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Cooperative Extension College of Agriculture Washington State University Pullman, Washington
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TAILORING
Dorothy A. Ettl, Extension Clothing Specialist Diane S. Triplett, Home Economics Assistant
WHAT YOU'LL DO IN THIS PROJECT
Tailoring is a special type of clothing construc- tion. It uses construction techniques to build and mold permanent shape into a garment. It re- quires attention to detail, patience, and accuracy to make a garment that will hold its shape through repeated wearings and cleanings.
The tailoring project is designed for 4-H members who have learned the basic skills in Units 1, 2, and 3 and have completed at least two special in- terest projects.
In the tailoring project you will learn:
• The characteristics of wool.
• The characteristics of a tailored garment.
, Pattern selection and fitting techniques for tailoring.
, Selection of fabric and notions for different layers of a garment.
• Construction skills used for three different types of tailoring: Custom, Dressmaker, and Contemporary.
• New hand and machine sewing skills.
, Pressing skills and equipment used in tailoring.
, Care and storage requirements for tailored garments.
Keep a record of your plans and use the 4-H Clothing Construction Record, C 0675. Share what you learn with others by demonstrating, ex- hibiting, and modeling in the fashion revue.
Use this project booklet along with other reference material as you select a pattern, fabric, and construction methods or techniques for your tailoring project.
PROJECT REQUIREMENTS
To complete tailoring you should:
• Learn ten new skills for tailoring from the 4-H Clothing Construction Skills Checklist, C 0677.
Plan, select, and make at least one wardrobe item that will include some of the new tailoring construction skills. All ten new skills do not have to be on the garment you make. You can learn the other skills on additional garments or by practicing on fabric samples.
PLANNING YOUR PROJECT
Several types of garments will work well for tailoring:
Menswear suits jackets vests pants topcoats
Women's Clothing coats
suits
jackets or blazers skirts
pants dresses
When you choose a pattern, think about the clothes you have now, the places you go, the things you do, and your personal body lines and coloring. Think carefully about the way you want to look and then select the lines and silhouette that will help you achieve this look.
Study or review the information in Unit 3 and Challenging Patterns about design, line, and color.
The pattern you select can make construction of the tailored garment relatively simple or very dif- ficult. A pattern with few seams and simple details will be easier than a more intricate design.
Select a wool or wool blend to use as the fashion fabric for your tailoring project. The fabric may be either woven or knit. { If you want to work with a different fabric, enroll in the challenging fabrics project.) Wool is recommended for its ability to hold a molded shape as well as for its durability, resiliency, and warmth. A firm fabric is easier to
work with, but a tweed or other loosely woven fabric may be used successfully when under- lined.
Select a fabric color that will highlight your per- sonal coloring and coordinate with your ward- robe. If the fabric has a design, be sure that it will be appropriate for the pattern you have selected. Remember that extra yardage and more time is required for matching plaids, checks, stripes, and fabrics with diagonal effects.
Select the best quality fabric you can afford.
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ACTION IDEA. Look for tailored garments in fashion magazines and in stores. Learn to recognize the standards of a well-tailored garment. Compare the cost of a home-sewn tailored garment with a similar garment in ready-to-wear.WOOL FABRIC FACTS
Wool is a natural animal fiber-the fleece of sheep or lambs. Goat or camel hair may also be classified as wool under the Wool Products Labeling Act. Most wool is clipped from live sheep; poorer quality (pulled wool) is removed from the hides of slaughtered sheep. The wool is sorted, graded, and then washed or cleaned to remove dirt and natural oils.
There are two classifications for wool fibers by law:
. Virgin wool or new wool has never been pro- cessed in any way before being manufactured into the finished product.
• Recycled wool is wool that has been re- claimed from scraps of knitted, woven, or felted fabric or from wool products. These pro- ducts may or may not have been used by the consumer.
Because quality can vary within the classifica- tions identified on the label, it is important to look at the quality of the product. Good quality virgin wools are strong and resilient. However, a fabric
made from good quality recycled wool can be more desirable than one of poor quality virgin wool. Some recycled wools are blended with new wools to improve the quality of the fabric.
Wool yarns may be classified as worsted or woolens, depending on fiber quality and the manufacturing process used:
• Worsteds are made from long fibers. Worsted yarns are smooth, hard, even, and compact.
Good quality worsteds are usually lightweight.
They tailor well, resist wrinkling, and take a sharp crease. Worsteds usually wear well, although gabardine and serge tend to become shiny.
. Woolens are made from shorter fibers. They have a softer, fuzzier look and are usually woven more loosely than worsteds. Woolen fabrics do no~ hold as sharp a crease as worsteds, but since they are softer, they resist wrinkling and do not get shiny.
Wool yarns can be made into a variety of fabrics:
• Boucle has a surface that is knotted or looped.
• Challis is a soft, lightweight, plain, or twill- weave fabric. It has a smooth look and is available in solid colors or prints.
• Crepe has a lightly texturized or pebbled sur- face. Crepe fabric holds its shape and is available in many weights.
. Flannel has a slightly napped surface.
. Fleece has a lush, fuzzy, napped surface. It is warm, but lightweight.
. Gabardine has a hard finish and a clear sur- face. It is a twill-weave with diagonal lines that are fine and more pronounced than in serge. The lines cannot be seen on the wrong side of the fabric.
• Serge has a twill-weave rib on both the right and wrong sides of the fabric. It is available in many weights.
• Tweed is rough-textured, sturdy fabric which is characterized by a mixed-color effect. It is available in many weights and may be a plain, twill, or herringbone weave.
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. Felt is made by treating layers of fibers with moisture, heat, and pressure. It has a tightly matted, smooth surface .
. Doubleknit wool can be recognized by the thinly ribbed surface and flat finish. The front and reverse sides are similar. The maximum amount of stretch is crosswise rather than on the bias .
. Singleknit wool such as jersey has a soft sur- face. There is a fine ribbing on the right side and a different appearance on the back.
Advantages of Wool in Clothing
• Wool is warm and comfortable. Because of its natural absorbency, it absorbs moisture readily without making the wearer feel cold or damp.
• Wool is cool in lightweight fabrics. It breathes and lets heat out and air in to keep the body dry and cool.
• Wool fibers are resilient and elastic so the fabrics resist wrinkling.
• Wool is supple and will yield with body movements. The fabrics tailor well because they can be molded to shape with heat and moisture.
• Wool dyes easily, permitting a wide range of colors.
Limitations of Wool
• Wool fabrics are apt to be attacked by moths unless treated to resist them.
• Wool requires care in laundering and dryclean- ing to prevent felting and relaxation shrinkage.
Chlorine bleaches may yellow or even dissolve wool.
• Wool garments tend to stretch during wear and if handled excessively when wet. They should be allowed to "rest" between wearings.
Wool Marks
The Wool Bureau controls use of the
"Woolmark" and "Woolblend Mark" symbols.
The Wool mark identifies products made of 100%
wool. The Wool blend Mark certifies that the pro-
PURE WOOL
0 WOOL BLEND
duct is at least 60% wool. To use these marks, manufacturers' products must pass the Wool Bureau's performance tests, including fiber con- tent, colorfastness, and inspection for quality of workmanship. The marks appear on the product label or hangtag .
TAILORING STANDARDS
Garments that are well tailored have certain things in common, regardless of the type of tailoring used. Knowing the standards of a well- tailored garment will help you in setting goals and in garment construction. They also will help you when you buy a tailored garment.
The standards are:
• Fits correctly .
• Is well pressed .
• Edges of collar, lapel, front, etc. are thin and curl slightly toward the body.
• Properly interfaced to mold to the body and hold its shape.
• Collar lies against the garment with no seam or undercollar showing. Covers back neck seam.
• Detail work is well done. Corners are square.
Collar points are the same length and shape.
Zipper insertion is smooth, even, and in- conspicuous. Fabric design is matched at the seams.
• Buttonholes are well made, evenly spaced, and the right length for the buttons.
• Handsewing is even and inconspicuous.
• Lining fits smoothly into the garment and does not interfere with the set and drape of the gar- ment.
TAILORING METHODS
There are several tailoring methods. The method you choose will depend upon:
• Your sewing ability.
The fabric you select.
• Your time and equipment.
• The look you want your garment to have.
The use you intend for the garment.
Three methods are used today. Learn the advan- tages and disadvantages of each. You may use any one of the methods or you may use a com- bination of techniques that will work for you.
Custom tailoring is the traditional method.
Throughout the garment, careful handstitching, taping of seams, invisible tacking, interfacing, padding, and continuous pressing are used to stabilize and to build shape. Hand pad-stitching is used to create a permanent roll in the collar and lapel. There is much handwork in comparison to machine work. Accuracy and time are required to give good results. This type of garment is usually expensive in ready-to-wear.
Dressmaker or soft-tailoring is a faster method.
More work is done by machine than by hand.
Many speed techniques are used. Pad-stitching is done by machine. The garment constructed by this method has less shape than the custom- tailored garment. However, careful stitching, pressing, and attention to detail is just as impor- tant.
Contemporary tailoring makes use of fusible in- terfacings. Most hand sewing is eliminated because shape is built into the garment with the interfacings. Machine sewing techniques are similar to those in dressmaker tailoring.
SELECTING INTERFACING
In tailoring, the interfacing gives the garment its shape. It also prevents stretching and provides extra reinforcement. The way interfacing is used affects whether or not the garment looks well made.
General Standards
When you select interfacing, consider:
Purpose. What overall look or shape is desired? A heavier interfacing creates a crisp look; a lighter weight gives a softer look.
. Fabric weight. Interfacing should be no heavier than the fashion fabric unless a special effect is desired. Try the two fabrics together to see what effect you can expect. If you use fusible interfacing, the fusing will add even more body. Test on a small piece of the fashion fabric to check the effect.
. Color. Be sure the interfacing will not show through the fashion fabric .
. Care requirements. They should be compati- ble with the garment fabric.
Custom Tailoring
Select hair canvas and muslin interfacings. Hair canvas provides support for the garment and can be permanently shaped and molded. Hair canvas comes in a variety of weights. The higher the percentage of goat hair, the better the quality.
Different weights of interfacing may be used in the garment depending on the support needed.
Use canvas in lapels and collars to build in shape.
Muslin gives a soft appearance and provides the stability needed for hems and pockets.
Dressmaker Tailoring
Hair canvas and muslin interfacings are selected for this method also. The difference is that the shaping is done with machine stitching instead of hand stitching.
Contemporary Tailoring
Select a fusible interfacing. It eliminates the need for pad-stitching, yet builds in the needed shape.
In general, the following types and weights of fusible interfacings are suitable for tailoring:
• Woven. Fusible hair canvas contains goat hair and can be shaped by steaming. It is suitable for medium to heavyweight fabrics. Fusible in-
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terfacing without hair is lighter in weight and softer than canvas. It is suitable for light to medium-weight fabrics.
. Nonwoven. Fusible interfacing with one-way stretch is stable in the lengthwise direction, yet stretches in the crosswise direction. It is very good for use with knits.
. Knit. Fusible 100% nylon tricot gives or stretches in the crosswise direction, but is stable in the lengthwise direction. Because it is very light in weight, it does not have the shap- ing qualities found in other fusibles.
Before you buy a fusible interfacing, test its com- patibility with the fashion fabric. Be sure the fashion fabric can withstand the heat, steam, and pressure required for successful fusing.
Using Interfacing
The method of tailoring and the interfacings you use may be a combination of any of the above.
Use what works best for you and the fashion fabric you have selected.
Study or review the section on interfacing in the Challenging Fabrics project.
LININGS
Linings give a smooth, attractive look to the in- side of a garment. They make the garment easier to slip on and off and help preserve its shape. They also protect skin from harsh outer fabrics.
Select a lining that is:
• Light in weight so it will not interfere with the hang of the garment.
• Smooth and slippery so it will be easy to put on.
• Attractive, because it often shows.
• Opaque, so inner construction won't show through.
• Durable, because it gets hard wear. Durability is determined by fiber content and fabric con- struction. Acetate and rayon are relatively
weak fibers; nylon and polyester are relatively strong. A tightly woven or knit fabric is more durable than a loose one. A twill weave is more durable than a plain weave.
• Compatible in care requirements and wear life with the fashion fabric.
Lining color may match, blend, or contrast with the outer fabric. It should not show through the outer fabric. Select a lining that is resistant to perspiration and fading.
For warmth, pile, quilted, or satin-backed in- sulated fabric can be used to line a winter gar- ment. Usually, these fabrics are too bulky for use as a sleeve lining. A smooth lining fabric in the sleeves makes it easier to slip the garment on and off.
Interlining is an extra layer of fabric that can be added for warmth. If used, it is usually made of loosely woven wool. To eliminate bulk, it is generally omitted in the sleeves. It may be ap- plied as a separate layer between the coat and lin- ing or attached to the lining and treated as one piece with the lining.
An underlining may be used with lightweight or loosely woven fabrics. It is cut from the same pattern pieces as the outer fabric and attached to it; the two layers are then handled as one. It gives support to major design lines, adds body to a fabric that is too flexible to be shaped alone, and adds strength to loosely woven fabric. Underlin- ing also serves as a "buffer layer" for pad- stitching and as a foundation for other hand stitches, preventing them from showing on the right side of the garment. On light-colored and lightweight fabrics, the underlining will prevent seam allowances from showing through. Select an underlining fabric that is lightweight, sturdy, nonraveling, and as close in color as possible to the garment fabric. It should have the same care requirements as the fashion fabric. If you use fusible interfacings, you may not need an underlining. A lightweight, fusible knit inter- facing will give extra body to double knits and lightweight or loosely woven fabrics.
NOTIONS
Tailoring requires notions you may not have used before:
Stay tape of cotton, linen, or polyester twill.
Tape prevents stretching and reduces bulk along edges. Always shrink the tape before us- ing. Use a 1 / 4-inch (0.6 cm) width or a 3/8-inch (1 cm) width.
. Weights may be used to make the hem of a jacket or coat hang smoothly.
. Button style should be appropriate for gar- ment style. Size should be in proportion to the garment and the wearer.
. Shoulder pads maintain the natural shoulder line. They may be purchased or you may make them using polyester fleece.
FITTING THE TAILORED GARMENT
Pay special attention to fit. Adapt your personal measurements to the paper pattern as you would for any sewing project. Be sure to make ad- justments on the pattern for all layers of the gar- ment.
Consider making a trial garment, sometimes called a muslin. It helps you avoid costly mistakes and wear and tear on the actual gar- ment. Cut out the major pattern sections (jacket front, jacket back, undercollar, sleeves) from muslin, an old sheet, or inexpensive fabric.
Transfer markings to the right side of the muslin:
grain lines, center front and back, lapel and collar roll lines, buttonholes, pocket locations.
Machine baste the seams together. Set in both sleeves for balance on both sides when fitting.
Pin up bottom and sleeve hems.
Try on the muslin over clothing you would wear with the actual garment. Do all fitting from the right side of the garment. General fitting points to consider are grainline, seam and design lines, amount of ease, balance, and overall smoothness. Refer to Unit 3 for a review.
Specific standards for your tailored garment are:
, Check length and width measurements for
proper wearing ease and proportion in relation to your figure type. Make these adjustments first; then other adjustments will also be ac- curate.
, Darts should point toward the fullest part of a body curve and taper off 1 inch (2.5 cm) from the point.
• Grainlines and vertical seams should be perpendicular to the floor and all horizontal lines should be parallel.
• The collar should fit closely at the neck and roll evenly to form a pleasing line with the lapels. At center back, the outer edge of the collar should fall at least 1 /2-inch ( 1.3 cm) below the neckline seam. Mark the natural roll line of the collar and lapels on the muslin; transfer to the pattern for use when you tape the roll line and pad stitch.
, Proportion, size, and location of pockets, flaps, and cuffs should be flattering to your body size and related to the length of the gar- ment.
, If the pattern has been altered, be sure the but- tonholes are still positioned correctly and are evenly spaced.
Sleeve and shoulder settings are very important in overall fit. If you use shoulder pads, insert them now. Then check the following:
• Shoulder seams should extend from the base of the neck to the shoulder bone and should lie flat and smooth over the shoulders.
, Depth of armhole should be 1 inch (2.5 cm) below the armpit on a jacket or coat.
• Sleeve should hang naturally with no pulling at upper arm, forearm, or wrist.
• Sleeve hem should be at the wrist bone or just below. Be sure the elbow ease or dart allows room for bending the elbow.
• Lengthwise grain of the sleeve should hang perpendicular to the floor. In the sleeve cap, the crosswise grain should be parallel to the floor.
• Ease in the sleeve cap should be distributed evenly and smoothly.
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Fit carefully. Do not make the muslin too tight;
lining, interfacing, and other layers will be in- serted inside the outer shell. Also the wool is usually thicker than the muslin. Make the needed corrections on your pattern pieces or take the muslin apart and use it for the pattern.
SEWING BASICS
Pretreat all fabrics and notions. Some wool fabrics can be purchased preshrunk and ready to sew. If labels do not specify this, test across a corner with a steam iron for possible shrinkage. If there is a ripple at the edges of the iron imprint, shrinkage is possible. Have a drycleaner steam press the fabric or use the London shrunk method at home to pretreat the wool. Washable fabrics should be laundered according to care re- quirements. · Sew-in hair canvas can be preshrunk by steam pressing thoroughly with a damp press cloth, allowing the steam to penetrate well. Lay on a flat surface to dry.
Cutting should be done carefully with sharp shears. To give more support and firmness to the front of a jacket or coat, you may want to cut a front bodice interfacing that extends from the lapel and collar area through the shoulder to the sleeve and 2 1 /2-inches (6.5 cm) below the arm- hole.
Front
2½"
A back reinforcement should be cut for support across the jacket shoulders or coat back. If a pat- tern piece is not included, use the back pattern.
Cut around the neck, shoulder, armhole edges, and 2 1 /2-inches (6.5 cm) along the underarm
seam. Measure and mark 7 1/2-inches (19 cm) down from the neck edge at the center back.
Draw a curved line joining this point to the si-de seams.
Back
7½"
Fold
Cutting Line
2½"
When you cut the lining for a coat or jacket back, allow a 1-inch (2.5 cm) ease pleat at the center back of the neckline-if not included in the pat- tern.
Allow for turn of cloth in lapel and collars. It takes more fabric for the upper collar to roll over the undercollar. Add to the outer edges of the upper collar if that pattern piece is not already larger. For a rolled collar to roll smoothly, the undercollar should be on the bias and cut in two pieces with a center back seam.
Marking is often done with tailor's tacks and basting. This will protect fabrics from damage by marking instruments.
Eliminating bulk in the tailored garment is essential. In tailoring there are usually more layers of fabric and heavier fabrics are often in- volved. lnterfacings also may be heavier. Sug- gestions for handling bulk are:
• Do not include interfacing in darts or neck, front, and underarm seams.
• Do not extend interfacings into the corners of a pointed collar.
• Trim and grade all enclosed seams. On heavy fabrics, bevel the edges by slanting the scissors while trimming the layers.
• Kill wool in enclosed seams.
Shoulder pads in tailored garments keep the shoulder square and protect the garment on the hanger. They also fill out the hollow just below the shoulder and give a smooth line. They can disguise common figure faults such as round or thin shoulders or one high shoulder. The pads should be in for all fittings including the muslin.
Make your own out of layers of polyester fleece to get the shape and size you need. The pad should extend 3/8 inch ( 1 cm) beyond the arm- hole seam.
Sleeve headings may be used to maintain
a
roll at the cap of the sleeve or to support the sleeve cap. This is a bias strip of soft fabric sewn into the upper armhole seam with loose hand stitches.Other shoulder or chest pieces may be set in for more shaping.
Machine keyhole buttonholes are usually used on tailored menswear. Bound buttonholes are often used on tailored clothing for women. There are many ways to make bound buttonholes.
Practice several to see which works best for you and your fabric.
Buttonholes should be:
• Flat with edges finished.
Even in length and width.
• On grain of fabric.
• Placed in direction of pull.
• Spaced evenly on garment.
• Large enough to allow the button to pass through easily, yet small enough to hold the garment closed.
• On the right front of women's clothing and on the left front for menswear.
Bound buttonholes should:
• Be a rectangle with square corners.
• Have even lips that meet exactly at the center of the opening.
• Be finished on the back with the facing secure- ly fastened.
Buttons are a finishing touch, but they should be chosen at the start. The color should match or compliment the fabric. The style, weight, and texture should also be in keeping with the fabric.
Most patterns suggest a button size. However, be sure it is appropriate for you. Use reinforce- ment buttons under the fashion buttons. These are small, flat buttons sewn on the inside of the garment. Sew both buttons on at the same time and use a thread shank to allow for clearance of the overlap fabric.
In the tailoring project you will learn many new hand and machine sewing techniques. Keep in mind the standards of quality you have been working towards while sewing in 4-H. You can review these standards in Quality Standards in Clothing Construction, PNW Bulletin 197. Select a tailoring method and techniques that will give results that are:
• Inconspicuous flat and smooth free from bulk
stitching a uniform distance from an edge or fold
Functional
• Durable
PRESSING BASICS
Good pressing is essential in achieving a quality look in tailored garments. Learn how to press each construction detail as well as how to give a careful final pressing to the completed garment.
Pressing is lowering and lifting the iron to mold, shape, and smooth the fabric. Steam is more im- portant than pressure. Often the iron surface may not touch the fabric. Steam and a "finger press" works well.
Each part of the garment should be pressed and shaped while it is being constructed. When you press as you sew, little final pressing is necessary.
Some pressing tips:
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• Test the fabric before you begin. See how it reacts to heat, steam, and pressure.
• Press from the wrong side first.
• Use a press cloth to prevent shine and to preserve fabric texture.
• Press in the direction of the lengthwise and crosswise grain.
• Press curved darts and seams over a mitt or ham.
• Press a seam before stitching another seam across it.
• Slide a piece of paper under the edge of seams, hems, and darts so edges will not leave press marks on the right side of the garment.
When you press wool, always leave some moisture in the fabric and let it dry naturally.
The pressing tools you will be using are:
. A tailor's ham is a firmly stuffed, ham-shaped cushion. Use it to press areas that need shap- ing, such as darts or curved seams at the shoulder, bust, hipline, and sleeve cap. Your leader can show you how to make a ham or you can buy one. It should be covered with cotton on one side and wool on the other and very tightly packed with sawdust or sand.
The seam roll is a long, cylindrical cushion used to press sleeve seams and other hard-to- reach areas. When pressing seams open, it keeps seam allowances from leaving press marks on the right side of the fabric because the iron touches only the stitching line. Buy a seam roll or make it yourself by sewing a tube of heavy muslin and inserting a tightly rolled magazine.
. A press cloth between the iron and fabric prevents shining or crushing the fabric surface.
Dampen the cloth if extra moisture is needed.
A soft wool press cloth prevents flattening the nap or texture of wool fabrics. A sheer, transparent press cloth (such as a piece of lightweight interfacing) is useful for pressing details.
. A pounding block or clapper is used in com- bination with steam to give sharp, flat edges or creases in lapels, collars, pleats, and other details. It is most often used on heavy, bulky, or hard-to-press fabrics.
. A point presser is a thin hardwood board that comes to a fine point at the end. It is used to press corners of collars, pockets, and other details. The point presser makes it possible to press hard-to-reach areas.
. A press mitt may be slipped over your hand to press shoulders, sleeve caps, and other small curved areas to be molded by steam .
. The needle board (velvet-board) is used to press napped and pile fabrics without matting or flattening. Self fabrics or a fluffy terry towel can be used instead.
WOOL CLOTHING CARE
A tailored garment represents a large investment in time, energy, and money. Protect that invest- ment and help your clothes look new longer by following these suggestions:
• Use rounded or padded hangers so clothes will keep their shape.
• Allow space between garments to prevent crushing.
• Air and brush clothes frequently. Let wool garments rest 24 hours between wearings.
• Check for and make needed repairs.
• Relax and refresh wool clothing by hanging it on a shower rod over a tub of hot water.
• Store out-of-season garments clean. Place them in sealed bags or boxes and store in a cool, dry place. Unless wool has been moth- proofed, it needs to be protected.
• Follow the directions on the care label and hangtags for laundering your wool clothing.
HOW DO YOU RATE?
Take a good look at yourself in the new tailored garment you have created. Use the checklist in Unit 3 to evaluate your finished product.
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ACTION IDEA. Make a cost comparison witha ready-to-wear tailored garment like the one you have made. After comparing actual costs, make some time and quality com- parisons. (A detailed study of this type would work well for an Explorer Project.)
REFERENCES
For more help with your tailoring project, see:
Easy, Easier, Easiest Tailoring, Patti Palmer and Susan Pletsch, 1977, Palmer/Pletsch Associ- ates, Portland, Oregon.
Creating a Tailoring Garment, Dressmaker Method with Variations, Lenore ·L. Landry and Emma M. Jordre. 3rd Ed., 1972, American Print- ing and Publishing, Inc., Madison, Wisconsin.
Custom and Fusible Tailoring, Coats and Clark, Inc., Stamford, Connecticut.
Simply Tailoring, Simplicity Pattern Company.
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Issued by Washington Stale University Cooperative Extension, J. 0. Young, Director, and the U.S. Department of Agriculture, in furtherance of the Acts of May8 and June 30, 1914. Cooperative Extension programs and employment are available lo all without discrimination. Published September 1980. -
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