Se ALVA SSN Contents {Abou this book fa Sharer & Doing your leenaatire 6 coconut eed oe “ Essential equipment to Using pattem blocks * Choosing fabrics 14 Making and fiting 6 toile Ss ‘Advanced pattem aratons n Chapter 2 All bout Designing patems 80 ‘commercial pattems e ‘Simple dart manipulation 84 Why use 0 commercolpatern? eee How to measure acirtaly ee : Buying a commercial pattern 6 Styling dresses 6 Lnderstondnig your pti 5) ibis . Preparing o com ld ag oe. = Preping your fad ene a Pring, marking, ond ufo ‘Chapter 5: The pattern blocks ™m Chapter'3: altering a pattea x US SIZE 6 pattem blocks n2 ‘Simple alterations for USSIZE B potter blocks 14 ro aes pe US SIZE 10 pattern blocks n6 Simple bocce alerctons ee. . Simla soovedherctons OF vee ee , Sale sit otraons SE ee wc a 7 simple dress eberatices ie US SIZE 18 pattern blocks 124 r Simple parts ators a Chapter 6: Core sewing techniques 127 Glossary 140 ' Index 142 I credits 144 Be==) About this book ‘Making your own clothes allows you to get the perfect fit, and once you have perfected the fit, you can begin to add details of your ‘own design. This book guides you through the process of using and adapting commercial sewing patterns to suit your body, and then moves on to explain how to create ‘ Tools and materials jpoges 9-17) your own patterns using the pattern Here youl find © uselut gue tothe essen pattern blocks provided in chapter 5. cutter’s tools and materials and the different types of thread ‘availabe, There is also a directory of fabric pes, with Comprehensive information on fabric qualifies and uses. All about commercial patterns (pages 17-45) Tis section of he book isa guide fo using commercial sewing patterns. I discusses everything from geting ready fo buy a patem based on your figure shape fo ‘measuring yourself accurately, right dawn to how to Use the information on the pattern envelope. Youtl | L also find out about preparing your fabric for use, pinning, marking, and cuting out. Altering a commercial pattern (pages 47-61 ‘Once you've bought your pater, you might find that you ‘need to make some alterations in order to get the perfect fi. In ‘his chapter, you'l lear how to. make the most commonly used alterations to commercial patterns in order to improve the fi of your garments,‘he pattern blocks ges m-125) ‘is section yout find basic datlrn blocks fora skit, vodice, and sleeves in US. About this pook Be- Design Designing your own patterns (pages 63-107) In order to design your own clothes, you need 10 create basic pattem blocks fr all the components ‘hat moke up a garment. inthis chapter, youl learn ‘not only how to create these basic components Using the patiem blocks provided with the book, but also how fo manipulate them to different designs and styles that suit you. Find out about tolling your designs as an essential port of the making process, and how fo transfer your ‘two-dimensional design ideas into the three dimensional reality of your own unique garments ‘izes 6-18 (UK. 8-20) Scale 4e blocks up using the iti 40 make your own Yersonalized pattern blocks. ‘ilo them to ft your figure Ind use what you learned ‘nthe previous chopter to lesign your own pattems. “The numbered grid helps you to keep track of where you are when varsferting your design to pate pape Core sewing techniques (pages 127-199) This refresher course on core ‘sewing techniques serves as a Useful guide for beginners or ‘95 c handy reminder for those ‘already experienced in making their own clothes.Essential equipment To get the desired-quallty of finish in your sewing projects, it's important to have the right equipment. ‘Over the next few pages, youll find a guide to the essential tools for dressmaking and for designing and adjusting patterns. A guide to the different types of fabric can be found on pages 14-17 Serrated scissors ‘The fine, serrated edges of hese blades hold delicate, lightweight, or ‘soft fabric in place. They are ideal for fine fabrics, such as sik or satins, Pinking shears The blades of these shears have notched teeth that leave a definite zigzag edge on the cut fabric. This provides the ‘pinked’ cut that neotens the raw edges on seams and makes the fabric less likely fo rave Needlework/embroidery scissors Small and with short blades and sharp Points, these scissors give greater control in intricate ares and are ideal for snipping notches, clipping curves, or trimming seam allowances, Dressmaker’s fabric shears The long, straight, sharp blades of these shears give a smooth cut and ‘are ideal fr cuting fabric quickly. Often the handles ore at an angle to the blades, so the blades can sit parallel fo the cuting surface, ensuring the fabric remains flat. They have molded handles, with a smaller hole for the ‘thumb and a larger one forthe fingers, tand can be righ or lef-handed, They should be used only on fabri. Poper scissors ItS essential fo keep a pair of scissors just for paper. Using fabric shears for cutting paper patterns wall cause the blades to become blunt. Poper scissors do not need sharp points, but they must be able to cut paper cleanly. Patter tracing whee! Used with dressmaker, carbon paper [also known as dressmaker’ racing paper this tool transfers the fine markings to both sides ofthe fabric at once. The method isnot suited for heavy or textured fabric, on which the marks would be hard to see.Dressmaking pins These genercl-purpose pins ‘re used to hold pieces of fabric gether before sewing They ore suitable for medium- ‘weight obrics. They ore especially useful for working ‘on paper patterns and when patter craing ‘Tope measure ‘Choose a good-quality tape ‘measure that will nether ravel nor ssreich. should be at least 60 in. 1950 cm) long, with measurements ‘marked accurately from the very stor of he fope. Needles Aselection of hand needles, in different sizes, is essential for hand sewing and for taking thread ends to the back of your work afer machine slitting. For general machine sewing, universal mulipurpose] machine needles are availabe indifferent sizes {o suit different fabrics and threads. For special purposes, such os sewing sik or doing decorative stitching, use ‘specialist needles, Replace all needles regularly—blunt ones can snag fabric. Tallor’s chalk Talis chalk @ trodtional material used for marking cloth and can be casiy brushed away when finished. 1 comes in riangular pieces, roles, ‘ond pencis of various colors. Keep the edges or points shorp, mark on the wrong side ofthe fabric, and use ‘color that shows up well against the fabric you are using, Pin cushion ins. 0 good idea fo keep your hand needles and pins safely organized in {pin cushion, so that they are both out of harm's way ond reachly nirering 4 purrs Increasing a skirt waist Winer skit fs onthe hips an a smal alleratin is needed to adust the ‘wast no more than kin/2em), his ‘method is quick and easy to do 2 Staring withthe front skit, spt the measurement acai ‘measure Insard, decreasing the dart on either side atthe waist ine. Blend back nto the dart en. ‘3 Measure the amount to 3 in this example, because theres no seam alowance, ‘when cutting larger sizes, you will ned to add paper tothe ‘de seams. Measure the amount tobe acdec tothe wai ‘ide seam and blend it back into the hip A.witha skit cure, blend the line V Locate the skit places, ‘back int the side seam. front and back, and cut them out tothe required size Remember to cut socurataly. Divide the total amount needed ‘to change the walet by four. To create a smoath ft, tis amount should again be spit in two and shared equally between the side seam and the dat 4 Accurately cut the excess paper away. '5 Repeet the method fr the back ‘5 Repeat tis method, using the ‘same measurements, on the back ‘ofthe skit. When both front and back waists have beon altered, re-cut the pati.To increase through the hip, ito more than “sn (2em) is needed. 22 Add the amount you need to the hip to ‘make the pattern arget. This wil be a ‘quarter othe total amount to be added (2 xtronts, 2x backs). ‘8 Blen rom the waist ine tothe new hip ‘maasurement and continue down tothe ‘por. Him away the excess dress sizes.i Altering a pattern Simple dress alterations Lengthening or shortening a princess-line dress. tis especially important to keep the CF ond C8 lines straight when altering « large pattern such as this princess-line dress. itis important to consider where you need the alteration on the body, as this type of garment covers two alteration points: above and below the waist. Shortening a princess-line dress ‘When shortening ths pattem, use the CF, CB, oF ‘the grain line as a guide to align the pieces. Impcrtant inorder to retain the garments shape V Locate al the etter pisces required fr your ‘cesign and cut ‘them out tothe requred size. Shortaned ess : L Dress before alteration ‘ Se== == 2 Measure the amount to sherton the ‘3 Draw a parallel pencitne. 4 Make a cease, fold down the requires ‘ress by amount, and secure it with tape.‘Lengthening a princess- line dross ‘men lengtnening tis patern, [etre CF. 08, or the ran ine 8 guide to aon the pieces to 1s important in order te the orginal garment shape Locate al ne pattern pieces rec for your design ut othe required size. the desred postion for your ation and eut across the fine ‘or tape on some paper to one ‘ofthe pattern and measure out amount to be added ‘3 Align the other patter pieces tothe ‘gain lino, CF, oF CB, and secure them ‘eth tape, Thm of the excess paper on other side. s+ simpre ponrs airererions Simple pants alterations This is a simple alteration just for the length of the leg. Use the lengthen and shorten line as before, remembering fo alter the some ‘amount front and back, Lengthening and shortening pants When altering pants, align the pattern Alterations to the cantor log grain line. By doing tis, you wll retin the original ‘wouser shape 1 Locate al the pattem piaces required for your design and cut them out To shorten the pants, fallow the same mathad as for shortening the sleve (see page 50). '2.When lengthening pants, ensure you Soe Eu een same eSCreating your own pattern What is flat pattern cutting? Fiat pattern cutting is a well-established, formulaic, two-dimensional ‘approach to creating and developing poper pattems based on an ‘accurately filed block. Paper copies ofthe blocks are then developed and manipulated flat on a tabletop. Three-dimensional shapes are formed by ‘adding in and folding out excess paper to a prescribed formula. A ‘successiul nal pattern is dependent on how well the block i the body, the accuracy of the work, the success of the methods used, and how creatively the design has been interpreted by the patter cuter Getting started What is « basic block? shape in he fashion industry is ‘This chapter discusses the use of A basic blockis the orginal draled one hat is going o be repeoted personal blocks as a method for pattem that has been perfected throughout that season's making your own pattems, and _fitthe body precisely. Once this _collecion—once perfected, it wil how indusry uses "working pater has been ested for fi, it also bene from being copied patterns” and “seasonal shapes’ becomes the base that all ther _to cardstock for continued reuse to speed up the design process. potters are derve from. This Examples would include « blouse There ore several different ways original block should never be cut with shoulder pads or a lowered focreate block pattems; only two up for manipulations, and it should waistine on « pair of jeans. The ‘re covered in detail in this book. __be altered oniy if your body shape pattern cutter would start with the Inthe firs, scaled-down blocks are changes. Itnever includes a seam basic block and adapt its detaling resized using a grid system—these allowance; tis makes pattern tothe design's specications blocks are supplied on pages 112- manipulation more accurate, Thereafter, oll the blouses and 125 withinstrucions on how to To make easier fo race around jeans in that collection could be cut scole them up to fullsize on page and fo prolong is life, the fnished from this block, avoiding the need 66. he second method is io buy a pattem block can be traced fo stat atthe beginning each time ready-made commercial pattem onto cardstock: = block om a store. This simple, basic pater wilt Calculating fabric requrernents ‘You will lear about making the body with just enough ease for Pane Coogi You! On patterns, you'll need fo know how much fabric to buy. To do this, cut out the pattern pieces and, your fist toie—a fabric prototype freedom of movernent ise page ‘ofthe garment you are making— 311, Any design shaping flare, or and assessing and altering is ft _detalng is created af the next Soe page 661 Once he Becks Sige. Ahofioleofhepaternis beating nming ne gran decon have been perfected, youre ready often sufficient to assess the ft eros pare erste Or Soh fore more creaive proceso! however aul garment maybe onan spare engths of, designing your own garments. necessary the right side ofthe peu and Son Toe ts For his you need fo understond body is diferent fom thelef. in| (Gone. Mis PRSCo! Poston design ani ookng ese eke eon patncoto peat of Petes makes cus ose cine intel design sketch and theshape andi snot uncommon Hv peces il tie by side interpreting ts constuction detals to make two or more tle to get it into « dlecr“working drawing" right. Remember, you wil need io Pare. Ho nol forget to alow foe : seam allowance, and remember Morking outa dress form with yam add seam allowance othe pattern ar" alowanes, and Ferner Tohe cone preparers, fore inardertsewiheleioher too eng peo a prea 7 ‘ath What is @ seasonal shape? reeds o be aligned across 0 e button sland isan 205y 0} "seasonal shape" involves more seam (see pages 37-40 fovisualzetheiniormaton bore 580800 shape! invcves oa forsfering f.@ Paper pate pater and is therefore the nex! Poor Stage inthe process. A seasonal‘orking pattern: ‘glan sleeve vorking pata is make ram a basic 2ok buts one stage fatharon inthe ‘Son, such as a raglan sleve, where 2 bodice and sleeve pattems have ‘ parmanenty oe fo make @ new 2p8, a kimono sleeve, ora basic 1hit. Mase accurate working ters, one tolled and perfected, nals be transfared to cardetock kept or tre use erearing your own pattern ‘Methods for creating basic blocks ‘There ore several vast crete your own personal pariernblacks—two ore covered in hs ‘book. the method you chaose is merely a question of personal preference. The basic block consists of fo simple peces: «darted bodice font and back, a slnove, anda skit rent ond 'bock The sit and bodice con be joined o make a dress. ids SES if Peet eet tet 1 The commercial block pattern or fitting shell This is 9 store-bovent pattem that you can purchase in standard sizes arc alter tf. nstuctons ae provided fr making persona trations, 2 Using pattern blocks Use the bocke provided on pages 112-125, Follow the stao-by-stap guide on page 08 for resting the pattem books onto gid paperUsing pattern DIOCKS — Howto sale up patie backs san pote cog books os ‘On pages 12-125, you can find regular patlems, and can be How to create a custom-made scaled-down pattern blocks in purchased in department stores. i seven sizes. YOu can use these and fabric shops. pattern using basic blocks. to make your own personal blocks. Commercial block patterns ore ¥ ‘ To make enlarging the patterns ‘very convenient to use, saving a lot es pe pe eae ique patterns easier, each column and row: of the time that is involved in using basic handmade or commercial block —_is identified with a letter or number. drafting your own. Block patterns patterns and your own body measurements. Each square on the grid represents are arranged in one size per Your custom-made blocks can be mounted _—_alin'2.5emi square on your ervelope, $0 you will need fo know onto cardstock and used again and again to speller! ete aa fe size va Pe before you See below forthe scaling- buy ane. For advice on sizing, create new patterns. apse wom Commercial lock patie ore How fo usec commerdsl tng mast pate natal cher odicompentes hat produce _allems are based on For ease Commecetpare Soo rodue use tesa beck pats re commercalblcor-seperiin ode wih age sear various sizes. They feature in the ee nore a 110 your oid paper start by labeling athe tin ‘up the blocks. { te : : Sem ants wn tar nate oe wn ea ees ach ns sae yr os ee 75 pupriagisetad by oe agi ha eee f Set heratnana nore _ ase oa st theinesin he dara we positon ane Seems - ante bok Sr al he top hard comet ‘and work your way around the pattern clockwise ‘2.Connect up the *X"s with ‘ruler and a skit cure,esily ond ony changes igh onto the pattern. cial patterns suggest ch 0s gingham or plaid, foils balance con be d using the vertical jal tines, envelope are detailed fon how to take Hole, and even advice suitability or different Commercial blocks 25 Commercial suppers, such as Vogue, sel book pattoms that ake 2 fot of the work out of making your oun, | Fold out the darts to make sure thoy ine up and ‘match. This is & good way to ensure that the same ‘uve or eight In is continued rom ane ade of te art tothe other. Even out any lumps and bumps. ‘5 Betore cutting out, measure the ‘patter pieces to ensure that they ‘are correct. For example, check ‘thatthe font and back side seams of sit ae the same length. Cutout, and then label, fame, and mark all the pattern ‘lees with gran lines, notches, and soon.Making and fitting G toile Make a toile to test the fit of the garment you're creating. Having checked the accuracy of your block, you are now ready to make your first toile. Atoile is on early version of a garment made in inexpensive fabric to test a patiern—a kind of fabric prototype. You may make multiple toiles during the process of perfecting your block. Preparation First, you need to press the creoses {fom some medium-weight musi with @ steam iron, Fold the musiin in half with the grain, Trace off your blocks onto a new sheet of patiern ‘racing paper ond add seam ‘Mark: the hip line on the skint ond al the grain lines. tis important to ‘mark these out on the muslin so that once you have made up the ‘garment, you can see ifthe lines ‘are balanced and in alignment your toile together llowance, Place the pattern pieces toward the CF and the back daris ‘on the muslin parallel o the grain toward the CB. Next, sew the front line, and trace around them with a and back bodice shoulder seams Pencil Mark on the CF ond CB, and and side seams together ond Ei besigning your own parrerns _ SOn the sleeve only this time, measure down tin |@ Sem) at the underarm and agin daw ina smooth | uve to the frst quarter point athe sleeve oap. Cut ong this ine, but nt al the way though; keep ahinge atthe leave cap. 6 Using the hinge, ‘Pivot each section the ‘Same amount as you ‘originally lowered the ‘armhole. This aeration ‘wil acd width at the biceps for movement, “7 Proce paper underneath and secure the pivots with tape or glue, and cutout the new shape. To compete ‘the pattem, lower the bodice amnole at the side seam ‘by Tin @.em) and getty shape into the armhole as you kid with the sloove, Transfer the armhole notches iront _and back, keeping to roughy the same positon. Filling the sleeve Basic sleeve fit A base sleeve should ft ino the armhole smoothly. The center grain should align slighty forward ofthe garment side seo ‘when hanging loosely down, The biceps line should be ata 90-degree angle 10 this grain ine near length Increasing and reducing cop ease ‘Almost al sleeves have ease inthe “capo leave head. Ths helps wth movement and ges he sleeve ue ‘shape. When making up a master > pattern or personal Bock, there should be a minimum én (tem) of ase inthe back sieve and ain (0.5em)in the front. ‘The amount of ease can vary with the type o fabric used foe page 31). Laather and pasties ae ict to manipulate inte an armole. you are working wth fabrics such as thee, ‘You wil naed to redues the cap ease Ifyou find thee is too much or too litle eae in your steve cap, flow the simple “slash and spread” method, right. 1 irace of the sleeve book and out ‘ut. Cut down the centerline onthe ‘sleeve cap tothe biceps line anc then out to each sce seam, retaining paper hinges.Whe sieeve is too tit, tro wil be movement in your sleeve, when ‘If your sleeve puls fom the top of the sleeve cap, then you may need to Jengthon the cap. 2 To increase the sleeve cap ease, pivot the pattem pisces trom the hinges. Advanced pattern ettererions [iam = . nn | ome Widening the sleeve cap I your bodice pulls across the front, tum to the side and ook atthe with of your sleeve cep. You may need to add extra width, Check ‘by unpicking the armholes in the front anc ‘beck to release the tightness. The the ‘amount you wil need to ads to your cater. It there is excees fri, then you ‘may need to shorten the csp. out 3 Place papor behind and secur tin Paton with glue or tps. Smooth out any ups and bumps by re-dravring the tn. 4 To decrease the sleeve cap, overlap the patter pieces by the required amount using the hinged pieces, and secure in postion. ‘tach fo the paper and smocth out any lumps and bumps.© own porterns Fitfing skirts 5 To achieve o well-fited ski, fist ry fe skit on ‘and assess the fi. Note any txcess fabri, fhe balance ines are straight across the hip, and if they are straight down the CF, CB, and side ssa, he et fea too ght across the front bee Petoloving sitio alteration is o quick fix. ae seam cr Hem ine ‘Taking out extra fullness across the skirt back It hero is exooes fabric across the holow ofthe back ofthe ‘kin, you can remove it ab shown below. The excess can be pinned out from the side seam toward the CB seam and ‘then taken out ofthe pattem as a wadge Adjust the pattern ‘Sesh the pattem fom the OB to the sce saa, lsaving 2 hinge Recraw the CB Ine in sraigh, ‘ensuring et you maitan 0-degree ange atthe topAevancea parrern airerarions join : 2.cut down from wale to hem, keeping a hinge at the hem. Gut ‘tom the GF oF CB hip ne to the ‘side seam, keeping a hinge at the sige seam, ‘3 Spread the pattern by the Siac ore onan inck a ama Th tron “skirt blocks and cut out. Divide ~ “the skirt block in half at the hip - ect ca eae, ee Cake tere islet = tthe ae eo Tsmeothouttna | side seams and GF 6 CB. When ing this, eter to acto the patio than to ‘eer | ‘5 To retain the original waist 6 Bien in the waist shaping, ‘measurement, increase the dart smoothing out any lumps and by the amount added. burps.BE Designing your own parrerns Fitting pants To achieve o welled pair of pants itis important to Understand how panis fi. The way the upper body of the pair of pants fis will dictate how the rest behaves. The two most important measurements are the crotch depih his measurement i token while siting down; ‘measure from wai to chair seat atthe side seam) ‘and croich length he measurement from CF fo CB between the legs). (See ls0 pages 22-23, Body landmarks) if your pants are too fight or too loose around the ‘rotch, you may need to oter the crotch depth. Compare your crotch depth measurement with the patter. if you need to moke on alteration, make sure you shorten or lengthen the same amount front and back Ifyou need fo make alterations 1 both the croich depth and crotch length, you must change the ‘roich depth fist. lis ahvays good practice to add or ‘subtract exactly where you need fo onthe pater, ‘Adding extra room for @ rounded stomach or backsideIncreasing crotch length ifthe measurement i til toa long or oct later changing the crotch depth, you may ‘need to ater the croton length ‘A ciose-fting or relaxed nants twill determine the amount of ease needed. ‘Ths could be anything tem ‘kn (1.Sem) 40 en (8.8m) in lent, depending on ‘the pants sty 11Draw a line rom the curve ofthe GF orotch aight down tothe iside le. 3 Redraw, smoothing out the new eric tne. Repeat the same method forthe back crotch ‘Seam. f you need to add anymore than tin {2.5cm) tothe crotch length, this should be aided above the waist ne. Method 1 It your pants are too tight across the Becks, an easy method by which to loosen ‘hem is to add extra tothe pattern side seam. ‘4: your pane ae stil too shor through the Ccotch after adeing tothe depth and length, ‘you may need to add at the CF and CB waist ‘as wal, Add paper tothe CF and CB patterns ‘at the walt. method 2 3h down the grain ine to the knee and out to the side seams Do not cut through at the knee; keep a papar hinge. Nex, cut horizontally from the CB or CF to parrern airerarions 2.cut along tis line downto the Inside leg. Do not cut through, leave hinge. Pivot the piece outward, Increasing the croton length by ‘the desired amount using the hinge. Ada somo Peper underneath. ‘5 Moasure up trom the waist ne at the CF ‘and CB and draw a curve, continuing the wey. ‘seam Ine upward, then blend back into the ‘waitin. Thm off the excess paper. the side seam, again being careful not to cut through. Add or subtract ‘exactly where you need t Keap the pattern straight, acing equal amounts. you need to keep the ‘orginal walst measurement, take in ‘the extra by enlarging the dat \When you are fnished, smooth out by redrawing the seams, Make the ‘opposite pattrn adjustment for a ‘lat stomach or backside To0 J] Pesigning your own patterns 1] igni Design analysis, lines drawn exactly where you Designing patterns Fon ee rsh hemo appeat on ha boy Now that you have perfected your _ isspaions ono paper. The Decay Beeson ares , designers techs il idea. YOUto focus and consider hase basic blocks, you are ready to It's an interpretation of how a ear a a a ‘garment i fo look when iis attempt your first designs. eT eee iebric _ *hePatien wil be cu. To realize your design ideas, it helps to will behave, may include color ard Detais to consider understand proportion and where seam helo va eoie hace cnr Seaside cing ment pattern you should have o lines look most flattering on the body. ee ee made in. The blouse shown at right Working drawing ss Using yarn or tape to map out sive lines on 0 Gia of tre ea loves in rwolthigs aim tea ees too Noten 8 shiting fabric ond is therefore not stretchy. Woven fabric can sometimes coniain a small amount of stretch, The amount of strech is ‘an important consideration when choosing a fabric, as the pattern will have io be adapted for this.) ‘he ft of his gorment is achieved through four darts wath gathering atthe front and back yoke. The ress form is a good way to see your design three- your design is to make a working dimensionally. On the folowing pages, a standard US drawing. A working drawing is a size 6 (UK size 8} dress form is used. fyou are not of simple line drawing of the garment ‘standard size, you may need to adapt a dress form that highlights the details ofits to sult your own personal measurements. cconstruction—ivhere to put the ‘seam lines, darts, gathers or pleats, topsftching, buttonholes, ‘ond so on. Based on the designer's sketch, the working drawing should be in proportion, with the Padding out a dress form to your own size Inthe foshon indus, 2 common method fa fing garments. to individual sizes i to pod outa sold hnen-covered dress form in a smal sie tot your own measuremens. inthis way its possible to completely recreate your oun body shope You wil nee * bess om ral han Your own bad ste one + tape measure tsisos eng e Pina h over Spode rain yur s32 ferecencaenn ‘sie Sows sac orton + song eer abc : Pade nah aps ot Using he meas te fon Seren ee tn poge 2 comoxre yoo on laeng re aon, treater hoe he tr oi wn teach Sesto, sang oe oe fin. Monn the wal and working dv, use ong Check he oem {2 pero e ess om 0 mek your ie Once he ess ‘bom speed, you con pn sls yor oro he slondto ‘rete were he ne ord bustlines wl be.joke does not have a natural caulder ine seam. The neckline round and slightly dropped ot CF neck. Details such as the size of the jon are essential a this sloge, this informs the width of the on stand-—one of the frst steps ‘citing this pattern. Follow the by-slep instructions below to slate your working drawing into. can help you to see the partons ofthe garment on the You wil need representations of acess stand + ress stand orm. In these images, the model + Yan standard size 6 (UK size 8) + Pins means you can measure the Red pen ces accurately and transfer + enc ‘straight onto the pattem paper. ‘Tom your working drawing, map out the ste ines on the Sess stand using yarn and pins, fort and back. Always stand ‘Ss fom the des form to look at and assess the proportion se accuracy ofthe Gesign. ‘more clear. Basic blacks are + Working draveng fang the proportions in this * Patiem tracing paper 2 Tace ofthe appropiate biock forthe design ento patter tracing paper—in this case a torso block (see page 96). You wil use tis flat block in corespondence ith the dress form—ensure they are both the sae size. “race in red pen to indicate the orginal block pattern. ‘This sequence continues on the next page >vores: ewe Py [ z 1 3 : ‘3 Work onthe stand starting wh tne fort tha peel, mark the yan ne nto the pattern ecklne. Maasute the stance oetween tracing paper. Continue measuring and marking the the GF stang neckine and your oun CF raovart positon onthe pattem paper. yer neckina ‘5 Measure from the CF yarn Neckline to the dasigr’s hem, ‘7 Work systematically from ‘the top front ofthe stand 12 the top back ofthe stand, ‘transfering the design t the pattem tracing paper Use the stang's shoulder seams, waist line seam, and side seams a reference points in relation to the block shoulder seams, Waist seam, and side seams. {8 Decide on the garment’ ft—tight, loose, ec, (see page 92). Ifthe ft 9 The block pattem has one dart and our design has two darts, ‘you want to achieve round the body is larger than the block bust, Te split ane dar into two, find the center ofthe block dart anc ‘ake the tape measure and place it round the bust. You must now draw two vertical ines equidistant from ft. Messure the dart and Judge how large you would like your design to be. Measure the bust spi the measurement ofthe dart equally between the two. ‘on Your block and compare the ference. Take that diference and draw the darts to the same length ss before. ivi it by four ard add the same amount to each side seem vel with the bust.Simple dart manipulation Darts are needed to turn two-dimensional shapes into three-dimensional shapes and to fit clothes closely to the body. Once you understand the art of basic dart manipulation, you can look at any design ‘ond manipulate the biock to achieve shape, ‘a good silhouette, or design interest. ‘Manipulating the bust dart is the first lesson in learning to cut patterns. Trace off the front bodice; ners, the bodice block is made from ‘and mor accurate. Different dart locations ‘Darts can be fooated in ‘a number o ert laces on bodice ro ator ts ste 2 Cut up the front waist dart and | the side seam dart, ‘To continue ths exercise, trace of the font bodice block onto paper. ‘Draw in th lines tothe bust point as shown on the diagram. To _ manipulate the darts, simply slash tothe apex each timo, and then | cose and open the darts in itferent locations. 2.6ut up both waist and side ‘ans tothe apexes. Close the bust dart ur “Tho waist cars wil open. 17o create asymmetric darts, trace ofthe bodies block trons, Jolning the ight and lat sides at the CF. The ful bodies i traced ‘ff because the right and let sides a0 to be cfeont.‘Yhis design has a front and back yoke, __T Move the front yoke piece to join the back yoke piece so thatthe [no shoulder seam. To create this, fist shoulder seams touch, and continue tracing. When the whole pattern {5 the armhole side of the yoke. Then, ‘ice is complete, add the seam allowance and cut it out. Cut one {eluding the dart, move the tracing paper _pattern piece ata time, and check all the patter pieces that go |the neck side of the dart and trace the ‘together to ensure that they fit, This is good practice—testing patterns Brettne yoke, at this stage can save you 2 grest deal of time and fabric later. notches and their uses ‘18 extremely important. They act a the road signs or up your garment. 3 of used 10 identy parts ofthe pattern ha! together to help assemble your garment easiy and occuratey, When onsterrng the nom the pater, make smal cist he edge ofthe fbric han Yin/2-3myi. To many notches can weaken o fabric oF, ‘esches are indicates by aT shape ond then ‘tout oso ick wih a potersnoicher When ‘erating your own pater, you wil need to ‘put niches on othe pater plan stoge. Wath ‘euler, dow short nes thot intersect both potter pieces aright angles otheline being oiched. The notches naed to be traced ‘trough tal folowing pater stages. ‘Check that they match up,{.eutalong the long ino Close the igh-hand waist 1 tom lotto right art, and tho long dart opens. c ‘e2sure the right-hand dart from A to B, ‘cluding the dart, the measurement wit ‘longer from A to C; gether the excess: ness between the notches to match ve shorter side as shown. “First, ropoat th tt ve stops ‘tom “Asymmetric darts” above, ‘3 cut up the three new darts. (Close the le-hand waist dart to ‘open the thee darts by equal amounts. Mark the ends ofthe arts 1 (4m) back fom the apex. Once completed, fold the papor to ensure that the darts ‘ae aligned with each other. 6 Cut up the shorter dant and close the left-hand waist dart. ‘The short dart opens. 17 Tho patter development is ‘complete. Trace in new darts and back away from the apex by Tsin (dom). This is now your pattern plan, Trace this off onto ‘clean shoot of patter racing paper Now you can acd your seam allowance, notches, and grain tines. 2 Draw in two darts on sitar sie ofthe short ‘catral der anc cut them both up to the apex at ‘an angie similar o the original dart. (Left side) ‘Leave the patter paper slightly attached by a thin hinge of paper.How to turn bodice darts into seams The following exercises will teach you how to change darts into seams. The darts are moved away from the traditional bodice Positions, while sil retaining the bust suppression. Princess seams ‘This is a standard pattern shape in which the bust ders tare changed into seams. Both front and back seams Trace the font bodice Bock «2 Using a skit cure, mark out 3 Cut up the waist dart and 4.ciose the side seam dart and the design ine on the front the side seem dart. Notch the the waist dart will open. bodice. Start atthe waist dart, pattern 2in (Sem) above and as through the bust apex, and below the apex along the ouptothe center shoulder. princes ln. ‘This is the princess ine. 7 The front bodice is row ready t be traced off ae seam. atowance added. I the back boxe as has a princess ine, itis made inthe same way, but this time there no bust dar 0 close. Just connect the waist art to the shoulder cat, making sure both font and 822k seam lines match atthe shoulder. Mar in notches (see page 9). Use double notches to indiate the back bodice. Sccutup the other side of the 6 Cut through the apex and vast dar. ‘continue up ito the shoulder.This top has no side seams. The ‘seams have been moved away from the natural side seam atthe front and. bbock to create aside panel. hough ‘similar tothe pattem on page 86, these seam lines do not go o the ‘apex. The fullness. therelore isnot directly over the fullest part ofthe bust ‘where it isneeded. For this parern, a ‘ery small dart isle in to complete the bust suppression. ifthe dart was, not required, the excess fabric could be eased in stil achieving the ft Fist, toke your front and back bodice blocks and trace them off onto pattern tracing paper. Transfer all he darts ond writen information—Ck, CB, ec. Remember to eave the seam allowances off at this stage so that you an manipulate your pattern more occurately ‘Draw inthe style ines. within in Sem) ofthe ‘orignal side seams, front ‘and back. Creato notches: ‘wo single notches on the {ront, 2 (Sem) on ether ‘ide ofthe dart, and one double notch on the back. 2 Cut along the style lnes. ‘bose the front dart, an jon the front and back pieces at the side seam to create a ‘ingle sige panel, ose the shoulder dart, opening it Into the armhole, 8 Close the rot and back ‘waist dats by nal ther ‘width, puting the excess ‘into the panel seams. This ‘makes the main back body ‘tty longer for ease. The ‘ront central panel excess: ‘can be made into the dat.ee ie Styling sleeves and cuffs Add details and shaping to sleeves and cuffs to create different styles. Take your sleeve block and trace i off onto pattern tracing paper, transfering all the dart information, elbow line, notches, and so on, ae Parente evar cline deere) (ates case indicated by one notch, te back by Draw tne tomthe sleeve hem and two, and these then correspond to endef ne dbow dar _acoss othe end thocortedt postion onthe bodice, &"artanges tothe ofthe sow can Te 5 Leave seam allowances off at this “ahr arsin ine slage so that you can manipulate ‘ Gut ion tne dart Ur patiern more accur unis rey ‘rom tne underarm ‘oar, but Kaeo a hinge tthe end ot Removing the sleeve elbow dart ‘the can. Pivot the Lies ee The sieve Block inte Book has an dat closed, alowng = aren — ‘bow dart The dart alow fr room to the leave ham to trove and bend the arm while tating & wt | open unl he see Close fited shape to the aleve. The oer seat | wath measures canbe removed a8 shown, But ho Soave Soon | eat on ether wal be es ited fide ofthe grain ine. The sieve vider at he wrist oe fullness Wher adcing fulness toa___—_fom dropping. The amount as fo the sievehead its good practice ofthis alteration can be sleeve head to shoren the bodice shoulder changed according to the tenth by in tem) while ‘esign ar shou be done _adaing in em) tothe sleeve first, along with deciding where head. This alteration helps tothe gathering is tobe (see suppor the sleeve and keep "Adding fullness. page 96) REL}‘To help support the puff sleve, shorten the ‘ae gathore to the sleeve head,” oppo) On a separate piece of paper, draw out a “T" shape. Decide onthe postion ofthe gathers. Divide this area up into six sections. “The amount added between the pisces is {dependent on the fulness required an the fabric use (s00 page 94) 2 Align the biceps Ine ofthe sive on the ST" ine withthe varia! Sn inthe cert. ‘Slash and spread the six sleeve sections from ‘the sleave head tothe hem; do not cut ‘trough, but lave paper hinges. ‘6 Tis ie your pattem plan. Trace of, ‘223g seam alowance and again line. “This design nas futness only at he steve heas. shoulder tne by in (1om) (ese “Adcing tunes 33 Addin (2m) or more to the height of the slaave head and draw a smoath ne back ‘othe orignal sleeve pater. Transfer tho ‘shoulder notch othe new sleeve head. ‘The sleeve hem could be tightened further through the underarm seem es indicted ‘4 .Add the seam allowance to the firished patter and notch where the gathering is requred on the stoeve head. To tnish the couned hem of his sleeve, a facing wil be requred. (See “Facings anc waistbands,” page 105,‘This sleeve has gathering both at the sieeve head and into the cu. Here there is an equal numberof gathers at each end however, this {s valle depending onthe inciidual design. This shortcut (2invScm) needs an ‘extra keyhole opening on the siesve to allow ‘the arm to trough. 3 smooth out the sleeve head and hem by te-dawing the nes. In those instances, you ‘Should aiways add f the excess is not ‘needed, It can be cut off later. For this design, a “keyhole” opening is used, ‘A "keyhole" isa simple way of constructing a cut sleeve opening. Cut a straight ine 3in (@om long frm the sleeve end in ine with ‘he elbow to where the cuf is to be attached. ‘bias strp of fabric i then sown tothe ‘opening (689 page 129) oe 1 Decide on the sleeve longth and draw in the 2On.a separate sheet of pattern paper, cra ‘cuff band. Dido the central part of the main a vertical line and square across to make @ Sleeve into four equal pats. The radlings "7." Position your cut and numbered sleeve indicate whare the gathering willbe on the sections on the paper, spacing them equally fleeve. tie imporant to make notches ta and keeping the biceps ine aigned to the Identity the snoulder point and wiere the —_—herizantal“T" on the paper. Again, the ‘others stop and star on the bodice anole. amount added between the paces iS ‘Number the four parts and cut them into {dependent on the fullness required and the separate sections. fabri vod, Gee “Ang fulness,” page 94) ot sts canons i (182 tracing | caning — 4 shape one end of the cuff and extend it by “in (dem), This measurement is variable ‘depending on the sizeof the button. (See "Buttons and buttonholos" page 101) ‘Finished puff sleeve pattern with a shaped cut‘Tis sleove has 4in (10cm) deep cut with buttons and buttonholes. The depth of the cut maans that ‘thers plenty of room forthe hand to pass ‘through, wth ne need for an extra opening, The sleeve gathers into the cut al the way around and ‘3 fuller at the bck to alow room fr the elbow. ‘Yu wil need to remove the ebow dart on the seve block to make this patter (se page 88). ‘Vase of the aleve block and remove 2 Measure up the grain ine marting a cult ‘he ebow dart (soe page 88). vide the apt of in (10or). Cut ofthe cu. ‘oor nto equal quarters lenge. chance all ‘3 Cut up the sleave dusions to the ‘4-0pen out te pieces by equal amounts 5 Add paper undemeath and redraw, ‘sleeve cap edges, leaving hinges. tozchieve the desired amount of sleeve smoothing out the seve hem edge. fullnss. (Use the rato information on ‘Adi tin (1. 36m) tothe sleeve longth at page 94 a8 2 guide) ‘the stow positon and moath back into the sleeve hem, {6 Te consttuct the cu, use the removed 7 Extend the edge ofthe cut by 8 The finished cu with extension, orton of ha sleeve, ‘approximately an (om), depending on the indicating where the buttons and size of the buttons you are using buttonhies are to be positioned.vey vesigning your own patt ‘Araglansleavo isa useful style that you may ‘want t retur to, 60, nce you have drat "your sleeve, tis good idea to copy and save ‘tas a working block. To make a standard raglan Working lock use the measurements given hers. ‘These can be altered for incvidua designe late, 110n the bodice, measure from the front eck shoulder point toward the CF 2 (cm) ‘and 32 (em) toward the CB forthe back. neck. Connect this point with line to the ‘armhole to just above the notches, Slash {and close the back shoulder dan, opening ‘up the raglan shape, “hin fem) 2 Move the shoulder sine few ying i ae (fem) of the ont and Adding it to the back. = in (100m)_Z 9S rem in 3 On te stave, move the grain) lin toward the front by %in (10m) (inleated by a single not. Next ‘make @ mark an (dem) down, ‘rom the sieeve read, Mark a Pol hin (em) up from the ‘Sleeve head and square across, hai ‘4 Gut of the tron and back shoulder sections from ‘the bodice and place thom so tht the shoulder points ‘are toucting the Yin (ter) ne onthe sleeve head. ‘Allow the outside edge to bind into the sleve jst ‘above the notches, ina similar postion to where they ‘were drawn on the bodice '5 Blond the shoulder lines into the new sleeve grain ne and then from the shoulder point to ‘the din (102m) point. ‘Smooth out the naw armhote lines. Measure ‘these ines and compare ‘them tothe bodice ambole. The back ‘sleeve is otter slighty longer than the back bodice armnole—ihis is 2886, and must be ro ‘mote than thin (tem), Gain Grain 6 Seperate te front and back sleeves along the new gran ne, ‘marking inthe biceps line and ‘al the notches. Make sure the ‘shoulder edges are smacthStyling skirts Try making these different skirt shapes and styles. For each of these designs, will need to take your and back skirt blocks and trace them onto pattern ‘tracing paper, transferring al he da rfrmation allowances off at this stage so ‘that you can manipulate your jem more accurately Styling skirts = Vraw a tine ‘rom the dans ‘nd tothe her, peat forthe back ofthe skit. ‘The Aline skit sa classic but simple sya. tis ‘ited around the weist and his through the use ‘of darts, and fare is added event at the hem to produce a wel-balanced bel-ke shape, 3 Decrease the darts while ‘pening the hem for the desires amount of fare, ‘The darts will be made ‘smaller. To retain a well- balanced skit add the same amount of fare font and back 2 slash up the lines trom the hem to the dart ens, and from the waist ‘down. Do not cut through the end of ‘the dart; keop a small amount of paper attached as a hinge. “4 Ont haf the amount of Pare is ‘added tothe side seam font and ‘back. These halves adc up to make ‘the whole amount st the side seam.% || Designing your own patterns tt ‘Trace ofthe skirt blocks (cee pages 112-125). Draw a line parle to the GF and CB from the waist tothe hem, Draw a parallel ine connecting the dart ends withthe hem, ideally the skit shouldbe epitinto three equal Portions; this may depend on where the dart is positioned. ‘The same principles and method applied tothe Aline akin are apples 1 the fared skin, but wth more flare ‘aided at he hem. The amount of fare ‘added isa personal choice. Adding fullness po Fi es fenton netic ty sates fn Ore gore orien whic you con cra where hlmesis ose. Ts sewn ‘dosing and specteg Ths mcd sed fl garments, buts kerred here {ing ot The rm fire edded doer on ype oar see tnd he sthouate equ Tha flown ose gure ny Hea den wooligh be sion buly ow ra ol Mn Seo oben er twat ores ig wok bess oe srs might se oto a (am tc erry nS of weston er orew cea ete vauma Exercise 1: Even distribution of fullness Forfuliess ot wast ond hem, crow and number equal edge ofa pattern setions on your pater and cut apart. Draw a saigh ine Slash and spend the patie on the edge ‘on another piece of paper and align the pattem pieces to requeing the fulless, leaving the other this, wih equol spaces in between His pater pice sedge as i was, By increasing futness in shaped. numbering the pieces and drawing a line through this way, volume is added ot he hem but ‘hem ensures thor the amount added sn proportion. ‘not athe waist. \ 2 Siesh up from the hem, desing the dats anc ‘opening the hem in equal proportions for the desied ‘amount of fae, wt hal on the side seam front and back as before. Ropeat for the back skit. is Imporant to add the same amount font and back. By doing tis you wil retain the overal balance 31 4d Exercise 2: Increosing fullness on one Exercise 3 Adding difering ‘omounts of fullness ‘Quite simply, ode more fullness uhere i requitesFist work out the dopth ofthe yoke and the ham circumference. This fared skit nas-a shaped yoke. The Skirt ts smoathiy nto the yoke xcept at the CF where thas @ fathered section. There is a ‘onceale zipper with a button {and buttonnole atthe CB yoke. Yale O50) 6880 aan, YF e5m), of T i ‘Trace of the skit blocks and draw on your design ines. Make the yoke deeper inthe front than the back anc ‘make sur the side esams match, 3 stash and close the darts on the front yoke. Sash and spread the skin. The ‘ret slash wil be 2 (Gon) at the nem plus 2in (Sem) at the top lyf] 2s unset the ‘gathering. This measurement can vay, depending ‘onthe desig, ‘5 close the darts on ‘he back yoke. Slash ‘and spread from hem todart ends and tothe top edge. Open the ‘ek hem to 2n 60m), ee 2 Notch the front, the back, and where the gathering is located, and cut the yoke away From the skirt. CO cers and spreading. Remember to ase only haf the amount (tin2.Sor) at the ‘side seam hem front fang back to a total of 2in Gem) at side seam. 6 tthe dats do not close completly, shave iin (tem) off ‘the skit waist edge fang blond in the line. Extend the CB yoke ‘© accommodate buttons and ‘buttonnoes.ay Designing your own patterns Styling dresses You can join skirt and bodice blocks to make a dress block. Many different garments can be created by joining a bodice block and a skin block, from dresses to hip-length blouses and shirts The dress black is a combination ofthe bodice and ‘kif block and a versatile foundation to making many ‘other patierns. Because there is no waist seam, fis ‘achieved through torso darts and side seams. ‘The torso block The torso block isa bodice block tt extends down fo the hip ine Tiss useful blockin is own fight for drafting gorments with @ defined waistline, such as the blouse on page 81. Many potters cian be made ftom this one simple block, including jackets, gowns, cond coats. The torso blocks simply @ shoriened version ofthe dress block and con be used to make o dress block by extending the CF ‘nd CB lines and the side seoms. Font 27kin FOcm) downward from the wast CBwaisttothe finshed hem. Center frontStyling dresses “4.Using tis naw tront ana back bodies, square a ine 5 Place the CB and OF of the back ‘across at chest level, sing the side seam underarm point and front skit blocks on your lng ‘ne CH on diagram), When drafting tis patter, craw a nes so that the side waist points aro long ine on the left-hand sie ofthe pattern paper and line touching the bodice wait line. The the CB of the bodice onto I. Leave a in (10cm) gap before skit waist shaping is such that the placing te ont bodice on the pattern paper. Once thsis CF and CB points won't touch. ‘done, extend the CF ine downward, using along ruler. ‘Square across irom the CB bodice wait line tothe CF, making a new waist line. Measure Bn 20em) down o ‘tom tis to create a new hip line oe ie AF). 8.Cioce the side eeam bust dart ‘and open the shoulder den. race ‘off and use this block for making ‘adress block, {6 Blend and emooth out the slo | ‘seam othe back boson. Stating at ‘the aro, take “hin (ter) of the | ‘font bodies waist in, blending the sie seams into the skirt. 7 Constuct the dats by ives Eo pe . ‘the bustling an AY Tato donate £8 Nese 3 an xu te ea to aa Giver aaron tmantwoncts boa are onto Mesure dn ar pte hem Ee ‘lagram) to mark tne end ofthe font dar. ‘This sequence continues on the next page >ik Designing your own patterns Princess line dress. Vrace off and cut out the ‘ass block, ‘The princess line dress is made by ‘uring the darts ofthe dress block into long seams. Using these seams Its e85y to ad flare atthe hem. Flare can be added trom the walt lin, hip line, oF knee, Each point wil produce ‘avery aiteret sive. ‘2 Mark out the desgn ines, Start st the waist dart and pass through the ‘bust apex up tothe center shoulger6 Before cuting out the pattorn pieces draw in notches along the ‘ye ne to Indicate the font and ‘back and whien panels wll bs ‘sum together. 7 Winen at patter pieces are cut out, match up the notehes and square off the herine ‘4.Cut the front and back panels into separate places as shown, Stick the four main panels onto ' pape base, aligning the hip and waist lines and leaving about An 0m) between each pane. ‘5 To ade fare, decide how much you woul ike toad, and £8 The completed patton, Remember to add seam ‘tom which point-—waet, hip, or knee—and ad the same allowances, grain ins (20 degrees tothe waist ine), amount to each sean. and al atner pater informatio.Designing your own porrerns Collar styles Different collar shapes can be added to your bodices to create different styles. When adding a collar fo a garment, you need fo consider both how it will be attached to the bodice and how it will be finished inside the neck of the garment. Drafting o collar pattern When drafing « collar pater, make any neckline alterations fo the bodice pattern beforehand. To measure the badice neckiine ‘accurately frst match up the garment shoulder lines. Measure from the CB neck to the CF neck holding the tope measure on its ‘edge Isee righ. This lows the tape to bend naturally around the curves, ensuring a more accurate measurement and improving the color’ ft. You may need to adjust the colar pattern when toiling if he fabric is thick or iit stretches. Consider how your color wil be fished onthe inside ofthe garment, Look al your design and make a working drawing. ‘collar ending a the CF point may need a facing finish the Inside neck see page 105) he collar extend tothe garment edge, all sear allowances wil push up inside the collar ise fo finish the edges. ‘Measure the neckline ‘Measure the colar fom CB neck to CF neck withthe tape measure on is sid. ‘Top collars and under collars When constructing colar patterns is important to remember tho all collars have a top and an under colar. This finishes the collar edge and eliminates bulk. The top collar has father to ‘rave from the neck edge tothe callar edge. The under collar has a shorier distance fo travel ‘The amount by which the under collar should be shorter is dependent on the thickness of he fabric. Start with un [3mm shorter and iy the colar out. For sewing instuctions see page 1871 To make the under collar, shorten the depth by hin mm! ai he CB neck, continue wih he Kin (3mm) past the shoulder rich, and gent blend into the CF neck edge.Buttons and buttonholes Positioning the buttons: things to consider «+ Tryto cxtange the bution placement 30 that ene button is leva ath ‘the bust pon. This avoids gaping cross the chest. «+ i your garment has 0 Rever collar [clr with opets turned back 10 ‘how the reverse side, place a bution atthe breok pont so tht doses in the correct pace |. meant ns sat ote (Cosa pstones tonne torus on Be dt Seabee «+The button in horzontaly placed buttonholes do nt tin the ‘mide. When a buttoned garment i wom, the butlon wl always pull fo the end ofits buttonhle. The center ofthe button needs to si on the CF Ine, so he buttonhole needs fo be stiched backward, away | fom he gamen! edge ‘Abutlon wrap san eerson of oth {garment forts oalow or buton ond boutonbola fostnings, The width of he wrap ‘sdependent on ho sze af he button nd he dracon atte butortoles. | ‘eral urtorhols moy ecu ess whan noize! buenos. ‘What isthe button wrap? | How big should the buttonhole be? Theme sei Gaerne yt oy Rimtastecocnen | toed ond wet he buon hore hank As Gomer e sete burl he Gemacrotmetuen pus Bakre | muingoyasemoesna genet | Good paced esl on somplecl er arom ee Tee pce sed vee Sembee es ou gamer Sonia mectincerdonedineracrs. | eee a es ae er ee | ceemeeemne | Sets mane [| eee oe Sees Sees (does not protrude ove the edge of he f fabric when done up.Bee ‘Tis base shit colar draft is for a one-piece cola, which can be adaptec to a wo-plece shirt collar ‘raft outa rectangle hal ofthe ful nsok ‘measurement fom (1) to 2). Measure the ‘back bodice neck length from the CB (1) 0 HE Grain line # 8in (20cm)es few | Pad =. Back skirt = Shey = Front skirain like « Bin 2Ocma)_| | AE ; Sey am t | aaeeeae ct ier | pope | 4 R | ia | ere een2 3 4 $ 6 xe 2 | 10 HL 12. 13 4 15 ib = Back bodice Back skit = Sleeve ip = Front bodice | = Front ski “Lah . + c hae ne k Tsquare = | | 1 square incheee pottern top es ese pe | gee |p iu Hie Lap, st 24 2 SIZE 10 _ 66 for instructi t tics pee eH | Grdin line » Bin (20cm) Fold line \ \ + ’ HAL FEReSeorrrerrre ior ___Graip tne ¢ sn 2bcm) Eee i i _ Grain ine ¢ 8in Dem | eas | eH baht | | | ee | ie s = |Ea pattern blocks Tt r 2 — L 4_|_as _| = Sleeve | Gtaintine | — kTEIGE mee == as A SSeS | is | | | Hest He IT |TTT TT Seppe preray ere ay | | I By a US SIZE attern.pia |e | | i Ls | Back kit | | Slepve | | »| Front\Us SIZE 14 pettern bests oe T feat we | fo [on | a |b | 94 fons on how to.| | ter ial i TN El | i oe ee |. fold line 2 < Grain line ¢ 8in (20cm) | i5Ep ph fg ate tate |e | 2 ul plod a > Te Ee SST eosin euros L 4 eS | Sea =| * ag ng BEETS I 2 8c 5 aS A + Ei SB. & 2 eis SE} | “32 2 | See|page i 2 up tf __ Grain line ¢ 8in (20cm) BPE USS> Sleeve Grain line = Bock skit = Front skirt ja = Pa i ie E i: a | a q it | ttern block teus pees] [3 jet aaeaee wo | | 2 % | 7 | a [ea | aM EUS SZE16 | | ge 66 for instructions on how to TI _ pal ls mans La | A 8in (20cm)ae y Core sewing techniques Core sewing fechniques Essential sewing skills. In order to carry out the techniques demonstrated in this book, you will need to have mastered core sewing and ‘dressmaking skils. The following pages cre a reftesher course in al the ‘techniques you will need to know. French seam ‘A French seam encloses the raw edges, making ‘ditional finishing unnecessary. It looks fiat like @ ‘loin seam from the front but appears lke 0 tuck ‘on the reverse, ‘piace the wrong sides 2 Press the seam open ‘ofthe fabric together, and trim the raw edges to ‘with the edges matching. epproximatey hal ‘Sew with a straight stitch ‘in (Gm) from the edge. 3 Fo the seam the 4 Complete the seam ‘opposite way, 90 that the wth inl row of right aides are now facing siting Yn Gm) ‘and he seam is pressed from the edge, This wil ‘ut to the edge. enclose all the raw edges, Plain seam _ This he simplest method af foining two pieces of fabric. Use fr sraight or curved seams and all materials ‘piace the ight sides -«-Ueoastralght stitch _3 Press the seam open or together, matening the and sew along the sewing to one side and neaten ‘aneiges and pn along ine removing the pins in sing a seam ish. the sewing ie. te posses. | Zigzag finish This isa form of overcasting using a machine stich, Use 0 zigzag stich or a ‘preprogrammed overcasting stich to finish the raw edges. construct @ pain eam, 2 Choose a zigzag 3 sew the ston along, ‘hiss nomaly made stich, of if sewing a ‘the edge ofthe seam ‘wth an Cem) soam built-in overeasting ‘ltowance withthe “bar” | allowance. machine stitch, use an ofthe overcasting foot overcast foot. Fight on the edge Serging Serging is a good way to finish rawr edges, since the stitches are formed over ‘a newiy trimmed edge to give a neat fish. A purpose-made machine is needed, oF S ‘nfake a seem with right 2 Trread the sorger wih 3 ron ight aver the sides together and sew trveo threads and skim right side to pees. ‘line of ttenes on each ofthe raw edges of (1.8 em) trom the edge. the seam to fishCore sewing tec ibid -— Flat-fell seam ‘Afiotfel seam is popular for jeans and for reversible garments since it forms a strong ‘nd neat jin al the raw edges are tucked way and enclosed by a second ine pasting: ‘piace the wrong sides Press theraw edges Fold he upper seam 4 Edge sch the ol, Ofte fabs togetr —toone se and tim the alowares under and _—seving trough al tnd ew alneoftright underlayerto in @rm), alae overtho rimmed ‘layers ol abr stcing vin sem) fom Blowarce. Pn al layers sre doe. ofr ogee Bias binding ‘bias binding gies 0 neat and strong finish to on edge. The bias nature of the tape allows it to curve over ‘Shoped ese wrhout ‘winking. Use on "seams and hems, and 1VFold ready-made 2Puace thefolded tape SSow through all layers 4 Look atthe reverse Os adecorative finish. gaitlesold bas-bncing over each raw edge and witha straight stitch, side to check thatthe tape in haf to enclose the pin the ayers together. __Keoping close to the tape is sewn down all, Tabrics raw edges. Baste too, prefered. binding edge. long the edge. ‘1Mark the postion and Fold the fabric long SWithastraightsitch, 4 When ll he tucks ‘Sze of the tucks onto the the lines with wrong sides sew parallel o each of |_have been completed, tabrie’s surface. together. and prees with the folded edges to form press them alin the anion. ‘the tucks, ‘same drectionBa Core sewing techniques Inverted pleats Preals con be sched dow of Ie Yo hang free rom a seam or ‘woistbond, ond ether ore] ‘soft of pressed crisply. ae An inverted pleat / consists of two folds ee ‘hat face each other. ‘Merk the poston and 2 Fold the pleat trough 3 Prase he line of 4 Press the inverted . ‘Sze of the plat with ‘the center with the right sttchng and fold so Pleat, using a cloth to tailors tacks or chal sides of he cioth facing. the center crease lies protect the surface, and (on the wrong side of Machine a straight tion rectly below the ‘continue withthe next. the fabri). ‘along the marked line, seam, Baste within ‘the seam allowance. Elastic casing The traditional way to elasicate on edge isto creaie a casing and then thread elastic ‘through it, This alows the elastic to be ‘dusted easij—ideo! for cuffs and waists. 2 ‘sew the garment 2Pross the edge ofthe Sit astaight stitch, 4 Remove the stitches ‘seams. Its easier to work fabric under Vin. @mem) tho folded edge of from the seam and tread ‘witha continuous tothe wrong sie. Poss tecasing down Sew slate trough the 5 Jength—this wil ao give again, the wth of me over tho frat four stiches casing. Adjust the length neater finish. ‘laste ps Yan mm, wth tho last fur to and secure ends ofthe Pin place. secur the theads, lasic and seam, peat around the top eoge. Pants zipper A pants. or fy-fton zipper, completely hides the teeth and can be used fr skits and shorts as well ‘5 pants. For men, the zipper is inserted wih the lef side over the right, and for women the right is placed over the if ‘Machine stitch the 2rachine baste the 3 vin height side of seam fom the base of opening where the the parts facedown on ‘the zipperto the crotch, zipper wil be inserted, your work surface, place using the fongest the spper facedown and ‘straight stich, ane then canted over the basted finger press open. seam, Pin the let side of ‘he zpper tape to theCore sewing techniques Centered zipper This method places the Zipper teeth in the middle ofa seam. t's an easy echnique ideo for beginners. Make a plain sear 2th the longest 3 Press the seam open Baste the zipperin ict in (.5-2.5cm) where straight stich, complete and withthe wrong side place and topstich from the zipparis to be ‘the seam, Don't frish facing up, place the the right side ofthe placed, leaving the zipper the thread ends—these zipper facedown with garment. Start from the length unstched. are temporary, ‘the teoth over the seam. bottom and sew tothe in both sides. top each time, Remove the temporary stitches. Easing Eosing is achieved in the some way as ‘gathering, but the ‘fabric lakes on a ‘shape without visible fucks. Use tio set na sleeve or fio skit ino ‘awaistband. 1 sot the sewing machine 2 Sew two paraie 3 Pull up the fabric along Fin and sew to tothe longest straight tines on ether side of the gathering treads the armhole or stitch. the stitching line in toeaseitto the sizeof waistband as required, {@mm) apart. the adjoining fabric. {and then remove the Distrbute the fulness gathering stitches. ‘evenly. There shouldn't be any tucks or gathers Pulithe 2ppertothe ‘7 Marka guideline wih «Guta pleceot abr Sten he guard in right and pin the zipper chalk or a temporary ‘appeonimataly sin place onthe nsico, tape tothe ight sage marker, and topstich (1G.em) wide and longer attaching ito the seam ‘trough all lyers. Turn trom the base of the than the zipper. Fold with allowance so that the the work over and re-pin zipper tothe waist ine right sides ofthe fabric stiches wil not be seen neatly fattening any {secure in place. togethor, and sew. iim on the outside, Remove al basting the seam allowances and ‘itches and test turn through to crete a the zipper quad. Press ft.Core sewing techniqu ‘This new generation ofinterfacings are ether ‘Avvicistband is added to a skit or pants to finish the edge, and it ‘woven or bonded fabric with a heat-fusible glue ‘ay open at the front, side, or center back. This Iype is suitable for on one side. They do awoy with he need forhand —_al sles of garments that incorporate gathers, dars, tucks, oF pleas sitching and allow for a much faster consiruction ‘An Interfacing 's needed to add body f the band and to help it stay, of tailored garments, in place, Soft perforated intrfacings, as well os straight or curved si bonds, are avaiable in various widths. These can be fused to the wrong side ofthe fabric or sewn in pace. fusible interfacings | Traditional waistband | | Fusing the interfacing to the underside of the fie “Lou the waistband tothe corect lath ae with, along with added 90am azowances. Mount ne inertacing tothe weer tice of he fore. Sena rocmromiare internet fabric facedown on the fare rete eer 2 Place the raw edge of the waistband 3 Fold the waistband lengthwise Boe iivrenrenmen | Satmecintoe me Sratte corte Togs keeare with right sides together, Pin and then to conceal the raw edges. Fold the Seawmree | we ctcnme asi Semele cam he ere a place, leaving one end extended cessor ee pees) eee 3 With a steam ‘hemming on the inside. eae ae Seen ee waar aes oe ‘the pieces are. (4 Finish the ends of the waistband aes teeta eerie cee el ‘itching. On the opps, longer waistband witha seqgor sith or fend, tuck the raw edges in and sp a2igzag itch and lay flat on the Stitch to finish. Sew hooks and eyes, inside without folding under. ‘ora button and buttonholein piace _Siitch in the cltoh te cure, to tnish.Core sewing techniques a Double-folded hem ‘A double-folded hem is folded twice to conceal the raw edges within. 1 may be \wide or narrow, and finished bby hand or with machine topstitching, Use it on woven ‘and knitled fabrics to provide a neatly finished edge on shirts, blouses, Thies, ond pans | ‘Told the raw edge to the hem: 2 Fold up again to conceal the ‘3 Neatly sew the hem by hand level around the croumlrence of aw age ther eve and 19 oc wih chine opstching totem hold Rin pace, Hand-finished hem Ahand-sewn hem is the best option for skirts and pants ‘where stitches should not be visible on the right side. Hem stitch, slip stitch, herringbone stitch, and lockstitch are all ‘useful, and your choice of one of them will depend on the type and weight of your fabric as well as your personal Drference hand stehed hem sn os song os machined one, but the sfitches will be invisible, ‘1 Prepare the hem by folding up 2 Cut a short length of silk on therer ine aching the tread ina matching Sade and sear lower wd thread onto a shor ne nad ‘3 Complete the hem with your prefered sttch: ‘Hem stitch Slip stitch ‘Use hem sitch where @ strong This method is ess visible than This sith is sutable for both fish isrequred, such as.on hem stitch, so itis suitable for macium- and heavy-weight| “medium: to heavy-weight fabric. fine mataral. For a good reeut, _atelch fabrics since the stiches keep the sitches well spaced, “ve if he hem sulle yet even. Always use a thread in | closely matching shade. Locksttch “Thread loops around each sich ina lockstitched hem. This ‘means that ifthe thread breaks, the hem wil pet unravel fly ‘oop tho atches wall spaced and even, This 2 sutabie ‘mathed for al fabric weights,eB sewing techniques Eased-in sleeve ‘sleeve that is eosed info the shoulder area produces @ ‘smooth finish with no tucks or crinkle, The sleeve itself may bbe short or long, slim-fiting ‘or flared, but should le in a simple, lt ine where itis ‘attached to the shoulder. Preparation Complete the shoulder and sce seam of the bodice and the sleeve seams. It ay even bo best 0 complete he sleeve hem cut botre sowing tho save into the arnt. Gathered sleeve head (Ona gothered sleeve head, clearly defined tucks create fullness olong the shoulder ‘seam, Fashion trends change frequent, but a puted sleeve 's always popular for litle Girls’ dresses. Ths technique 's easier than an eased-in sleeve, but it important to ‘orange the gathers evenly. Preparation ‘Complete the shoulder and sido ‘seams ofthe garment 3s wel a the sleeve seam, hem, and the cut it there is one, Bofors Inertng the sleeve t's easier to fish a cuff when handing it as @ ‘single sleeve than wien it's attached to an entire garment) 1 Set the sewing machine to the longest straight sitch and sew ‘wo paral ines along the edge ofthe sieeve cap between the pattern-marking dot, on ether ‘Side ofthe seam Ine (or inside the seam tne Inthe case of delicate fabrics), 1sot tne sewing mactine tothe longest straight sitch and sew ‘two parallel ines between the patter-marked dots, on thor ‘side ofthe cap seam ine or just ‘thin the seam allowance i working with delicate fabrics). £2 ase up the gathers and place the sleeve inthe armhole with tight sis together and raw ‘edges matching. Working irom insie the sleeve, match up the pattern notches, dots, and ‘sears. Pn along the seam tine, distributing the tay gathers ‘evenly unl they disappear 2 Piace the sieeve inthe ermnale land match up the pattern dots and notches, Pull up the gathers {and arrange them acroes the top (ofthe sleave. Pin on the seam line rom the inside. Baste the ‘seam to hold the gathers evenly fn place, ‘3 Wnt isin the pinned state, ‘um it trough and check the finished look. Aust the eased ‘abric, it nacessary, and then tum back again an sew with 2 standard-length straight stitch, (Check the frished sleeve sear, and neaten the raw edges onthe Inside with a teee-thread sergar stitn or use a sawing machine zigzag or other suitable stitch, “Tim the excess fabric away, ‘3-Tumn through and check to 990 ‘at the gainers are sitting neatly: then machine along the seam line, Remove the tenporary ‘gathering stiches and neaten the raw edges. Press the seam ‘alowanee towar the eleave.Core sewing trevoteuey TBE Shirt cuff A troditional talored shirt cuffs stiffened with collar and cuff carwas, This (es a crisp, neat appearance. Sif, fusible interfacings can be used, but the technique suggested below combines a more rigid canvas with a lightweight fusible interfacing, Preparation For each cu, cut out two inthe shirt fabri, one ‘in Sghtweight fusble interfacing and one inthe cut canvas, ae. 3 pues slovaca sg he an Sitaveworsssetecmes Tags €fadbe uns ce rape Seven ect ontprin pace Wong fan i Sveeancacee . ee Sotatte ewe onthe uc ci i er nb ioe Ot ae non tierce Peay tm pectin 4 Place the cuff tots facing with right ses together Sew along the stitching line, around the ‘outside, adjacent to the camas but not through it ‘200 the shit cut on the raning boar with ‘he wrong side facing up. Poston the canvas in ‘the center of tho cut. Place the fusible ‘etertacing (gue side down) on top, ‘sandwiching the canvas in the middle on the ‘5 Layer the seam allowances and fold inthe 77 Add buttorholes and sew ‘ayers carefully andl fuse the pieces together. ‘comers before tuming through buttons in poston.a sewing techniques Shoulder pad Shoulder pads can moke or bredk a garment. Our less-than- perfec! bodies dont aivays provide the best shape fo carry a reat jacket or coat! times in fashion histor, shoulder pads have been oversized, but without ther garment lacks support The paddings and canvases used on the inside to construc jacket or coat work with shoulder pads fo create «an internal hanger Yoke ‘Ayyoke covers on area of the upper back and ‘shoulders and includes on outer layer and under layer or facing It conceals raw edges and provides both additonal weight and support. Preparation “The trons ard back shouldbe ready with gathers, Plests, or othe nishes completed. Place a square of gauze on the work 2 Wrap up the shoulder pad and pin the Place the right side of 2 Place the right sido of ‘face and coverit wih a square of layer Together around the over ege, he outer yoke tothe right_ the under yok tothe low-oft batting or volume fleece. | de ofthe back. Match wrong side ofthe back, Position « shoulder pad diagonally | balance paints and pin sandwiching the back ‘ross the center. together ‘botwoon the two yoke pleces. Re-pin and sew ‘onthe ettehing ine. ‘8 Determine the exact shape and size requred and zigzag around the edge. Cutaway the excess fabric. (4 Hand stitch and quit the shoulder ad, staring from the outside and working toward the center. Manipulate the pad into shape and sew in place in the garment. | 4 Place the trot ofthe 5 Fold under the seam ‘outeryoko to the fort allowances onthe front ppeoes with right ses edges ofthe facing and {ogoter Match all ofthe match wih the rant netches, and then pin seams af the yoke. and sew togstner6 Hand sew oF top- anc edge-stich the ayers together to complete the Shirt collar ‘hit collar isan extension ofthe collar stond, but in this case, the “stand” [see page 100 sits on the neckline edge and the “al is the upper port of the collar that drops down fo cover the stand. Tailored shi collars are normaly frm and can be worn either with he stand buttoned up close fo the neck and wor with a necktie—or open, ‘without ¢ necktie. The fness ofthe interfacing will determine how talored or casual he colar wil | be. The collar fall can be buttoned down, or not, {and points can be sharply angled or even rounded to a curve. Preparation ‘Complete the neck edge 20 its ready to ‘attach the collar. ‘Tor the colar, craw the seam allowance on the outer ledges of the sti colar interfacing. Tim this away, including the perc ne. 2.Contor tho stitintertacing on the wrong sie of the ‘upper collar and place the lightweight usble interfacing ‘on top. Fuse in place, sandwiching the sti interfacing ‘between the upper colar and the fusibe layer. ‘3 Place the upper and lower collar he colar facing) {together with right sides together Mark the colar points with afade-away marker or tall’ tack, and sew along ‘the seam ne. Tim the seam allowances; tun trough and press fat. Finish with edge stitching. Core sewing techniques Eee 4 Prepare the sti interfacing forthe colar stand in the same way 28 above fusing It tothe side that wil le ext tothe neck. '5 sendwich the collar between the colar stand pieces, ‘matching any patern-marked notches and dots. Sow ‘these together, layer the ssam allowances inside, turn {othe right side, and iron to create a crisp fish, 6 Join the outside of the colar stand to the right side of the neck edge and sew together. (Sip int the 0am allowance ofthe neck edge to allow easy metering # necessary) ‘7 Tuck up the seam allowance on the inside of the colar stand and pin in place. Edge stitch through alliayers.- sewing techniques Patch pocket ‘Appatch pocket is one ofthe simplest pockets fo creat. tis placed fo the right side ofthe fabric and sewn in place with ‘opsiching. I may be lined or lef unined withthe seam llowances jst pressed under before attaching i Preparation ron a piace of Eghtwoight fusible interfacing tothe ‘wrong sie ofthe fabric to strengthen the pocket. Without a ining ‘Vako a card template of 0 finished pocket minus the seam alowances. '37Tum the top edge through ard ‘ip the card template inside. Place the pockst facedown on ‘the oning board with the temolat sige, anc gress the ‘edges up and over the card to ‘0t tho shape of the pocket. ‘Baste to hold the shape, and machine sew the upper edge. front, ght sides together, leaving a gap of approximately ‘Vin, (cm inthe mice of the ‘seam, Press the raw edges 2 sew the ning to the pocket | ! ‘toward the lsing / “4: and layer, and then pul trough the hole left between the ning and pocket, and press fat. ‘4 Prace the pocket onthe ‘garment and edge- and top- stitch in place. Finish with bar ‘tacks st the top comers to give adcivona strengt, '5.Cose the opering wth hand- 6 Place the pocket in positon | sewn sip sitches, or use and edge sch to secure in | topttching from the right side poston Add topstieing, to, ‘5a decorative ect. (This widened anc rich wth bar tacks ‘lose the hole inthe seam at the to stangthan the top comers. same time)Lining a dress ‘There are so many dress styes that each design will dictate detals on how the lining is to be cut and attached. On the whole, however, fhe dress has a ‘ait, he bodice and ski linings will be cut separately and joined there. Preparation Construct the bodice and skit parts of the dress, “eA 1 Out out the lning pieces in suitable fabric, Use the dress pattern pieoes if ining pattern pieces are not included, Bik 2construct the skit and 3 Depending on the syle 4 Tuck under the seam ‘of necking, the fring may _alowance at the waist and pin over the sket ane lrecty to the neck oro ining. Sip stitch together. Tuck the seam allowance Under atthe zipper an attach the bodice ling slip stitch, To fish, sew In sleeves, ined oF sambote by basting within ctherwise, and finish the baste to the seam alowance atthe waist of be mactine sewed the bodice. Stich in place, sewing just inside a facing, When the the seam line. neskiine Is complete, tothe dress atthe the seam allowance ‘seam edges, Core sewing recnnieees Lining a skirt Lining « skirt will add body, make it more comfortable, and prolong its life. Any skit, whelher straight, flared, gathered, or pleated, can be lined. As a general rue, he skit pattern is cut ‘out and made up inlining fabric, then attached at ‘he waist; no separate pattern is needed. ‘Straight or A-line skirt cutout tho skit pieces | inlining fabvic and sow the skit ning together, ight sides facing. Leave ‘gap atthe zipper ‘poston and a the back vont if there sone, Mark | the dart postions but loave them unsewn. 2.0109 the tring into the ‘kit th wrong sides together: Pin atthe waist | 3 Tuck the seam | allowance under atthe | 2pper and sip stien In lace. Add the | waistband, sewing the skit and tning a8 ene, | and neaten the hem of | the lining. Lave the ting | ack vent open; just ‘eaten the raw edges.Balance points Balance points are marks that refer to all noiches and dots that help to align fabric pieces when Constructing a garment. Basic blocks The basic flat components of sk bodice, ond sleeve for example, from which you create a fully detailed sewing patter. Basting Temporary stitching by hand or machine. Also known as tacking Batting Used in quitng, this material is a thick, sft ayer of insulation that sits Between the surface fabric and the backing fabric. is also known (os wadding, Bias/eross grain of fabric The diagonal direction of fabric between the warp and the ‘we threads, Cutting layout ‘The manufacturers guide to laying Pattern pieces on fabric inthe most ‘economical way and keeping pieces “on grain’ or on fold lines, ‘ond so on. A number of layouts ‘re provided for differen fabric widths ond patter sizes. Dart A dart isa wedge of fabric thot 's pinched out af a garment to allow shoping or to remove excess fabric. Dress form ‘A mannequin used to assis in he aking up of garments Ease Ease refers fo the amount of space buil inio a sewing patien—in ‘addition to body measurements to allow movement and to achieve the required garment sihouete, Flt pattern cutting ‘A\wo-dimensional approach To creating and developing paper sewing pattems based ‘on basic blocks, Fold line Used fo describe the position of pattern pieces to be placed on folded fabric. The fabric s folded, right sides together, usually lengthwise so that the selvages ‘are together. A directional arrow (on the pattern tissue indicates, how fo place the piace on the fldad fabri. Grain line The fabric grain isthe direction of the woven fibers. Straight or lengthwise grain runs along the ‘warp thread, parallel to the selvages. Crosswise grain runs‘long the welt, perpendicular to straight ‘grain. Most dressmaking patiem pleces ‘are cuton the lengthwise grain, which has minimal stretch, Hand/handle The term used fo describe how a fabric feels, drapes, folds, pleas, etc. For ‘example, this may be crisp, sof, heavy, or sti Interfacing A stabilzing fabric used on the wrang side ofthe fabric 10 support a piece of ‘2 garment, for example collar or behind « pocket Lining ‘A separate fabric sewn onto the inside ‘of 0 garment to conceal all raw edges ‘and help ito hang wel ‘Mercerized cotton ‘A treatment applied to give sen ‘ond luster, h Nop. The shading that occurs on piled fabrics, Pile isthe term forthe raised fibers on fabrics such as velvets ond furs. “with nap” cutting layout is used for fabrics with a pile, one-way shading, or design Potters are placed so that the pile wall, run in the same direction on ol corresponding pieces. Natural fiber Fiber from a non-synthetic source, ©. cotton or fax plant, sik math, or wool Notches TTiangular markings on the pattern tissue used to match two correspanding pieces. They can be single, double, or triple, and have the same combination of notches on pieces to be joined, Placement lines The lines printed on patiem tissue, indicating where design details, such {8 pockets, wel laps, and front Plackas, should be placed. Princess line ‘A dress with curved searing running from the shoulder or the armhole to the hem on the front and back, giving sixpanels ino! including the center back seam) Seam allowance The area between the sewing line and the edge of the cloth normally $i [1Sem), but Tin (2.5cm in couture sewing, The side edges of fabric. These ore ‘often bound mora tightly than the fobric weave, Serger ‘A machine designed to sew and finish edges in one step, although itcan produce many other ef too. Also known as an overlacker. Sik ‘There ore many types of sik fobric, each with a slightly ferent finish Fabric names include charmeuse, chiffon, crepe de Chine, dupion, ‘gozer, georgette, nail, organza, aw, sandwashed, shantung, Tha, ‘and tussah Slash and spread ‘A method for adding fullness to o Pattern, whereby the pattern piece is sloshed apart, spread out, and re-drawn with odded volume. “Stitch in the Ditch” (sink stitch) Used to dascribe where pieces ore held together by stitching on the right side of a previously made seam, e.g, on a waistband, ‘Synthetic fiber Fibers from a non-natural source, &9., nylon, polyester, and acrylic Tollor’s tacks ‘temporary stich used to mark he placement of details, such as pockets (na piece of fabric to be made up into garment Tolle ‘An early prototype of a garment made in inexpensive fabric, ‘Torso block ‘torso block is « bodice that extends down fo the hip lineIndex A alterations 47, 48-49 bodice 50-52, 72-73 bust 52-55, 73 pants 61, 78-79 princess-line dresses 60-61 skins 57-59, 76-77 sleeves 56, 74-75 ‘animal fabrics 17 arms 22, 23, ‘owls, pattern B balance 69 balance points 40 basic blocks 64,65, 66, 140 basting 140 bosting thread 13 pocket placement a5 botste 14 bating 140 bias 34,41, 140 bios binding 129 bobbin fl 13 bodice 23, ering armholes 72-73 bodice without side seams 87 fiting 72 lenginening 50-51 lengthening shoulder $2 princess seams 86 shortening 50 shortening shoulder $1 body landmarks 22, 23 aims 22, 23 back bodice 23 children 24 circumference 23 front bodice 23 lower torso 23 body shapes 21 boucls 17 broadelath 15 bust increasing 55,73 moving dart down 54-55 moving dort up 53-54 moving tho bust point 52-53 buttons and buttonholes 101 c comet hair 16 coshmere 16 cotologs 26-27, chiffon 17 children 24-25 China silk 16 chino 14 collars 100, buttons and buttonholes 101 drafting pattern 100 ‘mandarin colar 103, ‘one-piece shir collar 102, 137 Peter Pan collar 104 top collars ané under callars 100, ‘two-piece shirt collar 103, commercial patterns 19, 20, body shape 21 buying 26-27 ‘correct size 20, 25, cutting out pieces 30 downloading 26-27 history 20, information sheets 29 measuring 33 pattern envelopes 28 pattern pieces 28-29 Placing and pinning 42 Dreparing 30-33, understanding 28-29 ‘corduroy 15. cotton 12, 14-15 ‘mercerized cotton 141 crepe de Chine 15 cuts 88, 90, 91 shir cuffs 135 cutaway neckline 31 cutting fabrics 38, 44 cutting layouts 140, D darts 140, ‘asymmetric darts 84 basic manipulation 4-85 changing daris into gathers 85 ‘moving bust dart down 54-55 moving bust dart up 53-54 removing elbow dart 88 turning bodice dart into seams 86-87 denim 15, design ease 31, 32 designing patiems 63, 64-65

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