LM - Dressmaking G10 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
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Introduction
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.
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Content Standard
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.
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Learning Episodes
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.
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HOW TO USE THIS LEARNER’S MATERIAL
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.
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6. DIAGNOSTIC ASSESSMENT
7.
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 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
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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
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.
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__________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.
________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
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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.
1. 2.
3. 4.
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5. 6.
7.
F. Identify the body measurements of a skirt
1.
2.
.
3.
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Personal Entrepreneurial Competencies (PECs)
Content Standards Performance Standards
The learner demonstrates The learner independently creates a

understanding of one‟s PECs in plan of action that strengthens and or
Dressmaking. further develops his/her PECs in
Dressmaking.
Quarter I Time Allotment: 4 hours
Module 1
Personal Entrepreneurial Competencies
Introduction
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 practitioners. 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?
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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.
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.
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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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.
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.
Goals and Learning

Ultimate Goal
Targets Activities
Figure 1: Strategic process to achieve the objectives of this module
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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 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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_____________________.
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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
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.
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 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 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.
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Process
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 Assessment in terms

of:
Personal Entrepreneurial Competencies
of an Entrepreneur Strengths 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
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- effective and efficient communication
and relation to people
Decision Making
- make a wise decision towards the
set objectives
TOTAL
Interpretation or Insights:
___________________________________________________________________________
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_________________________________________________.
Reflect and Understand
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:______________________________________________
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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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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.
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Personal
Entrepreneurial Characteristic Attributes Lifestyle Skills Traits
Competencies s s
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 Similarities Differences
Competencies
Characteristics
Attributes
Lifestyles
Skills
Traits
Conclusion:
_________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
___________________________________________________________.
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Transfer
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.
Time Expected
Objective Area Activities Strategies
Frame Outcome
To align my
PECs with Characteristics
the PECs of a
successful
entrepreneur
in
Dressmaking. 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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ENVIRONMENT AND MARKET(EM)
Content Standards Performance Standards
The learner demonstrates The learner independently creates a

understanding of environment and business vicinity map reflective of
market in Dressmaking in one‟s potential market in Dressmaking in a
Province. 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.
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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.
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.
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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
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
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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 andor

to be offered or delivered to the target customers?
_________________________________________________________
_________________________________________________________
____________________________________________________
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.
_________________________________________________________
_________________________________________________________
___________________________________________________
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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 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.
Goals and Learning

Ultimate Goal
Targets Activities
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.
Know
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
27
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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?
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.
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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 Establish Generate Select a

Refine
Customer Target Product Product Specifications
Needs Specifications Concepts Concept
Perform
Analyze
Economic Plan
Competitive
Analysis Remaining
Products
Developme
nt Project
Concept
Development
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.
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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.
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.
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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 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
31
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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.
Process
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?

_________________________________________________________
_________________________________________________________
______________________________________________________
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.
32
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_________________________________________________________
_________________________________________________________
___________________________________________________
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:
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.
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Transfer
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.
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
___________________________________________________________
1. Identify
Customers Need
7. Prepare a 2. Target
-
Development Plan Specifications
-
- -
- -
-
- -
- -
6. Refine Product 3. Analyze a
Specification
- - Competitive
Product
- - -
-
- - -
-
- -
-
-
5. Select A product 4. Generate Product
-
- Concept Concept
-
- - -
-
- -
-
- -
- -
- 34
-
____________________________________________________________________________
Know
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 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.
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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 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.
36
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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.
37
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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.
Process
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.
 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‟.
38
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 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.
Strength (S) Weaknesses (W)
- -
- -
- -
- -
- -
- -
Opportunities (O) Threats (T)
- -
- -
- -
- -
- -
- -
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:
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
_______________________________________________________________________________
39
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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.
40
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Transfer
Task 9: Making My Own Logo
Directions: Generate a clear and appealing product brand with a logo and a
tagline.
Logo
Logo
________________________
Tagline
41
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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.
42
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Let’s See What You Know
Pre – Test 1
A. Multiple Choice
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
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
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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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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.
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LESSON 1 PRODUCE LADIES’ SKIRT
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.
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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.
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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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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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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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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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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
LINE FORM
SHAPE
TEXTURE
COLOR
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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 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
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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 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.
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Dresses showing shapes
Let’s Do it!
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/Stand A+ A- +B- +C- D F
ard
How well Every All Many Some Few Directions
directions direction is directions directions directions directions have not
are followed followed to are are are are been
the fullest followed followed followed followed followed
extent
Neatness Completed Complete Complete Complete Artwork is Artwork is
artwork is d artwork d artwork d artwork incomplet incomplet
exceptiona is very is neat, is more e or e
lly neat neat with some messy extremely
parts less than neat messy
neat
55
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Work Habits Student Student Student Student Student Student
worked for worked for worked worked did not did not
entire entire most of part of the work work
period with period and the period period and much during the
superior did not and needed during the period
focus and need needed several period and even with
did not reminders few reminders needed several
need to stay on reminders to stay on several reminders
reminders task to stay on task reminders to stay on
to stay on task to stay on task
task task
Expectations Student Student Student Student Student Student
has has fully has met has met has not has not
exceeded met most some met few met
expectatio expectatio expectatio expectatio expectatio expectatio
ns of ns of ns of ns of ns of ns of
his/her his/her his/her his/her his/her his/her
ability level ability ability ability ability ability
level level level level 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.
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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.
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.
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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!
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/Standar A+ A- +B- +C- D F
d
directions are direction is directions directions directions directions have not
followed followed to are are are are been
the fullest followed followed followed followed followed
extent
Neatness Completed Completed Completed Completed Artwork is Artwork is
artwork is artwork is artwork is artwork is incomplete incomplete
exceptionall very neat neat, with more or
y neat some parts messy than extremely
less neat neat messy
Work Habits Student Student Student Student Student did Student did
worked for worked for worked worked part not work not work
entire entire most of the of the much during the
period with period and period and period and during the period even
superior did not needed few needed period and with several
focus and need reminders several needed reminders
did not reminders to stay on reminders several to stay on
need to stay on task to stay on reminders task
reminders task task to stay on
to stay on task
task
Expectations Student has Student Student Student Student Student
exceeded has fully has met has met has not met has not met
expectation met most some few expectation
s of his/her expectation expectation expectation expectation s of his/her
ability level s of his/her s of his/her s of his/her s of his/her ability level
ability level ability level ability level ability level
58
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Interpretation of
Color
White BLUE
RED symbolizes
an agressive and energetic purity and denotes the color of heaven. It
color. It symbolizes blood and innocence.It symbolizes the highest degree of
sword. It gives a pleasing effect increases spirituality. It is termed as
to the complexion. It lends rosy apparent size innocent, quiet, and reserved. It
glow to the skin that gives the and should be expresses modesty, truth and
appearance of health and used sparingly calmness.
vitality. by stout figures.
Gray
denotes
refinement and
modesty. It is GREEN
ORANGE quiet and retiring.
bring rest and peace. It is
It denotes
It denotes pomp, grandeur, satisfying and relaxing to the tired
refinement and
magnificence. It reflects a eyes. It signifies hope, ideals and
modesty. It
reddish color on the face. generosity. When combined to
decreases the
yellow means happiness and
size of the figure.
gaiety.
Black
expresses
somberness,
coldness, mystery, VIOLET
YELLOW and mourning. It expresses formality, dignity and
expresses rest, peace, sunshine decreases the size suggests loyalty and statelines.
and gaiety. It casts its hue over of the wearer It expresses truth. It also
the face, hair and eyes. It can be because it absorbs symbolizes mourning and
used by person with clean fresh- light and calls less sadness.
tinted complexion. attention to the
figure.
WARM COLORS NEUTRAL COLORS COOL COLORS
Warm colors are cheerful and Cool colors are quiet and restful, but
stimulating, but when they are very as the color becomes darker, they
bright, they may become irritating. may become depressing.
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Read and understand more about Design for Different Figure Types.
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 Clinging styles and
Full-length coats fabrics
Short and bolero jackets Large prints
Narrow, matching belts Large accessories
Skirts with knife pleats, easy Long waistline
gores
Delicate, dainty fabrics
One-color costumes
Short-Stout Vertical or diagonal lines Ruffles, bows, frills

Simple designs Full or very straight
Easy-fitting clothes skirts
Full-length coats Full sleeves
Narrow, matching belts Broad collars, wide
Set-in sleeves lapels
Dull surfaced fabrics Wide or contrasting
One-color costumes belts
Bulky or large figured
fabrics
Tall-Thin Contrasting colors in yokes, Princess styles
blouses, and skirts Small accessories
Bulky fabrics, plaids, checks Shiny, clinging fabrics
Wide belts, patch pockets Vertical stripes
Dolman, push-up, or full- Long U necklines
sleeves
Easy, bloused waistlines
Circular, pleated, or
gathered skirts
Double breasted styles
Full or boxy jackets
Tall-Stout Simple designs, little detail Frilly clothes
Balance or horizontal and Large sleeves
vertical lines Contrasting and wide
Easy fitting, straight and belts
slightly flared skirts Bulky fabrics
Three-quarter, set-in sleeves Small accessories
Dull fabrics
Average Can wear most good designs; specific figure variations

may limit.
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Design for Individual Face and Figure Variations
Figure Variation Becoming Designs Unbecoming Designs
Narrow Hips Full, gathered, or Tight-fitting skirts at and
pleated skirts just above hips
Bulky fabrics
Overblouses
Large Hips Broad shoulders Tight, big belts

Skirts with free and Skirts made of plaids
easy fit and slight flare or bias stripes
Bodice bloused above Sleeves with fullness at
waistline hip line
Dark colors below waist Horizontal detail at hips
Thin Legs and Feet Full skirts of moderate Uneven hem line
length
Light hose
Heavy Legs and Ankles Longer skirts with some Straps across instep
fullness Fancy shoes
Even hem line
Dull hose
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Large Bust Dark colors above waist Broad shoulders
Skirt with flare Bulky or shiny fabrics
Soft fullness over bust Snug belts
V-Neckline Fussy detail, bows,
Large accessories pockets
Straight coats and Tight, narrow skirts
jackets Sweaters
Short Waist No definite waistline Contrasting color in

Narrow belts blouse and skirt
V-shaped necklines Wide collars
Vertical tucks Horizontal trim
Low collars
Thick Waistline Princess lines Wide or bright belts

Fullness above waist Short skirts
Interest at neckline
Prominent Abdomen Interest above waistline Tight coat or skirt

Two-piece dresses with Short, open jackets
peplums Bias skirt
Straight, finger-tip Bulky belt
jacket Decoration at center
Loosely fitted blouse front of waistline
Unpressed pleats
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Sway Back Loosely-fitted, bodice or Tight-fitting skirts
dress slightly bloused Princess lines
above waistline
Long jackets
Two-piece dresses
Dresses with peplums
Review of Learning Outcome 1
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. N O T P O O R I P R
It involves the relationship of one part to another.
2. E B L N A A C
The feeling of rest and equilibrium.
3. P S E M H A I S
It means that one part of a design must be more important than
the other parts.
4. E N I L
It is the basic part of any design.
5. X E E T U T R
The surface quality of a fabric.
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6. H T R M Y N
It is the movement of the eye from one part of the design to other
parts.
7. A N Y O H R M
The feeling of oneness and unity.
8. T E N T I S I Y N
It is the brightness or dullness of a color
9. M O R F
Refers to the shape of an object as determined by line.
10. R O O C L
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!
Enhancement activity
Activity
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.
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Rubrics for Art

Grade/Standard 6 5 4 3 2 1
directions are direction directions directions directions directions have not
followed is are are are are been
followed followed followed followed followed followed
to the
fullest
extent
Neatness Complete Completed Completed Completed Artwork is Artwork is
d artwork artwork is artwork is artwork is incomplete incomplete
is very neat neat, with more or
exception some parts messy than extremely
ally neat less neat neat messy
worked worked for worked worked part not work not work
for entire entire most of the of the much during the
period period and period and period and during the period even
with did not needed few needed period and with several
superior need reminders several needed reminders
focus and reminders to stay on reminders several to stay on
did not to stay on task to stay on reminders task
need task task to stay on
reminders task
to stay on
task
has has fully has met has met has not met has not met
exceeded met most some few expectation
expectati expectation expectation expectation expectation of his/her
ons of of his/her of his/her of his/her of his/her ability level
his/her ability level ability level ability level ability level
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

1..Gabardine Gabardine- a hard- Thread: polyester
wearing suiting fabric with all- purpose
a distinctive weave. It has thread or 100%
a sheen and is prone to cotton thread
shine. It can be difficult to
handle as it is springy and Needle: machine
frays badly. size 14; Sharps
for hand sewing
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Steam iron on a wool Use for: men‟s
setting: Use just the toe of and ladies‟ wear,
the iron and a silk organza jackets, pants
pressing cloth as the
fabric will mark and will
shine.
2. Linen Linen is a natural fiber Thread: polyester

that is derived from the all- purpose
stem of the flax plant. It is thread
cool and comfortable to
wear; absorbs moisture Needle: machine
well; shrinks when size 14; sharps for
washed; does not ease hand sewing
well; has a tendency to
wrinkle; prone to fraying;
resists moths but is Use for: summer-
damaged by mildew. weight jackets,
dresses, pants,
Steam iron on a cotton skirts
setting
Avoid pressing in sharp
creases.
Avoid risk of mildew.
3. Denim Denim is a sturdy cotton Thread: polyester
twill textile in which the all-purpose thread
weft passes under two or with top –stitching
more warp threads. This thread for detail
twill weaving produces the top stitching.
familiar diagonal ribbing of
the denim that
distinguishes it from cotton Needle: machine
duck. An indigo denim that size 14/16; sharps
only warp threads are for hand sewing
dyed, whereas the weft
threads remain plain
white. This is why blue Use for: jeans,
jeans show the blue warp jackets, children‟s
threads outside and the wear
other side shows the white
weft threads. This type of
Steam iron on a
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dyeing also creates cotton setting; a
denim's fading pressing cloth is
characteristics, which are not required
unique compared to every
other textile.
4. Poplin Poplin, also Thread: polyester
called tabinet (or tabbinet), all- purpose
is a strong fabric in a plain thread
weave of any fiber or
blend, with crosswise ribs Needle: machine
that typically gives a size 14; sharps for
corded surface. hand sewing
Steam iron on a cotton

Use for: shirts,
setting
trousers, skirts
creases.
Avoid risk of mildew.
5. Broadcloth Fantastic, closely woven Thread: polyester
cotton that has slight rib all- purpose
thread or 100%
cotton thread
Steam iron on a cotton
setting
Needle: machine
size 14; Sharps
creases.
for hand sewing
Use for: Casual

wear, children‟s
wear, shirts, skirts
6. Gingham This is a medium-weight Thread: polyester
balanced plain woven all-purpose thread
fabric made from dyed
cotton. Its name originates Needle: machine
from the Malay adjective, size 11/12; sharps
genggang, meaning for hand sewing
striped.
Use for: children‟s
This is commonly used for wear, dresses,
school uniform. shirts, home
furnishings
7. Sharkskin Sharkskin is a smooth Thread: polyester
worsted fabric that often all- purpose
has a smooth soft texture thread
and a two-toned woven
appearance referred to as Needle: machine
a basketweave. This may size 14; sharps for
be made with the use of hand sewing
rayon or acetate or as a
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blend of the two. Use for: apparel,
trousers, skirts
This may be used for
everything from sporting
and marine equipment to
clothing and accessories.
8. Corduroy Corduroy is describe as a Thread: polyester

type of fabric that has all-purpose thread
parallel, lengthwise cords
or ridges. The word is Needle: machine
derived from the French size 12/16; sharps
word for “Cord of the or milliners‟ for
King”. This is originally hand sewing
made of cotton but today,
blends of other fabricated Use for pants,
fibers including polyester, skirts, men‟s wear
rayon and acrylic is used.
This can be used in

making jacket, blazer,
jeans, skirt, shorts, and for
upholstery.
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.
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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.
Activity
Have a research on the following:
1. Make an album of the different kinds of fabric. Identify each fabric.
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
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Rubrics for Art

Grade/Standard 6 5 4 3 2 1
directions are direction directions directions directions directions have not
followed is are are are are been
followed followed followed followed followed followed
to the
fullest
extent
Neatness Complete Completed Completed Completed Artwork is Artwork is
d artwork artwork is artwork is artwork is incomplete incomplete
is very neat neat, with more or
exception some parts messy than extremely
ally neat less neat neat messy
worked worked for worked worked part not work not work
for entire entire most of the of the much during the
period period and period and period and during the period even
with did not needed few needed period and with several
superior need reminders several needed reminders
focus and reminders to stay on reminders several to stay on
did not to stay on task to stay on reminders task
need task task to stay on
reminders task
to stay on
task
has has fully has met has met has not met has not met
exceeded met most some few expectation
expectati expectation expectation expectation expectation of his/her
ons of of his/her of his/her of his/her of his/her ability level
his/her ability level ability level ability level ability level
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 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.
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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.
5. Gathered Skirt usually gathers at the waist and visually adds weight and
bulk to any figure.
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STYLES OF SKIRT
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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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Identification.
Directions. Name the following types of skirts.
1. ________________ 2. ________________
3._________________ 4. _________________ 5.. ______________
Activity
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.
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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)
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
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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 Actual
Measurements Measurements
for Lower Hip
Level
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)

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PERSONAL MEASUREMENT CHART (MC)
Customer‟s Name ____________ Date Taken: __________

Body Parts to be Actual Body Measurement Computed
Measured Measurement Needed Measurement
Waist Circumference ¼
Hip1 Circumference ¼
Hip2 Circumference ¼
Skirt Length
Activity
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
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
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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.
Identification:
Directions: Name the following tools used in drafting pattern.
1. ____________________ 2. _____________________
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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.
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.
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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.
Activity
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. ___

Name: __________________________Date Started: _____________
Year and Section: _________________Date Finished: _______________
I. Name of the Project: ____________________________________
II. Objectives:
1. ________________________________________________
2. ________________________________________________
3. ________________________________________________
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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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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
Activity
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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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
Tools were Lack of one Lack of two or

complete, tool, some more tools,
1. Use of appropriate some were
were
Tools and correctly appropriate
appropriate
used. and not
and correctly correctly
used. used.
Used the Used the Failed to use
correct correct the correct
2.Procedure method. method. method.
Procedures Procedures Procedures
correctly partly not
followed. followed. followed.
All pattern Some pattern All pattern
details were details were details
3. Pattern correctly inaccurately were not
measured and drafted. drafted
accurately correctly and
drafted. accurately.
Finished the Finished the Finished the
pattern ahead pattern on pattern more
4. Speed of time. than the
time. allotted
time.
20 points Perfect Score
Let’s Do it!
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.
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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!
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.
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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

lesson.
Rubrics in Drafting the Pattern for Different styles of Skirt

Item 5 3 1 Score

were
appropriate
used. and not
used. used.
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time. 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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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
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.
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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

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
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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- Connect point M to point L, with a
L curve ruler.
J- Connect point J to point L, with a
L straight line.
Drafting the Back Basic Straight Skirt Pattern
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,
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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
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.
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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.
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.
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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.
Interfacing of the Waistband

lesson.
Rubrics in Drafting the Front and Back of Basic Straight

Skirt Pattern
Item 5 3 1 Score

were
appropriate
used. and not
used. used.
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time. allotted
time.
2. The Basic A-Line Skirt
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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.
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.
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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.

lesson.
Rubrics in Drafting the Front and Back Skirt Pattern of an

A-Line Skirt
Item 5 3 1 Score

were
appropriate
used. and not
used. used.
time. allotted
time.
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3. The Four-Darted Skirt with Waistline Facing
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.
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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.
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.
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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
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.
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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.
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.
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b. In the dart lines of the front and back skirt to close the darts.
This will naturally alter the curve of the waistline.
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.
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e. Cut the outline of the waistline facing for the front and the back
skirt. Label front and back facing.

lesson.
Rubrics in Drafting the Front, Back and Waistline Facing of

a Four-Darted Skirt
Item 5 3 1 Score

were
appropriate
used. and not
used. used.
time. allotted
time.
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4. The Gathered Skirt
Drafting the Pattern of Front Gathered Skirt
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.
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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.
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.

lesson.
Rubrics in Drafting the Front and Back Gathered Skirt

Item 5 3 1 Score

were
appropriate
used. and not
used. used.
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time. allotted
time.
5. The All Around Pleated Skirt with Hip Yoke
The front and the back pattern have the same procedure. The zipper
may be placed on the side of the skirt.
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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.
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.
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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.

lesson.
Rubrics in Drafting the Pattern of an All-Around Pleated

Skirt with Hip Yoke
Item 5 3 1 Score

were
appropriate
used. and not
used. used.
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time. 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
a. Skirt is lengthened between hip and hemline

b. Position line for increasing width of waist, hip and hemline
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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)
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.
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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

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)
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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.
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.
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Let’s Do it!
Pattern Alterations
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.
Techniques in Cutting Final Pattern
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.
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Activity
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.
Rubrics for Pattern Drafting

Item 5 3 1 Score

1. Use of appropriate were some
Tools and correctly were
appropriate
used. appropriate
and correctly and not
used. correctly
used.
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time. 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.
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.
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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.
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.
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Activity
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
P E R F O R M A N C E L E V E L
Dimension
Very Needs No Point
Excellent Satisfactory Attem s
Satisfactory Improvement
(4 pts.) (2 pts.) pt Earne
(3 pts.) (1 pt.)
(0 pt.) d
1. Use of Uses tools and Uses tools Uses tools and Uses tools and No
tools and equipment correctly and equipment equipment attem
equipment and confidently at all equipment correctly and but incorrectly and pt
times correctly less confidently less confidently
and sometimes most of the time
confidently
most of the
times
2. Application Manifests very clear Manifests Manifests Manifests less No
of procedures understanding of the clear understanding of understanding of attem
step- by-step understandi the step-by-step the step- by-step pt
procedure ng of the procedure procedure seeking
step- by- but sometimes clarification most
step seeks clarification of the time
procedure
Works independently Works Works Works No

with ease and independen independently with independently but attem
confidence at all tly with ease and with assistance pt
times ease and confidence from others most
confidence sometimes of the time
most of the
time
3. Safety Observes safety Observes Observes safety Most of the time No
work habits precautions at all safety precautions not observing attem
times precautions sometimes safety precautions pt
most of the
time
4.Completen Task is completed Task is Task is nearly Task is started but No
ess of Task following the completed completed not completed attem
procedures in the following following the following the pt
activity the procedures in the procedures in the
improvement/innovati procedures project plan project plan
ons in the
project plan
5. Time Work completed Work Work completed Work completed No
management ahead of time completed ___(mins./hours/d ___(mins./hours/d attem
within ays) beyond ays) beyond pt
allotted time
TOTAL POINTS
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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.
How to Layout Pattern Pieces of the Basic Straight Skirt Pattern on the
Fabric
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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
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.
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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
On a 45 or 60 inch width fabric, with a straight or A-line silhouette.
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*Refold fabric so that the front yoke may be laid out on the fold of the fabric.
Activity
Let the students perform how to layout properly the fabric. Check
activity.
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Dimension
No Point
Very Needs
(3 pts.) (1 pt.)
(0 pt.) d
confidently
most of the
times
procedure

most of the
time
most of the
time
ons in the
project plan
allotted time
TOTAL POINTS
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.
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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.
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.
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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.
Activity
Let the students perform on how to cut the fabric properly. Check
activity.
Dimension
No Point
Very Needs
(3 pts.) (1 pt.)
(0 pt.) d
confidently
most of the
times
procedure

most of the
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time
most of the
time
ons in the
project plan
allotted time
TOTAL POINTS
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
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).
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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.
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.
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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.
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.
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.
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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.
Activity
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.
Dimension
No Point
Very Needs
(3 pts.) (1 pt.)
(0 pt.) d
confidently
most of the
times
procedure

most of the
time
most of the
time
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ons in the
project plan
allotted time
TOTAL POINTS
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.
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.
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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.
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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.
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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.
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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.
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How to Sew the Overlap Slit
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.
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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 .
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2. Hand baste first, or machine sew directly after pin basting.
3. Machine sew along the sewing lines
4. Cut excess sewing allowances, leaving behind ¼ of an inch

(0.06 cm.) allowance.
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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.
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.
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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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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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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.
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Kinds of Pleats
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.
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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 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?
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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
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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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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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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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.
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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.
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.
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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.
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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7. Machine sew together the

waistband and the skirt.
8. Fold up the allowance on both

ends of the waistband by
pinning them.
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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.
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.
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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.
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.
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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.
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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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
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stitches are run over each
other for 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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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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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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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 Student‟s Teacher‟s
Score Score Score
1.Materials used (15 points)
a. Are the grain lines straight? 5
a. Is the cloth colorfast? 5
. c. Do the threads, cloth, zipper, 5
. and buttons (if any) match?
2. Style and Color (15 points)
a. Is the style appropriate for the 5
wearer?
b. Does the color enhance the 5
complexion and flatter the
figure?
c. Does it follow the Art Principles? 5
3.Worksmanship (35 points)
a. Are the seams flat and almost 7
finished?
b. Are the darts correctly located 7
and well sewn?
c. Are the zipper and other 7
fasteners flat and not shown?
d. Are the machine stitches 7
uniform in size and free of snags
and tangled?
e. Is the hem evenly folded and 7
inconspicuously finished?
4.Fit (15 points)
a. Is the garment neither too tight 5
nor too loose?
b. Does the shoulder line fall 5
correctly, neither too high nor
drooping?
c. Is the length appropriate for the 5
wearer?
5.General Appearance (20 points)
a. Is the garment becoming to the 10
wearer?
b. Does it look like it was made by a 10
professional?
TOTAL POINTS 100
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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.
Activity
Let the students press the garment parts by following the step-by-step
pattern. Supervise them while doing the activity. .
Dimension
Poi
Very Needs
Excellent Satisfactory No nts
(4 pts.) (2 pts.) Attempt Ear
(3 pts.) (1 pt.)
(0 pt.) ned
tools and equipment correctly and equipment equipment attempt
equipment and confidently at all equipment correctly and but incorrectly and
confidently
most of the
times
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of procedures understanding of the clear understanding of understanding of attempt
step- by-step understandi the step-by-step the step- by-step
procedure

with ease and independent independently with independently but attempt
confidence at all ly with ease ease and with assistance
times and confidence from others most
most of the
time
work habits precautions at all safety precautions not observing attempt
times precautions sometimes safety precautions
most of the
time
ess of Task following the completed completed not completed attempt
procedures in the following the following the following the
activity procedures procedures in the procedures in the
improvement/innovat in the project plan project plan
ions project plan
management ahead of time completed ___(mins./hours/d ___(mins./hours/d attempt
within ays) beyond ays) beyond
allotted time
TOTAL POINTS
Labelling of Garments
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.
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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.
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.
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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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B. Paper-based Packaging
C. Combined Plastic and Cardboard Packaging
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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.
Activity
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.
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Dimension
No Point
Very Needs
(3 pts.) (1 pt.)
(0 pt.) d
confidently
most of the
times
procedure

most of the
time
most of the
time
ons in the
project plan
allotted time
TOTAL POINTS
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Let’s See How Much You Have Learned
Post Test 1
A. Multiple Choice
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
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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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C. Identification
Directions. Identify the words(s) that best describes the statements. Write
________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. 2.
3. 4.
5. 6.
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7.
B. Identify the body measurements of a skirt
1.
2.
.
3.
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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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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
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b. Round, Square
c. Square, Sabrina
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.
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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.
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
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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. ______________________________________
LESSON 1 PRODUCE LADIES’ BLOUSE
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 industy.
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.
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1.
Button-Down Blouses
Button-down blouses are popular Surplice Wrap Blouses
because their style can be worn by A wrap blouse is another great style
many body types and in various for most body types and features a
settings. This kind of blouse features surplice collar, which overlaps fabric
a neck collar and buttons attached into a V-shaped neckline. This
to the front of the garment (as the vertical neckline gives the
name suggests). The button-down appearance of a longer torso. The
style is seen mostly in formal and crisscrossed material breaks up the
business settings; it complements chest and the stomach area --
dress pants and business suits. making the upper body seem
However, when worn with a pair or smaller than it might actually be.
jeans or shorts, button-down Surplice wrap blouses are made
blouses are appropriate for casual with or without sleeves. They can be
events. worn alone or under another
garment such as a denim jacket or
work blazer.
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Peasant Blouses Casual Blouse

Blouses are also available in the
peasant style, which emphasizes These are tops that have been
free-flowing materials. Peasant tailored to be worn with jeans or
blouses were fashionable in the trousers. They can also be worn
1960s and typically had a square with tights and may be in the form of
neckline, puffy sleeves and cinched shirts or tunics. Blouses that go for
waist. Later, alterations have kept skirts can be short and plain. Some
one some or all of these elements are formal blouses and are worn
portray a careful casual look. A with high skirts.
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.
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
Voile is a lightweight, semi-sheer fabric with a

great drape.
Cotton voile
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Rayon challis is a smooth, lightweight fabric. It
drapes well and is slightly heavier than other
lightweight fabrics, like cotton voile and cotton
lawn.
rayon challis
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.
silk
Cotton Lawn is very similar to cotton voile but is
slightly crispier.
cotton lawn
Linen is a medium-weight fabric with little

elasticity. It conducts heat and is a popular
choice for warm weather.
linen
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Chambray is another smooth, lightweight fabric.

It doesn‟t drape as well as rayon challis, cotton
voile or cotton lawn.
chambray
Flannel is a soft, lightweight fabric. It works well

for colder-temperature shirts, pants and jackets
are more appropriate suits to be worn.
Flannel
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.
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
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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 This resembles the The top head is equal
is round at the top and shape of a moon where with the jaw. Close
slightly elongated at the necklines should be necklines will do justice
chin. It is the most given careful to the top shape of the
sought after shape of considerations. face.
face among designers.
V-necklines is becoming Round, V-neck is
Square, Sabrina to this shape. appropriate to this
neckline is becoming to shape.
this shape.
Heart Triangle
Round at the top and slightly curved The top is wider than the ear side
at the chin like human heart. The going smaller to the chin. The use of
shape is fitting to almost all kinds of wider necklines is helpful.
necklines. Please see figure.
Round, Square neckline is becoming
Round, Square neckline is becoming to this shape.
to this shape.
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Shape of Necklines
.
Round Shape V-shape

The straight or bias U-shape A neckline that lies flat
binding can bind the A type of neckline that and in the shape of a
neck all the way round has the shape of a letter “v”.
or it can be extended to “U”.
for a small bow tie
Sabrina
Square A neckline that appears
: A true square neck to be a slit across the top
which is bound or faced of the shoulders and
depends upon clipping neck, secured along the
for success. 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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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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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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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.
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4. Peter Pan Collar
A flat collar with rounded ends that meet at the front of the shirt/blouse.
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- For a light to medium weight fabric,
weight fusible interfacing. Remove the choose a lightweight interfacing and fuse it
seam allowance on the interfacing on the over the complete facing
inner curve to reduce bulk.
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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
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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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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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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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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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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S Measure 5 inches downward for the dart
and connect them.
Connect points EB, IJK, using French

curve KL, EI, MN,using ruler.
Activity
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
No Point
Very Needs
(3 pts.) (1 pt.)
(0 pt.) d
confidently
most of the
times
procedure

most of the
time
most of the
time
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ons in the
project plan
allotted time
TOTAL POINTS
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.
Let’s Do it!
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

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
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Procedure in Drafting V-neckline

2. A-B is 2.5 cm
shoulder
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
shoulder
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.
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.
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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!
Let’s Do it!
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.
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Procedure Illustration
1. Sew the side seams and the
shoulder seams on the garment
and press them open.
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.
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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.
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.
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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
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.
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Let’s Do it!
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.
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
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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.
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
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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
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.
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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

3. Turn collar right side out and bring stitched line up on the fold, tack
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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
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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
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
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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
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.
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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).
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
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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.
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.
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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.
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
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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.
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
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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. Remove tacks
and press.
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.
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.
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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
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.
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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.
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.
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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.
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.
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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.
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.
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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.
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.
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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.
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.
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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.
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.
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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.
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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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.
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.
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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.
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
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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. Remove tacks and press.
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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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).
NOTE: Spaces in between the double tight stitches should not be more than 1
cm to achieve the correct pinched effect.
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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 mitred 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.
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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.
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.
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Laying out pattern pieces for the blouse.
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.
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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.
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.
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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.
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.
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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.
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.
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 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 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.
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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.
Let’s Do it!
How to Stayline
1. Adjust the seam gauge so the stayline in in the seam allowance, ¼ cm from
the seam allowance.
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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.
Let’s Do it!
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.
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Let’s Do it!
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.
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Unit Method of Assembling Ladies Blouse
Let’s Do it!
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.
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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 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
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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, 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
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right side quite close to the fold line.
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
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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.
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.
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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.
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.
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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.
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?
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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.
Evaluation of Finished Ladies Blouse
CRITERIA Perfect Student’s Teacher’s

Score Score Score
1. Suitability of Material 15%
a. Material is suitable to
style.
2. Workmanship 25%
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.
25%
3. General Appearance
a. Pleasing combinations
of colors (buttons)
25%
4. Fitting
a. Neckline fits snugly on
neck.
b. Shoulder seams on
shoulder line.
c. Shirt not too tight, not
too loose.
10%
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5. Speed
a. Finished on the
deadline. 100%
TOTAL
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.
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2. Place the toothpick on top of the
button. Sew up and down through the
holes, going over the stick.
3. Remove the toothpick.
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 .
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Attaching Snap Fastener
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.
Review of Learning Outcome
Identification.
Directions: Name the following fasteners. Write your answer in your quiz
notebook.
1. ____________________ 2. ___________________
3. ____________________ 4. ___________________
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.
Let’s Do it!
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.
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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
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techniques, you 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.
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4. Place the button of the zipper at the
hem edge.
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.
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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.
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.
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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 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.
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9. The finished
zipper from the right
side.
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.
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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.
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.
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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.
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.
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9. On the right side, the zipper is
completely invisible, with just pull
visible at the top. Apply a waistband
or facing the press.
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.
Let’s Do it!
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.
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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.
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.
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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.
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 ZIGZZAG-STITCHED
ROLLED HEM ROLLED HEM
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Use the rolled hem foot on the Use the rolled hem foot on the
sewing machine and a straight sewing machine and a zigzag
stitch. 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.
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.
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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.
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,
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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.
7. If preferred, sew the
bias in place using a
stitch in the ditch
technique.
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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.
Let’s Do it!
LACE EDGING
1. Place the lace to the fabric,
right side to right side. Align the
raw edges.
2. Sew using a straight stitch.
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.
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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.
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.
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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.
3. Sew across the trim at 45

degrees from the edge of the fold,
through all layers.
4. Remove excess trim from the
corner.
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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.
Activity
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.
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8. On the right side of the work,
the piping can be seen at the
edge. Press to finish.
Activity
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.
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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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Activity
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.
Let’s Do it!
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.
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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.
Let’s Do it!
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
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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%
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.
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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 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
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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.
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.
Let’s Do it!
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.
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Let’s See How Much You Learned
Post 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.
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
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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
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.
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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
11. The type of neckline curve which has the same shape as the
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
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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
1. ______________________________________
2. ______________________________________
3. ______________________________________
4. ______________________________________
5. ______________________________________
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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.
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__________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.
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
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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
________ 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
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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.
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. _________________________
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C. Two ways in measuring crotch
1. ______________________
2. ______________________
LESSON 1 PRODUCE LADIES’ TROUSERS
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
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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.
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.
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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.
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.
Average Forward-tilted hip Backward-tilted hip
Different Body Postures
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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.
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.
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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.
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 Polyester
Gabardine is a light wool (or cotton

Polyester has the same
once in a while) twill weave that's best
characteristics as the cotton but may
for Spring and Fall. It is usually woven
not easily gets dirty as cotton.
in 10-12 ounce weights that are warm
in the summer and not warm enough
in winter.
Cotton Denim
Cotton has an elegant appearance for

women but for women with lots of Denim is a heavy-weight fabric with
activities, this is not appropriate very little drape or stretch.
because it snags easily and is hard to
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clean and care for when it gets dirty.
Corduroy Velveteen
Corduroy is a type of fabric that has Velveteen is a type of imitation

strips on one side alternating between velvet. It is normally made of cotton or
flat and slightly fluffy, which gives a a combination of cotton and silk. It
ribbed effect. Corduroy is quite thick has a pile that is short (never more
and is often used to make trousers than 3mm deep), and is closely set. It
and jackets. 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 Flannel
Satin is also commonly used in

apparel: satin baseball jackets,
athletic shorts, women's lingerie, Flannel is a soft, lightweight fabric. It
nightgowns, blouses, and evening works well for colder-temperature
gowns, but also in some men's boxer shirts, pants and jackets.
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,
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upholstery, and bed sheets.
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
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.
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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
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.
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.
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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.
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.
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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.
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
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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.
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.
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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.
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 DIAGONAL ZIGZAG PARALLEL

STITCH STITCH STITCH ZIGZAG STITCH
1. Reinforce the 1. This technique 1. Using a 1. Patch on the
corner with a is primarily used small zigzag wrong side of the
reverse stitch. on shirts. When stitch, width 1.0 garment, behind the
Make sure the sewing the and lenght 1.o pocket corner, to
stitches lie on top pocket in place, sew diagonally sew into for
of one another. sew along accross the strength.
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horizontally for corner.
four stitches.
2. Pull the 2. Turn and sew 2. Make a 2. Using a small
threads to the diagonally back feature of this zigzag stitch, width
reverse to tie to the side, to stitch by using 1.0 and length 1.0
off. create a a thread in sew a short vertical
triangular shape contrasting line next to the
in the corner. color. straight stitches.
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
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plies of fabric. Interfacing in good quality garments is usually found in the
following areas:
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.
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.
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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.
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 Actual

Measured 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)
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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.
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”
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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.
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
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Fundamental Lines in Pants Pattern
Let’s Do it!
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.
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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.
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.
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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.
Let’s Do it!
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.
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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.
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.
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.
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Manipulating Basic/Block Pattern for Ladies Trousers
Activity
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
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
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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
Activity
B. Lady’sPants with Continental Front Pocket and Patch Back Pocket,
with V-Cut
Sample Measurement (All in inches)

Waistline - 26 Length - 40
Hips - 36 Knee - 9
Thigh - 21 Bottom - 13
Crotch - 9
FRONT PART:
waistband.
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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
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
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Activity
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.
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
Let’s Do it!
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.
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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
Let’s Do it!
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
Let’s Do it!
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.
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4. Identify the lines in the plaid that are the lengthwise and crosswise
grainlines. Safety pins can be used for this identification.
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. 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.
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.
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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;
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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_______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
Let’s Do it!
Preparing for the first fitting

1. Baste darts, outseams, and inseams, in that order.
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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.
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Press on a long flat surface, preferably a padded ironing board.
Procedure in Assembling Ladies Trousers
Let’s Do it!
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
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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.
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.
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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.
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
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from a strip, are easy to open and close and are often used for garment
detail such as cuffs, and in home furnishings.
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
Let’s Do it!
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
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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.
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.
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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.
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.
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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.
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
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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.
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.
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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.
Evaluation of Finished Ladies’ Trousers
Evaluation of trousers may be based on the following criteria.
Indicators Perfect Student‟s Teacher‟s

Score Score Score
1.Materials used (20 points)
a. Is the cloth soft and absorbent enough 5
to provide comfort for which it is
intended to be used? Is it colorfast?
b. Is the fabric design suitable for 5
pajama trousers?
c. Do the thread and buttons match the 5
color of the fabric?
d. Was the material preshrunk? 5
2.Worksmanship (30 points)
a. Are the stitches straight or neatly 8
curved in accordance with the edges
on which they are applied?
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 10
comfortably?
b. Is the hip loose enough to 10
permit ease in movement?
c. Is the length adequate? 10
4.General appearance (20 points)
a. Do the pajama trousers look neat and 20
feel comfortable when worn?
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TOTAL POINTS 100
Activity
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.
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.
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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.
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
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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 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.
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.
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Review of Learning Outcome
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.
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.
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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?
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
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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
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.
SUMMATIVE ASSESSMENT
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.
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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 centrefold 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.
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 preformed in
a plastic sheet.
a. Bubble package c. Blister packaging
b. Skin packaging d. foam packaging
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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.
D. WORD HUNT
Directions: Find the following words in the graph.
1. Blouse 6. Trousers
2. Skirt 7. Kimono
3. Zipper 8. Collar
4. Pants 9. Buttons
5. Sheath 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
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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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GLOSSARY
.
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.
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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.
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.
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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.
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
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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.
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 longchain,
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.
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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.
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.
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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.
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 penetration, but 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.
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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
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http://images.shopmadeinchina.com/p/135/10144135/VANCL-Erika-Plaid-Flannel-Shirt-Women-Orange-
Blue_10144135.bak.jpg
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=1C2RNV
H_enPH545PH545&biw=1366&bih=653&source=lnms&sa=X&ei=dsoWU4r4A
8T7rAe4kIGIDg&ved=0CAQQ_AU#q=peter+pan+collar+definition
http://textilelearner.blogspot.com/2012/02/list-of-trimmings-for-shirt-trouser-
and.html#ixzz343IuRPxW
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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
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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
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5. 2.5
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
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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
Summative Test:
A. True or False
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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
7-10
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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.
362
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363

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LM-Dressmaking/ Grade 10

Quarter I Ladies’ Skirt

Lesson 1 Produce Ladies’ Skirt

Quarter II Ladies’ Blouse

Lesson 1: Produce Ladies’ Blouse

Quarter III Ladies’ Trousers

Post Test 3 .............................................................................317

QUARTER IV Ladies’ Trousers

Lesson 2: Produce Ladies Trousers

The course provides varied and relevant activities and opportunities to

This learning material is specifically crafted to focus on the different

The learner demonstrates understanding of core concepts and

The learner independently performs the core competencies in

Learners are expected to become proficient in performing skills on the

1. develop personal entrepreneurial skills;

Grade 10 students who will take Dressmaking course as their

Learners are expected to develop their knowledge and skills in

Along the learning process, learners of this course are required to

Before exploring the core competencies of Dressmaking, you will be

Quarter I helps the learner demonstrate understanding on the principles

HOW TO USE THIS LEARNER’S MATERIAL

Here are some reminders on how to use this material.

1. Answer the diagnostic assessment before you proceed to the different

2. This learner‟s material contains relevant information and activities. Go

3. For every lesson/learning outcomes, perform the enhancement activities

4. After successfully finished the tasks, answer the post-test to be given by

5. Lastly, DO NOT mark the learner‟s material in any way.

Directions. Write True if the statement is correct and False if the

__________1. Construction lines show where to cut the pieces.

__________3. Pattern layout helps determine if the patterns are

Directions. Identify the words(s) that best describes the statements.

________1. What color calls out the silhouette, or outline figure of a

Directions. Match the descriptions given in (Column A) with the

Column A(Descriptions) Column B (Types of Lines)

F. Identify the body measurements of a skirt

Content Standards Performance Standards

The learner demonstrates The learner independently creates a

Quarter I Time Allotment: 4 hours

Let us know and understand what entrepreneurs and entrepreneurship

Entrepreneurs are agents of economic change; They organize, manage

Entrepreneurship, on the other hand, is not just a simple business

Now that you have a little background knowledge about entrepreneurs

 Identify areas for improvement, development and growth;

As part of your activity, you will be challenged to go deeper on the

Task 1: Matching Type

Direction: Match the entrepreneurial competencies in column A with

Task 2: Guide Questions

A. Why are entrepreneurial activities important to social development and

After answering all the guide questions to the best of your

LEARNING GOALS AND TARGET

Having gone through pre-assessment, and answering the guide

Goals and Learning

Figure 1: Strategic process to achieve the objectives of this module

Task 3: Group Activity

Direction: Answer the following guide questions on a separate sheet of paper.

1. Explain the importance of assessing one‟s PECs before engaging in a

3. What are the desirable personal characteristics, attributes, lifestyles,

4. Why is there a need to assess one‟s PECs in terms of characteristics,

5. What is the significance of evaluating PECs as a successful

Assessment of Personal Entrepreneurial Competencies (PECs) and Skills vis-

Entrepreneurial Competencies refer to the important characteristics that

Below are characteristics/traits/attributes of a good entrepreneur:

 Hardworking: This means habitually working diligently for a long