Feeisicorm

inhjoo Kilr
MYyKVung UF
 Digitized by the Internet Archive
in 2022 with funding from
Kahle/Austin Foundation

https://archive.org/details/apparelmakinginfOOO0Okimi
Apparel
Making
in fashion design

Injoo Kim
University of Cincinnati
Mikyung Uh
Idea Fashion Institute
Seoul, Korea

Fairchild Publications, Inc.

Executive Editor: Olga Kontzias
Editor: Joann Muscolo
Art Director: Nataliya Gurshman
Production Manager: Priscilla Taguer
Production Services: Monotype Composition, Inc.

Copy Editor: Donna Frasetto

Interior Design: Delgado Design, Inc.
Cover Design: Delgado Design, Inc.
Technical Drawings: Injoo Kim
Fashion Illustrations: Hoesun Jung
Assistant Illustrator: Eunkyung Kim

Copyright © 2002
Fairchild Publications, Inc.

All rights reserved. No part of this book covered by the copyright hereon may be reproduced or
used in any form or by any means—graphic, electronic, or mechanical, including photocopying,
recording, taping, or information storage and retrieval systems—without written permission of
the publisher.

Library of Congress Catalog Card Number: 2001088928

ISBN: 1-56367-216-2

GST R 133004424

Printed in the United States of America

 CP eek

Preface x

) How to Measure 1

) General Information 7

) The Sloper 15

| The Skirt 51

ThePant 139

_ The Dart 193

Details 239

The Collar 283

_ TheSleeve 327

)The Blouse 371

One-Piece Dress 429

Appendices 462

Index 466
 CG & wk bees

Preface x

J HowtoMeasure 1
Measuring in General 2
Measuring Circumferences 3
1. Bust circumference 3
. Waist circumference 3
. Hip circumference 3
. Ankle circumference 3
. Biceps circumference 3
. Wrist circumference
PWN
Nn 3
Measuring Lengths 4
—". Shoulder length 4
2. Frontlength 4
3. Front shoulder slope 4
4. Bust point length 4
5. Bust point width 4
6. Sleeve length 4
Back Measurements 5
1. Center back length 5
2. Armhole depth 5
3. Back shoulder slope 5
4. Back shoulder width 5
Measuring Depths 6
1. Hip depth (hip line) 6
2. Crotch depth 6
3. Knee length 6
4. Ankle length (pant length) 6
5. Crotch length 6

2 GeneralInformation 7
Grain Line 8
Seam allowances 9
Notches 10
Ease 11
Truing 11
Labeling 12
Blending 12
Slash and Spread 13
Slash and Close 14

lv _Apparel Making in Talon Design

The Sloper 15

Introduction to the Sloper 16

Skirt Sloper 17
Skirt sloper measurements 18
Truing 20
Bodice Sloper 24
Bodice sloper measurements 25
Truing 30
Sleeve Sloper 35
Sleeve sloper measurements 36
Pants sloper 42
Pants sloper measurements 43

The Skirt 51

Introduction to the skirt 52

Skirt length variations 53
Skirt silhouette variations 55
Waistline variations 58
Dart manipulation 60
Tapered Skirt 63
Skirt Construction 71
A-Line Skirt 78
Flared Yoke Skirt 80
Gored Skirt 83
1. Four-gore skirt 83
2. Six-gore skirt 85
3. Ten-gore skirt 87
Circular Skirt 90
Circular skirt radius charts 91
1. 360-Degree circular skirt 92
2. 270-Degree circular skirt 93
3. 180-Degree circular skirt 94
Gathered Skirt 102
Pleats Variations 104
Inverted Pleat Skirt 106
Side Pleat Skirt 107
Box Pleat Skirt 111
Tiered Skirts 13
Wrap Skirt 116
Pegged Skirt 118
Draped Skirt 121
Balloon Skirt 125
Culotte Skirt 129
A-Line Culotte Skirt 132
Inverted Pleat Culotte Skirt 135

(ae
 5 ThePant 139
Introduction to the Pant 140
Pant silhouette variations 141
Pant length.and style variations 142
Straight Pants 144
Pant Construction 152
Jean pants 159
Hip huggers 164
Bell bottoms 167
Wide leg pants 170
Two-pleat pants 174
Leggings with Elastic Band 180
Baggy pants 185
Short pants 187

6 TheDart 193
Introduction to the Dart 194
Dart point 195
Dart intake 195
Dart placement 196
Dart equivalent 197
Converting skirt darts 197
Dart manipulation 198
Slash and close versus pivot methods 198
Dart 1: One-Position Dart 200
Dart 2: Two-Position Dart 203
Dart 3: Multiple Darts 205
Dart 4: Style Lines 208
1. Classic princess lines 208
2. Style line variations 210
Dart 5: Additional Slash and Spread 214
Dart 6: Yoke Style Line with Fullness 217
Dart 7: Stylized Dart 220
1. Asymmetric dart variations 220
2. Asymmetric dart with additional fullness 222
3. Intersecting dart variations 224
Dart 8: Intersecting Dart Converted to Fullness 225
Dart 9: Back Dart 230
Dart 10: Back Yoke Style Line 234
Dart 11: Back Princess Style Line 236

vi » —Alpparet
Apparel Mahing
aking uvin
Fashion
7ashion Desi
esign
» Details 239
Buttons 240
Standard button sizes 240
Extension overlap allowances 240
Button placements 241
Buttonhole 242
Cuffs 244
1. Sewn-on cuffs 245
2. Turned-back cuff 247
3. Faced turned-back cuff 247
Facings 248
Neckline 253
1. Sweetheart neckline 254
. V-neckline 255
. Round neckline 256
. Lowcowl neck 257
. High cowl neck 258
NY. HighnecklineI
NNBW 259
7. High neckline II 261
Plackets 262
Bodice plackets 263
Sleeve plackets 269
Pockets a7.
Waistbands 278
1. Classic waistband 279
2. Pull-on waistband 280
3. Facing waistline 281
4. Bias-binding waistband 282

The Collar 283

Introduction to the Collar 284

Collar category variations 284
Collar components 285
Standing Collar 286
Standing collar groups 286
Standing collar foundation 287
1. Mandarin collar 288
2. Ribbon collar 289
3. Ruffle collar 290
Rolled Collar 291
Rolled collar groups 291
1. Shirt collar 292
2. Convertible collar 293
3. Shirt collar with separate stand 294
4. Italian collar 295

Con Vil
 Flat Collar 296
Flat collar groups 296
Flat collar foundation 297
1. Peter Pancollar 298
2. Ruffle collar 299
3. Sailor collar 300
4. Cascade collar 301
5. Cape collar 302
Lapel Collar 304
Lapel collar groups 304
Lapel collar neckline variations 306
. Shawl collar 308
. Notched collar 313
. Opencollar 319
. Oblong collar 320
A . Wing collar
BWN 321
6. Napoleon collar 322
Hood 324

Q TheSleeve 327

Introduction to the Sleeve 328

Sleeve variations 328
Sleeve cap height 329
Sleeve cap and armhole position 330
Set-in Sleeve 331
One piece sleeve styles 331
Puff sleeves 332
Petal sleeve 334
Bishop sleeve 336
Leg-of-mutton sleeve 337
Cowl sleeve 338
Lantern sleeve 339
Cap sleeve 340
One-and-one-half—piece sleeve 342
Two-piece sleeve 343
Kimono Sleeve 350
Kimono sleeve styles 350
Raglan Sleeve 356
Raglan sleeve styles 356
Raglan sleeve variations 356
Raglan sleeve without dart 362
- Raglan sleeve examples 367

Orth. = Beeppare ead)Taking

hing! tnoasteahion
JAashion dedi
esign
70. TheBlouse 371
Introduction to the Blouse 372
Blouse style variations 372
Blouse Silhouette Variations 375
Blouse Foundation 381
Shirt Collar Blouse 383
Blouse Construction 39]
Princess Line Blouse 401
Band Collar Blouse with Fitted Bodice 405
Pin-Tuck Blouse 411
Cascade Collar Blouse 416
Cap Sleeve Blouse 420
Raglan Sleeve Blouse 425

77 One-Piece Dress 429

Introduction to the One-Piece 430
One-Piece Silhouette Variations 430
One-Piece Style Line Variations 431
High Waist One-Piece 432
One-Piece Construction 440
Boat Neck One-Piece 445
Princess Line One-Piece 449
Low Waist One-Piece 455

Appendices 462

A. Decimal-to-fraction conversion chart 462

B. Symbols 463
C. Glossary of Terms 464

Index 466

aA
_ontents — ix
 Flat pattern is the study of garment construction To cover in detail the whole production process of
in two-dimensional form. Pattern-making skills help making a garment from pattern generation to
the designer to observe the three-dimensional form construction, including lining, interfacing, and
and accurately translate that form into the two- markers.
dimensional component. The understanding of
pattern making skills allows the designer to To demonstrate the composition of one complete
successfully create silhouettes for garments that garment per chapter, emphasizing the essential
“come to life’ when constructed _ three- aspects of flat pattern design for this specific garment.
dimensionally.
To expose the reader to all the design and pattern
Pattern making combines all the best elements of variations possible in each garment constructed.
design, technical understanding and creativity. There
are fundamental concepts, such as an understanding To encourage creativity in (interchanging,
of mathematics and proportions, which are essential combining) individual garment parts to construct
to the creation of innovative designs. By successfully clothing with a variety of style lines and design
applying technical skills to the flat pattern, features. Flat sketches will be included at the end of
observations of shape and form are accurately each chapter to suggest design variations.
translated into wearable garments. Once learned,
these skills can be applied to a multitude of design This book is, in part, a response to the questions
concepts expressive of the designer’s ideas. asked in my flat pattern classes and workshops for
professionals. It is also a compilation of the methods
Although these are guidelines to the process of and techniques necessary/important to students and
flat pattern, there is a great amount of creativity and industry professionals learning pattern drafting. It
flexibility. Because designers are always expanding offers a complete picture of the process of individual
their creative horizons, the understanding of pattern garment construction following the exact techniques
making fundamentals allows for greater ease in the used in the apparel industry today. My professional
design process and opens up more variations to experiences from industry and teaching both in Asia
garment design. Knowledge about flat pattern makes and the U.S. will be brought together in one
the design possibilities for garments almost limitless. comprehensive book.

The goals of this book are as follows: This book is organized into eleven chapters.
To introduce the concept of a sloper. The instructions Chapter | demonstrates how to measure accurately
will be easy to follow and these slopers will fit as the parts of the body necessary for a pattern draft.
perfectly as possible with minor alterations for Included in this chapter are size and standard
different body shapes. The most common alteration measurement charts. Specific techniques for grading
questions and problems will be _ thoroughly accurately for size differences also will be fully
discussed. explained. A grading chart will be included for each
body part measured. Chapters 2 through 10 will
To present clear step-by-step instructions and cover skirts, pants, culottes, blouses, and the one-
diagrams for the methodology and principles used in piece dress. Each chapter begins with the
pattern drafting. introduction of a basic sloper for a specific article of

i Ay
i amel Waking in Takes
4 Dig
Fn
clothing. These basic patterns will be accurately fit
Acknowledgments
and have easy-to-follow instructions. The second
section of each chapter explains in detail the whole I wish to acknowledge the following people for all
production process of making a garment from their help on making this book possible.
pattern generation to garment construction,
including lining, interfacing, and markers. The Alex Kim, my husband, who gave me extensive
balance of the section of each chapter will cover the advice in producing the technical drawings. The stu-
techniques for altering separate pattern pieces, using dents at the University of Cincinnati in my Flat
a sloper to create a variety of possible style lines and Pattern classes who tested my instructions. Kathy
design features for individual silhouettes. Reinhart who helped me write the English transla-
tion of this book. My colleagues in the University of
The unique factor of this book is in the Cincinnati’s School of Design who offered their sup-
presentation of each garment as a whole concept. My port and encouragement of my endeavors.
teaching and workshop experiences have made it
clear to me that students of pattern drafting and Marty Plumbo, assistant Professor in the Digital
garment construction should first learn the concepts Program at the University of Cincinnati, who helped
of making an individual item of apparel such as a lay out the text and illustrations as well as reviewing
pant, skirt, or a dress. Once that knowledge has been the text itself. Eunkyung Kim, a graduate student,
mastered, students will be able to interchange who patiently produced illustrations to my exact
different parts of various garments and understand specifications and never complained.
the versatility of using design and construction
techniques in limitless ways. In addition, the Olga Kontzias, Executive Editor of Fairchild
presentation of basic slopers for each garment will Publications, and Joann Muscolo, the editor, who
include the process of alteration for an accurate fit, both gave me excellent advice and direction in
based on extensive personal research in Asia, enhancing and expanding the Korean version of this
Europe, and America. book for publication in the United States. Thanks
Since this book is divided into chapters by also to the reviewers of this book. Their comments
individual garments themselves rather than by the were very useful in helping me finalize the content of
parts of a garment, an index is provided for finding this manuscript. They are Nancy Staples, M. Jo
specific information about separate pattern pieces. Kallal, and Elaine Zarse.
This index makes it easy to find whatever details of
instruction are needed, such as collars, sleeves, and
pockets. This type of “how-to-book” may be used by
anyone interested in the accurate and detailed
process of individual garment construction and
pattern drafting.

iyreface an AulaCRIROWLEC gments Xt :

 iy, - 7 7
‘a

arranger dy bie
ty pate oi
ee
if ié
,
re) Wel testo D rs 5 Pei gue 1 i sd
ee Ae
ba = : va aes
’ Ln ory ‘ bs yer 9 rp iit
sx Allyelnes metas (Gy a lanriny
LO Tt ee oe Faltiy Wu Niger wale. AT, ATER Set Laaed "ein — a

Face) Reatrta teat atic Wis Gah to Be ty WO gue qare pale?

Mp
en
ee ums Uaioe Ve Woden eeoh DE RGSS ha mY
oe eee. SE tee| et ihinge cet hich oslibmeny if 429506 whttsasat
nase pg Wit NA mula pigereh
ey
SWewcalhe idaivihe.
e
Dine apie
fe) 1 diame tie are A vedo nan Sen mete Pa i»s vee ae Ay +

Raetrng ite ner eeehtc heaghag) J hy ‘ nanate tie R, wanre PILE sins

-— as Say weg Ge) Seed ew 1 ag 2 ‘nin Hits yay nf ce? Pang hrd
» VON - we) eanterits> pate or Ty, geiionss = 7

2 ied a) crane Tye leis yrek + BSH” co roe, r oe "ae dbp, ig?
Ph aea
— e at iy ~
as 17 pt 4 ih Ves, G . aed; a1
ay ante rote:
pt A? al oo Vee ay (5 rose

ers peseronha tag Ts a ey f << Tone nee», ooo! ee

adi a .
Shery
careeny was Aperay ya vetoed ar} Row i Peas a) 2 - a - ee 4

‘be pee crip ics ae ee Oewin = Bh: : i a od ane,

| samgils
7 amar hye Dim aie Si hdelyp te Taare’ a iy sy,le lane as noe

ony i. a fa ? eae ie ee tate era's I Rg

yi: SOP ah ots va a ts Bake b Wee tag ee ae sug tates

Jian d te wort st)Lee Stay oe Th eobile et?

© iw SRG
ren
-s “Bagete| (oY nda siet hy%PU RIOE . 7 onses iy Ws ie tee sae
Erg ait atime Wri
© bohe') ants i mv iculdun
goew
2) dod
lr
fag
oh a
=) nN ; a aay
+
Stina
yi 7

ee SOLAS SRO. See ah oe a va titpeAls . sagt ila Sov spe supper ‘

pallet peu coin 4Wee beta on Shale ear “ig “tidrave

CAN iad, CP Wertee oN A wag Th, Aa ey bee
Ween, Oe wt Peek aa ‘aah Puli, is |
«pn, PRR. eran, speeiseattywi patie
wiow if : Pe beg eV? ’
et ein f “i pee ebay S44) * itt
Pao. ak Oh Nee) es ad OR ae au

i casas tape
es

‘Phebe, i il rote ein “y

ir ee oad? eae
cee een otwe
i en sene Aes, yutid tar We
s 4
salt Puts. tax t 0-4 Gores oy aye : a? oe =

avai ne 6 mesant of i oe. Rb Dart? At ae Oe aw wa Ne ’

hs, Cares pnd Dae caper ot er ed ee paread de Poe. ae é

vi ag eoetkts wi tacks bitoni = GA
a
tay: e ~~ Cie ei )

w tat; ‘apes Shyer’ are daa Nason femasmenend Fy hae ols

abe * tie" =. Siveimgaly ti j soruiptely: det da.
»
tee
| presirfl

au Nit ed
Seni
 Chap ier ‘OF

HOW TO MEASURE

To ensure a perfect fit, it is crucial that body measurements be accurate. When measuring,
adhere to the following guidelines. When measurements are made by another person, make
certain that they follow these procedures.
 MEASURING IN * When measuring vertically, the tape measure
CGCENERAL should be perpendicular to the floor.
. _ a * To measure the waist, tie a string or piece of yarn
around the waist at its smallest circumference to
* The subject should wear leggings, tights, or panty mark the natural waistline, generally 1" above the
hose. . navel.
* The subject should stand straight, look directly 4 To measure the side seams, use pins or tape to
ahead, with the feet placed together and flat on the mark each side seam from the waistline to the hip
floor, and arms slightly raised away from the body. line.
* Record all measurements as they are made ona * Note: The side seam is positioned slightly forward
measurement form. in the front.
* Measure without ease but not too tightly.
* When measuring circumferences, the tape mea-
sure should be parallel to the floor.

t)/ C q
2: 24iPSpeed Meahing
Taking ini A ashion
j —LJesign
we 3
MEASURING
CIRCUMFERENCES
ee

! |
1. Bust Circumference

Measure completely around the torso, from the bust

point at the fullest part of the bust. Make certain that
there is no ease in the tape measure and that it is par- eenke

allel to the floor.

2. Waist Circumference

Measure completely around the waist, at the center

front on the smallest part of the waistline. Make cer-
tain that there is no ease in the tape measure and that
it is parallel to the floor.

3. Hip Circumference

Measure completely around the body, from the

intersection of the hip depth line and the side seam
to the fullest part of the hip. Make certain that there
is no ease in the tape measure and that it is parallel
to the floor.

4. Ankle Circumference

Measure the distance around the ankle, just above

the most prominent ankle bone.

5. Biceps Circumference

With the subject’s arms unflexed, measure the dis-

tance around the biceps at its fullest part. Make cer-
tain that there is no ease in the tape measure and that
it is parallel to the floor.

(4)
6. Wrist Circumference

Measure the distance around the wrist, just below the

most prominent wrist bone. Illustration 1

mek lo Viet. =
MEASURING LENCTHS

1. Shoulder Length

Measure from where the neck and shoulder meet to

the shoulder tip.

2. Front Length

Measure from where the neck and shoulder meet to

the waistline, passing through the bust point.

3. Front Shoulder Slope

Measure the angle formed by a line extending from

the shoulder tip to the front center point of the
waistline.
Illustration 1.2

4. Bust Point Length

Measure from where the neck and shoulder meet to

the bust point.

5. Bust Point Width

Measure the distance between the bust points.

6. Sleeve Length

With the subject’s hand on the hip, measure from the

center of the shoulder tip down through the elbow to
the bones ofthe wrist.

Illustration 1.3

Hi, Apparel Making in Deckiis ar?

BACK MEASUREMENTS

1. Center Back Length

Measure from the spinal vertebra nearest shoulder

level to the vertebra nearest waistline level. Make
certain that there is no ease in the tape measure and
that it is perpendicular to the floor.

2. Armhole Depth

Measure down 1" from the armpit, then transfer this

mark around to the center back. Next, measure the
distance from the topmost neck vertebra to the mark.

3. Back Shoulder Slope

Measure the angle formed by a line extending from

the shoulder tip to the back center point of the waist-
line.

4. Back Shoulder Width

Illustration 1.4
Measure the length of the curved line formed
between the shoulder tips, passing through the spinal
vertebra nearest shoulder level.

/ / _

thon lo Whewaitre aS)

 1. Hip Depth (Hip Line)

Mark the fullest part of the hip perpendicular to the

side seam with a pin or cellophane tape, then mea-
sure from the waistline to the mark. If the stomach or
thigh measurement is greater than the hip measure-
ment, record these measurements also.

2. Crotch Depth

With the subject sitting on a flat surface, spine

straight, and at a right angle to the sitting surface,
measure from the waistline to the surface. Make cer-
tain that the tape measure is perpendicular to the floor.

3. Knee Length (Knee Line)

Measure on the side seam, from the waistline to the

top of the kneecap.

4. Ankle Length (Pant Length) Illustration 1.5

Extend a tape measure from the waistline straight

down to the ankle.

5. Crotch Length

With the subject’s legs spread 6" apart, place the

tape measure at the center front waistline, then pull it
through the legs and back up to the center back
waistline.

Illustration 1.6
6 Apparel Making in ey, Das
 Chap fer Sy)
WoO

U
I

Heeuh
oe
tid
 CRAIN LINE line placement. Garments made of fabrics cut on this
grain will hang correctly.

Cross Grain
The grain line of the pattern is perpendicular to the
rain lines are marked on pattern pieces to indi- selvage of the fabric. Although garments made of
Cate how they are to be placed on the fabric from fabric cut on this grain will not hang correctly, it is
which they will be cut. By aligning the grain lines on effective as a decoration for the yoke of a shirt or
a pattern piece with the straight grain of the fabric, cuffs, especially with striped fabrics.
the angle of the grain on that piece in the finished
garment is determined. The angle of the grain line Bias
dictates how the fabric will hang when placed The grain line of the pattern is placed on the bias at
around the body. There are three possible angles for about a 45° angle. Garments made from fabric cut on
any given grain: straight, cross, and bias. the bias will drape softly, but will also require much
more fabric. Design details such as collars, cuffs,
and yokes are especially effective when cut on the
bias, using striped or plaid fabrics.
Straight Grain
The grain line of the pattern is parallel to the selvage
of the fabric. This is the most commonly used grain

Straight grain line

cul
Cross grain line

Bias grain line

MESS
Drawing 2.1

/ Ly TF ¢
8 Apparel Making in Be anion Design
 SEAM ALLOWANCES Drawing 2.2. Standard seam allowances.
a5 !
* Side, shoulder, and center back seams = °/,".
¢ Armhole, neckline, extension, waistline, and
sleeve cap seams = ?/,".
ike there are standard seam allowances * Hem = 1!/," to 2".
for every type of garment, these can vary depending
on the type of garment and the fabric used. Begin
by marking each corner of the garment with a right
angle to easily determine the width of the seam
being sewn. It is important to keep seam allowances
consistent in order to avoid confusion during
construction.

Front bodice C
Sleeve
C_ Back bodice Size 10 F
Size 10
B Size 10

Back Front ;
skirt skirt E
Size 10 Size 10

Drawing 2.2

General Snformation 9
 allowances, at right angles to the seam lines, and
i Se an Dis SARS Iino Garisant Norpeed EEE ENS OBOE ON ROE EDS SNS E extend all the way to the pattern edge.

vise are markings that indicate how the differ-

ent pattern pieces of a garment are matched to each Drawing 2.3. Notches.
other, as well as the placement of their darts, zippers,
seam lines, hems, and other design details. They are
* Bodice armhole: Placed on the armhole.
marked before the pattern pieces are cut out, then
* Sleeve cap: Placed on the sleeve cap.
matched again before the seams are sewn. Notches
* Hip: Placed on the hip line.
are made by aligning the seams of two pieces then
* Dart: Placed at each dart leg.
creating a notch at the corresponding location on
* Stitch lines: Placed on the seam line.
each piece. The marks are made inside the seam

Front bodice
Size 10
G Back bodice
B Size 10 Sleeve
Size 10

a
sia
C Back Front
B skirt skirt
Um)
Size 10 Size 10

:
Drawing 2.3

10 Apparel Making in ee) ees

 EASE
ILL ca
Pattern Type | Location Measurement
Blouse
_A. patterns are being developed, it is important One-piece
to allow extra measure, or “ease,” at key locations for
comfort and movement. The amount of ease added to
a pattern will effect both the fit and silhouette of the
finished garment. Relatively small amounts of ease
result in closer-fitting garments with more defined
silhouettes, whereas larger amounts of ease result in
looser-fitting garments with baggier silhouettes.
Although ease amounts can vary widely, the
ranges that follow represent the ease amounts gener- Jacket
ally used for the pattern types listed. Guat

TRUING transitions from one to the next. Typically, this

process involves the reshaping and straightening of
any edges left unfinished after pattern manipulation.

enerally, it is necessary to “true-up” the various

hems, curves, connecting points, and darts on a pat-
tern to ensure that the pieces connect with smooth Drawing 2.4. Truing examples.

fo eee
a eS

Drawing 2.4

jen ral
Genéra Sn
nformation tad
 LABELING

FN
BN Back bodice C
Size 10 I)
() nce finished, patterns are labeled with certain C Back bodice
key pieces of information to aid in their identifica-
tion and use. Finished pattern pieces are commonly
labeled to indicate the pattern piece, pattern type,
size, center back and front, and the total number of
that piece to be cut.

Drawing 2.5. Labeling on the slopers.

ee

Drawing 2.9

BLENDING

fslending is the process of rounding lines between

points and smoothing the transitions between lines
so that the finished garment will better match the
contours of the body. Certain style lines require
blending to smooth out pointed features.

Drawing 2.6. Blending the princess line.

en a

Drawing 2.6

12 Apparel Making in halon Design

 SLASH AND SPREAD Ze:————

Foca ta es
\ ea
4 ‘

Sslash and spread is used to vary the shape of the [| la ‘G

garment by adding fullness to the silhouette. This - bf
fullness can take the form of either volume added to f
the entire shape or flare added at one end. The
amount of fullness added can create many interest-
ing design effects, and thus depends on the desired tony .
design. Two variations of the slash and spread .
method commonly used in this way are one-sided,
and two-sided.

Illustration 2.1

\
; D

Drawing 2.7. One-sided.

aa ed

To add fullness at one edge of a pattern, slash from

that edge to, but not through, the opposite edge, then
spread each slash line as necessary for the desired
fullness.

Drawing 2.7

Drawing 2.8. Two-sided. |

To add fullness across two opposing edges on a

uA :Ae :
x
Ve Ny
pattern, slash from one edge through the opposite TJ

\:
edge, then spread each slash line as necessary for
the desired fullness. IN
ESET
TATA
SARAATBS

Drawing 2.8

Genera Le red on is
 SLASH AND CLOSE

iV,he slash and close method is used to transfer a

dart. First, a slash line is drawn from the dart point of
the dart to be transferred to the edge to which it is to
be transferred. Then, the slash line is slashed and
spread open, closing the initial dart and forming a
new one on the target edge.

Drawing 2.9
BP ao

Qsojo

Vee

Drawing 2.9

14 Apparel Making in eee Bei

| Chap ter Thee

}
}y
||
|
|
|{
||
y
|
}
|

THE SLOPER
 INTRODUCTION TO THE Drawing 3.1. Basic slopers.
SLOPER

“fi he sloper is the foundation of ali flat pattern cre-

ation. Using specific body measurements, a sloper
can be created to simulate a garment being con-
structed for any body shape, thus enabling designers
Back Front
to make patterns quickly and accurately. Once com-
skirt skirt
pleted, variations in size and style often necessitate Size 10 Size 10
adjustments to the sloper. These are generally deter-
mined by constructing a muslin based on the sloper
and then testing it for accuracy and comfort.
There are two methods of sloper development:
the short measure method, and the proportional
method. Using the short measure method, accurate
measurements are taken for each part of the body to
achieve a perfect sloper. This requires precise mea-
surement, which can be difficult for beginners. In
Back
contrast, the proportional method requires only that bodice
key measurements be taken, from which the remain- Sie 10.
ing measurements (for details such as neckline and
armhole sizes) can then be derived.
The method of sloper generation presented in
this chapter is based on the proportional method.
However, a few steps from the short measure method
have been used to aid in achieving an accurate fit.

Straight
sleeve
Size 10

Drawing 3.1

16 Apparel Mahing in kon Design

 SKIRT SLOPER Drawing 3.2. Skirt sloper.
Wiki

Waistline

Y n developing a skirt sloper, it is first necessary to

determine the hip measurement, because this gener-
ally is the largest measurement of the lower torso and
must be accommodated by the skirt opening when
Hip line
the garment is being put on. Owing to the natural fine
curvature of the lower torso at the abdomen and hip,
there is an excess of fabric between the hip and waist w-Q
that must be removed for proper fit. The shaded areas
in the illustration below indicate this excess between
the waist and the hips, both at the side seams and at
the front and back. PIS
WIkas

Hemline

Waistline Waistline

Hip line

n
i
Q.
oO
a
oO
ob)
5

Hemline

Drawing 3.2

Illustration 3.1
he Shaper bE
Skirt Sloper Measurements

¢ Skirt length:
* Hip depth:
* Hip measurement:
¢ Waist measurement:

* If the thigh measurement is larger than the hip

measurement, use it as hip.

A
Drawing 3.3 Foundation. G H

¢ AB = Hip depth.
¢ AC = Skirt length.
* BB' = Half of the hip measurement plus °/4" for
ease.
D
¢ AA'= BB’. B iB
¢ CC'= BB’. 7
° A'B' = AB.
e A'C' = AC.
¢ BD = Half
of BB' minus 14". C 6
* Connect point A' to C'. B F
&
* Square up and down from point D, parallel to 3
oO
line AC. ae!
n
¢ Label E and F.
¢ AG = One fourth of the waist measurement
plus */16" for ease minus '/4" (front and back
difference).
¢ A'H = One fourth of the waist measurement plus
3/16" for ease plus '/4" (front and back difference). C F (eu

Drawing 3.3

18 Apparel Making in are aD oahn

Drawing 3.4
A —- +
Fe G H
I = One third of EG.
Square up 1/4" from I.
Draw the hip curve down from I to D, blending
into line ED, as shown.
J = One third of EH.
Square up '/4" from J.
Draw the hip curve down from J to D, blending
into line ED, as shown. Drawing 3.4

Drawing 3.5. Waistlines and darts.

Back:
* K = Measure down 2/s" to °/s" from A to allow for
the back curvature.
* Draw the waistline with a shallow curve, from K to
I, beginning square at the center back.
* KL = 23/9" for the dart placement.
* LM = IE.
* MN = 1!" space between the darts.
* NO = LM.
* Mark the midpoint of LM, then square down to the
hip line (BB’).
* Repeat for NO.
* Measure down 4" to 5" and label X and X', as
shown.
* Draw the dart legs, shaping the back dart legs in a
concave (U) manner.

Front:
* Draw the waistline with a shallow curve, from A'
iF
to J, beginning square at the center front.
Drawing 3.0 ° A'P = 23/4" for the dart placement.
- PQ =JE.
* QR = 1'h" space between the darts.
“RS =PQ.
* Mark the midpoint of PQ, then square down to the
hip line (BB').
* Repeat for RS.
* Measure down 3" to 4" and label Y and Y".
* Draw the dart legs, shaping the front dart legs in a
convex (V) manner.

The Sloper 19
Truing

Drawing 3.6. Front and back.

* Crease the center of each dart leg by dragging a

pushpin down its center while applying pressure.
* Crease dart leg PY, then fold over to match leg QY.
* Crease dart leg RY’, then fold over to match leg SY'.
* Crease dart leg LX, then fold over to match MX.
* Create dart leg NX’, then fold over to match OX",
* True the waistline.

LMNO SRQP

Y Say
2 ON

H———_—

C C
B F

Drawing 3.6

Drawing 3.7

* Match the front and back side seams at the hip

curve, making certain that their lengths are
matched.
* True the waistline.

Drawing 3.7

20 Apparel Mahing in elie a oe

Drawing 3.8

¢ Add the seam allowances:

Side seams = °/3".
Waist = 7/3".
Center back = 3/4".
Hem. = 1'p" to 2”.
* Mark the notches and grain lines, as shown.

3"
8 =
+

Back
: 5"
3" |C skirt 2
4 B sloper
Cut 2

Drawing 3.8

as BS AN: oi
 Check Points
After a sloper has been developed and the appropri-
ate seam allowances added to it, a muslin is con-
structed to its specifications in order to confirm its
fit. Any changes necessary are noted on the muslin
and then transferred to the pattern for adjustment.
Several problems commonly encountered at this
stage can be solved, as follows.

Drawing 3.9. Skirt is too tight across the

front lower abdomen.
See tect eee en ns re a

* Determine the amount to be added.

* Add one quarter of that amount to the front and
back side seams, at the waistline.
* Add one half of the amount added to each side
seam to each waist dart.
* Reshape the hip curve.
* Note: If the skirt is too loose across the front lower
abdomen, follow the same procedure, but subtract
from the side seams and waist darts.
Drawing 3.9

Drawing 3.10. Skirt is too tight overall.

a

* Determine the amount to be added.

* Add one quarter of that amount along the front and
back side seams.
° Add one half of the amount added to each side
seam to each waist dart.
* Note: If the skirt is too loose overall, follow the
same procedure, but subtract from the side seams
and waist darts.

Drawing 3.10

22. Apparel Mahing in ley, Dusigh

Drawing 3.11. Skirt has an excess of fabric
at the sway back.
pene enneanee ee

* Determine the amount to be subtracted from the

skirt back.
* Subtract one half of that amount from the back
side seam.
* Subtract one half of the amount subtracted from
the side seam from each waist dart.
* Add the amount subtracted from the back side
seam to the front side seam.
* Add one half of that amount to each waist dart.
* Lower the waistline as desired for the sway back at
the center back.
* Raise the waistline the same amount at the center Drawing 3.ll
front.
* Reshape the waistline.

Drawing 3.12. Adjustment of dart length

and placement.
Ae neon

* Dart length and placement can be adjusted to

make a skirt fit more smoothly around the
abdomen and hips.
* Mark the specific location on the muslin where the
fit of the darts begins to fail, then correct on the
pattern after transfer.

Drawing 3.12

The Sloper 23
BODICE SLOPER
Sign oer

bie using the proportional method to develop

a bodice sloper, it is necessary to begin with accurate
measurements of the bust, waist, and full back
length. All remaining measurements, such as the
neckline and armhole, are derived proportionally
from these key measurements. From them, a tube
shape is created that reflects a specific side seam,
waistline, and bust line. The contours of the body are
then shaped from this tube, using darts to control the
excess and to adjust the tube to the contours of the
body shape.
The shaded areas in the illustration indicate
excess between the initial bodice tube and the body’s
contours between the waist and the side seam and
between the bust and the waist at the front.
Illustration 3.2

Drawing 3.13. Bodice sloper.

Shoulder tip

Armhole

Underarm
point
€
.
C.
: B s ~

B Bust line F ustine

iS
per ise}
= on
Ss

a 3
= n

Waistline
Waistline

Drawing 3.13

24 Apparel Mahing in Se J Néiign

Bodice Sloper Measurements

Back length:
Bust measurement:
Waist measurement:
Shoulder length:
Bust point length:
Sleeve length:
Wrist measurement:

Drawing 3.14. Foundation.

AB = Back length. Connect point D to D'.

¢ AC = One fourth of the bust measurement (arm- * CE = One sixth of the bust measurement plus 11/2"
hole depth). for ease.
* CC' = Half of the bust measurement plus 11". ¢ AE' = CE.
¢ Square up and down from point C' to create a line * Connect point E to E'.
parallel to AB. * Note: The back ease is |/2" larger than the front ease
* Label A’ and B'. to allow for movement.
* Connect points A' to A, B' to B, and C' to C. * C'F = One sixth of the bust measurement plus 1".
* D = The midpoint ofline CC’. ° A'F' = CE
D' = The midpoint ofline BB’. Connect point F to F'.

A E’ F

B
4
Ss
oy)

1S) 1

5 E F se
C C
B F

Al B '
D' B

7 +15
|< B i |

Drawing 3.14

The Sloper 25
Check Point

Drawing 3.15. Armhole depth, =F.

Because the proportional method for creating a
bodice sloper is based on the bust measurement, the
FID
resulting armhole can be inaccurate at extreme bust
sizes—too long for larger busts and too short for
smaller ones. Thus, it is necessary to confirm the
armhole depth directly on the figure, as follows:
¢ Measure down 1" from the armpit.
¢ Draw a line from this mark around to the center of C Cc
the back. B F
Measure the distance from the topmost neck verte-
bra to the line.
Correct the armhole depth by raising or lowering ee
line AC by this measurement. D' E

Drawing 3.15

Illustration 3.3

26 Apparel Making in icon Disign

Drawing 3.16. Back and front bodices. Front bodice:
¢ A'K = One twelfth of the bust measurement.
e AG = One twelfth of the bust measurement. « A'L = One twelfth of the bust measurement plus °/".
Square up from point G one thirty-second of the ¢ Square down !/4" from K and label K’.
bust measurement and label G'. e Draw a line parallel to A'L from point K’.
¢ Connect point G' to A with a curved line, ending « Draw a line parallel to A'K from point L.
square to point A. ¢ Connect point K' to L with a curved line, ending
« Measure down 3/4" from point E' and label H. square to point L.
Square out */4" from point H and label H'. e F" = Square down 1'," from point F'.
¢ Draw the shoulder line by extending a line equal to ¢ Draw the shoulder line by extending a line equal to
the shoulder length plus |" from G' to HH'. the shoulder length from K', and passing through
* Note: The shoulder line may or may not pass F". Label M where this line ends.
through point H', depending on the shoulder length. e Measure up one third of the length of line FF"
e | = The midpoint of line EE’. from point F and label I'.
e Connect point I to D. e Connect point I' to D.
¢ Draw a line perpendicular to line ID from point E e Draw a line perpendicular to line DI' from point F
and label J. and label J’.
e Divide line JE into thirds and mark. e Mark the midpoint on line J'F.

Armhole curve: Armhole curve:

¢ Start square to point H' and curve down to point I. e Start square to point M and curve down to point I'.
¢ Continue the curve from point I to D, through the e Continue the curve from point I', through the mid-
two-thirds mark on line EJ, ending square to point D. point of J'F, ending square at point D.

D'

Drawing 3.16

Thee bpe 29
Drawing 3.17. Dart. Front:
Y = The midpoint of line C'F.
Back Square a guideline down from Y.
¢ a = The midpoint ofline G'H'. Draw a line equal to the bust point length from K’,
¢ a' = The midpoint of line CE. ending at a point on the guideline, and label N.
¢ Connect point a to a’. b = Draw a line from N perpendicular to DD' and
¢ Measure down 3" from point a on the line aa' and label b.
label X. bb' = One twenty-fourth of the bust measurement.
¢ Measure out 4" on each side ofpoint a. Connect point b' to N.
* Note: Line aX is the center of the shoulder (the total Square down from D' the length of line bb' and
dart intake is '/>"). label O.
¢ Draw the dart legs from point X. Square down from B' the length of line bb' and
label P.
Connect line O to P.

Drawing 3.17

Drawing 3.18. Notches.

¢ Measure down 5" from point H' on line HD and

mark with double notches.
¢ Measure down 5" from point M on line MD and
mark with a single notch.

Drawing 3.18

28 Apparel Making in Dashion eee

 Measure out half of the dart intake from each side
Drawing 3.19. Tight bodice sloper,
of point a" and mark.
¢ Measure in °/s" from point B and label Q. Draw the dart legs from point a' to each mark.
« Draw the new center back line, connecting point
* Note: a'a" = Center dart leg.
A toQ. Front waist dart:
¢ Measure in 3/4" from point D' and label R. Square down from N to line SP and label N'.
« Draw the new back side seam, connecting point Front waist dart intake = The measurement of line
DtoR. SP minus one fourth of the waist measurement
¢ Measure in */4" from point O and label S. plus =e. sR ae).
« Draw the new front side seam, connecting point Measure out half of the dart intake from each side
D to S. of point N' and mark.
Back waist dart: Draw the dart legs from point N to each mark.
e Square down from point a' to line QR and label a". Note: NN' = Center dart leg.
¢ Back dart intake = The length of line QR minus Redraw the final bodice line.
one fourth of the waist measurement plus °/s"
(ORs ss").

Drawing 3.19

Drawing 3.20. Adjusting dart points.

Drawing 3.20 The dart points are moved in '/2" to 2" from the bust
point for a smooth shape through the bust area.

he ay? per 29
 Truing e Crease dart leg AX, then fold over to match leg BX.
ae nS a « Crease dart leg CY, then fold over to match leg DY.
Drawing 3.21. Waist and shoulder darts. ¢ Crease dart leg EZ, then fold over to match leg FZ.
eS ee se nT A RP ee eS ae ea ° True the shoulder seam and waistlines.

¢ Crease the center of each dart leg by dragging a

pushpin down its center while applying pressure.

CD

We)
a)

A re a
aeam s Co
Drawing 3.2I

Drawing3.22. Side dart.

¢ Crease the center of the dart leg by dragging a
pushpin down its center while applying pressure.
¢ Crease dart leg GZ, then fold over to match leg HZ.
¢ True the side seam.

Drawing 3.22 o
H

fG

30 Ap eae Making in ey Design

Drawing 3.23. Side and shoulder seams.

¢ Match the front and back side seams, making cer-

tain that they are of equal length.
* True the waistline and armhole.
¢ Match the front and back shoulder seams, making
certain that they are of equal length.
¢ True the neckline and shoulder tip.

CHECKING SEAMS

Drawing 3.23.

Wie ase, per St

Drawing 3.24

e Add seam allowances:

Side seams = °/g". ae ait Front
eS At ac bodice
Shoulder [ie bodice 3" sloper
Waist = 3/3" sloper Cut 1
Armhole = 3/3". Cut 2
Center back = 3/4".
¢ Mark the notches and grain lines, as shown.

Drawing 3.24

Check Points
After a sloper has been developed and the appropriate
seam allowances have been added to it, a muslin is con-
structed from it to confirm fit. Any necessary changes
are noted on the muslin and then transferred to the pat-
tern for adjustment. Several problems commonly
encountered at this stage can be solved, as follows.

Drawing 3.25. Armhole is too tight or loose.

¢ Lower or raise the underarm point at the side seam

as necessary.

Too tight Too loose

Drawing 3.20

32 Apparel Making in Cahn Liesign

Drawing 3.26. Shoulder is too long or short.
Ne eee
en ES

¢ Ifthe shoulder is too long, measure in or out from

the shoulder tip as necessary, then reshape the
armhole.

a) Rte
Too long Too short

Drawing 3.26

Drawing 3.27. Shoulder is too tight.

ln

e Raise the shoulder tip and underarm point, then

reshape the armhole.

Drawing 3.27

Drawing 3.28. Shoulder is too loose. eee FE

¢ Lower the shoulder tip and underarm point, then

reshape the shoulder seam and armhole.

Drawing 3.28

Wasi 38
Drawing 3.29. Neckline is too narrow or
wide. ae

¢ Adjust the neckline by measuring in or out from

the neck on the shoulder line as necessary, then
lower or raise the neckline at the center front or
back. Drawing 3.29

Drawing 3.30. Adjustment of dart length

and placement.

¢ Dart length and placement can be adjusted to

make a bodice fit more smoothly around the bust.
e Mark the specific location on the muslin where the
fit of the darts begins to fall, then correct on the
pattern after transfer.

Drawing 3.30

34 Apparel Making in Lhe) Digs

SLEEVE SLOPER
ALAN

Y n developing the sleeve sloper, begin with accu-

rate measurements of the front and back armholes and
sleeve length. The accuracy of the front and back arm-
hole measurements is particularly crucial, as both the
cap height and biceps line measurements of the sloper
will be derived from these measurements. From these \
measurements, the tube-shaped sleeve is created,
i
t
i}
which connects at the bodice, wraps around the arm, '
1
!
then hangs down from the outer edge of the shoulder. ‘
'
1
The sleeve sloper describes a standardized sleeve, t
{
based on an arm extended at a 45-degree angle from i
'
'

the body, achieving a compromise between comfort '

4
Ly
and style, and lending itself to easy adaptation. i
{
‘
t
'
{
\
'
‘
'
!

Drawing 3.31. Sleeve sloper.

‘

Illustration 3.4
e AB = Cap height.
« AC = Length to elbow.
« AD = Sleeve length.
e EF/E'F' = Under-sleeve length.
e AE = Back armhole length.
e AE'= Front armhole length.
¢ EE' = Biceps circumference. x

Biceps line

Drawing 3.31 Sleeve length

Under-sleeve ret Elbow line

Wrist line

we AGE perv
Sleeve Sloper Measurements

Front armhole:
Back armhole:
Sleeve length:
Biceps measurement:
Wrist measurement:

Drawing 3.32. Measure armhole.

Stand a tape measure on its edge and carefully
position it along the armhole curve, from the
shoulder tip to the underarm point on the side
seam.
Measure the front and back bodice armhole curves
separately and record.
Combine the front and back armhole measure-
ments and record.
AC' = Back armhole.
« AC" = Front armhole. Drawing 3.31

A Drawing 3.33. Foundation.

¢ AB = Sleeve length.
e Draw a line perpendicular to AB through point B.
¢ AC = One fourth of the combined front and back
C ! armhole measurements plus 1".
C Example: Back armhole = 81/2", Front armhole =
8" AC = (81 48")/4 + 1",
\ ¢ Draw a guideline perpendicular to AB through
: point C.
i e AC' = Back armhole measurement.
s ilg ¢ Draw a diagonal line from point A that is equal to
i|D the back armhole measurement, labeling C' where
it intersects the biceps line.
¢ Square down from point C' the length of line CB,
and label B'.
¢ AC" = Front armhole measurement.
¢ Draw a diagonal line from point A that is equal to
the front armhole measurement, labeling C" where
it intersects the biceps line.
B+ B" * Square down from point C" the length of line CB,
B
and label B".
Drawing 3.32 ¢ AD = One half
of AB plus 1°".
¢ Draw a line perpendicular to AB through point D,
then label D' and D" as shown.

36 Apparel Making in lion Design

Check Point -

Drawing 3.34. Biceps width and cap height.

To allow for comfort and mobility, the biceps width
on the sloper is generally at least 2" larger than the
actual biceps measurement.
If the biceps measurement is larger than the biceps
line (C'C") on the sleeve pattern, extend each side
ofthe biceps line half of the difference.
If the biceps measurement is smaller than the
biceps line (C'C") on the sleeve pattern, shorten
Drawing 3.34
each side ofthe biceps line half of the difference.
*
Note: Shortening the biceps line wil! result in a taller
sleeve cap, whereas extending it will result in a
shorter one.

Drawing 3.35. Back sleeve cap.

C'F = One fourth ofline C'C.

Square out from point A one and one-half times
the length of C'F and label E.
Connect point E to F.
Measure down from point E the length of line AE
and label E’.
Measure up from point F the length of line C'F and
Drawing 3.30 label F’.
Square '/s" out from point F’.

Drawing 3.36. Front sleeve cap.

C"G = One third ofline C"C.

Square out from point A the length of C"G and
label H.
Connect point H to G.
Measure down from point H the length of line AH
and label H'.
Measure up from point G the length of line C"G
and label G'. Drawing 3.36
Square 's" out from point G'.

She Shope. 37
Drawing 3.37. Sleeve cap curve.

* Connect point A to E' with a curved line.

Continue the curved line to the mark !/s" from F’,
then on to point C’.
* Connect point A to H' with a curved line.
Continue the curved line to the mark !/g" from G’,
then on to point C".
Drawing 3.37

Drawing 3.38. Sleeve hem.

*
Note: The back of the sleeve must be lengthened and
the front shortened to allow for forward bending of
the arm at the elbow.
Mark the midpoint of BB’, then square a line down
3/g" from the mark.
Draw a curved line from B' to B, passing through
the mark.
Mark the midpoint of BB", then square a line up
"4" from the mark.
Draw a curved line from B" to B, passing through
the mark.

Drawing 3.38

38 Apparel Making in oo ee Design

Drawing 3.39. Notches.
Pe
ee ee eee ETE, 5 5x A 55

*Note: Between '/4" and 1" of ease should be added

to the sleeve cap to provide for comfort and mobility.
* Measure down 5!" on the back sleeve cap (AC’)
line and mark a notch. ;
* Continue down the back sleeve cap another |" and & i
mark a second notch.
¢ Measure down 5!" on the front sleeve cap (AC")
line and mark a notch. Drawing 3.39

i A

Check Point

eee Drawing 3.40. Below the notch.

A ee ee
~ Cc"

CR * Measure the distance from the first notch on the

CB back sleeve cap to C'.
A * Measure the corresponding back armhole distance
on the bodice, from the first notch to C'.
¢ Repeat for the front as shown.

(oe Gc!

Drawing 3.40

De Sher 39
Drawing 3.41. Adjusting the sleeve.

* If these two measurements are not equal, adjust the

sleeve pattern by shortening or extending the
biceps line appropriately.
* Note: If the difference between the two measure-
ments is greater than */s", the sleeve must be redone.
* Repeat the preceding steps, using the notch on the
front sleeve cap and the front armhole on the
bodice.

5 B R

Drawing 3.41

Drawing 3.42

¢ Add the seam allowances:

Sleeve cap and hem = */".
Sleeve coln

Size 10 Side seams = */s".

Cut 2 ¢ Mark the notches and grain lines, as shown.

Drawing 3.42

40 Apparel Making in lhe Disigan

Tight Sleeve

Drawing 3.4
oF SS ECE

Trace the straight sleeve sloper and label points A

through G, as shown.
* Measure out |" from B and label H.
° Connect point G to H with a dashed line.
¢ Measure the width of the palm, add 1" for ease,
then divide by two.
¢ Measure this distance out from each side of H,
labeling I and J.
¢ Connect point C to I, labeling point K where the
line intersects the elbow line.
* Connect point D to J, labeling point L where the
line intersects the elbow line.

Drawing 3.43

Drawing 3.44
Pasa etic ANO PII SIN ENP Rank. oar eswe!UNSere Pa oA

* Measure out °/4" from K and label M.

* Draw a curved line from C to I, passing through
M.
° Measure in '/4" from L and mark.
° Draw a curved line from D to J, passing through
the mark.

Elbow dart:
° Label N at the midpoint of MG.
° Measure down from M the difference between CI
and DJ, and label O.
* Draw the dart legs by connecting N to points M
and O.

Drawing 3.44

Oh Sia. ne
 PANTS SLOPER when the garment is being put on. Owing to the nat-
ural curvature of the lower torso at the abdomen and
hip, there is an excess of fabric between the hip and
waist that must be removed for proper fit.

Ws developing a pants sloper, it is first necessary e

to determine the hip measurement, because this gen- Ba
erally is the largest measurement of the lower torso
and must be accommodated by the pants opening Drawing 3.45. Pants sloper.

Waistline
Waistline

:
F diy
widop
souyysugy
USUI]
uydap
yo019
jued

Hip line
Hip|line

ueas
opis

BSVAID
DUI] ASAD
QUI]

ue
Hemline Hemline

Drawing 3.40

42 Apparel Making in ee, Die

Pants Sloper Measurements

AB = Pant length:
AC = Hip depth:
AD = Crotch depth:
AE = Length to knee:
Hip measurement:
Waist measurement:
Crotch length:

If the thigh measurement is larger than the hip

measurement, use it as hip.

Drawing 3.46 Pants foundation for front. —

AB = Pant length.
AC = Hip depth.
AD = Crotch depth plus 0" to 1" for sitting ease.
*
Note: Mature figures need more ease than juniors.
The ease can be varied, depending on the pants style.
AE = One half of line DB minus 2" (knee length).
Measure down °*/s" from A for waistband height
and label F.
CC' = One fourth of the hip measurement
plus 1/4" to 2" for ease (hip line).
FF' = CC' (waistline).
DD' = CC' (crotch line).
Connect D' to F'.
Draw a line perpendicular to AB at E (knee line).
Draw a line perpendicular to AB at B (hemline).
D'D" = One twenty-fourth of the hip measure-
ment plus 0 to 1)".
Label G at the midpoint of DD".
Square up and down from point G (crease line).
Label G' at waist and G" at hem.
Label M at the knee line.

G"

Drawing 3.46

we as er 43
Drawing 3.47. Waistline and crotch curve.

* H = Measure in */s" from point F'.

D'I = One third of D'F'.
Connect H to I.

Crotch curve:
Connect I to D".
Draw a line from D', perpendicular to ID", and
label X.
Mark a point on D'X that is two thirds its length
from D'.
Draw a crotch curve from I to D", passing through
the two-thirds mark.
e
HJ = One fourth of the waist measurement plus
"4" for ease and 11/" for darts.
Measure up 14" from J and label J'.
Blend J' to the midpoint of the waistline with a
slightly curved line.
Draw the hip curve from J' to C.

Drawing 3.48. Dart inseam and side seam.

ene ee ee te eS

Measure out */s" on each side of G' and label | and 2.

Measure down 3!" from G' and label 3.
Draw the first dart by connecting point 3 to points
1 and 2.
Measure over 1'/" from point 2 and label 4.
Measure over 3/4" from point 4 and label 5.
Measure down 3'/" from the midpoint of points 4
and 5, and label 6.
Draw the second dart by connecting point 6 to
points 4 and 5.

Inseam and side seam:

Measure 41/2" to the left of G" and label L.
Label K at one third of the length of D'D".
Draw a straight line from L to K, and label N at the
knee.
Connect point D" to N.
Mark in 3/16" from the midpoint of D"N.
Draw a curved line from D" to N, passing through
that mark and blending into line NL.
MN' = MN.
GD’ =G"L.
Connect N' to L' with a straight line.
Connect C to N' with a slightly curved line, blend-
ing into line N'L'.
Drawing 3.48
44 Apparel Making in Shey, Design
Drawing 3.49. Back of pants. eweeeere eee ii

Draw the pants foundation, following the instruc-

tions for Drawing 3.46.
Measure in */4" from D' and label V.
O = The midpoint of F'G’.
Connect V to O, extending through the waistline.
Extend C'C (hip line) from point C.
Calculate one fourth of the hip measurement plus
3/g" (for ease) and mark this distance from OV
toward C.
Draw a line that passes through the mark and runs
parallel to OV, labeling P' where it intersects CC’.
Draw a line from P', perpendicular to OV, labeling Drawing 3.49
P where it intersects OV.
* Q = One fourth of the waist measurement plus 1/4"
from OV on the waistline (F'F).
¢ Draw a line from Q perpendicular to OV, then label
O' at the intersection of this line and OV.

Drawing 3.50. Waistline and crotch curve.

¢ R = Extend line F'Q from point Q and mark 1',"

for dart intake.
* R' = Square up 1/4" from R.
¢ Blend R' to the waistline (O'Q) with a slightly
curved line.

Crotch curve:
* D"S = One twenty-fourth of the hip measurement
plus |".
Drawing 3.50 ¢ SS' = Mark 3/s" down and draw a 1" line parallel to
D'S.
¢ PS' = Draw the crotch curve from P to S', blend-
ing to the 1" line, as shown.

The Sloper 45
Drawing 3.51. Dart inseam and side seam.

* Y = The midpoint of O'R’.

* Measure out 3/4" (for a total of 1'/2") on each side of
Y and label | and 2.
* Measure down 412" from Y, parallel to G'G", and
label 3.
¢ Draw the dart legs by connecting point 3 to points
1 and 2.

Inseam and side seam:

¢ Draw a hip curve connecting point R' to P'.
MT = The length of MN plus '/".
¢ MT'= MT.
¢ G"U = The length of G"L plus 12".
¢ G"U' = G"U.
¢ Connect T' to U' with a straight line.
* Connect P' to T' with a slightly curved line, blend-
ing into line T'U'.
* Connect T to U with a straight line.
Connect S' to T with a straight line.
Mark in */i6" from the midpoint of S'T.
Connect S' to T with a slightly curved line, passing
through that mark, and blending into line TU.

Drawing 3.41

46 Ap doh Mahing im ne OVS ie

Drawing 3.52.

¢ Add the seam allowances:

Waistline, center front, and center back = 3/3".
Side and inseams = °*/s".
Hems=ap":
* Mark the notches and grain lines, as shown.

ooltn

Drawing 3.92

The Sloper 47
 Check Points Drawing 3.53. Crotch is too tight or loose.
After a sloper has been developed and the appropri-
ate seam allowances added to it, a muslin 1s con- * Increase or decrease the crotch curve length at the
structed from it to confirm fit. Any changes inseam on both the front and back pattern pieces,
necessary are noted on the muslin and then trans- as shown. Then taper gradually from this point into
ferred to the pattern for adjustment. Several prob- the inseam. Note that adjustment is often only nec-
lems commonly encountered at this stage can be essary on the back pattern piece.
solved, as follows.

1
=

Too tight Too loose

Drawing 3.54. Crotch is too short or deep. is needed, fold accordion-style between the waist
and hip lines, then bring the folded section either
* Alter the pattern between the waist and hip lines. If up or down half the amount necessary. Once
more crotch depth is needed, cut the pattern adjusted, reshape the hip curve and the center front
between the waist and hip lines, then spread the and back seams.
two pieces apart as necessary. If less crotch depth

Too short Too deep

48 Apparel Making in hin Design

Drawing 3.55. Back seat is too tight or loose.

¢ Increase or decrease the crotch curve on the back

pattern, tapering into the original upper part of the
back seat area. The alteration should be restricted
to the area between the crotch inseam and the
upper thigh area.

Too tight Too loose

Drawing 3.00

Drawing 3.56. Waist or hip is too tight or

loose.

° Increase or decrease the waist dart intake. Add or

subtract at the side seam.

Too loose Too tight

Drawing 3.06

The Sloper 49
 Drawing
ee es
3.57. Large stomach. ee oe

e Extend the center front '/2" to 2" above the waist- a

line, taper in 2" to 1" on the waist at the center E
front and the same amount on the waist at the
side seam. Draw the new hip curve, blending
into the side seam.

ee ee

Drawing 3.97
—— are

Drawing 3.58. Protruding buttocks.

SB ee es oe a

° Slash from the center back at the hip line to, but
not through, the side seam. Spread '/" to 2" at the
center back, then reshape the center back seam.

Drawing 3.08

Drawing 3.59. Flat buttocks.

¢ Slash from the center back at the hip line to, but
not through, the side seam. Fold '/2" to 2" at the
center back, then reshape the center back seam.

Drawing 3.09 ik,

0) Apparel Mahing im isin Design

Chapter a our

ae
 INTRODUCTION TO THE Drawing 4.1. Skirt components.

se
EE
A
ER
TOS AE IIT RT
e
SS SINS
RS
ORRIN
a
SN EG MOE
Se oR ae
SNS Bio eS ae a a
Tae ee ae
ee eer . Waistband.
. Center front.
Side seam.
. Front dart.
ey,he skirt covers the lower part of the body ina . Hemline.
tubular shape, from the waist down to the desired Center back.
length. Historically, skirt silhouettes have evolved . Back dart.
under the combined influences of economics, cus- . Back zipper.
tom, and social change. The chief influences on a Back slit or pleat.
skirt silhouette are its length and the sweep. Button.
Changing the position of the waistline, adding design Par
ie
mie
. Buttonhole.
details (e.g., darts, pleats, shirring), and using differ-
ent types of fabric can all create various skirt styles.

Drawing 4.1

bz Apparel Making im shen Design

Skirt Length Variations

Changes in the length of the skirt can create a new look

and define the occasion for which it is worn. These
changes can also be a reflection or an adaptation of a
current style or of a style worn in an earlier era.

Skirt Lengths by Style

¢ Micro-mini skirt length = Mid-thigh or above.
Mini skirt length = 4” or more above the knee.
¢ Natural line/knee-length skirt length = Knee level.
¢ Midi skirt length = Between knee level and mid-
calf (the “Chanel” line).
Maxi skirt length = Lower calf level.
* Long skirt length = Ankle level.

Micro-mini Mini Knee length Midi Maxi

Illustration 4.|

hs Sit 5S
 Common Skirt Lengths my

The following chart illustrates the names and typical

lengths for various common skirt lengths. Note that
this information is also applicable to pants and dress
lengths.

I Esc
Mid-thigh

Knee fet feof ee

Knee length) 296/47 38/39 40/41
Dene onl ovitee |Ned | Stes A ae
att Mid-calf
Weare 46

Ct Aas
length

si oT, at Ankle length

Illustration 4.2

5G Apparel Mfahing in as shinn Design

 Sithouctte Variations

the skint Shouctte can be ater oyGast manga

thes (AM into ix, cosegonics. eran, A-Sme, rg ’

whe, nosa, pygh, oh bum. |:

Drawing 4.2. Straight shirt.
,
|
+ This style has equal hip and hem crosnicccnces. :
‘ |
itfits otthe waist, then (alls axaigin down from the ;
|
.
to thes
h
hip hem. }

bn
ee
wed

Braning 42

Drawing
4.3. A-line skirt.

. This style has a hem circomnfesence greater than its

SABKXeeusueseaearanu,
hip crountcr the waist and.
itfits atence then
flases outward from the hips to form an A-shaped
aB4EEacre a
silhouctic.
;
S.— Or
rc
a

Drawers 42

The Slik 55 -
 Drawing 4.4. Gathered skirt.
a ec a ra son en ne ne

¢ This style has equal waist, hip, and hem circumfer- / \

ences, yet achieves a gathered, or “shirred,” effect i
at the waist.

Drawing 4.4

Illustration 4.5

Drawing 4.5. Circular skirt.

¢ This style flares out from the waistline to a wide

hemline circumference. Generally based on 180°,
270°, and 360° circular sections, the finished
circular skirt will be fuller, and have varying
silhouettes, the greater the section used.

Drawing 4.0 Illustration 4.6

56 Apparel Making in shin Design

 ing 4.6. Pegged skirt. a
USI OONSS27hdallekal lec Se ee ee

¢ This style is tapered from the hips so that the hem

circumference is less than the hip circumference.
The hips may be accentuated by adding gathers or
pleats at the waistline.

Drawing 4.6

Illustration 4.7

Drawing 4.7. Trumpet skirt.

This style tapers from a point somewhere below

the hip line and then flares out to the hemline.
Adding to the hem circumference will increase the
flare of the hem.

Drawing 4.7

Illustration 4.8

Se Shirt Sy.
 Waistline Variations Drawing 4.8. Natural waistline. = a)

To create different style lines, the waistline on a skirt ¢ Use the waistline from the sloper, without adjustment.
may be placed at one of three locations: natural, low, or
high. Both higher and lower waistlines can vary greatly
in placement from the natural waistline. The waistline
can also be finished in one of four ways: classic waist-
band, pull-on waistband, facing, or bias binding.

yy;
Illustration 4.9

Drawing 4.8
c G
F

Drawing 4.9. Low waistline.

* Lower the waistline 2”, or any amount desired.

¢ Measure in 1/4" from each side seam.
* Reshape the hip curve.

Drawing 4.9
Illustration 4.10

58 Apparel Making in hin Design

Drawing 4.10. High waistline.

* Square up from the waistline 2'/4” at center back

and 2” at center front.
¢ Square up 2” from the waistline at each side seam.
¢ Draw the new waistline.
¢ Square up from the dart legs to the new waistline.
¢ Measure in 1s" from each dart leg and reshape
each dart.

Drawing 4.10 Illustration 4.11

Dip Sia 59
 Dart Manipulation ae ee

All or part of the waist darts may be transferred to

the hem by first closing them and then opening an
equivalent angle of flare at the hem. The more dart
that is transferred to the hem, the greater the result-
ing flare at the hem.

Drawing 4.11. One dart transferred to

the hem.

dp dp

Illustration 4.12
Drawing 4.1I

Drawing 4.12. Two darts transferred

to the hem.

Oe)
ow

|be|
Drawing 4.12

Illustration 4.13

60 Apparel Mahing in echisn BD aos

The front and back skirt patterns have different
amounts of dart intake, resulting in different hem
circumferences and a garment that does not fall and
flow properly. Thus, it is always necessary to balance
the amount of flare at the front and back hems.

Drawing 4.13. Balancing the front and

back hem circumferences.

¢ Align the front and back skirt pattern pieces at the

center front and back.
¢ Determine the difference between the front and
back hems and divide this amount in half.
¢ Add this amount to the smaller hem circumference.
¢ Subtract it from the wider pattern piece.

Drawing 4.13

2) AS ae,
 One-Dart Skirt
Generally, placing two darts on pants or a skirt will
provide a better shape and fit. The two darts may even
be combined, in which case they are generally reposi-
tioned on the center of the waistline. When one dart is
used, it must be lengthened for a smooth fit.

Drawing 4.14.

* Combine the two darts into one.

* Reposition the new dart at the center of the waist
or as desired.
» Lengthen the dart to 4'/2” in front and 5” in back.

aa

Drawing 4.14 Illustration 4.14

62 _Apparel Mahing in By hen Design

TAPERED SKIRT
hi (ALONE

J he tapered skirt fits snugly at the waist and hip,

and tapers from the hip to the hem. Tapered skirts
usually feature a slit at the center back or side
seam(s), to allow for leg movement.

Pattern Analysis
* The side seam is tapered from the hip line.
¢ Darts are shifted toward the side seam.
¢ The skirt is vented at the center back.
¢ There is a center back zipper.
¢ The lining pattern is developed from the skirt pattern.
¢ Marker directions are provided for garment and
lining.

Illustration 4.15

Drawing 4.15. Back and front.

¢ Trace the skirt sloper.

Lh
eh a

C
B
CF

(ee eS =

Drawing 4.13

=) Shirt 63
Drawing 4.16. Back

* Redraw the dart closest to the center back 4°/3”

long and the other dart 4” long.
* Move the dart points '/4” toward the side seam.
¢ Measure in °/s” from the side seam at the hem, then
taper the side seam from the hip to the hem.

Vent at center back:

¢ Measure down 16” to 18” from the waistline then
out 2” at the center back and mark.
¢ Square down to the hem from the mark.
* Shape the top of the vent with a diagonal line, as
shown.

Drawing 4.16

Drawing 4.17. Front.

ne ¢ Redraw the dart closest to the center front 4” long

and the other dart 3°/s” long.
* Move the dart points '/4” toward the side seam.
q ¢ Measure in */s” from the side seam at the hem, then
: taper the side seam from the hip line to the hem.

Reshaping the waistline:

* Fold the waist darts toward the center back and the
center front and reshape the waistline.

v
is}
In

Drawing 4.17

64 Ap Blok I),
aking in aie Dasiga
Drawing 4.18. Waistband.

¢ Draw the waistband, using the following dimensions:

Length = Waist circumference plus |/2”.
Height = 114”.
Button extension = 1”.

1} >

or ae
eT
ils
eo e
C.B Ses C.F SS (CB

L eeSe
Waist measurement + 5" en

Drawing 4.18

Drawing 4.19. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Se ee eee Se ae d

Drawing 4.19

We Sight 65
 Drawing 4.20. Seam allowances.

¢ Add the seam allowances:

Waistline, waistband, slit = 3/9”.
Center back = 3/4”
Side seams = */s”.
Hems = 2”.
* Note: Fold the hem up, then redraw the side seam so
that the hem follows the taper, as shown.

Drawing 4.20

66 Apparel Making in Sahin Design

Drawing 4.21. Lining.
cea le rr ed merece NE

* Note: Lining patterns are drawn with dashed lines.

Back right side:

¢ Trace the back right skirt pattern.
e Add '" to the side seam.
° Raise the hem 3/4”.
¢ Remark the waist darts as 2”-long pleats, as
shown.

ois)

Drawing 4.21

as 4.22.

Back left side:

¢ Flip the right side pattern over.
¢ Fold the center back line at the vent and trace the
center back line.
¢ Measure in 2” from the center back at the hem and
draw the vent shape, eliminating the vent from the
left side skirt.

Drawing 4.22

yy, Shirt 67
 Drawing 4.23. Front lining.

» Trace the front right skirt.

» Add |” to the side seam.
° Raise the hem 7/4”.
* Remark the waist darts as 2”-long pleats, as
shown. = |
oo

Drawing 4.23

Drawing 4.24. Lining seam allowances.

* Add the seam allowances: * Note: Fold the hem up, then redraw the side seam so
Waistline and slit = 3/9”. that the hem follows the taper, as shown.
Side seams = °/3”.
Center back = 3/4".
Hems = 11".

Back
left side right side
lining lining
Cut |

Drawing 4.24

68 Apparel Mahing in EE Design

Drawing 4.25. ‘Garment marker.

The garment marker is produced by laying all of the

pattern pieces out on the fabric. The pattern pieces
should be placed so that their grain lines match the
straight grain of the fabric. The width of the fabric and
sizes of the pattern pieces will dictate how the pieces
are laid. Much of this process is handled by computers
in industry, but it is still important to be familiar with
the relationship between fabric and pattern.

1
Cut
Waistband

Drawing 4.20

ae Shirt 69
 Drawing 4.26. Lining Marker.

As with the garment marker, the lining marker is pro-

duced by laying all of the pattern pieces out on the
fabric. The pattern pieces should be placed so that
their grain lines match the straight grain of the fabric.
The width of the fabric and sizes of the pattern pieces
will dictate how the pieces are laid. Again, much of
this process is handled by computers in industry, but it
is still important to be familiar with the relationship
between fabric and pattern.

Drawing 4.26

740) _Apparel Making in is, Design

SKIRT CONSTRUCTION

Drawing 4.27. Preparation.

¢ Attach the interfacing to the wrong sides of the

fabric on the zipper placement, to the vent on the
left side of the skirt, and to the waistband.

Drawing 4.27

Drawing 4.28.

« Zigzag or serge the seam allowance on the side,

back, and hem to keep the fabric from fraying.
¢ Turn up the hemline, then press.

Drawing 4.28

ws, BSE’ 71
 Drawing 4.29. Garment construction.

¢ Sew the front and back darts, then press toward the
center front and center back.

Drawing 4.29

Drawing 4.30.

¢ Sew the center back seam between the notches and

across the top of the vent up to */x” from the cut
edge.
¢ Press and open the center back seam and zipper
opening, then press the vent to one side.

Drawing 4.30

72 Apparel Meahing in Bele: Design

_P
Drawing 4.31.. Zipper attachment.
fete et SA REE

Press and open the left side of the zipper opening —

on the center back seam.
Shift the right seam allowance 1x” over the seam
line, then press.
Align the teeth of the closed zipper with the fold
of the right seam allowance and stitch in place.
With the zipper closed, place the overlap of the
garment over the zipper and baste in place.
Topstitch the left side of the zipper in place
approximately */s” from the center back seam edge,
at the bottom of the zipper opening.
Sew the front and back side seams with the right
sides together.

Drawing 4.31

Liste a8
* Sew the darts as tucks on the front and back panels
of the lining fabric.
* Sew the center back seam between the notches and
across the top of the vent up to °/x", then serge or
zigzag the seam allowances.
* At the zipper opening, fold the fabric over */3”,
then fold again */s” and stitch.
* Sew the side seams and then serge or zigzag the
seam allowances.
* Press all seam allowances toward the back of the
skirt.
* Fold the hem of the lining up */s”, then fold again
3/4" and stitch.

t
qe
\|
Ct
a
\)1
rabies
(1
) 1
Ni
\
yt
\
i
i
) |
1
al
|

Drawing 4.32

74 Apparel Mabing in eS Sore

Drawing 4.33. Lining attachment.
a

¢ Place the wrong sides of the garment and lining

together.
¢ Match all notches and side seams, then baste
together at the waistline.
¢ Place the extended edge of the waistband on the
right side of the garment; pin into place, matching
all markings and notches; and then baste together.
¢ Stitch the waistband to the garment.

Drawing 4.33

Drawing 4.34. Waistband construction.

——

Fold the waistband in half, right sides together.

Fold up the seam allowance of the noninterfaced
side, then press.
Stitch the sides together from the top to the folded
seam allowance.
Trim the top corner of the side seam at an angle.
Turn the waistband right side out, then press.

Drawing 4.34

Drawing 4.35.
_

* Turn up the waistband, then press.

¢ Fold the seam allowance into the waistband, then
press.
¢ Stitch the waistband closed by “stitching in the
ditch” on the right side of the garment.

Drawing 4.39

Tha Stoe 18
 Drawing 4.36. Vent.

Left side vent:

Sew the seam allowance of the lining to the
garment vent with the right sides together.
Press the seam allowance toward the side seam.
Turn the right side out and press.
Fold the skirt hem up under the lining.
Catch stitch the hem in place.
The lining will fold over the hem to provide a
clean finish.

Illustration 4.16

Drawing 4.37.
eeee Se TO

Right side vent:

* Sew the seam allowance of the lining to the vent
overlap of the skirt.
* Turn the right side out, then press.
* Fold the skirt hem to overlap the vent.
* Catch stitch the hem in place.

Illustration 4.17

76 Apparel Making in hon Listes

Drawing 4.38. -Finishing.

¢ Press the hem, then catch stitch in place.

¢ Tack the lining to the skirt at the hem with a thread
chain, from lining to garment, at the side seams.

Drawing 4.38

Drawing 4.39. Fasten the center back of

the waistband.

¢ Create a buttonhole, then attach a button at waist-

band opening.
* Sew the hook and eye into place at the waistband
opening.
° Press the entire garment.

Drawing 4.39

He Shist ae
A- Be ae dado Sy

iyhe A-line skirt fits at the waist and then flares

outward from the hips to form a silhouette in the
shape of the letter “A.” This shape is achieved by
transferring a portion of the waist dart to the hem.
The greater the portion of the dart that is transferred,
the greater the resulting flare.

Pattern Analysis
* Portions of the front and back waist darts are trans-
ferred to the hem to spread it 2”.
¢ The remaining darts are combined into a single dart.
¢ Side zipper.

Illustration 4.18

Drawing 4.40. Back and front.

¢ Trace the skirt sloper.

¢ Draw the slash lines parallel to the center back and
front, from the darts closest to the side seam to the
hem.

Drawing 4.40

78 Apparel Making in eee aleiipe

Drawing 4.41. Back and front. * Combine the remaining dart intakes and center the
dart on the waistline.
* Cut along the slash line to, but not through, the * Lengthen each dart 3/3” to */4”.
dart point. * Reshape the hem.
* Close the dart until the slash line spreads open 2”
at the hem.

Drawing 4.4|

Drawing 4.42. Finished patterns.

eee s a=)

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 4.42

Sve Shirt 79
FLARED YOKE SKIRT
ae

7 he yoke style line runs from the side seam at the

abdomen to the front and back, following the distinc-
tive W-shaped lines, as shown.

Pattern Analysis
* There are front and back yokes with distinctive
style lines.
¢ Waist darts are closed.
* Slash and spread is used to add flare.

Illustration 4.19

:
2" 2 51

Y
Drawing 4.43. Back and front.
ff ee rR en SrA een

aio) ° Trace the skirt sloper.

“ * Draw the desired yoke style line.
C * Draw two slash lines parallel to the center back
e F and front, from the dart point to the hem.

Drawing 4.43

SO Apparel Making in eS ahios IEE

Drawing 4.44. Back and front yoke.

¢ Separate the yoke.

¢ Close the darts and reshape the yoke.

Ty
WS

Drawing 4.44

Drawing 4.45. Back and front skirt.

¢ Cut along the slash lines to, but not through, the
top.
¢ Spread the slash lines open 2” at the hem.
* Note: The amount of flare is equal on each side for a
balanced flare.
¢ Reshape the hem.

Drawing 4.45

4/9 i Sf
 Drawing 4.46. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Front
DC yoke
Cut |

Drawing 4.46

52 Apparel Making in Bho aDosign

GORED: shold

iw)he gored skirt has individual gores, or panels,

that collectively fit around the waist and gradually
flare to the hemline. The number of panels for a gored
skirt starts at four. The fullness is added at the hem
then connected at or below the hipline. By varying
the connection point, a trumpet shape or A-line may
be created.

1. Four-Gore Skirt

This skirt features four panels, with no side seams.

Pattern Analysis
¢ The hip circumference is divided into four parts.
e Waist darts are combined and centered on the gore
lines, then converted to gore lines.
¢ Fullness is added from the hip line to the hem of
each side panel to achieve the A-line silhouette.
¢ Front and back side seams are combined to form a Illustration 4.20
dart.

Drawing 4.47. Back and front.

° Trace the skirt sloper.

° Mark the hip line midpoint on both slopers.
° Draw the gore lines parallel to the center back and
front, from the waistline to the hem, passing
through the midpoint.
* Measure up 2” from the hip line on the gore lines,
labeling A and A’ as shown.
* Combine the two darts into one dart.
* Center the new dart on the gore line, using A and
A’ as the new dart points.

Drawing 4.47

The Shirt 83
 Drawing 4.48. Back and front.
a aa ee a a ne
Se anes mg

¢ Cut along the gore line, eliminating the dart.

* Trace each panel separately. A
¢ Measure out */s” from each gore line at the hem,
excluding the center back and front, and mark.
l
i

¢ Redraw the gore lines and side seams, connecting i | | |

. . . | ;

; ; !
points A and A’ to the marks, as shown. C ! | !
. |
B || ot| || |
| ! | |
| | | |
| | | |
| | | |
l Wf! 2 ! ! 4
| | | |
| ! | |
| | | |
| | | |
| | | |
| | | |
I ! | |
| ! | |
| | | I!
! | | |
eer. ree IAL anon Pes
Se Shy ees —>3, 3< Ss
8 8 8 8

Drawing 4.48

Drawing 4.49. Finished patterns.

Side Center
front & back front ¢ Attach the back and front patterns at the side seam.
Cut 2 Cut | ¢ Label the pattern pieces and mark the notches and
grain lines, as shown.

Drawing 4.49

Drawing 4.50. a ne nnn nnnnnnnsnenenerneen ee ie

¢ Fold the dart and reshape the waistline.

Drawing 4.00

5&4 Apparel Making in sy Design

2. Six-Gore Skirt

This skirt features six panels and an A-line silhouette.

Pattern Analysis
¢ The hip circumference is divided into six parts.
¢ Waist darts are combined and centered on the gore
lines, then converted to gore lines.
¢ Fullness is added from the hip line to the hem of
each side panel to achieve the A-line silhouette.

Illustration 4.21

Drawing 4.51. Back and front.

* Trace the skirt sloper.

* Divide the hip line into thirds.
¢ Draw a gore line parallel to the center back and
front, passing through the first division, as shown.
* Combine the two darts into one, centered on the
gore line.

Drawing 4.al

he Shirt S85
 Drawing 4.52. * Measure out 1!/” from each gore line at the hem,
- | ae excluding the center back and front, and mark.
* Cut along the gore lines, eliminating the darts. * Draw the new gore line from the hip line to the
* Trace each panel separately. mark at the hem.

Drawing 4.92

Drawing 4.53. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Side
back
Cut 2

Drawing 4.3

86 Apparel Mahing in ade, Design

3. Ten-Gore Skirt

This skirt features ten panels and a trumpet silhouette.

Pattern Analysis
¢ The hip circumference is divided into ten parts.
¢ Waist darts are centered on the gore lines, then
converted to gore lines.
¢ Flare is added from the knee to the hem of each
side panel to achieve the trumpet silhouette.

Illustration 4.22

Drawing 4.54. Back and front.

° Trace the skirt sloper.

Divide the front hip line by five, and call this value X.
Divide the back hip line by five, and call this value Y.
¢ Measure in_X on the hip line, from the center front,
and mark.
Measure in Y on the hip line, from the center back,
and mark.
¢ Measure 1n two times_X from that mark, from the
center front, and mark.
¢ Measure in two times Y from that mark, from the
center back, and mark.
* Draw the gore lines parallel to the center back and
front, passing through the marks.
* Center the darts on the gore lines.

Drawing 4.94

hs Slot eg,
 Drawing 4.55. Back and front. * Note: The flare should be equal on each piece to
+ =. wear et a a“ keep balance.
* Cut along the gore lines, converting the dart to a * Draw the new gore line from the hip line to the
side seam. mark at the hem.
* Draw a horizontal guideline. * Note: The flare may blend from any point between
* Trace each panel separately, matching the hip line the hip and knee, to the hem.
to the guideline. ¢ Reshape the hem, ending square to each seam.
* Measure out 3” from each gore line at the hem,
excluding the center back and front, and mark.

Drawing 4.90

SS Apparel Mahing in Pelion ee

Drawing 4.56. Finished patterns.

¢ Smooth the gore lines.

° Label the pattern pieces and mark the notches and
grain lines, as shown.

Drawing 4.06

Back
center
panel
Cut |

Front
center
panel
Cut 1

SiGe, 89
 CIRCULAR SKIRT

a he circular skirt has no darts at the waist and

flares out from the waistline to a wide circumference
at the hemline. Circular skirts fall into the following
categorizes: quarter, half, three-quarter, and full.
Various silhouettes can be created by varying the
amount of fullness. This skirt will hang according to
the direction of the grain line on the pattern pieces.

180° 270° 360°

Illustration 4.23

90 Apparel Making in iy Design

Circular Skirt Radius Charts

When creating patterns for 270° and 360° circular

skirts, 1!” to 2” is generally subtracted from the tar-
get waist measurement to allow for the natural eas-
ing and stretching of fabric.
This difference between actual and calculated
waist diameters necessitates a slight adjustment in
the waistline of skirt patterns. The adjustments
required for the pattern pieces of 270° and 360°
skirts ranging from 24” to 40” have been calculated
for the following tables, using this formula:
1. For waist sizes between 24” and 28”, subtract 1!/”
and call the resulting value X. For waist sizes
between 29” and 40”, subtract 2” and call the
resulting value_X.
2. From the table, subtract the appropriate
“Diameter” column value (Y) from_X and call the
resulting value Z.
3. If Zis a positive number, add it to the waistline of
the skirt pattern. If Z is a negative number, sub-
tract it from the waistline of the skirt pattern.

Example 1: 24” waistline

te — 24” — 14)" = 122" /2"

2, Y (from table) = 227/,”
ee
4, '/s will be subtracted from the waistline on the
skirt pattern.

Example 2: 40” waistline

1,-¥= 40" —.2” = 38"

2. Y (from table ) = 39!/”
a7 = 38" = 391)" = = Tp"
4. 1'/” will be subtracted from the waistline on the
skirt pattern.

he Shirt of
 360° Circular Skirt Radius Chart
Calculations for waists of 24” through 40” were made
based on the observation that the waist radius equals
one sixth of the waist measure minus °/s” (“/s — 3/8”).

: :
i Actual Waist Adjusted Waist Calculated Diameter ‘ Required
Measurement Measurement Radius (Y) Adjustment
(x) ("/6 — 3/g") (Z)= VY-X
24 221/." Seu 227i,"
mal
2D 237," Boa 2313/,,”

26 24/5" 315/46" 247/,

o7 251/p" 41/4! 25/4"
28 26"/." 45/46 2615/16"
isles

: 30" 415/16" ote

BE
ae 31" 519" 325/46"
34 32" OAc | Se d= at a
35 ieee | eae f 34,"
36 34" 55/4" 355/16"

38 36" 51/16" Sie

39 37" 61/4" ai 387/16"
38” 391/,"

92 Apparel Making in Phin Dit

270° Circular Skirt Radius Chart
Calculations for waists of 24” through 40” were
made based on the observation that the waist radius
equals the waist measure divided by 4.86 (“/4.86).

Actual Waist Adjusted Waist Calculated Diameter Required

Measurement Measurement Radius (Y) Adjustment
(x) (“/ 4.86) (7)=Y—-X
24 23" 415/46" Preyiy

25 24” be 2241/4"

26 25" e/a! 25" lie

ar 20" Sie. 267/16"

ae 27" aris
29 are
30 281
fe 20/2
32 30,"
33 ls Slice
34 321/5" B82 /i6"

oo 331/," Soe.

36 341/," 7/16" 347/,"

eee 30, 351/,” Pols! Bb a:

38 361/,” Toliee 36 ek

ee re oe
ec eee

as SES: 93
 1. 360° Circular Skirt —

Drawing 4.57. Back and front.

* Prepare a 30” by 60” piece of paper.

* Fold the paper in half.
* Draw a line perpendicular to the fold line, leaving
a 1” seam allowance above the line.
¢ XY = Calculated radius from chart (“/6 — */s").
tXYOE XY,

Drawing 4.7
SS

Né we)
Drawing 4.58.

Place the tape measure on line XY, match the

metal tip to point Y, and secure the tape measure
with a pushpin at point X.
Rotate the metal tip of the tape measure up, with a
WA
1A
& pencil, from pointY to Y’.
Example: If XY = 6”, then secure the tape mea-
sure with a pushpin at 6” on point X and rotate the
metal tip of the tape, with a pencil, fromY to Y’.

eS

Drawing 4.98

Drawing 4.59.

¢ YZ = Skirt length.
YZ = YZ,
Place the tape measure on line XZ, matching the
metal tip to point Z.
¢ Secure the tape measure with a pushpin at point X.
Rotate the metal tip of the tape measure up, with a
pencil, connecting point Z to Z’.
* Label the center front and center back along YZ.
Label the side seam along Y’Z’.

Drawing 4.09
94 Apparel Mahing in on Danek
Drawing 4.60. —

e Cut out the pattern and unfold the paper.

* Trace the pattern to a new piece of paper and label
each pattern, as shown.

Waistline and hem adjustment:

¢ Measure the waistline on the pattern. If this meas-

G
urement is not 1'/2” to 2” smaller than the actual
measurement, adjust the waistline, referring to the
BLY
\al
360° circular skirt radius chart, earlier.
¢ Measure up !/4” from the center front at the waist-
line and blend to the side seam.
¢ Measure down !/4” from the center back at the
waistline and blend to the side seam.
* Reshape the hemline by measuring up '/2” between
the side seam and the center back and front.

Drawing 4.60

Drawing 4.61. Finished patterns.

mechan ee PE nner IN

* The pattern can be cut into two or four pieces.

¢ Label the pattern pieces and mark the grain lines,
as shown.

Drawing 4.61

Die Sie oe
 Drawing 4.62. Grain line. Figure 1: The grain line is placed parallel to the
ee ee center front. The skirt will flare at both sides.
The skirt will hang differently according to the Figure 2: The grain line is placed on the midpoint
placement of the grain line on the pattern pieces. To of center front and the side seam. The skirt will
achieve different drapes, the grain line can be placed flare evenly.
parallel to the side seam, parallel to the center back Figure 3: The grain line is placed parallel to the
and front, down the middle of the pattern piece, or side seam. The skirt will flare at center front.
on the bias. Figure 4: The grain line is placed on the bias. The
skirt will drape smoothly and evenly.

Illustration 4.24

1 2 3 4
Parallel to CF Between SS and CF Parallel to SS Bias

Drawing 4.62

96 Apparel Mahing in aes Design

2. 270° Circular Skirt

Drawing 4.63. Back and front.

RA re he a Ri os hh ater ana

¢ Draw a horizontal guideline.

* Draw a line perpendicular to the guideline and
label X where it intersects the guideline.
¢ XY = Calculated radius from the earlier chart (/4.86).
¢ Draw a line at a 45° angle to the line drawn per-
pendicular to the guideline.
Drawing 4.63
OXY XY,
Place the tape measure on line XY, match the
metal tip to point Y, and secure the tape measure
with a pushpin at point X.
Rotate the metal tip of the tape measure up, with a
pencil, from point Y to Y’.
YZ = Skirt length.
Ne Li Li.
Place the tape measure on line XZ, matching the
metal tip to point Z.
Secure the tape measure with a pushpin at point X.
Rotate the metal tip of the tape measure up, with a
pencil, connecting point Z to Z’.
Label the center back along XZ.
Label the center front along XZ’.

Drawing 4.64.
“fone
ee ee oe EE EI SSIES SSE EES
ENTE

¢ Cut out the pattern and unfold the paper.

¢ Trace the pattern to a new piece of paper, then
label each segment, as shown.

Waistline and hem adjustment:

° Measure the waistline on the pattern. If this mea-
surement is not 1!" to 2” smaller than the actual
measurement, adjust the waistline, referring to the
earlier 270° circular skirt radius chart.
¢ Measure up '/4" from the center front at the waist-
line and blend to the side seam.
¢ Measure down //4" from the center back at the
waistline and blend to the side seam.
¢ Reshape the hemline by measuring up '/2” between
the side seam and the center back and front.

Drawing 4.64

whe Shirt 97
 Drawing 4.65. Finished patterns.

* The pattern can be cut into two or four pieces.

* Label the pattern pieces and mark the notches and
grain lines, as shown.

Back
Cut |

S.S

Drawing 4.65

9s Apparel Mahing in oe 1LON. sDesitin

3. 180° Circular Skirt
Because the 180° skirt is only a half circle, precise
adjustment by formula is not necessary, as with the
270° and 360° skirts. Instead, a skirt sloper can be
used and then adjusted by the slash and spread
method.

Drawing 4.66.

¢ Trace the skirt sloper.

¢ Transfer the waist darts to the hem.

Drawing 4.66

Drawing 4.67.

¢ Balance the front and back hem circumferences,

referring to Drawing 4.13.

Drawing 4.67

Dh Spt 99
Drawing 4.68. Back and front.

* On the back skirt pattern, divide the waist and hem-

lines into three equal parts and mark.
¢ Draw the slash lines, connecting the marks as shown.
* Repeat for the front.

Drawing 4.68

Drawing 4.69. Back and front. Spread the slash lines as necessary so that the side
seam is flush to the edge.
¢ Slash the lines. Retrace the waistline and hemline with a smooth
* Fold a 40” square sheet of paper in half, forming a curve.
45° angle at its top left corner. Flip the paper over and trace the pattern through to
* Place the pattern on the paper, positioning it so the other side.
that its center back is flush to the folded edge of Repeat for the front.
the paper.

Drawing 4.69

100 Apparel Making in hip Design

Drawing 4.70. ~

¢ Unfold the paper for the completed back skirt pat-

tern.
* Follow the same procedure to complete the skirt
front.
¢ Label the pattern pieces and mark the notches and
grain lines as shown.

Drawing 4.70

Tho Shirt 101

CATHERED SKIRT

oS.he gathered skirt is made from a rectangular

panel with shirring at the waistline. The A-line and
flared skirts can be modified with additional fullness
to create a gathered skirt.

Pattern Analysis
¢ The waist darts are converted to shirring.
¢ The center front and back are extended to provide
for additional shirring.
¢ The hem is extended at the side seam to create the
A-line silhouette.

Illustration 4.25

102 Ap 2 Making in ae Design

Drawing 4.71. Back and front. ¢ Measure out 1” to 2” from the side seams at the hem.
nena ane rt ny age ti ee ° Redraw the side seam and the hem.
° Trace the skirt sloper, but do not trace the waist darts. * Mark the shirring placement 1” to 2” in from the
¢ Adda 4” to 6” extension to the center back and side seam and '/2” below the waistline.
center front for shirring.
{zon fu

Drawing 4.7|

(iso av!

Drawing 4.72. Finished patterns.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 4.72

eShae 108
 PLEATS VARIATIONS

Ppleats are open folds sewn into the fabric of a gar-

ment for various purposes, such as providing shape
and fullness. While useful in creating details, such as
cuffs and collars, in various kinds of garments, pleats
are particularly useful in providing for variation in
skirts. There are five types of pleats: knife, inverted,
box, accordion, and sunburst.

Drawing 4.73. Knife pleat. Ouee

renee entenenenenennnt ee
2
The knife pleat is folded in one direction. The WV
intake of a knife pleat consists of two parts: the
pleat width (A1) and the pleat intake (1B).
When the pleat is folded, line 1 is folded over to N
meet on line B. The intake (1B) may be exactly
two times the size of the pleat width or it may be
smaller. If the intake is equal to the space, the Pleat width
pleats will match up exactly. If the intake is small-
er than the space, the pleat will not match up.
* The fold line (2) is marked at the center of the Drawing 4.73
pleat intake (1B).

fe 28 Drawing 4.74. Inverted pleat.

al Wi[4 Je
ia SAY, re * The inverted pleat is folded in two directions, with

WY
YY |
the folds meeting at the center of the pleat (B). The
intake consists of two parts: 1B and 4B. Al and C4
NZ\ GY | make up the pleat space and 1B and 4B make up
| the pleat intake.
eine ae The fold lines (2) and (3) are marked at the center
eae ||] of the pleat intake 1B and 4B. BC is divided the
same as AB.
When the pleat is folded, lines 1 and 4 are folded
Drawing 4.74
over to meet on line B.

104 Apparel Making in Ohio Dasegn

Drawing 4.75. Box pleat.

¢ The box pleat is constructed the same as the

inverted pleat.
¢ The box pleat is folded with the intake on the out-
side of the garment, matching line 2 to A and line
3 to C.

il Pleat width

Drawing 4.79

Drawing 4.76. Accordion pleat. =

¢ The accordion pleat is similar to the knife pleat.

Each pleat is narrow and the width is equal from
waist to hem.
¢ Making accordion pleats is easier with a special
machine.

Drawing 4.76

Drawing 4.77. Sunburst pleat.

¢ The sunburst pleat is similar to the accordion

pleat, except that each pleat is narrow at the waist
and wider at the hem.
¢ Making sunburst pleats requires a special
machine.

Drawing 4.77

Die SSpe 05
 INVERTED PLEAT SKIRT

:; here is an inverted pleat at the center front of the

A-line skirt that is stitched from the waistline to the
hip line.

Pattern Analysis
¢ The A-line skirt is used as a foundation.
* A 4"-pleat intake is added to the center front.

Drawing 4.78. Back and front.

¢ Trace the A-line skirt pattern.

Front:
* Add a 4” extension to the center front.
¢ Draw a fold line in the center of the 4” extension.
* Note: Topstitching may be used along the center
seam line to secure the top opening of the pleat. Illustration 4.26
* Label the pattern pieces and mark the notches and
grain lines, as shown.

Drawing 4.78

106 Apparel Making in Thien Design

SIDE PLEAT SKIRT
KTM

j he side pleat skirt has two knife pleats on each

side, open toward the sides of the skirt.

Pattern Analysis
¢ Waist darts are centered on the pleat lines.
¢ Flare is added from the hip to the hem of each side
panel so the pleats will hang naturally.
¢ Darts are converted to pleat lines.
¢ The intake of each pleat is 4” at the hip line and
3144" at the hemline.

aS

illustration 4.27

Drawing 4.79. Back and front.

~G—

¢ Trace the skirt sloper.

¢ Divide the hip line into thirds and mark.
¢ Draw the pleat lines, parallel to the center back
and front, and passing through the marks.
¢ Center the darts on the pleat lines.
¢ Number each section.

Drawing 4.79

Tie St 07
 Drawing 4.80. Back and front.

* Cut along the pleat lines, eliminating the waist

darts.
* Trace each section separately.
¢ Measure out */s” from each pleat line at the hem,
excluding the center back and front, and mark.
* Draw the new pleat lines from the hip line to the
marks at the hem.

oer)

Drawing 4.80

108 Ap ical Making mn B32) 5, Design

Drawing 4.81. Back and front. Trace the second pattern piece.
Measure out 4” from the hip line, on the guideline,
Draw horizontal guidelines, as shown. and mark.
Place the first pattern piece, matching the hip line Measure out 3!/,” from the hemline of the second
to the guideline. pattern piece and mark.
Trace the first pattern piece. Place the third pattern piece on the guideline,
Measure out 4” from the hip line, on the guideline, matching to the marks. Ensure that the hip line is
and mark. aligned with the guideline.
Measure out 314” from the hemline of the first pat- Draw the new waistline and hemline to connect the
tern piece and mark. three pattern pieces together.
Place the second pattern piece on the guideline, Draw the fold lines at the center of each pleat.
matching to the marks. Ensure that the hip line is
aligned with the guideline.

Drawing 4.81

ihe Spi 109

 eee
TS

CMC
__ Vili
is Mwy

_VWIMMM
MMMM

DWN
Drawing 4.82

110 HashignD esign

Apparel Mahing in ashe
 BOX PLEAT SKIRT

iy here are box pleats all the way around the skirt,
with 4” pleat widths and intakes.

Pattern Analysis
¢ The number of pleats is dictated by the hip mea-
surement and the size of the pleat space.
¢ The hip measurement is divided by the pleat
width, which gives the number of pleats.
¢ The following measurements are used to complete
the pattern:
Hip measurement: 38” + 2” (ease).
Pleat space: 4”.
Number of pleats: 10 p.
Waist measurement: 29!/,”

Illustration 4.29

we Sie Pi
 Drawing 4.83. « Mark a fold line in the center of the pleat intake
oa . eit iri oot, and label 4.
* Draw a vertical guideline the length of the skirt,
Create the remaining pleats:
labeling A and A’ at the end points, as shown.
* Repeat the previous steps to create a total of ten
¢ Measure down the hip depth from A and label X.
; pleats.
* Square out horizontal lines from A, X, and A’,
then label each as the waist, hip, and hemlines, Shape the first pleat as follows:
respectively. * Note: Upon completion of the pleats, the waist
should measure 30” and the hip 40”. Each pleat will
Create the first pleat as follows: Mee
P remove 1” from the waist, evenly distributed on each
¢ Measure in 2” from A and label 2 for the first pleat side orme plea space
intake.
¢ Square a line down from point 2 to the hem. Example:
* Note: The intake of the first pleat has been halved * Waistline pleat width = 3” (W + '2”)/10.
because it will ultimately be combined with the ¢ Hip line pleat width = 4” (H + 2”)/10.
intake of the last pleat. ¢ Remove the difference from each pleat = 1”.
* Mark a fold line in the center of the pleat intake * Distributed as |” on each side of the pleat.
and label 1. ¢ Measure in '/2” from points 2 and 3 on the
* Measure in 4” from point 2 for the pleat space and waistline, and mark.
label 3. * Connect the marks to the hipline, blending down
¢ Square a line down from 3 to the hem. from the waistline with a slightly curved line.
° ae in 2” from point 3 for the pleat intake and Shapetnoereicnis plone
oR :
ce a todo tncon C tothe hom, epeat the preceding steps to adjust all ten pleats.

Naw
NZ B MiNZNZ
e |
WIA, : - AISTLINE

YM\ WW
UN WW |:
GN
maul tes Via Vx ” | HIP LINE

in a
NZ (H42")/10 VV \VZ\NF !

na.
VY, | WY SON
Vin
A \7 =" i)
= VJ VV HEMLINE
{

iL 12 Apparel Making in sn uae

 TIERED SKIRT
(I= IIASA

of tiered skirt is essentially a straight skirt with a

series of flounces connected to it. The flounces are
generally cut longer as they progress down the skirt,
each being one and one-half times, or more, wider
than the preceding one. The tiers can be gathered or
flared, attached or separate, to vary the silhouette.

Pattern Analysis
¢ Darts are converted to shirring.
¢ Each of three successive flounce panels is propor-
tionally longer and wider than the last.

Illustration 4.29

The Shit 42
 Drawing 4.84. Back and front. Reshaping the side seams:
ere SS eg ¢ Measure out °/s” from the bottom of the top tier at
* Trace the skirt sloper, but do not trace the waist darts. the side seam and mark.
+ Extend the full skirt length as desired. * Measure up °/4" from the top of the top tier at the
* Divide the skirt length into three sections, gradual- side seam and mark.
ly increasing the depth of each section. * Connect the marks.
¢ Expand the width of the tiers for the desired ¢ Reshape the top edge of the tier, blending as shown.
amount of fullness on each section. Reshape the bottom tier, blending from a right
* Note: Each section may be as much as one and one- angle at the side seam, as shown.
half times as wide as the proceeding section, for full- Repeat for the second and third tiers, measuring up
ness, according to the following formula: 3/s" from the top of the top of each tier, as shown.
Tier A = One fourth of the waist measurement
x1
Tier B=A X 1.5.
Tier C= BX 1.5.
Waist measurement: 24”.
Example: TierA = 6” X 1.5 = 9”.
Tier B= 9" X 1.5 = 1315".
Tier G= 13*6" < 1.5 = 2014".

ool

3
ra 5

RE eee ee al oe
Be ie
bP oe eae |
\ \

Wl \! \

i! 1 \ any 3,
y \ Zn

oY Se :
|
Bae |

o 42" G |
Drawing g 4.84

, |
I
; ————T
Ln7 8
|
Sn

———]
Sk
y, 8 t

(C
|
° ae 7A,

!|
|
oF,
Weak ae

114 Apparel Mahing in Bel or Design

Drawing 4.85. Finished patterns.

¢ Label the pattern pieces and mark the grain lines,

as shown.
* Note: Depending on the width of the fabric being
used, some pieces may have to be cut from multiple
pieces and then sewn together.

Cut | Cut | aN

Cut 1

Cc
B Cut 1 Cut | aN

Drawing 4.80

oi. Sie 145

 EyADIT RT SE CE
SOREN a Te SS

. he wrap skirt is open from the waist to the hem,

wrapping around the body. It can be secured by but-
tons or ties, and generally overlaps at the front.

Pattern Analysis
¢ The A-line skirt is used as a foundation.
* To accommodate wrapping, an extension is added
at the center front, 4” at the waist, and 5” at the
hemline.

Illustration 4.30
Drawing 4.86. Back and front.

¢ Redraw the center front and the extension edge

e Trace the A-line skirt.
with dashed fold lines, as shown.
Front: ¢ Add a 2” facing to the extension edge.
¢ Add an extension to the center front by measuring * Note: The facing will be turned under the wrap
out 4” at the waistline and 5” at the hem, as shown. extension.
* Note: The extension is 1” wider at the hem to pre- ¢ Label the pattern pieces and mark the grain lines,
vent the skirt from flapping open. as shown.

Back
Drawing 4.86 oe

116 Apparel Making in ee Design

Drawing 4.87.

¢ Draw the waistband the length of the waist mea-

surements plus the wrap extension.
¢ Mark the button and buttonhole placements, as
shown.

B A B A

Ra as 2 eee = ee ek ee
C.F Ss C.B S.S (Cle)
Outside button Inside buttonhole Inside button Outside buttonhole

c
F

Drawing 4.87

Virsa PE
 PECCED SKIRT

>)he pegged skirt is tapered from the hip so that

the hem circumference is less than the hip circumfer-
ence. The hips may be accentuated with additional
pleats or shirring at the waistline.

Pattern Analysis
* The side seam is tapered from the hip line.
¢ Darts are converted to a portion of the tucks.
* Fullness is added at the waist by slashing and
spreading diagonally, from the waistline to the side
seam and hem.

¢ Trace the back skirt sloper.

¢ Redraw the dart closest to the center back 4!/”
long, then redraw the other dart 4” long.
* Move the dart points 4” toward the side seam.
¢ Measure in 1” from the side seam at the hem, then
taper the side seam from the hip to the hem.

Drawing 4.88

118 Apparel Vi;

faking in We 59, Baa
Drawing 4.89. Front.

¢ Trace the front skirt sloper.

¢ Divide the waistline into fourths, labeling the
marks A, B, and C, as shown.
¢ Adda 1” extension to the center front.
¢ Measure down 3” from the hip line on the side
seam and mark.
* Connect C to the mark.
¢ Draw slash lines from points A and B to the hem,
as shown.
¢ Divide the two darts into three parts.
* Center the darts along each slash line, as shown.

Drawing 4.89

Drawing 4.90.

¢ Cut along the slash lines from the waistline to, but
not through, the side seam and the hem.
¢ Spread each section 2” at the waistline.
* Note: Fullness on each section can be equal or dif-
ferent, depending on the desired pegged effect.
¢ Cut out the pattern piece, leaving 1” of space
above the waistline.
¢ At the waistline, fold the pleats away from the cen-
ter front, so that the pleat intakes fall toward the
center front.
¢ Redraw the waistline.
¢ Mark each tuck opening 2” down from the waist-
line, as shown.

Drawing 4.90

Dhesit 4a.
 Drawing 4.91. Finished pattern.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

{es

C.F S.S C.B SES (CK

Drawing 4.51

120 Apparel Making in Phen Losigi

DRAPED SKIRT

; his skirt is tapered from the hip to the hem and

draped at the side seam.

Pattern Analysis
° The side seam is tapered from the hip line.
° The left side waist darts are converted to a portion
of the drape.
° Fullness is added at the side seam by slashing and
spreading diagonally, from the left side seam to the
right side seam.

Illustration 4.32

hs Sie 497
Drawing 4.92. Back.

* Trace the back skirt sloper.

* Redraw the dart closest to the center back 41"
long, then redraw the other dart 4” long.
¢ Move the dart points 14” toward the side seam.
¢ Measure in °/s” from the side seam at the hem, then
taper the side seam from the hip to the hem.

Drawing 4.92

Drawing 4.93.

¢ Trace the entire front skirt sloper.

¢ Measure in */s” from the side seam at the hem, then
taper the side seam from the hip to the hem.
¢ Draw the slash lines, as shown.

&
Drawing 4.93

122 Ap ena Making in aie Design

Drawing 4.94.

¢ Cut along the slash lines from the right side seam
to, but not through, the left side seam.
¢ Spread each slash line 3” at the side seam.
¢ Close the two darts on the right side of the pattern.
¢ Fold each spread section up toward the waistline,
then redraw the right side seam with a curved line.
e Draw the left side seam with a straight line.

C.B S.S (C38

Drawing 4.94

w/ RS
 Drawing 4.95. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

SS 2S AES SS eee.
C.B SS CE S.S C.B

Drawing 4.95

124 Apparel Mahing in Se Design

BALLOON SKIRT

a he balloon skirt is shirred to a small waistline,

which “balloons” out and then tapers back down to a
narrow hem. The lower hem is attached to an A-line
underskirt in order to generate the balloon shape.

Pattern Analysis
° The A-line skirt is used as the underskirt pattern.
¢ The underskirt is traced for the over skirt, then it is
lengthened at the hem to create a puff.
° Fullness for the balloon silhouette is added by
slashing and spreading the over skirt from the
waist to the hem.

Drawing 4.96. Back and front underskirt.

en EE renews

¢ Trace the front and back A-line skirt but do not

trace the waist darts.
¢ Extend up from the hip line at the side seam, fol-
lowing the line of the side seam, as shown.
° Reshape the waistline.

Drawing 4.96

Nhe Slant {25

 Drawing 4.97. Back and front over skirt.

Trace the front and back underskirt.

Extend the skirt 5” at the hem.
* Measure up 2!” from the new hem and mark the
fold line.
* Note: The hem extension may vary. The fold line is
always placed halfway down the extension.
* Divide the waistline and hemline into thirds.
Draw slash lines from the hemline to the waistline,
passing through the marks.
Number each section, as shown.

Drawing 4.97

126 Apparel Making in CT bien oo

mui
Pes | Pee:
So
ye
Se

wt
=
i|j

2S £823
|
one
So
UO

OS <¢
See
To
~P
is Gane

3 -
«ft 6

as)

Vrty
0
eee
ee& i

St)Seige f2&
Se &

On
H
oS

@ es S q Zz
DN

| | |
AN\ N NtNt
O-m
—

| | \ ia
N
|

NN
! } If aa\1|
mo
\
 Drawing 4.99. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 4.99

128 _Apparel 1]laking in ex S eigan

CULOTTE SKIRT

o)he culotte skirt has a crotch seam, which divides

it into two sections. Often categorized as a style of
pant, these garments feature pleats and flare, and
may be of varying lengths.

Pattern Analysis
¢ The skirt sloper is used as a foundation.
* Crotch depth and curve are developed, using the
hip measurement.
* The back crotch curve is deeper than that of the
front.

he SUH 129
 Drawing 4.100. Back:
FG = Length of line AB (from Front).
* Trace the front and back skirt sloper. F’ = Measure down 2/3” from F, to allow for back
curvature.
Front:
GH = One half of the hip line plus '/2”.
* AB = Crotch depth plus 3” to 1!4” for ease.
Square out from point G and label H.
¢ BC = One third of the hip line plus |”.
Square down from point H to the hem and label I.
° Square out from B and label C.
GJ = GH. Label J.
* Square down from C to the hem and label D.
Connect point J to H.
* BE = BC. Label E.
Draw a line from G, perpendicular to JH, and label Y.
* Connect point E to C.
Mark the midpoint of line GY.
* Draw a line from B, perpendicular to EC, and
Draw a crotch curve from J to H, passing through
label X.
the midpoint of GY, ending square to H.
Mark the midpoint of line BX.
Draw a crotch curve from E to C, passing through
the midpoint of BX, ending square to C.

Drawing 4.100

130 Apparel Mahing in Te Design

Drawing 4.101. Finished patterns.
peta its A hn Nem RELERR EC OI ES REELS

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 4.10

he Si eso
A-LINE CULOTTE SKIRT

Pattern Analysis
* Portions of the front and back waist darts are trans-
ferred to the hem to spread it 2”.
* The remaining darts are combined into a single dart.

Drawing 4.102. Front and back.

* Trace the culotte skirt pattern.

¢ Measure out '/4” from the inseam on the hem.
¢ Draw the new inseam.
* Draw a slash line, from the dart point closest to the Illustration 4.35
side seam, perpendicular to the hem.

Drawing 4.102

Bie

132 Apparel Mahing in ee Design

Drawing 4.103. Front and back.

¢ Cut along the slash line to, but not through, the
dart point.
* Close the waist dart until the slash line spreads 2”
at the hem.
¢ Reshape the hemline.
¢ Combine the remaining darts into one dart.
¢ Center the dart on the waistline.

SSS
QM
SSE
=

go}

Drawing 4.103

Drawing 4.104. Pocket. eS

* Refer to the front hip pocket instructions from Pocket Uincer

Drawing 7.76 in Chapter 7 (Details) to complete facing pocket
the pocket.

Drawing 4.104

Se Sta. 783
 Drawing 4.105. Finished patterns.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Pocket
facing
Cut 2

Drawing 4.105

134 Apparel Mahing in os a) igh

INVERTED PLEAT
CULOTTE SKIRT
<<< AL LA

Pattern Analysis
¢ An inverted pleat is added at the center front.

Drawing 4.106. Front and back.

¢ Trace the A-line culotte skirt pattern.

Front:
¢ Label A and B at the center front.
Illustration 4.36
¢ Number each section, as shown.

Drawing 4.106

ae See Wee
Drawing 4.107. Pocket

* Refer to the front hip pocket instructions from

Drawing 7.76 in Chapter 7 (Details) to complete
the pocket.

Drawing 4.107

Drawing 4.108. Front.

(C Cut along line AB.

i Yj Draw a horizontal guideline on a separate sheet of
paper.
I LIK, A Place the first pattern, matching the hip line to the

\'
J e

guideline.
Measure out °/s” from point B and label X.

KK
Connect point A to X.
Measure out 6” to 7” from A, on the hip line, and
label A’.
Measure out 51/4” to 6!” from X, on the hem, and
label Y.
Connect point A’ to Y.
Draw the pleat line, from A’ to the waistline.
Mark the fold line in the center of the pleat intake.
Measure out */s” from point Y, at the hem, and
label B’.
Connect point A’ to B’.
Drawing 4.108
Place the second pattern, matching A to A’ and B
to B’.
Retrace the pattern.

136 Apparel Making in DS oihivs De,

Drawing 4.109. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 4.109

Net 1Sz
 - ri i ‘a ". 6
» ; \ ie nn ary o ir

ind Sedan oe!) Hawa ey Siro epaaliery

MDA ee etd
~.
 eles ler Five

yy ME
tii, [aE
TERI a
MN
 INTRODUCTION TO THE amount of ease at the hip circumference, the crotch
depth, and the crotch length.
PANT

Ppants are garments worn on the lower torso. Drawing 5.1. Pant components.
Unlike skirts, pants have tubes surrounding each leg.
There is a wide variety of pant silhouettes, including A. Waistband.
fitted, slim, wide, tapered, straight, bell, and pegged. B. Belt loop.
Depending on the style and fabric used, pants can be C. Pants fly.
worn for recreation, business, or formal occasions. D. Side seam.
Numerous variations can be developed from the basic E. Front pleats.
pants sloper, using methods that include dart manipu- F Crease.
lation; slash-and-spread; changing the waistline, G. Hip pocket.
adding pockets, and varying the pant length. Pant fit H. Front pocket.
is altered primarily by changing three items: the I. Cuffhem.

Pak i B
H
i/ | Lo
a

E i reese | ese" S

Drawing o.l

255)

140 Apparel Making in etn Design

Pant Silhouette Variations

Slim Tapered Straight Wide

Illustration 3.1

Slim Straight
Also called stovepipe or cigarette pants, this style of A style of pants that falls straight from hip to hem
pants is like the straight pant, only even narrower without tapering.
from hip to hem. .
Wide
Tapered A style of pants that flares out from hip to the hem,
A style of pants with pleats added to the front waist- with a wider hem circumference.
line to give fullness in the hip area, before tapering
to the hem.

Malthe téa
Pant Length and Style Variations

Hot Cargo Bermuda Pedal Toreador Capri Riding

pants pants shorts pushers pants pants pants

Illustration 3.2

Hot Pants Toreador Pants

These extremely short pants were popular in the These tight fitting, mid-calf—length pants are similar
early 1970s. to those worn by a bullfighter, or toreador.

Cargo Pants Capri Pants

These are pants of varying lengths, featuring extra These above-the-ankle pants typically feature a slit
large side pockets at the mid-thigh with either button on the side.
or Velcro closures.
Riding Pants
Bermuda Shorts This style is full at the thigh and hip, but tight at the
These casual pants are cut to fit close to the leg. knee; also called hunt or show breeches.

Pedal Pushers
These short pants are often cuffed, so as to be com-
fortable while riding a bike.

142 Apparel Making in ah iis Design

Drawing 5.2. Pant lengths.

° The following chart illustrates the names and

typical lengths for various common pants.

Style Length
Short shorts Fall 1” to 112” below crotch
depth level. > Short shorts

Jamaica shorts Fall at mid-thigh.

Bermuda shorts Fall 2” above the knee.
Knee-length shorts Fall at the knee.
Pedal pushers Fall 2” below the knee. > Jamaica

Calf pants Fall 4” below the knee.

Capri pants Fall just above the ankle.
Full-length Fall anywhere below the ankle.
e Bermuda

> Knee-length shorts

- Pedal pushers

© Calf

> Three-quarter length

> Ankle length

Drawing 3.2

Wet ee ie =)
o>
 halo dhall »Reh bs
PRE ERRESE SE. a A Seite toes hn

:; his is a style of pants that falls straight from hip

to hem.

Pattern Analysis
* The pants pattern is developed from the sloper.
* Front hip pockets and back bound pockets are used.
* There is a fly front zipper.
* The lining pattern is developed form the pants pattern.
* Marker directions are provided for both garment
and lining.

as
E B
F

Peis Illustration 9.3

Drawing 5.3. Front and back.

* Trace the pants sloper.

= ul
Drawing 3.3

144 Apparel Making im Poh, 2 usign

 E 2'-3" aa 4

Drawing 5.4. Front hip pocket.

amnion Iii

Refer to the instructions given in the Front Hip EB

Pocket section from Drawing 7.76 in Chapter 7
(Details) to complete the pocket, using the dimen- UNA
sions shown.

Fi

Drawing 3.4

Drawing 5.5. Pocket facing and under

pocket.

Pocket Under ; eee

faints | socket ¢ Trace the pocket facing separately; this includes
the pocket shape to the side seam (A-C-D-E-A).
D e Trace the under pocket separately (B-C-D-E-B).

Drawing 3.0

Drawing 5.6. Garment.

¢ Remove section A-B-C-A.

* Note: The garment includes the side seam up to and
along the pocket style line (BC).

Drawing 3.6

Winkie +85
 Drawing 5.7. Back bound pocket. - Under pockets

¢ Draw the bound pocket and under pockets, using Welt

the dimensions shown.
* Mark the pocket placement 1/4” in from the center
back and 2” below the waistline.
* Note: The pocket will not be constructed until after
the dart is sewn.
* Trace the under pocket separately.

Drawing 9.7
Drawing 5.8. Front fly.

Left side:
¢ Draw the left fly facing 2'2” wide and 7” to 8” long.
* Mark the fold line at the center of the fly facing.

Right side:
¢ Add an extension 11/4” wide and 7” to 8” long, to
the right side of the pant at the center front.

1+

ee
Orawing 3.8

Left side
Right side

Drawing 5.9. Waistband.

¢ Draw the waistband, using the following dimensions:

Length: Waist measurement plus '/”.
Height: 11/4".
Button extension: 1”.

C.F S.S CB Ss ae Drawing 3.9

< Waist measurement + 4 ee

146 _Ap or id
Making in een Oe
 Drawing 5.10. Finished patterns. 3"
oo|u2
8

e Add the seam allowances:

Waistline, waistband, pocket, and center back and front = °/”.
Side seam = °/s”. @0|L2
Front
pocket facing
Front fly facing = °/” at the top and bottom, and */s” at the side. Cut 2
Hem = 13”.
¢ Label the pattern pieces and mark the notches and grain lines, as shown.

co|us Waistband
Cut |

Front Front
left side right side
Cut 1 Cut |

| | itt
a) 5" ay
8 8 8 coln

|
T
i1"
Drawing a.10
eee heed
 Drawing 5.11. Lining. Drawing 5.12. Left side front.

* Note: Lining patterns are drawn with dashed lines. ¢ Measure in 1'/4” at the center front on the waistline.
¢ Trace the front and back pant patterns. ¢ Square down 7” from this point.
* Add '/x" to the side seam, crotch, inseam, center * Remove this section.
front, and center back.
* Raise the hem °/4”. | ;
Left side -lf
Right side

ite
|F

ae

Front i
Front ee g7
right side
lining ; ue !
| ‘| Cut 1

: 7

43" |anna en eeeneenee------------}----------- 2-22-22 ------ eft 3 Ce ee ee ee eee ee nee (|

4 — fF | lls
| Drawing 9.
Drawing o.ll tay

brawme sas. Pocket. ... =. fh ofp | NR ee

* Copy the under pocket pattern for the pocket lin- 4 ae a :

ing from Drawing 5.5 and Drawing 5.7.

148 Apparel Making in ge eee Sattar

Drawing 5.14. Lining.

« Add the seam allowances:

Waistline, pocket, and center back and front = 3/4”.
Side seam = >/3”.
Hem = 114”.
¢ Label the pattern pieces and mark the notches and
grain lines.

col

Front Front
left side right side
lining lining
Cut | Cut |

o0|uo

5"
8
t
on

Drawing 9.14

Setar. 725
 Drawing 5.15. Garment marker. the fabric and sizes ofthe pattern pieces will dic-
Ss lO tate how the pieces are laid. Much of this process
* The garment marker is produced by laying out all is handled by computers in industry, but it is still
of the pattern pieces on the fabric. The pattern important to be familiar with the relationship
pieces should be placed so that their grain lines between fabric and pattern.
match the straight grain of the fabric. The width of

( 58"~60"

Front Front
right side left side
Cut | Cut |

Peecire
ot

Waistband
Cut |

Front

vel
pocket

Cut 2

Drawing 5.15

150 Apparel Making in hon Dien

Drawing 5.16. Lining marker. fabric. The width of the fabric and sizes of the pat-
tern pieces will dictate how the pieces are laid.
¢ As with the garment marker, the lining marker is Again, much of this process is handled by comput-
produced by laying out all of the pattern pieces on ers in industry, but it is still important to be familiar
the fabric. The pattern pieces should be placed so with the relationship between fabric and pattern.
that their grain lines match the straight grain of the

Drawing 3.l6

Front
left side
lining
Cut 1

She oe icowlh
 PANT CONSTRUCTION
NMSA
AE NE RE NES SEE A

Drawing 5.17. Preparation.

« Attach the interfacing to the wrong side of the fab-

ric on the pocket opening, fly extension, waist-
band, and pocket welt.

Drawing 3.17

[a2 Apparel Making in en Design

 Drawing 5.18.

¢ Serge or zigzag all seam allowances, except for the

waist and pocket openings.
° Fold the fly panel in half, then serge or zigzag the
: seam allowances along the side and bottom. z aa

Drawing 3.18

| lee es
 Drawing 5.19. Garment construction.

* Sew the front and back darts, then press toward the
center back and front.
* Attach the front side pocket.

Side pocket attachment:

* Place the pocket lining against the right side of the
garment fabric, then stitch at the pocket opening.
Trim the seam allowance of the lining to 1/4".
Fold back the pocket lining, then press.
Topstitch along the pocket opening edge.
Place the pocket back under the front panel of the
garment, matching the waist and side seam.
Stitch the pocket lining and side seam to hold the
pocket in place.
Flip the garment over, then stitch the pocket lining
and pocket back together.

Drawing 3.19

154 Apparel Making in ae Design

ee
aee
e
 a

Drawing 5.20. One-piece bound pocket On the wrong side of the fabric, cut carefully
construction. between the two stitch lines for the pocket open-
{erat etnies
ing, making certain to leave 3/s"to '/” at the sides.
Fold the welt in half, wrong sides together, then press. Cut the corners diagonally.
Baste the welt onto the pocket placement line, Push the pocket linings toward the inside of the pant.
making certain that the folded edge of the welt is Shape the welt, then press. ae as
4

facing the bottom of the garment. Stitch the two pocket linings together, including
* Place the pocket lining (cut from the lining fabric) the triangular pieces of fabric.
over the welt, then stitch the lining, welt, and gar- Topstitch along the sides and upper edge of the
ment together, '/4” from the edge. pocket opening, if desired.
* Place the pocket lining (cut from the garment fab-
ric) opposite the other pocket, then stitch the pock-
et and garment in place, '/4" from the edge.

Drawing 3.20

leas 155
Drawing 5.21. Zipper attachment. Attach the zipper and fly to the left front panel of
the pants, with the teeth aligned on the fold.
Place the right side of the front pant panels togeth- Close the zipper, covering it with the right side of
er, then stitch between the notches on the crotch the pants.
curve (approximately 2”). Baste the zipper and fly together in place, from the
* Press the seam open. underside. Baste only the zipper and fly—do not
* Fold the fly in half, with the wrong sides together. catch the garment in the basting stitches.
* Place the zipper face down on the unfolded edge * Topstitch the right side of the pants, catching the
of the fly, and sew. right side of the zipper in the stitches, making cer-
¢ On the left pant panel, fold Vig in from the center tain not to catch the under fly while topstitching.

front and press. * Tack the lower portion of the zipper by backstitch-
* Note: The seam allowance is now '/2”. ing multiple times, making certain to catch the
e Onthe right pant panel, fold the fly extension bottom portion of the under fly in the tack stitches.

under the center front and press.

4
re]
cSRe)
i <<
>
iSe<<
>e |
> <<
>
>3
es
=|<
> <
i<
|
cS <<
>
i]
|<
tS
=<
tSRe]<
|<
>
tS|<
><
|=

Drawing 9.21

156 Apparel Making in ae sign

Drawing 5.22.

* Place the front and back panels together, with the

right sides of the fabric next to each other, then
stitch the side seams and inner leg seams.

Drawing 0.22

=
jam) Su = Es on wwAQ “
iif.

* Open the seams and press.

° Turn one leg of the pants into the other, with the
wrong side of the fabric facing out.
¢ Stitch the crotch seam once and then again |/x”
above the previous stitch line for reinforcement.

Drawing 9.23

Ne eee 45 ™
 Drawing 5.24. Lining construction.
rc

* Sew the darts as tucks.

Stitch the side seams and the inner leg seams.
* Serge or zigzag the seam allowances.
* Press all seam allowances toward the back.
Sew the crotch curve from the center back at the
waist to the zipper opening.
Fold the hem of the lining up 3/s", then again 3/4”,
and stitch.
Baste the linings around the zipper and fly at
the center front, making certain that the seam
allowances are folded toward the wrong side of
the pants fabric.

Lining attachment:
* Note: Refer to the instructions given in the tapered
Skirt Construction from Drawing 4.33 in Chapter 4.
* Place the wrong side of the lining and pants fabric
together.
* Match the notches, side seams, darts, and tucks,
then baste the waistline '/x” above the stitch line.
* Attach the waistband to the pants.

Finishing:
* Press the hem, then catch stitch it in place. Drawing 9.24
* Chain stitch the lining to the pants at the side
seams and inseams.
* Finish the closure on the waistband with a button
and buttonhole.

158 Apparel Making in Behn Deion

JEAN PANTS
M) ME

yfhis is a style of ankle-length pants, featuring two

front hip pockets, two back pockets, a V-shaped yoke
at the back, and double topstitching and rivets for
reinforcement at stress points. Originally worn as
work pants by laborers and farm workers, jeans were
first made from indigo denim but are now made from
a variety of fabrics.

Pattern Analysis
¢ Waist darts are eliminated.
¢ The crotch depth is shortened.
¢ The legs are narrowed for a slim fit.
¢ There are two front hip pockets and two back
pockets.
The waistband is developed as part of the pants
pattern.
The yoke style line is featured in back.

Illustration 3.4

Woke. Wee
Drawing 5.25. Front.

¢ Trace the front pants sloper, but do not trace the

waist dart.
¢ Measure in */4” from the center front at the waist
and label A.
* Measure one fourth of the waist measurement plus
"4" from A and label A’.
¢ Reshape the waistline.
* Label B at the center front on the hip line.
* Measure one fourth of the hip measurement from
B and label B’.
¢ Connect point A to B.
* Connect point A’ to B’ with a curved line.
* Raise the crotch line 1".
* Reshape the crotch curve.
¢ Measure in */s” on each side of the knee.
¢ Measure in |” on each side of the hem.
¢ Draw the new inseam and out seam, using the
measurements shown.

Drawing 9.20
12
aoe: A’
Grebe C
Drawing 5.26. Waistband and front pocket.
3"
C E ¢ Measure down 1°” from the waistline and draw a
F on
line parallel to the waistline.
F
B B ¢ Separate the band.

Pocket:
* Refer to the instructions given in the Front Hip
Pocket section from Drawing 7.76 in Chapter 7
(Details) to complete the pocket, using the dimen-
sions shown.
Drawing 3.26

160 Apparel Making in lies Dusizs

Drawing 5.27.

¢ Trace the garment, pocket, and waistband sepa-

rately.

Drawing 3.27

Drawing 5.28. Back,

Trace the back pants sloper, but do not trace the

waist dart.
Measure in */4” and up 1/2” from the center back at
the waist and label D.
Measure one fourth of the waist measurement plus
"4" from D to the waistline and label D’.
Reshape the waistline.
Label E at the center back of the hip line.
Measure one fourth of the hip measurement from
E and label E’.
Measure up |” and in */s” from the crotch point.
Reshape the center back and crotch curve.
Measure in °/” on each side of the knee.
Measure in 1” on each side of the hem.
Draw the new inseam and out seam, according to
these measurements.
Drawing 0.28
Medan. Yee
Drawing 5.29. Back waistband and yoke.

¢ Measure down 1*/x” from the waistline and draw a

line parallel to the waistline.
¢ Draw the yoke line from 11/4” down the side seam
to 23/s” down the center back.
¢ Separate the band and yoke.

Drawing 9.29

6"

43° Draring 530 Bat ee ees

¢ Draw the pocket, using the dimensions shown.
¢ Mark the pocket placement on the back pattern, as
Drawing 5.30 shown in Drawing 5.29.

162 Apparel Making in ey asst

Drawing 5.31. Waistband.

* Flip the back piece over, then connect the front and
back waistbands at the side seams.
* Trace as one continuous piece.
Drawing v.31

Drawing 5.32. Finished patterns.

* Mark the notches and grain lines, as shown.

Waistband
Curl otZ

Pocket
facing
Cut 2

Back
Cut 2

Drawing 0.32

eet £63
 HIP HUCCER
me CORES

So called hipbone pants or hipsters, this style of

pants rests on the hips or below the natural waistline.
Any style of pant can be modified to be a hip hugger.

Pattern Analysis
* The jean pants patterns from Drawings 5.25 and
5.28 are used to develop the close-fitting silhouette.
* The waistline is lowered.

Illustration 5.5

Drawing 5.33. Front and back.

* Trace the jean pattern, using Drawing 5.25 for the

front and Drawing 5.28 for the back.
* Lower the waistline 11/4”.
¢ Remove this section.

ee awft! Pe te ee
Drawing 3.33

164 Ap Rapoh Mahing in oe, Design

 5 $35.

0 Time the wate os me I PEE.

 Drawing 5.36. Finished Patterns.

* Mark the grain lines, as shown.

Waistband -
Cut | or 2

Drawing 3.36

166 Apparel Making in eae Design

 BELL BOTTOMS

oy)his style features a close fit at the knee that flares

out to form a bell-shaped silhouette at the hem. This
effect is created by adding fullness to both the inner
and outer seams at the hem.

ie:

Pattern Analysis
¢ The legs are tapered at the knee and flared out at
the hem.
¢ There is a facing waistband.

Illustration 9.6

y
coln
j Trace the pants sloper.
¢ Measure in >/s” at knee level.
¢ Measure in 2” at the hem.
Lower the hem °/x”.
Reshape the inseam and out seam.

ak Dye

Drawing 3.37
a ee 167
 Drawing 5.38. ¢ Reshape the inseam and out seam, blending from
ion Sn eins Ci the knee to the new hem.
¢ Measure down 2” from the waistline and draw a * Note: The flare may blend from the knee or below,
line parallel to the waistline. depending on the desired style line.
* Trace the facing separately. ¢ Reshape the hem with a slight curve, ending
¢ Add 2” of flare to each side of the hem. square at the inseam and out seam.

Drawing 3.38

Drawing 5.39. Facing.

* Close the darts, then reshape the facing.

Drawing 3.39

168 Apparel Making in ihe. aise

Drawing 5.40. Finished patterns.

° Mark the notches and grain lines, as shown.

Drawing 3.40

ve ies 169
WIDE LEG PANTS

: his is a style of pants that increases in width

with a straight, nonflared shape as they fall from
the hip to the hem.

Pattern Analysis
* Portions of the front and back waist darts are trans-
ferred to the hem to spread it 2”.
* The remaining darts are combined into a single
dart.
* Inseams and side seams fall straight to the hem.

Illustration 9.7

170 Apparel Making in eke are

Drawing 5.41. Front and back. ¢ Measure the distance from the center line to the
—— ne enon et rnSI i ES EE eons new ae seam, a the hen

* Trace the pants sloper. * Measure out the same distance from the center line
¢ Draw the out seam from the hip line to the hem, toward the inseam, at the hem.
perpendicular to the hem. ¢ Draw the new inseams to these measurements.
* Measure the distance from the center line to the Back:
new out seam, at the knee.
* Reposition the dart over the center line.
¢ Measure out the same distance from the center line
toward the inseam, at the knee.

q
!
I
1
1
i 1
—_—_—_+}
i
1
i 1
\ 1
i 1
‘ I
: 1
y 1
Y 1
i !
V 1
! 1
1
i 1
Y 1
t 1
V 1
! I
; I
1 1
t 1
1 1
i 1
V 1
i 1
! 1
i 1
\ 1
i 1
r 1
y I
! 1
4 1
}1 x A 3 ‘ A
1
1

Drawing 3.4

elo. 173
 Drawing 5.42. Front. Drawing 5.43. Back.

* Slash the center line to, but not through, the dart * Slash the center line to, but not through, the dart
point. point.
* Close the dart until the slash line spreads open 3” * Close the dart until the slash line spreads open 3”
at the hem. at the hem.
* Reshape the hem. * Reshape the hem.
* Reposition the remaining darts at the center line. ¢ Reposition the remaining darts at the waistline
midpoint.

aS
—=
————
See

Sa
SEES
sso
SNES

SISSIES

WWM
AN,

\\N A\NNG
YI
DVDR
/ ae
Vt 3"
Drawing 9.42 Drawing 3.43

WTA Apparel Making in Fihisy Die

Drawing 5.44. Wasitband.
2 1c
Waist measurement 7
* Draw the waistband, using the following dimensions.
Length = Waist measurement plus |”. Drawing 9.44
Height = 114”.
Button extension = 1”.

Drawing 5.45. Finished patterns.

¢ Mark the notches and grain lines, as shown.

Drawing 3.40
\

Waistband
Cut 1

LiLito aaaial ganna meee arama Beem Re)

8 Pant hd
 TWO-PLEAT PANTS

Y n this style of pants, pleats are added to the

front waistline to create fullness, which then tapers
to the hem.

Pattern Analysis
¢ Crotch depth is lengthened for a loose fit.
¢ Pleat intake is added at the waistline.

G A
F

QO
i |
oS
lao)

Riz Illustration 3.8

S

Drawing 5.46. Front pants foundation.

AB = Pant length.
AC = Hip depth.
AD = Crotch depth plus 7/3” to 3/4” for ease.
AE = Knee length. One half of line DB minus 2”.
Measure down 3/x” from A for waistband height,
and label F.
CC’ = One fourth of the hip measurement plus °/:”
for ease and 11/2” for pleats.
REECE
DD' = CC’.
Square up from C’ to F’ at the waistline.
Square down from C’ to D’ at the crotch line.
D'D” = One twenty-fourth of the hip measurement.
G = The midpoint of line DD”.
: baile Square up and down from point G.
Label G’ at the waistline and G” at the hem.
Drawing 3.46 Label M at the knee level on G'G".

174 Apparel Mahing in Liles Design

Drawing 5.47. Crotch curve.

H = Measure in 3x” from F’.

I = One third of D’F’.
Connect H to I.
Connect I to D”.
Draw a line from D’, perpendicular to ID”, and
label X.
Mark a point on D’X two thirds of its length from D’.
Draw a crotch curve from I to D”, passing through
the two-thirds mark.

Drawing 9.47

Drawing 5.48. Waistline and pleats.

HJ = One fourth of the waist measurement plus

"4" for ease and 3!/” for pleats.
Measure up 14” from J and label J’.
Blend J’ to the midpoint of the waistline with a
slightly curved line.
Blend J’ to C with a curved line.

Drawing 0.48

elder 48
 Drawing 5.49. Inseam and side seam. Drawing 5.50. Pleats placement.

K = The midpoint of D’D”. Y = Measure out */s" from point G’.

L = Measure out 5” from G”. ConnectY to G” with a dashed line.
Connect K to L with a straight line. Y’ = Measure over 2” from Y, as shown.
Label N at the knee level on KL. Connect from Y’ to G” with a dashed line.
Connect D” to N with a curved line, blending into Mark 2”-long pleat lines from Y and Y’, following
line NL. the dashed line.
Gh =G'L. Z = Measure out 1!” from Y’.
MN’ = MN. Z’ = Measure out 11/4” from Z.
Connect N’ to L’ with a straight line. Square a line down from the midpoint of ZZ’ to
Connect C to N’ with a slightly curved line, blend- CC’ (hip line) and label X.
ing into line N’L’. Connect point X to points Z and Z’ with a dashed
line.
Mark 2”-long pleat lines from Z and Z’, following
the dashed line.

Drawing 3.49

176 Ap, Bost. ]Vahing in akin Weston

Drawing 5.51. Back.

Draw the pants foundation, following the instruc-

tions for Drawing 5.46.
Measure in 3/4” from D’ and label V.
Measure in 1” from V and label V’.
O = The midpoint of F’G’.
Connect V’ to O, extending through the waistline.
Extend C’C (hip line) from point C.
P’ = One fourth of the hip measurement plus */:”
from OV’ on the hip line (C’C).
Draw a line from P’ perpendicular to OV’, then
label P at the intersection of this line and OV’.
Q = One fourth of the waist measurement plus '/s” Drawing a.u!
from OV’ on the waistline (F’F).
Draw a line from Q perpendicular to OV’, then
label O’ at the intersection of this line and OV’.

la >
SS
Drawing 5.52. Waistline and crotch curve.

R = Measure out 11/2” from Q for dart intake.

R’ = Square up 1/4" from R.
Blend R’ to the waistline (O’Q) with a slightly
curved line.
Measure out from V one twelfth of the hip mea-
surement plus |” and label S.
Measure down °/” from S and label S’.
Draw a 1” line from S’ toward D’, running parallel
to D'S.
Draw the back crotch curve from P to the parallel
line at S’, as shown.

Drawing 0.02

Mae: IGF
Drawing 5.53. Dart placement, inseam, and
side seam.

Measure in 3” from point O’ and label 1.

Measure in */4” from point | and label 2.
Square a line 5” down from the midpoint of points
1 and 2, and label 3.
Draw the dart legs by connecting point 3 to points
1 and 2.
Measure over |!/2” toward the side seam, then draw
the second dart using points 4, 5, and 6.
¢ Draw a hip curve connecting point R’ to P’.
* MT = The length of MN (from front) plus |”.
¢ MT’ = MT.
¢ G'U = The length of G’L plus 12”.
° G'U' =G’U.
* Connect T’ to U’ with a straight line.
* Connect P’ to T’ with a slightly curved line, blend-
ing into line T’U’.
Connect T to U with a straight line.
Connect S’ to T with a slightly curved line, blend-
ing into line TU.

Drawing 3.93

178 Apparel Making in Oh ehion aa

Drawing 5.54. Finished patterns.

* Mark the notches and grain lines, as shown.

:
Front
CutZ

Drawing 0.04

ee tio
LECCINCS WITH
ELASTIC BAND

: his is a style of pants made of a stretch fabric for a

close fit, generally conforming to the shape of the leg.

Pattern Analysis
¢ The crotch depth and length are shortened.
¢ Waist darts are eliminated.
The legs are narrowed for a tight fit that conforms
to the shape of the leg.
The center back seam is raised at the waistline to
compensate for the shortening of the crotch.
The waistband is continued from the pants pattern
as a fold-over casing to contain an elastic band.
Front and back side seams are connected, eliminat-
ing the side seam.

Illustration 3.9

1SO Apparel Making in ED chien Does

Drawing 5.55. Front.

Trace the front pants:sloper, but do not trace the

waist darts.
Raise the hem 1”.
Measure in 11/4" from the center front at the waist
and label A.
Measure over one fourth of the waist measurement
from A and label A’.
Reshape the waistline.
Measure in */s” from the center front at the hip line
and label B.
Connect point A to B with a straight line.
Raise the crotch line */3”.
Measure in */s” at the crotch point and mark.
Reshape the crotch curve, connecting point B to
the mark.
Measure over one fourth of the hip measurement
minus |)" from B and label B’.
Draw a hip line curve connecting point A’ to B’.
Measure out 27/4" from the center line on each side
of the knee.
Measure out 17/4” from the center line on each side
of the hem.
*
Note: The pant width may be varied.
Reshape the inseam and out seam.

Drawing 3.dg

Hil Bit. 783

Drawing 5.56. Back.
ee ee eR

* Trace the front legging pattern.

* Extend the center back 1!/2” from A at the waist
and label D.
* Measure one fourth of the waist measurement
from D to line AA’ and label D’.
¢ Reshape the waistline.
Draw a hip line curve connecting point D’ to B’.
Extend the crotch line 11/2” at the crotch point.
* Reshape the back crotch curve.
¢ Measure out 31/4” from the center line on each side
of the knee.
* Measure out 21/4” from the center line on each side
of the hem.
¢ Reshape the inseam and out seam.

Drawing 3.96

Drawing 5.57. Elastic waistband.

SS oe _— ee

* Draw a casing line 17/4" up from and parallel to the

waistline.
¢ Extend the center front and center back lines to the
casing line.
¢ Extend the hip lines to the casing line.
* Mark the fold line at the center of the casing.

Drawing 9.97

182 Apparel Mahing in Coe ee

 1"
ae

Drawing 5.58. Leggings with waistband.

eo

* Follow the steps used to create the leggings with

elastic band, only the length of AA’ will be equal
to one fourth of the waist measurement minus !/2”.
* Draw the waistband.

Drawing 9.08

Drawing 5.59. Finished patterns.

lf nnn arn

¢ Mark the notches and grain lines, as shown.

Drawing 3.04

Heaslek
Drawing 5.60. Leggings without side seam.

* Trace the front legging pattern.

* Label B’ at the hip line on the side seam.
* Draw a horizontal guideline from B’.
¢ Draw a vertical guideline through B’.
¢ Align the back legging pattern, matching the hip
line to point B’ at the side seam, then trace it.
* At the center front on the waist, mark in an amount
equal to the distance from the front side seam to
the vertical guideline.
¢ At the center back on the waist, mark in an amount
equal to the distance from the back side seam to
the vertical guideline.
* Reshape the front and back side seams, passing
through the marks.
* On the front inseam at both the knee and hem,
mark in an amount equal to the distance from the
front side seam to the vertical guideline.
¢ On the back inseam at both the knee and hem,
mark in an amount equal to the distance from the
back side seam to the vertical guideline.
* Reshape the front and back inseams, from the
crotch point to the hem, passing through the
marks.
* Reshape the waistline with a smooth, continuous
line.
* Draw a parallel line 1!/2” above the waistline to
create the casing for the elastic band.
* Mark the fold line 3/4” below the casing line.

Drawing 0.60

184 Apparel Making in oe, gee

BACGCCY PANTS

4 his is a unisex style of pants that are pulled on

and secured with a drawstring at the waist.

Pattern Analysis
* Darts become part ofthe shirring.
* Additional fullness is added between the front and
back side seams and inseams.
* The crotch depth is lengthened for a loose fit.
* Waistband is continued from the pants pattern as a
fold-over casing to contain a drawstring.

Illustration 3.10

Smeg
 Drawing 5.61. Front and back. * Lower the crotch line °/s”.
* Extend the front and back crotch curves out °/s”.
* Trace the front pants sloper. ¢ Reshape the crotch curves.
* Draw a horizontal guideline, passing through the ¢ Square up from the hip lines, extending the center
front crotch line, as shown. front line 3” above the waistline.
* On the horizontal guideline, measure in 2” from * Draw the casing for the string perpendicular to the
the side seam and draw a vertical guideline. center front, connecting to the center back.
* From there, measure over another 2” in the same * Mark the fold line 11” below the casing line.
direction and mark. * Extend the hem 11/2”.
* Align the back sloper, matching the side seam to ¢ Square down from the new crotch line, to the new
the mark, then trace it. hemline.

Drawing 3.6]

Drawing 5.62. Cuff.

eS —

Piao
wy ee

¢ Draw the cuff, using the dimensions shown. [Ankle circumference + 1" ease—|

Drawing 5.62

186 Apparel Making in ahien Elian

 SHORT PANTS

Dos this style of pants pleats are added to the front

waistline for fullness. The pants length falls between
mid-thigh and knee level.

Pattern Analysis
The pattern is developed from the pants sloper,
with a shortened length.
Waist darts become part of the pleats.
An additional pleat intake is created by slashing
from the waistline to, but not through, the hem,
and then spreading at the waistline.
There 1s a cuffed hem.

Illustration 5.1I

Shoda 187
 Drawing 5.63.

* Trace the front and back pants slopers.

0) ie ae

imme. |
Drawing 9.63

188 Apparel Mahing in se Ee we

Drawing 5.64. Front. Drawing 5.65. Front pleats and pocket.

* Cut along the center line to, but not through, the * Note: The total pleat intake consists of both darts
hem. plus a 11)” spread.
* Spread the slash line open 11” at the waistline. The first pleat is 2” wide and is centered over the
center line.
The width of the second pleat is equal to the
remainder of the total pleat intake (7) and is placed
1!" over from the first pleat.
A Example: If the total intake of both darts and the
1'," spread equals 3”, make the first pleat 2” wide
re (centered over the center line), and make the sec-
F ond pleat 1”.
* Draw the pocket style line 6” to 7” long.

Drawing 3.65

Drawing 9.64

ge Pant 189
 Drawing 5.66. Pocket.

* Refer to the front hip pocket instructions from

Drawing 7.76 in Chapter 7 to complete the pocket,
using the dimensions shown.

Drawing 0.66

Drawing 5.67. Front and back. Rolled-up cuffs:

Measure down 3'/4” from the hem for the cuff.
* Decide the pants length from the crotch line. Adda 1'/4" hem.
¢ Measure in '/4" on both sides of the hem. Mark the fold lines at the center of the cuff and at
* Note: The measurement on each side of the center the hem.
line, at the hem, is equal. Fold along the fold lines and redraw the inseam
* Reshape the inseams and out seams. and out seam.

jak|
|col
colin
JH]

Drawing 3.67

190 Apparel Making in iss Deer

Drawing 5.68. Finished patterns.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Under
pocket
Cure

Drawing 3.68

a ER ey,
THE DART
 INTRODUCTION TO individual body contours accurately. The top front
dart coincides with the bust point, whereas the bot-
tom dart coincides with the hip and abdomen mea-
surements. These dart points are always in the same
i position and cannot be relocated to another area of
arts are used to control the excess fabric the pattern (bodice—bust point; skirt—hip or
abdomen). However, the darts themselves can be
between the bust and waist circumferences, between
transferred to another position on the pattern, so
the top and bottom of the shoulder blade of top gar-
long as they still end at the original dart point.
ments, and between the waist and hip circumferences
of bottom garments. Placed at the fullest areas of the
body, darts are essential for creating garments that fit ie:

Back
Back bodice Cc
bodice Sizel0 fF
Size 10

Illustration 6.1

Back Front
skirt skirt
Size 10 Size 10

Drawing 6.1

194 Apparel /}faking in Rtn, luis

 Dart intake
Dart Point -

iii
The dart point is the end point of the dart. Its posi- =e ae

tion may vary with bust size, but it is always posi-

tioned in an area where the body’s contour is at its
fullest, generally '/" to 2" away from the bust point.
This generates a smoother, more naturally rounded
: a
look in the finished garment. Ig c
Dart point

Dart Intake

The dart intake is the amount of excess fabric that is

taken in to control the fit of the garment. This intake
is positioned between the dart legs and is removed
Dart intake
from the garment when the dart is sewn. The dart
intake may be decorative as well as functional and
may be sewn as a dart, tuck, or gather, depending on
the design. Drawing 6.2

oe
Drawing 6.3. Dart intake amount. |

1. If the existing dart length equals the length of the slash

line, the new dart will thus be the same as the original
dart.
2. If the new dart length is longer than the original dart
length, the dart intake will be larger than the original
dart intake.
3. If the new dart length is shorter than the original dart
length, the dart intake will be smaller than the original
dart intake.
We Sond |08
 Dart Placement

Darts can be transferred to any of the positions

indicated by the lines below, or even to positions
between the lines.

Mid-shoulder
Mid-neck Shoulder
Shoulder tip Mid-neck

C.F. neck
Center back Armhole

Mid-armhole

Straight (side)
C.F. bust level

C.F. waist
French Waist Waist

War CE Waist

Side
Center front

Drawing 6.4

196 Apparel Mahing in BS blivn Design

el
halath biases ses Converting Skirt Darts
The darts can be converted into tucks, pleats, or ¢ A dart is sewn from the seam line to the dart point.
shirring, depending on the desired style, to create a * A pleat is precisely folded and sewn only at the
different appearance, as follows: seam line.
¢ Shirring, as a more random distribution of the
excess fabric, is also sewn only at the seam line.
* A tuck dart is sewn only from the seam line to a

1? Me 6
certain point along the dart.

))
Illustration 6.2

{7V

Darts Darts to pleats Darts to shirring Darts to tuck darts

Drawing 6.5.

lay i| «|
5

a L
Drawing 6.5

WreDnt P57
Dart Manipulation straightforward visually, this text focuses exclusively
on that method. By transferring darts, various style
Dart manipulation is the process of transferring a dart lines or design details can be created; however, this
from one position to another. There are two different will not change the fit.
methods for dart transfer: slash and close, and pivot.
Both methods are relatively effective as a means of
manipulating the darts, but as slash and close is more

Illustration 6.3

Slash and Close versus Pivot Methods

The slash and close and pivot methods of dart trans-
fer offer different approaches to achieving the same
net result. Although this text focuses on the use of
slash and close, it is still important to understand both
methods. The following brief overview compares and
contrasts each of these processes. This comparison is
made in the context of the specific application of both
methods to create both side and neck darts.

Design Feature
¢ The waist dart is transferred to the neckline.
Illustration 6.4
¢ The side and neck darts are sewn.

198 Apparel Mahing in ois, Design

Drawing 6.6. Slash and close method. =

* To transfer the dart to the desired position, draw a

new dart from the desired position to the bust e
point (BP). F
¢ Slash this line to the bust point, and close the |
existing dart. BP
¢ Reposition the new dart to the slash line.
¢ Retrace the pattern on another piece of paper.
Drawing 6.6.

Drawing 6.7. Pivot method: Instead of ¢ Trace the pattern piece from A, around center
slashing the new dart line, the pattern is front, to point X.
pivoted around when the dart is closed. ¢ Close the waist dart by pivoting and matching
oe a ia ceil 7 oF point B to A. The new dart leg will pivot to the
¢ Draw the position of the new dart from the bust placement of
the second dart leg at the neck.
point to the mid-neckline on the front bodice. ° Trace the remainder of the pattern piece from
¢ Label points A, B, and X. point X to point B.
¢ Place a pushpin at the bust point.

\o
ese
ie}
In
\@
\
\
\
\

Drawing 6.7

he cen 199
 Md
DART 1. ONE-POSITION
DART

a he single dart can be placed on any seam line of

the garment.

Design Feature 1: Waist Dart

Darts Darts to tuck darts
* The side dart is transferred to the waist dart.
¢ The waist dart can be sewn as darts or as tuck Illustration 6.9
darts.

Drawing 6.8.
Cee eS eraser eres e renee
ree een

* Trace the front bodice sloper.

* Close the side dart.
* Note: the side dart is transferred to the waist.
¢ Mark the center of the waist dart. BP close BP
* Reposition the dart point 1" from the bust point, as
shown.
* Redraw the dart legs.
* True the side seam with a straight line.

Drawing 6.8

Drawing 6.9. Converting a dart to a tuck dart.

Ee ee RE NRRL Re

* Measure up 2" from the waistline on each dart leg

and mark with a circle, as shown.
* Mark the fold line, centered between the dart legs.

Drawing 6.9

200 Apparel 7Vaking in ae arr

Design Feature 2: Neck Dart
¢ The side and waist darts are transferred to the
neck.
* The neck dart starts anywhere on the neckline.
* The neck darts can be sewn as darts or as shirring.

Darts Darts to Shirring

Illustration 6.6

Drawing 6.10. Finished pattern.

¢ Trace the front bodice sloper.

¢ Draw a slash line from the bust point to a point on
the neckline.
* Cut aiong the slash line to, but not through, the
bust point.
BP ¢ Close the waist and side darts and the slash line
will spread open.
* Note: This creates the mid-neck dart.
¢ Mark the center of the new dart.
BROO
pow
i t 1 * Reposition the dart point 2" above the bust point,
as shown.
Drawing 6.10 * Redraw the dart legs.
¢ True the waistline and side seam.

Drawing 6.11. Converting darts to shirring.

¢ Add 1" to the neckline and then reshape the neck-

line with a smooth curve.

Drawing 6.ll

HhecD eek B04

 Design Feature 3: Center Front Dart
¢ The side and waist darts are transferred to the cen-
ter front.
¢ The seam lines vary, depending on which part of
center front is placed on the fold, as follows:
1. When the top portion of the center front is
placed on the fold, the seam line is from the
center front dart down to the waistline.
2. When the lower portion of the center front is
placed on the fold, the seam line is from the
center front dart up to the neckline.
3. When the pattern is cut as two pieces, the seam
line is down the entire center front of the bodice.

Illustration 6.7

Drawing 6.12. Finished pattern.

rn enn enn einen nets - ~ ees.

¢ Trace the front bodice sloper.

¢ Draw a slash line perpendicular to the center front
from the bust point.
¢ Cut along the slash line to the bust point.
¢ Close the waist and side darts and the slash line
will spread down.
* Note: This creates the center front dart.
¢ Mark the center of the new dart.
* Reposition the dart point '/" from the bust point,
as shown.
¢ Redraw the dart legs.
¢ True the waistline and side seam.

Drawing 6.12

202 Apparel Making in Lins Design

DART nat TWO- POSITION DART
ie _louaL Iii

oihe two darts are each placed on different seam

lines to create a smoother fit in the finished garment.
When starting with a one-dart pattern, transfer half
of the existing dart to the first dart placement and the
other half to the second dart placement. By dividing
the dart’s angle in this way, the fullness at each dart
end point is lessened, thus achieving a smoother fit.

Design Feature 1: Shoulder Tip and Waist Darts

¢ Two darts are used—one at the waist and one at
the shoulder tip.
¢ The side dart is transferred to the shoulder tip. Illustration 6.8

Drawing 6.13. Finished pattern.

* Trace the front bodice sloper.

Draw a slash line from the shoulder tip to the bust
point.
* Cut along the slash line to the bust point.
* Close the side dart and the slash line will spread
BP open.
* Note: This creates the shoulder tip dart.
Mark the darts at their centers.
Reposition the dart points 11/2" from the bust point,
as shown.
Redraw the dart legs and true the side seam.

Drawing 6.18

Sieeet B08
Design Feature 2: Armhole and Waist Darts
* Two darts are used—one at the waist and one at
the armhole.
¢ The side dart is transferred to mid-armhole.

Illustration 6.9

Drawing 6.14. Finished pattern.

* Trace the front bodice sloper.

¢ Draw a slash line from a point at mid-armhole to
the bust point.
* Cut along the slash line to the bust point.
* Close the side dart and the slash line will spread
open.
* Note: This creates the mid-armhole dart.
¢ Mark the darts at their centers.
* Reposition the dart point of the mid-armhole dart
1" from the bust point, as shown.
* Reposition the dart point of the waist dart 11/2"
from the bust point, as shown.
* Redraw the dart legs and true the side seam.
Drawing 6.14

204 Apparel Mahing in Se Dies

DART 3. MULTIPLE DARTS

AY as the total dart excess is split among multi-

ple darts, the result is a smoother fitting garment. This
is achieved by first combining the two existing darts
into one, then dividing the dart into multiple darts.

Design Feature 1: Waist Dart

Darts . Pleats
¢ The side dart is transferred to the waist, combined
with the waist dart, and then split into multiple darts. Illustration 6.10
¢ The darts can be sewn as darts or pleats.

Drawing 6.15.

* Trace the front bodice sloper.

¢ Draw slash lines 1" from each side of the waist C
dart, connecting to the bust point with diagonal F
lines. BP

ey le

Drawing 6.1

Drawing 6.16. Finished pattern.

* Cut along the slash lines to the bust point.

Close the side dart.
¢ Spread each slash line an equal amount apart,
including the waist dart.
* Reposition the dart points away from the bust
point, then draw the new dart legs.
* Note: Each dart may be the same length or vary.
¢ True the side seam.

Drawing 6.16 i, si 208

 Drawing 6.17. Converting darts to pleats.

* Draw the pleat lines 2" up from the waist on the

dart legs.

Drawing 6.17

Design Feature 2: Neckline Dart

¢ The side and waist darts are transferred to the
neck, and then split into multiple darts.
¢ The darts can be sewn as darts or shirring.

Darts Shirring

Illustration 6.1!

Eee B18
¢ Trace the front bodice sloper.
¢ Draw a guideline from the mid-neck point to the
bust point.
¢ Draw three slash lines from the guidelines, 1"
apart and connecting diagonally to the bust point.

Drawing 6.18

206 Apparel Mahing in Pe, aD itlgn

Drawing 6.19. Finished pattern. eee

¢ Cut along the slash lines to the bust point.

¢ Close the side and waist darts.
* Spread each slash line an equal amount apart.
e Draw the new dart legs, repositioning the dart
points away from the bust point.
* Note: Each dart may be the same length or vary.
¢ True the side seam and waistline.

Drawing 6.19

Drawing 6.20. Converting darts to

shirring. —

e Add '/" from the slash line at the neck.

¢ Reshape the neckline with a smooth curve.

Drawing 6.20

On Dock B09,
 DART 4. STYLE LINES

Design Feature 1: Princess Line from Shoulder

¢ The side dart is transferred to mid-shoulder, and
astyle lines can be created by crossing over or the waist and shoulder darts are converted to the
away from the bust point. They absorb dart intake princess style line.
within seam lines while providing the same control
over fit. The dart will be completely cut away, after
which the bodice pattern is separated into multiple
pieces, then sewn back together. Shifting the waist
darts can enhance the natural quality of the style line.

Classic Princess Lines

A princess line is created by combining the side and

waist darts into a seam line. Princess lines can be cre-
ated at the original waist dart position, or by shifting it
toward or away from the center front and center back.
Princess style lines start from a point on the armhole or
shoulder line, then continue over the dart point to the
waistline. This style line is most commonly used in
blouses, dresses, jackets, and coats.
Illustration 6.12

* Trace the front bodice sloper.

° Transfer the side dart to the waist dart.
* Note: Refer to the one-position dart instructions
from Drawing 6.8.
¢ Draw a princess style line from mid-shoulder,
blending with the waist dart.
Measure down 3" from the bust point on each
waist dart leg and mark a notch.
¢ Measure up 3" from the bust point on each shoul-
der dart leg and mark a notch.
Drawing 6.21

208 Apparel Making in Deis Design

Drawing 6.22. Finished pattern.
snctiaeaanem/ ees nennsnaehoseicinyneneseisuseserannneilife

° Separate the pattern pieces, eliminating the waist

dart.
¢ Smooth the princess line.

Drawing 6.22

Design Feature 2: Princess Line from Armhole

° The side dart is transferred to the waist dart.
° The princess line starts mid-armhole and blends to
the waist dart.
° The waist dart is converted to the princess style
line.

Illustration 6.13

Drawing 6.23.
spain cP NS US se nena nereenninemecmaneenseonl

Trace the front bodice sloper.

¢ Transfer the side dart to the waist dart.
Reposition the waist dart to accommodate the
desired style line placement, as shown.
¢ Draw a princess style line from the middle of the
armhole, blending with the waist dart.
¢ Measure down 3" from the bust point on each
waist dart leg and mark a notch.
° Measure up 1" from the bust point and mark a notch. Drawing 6.23

Theat “Boe
Drawing 6.24. Finished pattern.

* Cut along the princess style line, eliminating the

waist dart.

Drawing 6.24

Style Line Variations

The darts are converted to the style line, which will

now provide the same control over fit. The resulting
style line will start from the shoulder tip, the mid-
shoulder, or somewhere on the neckline or armhole,
pass through the bust point, and continue on to the
waistline.

Illustration 6.14 Design Feature |

: eae ¢ The side dart is transferred to the neck.
¢ The neck and waist darts are converted to the
style line.

Drawing 6.25.

¢ Trace front bodice sloper.

¢ Draw a slash line from the neck to the bust point.
¢ Mark the notches.
¢ Transfer the side dart to the neck.
¢ True the side seam.
p/
b.
y
y
L
Yh,

210 Apparel Making in ayer Design Drawing 6.20

Drawing 6.26. Finished pattern.
ee yeaa coarseness le

* Separate the pattern pieces, eliminating the

waist dart.
* Smooth the style line.

Drawing 6.26

Design Feature 2
¢ The side dart is transferred to mid-shoulder, and
the waist dart is transferred to the center front at
the waist.
¢ The shoulder and center front darts are converted
to the style line.

Illustration 6.15

Drawing 6.27.

Trace the front bodice sloper.

¢ Draw a slash line from the midpoint of the shoul-
der to the bust point.
¢ Draw a slash line from the center front at the waist
to the bust point.
¢ Measure up 3" from the bust point and mark a
notch.
¢ Measure down 3" from the bust point and mark a
notch. Drawing 6.27

oe ae
Drawing 6.28. Finished pattern.

* Cut along the slash lines to, but not through, the
bust point.
¢ Close the waist and side darts and the slash lines
will open. !
1

* True the waistline and the side seam. '

I
!

I
* Separate the pattern pieces. !

Smooth the style line.

}~--..close_

Drawing 6.28

Design Feature 3
¢ The side dart is transferred to the waist dart.
¢ The style line starts mid-armhole, passes through
the bust point, and continues on to the waist dart.
¢ The waist dart is converted to the style line.

Illustration 6.16

22 KHpparel Making im Pehishich eLuaign

Drawing 6.29. ia -< Biss

¢ Trace the front bodice sloper.

e Transfer the side dart to the waist dart.
¢ Draw a style line from the middle of the armhole
to the bust point.
¢ True the side dart.

Drawing 6.29

Drawing 6.30. Finished pattern. _

* Cut along the style line, through the bust point as
shown, eliminating the waist dart.
¢ Smooth the style line.

Drawing 6.30

Doe BAS
 DART 5. ADDITIONAL
SLASH AND SPREAD

7 arts may be combined with additional fullness

in various ways, such as gathers, pleats, or tucks.

Design Feature 1
a
¢ The waist and side darts become part of the full-
ness, which may be shirred or left open in a flared Shirring
silhouette.
¢ Additional fullness is provided using the one-side
slash and spread method.

Flare

Illustration 6.17

Drawing 6.31.

¢ Trace the front bodice sloper.

¢ Transfer the side dart to the waist.
* Note: Refer to the one-position dart instructions
from Drawing 6.8.
¢ Draw the desired number of slash lines from the
waistline to the shoulder line.

Drawing 6.3!

2 iA Apparel Meahing in py Dusign

* Cut along the slash lines from the waistline to, but
not through, the shoulder line.
* Spread the slash lines as desired for fullness.
¢ Measure down at least 1" from the slash lines and
draw the new hemline for the added fullness and a
smooth shape.
¢ Reshape the shoulder line.

Drawing 6.32

Design Feature 2
° The waist dart is sewn, and the neck dart is con-
verted to shirring with added fullness.

Illustration 6.18

LM twed bot 295

 NpPH

Drawing 6.33.

¢ Trace the front bodice sloper.

¢ Transfer the waist dart to the neck.
* Note: Refer to the instructions given in the one-
position dart section from Drawing 6.10.
¢ Draw a slash line from any point on the neckline to
the waist for additional fullness.
e¢ Mark a notch '/2" over from the slash line, as
shown, for the shirring position.

Drawing 6.33

Drawing 6.34. Finished pattern. —

Cut along the slash line to, but not through, the

jZ
Y waistline.
Close the waist dart.
Spread the slash line as desired for fullness.
j/ Measure up '/2" from the slash lines and draw the

d new neckline with a smooth curve.

True the waistline.

Drawing 6.34

216 Apparel Making in eibess aL esign

DART 6. YOKE STYLE
LINE WITH FULLNESS

vb is can be added to the upper part of a gar-

ment as a style variation. On shirts, dresses, and
jackets, it is placed above the bust line in the front
and above the shoulder blades in the back. Yokes are
generally decorative and intended only to add inter-
est to the garment, but they can also serve as rein-
forcement devices.

Design Feature |
* The yoke style line starts from the shoulder, then
follows the neckline curve.
¢ The side and waist darts are transferred to the yoke
style line, then shirred.
Illustration 6.19

Drawing 6.35.

Trace the front bodice sloper.

Draw the yoke style line.
Reposition the side dart 2" away from the bust
point, as shown.
Draw the slash line from a point on the neckline to
the bust point.
Draw the slash line from a point on the neckline to
the side dart point.
Mark a notch '/" over from the slash line, as
shown, for the shirring position.

Drawing 6.30

Vix
bedovel No ~~ |
 Drawing 6.36. Finished pattern. |

* Separate the yoke piece.

* Cut along the slash lines to, but not through, the
dart points.
¢ Close the waist and side darts and the slash lines
will open.
¢ Measure up °/s" (or more) from the slash lines and
draw the new neckline with a smooth curve.
* True the side seam and waistline.

Drawing 6.36

Design Feature 2
¢ The yoke style line starts at the armhole, then
curves toward the center front.
¢ The waist dart becomes part of the pleat, and the
side dart is sewn as a dart.

Illustration 6.20

218 Apparel Making in pe Ae Design

Drawing 6.37.

¢ Trace the front bodice sloper but do not trace the

waist dart.
¢ Draw the yoke style line from the armhole to the
center front, as shown.
¢ Reposition the side dart point 1" from the bust
point.

Drawing 6.37

Drawing 6.38. eee

* Separate the yoke piece.

¢ Draw a slash line from the desired position for the
IBp oC pleats, then cut along the slash line.

Drawing 6.38

Drawing 6.39. Finished pattern.

* Retrace the pattern pieces, placing them 4" apart

for the inverted pleats.
¢ Mark the fold lines on the pleat.
¢ Fold the pleat lines and reshape the yoke line on
the bodice.

Drawing 6.39

Need int 259

 DART 7. STYLIZED DART 3

Design Feature |
ao ¢ Both darts start at any angle from the right side
tylized darts can be transferred to any seam armhole to each bust point.
line on the garment and are often used to create * The first dart crosses the center front, and the sec-
unusual lines and shapes, such as asymmetric and ond dart is parallel to the first dart.
angled lines. To accomplish this, transfer the darts
away from the stylized area to a temporary position.

Asymmetric Dart Variations

Asymmetric darts cross the center front of the gar-

ment. To create an asymmetric dart, begin with the
entire front bodice sloper.

Illustration 6.2

Drawing 6.40.

¢ Transfer the waist dart to the side dart.

* Note: Refer to the one-position dart instructions
BP C BP from Drawing 6.8.
F * Trace the entire front bodice sloper.
¢ Draw the new dart lines at any angle, from the
right armhole, ending square to each bust point.

Drawing 6.40

220 Apparel Mahing in —uthisy Ssh

Drawing 6.41.
nn renner

* Cut along the new dart lines to the bust points.

* Close both side darts and the new dart lines will
spread open.

Drawing 6.4)

Drawing 6.42. Finished pattern.

* Reposition the dart points.

¢ True the side seams and waistline.

Drawing 6.42

Design Feature 2
* Two darts run parallel to each other.
* One dart runs from the waistline, across the center
front, to a bust point.
ae
¢ The second dart runs from the shoulder, across the
center front, to the other bust point. This dart also
helps to form the V-neck shape. i

Illustration 6.22

Die, al tet
 Drawing 6.43.

¢ Transfer the waist dart to the side dart.

* Note: Refer to the one-position dart instructions
from Drawing 6.8.
* Trace the entire front bodice sloper.
¢ Draw the new dart lines: one from the shoulder to
the bust point, and the other from the waist to the BP 2
bust point, as shown. E BE
* Draw the V-neckline, as shown.

Drawing 6.43

Drawing 6.44. Finished pattern.

* Cut along the new dart lines to the bust points.

* Close both side darts and the new dart lines will
spread open.
* Reposition the dart points '" from the bust point.
* True the side seam and waistline.

Drawing 6.44

Asymmetric Dart with Additional Fullness _ Illustration 6.23

Design Feature
¢ There are darts from the shoulder and side seam,
each running to a different bust point, and shirred
for additional fullness.
The neckline has a V shape. are

222 Apparel Mfaking in ee oe.

Drawing 6.45,

Transfer the waist dart to the side dart.

Trace the entire front bodice sloper.
Draw the dart lines: from shoulder to bust point,
and from side seam to bust point, as shown.
Mark notches at the desired location on the style
line for the shirring.
Draw three slash lines from the shoulder, intersect-
ing the style line, as shown.
¢ Draw three slash lines from the side seam, inter-
secting the style line, as shown.

Drawing 6.40

Drawing 6.46.

* Cut along the dart lines to the bust points.

* Close both side darts and the dart lines will spread
open.

Drawing 6.46

Drawing 6.47. Finished pattern.

* Cut along the slash lines.

* Spread the slash lines as desired for fullness.
* Measure out 3/s" from the slash lines and reshape
the style lines for a contoured shape.
* True the side seam and waistline.

Drawing 6.47

Nod et, 2a8

 Intersecting Dart Variations nee

The intersecting dart is similar to the asymmetric dart.

It crosses the center front, intersecting a short dart.

Design Feature
* There are two darts, one from each bust point.
* The first dart crosses the center front and ends at
the waistline.
* The second dart intersects the first dart line.

Illustration 6.24

Drawing 6.48.

¢ Transfer the waist dart to the side dart.

¢ Trace the entire front bodice sloper.
¢ Draw the new dart line, from the bust point at any
angle, crossing at center front and ending at the
waistline.
¢ Draw a second dart line, from the other bust point
at any angle, intersecting with the first dart line.

Drawing 6.48

Drawing 6.49. Finished pattern.

¢ Cut along the first dart line to the bust point, clos-
ing the corresponding side dart.
Cut along the second dart line to the bust point,
closing the corresponding side dart. close BP
* Note: This will create the intersecting darts.
Reposition the dart points '/2" from the bust point,
as shown.
True the side seam and waistline.

Drawing 6.49

224 Apparel Making in Se Design

DART 8. INTERSECTING
DART CONVERTED TO
FULLNESS
eit

y his variation features two darts. One dart is

transferred to another seam line as a new dart. The
second dart is transferred so as to intersect the other
dart line, where it is converted into shirring.

Design Feature |
¢ The first dart crosses the center front and ends
mid-armhole.
* The second dart intersects the first dart line and is
then shirred.
Illustration 6.25

Drawing 6.50.

¢ Transfer the waist dart to the side dart.

¢ Trace the entire front bodice sloper.
¢ Draw a style line from mid-armhole to the bust
point, crossing at center front.
¢ Reposition the other side dart point 2" from the
bust point.
e Draw three slash lines, at any angle from the new
dart point and intersecting the style line. Mark
notches '/2" from the first and third slash lines.

Drawing 6.00

Wickit 295
Drawing 6.51. i

* Cut along the style line from the armhole to the

corresponding side dart.
* Close the side dart and the style line will spread
open.

Drawing 6.0!

Drawing 6.52. Finished pattern.

Cut along the three slash lines to the corresponding

side dart and close the side dart.
Spread the slash lines an equal amount.
Measure up '/" from the slash lines, then reshape
the style line for a smooth curve.
True the side seam and waistline.

Drawing 6.52

226 Apparel Making in he Design

Design Feature 2
* A style line runs from the shoulder, following the
neckline shape.
* The waistline is transferred to the style line.
¢ The side dart is transferred to intersect the style
line and is then shirred.

Illustration 6.26

Drawing 6.53.

lee
° Trace the front bodice sloper.
BP * Draw a style line, starting on the shoulder and end-
ing at the bust point, as shown.
¢ Mark notches at the desired location on the style
line for the shirring.

Drawing 6.03

* Cut along the style line to, but not through, the
bust point.
* Close the waist dart and the style line will spread
open.
* Draw two slash lines from the bust point, intersect-
ing the style line as shown.

Clie
Hes.

Drawing 6.04

“) «
Ne et NS N ™
 Drawing 6.55, Finished pattern.

¢ Cut along both slash lines to, but not through, the
bust point.
* Close the side dart and spread the slash lines an
equal amount.
* Measure up */s" (or more) from the slash lines,
then reshape the style line for a smooth curve.
* True the side seam and waistline.

enClOse
=a

Drawing 6.90

Design Feature 3
¢ The style runs from the lower armhole to the
waistline.
* Cutting along the style line creates two panels: the
side panel and center panel.
¢ The side dart is closed within the side panel but
left open in the center panel.
¢ The waist dart is transferred to the open portion of
the side dart (in the center panel) and is then
shirred.
Illustration 6.27

Drawing 6.56.

¢ Trace the front bodice sloper

¢ Draw the style line from the armhole.
¢ Mark notches !/2" above and below the side dart legs.

Drawing 6.96

228 Apparel Mahing in ae Design

Drawing 6.57. Finished pattern.

* Cut along the style line.

¢ Transfer the waist dart to the open portion of the
side dart (in the center panel).
* Close the side dart on the side panel.
¢ True the side seam and waistline.

3s0]9

C=

Drawing 6.97

Drawing 6.58. Converting darts to shirring.

¢ The side dart is converted to shirring.

gsojo

eaeee
i q 1 U J

Drawing 6.08

The Dart 229

 DART 9. eae |
pecditeh

7 he back sloper features both a waist and a

shoulder dart. The waist dart is generally not trans-
ferred, but it may be converted to pleats, gathers,
shirring, or a style line, or even eliminated. The
shoulder dart may be transferred to the neck, center
back, armhole or waist dart, or eliminated by being
eased out or taken out at the shoulder tip.

Eliminating the shoulder |dart

Illustration 6.28

Drawing 6.59. Easing iin.

a

* The shoulder dart is eased in while sewing.

Drawing 6.09

Drawing 6.60. _ Taking out.

¢ Measure in from the shoulder tip the amount of the

shoulder dart intake.
¢ Reshape the armhole.

Drawing 6.60

280) Apparel Making in Wshian Lesiz

Design Feature 2
* The shoulder dart is transferred to the neck.
* Both the shoulder and waist darts are sewn as
darts.

Illustration 6.29

Drawing 6.61.

* Trace the back bodice sloper.

B * Draw a slash line from the neckline to the shoulder
dart point.

Drawing 6.6!

Drawing 6.62. Finished pattern.

* Cut along the slash line to, but not through, the
dart point.
* Close the shoulder dart and the slash line will
spread open.
* Note: This creates the neck dart.
¢ Measure in 3" from the center back and mark with
a vertical guideline.
* Redraw the dart so that the dart point falls on the
guideline.
° True the shoulder seam. Drawing 6.62

Ns Pik ae
 Design Feature 3
¢ The shoulder dart is transferred to the center back.
¢ Both the center back and waist darts are sewn.

Illustration 6.30

Drawing 6.63.

C | * Trace the back bodice sloper.

B ¢ Draw a slash line from center back to the shoulder
dart point.

Drawing 6.63

Drawing 6.64. Finished pattern.

* Cut along the slash line to, but not through, the
dart point.
¢ Close the shoulder dart and the slash line will
spread open.
* Note: This creates the center back dart.
¢ True the shoulder seam.

Drawing 6.64

252 Apparel Making in Jae SD wiien

Design Feature 4
¢ The shoulder dart is transferred to the armhole.
¢ Both the armhole and waist darts are sewn.

Illustration 6.31

Drawing 6.65.

3 \ * Trace the back bodice sloper.

B ¢ Draw a slash line from the armhole to the shoulder
dart point.

Drawing 6.60

Drawing 6.66. Finished pattern.

* Cut along the slash line to, but not through, the
dart point.
* Close the shoulder dart and the slash line will
spread open.
* Note: This creates the armhole dart.
° True the shoulder seam.

Drawing 6.66

The Dt 233
DART 10. BACK YOKE
STYLE LINE

Design Feature 1: With Shirring

* The yoke style line runs from the armhole to the
center back.
The shoulder dart is transferred to the yoke style
line.
The waist dart is left open for a looser fit.
A pleat is added to the bodice at the yoke line, by
extending the center back to create the pleat
intake.

Illustration 6.32

Drawing 6.67.

* Trace the back bodice sloper, but do not trace the

waist dart.
¢ Transfer the shoulder dart to the armhole, then
draw the yoke style line from the dart point.
¢ Mark two notches: one 2" from the armhole,
and one 2" from the center back.

Drawing 6.67

Drawing 6.68.

* Draw two slash lines from the yoke line to the

waist, between the notches.
¢ Separate the yoke. coka@)

* Cut along the slash lines to, but not through, the
waistline.

Drawing 6.68

2S Apparel Mahing in ahi Design

Drawing 6.69 Finished pattern.

* Spread the slash lines as desired for fullness.

* Measure up |” from the slash lines and reshape
the yoke line with a smooth curve.
¢ True the waistline.

Drawing 6.69

Design Feature 2: Yoke with Pleats

¢ The yoke style line runs from the armhole to the
center back.
¢ The shoulder dart is transferred to the yoke style
line.
¢ The waist dart is left open for a looser fit.
° A box pleat is added to the bodice at the yoke line,
by adding a 2" pleat intake at the center back.

Illustration 6.33

j\N

G\\
Drawing 6.70 Finished pattern.
G\\
* Follow the instructions for the back yoke with
yy\\
shirring to the point just after the yoke has been
separated. yY\\
yN\\
¢ Add a 2" extension to center back for the pleat

lN
intake.
¢ Mark the center of the pleat.

Drawing 6.70

Sel os
 DART If. BACK
SSE

Ge this variation the waist and shoulder darts

may be shifted to provide a smooth princess line
from the shoulder seam.

Design Feature |: Princess Line from Shoulder

¢ The shoulder and waist darts are converted to the
princess style line. Illustration 6.34

Drawing 6.71.

* Trace the back bodice sloper.

* Reposition the shoulder dart '/" toward the center
back.
* Connect the dart points of the shoulder and waist
darts with a straight line.
* Mark the notches.

Drawing 6.7

Drawing 6.72. Finished pattern.

REE on

* Cut along the princess line, eliminating the shoul-

der and waist darts.
¢ Smooth the princess line.

Drawing 6.72

236 Apparel Making in oe Desig

Design Feature 2: Princess Line from Armhole
* The princess line starts mid-armhole and blends to
the waist dart.
* The waist dart is converted to the princess style
line.
¢ The shoulder dart is eliminated.

Illustration 6.39

Drawing 6.73.

¢ Trace the back bodice sloper.

* Reposition the waist dart to accommodate the
desired style line placement, as shown.
* Draw a princess style line from the armhole,
blending with the waist dart.
¢ Mark the notches on the princess line.

Drawing 6.73

Drawing 6.74. Finished pattern.

eeecec seen

* Cut along the princess style line, eliminating the

waist dart.
¢ Smooth the princess line.
* Ease out the shoulder dart.

Drawing 6.74

he Dat 39
 .
snail >
oe 7 a |
°
: y
_
j ;
:
= :
|
Po atom Hert) whl, axanon Se -. las nya.
Z, ~~ ,;
y
j ' ’ ANGMAA Sneed: Rr cer " aning eit 4
- —, > hr : ;
, off}
ata rine
)
- i !
- e ba f
7

«) Letmivdos & eb oelewedT ©

m

: “a Cog ot ae
: : 7i . i : ~

& THR seus aT 9 oe

| strates a,
.
Fao —

i
,
_
yin: »
7 ae MPC

neve: q d “Oo bead é i a Ses

at een aY) Geld eriAY Qoigoydy, was at ¥ os est b. hr.1% p

t
i
aw tir ; Ly) Pie Synth)

ME vn
DETAILS
 shank. A sew-through button has two or four holes for
BUTTONS
ERASER
TI SAO ATR Eg SE
attachment to the garment, whereas a shank button
has a shank attached to the underside. When stitching
a sew-through button to the garment, it is necessary to
make a thread shank at the base of the button that is
TA the main function of the button is to fas- '/,¢" long for thin fabric, and !/” long for thick fabric.
ten, it can be used as a decorative element as well.
There are two basic types of buttons: sew-through and

Drawing 7.1. ‘Button shape variations.

Drawing 7.1 ()

Sew through
ere
exo
(=)
V\Ge
Drawing 7.2. Button size variations. gular, spherical, and almost limitless customized
shapes. Button diameter is generally described in
Buttons vary in size from small to large and come in units of inches, centimeters, or line (ligne).
many shapes, including circular, rectangular, trian-

— Ble
Drawing 7.2
in)

Standard Button Sizes Extension Overlap Allowances |

Use this chart to determine the button size generally Use this chart to determine the offset from the edge
used in each garment type listed. of the button to the extension edge in each garment
type listed. The width of the extension is generally
Garment Button Size equal to the diameter of the button plus !/”.
3/,!" to MA
Blouse/One-piece dress
Garment Button Offset
She to ee
Shirt, blouse, one-piece dress 3/g! to ee

ake to ie red
Jacket, vest

Coat

Extension

Drawing 7.3. Extension allowance,

Drawing 7.3

240 Apparel Making mM aon =f usign

Button Placements _

On women’s garments, buttons are placed on the left-

hand side of the garment, and buttonholes are on the
right-hand side. Generally, the first button is placed
one half the button diameter plus !/,” down from the
neckline. However, on lapel collars the first button is
placed either at the break point or !/,” below it.

Drawing 7.4. Single.

memnenincineranennemenaiemeneninamsinennmman I
width of the extension

¢ Measure in from the extension edge the diameter

of the button plus !/3”. extension edge
¢ Draw a button placement line.
¢ Mark the first button at the desired location on the
button placement line.
¢ Mark the next button at the waistline.
* Divide the space between the two buttons by the
total number of buttons to be placed between them.
¢ Mark the buttons accordingly.

ae
* Note: Adjust the placement of the button nearest the
bust line to prevent gaping.
¢ Mark the remaining buttons below the waistline.
Drawing 7.4

width of the extension

Drawing 7.5. Double.
extension edge
¢ Measure in from the extension edge the diameter
of the button plus '/.”.
I buttonhole ¢ Draw the buttonhole placement line.
1 placement line ¢ Measure in from the center front the distance
between it and the buttonhole placement line.
Waistline ¢ Mark the button placement.
° Follow the preceding instructions for single button
placement to mark the remaining buttons.

et

Drawing 7.0

uae 241
 Buttonhole most common and is used on nearly all types of gar-
ments. It is made from a variety of fabrics, ranging
Buttonholes are the openings through which buttons from woven to knits and especially thin fabrics. The
are inserted. They must be positioned and made just keyhole buttonhole is generally used on garments
wide enough to accommodate their corresponding that require thicker fabrics, such as jackets and coats,
buttons. Buttonholes can be applied vertically, hori- or for garments with large buttons. The bound but-
zontally, or at an angle, depending on the style. tonhole is generally used on expensive garments and
There are three types of buttonholes: straight, often functions as a decorative element, such as on
keyhole, and bound. The straight buttonhole is the the lapel of a jacket.

Drawing 7.6. Types of buttonholes.

FT amen
¢ FF ——
Straight Bound

Drawing 7.6

Drawing 7.7. Buttonhole length.

NS:
\ oo

* Proper buttonhole length is important to prevent

pulling and puckering. It is generally equal to the
width of the button plus '/s”. However, thicker cus- Button width

tomized buttons may require a larger allowance,

which can be determined by slipping the button Buttonhole length
through a slit cut in a piece of test fabric.

Drawing 7.7

B7H1B} Apparel Making in hia, oie

Drawing 7.8. Horizontal buttonhole
placements.
Seieeer eee erent anrenwenrnnrnennmennrn fe

¢ Cross mark the buttonhole start '/." out from the

buttonhole placement line, toward the extension
edge.
* Measure in the buttonhole length and cross mark
the buttonhole end.
ian

Drawing 7.8

Drawing 7.9. Vertical buttonhole placements.

¢ Cross mark the center of the button on the button

placement line.
¢ Measure down the buttonhole length and cross
mark the buttonhole end.

Drawing 7.9

Drawing 7.10. Waistband and cuff.

Button:
¢ Add an extension to one edge of the waistband or
cuff.
¢ Measure in from the extension edge the width of Drawing 7.10
the extension and draw a button placement line.
¢ Mark the button at the midpoint of the button
placement line.

Buttonhole:
¢ At the opposite edge of the cuff, measure in the
width of the extension and mark.
* Cross mark the buttonhole start '/” out from the line.
¢ Measure in the buttonhole length and cross mark
the buttonhole end.

ear A 243
 CUFFS generally be shortened by the cuff height minus */,”.
Jaa TURNER ITS ATOR REAR OE There are two basic types of cuffs: turned-back
and sewn-on. Turned-back cuffs are an extension of
the sleeve, and the sleeve length must thus be
extended to accommodate their being rolled up.
(Es are used to finish a hem, generally at the end Sewn-on cuffs are integrated into the sleeve length,
of a sleeve. Although they are primarily used to and their width must thus be subtracted from the
enhance and support sleeve design, they can exert a total sleeve length desired. Examples of sew-on cuffs
design influence over the entire garment. Cuff width include band, barrel, French, and wing.
equals the circumference of the arm where the cuff
will fall plus the desired ease. To accommodate the
cuff height, the length of the sleeve pattern must

pot Illustration 7.la

a ;
QPS Wa
3
Shirt cuff Wing cuff French cuff Circle cuff

y 2

Illustration 7.1b

Rolled-up cuff Band cuff Piping cuff

D44 Apparel Mabing in hsp Design

Sewn-on Cuffs.

The following dimensions will be used to develop

examples of barrel, French, and wing cuffs:
Cuff height = 2”.
Cuff width = 8”.
XX’ = 4".
XX” = 4”.

Drawing 7.11. Sleeve.

¢ Trace the straight sleeve pattern.

¢ Shorten the sleeve length by 1'/,” (cuff height
minus 3/4”).
¢ Measure out 4” from both sides of the center line
on the hem. X xX

* Note: This sleeve pattern will be the foundation for t Cuff height minus >
all of the following sleeve examples.
Drawing 7.II

Drawing 7.12. Shirt Cuff. . Wrist measurement + |"

aoe so
¢ Draw the cuff 8” wide and 2” long.
¢ Add a ?/,” extension on one edge of the cuff. ee aN (2) >

¢ Mark the button placement(s).

IZ
ST
¢ Measure in */,” on the opposite edge and mark.
¢ Measure out '/g” from this mark and mark the but- Drawing 7.12
tonhole(s).
* Double the height of the cuff for the facing.

Wrist measurement + 1"

Drawing 7.13. Wing Cuff. Cees

a eer)
4"
¢ Draw a horizontal line 8” long, labeling A and B.
¢ Square up 4” from points A and B, labeling C and D. A B
* Connect point C to D.
Drawing 7.13

Drawing 7.14.
S
SEIEnIEEEEEREEERIRIEReReeeee cae

* Measure out */,” from points A and B and label A’

and B’.
* Connect points C to A’ and D to B’.
¢ Mark in '/,” from the midpoints of lines CA’,
A’B’, and DB’ and reshape. Drawing 7.14

Details 245
 Drawing 7.15. French Cuff.
a nn

* Draw a horizontal line 8” long, labeling it A and B.

¢ Square up 2” from points A and B, labeling it C and D.
Drawing 7.13
* Connect point C to D.
¢ Adda 1” extension to line DB for the button
placement.

Drawing 7.16.

¢ Square down 2°/;” from points A and B to label E

and F, as shown.
Connect point E to F.
¢ Extend out */,” from points E and F, labeling E’ and F’.
¢ Measure down °/,” from points E and F and label
Orawing 7.16
E” and F”.
Draw the desired angle and height of the cuff, start-
ing from point A and passing through point E’.
Draw the same angle from point B passing through
point FP’.
Connect the two angles with a curved line passing
through points E” and F”.

LAER S
Drawing 7.17. Circle Cuff.

The cuff will be produced with a 3” cuff height and a Drawing 7.17
8” cuff width. beaibil x lll
¢ Draw the cuff 8” wide and 3” long.
¢ Slash across, but not through, the cuff every 2”, as
shown.

Drawing 7.18.

Drawing 7.18
¢ Spread each slash line to form a circle, as shown.
¢ Retrace the cuff.

Drawing 7.19. Piping Cuff.

LS a es ee
Se Sleeve width
¢ Draw the cuff the length of the arm circumference
at the end of the sleeve and 1!/,” wide.
* Note: Ease may be added to the cuff width to
accommodate arm movement.
* Double the height of the cuff for the facing.

246 Apparel Making in Shion Design

Turned-back Cuff
Drawing 7.20. Rolled turned-back cuffs.

Trace the sleeve pattern.

Measure down 3” from the biceps line and draw
the hem.
Measure down 3” from the hem for the cuff.
Mark the fold line at the center ofthe cuff. Add If hem
Add a 1'/,” hem.
Fold along the fold line, then redraw the underarm Drawing 7.20
seam.

Faced turned-back Cuff

Drawing 7.21.
_ ne

* Trace the straight sleeve pattern.

¢ Extend the sleeve length 2'/,” at the hem.
* Reshape the sleeve pattern, as desired.

Facing:
* Measure up 4'/,” from the new hemline and draw
the facing line.
* Trace the facing separately.

-4-

Drawing 7.21
Diet 247
 FACINCGS can be cut out and then sewn over the raw edge. They
offer the advantages of allowing a fabric different
than the rest of the garment to be used, as well as the
oa ability to be applied to edges of any shape, including
waistlines, armholes, and necklines. Fold-back fac-
ors are used to give the raw edges of a gar- ings are created by extending the edge of the pattern
ment a finished look. When made with special fab- piece and then folding that extension over on the fin-
rics, they can also help to stabilize the shape of a ished garment. They offer the advantages of avoiding
garment. Facing widths generally range from 1” to the seam line and extra fabric used when attaching a
3”, depending on location. There are two basic types separate facing.
of facings: stitched-on and fold-back.
Stitched-on facings are created by tracing the
edge of a pattern piece so that a new piece of fabric

Drawing 7.22. Neckline and extension edge

facing.

Drawing 7.23. Back.

¢ Measure in 1'/,” from the neck on the shoulder and

mark.
* Measure down 2” to 3” from the neck at the center
back and mark.
* Draw the facing line by connecting the marks.
* Trace the facing separately.

PAS Apparel Making in i eihion Design

Drawing 7.24. Front.

¢ Measure in 1'/,” from the neck on the shoulder and

mark.
* Measure in 1'/,” on the hem and mark.
* Draw the facing line by connecting the marks.
* Trace the facing separately.

Drawing 7.24

Drawing 7.25. All-in-one facing.

eo a ee

Drawing 7.20

Drawing 7.26. Back. |

° Measure down 2” from the underarm at the side

seam and mark.
¢ Measure down 3” from the neck on the center back
AQUA ee ee
* Draw the facing line by connecting the marks.
° Trace the facing separately.

Ss
—

Drawing 7.26

Details 249
 Drawing 7.27. Front.
a ene ennn nnn OOS ee oan

* Repeat the steps used for the back facing to com-

plete the front facing.

Drawing 7.27

Drawing 7.28. Armhole and neckline facing.

ae
et
fy

Drawing 7.28

Drawing 7.29. Back.

ann

¢ Measure down 2” to 3” from the neck at the center

back and mark.
¢ Measure in 1|!/,” at the neck on the shoulder and
mark.
¢ Draw the facing line by connecting the marks.
¢ Measure in 1!/,” from the shoulder tip and mark.
¢ Measure down 1'/,” from the underarm at the side
seam and mark.
¢ Draw the facing line by connecting the marks.
e Trace the facings separately.

Drawing 7.29
250 Apparel Making in dithiae ae
Drawing7.30. Front.
tnseneeasnrchaepantatenanen tater

¢ Repeat the steps used for the back facing to com-

plete the front facing.

Drawing 7.30

Drawing 7.31. Waistband facing.

an cn ee

sacs Sopdet ety Sammarnma iit

Drawing 7.3!

Drawing 7.32. Back.

* Trace the back skirt pattern.

¢ Draw a line parallel to and 2” down from the back
waistline. Cc
¢ Trace the facing separately. B

Drawing 7.32

Dewi. 257
 Drawing 7.33. Front.

* Repeat the steps used for the back facing to com-

plete the front facing.

Drawing 7.33

Drawing 7.34.

* Close the darts, then reshape the facings.

* Flip the back piece over, then connect the front and
back facings at the side seams.
Drawing 7.34 ¢ Trace the facing as one continuous piece.

252. Apparel Mahing in ee Design

NECKLINE Necklines can fall high, low, wide, or at the natu-
ET ral position on the neck. The design of a given neck-
line will dictate various aspects of its construction,
including its width, depth, squaring, and angle.
a. Neckline styling is commonly manipulated to
he neckline is the bodice opening through which enhance the appearance ofthe upper garment,
the neck extends. There are three basic neckline through modifications as subtle as varying shape, to

types: round, square, and V-shaped. Numerous varia- more dramatic changes, such as adding a collar.
tions of the basic types can be created by altering
neckline depth and width.

Neckline Variations

Illustration 7.2a
(2M
Q

Square neck Sweetheart neck V-neck

Illustration 7.2b

Round scoop neck Boat neck Horseshoe neck

Illustration 7.2c QOie

Cowl neck One-shoulder neck High neck

C on Qre
Details 25S
 Sweetheart Neckline -

Illustration 7.3

Drawing 7.35.

Trace the front bodice pattern.

Match the neck points of the front and back
bodices, aligning their shoulder lines.
Trace the back bodice pattern.
Measure down 2” from the neck at the center front
and label A.
Measure down 1” from the neck at the center back
and label B.
Measure in 1!/,” from the neck on the shoulder line
and label C.
Connect point A to C and point B to C with slight-
ly curved lines, as shown.
Cut along the neckline.

Drawing 7.30

254 Apparel Making in Se Design

V-Neckline ;

Illustration 7.4

Drawing 7.36.

Trace the front bodice pattern.

Match the neck points of the front and back
bodices, aligning their shoulder lines.
Trace the back bodice pattern.
Measure down 3” from the neck at the center front
and label A.
Measure down 2/,” from the neck at the center back
and label B.
Measure in 1!/,” from the neck on the shoulder and
label C.
Connect point A to C and point B to C with slight-
ly curved lines, as shown.
Cut along the neckline.

Drawing 7.36

Duta 255
Round Neckline

Illustration 7.5

Drawing 7.37.

Trace the front bodice pattern.

Match the neck points of the front and back
bodices, aligning their shoulder lines.
Trace the back bodice pattern.
Measure down 4” from the neck at the center front
and label A.
Measure down 1” from the neck at the center back
and label B.
Measure in 13/,” from the neck on the shoulder and
label C.
Connect point A to C and point B to C with curved
lines, as shown.
Cut along the neckline.

Drawing 7.37

256 Apparel Making in Soe ae

 Low Cowl Neck

3"
B MEE

Illustration 7.6 soi

Drawing 7.38

BP

G
( F

Drawing 7.38. . B

* Trace the front bodice sloper.

¢ Measure down 2” from the neck at the center front
and label A. e
* Measure in 2” from the neck on the shoulder line Drawing 7.39 of
and label B. Cc
* Connect point A to B.

C
TS = ere F
° Cut along line AB.
* Measure down 4” from A and label C.
¢ Connect point C to the shoulder tip with a curved
line.
* Divide the shoulder line between B and the shoul-
der tip into two and mark, as shown.
* Divide line AC into two and mark, as shown.
¢ Connect the marks with curved lines, as shown.
Rie

Drawing 7.40.
Nile

Drawing 7.40
¢ Slash each line from the center front to, but not
through, the shoulder line.
* Spread each slash line 1'/,”.
¢ Square a line down from A to the hem.
¢ Square a line out from A to just over point B.
* Continue the shoulder line up from B to meet the
line from A.
* Reshape the neckline and the center front.

Dual, N ior NI
High Cowl Neck

Illustration 7.7
A

Drawing 7.41. i

C * Trace the front bodice sloper.

"3 ¢ Label A at the neck on the center front.
¢ Label B at the neck on the shoulder.
¢ Divide the neckline (AB) into thirds and mark.

Drawing 7.41

\NYj
Drawing 7.42.

Transfer the side dart to the neckline mark closest

\
to B. TK
LOX SOea
EH
SQV
e Draw a slash line from the neckline mark closest
KK
to A to the waistline. —s

Cut along the slash line to, but not through, the \

waistline.
Spread the slash line 2”.
Square a line out from B.
Square a line up from A to meet the line from B.
Reshape the neckline and side seam. |
ARAMA
=e
=

Drawing 7.42

258 Apparel Making in oe . Design

High Neckline I

Illustration 7.8

Drawing 7.43. Back.

¢ Reposition the shoulder dart point to 3'/.” from the

center back, as shown.
¢ Slash from the midpoint of the back neckline to
the new dart point.
¢ Transfer the dart to the neck by closing the dart.
Drawing 7.48

Drawing 7.44.

Square up 1'/,” from the neck at the center back

and label A.
Square up 1'/,” from the neck at the shoulder.
Square over '/," and label B.
Connect B to the neck point.
Shape the neckline from A to B, as shown.
Measure in 2” from the neck on the shoulder and
label C.
Drawing 7.44
Connect point B to C, blending into the shoulder
line.

Drawing 7.45.

* Fold the paper at the original neckline, then trace the

dart legs to the top of the collar through the paper.

Drawing 7.49
iit 2a
Drawing 7.46.

¢ Unfold the pattern.

Drawing 7.46

Drawing 7.47. Front.

Align the neck points of the front and back pat-

terns, matching the shoulder line.
Trace the back neckline onto the front, labeling D
for B.
Measure down 3” from the neck at the center front
and label E on the extension edge.
Connect D to E with a slightly curved line, as
shown.

Drawing 7.47

Drawing 7.48.

¢ Transfer the side dart to the desired location on the

neck, as shown.
* Redraw the dart legs to 4” to 5” length.
¢ Measure in '/,” from each leg of the neck dart, then
connect to the neckline, as shown.
¢ Close the side dart, then reshape the side seam.

Drawing 7.48

260 Apparel Making in eahick ian

High Neckline II

Illustration 7.9

Drawing 7.49. Back.

Trace the back bodice pattern.

Square up from the neck at the center back.
Square 1'/,” up from the neck at the shoulder.
Square over °/,” and label A.
Square over to intersect the first line, as shown.
Square down !/,” and label B.
Shape the neckline from A to B, as shown.
Measure 2” out from the neck at the shoulder and
label C.
Connect pointA to C, blending into the shoulder
Drawing 7.49 line.

Drawing 7.50. Front.

Trace the front bodice pattern.

Square up 1'/,” from the neck at the center front. he
cS)

Square out '/,” and label D.

Draw a line from the bust line on the center front
to D, as shown.
Square up 1'/,” from the neck at the shoulder.
Square over °/,” and label E. Bustline
Shape the neckline from E to D, as shown.
Measure 2” out from the neck at the shoulder and
label F.
Connect point E to FE, blending into the shoulder Drawing 7.00
line.

Dobnily B64
 PLACKETS or Velcro. Plackets can be used on almost any type of
SELES EE garment and are usually found at the center front,
center back, and sleeve. Placket width, length, and
shape can vary with location and design but should
be sufficient to allow easy opening.
jelackets are the finished openings of garments,
used both to enhance the fit of and to aid getting in
and out of an article of clothing. They generally
include a closure device, such as buttons, hooks, ties,

Drawing 7.51. Placket variations.

Drawing 7.1

262 Apparel Making in iihion DL uaipn

Bodice Placket

Drawing 7.52. Rugby Placket.

Drawing 7.02

Drawing 7.53. Bodice.

¢ Trace the entire front bodice pattern.

¢ Mark the center front.
¢ Measure down 7” (placket length) on the center
front and label A.
¢ Square out */,” (half the placket width) on each
side of A, labeling B and C.
¢ Square lines up from B and C to the neck, labeling
B’ and C’ (placket lines).
¢ Mark the notches on the center line, at the neck
and the bottom of the placket.
¢ Cut along line CC’.
¢ Mark the pattern “Right Side Up.”
Drawing 7.93

Drawing 7.54. Placket left side. :

* Trace the placket separately (B’-C’-C-B-B’),

including the notches.
¢ Extend the bottom of the placket 1”.

B Cc
ey

Drawing 7.04

Details 263
 Drawing 7.55. Placket rightREEside. SE: me
AEN ERIE aS APIS <

* Trace the placket separately (B’-C’-C-B-B’),

including the notches.
¢ Fold on line CC’, then trace the neck curve (B’C’)
and notches onto the extension.
¢ Unfold the pattern and label DD’.
¢ Extend the line CC’ the width of the placket (BC). nl ile

Drawing 7.00

Drawing 7.56. Shirt Placket. >

Drawing 7.96

Drawing 7.57.

¢ Trace the entire front bodice pattern.

¢ Mark the center front.
* Measure down 10” (placket length) on the center
front and label A.
¢ Square out '/,” (half the placket width) on each
side of A, labeling B and C.
¢ Square lines up from B and C to the neck, labeling
B’ and C’ (placket lines).
¢ Measure in 2” from the neck on the shoulder.
¢ Square out 1!/,” from B.
¢ Draw the facing line, as shown.
¢ Mark the notches at the neck and the bottom of the
placket. . Drawing 7.97

264 Apparel Making in ash iin sDesign

Drawing 7.58. Bodice.

¢ Cut out section B’-B-C-C’-B’.

¢ Mark the pattern “Right Side Up.”

Drawing 7.08

SS ee

age | Drawing 7.59. Placket left side.

\
\ * Trace the placket separately (B'-C’-C-B-B’),
including the facing.
* Fold on line CC’, then trace the neck curve (B’C’),
including the notches.
¢ Unfold the pattern and label DD’.
¢ Extend line CC’ the width of the placket (BC).

Drawing 7.04

Drawing 7.60. Placket right side.

* Flip the left side placket over, then trace.

¢ Extend the bottom edge of the placket 1” between
points D and B.

Drawing 7.60

Diets 265
Drawing 7.61. Classic Tailored Placket.

Drawing 7.6!

Method A ¢ Mark the notches at the neck and hem on the cen-
Drawing 7.62. Left and right sides. ter front.
> i i aii —— i qi * Fold on line AA’, then trace the neck curve (BA)
* Trace the front bodice pattern. and notches.
* Add a°/,” extension to the center front, labeling A Unfold the pattern and label CC’.
and A’ as shown. Extend the placket edge the width of the placket
¢ Measure in >/s” from the center front and draw line (BA).
BB’, as shown.

‘ Left Left

OS
le
iB
25> Right Right

4
wy >> Q> Drawing 7.62

266 Apparel Mahing in ey Design

Method B
Drawing 7.63. Left side.

° Develop the left side pattern, using the preceding

procedure for Method A.

Drawing 7.63

Drawing 7.64. Right side.

Trace the left side pattern.

Cut along the placket line (BB’).

Drawing 7.64 CA’ BB’

Method C
Drawing 7.65. Left side. : saat OMY iets

* Develop the left side pattern, using the previously

described procedure for Method A.

Drawing 7.60

Drawing 7.66. Right side.

Trace the left side pattern.

Cut along the placket line (BB’).
Extend the bodice edge (BB’) 7/5”.
Align the placket line to the bodice edge.
Retrace the placket and bodice as a single, contin-
uous piece, transferring all labels.
Fold between the bodice and placket, matching
BB’ on the bodice to BB’ on the placket.
Drawing 7.66 Fold on line AA’ then trace the neckline (BA).

Dota -967
 Drawing 7.67. Slit Placket. :

Drawing 7.67

Drawing 7.68.

¢ Trace the entire front bodice pattern.

¢ Measure down 3” from the neck at the center front
then label A and A’.
¢ Measure out !/,” from both sides of A and mark.
* Connect A’ to the marks with dashed lines.

Facing:
* Measure in 1'/,” from the neck on the shoulder.
¢ Measure down 2” from A’ on the center front.
¢ Draw the facing line, as shown.

Drawing 7.68

Drawing 7.69. Bodice.

¢ Slash line AA’.

Drawing 7.69

Drawing 7.70. Facing.

* Trace the facing separately.

Drawing 7.70

268 Apparel Making in Sim Design

Sleeve Plackets.

Petticoat Shirt sleeve placket

Illustration 7.10

Petticoat Placket

Drawing 7.71. Sleeve. |

¢ Trace the sleeve pattern.

* Measure in 2” from the back underarm seam at the
hem.
¢ Draw the placket slit line 2!/,” long.

i)
Nie

Drawing 7.7|

Drawing 7.72. Placket binding.

* Cut the placket binding 2” wide and three times the

Drawing 7.72 length of the placket slit.

aia. 269
Tailored Shirt Sleeve Placket

Drawing 7.73. Sleeve.

Trace the sleeve pattern.

Measure in 2” from the back underarm seam at the
hem and label Y.
Square up 2'/,” from pointY and label Y’.
Measure out '/,” on both sides of Y, then square up
3” from both points and mark.
Connect the marks to Y’, as shown.
Slash from Y to Y’, then slash to each mark.

Drawing 7.73

Drawing 7.74. Upper and under plackets.

* Draw a rectangle 3” long and */,” wide.

* Extend the top edge of the rectangle */,”.
* Draw a */s” pointed extension to the top of the rec-
tangle, as shown.
Drawing 174 ¢ Extend the right side of the rectangle */,4”.
* Draw a rectangle 3” long and */,” wide.

270 Apparel Making in Pa ee Design

 placed either straight or at an angle, and may be
6 SUH LIOL IaeA BE AO SY VNU May a eesele ee eae angular, rounded, or both, resembling virtually any
geometric shape.
There are numerous styles of pockets. Those
located on the outside of a garment are always
Ppockets are pouches created as a part of garments, “patch” pockets, whereas those located on the inside
which although historically conceived as functional may be “front hip,” “inseam,” or “bound welt” pock-
elements now act as a significant design detail on ets.
nearly every kind of clothing. Traditionally, the only
functional requirements of a pocket are that it be
large enough for a hand to fit into it easily and deep
enough to hold its contents securely. Pockets may be

Drawing 7.79
 Drawing 7.76. Front hip pocket. Drawing 7.77. Pocket placement.

Front hip pockets (continental pockets) are generally Label A at the waistline on the side seam.
used on the fronts of pants and skirts. They consist of Measure in 1” from A and label B.
two separate inside pockets that have been sewn Measure down 7” from A, on the side seam, and
together to create a pouch, placed inside the gar- label B’.
ment. The garment is attached to the pockets to Connect point B to B’.
shape the entrance. Pocket size and placement may *
Note: this line may be either straight or curved, as
vary, depending on the desired style line. desired.
Measure out 2” to 3” (pocket width) from B at the
waistline and label C.
Measure down 2” from B’, at the side seam, and
label C’.
Draw the inside pocket shape from point C to C’,
as shown.
*
Note: The resulting pocket should be at least 10”
deep and 7” wide.

Drawing 7.76

Drawing 7.77

Drawing 7.78. Inside pockets.

¢ Trace the inside pocket separately (A-C’-C-A).

Drawing 7.79. Garment.
* Trace the inside pocket facing separately (B-B’-
C’-C-B).
The garment includes the side seam up to and
along the pocket style line (BB’).
Separate section A-B-B’-A.

AB
Pocket
facing
Cue

Drawing 7.78
+

Drawing 7.79
IT: Ap red Making in Be ahing Design
Drawing 7.80. Inseam pocket.
ee a eee Ye

Inseam pockets consist of two separate inside pock-

ets that have been sewn together to create a pouch,
placed inside the garment on an existing seam line.
Because inseam pockets utilize an existing seam for
their opening, they are virtually invisible compared
with other kinds of pockets.

Drawing 7.60

Drawing 7.81. Continuous inseam pocket.

¢ Mark the pocket opening 5” to 7” long on the target

seam.
* Draw the inside pocket shape at the entrance, as
shown.
* Repeat for the back pattern piece.

ILW-

Drawing 7.8!

Dual 978
 Drawing 7.82. Separate inseam pocket.

Mark the pocket opening 5” to 7” long on the target

seam.
* Extend the pocket entrance edge 1”.
¢ Draw the inside pocket shape at the entrance, over
the pattern, as shown.
Trace the pocket shape separately.
* Repeat for the back pattern piece.

Drawing 7.82

Drawing 7.83. Bound pocket.

Bound pockets are inserted in a slash made in the

garment. They can be either single or double welt
and are generally found on jackets, coats, and the
back of pants, but can be used on virtually any gar-
ment. Their openings can be straight, curved, or
angled, as a design element, and their size will vary
with garment type.

Drawing 7.83

274 Apparel Making in eh cop Design

Drawing 7.84.

¢ Draw the bound pocket, using the desired shape

and dimensions.
* Mark the pocket placement on the pattern.

Drawing 7.84

Drawing 7.85. Welt.

lfc caiman non SRN enn

* Flip the welt over, then trace as one piece, as

shown.
Drawing 7.89
¢ Mark the fold line with a dashed line.

Drawing 7.86. Inside pockets. |

Draw the first inside pocket piece as wide as the

welt and as deep as desired.
Draw the second inside pocket piece as wide as the
welt and the same length as the first inside pocket
piece minus the length of the welt.
|55 35>
3

Drawing 7.86

Dyin Ds) ~~cr

 Drawing 7.87. Patch pocket. .

Patch pockets consist of a single piece, top-stitched

directly onto the garment without separate facings. They
are generally used in casual wear and can be of any size,
shape, or location, depending on the intended use.

Drawing 7.87

Drawing 7.88. Pocket.

* Draw the patch pocket, using the desired shape

and dimensions.
* Mark the pocket placement on the pattern.
* Trace the pockets separately. —

Drawing 7.88

276 Apparel Making in Silvan Design

Drawing 7.89 Pocket flap.
pacer ——a deena raat

Pocket flaps can be used on any kind of pocket,

almost always as a purely decorative element.
However, some functional garments (e.g., uniforms,
cargo pants) feature flaps with a functional compo-
nent. They can be either angled or rounded and of
virtually any shape.

Drawing 7.89

We
Drawing 7.90. Separate flap.

* Once the pocket shape has been developed to the

desired dimensions, its flap is then traced separate-
ly so that it can be developed to dimensions and
shape appropriate for the pocket.
Drawing 7.90 * Draw the flap on the pocket pattern, following the
shape of the pocket.
° Trace the flap separately.

Drawing 7.91. Continuous flap (patch

pocket).
pelea tr scien tnthiet ameter nonin erenn cers ii

* In this style, both the patch pocket and its flap are
developed from a single piece.

Flap:
¢ Draw the pocket, using the desired shape and
dimensions.
* Extend the top edge of the pocket, to create the
flap.
Drawing 7.91
* Mark the flap fold line along the center of the flap,
as shown.

Facing:
* Trace the flap and pocket separately.

oer 2/4
 WAISTBANDS device, such as buttons, zippers, drawstrings or
hooks, which act both to facilitate taking the gar-
ment on and off and to provide a secure fit. There are
four types of waistbands: classic, pull-on, facing,
and bias-binding.
e)he waistband is a strip of fabric used to finish
the waistline of a skirt or pants. Most waistbands
feature a closure at the center back, center front or
side seam. Those that do not generally use an elastic
band. Waistband closures are fastened with a closure

Waistband variations

Draw-string Classic waistband Elastic Bias binding

lllustration 7.1I

278 _Ap wel Mahing in Sy iheon Design

Classic Waistband

The classic waistband is generally 1!/,” high and

equal in length to the waist measurement plus !/," for
ease. The ease allows for darts, tucks, and gathers,
and helps to avoid a tight fit across the stomach or a
rolled effect below the waistband on skirts. A 1” to 2”
long extension is generally added to one side to
accommodate button placement.

Illustration 7.12

Drawing 7.92.
ERA RN soon enecneneennceaaneaesenrnecsreeeeeli

¢ Draw the waistband, using the following dimen-

sions:
Length = Waist measurement plus '/," for ease.
Height = 11/,”.
Button extension = 1”.
¢ Mark the button placement at the center of the
center back.
° Mark the buttonhole */,” from the edge at center
height.
¢ Mark the fold placement.

CB SS CE SS GBs
a(+ er é

|.__________ Waist measurement + , ys —————

Drawing 7.92

Details 279
 Pull-on Waistband

The pull-on (elastic band) waistband is used in the

absence of a closure. The band can be cut stretched,
in which case it will be equal to the waist measure-
ment plus a '/.” seam allowance extension. It may
also be cut unstretched, in which case it will be cut
equal to the waist measurement, minus 2” to 5”, plus
a '/>” seam allowance extension.
The elastic band should stretch enough to pull
on easily over the hips, yet still fit snugly at the
waistline. It is enclosed in a casing extended from
the pattern by squaring a line up from the hip line a
height that may vary with design.

Illustration 7.13

BI
bl Drawing 7.93.
i Mat ASR a Bares SeeBREAPa

* Trace the back and front patterns, but do not trace

the darts.
* Square up 2'/,” from the center back at the waist-
line.
* Square out from this point, passing the side seam.
* Square up from the hip line at the side seam until
the lines intersect.
* Reshape the waistline, as shown.
* Draw the casing fold line at the center of the cas-
ing, as shown.
* Repeat these steps from the center front on the
front pattern.

Drawing 7.93

280 _Apparel //laking in Washion Design

Facing Waistband

Facing waistbands have no added waistband. Instead,

the facing is attached to the waistline and then turned
inside to make a finished waistline seam. The facing
is generally 2” and follows the curve of the waistline.
It is created by measuring down 2” from the waist-
line on the pattern, then tracing the waistline to a
separate piece of paper, after which the darts are
closed and the facing reshaped.

Ly +H
Illustration 7.14

Drawing 7.94.
—— CANS OEP

¢ Draw a line parallel to and 2” down from both the

front and back waistlines.

Drawing 7.94

Drawing 7.95. eee

* Trace the facings separately.

° Close the darts, then reshape the facings. Drawing 7.95

Drawing 7.96.
lf See eee a aeeee

* Flip the back piece over, then connect the front and
back facings at the side seams.
* Trace the facing as one continuous piece.
Drawing 7.96

Details 281
 Bias-Binding Waistband

The bias-binding waistband is cut 2” wide and the

length of the waist measurement plus 2”. It is
attached at the waistline, then folded back inside for
a'/," finished binding. Bias-binding waistbands usu-
ally feature hook-and-eye closures.

Illustration 7.15

a . . . . . .
Lo
~s 7
ee "
* Draw the bias-binding, using the dimensions Waist measurement + 2". —————_—___+]
shown.
Drawing 7.97

282 Apparel Mahing in Rakion Design

 He

THE COLLAR
 an important role in establishing the significance of a
INTRODUCTION TO THE
collar as a design detail.
COLLAR
It is the shape and attachment of the collar at the
neckline that distinguishes the four basic collar cate-
gories: standing, rolled, flat, and lapel. Even though
the shapes of collar edges and bodice necklines may
*)he collar is an element that is attached (perma- change with fashion trends and styles, the funda-
nently or removably) to the neckline of a garment mental structure of the collar neckline in these cate-
and that can be functional, purely ornamental, or a gories remains the same.
combination of the two. A collar can enhance the
appearance of a blouse, dress, or jacket by adding a
point of focus or interest. Proximity to the face plays

Collar Category Variations

Standing Rolled Shawl Notched

Illustration 8.1

Notched collar
Drawing 8.1. Collar shapes by category.
an pnecaincatnn =e

Standing collar

Rolled collar

Drawing 8.1

284 Apparel Mahing in ide Design

Collar Components tical height and can begin at the center back and fade
to the center front, or begin at the center front and
Collar patterns are developed from the front and back fade to the back.
neck measurements. The main components in the
development of the collar pattern are the neckline edge, Collar Fall
stand, roll line, collar height (fall), and collar edge. Any The fall is the visual part of the collar and can vary
of these components can be stylized with different greatly in size and shape. Its height at the center
heights and shapes to create new collar designs. front or back must be at least '/,” longer than the col-
lar stand to hide the neckline seam.
Collar Neckline
The neckline edge is the point at which the collar is Roil Line
attached to the bodice. For proper fit, the neckline The roll line is the line along which the collar stand
edge of the collar should be equal in length to the and the collar height meet.
bodice neckline, although in industry it is usually
increased '/,” for ease. Collar Edge
The collar edge (collar outline) is the outermost edge
Collar Stand of the collar and can vary greatly in length and shape.
The stand is attached to the neckline and is hidden
by the collar fall. The collar stand can be of any prac-

Drawing 8.2. Collar component placement

in various collar styles

Neckline Roll line

Collar edge
Collar stand

Neckline

Collar edge

Collar edge
Neckline

Notch line

Notch

Collar edge
Lapel

Break point

Drawing 8.2

We Clee B85
 STANDING COLLAR the collar stand is also the collar fall. The basic pat-
aS FS tern is a rectangle, extending up from the neckline
either as a single-width band or as a double-width
band that is folded in half. By adjusting the fullness,
shirring, length, and width of the rectangle, various
of) erived from Chinese costume garments, the styles can be created.
standing collar is the oldest known collar design. It is
essentially a bare collar stand with no added fall—

Standing Collar Groups

Illustration 8.2

Standing Mandarin Ruffle Ribbon

The pattern is initially developed in a rectangular Drawing 8.3. Standing collar.

shape from the front and back neck measurements.
Changing the length of BB’ will determine how the * Reshape the front and back necklines to the width
collar fits around the neck. If BB’ is shorter, the col- and depth of the desired design.
lar edge will fit loosely around the neck. If BB’ is * Develop the pattern from the front and back neck
longer, the collar edge will fit tightly around the neck. measurements.

rie ©O+0

Drawing 8.3

286 Apparel Making in oe Sage

Standing Collar Foundation

The following steps are used to create a generic

standing collar, which can then be modified to create
any of various types of standing collars. Descriptions
and patterns for several specific types of standing
collars follow.

Drawing 8.4.

¢ Measure and record the front and back necklines.

Drawing 8.4

A N yp? Drawing 8.5.

|} ——e+0 —_| ¢ Draw a line the combined length of the front and
back necklines.
Drawing 8.0 ¢ Label A and B, as shown.
* Measure in the length of the back neckline from A,
then label N and mark a notch.
Square up ?/,” from B and label B’.

Drawing 8.6.

Divide line AB into thirds, then label X at two

thirds of AB.

oe
Connect point X to B’, then reshape line AB’.
Square up 1” from A and label C. B
Square up 1” from B’, perpendicular to line B’X,
and label C’. Drawing 8.6
Connect point C to C’ with a line parallel to AB’.
*
Note: The collar edge may take on any shape, and
the collar point can be finished at any angle desired.

Drawing 8.7. Standing collar with

extension.

¢ Extend a line */y” from B’ then connect to C’ with

ee
a curved line, as shown.
* Note: The collar extension should be equal to the
garment extension.
¢ Mark the grain line as shown.
Drawing 8.7

Wh. Coln BBz

 Mandarin Collar

This collar is an example ofthe standing collar. The

actual name for this collar is the stand-up collar. This
collar may be cut on the bias or straight grain, and its
shape can vary.

Illustration 8.3

Drawing 8.8.

* Refer to the standing collar foundation instruc-

tions from Drawing 8.4 to develop the mandarin
collar, using a 1” collar height.

O
(Se
B C
F

(cu

cE + , G
B' B
A N X B
| mo SS

Drawing 8.8

288 Apparel Mahing in ISN Bree

pepemeuiiar |
Also called a tie collar, this collar is similar to the
mandarin collar, but it is tied in a knot or bow at the
center front or shoulder of the neckline. Depending
on the width of the tie, the effect will be different.
The bias cut of this collar creates a very soft effect.

Illustration 8.4
Drawing 8.9.

¢ Reshape the front and back necklines as desired.

¢ Refer to the standing collar foundation instruc-
tions from Drawing 8.4 to develop the ribbon
collar, using a 2°/," collar height.
¢ Extend the collar length as necessary to accommo-
date the tie.

Drawing 6.9

She Collar
 Ruffle Collar 5

This is a rectangular collar that flares out as it rises

from the neckline. This flaring is accomplished by
use of two to three times the necessary collar length,
which is then shirred at the neckline.

Illustration 8.9

Drawing 8.10.

¢ Reshape the front and back necklines as desired.

* Refer to the standing collar foundation instruc-
tions from Drawing 8.4 to develop the ruffle collar,
using a 23/4” collar height.
¢ Extend the collar length two to three times the
length of the front and back neck measurements to
create the ruffling.

Drawing 8.10

290 _Ap ee Mahing in Sis ISLS.

 ROLLED COLLAR around the neckline, then fades as the collar ends, fol-
lowing the shape of the roll line. The shape of the col-
lar neckline and the length of its outer edge together
determine how the collar wiil fall onto the shoulders.
The collar height should be at least 7/,¢” larger than
¥,he rolled collar starts at the neckline, stands up, the stand so that when the collar is down, the seam
then falls back onto the shoulder line. The fold line line between the bodice and stand will be hidden. The
and roll line are the same, so the roll line will deter- collar point may be rounded, pointed, or angled.
mine the height of both collar and stand. The collar
stand begins at center front or center back, curves

Rolled Collar Groups

Illustration 8.6

Italian Convertible Shirt

Patterns are initially developed in a rectangular Drawing 8.11. Rolled collar.

shape, from the front and back neck measurements.
Changing the length of the collar edge results in dif- * Reshape the front and back necklines to the width
ferent collar neckline shapes. As AA’ is decreased, and depth of the desired design.
the neckline becomes less curved, resulting in a ¢ Develop the pattern from the front and back neck
shorter collar edge, which causes the collar to stand measurements.
up more. As AA’ is increased, the neckline becomes
more curved, resulting in a longer collar edge, which
causes the collar to lie flatter.
@ @)
©

A A :

Sees =—s
Drawing 8.1I

Wie Mn. 208

Shirt Collar are

The shirt collar is a combination of the rolled and

stand collars. It features a stand that rolls naturally
away from the neck to a rounded or angled edge.

Drawing 8.12. Illustration 8.7

* Reshape the front and back necklines. Drawing 8.14.

* Measure and record the front and back necklines. Re acne. naa come ane

¢ Square up 1” from A’ and label C (A’C = collar

stand).
© * Square up */,” from B and label B’.
¢ Square in from C to just above N and label N’.
O | rere,
* Connect point N’ to B’.
s Cc ¢ Square up 1°/,” from point C (the desired collar
B E height) and label D.
* Note: CD should be at least '/s” longer than A'C.
* Draw the collar edge extending 3” from B’, then label
Drawing 8.12 E at the end point.
* Note: The collar edge may be shaped and the collar
point at any angle, as desired.
Drawing8.13,00 * Square in from D to just above N’, then curve
down slightly to connect to E, as shown.
* Draw a guideline and label A at the beginning
point.
* Square up */,” to 3” from point A and label A’.
¢ Square in the length of the back neckline from A’,
then label N and mark a notch.
* Draw a line the length of the front neckline from N
to the guideline, and label B.

A
ON
O

Drawing 8.13

Drawing 8.14

292 Apparel Making in en Dotign

Convertible Collar

This style of collar is found on many sportswear gar-

ments. It is a rolled collar that, when worn open,
shows facings, but when worn closed, has the
appearance of a regular shirt collar.

Illustration 8.8

Drawing 8.15.

Reshape the front and back necklines as desired.

Measure and record the front and back necklines.
Drawing 8.10

Drawing 8.16. :

¢ Draw a line the combined length of the front and B 1

-— 0 +O
A N xX B j
back necklines, then label A and B, as shown.
¢ Measure in the length of the back neckline from A
then label N and mark a notch.
Drawing 8.16
* Square up 1” fromA and label C (AC = collar
stand).
* Square up '/,” from B and label B’.

Drawing 8.17.

Divide line AB into thirds, then label X at two

thirds of line AB.
Connect point X to B’, then reshape line AB’.
Square in from C to over N, then curve down
slightly to connect to B’, as shown.
Square up 1°/,” from C and label D (CD = collar
height).
*
Note: Line CD should be at least '/,” longer than line AC.
Drawing 8.17 Draw the collar edge extending 2°/,” from B’ then
label E at the end point.
*
Note: The collar edge may be shaped and the collar
point at any angle, as desired.
Square in from D to just above N, then curve up
slightly to connect to E, as shown.

Te 99
 Shirt Collar with Separate Stand |

This collar features collar height and stand that are

developed separately.

Illustration 8.9

Oo |
| ON Drawing 8.18.

C C * Measure and record the front and back necklines.

* Refer to the standing collar with extension instruc-
tions from Drawing 8.7 to develop the collar stand,
as shown.

A N x Be

ines GC +O ee

Drawing 8.18

Drawing 8.19.
————

¢ Measure in '/s” from point C’ and mark.

¢ Square up 1°/s” from C and label D.
¢ Square in from D the length of line AN and mark a
notch, then curve down to connect to the mark, as
shown.
¢ Draw the collar edge extending 3” from the mark,
then label E at the end point. c
B
* Note: The collar edge may be shaped and the collar
point at any angle, as desired.
¢ Square up 1%/,” from D and label F.

acon
¢ Square in from F to just above the notch, then
curve up to connect to E, as shown.
¢ Trace the collar and stand separately.
Drawing 8.19

294 _Ap td Making in Dihion Design

Italian Collar

This is a shirt collar that is attached near or below

the midpoint of a V-shaped neckline.

Illustration 8.10

Drawing 8.20. Italian collar.

Reshape the front and back necklines as desired.

Draw the Italian collar shape on the front bodice.
Mark notches on the neckline where the collar will
start.
Measure and record the front neckline from notch
to shoulder, and the full length of the back neck-
line.

Drawing 8.20

Drawing 8.21. la. (oe

¢ Refer to the shirt collar instructions from Drawing

8.13 to develop the Italian collar, using the follow-
ing dimensions:
AA’ = 1".
A'C= 1".
CD = 1

BB’ = highs

pied",
Drawing 8.21

Ye Cole 295
 FLAT COLLAR
RRS RESP GE kG SES aE ES ES

a he flat collar lies flat along the shoulder, gener-

ally with '/,” to '/," ofcollar stand. Flat collars are
developed by joining the front and back bodices at
the neck point and then overlapping their shoulder
tips '/,” to create a flat collar with minimal stand and
natural roll.

Flat Collar Groups _

Flat Peter Pan Sailor Ruffle

Illustration 8.1

The amount of overlap determines both the neckline

shape and the length of the collar edge. If there is
less overlap, the collar edge is longer, resulting in a
smaller collar stand. If there is more overlap, the col-
lar edge is shorter, resulting in a higher collar stand.
As the maximum overlap is exceeded, the neckline
will begin to take on a pointed shape. If the shoulder
tips are not overlapped at all, the collar will lie flat
and will ruffle.

Drawing 8.22. Flat collar.

oe a ato newer eran

Collar edce
¢ A = 0" overlap.
° B = °/," overlap.
¢ C = 2” overlap.

Drawing 8.22
296 Apparel }]lahing in hin Design
WY Oia
The following steps are used to create a generic flat
collar, which can then be modified to create any of
various types of flat collars. Descriptions and pat-
terns for several specific types of flat collars follow.

Drawing 8.23.

¢ Trace front bodice from the bust line to the neck-

line.
¢ Match the neck points of the front and back
bodices, aligning their shoulder lines.
* Secure the back bodice at its neck point with a
pushpin.
¢ Rotate the back bodice to overlap the shoulder tips
Ee

* Note: Do not overlap the neck points.

* Trace the back bodice.
¢ Mark a notch where the front and back neck points
meet on the shoulder.

Drawing 8.23

Drawing 8.24.

Raise the neck ?/,” at the center back and lower the
neck 3/.” at the center front.
Reshape the neckline, passing through the mid-
point of the front neckline.
Measure down 3” (collar height) from the neck at
the center back and mark.
Draw the collar edge as desired.
Trace the collar separately.

Drawing 8.24

SC. 26H
 Drawing 8.25. Under collar.

* Mark the grain line, as shown.

Drawing 8.25

Drawing 8.26. Upper collar.

* Trace the under collar.

* Add !/s” to the collar edge, starting at the center
back and fading to the center front.
¢ Mark the grain line, as shown.

Drawing 8.26

WS

Wd\
Peter Pan Collar
ne Rt — a
a & ow)
\

The shape and design of this collar is a reference to

= J
the English children’s book character, Peter Pan. This
collar has a gradually rounded point at the center VAN ae
front neckline. If the collar point is angled, it is 0
referred to as a Soutien collar, otherwise it is called a
Puritan or Pilgrim collar. fe)

Illustration 8.12

298 Apparel Mabing in Phin Design

Drawing 8.27.
a ee eee
tne nen li

* Refer to the flat collar foundation instructions

from Drawing 8.23 to develop the Peter Pan collar,
using a 2” collar width and '/,” overlap.

Drawing 8.27

Ruffle Collar

This collar has a softly and wavy curved shape. The

slash and spread method can be used to add fullness.
Either gathers or tucks can be used to construct the
ruffle. The number of slashes put into the collar
determines the degree of waviness.

Illustration 8.13

Drawing 8.28.

* Refer to the flat collar foundation instructions

from Drawing 8.23 to develop the ruffle collar,
using a 4” collar width and no overlap.

Drawing 8.28

The Cbs 1299

 Drawing 8.29. Finished pattern.

Trace the collar separately.

Draw slash lines from the collar edge to the neck-
line, as shown.
Cut along the slash lines from the collar edge to,
but not through, the neckline.
Spread the slash lines to form a circular shape,
making certain to leave a seam allowance at each
edge.
Retrace the collar, rounding the edges. Drawing 8.29
Mark the grain line, as shown.

Sailor Collar

Derived from navy uniforms, the shape of the sailor

collar goes from front to back in a square panel that
falls flat down the back.

Illustration 8.14

Drawing 8.30.

¢ Refer to the flat collar foundation instructions

from Drawing 8.23 to develop the sailor collar,
using a 4” collar width, 1” overlap, and shaping as
shown.

Drawing 8.30
300 _Apparel Making in eee ics
Drawing 8.31. Finished pattern.

* Trace the over and under collar patterns.

¢ Mark the grain lines, as shown.

Under collar Upper collar

Drawing 8.3!

Cascade Collar

The appearance of the cascade collar is reminiscent

of a waterfall. It is created using the slash and spread
method along the length of the front of the outer
edge. The more curved the collar pattern is, the more
the fabric will “fall” The shape of the finished collar
is determined largely by the location of the collar
placement slashes on the bodice pattern.

Illustration 8.15

Drawing 8.32. Cascading collar.

Lower the neck !/,” on the back bodice.

Measure out 4” from the neck on the shoulder and
down 4” from the neck at the center back.
Draw the collar edge with a slightly curved line.
Lower the neck 5” at the center front and measure
in '/,” at the neck on the shoulder.
Reshape the neckline.
Measure in 4” from the neck on the shoulder.
Draw the collar edge with a slightly curved line.
Note: The front and back collar widths at the shoul-
der seam should be equal.
Drawing 8.32

whe Gi 301
 Drawing 8.33. Cascading collar.

* Trace the collar separately.

* Connect the front and back collars at the shoulder
seam.
¢ Draw the slash lines on the collar, as desired.
* Note: More ofthe slash lines should be placed
toward the front, so that the collar falls there.

Drawing 8.33

Drawing 8.34.

° Cut along the slash lines to, but not through, the
neckline.
* Spread the slash lines open until the collar creates
a 360-degree circle.
* Note: Center front and center back should be 1”
apart to allow for seam allowances.
* Reshape the neckline and collar edge.

Drawing 8.34

Cape Collar

This collar falls over the shoulders. It is a large collar

and has the shape of the garment for which it is
named.

Illustration 8.16

302 _Apparel Making in Shes Disign

Drawing 8.35.
pein ph lisence hss an aeeetmnsaseanceinessnlffii

¢ Refer to the flat collar foundation instructions, ear-

lier, to develop the cape collar, using a 6” collar
width, no overlap, and shaping as shown.

Drawing 8.30

Drawing 8.36. Finished pattern.

¢ Trace the over and under collars separately.

¢ Mark the grain lines, as shown.

Under collar Upper collar

Drawing 8.36

Nii B08
 LAPEL COLLAR they extend from the front bodice and fold back to
BRS VRA AISA ES 1S LAER
NES Ban Cen Ean ASCENT bial reveal the facing. The top collar can be part of the
lapel, such as in the shawl and wing collars, or it can
be separate from the lapel, such as in the notched,
Napoleon, and oblong collars.
aeapel collars are open collars. Their necklines are
generally V-shaped to accommodate the lapel, as

Lapel Collar Groups

Illustration 8.17

Wing Oblong Shawl Open Napoleon

Drawing 8.37. Lapel collar.

* The back collar is shaped by extending the neck-

line at the shoulder and then swinging that line to i
define the collar stand, generally */,”. AY saee ico
Back neck
measuremen

Notched collar
Al and AA' = I
the back neckline
measurement
plus 3"(ease)

Drawing 8.37
—

Break point
D

304 Apparel Meabing in Lee vam

Drawing 8.38. Collar stand variations.

¢ Swinging the back neckline more results in a

longer collar edge, and a shorter, flatter stand.
Likewise, swinging it less results in a shorter col-
lar edge, and a longer, higher collar stand.

Notched collar Shaw] collar

\ Break point
D

Drawing 8.38

Nolen 308
 Lapel Collar Neckline Variations _ Pree ee

The width and depth of the neckline determine the

shape of a lapel collar. Narrowing the neckline width
and increasing its depth results in a narrower collar,
whereas widening the neckline and decreasing its
depth makes it wider.

®
ae a ij
J
Be
Files matt

Illustration |
8.18 i

a lf
by
Drawing 8.39.

¢ Neckline depth = 7!/,".

¢ Neckline width = Unchanged. A

an

y Neckline depth

Ly
Drawing 8.39

306 Apparel Making Nn oe Sie

Drawing 8.40.

¢ Neckline depth = 47/,”.

¢ Neckline width = 1!/,”.

ie Uy

" Neckline depth

HoDrawing 8.40

Drawing 8.41.

¢ Neckline depth = 3'/,”.

¢ Neckline width = 3!/,”.

33" Neckline depth

Drawing 8.41

ee GS 307
 Shawl Collar

The shaw! collar is structurally similar to the notched

collar described in the next section. It differs in that
it does not contain a top collar, its lapel is derived
from a single piece, and it has a center back seam.

Shaw] collar variations

Illustration 8.19

Drawing 8.42. Lapel variations.

Drawing 8.42

308 Apparel Mahing in Bee Design

Drawing 8.43. Back.

* Trace the back bodice sloper.

¢ Lower the neckline 1”.
* Note: The shoulder dart on the back will be eased in
as it is sewn.

Drawing 8.43
A Pa

Drawing 8.44. Front.

¢ Trace the front bodice sloper.

¢ Measure in 1” from the neck on the shoulder and
label A.
¢ Reshape the neckline.

Drawing 8.44

Drawing 8.45.
ee coe a aan

¢ Extend the shoulder line 1” from A and label B

(AB = collar stand). Neckline depth

¢ Adda 1” extension to the center front.

* Measure down 4” (neckline depth) from the neck
at the center front and label C.
* Note: The placement of point C (neckline depth)
may vary.
* Draw a line from B to the extension edge, passing
through C, and label D (BD = roll line).
* Create the lapel shape as desired. re
Extension

Drawing 8.45

N(coay 309
Drawing 8.46.

¢ Fold under the pattern along the line BD.

¢ Trace the lapel.

Break point

Al and AA' =
the back neckline
measurement
plus i (ease)
Drawing 8.46

Drawing 8.47.
Back neck
measurement
¢ Unfold the paper and mark the lapel.
¢ Connect pointA to D.
¢ Extend line AD up from A, the length of the back
neck measurement, and label A’.
¢ Swing line AA’ over 37/4” and label I (AI = AA’).
* Note: As AA’ is swung more, the collar edge is
increased, resulting in a flatter stand.
¢ Connect pointA to I.

Drawing 8.47

Drawing 8.48.

¢ Square out 3'/,” from I and label K (IK = collar

height).
* Note: Collar height can vary as long as it is square
on the corners at I and K.
¢ Shape the lapel as desired.
¢ Measure in 1” from I and label J (IJ = stand).
* Connect point J to B (JBD = roll line).

Break point

310 _Ap ae Meahing in Ps, Design Drawing 8.48

Drawing 8.49. Back facing. —
lw
TT

¢ Measure down 2” to 3” from the neck on the center

back.
¢ Measure in 17/4” from the neck on the shoulder.
¢ Draw the facing from the shoulder to the center
back, as shown.
¢ Trace the facing separately.

Drawing 8.49

Drawing 8.50. Front facing. * Cut along the roll line and shift outward '/s” to add
ease.
¢ Measure in 2!/,” from the center front on the hem. ¢ Measure out '/s” at the lapel edge, blending to
¢ Measure in 13/,” from the neck on the shoulder. nothing at the break point.
¢ Draw the facing from the shoulder to the hem. ¢ Add !/.” to the hem.
* Trace the facing separately.

Drawing 8.00

Rr Goln. 314
 Drawing 8.51. Finished patterns.

¢ Mark the notches and grain lines, as shown.

Back
C] facing
B{Cut |

Back
Cut?

Drawing 8.51

B42 Apparel Making in Behe Design

Notched Collar

Named for the “notch” formed at the intersection of

its collar and lapel, the notched collar is the standard
collar used in most tailored jackets. The upper collar
is attached to the bodice facing and the under collar
to the bodice. Style variations are achieved by manip-
ulating the placement of the collar break, width or
shape of the lapel, and placement of the notch, and by
using a double- or single-breasted closure.

Lapel and Notch Placement Variations

OO
y ee See) os

mB
7 Za)
oF i: 4 By=Oy
SS a <\s oe

a ea
Illustration 8.20
CH yf 7
x

|
SW

Drawing 8.52. Lapel and notch placement

variations.

Drawing 8.02 ; a
ilceren WW
(A 1G)
 uf A2

Drawing 8.53. Back and Front. | eee:

* Trace the back and front bodice slopers.

* Lower the neckline !/7”.

c
B BP
c
FE

bow
Drawing 8.93

A B
Drawing 8.54.

se ¢ Label A at the neck on the shoulder.

4 ¢ Extend the shoulder line 1” from A and label B
Neckline depth (AB = collar stand).

¢ Adda 1” extension to the center front.

| * Measure down 5'/,” (neckline depth) from the
iro neck at the center front and label C.
J \ * Note: The placement of point C (neckline depth)
\ may vary.
D F ; F :
Bes ven Draw a line from B to the extension edge, passing
through point C and label D (BD = roll line).
Measure down °/:” at the intersection of the neck-
1" line and roll line and label E.
Extension * Create the lapel as desired by forming a triangle
from points E, F, and D.
Drawing 8.04 * Design the top collar as desired, and label G at the
collar point.

SRA Apparel Making in Be hic. Design

Drawing 8.55. Lapel and shape variations.
si

¢ Point E can be placed anywhere on the roll line

(BD).

Drawing 8.00

Drawing 8.56.

* Fold the pattern under on line BD.

¢ Trace the lapel (EFD) and top collar, including the
notch.

Drawing 8.06
Back neck
measurement

Drawing 8.57.

* Unfold the paper.

* Draw a guideline down from A, perpendicular to G
the shoulder seam. : 1F
* Extend line FE to intersect that line, labeling H 7
where the two intersect. ‘
¢ Extend HA up from A the length of the back neck |
measurement and label A’. cat
* Swing line AA’ over */," and label I (AI = AA’). Cy\ i
* Connect point A to I. 5 “

Drawing 8.97

NCH B85
Drawing 8.58.
od

* Square out 3'/,” from I and label K.

* Connect K to G and shape with a slightly inward
curved line.
* Draw a slightly outward curved line from F to D.
¢ Blend [AH with a slightly inward curved line.
* Measure in 1” from I on IK and label J (JJ =
collar stand).
* Connect J to B (JBD = roll line).
* Mark the notch at point A on the shoulder.
¢ Mark the notch where the top collar and lapel
meet.
¢ Separate the top collar, including the notch.

Drawing 8.98

Drawing 8.59. Under collar.

¢ Mark the grain line and notch, as shown.

Drawing 8.09

Drawing 8.60. Upper collar.

* Trace the under collar.

* Draw a line parallel to the center back through the
notch.
Drawing 8.60

Drawing 8.61.

* Slash from the top edge of the collar to, but not
through, the roll line.
* Slash from the bottom neckline of the collar to, but -
Drawing 8.61 not through, the roll line.
* Spread '/,” at the collar edge, letting the bottom
neckline overlap !/;¢".

316 Apparel Making in elon, Design

Drawing 8.62.

¢ Cut along the roll line.

¢ Shift the top part up !/5”.
¢ Add '/3” to the top edge of the collar.
« Add !/;” to the collar tip and blend to nothing, as
shown. Drawing 8.62

Drawing 8.63.
d)

¢ Mark the grain line and notch, as shown.

Drawing 8.63

y)

Drawing 8.64. Back facing.

¢ Measure down 3” from the neck at the center back.

¢ Measure in 13/,” from the neck on the shoulder.
¢ Draw the facing from the shoulder to the center
back. g
¢ Trace the facing separately. B

RAN
Drawing 8.64

Nein 347
 Drawing 8.65. Front facing. * Cut along the roll line and shift the lapel outward
'/." for the ease.
* Measure in 2!/,” from the center front on the hem. * Measure out !/9” at the lapel tip, then blend to noth-
* Measure in 1°/,” from the neck point on the shoulder. ing at the break point and the neck point, as
* Draw the facing from the shoulder to the hem. shown.
* Trace the facing separately. ¢ Add !/2” to the hem.

ae?
78
Drawing 8.65
Lapel tip

od
gar
—

Drawing 8.66. Finished patterns.

* Mark the notches and grain lines, as shown.

Drawing 8.66

SES Apparel Making in eile Design

Open Collar

The open collar is similar to the convertible collar,

except that the roll line for the open collar extends
into the bodice. When it is open, its appearance is
similar to that of the notched collar. This collar is
generally used on sportswear shirts or blouses.

Drawing 8.67.

Add an extension to the center front.

Extend the shoulder line 1” from A and label B.
Measure up 17/,” from the bust line on the exten-
sion edge and label D.
Connect point B to D.
Refer to the notched collar instructions from
Drawing 8.57 to develop the open collar as shown,
using the following dimensions:
AB = 1" (collar stand).
IJ = 1” (collar stand).
IK = 2?/," (collar height). Se

Drawing 8.67

Drawing 8.68. Finished patterns.

Drawing 8.68

ikl. ato
Oblong Collar

This collar is similar to the shaw] collar, only with a

seam line going through it. It is connected to the
edge of the bodice extension with its roll line extend-
ing into the bodice. When the collar is open, the
lapel spreads open into a V-neck.

Illustration 8.22

<9

Add an extension to the center front.

Extend the shoulder line */,” from A and label B.
Measure up */s” from the bust line on the extension
edge and label D.
Drawing 8.69 Connect point B to D.
Measure 3” in from the shoulder tip and label X.
Measure */:” up from the neck at the extension
edge and label Y.
Connect X and Y.
Refer to the notched collar instructions from
Drawing 8.57 and 8.58 to develop the oblong
collar as shown, using the following dimensions:
AB = 3/4".
IJ = 3/,".
IK = 2!/,".

Drawing 8.70. Finished patterns.

— at

Drawing 8.70

320 Apparel Mahing in ey Design

Wing Collar

This collar is reminiscent of the open wings of a bird.

It is similar to the shawl collar, except that its fall has
a higher lift. It can be created as part of the bodice or
as a Separate collar connected to the bodice.
Illustration 8.23

Drawing 8.71.

¢ Add a°/s” extension to the center front.

¢ Extend the shoulder line 1” from A and label B.
¢ Label D on the extension edge at the bust line.
¢ Refer to the shawl collar instructions from
Drawing 8.45 to develop the wing collar as shown,
using the following dimensions:
AB = 1". A'
Back neck
= 1". measurement
IK = 3”.
34 1

AI and AA' = the Ae

back neckline
measurement
plus 2"(ease)
Drawing 8.71

Drawing 8.72. Finished patterns.

Drawing 8.72 She Collear

 Napoleon Collar

The Napoleon collar is generally used on double-

breasted coats. The stand for this collar can be
Illustration 8.24
extremely high with very large lapels. The stand
and shirt collar are completely separate, and the top
collar has its own separate stand as well.

Drawing 8.73. Lapel.

3; "
¢ Measure in °/s” from the neck on the shoulder and
label M.
* Measure up 2°/s from the waistline on the exten-
”

sion and label N.

* Connect point M to N.
* Measure down */:” from the neck at the center
front and label G.
¢ Square out from G to the extension line and label
H.
* Square in from G to line MN, labeling | at the
intersection.
¢ Square in */,” from I and label J.
* Connect points M, J, and N (JN = roll line). Waistline
* Reshape HN with slight outward curve, as shown.

Drawing 8.73
Drawing 8.74. Collar.

* Measure and record the front and back necklines.

* Refer to the standing collar foundation instruc-
tions from Drawing 8.4 to develop the collar stand,
using the following dimensions:
AC = 1°/;".
BB’ =2 1'/,".
i B ” ae

a
Ic

Drawing 8.74

322 _Apparel /Tha Ring in ee Design

Drawing 8.75.

¢ Draw a line from C’, perpendicular to center back,

and label X.
Square up two times the length of CX and label Y.
¢ ConnectY to C’, mirroring the curve of line CC’.
Square up 3” fromY and label Z (collar height).
Draw the collar point from C’, at any angle and
length, and label D. —— @©+0O—
¢ Connect point D to Z, ending square to YZ as
shown. Drawing 8.70

Drawing 8.76. Finished pattern.

¢ Separate the collar stand and collar, as shown.

Drawing 8.76

The Collar 23
GQ NO
35 RE SEE IE a EE

Head Measurements for Hood

A = Head circumference. Measure around the head

at its widest point.
B = Back hood length. Measure from the neck at
the center front to the center top of the head.
C = Back hood length. With head tilted, measure
from the shoulder at the neck to the center top
of the head.

B24 Apparel Making in Hea Desig

Drawing 8.77.
$$$ -______ >

* Trace the portion of the front pattern that lies

above the bust line.
* Label A at the neck on the center front.
* Label B at the neck on the shoulder.
* Square a line up from the extension edge.
* Draw a line from B, perpendicular to the extension
edge, labeling C where the two lines intersect.
* Square a line up from A, labeling D where it inter-
sects CB. Drawing 8.77
* Measure in the front neck measurement from D
and label E.
* Measure out the back neck measurement from E Se
and label F.

Drawing 8.78.

* Square up 14” (hood measurement) from C and

label G.
* Square in 4” (extension) from G and label H.
* Square out 1” from G then square down '/,” and
label J.
* Connect point J to H.
* Connect point J to C, square at first, then bending
inward as shown.
¢ Square out 11” (hood width) from H and label I.
* Connect point I to F.
* Draw the neckline from A to F, as shown, making
certain that it is equal in length to the combined
front and back neck measurements. Drawing 8.78
¢ Measure in the front neck measurement from A on
AF and mark a notch.
* Shape the back of the hood as shown.

Drawing 8.79. Finished pattern. __ Se

Drawing 8.79
eCohie Be
 Drawing 8.80. Hood with dart.

¢ Extend line DF 1!/,” for the dart intake.

* Measure out 1!/,” from the notch and mark.
* Draw the dart legs 4” long, using the notch and
mark, as shown.

Drawing 8.80

Drawing 8.81. Finished pattern.

i

Drawing 8.8!

326 Apparel Making in Be hin Design

 pet ler line

IN
ei

THE SLEEVE
 INTRODUCTION TO THE the armhole. Kimono sleeves are literally a continua-
tion of the bodice, and thus are not sewn at all.
SLEEVE
Raglan sleeves are set into the bodice, and extend
into part of the neckline and armhole.
Sleeves can be finished with cuffs, lace, or ruf-
fles to enhance the overall design. The silhouette of a
cSleeves wrap around the arms and hang from the sleeve can vary with its length, width, and design
outer edge of the shoulders. Most garments feature details such as flares, gathers, and pleats. The shape
them as decorative or functional elements. As a dec- of a sleeve can be altered using the slash and spread
orative element, a sleeve should compliment the method to add fullness. Instructions for drafting vari-
bodice. As a functional element, a sleeve should ous sleeve patterns can also be found in Chapters 10,
allow for ease of movement and comfort. and 11, covering blouses and one-piece dresses.
All sleeves fall into one of three categories,
based on how they are cut and constructed: set-in,
kimono, and raglan styles. Set-in sleeves are separate
from the bodice and connected to it with a seam at

Sleeve Variations

Vig

Cap Puff Flare Batwing Raglan

Illustration 9.

328 Apparel Mahing in es Design

Sleeve Cap Height

The arm angle upon which a particular sleeve sloper is

based is dictated largely by the sleeve cap height.
Changes made to the cap height directly affect the
comfort and mobility of the garment. Decreasing the
cap height widens the biceps line and increases the
under sleeve length, thus opening the armhole for an
increase in overall comfort and mobility. Likewise,
increasing the cap height narrows the biceps line and
decreases the under sleeve length, thus closing the
armhole for a tighter fit and a more structured armhole.
The following illustrations demonstrate the
results of varying cap height on the final sleeve pat-
tern and range of arm motion in the finished garment.
NR

Illustration 9.2

Drawing 9.1. Cap height. eat

Drawing 9.|

WES e
Lo. Shove. 308
 Sleeve Cap and Armhole Position and extended beyond the underarm seam lines, after
which the sleeve cap is reshaped to equal the arm-
As the armhole is lowered, the biceps line of the hole measurement on the bodice.
sleeve must be raised and widened correspondingly. The following illustrations depict the results of
This will shorten the cap height, thus allowing for a varying armhole positions on the sleeve cap in the
larger, more open armhole. For example, if the arm- finished garment and final sleeve pattern.
hole is lowered 2”, the biceps line must be raised 2”

Illustration 9.3

Drawing 9.2. Armhole variations.

Drawing 9.2

330 Apparel Making in ie Design

SET-IN SLEEVE sleeve cap. There are many design variations for set-
AAA
il ASA : cra . in sleeves, ranging from fitted to full.
Set-in sleeve patterns are developed from sleeve
slopers. By slashing and spreading for fullness at
One-Piece Sleeve Styles” — various locations, such as the sleeve cap and hem,
. ea oe Ol numerous styles can be created, including cap, tulip,
The set-in sleeve is sewn into the bodice and may be and flared sleeves. When constructed, set-in sleeves
of any length, depending on garment design and can be cut in one, one-and-a-half or two pieces.
function. Set in sleeves can fit smoothly in the arm-
hole or with gathers or tucks for more fullness at the ie:

Illustration 9.4

Drawing 9.3. Basic set-in sleeve patterns.

~ Drawing 9.3

he Shes |
 Puff Sleeves

Puff sleeves feature gathers or tucks at the armhole,

hem, or both, to create a “puffed” shape and a very
soft appearance overall. They are generally short;
longer variations are referred to as bishop or melon
sleeves.

ey

Puff at Puff at Puff at the

the cap the hem cap and hem

Illustration 9.5

Drawing 9.4. Puff sleeve at the cap.

* Trace the straight sleeve sloper.

* Measure down 3” from the biceps line for the
sleeve length.
* Taper in 3/:” at each side.
* Draw the slash lines, between the notches, spaced
2” apart.

L |
*
Note: Generally, the slash lines are evenly spaced.
* Number each section, as shown.

Drawing 9.4

Drawing 9.5. Finished pattern.

Cut along the slash lines, from the cap to, but not \N
through, the hem.
¢ Draw a horizontal guideline
Spread the slash lines at the hem, as desired.
* Spread each piece */,” apart.
SSRN
SRS
2
—
Measure up 1” from the center line and reshape the
cap to this measurement for a smooth, contoured
shape.
* Note: Do not change the sleeve cap below the Drawing 9.5
notches.

SB2 Apparel Mahing in thine Design

Drawing 9.6. Puff sleeve at the hem.

¢ Follow the preceding instructions for the puff

sleeve at the cap (Drawing 9.5) to develop the puff 6

Had
sleeve at the hem pattern.

Drawing 9.6

Drawing 9.7. Finished pattern.

y
Cut along the slash lines, from the hem to, but not
through, the cap.
2
d
j
Draw a horizontal guideline
Spread the slash lines at the hem, as desired.

Z Spread each piece 1” apart.

Measure down 1” from the center line and reshape
the hem with a curved line.
Drawing 9.7

Drawing 9.8. Puff at the cap and hem.

* Follow the earlier instructions for the puff sleeve at

the cap (Drawing 9.5) to develop the puff sleeve at
the cap and hem pattern.
Drawing 9.6

Drawing 9.9. Finished pattern.

Cut along the slash lines.

Draw a horizontal guideline with a vertical guide-
Y
line intersecting at its center.
YS
Match the biceps line to the horizontal guideline,
as shown.
XS Place sections 3 and 4, °/s" from the vertical guideline.
Spread the remaining pieces */,” apart.
Measure up 1!/,” from the center line and reshape
N\
sa1 the cap to this measurement for a smooth, con-
ore toured shape.
Note: Do not change the sleeve cap below the
Drawing
9.9 notches.
Measure down 1” from the center line and reshape
the hem with a curved line.

Way. 233
Cc a
Petal Sleeve |

This sleeve features a rounded shape and the over-

lapping style, generally at the front, reminiscent of
overlapping flower petals.

Illustration 9.6

Drawing 9.10. Plain petal sleeve.

* Trace the sleeve sloper.

¢ Shorten the sleeve length as desired.
¢ Measure out 3” on both sides of the sleeve center
line and mark.
¢ Connect the marks to the hem at the side seams, as
Drawing 9.10 shown.

Drawing 9.11. Finished pattern.

* Trace the back and front sleeve patterns separately,

including the notches.
PS Back

Drawing J.Il
Front

Drawing 9.12. Petal sleeve with shirring at

the cap.

* Follow the earlier instructions for the plain petal

sleeve (Drawing 9.10), then proceed to complete
the front and back sleeve patterns.
Drawing 9.12

334 _Apparel Making in es eDwiin

Drawing 9.13.

¢ Draw the slash lines between the notches.

Drawing 9.13

Se
Drawing 9.14. Finished pattern.
\)¥
4
4
| (4
‘ * Cut along the slash lines, from the cap to, but not
through, the hem.
C ¢ Spread the slash lines at the cap, as desired.
* Reshape the cap.
Drawing 9.14

Drawing 9.15. Petal sleeve with flare at

the hem.

* Follow the earlier plain petal sleeve instructions

(Drawing 9.10), then proceed to complete the front
and back sleeve patterns.

Drawing 9.15

Drawing 9.16.
ST — 8 EIS A SRT EARS

¢ Draw the slash lines between the notches.

Drawing 9.16

Drawing 9.17. Finished pattern, =

* Cut along the slash lines, from the hem to, but not
through, the cap.
* Spread the slash lines at the hem, as desired.
* Reshape the hem.
Drawing 9.17

ie ae 385
Bishop Sleeve

This subcategory of puff sleeves extends all the way

to the wrist and is shirred into the cuff. llustration 9.7

Drawing 9.18.

¢ Trace the straight sleeve sloper.

* Draw the slash lines on each side of the center line,
spaced 2” apart, as shown.
* Cut along the slash lines, including the center line
to, but not through, the sleeve cap.

Drawing 9.18

Drawing 9.19. Finished pattern.

* Spread each slash line 1'/,” at the hem.

¢ Reshape the hem.

|
ie gh 1h ae —
Nie

Drawing 9.19

336 Apparel Making in ae Design

Leg-of-Mutton Sleeve

This sleeve, named for the shape of a roast leg of Illustration 9.8
lamb, features a full cap that tapers to a tight fit near
the wrist.

Drawing 9.20.

Trace the tight sleeve sloper.

Measure down 4" from the cap on the center line
and label A.
Mark both side seams between the biceps and
elbow lines into thirds. .
Connect A to each mark, as shown.

Drawing 9.20

Drawing 9.21 Finished pattern.

¢ Slash on the center line, from the cap to A.

* Slash from A to each mark, as shown.
¢ Spread the slash line at the cap 2'/,” on each side
of the center line.
¢ Reshape the cap.

Drawing 9.2

Whe Sime S37

Cowl Sleeve

This sleeve is very soft in appearance, with draped Illustration 9.9

pleats falling around the upper arm. It is generally
cut on the bias to create the fullness necessary for
the pleats to drape properly.

Drawing 9.22.

Trace the tight sleeve sloper.

Measure down 3” from the cap on the center line
and label A.
Measure out 3” on both sides of the sleeve center
line and mark.
Connect the marks to A with curved lines.
Drawing 9.22
Measure down 1!/,” from A and label B.

&
Measure out 4!/,” on both sides of the sleeve center
line and mark.
LV LIfar
Connect the marks to B with curved lines.

Drawing 9.23. Finished pattern.

Slash on the center line, from the cap to the elbow

line.
Slash from the elbow line to, but not through, the
underarm seams, as shown.
Slash the curved lines through A and B to, but not
through, the cap, as shown.
Spread the slashed lines as desired.
Reshape the cap.

Drawing 9.23

338 Apparel Making in keh Design

Lantern Sleeve

This sleeve is relatively plain, with fullness added Illustration 4.10

between the upper and under pieces, creating a
lantern shape. The finished sleeve can be of almost
any length from short to long.

Drawing 9.24.

Trace the sleeve sloper.

Shorten the sleeve length, as desired.
Measure down 1” from the biceps line on both
ends of the underarm seam and mark.
Connect the marks with a curved line, passing
Drawing 9.24 through the biceps line at the sleeve center line, as
shown.

Drawing 9.25.

¢ Separate the sleeve.

¢ Draw three slash lines, 1” apart, on each side of the
center line of both sleeve pieces.

Drawing 9.20

Drawing 9.26. Finished pattern.

* On the sleeve cap, cut along the slash lines from

the biceps line to, but not through, the cap.
* On the lower sleeve piece, cut along the slash lines
from the biceps line to, but not through, the hem.
¢ Spread the slash lines open 1” then reshape the cap
and hem.

Drawing 9.26 Vie. Sie 389

 ean Ieee!
This sleeve extends from the shoulder line, with a
silhouette reminiscent ofthe bill of acap. The bulk
of the sleeve is at the shoulder, often not requiring
that the sleeve extend around the entire armhole. Cap
sleeves can be constructed in either a set-in or a
kimono style. They can feature a seam line at the
armhole or be extended from the bodice shoulder to
a point a few inches down the arm.

With armhole Without armhole

Illustration 9.1

Drawing 9.27. With armhole seam.

¢ Trace the sleeve sloper.

¢ Measure down 4” from the top of the cap on the
center line.
¢ Draw a curved hemline, as shown.

Drawing 9.27

340 Apparel Making in Se pap Design

Drawing 9.28. Without armhole seam I.
pi

Measure up ?/,” from the shoulder tip and out 2!/,”

and mark.
Draw a new shoulder line from the neck point to
the mark, as shown.
Draw a line from the underarm point, ending
square at the mark.
Reshape the armhole.

Drawing 9.28

Drawing 9.29. Without armhole seam II

* Measure up */,” from the shoulder tip and out 2'/,”

and mark.
¢ Draw anew shoulder line from the neck point to
the mark, as shown.
* Measure down 4” from the shoulder tip on the
armhole, then draw the sleeve hem, as shown.

Drawing 9.29

eS. Ba
 One-and-One-half-Piece Sleeve i.

This sleeve is fitted at the elbow. Its elbow dart can Illustration 9.12
be either transferred to the sleeve hem and stitched
as a dart or used as an opening slit.

c D

Drawing 9.30.

¢ Trace the tight sleeve sloper.

G E ! I ¢ Label all points on the sloper, as shown.
H
t ¢ Find the midpoint of line EF (wrist) and label K.
| ¢ Connect points J and K with a dashed line.
|
| ¢ Find the midpoint of EK and label L’, then con-
| nect to point L.
|
|
|
|

EB |hee B K
F

Drawing 9.30

Drawing 9.31

¢ Slash the line LL’ from point L’ to, but not Close the elbow dart]

through, point L.
* Close the elbow dart and the slash line LL’ will be
open.
¢ Reshape the line CE with a slightly curved line.

Gg 18s

Drawing 9.31
342 _Apparel Making in ey Design
Two-Piece Sleeve

This sleeve is cut in two pieces: one for the underarm Illustration 9.13
and one for the over arm. It is shaped with a bend at
the elbow, which allows the sleeve to follow the nat-
ural curve of the arm. It is generally used in men’s
and women’s tailored suit jackets.

Drawing 9.32. Two-piece sleeve I.

* Trace the tight sleeve sloper.

¢ Label all points on the sloper as shown.
¢ Label K at the midpoint of line EF.
* Connect point J to K with a dashed line.

iB

D
x

Urawing 9.32

Drawing 9.33. ;
M ae I
¢ Fold the upper back underarm seam of the sleeve, Fold in dart
matching line CG to XJ.
¢ Fold the lower back underarm seam of the sleeve,
matching line HE to JK.
¢ Fold the excess paper at point J in the form of an
elbow dart.
¢ Mark points L, M, and N.
N K :
¢ Slash from point I to the midpoint of IJ.
Drawing 9.33

Whe Sie. Ba
Drawing 9.34. -

* Fold the upper front underarm seam of the sleeve,

matching line DI to XJ.
¢ Fold the lower back underarm seam of the sleeve,
matching line IF to JK.
* Mark points O, P, and Q, as shown.
* Note: The wrist measurement of the sleeve may be
increased by extending the wrist measurement from
point N as much as desired, as per points N and N’.
Slash line

Drawing 9.34

Drawing 9.35.
oS es cae DR

Back underarm seam:

¢ Mark the center point of line LC and label 1.
* Measure in !/,” from point M and label 2.
* Connect point | and 2.
¢ Measure up 4” from point N and label 3. Connect
point 2 to 3.

Front underarm seam:

¢ Mark the center point of line OD and label 4.
¢ Measure in 1” from point P and label 5.
¢ Connect point 4 to 5.
¢ Measure in */,” from point Q and label 6.
* Connect point 5 to 6.

Drawing 9.39

344 Apparel Making in Ein Design

Drawing 9.36. Marking notches.

Measure up 3” from point 5 and mark notch 7.

Measure down 2” from point 5 and mark notch 8.
Measure the distance from point 4 to 7, then mea-
sure that distance down from | and mark notch 9.
Measure the distance from point 6 to 8, then mea-
sure that distance up from N and mark notch 10.

Drawing 9.36

Drawing 9.37. Undersleeve section.

¢ Cut out and remove the section on line

(1-2=3-N-K-65-4-C-1)
Trace this piece on another piece of paper.
Trace notches 7, 8, 9, and 10.
Reshape the lines, blending at each point.
Mark the grain line from point C to B witha
straight line.

Drawing 9.37

Ty She Bas
 Drawing 9.38. Over arm section. ‘
/
/
/
/

* Open the folded side sections (1-2-3) and (4-5-6) \!

1
: 14
remaining on each side of where the underarm was
\ '
\ 1
\ I
\ 1
removed. \
\
\
I
!
I
\ 1
\ 1
H '
1
ity i
\ I
\ ha)
\ I
\ 1
\ 1
\ I
. !
1

“)\ 15
1
I
I
I
w

Drawing 9.38

Drawing 9.39.

* Relabel 1, 2, and 3 on the side that is now facing

up.
* Relabel 4, 5, and 6 on the side now facing up.
¢ Re-mark notches 7, 8, 9, and 10 on the side now
facing up.
¢ Mark the grain line from point A to B witha
straight line.
Reshape the lines, blending at each point.

Drawing 9.39

346 Apparel Making in ae Desige

Drawing 9.40. Finished patterns. oo

¢ Mark the notches and grain lines, as shown.

Drawing 9.40

Drawing 9.41. Two-piece sleeve II.

Trace the tight sleeve sloper and label, as shown.

Measure in 1'/,” from point A and label G.
Measure in 3/,” from point B and label H.
Connect G to H with a straight line.
Extend HG to the sleeve cap, labeling G’ where it
intersects the sleeve cap.
Measure in 3/s” from GH on the elbow line and
label X, then draw a curved line from G to H, pass-
ing through X.

Drawing 9.41

Ui Shan BS
 Drawing 9.42.
z
os eee ee

* Measure 1!/,” to the right from point E on the

biceps line and label I.
* Measure >/,” to the right from point F on the hem-
line and label J.
* Connect I to J with a straight line.
¢ Measure in 3/.” from IJ on the elbow line and label
Y, then draw a curved line from I to J, passing
through Y.

Drawing 9.42

Drawing 9.43.

* Label K at the midpoint of line CE.

* Draw a guideline running parallel to EF, passing
through K.
* Extend this line to the sleeve cap, labeling L where
it intersects the sleeve cap.
¢ Measure in !/,” from LM on the elbow line and
label Z.
* Label N at the midpoint of line DF.
* Connect L to N with a slightly curved line, passing
through Z.

MN F

Drawing 9.43

348 Apparel Mehing in den Doig

Drawing 9.44. |

* Fold at line LK, matching point C to E.

* Trace line LC to create line LE, as shown.
* Fold over, matching point A to E.
¢ Trace line AG’ to create line El’, as shown.

Drawing 9.44

I B

Drawing 9.45. Under sleeve.

¢ Trace the over and under sleeves separately.

* Under sleeve: Trace L-Z-N-J-Y-I'-E-L, as shown.
Y Z * Flip the under sleeve over, as shown.

J
N
iE,
Drawing 9.40

G'

Drawing 9.46. Over sleeve.

* Over sleeve: Trace L-Z-N-H-X-G’-L, as shown. : x

Drawing 9.46

Sie Bae
 KIMONO SLEEVE

Cen sleeves are connected to the bodice to

form a distinctive square-shaped silhouette, with vari-
ations ranging from loose to tight in fit. Derived from
the Japanese kimono, this sleeve style is also com-
monly referred to as the Kabuki or mandarin sleeve.

Kimono Sleeve Styles

Illustration 9.14

fs

‘ oo

Batwing Dolman French

Batwing Sleeve very fitted. Viewed from the back, it has the appear-
This style is a variation of the dolman sleeve and is ance of a cape.
very full. The armhole extends to the waist, and it
has a very tight wrist. With arms extended away French Sleeve
from the body, it has the appearance of a bat’s wing. This style is a short variation of the kimono sleeve. It
may be made like the traditional kimono sleeve or
Dolman Sleeve have an armhole seam line.
This style is the largest variation of the kimono
sleeve. The armkole is extremely deep and the wrist

350 Apparel Mahing in Epon Design

Drawing 9.47. Kimono sleeve pattern
variations.

Kimono sleeve patterns can be developed from a

sleeve sloper or by extending the sleeve from the
bodice. The greater the angle from the bodice at which
the sleeve is developed, the more excess fabric and
greater the range of arm motion in the resulting sleeve.

‘s Drawing 9.47
i
A 2 aN

3°
= »
Drawinga 9.48.
SE Pe
Kimono
TS see
sleeve foundation.
sweat Reibenedmininne eS

¢ Trace the straight sleeve sloper.

¢ Measure out !/,” on each side of the center line and
Z Z label A and A’.
¢ Measure down 3” from the sleeve cap on the center
line and label B.
¢ Draw the dart legs by connecting points A and A’
to B.
Back | Front * Label points Z and Z’ at the biceps line.
¢ Label points E, F, and F’ at the wrist line.

\ = A

RF E et Z; Tb;

Drawing 9.48

Drawing 9.49. Back

¢ Cut along the center line, eliminating the dart

intake.
¢ Label the sleeve pieces back and front.

F BoE |e

Drawing 9.49

Oy Staton. BGR
 Drawing 9.50. Back. a ¢ Leave a 1'/," space between the underarm point
and Z, as shown.
* Trace the back bodice sloper. * Note: Increasing the distance between the underarm
¢ Extend the shoulder line °/,” to 1!/,” from the point and B results in both a greater range of motion
shoulder tip and mark. for the arm as well as increased excess fabric in the
* Place the back kimono sleeve foundation on the underarm.
back bodice, matching A to the mark. ¢ Reshape the shoulder line and underarm side seam.

Drawing 9.00

Drawing 9.51. Front.

* Develop the front sleeve the same as the back.

Drawing 9.al

Sie _Ap al, Making in ey Design

Drawing 9.52. Batwing sleeve. ¢ Leave a 4” space between the underarm point and
Z, as shown.
Back and front: ¢ Reshape the over arm seam from the neck point to
¢ Trace the bodice sloper. the hem in a straight line.
° Place the back kimono sleeve foundation on the * Reshape the underarm seam from the waistline to
back bodice, matching A to the shoulder tip. the elbow line in a curved line.

Drawing 9.92

S caf

hs Slams //
Soe
 Drawing 9.53. Dolman sleeve. ¢ Place the back kimono sleeve foundation on the
back bodice, matching A to the mark.
Back and front: ¢ Leave a 2” space between the underarm point and
¢ Trace the bodice sloper. Z, as Shown.
¢ Measure in */,;” from the shoulder tip and mark. ¢ Reshape the shoulder line and underarm side seam.

Drawing 9.93

SHA 2 Apparel Mahing in ive Design

Drawing 9.54. French sleeve.

Back and front:

Trace the bodice sloper.
Extend the shoulder line 5”, then square down */,"
and label A.
Measure down 2” at the underarm point on the side
seam, then square out 1'/,” and label B.
Connect point A to B, ending square at each point.
Reshape the shoulder line and underarm side
seam.

Drawing 9.04

AS eee
 RAGLAN SLEEVE range of motion and comfort. Raglan sleeves may be
constructed from one or two pieces, and can be varied
.by changing the shape of the armhole line, or by
adding shirring or pleats at the armhole.
Ragan sleeves fall somewhere between the set-in and
kimono styles. They extend past the armhole to the
neckline, similar to a kimono sleeve, and are connect-
ed to the bodice with a seam, similar to a set-in sleeve.
The raglan seam begins at the neckline and extends
diagonally to the underarm, resulting in enhanced

Raglan Sleeve Variations

Illustration 9.15

;
¢ The raglan style line may be straight, curved, or a
C
squared curve, depending on the design. It can B
¥
Bust line Bust line
start from any point along the neckline, but gener-
ally begins within the first third of the neckline.
The curve of the front bodice style line is deeper
than that of the back.

Drawing 9.5
356 Apparel Mabing in Se aD aig
Raglan sleeve pattern Variations.

Raglan sleeve patterns can be developed using a

sleeve sloper or by extending the sleeve from the
bodice.

1. Raglan Sleeve without Sleeve Sloper

Drawing 9.56. Raglan sleeve with dart.

Back:
Trace the back bodice sloper.
Lower the armhole and extend the bodice at the
Cy :
ipir
B Bust line ity eee
side seam, as desired.
Label Y at the underarm point on the side seam of
the bodice.
Square up no more than 2°/,” from the bust line to
the armhole and label X.
e Divide the neckline into thirds.
Label | at the first one-third of the neckline.
Draw the raglan style line from point | to point X. Drawing 9.96
The style line extends from point X to point Y,
blending with the underarm curve of the bodice.
Label 2 at the neck on the shoulder line.

Drawing 9.57.

¢ Extend the shoulder line 5*/s” from point A and

label B.
¢ Square down 2” from point B and label C.
* Note: Generally, for these styles, the length of line
BC 1s as follows:
Blouse/Dress: 1°/:”.
Jacket = 2”.
Coat

ine:
Drawing 9.07

hy Sib, wySa SI
 Drawing 9.58. Raglan sleeve angle variations.

¢ When the measurement of line BC is shorter, the

sleeve will fit more comfortably and allow for
more mobility of the arm. This 1s because the
bodice and sleeve are overlapped less at the side
seam.
When the measurement of line BC is longer, the
sleeve will fit more tightly and allow for less
mobility of the arm. This is because the bodice and
sleeve are overlapped more at the side seam.

Drawing 9.98

Drawing 9.59. * Draw the new underarm curve of the raglan sleeve,
DS ae i ies blending down from point X to point Z at the
* Measure out */s” to 2” from point A, to allow for biceps line of the sleeve.
ease, and label D. * Note: Line XZ should be equal in length to line XY.
* Note: Ease is added to the sleeve cap to allow for a If line XZ is too long or short, adjust the biceps
smoother fit around the shoulder. Generally, the line by extending or shortening it to match the
amount of ease added is as follows for these styles: length of line XY.
Blouse/Dress = 3/9”. ¢ Draw the underarm seam from point Z to F.
Jacket = 3/,” to 1”.
Coat = 17/." to-2".
Draw a line from point D, equal to the sleeve
length measurement, passing through point C.
Label E at the end of the sleeve.
Square down 5%/,” from point E and label F.
Line EF = Width of the sleeve.
The width of the sleeve may be adjusted according
to the design desired.
Measure down the cap height, 5°/s” from point A,
and mark.
*
Note: Generally, the cap height is as follows for
these styles:
Blouse/Dress = 5” to 5!/,”.
Jacket = 51/,” to 6”.
Coat = 6” to 6°/¢”.
Square down from this mark, half of the biceps
measurement plus 1” or more for ease.
Label Z at the end point of the biceps line.

Drawing 9.99

BOS: Ap adh Making in een Design

ee ee * A'D! = “/s" to 2" (same as AD from Drawing 9.59)
¢ B’'C = 3/g” longer than BC on the back:
Front Ex: Blouse/Dress = 2".
¢ The development of the front sleeve is the same as Jacket = 23/3”.
the back, except that the following measurements Coat = 29 10S
are changed: ¢ E/F’ = 5?/,” (front sleeve is 3/s” smaller than the
¢ A'B’ = 53/.” back).

4 4

Bust line Bust line

<
@)
coh meQ|

Bust line

Drawing 9.60

Sh Bee
 Drawing 9.61. Back.

* Trace the back bodice and the sleeve separately.

* Bodice: 1-X-Y- side seam.
¢ Sleeve: 1-X-Z-F-E-D-2-1.
* Blend the shoulder line with a slightly curved line.

(&
B Bust line

Drawing 9.61

e Trace the front bodice and the sleeve separately.

¢ Bodice: 3-X’-Y’-side seam.
¢ Sleeve: 3-X’-Z'-F’-E’-D’-4
¢ Blend the shoulder line with a slightly curved line.

Drawing 9.62

360 Apparel Making in ele, Design

Drawing 9.63. One-piece sleeve.

¢ Attach the front and back sleeve patterns, match-

ing points E and E’.

Drawing 9.63

oe its 361
 the shoulder line of the bodice sloper. To develop a
raglan sleeve without a dart, use the previous
instructions for constructing this sleeve with a dart
Raglan sleeves constructed without a shoulder dart with the following adjustments.
have a less rounded shoulder line. Such sleeves are
developed without a sleeve sloper and extend from

Drawing 9.64. Back.

¢ Draw a line from point A, equal to the sleeve

length measurement.
* Label E at the end of the sleeve.
* Square down 53/4" from point E and label F.
¢ EF = 53/4”, Sleeve width.
i) —
¢ AB = 3!/,", Cap height.
+(Shoulder dart)
B

Drawing 9.64

Drawing 9.65. Front

¢ E’F’ = 53/3”, Sleeve width.

* AB = 3!/,", Cap height.

Drawing 9.65

362 Apparel Making in Dbion ED alier

Drawing 9.66. Front and back.

¢ Trace the bodice and sleeve separately.

¢ Blend the shoulder line with a slightly curved line.

Drawing 9.66

Drawing 9.67. One-piece sleeve. |

Back Front
e Attach the front and back sleeve patterns, match-
ing points 2 to 4, and E to E’.

Drawing 9.67

Whe Bs 3603
2. Raglan Sleeve with Sleeve Sloper

Drawing 9.68. Back.

Trace the back bodice sloper.

Square up 23/,” from the bust line, then square over
to intersect the armhole and label X.
Label Y at the underarm point of the bodice at the
side seam. C fey
Divide the neckline into thirds and label | at the 23"7 \
B Bust line
first one third.
Draw the desired style line from point | to point X.
*
Note: The style line generally starts from the mid-
point of the neckline; however, it can start from any
point on the neckline.
The style line extends to point Y, blending with the
under armhole curve of the bodice.
Label 2 at the intersection of the shoulder and Drawing 9.68
neck.

Drawing 9.69.
2

Extend the shoulder 3/4” to 1!/4” and mark.

Place the back kimono sleeve foundation
(Drawing 9.48) on the back bodice, matching
point A to the mark.
*
Note: The distance from sleeve cap to mid-armhole
ranges from 7/,” to 1!/,. The longer this distance, the
Cc more comfortable and functional the sleeve.
B Bust line
Label Z at the underarm point of the sleeve.
Draw the underarm curve, blending down from X
to Z at the biceps line of the sleeve.
XZ, = XY,
*
Note: If line XZ is too long or short, adjust the
biceps line by extending or shortening it to match
with line XY.
Reshape the underarm seam from Z to F.

Drawing 9.69

—
364 Apparel Making in er Design
Drawing 9.70. Front.

Trace the front bodice sloper.

Square up no more than 2?/,” from the bust line to
intersect with the armhole and label X’.
Label Y’ at the underarm point of the bodice at the
side seam.
Divide the neckline into thirds and label 3 at the Cc
Bust line F
first one third.
Draw the desired style line from point 3 to point
ae
*
Note: The style line generally starts from the first
one third of the neckline; however, it can start from
any point on the neckline.
The style line extends to point Y’, blending with
the under armhole curve of the bodice.
Drawing 9.70

Drawing 9.71.

Extend the shoulder line 3/,” to 1'/," and mark.

Cc Place the front kimono sleeve foundation
Bust line F (Drawing 9.48) on the front bodice, matching
point A’ to the mark.
*
Note: The distance from sleeve cap to mid-armhole
ranges from */," to 1'/,”. The longer this distance, the
more comfortable and functional the sleeve.
* Label Z’ at the underarm point of the sleeve.
Draw the underarm curve, blending down from
point X’ to point Z’ at the biceps line of the sleeve.
AX LL = KIN
*
Note: If line X’Z’ is too long or short, adjust the
biceps line by extending or shortening it to match
with line X'Y’.
* Reshape the underarm seam from point Z’ to F’.

Drawing 9.71

ey Side 365
 Drawing 9.72. Back.

* Trace the back bodice and sleeve separately.

* Bodice: 1-X-Y-side seam.
¢ Sleeve: 1-X-Z-F-E-2.
* Blend the shoulder line with a slightly curved line.

Cc
B Bust line

Drawing 9.72

Drawing 9.73. Front.

* Trace the front bodice and sleeve separately.

* Bodice: 3-X’-Y' side seam. 4
¢ Sleeve: 3-X'-Z’-F'-E’-4.
* Blend the shoulder line with a slightly curved line.

Bust line

Drawing 9.73

366 Apparel Making in Se ion Design

Drawing 9.74. One-piece sleeve.

¢ Attach the front and back sleeve patterns, match-

ing E on each pattern.

Drawing 9.74

Raglan Sleeve Examples

This style has the top of the shirt yoke attached to the
sleeve to create a one-piece sleeve.

Illustration 9.16

eh Say 367
 Drawing 9.75.

* Begin development of the raglan sleeve foundation

using the instructions from Drawings 9.64 and 9.65.
* Draw the raglan style line, as shown.

Drawing 9.70

Drawing 9.76.

») } ° Separate the sleeve from the bodice.

Front Back

Drawing 9.76

Drawing 9.77.

¢ Align the back and front sleeves at the center line. ®

¢ Draw the slash lines, as shown.

Drawing 9.77

308 Apparel Making im ion 2 adigh

Drawing 9.78. Finished pattern.

¢ Spread the slash lines 1” apart.

¢ Measure down |” from the hem at the center line.
¢ Reshape the hem.

2. Folklore Sleeve
These loose-fitting sleeves are historically associated
with ethnic costumes, such as Gypsy attire. They are
essentially raglan sleeves with shirring added at the
neckline and hem for generous fullness.

Drawing 9.79.

¢ Begin development of the raglan sleeve foundation

using the instructions from Drawing 9.56.
¢ Draw the raglan style line, as shown.

Drawing 9.79

Whe aan 369

Drawing 9.80.

* Separate the sleeve from the bodice.

Back Front

Drawing 9.80

Drawing 9.81. Finished pattern.

¢ Align the back and front sleeves, separated 2” at

the center line, as shown.
° Retrace, reshaping the top and bottom as shown.

Drawing 9.8!

SIO Apparel Making in Se) iy Design

 Ch, ler Tey

THE BLOUSE
 INTRODUCTION TO THE Dearie 10.1, Byoute coe ae
BLOUSE
B. Front bodice.
©. sleeve:
fs D. Armhole seam.
louses (shirts) cover the upper torso. They fea- EB Bittonhole.
ture an infinite variety of style lines, depending on le Buton
their design details and the occasions for which they G. Facing.
are designed. Depending on their fabric and decora- Ge Dart
tion, blouses can be worn casually, for work, or for leeehiculder sean
formal occasions. Design features, such as sleeves, le dereearaa
collars, cuffs, and plackets, can be used to alter or i esa
enhance the overall appearance of a blouse. iL. (ene
M. Placket.
ie: ING Pleat:
O. Back bodice.

Drawing 10.1

ee Apparel Making in hoon es

Blouse Style Variations | |

Blouses may be worn either outside of or tucked into

a skirt or pants. Because the length of a tucked-in
blouse should be sufficient that arm movement will
not pull it from the waistband, the length should
extend to between the waistline and the hip line on
the bodice sloper.

1. Over Blouse

Shell Middy Peplum Tunic

Illustration 10.1

Shell Peplum Blouse

This is a pull-on, sleeveless style of blouse that can This blouse has a skirtlike panel extension (peplum)
be made of a knit or woven fabric for different effect at the waistline, which can be straight or flared.
and designs. Tunic Blouse
Middy Blouse Thigh length and slightly fitted or boxy, this blouse
This is a pull-on style of blouse, fashioned after the may be worn over a skirt or pants, with or without
tops traditionally worn by naval midshipmen. It has a belt.
been adopted as a women’s fashion article, influenc-
ing school uniforms, tennis wear, and sports clothing.

tae. 378
 2. Blouse Styles

Gypsy Tuxedo Stock-tie

Illustration 10.2

Gypsy Blouse
This blouse features a drawstring neckline and often
includes puffed style sleeves.
Tuxedo Blouse
Similar to the man’s evening shirt, this style has
design variations created by tucks, ruffles, or
shirring.
Stock-Tie Blouse
This is a plain blouse, featuring an ascot-style tie
connected at the neckline.

374 Ap OM Making in ion Design

Blouse Silhouette Variations

Blouse silhouettes can be categorized into three

basic groups: straight, A-line, and fitted.

Straight
The waist dart is not sewn and the side dart can be
either sewn or eliminated. The side dart can also be
repositioned to the shoulder, neck, or various other
locations, resulting in a straight side seam.

Illustration 10.3

Drawing 10.2. Without the side dart

¢ Eliminate the side dart by deepening the armhole

half of the dart width.
¢ Eliminate the remaining half of the dart by short-
ening the hem at the side seam.

Drawing 10.2

Drawing 10.3. With the side dart ;

¢ Sew the side dart but not the waist dart.

Drawing 10.3

we ie SH
 A-Line
The waist darts are not sewn. The side dart may be
either sewn or transferred to the hem. The slash and
spread method can be used for additional fullness at
the hem. >

Illustration 10.4

Drawing 10.4. With the side dart

¢ Sew the side dart but not the waist dart.

¢ Add fullness at the side seam on the hem.

Drawing 10.4

376 Apparel Making in on Dako

Drawing 10.5. Without the side dart

* Do not sew the waist darts.

* Redraw the side seams to be perpendicular to the
hipline.
° Close the front side dart and back shoulder dart,
then transfer both to the hem.

Drawing 10.9

WL de. ere
 Fitted
The side and waist darts are both sewn and
manipulated to achieve varying degrees and
types of fit.

Illustration 10.5

Drawing 10.6. Side and waist darts

ween tween a

¢ Sew the side and waist darts.

|i Drawing 10.6

378 Apparel Mahing in one Design

Drawing 10.7. Princess line

* Reposition the waist dart to create a princess line.

* Close the front side dart and remove the back
shoulder dart from the shoulder tip.

rine Drawing 10.7

The hot 279

 Drawing 10.8. Multiple waist darts

¢ Split the back and front waist darts into two darts
apiece.
¢ Transfer the side dart to the waist dart.

Drawing 10.8

380 Apparel }Vahing in Shiva Design

BLOUSE FOUNDATION
PE TANGA eres anecg ej MRMeo

, he blouse foundation is initially developed from

a tight bodice sloper, after which it can be manipu-
lated to create a variety of designs, enhanced by the
addition of details (e.g., collars, sleeves), and given
color and texture through the use of different fabrics.

Drawing 10.9. Back and front. Back:

¢ Reshape the center back with a straight line.
* Trace the back fitted bodice sloper. ¢ Measure in °/,” from the center back at the waistline.
¢ Extend the bodice length 8” down from the waist- ¢ Measure in */s” from the center back at the hip line.
line at center back. ¢ Reshape the center back line.
¢ Square out the measurement of (#/, + 3/9”) one ¢ Extend the back dart length 5!/,” to 6”.
fourth of the hip measurement plus */;”. ¢ Draw the dart legs to meet at the waistline.
* Draw the curve of the hip from the waistline to the Front:
hip line. ¢ Extend the front dart length 4'/,” to 47/4".
¢ Draw the dart legs to meet at the waistline.

.) Waistline
ool

v Hip line
cols

Drawing 10.9

ae bShouse 381
 Drawing 10.9a. Straight Sleeve.

* Trace the straight sleeve sloper.

Drawing I0.9a

Drawing 10.9b. Tight sleeve.

* Trace the tight sleeve sloper.

Drawing 10.96

382 Apparel Moabing mM hice aD is,

 HIRT COLLAR BLOUSE
roi

Pattern Analysis
° Waist darts are not sewn and side seams are
straight, creating a box silhouette.
° There is a yoke covering the front and back of the
shoulders.
* Two knife pleats are added at the back, below the
yoke, for comfort.
* Detail patterns developed for the shirt collar
blouse are:
Shirt collar with stand.
Patch pocket.
Shirt sleeve with cuffs and classic sleeve placket.
Classic tailored shirt placket.

Illustration 10.6

ce Drawing 10.10.

¢ Trace the back blouse foundation, but do not trace

the waist dart.
* Redraw the center back line to be perpendicular to
the hip line.
* Redraw the side seam to be perpendicular to the
hip line.
¢ Measure and record the back neckline.
¢ Measure down 4” from the neck at the center back
and draw the yoke style line.

Drawing 10.10

es huse 383
 Drawing 10.11.

* Cut along the yoke style line.

¢ Transfer the shoulder dart to the yoke line and
reshape the yoke.
¢ Measure in 3” from the armhole and draw a slash wes
line perpendicular to the hem.

Dan

]
teense
Hae) Se Pe Se

Illustration 10.11

8
SS
ZZZLA
Drawing 10.12.

* Cut along the slash line.

* Space the two piece 1'/,” apart for the pleat.
* Mark the center of the pleat and draw the pleat
FBO lines 2” long.

Drawing 10.12

384 Apparel Making in os, Design

Drawing 10.13, |

¢ Trace the front blouse sloper, but do not trace the

waist dart.
* Note: Leave 3” of paper at the center front for the
facing.
¢ Redraw the side seam, perpendicular to the hip
line.
¢ Reposition the side dart point 1!/,” from the bust
point.
¢ Lower the neck */,¢” at the center front then
reshape the neckline.
¢ Measure and record the front neckline.
¢ Measure down 1!/,” from the shoulder line and
draw the yoke line.

Drawing 10.13

Drawing 10.14. . iz

e Adda °/9” extension to the center front.

¢ Cut along the yoke style line.

Placket:
¢ Refer to the instructions given in the Bodice
Placket section of Chapter 7 to complete the shirt
placket as shown, using the following dimensions:
Placket width: 3/4”.

Button placement:
¢ Mark the first button 3” down from the neck on the
center front.
¢ Refer to the instructions given in the Button
Placement section of Chapter 7 to mark the
remaining button and buttonhole placements, as
shown.

Drawing 10.14

Sedsicw. 388
Drawing 10.15. Pocket.

¢ Draw the pocket 3°/,;” wide and 4” long.

« Draw the pocket flap 37/4” wide and 2” long, with
the stylized line, as shown.
* Mark the pocket placement 2!/,” in from the center
front on the bust line.

Drawing 10.15

Drawing 10.16. Yoke.

¢ Attach the back and front yoke along the shoulder

line.

Drawing 10.16

Drawing 10.17. Sleeve.

Trace the straight sleeve foundation.

Shorten the sleeve length 2'/,” to allow for 3” cuff
height.
Label X at the midpoint of the hem.
Measure out 5!/,” on each side of point X and label
these points X’ and X”.
Draw the new underarm seam from the biceps line
to points X’ and X”.

Drawing 10.17

Drawing 10.18. Placket placement.

¢ Measure in 1'/,” from point X’ and label Y.

¢ Square up 2!/,” from pointY and label Y’.
¢ Measure '/,” on both sides of Y and square up 3”
from these points.
x" ¢ Connect these points to Y’, as shown.

—
ed
i)
=
ee 5 Pleats placement:
* Measure in 1'/,” from pointY and mark the first
Drawing 10.18 pleat, making it 1'/,” wide.
* Measure '/,” from the first pleat and mark the sec-
ond pleat, which is also 1'/,” wide.

386 Appiirel Making in Shion Design

 38

* | Drawing 10.19. Upper and under plackets.

Bu ¢ Draw the upper and under plackets, using the

dimensions shown.

au iy
Drawing 10.19

ac Cuff width
Blo

Drawing 10.20. Shirt cuffs.

¢ Refer to the shirt cuff instructions at Drawing

7.12 in Chapter 7 (Details), using the following
dimensions: Drawing 10.20

© Drawing 10.21. Shirt collar with separate

O stand.

C C ¢ Measure and record the front and back necklines.

B FE ¢ Refer to the shirt collar with separate stand
instructions from Drawing 8.18 in Chapter 8
Drawing 10.21 (Collar), using the following dimensions:
AC = 1".
BB! = 3/9”.
DFAS.

Drawing 10.22.

* Trace the collar and stand separately.

e Mark the grain lines as shown.

) ®)

Drawing 10.22

Tok, Se%
 Drawing 10.23. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Over Under Cut |

placket placket
Cut 2 Cut 2

Curr Gut? 4
[ )

Drawing 10.23

388 Apparel Mahing in Ae Design

Drawing 10.24. Seam allowances. Center back, side, and shoulder seams = °*/¢”.
PASTS aTSE re Hems = 1!/,".

¢ Add seam allowances:

Pocket, collar, sleeve cap, vent, armholes, neck-
lines, front extension, and facing = 3/,”.

colt

coftn

coltn

PSs

b+ Collar stand Cut 2 ®))

= it
3"
8
an ;
8 z

3" oe 3"
8 8
Over Under 4 8
3 i
placket placket 8 . tess 3
Cut 2 ut
Cut 2
Flap
2" Cut 2 3"
3" 8
8

Drawing 10.24

Wiedeale 389
 Drawing 10.25. Garment Marker. the fabric and sizes of the pattern pieces will dic-
tate how the pieces are laid. Much of this process
* The garment marker is produced by laying all of is handled by computers in industry, but it is still
the pattern pieces out on the fabric. The pattern important to be familiar with the relationship
pieces should be placed so that their grain lines between fabric and pattern.
match the straight grain of the fabric. The width of

Pocke
Cut |

Flap

uC
Cut |
Flap
Cut |

plack
0 Cut
= i

Under
plack
Cut |

I Front
| (uted!

Collar Cut |I

Collar Cut 1

Drawing 10.25

390 Abppirel Making in ics eins

BLOUSE CONSTRUCTION
LTE TE ET

Drawing 10.26. Preparation.

¢ Attach the interfacing to the facing and placket of

the shirt front, over collar, outer stand, cuffs, pock-
et flap, and the top of the pocket.

Drawing 10.26

Drawing 10.27. Construction.

¢ Sew the front darts, then press them up toward the

shoulder.
¢ Fold the facing over as marked, then fold over
again and stitch.
* Construct the pocket, then attach it to the left front
bodice.

Drawing 10.27

WodSise. 20%
 Drawing 10.28. Pocket construction. ¢ Turn the right side out and press.
ee. ee ee * Topstitch around the edge ofthe pocket flap.
* Place the right sides of the pocket flaps together + Fold the top of the pocket down on the pocket line.
and stitch. ¢ Fold the hem up '/,” then stitch.
e Trim and clip the seam allowances. e Fold in the pocket sides and bottom, then press.

® @

ey ee
Drawing 10.28

Drawing 10.2900 Place the flap °/s” above the pocket, then stitch into
FS a rl place.
¢ Pin the pocket in place on the left side of the ¢ Trim the seam allowances to !/4”.
bodice, following the markings. ¢ Fold the flaps down, then topstitch across their
¢ Stitch around the pocket, making certain to tack upper edge.
down the corners at the pocket opening.

® oe)

Drawing 10.29

392 Apparel Making in Lee Ie

Drawing 10.30. Back bodice.

Sew the pleats on the back panel, then baste.

Place the yoke pieces with right sides together.
Place the back panel between the yoke panels, then
stitch.
Press the yoke upward, then topstitch.

Drawing 10.30

Dhdslike 3938
 Drawing 10.31. Front and back bodice
attachment.

* Place the right sides of the front and back bodices

together.
¢ Stitch the yoke and the front bodice together at the
shoulders.
¢ Press the seam allowances toward the yoke.

Drawing 10.31

394 Apparel Making in he Design

Drawing 10.32.

¢ Fold the inner yoke over the front bodice.

¢ Topstitch the edges of the yoke, making certain
that the seam allowances are pressed toward the
inside.

Drawing 10.32

He Blak 298
 Drawing 10.33. Placket.

* Fold the under placket in half, and the under plack-

et seam allowances inward, then press.
* Clip the shirt sleeve slit opening in a Y-shape.
¢ Place the under placket around the slit edge closest
to the underarm seam, then stitch into place from
the right side of the sleeve.

Drawing 10.33

Drawing 10.34. mf

Prepare the over placket, folding all of the seam

allowances inward.
Clip the seam allowance at the base of the triangle.
Place the right side of the over placket against the
wrong side of the shirt fabric on the other slit, then
stitch.

Drawing 10.34

Drawing 10.35.

¢ Fold the over placket toward the right side of the

sleeve.

Drawing 10.35

Drawing 10.36.

* Topstitch the outer edge and over triangle of the

placket, using a tack stitch at the bottom edge of
the triangle for reinforcement.

Drawing 10.36

396 Apparel Wiline in Be deen Design

Drawing 10.37. Sleeves to bodice
attachment.

* Pin the sleeve cap to the bodice armhole with the

right sides together.
Stitch the armhole.
¢ Serge or zigzag the seam allowances.
¢ Press the seam allowances toward the sleeve.

Sy ui waals Lol
Drawing 10.37

He See 397
Drawing 10.38.

* With the front and back bodices pinned right sides

together, stitch the side seams and underarm seams
along the bodice and sleeve.
* Serge or zigzag the seam allowances, then press
toward the back bodice.

Rolled hem application:

* Fold the hem up !/4” twice.
¢ Press and stitch.

Drawing 10.38

f * Fold in the cuff edge seam allowances, then press.

* Fold the cuffs in half, right sides together, then
Drawing 10.39
stitch the outer edges.
¢ Trim the seam allowances.

Drawing 10.40.

¢ Turn the cuff right side out and press.

Drawing 10.40

398 Apparel Making in Sabian wise

a
Drawing 10.41.
areca nseninrarenomn/ an aierenteneasotevrareet entero ys rnieenensoeeeerinrenen/eensimmminnnnri Or

¢ Place the cuff on the sleeve, right sides together,

then stitch.
¢ Turn the cuffs and press the seam allowances
inward.
¢ Topstitch the cuffs closed. ca |

Drawing 10.41

o Drawing 10.42. Shirt collar construction.

¢ Place the right sides of the shirt collar together,

then stitch.
¢ Trim and clip the seam allowances.

Drawing 10.42

Drawing 10.43.
WES an Or oe ee

¢ Turn the right side out, then press and topstitch.

Drawing 10.43

GB) Drawing 10.44.

¢ Fold up the outer stand seam allowance, then

press.
¢ Place the inner and outer stand pieces together,
then place the collar between the stand pieces.
Drawing 10.44 e Stitch around the outer edge of the stand.
¢ Trim and clip the seam allowances.

We die 399
Drawing 10.45.

* Turn the right side out and press.

Drawing 10.45

Drawing 10.46. Shirt collar construction.

¢ Place the collar on the shirt neckline with the right

sides together and stitch.
¢ Fold the collar up, then press.
¢ Push the seam allowances in toward the collar
stand.
¢ Stitch the neckline closed from the inside of the
garment.
¢ Stitch around the collar stand on the neckline
edge, from the center back to the center front.
¢ Repeat on the other side of the collar stand, from
the center back to the center front.

Drawing 10.46

400 _Apparel Making tn Shay Design

PRINCESS LINE BLOUSE

Pattern Analysis
¢ Waist darts are converted to a princess line.
¢ The front neckline is lowered for a more comfort-
able fit.
¢ There is a front facing.
¢ Detail patterns developed for the princess line
blouse are:
Convertible collar.
Tight sleeve.

Illustration 10.7

Drawing 10.47. Back.

¢ Trace the back blouse foundation.

¢ Remove the shoulder dart at the shoulder tip.
¢ Reposition the waist dart one times its width
toward the side seam.
C ¢ Draw the princess style line from the armhole to
B the hem, blending into the waist dart.

Drawing 10.48.

¢ Cut along the princess line, eliminating the waist

dart.
¢ Smooth the princess line.

Drawing 10.47 Drawing 10.48

ws bSbouse 401
Drawing 10.49. Front.

* Lower the neck 3/4” at the center front.

* Reshape the neckline.
« Adda '/,” extension to the center front.
¢ Lower the hem '/,” at the center front, then blend
into the side seam (prevents the blouse from rais-
ing in the front).
* Reposition the waist dart one times its width
toward the side seam.
* Draw the princess style line from the armhole to
the hem, blending into the waist dart.

Button placement:
* Mark the first button placement '/;” down from the
neck point.
* Refer to the instructions given in the Button
Placement section of Chapter 7 to mark the
remaining button and buttonhole placements, as
shown.

Drawing 10.49

Drawing 10.50.

Cut along the princess line, eliminating the waist

dart.
¢ Close the side dart and reshape the side seam.
Smooth the princess line.
* Note: The remaining dart on the center front piece
will be eased in as it is sewn.

Facing:
¢ Measure in 1'/,” from the neck on the shoulder.
¢ Measure in 3” from the center front at the hem.
¢ Draw the facing line from the shoulder to the hem,
as shown.
¢ Trace the facing separately.

Drawing 10.90

402 Apparel Making in hohon [Disign

Drawing 10.51. Sleeve.

¢ Trace the fitted sleeve sloper.

Drawing I0.a1

Drawing 10.52. Collar.

¢ Measure and record the front and back necklines.

* Refer to the convertible collar instructions from
Drawing 8.15 in Chapter 8 (Collars), using the
following dimensions:
AC = 1".

B/E = Dhak

Drawing 10.2

he OS se 403
 Drawing 10.53. Finished patterns.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Drawing 10.53

404 Apparel Making in baer Delign

BAND COLLAR BLOUSE
UE

Pattern Analysis
¢ Waist darts are not sewn, and side seams are
shaped for a semi-fitted silhouette.
¢ The side dart is transferred to center front and con-
verted to shirring.
¢ Detail patterns developed for the band collar
blouse are:
Mandarin collar.
Bishop sleeve.
Wing cuffs.
Shirt placket.

Illustration 10.8

Drawing 10.54. Back.

¢ Trace the back blouse foundation, but do not trace

the waist dart.
¢ Measure in from the shoulder tip the amount of the
shoulder dart intake then reshape the armhole.
¢ Measure down 4?/s” from the waistline at the cen-
ter back.
¢ Measure down 3” from the waistline at the side
seam.
¢ Draw the new hemline with a curved shape.

Drawing 10.04

edshuse 208
Drawing 10.55. Front.

¢ Trace the front blouse foundation, but do not trace

the waist dart.
¢ Measure down 43/9” from the waistline at the cen-
ter front.
¢ Measure down 3” from the waistline at the side
seam.
* Reshape the new hemline, as shown.
¢ Measure in '/,” from the neck at the center front
and down 10”.
¢ Draw the placket line.

Drawing 10.0

Drawing 10.56.

Cut along the placket line.

¢ Mark a notch 4” down from the neck on the plack-
et line.
Mark a notch 1” above the bottom of the placket
line.
Note: The notch placement may vary according to
the desired placement of shirring.
¢ Mark the pattern “Right Side Up.”

Facing:
* Measure in 2” from the neck on the shoulder and
1'/," from the bottom of the placket line.
¢ Draw the facing connecting these two points.

Drawing 10.06

406 Ap een Mahing in P bion Design

Drawing 10.57. Placket. Meee Saas Right Side

Trace the facing separately, including the notches.

Add a 1” extension to the placket line.
Mark the center of the extension and label this line
the center front.
Add a 1" placket facing.
Transfer the notches to the edge of the placket facing.
Flip the facing over and retrace for the left side.
Mark the button and buttonhole placements on the
center front.

Drawing 10.97

Drawing 10.58. es =e

¢ Draw a slash line, from the bust point, perpendicu-

lar to the placket line.
¢ Transfer the side dart to the placket line.

Drawing 10.08

ys Tbe 4 O af
 (hs iets TPL el ee * Spread the slash lines a total of 4”, including the
space of the dart.
* Draw two slash lines from the placket line to the ¢ Measure out */s” from the slash lines.
side seam, 1” apart. * Reshape the placket line to this measurement with
* Cut along the slash lines to, but not through, the a curved lined for a smooth, contoured shape.
side seam. ¢ Reshape the side seam.

Drawing 10.59

Ah. Drawing 10.60. Sleeve.

¢ Trace the straight sleeve sloper.

* Shorten the sleeve length 1!/,” (the cuff height
minus 3/4”).
* Refer to the Bishop sleeve instructions from
Drawing 9.18 in Chapter 9 (Sleeves) to complete
the sleeve.

Drawing 10.60

408 Apparel Mahing in eee Lesigh

Drawing 10.61. Placket slash line.

¢ Measure in 2” from the back underarm seam.

¢ Draw the placket slash line 2!/,” long.

Drawing 10.61

Drawing 10.62. Wing cuffs.

* Refer to the cuff instructions from Drawing 7.15 in

Chapter 7 (Details), using the dimensions shown.

Cc

Drawing 10.62 7

ad Cuff width coatal

Drawing 10.63. Band collar.

¢ Measure and record the front and back necklines.

* Refer to the standing collar instructions from
Drawing 8.4 in Chapter 8, using the dimensions
shown.

Oe Ae)
©
Drawing 10.63 @
B
B

mie bas 409

 Drawing 10.64. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Left Right
side side
placket placket
Cut | Cut |

Drawing 10.64

410 Ap sal Making mn hi ies

PIN-TUCK BLOUSE

Pattern Analysis
¢ Waist darts are not sewn.
¢ Side and shoulder darts are transferred to the hem.
¢ Front and back bodice hem circumferences are
made equal.
¢ Fullness is added at the side seam at the hem.
* Detail patterns developed for the pin-tuck blouse
are:
Pin-tucks added at front.
Back placket.
Peter Pan collar.
Puff sleeve.
Piping cuffs.
Front and back facings.

Illustration 10.9

Drawing 10.65. Back.

¢ Trace the back blouse foundation, but do not trace

the waist dart.
¢ Extend the blouse length 2” from the hip line.
* Draw the new side seam to be perpendicular to the
hem.
¢ Measure out 2” from the side seam at the hem then
redraw the side seam.
¢ Lower the neck 3/.”.
¢ Adda ?/,” extension to the center back that extends
down 8”.
¢ Draw a slash line, from the shoulder dart point,
perpendicular to the hem.

Drawing I0.60

ne divas 4 / /
Drawing 10.66.

* Cut along the slash line to the shoulder dart point.

* Close the dart so that the slash line spreads open at
the hem.
* Refer to the instructions given in the Button
Placement section of Chapter 7 to mark the button
and the buttonhole placements, as shown.

Facing:
° Measure in 1!/,” from the neck on the shoulder.
¢ Measure down 2” from the extension at the center
back.
¢ Draw the facing from the shoulder to the center
back, as shown.
¢ Trace the facing separately.

Drawing 10.66

Drawing 10.67. Front.

Trace the front blouse foundation, but do not trace

the waist dart.
Extend the blouse length 2” from the hip line.
Draw the new side seam to be perpendicular to the
hem.
Measure out 2” from the side seam at the hem.
Redraw the side seam.
Lower the neck */,” at the center front and measure
in */y” from the neck on the shoulder.
Reshape the new neckline.
Draw a slash line, from the bust point, perpendicu-
lar to the hem.

Facing:
¢ Measure in 1'/,” from the neck on the shoulder.
¢ Measure down |'/,” from the neck at the center
front.
Drawing 10.67 ¢ Draw the facing parallel to the neckline, as shown.
* Trace the facing separately.

Age Apparel Making in elie ean

Drawing 10.68.

¢ Cut along the slash line to the bust point.

* Close the side dart so that the slash line spreads
open at the hem.
¢ Add a°/x” extension to the center front.
¢ Balance the difference in flare between the
front and back bodices, referring to Chapter 4
(Drawing 4.13).

. Drawing 10.68
Drawing 10.69. Pin tucks.

* Each pin tuck is °/;,” wide, 6” long, and spaced °/;”

apart.
* Note: Because it is placed on a fold, the first pin
tuck at the center front is half of the */1¢”.
¢ Measure °/,” from the first pin tuck and draw the
second pin tuck °/;,” wide, ending even with the
first.
* Measure °/s” from the second pin tuck and draw
the third.

Drawing 10.69

Gs ee 4 13
Drawing 10.70. Peter Pan Collar.

* Refer to the Peter Pan collar instructions from

Drawing 8.23 in Chapter 8, using the following
dimensions:
Collar width = 2”.
Front and back shoulder tip overlap = !/,”.
* Mark a notch at the shoulder on the neckline.
NIH

Drawing 10.70

Drawing 10.71. Puff sleeve.

* Trace the straight sleeve sloper.

* Measure down 3” from the biceps line for the
sleeve length.
* Taper in °/,” at each side.
* Refer to the puff sleeve instructions from Drawing
9.9 in Chapter 9, using the dimensions shown.
Drawing 10.7|

Drawing 10.72.

Drawing 10.72

i (eee ee A aay tl Drawing 10.73. Cuff band.

| Arm circumference ee tl
* Refer to the piping cuff instructions from Drawing
Drawing 10.73 7.19 in Chapter 7, using the dimensions shown.

414 Ap eae Whakina in eihion Design

Drawing 10.74. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Back
facing
Cut 2

Drawing 10.74

wi bluse 415
CASCADE COLLAR
BLOUSE

Pattern Analysis
* The underarm point is raised for the sleeveless
armhole.
* The front and back necklines are reshaped.
* The detail pattern developed for the cascade collar
blouse is:
Cascade collar.

Illustration (0.10

Drawing 10.75. Back.

Trace the back blouse foundation.

Reshape the center back line with a straight line.
Measure down 6” from the waistline at the center
back.
Draw the new hemline with a straight line.
Lower the neck 3/9”.
Raise the underarm */.” at the side seam.
Measure in 1” plus the shoulder dart intake from
the shoulder tip, and mark.
Reshape the armhole from the mark to the raised
underarm with a smooth line.

Draw the collar edge:

Measure in 3” from the neck at the shoulder.
Measure down 3” from the neck at the center back.
Draw the collar edge.
Trace the collar separately.

Drawing 10.75

416 Apparel Making in oe Design

Drawing 10.76.

¢ Adda °/s" extension to the center back.

ie)

¢ Mark the first buttonhole '/,” from the neck at the

center back.
* Refer to the instructions given in the Button
Placement section of Chapter 7 to mark the button
and buttonhole placements on the center back line,
as shown.

Facing:
¢ Measure in 2” from the extension edge at the hem.
* Draw the facing from the hem to the neck with a
straight line.
* Trace the facing separately.

Drawing 10.76

Drawing 10.77. Front.

° Trace the front blouse foundation.

¢ Measure down 6” from the waistline at the center
front.
* Draw the new hemline with a straight line.
¢ Measure in ?/x” from the neck on the shoulder.
¢ Lower the neck 4” at the center front.
* Reshape the neckline with a slightly curved line.
* Raise the underarm °/,” at the side seam.
¢ Measure in 1” from the shoulder tip, and mark.
* Reshape the armhole from the mark to the raised
underarm with a smooth line.
* Reposition the side and waist dart points 1'/4” from
the bust point.

Collar:
* Measure in 3” from the neck on the shoulder.
* Note: The front and back collar widths at the shoul-
der seam are equal.
* Draw the collar edge from the shoulder to the
waistline at center front with a slightly curved line.

Drawing 10.77

Nolkstade. BOE
 Drawing 10.78. Cascading collar.

¢ Trace the collar separately.

* Refer to the cascading collar instructions from
Drawing 8.32 in Chapter 8 to develop the cascade
collar, as shown.

Drawing 10.78

Drawing 10.79.

* Reshape the neckline and collar edge, as shown.

Drawing 10.79

418 Apparel Making in Bei on atige

Drawing 10.80. Finished patterns.

° Label the pattern pieces and mark the notches and

grain lines, as shown.

Back @®
facing
Cut 2

aN

Drawing 10.80

we dite 4 /9
CAP SLEEVE BLOUSE

Pattern Analysis
* The right and left front patterns are developed sep-
arately for the surplice bodice.
¢ Waist darts are not sewn.
* Detail patterns developed for the cap sleeve blouse
are:
Italian collar.
Cap sleeve without armhole seam.

Illustration 10.1I

Drawing 10.81. Back and Front.

Trace the blouse foundation, but do not trace the

waist dart.
Measure down 5” from the waistline on the side
seam.
Reshape the hem, as shown.
Extend the shoulder line 3” then square down 1!/,"
and label X.
Shape the shoulder line from the shoulder tip to
point X, as shown.
Measure down 4” from the shoulder tip along the
armhole and label Y.
Shape the cap sleeve from point X to Y, as shown.

Back:
Ease the shoulder dart out at the armhole.
Lower the neckline 3/.”.

Drawing 10.8!

420 Apparel Mahing in isi, Design

Drawing 10.82. Front.
neaiasee ES IR EEOR I IL ALN TATA I

¢ Trace the entire front blouse foundation.

Neckline and notch:

¢ Measure in */s” from each side of the neck on the
shoulder and label A and A’.
¢ Measure down 4” from the neck at the center front
and label B.
¢ Measure up 1'/,” from the waistline on both side
seams and label C and C’.
¢ Connect point A to C, passing through B, with a
curved line.
¢ Connect point A’ to C’, passing through B, with a
curved line.
Mark a notch at each side seam on the waistline.

Drawing 10.82

Drawing 10.83.

¢ Trace the left and right side separately.

Wert Right

Drawing 10.83

Thedsbuse. 434
 Drawing 10.84. Left front.

¢ Measure in 3” from point C on line AC, and label D.

* Square down from point D to the hem.

Tie and facing:

¢ Draw the tie strap at east 28” long, starting from
point D.
Shape the bottom of the tie, blending with the hem.
Separate the tie from the front bodice.
Draw the neck facing 1!/," wide, along the neck-
line, from point A to D.
Trace the facing separately.

Drawing 10.84

422 Apparel Mahing in ohion Design

Drawing 10.8 5. Right front.
SRE
ee ne eae ee eee pentane enna ace TG

Draw three slash lines 1” apart, beginning 1!/,”

down from the waistline notch on the left side
seam, and curving up to the bust point, as shown.

Drawing 10.85
Drawing 10.86.

Cut along the slash lines to the bust point.

Close the side dart and spread the slash lines 11/,"
each.
Measure in 3” from point C’ on line A’C’, and
Drawing 10.86
label Dr
Square down from point D’ to the hem.
Mark the pleat lines 2” long on each slash line.
Reshape the side seam.

Tie and facing:

Draw the tie strap at least 28” long, starting from
point D’.
Shape the bottom of the tie, blending with the
hem.
Mark a notch 2” down from the notch at the waist-
line, on the right side seam, for the slit.
Draw the neck facing 1!/," wide, along the neck-
line, from point A’ to D’.
Trace the facing separately.

Ns Ts 423
 Drawing 10.87. Italian collar.

* Refer to the Italian collar instructions from

Drawing 8.20 in Chapter 8, using the dimensions
shown.
AA! = 1".
A'C= 1",
OB ay ha
BB’ — aha:

B’E = 4".

Drawing 10.87

Drawing 10.88. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.
Left side
facing
Cut |
Front
left side
Cut |

-@)

Drawing 10.88

~ Right side
facing
Cut 1

Front
right side
Cut 1

424 Apparel Making im kes Design

RAGLAN SLEEVE BLOUSE
ES a

Pattern Analysis
Waist darts are not sewn.
Side seams are straight, creating a box silhouette.
The neckline is lowered to accommodate pulling
on the garment.
The side dart is transferred to the neckline, then
converted to shirring.
The detail pattern developed for the raglan sleeve
blouse is:
Folklore sleeve.

Illustration 10.12

Drawing 10.89. Back and front.

a een gn en ee

¢ Trace the blouse foundation, but do not trace the

waist dart.
¢ Measure down 2” from the waistline, and draw the
new hemline straight.
¢ Lower the neck 2”.
¢ Lower the armhole 1”.
° Measure out 1” at the underarm point, then draw
the new side seam.

Back:
4) ay:

* Measure in the amount of the shoulder dart intake

from the shoulder tip.
* Reshape the armhole to remove the dart.
* Reshape the center back line with a straight line.

Drawing 10.89

“),@ Lee 4 25
 Drawing 10.90. Back raglan sleeve.

* Refer to the raglan sleeve instructions from

Drawing 9.56 in Chapter 9 to complete the raglan
sleeve, using the following dimensions:
AB = 83/4".

BC = 17/4".
Cap height = 5”.
AE = 14",
EF = 7".

Drawing 10.90

Drawing 10.91. Front raglan sleeve.

Sen eeae ne

* Refer to the raglan sleeve instructions from

Drawing 9.60 in Chapter 9 to complete the raglan
sleeve, using the following dimensions:
A'B! = 87/4",
1 i Oeil Puls
Cap height = 5”.
A’E' = 14".
E'F’ = 6!/,".

Drawing 10.51

426 _Appiivel Making in os Disign

Drawing 10.92. Back bodice. :

* Separate the bodice and sleeve pattern.

¢ Add a 2” extension to the center back for shirring
intake.

Drawing 10.92

Drawing 10.93. Front bodice.

* Separate the bodice and sleeve pattern.

¢ Transfer the side dart to the neckline.
¢ Adda 2” extension to the center front for shirring
intake.

Drawing 10.93

Drawing 10.94. Sleeve.

¢ Trace the back and front sleeves, spaced 2” apart,

as shown.
¢ Add 1” at the hem and ?/,” at the top, then reshape
the sleeve.

Drawing 10.94

Thetsbiie. 497
 Drawing 10.95. Finished patterns.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

wl

(>)

Drawing 10.95

428 _Apparel Making in Pein Design

 o- ler Eb ven
ee
THA
.
INTRODUCTION TO THE One-Piece Silhouette Variations |
ONE-PIECE
One-piece dresses can be classified into three basic
categories: straight, A-line/flare, and fitted.

Fitted
a)he one-piece dress is one of the oldest garment This silhouette is fitted at the waist and bust, and
designs in existence. Its pattern is unique in that the may be fitted or flared at the hemline.
bodice and skirt are connected to form one unit. The
function of a one-piece dress can range from casual to Straight
business to formal, and will have an impact on the style This silhouette falls straight down from the shoulder
line and design details. The use of different types of to the hem.
necklines, sleeves, and collars can enhance the overall
appearance and allow for different functions, as well. A-line/flare
This silhouette flares out from the underarm seam to
the hem in an A-shape.

Fitted Straight

Illustration {1.1

430 Apparel Making in ee Design

One-Piece Style Line Variations flare) can be applied to any of the basic categories.
Experimenting with waistline placement can result
To generate even more silhouettes, different style in unlimited variations of the skirt shapes of the
lines and design details (e.g., darts, pleats, tucks, dress, as well.

Illustration {1.2

Sheath Dress Natural Waistline

This is a close-fitting style, owing its shape to waist This style line has a seam at the natural waistline that
darts. It is somewhat narrow at the hemline and gener- connects the bodice and skirt. Generally, it is accent-
ally features a slit at the back to allow for movement. ed with a belt or sash.

Shift Dress Low Waistline

This style falls straight from the shoulder to the hem- This style line is placed below the natural waistline,
line, which can also be flared out at the side seam. anywhere between the waistline and the hip line.

Princess Style Line High Waistline

The princess line starts from the armhole or mid-shoul- This style line is placed above the natural waistline,
der and continues over the dart point, blending into the anywhere between the waistline and the bust line.
waist dart. The darts are converted to the princess style When placed immediately below the bust line, this
line. Fullness can be added to each panel hem. style is called an Empire waistline.

ae Caen Sas eM
 HICH WAIST ONE-PIECE
—
a ee SS RES ae Ss

Pattern Analysis
* This is an above-knee length, high waistline.
* Waist darts are transferred to the hem.
* Side darts are transferred to the waist dart.
* Marker directions are provided for garment patterns.
* Detail patterns developed for the high waist one-
piece are:
Flared sleeve.
Scooped neckline.
Neckline facing.

Illustration 11.3

432 Apparel Making in ian =) wisgn

 ¢ Reshape the hem with a slight curve, ending
square at the inseam and out seam.
¢ Trace the front and back blouse foundation.
Back:
¢ Extend the length 12” from the hip line. ¢ Lower the neckline °/” then reshape.
¢ Measure up 4” from the waist and draw the new ¢ Measure out 1” from the center back at the hem
waistline. and draw a line from the new waistline.
¢ Measure out 2” from the side seam at the hem and
mark. Front:
¢ Draw the side seams from the new waistline to ¢ Lower the neck 3” at the center front, and measure
marks. in °/x” from the neck on the shoulder.
¢ Reshape the neckline.

Drawing II.l

ns One Piae elias LSS

 Drawing 11.2. Back. ;
AIE
enn eeennweeeesoes —— tirade ee

* Cut along the new waistline.

¢ Measure down 1'/,” from the neck at the center
back, and measure in |'/,” on the shoulder.
¢ Draw the facing parallel to the neckline.
« Trace the facing separately.

Drawing Il.2

Drawing 11.3. Front.

¢ Cut along the new waistline.

¢ Transfer the side dart to the waist dart.
¢ Reshape the side seam.
¢ Measure down 1!/,” from the neck at the center
front and measure in 1'/,” on the shoulder.
* Draw the facing parallel to the neckline.
« Trace the facing separately.
Drawing II.3

Drawing 11.4. Back and front skirt.

ae

* Draw a slash line from the dart point perpendicu-

lar to the hem.

Drawing {1.4

434 Apparel Maing in Bahicn eLiedign

Drawing 11.5. Back and front.

¢ Cut along the slash line.

T)

| I! it |i q

in ili
| \ I \

\ I \ ie
| \ | \
- =—| [a=

Drawing II.0

el

Drawing 11.6. Back and front.

¢ Match the two dart legs (dashed lines) at the waist-

line, and spread the slash lines 2” at the hem.
* Note: This will close the waist dart. The spread
amount can be varied as desired.
¢ Reshape the waistline and hem.

Sa

ed
eae
WSS

Drawing II.6

ae Oar wane ASS

 Drawing 11.7. ee ee ae ee

* Trace the straight sleeve sloper

* Measure down 1°/s” from the biceps line.
* Draw two slash lines on each side of the center
line, spaced 2” apart, as shown.

Drawing II.7

Drawing 11.8.
“aff ~ ~

* Cut along the slash lines, including the center line

to, but not through, the sleeve cap.
: y 1 * Spread each slash line 1'/,” at the hem.
ly 17 $ * Reshape the hem.
* Draw the center line.
Drawing 11.8

436 Apparel Making in Bheskinn aan

Drawing 11.9. Finished patterns.
ee ere Se otter
tr see NSH

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Back
facing

Drawing 11.9

eg Cherie oles 437

Drawing 11.10.

¢ Add the seam allowances:

Sleeve cap, armholes, necklines, facings, and
waistline = 3/,”.
Center back, side, shoulder seams, and sleeve
hem = °/,”.
Hems = 1!/,”.

coln

Drawing II.10

438 Apparel Making in aa hee Design

Drawing 11.11. Garment marker. the fabric and sizes of the pattern pieces will dic-
Ot RG SSA a a ee tate how the pieces are laid. Much of this process
* The garment marker is produced by laying out all is handled by computers in industry, but it is still
of the pattern pieces on the fabric. The pattern important to be familiar with the relationship
pieces should be placed so that their grain lines between fabric and pattern.
match the straight grain of the fabric. The width of

60 inch

Drawing II.{I

Dial iedel i. 98S

 ONE-PIECE
CONSTRUCTION

« Attach the interfacing to the center back zipper

placement and facings.
¢ Apply straight tape at the front and back neckline
edges.

Drawing I1.12

440 Apparel Making in ele, Design

Drawing 11.13.

¢ Serge or zigzag the seam allowances.

wNE
eC

Drawing 11.13

We Ouee Lie 44]

 Drawing 11.14. Back and front bodice. Stitch the back panels together at the center back
from the zipper placement to the hem notch, then
* Sew the darts, then press toward the center back press the seams open.
and front. Attach the invisible zipper to the center back.
¢ Attach the skirt at the waistline of each panel, then Stitch the front and back bodice shoulder seams,
press the seams open. then press the seams open.

Drawing I1.14

Drawing 11.15. Invisible

zipper attachment. _—_« possible,
Stitch the generally
zipper in around
place as '/.”.close to its coils as
* Open the zipper and press to flatten it. * Fold the seam allowances under so that the zipper
* On the right side of the garment, place the zipper coils show slightly.
face down with its teeth aligned on the stitch line. * Repeat for the other side of the zipper.

Drawing {1.15

442 _Apparel Making in Bh sheen Design

Drawing 11.16. ‘Facing-to- bodice attachment.
remorse nectrmimtei moore. cinerfesmamnaranatimeesaanininaetie imminent nn

* Attach the front and back facing shoulder seams,

then press the seams open.

Drawing 11.16

Drawing 11. 17

Attach the facing to the bodice neckline, with the

right sides together.
Stitch around the neckline.
Trim and clip the seam allowances.
¢ Press the seam allowances toward the facing, then
under-stitch the seam allowance to the facing.
¢ Turn the facing toward the inside of the garment,
then press.
° Stitch the side seams, then press open.

Drawing II.17

Drawing 11.18. Sleeve.

¢ Stitch the underarm seam, then press open.

* Roll, stitch, then press the hem.
¢ Place two rows of basting around the sleeve cap,
between the notches.
¢ Shape the sleeve cap by distributing the ease evenly.
¢ Match the notches, underarm seam, and shoulder
point, then stitch to set the sleeve into the bodice.
¢ Serge or zigzag the seam allowances, then press Drawing 11.16
them toward the sleeve.

Ws Oe Pplece Dew 443

 Drawing 11.19. Finishing.

¢ Fold the hem, then catch stitch the hem.

¢ Tack the facing to the zipper and shoulder seams.
* Attach the hook and eye at the top back of the neck
opening.

Drawing 1.19

Drawing 11.20.
So
Sanne

¢ Press and finish.

Drawing 11.20

444 Apparel Mabing in Wihion Design

BOAT NECK ONE-PIECE

Pattern Analysis
¢ This is a below-knee-length sheath dress.
¢ It has a tapered hem.
* Detail patterns developed for the boat neck one-
piece are:
Boat neckline.
Back slit.
Neckline facing.
Three-quarter-length sleeve.

Illustration 11.4

ec / i 2
oF oF ge aoe 445
 Drawing 11.21. Back and front. ¢ Reshape the neckline.
7 = > 4 es ; ¢ Mark a notch 18” down from the neck point at the
* Trace the blouse foundation. center back, for zipper placement.
* Extend the length 16” from the hip line. * Label each pattern.
* Measure in */g” from the side seam at the hem. Front:
* Draw the new side seam from the hip line to the hem. * Lower the waist dart 1” from the bust point.
¢ Mark a notch 6” above the hem at the center back ¢ Reposition the side dart point 1'/,” from the bust
for the slit. point

Back: ¢ Lower the neck °*/,” at the center front, and meas-
¢ Lower the neck */.” at the center back, and measure ure in 2” from the neck on the shoulder.
in 2” from the neck on the shoulder. * Reshape the neckline.

|
l
l

}
(
Y
6
y
Y
4
y
y)
g
y
4
4
4
g
j
en Z
a
8

Drawing 11.21

446 Apparel Meabing im Pshion Design

Drawing 11.22. Back and front facing. ‘

¢ Measure down 1!/,” from the neck at the center

back and center front. 4
¢ Measure in 1!/,” from the neck on the shoulder.
¢ Draw the facing parallel to the neckline, as shown.
¢ Trace the facing separately.

Drawing 11.22

Drawing
FeNTR
11.23.
NTT
Sleeve. EE

¢ Trace the tight sleeve sloper.

¢ Measure down 4” from the elbow line, and draw
the new hemline.

Drawing 11.23

whe GES ae 44
 Drawing 11.24. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Sleeve
Cut 2

Drawing 11.24

448 Ap eal Mahing in Skin Design

PRINCESS LINE ONE-PIECE
Ui

Pattern Analysis
¢ This is a tea-length, princess line dress.
¢ The armholes are raised and reshaped.
¢ Detail patterns developed for the princess line one-
piece are:
Square neck.
All-in-one facings at neckline and armhole.
Inverted pleats added between front princess lines
as a slit.

Illustration 11.5

De Chale. cys 449

Drawing 11.25. Back and front. Reshape the armhole.
Mark the midpoint of the hip line.
¢ Trace the blouse foundation, but do not trace the Draw a line from the waistline perpendicular to the
shoulder dart. hem, passing through the mark.
¢ Extend the length 24” from the hip line. Center the waist dart on this line.
¢ Lower the neck 1!/,” at the center back and front. Draw a princess line from the armhole, blending
¢ Measure in 2” from the neck on the shoulder. into the waist dart.
¢ Draw the square neckline, as shown. Mark the notches on the princess line, as shown.
¢ Measure out 2” from the neck on the shoulder.
Raise the underarm 3/,” at the side seam.

Drawing 11.20

24"

450 Apparel Making in es hion Design

Drawing 11.26. Back and front facing.

Measure down 4” from the neck at the center back

and center front.
Measure down 2” from the underarm point at the
side seam.
Draw the facing from the center back to the side
seam, as shown.
Trace the facing separately.

2")

Drawing II.26

O Cees oa ASd
 Drawing 11.27. Back.
— ne i eS

* Cut along the princess line, eliminating the waist

dart.

Drawing 11.27

452 Apparel Making in SE lien Design

Drawing 11.28. Front.
Poo

¢ Cut along the princess line, eliminating the waist

dart.
¢ Close the side dart.
Measure down 10” from the hip line, on the
princess line, and mark.
Add a 2” pleat extension to both sides of the
princess line, as shown.
¢ Mark the fold line on each extension, then meas-
ure down 3/,” and mark.
¢ Connect the marks to the extension edges, as
shown.

bee
ti

Oddie
RSSR|RESM|S,L_|L_LAAAAAAAAAA
Drawing 11.28

She (ieee lve ANS 5)

 Drawing 11.29. Finished pattern.

¢ Label the pattern pieces and mark the notches and

grain lines, as shown.

Front ¢
facing +, Q
el
Cut |

Vdd

2 Drawing 11.29
60_
O46
{s{
X66
Vdd
Lilllilliliilliiliilielee

WzNXSSOOS|HA}AALAK{H{AiAAAAA
Q_4AaAd

454 pparel Making in ae Design

py ele Dat abelianrib oaeomclaet
RADAR NE

Pattern Analysis
¢ This is a knee-length, low waistline dress.
¢ Waist darts are not sewn, creating a semi-fitted sil-
houette.
¢ It is double-breasted.
¢ Detail patterns developed for the low waist one-
piece dress:
Asymmetric Revere collar.
Rolled-up cuffs sleeve.
Low-waist waistband.

same
Li

eeee +A

"
So — ry

oe |e |: ele

XM
Illustration 11.6

vie Owls ls 455

Drawing 11.30. Back and front.

¢ Trace the blouse foundation, but do not trace the

waist dart.
* Redraw the center back line to be perpendicular to
the hip.
¢ Extend the length 14” from the hip line.
¢ Measure out 2” from the side seam at the hem.
¢ Reshape the hem, with a slight curve, ending
square to the side seam.
Lower the waistline 2!/,”.
Measure down 2” from the new waistline, and
draw a line parallel to the waistline for a band.

tae 14"

pu oh

Drawing {1.30

456 Apparel Making in i ae Design

Drawing 11.31.

* Separate the pattern along the new waistline and

the band.
* Reposition the side dart point 1'/,” from the bust
point.

Drawing II.3!

Hilhe dnsleitiedy Ves

e- / tece
4 L
, 7
 Drawing 11.32. Right front bodice.

* Trace the entire front bodice, marking the center

front line.
¢ Draw an extension line 2!/,” from center front.
¢ Label A’ at the waist.
¢ Measure in °/9” from the neck on both shoulders
and label B and B’, as shown.
° Draw a 3”-long line from point B’ to the extension
line and label A.
* Connect point B to A.
* Note: The neckline shape may vary according to
design.
° Draw the desired collar style line (BXA).

Drawing 11.32

Drawing 11.33.

* Cut along the neckline B-A-B’, leaving excess

paper at the neck to trace the collar.
° Fold the paper under along line AB.
* Trace the collar style line (B-X-A) with a tracing
wheel.

Drawing 11.33

458 Apparel }}faking in akin Design

Drawing 11.34. Right front bodice.

¢ Unfold the paper and draw the collar style line.

¢ Draw a buttonhole guideline ?/,” in from line AA’.
¢ Mark the first buttonhole !/,” down from A.
¢ Mark the last buttonhole 1” up from A’.
° Space the remaining buttonholes evenly between
the first and last buttonholes for a total of seven.
¢ Measure the distance from the center front to the
buttonhole guideline, then place the buttons that
distance in from the center front line.

Facing:
¢ Measure in 1” from point B on the shoulder.
¢ Measure in 3” from the center front at the waist.
¢ Draw the facing, from the shoulder to the hem, as
shown.
* Trace the facing separately.
Drawing 11.34

Drawing 11.35. Left front bodice.

Trace the left side pattern piece.

Draw the center front line 2!/,” from line AA’.
Add a 2!'/,” extension to the center front.
Draw the neckline, square to the extension from
point A.
Draw a buttonhole guideline */,” from the exten-
sion line.
Mark one buttonhole '/,” down from the neckline.
Measure the distance from the center front to the
buttonhole guideline, then place the buttons the
same distance in from the center front line.

Facing:
Drawing 11.30 ¢ Measure in 1” from point B’ and in 3” from the
center front at the waist.
* Draw the facing, from the shoulder to the hem, as
shown.
* Trace the facing separately.

whe hale eas 459

 Drawing 11.36. Back.
— —E ——————— oe ie

* Lower the neck */y” at the center back, and measure

in >/y” from the neck on the shoulder.
* Reshape the neckline.

Facing:
* Measure down 1'/,” from the neck at the center
back.
* Measure in |!/,” from the neck on the shoulders.
* Draw the facing parallel to the neckline.
* Trace the facing separately.

Drawing 11.36

Drawing 11.37. Sleeve.

a

* Trace the straight sleeve sloper.

* Measure down 3” from the biceps line, then draw
the new hemline.
* Taper the underarm seam.

Drawing 11.37

Drawing 11.38. Cuff.

near
enenarenteneennrententenniyiran/atnmatanineacntinpeninineechr
ene anne:

* Measure up '/,” from the hem and mark.

* Add 3'/,” to the hem for the roll-up cuff.
* Mark the fold line of the cuff.
* Fold the cuffup then redraw the underarm seam.

Drawing 1.38

Drawing 11.39.
= _

* Separate the turned back cuff.

Drawing 11.39

460 ~- Apparel }}laRing in ES Design

 Drawing 11.40. Finished patterns.

* Label the pattern pieces and mark the notches and

grain lines, as shown.

Front © Front
right side left side
Cut | @, Cubl

C
B
»

Back Front
waistband waistband
bf Cut 1 Cut 1 C @
B F
- Front
right side
facings.
Cut 2

Drawing 11.40

_ e
Sleeve

Va (cee oes 4of

 Appendices

APPENDIX A DECIMAL-TO-FRACTION CONVERSION CHAR’

Whenever it is necessary to adjust measurements mathematically, convert the resulting decimal values to a ruler-friendly
fraction, using the following chart. Begin by locating the range that contains the number that you would like to convert.
Then, use the chart to translate that range to either a decimal or fractional standard.

Example: An adjustment requires that you divide 5'/.” by 3, which yields 1.833.
The decimal portion (0.8333) falls on the chart nearest decimal 0.8125 for fraction !3/\6.
Thus, the number used is 1!3/1¢.

FRACTIONS DECIMAL RANCE

Ihe 0.0625 0.031—0.093
ve 0.1250 0.094—0.155
3/46 0.1875 0.156—-0.218
UP 0.2500 0.219-0.280
46 0.3125 0.281-0.343
3/5 0.3750 0.344—0.405
Ih6 0.4375 0.406—-0.468
lo 0.5000 0.469-0.530
46 0.5625 0.531—0.593
°/g 0.6250 0.594—0.655
Mie 0.6875 0.656—0.718
sei 0.7500 O:719=0:780
'Sh6 << 0.8125 — 0.761-0,843 =-——
15 0.8750 0.844—0.905
S16 . 0.9375 0.905—0.968
1 1.0000 0.969-1.030

462 Appared Making in esha ee.

APPENDIX B SYMBOLS
CTS: Cnn LLM LLL EEN

Finished line SS Grain line

Original line Bias grain

Facing line Right angle

Remove dart

Shirring

Stretch

Shrink

Inverted

Equal length = Center front

Center back

Bust point

_Anpendices 463
APPENDIX C GLOSSARY OF TERMS

Various terms and phrases are used in this text with very specific definitions in mind. Because these definitions will not
necessarily be clear from their common usage, the reader is encouraged both to review the definitions given here and
periodically to recheck them when they are encountered in the text.

Blend To merge one thing into another, such as when a style Raise To measure up on or from something, such as when
line is integrated into the body of an existing dart. shortening a hem.
For example, “Blend the princess line into the waist dart.” For example, “Raise the hip line 3" or as desired.”

Ease In _ The process of not sewing a dart and then sewing the Remove (the dart) The process of not sewing a dart and then
resulting excess into the finished garment. This 1s sometimes removing the resulting excess from an adjacent location on the
done by pressing the fabric to temporarily shrink it. same pattern piece.
For example, “. . . the dart will be eased in as it is sewn.” For example, “Remove the shoulder dart out at the armhole.”

Eliminate Literally to cut something out ofa pattern, essen- Reposition To move or relocate something to a new location
tially leaving a hole where it was before. on the pattern.
For example, “Slash the princess line, eliminating the waist dart.” For example, “Reposition the waist dart... .”

Erase To erase something from the pattern, so that it will not Reshape To redraw a line, such as after moving one of its end
later be traced or sewn. points.
For example, “Erase the dart from the pattern.” For example, “Reshape the armhole, using the marks.”

Extend To continue a line or edge in the same direction where it Separate To cuta section of a pattern out of the whole, such as
ends. when removing a placket.
For example, “Extend a line 3" from the shoulder point.” For example, “Separate the placket... .”

Extension An addition made to the leading edge of something. Smooth To redraw a line, removing any rough or angular por-
For example, “Add a 3" extension to the side seam.” tions in it, such as are left after a dart is eliminated from a pattern.
For example, “Smooth the princess line.”
Lower To measure down on or from something, such as when
lengthening a hem. Trace Separately To trace a pattern in whole or in part on a
For example, “Lower the hip line 3" or as desired.” new piece of paper.
For example, “Trace the facing separately.”
Measure In To measure from a given point toward the interior
of the pattern.
For example, “Measure in 2" from the mark.”

Measure Out To measure from a given point away from the

interior of the pattern.
For example, “Measure out 2" from the mark.”

464 Apparel Making in Lee Design

 = n a: fehi
EMM a ar a RSS LSSRasOnean cee ENON HO AN Ae A poe NB eh an

A-line blouses, 376, 376-377 shell blouses, 373 notched collars, 313-318
A-line culotte skirts, 132-134 shirt collar blouses, 383-390 oblong collars, 320
A-line dresses, 430 stock-tie blouses, 374 open collars, 319
A-line skirts, 55, 78-79 straight blouses, 375 shawl collars, 308-312
Accordian pleats, 105 tunic blouses, 373 wing collars, 321
All-in-one facings, 249-250 tuxedo blouses, 374 rolled collars, 291-295
Ankle circumference, 3 Boat neck one-piece dresses, 445-448 convertible collars, 293
Ankle length (pant length), 6 Bodice slopers, 24-34 Italian collars, 295
Armhole depth, 5 Body measurements, 1—6 shirt collar with separate stand, 294
Armhole and neckline facings, 250-251 back, 5 shirt collars, 292
circumferences, 3 standing collars, 286-290
Back darts, 230-233 depths, 6 mandarin collars, 288
Back princess style line, 236-237 general guidelines, 2 ribbon collars, 289
Back shoulder slope, 5 lengths, 4 ruffle collars, 290
Back shoulder width, 5 Box pleat slirts, 111-112 Convertible collars, 293
Back yoke style line, 234-235 Box pleats, 105 Converting skirt darts, 197
Baggy pants, 185-186 Bust circumference, 3 Cowl sleeves, 338
Balloon skirts, 125-128 Bust point length, 4 Cross grain, 8
Band collar blouses, 405-410 Bust point width, 4 Crotch depth, 6
Band cuffs, 244 Buttonholes, 242-243 Crotch length, 6
Basic slopers, 16 Buttons, 240-241 Cuffs, 244-247
Batwing sleeves, 350, 353 Culotte skirts, 129-131
Bell bottom pants, 167-169 Calf pants, 143 A-line culotte skirts, 132-134
Bermuda shorts, 142, 143 Cap sleeve blouses, 420-424 inverted pleat culotte skirts, 135-137
Bias grain, 8 Cap sleeves, 340-341
Bias-binding waistbands, 282 Cape collars, 302-303 Dart manipulation in skirts, 60-62
Biceps circumference, 3 Capri pants, 142, 143 Darts, 193-237
Bishop sleeves, 336 Cargo pants, 142 additional slash and spread, 214-216
Blending, 12 Cascade collar blouses, 416-419 back dart, 230-233
Blouses, 371-428 Cascade collars, 301-302 back princess style line, 236-237
A-line blouses, 376, 376-377 Center back length, 5 back yoke style line, 234-235
background, 372-382 Cigarette pants, 141 background, 194-199
components, 372 Circle cuffs, 244, 246 converting skirt darts, 197
construction of blouses, 391-404 Circular skirts, 56, 90-101 dart equivalent, 197
foundation, 381-382 Classic tailored plackets, 266-267 dart intake, 195
silhouette variations, 375—380 Classic waistbands, 279 dart manipulation, 198-199
styles, 374 Collars, 283-326 dart placement, 196
variations, 373 background, 284-285 dart point, 195
band collar blouses, 405-410 components, 285 pivot method, 198-199
cap sleeve blouses, 420-424 variations, 284 slash and close method, 198-199
cascade collar blouses, 416-419 flat collars, 296-303 intersecting dart converted to
fitted blouses, 378 cape collars, 302-303 fullness, 225—229
gypsy blouses, 374 cascade collars, 301-302 multiple darts, 205-207
middy blouses, 373 Peter Pan collars, 298-299 one-position dart, 200-202
overblouses, 373 ruffle collars, 299 princess lines, 208
peplum blouses, 373 sailor collars, 300-301 style lines, 208-213
pin-tuck blouses, 411-415 lapel collars, 304-323 stylized dart, 220-224
princess line blouses, 379-380 Napolean collars, 322—323 two-position dart, 203-204
raglan sleeve blouses, 425-428 neckline variations, 306—307 yoke style line with fullness, 217-219

Soller. 965
Dolman sleeves, 350, 354 Leggings with elastic band, 180-184 Pants, 139-191
Draped skirts, 121-124 Length variations in skirts, 53-54 background, 140-143
Dresses. See One-piece dresses Low cowl necklines, 257 components of, 140
Low waistline dresses, 431, 455-461 construction of, 152-158
Ease, 11 Low waistline skirts, 58 lengths, 142—143
silhouette variations, 141
Faced turned-back cuffs, 247 Mandarin collars, 288 style variations, 142
Facing waistbands, 281 Mandarin sleeves, 350 baggy pants, 185-186
Facings, 248-252 Measurements. See Body measurements bell bottom pants, 167-169
Fitted blouses, 378 Middy blouses, 373 hip-hugger pants, 164-166
Fitted dresses, 430 Multiple darts, 205-207 jean pants, 159-163
Flare dresses, 430 leggings with elastic band, 180-184
Flared yoke skirts, 80-82 Napolean collars, 322—323 short pants, 187-191
Flat collars, 296-303 Natural waistline dresses, 431 straight pants, 144-151
Folklore sleeves, 369-370 Natural waistline skirts, 58 two-pleat pants, 174-179
French cuffs, 244, 246 Neckline and extension edge facings, wide leg pants, 170-173
French sleeves, 350, 355 248-249 Pants slopers, 42-50
Front length, 4 Neckline variations on lapel collars, Pedal pushers, 142, 143
Front shoulder slope, 4 306-307 Pegged skirts, 57, 118-120
Full-length pants, 143 Necklines, 253-261 Peplum blouses, 373
high cowl necklines, 258 Petal sleeves, 334-335
Gathered skirts, 56, 102-103 high necklines, 259-261 Peter Pan collars, 298-299
Gored skirts, 83-89 low cowl necklines, 257 Pin-tuck blouses, 41 1—415
Grain line, 8 round necklines, 256 Piping cuffs, 244, 246
Gypsy blouses, 374 sweetheart necklines, 254 Pivot method in darts, 198-199
V-neckline, 255 Plackets, 262—270
High cowl necklines, 258 Notched collars, 313-318 classic tailored plackets, 266-267
High necklines, 259-261 Notches, 10 rugby plackets, 263-264
High waistline dresses, 431, 432-439 shirt plackets, 264-265
High waistline skirts, 59 Oblong collars, 320 sleeve plackets, 269-270
Hip circumference, 3 One-and-one-half-piece sleeves, 342 slit plackets, 268
Hip depth (hip line), 6 One-dart skirts, 62 Pleated skirts, 104-105
Hip-hugger pants, 164-166 One-piece dresses, 429-461 box pleat skirts, 111-112
Hot pants, 142 A-line dresses, 430 inverted pleat culotte skirts, 135-137
background, 430-43 | inverted pleat skirts, 106
Intersecting dart converted to fullness, construction, 440-444 side pleat skirts, 107-110
225-229 silhouette variations, 430 Pleats and darts, 197
Inverted pleat culotte skirts, 135—137 style line variations, 431 Pockets, 271-277
Inverted pleat skirts, 106 boat neck one-piece dresses, bound pockets, 274-275
Inverted pleats, 104 445448 front hip pockets, 272
Italian collars, 295 fitted dresses, 430 inseam pockets, 273-274
flare dresses, 430 inside pockets, 272
Jamaica shorts, 143 high waistline dresses, 431, 432-439 patch pockets, 276-277
Jean pants, 159-163 low waistline dresses, 431, Princess line blouses, 379-380
455-461 Princess line one-piece dresses, 449-454
Kabuki sleeves, 350 natural waistline dresses, 431 Princess lines, 208
Kimono sleeves, 328, 350-355 princess line one-piece dresses, 431, Proportional method for sloper
Knee length (knee line), 6 449-454 development, 16
Knee-length shorts, 143 sheath dresses, 431 Puff sleeves, 332-333
Knife pleats, 104 shift dresses, 431 Pull-on waistbands, 280
straight dresses, 430 Puritan or pilgrim collars, 298-299
Labeling, 12 One-piece sleeve styles, 331
Lantern sleeves, 339 One-position dart, 200-202 Raglan sleeve blouses, 425-428
Lapel collars, 304—323 Open collars, 319 Raglan sleeves, 328, 356-370
Leg-of-mutton sleeves, 337 Overblouses, 373 Ribbon collars, 289

466 Apparel Making in Sic, Design

Riding pants, 142 inverted pleat culotte skirts, 135-137 skirt slopers, 17—23
Rolled collars, 291-295 inverted pleat skirts, 106 sleeve slopers, 35-41
Rolled-up cuffs, 244 pegged skirts, 118-120 Soutien collars, 298-299
Round necklines, 256 pleated skirts, 104-105 Standing collars, 286-290
Ruffle collars, 290, 299 side pleat skirts, 107-110 Stock-tie blouses, 374
Rugby plackets, 263-264 tapered skirts, 63~70 Stovepipe pants, 141
tiered skirts, 113-115 Straight blouses, 375
Sailor collars, 300-301 wrap skirts, 116-117 Straight dresses, 430
Seam allowances, 9 Slash and close, 14 Straight grain, 8
Set-in sleeves, 328, 331-349 Slash and close method in darts, Straight pants, 141, 144-151
Sewn-on cuffs, 245 198-199 Straight skirts, 55
Shaw] collars, 308—3 12 Slash and spread, 13, 214-216 Style lines, 208-213
Sheath dresses, 431 Sleeve length, 4 Stylized dart, 220-224
Shell blouses, 373 Sleeve plackets, 269-270 Sweetheart necklines, 254
Shift dresses, 431 Sleeve slopers, 35-41
Shirring and darts, 197 Sleeves, 327-370 Tapered pants, 141
Shirt collar blouses, 383-390 background, 328-330 Tapered skirts, 63-70
Shirt collars, 292 sleeve cap and armhole position, Tiered skirts, 113-115
Shirt collars with separate stand, 294 330 Toreador pants, 142
Shirt cuffs, 244, 245 sleeve cap height, 329 Truing, 11
Shirt plackets, 264-265 variations, 328 Trumpet skirts, 57
Short measure method for sloper kimono sleeves, 328, 350-355 Tuck darts, 197
development, 16 batwing sleeves, 350, 353 Tunic blouses, 373
Short pants, 187-191 dolman sleeves, 350, 354 Turned-back cuffs, 247
Short shorts, 143 French sleeves, 350, 355 Tuxedo blouses, 374
Shoulder length, 4 raglan sleeves, 328, 356-370 Two-piece sleeves, 343-349
Side pleat skirts, 107-110 examples, 367-370 Two-pleat pants, 174-179
Silhouette variations in skirts, 55—57 folklore sleeves, 369-370 Two-position dart, 203—204
Skirt darts, 197 raglan sleeve with dart, 357
Skirt slopers, 17—23 raglan sleeve with sleeve sloper, 364 V-neckline, 255
Skirts, 51-137 raglan sleeve without dart, 362
A-line culotte skirts, 132-134 set-in sleeves, 328, 331-349 Waist circumference, 3
A-line skirts, 78-79 bishop sleeves, 336 Waistband facings, 251-252
background, 52-62 cap sleeves, 340-341 Waistbands, 278-282
components of skirts, 52 cowl sleeves, 338 bias-binding waistbands, 282
construction of skirts, 71-77 lantern sleeves, 339 classic waistbands, 279
dart manipulation, 60-62 leg-of-mutton sleeves, 337 facing waistbands, 281
length variations, 53-54 one-and-one-half-piece sleeves, 342 pull-on waistbands, 280
silhouette variations, 55—57 one-piece sleeve styles, 331 Waistline variations in skirts, 58—59
waistline variations, 58—59 petal sleeves, 334-335 Wide leg pants, 170-173
balloon skirts, 125-128 puff sleeves, 332-333 Wide pants, 141
box pleat skirts, 111-112 two-piece sleeves, 343-349 Wing collars, 321
circular skirts, 90-101 Slim pants, 141 Wing cuffs, 244, 245
culotte skirts, 129-131 Slit plackets, 268 Wrap skirts, 116-117
draped skirts, 121-124 Slopers, 15—50 Wrist circumference, 3
flared yoke skirts, 80-82 basic, 16
gathered skirts, 102-103 bodice slopers, 24-34 Yoke style line with fullness,
gored skirts, 83-89 pants slopers, 42-50 217-219

ae 46]
Riding pants, 142 inverted pleat culotte skirts, 135-137 skirt slopers, 17—23
Rolled collars, 291-295 inverted pleat skirts, 106 sleeve slopers, 35-41
Rolled-up cuffs, 244 pegged skirts, 118-120 Soutien collars, 298-299
Round necklines, 256 pleated skirts, 104—105 Standing collars, 286-290
Ruffle collars, 290, 299 side pleat skirts, 107-110 Stock-tie blouses, 374
Rugby plackets, 263-264 tapered skirts, 63—70 Stovepipe pants, 141
tiered skirts, 113-115 Straight blouses, 375
Sailor collars, 300-301 wrap skirts, 116-117 Straight dresses, 430
Seam allowances, 9 Slash and close, 14 Straight grain, 8
Set-in sleeves, 328, 331-349 Slash and close method in darts, Straight pants, 141, 144-151
Sewn-on cuffs, 245 198-199 Straight skirts, 55
Shawl collars, 308-312 Slash and spread, 13, 214-216 Style lines, 208-213
Sheath dresses, 431 Sleeve length, 4 Stylized dart, 220-224
Shell blouses, 373 Sleeve plackets, 269-270 Sweetheart necklines, 254
Shift dresses, 431 Sleeve slopers, 35—41
Shirring and darts, 197 Sleeves, 327-370 Tapered pants, 141
Shirt collar blouses, 383-390 background, 328-330 Tapered skirts, 63—70
Shirt collars, 292 sleeve cap and armhole position, Tiered skirts, 113-115
Shirt collars with separate stand, 294 330 Toreador pants, 142
Shirt cuffs, 244, 245 sleeve cap height, 329 Truing, 11
Shirt plackets, 264—265 variations, 328 Trumpet skirts, 57
Short measure method for sloper kimono sleeves, 328, 350-355 Tuck darts, 197
development, 16 batwing sleeves, 350, 353 Tunic blouses, 373
Short pants, 187-191 dolman sleeves, 350, 354 Turned-back cuffs, 247
Short shorts, 143 French sleeves, 350, 355 Tuxedo blouses, 374
Shoulder length, 4 raglan sleeves, 328, 356-370 Two-piece sleeves, 343-349
Side pleat skirts, 107-110 examples, 367-370 Two-pleat pants, 174-179
Silhouette variations in skirts, 55—57 folklore sleeves, 369-370 Two-position dart, 203—204
Skirt darts, 197 raglan sleeve with dart, 357
Skirt slopers, 17—23 raglan sleeve with sleeve sloper, 364 V-neckline, 255
Skirts, 51-137 raglan sleeve without dart, 362
A-line culotte skirts, 132-134 set-in sleeves, 328, 331-349 Waist circumference, 3
A-line skirts, 78-79 bishop sleeves, 336 Waistband facings, 251—252
background, 52—62 cap sleeves, 340-341 Waistbands, 278-282
components of skirts, 52 cowl sleeves, 338 bias-binding waistbands, 282
construction of skirts, 71—77 lantern sleeves, 339 classic waistbands, 279
dart manipulation, 60—62 leg-of-mutton sleeves, 337 facing waistbands, 281
length variations, 53-54 one-and-one-half-piece sleeves, 342 pull-on waistbands, 280
silhouette variations, 55—57 one-piece sleeve styles, 331 Waistline variations in skirts, 58-59
waistline variations, 58—59 petal sleeves, 334-335 Wide leg pants, 170-173
balloon skirts, 125-128 puff sleeves, 332—333 Wide pants, 141
box pleat skirts, 111-112 two-piece sleeves, 343-349 Wing collars, 321
circular skirts, 90-101 Slim pants, 141 Wing cuffs, 244, 245
culotte skirts, 129-131 Slit plackets, 268 Wrap skirts, 116-117
draped skirts, 121-124 Slopers, 15—S0 Wrist circumference, 3
flared yoke skirts, 80-82 basic, 16
gathered skirts, 102-103 bodice slopers, 24-34 Yoke style line with fullness,
gored skirts, 83-89 pants slopers, 42-50 217-219

468 _Apparel Making in ee Design

 AN ||

[gay STATE COLLEGE

Injoo Kim Mykyung Un

ISBN
ae f-elb- c

Il
|| 9000

\\} |
|
|

I)
|
|
9"7815 6 3 672163