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    Dress Pattern Designing the Basic Principles of Cut and Fit ( PDFDrive.com )

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    3K views192 pages

    Dress Pattern Designing The Basic Principles of Cut and Fit

    Uploaded by

    Shoaib
    Dress Pattern Designing the Basic Principles of Cut and Fit ( PDFDrive.com )

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    DRESS PATTERN DESIGNING NATALIE. RAY SME See ea Cn ANN HAGGAR ri “A ii : Rs | DRESS PATTERN DESIGNING The Basic Principles of Cut and Fit NATALIE BRAY Former Principal of The Katinka School ‘of Dress Designing, London FIFTH EDITION With Fashion Supplement and illustrations by Ann Hagear BSP PROFESSIONAL BOOKS CCopprigh: ©Nxale Bray 1961, 1966, 17%, BSP Pression Books gts 196 A division af Blackwell Scientific Fahim Supplement ©an Hapaar 1586 Publications Lid Ealtonl Office All gine veseved No pat ofthis (Oaney Mead, afond ORZEL publication mag be repradaed, sored (Gesers Tet es 240301) ina ftncral yen. trarued ‘Jobe Set, Loedoe WCIN 25S ime form oF by ans mea, 22 Asmle Pir, Edinburgh EHD GAP seston, meshanial photocopying 5 Beacon See, Baton ‘reortiag or owheruss without Mavstchusre 2108, USA {he prior perma ofthe 67 Lato Avene, Pais Ato ‘comrighe owner California 84301, USA 17 Barsy Sere, Carina Fis published in Creat ain by ‘Vico 3053, Austatis Crest Leki! & Son Le 1661 Repriniedl 1942, 1 Frinae and bowed im Gress Henin Second edition 1546 1 -Actord, Chichester Reprised 1 Third een 197 Kepresec 1972 Feuredetn mec 194 Aerie 14, 178 179 Revie in paperback IRI by Grasads Pobtuhag dsm 25 LT epontes 188.) thei pe Coli Profesional a Techical Books ie ftsaseo 00 s308 6) eprnted ty RSP Proteome! Books 1967 es Lidoury CCaalegaing 1 Pabeaten Does ray, Mea [Dees paciern designing the basic Petecghs of eut and tS I" Dressing —Puster design [Tale TL Haggar, Ana aaa THE (sax cen ous -x, Aton y Neate Bray More Dress Palten Desenig 4h Eton Wath Fashion Supplement Dy Ann Happar smog res iting 2nd Edison benoinTaE ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN ELEVEN TWELVE THIRTEEN FOURTEEN FIFTEEN SIXTEEN CONTENTS Biographical Note Introductory Applying the Metric System to Practical Patiern Designing Measurements and Block Patterns The Bodice Block (Bodice Analysis) Using the Bodice Block (Introduction to Pattern Designing) Simple Pattern Designing ‘Yoke Styles Dart Manipulation Sleeves Designing Sleeve Pattems Collars Necklines, Revers, Rever-collars, Capes Skirts One-Piece Dress Foundation Designing Skirt Patterns (Gores) Fullness in Skirts: Pleats, Folds, Gathers Flares Circular Patterns Appendix One: The Simplified Bodice Block Appendix Two: Adjustments to Sleeve Abbreviations and Reference Letters FASHION SUPPLEMENT Blocks for Casual Wear Dartless Bodice Block (with Shoulder/Bust Dart Removed) Loose Fitting Shirt Block Loose Fitting Jacket Block Simple Kimono and Raglan Blocks Shoulder Pad Allowances Cuff and Sleeve Openings Pockets Wrap and Strap (or Placket) Openings Halter Necklines Index iv 34 52 37 65 R 78 87 96 106 110 14 118 122 126 128 130 133 134 135 138 142 150 152 158 166 172 175 BIOGRAPHICAL NOTE Natalie Bray sas born in Russia, the daughter of a naval cffiees, but left the country at the time of the Russian Revolution. She trained as a musician, married an Englishman and became a qualified cngineer. She first bocame interested in technical dressmaking in 1926 when she was asked 10 help in the management of a business called Katinka - Count Dressmakers, started several years eariter by.a member other farily, She went to Paris for a year to Ieam cutting and in 1927 she obtained the Diploma of the Academic de Coupe de Paris. She then shea for three leading Parisian model houses including Lucien Lelong, Having retuned to London, she worked at Katinka but in 1928 decided to start teaching classes as well. At first these were nino the same lines as those she attended in Paris ~ dealing only with modelling patterns ‘on the dress stand and practical dressmaking, She soon became interested in working out a.simple, quicker and more exact method of cutting patterns on the flat, which ‘would be based on and could therefore be tested by results obtained by modelling. By 1935 she lad evolved her own system of flat patiern cutting, and this method has been ‘taught with various improvements. and fashion modify cations ever since. The techniques she pioneered and perfected revolutionised dress pattem designing, assisting the rise ofthe modem fashion industry. Her teaching has had a profound influence on design, production. and education. Her works are classics: fathions change but the Principles of cutting the flat pattern do not. They remain essential reference books for all students, teachers and Practising cuters. INTRODUCTORY This book follows very closely a course of lessons given over many years at the Katinka School of Dress Design ing, a course dealing mainly with the fundamental prin- ciples of Cut and Fit on which is based all parte cone struction, even the most advanced and modern, From this basic course, under the influence of evere changing fashion, developed the technique of advanced [Pattern designing practised at the school, It may, therefore, be useful to say a few words about the origin and development of the methods described in this book, tethods which are the result of many years ‘of research and experimenting with patterns, carried aut through many changes of line and fashion, Originally the Katinka School methods of pastera cut- ting on the fat were based directly on results obtained by ‘modelling patterns on the figure or the dress stand. Thus, ‘draping on the figure, or Freach Modelling (maulage) as tis sometimes called, lies at the root of the whole basic idea that every type of pattera, from the simplest to the most elaborate, can be evolved quite correctly on che fla fom 2 foundation represeating the Seure, provided ‘certain important principles, discovered throu direct ‘modelling, are never lost sight of in the process. ‘The method can therefore be described as ‘modelling fon the flat’, the part of the dress stand being taken by a foundation patter (or “block’) of advanced shape and of ‘sonsiderable adapiability. ‘At these methods ariginated from direct modelling, they were from the very beginning based oa the recogni tion of several important facts elealy demonstrated by modelling. Pethaps the most hmportant of these is the fact that since tbe figure is three dimensional, a garment ‘must also be constructed in thtee dimensions, i, it must be thought of as having length, width and depth, In this ‘way the shape of the figure and its circurnferential size, rather than a noin- Aue Ino: Scop usyo yp yoeq Saye 13295 sapour ayy UF [RJ>sm AprHjMoA “yep 20 dud ssqo ayy Bunsaye wnoypia paseassuy skeaye 29 “210}>12y9 “THD AAT 1. 975, KEP UL 80 wed ism 45H8U0] £0 sSHHONS F POE “Uh 2 *SjUOUUSUNSESEE BLO aif Wl Pa}asUUES 30 BO YwapUSdsp 304 $1 AA] “spam S91 40y $49 S-.rS) 9 S9L-O9T JO WBi2 aBesBae UE uO pase st 4A] JHONS 94) STH OL HLONTT tss’ SOL Se SR SF arise Sb trite Seite Ht eo me rome iS a a a 6k se 8 + i a oe 659 a na * Soe Sel th OFlée ie OBOE OTT ew S88 St SL SE 3 er Or eciee crip % 908 oor 1A sre 89 wmsk se ze el Oe AeILE SthISOr tk OL HA fe SL $e BAe L = Ig Si Be ueioe chp 8 a6 OAL w ts moe © Of sti te SESE Saber aw 6 OT le 59 § +500 59 ST stl ME Streit 8 6 ow on oF os sor S98 z st tl St eite Gelonee «= 49 998 OtOR oT (x0di0) FO Pag vom wv. oS 9 oY od om a remy ee see pu gD yay wid SGD WoVEY BIBNT] AsV Sa asng § 2Fe vm oma aol anowg SVAN SNOLLWOdOWd SLNSWaunsVaH SNOILWOdOUd GNY SLNIWIYASVAW TOVAIAY JO TTaVL CHAPTER Two ‘Take a rectangle of paper 75 cm long. The width should beat least j Bust + $cm or } Hips ++ 3 cm, whichever is the larger, With an extra 4-5 cm added for margin. NB. Ii is not essential to ft the } bodice into 4 rectangle s0 that Hip potnts touch: back and front may be drafted some distance apart tis advisable, however, to avoid over~ iapping, The left edge or preferably a line parallel to it (2 cm inside the edge) is the Centre Back (CB); the right edge ‘oraline parallel toit—the Centre Front(C F) ofthe bodice. It is also convenient, though not essential, to use a line across the top, 2~3 cm below the ton edge of the paper and parallel io i, ealling it the Top Line. ‘The Badice Block is drafted to the following Average Measurements —Bust 9 Bust (By. Stem (46) Hips (H) 98 em (49) Wait). Wem (5) Length to Waist (LW) 40cm Back width (xB) 4 Bem (18) Chest width (Ch) OO , 3Bem 09 Shoulder (S) . os BSem Top Acm measurement (TA) 30cm ving armhole = 30 + 120r 13 = 42-43 cm THE BACK On the CH Line mark point © 3.em below the Top Line, For the two smallest sizes (Fell) mark °O* 2-2'5 om down, for larger sizes (V-VI) 35 cen, (VII-VIMD} 4 can and for the largest sizes (IX-X) 4-3 em, ie. changing every feo sizer ‘except for the two sesales ‘Measuring from point O down CB Line mark the following paints: 40 cen for Walst Line—a measurement of the figure 2 em for Hip Line which is 22 om below the waist 205 em for Bust Lime This fixes also the depth of the ambole, ‘This proportion is taken accarding to a scale baced on the ‘Bust measurement, Le. far Bust 92 itis 21-$ om, thea O'Sem, ‘More or less for sizes bigger or smaller, except the (wo smallest (see Table of A. M. & P.), Thus for Bust 34 itis 55 om less Le. 21 em; for Bust 96, 05 mare, ie. 22 4m} for B 100, 22-5 cm; etc. THE BODICE BLOCK 11 em for Back Line, always half-way between point O and the Bust Line.* 3 om for Shoulder Lise—a fixed proportion far all sizes. From all these points, including point Q, square to CB the following construction lines: the Hip Line, the Bust Line and the Waist Line going right across the paper to To avoid dividing @ fraction, the figure (21-5) is Gest incensed tothe nearest whole crimes (2) bor having top line shoulder line Shoulder line = chest line bust line waist line hip line FIG. tin 18 M—THE BoDicE sLocK | wl SE i Lsbon ‘sea nem FIG. 2) ‘he CF; the Rack Line and the Shoulder Line less than half-way across; the highest line, squared from point O (Neck Line) only 10-12 om long, From O, along the Neck Line, measure the Neck width and take this point ? cm up. This gives the Neck Point— NP. ‘The Neck width is graded according to a scale Based on the ‘Bust measurement, taking Tem for B 92 and #8 and 0-S cm ‘more or O-5.cm fess for every two sizes smaller. An alternae ‘Gve method is (o work if ou! by taking one-cighth of the Bust Mcasurerent plus 25.em and use only half of this (7) for the half-patter, Qh the Back Line (3d line from the top) measure fromm the CB 4 Back measurement (18 em for a 36 Back). ‘Through this point draw a vertical construction line, parallel to C', jut erossng the line above and the ine Gn the Bust Line (the line below) measure 1 Back + $$ cm and mack the Underarm Paint—UP. ‘The addition to the xBaek for the position of UP will vary Slightly from $ cm (smallest! to 6:5 em in large sizes (ebe Table). On the Shoulder Line (line above) measure $ Back ++ Jem and mark the Shoulder Point—SP. Draw neckline from NP down to CB, curving it slightly. ‘Rule the shoulder seam between NP and SP. Draw the back armhole using the vertical construction Tineas.a guide. Keep armhole straight for about 3 em near the Back Line level. Hollow it out very little in the lower art, taking the curve through a point 3 cm from the angle, On he Hip Line measure from CB 3 Hip measurement and mark the Hip Poiat—HP (in some enves 3 H + 1-2 om). Draw the Straight underarm seam, ruling it between UP and HP, For the underarm seam mark 2 cm in at the waist (or just below it) and draw the slightly curved seam through this point, as shown in F1G. 3. The pattem will be cut on this line which is the ourer shaped side scam. ‘Check the length of the shoulder seam which shoutd be at east I cm, but om an average 1-5-2 cm longer than the Shoulder measurement (in this example, 14 em). Lengthen (or shorten) if necessary, keeping SP om the same level, ie. on the Shoulder Line TH2 FRONT Ig THE FRONT ‘The Bust Linc, Waist Line and Hip Line having already been taken actoss to the Front, it now only remains to add the Chest Line, the front Shoulder Line and the line for the base of the Neck, ‘The CF Line goes up to the Top Line (oF to the top edge of the paper, if this Hine is not used). Point O is marked right at the top of the CF and co comes 3.0m higher than Point © of the CB (higher in large sizes). Measuring fram O down the CF Line mark the following points: 4:5 em for the Shoulder Line (4-cm for larger sizes). ‘TS em for base of neckline (8-8:5 cm in large sizes) From the Hust Line measure up 4m for the Chest Line From all these points square construction lines to the CF, extending them about half-way across, except forthe Neck Line, which is only 10-12 cm long. Along th Top Line, from point ©, mezsure the ‘Neck ‘width equal to the Back Neck widih This measurement, however, should never be les than 6-5 cm in the front, ‘even in small sizes. Mark frent NP. From NP draw the neckline on to the line T'Sem below ‘with the help of 2 short vertical construction Tine from NP. The curve should pass through a point 3 em from the angle formed by the crossing of these two lines (G55 cami large sizes), On the Shoulder Line measure from the CF 16-5 em for all sites) and through this point rule from NP a provisional shoulder seam, leaving it unfinished (20-22 ‘cm long). ‘Another method of finding the slope of the shoulder is that lusedin the deaft of the Simpiiied Bodice block (Appendix 1. On the Bust Line measure t Chest measurement from CE G5 cx), Through the last point (and frors 2 cm belove it) rule vertical coostructioaline parallel ta CF upto the shoulder, fund from here measure 2 ef to the Fel, From this last Point rule tre kote line of the Shoulder Dart down to 2 6m below the Bust Line. § Measire and mark the size of the Dart (ie. T'5 em) along the shoulder, and complete the Dast by ruling the ‘uc line to join the inner line 2 cm below the Bust Line, ‘The Shoulder Dare for Bust 92 is graded 0-§ cmup and own for every size bigger and smaller. Now complete the shoulder seam by measuring fkom \NP the shoulder length of 12'5 (a measuremeat) plas the Dart depth of 75, i¢, 20 cm. Mark the front SP. Gn the Chest Line, from the CF, measure 4 Chest ‘width (19 cm), missing out the Dari, and matk Chest Point—ChP, The length CF to ChP is 19 cm plus what fer the Dart measures af that Jere! {in this cxample 2, Biting 21 cm}. Rule a fine between SP and CHP, and drop a shart perpendicular on to the Bust Line, as a guide for drawing the armhole. Measure from CF along the Bust Line the ‘Bust width’ ff the Front, which is the difference between the total Bust width of the pattern (ie. 4 Bust ++ 5 = $i cm) and the width (23-5 em) already obtained for the Back along the Bust Line. Mark the front UP at $1 minus 23-5 275 em fram CF, Daw the armhole, curving it +

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