Pattern Design
Ref:Rickard Lindqvist (2016): On the relationship between the shear forces in
human skin and the grain direction of woven fabric, International Journal of
Fashion Design, Technology and Education,
DOI: 10.1080/17543266.2016.1173235
Simoes, I. (2012). Contributions for a new body representation
paradigm in pattern design (Doctoral thesis). Universidade
Technica Lisboa, Lisbon.
Mapping User
Anthropometric User Survey Activity
Survey
Mapping User Work
Environment
Body User
measurements requirements
Material Fabrics
selection Accessories
Garment Design
Size and Fit
Process flow
for design of
Pattern Design
Seams &
Stitches Garment
Assembly
Openings
& closures
Technical
Layering &
Testing &
Analysis
Bench scale
clothing
Zoning Field Trials
Not Appropriate Appropriate
Production
2
Theory of pattern design
Built on the identification of
(1) the body’s key landmarks – acting as the points from which the
draft is organized
(2) the body’s key measurements – which respectively decide
(a) the clothing’s equilibrium on the body throughout movement, and
(b) the relationship between the size of the body and the garment’s
scale.
Ref: Wang, Y. (2011). Pattern engineering for functional design of tight-fit
running wear (Doctoral thesis). The Hong Kong Polytechnic University, Hong
Kong.
Body- clothes interaction
go through various interactive deformations
1. Garment is stretched to fit the human body,
which induces pressure on the body.
2. The pressure compresses the elastic
components of the body and makes soft
tissue flow or redistribute, and the skin is
stretched
3. The rigid bone restrains the deformation of
the skin and the soft tissue.
PATTERN DEVELOPMENT
Pattern making is the process of transforming a 3D garment design into its
constituent 2D flat pattern pieces.
Pattern pieces are flat irregular shapes that represent a garment in
sections.
By sewing together the 2D patterns of a certain geometric topology, 3D shells to cover
the complex double curvature of human body can be created.
Shape and size of patterns is determined by the relationship between fabric and body
form (shape, size, proportions, posture, body movement).
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A garment is assembled from different cut fabric
elements fitting human bodies.
Each of these fabric elements is reproduced
according to a pattern made on paper, which
constitutes a rigid 2D geometric surface.
Eg. A trouser is composed of cut fabrics
corresponding to four patterns:
front left pattern, back left pattern, front right
pattern and back right pattern.
Patterns contain reference lines characterized by
dominant points which can be modified.
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PATTERN MAKING METHODS
Conventional: 2D
DRAFTING
DRAPING
FLAT PATTERN MAKING
MTM
Futuristic
3D Pattern Design
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Principles of pattern development
Geometric principles that govern apparel pattern drafting are the same as those
that govern sheet metal pattern making.
Drafting an apparel pattern is the process of applying geometric principles to
calculate the two dimensional perimeter that can yield a required three
dimensional perimeter.
In mechanical or engineering drafting this is termed as “surface developments.”
For drafting apparel patterns, one must integrate this surface development with
the principles that control fabric drape and apparel fit and drape.
3 Methods of Apparel pattern making
1. Drafting
2. Draping
3. Flat Pattern Method
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PATTERN Drafting
Set of instructions used to determine dimensions and outlines of garment
pattern pieces based on either direct or proportional measurements.
Direct system- uses a person’s measurements to draft pattern dimensions.
Proportional system- uses scales whereby a circumference body
measurement or a division of this measurement is used as a unit.
Done by direct drawing on fabric, paper or CAD systems
Used by classical industry.
Quick and systematic but not precise.
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Measuring the body
Body landmarks
PATTERN DRAFTS
Pattern drafts are developed taking into account the following measure
• Actual body size measurements
• Size charts, related to end use and derived from anthropometric studies.
• Grading increments derived from body measurements and size charts.
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Drafting method
• Exact spacing between the patterns lines – makes
possible that seams rest on the joints of the body
• The correct direction of the patterns lines makes
possible that the seams separate the front and
back, the left and right sides of the body and
• The quantitative correlation between the lines of
the different pattern pieces – making possible
that a neat and smooth appearance is conferred
to the potential garment.
Theoretical framework for
construction of garments (2D).
Body torso represented through horizontal and vertical guidelines based on
measurements.
Drafted in a flat tailoring matrix (far left) and with
Basic body blocks drafted within the matrix (centre left). Lines from the
tailoring matrix applied to the human body (centre right) and on
a dress stand (far right)
Basic blocks are the plain, flat, outlined shapes
that closely resemble the respective parts of
the human fit
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BODICE BLOCKS
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Dress made by joining
basic bodice blocks
Set of Basic Blocks
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Darts
• A dart is one of the most flexible and creative parts of the pattern. It can be
defined as a wedge shape cutout in a pattern used as a means of controlling the fit
of the garment. It is removed from the surface of a garment by stitching, cutting or
both. The purpose is to create a three dimensional form from a two dimensional
material.
• A dart may be transferred to any location around the pattern's outline from a
designated pivotal point without affecting the size or fit of the garment.
• Darts can be divided or combined without affecting the fit
• Darts always point towards the apex point of the body, but must never go through
it.
• Dart's excess (space between the dart legs) can be divided into multiple darts or
style darts or combined in other ways. Dart should end approximately one- half
inch from the bust point for single dart control and 3/4 to 1¼ inches for two-
darted patterns.
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Darts
Pattern modification for fashion
It is necessary for the basic
patterns to be modified
because they have only the
basic geometry for a specific
type of garment or
functionality.
Secondary pattern pieces are
created by modifying the
basic blocks.
These are further modified
through addition of more
details.
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Deconstructing 3D design into 2D
Patterns
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Drafting: Mens Shirt
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Effect of pattern modification
1. Shapes and dimensions of pattern pieces
change.
2. Number of pattern pieces increases.
3. Additional markings are created to mark
positions of details.
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Paradox of modern clothing
An abstract shape - the tube is superimposed on an
organic shape, the body.
Conventional pattern design assumes and keeps the
body inactive and is not meant for functional
performance.
Use two-dimensional perimeter element
information, which is not enough to correspond to
individual variations in the shape of the human
body.
Continues to be used as it is convenient, established
and easy.
Pattern design for functionality:
Kinetic pattern design system
The human body is too complex in respect
of its static design and its dynamic
movement capabilities to submit to simple
solutions. Normally the movement function
is sacrificed to optimise the appearance.
Cutting patterns for movement
Traditional patterns are designed for upright posture, with a limited
degree of movement. Not suitable for extreme movement.
Little information available for making patterns for movement.
Closer fit promotes agility while looser shapes impede movement.
Precise setting of the partition lines along which the front and back
of clothes are joined can improve dynamic freedom and comfort.
If the bodice section of a garment is constructed with seams
following the natural contour of the body, or the direction in
which the skin extends, dynamic freedom of clothing can be
significantly improved.
Material selection for movement
• Stretchy, flexible,light weight, thin, slippery.
• Knits- stretchable but no barrier properties.
• Membranes- expandable, flexible barrier, light weight
• Elastic recovery is as important as stretch.
• Flexibility-may change with change in temperature.
• Bulk and weight
• Friction- with skin and with other layers causes drag.
• 16% greater metabolic costs due to friction drag between layers.
• Coated or rubberized surfaces are useful. Linings can be useful.
• Reducing frictional drag between garment layers and between the
skin and clothing can aid mobility without affecting other
properties.
Clothing design
General factors that can enhance mobility:
1) Ease-the difference between garment measurement
and body measurement in each garment area.
2) Cut or contour- the shape of the pattern pieces and
the relationship of garment segments to one another
3) Fit- affected by ease and cut.
Clothing design is user specific- depends on the
environment and activity of the user. Movements
affect the clothing and necessitate different amount
of ease and different contours.
Adding ease to allow movement
• Placing pattern pieces on the bias – to make
the most of the fabrics’ ability to stretch
• Inserting gussets and/or other design features
– to extend the clothing’s surface on some
body locations
• Choosing textiles with specific fiber contents,
yarn forming or weaving techniques – to take
full advantage of their elastic behaviour
(Branson and Nam 2007: 267).
Adding ease to knee area- articulated
knee design
• Add extra material- excess can get in the way so has to be pleated,
elasticised- move back when not required.
• Articulated knee- The knee is designed with darts, which pre-shape it, and
also with more volume, which allows the knee to bend without the
bottom riding up, or the fabric getting too tight and restrictive.
Pattern Pieces : Trouser
Showing pattern pieces with information and reference lines
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Pattern modification for ergonomic
design
Adding ease to crotch area
• Gusseted crotch - The crotch is
designed for mobility. Many gussets
have an appearance of added mobility
but don't really do much. The front
gusset seam is low in the crotch and[Link]
the rear seam has been moved higher.
This design does not 'point load' the
seam but spreads the load across the
seam. This results in true range of
motion without restriction and less
chance of blown seams.
Movement of arms
Movement of arms is the predominant activity for the upper body and the sleeves
that cover them are the most important parts of a garment in respect of the
movement function and dynamic comfort.
The style and structure of the sleeve also affects the overall appearance of a
garment.
While performing exercises in sports competition, one’s motion may be restricted
by the clothing being worn. Hence, most sportswear is made in stretchable fabric.
Fireman, soldiers and other forces garments made by inextensible fabric because of
protection requirements , and may hinder the motion of wearers.
Sleeve Design for mobility
By differential distribution of ease to accommodate
the increased extension of the back as compared
with the front of the torso during movement of
the arms, a higher level of dynamic comfort can
be designed into a closefitting garment.
Movement function may be enhanced by cutting
the garment panels to follow the constructional
components of the human body.
Sleeve Design for mobility
Removing seams from traditional positions
Creating Partition lines in the bodice and
sleeve parts allow the upper extremities to be
lifted and rotated freely.
This controls the sleeve geometry and
allows the sleeve to bend more freely around
the shoulder and elbow.
This approach is preferred in design of
sportswear/work /protective garments.
In the Figure , the yoke line across the back
now connects with the partition lines of the
sleeves, so the movement function of the
clothing is significantly enhanced.