Pattern Drafting for Dressmaking Pamela C Stringer B.T. Batsford Ltd. London“Any one may learn mere simple cutting out from a pattern, but the real art of shaping is a gift. It requires practice to come to perfection. It manifests itself first in the perfection of set and fit it effects; afterwards, in the ability to cut patterns without any model." From Cassell’s Household Guide, brought to New Zealand by my grandparents George and Charlotte Elizabeth Carter on the sailing ship "Bebington" in 1879. First published 1992 Reprinted 1993, 1995, 1996 © Pamela C Stringer 1992 Alll rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the Publisher. Printed and bound in Great Britain by Butler & Tanner Ltd, Frome and London Published by BLT. Batsford Ltd. 4 Fitzhardinge Street London W1H OAH A catalogue record for this book is available from the British Library ISBN 0 7134 69870Foreword ‘Paamalee Stringer (Cartan as had allife-long association with Northcote College -first as a pupil, then for nearly forty years as a tutor in the Community Education programme. As co-ordinator of this programme I am honoured to have this chance to introduce the author and her book to you. Pam’sinterest in textiles and pattern drafting began in her early years at secondary school, then was pursued at the "Druleigh Commercial College” where she gained a Diploma in Pattern Drafting and Dressmaking. In 1949 Pam became a foundation tutor in the newly established Evening Class programme at Northcote College. Pam has taught Pattern Drafting at evening school every year since then and even though the whole community education programme has grown and changed enormously since 1949, Pam’s classes have remained consistently popular. In many ways Pam Stringer and her classes represent all that is good about the process of community education. Through community education Pam has been able to share her skills. She has become a teacher as well as an authority - and as a result thousands of people benefit from her knowledge. Pam has enriched our community through her classes and will now enrich a wider community through the publication of this book. "Pattern Drafting for Dressmaking" contains the most useful and most practical ideas that Pam has accumulated over the years. All the ideas are tried and tested and readers will be delighted at the clearly expressed text and at the logical sequence of all instructions. To all those with an interest in clothing design and manufacture - whether as amateurs or professionals, I warmly commend this book to your attention. Ted Berry M.A.(Hons), [Link]. Programme Co-ordinator Community Education Northcote College Auckland, New ZealandIntroduction fter teaching Pattern Drafting for many years I have come to realise the great Atiantege of having a text book so that people who cannot get to classes are able to learn on their own and to also improve class lessons by allowing more time for practical work. Pattern drafting is a big subject and to be proficient it is necessary to learn how to cope with every section of drafting so you are able to cut patterns for any style. This book teaches correct measuring, the construction of foundation patterns and then explains the various methods used in creating a finished pattern. Once learnt, these methods can easily be adapted to cope with any change of fashion and, where appropriate, can be used for men and children as well as women. Ihave given explanations throughout as to why certain steps are taken so that the student can understand the principles of pattern drafting and not merely copy. That is the main reason why completed patterns are not shown, which would limit your knowledge to a few styles in the fashion of today. Ihave endeavoured to teach all that is necessary to draft patterns for original designs, whether they take inspiration from the past or anticipate the fashions trends of the future. Unfortunately there is not enough room in this book for all the pattern drafting that I teach but I have tried to include enough for you to make patterns for your own use or to assist you in furthering a career in the fashion trade, Outer wear, tailored patterns and extra designs will have to be left for a second book. Many people have helped along the way in the journey this book has taken, some to a greater extent than they know, and I am grateful to them all. My family never failed in their encouragement and I am thankful to my son, David Stringer, for the design and layout of the book. My thanks also to my friend Deborah Fabrin who interpreted my drawings and diagrams with such skill. The many students I have taught over the years have given me the inspiration to further my own knowledge and it is their questions and desire to learn that resulted in the decision to write this book. A Brief History of Pattern Drafting ‘The first clothes were simply the skins of animals draped around the human body for warmth in the areas of the world with a cold climate. This hampered movement and left parts of the body exposed, leading to a desire for shaping in some way. Methods were found to make skins more pliable and the biggest step forward occurred with the invention of the needle, the first ones being made of bone. Researchers don’t all agree on the reason why clothing was first worn in the warmer climates; modesty, exhibitionism or protective magic? Whatever the cause a different type of clothing began to emerge of more colourful and decorative materials, if not more advanced styling.We cannot be sure when it was that clothes began to be ‘put on" rather than "wrapped around” and the Magyar (Kimono or Caftan) type of garment was born. An Ephod, the Jewish priestly vestment, referred to in the Old Testament, was of this style and named from the Hebrew word "aphad’, meaning 'to put on". Ancient Egyptian dress is well documented in wall paintings and statues whereas the tapestries, paintings and effigies are the earliest records we have of English and European clothing. Unfortunately but not surprisingly, the clothes themselves did not normally survive from those early times. The oldest garment I have seen is in the Victoria and Albert Museum in London and was made and worn in 1540, However the bogs of Denmark have revealed people buried there in the very early Iron Age and some of their clothing has survived 2,000 years As far as my research tells me the actual pattern making only dates back to the 12th. century when Italian monks made a back and a sleeve pattern from slate to be used by those in the monastery and the people under their protection. The idea could have come from Greek merchants who would have travelled to Egypt. By the middle ages a rather crude form of dressmaking had begun in France and by the 15th. century a lot more shape had been introduced. Inventions and better living conditions led to improved, even if not practical designs. In 1671 a book on pattern cutting was on sale in Paris - written by a Master Tailor, Msr B. Boulay. In was early in the 19th century when Ebeneeza Butterick of Massachusetts invented standard paper patterns, inspired by a suggestion from his wife Ellen when she was making clothes for their children. Within five years a company was formed and was selling 6 million patterns a year. They were without instructions until 1919. Many were to follow his lead, until we have the superior and instructive patterns of today. There is however, as there has always been, a place for originality. The satisfaction of drafting a pattern to your own design, that will fit without alteration, is both useful and satisfying. An understanding of Pattern Drafting can assist the Dress Designer to understand construction and at the other end of the scale the newcomer to dressmaking can gain an understanding of pattern components and be able to assess if they will give the right results.Table of Contents Chapter 1 Measuring Measuring Techniques Equipment for Measuring . . . Personal Measurement Chart for Women Personal Measurement Chart for Men’s Casual Wear Personal Measurement Chart for Children. Guide Chart Chapter 2 Drafting the Body F Foundation ‘The Body Foundation Equipment for Drafting . ‘The Body Foundation Pattern Using the Body Foundation Calico Shape or Toile Chapter 3 Starting with Skirts Skirts . Skirt Darts . Pleats . Gored Skirts. . Gathering in Skirts Circular Skirt... Yoke at the Back of aSkirt . Raised Skirts and Lowered Bodices Completing a Skirt Pattern Chapter 4 Bodice Darts & Bodices Darts, their shape and aaa. . Bodices Chapter 5 Collate; Lapels & Necklines Collars. Lapels (Revers) . Shawl Collars a Shaped and Lowered Necklines . Raised Necklines . ' Cowled Necklines Flounces .Chapter 6 Sleeves Arm Measurements for Sleeve Patterns ‘The Sleeve Foundation Pattern . Short Sleeves . . : Three-Quarter Tangth Sleeves Long Sleeves 2 Cuffs Chapter 7 meses Styles Magyar Foundation Cap Sleeve Dolman Sleeves Raglan Sleeves . Chapter 8 Crotch-line Garments Crotch-line Chart . . Basic Pyjama Trouser Foundation Block . Foundation Block for Panties . 2 Trousers . Shorts. Divided Skirt or ‘Culottes Chapter 9 The Princess Line, Slips & cae Princess Line . . Basic Slip or Sunfrock Brassieres and Bikini Tops A Halter Neck Style. Chapter 10 Styles Taceiving! Bodice & Sleeves Saddle Shoulder Drop Shoulder . The Roomy Look of the Eighties Appendix I Figure Differences Neck Size ‘ 3 Shoulder-Line Position * Appendix II Children’s & Men’s Patterns Drafting Patterns for Children Drafting Patterns for Men . Appendix III Over Garments Appendix IV Abbreviations, Symbols & Glossary Abbreviations Symbols. Glossary . Appendix V List of Foundation Patterns 99 101 102 105 109 1 113 117 118 124 124 126 129 130 131 134 137 145, 145 147 148 151 153 155, 157 158 159 160 163 164 164 169 170 172 173 177 178 178 179 181Chapter 1 Measuring[12 3pe of Pattern Making shown inthis book is drafting on paper from a set of body measurements, These can be individual or standard. Standard Measurements are a given set of measurements that comply with a commercial sizing. Individual Measurements must be accurately and carefully taken if you are to obtain a well fitting garment from your pattern. Remember that these measurements are for the wearing of clothes, not for a beauty contest! You will need, at the very least, to breathe, eat and move about so keep this in mind, especially with the "around-the-figure” ones. It does not matter how correctly a system is constructed; how expertly the pattern iscut, or how skilful the sewer, the results can be only as successful as the measurements taken. Skill in measuring will come with practice. Measuring Techniques First ofall study the instructions in the first two columns of the Personal Measurement Chart. + Make sure your tape-measure is accurate with the rulers you intend to use. « Measure over plain well fitting garments without belts or adornments. The usual underwear and shoes should be worn. The person being measured should stand naturally and look straight ahead. + Before you start tie a length of string or narrow tape around the natural waistline. This will give you true guidance for "vertical" measurements, where each centimetre is important. + Take all "around the figure" measurements firmly but NOT tightly. For bust/chest always measure UP to the nearest even centimetre. (i.e. 86, 88, 90 etc) « For “across” measurements (back, chest, shoulder) you may find it helpful to use pins or chalk to mark the base of neck and armhole positions. + Keep your chart up to date. Take both Winter and Summer measurements over the appropriate underwear. Always mark charts with names and dates. + The basic measurements are numbered consecutively through the different charts. The check measurements are lettered in the same way. A particular design may need further checks taken, such as depth of a neckline or position of a yoke. These “individual design measurements" should be entered in a notebook. Equipment for Measuring « Personal measurement chart. + Metric tape-measure. « Alength of string! or narrow tape about 1 metre long. 1 Historie Note: Before measuring aids such as tapes and rulers were invented, body measurements were taken with twine and knotted to indicate the size. Thus a dressmaker kept a length of knotted twine for each customer. Page 2Personal Measurement Chart for Women Women’s Body Measurements, for the construction of Bodice and Skirt Patterns ‘To help find the correct positions while measuring, tie a length of string around the figure in the curve of the natural waistline. 1. Bust ‘Around the figure & over the fullest part of the bust. 2. Waist Around the natural waistline. 3. Waist to Length taken at side. Hipbone 4. Hips Around figure, over hip bones. 5. Waist to Seat From side to the widest part. 8. Front Chest 6. Seat Around widest part. (Tape not | to pull-in under abdomen.) 7. Back width | Across the shoulder blades | from armhole to armhole. si ee: Across from armhole to armhole, at approx. 7m. below the base of the throat, 9. Shoulderline 10. Neck to Waist front The length from base of neck to top of armhole position. Length, from shoulder at base of neck, over bust, to waist. 11. Neck to Waist Length, from the bone at the back top of the spine to the waist. 12, Full length of | At centre back from neck, in at | garment waist & on to required length, For Women’s Patierns 13. Shoulder to Bust point Length, from the shoulder at base of neck to the bust point. 14, Distance between Bust points Check Measurements for Bodice patterns. A. Neck Around the base of the neck. B. Armhole “Around the armhole as for a set-in sleeve. Cc. High Bust Around the chest. Under arms and above bust. Page 3Personal Measurement Chart for Men’s Casual Wear For more formal clothes, men’s tailored pattern methods and the measurements required for them would need to be studied separately. ‘To help find the correct positions while measuring, tie a length of string around the figure in the curve of the natural waistline. Ifthe waistline is hard to define, a sideways bend will make a wrinkle at the waist position. 1. Chest | Around the figure & over the J fullest part of the chest. | 2. Waist Around the natural waistline. 5. Waistto | Taken from the side to the Hip/Seat areal widest part. 6 Hip/Seat _| Around widest part. (Tape not }) to pull-in under abdomen.) + : 7. Back width | Across the shoulder blades from armhole to armhole. 8 Front Chest | Across from armhole to armhole, at approx. 7cm. below FRONT the base of the throat, 9. Shoulderline | ‘The length from base of neck to top of armhole position. 10. Neck to Length, from shoulder at base Waist front | of neck, to waist. Neck to Waist | Length, from the bone at the 11. back top of the spine to the waist. 12, Fulllength of | At centre back from neck, inat| garment. | waist & on to required length, Check Measurements for Bodice patterns. A. Neck | Around the base of the neck. B. Armhole Around the armhole as for a set-in sleeve. ‘To be consistent the measurements are numbered as for the women’s chart. Measurement numbers 3, 4, 13, and 14 are omitted as they are unnecessary. Likewise check measurement C. Sleeves : Use measurements 15 to 20 and D and C on the Arm Measurement Chart. ‘Trousers : Use measurements 21 to 24 and F and G on the Crotchline Measurement ChartPersonal Measurement Chart for Children To help find the correct positions while measuring, tie a length of string around the figure in the curve of the natural waistline. If the waistline is hard to define, a sideways bend will make a wrinkle at the waist position, Chest ‘Around the figure & over the fullest part of the chest. Waist Around the natural waistline. Waist to ‘Taken from the side to the Hip/Seat area) widest part. Hip/Seat Around widest part, (Tape not to pullin under abdomen.) Back width | Across the shoulder blades from armhole to armhole. Front Chest | Across from armhole to armhole, at approx. 7cm. below the base of the throat. 9. Shoulderline | ‘The length from base of neck rx to top of armhole position. 10. Neck to Length, from shoulder at base > Waist front | of neck, to waist, Neck to Waist | Length, from the bone at the 11. back top of the spine to the waist. 12. Full length of | At centre back from neck, in at back garment. waist & on to required length. Check Measurements for Bodice patterns. A. Neck Around the base of the neck. B. Armhole Around the armhole as for a | set-in sleeve. Sleeves : Use measurements 15 to 20 and D and C on the Arm Measurement Chart. Trousers : Use measurements 21 to 24 and F and G on the Crotchline Measurement Chart. Page 5Guide Chart Here is a set of guide measurements, based on the bust/chest measurement, to help you in drafting your body foundation pattern. All distances are given in centimetres. Select your personal bust/chest measurement on the chart below, rule a line under it and then on across the page. This will show your Guide Measurements at a glance. Bust/Chest Shoulder Guide | Bust/chest Guide | _ Neck Guide Measurement | Distance down from| Distance down from| Distance in from the ‘the top of both Back| the top of both Back] Centre Back and and Front Blocks. and Front Blocks. Centre Front. cm. cm. om. cm, 50 25 | 12.5 4.0 52 2.5 | 12.5 4.0 54 3.0 | 13.0 45 56 3.0 13.0 45 58 4.0 13.5 | 5.0 60 4.0 14.0 | 5.0 62 45 14.5 5.0 64 | 45 15.0 5.0 66 | 5.0 15.5 55 68 | 5.0 16.0 55 70 | 5.0 17.0 55 72 5.0 115 5.5 14 5.0 18.0 6.0 76 5.5 19.0 6.0 78 5.5 20.0 6.0 80 55 20.5 6.0 82 55 21.0 6.0 84 55 21.0 6.0 86 6.0 215 65 88 6.0 215 65 90 65 22.0 6.5 92 65 22.5 65 94 6.5 22.5 65 96 6.5 23.0 65 98 6.5 23.0 6.5 100 6.5 23.5 | 6.5 102 6.5 23.5 7.0 104 7.0 24.0 7.0 106 7.0 24.0 | 7.0 108 7.0 24.5 7.0 110 7.0 24.5 7.0 112 7.0 25.0 15 114 7.0 25.0 15 118 15 25.5 8.0 122 15 25.5 8.0 Page 6Chapter 2 Drafting the Body FoundationThe Body Foundation ihe shaping for the body foundation is based on two rectangles which represent half of the back and half of the front. The size of these rectangles or blocks is determined by the chest or bust measurement and the shaping within these blocks by the figure measurements. ke Figure 2-1 N.B. An inset sleeve requires a further block in which to draft its shape, using the arm measurements. Trousers are drafted on a block using leg and crotch measurements in addition to waist, hips and seat. Page 8Equipment for Drafting .¢ equipment needed to draft a pattern is inexpensive and easy to acquire but, like all crafts, the better the tools the better the results. ‘Tape-measures and rulers must agree, Rulers must be straight. Set-squares must have a true 90 degree angle. Pencils should give a bold line and be suitable for drawing curves. + Alarge flat surface for working on is required. When a lot of drafting is to be done the normal table height should be increased to save stooping. Wooden blocks will do this. « Large sheets of plain paper. Cheap white newsprint is suitable. + Light, transparent paper, suitable for tracing. (Supermarket grease-proof will do for a start. Several widths can be glued together if necessary.) + Several pencils. (H pencils for pattern making and B pencils for sketching and practising curved lines.) Coloured pencils can be used where a contrast is wanted. Use aball-point for writing only. Pens used on a final pattern should be waterproof. «A good quality eraser is essential until you are experienced. « Tworulers. 30cm. and Im. in length. « Aset-square. Medium to large. + A pair of scissors for cutting paper. Never use your best ones. + Pins and paste. + Weights for holding down the paper while you work. Flat stones are ideal. « Agraph-book (5mm. quad) and/or notebook. It is recommended that you make scale diagrams and reference notes on the practical work that you do. A lot of practise work can be done to scale on graph paper and when you start using your patterns make notes of any changes that suit a particular person or style. ‘The Art of Pattern Drafting has become a skilled craft where precision in measuring and constructing is needed. Straight lines should be drawn with a ruler and right-angles with a set square, Curved lines should be smooth and even.The Body Foundation Pattern Step 1 Rectangular Blocks + First draw two rectangles to represent half of the back and half of the front, spacing them 15cm. apart with the back to the left hand side. Width = 1/4 of the bust measurement Back Foundation Block Length = as required Width = */4 of the bust measurement + 3cm.” ee ee “For "tolerance" over the diaphragm Length = as required ‘The front pattern is thus wider than the back pattern for its full length. This places the sideseam correctly. If the "neck to waist" front measurement (M/10) is longer than the "neck to waist" back measurement (M/11)' then the extra is added on to the front block length at the hem. “Measurement 11 - see Personal Measurement Chart, page 3 IMPORTANT - Name both blocks. The sideseams face each other at the middle. Centre Back to the far left, Centre Front to the far right. Step 2 Horizontal Guide-lines + The next step is to rule lines across the blocks to give a guide for the shaping of your pattern. Some are drawn according to the Guide Chart given and others are taken from the Personal Measurements Chart. « The shoulder guide line, bust guide line and waist line are all measured down from the top of the blocks. Hip and seat lines are measured down from the waist line. + Name each line until you are familiar with positioning. Shoulder Guideline | |__| Back & Front are the same, taken from the Guide Chart Bust Guide-line | Back taken from Personal Measurement 11 Waistline A | Front taken from Personal Measurement 10 Hip Line Back and Front taken from Personal Measurement 3 Seat Line | Back and Front taken from Personal Measurement 5 In a woman's pattern it is usual for the front bodice to be longer than the back because of her bust - sometimes there is no difference and occasionally the back is longer. A longer front is taken out in a dart but when the back is longer, consult Appendix I, Figure Differences, Page 10skee SROUL DEN GUIDE Le waver UNE wre Lae eet UNE Back Block Figure 2-2 Body Foundation Blocks NCLUDER CUE Le Beet CUE LN waver tive. rene. Wee ie 4 Front Block cOATRE FeONT Draft on a large sheet of plain paper. Use metric rulers, a good set square and a 2B pencil. Have by you the Standard Guide Chart and either your Personal Measurement Chart or a set of Standard Measurements. Page 11Step 3 Vertical Guide-lines + Nowrule in the vertical guide-lines for the armhole and neck shaping. These lines run from the top of each block at a distance in from the centre back and centre front. Back and Front taken from the Guide Chart. Rule down eset tenins to just below the Shoulder Gi Back = '/2 back width (M/7) in from centre back Armhole Guide-line Front = 1/2 chest (M/8) in from centre front Rule both back and front down to the Bust Guide-line Step 4 Shaping the Bodice You are now ready to shape the foundations. Back Neck Draw a curved line from the top of the neck guide-line to a point 1.5em. below the top of the block at the centre back. Front Neck + Draw a curved line from the top of the neck guide-line to a point 1.5cm. below the shoulder guide line at the centre front. As these two curves are to fit around the base of the neck column, shape them accordingly. Shoulder Lines + The Back and Front are ruled from the top of the neck shaping to a point 1.5m. up from the shoulder guide-lines for average positioning. Make these lines shoulder length (M/9). Armhole « For back and front, rule the first part of the armhole from the outer point of the shoulder-line to touch the armhole guide-line about half-way down. From there curve down and around until you reach the bust guide-line on the sideseam edge. Keep the curve diagonally out from the corner by approximately 2.5cm. on the front armhole and 1.5m. on the back armhole. (Less for very small sizes.) The armhole may be reshaped later to curve out any sharp angles. N.B. Ifthe person has a broad back the back shoulder-line can fall short of the armhole guide-line. It should be extended to reach this line, at least, and the extra length needed is later taken out with a dart. see Step 6 Darts, page 16 Page 12DEMO, BSee Tie weet 5 So une BHOUL De ( SSeESE. Dever (curser Figure 2-3 Step 3 Vertical Guidelines efrronr weeny Tee tree went Figure 2-4 Step 4 Shaping the Bodice FRONT TEC ison Page 13Step 5 Shaping the Sideseams It would be easy to simply go along the waistlines for 1/4 of the waist measurement, but as the blocks are of different widths this would make the sideseams (which have to be joined together) run at different angles. By this method the sideseams match and the greater overall width of the front pattern is maintained. Waist Shaping Back and Front + Halve the waist measurement (M/2) and subtract the answer from the sum of the two block widths. This is for half the figure so divide by two and come in this amount from the sideseam at the waistline on both blocks. Hip & Seat Shaping Back and Front + Work out these two measurements separately in the same way as for the Waist shaping. However if the '/2 hip answer or the '/2 seat answer is greater than the sum of the two blocks, the point for shaping will fall outside the blocks. If the answer to your sum is less, the point is inside. If it is the same you go exactly to the inside lines of the blocks. Hemline Back and Front + Afterjoining up all the points on the side as far as the seat, go down to the hem, bringing the line out by a suitable amount, This could be from 3cm. for a short block to Tem. for afloor length block. These sideseams are ruled in the first instance. They will later be softly curved, but only after all shaping for a particular pattern is completed. Example Caleulations for Step 5: Sample measurements .... (substitute your own) Back Foundation Block width L Bust = 92cm. (M/1) Miiteee Seep) Front Foundation Block width = 26cm, | Waist = 74cm. (M/2) Hip = 92cm, (M/4) Seat = 102cm. (M/6) Shaping calculations .... Sum of block widths Shaping | Half of Waist cm, cm, at Waist | Difference cm.(less) Divide by 2 cm,(in on each block) Sum of block widths cm, Shaping | Half of Hip cm, atHip | Difference cm.(less) Divide by 2 m.(in on each block) Sum of block widths cm. cm. cm,(more) cm,(out on each block) Shaping | Half of Seat atSeat | Difference Divide by 2 Page 14ever ebie LNe| ps west cae Figure 2-5 Step 5 Shaping the Sideseams cleront Page 15Step 6 Darts Darts give shape and form to an otherwise flat pattern. Some darts are essential while others are optional. In a later lesson we learn how to shift darts to new positions, but for the initial foundation they should be placed as follows. Front Underarm Dart For bust shaping in women’s patterns. ‘This is the most important dart in a woman's pattern as it gives the shaping for the bust and brings the sidesoams to the same length. + First establish the bust point as measurement M/13 down from the neck/shoulder point and half of measurement M/14 in from the centre front. see Figure 2-6 + Then from the bust guide line go down the sideseam by approximately 9cm. Rule a line from there to the bust point. This is the centre line of your dart. The width of this dart is the difference between M/10and M/11. The dart length should stop several cm. short of the bust point. Adjust the sideseams to allow for the stitching of the dart. This can be done by folding-in. see Figure 2-7 Front Shoulder Dart (Optional) This dart is not necessary for all figures or designs but can be useful. « Go down the shoulder-line 6cm. and rule a line to the bust point. This is the centre line of your dart. Rule in the dart 2.5cm. wide and the full length of the centre line. This width (2.5cm.) must be added on to the shoulder line, being careful not to drop its end below the established point. see Figure 2-8 Back Shoulder Dart (Only used when necessary.) This is used to correct the length of the back shoulder-line and can be placed in the most suitable position for the figure and style involved. + Its length should be from 6cm. to 8m. Its direction should be towards a point 8cm. in from the centre back on the bust guide line. This would then line up with any vertical darts. see Figure 2-9 Vertical Waist-Shaping Darts ‘These can be placed in the foundation pattern, particularly those running from back waist to the hip/seat area. As they vary so much from style to style they are best left to each individual pattern, see Chapter 3 Shirt Darts, page 22 Page 16hI PRONT Figure 2-6 Establish the Bust Point Figure 2-7 Underarm Dart TF eae fa] BAC Figure 2-8 Front Shoulder Dart Figure 2-9 Back Shoulder Dart Page 17Using the Body Foundation YYrinow lear to take this basi body foundation and from it draft pattern in the style you require. Any styles given in the examples are not finished patterns but are to teach methods of obtaining a desired effect. You can use this knowledge to create your own designs and as long as you remember the basic principles, you can cope with any changes in fashion. Checking First use the check measurements to see if neck or armhole sizes need adjustment. If there are any major discrepancies or if you are dealing with any marked unevenness of figure proportions refer to Appendix I, Figure Differences. Easing Whereas tolerance (breathing room) has been added over the diaphragm area, the measurements taken "firmly but NOT tightly over well fitting garments" produce a foundation that has some "wearable ease". When drafting a pattern you will need to add any "design ease" required by the style or by personal preference. When adding ease, sharp corners can be rounded off but take care not to subtract from width measurements. The aim of the foundations is that they fit almost like another, looser, skin then when you draft a pattern you can regard this foundation as you inside the garment. Bear in mind that each lem. added to a quarter pattern means 4cm. overall. There is NO seam allowance in the foundation as all seam widths and hem depths are better added to each separate piece of pattern after the whole pattern has been drafted. For an evenly balanced style, when both sides of the design are the same, only a half foundation is drafted onto working paper. When the styleis uneven, such as side buttoning or crossover, a whole front and/or back foundation is needed. N.B. For some of the learning exercises, particularly in skirts, the methods are shown on a front only, unless it is shaping applying specifically to the back. The measure- ments given for spacing and positioning are just an example for an average adult size. Each pattern you draft should be individually designed for the wearer, with the overall effect of the finished garment in mind. As you go through the exercises it will be more meaningful if you draft out at least some of the examples in each category. In class we often work to half-scale. This takes up less room and paper and enables us to sit at our work tables. For homework the student works to quarter-scale in an A4 graph book of 5mm. quad. ‘They then have a work book of diagrams for future reference. This book can also be used to plan a foundation or whole pattern before drafting to full size. ‘Thinking a pattern through and planning beforehand saves mistakes and therefore time in the long run. ‘As in all skilled work practice cannot be avoided. Measure people of different sizes and shapes until you have confidence. Draft several foundation patterns. Make finished patterns within the scope of what you are studying. At first, check each pattern for correct, length and width to reassure yourself. Then, if possible, cut out in fabric and make up. A few successful results will do wonders for your motivation. Page 18Figure 2-10 Completed Body Foundation Sleeve Foundation Aitttis stage you may ike to draft your sleeve foundation block. see Chapter 6, pages 101-104 The sleeve cap can then be checked against your correct back and front armhole shap- ings.(pages 104 & 105) A sleeve toile can be made if you feel this would be helpful, but is best made after your bodice has been corrected. see over page Page 19Calico Shape or Toile (pronounced "twah!") FT is 2 mocicup of your foundation pattern which will enable you to correct any imperfections and give you confidence in using the patterns you draft from it. For some people thisis not necessary and often it isjust the bodice that will need attention. (refer to Appendix 1 for likely faults) Use any strong cotton fabric (calico is traditional). Materials with stretch are not suitable. Bodice Toile + Cut out a front and a back bodice, allowing for all seams, the waist darts' and the underarm bust dart. Allow an opening down the centre back with a wide seam allowance so that the bodice can be put on easily and pinned together down the back. Stitch in the darts and seams using long stitch on your machine so that the thread can be pulled out easily. + Trythe toile on. With a ball point pen or soft pencil mark any excess or shortfall of fabric around the neck or armhole and any change needed in the shoulder line position. Pin in any excess bulging. If necessary, correct the size and position of the bust darts and generaily alter to give your foundation a satisfactory fit. + These corrections will now need to be transferred to the i original foundation. By unpicking the seams you are able to { lay the toile flat on your work and make the adjustments that, \ you have marked. Skirt Toile Ifneeded, the skirt toile is made separately but in the same way. It is useful in perfecting the size and position of darts and the fit across the hip area. Study pages 22 and 23 before you start. N.B. When the skirt toile is pinned to the bodice toile the weight of the skirt will establish the waist positioning if there is a fitting difficulty there. 1 Waist Darts: see page 52, Figure 4-3, dart K for the back waist dart. The front waist dart, 2.5em wide & finishing Sem directly below the bust point, must be allowed for at the sideseam.Chapter 3 Starting with SkirtsSkirts (Asa separate garment or as part of a full length one.) AS stated in the foundation instructions (Chapter 2, page 18), the skirt part is a neat fit with only wearable ease. Use this foundation as the basis for most skirt patterns, adding extra easing when it is needed. To begin with the skirts are divided into different types but later various combinations can be used to obtain the style you want. Important : The drafting methods that are used in skirts should be learnt and noted as the same techniques are used for other parts of a pattern. e.g. Pleats in the front of ashirt or back of a jacket; flaring or gathering in sleeves or bodices; circular flaring for capes or flounces. The knowledge gained can be applied when drafting for men and children, as well as women. Waistline Curve The creating of flare in skirts brings curves into the waist and hemlines. Some people however like a curve in the waist of all skirts, This can be done by going down the centre front 1.5cm. and from there shaping up to the waist at the sideseam. The amount may need to be added on to the centre front hemline but only do this when necessary for your figure type. Remember, curves in patterns come with the creating of styles. Skirt Darts e|rRonT When the waist measurement is small in comparison with ee the hip size, rather a sharp angle occurs in the sideseam of the foundation. Dart allowances help to give a more workable line that will fit without wrinkling. The darts themselves can either be stitched in or their sideseam allowance absorbed in the design. (For examples of these hidden darts see Side Inverted Pleat and Four Gore type B.) Figure 3-1 Waistline curve Back Skirt Patterns Most of our skirt examples will be shown on a front skirt but pleats, flares, gores and gathers would be obtained in the same way on a back skirt. In many cases a plainer line is designed for the back. When the back skirt is reasonably straight, a dart running down from the waist is necessary. It saves drag between the waist and the protuberance of the seat. The width and position of the dart depends on the figure type and you will soon find what is most suitable for you. If there is a dart from the waist in the bodice it is important that the two darts match in distance from the centre back. Average size and positions for an adult are given in the examples, but write in your notebook the dart measurements that suit you and the people you are designing for. With a big difference between waist and hips it can be better to draft in two darts on each side rather than one extra large one. Page 22Back Skirt Darts (Average position on each half skirt for an adult size.) Position in from centre back = 7em. to 9cm. © Width = 2.5em. NY Length = 11cm. to 13em. // Replacement at sideseam = 2.5cm, efrnoner Shape all waistlines additions down from the sideseam to at least the depth of the dart and in so doing pene tieasngg/ oh Heaney smoothing any sharp angles. Retain sideseam length by raising at the waist if necessary. lence Figure 3-2 Skirt darts & their replacements Front Skirt Darts Darts in the front of a skirt are not always desirable but in a straight or slightly flared skirt the most usual ones are two short darts placed well to each side. (Avoid darts in the abdomen area.) These darts can either be straight or slanting towards the sideseams. If on the slant, fold over at the pattern stage to correct the waistline. For two darts add 2.5cm. to the waist at the sideseam. Position of first dart = 4cm. in from the new sideseam. Position of second dart = 2.5cm. further along. Width of each dart = 1.25cm. e Length of each dart = 6cm. to 8cm. Pleats Pleats are the folding over of fabric in various ways to form a variety of effects and are identified by different names. ‘Two Pleats folded towards each other form an "INVERTED PLEAT". Folded away from each other they form a "BOX PLEAT". Folded in the same direction they form "KNIFE PLEATS", ‘These can be used in any number and in any combination. They can fall from the waist or from any seam across the pattern whether straight, on an angle or curved. STRAIGHT PLEATS are the same width for their full length. GRADED PLEATS are narrow at the top, widening towards the hem. PRESSED-IN PLEATS are pressed flat and can be stitched down part way. UNPRESSED PLEATS are folded over accurately at the waist (or top) and are left to fall naturally to the hem. Page 23Spacing for pleat allowance is important. The pleat should be deep enough to hang well but where there is more than one pleat make sure they will not overlap underneath when folded into place. The exception to this is when a lot of fullness is wanted, but only for unpressed pleats and light-weight fabrics. Directions for all pleats ¢ Mark on your finished pattern the position and size of each pleat and show with arrows the direction in which it is to lie. ¢ It is almost always necessary to tack pleats into place. Side Inverted Pleat with dart shaping © Use a?/2 front skirt foundation with a 2cm. wide waist dart. Rule Centre Line of dart 9cm. from centre front. Add 2cm. to waist at sideseam, as shown, for dart replacement. ¢ Continue centre line of dart down to hem and cut up thisline, dividing the foundation in two. Pin or glue these two pieces onto working paper. Spacing them 22cm. apart. ‘¢ Rule adotted line up the centre of the space as both sides are folded over to here. Show with arrows the fold of the pleat incorporating the dart for its original length only. (Sem. approx.) The Centre Front is placed to the fold of fabric. Back : Using a /2 back skirt foundation, treat in a similar fashion if pleats are wanted. Otherwise team with a plain back. N.B. No dart should be used for children or when there is other fullness. T | | | [FRONT l ! | ! 1 Figure 3-3 Side Inverted Pleat Page 24Box Pleats ‘© Cut two strips lengthwise from the front of a !/2 skirt foundation. Strip"A" = 4cm. wide Strip"B" = 8cm, wide "C’ is the remainder of the skirt ¢ Now as shown in Figure 3-4... Pin strip "A° onto working paper Pin"B" 8cm. from "A" 8cm. from "B" Strip "B" forms the top of the "Box" and the spacings on each side pleat to meet under this box. Mark the pattern with directions. The centre front is placed to the fold of fabric. = folded back. Figure 5-11 Example 5.10(i) Page 76Gi) Point of the collar recessed back. wen = Figure 5-12 Example 5.10(ii) Ex. 5.11 Roll Collar For V-neck frocks that have no front opening, some dressing gowns and suits. Attached to the garment with a facing or bias. Block = '/2 neck measurement to depth required x width required. (25cm. x 9em.) |p Bem Figure 5-13 Example 5.11 Roll Collar Ex. 5.12 Collar with Neckband For shirts and Tailored Frocks. Block = */2 neck x finished depth at centre back + 2.5cm. (20cm. x 12cm.) been ==, amen 1 ooo] Figure 5-14 Example 5.12 Collar with Neckband N.B. There are two pattern pieces. Page 77Combination Collars Some collars do not fit into any set category but mostly you will be able to adapt one of the collars given to suit your requirements, You may not get it right at the first attempt so it is a good idea to cut the collar out in soft paper or a scrap of stiff material (light dress stiffening is ideal) and try it on for effect. A piece of sticky tape is handy to hold the collar in place. Ex. 5.13 Combination Based on a Standing Collar Astanding collar asit is, straight from the block, does not allow fora great deal of expansion on the outer edge. A lot of the styles today are not neck-hugging but are scooped out. The lower the neckline is the greater the difference between the neck edge and the outside edge. Where there is likely to be any drag on this outer edge it can be cut and spread to. allow the extra needed. The illustrated collar uses the "tailored suit collar" as its foundation. Cut and spread where shown, adjusting to get the effect required. Figure 5-15 Example 5.13 Combination/Standing Collar Ex. 5.14 Combination Based on a Flat Collar The reverse of this can be seen in a collar like the one illustrated. It is nearest to a Peter Pan and will be easier to shape this way. However it does rise at the back neck. Mark out and trace off the collar using the "flat collar" method. Then cut, spread and overlap at the back, thus narrowing the outer edge there and giving the collar "stand’ at the back. an verare — Figure 5-16 Example 5.14 Page 78Ex. 5.15 Polo Collar This is one of the easiest collars as regards drafting, as it is simply a rectangle of fabric. It must be on the true "cross" or "bias" of the fabric and so needs to be attached to the garment with care. Block size: Full neck measurement of bodice Four times the finished width of the collar stand ‘This pattern is for the whole collar so cut one only in fabric. Mark as shown in diagram. Figure 5-17 Example 5.15 Polo Collar Page 79Lapels ( Revers ) Lopes were originally associated with tailoring but are now used in many different types lof garment. They can be unobtrusive or a striking fashion note. Lapels, their matching collars and the Shaw! Collar type of lapel all have a Creaseline or turnover line. As with a collar you can see if you have styled correctly by turning your drafting attempt over on its creaseline. Because this creascline is on an angle to the centre front the lie of the lapel changes when folded over. Code for Lapel diagrams : "A’ isthe position for joining on the collar centre front. "B' is the guide position for ruling the creaseline. "C" isthe turnover point at the bottom of the creaseline. "BC" isthe creaseline. Instructions : « Take a '/, front bodice pattern and pin onto working paper. « Add any required button wrap to the centre front. * Re-shape the neckline to suit the style you are drafting, taking out some of the scoop to enable the collar to sit better. Finish the new neckline halfway along the button wrap "A". .B. In traditional tailoring this centre front is raised by 1.5em. Rule in the creaseline from a point 2.5cm. out from the neck edge of the shoulder "B" to the turnover point at the centre front edge of the button wrap "C’. Shape in the lapel from the centre front of the neckline "A" to the base of the creaseline "C’. Fold back on the creaseline to assess if you have the desired effect. ‘* Always cut a separate piece of pattern for the facing. Shape in on the front bodice and trace it off. Go at least 5em. along the shoulder line, curving down to a line parallel with the centre front and at least 5cm. wider than the button wrap. For heavy fabrics add extra onto the outer edges as in block collars. (0.5cm.) When drafting the block collar to suit your lapel, finish the lapel pattern piece first. Then try your collar against it to get the size, depth and shape required. Lapels without a collar that finish at the shoulder line should have a creaseline that is ruled from the shoulder point to the centre front position, NOT 2.5cm. out.Ex. 5.16 Shaping the Lapel | | | ! | oe 3 ‘Shaping the lapel ‘Testing for effect Figure 5-18 Example 5.16 Shaping the Lapel Ex. 5.17 Lapel without Collar Planning a lapel without a collar. Figure 5-19 Example 5.17 ‘The finished lapel ‘The facing, with slight enlarging on the edge. Ex. 5.18 Lowered Neckline Lapel Planning a lapel on a lowered neckline. Figure 5-20 Example 5.18 Page 81Shawl Collars Ashawlcollaris cut in one with the front bodice. Like the lapel it turns back on acreaseline but then continues on to the centre back neck, where it is seamed. It is covered by a facing which is cut to the same shape except that an extra 0.5cm. is added to the outer edges. A well designed shaw collar is most attractive and comparatively easy in construction. Many variations are possible and when notched can simulate a lapel and collar. Instructions : « Take a '/2 front bodice pattern and pin it onto working paper with the centre front on the straight. (When making a pattern, do the required styling first.) ¢ Adda button wrap to the centre front. see chart Rule in the creaseline "BC", following the instructions for lapel creaselines but continuing the line up beyond the shoulder point. «Take the back bodice pattern and place it against the front shoulder as shown in the diagram. Pin down. The angle of the back bodice depends on the scoop of the neck. (The higher up the neck, the more upright the finished collar’s stand.) Thus 2.5cm. from the centre back neck point to the continuation of the creaseline gives a neck hugging style. 10cm. gives a flatter, more rounded look to the back of the collar. Select a measurement between these figures to get the line you want. Point "D" is where the centre back of the bodice crosses the continuation of the creaseline. Outline the centre back neck and centre back seam, then remove the back bodice. « From point "B", continue the front creaseline to follow the back neck curve, keeping the 2.5cm, distance. Shape in the collar following the design of your style. Make sure that the back of the collar is wide enough to cover the back neck seam when folded back on the creaseline. Ifyou are unsure, cut out a soft paper collar, double, attach at the back seam and try on... adjust to suit. . ‘Trace off the facing after marking out as for a lapel but including the collar part. Code for Shawl Collar diagrams : & 'C’ are guides for positioning the creaseline. "E" is 2.5cm. from the centre back neck "F". "EBC' is the finished creaseline. Page 82Ex. 5.17 Moderate Shawl Collar Planning Facing Figure 5-21 Example 5.17 Moderate Shawl Collar ‘Page 83Ex. 5.18 Shawl Collar on Scooped-out Neckline us Point "F" is 7.5em, from "D", Trace off a facing. Figure 5-22 Example 5.18 Scooped neckline Ex. 5.19 Upright Shawl Collar This collar is upright at the back, turning over from the shoulder. "BC" is the creaseline. "FD" is the centre back neck seam. It is 2.5cm. in length and squared with line "BD". Trace off a facing. pa Back view Figure 5-23 Example 5.19 Upright Shawl Collar Page 84Neck Facings Neck facings are traced from the finished bodice patterns. Any darts or gathers from the neck should be folded out first. These facings can be 5cm. to 6cm. in depth and must be caught to the bodice by small fine stitches but can be firmly stitched to the shoulder seams. ‘A facing cut right to the armhole edge and going about 6cm. down the armhole can be stitched in with the sleeve or armhole binding and will be held in place this way. This also gives extra strengthening to the shoulder area. Neck facings can be used to attach your Peter Pan collar to the bodice. NEVER stretch a neckline into its facing. ‘Neck & centre front facing Alternate shaping with facing stitched into the armhole seam Back neck facings Facing for a V-neck garment with a separate armhole facing. Figure 5-24 Neck Facings Page 85Shaped and Lowered Necklines When drafting a shaped neckline it is wise to take some extra "check" measurements to be sure of obtaining the right effect. When viewed on a foundation you are inclined to look at the depth from the shoulder and end up with the plunge or scoop too shallow. Check Measurements for Lowered Necklines : For the neckline Depth measure "A" from the base of the throat down. Front For the Width of a scoop measure "B" down the shoulder line and "C" across the chest. Depth is measured from the top of the spine. Back Measurement "B" must be the same as for the front. Measurements to help with correct neck shaping. Figure 5-25 Shaped and Lowered Necklines Preventing the Gaping of Low Necklines For scooped, deep square and plunging V-necks. Front Bodices « For Women’s patterns, establish the bust point. After shaping the new neckline, mark the place where it is most likely to bag. From here rule to the bust point, then on through the centre of a dart or into gathers and folds. Cut through this line. Overlap at the neck edge by lcm. to 2em. If more is needed, take from two places. The dart will now be slightly larger. The fit over the bust area will be better and the neckline will sit flat. You may need to experiment as each neckline can be different. N.B. Mark and trace off the facings AFTER the alteration. Where no Bust Shaping is involved... « Take the bag out by ruling a line from the trouble spot through to the nearest seam line. (Armhole, sideseam or waist.) Leave hanging here and use the hinge method to overlap. Page 86Round Neck Bodice Squared Neck Bodice Zs Cross-over Style Bodice Bodice without darts where no bust shaping is required Figure 5-26 Four Bodice Styles Page 87Back Bodices There is usually very little chance of a neckline stretching at the back because of body construction or no breathing allowance in your pattern. Shape your back neckline, marking off the same distance at the back shoulder as for the front. If this cuts through part of a shoulder or neck dart, move the dart further down the shoulder or to the neck point. Trace off facing to suit, remembering to fold out any dart while you do this. Boat Neck Retain about cm. or 4em, of shoulder-line at the armhole end. Rule straight across to meet a raised centre front line. When more shoulder-line is wanted it is necessary to slightly scoop the neckline or it will come too far up the throat. eat 2 c Figure 5-27 Boat Neck Raised Necklines Your foundation will show the position of the base of your neck column. The measurements given here may be changed but keep them in proportion and always match-up the back with the front. Basic Raised Necklines. Back and Front : Rule vertical lines up through the neck and shoulder points for 3em. to points "A". (em. is average but the height depends on the length of the neck column.) e Measure down the shoulder-line 5em. and from here shape smoothly up to points "A". « Raise the centre back and centre front by 3cm. to points "B" and "C". Reshape the neckline. see Figure 5-284 oe e RAGE Bon Figure 5-28 Basic Raised Neckline N.B. As the measurement around the neck column is smaller than that at the base of the throat this basic pattern will sit slightly out from the neck. If you wish it to be neck hugging, move points "A" over towards the centre back and centre front by 2cm. Reshape after checking the neck girth. see Figure 5-29 Al yyA2 ( e) 5-29 Neck Hugging Raised Neckline Style Figure Page 89Raised Neck Bodice with V-front (No shoulder seam on raised part.) « Raise the necklines on back and front bodices. Recess back the centre front neck point "C" by lem. to "D" and shape in the V-neck to the depth required. On the back bodice, cut off the raised neck "BA" to a depth of 5cm., "FE". Join this to the front at the extended shoulder seam "GA". © Cut and leave hanging where shown on the diagram and space each slash slightly at the neck edge. This makes the neckline stand out from the neck. Trace offa facing. There will be a centre back seam "BF". Stiffen if necessary. \ Back view Figure 5-30 Raised Neck "V" Front Bodice Page 90Crew Neck Collar Acollar raised up and out from the neck column but set down onto the bodice. ‘Raise necklines on back and front bodices as shown in the previous section but with points "A", "B" and "C" only 2.5cm. above the neckline. Shape the bottom line of the collar 2.5em. below the neckline. Cut off collar pieces and join together at the shoulder seams. Rule a few evenly spaced lines through the collar then cut and leave hanging at the bodice edge. «Space slightly at the neck edge, checking on how much you want the collar to stand out, Cut out in soft paper and test. Place centre back or centre front to fold of fabric, depending on where your opening is. ‘The collar will be more effective cut to the cross fold. Cut double in fabrie with light stiffening when necessary. °° °° Crew neck collar with centre ‘Crew neck collar on a front back opening opening coat [Pron Figure 5-31 Crew Neck Collar Page 91Cowled Necklines The cowl was originally a hood or hooded garment worn mainly by monks. ‘The draping of this neckline is reminiscent of that hood when thrown back and falling in folds. Cowl Neck Foundations : High, Medium and Low Using a basic front foundation ... Go down the shoulder from the neck to "A"... Go down the centre front to point "B". Go out from point "B" to point "C" Call the centre front at the waistline "X", From" is the new centre front line. Measure from "A" to "B" and holding your ruler at "A", swing it up to meet the centre front line at "D" with "AD" equal to "AB", Rule in the line "AD". "ADX" now forms the foundation's neckline and centre front. Point "B' will be the depth of the finished cowl. The centre front of a cowl must always be placed on the true bias. From these foundations your cowl necks are drafted. ",rule a line through "C"and on up. This ‘The foundation is cut and spread for tucks and folds as required. Study your design and plan the position for drapes and/or folds. Darts are usually eliminated as they interfere with the draping. However a French dart can be used as with the centre front on the bias this dart will be on the straight and easier to sew. N.B. Adjust the back neck to match the front on the shoulder. Cowl on a Back Bodice Usually set low and designed for special occasion wear. Proportions for cowl foundations are worked out on a front bodice block, so you should mark the front neck position on your back (point "E”) and work from here as for the front. Use the low cowl foundation or when a lower cowl is wanted keep the increased measurements in the same ratio. © Go down the shoulder from the neck to "A", 1.5cm. Go down the centre back from "E" to "B", 20cm. then out to "C", 7em. * Or down the centre back from "E" to "B', 25cm. then out to "C", 8cm. Page 92iS Se > \ Bete rRONT * High Cowl Foundation ‘Medium Cowl Foundation ‘Low Cowl Foundation Extra-low Cowl Back Foundation Figure 5-32 Cowl Foundations Page 93Three Examples of Cowl Necks General Instructions : « Mark positions of the tucks and/or drapes. Cut and spread on these lines according to the depth of fold or amount of fullness wanted. When line "AD" is at right angles to the centre front you will have maximum fullness. For deeper cowls several cuts are necessary to spread the fullness. When there are tucks, allow for their upwards fold on the shoulder seam. Straighten the centre front line from "X" to "D" or the extended point "E”. Facings : « When the neckline is at right angles to the centre front a turn back facing could be allowed. If t is on an angle to the centre front it should be gently curved and a small facing cut. A cowl in light-weight fabric can be lined. ‘* To keep folds of a cowl in place sew a weighted tab to the centre front of the neckline to hang down inside. ¢ Acowl neck on a set in yoke is a good idea as only the yoke needs to be cut on the bias. The rest of the bodice or straight through frock can then be cut on the straight. The yoke may also be cut double or lined for neatness. ‘Medium cowl neck with ‘tucks on the shoulder elrRONT CROSS FOUL Low cowl neck Ww Figure 5-33 Cowl Neck Designs Page 94Cow! neck in an inset yoke Lis Of (eer YORE, Figure 5-34 Cowl Neck Design Flounces A flounce is an addition to a pattern in the form of a frill but without gathering. Its fluting is obtained in a similar way to flare in a skirt. General Instructions : « Always trace your piece to be flounced from a drafted pattern so that you will get the correct position and shape to complement your style. * Trace off, then cut (leave hanging at the plain edge) and spread where the flare is wanted and by enough to give the correct amount of fullness. Spreading into a full circle gives the maximum flare unless seams are used. Page 95Flared Jabot ( Detachable ) * Plan the size and shape of your jabot on a front bodice, then trace off. e.g, 8cm. wide by 20cm. deep with the bottom corner rounded. ¢ Slash this strip through at 2cm. intervals but leave hanging at the centre front edge. * Space the outer edge until it almost forms a circle. Cut out. By straightening the centre front edge you will see the fluting you have created. N.B. Cut two out in a light-weight fabric and join at the centre front with a narrow tab. ‘The outer edge will need to be overlocked or roll hemmed. Two flounces of different widths each side produce an extravagant effect. Figure 5-35 Flared Jabot A Collar with Flouncing Two examples : The basic shapes are Peter Pan style collars. f (a) A flat collar around the neck that is given a slightly fluted effect. see Figure 5-36 (b) A flat collar coming to a V-shape at the front, drafted to give a waterfall effect. see Figure 5-37 A soft, light fabric is needed for these styles. « Both collars are first shaped by the flat collar method. © Then cut and leave hanging where you want the fluting to be. Cut & spread for fluting ¢ Point "E" can be spiralled around further to create more fluting. Figure 5-36 Flat Fluted Collar Page 96AB = centre back fold CD = shoulderline E= centre front neck EF = centre front 4 Figure 5-37 Flat Waterfall Collar Flouncing at a Sleeve Base to match Collar Rule up a rectangle with the length equal to the measurement around the base of the sleeve. The width should be equal to the depth you require. © Cut and spread as for a jabot but spread only for the fullness you want, A half-circle gives a pleasing effect. Figure 5-38 Sleeve with Flouncing Page 97Chapter 6 Sleeves[iis 2004 plan 1 procure a thoroughly good pattern ofa sleeve and in cutting your oun model from it to observe your private measurements of length at both sides, and the suitable width. With this accurate pattern of your own, you can readily adapt any new and fashionable sleeve which you may see, to your own use, modifying all the details so as to fit ‘yourself. From "Cassell’s Household Guide" 1879. This advice, given before paper patterns were available, is equally applicable for today and probably for a hundred years hence. When I first started to sew, it seemed to be the sleeves that gave the most trouble and since then I have noticed when teaching, many people struggling with the setting-in of sleeves. One of my strongest pieces of advice has been: "When you acquire a basic sleeve pattern that fits well and is comfortable --- treasure it.” In the following pages the instructions for a basic sleeve foundation are given and different types of sleeve shown. Fashions in sleeves change as often as hemlines, so if' some of these styles seem out of date this season they could be in fashion again before long. Page 100Arm Measurements for Sleeve Patterns It is quite usual for one arm to be more developed than the other. If this is so, measure the larger arm. With the arm straight, take on 15. Front Length | the inside from armhole to wrist. With the arm bent, from 16. Outside Length) shoulder, over elbow to the wrist bone. Length taken on the inside of 17. Elbow to Wrist) (10 orm, 18. Thickest part | With the arm bent measure of the Arm around the muscle. Around the arm at the 1240 Porcnvam thickest part below elbow. Around the wrist over the wrist bone, fr Check Measurements for Sleeve b Tie a piece of string around D. Sleevehead | the armas high up as possible. Depth Measure from the shoulder point to the string. rae Around the hand and over the ; knuckles with thumb in palm, Page 101The Sleeve Foundation Pattern One Piece, Set-in Sleeve Foundation Rule up a rectangle on a plain sheet of paper. This will be known as the Sleeve Block. The back is to be on the lefthand side, ‘Slaove Block = Thickest part of arm (M/18) + 5cm. Size = Outside arm length (M/16) ¢ Divide this block in half lengthways. ¢ Now rule two guide lines across the block to help shape the sleeve head. Line "AB" is one third of the block width down from the top. Round this up to the nearest centimetre. Line "CD" is half the depth of "AB" plus lem. down from the top. This makes the top section 2em. deeper than the second section. © Divide the two top sections into four equal parts lengthways, making eight top sections in all. The elbowline is ruled across at measurement M/17, up from the base or wrist, "EF". ¢ Mark in the wrist (M/20) evenly each side of the centreline. Add a further 2cm. to each side for easing and mark again. Mark in the forearm (M/19) evenly each side of the centreline and 1.5cm. below the elbowline. Now shape in the sleeve as shown in the diagram. ‘The Top Shaping or "sleevecap" starts at point "A", This curved shaping rises at the back by 1.5cm. from where the guide lines cross at "G", touches the centreline at the top of the block, curves down through the righthand crossed lines and on to point "B". You should take care to get a good smooth flowing line. It should not look like Rangitoto’, but more like rolling hills. see Figure 6-1 e Rule in the underarm seamlines from points "A" and "B" to the eased wrist marks. N.B. If the forearm marks are not inside these lines, rule in two stages. First to the forearm, then on to the wrist. A Short Sleeve foundation is marked at 10cm. below the sleeve head and its seamline narrowed at the base by lcm. on each side. A Three Quarter Sleeve foundation will have its base anywhere from 3cm. below the elbowline to bracelet length at 8cm. above the wrist. It may need the elbow darts. All sleeves need a length check for each individual style. 1 Aconical volcanic peak in Auckland, New Zealand. Page 102,Figure 6-2 Adjustment for Wide Forearm Page 103,Foundation Darts ( Optional ) A dart up from the wrist may be ruled in to the back of the centreline. It should be from 3em. to 5em. wide and finish 1.5cm. below the elbowline. Allow for its width towards the back. Its centreline is the position for sleeve openings. It can be closed-in to give allowance for small elbow darts or slight gathers in the back seamline. The wrist will then be curved. This easing over the elbow saves strain in a fitted sleeve. Figure 6-3. Closing in dart for easing at elbow. Sleevehead As a sleevecap should be eased and never stretched into the armhole its measurement should be from 3cm. to 5cm. greater than that of the combined back and front armholes. . With a tapemeasure on its side, measure and check your foundation. The nature of a fabric influences the amount of easing possible. If however the sleeve head is too shallow, because of a slim arm, adjust as shown in Figure 6-4. «Where the problem lies with too large an armhole because of a fuller bust, refer first to Appendix I, Adjustments. The sleeve cap must be checked for each new pattern, Be sure to allow for any shoulder pads. Adjustments to the Sleevehead 2 re Check Measurement "D" When the sleevehead is too shallow by only a small amount a quick adjustment can be made on the v foundation block. «Raise at the top by 0.5cm. to lem. id lower at the underarm point tythesame amount, Figure 64 Adding to sleevehead depth. | T = | Page 104Hinge Method For acquiring extra fullness or extra measurement in the cap of a sleevehead. From the centre top of the cap of the sleeve foundation, rule down 7.5cm. « From here rule out to both sides at a position 2.5cm. down the seams. Mark here with crosses. ‘* Cut down the centreline and out to the crosses. Leave hanging at these points. Now spread at the top the required amount. This method automatically raises the sleeve top in accordance with the amount spread. The Hinge Method is used for : ‘¢ Allowing extra to enable the sleeve to jy, ‘Hinge Method Pal thcreriie, comfortably fit the armhole. Hass OS Hinae Metin fix geste! increcte © Gathers at the sleeve top. « Darts at the sleeve top. One of the main advantages of this method is that it in no way interferes with the lower part of the sleeve and is therefore very suitable for all types of long sleeves. Sune Sleeves Short Sleeve ‘with Puffed Top « Fold the sleeve foundation in half lengthwise and then fold over twice more at intervals of about 2.5cm. Mark the base of these folds with crosses. Cut down each fold and leave hanging at the base. Spread for required fullness at the top. Spreading 3cm. at each cut gives 15cm. for' gathers, Raise at the centre Figure 66 Sleeve with Puffed Top of the cap in accordance with the amount you have spread. e.g. For 15cm. spread, raise 5em. FACING — © Trace the facing from the base of the sleeve, which is now curved. N.B. The sleeve will puff out only as much as allowed for. ‘Page 105Puffed Sleeve Fold as for the puffed top sleeve but with one extra fold-over, making seven foldsin all. Cut right through each fold, numbering each piece from left to right. ¢ Space evenly at each cut to give the amount of fullness wanted. Keep straight at the base. « Raise at the top for the amount of puff wanted and shape down to each end of the spacing. Mark the back and keep its extra shaping. Halfway along the back half of the base, shape down an extra 2cm. (Adult size.) This is to allow for arm movement when the sleeve is restricted by a band. The sleeve will shorten with puff over. « Mark the position of gathers at the sleeve top and base. Band: Length | Width of arm at the sleeve base + lom. to stop tightness . Width | ‘Twice the wanted width + a small seam allowance Extra may be added to the length of sleeve for an elastic tunnel. ‘The sleeve base may be finished with a cross binding. Figure 6-7 Puff Sleeve Page 106Short Flared or Cape Sleeve Foldup the sleeve foundation as for apuffsleeve Vv but put the crosses at the cap end of the folds. Cut up these folds and spread the base for the amount of flare wanted. This sleeve is usually shorter at the underarm. ‘Take into consideration the way the sleeve will fall with the arm both bent and straight. Correct the foundation before you start. ia After spacing the sleeve cap is an unusual shape. Check its measurement against the armhole and allow extra ifneeded then shape smoothly. Two examples are shown : A Half-Circle Flared Sleeve. Put five folds in the foundation. ‘© Cut up each fold and spread the sleeve into a half-circle. « Check the measurement of the sleeve cap with armhole, Raise lcm. at the top and shape the whole cap with a smooth flowing line. Slightly Flared Sleeve. Make three folds in the foundation. © Cut up each fold and spread to give the fullness wanted. Check the sleeve cap measurement and adjust if necessary. Raise at the centre by lem. and smooth the line of the cap. Darts at the Sleeve Top. Using the hinge method, space the top of the sleeve cap by enough to give you the darts you require. eg. 7.5em. for three 2.5cm. wide darts. Rule in the darts. Position them with great care as it is important that the darts be parallel with each other when stitched in. They must therefore be evenly spaced for their full length. Their length will be the amount that you want your sleeve to extend by. N.B. This sleeve will need stiffening and/or padding. Figure 6-9 Darts at Sleeve Top Page 107Squared Sleeve Top (by folding) « From each side of centre top of sleeve measure out 4cm. From these points, rule down 5em. ‘Then rule out to points on the sideseams, down 2.5em. Mark here with crosses, Cut down the ruled lines and leave hanging at the crosses. Raise up on the hinge until connection is made with a curved line 5em. above the original sleeve top. Mark in the lines of the folds as shown in the diagram. Remember to allow for fold tops when pleated over. Petal Sleeve Figure 6-10 Squared Sleeve Top A short cross-over sleeve with no underarm seam. « Take ashort sleeve foundation and rule in the centreline. ‘© Measure Sem. down each side from the top of the cap to points "A" and "B", Measure 8cm. down both underarm seams, then in 1cm. to points "C'and "D". From "C" and "D" draw curved lines to cross over at the centre and join with "A" and "B". « Name each piece before tracing off separately. ‘Join back and front pieces together at the under- arm. Aruled line at the base serves as a guide, «Cut and spread at the sleeve caps for the gathers wanted. Back and front to match. Raise at the cap centres to suit the gathers. « After marking the crossover points, cut out in one piece. (No underarm seam.) Figure 11-6 Petal SleeveVery Short Sleeve Shape on a short sleeve foundation. Curve to give correct depth at centre. @ Trace off the facing or cut double. Figure 6-12 Very Short Sleeve Inset Cap Sleeve Using a very short sleeve as a foundation, cut up from the base and space until the base is in a straight line. « Place this straight line to the fold of the fabric thus making the sleeve double with a neat appearance. Ee Figure 6-13 Inset Cap Sleeve Three-Quarter Length Sleeves ‘Three-quarter length sleeves vary in length from just below the elbow to a "bracelet length" above the wrist. They can have any styling at the sleeve cap and then can, (a) fall straight, (b) be taken in with tucks to fit the arm, or (c) be gathered into a band. A soft, draped style is shown below. Example: Use a sleeve foundation with its length 4cm. below the elbow line. « At the base of this sleeve, mark a point halfway from the centre line to the right hand side at the front. « From here, go up 2cm. to point "A" and mark. From "A" go up 8em. and mark point "B" with a cross. Curve the base up to meet "A" on both sides. Rule four lines right across the sleeve between points "A" and "B". Mark the ends of these lines with crosses. © Cut up line "AB", then cut and evenly spread the horizontal lines. Leave them hanging at the seams. Point. "A" is now divided. continued over Page 109© Mark the top and the bottom of the spacings to indicate the lines of gathering. After gathering, the slit is seamed as for a dart. The facing must be traced off after shaping but before cutting and spreading. Figure 6-14 Three Quarter Length Sleeve Sports Shirt Sleeve This, less shapely sleeve, requires a different foundation block. Width | Thickest part of the arm + 8cm. As required e Rule up the foundation, as for the usual sleeve, but make the top shaping lines as follows. "AB" 1/6 of the width, down from the top "cD" 1/9 of "AB", down from the top Divide into sections as usual and shape the cap of the sleeve, raising it an extra lem. at the back from "G". « Add onto the base for a cuff shaping if €| wanted. A Figure 6-15 Sports Shirt Sleeve > CUFF rove UPeane rnc Page 110. This sleeve is more relaxed in its shaping and therefore can have a less shapely armhole. see Figure 6-16 On back and front body patterns, drop the armholes by 2cm. (can be more) and make the shaping less curved. Check the measurements of sleeve and armhole. Sewing: The sleeve is stitched into the armhole before the sideseams are sewn. Figure 6-16 Sports Shirt ‘Armhole Shaping ‘Treatment of back and front armholes to ee Becaa accomadate the casual sleeves. Long Sleeves Bell Sleeve Using your fitted long sleeve foundation, extend the seam lines from the elbow to the outside of the block at the base. This gives you a basic "Bell" sleeve. It can be added to in fullness if desired. «Fold lengthwise up the centre of the sleeve. Cut up, leaving hanging at the cap and spread at the wrist. Chock the measurement of the cap. Curve underarm seamlines. see Bishop Sleeve, Method 1. Figure 6-17 Bell Sleeve Page 111Bishop Sleeve ‘This sleeve gets its name from the very elaborate sleeves worn by the bishops in the 17th. Century. It has been somewhat modified and used in various forms to suit fabrics and occasions. Often there is no fullness at the top of the sleeve. A Bell sleeve foundation gives shaping to the sleeve, saves bulkiness under the arm and emphasises the fullness at the wrist. Method 1. Plain Top with Full Sleeve Gathering into a Cuff. ¢ Use a Bell sleeve foundation that has been cut up and spread at the wrist. The amount that you spread it will depend on style and fabric. e Halfway to the back at the wrist, curve down an extra 2.5cm. to allow for elbow bend. From this point rule a line up about 6cm. when a wrist opening is needed. Trace off a suitable facing, or use a cross-binding to neaten the opening. ¢ Mark the position of gathers into the cuff and adjust the length of the sleeve according to cuff depth and the amount of pouch-over wanted. Method 1 using the Bell sleeve foundation Figure 6-18 Bishop Sleeve Method 1 Cuffs : The depth of cuff does change the length of the sleeve, but in a full sleeve an extra 4cm. is needed to pouch over and relieve strain. Therefore with a cuff 7cm. wide, only 3cm. would be cut from the sleeve length. If the sleeve is to be gathered with elastic at the wrist then a further 4cm. is added to the original length, plus a turnback allowance for the elastic. Method 2. Gathered top, billowing out from elbow to wrist. Use a bell sleeve foundation. Adjust to the correct length for the cuff to be used. Rule in the centreline "HI". Rule a line across the base of the sleevehead "AB" and mark each end with crosses. . Cut down from "H" and across to "A" and the top. then hinge up and out for the gathers at Cut up from 'T’, leave hanging at the line "AB" and spread for gathers at the wrist. Allow extra depth at the back as before and mark the position of the opening. Reshape the underarm seam to give the rounding effect you want. see Figure 6-19 Cut the cuff to suit or allow for an elastic tunnel. Page 112,N.B. A Bishop sleeve that is very full from top to bottom can be achieved by the method shown for the top half of the 2-piece leg o'mutton sleeve. l # Figure 6-19 Bishop Sleeve Method 2 Straight Sleeve with Folds into Cuff « Make the foundation sleeve with straight sides. The width of the block will be enough for gathers or folds. Two folds towards the back is usual. «Adjust the sleeve length according to cuff size. «Allow extra curve in the back half of the wrist and allow for an opening. This may be made in the underarm seam for hasty sewing. Cuffs Plain Cuff For use in shirts, blouses and dresses. Finished width from 2.5cm. to 5cm. Length | wrist + buttonlap Rule a rectangle : Width twice that required « Mitre the buttonhole end if desired. « Add the seam allowances and cut out a pair. e Fold on the centre line to sew. Figure 6-20 Straight Plain Cuff Page 113Wider Cuff Curved to Fit the Arm If the cuff is to be 9cm. deep, measure around the arm 9cm. up from the wrist. Make a block the width of this arm measurement by the depth of the cuff and then add a buttonlap to the width. Make two cuts up the cuff from the wrist and leave hanging, then overlap these cuts at the wrist until it fits comfortably. Note the curve this produces. « Add the seam allowances and cut out two pieces of fabric for each cuff. This cuff sits well and is also used for detachable cuffs. Loops and buttons are an alternative way of fastening. Wei Figure 6-21 Curved Cuff Leg O’Mutton Sleeve “What's this? A sleeve? ‘tis like a demi-cannon;" Act IV, "The Taming of The Shrew" Wm. Shakespeare This sleeve evolved in the late 1800's when the long tight sleeve was raised and puffed on the shoulder but left fitting from forearm to wrist. The fashion was so extreme at first that it only lasted a few years but has reappeared from time to time in a modified form. The more extreme styles are still used with special fabrics for special occasions. Method 1. Allin one piece Use a fitted full-length foundation with a 5cm. wide dart up from the wrist and allowed for at the sides. From the centre line of the sleeve rule in three hinging positions. (Measurementsgiven are average.) e (a) 4cm. down the centre line and out to 9cm. down each side of the sleevehead. (b) 7.5cm. down the centre line and out to 2.5m. down each sideseam. (c) 14cm. down the centre line and out to 14cm. down each sideseam. Cut and evenly spread each set of slashes until the gap at the top of the sleevehead is 30cm. or is wide enough to give maximum gathering for the type of fabric to be used. Curve in the new sleeve top and mark the position of gathers. Use the wrist dart position to make an opening. Traditionally it should be fastened with loops and buttons. . Page 114Figure 6-22 One-piece Leg O'Mutton Sleeve Method 2. Sleeve in two sections « Use the same foundation as Method 1., with the same wrist dart. Rule a line across the sleeve 2cm. below the elbow line and cut to separate. Mark clearly. Bottom Section : Cut away the dart shaping to separate into two pieces. * Now join them together again at the sides. The resulting curves make a neater fit and the opening is in a better position. see Figure 6-23 Top Section : «This section of the sleeve is cut, spread and raised as for a fully gathered Puff or Bishop Sleeve. Do not forget to allow extra for puff-out at the top and overhang at the bottom, particularly below the elbow. Le Page 115Chapter 7 Magyar StylesMAGYAR STYLES "Make the mantle of the Ephod a single piece of violet stuff. There shall be a hole for the head in the middle of it. All round the hole there shall be a hem of woven work, with an oversewn edge, so that it cannot be torn.” Exodus ch.28 verses 31-32. New English Version. [2 Masvar style is of ancient origin and can be recognised in the Caftan of Persia and the Kimono of Japan. The earliest and simplest form is when the combined shoulder and sleeve seam is at right angles to the centre back and the centre front. This loose style has many folds and drapes when the arms are down, but there is no restriction when the arms are raised. The robes worn in Biblical days were similar to this but with sideseams only or even without seams. The more shape that is put into the top seam, the less the freedom of arm movement. It is however possible to draft a closer fitting garment, particularly if a gusset is used to give more flexibility. The gusset too has come from the past. Originally it was a flexible piece of fabric used between the joints of chainmail in suits of armour. The simple construction of the magyar style, with no setting-in of sleeves, makesit popular with many sewers. The limitations must be taken into consideration however. Garments must be reasonably loose or arm movement is too restricted. Avoid waist darts that are too fitting and also tight cuffs. The insertion of a gusset allows a smoother fit over the shoulders and when stretch fabrics are used a neater fit is possible. For comfortable casual wear the roomy Kimono or Caftan styles are still ideal and can be very elegant. Magyar Foundation Short Sleeve (to the Waist only) Because the sleeve is incorporated in the body foundation, the "tolerance" (breathing room), usually added to the front only, is divided between the back and front blocks. This enables the garment to sit smoothly when there is no setting in of sleeves and with the shoulder and underarm seams continuing down the arms. Width = 1/4 ofthe bust (M/1) + Lem. Back Block Length = neck to waist (M/11) 1/4 of the bust (M/1) + 15cm. Front Block neck to waist (M/10) Draft a new foundation to the waist only. On both blocks rule in the usual guidelines for shoulder, chest or bust, neck and armhole. Shape in the necklines and clearly mark the shoulder points. This foundation shaping makes you aware of the body inside the pattern until you become familiar with Magyars. © Mark the waist shaping at '/, of the waist, measurement (M/2) + 1.5em. in from the centre back and centre front. ‘The easing is needed as Magyars pull if too restricted at the waist. When there is an underarm dart, shape in as usual on the front bodice. It will be noticed that the only difference between the two foundation blocks is in the neck shaping and in the bodice lengths. Page 118@ On the Front block : (a) Lower the usual chest/bust guideline by 2.5cm. (b) Extend this new line out at the sideseam by 4cm. to point "A". (c) From "A" go up 1.5cm. to point "B". (a) From the top of the block at the side go down 4cm. to point "C", For small children the position of "C" is reduced proportionately and for baby clothes is at the top of the block. (c) Instead of the usual shoulder-line, rule from the top of the neck shaping through point "C" and on for another 7cm. to point "D". (© Join points "D" and "B". (g) From "B’, curve in the sideseam down to the new waist shaping mark. Check the measurement of the line "DB", It must be at least '/2 of the thickest part of arm (M/18) + 3.5em. If enlarging is needed, extend downwards. © Onthe Back block : Draft the back to match up with the front, following the instructions (a) to (g) above. Figure 7-1 Short Sleeve Magyar Foundation N.B. The marking of the original shoulder point is always important as shaping must never drop below this mark. ‘This is the Magyar foundation. From it you will be able to draft many styles including a Long Sleeved Magyar, Cap Sleeves, Ragian Sleeves and Dolman Sleeves with square or round armholes. Stretch fabrics allow fitting magyars greater flexibility. For the very loose styles of today more than the 1.5cm. breathing room should be added to each block and the bust/chest guideline lowered proportionally more. Page 119Long Sleeved Magyar Foundation Draft the back and front alike. Rule up the Short Sleeve Magyar foundations on working paper with room to be extended on the sleeve edge. Front ¢ From the top of the neck shaping, rule along the shoulder through points "C’ and "D", extending until the line equals the shoulder length (M/9) + outside arm length (M/16). © Extend the lowered chest/bust guideline from point (M/15). Join these lines at the wrist. Check the wrist width, (M/20) + 2cm. for easing, and extend downwards if necessary. by the inside arm length e Rule in the elbow line (M/17) and check the arm width here too. e Curve in the underarm seam from. the wrist and on down into the sideseam. The depth will depend on the style desired. It can be between the short sleeve position, 2 which will need a gusset, to the waistline for a "Bat-wing" sleeve. Back © Shape to match the front pattern. Figure 7-2 Long Sleeve Magyar Foundation Providing you have checked on the arm width measurements, thisis now ausable pattern. Itmay be curved down as shown in a later exercise or used as a foundation for other styles. In dress patterns, °/: length Magyar sleeves are popular and should be loose enough at the base to ride up when the arms are raised. Page 120Setting the Shoulder Point, Underarm and Gusset Position Back and front alike ‘© Onyour Magyar foundations establish the true shoulder length (M/9) down from the top of the neck shaping. This is point "E". From’E"rulealine down to the underarm seam by going through the point where the lowered chest/bust guideline meets the edge of the block. This is point "F". This line "EF" is used for curving down the shoulder/sleeve line. © Go up the line "EF" 6,5em. to point "G". From "G" move 2cm. towards the centre front and the centre back. This is point "H". © From "H' rule back to"F", The line "FH" is your gusset | : insertion guide line. Figure 7-3 Shoulder Point "Curving Down" the Shoulder/Sleeve Line Ina magyar foundation the sleeve is reasonably short and although very usable as it is, a longer, smoother line can be gained by extending out from points "D" and "B" and then curving down. Short Sleeved Magyar Take the foundation and lengthen it by a suitable amount. (About 9cm. for an average short sleeve depth.) Back and front alike. (Front only shown.) © Rule the line "EF" from shoulder point to underarm. © Cut up this line and leave hanging at "E". Keeping the centre front straight, overlay at the underarm by the amount needed to give the required curve to the sleeve part. Smoothly curve this new top line. Check that the back and front seams to be sewn together match. N.B. A gusset may be necessary to replace the amount of ‘overlay. see Gussets, Figure 7-6 Figure 7-4 Curving Down the Magyar Foundation ‘Page 121Long Sleeved Magyar This same method can be used to curve down a long sleeved Magyar. ¢ Two or more extra slashes should be made at evenly spaced intervals. Overlay the slashes until the sleeve has the curve you want. © With this asyour guide, Reshape the seamlines so that they curve smoothly. Check that this sleeve will be wide enough to make a gusset unnecessary. The under- arm seam will be very short. No restriction can be made at the wrist or waistline of this style which is mainly used for comfortable casual coats. elrronr Standard Inset Gusset for a Magyar Style Ona front foundation establish the guideline "FH’. see Figure 7-3 © Go 1.25cm. each side of "F” to points 'T" and " ¢ From both "T' and "J" curve up to "H’. The piece "JHI" is cut out and used to draft the gusset. ‘© Cut up the line "FH", leave hanging at "H" and spread 4em, at "F". Curve in the underarm seamline "JI". Draft the back gusset in the same way. All gussets should be cut double for neatness and strength. N.B. When sewing up this design it is easier to complete the gusset insertions first, then sew the sideseams leaving the shoulder seams until last. Page 122Figure 7-6 Standard Inset Gusset Side Bodice Panel with Built-in Gusset Front On the front bodice of a women’s pattern it is better to shift the dart position to the waistline before you start. It can then be incorporated into the panel seam at "A". © Onamagyar bodice, shape in a side panel. Its top should be along the gusset line "FH" and then continue down to the waist. see Figure 7-7 for suggested shaping ¢ Cut out the side panel, pin onto working paper and add to it at the underarm "F" the amount of gusset width required. The example shown is increased by 5cm. out to point, "B', Rule from "B" to "H’. The line "BH" must be equal to the line "FH" which it now replaces. ¢ Curve in the sideseam from "F" to "B". Back © Draft a back side panel to correspond with the front. ‘The principle of this built-in gusset can be used in a panel which extends all the way from waist to sleeve bottom. The style has no sideseams. ‘The back and front panels are shaped, cut out and hinged at the underarm to form a straight line. They are then placed together at the sideseams and cut as one pattern piece. o Figure 7-7 Side Panel with Built-in Gusset Page 123Cap Sleeve A cap sleeve is the shortest of the magyar styles as it covers the top of the arm only and from there goes straight down to the underarm position "F". It can be taken from the short sleeved magyar foundation or the curved-down version. When the later is used it is advisable to insert a gusset to avoid splitting with arm movements. ‘To draft a Triangular Gusset (Hinged Gusset): e Rule a 12cm. line, "KL", Godown "KL" 6cm. and rule across at right angles for 2.5cm. on each side the line "MN". e Rule in the diamond shape "KNLM". The gusset is folded in half on the line "MN" and is inserted into the sideseam, giving ease of movement. Its size is adaptable. It is called a Hinged Gusset as it can be pleated in on the sideseam and will hinge out with movement. Figure 7-8 Cap Sleeve Dolman Sleeves A square or rounded armhole based on a Magyar foundation. Use a short or long Magyar foundation to suit your requirements. ¢ Plan and shape in your design on both back and front. When deciding on the armhole position take particular account of the true shoulder length and position. In a women’s pattern the bust shaping must be considered. Ina squared armhole the bust dart can be shaped out in the lower cross seam. In both styles the dart can be closed-in to another position or simply shaped away at the waist. Avoid stitched in darts that conflict with your design lines. The back and front must match at the shoulder and underarm seams. Avoid a V-shape over the shoulder. After marking in the armhole shaping, cut out the sleeves and place the back and front, pieces together at the top seams so they become one pattern piece. The bodice is drafted as required by the style. For an outer garment or when padding is to be used, extra shaping may need to be allowed for at the sleeve head. Methods for both square and rounded sleeve heads are shown by diagram. For the sewing method see page 126. Page 124Lise Figure 7-9 Rounded Armhole Dolman Sleeves b Beet cpose> SERB Rae ts K Figure 7-10 Squared Armhole Dolman Sleeves N.B. On the squared example, slight (1cm.) spacing and raising is shown. This smoothes out the lines and allows for shoulder pads. If gathers in the sleeve top are wanted use the method for a standard set-in sleeve. Page 125Sewing Method for Dolman Sleeves ¢ Join the back and front bodices together at the shoulder seams. © Stitch in the Dolman sleeves - this allows care to be taken and top stitching, when required, to be easier. © Sew sideseams and sleeve seams straight through. Raglan Sleeves A Raglan sleeve takes out the bagginess of a Magyar by means of shaped seams. Because the armhole is still not defined it gives a roominess suitable for garments as diverse as pyjama jackets and raincoats. In dresses it creates a design line and in manufactured clothes one size fits a wide variety of figures. Standard Raglan Shaping Worked on a Magyar foundation, back and front. Front © Go down the neck curve 3cm. to point "0". From "O" rule a line down through the underarm to the sideseam at point "F". Halfway down this line go up lem. to point "P" and curve in a line on the sleeve section. see Figure 7-11 On the bodice section, go down the ruled line 10cm. to point "Q". By studying the original body foundation decide where the turn of the armhole shaping should be. The average size is 6cm. up from point "F" on the line "FO". From here go down 3cm. at right angles to point "R”. From "Q" scoop down to "R" and then up to "F’. (see Figure 7-1 for good shaping.) 'The part between these two curved lines is cut away, thus separating the sleeve and bodice sections. Mark the sleeve section (neck, shoulder, underarm etc.) and lay aside. The bodice is styled as required by the design of the pattern. Back In all patterns more room is needed at the back of an armhole for movement, so although the Raglan back is similar in shape to the front it has different measurements. Go down the neck curve 2cm. to point "S" and rule a line down as for the front to "F", Curve the sleeve line as for the front but only shape up 0.5cm, at the centre to point "T". On the bodice side of the ruled line, go down 10cm. to point "U" (as for the front) but scoop to only 2cm. at point "V" then up to "F". @ Mark the back sleeve as for the front. Cut out the sleeve and bodice. Sleeve Now take both sleeve sections and draft the Raglan sleeve as follows. Rule on your working paper a horizontal line measuring... ‘Thickest part of arm (M/18) + 7em. (More for outer garments - less for stretch fabrics.) Page 126Raglan - centre sleeve seam Figure 7-11 Raglan Sleeve on Magyar Foundation Pin the underarm points of the sleeve sections, one to each end of this line, Some overlap may occur at the shoulder points. Separate the two neck curves by 4cm. to 8cm. depending on the size of pattern and the roominess wanted. This amount is taken out in a dart. Rule for the length of the shoulder and then curve on a further 3cm, to avoid a sharp angle on the shoulder point. see Figure 7-12, Page 128 Draft in the length of the sleeve from the underarm down, shaping in to the required width at the base. For a Two Piece Sleeve rule a centre line from the base of the shoulder dart down to the base of the sleeve and separate the two pieces. Label each piece. Any further shaping required by the design can then be drafted. ‘see diagram over... Page 127Children Shoulder dart to C Centreline isan op- tional seam. Raglan sleeves are popular for children as without defined shoulder-lines they cope with the growth rate for longer. It is necessary to change some of the measurements for very small sizes. Always keep the measurements in proportion. Front The 3cm. down neck curve can be changed to between 1.5cm. to 25cm, This measurement is repeated at the underarm scoop. 1 Bie Figure 7-12 Raglan Sleeve © The 2cm, down neck curve would then be changed to between 0.5em. and 1.5em. This measurement is also repeated at the underarm scoop. Sleeve e The size of the dart would be reduced to between 2cm. and 4cm. Stretch Fabrics. When a stretch fabric is to be used, especially for children’s T-shirts, no shoulder dart is needed in the sleeve. Place the back and front shoulder-lines together at the neck. Overlap further down if necessary but check on arm measurements first. see Figure 7-13 Use this technique for stretch fabrics and short sleeves only. Long T-shirt sleeves need a shoulder dart unless they are very roomy. From this basic Raglan shaping, changes in design lines can be made. The original ruled line can flatten out in the top half to form a Saddle shoulder effect or a yoke can be incorporated in the sleeve section. Figure 7-13 Short Raglan Page 128Chapter 8 Crotch-line GarmentsTHE CROTCH-LINE Tie crotch-line on a patter is the position where the extension is made for the portion between the legs. The position of this crotch-line varies for each type of garment. The bodyrise measurement is used to obtain its depth. Use the chart as a guide only. Measurements are given for non-stretch fabrics unless otherwise stated. changes that you find more suitable. Write in any Pyjama trousers, panties and briefs can be cut with or without sideseams. Sizes for each */2 back and '/2 front blocks are given separately but they are placed together for ease of drafting. When sideseams are wanted they can easily be separated before seams are allowed. Show the position of hip and seat lines as a guide to shaping and fit. Crotch-line Chart ‘Type of Garment | Block Widths | Crotch-line Depth Crotch-line Extension From waistline on both (back & front) | yack & front Front Back Pyjama Trousers | 1/1 ofseat (M/6) + | Bodyrise + 8em. Yaotblock | 1/3 of block 2em. (child ... + Sem.) width width + 2.5em, Rompers & 1/4 of seat (M/6) + | Bodyrise + Sem. Y/sof block | 1/3 of block Legged Panties 15cm. (child... + 4em.) width width + 2.5em. Panties V4 of seat (M/6) | Bodyrise + 4cm. Ts ofblock | 1/3 of block (child... + 3em,) width width + 2.5em. ‘Standard Trousers | '/; of seat (M/6) Bodyrise + 2.5em. 1/4 of block 1/4 of block Gaucho Pants & | width | width + 2.5em. Shorts Tailored Trousers | 1/;of seat (M/6) | Bodyrise + 2em. Yaofblock | 1/4 of block width width + 2.5em, Adaption for “/aotseat OM/6) | Back = bodyrise + 2.5em, 1/4 of block | 1/4 of block Tailored Trousers Front = bodyrise + lem. | width - lem. width + 3.5em. Divided Skirt Skirt foundations... | Bodyrise + 4em. ‘iz ofseat | '/12 of seat (Culottes) back & front (M/6) (M/6) + 2.5em All-in-one Divided | Use full length body | For logs with fuliness .. | /12 of seat 1/49 of seat. Skirt or Cat Suit | foundations or bodyrise + Sem. (M/6) (M/6) + 2.5em | standard trouser & | 5. geted syle. bodice foundations = de > deme. (stretch fabric or blouson bodice ) | Briefs */a of seat (M/6) | Bodyrise + 2.5cm. Nil. (A gusset replaces the extensions.) Stretch Fabrics For a firm fit in stretch fabrics, all block width measurements can be reduced but consider the amount of stretch as it differs between types of fabric. Page 180Measurements for Crotch-line Garments Length from waist to a flat aia oye: surface. Taken while sitting. 22. Waist to Ankle Length taken at side. 23, Knee to Ankle| Length taken at side. Around one thigh at the 24. Thigh thickest part. Check Measurements for Fitted Trousers F.l Knee Around knee while bent. F2 Calf Around calf at fullest part. F.3 Instep & Foot) Taken at a slant. From centre front of waist, Ge Deptiot through crotch to centre Croteh : } back waist. Basic Pyjama Trouser Foundation Block All sleepwear needs to comfortably allow for movement without too much restriction. ‘© Rule up the blocks, back and front alike and placed together at the sides. Width = 1/4 seat measurement (M/6) + 2cm. Back & Front Blocks|—__— Length waist to ankle measurement (M/22) e The topisthe waistline. Show the hip and seat positions and rule the crotch-line across both blocks. The depth down from the waist should equal the bodyrise + 8cm. for adults. ( + 5cm. for small children ) Page 131Extend the crotch-line at the centre back by '/s of block width + 2.5cm. to point "A’. Extend at the centre front by '/s of block width only to point "B". At the centre back waistline go in 1.5cm. and raise 2.5cm. to point "C". At the waist point where the two blocks meet, raise 1.25cm. to point "D". From point "C" rule through "D" to the centre front waistline, point "E". Shape the centre front seam from "Eto "B". This will follow the centre front line for */« of its length and then curve to "B’, keeping the curve 2.5cm. up from the corner. Shape the centre back seam from "C" to "A". This is less curved and should cross the centre back line at a point approximately '/s down. Keep the curve 5cm. up from the corner. ‘© Shape in the leg seams. Come in at the ankle by 3cm. on each outer side to points "11" and I’. Shape from "A" to "H" and from "B" to "I’. The legs maybe further narrowed by a dart up from the ankle at the sideseam position. A sideseam is optional. ¢ Add enough height to the waist "CDE" to turn back for an elastic tunnel. (2.5cm.) This basic pattern can be altered to different styles. My class tell me they use the pyjama pattern as the basis for track suit pants, children’s overalls and Karate uniform trousers. Figure 8-1 Basic Pyjama Foundation Page 132Pyjama Trousers for Men and Boys An overlap and a facing are added to the straight edges of the centre fronts to allow for a fly opening. Left-hand side allow 3em. to turn back on the centre front line Right-hand side | allow 6cm, to turn back at 3cm. (dotted line) © The left-hand side can now overlap the right-hand side by 3em. Allow extra width for the tunnel turnback on the waistline when a cord is to be used. 3cm. will enable easier sliding of the cord. When elastic is used it is usually the wide variety that is stitched in place. Pyjamas with Front Waist Yoke © The yoke piece is styled on the front, '/4 of the waist along from point "E", shaped down on to the hips and curved to a point 8em. Figure 8-2 Men’s & Boy's Pyjamas down the centre front. see Figure 8-3 The yoke shape is cut separately with its centre front to the fold of fabric. Cut double for strengthening and to allow neatening of the seams. ‘ The rest of the front is cut in one with the back and is pleated in to fit the yoke. The back has a 2.5m. turnback for an elastic tunnel. Figure 8-3 Pyjama with Waistband Yoke Page 183Foundation Block for Panties Rule up the '/2 back and '/2 front blocks, back and front alike, placing them side by side with the centre back to the left. Width = 1/4 of seat measurement (M/6) + lcm. easing Back and TES j Front Blocks! Length = 5cm. below crotch-line Crotch-line depth = bodyrise + 4cm. Rule the crotch-line across both blocks. Extend this crotch-line out at the centre back by '/s of the block width + 2.5cm. to point "A". Extend at the centre front by '/s of the block width only to point "B’, BLNeTIC TOeN Bc, Raise the waistline at the centre < back by 1.5cm. to point "C". Lower the waistline at the centre front by lem. to point "E. Rule ina new waistline from "C" to"D". Add extra height to this 8 new line for an elastic tunnel [. — turnback, (2.5cm. ) o : © Shape in the centre back and SOR Bic centre front seams, following the rules for pyjamas. Figure 8-4 Panties Foundation © Shape the inside leg seams. From "A" and "B" go down Sem. and then in 2.5em. to points "Hand 'T". Curve in the panty leg from "E" to 'F’, raising it at the sideseam line by 1.5em. to "X". Elastic tunnels can be added to the leg if wanted. Stretch Fabric Panties When using stretch fabrics the 1.5cm. added to the widths is reduced to .5cm. The crotch-line depth cannot be reduced. Gussets for Panties Gussets are used to give more comfort and roominess in the crotch of panties. ‘The measurements given are flexible. Cuta strip 2.5cm. wide from the inside leg at both front and back. Toreplace these cut away pieces rule up a block 5em. wide and twice the length of the pieces cut off. Page 134¢ Rule a line across this block at the halfway mark, Extend this line at the back (to the left) by 2cm. and at the front by .5em. Reshape the sides with curved lines, the greater curve to the back. Cut this gusset piece double. It is stitched into the inside leg seams after the centre back and centre front seams have been sewn. = ee at 1 a K cor orr 2Bem Figure 8-5 Panty Gussett Longer Legged Panties (Old fashioned Bloomers) Bloomers originally came from England but were named after Amelia Jenks Bloomer, a mid-West American of the mid 19th. century. © Use a panty pattern with extra easing allowed to the width and with a longer leg. A gusset is necessary. Allow for elastic tunnels at both waist and legs. Briefs This is general term for a very adaptable pattern for styles ranging from waist high panties to bikini briefs. It has the advantage of being able to be cut in one piece with a centre back seam only or with centre front and centre back both cut to the fold and seams at the sides. The fabric to be used dictates the width of the block as even stretch fabrics differ in their amount of "give". In some cases where a firm fit is needed, as in swimwear, up to 2cm. is subtracted from the '/s seat measurement. This pattern is also very suitable for children. Standard Briefs Pattern for Adults and Children. Rule up the */2 back and '/y front blocks, back and front the same, placing them side by side with the centre back to the left. Width = 1/4 seat (M/6) for stretch fabrics. (+ lem. for non-stretch fabrics) Back and Front Blocks | Length = waist to the crotch-line only Crotch-line = bodyrise + 2cm. ‘The top of the block is the waist. Show hip and seat positions. Shaping of the top line : © ‘The diagram shows a hip length brief but the top line can be anywhere from the waist to just above the seat. Whatever its position the top line must be at least 2m. higher at the centre back. Add extra height for an elastic tunnel if wanted. continued over Page 135At the centre front on the crotch-line go along 3cm. to point "N". At the centre back on the crotch-line go along 8cm. to point "O". From "O" go down 2.5cm. to point "P", From "P*, curve back up to the crotch-line at the centre back. The leg is now shaped in : e At the back from "P", curve up to the sideseam at the height wanted. It can be as high as the seat line. This is a gentle curve only. © At the front from "N’, curve more sharply up and then on to meet the back of the leg. The whole curve from "P" to "N" must be continuous. see Figure 8-6 Draft the gusset separately : Rule a line 8cm. in length. On each side, at the top, go out 3cm. (6cm. total) to points ‘J" and "K". This is the front seam. ¢ On each side, at the base, go out 8cm. (16cm. total) to points "L" and "M". This is the back seam. © From "J" and "K" curve lines down and out to meet "L" and "M". The pattern piece "JKLM" is your gusset. It is cut double. A soft cotton fabric can be used to line a silky one. This lining neatens joining seams and gives extra strength. The straight line at the back of the gusset gives good shaping when stitched to the curve of the back pattern. For grip around the legs, lace elastic is ideal or a fine flat elastic can be zig-zagged on. Allow 1cm. turnback for both these. N.B. The whole leg measurement plus the gusset (Scm.) should be wide enough to fit the top of the leg (measured on a slant) plus extra for easing. Water LINE clorox | Gusset cut in one with front Separate gusset FRONT | corto roip te S, k cur povete sz e BACK S TOMES To BAC Figure 8-6 Briefs Page 136Trousers Drtgite Seon World War trousers became acceptable wear for all women, not just revolutionaries or film stars. They were called "slacks", a good name, as they were reasonably baggy affairs - as indeed were men’s trousers at that time. It was therefore much easier to draft a pattern that guaranteed a good fit. When narrow, more tailored styles became fashionable, what suited one figure wrinkled in the wrong places on another. ‘This meant that when drafting for an individual figure more care had to be taken to get the right cut for a good fit. ‘Two styles are shown here for you to choose from or adapt. As a guide to choosing the ‘most suitable pattern for an individual person, check the total crotch measurement. In the two patterns there is a difference in the length and angle of the centre back seam. The adaptation shown as a third alternative can be made on either pattern and does not alter the total crotch measurement. Fashions in trouser styles change every few years, mainly in regard to leg shapes and fullness at the waist. New innovations are easily obtained by the methods you have already learnt for shirts. As in skirt seams, leg seams that are to be sewn together must match! Always consider "around the leg and foot" measurements when narrowing the legs. In the waist and hip area extra fullness, yokes and pockets must be added without interfering with the crotch shaping lines. ‘The measurements given in the following patterns are for an average adult sizing. Page 137Tailored Trousers - A Basic Pattern Rule up two foundation blocks to represent '/, the back and 1/2 the front, back and front alike, with centre lines to the outsides and a suitable working space between them, Width = 1/4 seat measurement (M/6) (plus ease if drafting for children) Back and Length = waist to ankle (M/22) Prent Bioske: |-—$£@@ — _—__—————— Crotch-line = bodyrise + 2.5cm. down from waist Kneeline = measurement (M/23) up from ankle N.B. Like skirts, the length has to checked for each pair you draft. Measure with shoes on, Rule hip, seat, crotch and knee lines across the blocks. Omit the high hip line for children and men. (Men’s sportswear only) Extend crotch-lines at the centre back by */« of block width + 2.5m. to the centre front by '/« of block width only to "B". At the centre front waist go down 1cm. to "E" and from here shape up to the top of the block at '/, of waist to "D". (M/2) Add extra for any darts or folds wanted. These should be placed well to the side. Shape down to fit over the hips and on to the edge of the block at the seat. Extend at Shape the centre front seam straight down from "E” to seatline then curve to"B". Keep 2.5cm. out from the corner. Shape in the front leg, checking width measurements as you go. At the centre back waist go in 2.5cm., then rise 2.5cm. to point "C", From here shape the waistline, making it '/, of waist + 2.5cm. for a dart allowance to "F". For children leave the back waist the full width of the block and allow extra height for an elastic tunnel turnback. Mark point "G" halfway along the crotch extension. From "G’, rule a guideline to "C". To shape the centre back seam, from "C’ follow the guideline for °/, of its length, then curve out to meet point "A". Keep approximately 4cm. out from the corner. Mark the area of stretch. see Figure 8-7 Shape in the back leg to match the front leg but making it 2.5em. wider at the inside leg seam. This extra width to the back leg seam allows it to match the shaping of the front inside leg seam. The amount (2.5cm.) is the same as the extra added to the back crotehline extension. Rule in the back dart, making it parallel with the centre back seam and a suitable length. Rule straight of fabric arrows on both pattern pieces parallel with the block sides. Page 138Figure 8-7 Basie Trouser Pattern Page 139,Second Tailored Trouser Pattern (Adaptable for men’s casual wear.) Width = 1/4 seat measurement (M/6) (allow slightly extra for fabric with no give) Length = waist to ankle (M/22) e = bodyrise + 2cm. ‘Thigh check = 7.5cm. below crotch-line (average adult) Knee-line = measurement (M/23) up from the ankle Draft the front pattern piece first. Front Crotch-line : At the centre front extend the line by 1/4 of the block width to "B". Centre front Seam : From "B’, scoop up to meet the centre front at the seatline. Keep out from the corner by 2.5cm. Waistline : From the top of the block at the centre front go down lem. to "E", From here curve up to the waistline to measure 1/4 waist at "D". If darts or pleats are wanted, add the extra needed. Inside Leg Seam : At the kneeline and at the bottom of the block, come out 1/2 the amount of the crotch-line extension. (1/8 of the block width) Now rule up inside leg for about 12cm. above the kneeline, then curve to meet the crotch point. Outside Seam (sideseam) : Curve from the sideseam waist down through the hip shaping to the seatline. From here, gradually shape on down past the thighline to a point 2.5cm. in at the hem. @ Creaseline : This can be stitched. Mark halfway along the base of the block and the kneeline. Rule a line through these points up to the waist. ¢ Bottom of Leg: Curve up by .5em. at the creaseline. Back Shape in the front pattern on the back block and alter in the following way. Both patterns may be drafted on the same block, but would then need to be traced off separately. Crotch-line Extension : 2.5cm. beyond the front extension to "A". Centre back Seam : First move the creaseline towards the centre by 1.25cm. At the top of this new line, square up 4em. to centre back point "C". From "C" rule a line to the point where the crotch-line meets the centre back of the block, point "G". This is aguideline only. Mark its halfway point, "R". Now shape in the centre back seam from point "C’. Follow the guideline to "R’, then curve to meet crotch point "A". Keep 4em. out from the corner. Waistline : Rule in the waistline from "C" to an extension of the top of the block at "F". It should measure 1/4 of the waist + 2.5cm. for a dart. e Dart: Rule ina dart approximately 12.5cm. in length, 2.5em. wide and 8cm. in from the centre back. It must be parallel with the centre back seam when stitched. Page 140Inside Leg:: This is shaped to match the front leg but keeping the extra 2.5cm. out for the full length. see basic pattern explanation, Page 138 ‘© Outside Seam (sideseam) : Starting at the sideseam waistline, curve in a smooth line to meet the front shaping just below the thighline. From here rule to the hem, matching the front seamline. Bottom of the Leg : Curve the line down by .5cm. at the creaseline. @ Check : Check the thigh size over the back and front. (M/24) Mark on Pattern : © "Straight of material" arrows on both pattern pieces parallel with the block sides. © "Stretch area" on the curve of the centre back seam. N.B. The position of the crotch-line points and the subsequent placing of the inside leg seams can be altered by following the alternate instructions given next. Figure 8-8 2nd Tailored Trouser Pattern Page 141Adaptation to Crotch Seams of Trousers For an alternative trouser pattern, which suits some figures better, the crotch-line on the front pattern is raised by 1.5cm. and is lem. shorter. To compensate, the back crotch-line is extended an extra lem. This brings the inside leg seam nearer the front as in men’s trousers. Using either trouser foundation, rule up both back and front blocks as before but with the following differences. Front © Crotch-line : Position down from waist = bodyrise + lem. Extension = 1/4 of the block width - 1c. © Centre Front Seam ; Shape in a new line. Back Crotch-line : Position down from waist = bodyrise + 2.5em. Extension = 1/4 of the block width + 3.5cm. Centre Back Seam : Similar but with a longer curve. see Figure 8-9 © Leg Seams : The shaping of the inside leg is to be kept 2.5em. wider than the front, from the bottom up to just below the thigh line. From here curve out to meet the new crotch point. This greater curve should compensate for the extra inside leg length of the front. / C FRONT Si Neres CROTEHLINE- Wi nee = Oe ee rcH ae oN ison Figure 8-9 Adaption to Crotch Seams Page 142Waistbands Waistbands on trousers are styled as for skirts. Curved Yoke at the Waist of Trousers Draft your favourite pattern and place a waist dart in both back and front on the creaselines instead of their normal positions. Evenly shape in the yoke, making it the depth you prefer. (e.g. 6cm. deep.) Add 3cm. to the centre front yoke on the right hand side for the buttonlap. Cut off the yoke pieces and lay aside. Front Pattern Add a wider seam to the straight of the centre front seam for the stitching in of a zip. On both front and back, any dart ending left below the yoke can be either stitched in or shaped off at the sideseams. Now take the yokes and fold in the darts. Join together (optional) at the sideseams. The resulting curve will give a tidy fit. ‘The centre front is cut on the straight of fabric and the centre back is seamed. The yoke is cut double and, if necessary, interfaced. Figure 8-10 See also the alternate back shaping shown. ALTERNATE: BxCK YOKE Figure 8-10 Curved Yoke at Trouser Waist Page 143Fullness at the Waist of Trousers Some trousers have only small tucks or darts at the front waist and this should be allowed for at the sideseams. When fashion dictates greater full- ness from the waist - usually in the form of several unpressed pleats - it is necessary to use other methods to obtain that fullness where it is wanted. Figure 8-11 Fullness at Front Waist The diagram given is for 3 wide pleats falling from the waist, but with their fullness disappearing before the crotch and therefore not interfering with the set of the leg. By the hinge method, space according to the degree of fullness wanted. The centre front seam must always be on the straight. Tapered Trouser Legs ‘The amount of taper possible depends on the fabric used and personal measurements, (M/24 and Check Measurements F1, F2 and F3) eg. A ribbed knit stretch fabric is currently used for an almost stocking-like fit with the trouser narrower than the actual leg. The example shows a moderately narrowed leg, evenly reduced at each side of the knee and hem lines. ‘© The crotch point is recessed back by .5em. and raised by .5em. The sideseam is smoothly curved up to the hip line. © Check the position of the creaseline - it must be '/2 of the leg width. © Draft the back leg to correspond with the front. Check the all-over widths with your own measurements. Flared Trouser Legs Very much a fashion whim, the flaring can start at the crotch-line or from just above the knee. Add the extra required evenly on each seam, For very exaggerated styles, perhaps for stage costume wear, the hinge method can be used to position the flare or Godets can be inserted as in Spanish Dancer's trousers. If there is a creaseline, check its position. Draft the back to correspond with the front. Figure 8-12 Tapered Trousers Figure 8-13 Flared Trousers Page 144Shorts When boxer shorts are wanted for running or swim wear the standard trouser pattern can be easily adapted. Reduce the width of a shortened leg size and raise at the sideseams. Allow enough extra at the waist for it to be elasticised and so avoid an opening. Tailored Shorts Pattern for Women Shorts vary with fashion and the sporting activities of the wearer. A fitted style, based on the standard trouser pattern, is shown here. ‘The average length is 5em. below the crotch-line. The shortened leg is reduced in width by reshaping the leg seams and an additional shaping seam at the back. The fit of the back is very important. Check the finished leg width. Pleats can be drafted on fashion shorts. See culotte patterns for ideas on this. Cc Figure 8-14 Fitted Shorts Knickerbockers Styles for Knickerbockers are as many and varied as they are for modern trousers. The shaping at the waist can be what suits the fabric and the wearer best as regards fullness. For the foundation, use your favourite trouser pattern. The standard one is ideal. The finished length of leg is to the top of the calf, comfortably below the knee. (e.g. 7cm. ) In some ways the bottom of knickerbocker legs can be likened to the bottom of sleeves, with extra length added to save drag when gathered into a band. The amount of fullness and the size of the band varies with the style. Some are without bands at all. The bend of the knee must be allowed for. Divided Skirt or Culottes ‘The divided skirt was introduced into early fashion as being more practical than long skirts for horse riding. As boots would be worn it was considered permissible for the length to be above the ankle! A short divided skirt was worn later for bicycle riding and tramping before trousers and shorts became acceptable wear for women. By 1965 the culotte skirt and dress were popular for evening wear, often with the legs extremely wide, giving the appearance of a very full skirt. The "cat suit’, which also goes under many other names, is a women’s fashion garment based on work overalls. Page 145Unlike the other crotch-line garments, no special block is used but the crotch shaping is added to the usual skirt or body foundation. Drafta '/2back anda !/2 front skirt foundation of the correct length and with the centre back and the centre front on the straight. Rule in a crotch-line on both foundations. Crotch-line depth from the waist = bodyrise + 4cm. j ¢ Extend these crotch-lines : Centre Back 1/19 of the seat (M/5) + 2.5cm. to point "A" Centre Front 1/19 of the seat to point "B" Shape in the centre back seam, From the waist follow the straight line for "/s of its length before curving gradually out to meet "A". Shape in the centre front seam. From the waist follow the straight line for °/, of its length, then curve deeply to meet "B", 2.5cm. up from the corner. From both "A" and "B'" rule straight lines down to the hem depth to points "S" and "I". Complete the hemlines. ¢ Halve these extensions with vertical lines. Cut up these lines, "leave-hanging" at the top and space at the hem by : (a) 1.5em. for a mini length. (b) 2cm. for a calf length. (c) 3.5cm. for floor length. ‘This is your culotte foundation. Finish drafting the skirt to suit your design. Refer to the skirt patterns for pleats, flares ete. The straight of fabric must always be parallel with the original centre back and centre front. To keep the illusion of an ordinary skirt a centre inverted pleat is used. woe waver x Jcrorenunie CROTCHUNE? FRONT ; Hen Wer 2 Figure 8-15 Divided Skirt Centre Inverted Pleat & Side Flare Page 146Chapter 9 The Princess Line, Slips & SuntopsPrincess Line Tite Princess Line has the lengths of skirt and bodice cut in one piece, close fitting and undraped. A Princess line garment relies on vertical seams for shaping and style. There is no waist seam. I find a reference to this style as far back as 1875. In the 1930's and 40's it was used to give an uncluttered look with shaping at the waist and fullness at the hem. When a straight look came into vogue it was modified, curving in only slightly at the waist and with very little skirt flare. The Princess design line is often used in suits and coats. Basic Princess Line in Traditional Position Draft a '/2 back and a '/2 front full length body foundation onto working paper. Front Foundation Placing of the panel seam. Ona woman's pattern, mark the bust point "A". For men and children, mark point "A" at a suitable distance in from the centre front on the chest guideline. From "A" rule down to the hem at "B", The line "AB" is parallel to the centre front. © From "A", continue the line up to the middle of the shoulder to point "C". If required, a shoulder dart may be placed here. © Shape in a waist dart. Width at waist = ‘1,.25cm. each side of the line Height above waist = 3cm. below bust point (Men & children up to point "A") Length below waist = 7cm. or usual dart length © Add the dart allowance to the waist plus an extra 1.5em. for easing. (4cm. in all.) Reshape the sidescam, curving it softly. N.B. This style must not fit too tightly at the waist or wrinkling will result on all but the slimmest figures. © The line "CAB" now separates the two panels. Mark them clearly. Cut to separate and remove the dart shaping. @ Glue the panels separately onto working paper and draft the back before adding flare tohem. Back Foundation Shape in the back panel seam to correspond with the front. © Point "D"is placed on the bust/chest guideline the same distance from the centre back as point "A" is from the centre front. e Point "E" is at the hemline. Point "F" matches point "C" on the shoulder. Page 148© The waist dart is shaped in : Width at waist = to match front Waist | Height above waist = to the bust/chest guideline point "D" Length below waist = 10cm. or usual skirt dart length @ Add 4cm. to the waist and reshape the sideseam. © The line "FDE" separates the two panels. Treat as for the front. r ot eo <. i \ \ Figure 9-1 Traditional Princess Line Figure 9-2 On all four panels : Add the amount of flare you require on each side of the panel seams. eg. Add 6cm. swing-out at the hem [Link] four sides. To balance this flare add 3cm. swing-out at the hem on the sideseams. REMEMBER... Seams to be sewn together must have the same amount of flare. ¢ The centre back and centre front are placed to the fold of the fabricin our basic pattern, but a centre back seam would be needed for a zip opening or a buttonlap allowance added to the centre front. Mark accordingly. Page 149Although the design lines are ruled initially you should now round out any sharp angles in the waist and bust areas. see Figure 9-2 Extrashaping over the bust area for a fuller figure can be obtained by placing a shoulder dart in the front panel seam. © Straight of fabric arrows are important and should be parallel with the original block edge. N.B. When there is aseam at the centre back it is an advantage to shape it in at the waist. lem. is sufficient. Alternate Styling of Design Lines Style A. From armhole to hem. ‘The top of the panel seam is changed from the shoulder position to a point halfway down the armhole, "G". This can be on both back and front or on either. In a woman’s pattern the dart shaping would be from the front armhole. See "Closing in darts" chapter. Style B. Pleats in a Princess line. © After separating the two panels, add only 1em. swing-out at the hem on each side to points "G" and "H". © Add 2cm. at the hip-line "I" and "J". Add Sem. at "G" and "II" to "K" andl’. Join "GK" and "HI. This added portion is pressed | under to form the overpleat. Onaseparate piece of working paperrulea line the same length as the addition and add to each side : a) At the top, add 2cm. (4cm. in all.) b) At the hem, add 5cm. (10cm. in all.) Join the sides. This is the underpleat. It is stitched between the two panels. ‘The knife edges of the pleat can be stitched after the hem is sewn. ¢ Mark on the pattern : Centre Front Panel | "PLACED TO FOLD OF FABRIC" Side Front Panel "CUT TWO" Straight of fabric arrow {>> and Underpleat Draft a back pattern to suit. Panels and inset pleats are optional. A centre back opening for a zip is a good idea. Style note: The underpleat can be of a contrasting colour. Page 150Se FRONT recur El oe i Zz. \ J Se ee) KE ie K ae UNDER PLEAT Figure 9-3 Princess Line with Inset Pleat Basic Slip or Sunfrock ‘The Princess line is very suitable for slips (petticoats) and sunfrocks. Slip Foundation Suggested top shaping : Draft a standard Princess line foundation but shape the top before separating the panels. Front Working from the bust guideline. © At the centre front - go down 1.5em. to point "M". ¢ At the panel seam - go up 3em. to point "N" ° Atthe sideseam - go down 3m. and then in 1.5em. to point © Join"MNO".Thisis a basic shape which can be altered to suit your design. Point "N" is the position for a shoulder strap. ‘Page 151Back Working from the bust guideline. ¢ At the centre back - go down 1.5cm. to point "P". @ At the sideseam - go down 3cm. and then in 1.5cm. to point "R". Join "PR" with a gentle curve. The position of "P" can be lowered to 3cm. for a straight line or scooped lower still for sunfrocks. ¢ Reshape the sideseams down from "O" and 'R' to the waist where enough easing should be allowed for the petticoat to be pulled over the head and shoulders without the need for an opening. ¢ At the hemline on each seam (back and front) add enough swing-out to give the flare you want or the hinge method may be used to position the flare. i as Y ak a 1 | Figure 9-4 Slip (Petticoat) Foundation Figure 9-5 Shaped Top A Shaped Top This top is based on the Empire line principle and its foundation depth is determined by measurements taken up from the waist. One style is shown but there are many variations that are suitable. |ReTRAP POSITION © Use a Princess line slip founda- tion. Shape in the top on the front bodice, watching its position up s/eea from the waist. (No higher than the Check Measurement 'T'.) Cut out the top piece and close-in any underarm dart. Page 162,On this top piece evenly space three lines up to the top from the bust area. Cut up these lines, leave hanging at the top and space under the bust to allow for folds on gathers, (2cm. ea. space.) One space of 4cm. will allow a dart under the bust instead. Inthe centre of the middle space go down 2cm., or more for fuller figures, and curve up to the sides. see Figure 9-5 N.B. The skirt pancls are separated and flared as shown in the basic petticoat. Strapless Dress When drafting a strapless garment use Check Measurement "C" (high bust) to reduce the bodice there. A neat fit is necessary. As with wide necklines some of this surplus should be closed-in to the bust shaping. For shoulder straps, study the petticoat instructions. Bi i id Bikini Toy srassieres and Bil Ps = high ban ‘© Check measurements required... ‘1 Tada bast ee ‘See measurement charts or waist to under bust Basic Foundation Shape ¢ Take a */2 front and '/2 back bodice foundation and place together at the sideseams. ¢ Keeping the centre front on the straight, overlap them at the underarm by 2.5cm. at point "A". Pin here so that the waist position can be adjusted if necessary. ¢ Go down from "A", 3.5m. to point "B". Front Bodice : Working from the bust guideline. @ Atthe centre front go down 1.5cm. to point " above the bust point) go up 3.5cm. to point "D". ¢ Join "C'to"D", then "D"to"B". Rule these lines initially, but they will need tobe curved or scooped out according to the design lines. t the shoulder strap position (directly ® Atthe centre front waist , go up by the amount of Check Measurement "I", This is point "E". From "E", rule a straight line across to the sideseam. This is point "F". Continue the lines to end at "F" and "B" on the centre back, curving the top line down to make the finished back width 2.5cm. A fastening here would need to be elasticised. Trace off this foundation. N.B. It will be apparent that this basic shape is in no way a pattern, but a guide for the drafting of various bra patterns. Some type of allowance must be made for the cup depth of the bosom. The simplest way is in the form of a dart of suitable width and with extra depth added under the bust point. Figure 9-6 Basic Bikini Foundation Shape ‘Page 153Bikini Tops The fabric to be used should influence the style you choose and stretch knits are always preferable. Once you have found a shaping that is flattering to you it can be adapted to suit, Two styles are shown. Style 1. © On your basic foundation shape in a triangle as shown. On the bottom line under the bust point rule up and hinge out to the top. ¢ Cut and space up to 8m. (or as preferred) for a dart under the bust. The hingingmethod allows the extra for the bosom according to the dart size. © Four fabric pieces should be cut from the pattern piece to line and neaten. There are two ways to finish this top. The simplest way is for the triangles to be stitched onto a narrow band which ties at the back or front. Otherwise a wider band can be used with a traditional fastening at the back. « Narrow ties sewn to the top of the triangle at point "D" tie behind the neck. Easy and comfortable. D> s, —F Neem Figure 9-7 Bikini Style 1 Style 2. As the straps are all-in-one with the bra part, this style would be more successful in a two-way stretch fabric. Place the back and front bodices together as for the bra foundation, but rule in the usual underarm dart. Add the dart width to the length of the front part, extending "FE" down to "JK". Shape in the whole top, following the design lines. Draft the shaping seam through the bust point. Call this line "LM". Cut along the shaping line "LM" to separate the front panel, which is to be placed to the fold of the fabric, Close-in any potential neckline bag. Cut up the sideseam "JB", leave hanging at "B" and close-in the dart. This will bring "FJ" together and makes one pattern piece. Cut twice. This style has shoulder seams and a back fastening. It needs to be bound on alll outer edges or cut double. Page 154Figure 9-8 Bikini Style 2 A Halter Neck Style of halt« Beet ue @ Use a '/2 front and a '/2 back bodice foundation, cut out and placed together at the shoulder-line and overlapped at the armhole edge by 1.5cm. (As for flat collars.) Place the centre front on the straight. Back bodice Working from the bust guideline. @ At the centre back - go down 4cm. to point "R". At the sideseam - go down 3cm. and then in lcm. to "S". Join "RS". Join "S" to the waistline allowing 2cm. extra there for a dart. Front bodice Working from the bust guideline. © At the centre front - go down 1.5cm. to point "I". @ At the sideseam - go down 3cm. and then in 1em. to "U". Join "U" to the waist shaping. Page 155The neck shaping e At the centre back neck - raise lcm. to point "V". From "V" go down the centre back 4em. to point "W". Add a buttonlap 2em. wide onto "VW". Round off the overlap edge. ¢ Where the shoulder points meet, raise .5cm. to point "X". Join "VX" and then "I", The resulting neckline shape can be redesigned to suit a particular style. The Halter Line Check Measurement for Halter Neck Styles Measure from the bone at the base of the neck, over shoulder to the front, then underarm and back to the spine at the depth required. © On the joined shoulder-lines, go 4em. along from point "X" to point 1) ' i } / Res "Y". Join "WY" and then curve round to "U", © Check the overall halter measurement. ("R" to "S" added to "U" to Ww") When this measurement is too large take out the surplus in a dart, sloping towards the bust point. Close in both this dart and the underarm dart to the waistline. See sketches. Back Figure 9-9 Halter Neck Page 156Chapter 10 Styles Involving Bodice & SleevesSaddle Shoulder JE 2Sadile Shoulder the sleeve continues up over the shoulder to the neckline, forming ayoke. It is a simple procedure so one style is shown and can easily be adapted to suit other designs. 'The yoke part needs to be set forward to avoid an ugly line at the back. Take a '/2 back and a '/2 front bodice and a sleeve foundation to match them, Mark the centre of the sleevehead. © On the back and front bodices, shape in a yoke parallel to the shoulder line. Mark carefully and then cut off. Depth on the front = Bem. Depth of Yoke Depth onthe back = 2cm. Place them together at the shoulder-lines and join the armhole edge to the head of the sleeve, making one pattern piece. Figure 10-1 Saddle Shoulder ¢ Pleats in the sleeve at the corners now formed are drafted by the hinge method. Proceed with drafting the rest of your style. 1 ra roe, rou o| eS i i j \ Figure 10-2 Page 158Drop Shoulder In this style there is usually a bodice yoke following through from the design-line on the sleeve. Unless the dropped shoulder part is the only arm covering, the style will need to be reasonably relaxed to allow for arm movement. It is ideal for housecoats and blouses with gathering into the yoke. Using your foundation for a '/2 back and 1/2 front bodice and matching sleeve, proceed as follows : © Extend the shoulder-lines, back and front alike, by the amount wanted to points "/ and "B", The example extends 6cm. ‘@ Shape down from these points onto the bodices to join in with the yoke at points "0" and"D", If there is no yoke, shape down to the position required by the style. Cut out the bodices and place them together at the extended part of the shoulders. Place the sleeve pattern under this extended part, with the centre top of the sleevehead touching the end of the original shoulder. ‘¢ Now overlap the bodice extensions evenly until they fit the sleevehead. On the sleeve : ¢ Mark off the part of the sleevehead that is covered and cut this part away. On the bodices : @ Mark the overlap of the shoulder extensions, if any. Shape evenly on back and front and cut away the surplus. ‘The remainder of the style is now drafted. The example given is cut and spread for gathers into the yoke on bodice and sleeves. Ovens eLeeve SP REE Se > fo DiedseCee Figure 10-3 Drop Shoulder Page 159The Roomy Look of the Eighties Alot of the casual clothes worn at present are extra roomy and some, like the "Big Shirt", need special treatment if they are to sit correctly and create an elegant simplicity. This comfortable garment is worn by both sexes in a wide variety of fabrics. Guidelines for Drafting Changes to shoulder-lines, sideseams and sleeves When the shoulder-line is extended down over the arm by more than a small amount (1.5cm.) the sideseams must be centralised. This is the principle of the Magyar style and is necessary to enable the garment to sit correctly. For this roomy look the back width is added to by 3cm. to make it the same as the front and increase overall body width. Any further increase is divided equally between both blocks, thus keeping the sideseams centralised. © It is essential to lower the armholes to save drag. Increase the width of the sleeves and reduce the height of the sleevehead proportionally. An example of drafting a Big Shirt is shown in Figure 10-4, with suggested measurements. For the Front and Back Use body foundations of the required length. © Atthe armhole edge of both shoulder-lines raise by lem. forshoulder pads and lengthen by Sem. (lem, for pads - 4cm, down arm.) To the block widths add 4em. at the back sidescam and 1em. at the front sideseam. Lower both armholes by em. Very slightly curve-in the sideseams or leave straight. In a women’s pattern, unless a dart is particularly wanted, curve away the dart width from the sideseam at the hem. Add a buttonlap to the centre front and trace off facings or stitched-on bands. When a yoke is wanted, take a portion from the front and join it to the back yoke at the shoulder-line. For the Sleeve Rule upanew block. The principal is much the same as for the casual shirt sleeve, but usually wider and always with the sleevehead depth reduced even further. Width ofblock = usual sleeve width + 5cm. Length of block = usual sleeve length - 4cm. Cap shaping lines, 7cm. down from the top to line Divide as for a casual shirt sleeve. N.B. The lower the shoulder - the shallower the sleevehead! ‘© Mark the position for a cuff opening towards the back. Page 160For the Collar, Pockets and Cuff e Draft a two-piece collar, Block Collar No.8. (Chapter 5) Ifpockets are wanted they should be reasonably large in keeping with the style, and often with a buttoned flap. Draft the "Straight Cuff" to fit the wrist. (Chapter 6) Figure 10-4 Big Shirt Page 161Appendix I Figure Differences(T° stmplity the drafting of a basic foundation using individual measurements it is necessary to have a few standard guide measurements based on the bust/chest size. ‘These are found on the Measurement Guide Chart. The end result is very satisfactory but sometimes certain areas of a personal pattern need adjusting with the help of the Check Measurements. Occasionally other adjustments are needed for a specific figure fault and most of these are covered in the following exercises. Where thereis a pronounced difference from the average it is as well to make a Toile or Calico Shape. If it seems a nuisance to have to make these alterations, remember they only need to be done once on the foundation which is then correct. Always check your sleevecap measurement against a revised armhole. see Pages 104,105 Neck Size Using check measurement A. The neck of your foundation should sit comfortable around the base of the neck column. If an adjustment is necessary, evenly scoop out (or take in), matching back and front at the shoulder point. Re-rule the shoulder-line to the correct length. Figure I-1 To Enlarge Neck Size pack Rout Shoulder-Line Position The shoulder-line should be in the correct position and sit smoothly. Correction for common faults: Shoulder-seam lies too far back Raise the back shoulder above the block by a suitable amount (usually about 2.5cm.) taking care not to change the shoulder length. e Lower the front shoulder by the same amount - again check the shoulder length and now also the total neck size. ao cower | LH Figure I-2 Correcting I I Shoulder-seam Position Square shoulders ‘At the armhole edge of both back and front : Raise the shoulder by the amount needed. e Raise the armhole at underarm seam to correspond. Page 164pre Figure I-3 For Square Shoulders pace FRONT ~ Ralee Sloping shoulders At the armhole edge of both back and front : ‘© Lower the shoulder point by the amount needed. Lower the armhole at underarm to correspond. Be sure to take the base of the armhole out to the block edge or you will lose width in the bodice. Pt I | Figure I-4 For Sloping Shoulders cower, N.B. When the slope of the shoulders is uneven, correct on one side only using a full-width bodice pattern. FRONT Narrow shoulders (When in comparison with bust/chest size.) In the first instance take the shoulder-line out to at least the armhole guide line, and note the extra distance. When the problem occurs on both back and front: (After the rest of the foundation is shaped.) © Hinge across the shoulder/armhole corner and overlap the shoulder-line until it is the correct length. © Straighten the shoulder-line. ‘@ When only the back shoulder is too narrow a dart is used which can be stitched in or later closed out into a style line. (This was mentioned in the foundation instructions.) f / I Figure I-5 Narrow Shoulders ) PRONT FRONT Page 165Excess Back Width It is normal for the back armhole section to be narrower than the front, but when a wide back leaves too small a section for the shaping of the armhole it needs to be altered, 3cm. has been added to the front block for tolerance (breathing room) and as long as this full amount is retained it can be differently distributed. Back block width 1/4 bust/chest measurement + lem. eg. — — Front block width 1/4 bust/chest measurement + 2cm. For children it is sometimes necessary to add even more to the back block. Extra width is permissible for them so keep the front plus 2cm. and add 1.5m. to the back. e- CER I 1 I Figure I-6 Excess Back Width FRONT Gaping of the Front Armhole Asmall amount of gaping will disappear when a sleeve is set-in, but where it causes a bulge of fabricit must be "closed in’ at the pattern stage. If Check Measurement Cis alot smaller than the bust measurement it can be an indication of this problem as a full bust is often the cause. It will be more accurately corrected if a calico shape is made of the bodice and the surplus amount pinned-in in the form of a dart. To get rid of this surplus: © Mark the size of the pinned-in bulge in the correct position on the foundation pattern. Rule through the centre of this to the bust point. From here rule, then cut through the underarm dart (OPTION A) or cut through to the waistline (OPTION B). Keeping the centre front on the straight, "close in" the armhole bulge. This will automatically increase the size of the bust dart. N.B. The armhole point on the sideseam is now raised up and in. Do not alter this. ee. Option A i" Option B Figure I-7 Gaping at Front Armhole Page 166Uneven Hip Bones Some styles do not need structural alteration for this but extra length is needed at the hem on the enlarged hip side. ‘Turn garments to the right side for fitting. For a straight hem (as in a check or bordered fabric) or in a close-fitting skirt make the following adjustment: Draft a full-width skirt foundation for both back and front. At the hip bone position (M/3), on the larger side, hinge across 5cm. and then up to the waist. ¢ Spread upwards, spacing at the hip position, by the extra amount needed. Reshape the sideseam. To find a the exact amount needed tie string around the "urel8 Uneven Hip Bones waistline and measure down both sideseams to the floor. Compare. Protruding Stomach Adjustments for Skirts Straight-through garments are better without a defined waist but for a skirt the following is advisable: Raise the waistline at the centre front by a suitable amount (1.5cm.) Raise both sideseams by .5cm. and extend for larger than usual darts in the front. pace FRONT « Now reshape the waistline right around to, give an increase over the front area. Blaure [Os Roatan eric iehh ‘The wider darts in the front will save drag over the abdomen, but keep them well to the side and straight. Any pleats or gathers should start at least 9em. from the centre front. Extra Short Back with a Full Front If the front bodice is much longer than the back (over Gem.) the large dart necessary can give an uneven and hard to fit waistline. Spread the difference evenly between the bust position and centre back by treating the foundation block this way. Always make the front bodice the correct measured length. Lengthen the back bodice by 2-3cm. to reduce the difference and leave a tidy width bust dart at the front. Now reduce the centre back to its correct length thus: ‘@ Rule two lines across the back bodice. "AB" across the shoulder blades, "CD" '/2 way down the sideseam. Cut along these lines and leave hanging at the sides. © Overlap on these lines at the centre back ("/2 on each cut) until it is the correct length. Straighten the centre back line, leaving the waistline on the straight. The extra width to the waist can be taken out at the sideseam or incorporated into shaping dart. Figure I-10 Short Back Page 167Measurement of the Back Bodice longer than the Front Always make the front bodice the correct length. Make the back bodice the same length as the front and note the shortfall. To lengthen the back bodice where the extra is needed in the overall length: © Rule two lines across the back bodice as for the above. Cut along and leave hanging at the sides. Space these cuts evenly until the centre back is the correct length. Straighten the centre back line. Any extra width at the neckline must be taken out with a dart, either from the neckline or by reshaping the neck it can be from the shoulder-line. Where the extra measurement is because of very rounded shoulder blades the extra length is put into the shoulder blade area only: see Figure I-12 e Rule one line across the back bodice at the shoulderblade position. Cut through and leave hanging at the armhole. Spread upwards to allow for the extra needed. Where the difference is reasonably slight, re-straighten the centre back seam, redraw the neck shaping and shoulder-line and take the excess out in a dart from the shoulder-line to sit smoothly over the rounded area. Where the difference is extreme it is wise to make a calico shape. At the position of the shoulder dart a curved princess line seam gives a good fit. When the shoulders are hunched on one side only, a centre back seam or a centre back panel allow the back to sit smoothly, with the extra allowed only where it is needed. N.B. Where an underarm dart is required for this figure type, rule in a shoulder dart on the front bodice and "close in” to the sideseam. Figure I-12 Page 168Appendix II Children’s & Men’s PatternsDrafting Patterns for Children One of the main considerations when designing and making clothes for children is that they grow at agreater rate than the average adult, their movements will be energetic even in “best” clothes and the turnover of new garments will be greater. Strive for simple but effective design lines, with aroominess that still looks as if it belongs to that particular child and not an older one. It doesn’t always work out that they grow into clothes so use your skill to make them last through a certain amount of growth and hard wear. A few suggestions where you can do this: ¢ Adda little to chest measurements and keep this extra through all around and across measurements, Shoulder-lines do not look well if too long. For this reason Raglan styles look right and will fit for a greater length of time. (A cuff can always be added to the sleeve length) Raglans can be used in a wide variety of garments, especially for boys. Reinforcing can give extra strength where the greatest strain is and as a bonus can be an easy way of neatening off seams. Try double yokes (wherever they are), neck facings that reach and are stitched into the armhole, double seats in school trousers, pockets on the knees of toddlers longs, machined down buttonlaps and hems on school and play clothes, strong pockets that are easy to use. These can nearly all be made to look part of the overall design. A contrasting stitching, emphasizing rather than trying to conceal, gives a pleasing effect. Contrasting materials or appliqued designs, such as a rabbit or a flower are fun and practical. ¢ Stretch materials have answered a lot of problems in the fitting of children’s clothes. A foundation for a child follows along the same lines as for an adult and you will notice that the Guide-Chart goes down as low as 50cm. Don't be alarmed if the waist measures more than the chest! Add a little to the chest. Shoulders seem to be either too narrow or too wide, Children don’t have noticeable hips but a seat measurement is necessary, especially for trousers. See special measurement chart for children. Some differences to allow for: Excess back width Instead of allowing the full 3cm. extra to the front foundation allow 2cm. to the front and lem. to the back width. (If more is needed at the back add extra again but do not take more from the front.) This will give you better shaping for the back armhole. see Appendix I, Figure Differences. Narrow shoulders © As for adult styles. (Hinge and overlap method.) As a learning exercise draft the foundation blocks for a child, boy or girl, under 7 years. Then design and draft some suitable styles using the instructions for methods given in the appropriate chapters. Some special guidelines for children are given throughout the book where necessary. Page 170Front longer than the back ‘This is usually an all-over measurement caused by a rounded stomach. For styles with a waist line make the following corrections to the waist : ¢ Add the extra length needed to the contre front. Add half that amount to the front and back sideseams. ‘© Make the centre back the correct length. ‘© Join these points together with a gently curving line. For straight through garments use the above corrections, making them to the hemlines. ey | eSB Figure II-1 Front Longer Than Back Page 171,Drafting Patterns for Men At one time any men in my classes were employed in designing and making women’s clothing but lately Ihave taught young men who make their own clothes and want to draft patterns for them. Of course a lot of women also make clothes for the men in their lives. As with all pattern making, correct and careful measuring is the basis of success. Use the special measurement chart for men. The foundations for casual wear are constructed using the appropriate instructions and guide charts, taking note of the adjustments given below. ‘Take particular note of check measurement “A", as men often have a thicker neck column making it necessary to increase the neck size and change the shoulder position. see Appendix I, Figure 1-1 For most men’s garments, with the exception of fitting knit shirts, it is necessary to lower the chest guideline and curve-in a straighter, deeper armhole. Sleeves are drafted to match. sce Sportshirt sleeve in Chapter 6 Sleeveless garments, such as Waistcoats, must have the armholes recessed back by enough to allow the shirt sleeve to sit comfortably underneath. Beach shorts, casual trousers and pyjamas follow the usual instructions but tailored trousers should be researched in detail before starting. Tailored trousers (2nd style) will often be suitable, with perhaps the crotch extension brought forward as shown. Bath and beach robes usually favour magyar or raglan styles, with modified shaping. By drafting your own patterns far more creative and interesting styles can be achieved. Bodice Darts suitable for Men’s Clothing A lot of clothing for men has no need for dart shaping until you come to draft styles with a more fitted look where the purpose of darts is to give shape and character to a design without leaving a bulge; to avoid wrinkles, not create them. When shaping in darts on a man’s pattern follow the instructions for back bodice darts in the general foundation. They should be longer and narrower than in a woman’s pattern, All waist darts should be allowed for at the sideseams. Shoulder and neck darts are used when necessary for a correct fit. Darts nearer the sideseams are good design lines where some shaping can be incorporated, such as in a body shirt or jacket. Another useful dart for men is waist shaping in a centre back seam. Figure II-2 Men’s Bodice Darts Page 172Appendix III Over Garmentsor Garments such as Tailored Jackets, Overcoats and Capes will have to be left for my second book but I have included here some general instructions as a guide for those who wish to attempt , on their own, the more straightfoward non-tailored styles. "Over garments" is a general term applying to what one might call the third layer. Undergarments, top clothes and then overwear. In drafting over garments all measurements around and across the figure need to be increased and the armholes deepened. The amount added will vary. Whereas a linen blazer may only be worn over a light shirt, a sports jacket may need to go over thick woollens. Some of the garments that require these added measurements are : coats, blazers, jackets, dressing gowns, pinafore frocks and overalls. General Instructions The following are some general instructions, to be used as a guide only. ¢ Add 2.5cm. to 7em. extra to the usual block widths. You can use your basic body foundations and add the extra on to the centre back and centre front. If an extra 8cm. was wanted overall it would mean adding 2em. to the centre back and centre front. This amount will carry through all width measurements. It may be necessary to do some adjusting in the neck and shoulder areas as the foundation neck scoop will be automatically widened. Shoulders to be extended by .5em. to lcm. and raised by .5cm. (More when padding is to be used.) e Armholes must be lowered - 2cm. to 5¢m. Button Wraps : Make sure the allowance is adequate for the button size and allows for the thicker edge seams of heavier fabrics. (All coats need more than frocks.) See chart in Chapter 5. Necklines will be greater so watch the size of collars. The width of collars and size of patch pockets need to be in proportion. (Pockets to be used must be placed comfortably for the hands.) @ Sleeve widths : Add 2.5cm. to 5cm. extra over and above the usual 5cm. in all sleeve foundations. Heavy fabrics are better with reasonably wide seams and hems to enable them to lie flat, ¢ On women’s garments watch the position of bust darts as they may need to be altered. Sleeveless garments, such as waistcoats and pinafore dresses need the armholes recessed back to allow the sleeves underneath to sit smoothly. Page 174