ADVANCED

PATTERN CUTTING
Text Book
ADVANCED
PATTERN
CUTTING
Text Book
Creating basic pattern with
Technical Drawings

Gmyt Fashion Academy

 COPYRIGHT c
Copyright © 2021

All rights reserved. No part of this publication may be reproduced, distributed,

or transmitted in any form or by any means, including photocopying, recording,
or other electronic or mechanical methods, without the prior written
permission of the publisher, except in the case of brief quotations embodied in
critical reviews and certain other noncommercial uses permitted by copyright
law. For permission requests, write to the publisher, addressed “Attention:
Permissions Coordinator,” at the address below.

Printed in Nigeria

First Printing, 2018

ISBN 9069911140
Registration No. LW7682

GMYT FASHION ACADEMY

18A , Grace Anjous Drive,
Lekki Phase1,lagos.
Tel: +2348163311111, +2348093511111,
+23414542859

To know more about us:

visit: www.gmytfashionacademy.com
MISSION

Gmyt Fashion Academy is focused on creating the next

generation of entrepreneurs through skill acquisition in
Fashion and its business knowledge.

VISION

Our aim is to create solutions by creating job

opportunities for millions of women/youth around the
world via the skills and knowledge acquired at the
Academy.

VALUES
To go beyond ordinary and encourage extra ordinary
Initiative/talent.
we embrace our responsibility to co-create a world
where each of us with great courage, integrity and love
can flourish as a community .

We are proud to be a world-class fashion school. We are

proud to be different. We are proud to be
Gmyt Fashion Academy where we fuel fresh
perspectives and have changed the fashion world.

www.gmytfashionacademy
SOME OF OUR AWARDS

www.gmytfashionacademy
 GMYT FASHION
ACADEMY
ABOUT THE ACADEMY

ABOUT THE ACADEMY

Grounded in our legacy of excellence and creativity, at Gmyt fashion Academy, we aren’t
trapped by the usual things in the fashion industry rather we are inspired by it. We shape
men and women to become not just fashion designers but also fashion entrepreneurs; We
are a fashion business school that trains her students with the necessary skill set and
business knowledge required to manage and sustain their fashion business. We are
committed to creating the next generation of entrepreneurs.
Our curriculum is very rich, spanning over 24 months. Through our ambitious learning
experiences anchored in fashion design, excellence, creativity and our facilitator’s
expertise, we have been able to inspire our students to learn how to think, create and
explore. We have never stood still. Over the years we have evolved and continued to evolve
to reflect the ever-changing Fashion Industry and business landscape. We are constantly
strengthening our expertise by adding more courses and programs to our portfolio in line
with market demand. As an example; from our first set of graduates till date, we have
added over a hundred soft skills that will enhance our students into become professional
fashion designers and start up their business even before they graduate from the school..
Today, we have over 1,000 alumni community some of which already own their Fashion
academies, Ready to wear brands, Bespoke, Bridals, Boutiques/Retailing etc. We are
packed with a lot of trainings which includes, Pattern Drafting, Manual Illustration,
Business of Fashion, Fashion Marketing Skills, Visual merchandizing,
Styling, Haute Couture, Bridals, Avante Garde, Children’s wear, Men’s wear amongst other
side skills that surrounds fashion.

Annually, we organize an award and fashion show ceremony (Gmyt African Humanitarian
Award and Fashion Show) where we give our graduating students more publicity and
recognition, potential sponsors, clients, partners, a networking platform and other
numerous benefits.

The academy has received numerous awards including OUTSTANDING LEADERSHIP

AWARD OF EXCELLENCE for OUTSTANDING FASHION SCHOOL OF THE YEAR, GMYT
MENTORSHIP AWARD, RANKED NUMBER 3 AMONGST THE TOP 100 FASTEST GROWING
SMEs by BUSINESS DAY and OUTSYANDING CSR ORGANIZATION AWARD

18A Grace Anjous Drive, O ffRoad 14,

Lekki Phase 1, Lagos
Gmyt Fashion Academy
www.gmytfashionacademy.com 08163311111, 08093511111 IG: @gmytfashionacademy
www.gmytfashionacademy
Being described as a revolutionary in some circles, she stated that, "The reason for all these
initiatives is that the economic system in Nigeria is not only relentlessly harsh; it is sadistically cruel.
Society has deemed that your school degrees do not guarantee you job opportunities. Most of these
beneficiaries during the course of their training are also provided with accommodation by GMYT
Fashion Academy in order to ease the accommodation challenges often faced in Lagos, Nigeria. She
is an epitome of Beauty and Brain. Her avid love for fashion coupled with her passion for humanity
propelled her to create the Gmyt African Humanitarian Awards & Fashion Show, an Award
ceremony that recognizes and celebrates philanthropist like herself because it is important to
recognize and appreciate their efforts, as you can see it's not an easy task. It is also a platform that
celebrates our students who are indeed the “Best Fashion Designers”.

Princess Kelechi Oghene has flare for golf game and have won several competitions with over 20
trophies even business class flight tickets to different countries of her choice. She loves being on the
pitch competing with professionals.

In conclusion, she is indescribably glad to have helped to reduce unemployment through

empowering youths who can become ambassadors and future leaders.

SOME OF HER AWARDS & TROPHIES

www.gmytfashionacademy
 MD/CEO’S PROFILE
PRINCESS KELECHI OGHENE is the MD of
GMYT FASHION ACADEMY, a foremost
fashion institution well-known for its giant
strides in the fashion industry evidenced by the
training and creation of new generation of
fashion entrepreneurs. The optimistic
philosophy that she has adopted has been much
solace to her in her journey towards achieving
her goals and being a big reader with a strong
appetite for learning which prompted her to
attend several workshops and training. Today,
we are proud to say that she has bagged several
degrees and qualifications from notable
institutions; She is an alumnus of Lagos State
University, Lagos Business School, London
School of Fashion, Harvard Business School,
just to mention but a few; These have made her
more structured and exceptional in her business
dealings. She has also bagged several awards
some of which are: Ecowas Designer of The
Year, Nigerian Entrepreneurs Award for Most
Enterprise Personality of The Year, Symbol of
Hope Awards for African Woman of Impact. Nigerian British Award for Supporting The
Fashion Industry.
GMYT Fashion Academy under the able leadership and care of her unrelenting MD, has
graduated over a thousand men and women that are now skilled in the business world of
fashion. These Alumni have made significant strides in the fashion scenes and now own their
respective brands in the fashion sector. Her vision is to create millions of entrepreneurs who
will become great ambassadors and tomorrow's leaders. Her greatest ambition is keeping
with her commitment to eradicating poverty by training and empowering men and women
with the necessary skill-set to thrive and become financially independent. Because of the
academy and the necessity to expand and help more people, she founded the Gmyt
Foundation, a non-governmental organization set aside to help women and youths.

Over the years, she and her team have been able to conduct free entrepreneurial sessions,
seminars and workshops for men and women on fashion design with scholarships worth over
200 million naira and she has also empowered over 300 men and women with an Industrial
Sewing Machine each through her proclaimed Initiative. Because she knows she can
contribute more to societal growth, her passion has motivated her to set a goal that on or
before 5 years, she will train over 10,000 women and youths; God willing. She also has
another initiative which is the Gmyt SME support s cheme that encourages men and women
with brilliant ideas that are struggling with their businesses of which she has supported this
movement with millions of naira. The reason being that she is a philanthropist in nature.
Leading by example, she wants to encourage everyone to use their positions to help because
she believes it starts with individuals.
www.gmytfashionacademy
 AC KN OWLEDGEME NT

A book is never written alone and its success is

always determined by the contributions of
different people. I could never have succeeded
without the influences of several people whom I would
be giving my thanks.
I want to thank the entire GMYT staff for the efforts they
all put into this textbook, these set of people supported
me at several points of this project; helping with research
and vibrant ideas.

They are a major inspiration on how this book came to

life, ensuring contents, designs, and a more explanatory
book was created.

I thank them for believing in me and working tirelessly to

ensure we realize the dreams we share. Fundamentally
what I love to do is create, so it's wonderful doing this
with a team that can achieve the dream I desire.

This book documents in details the techniques of pattern

making and make them easy to understand, and a very
big thank you to the students at GMYT fashion Academy.
They were a big motivation and a major reason for the
birth of this book and every research I have done.

Finally, I am most grateful to God almighty who has been

gracious to me and has consistently provided the
opportunities that brought me to where I am today.

www.gmytfashionacademy I
 C O N T E N T S
ABOUT THE ACADEMY i DIRECTOR’S SPEECH viii

BIOGRAPHY iii INTRODUCTION xiv

ACKNOWLEDGMENT v

::::: TOPICS ::::::

FABRICS 1 TROUSER 59

UNDERSTANDING THE TAPE COLLARS 72

MEASUREMENTS 6 NECKLINES 78
DRESSES 86
STITCHES 7
JACKETS 105
BASIC MEASUREMENTS BODICE 10
HOODIE 109
STRAIGHT LINES ON PAPER 11
WAIST COAT 110
LOCKING WITH THE MACHINE ON POCKETS 111
FABRIC 13 PLEAT 116

COMPONENTS OF SHIRT AND FIXING OF ROMPERS 118

ZIP 14 JUMPSUIT 119

BODY SUITS 120
HOOKS & BUTTON HOLES 16
CAT SUIT 121
FREEHAND MEASUREMENT 17
PLAY SUIT 122
BODICE BLOCK 21
SWIMSUIT 123
SKIRT PATTERN/MEASUREMENT 25 BASIC SHIRT BLOCK 124
SKIRTS 27 SLEEVE 126

DARTS MANIPULATION 37 COWL 134

ASYMMETRIC DARTS CORSET 141

MEN’S WEAR 144
MANIPULATION 43
CHILDREN WEAR 146
OVER LOCKING 45
DRAPED PATTERN MAKING 156
LINING OF OUTFIT 55
FASHION DRAPING 159
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 MD/CEO SPEECH

The Nigerian fashion industry is a huge industry

with a multitude of jobs opportunities in
different fields and it is important to find a job
that suits your passion, degree, skills and
talents. Even if you have never done a sketch or
sewn a dress, you can have a career in fashion
because there are a million sides to fashion that
haven t been explored.
The fashion industry is growing on daily basis
and this makes it a gold mine for aspiring
entrepreneurs. There are so many business
ideas in the fashion industry that can serve as an
avenue for you to make money. However, i must
point out the fact that passion is an essential
ingredient for success in the fashion industry.
Secondly, the fashion industry is very
competitive; so you must be an excellent
marketer and develop tough skin to pull
through.

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ii
Below are different facets of fashion with different opportunities therein to
explore:

FASHION DESIGNERS
1. Technical Designer
2. Sample Markers
3. Print Designer
4. Color Services
5. Zipper Button Designer
6. Pattern Makers
7. Fashion Forecasters
i. Color of the season
ii. Trend of the season
iii. Fabric of the season
iv. Fashion trends
v. Fashion Illustrators Manual Digital Illustration
vi. Fashion Stylists

PRODUCTION
1. Pattern Makers
2. Merchandizers
3. Technical Designers
4. Grading
5. Marker Makers
6. Cutters
7. Sewers
8. Piping
9. Zipper
10. Fringe
11. Distributors
12. Finishers
13. Couturists
14. Vertical Integrated Factories

RAW MATERIALS
1. Textile Print Designers
2. Graphic Designers
3. Fabric Manufacturing Converters
4. Trim Designers
5. Leather tanneries
6. Crocheters

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iii
EMBELLISHMENT ii. Web designers
1. Beading
2. Embroidery FASHION EDUCATION
3. Appliques I. Fashion academy
4. Dye Houses II. Fashion instructors
5. Wash Houses . Pattern Instructor
6. Laser Cutting . Fashion Illustration Instructor
. Freehand Instructor
MARKETING . Bridal Instructor
1. PR . Beading Embellishment Instructor
2. Social Media
. Textile Design Instructor
3. Runway
III. Fashion consultants
I. Models
IV. Teaching Training
ii. Hair Makeup
iii. Set Designing
V. Fashion Academy Manager
iv. Runway Production VI. Supervisor
v. Fashion Photography
4. Ads Agencies
5. Billboards
6. Magazine Ads This aspect of fashion is very rampant
7. TV Commercials and has a lot of people in the line of
8. Fashion Films fashion business.
9. Website Ads
10. Journalism
I. Magazine
ii. Blogs
iii. Websites
iv. Writers
v. Editorial team
vi. Photographers
vii. Videographers
viii. Graphic Designers

SALES
1. Wholesale
I. Buyer
ii. The Retail Crew
iii. Visual Merchandizer
iv. Sales reps
v. Showrooms
vi. Tradeshow Production
2. Distributor to Consumer Sales
I. Online Shop

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iv
 FA S H I O N D E S I G N E R
It consists of the core creation of path of fashion that is rarely ventured.
dresses, apparels and patterns. A good fashion marketer should be.
Designers are required to be multi-
talented. They sketch, sew, create and PRICING & DISTRIBUTION
mix colors, research upcoming fashion
trends, choose fabrics and also utilize Pricing and distribution decisions are
computer aided design and also, design also part of fashion marketing. This
entire lines. A Fashion designer should involves research and analysis of how
have artistic and creative qualities and products are selling in retail or online
use those skills to produce unique distribution channels and determining
design concepts for various fashion where and at what price fashion
applications. Many fashion designers products should be sold, with the
include themselves in the entire process overarching goal of maximizing profits.
and oversee the production, also every
fashion designer will attend fashion
shows and trade shows. Depending on HOW MARKETING INFLUENCES
the size of the company, the fashion DESIGN
designer may manage other
professionals such as pattern makers, Although a fashion marketer is not a
colorists and seamstresses. fashion designer, fashion marketers still
influence the products and designs of a
DIFFERENT BRANCHES OF FASHION fashion brand. The fashion marketer
DESIGNER: understand fashion trends and their
- Costume designer (Men’s wear, business impact. What styles are selling
women’s wear and Children’s wear) best? Which aren't? fashion marketing
- S hoe designer isn't only about promoting the work of
-Accessories designer - Lingerie fashion designers, it can also influence
designer - Embroidery designer design based on business performance
- Bead makers - Fashion forecaster and market trends.

DEVELOP & MANAGE ADVERTISING

FASHION MARKETING
CAMPAIGNS
Fashion marketing deals with how
clothing gets into the hands of the Fashion marketers use their creativity
consumer. The aim of fashion marketing alongside market research to create
is to analyze consumer tastes and show compelling advertisements that
h o w a b ra n d b e s t f i t s i n t o t h a t resonate with their target audiences.
consumers lifestyle. All fashion
companies need a good fashion WHO IS A GOOD FIT?
marketer to help market and promote Fashion marketing requires both fashion
their products. This is a very lucrative sense and business acumen. Candidates

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DIGITAL FASHION specialize on specifics such as
shoes, bags, perfumes, accessories,
Digital Fashion Illustration is the makeups, etc. You can also choose to
advanced method of Fashion illustration be gender
which involves the use of digital aids like focused by starting a fashion
a laptop and graphic tablet. boutique for kids, women, men, etc.

GRAPHIC DESIGN FASHION T V SHOW

Art and graphic designer is a visual Running your own TV show

correspondent, who assembles into a production with respect to the
visually pleasing and organized fashion industry is another way to
arrangement all of images, typography, keep your entrepreneurial prowess
or motion graphics required to solve or alive while still keeping the cash
compliment a marketing challenge. They flowing.
might work on a campaign, look book
design and making, photo edit, as well as MACHINIST
a magazine editorial shoot all within
their career. The items designed are A machinist is a person who uses
primarily for published, printed or machines using hand tools and
electronic media. machine
Graphic designers are also needed in tools to create or modify a part that
Fashion. They help with graphic, is made of metal, plastics, or wood.
produce advertising copy and images for
promotional materials both for print and ASSISTANT DESIGNER FOR A
online purposes. HIGH STREET RETAILER:

FASHION WRITERS General Duties of the Assistant

fashion designer could be:
Fashion writers work for newspapers, ª Gathering market research
magazines, fashion websites or blogs, ª Initial sketching of ideas
and television to produce editorial for ª Liaising with the colorist to
the fashion media industry. Without create a color palette.
them, we wont have the textbooks, ª Using trend information
articles and write-ups that best explains ª Sourcing fabrics from
the theoretical aspect of fashion. different suppliers
ª Sourcing trims such as zips
FASHION BOUTIQUE and sequins.
ª Sketching working
You can start a fashion retailing outfit
where you can sell all manner of Fashion consultants supply
products. You can also choose to professional fashion advice and
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vi
 ª drawings
ª Amending any design problems. FASHION CONSULTANTS

BEADING i. Increase Sales

The fashion consultant, when
For many decades, beads have been working for a company or store, also
used by various people in different areas serves as a customer service and
of the world. They are used as necklaces sales representative, Through the
bracelets, waist adornment for women provision of fashion advice and
and girls in some parts of the world. Bead assistance of customers in the
making is a business that has become selection process, the fashion
more modernized into facets. You can consultant both fulfills the
decide to venture into fabric-beading customer's needs and helps the
where you embellish clothes with beads store sell additional merchandise,
thus making it more couture. increasing overall customer
satisfaction and company profit.
TEXTILE FABRIC COLORIST
ii. Follow trends
Textile and fashion fabric colorists are The fashion consultant is up to date
responsible for mixing, developing and with market place trends and
creating colors and color palettes for current fashions while maintaining a
clothing, clothing lines, and textiles. timeless knowledge of fashion
Mainly the designer or other client will principles. They analyze seasonal
have a specific color in mind, and it is up trends and implement them into
to the textile colorist to mix it to precise their client recommendations and
specifications. In other cases, the fabric are expected to be expert in the field.
colorist might have complete creative Because the fashion industry is
freedom to create colors for a client constantly changing, a fashion
based on the way he/she might interpret consultant will regularly update his
them. or her looks in order to develop new
outfits and concepts for clients.
FASHION RESEARCH AND
DEVELOPMENT iii. Generate and Pursue Leads.
Often, Fashion consultants are
Research and development involves responsible for securing and
working as an engineer or researcher in growing their own client base. This
product, fabric and process innovation. requires generating or pursuing
It you're an engineer or researcher, leads, selling their services and
you're trying to find new and better ways following up with current customers
of producing clothes and accessories. If by phone and email.
you like working with cutting-edge
equipment and technology, this is the
fashion career path for you.
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vii
for fashion marketing positions should aim is to bring to life, using the ultimate
be prepared to use both quantitative representation of poise, posture and
and qualitative skills to learn about natural expressions. Its an art that, in
target audiences and devise creative one single presentation sells,
ways to drive sales. Good fashion entertains, and represents fashion.
marketers are creative, up for a
challenge, and not afraid to work in a FASHION ILLUSTRATORS
fast-paced environment.
Fashion illustrators are creative and
PATTERN
PAT T E R N MMAKER
AKER they love expressing their opinions and
thoughts through sketches. Fashion
First of all, what is pattern making? illustrators make money through
Pattern making is a simple term that sketching for top designers and also
describes a very complicated job teaching others how to carry out
function in fashion. Pattern making is a illustrations. Graphic designers are also
complex engineering and not just the needed in Fashion. They help with
creative art that most people think it is. graphic, produce advertising copy and
Pattern makers are the technical images for promotional materials both
backbone to the manufacturing process for print and online purposes.
in fashion and have more control than
any other person in order to produce a Types of Fashion Illustration:
quality outcome. . Manual Fashion Illustration
. Digital Fashion Illustration
FASHION PHOTOGRAPHY
PATTERN MAKER
MANUAL ILLUSTRATION
Fashion photography is one of the
worlds most sought-after professions. Manual Illustration is a facet of fashion
But for every fashion photographer illustration that involves the use of
who makes his way through the door of pencil and a sketch pad.
a top magazine, a thousand of other
fashion photographers find their niche
in fashion advertising, art photography,
celebrity portraiture or even paparazzi
work to make a living.

FREELANCE MODELING

You can also venture into freelance

modeling and taking photo shots for big
brands and advertising companies.
Runway modeling is a visual art form for
representing motion and attitude. The
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They also respond to all customer academies and also earn a lot of
requests and questions, schedule clients money because of the value they
and place orders for customers. impact.

Fashion consultants supply professional Being a Fashion instructor is yet

fashion advice and recommendations to another part of fashion that can
individuals, customers or companies. They generate enough income. Fashion
use their knowledge of trends and fashion instructors can teach in fashion
principles in order to assist others in the academies and also learn a lot
realm of fashion. money because of the value they
impact.
Fashion consultants typically work either
for fashion companies or on an individual, CAD DESIGNER
contract basis. Some work in retail
environments, leveraging their advice and Computer-aided designers in the
expertise to ultimately increase fashion industry use computer
merchandise sales. software to create design & sketches
to create clothes, accessories, shoes,
Fashion Consultant Duties and intimate apparel and more. They use
Responsibilities the software to create prototypes for
In order to advise others on fashion, a clients and employers. Computer-
fashion consultant performs many aided designers work for retail
different tasks. We analyzed job listings companies, fashion designers, textile
for fashion Consultants in order to identify companies, apparel manufacturers
these core duties and responsibilities. and design studios.
· Provide Fashion Advice
T h e c e n t ra l d u t y o f t h e f a s h i o n In conclusion, I want to emphasize on
consultant is to advise customers and the fact that fashion is a lucrative, yet a
clients in making fashion decisions. competitive industry but it still doesn't
They make recommendations on mean a new entrant can't break even.
individual pieces, entire outfits, color However, like every other business,
palettes, styles and fabrics. This your level of passion, creativity and
involves listening to the customer's hardwork are crucial factors that will
needs and understanding each determine if you will succeed or fail
individual client in order to personalize
and tailor suggestions to the client's SET UP A MODELING AGENCY
aesthetic preferences and personal
style, body type, price range and the A modeling agency is a company that
occasion for which the customer is represents fashion models in working
dressing. Being a fashion instructor is for the fashion industry. These
yet another path of fashion that can agencies earn their income through
generate enough income. Fashion commission, usually from the deal they
instructors can teach in fashion make with the models or the head
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ix
agency, if you are competent enough to You can also
MAGAZINE venture into magazine
PUBLISHING
source for modeling deals and models publishing with a focus on fashion styles
alike, then you are in business. and trends. Your core task in this case is to
keep the fashion enthusiasts abreast with
Pattern grader is a person who follows a happenings in the fashion industry.
prescribed system of applying
mathematical gradients and ratios to FASHION ACADEMY
pattern pieces to size them up or down. It
is important to have an understanding of Another profitable business you can
body shapes in order to understand the establish is a fashion training academy. A
principles of grading, since not all sides huge example is the Director of GMYT
of the pattern are graded FASHION ACADEMY. Your core task
here is to train people who are interested
FASHION BLOGGING in fashion business or wish to gain skills
such as fashion stylists, bead making,
if you are passionate about fashion, you fashion designing, fashion illustration,
are good at analyzing trends and you embroidery and other facets of fashion
have an eye for observing the slightest design.
detail but you don't have the required
capital to go into full scale fashion; you In conclusion, fashion is a lucrative, yet a
can simply set up a fashion blog and make competitive industry. But does not mean a
money. Fashion bloggers also earn much new entrant can't break even. However,
money as fashion designers like every other business, your level of
passion, creativity and hard work are
FASHION STYLIST crucial factors that will determine if you
will succeed or fail.
A wardrobe stylist, also fashion stylist, is
a consultant who selects the clothing for
published editorial features, print or
television advertising campaigns, music
videos, concert performances, and any
public appearances made by celebrities,
models or other public figures. Stylists
are often part of a larger creative team
assembled by the client, collaborating
w i t h t h e f a s h i o n d e s i g n e r,
photographer/director, hair stylist and
m a ke u p a r t i s t t o p u t t o g e t h e r a
particular look or theme for the specific
project. Even under being a stylist, there
are facets around It.
FASHION MAGAZINE

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 I N T R O D U C T I O N

T he purpose of the Advanced Pattern

book is to explain in details the
techniques of pattern making and make
them easy to understand. It is basically an
aspect of creating basic patterns with
technical drawings for fashion, done on
brown paper.
The topics have been planned to be a
practical reference for fashion students and
those seeking career in the fashion industry.
The resources in this book will guide users in
developing and interpreting silhouette
designs ranging from bodice, sleeves,
trouser, collar, jacket, children's wear, skirt,
necklines, seams, body frames & shapes,
dress, bustier, lingerie, trouser, jacket,
joggers, jumpsuits, dinner wears, draping,
bridal wears, corsets, bustier.
The contents are of value even without
classroom instruction as it helps to develop a
solid approach to cutting and good fitting
practices to maximize it to your creative
advantage.

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 TABLE OF SLEEVE PROPORTIONS

SIZE TOP ARM-TA SLEEVE SIZE CROWN POINT B ELBOW WRIST LENGTH

DEPTH DC WIDTH OF ARM

I 28 + 5 33 12.5 5 cm down 29 15 56

II 29 34 12.5 5+ 29 15.5 57

III 30 35 13 5.5 30 16 58

IV 31 36 13 5.5 30 16.5 59-60

V 32 37 13.5 5.5+ 31 17 60

VI 33 38 13.5 5.5+ 31 17.5 61

VII 34 39 14 6 32 18 62

VIII 35 + 6 41 14 6 34 18.5 63

IX 37 43 14.5 6+ 35 19 64

X 39/40 45/46 15 6.5 36 19.5 65

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STANDARD BODY MEASUREMENT FOR WOMEN

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Body measurement charts for high-street fashion garments
The retail sector sells high fashion to the young markets size charts that fit a youthful or
athletic figure. Their ranges appeal to young teenagers and therefore many companies in
this market have extended the lower end of their size range and reduced the upper end of
the range. This size chart reflects these marketing pressures. The even size increments
between the sizes have been constructed for simple grades.

Young women of medium height, 160-172cm (5ft 3in-5ft 71/2 in)

Size code 6 8 10 12 14 16
bust 76 80 84 88 92 96
waist 56 60 64 68 72 76
low waist (5cm below natural waist 66 70 74 78 82 86
hips 82 86 90 94 98 102
back width 31.4 32.4 33.4 34.4 35.4 36.4
chest 28.5 30 31.2 32.4 33.6 34.8
shoulder 11.5 11.75 12 12.25 12.5 12.75
neck size 34 35 36 37 38 39
dart 5.2 5.8 6.4 7 7.6 8.2
top arm 25.5 26.5 27.5 28.5 29.5 30.5
wrist 13.5 15 15.5 16 16.5 17
ankle 22.5 23 23.5 24 24.5 25
high ankle 19.5 20 20.5 21 21.5 22
nape to waist 39.8 40.2 40.6 41 41.4 41.8
front shoulder to waist 39.8 40.2 40.6 41 41.4 41.8
armscye depth 19.8 20.2 20.6 21 21.4 21.8
waist to knee 57 57.5 58 58.5 59 59.5
waist to hip 19.7 20 20.3 20.6 20.9 21.2
waist to floor 101 102 103 104 105 106
body rise 25.9 26.6 27.3 28 28.7 29.4
sleeve length 57 57.5 58 58.5 59 59.5
sleeve length (jersey) 53 53.5 54 54.5 55 55.5

Size symbol XS 6 S 8-10 M 12 L 14-16 XL 18

bust 76 82 88 94 100
waist 56 62 68 74 80
low waist (5cm below natural waist 66 72 78 84 86
hips 82 88 94 100 106
back width 31.4 32.9 34.4 35.9 37.4
chest 28.8 30.6 32.4 34.2 36
shoulder 11.4 11.8 12.2 12.6 13
neck size 34 35.5 37 38.5 40
dart 5 6 7 8 9
top arm 25.5 27 28.5 30 31.5
wrist 14.6 15.3 16 16.7 17.4
ankle 22.6 23.3 24 24.7 25.4
high ankle 19.6 20.3 21 21.7 22.4
nape to waist 39.8 40.4 41 41.6 42.2
front shoulder to waist 39.8 40.4 41 41.6 42.2
armscye depth 19.8 20.4 21 21.6 22.2
waist to knee 57.1 57.8 58.5 59.2 59.9
waist to hip 19.8 20.2 20.6 21 21.4
waist to floor 101 102.5 104 105.5 107
body rise 26 27 28 29 30
sleeve length 57.1 57.8 58.5 59.2 59.9
sleeve length (jersey) 53.1 53.8 54.5 55.2 56.9
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Standard body measurements - women’s sizing

Young women of medium height, 160-172cm (5ft 3in-5ft 71/2 in)

Size code 6 8 10 12 14 16 18 20 22 24 26
bust 76 80 84 88 92 96 100 104 110 116 122
waist 60 64 68 72 76 80 84 88 94 100 106
low waist (5cm below natural waist70 74 78 82 86 90 94 98 104 110 116
hips 84 88 92 96 100 104 108 112 117 122 127
back width 31.4 32.4 33.4 34.4 35.4 36.4 37.4 38.4 39.8 41.2 42.6
chest 28.8 30 31.2 32.4 33.6 34.8 36 37.2 39 40.8 42.6
shoulder 11.5 11.7 12 12.25 12.5 12.7 13 13.2 13.6 13.9 14.2
neck size 34 53 36 37 38 53 40 54 42.4 43.8 45.2
dart 5.2 55.8 6.42 7 7.6 98.2 8.8 19.4 10 10.6 11.2
top arm 24.8 26 7.21 28.4 29.6 30.8 32 33.2 35.2 37.2 39.2
wrist 14.5 15 5.5 16 16.5 17 17.5 18 18.7 19.4 20.1
ankle 22.5 23 23.5 24 24.5 25 25.5 26 26.7 27.4 28.1
high ankle 19.5 20 20.5 21 21.5 22 22.5 23 23.7 24.4 25.1
nape to waist 39.8 40.2 40.6 41 41.4 41.8 42.2 42.6 43 43.4 43.8
front shoulder to waist 39.8 40.2 40.6 41 41.4 42.3 43.2 44.1 45 45.9 46.8
armscye depth 19.8 20.2 20.6 21 21.4 21.8 22.2 22.6 23.2 23.8 24.4
waist to knee 57 57.5 58 58.5 59 59.5 60 60.5 61 61.5 62
waist to hip 19.7 20 20.3 20.6 20.9 21.2 21.5 21.8 22.1 22.4 22.7
waist to floor 101 102 103 104 105 106 107 108 109 110 111
body rise 25.9 26.6 27.3 28 28.7 29.4 30.1 30.8 31.8 32.8 33.8
sleeve length 57 57.5 58 58.5 59 59.5 60 60.25 60.5 60.75 61
sleeve length (jersey) 53 53.5 54 54.5 55 55.5 56 56.25 56.5 56.75 57

Extra measurements (garments) 20.5 21 21 21.5 21.5 22 22.5 23 23.5 24 24.5

cuff size shirts 13 13.25 13.5 13.75 14 14.25 14.5 14.75 15 15.25 15.5
cuff size , two piece sleeve 20.5 21 21.5122 22.5 23 23.5 24 24.5 25 25.5
trouser bottom width 18 18.5 8.5 19 19 19.5 19.5 20 20 21 21
jeans bottom width

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Standard body measurement - women’s sizing
The size chart reflects the larger average size of women today. The medium size is set at
12-14. This type of chart is used mainly for leisure wear and particularly for garments in
mail-order catalogues. The size chart has 8cm grades between the codes, which a half at
XS. The XXS (extra extra small) and XXL (extra extra large) sizes are rarely used by the
major retailers.
Note 1: A large number of garments made in these sizes are made in jersy fabric, therefore
the front shoulder to waist measure remains the same.

Women of medium height 160-172cm (5ft 3 in-5ft 71/2in)

size symbol XS X M L XL

bust (control meas. to fit) 74-78 78-86 86-94 94-102 102-110

Size code 78 82 90 98 106

bust 62 66 74 82 90
waist 72 76 84 92 100
low waist (5cm below natural waist 86 90 98 106 114
hips 32 33 35 37 39
back width 29.4 30.6 33 35.4 37.8
chest 11.7 11.9 12.4 12.9 13.4
shoulder 34.5 35.5 37.5 39.5 41.5
neck size 5.4 6 7.2 8.4 9.6
dart 25.4 26.6 29 31.4 33.8
top arm 15 15.5 16.5 17.5 18.5
wrist 23 23.5 24.5 25.5 23.5
ankle 20 20.5 21.5 22.5 23.5
high ankle 40 40.4 41.2 42 42.8
nape to waist 40 40.4 41.2 42 42.8
front shoulder to waist 20 20.4 21.2 22 22.8
armscye depth 57.3 57.8 58.8 59.8 60.8
waist to knee 19.8 20.1 20.7 21.3 21.9
waist to hip 101.52 102.52 104.52 106.52 108.53
waist to floor 6.3 7 8.4 9.8 1.2
body rise 57.3 57.8 58.8 59.8 60.8
sleeve length 55.3 53.8 54.8 55.8 56.8
sleeve length (jersey)

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STANDARD BODY MEASUREMENT
FOR MEN

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TAKING BODY MEASUREMENTS arm should be raised and bent. Measure from neck bone
across shoulder to L, through O to N at just below the wrist
The body should be relaxed. The measurements are usually bone.
taken when the man is wearing a shirt and trousers Tie a P-Q: Side seam length for trousers Measure from the waist
string or elastic around the waist indent on the body to to the heel seam of the shoe.
establish the natural waistline.
R-S: Body rise Seat the man on a stool; measure the depth
Guide for taking measurements from trouser waist position to top of stool. T-U: Inside leg
Measure from high in the crutch to heel seam of shoe.
A-B: Back neck to waist Measure from the bone at the
rape of the neck to waistline. A-C: Length of garment Note: The width required for the bottom of the trousers
Measure from the bone at the nape of the neck to length should be noted. V: Wrist circumference Measure wrist in
required. the position of just above the wrist bone.
D-E: Half across the back Measure from center back (15cm Extra measurements
down from nape) to position of sleeve seam at back scye
(armhole). For a very accurate measurement, measure the W: Arm circumference Measure the top arm which must be
full back width then halve the measurement. bent. This measurement is used when the arm is very well
developed.
F. Chest This is the most important measurement and the
most difficult. Place the tape under the arms round the A-X: Scye depth The standard measurement from the size
body at chest level. Make sure that the tape passes over chart should be used in most cases. If the arm and
the shoulder blades or a much reduced chest shoulder are well developed, check that the scye depth is
measurement will be obtained. (This would be fatal to the deep enough. Place tape across back under arms,
production of the block.) It is useful for an assistant to hold measure down from neck bone to centre of tape.
the tape in position at the back.
Standard measurements
G: Natural waist Measure in the position of the string at the
waist indent. The body should be relaxed. The following measurements are usually taken from the
standard measurement chart using the chest
H: Trouser waist position Measure approx. 5cm below the measurement for reference. Scye depth.
natural waist. This is a low waist measurement, it is the Cuff size of two-piece sleeve for jacket or coat. Cuff size for
position where the trousers will be worn. The body should shirt. If a man is of average shape, he should conform
be relaxed. I: Seat Measure around the fullest part of the closely to the standard measurements for his chest size. It
seat, usually 21cm down from waistline. is important to compare personal measurements against
the standard measurements to ensure that the personal
J: Neck Measure easily round base of neck; take the ones are correct.
measurement on the lower edge of tape.
Fitting problems
K-L: Shoulder Measure from base of neck to the shoulder
bone. This measurement is used only if the shoulders are If measurements are taken carefully, the blocks will provide
wider than the standard figure. an excellent fit. There are, however, certain figure problems
that will require adjustments to the block. It is impossible in
L-M: Sleeve length for one-piece sleeve Measure from this book to cover in depth the problems of fitting difficult
shoulder bone to just below the wrist bone. figures. However. some guidance is given for correcting
common figure faults on the following pages.
D-N: Sleeve length for two-piece sleeve The arm should be
raised and bent. Measure from centre back (15cm below
neck bone) across back, continue through O at elbow point,
down sleeve to wrist bone. D-O is elbow length taken when
arm is very long or short. A-L-N: Sleeve length for shirt. The

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Standard body measurements: young men - athletic figures of regular height (4cm increments)
Height 173-180cm (5ft 8in - 5ft 11in)

Size chart for overgarments and trousers

A chest 88 92 96 100 104 108 112

B seat 90 94 98 102 106 110 114
C waist 74 78 82 86 90 94 98
D trouser waist position (4-6cm below waist)78 82 86 90 94 98 102
G-H back neck to waist 18.5 19 19.5 20 20.5 21 21.5
E-F half back 43 43.4 43.8 44.2 44.6 44.8 45
G-I scye depth 22 22.8 23.6 24.4 25.2 25.6 26
J neck size 37 38 39 40 41 42 43
K-L sleeve length one-piece sleeve 63 63.6 64.2 64.8 65.4 65.7 66
E-M sleeve length two-piece sleeve 79 80 81 82 83 83.8 84.6
N-O inside leg 77 78 79 80 81 82 83
P-Q body rise 27.2 27.5 27.8 28.1 28.4 28.7 29
R close wrist measurement 16.6 17 17.4 17.8 18.2 18.6 19

Extra measurements (garments)

garment length varies with type of garment and with fashion
cuff size two-piece sleeve 27.4 28 28.6 29.2 29.8 30.4 30.8
trouser bottom width (varies with fashion) 21.4 21.8 22.2 22.6 23 23.4 23.8
jeans bottom width (varies with style) 21.4 21.8 22.2 22.6 23 23.4 23.8

Adjustments for short or tall figures

Size charts for tall or short men have each vertical measurement adjusted as follows

SHORT 163-170cm TALL 183-190cm(6ft-6ft 3in

(5ft 4in - 5ft 7in approx.) approx.)

back neck to waist -2cm +2cm

scye depth -1cm +1cm
sleeve length -2.5cm +2.5cm
garment length -4cm +4cm
inside leg -4cm +4cm
body rise no change +1cm

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Standard body measurements: young men - athletic figures of regular height (4cm increments)
Height 173-180cm (5ft 8in - 5ft 11in)

Size chart for overgarments and trousers

Imperial chest size approx. - inches 34 36 38 40 42 44

Imperial waist size approx. - inches 28 30 32 34 36 38
A chest 87 92 97 102 107 112
B seat 89 94 99 104 109 114
C waist 73 78 83 88 93 98
D trouser waist position (4-6cm below waist)77 82 87 92 97 102
G-Hback neck to waist 18.4 19 19.6 20.2 20.8 21.4
E-F half back 43 43.4 43.8 44.2 44.6 45
G-I scye depth 22 22.8 23.6 24.4 25.2 26
J neck size 36.8 38 39.2 40.4 41.6 42.8
K-L sleeve length one-piece sleeve 63 63.6 64.2 64.8 65.4 66
E-M sleeve length two-piece sleeve 78.8 80 81.2 82.4 83.6 84.8
N-O inside leg 77 78.2 79.4 80.6 81.8 83
P-Q body rise 27.2 27.6 28 28.4 28.8 29.2
R close wrist measurement 16.5 17 17.5 18 18.5 19

Adjustments for short or tall figures

Size charts for tall or short men have each vertical measurement adjusted as follows

SHORT 163-170cm TALL 183-190cm(6ft-6ft 3in

(5ft 4in - 5ft 7in approx.) approx.)

back neck to waist -2cm +2cm

scye depth -1cm +1cm
sleeve length -2.5cm +2.5cm
garment length -4cm +4cm
inside leg -4cm +4cm
body rise no change +1cm

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Standard body measurements: young men - athletic figures of regular height (4cm increments)
Height 173-180cm (5ft 8in - 5ft 11in)

Size chart for overgarments and trousers

A chest 88 92 96 100 104 108 112 116 120

B seat 92 96 100 104 108 114 118 122 126
C waist 78 82 86 90 94 98 102 106 110
D trouser waist position (4-6cm below waist)82 86 90 94 98 102 106 110 114
E-F half back back neck to waist 18.5 19 19.5 20 20.5 21 21.5 22 22.5
G-I scye depth 43 43.4 43.8 44.2 44.6 44.8 45 45.2 45.4
J neck size 22 22.8 23.6 24.4 25.2 25.6 26 26.4 26.8
K-L sleeve length one-piece sleeve 37 38 39 40 41 42 43 44 45
E-M sleeve length two-piece sleeve 63 63.6 64.2 64.8 65.4 65.7 66 66.3 66.6
N-O inside leg 79 80 81 82 83 83.8 84.6 85.4 86.2
P-Q body rise 77 78 79 80 81 82 82 83 83
R close wrist measurement 27.2 27.5 27.8 28.1 28.4 28.6 28.8 29 29.2
16.6 17 17.4 17.8 18.2 18.6 19 19.4 19.8

Extra measurements (garments)

garment length varies with type of garment and with fashion
cuff size two-piece sleeve 28.4 29 29.6 30.2 30.8 31.2 31.6 32 32.4
trouser bottom width (varies with fashion) 22.4 22.8 23.2 23.6 24 24.4 24.6 24.8 25
jeans bottom width (varies with style) 21.4 21.8 22.2 22.6 23 23.4 23.8 24.2 24.6

A size chart for shirts - mature and athletic figures

neck (collar size) 37 38 39 40 41 42 43 44 45

A chest 88 92 96 100 104 108 112 116 120
G-I scye depth 22 22.8 23.6 24.4 25.2 25.6 26 26.4 26.8
G-H back neck to waist 43 43.4 43.8 44.2 44.6 44.8 45 45.2 45.4
E-F half back 18.5 19 19.5 20 20.5 21 21.5 22 22.5
sleeve length for shirts 84 85 85 86 86 87 87 88 88
shirt length 78 78 80 81 81 82 82 82 82
cuff size for shirts 23 23.5 23.5 24 24 24.5 24.5 25 25

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Small Medium Large Xlarge XXLarge sizes
The actual meausrements applied under the labels SMALL, MEDIUM, LARGE, XLARGE,
XXLARGE depend on the breadth and type of market that is been targeted. Retailers who use
their market as the mature man will offer sizing under a particular label that is more generous in
width than a retailer selling to the young man.
Intervals working within the range of 8cm is suggested by British Standards and many British
manufacturers are now using approximately this sizing interval. The following sizing examples are
taken from the size charts of two large retailers.

Example 1: chest sizes (7-8cm intervals) Example 2: chest sizes (7-8cm intervals)

SML MED LGE XLGE XXLGE SML MED LGE XLGE XXLGE
up to 94 97-10 104-109 112-117 119-125 94-99 99-107 107-114 114-122 122-130

Body measurement chart for Small Medium Large Xlarge sizes (8cm increments)

This chart is useful for the younger (athletic) market. There is a small extra height height
differential betweenthe sizes.

A chest 92 100 108 116

B seat 94 102 110 118
C waist 78 86 94 102
D trouser waist position (4-6cm below waist)82 90 98 106
E-F half back back neck to waist 19 20 21 22
G-I scye depth 43.4 44.2 45 45.8
J neck size 22.8 24.4 26 27.6
K-L sleeve length one-piece sleeve 38 40 42 44
E-M sleeve length two-piece sleeve 64 65 66 67
N-O inside leg 80 82 84 86
P-Q body rise 78 80 82 84
R close wrist measurement 27.6 28.2 28.8 29.4
17 17.8 18.6 19.4

Extra measurements (garments)

varies with type of garment and with fashion
garment length
cuff size two-piece sleeve 28 29.2 30.4 31.6
trouser bottom width (varies with fashion) 21.8 22.6 23.4 24.2
jeans bottom width (varies with style) 21.8 22.6 23.4 24.2

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 FABRICS Uses for fabric can include; upholstery,
curtains, quilts, dress as well as
A textile is a flexible material consisting
apparel, outdoor needs and soft
of a network of natural or artificial
furnishings to name a few. Fabrics are
fibers (yarn or thread). Yarn is
derived from natural or synthetic
produced by spinning raw fibres of
sources and can even be blended to
wool, flax, cotton, hemp, or other
boast the best benefits of the two. End
materials to produce long strands.
uses, such as upholstery, curtains and
Textiles are formed by weaving,
furnishings, require fabric which is
knitting, crocheting, knotting or
strong, easy to clean and comfortable.
tatting, felting, or braiding.
You could also opt for a luxurious
fabric, such as silk, if aesthetic was
The related words "fabric”, "cloth" and
more important than durability. For
"material" are often used in textile
fabric for outdoor use, consider a
assembly trades (such as tailoring and
water resistant, or repellent material,
dressmaking) as synonyms for textile.
w h i c h w i l l l o o k g r e a t a n d s t ay
However, there are subtle differences
protected from the elements. For
in these terms in specialized usage. A
dress and apparel making, jersey
textile is any material made of
fabric, comfortable knits and stylish
interlacing fibres, including carpenting
woven fabrics are always in vogue.
and geotextiles.
As the uses of fabric vary, it is good to
A fabric is a material made through know that there are fabric materials to
weaving, knitting, spreading, keep up with them.
crocheting, or bonding that may be
used in production of further goods All fabrics are made from either
(garments, etc.). Cloth may be used natural fibers, and/or man-made
synonymously with fabric but is often a fibers. They can be made from all
piece of fabric that has been natural fibers, all man-made fibers, or
processed. both.
There are so many names of fabric that
Natural fibers are made from plants or
it can be hard to keep track of what
animals, and they include fabrics such
they all do and what they are all used as wool, silk, cotton and linen.
for. Because fabric material comes in
several constructions, fibres, weights Man-made fibers are made by
and handles, it is important to chemical processes, and they include
understand what their usages are. polyester, nylon, acetate and spandex.
When a fabric is created from both
fibers it is called a fabric blend. Since
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each fiber has its own qualities, change some measurements, and
blending the various fibers can create personal
many fabrics for different needs. For
example, wool and cotton blended Different Types Of Fabrics
together gives a better comfort, while
ramie and polyester is easy to take care Woven fabrics include muslins, poplin,
of. cambric, chiffon, corduroy, denim and
taffeta. The three main types of weaves
Garments are less standardized, are plain, twill, and satin. All other weaves
fashion changes more frequently, are variations of these three. These
fashion details are more varied and fabrics are generally tough and durable.
subtle, and fabrics cover a much bigger
range. Felt is an example of a nonwoven fabric.
Nonwoven fabrics are not very strong
The direct measurements system has because they are only bonded together
either by chemical, mechanical, heat, or
many detractors (chiefly among solvent treatment.
tailors) because the taking of direct
measurements is considered difficult Knit fabrics are stretchy and more
comfortable to wear. There are many
and unreliable, and the construction of
different knits such as the plain knit, also
a basic pattern on such data is thought known as jersey, double knit, rib knit,
to be unscientific. interlock knit, stretch knit and sweater
There is much truth in this, and it must knit.
Some fabrics are easier to work with than
b e ad mitte d th at th e tak in g o f others. Plain weave fabrics made from
measurements is difficult and never cotton or lightweight wools are great if
foolproof. It is impossible, for instance, you are sewing for the first time. Satin and
other sheer fabrics are for the more
to establish exact points or levels on advanced sewers.
figure from which or between which
one could measure with anything like It takes a while to get to know all the
different fabrics and blends, but it is
the accuracy expected in drafting. The
essential that you familiarize yourself with
figure may vary slightly from day to them in order to select the right fabric for
day, and the physical state, even the your sewing projects. The wrong material
mood of the person, may affect some can ruin a potentially beautiful garment.

measurement( e.g. a tired person If you're not sure what type of fabric to
usually tends to stoop more, and so will choose, simply check the pattern package
have a wider back). for suggested material. This is actually the
best way to learn. Then after a few
A different foundation garment may
projects you should have an idea of what
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you like to work with and which fabrics · Taffeta Fabric
go with which projects. · Denim Fabric
· Rayon Fabric
The label on the fabric bolt will not only · Spandex Fabric
inform you of the fabric blend, but it · Georgette Fabric
will also provide instructions on how to · Viscose Fabric
care for your fabric. Also check the · Grey fabric Fabric
fabric to make sure that it is what you · Polypropylene Fabric
want. Check the softness, thickness, · Satin Fabric
and whether it stretches, or drapes the
way you want it to. Mix Fabrics
· Industrial Fabric
Classification of Fabrics · Fiberglass Fabric
Textile fabrics are mainly used in · Filter Fabric
clothing, home furnishing and · Carbon Fabric
industrial. The fabrics are made from · Vinyl Fabric
various natural or artificial or mix raw · Plain Fabric
materials. Fabrics are classified based · Silk blended fabric
on the origin of fibres or raw materials · Jute blended fabric
and its processes. There are three · PTFE Fabric
types of fabrics that are available in the · Crewel Fabric
World. · Stretch Fabric
· Reflective Fabric
Natural Fabrics · Quilted Fabric
· Cotton Fabric · Narrow Fabric
· Silk Fabric · Laminated Fabric
· Linen Fabric · Flocked Fabric
· Wool Fabric · Flame Resistant Fabric
· Leather Fabric
· Ramie Fabric Materials and their qualities.
· Hemp Fabric Cotton
· Jute Fabric Light, thin and soft, cotton is a relatively
cheap material so is often used for a
Synthetic Fabrics multitude of different textile projects.
· Acetate Fabric Cotton is an ideal material for patchwork
· Chiffon Fabric projects and creating lightweight garments,
· Acrylic Fabric such as button-up shirts, dresses, socks, t-
· Organza Fabric shirts, bed sheets and much more, however it
· Lastex Fabric may not be well-suited for more heavy-duty
· Nylon Fabric stitch crafting.
· Velvet Fabric
· Polyester Fabric

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Denim wrinkle/shrink-resistance and how
Denim is a strong, sturdy material inexpensive they are. Polyester is
traditionally made from cotton warp commonly used for larger projects
yarn and a white cotton filling yarn. such as home décor, shirts, trousers,
These two yarns are finely interwoven jackets and more.
to create a complex twill weave,
strengthening the material. Although Rayon
it's primarily used to create jeans, As it's a semi-synthetic fibre, rayon is
jackets, dresses and dungarees, denim an extremely versatile material that's
can also be used to make accessories often used to substitute natural fibres
and even cover furniture for a non- in clothing. Although soft, comfortable,
conventional home décor style. smooth and absorbent, rayon has an
extremely low elastic recovery and
Felt fails at insulating heat, so is best used
A strong material made from either when sewing garments to wear in
natural fibres like wool, or synthetic hotter weather.
fibres like acrylic, felt is constructed by
matting and pressing fibres together Satin
to form a whole piece. Varying in Satin has a soft, even, glossy texture,
thickness, density and softness, felt reflecting light for a luxurious look. It's
doesn't fray when cut so is often used usually constructed by floating warp
in quick and easy craft projects, such as yarns over weft yarns, thus creating a
making decorations to hang around very high lustre that's perfect for
the home, teddies, quirky hats, or used c r e a t i n g l av i s h b e d s h e e t s a n d
in kids craft. furnishings. This materials is
commonly used in apparel, and is
Fleece especially ideal for lingerie, sleepwear,
Fleece is lightweight, strong and soft, scarves, and even ties!
constructed to almost mimic the
properties of wool. Made from a type Silk
of polyester with synthetic fibres, A n a t u ra l p r o t e i n f i b r e , s i l k i s
fleece is generally an inexpensive constructed primarily from the
material that's capable of insulating cocoons of the larvae of Mulberry
heat, so is the ideal material for Silkworms. Unlike many synthetic
creating jackets, hats, jumpers and fibres, silk has a soft, smooth and non-
throw blankets. slip texture. Although it's one of the
strongest natural fibres, it has low
Polyester elasticity and can lose strength over
Polyester fabrics generally have less of time. The beautiful lustre makes it ideal
a 'natural' feel in comparison to cotton for shirts, ties, suits, formal dresses,
or wool, however they are somewhat lingerie, robes, bedding and much
favoured by sewers due to their more.
durability, fantastic colour retention,
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Velvet origin of fibers or raw materials and its
Made from either natural or synthetic
processes. TRUE OR FALSE.
fibres, velvet is a woven fabric with a
dense pile that has a unique and 8. A textile is any material made of
distinctive, smooth, soft feel to it. As it has interlacing fibers, including carpeting
a luxurious texture and sumptuous
appearance, velvet was traditionally used and geotextiles. TRUE OR FALSE
to make opulent wall hangings and royal 9. Natural fibers are made from plants or
r o b e s . H o w e v e r t o d a y, i t ' s m o r e
______________
commonly used to create clothing,
cushions, home décor items, and to line 10. The three classifications of fabrics are
storage boxes. ________________ , ________________ and
EXERCISES _______________i
1. A textile is a flexible material consisting
of a network of natural or __________ fibers.
2. Woven fabrics include muslins, poplin,
cambric, chiffon, corduroy, denim. Plain
knit and jersey. TRUE OR FALSE
3. Silk is constructed primarily from the
cocoons of the larvae of Mulberry
Silkworms. TRUE OR FALSE
4. Polyester fabrics generally have less of a
'Artificial' feel in comparison to cotton
or wool. TRUE OR FALSE
5. The ideal material for creating jackets,
hats, jumpers and throw blankets is
_______________.
6. Organza Fabric, Latex Fabric, Nylon
Fabric, Velvet Fabric, Polyester Fabric,
Ramie Fabric and Hemp Fabric are
types of synthetic Fabrics. TRUE OR
FALSE
7. Fabrics are classified based on the

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A
common tape measure has generally much too rigid for dressmaking,
60inches and 150 centimeter. where shapes of garments are less
On a standard tape measure , standardized, fashion changes more
the biggest marking is the inch mark. frequently, fashion details are more
36 inches makes one yard, 18inches varied and subtle, and fabrics cover a
make half yard while 9inches makes much bigger range.
quarter yard.
The direct measurements system has
A yard in centimeter is 91.5cm; half yard many detractors (chiefly among tailors)
in centimeter is 45.8cm while quarter because the taking of direct
yard is 22.9cm. measurements is considered difficult and
NOTE: There are tape measures that unreliable, and the construction of a basic
are longer than the common one which pattern on such data is thought to be
stops at 60inches. unscientific.

There is much truth in this, and it must be

There are two different approaches to admitted that the taking of
drafting of patterns by measurement. measurements is difficult and never
One relies entirely upon direct foolproof. It is impossible, for instance, to
measurements taken on figure; the establish exact points or levels on figure
other, on various measurements and from which or between which one could
proportions obtained by calculation measure with anything like the accuracy
expected in drafting. The figure may vary
from one or two basic measurements (
slightly from day to day, and the physical
mostly from the bust, sometimes state, even the mood of the person, may
checked by height). This is generally affect some measurement( e.g. a tired
known as 'divisional system' of drafting. person usually tends to stoop more, and
so will have a wider back).
The divisional system (or any variation
combining both system) is used mainly A different foundation garment may
in tailoring and, whatever its merits, it is change some measurements, and
personal

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with skill and understanding, and to
STITCHES
leave a reasonable margin for possible
adjustment at the fitting.
Stitches are the fundamental elements
of sewing, embroidery, lace making etc.
There are Basic Measurements, which Stitches are loop of thread resulting
are essential for the construction of from a single pass or movement of the
every pattern and Supplementary needle in sewing, knitting or
crotcheting.
Measurements, which may be useful
In the old days, seamstress had to create
when working on a particular design or clothes entirely by hand. This technique
for a particular figure. The choice and is of course, perfectly okay but its far
number of the latter depend on tome consuming fo r the modern fast
paced world we now inhabit.
v ar io u s c ir c u ms tan c e s an d ar e
However, despite how useful and
influenced not only by style and widespread machine sewing is, people
fashion but also by ideas, experience still use hand stitches. There are
and working methods of the cutter. different types of stitches, each with one
Some cutters use no such extra or more names are used for specific
purposes. Examples of basic stitches
measurements, either for ensuring are;
better fit or for style planning, for they 1. Felling stich
prefer to make all the necessary 2. Blind stitch
adjustments at a fitting. Others, on the 3. Cross stitch
4. Back stitch
contrary, like to do more planning
5. Running stitch
ahead and to provide for the 6. Basting stitch
difficulties of fit and style at the 7. Overcasting stitch
pattern-making stage, considering a 8. Catch stitch
9. Top stitch
fitting as a mere checking of results,
10. Whip stitch
many of the more experienced cutter-
fitters belong to this group and, while 1. FELLING STITCH: This is one of the
measuring a person, they take their most commonly used stitch. It is also
own additional measurements and known as the apique stitch. As the name
suggest, its purpose is to join one fabric
notes on the shape of the figure, for layer to another, without visible stitches.
which no general instructions can be It can be used in securing a waist band
given. and fix a lining on a jacket.

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measurements to a flat surface, i.e. a sheet taken on individual figures with those of
of paper. Results are bound to be average figure. It is a well-known fact that
somewhat approximate, and inaccuracies experienced workers check their own
have to be allowed even in case of measuring by mentally comparing the
experienced workers, several of whom result obtained with average proportions.
may measure the same figure with slightly Anything which appears unusual and very
different result. different from the average is often re-
measured at once, and an attempt is
Notwithstanding all these difficulties, generally made to confirm the result by
personal observation. Thus, if the
direct measurements must be used difference between the chest and the back
because there is no satisfactory substitute measurements is found to be more than
for them, at least not in dressmaking. The usual, one would expect to see the reason
only thing one can recommend is to take for it in a more stooping or more erect
and use measurements intelligently carriage. This narrows down considerably
according to a definite plan, and with due the margin of possible mistakes. A learner,
sense of responsibility. unable to draw on past experience, is
advised to refer to a reliable 'table of
One of the most important preliminary average measurements and proportion'
steps is to establish a basis for registering and to develop the habit of reasoning on
measurements and, where several people basis of careful observation.
use them, there must be a clearly agreed
Finally, the last suggestion is to avoid
upon common basis. The method of taking too many measurements or relying
measuring must be definitely related to on elaborate methods of measuring, which
the method of producing the pattern, for e n c o u ra g e t h e t e n d e n c y t o w o r k
when a dressmaker is used to taking mechanically and provide more
measurements loosely the addition for fit opportunity for mistakes, particularly in
in the pattern will obviously be smaller case of less-experienced workers. A
than when the measuring is done close to complicated method appears often quite
the figure or almost tightly (as logical in theory yet may break down
recommended in this system). Generally completely in practice, either because the
speaking, good results can be expected cutter has not mastered it sufficiently, or
only if there is agreement on all these figure does not conform to theory in some
points, and if everybody concerned (e.g. important respect, or for some other
personal or technical reason, such as a
saleswoman, cutter, fitter) is quite clear as
customer's preference, a difficult fabric
to which measurements are essential, and and so on. There is nothing more
which are only supplementary. discouraging than producing ill-fitting
garment, or even one which simply does
A further suggestion or improving the not please the customer, after one has
standard of measuring is to develop the spent time and effort on a complicated
habit of comparing measurements system of taking measurements. It is far
better to rely on few simple
measurements, applied
preference may have to be taken into
account ( preference for tighter- or
looser- fitting clothes, for instance).
Finally, to all this must be added the
difficulty of applying contour
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2. BLIND STITCH: As the name indicates, 9. TOP STITCH: These are decorative
blind stitch hide stitches under the folded stitches on the outside of a garment or
edges. It can be used to create a blind hem sewn item. It is sewn more on jeans, it can
in dresses. It is very hard to see the also hold facing in place and prevent
stitches on the other side of the fabric. them from lifting up.
3. CROSS STITCH: This is two straight 10. WHIP STITCH: This is a popular
stitch crossing each other to form an X
method of hand stitching which is
shape. This stitch is good to create an
attractive and durable. It is often found
applique or designs on fabric.
on sewing patterns and great for hand
4. BACK STITCH: Before the age of
sewing machines, this stitch was used to applique designs. It is also popular for
create all clothing. Layer after layer. The seams in knitting and crotchet.
basic movement of this stitch is to take the
needle forward and bring it backward
leaving no space to the end of the
previous stitch.
5. RUNNING STITCH: Running stitch or
straight stitch is the simplest in hand
stitches. The stitch is worked by passing
the needle in and out of fabric at a regular
distance. It is also used to achieve any kind
of gathers you would want to reflect on
any part of your outfit.
6. THE BASTING STITCH: This stitch is
like the running stitch but longer . Instead
of making your stitches 1 centimeter
apart, make them 1/2 inch apart from
each other. The basting stitch goes faster
than the running stitch once you get in the
flow.
7. OVERCAST STITCH: This is a type of
stitch used to enclose a raw or unfinished
seam or edge. The purpose is to prevent
unraveling of the fabric.
8. CATCH STITCH: This used for a flat
finish nexy to fabric, such as seam binding
on a hem. This kind of stitch makes
diagonal lines that cross each other.

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BASIC Exercises
MEASUREMENTS 1. A common tape measure has
_ _ _ _ _ _ _ I n c h e s a n d
FOR BODICE: _________centimeter
2. ________ inches makes one yard
3. A yard in centimeter is _______
4. There are three different approaches
1. Bust to drafting of patterns by
2. Hips measurement.
3. Waist 5. The method of measuring must be
definitely related to the method of
4. Back width producing the pattern. TRUE OR
5. Chest width FALSE
6. Shoulder 6. List the Basic Measurements that are
essential for the construction of a
7. CB length to waist front length Bodice Block.
to waist is optional measurements. 7. Half yard in centimeter is ______ while
quarter yard is ______
8. ___________inches make half yard
9. ___________Inches makes quarter yard
10. The divisional system is generally
much too rigid for dressmaking.
TRUE OR FALSE

Shoulder blade

Chest width Back width

Under Bust
Shoulder to waist

Lower waist
Waist to hip

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 straight line? A lot! First of all, a steady
hand is required and that takes practice.
By experimenting with dark lines ( great
for shadowing) and light lines (super for
details) you can achieve fashion textures
that are pleasing to the eye. Practice with
your pencil by doing the following:

· Draw long straight lines.

L ines refers to an elongated mark

that connects two or more
points. Lines in fashion can be
created by the structure of the
garments. Line in fashion is important
· Draw some straight lines that go form
thick to thin. Start by using the side of
your pencil and then gradually turn it so
the point creates a thin, wispy finish.
because lines affect hoe someone · With a bit of pressure from your hand,
sees fashion. go really dark. Then ease the pressure.

All fashion drawing consist of lines, · Draw quick, short lines.

curves, and geometric shapes.
Figuring out how to draw smooth, Practice curves for fashion drawings:
flowing lines and shapes that vary
from dark to light, thick to thin, and Curved lines definitely work in fashion
bold to subtle isn't always easy. The illustration you use curved lines when
more you draw the better you get and drawing ruffles, or a high, heeledpum etc.
the more comfortable you become
with varying your technique.

Basic shapes in fashion drawing:

You can reduce almost everything you

draw into collections of circles, ovals,
squares, and heart shapes.

Oval, squares and circles are essential

for outlining the shapes of the head.
The oval shape also helps you
establish the fashion head count,
which helps you figure out body
proportions.
FIG. 2
Take lines from long to short, thick to
thin:
Diagram straight line
on paper.
What's the big deal about drawing a illustration you use curved lines when
long, drawing ruffles, or a high, heeled pum etc.

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 10. Zigzag stitch geometry is
EXERCISES
produced when the needle moves
1. Lines refers to an elongated mark that rhythmically side to side while
connects two or more points. TRUE OR stitching. TRUE OR FALSE
FALSE
2. The geometry of the lock stitch is
controlled by the presence or absence
o f s i d e w ay s m ove m e n t s o f t h e
machine's needle and backwards
movements of machines feed dogs.
TRUE OR FALSE
3. Blind stitch geometry is a derivative of
the Straight. TRUE OR FALSE
4. Stretch stitch geometry is specifically
for stretch ability. TRUE OR FALSE
5. A zipper, zip, or zip fastener formerly
known as a clasp locker, is a commonly
used device for binding the edges of an
opening of fabric or other flexible
material. TRUE OR FALSE
6. Buttonholes are holes in fabric which
allow buttons to pass through,
securing one piece of the fabric to
another. TRUE OR FALSE
7. Invisible zipper have the teeth hidden
in front of a tape. TRUE OR FALSE
8. A bound buttonhole is one which has its
raw edges encased by pieces of fabric
or trim instead of stitches. TRUE OR
FALSE
9. Metal zippers are the classic zipper
type, found mostly in dresses and
pencil cases today. TRUE OR FALSE

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 straight and parallel, a straight stitch is
not natively stretchable.

ZIGZAG

Zigzag stitch geometry is produced

when the needle moves rhythmically
side to side while stitching, while the
feed dogs are following only in the
n o r m a l f o r w a r d “ f o u r m o t i o n”
movement
Weaving
Machine BLIND

LOCKING WITH Blind stitch geometry is a derivative of

the zigzag. It is created in the same
THE MACHINE ON manner, except that the needle zigs to
the side and zag back only once every
FABRIC forth or fifth stitch.
center of the thickness of the materials
that is ideally the upper thread entwines
the lower thread in the middle of the STRETCH
materials.
Stretch stitch geometry is specifically
The geometry of the lock stitch is for stretch ability. While the needle is
controlled by the presence or absence of moving, as for straight or zigzag
stitches, the feed dogs automatically
· Sideways movements of the machine's move the fabric forward and
needle and backward. Stretch stitching is
controlled by mechanical cams,
· Backwards movements of machines feed because of the dual action.
dogs
Most homes sewing machines are
In older machines, the needle and feed lockstitches machines, although over
lockers have entered the home market
motion is controlled by mechanical cams. In
in the past ten years or so.
more recent designs, the needle and feed
motion are directly motorized.
Of a typical garment factory's sewing
machines, half might be lock stitch
STRAIGHT
machines and the other half divided
between over lock machines, chain
Straight stitch geometry is produced when stitch machine, and various other
the needle has no sideways movements specialized machine.
and when the feed dogs are following only
i n n o r m a l f o r w a r d “ f o u r m o t i o n”
movement. Because its two threads run
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 COMPONENTS OF SKIRT used device for binding the edges of
an opening of fabric or other flexible
material, such as on a garment or a
AND FIXING OF ZIP bag. It is used in clothing (e.g. jackets
and jeans), luggage and other bags,
sporting goods, camping gear (e.g.
Components of skirt are: Zips , Botton holes, tents and sleeping bags), and other
hook & eye, Darts, Band and slit items. Zippers come in all different
sizes, shapes, and colours.
SKIRT The bulk of a zipper/zip consist of two
rows of protruding teeth, which may

A
skirt is the lower part of a dress or be made to inter-digitate, linking the
gown, covering the person from the rows, carrying from tens to hundred
waist downwards, or a separate of specially shaped metal or tens to
outer garment serving this purpose. The hundred of specially shaped metal or
plastic teeth.
hemline of skirts can vary from micro to floor-
length and can vary according to cultural zippers may:
conceptions of modesty and aesthetics as · Increase or decrease the size of an
well as the wearer›s personal taste, which opening to allow or restrict the
can be influenced by such factors as fashion passage of objects, as in the fly of
trouser or in a pocket
and social context. · Join or separate two ends or sides of
a single garment, as in the front of a
Most skirts are self-standing garments, but jacket, or on the front, back or side of
some skirt-looking panels may be part of a dress or skirt to facilitate dressing.
another garment such as leggings, shorts,
· Attach or detach a separable part of
and swimsuits. the garment to or form another, as in
In the western world, skirts are more the conversion between trousers
commonly worn by women and shorts or the connection or
disconnection of a hood and a coat
BASIC TYPES OF SKIRT
· A-line skirt, a skirt with a slight flare, roughly · Be used to decorate an item.
in the shape of a capital letter A

· Bell-shaped skirt, flared noticeably from the

Types of zipper
waist but then, unlike a church bell, Coil zipper now form the bulk of sales
cylindrical for much of its length of zippers world wide. The slider runs
on two coil on each side, the teeth are
· Pencil skirt, see under: Straight skirt formed by the windings of the coils.
Two basic types of coils are used: one
with coils in spiral form, usually with
ZIP cord running inside the coils; the other
with coils in ladder form, also called

A
the Ruhrmann type. Coil zipper is
zipper, zip, or zip fastener, formerly
made of polyester coilthus also
known as a clasp locker, is a commonly
termed polyester zippers.

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 zipper from separating.) other
Invisible zipper have the teeth hidden components include bottom tape
behind a tape ,so that the zipper is extension (the fabric part of the
invisible. It is also called the concealed zipper, that extends beyond the
zipper. This kind of zipper is common in teeth, at the bottom of the chain),
skirts and dresses. Invisible zippers are single tape width, insertion pin,
usually coil zippers. retainer box or pin box and
reinforcement film( a strip of plastic
Metal zippers are the classic zipper type,
found mostly in jeans and pencil cases fused to each half of the zipper tape
today. The teeth are not coil, but are to allow a manufacturer to
individual pieces of metal molded into electronically 'weld' the zipper onto
shape and set on the zipper tape at regular the garment or item that is being
intervals. Metal zip are made in brass, manufactured, without the need of
aluminum and nickel, according to the sewing or stitching.
metal used for teeth making. Other
zippers include open-ended zippers, two The zipper is often the least durable
way open-ended zippers, plastic-molded component in any garment or type of
zippers and others. equipment. Most times or often the
zipper fails to close due to worn or bent
Components of a zipper slider not being able to apply the
necessary force to slides of teeth to
The components of a zipper include; cause them to interlock.
1. Top tape extension (the fabric part of the
zipper, that extends beyond the teeth, at A zipper relatively costs little, but if it
the top of the chain)
fails, the garment may be unusable
2. Top stop (two devices affixed to the top
until the zipper is repaired or replaced.
end of a zipper, the prevent the slider
from coming off the chain)

3. Slider (the device that moves up and down

the chain to open or close the zipper)

4. Pull tab or puller(the part of the slider that

is held to move the slider up or down.)

5. Tape width( refers to the width of the

fabric on both sides of zipper chain)

6. Chain or zipper teeth( the continuous

piece that is formed when both halves of
a zipper are meshed together.

7. Bottom stop( a device affixed to the

bottom end of a zipper, to prevent
further movement of the half of the

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 HOOKS AND stitching is completed.
BUTTON HOLES A bound buttonhole:
Buttonholes are holes in fabric which allow
This is one which has its raw edges
buttons to pass through, securing one piece
of the fabric to another. The raw edges of a encased by pieces of fabric or trim
buttonholes are usually finished with instead of stitches.
stitching. This may be done either by hand or
by a sewing machine. Some forms of button, A keyhole buttonhole: This is a special
such as a frog, used a loop of cloth or rope case of a thread-finished buttonhole
instead of a buttonhole. that is normally machine-made due to
the difficulty of achieving it by hand
Traditionally, men's clothing buttonholes are working. Keyhole buttonholes are
on the left side, and women's clothing most often found on tailored coats
buttonholes are on the right. and jackets

Types of buttonholes HOOKS

Hand stitching A dress hook is a decorative clothing

accessory of the medieval and tudor
periods used to fasten outer
A plain buttonhole, by far the most common garments or to drape up skirts. Made
type. In plain buttonholes, the raw edges of of base metal or precious sliver and
the textile are finished with thread in very sliver-gilt, dress hooks are
closely spaced stitches(if made by hand, documented in wills and inventories,
often the buttonhole stitch) with a gimp cord and surviving hooks have been
at the edge to act as a reinforcement. identified in the archaeological
record throughout England.
A Milanese buttonhole:
Dress hooks were used to draw up
After the hole for the button is cut, a length of skirts, either to keep them out of
slik thread called a 'gimp' is laid around the muck of street or to display the rich
edges. A glossier buttonhole thread is then fabric of garment beneath, and may
wrapped around the gimp and sewn through also have been used to fasten
the cloth surrounding the buttonhole. garments or simply as decoration.

Machine stitching:

Sewing machines offer various levels of

automation to creating plain buttonholes.
When made by machine, the slit between the
sides of the uttonhole is opened after the

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 FREEHAND 2. From the corner, measure
horizontally 1/5 of th neck
MEASUREMENT measurement plus ½ inch.
It is basically a top , the garment which you
Measure down 1/5 the neck
wear on the upper part of the body. measurement plus ¼ inch. Draw
a curved line to connect the tow.
How to make a bodice top:
Shoulder measurement or Across shoulder: 3. Draw a line from the center front
to take the across shoulder measurement, bottom to the point of the across
measure from the point of one shoulder shoulder line.
straight across to the other.
4. On that diagonal line, measure up
Shoulder-to-center waist: to take the the amount of the shoulder to
shoulder to center waist measurement, center waist and make a mark.
measure from the same point of the shoulder
across to the center front of the waist 5. Connect your two marks to
(approximately in line with your belly button) create the shoulder line of your
and at the center back( in line with your front bodice. Then measure
spine). On the front measurement, mark the down from your new shoulder
tape where the point of your bust hits, you point to the bust point.
will need to know both the front shoulder to
center waist and the shoulder to bust point 6. From the bust point, you are
measurement. going to need to mark your dart.
To determine your dart, subtract
Armpit to waist: for the armpit to waist your high bust from your full bust
measurement, go back to that part where measurement. Line the point of
you had the string tied around your waist and the dart up with the bust point
the ruler under your arm. Measure from the
top of the ruler down your side seam to the and trace the dart for your size. If
waist string. your difference has ½ inch, you
can trace between two lines.

When drawing first start with the front 7. Extend the vertical dart line down
bodice. Use your ruler to draw a long vertical to meet the waist line, then
line. measure it, then measure the
other dart leg to make sure it's
1. On the vertical line, mark off the center the same length.
back length. At the top of the line,
measure out ½ the across shoulder width. 8. Draw a 90 degree line from the
Make sure this is measured out at a 90 second dart leg extending out
degree angle. towards the side seam. Measure
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 the two blue lines at the bottom of vertical line, on the vertical line,
the bodice- together they should mark off the center back length
add up tp ¼ of the aist plus ½ inch . at the top of the
measurement plus ¼ inch(for ease) line, measure out ½ the across
shoulder width. Make sure this
9. Measure out from the center front ½
is measured out at a 90 degree
of the front bust measurement. Plus
angle.
¼ inch ( this is for ease).
15. From the corner, measure
10. Draw a line that is the length of the horizontally 1/5 of the neck
armpit to waist measurement that measurement minus 1/8 inch.
Measure down 3/8 inch. Draw a
touches the coner of the bottom of curved line to connect the two
t h e b o d i c e a n d t h e ve r t i c a l in the neck line. Then, from the
guideline from step9 bottom of the neckline,
measure down 1/5 of the
armscye depth plus ¼ inch and
11. Where the side seam touches the
make a mark.
vertical guide, draw another
horizontal guideline. Measure 16. Measure up from the bottom of
along this guideline from the the center back up toward the
guideline the amount of the
center front ¼ of the high bust
center back to shoulder
measurement and make a mark. measurement. Then draw in a
shoulder line from the end of the
12. Draw in the armscye curve. The neckline to this point.
fuller your bust is, the deeper this
17. From the center back, measure
curve will be. The curve should horizontal ½ of the back bust
come in to touch the guideline plus ¼ inch (for ease) and draw a
from step 11 before curving up vertical guideline. At the bottom
tpward the shoulder. Make sure of the center backline, draw a
horizontal line at 90 degrees
the curve starts and ends at a 90
that is ¼ of the waist
degree angle to the side and measurement plus I inch (for the
shoulder lines. dart) and ¼ for ease. ( so ¼ waist
plus 11/4 inches).
13. You are done with the front bodice.
18. Mark a line that is the length of
the armpit to waist
14. To start the back bodice, draw a measurement that touches the

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 waistline and the guidelines from 17.
Depending on your back bust
measurement, this line may be very
angled, almost vertical, or even
angled out.

19. Draw in the back armscye. This curve

will likely be shallower than the front
bodice, unless you have a very broad
upper back and narrow back waist

20. Measure the shoulder seam. Make a

mark at the halfway point then draw a
vertical guidelinestraight down from
that point to touch the waist line
draw in 1inch dart that starts at this
line and goes up to touch the
guideline that is even with armscye .

21. Compare the front bodice and back

bodice at the shoulder. You may find
that the back shoulder is longer than
the front . If so you will need to add a
small dart to make up the back
shoulder. Measure the difference
between the two.

22. If the shoulder dart is needed, make a

3 inch long dart at the center point of
the shoulder that is the width of the
difference

23. You are done with the back bodice.

To sew up a bodice to test, add seam

allowances to the side seams, shoulder
seams ans center back. Baste in a zipper
and sew the darts, shoulder and side
seams.

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 TABLE OF AVERAGE MEASUREMENTS AND PROPORTIONS

MEASUREMENT PROPORTION

BUST HIPS WAIST WAIST XBACK CHEST SHOULD TOP ARM POINT O back neck Depth of Back Up Dart Armhole
LENGTH ER width armhole

80 + 10 80 + 6 64 38/40 (36) 33/34 35 12 28 2 6.5 20.5 5 6 40

84 90 66 39/41 34/35 36 12 29 2.5 6.5 20.5 5 6.5 41
88 94 68 39.5/41.5 35/36 37 12.5 30 3 7 21 5 7 42
92 98 70 40/42 36/37 38 12.5 31 3 7 21.5 5.5 7.5 43
96 102 72 40.5/42.5 37/38 39 13 32 3.5 7.5 22 6 8 44.5
100 106 76 41/43 38/39 40 13 33 3.5 7.5 22.5 6 8.5 46
104 110 80 41.5/43.5 39/40 42 13.5 34.5 4 8 23 6.5 9 47
108 114 84/86 42/44 40/41 43 13.5 36/37 4 8 23.5 7 9.5 48
112 118 88/90 42.5/44 41/42 44.5 14 38 4.5 8.5 24 7 10 50
116 112 92 43/45 42/43 46 14.5 4.5 8.5 24.5 7 10.5 51/52

L E N G T H T O W A I S T: T h e s h o r t e r L W i s b a s e d o n a n a v e r a g e h e i g h t o f 1 6 0 - 1 6 5 c m ( 5 ’ 4 - 5’5); the longer is for taller figures.

LW i s n o t d e p e n d e n t o n o r c o n n e c t e d w i t h t h e o t h e r m e a s u r e m e n t s , e x c e p t h e i g h t , a n d a shorter or longer waist can occure in
a n y si ze. The LW can , th erefo re , be al w a ys i ncrea se d w i th ou t affe cti ng th e other proportion of the draft.
xBACK WIDTH: a slightly wider xBack can be used in each case. This is particularly useful in the smaller sizes where back width
often does not conform to a strictly graded scale. The small addition can be made without any change in the draft, e.g without any change in the
draft, e.g. without changing the positions of UP (though shoulder may have to be lengthened).

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 BODICE BLOCK 1. Waistline measurement

2. Hipline is always 22cm below the

COMPONENTS: zip, neckline, shoulder waistline measurement.
dart.
3. Bust line measurement is marked
The pattern length is 75cm from point O down which is above
the waistline.
The width is either half bust + 10cm or half
hip + 7cm
4. Backline measurement which is half
Take in 1 or 2cm at the left edge of the way between point 0 and the bust
pattern calling it the CB(center back) line.

Take 2 or 3cm below the top edge of the 5. Shoulder line measurement which is
paper calling it topline. 3cm standard for all sizes.

-Square out from all these points.

top line

0
Shoulder line
Shoulder line -Bust line, waistline, hipline should go
3
across the paper touching the
Back line
CF(central front) line. -

chest line Backline and shoulder line should stop

Bust line less than halfway to CF.
21.5

-Point O is only 10 to 12cm long which

is the neckline.

waist line -On the neckline which is point O,

40
measure the neck width and take it
2cm up (standard for all size). This
point up is called the neck point (NP)

-On the backline measure from the CB

62
hip line
line ½ back width and mark the same
measurement on the shoulder line
and bust line. Then rule a line
connecting the three point straight.
THE BACK
-On the CB line mark 3cm below the top -On the bust line from CB measure ½
line calling it point O. back width + back up measurement.

-From point O on the CB line it takes down

the following points.

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-On the shoulder line measure ½ THE FRONT
backwidth + 2cm (standard) and mark
it as shoulder point (SP) The bust line, waist line and hip line
having already been taken across to
-Draw the neckline from NP down to the front, it now only remains to add
CB, curving it slightly. the chest line, the front shoulder line
and the line for base of the week.
-Rule shoulder seam between NP and
SP -Point O is marked right at the top line
on the CF line, which makes it 3cm
Draw the back armhole, using the higher than point O of the CB.
vertical construction line as a guide
keep armhole straight for about 3cm On the CF line from point O mark the
near the backline level. Hollow it out following points:
very little in the lower part, taking the
curve through a point 3cm from the 1. 4.5cm for shoulder line ( 4cm for
angle. larger size)

-On the hipline measure from CB ¼ 2. 7.5cm for base of neckline (8-8.5 in
hip measurements and mark the pour large sizes).
HP (HIP POINT. In some cases ¼ hip +
2cm. 3. From the bust line take up 4cm for
chest line.
-Join UP and HP together with a ruler.
-From all these point square
construction lines less than half way
across except the neckline/ which is
10-12cm long.
-Along the top line from point O,
measure the neck width which is same
as the CB neck width. These
measurements however should not
be less than 6.5cm in the front, even in
small sizes.

Mark front NP
-From NP draw the neckline on to the
line 7.5cm below with the help of a
short vertical line from NP.
-The curve should pass through a point
3cm from the angle formed by the
crossing of these two lines (3.5cm in
large sizes).
- On the shoulder line measure from
CF 16.5cm (for all sizes) and through
this point rule from NP a provisional
shoulder seam, leaving it unfinished
(20-22cm long).
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- On the bust line measure ¼ chest width DARTLESS BODICE
measurements from CF and through the
last point take 2cm down. Dartless bodice as the name
- Rule a vertical construction line parallel implies is a bodice without dart.
to CF up to the shoulder and from here The dartless bodice block is
measure 2cm to the left from this last useful when you want to draft
point rule the inner line of the shoulder loose fitting garments.
dart down to 2cm below the bust line.
- Along the shoulder measure and mark
Back and front sections
the size of the dart and complete the Square down and across from
dart by ruling the outer line to join the 0.
inner 2cm line below the bust line.
0-1 back neck to waist plus
- Flow completes the shoulder seam by 3cm; square across.
measuring from NP the shoulder length
(a measurement) plus the dart depth
mark the front sp. 1-2 waist to hip; square across.
- On the chest line from CF, measure ½ 0-3 quater bust measurement
chest widths/ missing out the dart and plus 4.5cm (7cm); square down
mark chest point-(CHP). to 4 and 5.
- Rule a line between SP and CHP and
drop a short perpendicular on the bust 0-6 2cm.
line as a guide for drawing armhole.
6-7 armscye depth plus 4cm
- Measure from CF along the bust line the (6cm); square across to 8.
front bust width which is the difference
between the total, bust width i.e ½
+5cm- the bust width of the back. 6-9 half the measurement 6-7;
square out.
- Mark the front UP.
- Draw the armhole, curving it 1cm from
6-10 quarter the measurement
the straight line SP-CHP and hollow it 6-9 minus 0.25cm; square out.
out well in the lower part.
0-11 one fifth neck size plus
- Take the curve through a point 1.5cm 0.4cm (0.7cm); draw back neck
from the angle. curve.
- The armhole clips slightly below the bust
line before reaching the UP. 7-12 half across back plus
2.5cm (4.5cm); square up to 13
- On the hipline mark HP at ¼ hip and 14.
measurements +3CM. In some cases
more. 14-15 1.5cm; join 11-15.
- Rule the straight underarm seam
between UP and HP. Draw in back armscye shape to
touch points 15,13, 8.

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Front section 0 14
6 3
0-16 one fifth neck size plus 0.4cm 10 14 15
(0.7cm); draw in the front neck curve.
18
16
13-17 0.75cm (1cm).
9
Draw a line 0.75cm below the line 17 13
squared out from 10.
pitch
points
11-18 the measurement 11-15; draw
front shoulder line to touch the new line at 7 8
point 18. 12

CB and CF
Draw in the front armscye shape as shown back and front
in diagram to touch points 18, 17, 8.
Sleeve 4

0-1 half the measurement 6-7 on body

block plus 1cm; square across.
0-2 sleeve length plus 1cm; square across.
0-3 the measurement of the armscye
curve from 15-8. 2
5

2-4 two thirds the measurement 1-3 plus

0.5cm; join 3-4.
Divide 0-3 into six sections; mark points 5, 9
6, 7, 8, 9. 8
6 7
Draw in the back sleeve head: 5
Pitch
hollow the curve 0.5cm at 5; raise the point
curve 1.5cm at 8 and 9. 3
1

Draw in the front sleeve head: sleeve

hollow the curve 0.75cm at 5; raise the
curve 1.75cm at 8 and 9.
fold line

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 Just make sure the majority of the curve is in
SKIRT PATTERN/ the top 3 or so, because that's where the
MEASUREMENT body curves the most.

There are three measurements: 3. Add 1” seam allowance to sides and waist,
· Your waist 1” seam allowance to center back.
· Your hips Center front will be placed on fold. Add
· Your waist to hip length.
seam allowance to the side and waist,
Waist: this can be your actual waist, or then retrace the pattern and add the
where you want your skirt to sit. When center back seam allowance, and you
you measure, make sure to hold the have your muslin pattern. Cut out the
measuring tape snugly, but you shouldn't front piece on the fold and two back
be sucking in, unless you plan to suck in piece out of muslin.
the entire time you are wearing your skirt.
Which would get uncomfortable. Note: you are going to want to mark your
hip line on the muslin.
Hips: measure around the fullest part of
your hip, preferably while wearing4. Pin up your center back seam, and one
underwear or a slip, not over other side seam. Then put the skirt on yourself,
clothing. inside out. Pin up the remaining side
seam. starting in the front, smooth your
Waist-to-hip: you may want to put a
sticker on yourself level with the tape hands together from the center and
while holding the measuring tape for the inside seam to pin the front darts. Pin the
waist and hip. Alternately, you can tie yarn excess fabric at the waist. Repeat on the
around yourself at both levels and other side.
measure that way. This is a vertical
measurement. 5. Next we need to determine where those
darts will be positioned. It's easier to
D r a w a r e c t a n g l e u s i n g t h e s e start in back with be positioned. With a
measurements fabric maker or chalk you mark the point
where the buttocks starts to curve
· (hip/4)+1/2 toward the back and when they start to
· Desired skirt length curve out toward the hip. In the front
· Waist to hip measurement
you do the same except that the curve
1. Calculate (waist/4)+1/2. On the waist will be the tummy instead of the butt.
line, measure from center and mark
the distance 6. Use your marker to mark where the pins
are on the side seams and back seam.
2. Create a curved line from the mark on mark the pin that are holding the darts,
your waist line to the intersection of on each side of the dart. Then remove
the hip line and the side. A bendy ruler the pins.
work well to draw this curve, as does a
French curve or a dinner plate.

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7. Measure over on your lines that EXERCISES
marked the curve breaks on your
body; where they intersect is the 1. The pattern length is _______________
bottom of your dart. Transfer these 2. Hipline is always 25cm below the
measurements to your paper pattern, waistline measurement. TRUE OR
mark the bottom of the dart. Repeat FALSE
with the front dart on the front
3. The width is either half bust + 5cm or
pattern piece.
half hip + 7cm. TRUE OR FALSE
8. Now measure the width of your darts 4. One of the steps to drafting a Bodice
on your muslin. Block is to measure ¼ back width +
back up measurement on the bust line
9. Make a straight line up through your
dart point, perpendicular to the hip from CB. TRUE OR FALSE
line on your pattern. 5. Backline measurement is half way
between point 0 and the bust line.
10. Repeat this dart creation for the front TRUE OR FALSE
piece, finally mark off your side seams
6. Waist to hip is the same as Hip Depth.
and adjust the seam allowances. You
now have a skirt pattern. True or FALSE
7. What are the basic measurements for
skirt pattern?
8. On the shoulder line measure from CF
16.5cm for smaller sizes and 20cm for
bigger sizes. TRUE OR FALSE
9. On the CB line 3cm is above the top
line. TRUE OR FALSE
10. What are the basic measurements
for Bodice Block?

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 Width of the paper/pattern = half the
SKIRTS measurement hip or waist (whichever

A
one is more), add 1inch for seam
skirt is just a tube shaped garment
allowance.
hanging down from the waist. But
it is a very versatile tube which STEP 3: Find the 588midpoint of STEP
makes the wearer sophisticated, feminine, 2 and square down.
flirty, warm and stylish depending on its
make and mode. NOTE: CENTRE FRONT (CF) IS ON
THE LEFT SIDE AND CENTRE BACK
TYPES OF SKIRT (CB) IS ON THE RIGHT SIDE.

Straight Skirt STEP 4: Mark hip depth line from the

Straight skirt is a tailored skirt hanging top of the pattern and square out.
straight from the hips and fitted from the STEP 5: Mark quarter waist on the top
waist to the hips by means of darts or a of the pattern on CF side.
yoke; may have a vent or kick-pleat set in STEP 6: Mark 0.5inch after the quarter
the hem for ease of walking waist measurement on CF.
STEP 7: Mark quarter hip measurement
on hip depth line on CF and square
Measurements Required: Waist, Hip, down to desired skirt length with the
Hip Depth, Skirt Length use of a ruler.
Components: Basic Dart, Band, Zip And STEP 8: Connect waist to hip with the
use of a curve.
Slit
CENTRE BACK (CB)
STEPS: STEP 9: Mark quarter waist
STEP 1: Get the desired skirt length measurement plus 1inch for dart
measurement and mark on STEP 10: Mark quarter hip
p a measurement on hip depth line and
tt e
square down to desired skirt length with
r n
the use of a ruler.
/ p
STEP 11: Connect waist to hip with the
a p
e r use of a curve
S CF CB T STEP 12: Skirt dart= Mid-point of CB
E P waist for width and 4inches for length.
2 : 0.5inch each for dart legs.
STEP 13: 2inches for skirt hemming
allowance.
STEP 14: 2inches on CB line for zip
allowance
NOTE: For sizes with bigger waist line,

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drop 0.5inch to 1.25inch on the CF line.
BUM EFFECT: 0.5inch constant Circurlar skirt: this is a very full skirt
Gored skirt: this is a paneled skirt with
which is somewhat fitted at the waist.
section of fabric giving fullness of an A
line silhouette. The fabric piece of the skirt will
resemble a circle with a hole which is
Measurements Required: Basic Skirt why the name circle skirt
M e a s u r e m e n t + G o r e Po i n t A n d
Walking Level Measurements Required: Basic Skirt
Components: Basic Dart, Band And Zip Measurement
Components: Band And Zip
STEPS:
STEP 1: Draft out the basic skirt pattern STEPS:
STEP 2: Panel the skirt pattern and STEP 1: Pattern length= skirt length +
extend to desired length radius
STEP 3: Measure out the gore point STEP 2: Radius (C) = 2
from the top of the paper and square out STEP 3:
STEP 4:
STEP 4: Compare the measurement of STEP 5:
the walking level with the pattern and
divide the excess on all points at the gore
line

STEP 5: Extend the hem line to desired

flare and connect to the gore point

STEP 6: Repeat on all sides

CF2 CB1
CB2
CF1

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A line/ Flare skirt: this skirt has slight Fitted/ Pencil skirt: as the name indicates
flare which makes this one look like a
this is a form fitting skirt with a narrow
capital letter A. hence the name A line
skirt. This is one of the most common cut. it is named for its shape and is
and popular silhouettes among skirts.
tailored for a close fit.
MEASUREMENTS REQUIRED: BASIC
SKIRT MEASUREMENT
COMPONENTS: BASIC DART, BAND MEASUREMENTS REQUIRED: BASIC
AND ZIP
SKIRT MEASUREMENT
STEPS: COMPONENTS: BASIC DART, BAND,
STEP 1: Draft out the basic skirt pattern ZIP AND SLIT
STEP 2: Slash from the length to waist
and spread to desired wideness STEPS:
STEP 3: Add 1inch or more to the side STEP 1: Draft out the basic skirt pattern
seam and connect with a ruler straight STEP 2: Take in 1.5inches at both sides
to the waist
(CB AND CF) on the skirt length and
square up to hip depth using a ruler
STEP 3: Take in 1inch on CB hem line and
zip allowance hem line, connect to hip
depth.

CF CB

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Trumpet / Flounce skirt: a trumpet Asymmetrical hem skirt: these are skirts
shaped skirt is fitted near the waist and with a hem which looks asymmetrical;
till the bottom hem and then flares a handkerchief skirt is one, which
outside near the hem. A mermaid skirt looks like you are holding down a
is a trumpet shaped skirt. handkerchief pinching its center with
its corners hanging down.
Measurements Required: Basic Skirt
Measurement Measurements Required: Basic Skirt
Measurement
Components: Basic Dart, Band And Zip Components: Band And Zip

STEPS: STEPS:
STEP 1: Draft the basic skirt pattern STEP 1: Draft out the basic skirt pattern
STEP 2: Cut the full CF of the pattern STEP 2: Fold the pattern into four and
STEP 3: Manipulate CF to desired style
slash to the waist leaving it unfinished
STEP 4: Trace out left from right CF
STEP 3: Place the pattern on another
NOTE: CB is cut onfold
paper and spread leaving it unfinished
STEP 4: Join CB to CF in other to
eliminate side seam
STEP 5: Increase CB length and connect
CF length to CB curving it out

CF CB

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Tulip skirt: this skirt as the name suggest has Skirt With Tail/godet
the shape of an inverted tulip flower. It is a A skirt extension at the back
skirt with overlapping panels in the front
with an irregular hem because of the way Measurements Required: Basic Skirt
the it overlaps. The skirt is wider at the Measurement
middle than the hem or waist. Components: Basic Dart, Band And Zip
STEPS:
STEP 1: Draft out a basic long skirt
Measurements Required: Basic Skirt
pattern
Measurement
STEP 2: Mark out the gore point and
Components: Basic Dart, Band And Zip
walking level
STEPS: STEP 3: Pencil CB and CF on the walking
STEP 1: Draft out the basic or pencil skirt level
pattern
STEP 4: Extend hem line on CB to
STEP 2: Get a full CF
STEP 3: Manipulate CF as desired desired flare and connect back to gore
STEP 4: CB is cut out with zip allowance point

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Panel Skirt Gathered Skirt
A paneled skirt is a very versatile type of A gathered skirt is a skirt whose fabric is
skirt. By choosing more or fewer panels drawn together around the waist
and widening or narrowing those panels
toward the bottom, you can make a skirt Measurements Required: Waist And
that is almost straight or an incredibly Skirt Length
twirly full skirt. Component: Zip And Band

STEPS:
Measurements Required: Basic Skirt
STEP 1: Width of gathers= (Waist
Measurement
measurement x 3)+10inches while any
Components: Basic Dart, Band, Zip And
desired length can be used.
Slit
STEP 2: Add 2inches for hemming
allowance
STEPS:
STEP 1: Draft the pattern of a basic or
pencil skirt
STEP 2: Divide the CF waist and hip by 3
and square down
STEP 3: On the CB side, mark from dart leg
and square down.

Peplum Skirt
Peplum skirt is a short, gathered,
slightly flared strip of fabric attached
at the waist of a woman's skirt

Measurements Required: Basic Skirt

Measurement
Components: Basic Dart, Band, Zip
And Slit

STEPS:
STEP 1: Draft the pattern of a basic or
pencil skirt

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STEP 2: Peplum width is (waist
measurement x3)+10inches

STEP 3: Peplum length is the hip depth

measurement + 1inch for hemming
allowance.

Box Pleat Skirt

Box pleat skirt is a flat double pleat
made by folding under the fabric on
either side of it

MEASURMENTS REQUIRED: BASIC

SKIRT MEASUREMENT

COMPONENTS: BAND AND ZIP

STEPS:
STEP 1: Width= Waistx3+10inches
Knife Pleat Skirt
A knife pleat skirt is a type of sharply STEP 2: Length= Skirt length+2inches
pressed pleating, especially in a skirt for hemming allowance
or kilt, in which all of the folds are STEP 3: Divide waist measurement by
turned in one direction, with each desired number of box pleats
pleat being three layers of fabric thick. STEP 4: Mark the size of the box pleat on
the width and arrange the pleats
Measurements Required: Basic Skirt
Measurement
Components: Band And Zip

STEPS:
STEP 1: Width= (Waist measurementx3)
+ 10inches
STEP 2: Length= Skirt length +2inches for
hemming allowance
STEP 3: Cut out and arrange the pleats as
desired

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Handkerchief Skirt Cowl Skirt
This is a circular skirt with a squared or A cowl skirt is a full a-line shape of 4
pointed hemline. Waistline may be
flaring panels, each with a cowl on
with or without gathers
Measurement Required: Basic Skirt
Measurement Measurements Required: Basic Skirt
Components: Band, Zip, Hook and eye Measurement
Components: Band And Zip
STEPS:
1: Paper needed is length + radius
2: For a gathered waist, increase the waist STEPS:
line by 8inches or less STEP 1: Draft out the basic skirt pattern
STEP 2: Mark out the curves by the side
CALCULATE: of CB and CF
Radius for full circle which is C = 2πr.
STEP 3: Slash from side to waist and
While π is 3.12
C represents the waist circle + allowance spread to desired wideness on a new
π is a standard figure = 3.12 paper.
Mark corner of paper as X
X - Y = Radius measurements minus ½
inch for waistline seam, mark Y
3: Connect radius points with curved line
4: Fold pattern on it to cut
5: For curved hem; blend the hem with
curved line

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Gypsy Skirt High Waist Skirt
A gypsy skirt is a long, flowing, multi- High Waist defines the silhouette
tiered skirt that is great for
of a garment sitting higher up
renaissance fairs, belly dancing, or for
a bohemian look between under the bust and the
waist
Measurements Required: Basic Skirt
Measurement Measurements Required: Basic Skirt
Components: Basic Dart, Band And Zip Measurement
Components: Basic Dart, Band, Zip
STEPS: And Slit
STEP 1: Draft out the basic skirt pattern
STEP 2: Cut the pattern out from the hip
depth line STEPS:
STEP 3: Cut the measurement of the NOTE: When taking the measurement
remaining pattern from the hip depth line for skirt length and hip depth, place
to skirt length the tape measure on the desired high
STEP 4: Divide it by 3 for each tier and
add 1inch each for seam allowance waist line
STEP 5: The width of the first tier is hip STEP 1: From the high waist line take
measurementx3+10inches the measurement for the hip depth
STEP 6: The width of the second tier is the and skirt length
measurement of the result of the first tier
STEP 2: Complete the basic skirt
x 3 + 10inches
STEP 7: The width of the third tier is the measurement and draft out the skirt
measurement of the result of the second pattern
tier x 3 + 10inches

CF CB

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Hipster Skirt EXERCISES
Hipster skirt are short and they may 1. Band is one of the components of
have different colors or design and straight skirt. TRUE OR FALSE
can be sew from a wide variety of
2. A gathered skirt is a skirt whose
fabrics, in some cases the hipster
fabric is drawn together around the
skirts can be sewn longer to your
hip line. TRUE OR FALSE
desired.
3. Fitted/Pencil skirt is a form fitting
skirt from waist to the hip usually
Measurements Required: Basic Skirt with the help of darts. TRUE OR
Measurement FALSE
Components: Basic Dart, Band And Zip 4. In calculating to get the radius of a
handkerchief skirt C represents
STEPS:
the waist circle + allowance. TRUE
STEP 1: Draft out basic skirt pattern STEP OR FALSE
2: Cut out on hip depth line 5. A cowl skirt is a full A-line shape of 8
STEP 3: Slash the pattern from hip depth flaring panels. TRUE OR FALSE
to skirt length and spread to desired 6. Skirt dart= Mid-point of CB waist
wideness for width and 4inches for length.
0.5inch each for dart legs. TRUE
OR FALSE
7. _____________________for skirt
hemming allowance
8. A skirt with tail/godet is a skirt with
extension at the back. TRUE OR
FALSE
9. Trumpet skirt are skirts are skirts
with a hem which looks
asymmetrical. TRUE OR FALSE

10. Gored skirt is a paneled skirt with

section of fabric giving fullness of

an A line silhouette. TRUE OR

FALSE
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 DARTS Different Dart Locations:
MANIPULATION Darts can be located in a number of
different places on a bodice to alter its
style.
Darts:

D
arts help in shaping the fabric
to fit the body and thus
provide comfort to the
wearer. They provide fullness to
natural body curves. Darts are very
rarely used for decorative purposes
like providing a design line. The fitting,
marking, stitching and pressing of
darts should be done accurately. Fig-2: Different Dart locations

To create new designs for garments, it Dart Manipulation

is specially used for ladies garments. It
save fabric wastage and also use to Techniques:
remove excess fabric. Darts are Dart manipulation is one of the most
needed to turn two-dimensional important techniques when it comes to
shapes into three-dimensional shapes pattern drafting. Fashion designer must
and to fit clothes closely to the body. identify the location of the dart before
manipulating the pattern and how
manipulate the dart. Dart manipulation
APPLYING DART MANIPULATION mainly starts with a basic sloper, which
they then convert into their stylish
— INTRODUCTION TO designs. Darts become princess seams,
DESIGN PATTERNS gathers, tucks or cowls. New style lines
are added or moved, necklines are
The technique is applied when the dart reshaped.
of working patterns (bodice, skirt,
Their are three dart manipulating
sleeve, or any working pattern) are techniques in flat patterns. These are
relocated in the process of creating suitable for manipulate dart to any
location. The slash & spread or pivot
design patterns. To create a design
method mostly use to transfer darts to
pattern, the design is analyzed first to the bust, neck, armhole or anywhere you
identify the location of the dart or want!
equivalent before manipulating the
1. Pin and pivotal dart transfer technique.
pattern.. 2. Slash-spread transfer and overlap
technique

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3. Dart equivalent technique

1. Pin and Pivotal dart rotation

technique:
Pattern designers use pivoting
methods to make fashion changes.
They move darts or add fullness by Slash Spread Redraw
anchoring the basic pattern with a
pin and moving the pattern in, out, from one size to the next. Use this
and around. The pattern swings sliding motion to add or subtract
back and forth like the pendulum on length.
a grandfather clock. Use this
pivoting motion to change the Pivot and slide techniques combine
pattern width. these two motions to fit a pattern
simply, yet accurately. You make all
1 10 of the changes on a worksheet
2
(pattern paper or tissue paper),
9 keeping the original pattern intact—
3
no more cutting and taping! By
8 changing the pattern equally on
both sides of the grain, the seam and
4 t h e d e s i g n l i n e s a r e ke p t i n
proportion to the original pattern.
Best of all, each change is easy.

5
7 3. Dart equivalents technique: Pleats
6
or gathers in the fabric can be used
as for the same purpose as a normal
In this method does not require the stitched dart. These are called dart
working be slashed in order to equivalents. Darts can also be
worked into style lines. The dart
change its original shape into
excess can be used to create a wide
design pattern. It is a transfer variety of other design features
method and with experience, it is such as, tucks, gathers, pleats, and
preferred. even cowls. Essentially, the dart or
its equivalent is always present
somewhere in the pattern. The dart
2. Slash-spread dart rotation and or its equivalent will always radiate
o v e r l a p t e c h n i q u e : Pa t t e r n from the pivot point.
graders use the slide motion to
change pattern sizes. They slide
patterns up, down, and to the side
to gradually increase or decrease

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point.
3. Under armhole dart: From UP
drop down 8cm.
Different types of darts: Connect with ruler from the side
to point x
The different types of darts are Close regular shoulder dart and
discussed below: slash

1. Shoulder Dart: This is the regular dart Place paper under the slashed
part
that comes with the bodice pattern. It
also called the ancient dart. Take back 5cm from point x and
form a new dart.
NOTE: no under armhole dart at
the back.

2. Arm Hole Dart: Take the roundness of

the armhole divided by two or get the
midpoint of the armhole.
Ÿ Connect from midpoint to point x
ê Close the regular shoulder dart and
slash.
ê From point x take back 5cm and create 4. Mid Neck dart: Take from the neck
new dart . point (NP)and get the midpoint of
your front neck
Connect with ruler to meet point x

Close the regular shoulder dart and

slash
Place paper under the slashed part
Take back 5cm from the point x and
form a new dart with it.

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 7. Panel/princess Dart: close the
regular shoulder dart.
ê Extend from point X down to
desired length
ê Place front and back shoulder
together
ê G e t t h e ex a c t m i d p o i n t t o
connect the back dart
5. French dart: From the side seam at the
waistline, connect with ruler to meet point
X
1. Slash through the line
2. Place another paper under the slashed
part
3. From point X take 5cm backward and
form a new dart.

8. Empire dart: close the regular

shoulder dart
ê Extend from point X down to
desired length
ê Place front and back shoulder
together
ê Get the exact midpoint to connect
the back dart

6. Centre front dart (CF): Square out from

your point X to CF
ê Slash the marked part and draw the
dart.
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 11. Curved inward dart:
The stitch line curves inward from
10. Curved outward dart: The stitch line the point to the seam line. This
curves outward along the path from facilitates a better fit along the
the point to the seam line. This gives a body curve. It is frequently used in
pant and skirt fronts.
snugger fit to the garment. This is
sometimes used on a bodice front to
ê From point x, create the
make a mid-body fit snug. under armhole dart
ê From point x, create the under ê Curve the dart inwards
armhole dart ê This effect can also be used
ê Curve the dart outwards for other darts
ê This effect can also be used for
other darts

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12. Neck tip dart:
BASIC DART
This is usually a solid line marking on MANIPULATION
the back neckline indicating a straight
dart of 1/8” PROCESS:
ê Take from the tip of the neck

Y
point (NP) ou can practice these dart
Connect with ruler to meet point manipulations as an exercise
x using either full size or half-scale
ê Close the regular shoulder dart blocks. By moving these darts around
and slash the bust point, you will begin to
ê Place paper under the slashed understand the method.
part
ê Take back 5cm from the point x
Follow the step-by-step basic
and form a new dart with it.
dart manipulation exercise below:

The basic bodice has two darts. Start by

consolidating the two darts into one side
seam dart.
1. Trace off the front bodice; here the
bodice block is made from card,
making tracing easier and more
accurate.
2. Cut up the front waist dart and the side
seam dart.
3. Close the waist dart, and the side seam
dart opens. (Remember not to cut
right through; keep a small amount of
paper attached to act as a hinge.)

To continue this exercise, trace off the

front bodice block onto paper. Draw in
the lines to the bust point as shown on
the diagram. To manipulate the darts,
simply slash to the apex each time, and
then close and open the darts in different
locations.

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 the apex by 4cm (11⁄2in). This is
Asymmetric Darts now your pattern plan. Trace this off
manipulation: onto a clean sheet of pattern tracing
paper. Now you can add your seam
allowance, notches and grain lines.
3. Draw in the new dart lines.
4. First cut along the long line that
passes from left to right.
5. Close the right-hand waist dart, and
the long dart opens.
6. Cut up the shorter dart and close the
left-hand waist dart. The short dart
opens.
7 . T h e p a t t e r n d eve l o p m e n t i s
complete. Trace in new darts and
back away from the apex by 4cm
(11⁄2in). This is now your pattern
1. To create asymmetric darts, trace off plan. Trace this off onto a clean
the bodice block fronts, joining the sheet of pattern tracing paper.
right and left sides at the CF(center Now you can add your seam
front). The full bodice is traced off allowance, notches and grain lines.
because the right and left sides are to Measure the right-hand dart from A to
be different.
Changing Darts into
2. Cut up both waist and side darts to the
apexes. Close the bust dart until its
Gathers:
edges meet. The waist darts will open.
3.Draw in the new dart lines.
4. First cut along the long line that passes
from left to right.
5. Close the right-hand waist dart, and the
long dart opens.
6. Cut up the shorter dart and close the
left-hand waist dart. The short dart
opens.
7. The pattern development is complete.
Trace in new darts and back away from
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B. Including the dart, the measurement 8. To get the Armhole dart, take the
will be longer from A to C; gather the roundness of the armhole divided by
excess fullness between the notches to
two or get the midpoint of the
match the shorter side as shown.
armhole. TRUE OR FALSE
This style has gathering located under 9. 2.5cm is taken backwards from point X
the bust instead of the dart. First, repeat to create a new dart. TRUE OR FALSE
the first six steps from 'Asymmetric darts',
above. 10. ______________ is called the ancient
Dart.

EXERCISES
1. Darts help in shaping the fabric to fit the
body and thus provide comfort to the
wearer. TRUE OR FALSE
2. Slash-spread transfer and overlap
technique is one of the techniques in
dart manipulation.
3. Under armhole dart is a regular dart
that comes with the Bodice Block.
TRUE OR false
4. What is the difference between Neck
Dart and Neckline Dart?
5. Centre front dart and empire that are
the same. TRUE OR FALSE
6. Dart manipulation mainly starts with a
basic slope which they then convert
into their stylish designs. TRUE OR
FALSE
7. Darts are needed to turn two
dimensional shapes into three
dimensional shapes and to fit clothes
closely to the body. TRUE OR FALSE
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 OVER TYPES OF
OVERLOCKING
LOCKING

A
Overlock stitches are classified in a
n overlock is a kind of stitch that number of ways. The most basic
sews over the edge of one or two classification is by the number of
threads used in the stitch. Industrial
pieces of cloth for edging, overlock machines are generally made
hemming, or seaming. Usually an overlock in 1, 2, 3, 4, or 5 thread formations.
sewing machine will cut the edges of the Each of these formations has unique
cloth as they are fed through (such uses and benefits:
machines being called “sergers” in North
1-thread: End-to-end seaming or
America), though some are made without
“butt-seaming” of piece goods for
cutters. The inclusion of automated textile finishing.
cutters allows overlock machines to
create finished seams easily and quickly. ·2-thread: Edging and seaming,
An overlock sewing machine differs from especially on knits and wovens,
a lockstitch sewing machine in that it uses finishing seam edges, stitching flatlock
seams, stitching elastic and lace to
loopers fed by multiple thread cones lingerie, and hemming. This is the most
rather than a bobbin. common type of overlock stitch.

Overlock sewing machines usually run at 3-thread: Sewing pintucks, creating

high speeds, from 1000 to over 9000 rpm, narrow rolled hems, finishing fabric
edges, decorative edging, and seaming
and most are used in industry for edging, knit or woven fabrics. ·
hemming and seaming a variety of fabrics
and products. Overlock stitches are 4-thread: Decorative edging and
extremely versatile, as they can be used finishing, seaming high-stress areas,
for decoration, reinforcement, or mock safety stitches which create extra
strength while retaining flexibility. ·
construction.
5-thread: In apparel manufacturing,
Overlocking is also referred to as safety stitches utilizing two needles
“overedging”, “merrowing”, or “serging”. create a very strong seam.
Though “serging” technically refers to
Two- and three-thread formations are
overlocking with cutters, in practice the also known as “merrowing” after the
four terms are used interchangeably. Merrow Machine Company.

Additional variables in the types of

overlock stitches are the stitch
eccentric, and the stitch width. The
stitch eccentric indicates how many

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 stitches per inch there are, which is
adjustable and can vary widely within one
machine. Different stitch eccentrics
FORMATION
create more or less dense and solid-
looking edges. The stitch width indicates
how wide the stitch is from the edge of the
fabric. Lightweight fabrics often require a
wider stitch to prevent pulling.

Adding extra variation in stitch types is the

differential feed feature, which allows
feed to be adjusted; extra-fast feed
creates a ruffled or “lettuce-leaf” effect.
Finally, some merrowing machines
contain parts to roll the fabric edge into
the stitch for added durability. 1. When the needle enters the fabric, a
loop is formed in the thread at the back of
the needle.

2. As the needle continues its downward

motion into the fabric, the lower looper
begins its movement from left to right.
·
The tip of the lower looper passes behind
the needle and through the loop of
thread that has formed behind the
needle.
1 - thread, 5/8” wide, 12 stitches per
inch 3. The lower looper continues along its
path moving toward the right of the
serger. As it moves, the lower thread is
2 - thread, 1/8” wide, 20 stitches per carried through the needle thread.
inch, with differential feed.
4. While the lower looper is moving from
left to right, the upper looper advances
from right to left. The tip of the upper
looper passes behind the lower looper
3 - thread, 5/32” wide, 17 stitches per and picks up the lower looper thread and
inch needle thread.

5. The lower looper now begins its move

back into the far left position. As the
upper looper continues to the left, it
3 - thread, 1/4” wide, 7 stitches per inch holds the lower looper thread

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and needle thread in place. 6. The
needle again begins its downward path Trends change fast, and it's not always
passing behind the upper looper and easy to know how to adapt them for
securing the upper looper thread (the our unique (and beautiful!) body
shapes. We believe that fashion is
needle goes between the metal and
about feeling great in the looks we love
the thread) . This completes the and feeling great in who we are. But,
overlock stitchformation and begins you could say that we follow
the stitch cycle all over again guidelines, not rules. But first things
first, do you know your body shape.
USES OF OVER LOCKING TYPES OF BODY SHAPES
Overlock stitches are traditionally
used for edging and light seaming. PEAR SHAPED BODY TYPE : ALSO
KNOWN AS A TRIANGLE SHAPE.
Other applications include:
· Sewing netting
· Butt-seaming is used for joining
the ends of piece goods.
· Flat-locking
· Edging emblems
· Purl stitching
·Rolled hemming and Decorative
edging

You may be this body type if…

· Your waist is wider than your bust
· You consider yourself to have fuller hips
· You have narrower shoulders in

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comparison to your hips You may be this body type if…

· You have a fuller rear · You'd describe your body as curvy

·You have a well-defined waist
· Your bust and hip measurements are
If you have large hips and a tiny bust, you roughly even
have a pear body shape. This type of body
is also known as the triangle shape. Your Lucky you! Your buttocks and bust
body has a very well-defined shape and lines are very well balanced and the
shows off those curves well. You have waist is also defined beautifully. Your
buttocks are round naturally and your
broad hips and your waist section can look body is in proportion throughout. You
beautiful if you dress up the right way. So, have slightly rounded shoulders that
let's help you out choose your outfit! align perfectly with your shapely
buttocks, and your legs are in
What To Wear proportion with your upper body.
Though your figure is the most
attractive, you can go wrong if you
Wearing bright and beautiful scoop-neck don't wear the right clothes. Here is
and boat-neck tops. This will make your what you should do.
shoulder look wider. Gorgeous bracelets
and accessories should be used to What To Wear
highlight the appearance. Also, wear a
Accentuate your waist and wear
pushup bra or a padded bra to make your clothes that show off your perfect
upper body and lower body look balanced. curves. Wear broad belts over your
But you cannot wear all types of cuts and shirt or dress, wraparound tops and
patterns. Here is what you should avoid skirts, flowy dresses, skirts, well-
wearing. fitting tops, fitting jackets, tops or
dresses with pleated waist, pencil
skirts, ¾ skirts with side or back slits,
What Not To Wear jeggings, boots, strappy sandals, high
heels, peep toes, and necklaces that
Avoid wearing balloon dresses, cigarette fall till your navel. Though you can look
pants, and tight skirts. beautiful and hot in any attire, you
should avoid wearing the following.
HOURGLASS SHAPED BODY TYPE:
ALSO KNOW AS A CURVY SHAPE.
What Not To Wear
Stay away from shapeless and loose
tops and dresses, and gaudy
embellishments.

If this is not your body shape, worry

not, we will give you all the tricks to
appear like one. Let's find out if you
have the next flattering body shape.

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 APPLE SHAPED BODY TYPE: ALSO that come till your bust and not lower
KNOWN AS AN INVERTED TRIANGLE. or higher, short dresses, dresses
which have darker sides and lighter
middle section all the way down, well-
defined shouldered blazers, summer
jackets, waistcoats, boot-cut jeans,
flared bottom jeans, jeans with back
pockets to give more definition to your
hips, low waist jeans, define your waist
by wearing high-waisted shorts, heels,
sandals with straps, wedges, and
platform shoes. Lot's of options for
you, just avoid wearing the following.
You may be this body type if…

ê You are generally well-proportioned

ê Your shoulders are broader than your What Not To Wear
hips Avoid clothes that are too tight fitted,
ê You are not necessarily as curvy rough textured, shapeless and boxy,
through your hips tight skirts, jeans or pants that have
minimum or no details near the waist
You don't have a well-defined waistline (If to prevent drawing attention to your
you do, you're likely an hourglass!) You waist. Also avoid turtle or round necks,
know you have an apple body shape if you dresses with waistlines, off-shoulder,
have a larger bust than the hip section, boat necks, halter necks, jeggings,
undefined waist, round shoulders, smaller boots, kitten heels, necklaces near
hip, and slimmer legs and arms. You also your neck, and broad belts
tend to put on weight first in the upper
body section than the rest. The apple body
shape or the Inverted triangle body shape
is beautiful and can look gorgeous when ATHLETIC SHAPED BODY TYPE:
you wear the right kind of clothes. Here is ALSO KNOWN AS A RECTANGLE
what you should wear. OR STRAIGHT SHAPE.

What To Wear
Wear soft, textured fabrics, A-line
dresses, shirts with a tie below the bust
line, tops that fall lower than the hip bone,
tops with cuff sleeves, well-fitting clothes,
V-necks, scoop tops, ruched t-shirts or
shirts in the middle to give more definition
to your mid-section, flowy dresses from
down your bust line, necklaces
You may be this body type if…

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· You're not particularly curvy Spoon Body Shape

·Your shoulders and hip measurements This one is also quite fascinating and
are nearly the same beautiful to look at. Spoon body shape
or the pear body shape is
· Your waist isn't very small or well- characterized by large hips that are
defined, but rather straight up and down bigger than the rest of the body. This
creates a nice shape that resembles
· Your weight is fairly evenly distributed the number 8. You tend to gain weight
throughout your body in the upper section, especially the
stomach region. Love handles are your
You know you have a straight body type if biggest issue and you tend to easily
you have the same measurements for all gain weight in your thighs and arms
section whereas your legs and lower
sections of your body. This body shape is arms are worth flaunting. Here is how
popularly known as the supermodel body. you can make your body look perfect.
This type is also been called rectangular or
ruler body. Since it does not have a well-
defined waistline, the body tends to look
straight. Here is what you should wear. What To Wear
What To Wear: Choose clothes that have lighter color
in the upper body region but darker in
Tube tops or dresses would look charming the middle and lower body region,
on you. Not only does it suit the shape of strapless, boat necks, wide necks,
your body, but also highlights your short skirts and shorts to show off
features. A nice and snazzy belt along with your great legs, tops with
a tube dress would be a stunner. This will embellishments or patterns that add
also help you create that slim and sexy volume to your bust line, A-line skirts,
hourglass shape you must have desired boot cut jeans or trousers, mid-rise
for. You should wear bright colors, try jeans, padded bras, chunky earrings
different textures, and cuts. Great ideas and necklaces, well-defined
right? Let's find out what you should avoid shouldered jackets, dresses, and tops,
wearing. well fitted dresses around the waist,
bags that come till your hip bone, peep-
toes, flats, and ballerina shoes with
What Not To Wear: pointed toes. These are really cool and
upbeat options, just take care not to
Do not wear clothes that highlight your wear the clothes mentioned below.
waist. Avoid wearing rigid and shapeless
clothes. Sounds sensible? Well, if you do
not have a straight body shape, then What Not To Wear
probably you the body shape described in
the next section.
Tapered ankle trouser or jeans, tops
with a tie just below your bust line,
Other body shapes include; shapeless shirts, short sleeves with

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round neck tops, dresses that are
overly ruffled or pleated below your
bust, wide stripes near your mid-body
region, narrow shouldered tops, shorts
or skirts that end just below your hips,
rounded toes shoes, strappy sandals,
and kitten heels.

Cornet Body Shape

You have broad shoulders, small hips, and
slender legs. Though you do not have a
well-defined waist, your upper body is
voluminous and should be accentuated to
draw away attention from the waist. Let's
find out how you can do that. Your body
shape resembles that of Naomi Campbell

What To Wear
Ruffles around the neck, peplum tops,
jeans with back pockets, low waist jeans,
checks and stripes in slanting angle, front
pockets in skirts, satin dresses, V-necks, A-
line dresses and skirts, fish cuts, shorts,
chunky shoes and earrings, slender
necklace, long dresses, high-waist pants,
bell bottoms, and sequined skirts.

What Not To Wear

Baggy and shapeless dresses and tops,
pencil skirts, tapered jeans and trousers,
spaghetti and noodle straps, ¾ sleeves,
horizontal stripes across your shoulders,
baggy waistline, and padded shoulders.
And many others.

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BUSTIER Bustier Styles
Bustiers feature a built-in bra. They're

A
bustier is a form-fitting garment for typically shorter than a corset, ending
women, which is traditionally worn as just above—or right at—the waistline.
lingerie. Its primary purpose is to Typically, they are not designed to
push up the bust by tightening against the cover the hips.
upper midriff and forcing the breasts up,
while gently shaping the waist. Nowadays, it There are also some bustiers that are
might also be worn as a push-up bra under a much shorter. Some brands will call a
low-backed dress, or as a camisole for bustier a long-line bra, and vice-versa.
outerwear. Yo u ' l l s e e t h e n a m e s u s e d
interchangeably. The bustier shown in
The bustier can also be worn as a halfslip the photo on the right, Va Bien's Low
Back Lacey Bustier, has a builtin
under sheer upper garments if a bold display
underwire bra, low V back, and a lace
of the midriff is not desired. bodice.
Components: Bodice,
A bustier resembles a basque, but it is warden/Airstay, Zip, Neckline
shorter. It reaches down only to the ribs or
waist. STEPS
Construct shaped bodice For shape
Modern bustiers are often made with mesh bodice add length of under bust and
panels rather than the traditional boning. roundness of under bust to the
normal measurement.

1. Length to under bust: is the

measurement from shoulder to the
under bust.
2. Under bust is the roundness of the
under bust.

Mark the length to under bust from

the topline downwards.

Square true bust line to the back. 4cm

at the side seam and 2cm on the CB
line, then square out.

On the waist line at the zip part take in

1.5cm or 2cm, then use ruler to
connect it to hipline downward and
backline upwards.

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On the neckline or point O at the CB Bust: The excess that comes out after
take in 1cm or 0.5 inch and use curve to subtracting from the
rule out. measurement. Divide it into 2
and use one part on CF and the
other on CB.
Use French curve to connect from the
1cm to the backline. Under bust: the excess you have if it's
like 5cm, take in 1.5cm on the
The true bust line is now the bust line. under bust line at the CB side
seam while 1.5cm on the side
seam of the CF. take out 1cm on
Shaping the following the dart side and another 1cm
1. Bust on the other part of the dart in
2. Waist CF only.
3. Under bust
Waist: divide the excess by four and
4. Hip share on CB and CF side seam
and the other part on CF dart.
Bust: take the bust on the true bust line
after dividing the bust Note: 1. If the length of the under bust
circumference by two. Take the is longer than the waistline, you take
up 2
measurement from the CF through
to CB missing out the excesses on inches from your new waistline and
the sides. Minus half of your bust use from your new waistline and use
measurement. the point as your under bust line.

Waist: take the waist measurement of the 2. In shaping the waist, if after
pattern on the new waist line measuring the pattern and it's
missing out the dart and excess on smaller than the actual
the side seam for CF and CB. Get
half of the waist circumference and measurement, add the remaining
minus the measurement (waste from the side seam if it's not
shaping) from it. enough, you add from the CF dart
only. Don't touch the back dart.
Under bust: divide the circumference of
the under bust by two. Then
measure from the CF through to Get desired dart (Panel, Empire, or
the CB, missing out the dart and sweetheart neckline)
excess by the side. Minus it from
half of the under bust Connect to desired style and length
circumference.
Hip: divide the hip circumference by two.
Take the measurement of the
pattern from CF to CB and minus it
from the half hip circumference
Note: the excesses you have minus 2 or
3cm from it, do not take out all the excess.
You only take all when you are using a
stretchy fabric.

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 9. In shaping the waist, if after measuring
EXERCISES
the pattern and it's smaller than the
1. A garment for women, which is
actual measurement, add the
traditionally worn as lingerie. TRUE OR
remaining from the side seam. TRUE
FALSE
OR FALSE
2. A bustier resembles a Basque, but it is
10. What are the measurements needed
shorter. It reaches down only to the ribs
for shaped bodice?
or waist. TRUE OR FALSE
3. In shaping the bodice, square true bust
line to the back, ___cm at the side seam
and _____cm on the CB line, then square
out.
4. Modern bustier are often made with
mesh panels rather than the traditional
boning. TRUE OR FALSE
5. As one of the steps, divide the
circumference of the under bust by five
to get the under bust shaping. TRUE OR
FALSE
6. Length to under bust is the
measurement from shoulder to the
under bust. TRUE OR FALSE
7. Under bust is the roundness of the
under bust+ 5inches. TRUE OR FALSE
8. The hip circumference is divided by two
and the measurement of the pattern
from CF to CB minus the half hip
circumference. This is one of the steps
in shaping the bodice. TRUE OR FALSE

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 Insulating interlinings for winter
LINING OF OUTFIT garments are usually sewn to the
individual lining pieces before the
In sewing and tailoring, a lining is an inner lining is assembled.
layer of fabric, fur, or other material
inserted into clothing, hats, luggage,
curtains, handbags and similar items. Partial or Half Lining
Linings provide a neat inside finish and This type lines only the upper back and
conceal interfacing, padding, the raw front of the garment, concealing the
edges of seams, and other construction shoulder pads and interfacings, with or
details. A lining reduces the wearing without sleeves.
strain on clothing, extending the useful
Zip-in, zip-out, snap-out or button-in
life of the lined garment. A smooth lining
lining (sometimes called a “liner”)
allows a coat or jacket to slip on over
other clothing easily, and linings add
This is a warm removable lining for a
warmth to cold-weather wear. jacket, coat, or raincoat that is held in
place with a zipper, snap fasteners, or
Linings are typically made of solid colors buttons. Garments with removable
to coordinate with the garment fabric, but linings are usually lined with a
patterned and contrasting-colored lightweight fabric as well, to provide a
linings are also used. Designer Madeleine neat finish when the warm lining is not
Vionnet introduced the ensemble in worn.
which the coat was lined in the fabric used
for the dress worn with it, and this notion
remains a characteristic of the Chanel
suit, which often features a lining and
blouse of the same fabric.

In tailoring, home sewing, and ready-

towear clothing construction, linings are
usually completed as a unit before being
fitted into the garment shell. In haute
couture, the sleeves and body are usually
lined separately before assembly.

Interlining
This is an additional layer of fabric
between the lining and the outer garment
shell.

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 instructions and compare
Steps for Lining Outfit them to the care instructions for the
1. Choosing the Lining Material: jacket's outer fabric.
Look for a fabric that matches or
· For example, if the lining fabric is dry
compliments the outfit fabric. The
clean only and the outer fabric of the
lining of the outfit will not be visible jacket is machine washable, then the
most of the time, but it will occasionally entire jacket would need to be dry
peek through. Therefore, you will most cleaned each time it is dirty.
likely want to choose a lining fabric that
will go well with the outer fabric of the
outfit. Hold the fabric up to the light to make
sure it is opaque. The lining fabric
· For example, if you are making a dark should not be see-through or you will
brown jacket, then you will most likely be able to see the seams on the inside
of the outfit. To make sure that the
want to use another earth tone, such as fabric is opaque, hold it up to the light.
medium brown, beige, or tan. You should not be able to see objects
or light through the fabric if it is
· For a more striking look, try choosing a opaque.
lining in a contrasting color, such as a red
lining for a white jacket or a lime green See how well the fabric moves. Lining
lining for a hot pink jacket. fabric should be relatively flexible so
that it will move with the garment,
Feel the texture of the fabric to see if it rather than bunching up or making the
jacket feel stiff. Try moving the fabric
is smooth. The lining fabric should be to see how easily is moves, such as by
smooth so that it will easily glide over waving it in the air and folding it in your
other clothing when the wearer puts hands. If the fabric
the outfit on and takes it off. You can
tell if a fabric will make good lining feels stiff, then it probably won't make
material by touching it and running it a very good lining.
across your clothing. If the fabric feels
smooth and glides easily over your · Avoid heavyweight fabrics, such as
clothes, then it will likely make a good wool and linen, which tend to be
th ic ke r an d le s s f lexib le th an
lining. lightweight fabrics, such as cotton
and silk
· Fabrics that make good linings include
silk, satin, and acetate.
Preparing Your Fabric
· Avoid rough fabrics, such as flannel,
wool, and fleece. Figure out how much fabric you will
need. If you are using a pattern, the
Check the care instructions for the fabric. pattern package should indicate how
The lining fabric should require the same much fabric you will need to line the
type of care as the fabric for your jacket. outfit. Check the package to find this
Otherwise, it may be difficult to clean the recommendation. However, if the
garment. Check the lining fabric's care pattern does not includethis
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information, then you can use a simple while others are fine to place anywhere
formula to figure out how much fabric on the fabric. You will also need to
to get. consider your fabric's grainline, and cut
out any darts
· Add together the total length of the
front and back of the outfit and the or notches indicated by the pattern.
sleeve length. Select thread that will blend in with the
outfit lining fabric. A matching color
· For example, if your jacket pattern will thread will help to ensure that your
create a jacket that is 30 inches (76 cm) finished outfit looks neat.
long in the front and back, and it will
have sleeves that are 26 inches (66 cm) · For example, if you are making a black
long, then add 30 + 30 +26 for a total of jacket with a grey lining, opt for a black
86 inches (220 cm). thread. For a red jacket with a black
lining, opt for a red or black thread.
Iron the lining fabric. Ironing is a Select the straight stitch setting on your
crucial step for fabric that is wrinkled. sewing machine. A straight stitch is usually
Taking the time to iron the fabric will the best choice for attaching a outfit lining.
help to make sewing it easier and lead Set your sewing machine to the straight
to better results. If your fabric is stitch setting, which is usually number 1
wrinkled, then iron it on a low setting. on most sewing machines. You can use a
different stitch type if desired, but make
For delicate fabrics, place a t-shirt or sure it is an inconspicuous one.
towel over the fabric before you iron it.
· For example, the zigzag stitch setting will
Sewing the Lining
3. be more noticeable, so only use this
stitch if your pattern calls for it.
and Jacket Together
Pin the lining pieces together according to
Cut the lining fabric using the outfit the pattern's instructions. The pattern for
pattern pieces. Some patterns come your outfit will indicate how the pattern
with special instructions for how to cut pieces should go together. Follow the
out the lining fabric, so check for these instructions to pin the pieces together
first. If your pattern does not include correctly.
these kinds of instructions, use the
· For example, the pattern pieces may have
pattern for your outfit to cut out the darts or notches on them to indicate
lining pieces. Fold the lining fabric in where two pieces should line up.
half and then lay the pattern pieces
over the fabric. Pin the pattern pieces Sew the lining pieces together. When you
to the lining fabric along the edges of have pinned all the pieces together, sew
the pattern pieces. Then, cut the lining along the edges as indicated by your
fabric along the outside of the pattern pattern to connect them. Sew about 0.25
pieces.

· Be sure to on how to position them on

the fabric. For example, some pieces
will need to be positioned along a fold,

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inches (0.64 cm) to 0.5 inches (1.3 cm) of · Spread– the distance between the points
fabric from the edges of the fabric pieces. of a shirt collar.

1. Pin the lining and completed jacket · Stand– the band on a coat or shirt collar
together. Make sure that the print that supports the collar itself
sides of the lining and outfit are facing
each other as you do this. Pin along the
raw edges of the outfit neckline the
lining neckline. Then, place pins along
the edges of the front opening area
(along where the outfit's zipper or
buttons will be) of the outfit and lining.
Pin along the bottom edges of the EXERCISES
outfit and lining as well. ·

The pins should be about 0.25 inches

(0.64 cm) to 0.5 inches (1.3 cm) from the
raw edges of the fabric pieces.

Sew around the pinned edges leaving a

small gap. Sew through the lining and
outfit material about 0.5 inches (1.3 cm)
from the raw edges. Do not sew the pieces
together completely because you will
need to invert them. Sew around the
edges except for about 3 inches (7.6 cm)
to 5 inches (13 cm) of the pinned area.
Remove the pins as you sew.

Lining may refer to:

· Lining (sewing), the process of inserting
an inner layer of fabric, fur, or other
material
· Lining of paintings, the process of
restoration paintings by attaching a new
canvas to the back of the existing one
· Brake lining, consumable surfaces in
brake sys sometimes permanently sewn
in place.
· Points– the corners of a collar; in a
buttoned-down collar, the points are
fitted with buttonholes that attach to
small buttons on the body of the shirt to
hold the collar neatly in place.
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 Both garments were adopted
TROUSER originally from the Celts of Europe,
although later familiarity with the
Antiquity P e r s i a n E a s t a n d t h e Te u t o n s
Trousers enter recorded history in the increased acceptance. Feminalia and
6th century BC, on the rock carvings and Braccae both began use as military
artworks of Persepolis, and with the garments, spreading to civilian dress
appearance of horse-riding Eurasian later, and were eventually made in a
nomads in Greek ethnography. At this variety of materials including leather,
time, Iranian peoples such as wool, cotton and silk

Medieval Europe
Scythians, Sarmatians, Sogdians and Trousers of various designs were worn
Bactrians among others, along with throughout the Middle Ages in
Armenians and Eastern and Central Asian Europe, especially by men. Loose-
peoples such as the Xiongnu and Hunnu, fitting trousers were worn in
are known to have worn trousers. Byzantium under long tunics and were
Trousers are believed to have been worn worn by many tribes, such as the
by both sexes among these early users. Germanic tribes that migrated to the
Western Roman Empire in Late
The ancient Greeks used the term Antiquity and the Early Middle Ages,
(anaxyrides) for the trousers worn by as evidenced by both artistic sources
Eastern nations and (sarabara) for the and such relics as the 4th-century
loose trousers worn by the Scythians. costumes recovered from the
However, they did not wear trousers Thorsberg peat bog. Trousers in this
since they thought them ridiculous, using period, generally called brais, varied in
the word (thulakoi), pl. of (thulakos), "sack", length and were often closed at the
as a slang term for the loose trousers of cuff or even had attached foot
Persians and other Middle Easterners. coverings, although open-legged
pants were also seen Psalter (the
Republican Rome viewed the draped 'Shaftesbury Psalter') with calendar
clothing of Greek and Minoan (Cretan) and prayers Origin England Date 2nd
culture as an emblem of civilisation and quarter of the 12th century
disdained trousers as the mark of By the 8th century there is evidence of
barbarians. As the Empire expanded the wearing in Europe of two layers of
beyond the Mediterranean basin, trousers, especially among upper-
however, the greater warmth provided by class males The under layer is today
trousers led to their adoption Two types referred to by costume historians as
of trousers eventually saw widespread "drawers", although that usage did not
use in Rome: the Feminalia, which fit emerge until the late 16th century.
snugly and usually fell to knee or mid-calf Over the drawers were worn trousers
length, and the Braccae, a loose-fitting of wool or linen, which in the 10th
trouser that was closed at the ankles. century began to be referred to as
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the pantsuit and designer jeans and the that it is nearly impossible to slip off
gradual erosion of social prohibitions tight jeans even partly without the
against girls and women wearing trousers active collaboration of the person who
in schools, the workplace and in fine is wearing them.” This ruling sparked
restaurants. widespread feminist protest. The day
In 1969, Rep. Charlotte Reid (R-Ill.) after the decision, women in the Italian
became the first woman to wear trousers Parliament protested by wearing
in the US Congress. jeans and holding placards that read
“Jeans: An Alibi for Rape.” As a sign of
Pat Nixon was the first American First support, the California Senate and
Lady to wear trousers in public. Assembly followed suit. Soon Patricia
In 1989, California state senator Rebecca Giggans, Executive Director of the Los
Morgan became the first woman to wear Angeles Commission on Assaults
trousers in a US state senate. Against Women, (now Peace Over
Violence) made Denim Day an annual
event. As of 2011 at least 20 U.S.
Hillary Clinton was the first woman to
states officially recognize Denim Day
wear trousers in an official American First
in April. Wearing jeans on this day has
Lady portrait.
become an international symbol of
In Rome in 1992, a 45-year-old driving protest. As of 2008 the Italian
instructor was accused of rape. When he Supreme Court has overturned their
picked up an 18-year-old girl for her first findings, and there is no longer a
driving lesson, he allegedly raped her for "denim" defense to the charge of rape.
an hour, then told her that if she was to tell
anyone he would kill her. Later that night
Trousers or pants are an item of
she told her parents and her parents clothing that might have originated in
agreed to help her press charges. While East Asia, worn from the waist to the
the alleged rapist was convicted and ankles, covering both legs separately.
sentenced, the Italian Supreme Court Shorts are similar to trousers, but with
overturned the conviction in 1998 legs that come down only to around
the area of the knee, higher or lower
because the victim wore tight jeans. It was depending on the style of the garment.
argued that she must have necessarily Jeans, made of denim, are a form of
have had to help her attacker remove her trousers for casual wear widely worn
jeans, thus making the act consensual all over the world by both sexes. Shorts
("because the victim wore very, very tight are often preferred in hot weather or
for some sports and also often by
jeans, she had to help him remove children and adolescents. Trousers
them...and by removing the jeans...it was are worn on the hips or waist and may
no longer rape but consensual sex"). The be held up by their own fastenings, a
Italian Supreme Court stated in its belt or suspenders.
decision “it is a fact of common experience

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breeches in many places. Tightness of In the early 20th century women air
fit and length of leg varied by period, pilots and other working women often
class, and geography. (Open legged wore trousers. Frequent photographs
trousers can be seen on the Norman from the 1930s of actresses Marlene
soldiers of the Bayeux Tapestry.) Dietrich and Katharine Hepburn in
Europe before the 1900s trousers helped make trousers
Around the turn of the 16th century it acceptable for women. During World
became conventional to separate hose War II, women working in factories
into two pieces, one from the waist to and doing other forms of "men's work"
the crotch which fastened around the on war service wore trousers when
top of the legs, called trunk hose, and the work demanded it. In the post-war
the other running beneath it to the era, trousers became acceptable
foot. The trunk hose soon reached casual wear for gardening, the beach,
down the thigh to fasten below the and other leisurely pursuits. Further,
knee and were now usually called in Britain during World War II,
"breeches" to distinguish them from because of the rationing of clothing,
the lower-leg coverings still called many women took to wearing their
hose or, sometimes stockings. By the husbands' civilian clothes, including
end of the 16th century, the codpiece their trousers, to work while their
had also been incorporated into husbands were away from home
breeches which featured a fly or fall serving in the armed forces. This was
front opening. partly because they were seen as
practical workwear and partly to allow
As a modernisation measure, Tsar
w o m e n t o ke e p t h e i r c l o t h i n g
Peter the Great of Russia issued a
allowance for other uses. As this
decree in 1701 commanding every
practice of wearing trousers became
Russian man, other than clergy and
more widespread and as the men's
peasant farmers, to wear trousers.[
clothing wore out, replacements were
needed. By the summer of 1944, it was
Women wearing trousers reported that sales of women's
trousers were five times more than
In Western society, it was Eastern they had been in the previous year.
culture that inspired French designer
Poiret (1879–1944) to be one of the
first to design pants for women. In In 1919, Luisa Capetillo challenged
1913, Poiret created loose-fitting, mainstream society by becoming the
wide-leg trousers for women called first woman in Puerto Rico to wear
harem pants, which were based on the trousers in public. Capetillo was sent
costumes of the popular ballet to jail for what was then considered to
Sheherazade. Written by Nikolai be a crime, but, the judge later
Rimsky-Korsakov in 1888, dropped the charges against her.
Sheherazade was based on a In the 1960s, André Courrèges
collection of legends from the Middle introduced long trousers for women
East called 1001 Arabian Nights. as a fashion item, leading to the era of
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Parts of trousers exterior of the waistband. Many men
claim this method is more effective
Pleats and more comfortable because it
requires no cinching of the waist or
Pleats are just below the waistband of periodic adjustment.
formal and casual trousers, including suit
trousers and khakis. There may be one,
two, three, or no pleats, which may face TYPES OF TROUSERS
either direction. When the pleats open 1. Basic Trouser Pattern
towards the pockets they are called 2. Palazzo Pants
3. Wide leg Pants
reverse pleats and when they open toward
4. Tapered Pants
the fly they are known as forward pleats.
5. Track Pants/Joggers
6. Cropped Trousers
Turn up or Cuff: 7. Harem pant
8. Sailor Pants.
Which Trouser-makers can finish the legs 9. Leggings
by hemming the bottom to prevent 10. Wrap Pants
fraying. Trousers with turn-ups, after 11. Vintage bell bottom
hemming, are rolled outward and
12. The Flat One Piece
sometimes pressed or stitched into place.
Trouser Block

Fly MEASUREMENTS REQUIRED

1. Waist
A fly is a covering over an opening, such as
2. Hip
a zipper or buttons, used to join the
3. Waist to Hip
opening. In trousers, this is most
4. Body rise
commonly an opening covering the groin,
5. Crotch across.
which makes the pants easier to put on or
(6. Knee
take off. The opening also allows men to
7. Thigh
urinate without lowering their trousers.
8. Trouser length (waist to floor)
9. Trouser bottom width
Components: Band, Fly/Flap, Zip, Dart
Trouser support
Hook and eye, pocket.
At present, most trousers are held up
through the assistance of a belt which is BASIC TROUSER PATTERN STEPS
passed through the belt loops on the Step 1: Divide pattern paper into two
waistband of the trousers. However, this equal part and square down.
was traditionally a style acceptable only Step 2: Square down 5cm from the top of
the paper and square across.
for casual trousers and work trousers; suit
Step 3: 0-1 Body rise minus 5cm. Square
trousers and formal trousers were
across.
suspended by the use of braces attached Step 4: 0-2 Waist to hip minus 5cm.
to buttons located on the interior or Square across.
Step 5: 0-3 Waist to floor measurement.
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 Square across. Step 12: Draw side seam through
Step 6: 1-4 Half the measurement 1-3 minus point 22,25,27,26. Curve 22-
5cm. Square across. 25 out by 0.5cm, continue the s i d e
Step 7:1-5 Hip measurement divided by 12. seam curve to 27
Square up to 6 and 7. as shown in the diagram.
Step 8: 6-8 Quarter hip measurement minus
Step 13: 14-28 Is 1cm
0.5cm.
Step 9: 5-9 Hip measurement divided by 16
Step 14: 15-29 Is 1cm
minus 0.5cm. S t e p 1 5 : D raw i n s i d e l e g s e a m
Step 10: 7-10 Is 2cm to the right. through 24,29,28. Construct a dart on
Step 11: Join 10-6 and 6-9 with a curve touching this line, width is 1.5- 2cm,
a point. the length is 10cm.
Size 6-14 3.2cm from 5
Size 16-24 3.5cm from 5
Step 12: 10-11 Quarter waist measurement.
Step 13: 3-12 Quarter trouser bottom width
Step 14: 4-13 The measurement 3-12 plus 1cm.
D ra w s i d e s e a m t h r o u g h p o i n t
11,8,13,12. Curve 11-8 out by 0.25cm,
continue the curve to 13.
Step 15: 3-14 Quarter trouser bottom width.
Step 16: 4-15 The measurement 3-14 plus 1cm.
Draw inside leg seam through point
9,15,14. Curve in 9-15 by 0.75cm.

BACK
Step 1:5-16 Quarter measurement 1-5. 21
30

Square to 17 on the hipline and 18 on waist line

7 10 18

20 0 11
22

the waist line.

Step 2: 16-19 Half the measurement 16-18 crutch line

19

plus 1cm. hipline

6 17 2 8

25

Step 3: 18-20 Is 2cm 23 9 1

24 5 16
Step 4: 20-21 Is 2cm up
Step 5: 21-22 Quarter waist measurement
plus 1.5cm. Join 21-22 to touch the
line squared out from point 0.
Step 6: 9-23 half the measurement 5-9.
Step 7: 23-24 Is 0.5cm. Join 21- 19 and 19- knee 15 13 27
4
24 with a curve touching a point.
line 29

Size 6-14 4.5cm from point 16.

Size 16-2 4 4.75cm from point 16.
Step 9: 17- 25 Quarter hip measurement
plus 1.5cm.
Step 10: 12-26 Is 1cm
Step 11: 13-27 Is 1cm 14 3 12
28 26

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 WIDE LEG PANTS
PALAZZO PANTS These are relaxed fit generally straight cut
These are long women's trouser cut from thigh to angle.
with a loose, extremely wide leg that
Components: Trouser block, Darts, Zip,
flares out from the waist. Palazzo parts Fly , Hook and eye.
are loose and tend to be flattering in
light, flowering fabrics that are STEPS
Step 1: Draw the regular trouser block.
breathable. Palazzo pattern is derived Step 2: Add 1" to 2" at the side hem or as
from Culotte. much as you wish.
Components: Band, Zip, Dart Step 3: Draw a line from the hip to the
hemline (1" or 2").
STEPS Step 4: On the in-seam, start just below
Step 1: Draft out the culotte's pattern.
the crotch and draw your line to
Step 2: Extend to desired length for
palazzo. the hem adding the same amount
you added to the outer side.
Step 5: Make the seam alterations on the
front and back pant leg.

NOTE: It is important to add the same

amount to the hemline on each
side of the leg (inseam & out seam)
and to the front and back leg. This
keeps the leg balanced.

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 STEPS
Crutch ease
1. Draft a basic skirt pattern.
2. Eliminate back zip allowance.
5
1 3. Mark bodyrise measurement +
4 0.5”(ease) and square across.
4. Extend bodyrise line out on CF & CB.
back 5. Mark 1/8hip-0.75” on the CF
extended line and square down.
6. Mark 1/8hip+0.75” on the CB
extended line and square down.
7. On the CF line, mark the midway waist
to bodyriseline.
8. Connect this point to the crotch with
a curve touching point 1.5” at angle 45'.
9. On the CB line, mark the midway waist
to bodyrise line +0.5”.
CULOTTE PANT 10. Connect this point to the crotch with
Definition: Culotte is a women's trouser curve touching a point 1.2” at angle 45'.
usually knee-length or calf-length, cut full
11. Draft band using width of waist+3”
to resemble a skirt. Fabrics used for
and depth of 2”.
culotte are cotton, silk, crepe, denim, or
any other medium weight fabric.

COMPONENTS WAIST
Band , Dart , Zip
HD
MEASUREMENTS NEEDED BODRIS
HD

E
waist CROT
CH BODRISE
CH
hipdepth CROT

hip
CB
CF

SIDE

length
SIDE

body rise

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 crotch and draw your line to the hem. This
will have a more extreme curve than the
original inseam especially just below the
crotch.
Step 7: Make the same alterations on the
front and back pant leg.

NOTE: It is critical to taper the same

amount at the hemline on each side of the
leg (inseam and outseam) and to the front
and back leg. This keeps the leg balanced
so it will hang properly without skewing.
Tapered pants generally look good at a
slightly shorter (ankle) length.

TAPPERED PANTS
These are comfy yet polished. It fit
through the waist and hip. It is the same
as block fitted but not tight.
Components: Trouser Block, Darts, Fly,
Band, Hook and eye.

STEPS
Step 1: Draw out the basic trouser block.
Step 2: To create the taper, start from
the thigh (crotch line) at the
outseam.
Step 3: Draw a straight line from the
thigh/crotch line to the hem,
taking it in as much as you wish.
Step 4: You can take from 1" inside the
original side seam.
Step 5: Repeat same amount bon

inseam and on both front and back leg.

Tapering a total of 4" all around each leg.
Step 6: On the inseam, start below the

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TRACK/JOGGERS PANTS

This is more like a tapered pant. The legs

of the joggers have elastic and are
designed to fall just above the ankle.
Components: Trouser block, Band,
Elastic, Strap

STEPS

Step 1: Get the regular trouser block.

Step 2: Place back and front together on
another paper to remove the side seam.
Step 3: Reduce the length by 4cm for
band.
Step 4: Cut out on new length.

CROPPED PANTS

These are also known as Capri's pants,

three quarter legs, man-pris, clam
diggers, flood pants, jams, high waters
and toreador pants. These are pants
that are longer than shorts but are not
as long as trousers. They typically
come down to between knee and calf
or ankle length.
Stretchy fabrics are best for making
these pants especially for the
waistband and ankle bands.
Components: Trouser block, Band,
Fly, Hook and eye.

STEPS
Step 1: Draw out the regular trouser
block.
Step 2: Take the measurement from
the waist to stop above the
ankle.
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Step 3: Mark out the new trouser waist to 2 inches above the
length on the pattern. desired break point.
Step 4: Cut out on the new length. Step 6: Curve from the break point to
meet the square at the right.
Step 7: Cut out four pieces.
Step 8:Back and front is the same
measurement.

HAREM PANTS
Harem pants or harem trousers are
baggy, long pants caught in at the ankle.
Components: Band, Elastic, Pockets,
Straps,

STEPS
Step 1: Draw out the basic trouser
pattern
Step 2: Use the hip measurement to
achieve the waist
Step 3: Extend the waist at the crotch
part out to your desired width.
Step 4: Mark the break point on the knee/
above /below.
Step 5: Form a box from the extended

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LEGGINGS 9-15 2cm
10-16 3cm
These are tight fitting stretch trousers Draw inside leg seam join 15-16 with a
typically worn by women/girls. straight line. Join 14-16 curve the line
inward by 0.75cm.
Components: Band, Elastic, Straps,

STEPS

FRONT
0-1 Body rise minus 1cm, square
across.
0-2 Waist to floor minus 8cm square
across.
1-3 Half the measurement 1-2 square
across.
1-4 Quarter hip measurement minus
2cm square across.
5-6 1cm
4-7 Quarter the measurement 4-5.
4-8 One sixth the measurement 1-4.
Join 6-7 and 7-8 with a curve touching
a point 2.25cm from point 4, while the
size 16-26 use 2.5-3cm from point 4.
2-9 Half high ankle measurement
minus 0.5cm
3-10 Two third the measurement 1-4
minus 0.5cm.
Draw inside leg seam. Join 9-10 with a
straight line. Join 8-10 curving the line
inwards by 0.75cm.

BACK

5-11 4cm
11-12 3cm join 12-10
4-13 One third measurement 4-5.
8-14 One fifth measurement 1-4
Join 12-13 and 13-14 with a curve
touching point 3 from 4 while for size
16-26 use 4cm from point 4.

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VINTAGE BELL BOTTOM/BOOTCUT

This is a pant flared from the knees. It

depends on how much or how little you add
at the hemline.
Components: Pockets, Straps, Trouser
block, Dart, Fly.
STEPS
Step 1: Draw a regular trouser block.
Step 2: At the side hem, add from 1"
upwards depending non your desired
wideness.
Step 3: From the knee, connect with a
straight ruler meeting the side hem.
Step 4: On the in-seam, start at the knee
line and add the same amount at the hem
that you added at the out-seam.
Step 5: Make the same alterations on
both the front and back pant leg.

NOTE: If you tapered the upper part of

the leg (like we did with the flared from
the knee), it makes the flare below the
knee appear to be much larger than it
really is. You'll get a pronounced flare
even if you don't add too much to the total
circumference at the hem. Just be sure to
balance the leg by adding the same
amount on each side of the leg and on the
front and back side.

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 EXERCISES

1. Mention 5 types of trousers?

2. Palazzo pattern is derived from Culottes. TRUE OR FALSE

3. ________________are also known as Capri's pants?

4. ___________is a pant flared from the knees.

5. ______________ are tight fitting stretchy trousers typically worn by women/girls.

6. ____________pant is more like a tapered pant. The legs have elastic and are designed to

fall just above the ankle.

7. _________________ pants are loose and tend to be flattering in light, flowering fabrics

that are breathable.

8. Stretchy fabrics are best for making _____________ pants especially for the waistband

and ankle bands.

9. Trousers enter recorded history in the ____________ century______

10. In trousers, fly is most commonly an opening covering the groin, which makes the

pants easier to put on or take off. TRUE OR FALSE

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 COLLARS
4. Back neck measurement

A
collar is the part of a shirt,
dress, coat or blouse that STEPS
fastens around or frames the 1-2: neck measurement
neck. Among clothing construction 1-3: collar stand and fall measurement
professionals, a collar is differentiated 1-4: 1/3 measurement 1-2
from other necklines such as revers 2-5: 0.5cm.
and lapels, by being made from a 1-6:1/2measurement 1-3 minus 1cm,
separate piece of fabric, rather than a square across to 7
folded or cut part of the same piece of 7-8: measure inward from point 7,
fabric used for the main body of the 0.75cm.
garment. Draw in collar outline from 3-8.
A collar may be permanently attached 5-9: button stand, join 8-9 and 4-9
to the main body of the garment (e.g.by with curve.
stitching) or detachable.

TYPES OF COLLARS

1. One piece shirt collar

2. Two pieces shirt collar
3. Straight collar
4. Peter pan collar
5. Sailor collar
6. Mandarin collar
7. Roll collar TWO PIECES SHIRT COLLAR
8. Eton collar
9. Frilled collar
10. Polo collar STEPS

ONE PIECE SHIRT COLLAR · 0-1; 2.5cm stand.

The collar is cut from a single piece of · 0-2; ½ neckline measurement .
cloth that extends through the front · 2-3; 1.5cm band shaping.
torso and doubles as a placket. This · Draw a line from 3 down to line
effect allows the collar to stand on its 0-2
own, without collapsing under it's own · 3-4; 2.5cm stand.
weight. There is no interlining or collar · Draw a line from 4 to 1 forming a
band whatsoever which gives it a roll stand of 2.5cm depth.
that you won't see with any other shirt · 3-5; width of button placket on
collar. garment.
· 0-6; 5.5cm, join 6 to 4 in a line
MEASUREMENT NEEDED corresponding to line 1-4.
1. Collar stand - 4cm (standard) · 6-7; 4.5cm fall.
2. Collar fall- 5cm to 6cm (standard)
3. Front neck measurement
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 · 7-8; 0-2
· 8-9; 1cm , draw in a line from 9
down to line 7-8.
Mark in shoulder notch.

FALL

STAND

PETER PAN COLLAR

This is a style of clothing collar, flat in
design with rounded corners. It is cut to
STRAIGHT COLLAR fit around the neckline, following the
This is also known as the point collar, the curve, and to lie flat upon the torso. It
straight collar is a universal collar; the can be made either as one part, with a
most versatile, easy to wear style. This front-fastening bodice, or in two parts to
collar style is appropriate for many accommodate a back fastening while
occasions from weddings to business retaining the front opening. The collar is
functions. small and soft, with rounded corners.

STEPS STEPS
· Measurements needed; · Draft the back and front pattern
· CB neck · Place the front and back touching
· CF neck the neckline and overlapping the
· Total ; shoulder tips 1.25cm.
· Square a line in the center of the · Trace the neckline and part of the
paper , mark and label. center lines.
· A-B 7.5cm (collar depth) · A point will appear at the
· B-C total neck measurement . label shoulder/neck.
C · Extend the CB neck 0.3cm. draw
· B-D center back to the shoulder. the neckline through the point
Mark for notch ending 0.5cm below CF.
· Square a line up from C · Draw style collar parallel with
· Mark E 1.25cm from C. neckline 10cm.
· Draw a curved line from E · Cut the collar from the paper.
blending with D. · Mark a notch at the shoulder/
· Square a line from A passing 2.5cm neck.
or more from guideline C, label F.
· Draw a line from E to F.

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 MANDARIN COLLAR
FRONT
This is a short unfolded stand-up collar
style on a shirt or jacket. The length along
a mandarin collar is straight, with either
straight or rounded edges at top of the
centre front. The edges of the collar either
SAILOR COLLAR
barely meet at the centre front or overlap
slightly.Overlapping mandarin collars are
This is a broad collar cut deep and having a
often a continuation of a shirt's placket
square flap across the back and tapering
and have a button on the collar to secure
to a V in the front.
the two sides of the shirt together.
STEPS
MEASUREMENTS NEEDED
· Square in back and V neck in front
Collar depth
· Draft front and back basic pattern.
Front neck measurement
· With the front and back necks
Back neck measurement
touching .
· Overlap shoulder tips 1.25cm.
STEPS
· A-B is depth of the V-neck.
1-2: back neck plus front neck
· Develop collar as illustrated
measurement
(square at the back, V-neck at the
2-3: square up 4cm (collar depth)
front)
3-4: 1-2 measurement
· Square a line from CB to shoulder,
4-1: square down to point 1, label cb.
and from shoulder connect with B,
Divide pattern into 3 sections, slash from
blend shoulder area.
the top and overlap with 0.5cm
· Cut collar from a paper.
.

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ROLL COLLAR ETON COLLAR.
This is a collar that stands up slightly from This is a broad, stiff white collar worn
the point of attachment to the neckline of outside the coat collar, especially with an
a garment before folding over to lie flat. Eton jacket.

STEPS STEPS
· Draft basic pattern front and back.
· Add button placket to CF. · Construct a peter pan collar.
· 0-1; breakline to break point 0 · Divide collar into 6 sections.
· 1-2; ½ back neck measurement · Cut out, cut up lines.
· 2-3; 1cm · Overlap at outer edge 0.75cm.
· Join 3 to 1 in a slightly curved line · Blend round collar with a smooth
and square across from 3-4 to give line.
CB line of approximately 9cm.
· The line drawn from 4-0 varies FRILLED COLLAR
according to design.
· NOTE; Corners at 3 and 4 must be STEPS
at an angle 90o · Construct a flat collar of required
· A back neck facing is required to shape.
complete collar construction. · Divide into 7 sections.
· Cut out.
· Cut up lines and open till neck
makes almost full circle.
· Blend round collar making a
smooth line.

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 · This makes only half a collar so SAILOR COLLAR WITH INSET
collar requires back seam.
This design is a stylized version of the
sailor collar. The inset section in front
POLO COLLAR controls the deep neckline. The sailor
This is a type of collar that folds over and tie is part of the collar.
covers the neck.
Collar steps;
STEPS
· Draft a basic pattern front and · Develop the neckline including
back. the inset section.
· 1-2 Full neck measurement. · Extend front collar by 6 inches
· 2-3 Four times finished depth of for tie.
fall. · Square up back collar to meet
· Draw rectangle. with front on the shoulder,
· Mark CF, fold line , roll lines. continue to the length for the
· Cut collars on crosswise in woven at 2 inches width for tie.
fabrics. · Shape the tie ends.

Inset steps.

· Trace wedge-shaped inset

section on fold.
· Draw a 1 inch extension on one
side for opening and for button
or snaps.
· Cut on fold and add ¼ inch
stand
Roll line seams.

Fall

Fold line

CF
Fall

Roll line

stand

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TURTLE NECK COLLAR

Bias- fold collar bands can be developed

for any neckline(basic or for a wider
neckline. The finished length should be
slightly shorter than the are covered in
compensate for the stretch of the bias
fabric. The collar width maybe planned for
either a folded back on itself. Cut the band
equal to the front and back neck
measurement stretch the collar band
slightly when stitching to the neck of the ROLL COLLAR WITH CUT AWAY
ferment. Trim the overhand and reduce NECK.
the pattern by the same amount or use
the formula given in the instructions that
follow. Note; a bias band encircles a cut away
neckline that drops deep at CB.
STEPS ;
· Trace pattern and adjust neck
Steps;
· Blend new neckline
· Record down measurement of the · Draft pattern front and back
neck round. · Place shoulder lines together ,
· Fold paper matching at neck and draw the
· Square a line from the fold to equal
neckline
front and back measurement.
· Draw parallel lines , spaced 3 inches · Measure the total neckline from A
apart for single fold (1 ½ inches to B to C.
finished width )or 6 ½ inches · Fold paper on a 450 angle
finished width or 6 ½ inches apart
· Draw a parallel line 6inches up
for double fold (3 ¼ inches finished
width). from fold using the A,B,C
· The center back can be closed with measurement (include seam
loops and buttons . allowance and fold over)
· The center back can also be left
open when folded back onto itself. · Notch at CF
· Draw the grain line at a 45o from
the fold. The will place the roll
collar on a true bias.

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 EXERCISES NECKLINES
1. A collar is the part of a shirt, dress, coat or
blouse that fastens around or frames the
neck. TRUE OR FALSE
2. ___________ is also known as the point collar.
T he neckline is the top edge of a
garment that surrounds the neck,
especially from the front view.
Neckline also refers to the overall line
between all the layers of clothing and the
3. _______________ is a broad collar cut deep neck and shoulders of a person, ignoring
and having a square flap across the back the unseen undergarments
and tapering to a V in the front.
4. ________________ is a short unfolded stand- TYPES OF NECKLINES
up collar style on a shirt or jacket 1. Scooped/ round neckline
5. Roll collar is a collar that stands up slightly 2. Square neckline
from the point of attachment to the 3. Crew neckline
neckline of a garment before folding over 4. Jewel neckline
to lie flat. TRUE OR FALSE 5. U-shape neckline
6. Mandarin collar is a broad, stiff white 6. Boat neckline
collar worn outside the coat collar, 7. V neckline
especially with an Eton jacket. TRUE OR 8. Asymmetric neckline
FALSE 9. Cowl neckline
7. A sailor collar with Inset design is a stylized 10. Sweetheart neckline
version of the sailor collar. TRUE OR
FALSE SCOOPED/ ROUND NECKLINE
8. Sailor collar is a type of collar that folds The round neckline is also known as a
over and covers the neck. TRUE OR FALSE necklace neckline. The round neckline
9. Polo collar is a type of collar that folds over is sometimes called a crew neck. This
and covers the neck slightly. TRUE OR design of neckline follows the natural
FALSE
contour of the base of the neck, and is
10. Peter pan collar is a style of clothing
collar, flat in design with rounded corners.
generally a gentle curve. This neckline
It is cut to fit around the neckline, is made from a bodice block
following the curve, and to lie flat upon the
torso. TRUE OR FALSE STEPS
· Draft a basic bodice pattern .
· Measure 2.5cm in from neckpoint.
· Measure 8cm down from the base of
front neck at CF and 4cm down at
CB.
· Join with a curve from shoulder to
CB.

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 CREW NECKLINE

A crew neck (or crew-neck) is a type

of shirt or sweater that has a round
neckline and no collar, often worn
with other layers

STEPS
· Draft a basic bodice front and back
· The basic neck on the basic bodice
is known as crew.
SQUARE NECKLINE

Square neckline is a wide and low-cut

square frame on a variety of woman's
dresses such as tops, shirts, T-shirts, crop
tops, camis, wedding gowns, and more. ...
A slightly modified version of square
necklines is slot necklines, which is as low-
cut as a normal square neck but narrower.

STEPS
· Draft a basic bodice front and back.
· Mark 3cm in from the NP (front and back
)
· Mark 7cm down from neck base of CF JEWEL NECKLINE
and from this last point take in 4cm and These are round and sit at the base
square out. of the throat, and are also called the
· Join with a ruler new NP to the 4cm T-shirt neckline or crew neck.
depth below.
STEPS
· Draft a basic bodice , front and
back.
· Mark 1.5cm in from shoulder line,
font and back.
· Mark 3.5cm down from CF neck
base and CB neck base.
· Connect the point at the shoulder
to the point at CF and CB with a
curve.
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 BOAT/CANOE NECKLINE

These have a high, wide, slightly curved

neckline that pass past the collarbones
and hang on both shoulders, and are also
called bateau necklines or Sabrina
necklines. A variation is the portrait
neckline.
STEPS
· Draft a basic pattern , front and
back .
· Mark 8cm in from NP on shoulder
line.
· Mark 1.5cm down from CF neck
base and CB neck base.
U SHAPE NECKLINE · Connect point on shoulder to
The neck opening of the shirt is formed point on CF and CB with a slight
in the shape of the letter “U”. Similar to a
curve .
v-neck shirt, but the bottom portion is
rounded rather than forming a point like
the letter V.
STEPS
· Draft a basic bodice front and back
· Mark 3cm in from NP on shoulder
· Mark 10cm from the base of CF
neck and 11cm from the base of CB
neck.
· Connect the point from shoulder to CF
point and CB point with a curve.

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ASYMMETRIC NECKLINE COWL NECKLINE

An asymmetric neckline is any neckline This is a neckline of women's clothes

loosely folded over and sometimes
that looks different on either side of the
resembling a folded hood
center front of the top or dress. It can be
cut differently or it could be the same, but STEPS
one side is folded down while the other is · Trace the front bodice and square a
fastened up slash line from CF to the bust point
(bust level)
STEPS · Mark A between the center fron6t
neck and bust level.
· Draft a full front and full back pattern.
· Mark B at 4cm from NP on the
· Align front and back shoulder. shoulder line and draw a line to A
. Apply the square neckline on the CF. · Draw a slash line from shoulder to CF
Connect from one side of the shoulder · Cut slash lines to, through the
using a curve to the other side of the shoulder and bust point .
· Place a paper under the pattern and
square depth.
square a guideline 13cm down from
. papers edge.
· Place pattern on paper so that A-B
line touches the guideline and point A
touches the center line of paper.
· The center front pattern is placed on
the centerline below bust level.
Trace the pattern starting from B and
ending at CF waist.
· Mark C, 10cm up from A for fold back
facing.
· Fold on the A-B line and trace the
shoulder.
· Blend the shoulder.

BACK
· Trace the back pattern
· Mark A 4cm below CB neck base.
· Mark B 4cm from NP on the shoulder
line.
· Draw the neckline from A, curving the
line to B.
· Draw a parallel line 2.5cm from CB for
zip allowance.

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 SWEETHEART NECKLINE

These have a curved bottom edge that is

concave down and usually doubly
scalloped to resemble the top half of a
heart. The side edges often converge on
the neck, similar to halter necklines.
Sweetheart necklines accentuate the
bossom.

STEPS

· Draft the basic pattern

· Mark 2.5cm from the neck edge along the
shoulder line, draw a line 10cm down,
perpendicular to the shoulder line (keep
the intersecting line at 90o squared)
· On the CF line, mark a point 7.5cm down
from the neck base. Draw a curved line
from that point to the end of the 10cm
line, (this new line should have a gentle
curve up, towards the face).

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curve up, towards the face).

BACK

· Draft back pattern

· Mark a point 2.5cm from the neck
edge, along the shoulder line.
· Mark a point 2.5cm on the CB line.
· Connect with a curve.

BUILT UP NECKLINES
Built up necklines extend above the base
of the neck and must accommodate the
position of the neck and must
accommodate the position of the neck as
it jutt forward. There are 2 basic types of
built necklines;
1. All in one with the bodice.
2. Set in bands.

Either type can be developed from any YPES OF BUILT UP NECKLINES

point along the shoulder and to any height.
Added room is provided along the outer Stovepipe neckline
edge of a built up neckline. This allows the The neckline extends above the natural
neckline to rise up and away from the neck neckline in front and back, with seams at
and shoulder of the garment to prevent the center front and center back.
strain from the necks forward position.
Steps : Front
The development of this type of neckline
is an application of principles; · Trace and cut front pattern
1. D a r t m a n i p u l a t i o n ( w h e n · Mark A and 2inches down from
transferring excess dart to CF
neckline) · Mark B ½ inch in from neck at
2. Added fullness (when adding to the shoulder
pattern's outline) · Draw curved slash line from A to
Because of the special features of this B
type neckline, facings are included in the · CUT SLASH line from a to, not
instructions through, point b
· PLACE on paper and spread
2inches secure
· Trace and label cf next to C
· CONTINUE line 1 ½ inches up
from point B and square out a
short line.
· Draw a curved line to C and to A
·
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 Blend at A and B
EXERCISE
FACINGS 1. The neckline is the top edge of a garment
· place CF of pattern on fold of the that surrounds the shoulder. TRUE OR
paper FALSE
· trace neckline from to 1inch down 2. The round neckline is also known as a
from B on shoulder
necklace neckline. TRUE OR FALSE
· remove pattern. Draw the bottom
edge parallel with the neckline 3. Scoop neckline is a wide and low-cut
BACK square frame on a variety of woman's
· Tra c e b a c k p a t t e r n . M a r k a t
dresses such as tops, shirts. TRUE OR
neck/shoulder and draw a guidelineFALSE
parallel with CB. 4. A slightly modified version of
· EXTEND CB 1inch. Label B and
_____________necklines is slot necklines,
square a short line
· Mark C ½ inch from A which is as low-cut as a normal square neck
· From C draw a 1 ½ inch line to the but narrower.
guideline. Label it D 5. A crew neck (or crew-neck) is a type of
· Draw a curved line parallel with the
shirt or sweater that has a round neckline
neckline from D to shoulder line
and no collar, often worn with other layers.
· Add a 1 inch extension at CB for
closure. TRUE OR FALSE
6. ____________________ Neckline are round
FACINGS and sit at the base of the throat, and are also
· Trace the back pattern 1inch below called the T-shirt neckline or crew neck.
point C, starting at original CB 7. The neck opening of the shirt is formed in
· Remove pattern
the shape of the letter “U”. TRUE OR FALSE
· Draw facings edge parallel with
neckline edge 8. _______________neckline is any neckline
that looks different on either side of the
center front of the top or dress.
9. Cowl neckline of women's clothes loosely
folded over and sometimes resembling a
folded hood. TRUE OR FALSE
10. ___________ Neckline have a curved
bottom edge that is concave down and
usually doubly scalloped to resemble the
top half of a heart.

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 DRESSES decoration such as embroidery, with
black work being especially popular.

A
dress (also known as a gown) is a Women's dresses in Russia during
garment consisting of a skirt with both the 16th and 17th centuries
an attached bodice. It consists of a identified a woman's place in society or
top piece that covers the torso and hangs their family.
down over the legs. A dress can be any
one-piece garment containing a skirt of 17TH CENTURY
any length. Dresses can be formal or H o l l a n d , a s a c e n t e r o f t ex t i l e
informal. In many cultures, dresses are production, was a particularly noted
more often worn by women and girls. area of innovation in dress during this
time period. During this time period, in
Spain and Portugal, women wore
11TH CENTURY stomachers. However, in England and
In the 11th century, women in Europe Fra n c e , d r e s s e s b e c a m e m o r e
wore dresses that were similar to men's "naturally" shaped. Lace and slashing
were popular decorations. Skirts were
tunics and were loose, with a hemline
full, with regular folds and the
reaching to below the knees or lower. By overskirt allowed the display of an
the end of the century, these dresses underskirt of contrasting fabric.
featured a tighter fit on the arms and Necklines became lower as well.
women's upper bodies. Dresses were Embroidery that reflected scientific
discoveries, such as new animals and
made snug by featuring slits on the sides
plants discovered were popular. In the
of the dress that were pulled tight in order British Colonies, the multiple-piece
to fit a woman's figure. dresses were also popular, though less
luxurious. Wealthy women living in the
16TH CENTURY Spanish or Dutch colonies in the
Americas copied the fashions that
were popular from their homelands.
Starting in the 1550s, middle- and upper-
class women in Europe wore dresses The three-piece dress, which had a
which included a smock, stays, kirtle, bodice, petticoat and gown, was
gown, forepart, sleeves, ruff and a partlet. popular until the last 25 years, in which
Undergarments were not worn the mantua, or a one-piece gown,
underneath. In England, Queen Elizabeth b e c ame m o r e p o p u l ar. Co r s e t s
dictated what kinds of dresses women became more important in dresses by
were allowed to wear. French women the 1680s.
were inspired by Spanish-style bodices
and also wore ruffs. French dresses were
18th Century
known as marlottes. In Italy, dresses were
known as roper and Samarra. Dresses in Large, triangular silhouettes were
the 16th century also displayed surface favored during the 18th century, skirts
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were wide and supported by hoop Ladies Tailors' Association developed
underskirts. One-piece gowns a dress called the suffragette suit,
remained popular until the middle of which was practical for women to
the century. During the 1760s in work and move around in. Another
France, hoop petticoats were reduced innovation of the 1910s was the ready
in size. Lighter colors and lighter availability of factory-made clothing.
fabrics were also favored. In Colonial Waistlines started out high and by
America, women most often wore a 1915 were below the natural waist. By
gown and petticoat, in which the skirt 1920, waistlines were at hip-level.
of the gown opened to reveal the Between 1910 and 1920 necklines
petticoat underneath. Women also were lower and dresses could be
had riding habits which consisted of short-sleeved or sleeveless. Women
the petticoat, jacket and a waistcoat. who worked during World War I
preferred shorter dresses, which
20th century eventually became the dominant style
overall. In addition to the shorter
In the early twentieth century, the dresses, waistlines were looser and
look popularized by the Gibson Girl the dominant colors were black, white
was fashionable. The upper part of and gray.
women's dresses in the Edwardian era
included a "pigeon breast" look that TYPES OF DRESSES
gave way to a corseted waist and an s-
shaped silhouette. Women called 1. Yoke dress
their dresses "waists" if one-piece, or 2. Camisole dress
"shirtwaists," if it consisted of a skirt 3. A-line dress
and a blouse.The bodice of the dresses 4. Empire dress
had a boned lining. Informally, wealthy 5. Pinafore dress
women wore tea gowns at home. 6. Bodycon dress
These garments were looser, though 7. Princess dress
not as loose as a "wrapper," and made 8. Sheath dress
of expensive fabric and laces. 9. Peasant dress
By 1910, the Edwardian look was 10. Drop shoulder dress
replaced with a straighter silhouette. 11. Pegged Dress
French designer, Paul Poiret, had a 12. Flared Dress
huge impact on the look of the time. 13. Dress with Gathered
Designs developed by Poiret were Waistline
available in both boutiques and also in 14. Cowl Inset Corporate
department stores. Popular dresses of Dress
the time were one-piece and included 15. Tulip Dress
lingerie dresses which could be 16. Fitted Dress
layered. At around the same time, in 17. Shirt Dress
the United States, the American 18. Pencil Dress
19. Pancore Gore Dress
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 20. Panel Flared Dress
21. Shift Dress with Yoke
22. Kimono Pencil Dress
23. Trumpet Dress
24. Bustier Mermaid Dress
25. Strapless Corseted Dress
26. Princess panel
27. Tiered Dress (Separated)
28.Ball Dress
29.Cape Dress

YOKE DRESS

A yoke dress can be fitted and free.

A yoke dress is a shape or force piece
which from part of a garment, usually
fitting around the hips to provide
support for looser part of the garment,
such as body of the shirt or dress
You can have yoke on your dress, shirt,
trouser, skirt. CAMISOLE DRESS
A camisole typically has thin "spaghetti
Split yoke – this is the yoke that usually straps" and can be worn over a brassiere
come with shirt or skirt dress and it or without one.
refer as yoke which is split at the Components: Bodice block, Neckline,
middle and do the joining Straps.
Components: Bodice pattern, Zip,
Sleeve pattern, Pocket STEPS

STEPS · Draw a bodice pattern e.g the dart

· After drawing your bodice less bodice pattern square across
pattern extend it to your desired from chest line at the front and at
length. bust line at the back.
· To achieve your yoke you either · Draw a high waist line with slight
use the back yoke or the front curve. Cut away top sections.
yoke · Shape side seam slightly to your
· Take the measurement from desire width, shape in the front and
your NP (Neck point) and drop it back by 2cm
to where you want it to be for · connect from your up (under arm
either front or back then square point) to the front where you have
across. your cut on fold part.

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 · Do same at the back, but to the both back and front
mid point of your back joining. · Extend the slash to either the
· Extend to your desire length waist or the hips it depend on
and widen it to the width of your where you want the free part to
choice. start from.

EMPIRE DRESS
Yo u r e m p i r e d r e s s c o m e s w i t h
different types e.g. Empire silhouette,
empire wait, empire line and just
empire.
A LINE DRESS The empire dress is a style in clothing
in which the dress has fitted top
An a-line dress is a dress that is fitted at bodice. Ending just below the bust,
the waist and the hip and gradually giving a high waist appearance and a
widen towards the hem lime. It's a gathered skirt down look which is long
dress that is gradually becomes wider and loosely fitting.
from top bottom.
Components: Bodice pattern, Dart,
Components: Bodice block, Dart,
Neckline, Zip, Sleeve.
Neckline, Zip, Sleeve, Zip

STEPS

· After drawing your bodice with STEPS

dark or using the dart less
pattern. · Divide your pattern arm hole
· Transfer your dart to any dart of into two equal parts.
your choice, extend the pattern · Curve with your French curve,
to your length back and front. passing through your point x of
Do your slash and spread at the your bodice dart (nipple point),
bottom part of the bodice of
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Extend it down to your waist line.

PINAFORE

A pinafore is a collar less, sleeve less

dress worn over a blouse or jumper.
Pinafore may be worn by both girl and
women as a decorative garment and as
a protective apron.
Components: Bodice block, Band,
Straps, Buttons, Zip. BODYCON DRESS

STEPS Bodycon dress is a tight figure,

· Draw both your bodice and your hugging dress often made from
shirt or draw only your bodice stretch fabric. The name derives from
and extend it to your desired “body conscious”.
length and make use of the town Process – draft your bodice pattern
part of your bodice as your skirt. and do the shape bodice, also extend
· Drop down from the base of the the bodice to your desired length.
Neck to your chest and Components: Bodice block, Neckline,
· Extend at that point where you Darts, Sleeve.
want your pinafore to be that is
the width of your pinafore at the SHAPING THE BODICE
top.
· Take in 2-2.5 inch in from your Add length of under bust and round
waist line and connect it to your under bust to your bodice
new chest side seam do same at measurement e.g LENGTH OF
the back UNDER BUST: – the measurement
· Take the measurement of the from the shoulder to your under bust.
front to the back part of your ROUND UNDER BUST: - Is the
pinafore and use it for your roundness of the under bust.
strap.

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 Hip:- On the hip line also take the
STEPS measurement and miss out the side seam
· Take the length of the under excess and mark the difference of both the
bust and square across pattern and actual.
· square across your through
bust line to the back e.g. 4cm for Shaping all the excess is to take out all
side seam and 2cm for the back these excess from both front and back
which is the part of the zip side seams, while if you are using the
allowance. princess dart or the empire dart you can
· On the waist line at the zip part take some of the excess out from the waist
take 1.5 or 2cm in, then rule up dart.
to the back line and down to the
hip line on a slanted line.
· on the neckline or point O, take Chest

in o.5inch or 1cm and use your

French curve to connect with a True Bust

straight curve to connect with a

slight curve to the backline. Under Bust

SHAPING THE FOLLOWING waist

· Bust
· Waist
· Underbust Hip

· Hip

Bust:- Take the measurement of the

true bust line which is now the bust
line,compare the back and front
pattern measurement with the actual PRINCESS DRESS
measurement and mark the excess.
A princess dress is a fitten dress or
Waist:- Take the measurement of the garment cut in long panels without a
waist through the new waist line and horizontal joint or separation at the
miss out all the darts, now compare waist instead of relying on darts to
both the pattern measurement and shape the garment , the fit is achieved
actual measurement, then mark the with long seams and shaped the pattern
excess. pieces

Under bust:- On the under bust take Process – draft your bodice pattern and
the measurement and also miss out do the shaping of the bodice.
the dart then mark the excess.

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Components: Bodice block, Darts, SHEATH DRESS
Paneled lines, Zip, Sleeve, Necklines A Sheath dress is a straight cut dress often
nipped at the waist part with no waist
STEPS seam. The dress emphasizes the waist as
its skirt potion is fitted while the sheath
· close your regular shoulder portion can come with different free down
dart, and extend it down to your pattern most time with sleeveless.
desire length of the dress. Components: Bodice block, Darts, Zip,
· square down from the back Sleeve, Neckline .
shoulder dart to your extended
length STEPS
· slash through all panels and
label e.g. CF1, CF2,CB1,CB2 · draft your bodice pattern and
and mark all allowance for extend it to your desired length
sewing. slightly
· above the knee level.
· Shaped the waist level to give it
some fitted look
· transfer the dart to any dart of your
choice and close your shoulder dart.

HOW TO STYLE A SHEATH DRESS

A sheath dress features a silhouette that

Chest
fits close to the body and can have a hem
line that hits anywhere from mid-thigh to
mid-calf.
True Bust

Under Bust
A sheath dress neckline vary, but a fitted
waist is the focal point of this type of dress.
waist
And a sheath dress is often sleeveless, and
when they are longer then mid-thigh a slit
up at the back makes it easier to walk in.

Hip

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 Sleeve, Neckline, Straps, Buttons.
Chest
STEPS

True Bust
· Draft a bodice pattern and
extend it down to a full length
Under Bust
· draw out your necklines e.g. any
neck of choice always make
waist
sure the
· neck is free
· slash from your waist line for
joining
Hip · add enough allowance at the
waist line and use it to form
gathers, that will be equal to the
top waist .

draft your sleeve pattern and make a

puffy sleeve
PEASANT DRESS

A peasant dress is a traditional dress

that comes with either traditional logo
or embroidery in floral pattern but
they can also have a design detail like
puffed sleeves or low necklines in a
manner typical of german folk clothing.

A peasant dress is a good buy for

women looking for comfort without
being obvious. Let's say you're tired of
buttons, zip or any form of closures,
the upper part of a peasant dress is
usually force because of the choice of
neckline that comes with it.
A peasant dress is usually casual but
can be dressed up fairly easily if you
prefer and with the strap at the
shoulder of some make it more easy to
wear.
Component: Bodice block, Darts,,

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PEGGED DRESS FLARED DRESS
pegged dress cut full in the waist and
thigh area a gradual widening in shape, especially
towards the hem of a garment
COMPONENT: puff sleeve, round
neck, slanted pocket, vent. Lining, zip, COMPONENT: zip, sleeve, lining,
dart pocket, belt, lace details

STEPS STEPS

1: Draft basic dress block and shape 1: Draft dress block

2: Transfer shoulder dart
pattern
3: Mark out yoke point
2: Transfer dart to CF bust
4: Mark out neck width & depth and
3: Cut out on waistline
connect with curve
4: Trace skirt part to have full pattern
5: Cut out yoke
5: Mark slash lines
6: Rule out slash lines
6: Transfer skirt darts into slash lines 7: Transfer dart into slash line
7: Draft pocket pattern 8: Blend the hem
8: Draft sleeve pattern 9: Draft sleeve pattern

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DROP SHOULDER DRESS drop you want it to be. And mark that
A drop shoulder dress is a dress in part as your new sp (shoulder point)
which the shoulder line of the garment
extends beyond the top of the upper Stage7:- drop from the Nape at the
arm. A style of shoulder on a garment is back of the neck to how drop you want
cut it to be.
so that the seam is positioned on the
upper arm rather than the shoulder. Stage 8:- square across from the back
Components: Bodice block, Darts, SP (shoulder point) to the back NP (
Zip, Sleeve, Neckline neck point).

STEPS Stage 9:- add a pattern paper at the

Draft both the bodice pattern and the armhole and connect it from your new
sleeve of the pattern to make your SP (shoulder point) to the arm hole up
drop shoulder. (under armhole point)

FRONT

Stage 2:- drop from the shoulder

blade to either the mid part of the
armhole or to how dropped you want it
to be and mark that part as your new
SP (shoulder point).

Stage 3:- square from the new sp

(shoulder point) to the front.

Stage 4:- drop from the base of the

neck to how drop you want it and
connect from new SP(shoulder point)
to meet the new base of the front neck.

Stage 5:- add a pattern paper at the

arm hole and connect it from your new
SP (shoulder point) to the armhole up
(under armhole point)

BACK

Stage 6:- drop from the shoulder blade

of the back bodice to either the
midpoint of the armhole or to how
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PENCIL DRESS 2: Trace full front block
3: Transfer darts to underarm
A pencil dress is a slim-fitting dress with a 4: Mark neckline
straight, narrow cut
5: Draft sleeve pattern
COMPONENT: inset cape sleeve, zip,
lining, neckline, vent

STEPS

1: Draft a pencil shaped block

2: Transfer dart to princess dart
3: Mark neckline width and depth
4: Draft sleeve pattern

Chest

True Bust

Under Bust

waist

Hip
PANEL GORE DRESS
A panel gore dress is a triangular type of
dress

Component: Armhole Princess Dart,

Zip, Lining, Neckline Sleeve

STEPS

ASSYMETRIC DRESS (MONSTRAP) 1: Draft basic dress pattern

having two sides or halves that are 2: Transfer dart to armhole princess dart
3: Panel the block front and back
not the same : not symmetrical an 4: Mark gore point: 4inches above knee
asymmetrical design asymmetrical level
shape 5: Shape the pattern
6: Cut out panels and label
Component: Neckline, Sleeve 7: Add gore flare to the hem of each
panel and connect to gore point.
STEPS 8: Draft sleeve pattern

1: Draft basic dress block and shape

the block

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D R E S S W I T H G AT H E R E D COWL INSET CORPORATE DRESS
WAISTLINE Component: Zip, Lining, Dart, Vent,
A dress drawn together around the Cowl Neckline
waist
Component: Zip, Pocket, Lining, Neck STEPS
Line, Sleeve 1: Draft the dress block
2: Mark out the inset section on
STEPS pattern
1: Draft the basic dress block
3: Transfer dart and shape the pattern
2: Transfer shoulder dart to arm hole
4: Cut out the cowl Section
princess dart
5: Mark slashed line
3: Mark the neckline width and depth
6: Place it on plain paper
and shape the bodice
7: Slash and spread
4: Cut out on waistline
8: Draft sleeve pattern
5: For gathers attached at the waist
level; Use: Waist circumference x
3+10inches
6: Draft sleeve pattern

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SHIFT DRESS WITH YOKE KIMONO PENCIL DRESS

a shift dress tends to be less fitted The kimono is a traditional Japanese

garment. The word kimono literally
around the waist and hips
means "thing to wear on the
shoulders"; ki comes from the verb
Component: Yoke, Zip, Pocket,
kiru , a gender-neutral verb describes
Neckline, Sleeve clothing worn on the shoulders or on
the entire body, and mono means
STEPS "thing".

1: Draft dress block front and back Component: Vent, Zip, Lining, Facing,
Belt, Neckline, Interfacing
2: Transfer dart to under arm
3: Mark yoke point
STEPS
4: Mark neckline width and depth
1: Draft basic dartless block
5: Draft sleeve pattern 2: Shape the pattern
3: Mark neck width and depth
4: Draft sleeve pattern
5: Place sleeve pattern with dress
block and blend to the side seam

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PANEL GORE DRESS PANEL FLARED DRESS

A panel dress is, as the name suggests

A panel gore dress is a triangular type is a dress made of many panels of
of dress f a b r i c s t i t c h e d t o g e t h e r. T h e
advantage of panel dress is the flair the
panels give to the hem. You can have a
Component: Armhole Princess Dart, nicely flared dress which will drape
and falls beautifully, especially when
Zip, Lining, Neckline Sleeve sewn in a flowy drapy fabric like chiffon
or crepe.
STEPS Component: Neckline, Waist Seams,
1: Draft basic dress pattern Cf Bust Cluster Dart, Long Fitted
Sleeve, Lining , Zip
2: Transfer dart to armhole princess
dart STEP
1; Draft dress block
3: Panel the block front and back 2: Panel dress pattern
4: Mark gore point: 4inches above 3: Transfer dart to princess dart
4: Contour the pattern
knee level 5: Label the panels
5: Shape the pattern 6: Add flare to the panels
7: Draft sleeve pattern
6: Cut out panels and label
7: Add gore flare to the hem of each
panel and connect to gore point.
8: Draft sleeve pattern

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TRUMPET DRESS BUSTIER MERMAID DRESS

A mermaid dress is a style of evening

A trumpet wedding dress fits similar to gown that fits closely to the body
a mermaid gown. It hugs the body in all through the torso and hips, then
the right places and gradually flares "fishtails" out in a flare to the floor.
outward.
Component: 2 Step Tulip Peplum,
Cold Shoulder ¾ Sleeve, Square Neck,
Component: Radiating Dart, Trumpet Zip, Lining
Sleeve, Lining, Zip, Neck Line
STEP
1: Draft a basic dress
STEP 2: Shape the pattern (Contouring)
1: Draft dress block front and back and 3: Transfer shoulder dart to arm hole
shape the block 4: Mark neckline (square) width and
depth
2: Transfer dart (radiating dart)
3: Mark trumpet point 5: Draft shaped sleeve pattern
4: Mark slashed lines for the trumpet 6: Cut out cold shoulder
7: Panel lower part of the pattern and
section
label
5: Slash and spread 8: Mark gore point
6: Draft sleeve pattern 9: Add flare to the hem of each panel
10: Blend and connect to gore point.

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STRAPLESS CORSETED DRESS

A strapless dress or top is a garment that

stays put around the upper body without
shoulder straps or other visible means of
support. It is usually supported by an
internal corset and/or brassiere, with the
tightness of the bodice preventing the
dress from slipping out of position.

Component: Darts, Zip, Lining, Boning,

Interfacing, Cup

STEPS
1: Trace the front and back torso
2: Draw bust arc (3 inches) above and
below bust T I E R E D D R E S S ( S E P E R AT E D )
3: Transfer contour guidelines 4, 5 and 6
having a number of successively
(front) overlapping ruffles
Contour guidelines
4 = Contouring under bust Component: Zip, Lining, Band, Dart,
5 = Eliminating excess at CF bust by Sleeve, Neckline
0.75inches
STEPS
6 =Contouring upper bust by 0.75inches 1: Draft dress pattern
4: Mark ½ inch above the bust and draw 2: Transfer dart shoulder dart
bra style line 3: Mark neck line
5: Draw the torso style line as desired 4: Mark the tier placement using
measurement given or (your own)
BACK
5: Label tiers A,B,C, etc
6: Mark the excess of each dart out from 6: Square a line across the pattern for each
the line tier
7: At the strapless line, mark 0.3 inch 7: Mark the stitching line 2inches above
8: Connect the dart logs to establish the tiers A and B (broken lines)
princess line 8: Add 2inches to the length of tiers B and
C
9: Cut and separate patterns 9: Cut tiers panel out
10: Draft sleeve pattern.
Garments are less standardized, fashion

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1

2
BALL DRESS
3 A Ball gown/dress is a type of evening
dress worn to a ball or a format event.
Components: Bodice block, Sleeve,
Neckline dart, Zip, Loops.

STEPS:
Step 1:Draft out your bodice pattern .

Step2: Extend the bodice pattern to

your desired length.

Step3: Shape the bodice down to your

waist length.

Step4:Slash pattern of your bodice from

new waist line of both back and front.

Step5: Join both back and front of the

down bodice pattern with paper tape.

Step6:Do slash and spread of the joint

down pattern, circular form. For gathers
use your waist measurement multiply by
3 and add 10 inches .
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Step7:Use bridal baskets or hard net for
the ball to be more effective.

CAPE DRESS
A Ball gown/dress is a type of evening
dress worn to a ball or a format event.

Components: Bodice block, Neckline,

Cape, Dart, Zip, Buttons.
STEPS:
Step 1: Draft out your bodice pattern,
CF & CB
Step 2: Extend the pattern to your
desired length to achieve any style of
your choice.
Step 3: place shoulder of back a d front
together.
Step 4: place both pattern on a plain
paper.
Step 5: Drop with the help of your pencil,
from the base, nape and Np to your
desired length.
Step 6: Connect the extension with your
hand using a curve to form any design of
your choice.
Step 7: Trace out the curved line and
separate the cape from the basic
pattern.
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EXERCISES 8. A __________dress is a straight cut dress
often nipped at the waist part with no
1. A dress (also known as a gown) is a waist seam.
garment consisting of a skirt with an 9. A ______________dress is a traditional
attached bodice. TRUE OR FALSE dress that comes with either traditional
2. A _______________ dress is a shape or force logo or embroidery in floral pattern but
piece which from part of a garment, they can also have a design detail like
usually fitting around the hips to provide puffed sleeves or low necklines in a
support for looser part of the garment, manner typical of German folk clothing.
such as body of the shirt or dress. 10. A pencil dress is, as the name suggests is
3. The ____________ dress is a style in clothing a dress made of many panels of fabric
in which the dress has fitted top bodice. stitched together. TRUE OR FALSE
Ending just below the bust, giving a high
waist appearance and a gathered skirt
down look which is long and loosely
fitting.
4. A pinafore is a collar less, sleeve less dress
worn over a blouse or jumper. TRUE OR
FALSE
5. _______________dress is a tight figure,
hugging dress often made from stretch
fabric.
6. A ______________ dress is a dress that is
fitted at the waist and the hip and
gradually widen towards the hem lime.
7. Split yoke is the yoke that usually come
with shirt or skirt dress and it refer as
yoke which is split at the middle and do
the joining. TRUE OR FALSE

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 But by the end of the nineteenth
JACKETS century, only three-buttoned styles
were deemed fashionable, with the
A jacket is an outer garment extending lounge jacket remaining the most
to the hip or below the hip as popular. One version, made with silk-
preferred, typically having sleeves and fronted lapels, was often worn to
a fastening down the front. A jacket is dinner parties and would become
generally tighter fitting and less known simply as a dinner jacket (part
insulating than a coat, which is outer of the formal suit known as a "tuxedo").
wear.
In April 1857 the women's magazine Similar styles to those worn in the
Corriere delle dame announced the nineteenth century were worn for
arrival of the jacket (a shortened most of the twentieth century and into
version of the morning coat with the present century as well. Sports
shorter jacket skirts), a style that jackets are still worn with flannels, the
would go on to become an essential Norfolk remains a sporting favorite,
item for both men's and women's and blazers with brass buttons are
wardrobes. popular summer attire when worn
The jacket seems to have originated with white pants. The upper garment
during the Middle Ages or early of a man's suit is known as a jacket, and
Renaissance as the jerkin, a more fitted "dinner jacket" remains an alternative
version of the older short tunic worn term for the ensemble known as "black
by working-class men. By the early tie.”
eighteenth century, the jacket became
standard working dress for those BOMBER JACKET
employed both in agriculture as well as A bomber jacket is traditionally made
by servants in urban settings. of leather and having a fitted or elastic
From the late 1830s, fitted single- waist, a zippered front, and often a
breasted lounge jackets (as opposed to fleece or pile collar. Also called flight
more loosely cut jackets of the jacket.
previous century), with darts beneath Components: Dart-less bodice
the arms, small revers, and waisted pattern, Sleeve, Button stand, Zip,
pockets became popular with middle- Collar, Band
class men, with a double-breasted
version appearing about 1862 (which STEPS
would later become known as the 1. Draft basic bodice
reefer jacket). 2. Widen neck width by 1cm from neck
point
At that time the single-breasted 3. Add 1cm to shoulder point
Norfolk jacket, which buttoned high to 4. Increase depth of armhole by 2cm,
the neck, became very fashionable, blend the new armhole with curve
particularly for country sporting 5. Reduce bodice length by 5cm (
activities. elastic band)
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6. draft sleeve block with the new STEPS;
armhole measurement Square down from 0, square halfway
7. Shape the hem of basic sleeve by across the block.
4cm on both sides
8. reduce sleeve length by 5cm (band). 0-1. 1.75CM.
1-2. Neck to waist, square across.
1-3. Finished length, square across.
2-4. Waist to hip, square across.
1-5. Armscye depth plus 3cm, square
across.
1-6. Half measurement 1-5, square out.
1-7. Quarter armscye depth
measurement, square out.
5-8. Half back width plus 1cm, square up
TAILORED JACKET BLOCK FOR to 9 and 10.
FEMALE 10-11. 2cm, square out.
A jacket is an outer garment extending 0-12. One fifth neck size plus 0.3cm, draw
to the hip or below the hip as neck curve.
preferred, typically having sleeves 12-13. Shoulder length plus 1.5cm.
and a fastening down the front. A 5-14. Half bust 8cm, square up, square
jacket is generally tighter fitting and down to 15 and 16.
less insulating than a coat, which is 14-17. 0-2 plus 1.5cm.
outer wear. 17-19. One fifth neck size plus 1cm.
Component: Collar, Bodice, Sleeve, 17-19. One fifth neck size , draw in neck
Dart curve. Join point 18 to point 10.
18-20. Shoulder measurements plus dart
Measurements required to draft the allowance plus 0.5cm.
block. 18-21. One third shoulder measurement.
- Bust 21-22. Dart measurements.
- Nape to waist 14-23. Half chest measurement plus dart
- Waist to hip allowance plus 0.5cm.
- Armscye depth 23-24. One third the measurement 14-
- Neck size 19.
- Shoulder 23-25. Half the measurement 14-23,
- Back width square down to 26 and 27. Join 21-25 and
- Dart 22-25, ensure that the dart line are the
- Chest same length. Remark point 22.
20-28. 2cm, join 28-22 with a curve.
NOTE; The easy fitting block has a 23-29. Half the measurement 8-23,
reduced dart for less bust shaping. square down to 30 and 31.
Reduce the standard dart Draw armscye touching points 13, 19, 29,
measurement by half. 24, 28 with a curve.

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29, 24, 28 with a curve. 2: Mark welt pocket point
3: Add button stand and facing
CLASSIC FRONT EDGE SHAPING
4: Draft belt pattern
Add required button stand.
Mark points 32 and 33 on waistline and 5: Draft sleeve pattern
hemline.
33-34. 1cm, join 31-34 with a curve.
32-35. One third the measurement
32-34.
34-36. One fifth the measurement 31-
34, draw infront curve.

SHAPING THE BLOCK

The design of the garment will
determine the shaping of the block.
2-37. 1.5cm, draw a curved line from
30-37.
37-38. 1.5cm.
3-39. 0.5cm. Draw back seamline
6,38,39.
Construct back and front darts; Back
darts is midway between 5 and 8
(extend back and front darts to hemline
shaping in 2cm at each hem point).
* Shape back side seam; Shape in back
waistline 1.5cm to hemline.
* Shape front side seam; Shape in front
waistline 2cm, add 1cm to hemline.

TRENCH COAT

This is a loose belted, double-breasted

raincoat in a military style.
Component: Lining, Well Pocket, Belt

STEPS
1: Draft dartless dress block

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 EXERCISE
1. A ____________jacket is traditionally
made of leather and having a fitted or
elastic waist, a zippered front, and
often a fleece or pile collar.
2. A _________________ is a sweatshirt or a
jacket with a hood.
3. ___________is a loose belted, double
breasted raincoat in a military style.
4. The upper garment of a man's suit is
known as a jacket. TRUE OR FALSE
5. The neckline of the hoodie is usually
widen and dropped. TRUE OR
FALSE
6. A ____________ like a vest, is also a
garment that covers the upper body
and is sleeveless.
7. ___________ is also called flight jacket.
8. Hoodies often include a muff sewn
onto the lower front, and (usually) a
drawstring to adjust the hood
opening. TRUE OR FALSE
9. A ______________ is referred to as a vest
in American English.
10. A Trench coat and tailored jacket are
the same. TRUE OR FALSE

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 HOODIE
A hoodie (also spelled hoody) is a
sweatshirt or a jacket with a hood.
Hoodies often include a muff sewn
onto the lower front, and (usually) a
drawstring to adjust the hood opening.

STEPS

Square down and across from point 0.

0-1 three quarter the back neck to
waist measurement plus 4cm and
square out.
1-2 6cm square out.
Draw a line from 1, measurement of
front and back neckline, to touch the
line from 2.
Mark point 3 square up to 4.
1-5 back neckline measurement .
Draw in the neck curve .
Raise the curve 0.5cm from 1-5.
Lower the curve 1cm from 3-5.
0-5 Half the measurement 0-4.
0-7 Quarter the measurement 0-1
plus 2cm .
7-8 2cm , draw in the head curve
1,8,6,4.
The neckline of the hoodie is usually
widen and dropped, measure the
roundness of your new neckline.

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 WAIST COAT EXERCISES
A waistcoat, like a vest, is also a garment
that covers the upper body and is 1. A ____________jacket is traditionally made
sleeveless. It is similar in this as well as the of leather and having a fitted or elastic
look it gives when worn. In fact, a
waistcoat is referred to as a vest in waist, a zippered front, and often a fleece
American English. However the two are or pile collar.
not the same in their true sense.
2. A _________________ is a sweatshirt or a
Components: Bodice block, Neckline
dart, Buttons. jacket with a hood.
3. ___________is a loose belted, double
STEPS
- Draft basic bodice pattern. breasted raincoat in a military style.
- Close shoulder dart and transfer to 4. The upper garment of a man's suit is
armhole .
known as a jacket. TRUE OR FALSE
- Using a V-neckline method , mark
your desired depth. 5. The neckline of the hoodie is usually
- From the waistline , mark 2cm for
widen and dropped. TRUE OR FALSE
miniature down on the CF (4cm for
adult) 6. A ____________ like a vest, is also a garment
Connect 2cm back to waistline at that covers the upper body and is
the side with the use of a curve .
- Increase CF by 4cm for facing and sleeveless.
buttonstand. 7. ___________ is also called flight jacket.
8. Hoodies often include a muff sewn onto
the lower front, and (usually) a
drawstring to adjust the hood opening.
TRUE OR FALSE
9. A ______________ is referred to as a vest in
American English.
10. A Trench coat and tailored jacket are the
same. TRUE OR FALSE

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 POCKETS The word appears in Middle English as
pocket, and is taken from a Norman
diminutive of Old French poke, pouque,

A
ncient people used leather or modern poche, cf. pouch. The form
cloth pouches to hold "poke" is now only used in dialect, or in
valuables. Ötzi (also called the such proverbial sayings as "a pig in a
"Iceman"), who lived around 3,300 poke".
BCE, had a belt with a pouch sewn to it Historically, the term "pocket"
that contained a cache of useful items: referred to a pouch worn around the
a scraper, drill, flint flake, bone awl, and waist by women in the 17th to 19th
a dried fungus. centuries, mentioned in the rhyme
Lucy Locket.
In European clothing, fitchets, A pocket is a cavity or pouch that has a
resembling modern day pockets, closed end and is usually sewn into a
appeared in the 13th century. Vertical garment it can be a decorative feature,
slits were cut in the super tunic, which functional feature or both. Its primary
did not have any side openings, to use is as a depository or temporary
holding place for items or hands. A
allow access to purse or keys slung pocket opening should be wide
from the girdle of the tunic. According enough for hands and deep enough to
to historian Rebecca Unsworth, it was keep objects from falling out. Pockets
in the late 15th century that pockets are designed for all types of garments.
became more noticeable. During the Pocket size, shape and placement
should complement the design of the
16th century, pockets increased in garment.
popularity and prevalence.
POCKET CLASSIFICATIONS
In slightly later European clothing,
pockets began by being hung like 1. Outside / Patch pockets;
purses from a belt, which could be Pockets such as the patch pocket
concealed beneath a coat or jerkin to are attached to the outside of a
discourage pickpocketing and reached garment. This type of pockets can be
through a slit in the outer garment. designed in a number of sizes and
shapes with or without flap.

In the 17th century, pockets began to STEPS;

be sewn into men's clothing, but not
· Draw the pocket design of the
women's, which continued to be tied
bodice pattern.
on and hidden under the large skirts
· Mark the location of the pocket.
popular at the time. This difference
between men's and women's pockets · Fold the paper and draft half the
continues today with men's version of pocket.
clothing of the same size and type · Add seams of ½ inch and ¼
having bigger pockets. inches at the opening.
· Cut the paper.
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 · Cut the fabric and stitch to the · Trace and draw the pocket
garments. facing.
· Standards pocket size is 5 · Add ½ inch seams to the pocket
inches wide and 5 inches deep. pouch and ¼ inch at entry label.
· Cut from the paper and trace the
facing pattern.
· Draw the facing for the backing.
· Add ½ inch seams to the backing
pocket.
· Cut pocket from paper and trace
the back facing label.

2. Inserted / Slanted pockets;

Pockets are inserted into straight or
styled seam, with the cavity or pouch
on the inside of the garment. Inserted
pockets can also be stitched to the
inside of a garment giving the
2b. pocket In one with the side seam;
appearance of a patch pocket on the The pocket is drafted from a straight
right side of the garment. side seam or style line on any garment.
STEPS; STEPS;
· Trace the upper part of the pattern · Trace the patterns.
and draw the pocket shape . (trace 2 · Draw the front pocket. Fold the
copies) paper and trace.
· Draw the pocket entry on one copy · Unfold and outline the traced
of the pouch pocket. pocket.
· Cut from the paper and trim entry. · Mark 1½ and 6 inches down

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 from the waist (entry space) and 3. Single Welt pocket
1/8 inch from the fold line. Well pockets are characterized by a
· Trace the front pocket to the separate strip or flop stitched to the
back pattern. pocket opening with the pouch falling
· Add ½ inch seams and cut from to the inside of the garment. The
the fabric. pockets can have a double welt or
Sewing guide single welt, or they can be stylized
with or without flaps.
· Pin the right side of the fabrics
together. STEPS;
· Stitch the side seams and
pockets together. · Draft the bodice pattern.
· Stitch down and up from each
· Mark the welt pocket opening 5
mark to establish the pocket
entry. inches wide.
· Fold the pocket to the front · Transfer the mark on the
waist and stitch. garment.
· If you are sewing two pockets,
cut each of the following pieces
twice. The pieces are cut to be 7
inches wide, so you will be
working with a 1 inch allowance
on either side of the pocket
opening.
· You can adjust the width of each
piece if you desire a different
end result.
· Pocket lining is 7 inches wide by
12 inches long (or desired
length). Note that the pocket
lining will be folded back on
itself to create the pocket bag
so it should be double the
desired depth of your pocket.

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 Welts; cut 7 inches wide by 3 inches
long. If you want your welts to
match your garments use your
fashion fabric instead of a
contrasting fabric.
Pocket facing; cut 7 inches wide by 3
inches long. This fabric will be visible
behind your welt opening when the
pocket is opened, so it should match the
welts.

Fusible interfacing for welts; cut 7 inches

wide by 3 inches long. This will be fused to
the welt piece.
Fusible interfacing for garment; cut 7
inches wide by 3 inches long. This will be
fused to the wrong side of the garment at
the pocket.

Trace the upper part of the pattern

· Draw the pocket shape 12inches
for length by 4inches width
· Mark pocket entry 6inches length
by 1¾ inches width

4. I N S E R T E D S E A M
POCKET/SLANTED TROUSER
POCKET

· Trace the upper part of the pattern

· Draw the pocket shape 12inches

for length by 4inches width

· Mark pocket entry 6inches length

by 1¾ inches width

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 EXERCISES
1. A ___________ is a cavity or pouch that
has a closed end and is usually sewn
into a garment.
2 . P o c k e t s s u c h a s t h e
________________pocket are attached to
the outside of a garment.
3.______________pockets are characterized
by a separate strip or flop stitched to
the pocket opening with the pouch
falling to the inside of the garment.
4. _________________pocket is drafted
from a straight side seam or style line on
any garment.
5. _______________pockets are inserted
into straight or styled seam, with the
cavity or pouch on the inside of the
garment
6. Patch pockets can be designed in a
number of sizes and shapes with or
without flap. TRUE OR FALSE
7. Welt pocket can have a double welt or
single welt, or they can be stylized with
or without flaps. TRUE OR FALSE
8. Pocket lining is _______inches wide by
___________ inches long
9. Welt pockets can also be stitched to the
inside of a garment giving the
appearance of a patch pocket on the
right side of the garment. TRUE OR
FALSE
10. The primary use of a pocket is as a
depository or temporary holding place
for items or hands. TRUE OR FALSE

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 PLEAT Box Pleats: Pleats are folded away
from each other on the right side of

P
leats are used to increase stride garment
room (as a single pleat on a
straight line skirt) or as a design
featuring groups of pleats on skirts,
bodices, sleeves, dresses and jacket.
Pleats are formed in a variety of ways.
They may be folded and pressed or left
non-pressed stitched or left unstitched.
They may be grouped together with even
or uneven spacing. THE PLEAT Depth Accordion Pleat:
maybe single, double or triple A series of permanent folds of equal
width in alternating opposite
TYPES OF PLEATS directions made in fabric, paper, or
Knife or side pleats: Pleats are grouped other material
and face in one direction

Inverted Pleats: Pleats are folded to

meet each other on right side of the
garment.

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 EXERCISES They may be folded and pressed or

1. _______________Pleats are grouped and left non-pressed stitched or left

face in one direction. unstitched. TRUE OR FALSE

2. Knife Pleats are folded to meet each 10. __________________are folded away

other on right side of the garment. from each other on the right side

TRUE OR FALSE of garment.

3. ___________________Pleats have folds

resembling the bellows of an

accordion.

4. Side pleats are folded away from each

other on the right side of garment.

TRUE OR FALSE

5. Pleats are used to increase stride room

(as a single pleat on a straight line skirt)

or as a design featuring groups of pleats

on skirts, bodices, sleeves, dresses and

jacket. TRUE OR FALSE

6. Pleats are formed in a variety of ways.

TRUE OR FALSE

7. _____________pleats are close together

and folds are from waist to hem line.

8. THE PLEAT Depth maybe single,

double or triple. TRUE OR FALSE

9. Pleats are formed in a variety of ways.

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ROMPERS DROPPED SHOULDER AND
PALAZZO JUMPSUIT
DUNGAREES
This is a garment incorporating
Dungarees is a garment consisting of
trousers and a sleeved top in one
trousers with a bib held up by straps piece, worn as a fashion item,
over the shoulders, made of calico, protective garment, or uniform.
Palazzo trousers are long women's
denim, or a similar material and worn as
trousers cut with a loose, extremely
casual or working clothes. wide leg that flares out from the
waist.
Component: Button And Button Hole,
Component: Zip, Facing, Sleeve,
Facing , Zip, Band, Suspender, Pocket Cfseams, Belt

STEPS
STEPS
1: Draft basic bodice pattern
1: Draft basic bodice and eliminate dart 2: Draft sleeve pattern
2: Cut out band 3: Place cap section on front and back
bodice, with point X touching and
3: Draft trouser pattern
curve of the cap ¼ inch away from the
4: Draft pocket pattern shoulder tips
4: Mark ¼ inch up from the shoulder
tips and draw, blending curve over
the cap and ending at the mid-
shoulder
5: Blend the curve of shoulder
6: Complete sleeve section
7: Draft trouser pattern

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JUMPSUIT 8. For jumpsuit with waist seam, slash
from the waist (new waist line) and
A jumpsuit is a one-piece garment with cut separately on fabric.
sleeves and legs and typically without
integral coverings for feet, hands or
head. The original skydivers' jumpsuits
were simple garments designed to
insulate the body from the cold of high
altitudes and minimize risk of covering
important handles and grips.
Jumpsuits are, without a doubt, a
statement style. The head-to-toe, all-
in-one garment creates a striking look
that moves beyond a simple dress or
pants and top combo, and into more
fashionable territories.

MEASUREMENT REQUIRED
Full Crotch
Components: Bodice block, Trouser
block, Dart, Zip, Band, Sleeve,
Neckline dart, Buttons , Pocket.

STEPS
1. Draft out basic bodice and
trouser block.
2. Shape the bodice to fit the
trouser pattern.
3. Cut out bodice pattern on waist
line and join trouser pattern to
it.
4. Allow the front crotch of the
trouser pattern to meet the
base part of the bodice.
5. Compare the pattern crotch to
the actual crotch measurement.
6. Add paper on the waist to replace
measurement if needed.
7. For one piece jumpsuit use the
pattern and cut on fabric.

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BODY SUITS Draw in back leg, curve the line 21-17
outward by 0.5cm.
A bodysuit is a piece of clothing Draw in gusset curve, curve line 20-21
similar to a leotard or one-piece inward 0.3cm.
swimsuit. It covers your torso and
hips and often connects with hooks Trace off gusset, draw a curve line from
and eyes or small snaps in the crotch 21 to a point 0.5cm above 2. Add 2cm
Components: Bodice block, Trouser to the line 19-20.
block, Sleeve, Neckline, Zip
STEPS FRONT
0-22 One sixth neck size minus 1cm,
Back; Square down and across from draw in front neck curve .
point 0. 2-23 Half the measurement 2-19,
0-1 - Neck to waist plus 1cm square square across 2cm.
down. 10-24 square up 2cm to 25, join 25-17
1-2 - Body rise square across. .
0-3 - Armscye depth plus 1.5cm Draw in front leg , curve line inward
square across. 1.75cm at 26.
0-4 Half the measurement 0-3, square
across .
0-5 One fifth the measurement 0-4,
square across.
0-6 One sixth neck size square up.
6-7 1.5cm draw in neck curve.
3-8 Half back width minus 0.5cm,
square up to 9 and 10.
10-11 1cm , join 7-11.
3-12 Quarter bust minus 1.5cm,
square down to 13 on waistline, 14 on
the body rise line .
Draw in armscye curve from 11
through point 9 to 12.
1-15 Quarter measurement 1-2,
square across to 16.
16-17 3cm.
13-18 4.25cm , draw in side seam.
2-19 One eight bust measurement
plus 1cm, square across 3.5cm to 20.
2-21 Square out 6cm for gusset line.
Join 21-17
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 fitting garment that covers the torso
CATSUIT
and the legs, and frequently the arms.

8. __________ can be skin tight or loose A catsuit is a one-piece form-fitting

garment that covers the torso and the
fitting. They are often lined with legs, and frequently the arms. They are
usually made from stretchable material,
another layer of fabric if the outer fabric such as lycra, chiffon, spandex (after
1959), latex, or velour, but may use less
becomes transparent when wet.
elastic materials, such as leather or
9. ___________ are usually made from PVC.
Components: Bodice block, Trouser
stretchable material, such as lycra, pattern, Zip, Button stand, Pocket
STEPS
chiffon, spandex (after 1959), latex, or

velour, but may use less elastic - This procedure is also the same
with the jumpsuit. The only
materials, such as leather or PVC. difference is that the catsuit is
always very fitted on the trouser
10. The only difference between a
leg.
jumpsuit and a cat suit is that the cat

suit is always very fitted on the trouser

leg. TRUE OR FALSE

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 PLAYSUIT EXERCISES
1. Playsuit is a garment consisting of
The playsuit also exists in mainstream trousers with a bib held up by straps
fashion as a type of garment. Typically over the shoulders, made of calico,
a shorter version of the jumpsuit, it denim, or a similar material and worn
was popular in the 1970s, and was
as casual or working clothes. TRUE
usually made from silky fabrics for
evening wear, or jersey and terry- OR FALSE
toweling for casual summer wear. 2. ___________is a garment
Components: Bodice block, Zip, incorporating trousers and a sleeved
Neckline, Sleeve, Pocket, Button, top in one piece, worn as a fashion
Band. item, protective garment, or uniform.
TRUE OR FALSE
STEPS
3. Palazzo trousers are long women's
- Draft basic bodice pattern to the trousers cut with a loose, extremely
waistline wide leg that flares out from the
- Draft cullote pattern to desired waist. TRUE OR FALSE
length (usually short) 4. A __________________ is a one-piece
- Join bodice pattern with cullote garment with sleeves and legs and
p a t t e r n o n w a i s t l i n e ( l i ke typically without integral coverings
jumpsuit)
for feet, hands or head.
- Shape bodice and compare
measurements on paper with 5. If pattern is more than initial
initial measurement on the
body. measurement, leave pattern If initial

measurement is more than pattern,

add difference back to pattern and

cut. TRUE OR FALSE

6. Body suit covers your torso and hips

and often connects with hooks and

eyes or small snaps in the crotch.

TRUE OR FALSE

7. A _____________ is a one-piece form-

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SWIM SUIT
Swimsuits can be skin tight or loose-
fitting. They are often lined with 22-23 Half the measurement 16-22.
another layer of fabric if the outer Draw in front leg curve line inwards
fabric becomes transparent when by 1.75cm at 23.
wet. 2-24 measurement 2-20 square out
6cm to 25, curve line 21-25 inward
Swimsuits range from designs that by 0.3cm lower bottom curve from
almost completely cover the body to 25 to 0.5cm below point 24.
designs that expose almost all of the
body. The choice of swimsuit will
depend on personal and community
standards of modesty and on
considerations such as how much or
how little sun protection is desired,
and prevailing fashions. Almost all
swimsuits cover the genitals and
pubic hair, while most except thongs
or G-string cover much or all of the
buttocks
Component: Stretchy fabric, Bodice
block, Sleeve.
STEPS
1-14 Quarter the measurement 1-2
square across to 15
15-16 0.5cm
12- 17 2cm draw in side seam
2-18 6cm join 16-18.
Draw in back leg curve line 16-18
outward 0.5cm . lower bottom curve
from 18 to 0.5cm below point 2.

FRONT
3-19 Half measurement 3-4 draw
front neck curve .
2-20 One sixteenth bust
measurement plus 0.5cm square
across 3.5cm to 21 , square up 2cm to
22. Join 16-22.

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 BASIC SHIRT BLOCK ê Bust
ê Nape-waist
A shirt is a cloth garment for the upper ê Armscye-depth
ê Neck size
body (from the neck to the waist).
ê Sleeve length
ê Cuff size(shirts)
Originally an undergarment worn
ê Back width
exclusively by men, it has become, a catch- Component: Collar, Button stand,
all term for a broad variety of upper-body Facing, Cuff and placket
garments and undergarments. In British
Steps
English, a shirt is more specifically a Square up and down from 0, square
garment with a collar, sleeves with cuffs, across approximately 10cm.
and a full vertical opening with buttons or
0-1 Armscye depth plus 2.5cm,
snaps (North Americans would call that a
square across.
"dress shirt", a specific type of "collared 0-2 Nape neck to waist, square
shirt"). A shirt can also be worn with a across.
necktie under the shirt collar. 0-3 Shirt length required, square
across
1-4 Half bust plus 9.5cm, square up,
Measurement required
square down to 5.
0-6 3.5cm, square across to 7.
6-8 One fifth neck size plus 0.2cm,
square down to 9.
0-10 One third measurement 0-9, draw
curve from 8-10.
6-11 One fifth armscye depth minus
0.5cm square out.
0-12 One fifth the measurement 0-1
plus 1cm, square half way across the
block.
1-13 half back width plus 2.5cm square
up to 14 and 15.
15-16 1.25cm, join 8-16.
14-17 Half the measurement 12-14
minus 1.5cm.
14-18 0.5cm, join 17-18 with a curve.
7-19 5cm, square across.
19-20 One fifth neck size minus 0.6cm.
19-21 One fifth neck size minus 1.6cm.
Draw neck curve from 20-21

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19-22 One fifth armscye depth plus
0.5cm, square out.
SLEEVE
20-23 The measurement 8-16. Draw a
line from 20 to touch the line from 22. A sleeve is the part of a garment that
21-24 Half the measurement 4-21 wholly or partly covers a person's
plus 1cm square across.
4-25 The measurement 1-13 minus arm.
0.2cm, square up to 26.
25-27 Half the measurement 13-25 STEP 1: Drop from the top of the
square down to 28 and 29. Draw measurement of both back and front
armscye touching points 16, 18, 27, bodice SP and mark both as front and
26, 23 and to touch points 2.75cm back SP
from 13 at angle 450 and 2.25cm from
25 at 450. STEP 2: Square across both back and
21-30 1.5cm button stand, square front SP to meet each other
down.
30-31 3.5cm facing, square down. STEP 3: Add pattern paper to both
12-32 2cm (back pleat), square down. back and front of the sleeve and
square down from the new SP to
meet the UP (under armhole point)

Square down from 0

0-1 One quarter armscye
measurement.

0-2 Sleeve length minus cuff depth

plus 2cm ease, square across.

1-3 Half the measurement 1-2,

square across.

0-4 Half armscye measurement,

sqauew down to 5.

0-6 Half armscye measurement,

square down to 7.

Divide 0-4 into four sections, mark

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points 8,9,10. 15-19 1cm, join 17-19 with a curve.
20 Midway 2-18, square up to 21.
Divide 0-6 into four sections , mark
points 11,12 ,13. 21-22 One third the measurement 20-
21.

8-0 Raise the curve 1cm at 9, 1.75cm at 20-23 0.75, join 18-2 with a curve.
10, raise the curve at 11; 1cm.
TWO PIECE SLEEVE
Hollow the curve at 13;1cm. Two piece sleeve is a sleeve cut in two
pieces, inner and outer, to allow the
5-14 One quarter the measurement 2- sleeve to take a slight L shape to
5 minus 0.5cm, join 4-14. accommodate the natural bend at the
elbow without wrinkling
7-15 One quarter the measurement 2-
MEASUREMENTS REQUIRED:
7 minus 0.5cm join 6-15. BASIC SLEEVE MEASUREMENT

Mark points 16 and 17 on the line from ST

3. EP
S:

14-18 1cm, join 16-18 with a curve. N

OT
E :
Ma
r k
b a
sic
poi
nts
on
bo
dic
e
blo
ck

Ma
r k
poi
nt A at underarm, B and C at shoulder
points

Mark points D and E at base of lines

which are squared up to touch the
armscye curves

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Square up and across to 0 STEP 13: 5-4Raise the curve 1cm and
mark point 16; 4-16 is one third the
STEP 1: 0-1 One third armscye measurement 4-3
measurement, square across
STEP14: 4-3Raise the curve at 16 2cm;
STEP 2: 1-2 One third 0-1 Join 3-8 with a curve
measurement plus 1cm, square across
STEP 15: 6-17The measurement A-BP
STEP 3: 0-3 Quarter the on the bodice block measured straight,
measurement 0-1 plus 0.5cm
NOTE: On the bodice block E-F equals NOTE: Join 6-17, draw a curve hollowed
0-3 measurement on sleeve block 1.5cm
Square out to FP (front pitch point) on
armscye Join 6-9 with a slight curve

D-BP (back pitch point) equals the Join 17-14 and 15-14
measurement 0-2 on sleeve block
Mark points 18 and 19 on elbow line and
STEP 4: 3-4The measurement of the curve outer sleeve seam outwards by
curve C-FP plus 1cm (1.25cm for sizes 2.3cm at 18 and 19 (2.5cm for sizes 16-
16-22; 1.5cm for sizes 24-30). Join 4- 20; 2.7cm for sizes 22-26)
5
THREE QUARTER SLEEVE
STEP 5: 4-5The measurement of the A three-quarter is a shirt sleeve that
curve B –BP plus 0.8cm (1cm for sizes stops midway between the elbow and
16-22; 1.2cm for sizes 24-30). Join 4- wrist; a three-quarter sleeve.
5 1: Draft basic sleeve
2: Shape the pattern
STEP 6: 0-6The measurement A-E on 3: Mark 16inches as the length of
bodice block sleeve and add 1.5inches hemming
allowance
STEP 7: 0-7 2cm; square across both
ways
STEP 8: 7-8 and 7-9 2cm down from 8 LANTERN SLEEEVE
and 9 The lantern sleeve is a full, gathered
sleeve attached to a drop-shouldered
STEP 9: 1-10 Sleeve length to wrist;
square across to 11and 12 garment; it can be either a long or short
sleeve look.
STEP 10: 10-13 3cm; square across
STEP 11: 10-13Half cuff size for two 1: Draft the basic sleeve pattern and
piece sleeve. Join 10-14 and 10-11 shaped
STEP 12: Half the measurement 7-10; 2: Mark the style line 6inches up
square across (elbow line). Curve from the hem (Varies)
inner sleeve seams inward 2cm at
elbow line (1cm on easy fitting 3: Mark and rule the slash lines
sleeves) 4: Cut and separate the upper from
the lower section
Draw in sleeve head
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 COLD SHOULDER
A cold shoulder dress is any dress that
features open or revealed shoulders.
1. Get the regular block sleeve
2. Note the point B and F
3. Take the measurement from
shoulder blade, how drop you
want it.
4. Use the measurement on your
sleeve pattern from point T to
the dropped measurement.
5. Curve from the midpoint to meet
point B and curve to point F
BALL/BULB 6. You can square it or use the V
This is a full sleeve which maybe long or shape.
short which is gathered st the top and
hem.
1. Get the block sleeve
2. Divide the pattern into four and
slash through to the top
3. Label the pieces (A-D)
4. Space it as wide as you want
5. Place on another paper
6. Re-draw your crown (top part)
7. You gather the top and down part to
get your puff

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 5: Cut the slash lines to (not through)
for the upper section
6: Place on another paper & spread
accordingly
7: Blend curves and notch center of
sleeve
8: Develop the lower section,
spreading the same amount as the
upper section

FLARE SLEEVE TULIP SLEEVE

Flare sleeve is a beautiful sleeve with a The tulip sleeve is actually the original
puff on top and slightly loose at the hem. sleeve made into two overlapping
1. Get the block sleeve pattern pieces that form the flower petals or
2. Divide into four and slash to the tip "tulip" look.
of point T 1. Its usually short.
3. Place and spread on another paper 2. Note point B and F on the
(standard is 3) to your desired pattern
width 3. Use pencil to connect from B on
4. Add same width to the side of the the left to extreme right
sleeve 4. Place the pattern on another
5. Bishop sleeve paper and trace the point B
6. Use same flare pattern round to the right angle
7. Add elastic or band to the flared 5. Use it for F by turning it
part of the sleeve 6. Cap sleeve
7. Get the regular block sleeve
8. Cut at the desired length
9. Curve from desired length at
the midpoint to the underarm
point (UP)

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 CAP SLEEVE 2
This is a sleeve extending only a short
distance from the shoulder and
tapering to nothing under the arm.
1. Fold the sleeve block into four
part
2. Slash to the tip of the sleeve
3. Spread on another paper
4. The wideness is 2cm or more
5. Take 1cm up from the midpoint
of the sleeve
6. Use hand to curve from one
edge of the sleeve to pass
through the 1cm and end at the
other end of the sleeve
7. Drop down 1cm from point T

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BELL SLEEVE CUFF
This sleeve has a full flare at the hem Construct shaped cuff; length = cuff
giving it a bell shape. size plus 2cm.
1. From the top of the block sleeve, Cuff depth = approximately 7cm, mark
drop down to desired length. button hole.
Note: it should not be on the Draw curves at lower edge.
elbow length. It should stop
before or below the elbow
length.
2. Shape the desired length by
using the roundness of it.
3. From the shaped part draw a
straight line to the remaining
length of the sleeve and cut out.
4. Slash from the desired length of
the shaped part
5. F o l d t h e d o w n p a r t i n t o
4,6,10,12, pieces and slash /
spread on another paper.

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 TWISTING
COWL Place a finger at the center of each fold
of the cowl. Press downward gently. If
Cowl folds are created by allowing fabric
the fold of the cowl twists, redrape the
to fall to desired depths from secured ends
cowl on the side of the twist until the
of a bias triangle. Cowl drape best on true
fold falls smoothly.
bias and when cut in soft, loosely woven
fabric e.g crepe, silk, chiffon, guaze, rayon,
MAKING PATTERNS FOR BIAS
satin, and certain knits.
–CUT COWLS
Basic patterns generally developed
The bodice cowl depends on excess taken
for garments cut on the straight grain
from the basic dart. The lower the depth of
of woven fabrics, not for those cut on
the cowl, the greater the amount of excess
the bias. The cowl patterns required
needed.
adjustments if the garment is to fit.
The cowl is cut of perfect bias and
TYPES OF COWLS
draped on form for a first to determine
the stretch of the bias. The amount
Cowls can be designed with or without
that the cowl bodice stretches when
pleats and/or gathers and with few or
fit on the form is marked and trimmed
many folds. They fall at varying depths,
or added to the original pattern. The
creating a soft look to any garment.
adjustments cause the pattern to be
Cowls fall from the shoulder at necklines,
reduced in size to the amount that it
at armholes, or from waist of dresses,
will stretch.
gowns, blouses, pants, jackets and coats
Cowls can also be designed to fall from the
FINDING TRUE BIAS
cap area of the sleeve
To find true bias, fold the cross grain to
Cowls can be in one with the garment or be
the lengthwise grain – or parallel to it,
set in to save fabric. With the help of a
smooth the fabric and pin along the
broach or clip, the cowl can be pulled in any
edges to hold. Mark the fold line with
direction to create interesting effects.
chalk or thread line loosely to indicate
French darts rather than waist darts may
true bias. The cool pattern should be
be preferred
traced on marking paper first and then
pinned to the fold of the fabric. Place
NATURE OF THE BIAS CUT
tissue underneath the fabric to
The lengthwise grain and cross grain run is
prevent slippage when cuffing.
opposite directions as the cowl hangs from
the shoulder (or from any part of a
garment). The fold follows more closely to
the cross grain. The lengthwise grain,
which is twisted more firmly than the cross
grain, may cause the fold of the cowls to
roll differently and often is the reason for
twisting.

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TYPES OF COWL NECKLINE LOW COWL:
The low cowl drapes at or slightly
HIGH RELAXED COWL: below bust level. All of the waist dart
excess is transferred to the neckline
The relaxed cowl indicates that some for a cowl of this depth.
part of the dart excess is transferred
to the neck cowl Steps
· Trace front bodice
Steps · Square a line from center front
to the bust point label A (bust
· Trace the front bodice pattern. level)
Label CF neck A · Mark B 1 ½ inches from
· Mark B ¾ inch from shoulder shoulder top. Draw a line from A
neck to b
· Mark C ¾ inch from B · Draw a slash line between the
· Draw slash lines from A to B and shoulder tip and point B ending
from A to C at a point A
· Square a slash line from CF to · Cut slash line to, not through,
bust point the shoulder and bust point
· Cut the pattern from paper · Close dart legs and tape
along A-B line, discarding · Fold the paper and square a
unneeded section guideline 5inches down from
Cut slash lines to, not through, the papers edge at fold
bust po · Place the pattern with CF on
fold and point B on the
guideline. Spread sections until
point a touches CF fold
· Secure and trace from B to CF
waist
· Draw fold-back facing
· Develop the back pattern

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 EXERCISE
1. A _______ is a cloth garment for the
upper body (from the neck to the
waist).
2. A shirt and collar is the part of a
garment that wholly or partly covers a
person's arm. TRUE OR FALSE
3. ____________ sleeve is a sleeve cut in two
pieces, inner and outer, to allow the
sleeve to take a slight L shape to
accommodate the natural bend at the
elbow without wrinkling
4. A three-quarter is a shirt sleeve that
stops midway between the elbow and
wrist; a three-quarter. TRUE OR
FALSE
5. The Tulip sleeve is a full, gathered
sleeve attached to a drop shouldered
garment; it can be either a long or short
sleeve look.
6. Cuff depth = approximately ______cm,
mark button hole.
7. A shirt can also be worn with a necktie
under the shirt collar. TRUE OR FALSE
8. List the measurements required to
draft a basic shirt block
9. The length of a cuff = cuff size plus 2cm.
TRUE OR FALSE
10. In drafting the three quarter sleeve,
mark ___inches as the length of sleeve
and add ____inches hemming
allowance.

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PLEATED COWLS: · Trace outline of the pattern and
corner of each spread section
Pleats control the fold of cowls and along shoulder for pleats
add fullness. The instructions that · Remove the pattern
follow show the development of cowls · Mark centers of each pleat,
with pleats along the shoulder line. connect the lines following the
The same procedure can be used for angle of the arrows and end at
cowls with pleats along the armhole center mark. Mark notches at
and side seams. Cowl designs show each pleat
some of the possible cowl variations · Draw a parallel line 1inch above
created with pleats A-B line for fold back (facing)
· Develop the back pattern
Steps: front

· Trace front pattern and square a

slash line from the CF to bust
point (bust level)
· Mark A between the neck and
bust level
· Mark B at mid-shoulder
· Draw a line from A to B
· Draw two slash lines, each
starting between point B and
the shoulder tip and ending
between point A and bust level
· Fo l d t h e p a p e r, s q u a r e a
guideline 4inches down from INSET COWLS:
the fold
· Cut slash line to, not through, Inset cowls can be developed on any
shoulder bodice, torso, or similar garment. Any
· Place section A-B on guideline styline cowl inset can be designed.
and CF of pattern touching fold For purposes of instruction, the cowl
line. (part of waist dart will close inset is developed and does not
and the slash sections will represent a complete pattern
spread).
· Secure pattern sections Types
· D ra w a p a ra l l e l g u i d e l i n e
2inches in from CF, passing 1. V inset cowl
through p0attern sections 2. Square inset cowl
· Release the shoulder line 3. Round Inset cowl
· Spread each section 1 ¼ inches
or more at shoulder (pleat
depth) keeping each section on V INSET COWL:
the guideline secure
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Steps

· Tra c e t h e f r o n t t w o - d a r t s
pattern. Square a guideline from
CF to bust point (bust level). Plot
the pattern
· Measure down 1/16 inch from
the shoulder between B and C,
and draw a curved line (controls
folds of the cowl when stitched
to back shoulder)
· Cross mark for notch between C
and D
· Cut the pattern from paper
· Cut the inset from the pattern
(A,B,C and D areas)
· Lower section of pattern is used
to complete the design
· Trace the inset cowl section on
the center of the paper
· Locate the A-B measurement on
one leg of the square rule and
place at B and the other leg of
ruler touching D
· Draw a line along the ruler from
B to A to D
· Fold the paper on the A-B line.
Trace the pattern
· Draw a 1inch line parallel with
the A-B line. Fold the A-B line.
Trace the shoulder
· Unfold and complete the
pattern
· Complete the back pattern and
facing.

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Round Inset Cowl:

Steps

· Trace the front two-darts pattern.

Square a guideline from CF to bust
point (bust level). Plot the pattern
· Measure down 1/16 inch from the
shoulder between B and C, and
draw a curved line (controls folds of
the cowl when stitched to back
shoulder)
· Cross mark for notch between C
and D
· Cut the pattern from paper
· Cut the inset from the pattern
(A,B,C and D areas)
· Lower section of pattern is used to
complete the design
· Trace the inset cowl section on the
center of the paper
· Locate the A-B measurement on
one leg of the square rule and place
at B and the other leg of ruler
touching D
· Draw a line along the ruler from B
to A to D
· Fold the paper on the A-B line.
Trace the pattern
· Draw a 1inch line parallel with the
A-B line. Fold the A-B line. Trace the
shoulder
· Unfold and complete the pattern
· Complete the back pattern and
facing.

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Square Inset Cowl:

Steps

· Tra c e t h e f r o n t t w o - d a r t s
pattern. Square a guideline from
CF to bust point (bust level). Plot
the pattern
· Measure down 1/16 inch from
the shoulder between B and C,
and draw a curved line (controls
folds of the cowl when stitched
to back shoulder)
· Cross mark for notch between C
and D
· Cut the pattern from paper
· Cut the inset from the pattern
(A,B,C and D areas)
· Lower section of pattern is used
to complete the design
· Trace the inset cowl section on
the center of the paper
· Locate the A-B measurement on
one leg of the square rule and
place at B and the other leg of
ruler touching D
· Draw a line along the ruler from
B to A to D
· Fold the paper on the A-B line.
Trace the pattern
· Draw a 1inch line parallel with
the A-B line. Fold the A-B line.
Trace the shoulder
· Unfold and complete the
pattern
· Complete the back pattern and
facing.

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 EXERCISE
TRUE OR FALSE
1. Cowl drape best on true bias and 9. Cowl designs show some of the
when cut in soft, loosely woven possible cowl variations created
fabric. TRUE OR FALSE with pleats. TRUE OR FALSE
2. To find true bias, fold the cross grain 10. The ___________is developed and
to the width side grain – or parallel does not represent a complete
to it, smooth the fabric and pin along pattern
the edges to hold. TRUE OR FALSE
3. The _____________drapes at or slightly
below bust level. All of the waist dart
excess is transferred to the neckline
for a cowl of this depth.
4. Inset cowls can be developed on any
bodice, torso, or similar garment.
TRUE OR FALSE
5. The bodice cowl depends on excess
taken from the basic dart. The
greater the depth of the cowl, the
lower the amount of excess needed.
TRUE OR FALSE
6. The _________ cowl indicates that
some part of the dart excess is
transferred to the neck cowl
7. ____________ control the fold of cowls
and add fullness.
8. Cowl folds are created by allowing
fabric to fall to desired depths from
secured ends of a bias triangle.

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 be worn as casual everyday.
CORSET
A corset is a garment worn to hold and
train the torso into a desired shape,
traditionally a smaller waist or a larger
bottom, for aesthetic or medical purposes
to improve posture or support the breast.
Both men and women are known to wear
corset, though this item was for many
y e a r s a n i n t e g ra l p a r t o f w o m e n
wardrobes.

The corset was invented by 'Catherine De TYPES OF CORSET INCLUDES;

Medici' (who is also responsible for the
popularization of high heels). The corset is CUPPED CORSETS ; They have built
usually made of cotton, mesh, leather or in pads women with larger breasts
satin. It has steel boning and can be worn prefer this kind of corset because it
over the clothes as a fashion statement. gives better support.
The modern corset is a tool for slimming
the waist and exaggerating the hips and UNDER BUST CORSET;
bust in order to achieve the desired Under bust corset begin right under
hourglass figure. the breast and usually end at the
beginning of your lap. This type of
The two main types of corsets are; corset is recommended for first time
· Over bust corset wearers.
· Under bust.
TYPES OF UNDER BUST CORSET
INCLUDE;

LONGLINE; Extends over the hip for

tall women with long torsos, offers the
most coverage.

CINCHER; A shorter under bust

,pointed silhouette.

BODICE;
It ends around the natural waist, has
OVER BUST CORSET; straps and generally provides the most
Over busts usually begin just under your coverage and support for the whole
arms and end above the hips, then lift up back and the shoulders.
the breast while reducing the waistline,
offer great support for the back and can
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 Waist:- Take the measurement of the
waist through the new waist line and miss
out all the darts, now compare both the
· The fundamental requirement of a pattern measurement and actual
corset pattern is that it must fit the measurement, then mark the excess.
body exactly even tightly, so that it
may smoothen or firm the curves. Under bust:- On the under bust take the
· From dress block to corset (over measurement and also miss out the dart
bust) then mark the excess.
· Draft out your basic block bodice
pattern , outline the waist , hip and Hip:- On the hip line also take the
bust line. measurement and miss out the side seam
excess and mark the difference of both
the pattern and actual.
SHAPING THE BODICE
STEPS Shaping all the excess is to take out all
Take the length of the under bust and these excess from both front and back
square across side seams, while if you are using the
· square across your through bust princess dart or the empire dart you can
line to the back e.g. 4cm for side take some of the excess out from the waist
seam and 2cm for the back which is dart.
the part of the zip allowance.
· On the waist line at the zip part take On your CF (central front)
1.5 or 2cm in, then rule up to the · Close your shoulder dart and
back line and down to the hip line on transfer it to your empire dart.
a slanted line. · Do not cut your corset on fold
· on the neckline or point O, take in unless you want the laceup or zip in
o.5inch or 1cm and use your French the back.
curve to connect with a straight · Take the measurement from the
curve to connect with a slight curve base of the neck, down to your
to the backline. desired drop point.
· From the shoulder take down to the
SHAPING THE FOLLOWING: bust on your pattern and curve into
ê Bust the NP base (nipple point)
ê Waist
ê Underbust Note; Be sure about your SP to NP
ê Hip (shoulder point to your nipple point)
measurement.
Bust:- Take the measurement of the true
bust line which is now the bust line Back pattern.
,compare the back and front pattern
measurement with the actual ·
measurement and mark the excess.

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· Place your back up and front up
together (if you choose to put sleeve
EXERCISES
drop down 2cm on both 'UP') 1. A corset is a garment worn to hold and
· Take out your empire dart on train the torso into a desired shape.
your CB TRUE OR FALSE
· Connect the lines on your CF to
your CB and cut out. 2. ________________usually begin just under
· You can choose to add up more your arms and end above the hips.
lines to your corset. 3. ___________________begin right under the
Component: Loop, Bonning, Bust cup,
breast and usually end at the beginning
Straps, Zip
of your lap.
STEPS 4. ________________have built in pads women
Outline your basic block bodice, then
with larger breasts prefer this kind of
shape bodice pattern.
· Measure out your length of corset because it gives better support.
underbust and rule across on 5. _________________are more revealing ,
your pattern on both CF and CB typically with details such as lace , silk,
(center front and center back).
· If your length of under bust is and beads, usually come with a G-string
going below your waistline take and with built in or detachable garters
up 2 inch on but CB and CF to hold up the stockings
(central back and front).
· Cut out your under bust line. 6. ___________ Type of corset is
recommended for first time corset
wearers.
7. Cincher is a type of over bust corset.
TRUE OR FALSE
8. The fundamental requirement of a
corset pattern is that it must fit the
Cb1 Cb2 Cf2 Cf1
body exactly even tightly, so that it may
smoothen or firm the curves. TRUE OR
FALSE
9. Round under bust is the roundness of
the under bust. TRUE OR FALSE
10. Wha t are the two main types of
corset?

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 MEN'S WEAR 0-1 : Body rise plus 1cm; square
across
TROUSER MEASUREMENT
Seat /hip 0-2 Inside leg measurement
Trouser waist square across or take the trouser
Body rise length and square across
Inside leg/trouser length
Trouser bottom width (TBW) 2-3 ½ the measurement 1-2 plus
Thigh 5cm square across
Knee
Crutch 1-4 Take up 4-5cm and square
Components: Band, Fly/Flap, Zip, Dart across
Hook and eye, pocket. 1-5 1/8 seat/hip minus 1 cm;
square up to point 6 on hip line and
SEAT/HIP: Measure round the fullest 7 on the waist line
part of the hip, usually 20-21 cm below 6-8 ¼ seat /hip measurement plus 2
the waistline cm
5-9 1/16 seat /hip measurement plus
TROUSER WAIST: Measure round the 0.5cm
natural waist, usually the position were 7 – 10 1 cm
the trouser should be worn Draw in front curve through point
9,6,10 to touch a point 3 cm from 5
BODY RISE: Seat the client on a
stool/chair and take the measurement 10-11 ¼ trouser waist plus 2.5cm
from the depth of the waist down to the
top of the stool/chair. 2-12 ¼ trouser bottom width

INSIDE LEG: Measure from high in the 2-13 ¼ trouser bottom width
thigh to the heel of the shoe
3– 14 The measurement 2 -12 plus
TROUSER LENGTH: Measure from the 1.5cm
waist down to the desired length.
3 -15 The measurement 2- 13 plus
TROUSER BOTTOM WIDTH (TBW): 1.5cm
Take the full roundness of the ankle
(Circumference of the ankle) Draw side seam through point 11, 8,
14, 12. Curve hip-line outwards by
THGH: Measure the fullest part of the 0.5cm . Draw inside leg seam. Join 13-
thigh and take the full roundness. 15, Join 9-15, curving the line inwards
by 0.6cm
KNEE: Measure the full roundness of
the knee BACK

CRUTCH: Place the tape at the navel 5-16 ¼ the measurement 1 -5 Square
and round the deepest part of the waist. up to 17 on seat/hip line and 18 on
waist line
FRONT 19 mid way between 16 and 18

Divide the paper into two equal parts or

get the mid-point of the paper and
square down from point O
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18 – 20 2cm
20-21 1cm-2.5cm
9 – 22 ½ the measurement 5-9 plus
0.5cm
22 – 23 0.5cm down.
Draw in back curve 23, 19, 21, to touch a
point 4.5cm from 16
21 – 24 ¼ trouser waist plus 4.5cm
25 midway between 21 and 24 square
down from the line and construct a dart
on this line.
Length = 10 – 12cm, Width is 2.5cm
17 – 26 ¼ seat/hip measurement plus 3
cm
12 – 27 1cm
13 – 28 1cm
14 – 29 1cm
15 – 30 1cm
Draw side seam through point 24, 26, 29,
27, and curve the line from 26-29 inward
by 0.5cm
Draw inside leg seam, join 28 – 30, 23 –
30 curving the line inwards by 1.2cm

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 The flat shirt block
There is a lem seam allowance included
in the blocks except where stated no
seam allowance.
Sleeve-basic shape (machined on the
flat).
Chest 100cm Square down from 0.

Seye depth 24.4cm 0-1 1/3 measurement 1-2 body block;

square across 0-2 Sleeve length minus
Back neck to waist 44.2cm 2cm.

Neck size 40cm 0-3 The measurement of the diagonal 5-

17 on the body block plus 3cm.
Half back 20cm 2-4 ½ close wrist measurement plus 5cm;
join 3-4. Divide 0-3 into five sections:
Garment length varies with style mark points

Sleeve length one-piece sleeve 65cm 5, 6, 7, 8.

Close wrist measurement 17.8cm Draw in sleeve head; hollow the curve
0.75cm at 5: raise the curve 1.5cm
Body section between 7-8.

Square both ways from 0.

0-1 3cm
1-2 Scye depth plus 4cm; square across
1-3 Back neck to waist, square across
1-4 Shirt length; square across.
2-5 1/4 chest plus 6.5cm: square up to 6
and down to 7 on waistline and 8 on hem
line.
1-9 ½ neck size minus 0.6cm; square up
3em to 10. Draw in neck curve to fitting
line 1cm below 10.
1-11 ½ measurement 1-2, square out.
11-12 ½ back plus 5cm; square down to
13 on the scye depth line and up to 14. 1-
15 1/8 scye depth measurement minus
0.3cm; square out to 16.
16-17 1.5cm; join 10-17,
Draw in the armhole curve through
points 17, 12, 5.
1-18 1/5 neck size minus 2cm. Draw in
front neck curve to fitting line 1cm below
10,

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 The flat overgarment block
The main figures will give a basic shape Sleeve-basic shape (machined on the
for jackets; the figures in brackets will flat).
give an easier fitting shape for wider Square down from 0.
overgarments.
0-1 1/3 measurement 1-2 on body block;
Body sections square across.
0-2 Sleeve length minus 2cm (minus
Square both ways from 0. 4cm).
0-3 The measurement of the diagonal 5-
0-1 3cm. 17 on the body block plus 3cm.

1-2 Scye depth plus 5cm (9cm); square 2-4 ½ the close wrist measurement plus
across 6cm (8cm);
1-3 Back neck to waist plus 1cm; square
across. join 3-4.
1-4 Jacket length; square across.
2-5 1/4 chest plus 8.5cm (11.5cm); square Divide 0-3 into five sections, mark points
up to 6 down to 7 on waistline and 8 on 5, 6, 7, 8.
hem line. Draw in the sleeve head; hollow the
curve 0.75cm at 5; raise the curve 1.5cm
1-9 1/5 neck size plus 0.2cm (plus 0.5cm); between 7 and 8.
square up 3cm to 10. Draw in back neck
curve to fitting line 1cm below 10. "Raised' sleeve head (machined on the
round) Alter the above instructions as
1-11 measurement 1-2; square out. follows:

11-12 1/2 back plus 6.5cm (8.5cm); 0-1 1/2 measurement 1-2 on body block
square down to 13 on the scye depth line minus 1cm; square across.
and up to 14. 0-2 Sleeve length minus 2cm (minus
4cm). Divide 0-3 into six sections, mark
1-15 1/8 scye depth measurement minus points 5, 6, 7, 8, 9. Draw in the sleeve
0.3cm; square out to 16. head; hollow the curve 1cm at 5; raise
the curve 2cm at 8.
16-17 1.5cm; join 10-17.
Draw in the armhole curve through
points 17, 12, 5.
1-18 1/5 neck size minus 1.5cm.
Draw in front neck.

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 The classic trouser block
Seat 102cm Draw inside leg seam; join 13-15, join 9-
Trouser waist 90cm 15 curving the line inwards 0.6cm.
Body rise 28.1cm
Inside leg measurement 80cm Back
Trouser bottom width 22.6cm
5-16 1/4 measurement 1-5; square up to
Waistband depth (the example uses a 17 on the seat line and 18 on the
4cm waistband) waistline.
19 midway between 16 and 18.
lcm seam allowance is included in the
block. There is no hem allowance. 18-20 2cm.
20-21 1cm.
Special Note Most trousers sit 4cm 9-22 1/2 measurement 5-9 plus 0.5cm
below the natural waistline, therefore 22-23 0.5cm.
1. For basic trousers use the trouser Draw in back fork 23, 19, 21 to touch a
waist, measurement. point 4.5cm from 16 as shown in
diagram.
2. For trousers that sit high on the 21-24 trouser waist plus 4.5cm.
natural waist, use the waist 25 midway between 21 and 24: square
measurement and add 5cm to body down from this line.
rise measurement.
3. For trousers that sit well below the Construct a dart on this line;
waistline. length=12cm, width=2.5cm

Front 17-26 1/4 seat measurement plus 3cm.

Square down and across from 0. 12-27 1cm.
0-1 body rise plus 1cm minus waistband 13-28 1cm.
depth, square across. 4-29 1cm.
15-30 1cm
0-2 inside leg measurement are across.
2-3 1/2 measurement 1-2 plus 5cm; Draw side seam through points 24, 26,
square across. 29, 27; but curve the line from 26-29
1-4 1/4 body rise measurement; square inwards 0.3cm. Draw inside leg seam;
across. join 28-30, join 23-30 curving the line
1-5 1/8 seat measurement minus 1cm inwards 1.2cm. Curve hem line of users
square up to 6 on seat line, 7 on down 1cm.
waistline.
6-8 1/4 seat measurement plus 2cm. Block completion
5-9 1/16 seat measurement plus 0.5cm. Front Trace off front block.
Mark points 10 and 11.
7-10 1cm. 10-A is 1cm; join A-11 with a slight curve.

Draw in front fork 9, 6, 10 to touch a Back Trace off back block.

point 3cm from 5 as shown in diagram. To insert crutch ease: mark point 26 and
10-11 1/4 trouser waist plus 2.5cm. new point B on the fork seat line.
Cut across the seat line to point 26; open
2-12 1/4 bottom width. a 2.5cm wedge at the fork line.
2-13 1/4 bottom width B-C is 1cm; draw in a new fork line 23, C,
3-14 the measurement 2-12 plus 1.5cm. 21.
3-15 the measurement 2-13 plus 1.5cm
Draw side seam through points 11, 8, 14,
12. Curve hipline outwards 0.5cm.
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Altering the leg shape
Trouser legs can be widened or narrowed. However, this must take place evenly on
each side of the leg of the 'stride of the trousers will be affected.
Widened trousers
If trousers need to be generally widened for a straight shape "baggy effect. Cut up
the centre grain line and open the required amount. Alter the leg shape if required.

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 The tailored shirt block
Neck size 40cm 10-23 15cm: square out.
Chest 100cm
Seye depth 20cm 21-24 the measurement 8-14 plus
Back neck to waist 44.2cm 0.5cm.
Half back 20cm 1-25 1/3 chest plus 4cm.
Shirt length-varies with fashion 81cm
Sleeve length for shirts 86cm 25-26 square up 4cm from 25; join 24-
Cuff size 24cm 26.
24-27 1/2 measurement 24-26.
A lcm seam allowance is included in the
block... Draw in armhole shape through points
14-10, and16, 17, 26, 24, curve arm
Body sections sctye inwards Icm at 27.
Square both ways from 0
0-1 scye depth plus 6cin, square across. 22-28 1.5cm button stand, square down.
28-29 3.5cm facing square down; shape
0-2 natural waist length plus 2.5cm; top edge at neckline.
square across.
18-30 25cm
0-3 shirt length plus 4cm: square across.
18-31 2.5cm
1-4 1/2 chest plus 10cm; square up to 5
and down to 6 on hem line. 19-32 8cm; square across.

0-7 1/5 neck size minus 0.5cm; square up. 32-33 1.5cm.
7-8 45cm; draw in neck curve.
32-34 1.5 cm; draw in curved side seams.
0-9 1/2 measurement 0-1 plus 4cm;
square out. 35 midway between 6-19; square up
3cm to 36; square across to front edge.
9-10 1/2 back plus 4cm; square down to
11on scye depth line and up to 12. 37 midway between 3-19
Draw shaped curves as shown from 33-
12-13 1.5cm; square up 2cm to 14. Join 36 and 34-37.
8-14.
1-38 1/2 measurement 1-11 plus 2cm. If
10-15 10cm. added waist shaping is required,
construct a dart in the back section:
10-16 0.75cm; join 15-16 with slight
curve. 38-39 4cm, square down to 40, 2.5cm
below wasteline.
1-17 1/2 measurement 1-4 plus 0.5cm;
square down to 18, 2.5cm below 40-41 16cm. Draw a 1.5cm dart on the
waistline and 19 on hemline. line 39-41.

5-20 45cm, square out.

20-21 1/5 neck size minus 1cm.
20-22 1/5 neck size minus 2.5cm; draw in
neck curve.

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Sleeve Short sleeve adaptation
Square down from 0. 0-A short sleeve length (example 25cm).
Mark points B and C on the straight
0-1 1/4 arm scye measurement plus 1.5 construction lines from 4 and 6.
cm; square across.
Measure outer edge of body block. Trace off short sleeve.

0-2 sleeve length plus 6cm; minus cuff Curve lines 4-B and 6-C inwards 0.3 cm.
depth and yoke width (0-13); square Add 4cm hem facing.
across.
1-3 ½ measurement 1-2; square across.
0-4 ½ arm scye measurement minus
0.5cm; square down to 5.
0-6 ½ arm scye measurement minus
0.5cm; square down to 7.
Divide 0-4 into four sections; mark
points 8, 9, 10.
Divide 0-6 into four sections, mark
points 11, 12, 13.
Draw in back sleeve head; hollow 0.5cm
at 8. raise 1.25cm at 9, 2.25cm at 10,
touch point 0.
Draw in front sleeve head, raise 1.5cm at
11, touch point 12, hollow 1.25cm at 13;
join to 6.
5-14 1/3 measurement 2-5 minus
0.75cm.
7-15 1/3 measurement 2-5 minus
0.75cm.
Join 4-14 and 6-15.
Draw underarm curves shaping out
0.5cm at elbow line.
2-16 midway between 2-14; square up
15cm to 17.
Cuff
Construct a rectangle; cuff size plus 5cm,
cuff depth plus 2cm.
Collar
Construct shirt collar with stand. Depth
150
of shirt collar and stand approx. 8cm.
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Men Casual Block
Square both ways from 0 1-23. ¹/³ chest round plus 0.5cm, square
down to 25.
0-1. Scye depth plus 3cm, square
across. 23-26. Square up to 2.5cm (3.5) from
23.
0-2. Waist length plus 1cm,square
across. 20-27. ¹/ neck round minus 2cm, join
27 to 11.
0-3. Bodice length plus 1cm, square
across. 20-28. ¹/ neck round , draw in neck
curve.
2-4. 21cm, square out (HD).
27-29. The measurement 8-13 minus
0-5.¹/² scye depth plus 1cm, square out. 0.75cm, join 29-26 with dotted line.
0-6. ¹/² measurement 0-5 , square out. 29-30. Go down 1.75cm, join 27- 30.
0-7. ¹/ neck round minus 2cm, square 30-31. ²/³ measurement 30-26. Draw in
up. armhole curve through points 13 14 16
24 26 30. Curve inwards 2cm at 31.
7-8. Go up 2cm, draw in neck curve.
1-9. Half back width plus 2cm, square
up to 10 and 11.
11-12. Go up 2cm, square out.
12-13. Go inward 2cm, join 8-13 with
curved line.
10-14. Come down 1.5cm.
9-15. ¹/² measurement 9-10 minus
1.5cm.
15-16. Go in 0.5cm.
9-17. Mark outward 2.5cm, square
down to 18 with dotted line.
1-19. ¹/² chest round plus 8cm(11.5),
square up to 20 and down to 21 on
waistline, 22 on hemline.

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Basic Sleeve Pattern For Male
Square down from 0
0-1. ¹/ armscye measurement, square
across. 0-2. Sleeve length plus 2cm
minus cuff depth.
1-3. ¹/² measurement 1-2, square
across.
0-4 . ¹/² armscye measurement, square
down to 5.
0-6. ¹/² armscye measurement, square
down to 7.
Divide 0-4 into four sections, mark
point 8,9,10.
Men Classic Trouser Block
Divide 0-6 into four sections mark point
11,12,13.
Draw in sleeve head, join 4-8 raise 1cm NOTE: For basic trouser, use the natural
at 9, 2cm at 10, touch point 12, hollow waist measurement.
1cm at 13, join to 6. For trouser that sits high on natural
waist, use the waist measurement and
5-14. ¹/³ measurement 2-5. add 5cm to body rise.
7-15. ¹/³ measurement 2-7.
FRONT
16. Midway 5-14 join 4-16. Square down and across from 0.
0-1. Bodyrise plus 1cm minus
17. Midway 7-15 join 6-17, draw in waistband depth (4cm), square across.
underarm seams.
18. Midway 2-14. Square up 15cm to 0-2. Trouser length ,square across.
19.
1-2. Inside leg measurement.
18-20. Go up 1cm. Join 2-14 with a
curve.
2-3. ¹/² measurement 1-2 plus 5cm,
square across.

1-4. ¹/ bodyrise measurement, square

across.

1-5. ¹/ hip measurement minus 1cm,

square up to 6 on hipline, and 7 on waist
line.

6-8. ¼ hip measurement plus 2cm.

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5-9. ¹/¹⁶ hip measurement plus 17-26. ¼ hip measurement plus 3cm
0.5cm 12-27. 1cm
13-28. 1cm
7-10. Go in 1cm Draw in front 14-29. 1cm
crotch curve 9, 6, 10 to touch a 15-30. 1cm
point 3cm at angle 45⁰ from 5.
Draw side seam through points
10-11. ¼ trouser waist plus 2.5cm. 24,26,29,27. Curve the line from 26-29
inward by 0.3cm.
2-12. ¼ ankle width.
Draw inside leg seam. Join 28-30, 23-30
2-13. ¼ ankle width curve line inward by 1.2cm.
3-14. ¼ knee width
3-15. ¼ knee width
Draw side seam through points
11,8,14,12.
Draw inside leg seam, join 13-15, 9-
15 curving the line inward 0.5cm.
BACK
5-16. ¼ measurement 1-5, square
up
to 17 on the hip line and 18 on the
waistline.
19. Midway between 16 and 18.
18-20. Mark inward 2cm.
20-21. Square up 1cm.
9-22. ½ measurement 5-9 plus
0.5cm
22-23. Square down 0.5cm. Draw
in back crotch curve from 23,19,21
to touch a point 4.5cm at angle
45⁰ from 16.
21-24. ¼ trouser waist plus 4.5cm.
25. Midway between 21 and 24,
square down. Construct dart on
this line. Dart length 12cm, width
2.25cm.

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 (59/2)+4.5cm= 34cm.
CHILDREN’S WEAR 0-4: 0.25cm
4-5: Scye depth plus 1cm; square

C
hildren's clothing or kids' clothing is
across to 6.
clothing for children who have not
yet grown to full height. Children's 4-7: ½ measurement 4-5 square out .
clothing is often more casual than adult 4-8: ¼ Scye depth minus 2cm square
clothing, fit for play and rest. More recently, out.
however, a lot of children wear is heavily 0-9: 1/5 Neck size plus 0.2cm; draw in
influenced by trends in adult fashion. Due to neck curve.
the rise of social media platforms, celebrities 5-10: ½ across the back plus 0.5cm;
and fashion bloggers have been using their
square up mark point 11 on the line
accounts to post pictures of their children
wearing luxury "street style" clothing, thus from 7.
inspiring parents to dress their children as 9-12: Shoulder measurement plus
they would dress themselves. Good quality, 0.3cm.
well designed, garments are now a priority Draw back shoulder line to touch the
for a growing number of parents and line front.
children's clothing is getting a prime place in 2-13: 1/5 neck size .
top label stores and high-end fashion retail
2-14: 1/5 neck size; draw in neck
outlets. Dresses are also getting separately
designed for boys and girls at a very early age. curve.
13-16: shoulder measurement, draw
Required measurement for children wears.
in front shoulder line to touch the line
1. Chest from line 15.
2. Waist 6-17: The measurement 5-10 minus
3. Hip/ seat 0.7cm square up.
4. Neck size 17-18: ¼ measurement 4-5.
5. Shoulder 17-19: ½ measurement 10-17 plus
Components: Zip, Bow, Belt, Hard net, 0.5cm square down to 20.
Mesh, Loop, Buttons
10-21: 2cm.
Chest 59cm 17-22: 1.8cm.
Across back 24.4cm
Neck size 27.8cm Draw in the armscye shape as shown in
Shoulder 8.2cm
Scye depth 14.4cm the diagram provided to touch point
Back neck to waist 26.6cm 12, 11, 21, 19, 22, 18, 16.
3-23: 1cm.
Join 1-23 with a curve.
STEP
0-1: neck to waist plus 1.25cm square across.
0-2: ½ chest plus 4.5cm square down to 3 i.e

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 ACROSS BACK: The measurement
taken across back from armscye to
armscye mid-way the certical and the
nape of the armscye

NECK SIZE: Take the measurement of

the down pact of the neck with one
finger deep inside

SHOULDER: Take the measurement

from where the neck drops down to the
shoulder blade

B A C K N E C K TO W A I S T: T h e
measurement taken from the nape
down to the deepest part of the back

WAIST TO HIP: The measurement

taken from the waist point to the hip
point

ARM LENGTH: The measurement from

the shoulder point to the wrist bone

Sleeve width: Take the roundness of

the wrist
Height: Take from the top head down to
the floor , from the head crown to the
FLAT BODY BLOCKS FOR CHILDREN sole of the feet
FROM BIRTH TO 14 YEARS
BACK SECTION
MEASUREMENTS
Chest STEP 1: 0 -1 Back neck to waist plus
Across Back 1.25cm square across
Necksize
STEP 2: 1-2 waist to hip square across
Shoulder
STEP 3: 0-3 ¼ chest plus 80 – 116 height
Back Neck To Waist
use 3cm
Waist To Hip
Arm Length/sleeve Length
Sleeve Width 122 – 140 height use 3.25cm
Height
146 – 170 height use 3.5cm
CHEST: Take full roundness of the chest
(circumference) with one finger deep Square down to 4 and 5
inside
STEP 4: 0 – 6 1.25cm
STEP 5: 6 – 7

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 Note: For New waist line you can
scye depth lower the waist line at point 1, 1cm
80 – 116 1.5cm below the natural waist line
122 – 140 1.75cm
146 – 170 2cm SLEEVE BODY BLOCK

Square across to point 8 Square down from 0

· ½ measurement 6-7 on body
STEP 6: 6 – 9 ½ the measurement block plus 1cm square across
6 -7 square out
· Arm length (sleeve length)
STEP 7: 6 – 10 ½ scye depth minus square across
2cm square out
STEP 8: 0 -11 1/5 neck size; draw back · Measurement of the arm hole
neck curve through point 11 - 6 curve from 15 -8
STEP 9: 7 -12 ½ across plus 80 -116
height 1.25cm 2-4 2/3 measurement 1 -3 plus 0.5cm
Join 3 -4
122 – 140 heights 1.5cm
146 -170 heights 1.75cm Divide 0-3 into six sections: Mark
point 5,6,7,8,9
Square up to 13 and 14
Draw in sleeve head
STEP 10: 14 – 15 plus
80 -116 height 0.90cm Hollow the curve 0.3cm at 5 touch
point 6
122 – 140 heights 1.1cm
146 -170 heights 1.3cm Raise the curve at 8 size 80 -116
height 1.2cm
Join 11 -15
Draw in back arm scye shape to touch 122 – 140 height 1.4cm
point 15,13,8 146 -170 height 1.6cm
FRONT SECTION
SLEEVE SHIRT BLOCK
STEP 11: 0 -16 1/5 NECK SIZE, Square down from 0
DRAW IN THE FRONT neck curve
STEP 12: 13 – 17 · 1/3 measurement 6-7 cm body
80 -116 height 0.6cm block square across
122 – 140 heights 0.8cm
146 -170 heights 1cm · Arm length minus 1 cm square
across
Draw a line below the line squared off
from point 10 · The measurement of the arm hole
curve 15-8
80 -116 heights 0.4cm
122 – 140 heights 0.8cm 2-4 2/3 measurement 1-3,
146 -170 heights 1cm Join 3 – 4
Draw 0-3 into five sections, amrk
STEP 13: 11- 18 the measurement 11- point 5,6,7,8
15 draw out shoulder line to touch the
line at point 18 Draw in the sleeve head touch

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Hollow the curve 0.3cm at point 5
Raise the curve between 7 and 8

Size
80 -116 height 0.90cm
122 – 140 height 1.1cm
146 -170 height 1.3cm

Note: Sleeve pitch points, some sleeves

adaptation required pitch points on the
sleeves and body sections

Mark points 6 on the sleeve as a pitch

point with a notch

Measure the distance 3-6

Measure along the arm hole of the body

section the same distance.

Mark the pitch panels with a notch

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point 6
THE FLAT TWO PIECE TROUSER Square up to 5
BLACK
ê Measurement 5 – 6 1cm
ê Hip/seat
ê Body Rise 4 -7 ¼ the measurement 4 – 5
ê Inside leg/Trouser length
ê Trouser bottom width 4 – 8 ¼ the measurement 1-4 minus
ê Thigh 0.5cm
ê Crutch Join 6 -7 and 7-8 with a curve touching
ê Knee a point 2cm from 4.
Hip/Seat: Measure the roundness of the 1-9 ½ measurement 1-4 square down
hip to 10 and 11

Crutch: Take measurement from the front 11 -12 ½ Trouser bottom width plus
waist to the back waist 0.5cm

Inside leg/Trouser length: Take from the 11-13 =11-12

waist down to the floor which is your Join 1-12 mark point 14 on the knee
line
desired length. 10 -15 =10-14
Thigh: The measurement of the fullest Draw inside leg seam join 13 -15 with a
part of the thigh straight line, join 8 8-15 curving the
line inwards 0-6cm
Body Rise: The measurement is taken on a
seated figure from the side waistline to BACK SECTIONS
the top of the stool. The measurement can
also be calculated by measuring M-O 6-16 3cm square up 2.5cm to 17
(WAIST TO FLOOR) and subtracting S-
O(Inside leg) from M-O 0-18 2cm join 17-18
4-19 ½ the measurement 4 -5
Knee: Take the roundness of the knee
8-20 the measurement 4-8 minus
FRONT SECTION 0.5cm
· Body rise plus 1 cm square across
20 – 21 0.75cm
1-2 Inside leg measurement minus 1 cm
square across Join 17-19 and 19-21 with a curve,
touching a point 4cm from 4
1-3 ½ the measurement 1-2 square
across 12-22 1cm. Join 18-22 mark point 23
on knee line
1-4 ¼ hip seat 13-24 1 cm
80 -116 height plus 3cm
122 – 140 height plus 3.5cm 15-25 = 14-23
146 -170 height plus 4cm
Draw inside leg seam join 24 -25 with a
straight line, join 21-25 curving the
line inward 1cm
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 TYPES OF CHILDREN WEARS

PRINCESS DRESS
Princess dress with peter pan collar
Components: Bodice block, Dart,
Sleeve, Zip, Loop, Belt, Neckline.

Steps
a) To draft a princess dress, the
foundation block must be
extended to the hip length. As a
guild, divide front and back
block from the mid shoulder
then connect the line to the
waist dart.
b) Cut out the front and back
section as indicated on the
pattern, then close up front dart
to form straight center front
line. draw slightly curved line its
breast point and bust line
c) To create a flare effect on the
princess panel extend the length
to your desired measurement.
Mark 17 inches from waist
through hip to bottom for a size
8. Add 1 inch or 2 inches at each
seam to nothing at waist. Draw
bottom line slightly curved.
d) Add 5/8 inches for princess
dress with front closing then
mark it for buttons and
buttonhole.
e) Add seams and hems then make
corresponding notes at each
panel point.

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FLAT PETER PAN COLLAR DRESS DRESS WITH GATHERED SKIRT

Components: Bodice block, Dart, Sleeve, a) Dress with gathers at the waist
Zip, Collar pattern, Facing, Neckline, requires the same process of
Press button drafting except that you will cut
Steps out the front and back sections
of the draft then slash along
a) Trace front and back of dress waistline to separate the hip
bodice by placing shoulders even at section or the full length of the
neck point basic dress.
b) Overlap shoulders ½ inches at b) For the skirt part, measure the
armhole. This will give the collar 1/8 waist round.
inches roll at back neck edge and c) Multiply whatever you have by
will tend to conceal the seam on the 2 ½ inches or 3inches plus 15
neck edges inches to create the desired
c) From neck dept at center back mark fullness for the gathered skirt.
2inches down to indicate width of d) Add seams and hem allowance
collar. before pulling the gather.
d) Mark 2inches at shoulder seam to
center front then curve front of
collar.
e) Add seam on all edges.

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A-LINE DRESS DRAFT OF SHORT

The A-line dress is appropriate for all Components: Bodice block, Dart,
size and children of age 3-6years. The Sleeve, Zip,
basic A-line is derived from the shift Steps
dress pattern.
To draft the A-line dress; a) To draft the short, we will use the
Components: Bodice block, Dart, remaining part of the dress
Sleeve, Zip, Neckline. bodice. This is from the waist to
the desired playsuit length.
Steps b) For crotch depth, draw straight
line down 5inches below hip for
a) Trace the front and back of the size 8
c) Extend crotch lines beyond
center front and back by
squaring across 4inches from
center front
d) Square cut 5inches for center
back extension
e) Measure 2 ½ inches – 4inches
for short length which is below
crotch line
f) For back pleat, slash and spread
2 ½ inches along center backline

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JUMPSUIT/ROMPER A-LINE DRESS

The jumpsuit is a combination of the upper The A-line dress is appropriate for all size
bodice with a pant pattern. The jumpsuit and children of age 3-6years. The basic A-
can be developed all in one piece with line is derived from the shift dress pattern.
bodice or with a waist line seam. To draft the A-line dress;
Components: Bodice block, Dart, Sleeve,
Zip, Neckline.

Steps

a) Trace the front and back of the shift

dress
b) Mark a slash line from the hem to
the curve of the armhole
c) Cut the slash line to the curve of the
armhole, spread the hem from 4-6.5
inches
d) Retrace and add half of the spread
to the side seam from the hem point
e) Do the same thing on the back

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DRAPED PATTERN MAKING Silk/hemp muslin

D raped pattern making is the link Tearing:

between designs and production
of a specified garment. At first Estimate the size of muslin needed,
fashion designers sketch the design and allowing a reasonable amount of
that turns into a three-dimensional extra fabric for ease, seam
functional garment. Draping process is a allowances, and styling.
way of interpreting the design regardless
of the style, size and shape. The fabric is Clip the edge of the muslin with
manipulated, molded, and shaped scissors and tear across the grain
through the skillful use of the with sufficient pressure to break the
draper/designer's hand, until the design yarns evenly.
is replicated in three-dimensional form.
The true crosswise grain or the true
In the fashion industry, patterning paper lengthwise grain should from the
is often used to create the flat pattern. edge of muslin used for draping.
Most of the professional theatrical
costume shops and educational Because the selvage is closely woven,
institutes use brown craft paper instead it tends to hold in the muslin and
because it is much less expensive and often will throw the weave off;
easier to find. therefore, the center front and
center back should be planned at
Basic sloper patterns (master-patterns) least 3" from the selvage.
are also used to create draped and
stylized garments. Even sleeves are Blocking:
constructed with the help
of the sloper. Before draping, muslin may have to
be re-shaped so that yarns of the
Preparation of draping for Muslin fabric: crosswise and lengthwise grains are
at perfect right angels to each other.
The fabric you choose to drape with To re-shaped muslin, pull the edges
should be woven, not knit, and of similar diagonally until the fabric is squared.
weight and drape as the actual fabric that
you will be using to build the costume. Pressing:
Most drapers use 100 percent cotton
muslin (which is why a fitting mock-up is Once the fabric has been blocked, set
often referred to as a "muslin"). In the the position of the yarns with the
traditional garment industry. Muslin is steam and heat of pressing.
the standard used for "toile's" or fitting Press in the directions of the
prototypes. Muslin comes in a variety of lengthwise and the crosswise grains.
weights, and inexpensive synthetic Never press on the bais.
fabrics can also be used in fitting and Apply steam followed by a dry iron.
draping for apparel design. There are Seam allowances:
four different types of muslin are used
for draping. Seam allowances in apparel demand.
Beginning students of draping are
Standard muslin usually expected to add 1" seam
allowances on all straight seams,
Cotton twill including side seams, waistline seams,
and under arm seams.
Cotton voile
163 All curved seams are planned with ½"
www.gmytfashionacademy seam allowances.
Stage 9: Trueing of rough design needs to be carried out in order to establish the
correct grain line and to ensure that the armhole, underarm seams and shoulder are the
same length.
Stage 10: Seam allowances have to be checked.
Stage 11: Make up and press.
Stage 12: The model has to be checked for any discrepancies.

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When draping the fabrics on dress forms which has been left over from a
some important points should be previous collection.
consider.
Stage 3: Taping of stand – Center
GSM of the Fabric (Weight) front, center back shoulders, seam
The bias, selvage of the fabric lines, style line, neck lines, waist, hip
Pattern, texture and muslin mock-ups and bust line and position and
Darts, seam location, finishing direction of drapes.
Different methods of draping:
Draping is a key skill which allows Stage 4: Selection and preparation of
apparel designers to understand what material – Prepare the garment
creates a great fit and how to achieve it. material and since the whole garment
Cutting and draping special occasion is cut, allow enough material to cover
clothes concentrates on the both sides of the stand for each
construction of blocks and patterns for section. The draping quality of the
very close-fitting bodices and other warp and weft grain should be the
dramatic style features found in evening same in order to match both sides of
and a drape. Allow plenty of excess
partywear. material beyond the outer edges of
the stand and mark in the centre
Fashion designers drape garments in vertical line and the warp grain with a
sections i.e.: front bodice, back bodice, contrasting thread.
front skirt, back skirt etc. and only the
right side of the garment (when worn) is Stage 5: Placing and pinning of
draped, unless the apparel design is material onto the stand – A full toile
asymmetrical. or torso is normally required;
however, one side only is needed to
Draping on the stand: model, except for asymmetric
designs. Pining of excess fabric has to
One of the main advantages of this be done temporarily to the side of the
method is building up a desired effect stand and then the fabric is moulded
before cutting into the fabric through around the stand as desired, allowing
experimenting. the extra fabric to fall freely into the
area where the fullness is desired.
Components: Bodice block, Dart, The techniques used for controlling
Sleeve, Zip, Button and Loop, Neckline. the drape are given below.
By mounting the drapes on a fitted
The various stages of draping on the section
stand are given below:
By weights places inside the drapes
Stage 1: Draping of uncut length of dress By taping
fabric over the stand – The fabric should
be draped on the stand for analyzing the Stage 6: All the details should be
overall effect by observing its natural indicated with pins rather than chalk
characteristics such as handle, texture and it should follow the direction of
and weight and it has to be evaluated. any darts, tucks, seams, etc.
Stage 2: Substitution of dress fabrics – Stage 7: The fabric should be
Modelling the whole garment using removed from the stand.
actual fabric is ideal but it makes
experimentation more costly. Hence, it is Stage 8: Then pressing of the fabric
advisable to utilize a fabric having similar (except pins) has to be carried out.
properties as that of the actual fabric
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 FASHION DRAPPING and knowledge by designing garments
through drafting or flat pattern or by
Draping is a key skill which allows apparel draping. These processes are known
designers to understand what creates a
as “Techniques of Dress Designing”
great fit and how to achieve it. It's actually
one of the more creative parts of the “Draping is an artistic approach of
fashion design process. Apparel designers
can experiment with fabric, and decide which the person makes a pattern by
where to place darts, tucks, and other directly manipulating fabric on to the
design elements. This enables a designer curves of a dress form or human
play with the way fabric folds and hangs
on the body. Different approaches to figure”. This method requires that the
draping are a way of creating new fashion designer drape fabric (muslin) on a
designs that you wouldn't have thought dummy or an individual figure to
possible.
achieve the desired effect. The
Fashion draping is an important part of a p p e a ra n c e o f t h e g a r m e n t i s
fashion design. Draping for fashion design visualized before the actual
is the process of positioning and pinning
fabric on a dress form to develop the production process.
structure of a garment design. ... After Draping is most preferred by the
draping, the fabric is removed from the world's most popular designers, as this
dress form and used to create the desired method brings their vision into reality.
design of the garment.
Draping is the manipulation of fabric
on a three dimensional form by a
Every fashion designer should have designer to obtain perfect fit and
detailed knowledge of the processes and harmony between the fabric and
different techniques of garment design of the garment and the
designing because it helps in final silhouette of the
construction of the garment for required
purpose and also make the construction
Advantage of draping
process more practical. Knowledge of
some basic processes of drafting is Draping is advantageous because
necessary in construction of a garment. without cutting the fabric one can
know the entire effect of a garment
Garment designing by Pattern making, rather than just minute details.
drafting and draping is both an art and a It is a three dimensional method, the
design can be visualized while draping
science because it requires the creativity and any necessary changes can also be
of the designer as well as technical made.
expertise for making patterns for
Dress form can be of particular size or
garments. One can express his creativity
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of standard measurements. mannequins in that they don't have a
head or limbs. Dress forms model a
This helps the designer to achieve the female figure from the neck to the top of
difficult designs by draping different the thighs and the form is fixed on to a
fabrics. For designs such as cowls this wood or metal stand. While the
method alone can offer good results. mannequins are the complete figures of
human being, basically used for
d i s p l a y i n g p u r p o s e , ra t h e r t h a n
In draping we can see the features of designing.
g a r m e n t , a n d c h a ra c t e r i s t i c s
Construction Feature of Dress Form
postures in relation to fabric and
time into which we are going drape A dress form is the figure from the neck to
it, and immediately we can sense the the top of the thighs and is fixed on a
wood or metal stand. The stand may
harmony between draped fabric and feature small rollers for easy movement.
the wearer. Having a stand on a dress form allows
dresses, skirts and sometimes pants to
hang down at an appropriate height. It
However, draping has it limits also lets the dressmaker work with the
compared to flat pattern method. form at a reasonably comfortable height.
For one, draping requires more For display purposes, the stand holds the
dressed form to allow viewing at a
talent than required for flat design. comfortable eye level. These are light
Initially dresses are draped on weight and made of wire, foam and fabric
padding.
dummy with a cheaper fabric so
sometimes the look of the garment Importance of dress form
cannot be assessed precisely by this
Dress form is must when designing with
method. So to do good draping a draping method.
good dress form is needed.
What's a dress form? Because of being three dimensional in
shape, it provides better understanding
Dress form and its Importance
and greater opportunity in designing by
A dress form is a three-dimensional draping method, because we can change
shape used for designing and
displaying clothing. the draping style many times before
Dressmakers and designers use dress cutting the fabric,.
forms to work with fabric pieces to
construct a clothing item of a specific
size, while fashion merchandisers may Clothing store owners may prefer having
display finished garments on a dress some dress forms rather than all
form.
Difference between Mannequin and mannequins as they are easier to dress
Dress Forms since there is no head or limbs.
Dress forms differ from full-size Dress forms are also easier for fashion
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designers and merchandisers to transport EXERCISES
than full-size mannequins for travel to
designer shows. 1. Draped pattern making is the link between

designs and production of a specified

Dress forms are usually lightweight and
may be made of wire, rattan or foam garment. TRUE OR FALSE
although most are made from layered paper 2. One of the main advantages of draping on
materials covered with cloth. the side is building up a desired effect
before cutting into the fabric through
People who make their own dress forms experimenting. TRUE OR FALSE
often use foam. Foam pads may also 3. A ______________ is a three-dimensional
accompany purchased dress forms so that shape used for designing and displaying
extra sizes can be created. clothing.
4. ___________for fashion design is the process
Many, but not all, dress form are adjustable of positioning and pinning fabric on a
in size. dress form to develop the structure of a
A dress form may be a basic ladies size i.e. garment design.
small, medium, large or extra large and then 5. Garment designing by Pattern making,
be adjustable within those ranges to ___________and _____________ is both an art
and a science.
different sizes. For example, a ladies size
6. Dress form can be of particular size or of
small mannequin dress form may have
standard measurements. STRUE OR
adjustments for sizes between 0 to 6 or 7.
FALSE
The fashion merchandiser would adjust the
7. Draping has it limits compared to
size to the one that most closely fits his or
___________________ method
her display outfit and may pin excess fabric
8. Draping is a _________________ method, the
at the back of the form to adjust the fit.
design can be visualized while draping
The cloth surface of dress forms is designed
and any necessary changes can also be
to hold pins well.
made.
9. Draping is the manipulation of fabric on a
Dressmakers sew sections of garments and three dimensional form by a designer to
then pin them onto the dress form to adjust obtain perfect fit and harmony between
the fit to the particular garment section. the fabric and design of the garment.
TRUE OR FALSE
10. Dress form is a must when designing with
____________ method.

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18A Grace Anjous Drive, Off Road 14
Lekki Phase 1, Lagos.