1) Press under 16" (40.5 cm) across the lower edge of the back, right sides together. If using tapes or zipper, snip the fold to mark ends of closure. Stitch 3/4" (2 cm) from the fold; backstitch at snips and bastestitch across the closure area.
Cut on fold; press seam open.

2a) Insert hook and loop` tape (a),snap tape (b) or zipper (c) according to instructions for sewing zipper here

2b) Cut back apart on 16" (40.5 cm) fold line for button closure. Press under W' (6 mm) then I" (2.5 cm) hem on each edge; stitch. On hem of shorter piece, make buttonholes 10" to 12" (25.5 to 30.5 cm) apart; attach buttons opposite buttonholes.

3) Pin cover front to cover back, right sides together. For button closure, pin the shorter piece first,lapping the longer piece over it.

4) Make tabs, Attach socket side of snaps to tabs,and ball sides to corners of the comforter. Pin a tab at each corner of the cover, edges even.

5) Stitch front and back of cover together with 1/2'' (1.3 cm) seam.
Diagonally trim bulk from comers.
Turn cover right side out. Insert comforter; snap cover to comforter at corners.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Change the look of a bed with a covered comforter.
It can replace a top sheet and blanket, and the removable cover of the comforter makes laundering easy. Sew your own comforter, or use a purchased one of down or of polyester batting.

Choose a washable, lightweight, firmly woven fabric for the cover. Sheets are good fabric choices because they do not require piecing. Seam decorator fabrics together by using a full fabric width in the center of the cover, with partial widths along the sides.

Leave a 36" (91.5cm) opening in the back-of the cover for inserting the comforter. Place the opening about 16" (40.5 cm) from the lower edge on the inside of the cover so it will not show at the ends.
Use snap tape, hook and loop tape, a zipper or buttons for closure.

Cutting Directions
Cut the front of the cover 1" (2.5 cm) larger than the comforter. Cut the back of the cover according to the closure method you choose. For button closures, add 5W' (14cm) to back length. For a snap tape, hook and loop or zipper closure, add 1W' (3.8 ern) to back length.
Cut four small fabric strips for tabs, each about 2"
(5 cm) square.

YOU WILL NEED
Decorator fabric or sheets for cover, and small amount of extra fabric for tabs.
Snap tape, hook and loop tape, zipper or buttons.
Gripper snaps to hold comforter in place.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Measure accurately to make a comforter and dust ruffle that fits the bed perfectly.

Comforters reach 3" to 4" (7.5 to 10 cm) below the mattress line. They have a drop length (the distance from the upper edge of the mattress to the bottom of the comforter) of 9" to 12" (23 to 30.5 em), depending on the depth of the mattress. Determine the drop length by measuring from the top of the mattress to the top of the box spring, then adding to that figure the amount of overlap desired. Take into account fabric stiffness which may cause the comforter to stand away from the side of the bed.

To determine finished comforter size, measure from side to side across the top of the mattress for width, and from the head to the foot of the bed for length. Add the desired drop length to the length of the bed, and twice the drop length to the width of the bed for finished measurements.

Batting for comforters is available in standard widths for. beds of standard sizes; select the proper size for your comforter.

For the finished dust ruffle length, measure from the top of the box spring to the floor; for the deck, measure the width and length of the box spring.

Pillow sizes are 20" x 26" (51 x 66 cm) standard; 20" x 30" (51 x 76 em) queen; and 20" x 40" (51 x 102 em) king. Pillow puffiness varies, however, so make the best-fitting shams by measuring the width and length of the pillow with a tape measure across the center of the pillow. Ruffled shams made from lightweight fabrics will droop around the edges if they are cut too large.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Custom-made bed fashions such as comforters, comforter covers, pillow shams and dust ruffles can be ruffled or tailored to suit the decor. Chintzes, polished cottons and sateens are good choices for most bed coverings. Sheets are another practical fabric choice; their width makes seaming unnecessary on comforters and covers.

Permanent press fabrics with soil-resistant finishes are advisable in a child's room. Select fabrics that will launder well without fading.

 Comforters are a useful alternative to bedspreads. Make them reversible to change their look, and fill them with polyester batting as flat or as puffy as you wish. Decorator fabrics used for comforters should be pieced together with a full fabric width in the center of the comforter and a partial width on each side.

Comforter covers, also known as duvet covers, are removable for easy care. They protect new comforters, salvage worn ones, and quickly change the look of a comforter. They also eliminate the need for a top sheet and blanket on the bed.

Pillow shams are removable, decorative pillow covers. Make pillow shams plain or flanged, ruffled or trimmed, in matching or contrasting fabrics to complement the comforter and dust ruffle. Traditional pillowcases may also be trimmed with ruffles and used as pillow shams.

Dust ruffles or bed skirts are used with comforters. They may be gathered or pleated. Make them in one piece for beds that do not have a footboard. Make them in three pieces for beds that do have a footboard. Attach dust ruffles to a fitted sheet placed over the box spring or to a muslin deck, a piece of fabric which fits between the mattress and the box spring.

Fabrics for dust ruffles should be considered for their weight and draping quality, as well as suitability for the style of the dust ruffle or bed skirt.

{Credit} Singer sewing for the Home (copyright 1984-1988)

1. Trace the upper portion of the skirt-front and skirt-back slopers.
Straighten the side seams (Fig. 77a).
2. Close the front, back, and side darts. Correct the waistline with a curved line. Draw the style line (Fig. 77b),
3. Cut the yoke from the rest of the skirt. Add extensions for the underlap and overlap (Fig. 77c) .
4. Complete the pattern.

The double·contour belt

The double-contour belt is composed of two contour belts, one for the bodice and one for the skirt, joined at the waistline. The directions for Fig. 77 will produce the skirt part. See directions for
the midriff yoke (Fig. 73) for the bodice part. Join at the waistline.
Close in any manner desired at the center front or center back, but be sure to make due allowance for the closing.

{Credit} Design Your Own Dress Patterns – Adele P. Margolis

AMERICAN THREAD COMPANY "STAR" BLEND YARN, Article 75
3 skeins Gray and
"STAR" RAYON CROCHET, Article 700 2 balls Buttercup
4 metal tips (optional)
Steel crochet hooks No.0 and No.1

BOTTOM: With Gray and
No.0 hook ch 32, sc in 2nd st from hook, I sc in each remaining st of ch, ch I, turn.
2nd Row-1 sc in each sc, ch    1, turn. Repeat the last row
29 times.
Next Row-UPPER SECTION: 3
sc in 1st sc (corner),1 sc in each of the next 29    sc, 3    sc in next
sc (corner), working along side of bottom, work 1    sc over side of each
of the next 29    rows,3 sc in last row (corner),    1 sc in each of the next 29 sts, 3 sc in last st (corner), I sc over side of the next     29 rows. Do not join or turn this or following rounds.
Next  9 Rounds-] sc in each sc, join last round, drop Gray.
When "STAR" RAYON CROCHET is used work with a double strand of thread and No.1    hook.
11th Round-Attach Buttercup in joining, ch4, tr c in sc before ch    4,` skip1sc, tr c in next sc, tr c in sc just skipped, repeat from* all around, join, drop Buttercup.
12th Round-With Gray work 1    sc in each trc.
13th Round-1    sc in each sc, join, drop Gray.
14th Round-Pick up Buttercup and work 2 sc in each sc,
join, drop Buttercup.
1 5th Round-With Gray, sc in joining, * skip 1    sc, sc in next sc, repeat from    * all around, join in    1 st sc, drop Gray.
16th Round-With Buttercup work in same manner as 11th
round.
17th Round-With Gray work same as 12th round, drop
Gray. 18th Round-Work same as 14th round.
19th Round-Same as 15th round.
20th Round-Same as 13th round.
21st Round-Same as 11th round, cut Buttercup.
22nd Round-Same as 12th round, do not join or turn this
or this or following rounds. Work 17 more rounds in sc or until
upper section measures    8 inches from beginning.
Next Round-Ch 4, tr c in next sc,* ch 2, skip    2 sc, I tr c in each of the next    2 sc, repeat from * all around,
ending round with ch 2, join in 4th st of ch (beading).
Next Round-* In next ch 2 mesh, work I sc, 3 dc, I sc, repeat from * all around, join in I st sc, drop Gray.
Next Round-Attach Buttercup and work 2 sc in each st, drop Buttercup.
Next Round-Pick up Gray and work same as 15th round. Next Round Pick up Buttercup, * 2 sc in next sc, 2 s dc
in next sc (s : thread over hook, insert in st, pull loop
through, thread over and work off all loops at one time),
3 dc in next sc,2 sdc in next sc, 2 sc in next sc,
repeat from *all around, join in 1 st sc, cut thread.
HANDLE: With double strands of Gray, crochet 2 chains
about 1yd. long. Lace 1 chain through beading. Lace other
chain starting at opposite side. Finish with metal tips if
desired or sew ends together. Make a cardboard box to fit
bottom of bag, having the sides about 41/2 inches in height.

Here is a yoke that is cut only part way from the rest of the bodice. The pattern is all in one piece.

The waistline dart control can be shifted all or in part to the partial yoke line. Like all dart control it may be used in this position as one dart, multiple darts, dart tucks, or gathers.
Since there is practically no seam allowance at the point where the slashing stops, it is difficult to sew designs like this. Here are two ways in which this can be overcome.

1.Reinforce the point with stay stitching, slash, turn to the underside, and stitch the seam tapering off the point.
2. Reinforce the point with a patch of organza stitched to the right side as a facing. Slash; turn to the underside, press. Use the organza as a seam-allowance stitching close to the previous line of stitching.

{Credit} Design Your Own Dress Patterns (book)

Adele P. Margolis

The Importance of Fabric to the Designer

The designer is a fabric sculptor. Design students need to become experts in fabric. Choosing a suitable fabric for the design is one of the most important aspects of the design process. Fabric selection and style development act in tandem. If an unsuitable fabric is chosen for a style, then the design won't work. Start by understanding the variety and qualities of each fabric before they are applied to a design. This involves learning the differences between natural and synthetic fibers, fabric weaves (plain, twill, satin), and woven and knitted fabrics. These fabric details are important, as each type of fabric can influence the design. Each fabric has a different structure, and understanding each will help the designer design to the fabric. For example, knit and woven fabrics need very different designs, because knit fabric stretches and woven fabrics don't. For this reason, it is advisable to use fewer design lines in a knit garment than in one of woven fabric. Becoming knowledgeable about fabric also involves observing different fabric surface patterns and textures,

We suggest you take a peek at Figure 2.15, as it illustrates this point. Notice the interesting one-way fabric print and the simplicity of the design. The designer in this case has observed the fabric surface pattern and lets the fabric speak for itself. The design is uncomplicated, with no design lines to speak of, except for the side seams; too many design lines would spoil this bold fabric pattern. To get acquainted with fabric, the designer also plays and drapes with fabric on the form to determine how it performs when pleated, folded, tucked, gathered, or scrunched. By draping two very different fabric weights, such as silk taffeta and silk georgette, it will become obvious how different each looks on the form.

Taffeta is crisp to the hand and when gathered or tucked it holds its shape. On the other hand, silk georgette is soft to the hand, sheer, and delicate, and it drapes softly to skim the body when cut to its best advantage. 

IMPORTANT

• To know hbric-
• Use fabric.
• Look at fabric.
• Touch and feel fabric.
• Cut fabric.
• Stitch fabric.
• Design to the fabric.
• The only way to learn about fabric is by actually workina with different ones. Then,
• eventually. like the experienced designer.the design student will be able to lookat a
• fabric and envision the designs into which it can be made. In Chapter a, "Know Your
• Fabric" will explain more about the qualities of each fabric type.

Why the Designer Needs to Know How to Sketch

Sketching is the first part of the design process. It is the fundamental tool used to communicate a seam, a dart, a pocket, a zipper, topstitching, or buttons, so it is not only an artistic pleasure but also a phase during which functional and structural design need to be taken into consideration.

Why the Designer Needs to Know How to Draft Patterns

Learning how to construct patterns mathematically and knowing where to place each line

for darts, seams, pockets, ruffles, and other design details empowers the designer in knowing how line in design can be used to enhance a woman's body. Structuring patterns is like architecture-we use line and shape to build form. Making patterns is all about using line, proportion, balance, and shape as each pattern is drafted. Each seam is placed to fit the curves of a woman's body-placement is not arbitrary. Many students find line placement difficult because they have not thought this through at the sketching stage.

Why the Designer Needs to Know HOW to Drape Fabric.

Some designers like to draft flat patterns mathematically using specs and measurements, while others like to drape the fabric on the form, then take the draped fabric pieces and make the pattern from them. Draping fabric helps the design student understand the shape of the form and how fabric can be molded to enhance a woman's body. This in turn empowers the designer with more design possibilities for placing line in the design.

Why the Designer Needs to Know How to Cut Fabric

Knowing how to cut fabric following the grainlines is essential, as they must be correctly placed parallel to the selvage. Refer to Chapter 2, "Placing the Patterns 'On Grain.'" Placing the grainlines in certain directions can also change the look of the fabric surface. The fabric surface can have a texture, a bold large print, stripe, check, one-way pattern, or have a furry pile.

The designer needs cutting knowledge so that when the darts, seams, gathering, and tucks are stitched, the fabric surface looks its best.  

Why the Designer Needs to Know How to Sew Garments

The designer needs to learn how to sew darts, pockets, seams, zippers, ruffles, tucks, pleats, waistbands, collars, facings, cuffs, sleeves, hems, and linings, and how to embellish fabrics and stitch closures. All empower the designer by-imparting an overall knowledge of design.

Not every fabric is stitched in exactly the same way; seams and hems are not stitched in a uniform way on every garment. The construction method needs to match the type and weight of fabric,

Why the Designer Needs to Know about Notions and Trims

Notions and trims are all the supplies needed for constructing garments other than the fabric. Notions can be buttons, snaps, zippers, thread, tape, elastic, ribbon, piping, interfacing, or a lace trim. The designer needs to be involved in choosing these details and therefore needs an artistic eye to harmonize them with the fabric and design. A designer can learn what notions and trims are available by researching the Internet for the latest items. The designer also directs the choice of what basic items to use, such as the type, weight, and length of a zipper; the type, size, and design of a button; and the color of the topstitching.

The notions and trims that are used matter, as you will learn by using this textbook. For example, the weight of the zipper needs to suit the fabric weight, and the zipper needs to be long enough so the garment will open comfortably, allowing the customer to get in and out easily. The type of button (glass, metal, wood, or leather) needs to be compatible with the fabric type and suitable for laundering. The interfacing also needs to suit the fabric weight and the part of the garment in which it is being used. All these aspects of the construction process will be discussed as you read further in this article. 

Why the Designer Needs to Know about Production

Being involved in production is an aspect of the design process that fashion designers often find difficult and irksome, as they just want to get on with designing clothes and back to the design studio! How involved the designer is with production depends on the size of the company. In a large company the designer's role in production may be minimal, but students who plan to have their own design business in the future will need to be totally involved. Designers need to keep their eyes open and look at the quality of garments being produced, and at the top of the list is quality stitching.

As the collection develops, the designer may be involved with ordering fabrics and trims, an important part of the design process. In some companies, designers may also be involved with grading patterns into larger and smaller sizes that are ready for production. When the garments are completed, quality control personnel may also call on designers for their expertise when a stitching or fabric problem occurs. The production of a collection keeps to a strict schedule, and completing your assignments by their due dates is a great way to learn how to organize your schedule. This is excellent practice for your future responsibilities as a designer!

Why the Designer Needs to Know about Functional, Structural, and Decorative Design

A designer needs to address these three aspects- functional, structural, and decorative design-when designing garments. Eachof these aspects has equal value. If these areas of design are ignored, it can ultimately affect the sale of the collection. And without sales, the designer does not have a job! It is the designer's responsibility to create clothes that function, feel comfortable, and are user-friendly in the way they work. Garments that represent interesting designs made in quality fabrics that are comfortable to move in, and stitched with quality stitches, are what women want! This is what makes one design and designer stand out from the rest. Coco Chanel, one of the most famous designers in fashion history, knew how important this was. Chanel said, "I make fashion women can live in, breathe in, feel comfortable in, and look younger in."' Her revolutionary designs changed the way women dressed, from being confined to feeling comfortable. As design students, let's continue Chanel's tradition! Each of the garments in Figure 1.4, Figure 1.5, and Figure 1.6 demonstrates each area of design: functional, structural, and decorative. Functional Design Functional design refers to how the garment works physically on the body. This is an important aspect on which the designer needs to focus. Garments need to work physically for the purpose they are made for (police or fire fighter's uniform, ball gown, swimwear, and more).

• Garments need to feel comfortable on the body and be made from pleasant-feeling fabric.
• Garments need to provide adequate room for movement yet hold their shape to the form.
• Garments need to be made in a suitable fabric type and weight to suit the style and provide protection, warmtl?, or coolness.

{Credit} professional SEWING TECHNIOUES FOR DESIGNERS JULIE COLE SHARON CZACHOR Buy this book from Amazon

Professional Sewing Techniques for Designers

Refer to Figure 6.28b to see how the two yoke pieces are placed on either side of the back shirt section, sandwiching them together. After the yoke seam is stitched, it is pressed and topstitched with an edgestitch, welt, or double topstitch (Figure 6.28~). Next, the front shoulder seams are stitched, as illustrated in Figure 6.28d. Do notice that the front bands and pocket were stitched to the fronts before the yoke was applied.

{Credit} professional SEWING TECHNIOUES FOR DESIGNERS JULIE COLE SHARON CZACHOR Buy this book from Amazon

Professional Sewing Techniques for Designers

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