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Personalized Patterns - Fitting & Altering

People invest much thought, energy, and money in dressing the body. Correct fitting of clothing for comfort and beauty is an important aspect of dressing that presents a challenge. The ability to recognise a well-fitted garment and to know how to achieve a good fit is necessary whether constructing or buying clothing. This publication is designed to take you step-by-step through the fitting process and to help you understand the concepts of fitting clothing and altering patterns.

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DemiSpehar
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595 views

Personalized Patterns - Fitting & Altering

People invest much thought, energy, and money in dressing the body. Correct fitting of clothing for comfort and beauty is an important aspect of dressing that presents a challenge. The ability to recognise a well-fitted garment and to know how to achieve a good fit is necessary whether constructing or buying clothing. This publication is designed to take you step-by-step through the fitting process and to help you understand the concepts of fitting clothing and altering patterns.

Uploaded by

DemiSpehar
Copyright
© © All Rights Reserved
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Download as PDF or read online on Scribd
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PERSONALIZED TTERNS PA oe FOREWORD People invest much thought, energy and money in dressing the body. Correct fitting of clothing for comfort and beauty is an important aspect of dressing that. presents a challenge. ‘The ability to recognize a well-fitted garment and to know how to achieve a good fit is necessary whether constructing or buying clothing. Though styles change, the standards of good fit remain the same year after year, because they are based on the structural lines of the body. One of the most vexing problems for home seamstresses is the fitting of clothing. Many seamstresses are extremely competent at constructing clothing but become dis- couraged when the clothing looks homemade because of poor fit. There is no easy solution to this problem. It takes time, thought and practice to master the art of fitting clothing. Once accomplished, however, the reward of more attractive clothing makes the task worthwhile. This publication is designed to take you step-by-step through the fitting process and to help you understand the concepts of fit- ting clothing and altering patterns. Southern Region Publication Committee Nadine Hackler, Chairman Dorothy L. Barrier Ursula Holahan Margie McIntyre Revised 1980 This publication formerly was numbered EHE 178. This publication is published cooperatively by 14 states in the Southern Region including: Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, Oklahoma, Puerto Rico, South Carolina, Tennessee, Texas and Virginia. PERSONALIZED PATTERNS — FITTING AND ALTERING Table of Contents Foreword What Is Good Fit 2 7 1 Meking a Dress for Fitting .. 2 Selecting the Pattern 2 Marking the Pattern 4 Selecting the Fabric 4 Prepariag the Fabric. . 4 Cutting Out the Dress 5 Marking the Dress 5 Assembling the Dress 5 Fitting the Dress . . 5 Analyzing Fit 5 Making the Alterations 5 ‘Transferring the Alterations tothe Fatterns ... . 6 Equipment for Altering Patterns 6 Methods for Altering Patterns. 6 Guidelines for Altering the Pattern 7 Definitions 8 Using Alterations on Fashion Patterns 8 Alterations 9 Bodice Front. foes eee tev tees 9 Smell Bust fees weeeeeae 9 Large Bust sei sees: bee east wee ‘ ‘+ TE Low Bust Webs eee dt eeeee . tee wae treeereee Ut High Bust... : 15 French Dart oo... 0c... reemoneersuasicatnis seeas AB Atmbole Potehsacessxien TTI SULEE NOH eshaeeneremarenese 16 Fat Pocket stew aeviensiresin senalesnecna ate AEAI qt Hollow Chest .............. 17 Prominent Chest Bone .........-..-002cceccsseeeeneveees 18 Short Waisted in Center Front aenceisit veseeeeee 19 Midriff Bulge ‘ web eeeeees . . 1g Arnmhole Too Small .... et 20 Armhole Too Large oo... ames Rensnacseonians z 20 Gapping Neckline es : agian, veces 20 Neckline Too Low... SRR ETT VER 21 ‘Neckline Too High P eee 21 BodicoBack.......... é 26Giinsnnunmenennncen . 21 Broed Back see EO EE 21 Narrow Back ............ new 22 i Erect Back... a SeseeseamN Ets i 24 Round Back : . Hee e rab n ee eeee nese eer en enone 25 Dowager’s Hump vos ee bees ee eee wiceeeee es 25 Prominent Shoulder Blades and Broad Upper Back |... 0 sss +. 26 Short Waisted in Center Back eres 26 Shoulders * 26 Broad wee neeee egos . * wenseaees SS Narrow seeUoRRSE ALR 28 Square ......... Set ed eee ewes 29 Sloping............ ist Se ndlReRerersemmessnnancrenscemcnemcsn ence 30 Sleeves a1 Heavy Arm wf 2 or 31 ‘Thin Arm m wae eee sat sala 31 Large Upper Arm Muscle .. voeeeceeeee . ceceeseeeees soe BL Thick Elbow Seca ARTO SICA ERAN TTA NTNU (OS Sleeve Cap Too Short ca eantesaccmIORTNAT REA 33 Sleeve Cap Too Long... 0.00... a . 33 Hang of Sleeve eer Tega 33, Binding Armholeand Sleeve . 34 Skirt waanncciancres 9B Prominent Hips and Thighs ......... 35 Flat Buttocks: a : cone 85 Full Buttocks............. srecemsmnsesaceasecite 8 seen Full Abdomen . . ceceeeeees -. 38 Sway Back 39 Prominent Hip Bone . . 40 One Largeand High Hip . . 40 Waistline Feet btn etbveeseeesteeeess 41 Short Waisted . .. ee 41 Long Waisted 41 Large Waistline foes b beet teeneeee ersten es vos ML Small Waistline vee . eee eee ereeeges 4 Uneven Waistline ‘i 43 Fitting Pants ... What Is a Good Fit? Buying the Pattern . Measuring the Body Preparing the Pattern . Making Alterations on the Pattern Making Test Garment. Fitting the Test Garment Additional Alterations Stylizing a Basic Pattern Soloctod References . pense z wea BL (id) WHAT IS GOOD FIT ‘The standards of good fit must be understood before good fit can be achieved. Clothing should fit the body smoothly with enough room to move easily and be free from wrinkles. ‘There are certain guides that help one judge fit. ‘These are: + correct amount of ease + correct length, width, and dart direction + proper searline placement + proper positioning of fabric grainline Ease Allowance ‘There are two types of ease: style fullness and ease for movement. Style fullness is influenced by the design of the garment. Ease for movement is influenced by personal preference, the size and shape of the individual, the activity for which the clothing is worn, the length of wearing time, the fabric, and the type of garment (for example: coats, suit, dress, or pants). Personal preference must be considered when fitting clothing, Some people feel more secure or think they look better in clothing that fits the body snugly. Others feel restricted in their move- ment unless their clothing is very loose. One must strive for an acceptable fit while considering per- sonal preferences. A correctly fitted garment in good design lines helps reveal or camouflage the body shape and size, Some large women wear clothing that is too snug. ‘Their reason for wearing snug clothing may result from the mistaken idea that tight fitting garments have a slimming effect, which unfortunately they do not. The person who is large looks better in a trim, not tight fit. The activity for which the clothing is wom in fluences fit, Sport clothes are generally fitted with more freedom for movement than street clothes Evening wear is often fitted quite snugly. Garments which are worn frequently and for an extended number of hours are usually fitted less snugly than those worn for short durations, Fabric influences the amount of ease a garment can have and look attractive on the body, Some fabrics are very stable while others have built-in stretch, Some are designed to fit the body snugly while others must be draped loosely. Certain types of garments have more ease than others. A coat, for example, needs more ease for movement than a dress, The jacket of a suit must allow space for a blouse or sweater. There are general ease for movement guides that apply to a dress. These are: * bust. ..3 to 4 inches (7.5—10 cm, if garment hhas sleeves; 2 to 3 inches (5—7.5 cm), if garment is sleeveless *waist...0 to 1 inch (0-25 em); fits body smoothly e hips. .. 2 to 3 inches (5—7.5 cm) * sleeve . .. 2 to 8 inches (5—7.5 cm), at upper arm muscle Darts, Seamline and Grainline Placement Fit of clothing is influenced by the structural lines of the body. Darts, certain seamlines, and grainline placement are important guides in judg- ing fit. A look at the different parts of a garment re- veals these fitting stendards, Neckline A jewel neckiine is positioned at the base of the neck and encircles the body smoothly without gapping or appearing too snug. Lower necklines lay against the body and remain near the body when movement takes place. Shoulder Seams The standard position for the shoulder ceam is directly on top of the shoulder in line with the center of the ear. Sleeves The armhole seam follows the natural curve of the body, where the arm joins the body, and lays on top of the end of the shoulder socket hone. Misplacement of this seam is one cause of discomfort, making the sleeve feel too tight. Back bodice width, and/or shoulder scam length may need to be increased or decreased to put the seam in its correct position, ‘Another cause of discomfort is incorrect depth of the armhole seam. For a standard set-in sleeve, the position is 1 to 1% inches (2.5—3.8 cm) below the armpit. Greatar depth restricts movement of the arm. The sleeve hang is smooth with no wrinkles or pulls when the arm is by the side. In order for this to be accomplished, the crosswise grain must be parallel to the floor. On a sleeve with elbow darts or fullness, the ease is directed toward the elbow when the arm is bent in a 45 degree angle. A full-length sleeve is most flattering when it barely covers the prominent wristbone. Sleeveless Armholes Sleeveless armholes must neither bind nor gap, exposing the inner garment. The underarm. seam position is ¥2 inch (1.2 cm) below the arm- pit. Darts The bodice front darts point toward the bust. They usually end 4 to 1 inch (1.2~2.5 cm) from the bust point, Exceptions are (1) tightly fitted clothing, especially evening wear where the darts may ond at the bust point; and (2) style trends that make it fashionabk to have closely fitted bodices on daytime dresses. Other fitting darts should be directed toward and stop short of the fullest part of the body. For low bust, midriff bulge, or prominent ab- domen, either dart tucks or case at the waist- line are more figure flattering than fitted darts. ‘The width of the base of a dart needs to be considered since darts are designed io release fabric to cover body curves. If a person has a large bust, the base of the dart needs to be wider’ to release enough fabric for 1 smooth fit. Conversely, the less prominent the curved area, the narrower the base of the dart should be. A flat buttocks requires small darts; otherwise, ripples develop at the point of the darts. Waistline ‘The waistline falls at the natural vaist and fits the body snugly enough to stay in place but not tight enough to bind or wrinkle. Side Seams Side scams hang perfectly straight from arm- hole to waistline to hemline. The seams, therefore, are perpendicular to the floor, swinging neither forward nor backward. The skirt has a balanced hang. This means that at the hemline, the skirt hangs the same distance from both sides of the legs. Hen ‘The hem is straight and even (paraliel to the floor) Fabric grainline warrants additional attention. For a garment to fit correctly, both the lengthwise and crosswise grainlines of woven fabries and the wales and courses of knit fabrics should te in cor- rect relationship to the structural lines of the body. If this fabric-body relationship is not main- tained, wrinkles may develop and clothing may hang unevenly. This fabric-body relationship is: the lengthwise grain of wovens and the wales of knits run up and down the body and are perpen- dicular to the floor at certain points on the bod the crosswise grain of wovens and the courses of knits run around the body and are parallel to the fluvr at certain points on the body, (figure 1), 0 Sometimes fabric is cut on the bias for decorative reasons or for a special kind of fit. In this case, the true bias of the fabric should run around the body parallel to the floor. The location of the grainlines is discussed further under the section “Marking the Pattern.” There are fabrics that have grainlines perma- nently set off-grain. Consumers must beware of buying off grain fabric. If the fabric is more than. one-half inch off-grain, the finished garment will not look right to the eye even though fit may not be affected. Stripes, plaids, motifs and other de- signs on off-grain fabrics are difficult, if not im- possible, to match, MAKING A DRESS FOR FITTING a pattern in of learning it a dress Nearly everyone must change order to ebtain a custom fit, One wa what alterations are necessary is ta that is basic in design, Selecting the Pattern Patterns are classified according to figure type and size, both of which are important to achieving good fit. ‘The size of the bra or ready-to-wear dress is not necessarily an indication of the best pattern suze or type. hips» pees (17.5 om) hips EL <- (22.5 em) Figure 2 First, take the body measurements. When tak- ing body measurements: * wear inner garments. + tie a string around waist to locate the n ural position. + use a plastic-coated tape measure for greater accuracy. * hold the tape snug but not tight, + hold the tape parallel or perpendicular to the floor, ‘Tho necessary measurements are: (Figure 2) + High Bust, Measure across the back, under the arms, and above the bust. * Bust, Measure across the back, under the arms, and across the bust point, * Waist. Measure around the body at position of tho string. * Hips, Measure seven inches to nine inches down from waist at side of boly, then around hips, + Back Waist Length, Measure from promi- nent bone at base of neck to natural line, * Height. Take total height measurement, without shocs, Second, decide on the figure type clawification, In order to accomplish this, compare the back waixt length and height measurements with the charts in the pattern book, and study the written description of each figure type, Select the type that most closely represents your figure. Third, decide on the correct size pattern within the figure type chosen. When selecting dress, coat, suit and blouse patterns, buy by the bust measure- ment. The high bust measurement is used when itis four (10 cm) or more inches emaller than the bust measurement, The high bust measurement gives a better fit through the chest, neckline, and armholes. These areas are usually more difficult to alter than the bustline. Frequently people fall between two sizes, When this happens, choose the smaller of the two sizes for a thin, small-boned type; choose the larger size for a large-boned person, ‘The hip measurement is used when buying pant and skirt patterns, An exception is a very full skirt, which is bought by the waist measurement. Fourth, select a basic dress pattern. Both waist- line and shift style patterns are acceptable. (Figure 8). Choose the shift when a fitted waist- line is never worn, It is preferable, however, to fit the waistline style because it contains all the fit- ting points (jewel neckline, waistline seam, slim skirt, long fitted set-in sleeves, bodice darts, skirt darts). Pattern companies have different policies with regard to ease even though the same basic body measurements are used. This ease variation is one reason for the differences in fit of patterns produced by the various companies. Scloct the hasle fitti pattern from the company most frequently used. Figured Marking the Pattern ‘The following lines are marked on the patter. It is at these positions that the grainline of the fabric should fall parallel or perpendicular to the floor when the garment is on the body. Figure 4 Bodice Front (Figure 4) * 4 inches (10 cm) down from neckline at center front and perpendicular to lengthwise grainline. ‘across point of bust and perpendicular to longthwise grainline, * down center front and parallel to lengthwise grainline, Bodice Back (Figure 5) * 4 inches (10 cm) down from neckline at center back and perpendicular to lengthwise grainline, *base of armhole and perpendicular to lengthwise grainline, * down center back and parallel to leagthwise grainline, Sleeve (Figure 6) * base of sleeve cap perpendicular to length- wise grairline. + down center of sleeve parallel to lengthwise grainline. Figure 5 Fy @ fare 7 Skirt (Figure 7) * 7 inches or 9 inches (17.5-22.6 cm) below waist on skirt front and back, perpendicular to lengthwise grainline. * down center back and center front and parallel to lengthwise grainline. Shift (Figure 8) + do all markings as previously stated plus * waistline of shift marked as indicated on pattern, | Figure 10 é Preparing the Fabric 1. Straighten ends of fabric by pulling a thread and cutting. (Figures 9 and 10). 2. Fold fabric lengthwise and check to see if crosswise and lengthwise grainlines are per- pendicular to each other. Preshrink fabric by washing. Dry to damp stage if straightening of grainline is needed. Fabric is easier to straighten when damp. 4, Straighten fabric by pulling on the bias in the direction opposite the higher of the grain edges. (Figure 11). Some fabrics cannot be straightened because of the finish. Selecting the Fabric Figure ® Cutting Out the Dress * shoulder seams * bodice side seams * skirt side seams This addition gives 1 inch (2.5 cm) scam allowances where some alterations may be made. It is important that the grainline markings on the pattern correspond with the grainline of the fabric so that comect alterations can be made, To insure accurate cutting, hold the fabric as close to the table as possible. Use sharp shears. Marking the Dress The crosswise and lengthwise grainline markings are transferred from the pattem to the right side of the fabric. This may be done with: + tracing wheel and carbon paper * pen or pencil * machine basting in contrasting color of thread Mark accurately on the right side of the fabric all seamlines and notches with tracing wheel and carbon paper. Note: Even when using gingham check, marking the grain lines give you a line to “zero” in on, Assembling the Dress Staystitch neckline on 5/8 inch (1. cm) searaline. Staystitch othor curved areas, if desired. The dross is then machine basted (longest stitch length) together using a contrasting color of thread, leaving zipper eection open in center front or back. Some people prefer to assemble the total garment before beginning the fitting process; others prefer to leave the dress unattached at the waistline. Press all seams and darts, FITTING THE DRESS Analyzing Fit Analyzing fit is w continuous process. This an- ulyzation helps one think through the fitting problems so that correct alterations can be made. ‘There are three steps in analyzing fit: First—Study carefully the overall fit, Check to determine if: * The caxe in width and length is correct. Bodice width and length and skirt width alterations, if needed, are mace first 40 that the garment ia not excessively large or small. Only after these alterations are made can other fitting problems be identified. + The darts are directed toward the fullest part of the body curve, have a desirable width at the base, and are the correct length. + The grainlines are running parallel or per- pendicular to the floor. * The seamline placement is correct. ‘The direction of wrinkles helps in analyzing the fit. Crosawise pulls indicate that the garment is too tight. Extra width is needed, Crosswise folds of fabric indicate that the garment is too long. Length needs to be reduced. Lenuthirise folds of fabric indicate that the garment is too wide. Width needs to be reduced. Diagonal wrinkles mean that the grainline is being pulled from the correct posi- tion. Wrinkles point to the problem. The grainline must be restored to proper position. When a dart base is tco deep, extra fabric will be present at the point. Second—Determine what figure irregularities are causing the garment to fit incorrectly. Ex- amples are: « sloping shoulders * full bust + small waist * square shoulders + rounded back * one high hip By determining figure irregularities it is then easier to make the necessary alterations ‘Third—At each problem area, decide what alter- ation is needed by lifting or pulling the fabric into position until smoothness of fit results and undesirable wrinkles are removed without creat- ing new ones. Making the Alterations Pin in all alterations while the dress is on the figure. The illustrations on pages 9 to 43 show the figure problems and how to do the alterations in fabrie and on patter The following order of muking wterations is recommended: length and width; badice back and front; slee akirt. Altering, simply stated, is a process of ndding and subtracting fabric whore needed. ‘Phere are two methods of altering—internal and external. When using the internal method, fabric is added hy slashing and spreading within the garment edges: fabrie is subtracted by slashing and lapping within the garment cages. ‘The external method ig the ndding of fabric to or subtracting of fabveie from the seamlines by taking up or letting out the seams. The external method is desirable only when small increases or decreases are made. After pinning in the alterations, remove the dress and sew in the changes. Try the dress on again to check alterations and make refinements, if necessary. TRANSFERRING THE ALTERATIONS TO THE PATTERN After fitting is completed, alterations ere trans- ferred to the basic pattern. This serves asa record and guide for altering all other patterns. Equipment for Altering Patterns ‘The following equipment is needed when alter- ing patterns: * scissors * flexible ruler + yardstick dull pencil and/or ball-point pen tissue paper tape (invisible or transparent) pins Methods for Altering Patterns ‘The two metheds of altering used in this publi- cation are the internal and external methods. A. Internal Method 1. Slash and Spread (Figure 12)—The pat- tern size is increased by cutting within the pattern. If fearful of making an error, trace the original pattern on firm brown or white paper before altering the paper pattern, making sure all tracings are ac- curate. Figure 12 ‘To do this: * draw line where fullness is needed and slash. + cut strip of tissue paper the length of the slash. + tape one cut edge of pattem to tissue paper. + measure from the taped edge the amount to be added and mark + bring the free cut edge to this marking. + smooth pattern until it lies flat. + tape. Helpful Hint: To realign pattern pieces that are cut completely apart and spread equally, draw short lines across the slash line before cutting. 2, Slash and Lap (Figure 13 — The pattern size is decreased by cutting within the pattern edges. ‘To do this * mark the line for slash, ‘+ measure from this line the amount of lap and mark. * cut on slash line, * lap cut edge to marked point. + smooth the pattern until it lies flat, * tape. B. External Method ‘This method is desirable when a small in- crease or decrease is needed. Figure iy 1. Add On (Figure 14) — The pattern size is increased on the pattern edges and the interior is left undisturbed. ‘To do this © tape a strip of tissue paper down the side of the pattern pioco neoding addi- tional fullness, * measure from cutting line the amount needed and mark at approximately 1 inch (2.5 em) intervals down the pattern edge. trim on marked line. 2. Trim-Away (Figure 15) — The pattern size is decreased on the pattem edges and the interior is left undisturbed. To do this: * measure from cutting line the amount to be removed. * connec: marks to make a solid line. + trim on marked line. Guidelines for Altering the Pattern Many people consider altering the pattem difii- cult. This results from a lack of understanding the basic guidelines which are applicable to any individual figure problem and pattem design, and to both methods of altering. Mastery of these rules on simple patterns is necessary before undertaking alterations on more complicated designs, Fayre le A. Alterations on one pattern piece may make alterations on adjoining pieces necessary. Do alterations on the major piece first; then make changes on adjoining pieces that are affected. (Figure 16) B, Slashing lires for internal alterations are usually drawn parallel or perpendicular to the lengthwise grainline, Slashing lines are usually located between side seam end darts to preserve grainline and fashion design. (Figure 17a). Alteration lines may go through darts when body bulges require a larger or smaller dart. (Figs 17b) C. When making width alterations, consider the total amount to be added on or taken away from the pattern. Most patterns are made on the half and will be cut twice. For example, to increase the skirt back hipline ¥ inch (1.2 cm), add % inch (6.0 mm) to the pattern. Width alterations are never made down center front and center back of pattern. D. Lines that are changed or distorted must be returned to their original character (trued). When a straight line is distorted, redraw by placing a ruler at points A and B, (Figure 18a). When curved lines are distorted, re- craw by dividing the difference as illustrated by the broken lines points € and D. (Figure 18b). Figure 16 When redrawing lines that involve a dart, bring stitching lines together. Tum dart as it will be pressed and cut along cutting line. ‘This establishes shape of dart base. E. When adding or taking away from edges of a pattern, the new lines must have the same character as the original lines. (Figure 19). incorrect shoulder snoglder pont Figure 20 F, On shaped patterns pieces, alterations are done internally to prevent changing the size or shape of the pattern. (Figure 20). Shor- tening and lengthening patterns is done on the lower edges only when the edge is : straight. Figure 21 Figure 22 G. When altering portions of the pattern that involve curved sreas (example: neckline, arm hole, waistline), trace pattern before cutting. ‘The traced pattern is then used to re-estab- lish the line affected, Base of Dart is the wide end of dart at the seamline, Shoulder Point is where the shoulder seamline and armhole seamline meet, H. Pattem grainlines must be straight when alterations are completed. If grainlines are . orted, they must be returned to wir Sleeve (Figure 22) original position, The methods used in this Sleeve Cap is the section above the capline that publication do not distort grainlines, is eased into the bodice armhole. I. After completing an alteration, check care- Shoulder Dot is the mark at the top of the fully to see if the width or length is added sleeve cap that matches the shoulder seam or removed where needed. when setting in the sleeve. J. The most difficult areas on any Fateern to 5 ‘ alter and preserve as originally designed are _Lengthwise Grainline the chest, reckline and armhole, Unless ab- Lengthwise Grainline on the pattern indicates solutely necessary, avoid making alterations the direction that a pattem piece should be in these arzas, placed on fabric, ‘The lengthwise grainline should run parallel to the selvage of the K. Pattern pieces should be perfectly flat when alterations are completed, fabric. DEFINITIONS USING ALTERATIONS ON Bodice (Figure 21) FASHION PATTERNS Bust Point is where the two lines intersect that After completing the alterations on the basic extend through the center of the bust and dross and transferring them to the pattern, the waist darts. The point of intersection indicates question arises of how to use these alterations on the fullest pert of the bust, fashion patterns, Here are some points to keep in mind. foitn: Bags De So serine att 08 sotto * Alterations made on the basic pattem can be transferred to fashion patterns of the Waist Dart starts at the front bodice waistline same company. and points toward the bust. + Ifa different brand of pattern is selected, slightly different alterations may de neces- sary. This must be learned through ex- perience, + Alterations cannot be transferred from one size to another size pattem or from one figure type to another figure type pattern. * Alterations made on the hasic patiern may need refinement, For example: it may be necessary tn add or take away an additional one-eighth inch. After making three dresses, the refinement adjustments should be ac- curate, + When a person changes size either by gain- ing, losing or redistributing weight, another hasie dress may need to be fitted. + When transferring alterations from the basic pattern to fashion patterns, do the same alterations as done on the basic pattern, adding or taking away the same amount, Caution: Do not measure a fashion pattern by the basic pattern. Style fullness has been added to the fashion pattern. + To preserve the basic pattern for later ref- erence, fusible interfacing may be pressed onto the beck. © Alterations may be combined. ALTERATIONS ‘Studying the sections on “Transferring Altera- tions to Pattern” and “Definitions” will ke helpful before beginning alterations. Note: Fabric strips may be fusible interfacing. BODICE FRONT ALTERATIONS Problem: Small Bust #1 (Figure 23) Garment on Lengthwise folds of fabric develop Body: due to excess width across bust- line. Correction on Pin out excess fabric at bust point, Garment: tapering to nothing at waistline and shoulder seams, Correction on Draw line through center of waist, Pattern: dart to bust point and to, but not through, shoulder seam, Draw line through center of bust dart to, but not through, bust point. Cut on marked lines. On lengthwise slash lap needed amount at bust point. Continue same amount of lap to waistline. This reduces the size of both darts. Tape. Redraw darts using original base lines and point. (Figure 23a). ‘True lines A-Line Draw line through center of angled Pattern: dart to bust point and to, but not through, shoulder seam, Princess Pattern: Kimono Pattern: Draw line through center of bust dart to, but not through, bust point. Cut on marked lines. Lap needed amount at bust point. ‘This reduces the size of beth darts. ‘Tape. Relraw darts using original base lines and point. (Figure 23b). On side front redraw pattern edge to remove needed amount, ‘Trim pattern. (Figure 28c) . Draw line parallel to lengthwise grainline from waistline through bust area to, but not through, shoulder seam. Draw line through center of bust dart to, but not through, first line. Cut on marked lines. On lengthwise slash lap needed amount at bust area, Continue same amount of lap to vaistline. This reduces size of both darts, ‘Tape. Redraw dart using original base lines and point. (Figure 23d). Figure 23 10 If additional or original width is needed through the waist, add at side seam, Raglan On bodice front draw line from Pattern: sleeve seam parallel to lengthwise grainline through bust area to, but not through, waistline. On bodice front draw line through center of bust dart to, but not through, first line. Cut on marked lines. On lengthwise slash lap needed amount at bust area. Continue same amount of lap at pattern edge, at a and b. On sleeve front at same point as vertical slash on bodice front, draw line to, but not through, shoulder dart. Cut on marked line, Lap ¢ and d the same amount as a and b. Tape. Redraw dart using original base lines and point, True lines. (Figure 23e). Problem: Small Bust #2 (Figure 24) Garment on Lengthwise and crosswise folds of Body: fabric develop due to excess width and length. Correction on Pin out excess fabric at bust point Garment: in length and width tapering to nothing at seamlines. Correctionon Draw line through center of waist Pattern: dart to, but not through. shoulder seam. Draw line through center of bust dart to bust point. Con:inue line perpendicular to lengthwise grain- line to pattern edge. Number pattern sections as shown, Cut on marked lines. Lap sections 1 and 2 at bust point amount of width to be removed, Tape. Lap sections 2 and 8 amount of length to be removed. Keep length- wise grainline straight, Tape. Lep section 4 at point where 2 and 3 intersect needed amount at bust point in both length and width. Keep cut edges parallel to 1 and 8 Overlap dart bases equal amount. ‘This reducos the size of both darts. Tepe. Redraw darts using original base lires and points. ‘True lines. Problem: Large Bust #1 (Figure 25) Garment is tight across bustline. Wrinkles develop between bust peints. Correction on Garment: Correction on Pattern: Figure 25 i Slash through waistline darts to shoulder seams, Spread needed amount. Insert fabric strips. Pin. Method A—Draw line through cen- ter of waist dart to, but not through, shoulder seam. Draw line through center of bust dart 6, but not through, bust point. Cut on marked lines. On lengthwise slash spread needed amount at bust point. Continue same amount of spread to waist- line. This increases the size of both darts, Insert tissue paper. Tape. Redraw darts using original base lines and points. ‘True lines and base of darts. (Figure 25a). Method B—Cut out section as il- lustrated. ‘Spread needed amount at bust area, Insert tissue paper. Tape. ‘True lines. (Figure 25b). Problem: Large Bust #2 (Figure 26) Garment on Body: Correction on Garment Correction on Pattern: Bust grainline rides up at center front. Diagonal and crosswise wrinkles develop. Bodice front is top short and tight. Slsh through waistline darts to shoulder seams. Slash thrcugh bust darts and across front of garment. Spread needed amount. Insert fab- rie strips. Pin, Draw line through center of waist dwt to, but not through, shoulder seam. Draw line through center of bust dart to bust point. Continue line 12 A-Line Pattern: perpendicular to lengthwise grain- line through pattern edge. Number pattern sections as shown, Cut on marked lines. Spread sections 1 and 2 at bust point needed amount of width. Insert tissue paper. Tape, Drop section 3 needed emount and line up with 2. Keep lengthwise grainline straight. Insert tissue paper. Tape. Spread section 4 needed amount at bust point in both length and width. Keep cut edges parallel to 1 and 3. ‘Spread base of darts equal amount. Insert tissue paper. Tape. Redraw darts using original base lines and points. True lines and darts. (Figure 26a). Draw line through center of angled dart to bust point and to, but not through, shoulder seam. Draw line through center of bust dart to bust point, Continue line perpendicular to lengthwise grain- line through pattern edge. Cut on marked lines. Number pattern sections as shown. Spread sections 1 and 2 at bust point needed amount of width. Insert tissue paper. Tape. Spread sections 2 and 3 needed amount of length. Keep lengthwise grainline straight. Insert tissue paper. Tape. Spread section 4 at bust point the needed amount in both length and width. Keep cut edges parallel to 1 and 3. This enlarges the size of both darts, Insert tissue paper. Tape, Redraw darts using original base lines and points, True lines, (Figure 26b). Princess Pattern: Raglan Pattern: Draw lines perpendicular to the lengthwise grainline through the bust area of the side front and center front pattern pieces. Cut on marked lines. Spread needed amount of length. Keep lengthwise grainline straight. Insert ussue paper. Tape. At side seam draw dart as shown, or ease in extra length at side seam when the garment is constructed. Tape tissue to shaped seam on sie front from waistline to shoul- der seam. At bust point redraw pattern edge to add needed amount of width ‘Taper to nothing at shoulder seam and waistline. Trim tissue. ‘True lines. (Figure 26c). On bodice front draw line through center of bust dart to bust area. Continue line perpendicular to lengthwise grainline through pat- tem edge. On bodice front draw line from sleeve seam parallel to lengthwise grainline through bust area to, but no: through, waistline, 13 Kimono Pattern ‘Number sections as shown. Cut on marked lines. Spread sections 3 and 4 at bust point needed amount of width. Insert tissue paper. Tape. Spread sections 2 and 3 at bust area needed amount of length. Keep lengthwise grainline straight, Insert tissue paper. Tape. Spread section 1 at bust point the needed amount in both length and width. This enlarges the size of both darts. Insert tissue paper. Tape. On sleeve front at same point as vertical slash on bodice front, draw line to, but not through, sboulder dart. Cut on marked line. Spread c anil d the same amount as a and b. Insert tissue paper. Tape. Redraw dart using original base Jines and point, (Figure 26d) ‘True lines Draw line through center of bast dart te bust point. Continue line perpendicular to lengthwise se line through pattern edge, Draw line parallel to lengthwise grainline from waistline through bust area to, but not through, shoulder seam, Number pattern sections as shown, Cut on marked lines. Spread sections 1 and 2 at bust point needed amount of width. Insert tissue paper. Tape. Spread sections 2 and 2 needed amount of length. Keep lengthwise grainline straight, Insert tissue paper. ‘Tape. Problem Garmenf on Body: Correction on Garment: Correction on Pattern: Spread section 4 the needed anount at bust point in both length and width. Keep edges parallel to 1 and 3, This enlarges the size of dart. Insert tissue paper. Tape. Redraw dart using original base lines and point ‘True lines. (Figure 26e). If extra width is not needed through waist trim off at side seam or ease in fullness during the construction of the garment. Low Bust (Figure 27) Bustline durt lies above the bust, Fabric fullness is releassd above bust point. Merk bust point with a yin. Place pits in line with original dart to indicate the amount dart needs to be lowered, Method A—Trace bust dart on tis- sue paper including center line, dots and base. Cut out traced dart, On pattern draw a line parallel to dart center line indicating the arrount dart needs to be lowered. Place center line of traced dart on top of this line. Make sure that dart length remains the same. Tape. Lower point of waist dart, if needed, (Figure 27a). Princess Pattern Figure 27 14 ‘Method B—Draw a box around the dart, Cut out box and move it down the amount dart needs to be lowered. Keep cut edges parallel. Tape. Insert tissue paper. Tape. Lower point of waist dart, if needed. (Figure 27b) ‘Trace armhole including a small amount of shoulder and underarm cutting lines. On side front at a point above notch in armhole, draw a line per- pendicular to lengthwise grainline. Extend this line across center front pattern piece. Cut on marked lines. Spread evenly the amount dart needs to be lowered. Make sure lengthwise grainline is straight. Insert tissue paper. Tape. Remove added length at place in- dicated on pattern. Tape tracing of original armhole in place. Line up at shoulder and underarm cutting lines. Cut armhole by traced pattern. True lines. (Figure 27c). Problem: High Bust (Figure 28) Garment on Body: Correction on Garment: Correction on Pattern: Bustline dart lies below Fabric fullness is relea: bust point. Mark bust point with pin, Place pins in line with origina! dart to indicate the amount dart needs to be raised, Method A—Trace bust dart on tis- sue paper including center line, dots, and base. Cut out traced dart, On pattern draw a line parallel to dart center line indicating the amount dart needs to be raised. Place center line of traced dart on top of this line. Make sure that dart length remains the same, ‘Tape. Raise point of waist dart, if needed, (Figure 28a). Method B—Draw a box arund the dart. Cut out box and move it up the amount dart needs to be raised, Keep cut edges parallel. Tape, Insert tise paper. Tape. Princess Pattern; 16 Raise point of waist Gart, if needed, (Figure 28b), ‘Trace armhole including a small amount of shoulder and underarm cutting lines. On side front at a point above noteh in armhole, draw a line per- pendicular to lengthwise rainline, Extend this line across center front pattern piece. Cut on marked lines. Lap e to be ri Es ly the amount dart needs ed. Make sure lengthwise nline is straight, Tape. Adil needed length at. plac cated on pattern, indi ‘Tape tracing of original armhole in place, Line up at shoulder and un dorarm cutting lines, hole by tn ‘True Innes, (irigure 2X) Cut wi ced pattern, Problem: Designing A French Dart (Figure 29) Garment on Body: Correction on Patter The French Dart is flattering for individuals with a large bust but may be worn by all figure types. ‘The French Dart is formed by com- bining bust and waist darts into one dart that angles from the side sesm. Draw lines from center of bust and waist darts until they intersect at bust point. (Figure 29a). Draw line from side seam, about one inch above waist, to bust point, Cut on all three marked lines to, bu; not through, the bust point, leaving all pieces connected, Remove waist and bust darts by matching stitching lines ai base of darts. Tape. (Figure 29b). Insert tissue paper. Tape. ‘Mark point of new dart about one inch from bust point in center of spread. Draw new dart as shown, (Figure 29). Bring stitching lines of new dart together. Turn dart as it will be pressed. Trim off excess tissue paper along cutting lines. This es- tatlishes the shape of the dart base. (Figure 29d). 16 Figure 30 Problem: Armhole Pouch (Figure 30) Garment on Body: Correction on Garment: Correction on Pattern: A fold of fabric falls from armhole toward bustline. This is more com- monly found on the full-busted figure than others, Pin out told. Draw a line diagonally from arm- hole to bust point at same position as fold on garment. Draw another line through bust dart. Cut on marked line to, but not through, intersecting point, At armhole lap needed amount. ‘Tape. Place tissue paper under spread. Tape. ‘True lines. If wider base dart is not needed remove addition at waist. If necessary make alteration in sleeve cap. Note: If a large amount. you may want to slash waistline darts, too. Problem: Fat Pocket (Figure 31) Garment on Body: Correction on Garment: Correction on Pattern: Garment pulls at armhole due to excess flesh near arm socket. This problem may be found on both bolice front and back. Slash from bust point to armhole seam and to end of bust dart, Spread needed amount. Insert fabrie strip. Pin. Imaw a line through the

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