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Professional Sewing Techniques for Designers - Free eBooks Download (but it takes awhile). Download Full Version Here Professional Sewing Techniques for Designers - Ebook download as PDF File .pdf), Text Free UK delivery on eligible orders. Professional Sewing Techniques for Designers [Sharon Czachor, Julie Cole] on cheap-diet-pills-online.info Get your Kindle here, or download a FREE Kindle Reading App.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Publishing Inc or the author. Avoiding Snags 14 C h a pte r 3 Introduction to Stabilizers: Fabricating a Stable Foundation 69 C h a pte r 4 Seams: C h a pte r 8 Pockets:

Snap closures need to hold the garment securely closed. All of the garments in Figures 1. The size of the pocket needs to be generous enough for the hand to rest in it, and maybe hold keys and some cash. Notice that the pants in Figure 1.

Similarly, a jacket vent allows room for the jacket to spread when a person is sitting. A customer does not want to keep tugging at the garment to keep it up all evening—this would be dysfunctional design.

The zipper also needs to open from the top edge of the garment to 7 inches below the waistline so the customer can comfortably get in and out of the garment see Figure 1.

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Men also do not want to feel choked or suffocated. In Figure 1. Customers should not feel restricted when sitting in the office, walking the dog, jumping for joy, running to catch the train, crouching to pick up the baby, or reaching for that hidden candy on the top kitchen shelf.

Ease is the excess. For example, the strapless dress in Figure 1. In comparison, the raincoat in Figure 1. Some examples to consider: The cut of the coat must be large enough and long enough to wear over other clothes with the neck high enough to help keep the rain out—this is an example of functional design see Figure 1.

A coat underlined and lined will also have added warmth. Natural fibers such as cotton, linen, or silk are ideal choices. Fabrics with synthetic fibers prevent crushing or wrinkling—this is how fashion meets function see Figure 1.

For functional active wear the following attributes in the fabric are advantageous: However, it is not possible to achieve all these properties in one simple structure of fabric using one fiber. This is achieved by placing the right type of fiber in the right place. Blending the fibers will not achieve this; however, fibers in a multilayer structure will.

The layer closest to the skin absorbs, evaporates, and pulls moisture away from the skin. Spandex is an elastic fiber that is often mixed with other yarns to produce combi-. Refer to the "Stretch Seams for Knits" section of chapter 5. Even though swimwear and active wear are made from fabrics with spandex, elastic also needs be applied to the garment edges to help it stay put and cling to the body.

To see where swimwear elastic which is especially treated to stand up to chlorine has been applied, refer to Figure 1. Also refer to the "Stretch Seams for Knits" section of chapter 5. Spandex is not just limited to use in knit fabrics; it can also be added to woven fabrics. For example, the jacket, pants, and skirt in Figure 1. The amount of spandex is not added in the same percentage as it is to swimwear, but a minimal amount would offer extra comfort when wearing these garments.

Structural Design The second aspect the designer needs to attend to is the structural design. Structural design refers to all the seamlines that are stitched to hold the garment together. It also refers to the. When choosing the stitches and seam finishes, the wear and tear of the garment must be considered. The first and most important area of structural design, which is necessary to pass quality control, is to have quality permanent seam stitching.

A certain number of stitches per inch securely hold the seams together. Too few stitches will not hold the seam adequately; too many stitches may pucker the fabric. Garments made from stretch fabrics need to be stitched with stitches that stretch so the seams can stretch during wear. Decorative Design Decorative design refers to the decorative additions to the fabric surface. Decorative design is an important aspect of design because ultimately it may be what attracts a customer to purchase the garment—the special detail that distinguishes one garment from another.

Embroidery, lace, ribbon, bows, buckles, and buttons are just a few of the many items that can be used for decorative design. Decorative design can also encompass the vibrant fabric color or fabric texture, print, or pattern. This is the case in Figure 1. Observe the vibrant variegated color in the jacket fabric, which is quite eye catching. The swimsuit in Figure 1. When you hear the following statement about the garment you have designed and manufactured, then you have combined functional,.

Waistbands sitting comfortably on the waistline are usually correct straight and cut side of lining correct correct side side of of lining lining. Waistbands sitting on the hips are cur ved and cut in two pieces. Waistbands can be designed in a variety of widths and styles. The underside of the cur ved waistbands can be cut wrong side of lining. A waistband can also be cut all-in-one with wrong side side of lining lining the skirt. The garment can be darted to contour the waistline, creating a high-waisted look.

This style comes and goes in fashion trends. All decisions are made for waistbands based on the fabric selection. The nature of the fabric, the drape, and the hand whether it is stiff or soft all contribute to the type of waistband to be stitched. How the fabric will be stabilized or inter faced also influences the type of waistband to be constructed. Fabric and inter facing go hand in hand, and in waistbands it is essential to choose the correct type of support for the type of waistband being designed.

Waistbands, when they are worn, should not be too tight or too loose. The structure of the waistband is extremely important. A properly constructed waistband is the first step toward lasting comfort, and what stabilizes the band is the. The final waistband, whatever its shape, width, or style, should blend in beautifully with the whole garment.

The Style I. For the techniques in this chapter, you will need waist-specific support, which includes tape measure, interfacing and elastic, marking pen, scissors, pins, bodkin, hooks and bars, hooks and eyes, buttons, and appropriate needle and thread to match the garment. Think ahead—order now. Before applying waistbands, darts should be sewn and pressed, seams sewn, and zippers applied. What Is a Waistband? A waistband is a band of fabric, usually fully interfaced, seamed to the waistline of skirts or pants and fastened to hold the garment firmly around the waist.

Waistbands hold the garment in the proper position on the body. Ease is determined by the designer at the patternmaking stage of construction. The waistband must match the skirt at the waistline see Figures A waistband can be both functional and decorative. In its functional use, a waistband finishes the edge of a garment and provides support on the body.

In its decorative use, the style and eye appeal of the garment are enhanced. The waistband can open at the center. The Three Types of Waistbands Waistbands fall into three categories: The waistband should fit the waist snugly yet comfortably. The designer may be tempted to cinch the waist to create a slimmer look, but this usually has the opposite effect and forces the stomach to bulge out. This garment would be uncomfortable to wear. It is best to base the waistband on the waist measurement and the amount of wearing ease preferred by the designer.

The length of the waistband should equal the waist measurement plus ease and, if using an underlap or overlap, at least an additional 1 inch. The underlap is the extension of the waistband on the center-back edge see Figure The underlap is a place to sew garment fasteners.

The overlap see Figure Not every waistband needs an overlap, but it does need an underlap. The contoured waistband in Figure The waistband is stitched to the garment after the zipper has been inserted if using one and the seams have been completed. Straight Waistbands—One Piece Most straight waistbands are cut in one piece with a foldline in the middle.

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Straight waistbands can be wide or narrow but on average are cut 2 inches wide, plus seam allowances for. It cannot be said enough how important it is to determine the proper stabilizer for the waistband being constructed.

Sample several choices of stabilizers to determine the interfacing that best suits the fabric. To stitch the straight waistband: To calculate the waistband length, measure as indicated in Figure The waistband should be interfaced for longlasting wear and to stay in shape. Select a weight of interfacing that will not overpower the fabric, yet will provide body and support to the waistband.

Or use slotted waistband interfacing, specifically designed for waistbands. Stitch the straight waistband to the waistline seam by matching the notched edges see Figure The unnotched edge is folded under on the seam allowance, edge pressed, and trimmed to reduce bulk at the waistline before finishing by hand slipstitching or stitching-in-theditch see Figure The unnotched edged can also be serge finished to further reduce bulk.

Pin baste and stitch the correct side of the waistband to the correct side of the garment waistline see Figure Stitch the extension from the notch to the top of the waistband; stitch the other side of the waistband see Figure Turn the waistband to the inside of the garment and slipstitch the folded, pressed edge of the waistband to the seamline.

Complete the waistband with your closure of choice. Remove the stitching, and adjust the amount needed to remove the rippling. Take time to measure the amount, using your tape measure or your seam gauge. Hand-Finished Application To attach a waistband without edgestitching or topstitching, follow the direction for applying the straight waistband. To stitch a hand-finished waistband:.

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Topstitched Application Attaching the waistband by topstitching it on the correct side changes the order of the application. Topstitching is meant to be seen, so the stitch length is usually extended to 3. Often a contrasting thread type or color can be used to highlight this stitching, which is done from the correct side of the garment.

This type of stitching must be straight, even, and without obvious starts and stops. If this skill has not been mastered, consider using edgestitching in place of topstitching. To stitch the topstitched waistband: Pin baste the correct side of the waistband to the wrong side of the garment waistline, matching notches see Figure Double-check that the waistband is pinned correctly so it will actually be turned to the correct side of the garment.

Also check that the extension is on the correct end see Figure Stitch the waistband to the waistline. Trim, grade, and clip the seam allowances. Press the waist seam allowance flat; then press the seam allowances up into the waistband see Figure Fold the waistband ends so the correct sides are together; stitch the left side from the notch to the top of the waistband; stitch the right side.

Trim the corners see Figure Flip the waistband to the correct side of the garment see Figure Place the folded, pressed edge of the waistband slightly over the waistline stitching, just enough to be caught in the topstitching.

Do not stretch this edge when pressing or it will not lie flat when topstitched. Pin baste the folded edge to the seamline. From the correct side of the waistband, topstitch the folded edge to the waistline see Figure With the needle down in the fabric, lift the presser foot, pivot, and continue topstitching the waistband, extension, and top of the waistband see Figure Complete the waistband with appropriate fasteners for the garment.

Straight Waistbands—Two Pieces A straight waistband is cut in two pieces when the waistband is a decorative shape. For example, the decorative scallop-edge waistband would be stitched as a two-piece waistband in Figure. A two-piece waistband eliminates bulk by using a lighter-weight fabric or lining for the under waistband and adds comfort if the fabric is heavily textured or itchy.

Accurate sewing and careful clipping, trimming, and grading contribute to the success of this type of waistband. Complete the waistband with the appropriate closure. To stitch the two-piece waistband: Determine the finished waistband length, including the extension. Remove seam allowances from fusible interfacing before applying to the waistband to reduce bulk in the seam allowances see Figure Stitch the upper and under waistbands together along the top edge; press and understitch see Figure Pin baste the upper waistband to the correct side of the waistline; stitch see Figure Trim and grade the seam allowance; press toward the waistband.

Stitch the straight end and extension upper waistband to the under waistband, trim ends, and turn waistband correct side out. Secure the under waistband to the waistline seam using any of the following techniques: The waistline can be finished by using bias binding to provide a narrow edge finish.

Decide if this will be contrasting fabric or the same fabric used for the garment. The technique described here is effective for single or double binding. In this section the bias binding will be stitched as single binding. To stitch bias binding at the waist: Apply zipper, and sew darts and seams before stitching bias onto waistline.

Stitch twill tape around waistline to stabilize the waistline. In Figure To stitch the twill tape, refer to Figure 3. Place correct sides of garment waist edge and binding together and stitch in place. The seam allowance for stitching is the finished required width of the binding. Press the seam up into the binding after stitching. Turn each end of the seam allowance in toward the binding, and turn the remaining bias over to the back, encasing all the raw edges. Finish the binding by hand slipstitching the edge of the bias binding to the machine stitches at the waistline see Figure For heavier, bulky fabrics such as denim or wool, serge one edge of the binding see Figure Turn the binding over, encasing the raw edges.

Leave the serged edge flat—do not turn under. Stitch-in-the-ditch from the correct side of the garment see Figure Curved or Contoured Waistbands A contoured waistband is shaped to coincide with the contour of the upper hip.

Belt loops are often a feature of this waistband. When the designer plans the waistband, he or she determines the width and the number of belt loops and their placement. Firm interfacing, staystitching, and twill tape are necessary to stabilize the contoured waistband.

The fabric and the type of interfacing need to work together to support the shape required. Take time to sample different types and weights of interfacing before constructing this type of waistband. Refer to. Chapter 3 for further information on appropriate stabilizers. Follow Figures The waistband stitched in this section has a fly-front zipper and a contoured waistband with a front extension , and belt loops with. To stitch the contoured waistband: Cut four waistbands and notch see Figure Cut four interfacing pieces from a lighter-weight interfacing using the garment waistband pattern.

The Hong Kong finish is bias cut in Figure 4. Fuse the interfacing to the waistband pieces see Figures Join the band center-back seams see Figures This is now the upper band.

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Finish the other waistband lower edge with a Hong Kong finish see Figure Stitch the Hong Kong finish from the center front, notch to the other end of the waistband. Leave a 1-inch excess beyond the center-front as indicated in Figure Refer to Figures 4. This is now the under band. If you have decided to use belt loops, position them on the upper waistband; machine baste the loops at top and bottom edges of the waistband, as indicated in Figure Understitch the under band see Figure Place the wrong sides of the garment and upper band together, match center front, center back, and notches together; pin the waistband in place.

Stitch the waistband to the garment see Figure T hen stitch the extension and straight edge of the waistband this may differ depending on the design , as shown in Figure Clip the corners, turn, and press. Tuck the excess Hong Kong finish under the band and pin see Figure From the correct side of the garment, pin and stitchin-the-ditch to attach the under waistband. The waistband on the pants in Figure The button helps to hold the waistband firmly to the body, as shown in Figure Waistline Stay A waistline stay in a strapless dress or a gown helps keep the waistline from stretching and relieves stress and strain on the closure.

Zippered waistlines close more easily if they are. Grosgrain ribbon makes an excellent stay, as it does not stretch. Cut a piece of grosgrain ribbon 3 inches longer than a firm waist measurement.

Sew hooks on one end of the ribbon stay and round eyes on the other see Figure Position the ribbon on the waistline with the ends meeting at the zipper and overlapping, as illustrated in Figure Fasteners should face the zipper tape. Machine stitch the stay to the waistline seam allowance. Leave the stay free for 2 inches on either side of the zipper to provide necessary room to close the hooks and eyes.

Extended Waistbands A waistband can also be cut all-in-one with skirt or pants and darted to provide contour, but this is a style that comes and goes in fashion. A more familiar and commonly used style of waistband that is cut-in-one with the garment is the foldover elastic waistband. The cut-in-one-with-the garment waistband is an extension of the garment.

The shape at the top of the waistband must be equal in width to the area of the body it will meet. The facing of the extended waistband must also match the upper edge of the extended waistband. All of these requirements must be addressed by the designer at the patternmaking stage. Careful, accurate stitching of the seams results in the extended waistband width fitting the body width when complete. Darted, Extended Waistband To stitch the darted, extended waistband:. Stitch, slash open, and press the darts see Figure Interface the facing; if using a lining, leave the facing edge unfinished see Figure Twill tape can be added to stabilize the upper edge of the extended waistline.

Install the zipper.

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S TAY 5. Stitch the facing to extended waistline upper edge, press the seam allowances, and understitch see Figure Turn the facing inside the garment; press. If using a lining, stitch the completed skirt lining to the lower edge of the facing see Figure Or, secure the ends of the facing to the zipper tape, seam allowances, and darts if not using a lining. Hand stitch a hook and eye to the top edge above the zipper see Figure Elastic Waistband Elastic waistbands fall into two categories— elastic inserted into a stitched-down casing or.

An elastic waistband requires that ease must be added at the pattern drafting stage for the garment to fit over the hips, which adds considerable fabric to the waist area—not always a flattering look in a straight skirt.

For example, full circle skirts or dirndl skirts, which are gathered, may benefit from an elastic waistband, but these are styles that come and go in fashion. Follow the directions below for the style that best suits the skirt and pant fabric.

Elastic waistbands can be: A large safety pin can be used as well if a bodkin is not available. Use whatever fits safely into the casing. Topstitched Casing To stitch the topstitched casing or fold-over casing: Cut the determined length of elastic equal to the measurement of the waist, less 2 to 4 inches. This depends on the width, the amount of stretch in the elastic being used, the quality of the elastic, and the comfort factor.

Add 1 inch for overlapping and stitching the elastic together. If the fabric is bulky, consider serging the edge of the casing instead of folding it under.

Begin stitching the casing on a seamline at the center-back or side seam. Stitch around the waistline, leaving a 2-inch opening see Figure Using a bodkin, feed the elastic through the opening see Figure Pull both ends of the elastic out of the casing and overlap by placing one side over the other, not stitched as a seam , and stitch a square to secure the elastic edges see Figures Slipstitch the opening closed, then topstitch to complete the casing.

Casing with Cords or Elastic and Cords A casing with cording is constructed as follows without the addition of the elastic. The designer. The elastic is equal to three-quarters of the total waist measurement. After the ties are stitched to the ends of the elastic, they have been pulled through stitched buttonholes to resemble a drawstring waist see Figure Prepare the ties: Use bias strips or straight grain strips as shown in Figure The ties should be long enough to pull the elastic to control the waistband size and to tie closed and not show.

Stitch the ties to the ends of the elastic see Figure Stabilize the buttonhole areas before stitching see Figure Mark and stitch the buttonholes on the front of the garment before folding over and stitching the casing for the elastic see Figure Using a bodkin, thread the elastic and attached ties through the buttonholes.

Distribute the casing fullness along the elastic before stitching-in-the-ditch at the side seam. To insert a cord into the casing without elastic, the cording should be equal to the waist measurement plus the length of the ties used to tighten the waist and the cording extensions. Joined Elastic Casing While this waistband looks the same as a conventional waistband that requires a zipper, the joined elastic casing is really a pull-on waist finish that works on both stretch wovens and knits.

To stitch a joined elastic casing waistband:.

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Cut a firm, non-roll elastic 1 inch wide and equal in length to the waist measurement. Divide into fourths, marking the divisions and avoiding the lapped stitched section.

Pin the waistband to the garment, right sides together, and match the notches of the garment and waistband; stitch see Figure Pin and match the quarter divisions of the elastic to the waistband side seams, center front, and center back see Figure Zigzag stitch the elastic to the garment seam allowance, stretching the elastic to fit the garment, while keeping the lower edge of the elastic butted up to the waistband seamline see Figure Serge finish the other edge.

Fold the waistband tightly over the elastic; pin in place see Figure To Construct the Thread Carriers To make a thread carrier, select a matching color of thread of buttonhole twist, or use several strands of regular machine thread.

Belt Loops and Thread Carriers Loops are needed to hold a belt in the desired position on the garment. They are usually placed at the side seams on dresses or a coat.

On pants or a skirt, the loops create a more slimming look when removed from the side seams and placed 2 to 3 inches on either side of the center-front and center-back waistband. This measurement depends on waist size and style of waistband.

They should be long enough for the belt to fit through easily. Loops can be made from fabric strips or thread. Thread Carriers Thread carriers are narrow and inconspicuous. They are most suitable for dresses, tops, and coats where little or no strain will be exerted on the carrier.

Form the blanket stitch around the threads by inserting the tip of the needle between the thread strands and the garment. Hold the thread from the previous stitch in back of the point of the needle. Pull the needle up and out, drawing the thread close around the thread strands see Figure For a sturdier version of the thread carrier, combine eight or more strands of sewing thread with zigzag stitching.

Belt Loops Belt loops can be made from the same fabric as the garment, or they can be made in contrasting fabric, such as leather on tweed. However, bulk needs to be considered. The length. Increase the ease if the fabric is bulky or textured, which might prevent the belt from passing through the loop easily.

The finished width of the belt loop is entirely up to the designer and should reflect the support the loops must give the belt to sit on the garment properly. For example, multiply 6 by the measurement of 1 belt loop with ease included 2 inches: Fusible webbing applied to lightweight fabrics does not need to be edgestitched and can be used to make a belt loop.

Once the belt loop strip has been stitched, cut it into individual loops. The ends of the loops are finished when they are attached to the garment.

The method of applying the loop will depend on the location of the loop on the garment and the stage of construction of the garment. If the loop is at a side seam or the interior of the garment:. If the waistband has already been stitched to the garment: If the waistband has not been stitched to the waistline, the belt loops can be stitched to the waistband or included in the waistline seam.

Belt loops in Figure Waistband Closures Finishing details are what set extraordinary garments apart from the ordinary.

Take time to perfect hand-sewing techniques while doing a sample. Practice, sample, practice! The following closures are for skirts and pants. A variety of sew-on, hook-and-bar closures are available in various widths in either black or silver to blend with the fabric used. Applying a Hidden Button and Buttonhole to a Waistband A button and buttonhole can be applied to the waistband for a stronger closure. The waistband. When a button is used for the waistband as well as the hook-and-bar closure, an extension needs to be added onto the waistband pattern see Figure Stitch the Buttonhole and Button 1.

On the left-hand side of the waistband, sew a buttonhole horizontally, in the middle of the width of the waistband. Placing center fronts together, mark the position for the button. Pin the waistband closed and mark the position of the button see Figure On the surface of the waistband, on the wrong side, sew the button without the stitches showing on the correct side of the waistband.

Yes, this can be done! Applying a Sew-On Hook-and-Bar Closure to a Waistband The hooks and bars are strong and flat, and will not be seen from the correct side, nor will the hook slide off the bar see Figure To stitch the hook and bar: Secure by stitching over the holes, around the opening. Place the hook over the bar which is not attached yet. Then pin the waistband as it would be closed.

Use a very small piece of the double-sided adhesive basting tape to hold the hook in place before stitching. Then get the first stitches started, remove the tape, and finish stitching the bar. All fabrics cannot be covered in one chapter, but the following suggestions will assist you in deciding what type of waistband to construct for the fabric being used.

Matching Stripes, Plaids, Patterns, and Repeat Patterns Do consider placing waistbands in stripes or plaids on the bias as a contrast to the garment. Do consider using a solid color for the waistband that contrasts with the stripe, plaid, or repeat pattern of the garment.

Sheer Fabric Do underline the sheer fabric to avoid showing the interfacing used. Do consider using an alternative finish, such as bias binding, to finish the waistline. Do use a contrasting fabric or ribbon for the waistband. Lace Do use a lining fabric for the facing side of a waistband made of lace. Do use a contrasting fabric, such as taffeta or satin, as a narrow bias binding at the waistline in place of a waistband.

Do use a coordinating fabric, such as satin or taffeta, paired with lace as the waistband. Satin Do choose the interfacing carefully when using satin as the waistband.

Do mark the fabric as little as possible to avoid bleed through. Do cut the waistband, using the with-nap direction. Do test a sample seam for slippage, which often occurs at stress points such as the waistband. Refer to Chapter 3. Do pin only in the seam allowances. Do hand baste the waistband with silk thread to avoid marring the surface of the satin. Do use silk thread to hand slipstitch the waistband to the inside of the garment. Feminine and Flirty Chapter Silhouetting the Neck Chapter Encasing Unfinished Edges Chapter Cuffs and Other Finishes: Encircling the Wrist Chapter Setting the Sleeves Chapter 17 Hems: Defining the Length Chapter Covering the Inner Surface Chapter I really like this book and currently use it for all of my classes.

Techniques are explained in the context of how a designer must think and apply information. The strengths are that it provides a good overview of many sewing techniques and procedures. It is one of the two best basic sewing instruction books that I have found. The accompanying sample workbook is another major strength. Very pleasant looking book, so it encourages the students to use the book. It gives them a vision of how sewing adds to their ability to design a correct garment and what they must understand when sewing.

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