Final Copy LM Dressmaking 18 MB PDF

LM - Dressmaking I Grade 9
EXECUTIVE SUMMARY
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The need to respond to the increasing demand for human involvement is evident.
The demand in terms of manpower is increasing considerably everywhere in the world where
the quest for global competitiveness is ongoing. Manpower is needed in order to do the tasks
to make the nation capable of supplying the needs and demands of the community. A
community where a strong and powerful participation of everyone is beheld, where everybody
has the desire to do his share in helping the country uplift its economy and prove that the
potential and skills instilled within are the major factors to achieve the nation’s mission and
vision.
No one is exempted from this demand and the corresponding effort. The Department
of Education with the K to 12 Program foresees to gear us towards the attainment of the
country’s goals and objectives. Through this learning material every learner will be equipped
with necessary knowledge, skills and attitudes to fulfill the responsibility given to them.
This learning material in Dressmaking for Grade 9 is a response to help the country
realize its goals. The authors and experts in the field of Dressmaking collaborate to share the
knowledge, skills and attitudes to the learners. It is designed in accordance with the learning
competencies identified by the K to 12 Program of the Department of Education. It is intended
to prepare the learners for entry into specific occupational activities. It presents in-depth
discussion of the basic concepts about dressmaking and provides practical work
experiences. Certain assessments or activities with rubrics for evaluation are also provided.
The use of pre and post testing allows each learner to grow at their own pace. Each can
grasp at his individual level the concept this learning material offers. Thus, for a
specialization class, it is a self-contained procedural guidebook.
1
TABLE OF CONTENTS
Cover Page
Title Page
Executive Summary
Table of Contents
Introduction
Objectives
Personal Entrepreneurial Competencies
Environment and Market
Diagnostic Assessment
QUARTER I
LESSON 1 PRODUCE SLEEPING GARMENTS
LO 1 Draft and Cut Pattern for Sleeping Garments
Objectives
Pre-Test
L1 Principles and Elements of Design
Review of Lesson 1
L2 Fabrics
Review of Lesson 2
L3 Sleeping Garments
L3.1 Characteristics of a Sleeping Garment
L3. 2 Types and Selection of Fabrics for Sleeping Garments
Review of Lesson 3
L4 Project Plan for Sleeping Garment
L4.1 Components of a Project Plan
Review of Lesson 4
L5 Tools, Materials and Equipment
L5.1 Marking Tools Used in Pattern Drafting
Review of Lesson 5
L6 Pattern Symbols
Review of Lesson 6
L7 Measurements Needed in Sleeping Garments
L6.1 Body Measurements Needed in Sewing Sleeping
Garments
L7.1 Individual Measurement Chart
Review of Lesson 7
L8 Drafting Basic/Block Pattern of Sleeping Garment
L8.1 Front Blouse Sloper
Review of Lesson 8.1
L8.2 Back Blouse Sloper
L8.3 Sleeves
2
L8.4 Patch Pocket

L8.5 Pencil Cut Skirt

L8.6 Front Pajama Pants
L8.7 Back Pajama Pants
L9 Manipulating Basic/Block Pattern
Review of Lesson 9
L10 Principles in Laying Out the Fabric
Review of Lesson 10
L11 Guidelines in Cutting Fabric
Review of Lesson 11
L12 Transferring Pattern Marking and Symbols on the Fabric
Review of Lesson 12
Post Test I
QUARTER 11
LESSON 2 PRODUCE SLEEPING GARMENT
Pre- Test II
L1 Pre-Assembling Procedure
Review of Lesson 1
L2 Pressing Tools, Materials and Equipment
L3 Pressing Techniques
Review of Lesson 2
L4 Application of Heat and Pressure
Review of Lesson 4
L5 Kinds of Seam and Seam Finishes
Review of Lesson 5
L6 Preparing Parts for Sewing
Review of Lesson 6
L7 Unit Method of Assembling Sleeping Garments
Review of Lesson 7
L8 Assembling the Sleeping Garment
Review of Lesson 8
L9 Finishing Touches
Review of Lesson 9
L10 Trimming Techniques for Sleeping Garments

L11 Labeling of Garments
Review of Lesson 11
L12 Procedures in Packaging Finished Garments
Review of Lesson 12
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L13 Evaluation of Finished Sleeping Garments

Review of Lesson 11
Post Test II
QUARTER III
LESSON 3 PRODUCE CHILDREN’S WEAR
LO 1 Draft and Cut Pattern for Children’s Wear
Objectives
Pre-Test III
L1 Designs of Children’s Wear
Review of Lesson 1
L2 Characteristics of a Well-Fitted Children’s Wear
Review of Lesson 2
L3 Types of Fabrics for Children’s Dress
Review of Lesson 3
L4 Accessories and Accents for Children’s Wear
L4.1 Sleeves
L4.2 Collars
L4.3 Skirts
L4.4 Facings and Interfacings
L4.5 Pockets
Review of Lesson 4
L5 Project Plan for Children’s Wear
L6 Body Measurements for Children’s Wear
L6.1 Individual Measurement Chart
L7 Body Measurement for Children’s Wear
Review of Lesson 6
L8 Drafting Basic/Block Pattern for Children’s Wear
L7.1 Front Blouse Sloper
Review of Lesson 8
L7.2 Back Blouse Sloper
L7.3 Flared Skirt
L7.4 Peter Pan Collar
L7.5 Sailor’s Collar
L7.6 Convertible Collar
L8 Manipulating Basic/Block Pattern for Children’s Wear
L8.1 Front Blouse
L8.2 Back Blouse
L8.3 Puff Sleeves
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LO 2 Prepare and Cut Materials for Children’s Wear
L9 Techniques in Cutting Final Pattern
L9.1 Front Bodice
L9.2 Back Bodice
L10 Laying Out Pattern Pieces
L11 Cutting Fabrics
L11.1 Cutting Fabric for Half Balloon Skirt
Review of Lesson 11
L12 Transferring Of Marks to the Fabric
Post Test III
QUARTER IV
LESSON 4 PRODUCE CHILDREN’S WEAR
LO 3 Assemble Garment Parts for Children’s Wear
Pre-Test IV
L1 Pre-Assembling Procedure
L2 Techniques in Pressing Children’s Wear
L3 Preparing Parts for Sewing
Review of Lesson 3
L4 Unit Method of Assembling Children’s Wear
Review of Lesson 4
L5 Assembling Children’s Wear
L6 Finishing Touches
L7 Fasteners
L8 Attaching Fastener
Review of Lesson 8
L9 Trimming Techniques for Children’s Wear
Review of Lesson 9
L10 Pressing Finished Garment
Review of Lesson 10
L11 Application of Heat and Pressure
Review of Lesson 11
L12 Packaging of Children’s Wear
L13 Evaluation of Finished Children’s Wear
Review of Lesson 13
Post Test
Summative Assessment
Synthesis
Glossary
References
5
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. This module focuses on a Home
Economics course – Dressmaking.
In this course, varied and relevant activities and opportunities are provided to
demonstrate your understanding of concepts and core competencies as prescribed
in TESDA Training Regulation in Dressmaking. It deems eventually to provide quality
service to target clients. This will also be a venue for you to assess yourself and
identify aspects of business that you need to strengthen and safeguard before you
become a part of the workforce.
Today, in the world of work, the number of available jobs has become scarce.
Accordingly, the Department of Education is revitalizing its resources to lead the
young people and to prepare them skillfully as future dressmaker experts. It is in
honing the skills that learners can be assured to have an edge in surviving the daily
needs of the self and others. It seeks to provide students with the knowledge,
attitude, values and skills in the field of Dressmaking.
This module is specifically crafted to focus on the different activities that will
assess your level in terms of skills and knowledge that you are expected to
demonstrate after going through the learning materials. Learning procedures are
divided into different sections - What to Know, What to Process, What to Reflect and
Understand, and What to Transfer. Go over the suggested tasks and accomplish
them to practice developing a sustainable program, prioritizing needs and building
vision.
So, explore and experience the K to 12 TLE Dressmaking module and be a

successful sewer/dressmaker/ and even a dress designer.
After finishing all the activities in this module, expect job

opportunities and experience to set up a business enterprise
which will generate jobs for others.
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CONCEPT REVIEW
At the start of your journey in learning Dressmaking, the Personal
Entrepreneurial Competencies and entrepreneurial mindsets are introduced.
In this concept review, you will be reminded of these lessons and you get to
assess the competencies you have as found among entrepreneurs. In
addition, a brief lesson on the Business Environment and Idea Generation is
provided to help contextualize your skills for a useful entrepreneurial venture.
Read on to find out!
LEARNING OUTCOME 1:
ASSESS PERSONAL ENTREPRENEURIAL COMPETENCIES
Entrepreneur
An entrepreneur is comprehensively defined by Zimmerer &
Scarborough (2005) as someone who “creates a new business in the face of
risk and uncertainty for the purpose of achieving profit and growth by
identifying significant opportunities and assembling the necessary resources
to capitalize on them” (p.3). Entrepreneurs are the ones who act on their
business ideas.
Personal Entrepreneurial Competencies

There have been many studies to characterize “the entrepreneurial
personality”. Although there is no isolated set of traits that guarantee success,
there were identified behaviors found common to most successful
entrepreneurs. There is a well-known research on human behavior done by
McClelland and McBer which identified 10 behavioral patterns organized into
three general clusters: the achievement, planning, and power clusters
(SERDEF, 2007; 1998). It was found out that these behaviors were also
typical entrepreneurial behaviors. The entrepreneurial qualities, more known
as the Personal Entrepreneurial Competencies (PECs) are as follows:
Achievement Cluster
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 Opportunity seeking – Entrepreneurs have a good eye for spotting

business opportunities and act on these opportunities appropriately.
 Persistence - Entrepreneurs do not easily give up in the face of
obstacles. They will take repeated or different actions to overcome the
hurdles of business. This includes making a personal sacrifice or
extraordinary effort to complete a job.
 Commitment to work contract - Entrepreneur do their best to satisfy
customers and to deliver what is promised. They accept full
responsibility for problems when completing a job for customers.
 Risk-taking - Entrepreneurs are known for taking calculated risks and
doing tasks that are moderately challenging.
 Demand for efficiency and quality - Entrepreneur see to it that the
business meets or exceeds existing standards of excellence and they
exert efforts to improve past performance and do things better. They
set high but realistic standards.
Planning Cluster
 Goal setting - Entrepreneurs know how to set specific, measurable,
attainable, realistic, and time-bound (SMART) goals. It is easy for them
to divide large goals into short-term goals.
 Information seeking - Entrepreneurs update themselves with new
information about the customers, the market, suppliers, and
competitors. This is rooted in their innate sense of curiosity.
 Systematic planning and monitoring - Entrepreneurs develop and use
logical, step-by-step plans to reach their goals. They monitor progress
towards goals and alter strategies when necessary.
Power Cluster
 Persuasion and networking - Entrepreneurs know how to use the right
strategies to influence or persuade other people. They have naturally
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established a network of people whom they can turn to in order to

achieve their objectives.
 Self-confidence - Entrepreneurs have a strong belief in themselves and
their own abilities. They have self-awareness and belief in their own
ability to complete a difficult task or meet a challenge.
Assess your Personal Entrepreneurial Competencies by answering the items

in the next page.
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Personal Entrepreneurial Competencies (PECs) Self-rating Questionnaire

Read each statement carefully and answer honestly based on how well it
5 = Always describes you. There are five choices as follows: Please write the number you
4 = Usually have selected on the space before each statement. Some statements may be
3 = Sometimes similar but no two are exactly alike. Please go through each statement and
2 = Rarely answer all the items.
1 = Never
Rating
_________1. I look for things that need to be done.
__________ 2. When I am faced with a difficult problem, I spend a lot of time trying
to find a solution.
_________3. I complete my work on time.
_________4. It bothers me when things are not done very well.
_________5. I prefer situations in which I can control the outcomes as much as
possible.
_________6. I like to think about the future.
_________7. When starting a new task or project, I gather a great deal of
information before going ahead.
_________8. I plan a large project by breaking it down into smaller tasks.
_________9. I get others to support my recommendations.
_________10. I feel confident that I will succeed at whatever I try to do.
_________11. No matter whom I’m talking to, I’m a good listener.
_________12. I do things that need to be done before being asked to by others.
_________13. I try several times to get people to do what I would like them to do.
_________14. I keep the promises I make.
_________15. My own work is better than that of other people work with.
_________16. I don’t try something new without making sure I will succeed.
_________17. It’s a waste of time to worry about what to do with your life.
_________18. I seek the advice of people who know a lot about the tasks I am
working on.
_________19. I think about the advantages and disadvantages or different ways of
accomplishing things.
_________20. I do not spend much time thinking how to influence others.
_________21. I change my mind if others disagree strongly with me.
_________22. I feel resentful when I don’t get my way.
_________23. I like challenges and new opportunities.
_________24. When something gets in the way of what I’m trying to do, I keep on
trying to accomplish what I want.
_________25. I am happy to do someone else’s work if necessary to get the job done
on time.
_________26. It bothers me when my time is wasted.
_________27. I weigh my chances of succeeding or failing before I decide to do
something.
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_________ 28. I look for things that need to be done.

__________ 29. When I am faced with a difficult problem, I spend a lot of time
trying to find a solution.
_________ 30. I complete my work on time.
_________ 31. It bothers me when things are not done very well.
_________ 32. I prefer situations in which I can control the outcomes as much as
possible.
_________ 33. I like to think about the future.
_________ 34. When starting a new task or project, I gather a great deal of
information before going ahead.
_________ 35. I plan a large project by breaking it down into smaller tasks.
_________ 36. I get others to support my recommendations.
_________ 37. I feel confident that I will succeed at whatever I try to do.
_________ 38. No matter whom I’m talking to, I’m a good listener.
_________ 39. I do things that need to be done before being asked to by others.
_________ 40. I try several times to get people to do what I would like them to do.
_________ 41. I keep the promises I make.
_________ 42. My own work is better than that of other people work with.
_________ 43. I don’t try something new without making sure I will succeed.
_________ 44. It’s a waste of time to worry about what to do with your life.
_________ 45. I seek the advice of people who know a lot about the tasks I am
working on.
_________ 46. I think about the advantages and disadvantages or different ways of
accomplishing things.
_________ 47. I do not spend much time thinking how to influence others.
_________ 48. I change my mind if others disagree strongly with me.
_________ 49. I feel resentful when I don’t get my way.
_________ 50. I like challenges and new opportunities.
_________ 51. When something gets in the way of what I’m trying to do, I keep on
trying to accomplish what I want.
_________ 52. I am happy to do someone else’s work if necessary to get the job
done on time.
_________ 53. It bothers me when my time is wasted.
_________ 54. I weigh my chances of succeeding or failing before I decide to do
something.
_________ 55. When I don’t know something, I don’t mind admitting it.
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Please proceed to the next section where you may determine your score. The point
system will indicate whether you manifest strong tendencies or weak inclinations towards a
particular behavior.
Source: Liberal, AE. E. (2007). Appraising and developing yourself for an entrepreneurial
career. (Eds.) Maghirnf, T., Librando, P., Esguerra, D., & Recio, D. In Introduction to
Entrepreneurship. Quezon City: Small Enterprises Research and Development Foundation,
Inc. in cooperation with UP-ISSI. pp: 41-43.
0
PEC’s Scoring Sheet
Please enter your ratings in the PECs scoring sheet. The number in
parenthesis corresponds to the questionnaire item number. Notice that the
item numbers are listed consecutively for each column. Perform the addition
and subtraction as indicated in each row to compute for each PEC.
Rating of Statements Score PECs

+ + - + + 6 = Opportunity
(1) (12) (23) (34) (45) Seeking
+ + - + + 6 = Persistence
(2) (13) (24) (35) (46)
+ + + - + 6 = Commitment to
(3) (14) (25) (36) (47) work contract
+ + + - + 6 = Demand for
Efficiency
(4) (15) (26) (37) (48) & Quality
- + + + + 6 = Risk taking
(5) (16) (27) (38) (49)
- + + + + 6 = Goal setting
(6) (17) (28) (39) (50)
+ - + + + 6 = Information
seeking
(7) (18) (29) (40) (51)
+ + - + + 6 = Systematic
planning
(8) (19) (30) (41) (52) & monitoring
- + + + + 6 = Persuasion &
(9) (20) (31) (42) (53) Networking
- + + + + 6 = Self-
confidence
(10) (21) (32) (43) (54)
- - - + + 1 = Correction
8 Factor
(11) (22) (33) (44) (55)
1
Source: Liberal, AE. E. (2007). Appraising and developing yourself for an

entrepreneurial career. (Eds.) Maghirang, T., Librando, P., Esguerra, D., &
Recio, D. In Introduction to Entrepreneurship. Quezon City: Small
Enterprises Research and Development Foundation, Inc. in cooperation with
UP-ISSI. pp: 43-44.
2
The PECs Scoring Sheet with Correction Factor
The Correction Factor is used to provide a more accurate assessment

of the PECs of each respondent. If the total score of items 11, 22, 33, 44,
and 55 is 20 or greater, then the total score on the ten PECs must be
corrected. Use the table below to determine the corrected score.
Subtract the following
If the correction
number from each PECs
factor is:
score:
24 or 25 7
22 or 23 5
20 or 21 3
19 or less 0
Correct each PECs score before using the Profile Sheet

Corrected Score Sheet
Origina Correctio Corrected
PECs l n Score
Opportunity seeking - =
Persistence - =
Commitment to work contract - =
Demand for quality & efficiency - =
Risk taking - =
Goal setting - =
Information seeking - =
Systematic planning &
- =
monitoring
Persuasion & networking - =
Self-confidence - =
Corrected Total Score:

entrepreneurial career. (Eds.) Maghirang, T., Librando, P., Esguerra,
D., & Recio, D. In Introduction to Entrepreneurship. Quezon City:
Small Enterprises Research and Development Foundation, Inc. in
cooperation with UP-ISSI. pp: 44-45.
3
Personal Entrepreneurial Competencies (PECs) Profile Sheet
Transfer the corrected PECs score to the profile sheet by marking an

“X” at the appropriate point on the horizontal line provided for each PEC
category. After plotting your PECs score, connect all the “Xs” with a heavy
line.
SAMPLE PECs PROFILE
Opportunity seeking
X
Persistence X
Commitment to work contract
X
Demand for quality &
efficiency X
Risk taking X
Goal setting X
Information seeking X
Systematic planning &
monitoring X
Persuasion & networking X
Self-confidence X
0 5 10 15 20 25
Interpretation
A lower score means a ‘weak’ performance and a higher score
translates to a ‘strong’ performance on a particular competency. A ‘weak’
performance should be regarded as a challenge or an opportunity for
improvement rather than a cause for worry. Improving a competency entails
enough determination, correct practice and strategies, and time for
maturation.

entrepreneurial career. (Eds.) Maghirang, T., Librando, P., Esguerra,
D., & Recio, D. In Introduction to Entrepreneurship. Quezon City:
4
Small Enterprises Research and Development Foundation, Inc. in

cooperation with UP-ISSI. pp: 45-46.
5
Business Environment and Market
The study of the business environment in a particular location has far-

reaching and long-term effects on a small or micro enterprise’s viability. In
fact, business ideas and opportunities are partly shaped or determined by the
business location. Unless it is possible to migrate to more favorable
locations, the ideas and opportunities for business will oftentimes be delimited
to the surrounding areas.
The business environment consists of both the tangible and intangible
factors that affect either the external or internal business operations. They
may include the land area available for economic zones, the physical layout
and barriers such as rivers, parks or lakes, and building obstructions as well
as the transportation network; all of which are considered tangible factors.
They also include the demography of clients and suppliers, the competitors in
the locale/area and the available technology for production. The intangible
factors, on the other hand, include the sub-culture, industry trends, economic
and government activity or the political situations in the area.
6
Natural & Physical Demography

Environment Potential target
Living conditions, client, migration
Facilities, Barriers pattern
Culture
Government
YOUR Sub-culture,
Regulations
BUSINESS Race, Emotional
Policies
environment
Economy
National Technology
International Trend
- Competitors Production
7
Natural and Physical Environment. This concerns the physical location of a

business’ store. The natural environment also pertains to the natural and
man-made structures that may enhance the beauty of the location, such as a
park or a sea front view, or serve as barrier to the location, such as a dump
site or high rise structures that obstruct a view. The living condition in an area
also serves as a standard for the ambience you want to create for your store.
There is also a phenomenon referred to as clustering where a
particular type of product is offered within the same area. For instance, most
guitar shops are clustered along the intersection of V. Mapa and Aurora
Avenue in Metro Manila; Filipino craft stores crowd the area under the Quiapo
bridge; or car accessories are found in Banawe area.
The key word to have in mind when scanning the physical environment
is the visibility of your intended store to the potential clients.
Demography. This pertains to the number of people living in the area,
their age, gender, socio-economic status, family size, religion and even
growth trends. These are invaluable information that can help entrepreneurs
in matching their product to the target market, in deciding for the marketing
strategy, pricing and product packaging among others.
Culture. Culture or sub-culture, being the totality of the way of life,
ideas and customs of a set of people or society, primarily influence the types
of products that are acceptable to a particular locality. For example, the
influence of the Japanese culture gave rise to minimalist designs. A sub-
culture also shapes the ‘emotional’ environment of an area. For instance, the
feeling of ‘fear’ for a specific location may serve as a barrier for a business; a
place where one does not feel safe because of the prevalence of crime will
discourage entrepreneurs.
Changes in the lifestyle, which is brought about by changes in the
population demography and the economy, also affect a business. These
lifestyle changes may be the increase of women’s participation in the world of
work, change in buying patterns and shift in tastes.
8
Government Regulations. The laws and policies of the national and

local government units also influence the business operations. Some
examples of policies that directly affect entrepreneurs are the imposition or
removal of taxes for products, the establishment of economic zones and
assistance in product labeling and packaging of products. In addition,
improvement of facilities and roads improve Natural and Physical
Environment. This concerns the physical location of a business’ store. The
natural environment also pertains to the natural and man-made structures
that may enhance the beauty of the location, such as a park or a sea front
view, or serve as barrier to the location, such as a dump site or high rise
structures that obstruct a view. The living condition in an area also serves as
a standard for the ambience you want to create for your store.
There is also a phenomenon referred to as clustering where a
particular type of product is offered within the same area. For instance, most
guitar shops are clustered along the intersection of V. Mapa and Aurora
Avenue in Metro Manila; Filipino craft stores crowd the area under the Quiapo
bridge; or car accessories are found in Banawe area.
The key word to have in mind when scanning the physical environment
is the visibility of your intended store to the potential clients.
Demography. This pertains to the number of people living in the area,
their age, gender, socio-economic status, family size, religion and even
growth trends. These are invaluable information that can help entrepreneurs
in matching their product to the target market, in deciding for the marketing
strategy, pricing and product packaging among others.
Culture. Culture or sub-culture, being the totality of the way of life,
ideas and customs of a set of people or society, primarily influence the types
of products that are acceptable to a particular locality. For example, the
influence of the Japanese culture gave rise to minimalist designs. A sub-
culture also shapes the ‘emotional’ environment of an area. For instance, the
feeling of ‘fear’ for a specific location may serve as a barrier for a business; a
9
place where one does not feel safe because of the prevalence of crime will
discourage entrepreneurs.
Changes in the lifestyle, which is brought about by changes in the
population demography and the economy, also affect a business. These
lifestyle changes may be the increase of women’s participation in the world of
work, change in buying patterns and shift in tastes.
Government Regulations. The laws and policies of the national and
local government units also influence the business operations. Some
examples of policies that directly affect entrepreneurs are the imposition or
removal of taxes for products, the establishment of economic zones and
assistance in product labeling and packaging of products. In addition,
improvement of facilities and roads improve is even relevant at the start of the
venture – during the business idea generation and opportunity identification
stage. A concise guide on how to spot and identify business opportunities are
provided in the following section. Keep reading!
Spotting and Identifying Business Opportunities

Spotting business opportunities is one of the most essential aspects of
entrepreneurship. An entrepreneur must have a keen eye for identifying
opportunities that can potentially turn into a good product or business venture.
At the same time, an entrepreneur should also know which opportunities to
drop and which ones to develop.
Idea Generation
The first step in identifying a good business opportunity is to look for
many opportunities. This is called the idea generation phase (SERDEF,
2007). The following are good sources of business ideas (Hisrich, Peters, &
Shepherd, 2008; Looser & Schlapfer, 2001).
1. Personal hobbies and interests
2. Everyday experiences, travel, and adventures
3. Suggestions from family members and friends
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4. Problems that need solutions

5. Problems with existing products
6. Books, magazines, news
7. Observing, listening around you
Screening Business Ideas

Once you have generated a number of business opportunities and
ideas, the next step is to select and screen these. Though there can be many
ways to do this, a good way to proceed is to screen your ideas based on 1)
your personality and personal preferences and 2) the characteristics of a
good business (SERDEF, 2007). Consider the following criteria:
1. Personality and Personal Preferences
a. Personal Preference
b. Education, Skills, and Experience
c. Work Experience
d. Support from family and friends
2. Characteristics of a good business

a. Demand for Product
b. Availability of skills, raw materials, technology, and capital
c. Profitability
SWOT Analysis
Once you have chosen your business idea, the next step is to conduct
a SWOT analysis in order to determine the Strengths, Weaknesses,
Opportunities and Threats of your potential business. This step will help you
improve your business of choice and prepare for challenges. The table below
will help you differentiate among these four features.
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Positive Negative
Strengths Weaknesses
set of problems,
positive factors that
difficulties or
contribute to the
shortcomings
favorability of a
Controllable encountered by the
business opportunity
Factors business
Examples:
Examples:
Cheap raw materials
Inexperienced owner
Skilled employees
Lack of working
Ease of management
capital
Small capital outlay
Poor location
Opportunities Threats
positive factors that negative factors that
are not within the are beyond the
control of the business. control of the
business
Uncontrollable Examples:
Factors Absence of similar Examples:
products in the market Rising costs
New markets being Raw material
developed shortages
Growing demand for Too many
similar products competitors
Favorable
government policy
Remember to refer back to these guidelines and tools when you are
ready to think of your next business ideas!
REFERENCES:
Histrich, R., Peters, M., & Shepherd, D. (2008). Entrepreneurship. New

York: McGraw-Hill.
Liberal, A.E. (2007). Appraising and developing yourself for an
entrepreneurial career. In T. Maghirang, P. Librando, D. Esguerra, & D.
Recio (eds.), Introduction to entrepreneurship (2nd ed.). Quezon City:
Small Enterprises Research and Development Foundation, Inc.
Looser, U. & Schläpfer, B. (2001). The new venture adventure. New York:
McKinsen and Company.
12
Zimmerer, T. and Scarborough, N. (2005). Essentials of entrepreneurship

and small business management. 4th ed. New Jersey: Pearson
Education Inc.
CREDITS FOR IMAGE USED:
Fat Pencil courtesy of OpenClipArt.org

Free font “KGWays to Say Goodbye” by Kimberly Geswein at
www.dafont.com
DIAGNOSTIC ASSESSMENT
Multiple Choice
Directions: Read and understand the statements carefully. Write the letter
that best describes the statement. Write your answer in your quiz notebook.
1. The first method of fabric straightening

a. Matching the selvage. c. Matching the grain line.
b. Cutting the selvage. d. Marking the warp.
2. The fabric lay out which is best for wide pattern pieces showing the
double fold
a. Vertical lay-out c. Crosswise
b. Diagonal lay-out d. Horizontal
3. The side of the fabric where the pattern should be laid

a. Right side c. Bigger Side
b. Wrong side d. Smaller Side
4. The best thickness for plaid fabrics

a. Single c. Triple
b. Double d. Multiple
5. The recommended fabric to cover the cutting surface when laying

out soft sheers and slippery fabrics
a. Georgette c. Muslin
13
b. Silk d. Seersucker
6. It is advisable to keep the entire length of fabric on top of the cutting

surface while pinning and cutting. Why?
a. To prevent stretching c. To eliminate weight
b. To promote ease d. To hasten speed in cutting
7. The following are tips why we need to check all pattern pieces laid
on the
cloth before cutting the fabric. Which is NOT?
a. Check completeness of garment parts
b. Check duplication of garments parts
c. Estimate the materials needed
d. Ensure the size of the garment
8. When positioning pattern pieces with straight arrows they should be

parallel to the selvage. Why?
a. Fabrics will be straight when cut
b. Fabrics are easy to cut
c. Fabrics will conform to the pattern contour
d. Fabrics cling to the pattern
9. When can we say that a fabric has a nap?

a. Floral Design c. One-way Design
b. Geometric Design d. Abstract Design
10. Which direction will you follow when laying patterns on fabric with nap?
a. One direction c. Multiple direction
b. Two direction d. Trio direction
11. A marking tool with brightly colored thread used in marking seams
a. Tailor’s tucks c. Tailor’s chalk
b. Chalk pencil d. Tracing paper
12. One of the characteristics of disappearing marking pens used by tailors

a. It can be easily removed c. It stays longer when washed.
b. It cannot be affected by dry cleaning d. It stains the garment.
13. In the absence of pins, it is used to hold the pattern pieces on place while
cutting the fabric.
a. Sewing kit c. Pin cushion
b. Pattern weight d. Needles
14. In what direction the dressmaking carbon should be inserted between the
pattern and fabric?
14
a. right c. down.
b. left d. up
15. This is used to rub into the scorch wool fabric while pressing.
a. Nickel c. Metal
b. Iron d. Aluminum
16. One reason why we pressed the seam before sewing

a. It is more accurate. c. It is done already.
b. Our work will be faster. d. It is easier.
17. How long will you allow the garments to cool down on the ironing board?
a. 5 minutes c. 6 minutes
b. 2 minutes d. I minute
18. Which of the following is the most appropriate cleaning material for the
soleplate of the iron?
a. Candle cleaner c. Hot iron cleaner
b. Surface cleaner d. Grease cleaner
19. It is used to flatten seam upon pressing.
a. Clapper c. Iron
b. Seam roll d. Crease remover
20. What is the basic structural element of a garment done by joining two
or more pieces of fabrics together?
a. Stitches c. Seam
b. Partners d. Finishes
21. The type of seam advisable for sleeping garments and fabrics that
ravel easily and is described as seam within a seam
a. Plain c. Flat-feel
b. French d. Lapped
22. The simplest type of seam

a. French c. Plain
b. Flat full d. Lapped
23. The seam applied to the edge of the fabric to prevent from raveling
a. Seam finish c. Seam Stitch
b. Seam line d. Seam Location
24. The factor to consider when choosing seam finished for the
materials that easily ravel, curl or roll.
a. Case of garment c. Fabric
b. Equipment d. Use of garment
15
25. A characteristic of a well constructed seam

a. Smooth and even c. Variety of stitch width
b. Lopping stitches d. visible of at right side
26. The original method of finishing seams and edges

a. Hand seam c. Lapped Seam
b. Locked seam d. Hand over cast seam
27. The type of stitches used to over lock the edge of the sleeping
garment
a. Zigzag c. Overcast
b. Plain d. Buttonhole
28. The type of pocket used in sleeping garments

a. Welt c. In Seam
b. Flap d. Patch
29. Why do we over lock the row edge of the fabric?

a. To prevent from raveling c .For security
b. To add aesthetic sense d. To save fibers
30. The fold at the edge of the garment used to reinforce and prevent
the garment from raveling.
a. Seam c. Fastener
b. Hem d. Finishing
31. The recommended fasteners for sleeping garment?

a. String c. Buttons
b. Safety pins d. Hook a eye
32. The type of tool considered best in trimming garments with excess
thread
a. Duckbill scissors c. Embroidery scissors
b. Snips d. Knitting scissors
33. The actual open seam, wrong stitching techniques, and non-
matching thread are under the criteria of
a. Garment defects c. Sewing defects
b. Sizing defects d. Color defects
34. Which of the following feature of finished garments is classified

under color defects?
a. Variation of color c. Correct colors
b. Likeness of color d. Matching dyes
16
35 What is the required heat temperature in cotton fiber?

a. 230°C c. 204°C
b. 200°C d. 190°C
36. Most of the electric iron got default setting of 7. Which level of iron
setting is suited for silk fabric?
a. 7 c. 5
b. 1 d. 3
37. The proper way to iron rayon fabri.

a. Iron it on the right side. C .Iron it on the left side.
b. Iron it on the wrong side. D .Iron it on the front side.
38. All are suggested tips in building clothing label EXCEPT

a. Go shopping c. Study your logic/design
b. Lock in your closet d. Copy design
39. The best packing material for garment

a. Acetate c. Packing card
b. Paper d. Cardboard
40. Factors to consider when sorting and packing the finished product
a. By design and size c. Source of raw materials
b. Time manufactured d. Company name
41. The process of inserting a garment into a poly bag in full visibility
to make the customer identify the color, size and style
a. Primary c. Secondary
b. Shipping d. Executive
42. The type of sleeve that flares out over the shoulder resembling
wings of butterfly
a. Angel sleeve c. Set-in sleeve
b. Butterfly sleeve d. Bell sleeve
43. The skirt gathered at the waist and provided with lining to hold the
hem and gather inward the hem ends
a. Bubble skirt c. Pencil skirt
b. Flared skirt d. Tube skirt
44. Simply the longer version of the pencil skirt

a. Pencil skirt c. A-line skirt
b. Flared skirt d. tube skirt
17
45. The skirt which is a combination of shorts and skirts and usually
loose in the bottom
a. Peplum skirt c. Pleated skirt
b. Coluttes d. Tiered Skirt
46. The type of sleeve which is cut together with the bodice. There is
no seam joining at the armhole.
a. Ragian sleeves c. Kimono sleeves
b. Raglan sleeves d. Angel sleeves
47. A part of the shirt, dress, coat or blouse that fastens around or
frames the neck
a. Sleeve c. Collars
b. Skirt d. Pants
48. A wide flat, round collar often with lace or sheer fabric worn with a
low neckline in the Victorian Era.
a. Bertha collar c. Mandarin collar
b. Sailor’s collar d. Convertible collar
49. The chronological steps or operations involved to accomplish the

project
a. Evaluation c. Procedure
b. Objectives d. Design Specifications
50. The measurement from the nape to the waistline on the cord
a. Back Figure Length c. Chest Width
b. Shoulder width d. Back Across Width
How did you fare in the Diagnostic Assessment? Don’t feel bad if you
discover there are skills that need to be developed. Explore more to find
answers from this dressmaking module. Good Luck !
Objectives
At the end of the module, the learner is expected to

1. plan, design and sew sleeping garments and children’s wear;
2. apply finishing touches on sleeping garments and children’s wear;
and
3. pack the finished garments attractively.
18
QUARTER I
LESSON 1
PRODUCE SLEEPING GARMENTS
LEARNING OUTCOME 1: Draft and Cut Pattern for Sleeping Garments
This DRESSMAKING course leads to National Certificate Level II.

This is designed for Grade 9 student to develop competencies: plans, designs
and sews sleeping garments and children’s wear. It discusses and explains
the tools, materials and equipment used in the making of desired products. It
also demonstrates different techniques and processes which will guide the
learner in developing the skills and knowledge to work effectively and
efficiently.
PRE- TEST I
A. Multiple Choice
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz notebook.
1. The tool used to take body measurement accurately

a. Ruler c. L – square
b. Tape measure d. Curve rule
2. The principle of design which can be achieved by creating a center

of interest in the garment
a. Balance c. Emphasis
b. Rhythm d. Proportion
3. The type of pattern which does not contain any symbol and
allowances
19
a. Basic pattern c. Final pattern

b. Construction pattern d. Commercial pattern
4. Fabric which is ideal for sleeping because it contains lustrous fiber

material from plant
a. Cotton c. Linen
b. Wool d. Silk
5. One of the characteristics of the sleeping garment

a. It is made of expensive materials. c. It is thick and long.
b. It is comfortable to the wearer. d. It is easy to wash.
6. The measurement from the shoulder neck junction to the waistline

with the tape measure passing at the highest portion of the bust
a. Blouse length c. Front Figure
b. Bust height d. Chest dept
7. Marking tool used for drafting pattern

a. Tailor’s chalk c. Pencil
b. Carbon paper d. Ballpen
8. A dressmaker’s guide in cutting fabric pieces in accordance with

the garment design
a. Dressmaker scale c. Pattern
b. Manuscript d. Design
9. The pattern symbols that direct the dressmakers where to stitch the
garment fabric.
a. Grainline c. Seamline
b. Hemline d. Stitchline
10. A color that is neutral

a. Yellow c. Red
b. Black d. Violet
11. The elements of design that create visual dimension

a. Length and width c. Size and bulkiness
b. Depth and height d. Center and emphasis
12. The result of combining primary and secondary colors

a. neutral colors c. prime-see colors
b. complementary colors d. intermediate colors
13. The cellulose materials made into long, lustrous fibers.

a. leaves. c. twigs.
20
b. seedpods. d. flowers
14. An example of silk fabric

a. Brocale c. Georgette
b. Canvass d. Challis
15. A fabric which can be easily dyed because of its absorptive

capacity
a. Wool c. Cotton
b. Nylon d. Silk
16. Which of the following characteristics of sleeping garment will you

consider first when designing?
a. Age of the wearer c. Tools and material
b. Price of the cloth d. Design of sleeping garment
17. When do we prepare the project plan?

a. During the execution c. Before the execution
b. Towards the completion d. At the end of the execution
18. A part of a project plan that depicts the chronological steps on how
to
accomplish the job
a. Objectives c. Bill of material
b. Procedure d. Evaluation
19. If you want to determine and prepare the logistics needed to

finance
the project, which part of the project plan will you check?
a. Working drawing c. Objectives
b. Bill of materials d. Tools and materials
20. A flexible tape used to take body measurement

a. Ruler c. Curve ruler
b. L-square d. Tape measure
21. The material needed in the construction of a sleeping garment

a. cloth c. ripper
b. needle d. tracing wheel
22. In drafting the back blouse sloper, the following measurements are
needed EXCEPT one.
a. Back across width c. Shoulder width
b. Waist circumference d. Chest width
21
23. Jovie is drafting a front blouse sloper. Which are you going to
divide to obtain the accurate measurement?
a. 1 c. ¼
b. ½ d. 1/3
24. The body measurement that is needed in drafting back and front
blouse slope
a. Bust circumference c. Back across width
b. Chest width d. Front figure length
25. The sloper or basic pattern is the foundation of all final patterns.
Which one is characterized as a sloper?
a. with provision for alteration c. ready for cutting
b. flexible for cutting d. no allowances and symbol
26. The body measurement which is taken around the arm where the
sleeve length falls
a. Sleeve length c. Arm circumference
b. Elbow circumference d. Armhole circumference
27. The measurement needed in drafting pajama trousers where the

female customer is allowed to sit while the measurement is being
taken
a. Thigh circumference c. Full length
b. Leg circumference d. Crotch
28. The tool used in making a construction line

a. L-square c. Tape measure
b. Ruler d. Meter stick
29. The drafting tool used in the construction of a garment
a. Tracing wheel c. Scissors
b. Seam ripper d. Curve rule
30. A pattern needed in manipulating one piece blouse

a. Bodice and shirt c. Bodice and sleeve
b. Bodice and trousers d. Sleeve and skirt
Lesson 1 Principles and Elements of Design
The personality of the wearer shows the kind of image she

projects. Personalities differ depending on the kind of clothing people
wear. Most introvert persons prefer clothes of simple yet classical cut
with pastel or light colors. Extroverts, on the other hand are creative,
artistic, expressive and energetic. Hence, they prefer clothing that is
22
comfortable, attractive and fashionable. They can wear all kinds of

clothing of varied style, colors and design with confidence.
No matter who and what we are, we must be well-groomed

everyday to be attractive and to project a pleasing personality. Designs
in our clothes add interest and beauty. Design in fabric refers to a
pattern or figure that is printed on it. There are two basic ways which
design is applied: a. design by printing; and b. design by weaving.
a. Design by Printing is the use of dye or ink on the surface of

the fabric. They are called “prints”. They are often attractive
because variety of colors can be combined. When designs are
printed all over the fabric, it is called “all-over print”.
23
b. Designs by Weaving are permanent because of the “color-fast

dyes” as the fabric is woven. They maybe in solid or in
combination colors woven to form special designs. Designs
such as stripes use more colors of yarn and will always be
straight because they form “grain line” on the fabric. When
horizontal lines cross vertical lines to form rectangles or square,
it is called plaid. When the design is formed by mixing certain
colors of nappy yarns to have speckled effects, it is called
“tweeds”.
24
a. dress with plaid design b. dress with tweed

design
To understand better how to consider designs and colors in

buying fabrics let us review the following principles and elements of
design.
Principles of Design
1. Proportion is the relationship in size between various parts and the

whole. Fashion designing is a creative expression. Exact mathematical
proportions are not required as long as what you design is visually
pleasing and in accordance with the size, shape and height of the
bearer.
25
.
According to the some artists, normal humans are
usually 7-8 times the height of their heads, meaning you
can use the height of the head as a unit of measurement
to give the “lay lines” for the parts of your body. Example
for adult figure above labeled for 7.5 heads tall.
Try to measure the proportion of your body.
2. Balance is the arrangement of a design on a space resulting to sense

of equilibrium. It is the equal distribution of weight from a central point
or area. There are three kinds of visual balance. They are the formal
or symmetrical balance, informal or asymmetrical balance and
radial balance.
a. Formal or symmetrical balance is the equal visual weight of

each side of an imaginary central vertical line. It is achieved
when each half of an object is exactly like the other. A jacket
with two breast pockets and two hip pockets is formally
balanced.
a.
a.
a.Formal or Symmetrical Balance
26
b. Informal or asymmetrical balance is when the design is

balanced, but each side is different in some way. It is achieved
when the two halves of a whole are different, but seem to be
equal in weight or emphasis. For example, a jacket with a breast
pocket on one side can be balanced by a pocket on the hip of
the opposite side.
b. Informal or Asymmetrical Balance
c. Radial balance is achieved when all parts of the design are

at equal distance from a central point. A man wearing a sun
design on the front of his shirt may have this king of design.
c. Radial Balance
3. Emphasis is achieved by the designer’s ability to create a center of

interest by which the viewer’s eyes are directed to a specific area of a
garment or body part.
27
4. Rhythm is the repetition of an accent to create an interesting design.

Repeating an accent on different parts of the dress or one part of the
dress will achieve a design that is harmonious and visually united.
5. Harmony is the pleasing and congruent arrangement of parts. It is the

blending of all components of design. When the structural lines,
decorative lines, colors and accessories all relate to each other
comfortably, harmony
results.
28
Elements of Design
1. Line creates a visual dimension of length and width. When lines meet,
space is enclosed and a shape is defined. Lines direct the eyes to a
certain path of vision, or it can draw the eyes away from an
undesirable area of the body.
It defines a shape or silhouette and conveys a mood of
character.
There are two kinds of lines in garments:

a. The Directional line such as vertical, horizontal, diagonal,
checkered, broken and curved. These affect the height and size
of an individual. Lines are serving as clothing designs like the
art of printing flowers, dots and others on fabric.
a. vertical b. horizontal c. diagonal
d. checkered e. with curve neckline
29
b. Structural lines are found on necklines, armholes, hemlines,

darts, side seams, sleeves, collars, tucks and pleats of
garments.
a. with bateau neckline b. with plunging c. with cape collar

neckline
d. skirt with pleats
2. Color is a radiant energy loosely termed light that produces sensation

in our eyes. The color of the dress easily attracts the client’s attention
and becomes her basis in choosing her apparel.
It is the most powerful element.
30
The Color Wheel

A color circle, based on red, yellow and blue, is traditional in the field of
art. Sir Isaac Newton developed the first circular diagram of colors in 1666.
Since then, scientists and artists have studied and designed numerous
variations of this concept. Differences of opinion about the validity of one
format over another continue to provoke debate. In reality, any color circle or
color wheel which presents a logically arranged sequence of pure hues has
merit.
Hue is the other name for color. It is the particular shade of

color that differentiates one from another.
Primary colors are red, blue and yellow. They are the basic
colors where different colors originated.
31
Secondary Colors: Green, orange and violet

These are the colors formed by mixing the primary colors
Intermediate Colors stem from the combination of primary and

secondary colors.
32
Tertiary colors are made by mixing either one primary color with
one secondary color, or two secondary colors. Tertiary colors are a
combination of full saturation of one primary color plus half saturation of
another primary color and none of a third primary color. They have specific
names, one set of names for the RGB color wheel and a different set of
names and colors for the RYB color wheel.
a. Primary, secondary, and tertiary colors of the b. A traditional RYB color wheel. 'Violet' is
commonly RGB color wheel called 'purple'.
33
Neutral colors are the white, black and gray and are predominantly grayish
and brownish. They are sometimes called “earth tones.”
Value is the lightness or darkness of color. White added to a color will

produce tints. For example, pink is a tint of red. Black added to a color will
produce shades. Maroon is a shade of red.
A Color Wheel showing the tint, tone and shade of colors
Intensity or chroma is of a color corresponds to its purity and saturation in a

color other than black, white and gray.
Color impressions or image from a complex overlaying of value and chroma
34
Color Schemes (Color Harmonies):
Monochrome or one color harmony includes only one color of different value.
and intensity. An example of a monochrome color scheme could include any
color mixed with white, gray, or black.
Adjacent colors (also called analogous colors) uses colors that neighbor
each other on the color wheel. An example is a color scheme that includes
various values and intensities of reds and oranges
35
Colors opposite each other on the color wheel are called complementary
colors for example, violet and yellow, red and green, and blue and orange.
A single split complementary uses a primary color plus colors on either side
of its complement. An example is a color scheme that includes various values
and intensities of greens, violet-reds and red-oranges.
A double split complementary (also called tetradic) uses two pairs of

complements, one apart on the color wheel. An example is red, green,
orange, and blue.
A triad uses colors at the points of an equilateral triangle (three colors spaced
equally on the color wheel). These are sometimes called balanced colors. An
example of a triadic scheme could be red, blue, and yellow; green, orange,
and purple, etc.
Psychological Effects of Colors on People
Colors bring life to us. Our looks and feelings are sometimes
mirrored by our selection of colors. When we choose colors, it reveals
our personality. They make us feel and look happy or pretty and
sometimes make us look sad or ugly. Which of the colors below
signifies the real you? Which one is your favorite?
Psychology Colors in Marketing
36
White makes us feel clean and fresh. White connotes innocence and purity.
Red makes us feel bold and daring. Red connotes passion and bravery.
Yellow makes us feel joyful. It also connotes cowardice and treachery.
Blue represents truth, loyalty, calmness and wisdom. Deep blue could also
make us feel depressed.
Green suggests life and abundance as this is the color of plants, but green
could also suggest jealousy.
Purple is the color of royalty, but it can also symbolize suffering.
Orange is a warm color that suggests deliciousness and ripeness. Eateries,

especially fastfood joints use orange with a touch of green to stimulate
appetite.
Black suggests strength and dignity and is usually worn for formal evening
affairs. Black also symbolizes mourning and death.
3.Space is the area inside an enclosed shape. The use of space can lead to
an interesting design. But the overuse of a space could make the design
confusing while an empty space could be unattractive and boring.
37
3. Form or shape refers to the form of a person showing the curves of

the body. This includes the shape of the face, neckline and the full
body or figure.
Form – is a volume space enclosed a surface.
Shape – is simply a flat space enclosed by a line.
a. bell or hourglass b. straight or tubular c. inverted triangle
38
5. Texture is the surface quality of an object, rough, smooth, silky, etc.
a. soft dress b. stiff dress
Review of Lesson 1
A. Identification
Directions: Identify the word(s) that best describes the following

statements. Write your answer in your quiz notebook.
__________1. The kind of design that creates a center of interest

__________2. The repetition of accent that creates an interesting
design
__________3. An element of design which easily attracts the attention
of the client and becomes the basis in choosing her apparel
__________4. It refers to the lightness and darkness of a color.
__________5. It is the other name for color.
_____..____6. They are the basic colors.
__________7. The combination of primary and secondary colors
__________8. The color which suggests strength and dignity and
symbolizes
mourning and death.
__________9. A warm color that suggests deliciousness and ripeness
__________10. A color which makes us feel bold and daring. It
connotes passion and bravery.
B. Directions: Draw your ideal sleeping garment in a short-sized

bond paper applying the principles and elements of design. Explain
briefly what elements and principles of design you applied in your
work.
39
C. Collect several scraps or pieces of patterned fabrics. Paste

them on your notebook. Label each of them and write the kind of
designs such as: All-over print, Lined-up print, Stripes, Plaids, or
Tweeds.
Lesson 2 FABRICS
Fabric is cloth made of fibers. Fibers are hair-like strands that

are wound to make yarn or thread used to make fabric. Fabric is the
cloth or material used in making our clothes, curtains, tablecloths,
sheets and many other items.
Types of Fabrics
Woven fabric does not stretch

except on the bias. Woven fabric is made
up of fibers which run straight at ninety
degree angles to each other.
Knit fabric has loops of fiber that allow

the fabric to stretch. The amount and the
direction of stretches are all variables. A
knit may stretch in one direction or it may
stretch in both directions. This is an important consideration when
choosing fabric for a specific pattern. For example, a bathing suit
pattern will require equal two way stretch. If you choose a fabric that
40
only stretches in one direction, the suit is not going to fit properly and
you cannot even put it on.
2.1 KINDS OF FABRICS, THEIR USES, CHRACTERISTICS AND

CARE
NATURAL FIBERS USES (Home Characteristics Care

and Apparel)
Vegetable Fibers
A. Cotton The world's most
Good for items popular fabric. It Special for
that need to be is durable press
washed often like cool to wear and
sheets and easy to wash and Maybe
pillows, school sew. It is machine
clothes, and work versatile, durable laundered
clothes. and comfortable.
Inexpensive but Avoid risk of
shrinks and mildew
wrinkles easily.
Kinds of Cotton
Fabrics
Used for crafts,
1. Canvas home decorating Tightly woven
(curtains heavy-duty cotton
cushions and
outdoor gear)
For elegant A finely woven
2. Cotton Batiste garments lightweight cotton
(blouses, baby Use straight
dresses,and stitch/jeans
underlinings) presser foot and
60/8 or 70/10
machine needle
3. Broadcloth Perfect for shirts. Fantastic, closely

woven cotton that
has slight rib
41
100 percent
4. Cotton chintz For home cotton. Needs
decorations special fabric
(curtains and treatment that
cushions) leaves it shiny
and smooth
Medium weight
5. Cotton pique The most cotton fabric that
common fabric has raised nubby
used in the tie surface
and waistcoat of
white tie
Lightweight 100-
6. Cotton shirting Pajamas and percent cotton
boxers. that makes
fantastic
menswear shirts
7. Cotton voile Mostly used in Crisp lightweight

soft furnishing cotton used for
such as curtains, garments
mosquito nets,
and also in
dressmaking.
8. Denim Great for work One of the most

clothes, jeans heavy-duty
and jackets. cottons
This falls into the

9. Seer sucker Used to make category of
clothing for cotton crinkles
spring and which have
summer wear surface texture.
10. Terrycloth Used for robes, Thick, absorbent

towels, cotton
beachwear and
home decorating
42
Either a 100-
11. Velveteen Used in percent cotton or
dressmaking cotton blend, it
has a duller and
slightly stiffer look
than velvet.
B. Linen Very strong, cool Iron at high
Women’s and to wear, and temperature.
children’s usually more
dresses and expensive than Avoid pressing in
blouses cotton. Easily sharp creases.
wrinkled unless a
Summer dress special finish is Avoid risk of mildew
applied.
Table linens and
other household Known as the
fabrics oldest fiber and
used by the
Egyptians
thousand of
years ago. It
comes from the
stem of a very
pretty plant
called flax.
Animal Fibers
A. Silk- collected Strong and Dry cleaning is

from the cocoon For high-end luxurious fabric preferred.
of silk worm. clothing and with natural Maybe hand washed
accessories luster; in mild suds.
moderately Avoid over exposure
Some expensive resilient and to light.
upholstery and resists wrinkling Can be attacked by
drapery fabrics More expensive insects.
than manmade
(filament) silky
yarns
Kinds of Silk Fabric
43
1. China silk Used almost A very lightweight

exclusively for silk
lining
2. Brocade Luxurious fabrics Textured silk with

made into some stiffness
clothing or wall
hangings,
3. Chiffon Can be used in Lightweight, very

all sorts of drapery silk .This
garments is the fabric that
goes with the
flow.
4. Charmeuse Works well as a A slinky, satiny,

1940s redux supple silk
dressing gown,
dresses and
blouses
A light to medium
5. Crepe de Chine For making a full weight silk and
range of comes in two-ply,
garments three- ply, and
four- ply (the
heaviest) weights
A stiffer and
6. Dupioni For making Capri crisper silk that
pants or a fancy has telltale slubs
room divider and raised yarn
on the fabric;
easy-to-sew silk
that adds a lot of
fashion flair
7. Georgette used Lightweight silk

for blouses, dres and barely visible
ses, evening
gowns,
and trimmings
44
Rough-looking
8. Raw silk woven into silk with a dull
finish made from
textiles. short silk
filaments
discarded as
waste but easy to
sew and has a
distinctive look
9. Washed silk A great travel The washing

fabric process makes
this silk creamy
and soft.
10. Shantung For special Especially crisp

occasion uses and shiny silk
11. Taffeta for special A crisp silk that

occasion clothing wrinkles and
swishes upon
movement
Wool - made from the Outerwear

sleets of sheep Perfect for Medium-weight Dry cleaning
tailoring clothing is preferred;
blankets and Springs back into will shrink
upholstery shape and felt in
Requires little presence of
pressing; with moisture and
great versatility in heat and can
fabric and with be attacked
insulating by insects.
capacity
Kinds of Wool Fabric
45
Made in similar
1. Boiled For blankets fashion as felt, but
and jackets much richer and
more supple.
There’s no need to
finish the seam
edges.
Perfect for soft Has a distinctive
2. Boucle shaping in sweater-like nubby
coats and surface created
jackets with little loops
Medium to
3. Challis Perfect for all lightweight, it is
types of hand washable
garments and doesn’t wrinkle
much.
Can be composed
4. Crepe for scarves, of wool, silk,
shawls, and cotton, or
bonnet synthetic. It varies
trimmings in quality and it is
expensive. It is a
Perfect for beautiful fabric that
Making shirts drapes well and is
extremely
wearable.
5. Gabardine Works well on A twill-weave

tailored and fabric, hand
constructed washable and do
garments not wrinkle
Thick and bulky
6. Melton Used for coats wool with a soft
napped surface but
too thick to handle
7. Merino widely used in A very fine,

the textile expensive, closely-
industries woven wool made
from Merino
sheep’s coats.
46
8. Worsted Used for Lustrous wool in a

tailoring variety of weights
jackets, skirts
and pants.
Synthetic or Manmade USES (Home Characteristics Care
Fibers and Apparel)
a.Rayon Light and Soft, cheap and Hand
medium-weight comfortable fabric washing to
clothing absorbent; lacks dry cleaning.
resilience; wrinkles Tends to
Drapery and easily. shrink and
upholstery stretch
fabrics Not easy to sew as unless proper
plain cottons. chemical
Blankets, throw finish is
rugs and table applied.
coverings
b. Polyester Wash and wear Strong and durable Can be
clothing- often synthetic fabric; washable or
in combination dries quickly, with dry clean.
with other sharp pleat and Remove oily
fibers, crease retention. stains before
especially washing.
cotton Needs little
Curtains, ironing or
carpets, fiberfill, pressing. Use
raincoats and steam iron at
hats. It is ideal warm setting.
for constructing
strong
outerwear for
damp climates.
c. Nylon Women's It was first Remove oily
stockings were developed as a stains before
the first substitute for washing.
commercial use imported silk. With Washes
of nylon. exceptional easily; wash
Also used for strength, excellent with care to
clothing, elasticity; retains maintain
upholstery and shape. Woven whiteness.
carpet, rope, fabrics feel Press at low
tents and uncomfortable in temperatures
fishing line. contact with skin. .
Dry clean
47
only.
d.Rubber Foundation Stretch and Frequent
garments recovery rate is washing in
Swimwear high mild suds;
Damaged by oils avoid
and light constant
With discoloration overstretch at
high
temperature
e. Spandex Foundation Stretch and May be
garments; recovery rate is machine
Swimwear high laundered
Surgical hose Resists abrasion with warm
Ski pants and and body oils water
other With discoloration Dry on lowest
sportswear heat, shortest
cycle.
f. Acrylic Tailored Resists wrinkling Remove oily
outerwear; High bulking power stains before
knitted wear, Wool-like texture washing.
pile fabrics, Very resistant to Washable or
blankets and effects of sunlight dry cleanable
carpets Medium iron
temperature.
Review of Lesson .2
I. MATCHING TYPE
Directions: Match column A (Descriptions) with column B (Fabric).
Choose the letter that best describes the statement. Write the answer
in your quiz notebook.
A B
1. It is made out of flax plants that
give more stiffness and fewer a. Denim
48
drapes.
2. It is made from the silkworm’s

cocoon b. Shantung
3. A fabric made from cellulose-
based cotton plants c. Chiffon
4. A specially crisp and shiny silk
for special occasions d. Canvas
5. A fabric that goes with the flow
e. Linen
6. Tightly woven heavy-duty
cotton used for crafts and f. Cotton
home decorations
7. A heavy duty cotton great for

working clothes, jeans and g. Silk
jackets
9. A textured silk with some

stiffness. h. Wool
10. It is made from the coat of
sheep, and is perfect for i. Georgette
tailoring.
10. A twill weave fabric that

works well on tailored and j. China Silk
constructed garments
k. Gabardine
l. Challis
m. Brocade
B. Venn Diagram
Directions: Using a Venn diagram list the fabrics with common properties.
Write your answers in your quiz notebook.
49
C. Directions: Make an album and collect swatches of fabric (3 x 4

inches) and classify their type. Paste them in 5x8 index card.
D. Directions: Using a Venn diagram, identify fabrics with common

fabric care. Write your answers in your quiz notebook.
Lesson 3 SLEEPING GARMENTS
Nightwear, also called sleepwear, nightclothes,

or nightdress, is clothing designed to be worn while sleeping. The
style of nightwear worn may vary with the seasons, with warmer styles
being worn in colder conditions and vice versa. Some styles or
50
materials are selected to be visually appealing or erotic in addition to

their functional purposes.
3.1 Characteristics of a Sleeping Garment
SlSleeping garments must provide us the comfort while sleeping. They

should p possess the following characteristics:
1. 1. They should not exceed the maximum dimensions specified in

the regulations for the chest, waist, seat, upper arm, thigh, wrist,
or ankle;
2. They should have no fabric ornament or trim, such as lace or ribbon,
which extends more than ¼ inch from the point at which it is attached
to the garment;
3. They should have sleeves that taper from the shoulders to the ends of
the sleeves;
4. They should have pant legs that taper from the thighs to the ends of
the legs;
5. If they are 1-piece, they should taper from the chest down to the waist
and from the seat up to the waist;
6. If they are 2-piece,
a. The upper piece should tapers from the chest down to the bottom
of the piece,
b. If the upper piece has fastenings it should be located within 6
inches of the bottom of the piece.
c. It has a lower piece that tapers from the seat to the bottom.
7. They should bear a permanent label stating the size of garment;

8. They should bear a hang tag alerting buyers that the garments are not
flame-resistant and should be worn snug fitting because loose-fitting
garments are more likely to catch fire.
3.2 Types and Selection of Fabrics for Sleeping Garments
Types of Sleeping Suggested Fabrics

Garment
Usually made of cotton and marketed under a
Adult jumpsuits or number of different brand names
footed pajamas
All-in-one footed sleep suits worn by adults but
similar to an infant one size or children's blanket
sleeper
51
Usually made from cotton and marketed under a

Blanket sleeper number of different brand names
A warm sleeping garment for infants and

young children
Babydoll The garment is often trimmed with lace, ruffles,

appliques, marabou fur, bows, and ribbons;
optionally with spaghetti straps. Sometimes it is
made of sheer or translucent fabric like nylon or
chiffon or silk.
A short, sometimes sleeveless, loose-fitting

nightgown or negligee for women, generally
designed to resemble a young girl's nightgown
Chemise Skimpy chemises pieced from a narrow piece of

rough cloth, some have voluminous chemises
pieced from thin, smooth fine linen.
It is a delicate, usually provocative, loose-fitting,

sleeveless, shirt-like lingerie, similar to babydoll,
but tighter at the hips.
Negligee or négligée Usually made of sheer or semi-translucent fabrics

and trimmed with lace or other fine material, and
bows
From the French: négligée, literally meaning

"neglected", loose, sensuous nightwear for
women
Typically made from cotton, silk, satin or nylon.
A loose hanging nightwear for women
52
Nightgown
Nightshirt Usually made of cotton fabric
A garment somewhat longer than most regular

shirts, reaching down to the thighs or below the
knees while leaving some of the legs uncovered.
It is generally loose-fitting to avoid restricting the
wearer's movement while sleeping.
Nightcap Ideally made from cotton fabrics

A warm cloth cap worn while sleeping, often with
pajamas or a nightgown. It is similar to winter
'beanies' worn in cold climates. They were
common in northern Europe before central
heating was available.
Women's night caps usually consist of a long
piece of cloth wrapped around the head. Men's
nightcaps were traditionally pointed with a long
top and usually accompanied by a small ball
similar to a scarf. They keep the neck warm as
wrapped around but not so tight to become a
choking hazard.
Pajamas They may be made from cotton, silk, satin or

synthetic materials made of soft fabric, such as
flannel;[6]
Loose fitting two-piece garments for women,

men and children. Traditional pajamas consist of
jacket-and-trousers. The jacket element usually
has a placket front and its sleeves have no cuffs.
For a number of reasons (increased freedom of
movement, aesthetic appeal, etc.), many men opt
to sleep or lounge bare chested in just the
53
pajama trousers.
Dressing gown or Made of chiffon, silk or cotton fabrics

bathrobe.
A long outer garment for women usually sheer.

They are usually sold with a matching nightgown,
negligee or panties
Other types of garment such as t-shirts, tank

tops, sweatpants and gym shorts as well as underwear
are commonly worn for sleeping . Also, sleeping without
clothing is not uncommon.
Review of Lesson 3
A. Identification.
Directions: Choose the letter of the word that best fits the description.
Write your answers in your quiz notebook.
___________ 1. A delicate sleepwear, usually provocative, loose fitting,

sleeveless, shirt like lingerie
___________ 2. A warm sleeping garment for infants and young children
___________ 3. Loose hanging nightwear for women
___________ 4. A nightwear which is longer than most regular shirts
___________ 5. A warm cloth cap worn while sleeping
___________ 6. Loose fitting two-piece garments for women, men and
children
___________ 7. A long outer garment for women usually sold with a
matching night gown, negligee or panties
___________ 8. A clothing designed to be worn while sleeping
___________ 9. All-in-one footed sleepsuits worn by adults similar to an
infant onesie or blanket sleeper
54
___________ 10. A short, sometimes sleeveless, loose-fitting night gown

or negligee for women, generally designed to resemble a
young girl’s night gown
a. Night Cap b. Night c. Night d. Chemise e. Blanket

Shirt gown Sleeper
f. Adult g. Baby doll h. Night i. Pajamas j. Bathrobe
jumpsuits wear
A. True or False
Directions: Read the statements carefully. Write T if the statement is
correct and F if it is wrong. Write your answer in your test
booklet
1. Sleeping garments can be worn only at night.

2. Ideally, all sleeping garments should be made quite loose to
achieve comfort.
3. With adults 2- piece sleeping garments with fastenings, the lowest
fastening should have 1 inch distance from the bottom of the piece
4. The lower piece of sleeping garments should taper from the seat to
the bottom of the piece
5. Sleeping garments should have no fabric ornaments that extends
more than ¼ inch from the point of attachment.
Congratulations! You are now knowledgeable with the

characteristics of good and suitable sleeping garment. It’s
now time to practice making your own. Are you ready?
Produce your own sleeping garment! Take note: you are
going to prepare first your project plan.
Lesson 4 Project Plan for Sleeping Garment
Construction of sleeping garment is just like cooking a recipe for a

party that requires careful planning. In every task or project you have, it
should be accompanied with a project plan. This serves as a guide in
making any kind of project. It contains the materials and tools to be used,
design and procedure in making the project and the criteria for evaluating
the finish output coupled with rubrics designed by the teacher and
students.
4.1 Components of a Project Plan
55
1. Project Plan No. – reflects the number of projects

2. Date Begun – date when the construction of the project will starts
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. Word Study – unlocks the terms used operationally and conceptually
7. Tools and Equipment – list of tools and equipment in the
accomplishment of the job
8. Materials and Supplies Needed – the itemized list of tools and supplies
needed to produce a project.
a. Quantity suggests the amount needed.
b. Unit is the unit of measure of the quantity.
c. Description refers to the features and characteristics of
the materials and supply needed.
d. Unit Cost is the selling price per quantity and unit of the
materials
e. Total Cost is the total amount needed per quantity of
supply and material needed.
f. Total is the over-all total cost of all the supplies and
materials to be used.
9. Design Specifications – the photographic representation of the project
in two to five views: front, back, right, left and top views.
10. 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 are
ready.
11. Evaluation – the process of assessing the finished project with its given
criteria prepared during planning and evaluating.
Review of Lesson 4
I. 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. ___
56
Name: ______________________________Date Begun:

__________
Year and Section: _____________________Date Finished:
______________
I. Name of the Project: -

_______________________________________
II. Objectives:
1. ___________________________________________________
___
2. ___________________________________________________
___
3. ___________________________________________________
___
III. Word Study:

1.
2.
3.
IV. Tools and Equipment:

1.
2.
3.
4.
5.
V. Materials and Supplies Needed:
Quantity Unit Description Unit Cost Total Cost
Total
57
VI. Design Specifications:
VII. Procedure:
A. Pre-sewing stage
A1.
A2.
A3.
B. Sewing Stage
B1.
B2.
B3.
VIII. Evaluation:
Criteria for Evaluation (Rubrics of Performance)
Congratulations! Now you know how to plan ahead your own

project. Let us proceed with the making of your own sleeping
garment.
Lesson.5: Tools, Materials and Equipment used in Sewing
A. Tools
58
Tape Measure L-square
Curve Rule French Curve
Dressmaker’s Shears Weights
Pins Tracing Wheel
59
Pencil Complete Sewing Kit
B. Materials
pattern paper tailor’s chalk
carbon paper thread
Cloth interfacing materials
60
fasteners
C. Equipment
Ironing Board Cutting Table
Sewing Machine
5.1 Marking Tools Used in Pattern Drafting
Marking tools are used to transfer the pattern symbols onto the
fabric It is essential to transfer these symbols for correct fitting and sewing.
Below are some tools used to transfer the pattern markings onto the
fabric.
61
1. Tracing wheel is available in a serrated or smooth edge. The serrated

edge is used to make a dotted link marking in most fabrics. The
smooth edge makes a solid line marking and is used for delicate
fabrics such as silk and chiffon.
2. Dressmaker’s carbon/tracing paper is used to transfer the tracing

wheel’s line to the wrong side of the fabric. Select a color close to your
fabric which is visible enough to see.
62
3. Tailor’s chalk can be used to mark directly onto the fabric. It does not
need sharpening like a chalk pencil. Great for dark, heavy fabrics
where a traditional water soluble marking pen may not appear.
4. Chalk pencil is filled with chalk at one end of the pencil and a brush at
the other end to remove chalk marks.
5. Liquid marking pens are used to mark tucks, darts, pleats and
pockets. One type disappears after about 48 hours. Another type
washes off with water.
Review of Lesson 5
A. Identification
63
Directions: Draw the different marking tools, write its functions and
put the remark “USED” if you have used it.
Marking Tools Functions Remarks
B. Selection
Directions: Given the list of equipment, tools and materials,
choose
those that are needed in drafting the sloper.
Tape measure Sewing Machine Working Table

Scissors Hem marker Cloth
Machine needle L – square Tracing wheel
Pencil Curve Rule Iron
Lesson 6 Pattern Symbols
Sewing will be easier if you know how to read patterns. Pay

attention to every symbol. Immediately transfer the symbols to the
fabric after cutting. This way you won't forget this step. It's not fun to
look for these symbols after removing the pattern.
Pattern Symbols or Construction Markings
These guides help the sewer put together and sew the pieces of
garment easily. Several markings are evident in some patterns but
others have only few, depending on the design and style of their
project.
1. Straight Grain or Direction

The selvage is the finished edge of fabric. It usually has a different
color or texture. Sometimes it also has little holes.
Every woven fabric is made of crosswise (from selvage to selvage)

and lengthwise threads. They are called the grain threads. The
grain is the direction that tells where they're going.
64
In patterns, this arrow must be in the same direction as the length and parallel
to the selvage. This will make the fabric prevent from falling and be more
resistant to movement. If you place it parallel to the crosswise grain, the fabric
will hang after it is sewn.
When fabric yarns do not cross at exact right angles, the cloth is off-grain. But
if the lengthwise and crosswise yarns cross ech other at exact right angle,
the fabric is grain-perfect.
Pleat
This little symbol marks the beginning and ending of a pleat. The
arrow indicates which way to fold. In this example, you would pleat
from left to right. It is usually indicated by an alternating solid and broken line.
Notches
These help you match pattern pieces.
In sewing garment pieces, the front and back notches should be aligned.
Notches will help the sewer perfectly match the pieces easily.
You can find one triangle or more. Some patterns include numbers beside the
notch to help you. These are the V-shaped symbols or triangles along the
cutting line.
65
Fold
Fold the fabric and place the pattern's edge on the fold. When you
cut do it around the pattern only, never cut the folded edge.
Dots
They are used to mark important parts of the patterns such as dart
points or pocket placement (see the image above). Their meaning
varies depending on the pattern.
Slash
Lengthen or shorten here. This is the part of the pattern where you
can safely adjust the length. Avoid doing this before or after because
66
the pattern's shape could change.
Cutting Lines
These vary depending on the pattern company but they're usually

marked with a dark line and scissors symbol or dotted line.
Buttonholes
Mark where to make the buttonholes. They are indicated by a solid

line having a short line at right angles to one end.
Buttons
This is where to sew the buttons.
Stitching Lines
Not all pattern pieces include stitching lines. If they are included then there is
a broken line, indicating the areas that will be stitched together. These are a
guide so you can see where the line of stitching intersects and where you will
not be stitching. It is not recommended that you mark every stitching line on
to your garment. This would result to excess handling of your fabric.
Fold Line
This line indicates that the edge of the pattern piece must be placed on a fold
of fabric. The edge of the pattern piece is usually indicated as a broken line,
to remind you not to cut on that edge. If you cut this edge, there is no seam
allowance and trying to join these will change the way the pattern fits, as well
as how other pieces will join to this piece.
Centerfold
This indicates that the edge of the pattern must be placed on the folded part
of the fabric. This is when cutting two sides of the garment parts as left and
right or back and front parts.
67
Review of Lesson 6
A. Directions: Draw the following pattern symbols:
Buttons Grainline
Buttonholes Pleats
Stitching line/Seam line Notches
Slash Cutting line
B. Make a sample pattern using a skirt or t-shirt with proper markings. Let
your teacher check your work.
How are you doing with your exercises? Are you doing well?
Very Good! After familiarizing with the essential markings on
the pattern and using the most common tools used in
pattern making, you are halfway to the making of your
sleeping garment. Enjoy learning!
Lesson 7 Measurements Needed in Sleeping Garments
As variety of ready-to wear garments is largely available in our

market, you may think there’s no need for you to sew and make a dress
for yourself. That’s not a good idea! Now that you have acquired some of
the basic learning about the different kinds of fabric, let us continue to
develop your ability and skill in sewing. It would be a great
accomplishment for you if you know what you are wearing is a product of
your own talent, skill and creativity. Let’s deal first with the different tools,
materials and sewing equipment. Perhaps, you have already
encountered all of these during your Grade 8. As a review, find time to
discuss and be familiar again with tools and sewing equipment.
Apparel requires specific measurement to come up with a well

designed and comfortable sleeping garment. The following
measurements are needed:
68
7.1 BODY MEASUREMENTS NEEDED IN SEWING SLEEPING

GARMENT
Shoulder Width Measure from the tip of the

left shoulder to the tip of right shoulder with
the tape measure passing over the prominent
bone.
Back Across Width Measure from the left

shoulder arm joint to the opposite side,
approximately 4 to 5 inches down from the tip
of the shoulder
Back Figure Length Measure from the nape

to the waistline on the cord. Allow the tape
measure to hang freely.
Chest Width Measure from the left (front)

armhole seam to the right (front) armhole seam.
69
Bust Circumference Measure around the fullest

portion of the bust with the tape measure passing
over the shoulder blades running on the same level
in front.
Waist Circumference Measure around the

smallest portion of the torso.
Front Figure Length Measure from the shoulder

neck junction with the tape measure passing over the
highest part of the bust down to the waistline.
Bust Height Measure from the shoulder neck

junction to the highest point of the bust
70
Armhole Circumference Measure around the

base of the arm with the tape measure closes at
the tip of the shoulder
Sleeve Length Measure from the tip of the shoulder to the desired
length of the sleeve
Arm Circumference This measurement is taken around the arm where

the sleeve length falls.
1st Hip
Hip1 Circumference This measurement is

taken 5 inches below the waistline measure
around the hip level.
2nd Hip
Hip2 Circumference This measurement is

taken 7 to 8 inches below the waistline. Measure
around the fullest part of the buttocks with the
tape measure closest at the side.
71
Thigh Circumference Measure around the fullest

part of the thigh with the tape measure closest at the
side.
Bust Distance Measure from the highest point of

the bust to the opposite side.
Crotch/seat/rise This measurement is taken in two

ways. For male customer insert a ruler on the rise
and measure from the waistline to the upper edge of
the ruler.
For female customer allow her to sit on a flat chair,

and measure at the side from the waistline to the
surface of the chair.
Skirt’s Length Measure from the waistline to the

desired length.
72
Full Length
Measure from the
waistline down to the
desired length of the
shorts / pants.
Knee and Bottom

Circumference
Measure around the
legs where the full
length falls.
7.2 INDIVIDUAL MEASUREMENT CHART (IMC)
Customer’s Name ____________ Date Taken: __________
Actual Body Computed

Parts of the body Measurement
Measuremen Measuremen
measured Needed
t t
Shoulder width ½
Back Across width ½
Back Figure length 1
Chest width ½
Bust Circumference ¼
Waist Circumference ¼
Front Figure length 1
Bust height 1
Bust Distance ½
Armhole circumference ½
Sleeve length 1
Arm Circumference ½
Hip1 Circumference ¼
Hip2 Circumference ¼
Lap circumference ¼
Crotch/seat/rise 1
Full length 1
Leg circumference ½
73
Review of Lesson 7
A. Directions: Get a partner and measure his/her actual body

measurement then divide it by the corresponding divisor provided in
the IMC above. This will be the actual measurements needed in
sewing the sleeping garment. Use separate sheet if necessary.
Customer’s Name _______Yr. & Sec.: _______ Date Taken: _______
Parts of the body measured Actual Body Measurement

Shoulder width
Back Across width
Back Figure length
Chest width
Bust Circumference
Waist Circumference
Front Figure length
Bust height
Bust Distance
Armhole circumference
Sleeve length
Arm Circumference
Hip1 Circumference
Hip2 Circumference
Lap circumference
Crotch/seat/rise
Full length
Leg circumference
How do you feel now that you know how to take body
measurements? Amazing! Right? Practice this regularly
and you will master the sequence without looking at your
notes. Great! You are now ready to make your pattern. But,
let us be familiar first with the symbols or markings that you
will use in making your own pattern.
Lesson 8: Drafting Basic / Block Pattern of Sleeping Garment
74
8.1 Front Blouse Sloper
Measurements Needed in Drafting Front Blouse Sloper

(Sample Measurement)
Parts of the body Actual Body Measurement Computed

measured
Measurement Needed Measurement
Shoulder width 15 ½ 7 1/2
Chest width 13 1/2 ½ 6 3/4
Bust Circumference 35 ¼ 8 3/4
Waist Circumference 26 1/4 6 1/2
Front Figure Length 16 1 16
Bust height 91/2 1 9 1/2
Bust distance 7 ½ 3½
Armhole Circumference 16 ½ 8
Always remember that the best fit of one’s dress depends largely on
the body measurements, height and body shape and not on his/her
age.
Procedure in Drafting Front Blouse Sloper
Draw construction line

by tracing the outer
edge of the L-square
and mark the corner A.
1. A – B is 3 inches downward on
the construction line.
75
2. A – C is 6 inches downward on
the construction.
3. A – D is ½ of the armhole
circumference.
4. A – E is the bust height.
5. A – F is the front figure length.
76
7. Square
out points B
–C–D
– E – F.
8.A – G is 2 1/2 inches.
11. Shape front

neckline from
point G to B
with a French
curve.
77
12. A – H is 1/2 of the shoulder

measurement.
13. H - I is 1 ½ inches down on the

swayed line.
14. Connect points I

G with a straight
line.
15. C – J is ½ of the chest width or ½

shoulder measurement minus ¾ inch.
78
16. D – K is ¼ of the bust

circumference plus ½ inch for
allowance.
17. Shape front

armhole from
points I – J – K
with a French
curve.
18. F – L is ¼ of the waist

circumference plus 1 inch for
the front dart and ½ inch for
allowance.
19. Connect points L – K with

straight line.
79
20. E – M is ½ of the bust distance.
21. Square down point M to line FL.
22. Mark the intersection of points M

andF as N.
23. N – O is ½ inch towards point F.
80
24. N – P is ½ inch towards point L.
25. Connect points O and M with a

straight line.
26. Connect points P and M with a

straight line
27. L– Q is ½ inch upward on line L.
81
28. Connect point Q to point N with a slight

curve.
29. Cut front bodice sloper along line B – C – D – E – F – O - N – P –

Q – K – J – I – G – B.
A. Front Blouse Sloper
Fill in the blanks.

Directions: Fill in the missing data to complete the procedure in drafting
the front bodice pattern.
A – B is 3 inches downward and the

(1)
A – C is _______________on the construction.
A – D is ½ of the armhole circumference.
(2)
A – E is the _______________
A – F is the ___________________
(3)
A – G is 2 ½ inches of the shoulder width sway point G down.

A – H is 1/2 of the shoulder width sway point H down
H – I is _________________down
(4) on the swayed line
C – J is ½ of the ___________________
(5)
D – K is ¼ of the bust circumference plus ½ inch.

B. Front Blouse Sloper
Directions: Based from the body measurement obtained in IMC, draft the
front blouse sloper.
Measurements Needed Front Blouse Sloper
82
Find out how far you have done by accomplishing the Scoring
Rubric to the best of your competence. This will be your
passport to proceed for the next learning experiences.
Rubric in Drafting the Pattern for Front Blouse

Item 15 10 5 Score
Tools were Lack of one Lack of two or
complete, tool, some are more tools,
appropriate and appropriate and some
Tools
correctly used. correctly used. are appropriate
and not
correctly
used.
Correct Correct Failed to follow
methods Methods and the correct
Procedure and procedures procedures method and
correctly incorrectly procedures
followed. followed.
Pattern All pattern Some pattern All pattern
details were details were details
correctly inaccurately are not drafted
measured and drafted. correctly and
accurately accurately.
drafted.
Speed Finished the Finished the Finished the
pattern ahead pattern on time. pattern beyond
of the allotted
time. time.
60 points perfect score
8.2 Back Blouse Sloper
Measurements Needed in Drafting Back Blouse Sloper


measured
Shoulder width 15 ½ 7 1/2
Back Across width 14 1/2 ½ 7 1/4
Back Figure length 15 1/2 1 15 1/2
Bust Circumference 35 1/4 8 3/4
83
Waist 26 ¼ 6 1/2
Circumference
Armhole 16 ½ 8
circumference
Bust distance 7 1/2 3½
Procedure in Drafting Pattern for Back Blouse Sloper
1. Draw construction
line by tracing the
outer edge of the L-
square. Make corner
A.
2. A – B is ½ inch downward on the

construction line.
3. A – C is 5 inches downward on the

construction.
4. A – D is ½ of the armhole circumference.
84
5. A – E is the back figure length.
22. Square out points B – C – D – E.
23. A – F on the horizontal construction line

is 2½ inches.
85
24. Shape back

neckline from point
F to B with a
French curve.
25. A –G IS ½ of the shoulder width sway point

G down.
26. G – H is 1 ½ inches down on the swayed

line
27. Connect points F and H with a straight line.
86
28. C – I is ½ of the back across width.
29. D – J is ¼ of the bust circumference.
30. Shape back

armhole from
points H – I –
J with a
French curve.
31. E – K is ¼ of the waist

circumference plus 1 inch for the
back dart.
87
32. Connect points

J – K with
straight line.
33. E – L is 7 inches
upward on line
AE. Square out
point L.
34. E – M is 3 ½
inches on line EK
square M up.
35. Mark intersection of line LM as point N.
88
36. M – O is ½ inch towards point E.
37. M – P is ½ inch towards point K.
38. Connect points N and

O to pint P with a
straight line.
39. K – Q is ½ inch upward on line

KJ.
89
40. Connect point Q to point M with a slight

curve.
41. Cut back bodice sloper along lines B – C – D – L - E – N - M – O -

Q –J – I – H – F – B.

Directions: Based on the body measurement obtained in Activity No.
8 draft the back blouse sloper.
Measurements Needed Back Blouse Sloper
Rubric in Drafting the Pattern for Back Blouse

Item 15 10 5 Score
Tools
and not
correctly
used.
methods Methods and. the correct
followed. followed.
90
drafted.
of the allotted
time. time.
8.3 Sleeves
Measurements Needed in Set –in Sleeve Pattern

measured Measurement Needed Measurement
Armhole 16 ½ 8
circumference
Sleeve length 10 1 10
Arm Circumference 13 ½ 6½
Procedure in Drafting Pattern for Set –in Sleeve
1. Draw construction line by tracing the

outer edge of the L-square. Make
corner A.
2. A – B is 4½ inches downward.
3. A – C is the sleeve length.
91
4. Square out points

B and C.
5. A – D is ½ inch on the
construction line.
6. A – E is ½ of the armhole
circumference.
7. Connect points D –
E.
92
8. Point F is the center of line D –

E.
9. Point G is the center of line D –

F.
10. Point H is ½ inch outward of

point G.
11. Point I is the center of line FE,

point J is 1/2 inch inward from I.
12. Shape armhole using the

French curve from point
A – D - H – F – J – E.
93
13. C – K is ½ of the arm

circumference.
14. Connect K to E using straight line.
15. Cut Back sleeve pattern from point A – D – H – F – J – E – K – C –

B – A.
16. Trace back sleeve pattern transfer points A – D – H – F – J – E.
17. H – 1 is ¼ inch inward.
18. F – 2 is 3/8 inch inward.
19. J – 3 is 3/8 inch inward.
20. Shape front armhole from point A – D – 1 – 2 – 3 and E with hand
manipulation.
21. Cut front sleeve pattern from point A – D – 1 – 2 – 3 – E – K – C –
B – A.
Directions: Based on the body measurement obtained in IMC draft the

sleeve’s sloper.
Measurements Needed Sleeve Sloper
94
Rubric in Drafting the Pattern for Sleeves
Item 15 10 5 Score
Tools
and not
correctly
used.
followed. followed.
drafted.
of the allotted
time. time.
8.4 Patch Pocket
Procedure in Drafting Pattern for Patch Pocket
95
1. Draw construction line mark the corner

point A.
2. A – B is 8 inches
down, square
point B outward.
This includes 1 ½
inches opening fold
and ½ inches on
bottom.
3. A – C is
6 inches
outward,
square 4. D is the
C intersecti
downwa on of
rd.. lines B
This and C.
includes ½
inches on
both sides.
5. E is
cent 6. B – F
er of is ½
line inch
B upwar
and d.
D.
96
D – J is ½ inch upward.
7. Connect
points F
and J to E
with a
straight
line.
8. Cut pocket pattern on line A – F – E – J – C and A.
Directions: Based on the body measurement obtained in IMC, draft

pattern for patch pocket. Use separate sheet if necessary.
Measurements Needed Patch Pocket
97
Rubric in Drafting the Pattern for Patch Pocket
Item 15 10 5 Score
Tools
and not
correctly
used.
followed. followed.
drafted.
pattern ahead pattern on time. Pattern beyond
of the allotted
time. time.
8.5 Pencil Cut Skirt
Measurements Needed in Pencil Cut Skirt

Parts of the body Actual Body Measurement Com

Measurement Needed puted
measured
Meas
urem
ent
Waist Circumference 26 ¼ 6 1/2
Bust Distance 7 ½ 3 1/2
Hip1 Circumference 34 ¼ 8 1/2
98
Hip2 Circumference 36 ¼ 9
Skirts length 22 1 22
Procedure in Drafting Basic Skirt Pattern
1. Draw construction line by 2. A – B is 5 3. A – C is 8

tracing the outer edge of inches inches
the L-square mark corner downward. downward.
as A.
4. A – D is 5. Square out points B – C – D.

the skirts
full length.
99
6. A – C is ¼ of 7. B – F is ¼ of 8. C – G is ¼ of
the waist the hip1 the hip2
circumference circumference. circumference
plus 1 inch for
the dart.
9. Square point G down to line D, mark 10. Connect

intersection as point H. points E – F
– G – with a
curve rule.
100
11. A – I is ½ inch down 12. Connect point I 13. A – J is ½ of

on the construction to E with a the bust
line. curve rule. distance.
14. Square down point J to line B mark 15. J – L is ½

intersection as K. inch towards
point A.
16. J – M is ½ inch 17. Connect points L and M to point K

towards point E. with a straight line.
18. N from point H is ½ in upward.
101
19. Connect N to D with a slight

curve.
20. Cut Skirt Pattern along lines I – B

–C–D–N–G–F–E- M–J–
L and I.
Directions: Based on the body measurement obtained in IMC, draft

the following slopers. Use separate sheet if necessary.
Measurements Needed Front Skirt Sloper
102
Rubric in Drafting the Pattern for Pencil Cut Skirt
Item 15 10 5 Score
Tools
and not
correctly
used.
followed. followed.
drafted.
pattern ahead pattern on time. Pattern beyond
of the allotted
time. time.
8.6 Front Pajama Pants
Measurements Needed in Drafting Pattern for Front Pajama Pants

(Sample Computation)

measured
Hip circumference 35 ¼ 8 3/4
Thigh 21 ½ 10 1/2
circumference
103
Crotch/seat/rise 9 1 9
Full length 37 1 37
Leg circumference 16 ½ 8
Procedures in Drafting Pattern for Front Pajama Pants
1. Draw
construction 2. A – B is the
line by tracing full length of
the outer edge the pajama
of the L- pants.
square, make
corner A.
3. A – C is the
crotch/rise/sea
4. Square out
t measure plus
points B – C
1½ inches for
garter casing.
5. C – D is 1/4
6. Square up
of hips
point D to
circumferen
line A mark
ce plus ½
intersectio
inch for
n as point
allowance.
E.
104
7. D – F is 1 8. D – G is
½ inches 2½. inches
outward. towards E.
9. Shape
front 10. C – I is ½ of
crotch the leg
from circumferen
point G ce plus ½
to F with inch for
a French allowance.
curve.
11. Connect 12. I is the

points F and center
H with a of line
straight line. IG.
105
14. Connect
13. J is ½
points HJ
inch from
with a
I inward.
straight line.
16. Cut front pattern along A

15. Connect
–B-C–I–K–G–H–
points JF
and A.
with a curve
Cut front pattern along
rule.
A,C,B,H,J,F,G,I, and A..
Front Pajama Pants
Directions: Based on the body measurement obtained in IMC draft

sloper for front pajama trousers. Use separate sheet if necessary.
Measurements Needed Front Pajama Trouser
106
Rubric in Drafting the Pattern for Front Pajama Pants

Item 15 10 5 Score
Tools
and not
correctly
used.
methods Methods an the correct
followed. followed.
drafted.
of the allotted
time. time.
8.7 Back Pajama Pants
Procedure in Drafting Pattern for Back Pajama Pants
107
1. Trace the front 2. Add 1 ½ inches 3. J-L is ¾ inch

pajama pants from F outward outward.
pattern. and mark it as
point K.
4. Extend ½ inch to 5. Connect K, L 6. K-N is ½ inch

the right of point and M. down to line going
H and mark it as point L.
M.
108
7. Measure 1 inch 8. Extend line DO 1 9. Connect points O

from point E inch up and mark and G.
towards point A it as P.
and mark it as O.
10. Connect points F 11. Cut back pajama

and N. pants pattern
along lines A,C,
B. M, L, N, G, O,
P and A.
A. Directions: Based on the body measurement obtained in IMC

draft pattern for back pajama trouser. Use separate sheet if
necessary.
Measurements Needed Back Pajama Trouser
B. Compare the following slopers. Identify the differences between

them.
Back and front body sloper

Back and front pajama
pants
109
Back and front skirt sloper
Rubric in Drafting the Pattern for Back Pajama
Item 15 10 5 Score
Tools
and not
correctly
used.
followed. followed.
drafted.
of the allotted
time. time.
Lesson 9 Manipulating Basic/Block Pattern
In manipulating basic pattern, it is always based on the previous

pattern such as making blouse from bodice and skirt.
Steps in Manipulating Pattern
1. Determine the design needed in sleeping garments.

2. Prepare the basic patterns for the:
a. Blouse
110
b. Sleeve
c. Pockets
d. Pants
3. Determine parts, needs, subdivisions and extensions calls by the
design.
4. Pin and trace basic pattern in a pattern paper.
5. Transfer points needed in design manipulation
a. Blouse
b. Sleeve
c. Pockets
d. Pants
6. Work on the design based on the project plan.
7. Provide seam and hem allowances.
8.Transfer seam and hem lines and other symbols needed.
Final patterns
Cutting the Final Pattern

Final patterns consists all the necessary symbols, number of pieces
per part and garment design that will guide the fabric cutter and the
sewer. Final pattern is cut at the allowance provided for seams and
design. (Refer to picture below)
Blouse
111
Pajama Pants
112
Review of Lesson 9
A. Directions: Perform the following:
1. Make a blouse 2. Show how to 3. Make a facing of

from bodice and connect the neckline.
skirt. bodice and skirt Elaborate
to make it a it step by step.
blouse.
4. Show necessary 4.2. Hip 4.4. Armhole

adjustment like in 4.3. waist
a 4.1. bust.
Rubric in Cutting the Final Pattern
Item 15 10 5 Score
113

Tools
and not
correctly
used.
followed. followed.
drafted.
of the allotted
time. time.
Lesson 10 Principles in Laying Out the Fabric
General Guidelines to Laying Out a Pattern

Laying out your pattern on the fabric in preparation for cutting is an
important step. It must be done carefully and accurately for great-looking
results.
Pattern preliminaries
Be sure you have all the necessary pattern pieces. Most instruction sheets,
list pieces by letter or number next to the layout diagrams.
114
1. Make changes or fitting alterations to the pattern. If you significantly alter a

garment's length, you may need extra yardage to make sure you have a
workable layout. Press the pattern pieces with a dry iron set to a low-
temperature so that they're easier to work with.
Preshrink your fabric if necessary and make sure the grain is straight. Do this
by
a. tearing across the grain at the ends of your fabric piece (if it's firmly
woven),
b. pulling a thread across the width of the fabric at the ends,
c. cutting along a dominant line in the pattern or weave,
d. fold lengthwise, matching selvages, to see whether the ends now
match, and
e. If they don't and the fabric needs to be straightened, gently pull on the
fabric's length from opposite corners.
Laying out pattern pieces
When positioning pattern pieces with straight arrows, keep the arrows
parallel to the selvage so that the fabric will be straighten when cut. Pieces
with a straight line and bent arrows should be cut double on the fabric. For a
fabric with a nap, the lay out must run in the same direction and so a pattern
piece can be reversed, placed printed side down, and cut on a single layer.
115
Folded pieces of Fabric
Folded Pieces of Fabric
Double layer
of fabric is
Half arranged
unshaded, with right
half shaded sides
Selv pieces are cut together
age from folded
fabric last of
all
PLEASE
RE-
DRAW
Pieces with bent

Unshaded Fabri
arrows are placed on
Pattern pattern c fold
fold of fabric
pieces pieces are
extending placed
across fold printed side
are cut last up
from single
fabric layer
Single Layer of Fabric
Single layer of Fabric

Selva
Single fabric ges
layer is arranged
with right side
uppermost
PLEAS
E RE-
DRAW
Selva
ges
Layouts for Fabric with Nap or One-Way Design
Fabrics with a nap or one-way design must be laid out in one direction.
Decide on the “top” of the fabric, and follow this direction when placing the
116
pattern pieces, so the nap will run in one direction. One-way designs are
arranged on the fabric according to the pattern or the garment design.
Top of
fabric
Selv Top of pattern piece is laid

ages out toward “top” of fabric
PLEAS
E RE-
DRAW
Nap runs in same
direction on al pieces Fo
ld
Crosswise Fold
There are two reasons for a fabric to be folded crosswise at the layout stage.
Often, this type of fold is made to accommodate the widest pattern pieces.
Alternatively, it may be needed to fit those pattern pieces with a complex
shape onto the fabric area.
Crosswi
se Fold Selv
age
s
Fol PLEA
d
SE
RE-
Selv
DRA
age W
s
Crosswise Fold with Nap

When a crosswise fold cutting layout is used with a fabric that has a nap, it
requires a special layout method. The fabric is folded with wrong sides
together, and cut into two pieces along the folds. The top layer is then turned
around so that the nap runs in the same direction on both layers of fabric.
117
Crosswise Fold with

Nap Selvag
es
Two fabrics layers are
placed wrong sides
together
PLEASE
RE-
DRAW
Selvag
Partial Fold es
The fabric is folded partways for this layout, so that one section of the fabric
forms a double layer on a fold and the other forms a single layer. If a pattern
piece is to be cut from a single layer, cut out only the piece from the single
fabric layer.
Partial Fold
Sel
va
ge
s Overlappin
g piece is
cut from
PLEA single
fabric layer
SE Sel
va
RE- ge
s
DRA Fol
W d
Pinning a Pattern to Fabric

Before pinning the pattern pieces to fabric, fold the fabric in half lengthwise
with right side together, unless the cutting layout shows otherwise. Each
pattern piece has a straight grainline arrow or a bent arrow for an edge placed
on the fold. Straight grain line arrow must be parallel to the selvage or fold.
Pin the pieces to the fabric.
118
Check the distance from each grainline arrow end to the selvage has the
same measurement. Check also if the fold edge of the pattern pieces aligns
with the fabric fold, otherwise the piece will be smaller or larger than the
correct size. Pin each of the arrow ends to the fabric, and pin around the
pattern pieces.
1. The fabric is laid out and folded according to the pattern directions.
2. The selvage is lined up along the corner and along the table’s edge
(or T-square).
3. If not square, trim the CUT side (not selvage) until both sides are
square and lines are up to the tables edge.
4. Two sides of most tables could be used in a pinch.
a. Line up one end of the ruler on a set of straight parallel lines

outside
the fabric.
b. Find the grain line on the pattern. In exhibit B the ruler’s edge is
lined
up on the pattern grain line.
c. Adjust pattern if necessary. When both ends line up, pin in
place
starting with a pin in the grain line.
NOTE: Always minimize pin holes if possible.

Line up the grain line on the pattern and the grain line on the
fabric, parallel to the selvage.
Review of Lesson 10
119
A. Directions: Secure fabrics with the following width, 30 inches, 45 inches

and 60 inches. Following the principles learned in this topic, layout the fabric
on the cutting table.
36 inches width fabric
Rubric in Laying Pattern on the Cloth

Item 15 10 5 Score
appropriate appropriate some
Tools
and correctly and correctly are
used. used. appropriate
and not
correctly
120
used.
Procedures in Procedures in Failed to
laying out laying out follow the
fabrics are fabrics are correct
Procedure
correctly incorrectly procedures in
followed. followed. laying out
fabrics
Speed Finished Finished Finished
laying out laying out laying out
fabrics ahead fabrics ahead fabrics
of of time. beyond the
time. allotted
time.
Lesson 11 Guidelines in Cutting Fabric
As what Bailey and Draper stated in their book, Steps in Clothing

Skills, our hands are very important when we sew. “Teach” our hands to work
for us. They are as important to beautiful sewing as pianist’s hands are to
beautiful music.
They emphasized that before cutting the garments, ask the teacher first to
approve your layout. Then study your layout and decide on the order in which
to cut. Where should you start? How should your fabric be placed on the work
surface? Where should you stand?
Here are some of the important reminders when cutting the final pattern.
1. Practice using the shears on a piece of cloth to have a smooth cutting
line.
2. Cut along the pattern so that the other hand rests on the pattern.
3. Start cutting at an edge within your reach.
4. Do not let the blades of the shears slant toward the table.
5. Do not lift the fabric.
6. When you reach a notch, cut directly towards it. Close the points at the
exact stopping place.
7. Close the points of the shears to an exact stopping point only.
8. When cutting curves, your strokes will be shorter. Keep your free hand
close to the cutting line to help you cut smooth curved line.
121
Ways on How to Cut Fabric
1) Pins + Dressmaking Scissors

Cut the pattern pieces out with paper scissors – either exactly on (or
just within) the lines, or leaving some extra paper around the lines. Pin
the pattern pieces to the fabric – use enough pins to hold the pattern in
place, but not so many that the pinning distorts the pattern or fabric.
Now cut the fabric with dressmaking scissors. If you’ve cut the pattern
pieces out roughly, cut directly on the lines through both pattern and
fabric. This can dull your fabric scissors though; but on the other hand,
it can be more accurate than cutting around a pre-cut pattern.
2) Pattern Weights + Chalk/Pen + Dressmaking Scissors/Rotary

Cutter
Cut the pattern pieces out with paper scissors precisely on (or just
within) the lines. Instead of pinning the pattern pieces in place, this
time use weights to hold them in place. The idea is that weights keep
the pattern and fabric flatter than the pinning method. You don't have
to buy specialist pattern weights - you can use whatever you have
122
around the house, such as food tins. Draw around the pieces with a
sharp chalk pencil or washable pen. Remove the pattern and use
dressmaking scissors or a rotary cutter to cut the fabric just within the
pattern lines you've just drawn.
3) Pattern Weights + Dressmaker's Carbon + Tracing Wheel +

Dressmaking Scissors
Hold the pattern pieces down on the fabric with weights. Slip a piece
of dressmaker's carbon between the pattern and fabric, face down
against the fabric. Trace over the pattern lines using a tracing wheel
moving the dressmaker's carbon as needed. Remove the pattern. Cut
out the fabric directly on the traced lines using dressmaking scissors.
In marking the cutting lines of the pattern, don't forget to mark in the
other bits and bobs such as darts, buttonholes and gather points.
Cutting the Fabric of the Sleeping Garment (Pajama)
The fabric is then cut with the help of cloth cutting machines suitable for the
type of the cloth. These can be band cutters having similar work method like
that of band saws; cutters having rotary blades; machines having reciprocal
blades which saw up and down; die clickers similar to die or punch press; or
computerized machines that use either blades or laser beams to cut the fabric
in desired shapes.
For beginners/ students cutting shears are appropriate as seen in the picture
below.
123
Check pattern alignment of grainline and

pattern design.
Cut the fabric following the pattern.

Cut the bigger parts first.
Place your free hand on top of the

cloth with pattern.
124
Smaller parts should be cut last.
Cutting extra notches will help mark your garment parts .It is the most
important way in marking pattern details. The first extra
notches you may use will mark the center which are cut on
fold, thus, locating the exact center of the garment part. Don’t
forget to put allowance for casing, seam lines, shoulder,
armhole, side hem, sleeve, pocket and facing.
Review of Lesson 11
A. Directions: Put a check () to the statement that is applicable when

cutting fabrics and (X) if not applicable.
1. Pinning method can flatten the fabrics.

2 Take time when cutting the fabric.
3 Hold fabric gently in place.
4 Use only two pins to hold fabrics.
5 Scissors is used to cut fabrics.
6 Fabrics are cut outside of the cutting lines.
7 In the absence of dressmaker’s pins weights can be used.
8 In tracing wheel always used with dressmaker’s carbon paper.
125
9 Keep fabric as flat as possible against the table.

10 Cutting paper with fabric scissors can dull it.
B. Directions: Check the checklist below if you can perform the operations
stated:
Put a check opposite each statement under the YES NO

proper heading:
I can cut cloth for front blouse.
I can cut cloth for back blouse.
I can cut cloth for front trouser.
I can cut cloth for back trouser.
I can cut cloth for patch pocket.
I can cut cloth for sleeves.
I can cut cloth for facings.
C. Directions: Cut the final pattern of the following:

1. Front blouse
2. Back blouse
3. Sleeves
4. Front trousers
5. Back trousers
6. Pockets
7. Sleeves
8. Facings
Lesson 12 Transferring Pattern Marking and Symbols on the Fabric
Transferring pattern markings to the cloth must be done accurately so

that the finished garment will look peculiar. You are now familiar with the tools
used in transferring pattern markings. Now, remember these pointers for
accurate markings on your fabric.
Kate’s words of wisdom: Never mark fabric with something that won’t
come out in a place where it can be seen!
126
Pointers to remember:
*. The pattern details should be marked on the wrong side of garment
pieces.
* The tracing paper and tracing wheel will make following markings
easy.
* Avoid marks that can be seen outside.
* Mark once along one line with the tracing wheel.
* Protect the table with cardboard.
Review of Lesson 12
A. Directions: Transfer all pattern marks using the appropriate marking tools.
Use the previous patterns. Let your teacher check your works.
Rubric in Transferring Marks to the cloth

Item 15 10 5 Score
Tools Tools were Lack of one Lack of two or
complete, tool, some more tools,
127
appropriate are some

and correctly appropriate are appropriate
used. and correctly and not
used. correctly
used.
Procedures Procedures in Failed to follow
in transferring the correct
transferring marks to the procedures
Procedure marks to the cloth transferring
cloth followed. marks to the
correctly cloth
followed.
transferring transferring transferring
marks to the marks to the marks to the
cloth ahead cloth on time. cloth
of Beyond the
time. allotted
time.
POST TEST I
I. MULTIPLE CHOICE
Directions: Read the statements carefully. Choose the letter that best
describes the statement. Write the answer in your quiz notebook.
1. The tool used to take body measurement accurately

A. Curve rule C. Ruler
B. L-square D. Tape measure
2. Principle of design which can be achieved by creating a center

of interest in the garment
A. Balance C. Proportion
B. Emphasis D. Rhythm
3. A pattern which is the basis of all types of pattern.

A. Basic pattern C. Final pattern
B. Construction pattern D. Commercial pattern
4. A plant fiber that contains lustrous fiber suited for sleeping

garments.
128
A. Cotton C. Linen
B. Wool D. Silk
5. One of the characteristics of the sleeping garment .

A. It is made of expensive materials. c. It is thick and long.
B. It is comfortable to the wearer. d. It is easy to wash.
6. The measurement from the shoulder neck junction to the

waistline with the tape measure passing at the highest portion of
the bust.
c. Blouse length c. Front Figure
d. Bust height d. Chest dept
7. Luis will transfer pattern marks to the fabric, what marking tool
will he use?
a. Tailor’s chalk c. Pencil
b. Carbon paper d. Ballpen
8. A dressmaker’s guide in cutting fabric pieces in accordance with

the garment design.
a. Dressmaker scale c. Pattern
b. Manuscript d. Design
9. The pattern symbols that directs the dressmakers where to

stitch the garment fabric.
a. Grainline c. Seamline
b. Hemline d. Stitchline
10. A color that is neutral.

a. Yellow c. Red
b. Black d. Violet
11. The elements of design that create visual dimension.

a. length and width c. size and bulkiness
b .depth and height d. center and emphasis
13. The result of combining primary and secondary colors.

a. neutral colors c. prime-see colors
b. complementary colors d. intermediate colors
13. The cellulose materials made into long, lustrous fibers.

a. leaves. c. twigs.
b. seedpods. d. flowers
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14. An example of silk fabric.

a. Brocale c. Georgette
b. Canvass d. Challis
15. A fabric which can be easily dyed because of its absorptive

capacity.
a. Wool c. Cotton
b. Nylon d. Silk
16. Which of the following characteristics of sleeping garment will you

consider first when designing?
a. Age of the wearer c. Tools and material
b. Price of the cloth d. Design of sleeping garment
17. When do we prepare the project plan?

a. during the execution c. before the execution
b. towards the completion d. at the end of the execution
18. A part of a project plan that depicts the chronological steps on how
to
accomplish the job.
a. Objectives c. Bill of material
b. Procedure d. Evaluation
19. If you want to determine and prepare the logistics needed to

finance
the project, which part of the project plan will you check?
a. Working drawing c. Objectives
b. Bill of materials d. Tools and materials
20. A flexible tape used to take body measurement..

a. ruler c. curve ruler
b. L-square d. tape measure
21. The material needed in the construction of a sleeping garment.

a. cloth c. ripper
b. needle d. tracing wheel
22. In drafting the back blouse sloper, the following measurement is

needed EXCEPT one.
a. back across width c. shoulder width
b. waist circumference d. chest width
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23. Jovie is drafting a front blouse sloper. To which you are going to
divide to obtain the accurate measurement?
a. 1 c. ¼
b. ½ d. 1/3
24. The body measurement that is needed in drafting back and front
blouse sloper.
a. bust circumference c. back across width
b. chest width d. front figure length
25. The sloper or basic pattern is the foundation of all final patterns.
Which one is characterized as a sloper?
a. with provision for alteration c. ready for cutting
b. flexible for cutting d. no allowances and symbol
26. The body measurement which is taken around the arm where the
sleeve length falls.
a. sleeve length c. arm circumference
b. elbow circumference d. armhole circumference
27. The measurement needed in drafting pajama trousers where the

female customer is allowed to sit while the measurement is being
taken.
a. Thigh circumference c. Full length
b. Leg circumference d. Crotch
28. The tool used in making a construction line.

a. L-square c. Tape measure
b. Ruler d. Meter stick
29. The drafting tool used in the construction of a garment.
a. Tracing wheel c. Scissors
b. Seam ripper d. Curve rule
30. A pattern needed in manipulating one piece blouse.

a. bodice and shirt c. bodice and sleeve
b. bodice and trousers d. sleeve and skirt
How are you doing with the first part of our lesson? Are you
doing great? Congratulations! Now, be ready for another
exciting exercises as we go on with the making of your own
sleeping garment. Get ready to assemble the garment parts
and soon, to sew your garment. Learn and enjoy more!
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QUARTER II
LESSON 2
PRODUCE SLEEPING GARMENT
Pre-Test II
1. Which of the principles in laying out patterns comes first?

a. Lay smaller piece c. Mix small and big piece
b. Lay bigger piece d. Lay one after the other
2. The marking tools used to transfer pattern markers on the fabric.

a. tracing wheel and carbon paper c. carbon paper
b. tailors chalk and carbon paper d. pencil and
carbon
3. While cutting the fabric it is advisable to place the other hand on -

___.
a. the table. c. your side.
b. the edge of the cloth. d. top of the cloth.
4. In drafting pattern for pajama trousers thigh measurement is divided

into
_______.
a. ¼ c. ½
b. 3/4 d. 1
5. When laying out fabrics on the table it is advisable that excess

fabrics
should be _________.
a. rolled c. hanged
b. folded d. kept
6. The tool used to cut cloth.

a. dressmaker shears c. cutter
b. scissor d. ripper
7. The pattern symbol which guides the cutter to place pattern portion
on the folded edge of the cloth.
a. grain line c. centerfold
b. seam line d. notch
8. Cotton fabric should be preferably washed using the___________.

a. machine c. laundry detergent
b. hand d. laundry soap
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9. In laying patterns on the cloth they must be fastened with _______.

a. dressmaker pins c. needles
b. safety pins d. clippers
10. The tool used in cutting the final pattern.

a. utility scissor c. dressmaker shears
b. embroidery scissor d. scissors
11. The body measurement needed in drafting blouse sloper which is

taken from the shoulder neck junction to the fullest part of the bust.
a. Front figure length c. Full length
b. Blouse length d. Bust height
12. The drafting tool used to shape the armhole.

a. Curve rule c. L-square
b. French curve d. Pencil
13. Squaring point is important in pattern drafting. Which drafting tool

can best
perform this?
a. Ruler c. L-square
b. Meter stick d. Curve ruler
14. The process of matching basic patterns and cutting them into
pieces.
a. laying out pattern. c. cutting pattern.
b. drafting pattern. d. manipulating pattern.
15. The sleeping garment which is an all-in footed sleep suits similar to
an
infant onesie?
a. Jumpsuit c. Negligee
b. Chemise d. Night gown
16. The warm cloth cup worn while sleeping with pajama or night
gown.
a. Bonnet c. Scarf
b. Head band d. Night cap
17. The loose two-piece garment for men, women and children that
consists of jacket and trousers .
a. Negligee c. Pajamas
b. Jumpsuit d. Bathrobe
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18. One of the characteristics of sleeping garments is quite loose to

facilitate ______.
a. comfort c. fitness
b. ease d. speed
19. A sewing equipment.

a. Sewing kit c. L-square
b. Dressmaker shears d. Sewing machine
20. To obtain a well fitted result, a dressmaker should follow the

_______.
a. latest movement . c. standard
measurement.
b. calculated measurement. d. exact measurement.
21. The pattern symbol that indicates the exact location of the button.
a. X c.
b.  d. ----
22. Which of the following fabrics has problem with shrinking?

a. Cotton c. Silk
b. Rayon d. Nylon
23. A fabric collected from cocoon of silkworm which is used for high-
end clothing and household items.
a. Polyester c. Cotton
b. Rayon d. Silk
24. In laying out fabric on the table, where should you align the
selvage?
a. Table edge c. T-square blade
b. Machine corner d. Cutting board
25. The sewing tool used to check the alignment of the fabric.
a. Ruler c. Tape measure
b. Meter stick d. L-square
26. This is where a well-sewn garment starts.

a. Cutting table c. Pattern lay-out
b. Measurement d. Drafting pattern
27. The best place to make any changes or fitting illustration of

garment.
a. Pattern c. Cloth
b. Design d. Project plan
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28. The first thing to do before laying out the pattern onto the fabric.
a. Cut c. Alter
b. Press d. Mark
29. The type of fabric where the grain is straight tearing across at one
end.
a. Machine Woven c. Firmly Woven
b. Hand Woven d. Loosely Woven
30. The process of straightening the edge of the fabric along the
dominant line of the pattern.
a. tearing c. pulling
b. cutting d. pressing
How do you feel with your scores? Are you happy and
contented? If not, you should exert effort to get higher scores.
Are you excited to explore more? Good Luck!
Lesson 1 Pre-Assembling Procedure
1. Sorting/Bundling:
Sorting or Bundling is the process of matching patterns

according to size and design. The sorter makes bundles of patterns.
This step requires much precision because making bundles of
mismatched patterns can create severe problems. On each bundle
there are specifications of the style, size and the marker is attached
with it.
2.Sewing/Assembling:
The sorted bundles of fabrics are now ready to be stitched.

Large garment manufacturers have their own sewing units but some
give the fabrics under contract to other contractors. Stitching in-house
is preferable because one can maintain quality control during the
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processing. Else, if contractors are hired, keeping an eye on quality is

difficult unless the contactor is the one who precisely controls the
process.
There are sewing stations for sewing different parts of the cut
pieces. In this workplace, there are many operators who perform a
single operation. One operator may make only straight seams, while
another may make sleeve insets. Yet another two operators can sew
the waist seams, and make buttonholes. Various industrial sewing
machines, too, can make different types of stitches. These machines
have different configurations of the frame. Some machines work
sequentially and feed their finished step directly into the next machine,
while the gang machines have multiple machines performing the same
operation supervised by a single operator. All these factors determine
what parts of a garment can be sewn at that station. Finally, the sewn
parts of the garment, such as sleeves or pant legs, are assembled to
give the final form to the clothing.
Sewing Stations prescribed by TESDA
Review of Lesson 1
A. Directions: Assemble the cut parts of the sleeping garments. List down
in your test notebook the parts you need to match and pin together.
________________________________________________________
________________________________________________________
Lesson 2 Pressing Tools, Materials and Equipment
Here is a list of ironing equipment and pressing tools you will need to
get the best pressing results.
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Iron and Ironing Board or Other

Pressing Surface You need an
ironing board or other heat-proof
pressing surface
Seam Roll is a handy pressing

tool used all the time. Besides the
sleeve board, it's a mainstay of
the pressing tools.
Seam Stick helps you press in

small places.
Tailor's clapper is used in

tailoring to help press wool
seams flat. First you press the
seam with a good steam iron.
Then, before the seam is
cooled, you press the clapper
against the seam to hold it in
place while it cools.
Caution! Never move a pressed

seam until the fabric has cooled
completely! Otherwise, you will
repeat all your pressing.
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Lesson 3 Pressing techniques
Have you already experienced ironing your clothes? Of course,

you had! Here in dressmaking, when you sew, you must learn also
how to use the iron in a new way. Have you heard the word “Press”?
Right! Pressing and Ironing are two different uses of electric iron.
Pressing is lifting and placing the iron on the garment.

Ironing is pushing and using pressure to iron out the wrinkles of the
garment.
You must learn to press as you sew. It is a good habit to press

every detail in your garment as you finish it. Read these 9 Pressing
Tips on how to make your garment obtain a truly finished look.
Seam Imprints
To avoid seam imprints on the right side of the fabric, place a strip of
brown paper bag between the seam allowance and the garment before
pressing.
Rub Out Scorch Marks

If you scorch wool fabric by using an iron that is too hot, rub a nickel on
the scorch mark. The scorch mark will disappear. Be careful to use a
clean nickel on light colored fabrics.
Press As You Go
When sewing, never sew over an unpressed seam. Always press the
seams as you go. This will make sewing easier and will improve the
quality of hanging of your finished garment.
Ironing vs. Pressing

Ironing is done by using a back and forth motion. Pressing is done by
using an up and down motion. Ironing can stretch the fabric out of
shape and can cause wrinkling and puckering on finished garments.
Always press.
Cool It
To keep freshly pressed fabrics and garments from getting wrinkled,
allow them to rest and cool down on the ironing board for a couple of
minutes before moving them. If you are in a hurry or just impatient, use
a fan directed at the ironing board to cool down the fabric and set the
press.
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Setting and Removing Creases

A solution of one part water and one part distilled white vinegar will
remove an old crease and/or set a new one. Dampen a press cloth
with this mixture and press hard as the fabric allows. Press until the
press cloth is dry. The vinegar smell will dissipate as the fabric dries.
Cleaning Your Iron

Irons get dirty and accumulate color from the fabric dye. Clean your
iron periodically especially when sewing and pressing light colored
fabric. The best way to clean the soleplate of your iron is with a
commercial hot iron cleaner, sold at fabric and sewing supply stores.
This product is very easy to use.
Seam Roll
A seam roll can be used to press areas that are hard to lay on a flat
surface, like a sleeve. They also provide a curved surface for pressing
seams without leaving imprints from the seam allowance. If you do not
have a seam roll, roll up a newspaper or magazine and cover with a
terry towel or insert in a wool sock.
Clapper
Use a clapper to flatten seams after pressing. A clapper can reduce
bulk and make fabric lay flat. Steam press the seam area. Press the
clapper over the area to seal in the heat and moisture. After about a
minute, the fabric or seam will lay perfectly flat.
Procedure in Pressing Sleeping Garments
1. Pressing/ Finishing:
The next operations are finishing and/or decorating. Molding may be

done to change the finished surface of the garment by applying pressure,
heat, moisture, or other combinations. Pressing, pleating and creasing are
the basic molding processes. Creasing is mostly done before finishing
processes like that of stitching a cuff. Creasing is also done before decorating
the garment with something like a pocket, appliqués, embroidered emblems,
etc.
Vertical and form presses are automated machines. They perform

simple pressing operations, such as touching up wrinkles in knit shirts, around
embroidery and snaps, and at difficult to reach places on garments.
Review of Lesson 2
139
A. Directions: Press the sleeping garments using these pressing tools and
equipment.
Lesson 4 Application of Heat and Pressure
Due to variations in garments and heat presses, these settings may

vary. For best results, test different time/temperature combinations to find one
that works best with your garment / heat press combination. Please take note,
higher temperatures generally require less time to prevent scorching. An
insufficient time / temperature combination may hinder Chroma Blast from
completely curing the cotton fibers, thus resulting to wash out.
Selecting the right temperature when getting ready to iron clothing can make
the difference between ease and disaster. The right temperature selection will
make ironing easier and quicker. The wrong temperature means more work
or disaster.
Fortunately, most irons have a sliding scale that indicates the correct setting
for different types of fabric. As a reference, use a scale of 1 to 7 - 1 being
cool, 7 being very hot.
While all irons differ in temperature as per manufacturer, here is a basic

guideline of proper temperatures for ironing different fabrics:
Type of Fabrics Required Heat

Temperature
Linen 230 °C (445 °F
Triacetate 200 °C (390 °F)
Cotton 204 °C (400 °F)
Viscose 190 °C (375 °F)
Wool: 148 °C (300 °F)
Polyester 148 °C (300 °F)
140
Silk 148 °C (300 °F)

Acetate 143 °C (290 °F)
Acrylic 135 °C (275 °F)
Lycra/Spandex 135 °C (275 °F)
Nylon 135 °C (275 °F)
Ironing Guidelines
Iron
Fabric Tips
Setting
Acetate 1 Press on wrong side while damp.
Acrylic 3
Place on plush white towel, press on wrong
Beaded 1
side.
Cashmere - Do not press, steam only.
Corduroy 7
side. Use steam on front to refresh crushed pile.
Cotton, lightweight 5
Cotton,
7 Press while damp.
heavyweight
Damask 5 Use cloth between fabric and iron.
Lace 3 Use cloth between fabric and iron.
Linen 5 Iron on wrong side while damp.
Nylon 1
Olefin 3
Polyester 3
Ramie 3 Iron on wrong side while damp.
Rayon 3 Iron on wrong side.
Press on wrong side with cloth between iron
Satin 3
and fabric. Use no steam.
Sequined fabric - Do not iron, use light steam.
Silk 3 Press on wrong side. Use no steam.
Synthetic Blends 3
Velvet 3
side. Use steam on front to refresh crushed pile.
141
Use a damp cloth between iron and fabric. Iron

Woven wool 3
on wrong side.
Review of Lesson 4
A. Directions: Read and understand the statement carefully. Choose

the letter that best describes the correct answer. Write your answer on
your test booklet.
1. Which of the following will you rub to a scorch wool fabric while
pressing?
a. Nickel c. Metal
b. Iron d. Aluminum
2. Sewing a pressed seam will make your work _________.
a. accurate. c. done.
b. fast. d. easy.
3. To keep garments freshly pressed allow them to rest and cool down on
the ironing board for
b. 2 minutes d. I minute
4. Which of the following is the most appropriate cleaning material for the
soleplate of the iron?
a. Candle cleaner c. Hot iron cleaner
b. Surface cleaner d. Grease cleaner
5. Which of the following is use to flatten seam upon pressing?
a. Clapper c. Iron
b. Seam roll d. Crease remover
B. Directions: Look at the table above. List down the fabric characteristics of
your sleeping garments. Set the flat iron and apply the heat appropriate for
the type of fabrics. Observe what happened to different types of fabric. Write
a report and discuss it in the class.
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Lesson 5 Kinds of Seams and Seam Finishes
Carefully selected and well-constructed seams and seam finishes are

important—even critical—steps in the construction process. They are basic
techniques used in the sewing process.
1.Seam is the basic structural element of a garment or household

textile item. It is a means by which two pieces of fabric are joined. Typical
examples: plain, French, flat-fell.
2.Seam finish is applied to/used on the unfinished seam edge to

prevent raveling, curling, or rolling. Typical examples: turned and stitched,
double-stitched, bound, serger.
Factors when selecting a seam and seam finish:

1. Fabric
- Is it tightly or loosely woven?
- Is it a single knit or double knit? Does the fabric ravel, curl, or
roll?
- What is the weight of the fabric: light, medium, or heavy?
- Is it sheer?
2. Use of garment
- Is it sportswear or evening wear?
- How often will it be worn?
3. Care of garment
- Will it be machine-washed, hand-washed, or dry-cleaned?
4. Location of seam/seam finish

- Is it curved or straight?
- Will it be exposed as in an unlined skirt?
- Will it be enclosed as in a collar seam?
5. Sewing ability and skill

- Are you a novice or an experienced sewer?
6. Equipment
- Do you have only a straight-line stitching sewing machine?
- Do you have a serger?
Standards.
A well-constructed seam should be:
143
 Smooth and even in appearance on the inside and outside parts.

(Properly adjust machine tension, stitch length, and presser foot
pressure to suit the fabric and thread. Make sure fabric does not
crease.)
 Do this as well as with its width all throughout.
 Press open or close according to the type of seam and how it should
be used in the construction process.
 If stitched with thread, the thread should be appropriate to the fabric
type and fiber content. (Thread color should match or slightly darker.)
A well-constructed seam finish should:

 be neat and smooth in appearance, without added bulk;
 protect the area and prevent the edge from raveling, stretching, rolling,
or curling; and
 not be visible from the right side of the garment.
Seams
Seams may be created with thread by hand or machine (sewing

machine and serger) or with fusion through chemical bonding. When a
serger/overlock machine is used to construct a seam, the fabric edges
are finished all in one process. The basic seams are plain, French, and
flat-fell. Unless otherwise stated, a seam is stitched 5/8 –inch from the
cut edge. The fabric from the stitching line to the cut edge is called a
seam allowance
1. Plain Seam A plain seam is the simplest seam to make and is

the basis for many other seams. It is a good choice for the
novice sewer. This seam can be used on woven and knit fabrics
and on straight or curved areas. It can be constructed by hand
or machine. A seam finish is needed on most woven fabrics,
especially when the seam is exposed and when knit fabric curls
or rolls.
Steps:
a. Place the right sides of the fabric together, matching the
stitching lines. Pin and/or hand baste.
b. Stitch along the 5/8 -inch seam line. (Stitching may begin
and end with backstitching—stitch forward a few stitches,
then backward, and then forward to the end.) A narrow, open
zigzag stitch can be used.
c. Press. Plain seams can be straight-stitched or zigzagged.
2. French The French seam is basically a seam within a seam. It

is strong and durable but should be used only on straight edges.
144
This seam is used on light-weight woven, sheer, and other

delicate fabrics. It is an excellent choice for see-through fabrics.
French seams can be constructed by hand or sewing machine.
Seam finish is not needed.
3. Flat-Fell (also called flat-felled) This seam is designed for

woven fabrics and straight edges. It is used when constructing
sports-wear, men’s and children’s wear, reversible items, and
heavy-duty items requiring strong, durable seams. It is generally
made with a sewing machine and can be difficult to construct on
heavy fabric. No seam finish is necessary.
Steps:
a. Put the wrong sides of the seam allowances together.
Stitch along the 5/8-inch seam line to make a plain
seam. Press seam allowance on one side.
b. Trim lower seam allowance (inside seam allowance)
about 1/8 -inch.
c. Turn the top seam allowance edge under 1/4-inch. Press.
d. Repeat on the other side of the seam allowance.
Seam Finishes
Seam finishes may also be referred to as “edge” finishes, as they may be

used in locations other than seam allowances. These locations include hem
edges and facings. The method of construction is almost always the same
and the goal is to prevent a raw edge from raveling (woven fabric) or curling
(knit fabric).
 Edge Stitched - As a seam finish, this technique is reserved

primarily for knit fabrics. It is used to prevent the edges of the
fabric from rolling or curling. The finish requires a sewing
machine making it easy to construct. Edge stitching is suitable
for straight or curved seams and edges.
Steps:
a. With right sides of the seam allowances together, prepare a
plain seam. Press it open.
b. Take one side of the seam allowance (single thickness) and
stitch a line of regulation using machine stitching
(approximately 12 to 14 stitches per inch) about 1/4-inch
from the cut edge.
c. Repeat on the other seam allowance. (Stitching along the
edge of the seam allowance prevents rolling or curling.)
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 Edge Stitched Double-Stitched

The double-stitched finish also begins with a plain seam. It is
used for knit fabrics and on seam allowances that are pressed
together to one side and treated as one. It is used to prevent
seam allowances from rolling or curling on lightweight knit
fabrics. The technique is ideal for the beginning sewer and may
be done in several ways. It requires a sewing machine. Some
methods require a sewing machine with zigzag or decorative
stitch capability.
Steps:
a. With right sides of the seam allowances together, prepare a
plain seam. Press seam together.
b. Stitch a second row of stitching into the seam allowance
area, approximately 1/8-inch away from first line of stitching.
The second row of stitching can be a straight conventional
stitch, a medium-width zigzag, or a machine over-edge/over-
cast stitch. NOTE: The machine over-edge stitch is
recommended for raveling woven fabrics, not nits.
c. Press seam to one side. Double-Stitched Machine Zigzag-
A large seam allowance (up to 1 inch) may be allowed when
cutting out the garment, since finished seam allowance will
be 1/8- to1/4inch shorter. This finish is used on a plain seam
on woven fabric. It requires a sewing machine with a zigzag
stitch capability. The finish is used on medium- to
heavyweight fabrics, including corduroy. The zigzag stitch
length (coverage) must be adjusted to accommodate and
prevent fabric raveling. The more the fabric ravels, the closer
together the stitches need to be (tighten or shorten stitch
length).
Steps:
1. With right sides of the seam allowances together, prepare a plain

seam. Press it open.
2. Adjust machine to the appropriate zigzag stitch and length.
3. On one seam allowance (single thickness), stitch close to, but not
on, fabric edge (approximately 1/8-inch from raw edge).
4. Trim excess fabric close to the line of stitching. Press. Machine
Zigzag Machine Over-Edge overcast). Some sewing machines
have a special over-edge presser foot and/or machine setting to
overcast (sew over) the edges of the fabric without causing the
fabric or thread to jam the machine. If your machine has this
capability, use this stitch instead of the machine zigzag technique
146
previously described. The overcast technique does not need to be

trimmed, nor allow for larger seam allowances when cutting out the
garment.
 Hand-Overcast This is one of the original methods of finishing

seams and edges dating prior to the invention of the sewing
machine. There are occasions when this edge finish is the most
appropriate technique to employ. Hand-over-cast is used on
woven fabrics with straight and curved areas. It is also good and
necessary in areas not suited to other finishing techniques, such
as L-shaped areas (created at a kick pleat) and V-shaped areas
(created when bulk is removed from a princess-line seam). This
stitch is done by hand rather than by machine. Use a hand
needle and single thread to match the fabric color. It is not
difficult but it may take some skill to create uniformed stitches.
Steps:
1. With right sides of the seam allowances together, prepare a
plain seam. Press it open. (This finish can be used with other
seams that might require a finish other than the plain seam,
such as the mock flat-fell or the lapped.)
2. Beginning at the end of one seam allowance edge through
single fabric thickness, secure thread on the underneath side of
the seam allowance, approximately 1/4-inch from the edge.
3. Bring needle through from bottom to top side. Position needle
underneath fabric edge, approximately 3/8-inch away from the
first stitch.
4. Bring needle and thread through to the right side again. Repeat
until the edge is periodically wrapped in thread. Stitches should
be secured to the fabric edge but not tight. Fabric edge should
remain flat and not drawn. The more the fabric tends to ravel,
the closer together your hand stitches should be. Clean-
Finished (turned under and stitched). This finish is used not
only for seams but also throughout the garment when the fabric
is lightweight. It is not appropriate for heavyweight or knit fabrics
because it produces bulk.
Steps:
1. With right sides of the seam allowances together, prepare a
plain seam. Press the seam open.
2. Turn the edge of the seam allowance under approximately 1/8-
to1/4-inch. Press.
147
3. Stitch close to the edge through the folded fabric. Press. NOTE:
Cutting at least a 1-inch seam allowance will allow a finished
5/8-inch seam allowance.
Review of Lesson 5
A. Essay.
Directions: Answer briefly. How do you describe a well-constructed
seam?
________________________________________________________
________________________________________________________
________________________________________________________
B. Match Column A (Factors) with Column B (Statements) when
selecting seams and seam finishes. Write the letter of the correct
answer in your test notebook.
A B
Factors Statements
1. Sewing Ability Single or double knit
2. Fabric Machine or hand wash
3. Use of garment Curve or straight
4. Care of garment Experienced sewer
5. Location of the seam Evening or sportswear
Lesson 6 Preparing Parts for Sewing
Sorting/Bundling
In garment factories, the sorter sorts the patterns according to size and
design and makes bundles of them. This step requires much precision
because making bundles of mismatched patterns can create severe
problems. On each bundle there are specifications of the style, size, and the
marker attached with it.
For beginners/learners in school the following steps maybe adopted
1. Put these in a bag.

2. Fuse a piece of fabric large enough for all your interfaced pieces then
cut.
148
3. Tie all the pieces together in a Check seam allowances in all garment
parts.
4. Use 1/8” nips to mark your notches. Don’t waste time cutting diamond
shapes. Nips are more accurate and less likely to fray or weaken the
seam.
5. Check parts if cleanly cut.
6. Match cloth to the patterns and check number of pieces needed.
7. Check and remove unnecessary pins.
8. Check pattern marks if properly transferred to the garment parts.
9. Collect all things you’ll need to sew the sleeping garment: zippers,
thread, buttons, snaps, hook and eye, and garter bundle with the
pattern and put in a bag.
a. Back and front bodice
b. Sleeves
c. Facings
d. Pockets
e. Back and front pants
Review of Lesson 6
A. Why do we need to prepare the parts of sleeping garments before sewing?
________________________________________________________
________________________________________________________
________________________________________________________
B. Prepare and list the tools and materials needed in preparing
sleeping garments parts for sewing. Show how to do the steps
discussed in this lesson.
Lesson 7 Unit Method of Assembling Sleeping Garments
1. Back and front bodice

 Join the shoulder seams using French seam.
 Overlock the raw edge of the armhole to prevent raveling.
 Join the side seams using French seam.
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2. Sleeves
 Overlock raw edges of the armhole.
 Join the side seam using the French seam.
 Fold and machine sew 1/8 hem allowance.
 Fold on the hem line and press.
 Slip stitch the hem.
3. Facings
 Join the shoulder seam.
 Fold and machine sew 1/8 the raw edges.
 Connect the facing to the neckline.
 Sew facing hem using slip stitch.
4. Patch Pocket
 Fold the upper part of the patch pocket.
 Sew using plain stitch.
 Fold both sides and bottom then baste.
Review of Lesson 7
A. Directions: Perform the procedures in specific units of assembling

garments based on your design.
Sleeves
 Overlock raw edges of the armhole.
 Join the side seam using the French.
seam
 Fold and machine sew 1/8 hem
allowance.
 Fold on the hem line and press.
 Slip stitch the hem.
Facings
 Join the shoulder seam.
 Fold and machine sew 1/8 the raw
edges.
 Connect the facing to the neckline.
 Sew facing hem using slipstitch
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1. Patch Pocket
 Fold the upper part of the patch
pocket.
 Sew using plain stitch.
 Fold both sides and bottom then
baste.
Lesson 8 Assembling the Sleeping Garment
Procedure in assembling sleeping garments
Step by step assembling of pajama blouse and trousers
Join the shoulder with a French seam. Attach neckiline facing.
Make a cut slash from the edge to the

stitchline.
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Iron the neckline facing. Fold and sew pocket top opening.
Baste patch pocket, match fabric Sew patch pocket on the sewing
prints. machine.
Join the side seam. Sew sleeve hem.
152
Join arm seam and stitch the armhole. Attach the sleeves.
Flatten the neckline facings. Baste the flattened facings on the

neckline.
Overcast neckline facings. Determine distances of buttonholes.
153
Mark distances of buttonhole. Cut buttonholes.
Sew the buttonhole. Mark location of buttons.
Attach buttons.
Sewing Pajama Trousers
154
Baste the hem of pajama trousers. Baste leg of the pajama trouser.
Sew leg side in the sewing machine. Reverse the legs and sew.
Joint the crotch.
155
Make garter casing.
Insert garter on its casing using a safety pin and join ends of the garter
Close garter casing. Press finished garment.
156
Fitting the sleeping garment.
Review of Lesson 8
Directions: Assemble the sleeping garments blouse and trousers (or the
design of
your choice).
Based on the activity explain chronologically how to assemble

the sleeping garment.
________________________________________________________
________________________________________________________
________________________________________________________
Lesson 9: Finishing Touches
1. Sewing the facing

a. Press the facing.
b. Overcast the facing.
2. Hemming stitches
a. Mark the hemline with the placket on reverse fold.
b. Sew edge of the hem using the sewing machine.
c. Baste the final hem and sew either by machine or by hand.
Making a Handstitched Buttonhole
157
1. Mark the buttonhole line

and decide on the stitch
depth. Use a short 1/16 inch
stitch on thick fabrics.
Stitch a rectangle just under
a stitch length outside and
all around the buttonhole
marking.
2. Cut carefully along the

center of the buttonhole
marking. If necessary,
overcast raw edges to
prevent fraying. Working on
the right side with the round
end of the buttonhole to the
left, secure the thread end
with small backstitches at
the lower right corner.
3. Buttonhole stitch along one

long edge. Insert the
needle from the back to the
front of the fabric. Pass the
thread behind the eye end
of the needle and under the
point. Pull the needle
through ensuring that the
knot formed covers the cut
edge.
4. Work the stitches close

together to cover the raw
edge. Using the same
stitch, fan out five or seven
slightly longer stitches
around the end of the
buttonhole. The center
stitch should be in line with
the cut edges.
5. Buttonhole stitch along the
other edge. Stitch through
the knot of the first stitch
bringing the needle out just
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below the last stitch. Form

a bar tack with three or four
long stitches to make the
square end of the
buttonhole.
6. With the needle point

toward the buttonhole and
beginning at one end,
buttonhole stitch across the
long stitches picking up the
garment fabric underneath.
The stitches should form a
neat row of knots along the
bar tack base.
Attaching buttons
a. Determine and mark the location of the buttons in the
placket.
b. Thread the needle and fasten the buttons.
A. Pajama Blouse
1. Attach the patch pocket.

1. Pin and hand-baste finished patch
pocket to the right side of the
garment carefully matching it to
traced markings.
2. To sew pocket on by machine, set

machine for a regular stitch length;
stitch as close as possible to edge of
pocket.
To sew pocket on by hand, use even

slip stitch. Take care not to pull the
stitches too tight or the pocket will
pucker.
3. Sew in the sewing machines.
4. Join the shoulder and side using the

French seam.
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5. Fold placket allowance outside and

baste.
6. Attach the neckline facings.
a. Make a cut slash to obtain the
perfect shape of the neckline.
b. Apply top stitch.
Baste the prepared facing to the

blouse neckline.
Sew in the
sewing
machine.
Make a cut slash from the edge to

the stitchline.
Press the facing to

flatten.
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7. Attach the sleeves.

c. Determine blouse side seam and
sleeve seam.
d. Put together with the fabric right
side facing each other.
e. Baste and sew in the sewing
machine.
A. Pajama trouser
Review of Lesson 9
A. Directions: Assemble the sleeping garments blouse and trousers.

Based on the activity explain chronologically how to assemble
the sleeping garment.
________________________________________________________
________________________________________________________
________________________________________________________
B. Get a piece of cloth and practice attaching fastener fitted to your

sleeping garment design. List down the steps involved.
161
Type of Fastener: ___________________________________
Steps in attaching/making:
1.
2.
3.
4.
5.
Lesson 10: Trimming Techniques for Sleeping Garments
Trim has two meanings in sewing. One is to use a variety of decorative

elements or trims to embellish garments or household items. The other
is to
use scissors to trim away excess fabric in areas like seam allowances.
Garment patterns often specify that seam allowances be trimmed to a

specified width. A duckbill scissors is often used to prevent garment
damage when trimming seams and beneath appliqués.
DUCKBILL SCISSORS
Review of Lesson 10
Directions: Using the duckbill scissors trim excess threads and allowances
from the sleeping garments.
Lesson 11 Labeling of Garments
162
How to create the perfect clothing label
Often we are asked “What size should I make my clothing label” or “What is
the most common size of woven labels”? While there is no standard size for
clothing labels, there are a few tips to keep in mind to create the perfect label.
Tip 1: Go shopping. Research on other brands that are similar in style

and price point to your design line. You can learn a lot by seeing what others
do right and by what they do wrong. Look for material type, the ‘feel’ of the
label, the overall size of the label. Is it too big or not large enough?
Tip 2: Look in your closet. Chances are you have dozens of different
types of clothing labels. You will definitely find woven labels, printed labels,
tagless transfers and probably some of your clothes still have hangtags on
them. Take a ruler and get a general idea of the size label that you like and
fits your specifications based on the clothes you love. Remember, you chose
them for a reason.
Tip 3: Study your logo/design. You probably already have a logo

designed or at least have an idea in mind. Print out the logo in a few different
sizes by scaling the image. Once you’ve printed them out, take scissors and
cut out the images and place them on your clothing or accessory. You will
quickly start to see what looks great and what size is too large or too small for
your design. If your logo is tends to be longer rather than tall, you can
consider sewing it on the left and right sides. If the logo is more square then it
works great as a top sewn label.
Tip 4: Don’t forget to add sewing room. When choosing the size, it’s
really important to think about things like – where on the clothing is it going to
be sewn because you have to incorporate sewing allowance space if going
into a seam. Otherwise, if you plan on sewing down on all sides then you
won’t need quite as much space.
Kinds of packaging materials
Garment Packing Materials Made from premium quality material, these

Garment Packing Materials are used in apparel and garment packaging
industry. These Garment Packing Materials are durable in nature and find
usage in packaging garments in a well maintained and proper manner.
163
Packing Card - manufactured using

high quality materials to provide neat
packing for garments. Offered in a
variety of designs and forms, the
Packing Card is perfect for packaging
Shirts in a neatly folded manner to
avoid any creases
Plastic Clip Manufacturer and Exporter

from India, offering a wide range in the
market. The range is designed for
packing different garments and can
also be customized as per the
specifications given by clients
Foam Sheet made available by us is a

product of cutting-edge manufacturing
technologies together with expertise of
professionals to give excellent support
while packaging garments. We
Manufacture and Export a variety of PU
Foam Sheets in different colors and
dimensions as per preferences of
clients. Moreover, the Memory Foam
Sheet is offered at highly affordable
prices in the market
We are known for manufacturing and
exporting a varied array of Steel Head
Pins. Manufactured in various sizes
and head colors, the Steel Head Pins
can also be customized exactly as per
the preferences of the clients.
Manufactured using high grade steel,
the Steel Head Pins securely hold the
garment in place
Review of Lesson 11
Directions: Enumerate and describe the different garment packaging

materials.
164
Lesson 12 Procedures in Packaging Finished Garments
Packing
The finished garments are finally sorted on the basis of design and size and
packed to send for distribution to the retail outlets.
Packaging: Packaging may be defined as the activities of designing and

producing the container or the wrapper for the product. Generally the
packaging could be considered as the silent sells man of the product. When
the garments are exported to the prospective buyer different type of
instruction should have to be followed by manufacturers. Basically the
clothing manufacturer is using three kinds of packages.
1. Primary Packages: Insertion a garment into a poly bag is considered as the

primary package of garments. Full visibility makes the customer to identify the
color, size and style etc.
2. Secondary Package: Secondary package of a garment could be another

poly bag or inner carton. Inner carton or master poly bag containing a number
of garments, provide traditional quotation and make opportunities for sales
promotion. This container facility of pack number of garment pertains to
packing instruction given by the buyer. There are four packing strategies:
1. Solid Color Solid Size: all garments are of same size and color. e.g
Garments = 42
Color = Red, Size = Small
2. Solid Color Assorted Size: According to this strategy color of all pieces is
same while there is variation in size e.g.
Garments = 42
Color = red
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Size = Small, Medium, and long with ratio 1:2:1.
3. Assorted Color Solid Size: In this strategy color of garments is different

while size is same.
Garments = 42
Color = Red & Blue
Size = Medium
4. Assorted Color Assorted Size: Garments are of different colors and sizes.
Garments = 42
Color = Red & Blue
Size = small & Medium
3. Shipping Package: this refers to packaging for necessary for storage

identification or Transportation. Cartons are used as shipping package.
The Side Mark of cartons is: Carton no., Carton Measurement, Quantity (in
pcs), Net weight (Single product). Net weight. (Six pcs product), Gross weight
(Full carton).
Main Mark: Buyer Name. Consignees add. Order no. Style no.
Color/size/Breakdown. Destination. Etc.
Carton Measurement: 3 ply (inner). 5ply (how much pcs), 7ply
Ensure Quality: Quality is the most important factor in textile sector. Buyers
always emphasis on quality. So it is needed to care always on quality. A
quality product always turns more buyers.
Review of Lesson 12
Directions: Pack sleeping garments applying the skills and information in

this lesson.
Lesson 13 Evaluation of Finished Sleeping Garments
Inspection
Defects can adversely affect the quality of the garment. These defects include
sewing, color, and sizing. Thus, during processing the quality control section
needs to check each prepared article against these defects.
·Final Inspection
166
For the textile and apparel industry, product quality is calculated in terms of
quality and standard of fibers, yarns, fabric construction, color fastness,
designs and the final finished garments. Quality control in terms of garment
manufacturing, pre-sales and posts sales service, delivery, pricing, etc are
essential for any garment manufacturer, trader or exporter. Certain quality
related problems, often seen in garment manufacturing like sewing, color,
sizing, or garment defects should never be overlooked.
Sewing defects
Open seams, wrong stitching techniques, non- matching threads, missing

stitches, improper creasing of the garment, erroneous thread tension and raw
edges are some of the sewing defects which can affect the garment quality
adversely.
Color defects
Variation of color between the sample and the final garment, wrong color
combinations and mismatching dyes should always be avoided.
Sizing defects
Wrong gradation of sizes, difference in measurement of various parts of a

garment like sleeves of XL size for body of L size garment can deteriorate the
garments beyond repair.
Garment defects
Broken or defective buttons, snaps, stitches, different shades within the same
garment, dropped stitches, exposed notches and raw edges, fabric defects,
holes, faulty zippers, loose or hanging sewing threads, misaligned buttons
and holes, missing buttons, needle cuts or chews, pulled or loose yarn,
stains, unfinished buttonhole, short zippers, inappropriate trimmings etc. all
can lead to the end of a brand name even before its establishment.
Student outputs can be evaluated using the suggested criteria

Rubric for Performance Rating
CRITERIA INDICATORS RATING
A. WORKMANMSHIP
Accuracy in All measurement 50 %
measuring/ markings and marks were
accurately done.
A. Proper use of Able to use 25 %
tools and appropriate tool for
167
materials each task.

B. Safety Able to observe 15 %
safety precautions
and use safety
gadgets all the
time.
C. Speed Able to finish the 10 %
output on time.
Total 100 %
Review of Lesson 13
Directions: Craft a scoring rubrics with your teachers using the criteria
above in evaluating the finished sleeping garments. Evaluate your output
Post Test
1. Which of the principles in laying out patterns comes first?

a. Lay smaller piece c. Mix small and big piece
b. Lay bigger piece d. Lay one after the other
2. The marking tools used to transfer pattern markers on the fabric.

a. tracing wheel and carbon paper c. carbon paper
b. tailors chalk and carbon paper d. pencil and
carbon
3. While cutting the fabric it is advisable to place the other hand on -

___.
a. the table. c. your side.
b. the edge of the cloth. d. top of the cloth.
4. In drafting pattern for pajama trousers thigh measurement is divided

into
_______.
a. ¼ c. ½
b. 3/4 d. 1
5. When laying out fabrics on the table it is advisable that excess

fabrics
should be _________.
a. rolled c. hanged
168
b. folded d. kept
6. The tool used to cut cloth..

a. dressmaker shears c. cutter
b. scissor d. ripper
7. The pattern symbol which guides the cutter to place pattern portion
on the folded edge of the cloth.
a. grain line c. centerfold
b. seam line d. notch
8. Cotton fabric should be preferably washed using the___________.

a. machine c. laundry detergent
b. hand d. laundry soap
9. In laying patterns on the cloth they must be fastened with _______.

a. dressmaker pins c. needles
b. safety pins d. clippers
10. The tool used in cutting the final pattern.

a. utility scissor c. dressmaker shears
b. embroidery scissor d. scissors
11. The body measurement needed in drafting blouse sloper which is

taken from the shoulder neck junction to the fullest part of the bust.
a. Front figure length c. Full length
b. Blouse length d. Bust height
12. The drafting tool used to shape the armhole.

a. Curve rule c. L-square
b. French curve d. Pencil
13. Squaring point is important in pattern drafting. Which drafting tool

can best
perform this?
a. Ruler c. L-square
b. Meter stick d. Curve ruler
14. The process of matching basic patterns and cutting them into
pieces.
a. laying out pattern. c. cutting pattern.
b. drafting pattern. d. manipulating pattern.
15. The sleeping garment which is an all-in footed sleep suits similar to
an
169
infant onesie?
a. Jumpsuit c. Negligee
b. Chemise d. Night gown
16. The warm cloth cup worn while sleeping with pajama or night
gown.
a. Bonnet c. Scarf
b. Head band d. Night cap
17. The loose two-piece garment for men, women and children that
consists of jacket and trousers .
a. Negligee c. Pajamas
b. Jumpsuit d. Bathrobe
18. One of the characteristics of sleeping garments is quite loose to

facilitate ______.
a. comfort c. fitness
b. ease d. speed
19. A sewing equipment.

a. Sewing kit c. L-square
b. Dressmaker shears d. Sewing machine
20. To obtain a well fitted result, a dressmaker should follow the

_______.
a. latest movement . c. standard
measurement.
b. calculated measurement. d. exact measurement.
21. The pattern symbol that indicates the exact location of the button.
a. X c.
b.  d. ----
22. Which of the following fabrics has problem with shrinking?

a. Cotton c. Silk
b. Rayon d. Nylon
23. A fabric collected from cocoon of silkworm which is used for high-
end clothing and household items.
a. Polyester c. Cotton
b. Rayon d. Silk
24. In laying out fabric on the table, where should you align the
selvage?
a. Table edge c. T-square blade
170
b. Machine corner d. Cutting board
25. The sewing tool used to check the alignment of the fabric.
a. Ruler c. Tape measure
b. Meter stick d. L-square
26. This is where a well-sewn garment starts.

a. Cutting table c. Pattern lay-out
b. Measurement d. Drafting pattern
27. The best place to make any changes or fitting illustration of

garment.
a. Pattern c. Cloth
b. Design d. Project plan
28. The first thing to do before laying out the pattern onto the fabric.
a. Cut c. Alter
b. Press d. Mark
29. The type of fabric where the grain is straight tearing across at one
end.
a. Machine Woven c. Firmly Woven
b. Hand Woven d. Loosely Woven
30. The process of straightening the edge of the fabric along the
dominant line of the pattern.
a. tearing c. pulling
b. cutting d. pressing
Congratulations!
You have your own sleeping garment now.
Hope you enjoyed learning the basic skills and
knowledge in sewing it! Have a nice nap!
171
QUARTER III
LESSON 3
PRODUCE CHILDREN’S WEAR
Learning Outcome 1 Draft and Cut Pattern for Children’s Wear
Objectives:
At the end of the module, the learner is expected to

1. plans, designs and sews children’s wear;
2. assembles the parts of the children’s wear;
3. packs the finished garment attractively; and
4. applies finishing touches on the children’s wear
PRE- TEST III
MULTIPLE CHOICE.
Directions: Read the statements carefully. Choose the letter that that best
describes the statements. Write your answer in your quiz booklet.
1. Which of the following is a characteristic of children dresses?

a. Washable c. Bright Color
b. Expensive d. Shiny
2. Colors which attract children in choosing their dress

a. Warm Color c. Bright Color
172
b. Hot color d. Dull Color
3. Children like to choose dresses with ______ to keep their things.

a. Collar c. Trimmings
b. Sleeve d. Pocket
4. A part of the garment which is more functional and decorative for

children’s dress
a. Seam c. Shoulder Straps
b. Hem d. Pockets
5. A thin cotton fabric usually striped and worn during spring and
summer
a. Seersucker c. Charmeuse
b. Nylon d. Geogette
6. A fabric characterized by parallel chords that resembles a cheek

a. Linen c. Rayon
b. Pique d. Silk
7. A thin plain weave sheer fabric made from silk

a. Netting c. Tull
b. Chiffon d. Organza
8. A fabric of plain weave, usually made from cotton, work on rayon

often produce with a floral design?
a. Linen c. Organza
b. Chiffon d. Challis
9. Which part of the garment covers the arm and protect from heat?
a. Sleeve c. Shirt
b. Pocket d. Collar
10. A type of sleeve with no seam joining at the shoulder and cut
together on the bodice
a. Set in c. Puff
b. Kimono d. Angel
11. The following are variations of puff sleeves, EXCEPT:

a. Full top and Bottom
b. Full at the top and fitted at the bottom
c. Fitted at the top and full at the bottom
d. Fitted at the top and bottom
173
12. Which of the following is the foundation of all types of sleeves?

a. Angel sleeves c. Set-in Sleeves
b. Kimono Sleeves d. Butterfly sleeves
13. This type of sleeve is patterned and cut extending to the shoulder
neck junctions.
a. Bell c. Kimono
b. Butterfly d. Raglan
14. Collar is the part of the T-Shirt dress or coat fastened around the
_____.
a. Neck c. Arm
b. Leg d. Waist
15. Which of the collars below is popularized by midshipmen?

a. Bertha c. Convertible
b. Sailor d. Peter Pan
16. The collar that can be worn with the neck button either fastened or
unfastened.
a. Convertible c. Flat
b. Peter Pan d. Mandarin
17. Mandarin collar is worn unfolded or stand-up style on shirt or jacket.

Where did this collar was originated?
a. America c. China
b. Europe d. London
18. A part of the garment around the waist.

a. Pocket c. Collar
b. Skirt d. Sleeves
19. The type of fabric suited for children.

a. Cotton c. Nylon
b. Polyester d. Silk
20. Which of the following features will you consider in designing

children’s wear that suggest provision for their increasing height?
a. Growth c. Age
b. Activity d. Sex
21. Where is the appropriate placket location for children’s dress if you
want to promote self dressing and eliminate bathroom accidents?
a. Back c. Side
b. Front d. Shoulder
174
22. What type of buttons is easier to grasp when opening or closing the
placket?
a. Plain Buttons c. Decorative buttons
b. Shanks Buttons d. Covered Buttons
23. When choosing buttons for children’s dress, prefer buttons without
________ to facilitate easy opening of the placket
a. Irregular edges c. Rounded Edges
b. Flattened Surface d. Full Surface
24. Properly pressed children’s wear should have ______

a. Creases in many places c. Shine on the fabric
b. Pressed Seams d. Stretched Seam
allowances
25. Which of the following is NOT an essential item needed for

pressing?
a. Hangers c. Iron
b. Ironing Board d. Press Cloth
How do you feel about your score? Is it high? Fair or you really
need
to explore more? Don’t worry! As long as you keep on trying to
be an expert in making dresses, you will soon have an
outstanding score in the tests. G o o d l u c k !
Lesson 1 Designs of Children’s Wear
When was the last time you had an inventory with your clothes inside
your cabinet or closet? Do you still remember your favorite dress you
frequently wore when you were still a toddler or a preschooler? Why did you
like it very much? What were the features that pleased you so much? Was it
because of the color? How about the style? The pocket where you put your
little things in it? Or was it because of the big ribbon at your back?
How lovely and cute those little ones when they put on their dresses
with bright colors and lively prints. Do you still have one?
In choosing the designs for the children’s dress, there are special
sewing hints that we must always remember.
Special sewing hints for children’s dress
175
1. For durability, substitute machine for hand stitches wherever it is

practical and not unsightly to do so baste down facings.
2. For extra strength, stitch areas of strain, such as armholes, twice.
3. For ease in handling really small garments, attach the sleeves before
closing the underarm seam.
4. For ease of care, choose fabric that are washable; also check the care
requirements of white or pastel colors. Although cottons and synthetic
blends are usually the first choices for children’s garments, washable
wools are also suitable.
5. To please the child, pick bright colors and lively prints. Large designs
can be overwhelming.
6. For convenience, always provide a pocket or two. Children like places
to keep small possessions.
7. A good safety precaution is to have reflective tape strips to outer
garments, especially if they are dark in color.
8. To make handed-down garment different for the younger brother or
sister, add a special appliqué, pockets or monogram. Also consider
changing the garment style; could a dress with sleeves be made into a
pinafore for the new owner?
Different designs of children’s wear
176
Review of Lesson 1
A. Filling the Blanks

Directions: Fill in each blank with a word to complete the thought of the
statement in the paragraph.
Children are particular with the way they dress and parents are
happy when a child appreciates the gifts from the later. Parents
would choose children’s clothes with ____1_____ colors
accompanied with ____2____ to let the children keep their little
things. Since children learn to fix themselves clothes with
____3____ opening are recommended and fastened with -
____4_____ to let the kids manipulate easily. Since children are
energetic, for extra strength, stitch ___5_____ area like armholes
to avoid frequent mending of seams.
B. Directions: Recall/Look back at the different pictures of children’s wear

presented, design one either for boy or a girl. Draw the design
in a short-sized bond paper.
177
Lesson 2 Characteristics of a Well-fitted Children’s Wear
Selection
When selecting clothing for young children, toddlers’ and preschoolers’

always consider the physical characteristics and the comfort they give to the
children.
A. Toddlers
1. Look for soft, unstructured styles that allow maximum freedom of
movement, such as one-piece garments that fall from the shoulder.
These are also practical because toddlers wear diapers and have not
developed a waistline.
2. Leg openings with snaps on toddlers’ pants help make changing
diapers easier.
3. For necklines, select collarless styles or flat collars, such as Peter pan
and convertible collars.
4. Avoid collars that may bind or restrict movement, such as a high
button collar.
5. When toddlers are first learning to dress, pull-on garments with large
neck and armhole openings are the easiest to manipulate. Because
the toddler is always on the move.
6. Design features should be functional as well as decorative. For
example, shoulder straps should criss-cross in the back to prevent
them from sliding off shoulders.
7. Shoulder tabs on shirts are another way to secure straps.
B. PreSchoolers
1. Look for styles that allow preschoolers to move and jump about freely.
2. Pockets are important features because preschoolers need places for
the treasures they collect.
3. Shoulder tabs on shirts are still valuable.
178
4. When selecting a garment with long sleeves, avoid buttoned cuffs that
restrict movement.
5. Jumpsuits are practical garments for preschoolers because they allow
for mobility and will maintain a neat appearance.
6. Preschoolers can also wear pants and skirts with elasticized waists
because their waistlines have become more defined.
SPECIAL FEATURES
A. Growth features - are important because children grow rapidly.

Children tend to grow faster in height than in width; therefore, the
length of waist, arms, and legs will change more quickly than the width
of shoulders, chest, and hips. Select clothing that allows for growth.
Look for features such as one-piece garments without a waistline;
raglan, kimono, or sleeveless designs; adjustable shoulder straps; and
elasticized waistlines. Two-piece outfits and wrap styles will also allow
room for growth.
To promote self-dressing and prevent bathroom accidents, closures

should be on the front of garments so children can see the fasteners
and manipulate them easily.
Select or adapt closures that are easy for young children to

manipulate.
Zippers can be easy for a child to operate if a charm or string is

added to the pull tab.
Buttons that are large or have a shank are easier to grasp.

Many types of decorative buttons are available to add interest to
children’s clothing. Avoid buttons with irregular edges as these
are more difficult than smooth, round buttons to manipulate.
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Hook and loop fastener tape is easy to manipulate and can be

used in place of buttons or snaps. It is available by the
centimeter or inch, in pre-cut shapes, and in a variety of colors.
Gripper snaps are easier to manipulate than regular snaps.
Safety features should also be considered when

selecting clothing for children. Avoid styles with long,
flowing skirts; tie belts; drawstrings; or very full
sleeves that may cause children to trip or get tangled.
Review of Lesson 2
Directions: List down the characteristics of dress suited for the following
groups:
Write your answer in your quiz notebook.
Toddlers Pre - schoolers

1. 1.
2. 2.
3. 3.
4. 4.
5 5
Lesson 3 Types of Fabrics Suited for Children’s

Dress
Children’s safety and comfort is best considered when buying and

choosing the clothes they wear. Some people, especially mothers prefer to
buy fabrics for their children because they think it is cheaper and they can
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choose the best quality fabric for them. There are varieties of fabrics to
choose from.
1. Seersucker
A thin, all-cotton fabric, commonly striped, used
to make clothing for spring and summer wear,
suits, slacks and children’s clothing.
2. Cotton
A soft, staple fiber and brings comfort to children
because it is breathable.
3.Rayon
Usually colorful and easy to e.g. blouses,
dresses, jackets, lingerie, linings, scarves,
suits, ties, hats, socks),
4. Pique
A medium weight, cotton-blend fabric which is
characterized by raised parallel cords or fine
ribbing that resembles a check. It is used to
make vests, coats, the collars of polo shirts,
fitted blouses and children’s clothes.
5. Linen
A textile made from the fibers of the flax plant. It
is labor-intensive to make, but its garments are
valued for exceptional coolness and freshness in
hot weather. It is also very absorbent, but
wrinkles easily unless blended with
manufactured fibers.
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6. Organza
A thin, plain-weave, sheer fabric is traditionally made
from silk, the continuous filament of silkworms.
Nowadays, though many organzas are woven with
synthetic filament fibers such as polyester or nylon,
the most luxurious organzas are still woven in silk.
7. Silk
A natural protein fiber, some forms of which can
be woven into textiles. Silk is smooth, glossy and
beautiful. It is also strong and vulnerable to
fading and
stains.
8. Tulle and Netting

A lightweight, very fine netting, which is often
starched. It can be made of various fibers,
including silk, nylon and rayon. Tulle is most
commonly used for veils, gowns (particularly
wedding gowns) and ballet tutus.
9. Challis
A type of plain-weave fabric, usually made from
cotton, wool or rayon, often printed with a
design, often floral. Used to make dresses,
skirts and other articles of clothing.
10. Chiffon
A lightweight, plain-woven, sheer fabric. Chiffon
can be dyed to almost any shade desired,
however, if made from polyester, it is difficult to
dye. Chiffon is most commonly used in evening
wear, especially as an overlay, giving an elegant
and floating appearance to the gown. It is also a
popular fabric used in blouses, ribbons, scarves and lingerie. Like
other crepe fabrics, chiffon can be difficult to work with because of its
light and slippery textures. It should only be hand-washed.
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Review of lesson 3
Directions: Look at the designs of the dresses below. What type of fabric(s)
will you chose or recommend to your customer? Why? Write your answer
Figure 1 Figure 2 Figure 3 Figure 4

1.
Lesson 4 Accessories and Accents for Children’s Wear
Accessories are articles that make the outfit perfect and beautiful. In
putting or choosing accessories for dresses, always consider the art
principles and elements of design. Choose accessories that will equate and
go with the age of children.
The following are the accessories used in dresses
1. Bands – strips of fabric, ribbon or bias applied to edges or set into

garments to finish or decorate
2. Bracelet – ornamental chain for wrist and arm
3. Brooch - a large ornamental pin placed in front or shoulder arm
6. Fan – a flat device mounted on frame permanently
7. Handkerchief – a piece of cloth cotton, linen or silk usually square and

decorated with lace and embroidery.
8. Hat – a shaped head covering, having crown and brim
183
9. Hosiery – consist of hose and stockings.
10. Shoes – high-heeled or flat-closed footwear fitted for comfort, freedom

and style
Trimmings are the ornamental addition to the bare fabrics or a finished

garment. This is also used to enhance or emphasize the beauty of the
apparel.
Common Trimmings Used in Dresses
1. Appliqué – a separate design for petals, leaves or figures which is cut and
applied to another surface
2. Binding – a bias strip used to decorate an edge
3. Buttons – pieces of bones, metals, glasses of various shapes having

shank or holes
4. Collar – bands attached over necklines, sometimes they are cut as part of
the front bodice
5. Embroidery – an ornamental needlework consisting of designs, work on

fabric by hand or machine
6. Frog - loop fastening made of braid or cording
7. Gathers – fullness shirring consist of three or more rows of gather.
8. Lace – open work fabric made with bobbins, needles or hook and can be
hand or machine made
9. Loop – a fastening which extends beyond the finish edges used on

closings with no lap
10. Pocket – a piece of fabric applied to a garment to form a container

11. Ribbons – a narrow fabric of silk or velvet used for trimming
12. Rickrack – a flat woven zigzag braid in mercerized cotton or rayon
13. Ruffles –strips of cloth gathered together or pleated as a trimming to
finish edges
14. Scallop – an edge finish made up of a series of semi-circles
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Review of Lesson 4
A. Identification
Directions: Answer what is being described by the phrases. Write the word(s)
__________ 1. a loop fastening made of braid or cording

__________ 2. a piece of fabric applied to a garment to form a container
__________ 3. ornamental chain for wrist and arm
__________ 4. consist of hose and stockings
__________ 5. a large ornamental pin place in front or shoulder arm
__________ 6. a shaped-head covering
__________ 7. a narrow fabric of silk or velvet
__________ 8. a flat device mounted on frame permanently
__________ 9. pieces of bones, metals, glasses of various shapes and sizes
__________10. an edge finish made up of a series of semi-circles
B. Look at the picture below. Label the accessories and accents the girl has.
Write your answer in your quiz notebook.
4.1 Sleeves
Sleeves are part of the garments that covers the arm. It may be worn
short or long. Sleeves maybe cut together with the bodice or cut separately.
The pattern and design of the sleeve connotes fashion in dress.
Sleeves constructed for adults can also be applied in children’s wear

depending on the type and kind of weather a particular dress is put on. .
185
Kinds of Sleeves:
Kimono sleeves is a type of sleeves cut together with the bodice.

There is no seam joining at the armhole.
Raglan Sleeves are

patterned and cut that
extends to the shoulder
neck junctions and
cancels the armhole
seams.
Set-in Sleeves is the foundation of all

types of sleeves and usually cut to fit
the armhole to the desired length.
186
Puff Sleeves Comes in three variations: a) full at the top and

bottom, b) full at the top fitted at the bottom, and c) fitted at
the top full at the bottom.
Butterfly sleeves is a type of

sleeve that flares out over
shoulder resembling like
wings of the butterfly.
Angel sleeves either gathered or

plain at the shoulder tip and
tapers down to the arm.
Bell sleeves is usually fitted at

the shoulder and slightly
tapers out like a bell at the
bottom. Can be worn short or
long in length.
187
4.2 Collars
Collar is a part of a shirt, dress, coat or blouse that fastens around or

frames the neck. Among clothing construction professionals, a collar is
differentiated from other necklines such as revers and lapels. It is being made
from a separate piece of fabric, rather than a folded or cut part of the same
piece of fabric used for the main body of the garment. A revers or rever is a
garment or part of a garment that is reversed to display the lining or facing
outside.
A collar may be permanently attached to the main body of the garment.
Types of Collars
 Standing or stand-up, fitting up around the neck and not lying on the
shoulders.
 Turnover, standing around the neck and then folded or rolled over.
 Flat or falling, lying flat on the shoulders.
Types of Collars
Sailor collar (from midshipman), a flat collar

comes of several shapes in front and almost
cover the back of the wearer.
Peter Pan Collar - A flat, round-cornered collar,

named after the collar of the costume worn in
1905 by actress Maude Adams in her role as
Peter Pan and particularly associated with little
girls' dresses.
188
Convertible Collar - A collar designed to be worn

with the neck button either fastened or
unfastened.
Flat collar – is sewn on the neckline either for

front only or front and back of the neckline.
Bertha Collar - A wide, flat, round collar,

often of lace or sheer fabric, worn with a low
neckline in the Victorian era and resurrected
in the 1940s
Mandarin collar - is a short unfolded stand-

up collar style on a shirt or jacket. Mandarin
collars start at the neckline and typically rise
vertically two to five centimeters. The style
originated from Western interpretation of
dresses worn by Mandarins in Imperial China,
especially in Qing Dynasty, as part of the
traditional garment of Manchu
189
4.3 Skirts
Skirt is a part of the garments worn around the waist. Skirts have been
in fashion for centuries, though their styles and patterns have got evolved with
the time. And the best part about skirts is you can wear them at any occasion,
whether you have to dress formally or simply in casuals. While straight and
pleated skirts impart a sophisticated look to the women.
Bubble Skirt is gathered at the waist and

provided with lining to hold the hem and
gather inward the hem ends to have a full
effect.
A-line skirts
This is the basic skirt that has been
customized to a great extent. With slight flare
having rough shape of capital letter ‘A’, it fits
at the waist while slightly touching hips and
thighs; it is broader at the hem.
Flared /Balloon or
Semi-Balloon
Skirts
Actually Flared skirts
are A-line skirts, but
they have extra flare
which beautifully
covers the fat over
hips and thighs.
Women who are thin
can also try this out
in large prints as it
will give a
voluptuous
190
appearance.
Pencil Skirts
Hugged to the body from the waist to just
above the knee, these skirts come in
stretch material and with a back slit at
times. Such skirts go only with slim and
skinny figures as they emphasize the hips
and the derriere.
Tube Skirts
Simply the longer versions of the pencil skirts,
Tube skirts fit at the hip and taper at the
hem. The visible difference is that they go
down below the knee. It suits slim figures.
Pleated Skirts
Plated skirts appear best in short length, just
above the knees. The flare of this skirt is
reduced by plates and it fits the waist. It
looks nice on both, slim and a little plump
figures.
Sheered or gathered skirt cut straight

fabric gathered to fit the waistline of the
wearer.
Peplum Skirt a skirt cut fitted from the

waist to hip1 or hip2 then combined with
flared or pleated fabrics below to give
fullness from hip down.
191
Collots it is a combination of shorts and

skirts usually loose at the bottom
Tiered skirt Tailored with two or three

layers of gathers of graduated width

Identification:
Directions: Name the following pictures or illustrations below. Write your
answer in your quiz notebook.
1. 2. 3.
4. 5.
192
4.4 Facings and interfacings
Facings are pieces of cloth attached at the edge of the garment to

prevent from raveling, for reinforcement, for decoration, and for special
purposes.
Your guide probably tells you how to lay these pattern pieces out on the
interfacing.
 Lay the fabric pieces out on your interfacing. The wrong side of the
fabric should be against the interfacing. If you are using fusible
interfacing, have the fusible side up, toward the fabric.
 Pin the facing pieces down, and cut out the interfacing. Your facing
pieces are ready for the next step. For fusible interfacing, trim about ½″
of the interfacing away from around the edges, then follow the
manufacturer's directions to attach the interfacing.
 For non-fusible interfacing, stitch ½″ from all the edges. Trim the
interfacing ¼″ from the outside edge and close to the stitching the rest
of the way around each piece.
 If your fabric is very flimsy, and you are not sure you are laying the
pieces out flat, use the pattern pieces to cut the interfacing, then pin
the interfacing to the wrong side of the fabric pieces.
Types of Facings
 Bias facing is a piece of cloth cut 45 degrees angle and
attached at the edge of the garment especially in the curve parts
like necklines and armholes. This can be used in straight edges
for decorative purposes and reinforcement of fabric edge.
 Fitted facing is cut in the same shape as the part to be used.

Either worn inside or outside of the garment
 Straight facing is specifically cut for straight edges for

smoother result.
Review of Lesson 4.4 Facings and Interfacings
Directions: Get a partner and examine the garments hang in the four corner
of the
room. Identify which part of the garment you can see facings.
193
Explain the purpose of the facing as used in the garment.
Lesson 4.5 Pockets
How many times we have seen a pocket but did we think about
its technical details. A fashion designer and a pattern master have to
keep in mind about different types of pockets as for different garments
the requirement of pockets changes. It is important that pocket size,
shape, and placement should complement the design of the
garment. Pocket is a pouch that has a closed end is usually stitched on
a garment or even inside the garment. Pocket can be both functional
and decorative purpose. Pocket helps in holding and small article
temporarily. It is important that pocket size, shape, and placement
should complement the design of the garment.
Patch pockets are flat pockets sewn to the exterior of a garment. They are typically
unfitted, and can come in a range of shapes and sizes. Many garments are made
with patch pockets, since they are cheap and relatively easy to install when
compared to other pocket designs. It is also possible to add patch pockets to an
existing garment, should the need arise. Since patch pockets are external, they are
also potentially endlessly configurable, which can be rather convenient.
194
sSeam pocket is sewn

on the inside of a
garment with
its pocket opening
sewn outside of the
garments.
Welt Pocket is a
small, flat pocket
that is commonly
used on the
exterior and
interior breast on a
man's suit jacket,
back of men's
trousers and en's
suit jacket.
Review of Lesson 4.4 Facings and Interfacings
Directions: Collect pictures of different accessories and accents for

children’s wear. Label them and paste on a short-size bond
paper.
Lesson 5 Project Plan for Children’s Wear
Construction of sleeping garment is just like cooking a recipe for a

party that requires careful planning. In every task or project you have, it
should be accompanied with a project plan. This serves as a guide in making
any kind of project. It contains the materials and tools to be used, design, and
procedure in making the project and the criteria for evaluating the finish
output coupled with a rubrics designed by the teacher and students.
Components of a Project Plan
12. Project Plan No. – it reflects the number of projects made by the
student
13. Date Begun – date when the construction of the project starts.
195
14. Date Finished – the exact date when the project will be done.
15. Name of the Project – a specific description of the job.
16. Objectives - states the purpose why a project should be done. This is
usually stated in three learning domains; the cognitive, psychomotor
and affective.
17. Word Study – it unlocks the terms used operationally and conceptually.
18. Tools and Equipment – are list of tools and equipment in the
accomplishment of the job.
19. Materials and Supplies Needed – it is the itemized list of tools and
supplies needed to produce a project.
a. Quantity suggest the amount needed
b. Unit is the unit of measure of the quantity
c. Description is 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.
20. Design Specifications – is the photographic representation of the
project in two to five views; front, back, right, left and top views.
21. Procedure – is the chronological step 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 are
ready.
22. Evaluation – the process of assessing the finished project using the
identified criteria during planning and evaluating using the prepared
scoring rubrics.
Project Plan No. ___
Date Begun: ______________________ Date Finished: _______________
I. Name of the Project: -

_____________________________________________________________
II. Objectives:
_____________________________________________________________
196
III. Word Study:

1.
2.
3.
IV. Tools and Equipment:

1.
2.
3.
4.
5.
V. Materials and Supplies Needed:
Quantity Unit Description Unit Cost Total Cost
VI. Design Specifications:
VII. Procedure:
A. Pre-sewing stage
A1.
197
A2.
A3.
B. Sewing Stage
B1.
B2.
B3.
VIII. Evaluation:
Criteria for Evaluation
Note: The students can prepare a project plan and patterns based on the
design of the children’s wear created
Lesson 6 Body Measurements for Children’s Wear
Children’s wear requires a specific measurements achieve the

designed identified by the customers.
There is no probably no sewing activity so immediately satisfying as

sewing for children. You get quick results for one thing, because the
garments have smaller dimensions. Also, more shortcuts can be taken in
techniques. Children’s garments should be constructed to survive vigorously
activity and endless washings. Other special considerations include providing
room for sudden growth spurts, and planning garment that are easy to put on.
Size range charts
BABIES’
Age Newborn (1-3 6 months
months)
Weight 3-6 kg 6-8 kg
Height 17-24 inches 24-26 ½ inches
TODDLERS’
Size 1/2 1 2 3 4
Breast or chest 19 “ 20” 21” 22” 23”
Waist 19” 19 ½” 20” 20 ½” 21”
Approx. height 28” 31” 34” 37” 40”
Finished dress 14” 15” 16” 17” 18”
length
198
CHILDREN
Size 1 2 3 4 5 6
Breast or chest 20” 21” 22” 23” 24” 25”
Waist 19 ½” 20” 20 ½” 21” 21 22”
½”
Hip - - - 24” 25” 26”
Back waist 8 ¼” 8½” 9” 9½“ 10” 10 ½
length “
Approx. height 31” 34” 37” 40” 43” 46”
Finished length 17” 18” 19” 20” 22” 24”
GIRLS
Size 7 8 10 12 14
Breast 26” 27” 28 ½” 30” 32”
Waist 23” 23 ½ “ 24 ½ “ 25 ½ “ 26 ½”
Hip 27” 28” 30” 32” 34”
Back waist 50” 52” 56” 58 ½” 61”
length
CHUBBIE
Size 8½c 10 ½ c 12 ½ c 14 ½ c
Breast 30” 31” 33” 34 ½ “
Waist 28” 29” 30” 31”
Hip 33” 34 ½ “ 36” 37 ½”
Back waist length 12 ½ “ 13 ¼ “ 14” 14 ¾”
Approx. height 52” 56” 58 ½ “ 61”
6.1 INDIVIDUAL MEASUREMENT CHART for Children’s

Wear
Customer’s Name ______________________Date Taken:

_______________
Parts of the body Actual body Measurement Computed

measured measurement Needed Measurement
Shoulder width ½
Back Across width ½
Back Figure length 1
Chest width ½
Bust Circumference ¼
Waist ¼
Circumference
Front Figure length 1
199
Armhole ½
circumference
Sleeve length 1
Arm Circumference ½
Hip1 ¼
Circumference
Hip2 ¼
Circumference
Lap circumference ¼
Crotch/seat/rise 1
Full length 1
Bottom width ½
Skirts length 1
Lesson 7 Body Measurement for Children’s Wear
Shoulder width measure from the tip of

the left shoulder to the tip of right shoulder
with the tape measure passing over the
prominent bone.
Back Across Width measure from the left

shoulder arm joint to the opposite side,
approximately 4 to 5 inches down from the
tip of the shoulder.
200
Back Figure Length measure from the

nape to the waistline on the cord. Allow the
tape measure to hang freely.
Chest Width measure from the left (front)

armhole seam to the right (front) armhole
seam.
Bust Circumference measure around the

fullest portion of the bust with the tape
measure passing over the shoulder blades
running on the same level in front.
Waist Circumference measure around the

smallest portion of the waist or torso.
201
Front Figure Length measure from the

shoulder neck junction with the tape
measure passing over the highest part of the
bust down to the waistline.
Armhole Circumference measure around

the base of the arm with the tape measure
closes at the tip of the shoulder
Crotch/seat/rise This measurement is taken

in two ways. For male customer insert a ruler
on the rise and measure from the waistline to
the upper edge of the ruler.
For female customer allow the her to sit on a
flat chair, then measure at the side from the
waistline to the surface to the chair.
Sleeve Length. Measure from the tip of the shoulder to

the desired length of the sleeve
202
Arm Circumference this measurement is taken around

the arm where the sleeve length fall.
Hip Circumference. Measure around the

fullest part of the buttocks with the tape
measure closes at the side.
Thigh Circumference measure around the

fullest part of the thigh with the tape measure
closes at the side.
Leg Circumference Measure around the

leg where the short/pants full length falls.
203
Dress Full length Measure from the

shoulder neck joints to the desired length
of the dress
Skirt’s length Measure from the waistline

to the desired length.
Full length Measure form the waistline

down to the desired length of the pants.
Review of Lesson 6 Body Measurement
Directions: Using the Measurement Chart take body measurement for

children ( 1 boy and 1 girl)
204
INDIVIDUAL MEASUREMENT CHART (IMC) for Children’s Wear

Parts of the body measured Girl Model Boy Model
Shoulder width
Back Across width
Back Figure length
Chest width
Bust Circumference
Waist Circumference
Front Figure length
Armhole circumference
Sleeve length
Arm Circumference
Hip1 Circumference
Hip2 Circumference
Lap circumference
Crotch/seat/rise
Full length
Bottom width
Skirts length
Lesson 8 Drafting Basic/Block Patterns for Children’s Wear
8.1 Front Blouse Sloper
Measurements Needed in Children’s Front Blouse Sloper

measured measureme Needed measurement
nt
Shoulder width 13 ½ 6½
Chest width 11½ ½ 5¾
Front Figure length 13 1 13
Bust Circumference 28 ¼ 7
Waist Circumference 24 ¼ 6
Armhole 12 ½ 6
circumference
Procedures in Drafting Front Blouse Sloper Using Measurements on IMC
205
1. Draw construction line by

tracing the outer edge of the L-
square make corner A
2. A – B is 2½ inches downward
on the construction line.
3. A – C is 4 inches downward on
the construction
circumference.
206
5. A – E is the front figure length
6. Square out points B – C – D – E
7. A – F on the horizontal
construction line is 1¾ inches.
8. A – G is 1/2 of the shoulder

width sway point G down.
207
9. G – H is 3/4 inch down on the

swayed line
10. Connect point H to F with a

straight line
11. Shape front neckline from point

F to B with a French curve.
12. C – I is ½ of the chest width or

½ of the shoulder measure less
½ inch
208
13. C – J is ¼ of the bust

circumference
14. Shape front armhole from

points H – I – J with a french
curve.

circumference
16. Connect points K - J with

straight line.
209
17. K – L is ¼ inch upward on line

KJ
18. Connect point L to point E with

a slight curve
19. Cut front bodice sloper along lines B – C – D – E – L - J – I – H –

F-B
Review of Lesson 8 Drafting Pattern for Front Blouse Sloper
A.Directions: Based on children’s body measurement taken in the previous

lesson draft the front blouse sloper.
Body Measurements Front blouse sloper
210
Rubric in Drafting the Pattern for Front Blouse

Item 15 10 5 Score
Tools appropriate and appropriate and some
and not
correctly
used.
Used the Used the Failed to use
correct correct the correct
method. method. method.
Procedure
Procedures Procedures Procedures not
correctly incorrectly followed.
followed. followed.
drafted.
pattern ahead pattern on time. pattern more
of than the
time. allotted
time.
8.2 Back Blouse Sloper
Measurements Needed in Drafting Children’s Back Blouse Sloper

measured measurement Needed measurement
Shoulder width 13 ½ 6½
Back Across width 12 ½ 6
Back Figure length 13 1 13
211
Bust Circumference 28 ¼ 7
Armhole 12 ½ 6
circumference
Procedure in Drafting Back Blouse Sloper
1. Draw construction line by

square make corner A
2. A – B is ½ inch downward on
the construction line
3. A – C is 3 inches downward
on the construction
circumference.
5. A – E is the back figure length
6. Square out points B – C – D – E
212
7. A - F on the horizontal
construction line is 1¾ inches.
8. Shape back neckline from point

F to B with a French curve.
9. A – G is 1/2 of the shoulder

width sway point G down.
10. Shape back neckline from F to

B with a French curve
213
11. G – H is 3/4 inch down on the

swayed line
12. Connect points F H with a

straight line.
13. C – I is ½ of the back across

width or ½ of the shoulder
measure less ½ inch
14. C – J is ¼ of the bust

circumference
214
15. Shape back armhole from

points H – I – J with a french
curve.

circumference
17. Connect points K - J with

straight line.
18. K – L is ¼ inch upward on line

KJ
215
19. Connect point L to point E with

a slight curve
20. Cut back bodice sloper along lines B – C – D – E – L - J – I – H –

F–B

Directions: Based on children’s body IMC, draft the back blouse sloper.
Body Measurements back blouse sloper.
Rubric in Drafting the Pattern for Back Blouse

Item 15 10 5 Score
and not
correctly
used.
Procedure
followed. followed.
216

drafted.
of than the
time. allotted
time.
8.3 Flared Skirt
Measurements Needed in Drafting Pattern for Flared Skirt

Skirt Length 14 1 14
Procedure in Drafting Patterns for Flared Skirt.
1. Draw a construction line by

square Mark corner point A.
2. Of the waist circumference less

1 inch
3. A – C is ¼ of the waistline less

1 inch
217
4. Sway
point B to
point C
using a
broken
lines with
point A
as
reference
5. Check ¼ of the waist

measurement on the dotted
lines from point B to C
6. In cases that measurement of

line B –C is not equal to ¼ of
the waist measurement,
Adjust towards point A if
measurement is more than
what is needed.
Adjust far from A if
measurement is less than what
is needed
7. B – D is the skirts length
218
8. Sway point D to the opposite side of the construction line with

point A as reference.
9. Connect dotted lines using the

free hand
Review of Lesson 8.3 Drafting Pattern for Flared Skirt
Directions: Based on children’s body measurement taken in activity number

11 draft
Pattern of flared skirt.
Body Measurements Flared skirt
219
Rubric in Drafting the Pattern for Flared Skirts

Item 15 10 5 Score
and not
correctly
used.
Procedure
followed. followed.
drafted.
of than the
time. allotted
time.
8.4 Peter Pan Collar
Procedures in Drafting Peter Pan Collar
220
1. Trace the neckline of the of the front

blouse pattern with the tip of the
shoulder overlap of 3/8 inches.
2. Smoothen the front

and back necklines and
transfer points B an F
3. Determine the collar

width from points B and
F outward. (3 inches for
children)
4. Mark collar width from

the center back of the
pattern, to the shoulder,
to the front opening
using the broken lines
221
5. Shape the front collar

with a French curve or a
freehand
6. Cut peter pan collar on the smoothened

neckline and on the collar width from back
to front part.
Directions: Based on children’s front and back bodice sloper draft a peter pan
collar.
Body Measurements Peter Pan Collar
222
Rubric in Drafting the Pattern for Peter Pan Collar

Item 15 10 5 Score
and not
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used.
Procedure
followed. followed.
drafted.
of than the
time. allotted
time.
8.5 Sailor’s Collar
Procedures in Drafting Pattern of Sailor’s Collar
223
1. Trace the neckline of the back and front

blouse pattern with the tip of the
shoulder overlap of 3/8 inch.
2. Transfer letter B and F of back pattern

and point B of front pattern.
3. F – 1 is the desired depth of the front

neck
4. Smoothen the back and front neckline
5. F - 2 is 5 inches or as desired collar

width on the shoulder
224
6. B – 3 is 6 inches upward
7. Square point F outward
8. 3 – 4 is 6 ½ inches outward
9. Connect point 4 to 2 with a slight curve
10. Shape front collar from 2 to 1 with a

curve or hand manipulation.
11. Cut pattern from point B - F– I – 2 – 5 –

3–B
225
Directions: Based on children’s front and back bodice sloper draft a sailors
collar.
Body Measurements Sailor’s Collar
Rubric in Drafting the Pattern for Sailor’s Collar

Item 15 10 5 Score
and not
correctly
used.
Procedure
followed. followed.
drafted.
226
of than the
time. allotted
time.
8.6 Convertible Collar
Measurements Needed in Drafting Pattern of Convertible Collar

Neck Circumference 13 ½ 6 1/2
Procedure:
1. Draw a construction line mark corner
point A
2. A – B is 2½ inches down
3. B – C is ½ of the neckline circumference.
4. Square up point C
5. D is intersection
6. D - E is 1 inch outward on line A - D
7. F is 3/8 from E outward
8. Connect F to A with a slight curve
9. G from C is ¼ inch down
10. Connect G to B slight curve
11. Connect G to F straight line
Directions: Based on children’s front and back bodice sloper draft a sailors
collar.
Body Measurements Convertible Collar
227
Rubric in Drafting the Pattern for Convertible Collar

Item 15 10 5 Score
and not
correctly
used.
Procedure
followed. followed.
drafted.
of than the
time. allotted
time.
Lesson 9 Manipulating Basic/Block Pattern for Children’s

Wear
Providing room for children to grow

Three ways are described on this page to build some provision
for sudden growth spurts into children’s garments.
228
1. A hem tuck introduces extra fabric

into a skirt or dress hem without
adding too much extra bulk.
To make a hem tuck, add ¾ inch to
4 inches of extra hem allowance
when cutting garment. Mark
hemline, then make the tuck within
hem allowance, far enough above
the hem edge so that it will not
show. Sew tuck with the most
easily removed stitch on your
machine. Complete the hem; press
tuck toward hemline. To lengthen
garment, release the tuck stitching
and either restitch a narrower tuck
or use all of the tuck allowance.
2. A bodice tuck is a way of providing

extra length in the waist-to-shoulder
area. This tuck is made before the
zipper is inserted; to release the
tuck, zipper stitching must be taken
out to the bottom of the placket.
The extra length that the released
tuck adds to the center back seam
will make the zipper space too long.
To remedy this, sew up a part of
the seam at placket bottom equal to
tuck depth. Restitch zipper.
To make a bodice tuck, add a 1 ½
inch to bodice length; cut out
garment.
On the wrong side of each bodice
section, mark a tuck foldline ¾ inch
in above waist seam. Stitch bodice
to skirt, then fold along tuck foldline
and press. With skirt up, baste
trough waist seam and folded
bodice. Machine-stitch just below
waist seamline, using most easily
removed stitch. Press tuck and
seam allowances toward bodice.
229
3. An expandable waistline can be

made for any garment by adding
extra fabric to the waistline, then
controlling the fit with elastic. This
is particularly suited to children’s
wear because it makes movement
less constricted as well as allowing
for growth. The elastic is generally
put only in the back waist seam.
Omit any in the back bodice dart in
the back bodice or skirt.
To make such a waistline, first add
½ inch into the side seams at waist,
front and back, on bodice and skirt.
Taper to original cutting line at hip
and chest.
Construct garment as usual; it will
be about 1 ½ inch too big in the
waist. Sew a casing of bias binding
to the back waist seam allowances;
insert a length of narrow elastic;
secure elastic ends at center back
and side seams.
Steps in manipulating basic/block pattern
9.1 Front Blouse

Measurement Needed in Manipulating Blouse pattern

Blouse Length 1
Hip Circumference ¼
Procedure
230
Lay
Front Trace
blouse the front
sloper in basic
a pattern pattern
paper
Transfer B to 1 is
points B – the
F–H–I– blouse
J- L length
Square out
point 1.
J – 3 is
1 inch
1 – 2 is ¼ of
outwar
the Hip
d
circumferenc
e
Shape
front
Connect
armhole
point 3 to 2
from
with a
point J to
slight
3 with a
curve
French
curve
231
ne
Provide placket, seam and hem allowance:

Font Placket – 2 inches,
Neckline - ¼ inch
Shoulder and side seam ¾ inch
Armhole seam – ½ inch
Hem – 1 ½ inches
9.2 Back Blouse
Manipulate the back

Lay back
blouse pattern
pattern on
following the same
the pattern
process in front
paper
blouse.
9.3 Puff Sleeves
Divide the set – in sleeve pattern

into parts and spread on pattern
paper to provide allowance for
fulness
232
Transfer point k of Set –in sleeve

pattern
Locate the center of the sleeve

arm circumference and mark X
1 from X is 1 inch lower. Connect

1 to K slight curve
A. Directions: List down the tools and materials needed in

manipulating
patterns. Prepare the back and front slopers as output of the previous
activities and manipulate the pattern based on the design of children wear in
your project plan.
Tools and Materials needed:

Back and front sloper
Pattern paper
Pencil
Tape measure
Pins
L-square
Curve rule
B. Directions: Contrast hem tucks from bodice tucks
_____________________________________________________
_____________________________________________________
______________________________________________________
Rubric in Manipulating Pattern
233
Item 15 10 5 Score
and not
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Procedures .Procedures Failed to follow
Procedure correctly incorrectly the correct
followed. followed. procedures
Pattern All pattern were Some pattern All pattern were
correctly were not
manipulated inaccurately manipulated
based on the manipulated correctly and
planned based on the accurately.
garment design planned
garment design
pattern pattern pattern
manipulation manipulation on manipulation
ahead of time. more
time. than the
allotted
time.
Lesson 10 Techniques in Cutting Final Pattern
10.1 Front Bodice
234
Cut the dotted lines of the front bodice final pattern
10.2 Back Bodice
Fold at the center back
235
Cut at the dotted lines Open the pattern and cut excess
paper following the dotted lines on
center back.
Review of Lesson 10
Directions: Prepare the output of the previous activity on “Pattern
Manipulation” cut the final pattern for children’s wear.
Rubric in Cutting the Final Pattern

Item 15 10 5 Score
236

and not
correctly
used.
Procedures in .Procedures in Failed to follow
cutting the final cutting the final the correct
Procedure pattern pattern procedures in
correctly incorrectly cutting the final
followed. followed. pattern
Speed Finished cutting Finished cutting Finished
the final pattern the final pattern cutting the final
ahead of on time. pattern more
time. than the
allotted
time.
Lesson 11 Laying Out Pattern Pieces
Blouse
5. Lay large pieces of pattern

first on the cloth
6. Check that the center fold

symbol fall on the folded edge
of the fabric.
7. Lay out pattern for facing.
Flared Skirt
1. Fold the fabric in 45°,

warp and weft meeting
237
2. Sleeve pattern may be laid

open or close to the fabric
.
3. Lay - out waistband pattern
along the woof
Preparing bias facing:

Fold the fabric 45° . Determine the facing needed and mark
directly on the cloth
Note : Lay out the pattern pieces on the fabric assuring that the center
fold
symbol is place o the folded part of the fabric
Pin the pattern

Tips:
 Pointed end of pin should be place under the fabric
 Pins should be outside direction inside the stitching line
Use minimal number of pins, just place on the corners of the pattern
Review of Lesson 11
Directions: 1. Prepare fabric suited for the dress design you have
238
made in previous activity on project planning.

2. Prepare the cut final patterns, tools and materials needed in laying out
patterns.
3. Lay and pin patterns on the cloth.
Rubric in Laying Pattern on the Cloth

Item 15 10 5 Score
Tools and correctly and correctly are
and not
correctly
used.
Procedures in .Procedures in Failed to
laying out laying out follow the
patterns on patterns on correct
Procedure the cloth the cloth procedures in
correctly incorrectly laying out
followed. followed. patterns on
the cloth
cutting the cutting the cutting the
final pattern final pattern on final pattern
ahead of time. more
time. than the
allotted
time.
Lesson 12 Cutting fabrics
239
. Back blouse
Cut back blouse from neckline,

shoulder to the hem.
Move around the table while

cutting the fabric
Front blouse
Lay your hands on the fabric while

cutting.
Facing
Facing is cut where it is intended

to be used following the pattern
symbols provided.
Bias Facing
Bias Facing is cut 45° angle
240
Flared Skirt
Cut cloth following the final pattern
Puff sleeves
Cut fabric following the final

pattern
Collar
Cut
fabric
followin
g the
final
pattern
Waist Band
Cut skirt waist band along the

pattern
241
Pocket
Patch pockets comes in several

shape and size
Recheck the completeness of the garment parts after cutting the

fabrics
242
Review of Lesson 12
Directions: 1. Check the completeness of the patterns vis-à-vis
dress design
2. Prepare the cutting tools and materials needed.
3. Start cutting fabric from the biggest part of the garment
to the smallest part.
4. Arrange and bundle the parts.
Rubric in Cutting Fabrics

Item 15 10 5 Score
Tools
and correctly and correctly are appropriate
used. used. and not
correctly
used.
Procedures .Procedures Failed to follow
in cutting in cutting the correct
Procedure fabrics fabrics procedures in
correctly incorrectly cutting fabrics
followed. followed.
Speed Finished Finished Finished cutting
cutting cutting fabrics fabrics more
fabrics ahead on time. than the
of allotted
time. time.
243
Lesson 13 Transferring of Marks to the Fabric
Trace the seam line into the fabrics
Review of lesson 18
Directions: Prepare marking tools and materials

Transfer the pattern markings on the fabric needed in
assembling the garment.
Rubric in Transferring Marks Onto the Fabrics

Item 15 10 5 Score
Tools
244

and not
correctly
used.
transferring transferring follow the
marks onto marks onto the correct
Procedure the fabrics fabrics procedures in
correctly incorrectly transferring
followed. followed. marks onto
the fabrics
transferring transferring transferring
marks onto marks onto the marks onto
the fabrics fabrics on the fabrics
ahead of time. more
time. than the
allotted
time.
Post Test III
Multiple Choice:
Directions: Read the statements carefully. Choose the letter that that best
describes the statements. Write your answer in your quiz booklet.
1. Which of the following is a characteristic of children dresses?

a. Washable c. Bright Color
b. Expensive d. Shiny
2. Colors which attract children in choosing their dress.

a. Warm Color c. Bright Color
b. Hot color d. Dull Color
3. Children like to choose dresses with ______ to keep their things.

a. Collar c. Trimmings
b. Sleeve d. Pocket
4. A part of the garment which is more functional and decorative for

children’s dress?
a. Seam c. Shoulder Straps
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b. Hem d. Pockets
5. A thin cotton fabric usually striped and worn during spring and
summer?
a. Seersucker c. Charmeuse
b. Nylon d. Geogette
6. A fabric characterized by parallel chords that resembles a cheek?

a. Linen c. Rayon
b. Pique d. Silk
7. A thin plain weave sheer fabric made from silk?

a. Netting c. Tull
b. Chiffon d. Organza
8. A fabric of plain weave, usually made from cotton, work on rayon

often produce with a floral design?
a. Linen c.Organza
b. Chiffon d. Challis
9. Which part of the garment covers the arm and protect from heat?
a. Sleeve c. Shirt
b. Pocket d. Collar
10. A type of sleeve with no seam joining at the shoulder and cut
together on the bodice
a. Set in c. Puff
b. Kimono d. Angel
11. The following are variations of puff sleeves, EXCEPT:

a. Full top and Bottom
b. Full at the top and fitted at the bottom
c. Fitted at the top and full at the bottom
d. Fitted at the top and bottom
12. Which of the following is the foundation of all types of sleeves?

a. Angel sleeves c. Set-in Sleeves
b. Kimono Sleeves d. Butterfly sleeves
13. This type of sleeve is patterned and cut extending to the shoulder
neck junctions.
a. Bell c. Kimono
b. Butterfly d. Raglan
246
14. Collar is the part of the T-Shirt dress or coat fastened around the
_____.
a. Neck c. Arm
b. Leg d. Waist
15. Which of the collars below is popularized by midshipmen?

a. Bertha c. Convertible
b. Sailor d. Peter Pan
16. The collar that can be worn with the neck button either fastened or
unfastened.
a. Convertible c. Flat
b. Peter Pan d. Mandarin
17. Mandarin collar is worn unfolded or stand-up style on shirt or jacket.

Where did this collar was originated?
a. America c. China
b. Europe d. London
18. A part of the garment around the waist.

a. Pocket c. Collar
b. Skirt d. Sleeves
19. The type of fabric suited for children’s weak.

a. Cotton c. Nylon
b. Polyester d. Silk
20. Which of the following features will you consider in designing

children’s wear that suggest provision for their increasing height?
a. Growth c. Age
b. Activity d. Sex
21. Where is the appropriate placket location for children’s dress if you
want to promote self dressing and eliminate bathroom accidents?
a. Back c. Side
b. Front d. Shoulder
22. What type of buttons is easier to grasp when opening or closing the
placket?
a. Plain Buttons c. Decorative buttons
b. Shanks Buttons d. Covered Buttons
23. When choosing buttons for children’s dress, prefer buttons without
________ to facilitate easy opening of the placket
a. Irregular edges c. Rounded Edges
b. Flattened Surface d. Full Surface
247
24. Feature of a properly pressed children’s wear .

a. Creases in many places c. Shine on the fabric
b. Pressed Seams d. Stretched Seam
allowances
25. Which of the following is NOT an essential item needed for

pressing?
a. Hangers c. Iron
b. Ironing Board d. Press Cloth
You are in the process of assembling your children’s wear.

Go on and feel the warm air of success!
QUARTER 1V
LESSON 4
PRODUCE CHILDREN’S WEAR
Pre-Test IV
A. Multiple Choice
Directions: Read and understand the statements carefully. Choose the
letter that best describes the statement. Write your answer in your quiz
notebook.
1. 1. The most common fastener used in different types of garments.

a. Snaps c . buttons
b. Zipper d. Hook- and- Eye
2. In attaching snaps, the first thing is to is to fasten thread by making two ore
three stitches on the mark.
a. True c. Both are correct
b. False d. None of the above
3. Buttons cannot be used as decorations.

3. Another name for zipper.

a. snaps c. teether
b. fastener d. slide fastener
248
4. Belts and neck openings use hook- and- eyes.

a. True c. Maybe
5. Fasteners which are made with metal teeth or coils of nylon or polyester
that mesh together.
a. Buttons c. snaps
b. Hook-and-eye d. zipper
B. Sequencing
Directions: Arrange the following steps or procedures in attaching buttons.

Write numbers 1, 2, 3, and so on…Write your answer in your quiz notebook.
_____ 1. Remove pin. Insert needle in between the thread and fabric.
_____ 2. Determine and mark the location of the buttons in the placket.
_____ 3. Draw thread to the wrong side of the fabric and fasten.
_____ 4. Bring n3eedle up through the button, then to the other hole back to
the fabric. Make several stitches.
____ 5. Fasten thread on wrong side. Make a small stitch where the button is
to be sewn.
C. Matching Type
Directions: Match Column A (Descriptions) with Column B (Trimmings)). Write
the letter of the answer in your quiz notebook.
A B
1. A flat woven zigzag braid in a. Gathers
mercerized cotton or rayon.
2. An edge finish made up of b. scallop

A series of semi-circles.
3. A fastening which extends beyond c. Pocket

the finish edges used on closings
with no lap. d. Ribbons
4. Fullness shirring consist of three e. Applique

or more rows of gather.
249
5. A narrow fabric applied to a f. Embroidery

garment to form a container.
6. A separate design for petals, g. Loop

leaves or figures which is cut and
applied to another surface. h. Rickrack
7. A piece of fabric applied to a i. Lace

8. An open work fabric made with j. Bias

bobbins, needles or hook and can
be hand or machine made. k. Frog
9. Loop fastening made of braid or cording. L.Binding
10. A bias strip used to decorate an edge. m.Bands
D. Identification
Directions. Identify what accessories that are used in dresses are being
described in the statement. Write your answer in your quiz notebook.
__________ 1. High-heeled or flat-closed footwear fitted for comfort,

freedom and style.
__________ 2. It consists of hose and stockings.
__________ 3. A shaped-head covering having crown and brim.
__________ 4. A piece of cloth cotton, linen or silk usually square and
__________ 5. A flat device mounted on frame permanently.
__________ 6. A large ornamental pin placed in front of shoulder arm.
__________ 7. An ornamental chain for wrist and arm.
__________ 8. Strips of fabric, ribbon or bias applied to edges or set into
garments to finish or decorate.
__________ 9. Piece of bones, metals, glasses of various shapes having
shank or holes.
__________10. An ornamental needlework consisting of designs, work on
fabric by hand or machine.
Lesson 1. Pre-Assembling Procedure
Points to Remember in Pre- Assembling Garments
1. Sew continuously. Butt pieces end to end and stitch from one seam to
another. Cut them apart when you get to the pressing station.
250
2. Sew as many seams as possible before pressing. Stop sewing only

when you have to cross another seam that should be pressed open
first.
3. Perform similar operations at the same time and sew flat. Sew the
details first. Set these aside. Then start assembling the garment.
Complete as much as you can before joining side seams. Sewing in a
tube is more time consuming than sewing flat.
4. Sew buttonholes first and use them to mark the location for buttons.
Cut buttonholes open with a punch instead of a seam ripper.
5. Don’t pin. Pins slow you down, distort your seams and damage your
needle. Instead use both hands to sew. Match the corners at the
beginning and end of your seams then keep your raw edges matched
as you sew.
6. Press. Press all your seams open on woven garments before any other
pressing or stitching over them. Use a steam iron. Even better, use a
clapper to push the steam into the seam for a clean, flat look. Use a
press cloth on the garment’s right side.
7. For the final press, press the details first — collars, cuffs, and
waistbands — then sleeves then the body. Press buttons from the
wrong side. Let pressed areas cool before moving on to the next
section.
8. Fuse a piece of fabric large enough for all your interfaced pieces then
cut those.
Lesson 2. Techniques in Pressing Children’s Wear
Draper said that iron should be as important as our sewing machine.

Why? It is because, as we sew, we are pressing our garment. Like in the
previous lesson, sewing the sleeping garment, the procedure employed in it is
the same as in sewing the children’s wear. To press the parts of the garment
is important. The seams you sew give your garments their shape. Proper
pressing molds this shape and it gives our sewing a finished look.
Wrinkles and creases in the fabric must be pressed out to save time,
plan your stitching and pressing in units. Remember not to sew across a
seam until it is pressed. Never press over a pin, and press in a lower
temperature,
Techniques in Pressing Seam

1. Press the seam flat along the stitching line to blend the stitches.
2. Press the seam allowances open or to one side, as indicated in the
pattern instructions.
3. Press the seam or detail area from the right side. If necessary, protect
251
the fabric with a press cloth.

Pressing Equipment Needed
- Flat Iron
- Sturdy ironing board with a clean, padded surface
- Fabric guide for choosing the proper temperature setting.
- Seam roll for pressing seams open on long cylindrical sections
- Press cloth is a piece of fabric used when applying more heat than you
usually would to protect your fabric from direct contact with a hot iron
to prevent scorching the fabric.
- Hams and sleeve rolls are very firmly packed pillow type curved
objects commonly used if you will be sewing clothing and pressing
baby clothes or doll clothes.
- Presser bars are sticks of wood with a flattened end. They work well to
hand press small seams on craft objects or when an area is totally
impossible to reach with an iron.
Review of lesson 2.1
Directions: Enumerate and give uses of the different pressing tools

and equipment?
1.
2.
3.
4.
5.
1. Gather and check the garment parts based on the project design in
your
project plan.
2. Arrange in a garment bag according to the processes involved in
assembling children’s wear.
3. Check and prepare tools, materials and equipment needed.
Rubric in Preparing Pockets

Item 15 10 5 Score
252

and not
correctly
used.
preparing preparing follow the
pockets pockets correct
Procedure
followed. followed. preparing
pockets
preparing preparing preparing
pockets pockets pockets
ahead of on time. more
time. than the
allotted
time.
Perfect score 15 points
Lesson 3. Preparing Parts for Sewing
The pattern marks that you transferred into the cloth will give the
sewing steps needed to make your children’s dress. The sewing steps may
be numbered and called “Units” which is a section of the garment. Each unit
includes the construction steps to do before going on to the next unit. Soon
you will be joining the completed units into a finished garment. Remember
that the section may require staystitching, sewing darts and seams.
Construction markings will show you the steps to complete each unit or
section.
GOOD PLANNING IS ONE KEY TO SEWING SUCCESS!
Lesson 4 Unit Method of Assembling Children’s Wear
1. Back and front bodice

 Overlock the raw edge of the armhole to prevent raveling.
253
2. Sleeves
 Overlock raw edges of the armhole
 Join the side seam using the french seam
 Fold and machine sew 1/8 hem allowance
 Fold on the hem allowance and press.
 Hand overcast the hem
3. Facing s
 Overlock raw edges
 Join the shoulder seam
 Sew facing hem
4. Patch Pockets
Lay pocket on the table and

gather the top opening
Attach bias piping at the top

opening of the patch pocket
Review of lesson 4
Directions: Check on garment parts that need to be assembled

before sewing the entire dress and sew individual
parts.
254
Rubric in Preparing Pockets

Item 15 10 5 Score
and not
correctly
used.
preparing preparing follow the
pockets pockets correct
Procedure
followed. followed. preparing
pockets
preparing preparing preparing
pockets pockets pockets
ahead of on time. more
time. than the
allotted
time.
Lesson 5. Assembling Children’s Dress
Procedure Sewing the Puff Sleeves
255
Gather at the arm of the sleeves Check to obtain ½ of the arm

circumference
Gather at the armhole of the sleeves Check to adjust to meet ½ of armhole

circumference
Prepare the bias facings Attach bias piping at the lower part of
the sleeves
256
Fold and sew to finish the edge Join side seam of the sleeves
Procedure in sewing Blouse
Over lock the parts that ravels Join the shoulder seam
Sew outer part of the collar on Make a slash at the outer edge
the wrongside
Reverse collar and baste to the Join shoulder seam of facing

neckline
257
Attach facing to the neckline Make slashes on the neckline
Apply top stitch to neckline Fold and sew facing edge

facings
Join the side seams Attach the sleeves
Sew the blouse hem Baste and overcast facings
258
Determine buttonholes Mark buttonholes

distances
Sew buttonholes Attach Buttons
Procedure in sewing flared skirts
Join the side seam Attach the slide Gather the waistline
fastener
259
Attach waistband Mark the stitchline Adjust gathers and

stiffener check the waist
measurement
Attach one side of Reverse and sew Sew skirts hem

the band to the waist finally the waistband
Attach hook and eye Full view
Review of lesson 5
Directions: Assemble the children’s wear based on the design and

procedure reflected in the project plan.
260
Rubric in Assembling Children’s Wear

Item 15 10 5 Score
and not
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used.
assembling assembling follow the
children’s children’s correct
Procedure wear wear procedures in
correctly incorrectly assembling
followed. followed. children’s
wear
assembling assembling assembling
children’s children’s children’s
wear ahead of wear wear more
time. on time. than the
allotted time.
Lesson 6 Finishing touches
Overcast/Sew the Facing
c. Press the facing

d. Overcast the facing
Hemming the Children’s Wear

d. Mark the hemline with the placket on reverse fold
e. Sew edge of the hem using the sewing machine
f. Baste the final hem and sew either by sewing machine/hand
sewing
261
Trimming Techniques for Children’s Wear
Trim excess thread and cloth from the finished garments to keep
it neat and clean
Review of lesson 6
Directions: Recheck the dress design and apply finishing touches then sew
the
hem based of the body measurement of your
client.
Rubric in Applying Finishing Touches in Children’s

Wear
Item 15 10 5 Score
and not
correctly
used.
262

assembling assembling follow the
correctly incorrectly assembling
wear
assembling assembling assembling
allotted time.
Lesson 7 Fasteners
In buying your clothes, do you consider the kind of fastener that

is attached into it? What different kinds of fastener do you have on
your clothes? Which ones are easiest to use? Which ones do you think
look best in your clothes?
In constructing the children’s wear, the safety and comfort of the

children must be considered. The best fastener suited for the children’s
wear not just brings beauty in the dress but it must be easily fastened
or unfastened. Some are examples of fasteners:
Types of Fasteners
Buttons
Buttons are the most common fastener used in
different types of garments. Buttons are those
with shank and with 2 or four holes. They are
used as fastener or decorations.
Ways of attaching Buttons
1. Square
2. Parallel
3. Cross
4. Arrow head
5. Common way
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Snaps
Snaps are used on flat surface where
there is a little stain. These are
commonly used for baby dresses.
Zipper
Zipper, otherwise known as a slide fastener, is
used to close-openings in many different types
of garments. It is mostly used in skirts and
pants. Zippers are made with metal teeth or
coils of nylon or polyester that mesh together.
Hook-and-Eye
Hook-and-eye is used to fasten opening
which has considerable strain. Belts and
neck openings use hook-and-eyes.
There are two kinds of eyes – the round
and straight. The round eye is used
where the edges of the opening just
meet, while the straight eye is used on
edges laps. Sometimes a thread loop is
used on a straight eye if a very flat
closing is desired.
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Special Of
111 222 333 444
444
265
266
Lesson 8 Attaching Fastener
In attaching the fastener into the garment, it must be securely

and neatly sewed. Fasteners must be in place otherwise children might
be upset and will not wear the garment anymore.
Review of lesson 7
Directions: Look at the children’s wear design you made, choose

fastener that best fit to the design. Explain Why?
________________________________________________________________________
_________________________________________________________________________
Marking and Making of Button Holes
a. Determine the placket location of the buttonholes

b. Mark distances of required button holes
c. Measure the size of the button
d. Mark intended slit for button holes
e. Make a worked button holes
Steps in making worked buttonholes
1. Mark the buttonholes.
2. Make the machine stitching

around the mark.
3. Cut the holes with a pair of

sharp scissors
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4. Make the buttonholes from

right to left. Start at the side
nearest you. Make a circle
with the thread at the point
where the next buttonhole
stitch is to be made. Hold the
lower edge of the circle with
the thumb. Insert the needle
under the cloth and pull the
needle upwards. Make
several buttonhole stitches up
to the end
5. When the other edge is
reached, start making the fan.
Make about 5-7 stitches to
make the rays of the fan.
6. Continue making the

buttonhole stitches up to the
other end. Finish end of the
buttonhole by making two bar
threads directly across the
end. Work blanket stitches
closely over them. Fasten
threads at the back.
Attaching buttons
1. Determine and mark the

location of the buttons in the
placket.
2. Fasten thread on wrong side.

Make a small stitch where the
button is to be sewn.
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3. Place a pin on top of the

button and sew over it. A
stem is placed so that there
will be space for fabric under
the button when the garment
is buttoned. Bring needle up
through the button, then to the
other hole back to the fabric.
Make several stitches.
4. Remove pin. Insert needle in

between the thread and
fabric. Wind thread around to
make a stem or shank. Draw
thread to the wrong side and
fasten.
5. A button with a shank can be

attached like a flat button,
except that the needle is
inserted under the hole on the
other side of the button.
These buttons should not be
sewn too closely to the
garment if these are to be
used as fasteners.
Attaching Snaps
1. Fasten thread by making two

or three stitches on the mark.
2. Make overhand or buttonhole

stitch on each hole.
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3. Continue making stitches on

the four holes. Fasten on the
wrong side
Review of lesson 8
Directions: Attach the fasteners to the children’s wear following the steps
discussed in this lesson.
Rubric in Attaching Fasteners

Item 15 10 5 Score
and not
correctly
used.
attaching attaching follow the
fasteners fasteners correct
Procedure
followed. followed. attaching
fasteners
attaching attaching attaching
fasteners fasteners fasteners
ahead of time. on time. more than the
allotted time.
270
Lesson 9 Pressing Finished Garment
How to Iron Clothes
Most people do not enjoy ironing clothes. In fact, it is widely considered to be

an unavoidable chore by most. However, the reluctance of many to iron
clothes is simply caused by a failure of understanding how to iron clothes
properly. Learning the right steps to ironing clothes should make the process
a bit easier for you.
Steps in ironing clothes
 plug the iron in
 adjust it to the correct setting
 allow it to preheat. You will know your iron is ready for
use if it sizzles when you spray a bit of water on it.
 Locate the tag on the garment you are preparing to iron.
It will provide you with information about the material.
Some clothes, you will find, should not be ironed. Others have a very
low tolerance for heat, so you'll have to iron them at a gentle setting. Use high
heat for cotton and linen. Cotton mixes and wool are ironed on a medium
level. Use a low setting for silk, nylon, polyester, and other like fabrics. If you
are using a steam iron, make sure there is the proper amount of water inside.
When you actually begin to iron, take your time to ensure the garment
has been stretched flat across the ironing board. This will save you some time
in terms of re-ironing wrinkles that you put in. As you iron, make sure to iron
clothing evenly with smooth, careful strokes. Always remember to keep the
iron moving. Stopping at any point could burn your clothing.
How to Iron Shirts
 Start the process by ironing the collar. Stretch the back of it across the flat
surface of the board. Run the iron over the back of the collar several times
until you are sure it is correctly pressed. Turn the shirt over and handle the
front of the collar.
 Move to the sleeves of the garment. You need to be sure to iron the back of
the sleeves first, then move to the front of the sleeves. Start by stretching the
larger part of the sleeves across the point of the ironing board. Iron all the
way around the back of the sleeves, then move it toward the sleeve front until
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you have ironed the circumference of the sleeve. Stretch the lower back of
the sleeve across the large, flat surface of the ironing board. Iron toward the
cuffs. Flip the shirt over and do the front, making sure to take careful, short
strokes.
 When you get ready to handle the rest of the shirt, lay it as flat as possible on
the ironing board. Work from one side to the other slowly smoothing out the
wrinkled spots as you go.
 Hang the shirt directly after you finish ironing. Be sure to button the top and
center buttons.
How to Iron Dresses
 Begin by stretching the skirt portion of the dress across the point of the
ironing board. If you are working with pleats, start at the bottom and work
toward the top. Work your way around the skirt with strong, fast strokes.
 If the top of the dress won't stretch across the point of the ironing board,
smooth it as flat as possible across the large, flat surface of the board. Start
with the back and work your way to the front. On each side, be sure to work
from the top down.
 Hang the dress as soon as possible after you iron it. Try not to wear the
garment for a few hours, as it will be more prone to wrinkling again once
you've heated the fibers.
Ironing clothes is really a delicate process. The iron produces so much

heat that if you are not sure how to iron clothes, you should really get
educated on the process before you start. It’s not as simple as flopping a shirt
on an ironing board. It takes effort to learn how to iron like a professional. For
some people it takes a long time, but if you learn how to iron, you can cut the
time you spend ironing
Review of lesson 9
Directions: Accomplish the table below that will guide you to press
your output in preparation for the next activity.
Name of project
Type of fabrics used

Required heat
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temperature
1.
2.
Pressing materials, tools
3.
and equipment needed
4.
5.
Lesson 10 Application of Heat and Pressure
Pressure Applied when Pressing
Generally, light to moderate pressure is sufficient if your iron is at the correct

temperature. Too much pressure can cause the cut edge of a seam to make
a "bad impression" on the right side of your fabric. If you use too much
pressure when working on velvet or other nap fabrics (corduroy, velour, etc.)
you may flatten the nap. Also, if you press too hard on the right side of your
fabric you may scorch it or make shine marks. Using a press cloth can help to
avoid this problem. It's also a good idea to "test press" on scraps of your
fabric to be sure you are using the optimum iron temperature and pressure.
optimum iron temperature and pressure. See table below.
Iron the children wear from the collar to the bodice. Lastly iro
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Review of lesson 10
Directions: Prepare tool, materials and equipment in ironing,

Iron finished children’s wear following the suited fabric heat
requirement.
Rubric in Pressing Children’s Wear

Item 15 10 5 Score
and not
correctly
used.
pressing pressing follow the
correctly incorrectly pressing
wear
pressing pressing pressing
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allotted time.
Lesson 11 Evaluation of Finished Children’s Wear
Inspection:
Open seams, wrong stitching techniques, non- matching threads, and missing
adversely. During processing the quality control section needs to check each
prepared article against these defects.
· Final Inspection:
For the textile and apparel industry, product quality is calculated in terms of
quality and standard of fibers, yarns, fabric construction, color fastness,
designs and the final finished garments. Quality control in terms of garment
manufacturing, pre-sales and posts sales service, delivery, pricing, etc are
essential for any garment manufacturer, trader or exporter. Certain quality
related problems, often seen in garment manufacturing like sewing, color,
sizing, or garment defects should never be over looked.
Sewing defects
Open seams, wrong stitching techniques, non- matching threads, missing

adversely.
Color defects
Variation of color between the sample and the final garment, wrong color
combinations and mismatching dyes should always be avoided.
Sizing defects
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Wrong gradation of sizes, difference in measurement of various parts of a

garment like sleeves of XL size for body of L size garment can deteriorate the
garments beyond repair.
Garment defects
Broken or defective buttons, snaps, stitches, different shades within the same
garment, dropped stitches, exposed notches and raw edges, fabric defects,
holes, faulty zippers, loose or hanging sewing threads, misaligned buttons
and holes, missing buttons, needle cuts or chews, pulled or loose yarn,
stains, unfinished buttonhole, short zippers, inappropriate trimmings etc. all
can lead to the end of a brand name even before its establishment.
Review of Lesson 12
Directions: Craft a scoring rubrics with your teachers using the criteria
above in
evaluating the finished sleeping garments. Evaluate your output
Fitting the children’s dress
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Review of lesson 12
Directions: With your trainer recall the criteria to evaluate the children’s
wear
reflected in the project plan.
Rubric in Evaluating the Children’s Wear

Item Weight Actual Score
Originality 20
Workmanship 40
Fitting 10
Marketability 20
Speed 10
Total
Lesson 13 Packaging of Children’s Wear
Kinds of Packaging Materials
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Thick paper made into a Boxes of varied styles colors, materials, sizes and
garment bag designs
Boxes of varied styles colors, materials, sizes and designs
Other designs in form of cartoon characters

that children love to collect and possess.
Lesson 13.1 Procedures in Packaging Finished Garments
Packing
The finished garments are finally sorted on the basis of design and size and
packed to send for distribution to the retail outlets.
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Packaging: Packaging may be defined as the activities of designing and

producing the container or the wrapper for the product. Generally the
packaging could be considered as the silent sells man of the product. When
the garments are exported to the prospective buyer different type of
instruction should have to be followed by manufacturers. Basically the
clothing manufacturer is using three kinds of packages.
1. Primary Packages: Insertion a garment into a poly bag is considered as the

primary package of garments. Full visibility makes the customer to identify the
color, size and style etc.
2. Secondary Package: Secondary package of a garment could be another

poly bag or inner carton. Inner carton or master poly bag containing a number
of garments, provide traditional quotation and make opportunities for sales
promotion. This container facility of pack number of garment pertains to
packing instruction given by the buyer. There are four packing strategies:
1. Solid Color Solid Size: all garments are of same size and color. e.g
Garments = 42
Color = Red, Size = Small
2. Solid Color Assorted Size: According to this strategy color of all pieces is
same while there is variation in size e.g.
Garments = 42
Color = red
Size = Small, Medium, and long with ratio 1:2:1.
3. Assorted Color Solid Size: In this strategy color of garments is different

while size is same.
Garments = 42
Color = Red & Blue
Size = Medium
4. Assorted Color Assorted Size: Garments are of different colors and sizes.
Garments = 42
Color = Red & Blue
Size = small & Medium
3. Shipping Package: this refers to packaging for necessary for storage

identification or Transportation. Cartons are used as shipping package.
The Side Mark of cartons is: Carton no., Carton Measurement, Quantity (in
pcs), Net weight (Single product). Net weight. (Six pcs product), Gross weight
(Full carton).
Main Mark: Buyer Name. Consignees add. Order no. Style no.
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Color/size/Breakdown. Destination. Etc.

Carton Measurement: 3 ply (inner). 5ply (how much pcs), 7ply
Ensure Quality: Quality is the most important factor in textile sector. Buyers
always emphasis on quality. So it is needed to care always on quality. A
quality product always turns more buyers.
Review of Lesson 13
A. Directions: Pack the children’s wear applying the skills and

information in this lesson.
B. Directions: Look for possible packaging materials in your locality and

create your own design suited to the packaging
materials available of your choice. Sketch your
design below and list the tools and materials
needed.
Tools and Materials Needed Drawing:

1.
2.
3.
4.
5.
6.
7.
8.
Post – Test IV
A. Multiple Choice
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Directions: Read and understand the statements carefully. Choose the

notebook.
2. 1. The most common fastener used in different types of garments.

c. Snaps c . buttons
d. Zipper d. Hook- and- Eye
2. In attaching snaps, the first thing is to do is to fasten thread by making two

ore three stitches on the mark.
3. Buttons cannot be used as decorations.

3. Another name for zipper.

a. snaps c. teether
b. fastener d. slide fastener
4. Belts and neck openings use hook- and- eyes.

a. True c. Maybe
5. Fasteners which are made with metal teeth or coils of nylon or polyester
that mesh together.
a. Buttons c. snaps
b. Hook-and-eye d. zipper
B. Sequencing
Directions: Arrange the following steps or procedures in attaching buttons.

Write numbers 1, 2, 3, and so on…Write your answer in your quiz notebook.
_____ 1. Remove pin. Insert needle in between the thread and fabric.
_____ 2. Determine and mark the location of the buttons in the placket.
_____ 3. Draw thread to the wrong side of the fabric and fasten.
_____ 4. Bring n3eedle up through the button, then to the other hole back to
the fabric. Make several stitches.
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____ 5. Fasten thread on wrong side. Make a small stitch where the button is
to be sewn.
C. Matching Type
Directions: Match Column A (Descriptions) with Column B (Trimmings)). Write
the letter of the answer in your quiz notebook.
A B
1. A flat woven zigzag braid in a. Gathers
mercerized cotton or rayon.
2. An edge finish made up of b. scallop

A series of semi-circles.
3. A fastening which extends beyond c. Pocket

the finish edges used on closings
with no lap. d. Ruffles
4. Fullness shirring consist of three e. Applique

or more rows of gather.
5. A narrow fabric applied to a f. Embroidery

6. A separate design for petals, g. Loop

leaves or figures which is cut and
applied to another surface. h. Rickrack
7. Strips of cloth gathered together i. Lace

Or pleated as a trimming to finish edges.
8. An open work fabric made with j. Bias

bobbins, needles or hook and can
be hand or machine made. k. Frog
9. Loop fastening made of braid or cording. L.Binding
10. A bias strip used to decorate an edge. m.Bands
D. Identification
Directions. Identify what accessories that are used in dresses are being
described in the statement. Write your answer in your quiz notebook.
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__________ 1. High-heeled or flat-closed footwear fitted for comfort,

freedom and style.
__________ 2. It consists of hose and stockings.
__________ 3. A shaped-head covering having crown and brim.
__________ 4. A piece of cloth cotton, linen or silk usually square and
__________ 5. A flat device mounted on frame permanently.
__________ 6. A large ornamental pin placed in front of shoulder arm.
__________ 7. An ornamental chain for wrist and arm.
__________ 8. Strips of fabric, ribbon or bias applied to edges or set into
garments to finish or decorate.
__________ 9. Piece of bones, metals, glasses of various shapes having
shank or holes.
__________10. An ornamental needlework consisting of designs, work on
fabric by hand or machine.
SUMMATIVE ASSESSMENT
Multiple Choice. Read and understand the statements carefully. Write the
notebook.
1. The first method of fabric straightening is

a. matching the selvage. c. matching the grain line.
b. cutting the selvage. d. marking the warp.
2. The fabric lay out which is best for wide pattern pieces showing the
double
fold.
a. Vertical lay-out c. Crosswise
b. Diagonal lay-out d. Horizontal
3. The side of the fabric where the pattern should be laid.

a. Right side c. Bigger Side
b. Wrong side d. Smaller Side
4. When working with plaid fabrics, the best laying thickness to

consider is
a. single. c. triple.
b. double. d. multiple.
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5. The recommended fabric to cover the cutting surface when laying

out soft sheers and slippery fabrics.
a. Georgette c. Muslin
b. Silk d. Seersucker
6. It is advisable to keep the entire length of fabric on top of the cutting

surface while pinning and cutting. Why?
a. To prevent stretching c. To eliminate weight
b. To promote ease d. To hasten speed in cutting
7. The following are tips why we need to check all pattern pieces laid
on the
fabric before cutting. Which is NOT?
a. Check completeness of garment parts
b. Check duplication of garments parts
c. Estimate the materials needed
d. Ensure the size of the garment
8. When positioning pattern pieces with straight arrows this should be

parallel to the selvage. Why?
a. Fabrics will be straight when cut
b. Fabrics are easy to cut
c. Fabrics will conform the pattern contour
d Fabrics cling to the pattern
9. When can we say that a fabric has a nap?

a. Floral Design c. One-way Design
b. Geometric Design d. Abstract Design
10. Which direction will you follow when laying patterns on fabric with
nap?
a. One direction c. Multiple direction
b. Two direction d. Trio direction
11. A brightly colored marking tool used in marking seams.

a. Tailors tucks c. Tailor’s chalk
b. Chalk pencil d. Tracing paper
12. One characteristics of liquid marking pen used by tailors.

a. Easily removed c. Stays longer when washed.
b. Cannot be affected by dry cleaning d. Stains the garment.
13 . In the absence of pins, which of the following is use to hold the

pattern pieces in place while cutting the fabric.
c. Sewing kit c. Pin cushion
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d. Pattern Weight d. Needles
14. In what direction the dressmaking carbon paper should be inserted

between the pattern and fabric?
a. Right c. Down
b. Left d. Up
15. This is used to rub into the scorch wool fabric while pressing.
c. Nickel c. Metal
d. Iron d. Aluminum
16. One reason why we press seam before sewing is to

e. be more accurate. c. be done on time.
f. make work faster. d. obtain good fit.
17. How long will you allow the garments to cool down on the ironing
board.
b. 2 minutes d. I minutes
18. Which of the following is the most appropriate cleaning material for
the soleplate of the iron?
c. Candle cleaner c. Hot iron cleaner
d. Surface cleaner d. Grease cleaner
19. It is used to flatten seam upon pressing.

e. Clapper c. Iron
f. Seam roll d. Crease remover
20. What is the basic structural element of a garment done by joining

two
or more pieces of fabrics together?
a. Stitches c. Seam
b. Partners d. Finishes
21. The type of seam suited for sleeping garments and fabrics that
ravel easily which is described as seam within a seam.
a. Plain c. Flat-feel
b. French d. Lapped
22. It is known as the simplest type of seam.

a. French c. Plain
b. Flat full d. Lapped
23. The seam applied to the edge of the fabric to prevent from raveling.
285
a. Seam finish c. Seam Stitch

b. Seam line d. Seam Location
24. Which factor will you consider when choosing seam finished for the
material that easily ravel, curl or roll.
a. Case of garment c. Fabric
b. Equipment d. Use of garment
25. A characteristic of a well constructed seam.

a. Smooth and even c. Variety of stitch
width
b. Lopping stitches d. visible of at right side
26. The original method of finishing seam edges.

a. Hand seam c. Lapped Seam
b. Locked seam d. Hand over cast
seam
27. The type of stitches used to over lock the edge of the sleeping
garment.
a. Zigzag c. Overcast
b. Plain d. Buttonhole
28. The type of pocket commonly use in sleeping garments.

a. Welt c. In Seam
b. Flap d. Patch
29. Why do we over lock the row edge of the fabric?

a. To prevent from raveling c .For security
b. To add aesthetic sense d. To save fibers
30. The fold at the edge of the garment used to reinforce and prevent
the garment from raveling.
a. Seam c. Fastener
b. Hem d. Finishing
31. What is the recommended fastener for sleeping garment?

a. String c. Buttons
b. Safety pins d. Hook a eye
32. The type of tool best in trimming garments with excess thread.
a. Duckbill scissors c. Embroidery scissors
b. Snips d. Knitting scissors
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33. In the evaluation of finished garment, open seam, wrong stitching

techniques, non-matching thread are example of
a. garment defects. c. sewing defects.
b. sizing defects. d. color defects.
34. One of the features of a well made garment is no color defects.

This means it has ________.
a. variation of color. c. correct colors.
b. likeness of color. d. matching dyes.
35 What is the required heat temperature in cotton fiber?

a. 230°C c. 204°C
b. 200°C d. 190°C
36. Most of the electric iron got default setting of 7. Which heat level of
iron setting is suited for silk fabric?
a. 7 c. 5
b. 1 d. 3
37. The proper way to iron the rayon fabric should be done on the
_____.
a. right side. c. left side.
b. wrong side. d. front side.
38. The following are suggested tip in making clothing label EXCEPT
one.
a. Go shopping c. Study your logic/design
b. Lock in your closet d. Copy design
39. What is the best packing material for garment?

a. Acetate c. Packing Card
b. Paper d. Cardboard
40. Factors to consider when sorting and packing the finished product.
a. By design and size c. Source of raw materials
b. Time manufactured d. Company name
41. A type of packaging where the garment is inserted into a poly bag
in full visibility to let the customer identify the color, size and style.
a. primary package c. secondary
package
b. shipping package d. executive
package
287
42. The type of sleeve that flares out over shoulder resembling wings
of butterfly.
a. angel sleeve c. set-in sleeve
b. butterfly sleeve d. bell sleeve
43. The skirt which is gathered at the waist and provided with lining to
hold the hem and gather inward the hem end.
a. bubble skirt c. pencil skirt
b. flared skirt d. tube skirt
44. It is the longer version of a pencil skirt, fitted from waist to the lower
knee.
a. Pencil skirt c. A-line skirt
b. Flared skirt d. Tube skirt
45. The skirt which is a combination of shorts and skirts usually loose
in the bottom.
a. Peplum skirt c. Pleated skirt
b. Coluttes d. Tiered Skirt
46. The type of sleeve which is cut together with the bodice. There is
no seam joining at the armhole.
a. Ragian sleeves c. Kimono sleeves
b. Raglan sleeves d. Angel sleeves
47. A part of the shirt, dress, coat or blouse fastens around or frames
the neck.
a. Sleeve c. Collar
b. Skirt d. Pants
48. A wide flat, round collar, often with lace or sheer fabric worn with a
low neckline in the Victorian Era.
a. Bertha collar c. Mandarin collar
b. Sailor’s collar d. Convertible collar
49. The chronological steps or operations involved to accomplish the

project.
a. Evaluation c. Procedure
b. Objectives d. Design
Specifications
50. The measurement taken from the nape to the waistline on the cord.
a. Back Figure Length c. Chest Width
b. Shoulder width d. Back Across Width
288
SYNTHESIS
In today’s modern trend in fashion, the great influx of ready-to-wear

dresses around brought about by global competitiveness in the business
industry has created varieties of clothing to choose from. With the latest
styles in fashion, people tend to be mesmerized to buy anything they wanted.
Advantage of this, low prices are offered due to rivalry among the
businessmen and to someone with skills and knowledge in dressmaking, this
is a great opportunity to get involved in the business where he/she can create
much better than the ones sold in the market.
Come to think of it, one cannot offer the service and make a product
without proper and formal study on the subject which serves as the capital for
his success. That is why, with the effort of the writers and experts in the field
of dressmaking,this learning material is made. This guide offers integrated
conceptual and hands-on experiences for a better understanding of the
learners. The content is well structured which signifies that the writers
constructed the idea thoroughly in order to make it easier for the readers to
comprehend. The arrangement of lessons is aptly ordered which promotes
the easiness of memorization and application.. The learners will become
more competent not only in the field of dressmaking but also in terms of
creativity, innovation and planning because the module requires broad and
innovative ideas as well as critical thinking. It incites motivations to surpass
the current limitations and to improve the level of understanding by meeting
the high standards using the criteria given in each activity that it offers. There
are also illustrations provided in most of the lessons which makes the
activities easy to follow.
With the knowledge and expertise executed by the writers, the facilitator
will have an easier delivery of each of the topics given and through this; the
creation of different products in dressmaking will soon be in the market. If this
learning material is properly used and disseminated, learner’s pursuit of a
happy and bright future with productive livelihood skills will be materialized.
289
GL O S S A R Y
accessories – articles of clothing worn to complete or to complement one’s

outfit.
accuracy – the exactness of a measured distance or circumference
altering - changing portion of a garment so that it fits the body.
apparel – clothing or dress
Balance Wheel sets the mechanism in motion.
Band Wheel Crank moves the band wheel.
Band Wheel leads the balance wheel through the belt connection.
Bartacking Machine. This is used in reinforcing the opening and closing of
pockets
Belt connects the balance wheel to the drive wheel.
Belt Guide holds the belt to its place.
Belt Shifter removes the belt from the wheel.
bias –cloth that us cut slantwise across the grain
Bobbin Case holds the bobbin.
Bobbin is a metal spool for winding thread.
Bobbin Winder controls the bobbin while winding thread.
Bust to Bust - Measure from your one nipple to your other nipple.
Button Attachment Machine. This is used in attaching buttons to
the garments.
Button Holer Machine. This is used in making buttonholes on
garments.
Cabinet holds the head of the machine by interlocking screw on the hinges.
290
cocoon – the case composed of the silk fibers which the larvae of the silk
worm spin about themselves as a shelter
Grain – the direction of fabric threads
Cutting tools - a cutting implement; a tool for cutting.
design – the arrangement of parts, details, forms, and colors to produce
something new
Double Needle Machine. This is used in the construction of the
different kinds of clothing especially for the inseam, outseam and
side seam.
Dress Guard protects the dress from the wheel.
Dressmaker’s Carbon Paper also called dressmaker‘s tracing paper is a
specially waxed carbon paper that transfer‘s the tracing wheel‘s markings to
the fabric.
dressmakers.
Embroidery Machine. This is used in making fancy stitches and in making
different kinds of embroidery stitches on fabrics for the Barong Tagalog, pillow
cases, linen, and other novelty items.
Fabric - the cloth used in making garments.
Feed Dog moves the fabric while sewing.
firm weave – a weave in which the yarns or threads are tightly twisted and
placed close together
flax – a plant which produces linen fiber
French Curve-A flat drafting instrument with curved edges and several scroll-
shaped cutouts, used as a guide in drawing curves when constructing graphs
or making engineering drawings.
garment – any article of clothing
grainline – the direction in which the yarns or threads are woven
Hand Needle is used in making temporary stitches and buttonholes. Sizes of
7 to 10 are for general hand sewing.
Hemline – the marked line at the bottom of the garment where the hem is
turned
Hips - Measure around the fullest part of your hips.
household fabrics – curtains, carpets, bed linen, etc.
IMC – Individual Measurement Chart
knit – connected loops of yarn with big needles to form a fabric
label (for clothes) – a card, fabric or paper marked and attached to an object
to indicate its contents, manufacturer, care, and origin
Legs support the cabinet of the machine.
Length – the longer or longest dimension of an object to measure
lingerie (lan-ja-ray) – girls’ and women’s under-clothing such as slips,
panties, bras, girdles, robes, pajamas, and nightgowns.
Lower Bust - Measure around the torso directly under the bustline.
L-square The tailor square or "L" is used to
transfer measurements to the draft pattern. It also
291
divides the garment into the desired measurement. It

has perfect squares and is useful in making straight
lines and numbers. It can also function as a tape
measure.
Measurement – a systematic procedure of determining the quantity or
extent of the entire measurable dimension
Measuring tools - an instruments used for obtaining quantities,
dimensions or forces of real world objects.
Metric System – a decimal system of physical units based on a unit of length.
Needle Bar holds the needle in place.
Needle Clamp holds and tightens the needle.
Needle is a slender tool attached in the needle clamp used for sewing.
neutral color – a “dim” tone, made by mixing complementary colors
Over Edging Machine. Other companies call it
Pattern – a piece of paper usually one-half of the body parts used as a
guide in cutting the garments
Pincushion holds the straight pins and needles while working to prevent
accidents.
plaid – a pattern consisting of colored bars or stripes which cross each other
to form squares, repeated on the fabric
Presser bar lifter moves the presser foot.
Presser Foot holds the fabric in place while sewing.
print – to stamp or press a design onto a fabric surface; fabric printed with a
surface design (not dyed)
ravel – to become unwoven; to separate or untwist threads or yarns
Rulers -measuring 12 inches or even 18 inches, either clear or solid. It is a
useful tool to have for measuring and drawing straight seam lines and cutting
lines. It also aids in connecting lines. A clear ruler is also a good tool for
marking buttonholes.
scissor – a cross-blade cutting instrument about 5 inches 6 inches long with
two small looped handles
seam – any stitching or sealing of two pieces at the edges
selvage – each side of a woven fabric, finished with a woven edge
Sewing Gauge A small ruler with a sliding guide and is about six inches long.
This gauge is used for measurements at hem lines, button holes and areas
where other small measurements require checking, such as pleats and tucks.
The gauge is usually made of metal or plastic.
Sewing Machine - a textile machine used to stitch fabric, cards
and other material with thread.
Sewing Needle Threader It aids in putting the thread to the needle.
Sewing Tools - instruments that aid in accomplishing a sewing task
shears – scissor-type cutting device with one large handle, one small
sheer – very thin or transparent fabrics
292
Shoulder to Bust - Measure from tip of the shoulder to the centre of bust
(nipple).
Shuttle holds the bobbin case while sewing.
Slide plate is a movable plate that covers the shuttle
Spool Pin is the thread holder.
Stitch regulator checks the length of the stitches.
Stop Motion Screw hinders moving when loosened and start.
style a quality or type of clothing
Tape Measure A flexible measuring device used in taking body
measurements.
Tension controls the looseness and tightness of stitches.
texture – the surface characteristics of a fabric, which can be seen or felt
the meter (Greek metron, ―measure‖)
Thimble A small hard pitted cup worn for protection on the finger that
pushes the needle in sewing.
Thread Guide keeps the thread in position.
Thread Take up Lever releases the thread and interlocks with the bobbin
thread.
tint – whitened color
Tracing Wheel There are two types of tracing wheels, those with a serrated
edge and those with a smooth edge. The serrated edge wheel produces dots
on the fabric and is suitable for most types of fabrics. The smooth edge wheel
is best for delicate fabrics and unlike the serrated edge will not pierce more
delicate fabrics. The smooth edge wheel creates a solid line.
Treadle is where the feet are stationed to drive the band wheel through the
pitman rod.
upholstery – plastic or fabric coverings for furniture , usually more durable
than fabric for clothing
Upper Bust - Measure around the torso directly above the bust line.
Waist - Measure around the waist.
warp yarn – lengthwise (up-and-down) yarn or thread in a woven fabric
weaving – process of forming a fabric on a loom by interlacing the warp and
the filling (crosswise) yarns with each other
width – measurement taken at the shortest dimension of the object to
measure
Yardstick A yardstick is made of smooth, shellacked hardwood or metal. It is
used for marking hemlines and checking grainlines when laying out the
pattern.
yarn – product formed by twisting natural fibers or synthetic filaments
together to form a continuous strand which can be used for weaving or
knitting
293
References
Alcantara, Ines D. and Suratos, Cesar. Technology and Livelihoods

Education III. Bernadette Publishing House Corporation, 2007.
Bailey, Annetta and Draper, Wanda. Steps in Clothing Skills Revised> Brnett
Publishing Company, Illinois, 1998.
Bartclay, Marion et.al.. Teen Guide to Homemaking, 3rd Edition. McGraw -

Hill, Inc., USA. 1972.
Suratos, Cesar P. Technology and Livelihood Education III. Bernadette

Publishing House Corporation, 2006.
Leuterrio, Florida C. Technology and Home Economics III. St. Augustine

Publications, Inc, 1995.
Web Sites
Wikipedia.org/wiki/Nightwear
Ref: The Complete Idiot’s Guide to Sewing
http://www.sew-it-love-it.com/reading-patterns.html
The Complete Book of Sewing Pages 36-37
http://www.threadsmagazine.com/item/4968/pattern-layouts
http://www.diceyhome.free online.co.uk/KatePages/Learning/patterns/pattern_symbols.htm
Pattern Symbols -Reference

http://sewing.about.com/library/weekly/aa081199.htm
- Ref: The Complete Idiot’s Guide to Sewing
http://www.youtube.com/watch?v=_jgg7UP72Yo
Adapted for use in Kentucky with permission from Coats & Clark.
(Reference Leaflet PE2174)

Marjorie M. Baker, M.S.
294
Images Adapted from:
 http://wide-format-printers.org/wide-
format_digital_inkjet_textiles_printers_reviews_interior-decoration_soft-
signage_fabrics_flags_banners_cloth_fashion-apparel/ATP-Color-VersaArt-
RS-640-can-print-polyester-fabric-and-mesh-absorbing-sponge.jpg- design by
printing
 https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSUuWd65CPA2lb-
12YTmtBRIcXOHl84S8ohAV--6TpaxoMMG4GR- printed dress
 http://img.alibaba.com/wsphoto/v0/517773848_1/girls-dresses-children-
princess-dress-Plaid-skirt-name-brand-kids-baby-clothes-free-shipping-5pcs-
lot.jpg- plaid design
 https://encrypted-
tbn3.gstatic.com/images?q=tbn:ANd9GcT8ZbJ3UJv0q8y2z1Sma2Yc5pCCHl
Aau_9oDYzpo43jMEatki0w- tweed design
tbn0.gstatic.com/images?q=tbn:ANd9GcTiOP_4kWO_vweOilYGmrsiY
VROaJrbL43iiC3oJNl_uI208IJP – body proportion
 https://encrypted
tbn3.gstatic.com/images?q=tbn:ANd9GcSGHvXhbEnhcJZhD173U-
vVHRrUFZp23hx0SUvG8sStXnxwjsCu- introvert/extrovert
tbn1.gstatic.com/images?q=tbn:ANd9GcRoxXypqjNEy7yp_PwNeu6iT5
_IG5byTxVFrFgFx1v86grEYDHA3w- Asymmetrical balance (Fig.1)
tbn0.gstatic.com/images?q=tbn:ANd9GcRsT9iiTgvj8i0wI6S0Yj3D_PX
Qpzzb3UavA9OnqsLAoLuLk3oKow- asymmetrical balance Fig. 2
tbn3.gstatic.com/images?q=tbn:ANd9GcT6Yt31i_pBBsUEfOSU5fvuk1
MWMgGr3u_WhMlFVA3V9B_IjbZ5- asymmetrical balance Fig.3
 https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQ8BrM-
gceNlfyRPRP-nHkevUcmCv7kGhFSkATtLGGFS5W3NAU2- radial
balance Fig.3
295
 http://media-cache-
ec0.pinimg.com/236x/65/eb/52/65eb52d7affbba052841e44dc279ebdd.
jpg- radial balance Fig.2
tbn1.gstatic.com/images?q=tbn:ANd9GcQYjSz7ficiyBCCfDr-
Ri6bKBu0RUj6up5kJQQ1JszFUMFkql6n- Radial balance Fig.1
 http://2.bp.blogspot.com/-
8jg3vuBHSIE/T04oWi1DVxI/AAAAAAAADYY/dOOnrZcPbRI/s1600/RE
NEE%2BLONDON%2BVicky%2BPeplum%2BShoulder%2BDress%2B
Blue%2B1.jpg- Emphasis Fig.1
tbn3.gstatic.com/images?q=tbn:ANd9GcTLvnAoM85b9d63-
hHgfQaDk856MF-OHp2RbE8lz4pJNXMZpA8o- emphasis Fig.2
 http://i01.i.aliimg.com/wsphoto/v0/563981917_1/Mens-Fashion-
Clothing-Men-s-Leisure-Shirt-Men-Dress-Shirt-Fitted-Mens-Shirts-
MS066.jpg- emphasis Fig.3
tbn3.gstatic.com/images?q=tbn:ANd9GcQqZ7HbKeCppL-
5cRHNoLnutiSP4z6BNNq39vu8Nc0HuY0GLY2M- rhythm Fig.1
tbn2.gstatic.com/images?q=tbn:ANd9GcQ2H18m1UHT-
79uPUgJjKGqlalp--FiJIxrmJ-zoZl1ud1znHXf- rhythm Fig 2
 http://cdn-
media6.box13.com.au/catalog/product/cache/1/small_image/232x/040
ec09b1e35df139433887a97daa66f/1/0/101155-1_1.jpg- rhythm Fig.3
 http://dressesmania.com/harmony%20maxi%20dress.jpeg- harmony
Fig.1
tbn1.gstatic.com/images?q=tbn:ANd9GcSWnhDUQs6XLN7FXWet_Qi
ngzyZHOhidUV9Ho0xU5sy3g-bDkSD- harmony Fig.2
 http://www.readbeforeshopping.com/wp-content/uploads/2013/05/men-
suits.jpg- harmony fig.3
 http://img0.etsystatic.com/038/1/8714711/il_340x270.520434922_e5b2
.jpg= with vertical line Fig.1
296
 http://cache.fashionista.com/uploads/2011/02/FW11-24.jpg- with
horizontal line Fig.2
 http://cdn.shopify.com/s/files/1/0205/1482/products/christina_accordian
1_large.jpg?v=1359057051- slanting Fig.3
 http://img0.etsystatic.com/005/0/7038129/il_340x270.372053608_2phb
.jpg- with curve Fig.5
tbn3.gstatic.com/images?q=tbn:ANd9GcQ47rpMfu8Dtj5s2fiWvmxtPe3
BdToisFUu7TSdhPoWpyyioI6TQw- with bateau neckline
tbn0.gstatic.com/images?q=tbn:ANd9GcTZxkXmyUV87293sspQvLZqo
gH40D7z7N5aq0NnCIMCwRpcQROD7w- with plunging neckline
 data:image/jpeg;base64,/9j/- kinds of pleats.
tbn2.gstatic.com/images?q=tbn:ANd9GcSfesM6yiiUDd39Bu-
DjsU8Q7LWvyKGRRmRBCnbMJHYHjUneGF65Q – with cape collar
 http://cios233.community.uaf.edu/files/2011/10/color_wheel.gif- color
wheel Fig.1
tbn3.gstatic.com/images?q=tbn:ANd9GcR5A3EfStg0J2MIDTk1CAScR
w0cjLQYG7DzFYECR_-bUfAiRP59- space Fig.1
 http://25.media.tumblr.com/tumblr_lj3xkxjKv81qz9qooo1_500.png-
dress with space Fig. 2
 http://www.almstba.com/vb/imgcache/almstba.com_1353868318_478.j
pg- baby dress with space Fig. 3
 https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcRKK3s-
1RiZPUtC7t4KRECfF4kjGkC9N3H_fhXiXBdOYDkeY8kb- bell or
hourglass Fig.1
297
tbn0.gstatic.com/images?q=tbn:ANd9GcTpVSKuGumhFMIlZNClnDUP
_Ao2j1iZ29PCM3j0USj5Aale52wp- tubular Fig.2
 http://tallulahbell.files.wordpress.com/2011/09/reiss-bandage-
dress.jpg- inverted triangle Fig. 3
tbn3.gstatic.com/images?q=tbn:ANd9GcSXY50WfnhVVOKR3Y49spYv
NJORISVK2Ie1HsvPrZymMF8ePzL-SA- soft dress Fig.1
lVMwQTLJTLU/UHMQI4FkdUI/AAAAAAAAAEk/9UkDLNAGzl0/s200/_
primary_colors.jpg- primary color
 http://cdn.shopify.com/s/files/1/0153/9901/files/primary_colors_medium
.png%3F7139- secondary colors
 https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSBm9E-
tZx8JwbPdyDhJRa8mBOkA_N5DGlAResKMVBXG9uVR49v-
intermediate colors
 http://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/RBG_color
_wheel.svg/300px-RBG_color_wheel.svg.png- tertiary colors
 http://floorstoreaz.com/wp-content/uploads/2012/04/spectrum.gif- value
in colors
 http://www.nippondenshoku.co.jp/web/english/colorstory/images/02_thr
ee_elements.jpg- chroma/value
 http://www.webmastersun.com/attachment.php?attachmentid=505&d=
1377309162- psychology colors in marketing
 http://3.bp.blogspot.com/_vHmWU8uhEik/SeZk2Vp999I/AAAAAAAAB7
E/gBAobLYLtfE/s400/30_tired_man_sleeping_while_standing.png- clip
art- sleeping man
tbn2.gstatic.com/images?q=tbn:ANd9GcSPOYq50QRtawDEJdT5D9Ky
IOWPuA2QZSU2Z_MmUO0h7woqX6DU- tape measure
 http://www.dataprint.com/store/images/Product/medium/18721.jpg- l-
square
298
 http://www.artstuff.net/assets/images/varyformcurves.jpg- curve ruler
 http://mathworld.wolfram.com/images/eps-gif/FrenchCurve_1000.gif-
french curve
 http://www.bullarddesigns.com/kai/kai5250.jpg- dressmaker’s shears
tbn1.gstatic.com/images?q=tbn:ANd9GcS77kPEGJvqm8ZOtxhVS6U_
TZHVYxKpFUTfvTgPoUvuub_Z9aB1aQ- weights
 http://www.runtrackmind.com/wp-content/uploads/2010/07/Emery-
Pincushion-Keeps-pins-and-needles-sharp-.jpg- pins
 http://thesewingdivas.files.wordpress.com/2010/08/tracing-wheels.jpg-
tracing wheel
 http://www.clipartpal.com/_thumbs/pd/education/pencil_angled_glossy.
png- pencil
 http://i01.i.aliimg.com/img/pb/412/272/412/412272412_305.jpg- sewing
kit
tbn1.gstatic.com/images?q=tbn:ANd9GcTBN9CTgr2NihyJrDPHWvd3n
H_KigcO4Zmds5PHIrLtLUOPcxLFRITJ6caN- pattern paper
 http://www.themakeryonline.co.uk/images/uploads/Tailors_chalk_LAR
GE.jpg-
tailor’s chalk
 http://img1.etsystatic.com/032/0/5755093/il_340x270.518830119_2nyj.
jpg- carbon paper
 http://us.123rf.com/400wm/400/400/mik122/mik1221103/mik12211030
0049/9095956-muchas-de-las-bobinas-de-hilo-color--fondo.jpg- thread
 http://www.theclothroom.co.uk/wp-
content/uploads/nivoslider4wp_files/7_s.jpeg- cloth
 http://3.bp.blogspot.com/-zuhB-
ae_lG4/UQ5tDJzDjPI/AAAAAAAAGrM/mKMzVayTGa0/s1600/Interfaci
ng%2BFabric.jpg- interfacing material
299
 http://galleryplus.ebayimg.com/ws/web/171002550841_1_0_1/1000x1
000.jpg- fastener
 http://visual.merriam-webster.com/images/arts-
architecture/crafts/sewing/fasteners_2.jpg-fastener2
 https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcRwCpxIB-
23VTpvOxmf1PR0Vb9GSbwxaCwWxpz85IKfXMQYqmB8- fasteners3
 http://img.diytrade.com/cdimg/745887/13638518/0/1280202217/Ironing
_board.jpg- ironing board
 http://sales.brick7.co.za/media/za/348901_349000/348998_a0db01935
36b0976.jpg- cutting table
 http://pradeepamohan.net/wp-content/uploads/2012/06/oldest-sewing-
machine.jpg- sewing machine
 http://1.bp.blogspot.com/-X-
mkhEUl7nk/UcM6gTq3ksI/AAAAAAAAFd0/L_D_OXEYxL0/s1600/Fabr
ic%2BMarking%2BTitle.png- marking tools
 http://thumbs4.ebaystatic.com/d/l225/m/mn8WT-
KD49cTSuCWcHX41pQ.jpg- chalk pencil
 http://didyoumakethat.files.wordpress.com/2012/06/marking-wrong-
side1.jpg- tailor’s chalk
 http://www.clothpaperscissors.com/resized-
image.ashx/__size/550x0/__key/CommunityServer.Blogs.Components
.WeblogFiles/clothpaperscissorstoday/6237.encaustic_2D00_carbon.gi
f- CARBON PAPER2
 http://ecx.images-amazon.com/images/I/51Dw0fWs3NL._SY300_.jpg-
carbon paper1
 http://www.threadsmagazine.com/assets/uploads/posts/5024/131-
against-grain-02_lg.jpg- straight grain direction
 http://www.threadsmagazine.com/assets/uploads/posts/4968/81-
pattern-layouts-03_xl.jpg- folds on the fabric
 http://0.tqn.com/d/sewing/1/0/6/w/1/wonvenknit.jpg
300
 http://image.made-in-china.com/2f0j00fvTtLQaGoSpq/Heavy-Military-
Tent-Cotton- Canvas-Fabric-ZY-21-.jpg
 http://image.made-in-china.com/2f0j00mYQTBNEhazdG/Broadcloth-
Fabric.jpg
 http://t3.gstatic.com/images?q=tbn:ANd9GcTpal_yG-
6XErCXiZsm19dD1VGZyFUt2UYxIU86KL7fo5Yj4dTtUA
 http://us.123rf.com/400wm/400/400/taigi/taigi1201/taigi120100013/118
55971-worn-blue-denim-jeans-texture-with-stitch.jpg
 http://t0.gstatic.com/images?q=tbn:ANd9GcS5XrCHNRzb2B7_H_Y_Fs
N0CxFlujVuwl4FcOz98hOjHQk8N8XDrQ
 http://t2.gstatic.com/images?q=tbn:ANd9GcQmfbxO9wT8N8bo7hKQl0
99_MJeQR-SoDgSzKGGLqxPW7UDzbka
 http://t3.gstatic.com/images?q=tbn:ANd9GcSf1ck-
odQqezm2AQNVnfZVZdT71WMFIYQfhC-xxGiqj_GbHR9AqA
 http://thereisbeautyallaround.files.wordpress.com/2011/02/colored-
linen.jpg
 http://t3.gstatic.com/images?q=tbn:ANd9GcTFAvoE49XN9J4ii4jjgp7oU
9-MjIXaaG4PCUK4k1fjQXzfkix4
cctFQWngGtU/Th4SOLlNmkI/AAAAAAAAAFQ/zymbvmu-
uqI/s1600/Silk+Road+02.jpg
 http://t1.gstatic.com/images?q=tbn:ANd9GcRUOiA6N8kZJlL8dNm4X3
95niHV5OYEuBUg81VHbUNA1Qoii9ZM
 http://www4.images.coolspotters.com/photos/123867/marchesa-one-
shoulder-chiffon-long-dress-profile.jpg
 http://gallery.allwomenstalk.com/Fashion/2011/10/8-stylish-silk-
blouses/4_topshop-washed-silk-slim-shirt_8-stylish-silk-blouses.jpg
 http://t1.gstatic.com/images?q=tbn:ANd9GcRXuA7Z9ZLBseGCPG34B
UABaVxQV73tMylfYTGvQJSpyaCiSHw3
301
 http://www.promdressesdirectory.com/promdresses/wp-
content/uploads/2010/01/006-emerald-changeable-taffeta.preview.jpg
 http://image.made-in-china.com/2f0j00PKjTVWodbQbR/Silk-Stretch-
Charmeuse-Fabric.jpg
 http://t3.gstatic.com/images?q=tbn:ANd9GcR-
W3uDxX4jZcNrnkrTiih2cI-8TSO7Wv283nuboYjR5tTayo7tOg
 http://t1.gstatic.com/images?q=tbn:ANd9GcSATgPJv0D9got3mSQaYa
2KlMhURC98_qYky5m7xA8uIFNvcMN-
 http://t1.gstatic.com/images?q=tbn:ANd9GcT1S8h-
dkf8E9ocajgixxPfAEwgnx9-82Wu8v_96jr6d8e-L7Ph
 http://t3.gstatic.com/images?q=tbn:ANd9GcR5-
4mDL2wbkHYuOOrd9TlSlZP8gYqhhYU7NjUIQBU508_e6qevPQ
 http://images.mytheresa.com/media/catalog/product/cache/common/im
age/1000x1000/4ab6458f4d372288
 ccd2abdeb46b18c1/P/0/P00070117-ROTHKO-MERINO-WOOL-AND-
CASHMERE-BLEND-SCARF-STANDARD.jpg
 http://image.made-in-china.com/2f0j00uCjTKOQgJEop/Raw-
Organzine-Twist-Silk-TX-.jpg
 http://www.dicraft.co.za/blog/wp-content/uploads/2011/08/Boucle-
wool.jpg
 http://t0.gstatic.com/images?q=tbn:ANd9GcRDVcvvF2leaEuUGC9N8w
yXQiBA13pp5OTgQoN63wBDsXx1-7nEBw
 http://www.stitchpiecenpurl.com/wp-content/uploads/2013/03/Boiled-
Wool.jpg
 http://image.made-in-china.com/2f0j00ZvFtQDBrColk/Polyester-Crepe-De-Chine.jpg
 http://image.made-in-china.com/2f0j00ZvFtQDBrColk/Polyester-Crepe-De-Chine.jpg
 http://image.made-in-china.com/4f0j00lCqTnAaGbhbP/Silk-Georgette-Fabric.jpg
 http://t1.gstatic.com/images?q=tbn:ANd9GcQ2-QEEj_4Uenrv8rqGfB9rjk8m3dshN8KJm6cpDipwN8p6Ug3S
 http://i00.i.aliimg.com/photo/v0/813579644/S783_Newest_rayon_COTTON_Printed_Arabic_words.jpg_350x350.jpg
 http://img.diytrade.com/cdimg/671816/5357194/0/1205142050/Georgette_fabric_Chiffon_fabric_ Polyester_fabric.jpg
302
 http://raggedmountain.com/media/catalog/product/cache/1/image//f/i/file_20_16.jpg
 http://www.marieclaire.com/cm/marieclaire/images/Pe/mcx-swimsuit-guide-edgy-2-lgn.jpg
http://t0.gstatic.com/images?q=tbn:ANd9GcSGPoa-s-SeuCgQqVHnnHO2TwIufAn9O7Zxf9Zo8PjAjCRF_xN8
http://images.wisegeek.com/red-sweater.jpg
http://i.ebayimg.com/t/NWT-Cool-Blue-Footed-Hoodie-Drop-seat-Fleece-pajamas-Adult-size-L-
/00/s/MTAyNFg4NjI=/z/TY0AAMXQO21Ror6R/$T2eC16RHJGMFFpcQV,r(BRor6Qwg1w~~60_35.JPG
http://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/American_sleepers1.jpg/250px-American_sleepers1.jpg
http://t2.gstatic.com/images?q=tbn:ANd9GcSVSnnBq6YQ7ecNRCCicdbatWSzRCRtmzAc1oRK2e7-dBjkJA3GLg
http://t3.gstatic.com/images?q=tbn:ANd9GcSlUDkvfapCKY9gO3-htYMKtifmeZN5oaZKqaaGqiLc4KIeT9lp
http://t0.gstatic.com/images?q=tbn:ANd9GcTKwBbQo6b4tDrO33GSKADKsm71Z_PRxIDO_x3D_cLmnKLhPACx
http://t2.gstatic.com/images?q=tbn:ANd9GcTW0ShUPEoZ9Hhh2bqK8oOym9tGM7Dd1aqmIJaSNXWxD4dpffVr_w
http://t0.gstatic.com/images?q=tbn:ANd9GcQPUoaIes-RitkCCDknw45LkMxQzlJcV-xD7TuhrBQGYvxXRo6D
http://t2.gstatic.com/images?q=tbn:ANd9GcT_xUmxq-xtbFbEyPC5cW9cHN9zQEO6jN13TV31so3yWAwl3JII
http://t0.gstatic.com/images?q=tbn:ANd9GcSoeNoof_-WUlfuXP7S93FGNk8VMoNLGzKbNHKJBD7fLpYgejrK7w
http://t2.gstatic.com/images?q=tbn:ANd9GcR6fp-lr58_0n96MFLDaq5Zm-gjwzL_w0KRQ51DFr6xRhaM9PutDg
hhttp://www.sewcurvy.com/siteimages/20/7/3/207362/2077857/f_938910.jpg
http://t0.gstatic.com/images?q=tbn:ANd9GcTNIm3Ihju7CITvhFgJERwK-xP4BVukyqNHrL-SLDB7omv0FfZOrQ
https://www.bargainbox.com.au/images/Clover%20Tailors%20Chalk%20-%20Blue.jpg
http://simplesewingpatterns.net/wp-content/uploads/2012/06/chalk-pencil.jpg
http://t0.gstatic.com/images?q=tbn:ANd9GcTAVe--s3LI-t4XAQb1m8EzO_MfxdxMo0Ll61fl7AnDVmv9ZExJsQ
http://t2.gstatic.com/images?q=tbn:ANd9GcT39c8qWciC1s4ZGXtggBD5Tlu4q9mObsCAjXU64IymhD4srSunUQ
http://t1.gstatic.com/images?q=tbn:ANd9GcRxymCMmbYZOPnxSdCrbcLPIG--8RS4ELLFIOiRvfERMPdLOe18
http://www.blogcdn.com/www.stylelist.com/blog/media/2008/11/spiegel-signature-silk-collection-kimono-sleev
tunic,-$59-to-$69.jpg
303
https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcS40TohTMmvnkHkHnUWpKx9Zy1jbwOq0
PRMWDlrRYi79X455Vi_
http://images.asos-media.com/inv/y/142/1352/949655/navy/image1xl.jpg
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http://4.bp.blogspot.com/_oaVFc2u886A/TNLQPRpit1I/AAAAAAAAAaU/EW4mM
Z4Y_Qc/s400/puff+sleeve.jpg
http://static3.jassets.com/p/Mishka-Butterfly-Sleeve-Embellished-White-Top-3394-
027152-1-product2.jpg
https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSUudvn9LKeQM7ptZDE939yrzd46hKim
5tLhimXeq2CH6rKR5AB3g
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0xPDIjp-5omMsKq2XQ
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JyBku7uUm3BMihSedsUfYXB3nF4CJj9q8
http://designer-entrepreneurs.com/blog/illustrations/favorite_shirt.jpg
https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcR0kmD5e0YbPxBQpDkyYLtyUshpYm
ExkIN07DdVZE7blTq96XC4cw
https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQu20mMTjEi2lLvwDEGHQafZVGlz1odzo
4oMNi-KeTCX1UQiKD0
http://www.dressim.com/images/dress/Chic-Short-Strapless-Ruched-Bubble-Sleeveless-Bubble-Skirt
-Dress-With-Natural-Waistline-SG0691.jpg
http://www.ansom-moore.co.uk/images/products/fullbrook-girls-a-line-skirt696.jpg
http://t1.gstatic.com/images?q=tbn:ANd9GcQjo2cWoZ1y-vIgLGq_S7KCTixCEAwEiK6-5Kv_sGow
GwJSozImQQ
http://64.19.142.13/2.bp.blogspot.com/-MrvjFhF43L4/TgaVWPC2BYI/AAAAAAAACOg/d3o7HfTz4
gI/s320/pencil-skirt.jpg
304
https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcR6Gbtg-sWOn-Iq4PHwUyy-36B7-rmNYASF
JZGuM37M2IVxotM
https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcTzhyOeIuykUSdSJMVuELcGGKE9a7QT
cpr_Yh_b49-ux8jiUU90
https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTGS8nDutbaraEu-8LGLcDrCkR0OOoxb0z
bEQ9BTMS3uvl8gNZZ
http://64.19.142.12/thumbs2.ebaystatic.com/d/l225/m/mbgusCXwXI5cM-AhUSjfgVg.jpg
http://i401.photobucket.com/albums/pp100/Slewfoot2000/patch_pocket.jpg
http://t0.gstatic.com/images?q=tbn:ANd9GcSLGcVV5tb7zM_VQqtTB-ZuRUcpXedfsv80_pMh2E
wH4yixcUBE6Q
http://t1.gstatic.com/images?q=tbn:ANd9GcT5knyMOPeP-FksO780lfkOVylon78cXvwmlY6Oh_fG
jLho4n2tEQ
ANSWER KEY
Diagnostic Assessment/ Summative Assessment
1. A 11. C 21. B 31. C 41. A
2. C 12. A 22. C 32. A 42. B
3. B 13. B 23. A 33. C 43. A
4. A 14. C 24. C 34. C 44. D
5. C 15. A 25. A 35. C 45. B
6. A 16. A 26. D 36. D 46. C
7. A 17. B 27. A 37. B 47. C
8. A 18. C 28. D 38. D 48. A
9. C 19. A 29. A 39. D 49. C
10. A 20. C 30. B 40. A 50. A
Pre-Test I/ Post Test I

1. b 6. C 11. A 16. A 21. A 26. c
2. c 7. C 12. D 17. C 22. D 27. d
3. a 8. C 13. B 18. B 23. C 28. a
4. a 9. C 14. C 19. B 24. A 29. a
5. b 10. B 15. C 20. D 25. D 30. A
Answer to Lesson 1 (A) B. Refer to Rubrics

1. Emphasis C. Refer to Rubrics
2. Rhythm
305
3. Color
4. Value
5. Hue
6. Primary Colors
7. Intermediate Colors
8. Black
9. Orange
10. Red
Answer to Lesson 2 (A) B. Refer to Rubrics

1. e 6. D C. Refer to Rubrics
2. g 7. A d. Refer to Rubrics
3. f 8. M
4. b 9. h
5. c 10. K
Answer to Lesson 3 (A) (B) Lesson 4 – Refer to Rubrics

1. d 6. I 1. F
2. e 7. J 2. T
3. c 8. H 3. F
4. b 9. F 4. T
5. a 10. G 5. T
Answer to Lesson 5 (A) and (B)
 Refer to Rubrics
Answer to Lesson 6 (A) (B) Refer to Rubrics

1. X
2. H
3.
4. =
5.
6. I i
7.
Answer to Lesson 7 – Refer to Rubrics

Answer to Lesson 8.1 (A) (B) Refer to Rubrics
1. 6 inches downward
306
2. Bust Height
3. Front Figure Length
4. 1 ½ inches
5. Chest width
Answer to Lesson 8.2

Answer to Lesson 8.6 Refer to Rubrics
(A) & (B)
Answer to Lesson 9
Answer to Lesson 10
1. X 6. X (C) Refer to Rubrics
2. I 7. I
3. I 8. X
4. I 9. I
5. X 10. X
Answer to Lesson 12 -Refer to Rubrics

QUARTER II
Pre-Test II/ Post Test
1. b 6. A 11. D 16. D 21. A 26. b
2. a 7. C 12. B 17. C 22. B 27. a
3. d 8. B 13. C 18. A 23. D 28. d
4. c 9. A 14. D 19. D 24. A 29. b
5. a 10. D 15. A 20. D 25. C 30. A
Answer to Lesson 1 Refer to Rubrics

Answer to Lesson 2
1. a
2. d
3. b
4. c
5. a
Answer to Lesson 5 (A)-. Refer to Rubrics

B.
1. Experienced sewer
2. single knit or double knit
3. evening or sports wear
4. machine or hand wash
307
5. curve or straight
Answer to Lesson 6
Answer to Lesson 7
Answer to Lesson 8
Answer to Lesson 10
Answer to Lesson 11
Answer to Lesson 12
Answer to Lesson 13
QUARTER III
Pre- Test III/ Post Test III
1. c 6. B 11. A 16. A 21. b
2. c 7. D 12. C 17. C 22. a
3. d 8. D 13. D 18. B 23. a
4. d 9. A 14. A 19. A 24. c
5. a 10. B 15. B 20. A 25. A

1. bright
2. pocket
3. front
4. plain buttons
5. strain

Answer to Lesson 3
Answer to Lesson 4 (A) (B)
1. frog 1. hat
2. pocket 2. pocket
3. bracelet 3. skirt
4.hosiery 4. braid
5. brooch
6. hat
7. ribbons
8. fan
9. buttons
10. scallop

1. tiered skirt
2. pleated skirt
3. collots
4. tube skirts
308
5. Flared/ balloon or semi-balloon skirts
Answer to Lesson 4.4 –

Answer to Lesson 5
Answer to Lesson 8
Answer to Lesson 9
Answer to Lesson 12
QUARTER 1V
Pre-Test/Post Test
A. B. C. D.
1. c 1. 4 1. H 6. E 1. Shoes 6. Brooch
2. a 2. 1 2. B 7. D 2. Hosiery 7.
bracelelet
3. b 3. 5 3. G 8. I 3. Hat 8. Bands
4. a 4. 3 4. A 9. K 4. Handkerchief 9.
buttons
5. d 5. 2 5. C 10. L 5. Fan 10.
Embroidery
 All activities, please refer to Rubrics.
richardrrr.blogspot.com
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LM - Dressmaking I Grade 9

competencies identified by the K to 12 Program of the Department of Education. It is intended

specialization class, it is a self-contained procedural guidebook.

L8.4 Patch Pocket

L8.5 Pencil Cut Skirt

L10 Trimming Techniques for Sleeping Garments

L13 Evaluation of Finished Sleeping Garments

Review of Lesson 8.1

Technology and Livelihood Education (TLE) is one nomenclature in the

So, explore and experience the K to 12 TLE Dressmaking module and be a

After finishing all the activities in this module, expect job

Personal Entrepreneurial Competencies

 Opportunity seeking – Entrepreneurs have a good eye for spotting

established a network of people whom they can turn to in order to

Assess your Personal Entrepreneurial Competencies by answering the items

Personal Entrepreneurial Competencies (PECs) Self-rating Questionnaire

_________ 28. I look for things that need to be done.

PEC’s Scoring Sheet

Rating of Statements Score PECs

Source: Liberal, AE. E. (2007). Appraising and developing yourself for an

The PECs Scoring Sheet with Correction Factor

The Correction Factor is used to provide a more accurate assessment

Correct each PECs score before using the Profile Sheet

Source: Liberal, AE. E. (2007). Appraising and developing yourself for an

Personal Entrepreneurial Competencies (PECs) Profile Sheet

Transfer the corrected PECs score to the profile sheet by marking an

Persuasion & networking X

Source: Liberal, AE. E. (2007). Appraising and developing yourself for an

Small Enterprises Research and Development Foundation, Inc. in

Business Environment and Market

The study of the business environment in a particular location has far-

Natural & Physical Demography

Natural and Physical Environment. This concerns the physical location of a

Government Regulations. The laws and policies of the national and

Spotting and Identifying Business Opportunities

4. Problems that need solutions

Screening Business Ideas

2. Characteristics of a good business

Histrich, R., Peters, M., & Shepherd, D. (2008). Entrepreneurship. New

Zimmerer, T. and Scarborough, N. (2005). Essentials of entrepreneurship

CREDITS FOR IMAGE USED:

Fat Pencil courtesy of OpenClipArt.org

1. The first method of fabric straightening

3. The side of the fabric where the pattern should be laid

4. The best thickness for plaid fabrics

5. The recommended fabric to cover the cutting surface when laying

6. It is advisable to keep the entire length of fabric on top of the cutting

8. When positioning pattern pieces with straight arrows they should be

9. When can we say that a fabric has a nap?

12. One of the characteristics of disappearing marking pens used by tailors

16. One reason why we pressed the seam before sewing

22. The simplest type of seam

25. A characteristic of a well constructed seam

26. The original method of finishing seams and edges

28. The type of pocket used in sleeping garments

29. Why do we over lock the row edge of the fabric?

31. The recommended fasteners for sleeping garment?

34. Which of the following feature of finished garments is classified

35 What is the required heat temperature in cotton fiber?