• Deep V: needs stay tape along the edge; the point is reinforced with a few small stitches before clipping.
• Square: clip exactly into each corner after stitching the facing, and press the corners sharp.
• Sweetheart: the centre dip is a V point; the two curves must be mirror images.
• Boat neck: nearly straight, wide and shallow; interface the facing so it holds its line.
• Collars: band (mandarin), Peter Pan, shirt collar. The neck edge is cut closer and the collar is sewn on.
• Asymmetric and one-shoulder: draft the full front, not half; needs a firm fit and often a hidden strap.
• Sheer yoke: a high neck in net with a deeper opaque neck below, giving coverage and drama together.
• Left-handed: nothing changes in the shape. Use left-handed scissors and cut with the pattern on your right.

Planning the neckline with the rest of the blouse

• Jewellery first: a choker wants a boat, square or high neck; a long haram wants a deep U or V; a short necklace sits best in a round or medium U.
• Embroidery second: plan the embroidery band and the neckline together, so the border follows the edge at an even distance.
• Back third: deep front, moderate back; deep back, moderate front.
• Width: for a wide neck, check that bra straps will be covered, or plan strap holders.

Control while sewing curves

• Sew curves slowly, lifting the presser foot with the needle down every few stitches to turn.
• Use a shorter stitch on tight curves and at V points.
• Never pull the fabric through; let the machine feed it, or the curve stretches.

In Indian fashion, past and present

High necks with puff sleeves were the fashion of the late 19th and early 20th century. Round and U necks became the everyday standard after Independence. Boat necks grew popular in later decades with silk sarees, and sweetheart and deep V necks are now common bridal choices, often edged with aari or computer embroidery like the one in the photo above.

• Try the shape with tape. Mark the neckline on the wearer with masking tape on a fitted top, before cutting.
• Cut shallow first. You can always go deeper at the trial.
• Fold to cut. Cutting the neck on the fold makes both sides match.
• Stay-stitch at once, before the cut piece is moved.
• Clip curves, then press the facing to the inside; a curve will not lie flat unclipped.
• Understitch the facing (stitch the facing to the seam allowance close to the seam) so it never rolls out.
• Match the jewellery: ask the wearer to bring her necklace to the trial.
• A small neck dart hidden in the bust shaping removes gaping on deep necks. Professionals add it to the pattern before cutting.
• Interface embroidered necks so the stitching does not pull them out of shape.
• For a heavy necklace, leave a little more width so the necklace sits on skin, not on the edge.
• Mark the embroidery line 0.5–1 in (1.5–2.5 cm) inside the finished edge, so the embroidery is not caught in the seam.

The neckline gapes.

1. Take a small dart at the edge and hide it in the bust shaping.
2. Ease the neck onto a slightly shorter facing or a stay tape.
3. Prevention: stay-stitch at once, and add a neck dart to the pattern for deep necks.

The two sides are different.

1. Fold the blouse on the centre front and re-mark the longer side to match.
2. Re-cut the facing to the corrected shape.
3. Prevention: always cut necks on the fold, or trace one half onto the other.

There is a point or dip at the centre front.

1. The curve did not meet the centre at a right angle. Redraw the last inch of curve.
2. Smooth it with a curve ruler on the folded piece.
3. Prevention: check the right angle on the pattern before cutting.

The neck is too deep.

1. Add a band or a sheer yoke above the neck.
2. Use a decorative border to raise the edge.
3. Prevention: cut shallow, deepen at the trial.

The facing rolls out and shows.

1. Understitch the facing to the seam allowance.
2. Catch the facing by hand to the lining at the shoulder seams.
3. Prevention: trim and grade the seam allowances and understitch every time.

The square neck corners pucker.

1. Clip right into the corner, up to the stitch but not through it.
2. Reinforce the corner with short stitches before clipping.
3. Prevention: use a fusible patch of interfacing at each corner.

The neck stretched while sewing.

1. Run a gathering thread and ease it back to the pattern size.
2. Steam it gently into shape over a tailor’s ham.
3. Prevention: stay-stitch right after cutting; handle curves as little as possible.

Mistakes

• Cutting the full depth before a trial.
• Choosing front and back depths separately, so the blouse slips.
• Not clipping the curve.
• Forgetting the seam allowance on the neck.

Myths

• “Deep necks always gape.” Not with a neck dart and good finishing.
• “V necks only suit long necks.” A V suits any neck; it draws the eye downward.
• “High necks are old-fashioned.” They are a classic and return in fashion regularly.

1. Seven shapes: draw all seven necklines on paper halves and cut them on the fold.
2. Faced U neck: on a scrap bodice, cut, stay-stitch, face, clip, understitch, press.
3. Square corners: make a square neck with sharp corners.
4. Fix a gape: on a toile with a deep U, add a neck dart.

As a hobby: recutting the neckline of an old blouse is an easy way to refresh it.

For earning: necklines are where custom embroidery sits; a neat, flat neck makes the embroidery look its best.

For teaching: teach the U neck first, then V and square for corners and points, then boat neck and collars.

• Press necklines over a tailor’s ham or a rolled towel, not flat.
• Hang blouses with deep or wide necks on padded hangers, or fold them, so the neck does not stretch.
• Store embroidered necks with tissue between folds.

• Can you name seven front necklines?
• Do you know a medium depth in inches and cm?
• Do you stay-stitch right after cutting?
• Can you prevent a neck from gaping?
• Do you choose front and back depths together?

• Neck depth: from the base of the neck to the lowest point of the neckline.
• Facing: the strip that finishes the neck on the inside.
• Understitching: stitching that keeps a facing inside.
• Stay-stitching: stitching that stops a curve stretching.
• Tailor’s ham: a firm, rounded cushion for pressing curves.

• Shapes and the “Choosing” advice come from the original D&D lesson.
• Teacher to check: the depth guides, seam allowances and the neck-dart method.