer dress make delightful
accents in a harmonious costume.
4. Shape
Clothes reveal or disguise the natural body contour or shape. Choosing the
right clothing shapes will make the person more flattering. Wide, full shapes clothes
will make you look larger while trim, compact dress will make you look smaller.
Straight, tubular shapes will make the wearer look taller while fitted clothes will reveal
the natural body contours.
Dresses showing shapes
Let’s Do it!

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53
Elements of Design (Freehand Drawing)
Make a template of eight (8) boxes with the same sizes. Sketch or illustrate dresses
of latest fashion with prints or designs of the different kinds of lines.
Kinds of Lines
1. Horizontal Line 5. Convex Line
2. Vertical Line 6. Zigzag Line
3. Diagonal Line 7. Wave Line
4. Concave Line 8. Spiral Line
Rubrics for Art
Advanced Proficient Basic In-Progress
Grade/Standa
rd
A+ A- + B - + C - D F
How well
directions are
followed
Every
direction is
followed to
the fullest
extent
All
directions
are
followed
Many
directions
are
followed
Some
directions
are
followed
Few
directions
are
followed
Directions
have not
been
followed
Neatness Completed
artwork is
exceptional
ly neat
Completed
artwork is
very neat
Completed
artwork is
neat, with
some parts
less neat
Completed
artwork is
more
messy
than neat
Artwork is
incomplete
or
extremely
messy
Artwork is
incomplete
Work Habits Student
worked for
entire
period with
superior
focus and
did not
need
reminders
to stay on
task
Student
worked for
entire
period and
did not
need
reminders
to stay on
task
Student
worked
most of the
period and
needed
few
reminders
to stay on
task
Student
worked
part of the
period and
needed
several
reminders
to stay on
task
Student did
not work
much
during the
period and
needed
several
reminders
to stay on
task
Student did
not work
during the
period
even with
several
reminders
to stay on
task
Expectations Student
has
exceeded
expectation
Student
has fully
met
expectatio
Student
has met
most
expectatio
Student
has met
some
expectatio
Student
has not
met few
expectatio
Student
has not
met
expectatio

____________________________________________________________________________
54
s of his/her
ability level
ns of
his/her
ability level
ns of
his/her
ability level
ns of
his/her
ability level
ns of
his/her
ability level
ns of
his/her
ability level
Adapted from: www.pinterest.com
5. Color
Color is light, and light contains within itself all the sun’s rays, and when it is
broken into wavelengths of light, a sensation is produced, upon the retina of the eye
which is called color. The eye responds to color the same as the ear responds to
music. One’s reaction to color are both physiological and psychological. The varying
properties of color can, like skillful use of line and proportion, make a large object
appear smaller, or a small object seem larger. Some colors bring an object nearer,
and others make it seem farther away. Colors affect the emotions that is why
sometimes you do not realize what has made you cheerful, subdued or melancholy.
Color is a powerful element in our life. It has vibration, light and energy which affects
us.
Use of Color in Clothes
1. Black, dark tones or deeply grayed colors tend to make the figure appear
smaller or slimmer than bright or light colors.
2. A plain color makes the figure look slimmer than a combination of contrasting
colors. A two-tone effect broken across the figure makes it look shorter and
broader. A lengthwise contrast helps to give an illusion of slenderness. Large
prints or plaids may make the figure appear large or heavier.
3. A very small figure should not wear over large designs in prints, plaids, or
stripes; the person with a large figure should avoid them as well as a too-dainty
design. This type should choose motifs that are moderate and avoid the
conspicuous or too sharply designed.
4. Contrast and accent should be done with care. A little accent, perhaps a touch
of red on many blue at the throat or shoulder is smarter than a repeated accent.
If you have a particular figure problem, such as large bust or hips, place your
color contrast in such a way that it draws away the eye and emphasize a good
point.
The simplest harmony is the dominant harmony. It is a harmony of two or more
tones of one color or a harmony in which one color pervades such as tints and
shades of brown, tints and shades of green. They are found in nature.
Analogous harmony is a harmony of two or more colors alike in some ways but
different in others. It is based on the contrast in value. Examples are red, red-
violet, and violet.
A contrasting harmony is a combination of two colors which are different in hue
and which require a third color to bring them together. It is the hardest color to
combine. Examples are sage-green, cream, rose and black, black or gold, gray-
blue, red with black or gold.

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55
The Color Wheel
Primary
Secondary Intermediate Analogous Complimentary Split
Complementary
Classifications of Colors
According to some fashion designers, in wearing appropriate dress, we
should consider the Law of the Dressing Scheme which emphasizes the harmonious
combination of colors in costumes and the becomingness of the colors in bringing out
the charm of the eyes, hair, and skin tone of the wearer.
To bring out the best in our personality, the color of the eyes, hair and
complexion should always be considered. This determines that white complexioned
prefers the light colors, green is the best color and tints of orange, blue, and red
creamy, and white. Avoid brown, yellow and purple. Fair complexioned can wear light
or dark colors but should avoid medium values. Colors which harmonizes with the hair
and eyes are becoming like old rose, deep reds, yellow gold. Avoid gray, blue gray,
light and dark blue and olive green.
Pale faced should avoid brilliant colors. Yellow complexion needs light tan
and natural color and dark complexion can wear broken orange which adds life and
personality. Purple is hard to wear because it gives the complexion a muddy
appearance especially for the young girls but suitable for the gowns of older women.
Neutral and bright colors emphasize age, size, feature, complexion and
should be selected carefully. Light colors express gaiety and daintiness while dark
ones give force and dignity.
Let’s Do it!

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56
Draw an original version of your color wheel. Collect straps of fabrics and
paste them in the color wheel using the color combination of fabric.
Rubrics for Art
Grade/Standard A+ A- + B - + C - D F
How well
directions are
followed
Every
direction is
followed to
the fullest
extent
All
directions
are followed
Many
directions
are followed
Some
directions
are followed
Few
directions
are followed
Directions
have not
been
followed
Neatness Completed
artwork is
exceptionally
neat
Completed
artwork is
very neat
Completed
artwork is
neat, with
some parts
less neat
Completed
artwork is
more messy
than neat
Artwork is
incomplete
or extremely
messy
Artwork is
incomplete
Work Habits Student
worked for
entire period
with superior
focus and
did not need
reminders to
stay on task
Student
worked for
entire period
and did not
need
reminders to
stay on task
Student
worked
most of the
period and
needed few
reminders to
stay on task
Student
worked part
of the period
and needed
several
reminders to
stay on task
Student did
not work
much during
the period
and needed
several
reminders to
stay on task
Student did
not work
during the
period even
with several
reminders to
stay on task
Expectations Student has
exceeded
expectations
of his/her
ability level
Student has
fully met
expectations
of his/her
ability level
Student has
met most
expectations
of his/her
ability level
Student has
met some
expectations
of his/her
ability level
Student has
not met few
expectations
of his/her
ability level
Student has
not met
expectations
of his/her
ability level

____________________________________________________________________________
57
Read and understand more about Design for Different Figure Types.
Interpretation of
Color
Black
expresses
somberness,
coldness, mystery,
and mourning. It
decreases the size
of the wearer
because it absorbs
light and calls less
attention to the
figure.
Gray
denotes
refinement and
modesty. It is
quiet and retiring.
It denotes
refinement and
modesty. It
decreases the
size of the figure.
White
symbolizes
purity and
innocence.It
increases
apparent size
and should be
used sparingly
by stout figures.
VIOLET
expresses formality, dignity and
suggests loyalty and statelines.
It expresses truth. It also
symbolizes mourning and
sadness.
GREEN
bring rest and peace. It is
satisfying and relaxing to the tired
eyes. It signifies hope, ideals and
generosity. When combined to
yellow means happiness and
gaiety.
YELLOW
expresses rest, peace, sunshine
and gaiety. It casts its hue over
the face, hair and eyes. It can be
used by person with clean fresh-
tinted complexion.
ORANGE
It denotes pomp, grandeur,
magnificence. It reflects a
reddish color on the face.
RED
an agressive and energetic
color. It symbolizes blood and
sword. It gives a pleasing effect
to the complexion. It lends rosy
glow to the skin that gives the
appearance of health and
vitality.
BLUE
denotes the color of heaven. It
symbolizes the highest degree of
spirituality. It is termed as
innocent, quiet, and reserved. It
expresses modesty, truth and
calmness.
WARM COLORS COOL COLORS
NEUTRAL COLORS
Warm colors are cheerful and
stimulating, but when they are very
bright, they may become irritating.
Cool colors are quiet and restful, but
as the color becomes darker, they
may become depressing.

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58
The following are some of the figure types excerpt from the book of L. Belle
Pollard, Experiences with Clothing showing the becoming designs and unbecoming
designs to different figure types.
Figure Type Becoming Designs Unbecoming Designs
Short-Thin Princess lines
Full-length coats
Short and bolero jackets
Narrow, matching belts
Skirts with knife pleats, easy
gores
Delicate, dainty fabrics
One-color costumes
Clinging styles and
fabrics
Large prints
Large accessories
Long waistline
Short-Stout Vertical or diagonal lines
Simple designs
Easy-fitting clothes
Full-length coats
Narrow, matching belts
Set-in sleeves
Dull surfaced fabrics
One-color costumes
Ruffles, bows, frills
Full or very straight
skirts
Full sleeves
Broad collars, wide
lapels
Wide or contrasting
belts
Bulky or large figured
fabrics
Tall-Thin Contrasting colors in yokes,
blouses, and skirts
Bulky fabrics, plaids, checks
Wide belts, patch pockets
Dolman, push-up, or full-
sleeves
Easy, bloused waistlines
Circular, pleated, or gathered
skirts
Double breasted styles
Full or boxy jackets
Princess styles
Small accessories
Shiny, clinging fabrics
Vertical stripes
Long U necklines
Tall-Stout Simple designs, little detail
Balance or horizontal and
vertical lines
Easy fitting, straight and
slightly flared skirts
Three-quarter, set-in sleeves
Dull fabrics
Frilly clothes
Large sleeves
Contrasting and wide
belts
Bulky fabrics
Small accessories
Average Can wear most good designs; specific figure variations
may limit.
Design for Individual Face and Figure Variations

____________________________________________________________________________
59
Figure Variation Becoming Designs Unbecoming Designs
Narrow Hips Full, gathered, or
pleated skirts
Bulky fabrics
Overblouses
Tight-fitting skirts at and
just above hips
Large Hips Broad shoulders
Skirts with free and
easy fit and slight flare
Bodice bloused above
waistline
Dark colors below waist
Tight, big belts
Skirts made of plaids
or bias stripes
Sleeves with fullness at
hip line
Horizontal detail at hips
Thin Legs and Feet Full skirts of moderate
length
Light hose
Uneven hem line
Heavy Legs and Ankles Longer skirts with some
fullness
Even hem line
Dull hose
Straps across instep
Fancy shoes
Large Bust Dark colors above waist Broad shoulders

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60
Skirt with flare
Soft fullness over bust
V-Neckline
Large accessories
Straight coats and
jackets
Bulky or shiny fabrics
Snug belts
Fussy detail, bows,
pockets
Tight, narrow skirts
Sweaters
Short Waist No definite waistline
Narrow belts
V-shaped necklines
Vertical tucks
Low collars
Contrasting color in
blouse and skirt
Wide collars
Horizontal trim
Thick Waistline Princess lines
Fullness above waist
Interest at neckline
Wide or bright belts
Short skirts
Prominent Abdomen Interest above waistline
Two-piece dresses with
peplums
Straight, finger-tip jacket
Loosely fitted blouse
Unpressed pleats
Tight coat or skirt
Short, open jackets
Bias skirt
Bulky belt
Decoration at center
front of waistline

____________________________________________________________________________
61
Sway Back Loosely-fitted, bodice or
dress slightly bloused
above waistline
Long jackets
Two-piece dresses
Dresses with peplums
Tight-fitting skirts
Princess lines
Directions. Rearrange the letters in the box to form the word that best
describes the statements below. Write your answer in your quiz
notebook.
1.
It involves the relationship of one part to another.
2.
The feeling of rest and equilibrium.
3.
It means that one part of a design must be more important than the
other parts.
4.
It is the basic part of any design.
5.
N O T P O O R I P R
E B L N A A C
P S E M H A I S
E N I L
X E E T U T R
Review of Learning Outcome 1

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62
The surface quality of a fabric.
6.
It is the movement of the eye from one part of the design to other
parts.
7.
The feeling of oneness and unity.
8.
It is the brightness or dullness of a color
9.
Refers to the shape of an object as determined by line.
10.
This affects our mood but adds beauty and life in everything that
surrounds us.
How do you find your review test? Is it doing well? Go on, explore
more and enjoy learning!
What’s In? Latest Trend in Fashion
Let the students have a sketch or illustration of their own creation of latest
fashion in dress applying the principles and elements of design.
Directions: Make a miniature of the different styles of skirt using the
appropriate fabric.
H T R M Y N
A N Y O H R M
T E N T I S I Y N
M O R F
R O O C L
Enhancement activity

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63
Rubrics for Art
Grade/Standard 6 5 4 3 2 1
How well
directions are
followed
Every
direction
is
followed
to the
fullest
extent
All
directions
are
followed
Many
directions
are
followed
Some
directions
are
followed
Few
directions
are
followed
Directions
have not
been
followed
Neatness Complete
d artwork
is
exception
ally neat
Completed
artwork is
very neat
Completed
artwork is
neat, with
some parts
less neat
Completed
artwork is
more
messy than
neat
Artwork is
incomplete
or
extremely
messy
Artwork is
incomplete
Work Habits Student
worked
for entire
period
with
superior
focus and
did not
need
reminders
to stay on
task
Student
worked for
entire
period and
did not
need
reminders
to stay on
task
Student
worked
most of the
period and
needed few
reminders
to stay on
task
Student
worked part
of the
period and
needed
several
reminders
to stay on
task
Student did
not work
much
during the
period and
needed
several
reminders
to stay on
task
Student did
not work
during the
period even
with several
reminders
to stay on
task
has
exceeded
expectati
ons of
his/her
ability
level
Student
has fully
met
expectation
of his/her
ability level
Student
has met
most
expectation
of his/her
ability level
Student
has met
some
expectation
of his/her
ability level
Student
has not met
few
expectation
of his/her
ability level
Student
has not met
expectation
of his/her
ability level
PERFECT
POINTS: 24 PTS.
Types and Properties of Fabrics Suited for Ladies Skirt
Textile designers create plenty of new textiles and novelty designs from time
to time. Knowing the current fashion in fabrics and understanding how to use them,
beauty and suitability of the garment will be achieved successfully which one will
love to wear all the time.
Types of Fabric Care and Maintenance Uses

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64
1..Gabardine Gabardine- a hard-
wearing suiting fabric with
a distinctive weave. It has
a sheen and is prone to
shine. It can be difficult to
handle as it is springy
and frays badly.
Steam iron on a wool
setting: Use just the toe
of the iron and a silk
organza pressing cloth as
the fabric will mark and
will shine.
Thread: polyester
all- purpose
thread or 100%
cotton thread
Needle: machine
size 14; Sharps
for hand sewing
Use for: men’s
and ladies’ wear,
jackets, pants
2. Linen Linen is a natural fiber
that is derived from the
stem of the flax plant. It is
cool and comfortable to
wear; absorbs moisture
well; shrinks when
washed; does not ease
well; has a tendency to
wrinkle; prone to fraying;
resists moths but is
damaged by mildew.
Steam iron on a cotton
setting
Avoid pressing in sharp
creases.
Avoid risk of mildew.
Thread: polyester
all- purpose
thread
Needle: machine
size 14; sharps
for hand sewing
Use for: summer-
weight jackets,
dresses, pants,
skirts

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65
3. Denim Denim is a sturdy cotton
twill textile in which the
weft passes under two or
more warp threads. This
twill weaving produces
the familiar diagonal
ribbing of the denim that
distinguishes it from
cotton duck. An indigo
denim that only warp
threads are dyed,
whereas the weft threads
remain plain white. This
is why blue jeans show
the blue warp threads
outside and the other
side shows the white weft
threads. This type of
dyeing also creates
denim's fading
characteristics, which are
unique compared to
every other textile.
Thread: polyester
all-purpose
thread with top –
stitching thread
for detail top
stitching.
Needle: machine
size 14/16;
sharps for hand
sewing
Use for: jeans,
jackets, children’s
wear
Steam iron on a
cotton setting; a
pressing cloth is
not required
4. Poplin Poplin, also
called tabinet (or
tabbinet), is a
strong fabric in a plain
weave of any fiber or
blend, with crosswise ribs
that typically gives a
corded surface.
setting
creases.
Avoid risk of mildew.
Thread: polyester
all- purpose
thread
Needle: machine
size 14; sharps
for hand sewing
Use for: shirts,
trousers, skirts
5. Broadcloth Fantastic, closely woven
cotton that has slight rib
setting
creases.
Thread: polyester
all- purpose
thread or 100%
cotton thread
Needle: machine
size 14; Sharps
for hand sewing

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66
Use for: Casual
wear, children’s
wear, shirts, skirts
6. Gingham This is a medium-weight
balanced plain woven
fabric made from dyed
cotton. Its name
originates from the Malay
adjective, genggang,
meaning striped.
This is commonly used
for school uniform.
Thread: polyester
all-purpose
thread
Needle: machine
size 11/12;
sharps for hand
sewing
Use for: children’s
wear, dresses,
shirts, home
furnishings
7. Sharkskin Sharkskin is a smooth
worsted fabric that often
has a smooth soft texture
and a two-toned woven
appearance referred to
as a basketweave. This
may be made with the
use of rayon or acetate or
as a blend of the two.
This may be used for
everything from sporting
and marine equipment to
clothing and accessories.
Thread: polyester
all- purpose
thread
Needle: machine
size 14; sharps
for hand sewing
Use for: apparel,
trousers, skirts
8. Corduroy Corduroy is describe as a
type of fabric that has
parallel, lengthwise cords
or ridges. The word is
derived from the French
word for “Cord of the
King”. This is originally
made of cotton but today,
blends of other fabricated
fibers including polyester,
rayon and acrylic is used.
This can be used in
making jacket, blazer,
jeans, skirt, shorts, and
for upholstery.
Thread: polyester
all-purpose
thread
Needle: machine
size 12/16;
sharps or
milliners’ for hand
sewing
Use for pants,
skirts, men’s wear

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67
Determining the Quality and Suitability of the Fabric
There are simple tests that you can perform on samples of fabrics that will
help you determine their qualities and suitability to your purpose.
1. Test by Thumb
Determine the strength and shape-holding qualities both lengthwise and
crosswise of fabrics. With both hands, grasp a sample between your thumbs
and forefingers. Stretch the fabric by moving your hands back so that the
thumbs separate and the fingernails push together. Weak fabrics pull apart or
become thin where they are stretched.
2. Test by Pin
Determine slippage of threads. Pin a small tuck in a sample. Pull on the
fabric from both sides of the tuck, working back and forth as you pull. If the
fabric tears or pulls away from the pin it would probably pull at the seams.
3. Test for Sizing
Determine whether stiffening has been added to give a more closely
woven look and firmer feel. Rub the fabric between your hands; observe
whether a powder-like dust falls out indicating stiffening added. If heavily sized,
the rubbed part will look thinner when held to the light and will appear limp and
coarse. Sizing dissolves in water.
4. Test for Straight of Grain
Examine fabrics to determine whether the fabric grain will need to be
straightened. At one end of the fabric, observe whether lengthwise and
crosswise threads are at right angles to each other. Designs on printed fabric
must be exactly on crosswise grain; otherwise do not purchase.
5. Test for Wrinkle Resistant
Crumple a corner of the fabric; release it, and note the degree of
wrinkling in it.
6. Test for Ability to Take Pleats
Fold the fabric crosswise or lengthwise; press with your hands. Note
whether pleats remain or fall out.
Have a research on the following:
1. Make an album of the different kinds of fabric. Identify each fabric.

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68
2. Give several reasons why a manufacturer would blend two or more
fibers into one fabric. Tell why the following might be blended.
a. Cotton and acrylic
b. Cotton and silk
c. Cotton and wool
d. Cotton and spandex
e. Rayon and acetate
f. Wool and nylon
Rubrics for Art
Grade/Standard 6 5 4 3 2 1
How well
directions are
followed
Every
direction
is
followed
to the
fullest
extent
All
directions
are
followed
Many
directions
are
followed
Some
directions
are
followed
Few
directions
are
followed
Directions
have not
been
followed
Neatness Complete
d artwork
is
exception
ally neat
Completed
artwork is
very neat
Completed
artwork is
neat, with
some parts
less neat
Completed
artwork is
more
messy than
neat
Artwork is
incomplete
or
extremely
messy
Artwork is
incomplete
Work Habits Student
worked
for entire
period
with
superior
focus and
did not
need
reminders
to stay on
task
Student
worked for
entire
period and
did not
need
reminders
to stay on
task
Student
worked
most of the
period and
needed few
reminders
to stay on
task
Student
worked part
of the
period and
needed
several
reminders
to stay on
task
Student did
not work
much
during the
period and
needed
several
reminders
to stay on
task
Student did
not work
during the
period even
with several
reminders
to stay on
task
has
exceeded
expectati
ons of
his/her
ability
level
Student
has fully
met
expectation
of his/her
ability level
Student
has met
most
expectation
of his/her
ability level
Student
has met
some
expectation
of his/her
ability level
Student
has not met
few
expectation
of his/her
ability level
Student
has not met
expectation
of his/her
ability level
PERFECT
POINTS: 24 PTS.
Styles of Skirt
Skirt is a free hanging part of an outer garment or undergarment extending
from the waist down to a particular length of the garment.
Ladies skirts are of different styles, types and shapes. The names of the skirt
signify its shape or design. They are worn to cover the lower part of the body. A

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69
dressmaker can make any style and design on the skirt in different ways based on
the figure of the client. However, be careful in wearing skirt which are only suitable
for some specific blouses or tops. There are few basic categories of styles of skirt:
1. Straight skirt - referred to as a pencil skirt, this skirt is a straight line with no flare
or fullness at the hem or waistline. It is a slim-fitting skirt with a straight, narrow
cut line. Generally the hem falls to, or just below the knee and is tailored for a
close fit. It is named for its shape: long and slim like a pencil.
a. Short Straight Skirt is a skirt style just above the knee and it gives a
flattering effect to the wearer. However, there are super short straight skirt
such as the micro-mini, which are becoming to those who have slim and
long- legged figures.
b. Long Straight Skirt is best when they end to the part of the legs that begins
to taper.
2. A-Line/ Flared Skirt is a skirt fuller at the hem than at the waist and probably the
best style for most women. Its silhouette is narrower at the top, flaring gently
wider toward the bottom thereby resembling the letter A. It may be fitted at the
waist, high hip, and full hip.It works well on women with small waist and good for
those with full-hipped figures.
3. Gored Skirt is a style of skirt consists of four, six, eight or more gores shaped to
flare from waist to hem. This is very classic and is always in fashion. It’s one of
the most flattering styles. Its vertical lines create an illusion of height and
slimness. A gored skirt can be either straight or A-line, depending on the contours
of the gores. For a slim woman, a gored style which is fitted at the waist and hips
and flares at the hem line is best suited. While A-line is best for you, if the skirt
with gores flare from waist or high hip which is emphasized by the shaped and
curvy gores.
4. Pleated/ Tucked Skirt is a type of skirt which has pleats that create refined
vertical line while softening the figure. Skirt with all around pleats are best for
slim, narrow-hipped figures.
a. A Box pleated skirt – a double pleat having two upper folds facing in
opposite directions and two under folds pressed toward each other.
b. Fix box pleated skirt- a flat double pleat made by folding under the fabric on
either side of it.
c. Knife pleated skirt- a sharply creased narrow pleat, usually one of a series
folded in the same direction.
d. Accordion pleated skirt- a series of narrow, evenly spaced parallel pleats
with alternating raised and recessed folds set into skirt usually by a
commercial pleating machine.

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70
5. Gathered Skirt usually gathers at the waist and visually adds weight and bulk to
any figure.
STYLES OF SKIRT

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71
Other types of skirts:
a. Sheath - a figure-hugging dress with a narrow tapering skirt
b. Pant skirt- a long skirt that resembles the style of pants.
c. Semi-circular skirt – skirt made half the amount of fabric used in circular
skirt.
d. Circular skirt - Skirt made in circular shape, often by use of gores, and
hanging in unbroken ripples from waist to hem; also made from a fabric
circle.
e. Buttoned straight skirt – long skirt with buttons down at the center.
f. Sarong- a loose-fitting skirtlike garment formed by wrapping a strip of
cloth around the lower part of the body, worn by both men and women in
the Malay Archipelago and certain islands of the Pacific Ocean.
g. Peplum skirt - is a short, gathered, slightly flared strip of fabric attached at
the waist of a woman’s blouse, jacket, skirt or dress.
h. Wrap around skirt – a skirt made to fold around or across the body so
that one side of the garment overlaps the other forming the closure.
i. Suit skirt – a skirt that comes along with a suit.
j. Flounced skirt – a skirt consisting of a strip gathered and sewed on by its
upper edge around the skirt, and left hanging.
k. Draped skirt – an A-line skirt with extra upward ruffled fabric on both
sides usually used as a semi-gown skirt.

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72
Identification.
Directions. Name the following types of skirts.
1. ________________ 2. ________________
3._________________ 4. _________________ 5.. ______________

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73
Let the students collect pictures and make an album of the different styles of skirt.
Let them label each of them. Give them at least one week to prepare it and collect it.
Let them share their experience and their own insight about the importance of the
album in relation to their course.
Body Measurements for a Skirt
1. Waistline Measurement. Run
the tape measure around the
waistline. (A)
This is the measurement around the
smallest part of your waist. You can tie
a string around to find the smallest
part. Wrap the tape around first to find
your natural waist, then measure.
*When measuring a circumference ,
put two fingers under the tape
measure. This will serve as additional
allowance.
2. Lower Hip Measurement.. On
the other side of the hip, run the
tape measure from the waistline
level to the level where the
buttocks are fullest. This will be
where the lower hip level will
fall. (B)

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74
3. Lower HipLine. Run the tape
measure along the lower hip
level where the buttocks are
fullest. If the stomach is
prominent or rounded add an
allowance of 2 or more inches
(or 5.1 cm. or more) until the
fullness of the stomach is
covered. (C) This is done so
that the skirt will fall nicely and
not bulge around the stomach
area
4. Skirt length. Run the tape
measure from the waistline
level down to the skirt length
desired. (D) Skirt length may
vary depending on the skirt
style. Note down the varying
skirt length that you may desire,
like mini length, channel length,
midi length, etc.
Measurements Needed in Making a Skirt Pattern
Body Parts to be Measured Standard
Measurements
for Lower Hip
Level
Actual
Measurements

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75
A. Waistline
B. Lower Hip Level
a. Extra Small Figure 5½” (14 cm)
b. Small Figure 6½” (16.5 cm)
c. Medium Figure 7½” (19 cm)
d. Large Figure 8½” (22 cm)
e. Extra Large Figure 9½” (24.5 cm)
f. Lower Hip
C. Skirt Length
a. Regular Skirt Length
b. Mini Skirt Length
c. Midi (mid-knee) Skirt
Length
d. Maxi skirt Length
e. Long Gown Length
Procedure in Taking Body Measurements for Ladies Skirt
Materials Needed: Tape Measure, Personal Measurement Chart (PMC)
PERSONAL MEASUREMENT CHART (MC)
Customer’s Name ____________ Date Taken: __________
Body Parts to be
Measured
Actual Body
Measurement
Measurement
Needed
Computed
Measurement
Waist Circumference ¼
Hip1 Circumference ¼
Hip2 Circumference ¼
Skirt Length
A. Directions: Get a partner and measure his/her actual body measurement
needed in making the skirt pattern.
This will be the actual measurements needed in sewing the ladies
skirt. Use separate sheet if necessary.
Drafting Basic/Block Pattern of the Skirt

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76
Patterns are carefully drafted to give accurate results. They serve as
valuable guide in laying, cutting and assembling the different parts during sewing.
Pattern drafting gives the dressmaker a blueprint of what a garment will look like. It
also serves as a guide for the dressmaker.
Two kinds of Patterns
1. Foundation Pattern is a simple pattern which contains the exact body
measurements and reflects no definite style, It has five parts: back blouse, front
blouse, back skirt, front skirt, and sleeve. Each part has a dart except the
sleeve. This pattern serves as a basis for preparing the style pattern.
2. Style Pattern- shows the style of the garment to be constructed. It
contains the necessary seam allowances that are found in the finished garment.
In drafting the foundation pattern, the following materials should be ready:
1.Pattern paper (positioned on its lengthwise grain)
2.Pencil with eraser
3.Tape measure
4.Ruler
5.Hip guide
6.Scissors
To ensure quality output, dressmakers draft pattern before sewing.
.
Pattern Markings are universal symbols and lines designed to help the sewer put the
pattern pieces together quickly, easily and successfully. Every marking is necessary
for specific reason. Not every marking is on every pattern because some are specific
to a certain style or construction technique. Construction markings are very helpful
during the sewing process and transferring them to the fabric is a must.

____________________________________________________________________________
77
Identification:
Directions: Name the following tools used in drafting pattern.
1. ____________________ 2. _____________________
3. ______________________4. ______________________
5. _______________________
Project Plan for Ladies’ Skirt
Project Planning is the underlying base behind every successful project.
This serves as a guide in making a quality and beautiful project. It should be well
structured and carefully drafted. It should contain the materials and tools to be
used, design and procedure in making the project and the criteria for evaluating
the finished output coupled with rubrics designed by the teacher and students.

____________________________________________________________________________
78
Components of a Project Plan
1. Project Plan No. – reflects the number of projects
2. Date Started – date when the construction of the project will start.
3. Date Finished – the exact date when the project will be completed
4. Name of the Project – a specific description of the job/project.
5. Objectives - states the purpose why a project should be done. This is usually
stated in three learning domains: the cognitive, psychomotor and affective.
6. Tools and Equipment – list of tools and equipment in the accomplishment of the
job
7. Materials and Supplies Needed – the itemized list of tools and supplies needed
to produce a project.
a. Quantity suggests the amount needed.
b. Unit is the unit of measure of the quantity.
c. Description refers to the features and characteristics of the
materials and supply needed.
d. Unit Cost is the selling price per quantity and unit of the materials
e. Total Cost is the total amount needed per quantity of supply and
material needed.
f. Total is the over-all total cost of all the supplies and materials to
be used.
8. Design Specifications – the photographic representation of the project in two to
five views: front, back, right, left and top views.
9. Procedure – the chronological steps or operations involved to accomplish the
project. This is divided into two stages:
a. Preparation stage – depicts the preparation to be done before the
actual execution or performance of the operations.
b. Performance stage – the actual procedures involve in the actual
making of the project where all tools, supplies, materials and
equipment intended to make the project ready.
10.Evaluation – the process of assessing the finished project with its given
criteria prepared during planning and evaluating.
Make a Project Plan
Directions: Make a project plan for your sleeping garment using the template
below. Use separate sheet if necessary.
Project Plan No. ___

____________________________________________________________________________
79
Name: __________________________Date Started: _____________
Year and Section: _________________Date Finished: _______________
I. Name of the Project: ____________________________________
II. Objectives:
1. ________________________________________________
2. ________________________________________________
3. ________________________________________________
III. Tools and Equipment:
1.
2.
3.
4.
5.
IV. Materials and Supplies Needed:
Quantity Unit Description Unit Cost Total Cost
V. Design Specifications:
VI. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage
B1.
B2.
B3.
VII. Evaluation:
Criteria for Evaluation (Rubrics of Performance)

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80
Congratulations! Project Plan should be filled-in completely and submitted before
making the project. In here, you will know what type of project you will make.
Drafting the Fundamental Lines for the Skirt
A. The Skirt Pattern (front and back)
In drafting the skirt (front and back) pattern, locating the four major lines will
simplify your drafting activities.
Procedure
1. On your pattern paper, draw a perpendicular line T. Mark the midpoint as 1.
2. From 1, measure 1 cm down to get 2.
3. From 1, measure 1½ cm down to get 3.
4. From 1, measure 18 cm to 25 cm down to
get 4.
5. From 2, apply the front skirt length down tom
get 5F
6. From 3, apply the back skirt length
down to get 5B.
7. Square 4 and 5B to the left.
8. Square 4 and 5F to the right.
Fundamental
Lines in drafting Pattern for Skirt
Directions: Select at least three (3) kinds of drafting the
different types of Skirts. Do it within 10-15 minutes only. If you can
do it, you are a fast learner, Congratulations!

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81
Use the rubrics in evaluating the output of the students. This will be
the indicator if the student will proceed to the next lesson.
Rubrics in Drafting the Pattern for the Fundamental Lines
of the Skirt
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate
and correctly
used.
Lack of one
tool, some
were
appropriate
and correctly
used.
Lack of two or
more tools,
some were
appropriate
and not
correctly
used.
2.Procedure
Used the
correct
method.
Procedures
correctly
followed.
Used the
correct
method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures
not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on
time.
Finished the
pattern more
than the
allotted
time.
20 points Perfect Score
Let’s Do it!

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82
Drafting the Back Skirt Pattern
1. On the basic back skirt pattern, from 1 to 6B, use one-fourth waist
measurement plus 4 cm. Connect 3 to 6B with a broken line.
2. From 4 to 7B, use one-fourth hip measurement plus 1.5 cm. Connect
6B to 7B by using a hip curve.
3. From 5B to 8B, use one-fourth hip measurement plus 1 cm. Connect
7B to 8B.
4. From 3 to 9B, use one-half bust point width minus 1.5 cm.
5. From 9B to 10B, measure 4 cm.
6. Get the midpoint of 9B and 10B, and mark this 11B.
7. From 11B to 12 B, measure 15 cm. Connect 9B, 10B, and 11B to 12B
to form the waist dart.
8. Fold 9B over 10B. Connect 3 to 6B with a slight curve.
9. From 6B to 13B, use the back skirt side length.
10.Connect 5B to 13B with a slight curve.
Back Skirt Pattern
Let’s Do it!

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83
Drafting the Front Skirt Pattern
1. On the basic front skirt pattern, from 1 to 6F, use one-fourth waist
measurement plus 2.5 cm. Connect 6 to 6F with a broken line.
2. From 4 to 7F, use one-fourth hip measurement plus 1.5 cm. Connect 6F
to 7F with a slight curve.
3. From 5F to 8F, use one-fourth hip measurement plus 1 cm. Connect 7F
to 8F with a straight line.
4. From 2 to 9F, use one-half bust point width minus 2 cm.
5. From 9F to 10F, measure 2.5 cm.
6. Get the midpoint of 9F and 10F, and mark this 11F.
7. From 11F to 12F, measure 8cm to 13 cm. Connect 9F, 10F, and 11F to
form the waist dart.
8. Fold 9F over 10F. Connect 2 to 6F with a slight curve.
9. From 6F to 13F, use the front skirt side length.
10.Connect 5F and 13F with a slight curve.
Front Skirt Pattern
Rubrics in Drafting the Pattern for Different styles of Skirt
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate and
correctly used.
Lack of one
tool, some were
appropriate and
correctly used.
Lack of two or
more tools,
some were
appropriate

____________________________________________________________________________
84
and not
correctly used.
2.Procedure
Used the
correct method.
Procedures
correctly
followed.
Used the
correct method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on time.
Finished the
pattern more
than the
allotted
time.
The following are simplified sample patterns for some basic styles of skirts
adopted from the book “Pattern-Making and Sewing of Various Skirt Styles by
Eloisa R. Francisco,
Procedure in Drafting the Different Styles of Skirt
The following are some of the styles of skirts which you are familiar with.
Choose among these samples which will be your project.
1. The Basic Straight Skirt Pattern

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85
Drafting the Front Basic Straight Skirt Pattern
The Front Basic Straight Skirt Pattern
Waist Line
A From the top edge of the
pattern paper, go down 2
inches (5cm.). Mark this point
A. From point A, square or
extend the line across to 15
inches (38.5cm.). This line will
serve as the waistline level.
B From point A (which is the
waist line level), get ¼ of the
waistline measurement by
folding the tape measure into
four parts. Mark this point B.
C From point B, go out 1”
(2.6cm). Mark this point C.
This allowance will make up
for the dart allowance that will

____________________________________________________________________________
86
be added or marked on the
inside of the pattern.
D From point A, go down ½”
(1.3cm). Mark this point D.
D-C Connect point D to point C
with a curve ruler. This
adjustment on the waistline is
to follow the roundness of the
curve of the stomach.
Dart Lines
E From point A, get 1/8” of the waistline measurement. Mark
this point E. Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm) for the dart point.
Mark this point F.
G From point E, go out ½ of an inch(1.3cm) for the other dart
point. Mark this point G.
H From point E, square down for a short figure 5” (13cm), for
medium height figure 5 and ½” (14cm.) or a tall figure 6”
(15.5cm). Mark this point H. This will be the length of the dart.
Connect point H to points E, F, G with straight lines. This will
serve as the dart lines.
Lower Hip line

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87
I To get the lower hip level, lay the
tape measure from point A down to
the lower hip level measurement.
Mark this point I. Square of extend
the line across to 15” (38.5cm.).
This will serve as your lower hip
level. If in case you want to
determine the upper hip level, it is
the center between the waist line
level and the lower hip level.
J From point I, get ¼of the lower hip
measurement, by folding the tape
measure into 4 parts. Mark this
point J.
C-J Connect point C to point J with a
curve ruler to shape the hip.
Length of the Skirt
K From point A, go down to the
desired length of the skirt. Mark this
point K. From point K, square or
extend the line across to 15”
(38.5cm.). This line will serve as the
hem line level.
L From point K, get ¼ of the lower hip
measurement, or bring down the
measurement from points I-J to
point K-L. Mark this point L.
M From point K, go down !/2 of an inch
(1.3cm.). Mark this point M. This
hem line adjustment is a must for
the front skirt.
M-
L
Connect point M to point L, with a
curve ruler.
J-
L
Connect point J to point L, with a
straight line.
Drafting the Back Basic Straight Skirt Pattern

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88
Zipper Allowance, is attached on the center back of a skirt. Make the
zipper allowance from the side edge of the pattern paper, go 1 inch (about
2.5cm.) and make a straight line vertically.
The Back Basic Straight Skirt Pattern
Zipper Allowance.
Generally, the zipper is attached on the center back of a skirt. From the side edge of
the pattern paper, go in 1 inch (about 2.5cm) and make a straight line vertically. Print
“zipper allowance” on it.
Waist Line
A From the top edge of the pattern
paper on the zipper allowance
line, go down 2 inches (5cm).
Mark this point A. From point A,
square or extend the line across
to 15 inches (38.5cm.). This line
will serve as the waistline level.
B From point A, get ¼ of the
waistline measurement. Mark this
point B.
C From point B, go out 1 inch
(2.6cm). Mark this point C. This
allowance will make up for the
dart allowance that will be added
or marked on the patten.
D From point A, go down ½ of an
inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a
curve ruler. This adjustment is
done on the back skirt pattern to

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89
follow the “hollowness” of the
upper center hip near the
waistline.
Dart Lines
E From point A, get 1/8 of the waist measurement, then mark this point
E. Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the center of the dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the dart
allowance. Mark this point G.
H From point E, square down for a short figure 5 and ½ inches (14cm.)
for a medium height figure 6 inches (15.5cm.), for a tall figure 6 and /
Inches (16.5cm.). Mark this point H. This will be the length of the
dart. Connect point H to points E, F, G, with straight lines. This will
serve as the dart lines.
Lower Hip Line
I To get the lower hip level, lay the tape measure from point A down to
the lower hip level measurement. Mark this point I. Square or extend
the line across to 15 inches or 38.5cm. This will serve as your lower
hip level. (If in case you want to determine the upper hip level, it is
the center between the waistline level and the lower hip level). Lower
hip level measurement of the front and back skirt is the same.
J From point I, get of the lower hip measurement by folding the tape
measure into 4 parts. Mark this point J.
C-J Connect point C to point J with a curve ruler.
Length of Skirt
K From point A, go down to the desired length of the skirt. Mark this
point K. From point K, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
L From point K, get ¼ of the lower hip measurement, by folding the
tape measure into 4 equal parts. Mark this point L.
J-L Connect point J to point L with a straight line.

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90
K-L Connect point K to L with a straight line.
After drafting the back pattern of a basic straight skirt, review the
measurements. Cut along points D to C to J to L to K, include the zipper allowance.
This pattern can serve as your sloper for other skirt types. Label it with the name of
the owner and keep it in the envelope together with the front basic straight skirt pattern.
Pattern for the Waistband
A-B Get the waistline measurement and make a line. Mark this A-B.
C From B, add 3 inches (8cm.) for closure allowance. Mark this C,
D From A, go down 1 and ¼ inches (3cm.) for the thickness of the
waistband. Mark this D. The thickness of the waistband may vary
depending on the thickness desired.
E From C, go down 1 and1/4 inches (3cm.) for the thickness of the
waistband. Mark this E. Make a line from D to E. The line will
eventually be folded.
F From D, go down 1 and ¼ inches (3cm.) for the thickness of the
waisband. Mark this F,
G From E, go down 1 and ¼ inches (3cm.) for the thickness of the
waistband. Mark this G. Make a line from F to G. Connect all points
with a straight line.
Interfacing of the Waistband
Get your interfacing (waist band stiffener or Penellon), and draft the pattern
on it directly.
A-B Get the waistline measuremnt and make a line. Mark this A-B.
C From B, add 3 inches (8cm.) for closure allowance. Mark this C.
D From C, go out 1 inch (2.5cm.), for extra sewing allowance. Mark
this D.
E From A, go down 1 and ¼ inches (3cm.) for the thickness of the
waistband. Mark this E. There is no need for extra sewing allowance.
F From D, go out 1 inch and ¼ inches (3cm.) for the thickness of the
waistband. Mark this F. Connect all points with a straighline. Cut
along points A, B, C, D, E, and F.

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91
Interfacing of the Waistband
Rubrics in Drafting the Front and Back of Basic Straight
Skirt Pattern
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate
and correctly
used.
Lack of one
tool, some
were
appropriate
and correctly
used.
Lack of two
or more
tools, some
were
appropriate
and not
correctly
used.
2.Procedure
Used the
correct
method.
Procedures
correctly
followed.
Used the
correct
method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures
not
followed.
3. Pattern
All pattern
details were
correctly
measured
and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on
time.
Finished the
pattern more
than the
allotted
time.
2. The Basic A-Line Skirt

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92
Drafting the Pattern of a Basic A-Line Skirt
Drafting the Front Skirt Pattern of an A-Line Skirt
1. Follow the procedure of the front Basic Straight Skirt Pattern or trace the
sloper for the Front Basic Straight Skirt and add point N, for an A-line
silhouette.

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93
2. For an A-line silhouette, from point L, go out 1 and ½ inches (about 4 cm.)
or more depending on the desired width of the hemline. Mark this point N.
Zipper Allowance, is attached to the center back of a skirt. Make the zipper
allowance from the side edge of the pattern paper, go 1 inch (about 2.5cm.)
and make a straight line vertically.
The Back Basic A-Line Skirt
Drafting the Back Skirt Pattern of an A-Line Skirt
1. Follow the procedure of the Back Straight Skirt Pattern, or trace the sloper for
the Back Straight Skirt Pattern and add point M.
2. From point L, go out 1 and ½ inches (or 4 cm.) or more depending what was
added on the Front Skirt Pattern for an A-Line silhouette on the Back Skirt
Pattern. Mark this point M.
3. Connect point M with a straight line towards the hip area where the line
connection will be smoothest, or will have the straight line connection.
Rubrics in Drafting the Front and Back Skirt Pattern of an
A-Line Skirt

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94
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate and
correctly used.
Lack of one
tool, some were
appropriate and
correctly used.
Lack of two or
more tools,
some were
appropriate
and not
correctly used.
2.Procedure
Used the
correct method.
Procedures
correctly
followed.
Used the
correct method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on time.
Finished the
pattern more
than the
allotted
time.
3. The Four-Darted Skirt with Waistline Facing

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95
Drafting the Front Skirt Pattern of a Four Darted Skirt with Waistline
Facing
Waistline
A From the top edge of the pattern
paper, go down 2 inches (5 cm.) Mark
this point A. From point A, square or
extend the line across to 15 inches
(38.5cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline
measurement by folding the tape
measure into four parts. Mark this point
B.
C From point B, go out 2 inches (5cm.).
Mark this point C. This allowance will
make up for the two dart allowances
that will be added or marked on the
inside of the pattern.
D From point A, go down ½ of an inch
(1.3 cm.). Mark this point D.
D-C Connect point D to point C with a curve
ruler. This adjustment on the waistline
will give way to the roundness of the
stomach.
Dart Lines
E From point A, get 1/8 of the waistline measurement, then mark this
point E. Point E will be the center of first dart.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart
point. Mark this point F.
G From point E, go out ½ of an inch (1.3 cm.) for the end of the first dart
point. Mark this point G.
H From point E, go down 5 and ½ inches (14cm.). Mark this point H.
This will be the length of the first dart lines. Connect point H, to points
E, F, G with straight lines. This will serve as the first dart lines.
I From point G, go out 1 inch (2.6 cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (2.6cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm.) for the end of the second
dart. Mark this point K.
L From point J, go down 4 and ½ inches (11.5cm.). Mark this point L.
This will be the length of the second dart lines. Connect point L, to
points I, J, K with straight lines. This will serve as the second dart
lines.

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96
Lower Hip Line
M To get the lower hip line, lay the tape measure from point A down to
the lower hip level measurement. Mark this point M. Square or extend
the line across to 15 inches (38.5cm.). This will serve as your lower
hip level.
N From point M, get ¼ o fthe lower hip measurement by folding the tape
measure into 4 parts. Mark this point N.
C-N Connect point C to point N with a curve ruler.
Length of the Skirt.
O From point A, go down to the desired length of the skirt. Mark this
point O. From point O, square or extend the line across to 15 inches
(38.5cm.). This will serve as the hemline level.
P From point O, get ¼ of the lower hip measurement, by folding the tape
measure into 4 parts. Mark this point P.
Q From point O, go down ½ of an inch (1.3cm.). Mark this point Q. This
hemline adjustment is a must for the front skirt.
Q-P Connect point Q to point P with a curve ruler.
N-P Connect point N to point P with a straight line.
3. Now that you have the front pattern of a skirt with four darts. Review your
measurements. If everything is all right, then you may cut along point D to C
to N to P and to Q.
Drafting the Back Skirt Pattern of a Four-Darted Skirt with Waistline Facing
The Back Skirt Pattern of a Four-Dated Skirt with Waistline Facing

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97
Generally, the zipper allowance is attached on the center back of the skirt.
Thus, from the edge of the pattern paper, go in 1 inch (2.5cm.) and make a straight
line vertically. This will serve as your zipper allowance.
Waistline.
A From the top edge of the pattern paper on the zipper allowance line,
go down 2 inches (5cm.). Mark this point A. From point A, square or
extend the line across to 15 inches (38.5 cm.). This will serve as the
waistline level.
B From point A, get ¼ of the waistline measurement. Mark this point B.
C From point B, go out 2 inches (5cm.). Mark this point C. This
allowance will make up for dart allowances that will be added or
marked inside the pattern.
D From point A, go down ½ of an inch (1.3cm.). Mark this point D.
C-D Connect point D to point C with a curve ruler. This adjustment is done
on the back skirt pattern to raise the skirt following the “hollowness”
on the upper center of the hip area.
Dart Lines
E From point A, get 1/8 of the waistline measurement. Mark this point E.
Point E will be the center of the dart allowance.
F From point E, go out ½ of an inch (1.3cm.) for the start of the first dart.
Mark this point F.
G From point E, go out ½ of an inch (1.3cm.) for the end of the fist dart.
Mark this point G.
H From point E, square down to 6 inches (15.5cm.). Mark this point H.
This will be the length of the first dart. Connect point H to points E, F,
G, with straight lines. This will serve as the first dart lines.
I From point G, go out 1 inch (2.5cm.) for the start of the second dart.
Mark this point I.
J From point I, go out ½ of an inch (1.3 cm.) for the center of the second
dart. Mark this point J.
K From point J, go out ½ of an inch (1.3cm. for the end of the second
dart. Mark this point K.
L From point J, square down to 5 inches (13.5cm.). Mark this point L.
This will be the length of the second dart. Connect point I, J, K with
straight lines. This will serve as the second dart lines.
Lower Hip Line.
M To get the lower hip level, lay the tape measure from point A to the
lower hip level measurement. Mark this point M. Square or extend the
line across to 15v inches (38.5cm.) This will serve as the lower hip
level.
N From point M, get ¼ of the lower hip measurement by folding the tape
measure into 4 parts. Mark this point N.
C-N Connect point C to point N with a curve ruler.
Length of Skirt.

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98
O From point A, go down to the desired length of the skirt. Mark this
point O. From point O, square or extend the line across to 15 inches
(38.5cm.). This line will serve as the hemline level.
P From point O, get ¼ of the lower hip measurement, by folding the tape
measure into 4 equal parts. Mark this point P.
N-P Connect point N to P with a straight line.
4. Now that you have the back pattern of a four-darted skirt. Review the
measurements. Cut along points D, C, N, P, to O (include zipper allowance).
Draft Pattern for the Waistline Facing
a. Cut the front and back skirt on the sewing line. Include the
allowance at the back of skirt zipper.
b. In the dart lines of the front and back skirt to close the darts.
This will naturally alter the curve of the waistline.

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99
c. Following the altered curve of the waistline due to the closing
or pinning of the dart lines, go down 3 inches (7.5cm.) from
the center front and center back of the waistline to the side
seam of the waistline, and mark with broken lines. This will be
the shape of the skirt facing without allowance.
d. Get a small piece of pattern paper and pin the pattern paper
under the front and back skirt pattern on the facing area.
Trace the outline of the facing on the pattern paper. After
tracing, remove all the pins.
e. Cut the outline of the waistline facing for the front and the
back skirt. Label front and back facing.

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100
Rubrics in Drafting the Front, Back and Waistline Facing of
a Four-Darted Skirt
Item 5 3 1 Score
1. Use of Tools
Tools were
complete,
appropriate and
correctly used.
Lack of one
tool, some were
appropriate and
correctly used.
Lack of two or
more tools,
some were
appropriate
and not
correctly used.
2.Procedure
Used the
correct method.
Procedures
correctly
followed.
Used the
correct method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures
not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on time.
Finished the
pattern more
than the
allotted
time.
4. The Gathered Skirt
Drafting the Pattern of Front Gathered Skirt

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101
From the edge of the pattern paper, go down 2 inches (5cm.) which will be the
waistline level. Ark this Y1. Square or extend the line across to 30 inches (76cm.) Get
¼ of the waist measurement from point Y1. Mark the end of ¼ of the waistline
measurement point Z1.
Get the length of the skirt. Mark this Y2, and on this level, get 1/3 of the waist
measurement. Mark this point Z2.
Make a straight line from Z1 to Z2. This will be where the Front Basic Straight Pattern
will be drafted or its sloper wil be pinned and traced. Disregard the dart lines.
The silhouette of the gathered skirt may be straight or A-line.
From point K, extend the hemline to point L with a straight line.
If an A-line silhouette is desired, go out 1 and ½ inches (4cm.) or more. Mark this
point N.
Connect point N to the area of the hip with a straight line where the line will be
smoothest.
Drafting the Pattern of Back Gathered Skirt
Waist which is gathered doesn’t need zipper because the waist will stretch
enough to pass it on hip part.

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102
If an A-line silhouette is desired, go out 1 and ½ inches (4 cm.) or more. Mark
this point M.
Connect point M to the area of the hip where the line connection will be
smoothest.
Rubrics in Drafting the Front and Back Gathered Skirt
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate and
correctly used.
Lack of one
tool, some were
appropriate and
correctly used.
Lack of two or
more tools,
some were
appropriate
and not
correctly used.
2.Procedure
Used the
correct method.
Procedures
correctly
followed.
Used the
correct method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on time.
Finished the
pattern more
than the
allotted
time.
5. The All Around Pleated Skirt with Hip Yoke

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103
The front and the back pattern have the same procedure. The zipper may
be placed on the side of the skirt.
Drafting the Pattern of an All Around Pleated Skirt with Hip Yoke
Get two pattern papers and fold each in the middle.Mark one front and the
other back. Pin the basic straight skirt pattern or sloper on the center fold of
the paper. Trace the basic sloper with the dart lines.DO the same procedure
on the other pattern paper.
Cut along the sewing lines.
Trace the dart oin the other side of the fold pattern.
Draw a line on the desired yoke level or 2 inches (5 cm.) above the lower hip
level. Mark this line as X.
Go up ½ of an inch (1.3 cm.) from point X, and mark Y. Trace the new
markings on the other side of the fold pattern.
From point X, make a smooth vanishing line towards the center of the yoke.
Trace new marking on the other side of the fold of the pattern.

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104
Cut out darkened part, and separate the yoke from pleated part of the skirt.
Unfold the pattern and draw lines with equal distances to indicate the width of
the pleats. Then cut off the yoke removing the vanishing lines from point Y and
point X. Number the pleats.
Or, unfold the pattern and cut off the yoke removing vanishing lines from point
Y and point X. Then fold the lower skirt on the center and start folding the
pattern paper for the pleats. Continue to fold until you get the desired width of
the pleats. Unfold and draw straight lines along the folds indicating the pleats.
Then number the pleats.
Cut along the pleat lines.
Rubrics in Drafting the Pattern of an All-Around Pleated
Skirt with Hip Yoke

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105
Item 5 3 1 Score
1. Use of
Tools
Tools were
complete,
appropriate
and correctly
used.
Lack of one
tool, some
were
appropriate
and correctly
used.
Lack of two or
more tools,
some were
appropriate
and not
correctly used.
2.Procedure
Used the
correct
method.
Procedures
correctly
followed.
Used the
correct
method.
Procedures
partly
followed.
Failed to use
the correct
method.
Procedures
not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern
details
were not
drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead
of
time.
Finished the
pattern on
time.
Finished the
pattern more
than the
allotted
time.
Altering the basic/block pattern
Adjustments to the fit of a garment must be made before the pattern is cut
out. Once you cut the pieces out of the fabric, it is too late to add extra inches that
you may need. If the garment is too large, the extra effort in redoing your work to
make the garment fit is tedious and discouraging.
General Principles for Pattern Alterations
According to Ines Alcantara de Guzman, in her module in Dressmaking I, there are
four principles applied to all pattern alterations:
1. Preserve pattern outline whenever possible.
2. Preserve the original grainline whenever possible.
3. Avoid changes that disturb darts or decorations, by making changes between
the dart and outside edge whenever possible.
4. When altering adjoining edges, proportional length must be preserved.
These are best accomplished by using slash and spread, slash and overlap or
pleat method.
1.The Slash and Spread Method

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106
a. Skirt is lengthened between hip and hemline
b. Position line for increasing width of waist, hip and hemline
c. Alterations of the waistline must be made on both bodice and skirt
2. The Slash and Overlap or Pleat Method
a. Length of skirt is reduced in between hips and hemline
b. Position line for reduction in width of waist, hip and hemline
Lengthening or Shortening Skirts
1.To lengthen the fitted skirt
a. Starting below the hip, slash all sections of the skirt through and
at right angles to the grainline.
b. Spread the desired amount keeping grainline straight (a to b in
the figure below)

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107
c. Increase width below the spread by extending cutting lines to
conform to slant of the upper section on both sides of the
pattern (a to c, b to d), and adjust seamlines to parallel.
d. Slash the pattern and spread putting the pieces of paper in
between. Pin all sides.
e. When the enlargement extends only partially through the pattern section,
slash, spread and pin to heavy paper.
f. If the slash crosses the grainline, be sure this grainline is kept straight when
pattern is spread.
1. To shorten the fitted skirt
a.Starting below the hipline, fold a pleat, half the desired amount of the skirt
keeping approximately parallel to the waistline (a to b in figure below)
b.Straighten seamline by trimming excess pattern, tapering from a to c and b
to d.
2. To lengthen the flared skirt

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108
a.Slash all sections of the skirt through the grainline, approximately parallel to
the waistline.
b. Spread the desired amount, keeping grainline straight ( a to b in figure
below)
c.When the grainline is in the center, correct cutting line by adding all
increased widths to both sides of lower section (a to c, b to d)
3. Making a flared skirt from basic skirt
a. Draw a straight line from the hemline to the dart.
b. Slash along the straight line extending it to the waistline leaving 1
centimeter away from the top edge.
c. Spread the piece with the grainline keeping the centerline straight.
d.Insert a piece of paper in between the spread pieces, pin and cut excess.
4. Making a shirred or pleated skirt from the basic pattern:
a. Determine needed allowance for pleated or shirred skirt. For pleated skirt,
number of pleats x depth of pleats.

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109
b. Draw a straight line from the hemline to the dart.
c. Cut from hemline to waistline.
d. Spread the pieces together.
e. Insert the paper. Retrace and cut excess.
Pattern Alterations
Techniques in Cutting Final Pattern
Directions: Select at least one method in pattern alterations and alter the
basic/block pattern of classmate’s skirt. Let the teacher check the work.
Let’s Do it!

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110
Before cutting out, sort out all the pattern pieces that are required for the item
you are making. Check them to see if any have special cutting instructions. If there are
no more alterations to be made, just trim patterns to your size.
1. Identify which size to be used for different areas of your body. Use a colored
pen and trace the cutting lines.
2. Use a sharp pair of scissor in cutting the pattern. If you slip and make a cut
where you shouldn’t have, simply tape it back into place. The important thing is
that the shape is retained and that you can still read the markings. Cut carefully
along the cutting lines.
3. Check for seam allowances. Notice the grain lines. The word “directional”
means moving with the grain. In cutting garment pieces from fabric , look at the
pattern piece. You will notice that by cutting from wide to the narrow part of a
piece, you cut with less pull on the grain of the fabric. This is called directional
cutting.
4. Use long, even stroke about 1 inch from the end of the blades of the shears. If
you close the blades with each stroke, the result cut edge will be choppy and
uneven.
5. As you come to the notches (diamond-shaped marks) on the cutting line, cut
them around away from the pattern.
6. Trim multi-size pattern pieces. Single-size pattern pieces do not need to be cut
to shape ; just cut around them roughly if there is excess tissue.
Choose one type of skirt from the different types and draft the
basic pattern of it by following the given body measurement.Observe the
step-by-step procedure.
Waistline: 25 inches Materials to be used:
2nd hip: 35 inches 1. pattern paper
Length of dart: 20 inches 2. pencil
3. tape measure
4. L-square/ ruler 12”
5. hip curve
1. Draft the following foundation patterns:
a. Front skirt
b. Back skirt
2. Style the foundation patterns according to the chosen style of the
garment to be constructed.

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111
Rubrics for Pattern Drafting
Item 5 3 1 Score
1. Use of Tools
Tools were
complete,
appropriate and
correctly used.
Lack of one tool,
some were
appropriate and
correctly used.
Lack of two or
more tools, some
were appropriate
and not correctly
used.
2.Procedure
Used the correct
method.
Procedures
correctly
followed.
Used the correct
method.
Procedures
partly
followed.
Failed to use the
correct method.
Procedures not
followed.
3. Pattern
All pattern
details were
correctly
measured and
accurately
drafted.
Some pattern
details were
inaccurately
drafted.
All pattern details
were not drafted
correctly and
accurately.
4. Speed
Finished the
pattern ahead of
time.
Finished the
pattern on time.
Finished the
pattern more
than the allotted
time.
Learning Outcome 2 Prepare and Cut Materials for Ladies Skirt
Objectives
At the end of this lesson, you are expected to:
1 Prepare the materials before cutting; and
2, Cut the materials accurately.

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112
Some of the criteria in judging a finished product are: The garment fits
perfectly, holds its shape, and hangs well. This is why there is a need to prepare the
fabric first before construction to have perfect output.
Steps in Preparing the Fabric before Cutting it
1. Fold the cloth neatly and soak it in a basin of water overnight.
2. Hang the cloth and let it dry.
3. If the cloth is not smooth when it dries, pressing is necessary.
4. If the cloth gets out of shape, straighten it by stretching it diagonally. Stretch
and pull gently but firmly until the edge and selvages are even when the material
is folded in half lengthwise.
Principles of Laying Out Pattern Pieces on the Fabric
Patterns are laid out on the fabric to determine if the cloth is enough for all
the pattern pieces. The process is known as pattern layout. In this method, lay out all
pattern pieces in various positions on the fabric by trial and error until they all fit on the
cloth. When all pattern pieces have been laid out, pin them securely on the fabric.
Determining the Right and the Wrong Side of the Fabric
Before making a layout, determine the right side and the wrong side of the
fabric. Fabric with printed designs is easy to identify but difficult for fabrics with plain
colors because they are reversible. Tips to help you determine the right and the wrong
side of the fabric:
1. The selvage, or the finished edge of the fabric is smoother on the right side.
2. Loose thread ends can be found on the wrong side of the fabric.
3. Fabrics are folded right side in.
4. Prints are clearer and brighter on the right side.
Four Kinds of Fabric Folds
Deciding what kind of fold to use is based on the width of the fabric and the
design of the garment.
1. Lengthwise centerfold- The fabric is folded lengthwise at the center with
selvages together.

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113
2. Crosswise centerfold- The fabric is folded crosswise at the center with the
raw edges together.
3. Off-center lengthwise fold- The fabric is folded lengthwise with the raw edges
meeting at the center.
4. Off-center crosswise fold- The fabric is folded crosswise with the raw edges
meeting at the center.
Let the students perform on how to fold the fabric correctly. Check whether
the fabric is in right position. Supervise them while performing the activity.
Rubrics in Evaluating the Performance of the Students
Dimension
P E R F O R M A N C E L E V E L
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d
1. Use of tools
and equipment
Uses tools and
equipment correctly
and confidently at all
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
incorrectly and less
confidently most of
the time
No
attemp
t

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114
Laying Out Pattern Pieces
Depending on the fabric’s width, be sure to fold the fabric on grain. Be sure
to put in and mark the necessary allowances on all parts of the garment. Mark the
allowances with tailor’s chalk or with colored pencil. These allowances are represented
by broken lines in the illustrations. Cut along markings of the allowances. The amount
of fabric needed will depend on the width of the fabric and the length and style of the
skirt.
Pointers in Laying out Patterns
1. Make a temporary pattern layout especially if the fabric is too small.
2. Determine the right side of the fabric.
3. Fold the fabric with the right side in and the wrong side out on a lengthwise
centerfold.
4. Always make your layout on the wrong side of the fabric. Pattern markings
should not be seen on the right side.
5. Lay out big pattern pieces first. Fit the small pattern pieces in between the large
pieces. Fit the pieces close together to avoid wastage.
6. Check that the design and grain line of the pattern correspond to those of the
fabric.
7. Pin the pattens in place. Pins should be placed outward perpendicular to the
seam line and along the seam allowance space.
2. Application
of procedures
Manifests very clear
understanding of the
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
clarification most of
the time
No
attemp
t
Works independently
with ease and
confidence at all times
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
with assistance from
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
Most of the time not
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
improvement/innovatio
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS

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115
How to Layout Pattern Pieces of the Basic Straight Skirt Pattern on the Fabric
How to Layout Pattern Pieces of a Basic A-Line Skirt on the Fabric
On a 45-inch width fabric On a 60-inch width Fabric
How to Layout the Pattern of the Four Darted Skirt with Waistline Facing and
Overlap Slit on the Fabric

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116
1. Fold the fabric with two inches (5cm.) jutting out of the under laying
fabric. Layout and pin the patterns of the front and back skirt. The
center front of the front skirt pattern is joined on the fold of the fabric.
The center back of the back skirt is pinned 1 inch (2.5cm.) away from
the edge of the upper fabric. The 1 inch (2.5cm.) allowance is for the
fold of the overlap slit.
2. Mark the needed sewing allowances. Mark the desired length of the
overlap 6 to 8 inches long (15.5 to 20.5cm.).
3. Cut along the sewing allowances.
4. For the overlap slit, cut excess fabric as shown the illustration above,
and just leave the allowances needed for the overlap slit.
5. Mark the sewing lines.
How to Layout Pattern of a Gathered Skirt on the Fabric
How to Layout Pattern of an All-around Pleated Skirt with Hip Yoke on the
Fabric

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117
On a 45 or 60 inch width fabric, with a straight or A-line silhouette.
*Refold fabric so that the front yoke may be laid out on the fold of the fabric
Let the students perform how to layout properly the fabric. Check whether
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d
1. Use of tools
and equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
confidently most of
the time
No
attemp
t
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
the time
No
attemp
t

____________________________________________________________________________
118
Cutting the Fabric
After the pattern pieces have been laid out on the fabric, the next step is to
cut the fabric. Be very careful in cutting this. If you cut carelessly, time, effort, and
money will be wasted.
A good rule to remember is, always cut along the pattern so that your free
hand rests on the pattern. For the right-handed person, cut to the right of the cutting
line. The fingers of the left hand rest lightly on the pattern along the cutting line.
Reverse this if you are left-handed.
Pointers in Cutting the Fabric
1. Place the fabric and pattern flat on the table. Avoid moving or lifting the fabric
while cutting.
2. Walk around the table as you cut instead of pulling the fabric toward you
because the fabric may slip or stretch out of shape.
3. Use sharp shears for cutting, making long strokes along straight edges and
short, even strokes along curved edges. Cut the edge straight since it serves
as your guide in sewing.
4. Cut the fabric starting from the widest to the narrowest part of the pattern. Begin
cutting at an edge which is easy to reach.
5. Cut with smooth, even strokes.
6. Keep the cutting edge of the top blade of the shears directly above the lower
blade. Do not let the blades slant toward the table.
7. Cut similar patterns at the same time by cutting them out from two layers of
fabric.
8. Close the points of the shears right up to the notch. Close the points at the exact
stopping place. Cut outward from the pattern to the exact tip of the notch. Cut
inward to complete the notch at the cutting line.
9. When cutting curves, make your strokes shorter. Keep the free hand close to
the cutting line to have smooth curved line.
Works independently
with ease and
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS

____________________________________________________________________________
119
10.Set aside cut fabric pieces to avoid cutting them accidentally as you work on
other parts of the fabric.
11.After cutting, do not remove the pins and patterns because you will need them
in marking your fabric.
12.Collect and tie all scraps of cloth together for future use. You may be able to
use these for your recycling projects.
If you are right-handed, place You can cut a small clip into the
your left hand on the pattern fabric to mark the dots that indicate
and fabric and hold them in place, the top of the shoulder on a sleeve.
and cut cleanly with the scissor Alternatively, these can be markes
blades at a right angle to the fabric. With tailor’s tacks.
Cut the mirror image of the notches A small clip or snip into the fabric
out into the fabric, rather than cutting is a useful way to mark someof
Out each notch separately, cut straight the lines that appear on a pattern.
across from one point to point.
Let the students perform on how to cut the fabric properly. Check whether

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120
Transferring of Marks Onto the Fabric
After cutting the garment pieces, you are ready to transfer your pattern marks
to the fabric. Use tailor’s chalk or dressmaker’s carbon paper aided by a tracing wheel.
Whichever tool you decide to use, make sure that you transfer all important pattern
marks clearly and accurately. The following are the general details to be marked:
1. seam lines along curves and corners
2. position of pockets
3. stitch lines
4. center lines for the front and back opening, facings and interdacings
5. darts
6. location of buttons and button holes
7. points where stitching lines should stop
8. fold lines
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d
1. Use of tools
and equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
confidently most of
the time
No
attemp
t
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
the time
No
attemp
t
Works independently
with ease and
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS

____________________________________________________________________________
121
9. any other special markings used to construct the garment
Guidelines in Transferring Marks Onto the Fabric
1. Details should be marked on the wrong side of the fabric where most
construction lines are needed.
2. If you use a tracing wheel and dressmaker’s carbon paper, mount these on a
piece of heavy cardboard to protect table surfaces.
3. Use white tracing paper whenever possible because it is safe and easy to
remove.
4. Use a ruler to make straight lines with the tracing wheel. Run the tracing wheel
along the edge of the ruler with a firm and steady motion to avoid double lines,
which can be confusing.
5. When marking curves, slant the tracing wheel slightly inward toward the center
of the curve.
6. Avoid retracing or going over the line twice.
7. There are various methods in transferring pattern marking. Tailor’s tacks are
good for circles and dots, or mark these with a water or air-soluble pen (when
using a pen, test it on a piece of scrap fabric first). For lines, you can use trace
basting or a tracing wheel with dressmaker’s carbon paper.
Methods of Transferring Pattern Marking
1.By Using Tailor’s Tacks
Often, dots are of different sizes so it is a good
idea to choose different colors of thread for
each dot size. It is the easy to match the colors
as well as dots. Use double thread in your
needle, unknotted. Insert the needle through
the dot from right to left, leaving a tail of thread.
Be sure to go through the tissue and both layers
of fabric.
1. Now stitch through the dot again, this
time from top to bottom to make a loop.
Cut through the loop, then snip off
excess thread to leave a tail.
2. Carefully pull the pattern tissue away. On
the top side, you will have four threads
marking each dot. When you turn the
fabric over. The dot positions will be
marked with an X.

____________________________________________________________________________
122
3. Gently turn back the two layers of fabric
to separate them, then cut through the
threads so that thread tails are left in both
pieces of fabric.
2.By Using Tracing Paper and Wheel
1. This method is not suitable for all fabrics
as the marks may not be able to be
removed easily. Slide dressmaker’s
carbon paper against the wrong side of
the fabric.
2. Run a tracing along the pattern lines (a
ruler will help you make straight lines)
3. Remove the carbon paper and carefully
pull off the pattern tissue. You will have
dotted lines marked on your fabric.
3.By Using Markers
1. This method can only be used with a
single layer of fabric. Press the point of
the pen into the center of the dot marked
on the pattern piece.

____________________________________________________________________________
123
4.By Trace Tacking
1. This is a really useful technique
to mark center front lines,
foldlines, and placement lines.
With double thread in your
needle, stitch a rwo of loopy
stitches, sewing along the line
marked on the pattern.
2. Carefully pull away the tissue.
Cut through the loops,, then
gently separate the layers of
fabric to show the threads. Snip
apart to leave thread tails in
both of the fabric layers.
Let the students perform how to transfer pattern markings properly onto
the fabric. Check whether the fabric is in right position. Supervise them while
performing the activity.
2. Carefully remove the pattern. The pen
marks will have gone through the tissue
on the fabric. Be sure not to press the
fabric before the pen marks are removed
or they may become permanent.
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d

____________________________________________________________________________
124
Learning Outcome 3 Assemble Garment Parts for Ladies Skirt
Pre-assembling Procedure
The quality of clothes that we are wearing is affected by the way they are
constructed. Understanding the construction process will help us choose quality
clothes. There are various standards on how they are being constructed either for
ready-to-wear or custom-sewn clothing.
Skirt Unit
Front
1.Stay stitch waistline on seamline from sides through center front.
2.Stitch the darts, Slash and press open curved darts.
3.Finish the bottom edge of the facing with the side seams folded out.
1. Use of tools
and equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
confidently most of
the time
No
attemp
t
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
the time
No
attemp
t
Works independently
with ease and
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS

____________________________________________________________________________
125
Back and Side Seams
1.Stay stitch waistline on seam line from side to center.
2. Stitch darts and press toward center.
3. Stitch skirt front to back at side seams. Press seams open.
4.Connect the side seams of the skirt, except where the zipper will be attached.
A. Pressing Techniques
Before Construction
Pressing can straighten grain lines and preshrink fabric, and it eliminates
wrinkles before laying on the pattern. The center crease line should be pressed out of
folded fabrics. Wrinkled tissue pattern pieces may be pressed smooth with a warm
iron as an aid to accurate cutting.
Skilful pressing may substitute for much of the basting; careful pressing of
hems and facings will save much time.
Press each piece in the construction procedure: the seams, darts or tuckes,
before one piece is joined to another.
To avoid imprints of edges on right side, insert strips of paper as necessary
between garment and seam allowances, darts or pleats, and then press.
Ease or fullness may be shrunk out of some fabrics, such as wool and certain
cottons and synthetics, in order to shape a particular piece; shoulder seams, sleeves,
caps, and bust-line seems may require this treatment.
General Directions for Seams
Thoroughly smooth the stitching line of any seam by pressing before opening
the seam allowances or turning to one side.
Press straight seams over straight pads and curved seams over pressing
cushion to give them the correct shape.
Always press a seam before cross-stitching it with another seam.

____________________________________________________________________________
126
Straight Seams
Press seam allowance open with tip of iron for an inconspicuous appearance.
For some contruction procedures press both edges of seam to one side. The seam
may be pressed open before turning and pressing the edges to one side. This may
give a flatter line on some fabrics.
Lapped Seams
Press the turned edge of the top layer before placing it over the underlayer.
Steam press completed seams.
Curved Seams
1. Press seams with outward curves open over a seam board or near the
edge of pressing board. Press only 2” to 3” at a time. Complete the
pressing over a rounded cushion or rolled Turkish towel, taking care not
to shrink or stretch the seam line. Shrink edges of allowances to flattened
seam for a better fit.
2. Clip seams with inward curves to within ¼” of stitching. Press seams open
at seam line over seam board. Do not press beyond seam line at each
side.
Waistline Seams
Press seam allowances open, then press both edges together. Leave the
seam allowances open if neither bodice nor skirt is bulky at waistline seam.
Darts
1. Press dart along the line of stitching.
2. Press waistline and shoulder darts toward the center front and center
back, underarm darts toward the waistline, and elbow darts toward the
wrist.
3. Clip darts which taper at both ends at the center to within ¼” of the
stitching line, press toward the center front or back of garment.
4. Press darts over a rounded cushion to shape the curve.
5. Clip darts open in heavy fabrics to within 1” of point of stitching line; press
flat.
Pleats
Press pleats from hem to waistline.
Zipper Plackets
1. Place the garment at the right side down over a well-padded surface such
as a Turkish towel.
2. Place a pressing cloth over a placket. Hold iron lightly over placket and
press from smaller part of garment to bigger one, such as from waistline
to hip.

____________________________________________________________________________
127
Hem
Press a skirt hem up from the lower edge to avoid stretching. Hems may be
pressed from either side. From the right side, press over a well-padded ironing board.
(Imprint will not come through to right side.) Use a heavy pressing cloth. Hems will lie
flatter if fulness is shrunk out with steam before sewing on seam tape. Curve the hem
tape for a flared skirt by stretching the outer edge as the tape is pressed in a circle.
(Experience Clothing)
Procedure in Assembling
Ladies Skirt
The sequencing for the unit method of construction of the different parts of
the skirt will be basically the same for all skirt types. It is a must, that one should master
the steps in attaching the seams, zippers, pockets, and waist bands. Mastery is
achieved with constant practice.
How to Prepare the Basic Straight Skirt and Basic A-Line Skirt for Sewing
Construction
1. Stay Stitch the waistline ¼ of an
inch (.7cm.) above the waistline’s
sewing line markings. This is done
so that the part which is curved
will not stretch due to handling
since the edge of the waistline will
not be finished.
2. If you do not have an over-edging
machine to finish the raw edges of
the different skirt parts, finish the
raw edges of the side seams and
back center seam by folding the
edge by ¼ of an inch (or 0.7 cm.).
Machine stitch on the fold. The
edge of the waistline need not be
finished for this will be covered
with a waistband. The edge of the
hemline may be finished after the
side seams and zipper seams
have been sewn together.

____________________________________________________________________________
128
3. Fold the dart on the center line,
and join the outer lines with pins.
Sew together. Start sewing from
the top of the dart allowance to the
bottom. Leave tails of threads at
the bottom. Knot these together
around three times to prevent the
stitches from unraveling. Since the
dart is a vanishing line, it is not
advisable to lock stitch the end of
the dart for this will not achieve a
fine point.
4. Pin the center back together.
Leave unpinned where the zipper
will be attached. Get an 8 inch
(20cm.) zipper. If you want a slit at
the bottom of the skirt, leave this
unpinned, too. Machine sew the
center back together and where
slit is. Lock both ends by back
stitches so that machine sewing
will not unravel.
5. Fold both sides of the zipper
allowance on the main part of the
back skirt. Then hand baste the
top portion of the fold with
reinforced basting to keep it in
place.
How to Prepare the Four-Darted Skirt with Waist line Facing for Sewing
Construction
1. Finish the bottom edge of the facing with the side seams folded out.
2. Finish the side seams and center seams of the shirt.
3. Close all darts of the front and back skirt.
4. Connect the side seams of the skirt, except where zipper will be
attached.
5. Attach the zipper to the skirt.
How to Sew the Overlap Slit

____________________________________________________________________________
129
Reverse the skirt to the wrong side.
Cut on the zipper allowance 1 inch
(2.5cm.) below the zipper on the right
(hand) side of the skirt when torn.
Fold the whole length of the zipper
allowance and slit allowance of the
right (hand) side of the skirt when worn
towards the other side. Hand baste the
slit allowances together.
Fold the length of the zipper allowance
and slit allowance of the right (hand)
side of the skirt when worn towards the
other side. Hand baste the slit
allowances together.

____________________________________________________________________________
130
Reverse the skirt to its right side.
Machine sew together on a diagonal
line, the overlap slit to the under lap
slit.
Fold the hemline for finishing
How to Prepare the Waistline Facing of the Four-Darted Skirt with
Waistline Facing and Overlap Slit
1. Join together the side seams of the skirt by machine sewing them.
2. Working on the wrong side of the facing, finish one side of the facing by
folding up ¼ of an inch (.07cm.) and machine sew the fold, with the
seam allowances flattened to the waist band proper.
How to Connect the Waistline Facing to the Skirt
1. Starting from the center of the waistline of the skirt and the center of
the waistline of the facing, pin the centers together. Pin baste along the
entire span of the waistline. Fold the zipper allowance of the facing .

____________________________________________________________________________
131
2. Hand baste first, or machine sew directly after pin basting.
3. Machine sew along the sewing lines

____________________________________________________________________________
132
4. Cut excess sewing allowances, leaving behind ¼ of an inch
(0.06 cm.) allowance.
6. With the right side of the skirt facing you, fold up the facing with the
sewing allowances laying on the facing. Pin baste them together.
Work from the right side of skirt.
5. Snip in regular intervals along the waistline, so that the facing and the
skirt will follow the curve of the waistline in a relaxed manner.

____________________________________________________________________________
133
As seen from the wrong side of the skirt.
7. Hand baste where you have pin basted
Work on the right side of the skirt
As seen from the wrong side of the skirt.
8. Machine sew on the right side of the skirt.
Work on the right side of the skirt.
9. Fold in the facing towards the wrong side of the skirt by pin basting it.
Then secure the facing to the skirt by hand stitching connecting the
facing to the skirt on the seams and folds of the dart. This way the
stitches will not appear on the right side of the skirt.

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134
10.After all the finishing is done, the reverse of a four darted skirt with
waistline facing will look as illustrated below.
How to Prepare the Gathered Skirt for Sewing Construction
Finish the side seam and if there is a center back seam, finish it too. (If the
desired zipper placement is at the back, then a center back seam is needed).
Connect the side seams. If there is a back seam, connect this also but leave
unsewn where the zipper will be attached.
On the waistline, run two parallel stitches on the sewing line of the waistline
with a distance of 1/8 inches (.04 cm.) between them. Leave excess threads
on both ends which may be referred as tails.
With zipper on the center back with zipper on the left (hand) side
of the skirt
To gather the waistline, pull the tails on both ends belonging to the under
stitches. To pull the tails belonging to the over stitches will result in a snag
because the stitches om top are looped into the under stitch, while the under
stitch just runs straight.

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135
Gather evenly by pulling the tails and distributing the gaters evenly until it
reaches the desired waistline measurement.
Attach th zipper to the zipper allowance.
Attach the waistband to the skirt.
Finish the edge of the hemline allowance, and fold the hem line allowance and
hem stitch.
How to Prepare the All-around Pleated Skirt with Hip Yoke for Sewing
Construction
Finish the side seams of the yokes and the skirt pieces. Close the darts.
Connect one side of the side seams of the skirt proper.
Lay open and flatten the side seams by pinning to the skirt proper, then finish
the top edge of the skirt proper where the yoke will be connected.
Fold and pin the pleats, then machine sew the pleats in place.
Connect the sides of the side seams of teh skirt.
Connect the side seams of the front and back yoke, except where zipper will
be attached.
Lay open and flatten the side seams by pinning to the yoke proper, then finish
the bottom edge of the yoke where the pleated part of the skirt will be
attached.
Connect the yoke of the skirt to the pleated part of the skirt.
Attach the zipper.
Attach the waistband.
Finish the hemline by laying open and flattening the side seams by pinning
them to the skirt proper. Then hemstitch the hemline.
Kinds of Pleats

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136
Pleats are folds or series of folds in fabric. Pleats are made to fit around the
waist and hip and then left to fall in crisply pressed folds, giving fullness at the hemline.
1. Box pleat is one of the most common types of pleats. It is formed when two equal
folds of fabric are folded away from each other in opposite direstions on the front
of a length of fabric.
2. Knife pleats or Accordion Pleats are series of narrow sharply pressed pleats all
turned in one direction.
3. Inverted Box Pleats are formed by two equal folds of fabric folded toward one
another and they meet at the center of the pleat on the front of the fabric.
4. Kick Pleats are short pleats leading upwards from the bottom hem of garments
such as skirts or coats, usually placed at the back.
Box Pleats Knife Pleats or Accordion Pleats
Inverted Box Pleats Kick Pleat
Characteristics of a Well-Fitted Skirt
Correct fit is one of the first requirements for a becoming garment. The fabric
may be beautiful, the garment design is fashionable, and the construction is perfect,
but the appearance can be ruined unless the garment fits you.
Proper fit is necessary for maximum comfort, too. Fitting standards are called
“snug,” “easy,” and “loose” with perfect fit described as “easy fit.” Although there are
basic guidelines to judge fit, it is an individual matter. Some people insist on wearing
only smooth, well-fitted clothing while others are contented with wrinkles, bulges, and

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137
binding areas. As you gain more experience, you will be less contented with poorly
fitted garments. (Contemporary Clothing, pp.162-163)
Judging Fit in Clothing
The kind of fit desired in clothing changes with style and fashion as well as
personal preference. No definite rules can be set as to the exact way a garment should
fit. However, regardless of fashion, style, and personal preference, a well-fitted
garment should;
a. Appear as if it belongs to you.
b. Have ease of movement.
c. Be attractive to your figure and appear neither baggy from being too
loose nor stretched from being too tight.
d. Give you a feeling of ease and comfort with no need to adjust your
clothes with every move.
It is wise to try on any garment and look at yourself in a full-length mirror. A
three-way mirror is even better since it allows you to see the sides and back of the
garment without twisting. Here’s a checklist to see if it really fits you.
Checklist of a Well-fitted Garment
Criteria Yes No
1. Does it flatter your figure?
2. Is the color right for you?
3. Does it hide or disguise a feature you do not want
to accent?
4. Does the garment have enough ease to make
necessary body movements comfortably? Stretch
out your arms. Bend over. Does the garment
move with you?
5. Are the darts in the right places?
6. Skirt darts should shape the fullness where it is
needed over the hip and stomach areas.
7. Are the seams in the proper places?
8. Does the waistline or belt sit right of the woman’s
body? When a belt is worn, it should not slip
above or below the waistline seam.
9. Does the zipper on a garment lie flat against the
body without bulging out away from it?
10. Does the hemline falls into an even line around
the bottom of the garment?
A skirt should lie smoothly at the waist and hip areas. There should be
enough ease so the garment hangs straight from the hips and stomach.
Learning Outcome 4 Apply Finishing Touches on Ladies Skirt
Finishing Touches

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138
Attaching the Zipper
1. With the back skirt facing you, work
on the right (hand) side of the back
skirt first by pinning the zipper on the
skirt. Make sure that the zipper tag is
½ of an inch (1.3 cm.) away from the
waistline. This does not prevent the
zipper tag to get in the way of the
presser foot of the sewing machine.
The zipper teeth should be near the
fold of the skirt. The head of the pins
are positioned up, so that if you will
skip hand basting and machine sew
at once, it will be easier to pull out
the pins.
2. Hand baste the zipper for easy
machine sewing. Then remove the
pins.

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139
3. Position the skirt with the end of the
zipper facing you in an upside down
manner. Machine sew the zipper to
the skirt with tje presser foot close to
the zipper teeth. It would be ideal if
you use a zipper foot instead of a
presser foot.
1.Start sewing from the bottom of the
zipper, sew until 1 inch (2.5cm.)
before the zipper tag.
2.Stop sewing but make sure the
machine needle is pressed down
on the fabric, then raise the
presser foot.
3.Draw up the zipper tag so that the
needle will not hit the zipper tag
while sewing. Then draw down
the presser foot and continue
sewing. Make sure both ends of
the machine stitches are locked.
4.Work on the left (hand) side of the
back skirt by pinning the zipper on
the skirt. The pins should be ½ of
an inch or (1.3 cm.) away from
the fold of the skirt so that zipper
teeth will not hit.

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140
5. Hand baste for easy sewing.
6.Machine the zipper from the top of
the skirt.
1. Draw down the zipper tag to
around 2 inches (5cm.) to
avoide the needle from hitting
the zipper tag, then machine
sew.
2. Stop sewing after 1 inch (2.5
cm.), lift the presser foot up
but make sure that the needle
is pressed down on the fabric.
Draw the zipper tag up, then
put down the presser foot and
continue sewing. At the
bottom, square and put down
the presser foot while the
needle is pressed down on the
fabric and turn the skirt and
put down the presser foot and
continue sewing to meet the
stitches on the other side of
the skirt. Make sure both ends
are lock stitched.

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141
Waistband Attachment
1. Fold the darts facing the center of
the back and front skirts. Pin and
hand baste darts in place.
2. Connect the side seams of the
front and back skirts together by
pinning the side seams together
and then machine sewing them.
Pin the side seams together from
top to bottom.
3. Fold open the side seams of the
skirts in such a way that the
waistline of both the side seam
allowances and the main skirt are
aligned. Pin and hand baste
these.
This is done so that when the
waistband is attached to the skirt,
the seam allowances may not be
sewn up which cause the sides of
skirts to be pulled up.
Connecting the Waistband
1. Pin one side of the interfacing
(stiffener) throughout the
waistband from end to end,
touching the sewing line of one
side of the waistband.
2. Machine sew this together 1/8 of
an inch (0.3 cm.) away from the
sewing line of the skirt.

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142
3. Because of the insertion of the
interfacing (stiffener), which may
occupy extra space, the sewing
line of the waistband where the
skirt will be connected may need
re-lining. Fold up the waistband
where the interfacing is
connected and with a pencil or
tailor’s chalk, re-line the sewing
line.
4. Open the zipper of the skirt, then
reverse the skirt to its wrong side
where you will connect the
waistband.
5. Starting from the overlap side of
the skirt (the left hand side of the
skirt), pin the waist band without
the interfacing (stiffener)
attachment, leaving a ½ of an
inch (1.3 cm.) allowance on the
waistband on the wrong side of
the skirt. Make sure that the
sewing lines of the waistband
which may have needed
readjustment and the sewing
lines of the skirt are aligned when
pinned. Pin until you reach the
other end of the skirt. Do not cut
off the excess waistband, since
this will serve as your under-lap
allowance.

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143
6. Hand baste this for easy machine
sewing. Later on, if you master
this technique, you can do
machine sewing them directly
without hand basting. Remove
the pins.

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144
7. Machine sew together the
waistband and the skirt.
8. Fold up the allowance on both
ends of the waistband by pinning
them.
9. Fold the center of the waistband
as seen in the illustration. Adjust
the pins to hold together the other
flap of the waistband. Machine
sew to close the ends of the
waistband. Lock stitch both ends.

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145
10.Cut off the excess allowances.
Leaving a ¼ of an inch (0.7cm.)
allowance.
11.Reverse the fold by pushing the
corners in with your index finger.
To get a sharp corner, after
reversing, gently push the corner
withh trhe sharp point of your
scissors.
12.Now, you will be working on the
right side of the skirt, so reverse
the skirt on its right side. Fold in
the waistband allowance and pin
the fold on the main skirt. You are
now working on the top side or
righr side of the skirt.
13. Hand baste where pins are, then,
remove the pins. After much
practice, there may be no need to
hand baste, pin basting may be
sufficient before machine sewing.
14. Machine sew all around the edge
of the waistband to close the
waistband and finish it neatly.
Start machine sewing from one
side of the under lap. Lock the
end by back stitches.

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146
Closing the Waistband with a Button Closure
1. Choose a button and mark the
width of the button on the
overlap of the waistband where
the button hole will be placed
on the left (hand) side of the
skirt.
2. Make a horizontal line between
the side markings. This is
where the buttonhole will fall.
3. Machine sew a stitch around
the buttonhole to secure the
fabric and the interfacing
(stiffener) when the buttonhole
is cut.
4. Fold on the center of the
buttonhole and pin near the
edge of the buttonhole to
guard against over cutting.
With a pair of scissors, cut
along the horizontal line very
carefully.

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147
5. Hand stitch the buttonhole to
finish it.
6. Close the zipper and lay the
overlap of the waistband over
the under-lap.With a pencil,
mark where the button will be
attached.
7. Attach the button by hand
stitching.
How to Make a Buttonhole Stitch
1. Double thread your needle and
knot the ends. Thread should
just be 10 inches or (25.4cm.)
long after it has been knotted.
Very long threads tend to knot.
2. Starting from the left, run the
needle under the buttonhole slit,
and insert the needle out of the
fabric.

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148
3. Pull the needle out until the knot
touches the fabric.
4. Run the needle again under the
buttonhole slit, and insert the
needle out of the fabric.
5. Loop the thread left over right
over the needle.
6. Pull the needle outward until the
knot is snugly secured on the
edge of the buttonhole slit.
7. Continue the stitches using the
same procedure, until all the
buttonhole slit has been
covered with buttonhole
stitches. Stitches should be
uniform in length and evenly
spaced.
8. Lock or secure the buttonhole
stitches under the right side of
the buttonhole where the knot
cannot be seen. Secure back
stitching wherein the stitches
are run over each other for

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149
about three times. Cut the
excess thread.
Folding the Hem with Slit
1. Now that the side seams of the front
skirt and the back skirt have been
connected, you may finish the
edges of the hemline, the way the
side seams have been finished.
Open the side seam allowances
and fold the raw edge of the
hemline then machine sew.
2. With the skirt on its right side, fold
out the center seams of the back
skirt and pin to the skirt.
3. Machine sew on the sewing line to
connect the folds to the skirt. Lock
by back stitching on both ends to
secure the machine stitches.
4. Reverse the bottom hemline
allowance by laying your inner
finger and pushing in the corner of
the fold.

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150
The edge of a piece of a fabric can be finished with a hem or decorative edge, which
is used for crafts and other home furnishings. The style and fabric being used will
determine the kind of hem finish.
Kinds of Hem Finish
How to Hem Stitch
1. Pin baste the fold of the hemline.
2. Hand baste the fold and remove
the pins to avoid the thread from
getting hooked on the pins while
hem stitching.
3. Proceed to hemstitch by using the
blanket stitch or the herringbone
stitch. (The lower part of the
herringbone stitch should not
appear on the right side of the
skirt.

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151
4. Knot the end of the stitches by
back stitches. This will secure the
stitches.
Accessories and Accent Suited for Ladies Skirt
1. Belts
A belt in a fabric adds beauty as a finishing
touch on the garment. Belts should have
interfacing, the firmer and more structured the belt,
the firmer the interfacing should be. It needs belt
loops to support and prevent it from dropping.
2. Tie-belts
A tie belt is the easiest of all the belts to make. It can
be of any width and made of most fabrics, like
cotton for summer dresses, satin and silk for bridal
wear. Most tie belts require a light to medium
interfacing for support. A fusible interfacing is the
best choice as it will stay in place when tied
repeatedly.
3. Obi Sash
An obi sash is a variation of the traditional sash
that is worn with a kimono. This type of sash has
a stiffened center piece with softer ties that
cross at the back and then wrap to the front and
tie. For firm fabric such as silk duplon, satin, or
heavy cotton, interfacing is not required for the
ties.

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152
Evaluation of Finished Ladies Skirt
Threshing out the details of the criteria depends upon class and teacher’s
decision, example of the details are given below.
Perfect
Score
Student’s
Score
Teacher’s
Score
1.Materials used (15 points)
a. Are the grain lines straight? 5
a. Is the cloth colorfast? 5
b. c. Do the threads, cloth, zipper,
c. and buttons (if any) match?
5
2. Style and Color (15 points)
a. Is the style appropriate for the
wearer?
5
b. Does the color enhance the
complexion and flatter the
figure?
5
c. Does it follow the Art Principles? 5
3.Worksmanship (35 points)
a. Are the seams flat and almost
finished?
7
b. Are the darts correctly located
and well sewn?
7
c. Are the zipper and other
fasteners flat and not shown?
7
d. Are the machine stitches
uniform in size and free of snags
and tangled?
7
e. Is the hem evenly folded and
inconspicuously finished?
7
4.Fit (15 points)
a. Is the garment neither too tight
nor too loose?
5
b. Does the shoulder line fall
correctly, neither too high nor
drooping?
5
c. Is the length appropriate for the
wearer?
5
5.General Appearance (20 points)
a. Is the garment becoming to the
wearer?
10
b. Does it look like it was made by a
professional?
10
TOTAL POINTS 100

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153
Procedure in Pressing the Finished Garment
A newly sewn purchased garment or one that is become wrinkled should be
presses before wearing. Remove any soiled spots before pressing. The pressed parts
of the garment should be moved away from.
1. Press the garment that are free, such as ruffles, ties, sleeves, or collar.
2. Press pockets, collars, cuffs or buttonholes from the right side.
3. Press the under side with details as facings, including pocket linings, and
seam allowances.
4. Press the whole garment, the bodice first, then the skirt.
5. Place garment on well-shaped hanger and do not wear until it is well-aired
and completely dry. Close the zipper. Remove belt from loops of the
garment, and place the belt on the hanger.
Good and well-made garments lose the quality if they are wrinkled and untidy.
They must be pressed everytime they are worn. Careful pressing and ironing the
garments is necessary tobecome attractive and add beauty.
Let the students press the garment parts by following the step-by-step pattern.
Supervise them while doing the activity. .
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs
Improvement
(1 pt.)
No
Attempt
(0 pt.)
Poi
nts
Ear
ned
1. Use of
tools and
equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly
and
confidently
most of the
times
Uses tools and
equipment
correctly and but
less confidently
sometimes
Uses tools and
equipment
incorrectly and
less confidently
most of the time
No
attempt

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154
Labelling of Garments
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandi
ng of the
step- by-
step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
clarification most
of the time
No
attempt
Works independently
with ease and
confidence at all
times
Works
independent
ly with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
with assistance
from others most
of the time
No
attempt
3. Safety
work habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
Most of the time
not observing
safety precautions
No
attempt
4.Completen
ess of Task
Task is completed
following the
procedures in the
activity
improvement/innovat
ions
Task is
completed
following the
procedures
in the
project plan
Task is nearly
completed
following the
procedures in the
project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attempt
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/d
ays) beyond
Work completed
___(mins./hours/d
ays) beyond
No
attempt
TOTAL POINTS

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155
Labels for fabric serves as the consumer’s protection for the
garment’s washability, colorfastness, fiber content, and the
special knowledge needed to care for garments.
Labelling of garments is very important.
Customers look at the label first before buying a ready- to-
wear garment. It can be seen at the end of the belt, the tag
attached to the garment, or information printed along the
selvage of the fabric. There are different labels used in
garments with their specific purpose.
1. Brand or Main Label – indicates the brand name
or brand logo of company where the garment comes
from.
Customers who like branded items simply look at
the label and they easily pick and buy the items. A
brand label should have the product quality.
Examples of brand labels are Levis, Lee, Tommy
Hilfiger for t-shirts, Adidas for shoes, Zara for
dresses, and many more.
2. Size Label- has the specific measurements of
human body such as S for small, M for medium, L for
large or XL for extra large. Buyers would prefer to look
at to the size label to see which one fits his/her size.
3. Care Label – includes wash care and ironing instructions. This is attached at
side seam to warn wearers on what to do during washing, drying or ironing to
maintain the color, design, shrinkage ability and composition that makes up the
garment. Example, 60% cotton, 40% polyester. This also includes the country
where it is made like “Made in the Philippines”, “Made in USA”, etc.
4. Flag Label- is a small label attached at side seam with printed brand logo.
Some garments especially T-shirts have flag label embroidered or printed at
the upper right side of the garment as design feature.
5. Manufacturer Label -includes manufacturer’s code for the buyers who wants
to order the items from different parts of the world.
6. Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for the
internal quality inspection process and rectify which line had made the garment
and which checker had check the same. This is normally attached at side seam
under wash care label.
7. Special Label – is normally attached to draw customer’s attention at the time
of purchase. Examples are 100% cotton, Organic Cotton, etc.

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156
Kinds of Packaging Materials
When transported by truck, outer clothing is often carried as hanging garments,
while other clothing items are generally transported in folding cartons and primarily
containerized. Hanging garments must be inserted into tight-fitting individual dust
covers, sealed at the bottom. When outer clothing is shipped in folding cartons, it is
essential, in particular for higher quality goods, for the folding cartons to be lined with
tissue paper or the like, the individual items to be secured and interlayer. The cartons
often consist of wet resistant corrugated board.
Figure 1 Figure 2 Figure 3 Figure 4
Types of Packing in Finishing Section
1. Stand up pack: Shirt (90 angle)
2. Flat pack: Sportswears/shirts/trousers
3. Hanger pack: Blazers, coats, pants
4. Semi-stand up pack: shirts
5. Half fold pack: Pants
Types of Carton/Plastic Packing
1. Solid color, solid size pack
2. Solid color, assorted size pack
3. Assorted color, solid size pack
4. Assorted color, assorted size pack
Packs may be as:
1. 12 pcs/ carton
2. 24 pcs/carton
3. 36 pcs/pack
A. Plastic Packaging

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157
B. Paper-based Packaging
C. Combined Plastic and Cardboard Packaging

____________________________________________________________________________
158
Procedures in Packing Finished Garment
Packing is one of the most important parts in garment manufacturing process.
After completing the procedures in making a garment, it is required to be packed in
the finishing section. Packing is the last step before storing. The finished garment is
placed in a carton as per instruction and delivered to the store for selling.
Check points in finishing department consists
1. Initial finishing inspection: The checking is done prior to pressing of the
garment at finishing room is known as initial finishing.
2. Final finishing Inspection: After pressing the garments they are checked
again and passed for tagging and packing.
3. Internal final audit: After the garments are packed to certain quantity, the
quality control team, do the internal final audit of packed garments.

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159
Test student’s skill in the proper packaging of finished product (skirt). A
group activity that would encourage them to be competitive, yet
observing quality standard in packaging finished output.
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d
1. Use of tools
and equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
confidently most of
the time
No
attemp
t
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
the time
No
attemp
t
Works independently
with ease and
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS

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160
Post Test 1
A. Multiple Choice
Directions: Read the statements carefully. Write the letter that best
describes the statement. Write your answer in your quiz
notebook.
1. Type of cloth that has the following characteristics: absorbency, heat
conduction, strength and beauty.
a. Cotton Gabardine c. Linen
b. Poplin d. Broadcloth
2. Type of cloth which is also called tabinet.
a. Gingham c. Linen
b. Poplin d. Gingham
3. Type of test that is used to determine slippage of threads by pulling the
fabric from both sides of the tuck.
a. Test by pin c. Test by thumb
b. Test for sizing d. Test for straight of grain
4. Type of test that determines the strength and shape-holding qualities of
both lengthwise and crosswise of fabrics.
a. Test by pin c. Test by Thumb
b .Test for sizing d. Test for sizing
5. A type of skirt which is small at the waist and widens evenly as it reaches
the ground.
6. A type of skirt which is gathered at the waist and set into a band to look
more fitted to the hips.
7. The skirt that has fullness all around the hem where soft ruffles goes up
toward the waist from the bottom.
b. Flared skirt d. Gathered skirt
8. It is the fabric between the fabric edge and the stitched seam line.
a. Seams c. Tucks
b. Darts d. Gathers
9. They are like darts with a point and serve the same purpose as a dart
except they release fullness the larger parts of the body.
a. Seams c. Tucks
b. Darts d. Gathers
Let’s See How Much You Have Learned

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161
10. It is the process of joining two pieces of fabric the one is slightly longer
than the other to have extra fullness for ease of movement rather than
decoration.
a. Stitching c. Pleating
b. Easing d. Gathering
11. They are folds of fabric which gives fashion and interest to clothing.
a. Facings c. Pleats
b. Darts d. Gathers
12. It is an extra fabric cut the same shape as the facing and inserted between
the facing and the garment to prevent stretching and sagging.
a. Interfacing c. Lining
b. Underlining d. Interlining
13. The measurement around the waistline.
a. Lower hip c. Waistline
b. Skirt length d. Lower hip level
14. It gives the dressmaker a blueprint of what a garment will look like.
a. Sketching c. Measuring
b. Pattern drafting d. Sewing
15.Darts, buttonholes, pleats, tucks, and pockets placement are examples of a.
Grainline markings c. Dots
b. Seamline d. Construction marks
B. True or False
Directions. Write True if the statement is correct and False if the statement
is wrong. Write your answer in your quiz notebook.
__________1. Construction lines show where to cut the pieces.
__________2. Adding extra width along the entire side seam will make the
waistline smaller.
__________3. Pattern layout helps determine if the patterns are enough for
the fabric.
__________4. When cutting the fabric, it is advisable to walk around the table
instead of pulling the fabric towards you.
__________5. After cutting, remove the pins of the patterns immediately from
the fabric.
__________6. In transferring marks onto the fabric, start with the small
Pattern pieces to finish the job earlier.
__________7. Pressing straighten the grain lines and preshrink fabric.
__________8. Do not press the seam before cross-stitching it with another
seam.
__________9. The sequencing for the unit of construction of the different
Parts of the skirt is basically the same for all skirt types.
__________10. Zippers are generally used for placket closure.

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162
C. Identification
Directions. Identify the words(s) that best describes the statements. Write
your answer in your quiz notebook.
________1. What color calls out the silhouette, or outline figure of a human
body?
________2. What color is used to call attention to your body features?
________3. The color which best suggests activity, energy, and gaiety.
________4. The color which is produced when yellow and violet color
pigments mixed in equal amounts.
________5. The family name of a color.
________6. What refers to the brightness or dullness of a color?
________7. The color harmony produced when two colors are opposite each
other on the color wheel.
________8. What makes red, yellow, and blue in a color scheme?
________9. What group of color is formed when red, yellow, and orange are
placed in a group?
_______10. What type of fabric makes you look larger because it adds width
and size to the apparent size of your figure?
D. Matching Type
Directions. Match the descriptions given in (Column A) with the types of lines
given in Column B. Write the letter of your answer in your quiz
notebook.
Column A(Descriptions) Column B (Types of Lines)
1. Feminine a. Curved
2. Masculine b. Vertical
3. Short and/ or wide c. Straight
4. Tall and/ or slender d. Diagonal
5. Tall or short depending e. Horizontal
on the angle. F. Broken Line

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E. Identification
Directions. Name the following illustrations of skirts below. Write your
answer in your quiz notebook.
1.
6.
5.
3. 4.
2.

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164
B. Identify the body measurements of a skirt
.
1.
2.
3.
7.

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165
QUARTER II
Overview
A blouse is usually a loose-fitting garment especially for women, it covers the
body from the neck to the waist. It is often a formal shirt. In today’s generation,
dressmakers are very creative in creating different styles of blouses to catch the
buyer’s attention. The never-ending evolution in fashion does not bring changes in the
standard procedure in creating and in sewing the kind of blouse a sewer may make.
Nevertheless, adding some accents, designs and accessories makes a blouse more
attractive and in fashion.
This chapter covers the outcomes required in drafting and cutting basic/block
patterns for ladies blouse, assembling and applying the finishing touches of the blouse.
There are various types of ladies blouse suited to different personalities. The drafting
of patterns of the different parts of a blouse are presented for you to have your option
in selecting which type or style of blouse you want to have.
General Objectives
At the end of the module, learners are expected to:
1. perform how to draft and cut ladies blouse;
2. prepare and cut materials for ladies blouse;
3. assemble garment parts for ladies blouse; and
4. apply finishing touches on ladies blouse.
Pre- Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz
notebook.
1. It generally refers to a tailored shirt.
a. Pants
b. Trousers
c. Blouse
d. Shirts

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166
2. A kind of blouse that has a great style for most body types and features a
surplice collar, which overlaps fabric into a v-shaped neckline.
a. Button-Down
b. Peasant
c. Casual
d. Surplice Wrap
3. This type of blouse is popular because its style can be worn by many body
types and in various settings.
a. Surplice Wrap
b. Button-down
c. Peasant
d. Casual
4. A blouse which emphasizes free-flowing materials.
a. Peasant
b. Casual
c. Surplice Wrap
d. Button-down
5. This is egg shaped that is rounded at the top and slightly elongated at the
chin.
a. Round
b. Square
c. Triangle
d. None of the above
6. The top is wider than the ear side going smaller to the chin. The use of wider
necklines is helpful.
a. Heart
b. Triangle
c. Square
d. Oval
7. Rounded at the top and slightly curved at the chin like a human heart. The
shape fits to almost all kinds of necklines.
a. Heart
b. Round
c. Oblong
d. Oval
8. In a round-shaped face, a type of neckline suitable is
a. Round, V-Neck
b. Round, Square
c. Square, Sabrina
d. V-necklines
9. A type of neckline suitable for Square-shaped face.
a. Round, V-neck
b. Round, Square
c. Square, Sabrina

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167
d. V-necklines
10. These are tops that have been tailored to be worn with jeans or trousers.
a. Peasant
b. Surplice Wrap
c. Casual
d. Button-down
B. Filling the blanks
Directions: Fill-in the blanks with the correct word (s) that best
describe(s )the statement.
1. Procedure in drafting a Round Neckline.
1. Trace the basic bodice _______
2. A-B is ___ cm.
3. A-C is ___ cm.
4. D-E is __ cm. Shape the neckline from
C, B, and E.
5. Measure ___ cm for the zipper
allowance from E.
2. Procedure in drafting V-neckline
1. Trace the ____ bodice pattern
2. A-B is ___ cm.
3. ___ is measuring 16 cm. from
shoulder.
4. D-E is ___ cm.
5. From ___ measure 2.5 cm for zipper
allowance.
C. Identification.
Directions: Identify the type described in each statement. Write
1. The type of neckline curve which has the same shape as the neckline of
the garment.
2. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
3. A collar that stands up slightly from the point of attachment to the
neckline of a garment before folding over to lie flat.
4. A flat collar with rounded ends that meet at the front.
5. A collar that is found in garment with front openings, can be worn either
in an open style or in a closed style.

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168
6. A sleeve that has an arm seam inside the shoulder width.
7. A sleeve that is fitted at the wrist but cut with a deep armhole and
resembles a cape from the back.
8. Measurement taken from left to right shoulder tip bone.
9. Measurement taken across the back halfway down the shoulder.
10. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
1. Chest measurement is taken by measuring one arm joint to the other arm
joint.
2. Waist measurement is taken around the arm where the sleeve length
ends.
3. Lower Arm Girth is taken around the fullest part of the arm 2-3 inches
below the armpit.
4. Apex Height measurement is taken from the shoulder neck tip bone down
to the apex point
5. Upper Arm Girth is taken around the arm in line with the armpit.
6. Apex Distance is approximately 7 inches down the waistline with the tape
measure passing around the hip.
7. Sleeve length is taken around the fullest part of the hip.
E. ANALOGY
Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip
F. Enumeration
Directions: Write what is asked for in the statements below.
1-5 Types of fabrics suited for ladies blouse

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169
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
Learning Outcome 1 Draft and Cut Pattern for Ladies Blouse
Objectives
1. draft and cut ladies blouse;
2. prepare and cut materials for ladies blouse;
3. assemble garment parts for ladies blouse; and
4. apply finishing touches on ladies blouse.
The garment industry is now in its steadfast process to meet the
increasing demand in the latest fashion especially in garment apparel. Textile
designers come up with simple and fabulous designs that people around would
patronize and buy the product. In everyday walks of life, the trend in fashion will
always be developing from time to time. People’s needs will determine the supply
and demand in the garment industry.
Kinds of Blouse
A blouse is a tailored shirt, usually lightweight, loose-fitting garment
for women and children. It covers the body from the neck or shoulders more or less
to the waistline, with or without a collar and sleeves. It is worn inside or outside a
skirt, slacks for aesthetic purposes and for comfort.
LESSON 1 PRODUCE LADIES’ BLOUSE

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170
1.
Button-
Down
Blouses
Button-
down
blouses
are popular
because
their style can
be worn by
many body types and in various
settings. This kind of blouse features a
neck collar and buttons attached to the
front of the garment (as the name
suggests). The button-down style is
seen mostly in formal and business
settings; it complements dress pants
and business suits. However, when
worn with a pair or jeans or shorts,
button-down blouses are appropriate
for casual events.
Surplice
Wrap
Blouses
A wrap
blouse is
another
great
style for
most
body
types
and features a surplice collar, which
overlaps fabric into a V-shaped
neckline. This vertical neckline gives
the appearance of a longer torso. The
crisscrossed material breaks up the
chest and the stomach area -- making
the upper body seem smaller than it
might actually be. Surplice wrap
blouses are made with or without
sleeves. They can be worn alone or
under another garment such as a
denim jacket or work blazer.

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171
Peasant Blouses
Blouses are also available in the
peasant style, which emphasizes
free-flowing materials. Peasant
blouses were fashionable in the
1960s and typically had a square
neckline, puffy sleeves and cinched
waist. Later, alterations have kept
one some or all of these elements
portray a careful casual look. A
peasant blouse should be matched
with tight-fitting clothing for the
lower body. The narrowness of
skinny jeans or a pencil skirt would
balance out the billowing fabric of a
peasant blouse.
Casual Blouse
These are tops that have been
tailored to be worn with jeans or
trousers. They can also be worn
with tights and may be in the form of
shirts or tunics. Blouses that go for
skirts can be short and plain. Some
are formal blouses and are worn
with high skirts.
Types of Fabrics Suited for Ladies Blouse
Fabric is the cloth or textile used in the construction of blouses or any other
garment. It is important to choose the best quality of the fabric suited for blouses so
that the wearer will be comfortable. Fabric for blouses is selected in consideration to
the type of occasion, weather conditions, and with the type of skirt or pants being
paired to.
Type of Fabric Characteristics
Cotton voile
Voile is a lightweight, semi-sheer fabric with a
great drape.

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172
rayon challis
Rayon challis is a smooth, lightweight fabric. It
drapes well and is slightly heavier than other
lightweight fabrics, like cotton voile and cotton
lawn.
silk
Silk is a lightweight, delicate fabric that drapes
well. It has a slightly shimmery appearance. Silk
can be slippery and more difficult to work with. It
also makes a great lining fabric.
cotton lawn
Cotton Lawn is very similar to cotton voile but
is slightly crispier.
linen
Linen is a medium-weight fabric with little
elasticity. It conducts heat and is a popular
choice for warm weather.

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173
chambray
Chambray is another smooth, lightweight
fabric. It doesn’t drape as well as rayon challis,
cotton voile or cotton lawn.
Flannel
Flannel is a soft, lightweight fabric. It works well
for colder-temperature shirts, pants and jackets
are more appropriate suits to be worn.
Identification.
Directions. Name the following types of skirt fabrics. Write your answer in your
quiz notebook.
_______1. It. is a soft, lightweight fabric. It works well for colder-temperature
shirts, pants and jackets are more appropriate suits to be worn.
_______2. It is a lightweight, semi-sheer fabric with a great drape.
_______3. It is another smooth, lightweight fabric. It doesn’t drape as well as
rayon challis, cotton voile or cotton lawn.
_______4. It is a medium-weight fabric with little elasticity. But it conducts heat
and is a popular choice for warm-weather.
_______5. It is very similar to cotton voile but is slightly crisper.

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174
Types of Necklines
Necklines frame the neck and face, and one of the most noticeable parts of a
garment. Neckline styles vary from the simplest plain faced neckline, to the more
complex bound neckline, to the tailored front placket opening which must be stitched
with great accuracy. It is best to work on the neckline when only the garment shoulder
seams are joined, so that the neckline can be opened out flat.
The neckline is the edge of the garment opening surrounding the neck. There
are different types of necklines. In choosing which types are sable for you, consider
the shape of the neck and face.
Different Shapes of Face
Oval/ Oblong Round Square
This is egg shaped
that is round at the top
and slightly elongated at
the chin. It is the most
sought after shape of
face among designers.
Square, Sabrina
neckline is becoming to
this shape.
This resembles the
shape of a moon where
necklines should be
given careful
considerations.
V-necklines is
becoming to this shape.
The top head is equal
with the jaw. Close
necklines will do justice
to the top shape of the
face.
Round, V-neck is
appropriate to this
shape.
Heart Triangle
Round at the top and slightly curved
at the chin like human heart. The
The top is wider than the ear side
going smaller to the chin. The use of
wider necklines is helpful.

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175
shape is fitting to almost all kinds of
necklines. Please see figure.
Round, Square neckline is becoming
to this shape.
Round, Square neckline is becoming
to this shape.
Shape of Necklines
.
Round Shape
The straight or bias
binding can bind the
neck all the way round
or it can be extended to
for a small bow tie
U-shape
A type of neckline that
has the shape of a letter
“U”.
V-shape
A neckline that lies flat
and in the shape of a “v”.
Square
A true square neck
which is bound or faced
depends upon clipping
for success.
Sabrina
A neckline that appears
to be a slit across the top
of the shoulders and
neck, secured along the
collar bone, hence a boat
neckline.

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Types of Sleeves
Sleeve is the part of a garment that covers the arm, or through which the arm
passes or slips.
1. Puff Sleeves is a type of sleeve that are gathered at the shoulders and
caught in at the cuff to create an inflated, puffy effect
2. Kimono is a sleeve cut in one piece with the bodice

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177
3. Raglan Sleeve is a sleeve that has an arm seam inside the shoulder width.
4. Dolman Sleeve
A sleeve that is fitted at the wrist but
cut with a deep armhole and
resembles a cape from the back.

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178
Identification.
Directions. Identify the following that is being described and illustrate to
complete the table. Write your answer in your quiz notebook.
Name Description Illustration
1. A type of neckline that has
the shape of a letter “U”.
2. A neckline that appears to
be a slit across the top of
the shoulders and neck,
secured along the collar
bone, hence a boat
neckline.
3. A sleeve cut in one piece
with the bodice
4. A sleeve that is fitted at the
wrist but cut with a deep
armhole and resembles a
cape from the back.
5. The straight or bias binding
can bind the neck all the
way round or it can be
extended to for a small bow
tie

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179
Collars
Collars are made up and attached to the garment before the underarm is sewn or
the sleeves are set in. There are three main methods of attaching collars:
1. With a collar that is self-neatening. This is always a simple collar with a straight
neck edge , used on a shirt styled neckline
2. With the use of facing, a method suitable for straight or curved collars
3. With the use of a crossway strip, a method generally for curved collars.
Shoulder seams should be stitched and neatened before attaching the collar
Types of Collars
Collar is the part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently to it, often so as to fold or roll over.
1. Flat Collar
Flat collars have neckline curves that are of the same shape as the neckline of
the garment. This allows them to lie flat on the garment with no roll or stand onto
neck. Flat collars are popular on children’s clothes because children have short
necks. On adult garments they create a youthful feeling.
2. Rolled Collar
A collar that stands up slightly from the point of attachment to the
neckline of a garment before folding over to lie flat.
3. Convertible Collar
A type of collar that can give a garment a versatile look. Found in garments with
front openings, this is a collar that can be worn in either of two ways, in an open style
and in a closed style. Convertible collars are attached to the garment neckline, and
the collar facing, which incorporates the raw edges during the sewing process. It
ensures that the garment looks good whichever way the collar is being worn. This
means that there is no right side and wrong side to a convertible collar, but both
sides are equally well-finished.
4. Peter Pan Collar
A flat collar with rounded ends Kimono is a sleeve cut in one piece with the
bodice

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180
Types of Facing and Interfacing
INTERFACING
Interfacings are special fabrics used to strengthen or stiffen specific parts of a
garment, such as collar, cuffs, facing and pocket tops. They are made in light, medium
and heavyweight to match the fabric weights, and can be either fusible or sewn-in.
The latter type is preferable on sheer and fine fabrics where fusible adhesive might
show through the fabric. For general use, nonwoven interfacings are ideal. For more
advanced work and for tailoring, woven interfacing are available. On sheer fabric,
matching organza or lawn can be used instead of interfacing.
Applying Interfacing to a Facing:
All Facing requires Interfacing. The interfacing is to give structure to the facing
and to hold it in shape. A fusible interfacing is the best choice and it should be cut on
the same grain as the facing. Choose an interfacing that is lighter in weight than the
main fabric.
INTERFACING FOR HEAVY FABRIC INTERFACING FOR LIGHT FABRIC
Right side of facing Right side of facing
For a heavy weight fabric use a medium-
weight fusible interfacing. Remove the seam
allowance on the interfacing on the inner curve
to reduce bulk.
For a light to medium weight fabric, choose
a lightweight interfacing and fuse it over the
complete facing

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181
1. Armhole facing
On sleeveless garments, a facing is an excellent way of neatening an armhole
because it is not bulky. The facing is made in the same fabric as the garment.
2.Extended Facing
A facing is not always a separate unit. Many garments, especially blouses, feature
what is known as an extended facing, which is where the facing is an extension of
the front of the garment, cut out at the same time.
3. Facing a Slashed Neckline
A slashed V-neckline occurs at either thee center front or the center back
neck edge. It enables a close-fitting neckline to open sufficiently to go over the head.
Identification
Directions. Identify the following being described. Write your answer in your
quiz notebook.
1. These collars have neckline curves that are of the same shape as the
neckline of the garment.
3. It indicates that a facing is not always a separate unit, and could be an
extension of the front of the garment, cut out at the same time.
4. It occurs at either the center front or the center back neck edge.
5. A collar that stands up slightly from the point of attachment to the neckline
of a garment before folding over to lie flat.

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182
Types of Pockets
Pockets come in lots of shapes and formats. Some, such as patch pockets are
external and can be decorative, while others, including front hip pockets, are more
discreet and hidden from view. They can be made from the same fabric as the garment
or from a contrasting fabric. Whether casual or tailored, all pockets are functional.
1. Patch Pockets
The pocket is formed by top stitching a ‘patch’ of fabric on to the right side of the
garment.
The top edge is neatened by:
a. Turning a plain hem approx. 1.25 cm on to wrong side and hemming
in place.
b. Turning a plain or shaped hem on to the right side and top stitching
the hem in place.
Attaching a straight or shaped facing of self fabric on or of a contrasting
decorative fabric
Body Measurements for Ladies Blouse
The dress you wear should fit well. Proper fit depends greatly upon accurate
body measurements. No matter how expensive the dress material is. If the dress does
not fit well, you will not look at your best nor feel comfortable in it. On the other hand,
the dress material maybe inexpensive, but if the dress fits you well, you will not only
feel comfortable but will also look good in it.
Measurements Needed for a Blouse:
Shoulder Upper Arm Girth
Figure Lower Arm Girth
Apex Height Sleeve Length
Apex Distance Sleeve Width
Bust Blouse Length
Chest Hip Measure
Across Back -First Hip
Waist Measure -Second hip

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183
Procedure in Taking Body Measurement for Ladies Blouse
Shoulder-Measurement taken from
left to right shoulder tip bone.
Across Back -Measurement
taken across the back halfway down
the shoulder.
Blouse Length -Measurement taken
from the nape down to the desired
length
Chest-Measurement taken from where
the arm joint to the body to the other
arm joint
Bust -Measurement taken around the
body with the tape measure passing
over the fullest part of the apex point in
front and over the fullest part of the
shoulder blade at the back
Waist Measure- Measurement taken
around the smallest part of the body
(waist)
Lower Arm Girth -Taken around the
fullest part of the arm 2-3 inches below
the armpit.
Sleeve Width-Measurement taken
around the arm from where the sleeve
length measure ends.

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184
Figure-Measurement taken from the
shoulder neck tip bone with the tape
measure passing over the apex point
down to the natural waistline.
Apex Height -Measurement taken
from the shoulder neck tip bone down
to the apex point.
Sleeve Length-Measurement taken
around the arm from the shoulder tip
bone down to the desired length
Upper Arm Girth-(armhole) Taken
around the arm in line with the armpit.
Apex Distance-Measurement taken
from left to right of the apex point
Hip Measure
First Hip- Measurement taken
approximately 7 inches down from the
waistline with the tape measure
passing around the hip.
Second Hip- Measurement taken
around the fullest part of the
Procedures in Drafting Basic/Block Pattern for Ladies Blouse
Front Bodice Basic/Block Pattern for Blouse
Draw a construction line and mark the corner
as point A.
A-B 3 inches
A-C front figure measurement
A-D is apex height measurement

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185
A-E is 2 ½ inches
A-F is ½ chest measurement
A-G `is ½ shoulder measurement
A-H is ¼ bust measurement
A-M is the blouse length, extend ½ inch .
G-I is 1 inch
I–J is 4 inches in line with letter F
C-P is ½ apex distance minus ½ inch
D-O is ½ apex distance
C-L is ¼ waistline measurement plus 1 inch
H-K From H, measure ½ of the armhole
downward
P-R is 1 inch
Q is the center of P and R
M-N is ¼ hip measurement
S Measure 5 inches downward for the dart
and connect them.
Back Part Basic/Block Pattern
for Blouse
Draw a construction line and mark the corner as
point A.
A-B 1 inch
A-C Back figure measurement
A-D is apex height measurement
A-E is 2 ½ inches
A-F is ½ across back measurement
A-G `is ½ shoulder measurement
A-H is ¼ bust measurement
A-M is the blouse length
G-I is 1 inch
I–J is 4 inches in line with letter F
C-P is ½ apex distance minus ½ inch
D-O is ½ apex distance
C-L is ¼ waistline measurement plus 1 inch
H-K From H, measure ½ of the armhole
downward P-R is 1 inch
Q is the center of P and R
M-N is ¼ hip measurement

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186
S Measure 5 inches downward for the dart and
connect them.
Connect points EB, IJK, using French curve
KL, EI, MN,using ruler.
Directions: Get your pattern paper, pencil and ruler (L-square and hip curve).
Draft the Front and Back Blouse Pattern following your own measurements.
Rubrics in Drafting the Front and Back Blouse Pattern
Dimension
Excellent
(4 pts.)
Very
Satisfactory
(3 pts.)
Satisfactory
(2 pts.)
Needs Improvement
(1 pt.)
No
Attem
pt
(0 pt.)
Points
Earne
d
1. Use of tools
and equipment
Uses tools and
equipment correctly
times
Uses tools
and
equipment
correctly and
confidently
most of the
times
Uses tools and
equipment correctly
and but less
confidently
sometimes
Uses tools and
equipment
confidently most of
the time
No
attemp
t
2. Application
of procedures
step- by-step
procedure
Manifests
clear
understandin
g of the
step- by-step
procedure
Manifests
understanding of
the step-by-step
procedure
but sometimes
seeks clarification
Manifests less
understanding of
the step- by-step
procedure seeking
the time
No
attemp
t
Works independently
with ease and
Works
independentl
y with ease
and
confidence
most of the
time
Works
independently with
ease and
confidence
sometimes
Works
independently but
others most of the
time
No
attemp
t
3. Safety work
habits
Observes safety
precautions at all
times
Observes
safety
precautions
most of the
time
Observes safety
precautions
sometimes
observing safety
precautions
No
attemp
t
4.Completene
ss of Task
Task is completed
following the
procedures in the
activity
ns
Task is
completed
following the
procedures
in the project
plan
Task is nearly
completed following
the procedures in
the project plan
Task is started but
not completed
following the
procedures in the
project plan
No
attemp
t

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187
The following parts are presented for you to have options on what style of
blouse you are going to make. Remember that pattern drafting of various parts of
blouses will depend on the style and design of the blouse.
Drafting Pattern for Various Types of Necklines
There are different kinds of necklines which suit different personalities and
shapes of face. Knowing how to draft different necklines will help you in the
construction of garments for yourself and for others.
Procedure in Drafting a Round Neckline
1. Trace the basic bodice pattern
2. A-B is 3.5 cm
3. A-C is 4 cm
4. D-E is 3 cm. Shape the neckline from C, B
and E.
5. Measure 2.5 c for the zipper allowance from
E.
Procedure in Drafting a Square Neckline
5. Time
management
Work completed
ahead of time
Work
completed
within
allotted time
Work completed
___(mins./hours/day
s) beyond
Work completed
___(mins./hours/day
s) beyond
No
attemp
t
TOTAL POINTS
Let’s Do it!

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188
2. A-B is 4 cm
3. C is measuring 16 cm from shoulder
4. D is measuring 10 cm from shoulder
5. Shape neckline from C, B, and D
6. From F measure 2.5 cm for zipper
allowance
Procedure in Drafting V-neckline
2. A-B is 2.5 cm
4. D-E is 3.5 cm
5. From E measure 2.5 cm for zipper
allowance
Procedure in Drafting U- neckline
2. A-B is 2.5 cm
4. D is lowering back neckline by 2.5
cm
5. Shape neckline from C, B, and D
6. E from D is measuring 2.5 cm for
zipper allowance.

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189
Trace the basic front and back bodice
pattern
Mark the meeting point of the back and the
front as point A.
A-B measure 2.5 cm
A-C measure 16 cm
D-E lower the back neckline by 2.5 cm.
Shape the neckline from points B, C to E.
E-F measure 2.5 cm outward for the zipper
allowance.
Procedure in Drafting Sabrina Neckline
2. A-B is raising by 2 cm
3. B-C is center of shoulder. Join B to
C with a slight curve.
Filling the blanks.
Directions: Write the correct answer in your quiz notebook.
_______1. How many cm is being raised from pt A-B in drafting Sabrina
neckline.
_______2. What is the 1st step in drafting any of the various types of
necklines?
_______3. How do we connect pt. B to C in drafting Sabrina neckline?
_______4. How many cm is intended for the zipper allowance?
_______5. What neckline is measuring 16 cm from shoulder to pt C.
Rubrics: If you got 1-2; you are good; 2-4 very good; 5 perfect score,
outstanding
Congrats for a job well done!

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190
Drafting Patterns for Type of Sleeves
To make the sleeves comfortable, it should be well fitted to the wearer. This lies
on how accurate and correct sleeves are drafted. Following are steps in drafting the
different kinds of sleeves.
Inserting a Set-in Sleeve
A set-in sleeve should feature a smooth sleeve head that fits at the end of your
shoulder accurately. This is achieved by the use of ease stitches, which are long
stitches used to tighten the fabric but not to gather it.
Procedure Illustration
1. Sew the side seams and the
shoulder seams on the garment
and press them open.
Let’s Do it!

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191
2. Sew the seam of the sleeve and
press open. Neaten seams. Turn
the sleeve to the right side.
3. Around the sleeve head, work
two rows of long stitches
between the notches – one row
at 3/8in (1cm) from the edge and
the second row at ½in (1.3 cm).
These are the ease stitches.
4. Place the sleeve into the
armhole, right side to right side.
Match the underarm seams and
the notches.
5. Match the highest point of the
sleeve to the shoulder.
6. Pull up the stitches until the
sleeve fits neatly in the armhole.
7. Pin from the sleeve side.
8. Sew the sleeve in, starting at the
underarm seam, using a 5/8in
(1.5cm) seam allowance Sew so
that the sleeve is uppermost and
sew straight over the shoulder.
9. Overlap the seam at the
underarm to reinforce the seam.

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192
10.Sew around the sleeve again
3/8in (1cm) inside the seam
allowance.
11.Trim the raw edges of the
sleeve.
12.Neaten the seam with a zigzag
or serger stitch, then turn the
sleeve through the armhole.
Drafting Short Puff Sleeve
Short Puff Sleeve
Puff sleeves is a type of sleeves of a women's garment that are gathered at
the shoulders and caught in at the cuff to create an inflated, puffy effect

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193
1. Trace foundation sleeve pattern
2. Design slashes starting from the girth going to the
top part of the sleeve
3. Open the slashes and spread them proportionally
up to the desired fullness needed
4. Trace the sleeve with a flared effect. The flare will
be in such a way that there is enough fullness
necessary to make a puff.
Drafting Patterns for Different Kinds of Collars
Collars vary in sizes and shapes. These will depend upon the wearer.
Regardless of the type of collar you are making, your arm should be an underneath
layer which does not show. Different types of collars are drafted in different ways.
Let’s Do it!

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194
Drafting Flat Collar
1. On folded pattern paper, draw horizontal line and mark the corner as A.
2. AB is width of collar. Extend point B.
3. AC is ½ neck measurement
4. BD is same as AC. Connect points CD
5. CG is 2 cm
6. Rise D to H by 1 cm. Connect points H and G.
Drafting Rolled Collar
1. On folded pattern paper, draw horizontal line and mark corner as A.
2. AB is 7cm width of collar
3. AC is ½ neck measurement
4. BD is same as AC. Connect points C,D.
5. BF is 15 cm
6. Connect points B and D. Connect F and D with a slight curve.

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195
Drafting Convertible Collar
1. On folded pattern paper, draw horizontal line and mark A.
2. A-B is the width of the collar
3. A-C is ½ of the neck measurement
4. B-D is same as A-C
5. D-E is raising by 1 cm
6. C-F is 2 cm. Connect points E and F.
7. G is the center of A and C
8. H is the center of Band D
9. F-I is raising by 1 cm
10.Shape the collar fro G to I and H to E.
Drafting Mandarin Collar
1. Measure the base neck circumference. Then divide by two.
2. Square out both ways from A.
3. A-B is 3 cm
4. A-E is ½ of neck measurement
5. A-D is center of A and E
6. E to E1 is raised by 1.90 cm
7. C to C1 is 2.54 cm
8. Bend A, E1 from point D with a slight curve. Do the same for B, C1.
9. Shape the collar from C1 and E 1

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196
Drafting Peter Pan Collar
Trace the basic bodice pattern
Lower from shoulder by 2.5 cm
C-D is collar width up to back neckline
D-E is moving inward by 2.5 cm.
F-G is same as C and D
From G, shape collar slightly rounded towards
C and E.
Making up of a Straight Collar
1. Place the two pieces of collar with right side together and matching fitting line.
Pin tack and machine stitch trough the fitting lines on the three sides of the collar,
start and finish the stitching at neck fitting line (see illustration below)
Alternative method where collar is cut in one piece, fold right side together
matching the fitting lines and stitch end lines, finishing at neck fitting line.
Remove tacks and press.
2. Trim turning to 0.3 cm and trim off corners

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197
3. Turn collar right side out and bring stitched line up on the fold, tack around
the edge to the neck fitting line. If fabric is slippper baste the two layers
together
Note: If the outer edge of collar is curved, snip V-shaped notches out of the
turning along the curve.
Attaching a Straight Self-Neatening Collar
1. Make up collar as directed. Neaten the raw edge on the front facing.
2. Fold each front facing on to the
right side of the garment on the fold
line and match center fold lines.
Pin and tack on neck fitting lines.
Stitch along fitting lines from the
fold to the center fold line exactly
RS = Right side
WS = Wrong side
3. Snip cross turning at center fold
lines (point B) and trim turnings
and corners to 0.3 cm above
stitched line . Turn facings over to
the wrong side and ease out
corners gently, bringing stitched
line on to the fold and press

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198
4. With upperside of collar against
the wrong side of bodice, place
edges of collar to the center fold
lines. Fold turnings of under collar
away towards worker. Matching
neck fitting line of bodice and
upper collar only, pin, tack, and
machine stitch. Fasten off ends
securely, remove tacks and press.
Trim turnings to 0.6 cm and snip
where necessary.
5. Turn the collar up and over turnings. Press collar up from the stitched
line so that turnings are enclosed.
6. Working from the right side of
garment, fold under the turnings of
the under collar and lay the folded
edge along the stitched fitting line,
so that all turnings are inside, pin
and tack into position. Hem the
fold on to the machine stitching.
Remove all tacks and press
Note: When collar is folded in to
place,the hemming is concealed
Attaching a Shirt Collar with a Band
1. Neaten the raw edge of the front
facing. Fold each front facing onto
wrong side of garment along the
fold line and tack into position.
2. Baste interfacing to the underside
of collar and make up as directed
for a straight collar.
3. Baste interfacing to band facing

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199
4. With right side together pin band to
underside of collar matching center
back and balance marks.
5. Right side together, pin band facing
to band, over the collar matching
center back balance marks and
fitting lines. Tack and machine
stitch around three sides of the ban
from points AB leaving neck edge
free. Remove tacks, press
stitching, trim seam and snip where
necessary.
6. Turn through right side and bring stitched line up on the fold and tack
around the edge.
7. Working from the wrong side of the
garment, pin band facing to neck
edge matching center back and
fitting lines. Tack and machine
stitch on neck fitting line. Remove
tacks, press stitching, trim turnings
and snip curved edges.
8. Working from right side of garment,
fold under the turning on the band
and lay folded edge over the
stitched fitting line so that the
turnings are enclosed. Pin and tack
into position. Starting at center
back on collar edge, machine stitch
round the band, overlapping the
stitching for ½ inch at join. Remove
all tacks and press.
Attaching Collar with the Use of a Shaped Facing
1. Make up the collar as directed
2. Prepare the shaped facing:
a) With right side together and matching fitting lines, join back neck and
front neck and edge facing at shoulders, with a plain seam; trim
turnings and press open (on full length openings a further join in the
front facing is often required).

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200
b) Neaten the outer edge of the facing all round by folding 0.6 cm
turnings to the wrong side. Tack, machine stitch, close to the fold.
Remove tacks and press
3. Place underside of collar to
right side of garment and
bring edges to center fold
lines. Matching balance
marks and fitting lines and
pin and tack the collar in
position
4. Place prepared facing over
the collar with right side of
facing to right side of
garment. Matching all
balance marks and fitting
lines pin, tack, and machine
stitch all round. Remove
tacks and press. Trim
turning to 0.6 cm, trim off
corners and snip into seam
allowance of the curved neck
edge.
5. Fold facing over the wrong
side and gently ease out the
corners. Bring stitched line
on to the fold and press
carefully. Tack around the
edge of facing and base of
collar to hold in position until
garment s completed
6. Secure the facing by
hemming in place on to the
seam allowance of the
shoulder seam. The front
facing will be held in place by
buttons, buttonholes and
hem.
Making a Peter Pan or Shaped Collar
Place the two pieces of collar together
at the right side. Matching fitting lines,
pin, tack and stitch outer edge of collar.
Trim turning to 0.3 cm. Snip notches
into all curved turnings.

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201
Turn collar right side out and bring
stitched line on to the fold, press
carefully. Tack round the edge to keep
the fold in place. If fabric is slippery
baste the two layers together.
Attaching a Collar with the Use of a Crossway Strip
1. Make up a collar as directed. Neaten the raw edge of center back or center
fold facing extension. Cut a crossway strip 2.5 cm wide and length of neck
edge.
2. Place underside of collar to right
side of garment and bring edges
to meet center fold and center
back lines. If two half collars, are
used, they should meet exactly on
the center fold line at the neck
fitting line. Match all balance
marks and fitting lines, pin and
tack collar in position, easing the
bodice on to the collar if
necessary
3. Fold on the extension lines and
turn facing back on to the right
side and over the collar, matching
center lines. Pin and tack into
position at neck fitting line.
4. Place the right side of crossway
strip over collar and garment,
placing the raw edge 0.5 cm
above the fitting line. Pin and tack
so that the crossway overlaps the
facing at each side by at least
1.25 cm.
5. Machine stitch from edge of extension. Fasten off ends securely, remove
tacks and press. Trim turnings to 0.6 cm, trim corners and snip into curved
edges.

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202
6. Turn strip up from stitched line
and press. Turn strip edge facing
on to wrong side and gently ease
out the corners. Crossway strip
now forms a narrow facing. Tack
against base of collar to hold edge
of facing i place
Facing on Armhole
1. With right side together join facing pieces on fitting line with a plain seam at
shoulder and underarm.
2. Fold over 0.6 cm turning rom the outer edge of the facing on to the wrong
side and tack.
Stitch 0.3 cm in from folded edge.
3. With right side of facing to right side of the garment,
match balance marks fitting lines and seam lines at
shoulder and under-arm.
Pin, tack and stitch into position.
4. Trim seam turnings to 1 cm and snip into the curved
allowance, snipping more closely at the under-arm,
where it is most curved.
5. Turn facing through to wrong side, bringing stitched
line exactly on to the fold (or very slightly towards
the inside) and tack this fold into position.
Turn garment through to wrong side and press
folded edge carefully.

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203
6. Attach the facing in position by hemming on to the
turning only of shoulder, under-arm and any panel
line seams.
Remove tacks.
If the fabric is very hard and the facings are likely
to ‘roll’ at the folded edge, this alternatives should
be used (see opposite illustration)
Note: Before turning through the wrong side, press facing up from the stitched line
and against the turning. Stitch the facing on to the seam allowance only about 0.3
cm. from stitched line
Facing a Neck Edge
1. With right side together and matching fitting lines, join front and back neck
facings with a plain seam. Press seams open and trim turnings to 1 cm.
2. Fold over 0.6 cm turning from
outer edge on to the wrong side
and tack (not center back edge).
Machine stitch 0.3 cm in from fold.
3. With right side of facing to right side of garment, pin center fold and center
back in position. Then, matching shoulder seams, balance marks and fitting
lines, pin, tack and machine stitch the neck edge.

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204
4. Remove tacks and press stitching
and using a pad press turnings
open to ensure a good fold. Trim
turning to 1 cm (0.6 cm for fine
fabrics) and snip seam allowance
of the curved edge and trim off
corners at center back.
5. Turn facing to wrong side, bring stitched line to edge of the fold and tack into
position.
6. Turn garment through the wrong
side and press edge fold carefully.
Pin shoulder seams in place. Turn
under center back edges on to the
tape of the zip fastener and hem.
Hem facing to turnings of shoulder
and panel line seams. Remove
tacks.
Construction of a Facing
The facing may be in two or three pieces in order to fit around a neck or
armhole edge. The facing sections need to be joined together, prior to being
attached.
The photographs here show an interfaced neck facing in three pieces.
Procedures Illustration
1. Baste together the pieces of the
facing at the shoulder seams.
Inner edge to be attached to neck
Fusible interfacing

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205
2. Sew the shoulder seams and
press open
3. Stay stitch around the edge of
the inner curve, to prevent
stretch.
4. Trim off the outer corners on
the shoulder seams.
5. The right side of the facing,
ready to attach to the neckline.
Neatening the Edge of a Facing
The outer edge of a facing will require neatening to prevent it from fraying, and
there are several ways to do this. Binding the lower edge of a facing with a bias strip
makes the garment a little more luxurious and can add a designer touch inside the
garment. Alternately, the edge can be sewn or pinked.
a. Making your own bias
strip is easy. Open out
one folded edge of the
bias strip and place to
the outer edge of the
facing, right side to right
side.
b. Sew along the crease
line in the bias.
c. Wrap the bias around to
the wrong side of the
work. Baste to hold in
place.

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206
d. Working from the right
side of the facing, stitch
in the ditch made by
sewing the bias to the
facing.
e. On the right side of the
facing, the bias-bound
edge has a neat,
professional finish.
How to Cut Bias Strips
Procedure Illustrations
1. Fold the fabric on to itself at
45 degrees so the selvage
edges are at right angles to
each other. Pin in place.
2. Using tailor’s chalk and ruler,
mark lines 1 ½in (4cm) apart.
3. Cut along these lines to make
bias strips.
4. Join the strips by placing
them together right side to
right side at 90 degrees to
each other.
5. Sew across the join. There
should be a triangle of fabric
at either end of the seam.
6. Press the seam open.
7. Press under the edges of the
bias strip with the iron by
running the bias strip through
a 1in (25mm) tape maker.

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207
Other Neatening Methods:
The following techniques are alternative ways to neaten the edge of a facing.
The one you choose depends upon the ferment being made and the fabric used.
Method: Illustration:
Serged – The outer edge neatened
with a 3-thread serger stitch.
Pinked – Machine stitch 3/8in (1cm)
from the edge and the raw edge
trimmed with pinking shears.
Zigzag – The outer edge neatened
with a zigzag stitch.
Armhole Facing
On sleeveless garments, a facing is an excellent way of neatening an armhole
because it is not bulky. The facing is made in the same fabric as the garment.
Procedure: Illustration:
1. Construct the armhole facing and neaten outer
edge by the preferred method.

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208
2. Place the facing to the armhole, right side to right
side. Match at the shoulder seams and at the
underarm seam.
3. Match the notches, one at the front and two at
the back. Pin the facing in place.
4. Sew around the armhole to attach the facing,
taking a 5/8in (1.5cm) seam allowance.
5. Trim the facing side of the seam allowance down
to half.
6. Clip out some V shapes in the seam allowance to
reduce bulk.
7. Turn the facing into position on the wrong side.
Understitch by pressing the seam allowance on
to the facing and sewing down.
8. On the underarm and shoulder seams, secure
the facing to the seam allowance with cross
stitches.

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209
9. Press the edge. On the right side, the armhole
will have a neat finish.
Attaching a Neck Facing
This technique applies to all shapes of neckline, from round to square to sweetheart.
1. Apply a fusible interfacing to the facing.
2. Lay the neckline area flat, right side up.
Place the facing on top, right side to right
side.
3. Match the shoulder seams.
4. Pin the facing in place, matching around
the neck edge.
5. Match the shoulder seams on thee facing
and the bodice.
6. Machine place using a 5/8in (1.5cm)
seam allowance.
7. Trim the facing side of the seam down to
half its width.

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210
8. Clip V shapes around the neck edge.
9. Clip into the facing side of the seam as
well.
10.Press the seam allowance toward the
facing.
11.Understitch by sewing the seam
allowance down on to the facing about
3/16in (5mm) from the sewn line.
12.Press the finished neck edge and turn
the facing toward the wrong side.
Facing a Slashed Neckline
A slashed V-neckline occurs at either the center front or the center back neck
edge. It enables a close-fitting neckline to open sufficiently to go over the head.
1. Apply a fusible interfacing to the facing.
Place the facing right side to right side
on garment, to the right side of the
neckline.
2. Match the shoulder seams, then pin in
place.

____________________________________________________________________________
211
3. Sew the facing at the neck edge,
pivoting to sew along both sides of the
slash between the tailor’s tacks. Take
one stitch horizontally at the bottom
edge of thee slash line.
4. Trim the facing side of the seam down to
half.
5. Clip V shapes at the neck edge to
reduce the bulk.
6. Cut straight down the slash line between
the stitching lines
7. Snip off the upper corners.
8. Clip into the corners at the bottom edge
of the slash.
9. Turn the facing to the inside of the
neckline and press.
Bound Neck Edge
Binding is an excellent way to finish a raw neck edge. It has the added
advantage of being an alternative method that can be used if you are short of
fabric or you would like a contrast or decorative finish. You can use both bias
tape or a bias strip cut from the same or a contrasting fabric. A double bias strip
is used on fine fabrics.
A. Bias-bound Neck Edge Version 1
1. Open out one edge of the bias strip
and place the crease line on the 5/8in
(1.5cm) stitching line. Pin in place.

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212
2. Sew in place along the crease line.
3. Trim away the surplus fabric from the
seam allowance.
4. Clip the neck seam if required.
5. Wrap the bias strip over the neck to the
wrong side of the garment.
6. Sew the bias strip on the inside of the
garment. Press.
B. Bias-bound Neck Edge Version 2
1. This technique is used on bulkier fabrics.
Cut a bias strip 2 ¾in (7cm) wide.
2. Pin to the neck edge.
3. Sew along the neck edge using a 5/8in
*1/5cm) seam allowance.
4. Trim the seam allowance to half on the
garment side.
5. Clip the seam allowance on the bias
strip.

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213
6. Fold the raw edge of the bias to the
wrong side, to touch the sewn line.
7. Fold again to bring the folded edge of
the bias to the same place, and pin.
8. Sew permanently in position using a flat
fell stitch.
Extended Facing
A facing is not always a separate unit. Many garments, especially blouses,
feature what is known as an extended facing, which is where the facing is an
extension of the front of the garment, cut out at the same time.
1. Mark the foldline that divides off the facing area
and crease by pressing.
2. Apply fusible interlacing to the facing area as far
as the foldline.
3. Neaten the edge of the facing.
4. Fold the facing back, right side to right side.
Match around the neck and pin.

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214
5. Sew around the neck edge to join the facing of
the garment.
6. Trim the facing side of the seam and clip the
seam allowance.
7. Turn through to the right side and press.
To apply a facing follow general methods and place right side of facing to wrong
side of pocket, matching fitting lines of top edge, and tack and machine stitch. Remove
tacks, press stitching and turnings, open and trim to 0.6cm.
Turn facing to R.S. and turn under 0.6cm along lower edge, tack into position and
top stitch.
To attach pocket:
1. Complete the top edge as required.
2. Fold turnings of pockets to wrong side on fitting line and tack trim turnings to
0.6cm. On square corners and points pleat, on curved edge snip turnings to
reduce bulk.
3. Matching balance marks, place the pocket in position on garment and tack.
4. Following one of the methods shown below, start machine stitching where it is
indicated by arrow and work support of corner first, proceed around edge of
pocket to finish with the support of second corner.
Welt Pocket
This pocket insert into the garment with an opening strengthened by an added
welt, which is the only section visible when completed. It may be inserted on the
straight grain or at an angle to it. The pocket bag is made from two sections, the back
cut from the same fabric as the garment and the front from a fine lining fabric.
1. Mark the position of pocket mouth, if not on the straight grain, baste a piece of
tape on interfacing to the W.S. Pocket mouth should be at least 9cm wide.

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215
2. Fold the welt in half lengthwise R.S. together, tack and machine stitch the ends
on the fitting line. Press, trim and turn R.S. out.
3. Tack the prepared welt into position on the R.S. of the garment so that welt
faces downwards and the fitting line is 0.5cm below the position mark for the
pocket mouth.
4. Place the front lining section of the pocket over the welt, matching fitting lines.
R.S. of lining to R.S. of garment, tack through all four layers. R.S. of lining to
R.S. of garment, tack through all four layers. Place the back section of the
pocket above the pocket mouth with R.S. together and tack into position with
the fitting line 0.5cm above the position mark for the pocket mouth
5. Machine stitch the fitting line each side to exact width of pocket mouth. Ensure
that lines are parallel and equal in length. Fasten off all ends very securely.
6. Fold the pocket mouth in half and snip on the fold, open out and cut to within
0.6cm of the ends and then diagonally into the corners. Turn both pieces of the
pocket through to the W.S. and press seams so that each piece hangs
downward. Press the welt into an upright position on the R.S. to hide the pocket
mouth.
7. Tack the front and back of the bag together making them the same width as the
welt. Machine stitch along the tack line. Press, trim the turnings to 0.6cm and
neaten with over-sewing.
8. Tack welt into position of the R.S. of the garment and blind hem or over-sew
both ends from R.S. making both top points very strong as they take the most
strain.
In cutting the final pattern, there are always standard procedures to be followed
to avoid mistakes in cutting the pattern which would affect the shape and style of
the blouse.
Cut pattern pieces just along the cutting lines. Use sharp shears and avoid cutting the
inside part of the cutting lines otherwise the actual measurements will be affected.

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216
Learning Outcome 2 Prepare and Cut Materials for Ladies Blouse
Objectives
1. cut and lay out pattern pieces;
3. apply accessories and accents;
A blouse will not be as attractive as it appears is to be when sold in the
market without those decorative attachments on it. Decorative embellishments add
to the beauty and quality of the garment. For a dressmaker, it is a must that the
aesthetic sense should be developed to further enhance the quality of the product
especially the blouses.
Accessories and Accents for Ladies Blouse
Decorative Finishes
The method of decoration must be suitable for both the fabric and the
style and purpose of the garment. If the garment is to be laundered it is essential that
the decoration can be laundered in the same manner.
1. Shell Edging
A method of making narrow decorative hems or tucks on blouses and young
children’s wear that is made of soft or fine fabrics that do not fray badly. Use a
firm silk or cotton thread without fluff to give a crisp appearance.
1. Turn a narrow hem, not more than 0.6 cm on the W.S., and tack.
2. Work from the right to left on the W.S., fastening on with a double back stitch
on to the hem. Pick up three running stitches in the hem without going
through to the R.S.
3. Taking the needle over the fold, pass from the R.S. through to the W.S. at
base of hem, work a second over-sewing stitch in the same place and pull up
tightly to pinch thee hem. Take three running stitches into the hem only and
repeat to finish hem. (Diagram opposite).

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NOTE: Spaces in between the double tight stitches should not be more than 1 cm to
achieve the correct pinched effect.
2. Lace
For joining lace use the finest thread available that is suitable for the color and
texture of the lace. For applying lace use a firm silk or cotton thread that does not
fluff but which handles and looks well.
Narrow lace edging
To join
1. Match the pattern by overlaying the two layers exactly; the effect will
otherwise be blurred.
2. Closely oversew around the corded edge of the design to completely join the
lace.
3. Trim away the raw edges close to the stitching on both R.S. and W.S.
To shape
If less than 1.25cm wide, ease the lace into position: if more than 1.25 cm
wide used without gathers, it is necessary to make small darts at corner point.
1. For the central angle of brassiere top slip sew a small dart with its point going
into the angle.
2. For the shoulder strap point, reverse the placing of the point.
3. On the W.S. flatten the dart and hem on to the back of the lace.
Alternate methods of attachments
1. Oversewing the edge closely to the garment and trimming away the surplus
fabric: this is not suitable for gathered lace.

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2. Overlay the lace on to a narrow folded hem and machine stitch.
3. Overlay the fabric on to the lace and make an overlaid seam.
4. Oversew the lace to the edge of a triple-folded hem.
Wide lace, shaped insertions and piece lace
The repetition of the design may be too large to allow for the pattern to meet
exactly; the same method is used to join and shape the lace.
1. Mark the fitting lines on the lace and overlap the sections so that the fitting
lines match.
2. Select and mark the best continuous outline of the lace that passes across the
fitting line.
3. Oversew very closely on marked line and trim off surplus lace.
To attach
Either sew stitch or pinstitch the edge of the lace on to the garment, trimming
away any surplus fabric. On piece lace do not make a hem but utilize the finished
edge of the lace.

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3.Braid
Flat Braid
1. Tack the braid flat into position, making small metered seams at the angles
and joining the ends if necessary.
2. Machine stitch or backstitch the braid along each edge. Remove the tacks
and press.
Military Braid and Braid used in Binding
On single fabric trim off allowance for turnings.
By hand: Guide the braid on equally over the edge and tack through the layers,
Stab stitch along the edge of the braid from the R.S. through to W.S.
By machine: Open out the braid and tack into position on R.S. with ½” width of
braid projecting from the edge. Machine stitch along edge of the braid. Turn the
projected edge over on to the W.S. and hem on to the machine stitching.
Corners: Wide corners can be negotiated by stretching the middle of the braid
and easing the edges.

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3. Ruffles. Ruffles is a single layer or double layer of fabric which are used to
give a decorative effect to a garment. The amount of fullness in a ruffle
depends on the fabric used. A fine, thin fabric will be needed twice the
fullness of a thicker fabric.
Laying Out Pattern Pieces for Ladies Blouse
In laying out the pattern pieces onto the fabric, study the direction of the fibers
that are woven into the fabric. It is the grainline of the fabric. This is where the
pattern pieces are laid out.
To locate the grainline, one should be familiar with the following parts
of the woven fabric.
13. Selvage. This is the finished side edges of the fabric. It is tightly woven
to avoid unraveling. Sometimes, it is where the brand name is printed.
This is also spelled selvedge.

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14. Lengthwise grain. This is known as the warp which runs parallel to the
selvage and the strongest grainline with least amount of stretch.
15. Crosswise grain. This is known as the weft. This runs from selvage to
selvage.
16. Bias. This is the line that runs diagonally across the fabric. The true bias
is always at a 45-degree angle to the crosswise and lengthwise grains
and is the fabric’s stretchiest point.
General Layout of a Pattern
1. Follow the correct layout diagram, fold the fabric as
directed and spread squarely and smoothly on the cutting
out table.
2. Lay out all the pattern pieces required to ensure that
there is sufficient fabric.
3. Check the position of each piece, so that the necessary
pieces are placed to the fold and that the straight threads
(or print) are parallel with the markings for the straight
thread.
4. Pin the pattern in place with the pins near the seam
allowance and at the right angles to the edges.
Laying out pattern pieces for the blouse.

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For One-way Fabrics
Note: Extra yardage is usually necessary when using fabrics with:
f. One-way print
g. One-way arrangement of woven stripes
h. With nap- woolen and mixture fabrics with surface fibers lying in one
direction only. This should be cut so that the fibers run down towards
the hem.
i. With a cut pile- silk velvets with the pile lying upwards and velveteen,
needle cords and corduroy with the pile running downwards.
1. Lay the patterns in the same direction, main sections can be interlocked
for economy of fabric.
2. Fabric may be folded in half-lengthwise but should not be folded across
the width as this will reverse the pattern on pile.
For Checks and Striped Fabrics
1. The fabric should be folded correctly so that all lines are exactly in position
one over the other.
2. Place the pieces against the first fold and arrange the other pieces
accordingly.
3. Place and join the balance marks, center and hem lines of the sections to be
identical position on the checks or stripes.

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Transferring of Marks onto the Fabric
Before transferring the marks onto the fabric, check the correct measurements,
follow directions, and set sharp pins or make a chalk mark at the exact point
indicated. To mark cutting lines with chalk, lay your ruler or yardstick carefully on
perfectly smooth fabric, marking the line exactly from point to point. For circular
cutting lines, use tracing wheel to achieve greater accuracy in measurement.
An expert sewer need not transfer every single mark onto the fabric, but for
beginners like you, there is a need to transfer every mark onto the fabric to avoid
confusion and as to where the marks should be properly placed.
The following markings should be carefully identified while transferring the
marks onto the fabric.
1. Notches. These are small triangular markings which are used to match fabric
pieces together.
2. Darts. Instead of drawing all the lines of a dart on your fabric, snip the ends
into the seam allowance of the fabric and mark the point with a pencil or water-
or air-soluble fabric marker.
3. Center points. This is the midpoint or center of a piece of garment, such as
collar or sleeve. Mark the fabric by snipping into the seam allowance at the
centers of your pieces.
4. Buttonhole lines. Marking buttonhole lines should be done during the sewing
stage. This is to customize button placement to get the right fit and to avoid
mistakes in marking the fabric when alteration should be done.
5. Circles, triangles, and dots. Transfer these markings wisely. Sometimes, a
snip on the notches will guide the sewer where to start the ease stitch.
6. Zipper placement. Zippers are marked on patterns with a cross- hatched line
that ends in a circle. There’s no need to transfer all the marks. Just mark the
end point or the bottom of the zipper.

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Cutting the Fabric
In cutting the fabric, it is best to use good shears with 7” or 8” blades. Always
cut with long even strokes, following exactly the cutting lines. Use short strokes
and the points of the shears when cutting short spaces and in turning corners as
shown by the pattern. Cut the fabric flat on the cutting table which is free of any
obstacles. Use the other hand to hold the fabric in position while cutting some
parts of it. In cutting folded fabric, place pins within to hold the two pieces firmly.
Do not place the pins on the cutting lines.
Cut lining and interfacing at the same time. There are times that the fabric is
slippery like silk, it is necessary to lay tissue down first to serve as an anchor, pin
the silk on top, and place your pattern on top of the silk. Cut through all the layers
to have accurate set of fabric pieces. It is a good practice to iron the pieces of
tissue pattern before cutting them together with the fabric.
There are times that the fabric is so delicate and pin holes from pins might
ruin the appearance of the fabric, avoid using pins instead use weights and place
them at the corners of the pattern pieces.
When cutting the pattern pieces, do not lift the scissors from the table; keep the
bottom blade fixed, gliding the top blade carefully. Make your cutting continuous.
Learning Outcome 3 Assemble Garment Parts for Ladies Blouse
Objectives
1. apply the pre-assembling method;
2. pack the ladies’ blouse.
Pre-assembling procedure for ladies blouse
Baste if necessary, then:
1. Sew/finish the raw edges.
2. Join the shoulder seams.
3. Sew the darts.
4. Join the side seams.
5. Prepare sew and attach the sleeves
6. Prepare sew and attach the collar
7. Sew the hemline
8. Make hand worked/machine work buttonholes
9. Attach the buttons
10.Apply finishing touches.

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Pressing Techniques for Ladies Blouse
Pressing Tips:
Some things to remember when you press garments:
• The light touch. Too much pressure can cause shine and overpressing.
There’s no need to press (despite the term pressing) at all.
• Let the weight of the iron do it for you. Not only is it effortleess, it’s
effective. The only exceptions are fusing interfacing or using a clapper,
both of which require pressure.
• Cooling. After the cloth is pressed, don’t move unti it has cooled. While
still warm, movement puts all those crinkles back, and you have to go
back to the ironing board. It pays to press ahead and hang your warm
garment.
• Pressing as basting. Basting, is a drag. Whenever it is possible, press
the hems, edges and place rather than pinning or basting.
• Pins. Never press with pins on, It leaves a permanenet mark. Plastic
pins can melt on to your fabric.
• Markings. Take care removing any markings, whether they’re made of
chalk or markers. Heat has a tendency to cook the marks into the
fabric, making them impossible to ever get off. The same applies to
stains. Never iron clothes with stain.
• Zippers. Never press on zipper coils – they melt! Stay away from hooks
and eyes and other plastic pieces. Who wants plastic go on a
garment?
Edges of Facings, Collars, and Cuffs
1. Press seams in the direction in which they are stitched.
2. Grade the seam allowances and turn section of garment right side out.
Roll seam slightly to the wrong side, basting around the edge with fine
thread. Press lightly to prevent thread from marking garment. Remove
basting and press more firmly.
Gathers
Press gathers toward the gathering line by sliding the iron into the gathers
and lifting it or sliding it straight back. Do not move the iron sideways or press across
gathers or press beyond the seam line from the plain side, when it is joined to a

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gathered side. The pressing of gathers may be made easier by lifting the gathered
edge from the board as you press.
Body of Sleeves
Use a sleeve board and pressing mitt for easier pressing of sleeves. Place
the sleeve with wrong side out over the sleeve board with the lower edge of the sleeve
at small end of the board.
1. Press underarm seam allowance open.
2. Press from the armhole to the lower edge of the sleeve.
Sleeve Cap
Gathers in the sleeve cap may shrunk out before setting in the sleeve. Place
wrong side of sleeve cap up over small pressing hem, or use rounded end of sleeve
board. Use a steam iron or a sponge in pressing cloth, press from seam edges to the
stitching line.
Armhole Seam
1. Place the armhole over the edge of the sleeve board.
2. Press the seam allowances of the sleeve and garment together extending
away from the garment. Press only 2” to 3” at a time.
3. Continue around the armhole, holding seam line in an inward curved
position to avoid stretching.
4. Turn the seam allowances on the upper half of the armhole toward the
sleeve and slightly press from either right or wrong side 2” or 3” down on
each side of shoulder seam.
5. The seam allowances under half of the armhole are not turned toward
sleeve or dress.
Lower Edge of Sleeve
1. Place the lower edge of sleeve, right side out, over the small end of the
sleeve board and press.
2. Remove sleeve and slip the point of the iron inside the lower edge of the
sleeve and press the hem or facing.
Procedure in Assembling Ladies Blouse
Stayline or Staystitching
Stayline is a single line of stitching through one layer of fabric to prevent it from
becoming stretched.

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How to Stayline
1. Adjust the seam gauge so the stayline in in the seam allowance, ¼ cm from the
seam allowance.
If you do not have a seam gauge, a piece of adhesive tape can be used to mark the
desired seam allowance on the machine. Exceptions to the ¼ cm distance from the
stitching line will be:
a. Neckline, where directions specify ½ cm.
b. Side seams, where seam allowance has been increased to 2-2-1/2
cm.
c. One type of zipper placket where directions call for staylining on the
seam line.
2. Practice guiding and feeding a sample piece of the fabric into the machine
without pulling on it.
3. Stayline in the places and in the directions shown
4. When an interfacing is used, the piece it interface with should be staylined
together as one piece.
Staylined seam allowance may stitched the grain to make handling
easier.
How to Stitch
To Machine Stitch
1. Put the needle on the cloth exactly where the stitching is to start.
2. Lower the presser foot.
3. Start balance wheel in direction it is to go.
4. Begin to stitch with the guiding material as directed.
5. Stitch the garment together with the grain, just as was done in cutting and
staylining.
Let’s Do it!
Let’s Do it!

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Preparing Parts for Sewing Ladies Blouse
Back of Blouse
1. Stayline the neckline, shoulder, and armholes.
2. Stitch the darts. They are the only construction details on this part of the
garment.
3. Fold and put it aside to be pressed with another piece.
Left Blouse Front
1. Stayline the neckline, shoulder and armhole.
2. Mark center front.
3. Stitch darts.
4. Finish edge of the facing with an appropriate finish.
5. Lay this piece aside to be pressed later.
Right Blouse Front
1. Repeat as directed for the left front.
2. Baste-stitch to mark buttonholes.
3. Press waist back and fronts
4. Join shoulder seam
Collar(only for plain collars)
1. Stayline collar sections
2. Stitch collar to collar facing
3. Press collar and shoulder seams for the blouse
4. Attach collar to blouse
5. Stitch side seams of blouse, and press.
Sleeve
1. Stayline sleeves
2. Gather between notches, over top of sleeves or cap, use this stitching to
take in the fullness.
3. Stitch underarm seam.
4. Hem sleeves.
5. Set sleeves Into armholes, matching notches.
Let’s Do it!

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Unit Method of Assembling Ladies Blouse
Sewing a Blouse (Back)
1. Use the longest stitch. Baste-stitch along fold lines, center back lines, and
buttonhole marking to transfer the traced lines to the right side of the blouse.
2. Change the machine setting to about 154 stitches per 2.5cm, the stitch size
you use for most sewing. Make staylines as indicated on the diagram. Stitch
in the direction of the arrows slightly closer to the edge of the material than
the seam line.
3. Stitch darts and dart tucks. Match dart lines, pin and stitch from the wide end of
the dart to the point. Clip threads, leaving ends 1-1/4 to 1-1/2 cm long or, if you
prefer, fasten the stitching line by tying the threads or by retracting. End dart tucks
Let’s Do it!

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by turning a right angle and stitching across the edge of the fold. This holds the
stitching line securely without fastening.
Blouse Front
1. Mark staylines as indicated in the diagram as you did on the back.
2. Stitch darts and dart tucks as you did on the back.
Joining Shoulder Seams
1. Pin the shoulder seams with the right sides of the blouse front and blouse
back facing. Matching notches, first, then seam ends. Be sure that the
stitching lines (not raw edges) match at the neckline. Stitch with the grain
from the neckline outward
.
2. Stitch the shoulder seams of the facing as you did on the blouse.
3. Finish the blouse shoulder seam by pinking or use another appropriate
method. Trim the shoulder seams of the facing to about 1cm. Reduce bulkiness,

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by clipping away the corners of the allowances on seams that have been stitched
on both blouse and facings.
Pressing
Press darts toward center lines or downward. Press seams open, in the direction
they were stitched.
Facing the Neckline and Back Closing
1. Staystitch around the unnotched outer edge of the neck facing, 1/2cm from the
raw edge. (This is especially helpful around curved edges.)
2. Edge-stitch the outer facing edge. To do this, fold under and crease the facing
barely inside the stayline along its unnotched edge. Stitch on the right side quite
close to the fold line.

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3. To join the neck facing the blouse, match the center lines, notches, and shoulder
seams, then pin them together. Stitch in a continuous line around the entire
neckline and along each side of the closing.
4. Trim seam edges to about 1/2cm in width. Cut away excess cloth at the corners.
Clip partially through the remaining seam edge around the neck at 1 1/4cm
intervals. Now turn the facing into position and finger press to shape it.
5. Understitch facing edges to keep the facing from extending beyond the blouse
edge. Do this by turning both seam allowances back against the facing, then with
the facing side up stitch near the neck seam allowances. Be careful to keep the
facing smooth and perfectly shaped as you stitch. Understitch along the closing
edges where buttons and buttonholes are used.

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6. Tack the edge of the neck facing in place by hand at the shoulder seams and at
darts. Use several stitches to make each tack. It is not necessary to attach the
entire edge of the facing to the blouse by hand, since button and buttonholes help
to hold it in place.
Finishing the Sleeve Edges
For hemmed sleeves, edge-stitch the raw hem edges just as you did in the outer
edge of the neck facing.
For faced sleeves, edge-stitch the unnotched facing edge. Then attach the
facing to the sleeves with a plain seam. Under stitch the facing edge as you did in
the neck facing. Press the facing back against the sleeves. (Shaped facings – those
with curves or corners – have to be seamed to form a circle; then they are attached
after the blouse side seams are made).
Joining Side Seams
Stitch the side seams from the lower edge upward, be careful to extend the
sleeve hem or facing as you do. (When in doubt as to the fit, baste-stitch the side
seams and try the blouse on before you stitch the seams.) Clip the seam allowances
at the waistline so the seam can be pressed flat. Curved underarm seams need
clipping, have to be reinforced. One way to do this is to staystitch each curve before
stitching the seam. Then clip to the stayline only. Another way is to baste folded
seam binding beneath the curved seam just before it is stitched. Then, with seam
binding down, stitch the seam and clip almost across the seam allowances. In either
case, finish seam edges and press.

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Finishing the Sleeves
Turn the facings or hems under and, after pinning and basting, hand hem
them in place with a vertical hemming stitch.
Pressing
Press the neckline and closing edges. If your pattern calls for sleeve hems,
fold them back along the fold lines and press.
Finishing the Bottom of the Blouse
Finish the lower edge of the blouse. Two rows of stitching 1 cm apart just
inside a pinked edge make the flattest finish. Be sure that the facing is held in place
and caught with the lines of stitching.
If you prefer, you may hem the edge, stitch across the lower facing edge at
the time you attach to the blouse, with right sides together. You may do this if you
missed the step earlier.
Fastening
1. Use either machine made buttonholes or make worked buttonholes by hand. Sew
buttons on, be careful to form a shank or stem under each.
2. When necessary, use either small snaps or tiny, flat buttons, and thread loops to
hold the upper part of the closing in place. Use snaps or buttons to hold the blouse
together below the waistline.
Press the blouse lightly from the right side. Fit in your blouse. This will
complete the process. Congratulations! You have just made your masterpiece.

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Characteristics of a Well-fitted Ladies Blouse
The kind of fit desired in clothing changes with style and fashion as well as
personal preference. No definite rules can be set as to the exact way a garment should
fit. However, regardless of fashion, style, and personal preference, a well-fitted
garment should possess.
1. Appears as if it belongs to you.
2. Have ease of movement.
3. Be attractive to your figure and appear neither baggy from being too loose
or stretched from being too tight.
4. Gives you a feeling of ease and comfort with no need to adjust your
clothes in every move.
Try on any garment and look at yourself in a full-length mirror. A three-way
mirror is better since it allows you to see the sides and back of the
garment without twisting. How does it look? Does it flatter your figure? Is
the color right for you? Does it hide or disguise a feature you do not want
to accent?
5. Does the garment have enough ease to make the necessary body
movements comfortable? Stretch out your arms. Bend over. Does the
garment move with you?
6. Are the darts in the right places?
7. All the seams should be in proper places.
8. A waistline or belt should sit right on the waist of the woman’s body.
9. Upper garments should meet lower garments at the waistline without
bulging excessively in the front or back.
10.All buttonhole closings should lie smoothly without any pull or strain on the
buttons. If the garment pulls, it is too tight.
11.Any zipper on a garment should lie flat against the body without bulging
out away from it.
12.The hemline should fall in an even line around the bottom of the garment.
If the garment is full, circular, or draped, the folds should fall into place in
an even line.

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Evaluation of Finished Ladies Blouse
CRITERIA Perfect
Score
Student’s
Score
Teacher’s
Score
1. Suitability of Material
a. Material is suitable to
style.
2. Workmanship
a. Neat: Right side/wrong
side
b. Seams well defined
c. Even overcasting of
hemline.
d. Edges are finished
correctly.
e. Buttons secured
tightly/buttonholes neat.
3. General Appearance
a. Pleasing combinations
of colors (buttons)
4. Fitting
a. Neckline fits snugly on
neck.
b. Shoulder seams on
shoulder line.
c. Shirt not too tight, not
too loose.
5. Speed
a. Finished on the
deadline.
TOTAL
15%
25%
25%
25%
10%
100%

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Learning Outcome 4 Apply Finishing Touches on Ladies Blouse
Objectives
1. apply finishing touches on;
2. sew the garment parts correctly; and
3. pack the finished garment.
This is the final stage in making a blouse. Careful application of the finishing
touches should be applied to give the nearly finished output a more quality feature.
Knowledge on the fasteners to be applied should be well crafted to match them well
to the garment.
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many shapes
and sizes and can be made from a variety of materials including shell, bone,
plastic, nylon, and metal. Buttons are sewn to the fabric either through holes on
their face, or through a hole in stalk called a shank, which is at the back. Buttons
are normally sewn by hand, although a two-hole button can be sewn by
machine.
a. Sewing on a 2-Hole button- This is the most popular type of button and
requires a thread shank to be made when sewing in place. A toothpick will
help you to sew on this type of button.
1. Position the button on the fabric. Start
with a double stitch and double thread in
the needle.
2. Place the toothpick on top of the
button. Sew up and down through the
holes, going over the stick.
3. Remove the toothpick.

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4. Wrap the thread around the thread
loops under the button to make a
shank.
5. Take the thread to the back of the
fabric.
6. Buttonhole stitch over the loop of
threads on the back of the work.
b. Sewing on a 4-hole button- This is stitched in the same way as for a two-hole button
except that the threads make an X over the button on the front.
1. Position the button on the fabric. Place
a toothpick on the button.
2. Using double thread, sew up and down
through alternate sets of holes, over the
toothpick. Make an X shape as you stitch.
3. Remove the toothpick
4. Wrap the thread around the thread
loops under the button to make the
shank.

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5. On the reverse of the fabric,
buttonhole sew over the thread loops in
an X shape.
c. Sewing on a Shanked Button- when sewing this type of button in place, use a
toothpick under the button to enable you to make a thread shank on the underside of
the fabric.
1. Position the button on the fabric. Hold
a toothpick on the other side of the fabric,
behind the button.
2. Using double thread, sew the button to
the fabric, through the shank
3. Be sure each stitch goes through the
fabric and around the toothpick beneath.
4. Remove the toothpick. Work
buttonhole stitch over the looped thread
shank.

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Snap Fastener
Snap Fasteners are used where a lightweight fastening is needed. They are
available in a black or silver metal finish in a range of sizes. Small, clear plastic
snaps may be used on fine fabrics. There are many types of nonsew snap with
decorative metal or colored caps, which are attached using a special tool or a
hammer.
Snap Fastener
Made from a nylon or metal, this
fastener is formed from a ball and
socket, which simply press or snap
together and are easily pulled apart.
Nonsew Snap Fastener
This fastener has a decorative metal
cap. The fabric is held between the
socket stud and the stud cap. The other
edge is held between the ball stud and
the rivet. The two sides then snap
together.
Nonsew covered snap
Designed to look like a covered button,
this ball-and-socket fastener is
available in a kit containing five pieces
that snap together. It is covered by a
circle of fabric .
Attaching Snap Fastener

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Ball-and-Socket Fastener
1. Fasten the thread firmly to the wrong
side of the overlapping edge. Such the ball
stud to this edge, without stitching through
to the right side. Finish with backstitches
at the stud edge.
2. Close the opening. Pass a pin through
the center of the ball stud to mark the
position for the socket stud. Mark the point
with another pin or a dressmaker’s pencil.
3. Stitch the Socket Stud firmly to the right
side of the underlapping edge in the same
way as the ball stud. Use four stitches to
secure each hole and backstitches as the
base.
Hook and Eye
Hooks are versatile fasteners that can fit into both straight bars and round eyes
and are strong enough not to open under stress. They are made in different sizes
and strengths and are frequently used on waistbands at the top of the zipper
openings. Sew-on snap fasteners are available in range of sizes, and non-sew
snaps provide an alternative to buttonholes on casual garments. Hook-and-loop
fasteners, usually cut from a strip, are easy to open and close and are often used for
garment detail such as cuffs, and in home furnishings.
Standard hook and eye
These fasteners have looped eye for use on
adjoining fabric edges or straight eye for use
with lapped fabric edges.
Covered hook and eye
This set has a looped eye. It is used on
coats, jackets and garments made from
deep-pile fabrics.

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Skirt hook and bar
This sturdy set is used on pants and skirt
waistbands. The design stop the hook from
slipping off the straight eye.
Identification.
Directions: Name the following fasteners. Write your answer in your quiz
notebook.
1. ____________________ 2. ___________________
3. ____________________ 4. ___________________
Review of Learning Outcome

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Attaching Hook-and-Eye fastener
Hook and Looped Eye
1. Stitch around each hole on the
hook, without stitching through to the
right side.Take two or three stitches
over the neck of the hook to secure it.
Finish with backstitches near the hook.
2. Position the eye so that the loop
projects over the fabric edge by about
1/8 in (3mm). Fasten the thread
securely. Stitch around each hole.
Stitch over each side of the eye inside
the fabric.
3. Fasten the hook and eye. The
finished edges of the two parts of the
garment should just meet and lie flat,
so that no part of the hook or eye is
visible on the right side of the garment.
Hook and Straight Eye
1. Stitch the hook to the wrong side of
the overlapping edge, with their ends
about 1/8 in (3mm) in from the edge.
Close up the opening and mark the
position of the bears with pins on the
right side of the underlap.
Let’s Do it!

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2. Stitch around the first hole on a bar.
Slip the needle between the fabric
layers, along to the second hole, and
stitch around it. Slip the needle to the
second bar position and stitch. Finish by
fastening the thread securely.
Skirt Hook and Bar
1. Position the hook on the wrong side of
the waistband overlap, 1/8 in (3mm) in from
the fabric so that the bar will be covered
when the is fastened. Stitch with several
stictches through each hole.
2. Close the opening, and overlap the
waistband ends. Position the bar on the
right side of the waistband so that it
corresponds with the hook. Pin through the
holes to hold the bar in place, and secure it
with several stitches.
Zipper
The zipper is the most used of all fastenings. There are many types available, in a
variety of lengths , colors, and materials, but they all fall into one of five categories:
skirt or pant zippers, metal or jeans zippers, invisible zippers, open-ended zippers,
and decorative zippers.
a. Lapped Zipper- skirt zipper in a skirt or a dress is usually put in by means of a
lapped technique or a centered zipper technique. For both of these techniques, you

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will require the zipper foot on the sewing machine. A lapped features on one side of
the seam- the left-hand side- covering the teeth of the zipper to conceal them.
Attaching the Lapped Zipper
1. Sew the seam, leaving enough seam
open to accommodate the zipper.
2. Secure the end of the stitches.
3. Insert the right-hand side of the
zipper first. Fold back the right-hand
seam allowance by 1/2 in (1.3cm). This
folded edge is not in line with the seam.
4. Place the folded edge against the
zipper teeth. Baste.
5. Using the zipper foot, sew along the
baste line to secure the zipper tape to
the fabric. Sew from the bottom of the
zipper to the top.

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6.Fold back the left-hand seam
allowance by 5/6in (1.5cm) and press.
Place the folded edge over the sewn
line of the other side. Pin and then hand
baste along foldline.
7. Starting at the bottom of the zipper,
sew across from the center seamline
and then up the side of the zipper. The
finished zipper should have the teeth
covered by the fabric.
b. Open-Ended Zipper- The open-ended zipper is used on garments to lack the two
sides of the zipper into place. The zippers are closed using sliders, and are used on
jackets. It needs to be fully opened in order to put the garment on.
1. On both pieces of fabric, turn under
the seam allowance at the center front
and baste. Neaten by preferred
method.
2.Turn up the hem allowance and
baste in place.
3. Place the folded edge of the center
front about 1/8in (3mm) from the zipper
teeth to allow for the pull to move up
and down. Pin in place.
4. Place the button of the zipper at the
hem edge.

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5. Using the zipper foot, sew the zipper
in place. Start with the zipper open.
Sew 2in (5cm), then place the needle
in the work, raise the zipper foot, and
close the zipper.
6. Sew to the end of the zipper tape
and secure.
7. Pin the other side of the zipper in
place on the other piece of fabric. Make
sure the fabric line up top and bottom.
8. Undo the zipper and, using the
zipper foot, sew in place you did on the
first side.
9. Once the zipper is sewn in place,
check that the hems line up. If they do
not, you will have to rip the seam and
start again.

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10. The zipper should be open
completely.
c. Centered Zipper- With a centered zipper, the two folded edges of the seam
allowance meet over the corner of the teeth, to conceal the zipper completely.
1. Sew the seam, leaving
a gap for the zipper.
2. Baste the rest of the
seam allowance.
3. Press the seam open
lightly.
4. Center the zipper
behind the tacked part of
the seam. Pin and then
baste in place along both
sides.
5. On the wrong side, lift
the seam allowance and

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the zipper tape away from
the main fabric. Pin.
6. Sew the zipper tape to
the seam allowance.
Make sure both side of
the zipper tape are
secured to the seam
allowances. Sew through
to the end of the zipper
tape.
7. Working from the right
side of the work, sew
down one side, across
the bottom, and up in the
other side of the zipper.
8. Remove the tacks and
press.
9. The finished zipper
from the right side.

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d. Invisible Zipper- This type of zipper looks different from other zippers
because the teeth are on the reverse and nothing is seen except the pull is seen on
the front. The zipper is inserted before the seam is sewn. A special invisible zipper
foot is required.
1. Mark the seam allowance with
basting stitches/
2. Place the center of the zipper over
the baste line, right side of zipper to
right side of fabric. Pin in place.
3. Undo the zipper. Using the invisible
zipper foot, sew from the top of the
zipper down as far as possible. Stitch
under the teeth. The machine will stop
when the foot hits the zipper pull.

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4. Do the zipper up. Place the other
piece of fabric to the zipper. Match
along the upper edge. Pin the other side
of the zipper tape in place.
5. Open the zipper again. Using
invisible zipper foot, sew down the other
side of the zipper to attach to the
second piece of fabric. Remove any
basting stitches.
6. Close the zipper. On the wrong side
at the bottom of the zipper, the two rows
of stitching that hold in the zipper should
be finishing in the same place.

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7. Sew the seam below the zipper. Use
the normal machine foot for this. There
will be a gap of about ½ in (3mm)
between the line for the zipper and that
for the seam.
8. Sew the last 1 ¼ in (3cm) of the
zipper tape to just the seam allowances.
This will stop the zipper from pulling
loose.
9. On the right side, the zipper is
completely invisible, with just pull visible
at the top. Apply a waistband or facing
the press.

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Hemming Stitches
Machine-sewn
On many occasions, the hem or edge of a garment or other item is turned
up and secured using the sewing machine. It can be sewn with a straight stitch,
a zigzag stitch, or a blind hem stitch. Hems can also be made on the serger.
SINGLE TURN HEM
Procedure:
1. This is a popular
technique. Turn up the
hem to the wrong side of
the work. Press in place.
2. Sew with a straight stitch
close to the hem edge.
DOUBLE TURN HEM
Procedure:
1. This hem will add weight
at the edge. Fold up the
raw edge of the fabric
once and then fold
again.
2. Press and pin in place.
3. Sew using a straight
stitch, close to folded
edge.
Let’s Do it!

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BLIND HEM STITCH
Procedure:
1. This is a single turn hem
that is secured using the
blind hem stitch on the
machine. Neaten the
raw edge of the fabric.
2. Fold the fabric as
indicated for your
machine. Pin, but not
too close to the fold..
3. Using the blind hem foot
and the blind hem stitch,
secure the hem. The
sewn line should be just
below the neatened
edge.
4. Press lightly on the right
side.
Hems on Difficult Fabrics
Fine fabrics or fabrics that fray badly require more thought when a hem
is to be made. This technique works very well on delicate fabrics.
1. Turn up the hem with a
single turn.
2. Baste to secure.

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3. Set the machine to a
zigzag stitch, width 3.5
length 2.0, and zigzag
close to the fld.
4. Trim away surplus hem
allowance. Press.
Rolled Hems
A rolled hem is used on lightweight fabrics. It is often found on
home goods as well as garments. To make it, the fabric is rolled to the
wrong side by using the rolled hem foot on the sewing machine.
STRAIGHT-STITCHED
ROLLED HEM
ZIGZZAG-STITCHED ROLLED
HEM
Use the rolled hem foot on the
sewing machine and a straight
stitch.
Use the rolled hem foot on the
sewing machine and a zigzag
stitch.
Fused Hem
A fused hem is useful for a fabric that is difficult to hand sew, as well as
for an emergency hem repair. It uses a fusible web that has a fusible adhesive
on both sides.
1. Turn up the hem to the
wrong side of the fabric.
Baste the hem in place
close to the crease line.
2. Neaten the raw edge with a
serger or zigzag stitch.

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3. Insert the fusible hemming
tape between the hem and
the wrong side of the
garment. Make sure the
tape sits just below the
serger or zigzag stitch. Pin
the tape in place.
4. Cover the hem allowance
with a pressing cloth and,
using a steam iron, press
the edge of the hem to stuck
in place. Remove the
basting stitches and pins.
Bias-bound hems
A bias-bound hem will give a narrow decorative edge to a garment or an
item of home furnishing. It is particularly useful for curved shapes, to finish them
neatly and securely. On a chunky or bulky fabric, a double bias is used so that
it will be more substantial and hold its shape better. A double bias is used on
sheer fabrics as there will be no visible raw edges. The bias strip can be made
from purchased bias binding or cut from a matching or contrasting fabric.
Single bias-bound hem
1. Place the bias strip to
the hem edge, right
side to right side.
2. Sew the bias to the
edge using the edge
of the machine foot as
a guide. Press as
sewn.
3. Turn the bias to the
wrong side of the
fabric and roll the bias
around the edge of
the fabric.

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4. Baste the bias down
on to the wrong side
of the fabric.
5. Working from the right
side, stitch in the ditch
formed by the seam.
6. On the wrong side,
trim the bias back
close to the stitches
(bias-cut fabric hardly
frays). Remove the
basting and press.
DOUBLE BIAS-BOUND HEM
1. Cut bias strips that are 3
1/4in (8cm) wide. Join
them together until the
required length is
achieved.
2. Fold the bias in half,
wrong side to wrong
side. Baste along the
bias.
3. Place the raw edge of
the bias to the hem
edge of the right side of
the fabric.
4. Sew in place, using the
edge of the machine
foot as a guide.
5. Wrap the folded edge of
the bias to the wrong
side of the garment.
Place the folded edge to
the sewn line.
6. Use a slip hem stitch to
secure the folded edge
to the sewn line.

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7. If preferred, sew the
bias in place using a
stitch in the ditch
technique.
Trimming Techniques for Ladies Blouse
Attaching a lace trim
A lace edge can give a look of luxury to any garment. There are many ways of
applying lace, depending on how the lace has been made. A heavy lace trim has a
definite edge to be sewn on to the fabric. Lace edging has a decorative edge and an
unfinished edge, whereas a galloon lace has decorative scallops on both edges.
LACE EDGING
1. Place the lace to the fabric, right
side to right side. Align the raw
edges.
2. Sew using a straight stitch.
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3. Turn the raw edges to the wrong
side of the fabric. Press in place
on to the wrong side.
4. Working from the right side of the
fabric, zigzag stitch close to the
fabric edge.
5. Trim away surplus fabric on the
reverse side.
GALLOON LACE
1. Place the entire piece of lace
to the right side of the fabric.
Align the edge of the lace with
the raw edge of the fabric. Pin
in place.
2. Sew along the upper edge of
the lace, following the shape.
3. Trim away surplus fabric
following the shape of the
stitches.

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4. The lace trim on the right side.
HEAVY LACE TRIM
1. Pin the lace to the right
side of the fabric.
2. Using a small zigzag
stitch, sew along the edge
of the lace. All the stitches
should be on the lace.
3. Trim away surplus fabric
behind.
Applying a Flat Trim
On some items a flat trim braid or ribbon is added for a decorative effect this
may be right on the hem or edge, or placed just above it. To achieve a neat finish, any
corners should be mitered.
1. Pin the trim to the fabric, wrong side
of the trim to right side of the fabric.
2. At the corner point where the trim is
to be mitered, fold the trim back on
itself and secure.

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3. Sew across the trim at 45 degrees
from the edge of the fold, through
all layers.
4. Remove excess trim from the
corner.
5. Open the trim out and press.
6. Sew the inner and outer sides of
the trim to the fabric, close to the
edge. Be sure the stitches at the
corners are shaped.
Piped Edges
A piped edge can look very effective on a garment, especially if it is made in a
contrasting color or fabric. Piping is also an excellent way of finishing special occasion
wear as well as home goods. The piping may be single, double, or gathered.

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Single Piping
1. Just one piece of piping is used.
Cut a bias strip 1 1/2 in (4cm)
wide.
2. Wrap the binding, wrong side to
wrong side, around the piping
cord. Pin in place.
3. Sew along the binding close to
the cord, using the zipper foot.
4. Pin the raw edge of the piping to
the raw edge of the right side of
the work.
5. Sew close to the sewn line on the
piping, using the zipper foot.
6. Place the other side of the fabric
over the piping, right side to right
side.
7. Sew in place close to the piping,
using the zipper foot.
8. On the right side of the work, the
piping can be seen at the edge.
Press to finish.

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Double Piping
1. Different thickness of piping cord
can be used for this. Make up
single piping.
2. Cut another bias strip, in a
contrasting color if you like.
3. Join the bias strip to the single
piping, sewing next to the piping.
4. Place a second piping cord to the
wrong side of the contrast strip.
5. Wrap the contrast strip around
the cord and sew.
6. Attach to the edge of the work as
for single piping. On the right
side, there is a double row of
piping at the edge.

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Gathered Piping
1. This is a great technique to try on
cushions. Cut a bias strip 2in
(5cm) wide. Sew the bias strip
loosely around a piece of piping
cord. Secure the cord to the bias
at one end.
2. Push the bias along the cord to
gather.
3. Sew the gathers in place. Secure
the gathers at both ends of the
cord.

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4. Attach to the edge of the work as
for single piping.
Applying Other Trims
There are many kinds of trims – ribbons, braids, beads, feathers, sequins,
fringes, and so on – that can be applied to a fabric edge. If a trim is made on a narrow
ribbon or braid it can often be inserted into a seam during construction. Other trims
are attached after the garment or item has been completed.
Inserting a Trim in a Seam
1. Place the trim to the right side of
one piece of fabric, with the
beaded or other decorative edge
pointing away from the raw edge.
The edge of the trim should be on
the 5/8in (1.5cm) sewn line.
Baste in place.
2. Sew along the trim using the
zipper foot.
Let’s Do it!

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3. Place the other piece of fabric to
the first one, right side to right
side. Sew again to join them.
4. Turn to the right side. Press
carefully. The trim should hang
free.
Attaching a Trim to an Edge
1. Pin the trim in a position along
the finished edge of the work. Be
sure the trim is aligned to the
edge. Baste in place.

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2. Using the zipper foot, sew in
place close to the upper edge,
leaving the lower edge of the trim
free.
Hand Stitching a Trim
Delicate Trims – are best hand sewn
in place because machine sewing the
trim may damage it. Place the trim in
position and carefully sew down with
a flat fell stitch.
Procedure in Pressing Ladies Blouse
A newly constructed or purchased garment or one that has become
wrinkled should be pressed before wearing. Remove any soiled spots before
pressing. The pressed parts of the garment should be moved away from you
so they will not be crushed.
a. Press the parts of the garment that are free, such as ruffles, ties, sleeves, or
collar.
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b. Press pockets, collars, cuffs, or buttonholes from the right side.
c. Press the underside such details as facings, pocket linings, and seam
allowances.
d. Press the body of the garment, the bodice first then the skirt.
e. Place garment on well-shaped hanger and do not wear it until it is well aired
and completely dry. Close top fastener and zipper. Remove belt from loops of
the garment and place the belt on the hanger by the buckle.
Basically good, well-made garments, even expensive ones, lose their quality if
they are wrinkled and untidy. Some garments must be pressed each time they are
worn. Others which are of better quality or especially treated fabric may need only
occasional attention, but you can bring out the best in fabric and fit by knowing how
to iron a garment. The time spent on pressing is a valuable investment which gives
your garments so attractive on you. Careful pressing of wearing dresses is
essential to good grooming.
Labelling of Garments
Labels are not functional component of a garment but essential for many
reasons. Seven common labels that are found in garments are Brand label, Size
label, Care label, Flag label, Manufacturer code, Line mark label and special label.
Each label has specific purpose and gives information.
1. Brand or Main Label
Main labels indicate the Brand name or Brand Logo of the company that
originates and sells clothes. Brand labels play a big role to customers because
customers know the brand and they buy the branded one. A brand label is
associated with the product’s quality, durability and feel good factor. We prefer to
buy Levis jeans and Tommy Hilfiger for shirts and Polo shirts, Zara for dresses.
2. Size Label
Size label defines a specific set of body measurements. These Size labels
may be printed only a later to denote a specific size. Such as S for Small, M for
Medium and L for Large size garments. Customers know which size fit them well.
3. Care Label
This label includes care and ironing instructions. For details of wash care
instructions. This refers to garment care symbols. Care labels are attached at the
side seam. The purpose of care labels is to warn wearers on what not to do while
washing, drying and ironing to maintain color, specific printed designs, after wash
shrinkage and color blending issues. A care label includes few other information
such as:
a. Fiber contents are also included in care labels. i.e. 40% Poly and 60%

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Cotton
b. Country of origin: Name of country that manufactured the particular
product is also written on care label. Like, Made in India, Made in
Philippines.
4. Flag Label:
A small label attached outside seam. Flag labels are normally made of brand
logos and they are used as design features.
5. Manufacturer Label:
This label includes manufacturer’s code given to buyers. Most of the
international buyers purchase garments from countries. In case buyers need to track
the manufacturer of a particular product, they look for this code.
6. Batch Mark Label:
A label that indicates which sewing line or batch had made the particular
garment. This label is not asked by buyers or brands. Few garment manufacturers add
this label for the internal quality inspection process and rectify which line had made
the garment and which checker had check the same. This label is normally attached
to the side seam under wash care label.
7. Special Label:
100% Cotton, Organic Cotton are example of such special labels. Special
labels normally attached to draw customer attention at time of purchasing.
Functions of Packaging
1. Protects the Products and Consumer. Good packaging is designed to
protect the product. For example, packages should be designed to withstand
humidity, punture, and other types of damage.
2. Contains the Product. Containers make products easy to carry and keep
them separately.
3. Identity of the Product. A package would be less useful if it’ot properly
identified. Usually, the contents are identified by the label on the package.
However, using a special design or color on the package helps customers
identify the contents.
4. Promotes the Product. The package is the natural place for promotion. It is
part of the product which is most visible to the customer.
5, Makes the Product Easy to Use. Cartons with spouts for easy pouring, boxes with
zip-strip openings, butter wrappers with measurement marked on them are
examples of the conveniences offered by packaging. In each of these examples,
the package is designed with the user’s needs in mind.

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Packaging Materials
1. Paper and cardboard – are among the most widely used packaging materials.
Paper is inexpensive, lightweight, fairly strong, and easy to print on. Cardboard has
all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for sturdier or more specialized forms
of packaging. Wood makes sturdy shipping crates, which are reused many times.
Glass is used mainly to hold liquids or products containing liquids. It doesn’t leak and
free from unwanted taste or smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and bottles; it
is molded into boxes, baskets, and trays; it is processed into sheets for packaging
toys, bed linens, small articles of clothing and a wide variety of food products.
4. Metal – is a material that has long been used to pack liquids and food products.
The most commonly used metal container is the can. At one time, all cans were
made of steel with a tin plating. Today, aluminum cans are popular, particularly for
soft drinks.
5. Metallic foil – extremely thin sheet metal, is widely used in commercial
packaging. It can be folded and wrapped almost like paper and yet has the strength
and moisture resistance of metal.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates, bottles
and jars, and bags and wrappers.
1. Skin packaging – plastic film is molded tightly over a product mounted on a
card.
2. Blister packaging – a plastic bubble is preformed in a plastic sheet. The
product is placed on a card, and the bubble is placed over it.
3. Aerosol or Dump dispenser – a container that releases its contents in
spray or foam when a valve is pressed.
4. Flexible pouch – is a package formed from plastic film or paper that is filled
with the product and sealed by heat process.
5. Shrink wrap – is a package made by placing clear film around the product
itself.
6. Multipack – is a special package design that groups two or more packaged
products into a unit for easier display, carry home utility, or user
convenience.
7. Aseptic packaging - combines many good qualities of cardboard, metal
and glass. These containers are called “aseptic” because they keep
germs out of foods that need no refrigeration.
8. Dispensing Closure - is a cap, lid, or seal through which the contents of the
container can be dispensed in a controlled manner.

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Procedure in Packing
Procedure in Packaging Finished Garments
Finishing Department: Check points in finishing department consists
1. Initial finishing inspection: Checking done prior to pressing of the garment
at finishing room is known as initial finishing.
2. Final finishing Inspection: After pressing garments are double checked it is
passed for tagging and packing.
3. Internal final audit: After the garments are packed up to certain quantity,
quality control team, audit of package garments, This process is carried to
ensure handing over to shipment to buyer.
Directions: Bring at least five (5) items showing different forms of packaging.
Present them to your classmates and identify what form of packaging was used.
Post Test 2
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
Let’s Do it!
Let’s See How Much You Learned

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272
describes the statement. Write the answer in your quiz
notebook.
11. It generally refers to a tailored shirt.
e. Pants
f. Trousers
g. Blouse
h. Shirts
12. A kind of blouse that has a great style for most body types and features a
surplice collar, which overlaps fabric into a v-shaped neckline.
e. Button-Down
f. Peasant
g. Casual
h. Surplice Wrap
13. This type of blouse is popular because its style can be worn by many body
types and in various settings.
e. Surplice Wrap
f. Button-down
g. Peasant
h. Casual
14. A blouse which emphasizes free-flowing materials.
e. Peasant
f. Casual
g. Surplice Wrap
h. Button-down
15. This is egg shaped that is rounded at the top and slightly elongated at the
chin.
e. Round
f. Square
g. Triangle
h. None of the above
16. The top is wider than the ear side going smaller to the chin. The use of wider
necklines is helpful.
e. Heart
f. Triangle
g. Square
h. Oval
17. Rounded at the top and slightly curved at the chin like a human heart. The
shape fits to almost all kinds of necklines.
e. Heart
f. Round
g. Oblong
h. Oval
18. In a round-shaped face, a type of neckline suitable is
e. Round, V-Neck
f. Round, Square

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g. Square, Sabrina
h. V-necklines
19. A type of neckline suitable for Square-shaped face.
e. Round, V-neck
f. Round, Square
g. Square, Sabrina
h. V-necklines
20. These are tops that have been tailored to be worn with jeans or trousers.
e. Peasant
f. Surplice Wrap
g. Casual
h. Button-down
Directions: Fill-in the blanks with the correct word (s) that best
describe(s )the statement.
1. Procedure in drafting a Round Neckline.
6. Trace the basic bodice _______
7. A-B is ___ cm.
8. A-C is ___ cm.
9. D-E is __ cm. Shape the neckline from
C, B, and E.
10.Measure ___ cm for the zipper
allowance from E.
2. Procedure in drafting V-neckline
6. Trace the ____ bodice pattern
7. A-B is ___ cm.
8. ___ is measuring 16 cm. from
shoulder.
9. D-E is ___ cm.
10.From ___ measure 2.5 cm for zipper
allowance.
C. Identification.
Directions: Identify the type described in each statement. Write

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11. The type of neckline curve which has the same shape as the
neckline of the garment.
12. Part of a shirt, coat, dress, blouse, etc., that encompasses the
neckline of the garment and is sewn permanently into it.
13. A collar that stands up slightly from the point of attachment to
the neckline of a garment before folding over to lie flat.
15. A collar that is found in garment with front openings, can be
worn either in an open style or in a closed style.
16. A sleeve that has an arm seam inside the shoulder width.
17. A sleeve that is fitted at the wrist but cut with a deep armhole
and resembles a cape from the back.
18. Measurement taken from left to right shoulder tip bone.
19. Measurement taken across the back halfway down the
shoulder.
20. A measurement taken around the smallest part of the body.
D. True or False
Directions: Write T if the statement is true and F, if the statement is
false. Write your answer in your quiz notebook.
1. Chest measurement is taken by measuring one arm joint to the other
arm joint.
2. Waist measurement is taken around the arm where the sleeve length
ends.
3. Lower Arm Girth is taken around the fullest part of the arm 2-3 inches
below the armpit.
4. Apex Height measurement is taken from the shoulder neck tip bone
down to the apex point
5. Upper Arm Girth is taken around the arm in line with the armpit.
6. Apex Distance is approximately 7 inches down the waistline with the
tape measure passing around the hip.
7. Sleeve length is taken around the fullest part of the hip.
E. ANALOGY
Directions: Supply the measurement needed for a blouse which
Matches the given word at the left. Measurements
needed for a blouse.
1. Shoulder:________
2. Figure:________
3. Bust:______
4. _________:Sleeve Length
5. _________: Sleeve Width
6. Waist Measure:_______
7. _______:Hip Measure
8. ________: First Hip

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F. Enumeration
Directions: Write what is asked for in the statements below.
1-5 Types of fabrics suited for ladies blouse
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________

LM-Dressmaking / GRADE 10
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QUARTER III
Overview
Part III and IV is about producing ladies trouser. This will enable you to learn
more and develop skills in drafting and cutting pattern for ladies trousers, prepare and
cut materials, assemble garment parts and apply finishing touches, particularly long
pants with continental side pockets or front hip pockets.
In addition, the process of labelling and packaging the finished output is also
discussed.
General Objectives:
At the end of the quarter, learners are expected to:
1. drafts and cuts pattern; and
2. prepares and cuts materials for ladies trousers.
Pre-Test III
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn’t. Write your
answer in your quiz booklet.
__________1. Knee length is measured along the side seam from the
waist to the level of the knee.
__________2. Desired knee circumference or knee width is measured
around the knee with the desired “tightness” of the sleeves.
__________3. Crotch or rise can be measured in two ways: standing
position and crouching position.
__________4. Sitting position measurement of crotch can be done by
sitting erect on a chair that has a flat bottom seat.
__________5. Standing position is measured without the use of tailor’s

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square in crotch measurement.
__________6. Length or trouser outseam is measured along the side
Seam from the waistline to the hem line or desired length.
__________7. Hip 1 is measured from the waist down 3 ½ to 4 ½
inches.
__________8. Waist is measured around the area where the hip seam
rests.
__________9. The desired bottom circumference or bottom width is
measured around the hemline which will be the desired
leg
_________10. Hip 2 is measured 4 to 7 inches below the waist taken
around the fullest part of the buttocks.
B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
1. The waist fits snugly at waist or at hips if the pants are:
a. Waist-huggers c. Leg-huggers
b. Hip-huggers d. Fitted block
2. Fabric materials for pants can be of natural fibers and ____.
a. Synthetic c. Plastic
b. Rubber d. Metal
3. In constructing a pair of long pants, consider the following except:
a. Shape of pants legs c. Number of darts or pleats
b. Style of the hemline d. Size of the neck
4. What is the first procedure for making the front hip or continental side
pockets?
a. Trace the top pocket facing from the plan.
b. Plan the pocket shape and the depth.
c. Surveymaterial
d. Trimlines
5. Hip pockets are made up of two pattern pieces: a pocket and a
a. Facing block c. Facing wood
b. Facing piece d. Facing line
6. It finishes off the pocket opening:
a. Facing block c. Facing pieces
b. Pocket piece d. Pocket block
7. It becomes part of the main garment at the waistline in constructing
hip or continental side pockets.

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a. Pocket face c. Pocket piece
b. Facing block d. Facing piece
8. Which of the following is not a natural fiber made?
a. Denim c. Ski pants
b. Spandex d. Modern twee
9. Which of the following is not a synthetic fiber made?
a. Poly linen c. Shantung
b. Double knit d. Jacquard fabric
10. Lay out and pin the pattern pieces on the cloth as ________ as
possible in prepare for material cutting.
a. Economically c. Legitimately
b. Probably d. Grateful
C. SEQUENCING
Directions: Arrange the following procedures chronologically by writing
the right number based on their proper order.
1. Prepare the material for cutting
________ Provide seam allowances.
________ Cut the material
________ Preshrink, straighten, and press the cloth
________Lay out and pin the pattern pieces on the cloth as economically as
possible.
________ Transfer all construction marks.
2. Attachment of the zipper on the left fly
_______ Join the legs. Place the right and the left front crotch seam
edges RS together, matching the crotch points and the waist
edges.
________ Left fly. Cut the pieces of the fabric and the pocketing same
size as the fly extension on the right leg.
________On WS lift the fly pieces free of the trouser and baste the
zipper tape to it, keeping it in the position established when
basting from RS.
________ Fold the fly piece on the left wide to WS baste with the
seam on the edge.
________ Remove the basting and spread out the waist of the left
trouser leg with the fly piece extending.
________ Stitch and press inside the leg seams. Baste the crotch
seam from the base of the zipper and through the
backstitch with double thread.
________ Close the zipper; pin the band. Check the stitching line;

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open the zipper, then machine or prick stitch from the base
of the band finishing with a bar tack over the crotch seam.
________On WS make a bar tack between the fly extension and the
crotch seam at the base of the zipper
Legend:
RS – Right Side WS – Wrong Side
3. Hemming and finishing of trouser
________ Cuff or u turn. The trousers should be cut 9 cm/3 ½ longer.
________ Finish the trousers by pressing well.
________ Hem Mark the length, checking that inside leg seams are equal.
4. Order of Assembly for continental side pockets:
________ Join the top pocket facing the right side of the pant together. Clip
the seam on curve. Press. Topstitching is necessary.
________Join the rounded edges or corner edges of the pocket,
matching the balance marks, right sides together. Trim the edges.
Join the side seams of pants.
B. ENUMERATION
Directions: Enumerate the following:
A. Measurements needed in constructing pants:
1. _______________________
2. _______________________
3. _______________________
4. _______________________
5. _______________________
6. _______________________
7. _______________________
B. Hip locations to be measured in constructing pants:
1. _________________________
2. _________________________
C. Two ways in measuring crotch
1. ________________________
2. ________________________

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Learning Outcome 1 Draft and Cut Pattern for Ladies Trousers
Objectives
1. perform how to draft and cut pattern; and
2. demonstrate how to prepare and cut materials for ladies trousers.
There might be some confusion between the meaning of trousers, pants, or
even slacks. Some maybe asking what is more appropriate to use for ladies? Or
which one is for men? Even some dictionaries, the meaning seem to be
synonymous or interrelated with each other. In order to come up with a more specific
meaning, experts in sewing considered the origin from where these words came
from. In most parts of the United Kingdom and Ireland, trousers are the general term
for an outergarment which are worn at the hips or waist, and maybe held up by their
own fastenings, a belt, or suspenders (braces) while pant, a British word, refer to as
men’s underwears or underpants, plural of which are pantie. But, in some other
places, it is also an outergarment covering each leg separately and usually
extending from the waist to the ankle- and it comes from the word “pantaloons”.
Slacks are trousers especially for casual wear and it is usually used in plural form.
Designs of Ladies Trousers
Trousers are basically office wear worn by corporate women. They
are made up of cotton, polyesters and wool and looking great with a
formal blouse and shirt.
As fashions change, the lengths of slacks or trousers vary now from
very short to knee length, to just below the knee, and on down to the
ankle and just below it. The legs of trousers may be slightly flared,
straight, or tapered. Careful construction of them will enable us to
construct a pair of trousers which will be well-tailored and contribute to a neat
appearance regardless of specific style or design.
LESSON 1 PRODUCE LADIES’ TROUSERS

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To come up with the best trouser that would compliment your body is to
understand one’s body type or shape, the posture of the body and the type of fabric
used in making the trouser. There are six main body shapes that will guide you in
choosing the best style of trouser to wear: Hourglass, Triangle, Inverted Triangle,
Rectangle , Diamond and Rounded shape.
Different Shapes of the Body
1. For Triangle shape, it is best to wear a trouser with the straight leg.
2. For Inverted Triangle shape, a peg trouser, with pleats on the top, and
has a waistband. Wide leg lining trouser is also good for this body shape.
3. For Rectangle shape, low rise, skinny trousers and wider leg is best for this
shape. Avoid big flares and cargo pants and silky flowing trousers for office
or night out.
4. For Hourglass shape, high-waist and wide-legged trousers underline the
curvaceous body are of great style options.
5. For Oval or Diamond shape, trousers should be in classic style with flat
fronts, and no extra from zips, pleats or gathers. Low rise trousers should
not be worn and waistbands should not be too tight. Boot cuts are best
suited for this shape and if tall enough, straight cuts or palazzo is of great
choice.

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6. For Apple or Rounded shape, a pair of boot cut jeans will help this body
shape looks slimmer and create a line waist down. Skinny jeans or trousers
should be avoided.
Another factor to consider is the type of posture that a wearer has. Posture type can
be classified into three categories:
1. Average. When the wearer stands fairly straight and the side seams of
pants fall straight and are lined up with the ankle, she has average posture.
2. Forward-tilted hip. When the wearer stands in somewhat slouched manner;
fairly flat, low seat, and has high prominent roll below the front waist or high
prominent hip bones. This posture causes pants to sag under the seat
unless the pattern is altered.
Different Body Postures
3.Backward-tilted hip. When the wearer stands with the tummy lowered and
posterior out and up and the pants hike up over the seat. In here, the pattern crotch
length is not corrected.
Average Forward-tilted hip Backward-tilted hip

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Styles of Trousers
1. Straight Leg Trouser is the style of trousers which can
fit any body type. It can be found in different designs and
best for business meetings and in casual workplace. It has
uniform width from thigh all the way to hem. The
straight line help balance out any body type and has the
ability to hide wide and bulky thighs. It is ideal for
women with wider hips, larger thighs as well as for
slender women.
a. Gaucho trouser is similar to Capri pants except that it
has wider legs with a flare at the bottom. This is ideal
for warm weather. The short breathable legs keep
the woman cool and the wide and flowing legs can
have a similar appearance to a skirt depending on the
amount of fabric used and the amount of flare.
Women with long legs can wear any style or colour
gaucho trousers and women with shorter or
heavier legs should wear longer gaucho
trousers in a light color.
3. Boot Cut Trouser has similar design to
straight leg trousers except that it has a
slight flare at the bottom so that it can easily
fit over a pair of boots. This works well with
any body type.
4. Skinny Trouser is the style for women who have skinny, straight legs and slim
figures. Skinny trousers hug the legs and the hips very closely and make the lower
half of the body look small. It is important that the top half of the body is in proportion.
Leggings are usually skin tight and are made up of denim, cotton and lycra.

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5. Cropped Trouser is best suited during
summertime. It is not as short as capri pants,
instead it has a hem that falls between the
ankle and the calf. It has straight legs and do not
hug the legs too closely. Women with shorter
stature should avoid cropped trousers that
have a cuff because they will make women
shorter than they already are. It is best suited for
casual or business casual occasions.
Capris are popular among women which are worn during summer. These are made
up of cotton, denim and polyester.
Wide 6. Wide Leg Trouser has straight legs that is wider and more
flowing than straight leg trousers. Tall, slender women are
wearing this kind of trousers because it can make the bottom
appear larger than the top half. When paired with the right shoes,
wide leg trousers can help elongate the legs and slim the figure
down.
These types of trousers are available as part of a women's suit
or as a casual pair of trousers for any occasion.
Palazzos are generally loose in fitting and are best suited to lean
women and goes well with tank tops and trendy blouses. These
are made up of wrinkle free fabric.

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Types of Waistbands for Trousers
1. Super High Rise. Waistband is more than 1 inch above your waist.
2. High Rise Jeans. Waistband is 1 inch above your waist.
3. Medium Rise Jeans. Waistband is located precisely on the waist.
4. Medium to Low Rise Jeans. Waistband is located typically 2-3 inches below the
belly button. The most popular rise in most denim brands, especially for women.
5. Low Rise Jeans. Waistband is very low, 3-5 inches below the belly button.
6. Ultra Low Rise Jeans or Brazilian Low Rise Jeans. Brazilian jeans are growing
in popularity and are renowned for their daring sexy cuts, high quality and original
embellishments.
Types of Fabrics Suited for Ladies Trousers
Women buy a pair of trousers to add to their wardrobe
and wear in the workplace. They choose the best one that suits
them and best for their body types. They find the styles of
trousers that look most flattering to them aside from this they
give comfort and ease of movement in their workplace.
There are various styles, designs and colours to match
every woman’s taste when it comes to trousers. But then, to
come up with well-fitted and well-constructed trouser fabrics
must be given importance in constructing or buying a pair of
trousers to give more flattering and more catching effect to the
wearer.

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In choosing the best fabric suited for ladies trousers, choose fabric which is
firmly woven to hold its shape and would compliment more to your body shape.
Texture and design should be properly examined to avoid scratchy feeling when it is
used. There are also fabric types which require lining to prevent undergarments and
seam allowances seen through. Choose medium-weight blends fabric for trousers.
Types of Fabrics Suited for Ladies Trousers
Gabardine
Gabardine is a light wool (or cotton once
in a while) twill weave that's best for
Spring and Fall. It is usually woven in 10-
12 ounce weights that are warm in the
summer and not warm enough in winter.
Polyester
Polyester has the same characteristics
as the cotton but may not easily gets
dirty as cotton.
Cotton
Cotton has an elegant appearance for
women but for women with lots of
activities, this is not appropriate because
it snags easily and is hard to clean and
care for when it gets dirty.
Denim
Denim is a heavy-weight fabric with
very little drape or stretch.

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Corduroy
Corduroy is a type of fabric that has
strips on one side alternating between
flat and slightly fluffy, which gives a
ribbed effect. Corduroy is quite thick
and is often used to make trousers and
jackets.
Velveteen
Velveteen is a type of imitation velvet. It
is normally made of cotton or a
combination of cotton and silk. It has a
pile that is short (never more than 3mm
deep), and is closely set. It has a firm
hand and a slightly sloping pile. Unlike
true velvet, this type has greater body,
does not drape as easily, and has less
sheen
Satin
Satin is also commonly used in apparel:
satin baseball jackets, athletic shorts,
women's lingerie, nightgowns, blouses,
and evening gowns, but also in some
men's boxer shorts, briefs, shirts and
neckties. It is also used in the production
of pointed shoes for use in ballet. Other
uses include interior furnishing fabrics,
upholstery, and bed sheets.
Flannel
Flannel is a soft, lightweight fabric. It
works well for colder-temperature shirts,
pants and jackets.

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Parts of Trousers
Linen
Linen is a medium-weight fabric with little
elasticity (hence it wrinkles). But it
conducts heat and is a popular choice for
warm-weather.

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Parts of Trousers
1. Waistband is a strip of fabric fastened at the top of trousers that fits around the
waist.
2. Fly is an opening/placket covering the groin which makes the pants easier to put
on or take off. It conceals the mechanism such as zipper, velcro or buttons.
3. Leg(s) or leggings are form-fitting covering for the legs.
4. Seam is a line where two pieces of cloth are joined by sewing near the edge of the
fabrics (inseam and outseam).
5. Bottom(s) are the lowest part of trousers.
6. Trouser support the belt loops on the waistband of the trousers where the belt
passes on serve as support to the wearer.
7. Pocket is usually small cloth bag that is sewn into a piece of clothing which is open
at the top or side where little things can be put into it.
Identification
Directions. Identify the following being described. Write your answer in your quiz
notebook.
1. These are styles of trousers which can fit any body type.It can be found in
different designs and best for business meetings or in casual worklplace.
2. These are trousers with skinny legs for women who have straight legs and
slim figures.
3. It is usually skin tight and are made up of denim, cotton and lycra.
4. It has the same characteristics as the cotton but may not be that easily gets
dirty as cotton.
5. It is a heavy-weight fabric with very little drape or stretch.

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Types of Pockets
A pocket is a bag- or envelope-like receptacle either fastened to or inserted
in an article of clothing to hold small items. It is an indispensable part of men and
women’s garments. It is functional. It serves as container for small objects aside from
being a decoration. In the construction of long or short pants, different kinds of pockets
are used.
1. Patch pockets. These pockets are external and can be decorative. They
can be made from the same fabric as the garment or from a contrasting
fabric.
a. Unlined patch pocket is one of the most popular types of pockets, it can
be found on garments of all kinds.On medium and heavier fabrics, it is
advisable to apply a fusible interfacing.
1. If needed, apply an interfacing to the
pocket fabric.
2. Mark the fold lines with tailored
tacks.
3. Fold the top of the pocket down, as
indicated by the tailor’s tacks.
4. Use the zigzag stitch to neaten the
edge.
5. Sew down the sides of the turned-
down top.
6. Sew a long stitch through the
corners. This will tighten the curve.
7. Trim away the fabrics in the seam
allowance of the curve.
8. Remove the top corner.

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9. Turn the top edge over to the wrong
side . Press.
10.Pull up the stitches in the curves to
tighten. Press.
11.Turn under the curved edges.
12.Baste through the bottom edge and
curves to secure.
13.Hand sew the top edge with a
herringbone stitch to the wrong
side of the pocket.
14.Press. The pocket is now ready to
be attached.
b. Lined patch pocket. This type of pocket is not suitable for heavy fabrics
and for medium-weight fabric, a fusible interfacing is required. This needs to
be cut with the top edge of the pocket on a fold.
1. Cut the pocket fabric and apply a
fusible interfacing if needed.
2. Fold the pocket in half, right
side to right side. Pin to
secure.
3. Sew around the three open
sides of the pocket. Leave a
gap of 1 in (3cm) for turning
through.
4. Remove bulk from the corners
by trimming.

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5. Trim one side of the seam
allowance down to half its
width.
6. Use pinking shears to trim
corners.
7. Turn the pocket through the
gap to theright side. Press.
8. Hand stitch the gap (using a
flat fell or blind hem stitch) in
the seam. The pocket is now
ready to be attached
c. Square Patch Pocket. It is possible to have a patch pocket with square
corners. This requires mitering the corners to reduce the bulk. Use a fusible
interfacing on medium-weight fabrics.
1. Cut the pocket and apply
interfacing, if needed. Neaten
theupper edge of the pocket
withserger or zigzag stitching.
2. Fold over the upper edge and
stitchdown the sides.
3. Fold in the other three edges and
press to crease.
4. Remove the top corners.
5. Fold in the bottom corners, then
fold accross these to give creases
for the mitters.
6. Sew the crease lines together in
each bottom corner to miter it.
7. Cut off the surplus fabric, then
press the corner seam open with the
toe of the iron.

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8. Turn the edges of the pocket to
the wrong side.
9. The finished pocket is now ready
to be attached.
d. Attaching patch pocket.To attach a pocket well, accurate pattern chalk marking is
essential. It is best to do this by means of tailor’s tacks or even trace basting. If you
are using a checker or striped fabric, the pocket fabric must be alligned with the
checkered or stripes on the garment.
1. Mark the pocket placement lines on
the garment with tailor’s tacks.
2. Take the completed pocket and place
it to the fabric, matching the corners
with tailor’s tacks. Pin in position.
3. To make sure the pocket remains in
the correct position, baste around the
edge along the sides and bottom. Keep
the basting stitches close to the finished
edge of the pocket.

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4. Sew approximately 1/32 in (1mm)
from the edge of the pocket.
5. Remove the basting stitches. Press.
6. Alternatively, the pocket can be hand
sewn in place, using a hem stitch into
the underside of the pocket seam. Do
not pull on the thread too tightly or the
pocket will wrinkle.
e. Reinforcing pocket corners. On any patch pocket, it is essential to reinforce the
corners as these take all strain when the pocket is being used. There are several
ways to do this, some of which are quite decorative.
REVERSE
STITCH
DIAGONAL
STITCH
ZIGZAG
STITCH
PARALLEL ZIGZAG
STITCH
1. Reinforce the
corner with a
reverse stitch.
Make sure the
stitches lie on top
of one another.
1. This technique
is primarily used
on shirts. When
sewing the pocket
in place, sew
along horizontally
for four stitches.
1. Using a small
zigzag stitch,
width 1.0 and
lenght 1.o sew
diagonally
accross the
corner.
1. Patch on the
wrong side of the
garment, behind the
pocket corner, to sew
into for strength.
2. Pull the threads
to the reverse to
tie off.
2. Turn and sew
diagonally back to
the side, to create
a triangular shape
in the corner.
2. Make a
feature of this
stitch by using a
thread in
contrasting
color.
2. Using a small
zigzag stitch, width
1.0 and length 1.0
sew a short vertical
line next to the
straight stitches.

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Types of Facing and Interfacing
Facings are pieces of fabric sewn to the garment edge, turned to the inside,
and sewn in place by hand or machine. Garment edges that are commonly faced are
necklines collars, cuffs, and sleeveless arms-cyes.
There are two styles of facings that are common to the costume shop, fitted and bias
facings.
1. Fitted Facings are pieces of fabric that match the area to be faced in shape and
grain.
2. Bias Facings utilize the stretch of the bias to shape the facing to the edge being
faced. The stetch of bias is limited and are restricted on the curvature possible on the
edge to be faced.
Interfacing is a supporting fabric that is used to give body, shape and
reinforcement to particular areas of a garment, and is hidden between plies of fabric.
Interfacing in good quality garments is usually found in the following areas:

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Interfacing is used to provide shaping, reinforcement, firming and support.
Collars, cuffs, facings and plackets are the most commonly interfaced areas but far
from the only uses for interfacing. Without interfacing buttonholes might rip without the
interfacing to strengthen them, facings collars and cuffs would be limp and floppy
without interfacing and many creative projects would never happen.
Interfacing comes in various weights and sew-in or fusible form. The weight is
almost always lighter than the fabric you are sewing but should always have the same
care requirement. One exception is something like a baseball hat bill or fabric bowl.
That interfacing is much heavier than the fabric to obtain the stiff hat bill or bowl
shape.
Fuse or Sew-In Interfacing
Although the choice ends up being a matter of preference, the fabric is the final
decision. Not all fabrics can withstand the heat required for fusible interfacing. Cool
fuse. Interfacing is a possibility because it adheres at a lower heat setting. Fusible
interfacing also adds a bit more stiffness once it is fused than when it is standing alone.
Always pre-wash your fabric to remove any finishes or chemical coatings before
attempting to fuse an interfacing to it.
When you are sewing fabrics such as vinyl, velvets, beaded, sequin and treated
fabrics it is best to use sew in interfacing.
Identification.
Directions. Identify the following being described. Write your answer in your quiz
notebook.
1. These are pieces of fabric that match the area to be faced in shape and grain.
2. These pockets are external and can be decorative. They can be made from the
same fabric as the garment or form of a contrasting fabric
3. It is used to provide shaping, reinforcement, firming and support.
4. These are facings which utilize the stretch of the bias to shape the edge.
5. These are pieces of fabric sewn to the garment edge, turned to the inside, and
sewn in place by hand or machine.

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Project Plan for Ladies Trousers
I. Name of the Project: Making a pair of ladies’ trousers
Date Started: _______________ Rating: _____________
Date Finished: ______________
II. Objectives:
a.
b.
c.
III. Design of the Project:
IV. Materials, Tools, and Equipment Needed
A. Materials
Description Quantity Unit Cost Total Cost
B. Tools and Equipment
V. Procedure
A. Preliminary Construction Process
1.
2...
B. Assembling the Ladies’ Trouser
1.
2.
3...
VI.Evaluation
Rubrics for Evaluating the Finished Ladies Trousers

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Body Measurements for Ladies Trousers
Body Parts to be
Measured
Actual
Measurements
1. Outside
Length (L)
2. Waist (W)
3. Seat/ 2nd
Hip (2H)
4. Rise/
Crotch (C)
5. Thigh (T)
6. Knee (K)
7. Bottom
(B)
Body Parts to be Measured in Making Trousers
1.Waist.
2. High hip (3" down at side).
3. Hip at fullest part (7-9" below waist).
4. Distance at side from waist down to fullest part of hip.

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5. Pant length (waist to floor).
6. Thigh at fullest part.
7. Knee (1" above center).
8. Distance to knee from waist.
9. Crotch depth. Sit on a flat surface and measure from waist to surface on side.
Note: Rise or Tiro meaning “Crotch”
Procedure in Taking Body Measurements for Ladies Trousers
Tips in Taking Body Measurements for Ladies Trousers
1. Use a clear and correctly numbered tape measure.
2. Start from number one when taking measurements.
3. Never take your own measurements.
4. Stand straight when being measured.
5. Empty the pockets and remove the belts when measurements are being
taken.
6. Follow the correct order of taking the body measurements.
7. Measurements should never be too tight nor too loose.
8. Record all measurements immediately.
Needed Measurements
A. Vertical Measurements
1.Outside Length – Taken from the waist down to the desired length, this
measurement is taken at the side with a tape measure.
2. Rise- Taken from the waist down to the crotch with the use of a tailor’s
square.
B. Horizontal Measurements
1.Waist- Taken around the smallest part of the torso or body with a tape
measure.
2.Seat or Hip- Taken around the fullest part of the second hip or buttock with a
tape measure.
3.Thigh- Measured around the fullest part of the thigh in line with the crotch.

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4.Width of knee- Taken from the back creaseline to the front creaseline at the
kneeline of the pants.
5.Width of bottom- taken at the bottom of pants desired length.
C. Rise Measurement
Techniques in taking the rise measurement:
1. Use a ruler and a tape measure.
2. Use a tailor’s square.
3. Have the person seated and take the measurement at the side, from the waist
down to the chair seat.
Fundamental Lines Needed in Drafting the Pants Pattern
Fundamental Lines in Pants Pattern

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A. Front Part (Use red ink in drafting)
1.From 1, measure 7½ cm upward to get A.
2.From 1, apply the rise measurement to get 2.
3.From 1, apply the length measurement to get 3.
4.From 3, measure 3.8cm downward to get 4 for the fold allowance. Square
out from1, 2, 3, and 4.
5.From 2, apply ¼ seat measurement plus 1.9cm to the left to get 5.
6.From 2, apply ¼ seat measurement plus 1.9cm to the right to get 6.
7.From 1, measure 1.9cm to the right to get 7.
8.From 7, apply ¼ waistline measurement to the right to get 8.
9.From 7, apply ¼ waistline measurement plus 1.9cm to the left to get 9.
10. Get the measurement from 7 to 2 and apply this from 9 to get 10.
11.From 8, measure 1½ cm upward to get B. Using a hip curve, draw a line to
connect 7 to B and 9 to 10.
12.From 5, measure 3.8cm to the right on line 2.
13.From 10, measure 3.8 cm upward on line 9 to get 11. Using a french curve,
connect 5 and 11.
14. Get the midpoint of 2 and 3 and mark this C.
15. From C, measure 3.8cm upward for the knee cap.
16. From the knee cap point, apply ¼ knee measurement to the right to get
12 and ¼ knee measurement to the left to get 13.
17. From 3, 1pply ¼ bottom measurement to the right to get 14 and the same
measurement to the left to get 15.
18. From 4, apply ¼ bottom measuremnt plus 1.9cm to the right to get 16 and
the same measurement to the left to get 17.
19. Connect B, 8, and 6 with a hip curve turned outward. Connect 6 and 12
with the hip curve turned inward.
20. Draw a line downward connecting 12, 14, and 16. Draw another line
downward connecting 13, 15, and 17.
B. Back Part (Use blue ink in drafting)
1. From 6, measure 2½ cm to the right to get 18.
2. Get the midpoint of 8 and 6 and mark this D.
3. From D, measure 3.8cm to the right to get E.
Let’s Do it!

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4. From 12, measure 1.9cm to the right get 19.
5. From 14, measure 1.9cm to the right to get 20.
6.From 16, measure 1.9cm to the right to get 21. Connect E, 18, 19, 20, and
21.
7.From F, apply ¼ waistline measurement plus 3.8cm to the left to get 22.
8. From 22, measure 3cm upward to get 23. Connect 23 and F.
9. From 5, measure 3.8cm to the left (outside line) to get 24.
10. From 24, measure 1¼ cm downward to get 25. Draw a line to 10 then
connect 11 to 25 using a French curve.
11. From 13 and 15, measure 1.9cm to the left to get 26 and 27, respectively.
12.From 17, measure 1.9cm to the left to get 28. Connect 25, 26, 27, and 28.
Drafting Basic/BlockPattern for Ladies Trousers
LADY’S PANTS SLOPER
A. Pants measurements
1.Waist: taken around the smallest part of the waistline.
2.Hip II: 20 1/3 cm below the waistline, measured around the hip with the
tape measure over the fullest part of the buttocks.
3.Length of the pants: from the waistline to the ankle.
4.Crotch: with the individual seated, measured around from the waistline
down the seat.

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B. Sample measurements
Waist = 28
Hip II=38
Length=37
Crotch=10
Knee=18 standard
Ankle=16 standard
1. A is the starting point.
2. A to B is equal to crotch
measurements.
3. Divide hip by 2.
On the other long side/arm of the
square, look for 19 under 1/3 division
and place B; mark 19 under ½ divisionC;
mark under 1/6 division D; and mark 19
under 1/12 division E and mark corner F.
4. F to K is 1 ¼ cm; E to G is 1 ¼ cm.
5. H from A = 2/3 cm.
Divide waist by 2.
On the short arm of the square, look
for 14 under ¼ division and place H; mark
corner J; and 14 under ½ division L.
6. Connect I to G; F to G =G to L.
Draw front crotch from L to K;L to M = ¼ hip II.
7. With the curve, join J, M passing line
BC and mark corner T.
8. A to N= length of pants
9.B N/2 + 1 = 0
10.P from O = ¼ knee
Q from O = ¼ knee
R from N= ¼ ankle
S from N= ¼ ankle
11.Connnect P, R, S, Q up to T. With
a curve, connect K to P.
Let’s Do it!

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Cutting the pattern
1. Pin pattern securely.
2. Trace back crotch and back dart.
3. Cut outermost lines first, cut back crotch, then front pattern.
Manipulating Basic/Block Pattern for Ladies Trousers
A. Lady’s Pants with Sliding Front Pocket Design
Sample Measurement: (All in inches)
Waistline - 27
Hips - 36
Thigh - 20
Crotch- 8
Length- 40
Knee - 8 1/2
Bottom - 14
Back Sloper
1. 1 from P= 1 ¼ cm
2 from R= 1 ¼ cm
3 from S= 1 ¼ cm
4 from Q= 1 ¼ cm
2. Connect 6 to D.
3. F to D = D to G
4. On the short side of the square
place 19 under ¼ on D anf mark corner 7.7 to
8= 2/3 cm. Connect to 8 to 1.
5. Draw dart to 4 cm wide and 13 cm
long.

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FRONT PART:
From 1 to 2 is the crotch measurement, minus 1 ½ inches for
waistband.
From 1 to 3 is the length, minus 1 ½ inches for waistband
From 3 to 4 is 2 inches, and at from 3 to 5
6 is the center of 2 and 3, plus 1 ½ inches upper part
From 2 to B is 3 ½ inches
From B to E is 2/3 hips (use the square)
M is the center of B and E (make a center line)
From E to F is 1/8 hips (use the square) minus ½ inch
From D to N is the measurement of the bottom
From C to O is the measurement of the knee
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From B to 3 is the measurement of thigh, minus ¼ inch
Draw a line from O to 2 up to E
Draw a line from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
Draw a straight line from H to F
From F to W is 1 ½ inches
Draw a curve line from W to E
Front Part: cut on the line
BACK PART:
From N to P is ½ inch, and from D to Q
From O to R is ½ inch, and from C to S
Draw a straight line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ¼ inch (use the square)
From Y to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square)
From J to K is ¼ waistline measurement (use the tape measure) plus 1
½ inches
From X to K is 1 ½ inches
From F to G is ¾ inch (more or less)
Draw a line from K to I connecting letter G
L- is thecenter of J and K
Back Part: Give an ½ inch allow since both sides, and at the back part
of waistline is 1 ¾ inches allowance
Imaginary line is your back part

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B. Lady’sPants with Continental Front Pocket and Patch Back Pocket,
with V-Cut
Sample Measurement (All in inches)
Waistline - 26
Hips - 36
Thigh - 21
Crotch - 9
Length - 40
Knee - 9
Bottom - 13
FRONT PART:
waistband.
From E to F is 1/8 hips (use the square) minus ½ inch
Draw a straight line from O to N, and from C to D
From E to 2 is 4-inches down (thigh line)
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From B to Y is ½ inch
From A to H is ¼ waistline (use the letter x as center)
Draw a line from 3 to Y up to A
BACK PART:
Draw a line from R to P, and from S to Q

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From E to I is 1/12 of hips, plus ¼ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is ¼ waistline (use the square) minus 1-inch
Draw a line from R to I, and from S to T up to J
Draw a straight line from J to K
From J to K is ¼ waistline measurement (use the tape measure) plus
3/4 inches
From J to 2 is 1 ¾ inch, and from 2 to 3 is one inch
From K to 4 is 3 ¼ inches, and from 4 to 5 is one inch
Draw a straight line from 2 to 4, and from 3 to 5
From J to 6 , and at from K to 7
Front Part: cut on the line
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾
C. Ladie’s Pants with Four Pleats, and Sliding Front Pocket
Sample Measurements (All in inches)
Waistline - 25
Hips - 34
Thigh - 20
Crotch- 8
Length- 39
Knee - 9
Bottom-13
FRONT PART:
waistband.

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From E to F is 1/8 hips, minus ½ inch (use the square)
Draw a line from O to N, and from C to D
From E to 2 is 4-inches down
From 2 to 3 is is the thigh measurement,minus ¼ inch
Draw a line from O to 2 up to E, from C to 3
From H to A is ¼ of waistline measurement, plus 1 ½ inches for pleats
Draw a line from 3 to B up to A
Mark your pleats up to 1 ½ inches only

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BACK PART:
Draw a line from R to P, and from S to Q
From E to I is 1/12 of hips, plus ½ inch (use the square)
From B to T is 1-inch (more or less)
From A to J is 1 12 inches (more or less)
Draw a line from R to I, and from S to T up to J
Draw a straight line from J to K
From J to K is ¼ of waistline measurement, plus 1 ½ inches
L- is the center of J and K
Back Part: Give an inch ½ inch allowance both sides, and at the back
part of waistline is 1 ¾ inches
Directions: Following the procedure in drafting basic/block pattern for ladies’
trousers, draft or manipulate pants sloper using your own measurements.
1. Cut out the pattern along the dotted guidelines, then put the pattern pieces together
to make sure they match before starting to cut your fabric. Correcting any cutting
mistakes is essential so that the seam lines will match up.
2. Add seam allowance (at least 1cm) to all edges and 2,5-3cm to the hems.
Remember that you can measure and adapt the length of the pants legs to suit your
leg length. Depending on your seating posture the pattern length can be more or
less suited for you. If you want to make sure, cut the pants slightly longer than you
need. It is easier to shorten the leg length than making them longer if necessary.
Let’s Do it!

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3. The waistband is cut as one piece unless the width of the fabric is too short. In this
case you have to cut it in two sections (remember to add seam allowance to the
edges) and then join it in the back.
4. Place the pattern pieces on top of the underside of the fabric. Cut along the lines of
the pattern, leaving 5/8 inch (1.6 cm) space for seams around every part of the
pattern pieces. Mark the pattern pieces with a number or letter if you feel you will
lose track of which pieces will be sewn together
Learning Outcome 2 Prepare and Cut Materials for Ladies Trousers
Objectives
1. perform the methods on how to prepare and cut materials for ladies’ trousers;
and
2. follow the procedures correctly in performing the activities.
Laying Out Pattern Pieces for Ladies Trousers
The fabric for the trouser should be preshrunk and pressed to ensure that
there will be no more shrinkage after it has been cut and sewn. The grainline should
be straightened. When laying out, cutting, and sewing, pay close attention to the lines
and contours of the fabric print or design, and see to it that they align and match at
appropriate points for the best appearance of the finished garment.
Lay the fabric out on a smooth, hard surface.
Use sharp pins to pin the pattern pieces to the fabric.

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Cutting the Fabric
1. Cut out the fabric using the pattern pieces as a guide.
2. Mark the pattern pieces front and back using a washable marking pen or
marking pencil. Also, pin the pieces. Use two pins to mark the front and
one pin to mark the back pieces.
3. Use scissors to cut the triangles or waistline markings. Cut them out as this
will help match pattern pieces.
4. Cut with the grain. Cut the waistband exactly on grain, twice the width of the
Grosgrain plus ¼inch, and 5 inches longer than the waist measurement. The
waistband in plaid fabrics may be cut either on the kengthwise or on the
crosswise grain, depending on the design.
5. Cut the lining after the first fitting in case the pattern has to be altered.
6. Edge finish then, cut out pattern pieces using a zig zag or serging stitch
Transferrring of Marks onto the Fabric
1. Use tailor’s tacks to mark all darts, tucks, crotch seams, and outseams at
waistline and hem. Mark original seamsline on crotch seam with hand
basting.
2. Stay stitch the waistline ¼ inch outside the seamline. Stay stitch the
seamlines at the pocket, the length of the zipper. Do not stay stitch the
crotch seam.
3. Baste the lengthwise and crosswise grainlines with contrasting colored thread if the
fabric is not a plaid. Put the crosswise grainlines at a right angle to the lengthwise
grainline at the seven-inch hipline marking, the crotch, and the knee.
4. Identify the lines in the plaid that are the lengthwise and crosswise
grainlines. Safety pins can be used for this identification.
Let’s Do it!
Let’s Do it!

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5. Press the creases before basting the garment together. Fold on the lengthwise
grainline and baste. When pressing the crease, lay the fold on a plaid press cloth
and use a line in the fabric as a guide to help you keep
the crease straight. If you do not have a plaid press cloth, lay the fold against a yard
stick and press. In the front, press only to the point of the dart.
Post Assessment 3
A. True or False
Directions: Read and answer the following statements. Write “True” if the
statement states a fact and “False” if it doesn’t. Write your
answer in your quiz booklet.
__________1. Knee length is measured along the side seam from the
waist to the level of the knee.
__________2. Desired knee circumference or knee width is measured
around the knee with the desired “tightness” of the sleeves.
__________3. Crotch or rise can be measured in two ways: standing
position and crouching position.
__________4. Sitting position measurement of crotch can be done by
sitting erect on a chair that has a flat bottom seat.
__________5. Standing position is measured without the use of tailor’s
square in crotch measurement.
__________6. Length or trouser outseam is measured along the side
Seam from the waistline to the hem line or desired length.
__________7. Hip 1 is measured from the waist down 3 ½ to 4 ½
inches.
__________8. Waist is measured around the area where the hip seam
rests.
__________9. The desired bottom circumference or bottom width is
measured around the hemline which will be the desired
leg
_________10. Hip 2 is measured 4 to 7 inches below the waist taken
around the fullest part of the buttocks.

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B. Multiple Choice
Directions: Choose the letter of the correct answer. Write it in your quiz
booklet.
1. The waist fits snugly at waist or at hips if the pants are:
a. Waist-huggers c. Leg-huggers
b. Hip-huggers d. Fitted block
2. Fabric materials for pants can be of natural fibers and ____.
a. Synthetic c. Plastic
b. Rubber d. Metal
3. In constructing a pair of long pants, consider the following except:
a. Shape of pants legs c. Number of darts or pleats
b. Style of the hemline d. Size of the neck
4. What is the first procedure for making the front hip or continental side
pockets?
a. Trace the top pocket facing from the plan.
b. Plan the pocket shape and the depth.
c. Survey material
d. Trim lines
5. Hip pockets are made up of two pattern pieces: a pocket and a
a. Facing block c. Facing wood
b. Facing piece d. Facing line
6. It finishes off the pocket opening:
a. Facing block c. Facing pieces
b. Pocket piece d. Pocket block
7. It becomes part of the main garment at the waistline in constructing
hip or continental side pockets.
a. Pocket face c. Pocket piece
b. Facing block d. Facing piece
8. Which of the following is not a natural fiber made?
a. Denim c. Ski pants
b. Spandex d. Modern twee
9. Which of the following is not a synthetic fiber made?
a. Poly linen c. Shantung
b. Double knit d. Jacquard fabric
10. Lay out and pin the pattern pieces on the cloth as ________ as
possible in prepare for material cutting.
a. Economically c. Legitimately
b. Probably d. Grateful
C. SEQUENCING
Directions: Arrange the following procedures chronologically by writing
the right number based on their proper order.
1. Prepare the material for cutting

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________ Provide seam allowances.
________ Cut the material
________ Preshrink, straighten, and press the cloth
________Lay out and pin the pattern pieces on the cloth as economically as
possible.
________ Transfer all construction marks.
2. Attachment of the zipper on the left fly
_______ Join the legs. Place the right and the left front crotch seam
edges RS together, matching the crotch points and the waist
edges.
________ Left fly. Cut the pieces of the fabric and the pocketing same
size as the fly extension on the right leg.
________On WS lift the fly pieces free of the trouser and baste the
zipper tape to it, keeping it in the position established when
basting from RS.
________ Fold the fly piece on the left wide to WS baste with the
seam on the edge.
________ Remove the basting and spread out the waist of the left
trouser leg with the fly piece extending.
________ Stitch and press inside the leg seams. Baste the crotch
seam from the base of the zipper and through the
backstitch with double thread.
________ Close the zipper; pin the band. Check the stitching line;
open the zipper, then machine or prick stitch from the base
of the band finishing with a bar tack over the crotch seam.
________On WS make a bar tack between the fly extension and the
crotch seam at the base of the zipper
Legend:
RS – Right Side WS – Wrong Side
3. Hemming and finishing of trouser
________ Cuff or u turn. The trousers should be cut 9 cm/3 ½ longer.
________ Finish the trousers by pressing well.
________ Hem Mark the length, checking that inside leg seams are equal.
4. Order of Assembly for continental side pockets:
________ Join the top pocket facing the right side of the pant together. Clip
the seam on curve. Press. Topstitching is necessary.
________Join the rounded edges or corner edges of the pocket,
matching the balance marks, right sides together. Trim the edges.
Join the side seams of pants.

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B. Enumeration
Directions: Enumerate the following:
A. Measurements needed in constructing pants:
1. _______________________
2. _______________________
3. _______________________
4. _______________________
5. _______________________
6. _______________________
7. _______________________
B. Hip locations to be measured in constructing pants:
1. _________________________
2. _________________________
C. Two ways in measuring crotch
1. ______________________
2. ______________________

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QUARTER IV
Overview
Variation of styles for ladies trouser are at stake due to current fashion
demand. Industries keep on producing unlimited styles to satisfy customers’
demand.
General Objectives
At the end of the quarter, learners are expected to:
1. assemble garment parts of ladies’ trousers; and
2. sew the garment parts properly.
Pre-Test 4
A. True or False
Directions: Read the statements carefully. Write T if the statement is true
and F if the statement is false.
_______1. Flag label is a small label attached at outside side seam.
_______2. Snap Fasteners are used where a lightweight fastening is
needed.
_______3. Machine blind stitch consists of ten to eleven straight stitches
that sew the inside hem followed by a sideway stitch that
attaches the inside hem to the pant leg by a zipper.
_______4. Skirt zipper in a skirt or a dress is usually put in by means of a
lapped technique or a centered zipper technique.
_______5. Care Label is placed as a design feature.
_______6. One of the functions of packaging is to multiply the quantity of
product.
_______7. Rubber is one of the materials used in packaging products.
_______8.Wood and glass are traditional materials for the sturdier or more
specialized forms such as for shipping crates or holding liquids.
_______9. Initial finishing inspection is done after pressing garments and
passed for tagging and packing.
_______10. Fiber contents are also included in care labels.

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B. Multiple choice
Directions: Read the statements carefully then choose the letter of the
correct answer and write it on the space provided.
_______1. This label includes wash care and ironing instruction.
a. Flag Label c. Black label
b. Care Label d. Labeled
_______2. It is one of the packaging forms wherein the plastic film is
molded tightly over a product mounted on a card.
a. Skin packaging c. Aerosol
b. Blister packaging d. Dump dispenser
_______3. What is the commonly used stitching for jeans or for the lining
of dress pants?
a. Diagonal Stitching c. Long stitching
b. Short stitching d. Straight Stitching
_______4. It defines a specific set of measurements of human body.
a. Main Label c. Size label
b. Packaging Label d. care label
_______5. What packaging function is implied on promoting a product?
a. Easy to use function c. Promotes the product
b. Identifies the product d. protects the product
_______6. After garments are packed up to certain quantity, what does the
quality control team do?
a. Internal final auditing c. Final finishing inspection
b. Initial auditing d. external auditing
_______7. The following are types of fasteners except:
a. Buttons c. Hook and Eye
b. Zipper d. clip
_______8. A label that indicates which sewing line or batch had made the
particular garment.
a. Batch Mark Label c. Manufacturer Label
b. Flag Label d. Care Label
_______9. Which of the following is not a good characteristic of paper and
cardboard packaging materials?
a. Inexpensive c. Easy to print on
b. Light weight d. hydrophilic
_______10. At what label the fiber contents are placed?
a. Care Label c. Size Label
b. Flag Label d. Manufacture label
C. Identification
Directions: Read the statements carefully. Write the answer on the space
provided.
_______1. It is a special package made by placing clear film around the
product itself.
_______2. It is a cap, lid, or seal through which the contents of the
_______3. It is a packaging material that has long been used to package
liquids and food products and commonly used in a form of can.

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318
_______4. It is mainly used to package and hold liquids or products
containing liquids.
_______5. Checking done prior to pressing of the garment at finishing
room is known as what?
_______6. It is a container that releases its contents in spray or foam when
a valve is pressed.
_______7. It is a function of packaging wherein it makes the product easy
to carry and keep them separated.
_______8. Is a package formed from plastic film or paper that is filled with
the product and sealed by heat process.
_______9. In lapped zipper, when the zipper is finished the teeth should be
covered by what?
_______10. It is used to indicate brand name or brand logo of the
company that sources and sells clothes.
Learning Outcome 2 Assemble Garment Parts for Ladies Trousers
Objectives
1. perform the procedures involved in assembling garment parts for ladies’
trousers; and
2. sew the garment parts properly and accurately.
You have come to the final stage in assembling the garment parts for ladies’
trousers. There are standard procedures on how to assemble the parts systematically,
but nowadays, dressmakers or sewers have their own standard and own technique
in assembling and sewing the garment parts according to their own convenience.
Pre-Assembling Procedure for Ladies Trousers
Preparing for the first fitting
1. Baste darts, outseams, and inseams, in that order.
Let’s Do it!

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2. Put one leg inside the other, right sides of fabric facing, to baste the crotch seam.
Do not baste through the seam allowances at the crossing of the inseam and crotch
seams.
3. Pin the fitting band to the inside of the garment with the lower edge of the band on
the stay stitching. Match the markings on the band to the garment at the center front,
center back, and outseams. Place pins on the garment side.
Fitting
1. Check the grainlines, ease, balance, and the position of all seams when fitting the
garment. Remember, drag lines point to the source of the trouble.
2. Start at the seven- inch grainline first and fit the front, then the back. The
crosswise grainline at the seven-inch hipline must be kept parallel to the floor. The
creases in each leg must be perpendicular to the floor. Pants have four centers,
whereas skirts only have two.
3. Adjust the darts before fitting the outseams. The darts may be shifted to the area
where they are needed.
4. Mini-darts, about two inches long, may be used between
the large darts and the side seams.
5. A slight garment bias in the center back seam is acceptable. Sometimes it is
impossible to match plaids at the inseams. Just remember these are the least
noticeable seams in the garment. Pants may be tapered in the fabric. Indicate the
amount tapered on the pattern.
Pressing Techniques for Ladies Trousers
Pressing
Tip: If you worry about shine what you can do is use a piece of thin cloth over the top
of your trousers before pressing. Be sure to use a cloth that does not leave bits of
fluff.
What you will need.
1. An ironing board
2. An iron
3. A bristle brush with a backing/handle that is flat, wooden and unvarnished.
Select an iron temperature and settings consistent with the pant fabric.
Steam works for most fibers, test on a small hidden area such as the pocket bag or
waistband inside before pressing the entire pant. Some fabrics may
require the use of a press cloth to prevent shine when pressing on the right side.
Press on a long flat surface, preferably a padded ironing board.

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Procedure in Assembling Ladies Trousers
Assembling the Trousers
1. The crotch seam and all leg seams are made before the pocket and placket
are constructed.
2. The outside leg seams, pocket and placket are constructed before the inside
leg and the crotch seams are made. The first method is common and will be
the one that is employed in our slacks.
Front of Trousers
1. Stay stitch waistline and side edges, inside leg seam edges, and front crotch
seam edges.
2. Machine baste darts and tucks; do not machine stitch until after first fitting.
Front Crotch Seam
1. Determine type of seam to be used. A flat-fell seam is strong and appropriate.
A plain seam is satisfactory if a finish is used that helps strengthen it, such as
binding its edges, or turning under and edge stitching the seam allowances.
2. Stitch permanently after first fitting.
Back of Trousers
1. Stay stitch back sections of slacks and machine baste darts in front.
Back Crotch Seam
1. Use same type of seam in center front. If flat-fell seam is used, be sure it is
made in same direction as front.
2. Baste seam, but do not stitch or complete seam until after fittng.
Pinning for Fitting
1. Pin inner and outer leg seams, wrong sides together.
2. Try on slacks, and pin tape snugly at waistline for fitting.
3. Adjust seams and darts as necessary, allowing hip, thigh, and crotch to fit with
enough ease for freedom of movement, enough so that slacks do not droop
awkwardly.
4. Fit in sitting and bending positions.
Let’s Do it!

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5. Fit waistline in same manner as for skirt. Mark correct hem line.
6. Remove garment and adjust pinning to prepare for stitching. If plain seams
are to be used, remove pins from seams, slipping them into a single thickness
of garment to show any alteration in seam line.
7. Turn garment in the right sides together and pin-baste new seam line for
stitching.
8. If flat-fell seam are to be used, leave seams in the wrong sides together, and
pin-baste for stitching.
Joining Front and Back Units
1. Stitch and press any darts or tucks and crotch seams. Stitch and press inner
leg seams with crotch seams and two inner leg seams exactly.
2. Clip seams on curves and trim seam allowances where seams cross.
3. Leg seams may be reinforced with narrow cotton twill tape extending 2” to
either side of crotch seam. Finish seams in same manner as crotch seams.
4. Sttich and press outer leg seams from hem to crotch, leaving the right side
open above the pocket marking, and the left seam open for the placket.
Pocket in Side Seam
The pocket is placed in the right side seam. The pocket in a seam will not
open if there is sufficient ease allowance in the fitting of the slacks at the waist and
the upper hem line.
1. Baste front pocket section to front of garment side seam, and back pocket
section to back of garment side seam on seam lines, right sides together; stitch.
Pocket in side seam: In step 1, the front pocket section has been basted
to the front of the garment side seam, and the back pocket section to the back
of the garment side seam. Step 4 shows that the pocket sections have been
stitched together and the pocket top has been pinned to the waistline of the
front of the garment so that it will be caught permanently in the waistline seam.
2. Press back seam allowance toward the back of the garment. Press front seam
allowances toward front of the garment.
3. Turn pocket front inside, rolling seam just to under side; machine top stitch on
front edge of garment ¼ “ from fold to form firm pocket edge. If top stitching is
not desired, press seam allowances toward pocket and understitch before
pocket is turned inside.
4. Pin-baste and stitch pocket sections together, beginning at point where
sections are joined to side seams, and continue around bottom and sides to
waistline edge of pocket.
5. Pin pocket top to waistline of garment front so it will be caught permanently in
waistline seam.
Bar Tack on Side-Seam Pocket
In sports clothes, the side seam pocket should be strengthened at the
upper and lower ends of opening by working a bar tack across them.

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1. Take several stitches ¼” long across seam at lower end of pocket opening,
using buttonhole twist or embroidery thread to match garment.
2. Cover ¼£ stitches with tiny overhand stitches close together, catching a few
threads of the fabric at the same time. Work across ends with tiny overhand
stitches.
3. Repeat at top of pocket after waistband has been applied to garment.
Bar Tack (1)- Several stitches of thread are being sewed across the end of the
opening.
Bar Tack (2)- These stitches are now being covered with overhand stitches
close together, picking up a few threads of the fabric at the same time.
Bar Tack (3)- The ends have been finished with small bar tacks.
Placket
Insert zipper as directed for side zipper.
Waistband
Construct and apply waistband, using either top-stitched application given for
the gathered skirt or the directions of the skirt which feature the invisible
stitching and the longer underlap, as well as interfacing.
The latter waistband may be top stitched along all edges for a more tailored
appearance if desired.
Hem for Trousers
Women’s and girls’ slacks are usually finished with a plain hem rather than
cuffs. Finish cut edge by edge stitching or apply seam tape; turn up hem at
desired length, press fold, pin-baste, and slip stitch to garment. Be sure the
edge is even before edge stitching or applying seam tape.
Fasteners
Attach hook-and-eye fasteners to waistband as directed for skirt.
Pressing
Give trousers a final pressing, matching inside and outside leg seams to locate
position for front and back creases.

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Learning Outcome 2 Apply Finishing Touches on Ladies Trousers
Objectives
1. perform the methods and procedures on how to apply finishing
touches on ladies trousers; and
2. sew the parts and embellishments on ladies trousers properly.
Trousers need not be over-decorated with embellishment except for those
pants worn during presentations or shows. There are just some embellishments and
decorations which we can employ in our trousers. Trousers are formal wear that is
why, there is no need to put many decorations in it.
Types of Fasteners
Buttons
Buttons are one of the oldest forms of fastening. They come in many shapes
and sizes and can be made from a variety of materials including shell, bone,
plastic, nylon, and metal. Buttons are sewn to the fabric either through holes on
their face, or through a hole in stalk called a shank, which is on the back. Buttons
are normally sewn on by hand, although a two-hole button can be sewn on by
machine.
Snap Fastener
Snap Fasteners are used where a lightweight fastening is needed. They are
available in a black or silver metal finish in a range of sizes. Small, clear plastic snaps
may be used on fine fabrics. There are many types of nonsew snap with decorative
metal or colored caps, which are attached using a special tool or a hammer.
Hook and Eye
Hooks are versatile fasteners that can fit into both straight bars and round
eyes and are strong enough not to open under stress. They are made in
different sizes and strengths and are frequently used on waistbands and at the
top of the zipper openings. Sew-on snap fasteners are available in range of
sizes, and non-sew snaps provide an alternative to buttonholes on casual
garments. Hook-and-loop fasteners, usually cut from a strip, are easy to open
and close and are often used for garment detail such as cuffs, and in home
furnishings.

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Zipper
The zipper is probably the most used of all fastenings. There are many types
available, in variety of lengths, colors, and materials, but they all fall into one of
five categories: skirt or pant zippers, metal or jeans zippers, invisible zippers,
open-ended zippers, and decorative zippers.
Finishing Touches
1. Hemming Stitches
Machine Sewing: Load your bobbin and top spool with the same color of thread.
The thread should match as closely as possible with the original thread used on
the pants.
For a simple hem with straight stitching, set your machine for a small to
medium straight stitch. In this picture, notice that the stitch width lever is set to
the extreme left position. Fold the hem so that the cut edge is folded in toward
the crease. Begin stitching 1/8 inch from the top of the hem and go all the way
round.
Straight stitching is used for jeans or for the lining of dress pants. The seam
side of pant linings normally faces the seam side of the pants so that the interior
and the exterior of the pants both present the finished side. Pant linings are usually
sewn with the pants right side out, but with the pant leg gathered toward the
crotch so that the lining extends enough for sewing.
Let’s Do it!

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For blind stitching, set the stitch width and the stitch pattern to the correct
position. Here, the stitch width lever has been set to the middle position.
A machine blind stitch consists of three or four straight stitches that sew the
inside hem followed by a sideway stitch that attaches the inside hem to the pant
leg by just a thread. This picture shows a sewing machine that uses a cam and
dial to select the sewing pattern. For cam number 1, the dial has to be set at
position B to select the blind stitch which is illustrated in gray color on the side of
the machine under the letter B. Read the instruction manual for your own sewing
machine to determine how to select the stitch pattern.

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Sewing the blind hem stitch. Working with the pants inside out, fold the hem
so that the cut edge is folded toward the crease as for the straight hem, but then
fold the final edge toward inside of the cuff leaving 1/8 inch to start sewing. The
photograph illustrated above is the technique for folding the material.
Folding the material for a blind hem stitch. This photograph shows how the
cut end of the pants cuff is folded toward the inside of the ironed crease, the pant
leg is folded once more leaving a 1/8 inch offset for machine blind stitching. For
some materials, it is necessary to iron the fold toward the inside of the previously
ironed crease to make the sewing easier and more accurate.
The material is in position for blind stitching. Notice that the inner seam is
offset about 1/8 inch to the right of the fold in the pant leg.

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1. Attaching Fasteners

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Attaching Hook-and-Eye Fastener
Hook and looped eye
1. Stitch around each hole on the
hook, without stitching through to the
right side.Take two or three stitches
over the neck of the hook to secure
it. Finish with backstitches near the
hook.
2. Position the eye so that the loop
projects over the fabric edge by
about 1/8 in (3mm). Fasten the
thread securely. Stitch around each
hole. Stitch over each side of the
eye inside the fabric.
3. Fasten the hook and eye. The
finished edges of the two parts of the
garment should just meet and lie flat,
so that no part of the hook or eye is
visible on the right side of the
garment.
Hook and Straight Eye
1. Stitch the hook to the wrong side of
the overlapping edge, with their ends
about 1/8 in (3mm) in from the edge.
Close up the opening and mark the
positions of the bears with pins on the
right side of the underlap.

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2. Stitch around the first hole on a bar.
Slip the needle between the fabric
layers, along to the second hole, and
stitch around it. Slip the needle to the
second bar position and stitch. Finishh
by fastening the thread securely.
Lapped Zipper- Skirt zipper in a skirt or a dress is usually put in by means of a
lapped technique or a centered zipper technique. For both of these techniques, you
will require the zipper foot on the sewing machine. A lapped features one side on the
seam- the left-hand side- covering the teeth of the zipper to conceal them.
1. Sew the seam, leaving enough if the
seam open to accommodate the zipper.
2. Secure the end of the stitches.
3. Insert the right-hand side of the
zipper first. Fold back the right-hand
seam allowance by 1/2 in (1.3cm). This
folded edge is not in line with the seam.
4. Place the folded edge against the
zipper teeth. Baste.

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5. Using the zipper foot, sew along the
baste line to secure the zipper tape to
the fabric. Sew from the bottom of the
zipper to the top.
6.Fold back the left-hand seam
allowance by 5/6in (1.5cm) and press.
Place the folded edge over the sewn
line of the other side. Pin and then hand
baste along foldline.
7. Starting at the bottom of the zipper,
sew across from the center seamline
and then up the side of the zipper. The
finished zipper should have the teeth
covered by the fabric.

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Evaluation of Finished Ladies’ Trousers
Evaluation of trousers may be based on the following criteria.
Indicators Perfect
Score
Student’s
Score
Teacher’s
Score
1.Materials used (20 points)
a. Is the cloth soft and absorbent enough to
provide comfort for which it is intended to
be used? Is it colorfast?
5
b. Is the fabric design suitable for pajama
trousers?
5
c. Do the thread and buttons match the
color of the fabric?
5
d. Was the material preshrunk? 5
2.Worksmanship (30 points)
a. Are the stitches straight or neatly curved
in accordance with the edges on which
they are applied?
8
b. Are the seams flat and straight? 8
c. Are the trouser legs of equal lengths? 7
d. Is the cord flat and smooth? 7
3.Fit (30 points)
a. Does the waistline fit comfortably? 10
b. Is the hip loose enough to permit
ease in movement?
10
c. Is the length adequate? 10
4.General appearance (20 points)
a. Do the pajama trousers look neat and
feel comfortable when worn?
20
TOTAL POINTS 100
1. Choose a classmate-partner and take each other’s measurements for pajama
trousers.
2. Prepare a plan for the project.
3. Draft the patterns.
4. Assemble the parts of the pajama trousers.
5. Present your work to your partner and the class for evaluation.

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Labeling of Garments
Labels are not functional component of a garment but essential for many reasons. 7
common labels those are found in garments are Brand label, Size label, Care label, Flag
label, Manufacturer code, Line mark label and special label. Each label has specific purpose
and carry some kind of information.
8. Brand or Main Label – indicates the brand name or brand logo of company
where the garment comes from.
Customers who like branded items simply look at the label and they
easily pick and buy the items. A brand label should have the product quality.
Examples of brand labels are Levis, Lee, Tommy Hilfiger for t-shirts, Adidas
for shoes, Zara for dresses, and many more.
9. Size Label- has the specific measurements of human body such as S for
small, M for medium, L for large or XL for extra large. Buyers would prefer to
look at to the size label to see which one fits his/her size.
10.Care Label – includes wash care and ironing instructions. This is attached at
side seam to warn wearers on what to do during washing, drying or ironing to
maintain the color, design, shrinkage ability and composition that makes up
the garment. Example, 60% cotton, 40% polyester. This also includes the
country where it is made like “Made in the Philippines”, “Made in USA”, etc.
11.Flag Label- is a small label attached at side seam with printed brand logo.
Some garments especially T-shirts have flag label embroidered or printed at
the upper right side of the garment as design feature.
12.Manufacturer Label -includes manufacturer’s code for the buyers who wants
to order the items from different parts of the world.
13.Batch Mark Label – indicates which sewing line or batch had made the
particular garment. Only few garment manufacturers add this label for the
internal quality inspection process and rectify which line had made the
garment and which checker had check the same. This is normally attached at
side seam under wash care label.
14.Special Label – is normally attached to draw customer’s attention at the time
of purchase. Examples are 100% cotton, Organic Cotton, etc.
FUNCTIONS OF PACKAGING
1. Protects the Products and Consumer – good packaging is designed to protect the
product. For example, packages should be designed to withstand humidity, punture,
and other types of damage.

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2. Contains the Product – containers make products easy to carry and keep them
separately.
3. Identity of the Product – a package would be less useful if it do not identify its
contents. Usually, the contents are identified by the label on the package. However,
using a special design or color on the package helps customers identify the contents.
4. Promotes the Product – the package is the natural place for promotion. It is part of
the product which is most visible to the customer.
5, Makes the Product Easy to Use – cartons with spouts for easy pouring, boxes with
zip-strip openings, butter wrappers with measurement marked on them are examples
of the conveniences offered by packaging. In each of these examples, the package is
designed with the user’s needs in mind.
Packaging Materials
1. Paper and cardboard – are among the most widely used packaging materials.
Paper is inexpensive, lightweight, fairly strong, and easy to print on. Cardboard has
all the advantages of paper and is heavier and stronger.
2. Wood and glass – are traditional materials for the sturdier or more specialized
forms of packaging. Wood makes sturdy shipping crates, which are reused many
times. Glass is used mainly to hold liquids or products containing liquids. It doesn’t
leak and has no smell.
3. Plastic – is used in many forms for packaging. It is shaped into jars and bottles; it
is molded into boxes, baskets, and trays; it is processed into sheets for packaging
toys, bed linens, small articles of clothing and a wide variety of food products.
4. Metal – is a material that has long been used to pack liquids and food products.
The most commonly used metal container is the can. At one time, all cans were
made of steel with a tin plating. Today, aluminum cans are popular, as containers
for soft drinks.
5. Metallic foil – extremely thin sheet metal, is widely used in commercial packaging.
It can be folded and wrapped almost like paper and yet has the strength and
moisture resistance of metal.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates, bottles
and jars, and bags and wrappers.
1. Skin packaging – plastic film is molded tightly over a product mounted on a card.
2. Blister packaging – a plastic bubble is preformed in a plastic sheet. The product
is placed on a card, and the bubble is placed over it.
3. Aerosol or Dump dispenser – a container that releases its contents in spray or
foam when a valve is pressed.
4. Flexible pouch – is a package formed from plastic film or paper that is filled with
5. Shrink wrap – is a package made by placing clear film around the product itself.

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6. Multipack – is a special package design that groups two or more packaged
products into a unit for easier display, carry home utility, or user convenience.
7. Aseptic packaging - combines many good qualities of cardboard, metal and glass.
These containers are called “aseptic” because they keep germs out of foods that need
no refrigeration.
8. Dispensing Closure - is a cap, lid, or seal through which the contents of the
Procedure in Packing
Procedure in packaging finished garments
Finishing Department: Check points in finishing department consists
1. Initial finishing inspection: checking done prior to pressing of the garment at
finishing room is known as initial finishing.
2. Final finishing Inspection: After pressing garments are again checked and passed
for tagging and packing.
3. Internal final audit: After garments are packed up to certain quantity, quality control
team, do audit of packed garments. This process is carried out to ensure that before
handing over shipment to buyer.
Identification.
Directions: Identify the following that is being described. Write your answer in
your quiz notebook.
1. This label includes wash care and ironing instruction.
2. A small label attached outside the side seam and are normally made of brand
logos and it is primarily used as design features.
3. Packaging form in which the plastic film is molded tightly over a product mounted
on a card.
4. Packaging form in which a container releases its contents in spray or foam when a
valve is pressed.
5. Is a material that has long been used to package liquids and food products and
one of its example is can.
Review of Learning Outcome

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Post Assessment 4
A.True or False
and F if the statement is false.
1. Flag label is a small label attached at outside side seam.
2. Snap Fasteners are used where a lightweight fastening is needed.
3. Machine blind stitch consists of ten to eleven straight stitches that sew the
inside hem followed by a sideway stitch that attaches the inside hem to the
pant leg by a zipper.
4. Skirt zipper in a skirt or a dress is usually put in by means of a lapped
technique or a centered zipper technique.
5. Care Label is placed as a design feature.
6. One of the functions of packaging is that it is used to multiply the
quantity of product.
7. Rubber is one of the materials used in packaging products.
8. Wood and glass are traditional materials for the sturdier or more
specialized forms such as for shipping crates or holding liquids.
9. Initial finishing inspection is done after pressing garments and passed
for tagging and packing.
10. Fiber contents are also included in care labels.
B.Multiple Choice
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
1. This label includes wash care and ironing instruction.
a. Flag Label c. Black label
b. Care Label d.Labeled
2. It is one of the packaging forms wherein the plastic film is molded
tightly over a product mounted on a card.
a. Skin packaging c. Aerosol
b. Blister packaging d. Dump dispenser
3. What is the commonly used stitching for jeans or for the lining of
dress pants?
a. Diagonal Stitching c. Long stitching
b. Short stitching d. Straight Stitching
4. It defines a specific set of measurements of human body.
a. Main Label c. Size label
b. Packaging Label d. care label
5. What packaging function is implied on promoting a product?

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a. Easy to use function c. Promotes the product
b. Identifies the product d. protects the product
6. After garments are packed up to certain quantity, what does the
quality control team do?
a. Internal final auditing c. Final finishing inspection
b. Initial auditing d. external auditing
7. The following are types of fasteners except:
a. Buttons c. Hook and Eye
b. Zipper d. clip
8. A label that indicates which sewing line or batch had made the particular
garment.
a. Batch Mark Label c. Manufacturer Label
b. Flag Label d. Care Label
9. Which of the following is not a good characteristic of paper and cardboard
packaging materials?
a. Inexpensive c. Easy to print on
b. Light weight d. hydrophilic
10. At what label the fiber contents are placed?
a. Care Label c. Size Label
b. Flag Label d. Manufacture label
C. Identification
provided.
__________1. It is a special package made by placing clear film around the
product itself.
__________2. It is a cap, lid, or seal through which the contents of the
__________3. It is a packaging material that has long been used to package
liquids and food products and commonly used in a form of can.
__________4. It is mainly used to package and hold liquids or products
containing liquids.
__________5. Checking done prior to pressing of the garment at finishing
room is known as what?
__________6. It is a container that releases its contents in spray or foam
when a valve is pressed.
__________7. It is a function of packaging wherein it makes the product easy
to carry and keep them separated.
__________8. Is a package formed from plastic film or paper that is filled with
__________9. In lapped zipper, when the zipper is finished the teeth should
be covered by what?
__________10. It is used to indicate brand name or brand logo of the
company that sources and sells clothes.

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A.True or False:
and F if it is false. Write your answer in your quiz notebook.
_______1. Good outfit should have the proportion, balance and gloomy
appearance.
_______2. Proportion in design involves the relationship of one part to another.
_______3. Blouse is a cloth or textile used in construction of different garments.
_______4. Headline is the edge of the garment opening surrounding the neck.
_______5. Interfacings are special fabrics used to weaken or stiffen specific parts
of a garment, such as collar, cuffs, facing and pocket tops.
_______6. Shoulder measurement is taken from left to right shoulder tip bone.
_______7. In pressing techniques, never press on zipper coils.
_______8. Snap fasteners are fasteners which can be simply press or snap
together and are easily pulled apart.
_______9. For diamond-shaped bodies, straight leg is the best trouser to wear.
_______10. Country origin is placed on Flag Label.
B. Multiple choice:
Directions: Read the statements carefully, choose the letter of the correct
answer and write it on the space provided.
1. It is a natural fiber that is derived from the stem of the flax plant.
a. Denim c. Polyester
b. Linen d. poplin
2. It is determining the quality and suitability of the fabric wherein you crumple
a corner of the fabric; release it, and note the degree of wrinkling in it.
a. Test for wrinkle resistant c. Test by thumb
b. Test for strain d. test by pin.
3. A double pleat having two upper folds facing in opposite directions and two
under folds pressed toward each other.
b. Knife pleat skirt d. A Box pleat skirt
4. A kind of fabric fold wherein the fabric is folded lengthwise with the raw
edges meeting at the center.
a. Lengthwise centerfold c. Off-center fold
b. Off-center lengthwise fold d. center fold
5. This kind of blouse features a neck collar and buttons attached on the front
of the garment.
SUMMATIVE ASSESSMENT

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a. Surplice Wrap Blouse c. Button-down Blouse
b. Casual Blouse d. Peasant Blouse
6. It is a type of fabric which is very similar to cotton voile but is slightly
crisper.
a. Linen c. Cotton Lawn
b. Silk d. Rayon Challis
7. A type of pocket which is inserted into the garment with the opening
strengthened by an added welt, which is the only section visible when
completed.
a. Welt pocket c. Shear pocket
b. Patch pocket d. clause pocket
8. Measurement taken from the shoulder neck tip bone down to the apex
point.
a. Sleeve length c. Girth length
b. Apex height d. Waist measurement
9. This type of zipper looks different from other zippers because the teeth are
on the reverse and nothing except the pull is seen on the front.
a. Hidden zipper c. Invisible zipper
b. Cloaking zipper d. hiding zipper
10. Is a type of packaging form wherein a plastic bubble is performed in a
plastic sheet.
a. Bubble package c. Blister packaging
b. Skin packaging d. foam packaging
C. Identification
provided.
_______1. These are generally loose in fitting and are best suited to lean
women and goes well with tank tops and trendy blouses. These are
made up of wrinkle free fabric.
_______2. These pockets are external and can be decorative.
_______3. Is a soft, lightweight fabric which works well for colder-temperature
shirts and other cloth?
_______4. This solid line with arrows that point to the pattern piece edge,
indicates that the piece should be positioned along the fabric fold.
_______5. A figure-hugging dress with a narrow tapering skirt.
_______6. This is a medium-weight balanced plain woven fabric made from
dyed cotton and its name was originated from the Malay adjective,
genggang, meaning striped.
_______7. It is a free hanging part of an outer garment or undergarment
extending from the waist down to a particular length of the garment.
_______8. A type of skirt that comes along with a suit.
_______9. A flat collar with rounded ends that meet at the front.
_______10. These are universal symbols and lines designed to help the sewer
put the pattern pieces together quickly, easily and successfully.

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D. WORD HUNT
Directions: Find the following words in the graph.
1. Blouse
2. Skirt
3. Zipper
4. Pants
5. Sheath
6. Trousers
7. Kimono
8. Collar
9. Buttons
10.Neckline
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
E. Enumeration
Directions: List down what is/are being asked in the following statements.
1-2 Types of Pockets
1.____________________
2.____________________
3-6 Give at least 3 packaging materials
3.____________________
4.____________________
5.____________________
6.____________________
7-10 Give at least kind of Blouse
7.____________________
8.____________________
9.____________________

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Synthesis
The government’s advocacy to produce more productive individuals who can
bring progress and better uplift the economic status not just for personal aspect but
for the nation as a whole has been the education’s main target especially the K to 12
program of the Department of Education. There is a demand for a better action to bring
about quality education which will make our learners capable and ready to be in the
field of global competition. This is why, this learner’s material is made and it is
designed for a Grade 10 student which will lead to National Certificate Level (NC) II in
accordance with the training standards set by Technical Education and Skills
Development Authority, (TESDA).This learner’s material is a continuation of the Grade
9 Dressmaking which aims to bring a more comprehensive step by step details of the
processes involved in garment production. It aims to enhance the skills, knowledge
and attitude to perform tasks on dressmaking.
It covers core competencies that a grade 10 Technology and Livelihood
Education student ought to possess, namely: (1) produce ladies skirt; (2) produce
ladies blouse and (3) produce ladies trousers. It also includes discussion on Personal
Entrepreneurial Competencies (PECs), and Environment and Market (EM) to let the
students explore more on opportunities for dressmaking as a career.
This learner’s material will help develop further the student’s skills and
knowledge in dressmaking. Advanced and several choices of different styles of skirts,
blouses and trousers are provided for the teacher to select what is suitable to his/her
learners. Procedures and techniques on how to assemble them are in step-by-step
order for the learners to easily follow the sewing processes and techniques.
Every lesson is in congruence with learning outcome to assess and evaluate
the output as well as the performance of the students. This will help a lot to identify
the progress and success in carrying out the objectives to every competency that a
learner will accomplish.
The success of the projects of the students will contribute a lot in the pursuit of
aiming skilled and productive individuals in the field of dressmaking.

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341
.
Apex. The highest point or tip of the bust.
Apex of a Dart. The point at which the dart tapers to an end.
Appliqué. These are decorations or embellishments on garments where different
types of fabrics are cut and applied to the surface of one type of material to create a
design or pattern.
Armscye. The armhole of a garment. The armhole part of the pattern
Balance. An element of fit. Equality in amount, weight, value, importance, or effect
from side to side and from front to back.
Bar Tack. A group of overlapping or very closely touching stitches used to reinforce
small areas of a garment that might experience strain during normal wear. The tops
of pockets are often bar-tacked on each side
Basic Block Basic foundation pattern, made of tag board or plastic, that fits the
target customer. (Standard size is usually an 8 for Misses sizes.) (See alsoSloper)
Baste. A temporary method of holding two or more layers of fabric together by
sewing by hand or machine with long stitches.
Bias. Any direction that is not the lengthwise or crosswise grain of a woven fabric.
Blind Hem. A machine stitched hem made by folding the hem back and using a
machine (industrial) or stitch and foot (home machine) designed for producing a hem
that does not show on the front.
Cap sleeve. A type of sleeve that hits the upper arm between the elbow and the
shoulder. Most often found in ladies' garments.
Collar stand. The part of a two-piece collar that stands up next to the neck
Cotton - A unicellular, natural fiber that grows in the seed pod of the cotton plant.
Fibers are typically 1/2 inch to 2 inches long. The longest staple fibers, longer than 1
1/2 inch, including the Pima and Egyptian varieties, produce the highest quality
cotton fabrics.
Dart- A stitched fold in the fabric that tapers from a seam to point to the fullest part of
the body. Used to create shape and control fullness.
GLOSSARY

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342
Directional Fabrics- Fabrics having a one-way design or nap that requires all
pattern pieces to be laid in a single direction
Drafting- A method for making patterns on paper or on the computer using
measurements.
Ease-Fullness drawn up and stitched in place. Often used on a set-in sleeve, and at
the apex of a bodice with princess lines.
Edge Stitching- A row of machine stitching placed very close to a seam or garment
edge. Stitching may be up to ¼" away from the edge. (see also topstitching.)
Embroidery- Decorative stitching, made by hand or machine, used to form designs
and patterns.
Even Plaid- Plaid that contains a balanced arrangement of stripes on each side of
the dominant horizontal and vertical bars of the plaid.
Facing - An extra piece of fabric stitched into the inside of a garment for lining
purposes or to add strength and structure.
Finish - This generally refers to the processes used to make fabrics. Bleaching,
mercerizing, steaming, singeing, and dyeing are all finishing processes.
Flat Collar- A collar that lies flat, or nearly flat, against the garment all around the
wearer's neck (e.g., sailor collar, Peter Pan collar). A flat collar has no collar stand.
Full Cut - This is the size scale of the brand. For instance a size large in one brand
may be bigger than the same size in a different brand. The larger cut may be said to
be a full cut.
Gathers- A series of small tucks of fabric, controlled and held in place by stitches
and providing visible fullness.
Grain- As an element of fit, refers to the need for lengthwise yarns to run parallel to
the length of the body (a) at center front and back, (b) down the center of the arm
from shoulder to elbow, and (c) down the center front of each pant leg; the crosswise
yarns should run perpendicular to the length of the body at bust/chest, hip, and
upper arm at bust/chest level.
Grainline- A line drawn on the pattern to indicate the direction of pattern placement
on the lengthwise grain of the fabric.
Gore- Vertical division within a garment, usually tapered panels, narrower at the
upper edge than the lower edge, seamed together to add fullness to a garment. May
be functional or decorative.

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343
Grommet- Large, metal-edged unit which surrounds a hole in a garment. Many belts
have grommets surrounding the belt hole.
In-Seam Pocket- Pocket that is set into a seam of the garment, usually the side
seam of skirts, pants, dresses, and coats.
Interfacing- Supporting fabric usually hidden between the garment and its facing.
Lends body, shape and reinforcement to limited areas of the garment such as button
and buttonhole plackets, waistbands, collars, and cuffs.
Interlining - Support material used to stabilize and support areas of the garment.
Referred to as Interfacing in home and custom sewing.
Kimono Sleeve- Sleeve cut as one with the body of the garment. Traditionally
square in style.
Lapels Part of the garment that rolls or folds back above the front closure on both
sides; also called revers. Typically found on jackets and coats.
Lining - A fabric that is used to cover the inside of a garment to provide a finished
look. Generally, the lining is made of a smooth lustrous fabric.
Marker- An arrangement of all the pattern pieces of the garment or garments to be
cut from a single lay of fabric. A lay may consist of one or many layers of fabric
which are all cut at once.
Nap - A soft finish given to fabric where the fibers are raised or “fuzzy” by brushing.
This produces a soft feel to the surface.
Neck tape - An extra band of fabric material sewn over the seam between the body
and the collar of a garment for a more comfortable feel.
Non-woven fabrics - Fabric or other materials that are produced by interlocking or
gluing fabrics together.
Notches- Small cuts (slits or wedges) made in the edges of garment pieces to aid in
correct assembly. On home-sewing patterns they are shown as dark triangles or
diamonds.
Off-Grain- Distorted fabric grain. Occurs when the filling yarns (weft) are not
perpendicular to the selvage or fabric edge. When a garment is "off-grain," the true
grain does not fall perpendicular to the floor.
One-Way Design- A fabric with a design or motif that runs in a definite direction.
These fabrics are said to have nap and patterns pieces must be cut with the tops all
facing the same direction. A print with trees all growing in the same direction, for
example, is a one-way design.

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344
Pad Stitching- Tiny stitches made through the interfacing that barely catch the
fashion fabric. Used to softly and subtly shape collars and lapels. Used in collars and
hand-tailored jackets.
Parallel- Extending in the same direction and at the same distance apart at every
point.
Patch Pocket- Pieces of fabric attached, like a patch, to the outside of the
garment. Also called "applied pocket."
Permeability - A textile characteristic which allows air, water, and water vapor to
penetrate and pass through it.
Pile- A plush or shaggy surface on a fabric resulting from loops or ends of yarn or
fiber projecting above or below the surface of the fabric. Fabric with pile has nap.
Placket- A finished opening in a garment section, e.g., at the cuff of a shirt or the
neckline of a golf shirt.
Pleat- Fold of fabric, folded back upon itself so that the pleat is comprised of three
layers; occurs vertically only. Pleats may be partially stitched or pressed down. Kinds
of pleats include: knife pleats, box pleats, inverted pleats, and accordion pleats.
Preshrink- To wash or dry clean the fabric, according to the care instructions, prior
to cutting out the pattern pieces to eliminate any potential shrinkage problems after
assembly.
Ply - The number of single yarns used to create ply yarn. It may also refer to the
number of ply yarns used to make cord.
Poplin - This is usually a 50% polyester and 50% cotton fabric in a poplin weave.
Polyester - A synthetic fiber which is the most commonly used manufactured fiber
worldwide. The fiber-forming substance in polyester is any long chain, synthetic
polymer composed of at least 85% by weight of an ester of dihydric alcohol and
terephthalic acid.
Raglan sleeves - These are sleeves that are all cut from one piece from collar to
cuff.
Rayon - A manufactured fiber composed of regenerated cellulose, derived from
wood pulp, cotton linters, or other vegetable matter.
Rise- A measurement from crotch level to the top of the waistband: Also called
crotch depth.
Running stitch - Sequential stitching that goes in a single direction.
Ruffle Decorative, gathered, or pleated strips of fabric or ribbon sewn to the
garment.

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345
Seam Allowance- Narrow width between the seam line and the raw edge of the
fabric. Seam allowances vary depending on where they occur on the garment and
the manufacturers' specifications. Home sewing patterns generally have a 5/8" seam
allowance except at hems. Commercial patterns generally use 1/4" to1/2".
Seam Finish- Any technique used to neaten the edge of seams, prevent raveling,
and improve garment durability and appearance.
Seam sealing - Here the stitch line of a garment is made sealed by the application
of seam tape or glue.
Selvages- The narrow, finished edges of the fabric along both lengthwise sides of all
uncut woven fabrics.
Set-in sleeve - Sleeves made to go from the shoulder to the cuff.
Shrinkage - This is the amount in size lost during the washing of cotton Most 100%
cotton products have been pre-washed or pre-shrunk. After that a 4-5% shrinkage
should be expected.
Shirring- Permanent, parallel rows of gathers made in the body of the garment
Staystitching- A row of stitching used to stabilize the edge of a single layer of fabric,
typically on the bias. Rarely used in mass production.
Taffetta - A basic plain weave that is sharp and smooth on both sides. It most often
has a sheen. The warp and filling are of approximately same count.
Taped seams - A strip of extra fabric stitched into the seam of a garment in order to
prevent distortion or with outerwear, aid in waterproofing.
Tear strength - The force necessary to tear a fabric, measured by the force
necessary to start or continue a tear in a fabric.
Texturing - This is the method of blowing a jet of air on a fiber to give it a rough,
matte finish. This gives the fabric a feel of being thicker and heavier.
Topstitching- Visible, decorative stitching done on the outside of the garment; also
called accent stitching.
True Bias- Fabric direction that occurs at a 45-degree angle to the lengthwise and
crosswise grains of woven fabrics. Has the highest degree of stretch of any woven
fabric direction.
Tuck- A stitched fold of fabric. Decorative tucks are stitched on the right side of the
fabric. Tucks used to create shape are stitched on the inside to a designated point
and released.

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346
Twill - A fabric weave which is made of 2 to 3 warp yarns or threads for each weft.
The weave is a diagonal ribbing with many variations. Types are flannels; serges,
gabardines, and surahs.
Understitching- The stitching, used on enclosed seams, that attaches the seam to
the facing and prevents the seam from rolling to the front side.
Uneven Plaid- Plaid that varies in the arrangement of stripes on each side of the
dominant horizontal and vertical bars of the plaid.
Warp - The lengthwise yarn found in woven fabric. The warp is stronger as well as
denser than the weft yarns, (crosswise yarns).
Water repellent - Fabrics that have been treated with a finish which cause them to
shed water and resist water penetrationbut are still air-permeable.
Water resistant - Fabric treated chemically to resist water or given a "wax- coating
treatment" to make it repellent.
Weft - The horizontal or crosswise threads that intersect the warp threads in woven
fabrics.
Wrinkle Free - A resistance to wrinkling created through the use of a variety of
finishes and treatments.
Yarn - A continuous strand of textile fibers created when a cluster of individual fibers
are twisted together. These long yarns are used to create fabrics, either by knitting,
plaiting, or weaving.
Yoke- Horizontal division within a garment. Small, flat panel of fabric usually at
shoulder, waist, or midriff. Often found on the back of Oxford-style shirts.

____________________________________________________________________________
347
REFERENCES
Avendano, Emma S., Rondilla, Aida h., et.al. Pinoy Entrepreneur. Diwa Scholastic
Press Inc. 2007.
Barclay, Marion S., Champion, Frances, et.al., Teen Guide to Homemaking. McGrw-
Hill Company Company.1972.
Cock, Valerie, Dressmaking Simplified, Third Edition. Blackwell Science Ltd., 1981.
Cruz, Duran, et.al. Home Economics IV. Adriana Publishing Co., Inc. 2002.
Draper, Wanda and Bailey, Annetta, Steps in Clothing Skills, Revised. Bennett
Publishing Company, 1978.
Francisco, Chic R., Complete Step-By-Step Guide to Pattern-Making and Sewing of
Various Skirt Styles. Golden Ideas Publishing House, Inc., 2000.
Lyle, Dorothy S. And Brinkley, Jeanne, Contemporary Clothing. Bennett Publishing
Company, 1983.
Smith, Alison, SEW Step by Step, DK Publishing, USA, 2011.
Suratos, Cesar P., Technology and Livelihood Education III. St. Bernadette
Publishing House Corporation, 2010.
Tabbada, Epifania, Reyes, Elisa. Dressmaking II. Phoenix Publishing House, Inc.
2008.
Wills, Lydia., The Complete Idiot’s Guide. Pearson Education Asia, Pte. Ltd.,
Philippines, 2000.
Guide Book
Ref: Effective THE series IV, Cruz et al pp. 246-247
Manzarate, Freddie. Dressmaking Guide Book. National Book Store, 1983.
Web Sites:
http://www.primaoutlet.com/product_images/v/925/DSC_0837__23780.JPG
https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQhzuCvQIxjiCEET6nvrATagEDq0etKD-4F-
HafC0mmZq8EtTB6
http://EzineArticles.com/7647968
http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=66191077
http://images.shopmadeinchina.com/p/135/10144135/VANCL-Erika-Plaid-Flannel-Shirt-Women-Orange-
Blue_10144135.bak.jpg

____________________________________________________________________________
348
http://www.kaboodle.com/hi/img/2/0/0/6b/5/AAAAAkL4JQIAAAAAAGtb9A.jpg?v=1189004452000
http://images.qvc.com/is/image/a/94/a201894_e24.102?$uslarge$
http://4.bp.blogspot.com/-f__6OYchQJU/T76gF4f48EI/AAAAAAAAFbE/D9NgGS2V00U/s1600/seven-islands-double-
gauze-dress.jpg
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAll)
(http://www.wisegeek.com/what-is-a-convertible-collar.htm)
((http://dictionary.reference.com/browse/collar)
(https://fashion2fiber.osu.edu/index.cfm?fuseaction=do.faqShowAl l)
(http://www.merriam-webster.com/dictionary/kimono%20sleeve)
(http://www.collinsdictionary.com/dictionary/english/puff-sleeves)
(http://en.wikipedia.org/wiki/Sleeve)
Reference: Pinoy Entrepreneurship Home Economics pp. 333-336
(http://www.polimoda.com/fileadmin/documenti/Glossari/Capponi/entry477.htm)
http://www.wisegeek.com/what-is-a-mandarin-collar.htm
http://dictionary.reference.com/browse/rolled+collar)
(https://www.google.com.ph/search?q=description+of+flat+collar&rlz=1C2RNVH_en
PH545PH545&biw=1366&bih=653&source=lnms&sa=X&ei=dsoWU4r4A8T7rAe4kIG
IDg&ved=0CAQQ_AU#q=peter+pan+collar+definition
http://textilelearner.blogspot.com/2012/02/list-of-trimmings-for-shirt-trouser-and.html#ixzz343IuRPxW

____________________________________________________________________________
349
KEY TO CORRECTION
Diagnostic Assessment
I. Multiple Choice II. True or False
1. C 6. B 11. C 1. True 6. False
2. B 7. B 12. A 2. False 7. True
3. A 8. A 13. C 3. False 8. False
4. C 9. D 14. B 4. True 9. True
5. D 10. B 15. D 5. False 10. True
III. Identification IV. Matching Type
1. horizontal line 6. Intensity 1. a
2. form 7. Complimentary 2. c
3. yellow 8. primary colors 3. b
4. light color 9. brilliant colors 4. e
5. hue 10. Straight, tubular 5. d
Shapes
V. Identification
A. 1. circular skirt B. 1. waistline measurement
2. button skirt with slide pockets 2. lower hip measurement
3. gathered skirt 3. Skirt length
4. four-darted skirt
5. waistline facing
6. A-line skirt
7. A-line skirt
Pre-Test 1
A. Multiple Choice B. Sequencing
1. A 11. B II. 1. 1
2. C 12. D 2. 6
3. A 13. C 3. 3
4. D 14. A 4. 8
5. B 15. A 5. 2
6. C 16. B 6. 5
7. B 17. C 7. 9
8. A 18. A 8. 4
9. B 19. A 9. 10
10.A 20. A 10. 7

____________________________________________________________________________
350
Review of Lesson 1
1. Proportion
2 Balance
3. Emphasis
4. Line
5. Texture
6. Rhythm
7. Harmony
8. Intensity
9. Form
10. Color
Review of Lesson 3
1. Full Circle Skirt
2. Tube-like Skirt/Straight Skirt
3. Ruffled Petticoat Skirt
4. Pleated Skirt
5. Gathered Skirt
Review of Lesson 4
1. E
2. D
3. C
4. B
5. A
Quarter II
PRE/POST ASSESSMENT 2
A. Multiple Choice
1.C
2.D
3.B
4.A
5.D
6.B
7.A
8.D
9.A
10.C
1. 1. Pattern
2. 3.5
3. 4
4. 9
5. 2.5

____________________________________________________________________________
351
2. 1. Basic
2. 2.5
3. C
4. 3.5
5. E
C. Identification
1. Flat Collar
2. Collar
3. Rolled Collar
4. Peter Pan Collar
5. Convertible Collar
6. Raglan
7. Dolman
8. Shoulder
9. Across Back
10. Blouse Length
D. True or False
1. True
2. False
3. True
4. True
5. True
6. False
7. False
E. 1. Upper Arm Girth
2. Lower Arm Girth
3. . Blouse Length.
4. Apex Height
5. APex Distance
6. Second Hip
7. Chest
8. Across back
F. Enumeration
46-50. (Any of the following)
Cotton Voile
Rayon Challis
Double Gauze
Knit
Silk
Chambray
Cotton Lawn
Linen
Flannel

____________________________________________________________________________
352
QUARTER III
Pre/Post Assessment
A. True or False:
1. T
2. T
3. F
4. T
5. F
6. F
7. F
8. T
9. F
10.T
B. Multiple Choice
1. B
2. A
3. D
4. C
5. C
6. A
7. D
8. A
9. D
10.A
C. Identification
1. Shrink wrap
2. Dispensing Closure
3. Metal
4. Glass
5. Initial Finishing Inspection
6. Aerosol or Dump Dispenser
7. Contains the product
8. Flexible pouch
9. Fabric
10.Brand or Main Label

____________________________________________________________________________
353
Summative Test:
A. True or False
1. Harmony
2. T
3. Fabric
4. Neckline
5. Strengthen
6. T
7. T
8. T
9. Triangle-shaped
10.Care
B. Multiple choice
1. A
2. B
3. D
4. B
5. C
6. C
7. A
8. B
9. C
10.C.
C. Identification:
1. Palazzos
2. Patch pockets
3. Flannel
4. Place on fold line
5. Sheath
6. Gingham
7. Skirt
8. Suit Skirt
9. Peter pan Collar
10.Pattern Markings
D. Enumeration:
1. Patch Pocket
2. Welt Pocket
3-6: Paper and cardboard; Wood and Glass; Plastic; Metal; Metallic Foil

____________________________________________________________________________
354
7-10
Word Hunt
A W E R Y Y U I O J K L H G F D S S F J
F D G H J J S D J K R W T U E Q H C B S
A S D H F G H J B U T T O N S D G L F D
Z X C V B N M L K H F S W R T U O Q W E
M N B V J K X Z V B N C X Z N U A D F M
S D F G H J F Q W E R T Y U S S D F G H
P O I U Y S Q W E R Y I D E K A S D F H
A S D F G H H J K L W S X D I E D C T S
G H J K A E Q W E R T Y U U R E P P I Z
F G H J K A S A S D F G J K T W E R T Y
G F S A S T W E R T N E C K L I N E T Y
U S D F N H R V B N M C X Z D F G S D F
Y E R A T Y Y O Y U K H G F D G G C U J
U T P Y U I J G U D F G K I M O N O T R
Y T Y U I W R Y R S Y T U R R E T L H J
T I U Y T E W Q E R E Y U J G F D L S D
R D F G H J T K E F D R D F H G J A V B
E S D F G H J J K D T R S D G F G R K T
W S D F G H K E Y U I H G F D G J K B C
Q J S D F N V X N M C E T W U G G J D S
Were you able to find the words?
How fast did you do it?
CONGRATULATIONS! If you found the words in less than five minutes only,
meaning you’re fantastic, inspired and is capable to prove the next level.

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