1

Lesson 1. Types of Necklines and Facing

Learning Outcome:

1. Identify the necklines suited for the different types of faces and neck;
2. Understand the importance and uses of facing to acquire neat and quality garments;
3. Learn the techniques involved in shaping neckline and facing to achieve the design of the neckline;
and
4. Use dressmaking tools correctly.

KINDS OF NECKLINES AND FACING

The silhouette of the dress and the impact it has on the viewer are much as dictated by the neckline
as by any other details on the dress. It is the focal point that helps to frame the face and should
be harmonious with the physic of the wearer. As the neckline exposes or covers the neck and
shoulders, and the amount of décolletage, it is important for detail such as jewelry and accessories,
as well as enhancing your own features. If you have a great “coat hanger” shoulders and collarbone
that you want to show, then a strapless style is a good option, but off- the-shoulder, halter or
asymmetric styles could also be great alternatives.

The types of necklines you wear have a great deal to do with the becomingness of your
clothes, because your neckline can do these things:
1. Make your face appear loner and narrower or shorter and wider;
2. Make your neck appear longer an thinner or shorter and thicker; and
3. Make your shoulders appear narrower or wider.

Necklines may be divided into three groups: round, V-shaped and square. Each of these
may either high or low. Each may also be extreme or softened. Example, you may have a deep,
narrow, V-shaped neckline that comes to a sharp point, or you may have a wide shallow V-shaped
neckline.

When choosing becoming necklines, consider the shape of your neck, as well as the shape
of your face. You will probably find that if your neck is short and thick you will look best in dresses
without collars. However flat collars with a long front are often most becoming. They may be plain,
well-tailored collars that have been softened with some type of flat edging. Avoid high collars,
chokers, or any type of fluffy neckwear. If your neck is long and thin, collars that fit close to the
neck, such as high rolling collars, are best. Fluffy collars are also pleasing.

Types of Facial features:

1. Oval face – can wear any neckline. However the neckline that matches the shape of the face
is usually flattering because it makes the shape of your face more noticeable.
2. Long face – can wear high, round necklines are most becoming, unless they are too much of
a contrast to the face. The lines about the neck should be horizontal. Wide lapels or wide collars
that add width are most flattering to the face. Large bows, yokes and soft rolling collars that fit
close to the neck would also be pleasing. A round collar is better than pointed collar. Long V-shaped
necklines are unbecoming because it makes the shape of the face more noticeable. Square
necklines are also unbecoming, as too much contrast likewise calls attention to the shape of the
face.

3. Full face – face which is either round or square. Narrow lapels and small pointed collars that fit
around the sides of the neck with a slight V in front are most becoming. Long narrow collars that
lead the eye downward also take away the squareness or roundness of the face. Collars that lie
flat are more slenderizing than high rolled collars. Usually a collarless dress is more slenderizing
 2

than one with collar. A soft or slight V-shaped neckline or a U-shaped neckline is more flattering.
As a rule, neckline will tend to make your face appear more oval than will a high neckline of the
same shape

For the different types of bust:

1. Strapless. The strapless is cut straight across the body at

underarm. It is good for strong athletic shoulders and arms.
Very flat-chested and heavier-set upper body shapes are best
to avoid this style

2. Sweetheart. This curves across the bust into a central V.

straight cut is suitable to smaller to medium bust, the
sweetheart allows more room for corset construction and a
larger bust for more proportioned cleavage. Can be set into a
sheer or lace fabric that rises to a high or simple round neck,
giving the illusion of cleavage

3. Drop Shoulder. An off-the-shoulder line that sweeps across

the body to bands on the upper arm. Bands can be simple or
gathered and puffed like a sleeve. the effect is broadening
and good for exposing neck and collarbone. This style is not
good for broad shoulders figure, but it is a good style for
balancing the pear-shaped silhouette

4. Portrait collar. An alternative version of the drop shoulder,

it is reminiscent of the 1950’s. The collar folds over itself to
reveal the neck and shoulders. An elegant and useful style
that at once reveals and conceals. Good to accentuate neck
and collarbone, minimize large bust and emphasize the waist
 3

5. Halter neck. Usually paired with backless or low-backed

styles, the halter is a strap that passes from the front armhole
or bust, around the back of the neck to the opposite front,
like a bikini strap. This gives support to a dress front and is
good for maximizing a smaller bust and supporting a larger
one

6. Cowl neck. A draped style with

swathed fabric that scoops across
the bust. Often found in 1950’s
style and bias-cut dresses. Good
small bust which adds interest at
the neckline. Not becoming for
large bust figure

7. Spaghetti strap. Delicate straps often multiples, or

decorative on corset types or slip dresses. It is advisable for
small bust but not becoming for large busts

8. Boat neck. Skims the collar bone to meet the shoulder point,
another style significant of the 1950’s and associated with the
shift dress. Good for petite and flat chested figures

9. Round neck. T-shirt style neckline that is good for those not
so confident about exposing a lot of skin. Favorite with
modern designers, best suited to a smaller bust
 4

10. Scoop neck. A more daring vest-style neckline that can dip
as low as you dare. It is suited for anyone who wanted to
expose their chest and neck

11. V neck. Like the scoop but dipping to a point, the V

elongates the neck and is flattering to a medium bust, but no
so becoming for large or small bust.

12. Square neck. A deep square-scoop neckline usually

associated with empire-line and corset styles. It can minimize
a large bust but suitable for most shapes

FACINGS
Facings are planned as part of the pattern and design. Some facings are with fusible interlining to
give body and shape. They are traced from the pattern before or after the design pattern has been
developed. Facings for deeply cutout necklines or armholes may be modified, with the cut edge of the neck
and armhole of the garment eased into the facing to offset stretch or to cause closer fit.
Types of Facings:
1.) Stitched Facings. This type of facing is to conceal raw edges of designs with cut out necklines, cutout
armholes, and sleeveless garments, curved hemlines, and styleline where raw edges must be covered.
2) Fold-back facings. This facing is not stitched to the garment but are part of the main pattern. The
fold-back facing follow straight lines of the garment – hemlines of skirts, sleeves, jackets, pants and
cowls.
3) Common Facings. Facings vary in width and shape but generally are from 1 ½” to 2”. The back
facing should be longer than the depth of the front neckline for hanger appeal.
 5

Kind of Common Facings:

• Separate facing. Individual facings for the neckline and armhole
• Combined facing. All—in—one facing for the neckline and armhole.
Steps in making Separate Facings:
You can make separate facings by tracing the front and back patterns. Trim the outer edge of
the facing 1/16” at the shoulder to zero at shoulder tip and 1/8” at the side to zero at armhole. In this
way it eliminates looseness and stretch. (Broken lines indicates original pattern from which the facing is
traced.)

Front facing Back facing

A. Facings for Cutout Necklines

Front facings are modified to offset stretch
of cutout necklines and sleeveless garments.
The edge of the pattern is eased into the
modified facing for a closer fit

Draw cutout necklines on front and back 3. Draw slash line across front facing, one—third
patterns. (Broken line area is discarded the distance up from center front on V—line.
from pattern.) 4. Measure 3/8” for overlap. This measurement
1. Draw front and back facings (shaded areas.) varies according to stretch of the fabric
Center back facing should be deeper than 5. Mark eases control notches as shown.
depth of the front V—neck. 6. Cut front and back patterns from paper. Trace
2. Mark shoulder line 1/16” down from shoulder facings from pattern. Cut from paper
of front and back bodice
 6

Contour Facing
1. Cut slash line to, not through facing.
2. Overlap 3/8” to zero. Tape.
3. Retrace facing and blends as shown.
(Broken lines indicate original pattern shape.

B. Scoop—Neckline Facing
1. Plan facing using illustrations as guide. (For
back facing, see V—neckline illustration.)
2. The facing can be used as is or can be
modified for stretch or contour fit

C. Contour facing
• Draw slash and ease control notches.
• Slash, overlap, retrace and blend
 7

D. Cutout Armhole Facing

• Draw cutout armhole on front and back
patterns (back not illustrated)
• Draw facing (shaded area.). Facing may be
used as is or may be modified for stretch or
closer fit

E. Combined Facings.
• Combined facing are traced from front or back patterns; trimmed 1/8” at shoulder, neck, and
sides; and blended to zero.
• To complete back facing, the shoulder dart is broken (if any)
• Facing length at center back varies according to depth of front neck. Measurements given may be
used for basic neckline.

• Facings for garments with stylelines should be developed before the bodice pattern is separated.
However, if the pattern has been separated, place style seamlines together and traced section
being faced.
• Trim 1/8” at shoulder, neck and side, with line blended to zero.Repeat for back. Broken lines
indicated original pattern
8