04/28/2015
DARTS, EASE, GATHERS, PLEATS, SHIRRING, TUCKS
Darts are used to shape fabric to fit the body.
They provide fullness to body curves.
Sometimes darts are used decoratively to
provide a design line and are not used for fitting.
It is important to be accurate when fitting,
marking, stitching, and pressing darts.
Standards
A well-constructed fitting dart should:
• Be directed toward the body curve.
• Usually end ½ to 1 inch from the fullest
part of the body curve.
• Be tapered so it is smooth and free of
puckers.
• Be even and smooth in appearance.
• Be pressed before being crossed by
another line of stitching, and after the
garment has been fitted. Uncut
horizontal darts are usually pressed
down; uncut vertical darts are usually
pressed so the fold is toward the center
front or center back.
• Have threads secured at both ends by
tying a knot, lock stitching, or
backstitching (use only on medium to
heavy fabric or in seamline).
General Rules
There are a few general rules that will help
you understand what darts are and how best
to handle them during the construction of a
garment.
• The wider the dart base, the more
fullness it will provide to the body
curve. For example, a large bust will
require a wider dart base.
• Stitch darts from wide to narrow,
with the last two or three stitches on
the edge of the fold.
• Darts are usually straight and merge
into the fabric (slide down the hill,
not jump off the cliff). (Figure 1)
Figure 1
• For a neat finish in sheers; double
stitch darts, trim, and overcast or
bind the edge.
• Threads at the point of the dart must
be secured. The method of fastening
(backstitch, tying a knot, lockstitch,
or working threads back into the
stitching) depends on your fabric.
For example, do not use the
backstitch or lockstitch on sheer or
lightweight fabrics since it builds up
thread and is bulky. It can also
damage the fabric.
• Slash darts open ONLY when the
fabric is bulky. Stop the slash about
½ to 1 inch from the dart point.
(Figure 2)
Figure 2
2
Marking
Darts may be marked by using dressmaker’s
tracing paper and wheel, tailor’s tacks, chalk or
soap slivers, marking pencils or pens, pins, or
short snips. The method used will depend on the
fabric and your skill. Always check the marking
method on the fabric scrap. Be sure it will wash
out and does not damage the fabric. (Figure 3)
Figure 3
Sewing
Fold dart in the center on the fold line. Pin baste
or hand baste. Usually darts are stitched from the
wide end to the narrow end. On a double-pointed
dart, start your stitching at the widest part and
stitch to each end. Be sure that the last few
stitches are on the very edge of the fold of the
dart. (Figure 4)
Figure 4
Fitting
Since darts are part of the pattern design to fit a
garment to the body, be sure they are correctly
positioned on the figure. Darts should be
directed toward the fullest part of the body
curve. If you have a large body curve, two small
darts will usually fit better than one large dart.
Always check dart placement and make any
necessary adjustments before permanently
stitching and pressing.
How to Lower/Raise Darts
On the garment or the pattern (when patternfitting),
mark the bust point with a pin. Remove
pin basting or dart stitching. Use the pattern to
re-mark the dart, lowering or raising it exactly
the same distance as the bust point marking.
(Figure 5)
Another alternative is to use the same dart base
lines at the seam (largest portion of dart), and
redraw a new dart end pointed to the newly
marked bust point. See illustration below.
(Figure 5)
Figure 5
How to Shorten or Lengthen Darts
On the garment or pattern (when pattern-fitting),
mark where the dart should end. Remove pin
basting or stitching, and then redraw the dart
stitching lines from the dart base to the new dart
end. (Figure 6)
Figure 6
Finishing
After stitching darts, be sure to secure the ends
by tying a knot, lock-stitching (running off
fabric about ½-inch), backstitching (use only on
medium to heavy fabric or in seamline), or leave
a length of thread and run it back into your
stitching. Backstitching requires a lot of practice
and skill. It is not recommended for the average
sewer. Lock-stitching is only recommended
when the threads are protected and will not
experience very much wear, i.e., a lined
garment. (Figure 7)
Figure 7
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Pressing
Since stitched darts provide shape to a piece of
fabric, be sure to carefully position these curves
over a tailor’s ham or the end of the ironing
board when pressing. Remember to press darts
ONLY after you are sure they are correctly
positioned on the body.
Press darts before they are crossed with another
line of stitching. Protect the fabric by using a
press cloth or protective sole plate on the iron.
Like seams, darts should first be pressed as they
are sewn to set the stitches. Then, press over a
tailor’s ham turning vertical darts toward the
center and horizontal darts down. If a dart is
bulky, slash and press open with the point
pressed flat.
Hint:
• By pressing darts in the opposite
direction first, you will get a sharper
pressing of the dart line.
• To prevent a ridge showing on the right
side from pressing, slip paper between
the garment and the dart. (Figure 8)
Figure 8
TYPES OF DARTS
There are several different types of darts. Learn
the basic types, their shape, and when they are
used.
• Straight – a straight stitching line from
seamline to point. Frequently used on
underarm of front bodice, back skirt,
elbow, shoulder, and back neckline.
(Figure 9)
Figure 9
• Curved Outward – curves outward
from seamline to point. Gives a snugger
fit. Sometimes used on a bodice front to
make mid-body fit snug. (Figure 10)
Figure 10
• Curved Inward – curves inward from
seamline to point for better fit of body
curve. Frequently used on pant and skirt
fronts. (Figure 11)
Figure 11
• Neckline – a solid line marking on the
back neckline indicating a ⅛-inch
straight dart. (Figure 12)
Figure 12
• Double Pointed – from waistline
(widest point) tapers in a straight line
both ends. Clip at the widest part.
Frequently used on princess and A-line
dresses, overblouses, and jackets.
(Figure 13)
Figure 13
4
• Dart in Interfacing – slashed on the
fold line, then lapped on the stitching
lines and zigzagged to hold in place.
(Figure 14)
Figure 14
THINGS TO THINK ABOUT
Darts
• Pin mark darts to save time, provided
pin marking is suitable to fabric.
• Convert vertical darts to gathers.
• Mark the end of the dart with a pin or
cross marks so they will be the same
length on each side.
CONTROLLING FULLNESS –
EASING AND GATHERING
Easing and gathering are used to provide and/or
control fullness when joining one piece that is
longer than another piece. The primary
difference between them is in the amount of
fullness. Easing relates to only a small amount
of fullness and gathering involves more fullness.
Ease
Easing is required in a number of situations on a
variety of pattern pieces. It is often done along a
princess seam, at the shoulder seam, when
attaching a skirt to a waistband, adjusting
fullness in a flared hem or a set-in sleeve.
(Figure 15)
Figure 15
Standard
Well-constructed ease will:
• Have fullness slightly visible, but no
gathers.
• Be evenly distributed along marked
area.
How to Ease:
Ease can usually be handled by using machine
basting, or pin basting right at the line of
stitching. If you are using machine basting, pull
the thread until the two edges are the same
length. Distribute the ease. Pin at frequent
intervals (insert pin right at seamline) keeping
the eased seam edge on top. Stitch, removing
pins as you sew.
For small amounts of ease, the seam may be
sewn with the eased side towards the feed dog
on the machine. The feed dog will feed the extra
fabric faster than the top piece, easing the
difference. Setting the differential feed on the
Serger to 1.5 – 2.0 will do the same when
sewing a serged or overlock seam.
Gathers
Gathers are visible fullness that is a part of the
garment design. They may be functional or
decorative. Gathers are used on sleeve caps,
sleeve cuffs, waistlines, yokes, and ruffles.
Standard
Well-constructed gathers will:
• Be evenly distributed.
• Neatly stitched to the adjourning piece.
• Be controlled by one or more lines of
stitching.
Methods of Controlling Gathers
There are several methods for controlling the
fullness of gathers. They include:
• Using two rows of machine basting
(with a slightly looser upper tension)
with one row exactly on the stitching
line and one row above.
• Using three rows of machine basting
(with a slightly looser upper tension)
with one row exactly on the stitching
line, one row above, and one row below.
Use only if stitches do not damage the
fabric when removed. (Figure 16)
5
Figure 16
• Zigzagging or serging over a small cord.
• Using elastic thread in the bobbin.
• Using a gathering foot.
• Using hand basting.
How to Gather:
• Select the desired method of controlling
fullness.
• Match pattern markings and seamlines
of garment pieces by pinning along
stitching line on the side of the fullness.
• Between each set of markings, pull on
the bobbin thread or cord for fullness.
• Distribute evenly using fingernail or pin.
Secure long threads by wrapping them
around a pin. When sufficient gathering
has been achieved, add additional pins
(right at the stitching line), as needed.
• Machine baste on the seamline (gathered
side up), removing pins as you come to
them.
• Check to see that the gathers are evenly
distributed as you sew.
• Stitch on top of machine basting with a
permanent stitch.
When attaching gathering to gathering add twill
tape, stay tape, or seam tape to one piece in
order to stabilize before joining the second
gathered piece.
THINGS TO THINK ABOUT
Gathers and Ease
• Use heavy duty or buttonhole thread in
the bobbin so your thread will not break
when you pull to gather. (Figure 17)
Figure 17
• Divide garment sections into fourths or
eighths. Pin at these points and adjust
gathers or ease in between.
• Machine baste on the side of the gathers;
this makes them easier to control.
(Figure 18)
Figure 18
• If handling a lot of fullness, place a row
of pins about 1 inch below the stitching
line to hold your fabric. Also, you may
need to do this above the stitching line.
• Use elastic thread – stitch over paper to
get rows even, remove paper, adjust
fullness.
• Place the eased side of the garment next
to the feed dog when stitching.
PLEATS
Pleats can also be used to control fullness in a
garment design. They may be pressed or
unpressed, soft or crisp. When selecting fabric
for a pleated design, be sure it has good drape
and is resilient.
Care should be taken when cutting and marking
to see that pleats are on grain to ensure proper
hang of the garment.
Standard
Well-constructed pleats will:
• Have a smooth, neat appearance on the
outside/inside of a garment.
• Provide ease for comfort and/or design
silhouette.
6
Marking
When marking pleats you will need to mark the
foldline, roll line, and placement line. Use the
marking method most suitable for your fabric.
Fitting
As always, it is important that you carefully
check the fit of pleats before permanently
stitching and pressing. If there are pleats on
either side of the center front or center back, be
sure they are balanced on each side in relation to
the area.
A pleated skirt design should hang straight from
the hipline – unless it is a tapered pleat design
line. Remember to allow for some ease at the
waistline when fitting pleats.
Types of Pleats
• Knife or Side – are flat and are turned
to one side, usually right to left on the
outside of garment. They are used in
kilts, skirts, and on shoulders of bodices.
• Box – are two straight pleats with folds
turned away from each other. They are
used in skirts, dresses, shirts, and
jackets.
• Inverted – are two straight pleats with
folds turned toward each other. They
meet in the center and are used primarily
in skirts.
• Accordion – are narrow pleats at the top
and radiate to a wider width at the
bottom. They are not stitched down and
are used in skirts, sleeve designs, and
lingerie. (Figure 19)
Figure 19
Hemming
You usually hem garments with pleats before the
pleats are pressed. In bulky fabrics, remember to
open and grade the seams in the hem, then clip
above the hem if the seam is pressed to one side.
After pressing, you may want to stitch the hem
on the inside fold. This helps to hold the pleats
in position.
Pressing
Pressing is critical for all garments. Even on
unpressed pleated garments, press pleats down
about one inch beginning at the top. On
garments with pressed down pleats:
• Support overhanging fabric so pleats can
be kept on grain.
• Slip paper underneath pleat to prevent
press marks.
• Press on right and wrong side of pleats.
• Be sure the folds are sharp when you
complete pressing.
• Heavier or slippery fabrics may require
basting to hold in place for pressing.
THINGS TO THINK ABOUT
Pleats
• Fit carefully before stitching or pressing.
• To mark pleats, leave pattern pinned
onto fabric and lightly press fold lines.
SHIRRING
Shirring is created by rows of stitching that is
gathered. On very lightweight fabrics, it is
sometimes called decorative gathering. Shirring
is used primarily on bodices and cuffs of
garments. When stitching, be sure the rows of
machine stitching are even and parallel. The
distance between the rows of stitching is your
choice.
Shirring may be done by using basting stitches, a
gathering attachment, or with elastic thread. If
using elastic thread, be sure to hand wind the
elastic thread onto the bobbin only stretching it
slightly as it is wound. Stitch all seams in the
part of the garment that will be shirred, except
one. Next stitch using the elastic thread and the
longest stitch on your sewing machine. Stitch
across the ends of the elastic thread at the
seamlines. Join seam of the garment. (Figure 20)
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Figure 20
After the shirring is completed, it is frequently
“stayed” in order to maintain its shape. You may
stay by using a stay tape or a lightweight fabric
in back of the shirring. Attach fabric using small
hidden stitches or by machine, if from a seam to
another seam. (Figure 21)
Figure 21
A decorative hand or machine embroidery stitch
may be added to the shirred fabric to give the
look of smocking. (Figure 22)
Figure 22
Another method of shirring is corded shirring.
It is created by stitching tucks, then pulling a
cord or yarn through the tuck to create the
desired fullness. Another method is to press
seam allowance open and stitch on either side of
a seam, insert the cord or yarn and pull until
fullness is as you desire. (Figure 23)
Figure 23
TUCKS
A tuck is a stitched fold of fabric. Tucks are
primarily used for decoration. However, released
tucks may be used for shaping fabric to the
body. (Figure 24)
Figure 24
Standard
A well-constructed tuck will:
• Provide relaxed but defined fullness.
• Be neat in appearance.
How to Make Tucks:
• Mark tucks with the appropriate method
for your fabric.
• Remove the pattern. Fold on the
designated pattern marks and stitch.
(Figure 25)
Figure 25
Types of Tucks
• Pin Tucks – the small ones (right on the
fold of the fabric).
• Spaced Tucks – have spaces between
the stitching. (Figure 26)
Figure 26
• Blind Tucks – overlap the stitching on
another tuck.
• Shell Tucks – stitched by hand or by
using the sewing machine to blindstitch
creating an even design. (Figure 27)
Figure 27
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• Released Tucks – not stitched the entire
length of the area. They may be on the
right side or wrong side of the fabric.
(Figure 28)
Figure 28
Other Suggestions
• Tucks may have yarn or cord pulled
through them to create a different look.
• Another decorative idea is to tuck
lengthwise, then to tuck crosswise
(across the first tuck). This is especially
nice for pin tucking or for very narrow
tucks. (Figure 29)
Figure 29
• You may find it is easier to tuck your
fabric, and then cut the garment piece.
(Figure 30)
Figure 30
• A cardboard gauge, throat plate
markings, or machine presser foot can
assist you in making straight stitching
lines.
THINGS TO THINK ABOUT
• Tuck fabric, and then cut out pattern.
(Figure 31)
Figure 31
• To mark tucks leave pattern pinned on
press and mark fold line;
¾ Snip, pull thread, fold on this
line;
¾ Machine baste on fold line;
¾ Snip at top and bottom and fold
on this line. (Figure 32)
Figure 32
Permission to use granted by Institute of Food & Agriculture
Sciences, University of Florida, Gainesville, Florida.
Prepared by Nadine Hackler, Associate Professor Extension
Clothing Specialist (retired)
Adapted for use in Kentucky by:
Linda Heaton, Ph.D.,
Extension Specialist for Clothing & Textiles (retired)
Revised by:
Marjorie M. Baker, M.S.
Extension Associate for Textiles and Clothing
1990; revised December 1997; revised May 2004;
revised May 2007
