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Director of Sales and Acquisitions: Dana Meltzer-Berkowitz Executive Editor: Olga T. Kontzias Acquisitions Editor: Joseph Miranda Senior Development Editor: Jennifer Crane Art Director: Adam B. Bohannon Production Manager: Ginger Hillman Cover Design: Adam B. Bohannon Copyright © 2008 Fairchild Books, A Division of Condé Nast F Publications. Allrights reserved. No part of this book covered by the Copyright hereon may be reproduced or used in any form or By ary means—graphic, electronic, or mechanical, including Photocopying, recording, taping, or information storage and ‘etreval systems —without written permission of the publisher. LUbrary of Congress Catalog Card Number: 2007935039 ISBN: 978-1-56367-479-0 GSTR 133004404 Printed in the United st tates of Ameri TPi2 oCONTENTS On OA FF WN = ak oo ah) i 13 14 Introduction ix Acknowledgments xiii Stretch Terms and Jargon 1 Sizing and Me ments 29 Principles of Pattern-Drafting 53 Slopers and Reductions 75 Skirts 107 Pants 175 Tops 201 Sleeves 249 Sweaters 279 Dresses 317 Oversized Projects 341 Four-Way-Stretch 371 Bodysuits, Leotards, and One- and Two-Piece Swimsuits 395 Fitting and Corrections 425 Appendix: Costing Sheets 443a p e * p » ? In the past, the garment industry mented into different categories such as daywear, eve ningwear, and swimwear. The industry was also divided into houses that manufactured knits and those that manufactured woven fashions. However, in order to remain competitive in the current marketplace, today, all designers and manufacturers must incorporate stretch fal in their collections. A large portion of mode collections are created from stretch and knit fabrics. Almost all tops, sweaters, swimsuits, and dresses in a designer collection are created utilizing knit fabrics. The modern designer must understand the use of knit fabries and the specific patternmaking procedures required to make knit garments. Most new stretch designers and patternmakers mistakenly believe that stretch and knit garments must be extremely close-fitting and tight. While this is often the case, it is not always true. Stretch garments can also be loose, draped, shirred, oversized, and fluid. Cowl necks, draped effects, ruffles, and flow can ea ily and very effectively be created through the use of knit fabries. It is the character of the fabric to be fluid and liquid, and it is for this rea- son that many designers and manufacturers use stretch fabrics in their collections. Most be- ginners also assume that stretch garments are not “designer.” However, Sonia Rykiel, Azzedine Alaia, Missoni, Norma Kamali, and Stephen Burrows, are examples of designers who have built entire collections and empires based primarily on knit fabrics. Throughout this text, the terms “stretch fabric” and “knit fabric” are used interchangeably. ‘The characteristic that makes fabric stretch is knitting that is not done like your grandmother while she sat on the porch in her favorite rocking chair, but instead with huge industrial machines | that replicate the exact same stitches she used ‘to make that holiday sweater. The new designer t imagine that your favorite T-shirt, hoodie, comfy fleece track pants were created by with either small or large needles. INTRODUCTION | The Intended Audience ‘This book is intended for students of fashion, current designers that need refresher lesson: or updated knowledge of designing and patternmaking for stretch, and the experienced home sewer who requires patternmaking knowledge for stretch fabrics. This book assumes that the reader has a basic understanding of sewing and will be able to construct these garments with industrial equipment. It does not show very many sewing and construction techniques. This text is unique in that is develops different slopers for each different stretch ratio, thus allowing the patternmaker to focus on the realization of the design and not the mathemat- ies necessary to compensate for the stretch factors of knit fabrics. The las and the other stretch ratios, being smaller, are outlined on the larger slop: This book is intended to the principles and practices of stretch patternmaking and not every imaginable style is illustrated. To gain a more thorough knowledge of the subject matter it is imperative that the student practice and apply the principles explained in this book. Eventually, the patternmaking will become instinctual. This book also cannot foresee the constant and evolving changes inherent in the fashion industry and, consequently, the styles illustrated throughout this text are not chosen for their fashion importance, but rather as a teaching tool to illustrate the many different pattern- drafting techniques the student should understand. The styles created throughout this text are not shown as examples of current fashion. Instead, they are intended to instruct the patternmaker and designer how to use their own creativity to develop their own unique styles. This textbook is different from other books in that it studies and explains each garment type, rather than garment parts. The student is able to go to the section for T-shirts, and find out how to draft the sloper, create the pattern,INTRODUCTION 8nd use the relevant garment details, rather than sifting through chapters trying to find the information necessary. Often, this textbook is Tepetitive because it has been created so that students may turn to the chapter they are in- terested in and be able to complete a project without having to flip though many chapters and each every page looking for a neckline that may only apply to a T-shirts. How This Book Is Organized Each area of study will begin with the draft of a sloper/block, which is a basic template of the garment, and then proceed to illustrate different patterns within the subject area. The final portion of each area of study will focus on ad- vanced patternmaking practices of the subject matter. This will be followed by an exercise, garment, to test the designer's knowledge of the ’ subject matter, and a short quiz to determ, that you fully understand the concepts of the project. Each project will incorporate two git ferent seam finishes, so that by the time ¢), x student has completed the ten projects require for the course, the student will have a thoroug, understanding of stretch fabrics. \ ¥ ) About the Diagrams and Illustrations 7 Y Please note the diagrams and illustration are y not in the correct proportions. The reader can. not measure the illustrations because they are not accurate. All measurements will be indi. cated and should be followed as taken from the measurement charts provided. Any of the measurements given may be substituted with personal measurements for the development of personal slopers and patterns or for custom designs. Legend ‘The following will be used throughout the text and may be used as a guide to the illustrations. Fabrics Slopers and blocks Production patterns One by one ri ‘One by two rib rm wn HUN Patterns with seam allowancesWANNA RPA TREN A : I @ ® J blend ‘ INTRODUCTION — xi Three by six rib ‘Three thread serging Elastic waist Elastic waist with stitch through the center Elastic waist with two rows of stitching through the center Coverstitch from the correct side Coverstitch from the wrong side Four thread serging Topstitching Zipper teeth Shirring and gathering Two hole button Four hole button ‘Closed buttons showing the button hole 90 degrees, is used to indicate a right angle. Is used to indicate that an area needs toxii INTRODUCTION ‘ i you have and is intended for the profy ~aalacrigaia sence tig dost Uf the instructions Are intended for ¢yUeh *, the home sewer Will als bans re dustrial sewe! ine information contained fi All patterns should be created full open. How: ever, for clarity and space the patterns in this teat aro often created on the fold. All patterns %™™ aioe should be labeled with grain lines, style num- eae aoe saeuning Be ra a pleted project: Practice serging a few ne Sewing taching elastic, and cover stitching a few ha” tafore beginaing any project. Eventual} ‘As mentioned earlier, this book is about making understanding of stretch fabric will be patterns for use with stretch fabrics not seW- stinctual and effective. ing. This text presupposes you have the ability to put the garment together with the ‘equipment 4 Y yourACKNOWLEDGMENTS The author would like to thank the following for their pa-~ tience help and understanding during the preparation of this text: colleagues, coworkers, and, especially, the students of the International Academy of Design, whose help and constant questions have been the driving force of this book. In addition, thank you to James Fowler for submitting this se- ries of handouts to Fairchild Books and to Lori Stilwell, my original knitting instructor. To friends, Alan Thomas Smith, Stephen Wong, and Suzanne Boyd, thank you so much for your patience, support, and understanding while I was writing this text. Also, special thanks to the authors of all other fashion and garment textbooks, whose writing and teaching have educated me and inspired me to embark on this journey. And, thank you to Margaret, for a lifetime of love.Designing and Patternmaking for Stretch Fabricser oP Fen Stretch Terms and Jargon Objective Bec seg on of the garment industry, int knitwea! nd swimwear, the stretch industry has and jargon. The stretch designer and p understand the specific terms in order t manufacture details, and specifications to he reader to the terminology and h design, patternmaking, and construction. After re is chapter the reader should be able to identify stretch ratios, the direction of stretch, and understand the stretch patternmaking proce: know these terms before studying any of as this terminology will be used through- Jargon that is specifi It is import the other out the te: All Knit Fabrics Are Created on Knitting Machines It doesn't matter whether your fabric is a lightweight, sheer jersey knit such as in many designer T-shirts, or a bulky knitted sweater. They are all knitted on knitting machines Fine knits for T-shirts are created on knitting machines with very fine needles and yarn, while bulky fabrics are created on thicker-gauged machines with larger needles and bulky yarn The knit fabric that you purchase is knit. Your favorite T-shirt is knit. Your winter toque is knit. And while there are many different sizes of needles and yarn, as well as combinations of stitches, they are all knit on some variation of the basic knitting machine. Direction of Stretch ‘The first and most important aspect of understanding knit fabrics is understanding the direction of the stretch, and how the direction should be used when creating garments. 1CHAPTER 1 STRETCH TERMS AND JARGON = ‘3 wel as engtowise ONE-WAY STRETCH One-way stretch is ric, and the stretch when creating the fi stretch going around the body TWO-WAY STRETCH Two-way stretch is fabric that stretches across as well ag exund down; the stretch is derived from the yarn and the ric that only stretches across the fab. s entirely derived from the stitches 1goq pric. Garments should be made with the stitches. FOUR-WAY STRETCH Four-way streteh is fabric that stretches across as well as y, and down the fabric, and has supplementary stretch added through spandex/Lyera® being added to the fibers before nat Halts Soil es ig ae EE the other, and many knits stretch in only one direction: crosswise. The experienced patternmaker always utilizes the built-in stretch of knits, with the direction of stretch encircling the figure when knits are used for dresses, jackets, pants, skirts, tops, and sleeves. However, the greatest degree of stretch should g0 up and down the torso for bodysuits, catsuits, leotards, or any other garment that passes through the crotch, to allow for maximum mobility. One-way-stretch knits are rarely used for these garments because of the discomfort created in the crotch when the customer raises her arms, Two-way-stretch and four-way-stretch patterns are identical, meaning, the same patterns may be used interchangeably. However, garments made with two-way stretch will of ten sag on the body, at the knees, elbows, and crotch, because the fabric does not have any memory, or elasticity, and will not return to its original shape after it’s worn, Also note that one-way-stretch patterns may be used with four-way-stretch fabrics, as long as the garment does not need lengthwise reductions. For example, a one-way-stretch skirt may be cut using a four-way-stretch fabric, because there is nothing holding the skirt down at the bottom hem (referred to 86 an anchor). Thus, the lengthwise direction of stretch is not utilized at all only necessary when the stretch of the i le garment is anchored i oe aenetchs Such as with catsuits, bodysuits, leotards, fue piece oe its, and other garments that pass through—_ STRETCH TERMS AND JARGON CHAPTER 1 Why Knit Fabrics Stretch Knit fabrics are created by interloopi yarn; each loop is caught in the row above, and is anchored to the sutehes be side it. As the fabric stretches, the loops expand Stable-knit fabrics stretch because the knitted loops will expand horizontally. Because the yarn itself does not stretch, the fabric will not stretch in the lengthwise direction. i Two-way-stretch fabrics stretch because the yarn that is used to knit them is textured and crimped in a spiral forma- tion. It uncoils as it stretches, and thus will stretch in both directions—across, and up and down. Four-way-stretch fabrics have a core yarn of spandex, latex, or Lycra® with another yarn wrapped in a spiral around it, The coils loosen as the fabric stretches, and because of the elastie core, it will spring back to its original size. Stretch Factor ‘The stretch factor, or stretch ratio, is the maximum percentage that a fabric will stretch. Most knits stretch from 18 to 100 percent. There are five different stretch factors used for designing and drafting stretch patterns. SPANDEX Spandex is a synthetic fabric, in which the latex yarn used for the knitting is wrapped with another yarn. Spandex will give the fabric excellent memory, and the ability to stretch a lot more than yarn without spandex. LYCRA VS. SPANDEX Lycra® is a trademarked name for spandex. People incorrectly use the terms spandex and Lycra interchangeably. Lycra is a version of spandex, created by DuPont. LATEX ; Latex is a natural elastic or rubber core yarn, with other yarns wrapped around it. It is a natural fiber used to create spandex. ELASTANE Canadian or other name for “spandex.” 3ON 4 CHAPTER 1 STRETCH TERMS AND JARG' Stretch Ratios It is also important to understand that different init fabriog stretch different amounts, and each stretch ratio its own set of slopers. for garment ease. Examples of stable knits are Polarfleece®, sweat fabrics, etc He knits. Examples include T-shirt faye 0% S'awetches This type wil stretch mor Moderateknts 26%-50% 5 Loe seog ves se S"stretches Examples of stretch knits include velour, stretch terry, and some T-shirt 108 fabrics, etc hes. Excellent strtch and recovery make this fabric suitable for catsuts, aa al to 10 Bodysuits, leotards, and swimwear, etc. (or example, fibers blended with P. spandex or latex). The elastic fers of this type of knit can stretch many times their original length and width and return tothe orignal measure ent Examples include spandex, nylon spandex, cotton Spandex, jumbo spor 8 Known as the traditional knit one, purl one" wristband stitch. i kits depana, onthe knit pattem used (e.g, 1 ‘ribs will stretch more than 2 % 2.90 ft), ib kits are created by alternating stitches between the two needle bede They appear identical on both sides ofthe fabric, and don't cura te eges Examples include cutf ribbing, waistband ribbing, and crew-neck coins Sweater knits are those types of fabrics that one would typically use to create ‘sweaters and sweater dresses, They are usually made with a thicker yarn Stretchy knits Rib kets Upto 5 stret ‘Sweater knits 6 Swill stretch Stretchwovens Less than 5" will Stretch woven fabrics are created by weaving Lycra® Stretch to 6° should be treated as a woven fabric. However, Or removed from the slopers. within the fabric, and the ease should be reduced, 8 2 sTRercHes To STABLE KNITS How to Determine the Stretch Ratio of Your Fabric Take your fabric an id folk i the cut edge. Place one safe inch es below wsueuuw BSEVSIVPVPVEVvvvsuevussegcgeceetsssessssesaueu yaaa Stretch the fabric withi waned are selvedge and pines i” 9 few inches in from yp ¢ oe ae the yee from the frst pin,” SUOHMET pin at & away nig mere cab eee s 1 6 To get an accurate should use the stable bg raft any measurement, al va tue stable-knit slopers to Measure a fe , always ke cause the eu todas below the cut edge, be. “88 With this fabric, 6e often stretches,__srrerenes ro_,N MODERATE KNITS STRETCH TERMS AND JARGON CHAPTERT = 5S STRETCHY KNITS If it comfortably stretches to 7", it is a mod: erate knit, with a stretch ratio of 50 percent If it comfortably stretches to 8%", it is a stretchy knit, with a stretch ratio of 75 perce © STRETCHES TO s 6 _ gt — i 7 =o pees SUPER-STRETCH RIB KNITS If it comfortably stretches to 10’, itis a super- stretch knit, with a stretch ratio of 100 percent. HOLFaLS 0” or more in both di- knit. to its original ‘a four-way- ‘And if it stretches to 1 rections, it is a two-way-stretch If it bounces back, returns measurement when released, it is stretch knit. If it comfortably stretches more than 10 it is a rib knit, with a stretch ratio of over 100 percent. 8 se OF streroHes To Pe aoe ee Sar G If your fabric doesn't stretch at least 25 percent, to 6", then it should be treated as a stretch woven.CHAPTER 1 STRETCH TERMS AND JARGON The Different Stretch Ratios and How to Use Them Alll of the block drafts in this text will be drafted in the largest stretch ratio, and all sub- Sequent ratios will be drawn on those blocks, Ifyour fabric is a moderate stretch ratio, then {race out those lines on the blocks to begin draft. If your fabric is super-stretch, then ut those lines to begin your draft. N your trace lever cut off the stretch ratios, as you will definitely need them in the future. If you are working with many knit fabrics, then it is a good idea to trace out each individual stretch block on separate oak-tag. If you only use stretch fabrics occasionally, then simply indicate the stretch ratios on the block.STRETCH TERMS AND JARGON CHAPTER 1 ferent Stretch Fits Knit garments can be created with different waist fits, Ifyou require a tight fit, trace out the fitted waist. If you require an unfitted waist, trace out that waist. Tf you are working with many knit fabrics, then it is a good idea to trace out each individual stretch block on separate oak-tag. If you only use stretch fabrics occasionally, then indicate the different waists on the blocks. Ifyou require a fitted top, then trace out the fitted waist. If you require an unfitted waist, trace out that waist.CHAPTER 1 STRETCH TERMS AND JARGON Stretch Memory wry is the amount that a knit will return ccibiool shape after being fully cteetshed. Fabian with Tent memory will completely return to their origina she whereas fabrics with poor memory will not return to thee tended shape and will eventually sag on the body. Wit a use of Lycra®, spandex, latex, and elastane, knit fab = available with 100 percent memory, meaning the -Y Will come pletely return to their original state after being stretched Garment Ease Garment ease is the amount of extra fabric required to a) for a comfortable fit. Knit garments do not require as mot garment ease, because the inherent stretch of the fabrie at ally provides the necessary garment ease, Negative Ease Negative ease is the amount of extra fabrie removed, ore. duced, to allow for an accurate fit. Many knits are smaller than the actual body and use the inherent stretch knit fabrics to achieve the desired fit. Design Ease Design ease is the amount of extr particular design. The desi, sized or much larger than of design ease. Shirring, created with design ease a fabric required to creates igner may require a fit that is over- the body by increasing the amount gathering, and draped effects are all Patternmaking Terms SLOPER A sloper, often referred to as a is a template of the desis any seam allow: it, “block” or “master ni ed fit, like a croquis; it doesn ‘ances or details. It is your basic fit, and from ao mar’, Styles can be developed. Experienced patternmakersSTRETCH TERMS AND JARGON CHAPTER 1 2. GRAIN The direction parallel to the selvage of the fabric is referred to as the grain of the fabric. If ‘a garment is not cut exactly on grain, it will twist on the body and be unwearable—and, ul- timately, unsellable. CROSS GRAIN Cross grain is the that is perpendicular to the length grain. et and four- ‘es may be cut on the cross ‘in, since the fabric also stretches in that di- grain, sitme fabrics such as swimwear fabrics stretch more in the ie aie crosswise direction, and GRAINLINE ‘The grainline is a line on the pattern that indicates in which direction the garment will hang, and is needed to ensure that the garment is cut on grain. The grainline should always be parallel to the selvage when cutting out the garment. Since most knit fabries have a nap, grainlines on stretch patterns should have both arrows pointing in the same direction, one direction only, as illustrated. Blocks and slopers should not have any grainlines, because a fabric has not been assigned to the design yet and you can’t know in which direction it should be cut.YO CHAPTER 1 STRETCH TERMS AND JARGON In woven patternmaking, notches holes in your garments. ® les pos DRILL HOLES Drill holes, or drill marks, are used to indicate Placements, such as where a pocket should line up on a garment. Do not use a drill on knit fabrie—it will cause the fabric to run. Mark the fabric with an awl, or chalk marks. Often, loose chalk is pushed into the drill holes of the pattern, one layer at a time, to transfer markings to the garment. indicate nay ke used the seam allowances. But in stretch fabric this is not m ww , because almost all seam allowances are 4". Remembvt 1 ne, ‘all notches in knit fabries within ¥, or you will crea Remember SHOULDER STAYS Knit tops require shoulder stays, usually ye twill tape to prevent the shoulders from stretch. ing out of shape. The twill tape may be applied while serging the seams or you may use a me- tering device to attach the tape to the shoulders. Sleeveless garments do not require twill tape, since there is no weight pulling on the shoulders, Sometimes clear elastic is used to stay the shoulders; it will not shrink with repeated washings. However, clear elastic has a tendency to grip the presser foot of the serger and should be placed underneath the garment to allow the feed dogs garment. to pull the elastic forward with the |NECKLINE STAYS Many knit garments require a neckline stay, or tape to prevent the neckline from stretching. ‘The neckline tape is only applied to the back neck, to allow the front to stretch large enough to get the garment on the body. Tf there is a zipper or other opening in the front of the garment, the tape may completely encircle the neckline. This is especially the case when creating ribbed T-shirts. As the rib collar is attached to the rib gar- BIAS STRETCH TERMS AND JARGON CHAPTER) 11 necking and shouer stay ment, it will often stretch out of shape and needs to be returned to the original size and held in place. Sometimes the neckline stay and shoulder stay are combined into one single tape that ex- tends from the shoulder across the back neck and along the other shoulder. The illustration shows the single stitching line that holds the combined neckline and shoulder tape. Bias is any pattern piece cut on an angle, with true bias being the 45-degree angle to the straight grain. In woven fabrics the greatest amount of stretch is on the bias; however, in knit fab- ics the greatest amount of stretch is across. Therefore, bias garments are never created with knit fabries. Knit bias does not have ai ny of the stretch and drape characteristics that woven bias would impart to garments. DRAFTING Drafting is the sloper is t process of creating a pattern on paper. The raced out, the details added, and finally the necessary seam allowances and notches are added. PATTERN A pattern is the finished template used to cut out the garments. It corporated into the design. It al lowances final garment. Final oak-tag. includes all the details that will eventually be in- and notches necessary for the construction of the patterns should always be made from ‘Iso includes all the seam al-NB OWAPTENT ‘etneTCH TERMS AND sAnaON HRS RnECHING pan all seams should be matched ., eine WHINE any Peeey gth and will sew togeyp, ” oa es that they are the same length and will sew togegy? each other. : | | TRUEING SEAMS Trueing seams is the process of matching all the seams of the = pattern, and checking that the lengths of seams match and will sew together perfectly; that they intersect at a desirable ®: and that all notches match. To true a seam, line up the pieces as if they had been sewn and pressed open, beside each other. Check to see that all intersecting curr blended into smooth and continuous lines When trueing the side seams, make sure that the under- arm curve is a smooth and continuous line Check that the hem is a smooth and continuous line, lines and seams are To true the shoulders, line ther beside each ot) thee her, as if they had been © pressed open. Ensure BPEVSGUVSHOSTHCCHHKCK ACK C CCS Check that the ai ‘ rmhole is a smooth and continuous line.STRETCH TERMS AND JARGON CHAPTER 1 MARKER A marker is a paper tracing of the complete pattern that is applied to the fabric and held in place with pins, weights, staples, or lightweight spray glue, and is cut together with the fabric. All markers should be made on grain so that when cut out, all the fabric pieces will be on grain. There should be a layer of paper under the fabric to aid in cutting. There should also be a layer of paper between each new color, to prevent the color above or below from stain- ing the fabric as the blade of the cutting knife moves up and down. MARKER TACKER A marker tacker is a type of stapler that doesn't have the bottom attachment. It is used to staple the marker paper to the fabric lay, to hold it in place while cutting. Never staple in any of the garment pieces, but staple in areas of the fabric SPEC SHEET A spec sheet is a sheet created by the designer, or spec technician, containing all the information the patternmaker needs to create the pattern for a particular style. It should include: sketch, both front view and back view. Fabric swatch. SIZE SPECS Size specs are the measurements of the manufacturer’s target market. Each manufacturer will create garments for a particular customer, MARKER PAPER Marker paper or dot paper is specially printed with a grid and numbers for the accurate laying of pattern pieces. The marker maker can simply follow the grid to ensure that all pattern pieces are placed perfectly on grain. that will be disearded, waste fabric. Also, when cutting out, be sure not to cut a staple or you will create sparks, and greatly dull your knife blade. All required seam allowances. Seam finishes. Hem allowances. Any important construction notes. and these measurements will be indicated in the size specs. (See Chapter 2: Sizing and Measurements.)EEO ”“ {lO 14 chapTer STRETCH TERMS AND JARGON. PATTERN CARD The pattern card, or “mus terns. It lists all the pi garment, All finished PATTERN PAPER Pattern paper is any lightweight, inexpensive Paper that may be used for drafting patterns. Do not draft directly on oak-tag, because it is difficult to fold back pleats, tucks, darts, or seam allowances for trueing. ” is included with all finish that “must” be cut to creat ss should have a pattern m © the Must, OAK-TAG Oak-tag is a heavier weight of paper the used for drafting. Because it is thicker ant stiffer, it is much easier to trace around whey making markers, and/or tracing with wer or chalk. Only final and production patte should be traced onto oak-tag, bec ficult to fold and crease an that cause it is dif. PATTERN HOOKS Pace punch hte new te centro he her not in use, All patterns should be hung on patte: When punching hol sirable place to make tears while being stored, of the hem than to rep, rn hooks and stored when les for patterns, the hem is a more de- the hole, because if the pattern rips or t is much easier to replace a portion air a torn-off neckline or waist, Place the punch hole near th hang balanced and ie center of th pattern pieces so they do not swing. COSTING SHEET This is a sheet createc ‘SHIRT FRONT keeps an ‘Sua curt as All patterns stretch ratio, the date com, numbering. must be lal the size, a pleted, the cd for each style in a collection, which s cost sheet. Remember that the most important part of a | PATTERN LABELING beled with the style number, the Srainline, the direction of cutting Patternmaker's name, and patter » » » » » » » » » » 2 2 » » 2 = » e 2 es ® 2 2 » a 2 2 2 » = » » » » a » »AN STRETCH TERMS AND JARGON CHAPTER 1 15 Garment manufacturers identify styles by style numbers 1000 stable knits 100 blouses/shirts 00 the last two di 2000 moderate knits S00" “aise (sometimes written may ses in roman numerals stretchy knits 300 pant to avoid confusion) 4000 super-stretch knits 400 jackets ae 5000 rib knits 500 skirts the collection, 6000 four-way-stretch knits 600 vests Note that there are multiple methods of creating style numbers, and the manufacturer that you work for will most likely have its own method PATTERN NUMBERING All pattern pieces of a particular style should be numbered, and should also include the total number of pattern pieces needed for the garment. Use any one of these methods of numbering, All the examples show the third pattern piece for a garment with a total of four pattern pieces needed to complete it. Remember that the marker maker and cutter have not gone to fashion school, and do not understand patterns, so they would not realize if'a pattern piece is missing. Often, a designer will trace a pattern piece from a current style when creating a new style. What would happen if the cutter cut out thousands of garments with a pattern piece missing? RIGHT SIDE UP R.SU. stands for “Right Side Up” and should be used for any asymmetrical patterns to ensure that you always cut the correct sie. The example shows a top with only one shoulder, and to ensure that the back is cut with the matching shoulder, it must also be labeled “Right Side Up: ‘The reverse side, or the back of the pattern, should be labeled R.S.D. for “Right Side Doven- Right side up and right side down patterns aaettd always be labeled on both sides of the 8 {1 ocuaPTERy STRETCH TERMS AND JARGON Color Coding Black Red Blue Green Purple Pink Brown Some companies, usually those that only create stretch garments, may use colors to indicate different sizes, because they will rarely use lining or interfacing. But if a company does both Self or main fabric. Lining fabric. : Fusing, or interfacing. The patternmaker should list the type of fusing. Contrast or any secondary fabric, such as rib. Other contrast fabrics, ete. Other contrast fabrics, etc. Other contrast fabries, ete. x X y y Y ’ ’ 1 ' q woven and stretch garments, the woven. format, as above, For companies that label sizes with colors, should always take precedence in or. lining is indicated with a large letter “L’ on the der to avoid confusion, For companies that label sizes with colors, fuse Pattern pieces are indicated lines drawn on the Pattern pi pattern, with diagonal iece.Types of Fit rane are many different types of ft that may be used to create The desinentS 2nd each will be illustrated throughout the text his or hen may specify the fit, or the patternmaker must use ashion trent udement and experience to determine the fit Mushiens trends will aluo dstermine the St. Sous some ol Femuire the fit to be very loose around the waist, while other Seasons will demand that fit be much looser. Both the designer and the patternmaker must understand current fashion in on, der to work effectively TIGHT FIT Use the block exactly as drafted without increasing any of the measurements. Most slopers and blocks in this text will be Grafted with the tight fit. While this fit may be too extreme, or too tight for the final garment, it is always easier to create a looser fit from a tight-fitting sloper than the reverse. ‘SEMI-FIT A semi-fit is halfway between a tight and loose fit, slightly looser around the waist area, and is the most common fit. It appears to have a lot of shaping and will appear like a fitted silhouette, while still allowing some room around the waist. LOOSE FIT A loose fit goes straight down from the bust to the hips, and is generally only loose in the waist area. OVERSIZED Slash and spread the sloper to create a new oversized sloper (illustrated in Chapter 11, Oversized Projects). Hoodies and track suits are good examples of oversized garments. You cannot simply grade the garment into a larger size, because the neckline, cuffs, and hems would also increase in size.®w “GRAINLINE ‘And it wit ook from the other CHAPTER + SCS O44 °° STI ke this when viewed rection STRETCH TERMS AND JARGON Cutting with Nap and Shine Because of the way knits are created, all knits have many knit fabrics are finished and polished to cre loses hata eyeeeme anon ms thie Ps d label the patterns accordingly. It wou Eeacoepedlie Gath pevcanih wis 6 inl aes a and the back in the other. When the customer tries os garment, it would look as if the front and back h. with two different fabrics. ion D the ad been ext The patternmaker will create a grainline with pointing in the same direction to indicate nap (as illust Remember that because of the way knits are mad arrows ated) » there ig nt nap to the fabric, and it should always be ey accordingly 1 arrows pointing in one napped or with shine” layout Knits direction indicates are made by interlocking loops from one row to the next; therefore, all knits have a nap. While some fabries show this nap more than others do, it is a good habit to always label your grainline with arrows going in one direction Unless you are absolutely certain that the f discernable difference, your grainlines, fabric has no arrow on » always use one directional wu FJUVVIVPEPRPRDEPRPRBSBTSESEREREEETESGUCUNUUEEUUSTRETCH TERMS AND JARGON CHAPTER 1 — 19 Direction of Knitting Another thing to consid etl t consider is whether or not the fabric will run, like pantyhose. Knit fabrics usually only unravel in the direction that they were knit, which is from the last row knit downward __ Consequently, when placing the pattern on the fabric, place it so that it runs upward from the hem rather than downward from the neck. The downward placement will of garment is being pulled on, which can create and make it unsellable. INCORRECT DIRECTION OF THE GRAINLINE INCORRECT ‘This is the incorrect way of laying the pattern on the fabric. The neckline receives the most stretch and will almost always run, CORRECT DIRECTION OF THE GRAINLINE CORRECT ‘This is the correct way of laying the pattern on the fabric. The hem se the least amount of stress and willnotrunas easily. | meirthe fabeie runs, the pattern should be labeled as “with nap, which should be indicated with single-direction arrows on the pattern."OOo 20 CHAPTER z 1 STRETCH TERMS AND JARGON we Greatest Degree of Stretch = ienced patternmakers will take this into considera : : ie eos coho pee eos ae going around the body. But for casual B the crotch and the shoulders, the freatest direction of stragh Atal ie'ul z up and down the body. should be utilized going: up and « a Js greatest degree of stretch is crosswise; however some ii abies tak on erin lec, are aca to have the nit fabrics, such as swim, : ing lengthwise, parallel to the sely, greatest direction of stretch going leng 2 This is bee the garments pass through the crotch and would, uncomfortable when the customer raises her shoulders, ' Tops, dresses, pants, skirts, and sweaters should use the greatest degree of stretch going around the body. D Bodveditas eatshits, te any garment that is anchored by the ™ crotch should have the greatest degree of stretch going up any down the body. ' i Cutting Knits % ' The cutter should always let the fabric relax for 24 hours before cutting. Often the goods have been stretched when they were rolled onto a bolt, as in the case when goods are purchased fron a Jobbers who reroll the goods too tight when they check the quality. Jobbers often stretch the fabric when rerolling it to get a better yield thereby make more money by shortchanging you! Always double-check the width of g00ds before purchasing. In the indus. co try, cutters often make up the lay, leave it overnight, and cut the Goods the following morning. This ensures that the fabric has re- ‘ laxed back to its original length. Otherwise garments cut with stretched out fabri rim, and sell any fabrics left over to jobbers. ; Never ass ods are a standard width, Circular knit- be aued S cut open, and you cannot assume that sric has been cut on grain. So al grain to make sure it is accurate. ‘ee Never allow the fabric to hang off thi i and result in inaccurate cutting, a ete } nit garments are constructed with ver : : s ry small seam allow: J oe als iss He it is necessary to keep all notches toa | ill creat, Within the seam allowance, Otherwise You will create holes in the ee anes: team oul ey chalk is bost for marki Cha” out of natural fit but me oe marks sally can be brushed ment with a paper marker,Cutting Tubular Goods When using tubular knits tern on the fold. It is often dirty or stained. If a knit has a pressed-in fold or crease, it is probably permanent and you will need to refold the fabric to avoid placing a permanent crease in the center front or center back of your garment. To avoid these problems, manufacturers never use the fold of the fabric, but instead cut all patterns full and open. This, however, forces them to cut an even number of garments only, er place any pat For a single STRETCH TERMS AND JARGON item of clothing, refold the tubular fabric so the stain or crease is in the cHaPTER1 24 | ae) arene a rine eign of which may not be practical for the student or small manufacturer who may only want a sin: gle garment, or an odd number, So it is neces: sary to refold the goods when cutting the front and back of a garment, However, you may use the original fold when cutting out the sleeves, because the crease will be discarded. Manufacturers cut patterns full open so that a blemish is not used in any part of the garment, but discarded as waste. center of the tube and will not be used in the garment.22 chapreRy Occasionally, knit tops are manufactured with- oa any side seams. This is only available if the tubular fabric is exactly the same width as the garment. Manufac of T-shirt without rers rarely create alll sizes side seams—usually only M dium size because it is the most common. Because the side seams will be hidden under the arm, any Permanent creasing will not show as much. If a Pressing Knits Knit fabries dor usually not pressed durin, Pressing is done when the toblock and shape it ‘48 well as to relax th Knits fail to tak that a knitted fabric nt press very effectively and are ig construction, Most garment is complete, and make the hems lie flat, stitching and elastic € a sharp crease, irment. is is anety pressed on a San aoning board with a ‘STRETCH TERMS AND JARGON oF “TSHIRT FRONT ‘SMALL Garments without Side Seams company chooses to manufacture all of its top without side seams, it will have to order fabrie's exactly the widths needed for all sizes When cutting the Small will be necessary to have manufacturer will have exact width. size garment, it side seams, or the to order fabric in the Powerful vacuum installed. The vacuum helps prevent the garment from sliding off the iron. ing board, as well as cools the garment immedi ately, which helps set the seams and block the garment, Most knit tops are Preferable to store them than on hangers, which will streteh the shoulders and necklines out of shape. Elastic should be steamed to help it to relax. fen elastic is stretched out pressed flat, and it is flat and folded rather return to its Fusible Pressing. original size, interfacing stil] oNSTRETCH TERMS AND JARGON CHAPTER — 23 Needles and Thread Most knit fabrics can be sewn using a universal-point need tihich bas a slightly rounded tip that is suitable for sewing sually better to use a ballpoint needle, which has a rounded tip that penet eines eo a rounded tip that penetrates the fabric without puncturing Knit garments need str kn weed strong and elastic seams, so always use good-quality polyester o cotton-wrapped polyester thread WOOLLY NYLON Woolly n; laxed but multifilament thread that is puff} : thread that is puffy when re ts thin when stretched. It is often used on one or eam, espe- rsh seams two loopers of the serger to create a rger to create a soft and elastic cially for dance and gymnastic garments in which b en _— calluses on the wearer. Woolly nylon thread can also be used in the bottom looper of the cover-stiteh machine or collarette machine. This thread is rarely used in the needles, because of its tendency to bunch up and the difficulty it poses in threading the needles. “ Interfacing Knit garments don't require as much interfacing a garments, because the interfacing will prevent the fabric from stretching. Sometimes a garment may need to be inter- faced to prevent certain areas from stretching, such as the seam allowances for zippers, facings, and front plackets for buttonholes. Styles with facings are not meant to stretch at the facing edge, and need to be cut larger for the head to pass through Facings and interfacings may only be used on garments that have a large enough neckline to fit over the head without stretching or styles that have a zipper or button closing, ‘Tricot interfacing has a crosswise stretch and no lengthwise stretch. For best results, use tricot fusing so it stretches we needed, Sometimes the designer will need to control the lengthwise stretch and sometimes the crosswise stretch. Tri- cot interfacing can also be used to stabilize zipper seam al- Iowances to prevent stretching during application, Tricot fusing is an excellent choice for most knit fabries, because knit fabries are not flat compared to woven fabrics, and tricot fusing can stretch into the minute crevices of the fubries, It therefore gives better adhesion and won't pucker or bubble the way that a Pellon or a woven fusing might. woven Block Fusing f z lock” fused with tricot. Loosely knit fabries are occasionally "B i eh he goods are entirely fused before being Block fusing is when the loosely knit or woven fabric. cut out. They are used to stabilize @— IEE STRETCH TERMS AND JARGON » L Zippers Lo Knit garments rarely need zippers, peat heat Shen, sami len be stepped into or pulled over the head. Howe rs as a design daat ch as a center front zipper in a hooded sweatshirt, o: fied toa sae in track pants, or welt zippers for eek ' enough stretch and the garment can be stepped into or pals over the head. This may not always be possible with Catsuity 1 and other garments that pass through the crotch. If a zig: § is necessary, use invisible zippers, since they don't have gy topstitching on the outside, which makes them easy to se knit fabries because topstitching will stretch the fabric key to invisible zipper applications is to use a zipper thatis ! least 14 inches longer than the zipper opening, or to change | the length of the opening to be 1% inches shorter than they. per. Ifyou use a zipper that is the same length as the opening. it is not possible to sew the very bottom of the zipper because the slider gets in the way. With a longer zipper you can place | the excess length at the bottom of the zipper. Use a Minch seam allowance for invisible zippers the designer will sometimes use zippers vin Shrinkage Shrinkage refers to the reduction in width and length of the garment, or both, that happens when a fabric is washed or dry-cleaned. There are different methods of compensating for shrinkage, and each depends on the way the fabric was dyed and its ultimate use. How to Compensate a Pattern for Shrinkage PRESHRINKING The fabric can be purchased preshrunk or prewashed t shrink before cutting out the garment. Also, the manufit turer can send the fabric out to be “sponged” or preshrunk. COMPACTINGSTRETCH TERMS AND JARGON CHAPTER 1 — 25 PATTERN COMPENSATION ‘The patternmaker ithe pattie make ;fimply cuts out all of the garment piec omtinen veashes and dries them: then places them back on th S origl- sate. This method is used aie \ will be dyed, or washed after construction. ay Soe SANFORIZED Sanforized is a trademark ess of sl fa a trademarked pre ee process of shrinking the fabric Fabrics bearing this tradomark will noc sheik ore then 1 RESIDUAL SHRINKAGE | Residual shrinkage indicates We} PROGRESSIVE SHRINKAGE Progressive shrinkage is the sh is the shrinkage that may occur in a garment upon each subsequent ishing ‘3 3 Testing for Shrinkage You should shrink test every fabric by drawing a 20" x 20! square in the center of the fabric—always in the center be: cause there is usually some variation towards the edges, especially if the goods have been split open or treated in some way \ Create a cardboard template of the square for testing every single dye lot. Do this, also, to check torque on the goods, that annoying thing that happens if you buy a cheap T-shirt and your seam tnd up twisting after washing. Many times goods will be re- jected if they have more than 5 percent torque and 5 percent shrinkage Some fabrics are worse than others jersey knits and any variation like eyelets or anything with 5 ‘a drop needle like poor bey ribs Interlocks are terrible for shrinkage. Even after compacting, interlock fabrics can have 5 to 6 percent shrinkage. *after washing and drying the square, measiT™ how much idth and make a new the fabric has shrunk in length and wi these percentages. Do this with every lot of pattern based on tl is Fabric. You must make multiple patterns if there is a lot of vavvation in the dye lots; for example, there may be a pattern length and 2 percent top with shrinkage of 4 per- 3 for torque, such as for a top with shrinkage of 6 percent width, and another for the ene vent Iength and 1 pereent width : Malvernativels, you can wash @ garment that has been made from the goods tl ssted initially, then hat have not been te: z measure the overall garme! reas. For nit shrinkage in various @ ET00 S§ {Tk 26 Chaprer 1 STRETCH TERMS AND JARGON age of the completed oa nitting, which yeing i - er front length shrink more than yy the armhole has ‘ that thread in the sey hing, You must compenge? nal garment. So if the oye, example, the ce ‘mhole be vole : ‘ fom shrinking 0 to oop th the pattern for the nt So thee for this in i percent, put the majority 0 carat aaa aee, of the armbole to the hem. the bottom 0 sue Shrinkage Template ise it is easy to multiply by 4 20-inch template is used bi the percentages. Dyeing Knits The method of dyeing will affect the amount of shrinkage ang also the method and amount of compensation used to correct the fit . STOCK DYEING ' The raw materials, the fibers, are dyed before being spun inty yarn. They will have the most amount of shrinkage but alsp will produce the most color saturation. “solution” dyeing when age of dyeing tock dyeing is called synthetic fibers are involved. One ag w fiber stock is that different colors or @ shades can later be spun together to create complex yarns, SOLUTION DYEING ; Some manmade fibers are dyed by adding colors to the poly: 6 mer before they are spun. These colors are fast and durable ' Solution dyeing is also called dope-dycing, ‘ YARN DYEING Tesults in less shrink blems associated with piec®STRETCH TERMS AND JARGON CHAPTER — 27 GARMENT DYEING The garment is dyed after turers stock undyed the: manufacturer must compen nd sewing. Mar ments, called Many manufac od ‘according the cattinns will dye completed garment will s Ea cy onsesicrotson the 1 tnust eleo shrink and dye similarly. DYE LOTS Beery fabric when dyed is given a dye | pee fc whan de Eien 8 ve lt miter! 1 Ul dyed at the same ti t fabric may have a di he same dye solution. The next bolt a different Each di dye lot number, because it was dyed in ¢ b ro i * 's slightly in color, and garments i nt dye lots, Different dye lots often shrink differently as well, and every one must be tested for sh GREIGE GARMENTS Undyed fabrics are called “greige.” Often garments are manufactured greige, and not dyed or colored until after being sewn. This way the manufacturer may stock the needed garments and not dye them u are certain that any color is popular. This greatly reduces the production lead-time. The greige garment may be dyed any color the designer wants. Ready to Dye Natural cotton, after weaving and w de of ecru or cream. Normally, if the fabr dyed, it goes straight to th at that point. Ifit is to be sold as bleached fabric or made into “white” clothing, itis fi + bleached aac washed, then often treated with optic whiteners and washe d again, Optic whiteners are kind of like a whitt dye. While tech- ically there is no such thing as a white dye, the opie whiteners far level, the same spaces as dyes do. The Jaid to take dyes better than white or ‘ashing, is an off-white color, is to be a light sh e dyer occupy, on a molecul: fore, unbleached fabrics are optically whitened fabric. (PFD) GARMENTS ‘s added and are actually an »wn with cotton thread (so the ve usually cut oversize based g to be dyed and PREPARED FOR DYEING PFD garments have had no whiten offwhite in color. They must be stitching dyes the same color), and on the enderstanding that the garment is 200 will shrink. ‘This usually means: fab- a, There are no starche i rie that could interfere with ‘the dyeing. b. The garment is sewn. with cotton thread. c. The item is cut oversize to allow for shrinkage. aSa 28 SMARTER STHETCH TERNS/AND. ARGON Exercise #1: Study a Knit Garment a gs one stretch garment to class and a report on this garment covering: The direction(s) it stretches Whether it is a one-way, two-way, or four-way-stretch garment. The stretch ratio. Whether or not it has memory. Its design ease, negative ease, garment ease. The estimated amount of garment and design ease in the garment Whether the fit is tight, semi-fit, unfitted, or oversized ‘The direction of the knitting stitches The fabric’s nap or shine (or lack thereof), The greatest direction of s| fabrics). The kind of seam and hem finishes, and equipment used. How it was dyed. Test Your Knowledge of the Material in This Chapter . What is a one-way-stretch fabric? . What is a two-way-stretch fabric? What is a four-way-stretch fabric? |. Define the term “stretch factor.” . Define the term “stretch memory.” . Define the term “direction of stretch.” . What is a sloper or block? What is a spec sheet? What is a costing sheet? What is a pattern must? What are the three different methods to create a Sweater? 12. What is a rib knit? OOIM Awww FS x .CHAPTER 2 Sizing and Measurements About This Chapter You may have noticed that you do not fit the same size gar ment from one manufacturer to another or from one country to the next. While this might be confusing at times, some of the reasons for it become obvious when you look at the following chapter. There is no true standard size or industry rule, and each designer must fit a company’s size specifications to their target market and company requirements. A designer with a very young market will have tighter-fitting clothing, because younger customers have tighter, slimmer bodies, and generally they like to show them off, Some American manufacturers offer garments with larger and higher busts, because of the proliferation of breast implants, which affects size specifications. ‘The student designer or beginner may have trouble grasp- ing the sizing concepts. The main idea to understand is that a designer may place any size tag that he/she desires into a garment. However, some simple guides do apply; see the charts that follow. Sizing Categories Clothing sizes depend on both height and figure type. Note that some of the size ranges overlap, because most knit manufacturers pan create a range of five sizes. In wo- J md ven, these sizes will only fit a small j ~ percentage of the population, but in knit, the ranges will overlap, because alphabet sizes—Extra Small (XS), Small (S), Medium (WP, Large (L), and Extra Large (XL)—skip every other size.30 CHAPTER 2 SIZING AND MEASUREMENTS es » Mshortc ang, ross the back ag wit ack ase” gy Women with @ smal frame with a sightly smaller Bust ang ga n the junior size range. Proportioned for women 411" to 54" ti Proportioned fo SS ornen witha high bug ered sizing fr young w ah DUS, sng, Ste S258 sin narrow bottom, and a slender figure . 4 sizing for the average-proportioned body @ 881058 Even-numbered sizing oportoned body jg . Most designer collections are created in this size range, » toe" Even-numbered sizing for taller women of average propertin, 1 i tioned women with afuller stomach and alowertyy, 51059" Well-prop I wen _ fine, and extra weight in the Upper arms and upper back ka er taW has broader ft tough the top than a Misses tee et ° subdivision of the Misses catagor Hat Sizes were a popular 1 sat (elarting at 147 and going up to 30°). But this size hastec, I i Size is somewhat shorter ten, with a heavier body type. Misses size and a bit ful This size range is for larger or full-igured women. Plus Size clothing is fuller through the waist, back, thighs, and arme, bust measurement, because if the bust fits, most waist, hip, and length Size Changes Size labels are often changed charts. Some of the reasons next section: and may not correspond to thes become clear when viewing the Designer Fitting Often designers will change commodate the or customize their slopers particular fit of their customers. If the de signer has a very young customer, he or she may reduce the ' ip measurement to accommodate smaller end higher buttocks, and breasts; or designers who work primarily with 9 cveningwear will require a much tighter fit. Each designet J should then make any changes to size specifications that the ’ target market requires ity sizing is also referred to as size ehins desig fenatill Place a smaller label in oe gee na the om ; cv i ane more likely to buy a garment with & fined. "°* think that she has lost weight, reer thaSIZING AND MEASUREMENTS CHAPTER 2 Eveningwear Bveningwear will always fit clothing, and it is much ae beaded evening gow: Catalogue Catalogue clothe that they will gener with a garment that's a little garment French Sizing French women prefer to fi wear clothing that is a " than North American women do. eee las Italian Sizing Italian women prefer clothing that is very snug at the hi buttocks at the hip and German Sizing German women are a lot tale: from other countries, and the clothing desi is therefore larger than that of many other cow + and larger than most women igned in Germany American Sizing Americans tend to be more m with larger backs and smaller waists int be able to accommodate these bodies. | ‘Americans work than their European counterpe 8, need to be able to move in their clothing. uscular than other countries, therefore, the clothes n addition, more ind they European New Sizing that is roughly equivalent to American 1-2-3 sizing category S-ML. One Size Fits All i “ ize fits Wvtians ie oo suabcenin os Os much spandex is used! Clothing: Jabeled as one fact, doesn’t fit anyone properly. all” no matter how size fits all, in at34 CHAPTER 2 SIZING AND MEASUREMENTS How to Take Measurements e Misses size ‘The measurements included are in the Misses size rang, ress-form. Compare taken cae ee the size of your Gress e ones provided to asurements corre: Bust Stand on the side of the model with the arms down, and ‘measure all the way around the fullest part of the chest. Then fave the model take a deep breath and let it out, while you hold the tape measure. Record the largest measurement n measurements wit} students can compare their own m h our measurements ya #2. WAIST ‘Measure around the smallest part of the waist. Do not put the tape too tight, but keep it comfortably relaxed. seusT = Extra Smait Smait Medium Large Extra large Extra Extra Large isses Re 2h 3% san 25% ar 9 4 ; M ey hh 38% 38% 40 ah aah Pete = Be Wh oH a fy, 8 a1%6 4345 wt a am xy, 8, 8, om 3° amy 2 43% 45% Tt Weems, BH By, Bree gee, S0Ye. ay aoa ia een Halfsize gf Si ee om Se » » » . » » SD » » » » » » s e ° e » . e 2 e 2 2 2#3 HIP Measure around the widest part of the hip, slide the tape Lup and down to make sure that you record the largest measurement. The hip is approximately 7-8" down from the waist. SIZING AND MEASUREMENTS CHAPTER2 35, #4 CROTCH DEPTH The crotch depth measurement may be taken in three ways: 1. When standing, from the front waist to the back waist, passing through the entire crotch area. Divide that number by 2. 2. With the customer seated, take the measurement from the top of the chair seat up to the waist level 3, Use an “L’ square ruler and measure from the erotch up to the waist level. *oHIP ieee Size ExtraSmall Small Medium Large Extra Large Extra Extra Large Misses UA Sh Th Oh 0 Mh 4 Mh 48% 48% Petite Ste rte 38% 40. AIM 43 athe 48 4B Snior inoue ae lara ee Me Misses tall ee ae ee ee ec Women's Pee ema el. 1g) O02. A Half size SS Se Plus size pee oe 2 as ee #4 CROTCH DEPTH Size Extra Small Small Medium Lorge Extra Large Extra ExtraLarge cy , eT ee oe eee ee be oe ely We toe 10m it Mth he 1% TR rae Oe ctneay we gine Ute the Te 11th 1% a ct ah eA 42 1h th 1 A Missestal 43% Jon 21% 23% «25% 27% 0% SI BNA Womens Nahe Tove Bitte 28% 25% Tike 20% ue S1e Sth Plo {ye Jeeta 7 10s 25%e 27% 20% 31% 98% 9———eeeee————————eeee—— ( ee 36 CHAPTER 2 SIZING AND MEASUREMENTS 5 » s » » » s : » ° » » » » » » » a es » Sa roller #6 WAIST TO ANKLE o From ne side sea ; sist andmea- From the side seam, hold the tape atthe waist andmea- gy sure to the bottom of the ankle bone. ’ e a #5 WAIST TO KNEE o Extra Small Large Extra Large ExtraExtraLace gy 2 4 6 12 14 16 18 20 22 ey > 23% 23% = 28% = 37h 4 24% hth 2 : 22% 22%. 22% 22% 22% 2% ee 23% 23% 23% 23% 24 Ye 0h eee A 25th 25% 25% 25% 25% 25h my oS se 2 24% 28% 25h 2B SYA Made fe Mai ce 23% 23% 23% 23% 23% 2h = Rad a2 24% 24% 25 25% 25% 25% » a #6 WAIST TO ANKLE = = aera sane Small as. Large Extra Large Extra ExtraLarge 8 38 i a |. = “ 39 3 98% 37% 379% 40 40% 40% 40% 4 BA 38% 38% 39 38% 38% 387% 30% So mts a% MI% 40 40% 40% 40% 41 ey ek Bh en 42% 4% 43% 3% & 29% on Th 3% 39% 39% 30% 39% 40 38% 40 38% 38% 38% 38% 40% 40% 40% 407CHAPTER 2 SIZING AND MEASUREMENTS, a Lidice 48 KNEE Wrap the tape around the ankle and record the measure- Wrap the tape around the knee and record the measur ment ee AT ANKLE Extra Small ‘Small Medium Large Extra Large Extra Extra Large Size 2 poe we 18 22 Misses 7% Th 8 8% 8% 8% a% em 8 Petite 8% rs ik werk ee Th Th 8 ‘Junior Th 8% 8h Bh 9% 9% A 10% 10% Misses tal 7% Bh Bh 8% Bh BM Bh on 9% Women's 10 10% 10% 1 1% Wh 2 12h 12% Haifsize 9% 10% 10% 10% 10% 11% 1% 12% 12% Plussize 9% 10% 10% 10% 10% 1h % 12m 12% #8 KNEE Extra Small ‘Small Medium Large Extra Large Extra Extra Large Size Belay 6m 8. Je 12 14 ei10) rem sonatas Mees ISA 1s (1% «1 a HM ah 18% 15% 1 Petite 1M 13 13% 14 Mh th 14% «15158 Junior BA 13 4h 1% We Wh 15% 1% 15% 15% 16% Facenstal aia 18% A MIA MY A AB IB SABA ASH GAB Weta Agia ciets.0-iete. oobi 10%» 10% 1B Ye abate IU a SI ere Wh 1h ih 1h 18 1h 8% 18% 18% if Th we 19 19% 19% 19%$8 CHAPTER? SIZING AND MEASUREMENTS ae #10 BACK CROTCH EXTENSION The back crotch extension is not a direct body measurement, but is necessary for drafting pants. #9 FRONT CROTCH EXTENSION ‘The front crotch extension is not @ direct body measure- ‘ment, but is necessary for drafting pants. ‘The front crotch measurement is one-third of the front hip The back crotch measurement is one-fourth of the front dratt measurement. hip measurement. #9 FRONT CROTCH EXTENSION Extra Small ‘Small Medium Large ExtraLarge Extra Extra Large Size er eh tg eee wee ee ee Misses 2h 2h 2h 2% 2% 2% 2h 2% 2% 2h 2h 08 Pe BREA BE Oc BB Bo 2h Deh aeeDING Bal tiie Bh Bh 2% HOH 2 8% 2a le 8 Sih toh 2 the hm Bi 22%, aioe) 3 Sie Womens 2% 3% 3% 3% ala Reksce | 2% 8 8% 8h ate Pussize 2% 3 3% ao ah 4% 4h 5h 5% Ste th Am Bh 8 5% Stam 4h 4% ah 5% #10 BACK CROTCH EXTENSION Extra SmallSIZING AND MEASUREMENTS CHAPTER 2 30 > = B sit CROTCH ANGLE ; 412. NAPE TO WAIST The crotch angle is not a direct body measurement, butis The n i me ape is the point where the neck intersects with the B —_ necessary for drafting pants. back. o 9 The crotch angle is one-half of the front crotch extension. Measure straight down from the nape to the waist at the , ‘center back ) , Ht GROTOH ANOLE = Extra Small ‘Small Medium Large Extra Large Extra Extra Large Misses 1 1h 1h th 1% 1h 1% 1% 1% 1% 1% 1% ) Petite 1h 1% 1h 1% 1% 1% 1% 1% 1% 1% 1% 1% | Junior im A IW uh ie, 1 I 1 he A oe pay Wee Ck I te I IK ( WWerers ci ue ie 14 1% 1% 2th Bm 1B aa Half size Gyo th 16 1% te 1h Ve 2% 2 Bh 2 oe Plus size 1 1% 1% 1% 1% 1% 2 2Ye 2% yea #12 NAPE TO WAIST Bh Wh Wh Ts 16% 16% 18% Th BeCHAPTER 2 SIZING AND MEASUREMENTS » » HN ee) #13 BACK NECKLINE #14 BACK NECK RISE “The back neckline isnot a direct measurement, but is cal- The back neck rise is not a direct body measurement, bat ‘culated as one-sixth ofthe total neckline measurement. js calculated as one-eighteenth of the neckline measue- ment. #13 BACK NECKLINE a Size Extra Small ‘Small Medium Large Extra Large Extra Extralarg Misses 2% 2% 2% 2% 2h 2% 2h 2 2% 2 2% 2M Petite 2% 2% 2% 2% 2h 2h 2h We 22h 2% 2 2 Junior Bh Me he 2% OB 2 | ah © 8% © 0 2% Oh Missestall 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2h Women's 3 Sh 3% 8% 4 a she 5% 5th SR Meee = 2% 3 Oh Bh 8M 4 4% aM 5 Ste 5m Pussze 2% 38 Bk 4 4h 4% 5 S&S #14 BACK NECK RISE Size Extra Small ‘Small Medium Misses Petite unior Misses ta Women's Ha size Plus size#15 SHOULDER LENGTH ‘Measure from the point that the neck and shoulders intersect to the point where the shoulder and arms intersect. Where exactly are the shoulders? Place your hand on the bone at the top of your shoulder. Pivot the arm. If you have the correct location on the bone, your arm should pivot around this point. #16 ACROSS BACK Measure between the two bones at the top of the armhole, and since the draft will be completed as one-quarter of the body, you need to divide this measurement in half SIZING AND MEASUREMENTS CHAPTER 2 Half size 8% Plus size 8% #15 SHOULDER LENGTH Size Extra Small Medium Extra Large _Extra Extra Large Misses: 5 5% 5% 5% 6 Be 6% r TMs a Petite 4 6 5% 5% 5% 5% 5% 5% She 6 Junior 4h 5 5% 5% 5% 5% 5s 6 6% 6% Misses tall 4% § 5 5% 5% Sve 5% 5% She 6 Women's 5% 5% 5h 5h 6 6% 6% 6% 6% 6% Half size. Se 5% 5% 5% 5h 6 6 6% 6% 6% Plus size 5% 5% 5% 5% Sh 5h 6 6 6% 6% 6% #16 ACROSS BACK Size Extra Small ‘Small ‘Medium Large Extra Large Extra Extra Large 74 Y Th 1% mh Th Th Th 8 8% Bs het in Th Th aim ini Gath ces wth es sae er De Ae gee ten peed NE cts en Masestelt at Oi ea LOA SU SAS Women's 8% OF ait Mamie Mae ihe BACAR ae on 8% 9% 8% OM42 CHAPTER 2 SIZING AND MEASUREMENTS #17 SLEEVE LENGTH Measure from the top of the sieeve to the wrist. Measure from the shoulder bone to the elbow and con- tinue down to the wrist. #18 SHOULDER PITCH Also called shoulder angle. The shoulder pitch is not a direct body measurement, but is calculated as one-eleventh of the nape to waist mea- 4 Ba surement » #17 SLEEVE LENGTH = Size Extra Small ‘Small Medium Large Extra Large Extracxvalay eee a 22% 23 23% 23% 23% 23% 23% 23% = 23% 4 » a oe oe ZI n 2% 2h 22 Bh eth am 2h Y / 23h 24 Ye 24% 2h 245 24K ess ae at * 2 24% 24h 25 25% 25% 25% 25% 25% 2h lies a Be 2h 2% De 2% 24% 24 25h kD Plussiee 92% my, Ba Bh 2h 2 BBM ah 28% «hk 6 S24 2% 32% Bh 833 BB «38% BIA > #8 SHOULDER PitcH » Size Extra Sm: aa Small en imc Medium. Large Extra Large Extra Extra Larg® . ee ae ek a a Missestan 2 1% 1% 1% i Rea eee Rees {ot ae oe te ei deen wtste i Wm 44 asWA SIZING AND MEASUREMENTS CHAPTER2 43 #19 BICEP CIRCUMFERENCE #20 WRIST CIRCUMFERENCE Wrap tape around the fullest part of the bicep. This mea- Wrap tape around the wrist. This measurement is help. surement is helpful when drafting the sleeve to check that _ful when drafting the sleeve to check that the wrist will Be the sleeve will be large enough to accommodate alarger _large enough to accommodate the hand bicep. #19 BICEP CIRCUMFERENCE Size ExtraSmall_—__Small_ Large ExtraLarge Extra Extra Large Misses 10 10% © 10% MWh Wh 1h 2h 13 13% 13% Petite 10% 10% 11% Wh 12% 2% 13 13% 13% 14 Junior 1% 1% 11% 12% 12% 13 13% 18% 14% 1 Missestall 10% = 11.11%. 2% 12% 12% 13% 13% 14 Women's. Mh 4% 15% 16 18% 16% 1 Half size Bi 14% 14% 5% 1% 16 16% 16% 7% 18% 15% 16 16% 16% 17% Plus size Bh 4% 14% #20 WRIST CIRCUMFERENCE _ a Size Large Extra Large _ Extra Extra Large eae 7h 8% 7 | 7% 1% | (BM ROM Petite 5% 6% 6h 6% Th 7 8 8% 8B OB MM Sh Junior 8% 6 6h 6% 6% 6% 6h 8% 6A 7 ™% 7% Misses tall 5% 6% rth ah B% 8A 9% o 1 Women's 7% 7% 8% 8% 9 8% 10% 10% Wr 1% Halfsize 6% = 7% Th 8% BY 9% 9% 10% We 10% Th 8% BY 8% 9% 10% 10% 10% Plussize 6% 7%44° CHAPTER 2 SIZING AND MEASUREMENTS " WA 1% 14% 10% © ta 1% 15% tr ay UA 15% 15% 15% Gh 6% 16% 17% TA 7% 8 Misses as 4% 15) 15% 15% 15% S% 8% 5% 15% 16 a 3, 18% 10% iq jerk 19% 20% 20% 21 a% : mete ten na Me OF Hee eA 8h 10 et ios 19% 20% 20% 2h i oe 8 19 Seabee 20% 20% 20% a A, / J ane ' 7 1 J 1 1 1 P | , f #21 NECK CIRCUMFERENCE #22 BUST SPAN | semgsneesurng tape around base of neck, and measure Measure from apex to apex across the front chest, Date | ‘but do not pul the tape too tight, ing tube tops may be useful. #21 NECK CIRCUMFERENCE Extra Small ‘Small Medium Large Extra Large Extra ExtraLarg Size eat ad OS G0 eta {els 8) 207 ee Misses Mi ws or Mee ee a 1 TiBh Asta 2 aaa area BA | Junior 18% h ‘ i 4#23 BUST LEVEL Measure from the shoulder point down to fullest part of bust. This measurement is helpful when determining the bust apex, and will be useful when drafting low-cut tops. ‘SIZING AND MEASUREMENTS CHAPTER 2 45 fetes 11% 1% «114 TA 2h 12% tte 218 1% 13% #23 BUST LEVEL size Extra Small ‘Small ‘Medium Large extra Large _ Extra Extra Large Misses BA ar) Howe ttm. tote 10% 10% Dh ie Te Petite Bee dpe aetn nopeee isi 10n antes 10% 10% 10% 10% Junior a 40% «10% «10% «WA et 1h 12% «12% 12% Missestall 10% 10% 11 in% 1% 1% 1% 1% 1% 12 12% Women’s 12% 2% 2% 13 mn 1h 13% 14 ih 14% 18 By 12% «2h «12% 18 1h 13% 13% Whe an 4% 4% 1 Plus size46 #24 HIP DEPTH #24 HIP DEPTH Size | tension Lane Extra Small Small Medium Large a ee 3 38% 40 41% 43 4% 46% Ye 40 1% 43 4dte 45 * B00 40% 42 antiaseds, aaa ae A AM why At ear ee = 6 68 BO seo wee nee ye St 66 68 map Nees mn . 52 54 56 58 60 62 64 B25 HIGHEST PART OF CHEST OR Bust e __ ee Size Extra Small Small Xtra Large Extra Extra Lar piper SET i aa RA 4 gaan fee) R's le A 4 4a, 4g Junior 2 8 34 35 38 39% 44 42% 44 32 = Mecestal 33 34 35 96 BTA aos tee 42 43% 45 S55 Women's) 42. ag 14 Tenth ae alae ee 82% $4 42 4 Hal size Z ~ SB ea 49% 51 52% 54 ao 2 ize 7 lus si Boe id 49 51 53 55 87 59 61 43, ZING AND MEASUREMENTS #25 HIGHEST PART OF CHEST OR BUSTSIZING AND MEASUREMENTS CHAPTER 2 47 #26 ARMHOLE DEPTH ‘The armhole depth is not a direct body dimension, but is taken from the sloper draft. Measure the distance from the ‘shoulder straight down to the bottom of the armhole. #26 ARMHOLE DEPTH Extra Extra Extra Small Small Large Extra Large Large Size 2 4 6 8 “6 6 2 2 2% Misses 6m 7 Th Th Th Th Th 8B By «Bh Petite 6% 6% 6h 7 Th Th Th Th Junior 6m 7 7 7% 7% Bh Be Missestall 7% 7% 7h 8 B% am = Ba Th 8 8% Th Th Th Th Women's 7% 7% Th Th Th Th Th Half size Bh be 6% Plus size Th 6%48° CHAPTER 2 siziNG AND MEASUREMENTS , » Cup Sizes » . jetermined by the difference between the ,, » Cup size is deterche upper bust measurement. Thig i measur rier pust measurements, but all upper chest nit! » #27 cup size. 2 _ » the upper chest is 36 » = : r iG 4 o «a a - 6 36 36° 3° (36 o? Upper chest 36 5 7 : caeee ann » Siore ou 2wiesh 4% 5% 6% 7% 8% gy . #28 cup RADIUS : - = a sa E a . Extra Extra Extra Extra Small Extra Small__—_Small_—_—_-Medium Large _ExtraLarge Large 2 : a rs 2% 2% 2% f By 2% oe 2% oe ae és es oe 2% Oe & a a a a 2 3 B a a ® ,SIZING AND MEASUREMENTS CHAPTER? 40 How to Determine Your Own Size Range ‘The first step in starting your own abel ar your own company Purchased is to determine your si range and size specs. There are two measurements asic ways 10 get sing information. One 1st buy it andthe yan cere other is to design it yourself, usually by reverse engineering “== bape es of your competitor's products : POPULATION MEASUREMENTS N notion ora” May be obtained from the American Bureau of Standards and Measurements, which lists measurements based on age y groups, and is updated overy November stancera hitp:/www.astm.org incase INDIVIDUAL MEASUREMENTS Individual measurements of sample customers, or fit models Slopers and dress-forms, should be taken, STATISTICAL ANALYSIS. M Production Patterns Analyze the measurements taken, along with those purchased, and compare them to decide on the appropriate mea surements for you target market. Create grade tables based on your analysis, SLOPERS Develop a measurement chart for the measurement charts provided in this text, before creating our company, or use one of your company’s slopers. PRODUCTION PATTERNS Production patterns should be drafted to the comp: specs. Often, designer samples are created in model's proportions, for showroom sales and fashion shows. These measure- mente do not fit the average consumer and should be corrected for production patterns. This is the responsibility of the spec technician. COMPETITORS You can purchase the measurements any size garments from your competitors and take directly from the garment.yREMENTS ZING AND MEASURE! SO CHAPTER? SIZING Eighths Test Your Knowledge of the Material in This Chapter 1. Why don't clothes from one manufacturer fit the same as from another manufacturer? no What type of customers are Plus sizes intended for? What is vanity sizing? RT INVERSION CHA ‘Sixteenths it will ben d patterns, ary 10 Conver agtin imbe' enw we i e number 1 bY jecimal Equivaie~ Sane Declan ivi .03125 0.0825, 0.09375 0125 0.15625 0875 o.21875 0.28, 0.28125, 0.315 0.40625 0.4375 0.46875 : 05 0.59125 0.5625 0.59375 0.625 0.65625 0.8875 071875 075 o.7a125 0.8125 0.84375 0.875 y 0.90625 , 0.9375 ’ 0.96875 if, 10 What is catalogue sizing? How much is the bust difference betwee size 10 and size 12? How much is the bust difference betwee size 10 and size 8? much is the bust difference betwee? Small and Medium? How much is the bust difference betwee? Medium and Lange?SIZING AND MEASUREMENTS CHAPTER? — 51 Exercise #2 Create a personal me Personal measurement chart with the associated reductions, for future drafts. T Two- & super: Four-way | Stable | Moderate | Stretchy | stretch | Rib | knits . Personal | Divide | knits | knits | knits | knits. | knits | ~6% both = |_Measurement | by 0% 2% 3.5% | —5% | -10% | directions Matto | | tiply By i woo | 98 | +96 95 | 90 | <09 1 Bust 2 Waist [ 4 3_Hip | 4 | | t Crotch depth | [wa ‘No length reduction ie Waist to knee | [NA No length reduction 6 Waisttoankie | wa | ‘No length reduction ‘Ankle 4 cE 8 Knee Es © Fronterotch | One quarter of la aml aie hip measurement |_ 10 Back crotch One-third of | | hip measurement Crotch angie | One haif of front crotch extension | 12_Nape to waist NA | 13 Back neck From size NA | chart closest to your size Back neck rise From size N/A chart closest to your size | Shoulder N/A No reduction Across back 2 if e | Sleeve length N/A a | Shoulder pitch From an N/A | appropriate chart Bicep Wrist Neck Bust span Bust level Hip depth Upper bustCZREASE mH o ans Principles of Pattern-Drafting | About This Chapter This chapter introduces the reader to the principles and pr tices of stretch patternmaking, While previous patternmak ing experience will help in understanding these concepts, the occasional, or new, patternmaker will greatly benefit from see- ing how stretch patternmaking differs from conventional patternmaking. In many ways, stretch patternmaking is simpler Flat Patternmaking Flat patternmaking is the process of creating templates used to cut out the final garments. Patternmaking is the process of creating a two-dimensional template for a three-dimensional garment, by tracing out the sloper on a blank sheet of paper, then manipulating by slash and spread and adding garment details to create a final pattern. Sloper A sloper is a template of basic styles, without any seam allowances or style details. Many different patterns can be made from a single sloper. Because a sloper is your master pattern, it should not be changed or altered unless you wish to make those same alterations to all future styles. Slopers should be traced out on lightweight drafting paper, and then changed into the style that you wish to create. Patterns A pattern is an outline, that is used when cutting out the fabric, All patterns or a template, of the intended style should include seam allowances to allow the pieces to be sewn together; any necessary dril structions. All final all drafts and working drafting paper. There are two methods flat patternmaking and draping. notches to help match seams together; a grainline and 11 holes; plus all necessary labeling and in- | patterns should be made of oak-tag, and patterns should be made of lightweight of creating patterns:$4 CNAPTERS PRINCIP How Patterns Are Used stories you he: eeents are ill-fitting and un indeed look it “who never Pattern Development d by traci pulating through slash details to iding all of All patt appropr Draping Knits Draping is « method by which the fabric is placed on t Judy and the garment is cut and molded to the Draping is difficult, if not impo n fabrics, because it is extremely di in the same amount of stretch when draping the separate front and back of the irme )ften the side ms of draped garm ill twist around the body, be- eause the seams are not identical and we not equalized effectively. To get around this problem, drape the front of the garment, and use that drape to ¢ the back of the garment by changing the neckline and the armholes of the draft, or the reverse: drape se: drape the back of the styl and draft the back, from that drape. ile The Differences bet ween Woven and Stretch Patterns ‘onsequently, priate sloper, LES OF PATTERN-DRAFTING he Be: » allow : » there is one huge di - woven patterns. Sf lenit a different sloper. I ire a wa stretch up to 25 percent, require slopers reg i for that particular fabr i w ile scene ou would need hundreds of different sloper a tt sie are only six different sloper sets. "8 Ii fact there a . Stable knit stretches up to 25, yy Moderat etch knit stretches up to 59 i Stretchy knit stretches up to 75, Super-stretch knit stretches up to 109, "2 ‘Two-way-stretch and stretches Up to 100 four-way-stretch knit —_in both directions Rib knit stretches over 100% This manual takes a unique approach {) drafting slopers, in that the largest-sized slop is created and on each piece the other strets, ratios are indicated. This method saves a lot time when drafting slopers, and uses far les supplies, which is especially helpful to the stu. & dent, or beginning patternmaker. o Q How Patternmaking Works @ In order to create a pattern, you must trace out the appropriate sloper on a fresh sheet of light- Weight paper; complete any slash and spread. i draw in the details, add the necessary seal gy allowances, and finally trace the lightweight 2 Pattern onto oak-tag, or hard paper, and label and notch the pattern accordingly. Before all Pattern can be considered complete, you 1 i frue and check every seam, check every blend every curve, and then label the pattet® n Also remember that fitting and corrections Part of the Patternmaking process. nal pattern ing Seam allowances, create ll jp * in oak-tag, or hard pattern PSP™ jpPRINCIPLES OF PATTERN-DRAFTING CHAPTERS — 55 Principles of Patternmaking There are six principle that will be explained out this chapter 1. Ease 2. Adding a style line 3. Slash and spread to add fullness, flare gathering, and ease, and pivoting 4. Reductions for binding, banding. and elastic ian 5. Circles for s 6. Fittin, of knit patternmaking and illustrated kirts and ruffles and corrections Seam Allowances None of the calculations used to create the slop ers or blocks in this manual include seam allowances, nor, for that matter, should any sloper or block. Seams should only be added to the final pattern pieces; otherwise you would soon find yourself confused as to whether they'd been added or not. The amount of seam allowance you add depends on the type of machine you use, which in turn is determined by the type of fabric and seam finish. When drafting patterns for stretch garments, keep in mind that seams also affect the way the garment stretches. A simple serged n along the side of a garment doesn't really affect much, but consider, for example, using a topstitched seam along that same side seam Such a seam would be a nice decorative feature, but all that bulk acts as an anchor line and will not allow the fabric to streteh as much along its length as would a simple serged seam. So you need to allow extra length, which might in turn affect the fit of the rest of the garment A topstitehed seam also tends to hold in a straight line, so be aware that you might need to allow a little extra in garment length or find yourself with a bunch of 45-degree puckers dow! ‘one side of the seam. You can use this to your ad- vantage or you can be constantly chasing yourself in circles trying to work out why something doesn't fit the way you hoped it would. The closer or tighter the fit and the smaller the garment, the more you need to build excess into small allowances for unforeseen circumstances. ‘This usually isn’t a problem when working with stan dard sizes, but when making custom garments, these considerations might be critical. ‘The seam allowances are determined by the type of knits, and consequently the type of serger. The patternmaker must know which. machine to use in order to apply the correct seam allowances, Koi Ratio Serger Seam allowance Hom Allowance Stable knit no 25% 4-thread or 5:thread wor T*forstraight, /# for curved it the fabric is very thick Moderate knit 50% 4ethread Me 1" for straight, ¢ for curved Rib knit 100% 4-thread Me 1 for straight, “for curved stretc 100% 4-thread or 3-thread yt or'ié "for straight, "for curved jac iauenl for very fine knits Loosely knitted 100% Actroas es super-stretch knit a ; vison - 4-thread or 5-thread wort 1'¥e for straight, "for cu ‘Sweater knits (cut and sew) 18-50% wee eaters Je needle, crochet, linking A" Fully-fashioned s dino sei teeie oe ee Ww When making custom fit garments use ‘Custom garments ee for the frst iting using @ machine. The excess can be cut away later using a serger.DRAFTING Al cipes OF PATTE! 56 CHAPTER 3 PRIN Drafting Hems neorrect hem allowance beca, This 16 ar ee folds up, it will hort when the fal ‘This is an incorrect hem allowance beeg hen the fabric folds up, it will get la stretch out from sewing Create the correct hem allow lel to the bottom ing a line parall \ then squaring up at the sides. This hen | soes a lige ceastlae a will not \ out when sewing and actually will help pi hem in slightly Understanding the Sewing of Hems 1" HEM All straight hems must have at least a 1" bem allowance. Cover-stitching causes the out. By usin, edge will ren stretches out a: into shape. seam to stretch g a 1” hem allowance, the folded in intact while the stitched edge nd may be easily pressed bast | "HEM A" hem wil pa Tham Will cause the edge to stretch out i, lows tet® is no choice but to use a i" hem ie ent On a curved edge, but « stretched ed iss obvious on a curvag hem and easier yy See shrink back to shape while pressing.Paw cietsa onvarrann-DRARTING! CHAETRAN) 9 7 Different Ways to Sew a Stretch Hem SDIDINIAIDNIIDAIS ZIGZAG MACHINE A zigzag machine may be used to hem a stretch garment MARCEL STITCH A marcel stitch is a straight stitch in a zigzag pat tern, Stretch this seam slightly while sewing, aa) SBR KE iS STRAIGHT-STITCH MACHINE HAND HEM Sew this hem using a large stitch length and A hand hem is used when a blind hemmer is not stretch the seam as you sew. When the seam available or when the designer wants to create fas been stretched during sewing, it will have a truly invisible hem large floats on the right side of the garment. ‘The needie travels from right to left, but the teretched seam will not lie flat, but instead sewing is actually gous left to right. Keep the will be wavy and stretched. If the seam is not stitches smaller than *4”. Back-tack every third stretched beyond the amount the wearer will _ stitch, to reinforce the hem. Hide stitches un- stretch it, it will pop when worn. der the serge when creating delicate garments, such as sweaters. folded e398 SERGED-ON BAND aso ‘Aserged-onbandisaseparate TUBULAR HEM strip of fabric that is folded in tubular hem looks like a serged- half and serged to the raw on band but is really a folded-up ince the cover-stitch can- ge of the fabric. Serged-o2 hem, created using the serger. This SF ee ee bands can be done on almost — em can only be applied to straight any seam; the band width ean hems eee bene front vary from 14" to 3" and may gu bet at Bs befare dalso be used on necklines to create crew-neck collars. eS —58 CHAPTERS ELASTIC Elastic may be used t will help keep any outside edge to the body, and hem leg opening: ing suits and bodysuits. roe, Allowances for elastic are usually Yn inch a the width of the elastic at ey al several layers of fabric wrapping over the elas: tie (not a good idea), you may want to allow 4 little more, about ‘42 inch extra per layer of fal ric being wrapped. ELASTIC FOR WAIST : eas Whenever using elastic that is larger than 1 inch, always remove 1 inch from the oo waist measurement. That may not seem li enough of a reduction, but if the elastic is too tight it will aggravate the wearer. Measure the Judy—not the pattern (e.g., medium size waist = 26%"; then 2614’-1" = 2514"), The ends of the elastic must also be sewn es to the ends (/ 0 finish a raw edge. It also ige tight and close s snug on bath: together, so add seam allowan inch each side’. Elastic Reductions _ Waist elastic Loss than ¥ wide, cute elas 2 smal han tho waist | More than wide, ut he east smal thon the walt Guth last smal than the tent neckine measueran Gutthe elastic tsmater than ne | back neckine measurement Front neckiine Back neckiine Types of Elastic INSERT ELAstic Insert elastic ig j ee -DRAI PRINCIPLES OF PATTERN-DRI at stretches with the garment, each with its own proper- d for specific applications, TING Remember that different manufac, lifferent seam allowances on the end use diferent so raat ofthe pattern ant ean elastic measuremeny finished (after sewn) el tic ; Ment (¢ Pr 25" ~ finished elastic ' For lowered waist or hip MUgRers, measuygy, Judy at the lowered waist and reduce that net surement-never the measurement of the pages over 1° wide \ eiaste |_1%ematr_| | inder wide [ elestic 2" smater gor Ss Cutout armholes Cut the elastic * smaller thar armhole measurement, Cut the elastic the same armhole measurement. Cut the elastic 1” smaller front leg opening mea: Cut the elastic 1” smaller: back leg opening measurement. Regular armholes Front leg opening Back leg openingRINCIPLES OF PATTERN-DRAFTING CHAPTERS — 59 SWIMWEAR ELASTIC Swimwear elastic RUBBER SWIMWEAR ELASTIC chlorine and Rubber swimwear elastic has a tendency to stick to the pr ays place this elas: tie under the ainst the feed dogs. so the teeth can grab the elastic and pull it through the s DRAWSTRING ELASTIC LINGERIE ELASTIC This elastic has a braided cord knitted into the Basie lingerie elastic comes in a variety of center of the elastic, which will expand to be- widths and colors and is typically used as an come a drawstring. Never pull the cord out, as _ insert elastic. it is impossible to get it back into the elastic This elastic has a soft, plushy backing that is comfortable next to the skin eee ee ces PICOT ELASTIC Picot elastic has a smalll lacy finish on one edge, and is used to reduce panty lines, It is used on lingerie and undergarments, because the small picot adds a decorative finish and reduces bulk, thereby reducing panty lines from showing through outerwear. Sew this elastic to the right side of the garment, then flip and cover-stitch. 2 3 > S FELT-BACKED ELASTIC e , ' ' : \ LACE ELASTIC Lace elastie may be used to finish. give a decorativeING 80 CHAPTER'S PRINCIPLES OF PATTERN-DRAF thering Elastic Used to Create Shirring and Ga’ GATHERED SIDE SEAMS ASYMMETRICAL GATHERED SIDE Clear elastic may be used to gather or SEAMS any part of a garment. Remember to Draft int with a drawstring or gatherin i ‘i 8 04 the seams before sewing the elastic with the only one side with a straight hem by Slashing s straight stitch. If you try to attach the elastic and spreading the pattern on one side, Ss while serging at the same time, it will be much 4, top, pant, or dress style may be cre- ithering on both sides. Lengthen the and simply stretch elastic in the vance and sew with a straight stitch.PRINCIPLE: SOF PATTERN-DRAFTING CHAPTERS 61 Binding may be used to fi ee 1 to finish necklines, arm- ss, leg openings, and the bottom of eycl COE ling tops but is rarely used on ed on regular hems of tops ee and heavy for a hem. It may be sewn manuall Pathe aren sett mactlan er itonatiecll with a binding turner. ik ‘This attachment for a cover-stitch machine will attach a collar easily When used for necklines, one shoulder must be left open until after the collar is attached. Collarette may be sewn automatically with ting, or serging and a turner, manually by b: then cover-stitching. elo G F+B 6 eo Front armhole + back armhole = ? Then di vide by 6 = ?’ Then multiply by 5 =? gf +9" = 18/6=5 x 5= 15 BINDING REDUCTIONS The binding must be reduced to create a tight finish. Reduce the length of the binding by one- sixth of the original measurement, If the original measure reduced binding should be 5 xample: ent is 6", then the If the original measurement is 12", then the reduced binding should be 10 Ifthe original measurement is 18°, then the reduced binding should be 15’ (front + back) divided by 6, then multiplied by 5 riven though the machine will apply the correct amount of binding, stretched at the right sion, it ie nece ary to Rabel the pattern, armhole, nec, ete. with the bind feawarement. his will det yw much binding to cut, or order for production nine hoC—i OO B » im e a ® 2 2 2 BINDING WITH A TURNER _ a 2 ® ® . a a . a » 2 2 . iia eters iPRINCIPLES OF PATTERN-DRAFTING CHAPTERS — 63 BANDING closer and tighter to the body. Do not ive und take ia Snes ighten the armhole because it is smaller th h rae hol ak stretched to fit when sewing. nyt eo by reducing the armhole measi Taoeth ean the armbole measurement by 1/6th of the total 3 3 Banding must be crea 3 3 be created smaller than the edge to wh 5 it will be applied. This > Bia ; % he applied. This helps keep the banding flat and keep $ % the garment edge tight. Banding must be redi d the length or the band by 1/6 th of the orig a < aaa Banding Reductions: If the original measurement is 6’, then the reduced band should be 5" If the original measurement is 12", then the reduced band should be 10" If the original measurement is 18", then the reduced band should be 15 A double te desires with Fos 4 Draft the band double the desired width, because it will fold in half. eum rnc ee INNATE, called a collarette turner, it isn't necessary to culate the reductions because the machine will automatically stretch the banding the correct amount. Remember that the collarette cannot sew in a complete circle, so one shoulder must be left open until after the entire collar is complete When banding armholes, leave the side seams open until after the banding is complete.EEO ING 64 CHAPTER 3. PRINCIPLES OF PATTERN-DRAFTI Ribbed Finishes A senged-on cuff may be used on the wrist of a gar ment to pull the sleeve tighter and snugger ae a body. The same principles may he used to een serged-on rib waist on a sweatshirt, or nf Cia on waist for pants and skirts. Make the riba cuff smaller than the customer's wrist, not simpl smaller than the pattern, which might be overs ACOA In order for the cuff to fit snugly on the wrist, it must be smalle and tighter than the wrist and stretched to fit. The width of the cuff can be whatever the designer desires, uy the length must be one-sixth smaller than the wrist. When using ax oversized sloper, make the cuff smaller than the customer's wrist not just smaller than the widened pattern. If the ribbed cuffs will be finished at 2” wide, and folded in half then draft them 4” wide. To determine the length of the cuffs: Reduce the cuff measure ment by one-sixth of the original (regular fit) sleeve. We still want the cuffs to fit tightly on the same customer, her jibe ribbed waist will be finished at 2" wide and folded in half, making it 4" wide, To determine the length of th - le waist: Reduce it by one-si: original (regular fit) waist, or hit cago ice ip. 'e still want the waistband to fit tightl nee il band t ightly on the same a4 ae a get any thicker, just the top because she’s The ribbed waist will be stretch i aa ed to fit the oversized top, © sure to label the waistband as “rib only.” customer; wearing it in order wrist did not get any thicker, just the sleeve, WAY-STRETCH TOP BLOCK MEDIUM 3 PetRIBBED WAISTBAND FOR SKIRTS OR ‘sweatshirt, — tomer's wrist, not simply smaller than the block PANTS ee The same rib reduction princi luction inciples may be used Mi ‘ibl cl 8 ee in oe pict lake the ribbed cuff smaller than the cu: or a serged-on waist for pants and skirts. or pattern, which might be oversized. Ease Ease is the amount that a pattern is larger, or in the case of knit fabrics, smaller, than the body. Some garments must be made larger than the body to allow movement and comfort. Stretch garments are often cut smaller than the body mea- are provided through surements, since comfort and movement the inherent stretch of the fabric. There are different types of ease used when creating patterns: Negative Ease Negative ease is the amount that the garment is made smaller than the body. Because knit fabrics stretch to accom modate body types, it is desirable to create the garments slightly edller than the actual body. Negative ease can slso refer o the ai vmunt of extra fabric removed, or reduced, 0 allow for an aecursle ft. Many knits are made smaller than the actual body and use the inherent stretch to achieve the desired fit Garment Ease Garment ease is the amount of extra fabric required to allow for a comfortable fit. Knit garments do not require as much garment ease, ince the inherent stretch of the fabric usually provides the necessary garment ease.DRAFTING 66 CHAPTERS PRINCIPLES OF PATTERN-DRAF) Ease at the Waist of Skirts and Pants FITTED WAIST R ; ae fitted waist (only applicable if the fabric wij, oe to be pulled on over the ips) ay se thet ae drafted, and add seam allowances, hems, and other dit eee place the crosswise fold of the fabric a fey j 5 on the waist of your fabric, and plage Scent nt of the waist of your sloper/patterns, ia tight and check to see if this amount will stretch to the wg of the hips. If the fabrie does not stretch enough, use th yy fitted waist; and if that is too large, use the semi-fitted yaig ! ' | : ; UNFITTED WAIST Use loosely fitted waist draft when the fabric does not stretch enough to allow the waist to be pulled on over the hips, sh as with stable and moderate knits. For example, the waistafs | stable-knit skirt is only 2614", while the hip is 3614"; the fab. | rie will not stretch enough to allow the skirt to be pulled on | over the hips. 2614" + 25% (634") = 33 A", which is not enough to pull on over 3614” hips. i i ‘SEMI-FITTED WAISTCREATING STYLE LINES Style lines should be used to create specific de- ms. Style lines may be horizontal, across the garment, vertical, up and down the garment, or on the bias, i.e., diagonally through the garment. Different designs may be created by rear- ranging the style lines. By using style lines for trumpet skirts, godets and pleats, fullness may be added to the hem. 5 VERTICAL STYLE LINES Finding the perfect style line takes time, practice, and experience. Different style line placement creates different design effects. By making the seam line parallel to the side seam, you can create a sexier design that PRINCIPLES OF PATTERN-DRAFTING CHAPTER 9 67 Creating Style Lines to Flatter the Wearer _f Simply slash the draft and trace the two pieces separately. Notch and separate the two pieces, for construction. Add s hem, grainlines, and labeling. eam allowances, makes the wearer look thinner as the eye is forced to travel the length of the seam upward, Also, by dividing the skirt visually into three sections, the eye will assume all three pieces are equal and judge the wearer thinner.ET O_O ‘This style line will make the wearer's hips appear narrow, but will add weight to the thigh. A contrast detail wi Sr eantie will draw the eye upward, ‘CHAPTER 3 PRINCIPLES OF PATTERN:DRAFTING This style line will minimize the hips, yy add visual weight to the thigh area, 4 _ Topstitching, pin tucks, and diagonal lines will exaggerate this effect, to make the weartt look taller and slimmer.pea is broken up Variations of horizontal style lines. PRINCIPLES OF PATTERN-DRAFTING CHAPTERS — 60 HORIZONTAL STYLE LINES STYLE #3.002 POINTED YOKE Horizontal lines wid Draw in the yoke style tne, iustrated at 2° down atthe sm, and 4” down the centerfold, but it may be any ‘measurement the desig requires, Notch and trace out the separate pieces. Add the neces ‘Asymmetrical style lines may also be created by drafting the pattem open.DRAFTING 70 CHAPTER 3 PRINCIPLES OF PATTERN-DRAF uf » Pattern Labelin : pane ae Al final patterns should be on folded oa, butterfly style, and should include: ep / * Allnecessary seam allowances, » f +!) |e | = Attnecessary notches! . L | a aan ie | + The grainline, with arrows in one | * ey oneway only because of the nap of knit fabriog ‘5 oven STABLE ENT | sister | + The type of stretch, or the stretch ratiny, ay | eagaee | | | ommee | ensure that the patterns are only used jg. | NED 2] /é ie | the particular stretch they were intended gp | ome'étireo | OATECKEATED | © Acstyle number if it is a pattern, or labeley | | | as “BLOCK” or “SLOPER.” » | | | + The name of the particular pattern pics, | such as “FRONT” or “BACK.” » | | | © The size—Small, Medium, Large, ete. . | I | | * The date created, to ensure that you are us fe ane or ing the most current version of the pattem, ; * The name of the patternmaker. 2 » » Grainlines a Each pattern should have a grainline indicated. youn ® tice on each of your pattern pieces, there is a large arm @® Ona stretch pattern, the grainline should be in the midi of the piece, whenever Possible. The grainline for streté » Patterns should have both arrows pointing the same d ® rection, indicating a “with nap” cutting instruction. All fabrics have three grains: lengthwise, crosswise. @® and bias. The lengthwise grain runs parallel to the elz* jy of the fabric, which are also called selvedges. It is the mp stable direction of the fabric and has very little, if sx stretch. The crosswise grain runs across the fabric fo ™ selvedge to selvedge. ‘The fabric store salesperson will bs" Cut your fabric on the crosswise grain. The crosswise dir tion of knit fabries has a lot of stretch. The bias grain # the direction formed if you fold a perfect square of fabri? & half. It is the diagonal side of the triangle. This direc™ & pene, little stretch in knit fabrics, fb __ itis extremely important arrow tic be placed on the lengthwise reser ae DE at oad as eee and wil NIVED FIONAPRINCIPLES OF PATTERN-DRAFTING CHAPTERS 74 MAKING A MARKER FoR CUTTING rea OU Nave a final patter and fabric ready, its ume Draw a line across the toy cut edge. This is in case Neath, is not straight ; : a P edge of the marker 1° below the the fabric, which will be under- Draw a line ¥6"in from the sides of the marker paper. This t {sso that the selvedge will not be in the final garment. \ All markers waste 1° of fabric at each end of the marker, ‘and ¥" on each side. ‘Tracing the pattern pieces: Trace all the pattern pieces (right side up), making sure to include every notch and any drill marks. Measure each piece from the grainline to ensure that each pattern piece is perfectly on grain (parallel to the ‘selvedge), or use the printed grid to ensure that every piece is parallel to the selvedge. Circle every drill hole so the cutter will know whether itis really a drill mark and not just an incidental mark on the paper. ‘This is the incorrect way to trace out the pattern pieces. The garment will end up OFF-arain, and will twist around ‘the body when worn.a fF PATTERN-DRAFTIN' 3 PRINCIPLES ©} op op back cee Place a length of paper underneath the fabric, on the cutting table, and then place the f ved fabric, lining up all Place the marker on top of all layers, It's also necessary to place one layer of paper between each color if cutting more than one color, because the ' 1 rt fibers and colors will migrate when using an industrial oy. t ting knife, 1 '3 PRINCIPLES OF PATTERN-DRAFTING GHAPTER 3 DO NOT place the marker crookedly on the fabric. This will cause th Dogs Use the garment to hang OFF-grain and twist on the Pin the layer together and cut all layers, including paper, together. Or if the lay is very thick, use weights to hold the marker to the fabric. STE 8 5001 Oruse a stapler in the discarded areas of the marker re (Or use marker spray glue to hold the marker down. aie a} the layers of paper with the bundles until ready to a berate. 0 that if you have forgotten a notch, the operator will be able to check the marker. The marker is the only way to differentiate between sizes, so the op- ‘erator will sew the corresponding sizes of pieces together.7 Test Your K' Material in Th What What i 3, Wha 4. What i 5. E re patte the difference ernmaki Explain the technia in what is m1 cnaprens PRINCIPL! es OF PATTERN-OF! nowledge of the is Chapter rns used for? between woven pat j stretch patternmaking? que of “matching of neant by the term “true How much should binding be reduced? much should banding be reduced? AFTING is negative garment €2 11. What is design pase? 12. What are the seam allowances on s| lo 13. When should you use one-w ay-streth 9. Whe 10. What slop 14. Why should you exaggt ate the size g garment? ote 15. Which direction are measurements re duced for one-way-stretch? | ee » Ld » i w be w » » Ps ta a a a z a a a a a a a » = » a La » » » a » » »Slopers and Reductions About This Chapter and blocks. tons used in the development of stretch slopers park? Begin, choose the stretch ratio that applies to you from this chapter. noose the appropriate measurements F irections in the next chapters using measure. ments and reductions from this chapter Sloper Reductions This section illustrates the different stretch reductions used in the development of stretch slopers and blocks, A COMPLETE SET OF PROFESSIONAL SLOPERS INCLUDES: Two- & Stable Moderate Super- Four-way knit knit Stretchy stretch stretch Rib knit 0-25% 25-50% 50-75% 75-10% 100% inboth —_over 100% stretch stretch stretch stretch directions stretch Reduciontor ~~ O%smalier —«-2%-smaller —-9.5% smaller 5% smaller 10% smaller 10% smaller stretch for across for across for across for across bothdirections for across measurements measurements measurements measurements measurements Muttiply your 0 "98 +965 +95: “90 * 90 in both measurement by directions Skirt Yes Yes Yes Yes Same as Yes super-stretch Yes Yes Yes Yes Same as Yes Pant super-stretch Z Yes Yes Yes ‘Same as Yes -. ie super-stretch, Yes Yes Yes ‘Same as Yes Dessert Pd super-stretch Yes Yes Yes Yes Yes Oversized top yes ae NA a veg Be, Catsuits aa NA NA NA Yes NA oe a NA NA NA Yes NA 75OE 7B CHAPTER sLopERS AND REDUCTIONS MISSES STABLE KNIT REDUCTIONS a Zero percent smal in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slope’ fo fabrics that stretch 7 Bust 2 Waist 3 Hip 4 Crotch depth 5 Waist to knee 6 Waist to ankle 7 Ankle & Knee 9 Front crotch 10 Back crotch 11 Crotch angie 12 Nape to waist 13 Back neck 14 Back neck rise 15 Shoulder length 16 Across back 23 Bust ———$—__Ne reduction ers — ster block is a template of the desired 4 A sloper oF Cpever has any seam allowances or detaj * a croquis: He ternmaker will never start each drafy experienced Pad will trace the sloper then add detaily Scrat vances to create a pattern. By using a sloper Seafpeted fit, the patternmaker must only make smal] age eer ty the finished pattern rather than making exten Fitting corrections to each pattern 2a rom 0% to 25%, ‘Multiply your across. measurements by 3 18 ~Ofor stable knits 31% 33% 35% 38% aR for stable knits 23% 25% 21% 30% 33% Ofor stable knits 34% 36% 38% 4% uy No reduction 10 10% 10% 10% 1 No reduction 23 23% 23% 23% 2% No reduction 38% 39 38% 40 40% for stable knits 7% 8 a” 8% 8% O for stable knits 13% 13% 14% 47h 15% for stable knits Stor stable knits Ofor stable knits No reduction No reduction for stable knits No reduction or stable knits No reduction Ofor stable knits 0 for stable knits for stable knits 0 for stable knits for stable knitsuN SLOPERS AND REDUCTIONS CHAPTERS — 77 cordingly. The chart below strates 7896 025% streten Reduce by O% Use the measurements Moderate knits scarey ‘exactly as recorded § stretches to 20% toS0% stretch Reduce by2% lip your across Stretchy kits Pumetdene measurements by 0.98 © 519% 10 75% stretch Reduce by 38% Multiply your across measurements by 0.97 ‘Super-stretch knits 5° stretches to 10 Pt aon twaitiens EE aoe me nae eee Feet “Berton weh onaiestyam Sneeeta ae ee ae Sar ee arweysrich — Saicaren py wonsnenn —raccndyow Mat ae ie on mabe iter etc panes ‘Any fabric that stretches less than 18% should be treated as a stretch woven and should have the ease removed. MISSES MODERATE REDUCTIONS Two percent smaller in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch from 25% to 50%. Muttiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garment will have twill tape to stabilize the seam and prevent it from stretching, Multiply by ExtraSmall_ Small. Medium =— Large Extra Large 2 6 4 18 1 x 98 31% 33% Dh 2 x98 24 26 34% 3 Hip x98 34% 48% 4 Crotch depth No reduction 10% eA 5 Waist to knee No reduction 23% 24% 6 Waist to ankle ‘No reduction 38% 40% 7 Ankle * 98 Th 8% 8 Knee » 98 13% 15% 9 Front crotch x 98 2% 10 Back crotch x98 2 11 Crotch angle x 98 fi 12 Nape to waist No reduction 15% 13 Back neck ‘No reduction 2% 14 Blok neck rie 98 ”* 18 Shoulder length ‘No reduction 5% 16 Across back x 98 a 17 Sleeve length No reduction 221% 18 Shoulder pitch x 98 tbo 19° Bi 98 oe icep y 1% 20° Wrist x 96 aie 21 Neck x 98 oe oe 22 Bust span x98 3 23 Bust level No reduction 10 0%5 Olle ions 78 CHAPTER 4 SLOPERS AND REDUC ces ——__—__710NS ee MISSES STRETCHY KNIT Re aan inienatwige dec Fire percent oie cose actor Wich etek So 3012 nace th alg Use these moasurerents wen crating spars 1" ABN Te tn ghoul measurements when cafe SPS 1 fort Muttiply your across measurements by 0.97 3% St omstretching. Wil ave wil ape to tae ne seam and prevent ae aa rath anes = 31 ‘4 coe ae ieee cern. ak Bt 9 Front crotch x 7 ou a. 3 backreck Ne redten ” % eee tcp on a zw ae MISSES SUPER-STRETCH KNIT REDUCTIONS Five percent smallerin crosswise direction without any reductions in lengthwise avaclion [Use these measurements when drafting slopers for fabrics that stretch from 75% to 100%. Min nly Your across measurements by 0.95, 5% smaller, except for the shoulder measurement, because the final ‘garment wil have twill tape to stabilize the seam and prevent it from stretching ee Muttiplyby _ExtraSmall Small Medium Large Extra Large s 2 6 10 4 8 1 Bust * 95 30% 32% 35% 2 Waist * 05 25% 27" 3 Hip * 95 35% 38, 4 Crotch depth No reduction 10% 10% 5 Waist to knee No reduction 23% 23% e eae to ankle No reduction 39% 38% * 95 Th 8 10 Back crotch * 95 a4 au fim, SB in mae lape to waist 3 a ig rao No reduction ts 18% % 5% 7% BhSLOPERS AND REDUCTIONS CHAPTERS — 79 MISSES RIB KNIT REDUCTIONS ? Extra Small Small Medium Large _Extra Large - 2 30 1“ 18 x 2 3 3 3 fin 1 1 1 : 7 7 8 ; 3 Shou 2 23 23 & 1 1 1 : 9 4 4 2 5 6 Tr 8 | 32 ca 9 3 13 4 8 6 6 6 7% x 9 8 9 10 ‘ MISSES FOUR-WAY-STRETCH KNIT REDUCTIONS 5 Ten per Rent eenaar is wise direction and ‘smaller in the lengthwise direction. . ' Use tece measurements wen rafting soar tabs hal seth 100% n ah ees ‘ Multiply your meas. 18) 6.80. 10% emalier, in both directions, except forthe shoulder measurement, because 7 the tna Sarment will have twill tape to stabilize the seam and prevent it from stretching. Note that four-way stretch has | sre pry anid wil turn to the orginal shape: therefore, til ape isnot necessary to stabilize the shoulders a Huliply by ExraSmall—_ Small Madhn —_Leroo__ExtraLarge —— 2 6 10 4 18 1 Bust 20 29 20% ai 2 aa) 2 Waist 20 22 23% 24% 26% 3 Hip 20 33% 34% 36 4 Crotch depth 20 h 3% 9 9% 5 Waist to knee 90 ' 22% 22% 2 6 Waist to ankle 90 37s 37% wh 7 Ankle 30 7 Th Th 7 3 Knee 20 2h 2 3 13 9 Front crotch x 90 & rie Be Bie 10 Back crotch e e ae aa on 11 Crotch angle 4 4 5 12 Nape to waist < 90 ay Sy ae 18 Back neck No reduction 2% 2 2 44 Back neck rise No reduction “e be t 45 Shoulder length No reduction 8h 3% $e 16 Across back No reduction : a a 17 Sleeve length No reduction a5 ae Bie 18 Shoulder pe Noreduction on 10% 10% ae x2, it cure Bt Nock No retin : oy, er 22 Bust span % 9Y ah 1080 CHAPTER 4 SLOPERS AN! JUNIOR SIZE REDUCTIONS _ Use your measurements Grotch depth Waist to knee 6 Waist to ankle 7 Ankle 8 knee 8 Front crotch 10 Back crotch 7 3 Hip 2 3 18 Back neck rise 15. Shoulder length 16 Across back 17 Sleeve length 18 Shoulder pitch 19 Bicep 20. Wrst 21 Neck 22 Bust span 23 Bust evel JUNIOR SIZE MODERATE REDUCTIONS Use these measurements wher 1p REDUCTIONS Sarena coe ry rosuctns ae your across ‘Small man . for stable knits 7 for stable knits 0: sagitwise direction. frttam 096 19 259%, Medium 10 36 29 39. 30% 23% Two percent smaller in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch from 25% to 50%, Multiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garment will have twill tape to stabilize the seam and prevent it from stretching. Ei Multiply by Extra Small Small Medium Large __Extra Large <2 - r a 2 6 10 4 8 1 Bust x 98 31% 33% 35% 38% ah S ie me 2 26%. 28% 31% 34% a fs 36% Va ‘ Y {Geran orden BB Saat 8 Waist to knee No reduction 22% 23% 23%, 23% 23% § Maisto aie Noreducton Bai, me eae rte ae S Knes a A Bis B% o% 9% 9 Front crotch x88 BA 13% 14% Wh 15% 10 Back crotch x98 oe 2% 2% 2% 2% 11 Crotch angle 68 Pa 3, 3% 3% 3% 12 Nape to wast No reduction 15% ae Aye V a ac No reduction 2 wi 16% 16% wh eee ect * 98 % am 2% 2% 3” 1$ Shoulder length No reduction 4% 1 1 1m 18. Aaross bac x98 id 5% 5% sh Eo, No reduction, 23% By ate ogee ee * 98 1% 24% aie 20° Wrist re 10% 1% 21 Neck 2 5% 12% 22 Bust span see ay 23 Bust level i us TOVUTUS SSS TUK E EGE EEEEEESEESESe SLOPERS AND REDUCTIONS CHAPTER 4 — 6T JUNIOR SIZE STRETCHY KNIT REDUCTIONS _ SS eee ae F Tse, Dercentsmalor in crosswise direction wihout any reductions in ienathwign draeton ‘Multiply your across meas. 1en drafting slopers for fabrics that stretch from 50% to 75%. urements by 2.87, 39 smaler excep forthe shoulder measurement, Because the final garment pate sae to each tnd pmo on sree 2 Multiply by Extra Small Small Medium Large _Extr — - a fe ae 3 a oa 5 Fi a 3 Hip = Se 24 28% 3a ee a eaten | te a Macnee No reduction 22 23% 235% 23% eet re ose au Ee . _ ot ae - wae oct av a oh oui 10 Back crotch or as a Ey eerie ee : eee Pies ses fatten |) Le ane wane S bsenech wean ake ee eens pects sue : ; ; Mm eee: eke a tye ee er * ; mere 1 Soovelenth Norednaion 2048 fn ah mh 18 Shoulder pitch x 97 1% te We Wh 19 Bicep x 97 10% Whe 12% 13% 3 we or St ee ee 21 Neck x 7 4% 15% 16 16 22 Bust span x 97 6% 6% 7 7% 23 Bust level No reduction o% 10% ” AW" JUNIOR SUPER-STRETCH KNIT REDUCTIONS Five percent smalerin crosswise drection without any reductions in lenathwise cect Fire eect sasurerments when drafting slopers for fabrics that stretch from 75% to 100%, testis your across measurements by 0.5, 5% smaller, except forthe shoulder measurement, because the final garment wil have twill tape to stablize the seam and prevent it from stretching. Multiply by __Extrasmall__Small___ Medium _Lerge_Extra Large 2 6 10 14 18 7 Bust 95 30% 32% 38% 7 39% 2 Wast x 95 23% 25% a 30% By 3 Hi x 95 35 7 391 2% & Crotch depth No reduction Y 10% 40% tte Wy 5 Waist to knee ‘No reduction 2h Bh 23% 23% 23/6 6 Waist to ankle No reduction 8 se 39% se 40% %.95 h , x38 6 ty eta 8 Front crotch x95 2 2% 2% 2% 2h 10. Back etch 95 2% 3 3 os eh 85 1 As iY A y ee kk ke 13° Back neck No eo 2 a 5 Me F ‘~ an 14 Back neck rise X95 g ie ie i seasons Noa” Th 1h 8 8% 8% 46 Across back Naan: ot a aa an ae a Bees rn mO5 1% 1% 1% We A ulder pitch x95 10% n nN% 12% 13 19 Bicep x95 8% Bh 6 6% Bie 20° Wrist aoe 13 14h 18 15% 16% 21 Neck age 6% Bh 6% 7. Me 22 Bust span No reduction % a" 4 WM Bust levelNs 82 CHAPTER 4 SLOPERS AND REDUCTION i ee e < JUNIOR RIB KNIT REDUCTIONS ions in engthwise direction. = Ten percent smaller in crosewise direction without any rec Sd ook x fabrics that stretc! yrement, because the | Use these measuremonts when orang oper 1% OS TT tne shoulder measur falgy, JUNIOR FOUR-WAY-STRETCH KNIT REDUCTIONS ‘Ten percent smaller in crosswise direction and 10% smaller in the lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch 100% in both directions. Multiply your measurements by 0.90, 10% smaller, in both directions, except for the shoulder measurement, because be {inal garment will have twill tape to stabilize the seam and prevent it from stretching, ‘Multiply by Extra Small Small Medium Large Extra Large 2 6 10 4 6. Bust a - 28% 29% 30% 31% 32% : : 22% 23% 24% 25% a 31% 32% 33% 34% y rte deptn 9% a 0 ow Wanton 4 21% 21% 22 22 i Wait to ankle ‘ 36% 36% 36% 37 ee ie T™% 1% 7% Petron ah 12% 12% 8 Back crotch i a 2 2% sasurements it stretching. monty fOur ross meas to seam and prevent it from a ee Ee naveenre inbby Extra Small Sia as ey x Mul " 6 _10 4 a - = 28% 30% on oe 2 1 Bust x90 Bu Dave 26% La a, 2 Waist een 31 33% Bee 0% vw 3 Groth dent Novedieton 10% 1048 23% an 5 Waist to knee No reduction 22% aC aa” 39% on & Waist fo ankle No reduction se 72 8 Bi a 7 Ante x90 re a 13% 13% an 8 Knee ee 2 2 aA ” a 8 Front crotch Se A ‘h y 10 Back crotch ~ o if fl 1% my 11 Crotch angle x90 rae ae 16% 16% oe 12 Napeto waist No reductio ee Bee Ho 2% rh 13 Gack neck Noreducton a I - : i 14 Back neck rise x90 : 5 a He A 15 Shoulder length No reductor 4h os a on eae P eee 23% 23% 23% 24s 24% 7 Sleeve length No reduction » " i ie nT 7 sede “30 ge 0%) tk a 2 Wat x20 5% 5) 5% 6 on 21 Neck 90 13% 13% 14% 8% | 22 Bust 90 6 6% 6% 8% e% 23 Bust No reduction 8% 9% 9% 10% 10% | sie, a i i 3 3 i of a 14% 14% ; 2% 2h % " 4%SLOPERS AND REDUCTIONS CHAPTER 4 Petite Size Reductions PETITE STABLE KNIT REDUCTIONS | Zero percent smaller in crosswise direction withox Muttply your across measurements oy) eee eee wil have til fape to stablze the seen in lengthwise direction. etch from 09% 10 25 smaller, except for the shoulder Multiply by Extra Smail__Small_ Medium La . ne 2 6 10 “ 7 ° a 35 38 e ° 23 7 20 & Crotch depth No reduction _ s n ieee cone eS 1% 10% & Waist ankle No reductio : q @ 8 Waist vot 36 a7 38 8B Knee ah if 9 Front crotch 8 : : ae % 40 Back crotch 3 = ¢ x au 11 Crotch angle 6 3 ‘ 1 12 Nape to waist No reduction 18 15% 16% 43 Back neck No reduction 2y hs 2 2 14 Back neck rise =a : 15 Shoulder length No reduction vn 5 5 Sh 16 Across back 0 7h 7 7 8 17 Sleeve length No reduction 2% 21 2% 22 18 Shoulder pitch ° 1% 1% v% 1 19 Bicep o 10% Wh 1 12% 20 Wrist o 5% 6 Th 8 21 Neck x0 13% 4 18) 1 22. Bust span 0 8% o% 7 7 23 Bust level No reduction o% 9% o% 10 83 ‘surement, because the final garment ge Extra Large PETITE SIZE MODERATE KNIT REDUCTIONS [Two percent smaller in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch from 2596 to S096, wil have twill tape to stabilize the seam and prevent it from stretching, Mutiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garment 21 Neck 22 Bust span Bust level Muliplyby __ExtraSmall Small Medium __Lerge__ExtraLerge 2 6 10 14 a xo5~~«GA 32% 38% 37% 40% a = 3 2 em St 3. Hip % 98 33% 35% anh 40% 33% 4 Crotch depth No reduction 10% 10% 10% 0% We 5 West to knee No reduction ae arn ars 38% 38% & Waist to ankle Norewoton 984 ht Sh are 7 ankle aH 3 13% 4 14% wi 8 Front crotch x 98 2h a 2% 2 a 40 Back crotch see ae SM tH 1% ae: 41 Grotch angle a 1a 15% 1% ai 16 12 Nape to waist No reduction % 2h 2% 2% 2 44 Back neck rise a awh 5 Si 5% 5S 15. Shoulder lenath No reduction ay ah wr 2 16 Across bac! ; 21% y / 17 Sleeve length Nomeateiel 1% 1% 1% 1% 18 Shoulder pitch es 10% 1" ss ret 4 5: 19 Bicep Oos 5% wee—————————— ~~ 84 CHAPTER 4 SLOPERS AND REDUCTIONS PETITE STRETCHY KNIT REDUCTIONS on without any reductions pers for fabres that stretch from 7 jer, except for the should ‘in length 2 direction. 150% to 75%. 7 der measurement, Because te fal gm Mt exe Small Small Medum Large Ex Matty by Extrasmall_ Sme_Mou 4 34 37” a 29 2 40! 10 10 21% 2" 37 38% 13% 144 2 2 3 3 : 1% 5 5 ; 8 aA 22 ; 1 1% 1h 1" 2 8 ? Th iy 13% 4 Wh ou 7% Th 9% oA 10 direction without any reductions in lengthwise direction, ‘ting slopers for fabrics that stretch from 75% to 100%. the seam and prevent it from stretching, Multiply by Extra Small__Small_ Medium Large _ExtraLorge P. Spe so 14 18 } Bust 95 30 1% 33% 36% 39% 2 waist 95 22% 2a 25% 29 31% 4 Goth dn Noreducton pt ioe =e rf Jo reduction ts 7% A } vi ¢ Wee, Nereaucton = ae ag OR 1 § Mast Same Noreductin 354 a ar, 3% 38M ‘ ie a 6% 6% 8% 7 Th 9 Front crotch x oe Se 13 Bh 14 4% 7 10 Back crotch x95 2% ee ae ae ie 11 Crotch angie x 98 _ ot 2 an a 12 Nape to wast No reductio y u ie a ie 2 oo n 14% 15% 15% Y 16% No reduction i a 4 14 Back neck ise moe es oh 2% 2% - 1 Shoueriensth ug 28 ‘ 2 4 % i. 18 Aeros back Soe Sh 8 5h 5% 5A i Sera Noid ha lost aera aa 3 13 perder pon cee ee 21% 21% 22 ave ae ow ot x95 8% 6% x 85 BA No reduction 8% m% s by 0.95, 5% smaller, except for the shoulder measurement, because the final garmentSLOPERS AND REDUCTIONS CHAPTER 4 85 PETITE RIB KNIT REDUCTIONS — Ten percent smalierin crosswise drecte Use these measurements whose, = measurements by 96 Multiply your aor Without any reductions in lengthwise direction 19 slopers for fabrics that stretch 100% and over =e 2 “8 7 Ba a ae 3 HB x 90 a arn 5 Waist to knee No reduction 21% Bh & Wat tone Noreductin —4u08 EY 7 Ankle x90 e rn i 8 Keo <8 ee 9 Front crotch x 90 ¥ % 19. Beccern 3 a OM 12 Napetowaet No reduction Beh 3ack neck No reduction % / 18 Shoulder length No reduction ate a We Aras 3 3 17 Sleeve length No reduction = 18 Shoulder pitch * 90 in - 19 Bicep x 90 n% * 20° Wrist x 90 va oe 21 Neck x80 8 “S 22 Bust span x 90 om r % Bist Noreen oe PETITE FOUR-WAY-STRETCH KNIT REDUCTIONS __ ‘Ten percent smaller in crosswise direction and 10% smaller in the lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch 100% in both directions. Multiply your across measurements by 0.90, 10% smaller, except for the shoulder measurement, because the final gar ment will have twill tape to stabilize the seam and prevent it from stretching. Extra Large Multiply by _ExtraSmall Small Medium Large 2 6 “4 18 1 Bust X90 28% 23'/ a1 2 2 Wast x90 21% 22 237% 24% 3 Hip x 90 31 a a3 # 4 Crotch depth x90 9% %s 10. 0 6 Waist to ankle x90 34% 35 35%: 35% 7 Ankle x90 6 6 8% 6 & Knee x90 1% 2 2 Be 9 Front crotch x90 a : 2% 10 Back crotch x20 : oe 11 Crotch angle x90 ah ae 12 Nape to waist x 90 a se 48 Back neck No reduction a, ve 44 Back neck rise No reduction a ; 15 Shoulder length No reduction a 5 16 Across back No reduction cn ae 17 Sleeve length No reduc te ap 18 Shoulder pitch No reduction a i 19 Bicep oot aa ae Wrist s 13% 21 Neck No reduction a 2 22 Bust span tat 9 9 23 Bust level | ; i 1B86 CHAPTER 4 SLOPERS AND REDUCTIONS S Misses Tall Reductions ___—% , Sa MISSES »" MISSES TALL STABLE KNIT REDUCTIONS Sana a 2er without ar jons in len ts Zar percent amalarircoenres orecion waneTeny OOOO GH WSO a & Ysa these measurements wine afin 204 ater, exe forthe shoulder measurenery ome ipl your scross measurements ale, exept es : wil hove wl tape to stabilize the seam and prevent i rom >" ‘Multiply by » 2 4 > al » oa =e ae 1 Bust 2 Wasst <3 3 Hp x 4 Grech deotn noredveton 5 Wasitoknes NS ret & Wastto anki Norecuton 7 Ane % 3 knee <3 8 Front crotch x 95 10. Gack erotch <8 3, a 1 Grotchange : ’ ‘ 12 Nape to waist No reduction 8m Th 13 Beckneck No reduction 2 % 1a Bock neck rise 5 “hn : 1 Srouserlongth ——-‘Noreducton a - 16 Across back x38 1 iy 17 Sleeve length No reduction wh ain Ts Shoulder ten mas 1%5 vA 1s Bicep x35 10% 1% 20 Wrat x38 A % i Neck 85 WA 5 2 Bust span 8s ov r 23 Bust level No reduction 10% 11 MISSES TALL MODERATE KNIT REDUCTIONS ‘Two percent smaller in crosswise direction without any reductions in lengthwise direction Use these measurements when drafting slopers for fabrics that stretch from 25% to 50%. Multiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garment wil have twill tape to stabilize the seam and prevent it from stretching. Multiply by Extra Small Small Medium, Large Extra Large 2 6 10 14 18 3% 33% 35% 38% 24 26 28 30% 34% 36% 38% 4% Wh Wh 11% 24% 24% 25% 40% a% ah 7% 8 BIA 13% 3% 14% 2% a 2%will have twill tape to. its when drafting SONS " SLOPERS AND REDUCTIONS CHAPTER 4 87 MISSES TALL STRETCHY KNIT REDUCTIONS Three percent smaller in Use these measuremer isnot Multiply your across ‘Measurements by 0. ‘Stabilize the seam and prevent it from stretching, tion without any reductions in lengthwise direction, ‘lopers for fabrics that stratch from 50% to 75%, 87, 3% smaller, except for the shoulder measurement, because the final garment Bust Waist Hip Ankle Knee Bicep Wrist Neck Bust span. i a 3 4 5 6 Zz 8 9 10 " 2 8 4 15 Shoulder length 16 7 18 19 20 21 22 23 Bust level Multiply by Extra Small Small Medium Large Extra Large 2 6 10 4 18 xe ay 35% 38% an 37 25% 2 20% 33% x ok : bn ; Watsons No reduction nn re ten Waist to anite No reduction 27h 25% 25% ankle No reduction a A 2% xe 7 3 a7 Front crotch ce ee oo, a Back crotch ee A : ; : 3 3% 3% Groen angle x7 1% MA % lape to waist No reduction Tm Wh Bh Back neck No reduction 2M 2% 2% Back neck rise ser % % hs No reduction 5 si 5% Across back S37 Th 7% a% a Sleeve length No reduction 24% 24% 28 25% Shoulder pitch Sar We VW 1% vA x97 10% # WA 13% x97 3% 0% 7 o% x97 wh 14% 14% 15 x97 ov 6% 7 7 No reduction 10% 10% 10% n% MISSES TALL SUPER-STRETCH KNIT REDUCTIONS Bust Waist Hip. Grotch depth Waist to knee Waist to ankle Ankle Knee Front crotch Back crotch Crotch angle Nape to waist Back neck Back neck rise ‘Shoulder length ‘Across back. Sleeve length Shoulder pitch 1 2 3 4 5 6 7 8 9 10 11 2 13 4 6 16 7 8 19 20 2 co Multiply by x95 x95 x95 No reduction 2 30% 23'% 93% nh 24% 40% Th 8 2% 2% 1 16% ‘Small Five percent smalier in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabries that stretch from 75% to 100%. Multiply your across measurements by 0.95, 596 smaller, except for the shoulder measurement, because the final garment will have twill tape to stabilize the seam and prevent it from stretching, Extra Small Medium Large 4 STA 30 40% 25% 42% ay Extra Large 18 40% 32% 43% 2% 25% ah B% 14% 2%88 CHAPTER 4 SLOPERS AND REDUCTIONS sngthwise direction. SB086 and over es that stretch surement, because the fing tas that srt Oe fer measurement, ea ha aly, nd prevent it from stretching Small smati Medium barge or <= a 10 4 E = 31 32 5 » wa 35: » aM tt . 5 wast iH " . 4 i 6 7 ‘ 5% 7 ‘ 8 28 A 2a . 1 1 1 9 10% 4 a 5% 6 6% 13% 13% 13% Bs 6 Ly Ly stove No reduction 9 o% 10 MISSES TALL FOUR-WAY-STRETCH KNIT REDUCTIONS. Ten percent smaller in crosswise direction and 10% smaller in the lengthwise direction. Use these measurements when draft BRVGSssaatastsensovron-+| Mat Bust Waist Hp Crotch depth Waist o knee Waist to ankie Ankle Knee Front crotch Back croton Crotch angle Nape to waist Back neck Back neck rise Shoulder feroes back Sleeve length Shoulder ich 9 slopers for fabrics that stretch 100% in both directions. your measurements by 0.90, 10% smaller, in both directions. Multiply by Extra Small Small__Medium Large Extra Large ee 2 6 8 90 291A 30% 32% 80 22 23 24% 25% x90 92 32% 34% 35/4 x 90 10% 40% 80 23% 23% x 90 38% 39 0 7 7% oe 12% 12% x 90 2 5 x 90 2 ae 1% No reduction 154 No reduction 3 Noreduction ae lo reducti No reduction 7h No reductionSLOPERS AND REDUCTIONS CHAPTER 4 89 Women’s Size Reductions WOMEN'S STABLE KNIT REDUCTIONS Uso hese meaourenan oan Muivpy your scroer en weve wil tape eS i8@ direction without any reductions s any reductions in lengthwise direction, n drafting slopers for fabrics that stretch from 0% to 25% "ments by 1, 09% smaller, except for the shoulder measurement, be the seam and prevent i from stretching, 1use the final garment ——_____Miltipiyty _Extrassmait__smait_ Medium Large __ Extra Lar pees oe et oe z Walt xO 43 i) 55 59 6 Waist to ankle No reduction 38% 39 39 3 ae ree el 8 Front eroteh 0 % re ‘ie 10 Backcrotch <0 3% 4y 4 11 Crotch angle xO 1% h 2 12 Nape to waist No reduction 16% * ‘a 14 Back neck rise 0 1 1 - 15 Shoulder length No reduction 5 ad 23 Bust level No reduction 2% WOMEN’S MODERATE KNIT REDUCTIONS ‘Two percent smaller in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch from 25% to 50%, Multiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garment ‘will have twill tape to stabilize the seam and prevent it fram stretching, Multiply by Extra Small Small__—‘Medium Large Extra Large _ oe meta esto. 14 18 1 Bust x98 22h 48 50 537% 7 2 Waist x98 34% 38% 42% 30 3 Hip x 98 45. 49 59. oo: 4° Groteh depth No reduction n% 3% jo% Bs 5 Waist to knee No reduction 24 24% 24's 35 & Waist to ankle No reduction 38% 387 39% 30% 7 Ankle 98 9A 10% 10% we 8 knee x 98 1% 18 18% jeu 8 Front crotch x 98 2% 3% 3% a 40 Back crotch x 98 3% 4, a 5, 31 Crotch angle x 98 % ae ae % 32 Nape to waist No reduction 16% % 18% 33 Back neck No reduction 3 3% 4 3. 14 Back neck rise 98 7 Me Mm 1% 45 Shoulder length No redton Ba By sh os i y y s a BS “98 / 48 Shoulder pitch x98 at a cm an Ca x 98 16% Wh 18% 19% 2 x 98 Th 8% ae 2 Bust evel No reduction 2 12 8 BY" 90 CHAPTER 4 SLOPERS AND REDUCTIONS WOMEN'S STRETCHY KNIT REDUCTIONS _ Swise direction without any reductic Three percent smaller in cross be Use these mnasuremets when cating slopes fo ace Muti your seross measurements by & a7 Se sma, except \will have twill tape to stabilize the seam and prevent it — xa re aa Sey iceaeeaal Teel cs a ee Terr awrrt 6 10 7 = a a =F 49) | Bust 7 Hy 35% " 2 as & st ee 2 Waist 7 a 2 t 6 " 1 15% % No redu ral Ss 6 No reductior = ; ; ; WOMEN'S SUPER-STRETCH KNIT REDUCTIONS jons in lengthwise direction. at stretch from 50% t0 75%, pt for the shoulder measurer ent, Because the fina gary Five percent smaller in crosswise direction without any reductions in lengthwise direction. Use these measurements when dratting slopers for fabrics that stretch from 75% to 100%. {except for the shoulder measurement, because the final garment Muitiply your across measurements by 0.95, 5% smaller, wil have wil tape to stabilize the seam and prevent it rom stretching, = _____Multiply by Extra Small Small x 95 x 95 x95 No reduction No reduction ‘No reduction 95, 1 2 3 4 5 8 7 8 8 0 0" 2 2B 4 % 6 v 8 ® 20 2 eB Medium 10 48% 40% 51% 19% 24% 39% 10% mh 3% 4% 1% 7% 4 Large 4 52% 44% 55 23% 24% 39% 1 18WOMEN'S RIB KNIT REDUCTIONS ‘Ten percent smaller in crosswisi @ direction withe Use these measurements when drafting slope Mut your arose mosaurtrs ment will have twill tape to cabinet i SLOPERS AND REDUCTIONS CHAPTERS 91 \Out any reductions in lengthwise direction. S for fabrics that stretch 100% and over. y 0.90, 10% smaller, except for the shoulder measurement, because the final gar- iz6 the Seam and prevent it from stretching. Muttiplyby Extra Small__Smail___ Medium Large Extra Large 2 6 10 4 18 7 Bust x 90 7 9 7 5 ” 2 wate 90 38% 2% 48% 48% 53% : uk a ee 4 ne * h A Bee ee een n% 15% 19% 23% 2I% eee ee No reduct 24 2a 24% 24% 25, copes ion 38% 387% 30% 38% 30% ao x90 9 9% 10 10% 10% Bakes x 90 18% 16% 16% 7 7% . x 90 2% 3 3% 4 4% 10 Back crotch x 90 3" i %/ */ A 3% 4 4% a M1 Crotch angle x 90 % Ve i% 1% 2 12 Nape to waist No reduction 16% Ws Wh 18% 18% 13 Back neck No reduction 3 3% 4 a 5 ck neck *90 A he % y 18 Shoulderlength No reduction a on wh °. on 16 Across back x 90 B% Bh 9 9% 9% 17 Sleeve length ‘No reduction 23% 2A 24% 2h 2% 18 Shoulder pitch x 90 1% 1% he 2 2% 19 Bicep x (90 13 13% 14% % 15% 20 Wrist * 90 6% 7 Th Bie o% 21 Neck * 90 15% 16% 16% We 18% 22 Bust span x 90 1% 7% Th Th 8 23 Bust level No reduction n 1% 11% 12% 12% WOMEN’S FOUR-WAY-STRETCH KNIT REDUCTIONS Ten percent smaller in crosswise direction and 10% smaller in the lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch 100% in both directions. ‘Multiply your measurements by 0.90, 10% smaller, in both directions. Multiply by ExtraSmall_ Small Medium Large _ Extra Large 2 6 10 14 18 Bust Waist Hip Crotch depth Waist to knee Waist to ankle Ankle Knee Front crotch Back crotch Crotch angle Nape to waist Back neck Back neck rise ‘Shoulder length Across back ‘Sleeve length * BSSISHESS2S0evOMsenas XXXXXXXKXKXX sesseeesess 38% 31% 4% 1% 2% 36% 9 16% 2h a% Ve 15% 3 i 5% 8% 40% 93° 43% 13 23. 36% 9% 16% 2% 1% 16 3% 1% 5% B% 42 351% 45 8 23. 37 9% 16% 3 4% 1% 16% ah 4a% 36% 46% 16% 23% 37 9% 16% 3% 45% 38% 48% 18% 23% 37% 10 16% aiLS — — =e 92 CHAPTER 4 SLOPERS AND REDUCTIONS Plus Size Reductions eur PLUS STABLE KNIT REDUCTIONS —asah » Zero percent smaller in crosswise direction without ary Feces tatcn from » Use these measurements when drafting slopers fo [aber Ths Use your messurerments exact as recorded wit x ae ax al Multiply by Biss = 24 28 = a —_——x a ae it 45 v 1 Bust as 37 au ee 6 . 2 Waist eo 44 ae 19% 23% oi 3 Hip eer n% 15% ie 24% aM 4 Crotch depth No reduction i ay a 2% a 5 Waist to knee No reduction a 39% 40% = 4% Waist to ankle No reduction “a i0% 10% 1 op 7 Ankle xo 8% 18% 18% Be 9h 8 Knee mo 2% 3% 3% bs a, BD 8 Front crotch xo ee ¢ % 4% “- 1 Backrotcn 0 1 1% nee am oy 11 Crotch angle 15% s A te, 32 Napeto waist No reduction te ee 30h 4% a 13. Back neck No reduction 2 ay eh 1% “ » 14 Back neck rise a 5% 5% 5% 5% 8 15 Sulder length oration a on a% o% ‘a 16 Across back x 4, fa 32% 17 Sleeve length No reduction a 2 ee an » ia xo 13% 14% 15% 16 wD 20 Wrst xo 6% 7% 8% 9 oh op 21 Neck x0 16% Wh 18% 19 19% 22 Bust span x0 Te 8 Bi Bye “Dp 23 Bust level No reduction 11% 12% 12% 13% Wh > PLUS MODERATE KNIT REDUCTIONS » ‘Two percent smaller in crosswise direction without any reductions in lengthwise direction. » Use these measurements when drafting slopers for fabrics that stretch from 25% to 50%. » ‘Multiply your across measurements by 0.98, 2% smaller, except for the shoulder measurement, because the final garmatt wilhave wil tape to sable te seam and prevent Row seoten » Multiply by 1K 2x 3x ax x @ 16 20 24 2 x 98 x98 x 98 ‘No reduction No reduction No reduction x 98 x 98 x 98 x98 x 98 No reduction, No reduction, 40% 32% 43% n% 24 39% 48 40% 51 19% 24SA SLOPERS AND REDUCTIONS CHAPTER 4 PLUS STRETCHY KNIT REDUCTIONS ‘Three percent smaller in crosew: Use these measures cnan's2 Stecton without any resuctona in lengthwise Grecton Your aimee nats when Grafting slopers for fabrics that stretch rom SOM 10 759% withave tw ape to stables the seers oy oe smal, excep othe shoulder measurement, because the final garment Seam and prevent k from stretching. ‘Multiply by 1x 2x 3x Bt Ses 16 20 ue ral = a7 38% 43% 551 3 Hip ze 32 a 47% 4 Groteh depth note 42% 2 58 i reduction nh * % 3 Siemseem —noedmaon : 2 8 Waist anide No reduction 39% ih 40% a ue 87 oh A 1% 8 kK x97 7 18% ont crotch te Ee a 10 Back croten x97 3% a 11 Crotch angle x or 3 2% lape to waist Nor Ya 13 Back neck No reduction "bm " 18 Bock neck rae S87 fe We 45 Shoulder fength No reduction 5y < 46 Across back x 97 8% 9% 17 Sleeve length No reduction ah 37h 33% 18 Shoulder pitch 87 1% 2% 2% 19 Bicep x97 13% 18% 16% 20° Wrist x97 ys 3% 9% 21 Neck x97 16% 18% 19% 22 Bust span x97 1% 8% Bie 23 Bust level No reduction W% 13 13% PLUS SUPER-STRETCH KNIT REDUCTIONS Five percent emalier in crosswise direction without any reductions in lengthwise direction. Use these measurements when drafting slopers for fabrics that stretch from 75% to 100%. Multiply your across measurements by 0.96, 5% smaller, except for the shoulder measurement, because the final garment will have twill tape to stabilize the seam and prevent it rom stretching. Multiply by * 2x 3x 4x 5x 10 Bust x95 Waist x95 39 Hip x95 Crotch depth No reduction Waist to knee No reduction Waist to ankle No reduction Ankle x 95 inne x95 Front crotch x95 + Back crotch ae le oe Gangs, a adatan Back neck No reduction Back neck rise Shoulder length Across back94 CHAPTER 4 SLOPERS AND REDUCTIONS PLUS RIB KNIT REDUCTIONS Ten percent smaller in crosswise direc ‘Muttiply your across measurement n without any reduc Use these measurements when drafting slopers for fabrics that st by 00. 10% smaller, except f he'seam and prevent itfrom stretching. sngthwise direction. treteh 100% and over. for the shoulder measur rement, because the final gay, corre oe ‘Multiply by * —.
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