DIVISION OF NAVOTAS CITY

4
10
TECHNOLOGY AND
LIVELIHOOD EDUCATION
(HOME ECONOMICS)
Dressmaking
QUARTER 1

S.Y. 2021-2022
NAVOTAS CITY PHILIPPINES
Technology and Livelihood Education (HE-Dressmaking)-Grade 10
Alternative Delivery Mode
Quarter 1
Second Edition, 2021

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Every effort has been exerted to locate and seek permission to use these materials from their
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over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Hilda R. Agustin
Editors: Gliceria D. Alvarez
Reviewers: Karen M. Booc
Illustrator: Hilda R. Agustin
Layout Artist: Kharine H. Relator
Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent
Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent
Loida O. Balasa, Chief, Curriculum Implementation Division
Grace R. Nieves, EPS In Charge of LRMS/EPP-TLE-TVL
Lorena J. Mutas, ADM Coordinator
Vergel Junior C. Eusebio, PDO II LRMS

Inilimbag sa Pilipinas ng ________________________

Department of Education – Navotas City

Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City
____________________________________________
Telefax: 02-8332-77-64
____________________________________________
E-mail Address: ____________________________________________
[email protected]
 Table of Contents
What I Know ................................................................................1

Module 1......................................................................................2

Module 2......................................................................................7

Module 3......................................................................................13

Module 4......................................................................................19

Module 5......................................................................................25

Module 6......................................................................................29

Module 7…………………………………………………………………………35

Module 8......................................................................................40

Assessment ..................................................................................44

Answer Key ..................................................................................45

References………………………………………………………………………..46
Directions: Read each item carefully and choose the letter of the best answer.
Write it on a separate answer sheet.

1. This refers to the enrichment of a structural design consist of unusual

buttons, belt buckle, cuffs, and contrasting colors.
A. Structural Design C. Decorative Design
B. Principles of Design D. Elements of Design
2. It is a cloth made of fiber use for making clothes, curtains, tablecloths,
sheets etc…
A. Cotton B. Fabric C. Thread D. Linen
3. A style of skirt consists of a strip gathered and sewed on by its upper edge
around the skirt and left hanging.
A. Draped B. Flounced C. Peplum D. Sarong
4. Measurement from waist down to the desired length.
A. Waistline B. Hipline C. Blouse Length D. Skirt length
5. Adjustment to the garment must be made before the pattern is cut. What
process is stated?
A. Altering B. Cutting C. Folding D. Revising
6. Always make your lay-out on the _____________side of the fabric.
A. Front B. Back C. Right D. Wrong
7. Pressing clothes is an open weave piece of cotton or muslin that is placed
between the fabric and the iron. What is the purpose of pressing clothes?
A. It helps protect the wrong side of the garments from shine.
B. It helps to protect the right side of the garment from shine.
C. It helps to protect the garment from shine.
D. It helps to protect the side of the garment from shine.
8. A method of assembling a garment for a person comprises assembling a
collection of different versions of each of a plurality of different parts of a
garment. Which of the following garment process that comprises the
assembling of different parts of a garment?
A. Finishing touches C. Decorative stitches
B. Assemble garments D. Pre-assembling procedure
9. If a garment is full, circular, or draped the folds should fall into place in an
even line. What do you call these folds?
A. Seamline B. Grainline C. Waistline D. Hemline
10. This type of hemming stitches is best for applying the finishing touches of
the edge of skirts or trousers. Which of the following construction finishes is
this?
A. Double hem C. rolled stitch
B. Catch stitch D. seam finishes

1
 MODULE 1

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using.

The module is mainly focused on one module, specifically:

• Lesson 1 – Plan Garments Design

After going through this module, you are expected to:

1. identify the principles and elements of design.
2. design an athletic ladies skirt
3. identify the types of fabric and its properties
4. suggest fabrics suitable for ladies skirt

Lesson
Plan a Garments Design
1
In this lesson learners will be able to identify different principles and element
of design. This will gives them an overview on the uses of the principles and elements
in designing garments. The learners will be able to design a garment particularly
Ladies skirt applying this principles and elements. This also discusses the types of
fabrics suitable for ladies skirts.

Principles and Elements of Design

Ladies prepared clothing that is fashionable, attractive and comfortable to them.
Nowadays, they are more aware of the trends and fashion in clothing. To achieve an
effective design, the understanding of the principles and elements of design plays a
big factor to develop more designs that will produce.

2
 A design in dressmaking is a plan or structure of a desired outcome of a
garment. A dressmaker must be knowledgeable of designing the clothes to have an
initial view of the outcome of the garment created.
Principles of Design

1.Balance is the feeling of rest and equilibrium. This is essential to the total design
of a costume.
Types of Balance
Formal or Informal Radial
Symmetrical balance or Balance
Balance is Asymmetrical When
achieved Balance is major
when two achieved by parts of the
sides of a design are using space, garment design radiate
alike on either side of its color, and the varying
from the central part of the
vertical center. importance of objects to
garment, creating a
produce a feeling of rest.
sunburst.

2.Proportion in design involves the relationship of one part to another. Uneven space
relationships are more interesting than even ones.

3.Harmony is the pleasing combination of hues, values, and intensities. The color
wheel is presented so that you will learn the arrangement and relationship of colors.
4.Emphasis means that one part of a design must be more important than the other
parts. The eye should go first to this part.

5. Rhythm is the movement of the eye from one part of the design to other parts.

Rhythm could be depicted through:

Repetition- Rhythm could be achieved by repetition or regular
recurrence of motifs of design, shapes, buttons, tucks, pleats, laces,
edgings, color, textures, fabric designs etc. This can be done with all
parts having the same shaped edges.

Progression (Gradation) -implies a gradual increase or decrease of

similar design elements. The gradual changes provide continuity
while giving a feeling of movement. Example: Colors can go from
light to dark or textures from fine to coarse or vice versa, shapes
may range from small to large, and lines may range from thin
to thick.
Transition- Transition is a fluid rhythm created when a curved line
leads the eye over an angle. The curved lines of transition cause the
eye to change direction gradually rather than abruptly. Transitional
lines and shapes sweep and glide over the figure in an undulating
rhythm leading the eye gracefully and easily from one area or
direction to another.

3
 Radiation- Rhythm by radiation creates a feeling of movement in
different directions. This organized movement originates from a
central point of gathers, folds, tucks, darts, pleats and lines.
Direction of radiation may be in a similar or one

Continuous line movement- This type of rhythm is obtained by

flowing lines of trims, bands of color, fabric designs etc, which make
the eye move in a continuous line. This movement also unifies the
garment design bringing about harmony.

Types of Design

A. Structural Design are formed by the arrangement of lines, forms, colors, and
textures. If these four elements are carefully arranged and applied on the materials
used, they will create beauty to the finished garment
B. Decorative Design refers to the surface enrichment of a structural design .
Its decorative design may consist of unusual buttons, a belt buckle, a contrasting
collar and cuffs.
Elements of Design
Line - The basic part of any design is formed by lines. The eye tends to follow the
direction of the line in a dress design or in the fabric of the dress. Lines may be
horizontal, vertical, straight, curved, diagonal, radiating, down-sweeping, up-
sweeping, or angular, and they are capable of creating interesting illusions. A
horizontal line gives the impression of shorter and heavier. Vertical line gives the
impression of height.

Forms refers to the shape of an object as determined by line. In costume design the
silhouette is the term used to describe form which may repeat, may contrast, or be
transitional.

Texture - is the surface quality of a fabric. It appeals strongly to the sense of touch,
whether it is coarse, fine, smooth, rough, wrinkled, sleek, glossy, slippery. Textures
are affected by weave, finishes, and the nature of the fibers and yarns used in
weaving. Textures as well as lines can create illusions, one must choose textures for
clothes that will harmonize with the over-all design.

Shape - Clothes reveal or disguise the natural body contour or shape. Choosing the
right clothing shapes will make the person more flattering. Wide, full shapes clothes
will make you look larger while trim, compact dress will make you look smaller.
Straight, tubular shapes will make the wearer look taller while fitted clothes will
reveal the natural body contours.

Color- is light, and light contains within itself all the sun’s rays, and when it is
broken into wavelengths of light, a sensation is produced,
upon the retina of the eye which is called color. The eye
responds to color the same as the ear responds to
music. One’s reaction to color are both physiological and
psychological. The varying properties of color can, like
skillful use of line and proportion, make a large object
appear smaller, or a small object seem larger. Colors affect
the emotions that is why sometimes you do not realize
what has made you cheerful, subdued or melancholy.

4
Color Schemes (Color Harmony)

1. Monochrome- one color of different value and intensity.

2. Adjacent colors (Analogous) - colors that neighbor each other on the color
wheel.
3. Complementary - colors opposite in each other in the color wheel
4. Split Complementary - uses primary colors plus colors on either side of its
compliments
5. Tetradic (double split complementary) - uses two pairs of complementary one
apart on the color wheel.
6. Triad - uses colors at the points of equilateral triangle (three colors spaced on the
color wheel)

Types of Fabrics Suitable for Ladies Skirt

Fabrics is a cloth made of fibers use for making clothes, curtains, tablecloths,
sheet etc….In dressmaking it is the most important materials in construction of a
particular garments. In making Ladies skirts it is important to choose fabrics
suitable for skirt designs and styles. Here are some types of fabrics suitable for ladies
skirts.
1. CHIFFON - Thin fabric semi-transparent and very drapery silk which goes
with the flow suitable for ladies’ skirt.

2. CORDUROY - Fabric that has parallel, lengthwise cords or ridges, originally

made of cotton but today, blends of other fabricated fibers including
polyester, rayon and acrylic is used
3. COTTON -A natural fiber and one of the best and long-lasting fabrics
suitable for skirt.
4. CREPE - Light to medium weight silk suitable for making long skirts.
5. DENIM - Heavy duty cotton, known as one of the best type of fabrics suitable
for ladies skirt.
6. GABARDINE - A twill weave fabric hand washable and do not wrinkle.
7. LINEN -A natural fiber that is derived from a stem of flax plant. Cool and
comfortable to wear, absorbs moisture well, shrinks when washed, does not
ease well.

8. POPLIN - is a fine but thick wool, cotton or silk fabric with a horizontal warp
and a vertical weft made with twice the yarns.

9. SATIN - Made of silk yarn, one of the best smooth fabrics that gives shiny
surfaces suitable for making fashionable ladies skirts.
10. SATIN - Low density, light and comfortable fabric best for ladies skirts show
sparkling look.
11. VELVET - Silky, smooth, heavy and durable with luxurious fabrics suitable
for long skirts.

Determining the Quality and Suitability of the Fabric

There are simple tests that you can perform on samples of fabrics that will
help you determine their qualities and suitability to your purpose.

5
Test by Thumb
Determine the strength and shape-holding qualities both lengthwise and
crosswise of fabrics. With both hands, grasp a sample between your thumbs and
forefingers. Stretch the fabric by moving your hands back so that the thumbs
separate and the fingernails push together. Weak fabrics pull apart or become thin
where they are stretched.

Test by Pin
Determine slippage of threads. Pin a small tuck in a sample. Pull on the fabric
from both sides of the tuck, working back and forth as you pull. If the fabric tears or
pulls away from the pin it would probably pull at the seams.

Test for Sizing

Determine whether stiffening has been added to give a more closely woven
look and firmer feel. Rub the fabric between your hands; observe whether a powder-
like dust falls out indicating stiffening added. If heavily sized, the rubbed part will
look thinner when held to the light and will appear limp and coarse. Sizing dissolves
in water.

Test for Straight of Grain

Examine fabrics to determine whether the fabric grain will need to be
straightened. At one end of the fabric, observe whether lengthwise and crosswise
threads are at right angles to each other. Designs on printed fabric must be exactly
on crosswise grain; otherwise do not purchase.

Test for Wrinkle Resistant

Crumple a corner of the fabric; release it, and note the degree of wrinkling in
it.

Test for Ability to Take Pleats

Fold the fabric crosswise or lengthwise; press with your hands. Note
whether pleats remain or fall out.

Directions: Read the questions carefully, choose the letter which corresponds to
the correct answer and write it in your answer sheet.

1. Relationship between various parts and the whole.

A. Balance B. Harmony C. Proportion D. Rhythm
2. Ability to create a center of interest.
A. Harmony B. Emphasis C. Balance D. Proportion
3. An element that produces sensation to the eye.
A. Shape B. Texture C. Color D. Line
4. White added to Color produces __________.
A. Shade B. Intensity C. Tint D. Value
5. It is the movement of the eyes from one part of design to another.
A. Balance B. Emphasis C. Harmony D. Rhythm

6
 Task Sheet # 1
My Skirt Design

Directions: On a clean sheet of Paper, make a design of a Ladies Skirt that you
desire. Write the details of the design applying the principles, element and the fabrics
suitable for your skirt design. Describe the details of your design. Write a reflection
about the output made.

MODULE 2

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using.

The module is mainly focused on one lesson:

• Lesson 1 - Taking Body Measurement-

After going through this module, you are expected to:

1. identify the different types of skirt.
2. identify the part of the body to be measured for ladies skirt.
3. take body measurement for ladies skirt.
4. determine the types of facing and interfacing.

Lesson
Taking Body Measurement
2
In this lesson learners will be able to identify the different types and styles of
skirt. This will give learners different structures in designing skirts. This will also
helps in choosing the best types of skirt in innovating new styles and design of skirt.

7
 Skirt is a free hanging part of an outer garment or undergarment
extending from the waist down to a particular length of the garment. Ladies skirts
are of different styles, types and shapes. The names of the skirt signify its shape or
design. They are worn to cover the lower part of the body. A dressmaker can make
any style and design on the skirt in different ways based on the figure of the client.

Types of Skirt

1. Straight skirt - referred to as a pencil skirt, this skirt

is a straight line with no flare or fullness at the hem or
waistline. It is a slim-fitting skirt with a straight,
narrow cut line.
a. Short Straight Skirt is a skirt style just above the
knee and it gives a flattering effect to the wearer.
b. Long Straight Skirt is best when they end to the
part of the legs that begins to taper.

2. Pleated/ Tucked Skirt is a type of skirt which has

pleats that create refined vertical line while softening
the figure.
a. A Box pleated skirt – a double pleat having two
upper folds facing in opposite directions and
two under folds pressed toward each other.
b. Fix box pleated skirt- a flat double pleat made by
folding under the fabric on either side of it.
c. Knife pleated skirt- a sharply creased narrow
pleat, usually one of a series folded in the same
direction.
d. Accordion pleated skirt- a series of narrow,
evenly spaced parallel pleats with alternating
raised and recessed folds set into skirt usually by a
commercial pleating machine.

3. Gathered 4. Layered
Skirt usually Skirt were
gathers at the layers of
waist and fabric are
visually adds arranged
weight and from top
down to
bulk to any
hem.
figure.

8
 5. Circular 6. Gored Skirt
skirt - is a style of
Skirt skirt consists
made in circular of four, six,
shape, often by eight or more
use of gores, gores shaped
and hanging in to flare from
unbroken waist to hem.
ripples from This is very
waist to hem; classic, and
also made from is always in Four Gores
a fabric circle. fashion.

7. A-Line/ Flared Skirt is a skirt fuller at the hem than

at the waist and probably the best style for most
women.

STYLES OF SKIRT
There are different variety and style of skirts available due to innovation in
designs. Ladies prepare to wear different style of skirt because it gives good
appearance and adds attraction to the wearer. Here are some styles of skirts that
you can use:

a. Semi-circular skirt – skirt made half the amount of fabric used in circular
skirt.
b. Sarong- a loose-fitting skirt like garment formed by wrapping a strip of cloth
around the lower part of the body, worn by both men and women in the Malay
Archipelago and certain islands of the Pacific Ocean.
c. Peplum skirt - is a short, gathered, slightly flared strip of fabric attached at the
waist of a woman’s blouse, jacket, skirt or dress.
d. Wrap around skirt – a skirt made to fold around or across the body so that one
side of the garment overlaps the other forming the closure.
e. Flounced skirt – a skirt consisting of a strip gathered and sewed on by its
upper edge around the skirt, and left hanging.
f. Draped skirt – an A-line skirt with extra upward ruffled fabric on both sides
usually used as a semi-gown skirt.
g. Bubble skirt, (also called tulip skirt or balloon skirt) a voluminous skirt whose
hem is tucked back under to create a “bubble effect” at the bottom.

9
h. Godet skirt, (go-day'), a skirt with triangular pieces of fabric inserted upward
from the hem to give more fullness. Popular in the 1930s.
i. Culottes, a form of divided skirt, split skirt or pant skirt constructed like a pair
of shorts, but hanging like a skirt.
j. Yoke Skirt -a skirt suspended from a fitted hip yoke

Taking Body Measurement

For Ladies Skirt, here are the parts of the body to be measured and
how measurement is taken.
Parts of the Body
Waistline (Waist Circumference) This measurement is
taken around the smallest part of your waist. You can
tie a string around to find the smallest part. Wrap the
tape around first to find your natural waist, then
measure.
*When measuring a circumference, put two fingers under
the tape measure. This will serve as additional
allowance.’
Upper Hip circumference - measures 2-4 inches
down from waist to locate the upper hip level. Run the
tape measure along the upper hip level.
Upper Hip Level Standard Measurement
Body Figure Standard Measurement
Extra Small -Small 2” (5cm)
Medium 3” (7.5 cm)
Large -Extra Large 4” (10 Cm)

Lower Hip Circumference - Run the tape measure

along the lower hip level where the buttocks are
fullest.
Lower Hip Level Standard Measurement
Body Figure Standard Measurement

Extra small 5 1/2 (14 cm)

Small 6 1/2 (16.5 cm)

Medium 7 1/2 (19 cm)

Large 8 1/2(22 cm)

Extra Large 9 1/2(24.5 cm)

Skirt length. Run the tape measure

from the waistline level down to the
skirt length desired. Skirt length may
vary depending on the skirt style.
Skirt Length
a. Regular Skirt Length (above the knee)
b. Mini Skirt Length (mid-leg)
c. Midi Skirt Length (mid-knee)
d. Maxi skirt Length (ankle)
e. Long Gown Length (sole)

10
 Bust Width (Bust Distance) - measure from bust
point to the other bust point. This measurement is
needed for making darts of the skirt.

Below is a sample measurement chart, these charts show the actual measurement
taken and the computed measurement for drafting the pattern.
PERSONAL MEASUREMENT CHART (PMC)

Customer’s Name ____________ Date Taken: __________

Body Parts to be Actual Body Measurement Computed
Measured Measurement Needed Measurement
(Pattern Measurement)
Waist Circumference 24”(61cm) 1/4 6” (15.5 cm)
Upper Hip
32”(81.5 cm) 1/4 8” (20 cm)
Circumference
Lower Hip
36”(91.5 cm) 1/4 9”(23 cm)
Circumference
Bust Width 6” (15.5 cm) 1/2 3” (7.5 cm)
Skirt Length 18”(45.5 cm) 18” (45.5 cm)

Types of Facing and Interfacing

Facing and interfacing is important part in garment construction this makes

the garments into smooth finished.

Facing -a layer of material covering part of a garment and providing contrast,

decoration.
Types of Facing

1. Shape Facing - same shape of fabric is attached to the necklines, armhole for
smooth finish.
2. Bias Facing - a piece of narrow strip fabrics is attached to shape the curves as it
finish.
3. Extended Facing - commonly used for front and back openings, an extension of
fabrics is attached and folded-in for smooth finished.

Interfacing - special fabrics used to strengthen or stiffen specific parts of a garment,

such as collar, cuffs, facing and pocket tops. They are made in light, medium and
heavyweight to match the fabric weights, and can be either fusible or sewn-in.

Types of Interfacing

1. Knit - is preferable on sheer and fine fabrics where fusible adhesive might show
through the fabric.
2. Non-woven - are idea for general use. For more advanced work and for tailoring,
3. Woven - use fr more advanced work and for tailoring. On sheer fabric, matching
organza or lawn can be used instead of interfacing.

11
Directions: Identify the different types of skirts below; write your answer on the
box provided.

Task Sheets No. 2

Taking Body Measurement

NAME: ___________________________________________ GRADE & SECTION::__________

SUBJECT:________________________________________ DATE:________________________

Directions: Have one member of your family as your model in taking the skirt
measurement. Take the accurate measurement according to the style of skirt. Record
a video of the actual measurement and send it as instructed by your teacher. Use
the table given on Personal Measurement Chart (PMC).

PERSONAL MEASUREMENT CHART (PMC)

Actual Measurement
Parts of the Body
cm Inch
Waist Circumference
Upper Hip Circumference
Lower Hip Circumference
Bust Width
Skirt Length

12
 MODULE 3

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using.

The module is mainly focused on one module, specifically:

• Lesson 1 – Draft, Manipulate and Cut Final Pattern

After going through this module, you are expected to:

1. draft the basic/block pattern for ladies skirt.
2. manipulate basic/block pattern for ladies skirt
3. apply techniques in cutting pattern for ladies skirt.

Lesson Draft, Manipulate and Cut Final

1 Pattern
In this lesson learners will be able to understand and follow the procedure in
drafting the basic/block pattern for ladies skirt. They should be able to draft the
basic/block pattern for A-line skirt, manipulate and cut the final pattern.

Drafting Basic/Block Pattern of the Skirt

Patterns are carefully drafted to give

accurate results. They serve as valuable guide
in laying, cutting and assembling the different
parts during sewing.
Pattern drafting gives the dressmaker a
blueprint of what a garment will look like. It
also serves as a guide for the dressmaker.

13
 Kinds of Pattern

1. Block or Foundation Pattern - is a simple

pattern which contains the exact body
measurements and reflects no definite style,
2. Style or Construction Pattern- shows the
style of the garment to be constructed. It
contains the necessary seam allowances that are
found in the finished garment.
3. Final Pattern - a pattern use for lying out
and transferring marks on fabrics, this pattern
provided with allowances at pattern markings.

Pattern Markings (Symbols) are universal symbols and lines designed to help the
sewer put the pattern pieces together quickly, easily and successfully.

Drafting the Fundamental Lines for the Skirt Sample Pattern

This line serves as a guide in drafting the front and back pattern.
Procedures:
1. On your pattern paper, draw a perpendicular
line T. Mark the midpoint as 1.
2. From 1, measure 1/2” (1 cm) down to get 2.
3. From 1, measure 3/4”(1.5cm) down to get 3.
4. From 1, apply the Lower Hip Level
measurement down to get 4.
5. From 2, apply the skirt length down to get
5F(fron
6. From 3, apply the skirt length down to get 5B
(back)
7. Square 4 on both ways (left and right)
8. Square 5F to the right
9. Square 5B to the left
Drafting the Back Skirt Pattern
On the basic back skirt pattern, from 1 to 6B, use
one-fourth waist measurement plus 1 1/2”( 4 cm).
Connect 3 to 6B with a broken line.
1. From 4 to 7B, use one-fourth Lower Hip
measurement plus 3/4”(1.5 cm). Connect 6B to 7B
by using a hip curve.
2. From 5B to 8B, use one-fourth Lower Hip
measurement plus 1/2”(1 cm). Connect 7B to 8B
with a straight line.
3. From 3 to 9B, use one-half bust point width minus
3/4”(2 cm).
4. From 9B to 10B, measure 1 1/2”(4 cm).
5. Get the midpoint of 9B and 10B, and mark this
11B.
6. From 11B to 12 B, measure 5 1/2” (14 cm). Connect
9B, 10B, and 11B to 12B to form the waist dart.
7. Fold 11B over 10B. Connect 3 to 6B with a slight
curve.(use hip curve)
8. From 6B to 13B, use the back skirt side length.
9. Connect 5B to 13B with a slight curve.(use hip
curve)

14
 Drafting the Front Skirt Pattern
1. On the basic front skirt pattern, from 1 to 6F, use
one-fourth waist measurement plus 1 ”(2.5 cm).
Connect 6 to 6F with a broken line.
2. From 4 to 7F, use one-fourth lower hip
measurement plus 3/4”(1.5 cm). Connect 6F to
7F using hip curve.
3. From 5F to 8F, use one-fourth lower hip
measurement plus 1/2”(1 cm). Connect 7F to 8F
with a straight line.
4. From 2 to 9F, use one-half bust point width
minus 1/2”(1.25cm)
5. From 9F to 10F, measure 1”(2.5 cm.)
6. Get the midpoint of 9F and 10F, and mark this
11F.
7. From 11F to 12F, measure 4 1/2”(12 cm).
Connect 9F, 10F, and 11F to form the waist dart.
8. Fold 11F over 10F. Connect 2 to 6F with a slight
curve. (use hip curve)
9. From 6F to 13F, use the front skirt side length.
10. Connect 5F and 13F with a slight curve. (use
hip curve)

In this pattern you can directly draft pattern using the procedure in drafting
the basic/block pattern or if you have prepared the block pattern you can use this
pattern to make it easier for you to draft the style you want.

Drafting an A line Straight Skirt Pattern

Drafting the Front Straight Skirt Pattern

1. From the edge of the pattern paper measure 2 inches (5 cm)
down and mark it as point A.
2. Trace your cut block/basic pattern. Mark all points on the
pattern paper including darts.
3. From 7F square down to line 5F. Mark intersection as point
B
4. From B measure 11/2”(4cm) and mark point C.
5. From C raise 1/2”(1 cm) mark point D
6. Connect 7F to D and 5F to D with slight curve.
Drafting the Back Straight Skirt Pattern
7. From the edge of the pattern paper measure 2”(5 cm) going
to the right and 2” (5 cm) down and mark it as point A.
8. Trace your cut Back block/basic pattern. Mark all points on
the pattern paper including darts.
9. From 7B square down to line 5B. Mark intersection as
point B.
10. From B measure 11/2”(4cm) and mark point C.
11. From C raise 1/2”(1 cm) mark point D
12. Connect 7B to D and 5B to D with slight curve.
13. From 3 measure 7” (18 cm) mark E for zipper point.
14. From 3 measure 1 inch outward for zipper allowance mark
point F, square down to line 5B mark point G.

15
 Waistband
1. From A measure waistline and mark point B.
2. From B measure 3” and mark point C.
3. From A measure 2 1/2”(6 cm) and mark
point D.
4. From C measure 2 1/2”(6 cm) down and
mark point E.
5. Connect C and E, D and E
6. Get the center of A and D mark point F
7. Get the center of C and E and mark point G. Connect F and G.
8. Measure 1/4”(0.5cm) allowance on all sides of the waistband.
For interfacing: Cut pellon half of the measurement of waistband patten

Altering the basic/block pattern

Adjustments to the fit of a garment must be made before the pattern is cut
out. Once you cut the pieces out of the fabric, it is too late to add extra inches that
you may need. If the garment is too large, the extra effort in redoing your work to
make the garment fit is tedious and discouraging.

General Principles for Pattern Alterations

According to Ines Alcantara de Guzman, in her module in Dressmaking I, there are

four principles applied to all pattern alterations:

1. Preserve pattern outline whenever possible.

2. Preserve the original grainline whenever possible.
3. Avoid changes that disturb darts or decorations, by making changes
between the dart and outside edge whenever possible.
4. When altering adjoining edges, proportional length must be preserved.

These are best accomplished by using slash and spread, slash and overlap or
pleat method.

The Slash and Spread Method The Slash and Overlap or Pleat
Method
1. Skirt is lengthened
between hip and 1. Length of skirt is
hemline reduced in between
2. Position line for hips and hemline
increasing width of
waist, hip and 2. Position line for
hemline reduction in width
3. Alterations of the of waist, hip and
waistline must be made on both bodice hemline.
and skirt.
Example:
Example
Lengthening or Shortening Skirts Making a shirred or pleated skirt
from the basic pattern:
To lengthen the fitted skirt

16
 1. Starting below the hip, slash all
sections of the skirt through
and at right angles to the
grainline.
2. Spread the desired amount
keeping grainline straight
3. Increase width below the
spread by extending cutting
lines to conform toslant of the 1. Determine needed allowance for
upper section on both sides of pleated or shirred skirt. For pleated
the pattern (a to c, b to d), and skirt, number of pleats x depth of
adjust seamlines to parallel. pleats.
4. Slash the pattern and spread 2. Draw a straight line from the
putting the pieces of paper in between. hemline to the dart.
Pin all sides. 3. Cut from hemline to waistline.
5. When the enlargement extends only 4. Spread the pieces together.
partially through the pattern section, 5. Insert the paper. Retrace and cut
slash, spread and pin to heavy paper. excess.
6. If the slash crosses the grainline, be
sure his grainline is kept straight when
pattern is spread.

To shorten the fitted skirt

1. Starting below the hipline, fold a

pleat, half the
desired amount of
the skirt keeping
approximately
parallel to the
waistline (a to b in
figure below)

2. Straighten
seamline by trimming excess pattern,
tapering from a to c and b to d.

Techniques in Cutting Final Pattern

Before cutting out, sort out all the pattern pieces that are required for the
item you are making. Check them to see if any have special cutting instructions. If
there are no more alterations to be made, just trim patterns to your size.

1. Identify which size to be used for different areas of your body. Use a colored
pen and trace the cutting lines.

2. Use a sharp pair of scissor in cutting the pattern. If you slip and make a cut
where you shouldn’t have, simply tape it back into place. The important thing
is that the shape is retained and that you can still read the markings. Cut
carefully along the cutting lines.

3. Check for seam allowances. Notice the grain lines. The word “directional”
means moving with the grain. In cutting garment pieces from fabric , look at

17
 the pattern piece. You will notice that by cutting from wide to the narrow part
of a piece, you cut with less pull on the grain of the fabric. This is called
directional cutting.

4. Use long, even stroke about 1 inch from the end of the blades of the shears. If
you close the blades with each stroke, the result cut edge will be choppy and
uneven.

5. As you come to the notches (diamond-shaped marks) on the cutting line, cut
them around away from the pattern.

6. Trim multi-size pattern pieces. Single-size pattern pieces do not need to be cut
to shape; just cut around them roughly if there is excess tissue.

Directions: Read each statements carefully and choose the letter of the best
answer. Write it on your notebook. (15 pts)
1. In drafting the waist dart of the skirt which of the following is the needed
measurement?
A. Skirt length B. Bust point width C. lower hip level D. waist
2. Adjustment to the garment must be made before the pattern is cut. What process
is this?
A. Altering B. Cutting C. Folding D. Revising
3. When cutting the pattern use a sharp ________?
A. Cutter B. Scissor C. Trimmer D. Shear
4. In drafting an A-line skirt how many inches is added to the hemline to form an A
shape?
A. 1” B. 2” C. 1 1/2” D. 2 1/2”
5. Which of the following pattern markings is a symbol for fold?

A B. C. D.

Task Sheets # 3
Draft the basic/block pattern for Straight Skirt

NAME: ________________________________________GRADE & SECTION:_____________

SUBJECT:_____________________________________ DATE:__________________________

Directions: Using the Measurement Chart below draft the basic/block pattern for
ladies skirt following the procedure from fundamental line, back and front pattern.

18
 PERSONAL MEASUREMENT CHART (PMC)
Body Parts to be Actual Body Measurement Computed
Measured Measurement Needed Measurement
(Pattern Measurement)
Waist Circumference 24”(61cm) 1/4 6” (15.5 cm)
Upper Hip
32”(81.5 cm) 1/4 8” (20 cm)
Circumference
Lower Hip Level 7 1/2” (19 cm) 7 1/2”(19 cm)
Lower Hip
36”(91.5 cm) 1/4 9”(23 cm)
Circumference
Bust point width 6” (15.5 cm) 1/2 3” (7.5 cm)
Skirt Length 18”(45.5 cm) 18” (45.5 cm)

Tools and Materials

¼ Pattern Paper, French curve , L-square, Ruler, Tape measure, Hip-curve

Note:

*In the absence of L-square and ruler you can use (Tape measure, Ruler and French curve)

*Take photo or video while doing the activity you may ask assistance from members of the family or
nearby relative.

MODULE 4

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course.

The module is mainly focused on one module, specifically:

• Lesson 1 – Prepare, Lay-out, Cut Fabric and Mark

After going through this module, you are expected to:

1. determine the preliminaries before laying-out pattern.
2. lay-out pattern pieces
3. cut the fabric appropriately
4. transfer markings on cut fabrics

19
 Lesson Prepare, Lay-out, Cut Fabric and
1 Mark

Fabric must be prepared well before laying-out process. Here are the preliminaries
in preparing the fabrics:

1. Preshrink the fabric to avoid shrinkage in fabric and remove excess colors of the
fabric.
2. Press the fabric it will be easy to layout if the fabric has flat and smooth surface.
3. Check the fabric grain to make sure that the fabrics is straight. You can do the
following techniques:

A. Tearing across the grain at the end of your fabric grain.

B. Pulling a thread across the width of the fabric ends.
C. Cutting along a dominant line in the pattern or weave.
D. Fold lengthwise, match selvage to see if the end match
E. Gently full on the fabric’s end from opposite corner if the fabric need to
be straighten.

PRINCIPLES OF LAYING-OUT PATTERN PIECES

Patterns lay-out is a process were fabric is laid out to determine if the cloth
is enough for all the pattern pieces. In this method, lay out all pattern pieces in
various positions on the fabric by trial and error until they all fit on the cloth. When
all pattern pieces have been laid out, pin them securely on the fabric.

A. Determining the Right and the Wrong Side of the Fabric

Before making a layout, determine the right side and the wrong side of the
fabric. Fabric with printed designs is easy to identify but difficult for fabrics with
plain colors because they are reversible. Tips to help you determine the right and the
wrong side of the fabric:

1. The selvage, or the finished edge of the fabric is smoother on the right side.
2. Loose thread ends can be found on the wrong side of the fabric.
3. Fabrics are folded right side in.
4. Prints are clearer and brighter on the right side.

KINDS OF FABRIC FOLDS

1. Lengthwise centerfold- The fabric is folded lengthwise at the center with selvages
together.
2. Crosswise centerfold- The fabric is folded crosswise at the center with the raw
edges together.
3. Off-center lengthwise fold- The fabric is folded lengthwise with the raw edges
meeting at the center.

20
4. Off-center crosswise fold- The fabric is folded crosswise with the raw edges
meeting at the center.
5. Angular fold - this fold is used for circle and semi-circle skirts, the fold is done
in a triangle fold.

B. Laying Out Pattern Pieces

Depending on the fabric’s width, be sure to fold the fabric on grain. Be sure
to put in and mark the necessary allowances on all parts of the garment.

Pointers in Laying out Patterns

1. Make a temporary pattern layout especially if the fabric is too small.

2. Determine the right side of the fabric.
3. Fold the fabric with the right side in and the wrong side out on a
lengthwise centerfold.
4. Always make your layout on the wrong side of the fabric. Pattern markings
should not be seen on the right side.
5. Lay out big pattern pieces first. Fit the small pattern pieces in between the
large pieces. Fit the pieces close together to avoid wastage.
6. Check that the design and grain line of the pattern correspond to those of
the fabric.
7. Pin the patterns in place. Pins should be placed outward perpendicular to
the seam line and along the seam allowance space.

How to Layout Pattern Pieces of the How to Layout Pattern Pieces of a

Basic Straight Skirt Pattern on the Basic A-Line Skirt on the Fabric
Fabric

On a 45-inch width fabric On a 60-inch width Fabric

21
POINTERS IN CUTTING THE FABRIC

1. Place the fabric and pattern flat on the table. Avoid moving or lifting the
fabric while cutting.
2. Walk around the table as you cut instead of pulling the fabric toward you
because the fabric may slip or stretch out of shape.
3. Use sharp shears for cutting, making long strokes along straight edges and
short, even strokes along curved edges. Cut the edge straight since it
serves as your guide in sewing.
4. Cut the fabric starting from the widest to the narrowest part of the pattern.
Begin cutting at an edge which is easy to reach.
5. Cut with smooth, even strokes.
6. Keep the cutting edge of the top blade of the shears directly above the
lower blade. Do not let the blades slant toward the table.
7. Cut similar patterns at the same time by cutting them out from two layers
of fabric.
8. Close the points of the shears right up to the notch. Close the points at the
exact stopping place. Cut outward from the pattern to the exact tip of the
notch. Cut inward to complete the notch at the cutting line.
9. When cutting curves, make your strokes shorter. Keep the free hand close
to the cutting line to have smooth curved line.
10. Set aside cut fabric pieces to avoid cutting them accidentally as you work
on other parts of the fabric.
11. After cutting, do not remove the pins and patterns because you will need
them in marking your fabric.
12. Collect and tie all scraps of cloth together for future use. You may be able
to use these for your recycling projects.
The following are the general details to be marked:

1. seam lines along curves and corners

2. position of pockets
3. stitch lines
4. center lines for the front and back opening, facings and interfacing
5. darts
6. location of buttons and button holes
7. points where stitching lines should stop
8. fold lines
9. any other special markings used to construct the garment

GUIDELINES IN TRANSFERRING MARKS ONTO THE FABRIC

1. Details should be marked on the wrong side of the fabric where most construction
lines are needed.
2. If you use a tracing wheel and dressmaker’s carbon paper, mount these on a
piece of heavy cardboard to protect table surfaces.
3. Use white tracing paper whenever possible because it is safe and easy to remove.
4. Use a ruler to make straight lines with the tracing wheel. Run the tracing wheel
along the edge of the ruler with a firm and steady motion to avoid double lines, which
can be confusing.
5. When marking curves, slant the tracing wheel slightly inward toward the center of
the curve.
6. Avoid retracing or going over the line twice.
7. There are various methods in transferring pattern marking. Tailor’s tacks are good
for circles and dots, or mark these with a water or air-soluble pen (when using a pen,

22
test it on a piece of scrap fabric first). For lines, you can use trace basting or a tracing
wheel with dressmaker’s carbon paper.

METHODS OF TRANSFERRING PATTERN MARKING

1. By Using Tailor’s Tacks

Often, dots are of different sizes so it is a good idea to choose
different colors of thread for each dot size. It is the easy to match
the colors as well as dots. Use double thread in your needle,
unknotted. Insert the needle through the dot from right to left,
leaving a tail of thread. Be sure to go through the tissue and
both layers of fabric.

1. Now stitch through the dot again, this time from top to
bottom to make a loop. Cut through the loop, then snip off
excess thread to leave a tail.
2. Carefully pull the pattern tissue away. On the top side, you
will have four threads marking each dot. When you turn the
fabric over. The dot positions will be marked with an X.

3. Gently turn back the two layers of fabric to separate them,

then cut through the threads so that thread tails are left in both
pieces of fabric.

2. By Using Tracing Paper and Wheel

This method is not suitable for all fabrics as the marks may not
be able to be removed easily. Slide dressmaker’s carbon paper
against the wrong side of the fabric.

1. Run a tracing along the pattern lines (a ruler will help you
make straight lines)
2. Remove the carbon paper and carefully pull off the pattern
tissue. You will have dotted lines marked on your fabric.

3. By Using Markers

1. This method can only be used with a single layer of fabric.

Press the point of the pen into the center of the dot marked on
the pattern piece.

2. Carefully remove the pattern. The pen marks will have gone
through the tissue on the fabric. Be sure not to press the fabric
before the pen marks are removed or they may become
permanent.

23
4. By Trace Tacking

1. This is a really useful technique to mark center front

lines, foldlines, and placement lines. With double thread in
your needle, stitch a two of loopy stitches, sewing along the
line marked on the pattern.
2. Carefully pull away the tissue. Cut through the loops,,
then gently separate the layers of fabric to show the
threads. Snip apart to leave thread tails in both of the
fabric layers.

Directions: Read each item carefully, fill-in the blank with correct word/s that
corresponds to the statement. Write the letter of the correct answer on your
notebook (10 pts).

1. The selvage or the finished edge of the fabric is _________on the right side.
A. soft B. rough C. smoother D. coarse
2. Prints are clearer and brighter on the ____________side.
A. Front B. Back C. wrong D. right
3. Always make your lay-out on the wrong side of the fabric. Pattern_________ should
not be seen on the right side.
A. lines B. grain C. markings D. dots
4. Fold ________match selvage to see if the end match.
A. across B. crosswise C. lengthwise D. an angle
5. Pin the patterns in place. Pins should be placed ___________perpendicular to
seam line and along the seam allowance space.
A. across B. inward C. outward D. inline

Task Sheets No. 4

Cutting Fabric
NAME: ___________________________________________ GRADE & SECTION::__________
SUBJECT:________________________________________ DATE:________________________
Directions: Using your final pattern for skirt, perform the preparation and laying-
out pattern pieces. You may ask assistance from family member or relative nearby.
Take photos while performing the task and photo of Final Lay-out.

Tools and materials:

Fabrics (1 yard 60” width or 45” width) Pins/ Pin cushion

Final pattern A-line Skirt Weights

24
 MODULE 5

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using. On specific, this module will help you to deepen
your understanding about Pressing Techniques.

The module is mainly focused on one lesson:

Lesson 1: Pressing Techniques

• LO 3. Assemble garments parts: Pressing Techniques
After going through this module, you are expected to:
1. differentiate pressing and ironing.
2. identify the pressing tools and equipment used in pressing.
3. follow the techniques in pressing; and
4. apply the pressing technique in assembling garments parts.

Lesson
Pressing Technique
1

PRESSING TECHNIQUES

Pressing: Why is it important?

Pressing can straighten grain lines and
preshrink fabric, and it eliminates wrinkles
before laying on the pattern. The center crease
line should be pressed out of folded fabrics.
Wrinkled tissue pattern pieces may be pressed
smooth with a warm iron as an aid to accurate
cutting.
http://yesterdaysthimble.com/tutor
ials/basics-pressing-as-you-sew/

25
General Directions for pressing Seams
➢ Thoroughly smooth the stitching line of any seam by pressing before
opening the seam allowances or turning to one side.
➢ Press straight seams over straight pads and curved seams over
pressing cushion to give them the correct shape.

➢ Always press a seam before cross-stitching it with another seam.

Straight Seams
➢ Press seam allowance open with tip of iron for an inconspicuous
appearance. For some construction procedures press both edges
of seam to one side. The seam may be pressed open before
turning and pressing the edges to one side. This may give a flatter
line on some fabrics.

Lapped Seams
➢ Press the turned edge of the top layer before placing it over the under
layer. Steam press completed seams.

Curved Seams
1. Press seams with outward curves open over a seam board or near the
edge of pressing board. Press only 2” to 3” at a time. Complete the
pressing over a rounded cushion or rolled Turkish towel, taking care
not to shrink or stretch the seam line. Shrink edges of allowances to
flattened seam for a better fit.
2. Clip seams with inward curves to within ¼” of stitching. Press seams
open at seam line over seam board. Do not press beyond seam line at
each side.
Waistline Seams
Press seam allowances open, then press both edges together. Leave the
seam allowances open if neither bodice nor skirt is bulky at waistline
seam.
Darts
1. Press dart along the line of stitching.
2. Press waistline and shoulder darts
toward the center front and center back,
underarm darts toward the waistline,
and elbow darts toward the wrist.
3. Clip darts which taper at both ends at
the center to within ¼” of the stitching
line, press toward the center front or https://sewguide.com/sewing-darts/
back of garment.
4. Press darts over a rounded cushion to shape the curve.
5. Clip darts open in heavy fabrics to within 1” of point of stitching line; press
flat.

26
Pleats
Press pleats from hem to waistline.
Zipper Plackets
1. Place the garment at the right side down over a well-padded surface such
as a Turkish towel.
2. Place a pressing cloth over a placket. Hold iron lightly over placket and
press from smaller part of garment to bigger one, such as from waistline
to hip.

Hem
➢ Press a skirt hem up from the lower edge to avoid stretching. Hems
may be pressed from either side. From the right side, press over a well-
padded ironing board. (Imprint will not come through to right side.)
➢ Use a heavy pressing cloth. Hems will lie flatter if fulness is shrunk out
with steam before sewing on seam tape.
➢ Curve the hem tape for a flared skirt by stretching the outer edge as
the tape is pressed in a circle. (Experience Clothing)

DIFFERENCE BETWEEN PRESSING AND IRONING

You will always hear the word pressing rather than ironing in sewing. And that
is not something that’s happening by chance because there is a difference for
using the iron for pressing vs. ironing.

Ironing and pressing are often used interchangeably but are two separate
techniques. Ironing is the back and forth sliding motion most of us are familiar
with the regularly at home. Pressing is the placing of the iron on the fabric,
holding it there, and then removing. (https:/www.heirloomcreations.net)

Pressing is when you use the motion of holding down lifting the iron away from
the fabric.

In sewing, we press our garments because the motion of pressing allows to use
the heat and moisture to set the stiches to the fibers of the fabric.
With ironing, on the other hand, you glide the iron up and down and move slowly.

What basic equipment is used for pressing?

The necessary equipment needed for pressing your garments is nothing but what
you will already have at home, and that is as follows:
Every garment sewer should have small army of pressing tools on hand to help
make each step along the wat easier.

1. Clothes iron – (also flat iron or smoothing iron) is a small appliance that, when
heated, is used to press clothes to remove creases and help prevent the infectious
diseases.
2. Ironing board- is a sturdy surface with narrow end and adjustable height. You
need sturdy surface to press your sewing projects.

27
3. Sleeve board- is a small, padded ironing board that has little different and
shape than a full-size board. It sits on top of full-size ironing board, or a table
and is used to press sleeves, bags, or other narrow tube-like shapes.
4. Tailor’s /pressing ham- is similar in function and look to a seam roll,
however, it is more of an oval shape and literally looks like ham. It has the same
firm padding and covering as the seam roll. The ham is used to flatten the curves,
like hip curves, princess seams, or sleeve caps.
5. Seam roll- is a long, cylindrical tube that is firmly padded and covered with
wool on one side and heavy cotton on other. It is used to press open seams. The
cotton side is used to press most fabrics, while the wool side is used for woolens.
6. Pressing cloths- is an open weave piece of cotton or muslin that is placed
between the fabric and the iron. It helps to protect the right side of the garment
from shine.
7. Clapper- is a smooth, usually wooden block that is used for a couple of things.
The clapper or pounding block is used to create a strong crease in trousers,
collars, hems, pleats, or facing. (https:/www.myblueprint.com)

Directions: Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.

1. A certain process in garment construction that removes the wrinkles and

smoothen the appearance of our clothes. What do you call this process in garment
construction?
a. washing b. ironing c. bathing d. rinsing
2. There are thing to remember when you press garments: EXCEPT.
a. The light touch
b. Let the weight of the iron do it for you
c. Cooling.
d. press with pins on,
3. This is a well-padded miniature of a full-sized ironing board used to press small
details in the clothes. What do you call this miniature ironing board?
a. sleeve board c. pressing board
b. sleeve iron d. pressing iron
4. One of the essential that needed in pressing or ironing used in garment
construction. Which of the following essential that needs in pressing or ironing
in garment construction?
a. clapper c. clothes iron
b. iron stand d. pressing cloth
5. In dressmaking shop, a sewer assistant used sturdy surface to flatten the
curve and remove wrinkles for the finished garments. Which of the following
materials used by assistant sewer?
a. seam roll c. ironing board
b. pressing ham d. pressing clothes

28
 Task Sheets No. 5
Pressing Techniques

NAME: ___________________________________________ GRADE & SECTION::__________

SUBJECT:________________________________________ DATE:________________________

Directions: Read the statement below and classify them if they are under DO or
DON’T column. Do this in your TLE notebook.

DO’s DON’Ts

1. Pressing is when you use the motion of holding down lifting the iron close from
the fabric.
2. Seam roll is firmly covered with wool one side used for woolen fabric while the
cotton side used to press most fabrics.
3. Never press a seam before cross-stitching it with another seam.
4. With ironing, on the other hand, you glide the iron up and down and move
fast.
5. Press without pins on.

MODULE 6

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using. This module will also help you to deepen your
understanding about Sew and Assemble Skirts.
The module is mainly focused on one lesson:
Lesson 1: Sew and Assemble skirt
• LO 3. Sew and Assemble skirts
After going through this module, you are expected to
1. follow the procedure in assembling ladies skirt.
2. identify the parts of ladies skirt.
3. prepare the parts for sewing.
4, define the unit method of construction.

29
 Lesson
Sew and Assemble Skirt
1

PRE-ASSEMBLING PROCEDURE

A method of assembling a garment for a person comprises assembling a

collection of different versions of each of a plurality of different parts of a garment.
Example, sleeves, bodices, skirts and it is presented the collection of garment parts
to a customer for selection, fitting individual selected ones of the garment’s parts.
(https://patents.google.com)

Skirt Unit

Front
1. Stay stitch waistline on seamline from sides through center front.
2. Stitch the darts, Slash and press open curved darts.
3. Finish the bottom edge of the facing with the side seams folded out.

Back and Side Seams

1. Stay stitch waistline on seam line
from side to center.
2. Stitch darts and press toward
center.
3. Stitch skirt front to back at side
seams. Press seams open.
4. Connect the side seams of the
skirt, except where the zipper will
be attached.

Procedure in Assembling Ladies Skirt

The sequencing for the unit method of construction of the different parts of the skirt
will be basically the same for all skirt types. It is a must, that one should master the
steps in attaching the seams, zippers, pockets, and waist bands. Mastery is achieved
with constant practice.

30
How to prepare the basic straight skirt and basic A-line skirt for sewing
construction

1. Stay Stitch the waistline ¼ of an inch (.7cm.)

above the waistline’s sewing line markings. This is
done so that the part which is curved will not stretch
due to handling since the edge of the waistline will
not be finished.

2. If you do not have an over-edging machine to

finish the raw edges of
the different skirt parts finish the raw edges of the
side seams and back center seam by folding the edge
by ¼ of an inch (or 0.7 cm.). Machine stitch on the
fold. The edge of the waistline need not be finished
for this will be covered with a waistband. The edge
of the hemline may be finished after the side seams
and zipper seams have been sewn together.
3. Fold the dart on the center line and join the outer
lines with pins. Sew together. Start sewing from the
top of the dart allowance to the bottom. Leave tails
of threads at the bottom. Knot these together around
three times to prevent the stitches from unraveling.
Since the dart is a vanishing line, it is not advisable
to lock stitch the end of the dart for this will not
achieve a fine point.
4. Pin the center back together. Leave unpinned
where the zipper will be attached. Get an 8-inch
(20cm.) zipper. If you want a slit at the bottom of the
skirt, leave this unpinned, too. Machine sew the
center back together and where slit is. Lock both
ends by back stitches so that machine sewing will
not unravel.

5. Fold both sides of the zipper allowance on the

main part of the back skirt. Then hand baste the top
portion of the fold with reinforced basting to keep it
in place.

How to Prepare the Four-Darted Skirt with Waistline Facing for Sewing
Construction
1. Finish the bottom edge of the facing with the side seams folded
out.
2. Finish the side seams and center seams of the shirt.
3. Close all darts of the front and back skirt.
4. Connect the side seams of the skirt, except where zipper will be
attached.
5. Attach the zipper to the skirt.

31
 HOW TO SEW THE OVERLAP SLIT
Reverse the skirt to the wrong side.
Cut on the zipper allowance 1 inch
(2.5cm.) below the zipper on the
right (hand) side of the skirt when
torn.
Fold the whole length of the zipper
allowance and slit allowance of the
right (hand) side of the skirt when
worn towards the other side. Hand
baste the slit allowances together.

Fold the length of the zipper

allowance and slit allowance of the
right (hand) side of the skirt when
worn towards the other side. Hand
baste the slit allowances together.

Reverse the skirt to its right side.

Machine sew together on a diagonal
line, the overlap slit to the under
lap slit.

Fold the hemline for finishing

How to Prepare the Waistline Facing of the Four-Darted Skirt with
Waistline Facing and Overlap Slit

1. Join together the side seams of the skirt by machine sewing them.

2. Working on the wrong side of the facing, finish one side of the facing by
folding up ¼ of an inch (.07cm.) and machine sew the fold, with the seam
allowances flattened to the waist band proper.

How to Connect the Waistline Facing to the Skirt

1. Starting from the center of the waistline of the skirt and the center
of the waistline of the facing, pin the centers together. Pin baste along
the entire span of the waistline. Fold the zipper allowance of the facing

32
2. Hand baste first, or machine sew directly after pin basting

3. Machine sew along the sewing lines

4. Cut excess sewing allowances, leaving behind ¼ of an inch (0.06

cm.) allowance

5. Snip in regular intervals along the waistline, so that the facing and
the skirt will follow the curve of the waistline in a relaxed manner

6. With the right side of the skirt facing you, fold up the facing with the
sewing allowances laying on the facing. Pin baste them together.

6.1 Work from the right side of skirt.

As seen from the wrong side of the skirt.

33
 7. Hand baste where you have pin basted

Work on the right side of the skirt

As seen from the wrong side of skirt

8. Machine sew on the right side of the skirt.

Work on the right side of the skirt.

9. Fold in the facing towards the wrong side of the skirt by pin basting it.
Then secure the facing to the skirt by hand stitching connecting the facing
to the skirt on the seams and folds of the dart. This way the stitches will not
appear on the right side of the skirt.

10. After all the finishing is done, the reverse of a four darted skirt with
waistline facing will look as illustrated below’

UNIT METHOD OF ASSEMBLING LADIES SKIRT

What is the unit method of construction?

Unit method of construction is the system of sewing a garment part by part or
unit by unit.
A unit is a separate part of a garment. When the cloth is cut, each portion
becomes a unit.

PARTS OF SKIRT

34
Directions: Identify the parts of skirt. Write you answer in your TLE notebook

Directions: Read each statement below carefully. Write TRUE on the line if you
think a statement is TRUE. Write FALSE on the line if you think a statement is
FALSE
________1. Hand baste where you have pin basted. Work on the wrong side of the
skirt. As seen from the wrong side of skirt.
________2. With the right side of the skirt facing you, fold up the facing with the
sewing allowances laying on the facing. Pin baste them together.
________3. Hand based on the right side of the skirt.
________4. Forepart the skirt to its right side. Machine sew together on a diagonal
line, the overlap slit to the under lap slit.
________5. Snip in regular intervals along the waistline, so that the facing and the
skirt will follow the curve of the waistline in a relaxed manner

MODULE 7

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using. This module will help you to deepen your
understanding about Alter Completed Garments.

35
The module mainly focused on one lesson, specifically:
Lesson 1: Alter Completed Garments
• Characteristics of a well-fitted skirt.
• Evaluation of finished ladies skirt.

After going through this module, you are expected to

1. comprehend the characteristics of a well-fitted ladies skirt.
2. evaluate the finished ladies skirt.

Lesson
Alter Completed Garments
1

Alteration (n.)
a change made in fitting a garment –Merriam-Webster Dictionary

Alterations are changes made to a garment to improve the appearance and fit of it
according to the wearer’s preference. It can make a garment look like it was
custom-made for the body of the wearer. It is an important skill for a sewer to have
but even a person who loves sewing can do it to their own clothes as well.
Characteristics of a Well- Fitted Skirt
A skirt should lie smoothly at the waist and hip areas. There should be enough
ease so the garment hangs straight from the hips and stomach. Correct fit is one of
the first requirements for a becoming garment. The fabric may be beautiful, the
garment design is fashionable, and the construction is perfect, but the appearance
can be ruined unless the garment fits you.
Proper fit is necessary for maximum comfort, too. Fitting standards are called
“snug,” “easy,” and “loose” with perfect fit described as “easy fit.” Although there
are basic guidelines to judge fit, it is an individual matter. Some people insist on
wearing only smooth, well-fitted clothing while others are contented with wrinkles,
bulges, and binding areas. As you gain more experience, you will be less contented
with poorly fitted garments.
Garments that fit well are appreciated by all. Not only does it enhance the beauty of
the wearer, it also adds to the comfort of the wearer. Knowledge of standards for a

36
good fit and techniques that influence the fit help the seamstress in planning a
well-fitting garments.
Checklist of a Well-fitted Garment
Criteria Yes No
1. Does it flatter your figure?
2. Is the color right for you?
3. Does it hide or disguise a feature you do not
want to accent?
4. Does the garment have enough ease to make
necessary body movements comfortably? Stretch
out your arms. Bend over. Does the garment move
with you?
5. Are the darts in the right places?
6. Are the skirt darts shape the fullness, where it is
needed, over the hip and stomach areas?
7. Are the seams in the proper places?
8. Does the waistline or belt sit right of the
woman’s body? When a belt is worn, it should not
slip above or below the waistline seam.
9. Does the zipper on a garment lie flat against the
body without bulging out away from it?
10. Does the hemline falls into an even line around
the bottom of the garment?

EVALUATION OF FINISHED LADIES SKIRT/GARMENTS

JUDGING FIT IN CLOTHING
The kind of fit desired in clothing changes with style and fashion as well as
personal preference. No definite rules can be set as to the exact way a garment
should fit. However, regardless of fashion, style, and personal preference, a well-
fitted garment should:

1. Appear as if it belongs to you.

2. Have ease of movement while wearing it.
3. Appear attractive to your figure and appear neither baggy from being too loose
nor stretched from being too tight.
4. Give you a feeling of ease and comfort with no need to adjust your clothes with
every move.
5. Have the darts in the right places.
6. Have all the seams should be in proper places.
7. Have waistline or belt should sit right on the waist of the woman’s body.
8. Have the upper garments meet lower garments at the waistline without bulging
excessively in the front or back.
9. Have any zipper lie flat against the body without bulging out away from it.
10. Have the hemline fall in an even line around the bottom of the garment. If the
garment is full, circular, or draped, the folds should fall into place in an even line.

37
 It is wise to try on any garment and look at yourself in a full-length mirror. A
three-way mirror is even better since it allows you to see the sides and back of the
garment without twisting. Here’s a checklist to see if it really fits you.

EVALUATION OF FINISHED LADIES SKIRT

Threshing out the details of the criteria depends upon class and teacher’s decision.

Perfect Student’s Teacher’s

Score Score Score
1.Materials used (15 points)
a. Are the grain lines straight? 5
a. Is the cloth colorfast? 5
c. Do the threads, cloth, zipper, and 5
buttons (if any) match?
2. Style and Color (15 points)
a. Is the style appropriate for the 5
wearer?
b. Does the color enhance the 5
complexion and flatter the figure?

c. Does it follow the Art Principles? 5

3.Worksmanship (35 points)
a. Are the seams flat and almost 7
finished?
b. Are the darts correctly located and well 7
sewn?
c. Are the zipper and other fasteners flat and 7
not shown?
d. Are the machine stitches uniform 7
in size and free of snags and tangled?

e. Is the hem evenly folded and 7

inconspicuously finished?
4.Fit (15 points)
a. Is the garment neither too tight nor 5
too loose?
b. Does the shoulder line fall correctly, 5
neither too high nor drooping?

c. Is the length appropriate for the 5

wearer?
5.General Appearance (20 points)
a. Is the garment looks as if it belongs to the 10
wearer?
b. Does it look like it was made by a 10
professional?
TOTAL POINTS 100

38
Directions: Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.

1. A garment should look attractive to your figure and should not appear baggy.
What do you mean by baggy?
a. very loose, not tight c. very stiff, not shiny
b. very lousy, not fit d. very comfy, not loose
2. If garment is full, circular, or draped, the folds should fall into place in an even
line. What do you call these folds?
a. seamline c. waistline
b. grainline d. hemline
3. One thing you should look for in finished garments is the machine stitches. How
does it look if it is a well fitted garment?
a. The machine stitches are big in size and the thread sticks out.
b. The machine stitches are uniform in size and free of snags and tangled.
c. The machine stitches change in size and free of snags and simple.
d. The machine stitches vary in size and free of snags and plain.
4. Another thing you should consider in buying garments is the shoulder line. The
shoulder line should fall correctly, neither too high nor drooping. What do you
mean by drooping?
a. hang c. drop
b. unbending d. inflexible
5. If the garment is well-fitted, how does it look like?
a. The garment restricts movement.
b. The garment gives the feeling of distress.
c. The garment appears as if it belongs to you.
d. The garment highlights the flaws of the body.

Task Sheets No. 7

Alter finish garment

NAME: ___________________________________________ GRADE & SECTION::__________

SUBJECT:________________________________________ DATE:________________________
Directions: In this activity, you will need a ladies skirt or dress, check to see if it
fits you well using the checklist provided below. It is wise to try on any garment
and look at yourself in a full-length mirror. A three-way mirror is even better since
it allows you to see the sides and back of the garment without twisting so you can
use one if there’s any.

Use the rating sheet/checklist to be provided by your teacher.

39
 MODULE 8

This module was designed and written with you in mind. It is here to help you master
the nature of Dressmaking. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using. Further, it will help you to deepen your
understanding on how to Apply finishing touches on ladies skirts through Hemming
stitches.

The module mainly focused on one lesson, specifically:

Lesson 1: Apply finishing touches on ladies skirt (hemming stitches)

After completed this module, you are expected to:

1. define finishing touches and hem stitch.
2. identify the hem stiches.
3. demonstrate on how to create hem stitch.

Lesson Apply Finishing Touches on

4 Ladies Skirt

HEMMING STITCHES
The edge of a piece of a fabric can be finished with a hem or decorative edge, which
is used for crafts and other home furnishings. The style and fabric being used will
determine the kind of hem finish
A hem is the finished edge of a garment, such as the lower edge of a skirt, sleeve or
top.
Hemming /hemstitch is a decorative drawn thread work or openwork hand sewing
techniques for embellishing the hem of clothing.

40
The hemline is one of the most important details of a garment, and, when turned
and pressed correctly, it gives a professional finish to the garment. Poor hems will
give a project a definite homemade look.

Kinds of Hem Finish

Blanket stitch- It is used in garment construction, to cover the fabric edges

decoratively.
Catch stitch- It is used for tacking together section of lightweight garments. It
is like the blind hemming stitch except that here, herringbone stitch is used
instead of slip stitch.
Buttonholes stitch- A covering stitch used as a decorative finish and in making
of hand – worked buttonhole.
Slip stitch- A durable and almost invisible method suitable for folded hem edge.
Hemming Stitch- A decorative drawn thread work or openwork hand sewing
techniques for embellishing the hem of clothing.
Rolled stitch- A simply a very fine (less than 1/8 “) baby hem done by hand
instead of machine. It is the most expensive hem and so it is only used for the
most high- end garments. You’ll typically see this type of hem on the edge of a
“Hermes scarf for example.
Bias bound hem- is an easy way to add color contrast and structure to a hem.
Instead of turning the fabric, a strip of bias tape or fabric tape is attached to the
raw edge and stitched down flat.
Double turn hem/twice- turned hem- is basically doubled up. The hem is
turned once, then turned again by almost the same amount. This give the hem
added structure and hides shading if your fabric is not completely opaque

Steps on How to Hem Stitch

1. Pin baste the fold of the hemline.

2. Hand baste the fold and remove the

pins to avoid the thread from getting
hooked on the pins while hem
stitching.

41
 3. Proceed to hemstitch by using the
blanket stitch or the herringbone
stitch. (The lower part of the
herringbone stitch should not appear
on the right side of the skirt.

4. Knot the end of the stitches by back

stitches. This will secure the stitches.

MACHINE-SEWN
On many occasions, the hem or edge of a garment or other item is
turned up and secured using the sewing machine. It can be sewn with
a straight stitch, a zigzag stitch, or a blind hem stitch. Hems can also
be made on the serger.

SINGLE TURN HEM

Procedure:
1. This is a popular technique. Turn up the hem
to the wrong side of the work. Press in place.
2. Sew with a straight stitch close to the hem
edge.
DOUBLE TURN HEM
Procedure:
1. This hem will add weight at the edge. Fold
up the raw edge of the fabric once and then
fold again.
2. Press and pin in place.

3. Sew using a straight stitch, close to folded

edge.

BLIND HEM STITCH

Procedure:
1. This is a single turn hem that is secured
using the blind hem stitch on the machine.
Neaten the raw edge of the fabric.

2. Fold the fabric as indicated for your

machine. Pin, but not too close to the fold.

42
 3. Using the blind hem foot and the blind hem
stitch, secure the hem. The sewn line should be
just below the neatened edge.

4. Press lightly on the right side.

Directions: Write a kind of hemming stitch in each circle and write its use outside
the circle. Do this activity in your TLE notebook.

Task Sheets No. 8

Alter finish garment

NAME: ___________________________________________ GRADE & SECTION::__________

SUBJECT:________________________________________ DATE:________________________
Directions: Make a sample of at least Four (4) different hemming stitches in a 3” x
3” plain cloth and compile them in a short bond paper. Label them and write their
descriptions.

43
Directions: Read and answer the statement. Choose the letter of the best answer.
(10 pts) Write on your quiz notebook

1. A style of skirt consists of a strip gathered and sewed on by its upper edge
around the skirt and left hanging.
A. Draped B. Flounced C. Peplum D. Sarong
2. A method of assembling a garment for a person comprises assembling a
collection of different versions of each of a plurality of different parts of a
garment. Which of the following garment process that comprises the
assembling of different parts of a garment?
A. Finishing touches C. Decorative stitches
B. Assemble garments D. Pre-assembling procedure

3. If a garment is full, circular, or draped the folds should fall into place in an
even line. What do you call these folds?
A. Seamline B. Grainline C. Waistline D. Hemline
4. Measurement from waist down to the desired length.
A. Waistline B. Hipline C. Blouse Length D. Skirt length
5. Adjustment to the garment must be made before the pattern is cut. What
process is stated?
A. Altering B. Cutting C. Folding D. Revising
6. Always make your lay-out on the _____________side of the fabric.
A. Front B. Back C. Right D. Wrong
7. This refers to the enrichment of a structural design consist of unusual
buttons, belt buckle, cuffs, and contrasting colors.
A. Structural Design C. Decorative Design
B. Principles of Design D. Elements of Design
8. It is a cloth made of fiber use for making clothes, curtains, tablecloths,
sheets etc…
A. Cotton B. Fabric C. Thread D. Linen
9. Pressing clothes is an open weave piece of cotton or muslin that is placed
between the fabric and the iron. What is the purpose of pressing clothes?
A. It helps protect the wrong side of the garments from shine.
B. It helps to protect the right side of the garment from shine.
C. It helps to protect the garment from shine.
D. It helps to protect the side of the garment from shine.
10. This type of hemming stitches is best for applying the finishing touches of
the edge of skirts or trousers. Which of the following construction finishes is
this?
A. Double hem C. rolled stitch
B. Catch stitch D. seam finishes

44
 45
1. B 10. B
2. D 9. D
3. B 8. D
4. D 7. B
5. A 6. D
6. D 5. A
7. C 4. D
8. B 3. B
9. C 2. B
10. B 1. C
Assessment What I Know
What's More What's More What's More What's More
Blanket stitch 1. A 1. WAISTB 1. B
Catch stitch 2. D AND 2. D
Buttonholes 3. B 2. FRONT 3. A
stitch SKIRT
4. A 4. C
Slip stitch 3. ZIPPER
Hemming 5. C 5. C
4. SEAMLIN
Stitch
E
Rolled stitch
Bias bound
5. BACK
hem SKIRT
Double turn
hem/twice
Module 8 Module 7 Module 6 Module 5
What's More What's More What's More What's More
1. C 1. B 1. Pencil 1. B
2. D 2. A 2. Gore 2. B
3. C 3. B 3. Layered 3. C
4. C 4. C 4. Circle 4. C
5. C 5. A 5. Gathered 5. D
6. B
7. A
8. D
9. C
10.C
Module 4 Module 3 Module 2 Module 1
 References

Agustin, H. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode - Quarter 1_Module 1: Draft and Cut Pattern for
Ladies Skirt Plan Garment design. First Edition. page 1,4-9,11-12

Agustin, H. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode - Quarter 1_Module 2: Draft and Cut Pattern for
Ladies Skirt Take Clients Body Measurement. First Edition. page 1,4--12

Agustin, H. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode - Quarter 1_Module 3: Draft and Cut Pattern for
Ladies Skirt Draft, Manipulate and Cut Final Pattern. page 1-2, 4-9, 10-11

Agustin, H. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode - Quarter 1_Module 4: Prepare and Cut Materials
for Ladies Skirt. First Edition. page 1,4-9,10,11-12

San Pedro, R. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode Quarter 1_Module 5: Pressing Techniques First
Edition. page 1, 6-10, 11

San Pedro, R. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode Quarter 1_Module 6: Sew and Assemble Skirt
First Edition. page 1, 5-13

San Pedro, R. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode Quarter 1_Module 7: Alter Completed Garments
First Edition. page 1,5-12

San Pedro, R. 2020. Technology and Livelihood Education Grade 10 (Dressmaking)

Alternative Delivery Mode Quarter 1_Module 8: Apply Finishing Touches of
the skirt. First Edition. page 1, 5-12

46
For inquiries or feedback, please write or call:

Department of Education – Schools Division Office Navotas

Learning Resource Management Section

Bagumbayan Elementary School Compound

M, Naval St., Sipac Almacen, Navotas City

Telefax: 02-8332-77-64
Email Address: [email protected]