Vandana Narang Thesis Soft

PATTERN DEVELOPMENT FOR MENSWEAR USING BLOCK METHOD

PATTERN DEVELOPMENT FOR - M ENSWEAR
A FRESH USING
APPROACH
BLOCK METHOD
-‐ A F RESH A PPROACH

by
VANDANA NARANG
SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE of
DOCTOR OF PHILOSOPHY
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
NEW DELHI, 110 016
INDIA
January 2014

To
My parents and brother
With loving remembrance it was their dream for me, I am sure they are proud of me.

Declaration
I certify that the thesis entitled “PATTERN DEVELOPMENT FOR MENSWEAR USING
BLOCK METHOD - a fresh approach” being submitted to the National Institute of Fashion
Technology, New Delhi for the award of the degree of Doctor of Philosophy is a record of
bonafide research work carried out by me, under the supervision of Prof. Dr. Noopur Anand.
Due permission and approvals has been taken from all the sources of data collection.
The results contained in this thesis have not been submitted, in part or in full, to any other
University or Institute for the award of any degree or diploma.
_________________
(Ms. Vandana Narang)
27th January 2014

CERTIFICATE
This is to certify that the thesis entitled “PATTERN DEVELOPMENT FOR MENSWEAR
USING BLOCK METHOD - a fresh approach” being submitted by VANDANA NARANG, to
the National Institute of Fashion Technology, Delhi for the award of the degree of Doctor of
Philosophy is a record of bonafide research work carried out by him/her. VANDANA
NARANG has worked under my guidance and supervision, and fulfilled the requirements for
submission of the thesis. The results contained in this thesis have not been submitted, in
part or in full, to any other University or Institute for the award of any degree or diploma.
______________________
(Dr. Noopur Anand)
27th January, 2014 Professor & Chairperson DFT,
National Institute of Fashion Technology, Delhi

ACKNOWLEDGEMENT
Working on this research project has been an inspirational, augmenting and gratifying
experience, even though it has meant long and tireless work in one of my favorite place the
pattern making lab. Test fits, trials, rework, rethink, and again redo, data collection,
compilation, writing and rewriting. The experience has strengthened my love and passion for
the subject, and motivated me to write and share more of this acquired knowledge with
others.
I take this opportunity to express my gratitude to all those who have contributed towards
completion of my research. I am sincerely thankful to:
My Guide, Prof. Dr. Noopur Anand, for her constant support and guidance, precise
advice and constant encouragement and meticulous and timely feedback.
DG – NIFT and my employer organization NIFT, for giving me opportunity to carry
out research. I would like to thank all my colleagues in the department of Fashion
Design, well-wishers and friends for their encouragement and support.
Dr. Anitha Manohar, Head, Research, with whose continuous support this study has
been completed.
Sr. Prof. Banhi Jha, Fashion Design Department, NIFT for her timely and sincere
advice and constnt words of encouragement.
Dr. Ananya Deb Roy, for helping and guiding with statistical analysis related trouble
shooting.
Mr. K.D. Sharma, Associate Professor, Fashion Design Department, NIFT for
boosting my morale from time to time and for being always available to help with the
brain storming.
i

Seema, Toolika, Binay, Preetha, M K Gandhi, Neenu & Dr. Jana for being a constant
moral support throughout this phase.
Prakriti, Goonjan, Natasha, Ashish for helping me with photography, Fazal, Niteesh,
Sandeep for help in prototyping. Ankita and Dimple Bahl for painstaking sketches of
the patterns on computers.
My husband Kishor has been a constant support throughout this research from
encouraging and pushing me to enroll for the doctoral studies, providing complete
emotional, physical and moral support during the course and till the completion of
this research.
My daughter Shivika, for her unconditional support love and help with the typing,
editing and revising the document. My immense love and blessings to her.
My complete gratitude and greatest regards to my Guru and to God Almighty for showering
upon me their loving blessings to face the challenges and complete this research.
This research and documentation would not have been possible without the unconditional
support, love and help of Fashion Design students in NIFT Delhi for last four years. My
heartfelt thanks are due to all of them.
Vandana Narang
ii

ABSTRACT
Menswear patterns are traditionally developed garment wise in the apparel industry. This
means that a separate pattern is developed for every menswear garment each time for
every style, be it a shirt, trouser, waistcoat, jacket, coat or overcoat. The available research
and the methodology being followed in the industry, on the subject of menswear
patternmaking is ensued by the same system of pattern development. On the other hand,
unlike menswear, patterns for womenswear garments are generally generated on a single
well balanced block system, where a single well established block, is used to make a
diverse range of apparel - namely blouses, dresses, shirts, corsets, jackets, overcoats and
other garments for upper torso. Men’s size charts are mostly based on garment
measurements rather than body dimensions (Shobhen, et al, 1990313). These are classified
by a specific body areas such as the chest for a jacket and the inside leg for a trouser. Block
patterns or slopers are templates used for design and style generation and also for
regulation of fit. Any number of design variations can be created from these blocks or
slopers. However, the source of established and standardized fit parameters for menswear
garments is insignificant.
The objective of this research is to develop a standardized sloper for use as a reliable
blueprint for design variations without the need for developing individual garment patterns.
The basic pattern can be manipulated to create new styles in menswear, as is being
currently done in women’s apparel. The study provides gainful insights into generating
patterns with an innovative design perspective which would be of immense use to the
fashion industry in terms of reducing both time taken and cost of production. Another
objective of this research is to provide documented and tabulated fit parameters for upper
torso garments.
Basic patterns are more than “faithful” depictions of the body – W.H. Hulme154
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The pattern-maker stands to his drafting board. Before him lays a piece of flat paper:
out of this he is to make his pattern. He has beside him a number of measurements,
and in his mind there is an exact idea of the figure he is drafting for; how it stands
and moves, its posture and action” -W. H. Hulme153

Figure 1 Sketch of a Jacket
With patterns, there is always more than meets the eye, and giving shape to a garment after
understanding the mechanisms at play is an even more profound experience.-Tomoko
Nakamichi (2007)244

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TABLE OF CONTENTS
Content Page No.
ACKNOWLEDGEMENT .......................................................................................................... i
ABSTRACT ........................................................................................................................... iii
TABLE OF CONTENTS ......................................................................................................... v
LIST OF FIGURES .............................................................................................................. xvi
LIST OF TABLES ................................................................................................................ xix
1 INTRODUCTION ............................................................................................................. 1
1.1 OVERVIEW .................................................................................................................. 1
1.2 STATEMENT OF THE PROBLEM ............................................................................ 11
1.3 OBJECTIVE OF STUDY ............................................................................................ 12
1.4 PURPOSE OF THE STUDY ...................................................................................... 13
2. REVIEW OF LITERATURE ........................................................................................... 15
2.1 MENSWEAR .............................................................................................................. 16
2.1.1 Men as Consumers ................................................................................................................................. 16
2.1.2 Menswear Market ................................................................................................................................... 19
2.1.3 Menswear Apparel ................................................................................................................................. 24
2.2 HISTORY OF MENSWEAR ....................................................................................... 25
2.2.1 A Brief History of Indian Fashion .................................................................................................... 26
2.2.2 Development of Menswear Garments ........................................................................................... 29
2.2.3 Categories of Menswear Apparel .................................................................................................... 30
2.3 PATTERN MAKING ................................................................................................... 31
2.3.1 Definition .................................................................................................................................................... 32
2.3.2 Information on patterns ..................................................................................................................... 33
2.3.3 Pattern making books .......................................................................................................................... 33
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2.4 TYPES OF PATTERN MAKING ............................................................................... 35
2.4.1 Draping ........................................................................................................................................................ 36
2.4.2 Pattern Drafting ....................................................................................................................................... 36
2.4.3 Flat patternmaking ............................................................................................................................... 37
2.4.4 Drafting ....................................................................................................................................................... 38
2.5 MENSWEAR PATTERN SYSTEMS - CURRENT PRACTICES ............................... 39
2.6 SIZING ....................................................................................................................... 41
2.6.1 Men’s body types .................................................................................................................................... 46
2.6.2 Analysis of men’s figures .................................................................................................................... 49
2.6.3 Sizing System ............................................................................................................................................ 50
2.7 FIT .............................................................................................................................. 51
2.7.1 Importance of Fit ................................................................................................................................... 54
2.7.2 Zones of fit ................................................................................................................................................ 55
2.7.3 Evaluating fit ............................................................................................................................................. 55
2.7.4 Critical Areas of Fit for Menswear ................................................................................................... 58
2.7.5 Visual Fit Analysis and Prototype Testing ................................................................................... 60
2.7.6 Fit-‐mapping ............................................................................................................................................... 62
2.8 EASE ALLOWANCE ................................................................................................. 63
2.8.1 Definition ................................................................................................................................................... 64
2.9 GRADING .................................................................................................................. 65
2.9.1 Definition .................................................................................................................................................... 66
2.9.2 Early grading systems ........................................................................................................................... 67
2.9.3 Grading process ....................................................................................................................................... 68
2.10 MEASUREMENTS ................................................................................................. 69
2.10.1 Definition .................................................................................................................................................... 71
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2.10.2 Anthropometric Measurements ....................................................................................................... 72
2.10.3 Body Dimensions .................................................................................................................................... 78
2.11 CONCLUSION ........................................................................................................... 85
3. METHODOLOGY ....................................................................................................... 87
3.1 OVERVIEW ................................................................................................................ 87
3.1.1 Research Paradigm ............................................................................................................................... 87
3.1.2 Ontological Assumption ....................................................................................................................... 87
3.1.3 Epistemological Assumption ............................................................................................................. 88
3.2 METHODOLOGY FOLLOWED ................................................................................. 88
3.2.1 Sample size ................................................................................................................................................ 89
3.2.2 Secondary Research ............................................................................................................................... 89
3.3 PRIMARY RESEARCH ............................................................................................. 90
3.3.1 Survey of the Industry .......................................................................................................................... 92
3.3.2 Survey of the Academia ........................................................................................................................ 94
3.4 ANALYSIS OF THE DATA COLLECTED ................................................................. 96
3.5 FIT PARAMETERS .................................................................................................... 97
3.5.1 Fit evaluation ............................................................................................................................................ 97
3.6 PATTERN DEVELOPMENT BY EXPERT METHODS ............................................. 98
3.6.1 Garment development by individual garment method .......................................................... 98
3.7 SLOPER DEVELOPMENT ........................................................................................ 99
3.7.1 Garment patterns .................................................................................................................................... 99
3.7.2 Sample Testing and Validation ...................................................................................................... 100
3.7.3 Test Fitting .............................................................................................................................................. 101
3.7.4 Comparison of the pattern by expert group ............................................................................. 101
3.7.5 Physical comparison ........................................................................................................................... 102
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3.8 GARMENT TEST FIT ON SUBJECTS .................................................................... 102
3.9 PATTERN DEVELOPMENT .................................................................................... 102
4. PRIMARY RESEARCH ............................................................................................... 103
4.1 COLLECTION OF PRIMARY DATA ....................................................................... 103
4.2 STRUCTURE OF THE QUESTIONNAIRE .............................................................. 105
4.3 ANALYSIS RESULTS OF THE DATA GENERATED ............................................ 107
4.3.1 Demographic analysis of the respondent .................................................................................. 107
4.3.2 Views on block method .................................................................................................................... 110
4.3.3 Analysis of block method for pattern development for menswear ............................... 116
4.4 FIT ISSUES ............................................................................................................ 117
4.4.1 Fit assessment ....................................................................................................................................... 118
4.4.2 Crucial areas of Fit in Jackets ......................................................................................................... 120
4.4.3. Crucial area of fit in shirt .................................................................................................................. 123
4.4.4 Pattern Cutting systems prevalent in India .............................................................................. 125
4.5 CONCLUSION ......................................................................................................... 127
5. METHODOLOGY FOR SLOPER DEVELOPMENT ................................................... 129
5.1 BASIS FOR SLOPER DEVELOPMENT ................................................................. 129
5.1.1 Size selection ........................................................................................................................................ 130
5.2 IDENTIFICATION OF BOOKS ON PATTERN MAKING ........................................ 130
5.2.1 Analysis .................................................................................................................................................... 133
5.3 EXPERT METHOD ................................................................................................. 134
5.3.1 Comparison of Measurement Charts in two books ............................................................... 135
5.3.2 Book by Aldrich ................................................................................................................................... 137
5.3.3 Book by Kawashima .......................................................................................................................... 138
5.4 PATTERN DEVELOPMENT BY EXPERT METHOD .............................................. 141
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5.4.1 Aldrich’s method for Jacket ............................................................................................................. 142
5.4.1.1 The Classic Suit Jacket Block ........................................................................................................... 143
5.4.1.2 Body Section ............................................................................................................................................... 143
5.4.1.3 Two piece sleeve pattern ................................................................................................................ 145
5.4.1.4 Top Sleeve: ............................................................................................................................................. 146
5.4.1.5 Under sleeve ............................................................................................................................................... 146
5.4.2 Kawashima’s Jacket Pattern ............................................................................................................ 148
5.4.2.1 Basic Jacket Sloper ............................................................................................................................. 148
5.4.2.2 Method .......................................................................................................................................................... 149
5.4.2.3 Back ................................................................................................................................................................ 149
5.4.2.4 Front armhole ............................................................................................................................................ 150
5.4.2.5 Back armhole .............................................................................................................................................. 150
5.4.2.6 Jacket pattern ....................................................................................................................................... 150
5.4.2.7 Back panel .............................................................................................................................................. 150
5.4.2.8 Front panel ............................................................................................................................................. 151
5.4.3 Conclusion ............................................................................................................................................... 153
5.4.4 Shirt by Aldrich ..................................................................................................................................... 154
5.4.4.1 Body Section .......................................................................................................................................... 155
5.4.4.2 Sleeve ........................................................................................................................................................ 156
5.4.4.3 Cuff ............................................................................................................................................................. 157
5.4.4.4 Collar ......................................................................................................................................................... 157
5.5 CONCLUSION OF PATTERN DEVELOPMENT BY EXPERT METHOD ............... 158
6. BLOCK DEVELOPMENT ........................................................................................ 159
6.1 INTRODUCTION ...................................................................................................... 159
6.1.1 Block .......................................................................................................................................................... 160
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6.1.2 Key parameters .................................................................................................................................... 161
6.2 PATTERN DEVELOPMENT .................................................................................... 164
6.2.1 Pattern generation based on easy fit Block for womenswear by Aldrich ................... 164
6.2.1.1 Measurements Required: ................................................................................................................. 165
6.2.1.2 Back ........................................................................................................................................................... 166
6.2.1.3 Front .......................................................................................................................................................... 166
6.2.2 Assessment of the Aldrich method .............................................................................................. 166
6.2.3 Issues with the sloper ........................................................................................................................ 168
6.3 MENSWEAR TORSO BLOCK ............................................................................... 169
6.3.1 Menswear torso block pattern development .......................................................................... 170
6.3.1.1 Block development ............................................................................................................................. 171
6.3.1.2 Back ................................................................................................................................................................ 172
6.3.1.3 Armhole ................................................................................................................................................... 172
6.3.1.4 Shoulder slope ....................................................................................................................................... 173
6.3.1.5 Front neckline ............................................................................................................................................ 174
6.3.2 Analysis .................................................................................................................................................... 176
6.4 FINAL SAMPLE GARMENTS ................................................................................. 177
6.4.1 Shirt ........................................................................................................................................................... 177
6.4.2 Jacket ......................................................................................................................................................... 177
6.5. PATTERN DEVELOPMENT FOR A SHIRT ............................................................ 179
6.5.1 Method of shirt pattern ..................................................................................................................... 180
6.5.1.1 Method ...................................................................................................................................................... 181
6.5.1.2 Hemline and Placket ........................................................................................................................... 181
6.5.1.3 Yoke ........................................................................................................................................................... 181
6.5.2 One piece shirt sleeve ........................................................................................................................ 184
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6.5.2.1 Method .......................................................................................................................................................... 184
6.5.2.2 Armhole shape ...................................................................................................................................... 185
6.5.2.3 Fore arm of the sleeve ....................................................................................................................... 185
6.5.3 Shirt Collar .............................................................................................................................................. 185
6.5.3.1 Band of the shirt collar ...................................................................................................................... 186
6.5.3.2 Collar piece ............................................................................................................................................. 187
6.5.4 Test fits of shirt by block method ................................................................................................. 187
6.6. PATTERN DEVELOPMENT FOR A JACKET ........................................................ 190
6.6.1 Method for jacket development .................................................................................................... 191
6.6.1.1 Method ...................................................................................................................................................... 192
6.6.1.2 Neck and shoulder shape ................................................................................................................. 192
6.6.1.3 Armhole shape ...................................................................................................................................... 193
6.6.1.4 Centre back shape ............................................................................................................................... 193
6.6.1.5 Side box shaping of the structured jacket: ................................................................................ 194
6.6.1.6 Front shaping ......................................................................................................................................... 195
6.6.1.7 Hem shaping .......................................................................................................................................... 195
6.6.2 Notch Collar ............................................................................................................................................ 198
6.6.2.1 Method ...................................................................................................................................................... 198
6.6.2.2 Stand of the collar ..................................................................................................................................... 199
6.6.2.3 Front Shape of the collar ....................................................................................................................... 200
6.6.3 Pattern development for a two piece sleeve ............................................................................ 201
6.6.3.1 Method ...................................................................................................................................................... 202
6.6.3.2 Sleeve Cap ............................................................................................................................................... 202
6.6.3.3 Armhole curve ....................................................................................................................................... 203
6.6.3.4 Developing the underarm seams ....................................................................................................... 203
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6.7 FIT EVALUATION BY RESEARCHER ................................................................... 205
6.8 PATTERN COMPARISON ...................................................................................... 206
7 METHODS OF FIT EVALUATION .............................................................................. 209
7.1 INTRODUCTION ..................................................................................................... 209
7.1.1 Girth Ease Allowance ......................................................................................................................... 210
7.2 PERFECT FIT .......................................................................................................... 212
7.2.1 Definition of Fit ..................................................................................................................................... 213
7.3 CRUCIAL AREAS OF FIT ....................................................................................... 213
7.4 FIT PARAMETERS FOR MENSWEAR .................................................................. 216
7.5 GARMENT FIT AND EVALUATION ....................................................................... 221
7.5.1 Testing methods for Dimensional Fit .......................................................................................... 221
7.5.2 Subjective Fitting Guide .................................................................................................................... 222
7.5.3 Parameters of Fit in Research ........................................................................................................ 224
7.6 FIT ASSESSMENT METHODS IN RESEARCH ..................................................... 224
7.7 SUBJECTIVE FITTING ASSESSMENT .................................................................. 228
7.7.1 Subject rating scales ........................................................................................................................... 229
7.7.2 Evaluation form .................................................................................................................................... 231
7.8 FIT TESTING ........................................................................................................... 231
7.8.1 Fit session .............................................................................................................................................. 232
7.9 CONCLUSION ......................................................................................................... 234
8. EXPERIMENT DETAILS ......................................................................................... 235
8.1 REQUIRED MEASUREMENTS .............................................................................. 235
8.1.2 Pattern Development using Pattern Alteration Method ..................................................... 236
8.1.3 Sample Preparation ............................................................................................................................ 236
8.1.4 Constitution of panel .......................................................................................................................... 237
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8.2 SUBJECTIVE FIT EVALUATION ............................................................................ 239
8.2.1 Fit Evaluation by expert panel ....................................................................................................... 239
8.2.2 Experimental Results and Discussions ....................................................................................... 242
8.2.3 Jacket Evaluation Parameters ........................................................................................................ 242
8.2.4 Shirt Evaluation Parameters ........................................................................................................... 244
8.2.5 Experts Assessment ............................................................................................................................ 246
8.2.6 Analysis .................................................................................................................................................... 247
8.2.7 Conclusion ............................................................................................................................................... 250
8.3 FIT EVALUATION BY THE SUBJECT ................................................................... 250
8.3.1 Sample Size ............................................................................................................................................. 251
8.3.2 Subjects .................................................................................................................................................... 254
8.3.2 Wearing Trials ....................................................................................................................................... 256
8.3.3 Wearing Process ................................................................................................................................... 256
8.3.4 Preparation ............................................................................................................................................. 257
8.4 QUESTIONNAIRE FOR FIT BY SUBJECT ............................................................ 258
8.4.1 Demographics and permissions in questionnaire ................................................................. 258
8.4.2 Questionnaire and Fit Trial ............................................................................................................. 259
8.5 PICTURES OF FIT TRIAL ....................................................................................... 262
8.6 ANALYSIS AND RESULTS .................................................................................... 265
8.7 FIT OF THE JACKET .............................................................................................. 266
8.7.1 Jacket Fit in the Area of Collar ........................................................................................................ 268
8.7.2 Fit of Jacket at the Shoulder ............................................................................................................ 269
8.7.3 Jacket Fit at Neckline and Collar .................................................................................................... 272
8.7.4 Fit of the Jacket around the Chest ................................................................................................. 274
8.7.5 Fit of the Jacket in relation to Length .......................................................................................... 278
xiii

8.7.6 Jacket fit in relation to Girth ............................................................................................................ 280
8.8 FIT OF THE SHIRT .................................................................................................. 281
8.8.1 Fit of Shirt at Shoulder ....................................................................................................................... 283
8.8.2 Fit of Shirt at Armhole ....................................................................................................................... 284
8.8.3 Fit of the Shirt around Closures ..................................................................................................... 285
8.8.4 Shirt Fit at the Upper Back ............................................................................................................... 286
8.8.5 Fit of Sleeve in the Shirt .................................................................................................................... 287
8.8.6 Fit of the Shirt in relation to Length ............................................................................................ 289
8.9 CONCLUSION ......................................................................................................... 292
9. RESULTS AND CONCLUSIONS ............................................................................... 295
9.1 INTRODUCTION .................................................................................................... 295
9.2 RESULTS ................................................................................................................ 297
9.3 LIMITATIONS .......................................................................................................... 298
9.4 RECOMMENDATION FOR FURTHER RESEARCH .............................................. 299
9.5 PROJECTED OUTCOME ........................................................................................ 300
REFERENCES ................................................................................................................... 301
ANNEXURE 1 .......................................................................................................................... i
Questionnaire for Industry ........................................................................................................................................ i
ANNEXURE 2 ......................................................................................................................... v
Questionnaire for Academia ..................................................................................................................................... v
ANNEXURE 3 ...................................................................................................................... viii
Analysis of the questionnaire for pattern makers and academia ......................................................... viii
ANNEXURE 4 ...................................................................................................................... viii
Fit Analysis for Jacket by Academia .................................................................................................................. viii
Fit Analysis for Jacket by pattern makers .......................................................................................................... ix
xiv

ANNEXURE 5 ......................................................................................................................... x
Fit Analysis for shirt by Academia ......................................................................................................................... x
Fit Analysis for shirt by pattern makers ............................................................................................................. xi
ANNEXURE 6 ....................................................................................................................... xii
Cross Tabulation ......................................................................................................................................................... xii
ANNEXURE 7 ...................................................................................................................... xiii
Sizes which are cut maximum ............................................................................................................................. xiii
ANNEXURE 8 ...................................................................................................................... xiv
Pattern by Henry Wampen ................................................................................................................................... xiv
ANNEXURE 9 ....................................................................................................................... xv
Fit evaluation form for expert panel ................................................................................................................... xv
ANNEXURE 10 .................................................................................................................. xviii
Evaluation sheet for jacket Experts for Fit Analysis ............................................................................... xviii
The analysis of fit parameters for Jacket by experts .................................................................................. xix
ANNEXURE 11 ..................................................................................................................... xx
Fit Evaluation for Shirts by expert panel .......................................................................................................... xx
The analysis of fit parameters for Shirt by experts .................................................................................... xxi
ANNEXURE 12 ................................................................................................................... xxii
Questionnaire for sample subject ..................................................................................................................... xxii
ANNEXURE 14 .................................................................................................................. xxiv
The evaluation of shirt and jacket by the subject sample ...................................................................... xxiv
xv

LIST OF FIGURES
Figure 1 Sketch of a Jacket ............................................................................................................................................ iv

Figure 2 Jacket Style364 .................................................................................................................................................. 14
Figure 3 Global Textiles & Apparel Projections ................................................................................................. 22
Figure 4 Indian Apparel Market Size & Growth ................................................................................................. 23
Figure 5 Share of Individual Categories within Menswear ........................................................................... 24
Figure 6 A young prince and his courtiers 1880 AD ........................................................................................ 28
Figure 7 Portrait of East India Company official 1760 to 1763 .................................................................. 28
Figure 8 Apparel Categories for menswear ......................................................................................................... 31
Figure 9 Men with different body types and postures .................................................................................... 43
Figure 10 Male body Types ......................................................................................................................................... 47
Figure 11 Male Body Shapes ...................................................................................................................................... 48
Figure 12 Posture: the way some men stand ..................................................................................................... 60
Figure 13 Overview of Fit-‐mapping process ...................................................................................................... 63
Figure 14 Pattern illustration by Henry Wampen354 ....................................................................................... 67
Figure 15 Measuring the body as per British standards BS 5511:1977 Aldrich3 ............................... 73
Figure 16 Method of measuring the body ............................................................................................................ 81
Figure 17 Measurement chart ................................................................................................................................... 82
Figure 18 Methodology flow chart ......................................................................................................................... 91
Figure 19 Profession of the respondent ............................................................................................................. 107
Figure 20 Experience of the respondent ............................................................................................................ 107
Figure 21 Institute of training ................................................................................................................................ 108
Figure 22 Training of industry members .......................................................................................................... 109
Figure 23 level of training of industry members ............................................................................................ 109
Figure 24 Training of Academia at various institutes .................................................................................. 110
Figure 25 Aware about block method ................................................................................................................. 111
Figure 26 Block method saves time ..................................................................................................................... 113
Figure 27 Block method is cost effective ........................................................................................................... 114
Figure 28 Block method is easy to make ........................................................................................................... 114
Figure 29 Block method is easy to alter ............................................................................................................. 115
Figure 30 Block method is easy to save .............................................................................................................. 115
Figure 31 Represents the opinion of Industry member .............................................................................. 117
Figure 32 Depicts Bar chart for use of muslin to test fit a jacket ............................................................ 119
Figure 33 Depicts Bar chart of methods adopted to resolve fit issues ................................................. 119
Figure 34 Collar as a crucial area .......................................................................................................................... 121
Figure 35 Neckline as a crucial area .................................................................................................................... 121
Figure 36 Armhole Depth as a crucial area ....................................................................................................... 121
Figure 37 Sleeve as a crucial area ......................................................................................................................... 122
Figure 38 Hip as a crucial area ............................................................................................................................... 122
Figure 39 Waist as a crucial area ........................................................................................................................... 122
Figure 40 Chest as a crucial area .......................................................................................................................... 124
Figure 41 Sleeve as a crucial area ......................................................................................................................... 124
xvi

Figure 42 Neck as a crucial area ............................................................................................................................ 124
Figure 43 Armhole as a crucial area .................................................................................................................... 125
Figure 44 Classic Tailored Jacket ......................................................................................................................... 142
Figure 45 Two piece Sleeve ..................................................................................................................................... 145
Figure 46 Muslin test fit of Jacket by Aldrich pattern ................................................................................. 147
Figure 47 Classic Tailored Jacket pattern .......................................................................................................... 148
Figure 48 Muslin test fit of Jacket by Kawashima pattern ......................................................................... 152
Figure 49 Classic shirt block .................................................................................................................................... 154
Figure 50 Muslin test fit of shirt pattern by Aldrich ..................................................................................... 157
Figure 51 Women’s dartless block ....................................................................................................................... 165
Figure 52 Developed block by Researcher ........................................................................................................ 170
Figure 53 Test fits of block method in size 38-‐42 .......................................................................................... 175
Figure 54 Sloper test fit student of batch of 2014 ........................................................................................ 175
Figure 55 A block of the pattern developed by investigator .................................................................... 179
Figure 56 Shirt pattern by the investigator ...................................................................................................... 180
Figure 57 Pattern Development for a Shirt ...................................................................................................... 183
Figure 58 Shirt Sleeve Pattern ............................................................................................................................... 184
Figure 59 Collar Pattern ............................................................................................................................................ 186
Figure 60 Developed shirt pattern from the torso block ........................................................................... 187
Figure 61 Shirt Test fit by investigator’s pattern making method ........................................................ 188
Figure 62 Picture of a shirt developed batch of 2014 ................................................................................. 189
Figure 63 Important measurement in Jackets ................................................................................................ 190
Figure 64 Pattern Development for Tailored Jacket by Investigator .................................................... 191
Figure 65 Pattern Development for a Jacket in process .............................................................................. 196
Figure 66 Pattern Development for a Jacket in process ............................................................................. 196
Figure 67 Pattern Development for a Jacket in process ............................................................................. 197
Figure 68 Pattern development of Notch Collar ............................................................................................ 198
Figure 69 Pattern of Two Piece sleeve ................................................................................................................ 201
Figure 70 Jackets in different sizes developed using the torso block ................................................... 204
Figure 71 Jacket developed final year student of batch of 2014 ............................................................ 204
Figure 72 Placement of shirt patterns for comparison of armhole ....................................................... 206
Figure 73 Placement for comparison of shoulder of shirt patterns ....................................................... 206
Figure 74 Placement of pattern for comparison of shoulder comparison of sleeve cap ............. 207
Figure 75 Placement of jacket patterns ............................................................................................................. 207
Figure 76 Placement of jacket patterns for comparison of neckline .................................................... 207
Figure 77 Shape of the shoulder slope of developed pattern .................................................................. 208
Figure 78 Diagram for garment ease ................................................................................................................... 212
Figure 79 Fit evaluation scale ................................................................................................................................ 230
Figure 80 Form for Fit evaluation of shirt developed by the scholar ................................................... 231
Figure 81 Muslin test fits for evaluation by expert panels ........................................................................ 241
Figure 82 Muslin test fits for evaluation by expert panels ........................................................................ 241
Figure 83 Jackets for evaluation by expert panels ........................................................................................ 242
xvii

Figure 84 Shirts for evaluation by expert panels .......................................................................................... 246
Figure 85 Age group of the sample ...................................................................................................................... 254
Figure 86 Size 38 Jacket and shirt in the three views ................................................................................. 262
Figure 87 Size 40 Jacket and shirt in the three views ................................................................................. 262
Figure 88 Size 42 Shirt in the three views ......................................................................................................... 263
Figure 89 Size 40 Shirt in the three views ......................................................................................................... 263
Figure 90 Size 38 Shirt in the three views ....................................................................................................... 263
Figure 91 Fit trials of different sizes of different sample subjects ......................................................... 265
Figure 92 Bar chart depicting collar fit in Jacket ........................................................................................... 268
Figure 93 Bar chart depicting fit of Jacket across the shoulder ............................................................... 270
Figure 94 Bar chart depicting fit at neckline and collar ............................................................................. 272
Figure 95 Bar chart depicting if collar could be worn in different ways ............................................ 273
Figure 96 Bar chart depicting fit of Jacket across the chest ...................................................................... 275
Figure 97 Bar chart depicting if lapels in jacket lie symmetrically ........................................................ 276
Figure 98 Bar chart depicting if pockets in jacket lie without gaping ................................................... 277
Figure 99 Bar chart depicting if Jacket length was enough ....................................................................... 278
Figure 100 Bar chart depicting hang of the jacket ......................................................................................... 279
Figure 101 Bar chart depicting if Jacket was large enough ...................................................................... 280
Figure 102 Bar chart depicting shoulder seam in shirts ............................................................................. 283
Figure 103 Bar chart depicting armhole fit in shirts .................................................................................... 284
Figure 104 Bar chart depicting fit of the shirt at the closure ................................................................... 285
Figure 105 Bar chart depicting fit of the shirt at the back ......................................................................... 286
Figure 106 Bar chart depicting fit of the shirt sleeve at elbow ............................................................... 288
Figure 107 Bar chart depicting fit of the shirt for movement .................................................................. 290
Figure 108 Bar chart depicting length of the shirt ....................................................................................... 291
Figure 109 Menswear garments from a graduation project in 2012 .................................................... 294
Figure 110 Jackets and shirts developed by final year students of batch of 2014 .......................... 294
xviii

LIST OF TABLES
Table 1: A size chart for Menswear with three different heights and six fits ...................................... 45
Table 2: Ranking of Fit and level of satisfaction ................................................................................................ 57
Table 3: Body Dimensions as per ISO 8559:1989(E) ...................................................................................... 79
Table 4 Question on advantage of Block Method ........................................................................................... 111
Table 5 Analysis of advantages of block method on ‘one sample T test’ ............................................. 112
Table 6: View point on advantages of Block Method ................................................................................... 113
Table 7 Represents the attitude of Academia .................................................................................................. 116
Table 8 One sample T test result on SPSS .......................................................................................................... 117
Table 9: Comparison of Fit Assessment ............................................................................................................ 118
Table 10: Important Fit parameters analysed from data generated for Jacket ................................ 120
Table 11: Important Fit parameters analyzed from data generated from analysis for shirt ..... 123
Table 12: Crucial Fit issues faced by both Academia & Industry ............................................................ 127
Table 13: List of Referred Books ........................................................................................................................... 132
Table 14: Measurement chart-‐ W. Aldrich7 ....................................................................................................... 136
Table 15: Measurement chart – M. Kawashima179 ......................................................................................... 136
Table 16: Measurement chart for size 40 Regular Fit – from different companies ......................... 141
Table 17: Comparing key parameters used by experts from different countries. ........................... 163
Table 18: Measurement chart in (inches) of dress forms of two companies ..................................... 205
Table 19: Fit parameters for Shirt and Jacket .................................................................................................. 216
Table 20: Fit Assessment in Research ................................................................................................................. 225
Table 21: Fit Evaluation for Shirts ........................................................................................................................ 246
Table 22: Statistics of Jacket evaluation by expert Panel ........................................................................... 248
Table 23: Jacket front fit ............................................................................................................................................ 249
Table 24: Jacket back fit ............................................................................................................................................ 249
Table 25: Frequency table of shirt analysis ...................................................................................................... 249
Table 26: Collar ease in shirt ................................................................................................................................... 250
Table 27: Fit of shirt Sleeve ..................................................................................................................................... 250
Table 28: Frequency table depicting collar fit in Jacket .............................................................................. 268
Table 29: Frequency table depicting fit of Jacket across the shoulder ................................................. 270
Table 30: Frequency table depicting position of shoulder seam ............................................................. 271
Table 31: Frequency table depicting position of armhole seam .............................................................. 271
Table: 32 Frequency table depicting fit at neckline and collar ................................................................ 272
Table 33: Frequency table depicting if collar could be worn in different ways ................................ 273
Table 34: Frequency table depicting fit of jacket across the chest ......................................................... 275
Table 35: Frequency table depicting if lapels in jacket lie symmetrically ........................................... 276
Table 36: Frequency table depicting if pockets in jacket lie without gaping ..................................... 277
Table 37: Frequency table depicting if Jacket length was enough .......................................................... 278
Table 38: Frequency table depicting hang of the jacket .............................................................................. 279
Table 39: Frequency table depicting if Jacket was large enough ............................................................ 280
Table 40: Frequency table depicting shoulder seam in shirts .................................................................. 283
Table 41: Frequency table depicting armhole fit in shirts ......................................................................... 284
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Table 42: Frequency table depicting fit of the shirt at the closure ......................................................... 285
Table 43: Frequency table depicting fit of the shirt at the back .............................................................. 287
Table 44: Frequency table depicting fit of the shirt sleeve at elbow ..................................................... 288
Table 45: Frequency table depicting fit of the shirt sleeve at elbow ..................................................... 289
Table 46: Frequency table depicting fit of the shirt for movement ....................................................... 290
Table 47: Frequency table depicting length of the shirt ............................................................................. 291
Table 48: Hypothesis for fit evaluation of different parameters of Jacket and shirt ..................... 293
xx

CHAPTER ONE: INTRODUCTION

1 INTRODUCTION
“Men’s fashion is something of an enigma at times…. it seems simple – just don pants, a
button down shirt....... and the look is ready.” Moroz (2008)241
The evolution of menswear must be studied within a framework of different influences and in
the context of history of mankind. In order to comprehensively study contemporary
menswear, a fundamental appreciation of its historical evolution including associations with
utility, efficacy and military dressing is mandatory (Trautman, 1985) 322.
1.1 OVERVIEW
Man has felt need for clothing from antediluvian times. Initially garments were used as a
shield from climatic changes, as embellishments and for the purpose of modesty. Initially,
garments were made from barks of trees, skins of animals and much later, from fabric.
History is a witness to the fact that civilizations across the world have been wearing draped
garments, rather than cut and stitched ones, be it the Roman toga, Greek ‘Chiton’ or the
Indian sari.
As the size of the population augmented, and man started staking territories, as a
consequence of this, the need arose for an organized army. Uniform a term widely
associated with an immense assortment of apparel and clothing that is used by religious
sects, the military, schools, professional groups, sports teams and other orders or groups to
distinguish themselves or to create an identity (Yagou, 2011341). A set of uniform clothing
was required to categorize the assemblage fashioned as a defence force, which was result
of the wars. This also necessitated some form of protective attire from the weapons. As a
consequence of this need, the armours, made of leather, iron chains, and steel plates, were
1

created and produced. These armours were both functional and practical, and also provided
necessary fortification from armaments of that time. The steel armours were generally made
of a number of plates and were structured around the body in a manner, to provide for
enhanced and comfortable movement, and a more efficient outfit. Highly skilled personnel
were required to make these armours and this led to the start of pattern making and
manufacturing industry. Armours are also considered as the foundation or base, on which
the jackets developed after a passage of time (Gleba et al, 2008128). Men wore the jackets to
accomplish a regal look as it provided them with a stature of prominence. A modern avatar
of armours can be seen in the rugby field in the form of Jersey’s T shirt with padding
specifically designed for the sport keeping in mind the protection of the players in a fiercely
fought game, as stated by Rebecca Robinson (Reily271, 2008) in an essay in ‘Men’s Fashion
Reader’.
The early technological developments of menswear, through successive process of trial and
creation have largely evolved from military dress (Hopkins146, 2011). Military uniforms
conveyed certain ideal attributes that were deemed desirable – discipline, self - control,
reliability, competence and loyalty (Langkjaer, 2012197). These attributes were deemed
desirable not only for men in the uniform services but also from civilian employees by other
employers (Lange, et al, 2009196). This led to the influence of the uniform affecting and
inspiring the everyday clothes of other citizens, as well. One of the most significant
developments of middle ages was the advancement of padding and its more sophisticated
variation the quilting processes; these were applied / used to shape canvas fabric or leather,
to create armours and jackets (Higgins, 1967142).
2

Initially the jackets were structured like the armour; a traditional jacket had enough support
built inside for it to be placed on a table and could stand unsupported. With the passage of
time the jackets have become lighter and more malleable (Neighbour, 2008)248. In the
twentieth century Giorgio Armani removed the extra padding and structure out of jacket to
make them even more comfortable and was known as deconstructed jacket. This trend
caused a revolution, brought a major transformation in the way menswear was conceived
and manufactured since then. The Armani jacket was tapered severely from the nape to
waist managing to make the person to appear as a member of some super-race (Lewis,
2007)203. Tailored men’s apparel or the concept of well-cut garment is based on the close fit
that is constructed to enhance the human form by following the contour of the body
(Shannon, 2006)296.
Films, music and media have all influenced the development and evolution of menswear,
particularly in the twentieth century which brought alongwith it consumerism in the society
and also the influence of pop culture. This has further influenced a substantial surge in
demand for new and trendy clothes, and especially those which fit well and are comfortable
as well. The century saw a gradual relaxation in some of the old established norms and
rules of menswear which had defined and constrained menswear in earlier centuries. These
changes came through in menswear due to the dominance of leisure activities, active
interest in sports, art, music and films. The growth of popular cinema, Hollywood films in
particular, has influenced and given impetus to a relaxed look in menswear.
Historically, men are considered as being tolerant to shopping for clothes and their interest
has been more in other pursuits like technical gizmos, sports rather than in beauty or
fashion apparel (Brannon, 2011)45. Piers Wehner335, in his article ‘Its Reigning Men’ in ‘The
3

Estate Gazette’ (2008), said that despite what might be generally understood, the menswear
market is sizeable. The sector in UK is worth £9 billion and it grew by 3.3 percent in year
2007-08. In the same article, he also commented that men’s attitudes are changing towards
clothing. Metro sexuality, fashion magazines and style icons, like David Beckham, are
encouraging men to groom themselves. The demand for greater variety in men’s clothing
ranges is in conjunction with a surge in male grooming and health care sectors. Appearance
management techniques, ranging from the routine and mundane (daily) grooming to the
extreme and risky (for example cosmetic surgery, self-starvation), provide further evidence
of men’s dissatisfaction with their own looks (Bruell, 2010)50. Although most psychological
research has, understandably, focused on those forms of appearance management that
directly impact on health, this has been at the expense of theorizing the links among body
image, subjectivity, and every day practices as Boyer (1998)43 noted.
Menswear fashion today is the fastest growing segment. Europe’s leading fast fashion
retailers are stepping up their effort to “court” an expanding market of male consumers with
an increasing “appetite for the trends at affordable prices” (Marsh, 2008) 226. Made to
measure products have become a luxury for clients today especially those who value a
unique and original style along with precision and quality (Vecchi, 2012)329. Several brands
and designers are working in this niche area to cater to the demand of such high price but
low volume products.
To gain competitive advantage in the menswear market it is imperative for designers,
manufacturers, and retailers to know the fit concerns that are being encountered by men. Fit
can be defined in terms of garments that must conform correctly to the shape or size and,
simultaneously, be appropriate to fulfil the requirements of activities that are essential to be
4

accomplished. According to Sindicich, et al, (2011)307 in their research ‘An Assessment of Fit
and sizing of men’s business suit’ has raised the issue that practically no research has been
undertaken that relates to body composition of sizing or fit problems in a male population.
Clothing researches have previously investigated both, the fit issues faced by female
consumers (Ashdown26 et al, 1995; Workman339, 1991; Yu350 et al, 1998) and clothing
problems faced by elderly male populations (Hogge et al, 1988144). There has also been
another research conducted into the fit of men’s clothing which has been undertaken by the
US military and other uniformed services. This study developed a model CAESAR study to
develop size charts for service personnel. The CAESAR study was also conducted in
Netherlands and Italy (Pasquet257, et al, 2011). Well fitted garments, provides for a neat and
smooth appearance and allows maximum comfort and mobility for the wearer – (Shen298 et
al, 1993).
The myth surrounding men’s fashion is that there is no men’s fashion and men usually dress
for fit and comfort, rather than for style impact. A common belief held is that women select
clothes for men who generally do not observe issues related to clothes. The societal notion
that men who dress up are peculiar in some way or another persists along with the belief
that most men do not pursue endless seasonal fads (Boyer, 199843). It is generally believed
that the men emphasize on the importance of practical, rather than aesthetic, aspects of
clothing. Clothes should be functional should fit for purpose, be practical and necessary for
everyday living (Frith et al, 2004119). Despite that, as Montrose238 from ‘Women’s Wear Daily’
remarked in 2009, “Menswear is certainly growing”
The history of the menswear industry can be traced from middle of eighteenth century in
Europe. Books on pattern making and pattern constructions were written from the end of the
5

sixteenth century in several European languages. According to Cooklin86, in his book on
pattern grading for men’s clothes, “Grading as a technique was virtually unknown because
men’s garments were cut to the individual measurements”. Also, the construction systems
were based on ‘scales of proportion’, that is, they were based on the chest girth and the
height of the man. The German pattern making system by Muller and Sohn243 developed in
1891, still follows the same method, where the girth measurements are calculated a in
proportion to the chest measurements and all the lengthwise measurements are calculated
in the proportion to the height of the client, to the extent, that the length of the jacket is
calculated as half of the height of the client and waist level as one quarter of the total height
of the client. However, majority of the other prevalent pattern making systems at that time
calculated the lengthwise measurements also as a proportion of the chest measurement.
The practice being followed in the Indian industry till today is that, the pattern makers use
the formulae to calculate the armhole level which is a measurement equal to one quarter of
chest measurement minus one inch.
Apparel pattern making is a process that transforms 3D style into two dimensional flat
patterns. Flat pattern making uses known body measurements to draft an apparel pattern.
Technically, flat pattern design is the most efficient method for mass production, however, it
is more difficult to master and produce an accurate pattern with the required fitting and
silhouette, than by draping the fabric directly on the form.
It is a challenging task to visualize the body within a basic flat pattern or a two dimensional
block, in other words, to distinguish a three dimensional body in a sloper is a challenging
deed. W. H. Hulme153 corroborates the same view in the book ‘The Practice of Garment-
Pattern Making’ that the anatomical points of the body and the basic patterns lines can be
6

visualized only when the surface of the pattern is divided into darts and seams, or panels
and yokes. The outlines are extended out to hold design details like plackets and collars in
the pattern, or to build in other styling features such as lapels and pockets, correspondence
is created between the body and pattern. Pattern makers use their experience to develop
formulae in order to, work out the garment pattern. He further adds that all garment patterns
produced from these drafted patterns, must be test fitted on the body to check proportion,
balance and style line of a design. In order to improve and shorten the pattern making
process, it is essential to work out a systematic drafting system which can be used to make
and create designs with accuracy and this system should be comparable to patterns
developed by draping method.
The way in which the body of a human being is built is determined by the social, geological,
economic, socio-economic and climatic conditions of a nation and is further determined by
the genes of particular strata of society. Due to differences in genetic structure, social status,
cultural structure, nutrition habits, sport activities, economic elements, and even body
shapes, body posture, and proportions of body parts differ from one person to the other.
Drafting patterns in the garment industry is an important factor that directly affects the
manner in which the garments fit a body. The comfort of use, at the expected level, is as
important as, the aesthetics of the garment while providing the harmony between clothing
and body shape (Ozeren, 2012254). The amount of ease in a garment, directly affects its fit,
appearance and comfort. Gould131 (2002), in her dissertation, has concluded that even the
angle of the head affects the spinal curve and thus, the centre back measurement. Minks
(1992)232, in his paper ‘The Sizing of Clothes’, has said that the body shapes and sizes may
differ significantly as body shapes vary between countries and within the same country and
it is not possible to compile a single set of body sizes which could be universally applicable.
7

There are two types of ease in a garment: wearing ease and design ease, that need to work
in complete tandem for a well fitted garment. The essential ease built into any basic sloper
gives movement and comfort in a garment, whereas the design ease, for a particular style,
is added to the basic sloper in addition to the essential ease. The extent of design ease is
calculated and dependent upon the desired fit or end use of the garment.
In India, it is still possible to get clothes stitched to an individual’s specific measurement but
in the developed world it is a tough challenge. Earlier, it was quite simple to go in for made
to order clothes. The cost of production for an individual garment is directly linked to the
labour cost in a society. The art of pattern making that started as an answer to the growing
need of mass produced uniforms in war time has, therefore, gradually moved to mass
customization with the advent of Information Technology, which is being used extensively in
the fashion industry today (Peoples, 2008)259. A bodice has the most complex shapes
among the garment patterns as it includes curves of neckline and armhole, fullness of bust
and hollows of waistline (Kim et al, 2010)175. For this reason, the design of an accurate
bodice pattern is the most difficult process in garment design and therefore, bodice
modelling is suitable measurement for the verification of the performance of a newly
developed method (Kim et al, 2007)176.
Garment pattern making represents a critical step in the apparel product development
process. It is considered, to be an interpretation of an idea that begins with a sketch or an
existing product into a paper representation or a model for the production of a finished
garment style (Hopkins, 2011)146. Pattern makers are required to integrate various pieces of
knowledge – fabric and material properties, target customers’ anthropometry, design and
apparel manufacturing during the pattern making process. In the fashion industry, it takes
8

many years of training, for a cutter to gradually formulate rules that develop slopers and
master skills of pattern creation. These rules are usually category specific and focus on a
certain type of clothing. It is widely acknowledged that in the industry, the quality of patterns
depends largely on the skill and experience of the concerned pattern master. Traditionally,
the garment industry employs empirical procedures for pattern making and prototype
development. These are cost intensive and time consuming methods.
Rickard Lindqvist (2012)210 in his PhD dissertation has experimented and worked a jacket
and trouser from a single piece of fabric and offered that, “The numbers of pieces
composing a garment are of less significance. The one piece principle can be compared to a
beautiful proof in mathematics or the simplest equation explaining a series of
experiments…” , has also challenged traditional tailoring methodology and proposed an
alternative view of the body, all this while preserving and utilizing traditional methods of
bespoke garment construction. Similar design variations would be possible with a sloper and
it would open several possibilities on design development.
‘Sloper’ is a popular term used to depict the basic pattern for a body, sleeve and trouser
based on which designs can be created. Kopp, et al (1991)186, refer to them as master
patterns, block patterns or foundation patters. Slopers are generally developed without any
seam allowances as it can interfere with proportions and conception of deign variations.
Slopers are fashioned with balanced seams, so that they aid in mitring and matching of
fabric design. A paper ‘Usability of pattern customizing technology in the achievement and
testing of fit for mass customizations’ by Apeagyei et al (2007)19, states that the 2D pattern
makers employ an existing block or set of finished pattern pieces for developing the design
9

that is being modified or created. The blocks are adapted into patterns from the original
design and are then altered to meet the requirement of the new design.
Retief et al, (2003)273, noted that an extremely competitive marketplace has been formed by
the exponential increase in online shopping and by increase in number of companies that
are selling online. Daanen et al, (2011)92 further add to this theory, that clothing sales over
the internet have rapidly increased in volume. In 2006, about 3 percent of the total clothing
was over the internet in the UK. This was quite low compared to Korea, the country with the
highest internet density, where the sales of clothing online clothing increased from five
percent in 2001 to 15.3 percent in 2006. Daanen (2011)92 further stated that the sales in UK
have increased by 152 percent since 2006. Adding to this, Adam Tinworth stated in an
article that research companies predict sales through online portals would be as much as 40
percent of total apparel sold in Europe alone. Thus, the increasing sales of garments
through e-portals imply that the fit of garments has become a major challenge for customers,
manufacturers, designers and retailers (Narang, 2013)246. Fit problems are one of the
primary factors that cause customers to return apparel products they have purchased online
through catalogue and website retailers (Anderson, 200512; Chen, 200771).
There are few pattern makers and fashion technologists who have challenged the
fundamentals or set parameters of the traditional techniques and pattern making systems,
and have taken an analytical approach to pattern creation. There are pattern designers who
are taking a more scientific approach to pattern development, include Ines Simoes306, Timo
Rissanen274, Holly McQuilian230, Julian Roberts230, Tomoko Nakamichi244, Shingo Sato284,
Mark Liu215, Rickard Lindqvist210 and several others. They have questioned the pattern
methodology based on linear measurements and are increasingly using geometric forms to
10

develop patterns. Kwong190 (2000) has noted that essentially the traditional knowledge is
based on approximations and needs to be tested through trial and error. Some of the new
methods suggested by the researchers involve use of modern technology and complex
algorithms for computer aided design or three dimensional scanning not only these
approaches are overly technical and are also not practical for human pattern development
(Kwong190, 2000, Liu214, 2012, Simoes306, 2012). Apart from being complex these
technologies are expensive and not easily available for academic or industrial use.
1.2 STATEMENT OF THE PROBLEM
The research is based on the fact that in the menswear industry a fresh set of patterns is
made for each style that needs to be balanced and fitted individually. The books available in
the international market on the subject also follow the same systems whether it: Aldrich,
Kawashima, Miyoshi or Cooklin. However for womenswear patterns, a single torso block is
used for an entire range of garments (Armstrong23, 2000; Kopp186 et al 1991, Mansfield223,
1965).
It is with this objective, a sloper was developed that provides a base for new styles that the
present study was attempted. It is expected that the study would be able to provide gainful
insights for developing patterns with a fresh design perspective. Hence, the research sought
to develop a basic sloper for menswear and manipulate it using established pattern making
principles to achieve perfectly balanced and well fitted styles in a range of garments for men
for upper torso.
11

1.3 OBJECTIVE OF STUDY
To develop a system of pattern development for menswear upper body garments using the
male torso block. This system was based on development and manipulation of a one basic
men’s torso sloper. The torso is the main body structure of a human being which connects
the arms, legs and head. The first stage is to develop a menswear torso sloper that will be
used as a base for design development, give better fit and reduce production and
manufacturing time. To study the important areas of fit for menswear and define the different
considerations for each of these focus areas in relation to body movement and garment.
The study provides a basis for:
Development of basic menswear sloper using block method
To establish and define fit parameters for menswear apparel
Broad objectives were, to understand:
Current practices of menswear pattern development in the Indian Apparel Industry
Current academic practices in menswear pattern development in Indian and other
leading international schools
Need for block method in menswear pattern development
Various methods of pattern development for menswear garments
Understanding parameters for controlling fit in menswear garments and factors
affecting them
To test the developed patterns on the established fit parameters wear study
This study dealt with developing a menswear block and manipulation of the same to develop
various upper torso garments. The effect was studied through the experiments and the
quantitative analysis. `
12

The Hypothesis for the study was that the patterns for menswear upper torso garments can
also be developed on the basic torso sloper and garments developed would be well fitted.
The fit parameters similar to womenswear would be established and generated patterns
would be test fitted.
1.4 PURPOSE OF THE STUDY
The purpose of the study was to bring about a perceptual change in the development of
men’s upper torso garments. It was also intended that with intervention and manipulation of
basic block, ergonomically constructed garments for men be created. The study also aimed
to develop systemised rules for creation of blocks that eliminates the requirement for hit and
trial fitting methods in menswear pattern making for better results.
A well fitted garment relies on a meticulous and accurate garment pattern. The starting point
of the traditional pattern making is the basic block pattern which is a template to provide
proper garment fit and can be manipulated to create unlimited styles. Block patterns have
simple and basic styles with lines and darts located to make the block pattern fit well to the
body contours. Developing a set of well fitted block patterns or sloper, is therefore of
considerable significance for garment product development. This study also attempts to
establish fit parameters for menswear garments through primary and secondary research.
13

Figure 2 Jacket Style364

14

CHAPTER TWO: REVIEW OF LITERATURE

2. REVIEW OF LITERATURE
The secondary research was undertaken in order to study the different kinds of menswear
garments used by consumers and the variety of the garments that were available in the
market. The size range of menswear garments available in the market was also studied.
The methods used for the pattern development of these garments in the industry were
investigated. The study also focused on pattern making books available for menswear
apparel and the research already undertaken and conducted in the field of menswear and
specifically on menswear pattern making. The documented parameters of fit for menswear
apparel, especially for upper torso garments, were studied. The established and
documented methods of evaluation of the garment fit by other researchers were also
researched. The market share of the menswear sector in the apparel industry was studied
through the available marketing reports both for the global market as well as the Indian.
Through these market trends, a brief review of the garments generally worn by men was
also undertaken. Established universal terminology used for pattern development and
important issues faced in pattern making and especially for menswear was also reviewed.
Garment fit, with regards to acceptable ease and body movements, was reviewed. Fit
parameters for menswear garments and their evaluation criteria were also studied.
The review of literature has been done on the following areas:
Understanding men as consumers
Understanding Indian and global menswear market
Terminology of pattern making
Various methods of pattern making being followed in the industry
Understanding pattern making practices for menswear in the industry
Male body types and shapes and their effect on patterns
Understanding fit parameters specifically for menswear garments

15

Understanding grading and measurements required for upper torso garments for
menswear.
2.1 MENSWEAR
Apeagyei20 et al (2008), introduced menswear remarking that ‘fashionable clothing’ is not an
exclusive right of women. They further added that the novel concept of 21 st century is
‘masculinity’ in a new ‘avatar’ which has brought focus of both manufacturers and
consumers on clothing and fashion products for men (Burough, 2008)52. Men’s clothing
practices are an important and pervasive form of appearance management that reflects the
continued monitoring of their visual selves.
2.1.1 Men as Consumers
Men’s attitude towards clothing has been constantly evolving and changing; the demand for
a greater variety in men’s clothing ranges has risen in conjunction, with the surge in male
grooming and healthcare sectors (Wehner, 2008)335. Men have been gradually focusing
more on their appearance and body image and marketers have tried their best to entice men
(Anon, 200916, 201017, 201118). Patrick Tucker324, in ‘Smart Fashion’, has identified that
there is no other industry which is, more fickle than the fashion industry. The apparel
manufacturers spend millions every year in a struggle to anticipate the ‘next big craze’,
which is ironic, in light of the fact that, the fundamental demands from apparel have hardly
altered over the course of last four hundred millennia. Whether one wears a grass skirt or
$500 blue jeans, the need is of a bit of protection from the elements, a feeling of warmth and
security, and the necessity to make an impression or statement. The attire reflects the
personality, the character and helps to establish image of the person (Anderson, 1999)13.
16

The research titled ‘Clothing and Embodiment: Men Managing Body Image and
Appearance‘ (Frith et al, 2004)119 observed that the changing image of the male body,
makes men progressively more aware of, and dissatisfied with, the body that does not
conform to the quintessential this ‘cultural ideal’. The rapid expansion of menswear since the
1980s and the development of specialist style magazines (such as ‘Gentleman’s Quarterly’
and ‘Arena’) have enabled men to relate to their clothed bodies in novel methods. Men are
under increased pressure, to conform, to the cultural ideal of a lean, well-toned muscular
build, which is reflected in cultural representation (Mishkind 234, et al, 1986, Seiling293 et al,
1988, Frith119 et al, 2004). With an augmented awareness of fashion and better living
standards, the current generation has placed high priority on design in garments. They
desire tailor-made clothes to fulfil this demand (Chonsakorn, et al, 2012)77.
A study, on male consumers by DNR (Lipke, 2008)211 has detailed that American men are
progressively making their own choices in apparel. Despite recession and the Wall Street
crisis, they continued to spend on clothes. According to Marsh226 (2008), 42 percent of the
men surveyed were extremely interested in clothes and found that only 17 percent were not
interested in clothes. Marsh also notes 64 percent of the men surveyed enjoyed shopping
and 83 percent of them shopped for their own clothes and 60 percent of them said that they
shopped to impress themselves.
Historically, the male apparel market in India has been significantly larger than the women’s
apparel market (Talukdar, 2011)314. India’s apparel market is in the throes of change
(Vasudev328, 2010). Rapid growth and escalating urbanization have spawned a new class of
consumers with more money to spend and a growing passion for fashion. A new consumer
base for fashionable menswear is being added in Indian apparel market of consumers from
17

tier two and three cities, with booming economies and wide exposure, these consumers
demand new fashion products (Narang247, 2012). As a consequence, of matured and
sophisticated taste of the consumers from these cities, it provides, a fresh avenue a growth
impetuous to the industry. The Indian menswear market had at one time, primarily
comprised of three basic categories of clothing for menswear: casual, work wear and
occasion wear. However, a broader range of activities and development of new interests in
sports and other pursuits along with an increased demand for clothing, men have started
spending more on apparel and have progressively embraced the idea of fashion as a form
of self-expression instead of merely as a functional garment purchase (Talukdar, 2011)314.
An exclusive ‘Men’s Fashion Week’ was launched in London in 1998 (Bakewell, et al,
2006)32 and the ‘Indian Men’s fashion week’ was launched in 2009. Leading international
retailers including ‘H&M’, ‘Topman’, ‘Mango’ and ‘New Look’ have opened select men’s only
stores around the world. Europe’s leading fast-fashion retailers have stepped up their efforts
to court an ever expanding market, of male consumers with an appetite for the latest trends
at affordable prices (Marsh, 2008)226.
Men are more frequently shopping for themselves now, as compared to earlier times and
their choices are based on brand and store loyalty, and they also choose comfort over
fashion (Sindicich, et al, 2011)307. This has necessitated a shift in the way menswear is
designed and marketed (Abboud1, 2011). Hence building brand loyalty, along with perceived
notions of fit and comfort has become the most important parameter to be kept in mind by
the designers, manufacturers and retailers (Apeagyei, et al, 2008)20. The market of men’s
business clothing in India has grown substantially since 1990’s. Public figures have become
more image-conscious. The young breed of politicians and personalities alike are favouring
the ‘suit’ as normal mode attire in public, a change from “Dhoti & Kurta” in yesteryears. The
18

suit acquires a cult following even in tropical country like India (Narang et al, 2012)247.
During the course of history, clothing has been accorded the credit of reflecting the social
position of the wearer (Apeagyei, et al, 2008)20.
2.1.2 Menswear Market
The menswear market is sizeable. A 2008 report, titled ‘Booming Menswear market in India’,
(King et al, 2008178, 2011179) found that:
The Indian men’s apparel industry was expected to grow at a CAGR (compound
annual growth rate) of 14.86 percent from 2008 to 2010
The demand for readymade garments in rural India would surge at a CAGR of
16.5 percent to reach Rs 42918 crore by 2010
The branded apparel industry for men would grow at 24 percent CAGR and
gross over Rs 25,000 crore by 2010
The per capita GDP spending on apparel increased by 5.8 percent in 2006 from
4.9 percent in 2003
The Indian menswear market had total revenue of $11.8 billion in 2009, representing a
CAGR of 8.6 percent for the period 2005-09 in comparison the Chinese market increased
with a CAGR of 5.7 percent and Japanese market declined with a compound annual rate of
change of negative one percent over the same period (Vertical Edge, 2011)330.
The BRIC (Brazil, Russia, India and China) research showed that menswear market grew by
7.1 percent between 2003 and 2007 to reach a value of $70.9 billion (Business Wire, 200953
& 201054). In a research conducted by Datamonitor (August, 2010)95, it has been found that
the Global menswear market grew by 3.3 percent in 2008 to reach a value of $319.6 billion.
19

In 2013 the global menswear market was estimated to have a value of $370.9 billion, an
increase of 16 percent since 2008 and sales through clothing, footwear, accessories and
luxury goods retailers dominated the global menswear market in 2008, generating 54
percent of the overall market revenue. Europe alone accounted for 40.7 percent of the
global menswear market value.
According to a Technopak Report of 2009316 on Indian retail:
Menswear is still the single largest product category both in terms of value and
volume.
In 2009, menswear segment had volume growth rate of 7.8 percent and value growth
rate of 11.7 percent.
The volume grew from 1757 million units in 2008 to 1894 million units in 2009.
Men’s shirts valued at Rs 204.7 billion was the largest single product category in the
market with maximum number of manufacturers and brands competing in the
market.
Men’s formal suits jackets and blazer segment was valued at Rs 48.3 billion in 2009
and has witnessed a rapid shift from tailored garments to ready-to-wear.
In an article titled ‘Menswear is a suitable business in China’ by Woke338 in ‘Tribune
Business News’, 2011 cited Tom Murry President and CEO of Calvin Klein as “In China,
which is a little bit unique compared with most other places in the world, business in
women’s wear is more than men’s, while in the United States, the women’s wear business is
2.5 times bigger than the men’s wear”, Murry further added that in his opinion this was
because “ two factors are at work, China is an emerging market and more men than women
are work in China, so men buy more clothes to go to work”. The same fact is true for the
Indian market, as it has more similarity in terms of market conditions to that of China rather
20

than to the markets of Europe or USA. There are more men than women who go out to work
and India too is an emerging market (Narang, 2013)246.
According to a market report, ‘Men and Fashion: It's boomtime in men's wear16 (Anon,
2010)’, men’s apparel, a category that usually has fairly high growth rates of 20-40 percent,
has suddenly seen a growth of 60 percent. According to the report the Indian menswear
market grew by 9-10 percent in year 2008-09. It predicted, that the growth will reach 40.56
percent from 2007-2015. The market value of menswear brands is expected to reach $15.8
billion by 2014. The report also found that rural India, which till this time completely relied
essentially upon ‘made to measure’ garments, has created a strong demand for ready to
wear garments and was expected to grow at a CAGR of 16.5 percent by 2010, and thus
creating huge growth opportunities (Thompson, 2010)319. A report by Market Line in
February 2012, reported that Global Menswear market in 2016 is forecasted to reach to a
value of $430,415.2 million, an increase of 13.9 percent since 2011. The projection for the
Indian menswear market for the same period by this report was that market is will have a
value of $4,112.4 million, an increase of 21.4 percent.
According to a Technopak Report of 2012317 on textile and apparel, the textile and apparel
trade was estimated to be USD 662 billion in 2011 and is expected to grow at a CAGR of 5
percent in the next 10 years. The Indian textile and apparel market size was estimated to be
Rs 2, 73, 000 crores (USD 58 billion) in 2011 and is projected to grow at 9 percent CAGR to
Rs 6, 64, 000 crores (USD 141 billion) by 2021. Menswear apparel contributes 43 percent of
the total Indian apparel market. The consumer wardrobe has changed from being only
‘need-based clothing’ to ‘occasion specific dressing’ and is gradually becoming more a
‘detail oriented’
21

Figure 3 Global Textiles & Apparel Projections
(Technopak, 2012) 317
The surge of growth in global textile and apparel trade is clearly visible from the above chart.,
Also, the growth not only in percentage terms but in actual terms is from 389 USD to a
projected growth of 530 in 2016 to further increase to 711 USD billion in 2021 only in
apparel sector. With the above projection it is evident that while the total growth at present is
only 5 percent, the growth in the apparel sector is assessed to be 8 percent.
22

Figure 4 Indian Apparel Market Size & Growth
The above chart depicts the expected growth rate of 9 percent, in apparel market sector this
is due to higher per capita consumptions, favourable consumer demographics and increase
in prices. The menswear share of the market was 43 percent in 2011 and it has been
projected that it will remain 40 percent, in real terms it will definitely show an increase, it is
not that menswear segment will not grow but the kidswear segment is expected grow faster.
This is also due to the fact that Indian population is estimated to be the youngest population
in the world at present with an average age of only 25 years, it is estimated that the average
age of the population in 2020 will be about 29 years, making India a young and dynamic
market.
23

Figure 5 Share of Individual Categories within Menswear
(India Retail report, 2013)162
The above figure depicts the share of individual categories of apparel in the overall
menswear market, which is worth Rs 87500 crore. Of this, the Indian apparel market, shirts
alone have a share of 30 percent and the suits 6 percent, for the Indian market there is no
category for jackets separately. The jackets as a norm are worn only in winter predominantly
in the northern part of the country that has a winter season.
2.1.3 Menswear Apparel
In the modern era, the three piece suit has been characterized as the standard bearer for
masculine western dress. Most historians attribute the rise of modern suit to the period in
1820’s when pantaloons (trousers or pants), vests and coats had become recognizable
assembly, which is generally referred to as a suit, which embodied the male aesthetics of
dynamism and self-control. Good fit had traditionally been prerogative of upper classes
which relied upon skills of bespoke tailoring traditions (Neighbour248, 2008; Lackie193, 2011,
24

Almond10, 2011). The story of modern fashion can be traced from dressmaker to designer
(Dunlop, 2011)104
Traditionally the suit is the established standard formal menswear attire, almost all business
men wear suits to work every day. A study of the ‘Perfect Suit for Young Men in Hong Kong
in Terms of Aesthetics, Comfort and Functionality’ was undertaken by (Li212 et al, 2010) and
they found that the suit designs currently available in the market were not able to appease
the needs of young male customers. Young customers sought out styles that looked good
and they also had their own preference for the styles of the suit. The researchers felt that
there was a niche market for professional men of 18-32 years with their distinct wants and
needs. The study had designed a questionnaire that kept in mind the issues of this young
market, in terms of aesthetics, comfort and functionality. It selected a few chosen
respondents and invited them for trials of suits that were developed as a response to the
survey undertaken, after two rounds of trial fits, a suit was developed that met all the
requirements that were highlighted in the survey. According to Taylor315 et al (1990), the fit
of a man’s tailored suit is more critical because of its classical appearance and its cost.
Research has established that 90 percent or more of adult men wear suit, shirt and necktie
as fundamental garments and 81 percent of them buy readymade suits (Dongsheng100 et al,
2003; Yuko344 et al, 1998).
2.2 HISTORY OF MENSWEAR
The history of menswear is the history of costume through the ages (John Hopkins 146, 2011).
In order to understand menswear, it is important to study about its roots, history and
evolution of menswear apparel. A brief overview of evolution of menswear from both
European and Indian menswear garments was done.
25

2.2.1 A Brief History of Indian Fashion
Studies have shown that the people of Indus Valley civilization wore draped garments. The
first written evidence regarding costumes is from the post-Vedic period. This can be found in
the Vedas, the ancient Hindu Scriptures have also mentioned the draped garments. The
costume historians have found that the three draped garments common to both the sexes
were- antariya (the lower garment), uttariya (the upper garment) and kayabandh (a belt to
keep antariya in place). The uttariya and antariya were draped in a several ways. Though
written evidence has been found, indicating that men and women dressed in these
rectangular pieces, carefully draped around them, however, there is lack of pictorial
evidence for the same. For several centuries, the antariya and uttariya continued to be worn,
with little modification till the Mauryan period, when these were worn, along with various
kinds of headgears. The Mauryan costumes show a distinct influence of Greek costume due
to the marriage of King Chandragupta to a Greek princess from the Greek Macedonian
Court. There was a major influence of religions like Buddhism and Jainism around the same
time however the costumes of the religious men were simpler and based on basic
rectangular piece of fabric (Alkazi9, 2008).
In the first century AD, Kanishka the Kushan king who became the ruler of the northern part
of India, his headless statue discovered near Afghanistan shows him dressed in a pair of
trousers, boots, tunic and an overcoat. As he belonged to a warring tribe, it is reported that
he had also introduced chain-mail armours and tunics for the soldiers that were worn along
the existing indigenous garments, and thus had started a trend of fusion garments in the
Indian subcontinent.
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In spite of the introduction of cut and stitched garments making their foray in Indian fashion
scene at that time, the general public had preferred to wear the fabric straight from the loom
without it being cut and stitched, as it suited the climatic conditions and the need of the
people (Gupta137, 2011).
Subsequently, during the Gupta period, also known as the golden period of Indian history,
these flat pieces of textiles were exquisitely worked upon, to look rich and provide a
luxurious texture (Goswamy130, 1993).
With the advent of Islamic rule from 8th Century AD, medieval India saw a lot of change in
costume and culture. Through the Persian influence, a large number of stitched garments
were introduced to Indian public, the antariya was replaced by pyjamas for the legs, which
were of a various types, ranging from being very loose to extremely close fitted; there were
different types of pyjama’s for men and women, the cut, style and the ornamentation on the
garment also varied. The uttariya still remained though various tunics like kurtas, jamas,
bandhgalas and angrakhas were added. Persian men covered themselves from ‘head to toe’
in numerous layers of stitched garments. In spite of such major influences, the majority of
Indians continued to wear the traditional unstitched garments. A lot of fusion wear came in,
like wearing a kurta with a dhoti and kurta with a payjama of varied fits (Gupta137, 2011). The
men in the Maratha and Rajput region started wearing the costumes that were highly
influenced from the Mughal rulers.
In the picture one can see a variety of Indian costumes that existed in the 19th century AD in
India. When the Europeans came to India around the sixteenth century in search of spices
and textiles, they seemed to be a little overdressed for the Indian climate (Gupta 137, 2011).
27

Figure 6 A young prince and his courtiers 1880 AD
(www.oldindianphotos.in)
The influence of British raj led to the adaptation of western attire by Indian educated class
which went to the UK for higher education, followed by working class which worked at
intermediate level and later by common men and women. The Indian men adapted the
western dress as a norm with practically every salaried man wearing the shirt and trouser
and jackets and suits being favoured as formal business attire even in tropical climate of
Indian sub - continent.
Figure 7 Portrait of East India Company official 1760 to 1763
(collections.vam.ac.uk)
28

2.2.2 Development of Menswear Garments
According to Aldrich7 (2007), until the middle of the 19th century, a tailored jacket was
structured, crafted, moulded and shaped with layers of canvas and stitches. The word
‘tailored’ was defined by Vincent, a tailor by profession in 1924. The menswear tailored
jacket was constructed by the tailors who worked from the ‘outside’, moulding and fitting the
jacket fabric to form the body. Whereas, a dress-maker for womenswear, worked on the
inside of the garment, by first, creating a lining to fit the body.
By the middle of nineteenth century, the manufacturing of men’s clothing had begun to
accelerate due to the increased necessity for military uniforms for the Crimean War and the
American Civil War (Aldrich7, 2007). The governments partook in the procurement of
uniforms for the army due to the on-going wars for which uniforms were a necessity. Since
the beginning of the nineteenth century, the French and Prussian governments were
involved with wars and thus were engaged in the procurement of uniforms since then. The
British government took over the purchase of army clothing from the regiments in 1857, and
even set up its own factory to become directly involved in some of their production.
Arranging uniforms for the Union Army during the American Civil War were accomplished
through the government contracts with suppliers; military inspectors demanded uniformity
and speed of production and thus ensured that things were delivered on time and in right
quality. The involvement of US Army and Governments in research and development of
apparel manufacturing is evident even in 20th century with the first anthropological survey for
size US was commissioned by the US army and navy.
29

2.2.3 Categories of Menswear Apparel
The traditional three piece suit for men included a trouser, paired with a jacket/ coat and a
waist coat worn over a shirt and under shirt (Reily271, et al, 2008; Powell266, 2011). Since the
middle of the nineteenth century, the prototype of today’s three piece suit became an
accepted form of modern dress that has remained static for over hundred years (Cooklin88,
1999). Initially, the shirt was visible only in parts; especially in the areas of collar and cuff
(Hopkins146, 2011). Rose276,(2009) in her paper referred to the ‘suit’ as ‘Men’s Business
Uniform’ and further adds that the suit still ‘rules absolutely suitable attire that a man must
wear in order to be taken seriously in a society’. The men’s suit, shirt and necktie has been
established as fundamental uniform for salaried worker and about ninety percent or more
adult men wear it as business clothing of which about eighty one percent is produced in the
ready to wear category (Yuko344, et al, 1998, Dongsheng100 et al, 2003).
In the 1960’s, London’s Carnaby Street became the fashion centre with the ‘Mod look’ and
fashion entered realm menswear especially for younger generation and also influenced the
classic styles (Cooklin88, 1999). Today, upper body garments for men include shirts, which
range from slim fits, classical to Big Daddy (Boswell41, 1993). Jackets range from tailored or
structured, casual, sportswear, overcoats, and street wear denim jackets to ‘shakets’ (a
combination of shirt and jacket). The waistcoats range from the ones that are worn as a part
of the suit, photographer jackets to stylish Gillets. Twentieth century brought T-shirts as
standard sportswear; concept of ‘Friday Dressing’ revolutionized the norms of menswear
attire (Boswell41, 1993). Indian traditional menswear ranges from kurta, achkans and
bandgalas (Vasudev328, 2010). Men’s suits have a high potential for being a mass
customized product (Siavanen303 et al, 2006).
30

Menswear (Male >14 Yrs)
Shirts Woven shirts (full sleeves and half sleeves)
Trousers Woven Trousers (formal wear and casual wear)
Suits Formal suits, safari suits, coats
Winter wear Sweaters, jackets, jerseys, shawls, etc.
T-shirts Knitted T-shirts
Denim Jeans, denim tops
Daily wear Woven and knitted pyjamas/shorts worn for daily use
Active wear Sportswear, Gym wear, swimwear etc.
Ethnic Kurta, Pyjamas, Sherwani, Dhoti, Lungis etc.
Innerwear Men’s Briefs, Vests etc.
Others Ties, socks, handkerchiefs, gloves and others
Figure 8 Apparel Categories for menswear

According to ‘Technopak Compendium 2012317 – Textile and Apparel’, the categories of
menswear apparel are as follows: shirts, trouser, suits, sweaters, T-shirts, denim jeans,
knitted pyjamas, sportswear, gym wear, inner wear and ethnic wear kurta pyjamas,
sherwani and other accessories. The upper torso garments made in woven fabric are shirts,
suit jackets, coats, kurtas and sherwanis.
2.3 PATTERN MAKING
Pattern making is the process of transformation of a fashion style into its constituent flat
pattern pieces and then drafting the garment. The job of a pattern maker is to interpret the
designer’s sketch into sample pattern pieces and then drafting them (Koh 184 et al, 1994).
When a garment is decomposed into components of pattern pieces, this proecess can be
31

modeled by using a small group structure called abelian pattern semi group (Ng250, et al,
1995).
2.3.1 Definition
According to Hulme154 the act of drawing patterns involves a diverse conceptual and rational
approach. In order to make basic patterns patternmaker needs to have “a sound knowledge
of the human form” and apparel patterns depend on “good draftsmanship, a sense of line”
(Simoes306, 2012). In the doctoral dissertation she further defines theory of pattern design,
and stated that patterns are built by identifying body’s key landmarks that act as the points
from which the draft is organized/ started; use the body’s key measurements and convert
into algorithms for deciding/settling the distances between the sketch’s lines, which in turn
should determine the garment equilibrium on the body whether it is still or in movement. It
should also define the relationship between the size of the body and the garment’s scale
(Han138 et al, 2010; Zhong352, et al, 2006; Au31 et al, 2010).
Pattern making covers the principles of constructions and techniques in a wider sense rather
than style details in a narrow sense (Armstrong23, 2000). It opens scope for an infinite
variety of styles both for regular designs and impulsive or creative patterns. The process of
pattern making can be divided in two parts namely measuring correctly along with the
knowledge of technique devised to include necessary seam allowances. Measuring the
human body is the precursor to developing garments to fit the body. Measuring scales range
from simple measuring tape to complex body scanners and low to high tech. Three
dimensional laser scanning technique is relevant to research in diverse fields including
fashion (Lerch202, et al, 2007).
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A basic pattern, which is referred to as block or sloper, fits well to a standard dress form or a
customer with an average body figure. The flat pattern making method is widely used in the
industry for speed and efficiency.
2.3.2 Information on patterns
Pattern pieces represent a piece of a garment in a section and contain information such as
seam allowance, grain line, size, balance marks, button and pocket placements, the pattern
pieces are then sewn together to obtain a sample garment, a prototype of the fashion
illustration. All pattern pieces are modified or derived from their respective basic blocks
(Koh184 et al, 1994). A basic block or a sloper is a plain, flattened, outlined area which
represents the respective shape of one’s body dimensions. Sloper has darts to make it fit to
the curves and hollows of the body and is the basis from which the desired pattern pieces
are developed. A basic block is usually without seam or seam allowances (Chilot-
Uchiyama75, et al, 1991). The secondary pattern pieces usually have only the essential
features of darts, pleats, flairs and cuts added to the basic block to give the requisite shape
of the garment part. Although fashions come and go, the principles of pattern making do not
change. Pattern pieces are designed and drafted following the same rules and methods
regardless of the current length or looseness (Koh184 et al, 1994).
2.3.3 Pattern making books
Books on pattern making were first published in middle of sixteenth century in European
languages. However, there were just eighteen pattern cutting books including Alcega’s
published from the 16th century to the 19th century in Europe (Seligman295, 1996). This fact
can be attributed largely to high levels of illiteracy and innumeracy prevalent amongst
pattern makers, tailors and dress makers at that time. Traditionally the skills were passed to
the apprentices through demonstration and verbal instructions (Kidwell174, 1979). In India,
33

this practice is prevalent till today, as much as 93 percent of all pattern makers who were
contacted for the survey and filled the questionnaire have accepted that they have learnt the
trade on the job with no formal training. The earliest known patternmaking book in English
was ‘Instructions for Cutting out Apparel for the Poor’ that was written for an industrial school
and Sunday school children of Hertingfordbury in 1789. ‘The Tailors’ Complete Guide’
published in 1796 is considered the first English publication on pattern drafting (Shin 300,
2009). The books that have been referred by various scholars in their researches, studies
and dissertations are Aldrich (Chan66 et al, 2005; Hardaker139 et al, 1995; Rissanen274, 2007),
Kawashima (Chan66 et al, 2005; Neighbour248, 2008; Hopkins146, 2011), Armstrong (only for
womenswear), Cooklin (Mpampa242 et al, 2010; Chan66 et al, 2005; Bye57 et al, 2008).
‘Traditional Pattern Drafting Method for Shirt Patterns’ is a research to study the linear
relationship with body measurements (Chan66 et al, 2005), however the study showed the
pattern making method is still not accurate, as these parameters do not take into account
curves of the body when analysed geometrically.
Although nowadays, the old pattern making systems of late 19th century might appear to be
rather primitive, rudimentary or basic but according to Cooklin87, the tailors at that time
understood sizing, proportions and could cut clothes for all different kinds of body figures.
The pattern masters of that era skilfully and ingeniously employed manipulation techniques
such as stretching for extension and shrinking for reduction to create fitting effects that could
not be achieved from traditional pattern making systems. A tailor, in those days, was usually
given only basic components of the garment and was expected to be able to cut linings,
interlinings and collars; a broad seam allowance was given on all sides of the pattern piece
to provide for any alterations that may be required at a later date (Chaudhary, 196469,
197070). In India, the similar practice of expecting the tailor to be proficient to manipulate and
34

adjust the collar by stretching and shrinking is still prevalent in the select ‘made to
measurement’ or tailoring establishments.
2.4 TYPES OF PATTERN MAKING
Kaat Debo the director of the Mode Museum (MoMu) in Antwerp has observed that, “from a
technical standpoint, the pattern is a two dimensional transition between the three-
dimensional body and the finished piece of clothing.” In other words, patterns are nothing
but a means to an end. The garment industry traditionally used empirical methods for
pattern development and prototype construction. These required considerable skill,
expertise, practical knowledge for an accurate representation to make a pattern for the
human body. The analysis of the comparative proportions between different body parts and
conversion of this knowledge into rules for geometrical representation of the body has been
done as a basic pattern – or in a “body-pattern,” as the nineteenth century North American
tailor Charles Hecklinger labelled this tool. Aldrich7 (2007) has stated in her research on the
history of patternmaking that ‘Charles Hecklinger can be accredited of being the originator of
the basic pattern. The same can be said about the garment patterns developed before the
twentieth century, as they also included what Christoph De Boeck refers to, in his definition
of a pattern, “an abstraction of corporeality in which a body is represented on the basis of
objective and quantifiable properties” (Simoes, 2012)306.
Conventionally, the methods of pattern making in the apparel industry are classified as:
three dimensional pattern making techniques and two dimensional pattern making
techniques. The three different patternmaking methods commonly used by fashion
designers and patternmakers in the industry and faculty in the education field are: Draping,
Pattern drafting and flat patternmaking. Draping is a three dimensional pattern technique as
35

it implements the design directly on a dress form. The two dimensional pattern making
methods are drafting and flat patternmaking. They are called two dimensional methods as
they implement the pattern design in a two dimensional space.
2.4.1 Draping
This is the oldest patternmaking method and is generally regarded as a creative approach.
The draping method involves creating the pattern pieces by working with the fabric directly
onto the three dimensional dress forms. Jaffe and Relis 167 (2000) recommend using the
draping method to develop the basic block and then use the basic block for flat pattern
making. Pattern makers usually drape the fabric directly on the mannequin, fold and pin the
fabric onto the mannequin, and trace out the fabric patterns. This method leads to the
creation of garment styles with a high level of accuracy but needs a much longer trying time
along with sophisticated techniques related to personal expertise of operators. The direct
drafting method is faster and more systematic but is often less precise (Chen73 et al, 2008).
The main advantage of draping is that the garment fit is assured, and also fabric properties
are kept in consideration during the process of pattern making. However, its disadvantages
are that it is time consuming, there is a lack of consistency and is expensive for use in mass
production. According to Sato284 (2013), the designs that are draped materialize in the
manner in which the fabric falls and it helps to bring out the character of the textile. However,
‘Subtraction Cutting’, another design approach practiced by Julian Roberts230, makes no
distinction between design and pattern making.
2.4.2 Pattern Drafting
Pattern drafting or direct pattern drafting is a system of patternmaking that utilizes a
combination of ease allowance and body measurements, taken from a dress form or fit
36

model, for creation of patterns that includes basic, foundation, style specific and fashion
patterns (Armstrong23, 2000). The method started in the 15th century according to Aldrich7
(2007), there are records from the 18th century that depict, creation of the shape directly
from the body were mainly reserved for the upper classes of society, and consequently a
tailor who drafted directly on the cloth was afforded higher status among other dress makers
at that time.
2.4.3 Flat patternmaking
Flat pattern making is a system of creating patterns by manipulation of a basic block. The
basic block encompasses ease allowance for movement which allows the body to perform a
variety of normal body functions that require movement of various body parts (Kopp186 et al,
1991). Creation of a fashion pattern through the flat patternmaking method is reasonably
logical and easy to understand, Armstrong22 (1987) has emphasized that the flat
patternmaking method results in consistency of both, size and fit, of the mass-produced
garment and is also considered and most efficient pattern design method. ‘Sloper’ is a term
given to a very basic set of pattern piece used to make patterns of any style (Knowles 183,
2006). It is the most popular method for industrial pattern makers as it is an efficient
technique to produce patterns for mass production. It is widely used in the industry because
of its sizing accuracy and speed with which complicated designs can be constructed
(Liang204, 2005).
The growing demand for ready-made clothing was result of the wars and most of the pattern
drafts that were provided by the tailors in books, pamphlets or plates were for men’s
garments and only redingotes and riding habits were for womenswear (Aldrich4, 2002).
From the beginning of the nineteenth century, tailors experimented with methods of applying
37

mathematical theories to pattern construction. The few pattern developing systems provided
by the clothiers offered simple drafts and grades for working garments. The need for army
uniforms grew during the wars in Europe and the prevalent systems of sizing and grading
employed by the clothing contractors were insufficient to meet this increased demand. In
England, there was also a substantial demand for tailored regalia from aristocracy, enriched,
from their colonial interests and new industrial development on the estates. During the 30
years from 1841 to 1871, the number of people employed in banking, insurance and public
administration rose from about ten thousand to nearly sixty thousand, as a result, the
demand for suitable clothing grew that further ensured that the number of tailoring
establishments grew significantly during this period. This led to a growing demand of formal
clothing from this increasingly urbanized and administrated society.
2.4.4 Drafting
Drafting is a method of pattern construction based upon the systematic layout of
measurements taken directly from the human form. It continues to be used in the industry
for menswear pattern making. Drafting systems mimicked the process of bespoke tailoring
through application of body measurements (Ross, 2011291, 2008290, 2007289). With the aid of
drafting systems tailors could approximate the elegance of a proper fit which both created a
utilitarian gloss that facilitated physical mobility and then smoothed itself when back at rest
(Neighbour, 2008)248.
To develop pattern drafting concepts and formulae, one must understand the relationship of
each pattern parameter with the corresponding body measurement. The ease allowance,
which is a mandatory requirement for comfortable body movements of the respective body
parts, should also be distinctly understood.
38

2.5 MENSWEAR PATTERN SYSTEMS - CURRENT PRACTICES
In the industry menswear pattern development works on the basis of individual garment
blocks that are the shirt block, casual jacket block, formal jacket block, and the over coat
block. Every time a style has to be made a fresh pattern is developed. The international
research and methods available on the subject also follow the same systems whether it is
Aldrich (Chan66 et al, 2005), Kawashima, Miyoshi or Cooklin. Womenswear, on the other
hand, works on block system where a single well balanced torso block is used to make
range of apparel starting with corsets, blouses, dresses, shirts, jackets to overcoats (Kopp 186
et al, 1991). Menswear patterns have seam allowances built in to garment blocks hence
design variation is difficult (Kawashima173, 1998). A basic block or sloper is a plain, flattened,
outlined area which represents the respective shape of one’s body dimensions for example,
the sleeve block and the skirt block. It has only darts to make it fit the bumps and hollows of
the body but has no other fashion feature, and it is the basis from which the desired pattern
pieces are developed (Koh184 et al, 1994). A basic block is usually without seams, since
seam allowances can sometimes interfere with proportioning and developing design
variations. Most fashion designs are made into garments from these basic blocks. A
physical constituent of the garment can be mapped to a generic shape (Koh 184 et al, 1994).
The torso is the centre of the body structure majority of the body landmarks are situated in
this area (Leong201, et al, 2011).
Normally larger companies, which produce garments with lower fashion change frequency,
prefer the use of intermediate blocks. However, with fierce competition and increasing
consumer demand, fashion frequency now has a significant impact on most fashion
companies, irrespective of their size. A good pattern with high quality fit will enhance the
personality of the customer and help those women, who do not have a regular shape, to
39

look beautiful (Dumridhammaporn103, et al, 2012; Petrak260, et al, 2006). Made to measure
apparel patternmaking systems have the ability to take measurements of an individual
customer and from these produce patterns for a chosen garment which after construction, fit
the customer well (Turner325, et al, 1999). Aldrich7 (2007) in her paper, on tracing the history
of pattern making, states that in the default formula for obtaining measurements should not
be seen as entirely satisfactory way of replacing the actual measured values, but only as a
best solution to estimate measurements of body parameters which either have not been
measured for the individual customer or are not easily measured. The formulae replace
what would otherwise be a complex system (Turner325, et al, 1999). Aldrich5 (2002) has
identified three important factors for development of mass production that is standardization
of measurement, improvement in pattern drafting and adoption of the grading system.
Sewing machines and cheap immigrant labour were additional factors for growth of mass
customization (Lim209 et al, 2009). A goal of the 20th century mass production and mass
distribution system was to provide apparel for everybody.
The clothing industry’s interest is changing from the conventional mass production or ready-
to-wear, as it has inherent problems of sizing, fit and needs a huge investment in inventory
due to the manufacturing of limited designs and standardized sizes, to mass customization
that can produce various designs and individual sizes (Istook, 2002)164. In the future, with
the advent of the mass customization age, the apparel industry should be equipped with
systems that can manufacture products customized to individual body type and design
preference for responding to consumer’ needs quickly and maximizing customers’
satisfaction (Lim208 et al, 2012).
40

2.6 SIZING
In a research on Greek men titled ‘A New Methodology for the Development of Sizing
systems for the Mass Customization of garments’, Mpampa242 et al, 2010, have stated that
Garments are manufactured massively using predefined size charts which allow for the
reduction of production cost. It is, therefore, practically impossible to obtain a perfect fit
between a piece of cloth and an individual buyer. However, the relation between the size
charts and body dimensions is not constant because of the changes that occur in the human
population. The sizing system should satisfy the majority of the target population and at the
same time should imply a cost-effective and affordable production process by the garment
manufacture (Honey145 et al, 2007; Bougourd42, 2007; Todd320, 2007).
An effective sizing system ideally should fulfil the three main criterion namely better fit, less
number of sizes and accommodate maximum size of population (Lee 198, et al, 2009). The
‘drop value’ (DV) is equal to the chest girth minus the waist girth (Gupta136 et al, 2010). It is
used to classify the different body shape of the target population by determining district
relationship between key dimensions (Cooklin88, 1999). Based on drop values, the
population is classified into categories which correspond to generally perceived body
shapes. A size has been defined as an item having specified measurements along certain
dimensions, so that it will fit the person with measurements equal to that size (Gupta 136 et al,
2006). The purpose of apparel sizing system is to divide the population into homogeneous
subgroups.
With the development of a mass customization model, the apparel industry got the
opportunity of providing custom fitted and designed garments for the individual (Simmons 304
et al, 2004; Wall332, 2000). Apparel manufacturers develop sizing systems with the goal of
41

satisfying consumers’ needs for apparel that fits (Schofield289, 2005; Branson46, et al, 2007).
Critical to the development of an apparel pattern is the way in which the human body is
measured and how those measurements are interpreted (Loker217, 2007). Apparel sizing is
not an exact science (Workman340, 2000). The apparel sizing system based on data from
the 1940’s that was established from identified ‘best practices’ leading to a large number of
fit problems (Simmons304 et al, 2004). The measurements needed for apparel are unique
because of the fit relationship between body and clothing (Cheruiyot74, 2008). For translating
body measurements into a garment pattern there is a need to identify consistent body
landmarks. Bony protrusions or natural bends in the body provide easily identifiable
landmarks, however the fleshy portions are harder to pin point (Bye et al, 200656, 201058).
Securing accurate physical measurements is crucial to achieve a successfully fitted garment.
The human body does not grow proportionally as is suggested in the size charts that are
used for grading (Bye57 et al, 2008). The process of adjusting patterns requires advance
skills that typically require specific training or experience (LaBat191 et al, 2007).Garments are
manufactured massively using predefined size charts which allow for the reduction of
production cost (Mpampa242 et al, 2010). It is therefore, practically impossible to obtain a
perfect fit between a piece of cloth and an individual buyer (Mpampa 242 et al, 2010).
The relation between the size charts and body dimensions is not constant because of the
changes that occur in the human population (Mpampa242 et al, 2010). Recent body surveys
in Germany (Seidl291, et al, 2009) proved that a garment sizing system for a certain body
type does not cover more than the twenty five percent of the population for which it is
addressed (Lanenegger195 et al, 2012, Walter333, 2002). Correct sizing is prerequisite to
good fit and customer satisfaction (Minks232, 1992). Size charts need to be revised at least
42

every 10 years (Brunn51, 1983, Workman340 et al, 2000, Tait313, 1998) Retailers like Marks
and Spencer, UK, measure 6000 customers every 15 years to keep their size charts valid.
Figure 9 Men with different body types and postures

(oncampus.macleans.ca/education/2008)

In a study on sizing for men’s garments Aldrich7 (2007), has stated that a guild of bespoke
tailors published a number of size charts for men that correlated with the human body far
better than the ones available for women. Until the middle of nineteenth century ready-made
garments were available in three sizes only i.e. small, medium and large and the pattern
construction systems equated girth and height. These garments must to be altered for most
men. According to Aldrich, Vincent in 1890 had worked out a comprehensive size chart for
adolescents and youth with sizes ranging from 21 inches to 36 inches. The First World War
also gave a significant push to the ready to wear clothing industry and it also provided an
opportunity to collect and create a large database of men’s body measurements as uniforms
were required for the forces (Shim299, et al, 1991).
Poole265 can be accorded the credit of giving modern sizing systems in his textbook, ‘The
Science of Pattern Construction for Garment Makers’ in 1927 he has reviewed the use of
simple averages of large quantities of anthropometric measurements, in order to arrive at

43

size charts. In his theory of ‘form growth’ he has included depth as well as breadth and
height in his proportions of the figure in for calculation of average sizes, this theory has
been further developed by other researchers and modern pattern making methods have
been based on this principle .
Fit is a function of sizing and it affects the comfort and durability of a garment. Sizing is often
overlooked as an important issue (Pechoux258, et al, 2002). Sizing and fit are interrelated
since the acceptability of fit is highly influenced by the size of the garment (Sindicich et al,
2011)307. There are limits to the range of body dimensions fit by each size. Therefore,
McCullouch229 et al (1998) defined fit as “the corresponding value of several body
measurements for which the garment is intended.” A garment size is perceived to fit well if
the wearer is satisfied with the relationship between the garment and their body shape
(Hsiao147, 2009). An incorrectly sized garment could be too small to cover the body, or so
large that it is impractical. Sometimes a size will fit one body area properly, while another
body area is either too small or too large for a selected size (Chattaraman68 et al, 2006;
Lee206 et al, 2010). Most customers are not able to find right size of clothes (Kind177, et al,
2000).
The research titled ‘Body Scan Analysis for Fit Models based on Body Shape and Posture
Analysis under National Textile Centre’, US has stated that apparel sizing is based on
average anthropometric body measurements that must fit many body shapes within a size
range, standardized sizes are not currently made to accommodate body shapes that differ
from the standard body shapes (Connel85 et al, 2003).
44

Menswear is available in international markets in wider range of sizes than womenswear
which is offered in three ranges based on height but menswear is offered in six categories
apart from the three height ones- small, medium and tall, the others are based on body
types – regular, slim, athletic, stocky and portly.
Fitting Height Waist Girth Seat Girth

Regular Medium-177 88 108
Slim Tall-186 88 110
Large Medium-177 92 110
Athletic Medium-177 84 104
Athletic Tall-188 84 106
Stocky Short-165 94 110
Stocky Medium-171 92 108
Portly Short-164 104 110
Portly Medium-170 104 110
Table 1: A size chart for Menswear with three different heights and six fits
88
(Cooklin, 1999)
A size chart for menswear with three different heights and six fits given above illustrates the
options that the men have in clothing available in Europe. In contrast the menswear is
available in four size options in most of the brands in India that is 38, 40, 42 and 44 for both
upper body garments and trousers, the only option for trousers is that most of the leading
menswear brands, in the mid-price segment, leave the hem of the trouser undone and
customer has the option of getting it fixed or altered to their required length. The table, given
below, shows the options available for a man with chest girth of 100 centimetres in a retail
store in Europe.
According to Cooklin88 (1999), there is very little evidence of published scientific data
regarding menswear sizing and measurements. The ones that are published are more
concerned with establishing ergonomic data and size charts by military establishments
45

across the world. These researches have focused on developing ergonomic military
uniforms they have been undertaken in almost all developed and developing countries from
US, UK, Germany, Israel and India. While these are comprehensive and informative these
cannot be applied to entire commercial markets as the sample was on small age group with
different physical features and lifestyles.
In a research titled ‘Classification of Body Shape Characteristics of Women’s Torsos using
Angles’ Lee199 et al, (2010), have deduced that measuring body shape and clarifying their
statistical features are fundamental for producing good quality garments at lower production
costs. The global trends in the production of garments are changing from size orientation to
being shape oriented.
2.6.1 Men’s body types
The study of menswear is incomplete without researching the body type. Men are generally
classified into five categories on the basis of the shape of the body figure: athletic (A),
regular (R), portly (P), stout (S) and corpulent (C) in the sizing system stated in ISO/TR
10652 (International Organization for Standardization, 1991). The A body type is one that
has a well-built chest and the waist is much smaller than the chest. The R body type has a
normal body physique and his chest is slightly bigger than the waist. The P build body type
has a relatively hefty waist size compared with the chest size. The S body type also has a
large waist which is nearly equal to his chest. The C body type has a huge waist whose
measurements are more than the chest dimensions (Chun82, 2007).
46

Figure 10 Male body Types
(ergonomicsdirect.wordpress.com)
The US standard men’s garment sizing tables in ASTM D6240-98 (ASTM International,
1998) include body measurements for 27 men’s garment sizes: size 34 to size 60, with size
labels referring to the chest size. Different sizes for different body types are not defined by a
drop value. The drop value is the same at 15.24 cm (6 inches) from size 34 to size 44. The
chest girth and waist a girth of size 58 are the same. The waist girths of the men’s size 59
and size 60 are larger than the chest girths.
In a study ‘3D Anthropometry Apparel Design Comparison of Mexican and U.S. Women’ by
Prado-Leon267 et al (2009) reported that the body proportions are different for the
populations of the two countries, and it may observe that all proportion change with age.
These changes are not homogenous; height deceases slightly while weight and
parametrical measurements increase to a greater degree.
47

Understanding the shape of the human body is a key to a good pattern. Anthropometry
attempts to describe the basic human body shape graphically and several researchers have
used it to develop garment patterns. Hui152 (2007), in his research, says that the garments,
made with measurements of body length and girth may not accurately represent the 3D form
of the body.
In the twentieth century, Sheldon297 (1940) was the first one to develop a new classification
of human body shapes by somatotype rating visually on photographs He emphasized this
classification system as a three-dimensional method used for describing the human body.
Through his extensive research, the human bodies were categorized into three somatotypes:
endomorph (short/fat), mesomorph (lean/muscular), and ectomorph (tall/thin) rated in
numeral scale, linking them to various psychological disorders. The somatotypes were
described with the ratio of the muscle and skeleton of an individual (Doyle 101, 2005; Yu345,
2013).
Figure 11 Male Body Shapes

(Simmons305 2002)
48

2.6.2 Analysis of men’s figures
In a book for men’s tailoring, Whife336 (1950) has classified men’s figures into nine different
figure types, namely: 1 Stooping, 2 Short neck, square, 3 Normal, 4 Long neck, sloping, 5
Head forward, 6 Erect, 7 Corpulent, 8 Tall and thin, and 9 Large shoulders. A similar
approach was adopted by Waisman331 (1974). The authors of both books have stressed on
the fact that figure abnormalities cause fitting problems.
To analyse men’s figures, Fredric117 (1977) suggested that the customer first be viewed from
the front to ascertain whether he is sloping or square shouldered, and to ascertain the
development of his muscles to check whether the figure is broad or narrow chested.
Thereafter the customer is viewed from the side to determine and stipulate to what degree
he stoops, or is erect, or to what degree the head leans forward or backwards. Then, he
needs to be viewed from the back to determine and stipulate to what degree the customer
has large or small shoulder blades or a long or short neck. Fredric117 (1977) felt that there
might be a combination of two or more figure types in one subject. For example, a man can
have both sloping shoulders and stooping back. He could also be sloping, stooping and
have large shoulder blades, and could also have a long or short neck, or he could have
square shoulders, with small shoulder blades and effect.
Another study by Boswell41 (1993) categorizes men’s figures into four main body types: A, B,
C and D. Body type A is a figure of average build with a normal drop and rise. Body type B
is a figure of slender build, with narrow and sloping shoulders, and a flat chest. This figure
has an average drop, but generally a short rise. Body type C represents a figure with narrow
and sloping shoulders, shallow chest with a full waistline. This figure would generally require
garments with a small drop and high-rise trousers. Body type D represents a figure with
49

broad and square shoulders, deep chest and heavy shoulder blades. This figure usually has
a flat stomach and small waist, requiring a high drop suit and high-rise trousers. As noted by
Boswell41, ‘drop’ is defined as the difference between the chest and the waist and the ‘rise’
refers to the distance from the waist to the top of the inseam.
2.6.3 Sizing System
A sizing system is the total range sizes and fit combinations available in the market for ready
to wear apparel. Each system is made up of number of size ranges, with each of them
addressing the sizing needs of a particular segment of market. Systems can be elaborate
with many ranges or restricted to one or two ranges. Anthropometric surveys have proved
that a garment sizing system for a certain body type does not cover more than the 25
percent of the population in which it is addressed (Chakrabarti65, 1997).
Till a few years ago, the number of size ranges available in menswear in a country was
limited to those ranges which were popular and were considered worth producing by the
manufacturers. However, this has changed due globalization and thus availability of
international brands along with local/domestic brands (Relph-Knight272, 2005) in the market,
which are available in wider size ranges as it is now profitable to produce specialty sizes.
While fashion trends, quality and price influence types of garments produced by the
manufacturer, the two main components of size range are height and body shape.
Kuriloff189 (2001) in an article ‘One Size Will Not Fit All’ states that manufacturers often claim
that one size fits all, but customers know better. People of different sizes might wear a one-
size garment, but rarely does it fit any of them well. They cater to the lowest common
50

denominator. The most egregious problem with these management systems is that they
deal with the lowest common denominator.
In a study on ‘Developing A New Suit Sizing System Using Data Optimization Techniques’,
Salehi282 et al (2012) concluded, “The results show that, when principal component analysis
reduces the ten sizing variables to two main components, the final fitness for the resulted
sizing chart is the best these two main components are height and circumference.” They
further added that hierarchical clustering approach could effectively group all body types to
seven clusters. The resultant size chart could be used as a reference by garment
manufactures due to its practical implications of reduced number of variables.
Most of the sizing systems being used by the garment industry are based on out dated data
and customers living in different countries have different body sizes due to differences in
race, climate and nutrition. For garment manufacturing companies to survive in these new
global markets they need to produce garments on internationally accepted sizing systems,
an initiative is being taken by several organizations including ISO (International Standards
Organization) and Digital Human Research Centre to address this need (NSSI conference,
2013). Anand12 et al in a presentation at the same conference emphasized on the need for
‘size India’ as there is no Indian size chart till today.
2.7 FIT
Good fit makes the difference between something one loves to wear and something that
simply hangs in the closet (Betzina38, 2001). Good fit is a combination of two components: a
garment must look good and should be comfortable (Sytner312, 1955). Some generalized
criteria of fit are as follows:
51

Vertical seams must be perpendicular to the floor.
Shoulder seams are positioned at the shoulder joint and allow a smooth fit over the
upper chest.
The back of the garment has some ease to aid body movement but no vertical or
horizontal wrinkles.
Sleeves don’t bind or twist around the arm and neither do they have wrinkles across
the cap or on the sleeve length.
Necklines are comfortable and the basic neckline in the front ends just above the
clavicle and back on the highest point of the spinal cord.
Waistline seams are neither too tight or lose and have no wrinkles under the
waistline or under the waist band.
The hemline is even and parallel to the floor.
Centre front lines meet, which means that the garment is being buttoned without
being tight.
A jacket or a shirt with a high cut armhole does not rise when the arm is raised.
The industry even in the 21st century has not been able to achieve the goal of providing the
same quality of fit for everybody (Bye55 et al, 2006). Human bodies come in all shapes and
sizes and it is not possible to divide them on the basis of simple averages which lead to
unrealistic sizes of a standard body (Gupta136 et al, 2006). Rather, it has dismissed the
unique human body and expects all bodies to fit into standard sized garments. The feedback
that has been received from the readers is that they want clothes they can actually wear, not
clothes one would only find on a runway, remarked Mike Wood, editor-in chief of the gay-
lifestyle magazine Instinct. Consumers blame themselves and have negative feelings
towards their own bodies rather than ill-fitted clothing (LaBat191 et al, 2007). Aesthetic
52

attributes are most important criteria to consumer’s evaluation of apparel fit (Chattaraman68
et al, 2006). Clothes that are well fitted appear aesthetic and fulfil the functional and
emotional needs of the consumer (Nkambule253, 2010). Good fit goes beyond a set of body
measurements (Anderson, 1999)13. To achieve a good fit, it is essential that the flat two
dimensional pattern used to make the garment accurately represents the 3D form of the
body (Shen298 et al,1993). Apparel fit ranks high on consumers list of intense frustration
(Newcomb249 et al, 2004). Fit is an individualistic perception and garment fit is an obscure
process (Apeagyei et al, 2007)19. Issues related to garment fit is an obscure process that is
not clearly documented in literature and has raised significant number of issues relating to
sensitivity to respondents concerns, body cathexis for fashion products. Satisfactory
garment fit involves an understanding of the fit preferences of individuals (Loker 218 et al,
2005). Huang Haiqiao148 (2011) in his doctoral research has said that patternmaking is a
critical stage of manufacturing in garment business. The ‘dimensional fit’ according to him
essentially depends on the quality of patterns.
Apparel fit can be defined as the relationship between the size and contour of garment and
those of the human body (Loker218 et al, 2005). A well fitted garment is a garment that hangs
smoothly and evenly on the body, with no pulls or distortion of the fabric, straight seams,
pleasing proportions, no gaping, no constriction of the body, and adequate ease for
movement. Hems are parallel to the floor unless otherwise intended, and the garment
armscyes and crotch do not constrict the body (Ashdown28 et al, 2004). Minott233 (1978)
defines it as being a simple matter of length and width in each part of the pattern being
correct for the human figure.
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2.7.1 Importance of Fit
No matter how lovely the fabric, how fine the garment design, or how expert the sewing, the
results are disappointing if the garment fits poorly. A report by Kurt Salmon Associated for
the International Wool Textile Organization, 2005 stated that, fit and comfort has been
described by consumers being synonymous with quality. Well fitted garments, provides for a
neat and smooth appearance and allows maximum comfort and mobility for the wearer –
(Shen298 et al, 1993). Satisfactory garment fit also involves an understanding of the
individual fit preferences of a client (Barona McRoberts35,2005). With the development of a
mass customization model, the apparel industry got the opportunity of providing custom
fitted and designed garments for the individual. The fitting itself should be conducted in such
a way that it will achieve a good and accurate fit, pleasing style lines and satisfy the
customer. One of the greatest functions of clothing is to hide figure problems and to make
the most of good features, also create optical illusions and camouflage to make the
consumer feel good about themselves. Another trend that is being seen is that when
consumers do not find clothes that fit them they blame themselves and have negative
feeling towards their own bodies rather than the ill-fitted clothing (LaBat192 et al, 2007).
People are more conscious of fit and are paying more attention to the fit of the garment that
they are wearing.
Blaikie39 (2000) affirms that multiple methods as a strategy to study customer satisfaction
provides a rich but complex picture of some social phenomenon being studied, but claims
that it rarely provides a clear path to a singular view of reality. More evidence and
substantial research from which theories could be constructed about the subject are needed
to explore variations that exist between the “ideal self” and ideal body size and “actual self”
and actual body size.
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2.7.2 Zones of fit
Garment fit can be divided into two zones that is fit zone and fashion zone, where fit zone is
in direct contact with the body and is responsible for the comfort factor and fashion zone of
the garment is for aesthetic appearance. The constructed garments patterns are related to
the features on a human model so, that the patterns can be regenerated automatically when
creating the same style of garment for other human models. This improves the efficiency
and the quality of pattern making in the industry (Wang 334, 2003).
2.7.3 Evaluating fit
According to Chen72, fit evaluation is a complicated process in which the relationship of the
garment to the body is analysed based upon certain criteria. Fit evaluation determined by
the individuals wearing the garment tends to be subjective. Two individuals who have same
body measurements may perceive clothing fit differently (Ashdown 28 et al, 2004). Complex
clothing systems can only function properly when they are correctly fitted to the body. This is
not an easy job to perform, since the variation in body dimension between humans is
tremendous. Gender, age and ethnicity are some of the factors that add to the variability
(Daanen94, et al, 2008). On the other hand, fit evaluation by expert panel is more objective.
Trained judges follow specified criteria to analyse fit. They discuss and negotiate rating
scales to reach consensus before final decisions are made. The fit evaluation provided by
trained judges is believed to provide reliable data (Ashdown28 et al, 2004). Fit evaluation can
either be achieved by individuals or expert panels (Bye et al, 200656, 201058).
Daanen92 et al, (2011) in their research have stated that the complex clothing systems can
only be considered acceptable and functional when the garments produced are well fitted on
the body of the intended consumer. They also state that it is not an easy task to undertake,
55

due to the variation in body dimension in human beings. In addition, humans have to
function and move unhindered in these garments. Lotens219 (1989) has defined several
postures in which the extremes of range of motion are reached. He, in his research, has
quantified the distance over which clothing has to move.
The three dimensional software for fit provision and testing is still at the experimental stages.
Software can manipulate basic features of garments; dealing with asymmetrical shape is still
problematic. Available literature focuses on the ‘promise’ of the technology rather than
highlighting techniques and procedures. It is apparent from the available research that
technology is still at the development stage resulting in currently limited functionality. It is
anticipated that enabling technology such as CAD/CAM will continue to facilitate the delivery
of meeting customers’ individual demands by customizing garments
Defects in garments are connected with, and conditioned by, a variety of circumstances
(Carr63, 1994). The shape of the figure is one of the concerns apart from the texture of the
fabric, along with the type of garment and the way it is worn. Most of the fitting problems are
due to figure abnormalities (Cavendish64,1972). The activities of garment cutting and fitting
include correct measurements and figure observations – careful cutting and accurate fitting.
Body contour, posture, body proportion and symmetry affect the fit of clothing also improper
posture causes fitting problems. The rigid posture shortens the distance from the back of the
neck to the shoulder blade, and lengthens the distance from the base of the neck to the
waist in front thereby create fit issues.
56

In some sizing systems, men’s bodies have been classified by a ‘drop value’ (Chun82, 2007).
The drop value for men’s sizing system is calculated by subtracting the waist measurement
from the chest measurement. Tight horizontal wrinkles form when the fabric is strained
because there is not enough fabric. This generally indicates that the garments are too small
in the girth measurements. Tight vertical wrinkles usually signal the clothes are too short.
Tight diagonal wrinkles are a clue that the garment is very small, narrow and short – for the
person and the body bulge visible above the wrinkles.
In ‘Analysis of Men’s figures’, Kwong190 (2000) classified men’s figures into nine different
figure types, namely: Stooping, Short Neck, Square, Normal, Long Neck, Sloping, Head
forward, Erect, Corpulent, Tall & Thin, and Large shoulders. Researchers have stressed on
the fact that figure abnormalities cause fitting problems. In a study on the perception of fit,
by Klerk182 et al (2007) concluded that the respondents had high expectations with regard to
the functional characteristics of the fit of their clothes, especially with regard to the functional
comfort that the fit provides. The average ranking for functional comfort was 3.19 out of ten
and an average of 75 percent of the respondents indicated that it is either very important or
important to them that the fit of their clothes should provide functional comfort. The results
were produced in the following chart:
Table 2: Ranking of Fit and level of satisfaction
Dimension of fit Percentage satisfaction

Satisfied with functional fit (comfort) 72.66
Satisfied that it fits body beautiful 62.28
Satisfied with the fashionability 16.41
Satisfied with brand name 28.91
Satisfied that they fit in with peers 17.19
Satisfied that they feel good 40.63
Satisfied that they feel in control 56.25
182
(Klerk et al, 2007)
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Good fit of ready-to-wear garments begins with effective pattern making using accurate
body measurements of the target market consumer and appropriate sizing systems (Chun82,
2007).
2.7.4 Critical Areas of Fit for Menswear
Several researchers have maintained that the critical area of the body concerning fit in
menswear was around area of the shoulder. They stated that if garments fit the figure
perfectly between the neck and the horizontal line encircling the figure at the lowest level of
the armhole, then the main fitting difficulties can be overcome.
Jackets are not close fitting garments at the chest level and armhole area, many clients can
be fitted in the jackets with only shoulder corrections, along with slight length and width
adjustments at the hem and side seams. Further, there aren’t any defined rules for the
shoulder width in jackets it’s a matter of style. The shoulders of some oversized jacket
patterns extend as much as three inches on either side beyond the normal shoulder
measurement. They have further advised that shoulder pads cannot adequately support a
jacket for more than 1 ½ inches beyond the normal shoulder level otherwise garment would
have creases. (Kwong190, 2000)
According to Bray48 (1997), defects in garments are related to and conditioned by, numerous
circumstances; the shape of the figure is one of the prime factors other than the texture of
the fabric, type of garment and the way it is worn by an individual customer. Anglais14 (1967)
has also concluded that most of the fitting problems are due to figure abnormalities. The
pattern maker while developing, cutting and fitting garments must take care to include
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correct measurements and figure observations to achieve careful cutting and accurate fitting.
Body contour, posture, body proportion and symmetry affect the fit of clothing.
Barnes34 (1996) has emphasised that making garments that ‘really fits’ is one of garment
maker’s greatest challenges and also crucial successes. It really does not matter how lovely
the fabric is in feel and texture, how beautiful and aesthetic the garment design is, or how
skilled the sewing and finishing is, the results are disappointing if the garment does not fit
perfectly. A large sized person tends to appear slimmer while wearing a suitable size (Fan 114
et al, 2002). Improper posture also causes fitting problems in the garment. The rigid or
extremely erect figure shortens the distance from the back of the neck to the shoulder blade,
and lengthens the distance from the base of the neck to the apex of the bust thereby
causing fit issues. Good fit goes beyond a set of body measurements. (Anderson, 2005)12.
Newcomb249, et al (2004) while presenting a case for the revision of US sizing standards
had recognized that apparel consumers today have difficulties in finding apparel fits
appropriately. They suggested that comfort and fit are among the highest determinants for
apparel purchase in today’s markets and recommended that the size charts are outdated
and may be revised. Finding the perfect fit is a challenge to many consumers because of
variation in body size, shape and perception of acceptable fit (Pechoux258 et al, 2002).
Globally, anthropometric surveys have been conducted to establish the relationship between
the body and sizing.
59

Figure 12 Posture: the way some men stand
59
(Cabrera, et al, 2007)
Fit normally has two aspects that of comfort and appearance. Comfort is decided by the
individual wearing the garment and appearance refers to the look, style and fashion of the
garment. Fit must take into account the shape of the wearer, texture, drape and weight of
the upright. In the case of functional garments, what is worn in conjunction with the garment
and the ability to accommodate the movement of the body is also important.
Characteristically, fit refers to garments that hang smoothly from the shoulders and does not
sag, bind, pull, twist or cling to the body while the person is standing still. Clothing must also
adjust to movements without strain. Good fit allows the wearers not to think about their
clothing but go about their day with confidence.
2.7.5 Visual Fit Analysis and Prototype Testing
Visual analysis of the garment is essential to obtain good fit (Boorady40, 2011). Garments
are not made for mannequins and therefore fit must be determined for the body that moves
and changes positions, it is particularly important for the development and fit of functional
garments. A live model is able to verbalize discomfort, if any, pulls or other issues pertaining
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to fit. It has been recommended by several researchers that a prototype is constructed, to
test the garment for its intended end use. Body shape plays a role in determining the fit of
garments, observation and judgment of the contours are the best tools for determining fit. Fit
is considered successful in clothing, when the needs of the wearer are achieved alongwith
the required functionality of the garments (Lanagan194, 1987), a delicate balance to achieve.
In a study on ‘Comparing Fit alteration by traditional and experimental techniques’, the
research stated that a traditional method uses body length and circumferences and
experimental used body angles as a means to alter patterns and on evaluation both were
found acceptable as women with deep body contours preferred the results achieved by
traditional method and women who had shallow curves preferred the fit achieved by
experimental methods (Brackelsberg44, et al, 1986).
Judging fit in fashion apparel involves ascertaining it on the five basic factors, namely: the
grain of the fabric, the construction lines of the garment, set of the garment, along with,
balance and ease in the garment. Fitting a fashion garment can be difficult achieving
balance of these five factors but also due to the fact that all individuals are in different
shapes and sizes. The amount of ease in the garment differs on the basis of type of the
garment and its end use. A garment worn next to the body would require ease than one that
is intended to be worn over clothing. When layering garments, one not only has to take into
consideration the extra bulk the under layer adds but also the friction which may be caused
by different fabric surfaces. For example, generally ease around the chest should be 3
inches, the waist should have ½ inch and the hips should have 2 inches of ease (Aldrich,
1997)3. Garments which go over other garments, such as a suit jacket, would have been
given an additional ease to accommodate the extra layer of a shirt, and hence this jacket
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would require an ease of may be 3 – 6 inch around the chest depending on the style of the
garment (Kawashima173, 1998). The ease for woven fabrics will vary depending on the
weight of the fabric; as heavier fabrics require more ease due to the inherent bulk and
rigidity in the fabric (Kitoshi181, 1997).
Thus, the analysis of fit is complex and remains a challenge, for both research and industry.
A range of definitions of fit, that is subjective (or tacit) assessments and objective (or explicit)
evaluations of apparel have been discussed by Fan114 et al, (2002), who concluded that
apparel fit is a complex issue but a critical feature in the effectiveness of clothing
appearance, and that various technologies used, such as a 3D simulated form, may lead to
more efficient decision making in the process of product development and quality control.
2.7.6 Fit-mapping
Fit-mapping is a process that quantitatively characterizes the relationship between the
garment being tested and its target population. The process applies fit-testing results in an
iterative fashion to improve the fit quality of the tested item by classifying who does and
does not fit well in the test sizes (Choi76 et al, 2009, McConville228 et al (1980) acknowledged,
"...the success of a sizing system can only be established by a hands-on fit test..." The main
purpose of this report was to document methods for fit-testing that confirms that a large
percentage of a population can get an acceptable fit.
62

Figure 13 Overview of Fit-‐mapping process
76
(Choi et al, 2009)
Given a quantitative and functional definition of ‘fit’, accommodation rates can be calculated
for a target population, and unnecessary or additional sizes can be identified. Fit-mapping
results provide design and reshaping references to make the product fit better overall. Fit-
mapping analysis ensures maximizing the accommodation of the population of users with
the minimum number of sizes and adjustments, and produces a size chart to help the
wearers when they select their sizes. Fit mapping guides as to how many of each size
should be produced or purchased.
Fit has also been dealt in detail in Chapter Seven where fit parameters have been correlated
with secondary research.
2.8 EASE ALLOWANCE
Every garment must have a certain amount of ease to allow for movement and comfort. The
amount of ease required in a particular style, depends on the function of the garment, fabric,
body shape and personal preference. The standard ease allowance is the difference
between maximal and minimal perimeters of the wearer’s body.
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2.8.1 Definition
Ease is the measurable difference between the measurement of the body and that of the
garment. It is provided by incorporating additional length and width measurements in a
garment that are more than the basic body dimensions. Dynamic ease allowance provides
sufficient spaces to wearers having non-standard body shapes that are either fat or thin, or
the big hips, strong legs and for their movements (walking, jumping, running and others).
Fabric ease allowance takes into account the influence of mechanical properties of fabrics of
the garment (Chen73 et al, 2008). Ease allowance in pattern making allows for body
movement and unrestricted fit but too much ease can be sloppy and unattractive (Cho81 et al,
2010). The amount of ease added for movement is also called the dynamic ease or wearing
ease. Also, the amount of ease for design is called the style ease as well.
Wearing ease follows the basic principle that the wearer must be able to move, bend,
breathe, sit, raise arms and walk without feeling that the garment is being over pulled,
pinched, bound, stretched or strained beyond a natural shape. Hui152 (2007) has classified
design ease into five different types of fit: Close fitting, Fitted, Semi-fitted, Loose-fitted and
Over-sized.
In menswear, close fitted and fitted ease would be used for tailored or structured styles.
Semi-fitted and loose fitted measurements can be used for casual styles or basic styles and
oversized will be used for garments that appear larger than usually sized like overcoats and
‘grandfather shirts’. Many researchers found that optimal/ideal ease are essential to garment
appearance and fit. Makabe221 et al, (1991) has stated that ideal ease is necessary to
ensure upper limb motion. He has also developed a fit testing method that is optimum for
64

motion which was evaluated by subjective testing which further improved the understanding
of the effect of garment ease on wearer’s perception.
Chen71 (2007) states that fit evaluation should be done within the made-to-measure process,
the fit issues are so critical to sales that some leading manufacturing companies use latest
technological tools available like 3D body scanners and CAD systems to improve apparel fit.
Most fit problems occur due to figure variation in body contour, posture and proportions
(Kang172, et al, 2004). Consumer dissatisfaction with garment fit is as high as 62 percent in
men (Ashdown27, et al, 2006; Devarajan99, 2003). These numbers increase with segments of
population that have traditionally have not been part of the target markets for ready to wear
manufactures. Ashdown also says that most of the fit problems can be traced back to
grading and sizing systems. There are too few sizes and types for obese and slim
customers, most designs cater for average body sizes, it is difficult to find suitable pants
because of the fixed ratio between hip, thigh and waist sizes (Cho79 et al, 2005).
Research studies have analysed fit problems for women with figure variations. However,
none of them have studied the problem for male figure. Fit problems arise due to
incongruent relationship between the garment and human body occurs (Minks232, 1992).
Lack of good fit is often the reason given by consumers for deciding not to purchase clothing
and it is estimated that as much as 35 percent of clothing purchased from catalogues is
returned because of problems with fit (Ashdown25 et al, 2005).
2.9 GRADING
Kidwell174 (1979) identified the proportional dressmakers systems developed between 1820
and 1840 as the earliest examples of grading system for womens clothing. These pattern
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drafting systems provided a garment pattern in a range of sizes on a single peice of paper.
The first size charts were developed to be used with paper patterns. These charts were
mass produced in 1860’s and published in magazines (Schofield289, 2005). To achieve a
well graded pattern, the grading system should be capable of generating values, that are
generally not in size charts (Cooklin88, 1999).
2.9.1 Definition
Kunick188 (1967) has stated , “our present day day sizing practice is the result of many years
of growth by trial and error. A system for developing sizes became necessary when
garments were no longer created specifically for individuals.” Shobhen301, et al (1999) add,
“The problem of sizing arose with the development of ‘off the peg’ garments as
manufacturers were required to cater for public demand.” They further defined an average
figure as one that represents highest percentage of the populatipn. They also stated that,
“The standard is therefore, very flexible, as it must enable the manufacturer to cater for the
populations.” They add that most manufacturers will select that area of market that offers the
richest rewards. This area, size-wise, is immediately built around the statistically average
figure. Grading is the process used by clothing manufactures to produce garments in a
range of sizes. Grading is a standard method of applying increments and decreases at
apoint of a pattern to make pattern larger or smaller. (Schofield288, 2005). A grading system
is developed from sizing specifications, and sizing specifications are derived from
anthroprometeric data (Cho78 et al, 2006). Except for national sizing systems that have been
accepted as standards there is little documentation of the process used to create size charts,
there is even less information about grading practices (Schofield288, 2005). In ‘Concepts of
Pattern Grading’, Moore239 et al, (2001) concluded that a grading system is developed from
sizing specifications, and sizing specifications are derived from anthropometric surveys.
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Figure 14 Pattern illustration by Henry Wampen354
The study of anatomy, the mathematics of body proportion and its application to pattern
drafting contributed immensely to the development of standard sizing. Compaing85 was a
French tailor who studied anatomy and mathematics, his system of pattern grading was
based on a method used by architects who divided rectangles into squares to make
drawings of a different scale, the book is available in several libraries in UK. A German
professor of mathematics, Henry Wampen354, first published his ideas of figure proportions
and garment cutting in England in 1837. For the next 30 years, he continued to refine and
develop his ideas on anatomy, anthropometry and body proportions. His system of
graduated tapes took into consideration differing heights as well as breadths, but they were
too complex for many tailors to understand (Cooklin87, 1992; Aldrich7, 2007).
2.9.2 Early grading systems
The history of grading can be traced from studing various schools of pattern making. Aldrich
in her research history of pattern making has attempted to trace it. European tailors were the
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ones who worked anatomical body measurements and their relationship to proportion and
pattern drafts, though their drafts were based on garment measurements. One of the
earliest records of a diagram of measurements on naked bodies used for pattern making
can be found in a tailoring book by J.G. Bernhardt of Dresden 1810 – 1820, (Aldrich7, 2007).
The breast measurement for womenswear and the chest measurement for menswear were
the key dimension on which patterns by proportionate drafting method were based during
this period. W. Lindsay in 1828 realized the importance of measuring a body under the coat,
and has stated this in the book, as the correct method to get the correct and actual size,
rather than measuring the body over the coat, ‘which had lapels in canvas, padding and
sometime wadding also’ as was the prevalent practise.
According to Cooklin87 (1995), all major anthropometric surveys used a similar method for
size grouping which is based on two factors: height and chest. Vincent’s 1908 system of
point to point through ‘nesting’ has proved to be probably the most reliable system. Although
originally constructed for menswear, it became particularly useful for grading complex
women’s garments. The smallest size, the largest size and the medium size are drafted and
then placed in a ‘nest’. In ‘Pattern Grading for Women’s Clothes: the Technology of Sizing’,
Cooklin87 (1992) noted that a pattern grading system cannot be fundamentally correct if the
principal propositions have not been derived from authoritative data obtained by scientific
methods.
2.9.3 Grading process
Apparel grading is the process of increasing or decreasing the base size pattern according
to a set of body measurements and proportional relationships to develop a range of sizes for
production according to Bye58 (2010). Today, even with automated computer-based grading
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techniques, grading still requires a skilled person with an extensive knowledge of garment
pattern and an understanding of the expected changes for all sizes in the range. The pattern
pieces developed for the initial base size garment are generally fitted and perfected on a
human fit model (or possibly a dress form).
A nested grade shows all the graded pattern pieces arranged one within the other lined up
at the zero point on one piece of paper. Price and Zamkoff268 (1996) explained that an
experienced grader can see at a glance, whether or not each corner of the pattern has
received the proper grade. The grader uses the following criteria in the traditional visual
inspection of the nested grade: that cardinal points are evenly spaced, and that curved
seam lines follow the same approximate shape and straight lines are parallel. The grader
checks the even spacing of the cardinal points by drawing a straight line or a joined line if
grade breaks are used, through matching cardinal points. This tells the grader that identical
vertical and horizontal increments are being used for all sizes in the grade break. The
definition of the accuracy of a set of graded patterns must be changed to focus on the fit of
each size pattern. Moore239 et al, (2001) asserted that the graded pattern should be checked
by creating a size run to make sure that the fit and style sense have been maintained across
all sizes.
2.10 MEASUREMENTS
According to Aldrich7 (2007), one of the earliest size tables was published in 1815 by
Benjamin Read and was known as ‘The Proportionate and Universal Table’; he used inches
and listed ten proportionate measurements. He proclaimed it to be ‘A compendium of
arithmetical calculations, for finding the principal and only leading points in the art of cutting
to fit the human shape’, which is so accurately executed that it may be relied on with the
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utmost safety. Cook and Golding, also in 1815, devised a combination system, the divisions
being based on theories of proportion. They set up a ‘School of Instruction in the Art of
Cutting upon True Scientific Principles’. Generally body measurements are taken manually
in the garment industry (Leong201, et al, 2011).
According to Petrova272 (2007), ever since clothing was first produced for an unknown
customer rather than for a specific person with known body dimensions and clothing fit
preference, manufacturers of ready-to-wear clothing have attempted to estimate the
dimensions of the garments that they must produce in order to sell them successfully
(assuming correct prediction about the popularity of garments styles has already been
established), that is, customers will be satisfied with the fit of the garments, will not return
them and will consider making other purchases from the same manufacturer. When a ready-
to-wear garment must be made to fit a body closely, the problem of estimating garment
dimensions leads to the problem of analyzing the population in terms of those body
dimensions that are important for clothing construction.
Standard sizing has been defined by Petrova 272 (2007), as a method of classifying body
shapes and providing size increments for the production of apparel. The goals of standard
sizing are to ensure consistency and clarity in clothing sizes and sizes and size labels
offered to the consumer and to fit adequately a large segment of a target population. Two
major types of sizing standard are tables of body measurements and size names or
designations. The first provides tables of body measurements for a segment of consumers
such as women, men or children. Measuring the human body is the precursor to developing
garments to fit the body. Measuring tools range from simple to complex and basic like
measuring tapes to high tech like 3D scanners (Bye56 et al, 2006).
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2.10.1 Definition
Measurements can be classified as primary and secondary (Fang109 et al, 2005). The
knowledge of anthropometric dimensions is necessary for the development of garment
pattern (Gupta133, 2010). A dimension is called as primary when it plays an essential role in
assessing whether a garment is wearable or not. The primary dimension is a crucial
measurement for development of a garment pattern. A secondary dimension plays an
essential role for assessment of garment fit (Mpampa242 et al, 2010). The chest girth is
primarily used a base for pattern development of the upper body garments. The neck girth
measurement is primary measurement for the shirt. The waist girth is essential
measurement for the lower body garments. The primary dimension for upper body garments
is the chest girth and the secondary dimensions are the waist girth and the height. The
primary dimension for male shirts is neck girth and the secondary dimension is sleeve length
(Mpampa242 et al, 2010). According to a research study by Manchester Metropolitan
Univeristy, manual body measurement processes give a true picture as it is possible to see
whether participants are holding their breath in for a desired effect on waistline
measurement (Apeagyei et al, 2007)21. The measurments required for construction of upper
torso garments girthwise are neck, chest, back shoulder, across back, waist, hip and bicep.
The lengthwise measurements are centre front waist length, shoulder to chest, centre back
waist length, armhole depth and sleeve length (Gupta133, 2010; Aldrich3, 1997;
Kawashima173, 1986; Cabrera59 et al, 2007).
Traditional pattern making uses formulae to draft patterns, however, actual measurements
cannot be replaced by default formulae, as it does not give satisfactory result in terms of
good fit (Turner325 et al, 1999). Girth or circumference measurements are subdivided into
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two categories tight contact circumference (waist) and tangential circumference (bust and
hip).
2.10.2 Anthropometric Measurements
Anthropometry as an anthropology method is concerned with the measurement and testing
of the human body and the relationship of dimensions among its individual parts (Ujevic326,
2004). Yu348 (2000) defines anthropometrics as the science concerned with the
measurement of man. The name ‘anthropometrics’ is derived from the Greek ‘anthro’ and
‘metering’ which mean human and measure, respectively. Anthropometry deals with the
methods of precise measurement of the human body. Pheasant262 (1986) further expanded
this definition to ‘applied anthropometrics’, which included numerical data concerning size,
shape and other physical characteristics of human beings and could be applied in the
design context. According to Yu346 (2000), landmarks are located by anatomical points and
grouped according to their positions on the body. Clear landmarks with logical coding are
useful while explaining and extracting all critical measurements for basic pattern
development. Researchers agree that landmark points and body lines and all definitions and
measuring methods should be standardized and commonly agreed before starting a sizing
survey (Ashdown28 et al, 2004). To obtain the data with acceptable consistency,
reproducibility and reliability, structured methods of land-marking and recording help to
make the measuring process more efficient and effective.
As individuals have diverse body heights and level of development, it is necessary to be
familiar with a human body of average standard structure. To be able to make patterns that
fit well, it is necessary to study a large number of proportions (in Latin proportion) that is
symmetry, harmony, ratio, relationship of body parts with each other. By proportions or
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relations a correct interrelationship of individual body parts and individual measures can be
established. Based on the proportions deviations of the body from its average physique and
its deformations can be observed.
Figure 15 Measuring the body as per British standards BS 5511:1977 Aldrich3
The terminology and classical methods of body measurement for the clothing field were first
published by the Joint Clothing Council. A standard reference for body measurements was
later made available. Body measurements were divided into four groups, stature, segment
length, body breadth and circumference. Beazley37 (1999) had proposed a procedure for
undertaking a size survey using ISO 8559, 1989 (E) which included a natural sequence of
body measurement comprising three types of data, horizontal, vertical and others. Paper
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entitled ‘Japanese Body Size Data 1992-1994’, (Kouchi187 et al, 2002) described in detail the
definitions, equipment, methods, and procedures of body measurements that were required
to be taken. A detailed account of the problems and methods of anthropometry was given by
Cameron60 (1984) who outlined the historical development of anthropometry and gave a
detailed comparison of equipment and methods of body land-marking. He also explained the
dynamic relationship between subjects being measured, the measuring instruments and the
measurer. Ergonomics is also defined as the science of work, the movement and range of
motion might be reduced in a clothed body in comparison to a semi-nude body, (Balbinotti33
et al, 2009; Gupta134, 2011)
The environment suitable for anthropometric measurement as suggested by researchers is
a quiet room and should be taken without undue haste and no unnecessary person should
be present. Before measurement, the researcher should identify the measurements to be
taken, acquire the correct instruments and design a suitable format for recording the same.
The researchers who will collect the data must be trained so that they will arrive at the same
measurement consistently. Identification of a representative sample of the population is
critical in order to collect data which reflects the population as a whole. Age, ethnicity and
body type all must be taken into consideration. Statistical methods can be used to identify a
representative sample however Yu349 (2000) infers that finding subjects in each category
could be challenging task.
The creation of patterns depends on the correct and accurate measurements taken on the
body are the main problem for the designers and researchers, it is a task that is rather
complicated to perform. It depends on several factors which are listed below:
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The intricacy of finding the exact location of the body landmarks “from which or between
which one could measure with anything like the accuracy expected in drafting” (Bray 47,
1986).
The disparity on the body’s dimensions from one day to the other due to “the physical
state, even the mood of the person” being measured (Bray47, 1986), or in the same
day, as a person can be a 1.5cm taller in the morning than at night (Croney 90, 1971) and
his/her “waist circumference may vary as much as 2 inches (51 mm) during a single day”
(Gazzuolo125, et al, 1992).
The discrepancy between the actual body posture and the posture it adopts while being
measured since, throughout the process a person tends to stand more erectly than
normally or to place all his/her weight on one leg (Giles 126, 1987; Kidwell174, 1979).
The unreliability of the method itself as skeletal muscles contract once a measurement
instrument touches the person being measured (Gazzuolo125 et al, 1992).
The three-dimensional body scanners are another method for measuring a body in the
garment industry today and their applications range from collecting data for sizing surveys,
pattern generation for mass customization, evaluation of clothing fit and body appearance,
and tailor -made mannequins for target markets (Gazzuolo125 et al, 1992; Fainthurst 108
2008;
Fan113 et al, 2000, Decudin97, et al., 2006; Simoes306, 2012). This provides the possibility of
108
capturing the data without physical contact with the body (Fainthurst 2008; Fan112, et al
2000), body scanners on an average take about 20 seconds to collect information and about
45 seconds to transfer it to a computer. The software attached to scanners takes, about one
minute to locate body landmarks and to generate measurements. However on an average, a
researcher plans for about a half hour of time for each scan to take place. Despite the
capacity of some of these body scanners to identify and calculate “approximately 1.5 million
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points […] to describe the entire body” (Fan113, et al, 2000), all the current scanning systems
still have difficulty in obtaining data from some of the body areas such as (a) under the bust
(Fan113, et al, 2000), (b) the top of the shoulders (Fainthurst 108
, 2008)and (c) the crotch at
the junction of the legs (Fan112, et al, 2000; Fainthurst 108

, 2008). Simoes306 and Fainthurst
108
have stated that there are more shortcomings and limitation of these state-of-the-art
devices are that they sometimes generate incorrect measurements if the person is wearing
108
very loose or extremely tight clothes during the process (Fainthurst , 2008) and, despite
the fast paced machine and speed of the whole process, the body movement does
influences the overall data accuracy and scanning quality (Simoes306, 2012). On this last
point Yu348 (2000) writes, “The human body is constantly changing, even when standing still.
Movement due to swaying, breathing and posture changes during scanning can readily
affect measurements, such as the chest circumference” (Fan112, et al, 2000). Since the
arrival of three-dimensional body scanning is recent, the cost associated with this
technology is very high and also the fact that it is difficult to get access to these new
methods of data collection. Alternative methods of collecting body measurements were
developed in the area of pattern design from the mid-1980s to the mid-1990s. These were
based on the photographic techniques used by physical anthropologists from the 1940s to
the 1970s (Gazzuolo125 et al, 1992).
By comparing the traditional and the alternative measuring methods, Simoes in her research
concluded that the linear anthropometric data methods are better for predicting some
pattern dimensions – such as, the front and back bodice lengths and the front shoulder and
armscye widths – and the photo measurements and planar data are better for predicting
pattern angles, such as the front and back shoulder angles (Gazzuolo125 et al, 1992;
Tomoe321, 2007). Gazzuolo125 and her team had decided to do without the three dimensional
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techniques after realizing that images resulting from the video capture were blurred didn’t
allow for accurate measurements, (1992). Pattern design is “one of the initial stages in the
development of a garment” on which its appearance and fit depends (Anderson, 2005)12, it is
a circumstance that “can determine (the garments) success or failure” in the market
(Faerm107, 2010).
For evaluating the fit of the garment mannequins are an indispensable tool. Since 1797
garment fitting forms were that were initially only used for purpose of window – display, have
been used for draping/modelling (Duburg102, et al, 2008), from the mid nineteenth century
these were also employed for draping purposes and also to check the fit of prototypes
developed (Duburg102, et al, 2008; Aldrich4 2002). However, their shape has evolved, altered
and transformed according to each period’s conception of the ideal body figure.
Traditionally mannequins represent a particular body standing vertically. Over the years the
material used building the mannequins has changed with available technology and
requirements, they are usually built with materials which is compact and unyielding such as,
iron wire, papier mâché, wood or glass reinforced polyester for the structure, they are
covered with coated woven or knitted fabrics, for example, horsehair, linen or cotton
canvases and jerseys or nonwoven materials like felt which is for pinning as a mandatory
necessity of draping purposes.
In 1849 Alexis Lavigne “patented a method of creating a buste [mannequin] in any set of
measurements in six minutes” (Aldrich7, 2007) so it could be changed not into different body
positions, but into different body sizes. However Aldrich adds that it is unclear as what role
did he assign to the garment fitting forms or at what stage did he use them. Madeleine
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Vionnet, from 1912 until 1939, designed garments wholly by draping, and utilized the same
wooden mannequin fine art students used for body drawing (Demornex98 1991; Kirke180
1998). In order to truly depict the body she concentrated on preserving consistency between
body and garment throughout body movement, she used a small scale of her mannequin
that was about 60cm tall, its articulated arms and legs and its rotating stand, allowed
Vionnet to check the fit of her creations (Simoes, 2012)306.
2.10.3 Body Dimensions
In the book ‘Classic Tailoring Techniques’, Cabrera and Meyers59 have identified key areas
of measuring the client and state that in conjunction with the measurements, the pattern
maker must note important information about the body shape. “Whether the posture is
stooped or overly erect; Shoulders are squared or sloped; buttocks are full or flat or the
stomach protrudes or if one shoulder is higher than the other.” They also say, “In order to
take an ‘uncensored picture’, the subject must be kept away from mirrors during these
observations. Apparel quality is largely dependent on apparel sizing which is based on the
correct anthropometric data (Lee, 1994)207.

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Table 3: Body Dimensions as per ISO 8559:1989(E)
S Name Explanation
No
1 Chest-girth The maximum horizontal girth at chest level measured under the
armpit and across the nipples with the subject breathing normally
2 Waist-girth The girth measured at the waist level with the subject breathing
normally and the abdomen relaxed
3 Hip-girth The maximum horizontal girth measured at hip level
4 Neck-girth The girth of the neck measured below the Adam’s apple and at the
th
level of the 7 cervical vertebra
5 Neck Base girth The girth of the neck measured around the neck, passing over the
th
base of the 7 cervical vertebra, the intersection points of the shoulder
and neck, and the upper borders of the collar bone at the front
6 Armscye girth The girth of the armscye measured through the underarm midpoint and
vertically over the shoulder with subject’s arms raised
7 Upper Arm girth The maximum girth of the upper arm at lowest scye level measured
with the subject’s arms hanging naturally
8 Elbow girth The girth of the elbow measured with the subject’s arm bent at right
angle and the hand and fingers facing forward
9 Wrist girth The girth of the wrist measured around the arm over the wrist bone
with the subject’ arms hanging naturally
10 Forearm girth The maximum horizontal girth of the forearm measured around the
forearm with the subject’s arms hanging naturally
11 Maximum Abdomen Girth The maximum horizontal girth of the abdomen measured below the
lower chest and above the high hip
12 Shoulder girth The maximum horizontal girth of shoulder measured below the neck
and above the underarm
13 Height The vertical distance measured from the crown to the soles of the feet
with the subject standing upright and the feet together without wearing
shoes, or with the subject (infants) lying on the table
14 Waist Height The vertical distance measured from the waist to the soles of the feet
15 Armscye depth The vertical distance measured from the ankle to the soles of the feet
16 Back Neck to waist The vertical distance measured from the intersection of the shoulder
and the neck to the waist
17 Underarm length The distance measured from the midpoint of the armpit to the far end
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of the prominent wrist bone, with subject’s arms hanging naturally
18 Neck to Base waist The distance measured from the centre front of the neck base line ti
the centre front at the waist level
19 Cross Chest width The horizontal distance measured across the front of the body from
armscye to armscye approximately at the level midway between the
upper armscye and lower armscye
20 Armscye to waist The distance measured from the midpoint of the armpit, along the side
of the body to the waist level
21 Back Shoulder width The horizontal distance measured along the back points of the
shoulder between the left and right shoulder points, with the subject’s
arms hanging naturally
22 Shoulder length Distance from the base of the side of the neck point to edge of
shoulder bone with arms hanging naturally
23 Shoulder width The horizontal distance between the shoulder bone with arms hanging
naturally
24 Back width The horizontal distance across the back measured between upper and
lower scye levels
th
25 Trunk length The distance from the 7 cervical vertebra to the crotch level with the
subject standing straight
26 Hip height The vertical distance crotch point or trochanteric projections to the
ground.
27 Arm length The distance between armscye shoulder line inter-section, over the
elbow, to the far end of wrist bone, with subjects fist clenched and
placed on the hip with arm bent at 90°.
28 Upper Arm length The distance between armscye shoulder line inter-section, to the
elbow with subjects fist clenched and placed on the hip with arm bent
at 90°.
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Figure 16 Method of measuring the body
132
(Guerlain et al 2005)
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Figure 17 Measurement chart
(Dongsheng et al, 2003)100
The secondary research was undertaken in order to study the various garments worn by
men and their evolution and the available size range in the market. The accepted garments
for upper body or torso are shirt and Jacket in the Indian market, since the waist coat and
overcoat depend on trends and season and in tropical country like India have limited
acceptance.
The pattern development methods adopted both, by academia through survey and pattern
making books and the published research. The industry, methods were studied through the
primary survey. The garments are being cut on individual garment basis and not on block
method. Reasons cited are not clearly stated in pattern making books, however, some
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researchers have stated that the pattern for the shirt needs an inbuilt dart at the high
shoulder point, to accommodate the shape of the man’s shoulder at the back which is much
more rounded than the front shoulder. This dart is taken out in the back armhole through the
seam of the saddle yoke. Traditionally the menswear patterns have in built seam allowances
an inheritance of mid nineteenth century when illiteracy and innumeracy were widely
prevalent. Tailors had developed their own tools, such as the tailors’ L square, which
marked with several sets of measurements infractions to help them make patterns based on
formulae that were prevalent at that time as due to prevalent innumeracy they were
handicapped to do the calculations.
The research done for establishing the accepted parameters of fit for menswear apparel
especially for upper torso garments were studied. The established methods of evaluation of
the garment fit by other researchers both by subjective and objective evaluation was also
researched. Though several studies have been conducted for womenswear pattern
development and fit, in the area of menswear there is very little which has been done.
Though for fit evaluation a subjective assessment form was developed and used for jackets,
but very little was done after that. Acceptable parameters of fit for menswear have not been
done. The books available on the subject of fit mostly talk about issues and concerns for
women’s body only. Chan67 has done his doctoral study on pattern generation for men’s
shirts by three dimensional methods but nothing has been done in the field of jacket pattern
making.
The market share of the menswear sector in the apparel industry was studied through the
marketing reports available both for global market as well as Indian. A brief review of the
garments generally worn by men will also be reviewed by these market trends. The apparel
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sector is booming and so is the menswear share of the market, which is projected to grow at
9 percent CAGR it is expected to touch Rs 6,64,000 crores (USD 141 billion) by 2021.
Studied the universal terminology used for pattern development in the industry and the
important issues faced by pattern makers especially for menswear apparel. The
dissatisfaction of fit of the garment, the issues faced by pattern makers as documented in
the researches, the sizes available in the market internationally and lack of them in the
Indian market were established.
The review of literature can be summarized as follows:
 Men as consumers are increasingly making their own choices in apparel
 The men’s apparel market in India is significantly larger than women’s apparel market
 Menswear is a single largest product category in terms of value & volume
 A three piece suit is a standard mode of dress in western world and is widely
acknowledged as working attire in most of the countries around the globe and most of
the salaried Indian men wear it.
 The fit of a man’s tailored suit is critical because of its classical appearance as well as
its high cost of manufacture.
 A pattern is a blue print of a garment where each section contains specification
information.
 A sloper is a flattened, outlined area representing the shape of body dimensions
 Fit can be defined in terms of relationship between the size & contour of garment and
those of the human body.
 A well fitted garment hangs smoothly & evenly, it has no pulls or distortion, the seams
are straight, it has pleasing proportions, there is no gaping in the garment, and there
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are no constriction of the body also it has adequate ease for normal movement of the
body.
 Grading is a standard method of applying increments and decreases at a cardinal point
of a pattern to make pattern larger or smaller
2.11 CONCLUSION
Although substantial body of research and development was found in the area of garment
pattern making but most of it is limited to a study of womenswear apparel. There are many
unresolved issues in the field of menswear, concerns that are yet to be addressed or have
been partially addressed. The following is a brief summary of remaining problems and
issues after extensive review of above literatures:
1. Traditionally menswear follows a garment pattern development method whereas
womenswear uses a block method.
2. In the past few years, several studies have been done and have proposed
systematic methods to improve garment fit in womenswear. However, very few
researches have been done to identify and address issues of menswear fit.
3. Many researchers agree that optimum garment ease is crucial to garment
appearance and fit. Tremendous efforts have been spent on identifying the
wearing ease in womenswear however, little has been done for menswear
garments.
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To fill the research gap, the following key issues will be solved in this study:
- Development of a menswear block using the principles followed for womenswear
block
- To test fit the block and garments developed on the block for comfort and fit
- To establish fit parameters for upper torso garments.
- To develop points of fit evaluation for menswear garments
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CHAPTER THREE: METHODOLOGY

3. METHODOLOGY
3.1 OVERVIEW
The purpose of the current research is to develop a sloper for menswear. The methodology
to be followed is to determine the mode of inquiry and to find a solution to the existing
problem.
3.1.1 Research Paradigm
A paradigm is a model that provides a conceptual framework to view the ‘problem’ in a
particular way and helps to perceive and shape the solution or interpret the problem. The
paradigm also provides rules about the type of problem which faces the investigator and the
way they should go about solving the problem.
The present study followed the positivist paradigm since it is deductive in nature. As it deals
with the development of theories to be established and which will be tested in a controlled
setting as well as field setting, empirically supporting or falsifying hypothesis through
process of experimentation. This study dealt with developing a menswear block and various
upper torso garments to be developed from the same sloper. The effect was studied through
the experiments and the quantitative analysis. This hypothesis becomes the background of
the research which led to the Ontological Assumptions.
3.1.2 Ontological Assumption
The research was based on the fact that in the menswear industry patterns of the apparel
are made on garment basis, a fresh set of patterns is made for a new style which
necessities for the pattern to be balanced and fitted each time a new style or design is made.
It is seen that even the international research and books on the subject also followed the
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same systems be it Aldrich, Kawashima, Miyoshi or Cooklin. While, a single torso block is
used for an entire range of garments in womenswear garment for developing patterns. This
difference in pattern development techniques restricts the designer and pattern maker to
explore, fit and style menswear and allows them to blame it on taste, trends and lack of
experimentation on men themselves (Neighbour, 2008)248
3.1.3 Epistemological Assumption
In order to develop a single pattern block, both, the available methods as well as the applied
techniques in the industry for pattern development needed to be systematically studied and
then the probable method needed to be worked out in a scientific manner. The acquired
knowledge will be based on experiments that will help put forth theories in order to confirm
or reject the hypothesis. The theories will need to be proven from observable phenomena.
These theories will have to be tested in controlled settings that will lead to empirical data
supporting or rejecting the hypothesis through process of experimentation.
The research is based on scientific methods which are totally unbiased and based on
experiments. Perception of researcher doesn’t play any role as the research is based on
empirical data. The research is purely objective and hypothesis driven. The results will be
reliable and reproducible. The approach to the research shall be deductive.
Theory Hypothesis Observation Confirmation
3.2 METHODOLOGY FOLLOWED
The methodology that was followed for the research was that expert methods were identified,
block developed and both patterns compared and evaluated.
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3.2.1 Sample size
Garments in domestic brands in India for Menswear are generally available in in the
following sizes: 36, 38, 40, 42 & 44. In United Kingdom markets it is available in size range
of 34 to 46, in United States of America they are available in a size range of 34 to 46 in
regular brands for standard body shapes and in specialized brands for tall and big build men
they are available in a size range of 32 to 50. However seventy percent of all upper
garments sold in Indian markets are made basically in three sizes that are 38, 40 and 42
only. Size set that was used to develop patterns and test fit the apparel developed was done
in all the three sizes which were also used to substantiate and validate the hypothesis that
the patterns developed on a torso block work for menswear.
Patterns for menswear garments were made in these three sizes first by traditional methods
using established and recognized menswear pattern making method of two reputable
methods established through academic research for the upper body torso garments for and
test fitted the same. These were rated by an expert panel through subjective evaluation on
a developed questionnaire for the purpose. The ones that fit best were used as a reference
for future evaluation. A basic sloper in three sizes was developed that was used for
developing patterns for a shirt, and a jacket. These were test fitted on 30 subjects each, in
the three sizes, and evaluated for comfort fit in a controlled environment. Deductive
methodology was used to develop patterns and inductive methodology was employed to
validate the fit of the pattern.
3.2.2 Secondary Research
The first step for this research was to establish the objectives of the study. An extensive
review of literature was required for this. The secondary research was done through peer
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reviewed journals articles, books, doctoral thesis, dissertations, published and unpublished
research, patents, market reports, white papers, conference papers, magazine articles,
internet, newspapers, annual reports of the companies and blogs. International practices
have been studied through a review of literature, dissertations and books available on the
subject especially those that have been referred to by other scholars in their papers or
dissertations. It was done to understand the menswear market, garment categories for
menswear, history and evolution of menswear costume both globally and for India. The
terminology used in apparel industry, definition of pattern development and methods
employed for the same. Present pattern making practices being followed in the industry and
in academia through research and pattern making books on the subject. The problems of fit
and comfort in menswear garments as documented in terms of established and documented
parameters of fit for menswear.
The study followed the following method:
Developed basic Menswear sloper- from existing size chart developed for 3 sizes
Adaptation of sloper to make different garments like shirt and jacket in the three sizes.
Muslin test fits for fit analysis- were test fitted on 30 Sample in each size
Patterns were developed and validation of these by means of design development on
the basis of the developed sloper by two batches of final year students in Fashion
Design Department of NIFT, Delhi for the course work including design collection for last
two years.
3.3 PRIMARY RESEARCH
As part of the primary research a survey was undertaken to study both industrial methods
and academic practices being followed, study issues being faced by both.
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Methodology at a glance
Step I
Review of literature
Step II Step III

Survey of industry: designers, Survey of academicians to
pattern makers, production understand academic practices
technicians to understand being followed through a
industrial practices questionnaire
Step IV
Analysis of data generated from
questionnaire for current industry and
academic practices
Step V Step VI
Development of menswear garment Development of menswear
patterns from various pattern making sloper and test fitting the same
books identified through review of
literature and test fitting the same
Rework if any
Step VII
Evaluation and comparison of both of type of
garments by expert panel
Step VIII
Development of the final menswear
sloper
Step IX
Development of menswear garments
using the sloper and evaluation by
sample subjects
Figure 1 Methodology flow chart
3.3.1 Survey of the Industry
A detailed questionnaire was developed to conduct a survey of industry practitioners who
have a role to play for pattern development in the industry of various capacities like
designers, who decide the look and design of the apparel, pattern makers, who develop the
actual pattern, and the production technicians, who have the final say in the production of
the garment and may compromise the fit. All these professionals understand the pattern, the
method of pattern development and the fit of the garment.
This survey was undertaken to understand the present pattern making practices being
followed in the industry. This was required to establish that the methods being followed were
as per the understanding of the researcher and there was a definite, certain and established
need for the block method. The education and skill level of the industry members, as the
review of literature has established, shows that the industry initially had tailors who were
beseeched by problems of innumeracy and illiteracy. There is insignificant evidence and
documentation of research conducted on the subject of menswear pattern development in
India and also absence of any book on the subject, the understanding of the industry
members for the block method, was investigated through primary research. Their perception
and appreciation of the block method and its significance was surveyed. Their experience of
having employed the block method for construction of patterns for womenswear also, was
investigated. The purpose of the survey was also to comprehend the critical and crucial
areas in fit of menswear apparel and also the problems faced by the industry in the fit of
these garments and study the methods employed to resolve the issues. The method of
pattern development presently being followed in the Indian industry was collected through
the questionnaires placed in Annexure 1.
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Data was randomly collected from various industry practitioners working as pattern makers,
designers and production managers/supervisors in several industries both large scale and
small scale from small and large cities like Bengaluru, Bhopal, Chennai, Hyderabad, Gandhi
Nagar, Kolkata, Mumbai, New Delhi, Patna, Jaipur, Jodhpur, Jamshedpur and Surat among
others. Efforts were made to get the data randomly from a varied cross section of industry
both small -scale, medium to small scale and large scale enterprises. It was collected from
organized setups and unorganized setups, designers, export houses, buying houses,
brands and other business models.
A study was designed to understand the pattern making practices followed at present both
from the industry and the academic institutes. This was accomplished quantitatively with
survey work. A survey instrument was developed to understand the pattern making
practices for industry, specifically for menswear apparel categories.
The questionnaire consisted of five sections:
Section I established the respondents’ demographic, professional and personal profile
with about questions age, education, experience and other information.
Section II identified the garments that are being made in the industry to which the
respondent belonged and whether they were cutting menswear garments in the unit.
Section III consisted of questions pertaining to the method by which patterns are made
in the respondents units and respondents’ knowledge of block method. A 5-point Likert
scale has been used to measure respondents’ attitude about the block method and
advantages of using block method to develop patterns in their opinion.
Section IV also used an attitudinal scale to identify core issues of fit for upper torso
garment in the specified product category of shirts, and jackets.
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Section V collated information on pattern making books and pattern experts, and sizes
being cut in the unit.
A self-administered questionnaire was randomly sent by mail or handed over to
organizations that manufacture menswear. The total number of questionnaires that were
sent to the industry was 200, out of these only 140 questionnaires were returned. The total
number of usable questionnaires was 129. There were fifty two designers; there were fifty
seven pattern masters who responded and twenty one professionals from production team.
Results were analysed using SPSS software through various statistical tools.
3.3.2 Survey of the Academia
A detailed questionnaire was also developed to conduct a survey of academicians who
impart knowledge of pattern development especially for menswear at institutes of higher
learning, the same is placed in Annexure 2. The teaching methodology being practiced in
various institutes for menswear pattern making was collected through another questionnaire.
Data was randomly collected from academicians teaching menswear pattern
making/grading/garment construction from Institutes from pan India, and also from some
international faculty members from United Kingdom, Saudi Arabia, Italy, United States of
America, China among others. As the next step a detailed questionnaire was developed to
conduct a survey of academicians who impart knowledge of pattern development especially
for menswear at institutes of higher learning. This survey of academicians was carried out to
understand academic practices being followed for pattern development techniques being
followed by the academicians at present in their schools and institutes. This was required to
establish that the methods being followed to develop menswear patterns were as per the
understanding of the researcher and that there was a definite, certain and established need
for the block method. This was done to understand the methodologies employed for the
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development of patterns and also to solve problems encountered by students in terms of fit,
arising from the differences in body types and body proportions.
The survey also investigated the level of understanding of the block method of the faculty
members and whether they were using the same to develop patterns for womenswear
apparel. Data was gathered pertaining to the crucial areas of fit for menswear apparel; the
fitting problems faced both by students and faculty and the approach and techniques to
solve them. Information was also collected on the pattern making books they were aware of
and referred for teaching the subject.
The questionnaire for conducting the survey for academia teaching pattern making in
institutes of higher learning similarly had five sections:
Section I established the respondents’ demographic, professional and personal
profile with about questions age, education, experience and other information.
Section II identified the garments that are taught in the institute and whether they
were teaching menswear pattern making in the institute.
Section III consisted of questions about the pattern development method which is
taught at the institute units and respondents’ knowledge of block method for pattern
making and applied attitudinal scales to evaluate benefits of the block method. It
measured the respondents’ attitude about the block method and advantages of using
block method to develop patterns in their opinion.
Section IV utilized attitudinal scales to identify core issues of fit for upper torso
garment in the specified product category of shirts, Jackets.
Section V collected information on respondents’ knowledge of pattern making books
and pattern experts.
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A self-administered questionnaire was randomly sent by mail or handed over to institutes of
higher learning that teach menswear patternmaking. Of the 200 questionnaires that were
sent to the academia, only 100 questionnaires were returned while 63 of these were usable.
There were only 63 faculty member who taught menswear pattern making or taught in an
institute of higher education that also taught menswear pattern making as a subject in its
programs. Results of the data generated were analysed using SPSS software through
various statistical tools.
3.4 ANALYSIS OF THE DATA COLLECTED
An analysis of generated data from the questionnaires was carried out to identify the current
industry and academic practices. The mean and standard deviation were the statistical
values used for calculating the initial values for the development of the size chart. The mean
is the most commonly used average value for developing size steps (Beazley 36, 1998;
Gupta136, 2006). Mean is a suitable method of finding central tendency (Winks, 1997). The
data generated was analysed using SPSS software through T–Test, Regression and Chi-
Square Test and other statistical tools for arriving at conclusions.
The purpose of data analysis was essentially to establish the following:
Authenticate the need for block method to develop patterns for menswear pattern
making
Confirm the fit parameters for menswear garments
Ascertain the use of best practices of pattern development by industry and faculty
alike
Verify the fit evaluation methods applied and utilized by academia and industry
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Corroborate the issues in menswear patterns and fit faced by academia and industry
due to body type, posture and size variations.
3.5 FIT PARAMETERS
The review of literature has yielded that most of the research for fit has been done in the
area of womenswear. Books on the subject of Rasband, Betzina and others are in the area
of womenswear garments. Rasband has been quoted in several research papers on the
subject of fit for both womenswear and menswear. The next stage in the research was to
define and establish fit parameters from the available research and books. The critical areas
of fit have been established both by secondary research as well as primary research for
menswear apparel. The fit parameters for shirts and jackets need to be well articulated and
also expressed suitably with supporting visuals to leave no ambiguity in the issue.
3.5.1 Fit evaluation
In order to validate the developed block and the garments based on it, the next stage in
research was to set the evaluation criteria. The criterion was defined as per practice that has
been adopted by other researchers. The review of literature has shown that the experts
have used both subjective and objective evaluation. Subjective evaluation has been done on
both dress forms and live models in the desired sizes and fit has been evaluated by either
the researcher or by an expert panel comprising of three to five members. Another method
of subjective evaluation is rating of the garment for fit and for comfort by subject samples
themselves (Martinez227, et al, 2009; Miller231, et al, 2005). Those researchers who have
done objective evaluation with three dimensional scanners have also used subjective
evaluation either on live models and evaluation by expert panel or by subject sample or
have used both techniques. The evaluation was done by both expert panel on live models
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and dress forms and also by subject sample. A basic sloper in three sizes was developed
that was used for developing patterns for shirt and jackets. These were fitted on 30 subjects
each in these three sizes and evaluated for comfort fit in a controlled environment.
Deductive methodology was used to develop patterns and inductive methodology was
employed to validate the fit of the pattern.
3.6 PATTERN DEVELOPMENT BY EXPERT METHODS
The next stage of research was to identify the expert methods by means of both primary and
secondary research. The confirmed expert methods based on this were utilized to develop
patterns for menswear garments in the established sizes suitable for the Indian menswear
market. These were based on pattern making methods identified through the review of
literature. These methods were identified on the premise that a substantial number of
researchers have quoted these methods in their work or used the technique to develop the
pattern or employed the prescribed methods in their research. Thus the credibility of the
pattern development method is established. These garments would be used as a scale or a
gauge to compare and judge the new garments that are developed by block method for
evaluation by expert panel.
3.6.1 Garment development by individual garment method
Basic upper torso garments – shirts and jackets, were developed by traditional pattern
making methods using the two identified approaches. The final garments developed were
based on the feedback of the industry and academia for the most popular categories of
upper torso garments for menswear. They were developed in sizes 38, 40 and 42. Seventy
percent of the total menswear garments sold in India are in these sizes. Also, by making the
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sloper in three sizes the research would establish and encompass a wide range of body
sizes that the developed block method could accommodate.
3.7 SLOPER DEVELOPMENT
The next stage in research is to develop the menswear sloper. After a detailed review of
literature and analysis of data collected through a survey of industry and academia it was
found that there was not even a single method for block or sloper development available for
menswear. The verified and most established method in womenswear was applied as the
base for developing the torso block for menswear. These were identified from pattern
making books through the review of literature. These books were identified, again, on the
basis of the number of researchers who have quoted this book in their work or used the
method to develop the pattern or employed the prescribed methods in their research. This
established the credibility of the pattern making book as well as the pattern development
method. The basic menswear sloper was developed in three sizes as per the measurements
of an existing size chart.
3.7.1 Garment patterns
The two garments chosen to test the developed basic block/sloper were a slim fit shirt and a
classic tailored jacket. These were chosen as sample garments, as during the review of
literature, market reports on the apparel segment had identified these two items of clothing
for upper body torso garments, as the most popular ones and were being produced by
majority of manufacturers of the menswear. The final garments, a classic tailored jacket and
a slim fit shirt, were made in three sizes 38, 40 and 42. However, the size that has maximum
sale and is available in large number of colours and styles in the Indian market is size 40.
Since the Indian market at present is a youth dominated one a size smaller and a size larger
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were also used to validate the sloper and test fit the garments and muslins in these three
sizes.
3.7.2 Sample Testing and Validation
In qualitative research, data collection techniques are generally directed towards the
experience or shape, and may also include observation and examination of artefact. The
expected outcome of such research is a summary of the informational contents of data
organized in a way that best fits the data. Reliability is defined in terms of the extent to which
results are consistent over time and are an accurate representation of population. If the
study can be reproduced under a similar methodology, the research instrument is
considered to be reliable. Validity of research is measured in terms of whether the
hypothesis of the research has been rechecked at several points and if the inferences drawn
can be applied to a larger population. In the undertaken study, in order to validate and test
the theory, the patterns developed using the sloper were test fitted and data was collected
on each step. The sloper was evaluated by the researcher and observations recorded. The
garments developed by the sloper method were benchmarked and judged by an expert
panel, who evaluated the same through subjective rating. After achieving acceptable results,
garments were made in suitable and commercially acceptable fabrics, and evaluated for
comfort and fit by sample subjects.
Researchers have confirmed that a major drawback of using scanners for evaluating a
garment fit is that scanners are usually line-of-sight measuring devices, since human body
scans provide ‘huge number of surface cloud points’ (Leong201 et al, 2011). Therefore, there
is no guarantee that the scanned image will always have high enough quality for quantifying
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fit. Secondly, the areas hidden from sight like under arm do not get scanned which is crucial
and critical area of fit in upper torso garments.
3.7.3 Test Fitting
The next stage was to test fit the garments made by expert method and those developed by
using the sloper. Research has documented that in order to validate the fit of the garment,
with respect to the size/dimensional specifications it is made for, the same should be tested
by using live models and dress forms. Live models are commonly used for evaluating
clothing fit because real human bodies are involved and their comments on the clothing are
sensible even though it might be expensive to test on live models. The patterns were first
analysed by the researcher and then alteration or correction for fit was carried out, as per
the established and recognized practice. Muslin trials for fit analysis-patterns were test fitted
on dress forms for standard body shapes and on sample for each in each size.
3.7.4 Comparison of the pattern by expert group
The next step in research was to compare the three sets of muslins for each garment for
each sample in each size in terms of fit and balance. The expert panel in terms of
composition and number of experts was constituted as per established practice inferred
during the review of literature. The developed samples were rated for fit and comfort: using
the feedback techniques through a subjective fit evaluation questionnaire developed for all
the crucial areas of the garment fit. They rated the fit of the garment in each of the crucial
areas as per predefined norms. Fit analysis was done through questionnaire and through
observation by researcher, subject and expert group. Findings in the form of quantitative
data was empirically tested and generalized to be applied to a large population group.
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3.7.5 Physical comparison
The next step of the research was to physically compare the two sets of developed patterns
where the first set was made by expert methods, and the second set was made using the
developed sloper. This was done by placing them on top of each other at the crucial land
marks and key fit areas, to note and observe, the difference in shape if there are any, and to
record the same for future corrections. Then carefully examine and study the problem areas
identified in the fit evaluation. To make necessary changes in the patterns and recheck the
changed parameters if any and if required, redo the test fit and take corrective actions.
3.8 GARMENT TEST FIT ON SUBJECTS
After establishing that the patterns created on the developed sloper are comparable in terms
of fit and comfort, the final garments were made in suitable fabrics that have been identified
by secondary research. The test fits on subjects with appropriate body type and size were
done in the three identified sizes as per the market data of Indian garment industry. The
samples size was 30 in each size, in all one hundred and eighty test fits were done under
controlled conditions and subjects were asked to fill a questionnaire to evaluate fit and
comfort of the garments on a rating scale.
3.9 PATTERN DEVELOPMENT
The next step was to develop and create designs with the new sloper. Experimental
methods were used to develop patterns in a manner that it is reliable and reproducible. The
style variations were tested by giving the sloper to a group of final year fashion design
students of NIFT, New Delhi. Design development was also under taken for two years to
establish and validate the hypothesis.
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CHAPTER FOUR: PRIMARY RESEARCH

4. PRIMARY RESEARCH
As part of the primary research, two questionnaires were developed to conduct a survey
of industry practitioners and academia. Industry practitioners covered in the survey were,
those who have varied roles to play or alternatively have the decision making authority
or responsibility of pattern development in the industry such as the designer, who
conceives the design and selects the look of the garment, the pattern maker, who
creates the actual pattern and the production technician, who has the final say in the
production of the garment and may even compromise the fit of the garment due to
production constraints. The second questionnaire was for academicians who teach
pattern making especially for menswear garments in institutes of higher learning or those
who at present may not teach the subject but they teach in the institutes where pattern
making for menswear is taught as course or a subject in a programme. However, all
these professionals, including the production team, designers and the pattern masters,
understand the nuances of the pattern, methods of pattern development and the fit of the
garment.
4.1 COLLECTION OF PRIMARY DATA
The method of pattern making presently being followed in the Indian industry was
collected through questionnaire placed in Annexure 1. Data was randomly collected from
various industry practitioners working as pattern makers, designers and production
managers/supervisors in several industries both large scale and small scale from pan
India, from several small and large cities efforts were made to get data randomly from a
varied cross section of industry both small-scale, medium to small scale and large scale
enterprises. It was collected from different organizations that may have an organized or
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unorganized setups, included designers, export houses, buying houses, brands and
other business models.
The survey was undertaken to understand the present pattern making practices being
followed in the industry and in academia , which was required to conclude whether the
methods being followed were as per the understanding of the researcher and if there
was a definite, certain and established need for the block method. Another objective
was to comprehend the critical and crucial areas in fitting for menswear apparel also the
fitting problems faced by the industry and the methods employed by them in resolving
the issues. The questionnaire aimed to study the skill and expertise of the industry
members, which the review of literature had established that the industry initially had
tailors who were beseeched by problems of innumeracy and illiteracy. The
understanding of the industry members for the block method was studied. It also aimed
to understand the documentation available on the subject and to estimate the amount of
research being done in India. The survey aimed to understand the appreciation and
understanding of the industry members with regards to the block method, and whether
they employed it for pattern development for womenswear or otherwise.
The teaching methodology being followed in various institutes for menswear pattern
making was collected through questionnaire placed at annexure 2. Data was randomly
collected from various faculty/academicians teaching menswear pattern making/
grading/garment construction from institutes across India from small and large cities and
also from some international faculty members This survey of academicians was carried
out to understand academic practices being followed for pattern development techniques
being followed by the academicians at present in their schools and institutes, this was
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required to establish that the methods being followed to develop menswear patterns
were as per the understanding of the researcher and there was a definite, certain and
established need for block method. This was done to understand the methodologies
employed for the development of patterns and also to solve problems encountered by
students in terms of fit, arising from the differences in body types and body proportions.
The survey also investigated the level of understanding about the block method of the
faculty members and whether they were using the same to develop patterns for
womenswear apparel. It aimed to understand the crucial areas of fit for menswear
apparel, the fitting problems faced both by students and faculty and also the approach
and techniques to solve them. The pattern making books that the academia was aware
of and referred to for teaching the subject were also covered in the survey.
4.2 STRUCTURE OF THE QUESTIONNAIRE
A study was designed to understand the pattern making practices followed at present
both from the industry and the academic institutes. This was accomplished quantitatively
with survey work. A survey instrument was developed to understand the pattern making
practices for industry, specifically for menswear apparel categories.
The questionnaire had five sections:
Section I established the respondents’ demographic, professional and personal
profile with about questions age, education, experience and other information.
Section II identified the garments that were being made in the industry to which
the respondent belonged and whether they were cutting menswear garments in
the unit.
Section III consisted of questions pertaining to the method by which patterns were
being made in the respondents units and respondents’ knowledge of block
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method. The section used attitudinal scales to evaluate benefits of the block
method. A 5-point Likert scale has been employed to measure respondents’
attitude about the block method and advantages of using block method to develop
patterns in their opinion.
Section IV also applied attitudinal scales to identify core issues of fit for upper
torso garment in the specified product category of shirts and Jackets.
Section V collected information about the knowledge of the respondent about
pattern making books and pattern experts that they may have, and especially
those experts who use block method or the respondent referred to in case they
faced any difficulty. Also information sizes being cut in the unit was also collected.
A self-administered questionnaire was randomly sent by mail or handed over to
organizations that manufacture menswear and institutes of higher learning that
teach menswear patternmaking.
The total number of questionnaires that were sent to the industry was 200, out of these
only 140 questionnaires were returned. The total number of usable questionnaires was
129. The total number of usable questionnaires was 129. There were fifty two designers;
there were fifty seven pattern masters who responded and twenty one professionals
from production team.
The total numbers of questionnaire sent to the academia were also 200, out of these
only 100 questionnaires were returned. The total number of usable questionnaires was
63. There were only 63 faculty member who taught menswear pattern making or taught
in an institute of higher education that also taught menswear pattern making as a subject
in its programs.
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4.3 ANALYSIS RESULTS OF THE DATA GENERATED
The data collected was analysed for results using SPSS through several statistical tools
including correlation, cross tabulation, variance, T–Test, Regression and Chi - Square
Test among other statistical tools and methods that were both descriptive and graphical.
The researchers have identified SPSS as an effective tool for data management
(Marina224, et al, 2003).
4.3.1 Demographic analysis of the respondent
The 129 professionals who responded to the useable questionnaire the graphical
analysis depicts that there is an equal representation of both pattern makers and
designers, however the number of production team is slightly less (Fig. 19). The second
chart (Fig. 20) shows experience in the industry that ranges from one year to thirty eight
years. This establishes the demographic profile of the industry respondents.

Figure 19 Profession of the respondent Figure 20 Experience of the respondent
The Figures 21 and 22 depicts the data on the training received for the professional
competency and the level of training. These could be at an Industrial Training Institute
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where the training is given for shop floor level, the supervisory level training at Polytechnics
both these levels offer diplomas in various trades. They may have trained at National
Institute of Fashion technology that trains professionals for the industry at managerial level
or other institutes. There is tradition of pattern masters to train either on the job or learn it as
a skill from their family members if it’s a family profession as it is still considered to be a craft
tradition in India. Figure 23 shows the level of training of industry members. Sixty nine
percent of the total professionals who responded were formally trained, however only three
out of total pattern masters have received any formal training, mostly designers and
production team were formally trained.
Figure 21 Institute of training
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Figure 22 Training of industry members
Figure 23 level of training of industry members
The education profile of the academia is given in Figure 24, till few years back the
professional training was imparted at polytechnic or institute level, it was not mandatory for
faculty members to complete their doctoral studies as the subject was considered more on
the job and skill based rather than academic. Figure 24 shows education level of faculty
members both graphically and through descriptive statistics.
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Faculty trained for the subject
Frequency Percent Valid Percent Cumulative Percent
Valid ITI 2 2.2 3.3 3.3
Polytechnic 7 7.8 11.5 14.8
NIFT 17 18.9 27.9 42.6
University 14 15.6 23.0 65.6
Others 21 23.3 34.4 100.0
Total 61 67.8 100.0
Total 90 100.0
Figure 24 Training of Academia at various institutes
4.3.2 Views on block method
The section III of the questionnaire dealt with block method and awareness about the block
method and their views on advantages of the block method. The questions on block method
were on likert scale to evaluate the attitude of the respondent for it. The graphical
representation (Fig. 25) of response about awareness of the block method includes the
designers’ response who may have received training at NIFT. However, only 3 pattern
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makers from 52 were aware about the block method for pattern development and more than
53.3 percent have never used it to develop patterns.
Figure 25 Aware about block method
The Table 4 illustrates the section III of questionnaire about advantages of block method on
an attitudinal scale.
Strongly Agree Strongly

disagree
Save time 5 4 3 2 1
Cost effective 5 4 3 2 1
Easy to make 5 4 3 2 1
Easy to alter 5 4 3 2 1
Easy to save 5 4 3 2 1
Table 4 Question on advantage of Block Method
The advantages of the block method were analysed and the hypothesis that use of the block
method would have stated benefits, the results received were analysed on SPSS using T-
test and other statistical tools and they were as follows the academicians felt that the block
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method for pattern development had advantage that it saves time, industry members also
agreed to the same. Both academia and industry members agreed that while developing
patterns, it is easy to alter the changes in the block method. Both the groups also agreed
that these patterns are easy to save for future reference. However, the percentage of
industry members that agreed was less than the percentage of academia who agreed that
patterns by block method are easy to save. While industry members felt the use of blocks
for pattern development ensured that the patterns were easy to make, more than the
exercise their being cost effective, academicians felt that the block method of pattern
development was more cost effective than the fact that they are easy to make. However,
both groups agreed block method has lot of advantages. The one sample T-test done on
data collected, for the advantages of the block method, from response from industry
members is analysed on SPSS at 95 percent confidence level the generated table in Table
5 and 6 is given below
One-Sample Test
Test Value = 4
95% Confidence Interval of the

Difference
T Df Sig. (2-tailed) Mean Difference Lower Upper
save time 2.435 99 .017 .270 .050 .490
cost effective -.856 99 .394 -.100 -.332 .132
easy to make 3.597 99 .001 .340 .153 .528
easy to alter 1.880 99 .063 .200 -.011 .411
easy to save 2.058 99 .042 .220 .008 .432
Table 5 Analysis of advantages of block method on ‘one sample T test’
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Table 6: View point on advantages of Block Method
S No Academia Industry Common

1 Save time -78.6% Save time- 77.2% Yes
2 Easy to alter -76% Easy to alter -76.6% Yes
3 Easy to save -76% Easy to save - 74.3% Yes
4 Cost effective -75% Easy to make -71% No
5 Easy to make -73% Cost Effective- 65% No
The following figures 26 and 27 illustrate the opinions on the block method saving time and
being cost effective.
Figure 26 Block method saves time
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Figure 27 Block method is cost effective
The following figures 28, 29 and 30 illustrate the opinions on the block method being easy to
make, easy to alter and being easy to save also.
Figure 28 Block method is easy to make
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Figure 29 Block method is easy to alter
Figure 30 Block method is easy to save
From the above table and pie charts it has been concluded that both, the academia and
industry, have listed the advantages of block method as, that it helps save time. They have
an added benefit that pattern alteration is easy and both agree that patterns are easy to
save with the block method. However the academicians find them to be more cost effective
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and find them not that easy to make, on the other hand industry members find them easy to
make and less cost effective.
4.3.3 Analysis of block method for pattern development for menswear
The next question in this section III was about the efficacy of the block method for
development of patterns for menswear garments. The question was again asked on a five
point rating scale with one being strongly in disagreement with the statement and a score of
five for strongly agreeing with the statement and a score of three was for being neutral to the
statement. The figure 31 and Tables 7 and 8 show the attitude of academia and industry
members and depict an indecisive response, however, the response received are more
towards being positive to the statement which can be verified from the given response
through the bar chart. The one sample T-test also corroborates the opinion of the academia
Block patternmaking method as followed in women’s wear would work in Menswear

Valid 1 16 17.8 26.2 26.2
2 4 4.4 6.6 32.8
3 17 18.9 27.9 60.7
4 13 14.4 21.3 82.0
5 11 12.2 18.0 100.0
Total 61 67.8 100.0
Total 90 100.0
Table 7 Represents the attitude of Academia
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Figure 31 Represents the opinion of Industry member
One-Sample Statistics
Std. Std. Error

N Mean Deviation Mean
I think block method of making patterns as followed

61 2.9836 1.44328 .18479
in Women’s wear would work in Menswear
Table 8 One sample T test result on SPSS
4.4 FIT ISSUES
The fit of the garment is generally concerned with two aspects that of comfort and
appearance. As per the secondary research the comfort factor of the garment is best judged
and determined by the individual who wears it and the appearance of it refers to the look,
style and fashion that can be judged by others. Fit in a garment relates to the shape of the
wearer, the texture of the fabric, and also the way in which the fabric drapes. It is also
dependent on the weight of the fabric, and also how the garment is worn and carried by the
individual. Garments are not made for mannequins and therefore fit must be determined for
the body while it is in motion and changes position. This is particularly important for the
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development of functional garments and their fit. A live model can also verbalize any
discomfort, pulling or other issues pertaining to fit (Majumdar226, et al, 2011).
4.4.1 Fit assessment
Since fit is of vital importance, so is the manner with which it is assessed and resultant
issues resolved. The questionnaire in section IV and V had several question about issues of
fit, regarding crucial areas of fit for all the three garments, their opinion and attitude of
particular area they thought was important for the garment especially keeping in mind their
varied backgrounds, experience and work place.
The data was collected and collated for question pertaining to the methods of garment
assessment for the jacket, shirt and waistcoat through questions that were required to be
answered on Likert scales. The manner in which the fit of garment is assessed by the
academia and industry was analysed on one sample T-test and the generated charts are
given in Annexure 3 from data generated from analysis for shirt and jacket are as follows:
Table 9: Comparison of Fit Assessment
Garment Academia Industry
Shirt Trial 13 Trial 13
Muslin 25 Muslin 0
None 23 None 113
Jacket Trial 43 Trial 116
Muslin 61 Muslin 43
None 0 None 13
Both the academia and industry members strongly feel that the muslin test fit works best for
ensuring the proper fit in jackets and waistcoats; however, for shirt they both felt that trial as
a method of test fit is fine.

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Figure 32 Depicts Bar chart for use of muslin to test fit a jacket
There were questions on how both academia and industry members have resolved the
issues of fit in their field of activity. Eighty three industry members who had filled the
questionnaire responded by saying that they used test fit and trial to settle the issues of poor
or unacceptable fit. About twenty of them referred to an expert to help in solving the
problems of poor fit. Only 5 industry members referred a book in order to solve the fit issues,
however, about fifteen of them ignored the issues relating to garment fit. These results and
issues raised were taken into consideration while formulating the questionnaire for
subjective evaluation of fit by the expert panel.
Figure 33 Depicts Bar chart of methods adopted to resolve fit issues
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4.4.2 Crucial areas of Fit in Jackets
The jacket is one of the most popular garments for menswear as per secondary research it
is worn by over eighty percent of the male population in the western world, however, there is
negligent research available in the field of fit for menswear jacket and evidence of research
conducted is very little. The questionnaire was used to identify the crucial areas of fit the
questions were based on rating scales. The data collected was analysed for both academia
and production team on SPSS and the results are placed in Annexure 4.
The graphical representation of the data was also analysed and the resultant issues are
listed both for academicians and industry members, most of the areas identified are
common however academician felt that neckline is also important, this may be due to the
different pattern making method adopted for developing the notch collar followed in the
industry and in the academic institutes. Figures 34 to 39 graphical depict and validate the
given results.
Table 10: Important Fit parameters analysed from data generated for Jacket
S No. Academia Industry

1 Collar Collar
2 Chest Shoulder
3 Shoulder Chest
4 Armhole depth Armhole depth
5 Sleeve Sleeve
6 Waist area Waist area
7 Hip area Hip area
8 Button placement Button placement
9 Neckline
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Figure 34 Collar as a crucial area
Figure 35 Neckline as a crucial area
Figure 36 Armhole Depth as a crucial area
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Figure 37 Sleeve as a crucial area
Figure 38 Hip as a crucial area
Figure 39 Waist as a crucial area

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4.4.3. Crucial area of fit in shirt
As per the review of literature, the shirt is a garment worn by practically every man from the
fifteenth century in western world and since then adapted in several forms by men all over
the world. However, a misconception connected with the fit of the shirt is that fit is based on
an individual’s preference and perception and hence there are can be no issues with it.
There is negligent research available in the field of fit for the menswear jacket and evidence
of research conducted is very little. Though Chan67 (2005) has conducted his doctoral
research in this area but it is based on the pattern development of shirt and does not cover
issues related to fit. The questionnaire was used to identify the crucial areas of fit the
questions were based on attitudinal scales. The data collected was evaluated for both
academia and production team on SPSS and the results are placed in Annexure 5.
The graphical representation of the data was also analysed and the resultant issues are
listed both for academicians and industry members, most of the areas identified are
common however academician felt that waistline is also important, this may be due to the
different styles and pattern making methods adopted for developing the shirt followed in the
industry and in the academic institutes have been tabulated in Table 11. The academia is
required to deal with trends which at present are for closer fit in a shirt. Figures 40 to 43
graphically depict the data and validate the results.
Table 11: Important Fit parameters analysed from data generated from analysis for shirt

1 Collar Collar
2 Shoulder Shoulder
3 Chest Chest
4 Armhole depth Armhole depth
5 Sleeve Sleeve
6 Waist area
7 Hip area
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Figure 40 Chest as a crucial area
Figure 41 Sleeve as a crucial area
Figure 42 Neck as a crucial area
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Figure 43 Armhole as a crucial area

4.4.4 Pattern Cutting systems prevalent in India
The section V of the questionnaire also had questions that were used to collect data to
assess the views of the respondents both for industry and academia about the need for
change in the manner the patterns are cut in the industry and their opinion if there any
training required for skill level up-gradation of the pattern maker. The analysis of data
generated through cross tabulations on SPSS placed in Annexure 6.
It can be clearly seen that though most of the respondents from industry felt that there is no
need to change the way patterns are cut, but have felt that there is a need to upgrade the
skill level of pattern master. This is as most of the practicing pattern makers have learnt the
skill either as a family profession or on the job. Today’s market is a global market to keep up
with the designs and trends of international markets these pattern masters need to keep
with new methods of pattern making and technological innovations and developments in the
field. The analysis of the data generated through cross tabulations on SPSS placed in
Annexure 6.
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It is visible that academicians irrespective of experience and level of training felt that there is
need a definite for further training and they also felt there should be a change in the manner
in which patternmaking is taught in most of their institutes. On the analysis of the data, it can
be clearly seen that there is strong correlation between the number of years of experience
that an academician and an industry member has with that for a felt need for change in the
manner patterns are cut. There is a dependency between years of experience and need for
change from both academicians and industry. Industry members, who had more years of
experience, felt that there is need for change though they were reluctant to admit issues of
fit that they have faced with the clients. The industry members who have had no formal
training also felt there is no need for further skill up-gradation for pattern masters. There is a
strong dependency between formal training & need for training from industry members
which can be seen in the charts placed at Annexure 8.
On the analysis of section V of the questionnaire, through the collated and collected data,
regarding the issues of fit that have been faced by both academia and industry members the
data generated was analysed for correlation using SPSS. It is seen that academicians
irrespective of experience have faced issues of fit they also admitted to the problem areas.
Irrespective of experience in the industry members have faced issues of fit however they
were less forthcoming about the same.
The common areas where both the groups have faced issues are armhole depth, gaping on
the lapel. Both these issues are due to the body shape. Even though the body
measurements might be same the shape of the body and posture contribute to this problem.
Academicians have issues with collar fit but industry members find collar variations a
problem, most of the Indian garment industry cut the collar in an age old method learnt at a
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time when there was a large prevalence of illiteracy and innumeracy amongst the pattern
masters. Shoulder is another common problem area where Academicians felt concerned
and industry members felt that the same not falling in correct position is an issue, this area
is also related to the body shape and posture.
Industry members found the sleeve to be an issue, and academia identified the proper
swing of the sleeve to be an issue that they have dealt or have found it to be a concern. The
correct ease in the garment was an issue with academicians whereas, the fit around the
chest area especially in the jacket was a problem that the industry members identified.
Table 12: Crucial Fit issues faced by both Academia & Industry

1 Collar Collar variations
2 Shoulder Shoulder not falling correctly
3 Armhole depth Chest
4 Sleeve swing Armhole depth
5 Body shape Sleeve
6 Gapping on the lapel Oversize body shape
4.5 CONCLUSION
An analysis of generated data from the questionnaires was carried out to identify the current
industry and academic practices. The data generated was analysed using SPSS software
through T–Test, Regression, Chi -Square Test and other statistical tools for arriving at
conclusions. The purpose of data analysis was essentially to establish the following:
Authenticate the need for block method to develop patterns for menswear patterns
Confirm the fit parameters for menswear garments
Ascertain the best practices of pattern development by both industry and faculty
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Verify the fit evaluation methods applied and utilized by academia and industry
Corroborate the issues in menswear patterns and fit faced by academia and industry
due to body type, posture and size variations.
The inferences derived from the above analysis can be summarized as:
1. The block method has distinct advantages which were accepted by both
academicians and industry members. They agreed that it is useful to employ the
block method as it is efficient, effective and productive to work with it for
development of patterns.
2. However, most of them were neutral on its application for developing patterns for
menswear
3. The industry members use the trial method for checking fit of jackets alone and
do not feel a need of a trial for the shirt.
4. It was deduced that the problem areas of fit faced by industry and academia are
similar, with the main issues being the collar, gaping on the placket, body shape,
sleeve swing and appropriate ease in the garments.
5. Academicians referred to books and experts to solve problems while a large
number of industry respondents ignored the issues.
6. It was found that a majority of industry members cut patterns manually in their
units.
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CHAPTER FIVE: SLOPER DEVELOPMENT

5. METHODOLOGY FOR SLOPER DEVELOPMENT
5.1 BASIS FOR SLOPER DEVELOPMENT
The review of literature was done in the following areas
 Understanding men as consumers
 Understanding the Indian and global menswear market
 Terminology of pattern making
 Study various methods of pattern making being followed in the industry
 Understanding menswear pattern making practices in the industry
 Understanding fit parameters specifically for menswear garments
 Understanding grading and measurements required for upper torso garments
for menswear
For development of a menswear sloper, the first task was to choose the established expert
methods by which the developed patterns could be compared in order to, test and validate
the fit of the garments produced by the new method. The next step was to identify the
method by which the pattern of the torso block for menswear was to be developed. Also, to
finalize the garments that require to be developed on the sloper for its substantiation, the
size in which these should be made and the steps for validation of the sloper were defined.
The aim of the exploratory work, to be carried out, was to determine if the basic pattern
developed on the fundamentals of basic bodice sloper of women’s wear would also fit the
male body that could be later used in phase two to develop garments made on the basis of
this sloper and validate the fit. In phase three, these garments were developed in suitable
and appropriate fabrics and trial for fit and comfort was undertaken.
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5.1.1 Size selection
Seventy one percent of total garments sold in the Indian menswear industry are in the sizes
thirty eight, forty and forty two, of which size forty accounts for fifty percent. This fact was
corroborated by the pilot questionnaire and revalidated with interviews of the industry
members from leading menswear companies (Annexure 7). In this research, the aim was to
focus on a group formed by men wearing size 40, and to narrow the scope of the research.
This was based on the fact that the apparel industry has globally elected the size 40 of
United States and United Kingdom, and its other counterparts – as the size with which the
patterns of prototypes were created (Simoes306, 2012). The process was started with
identification of the most appropriate approach to pattern development for menswear both in
the industry and for the academics. The similarities and differences among the participants
of the selected group had to be studied especially in terms of the relationship between body
shape and body dimensions or measurements. The technique for this procedure was based
on theoretical sampling it is referred to as ‘based on’ because the objective of the study was
not to be the representation of all possible body variations existing in the society for men’s
body structure but representative of a population of a certain age, size and gender
(Seivenwright294, 2007). As Sandelowski283 (1995) points out, "determining adequate sample
size in qualitative research is ultimately a matter of judgement and experience" and
investigators need to assess the value of the information amassed in view of the purpose of
use, and the research method, sampling and analytical strategy employed.
5.2 IDENTIFICATION OF BOOKS ON PATTERN MAKING
In order to develop a menswear sloper it was imperative to study the practice of developing
patterns in both Indian, as well as, international markets. As part of the primary research, a
study was carried out to determine the pattern making methods in menswear garments
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which are currently being employed as described earlier. The questions were addressed to
both academicians and industry members regarding the reference, research and
methodology which they had either used or were aware. From this list very few names
emerged. There is evidence of insignificant literature in these subject areas by Indian
experts.
Through the literature review, an effort was made to identify methodology that may be
employed as a guide to develop the basic sloper. An analysis was done to further
substantiate the pool of knowledge regarding what constitutes a well-researched,
recognized, documented and accepted method of developing patterns with which the
developed sloper and garments may be compared to, equated and adjudged with.
The methodology followed was to identify two methods of making patterns being followed
internationally, that are well established and documented in pattern making methods of
experts. These methods were identified on the basis of the number of researchers who have
quoted from this literature in their work or used the method to develop the pattern or
employed the prescribed methods in their research, that establishes the credibility of the
pattern making book as well as the pattern development method. A list of these books that
have been widely referred has been compiled and is placed below:

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Table 13: List of Referred Books
S. Name of the Book Womenswear Cited in research papers/ doctoral

No. or dissertations by following
Menswear researchers.
139
1. Metric Pattern Making for Womenswear 1 C. Hardaker & Gary Fozzed
8 176
womenswear – W. Aldrich 2 Sungmin Kim & Chang Kyu Park
274
3 Timo Rissanen
109
4 Jing- Jing Fang & Cheng Kailia
132
5 Ph. Guerlain & B Durand
141
6 F. Heisey & P Brown
92
7 Hein Daanen
164
8 Ikuo Ito , Keisuhi Kewach
175
9 InHwan Sul & Chang Kyu Park
204
10 Jiyun Li & Jiaxun Chen
44
11 Phyllis Brackelsberg &Jane F.
Been
12 Phoebe R Apeagyei, Rose Otieno &
21
David Tyler
288
13 Nancy A Schofield , K. LaBat
65
14 Chan A P, J Fan , W Yu
15 Phoebe R Apeagyei & Rose
19
Otieno
62
16 Morris Campbell
306
17 Ines Simoes
168
18 Jatuphatwarodom , Punyopat,
Cholsakron & Mongkholrattanasit
148
19 Huang Haiqiao
20 Tailored Fashion Design, Pamela
266
Powell
73
2. Metric Pattern Making for Menswear 1 Yu Chen , Xianyi Zeng
3 274
Menswear– W. Aldrich 2 Timo Rissanen
251
3 Roger Ng & Winnie Yu
21
4 Phoebe R Apeagiyei , Rose Otheno
& David Tyler
288
65
6 Chan A P, J Fan , W Yu
19
Otieno
62
8 Morris Campbell
266
Powell
148
10 Huang Haiqiao
274
3. Designing through Pattern Womenswear 1 Timo Rissanen
22 58
Making – H. J. Armstrong 2 Elizabeth Bye , & E. McKinney
78
3 Yong Sook Cho , Keiichi Tsuchiyu
175
4 Kim C H and Park
207
5 Jiyun Li & Jiaxun Chen
298
6 Lenen Shen, Janice Huck
71
7 Chin Man Chen
55
8 Elizabeth Bye , K. LaBat , Ellen D.
Eugene
164
9 Cynthia Istook
132

62
10 Morris Campbell
121
11 Hae Jin Gam , Huantian Cao,&
148
12 Huang Haiqiao
306
13 Ines Simoes
215
14 Mark Liu
274
4. Basic Pattern Development – Womenswear 1 Timo Rissanen
186
Kopp Zelin 2 Koh Thong Huee, Engwah Lee,
184
Yong Tsui Lee .
148
3 Huang Haiqiao
274
5. Fundamentals Fashion Design-a Menswear 1 Timo Rissanen
166
guide to tailored clothes- 2 Ikuo Ito , Keisuhi Kewach
173 78
Masaaki Kawashima 3 Yong Sook Cho , Keiichi Tsuchiyu
304
4 Karla Simmons , Cynthia Istook &
Priya D
288
100
6 Chen Dongsheng & Zho Qing
242
7 Maria L. Mpampa , Philip N.
Azariadis & Nickolas S. Sapidis
266
Powell
188 55
6. Philip Kunick Womenswear 1 Elizabeth Bye , K. LaBat , Ellen D.
Eugene
288
148
3 Huang Haiqiao
315 176
7. M. Shobhen & Ward Womenswear 1 Sungmin Kim & Chang Kyu Park
166
8. Bunka System Womenswear 1 Ikuo Ito , Keisuhi Kewach
78
2 Yong Sook Cho , Keiichi Tsuchiyu
148
3 Huang Haiqiao
87 55
9. Gerry Cooklin Womenswear 1 Elizabeth Bye , K. LaBat , Ellen D.
Eugene
19
Otieno
242
3 Maria L. Mpampa , Philip N.
Azariadis & Nickolas S.Sapidis
62
4 Morris Campbell
306
5 Ines Simoes
215
6 Mark Liu
275 288
10. M. Rohr Womenswear 1 Nancy A Schofield , K. LaBat
11. A. Ladbury Womenswear 1 Koh Thong Huee, Engwah Lee,
184
Yong Tsui Lee .
153 306
12. W H Hulme Menswear 1 Ines Simoes
243 168
13. Muller & Sohan Menswear 1 Jatuphatwarodom , Punyopat,
Cholsakron & Mongkholrattanasit
5.2.1 Analysis
It is evident from the above table that there are more books written and referred to for
womenswear garment pattern making than there on menswear pattern making which have
been quoted by the researchers. This is also due to the fact that most of the research has
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been carried out in the field of womenswear, as it is considered that women, as a gender,
are more concerned about garments and is fit and also the body of a woman is a
composition of most complex geometric shapes. For womenswear pattern making, the book
referred by the largest number of research papers is ‘Metric Pattern Making for
Womenswear’ of Winifred Aldrich which has been quoted by twenty researchers. The book
for womenswear which has been cited by as many as fourteen papers and dissertations and
next most mentioned one is ‘Designing through Pattern Making’ by H. J. Armstrong. The
books for menswear which were referred to by maximum number of research papers and
thesis is ‘Metric Pattern Making for Menswear’ by Winifred Aldrich by ten researchers and is
followed by ‘Fundamentals Fashion Design - a guide to tailored clothes’ by Masaaki
Kawashima which has been quoted by eight researchers. The book by Gerry Cooklin for
womenswear has been cited by six researchers.
5.3 EXPERT METHOD
The research is aimed at developing a basic sloper for menswear torso which will be used to
further develop upper torso garments like jackets &shirts. The books for menswear pattern
making which were referred to by maximum number of researchers in their work and the
identified books are:
 Metric Pattern Making for Menswear– Winifred Aldrich3
 Fundamentals of Men's Fashion Design Guide to Tailored Clothes. – Masaaki
Kawashima173.
Both these books are well written and clarify the reasons and logic of the methods proposed.
Both these books are also widely used as text books in their own country and other schools
associated with them. Ms. Aldrich has been long associated with Nottingham and Trent
University and other Institutes in United Kingdom which have long relationships with several
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other fashion schools. Massaki Kawashima has been with Fashion Institute of Technology
which is closely associated with several schools across the globe.
5.3.1 Comparison of Measurement Charts in two books
At present, India does not have its own size chart each company either refers to a size chart
of US or UK, or uses one of the modified or ‘tweaked’ one which they may have adapted for
their organization over the years (Anand12, 2013). From the review of literature, it has been
made clear that for menswear there is no difference between sizes from US or UK. As a part
of investigation and study size range of menswear garments produced in the country were
collected, These size ranges were analysed and information was also sought on which size
was being produced in maximum quantity, it was analysed and it confirmed that the sizes
which is being produced maximum were size 40 and size 38 and as much as 70 percent of
the production is in these sizes the same is appended in the annexure7.
In order to establish valid sizes the size charts of these two books were compared. The
measurement charts showed that Kawashima follows the imperial system of measurements
and Aldrich the metric system as prevalent in their two countries. Aldrich in the size chart
gives five sizes, but Kawashima gives six sizes this is in consonance with their countries
size ethos. US with larger size variation offer more number of sizes than UK. Aldrich gives
measurements of twelve parameters, while Kawashima gives only eight. This is due to the
fact that Kawashima does not give the pattern for the shirt. The added parameters in Aldrich
are for shirts.
Though the measurements are given in inches for Kawashima, and in centimetres for
Aldrich, on conversion they were found to be identical. The given size charts were used to
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develop patterns for the garments given in the respective book in order to ensure that the
developed patterns had no scope for error or issues in fit due to any measurement or
dimensional inaccuracy in the formulae used.
Table 14: Measurement chart-‐ W. Aldrich3
For Jackets and Shirts for Young body (in cm)
Chest 88 92 96 100 104

Hip 90 94 98 102 106
Natural Waist 71 75 79 83 87
Half Back 18.5 19 19.5 20 20.5
Natural Waist Length 43.4 43.8 44.2 44.6 45
Scye Depth 22 22.8 23.6 24.4 25.2
Neck Size 37 38 39 40 41
Sleeve Length 1 pc 63.6 64.2 64.8 65.4 66
Sleeve Length 2pc 79 80 81 82 83
Close Wrist Measurement 16.4 16.8 17.2 17.6 18
Cuff Size 2pc Sleeve 26 27 28 29 30
Shirt Length 76 78 80 81 81
Cuff size for Shirts 22 22.5 22.5 23 23
Table 15: Measurement chart – M. Kawashima173
For Jackets and Shirts for Regular Fit (in inches)
Size 34 36 38 40 42 44
Chest Circumference 34 36 38 40 42 44
Waist 28 30 32 34 36 38
Hip 34 36 38 40 42 44
Front Chest 14.5 15 15.5 16 16.5 17
Back Waist Length 17.5 17.75 18 18.25 18.5 18.75
Shoulder Blade 16 16.5 17 17.5 18 18.5
Jacket Length 28.75 29 29.25 29.5 29.75 30
Jacket Sleeve Full Length 22.37 22.65 22.85 23.12 23.37 23.65
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5.3.2 Book by Aldrich
Winifred Aldrich, in her book, ‘Metric Pattern Cutting for Menswear’, has characterised size
labelling as: 97, 102,107 and others this as per British standards. According to her, the
British Clothing Manufacturers’ Association in 1980 had recommended adoption of
continental system of sizing where, men’s outerwear (suits, jackets and coat jackets) should
be graded or sized at four centimetre intervals with hundred centimetres as the base size.
The organization, British Standards, has established a size system vide BS 6185: 1982
(1988), that denotes the size of the body for a man that the garment is intended to fit. It may
be noted, the size denotes the body size, and not the garment measurements. She has
further clarified that high street fashion outlets had started making clothes in the metric
sizing for younger generations. However, manufacturers of conventional menswear clothing
retained imperial sizing. According to Aldrich the size charts are constructed, based on the
following three factors namely (a) Anthropometric measurements that are worked out based
on data generated through population surveys. Secondly on the (b) type of garments being
made like jackets are cut on chest size, the trousers are made on waist size and shirts are
patterned on the neck size. Thirdly the (c) size charts are based on the market for which it is
intended as an example if the product category is for younger man or older man it would be
based on the body type of man, for e.g. young, mature, regular, tall or short.
Aldrich defines the block as a foundation constructed to fit a specific figure. Further
elaborates that a block can be drafted to fit an individual figure, using individual
measurements, however, in the clothing industry, blocks are constructed on the standard
average measurements for specific body type. That is, the relationship of chest
measurement to the hip measurement of an average individual for a particular body type.
The block is constructed to a set of standard measurements for a particular size. It is used
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as a basis for interpreting a design and producing a finished pattern. The design shape may
change significantly, but the basic fit of the pattern will conform to the size of the basic
sloper. According to Aldrich, the blocks include the basic amount of ease required for the
function of the block.
Aldrich in her book gives twelve different blocks for upper torso, these are based on the
function the block has to perform in other words the type of garment the pattern maker has
to develop would determine the block which will be used. They are:
1. Close fitting block to be used for developing a classic or a casual jacket
2. Easy fitting classic casual jacket block- this block has an extended shoulder line for
casual look.
3. Over garment block for developing overcoats
4. Easy fitting over garment block to be used for developing very loose jackets that
require an extended shoulder line.
5. Classic shirt block for making regular formal shirts
6. Casual shirt block for making casual and comfort fit shirts
7. Classic suit block for developing formal tailored jacket
8. Easy fitting classic suit block for developing a tailored jacket that has ease built in it.
9. Classic waist coat block for making fitted waistcoats
10. Simple flat body block used for developing casual or sporty jackets
11. T-shirt block to develop garments in knitted fabrics
12. Pyjama Jacket Block - to develop pyjama tops
5.3.3 Book by Kawashima
A detailed study of the book ’Fundamentals of Men’s Fashion Design, a Guide to Tailored
Clothes’ by Masaki Kawashima was also undertaken. In his book he has stated that the
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jacket has the most complicated pattern design due to the fact that it has maximum number
of garment details and pattern lines in its every basic silhouette and composition compared
to any other menswear garment. Though in his book he has demonstrated a large number
of design variations for jackets only and also gives detailed steps to explain the procedure to
develop the deigns. However the research that must have been undertaken as a
background to the book is not available. Whereas Aldrich, in her book explains the
background but does not explain the basis on which she has developed the steps or the
procedure of pattern development, especially for the basic sloper or basic silhouette.
Robert Green in the foreword to Kawashima’s book has stated that “the most important and
the most misused element of menswear is that of fashion”. He further adds that to deal with
today’s market one has to think of fashion as a source of constant change brimming with
new ideas. Kawashima, in his introduction, has said that due to the wide variety of body
shapes and proportions, of human beings, he has worked on the figure which can be
classified as ‘average’, ‘standard’ or ‘normal’.
The book gives five basic jacket ‘fits’ based on the desired look of the garment or apparel.
They are as follows:
1. Casual or sack
2. Basic
3. Fitted
4. Torso Cut
5. Cape
Along with these basic slopers, the book has over thirty two design variations, they are
based on the cut of the garment and design variations are given as a separate kind of jacket,
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for example three Cardigan jackets are there casual, buttoned and collared cardigan jacket
with separate pattern and elaborate individual sketch and instruction for pattern
development. In the same manner there are three Italian Fit jackets like Italian cut jacket,
one button single breasted Italian cut jacket, three buttons single breasted Italian cut jacket.
There are three Continental jackets, Ivy League Jacket, Dinner Jacket and others. A well
written book for the intended audience which covers a waistcoat referred to as a vest both
with a collar and without a collar. However this book does not give pattern development
methods for shirts.
The pattern development of jackets and shirts, along with suitable sleeve patterns and
appropriate collars, was done on the methods given in the two books. The investigation
started with development of jacket patterns given in Aldrich’s book followed by the jacket
pattern given Kawashima’s book.
At present in India, there is no uniform size chart which has been developed for the country
based on a pan India anthropometric survey and hence even in the garment industry.
Clothing manufacturing companies in India, work on size charts developed for their specific
clientele by themselves. These are based on company experience, more on hearsay, rather
than the scientifically collected, collated or analysed data of the human body measurements
through anthropometric surveys. This leads to a unique problem for new entrants in the field
who have no idea of what measurements each size entails or means of verifying the same.
In the absence of national size chart, available size charts of three leading Indian clothing
manufacturers who produce menswear garments especially shirts and jackets were
collected. Due to commercial implications because of competition between brands as the
size charts are brand specific, names of the companies cannot be revealed hence they are
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identified as company ‘A’, ‘B’ and ‘C’. The measurement charts were studied in detail and
differences in measurements of same body parameters for same size were noticed, for
example the chest measurement for size 40 shirt in all three companies is different. The
sleeve length, the shoulder size, the length of the shirt and even the neck size varies.
Table 16: Measurement chart for size 40 Regular Fit – from different companies
Company A
Size Company B Company C
In cm
Chest Circumference 104.4 110.4 107.4
Waist 96 102 99
Hip 104 110 108
Cross back 43.5 44 43.6
Shoulder Blade 45.6 46 45.6
Jacket Length 73.5 77.5 75.5
Jacket Sleeve Full Length 64.5 64.5 64.5
Due to the variations in measurements for the same size, it was decided to follow the
established size charts in Winifred Aldrich book which are based on British Standards.
Secondly the muslins developed for the size 38 size 40 and size 42 all were found to be well
fitted on the dress forms during test fitting by the investigator.
5.4 PATTERN DEVELOPMENT BY EXPERT METHOD
The patterns were developed for three identified sizes by the investigator from the two
expert methods based on the two books namely ‘Metric Pattern Making for Menswear’ by
Winifred Aldrich and ’Fundamentals of Men’s Fashion Design, a Guide to Tailored Clothes’
by Massaki Kawashima.
The pattern development started by developing the jackets by first by Aldrich, including the
notch collar and two piece jacket sleeve and then by Kawashima. The method adopted by
Kawashima method is slightly different than Aldrich as he first develops sloper for jackets
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that is based on the fit and final look required. Then he proceeds to give detailed procedure
for design development of the desired style. The two piece sleeve and notch collar as
entailed by him were developed.
5.4.1 Aldrich’s method for Jacket
Figure 44 Classic Tailored Jacket

3
(Aldrich 1997)
The sketch given is from the book itself and instructions for the pattern has also been taken
verbatim from the text in the book.
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5.4.1.1 The Classic Suit Jacket Block
Measurements required to draft the block for an athletic figure:
Chest: 100cm, Scye depth: 24.4 cm, Natural Waist Length: 44.6 cm, Neck size: 40 cm,
Half Back: 20 cm, Jacket Length: 76 cm, Two piece Sleeve Length: 82cm, Cuff size: 29 cm
A one centimetre seam allowance is incorporated in the pattern except where clearly stated,
‘no seam allowance’.
5.4.1.2 Body Section
Square both ways from 0 (square down and square out from zero)
0-1: scye depth plus 1 cm; square across
0-2: half measurement zero to one; square across
0-3: one fourth scye depth; square across
0-4: natural waist length; square across
4-5: 21 cm (seat line or hip line); square across
0-6: Jacket Length; Square across
4-7: 1.5 cm; square down to 8 and 9; join 7 to 1 to complete back seam line
0-10: One fourth neck size minus 0.5 cm; square up
10-11: 2 cm; Draw in neck curve
1-12: Half Back plus 2.5 cm; square up to 13, 14
14-15: 2.25 cm
15-16: 2 cm; Draw in slightly hollowed shoulder line
12-17: One fourth of scye depth- 1 cm
17-18: 0.5 cm
18-19: 1 cm; square down to 20
19-21: 1 cm
12-22: 2.5 cm; Square down to 23 and 24
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1-25: Half chest plus 10 cm; square down to 26 and 27
27-28: 2 cm; Join 24 to 28
12-29: One sixth of chest minus 1.5 cm; Square up 2 cm to 30
29-31: Half measurement 29-25 minus 1 cm; Square up to 32; Join 32 to 14
32-33: The measurement 11-16; square down 1 cm to 34; Join 34 to 30 and 34 to 32
30-35: One third measurement 30-34; 35-36 is 1.5 cm
29-37: 4 cm; Square down to 38, 39; Draw in armhole shape; make a step of 0.5 cm at 19
24-40: 3.5 cm; Draw in back seam 19, 23, 40. Draw in back seam of side body 19, 20, 24
39-41: 0.5 cm
39-42: 2 cm; Draw in front seam of side body 37, 38, 41.
Draw in front seam of fore part 37, 38, 42; Curve in 37-38 by one centimetre
29-43: 2.5 cm; Square down to 44, e8 cm below the waist line (centre of pocket); Square
across
44-45: 8.25 cm,
44-46: 9.5 cm;
46-47: 1 cm; Join 45 to 47
45-48: 1.5 cm; Square up to 49 and 50; 6 cm below scye depth line;
Draw in 1 cm front dart at 50
25-51: 1.25 cm; Join 30-51
30-52: 4cm
52-53 10 cm; Square up from 52 and 53. Draw in chest pocket
26-54: 1.5 cm. Top buttonhole position; Square out
54-55: 10 cm. Lower buttonhole position
54-56: 2.5 cm
28-57: 6 cm; Join 56 to 57 as shown
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29-58: Half measurement 12-29 minus 1 cm Mark underarm point
Mark back pitch BP 1.5 cm below 13 Mark front pitch point (FP) at 30
The investigator drafted the collar pattern as entailed in the book. The same has not been
documented as it is not an objective of the study but was developed to complete look of the
jacket and suitable for the expert panel to evaluate a complete piece.
5.4.1.3 Two piece sleeve pattern
Figure 45 Two piece Sleeve

(Aldrich 1997)
6
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5.4.1.4 Top Sleeve:
Mark point 0, square across, up and down.
0-1:2cm. Mark FP
0-2: The measurement 12- BP on the jacket pattern. Square across
0-3: One third measurement 16-18 plus 21-34 on the armhole of the jacket block. Square
across
1-4: The measurement 34-FP on the block measured in a straight line plus 2 cm. Join 1-4
4-5: The measurement 16-BP measured in a straight line plus 1 cm. Join 4 to 5
0-6: 2 cm. Square down with a dotted line. 7 is the midway between 4 and 5
4-8: One third measurement 4-1.
Draw in sleeve head through the points 5,4,1,6 as shown in the diagram
5-9: 1.5 cm
9-10: Sleeve length minus half back plus 1cm
10-11: Half measurement 1-10. Square across
10-12: 3.5 cm; Square across
12-13: Half cuff size plus 2 cm. Join 13 to 10.
Join 6 to 14 curve line inwards, 1.5 cm at the elbow.
15-16: 3 cm. Join 5, 13 curving the line through 16
5.4.1.5 Under sleeve
0-17: 2 cm. Square down with a dotted line
17-18: 0.5 cm
10-19: 2 cm. Join 18-19 curve line inwards 1.5 cm at elbow line.
0-20: the measurement 29-58 on the block plus 0.3 cm
21-22: is measured straight to touch the line from 2 to 5.
The measurement is BP-18 plus 21-58 on the block measured in a curve plus 0.5 cm
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23 midway between 21 and 22
23-24 1.5 cm. draw a curved line through the point 22, 24, 21, 18
22-25: 1.5 cm. Join 25 to 13. Mark point 26 on the elbow line
26-27: Half the measurement 16-26 plus 0.8 cm.
Join 25-13 curving the line through 27. Extend back seam line 0.25 cm above 25 to 28
Extend underarm seam 0.75 above 22 to 29. Join 28-29. Picture of the garment test fit was
taken for record and is placed below for the reference.
Figure 46 Muslin test fit of Jacket by Aldrich pattern
147

5.4.2 Kawashima’s Jacket Pattern
Figure 47 Classic Tailored Jacket pattern

173
Kawashima , 1998
5.4.2.1 Basic Jacket Sloper
The following measurements are needed:
Half Chest: Circumference three and a half inches for ease. Centre front to centre back
Half Front Chest, Half Shoulder Blade
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5.4.2.2 Method
1: Back neck point
1-2: Back waist length (centre back)
2: waist
3: Half of 1-2
4: Chest
3-4: 1¾’’
1-5: 1/5th of 1-4
5: Shoulder guideline; Square out from 1, 5, 4 and 2 towards left.
4-6: Half of chest plus three and a half inches for ease
6-7: Half front chest plus three eighths of an inch
8: Half of 6-7
4-9: Half shoulder blade minus quarter inch
10: Half of 9-7. Establish side seam. Square up and down from 6 to establish centre front.
Square and down from 8, 7 and 9. Square down from 10 to waist.
11-12 is equal to 11-13 minus three fourth of an inch. Square out 12-14,
14-15: three quarters of an inch. Join 12 to 15 with a straight line
5.4.2.3 Back
1-A: 11-13 minus five eighths of an inch
A-B: Back neck rise, which is one third of 1-A minus quarter inch.
C is the midpoint of AB
C-D: Shoulder length minus one eighth of an inch. Join CD as a guideline
E: The half of CD. Join B to E with a light curve and E to D to finish back shoulder.
1-F: One eighth of an inch Join BF to finish back neck line
13-G is BD minus three eighths of an inch for front shoulder. Join 13 to G with a straight line
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H is one third of 15-12
Join 13, H and 12 for front neckline of the jacket.
5.4.2.4 Front armhole
Mark I where 7-I is one third of 7-16. Join I to 10, and I to G. J is the midpoint of I to 7.
Join J7 K is the midpoint of J to 7.
L is one inch from 10.
M is half of GI
MN is quarter inch in.
Join G, N, I, K, L, 10 for the front armhole.
5.4.2.5 Back armhole
O is the midpoint of 17-9. Join O to 10.
10-P is one third of O-10
Join P-9
P-Q is on third of P-9.
Join D, O, Q, 10 for the back armhole.
Extend line 1-2 and 11-6 by the required jacket length.
5.4.2.6 Jacket pattern
Outline the sloper with required jacket length
5.4.2.7 Back panel
A- 1/2 neck to chest line
B-C 1”
C- D 1”
E –F 1”
Connect A to D and D-F with a straight line to finish centre back.
G 3” above chest line
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H 1” above waistline
H- J ½”
Connect G-J with a curve and J-I with a straight line to finish back panel.
5.4.2.8 Front panel
H-K ½”
Connect G –K with a curve, connect K-I with a straight Line.
L 1/3rd M-N
Connect L to O as a guideline.
P 1”
L – Q ¼”
P –R ½”
P – S 4 ¾”
Connect Q – R with a curve and R –S also with a curve
L –T ¼”
P – U ½”
Connect T-U with a curve; connect U- S with a straight Line to finish the dart
V-W ¾” for extension
W- X 2”
Y- Shoulder at the neck
Y- Z Collar Stand
Extend neckline and square off lapel width 1-2 according to design
Connect 2- X with a curve using a deeper curve towards 2
3 -4 ¾”
4-5 ½”
5-6 1 ¼”
151

Connect W-6 with a straight line as a guide
Connect W-7 according to design
Connect 7-I with a curve
8 1/2 9 to N
10 1” above waist line
10-11 3 ¼”
Connect 8 -11 with a straight line
10-12 ¼”
Connect 8 -12 with a straight line
Connect 12-11 with a straight line to finish front panel
Picture of the garment test fit was taken for record and is placed below for the reference.
Figure 48 Muslin test fit of Jacket by Kawashima pattern

152

5.4.3 Conclusion
The patterns were made by these two methods for the jacket, first by Aldrich, including the
notch collar and two piece jacket sleeve, and then by Kawashima. Aldrich, in her method,
gives steps to develop patterns but does not explain the details and reasons for the same.
The notch collar in her book is made on a roll line rather than the front neckline, this is in
sync with tailored or industry method being followed in India. The drawback with this method
is that the collar variations for design development are not made clear to the reader. The
reader would be grouping in darkness for style variations. The two piece sleeve is
developed by direct drafting method which uses the measurement of each segment of the
armhole to be measured and applied for the development of the sleeve cap. The fit of the
jacket made by Aldrich method is slimmer and closer fit than by Kawashima. Aldrich
includes one centimetre seam allowance in the patterns.
The method adopted by Kawashima method is slightly different than Aldrich as he first
develops the sloper for jackets, which is based on the fit and final look required. Then he
proceeds to give detailed procedure for design development of the desired style. The two
piece sleeve in this method is developed by folding the basic sleeve at the centre in order to
eliminate the under arm seam and close the dart at elbow to swing the sleeve forward. This
method makes it easy to comprehend the concept of two piece sleeve by readers for whom
this book is intended. The notch collar as entailed by him was developed and it was easy to
adopt for style variation. Though the fit of the jacket is fine, but it gives the wearer a bulky
look. Kawashima has no seam allowance in the developed patterns.
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5.4.4 Shirt by Aldrich
Figure 49 Classic shirt block

(Aldrich 3, 1997)
Measurements required to draft the block for an athletic figure:
Neck size: 40 cm, Chest: 100cm, Scye depth: 24.4 cm, Natural Waist Length: 44.6 cm, Half
Back: 20 cm, Sleeve Length: 89 cm, Shirt Length: 81 cm, Cuff size: 29 cm
A one centimetre seam allowance is incorporated in the pattern

154

5.4.4.1 Body Section
Square both ways from 0 (square down and square out from zero)
0-1: scye depth plus 4 cm; square across
0-2: natural waist length plus 3 cm; square across
0-3: shirt Length plus 8 cm; square across
1-4: ½ chest plus 12 cm; square up to5 and square down to 6 on hem line.
0-7: 1/5 neck minus size minus 0.5 cm; square up
7-8: 4.5 cm; Draw in neck curve
0-9: 1/5 measurement 0-1 plus 2 cm; square out
9-10 ½ back plus 4 cm; square down to 11 on scye depth line and up to 12
12-13 0.75 cm; join 8-13 with a slight curve
10 -14 10 cm.
10-15 0.75 cm; join 14-15 with a slight curve
1-16 ½ the measurement 1-4 plus 0.5 cm; square down to 17 and 18
5-19 4.5 cm; square out
19-20 1/5 neck size minus 1 cm.
19 -21 1/5 neck size minus 2.5 cm; draw in the neck curve.
10-22 1.5 cm; square out
20-23 the measurement 8-13 plus 0.5 cm; join 20-23 with a slightly curved line
1-24 1/3 chest plus 4.5 cm
24-25 square up 3 cm from 24; join 23-25
23-26 ½ the measurement 23-25
Draw in armhole shape through points 13, 10,16,25,23 curve inwards 1 cm at 26.
21-27 1.5 cm button stand; square down
27-28 3.5 cm for facing; square down
155

17-29 2 cm; 17-30 2 cm
18-31 20 cm; square across
31-32: 1 cm; 31-33: 1 cm; draw in side seams
34: midway between6-18; square up
35: Midway between3-18
34-36: 4 cm; square across to front edge
Draw shaped curves as shown from 33-35 and 32 -36
If pleats are required 9-37 is 2 cm; square down
5.4.4.2 Sleeve
Square down from 0
0-1: ¼ arm scye measurement; square across. Measure outer edge of body block
0-2: Sleeve length plus 6 cm; minus cuff depth and yoke width 0-13; Square across
1-3: Half measurement 1-2; Square across
0-4: Half arm scye measurement; Square down to 5
0-6: Half arm scye measurement; Square down to 7
Divide 0-4 into 4 sections. Mark points 8, 9 and 10.
Divide 0-6 into 4 sections. Mark points 11, 12 and 13. Draw in sleeve head.
Join 4-8, raise 1 cm at nine, 2 cm at 10.
Touch point 0. Raise 1 cm at 11.
Touch point 12. Hollow 1 cm at 13, Join to 6
5-14: 1/3 measurement 2-5
7-15: 1/3 measurement 2-7.
16: Midway 5 to 14.Join 4 to 16
17: Midway 7 to 15. Join 6 to 17. Draw in underarm seams as shown.
18: Midway 2 to 14. Square up 15 cm to 19
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18-20: 1 cm. Join 2 to 14 with a curve.
5.4.4.3 Cuff
Cuff size + 4cm; Cuff depth plus 2 cm
5.4.4.4 Collar
Construct shirt collar with stand. Depth of classic shirt collar and stand is approximately 8
cm. Picture of the garment test fit was taken for record and is placed below for the
reference.
Figure 50 Muslin test fit of shirt pattern by Aldrich
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5.5 CONCLUSION OF PATTERN DEVELOPMENT BY EXPERT METHOD
A set of muslins for a tailored jacket and shirt were drafted and cut in muslin for the dress
forms of sizes 38, 40 and size 42 that were developed from the identified books that have
been most referred by various researchers. Both the books follow the garment drafting
method and do not have a pattern for basic sloper. Aldrich gives a separate sloper for
jackets and the muslins were developed for basic shirts and tailored jackets in sizes 38, 40
and 42 for dress form from Aldrich’s book on menswear pattern making and for tailored
Jacket in size 38, 40 and 42 for dress form from Kawashima’s as he does not have a
method for making shirts in his book.
These garments were made by following the given instructions in the book without any
modification or adjustment in the dimensions or in the ease to be given or in the body type of
the sample. This was done in order to achieve the perfect fit completely according to the
expert method prescribed in their respective books. These developed patterns were duly
test fitted in the muslin fabric as per universal practice followed for the procedure. Due care
was taken to ensure replicable and repeatable procedures so that these tests and actions
could be validated and reproduced.
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CHAPTER SIX: BLOCK DEVELOPMENT

6. BLOCK DEVELOPMENT
6.1 INTRODUCTION
Penelope Watkins, a research fellow in 3D Design/Technical Fashion at the London College
of Fashion, has written that the “most blocks or basic patterns used by clothing
manufacturers have been developed and adapted by numerous people over many years.
This means that the rationale implementing the pattern profile, the apportionment of direct
body measurements, proportional measurements and those applied for ease is often
inaccessible” (2011). In other word the logic behind the formulae for development of blocks
is not available.
If the clarification of the parametric equations reached through the process of trial and error
is now lost, it could also be because pattern design has been regarded as a technical
activity within the larger framework of the process of development of clothing pattern making
that functions as a bridge between design and production of the garment (Cooklin87, 1995),
and thus becomes a transitional activity that neither requires or demands from the
practitioners to make an effort to understand the theory supporting the development
progression. Gerry Cooklin86 (1994) reinforces the view, that the books are irrelevant if from
these books where pattern designers learns the skill are either difficult or are vague. Most of
these books also state, that to decipher the concept the reader would require a calculating
machine, and, or otherwise expects the reader to have a blind faith in the author. Cooklin87
further adds that the manner in which patterns are constructed is really immaterial (1995),
Simoes has objected to the statement as it exhibits an inconsistency as he has also in the
same research declared that the construction of clothing patterns depends on four essential
elements – interpretation, technique, technology and freedom which, when combined,
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enables the pattern designers to decode the fashion drawing, accomplish the aimed result
and foresee the production implications of every pattern’s feature while expressing their
individuality as professionals (Cooklin87, 1995).
The above criticism is about both authors and academia of pattern making who usually
finish a pattern instruction without giving sufficient or sometimes any explanation and expect
the student to learn the pattern without understanding the inherent logic with which it is
developed or its correlation to body parts or its movements. Sometimes the only explanation
is that it ‘is done like this’. This is further substantiated by the fact that it would be very
difficult for pattern designers to acquire an open and creative approach to clothing
construction, if they are informed that the basis of pattern development is a mathematical
problem especially that it is a based on the principles of ‘three dimensional coordinate
geometry’. Researchers have concluded that the basic patterns are neither clearly explained
or aren’t even presented or taught to the designers.
The principle of pattern-making is based on parametric design that can be outlined as
follows: firstly, the process of pattern making (graphics topology structure) should be
recorded and then define the same as a pattern template; secondly, define a set of
parameters to make a constraint in the pattern; finally, carry out the process of dimension
driven through modifying the set of parameters and generate new pattern from the pattern
template (Yang343, et al, 2007).
6.1.1 Block
Pattern cutters develop rules and formulae, based on their experience to draft patterns using
a few key body measurements. Traditional flat patterning starts with a set of pattern
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prototypes referred to as blocks or slopers. Based on the blocks, designers create clothing
patterns for unlimited styles because the block provides a basic fit and body shape
description in a two dimensional manner. Developing a set of well fitted blocks is
fundamental for the creation of different styles with better fit.
6.1.2 Key parameters
In order to make a block cover a large range of body figures, it is generally developed on
measurements that are based on and derived from statistical survey of anthropometric data.
Key measurements affecting the body shape are selected, and formulae and equations are
developed to describe the relationship between the key measurement and other
measurements. Different drafting methods use variable number of key body measurements
and also equations to draft a basic block. Some experts use a small number of key
parameters sometimes even less than five parameters to draft and develop a block
(Miyoshi235, 2001: Liu216, 2005:, Campbell61 et al, 1989). By employing and following the
stated procedures, the blocks can be created in a short time, however, one major drawback
would remain that this would lead to creation of identical blocks for individuals who may
have the same key measurement, but have a different body shape and figure. The other
group of experts use more than ten parameters, to create a basic bodice block, thus
reducing probability of creating identical blocks for people with different body shape (Aldrich8
2008; Stanley308 1991; Kopp186 et al, 1991; Armstrong23 2000; Rosen277, 2004; Rucken293,
1994).
These key parameters have to be identified on a body in order to be measured not only
accurately but also at the correct place. Accurate or correct measurements are key and the
base of a good pattern and fit. A dress form with normal or standard male figure of size 40
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was selected as the base size. This dress form is used as a tool for test fit in garment
manufacturing industry both globally and in India, the has been verified by review of
literature. It is generally of ‘an average accepted shape’ for the human body; Kawashima in
the introduction to his book has called it the ‘normal’ figure (Kawashima173, 1998). The
metric specifications of the dress form are listed in the table below in another section. These
measurements conform to the measurements of three leading menswear producers in India.
The body landmarks are crucial to achieve and test correct fit of the body. Since the shell
fabric of the dress form is white in colour black tapes were placed to identify and mark body
landmarks such as centre front line, centre back line, side seam princess line, chest line,
waist line, shoulder line, neck line and armhole line. The body landmarks are as follows:
1. The centre front line is the vertical line from the neck pitch point to the crotch point
2. The centre back line is the vertical line from the nape of the neck to the crotch of the
dress form
3. The side seam line is the vertical line from the armpit to the hem of the dress form.
4. The chest line is the horizontal circumference at one inch below the armhole level.
5. The waist line is the smallest circumference around the waist of the area.
6. The hip line is the horizontal circumference at the fullest part in the area.
7. The shoulder line is the horizontal line from the neck to the shoulder point.
8. The neckline in the circumference along the neck edge of the dress form.
9. The armhole line is the circumference along the arm plate of the dress form.
A detailed and thorough secondary research of dissertations, books on pattern making,
research papers and peer reviewed journals was undertaken to identify the approaches of
other experts for pattern development, methods of measuring the body and the key
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parameters used to develop the pattern. After comparison of several books, a chart was
drawn to list the same down. Miyoshi235, a pattern expert from Bunka, uses only three
parameters, Liu215, from China, has the same parameters. Campbell and Davies61 have ten
key parameters, Helen Stanley308 also from USA and Kopp186, E., Rolfo, V., Zelin, e., &
Gross, L. in their book ‘How to Draft Basic Patterns’ use thirteen parameters each. However,
Aldrich7 uses ten parameters for developing a basic bodice sloper for womenswear. Earlier it
was a trend to use a minimum number of parameters to develop a pattern. In the past the
tailors took pride in drafting patterns on a single prarameter of bust to devlop an entire
garment based on it.
Table 17: Comparing key parameters used by experts from different countries.
No Subject Expert No of Key Parameters
Measurements
235
1 M. Miyoshi 3 Bust, waist, waist length
215
2 M. Liu 3 Bust, waist, waist length
3 Campbell and 5 Bust, waist, waist length, across back, shoulder
61
Davies
6
4 W. Aldrich 10 Bust, waist, waist length, across back, shoulder,
hip length, arm scye depth, neck, bust point, dart
point
308
5 H. Stanley 13 Bust, waist, waist length, across back, shoulder,
hip length, arm scye depth, neck, bust point, dart
point, arm hole depth, front neck level, dart width
186
6 Kopp et al 13 Front length, width of bust, centre front, apex to
centre front, underarm seam, front waistline,
waistline to shoulder, shoulder length, width of
the back, centre back length, back waistline,
shoulder blade, neckline curve
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6.2 PATTERN DEVELOPMENT
From the review of literature and surveys of the Indian industry and academia, the method
used for developing patterns is menswear garments is a garment method and not a block
method has been clearly established. However, most books on womenswear pattern making
use a block method to develop patterns of various upper body garments be it Winifred
Aldrich2, Helen Armstrong23, Kopp186, Ann Ladbury, Pamela Stringer310, or Shobhen and
Ward302. The basic easy fit block given in the book “Metric Pattern Making” by Winifred
Aldrich was chosen as a base to develop the pattern for this study. Since the book by
Aldrich has been referred to and used to develop patterns as a base by several researchers
as illustrated in Table 10 in the previous chapter.
6.2.1 Pattern generation based on easy fit Block for womenswear by Aldrich
A detailed study of the womenswear block was undertaken to understand the logic used by
Winifred Aldrich2 in her easy fit block for womenswear. Other researchers, who have
analysed the same, were also referred to, Simoes has used the block in her doctoral
research but only for womenswear garment where she has combined it with the Fashion
Institute of Technology (New York) method of sleeve pattern development and the easy fit
trouser of Aldrich and the Kimono sleeve pattern of Armstrong to make one piece garment
for a mobile body (Simoes306, 2012). The block has been referred to by other researchers
also but except Simoes others have not analysed the logic the author may have used to
develop the block.
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Figure 51 Women’s dartless block
(Aldrich2 1994)
6.2.1.1 Measurements Required:
Chest 88 cm; Nape to Waist 40 cm; Waist to Hip 20.6 cm; Armhole depth 21 cm; Neck size
37 cm; Shoulder 12.25 cm; Back width 34.4; Across front: 32.4
Square down from 0; square halfway across for the block.
0-1: 1.5 cm
1-2: Armhole depth plus 2.5 cm; square across
2-3: Half chest plus 7 cm. Square up and down. Mark this line for centre front line
3-4: Is 0-2. Square across from 4.
1-5: Nape to waist. Square across to 6.
5-7: Waist to hip. Square across to 8.

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6.2.1.2 Back
0-9: 1/5 of neck minus 0.2 cm. Draw in back neck curve 1-9.
1-10: 1/5 of armhole depth minus 1 cm. Square halfway across the block
9-11: Shoulder length measurement plus 1 cm. Draw back shoulder line to touch the line
from10.
2-10: Half back width plus 1 cm ease. Square up to 13.
12-14: Half the measurement 12-13.
6.2.1.3 Front
4-15: 1/5 of neck size minus 0.7 cm
4-16: 1/5 of neck size minus 0.2 cm. Draw in the front neck curve.
3-18: ½ of the across chest measurement plus 1.5 cm. Square up.
18-19: ½ of measurement 3-16 minus 2 cm
11-21: 0.75 cm. Square out 15 cm to 22.
15-23: Draw a line from 15, shoulder length measurement plus 0.5 cm to touch the line from
21-22.
18-24: ½ the measurement 12-18. From point 24 Square down to point 25 on waist line and
point 26 on the hip line. Draw the armhole curve as shown in the diagram touching points
11, 14, 24, 19 and 23. Measurement of the curves from 12 is 3 cm and from 18 is 2.75 cm
6.2.2 Assessment of the Aldrich method
Careful examination of the Aldrich’s book of directions on making an easy fit dartless for
womenswear, Aldrich in her instructions gives no reasoning or logic to explain the formulae
that she has adapted. Simoes306 in her doctoral research has provided logic for each point of
instruction as she states “The first vertical line forming the rectangle – placed on the left side
of the work area – becomes delimited as the segment” which measures 1.5cm for neck
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depth, becomes the initial point of the pattern development is the nape point. The section
marked by line 1-2, is the armhole depth that marks the lower edge of the armhole level.
The section marked by line 1-5, is the centre back length of the upper body torso, which
marks the waist level, and the section marked by line 1-10, that measures one fifth of the
armhole depth measurement minus 1cm marks the horizontal balance line for back torso. All
the length measurements are positioned on vertical lines and generally do not have any
ease added to them so they are exactly equal to the size chart dimensions except the
armhole depth, to which ease has to be added. However in contrast, girth and width
measurements, that are a rule placed on horizontal lines, have some amount of ease added
to them generally for both wearing ease and design ease.
The armhole depth measurement, the chest measurement, the neck measurement, the back
measurement, the chest measurement, and the shoulder measurement, are measurements
that relate to body dimensions, However, the back neck depth and front shoulder guide line
measuring 1.5cm and 0.75 are an exception as they are a fixed amount for all sizes, this
measurement appears to have been determined through practice and experience of the
author. However the amounts that Aldrich has subtracted from various sections are a puzzle
but Simoes306 (2012) has analysed these formulae and also appreciates and agrees with
Aldrich on the fractions that correlate to the sections. The mathematical problems provided
by Aldrich3 (1997) can be deciphered, in practical manner, is by developing the pattern by
following the vertical body measurements, the problems become more easily appreciated.
This can be more clearly understood when one sees the point where the arm is separated
from the chest. This section has no actual anatomical landmark to identify it, but point 19 in
the pattern coincides with the narrowest part of the front armhole. Hulme153, has also
stressed on the importance of this section by stating that at this anatomical point, garment
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must fit; neither there should be too much ease in the garment nor too little of it. The normal
arm movement of the body is forward or towards the front, so every time the arm goes out it
comes into contact with the garment at this point. The garment should therefore fit without
any constrictions otherwise it will impede the movement of the arm.
The easy fitting bodice block represents only the upper part of the body, it is easier to find
the location of point 19 on a line squared up from point 18 in the pattern which Aldrich3 has
given as the formulae “half the measurement 3-16 minus 2cm” (Aldrich3 1997) than to take
actual vertical measurement. According to Kwong190 (2000), the critical area of the body
concerning fit for menswear is around the shoulders. If garment fits the body perfectly
between the neck and the horizontal line encircling the figure at the lowest level of the
armhole, then it can be considered a well-fitting one (Fan114 et al, 2002). Hulme154 (1945)
has also endorses this view point, “the control section of a pattern designed for the upper
body is the neck to chest area. According to Simoes306 (2012) all these authors’ preliminary
deliberations have been included by Aldrich in her pattern and further concludes by stating
that it is definitely more consistent to apply the formulae than to measure and use the actual
vertical measurement. In view of the fact that the body is symmetrical along a vertical plane
that divides it into left and right sides of the body, for pragmatic and practical reasons
pattern makers only develop basic slopers and patterns only for one side of the body
(Sunahase311, et al, 2006).
6.2.3 Issues with the sloper
The menswear sloper developed based on Aldrich’s method as detailed above had
problems. Firstly, the shoulder slope in the block was not falling on the shoulder line rather it
was standing away from the dress form. Secondly, the armhole level depth with ease of 2.5
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centimetres was not sufficient as male body is broader than womenswear it needs more
depth. Thirdly, the neckline curve was smaller for the dress form both in the front and back.
The formula used for womenswear by her is one fifth of neck minus 0.2 cm for back and for
front neck width the one fifth of round neck measurement and subtracts 0.7 cm and in the
depth 0.2 cm, this is not sufficient for a neck curve with one centimetre seam allowance all
round. The method also suggest additional ease of one centimetre in the across back that is
for the menswear block.
6.3 MENSWEAR TORSO BLOCK
After a thorough analysis of Aldrich’s method for sloper and also the analysis provided by
Simoes306, Chan76 and Huang148 in their doctoral thesis, the investigator applied this
knowledge to develop a menswear torso block. This was initially based on the Aldrich’s
method of easy fitting basic block and combined learning of study and development of
Kawashima patterns, draping techniques, skill, knowledge and observations to arrive at the
new method that is entailed below. The block does not include any seam allowances.
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6.3.1 Menswear torso block pattern development
Figure 52 Developed block by Researcher
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6.3.1.1 Block development
For developing the menswear torso block, the foundation was based on Winifred Aldrich’s
easy fit block for womenswear. However, the one finalised has been altered and modified to
suit the requirement of menswear body. To draft a torso block eleven key measurements
are required and are length of torso, natural waist level, hip level, round chest, round hip,
round waist, across front, across back, cross back, shoulder length and round neckline.
The following steps were used to develop the menswear block:
1. Draw a line AB, where A to B is the required length of the block, which generally
should be taken two inches below the hipline of the dress form. This is the maximum
length that will be required for menswear upper torso garments, as most of the
garments developed from this torso block will fall straight after the hip level. In
menswear, the shirts, jackets, waistcoats and overcoats, traditionally fall straight
down after the hip level.
2. Draw a perpendicular to line AB at B. Mark it as point C where BC is half of the round
chest measurement, plus two inches for ease. This ease is required as the functional
ease in the garment which is required for breathing and normal body movements.
3. Square up a line at point C to point D for centre front line where line CD has the
same measurement as the line AB. Join point A to point D with a straight line.
The rectangle ABCD is the base on which the menswear sloper will be developed where AB
and CD are the required length and BC and AD the required width of the block. This
rectangle is based on the principle that to develop the pattern required length and maximum
girth measurement including required ease is worked out.
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6.3.1.2 Back
4. To mark the waist level of the body, measure the centre back length on the dress form
from centre back neck point and waist level intersection and mark it as point E. AE is
the back waist level.
5. Square out a line from point E to point F on line CD which is the center front of the
block. This is the waist level of the block.
6.3.1.3 Armhole
6. For marking the armhole level, mark point G where AG is half of centre back length plus
half an inch. This can be verified by measuring the length of EG on the block and
verifying the same by measuring the side seam length on the dress form, that is,
measure from waistline side seam intersection to the arm plate.(Kopp 186 et al; 1991,
Aldrich8, 2008; Armstrong23, 2000) and several others. This will give the underarm seam
of the block. However most of the experts have used a formula in their methods for
pattern development, for this level, they have calculated this section as a fraction of
chest measurement. Since this is a vertical measurement, use of a fraction or an
equation of girth measurement in not completely logical.
7. From point G square out to point H and this is the armhole line of the block.
8. On the armhole level mark a point I where, GI is half of across back that is measured on
the centre back, for horizontal balance line, a level that is marked at one fourth of centre
back length from the back neck. Measure the across back, staring from centre back line
to the arm plate or on a body add an ease of one fourth of an inch. This is the level at
which the body has maximum stretch due to the normal front movement of the arm.
9. The distance of HJ on the front is half an inch less than the measurement of segment GI
on the back. Verify the across front measurement on the dress form (measure on the
same level as across back.) to counter check the measurement of HJ with that of the
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body. This is a very crucial part of the block, as at this point the garment should neither
have excess ease nor it should be tight as it hampers the movement of the arm in either
case. This crucial point also does not have any anatomical reference point on the body.
Square up from point I and point J to the line AD and mark them as I’ and J’ as the
guidelines for the armhole curves. Next, mark the midpoints for the two lines II’ and JJ’.
10. Mark the midpoint of distance between IJ as X. Square down from point X to point Y on
the line BC for the side seam X Y.
11. Mark a point K where AK is the back neckline width. AK is one sixth of round neck
(round neck should be measured on the dress form by keeping the tape perpendicular to
the neckline of the dressform or the body) plus one eighth of an inch. Neckline curve of
Tae- Sik Kim’s pattern calculated by this method fits perfectly.
12. From point K square up to line KL for back neckline depth, this is one inch.
Aldrich has used a fixed measurement from experience in her pattern development methods.
Back neckline depth can be marked as suggested by Tae-Sik Kim (Rucken293, 1994) by
another technique, to calculate this measurement, go six inches in from centre back on the
shoulder line and go two inches up at a perpendicular, from this point join the neck point at
the centre back, whatever is the width of neck a proportionate amount of back neck depth
can be obtained.
6.3.1.4 Shoulder slope
13. Go three eighth of an inch in at point K and mark it as K’. Join LK’ as a guide for the
back neckline curve and shoulder slope drop.
14. Square a perpendicular line at point L which is one and half inches down to K’L for
shoulder slope as illustrated. Aldrich has given this as a calculation for cap height.
15. Draw the back neckline curve using the line K’L as a guide.
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16. Mark point M where DM is the front neck width which is same as AK the back neck
width.
17. Mark point N where the distance DN is one fourth of an inch more than DM for the front
neck depth.
18. Square down from point M to point O where the distance MO is equal to DN. Join the
line ON.
19. Go three quarters of an inch in at point O and mark it as O’. Join the line MO’ as a
guideline for the front neckline curve and shoulder slope drop. The front shoulder drop is
two inches below that is half an inch more than the back shoulder drop.
6.3.1.5 Front neckline
20. Draw a perpendicular from point M to the line O’ M for the front neck slope as illustrated.
21. Draw the front neckline curve using the line O’ M as a guide.
22. Mark the front shoulder length as a segment MP. Shoulder length is measured on the
shoulder line from the neck edge to the ridge on the dress form.
23. Mark point Q where LQ is the back shoulder length which is three quarters of an inch
more than the measurement of the front shoulder. Usually the back shoulder is taken as
a quarter inch more than front shoulder length due to the body shape.
24. Draw the armhole joining point P, midpoint of JJ’ and X at side seam for front curve and
point Q, midpoint of II’ and X at side seam for back armhole curve. One must ensure that
the curve is flat for an inch at point X at side seam of the block on both sides because
the shape of a man’s body is more bulky and square than that of a woman.
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Block developed for size 40 Block developed for size 38 Block developed for size 42
Figure 53 Test fits of block method in size 38-‐42
All test fits were made of medium weight muslin, plane weave unbleached fabric. This fabric
is universally used for test fitting, for both, draping and pattern making (Hui152, 2007).
Figure 54 Sloper test fit student of batch of 2014
(Madhavi FD VI)
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The methodology of developing the sloper was shared with a select group of thirty fashion
design final year students who have knowledge of pattern making and draping to develop
patterns and test fit the same. This was done to validate the method of pattern development.
No guidance was provided to make the sloper except a printout of the developed
methodology, nor was any interference made in their explorations. Results were more than
satisfactory each of them was able to achieve the requisite fit in the sloper.
6.3.2 Analysis
The visuals of block of all three views clearly show the comfort and fit level built in the block.
The armhole surrounds the arm plate of the dress form without any extra ease or any pull
that may have depicted strain in the region.
Conventionally in menswear shirts, there is a saddle yoke in which the back of the yoke
holds a dart of half an inch on the armhole at the across back level. This dart has been
eliminated and incorporated as ease on the back shoulder. This will allow the torso block to
be used to develop patterns for jackets, waist coats, over coats or even kurtas that do not
have a saddle yoke as per tradition or in the design. Secondly this block does not have any
inbuilt seam allowance that allows for and actively lends to design development.
The developed torso pattern was made without the sleeve. The fitting of the torso block was
evaluated according to the grain, ease, line, set and balance. The grain of the block was
aligned with the centre front and centre back of the dress form. The centre front and centre
back were perpendicular to the floor. The amount of ease built into the torso block was a
uniform two inches on the chest, waist and hip girth. The side seam followed the natural
silhouette of the body. Shoulder seams passed at the top of the shoulder. It was ensured
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that the neckline and armhole should be smooth and lie flat across the body. The hemlines
were parallel to the floor. It was cross checked that there were no undesirable cross-wise or
length-wise wrinkles in the torso muslin. According to Huang148, 2D block drafting based on
experience of the pattern cutter, does not guarantee the appropriate ease allowance
distribution. According to him, it is still a challenging task to choose a block drafting method
for a particular figure type.
6.4 FINAL SAMPLE GARMENTS
The two garments chosen to test the developed basic block / sloper are a slim fit shirt and
classic tailored jacket. These were chosen as sample garments, as during the review of
literature market reports on apparel segment had identified these two items of clothing for
upper body torso garments as most popular ones and were being produced by mostly all
manufacturers of menswear.
6.4.1 Shirt
In shirts the slim fit was selected as it was close fitting to the body than a regular one, it
needs a pattern that has a fish shaped waist darts in the back of the shirt and required more
expertise of the pattern maker to develop it. The slim fit shirt can be defined as a shirt which
fits closer to body on waist has two fish darts in the back of the shirt. It has a normal or
regular shirt collar with which a neck tie can be worn. It has a sleeve with a 4 centimetre cuff.
6.4.2 Jacket
The classic tailored jacket was selected as it is the standard fit and the most popular one.
Secondly, several other traditional jacket fits are modification, adaptation and a variation of
this tailored jacket. The classic tailored jacket can be defined as the one which has a side
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box and contours or fits to the body with a defined ease of 4-6 inches or 10-15 centimetres
on girth measurements like chest, hip and waist. It has a two piece sleeve that swings
towards the front by 4-5 centimetres. This compliments the natural swing of the human arm
in comfortable and normal posture. It has a notch collar of 3 centimetres with a lapel with the
break point 1 centimetre above the natural waistline and 3.5 centimetres wide at the widest
point.
The final garments a classic tailored jacket and slim fit shirt were made in three sizes 38, 40
and 42. The sizes were chosen as they are the most popular sizes in the Indian market. The
total range of sizes available in the market is 36 to 46, however, the size that has maximum
sale and is available in large number of colours and styles in the Indian market is size 40.
Since the Indian market is youth dominated one a size smaller and a size larger were also
used to validate the sloper and test fit the garments and muslins in these three sizes.
The fabric chosen was Polyester blended viscose (PV) in light colour that is, a broken white
in colour that is very similar to the natural muslin in which the test fits are generally done.
The fabric was specially chosen to be Poly Viscose (PV) as it has properties of fall, in which
each fault and imperfection in the garment would be clearly visible. The light colour also
ensures that puckers and folds are clearly visible both in actual garments and pictures.
Mori240 (1994) in his research has established that the plain weave fabric is most suited for
menswear suits. This process was based on observation and experiment rather than on
theory since textile science is neither the field nor the area within which this PhD research
was developed. Accordingly, the first and second aspects were determined through
synthetic touch, as only an overall impression about the fabrics’ features was perceived
(Li211, et al, 2009). The same was applied in the present study to finalize the fabric.
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6.5. PATTERN DEVELOPMENT FOR A SHIRT
Figure 55 A block of the pattern developed by investigator
The pattern will be developed using the torso block developed for men in different sizes. To
develop a shirt from the torso block measurements required are length of shirt, size of the
button and yoke length at centre back.
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6.5.1 Method of shirt pattern
Figure 56 Shirt pattern by the investigator
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6.5.1.1 Method
1. Trace the developed back torso sloper. From the armhole level of back sloper,
square out a line for about fifteen inches as a guideline. Mark a distance of an inch
from the back armhole curve on this line.
2. Place the front torso sloper matching the armhole level at this point, which is an inch
away from back armhole point and ensure that centre front is perpendicular to the
armhole level guideline and is parallel to the centre back. This step ensures that the
side seam of the front and back are completely balanced. This two inches ease is for
a classic shirt. For a fitted shirt, take less ease or no ease in the basic torso block.
6.5.1.2 Hemline and Placket
3. From the centre back neck intersection, mark the required length of the shirt and
square out to touch the centre front line to mark the hem level of the shirt. If required
reshape the hem for a shirt tail as per the design.
4. On the front sloper draw a line parallel to the centre front line for the button placket.
The distance of this line from centre front is the width of button placket for button and
buttonhole extension. The width of the button placket on either side is normally equal
to the diameter of the button plus one eighth of an inch. Redraw the front neck curve
to blend till the button extension line.
6.5.1.3 Yoke
5. For the basic or conventional saddle yoke on the front, go down one inch from the
neck and shoulder point and draw a line parallel to the front shoulder. Cut this piece
out from the pattern after marking suitable notches. For the saddle yoke, on the
back, go down three inches on the centre back, from the back neck point and square
out a perpendicular to the centre back till it touches the back armhole curve.
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6. Measure the front shoulder length and the back shoulder length, measure the
difference this would be about three quarters of an inch and convert the excess
measurement of the back shoulder into a dart at the back yoke line on the armhole
curve. This can be done by closing the excess on the shoulder by folding the amount
and the same would open at the baseline of saddle yoke.
7. Cut the back saddle yoke piece after marking suitable notches. Now join the front
saddle yoke piece aligning the front and back necklines and armhole and matching
the shoulder. Trace this on a separate piece of paper.
8. Cut a shirt collar and sleeve to complete the shirt pattern.
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Figure 57 Pattern Development for a Shirt

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6.5.2 One piece shirt sleeve
To draft a one piece sleeve measurements required are sleeve length, cuff length and cuff
width required and also round arm hole measured on the block.
Figure 58 Shirt Sleeve Pattern
6.5.2.1 Method
1. Square out a line AB which is three quarters of the round armhole plus two inches for
a bicep line and mark a point C as its midpoint. The line AB will be the armhole line
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of the sleeve block. The basic sleeve is developed on similar pattern developed by
Armstrong22 (1987) as it fits well and falls appropriately.
2. Square out a perpendicular line at point C mark it as DE measures the required
length of the sleeve DE forms the centre line of the sleeve block (a shirt sleeve is
usually finished with a cuff, so there is no need to add ease for elbow movement in
the sleeve). Where the segment DC is the cap height of the sleeve which is one third
of the round armhole, minus two inches for a shirt sleeve (a longer cap height would
result in a narrow sleeve at the top).
6.5.2.2 Armhole shape
3. Square out two inches on either side of point D. Mark them as point F and point G.
4. From point A go one inch in to a point H.
5. From point B go two inches in to a point I.
6. Join the points FI and points HG with straight lines.
7. Draw the armhole curves, as illustrated, using lines FI and GH as guidelines for it.
6.5.2.3 Fore arm of the sleeve
8. From point E square out a line KL for wrist line, where measurement of KL is two
inches less than that of line AB. Join AK and BL with straight lines for underarm
seams
9. Develop the Sleeve cuff and placket as desired.
6.5.3 Shirt Collar
For a two piece conventional shirt collar measure the round neck of the pattern, from centre
front till centre back and record it this is half of the neck measurement. This collar has been
developed on the same principle as that given in the Kunick’s book (1967)188.
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Figure 59 Collar Pattern
6.5.3.1 Band of the shirt collar
Draw a rectangle ABCD, where line AB is half of the round neck measurement, line AC is
the width of the band part of the collar that is conventionally three quarters of an inch to one
inch. AC is equal to BD and CD is equal to AB.
1. Mark point E where AE is half of the back neck measurement, so that point E is the
shoulder point.
2. On the line BD, mark point F where BF is half an inch up from point B.
3. Join line EF with a slight downward curve as illustrated.
4. Extend line EF to point G where FG is the measurement for button extension, which
is the width of the button plus one eighth of an inch.
5. On line EG, draw a perpendicular at point F to line EG, where measurement of line
FH is equal to measurement of line AC which is the required width of the band.
6. Draw a curve from point H merging it on line DC around the shoulder point. Join
points HG with an outward curve for button placket at collar band as illustrated. This
is the band of the shirt collar.
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6.5.3.2 Collar piece
7. For developing the collar piece, at point H, square out a dotted line parallel to AB.
Fold the paper on this dotted line. Trace the lines CH and HF. C’H is the exact mirror
image of CH.
8. Draw a perpendicular at point C’, where C’I is one and a half inches or the desired
width of the collar.
9. Square out a line at point I. Extend the mirrored line HF to touch II’.
10. Join points C’I I’H for the collar part of the shirt collar.
6.5.4 Test fits of shirt by block method
Figure 60 Developed shirt pattern from the torso block
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Figure 61 Shirt Test fit by investigator’s pattern making method
Developed with torso block
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Figure 62 Picture of a shirt developed batch of 2014
(Ambika FD-‐VII).
The methodology of developing the shirt from the sloper was also given to the select group
of thirty fashion design final year students who developed patterns for three shirts each and
test fitted the same. This was done to validate the method of pattern development. No
guidance was provided to method of pattern development of the shirt except a printout of the
developed methodology, nor was any interference made in their explorations. Results were
more than satisfactory each of them was able to achieve the design variation in the shirts.
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6.6. PATTERN DEVELOPMENT FOR A JACKET
Figure 63 Important measurement in Jackets

59
Cabrera, R., & Meyers ,. (2007)
According to Ross278, a jacket should be well cut to the ‘male form’. The jacket pattern
consists of front, back, side panels and collar. In all, there are six pieces of pattern for the
main body of the jacket. Two front centre pieces, two back centre pieces and two side
panels. The sloper eliminates the armhole dart and incorporates the ease in the shoulder. It
does not have inherent or inbuilt seam allowances, and thus the logic given by several
academicians, patter makers and researchers, that the shirt block cannot be used for
developing patterns for waistcoats, jackets and overcoats does not hold. The same block
method was used to develop patterns for shirt, jackets, waistcoats and overcoats.
Traditionally this method is used in the Italian industry and is usually referred to as a visual
pattern making method.
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6.6.1 Method for jacket development
Figure 64 Pattern Development for Tailored Jacket by Investigator

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6.6.1.1 Method
The measurements required for pattern development of the jacket are as follows: length of
the jacket, round chest, round hip, round waist, natural waist level, hip level, cross back,
across front, across back, shoulder length and round neckline. The method that has been
used to develop a tailored jacket (refer to the sketch at figure 67) this method has immense
possibilities of style generation and is similar to the one being followed in Italian industry for
womenswear. Detailed instructions are as follows:
1. Trace the back torso sloper. Square out lines from the armhole level of the back torso
block for about fifteen inches. Mark two and a half inches from the back armhole curve
on this line. Place the front torso sloper by matching the armhole level at this point
which is two and a half inches away from the back armhole and ensure that centre
front line is perpendicular to the armhole level and is parallel to the centre back line.
This step ensures that the side seam of the front and back torso are completely
balanced.
The two inches ease is for a basic tailored jacket which has a round ease of three inches
more than the shirt. This section gives this method a unique methodology where the ease
can be altered as per end use of the garment or style or design needs. The rest of the
procedures remain identical and the pattern designer can achieve several styles with
varying fit as per the end requirement.
6.6.1.2 Neck and shoulder shape
2. Lower and widen the front and back neck lines of the torso sloper by one quarter of
an inch for the jacket, as it is an outerwear garment is generally worn over a shirt.
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3. On the shoulder, go out half an inch for an outerwear garment. (This measurement
changes with trends and fashion. For the power dressing look of 1980s, this varied
up to one and a half inches.)
4. Go up half an inch on the shoulder or as required as per the width of the shoulder
pad being used in the garment.
6.6.1.3 Armhole shape
5. At the armhole level, mark point X as the midpoint of the front and back armhole. Go
down half an inch, from this point to point X’, as illustrated. Square out a line of about
two inches on either side of point X’. This is the new armhole level as an outer
garment the jacket worn over a shirt it needs a deeper armhole.
6. Draw the new back armhole curve, parallel to the original curve, joining point X’ and
the new shoulder points. (The curve is parallel as ease is required in the back
armhole for comfortable movement of the arm in the front or forward reach of the
arm).
7. Join the new front armhole curve joining point X’ and new shoulder point, ensuring
that the new curve intersects the old curve around the deepest point of the armhole
on the front pitch point. (The curve intersects the old curve as any excess ease at
this point will hinder the front movement of the arm).
6.6.1.4 Centre back shape
8. For the centre back shaping of the jacket. Mark the full length of the jacket, as AB
where point A is the neck point on centre back line and point B is the required length
of the jacket, from back neckline and square out to centre front for the hem line guide
of the jacket.
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9. Mark the hip level on the pattern by measuring the same on the dress form, measure
the centre back length starting at the back neck level till the natural waist and going
down to the fullest part of the hip. Mark this measurement on the block at the centre
back line as point C. At this point, go one and a half inches in and mark it as point C’.
10. On the centre back line of the pattern, mark the across back level which is one fourth
of the waist length from the back neck, mark this as point D. Join, point C’ to point D.
Extend this line to touch the hemline. Mark it as point E.
6.6.1.5 Side box shaping of the structured jacket:
11. On the armhole level, mark the back pitch point BP which is nearly half of the new
armhole depth for the back of the sloper on the new curve of the armhole. Square
out one and a quarter inch (two seam allowances of five eighth of an inch for each
seam of the side panel) at this point, as illustrated.
12. For the side box seam on the back torso, draw a line, as illustrated, the line should
follow the contour of the body till the hem line. Mark one and a quarter of an inch
(two seam allowances of five eighth of an inch for each seam of the side panel) also
at the hemline. Mirror the seam line from the armhole curve to hemline, on the other
side of this side box seam.
The dart formed between the two, provides the desired shape to the jacket. The width of this
dart may vary from two inches in width to four inches at the waistline and this is directly
proportional to the ease allowance of the jacket both at the chest and waist, and is also
governed by the style of the jacket. The seam of side box should be slightly curved at waist
line for an improved shape and fit of the garment.
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6.6.1.6 Front shaping
13. From the new armhole level on the front torso, go up one and a half inches, or till the
deepest point of the new curve of the front armhole. Mark it as FP for the front pitch
point. Go out five eighth of an inch for the front dart. (This measurement should not
be more than five eighth of an inch, as a wider dart would create a third dimension in
the front pattern, which is not desirable in menswear as there is no requirement of
bust shaping for men of standard body shape).
14. Draw the front dart as illustrated. The width of the dart at waist level is half an inch
and finishes three and a half to four inches below the waist level. Generally, a pocket
is placed at this level. This dart is converted into a seam line by extending it as a
straight seam to the hem level.
6.6.1.7 Hem shaping
15. In the back torso block on the hemline, at point E, square a perpendicular to line C’E
till the side box as illustrated.
16. From the first line of side box square another line towards the center back to
complete the side box. Using the second line of the side box, square out the hemline
for the front of the jacket. Generally, the centre front is half an inch longer than the
centre back. This balances the outward curves of the chest and abdomen.
17. Develop the collar as per requirement.
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Figure 65 Pattern Development for a Jacket in process
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6.6.2 Notch Collar
This pattern development technique of the notch collar will aid the design student in creating
a variety of collars in desired shapes and styles.
Figure 68 Pattern development of Notch Collar
6.6.2.1 Method
1. For the development of two piece notch collar trace the front torso block.
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2. From the hemline at centre front go out to point 0 by the measurement required for
button extension, which is normally the width of the button to be used plus one
eighth of an inch.
3. From point 0, square up a line to point A for the desired break point of the lapel for
the notch collar (break point is the point at which the collar rolls into a lapel). This
measurement will vary with trends, design and style of the collar to be made. It may
break at waist level, higher at chest level or lower at hip level.
The break point determines the number of buttons that the jacket will have. Traditionally, the
jackets were named as one button jacket if the collar break point was three inches below the
waist line. It was called a two button jacket if the collar break point was one inch above the
waist level. The gap between each button of the jacket is about four inches and the width of
the button used in the jacket is about seven eights of an inch.
6.6.2.2 Stand of the collar
4. On the shoulder-neckline intersection, mark point B and extend the slope of the
shoulder line to point D and segment BD measures the required stand of the collar,
which for menswear garments is between one and one and a half inches.
5. Join points A and D and extend the line formed to point E, where measurement of
segment DE is equal to half of the back neck, plus one eighth of an inch. This is the
roll line of the notch collar.
6. Draw a line at point B so that line BF is parallel to line DE and is of the same length
measurement.
7. From point F, go down half an inch to point F’. This measurement is half an inch for a
one button jacket.
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The measurement for this drop in the collar for a two button jacket is three quarters of an
inch. For a three button jacket it is one inch. For a four button jacket, it is one and a quarter
inch. For a five button jacket, it is one and a half inch. These measurements are indicative,
and are applicable for a jacket of regular length, that is, the jacket covers the fullest part of
the hip for a normal or regular figure. Other ways to get this measurement to perfection is to
slash the collar piece muslin after test fitting and allow the slash to spread and open to the
required amount.
8. Join point B and point F’ for back neckline curve.
9. Draw a line from point F’ to the point G and the line should be perpendicular to the
curved line at BF’.
10. Segment between point F’ and point G is the total required width of the collar (a sum
of the measurements of the collar stand and fall of the collar, where fall of the collar
is at least half an inch more in length than the collar stand, to ensure that the collar
edge covers the back neckline seam.) at the centre back.
6.6.2.3 Front Shape of the collar
11. Square down a perpendicular to line from point G to point H, where line GH is
visually equal in length to the segment BF’.
12. Measure the distance between point D and point H and mirror this distance on the
other side of roll line at the shoulder slope to a segment DH’, where H’ lies on the
shoulder line.
13. Draw the collar as desired by first drawing the lapel. The line of the lapel should be at
seventy five degrees to the roll line at AD. Then draw the collar piece by starting at
H” and finish the collar shape at the lapel. This method allows the designer to create
innumerable shapes of both lapel and collar
14. Fold AD and trace the desired shape of the collar. Blend with line GH.
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15. Redraw the front neck curve to blend with the lapel line.
16. Cut the collar separately after marking required notches at neck point, shoulder point
and the point where the lapel joins the collar.
6.6.3 Pattern development for a two piece sleeve
For the two piece sleeve of the jacket, measure the round armhole of the jacket pattern, and
record it. Other measurements required are sleeve length and cuff measurement.
Figure 69 Pattern of Two Piece sleeve
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6.6.3.1 Method
1. Draw a line A to B which is the required length of the sleeve.
2. Mark a point C where AC is the cap height which is six and a half to seven and a
half inches. This measurement should be determined by the style and fit required in
the jacket as the formulae in most of the cases, give a sleeve cap that may result in a
very narrow sleeve at the top that would hinder the movement of the arm.
6.6.3.2 Sleeve Cap
3. Mark point D where measurement of line from point C to point D is one inch. Square
out lines from point A and point C for developing the sleeve cap. The line from point
C is the armhole level, while the line from point A is the cap height.
4. Mark point E where measurement of section DE is the half round armhole minus half
an inch.
5. Square down from point E to point F for three and a half inches and draw the line.
From point F square out a line of about one inch on either side. From point F on line
EF, go up half an inch to point G. (This point is to be used as a guide for drawing the
armhole curve).
6. Point H is the midpoint of line AE, point I is the midpoint of segment AH. Square
down from H to H’ on the armhole level and mark with a dotted line.
7. Go half an inch in from point H’ to a point J towards the point C this also for a guide
line to draw the under sleeve armhole curve.
8. Mark point K as the midpoint of section JC.
9. Mark one inch on either side of point H.
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6.6.3.3 Armhole curve
10. Using line ID as a guideline, join the upper sleeve cap till point G as illustrated and
extend to point F’ as illustrated.
11. Using line F’J as a guideline, join KD, as illustrated for the under sleeve armhole
curve as illustrated.
12. Mirror the curve KD around the line AB as illustrated.
6.6.3.4 Developing the underarm seams
13. Mark point L where CL is half of the measurement of section CB minus one inch.
Square out a line on point L for elbow level. Go three quarters of inch on either side
of the point C and point B.
14. Using the curve ruler join points C’, L, and B’ for the under arm seam of the upper
part of two piece sleeve. Join points C’’ and B’’ with a similar curve which is parallel
to the first curve, for the under arm seam of the inner piece of a two piece sleeve.
15. At point B’ square out a line perpendicular to curve line at C’LB’ where a sum total of
segment B’M and segment MB’’ is the required wrist measurement. Join MF’ and
MF’’ with the help of a curve tool for the overarm seam of both pieces of the two
piece sleeve.
The pattern has been developed as a combination of Muller and Sohn 243 method and that
being followed by Aldrich2 for menswear a two piece sleeve.
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Figure 70 Jackets in different sizes developed using the torso block
Figure 71 Jacket developed final year student of batch of 2014
(Kutubuddin, FD-‐VII)
Methodology of developing the jacket from the sloper was also given to this select group of
thirty fashion design final year students who developed patterns for five jackets each and
test fitted the same. This was done to validate the method of pattern development. No
guidance was provided to method of pattern development of the shirt except a printout of the
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developed methodology, nor was any interference made in their explorations. Results were
more than satisfactory each of them was able to achieve the design variation in the jacket
designs.
6.7 FIT EVALUATION BY RESEARCHER
Both sets of muslins were first observed and evaluated for fit by the researcher, minor
alterations were required as the size charts followed were of the respective books. The
same was done to ensure best results in terms of fit, balance and shape. The developed
muslins were test-fitted on two sets of dress forms one from ‘Wolf’ company of USA a known
leader in the market and second from ‘Figurette’ an Indian dress form manufacturer.
Some of the differences were noticed between the two forms. It was observed that the Wolf
forms have a larger neck (it is half an inch bigger than the Indian form) and the chest of the
male dress form is protruding out a little than that of Indian form and gives an appearance of
a ‘Pigeon Chested’ body. The Wolf form seems to be of a more mature body and Indian
form is that of a younger body. The average age of Indian population today is about 25
years and is estimated to be 29 years in 2020 making the Indian market: a ‘youth dominated’
one. As the Indian industry is best represented by dress forms made by Figurette the
muslins were test fitted on the same.
Table 18: Measurement chart in (inches) of dress forms of two companies
Size
38 F 38 W 40F 40W 42F 42 W
Measurement
Neck girth 15¾ 16 1/8 16 1/8 16 5/8 171/8 17 ¼
Chest girth 38 ½ 39 40 ½ 41 42 42 ½
Centre front length 17 15 ¼ 17 ¼ 15 ½ 17 ½ 15 ¾
Centre Back length 19 1/8 17 ½ 19 ¼ 18 19 ½ 19
Shoulder length 6¼ 6¼ 6 3/8 6½ 6 5/8 6½
Shoulder width/ cross back 18 1/8 18 18 5/8 18 1/8 19 ¼ 18 ¼
Across back /back width 16 ¾ 16 ¾ 17 17 17 7/8 18
Under arm seam till waist level 9 7½ 9 1/8 8 9¼ 8½
from 1” below metal plate
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6.8 PATTERN COMPARISON
The next step of the research was to physically compare the two sets of developed patterns
that is one made by expert methods and second made developed sloper. This was done by
placing them on top of each other at the crucial land marks and key fit areas to note and
observe the difference in shape if there are any and to record the same for future
corrections. Then carefully examine and study the problem areas identified in the fit
evaluation. To make necessary changes in the pattern and recheck the changed parameters
and if required redo the test fit and take corrective actions.
The patterns made for same size by Aldrich and Kawashima were placed first placed on top
of each other aligning them at centre back, neckline, shoulder and armhole levels. Though
the measurements used were equal and in terms of ease both patterns were identical,
however the final shape of neck line curve and armhole was not identical. Though, garments
made by both the methods had equally good fit on the dress form.

Figure 72 Placement of shirt patterns for comparison of armhole

Figure 73 Placement for comparison of shoulder of shirt patterns
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Figure 74 Placement of pattern for comparison of shoulder comparison of sleeve cap
Figure 75 Placement of jacket patterns
Figure 76 Placement of jacket patterns for comparison of neckline
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The patterns of jackets made by both expert pattern method were placed on the patterns
developed by using the block and following was observed, the centre back shape was more
natural in the developed block as shape followed the contours of the natural body, the
armhole was deeper in the front and thus provided better lift and aided in the front
movement of the arm. Neckline curves were slightly larger in the developed block they were
closer in shape with the Kawashima block than the Aldrich block. The fit on the dress form
was similar however on the human body in trials by a subject the garment fitted more
comfortably. The shoulder slopped a quarter of an inch lower for the developed sloper this
can be seen in the smooth shape of the shoulder in muslin test fits. The shoulder slope is
generally corrected by insertion of shoulder pads of various shapes especially a triangular
one and the same can be shaped differently with help of shoulder pads (Koide191, 1998).
The measurement and ease in the pattern at chest, waist and hip level were identical for all
the three patterns. Collar and sleeve comparison was not a mandate of this research.
Figure 77 Shape of the shoulder slope of developed pattern
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CHAPTER SEVEN: METHODS OF FIT EVALUATION

7 METHODS OF FIT EVALUATION
7.1 INTRODUCTION
The theory of pattern design goes beyond the establishment of the exact space between
patterns lines, ensuring that seams rest or lie on the joints of the body, the correct direction
and the grain of the patterns lines ensure that the seams divide the front and back or the
right and the left sides of the body. The correlation between the pattern pieces substantiates
that a neat and smooth appearance is conferred to the potential garment. The formation of a
structure which is created between the body and the pattern, and one between the naked
body and the body dressed in garments, should be in sync with and appropriate to the
actions of the body.
Before defining the fit of a garment, it is important to establish and understand the ease in a
garment pattern. Ease in a garment pattern is used to describe the amount of difference in
measurements of a garment with that of a body. There are two different definitions regarding
ease allowance in the research literatures. Radial ease allowance (REA) and Girth Ease
Allowance (GEA).
The researchers have defined the Radial Ease Allowance by measuring the radial distance
between the body surface and the garment surface along the cross – section of the key
body landmarks. (Ng251 et al, 2008). Miyoshi235, in his study, has defined Radial Ease
Allowance or REA as the radial distance between the body surface and garment surface
measured from the same point.
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7.1.1 Girth Ease Allowance
Girth Ease Allowance or GEA is defined as the additional girth measurement in a garment
that exceeds the basic body dimensions. Hui152 (2007) has used two methods one for larger
girth areas like bust waist and hip and second for a smaller girth area like the armhole.
Through this approach has established that since armhole does not fall on a cross-section of
a body, the approach for larger girth areas does not apply. The shape of the armhole is an
important part of the torso pattern. A correct armhole balance is essential for achieving a
good fit of the sleeve. Traditional methods of developing the bodice block explain that size of
the armhole depends on its depth, height and width. Hui152 (2007), in his thesis, says that
there is no fool proof method of directly arriving at a correct armhole size when drafting a
pattern, especially for a jacket. Apart from actual test fits and a final alteration of size, no
other method is there to ensure a reliable or correct armhole size. Some pattern makers use
their experience to determine what a suitable armhole should be, as a correct armhole size
is an ambiguous term in flat pattern making.
Ashdown25 et al (2005) has defined fit as “the relationship of the garment to the body”.
Ashdown further clarifies that this relationship is connected with the concept of ease and
that the appropriate ease amounts of a garment depend on its function, the properties of the
materials used for its assembly, and the area of the body being covered. The author points
out that the wearer’s perception of clothing fit results from his/her kinaesthetic experience
and aesthetic preferences. Erwin105 et al (1969) presented a concept of definition of fit that
combines five factors in all, that is, ease, line, grain, balance and set (Fan114, 2002; Yu349,
2000; Hunter155 et al, 2000). Several other researchers have also defined fit in terms of the
five factors an analogy of the same is as follows:
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(1) Ease can be fathomed as the difference between the garment measurements
and the body dimensions. Ease is believed to be the facilitator of body movement.
(2) Line is related to the fashion the garment’s seams track on the body and, to look
vertical and are generally placed to lie on the body intersections.
(3) Grain defines the linear relationship between the pattern and the textile material
that is the direction assigned to each pattern piece’s centre in relation to the fabric’s
warp direction, normally placed on each body part along its length.
(4) Balance can be seen in the manner in which the garments drape on the body
and, ideally, or hangs down on the body.
(5) Set is regulated by the shape of the body, and is defined as the way garments
cover it without wrinkles which is an undesired feature that is initiated by an
insufficient ease causing the garment to pull along the garment seams and the body
joints.
Quite a few other authors have defined clothing fit. However differently they are formulated,
they all imply that garments must conform correctly to the shape or size and,
simultaneously, be suitable “to the requirements or demands of activities they are required
to perform” (Merriam-Webster’s Collegiate Dictionary, 2003).
However distinctly individuals perceive clothing fit and however differently the concept is
conceived in different countries, researchers and designers from various national origins
have been trying to evaluate fit in relation to body shape, some through qualitative
approaches – scaling sensory descriptors like ‘tightness’ and ‘looseness’ –, others via
quantitative methods – computing the space between body and clothing (Fan114, et al, 2002).
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In order to predict the correct size of the garment, it is important to understand the inter-
relationship between ease distribution in the pattern and that of the body. Taking the case of
the armhole, Hui152 (2007), in his doctoral research, has deduced that it is desirable that
front armhole seams should cross the body at the end of the shoulder joint, but before but
before the end of the shoulder bone. The back armhole seams should appear to line up with
the back arm crease for a fitted jacket. The armhole should be evenly spaced around the
arm plate. There should not be any strain at the armhole.
The armhole shape varies according to the style of the jacket. However, it closely resembles
a horse-shoe shape in a tailored jacket. For a loose fitting jacket that needs an enlarged
armhole, the armhole shape is not horseshoe anymore.
Body
Garment
Figure 78 Diagram for garment ease
7.2 PERFECT FIT
Perfect fit was analysed through a review of literature of peer reviewed journals,
dissertations, books available on the subject, especially those that have been referred to by
other scholars in their articles, or dissertations. Ease is an actual measurable distance
between garment and body whereas fit is a relationship between the two. Judgments
regarding fit are often confused by ease in the garment, and especially if the garment was
intended for a body dimensions of a smaller size is worn by a person who is bigger the
garment will not to properly fasten over the body even if it can be worn. Several experts
have defined fit in terms of ease. An essential requirement for good fit is the correct ease
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(Sindicich, et al, 2011) 307. The difference between the size of the garment and the size of
the wearer is the correct ease (Huck151 et al.1997). Gill127, in a research paper in 2011 titled
‘Improving Fit and function through Ease quantification’, has further substantiated this by
concluding that current models of pattern construction can be modelled more effectively,
recognising the geometric nature of these models and quantify the ease in these geometric
models will improve the fit of the garment.
7.2.1 Definition of Fit
 The relationship between the size & contour of garment and those of the human body
 A well fitted garment hangs smoothly & evenly, with no pulls or distortion, straight
seams, pleasing proportions, no gaping, no constriction of the body & adequate ease for
movement
 Garment fit has two zones - fit zone & fashion zone
 Garment fit depends on ease, line, grain, balance and set
 Assessment of garments for fit should be done for achieving fit for analysis of
movements of on the job task. (Boorady40, 2011)
7.3 CRUCIAL AREAS OF FIT
According to Rasband270, in the book ‘Fabulous Fit’, jackets should fit loose enough to case
comfortably over a shirt or sweater. Traditionally, jackets of men’s suits and sportswear
coats should cover the seat of men’s trousers. Jackets should not pull or be tight around the
abdomen and or hips when buttoned. Overcoats should fit loose enough to ease
comfortably over a jacket or suit worn underneath.
 The necklines should fit the curve around the base of the neck, without cutting into the
neck, wrinkling or gapping. Collars and neckbands should fit the neck comfortably snug
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when buttoned at the neck and one finger should fit easily into a shirt collar i.e. the collar
should have half an inch ease. A coat collar in a suit’s jacket should show only about
half an inch of a shirt at centre back. The outer edge of the collar should just cover the
back neckline seam in the jacket. Lapels of the jacket should lie flat on the chest and
should be symmetrical and lapels should not gape on the front chest in case they do,
then they are cut shorter than the desired length.
 Shoulder seams should lie flat on top of the shoulder, they should appear to bisect the
neck and shoulder, and end at the shoulder joint unless otherwise designed. Shoulder
pads should be well placed, appear natural, not too large or lumpy.
 Armhole seam lines should cross the shoulder at the shoulder joint (end of the collar
bone). The under arm seam line should appear in line with the back arm crease.
Armhole seams in jackets may extend a maximum of ½” to 1” beyond the shoulder joint
and in overcoats by a maximum of 1” to 1 ½” beyond the shoulder joint.
 Armholes should be large enough to allow for easy movement without cutting into the
arm, binding at the bicep or gapping at the upper arm. The lowest point should lie 1” to
2” below the armpit unless designed to do otherwise.
 Upper back areas should lie smooth, without wrinkles or strain at the armhole seam
when arms are in forward position. There should be no horizontal wrinkle, bubble or
bulge below the collar.
 Centre front seam and centre back seams should be centred on the body and fall
straight down, perpendicular to the floor. They should not shift towards either front or
back or pull to the side.
 Closures should hang straight and smooth, without wrinkles or gapping across the chest,
hips and abdomen. Side seams of the garment should extend from the centre of the
underarm straight down and should appear to be perpendicular to the floor and should
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not shift or pull to the front or back. Side seams should appear to intersect the waistline
at a 90 degree angle.
 The lengthwise grain (vertical fabric threads) should fall straight down the centre front or
centre back, perpendicular to the floor, unless the fabric is cut on the bias (diagonal
grain). The lengthwise grain also hangs down the centre of a sleeve, above the elbow
and down the crease of slacks or trousers.
 The crosswise grain (horizontal fabric threads) should be parallel to the floor at the
chest, upper back, upper arm, hop and hem unless cut on the bias (diagonal grain).
 Set-in sleeve caps should lie at the end of the shoulder and curve smoothly around the
armhole, without puckers or wrinkles. The fullness should be evenly distributed, front
and back.
 Sleeves should be large enough to lie smooth around the arm with about 1 ½” ease.
Ease at the elbow line should be sufficient to allow the arm to bend without binding
restrict the movement.
 The jacket sleeve should end at the wrist bone when the arm is bent upward at the
elbow – when arms are down at the sides, long sleeves should hang no longer than the
bend of the wrist. The shirt sleeve cuff should show about ½” below a suit or sport
jacket sleeve, for both men and women.
 Pockets should lie closed and flat against the body unless styled to extend away.
 Waistbands should fit comfortably snug at the natural waistline when standing, yet
remain comfortable when sitting. Two fingers should slip easily inside a waistband or
should have about an inch of ease for comfort.
 Vents and slits in jackets should hang straight, flat, closed and smooth against the body
when standing, not gap or pull open.
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The above analysis has been summed up in the following table that was part of the paper
‘Augmented reality: a tool for better fit’, published at the ‘Digital Fashion Conference, 2013’
(Narang245, 2013).
7.4 FIT PARAMETERS FOR MENSWEAR
Table 19: Fit parameters for Shirt and Jacket
Part of the
Description of perfect Fit
Garment
Shirt
1 Necklines Necklines should fit the curve around
the base of the neck, unless designed
to do otherwise, without cutting into
the neck, wrinkling or gapping
2 Collars and Collars and Neckbands should fit the
Neckbands neck comfortably snug unless
designed to do otherwise. When
buttoned at the neck, one finger
should fit easily into a shirt collar.
3 Shoulder Shoulder Seams should lie on top of
Seams the shoulder, appear to bisect the
neck and shoulder, and end at the
shoulder joint unless designed to do
otherwise.
4 Armhole Seam Armhole Seam lines should cross the
lines shoulder at the shoulder joint (end of
the collar bone). The seam line will
appear in line with the back arm
crease.
5 Armholes Armholes should be large enough to
allow for easy movement without
cutting into the arm, binding or
gapping. The lowest point should lie
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1” to 2” below the armpit unless
designed to do otherwise
6 Upper Back Upper Back areas should lie smooth,
without wrinkles or strain at the
armhole seam when arms are
forward. There should be no
horizontal wrinkle, bubble or bulge
below the collar.
7 Centre Front Centre Front and Back Seams should
and Back be cantered on the body and fall
Seams straight down, perpendicular to the
floor. They should not shift or pull to
the side
8 Closures Closures should hand straight and
smooth, without wrinkles or gapping
across the chest, but, back, abdomen
or hip area.
9 Side Seams Side seams should extend from the
centre of the underarm straight down,
perpendicular to the floor. They
should not shift or pull to the front or
back. Side seams should appear to
interest the waistline at a 90 º angle
10 Lengthwise Lengthwise Grain (vertical fabric
Grain threads) should fall straight down the
centre front or centre back,
perpendicular to the floor, unless
fabric is cut on the bias (diagonal
grain). Lengthwise grain also hangs
down the centre of a sleeve above
the elbow
11 Crosswise Crosswise Grain (horizontal fabric
Grain threads) should be parallel to the floor
at the chest, upper back, upper arm,
hop and hem unless cut on the bias.
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12 Set-in Sleeve Set-in sleeve caps should lie at the
Caps end of the shoulder and curve
smoothly around the armhole, without
puckers or wrinkles. Fullness should
be evenly distributed, front & back
13 Sleeves Sleeves should be large enough to lie
smooth around the arm with about 1
½” ease. Ease at the elbow should
be sufficient to allow the arm to bend
without binding.
14 Sleeve Length Long Sleeve Length should end at
the wrist bone when the arm is bent
upward at the elbow – when arms are
down at sides, long sleeves should
hang no longer than the bend of the
wrist. The shirt sleeve cuff should
show about ½” below a suit or sport
jacket sleeve, for men.
15 Pockets Pockets should lie closed and flat
against the body unless styled to
extend away.
Jacket
16 Jackets Jackets should fit loose enough to
case comfortably over a shirt.
Traditionally, suit jackets and sport
coats should cover the seat of men’s
slacks. Jackets should not pull tight
around the abdomen or hips when
fastened. Coats should fit loose
enough to ease comfortably over a
jacket or suit worn underneath.
17 Shoulder The shoulder should lie straight and
end at the shoulder joint. They are
the most important feature of the
garment and should make a man look
natural.
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18 Collars and Collars and Neckbands should fit the
Neckbands neck comfortably snug unless
designed to do otherwise. A suit
collar should reveal about ½” of a
shirt collar at center back. The outer
edge of the suit collar should just
cover the neckline seam.
19 Lapels Lapels should lie symmetrical and flat
without gapping open
20 Upper Back Upper Back areas should lie smooth,
without wrinkles or strain at the
armhole seam when arms are
forward.
21 Centre Front Centre Front and Back Seams should

and Back be cantered on the body and fall
Seams straight down, perpendicular to the
floor. They should not shift or pull to
the side
22 Closures Closures should hand straight and
smooth, without wrinkles or gapping
across the chest, but, back, abdomen
or hip area.
23 Length of Should be long enough to cover the
the Jacket hip curve
24 Side Seams Side Seams should extend from the
center of the underarm straight down,
perpendicular to the floor. They
should not shift or pull to the front or
back. Side seams should appear to
intersect the waistline at a 90 degree
angle
25 Lengthwise Lengthwise Grain (vertical fabric
Grain threads) should fall straight down the
center front or center back,
perpendicular to the floor, unless
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fabric is cut on the bias (diagonal
grain). Lengthwise grain also hangs
down the center of a sleeve above
the elbow
26 Crosswise Crosswise Grain (horizontal fabric
Grain threads) should be parallel to the floor
at the chest, upper back, upper arm,
hop and hem unless cut on the bias
(diagonal grain).
27 Set-in Set-in sleeve caps should lie at the end
Sleeve Caps of the shoulder and curve smoothly
around the armhole, without puckers or
wrinkles. Fullness should be evenly
distributed, front and back
28 Sleeves Sleeves should be large enough to lie
smooth around the arm with about 1
½” ease. One finger should fit easily
under a sleeve hem. Ease at the
elbow should be sufficient to allow the
arm to bend without binding.
Fullness should be centered over the
end of the bone when the arm is bent.
29 Sleeve Long Sleeve Length should end at
Length the wrist bone when the arm is bent
upward at the elbow – when arms are
down at sides, long sleeves should
hang no longer than the bend of the
wrist. The shirt sleeve cuff should
show about ½” below a suit or sport
jacket sleeve, for men.
30 Pockets Pockets should lie closed and flat
against the body unless styled to
extend away
31 Vents, Slits Vents, Slits should hang straight, flat,
closed and smooth against the body
when standing, not gap or pull open
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In a study conducted in the United States in 2011, data was collected from three hundred
and twenty two men at two different demographic levels by Sindicich and Black307. The
study was regarding sizing and fit of men’s apparel, that included their shirts, pants, suits
and garment details. It was conducted to investigate fit issues regarding off-the-rack
business clothing for men and it studied the relationship of sizing and overall body
composition findings. Results indicated that several men self-reported fit issues and issues
related to the crucial body measurements, in their formal clothing.
7.5 GARMENT FIT AND EVALUATION
Garment fit is considered as one of the most influential factors for a customer’s decision to
purchase an outfit. The definition of fit, varies over a period of time, and depends on the
culture, commercial requirements and individual perception of fit. The physical dimension of
clothing is a key element of fit evaluation in numeric form. The clothing size can also
significantly affect customer satisfaction.
7.5.1 Testing methods for Dimensional Fit
Researchers have documented that in order to verify whether a garment fits the
size/dimensional specifications it is made for, it should be tested by using live models and
dress forms. Live models are commonly used for evaluating clothing fit because real human
bodies are involved and their comments on the clothing are sensible even though it might be
expensive to test on live models. This is subjective evaluation as the human models are
likely to make conclusions based on subjective and qualitative preference, which vary from
person to person and from time to time. Moreover, the way in which the live models are
selected and how the fit is defined and evaluated, could affect the results significantly. (Yu 348,
2004)
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A significant body of research has been conducted to evaluate the fit satisfaction of clients
and their perception of fit of various garments at specific areas. In order to standardize the fit
evaluation, reference techniques have been developed to perform the subjective evaluation
of clothing that fits a live model. Huck151 et al in 1997, evaluated protective overalls, asked
each subject to complete an exercise routine, consisting of a series of body movements
which represented the physical movements, which are required in a work environment
where the garments under investigation are to be worn. The researchers recorded their
observations and each subject was asked to complete a wearer acceptability scale after
completing the exercise procedure. Merchandise Testing Labs (MTL) in a study has also
suggested live models should wear the clothing for a reasonably long period and rank
preferences relative to good / poor fit.
According to Yu347, fashion designers and pattern makers must have their customers
specified dress forms which represent the average size and shape of the target market and
fit the prototype on the dress form for evaluation. As dress forms are very important to
ensure the fit of the clothing, its quality is always of concern both to industrialists and
academics.
7.5.2 Subjective Fitting Guide
The overall fit generally contains five elements: grain, set, line, balance and ease. The
lengthwise grain runs parallel to the centre front and centre back of the clothing. The
crosswise grain runs horizontally at the bust/chest and hip levels. A good set refers to a
smooth fit with no undesirable wrinkles. The lines of the clothing follow the silhouette and
circumferences lines of the body. Clothing that is balanced appears symmetrical from side to
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side and front to back. It also requires adequate fitting ease to provide comfort and allow
room for movement. Additional ease for style reasons is called ‘design ease’.
For conventional fit of formal wear, Rasband270 has given a comprehensive guideline of
clothing fit. For example, the neckline should sit on the curve around the neck base without
wrinkling or gaps. A suit collar reveals about half an inch of the shirt collar at the centre back,
whereas the outer edge of the suit collar just covers the neckline seam. Lapels should lie
symmetrical and flat without gaps. Armholes should be large enough to allow for easy
movement without cutting into the arm, binding or gaps. Upper back areas much lie smooth,
with no wrinkles or strain at the armhole seam when arms are moved forward, as well as the
absence of horizontal wrinkles, bubbles or bulges below the collar.
Centre front and back seams should be centred on the body and fall straight down,
perpendicular to the floor. The side seams should intersect the waistline at a 90° angle. Set-
in cap sleeves should tie at the end of the shoulder and curve smoothly around armhole,
without puckers or wrinkles. Fullness is evenly distributed along the front and back. Ease at
the elbow should be sufficient to allow the arm to bend without binding or discomfort. Long
sleeve cuffs should end at the wrist when the arm is bent upward at the elbow. When the
arms are down on the sides, the cuffs of the long sleeves should hang no longer than the
wrist joint. The shirt sleeve cuff should be about half an inch longer than the jacket sleeve.
Live models and dress forms represent common standards used to test clothing fit through
wear trials and judged by experienced assessors. The assessors would subjectively judge
the fit in qualitative terms or grade the quality of fit in terms of quantitative scale. A fitting
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guide and checklists are well provided to assess whether clothing can fit the figure smoothly
and accurately, and whether clothing seams follow the natural line of the figure.
7.5.3 Parameters of Fit in Research
 Fit evaluation is an analysis of the relationship of garment to that of the body (Chen73
et al, 2008)
 Fit evaluation is subjective when determined by the individuals wearing the garment
 Evaluation by an expert panel is more objective
 Two individuals having same body measurements may perceive clothing fit
differently (Alexander et al, 2005)
 Trained judges follow established criteria to analyse fit, discuss and negotiate rating
scales to reach consensus before final decisions are made (Ashdown28 et al, 2004,
Bye56 et al, 2006)
 Traditional methods of block construction have some intrinsic drawbacks and
iterative trial fitting is necessary to improve the fit of the pattern.
7.6 FIT ASSESSMENT METHODS IN RESEARCH
Through review of literature the methods employed to evaluate fit by others were studied
and tabulated to arrive at most appropriate method for the same. The same has been
placed below:

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Table 20: Fit Assessment in Research
S. no. Review of Literature Method of evaluating Fit

349
1 Subjective assessment of clothing Fit- W Yu Live models and dress form evaluated by
expert panel (3 members)
298
2 Shen & Huck Live models and dress form evaluated by
expert panel (4 members) and developed
a rating scale
350
3 Assessment of Garment Fit –Yu Fit evaluation scale
4 Objective evaluation of clothing appearance- J. Laser scanning for overall appearance of
113
Fan, L. Hunter & F. Liu garments
348
5 Objective evaluation of clothing Fit-W Yu 3D fit evaluation using Cross sectional
index
6 Garment Design for individual Fit –M Y Live models and dress form evaluated by
190
Kwong expert panel (5 members)
7 Dynamic Ease allowance in Arm raising of Live models and dress form evaluated by
251
Functional garment -Roger Ng , Leung-Fu expert panel (4 members) and3D
Cheung and W Yu scanning
8 Early adolescent girls expectations about the fit Live models and dress form evaluated by
of clothes: A conceptual framework- Thea expert panel (5 members)
323
Tselepis and Helena M de Klerk
9 Pattern alteration: a comparison of two methods Dress form evaluated by expert panel (5
for effectiveness of fit and attainment of skill by members)
students in beginning construction- Margret Ann
Vanderpurten
10 Analysis of Body Measurement Systems for Live models and dress form evaluated by
56
Apparel- Elizabeth Bye , Karen L LaBat & M expert panel (5 members)
Delong
11 Black and White Female Athletes' Perceptions of Live models and dress form evaluated by
116
Their Bodies and Garment Fit- Betty Feather , expert panel (5 members)
D Herr & S Ford
12 An analysis of Apparel industry Fit session- E. Live models and dress form evaluated by
55
Bye & K. LaBat expert panel (5 members)
13 Fit preferences of female consumers in the USA Live models and dress form evaluated by
264
-Gina Pisut & Lenda Jo Connell expert panel (5 members)
14 Size and fit: The development of size charts for Live models and dress form evaluated by
225

37
clothing — Part 3-Beazley expert panel (5 members)
15 Specialty-size college females: Satisfaction with Live models and dress form evaluated by
177
retail outlets and apparel fit- Kennita O Kind & expert panel (5 members)
Jan M Hathcote
16 Satisfaction of apparel Fit for women above 55 Live models and dress form evaluated by
years – Shim expert panel (3 members)
151
17 Subjective Fit of protective clothing –Huck Live models and dress form evaluated by
18 Fit issues of tailored jacket –Aldrich Live models and dress form evaluated by
67
19 Prediction of shirt pattern – Chan Live models and dress form evaluated by
20 An assessment of fit and sizing of men’s Live models and dress form evaluated by
business clothing- Diana Sindicich & Catherine expert panel (5 members)
Black307
21 Development of 2D block Patterns from fit - Subjective assessment by sample and
Feature aligned flatten able 3D garments - 3D cross sectional index
148
Huang Haiqiao
23 The relationship between the change in upper Live models and expert panel
limb motion and the clothing pattern: Part 2 The
basic condition of design of comfortable working
wear patterns under mass production-
221
Makabe
152
24 Ease Distribution in a jacket- Hui Dress forms, live models, subjective and
objective evaluation
25 Tailored jacket pattern for particular shape Live models and expert panel
168
women- Jatuphatwarodom
26 Evaluation of the efficiency of flat patternmaking Live models and expert panel
103
and draping techniques Dumridhammaporn et
al,
27 Development of women’s pattern making and Live models and expert panel
263
anatomy principle – Pinyokeerati
28 Fit Analysis using Live and 3D scan models- Bye Live models and 3D scan evaluated by
58
& McKinney expert panel (2 members)
29 A manual for the performance of protective Live models and 3D scan evaluated by
76
equipment Fit Mapping – Choi , Zeher & expert panel
226

Hudson
30 ‘Pattern drafting for women by using Individual Live models and 3 member expert panel
measurement- dartless pattern model for
254
different body shapes’ – Ozeren in (2012)
31 Optimised garment pattern generation 3D scan evaluated by expert panel
based on 3D anthropometric
171
measurement by Kang and Sung
(2000)
32 Relations between drafting factors of jacket Live models and 3 member expert panel
patterns and wearing feeling of clothing: Part1-
236
Miyoshi , M & Hirokawa, T. (1995)
33 Reconstruction of individualized dress forms Live models and 3D scan evaluated by
156
using parameterized silhouettes. Hu & Xu expert panel
(2010)
34 Pattern Making Method and Evaluation by Dots Live models and 3D scan evaluated by
252
of Monochrome, Nishikawa , S., Yoshizumi, expert panel
M. & Miyake, H., (2008).
285
35 On creases in Jackets by Satoh , M., Watabe, Live models and 3 member expert panel
K. & Tuyuki, Y., (1997)
36 Parameterized pattern design of sidebody piece 3D scan evaluated by expert panel
of men's suit by Y. Zhao (2007)
37 Fit analysis of the traditional 2D drafting and 3D- Live models and 3D scan evaluated by
222
to-2D block pattern making method - Chung expert panel
Yuen Man (2010)
An in-depth analysis of the above studies was done, findings evaluated and data analysed,
as can be construed from the above chart the most widely followed and practiced method of
fit evaluation is by an expert panel that evaluates the garments in terms of fit. Some
researchers, especially those who developed the patterns from 3D measurements and CAD,
have also evaluated the garment fit and adjudged the same by an expert panel. However, a
few researchers have used laser scanning and 3D fit evaluation through cross sectional
index.
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Chan67, in his doctoral research on shirt patterns, has used 3D laser scanning to asses fit
but in his conclusion and results has documented that the person wearing the garment is the
best judge to assess comfort and fit. Campbell62, during doctoral research on ‘Designing a
hybrid system for in set sleeves’, has also documented that the model is in the best position
to assess and adjudge the fit in terms of both ease and comfort in garments. However,
Haiqiao, in his doctoral research, has used subjective assessment by samples to rate the
comfort and fit of the blocks.
Bye57 et al in research on fit analysis has concluded, “While 3D scans offer the convenience
of evaluating garment fit from any time or location, there are some concerns about ability to
score and reliability of scores for specific fit criteria”. All seam line alignment scores were
“significantly lower with 3D scan models than live models. Judges had significantly lower
ability to score dart placement with 3D scan models than with live models. When analysing
seam and dart alignment with body landmarks is an important part of the fit analysis, judges
may have difficulty with assessment.” (Choi76, et al, 2009).
Based on secondary research two sets of evaluation were prepared for fit assessment. One
set was intended for expert panel and another set was for the subject to judge fit in terms of
comfort and fit. A Fit Evaluation form based on the Likert scale for visual assessment of
garments was developed for the expert panel. This form was primarily based on the one
developed by Yu350 and others in 1998.
7.7 SUBJECTIVE FITTING ASSESSMENT
Subjective assessment refers to evaluation of fit by the customer or experts. LaBat191 and
Delong, 1990, suggested four influential factors for fit assessment that are a social
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perception of an ideal body, prevalent fashion figure, body cathexis and a physical
dimension for fit of the clothing. Due to complexity of the subjective evaluation, rating scales
are generally used to collect the customers’ opinions in the form of questionnaires and
surveys. Ashdown30 et al (2007) used a panel of three expert judges to evaluate scans of
participants for the best fitting size of a test pant style.
7.7.1 Subject rating scales
Likert scaling presents a set of attitude statements are asked to express agreement or
disagreement on a five-point scale. Each point of agreement is given a numerical value from
one to five. Thus a total numerical value can be calculated from all the responses.
Huck151 et al designed a wearer acceptability scale after completing a range of body
movements. The nine-point scale consisted of a series of descriptive adjective sets to
determine how subjects felt and also how they perceived the fit and comfort of their clothing.
In 1993, Shen and Huck298 developed a subjective scale which contained 25 items in three
categories, overall fit, bodice front fit and bodice back fit. For each items, nine responses
were possible, ranging from ‘much too tight’ to ‘much too loose’. The middle position for
each fit criterion indicated a ‘good’ fit. Yu348 et al have applied this scale for the fit evaluation
of men’s jackets as shown in the figure given below:
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Figure 79 Fit evaluation scale
350
(Developed by Yu et al (1998) and referred to by Fan, Chan, Man and others)
Though the fit evaluation scale by Yu was only for jackets and was based on rating scale of
-4 to 0 to 4. The researcher made a fit evaluation form with a similar visual and likert scale
that was developed for jackets and shirts, where visuals with description were given.
Experts were required to evaluate the garments on a rating scale of -2 to 0 to 2. The
questionnaire was meant for an expert panel who will evaluate the muslins of the patterns
developed from experimental basic menswear torso sloper.

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7.7.2 Evaluation form
A fit evaluation form was developed on the similar line that was developed by Yu 350 et al
(1998). The difference between the two evaluation forms was that appropriate visuals were
given not only for perfect fit in the centre of the scale by Yu350 et al but also for two extreme
ends of scale that indicate if the garment was too tight or too loose in all there are three
visuals.
Figure 80 Form for Fit evaluation of shirt developed by the scholar
The detailed Fit evaluation form is appended.
7.8 FIT TESTING
At present, physical fit testing can be regarded as a largely tacit process. The aim of fit
sessions is to evaluate garments on a live body or dress forms so as to adjust the garment
to fit the specification of the fit model. A fit model is required to try-on the garment to provide
an insight to fit and comfort of the apparel being test-fitted. The fit model is intended to
represent the size and shape of a company’s target market. It is not a fashion model, but a
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figure that best represents the company’s target customer (Bye55, et al, 2005). During a fit
session, it is the relationship between a human body and the apparel that is being judged. A
human fit model may vary in measurements and maybe asymmetrical unlike a dress form. A
series of wear trials are employed and this type of validation technique is “one of the most
widely used methods to observe subjects immediate responses in clothing under different
conditions and activities” (Li, et al, 2006).
A fit model may report on the comfort and set of a garment, fabric and case during donning,
doffing, sitting, bending, reaching and walking. Some fit sessions, with live model scenarios,
have been standardized, in particular in the testing of overalls (Huck151 et al., 1997).
7.8.1 Fit session
Preparations for fit sessions typically include checking the dimensions of garments against a
size specification and having access to the history of the development of the style during the
session. In addition to fit, issues addressed during fit sessions include design, materials,
colour, and texture, reference to earlier discussions on style, block pattern development,
production planning, delivery and cost. The top three concerns reported during fit sessions
were fit, design and fabric (Bye55 et al, 2005).
According to Park256 et al, (2011), a body form, or a dress form, or a standard body form
represents the exact shape and dimensional data of a naked human body. It serves as the
foundation for a garment design, working as a vital element in various stages or processes
of product development such as design, pattern and prototype development, and fit
evaluation. Two types of body-form are widely used in the industry: one that represents the
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exact shape and dimensional data of a nude body and the second is a body-form with a
certain degree of ease in its dimensional data.
During the course of research the following garments were developed, the basic shirt, and
tailored jacket from the method given in Winifred Aldrich’s book, in sizes 38 and 40, and a
jacket from the method given in Kawashima’s book, in sizes 38 and 40. There is no method
for drafting a basic sloper for men in either book. Hence, the researcher used and adapted
method in the book on womenswear pattern making called ‘Metric Pattern Making’ by
Winifred Aldrich, the method was modified for a male body and a sloper for menswear was
developed. The detailed method by which the block for menswear upper torso was
developed is given in earlier chapter. The method used by Aldrich is based on
measurements for the chest, neck, armhole and hip. The measurement charts given in the
menswear book that conform to British standards were used to develop the block first for
size 40.
A muslin test-fit of each was observed and evaluated for fit by researcher. Alterations were
made using draping method and a final fit after three successive trials was found to be of
satisfactory fit. This method was used to replicate the sloper/block in size 38. Again the
block was test fitted in muslin and alterations by draping method were made till a
satisfactory result was achieved. These alterations were again made in the basic method
and another set of muslin test fits were made in three sizes that is 38, 40 and 42.Fresh sets
of muslins were test fitted to achieve acceptable and satisfactory fit in the sloper. The final
method of developing the sloper was frozen and a final set of muslin test fits were made.
They were observed and adjudged for the perfect fit. Since the sloper is the foundation of
the garments that are developed with it, it was necessary to corroborate and endorse a
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method that will be infallible and can be endorsed with full surety. Earlier, it was planned to
make test fits in two sizes but while research was being carried out it was decided to make it
in three sizes. This was proposed based on the extensive review of literature and on the
researcher’s experience of validating the fit of a basic sloper. It was decided to make sloper
in these three sizes with size 40 as base size, one size larger than the base size to 42 and
one size smaller than the base size to 38.
After validating the basic sloper, a set of garments, which are: a shirt, jacket and a waistcoat,
was developed in base size 40. After observing, correcting, checking and re-checking the fit
of the muslin test fit the garments were made in the other two sizes. A systematic and
exhaustive validation of fit was undertaken by the researcher through comprehensive check
points and detailed observation. A checklist of observation points was prepared and detailed
observation of each body and dress form part was noted. Only after satisfactory evaluation
of fit by the researcher the garments were presented to the expert panel. The evaluated and
approved test fits were converted into garments of acceptable industry standards and were
test fitted on samples in three different sizes.
7.9 CONCLUSION
Perfect fit is directly linked to correct ease in the garment. Fit has been evaluated by other
researchers both by subjective evaluation by expert panel analysing it on both dress forms
and live models. Objective evaluation has been done with the use of 3D scanners and
expert panel. However several researchers have used both 3D scanners and sample fit
evaluation, for this study it was decided to go for subjective fit evaluation and sample
comfort and fit evaluation.
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CHAPTER EIGHT: EXPERIMENT DETAILS AND ANALYSIS

8. EXPERIMENT DETAILS
8.1 REQUIRED MEASUREMENTS
For basic block construction, measurements were taken on dress forms of two companies,
namely Wolf and Figurette, for three sizes, which are: 38, 40 and 42. A dress form or a
model form is the duplication of a human torso covered in heavy linen and padded with
cotton. It is usually set on a stand, which is movable and height adjustable. This industrial
form is used in a design room, production room and pattern making lab to drape and test
patterns for production. The seam lines that are marked on the form are shoulder, side
seam, armhole, centre front and back, waistline, neckline and princess lines. Aldrich in her
book has stated that British Standards directed clothing manufacturers in Britain to work with
size 100 cm, which corresponds to size 40 of the dress form. Key measurements for the
new block method are as follows:
1. Chest
2. Hip
3. Natural Waist
4. Half Back
5. Natural waist length
6. Scye depth
7. Neck size
8. Sleeve length ( one piece and two piece sleeve)
9. Length of torso
10. Hip level
11. Across front
12. Across back
13. Cross back
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14. Shoulder length
For expert methods, namely Kawashima and Aldrich, the standard measurements given in
each of the books, were used to develop patterns and muslin test fits.
8.1.2 Pattern Development using Pattern Alteration Method
Traditionally, pattern development for menswear is done by the garment method that was
followed for developing garments by the two expert methods that are Kawashima and
Aldrich. However, in womenswear, a basic sloper is used to develop various styles of
garments by using the seam method and the slash method. In this study, the seam method
was used to develop styles of a basic shirt and a tailored jacket. In the seam method, the
ease required for the body is added at the edge of the basic pattern, according to the need
of the garment measurement. The ease in the armhole is generated by extending the width
of the armhole at the pattern edge, lowering the depth of the armhole at the armpit and
raising the height at the shoulders. For larger girth areas, it is generally added at the side
seams of front and back patterns. The pattern maker, generally adjusts the ease distribution
for balancing the armhole by visualisation.
8.1.3 Sample Preparation
After taking measurements, the standard garments for the two expert methods were
prepared in the three sizes. Three sets of sample garments were developed for three sizes
by the two expert methods. A set of sample garments consisted of a shirt and a structured
tailored jacket. Each sample set was made in three sizes: 38, 40 and 42. A set of sample
garments in all the three sizes through block pattern construction method was also
developed. All the samples in this research were in standard muslin fabric. All test fits were
made of medium weight muslin, plane weave unbleached fabric. This fabric is universally
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used for test fitting, for both, draping and pattern making (Hui152, 2007). This was also done
to avoid colour or fabric distraction of the sample, in fit evaluation. The quality of sample
preparation was carefully controlled to ensure consistent workmanship. The key
measurements of the completed sample garments were verified to be consistent with the
patterns before fit evaluation. In all, eighteen sample garments were developed by the three
methods, in three sizes.
After the garment samples were prepared, they were first evaluated for fit by the investigator
and then they were presented for fit evaluation by an expert panel. In the chapter on fit
evaluation, the data collected from secondary research has established that the accepted
method of evaluation or testing of fit to validate the findings and results is an expert panel
who evaluate the garments on dress forms and live models. The number of experts in a
panel ranged from three to five comprising of academia and industry.
8.1.4 Constitution of panel
The fit evaluation was carried out by an expert panel, comprising of a combination of
academicians and industry members, as the same was inferred from the review of literature.
The panel to evaluate fit was based on the investigation, the panel to analyse fit of the first
block and garment muslins was constituted as follows:
1. Two academicians to be selected who preferably taught menswear pattern making
and had a minimum of 10 years’ academic experience of teaching pattern making
and fit in a higher education institute.
2. Two industry members with product development experience in leading menswear
brands in Indian domestic industry.
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3. Two designers who have their own menswear labels or primarily work with
menswear for fashion industry in India.
The panel had a total of six members to assess the fits of first set of muslins. This
composition of panel provided evaluations and conclusions based on all aspects of a
garment from design, commercial and academic perspective for a holistic approach. The
identification of the expert panel was done from the data collected in the survey forms that
were collected as part of the initial study undertaken to assess the pattern making practises
being followed in the industry and academically in the institutes of higher learning. The
criterion of selection of panel to be adopted is as follows:
Institutes where menswear pattern making is being taught were identified from the
questionnaires to academia and the senior faculty members teaching the subject were
identified. Institutes where menswear pattern making is taught at higher education level
were National Institute of Fashion Technology, Pearl Academy of Fashion Design, Apparel
Training & Design Centre, Footwear Design Development Institute and Institute of Apparel
Management.
Brands for menswear were identified and market leaders were identified on the basis of
market reports available were identified as the following companies: Arvind Brands,
Raymonds, Color Plus, Madura Garments, Blackberry’s among others.
The identified expert panel for fit evaluation were as follows
- Two academicians
1. Ms Usha Narahsihman – Associate Professor, Leather Design Department
NIFT 19 years’ experience
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2. Mr Ram Kumar – DMC, Instructor, ATDC 28 years’ experience
- Two industry members
1. Mr Susheel Yaduvanshi, Deputy Manager, Branded Services, Raymond
2. Mr Vinayak Sharma, Asst. Designer and product development manager,
Color Plus Fashions
- Two Designers
1. Mr Fahad Faruqui, label ‘Mosaic’
2. Mr Manish Tripathi, label ‘AntarDesi’
8.2 SUBJECTIVE FIT EVALUATION
Subjective assessment refers to evaluation of fit by the customer or experts. The fit
evaluation scale by Yu for jackets was based on likert scale of nine points. The researcher
developed a questionnaire with a similar visual and rating scale for jackets and shirts with
visuals experts were required to evaluate on a scale of five points. The questionnaire was
for an expert panel to evaluate the muslins developed from developed basic sloper. The
difference between the two was that appropriate visuals were given not only for perfect fit
but also problems of fit of being loose or tight on either side of the scale.
8.2.1 Fit Evaluation by expert panel
A systematic evaluation process was designed to assess the fit performance of the
garments developed from two recognized methods (Aldrich, 1997 3; Kawashima173, 1998)
and the block method developed in the research. Sample garments were made based on
these three pattern making methods. Through a test fit process, six experts were asked to
express and score the fit of different garments made in muslin with these three identified
methods. Through a wearing trial process, subjects of different age groups were asked to try
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shirt and jacket made in PV fabric and finished as an industrial sample. The subjects were
asked to express and score on the fit of the garment of their perceived size.
A panel of six experts were selected to judge the garment fit for each garment in the study.
Instruments were pretested and refined before they were accepted as valid and reliable for
the collection of data for the study. The garments were rated for twenty-four aspects of fit on
a five point scale: of perfect, good, fair, satisfactory and poor. The experts were invited to
come for fit evaluation which took place in the fashion design laboratory of NIFT Delhi. The
trial consisted of the following steps:
1. Comparing the muslins developed by three methods
2. Rating the fit of each garment in each developed by experimental method with the
garments of expert method
3. Completing fit evaluation questionnaire
In the wearing trial experiment, a total of eighteen garments were made in three standard
sizes for male dress forms and an expert panel comprising of six experts rated the achieved
fit in a fit evaluation form developed for the purpose. Each expert rated the pattern
generated garments in comparison to the samples prepared on the basis of two expert
methods. Each expert expressed their opinion regarding the achieved fit of each sample
garment by filling an evaluation form. Photographs of the fit evaluation samples are shown
below.
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Figure 81 Muslin test fits for evaluation by expert panels
Figure 82 Muslin test fits for evaluation by expert panels
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Figure 83 Jackets for evaluation by expert panels
8.2.2 Experimental Results and Discussions
The fit evaluation questionnaire was framed on the following parameters: The jacket was
evaluated on ten parameters in all and the shirt on five parameters. The experts were asked
to rate the jackets in three sizes developed by block pattern development method in
comparison with the jackets developed by the two expert methods, in three sizes.
8.2.3 Jacket Evaluation Parameters
1. Jacket was evaluated on shoulder width. A score of zero was accorded to the perfectly
fitted jacket, -1 for slightly shorter on the shoulder and -2 for very short on the shoulder,
whereas 1 was to be accorded for slightly longer shoulder and 2 for a very long
shoulder.
2. The jacket was evaluated on sleeve position. The experts were required to rate the
sleeve as perfect if it was falling in the natural position of front arm swing and had no
pulls or folds in the sleeve. -1 was for sleeve hanging slightly backwards, and -2 for
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sleeve hanging too much towards the back. 1 was the score for a sleeve that was
hanging slightly more forward than required and 2 for sleeve hanging too forward.
3. The jacket was evaluated on the collar roll on the neckline. It was to be rated perfect if
the collar was lying in a natural curve without any folds or puckers on the neckline. -1
was to be accorded if it was larger and rolling outward from the body and -2 if it was
much larger and was rolling far away from the body. 1 for a collar that was slightly
smaller and was turning or rolling into the body and 2 for a collar which was very tight
and curling into the body.
4. The jacket was evaluated on its lapel from the side view. It was considered perfect, if the
lapel was lying smoothly on the body. -1 was to be accorded if it was larger and rolling
outward from the body and -2 if it was much larger and was rolling far away from the
body. 1 for a lapel that rolls into the body and 2 for a lapel that curls inwards and is cut
much shorter than the required length.
5. The jacket was evaluated on the armhole. It was considered to be a perfect jacket if it
was one and a half inches below the arm plate of the dress form. -1 for slightly small and
-2 for a very small armhole. 1 for a slightly bigger armhole, and 2 for an armhole which
was two inches or more below the arm plate.
6. The jacket was evaluated on the front of the jacket. A jacket was considered to be
perfect if there were no pulls or folds in the front of the jacket. -1 was to be accorded if it
was slightly tight on the seams or at the closure, and -2 for a very tight jacket. 1 was to
be given, for a jacket that was loose to show olds in the front and two for a very loose
jacket.
7. The upper back of the jacket was evaluated. The jacket was considered perfect if there
were no folds or pulls in the upper back area of the jacket. -1 if there were strains or
pulls and -2 if it showed strain or several pull at the upper back area. 1 was to be
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accorded for a slightly loose jacket that looked loose at the back and 2 for a jacket which
had a lot of folds in the back area.
8. The centre back of the jacket was evaluated. A jacket was considered perfect if the
centre back seam of the jacket fell along the curve of the back of the body. If the centre
back line was too straight with not enough fabric it was to marked -1 or -2, according to
the severity. If the centre back seam was in a convex shape with extra fabric, it was to
be marked 1 and 2.
9. The shoulder slope of the jacket was evaluated. The jacket was considered to be perfect
if the jacket fell along the shape of the body, with no strains or pulls. -1 if the jacket was
falling with slightly sloping shoulders with strain at the back to -2 for a jacket whose
shoulders sloped much more than required. The jacket would be marked 1 if it had
shoulders that were cut slightly straighter than required and 2 if they were cut too erect,
giving a boxy shape to the body.
10. The lapel from the front of the jacket was evaluated. The jacket was to be marked
perfect if the lapel lay smoothly along the body curves. -1 was to be accorded, if the
lapel looked slightly wavy in appearance and -2 if it was much longer than required. 1 for
a lapel which is cut slightly tighter and rolls inward and 2 for a very tight lapel.
The experts were asked to rate the shirts in three sizes developed by block pattern
development method in comparison with the shirts developed by the two expert methods, in
three sizes.
8.2.4 Shirt Evaluation Parameters
1. The shirt was evaluated on its waist curve. The shirt was considered to be perfect if it
contoured the body with no pulls or strains. –1 was to be accorded, for a shirt that was
slightly tight and showed strain and pulls on the waist, -2 for a very tight shirt. 1 was to
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be given for a shirt which was slightly looser with folds and 2 for a very loose shirt that
looked bulky on the body.
2. The shirt was evaluated on its sleeve length. The shirt was to be marked perfect where
the sleeves were till the wrist bone and arms could be bent comfortably. -1 for a slightly
short sleeve and -2 for a very short sleeve. 1 was to be marked for a slightly long sleeve
and 2 for a very long sleeve.
3. The shirt was evaluated on its collar ease. The shirt was to be marked perfect if the
buttoned collar had enough ease to allow the wearer/evaluator to insert two fingers for
breathing ease. If the gap was less than two fingers, the shirt was to be marked -1 and -
2 for a very tight neckline. If the gap between the collar band and the body was more
than two fingers, it was to be marked as 1 and 2 for a very loose neckline.
4. The shirt was evaluated on its chest. The shirt was considered to be perfect if it
contoured the body with no pulls or strains. –1 was to be accorded, for a shirt that was
slightly tight and showed strain and pulls on the chest, -2 for a very tight shirt. 1 was to
be given for a shirt which was slightly looser with folds and 2 for a very loose shirt that
looked bulky on the body.
5. The shirt was evaluated on its armhole. It was considered to be a perfect shirt if it was
one inch below the arm plate of the dress form. -1 for slightly small and -2 for a very
small armhole. 1 for a slightly bigger armhole, and 2 for an armhole which was two
inches or more below the arm plate.
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Figure 84 Shirts for evaluation by expert panels
8.2.5 Experts Assessment
The experts’ opinion expressed for different parameters for both shirts and jackets were
compiled with the scores awarded for each fit parameter by the expert, a sample of the
same is placed below.
Table 21: Fit Evaluation for Shirts

S No Expert Score Parameter Remarks
1 I1 0 Waist Curve 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
1 I1 0 Sleeve Length 0 denotes perfect fit
2 I2 1 1 expert felt sleeve was
3 D1 0 slightly long
4 D2 0
5 A1 0
6 A2 0
Detailed and a sample of form each for shirt and jackets is appended in the annexure 10 –
11.
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8.2.6 Analysis
A panel of six experts were selected to judge the garment fit for each garment in the study.
Instruments were pretested and refined before they were accepted as valid and reliable for
the collection of data for the study. The garments were rated for several aspects of fit on a
five point scale: of perfect, slightly bigger, slightly smaller, extremely large and very small on
a rating scale of -2 to 0 to 2 with ‘0’ denoting perfect fit.
For data analysis, frequency distributions, ranges, means, and standard deviations were
determined for each background variable. The statistical methods used were Karl Pearson’s
correlation, analysis of covariance, and analysis of variance for one-way design. The
findings indicated that the hypotheses had to be accepted at the .05 level of confidence. The
collected data was processed in SPSS software. Descriptive statistics including mean and
standard deviation were used to describe the data and correlation tests were carried out to
study the relationship between the fitting components and overall fit.
The experts were presented with jackets and shirts developed using two expert methods in
three sizes each and jacket and shirts developed by the sloper method. In all there were
fifteen garment test fits that were compared and evaluated. All the experts concluded that
silhouette of the developed garments that are jacket and shirt corresponded accurately to
the desired fit and comfort of the garments developed by the expert methods. They strongly
agreed that the fitting at the armhole, chest, waist and hip was good. They also agreed that
appropriate ease was included in the pattern in the critical areas as identified.
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Statistics
view of
the lapel front
from centre view
collar at front jacket jacket back jacket of
shoulder the sleeve side armhole front back seam in shoulder jacket
width neckline position view level fitting fitting jacket slope lapel
N 6 6 6 6 6 6 6 6 6 6
Mean 5.00 5.00 4.83 5.00 5.00 5.00 4.83 5.00 4.83 5.00
Median 5.00 5.00 5.00 5.00 5.00 5.00 5.00 5.00 5.00 5.00
Std.
.00 .00 .41 .00 .00 .00 .41 .00 .41 .00
Deviation
Table 22: Statistics of Jacket evaluation by expert Panel
The analysed data chart can be seen from the frequency table placed above. From the ten
parameters of crucial fit areas in a jacket in seven of these all experts have rated the fit of
the developed jacket as perfect. The seven areas that were rated as perfect are shoulder
width, collar fit at the neckline, lapel fit as viewed from front and side view, armhole level,
front fitting of the jacket and centre back seam of the jacket. The areas where one expert felt
that the fit is not perfect were sleeve position where one of them felt it was swinging a little
more than desired in the front but other five found it perfect. The second area of concern
was shoulder slope, one expert felt it was sloping slightly more than required however other
five found it perfect. The third area was fitting in the back of the jacket one expert felt that
the back of the jacket was fitting snugly and it should have a slight ease. The detailed
analysis tables are appended in the annexure 10, however, a sample of perfect fit area in
jacket as rated by expert and an area that has not been rated as perfect are placed at Table
19 for which frequency analysis has been done.
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Jacket front fitting

Valid Perfect 6 100.0 100.0 100.0
Table 23: Jacket front fit
Jacket back fitting
Valid slightly loose 1 16.7 16.7 33.3
Perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0
Table 24: Jacket back fit
The frequency table of shirt analysis is placed below:
waist curve armhole collar ease in shirt ease at chest shirt sleeve
of the shirt level in shirt shirt level length
N Valid 6 6 6 6 6
Missing 0 0 0 0 0
Mean 5.00 5.00 5.00 5.00 4.83
Median 5.00 5.00 5.00 5.00 5.00
Std. Deviation .00 0.00 0.00 0.00 0.41
Table 25: Frequency table of shirt analysis
From the five crucial areas of fit in a shirt the experts rated the shirt perfect in four areas; the
only area of concern was that one expert felt sleeve length was little more. The detailed
analysis is placed in the annexure 11 however it can be inferred that the garments are of
acceptable fit. Some of the analysis is placed in the following tables
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collar ease in shirt
Valid perfect 6 100.0 100.0 100.0
Table 26: Collar ease in shirt
shirt sleeve length
Valid slightly big 1 16.7 16.7 16.7
perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0

Table 27: Fit of shirt Sleeve
8.2.7 Conclusion
The block pattern proposed in the study offers a desirable alternative method of pattern
development. Three garments were developed using the block method and were evaluated
for fit by an expert panel on visual assessment through subjective evaluation for the
garments. The fit evaluation form for the expert panel had ten parameters for evaluation of a
jacket, and had five parameters for a shirt. These parameters were based on the crucial
areas identified through primary and secondary research. Each parameter had three visuals
on the rating scale, the centre one was of a desired perfect fit, and each side of the scale
had a visual of a problem in the fit of a particular area. The score of these parameters is
nearly 99.32 percent for shirt and 98.98 percent jacket. These scores indicate that the
appearance of both these garments, developed using the block method, is of desired fit and
the silhouette corresponds to the silhouette achieved by the garment generation method.
8.3 FIT EVALUATION BY THE SUBJECT
After the fit evaluation of the prepared samples by the expert panel, final garments were
prepared in three sizes. The expert panel gave feedback that the final garments should be
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made in suitable fabric, was taken into account. The final garments were made as per
industry specification for three standard sizes: 38, 40 and 42. The excellent fabric for men’s
suits is defined as “good appearance in colour, design and handle, easy to tailor and
comfortable to wear and durable” (Mori240 et al, 1994). Worsted fabrics have not been found
acceptable quality for jackets (Ito166, 1997).A tailored jacket and classic slim fit shirt were
made in off white poly viscose fabric in suitable weights for the end purpose of the garment.
Poly viscose fabric was used for testing pressure in men’s suit in study in China by
Dongsheng100 et al, 2003. The colour and fabric also have a property to show all defects and
pulls show in clear detail and would aid in fit analysis. These could have been hidden had
dark colours or wool blended fabrics had been used.
8.3.1 Sample Size
Sample size is one of the significant methods of validation that allow researchers to
generalize and apply the fit map results to the entire target population. McConville 228 et al
(1979) in a research on fit-testing have suggested guideline that the size of the test sample
would depend on the garment and number of sizes that need to be tested and also
observed that the quality of the required fit is one of the key elements affecting sample size.
Choi76 (2009) suggests that the more number of subjects one has in a sample, will provide
more confidence one will have in the predicted accommodation rate for fit assessment.
Accordingly, there will be higher probability that the sample will represent the target
population well. However, funding and time limits usually force the investigator to aim for a
certain level of result (i.e. accommodation rate) with the minimum number of subjects.
Accepted norms for specifications require “95 percent accommodation with 90 percent
confidence”. This requirement addresses two concepts: 1) the accommodation rate, and 2)
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the confidence level. The “95 percent accommodation” refers to the proportion of the
population expected to be fit successfully. In other words, when testing a certain number of
people at least 95 percent of them should pass (that is, 95 people out of 100 or
approximately 48 people out of 50 test subjects should pass). The “90 percent confidence”
reference is the confidence value for a statistical test of proportion. In other words, when a
random set of test subjects is drawn from the population repeatedly, 90 percent of the time
the fit assessment results should show that 95 percent of the sample is accommodated
(Israel, 1992). Thus, if we combine these two concepts, ’95 percent accommodation with 90
percent confidence’ would result in a 90 percent confidence interval for the 95 percent
accommodation rate. A confidence interval is normally constructed from both sides from the
mean or target proportion (that is, 95 percent accommodation rate) as the centre of the
interval. However, if 95 percent accommodation is the minimum rate, then target
accommodation rate (p) should be calculated as follows (Freund 118 et al, 2003). As seen in
this formula, the target accommodation rate (p) is dependent upon the sample size (n). The
minimum sample size to satisfy this ’95 percent accommodation with 90 percent confidence’
this requirement of sample size can be calculated in many ways. One of the formulae that
Cochran83 (1963) developed for large populations was to yield a 35 representative sample
for proportions. The formula to calculate an appropriate sample size to satisfy “95 percent
accommodation with 90 percent confidence” has been defined as 385 for an infinite
population (Cochran83, 1963).
Another way to calculate sample size is based on the formula for representative sample size
based on proportion, Where n0 is the sample size, Z is the value that corresponds to the
area under the normal curve which equals the desired confidence level (i.e. 90 percent), e is
the desired level of precision (or allowed error level) .05, p is the estimated proportion of
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accommodation that is present in the population (95 percent), and q is 1-p (5 percent).
Therefore, the sample size can be changed depending on the equation and formula used,
and the selected accommodation rate and confidence level for the equation. Simoes in her
doctoral research has used a calculation based on the second formula, where she has
quoted that a minimum of 52 people would be necessary to satisfy the requirement, 95
percent accommodation with 90 percent confidence. For example, if a test item has a total
of 12 sizes, one would require roughly 4-5 subjects per each size to get this total. Or, if the
test item has only 2 sizes, 26 subjects per each size would be needed. Depending on the
total number of sizes of the test item, the recommended number of subjects per size could
vary from 4-5 to 26. This could be challenging for two reasons. First of all, garments with
many sizes usually require a better quality of fit than those with a small number of sizes.
Secondly, randomly selected samples generally will fall near the centre of the size
distribution. An alternative is to control the sampling and test an equal number of subjects in
each size of test item to assure adequate coverage of the user population size distribution.
In all, sample size should be approached with flexibility depending on: 1) the nature of the
item, 2) the number of sizes to be tested, and 3) the quality of fit required - as described by
McConville228 et al (1979).
Although it is important to determine an appropriate sample size to predict a level of
accommodation, the more critical part in fit mapping experiments is how to estimate the
actual accommodation rate to satisfy the requirement of “95 percent accommodation with 90
percent confidence” given the sample size. A sample size of 90 male of average figure with
30 in each size was selected to test the developed garments.
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8.3.2 Subjects
Male subjects belonging to age groups of 19 to 42 with a regular, average body shape were
recruited for the research. A sample size of 30 was adopted in each size in this experiment.
The relative small sample size was due to the difficulties and time constraint for recruiting
larger number of subjects in this age group. In addition, three sets of garments including
shirt, jacket and waistcoats were prepared in each of the three sizes. In all twenty seven
muslins were presented to the expert panel to score, compare and evaluate fit of the
garments made with the new method and those made with the traditional methods.
The assignment involved sample preparation and fit evaluation for the three identified
garments. The expert panel suggested that for final garments in industrial finish, a set
comprising of a shirt and a jacket may be made and test fitted on subjects with average to
normal weight and height. The average age of subjects was 27.42 years and all of them are
urban Indian males. The age group per size is given in the following figure.
Figure 85 Age group of the sample

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In consensus with the other researches that validated the fit as inferred from secondary
research; this specific experiment necessitated that the group of participants performed
generic activities, such as walking, holding, sitting, standing and other day to day exercises.
Following a predetermined protocol, the implemented wear-trials were carried out in
controlled environment, based on the participants’ perception and the analysis of the
collected data; to facilitate the interpretation of the results.
When objects, like clothing, are directly in contact with the skin, the brain generates images
relating to their shape, texture, weight, and others; combined with these images, the brain
produces maps about the state of the body as it becomes aware of the automatic emotions
those objects arouse. In this process, the body identifies itself under a particular condition
and perceives the thoughts matching the type of emotions being felt (Simoes306, 2012).
Given this particular aptitude of the body, the researcher relied on the participants’ ability to
verbalize their feelings for the created garment rather than counting on some form of
quantification of fit through three dimensional scans. The option to depend on subjective
perspectives to arrive at the findings is not to avoid the rigor a doctoral research is expected
to have. The present research belongs to the category of qualitative research, which
achieves the objectivity by incorporating the views of the participants, about the observable
fact. These are then compared against the theoretical construct, among other criteria
(Crouch91 et al, 2012; Corbin89 et al, 2008) in the present research they developed patterns
were tested by expert panel by comparing the garments made with expert methods. The
final experimental garments were tested on sample subjects who were randomly chosen for
trial test fit.
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8.3.2 Wearing Trials
The subjects were asked to come for a wearing trial and fit evaluation which took place in
the Fashion Design laboratory of NIFT Delhi. The wearing trial consisted of the following
steps:
1. Sample trial of the developed garments
2. Fitting
3. Completing Fit Evaluation Questionnaire
4. Photo documenting
8.3.3 Wearing Process
Before the trial, each subject was briefed about the whole process. Information like
objectives of the fit evaluation procedures of photo documenting and content of fit evaluation
form were introduced to each subject. Each subject was then required to put on the shirt,
followed by a jacket. The shirt and jacket of their perceived / reported size was handed to
them. In case, the reported size did not fit them, manual measurements of key parameters
that are chest measurements and neck measurements were taken to select the suitable/
optimal size for the subjects. A mirror was placed in the laboratory for subjects to self-
assess the garment fit. Each subject was given an evaluation form to assess and rate on
each sample.
Photographs were taken for the record and the purpose of documentation. Several
photographs were taken for each sample garment including front, back and side view. All
photographs were carefully taken in order to show clearly the condition of garment sample
and fabrics.
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8.3.4 Preparation
Each subject was informed about the purpose of the study and the method of maintaining
confidentiality. Before the evaluation process, each subject was briefed about the whole
procedure, the changing area, action required to be taken during the process and filling up
of the survey questionnaire. Details about the whole evaluation process were provided to
the subjects to ensure accuracy of record. The process of evaluation followed the following
steps:
1. Subjects changed in the designated changing area into the shirt and jacket of the
perceived size, based on their self-reported measurement. The dress code of each
subject for the evaluation process was standardized. They were required to wear without
sleeves undershirts only, as it would not affect the final fit of the outer garments.
Subjects with long hair were requested to tie up their hair, as any hair on the neck and
shoulder may affect the fit evaluation. After that, the subjects were asked to walk around
and check the fit and appearance of the garment in the mirror available in the fitting
area. Subjects, with their consent, were photographed for recording and documenting
the fit from three views, front back and side.
2. Subjects performed normal body movements of moving their hands in front of their face,
as if eating, on top of their head, as if combing, bending forward to pick up an object
from the floor.
3. The subjects were asked to fill up the feedback on the jacket fit.
4. The subjects were asked to remove the jacket, repeat the process of checking the fit of
the shirt in the mirror. Subjects, with their consent, were photographed for recording and
documenting the fit from three views, front back and side.
5. Perform normal body movements as for the jacket and raise their hands above the head
as if to pick up and object kept on a shelf above their reach.
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6. They were asked to fill up the questionnaire for their feedback on the fit of the shirt.
7. After evaluation, the subjects changed out of these clothes in the dressing area.
8. The filled feedback forms were taken and their visuals saved for future reference.
As suggested by several other researchers that the fit for comfort can be best adjudged by
the subject, a questionnaire was designed that was filled by the sample the same has been
appended in Annexure 12. It was developed largely on the basis of a book by Judith
Rasband280 that has been widely quoted and referred to by a number of researchers in their
doctoral studies. The book Fabulous Fit describes several zones of fit of body and discusses
a number of crucial areas and zones of body and garment fit. It also raises questions to the
model wearing the garment to judge as to how the garment fits on the body.
8.4 QUESTIONNAIRE FOR FIT BY SUBJECT
The questionnaire designed for the subject had two parts: the first part was to collect basic
demographic questions and the second was about the fit of the garment. It asked the person
wearing the garment questions and gave suggestions on what could be wrong with the
garment for both shirt and jacket. Each model was asked to fill the form after wearing both
the jacket and shirt, secondly they were asked to move or twist as in typical or regular
activity performed by an individual on a daily basis while wearing a jacket and shirt. The
garments being tested are intended to be worn in a normal course of daily life. They are not
intended to be primarily functional garments but to be worn and used on a daily basis.
8.4.1 Demographics and permissions in questionnaire
The questions were framed in a manner that is easy to understand by a non - technical
person especially who may not understand nuances of pattern making and technical fit, also
it provides enough information about probable causes of poor fitting or discomfort in

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garments. The subject was required to give answers in a simple yes/no as the number of
questions is large. Each fit session with the subject was for a minimum of half an hour. The
total number of sample size for each of the size is 30, in all a minimum number of 90
subjects were tested and feedback on the basis of fit and comfort of the garments was taken.
The consent of the subject was taken by asking each of them to first fill part one of the
questionnaire that had questions related to the demographic profile. After this, each of them
was given a shirt and jacket to wear for the experiment, size of these were based on the self
- reported size based on the last purchased garment by the subject. In case they were not
aware of their size the collar size and chest was manually measured by researcher and
subject was asked to check out the size of the shirt and jacket. The subject was requested
to wear the garments and check the fit in a full length mirror and encouraged to take
opinions of their friends and colleagues as fit and comfort have social connotations attached
to them. Permission was taken to photograph and document some of the subjects most of
them had no problems to get themselves photographed but a large number showed
reluctance to be documented with their names and details hence anonymity is being
maintained in the photographs being used in the research.
8.4.2 Questionnaire and Fit Trial
The questionnaire began with inquiry about the fit of a jacket starts with the area around the
collar, first question is whether the jacket has wrinkle or bulges just below the collar or on
across the back, would give suggestions that if so, then the upper back might be too long or
even the neck curve maybe too high.
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It was inquired if there was adequate ease on the back shoulder area and whether the
jacket had a smooth fit over the shoulder blades. Also, if the jacket fits smoothly across the
upper chest and if any diagonal or vertical folds form between the shoulder and chest, if
there are any such folds it implies that the jacket might be small across the chest. Next if the
jacket lapels lie symmetrically on the body. The next question is on length of the jacket, if
the length of the jacket is enough to cover the widest part of the hips, buttocks, and thighs,
as this style compliments most of the population. The vents in the jacket hang straight and
lay flat & closed to the body. The pockets in the jacket remain closed, without gapping or do
they gape.
The hem of the jacket sleeves should allow about one centimetre of the shirt sleeve to show
below the hem, the subject was asked to move around, raise & swing arms back and forth
and check the sleeve length. Next the subject was asked if the jacket was large enough to fit
easily and comfortably over shirt worn underneath. Then the subject was requested to raise
arms above the head and check if it was possible to do this without straining the seams and
if the armhole was cut with sufficient ease for movement of the arm.
The subject was asked to observe, if the shoulder seams bisect the shoulder – lie straight,
directly on top of the shoulder. Then the subject was asked to see if the armhole seams
cross over the shoulder joint or if it fits in a manner that armhole seam falls just at the edge
of the shoulder joint on the collar bone intersection. If the armhole seam was falling on the
inside of the shoulder joint, it meant that the garment was smaller on the shoulder expanse.
However, jackets with padded shoulders and shirts with drop-shoulder styles may extend
beyond the shoulder joint. It was enquired if the jacket hung smoothly from shoulder to hem.
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They were also asked to check if there was enough room in the pockets to hold their hands
inside.
The next questions were on shirts starting with the neckline and collar, if the shirt neckline,
neckband and collar fit the curve around the neck smoothly and not gape or cut into the
neckline uncomfortably. Next if the shirt neckline, neckband, or collar lies smoothly at the
base of the neck, on the front, sides, and back of the neck curve. The subjects preference in
the manner he may choose to wear the collar of the shirt, in case he prefers to wear it in
more than one way that is turned up, turned down, buttoned up or unbuttoned he was asked
if the same was possible and was informed that if the top button of the shirt cannot be
closed then it implies that collar was too tight. Next the subject was asked to check if the
button closures lie flat and smooth without gapping or pulling open at chest because if a
closure gapes or pulls open, the shirt is cut smaller than required and is tight.
The subject was asked to check if the full sleeves are long enough and have been cut with
sufficient ease, to bend elbows comfortably. The long sleeves in a shirt including cuffs
should be long enough to reach wrist bone when cuffs are closed, if the sleeve dose not
reach wrist bone the sleeve length is short and if sleeves lies below the wrist bone, they are
cut too long. Subjects were asked to raise arms and bring them around in front of the chest
to check sleeve length and whether it is comfortable to move arms with buttoned cuffs. With
the same movement they were also asked to check if the fabric felt strained or pulled at the
back of the shirt, and felt if it might rip. In that case, the shirt was a size smaller. The subject
was asked to their raise arms above the head, the same way they might do to comb their
hair and were asked to check if the sleeve of the shirt was comfortable and sufficiently loose.
Then was asked to check if the shirt was long enough to stay tucked neatly into the trousers
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or whether it pulls out of the waistband, in case it comes out of waistband it is too short. The
subject was asked to twist around, bend over and generally more around to check the length
of the shirt and verify if the shirt felt comfortable when they moved. The shoulder seams of
set-in sleeves extend one to three centimetres beyond the natural shoulder and are
extended to fall below the curves of the shoulder in a drop shoulder shirt, the subject was
asked to rate the shirt for comfort factor in this situation.
8.5 PICTURES OF FIT TRIAL
Figure 86 Size 38 Jacket and shirt in the three views
Figure 87 Size 40 Jacket and shirt in the three views
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Figure 88 Size 42 Shirt in the three views

263

Other fit trial pictures
264

Figure 91 Fit trials of different sizes of different sample subjects
8.6 ANALYSIS AND RESULTS
Subjective fit evaluation was conducted in this experiment. In the subjective evaluation, a
questionnaire was prepared for each subject to rate the fit performance of each sample with
respect to eighteen fitting components and overall fit and shape of the garment. It covered
the most influential components for dimensional fit assessment of basic garment
(Rasband280, 1994; Liechty205 et al, 2010). The fitting component consists of neckline, collar,
area around the shoulder, shoulder seam, armhole, lapel, front and back of the jacket,
sleeve length, the length of the jacket and that of the shirt, sleeve fullness in the shirt and
button closures in both the garments. The questionnaire had two sections, the first section
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was used to collect demographic data and take the consent of the subject. The second
section had multiple questions about the fit and comfort of each of the identified crucial area
of the garment. Two to three questions about the fit of one particular area were asked from
the subjects, to know their opinion, they were also asked to perform everyday movements
while wearing the garment, in order to judge and comment on the comfort and wearing ease
in the garment. Garments developed were only the shirt and the jacket, as a norm these are
developed and labelled on collar size for shirt and chest size for jackets.
8.7 FIT OF THE JACKET
The subjects were asked to rate fitting components of each sample garment one by one and
also the overall fit in addition to the individual components for the sample garments they
tried. The collected data was processed in SPSS software. Descriptive statistics including
mean and standard deviation were used to describe the data and correlation tests were
carried out to study the relationship between the fitting components and overall fit. Detailed
result charts are appended in Annexure 13.
The subject was asked if there was adequate ease on the back shoulder area and whether
the jacket had a smooth fit over the shoulder blades. Also, if the jacket fits smoothly across
the upper chest and if any diagonal or vertical folds form between the shoulder and chest, if
there are any such folds it implies that the jacket might be small across the chest. Next if the
jacket lapels lie symmetrically on the body. The next question is on length of the jacket, if
the length of the jacket is enough to cover the widest part of the hips, buttocks, and thighs,
as this style compliments most of the population. The vents in the jacket hang straight and
lay flat & closed to the body. The pockets in the jacket remain closed, without gapping or do
they gape.
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The edge of the jacket sleeves should allow about one centimetre of the shirt sleeve to show
below the hem, the subject was asked to move around, raise & swing arms back and forth
and check the sleeve length. Next the subject was asked if the jacket was large enough to
fit easily and comfortably over shirt worn underneath. Then the subject was requested to
raise arms above the head and check if it was possible to do this without straining the
seams and if the armhole was cut with sufficient ease.
The subject was asked to observe if the shoulder seams bisect the shoulder – lie straight,
directly on top of the shoulder. Then the subject was asked to see if the armhole seams
cross over the shoulder joint or if it fits in a manner that armhole seam falls just at the edge
of the shoulder joint on the collar bone intersection. If the armhole seam was falling on the
inside of the shoulder joint, it meant that the garment was smaller on the shoulder expanse.
However, jackets with padded shoulders and shirts with drop-shoulder styles may extend
beyond the shoulder joint. It was enquired if the jacket hung smoothly from shoulder to
hemline. They were also asked to check if there was enough room in the pockets to hold
their hands inside.
To validate the test results it was decided to conduct Z test on the data as the number of
sample was more than 30 and no two parameters had correlation or dependence of the
other parameters. The test scores will be considered applicable to a larger population if
hypothesis is accepted at 95 percent confidence level and .05 percent significance. As the
garments are for ready to wear market if 80 percent of the population find it acceptable the
fit can be considered applicable for the market.
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8.7.1 Jacket Fit in the Area of Collar
First few questions were about the fit of a jacket and the questionnaire started with the area
around the collar, whether the jacket has wrinkle or bulges just below the collar or on across
the back, the response of ninety seven percent respondents was negative with a standard
deviation of 0.23 and variance of 0.15 the fit at this area is acceptable. Another question
was if collar fitted the neck curve comfortably and response was that ninety eight percent
found it to be comfortable, however only ninety six percent found it to lying smoothly around
the neck edge. This area also can be accepted of good fit. Regarding a question if the collar
could be worn in more than one way ninety seven percent found it to be possible.
Figure 92 Bar chart depicting collar fit in Jacket
Does the jacket wrinkle or bulge around collar?
No 83 90.2 90.2 90.2
Valid Yes 9 9.8 9.8 100.0
Total 92 100.0 100.0

Table 28: Frequency table depicting collar fit in Jacket
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It was proposed that more than 80 percent of the users will think that the jacket does not
wrinkle around collar.
Hypotheses are:
Hypothesis a: More than 80 percent of the users will think that the jacket does not wrinkle or
bulge around collar.
Null Hypothesis H0: P ≤ 0.8
Alternate Hypothesis H1: P >0.8
Proportion of the sample users who think that the jacket does not wrinkle or bulge around
collar is 90.2 percent or 0.902
Computation of Z = (0.902-0.8)/0.0417 = 2.45
Critical value for Z, at 0.05 level of significance, is 1.645. As the computed value is more
than the critical value H0 is accepted. Hence, the proposition that more than 80 percent of
the users think that the jacket does not wrinkle or bulge around collar is accepted.
8.7.2 Fit of Jacket at the Shoulder
The second area of fit evaluation was the fit of the shoulder in the jacket, it was enquired
whether the area around the shoulder was comfortable and if the shoulder seam was
smooth, the response of ninety eight percent respondents was positive with a standard
deviation of only 0.15 and variance of 0.022 is of acceptable level.
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Figure 93 Bar chart depicting fit of Jacket across the shoulder
Does the jacket fit smoothly across the shoulder blades?
No 3 3.3 3.3 3.3
Valid Yes 89 96.7 96.7 100.0
Total 92 100.0 100.0
Table 29: Frequency table depicting fit of Jacket across the shoulder
Hypothesis b: More than 80 percent of the users will think that the jacket fit smoothly across
the shoulder blades.
Computed value of Z is 4.01 which is greater than the critical value for Z at 0.05 level of
significance (1.645).
Computed value of Z for all parameters is appended in annexure 14.
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The Null hypothesis is rejected. Hence, the proposition that more than 80 percent of the
users will think that the jacket fit smoothly across the shoulder blades is accepted at 95
percent level of confidence.
Do the shoulder seams bisect the shoulder and lie on top of it?
No 8 8.7 8.7 8.7
Valid Yes 84 91.3 91.3 100.0
Total 92 100.0 100.0

Table 30: Frequency table depicting position of shoulder seam
Hypothesis c: More than 80 percent of the users will think that the shoulder seams of the
jacket bisect the shoulder and lie on top of it.
users will think that the shoulder seams of the jacket bisect the shoulder and lie on top of it
is accepted at 95 percent level of confidence.
Do the armhole seams cross over just outside the end of the shoulder joint?
No 5 5.4 5.4 5.4
Valid Yes 87 94.6 94.6 100.0
Total 92 100.0 100.0

Table 31: Frequency table depicting position of armhole seam
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Hypothesis d: More than 80 percent of the users will think that the armhole seams of the
jacket cross over just outside the end of the shoulder joint.
users will think that the armhole seams of the jacket cross over just outside the end of the
shoulder joint is accepted at 95 percent level of confidence.
8.7.3 Jacket Fit at Neckline and Collar
Figure 94 Bar chart depicting fit at neckline and collar
Does the neckline, neck band or collar lie smoothly at the base of the neck?
No 4 4.3 4.3 4.3
Valid Yes 88 95.7 95.7 100.0
Total 92 100.0 100.0

Table: 32 Frequency table depicting fit at neckline and collar
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Hypothesis e: More than 80 percent of the users will think that the neckline, neck band or
collar lies smoothly at the base of the neck both for jacket and shirt.
users will think that the neckline, neck band or collar lie around the base of the neck both
for jacket and shirt is accepted at 95 percent level of confidence.
Figure 95 Bar chart depicting if collar could be worn in different ways
Can one wear the collar in more than one way?
No 8 8.7 8.7 8.7
Valid Yes 84 91.3 91.3 100.0
Total 92 100.0 100.0

Table 33: Frequency table depicting if collar could be worn in different ways
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Hypothesis f: More than 80 percent of the users will think they can wear the collar in more
than one way.
users will think that they can wear the collar in more than one way is accepted at 95 percent
level of confidence.
8.7.4 Fit of the Jacket around the Chest
The next area of evaluation was the area of chest in a jacket, three queries were raised in
this regard the first addressed the fit around chest ninety nine percent found the jacket of
fitting smoothly around the chest. Second was if the lapels were lying smoothly across the
Chest ninety eight percent subjects found it that the lapels in the jacket were lying smoothly,
standard error of mean was 0.015 standard deviation was only 0.14, the third was if it was
large enough to fit over the shirt here also ninety six percent found it large enough the
deviation was only 0.011, hence the validity of good fit around chest can be accepted.
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Figure 96 Bar chart depicting fit of Jacket across the chest
Does the Jacket fit smoothly across the chest?
No 8 8.7 8.7 8.7
Valid Yes 84 91.3 91.3 100.0
Total 92 100.0 100.0

Table 34: Frequency table depicting fit of jacket across the chest
Hypothesis g: More than 80 percent of the users will think that the jacket fits smoothly
across the chest.
users will think that the jacket fit smoothly across the chest is accepted at 95 percent level of
confidence.
275

Figure 97 Bar chart depicting if lapels in jacket lie symmetrically
Do lapels lie symmetrically?
No 9 9.8 9.8 9.8
Valid Yes 83 90.2 90.2 100.0
Total 92 100.0 100.0

Table 35: Frequency table depicting if lapels in jacket lie symmetrically
Hypothesis h: More than 80 percent of the users will think that the lapels of the jacket lie
symmetrically on the chest.
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users will think that the jacket lapels lie symmetrically on the chest is accepted at 95 percent
Figure 98 Bar chart depicting if pockets in jacket lie without gaping
Do pockets in the jacket lie close without gaping?
No 10 10.9 10.9 10.9
Valid Yes 82 89.1 89.1 100.0
Total 92 100.0 100.0

Table 36: Frequency table depicting if pockets in jacket lie without gaping
Hypothesis i: More than 80 percent of the users will think that pockets in the jacket lie close
to the body without gaping.
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users will think that pockets in the jacket lie close without gaping is accepted at 95 percent
8.7.5 Fit of the Jacket in relation to Length
The next area of inquiry was of fit was length of the jacket and the sleeve length, regarding
jacket length ninety eight percent found it long enough to cover the fullest part of the hip and
be good length. Regarding the length of the sleeve if it was long enough but allow half an
inch of the shirt sleeve to show only ninety six percent found it long enough.
Figure 99 Bar chart depicting if Jacket length was enough
Is the length enough?
No 11 12.0 12.0 12.0
Valid Yes 81 88.0 88.0 100.0
Total 92 100.0 100.0

Table 37: Frequency table depicting if Jacket length was enough
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Hypothesis j: More than 80 percent of the users will think that the jacket length is enough for
them.
users will think that the jacket length is enough is accepted at 95 percent level of
confidence.
Figure 100 Bar chart depicting hang of the jacket
Does the jacket hang smoothly from shoulder to hemline?
No 2 2.2 2.2 2.2
Valid Yes 90 97.8 97.8 100.0
Total 92 100.0 100.0

Table 38: Frequency table depicting hang of the jacket
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Hypothesis k: More than 80 percent of the users will think that jacket hangs smoothly from
shoulder to hemline.
users will think that jacket hangs smoothly from shoulder to hemline is accepted at 95
8.7.6 Jacket fit in relation to Girth
Figure 101 Bar chart depicting if Jacket was large enough
Is the jacket large enough to fit over the shirt?
No 5 5.4 5.4 5.4
Valid Yes 87 94.6 94.6 100.0
Total 92 100.0 100.0

Table 39: Frequency table depicting if Jacket was large enough
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Hypothesis m: More than 80 percent of the users will think that the jacket large enough to fit
over the shirt.
users will think that the jacket is large enough to fit over the shirt is accepted at 95 percent
The hypothesis regarding fit of Jacket in all identified crucial areas of fit have been accepted
at 95 percent level of confidence, hence it can be concluded that the fit of the jacket has
been validated and can be applied to a large population size.
8.8 FIT OF THE SHIRT
The next questions were on shirts starting with the neckline and collar, if the shirt neckline,
neckband and collar fit the curve around the neck smoothly and not gape or cut into the
neckline uncomfortably. Next, if the shirt neckline, neckband, or collar lies smoothly at the
base of the neck, on the front, sides, and back of the neck curve. The subject’s preference
in the manner he may choose to wear the collar of the shirt, in case he prefers to wear it in
more than one way that is turned up, turned down, buttoned up or unbuttoned he was asked
if the same was possible and was informed that if the top button of the shirt cannot be
closed then it implies that collar was too tight. Next the subject was asked to check if the
button closures lie flat and smooth without gapping or pulling open at chest because if a
closure gapes or pulls open, the shirt is cut smaller than required and is tight.
281

The subject was asked to check if the full sleeves are long enough and have been cut with
sufficient ease, to bend elbows comfortably. The long sleeves in a shirt including cuffs
should be long enough to reach wrist bone when cuffs are closed, if the sleeve dose not
reach wrist bone the sleeve length is short and if sleeves lies below the wrist bone, they are
cut too long. Subjects were asked to raise their arms and bring them around in front of their
chest to check the sleeve length and whether it is comfortable to move arms with buttoned
cuffs. With the same movement they were also asked to check if the fabric felt strained or
pulled at the back of the shirt, and felt if it might rip. In that case, the shirt was a size smaller.
The subject was asked to raise arms above the head, the same way they might do to comb
their hair and were asked to check if the sleeve of the shirt was comfortable and sufficiently
loose. Then was asked to check if the shirt was long enough to stay tucked neatly into the
trousers or whether it pulls out of the waistband, in case it comes out of waistband it is too
short. The subject was asked to twist around, bend over and generally more around to
check the length of the shirt and verify if the shirt felt comfortable when they moved. The
shoulder seams of set-in sleeves extend one to three centimetres beyond the natural
shoulder and are extended to fall below the curves of the shoulder in a drop shoulder shirt,
the subject was asked to rate the shirt for comfort factor in this situation.
The other questions regarding shirt shoulder were if the shoulder seams bisected the
shoulder that is divide the front and back of the garment and were lying on top of the
shoulder line ninety four percent found it to be perfect the standard deviation of variance is
0.25 this problem of fit usually occurs due to the body posture and shape of the shoulder, for
a man who may have rounded shoulder the seam may not lie straight. This research is
limited to standard body type, however the sample subjects were randomly chosen without
measuring them or analysing their body types.
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8.8.1 Fit of Shirt at Shoulder
Figure 102 Bar chart depicting shoulder seam in shirts
Do the shoulder seams bisect the shoulder and lie on top of it?
No 8 8.7 8.7 8.7
Valid Yes 84 91.3 91.3 100.0
Total 92 100.0 100.0

Table 40: Frequency table depicting shoulder seam in shirts
Hypothesis n: More than 80 percent of the users will think that the shoulder seams of the
shirt bisect the shoulder and lie on top of it.
users will think that the shoulder seams of the shirt bisect the shoulder and lie on top of it is
accepted at 95 percent level of confidence.
283

8.8.2 Fit of Shirt at Armhole
Figure 103 Bar chart depicting armhole fit in shirts
Do the armhole seams cross over just outside the end of the shoulder joint?
No 5 5.4 5.4 5.4
Valid Yes 87 94.6 94.6 100.0
Total 92 100.0 100.0

Table 41: Frequency table depicting armhole fit in shirts
Hypothesis o: More than 80 percent of the users will think that the armhole seams of the
shirt cross over just outside the end of the shoulder joint.
users will think that the armhole seams of the shirt cross over just outside the end of the
shoulder joint is accepted at 95 percent level of confidence.

284

With regards to the armhole area the inquiry was that if the armhole curve was just outside
the shoulder junction as this provides the maximum fit in the shirt, ninety seven percent
found it of right fit with a standard deviation of only0.18 percent the armhole can be inferred
as perfect fit.
8.8.3 Fit of the Shirt around Closures
Regarding question on shirt fit in the area was if the closures were lying closed without
being pulled or gape the response of ninety seven percent subjects were in affirmation and
fit can be accepted.
Figure 104 Bar chart depicting fit of the shirt at the closure
Do closures lie flat and smooth without pulling?
No 6 6.5 6.5 6.5
Valid Yes 86 93.5 93.5 100.0
Total 92 100.0 100.0

Table 42: Frequency table depicting fit of the shirt at the closure
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Hypothesis p: More than 80 percent of the users will think that the closures lie flat and
smooth without pulling in the shirt.
users will think that the closures of the shirt lie flat and smooth without pulling is accepted at
95 percent level of confidence.
8.8.4 Shirt Fit at the Upper Back
As regards the fit of the shirt at back, it was enquired if there was any strain at upper back,
because for forward reach of the arm or any forward movement towards the front, the upper
back especially the area of across back, ninety five point seven percent found it to have no
strain only 0.043 percent found strain at the back, this is another area which is affected by
body shape and posture.
Figure 105 Bar chart depicting fit of the shirt at the back

286

Does the fabric strain at the back of the shirt?

Cumulative
Frequency Percent Valid Percent
Percent
Valid No 83 90.2 90.2 90.2
Yes 9 9.8 9.8 100.0
Total 92 100.0 100.0
Table 43: Frequency table depicting fit of the shirt at the back
Hypothesis q: More than 80 percent of the users will think that the fabric does not strain at
the back of the shirt.
users will think that shirt fabric does not strain at the back is accepted at 95 percent level of
confidence.
8.8.5 Fit of Sleeve in the Shirt
The sleeve area of shirt was evaluated in two questions first if the elbows could be bent
comfortably and second whether the sleeve length was enough; both questions are
correlated as the elbow cannot be bent comfortably if the sleeve length is less especially in
a shirt sleeve where the cuff of the sleeve is generally buttoned. Responses received were
predictably similar ninety three percent and ninety three point three percent respectively
responded positively, sleeve length is dependent on the height of the person a factor that
was not taken in consideration as the area of research is upper body torso which is
predominantly dependent on girth measurements. The fit of sleeve is of acceptable good fit.
287

Figure 106 Bar chart depicting fit of the shirt sleeve at elbow
Can the elbows be bent?
No 10 10.9 10.9 10.9
Valid Yes 82 89.1 89.1 100.0
Total 92 100.0 100.0

Table 44: Frequency table depicting fit of the shirt sleeve at elbow
Hypothesis r: More than 80 percent of the users will think that they can bend their elbows
while wearing shirt.
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users will think that they can bend their elbows while wearing a shirt is accepted at 95
Are shirt sleeves long enough?

No 5 5.4 5.4 5.4
Valid Yes 87 94.6 94.6 100.0
Total 92 100.0 100.0
Table 45: Frequency table depicting fit of the shirt sleeve at elbow
Hypothesis s: More than 80 percent of the users will think that shirt sleeves are long
enough.
users will think that shirt sleeves are long enough is accepted at 95 percent level of
confidence.
8.8.6 Fit of the Shirt in relation to Length
The two questions on shirt length were another inquiry that if the shirt was long enough to
be comfortably tucked in the trouser and whether it stayed tucked in on general movement
of bending forward from waist and sitting and walking; ninety five percent respondents
affirmed and accepted it as of being long enough and ninety eight percent found it to be
comfortable even while moving.

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Figure 107 Bar chart depicting fit of the shirt for movement
No 1 1.1 1.1 1.1
Valid Yes 91 98.9 98.9 100.0
Total 92 100.0 100.0

Table 46: Frequency table depicting fit of the shirt for movement
Hypothesis t: More than 80 percent of the users will think that shirt is comfortable even while
moving.
users will think that shirt is comfortable even while moving around is accepted at 95 percent
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Figure 108 Bar chart depicting length of the shirt
Is the shirt long enough?
No 5 5.4 5.4 5.4
Valid Yes 87 94.6 94.6 100.0
Total 92 100.0 100.0

Table 47: Frequency table depicting length of the shirt
Hypothesis u: More than 80 percent of the users will think that shirt is long enough.
users will think that shirt is long enough is accepted at 95 percent level of confidence.
The hypothesis regarding fit of shirt in all identified crucial areas of fit have been accepted at
95 percent level of confidence, hence it can be concluded that the fit of the shirt has been
validated and can be applied to a large population size.
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8.9 CONCLUSION
This section covered the fit trial experiment, and also covers the subjective fit evaluation for
the following purposes:
1. To systematically evaluate the fit performance of the block pattern created by adopting it
for upper torso garments and test fit on both dress form and live models, so as to
examine if the method is practically applicable for apparel manufacturing.
2. To compare the fit performance of the pattern created with those that are well accepted
by other researchers.
3. To analyse the relationship between body figure, garment fit and garment ease.
4. Both the garments shirt and jacket were evaluated for comfort and fit by an expert panel
as well as test fitted and evaluated by 90 subject samples.
5. The hypothesis were tested with Z test for validity and application of the results for larger
population size and all the hypothesis were accepted at 95 percent confidence level and
hence the test can be inferred as being accepted.
The final garments were evaluated for fit and comfort by a subject. The subjects were
chosen to be male residing in urban areas between the age group of 19 - 42 as the research
was limited to a youthful figure with a maximum size of 42.
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Table 48: Hypothesis for fit evaluation of different parameters of Jacket and shirt
S. Value of Result of
Hypothesis
no. Z test Hypothesis
The user feels that the jacket does not wrinkle or bulge around
1. 2.45 Accepted
collar.
The user feels that the jacket fits smoothly across the shoulder
2. 4.01 Accepted
blades
The user feels that the neckline, neck band or collar lies
3. 4.01 Accepted
smoothly at the base of the neck both for jacket and shirt
4. The user feels that the collar can be worn in more than one way 2.71 Accepted
5. The user feels that the jacket fits smoothly across the chest 2.71 Accepted
The user feels that the lapels of the jacket lie symmetrically on
6. 2.45 Accepted
the chest
The user feels that the pockets in the jacket lie close to the body
7. 2.18 Accepted
without gaping
8. The user feels that the length of the jacket is enough 1.92 Accepted
9. The user feels that the jacket is large enough to fit over the shirt 3.5 Accepted
The user feels that the shoulder seams of the jacket bisect the
10. 2.71 Accepted
shoulder of the body and lie on top of it
The user feels that the armhole seams of the jacket cross over
11. 3.5 Accepted
just outside the end of the shoulder joint
The user feels that the Jacket hangs smoothly from shoulder to
12 4.27 Accepted
hemline
The user feels that the armhole seams of the shirt lie just outside
13. 3.5 Accepted
the shoulder joint
The user feels that the closures lie flat and smooth without
14. 3.23 Accepted
pulling in the shirt front
The user feels that the fabric of the shirt does not strain at the
15. 2.45 Accepted
back
The user feels that he can comfortably bend the elbows while
16. 2.18 Accepted
moving
17. The user feels that the sleeve length of the shirt is enough 3.5 Accepted
The user feels that the length of the shirt is comfortable even
18. while moving the shirt does not come out of the waistband of 4.53 Accepted
trouser when it is tucked in
19. The user feels that the length of the shirt is enough 3.5 Accepted
The user feels that the shoulder seams of the shirt lie on top of
20. 2.71 Accepted
the shoulder
Critical value for Z at 0.05 level of significance is 1.645
If the computed value is more than the critical value hypothesis is accepted if it is less than
computed value it is rejected
293

Figure 109 Menswear garments from a graduation project in 2012
Designs developed as part of graduation project by Goonjan a fashion design student in 2012

Figure 110 Jackets and shirts developed by final year students of batch of 2014
Source the first jacket from right is by Kutubudin, next by Nishant Raj, Srishti Gupta Roy and last on the left by
Fine Ranch
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CHAPTER NINE: RESULTS AND CONCLUSIONS

9. RESULTS AND CONCLUSIONS
9.1 INTRODUCTION
The construction of well fitted block patterns is paramount in the fashion industry because
the sloper or block patterns are the foundation for the creation of an infinite number of
garment styles. The quality of the sloper or blocks largely determines the fit of the garment
to be made. Traditionally, menswear patternmaking follows a garment block approach rather
than a basic block or sloper approach, which is prevalent in womenswear. Initially, the basic
blocks and garments were drafted and developed from individual pattern experts’
experience on the basis of few body measurements. Different pattern experts have their
own set of formulae to create blocks for a single customer. However, for mass production
and ready to wear apparel, the block pattern becomes irreplaceable.
At present, several methods are used for drafting menswear garments, all of them are
based on single garment method. Various books and experts work in the same manner.
However, in Womenswear pattern making the patterns are generated on a single well
balanced block system, where a single sloper is used to make a vast range of apparel -
namely dresses, shirts, corsets, jackets, overcoats and so on. Keeping this in mind, the
present study on menswear patternmaking was envisaged. In this study, developing upper
torso garments for menswear based on a sloper or block pattern has been proposed. This
approach is a three phase process covering:
1. Identification of best/established patternmaking approach for menswear garments
2. Developing a menswear block based on the principles of generation of sloper or block
pattern followed in womenswear garment industry
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3. Developing garment to establish the effectiveness of the block for style generation through
fit evaluation by established procedures
The study developed a menswear sloper for customers, based on standard body
measurements for industrial use. The single block allows unlimited style generation for
upper torso garments. It eliminates the trial and error prototype development and fitting
process. This in turn, shortens the fashion products’ time to reach the market and helps in
producing fast fashion. The method was proven to provide satisfactory fit for male
customers in size 38, 40 and 42 of an average body shape and standard male dress forms
in the same sizes. As a result, the proposed method contributes to the fashion industry by
providing a base for design development in menswear and speeds up the product
development process. The method can also be integrated with modern technologies for
mass customization applications.
The objectives of the current study have been achieved including:
a. Developing menswear blocks
b. Development of methods for garments using upper torso sloper for menswear
c. Establishment of fit parameters for upper torso menswear garments
d. Validation and verification of the generated patterns by comparing them to the
traditional pattern development methods for menswear.
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9.2 RESULTS
The achievement of these objectives has been reported above. The results of this study are
summarized as follows:
1. Development of menswear block: a menswear sloper was developed by using an
expert method of dart less torso block for womenswear as a base. This was further refined
and test fitted to achieve a perfect pattern for menswear torso sloper. The shoulder seam
has an inherent ease on the shoulder, to accommodate the heavy and broader shape of
male shoulder. The same has been validated through comparison of developed garments
with established pattern making methods and evaluation by expert panel, and also by rating
for fit and comfort by sample subjects.
2. Fitting evaluation and comparison: A systematic fit evaluation process has been
carried out to verify the fitting performance of the garments and blocks generated by the
proposed method. It has examined the effectiveness of the method by developing shirt and
jacket in a suitable fabric and industrial finish for three commercial sizes. Ninety subjects
with different heights and in an age group of 19-42 were invited for a fit evaluation of the
garments by the proposed method.
The garments were also tested and compared with traditional methods by a panel of
experts. In subjective evaluation by the panel of experts, they gave ratings on the fit
performance of the garments developed by the block method and the other two traditional
methods to identified experts. From the experimental results, the proposed method provides
fit comparable or better than the other two methods. The garments made by the proposed
method have been considered to be better in fit and shape. From the subjective evaluation
results, it has been found that the garments made by the proposed method provide better fit
297

performance than the other two methods. Secondly, style variation and several design
possibilities can be easily made with accurate fit.
3. Fit parameters: extensive review of literature was undertaken to establish and bench
mark the fit parameters for menswear upper torso garments- shirt and jacket. It was
done for crucial areas identified by both primary and secondary research.
9.3 LIMITATIONS
The limitations of the present study can be viewed in terms of scope and methodology. In
the current method, the block pattern development was done by integrating knowledge in
anthropometric studies, pattern making and fit, garment construction, textile property
constraints and the develop-ability of the resultant garments. The method of pattern
development was defined by in depth review of literature and by experiments. The concept
of developing a single block for menswear and not a garment block is a novel idea and is
different from conventional approaches. Ideally, a large scale experiment should be carried
out to evaluate the fit of block pattern making. However, due to the limited time, the fit was
done only for 90 subjects, for establishing it further fit evaluation should be done on a larger
sample in many more sizes.
In terms of the scope of the study, this research was limited to study block development
patterns for urban male population. In fitting evaluation, only ninety male subjects with
regular body shape participated. The sample size can be expanded for a more represented
number from many more cities. In addition, the proposed method compared the garments
developed by only two conventional patterns making methods. It is proposed that for future,
a larger number of samples with other body types and postural problems may be covered.
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9.4 RECOMMENDATION FOR FURTHER RESEARCH
A systematic method for the development of upper torso garments using block methods has
been established in this thesis. Some future directions for further research are outlined as
follows:
1. In the current study, the garments chosen for evaluation essentially cover the upper
torso for men that were shirts and jackets. Trousers’ block patterns should also be
studied using the proposed methodology.
2. In the current study, the block pattern development is based on standard body
measurements in a natural posture. However, such block patterns are not applicable
for active sportswear, and functional garments. This can be done by developing
blocks for functional garment design.
3. It is also desirable to expand the current study to cover block pattern development
for different body types, especially the pear shaped Indian male body.
4. Although the pattern developed in this study was used to develop a tailored jacket
and a classic slim fit shirt, the approach can be extended to other styles of jackets
and shirts.
5. The selected size in the study was a standard male figure of size 38, 40 and 42. The
method by which the pattern was developed in this study can be applied to a large
range in similar sizes. Furthermore, once the basic block for other body shapes and
figures is defined and developed, it would have larger industrial application.
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9.5 PROJECTED OUTCOME
The main purpose of this study was to develop a Sloper that will provide a base for new
styles without having to make individual garment patterns, every time a variation is
attempted. The basic pattern would be manipulated and used to create newer styles, as is
being done in womenswear.
The significance of the study can be summarised as follows:
1. The study provides a method of block making for menswear upper torso. Based on
this, several garment styles for the upper torso could be developed.
2. Reduced product cycle time, well fitted slopers would reduce valuable time in
production.
3. Today’s, men are looking for more options and design variations. With a well fitted
sloper, valuable time would be reduced to develop these styles, as is done in
womenswear. It would be more practical to produce design variations, as is done in
womenswear.
4. A well fitted sloper would help in producing accurate garment pattern for the
required silhouette and desired fit. The block drafting method is acknowledged as
the most efficient method to produce patterns for mass productions.
5. Pattern alteration can be easily done by inserting appropriate ease in basic sloper
that can be implemented for various garments developed using the sloper.
6. The new method of pattern making can be applied to teach design students pattern
making, as it provides ample scope for design development.
7. Teaching resource or Hand-outs can be developed with the methods established
and tabulated as part of the research.
300

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316

ANNEXURE 1
Questionnaire for Industry
The questionnaire may be filled by Pattern Master of the company / Designer / Production Manager.
A study is being undertaken to determine the method of pattern making being followed in the industry and
problems faced if any.
Name: Age:
Location: Profession:
Date:
_________________________________________________________________________
1. How long have you been working in the garment industry?
________________________________________________
2. Have you received any formal training in your profession?
a) Yes
b) No
3. The training received was in a
a) School
b) ITI
c) Polytechnic
d) NIFT
e) Other Institutes ____________________________ (Please specify)
f) Trained on the job
g) Family Profession
4. What kind of clothes / line of clothing are you associated with?

a) Menswear
b) Womenswear
c) Kidswear
d) Any other ________________________(please specify)
5. In menswear the garments made in your unit are:

a) Shirt
b) Trouser
c) Jacket
d) Waist Coat
e) Over coat
f) Any other
6. Do you cut your own patterns? (Kindly indicate in percentage)

a) Yes _____________
b) No _____________

7. The garments made in the unit are (Kindly indicate in percentage):

a) Made to measurement _______________
b) Mass Produced _______________
8. For made to measurement clothes you cut your pattern on (Kindly indicate in
percentage)
a) paper __________________
b) fabric itself __________________
9. For mass produced garments; patterns are generally cut in your unit:
a) Cut a shirt waist coat and jacket separately
b) Cut shirt, waist coat & Jacket from same block
c) Do not make shirt
d) Do not make jacket
e) Do not make waist coat
10. What pattern making method is used in your unit?

____________________________________________
11. The patterns in the unit are cut (Kindly indicate in percentage)
a) Manually _ ____________________
b) Digitally ____________________
c) Sent by the client ____________________
12. Is data base of your regular clients maintained by saving patterns for their basic
garments (Kindly indicate in percentage):
a) Yes _________________
b) No _________________
13. If yes, how do you save the patterns?

a) Save actual patterns
b) Save patterns and special instructions for posture and body type.
c) Save measurements only
d) Save pictures of the garments
14. I am aware about the block method of Pattern cutting

A) Yes
B) No
15. Have you ever worked with block method in your unit?
a) Yes
b) No
If yes continue otherwise proceed to question 16
15a. If yes please specify for which garments

___________________________________________________________
15b. If you have worked with block method is there any particular book or expert whose method is good?
___________________________________________________________
15c. Do you know of any one who uses block method to make patterns?
a) Yes
b) No
15d. If yes, how many pattern masters _____________________________
15e. I think block method will help in following ways:
Advantages Strongly Agree Strongly
Disagree
Save time 5 4 3 2 1
15f. I think block method of making patterns as followed in Women’s wear would work in Menswear.
Strongly Strongly
Agree Disagree
5 4 3 2 1

16. I think the customers are satisfied with fit of the garments in my unit.
Strongly Strongly
Agree Disagree
5 4 3 2 1
17. In order to ensure that garments are fitting properly I feel there is need for intervention. (write yes /no)
Garment Shirt Jacket Waist coat
Have felt the need
Have not felt the need to
make effort
Taken action only in case of
complaints
18. To ensure proper fit in the garments I have taken the following action:
Strongly Strongly
Agree Disagree
Garment
Method
Shirt Muslin Test 5 4 3 2 1

fit
Trial 5 4 3 2 1
Jacket Muslin Test 5 4 3 2 1
fit
Trial 5 4 3 2 1
Waist Muslin Test 5 4 3 2 1
Coat fit
Trial 5 4 3 2 1
19. For ensuring proper fit in the following garments, the crucial areas are:
Strongly Strongly
Agree Disagree
Garment
Area
Collar Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Waist Coat 5 4 3 2 1
Neckline Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Shoulder Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Armhole Shirt 5 4 3 2 1
Depth Jacket 5 4 3 2 1
Chest Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Button Shirt 5 4 3 2 1
placement Jacket 5 4 3 2 1
Sleeve Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Waist Shirt 5 4 3 2 1
Area Jacket 5 4 3 2 1
Hip Area Shirt 5 4 3 2 1
Jacket 5 4 3 2 1

20. I feel there is a need for change in the way patterns are cut in the unit.
Strongly Strongly Disagree
Agree
5 4 3 2 1
21. If you agree, give your suggestions
______________________________________________.
22. I feel there is need for training to upgrade pattern master’s skill level
Strongly Strongly Disagree
Agree
5 4 3 2 1
23 I have faced issues in fitting customer’s garments

Very Rarely
frequently
5 4 3 2 1
24. If yes please specify what kind of problems that you may have faced in various garments.
Shirt Jacket Waist coat
25. The issues of fit in following garments have been resolved by:
Method Shirt Jacket Waist coat

Trial
Referred to an expert
Referred to a book
Ignored the issues
26 How are others in the industry making the patterns?

a) Cut a shirt, waist coat and jacket separately
c) Do not make shirt
d) Do not make jacket
e) Do not make waist coat
27. Please name some books on patternmaking that you are familiar with.
1)
2)
3)
4)
5)
28. The size range of menswear garments in the unit is

___________ to _______________
29. The size which is cut maximum is

Size ______ Percentage ______
Thank You for your time

ANNEXURE 2
Questionnaire for Academia
The questionnaire may be filled by Academician Practicing Pattern Making and fit analysis and Related
areas.
A study is being undertaken to determine the method of pattern making being followed in the industry and
problems faced if any.
Name: Age:
Location: Name of the Institute:
Date:
__________________________________________________________________________
1. Do you teach Pattern Making?
a) Yes
b) No
If yes continue
2. How long have you been teaching in this subject?

________________________________________________
3. Your professional degree is at the level of
a) School
b) ITI
c) Polytechnic
d) Graduation
e) Post Graduation
f) Doctoral Degree
4. You received your training in the field of patternmaking in a

a) School
b) ITI
c) Polytechnic
d) NIFT
e) University
f) Other Institutes ____________________________ (Please specify)
5. In Pattern Making the areas you teach are:

a) Menswear
b) Womenswear
c) Kidswear
d) Creative Pattern Making
e) Grading
f) Any other ______________________________ (Please specify)
6. What are the garments taught in your institute in the following categories?
a). Menswear _____________________________
b). Womenswear ______________________________
c). Kidswear ______________________________
7. Which books do you refer to teach Pattern Making?
a)
b)
c)
8. Which method do you use to make patterns?
Menswear Womenswear Kidswear
Garment specific
(Direct Drafting)
Block Method with
pattern manipulation
Combination of both
9. The medium used for making the patterns is? (Kindly indicate in percentage)
a) On paper __________
b) On muslin __________

c) On fabric itself __________

10. For menswear garments; patterns are generally cut:
a) Cut a shirt, waist coat and jacket separately
c) Do not teach shirt pattern
d) Do not teach jacket pattern
e) Do not teach waist coat pattern
11 What pattern making method is used in your Institute?
a) Garment specific (Direct Drafting)
b) Block Method with pattern manipulation
c) Both
12. The students are taught pattern making in the Institute.
a) Manually
b) Digitally
c) Both
13. Have you heard of Block method of pattern cutting?
a) Yes
b) No
14. Have you ever worked with block method in your Institute?
a) Yes
b) No
14a. If yes please specify for which of the following:
YES NO
Menswear
Womenswear
Kidswear
14b. If you worked with block method is any particular book or expert whose method is
good?
___________________________________________________________
14c. I know of others who uses block method to make patterns.
a) Yes
b) No
14d. If yes, give names of Institutes it is taught _____________________________
15. I think block method will help in following ways:

Disagree
Save time 5 4 3 2 1
16 The block method of making patterns as followed in Women’s wear would work in Menswear.
Disagree
5 4 3 2 1
17. In order to ensure that the following garments are fitting properly I feel there is need for intervention.
Garment Shirt Jacket Waist coat
Have felt the need
Have not felt the need to make
effort
Taken action only in case of
complaints
18. To ensure proper fit in the garments I will take the following action:
Strongly Strongly
Agree Disagree
Garment
Method
Shirt Muslin Test fit 5 4 3 2 1

Trial 5 4 3 2 1
Jacket Muslin Test fit 5 4 3 2 1
Trial 5 4 3 2 1

19. For ensuring proper fit in the following garments, the crucial areas are:
Strongly Strongly
Agree Disagree
Garment
Area
Collar Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Neckline Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Shoulder Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Armhole Shirt 5 4 3 2 1
Depth Jacket 5 4 3 2 1
Chest Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Button Shirt 5 4 3 2 1
placement Jacket 5 4 3 2 1
Sleeve Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Waist Area Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
Hip Area Shirt 5 4 3 2 1
Jacket 5 4 3 2 1
20. I have faced issues in fitting the patterns that are either made by me or students.
always never
5 4 3 2 1
21. If yes, please specify kind of problems you have faced in various garments.
Shirt Jacket Waist coat
22. How have you tried to solve these issues?

Method Shirt Jacket Waist coat
Trial
Referred to an expert
Referred to a book
Ignored the issues
23 How are other Institutes teaching pattern making?
a) Garment specific (Direct Drafting)
b). Block Method with pattern manipulation
24. I feel there is need for training to upgrade skill level
Disagree
5 4 3 2 1
25. There is a need for change in the way / curriculum of pattern making is taught in the Institute.
Disagree
5 4 3 2 1
26. Please give your suggestions
____________________________________________________________________.
____________________________________________________________________.
Thank You for your time

ANNEXURE 3
Analysis of the questionnaire for pattern makers and academia
One-Sample Test
Test Value = 4
95% Confidence Interval of
Sig. (2- Mean the Difference
T df tailed) Difference Lower Upper
To ensure proper fit in the shirt I have
.894 60 .375 .14754 -.1826 .4776
taken the following action
To ensure proper fit in the jacket I have
1.837 60 .071 .27869 -.0248 .5822
taken the following action
To ensure proper fit in the jacket muslin
7.724 60 .000 .68852 .5102 .8668
test fit works
ANNEXURE 4
Fit Analysis for Jacket by Academia

N Mean Std. Deviation Std. Error Mean
To ensure proper fit in the jacket crucial areas is collar 61 4.7541 .59598 .07631
To ensure proper fit in the jacket crucial areas is neckline 61 4.2459 1.10538 .14153
To ensure proper fit in the jacket crucial areas is shoulder 61 4.3770 .95156 .12183
To ensure proper fit in the jacket crucial areas is armhole depth 61 4.5574 .92240 .11810
To ensure proper fit in the jacket crucial areas is chest 61 4.0984 1.36266 .17447
To ensure proper fit in the jacket crucial areas is button placement 61 3.9344 1.44763 .18535
To ensure proper fit in the jacket crucial areas is sleeve 61 4.5082 .97678 .12506
To ensure proper fit in the jacket crucial areas is waist 61 3.9180 1.40588 .18000
To ensure proper fit in the jacket crucial areas is hip 61 4.0820 1.15895 .14839
One-Sample Test Test Value = 4

T df Sig. (2- Mean 95% Confidence Interval of
tailed) Difference the Difference
Lower Upper
To ensure proper fit in the jacket crucial 9.882 60 .000 .75410 .6015 .9067
areas is collar
To ensure proper fit in the jacket crucial 1.737 60 .087 .24590 -.0372 .5290
areas is neckline
areas is shoulder
areas is armhole depth
To ensure proper fit in the jacket crucial .564 60 .575 .09836 -.2506 .4474
areas is chest
To ensure proper fit in the jacket crucial -.354 60 .725 -.06557 -.4363 .3052
areas is button placement
areas is sleeve
areas is waist
areas is hip


T df Sig. (2- Mean 95% Confidence Interval of
tailed) Difference the Difference
Lower Upper
areas is collar
To ensure proper fit in the jacket crucial 1.737 60 .087 .24590 -.0372 .5290
areas is neckline
areas is shoulder
areas is chest
areas is sleeve
areas is waist
areas is hip
Fit Analysis for Jacket by pattern makers
To ensure proper fit in the jacket
116 4.4828 .99985 .09283
crucial areas is collar
116 4.1724 1.22493 .11373
crucial areas is neckline
crucial areas is shoulder
116 4.7672 .65086 .06043

116 4.7586 .62722 .05824
crucial areas is armhole depth
116 5.1034 4.63893 .43071
crucial areas is chest
116 4.5259 3.91310 .36332
crucial areas is button placement
116 4.5345 .99066 .09198
crucial areas is sleeve
116 4.3534 1.10536 .10263
crucial areas is waist
116 4.2500 1.17861 .10943
crucial areas is hip

One-Sample Test with Test Value = 4

t df tailed) Difference Lower Upper
To ensure proper fit in the jacket crucial
5.200 115 .000 .48276 .2989 .6666
areas is collar
1.516 115 .132 .17241 -.0529 .3977
areas is neckline
12.696 115 .000 .76724 .6475 .8869
areas is shoulder
13.027 115 .000 .75862 .6433 .8740
2.562 115 .012 1.10345 .2503 1.9566
areas is chest
1.447 115 .151 .52586 -.1938 1.2455
5.811 115 .000 .53448 .3523 .7167
areas is sleeve
3.444 115 .001 .35345 .1502 .5567
areas is waist
2.285 115 .024 .25000 .0332 .4668
areas is hip
ANNEXURE 5
Fit Analysis for shirt by Academia
To ensure proper fit in the shirt crucial areas is collar 61 4.7869 .63547 .08136
To ensure proper fit in the shirt crucial areas is neckline 61 4.6066 .82217 .10527
To ensure proper fit in the shirt crucial areas is shoulder 61 3.9344 1.26318 .16173
To ensure proper fit in the shirt crucial areas is armhole depth 61 4.2787 .95098 .12176
To ensure proper fit in the shirt crucial areas is chest 61 3.8361 1.31884 .16886
To ensure proper fit in the shirt crucial areas is button placement 61 3.9508 1.44252 .18470
To ensure proper fit in the shirt crucial areas is sleeve 61 4.0492 1.27051 .16267
To ensure proper fit in the shirt crucial areas is waist 61 3.1311 1.38414 .17722
To ensure proper fit in the shirt crucial areas is hip 61 3.0492 1.32195 .16926


t df
tailed) Difference
Lower Upper
To ensure proper fit in the shirt crucial
9.671 60 .000 .78689 .6241 .9496
areas is collar
5.762 60 .000 .60656 .3960 .8171
areas is neckline
-.405 60 .687 -.06557 -.3891 .2579
areas is shoulder
2.289 60 .026 .27869 .0351 .5222
-.971 60 .336 -.16393 -.5017 .1738
areas is chest
-.266 60 .791 -.04918 -.4186 .3203
.302 60 .763 .04918 -.2762 .3746
areas is sleeve
To ensure proper fit in the shirt crucial -
60 .000 -.86885 -1.2233 -.5144
areas is waist 4.903
60 .000 -.95082 -1.2894 -.6123
areas is hip 5.618
Fit Analysis for shirt by pattern makers
To ensure proper fit in the shirt
116 4.3534 1.09746 .10190
crucial areas is collar
115 4.2696 1.13417 .10576
crucial areas is neckline
116 4.4828 .95538 .08870
crucial areas is shoulder
116 4.5172 .90873 .08437
crucial areas is armhole depth
116 4.5086 .91837 .08527
crucial areas is chest
116 4.4397 4.01365 .37266
crucial areas is button placement
116 4.1379 1.25037 .11609
crucial areas is sleeve
116 3.6638 1.42001 .13184
crucial areas is waist
116 3.2500 1.42570 .13237
crucial areas is hip

One-Sample Test with Test Value = 4

t df
tailed) Difference
Lower Upper
3.469 115 .001 .35345 .1516 .5553
areas is collar
2.549 114 .012 .26957 .0601 .4791
areas is neckline
5.442 115 .000 .48276 .3071 .6585
areas is shoulder
6.130 115 .000 .51724 .3501 .6844
5.965 115 .000 .50862 .3397 .6775
areas is chest
1.180 115 .241 .43966 -.2985 1.1778
1.188 115 .237 .13793 -.0920 .3679
areas is sleeve
115 .012 -.33621 -.5974 -.0750
areas is waist 2.550
115 .000 -.75000 -1.0122 -.4878
areas is hip 5.666
ANNEXURE 6
Cross Tabulation
Name of the Institute * education level received at Cross tabulation

Count education level received at
Total
School ITI polytechnic graduation post-graduation
NIFT 0 3 3 5 20 31
ATDC 1 4 6 10 4 25
Name of the Institute Pearl 0 0 0 0 1 1
Other Institutes 0 0 0 1 1 2
Other than India 0 0 0 2 0 2
Total 1 7 9 18 26 61
formal training * I feel there is need for training to upgrade pattern master’s skill level Cross
tabulation
Count
I feel there is need for training to upgrade pattern master’s
skill level
1 2 3 4 5 Total
formal training yes 2 4 6 17 45 74
no 5 8 1 7 20 41
Total 7 12 7 24 65 115

ANNEXURE 7
Size range

Valid 34-44 36 30.8 31.0 31.0
32-46 22 18.8 19.0 50.0

32 -48 21 17.9 18.1 68.1
34-46 29 24.8 25.0 93.1
32-50 3 2.6 2.6 95.7
28-48 5 4.3 4.3 100.0
Total 116 99.1 100.0
Total 117 100.0
Sizes which are cut maximum

Valid 34 3 2.6 2.6 2.6
36 12 10.3 10.3 12.9
38 23 19.7 19.8 32.8
40 51 43.6 44.0 76.7
42 23 19.7 19.8 96.6
44 4 3.4 3.4 100.0
Total 116 99.1 100.0
Missing System 1 .9
Total 117 100.0

ANNEXURE 8
Pattern by Henry Wampen
Source: http://www.cutterandtailor.com/forum/index.php?showtopic=437

ANNEXURE 9
Fit evaluation form for expert panel

ANNEXURE 10
Evaluation sheet for jacket Experts for Fit Analysis
‘I’ denote industry member ‘D’ denotes designer and ‘A’ denotes academician, numbers 1 and 2 denote
expert 1 and expert 2 in the particular category.
S Expert Score Parameter Remarks
No
1 I1 0 Shoulder Width 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
No
1 I1 0 Sleeve Position 0 denotes perfect fit
2 I2 0 1 expert felt sleeve was hanging forward more than
3 D1 0 required
4 D2 0
5 A1 1
6 A2 0
No
1 I1 0 Collar on the Neckline 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
No
1 I1 0 Lapel on the front side 0 denotes perfect fit
2 I2 0 view
3 D1 0
4 D2 0
5 A1 0
6 A2 0

No
1 I1 0 Armhole 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
No
1 I1 0 Front View 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
No
1 I1 0 Upper Back 0 denotes perfect fit
2 I2 0 -1 meant upper back has slight strain
3 D1 0
4 D2 0
5 A1 -1
6 A2 0

No
1 I1 0 Centre Back 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
No
1 I1 0 Shoulder Slope 0 denotes perfect fit
2 I2 0 -1 it was slightly sloping more than required
3 D1 0
4 D2 0
5 A1 0
6 A2 -1
No
1 I1 0 Lapel Front View 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
The analysis of fit parameters for Jacket by experts
shoulder width
Valid Perfect 6 100.0 100.0 100.0

collar at the neckline
Valid perfect 6 100.0 100.0 100.0

sleeve position
hanging forward more 1 16.7 16.7 16.7

Valid Perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0
view of the lapel from front side view
Valid perfect 6 100.0 100.0 100.0

armhole level
Valid perfect 6 100.0 100.0 100.0

jacket front fitting
Valid perfect 6 100.0 100.0 100.0

jacket back fitting
slightly loose 1 16.7 16.7 33.3

Valid perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0

centre back seam in jacket
Valid perfect 6 100.0 100.0 100.0

Jacket shoulder slope
slightly sloping 1 16.7 16.7 16.7

Valid perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0
front view of jacket lapel
Valid perfect 6 100.0 100.0 100.0
ANNEXURE 11
Fit Evaluation for Shirts by expert panel
‘I’ denote industry member ‘D’ denotes designer and ‘A’ denotes academician, numbers 1 and 2 denote
expert 1 and expert 2 in the particular category.
1 I1 0 Waist Curve 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
1 I1 0 Sleeve Length 0 denotes perfect fit
2 I2 1 1 expert felt sleeve was slightly long
3 D1 0
4 D2 0
5 A1 0
6 A2 0
1 I1 0 Collar ease 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
1 I1 0 Chest 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0
1 I1 0 Armhole 0 denotes perfect fit
2 I2 0
3 D1 0
4 D2 0
5 A1 0
6 A2 0

The analysis of fit parameters for Shirt by experts
waist curve of the shirt

Valid perfect 6 100.0 100.0 100.0
armhole level in shirt
Valid perfect 6 100.0 100.0 100.0
collar ease in shirt
Valid perfect 6 100.0 100.0 100.0
shirt ease at chest level

Valid perfect 6 100.0 100.0 100.0
shirt sleeve length
Valid slightly big 1 16.7 16.7 16.7
perfect 5 83.3 83.3 100.0
Total 6 100.0 100.0

ANNEXURE 12
Questionnaire for sample subject
The questionnaire to be filled by client

A study is being undertaken to develop a new method of pattern making for menswear and to check the fit
and satisfaction of customers
I agree to check the Fit and get photographed in the developed apparel.
Name: Age:
Date: May /may not give my name

_____________________________________________________________________
1. Does the jacket wrinkle or bulge just below the collar across the back
Y( ) N( )
2. Does the jacket have a smooth fit over the shoulder blades?
Y( ) N( )
3. Does the jacket fit smoothly across the upper chest and bust? If a diagonal or vertical fold forms between
the shoulder and bust, is the jacket is too small across the chest
Y( ) N( )
4. Do the lapels lie symmetrically on the body?
Y( ) N( )
5. Is your jacket long enough to cover the widest part of your hips, buttocks and thighs? Do jackets vents or the
centre back pleat hang straight, flat and closed?
Y( ) N( )
6. Do pockets lie closed, without gapping or pulling open?
Y( ) N( )
7. Do jacket sleeves allow about ½” of the shirt sleeve to show below the hem? Move around, raise your arms,
and swing your arms back and forth.
Y( ) N( )
8. Is the jacket large enough to fit easily and comfortably over a shirt underneath? Is the armhole cut full
enough to raise your arms above your head without straining the seams?
Y( ) N( )
9. Does the neckline, neckband, or collar fit the curve around your neck, not gap or cut in uncomfortably?
Y( ) N( )
10. Does the neckline, neckband, or collar lie smooth at the base of your neck, front, sides, and back?
Y( ) N( )
11. Can you wear the collar more than one way turned up, down, buttoned, unbuttoned? If you can’t button the
top button, the collar is too tight.
Y( ) N( )
12. Do shoulder seams bisect the shoulder – lie straight, directly on top of the shoulder?
Y( ) N( )
13. Do the armhole seams cross over or just outside the end of your shoulder joint (collar bone)? If they cross
on the inside, the shoulder area of the garment is too narrow. Padded shoulders and drop-shoulder designs
may extend beyond.
Y( ) N( )
14. Do closures lie flat and smooth without gapping or pulling open at chest, bust, or hips? If a closure gaps or
pulls open, the shirt is too small.
Y( ) N( )
15. If the sleeves are long, can you bend your elbows easily?
Y( ) N( )
16. Are full sleeves, including cuffs, long enough in your shirt? If sleeves don’t reach your wrist bone when cuffs
are closed, they are too short. If sleeves lie below your wrist bone, they are too long. Raise your arms and
bring them around in front of your chest.
Y( ) N( )
17. Does the fabric feel strained or pull across the back of the garment, as if it might rip? Raise your arms above
your head, as if combing your hair. Are the sleeves comfortably loose?
Y( ) N( )
18. Is the shirt tail long enough to stay tucked neatly into your trousers? If the shirt pulls out of your waistband it
is too short. Twist around, bend over and generally move around.
Y( ) N( )
19. Does the shirt feel comfortable as you move?
Y( ) N( )
20. Does the jacket hang smoothly from shoulder to hem
Y( ) N( )

ANNEXURE 13
Computation of Z test
At 95% confidence level if 80% of the population will find it acceptable

Computation of Z = (percentage of null hypothesis - 0.8)/0.0417 = Z
Critical value for Z at 0.05 level of significance is 1.645. As the computed value is more than the critical
value H0 is accepted.
S. Question Yes No Z Significa
no (%) (%) nt
1 Does the jacket wrinkle around collar? 90.2 2.45 Yes
2 Does the jacket fit smoothly across the shoulder blades? 96.7 4.01 Yes
3 Does the Jacket fit smoothly across the chest? 91.3 2.71 Yes
4 Do lapels lie symmetrically? 90.2 2.45 Yes
5 Is the length enough? 88 1.92 Yes
6 Do pockets in the jacket lie close without gaping? 89.1 2.18 Yes
7 Do the jacket sleeves allow 1/2 inch of shirt to show? 92.4 2.97 Yes
Movement is possible
8 Is the jacket large enough to fit over the shirt? 94.6 3.5 Yes
9 Does the neckline, neck band or collar fit the curve around the 96.7 4.00 Yes
neck comfortably?
10 Does the neckline, neck band or collar lie smoothly at the base 95.7 4.01 Yes
of the neck?
11 Can you wear the collar in more than one way? 91.3 2.71 Yes
12 Do the shoulder seams bisect the shoulder and lie on top of it? 91.3 2.71 Yes
13 Do the armhole seams cross over just outside the end of the 94.6 3.5 Yes
shoulder joint?
14 Do closures lie flat and smooth without pulling? 93.5 3.23 Yes
15 Can you bend your elbows? 89.1 2.18 Yes
16 Are shirt sleeves long enough? 94.6 3.50 Yes
17 Does the fabric strain at the back of the shirt? 90.2 2.45 Yes
18 Is the shirt comfortable when you move? 98.9 4.53 Yes
19 Does the jacket hang smoothly from shoulder to hem? 97.8 4.27 Yes

ANNEXURE 14
The evaluation of shirt and jacket by the subject sample
Do
Does
Do the
the
Does Does Do the the armho Does
Do neckli Do
the the jacket Is the Does the Can shoul le the Does
Does pocke ne, closur
jacke jacket sleeves jacke neckline, you der seam fabri the
the ts in neck es lie Is the
t fit allow t neck wear seam s Can Are c jacket
Jacket the band flat Is the shirt
wrink smoot Do lapels Is the 1/2 inch large band or the s cross you shirt strai hang
fit jacket or and shirt comforta
le or hly lie length of shirt enou collar fit colla bisect over bend sleeve n at smoot
smoot lie collar smoot long ble
bulg across symmetric enoug to gh to the curve r in the just your s long the hly
hly close lie h enoug when
e the ally? h? show? fit around more shoul outsid elbow enoug back from
across witho smoot witho h? you
arou should Movem over the neck than der e the s? h? of should
the ut hly at ut move?
nd er ent is the comforta one and end of the er to
chest? gapin the pullin
colla blades possibl shirt? bly? way? lie on the shirt hem?
g? base g?
r? ? e top of shoul ?
of the
it? der
neck?
joint?
N 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92 92
.097 .913 .097
Mean .9674 .9130 .9022 .8804 .8913 .9239 .9457 .9674 .9565 .9130 .9457 .9348 .8913 .9457 .9457 .9891 .9783
8 0 8
Media .000 1.000 1.000 1.000 1.00 1.000 1.000 1.000 1.000 1.000 .000 1.000
1.0000 1.0000 1.0000 1.0000 1.0000 1.0000 1.0000 1.0000
n 0 0 0 0 00 0 0 0 0 0 0 0
Std.
.298 .3262 .3129 .2279 .283 .2833 .2279 .2482 .3129 .2279 .298 .2279
Deviati .17858 .28332 .29871 .26659 .17858 .20505 .10426 .14663
71 3 6 4 32 2 4 6 6 4 71 4
on
84.0
Sum 9.00 89.00 84.00 83.00 81.00 82.00 85.00 87.00 89.00 88.00 84.00 87.00 86.00 82.00 87.00 9.00 87.00 91.00 90.00
0
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PATTERN DEVELOPMENT FOR MENSWEAR USING BLOCK METHOD

SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE of

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

NEW DELHI, 110 016

My parents and brother

University or Institute for the award of any degree or diploma.

(Ms. Vandana Narang)

27th January 2014

USING BLOCK METHOD - a fresh approach” being submitted by VANDANA NARANG, to

Philosophy is a record of bonafide research work carried out by him/her. VANDANA

(Dr. Noopur Anand)

27th January, 2014 Professor & Chairperson DFT,

National Institute of Fashion Technology, Delhi

completion of my research. I am sincerely thankful to:

advice and constant encouragement and meticulous and timely feedback.

DG – NIFT and my employer organization NIFT, for giving me opportunity to carry

Design, well-wishers and friends for their encouragement and support.

advice and constnt words of encouragement.

moral support throughout this phase.

the patterns on computers.

heartfelt thanks are due to all of them.

Figure 1 Sketch of a Jacket

understanding the mechanisms at play is an even more profound experience.-Tomoko

Content Page No.

ABSTRACT ........................................................................................................................... iii

TABLE OF CONTENTS ......................................................................................................... v

LIST OF FIGURES .............................................................................................................. xvi

LIST OF TABLES ................................................................................................................ xix

1.1 OVERVIEW .................................................................................................................. 1

1.2 STATEMENT OF THE PROBLEM ............................................................................ 11

1.3 OBJECTIVE OF STUDY ............................................................................................ 12

1.4 PURPOSE OF THE STUDY ...................................................................................... 13

2. REVIEW OF LITERATURE ........................................................................................... 15

2.1 MENSWEAR .............................................................................................................. 16

2.1.1 Men as Consumers ................................................................................................................................. 16

2.1.2 Menswear Market ................................................................................................................................... 19

2.1.3 Menswear Apparel ................................................................................................................................. 24

2.2 HISTORY OF MENSWEAR ....................................................................................... 25

2.2.1 A Brief History of Indian Fashion .................................................................................................... 26

2.2.2 Development of Menswear Garments ........................................................................................... 29

2.2.3 Categories of Menswear Apparel .................................................................................................... 30

2.3 PATTERN MAKING ................................................................................................... 31

2.3.1 Definition .................................................................................................................................................... 32

2.3.2 Information on patterns ..................................................................................................................... 33

2.3.3 Pattern making books .......................................................................................................................... 33

2.4.1 Draping ........................................................................................................................................................ 36

2.4.2 Pattern Drafting ....................................................................................................................................... 36

2.4.3 Flat patternmaking ............................................................................................................................... 37

2.4.4 Drafting ....................................................................................................................................................... 38

2.5 MENSWEAR PATTERN SYSTEMS - CURRENT PRACTICES ............................... 39

2.6 SIZING ....................................................................................................................... 41

2.6.1 Men’s body types .................................................................................................................................... 46

2.6.2 Analysis of men’s figures .................................................................................................................... 49

2.6.3 Sizing System ............................................................................................................................................ 50

2.7 FIT .............................................................................................................................. 51

2.7.1 Importance of Fit ................................................................................................................................... 54

2.7.2 Zones of fit ................................................................................................................................................ 55

2.7.3 Evaluating fit ............................................................................................................................................. 55

2.7.4 Critical Areas of Fit for Menswear ................................................................................................... 58

2.7.5 Visual Fit Analysis and Prototype Testing ................................................................................... 60

2.7.6 Fit-­‐mapping ............................................................................................................................................... 62

2.8 EASE ALLOWANCE ................................................................................................. 63

2.8.1 Definition ................................................................................................................................................... 64

2.7.6 Fit-‐mapping ............................................................................................................................................... 62