4h Sewing Project Fabric Dare and Use Guide

4-H SEWING PROJECT
FABRIC CARE AND USE GUIDE
Revised January 2014

The 4-H Motto
“Learn to Do by Doing”
The 4-H Pledge

I pledge
My Head to clearer thinking,
My Heart to greater loyalty,
My Hands to larger service,
My Health to better living,
For my club, my community, and my country
The 4-H Grace

(Tune of Auld Lang Syne)
We thank thee, Lord, for blessings great

on this, our own fair land.
Teach us to serve thee joyfully,
with head, heart, health and hand
Acknowledgements: Adapted from the BC 4-H Sewing project and BC Agriculture, and the Nova
Scotia 4-H Sewing Project, 1997.
Published by: Canadian 4-H Council Resource Network, Ottawa, ON

Date:
©Copyright 2012 4-H Canada
Cover image: Fabric Colors, by Kakade, May 2005,
http://creativecommons.org/licenses/by/2.0/deed.en
FABRIC CARE AND USE GUIDE – TABLE OF CONTENTS
Fabric Care and Use Guide .............................................................................. 1
Fibres, Fabrics and Finishes.................................................................................................................... 1
Fibres .................................................................................................................................................... 1
Fabrics .................................................................................................................................................. 6
Finishes................................................................................................................................................. 9
Sewing your fabrics ............................................................................................................................... 14
Fake Furs ........................................................................................................................................... 14
Fleece Fabric ..................................................................................................................................... 15
Leather, Suede, and Synthetic Suede ............................................................................................. 16
Napped and Pile Fabrics................................................................................................................... 18
Outdoor Wear .................................................................................................................................... 19
Plaids and Stripes ............................................................................................................................. 19
Sheers and Laces ............................................................................................................................. 21
Silk and Silk-Like Fabric.................................................................................................................... 24
Stretch fabrics ................................................................................................................................... 25
Wool ................................................................................................................................................... 27
Woolen-Like Fabrics (Acrylics, Modacrylics) .................................................................................... 28
Care of your fabrics ............................................................................................................................... 29
Special Care Techniques .................................................................................................................. 29
Fabric Properties ................................................................................................................................... 32
FABRIC CARE AND USE GUIDE
The purpose of this guide is to give a more in-depth look at fabrics, their care and how to sew with
them. It is important to understand the qualities of fabric in order that you make the right choices
when choosing them and sewing with them. Using the proper techniques for your fabric will produce
the best results.
Fibres, Fabrics and Finishes
There are so many fabrics available in stores today, which can make choosing a fabric for a project
very confusing. Having some basic knowledge of fibres and fabrics and how they are constructed is
very useful in order to help you make good decisions when buying fabric.
Fibres
Textile fibres can be created from many natural and synthetic sources and even minerals such as
gold. Fibres are processed into threads or yarn and then into fabrics. There are too many fibres to list
here but the following selection describes the fibres most commonly used in the clothing industry.
Acetate - Acetate is a synthetic fibre that comes from wood pulp. Acetate can also be made from the
cotton linters (fibres sticking to cotton seeds). It is manufactured by pushing a chemical solution
through spinnerets and then treated with an acid to harden the strands that are produced.
Acetate is thermoplastic which means it will melt if it gets too hot. It is also non-absorbent, pills and
collects static electricity and it is recommended that fabric softener be used when washing anything
made of acetate. Acetate won’t shrink or stretch very much but it does wrinkle easily. It is moth
resistant but may be weakened by light or ageing.
Acetate should be dry-cleaned unless the label states otherwise. If you launder acetate at home,
launder it by hand in lukewarm water and do not wring as it will crease. Avoid chlorine bleach. Use
caution when pressing acetate and do not use a hot iron. Acetate should be ironed damp on the
wrong side at low temperature.
Alpaca - A member of the camel family, the alpaca is native to the Andes
Mountains of South America. The fibre is sheared from the animal once
every two years. The fine fibres, which are separated from the coarse
guard hairs, are used in fabric manufacturing.
Alpaca is similar to camel hair and offers excellent warmth and
insulation. The fibres are strong and glossy and make fabrics similar in
appearance to mohair. Alpaca fabrics are used for suits, dresses, plush
upholstery and linings. The natural colour of the fibres ranges from white
to brown and black and a variety of attractive fabrics can be created
without additional dyestuffs.
Acrylic - DuPont introduced the first acrylic fibres to the clothing industry Figure 1 - Alpaca Fleece. Credit C.
with the production of Orlon in 1950. The manufacture of acrylic is similar Goodwin,
http://creativecommons.org/licens
to most other synthetic fibres as it is produced from chemicals, pushed es/by-sa/3.0/deed.en
through spinnerets to form strands and then hardened in fibre form.
Acrylics feel warm and soft to touch. Creases are not a problem as the fabric is resilient which
means that is springs back easily. One big disadvantage with acrylic is that it can pill quite badly.
Static electricity may also be a problem. Acrylics have low moisture absorption so you wouldn’t wear
anything acrylic on a hot sunny day. Acrylic, like acetate or polyester, is thermoplastic. Use cool iron
set at rayon temperature. Most acrylics are machine washable and require little or no ironing.
Garments are generally quick drying. If using bleach, select one that contains chlorine not oxygen.
4-H SEWING PROJECT – FABRIC CARE AND USE GUIDE 1

Blends - Fibres are often combined to produce a fabric that has the best characteristics of each
fibre. For instance, cotton is often blended with polyester to produce what we commonly call a
cotton-polyester blend. The cotton adds comfort to the polyester; the polyester adds easy care to the
cotton.
The purpose of blends may also be to cut costs by blending a cheaper fibre with a more expensive
one. For example, silk or linen may be blended with a cheaper fibre such as rayon to reduce costs.
Blends may also be produced to achieve a specific appearance. Rayon and acetate are often used
for this purpose because they add sheen or lustre to fabrics.
Camel Hair - The two-humped camel is the source of the camel hair fibre. The two-humped camel
serves as a means of transportation in Asia in the desert regions of China, Tibet and Mongolia. This
animal sheds about 2.5kg (5 ½ lb.) of fibre each year, which is used in textile products. The outer
camel fibres are coarse and used only in low-quality merchandise, but the short, fine under hairs are
as soft and as fine as top-quality wool. In addition, since camel hair possesses thermal properties
similar to those of wool, garments made of it keep wearers warm in cold weather.
Fine camel-hair products require the same handling and care as cashmere and mohair. Camel hair is
used in coating fabrics, sportswear and knitted products. The natural tan to reddish brown colour is
very attractive and is retained for many choice fabrics.
Coarse camel-hair fibres are used in industry for special belting, ropes and artists’ brushes. Natives
in various areas use the coarse fibres to make blankets.
Cashmere - is the fibre of the Kashmir goat, which is raised in Asia. The soft fibres are 2.5 to 9 cm (1-
31/2”) long are very fine and soft; longer fibres 5 to 13 cm (2-5”) in length are somewhat coarse and
stiff.
Although similar to wool in most properties, cashmere does differ in that it is more easily damaged
by alkalis than sheep’s wool.
The yearly production of true cashmere is very small, so the fibre is expensive. Fabrics made of
cashmere are warm and comfortable. The fibre can be produced in thick, medium-weight or
lightweight fabrics.
Cashmere fabrics are considered luxury items. However, if properly treated and maintained, they can
last a very long time and are appropriate in both warm and cool climates.
Cotton - is a natural cellulose fibre that comes
from the seed pods of the cotton plant. Cotton
was first produced for fabric making purposes in
India and Pakistan and its use eventually spread
to South America, and later to the United States.
Cotton fibres grow in the boll or seed pod of
cotton plants. After the cotton is picked, a
machine called a cotton gin takes out the dirt,
seed and leaves. It is then baled and looks like
the cotton batting that you find in your first aid
kit. After much combing or carding, the cotton is
twisted into ropes or slivers. With each twisting
the rope gets thinner and thinner and finally
becomes yarn. The yarn is then woven or knit
into fabric form. Figure 2 - Cotton Fibres Under an Electron Microscope. Credit:
Featheredtar,
Cotton is lightweight, strong and easy to sew but it http://creativecommons.org/licenses/by/3.0/deed.en
wrinkles easily. It is comfortable to wear and can
2 4-H SEWING PROJECT – FABRIC CARE AND USE GUIDE

be washed and ironed at high temperatures although it may shrink during the washing process
unless it has been specially treated. Cotton is
not attacked by moths but may be affected by
mildew.
Linen - is considered to be the oldest of all the
fibres. A natural cellulose fibre, linen is made
from the stem of the flax plant. After the plants
are harvested, dried, and the seed pods
removed, a process called retting is used to rot
away the fibres from the flax stalk. Then the
fibres are combed to separate the shorter fibres
from the longer ones.
Linen is used mostly for table linens and other
household fabrics, but may be used for dresses
Figure 3 - Flax Fibres and suits as well. Linen wears well but wrinkles
easily unless treated with a special finish.
Metallic Fibres - are the oldest type of man-made fibre and as the name suggests they originate from
minerals. Gold, silver and aluminum were the metals most often used in textile products but because
of the high cost of gold and silver, aluminum, stainless steel, copper and other cheaper metallic
fibres are now the most commonly used fibres. Usually the metals are coiled around a core of fine
wire or thread and the yarns are then encased in a plastic coating, which prevents discoloration.
Metallic yarns are not especially strong but they are adequate for normal decorative purposes. The
yarns are colourfast to light and mild laundering however high temperatures may soften the plastic
coating.
Metallic yarns can withstand laundering and some may be dry-cleaned. Avoid high temperatures
when laundering or ironing as it may melt the plastic coating. These yarns may be used in home
furnishings, evening wear, and even sportswear and accessories.
Modacrylic - as in most synthetics, modacrylics are made by combining chemical compounds.
Modacrylics are soft and delicate. They are thermoplastic and will melt at high temperatures or even
soften at some mid-range temperatures. Iron carefully at a low temperature setting. Modacrylics
have excellent resistance to wrinkling and perspiration. Deep pile modacrylics and false furs made of
modacrylics must usually be dry-cleaned unless labelled otherwise.
Because it is too weak to be used by itself, modacrylics are often used in blends for wigs, rugs, coats,
deep pile and fleecy fabrics.
Mohair - comes from the Angora goat located in Turkey, South Africa and, more recently, the United
States.
Angora goats are usually sheared twice a year. The fibres are fine and silky and measure 10 to
15cm (4-6”) in length. If sheared only once a year, fibres are 23 to 30 cm (12”) long.
Mohair is similar to wool in both physical and chemical properties. Its major advantages include
remarkable resistance to wear and abrasion, a high degree of lustre or shine and excellent resiliency.
Suiting and sportswear fabrics, upholstery, rugs and draperies may be made of mohair or a blend
containing mohair.
Nylon - Nylon is a synthetic fabric that was first introduced in the 1940’s for use in nylon stockings
Nylon is made from coal, air and water and the fibre is made by being pushed through a spinneret
and hardened.

Nylon is very elastic so that it is wrinkle-free. It is a very strong fibre and does not shrink, nor will it
mildew or attract moths. Nylon has a tendency to build up static electricity and pill. Low moisture
absorption and the ability to be weakened by sunlight are also characteristics of this fibre.
Nylon dries quickly. White garments should be washed only with other whites as nylon may pick up
colour form other garments. Nylon is thermoplastic and caution must be used when ironing. Nylon is
used to make rope as well as clothing.
Polyester – DuPont produced the first
polyester fibres in 1953 and the fibre
came into widespread use for clothing
in the 1960’s.
As in other synthetics, chemical
compounds are mixed together. The
mixture is forced through spinnerets
and hardened to form fibres suitable
for fabric use.
Polyesters have good strength and dry
quickly. They have low moisture
absorption which means that they are
uncomfortable in hot weather as they
cannot breathe, and they keep
moisture and heat trapped next to the Figure 4 - Polyester Thread. Credit: Surya Prakash.S.A.,
skin, rather than allowing the moisture http://creativecommons.org/licenses/by-sa/3.0/deed.en
and heat to escape. Polyester micro
fibres have improved breathability and fabrics produced from these fibres are similar to silk in both
feel and appearance.
Polyesters have excellent resistance to wrinkling and creasing and will spring into shape easily after
being crushed or wrinkled and soil and stains are not easily absorbed. Polyesters are affected by
pilling and static electricity.
Polyesters aren’t affected by dry cleaning, solvents or bleaches. They are easy to wash and quick to
dry. Turn the garment inside out before washing to reduce pilling. Polyesters require little or no
ironing and the fibres can melt very easily. Polyester is also used for household furnishings.
Olefins - First manufactured in 1949, it has only been lately that olefins have become popular
synthetics for use in fashion textiles. Polypropylene, produced from a component of natural gas
called propylene gas, is the olefin fibre most often used in the production of fabrics. The fibres are
produced by melting and spinning the raw materials into fibres or by extruding a film, which is
stretched and split into a network of fibres.
Polypropylene fibres are strong, have excellent resiliency and are dimensionally stable except at very
high temperatures. Acids, alkalis, mould, mildew, insects or ageing, do not affect this fibre. Some
solvents used in dry-cleaning may deteriorate the polypropylene fibre and prolonged sunlight may
also damage it.
Besides being used for felted fabrics, polypropylene is used in the production of blankets, carpeting,
upholstery and ropes.
Ramie - Ramie or China grass is a natural cellulose fibre that is obtained from a plant in the nettle
family and is grown in countries such as the Philippines, China, and Brazil. The fibre comes from the
stalk of the plant.

Ramie has good strength, has a high shine, or lustre, dyes easily and has high absorbency. This fibre
also has good resistance to microorganisms. Ramie has many linen-look qualities but is less
expensive to produce than linen.
Ramie fabrics are machine washable and require ironing as they wrinkle easily. Ramie-polyester and
ramie-acrylic blends have easy-care characteristics and are less stiff than 100% ramie fabrics.
Rayon or viscose - is a synthetic cellulose-based fibre and comes from the same source as paper-
wood pulp. The pulp is chemically treated and aged, and the solution is then pushed through tiny
holes or spinnerets to form yarns. An acid is used to harden the strands. As these strands harden,
they are stretched to give strength and elasticity. Rayon was first produced in 1924 and was called
artificial silk.
Rayon is absorbent, which means that it is quite comfortable to wear in hot humid weather because
of its ability to absorb moisture. Rayon wrinkles easily, may shrink, will not pill but like cotton, it is
susceptible to mildew. Rayon may be weakened by light if exposed for a long period of time.
Rayon is best dry cleaned unless the fabric care label says that it is washable. If you do wash rayon it
is usually washed by hand; do not wring it out. Avoid chlorine bleach, as bleach will weaken the
fabric. Iron damp on the wrong side at rayon setting (low).
Silk - is a natural protein fibre that
originated in China and is a product of the
silkworm, which feeds on the leaves of
the mulberry tree. The silkworm spins silk
as it builds its cocoon.
The silk fibre is the strongest, lightest,
and finest of natural fibres. It has good
moisture absorption and thus is
comfortable to wear. Perspiration will
deteriorate this fibre, and insects may
attack it if the fabric is stored in a soiled
Figure 5, Silk Worms. Credit: Armin Kübelbeck, condition.
http://creativecommons.org/licenses/by-sa/3.0/deed.en
Silk is often best cleaned by dry-cleaning;
however, there are some silks that can be hand washed or are machine washable. Follow the label
for care instructions. Do not use chlorine bleach on silk fabric, as the chlorine will damage the
fibres.
Spandex - Manufactured since 1959, spandex is a type of synthetic rubber composed of a substance
known as polyurethane. Complex chemical reactions produce this polyurethane, which is then
pushed through spinnerets to form fibres. Lycra is a type of Spandex.
This fibre is very resilient and has a high amount of stretch and will return to its original shape.
Spandex has low moisture absorption so that it is also fairly uncomfortable to wear in hot sticky
weather. Chlorine bleaches can degrade spandex.
Spandex can be dry-cleaned or laundered depending on garment construction. Follow the care
instructions on the label. Avoid high temperatures in cleaning or ironing. Repeated machine
laundering and tumble-drying can result in a loss of strength and elasticity as well as a grey
discolouration. Hand washing and air-drying can lengthen the life of spandex garments. Do not
bleach with chlorine bleach as it may damage spandex fibres.
With its close-fitting figures and ability to retain shape, spandex is widely used in swimsuits and
lingerie.

Triacetate – is made from the same material as acetate but one of the steps in making acetate is
omitted in producing triacetate, which results in a completely different fibre. Triacetate is
thermoplastic, but is usually more heat resistant than acetate. Triacetate is non-absorbent, wrinkle
resistant and may develop static electricity. Triacetate may be damaged by sunlight if exposed for a
long period of time. This fibre is machine washable and can be ironed at moderate temperatures.
Wool - is a natural protein fibre made from the hair of animals, usually sheep. Wool is a very old fibre
that has been used for fabric for centuries.
Wool is soft, elastic and springy and is the warmest and most absorbent of fabrics. Under a
microscope, wool appears to be rough and have scales that contribute to its absorbency and heat-
retaining properties. Wool can be an easy fabric to sew with but must be protected from moths and
beetles. Dry-cleaning is the best way to clean it as washing can cause wool to mat, shrink and
stretch out of shape.
Fabrics
There are three main types of fabric structures; woven, knits and non-wovens. Wovens consist of
yarns interlaced at right angles, knits are formed by the interlooping of yarns and non-wovens are
fibres that have been pressed into shape.
There are a lot of different types of fabrics produced and it would be impossible to cover every fabric
available on the market. The most common types of fabrics found in a fabric store are described
below.
Wovens
Woven fabrics are constructed of two sets of yarns that run at right angles to each other. The
lengthwise yarn or warp runs vertically and is called the lengthwise grain. The crosswise yarn or weft
or runs horizontally and is called the crosswise grain. At the outside edge of the lengthwise yarns you
will find the selvage where the warp yarns have been woven very close together for approximately
0.6-1.3 cm (1/4 -1/2).
When using a pattern you will notice that there will be a line or arrow indicating that you need to
place the pattern piece on the fabric’s straight or lengthwise grain. This means that the line or arrow
must be placed along the lengthwise threads parallel to the selvage to ensure that the fabric hangs
correctly after it is sewn.
The third fabric grain is the bias. The bias is found by folding a lengthwise thread along a crosswise
one. Often cuffs and waistbands are cut on the bias. The diagonal or true bias is the direction with
the most elasticity or stretch.
Before weaving, the fibres are first straightened, pulled and twisted into yarns, on a spinning wheel.
This process is called spinning. The yarns are then put on a loom and woven into a fabric.
Lengthwise or warp yarns are set up on the loom and crosswise or weft yarns are interlaced to
produce woven fabric.

Some of the more common weaves of fabric are:
 The plain weave is the simplest of weaves. Each filling
or weft yarn passes over one warp yarn and then under
one warp yarn resembling a checkerboard. Examples of
fabrics made in the plain weave are muslin, percale,
chambray, gingham and organdy.
 The rib weave and the basket weave are variations of Figure 6 - Plain Weave
the plain weave. In the rib weave, heavier or more yarns
are used in either the warp or the filling direction. This forms ribs on the surface.
(Examples: broad cloth, poplin, faille, grosgrain and ottoman).
 The basket weave is made up of two or more warp yarns woven in with one or more filling
yarns to produce a basket effect. Some examples of
fabrics woven in the basket weave are Oxford cloth,
monk’s cloth, and hopsacking
 Twill weave is the strongest weave. Each filing yarn
passes over two warp yarns then under one warp yarn.
This makes a diagonal line called a wale. The
herringbone weave is a variation of the twill weave. In
the herringbone weave, the diagonal lines change
directions regularly to form rows of upside down V’s.
Examples of the fabric made in the twill weave are
denim, gabardine, drill, serge and surah.
Figure 7 - Twill Weave

 In the satin weave the warp and filling yarns are woven
to expose more warp that weft or filing yarns. These long
warp yarns are called floats and produce a sheen or
lustre. This type of weave is not as durable as other
weaves because the long warp yarns may catch and pull.
Sateen, a variation of the satin weave, has filing yarns
that float on the surface so that your hand will slip more
easily in the crosswise direction of the fabric. Some
examples of fabric made in the satin weave are satin,
crepeback satin, charmeuse, messaline and moleskin.
 A pile weave uses three sets of yarns. Two sets make up
the plain or twill weave. The third set is anchored in the
plain weave and is allowed to hang slack during the
weaving. This results in a series of loops on the surface.
If the loops are left uncut, you have a surface like terry. If Figure 8 - Satin Weave
the loops are close together and cut, you have velvet,
velveteen or corduroy. Care should be taken when cutting and sewing of pile fabric so
that the nap is always in the same direction because it may look lighter or darker
depending on the light refection. NOTE: pile fabrics should not be confused with
“napped” fabrics. A pile fabric has a special weave to produce pile; a napped fabric has
just been brushed lightly to produce protruding fuzzy fibres. Pile fabric always has a nap

but the reverse is not necessarily true. Flannelette is an example of a napped fabric that
is not a pile fabric.
 Double weave consists of two fabrics woven together. An extra yarn is used to weave two
fabrics back to back or the warp of filling yarn of one fabric may be used to interlace the
fabrics. A double weave may or may not be reversible. It is thicker, warmer and more
absorbent than a single cloth fabric and may be used in such items as blankets or winter
coats.
Knits
Knits are composed of a series of loops formed on a knitting machine. Knits formed in the horizontal
direction are called filing knits whereas knits formed in the vertical direction are called warp knits. A
knit may be made in a circular tube or in a flat fashion. The main difference between the properties
of knits and woven knits is that knits stretch. This makes them more comfortable to wear as they
allow freedom of movement. The looped structure of knits also allows passage of moisture along the
surface of the fabric for comfort. This characteristic is known as wicking. As well, knits are usually
warmer than woven because of their ability to trap air and form dead air spaces. One disadvantage is
that knits snag easily. Knit fabrics come in different weights such as:
 Single Knit - uses only one set of needles in its construction. It
may be ribbed, plain or patterned.
 Double Knit - is produced by two sets of needles. It is double in
thickness and rib-like on both sides.
 Plain (Jersey) Knit - is a single knit, which forms vertical lines on
the face of the fabric and horizontal lines on the back. In hand
knitting, this stitch may be called the stockingette stitch. A Figure 9 - Single knit
tendency for these knits to curl may present problems in
cutting and sewing them. Runs or ladders may also easily form
if a yarn is broken.
 Knit Pile Fabrics – are knitted with two yarns feeding into the
same knitting needles at the same time. When the fabric is
knitted, one yarn appears on the face of the fabric, the other on
the back. The yarns on the back of the fabric are pulled through
to the face side of the fabric. If the pile is left uncut, knit terry is
formed. If the pile is cut and then brushed, a soft, downy
texture called knit velour is produced. Knit pile fabrics are often Figure 10 - Double knit
used for sports and leisure wear.
 Stretch Fabrics - stretch fabrics are knit fabrics composed of elastic fibres using such
fibres as polyester, spandex and the natural fibres. Stretch is the “hidden asset” in a
fabric that adds comfort and shape retention, wrinkle resistance and longer wear
There are three types of stretch:
 Filling or horizontal stretch which stretches crosswise form selvage to selvage. It is used
for blouses, skirts, dresses, jackets, and skirts.
 Warp stretch or vertical which stretches lengthwise or parallel to the selvage. This is not a
commonly used type of fabric.
 Two-Way stretch stretches in both directions and is used mostly in swimsuits and
foundation garments such as girdles, briefs and bras.

Non-wovens
Non-woven fabrics have no knitting or weaving involved in their construction. Fibres are joined by
entanglement and held together by using a type of glue or by melting.
Felt is a fabric, which is produced by entanglement of fibres through heat, moisture and pressure.
Many interfacings are non-wovens, which are bonded by a type of glue. Fusible Web and heat N’
Bond, used to fuse down hems and buttonholes, are a non-woven fabrics produced by melting fibres
together. Non-wovens have poor flexibility and tend to pull apart easily which make them unsuitable
for most kinds of clothing.
Finishes
Finish refers to the different treatments applied to a fabric to change such things as its appearance,
feel, wearablility or care requirements.
Finishes are said to be durable if they can withstand several launderings or dry cleanings without
being removed but they tend to gradually lose their effectiveness. Permanent finishes, on the other
hand, last the life time of the fabric. Renewable or non-permanent finishes are those that rub off
easily by washing of dry-cleaning. They can sometimes be replaced.
Finishes can be divided into two different groups:
 Routine or general finishes
 Functional or special finishes
Routine Finishes are the basic steps required in preparing fabrics for consumer use. Routine finishes
would include such procedures as scouring, bleaching and mercizing (treatment of cotton so that it
won’t shrink). The number and type of such finishes would depend on the fibre content of the fabric
and the desired appearance. Cotton fabrics, for example, would undergo different routine finishes
than wood-based fabrics.
Special Finishes are those that change the appearance, feel or properties of a fabric. Napping, a
fabric finish that produces short fuzzy fibres on the surface of a fabric like flannelette and flocking,
an effect created when short fibres are glued on to the surface of a fabric in some sort of pattern,
are examples of functional finishes which change a fabric’s appearance. Another examples of
functional appearance-altering finishes are sizing which gives limp fabric more body.
Unlike those finishes which change appearance and may be produced chemically or mechanically,
any functional finish that changes a fabrics properties are applied chemically. Property-changing
functional finishes provide the added qualities desired for a particular fabric or they may be used to
change an undesirable property to a more desirable one. The label may indicate which finishes have
been applied to the fabric. Commonly applied finishes include:
 Crease Resistant Finishes - are usually applied to cellulose fibres such as cotton, linen
and rayon that wrinkle easily. Crease resistant finishes help a fabric to resist wrinkling
during wear and help to keep the surface smooth, even after laundering although some
touch-up ironing may still be required.
 Permanent Press fabrics - have crease resistant finishes that resist wrinkling and also
help to maintain creases and pleats throughout wearing and cleaning.
 Stabilization Finishes - control stretch and shrinkage. These fabrics have been preshrunk
to a certain extent but still may shrink considerably. Permanent press and crease
resistant finishes, as well as mercerization (treatment of cotton with sodium hydroxide)
will also help stabilize fabrics somewhat.

 Stain and Soil Resistant Finishes - prevent soil and stains from being attracted to fabrics.
Such finishes may be resistant to oil-borne or water-borne soil and stains or both. Stain
and soil resistant finishes can be applied to fabrics used in clothing and furniture.
“Scotchguard” is a stain and soil resistant finish commonly applied to carpet and
furniture.
 Soil Release Finishes - These finishes attract water to the surface of fibres during
cleaning and help remove soil. Moisture is attracted to the surface of the fibre to improve
wicking, the ability of a fabric to transport moisture along its length.
 Anti-Static Finishes - reduce static electricity which may accumulate on fibres. The most
common type of anti-static finishes is fabric softeners. Home-applied fabric softeners are
non-durable anti-static finishes, which must be replaced after every washing.
 Water-Repellent finishes - resist wetting but that does not mean that they are waterproof.
A water-repellent finishes still permit a fabric to be porous and if the fabric becomes very
wet, water will eventually pass through. These finishes may be applied to fabrics found in
raincoats, all-weather coats, hats, capes, umbrellas, and shower curtains. Water-
repellent finishes also repel water-borne stains.
 Waterproof Finishes - allows no water to penetrate. For example, coated fabrics (fabrics
coated with rubber or plastic) can be waterproof. Such fabrics tend to be uncomfortable
because they trap moisture next to the body. Fabrics have been developed that are
waterproof, yet are also breathable. These fabrics have a fluorocarbon membrane
placed underneath the outer fabric, as well as underneath lining fabric. Trade names
include GORE-TEX, Bion II and Dicrylan.
 Flame-Retardant Finishes - are applied to combustible fabrics used in children’s
sleepwear, carpets and curtains. This finish prevents highly flammable textiles from
bursting into flame. In Canada, laws require that children’s sleepwear and certain
household furnishings meet certain standards for flammability resistance.
 Absorbent Finishes - increase fibres’ moisture holding power. Such finishes have been
applied to towels, cloth diapers, underwear, sports shirts and other items where moisture
absorption is important.
 Mothproofing Finishes - protect protein-containing fibres, such as wool, from being
attacked by moths, carpet beetles and other insects.
Now that we understand how fibre, fabric and finish work together we can learn a little about some
of the more commonly used textiles these three elements can construct.
Fake Furs - Pony skin, zebra skin, and
shearling - fake fur or deep pile fabrics are
available in a complete range of choices.
They vary from long hair to smooth pelt
fabrics. The pile is usually synthetic with a
knit or woven backing of cotton, acrylic,
modacrylic or polypropylene.
Fleece Fabrics - Fleece or sweatshirt fabrics
have been popular for many years in athletic
attire. This fabric is easy to sew and may not
need seam finishes. Fleece is often made
from a blend of cotton and manufactured
fibres, notably polyester and acrylic, to
capture the good properties of cotton, such
Figure 11 - Synthetic Fur. Credit: Rat at Wikifur,

as softness and absorbency, with the good qualities of man-made fabrics such as resiliency and
dimensional stability. As a result, the marketplace abounds with fleece made from various amounts
of different types of fibres.
Insulators - used in outdoor wear to help maintain a comfortable body temperature. Because of their
structure, insulators hold air in place to form “dead air spaces” which prevent air movement and
body heat loss. The loft or thickness of the insulation, the amount of wind, the temperature and the
wearer’s own metabolism will determine how much insulation is needed for a particular garment.
Down is the soft, fluffy undercoating of geese, ducks and other waterfowl. Individual down pods have
many long, fuzzy arms radiating out from one point. When many individual down pods are placed
together, these arms mesh and intertwine forming a network of filaments. The network traps air,
forming a dead air space as thick as the thickness of the down.
Advantages of down:
 Warmest insulator for its weight.
 Compresses, yet has excellent resilience.
 Soft, yet durable with a long life.
 Breathes, permitting body moisture to escape.
 Odourless and non-toxic.
 Form-fitting, shaping to the body and eliminating large live air spaces.
Disadvantages of down include:
 More expensive than polyester.
 Mats and loses its insulating ability when wet.
 Takes a long time to dry
 Mildews if not thoroughly dried.
 Can aggravate allergy-prone people.
 Must be quilted to prevent shifting.
Polyester battings, in general, are made of 100% polyester fibres that are assembled into sheets and
then partially stabilized by bonding or needle punching for easier handling.
Some advantages of polyester batting are:
 Fast drying.
 Machine washable/dryable.
 Less expensive than down.
 Non-allergenic.
 Mildew resistant.
 Maintain their loft when wet.
 Absorb only small amounts of moisture.
Disadvantages of polyester batting are:
 Heavier and bulkier than down.
 Less compressible than down.

 Can be damaged by heat
 Shorter life expectancy than down.
Some polyester battings commonly used for outdoor wear include
Dupont Hollofil, Celanes Polarguard, Eastman Kodel, 3M Thinsulate
and needle punch batting.
Laces - can be woven or knit and are openwork fabrics consisting of a
network of looped, twisted or knotted threads or yarns. Laces have
intricate designs, most often floral, on a ground of mesh or net and
can be manufactured in many widths and shapes. Lightweight to
heavy weight fabrics are made from cotton, silk, polyester, rayon or
nylon fibres. Some laces have a decorative edge (e.g. a scalloped
edge), which can be used to finish the hem and neck edges of
garments lace. Yarns used in making lace are stronger and more
firmly twisted than those for other types of fabrics. Most lace fabrics
are fragile and require special handling, but those made of strong
fibres, such as nylon, are durable and give long life. Figure 12 - Lace. Credit: Carolus
Leather and Suede - is produced from the skins of

animals such as sheep, cattle, pigs and goats.
Leather is smooth and has the grainside or hairside
on the surface. Suede has a nap and has the flesh
side as its surface.
Leather comes in various grades. The highest grade
leather is thicker and more uniform in thickness and
colour than the lower grade types. It is also free from
marks and scars and is finer in texture. Coarse grain
leather will stretch more with wear.
After the hide is removed from the animal and
cleaned, it is tanned this process involves treatment
of the skin with oils so as to keep the leather supple
and smooth. Improperly tanned leather may become
brittle and crack.
Figure 13 - Suede. Credit: Andrew Magill,
http://creativecommons.org/licenses/by/2.0/deed.en
Needle-Punched Fabrics - resemble felt in
appearance, but are wholly or primarily from fibres
other than wool. These fabrics are classified as nonwovens because neither weaving nor knitting is
used in their construction. They are joined by entanglement of fibres through the mechanical action
of barbed needles (rather than the application of heat, moisture and friction as true felt is produced).
Products commonly found that have been made from needle-punched fabrics include carpeting, wall
coverings, blankets, padding, insulation and industrial fabrics. Most nonwoven interfacings are
needle-punched.
Outdoor Fabrics - are strong, durable and wind resistant. Such fabrics are often 100% nylon, a nylon
blend or a polyester-cotton blend like Commander, a fabric commonly used for mountaineering
jackets and parkas.
Outdoor nylons can be a variety of weaves. Plain weave nylons are light weight and are useful for
shell garments. Heavier oxford weave nylons, such as Cordura, are very strong and durable and are
often used for backpacks and luggage. Ripstop nylon is strong and compact and is commonly used
for tents and with down insulation for sleeping bags. Taslin nylon, which has a crinkled appearance,
is frequently used for windsuits and jackets.

Some outdoor wear fabrics are coated to make them water repellent or waterproof for use as
raingear, the outer fabric on insulated garments, packs, rainfly’s for tents, and tent bottoms. Recent
improvements in the breath ability of such finishes have made water-repellent and waterproof
outdoor fabrics more comfortable to wear.
Polar Fleece - is a double-napped knit fabric, sometimes called bunting. Made by a unique double-
napping process to provide warmth without bulk and weight, these high-tech, high-performance
fabrics are engineered to keep you warm, dry and comfortable across a broad range of climate
conditions. They can be used as lining, insulators and outer layers in a variety of garments from
underwear to lightweight wraps (polypropylene), or even recycled pop bottles. These fabrics have
good shape retention, dry quickly and retain their insulating properties. Polar fleece is breathable,
hypo-allergenic and odour resistant. It doesn’t fray and is very easy to sew. It is machine washable,
quick drying, durable, resistant to pilling, comfortable to wear and easy to clean. Polartec is a trade
name for polar fleece. Earlier versions of this fabric (Chinella, Polarfleece, Polarplus, Polarlite and
Arctic Fleece) were nonwoven and were made from polyester or polypropylene fibres, which had
been shrunk and felted. Compared to today’s polar fleece fabrics, they pill more than most and
many are less windproof.
Quilted Fabrics - use a bonded fabric with a batting or foam centre. Stitching the fabrics together or
joining them chemically or thermally may achieve the quilted effect. Chemically quilted fabrics use
adhesives to bond the fabrics together. Joining the fabrics by heat is a welding type process that
involves the use of ultrasonics.
Sheers - are plain weave transparent lightweight fabrics that vary from soft to crisp in texture. Soft
sheers (chiffon, georgette, voile, batiste) are drapeable and slippery which makes them difficult to
handle. Crisp sheers, such as organdy, dimity, organza and dotted swiss, are easier to handle
because they have more body.
Tricot- is a knit fabric produced in the warp or vertical direction. In this knit, each yarn forms
interlocking loops above, below and sideways. The ribs formed by the loops run lengthwise on the
face side and crosswise on the wrong side. Tricots of 100% nylon, 100% triacetate and blends of the
two are most common. Tricot is a fabric that is often used in lingerie, sleepwear and loungewear.
Ultrasuede – was invented in 1971, and is a crisp non-woven napped synthetic suede fabric make of
60% polyester and 40% polyurethane. It does not fray, pill, shrink, stretch or wrinkle and can be
machine washed or dry-cleaned. Ultrasuede burns readily and will be damaged by high
temperatures. Ultrasuede is used for furniture, wall coverings and luggage as well as clothing.

Sewing your fabrics
Some fabrics require some extra care and planning when sewing with them. As has been mentioned,
there are many fabrics on the market and we cannot possibly cover them all in this guide. However
this guide does include sewing suggestions for the most commonly used fabrics.
Fake Furs
Patterns
 Choose simple patterns to minimize bulk. If possible, avoid collars, set-in sleeves,
buttonholes and decorative features such as flaps, tabs and epaulets.
Cutting
 Fake fur fabrics have a nap so all pieces should be cut out in the same direction. Pattern
pieces should be placed on the wrong side of the fabric.
 Eliminate all unnecessary seams.
 Omit interfacing pattern pieces, as synthetic furs rarely need extra strength and support.
 Facings may be cut in one piece with the main garments piece to reduce bulk or lining
may be cut out to use as facing.
 Use long pins with large plastic heads to hold the pattern on the backing; quilting pins
work well.
 When cutting, cut through the knit backing only so you don’t cut the wrong side of the
pile fibres.
Machine Preparation:
 Tension- Loose
 Pressure - light
 Stitch Length - about 4/cm (10/inch)
 Needle - coarse
 Thread - heavy duty
Sewing Tips
 Stitch seams in the direction of the pile whenever possible.
 Use a pin to lift pile caught in the stitches of seams.
 To eliminate bulk shear pile form seam allowances.
 Do not clip curved seams too deeply.
 To finish darts, split the darts down the centre and shear pile as on seams.
 Stitching seams with preshrunk seam binding will reinforce areas of strain.
 When sewing with pile that is very long you can camouflage the seams completely by
using a knitting needle and pulling the pile out of the seam on the outside and combing it
down over the seam.
Pressing
 Try finger pressing or steam, using a needle board.

Fleece Fabric
Pattern Selection
 Choose a simple pattern with uncomplicated
design details to reduce the problems that may
arise in sewing through layers of thick, bulky
fabric.
Preparation
 Preshrinking the fabric is recommended to
reduce shrinkage that might occur in
laundering. To preshrink, use the same washing
procedures that you will follow when the
garment is completed. Most fleeces can be
laundered as follows: machine wash (warm), Figure 14 – Polar fleece. Credit: Max 92,
rinse well, dryer dry, remove promptly. http://creativecommons.org/licenses/by-
sa/3.0/legalcode
 Check the bolt end of the fabric for specific care
instructions when you buy.
 When pressing, press fleece lightly on the right side up to avoid flattening the nap.
Layout
 Fleece fabrics are knitted, and the formation of the knit stitch is not the same top and
bottom. The fabric may have a nap that runs in one direction. It is always wise to lay the
pattern on the fabric so all the pattern pieces are pointing in the same direction.
Otherwise, follow the layout directions provided with the pattern.
Machine Preparation
 Needle Size: 11 or 14
 Needle Type: Universal or Ballpoint
 Tension: Light
 Pressure: Light
 Thread: Cotton or polyester or 100% polyester
 Stitch Size: 3-4 stitches/cm (8-10 stitches/inch
Seams
There are many different ways of making seams in fleece fabric to provide strength and to provide
decorative effects. These include:
 The plain seam – quick, easy and requires no seam finish because the fabric does not
ravel.
 Overedge finish – is fast and easy to do, particularly on a Serger.
 2-Thread Overedge Stitch
 Plain seam with double topstitching
 Welt seam
 Tucked seam
 Slot seam

 Piped seam – piped seams add colour and stability to side seams.
 Wrist/Ankle Finishes - any of the following techniques can be used:
Ribbed knit cuff
Elastic casing
Drawstring casing
Waistline Finishes
 Pants or shorts can be finished at the waistline in the following ways:
Casing with a drawstring.
Elastic casing with wide elastic (2 – 2.5 cm or ¾ - 1” in width).
Multiple rows of 1.3 cm (1/2”) elastic.
Leather, Suede, and Synthetic Suede

Patterns
 Should be simple with a few seams, darts and details and no eased seams - leather and
synthetic suede will not ease. Avoid patterns for knits only because they are meant for
fabrics that stretch. A pattern with gathers can be chosen for soft leather and synthetic
suede but gathers will add some bulk. Short, wide angle darts are not appropriate since
short darts will not lie flat. Darts should be gradual and narrow to a sharp point.
Preparation
 Synthetic suede should be preshrunk. It is also a good idea to preshrink zippers if not
marked low shrink and linings.
Layout
 Since leather and synthetic suede are expensive, place pattern pieces so as to avoid as
much wastage as possible.
 As suede and synthetic suede both have a nap, you’ll have to be sure to place all pattern
pieces in the same direction. Otherwise, because of the shading caused by the nap, the
garments may appear to be more than one colour. Nap running upwards produces a
richer, darker colour; nap running downwards results in a lighter, shinier look.
Cutting
 A rotary cutter works well for cutting out leather, suede and other heavy fabrics. A utility
knife also works well. If skin is not wide enough to make a complete front or back, cut
two separate pieces and seam in the centre. Don’t forget to add the seam allowance.
Things to remember:
 Pin marks will show so pin within the seam allowance or tape pattern to skins.
 Mark construction details with chalk.
 Facings can be cut from skins or lining fabric.
 If possible eliminate unnecessary seams, such as centre back seam.
Machine Preparation
 Tension - May have to be adjusted. Test it on a scrap of the skin/fabric.
 Pressure - Adjust to the weight of the skins or fabric.

 Needle - a larger needle, such as a wedge needle, will be required for sewing leather and
topstitching leather and synthetic suede. Special leather needles are available.
 Thread - For leather, heavy duty mercerized cotton. Synthetic suede: #50 100%
polyester or polyester core thread works well.
 Stitching - Sew at about 3-5 stitches per cm (10-12 stitches per inch). Each stitch
punches a hole, so stitch carefully.
Sewing Tips
 Stitching Errors - They will show. Stitch with care to avoid ripping. Do not stretch as you
sew.
 Darts - Leather: Stitch, slash to within 1.2cm (1/2”) of the point, press open and glue
down. Synthetic suede: A small circle of fusible interfacing over the point of the dart
may prevent puckering. Darts may be constructed in the same manner as for leather or
a flat dart may also be used. For a flat dart, slash through the centre of the dart, overlap
and topstitch.
 Seams - Do not pin. Use paper clips to hold layers together or use double-faced basting
tape. Don’t back- stitch; tie the thread ends together.
 Skipping Stitches - If your machine is skipping stitches, try using a ballpoint needle.
 Seams on leather can be finished by pressing the seam opening, trimming the seam
allowance to 1 cm (3/8”) and gluing or topstitching the seam down. Seams may be
regular, topstitched or flat-felled. Synthetic suede fusible web may be used to fuse
seams. A pounding block or small hammer for flattening seams will come in handy.
Stitching seams with preshrunk tape will reinforce areas of strain.
 Topstitching on suede and synthetic suede should be stitched in the same direction
because of the nap.
 Buttonholes - test method on a scrap of leather or synthetic suede. Bound buttonholes
work well on synthetic suede and soft leather. A reinforced slash using small stitches
(6/cm or 15/ inch) is very easy.
 Hems - Leather: Glue and hammer flat. Synthetic suede: Fuse down with fusible web.
Another method may be used in which the garment is cut to the desired length and a
facing is topstitched to the hem.
 Linings - Choose linings with care properties similar to that of the outer garment.
Synthetic suede can be washed and tumble-dried so choose a washable lining unless you
wish to dry-clean your garment.
 Interfacings - A canvas or nonwoven interfacing extending from the front section to the
armhole adds shape retention in leather. Layers of interfacing may be used where extra
support is needed.
Pressing
 To press leather and synthetic suede, use one or several layers of self -fabric (a piece of
the leather itself). A piece of wool flannel also works well. Brown paper placed under the
seam allowances during pressing will help to prevent seam imprints from showing on the
right side. For suede and synthetic suede, use lots of steam and brush up flattened pile
with a fine emery board.

Napped and Pile Fabrics
Pile fabrics have an extra set of yarns involved in their
construction. This extra set of yarns forms loops which may
be cut (e.g. velvet, corduroy) or left uncut (e.g. terry) to form
pile. A napped fabric, such as flannelette, has just been
lightly brushed to produce protruding fibres.
Patterns
 Choose a simple design that will emphasize the
fabric. Look for a minimum of seams, darts and
tucks. Topstitched details will mar the
smoothness of the fabric.
Cutting and Marking
 The direction of nap or pile affects the fabric’s
Figure 15 - Corduroy fabric. Credit: ArielGlenn,
colour. Find the direction by running your hand http://creativecommons.org/licenses/by-
along the grain. The nap running down has a sa/1.0/legalcode
smoother feeling and a lighter, shinier look. Nap
or pile running up has a rougher touch and a richer colour. All pattern pieces will have to
be placed in the same direction for the colour to appear consistent.
 Eliminate bulk as much as possible by eliminating facings, substituting a lighter weight
fabric for facing or by cutting facings as one piece with the garment.
 Cut napped fabrics down, as the fabric will show less wear. However, for a richer colour,
cut pile fabrics with the nap running up.
 Tension and Pressure - light
 Stitch Length - 4-5 stitches/cm (10-12 stitches/inch)
 Needle - size would depend upon weight of fabric
Sewing Tips:
 Seams - if necessary, hand-baste before machine stitching to prevent slippage and
puckered seams.
 Always sew in the direction of the nap or pile.
 Grade seams to eliminate bulk.
 Seam Finishes - Pink, overcast, zigzag or stitch 6 mm (1/2”) from the seam edge. Seam
tape may also be a good idea if the fabric frays badly.
 Facings - use lightweight fabrics such as organza or taffeta for dry-cleanable garments
and lightweight cotton for washable garments if the fabrics are quite heavy. For
lightweight fabrics, a piece of self-fabric is fine.
Pressing
 Press using a needle board with the fabric face down.
 Use plenty of steam.
 Always press very lightly in the direction of the nap.

Outdoor Wear
Sewing
 Separating and exposed zippers are used in many outdoor items. They may be corded to
keep the zipper teeth from catching on the insulated overlap.
 Wind flaps are used on insulated garments to give more protections from the elements.
This is a double layer of fabric, which lies behind the zipper.
 For topstitching and machine quilting, hand-baste or pin baste all layers together before
machine stitching to keep layers from shifting. Tailor’s chalk can be used to draw quilting
lines for straighter stitching.
 A lower gear, if your sewing machine has one, is helpful when quilting through thick
layers.
Pressing
 Pressing should be done with your fingers or with the iron set on a very low temperature.
Don’t attempt to press insulation or garments that have been insulated because you will
flatten the loft and decrease the insulation value.
Kits
 Outdoor wear kits are very popular and are available for several outdoor equipment and
apparel manufacturers. The kits contain all fabrics, insulators, notions and directions for
construction. In some kits, the fabrics are pre-cut and ready to sew.
Notions
 Notions used for outdoor items include thread, fasteners such as zippers, snaps, hook
and loop type closures, buttons and eyelets, and decorative trims ribbings for cuffs or
neckbands. The weight of the notion should be compatible with the garment fabric.
 All notions should have the same care requirements as the fashion fabrics used.
 100% polyester or polyester-cotton thread is strong and a good choice.
 Heavy-duty thread may be desirable for items that need extra strength, such as
backpacks.
 Decorative trims are used to personalize outdoor items. Usually the trim is attached
before the item is insulated.
Plaids and Stripes

A plaid is a fabric design made of
stripes, which cross each other at right
angles. All plaid fabrics are made of
repeats, or four-sided areas of the
complete plaid design and colors. The
arrangement of stripes, sizes and
colors within a repeat determines
whether the plaid is balanced (even)
or unbalanced (uneven). Stripes run in
only one direction- lengthwise or
crosswise, and may be even or uneven
Figure 17 - Even plaid Figure 16 - Uneven plaid
in width and design.

Balanced stripes are the same from one side to the other. Stripes will meet along a diagonal fold.
Even plaids are the same from side to side and top to bottom. When folded diagonally through the
centre of any repeat, the lines of the folded edges will meet the other lines. Unbalanced stripes are
not the same from side to sides. Stripes will not meet along a diagonal fold. Uneven plaids are not
the same from one slide to the other or from top to bottom. The lines of the folded edge will not meet
the other lines when folded along the diagonal of any repeat.
Patterns
 Patterns specifically designed for stripes and plaids are best, but other patterns may also
be suitable.
 Simple designs with few pieces and seams work well. Avoid may gores, circular yokes
and princess lines.
 Try to visualize the effect of the plaid or striped fabric into the style you are considering.
 Plaids and stripes require extra yardage for matching. For small-scale or medium-scale
plaids or stripes, add on 23-46 cm (3/4-1 ½’) and for large-scale plaids or stripes, add
an extra 46-91 cm (1 ½ - 3’).
Preparation
 Preshrink all washable fabric and notions.
 Pin fabric layers together along both lengthwise and crosswise bars so design will not
shift in cutting.
 Be sure to make all adjustments on your pattern before laying it out. Seams will not
match if changes are made after cutting.
Layout and Cutting
 You may use a without nap layout for even plaids, unless the fabric is brushed or napped
- then use a with nap layout (pattern pieces all placed in the same direction).
 For uneven plaids, use a with nap (one-way) layout.
 Although cutting a single layer is more accurate, a double layer may be used if you align
the plaid design or pin or use basting tape to keep the fabric from shifting.
 If the plaid or striped fabric has a woven design, the design will be on grain; if the design
is printed on the fabric the plaid or stripe may not be on grain, but the pattern piece
should be laid on the fabric with the design, not with the grain, for a more pleasing effect.
Place the most noticeable lengthwise bar or stripe at centre front and back.
 For uneven plaids and uneven lengthwise stripes with no centre front seam, place
dominant stripe at centre front, then let bars or stripes follow around figure. If fabric has
no right or wrong side, a seam may be made at centre front to give a balanced effect.
 Lay pattern pieces on single layer of fabric. Place the dominant crosswise bar or stripe at
the hemline of the garment. Cut first half of pattern (leave seam allowance). Leaving
pattern piece pinned on, place pattern and fabric on second area of plaid, matching
lengthwise and crosswise bars. Be sure the two pieces are opposite - e.g. right and left
fronts.
 Match stripe or bars to the centre front, centre back and sleeve front armhole. Match
collar to centre back of garment; skirts at side seams if both seam lines have the same
slant. Match at corresponding notches and along the stitching or seam line, not the

cutting line. If plaid or stripe is uneven, be sure to cut all pieces the same way on the
fabric.
 Lay pattern pieces for matching in the following order for fitted tops of dresses or tuck-in
fitted blouses/shirts:
Place front pattern piece first.
Place sleeve, matching front notch of same crosswise bar as bodice front
armhole notch.
Place bodice back, matching armhole notches to same bar as back sleeve
notch.
For over-blouses, shift dresses, coats and jackets:
Place front pattern piece.
Match back piece to front at side seam - below underarm dart.
Place sleeve last and match front notch to same bar to armhole notch. The
plaid may not match at back armhole notches but will match on the underarm
seam.
A chevron is a “V” formed when plaid bars or stripes are matched at an angle.
Chevrons must be cut only along a bias seam. If a shirt is gored, it must be
chevroned.
Where seams join, stripes must come together to form a point. Try not to place
darts on prominent bars. If possible, sleeves and collar ends should match.
Before cutting, check each pattern piece to see that it is correctly matched to
all necessary corresponding pieces. Check the direction and placement of
plaid and stripes in each pattern piece to see if it is correctly placed.
Pockets, flaps, etc. can be matched to the plaid or left purposefully unmatched
(e.g. cut on the bias).
Try to match plaids or two-piece outfits where they overlap (top to bottom,
jacket to vest and bodice to skirt or pants at waistline seam), so plaid will be
continuous for full length of the garment.
Sewing Tips
 To ensure perfect matching on a bias seam, press under one seam allowance and place
over the other. Slip-baste from right side; machine stitch from wrong side on basted line.
Sheers and Laces

Patterns
 Patterns for sheers should have few darts, seams or facings as the inside construction
will be visible from the outside. Appropriate design details include gathers, ruffles,
pleats, tucks and bound edges such as those found full skirts, draped panels, pullover
tops and kimono sleeves.
 Avoid selecting a style and a close body fit, as the fabric will not withstand the stress at
the seams.
 If possible, select a style that does not use a button or zipper closure, as the closure
technique may be too heavy for the fabric.
 Additional fabric is needed for sheer garments when multiple fashion fabric layers
(double sleeves, skirts and bodices) are cut.
 Select a simple pattern for lace garments so the fabric design becomes the focal point of
the garment.

 Keep darts, seams and facing to a minimum. Use the beauty of the fabric in soft, flowing
styles incorporating gathers, ruffles, flounces, full skirts and draped panels.
 Purchase extra lace fabric to accommodate one-way pattern layouts, to match large
design motifs and to use fabric designs for edge finishes.
Interfacing, Underlining, and Lining
 Carefully select fabrics to give support as the hand and body of laces and sheers are
easily changed by improper choices. The use of interfacing, underlining or lining will be
influenced by the pattern design, the transparency of the fashion fabric and personal
preference. Lining or underlining increases the opaqueness of the garment and
durability of the fashion fabric as well as the visibility of lace and design motifs.
Underlinings conceal seam and dart edges and provide a place to attach hem stitches.
 A custom designed undergarment (slip or camisole) can be used instead of lining or
underlining.
 Whenever possible, eliminate interfacing and facings by cutting double layers or binding
edges.
 Collars, cuffs and button closures are interfaced to maintain shape and provide support.
 Self-fabric, organza, tulle, voile, organdy or nonwoven interfacing designed for sheers in
beige, flesh tone or coordinating colour are good choices.
Preparation
 Pre-treat all fabrics according to manufacturer’s care instructions. Because of the
delicate nature of laces and sheers, pre-treat a sample before completing the process on
your fabric.
 Fragile, washable fabrics should be place in a pillowcase and the top basted shut before
being laundered.
 Pre-treat “dry-clean only” fabric laces by placing face down on a towel and steam
pressing.
 Make a trial garment from a soft muslin fabric. Transfer fitting changes to the pattern
before cutting out the garment.
Layout and Cutting
 Pin laces and sheers, which slide, at frequent intervals to a sheet of lightweight paper or
to a cutting board. Use silk pins or fine, sharp hand needles to keep from damaging the
fabric.
 Clip the selvage edge of sheers at frequent intervals to eliminate any tightness or pulling.
 Pattern pieces are placed on lace fabric by using the motifs instead of the fabric grain
line to position the pattern. Place altered pattern pieces so major motifs are centered,
matched at seam lines and are symmetrically placed on right and left garment sections.
Use a one-way layout in either a lengthwise or crosswise direction. Placing lace fabric
over a dark surface makes the motifs more visible.
 An appliqué seam technique requires you to thread trace mark all seam lines and to cut
out each pattern section following the design motif on overlapping seams. Thread
tracings are long and short hand basting stitches, which mark seam lines and dart
stitching lines. The cutting line will be crooked.

 Transfer markings to sheers and laces by using tailor’s tacks or thread tracings. Use a
pastel shade of thread as darker thread can leave lint marks on light colors. If a pattern
marking falls over a space in the lace, use a piece of transparent tape on the wrong side
and transfer marking to tape with a pencil.
 Tension - Average to loose, depending on the fabric and thread
 Pressure - Average to light
 Needle size - 9 or 11
 Thread - Fine thread suitable to fabric (cotton-polyester or 100% polyester)
 Stitch length - You may wish to use shorter than average stitches.
Sewing Tips:
 Tissue paper can be placed between the feed dogs and the fabric to prevent marring the
surface of the fabric when stitching.
 Seam choices for sheers include the French seam, mock French seam and the double-
stitched seam. The French seam is generally used for shoulder and side seams. Sleeves
are set into the armhole with a double-stitched seam and the seam allowances are
overcast together.
 Use an appliqué or overlap seam to hide seams in a lace garment with a large design
motif. You must plan to use this technique prior to cutting. Lap vertical seam at
shoulders, sleeves and sides toward the back of the garment. Align thread tracing marks
for seams, working with fabric right side up. Baste together on seam lines. Whipstitch
overlapping lace motifs by hand or a medium width zigzag machine stitch. Trim excess
seam allowance on under layer close to appliqué stitches.
 Use a double-stitched seam technique to construct darts in sheers and most laces. Use
an appliqué seam to sew darts in lace garments with prominent design motifs.
 When handling a sheer fabric alone, neckline and armhole edges of a sleeveless
garment are finished with a narrow, double fold, self-bias binding. When two layers of a
sheer fabric are used for the same type of armhole and neckline, the binding will produce
an attractive finish.
 Facings - Eliminate facings if you can’t hide them. Use a double-fold binding of self-fabric
to create the edge finish or substitute single-fold bias tape, tricot binding or piping trim
for facings.
 Closures - Use nylon snaps and lightweight, plastic buttons instead of metal ones which
will be too heavy for the fabric. Thread or fabric loops are used for an attractive button
closure in place of buttonholes. Hand worked or machine worked buttonholes give a nice
effect, but will present difficulty in construction and durability. A tear-away stabilizer will
keep the fabric from stretching and buttonholes free from puckers. Lightweight nylon or
polyester coil zippers are inserted by hand picking.
 Hems are either very deep or very narrow. A deep hem or double hem of 10-15 cm (4-5
inches) is good for straight edges in crisp sheers. Narrow rolled hems are used on bias
hem edges and straight hems in soft sheers. For a very narrow (fake rolled) hem:
Fold fabric to wrong side 3 mm (1/8”) outside marked hemline and press.
Stitch as close to the edge as possible.
Trim off excess fabric close to stitching.

Turn the stitched edge to the wrong side again; press.
Stitch again close to the edge.
Pressing
 Press carefully. Some sheers and laces pucker when pressed with steam.
 Cushion seams with brown paper strips to prevent press marks on the outside of the
garment.
Silk and Silk-Like Fabric

Depending on style, the silk garment is appropriate for a variety of casual and semi-causal dress
occasions.
Patterns
 Showcase the best qualities of silk fabrics by choosing patterns with easy fit and flowing
lines. Soft details such as pleats, gathers, ruffles are ideal.
 Consider the hang, drape, weight, hand, surface design and weave of the fabric as well
as the garment use when planning the garment.
Interfacing
 Interfacing should blend with the fabric colour and texture and offer gentle support.
Preshrinking
 The decision to launder or dry-clean the garment should be made before the fabric is cut.
 If the finished garment will be laundered, wash the fabric by hand or machine to
preshrink it.
 Preshrink the interfacing, linings and other components appropriately for the garment
care.
Layout and Cutting
 Since pins easily damage most silks, machine stitching and ripping, adjust the pattern
before cutting, and, if necessary, make a test garment.
 Use a nap layout except when you are absolutely sure the fabric has no nap or shading.
 Pin silks, which tend to slide at frequent intervals to a sheet of lightweight paper. Cut the
paper layer used to stabilize the fabric at the same time as the fabric.
 Use fine, sharp pins to keep from damaging the fabric.
 Hold fabric firmly as you cut out your garment.
Marking
 Transfer markings to silk using a fabric marker or chalk pencil.
Construction Techniques
 Use a cotton-covered polyester or polyester thread labelled extra fine or for lightweight
fabrics on silky fabrics to reduce seam pucker problems.
 Woolly nylon thread in the loopers of your Serger will prevent thread imprints of an
overlock seam finish.
 Some silk-like fabrics, such as fabric made from polyester micro fibres are very tightly
woven. In order to prevent skipped stitches, you may have to use a special needle.

 Fabric weight, garment style and equipment determine the type of seams used for silky
fabrics. Narrow seams like those used on sheers are appropriate and include French,
double-stitched and flat-fell seams. When a plain seam is sewn, finish the raw edges with
a clean finish, tricot binding or stitched and pinked technique. Shoulder seams can be
taped to stabilize the seam.
Pressing
 Press carefully with a steam iron on low temperature.
 Place strips of brown paper under the seam allowances to prevent imprints on the
outside of the garment. A press cloth will protect against water spots and a too hot iron.
Stretch fabrics
The following guidelines will assist you when sewing with knits and stretch fabrics:
Patterns
 Stretch sewing patterns have been produced with several sizes on one master pattern to
compensate for variations in stretch.
 If you decide to select a regular pattern for knitted fabrics, be sure to choose one that is
suitable for knits only. These patterns will tell you how much your fabric should be able
to stretch in order to be suitable for the pattern. Your pattern package will also tell you
what weight of knit is appropriate for the style of the pattern.
Preparation
 Your fabric should be preshrunk. Launder and dry it as you normally would a garment
made of that fabric.
Layout
 Knits do not have a grain line but they do possess a rib, which can be regarded as a grain
line, and as such, should run lengthwise.
 Check carefully for the right side of the fabric. Lightweight knits, such as tricot, usually
curl to the right side.
Cutting
 To avoid stretching the fabric as you work do not let fabric hang over edges of the cutting
table. Roll or fold excess so it is on the table.
 Place pins perpendicular to the stretch direction so as not to stretch the fabric out of
shape when you pin it.
Machine Preparation
There are many good publications available on the subject of sewing with knit and stretch fabrics.
Your project group may want to consult some other sources for advice; however, here are a few basic
hints to get you started:
 Pressure – Medium to light. The heavier the fabric, the heavier the pressure that will be
required.
 Stitching – 4-5 stitches per cm (12-14 stitches per inch) using regular stitch or use a
medium zigzag stitch.
 Thread – Cotton or synthetic thread are both all right. Polyester thread will be stronger.

 Needle – Fine to medium. A lightweight fabric such as tricot will require a finer needle
than a double knit fabric. Refer to your sewing machine manual for the size of needle
you should use. Universal or ballpoint needles are required on many knit fabrics to avoid
skipping stitches. A regular needle may skip, snag fabric and cut the yarns.
Sewing Tips
 Interfacing may be used in details where stretch is not important.
 Lining use only a stretch lining or tricot if lining is needed. Cut lining with the stretch
running in the same direction as the outer fabric.
 Zippers should be hand basted or taped into place, easing fabric as usual, not stretching.
Sew zipper in by hand or machine.
 Buttonholes should be made perpendicular to the stretch direction If possible. A strip of
interfacing along the whole length of the buttonholes will also help them to maintain their
shape.
 Hem finishing as well as seam finishing is not necessary on knit fabrics.
 To make sure that you have enough stretch built into your garment, tug on a seam you
have constructed. If many threads break, you haven’t got enough stretch built in. Stretch
your fabric more as you sew or sew using a larger zigzag stitch.
Pressing
 Use steam or setting suitable to fibre content.
 Lift and lower iron; do not stretch or pull fabric.
Attaching Ribbing
Ribbing is often used at the neckline, bottom of sleeves and
the lower edge of knit fabrics because it has greater stretch
than other knits and the ability to return to its original shape
once it has been stretched. Follow these directions for
finishing edges of garments with ribbing:
 Cut ribbing only three-fourths the length of the
measurement of the edge of the garment it will be
sewn on.
 Cut it twice the width needed so that it can be
folded in half lengthwise when sewn in place.
 Stitch the ends of the ribbing with right sides
together and finger press the seam open. Fold the
ribbing in half lengthwise with the right side out.
 The total length for the ribbing and the garment is Figure 18 - Ribbing. Credit: Mollie Taylor,
http://creativecommons.org/licenses/by/2.0/legalco
divided into four equal parts. Place a pin de
perpendicular to the edge at each of these points.
 Pin the ribbing to the garment with right sides together matching the pin markings. If the
garment has a seam allowance greater than 4 mm (1/4”), trim it to that width before
stitching the ribbing to the garment.
 Stitch ribbing to the garment edge with the ribbing side up in a 6 mm (1/4”) seam. You
will need to stretch the ribbing slightly as you sew it. Stitch the seam a second time to
reinforce it.

Wool
The following guidelines will assist you when sewing with wool:
Preparing Woollen Fabric
Woollen fabric should be shrunk before cutting to straighten the grain and prevent further shrinkage
after the garment is made. Although you may plan to dry-clean the finished garment, a very damp
atmosphere, showers, perspiration and spilled water may still cause wool to shrink. The London
Shrink Method is recommended for evenness of shrinking in most woollen fabrics.
London Shrink Method:
 Pull a thread on grain and tear or cut along this thread.
 Fold fabric with right sides together lengthwise.
 Wet a sheet and wring out excess moisture.
 Place sheet on your fabric so that sheet entirely covers the fabric.
 Fold and wrap in a dampened towel or place in a plastic bag for six to eight hours.
 Repeat if grain is not perfect on removal of sheet.
 Allow to dry. Press gently if required.
Cutting and Marking Wool
Use large dressmaking or tailor’s shears for cutting. It may not be easy to cut accurate notches in
woollen fabric that ravels badly or in lumpy tweeds. Test the fabric on long straight seams and if
notches ravel out use tracing paper, dressmaker’s chalk or tailor’s tacks to mark the notches.
Tracing paper can also be used but the colour may disappear on woolen fabric so it’s best to test
before using this method.
Pressing Wool
Press using steam from a steam iron or a damp cloth. Let heat and dampness, rather than pressure,
open the seam. To prevent shine, leave seam damp and flatten with a pounding block to force out
steam.
In soft or tweedy woollens, the ease in the sleeve caps, the ease at the elbows in two piece sleeves,
or the ease in French bodices can be shrunken out by carefully steaming and pressing.
When Pressing Seams - Hold the iron just slightly above the seam until steam forms. Remove the
iron and gently pat the seam flat with a pounding block or with your hand.
When Pressing Darts - Fold darts in the wrong direction. Lay a damp cloth over top or use a steam
iron. Hold the iron above the dart until steam forms then fold the darts in the correct direction and
steam in place. Remove the iron and put the dart flat with the pounding block. This method makes
the dart line on the outside smooth and flat. For heavier woollen fabrics, such as those used for suits
and coats, it may be necessary to cut the dart down the centre line and press the dart open.
(Remember not to cut right to the point.) Double pointed darts in heavier woollen fabrics should also
be pressed in this manner. A metal knitting needle (do not use plastic as it may melt) stuck into each
point when pressing will help achieve sharp points.
For the final pressing on the right side, use a woollen and cotton press cloth, placing the woollen side
against the garment and dampening the cotton side with a sponge if necessary.
Sewing Woolen Fabric

Stay stitch and sew with the grain. Woollen fabrics may stretch more than crisp cotton. Make sure
that your pressure on the presser foot is set so that two pieces, equal in length, cut on the same
grain come through the machine evenly.
Woolen-Like Fabrics (Acrylics, Modacrylics)

These fabrics are lightweight, soft and luxurious. They can be bulky and are warm to the touch like
wool. They resemble wool more closely than any other man-made fibre, and for this reason, are often
chosen for clothing that would otherwise be made of woollen fabric. They are non-allergic so may be
worn by people who find wool irritating to the skin. They are sometimes blended with wool,
particularly in knitting yarns and knitted fabrics. Depending on the weave, some of these fabrics do
not ease well so select your style lines carefully.
Preparing Acrylic or Modacrylic Fabrics
 Straighten grain by cutting along a pulled thread.
 These fabrics may be shrink-resistant, but, if in doubt, use the London Shrink Method but
omit pressing while damp.
 When thoroughly dry, use a very low, dry setting to touch up. NEVER use the Steam
Shrinking Method on acrylic or modacrylic, as these fibres are extremely heat sensitive
and may shrivel.
Cutting and Marking
 Follow directions for woollen fabric and if this fabric ravels badly, cut seam allowances
wider so that when a zigzagged finish is used inside the frayed area the seams will not be
too narrow.
Machine Preparation
 Use a very fine needle.
 Try a mercerized cotton thread and test for seam puckering, especially on a straight
lengthwise seam. If puckering occurs after tension is adjusted, a polyester thread that
has some stretch should be used.
Pressing
 Test iron on a scrap of fabric. Press with a very low setting and a dry iron.
 Use a seam press and open seams with fingers before applying the iron. A wrinkle
pressed into the fabric may be permanent, as these fabrics are extremely heat sensitive.

Care of your Fabrics
The Canadian care labelling system is a voluntary practice and when used, the information on the
label must be correct. The care label consists of five main symbols in three different colours: green
(meaning “go” – no special precautions are necessary), amber (indicating “caution”), and red
(symbolizing “stop”). For further emphasis, the red symbol usually has an “X” drawn through it. The
five main symbols found in the Canadian system are:
 Washtub – represents laundering and cleaning.
 Triangle – represents bleaching.
 Square – represents drying.
 Hand iron – represents ironing or pressing.
 Circle – represents dry-cleaning
Care labels tell you how to clean an item (i.e. washing/drying/dry-cleaning) and what things to avoid
(such as chlorine bleach). The labels usually have instructions in the form of symbols in order to
overcome language barriers.
Special Care Techniques

Dry-cleaning
Some fabrics, such as rough crepes, moirés, heavy draperies and certain
novelty weaves, regardless of the fibre used, are constructed in a way
that makes them unsuitable to washing and must be dry-cleaned.
When clothes are received for dry-cleaning, they are marked for
identification and inspected. Dry-cleaners make notes of rips, tears or
unusual stains, as well as fabrics that require special handling.
Breakable buttons or buttons that may dissolve are removed. Pockets and cuffs with seams are
brushed to remove loose soil and lint. If you leave anything in pockets of garments that are to be dry-
cleaned, these items will also be removed before the process is started.
Dry-cleaning solvents are then used to clean the garment. After cle aning and rinsing, excessive
solvent is removed. If any spots remain, a spotter has the problem of finding the chemical that will
not only remove the stain, but also that will not damage the fabric or dye.
In the finishing department, steam and air are used to press the garments. Buttons and trimmings
that had been removed are put back on, minor rips and hem lines may be repaired. The garment
then has a final inspection.
Drip-drying
Fabrics that are to be drip-dried should be hung to dry without squeezing or wringing. Garments
handled in this manner will be less wrinkled and will retain their original shape better.
Care for Woolens and Knits
Woollens need careful handling. Wool fibres are covered with scales. If rubbed or soaked too long in
hot water during laundering, the fibres swell and scales lock. This causes permanent shrinking and
felting of fibres.
How to hand wash a sweater:
 Trace the outline of the sweater on paper or an old sheet.
 Shake free from dust.

 Use warm soft water and mild soap flakes or a mild granulated detergent in water that
feels lukewarm to touch.
 Prepare suds, making sure flakes or granules are all dissolved. Do not get the water too
soapy because too much soap will be difficult to remove from your sweater.
 Squeeze suds through garment. Do not rub or wring-doing so may stretch the garment
out of shape.
 Rinse several times in water the same temperature as the suds until the water is clear.
 Roll in a towel and squeeze out the excess moisture. Do not wring.
 To dry, lay flat on a dry towel, patting or pinning the wet garment into its original shape.
Dry in a moderately warm place away from heat. If you pin, be sure to use rust-proof
pins.
Mending Runs in Knits
Runs in knits should be mended as soon as possible to prevent further running. Run-stop fluid, nail
polish or water will all stop runs temporarily.
Storage of Knits
Knits should be folded and never hung because the weight will tend to
stretch the garment out of shape.
Storage of Woolens
Carefully wash or dry-clean all garments before storing. Spray thoroughly
with a moth repellent or sprinkle generously with moth balls or crystals, or
line container with a newspaper – the ink will act as a deterrent for
moths. Seal the clothing in a paper garment bag or package. Make sure
the container is air-tight.
Care of Silks
Pure silk fabrics are usually by dry-cleaned or washed by hand. Washable silks can be machine
washed. Follow fabric care instructions on the garment or fabric label.
If you plan to wash a silk garment, test a fabric sample to determine colourfastness. Hand wash
pure silk in warm water and a mild detergent, rinse in cool water, towel dry and press fabric while
slightly damp.
Leather and Suede
Never launder leather and suede, as they must always be dry-cleaned. Leather can be wiped with a
damp cloth and brushing with a bristle brush can clean suede. Leather creams can be used to
restore leather’s natural oils and special leather protector sprays and creams are available to help
maintain and protect leather. Shiny spots on suede may be brushed up using a fine emery board.
Synthetic Suede
Most synthetic suede can be machine washed and dried but always check the label first. Use lots of
steam when pressing synthetic suede and be careful not to flatten the nap. A thick press cloth or
several press cloths will prevent your iron from leaving imprints on the fabric’s surface. Steaming
and brushing the fabric with a soft bristled toothbrush can restore the nap. Always use a low
temperature on your iron when pressing suede or the thermoplastic fibres may melt.

Sheers and Laces
Clean fabrics according to label instructions. Press carefully as some sheers and laces pucker when
pressed with steam. Cushion seams with brown paper strips to prevent press marks on the outside
of the garment.
Fake Furs
When pressing fake furs, use plenty of steam and if possible, steam lightly without touching the
fabric so as to flatten the nap as little as possible. You may also wish to use a needle board. Fake
furs may be washable or dry-cleanable depending on the fibre content.
Pile Fabrics
Because of their nap, pile fabrics should be lightly steam-pressed using a needle board. Fibre
content will determine wash ability. Always check the care label before washing.
Outdoor Wear
The fibre content of the fabrics used in the item will determine the
method of cleaning. Insulated garments require a little extra
attention.
 Down filled items can be washed by hand or by mac hine
on the gentle or delicate cycle. Use mild soap or
detergent and rinse thoroughly to remove all soap
residues. Down garments can be machine dried at a low
heat. Add several bath towels and a pair of clean running
shoes to the dryer - the towels help absorb the moisture
and the shoes beat and separate the down clumps. Be
sure the down is completely dry because it will mildew if
left damp. Down can also be dry-cleaned.
 Clean items insulated with polyester batting by machine washing on a gentle cycle and
drying at a low heat.
For off-season storage, store insulated items loosely folded or hung over a hanger in a clean, dry
place. Don’t compress tightly. Don’t use plastic bags because they prevent the item from breathing
and allow moisture to build up and cause mildew.
Down items can be fluffed up in a warm dryer to restore the down to its maximum loft after storage.
Special adhesive mending tape is available for use on insulated item tears. Repair all tears
immediately to keep the insulation from coming out.

Fabric Properties
Fiber Fabrics Advantages Disadvantages Care Suggested
Use
Cotton Broadcloth, Durable, cool, Shrinks and First test for Blouses,
gingham, dyes well, wrinkles (unless “bleeding”, skirts,
calico, absorbent, treated), colour machine dresses,
seersucker, ease of laundry loss by “bleeding” wash, line or uncreased
corduroy, and economical and sunlight, machine dry. pants,
denim, damaged by Iron while sportswear,
flannelette, mildew damp. pajamas,
duck, chino, aprons,
etc. children’s
clothing, table
linens, crafts,
samples.
Cotton/ As above. Fewer wrinkles, If high percentage Machine/ha As above.
Polyester Heavy or resistant to of polyester, oily nd wash, Pants
bottom weight abrasion and stains a problem. medium cool (creased),
in gabardine, tearing. Good Less cool and temperature, bottomwear
chino, sailcloth, crease absorbent than line machine weight
duck, etc. retention. cotton. dry, mod. suitable for
Laundry ease, Iron, pre- jackets, suits,
economical. treat oily pants,
stains. sportswear,
jumpsuits,
etc.
Linen Damask, Cool, strong, Wrinkles, shrinks, Dry clean to Pants,
handkerchief, absorbent, damaged by retain jackets, suits,
lawn, suiting, crisp. mildew crispness dresses,
dress weight, (suits, skirts, table
slub fabrics, jackets, linens,
etc. skirts). needlework,
samples.
Wool Worsted, Absorbent, Shrinks, attracts Dry-clean, Coats, suits,
woolens, felt, warm, durable, moths. some hand skirts, pants,
crepe, tweed, wrinkle and washable. blazers,
gabardine, abrasion Don't rub or dresses, felt-
flannel, melton, resistant, agitate. decorations
challis, jersey. molds well and Press with and crafts.
keeps creases, cloth and
good insulation. steam iron.
Press, don’t
iron.

Fabric Properties
Fiber Fabrics Advantages Disadvantages Care Suggested
Use
Silk Raw silk, broad Absorbent, Weakened by Dry clean Blouses,
cloth, warm, strong, perspiration and unless dresses,
shantung, lustrous, sunlight labeled, suits, jackets.
crepe de chine, drapes well. hand
organza, linen, washed
chiffon. (some
colours may
bleed). Press
on wrong
side at low
temperature.
Rayon Linen, challis, Static resistant, Wrinkles, shrinks, Dry clean or Dresses,
suiting, matte absorbent, dyes poor, abrasion gently pants, suits,
jersey well, can be resistant, looses machine jackets,
bleached. strength when wash. skirts.
wet, holds body
heat.
Acetate Taffeta, satin, Drapes, dyes Weaker fibers, Dry clean or Lingerie,
silk like fabrics, well, silk like wrinkles, gently sportswear,
tricot. luster dries weakened by machine swimwear,
quickly perspiration, wash, rainwear,
fades, “static tumble dry formal wear.
cling”. (low), iron at
low
temperature.
Nylon Knits – sheers Strong, elastic, Pills or snags Machine Blouses,
to heavy durable, easily, static wash, line or dresses,
weights, cire, resilient, warm, clings, non- tumble dry, suits, jackets,
waterproof abrasion absorbent, holds iron. sportswear,
fabrics, and resistant, body heat knits.
velvet. wrinkle
resistant, holds
shape well,
resists moths
and mold.
Polyester Single or Strong, durable, Stains are hard to Machine Sports wear
double knits, resilient, warm remove, pills, wash, Gagging suits
fake fur, pile, abrasion static cling, holds tumble dry, etc.), pile,
corduroy, resistant, body heat needs little jackets and
taffeta, crepes, wrinkle free, or no coats, suits
sheers, lining, holds shape ironing. and skirts.
trims, laces. well, and
resists
moisture and
mold.

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4-H SEWING PROJECT

FABRIC CARE AND USE GUIDE

Revised January 2014

The 4-H Pledge

The 4-H Grace

We thank thee, Lord, for blessings great

Published by: Canadian 4-H Council Resource Network, Ottawa, ON

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Figure 7 - Twill Weave

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Leather and Suede - is produced from the skins of

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Leather, Suede, and Synthetic Suede

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Plaids and Stripes

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Sheers and Laces

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Silk and Silk-Like Fabric

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Woolen-Like Fabrics (Acrylics, Modacrylics)

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Special Care Techniques

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30 4-H SEWING PROJECT – FABRIC CARE AND USE GUIDE

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32 4-H SEWING PROJECT – FABRIC CARE AND USE GUIDE

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