TECHNICAL ASSISTANCE PROGRAM FOR THE DESIGN OF THE

PRODUCTS AND/OR SERVICES AND INNOVATION OF PROCESSES IN THE

ALPACA TEXTILE SECTOR

PRACTICAL GUIDELINE FOR PATTERN MAKING

GLENY CASTRO
Fashion Designer & Consultant

Lima, March 2011

1. Introduction

2. Objectives

What is Flat Patternmaking?

Industrial Pattern Making

5. Development of Technical Assistance

6. General Measures

7. Table of Measures

8. Dummy Framing

9. Strong Base

[Link] Skirt

11. Tweezers

12. Manga Base

[Link] Dictionary

[Link] Bibliography

GLENY CASTRO
Within the project 'Model of Institutional Articulation for the
Internationalization of SMEs in the Andean Region DCI-
ALA/19.09.01/0819165/164094/AL-INVEST IV-4", which has the
under the auspices of the European Commission and PERUCÁMARAS, as well as with the
With the support of the Chamber of Commerce of Huancayo, we created this Guide
Pattern Making Practice, so that it is available to all people who
are interested in learning in this field, the same that
can be adapted for personal use, as well as for companies that need it
strengthen their pattern-making department, or for those who choose to continue
a career in the fashion industry.

This training is simple, clear, logical, and precise. This will be drawn out more in the
reasoning about memorization, viewing design in one way
logic, providing small formulas that apply to all ways.

Implement techniques in pattern making with fundamental bases for prêt-à-

female porter and development of collections for positioning of
products in their current markets, as well as to facilitate access to new
international markets.

Pattern-making to put it more clearly, is in dressing as architecture is in

the construction. It involves creating the patterns of a garment.

GLENY CASTRO
Patternmaking is the system of organization for constructing a garment.
to dress, consisting of breaking down into separate pieces the different areas of
human body to dress, in such a way that each piece of fabric adapts to
that area and that the union of all the pieces in a predetermined order produces
as a result a garment model that corresponds to the design of the model
proposed.

To each of these pieces, drawn on paper and cut out of paper or cardboard, is
the pattern of the piece and the set of all of them is called the pattern of the
model.

We call them industrial when those plans are developed by the line of
cut, that is, with the seam margins included and with all the details
necessary to allow and facilitate mass production processes. (Brands
like punches, drills, eyelets, etc.

In addition, the patterns must conform to measurement tables.

industries that adapt to the population group to which it
designate the product. Therefore, the industrial pattern maker has to
master, in addition to the art of interpreting a design, the technique of
gradation or scaling.

a. How to take the measurements correctly.

b. Mannequin wrapping.
c. Table of international measurements.

GLENY CASTRO
d. Reference measurements for the base corset.
e. Base of the sweater base.
f. Depth table of clamps.
g. Base skirt.
h. Straight skirt.
Tube skirt.
j. Base dress.
k. Reference measurements for a skirt.
1. Clamp deviations.
m. El Corte Inglés, Princess Cut.
n. Arm pattern.
Construction of the arm.
p. Manga base.
Sweater sleeve.

GLENY CASTRO
 HOW TO TAKE MEASUREMENTS PROPERLY

To achieve a good fit of the pattern, it is essential to have

properly taken the measurements. The engravings indicate you
how to do it correctly. You will need three measuring tapes,
one tied around the waist, another around the hip, and the third for your use.

Neck Contour
It is measured at the base of the neck, just above the collarbone.

Chest Zoology
Place the tape over the most prominent point of the chest, take it under the arms and in a slightly straight line.
ascending from the back.

6
Waist Circumference
It is measured at the narrowest point of the trunk. Fix the auxiliary tape of the waist at this point.

GLENY CASTRO
 Hip Contour
Place the tape horizontally over the most prominent part of the buttocks and secure it.

Front Length
You must measure it from the lateral birth of the neck, passing through the tip of the chest, to the lower edge of the tape.
from the waist.

Chest Height
It is measured the same as the front bodice length but only up to the tip.

GLENY CASTRO
 Back Length
It is measured from the first cervical vertebra, something protruding along the back to the lower edge of the tape.
waist.
Shoulder Width
It is measured from the birth of one arm to the birth of the other. It is important to adopt a straight position but
relaxed.

Shoulder Width
The measurement is taken from the base of the neck to the outermost point of the shoulder.
Arm Contour
It is measured at the thickest point of the arm: measure the circumference of both arms and note the measurement of your thicker arm.
thick.

GLENY CASTRO
 Hip Height
The distance is measured along the hip from the lower edge of the waist tape to the middle of the tape.
the hip.

Cintura Entrepierna Cintura

Measure from the front, from the lower edge of the waistband tape to its lower edge.
back, holding the measuring tape between the legs and snug against the body.

GLENY CASTRO
 Side Length
It is measured laterally from the lower edge of the waistband to the floor.

10

GLENY CASTRO
 Inner thigh length
It is measured on the inside of the leg, from the crotch to the floor.

Thighs and Calves Contours

Measure them on both legs, at the thickest points. In case of a difference, record the larger measurement.

Belly Contour
It is measured parallel to the waist, about 8 cm away from it.

11

Lumbar Height

GLENY CASTRO
It is measured sitting and in a vertical line; to do this you must split the lower part of the waistband tape down to the seat.

Arm Length
Measure from the outer edge of the shoulder to the wrist, running the measuring tape along the outside of the elbow.
slightly bent.

12

GLENY CASTRO
 MANNEQUIN ENCLOSURE
INTERNATIONAL SIZES 1 2 3 4 5
ANGLO-SAXON SIZES XS X M L XL
FRENCH SIZES 34 36 38 40 42 44 46
EVOLUTION OF SIZES (in mm) MEASUREMENTS IN CM
1 BACK SIZE 5 40 40.5 41 41.5 42 42.5 43
2 FRONT SIZE 5 36 36.5 37 37.5 38 38.5 39
3 CHEST 40 80 84 88 92 96 100 104
4 CHEST HEIGHT 5 21 21.5 22 22.5 23 23.5 24
5 BETWEEN BREASTS 1/2 MEASURE 2.5 8.75 9 9.25 9.5 9.75 10 10.25
6 WAIST 40 60 64 68 72 76 80 84
7 HIGH HIP CONTOUR 40 77 81 85 89 93 97 101
8 HIPS 40 86 90 94 98 102 106 110
9 1/2 NECK 5 17 17.5 18 18.5 19 19.5 20
10 1/2 BACK 2.5 17 17.25 17.5 17.75 18 18.25 18.5
11 1/2 THORAX 2.5 16 16.25 16.5 16.75 17 17.25 17.5
12 SHOULDER 4 11.2 11.6 12 12.4 12.8 13.2 13.6
13 SISA 10 37.2 38.5 39.5 40.5 41.5 42.5 43.5
14 LONG UNDER SLEEVE 2.5 21 21.25 21.5 21.75 22 22.25 22.5
15 TOTAL ARM LENGTH 0 60 60 60 60 60 60 60
16 ARM CIRCUMFERENCE 10 24 25 26 27 28 29 30
17 LENGTH OF ELBOW 0 35 35 35 35 35 35 35
18 FULL 2.5 15.5 15.75 16 16.25 16.5 16.75 17
19 HIGH OF HIPS 0 22 22 22 22 22 22 22
20 INSEAM 5 25.5 26 26.5 27 27.5 28 28.5
21 CROTCH AND BODY 20 56 58 60 62 64 66 68
22 KNEE LENGTH 10 56 57 58 59 60 61 62
23 TOTAL LENGTH OF WAIST 10 104 105 105 106 106 107 108
24 TOTAL LENGTH OF SIDE 10 104.5 105.5 105.5 106.5 106.5 107.5 108.5

GLENY CASTRO
The ribbons or tapes, pinned to the mannequin, represent the lines
of the necessary poise for the entire construction of garments. It is a job
that deserves a lot of care and precision.

It is advisable to place the ribbons or strips over the entire mannequin, with
views of asymmetric suit constructions.

14

GLENY CASTRO
This base is the flat development of the mannequin; for all measurements to take.
reference to the measurement table.
This work must be carried out with great rigor and precision.

MEASUREMENT CHART FOR MAKING A BASE CORSET

CORE BASE

REFERENCE MEASURES FOR CREATING BASE CURSOR

HEIGHT 168
BUST OUTLINE 88
WAIST CIRCUMFERENCE 65
Length from the shoulder to the bust 25
FRONT LENGTH FROM SHOULDER TO WAIST 44.5
BREAST SEPARATION 20
MEDIUM FRONT LENGTH (Waist to neck) 37
NECK CONTOUR 35
SHOULDER LENGTH 13.5
FROM THE SHOULDER TO THE BUST POINT 21.5
CHEST WIDTH 35
FROM THE SHOULDER TO THE FRONT WIDTH 18
SIDE LENGTH BELOW THE ARM (FROM THE WAIST
TO THE SISA 21.5
BACK LENGTH 43
LENGTH OF BACK FROM WAIST TO SHOULDER 44.5
LENGTH OF BACK FROM WAIST TO END OF
SHOULDER 38.5
WIDTH OF BACK 36 15
BUST LEISURE 8
WAIST SLACK 2

GLENY CASTRO
 COURSE BASE

16

GLENY CASTRO
 The skirt prepared here will serve as a "background", meaning it is already a base.
widened corresponding to a volume near the body. With quite a bit of looseness.
to be considered as a suit.
This base foundation will guide you in tracing all the skirts.

REFERENCE MEASUREMENTS FOR A BASE SKIRT

DETAIL CM

1 HEIGHT 168

2 WAIST 65

91 (a
3 HIP 20cm.)

4 FRONT LENGTH TO GROUND 105

5 LONG SIDE TO THE GROUND 106

6 MEDIUM BACK LENGTH 104

7 WAIST RELAXATION +2

8 HIP RELAXATION +4

SKIRT LENGTH AB
Skirt length BC
FIRST HIP LINE GH
17
WIDE HIP LINE IJ

See clamp table

GLENY CASTRO
 18

GLENY CASTRO
 19

GLENY CASTRO
 The clamps are values that correspond to the difference between the size and the
chest, the chest and the shoulder, the scapula and the shoulder.
The ends of the pincers converge to the suit to respect the shapes of the
body.
The pliers are never eliminated, only displaced. Their elimination would cause
problems with going straight and plumb.
The pincher step consists of: moving a pincher, making it disappear or making...
pass this in a cut, include it in folds or gathers.
The steps of the pliers can be made either by cutting or by rotation.
Important: the clamp steps are done after the model's expansions.

DEPTH TABLE OF CLAMPS

DIFFERENCE BETWEEN 1/2 OF CLAMP OF

HIP 1eraCLAMP 2fromCLAMP OF SIDED 2fromtongs 1eraPINCER
WITH 1/2 OF THE PERIMETER OF
WAIST FROM BEHIND BACK FRONT BACK FRONT FRONT
CM MM MM MM MM MM MM

16 CM 16 2.6 3.5 3.5 2.4 1.8

15CM 15 2.4 3.3 3.3 2.2 1.7

14CM 14 2.2 3.1 3.1 2.0 1.6

13CM 12 2.0 3.0 3.0 1.8 1.4

12CM 11 1.8 2.8 2.8 1.6 1.3

20

GLENY CASTRO
 21

GLENY CASTRO
 22

GLENY CASTRO
 23

GLENY CASTRO
The sleeve is traced from the suit. A value of the armpit is added to
the sleeve; so, when the arm pulls away, the suit does not come off. A
sewing is necessarily required between the sleeve and the suit.
The location of this seam is of little importance; it can
to be a raglan cut, etc.

24

GLENY CASTRO
 25

GLENY CASTRO
These are some terms used in pattern making in Spanish.

Aplomar: Straight stitch that is placed on the right side and some parts of the
clothing item to reinforce it. Example: around the neck in shirts
shirts.// Small cuts or marks that are made on the pattern for
match it with another piece. // Tailor the garment to the person, in the
tests that are carried out before finishing it.

Adjust: Make the necessary corrections to the pattern and/or garment so that
It has a good fall over the person.

Buttonhole pocket: the pocket made with two fabric strips that hide the
opening.

Piped pocket: See welt pocket.

Two-piped pocket: See welt pocket

Straps

Hoodies: It is a sweatshirt.

Diving suits: See diving suits

Caderín: A wide belt worn with very low-cut suits.

Raqs Sharqi dance. It generally has a shape like a peak facing downwards.
Scarf or bandana tied around the waist as an accessory of
dresses. // Skirt yoke. 26

GLENY CASTRO
Canesú: They are cuts from side to side that segment the garment at the part
superior.

Wallet: They are the views that cover an opening, examples in the cuffs of the
long-sleeve shirts, the view that covers the opening of the neck in the
polo shirts, etc.

Jacket made of waterproof material.

shirt, small opening at the front, usually with buttons, made of
knitted fabric (jersey).

Closure: It is a piece used in clothing with a function similar to

the one with buttons that closes completely thanks to its teeth that
assemble with each other.

Corset: High fashion garment, with a special pattern-making technique to follow

the outline of the bust. It fits the body better than the garments
made with conventional techniques. The basic has similar cuts
the princess, I swear by my word; the design is flexible, it can be
They are made with various modifications. // Bra.

French princess cut: French side cut.

Princess cut: Round side. // In Argentina, the corsage dress.

adjusted, low waist in a point shape and skirt with or without volume

French cut: Cut up to the shoulder in upper garments. // Cut

French princess.

Round cut: Cut in blouses, jackets, etc. directed to the armhole. // Cut
princess.

Costadillo: Sides of the corset.

Sides of the garments.

27

Zipper: See fastener.

GLENY CASTRO
Scaling: It is the process and obtaining of patterns, in different sizes from
one

Scale ruler: It is a commercial ruler for scaling. It goes from 1:1 to 1:5.

Duster coat: A loose, long or 7/8 length garment made of very light fabrics (georgette,
georgette, etc.), with long or 3/4 sleeves, the hem is symmetrical or longer
back. Good accessory for strapless corset.

A-line skirt: Skirt with a flare obtained by gussets at the hem.

regarding the hip. // A-line skirt.

Straight tube skirt: It is a skirt with a decrease at the hem compared to

the hip.// Tight skirt.

To copy a pattern illegally.

Military eyelet: The one made with fabric edges (piping). They are similar to the
slit pockets. Its name comes from the fact that it is widely used in military uniforms.
Also called tailor's eyelet or piped.

Piped eyelet: See military eyelet

Eyelet tailor: See military eyelet

Scale patterns: It is a diagram of a pattern with smaller dimensions

that the original and proportionate to this.

Notches: Cuts or marks made on the fabric to match it or

make a marking. Advice: cuts are made perpendicular to the
edge so that the fabric does not fray.

Skirt:Skirt

Sweater
28
Dustcoats: See Dustcoat

GLENY CASTRO
Sweatshirt: It is a closed sports garment, made of absorbent knit fabric,
preferably made of natural or blended fibers; with collar, hem, and cuffs
elasticized.

Temporary stitch: Basting stitch. // Any stitch that serves as a finish.

to prevent the garment from fraying. // Overlock // Finish. // In Peru
it means to hem.

Surfaced: See sulfilar

See closure

Become a FASHION DESIGNER – ESMOD SCHOOL EDITIONS – Paris, France

•MODEL MAKING– Publisher Milan, Italy

Sponsorship at Plât - School of the Syndicate of Couture

Parisian – Paris, France.

29

GLENY CASTRO