Sleeves are both functional and design elements of a garment. As functional elements, sleeves must allow for freedom of movement and comfort and must enhance the overall purpose of the garment. As design elements, sleeves should compliment the bodice to which they are attached.

Sleeve Types

There are three basic types of sleeves – set in, kimono, and raglan.

• Set In Sleeves: are sewn to the bodice armholes. All set in type sleeves must be eased, gathered, darted, or tucked and sewn into the bodice armscye seam. They can be fitted or flared, cut to any length, and their hemlines finished in a variety of ways.



• Kimono Sleeves: are cut all in one with the front and back bodice. The kimono sleeve is always cut with a deeper armscye than the set in sleeve. Wrinkles under the arm are inherent to this type of sleeve because of the extra fabric between the bodice and sleeve.



• Raglan Sleeves: have part of the sleeve attached to the bodice. A diagonal seam is formed from the neckline to the underarm. Underarm wrinkles are common in this type of sleeve, as well. Extra ease is added across the chest and the armhole is lowered to increase freedom of movement.

Sleeve Styles

Set in sleeves fall into three main categories – classic, casual, and t-shirt. The sleeve style is mainly
determined by the height of the sleeve cap.

Classic Sleeve

The classic sleeve is the sleeve found in most traditional tailored, fitted styles. It can be drafted with or without an elbow fitting dart. It should be sewn to an armscye where the shoulder point at the armscye ends at the shoulder tip, thus the armscye is not dropped off the shoulder. The classic sleeve is a trade off between style and mobility.

• The classic sleeve is characterized by a high sleeve cap. The higher sleeve cap is much more formal and attractive when movement is not a priority.
• Cap height for the classic sleeve should be about 5 in (12.5 cm) to 6 in (15 cm).
• The armhole depth on the bodice can be raised slightly to provide a bit more freedom of movement without sacrificing aesthetics.
• Additional cap ease is needed to go over ball of the arm since the sleeve cap is high and bicep or underarm line is narrower.
• Cap ease should be between 1 1/2 in (3.75 cm) to 2 in (5 cm).

Casual Sleeve

The casual sleeve is a less tailored style. Diagonal wrinkles will form at the armscye as a result; however, greater freedom of movement is possible. The casual styles are a nice compromise between style and mobility and between formal classic styles with little freedom of movement and sloppy t-shirt styles.

• The bodice armhole shoulder point is dropped off the shoulder 1/2 to 1 inch (1.25 to 2.5 cm).
• The shoulder seam is lengthened 1/2 to 1 inch (1.25 to 2.5 cm) on the bodice and the shoulder point is raised slightly.
• The cap height should be about 3 in (7.5 cm) to 4 in (10 cm) with about 1 in (2.5 cm) ease.
• The armhole is therefore larger and the sleeve cap is also larger and so less ease is required in cap.

T-Shirt Sleeve

The t-shirt sleeve is a very casual style. The shoulder point on the bodice armscye is typically dropped off the shoulder more than 1 inch (2.5 cm) and the armhole is a very shallow curve. Diagonal wrinkles will form at the armscye as a result. Greater freedom of movement is possible with this style though.

• The sleeve cap height can be 0 in to 2 in (5 cm) with 0 in to .5 in (1.25 cm) ease.
• The shoulder line and shoulder slope are lengthened extensively to drop the armscye off the shoulder.
• The sleeve cap is flat and can be sewn in before the underarm seam is sewn.
• A gusset is created at the underarm for freedom of movement.

Sleeve Cap Height

The form and function of set in sleeves is dependent upon the shape and height of the sleeve cap and the style of armhole to which the sleeve is sewn. The sleeve cap is the curved top section of the sleeve from the front underarm to the back underarm. The sleeve cap height is that area of the sleeve from the biceps or underarm line to the top of the sleeve cap. The cap height will vary with each armhole and sleeve style. Changes in fullness of the cap seamline and cap height will result in dramatically different sleeve styles.

• As the cap height is shortened, the sleeve will stand or jut away from the arm at the hemline if the armscye is not dropped off the shoulder tip.
• As the cap height gets shorter, the underarm line must get longer in order to produce a sleeve cap line that can still be sewn into the bodice armscye with sufficient ease for comfort and movement.
• As the cap height is shortened, a gusset is formed at the underarm. This “gusset” is what provides the freedom of movement. It also creates folds at the underarm that are not desirable in more tailored clothing.
• If the sleeve cap height is increased above the standard fitted sleeve, the cap will extend above the normal shoulder line.
• Higher caps with more ease are more difficult to sew. They require ease stitching to mold the cap to the armhole without puckering. Fabric weight and stiffness will significantly influence the way a sleeve cap is eased into the armhole.
• Jacket and coat sleeves are often redesigned to reduce ease but not restrict movement. The shoulder line is extended past the shoulder point and the shoulder slope is lengthened.

Collars are both functional and decorative features sewn to the neckline of a garment. As decoration, the collar is often the focal point of the garment drawing the eye upward to frame the face. As a functional feature, collars often provide warmth and protection from the elements. Both the neckline and outer edge of a collar contribute to its overall appearance. Collars can be wide or narrow, flat or rolled, cut-on or sewn-on. The outside edge of the collar can be straight, curved, scalloped, or pointed.

Collars typically consist of an upper collar, an under collar, and interfacing. They can be cut on the lengthwise, crosswise, or bias grainlines depending upon the desired effect and the type of fabric selected.

Collar Categories

Collars typically fall into five main categories:

• Stand Collar: collar that has no fall or roll. It stands straight up from the neck edge. Examples include the mandarin or Nehru.
• Flat Collar: (also called non-convertible) the neckline edge of the flat collar closely conforms to the neckline edge of the garment. When the garment is unbuttoned, the collar stays in place. The Peter Pan is an example of a flat collar.
• Rolled Collar: collar that has both a stand and fall integrated into the collar. The shape of the collar’s neckline edge that attaches to the back neckline of the garment determines the amount of “roll” a collar will have. In general, he straighter the neckline edge of the collar, the greater the amount of roll at the back neck. Examples include the convertible or shirt collar.
• Shawl Collar: collar that is “cut on” or connected to the bodice.
• Notched Collar: two piece collar attached to a “cut on” lapel.

Collar Classifications

For sewn-on collars, the neckline seam of the collar will have one of two basic shapes regardless of the shape or design of the collar styleline.

• Non-convertible Collar: closely follows the actual shape of the neckline. This type of collar will stay in place when the garment is not buttoned. The most common example of a non-convertible collar is the Peter Pan collar. The Peter Pan collar is drafted from the shape of the front and back neckline seams.
• Convertible Collar: the neckline edge of the collar does not conform to the neckline edge of the garment. It is typically straight or convex. Convertible collars are designed to be worn with the garment open or closed. When in the closed position, the convertible collar appears similar to a half roll collar. When worn open, the front of the garment folds back to assume the appearance of revers and the collar has a notched design. Convertible collars are usually sewn with a facing attached to the bodice front so the garment will have a finished appearance either way it is worn or sewn to a separate stand

Collar Terminology

• Neckline Edge: the side of the collar that sews to the neckline of the garment.
• Stand: the portion of the collar that rises up from the neckline edge.
• Fall: the visible portion of the collar that falls back down over the collar stand
• Style Line: the outer edge of the collar that defines the design of the collar and where trim may be added.
• Roll Line: The actual point along which the roll appears when collar is being worn. It may be imaginary or pressed into a flat edge.
• Break Point: indicates the point where the lapel or revere, which is cut on the bodice, starts to fold back to form the lapel.

For my first blog post, I want to give a shout out to an organization that I have been involved with for may years – National Make It With Wool.

For 64 years, National Make It With Wool (NMIWW) has been promoting and recognizing excellence and creativity in the construction of wool garments. Each year they sponsor a national sewing and design competition for young people and adults. Entrants compete at the state level and two finalists from each state move onto the national competition. Their goals are to promote beauty and versatility of wool yarns and fabrics and foster creativity and good sportsmanship.

This organization was one of my very first inspirations as a seamstress. In 1978, I entered the Illinois state NIMWW competition. There I am at 17 rockin’ the Farrah Fawcett hair style and my entry. Sadly, I won third place and did not get to go on to the national competition but I thoroughly enjoyed my experience and have been so pleased to get to continue on with this great group.

Me in 1978 IL State Comptetition

My company – Wild Ginger Software – has been a proud sponsor of the national competition for many years now. My husband Paul and I have both had the pleasure of being judges at the national competition. Paul even got to emcee the national fashion show one year.

If you are not familiar with National Make It With Wool, check out their website at the link below. You can also read the January 2012 issue of Threads Magazine (issue 64) which featured a 6-page article on the 2011 competition.

Threads Article

This competition is a fantastic opportunity to promote sewing and design for teachers in sewing, fashion design, and life skills related programs as well as home school associations. Its also great fun!

Make It With Wool Website