,2

)
Tomoko Nakamichi

Having served many years as a professor at Bunka Fashion

College, Tomoko Nakamichi currently delivers lectures and

holds courses on paffern making in her native Japan and

internationally. This book brings together the results of the

research on garment patterns she has carried out to help instruct

her students. She also enjoys creating the ball-jointed fashion

dolls that appear iñ the pages of this book.

PA TTER N M AC I C
Tomoko Nakamichi

KingPublishing
Laurence
Pattern Making

Cut andioin flat piecesof fabric

to assemble into a three-dimensional garment.

Take the pieces of a three-dimensional garment apart

and flatten them, to get individual pattern pieces.

The relationship between the flat pattern pieces and the

three-dimensional structure of the garment never changes.

You can create a garment by cutting, moving and

reassemblingthe piecesof a pattern, just like the pieces

of. a pazzle.

Use your original designs to make new patterns.

Conte n ts
Usingthis book

Fundamentals

PIateS Instructions
Pa r t 1
Creatingform Accents 13 27
throughinspiration (deppari)

Gathered hole 14'15 '1.7

Crater L6.1.7

The drop hole 1,8. 1.9

(otoshiana)

Lumps and bumps 20

(dekoboko)

sloper(block)for an adultJapanese
Thedressform usedin this bookis basedon the standardBunka-style female
Seepages98-'102for moredetails

All patternsarefor a size9 lapaneseadult female(bust 83cm,waist 64cm, centrebacklength38cm)

to garmentsize
Theposiüonof the cuttingandopeningout lines,andthe amountto be openedout, mayvaryaccording

bodyform, reduceto halfallfull-sized

When usinga half-scale and developthe frtern
measurements
 Plates Instructtons

P ar t 2 /1
Draped design 53
MakingPatterns
for hautecouture
garments

54 68
The twist
(nejiri)

55 74
Hide and seek
(kal<wrenbo\

56 80
Interwoven design

.¿:ffi
57 84
Bamboo shoot
(tak-enoko)

58.59 86
The knot
(musubw)

94
Two distinctexPressions 60

60 96
An intrigurng curve

99
Bunka-style sloper (block) for an adult woman
woman
Bunka-style sloper (block) for an adult
lo1
éjr.'H¡lir'"ir*!ur.l
usitrgthis book
At the beginning of this book (page 7) I explained about the relationship berween the three-dimensional structure
of a garment and flat pattern pieces. A major objective when making garments for women is not only that they fit
properly but that they also look attractive. For this reason, garment design will never cease to exist and provide
endless enjoyment. I hope the pattern-making method I introduce here is of use to you in turning an image into a
silhouette or design detail, and that you learn from the ideas in this book and find new methods that work for you.
The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper
(block) for adult women (Japanese'M' size: bust 83cm, waist 64cm, centre back length 38cm) , and a half-scale
dress form for the three-dimensional pattern manipulation. All the measurementson this dress form are half that
of a full-sized dress form, its surface area is scaled down to a quarter and its volume to one-eighth. Using a half-
scaledress form helps to understand the overall balance and look of a garment. As my objective was to explain the
construction of a pattern in an easy-to-follow wa¡ I have omitted pattern markings such as facing lines used for
actually constructing the garment and the amount of fabric required to make the garment.

Abbreviationsused in Symbolsused in patterndrafting

pattern drafting

BP Line that acts as a guide when drawing other lines

Guideline Shown by a thin solid line
BustPoint
AH Sectorline equal lengths Shown by a th¡n broken l¡ne
Arm Hole
L¡ne ind¡cating the finished outline ofa pattern
FAH F in ish in gline Shown bv a thick solid line or a broken l¡ne,
FrontArm Hole
[ine ind¡cating where the fabr¡c is to be cut on the fold,
Cuton the fold
BAH Shown by a thick broken line

BackArm Hole
B
Bust
W
Waist
Rightanglemárkin1

One-waypleats
G-
L --=
Indicates
a r¡ghtangle.Shownby a thin solidline

N-7T
Draw two diagonal lines slop¡ng downwards towards the hem Shows
MH that the higher l¡ne folds over the lower line,

M id Hip l\) (,/l

H Ind¡cates that the cross-w¡se gra¡n ofthe fabric runs ¡n the dirtrt¡on of
Gr a inlin e
Hip the arrow Shown bv a thick solid line

BL
BustLine Biasdirection / Indicates the direction of the bias ofthe fabric.
Shown bv a thick solid line
WL /
Waist Line
---=-r,>
Extension
marking Ind¡cates the part to be stretched
HL t---

Hip Line
Easemarking z/----=---x lnd¡c¿tes the Dart to be eased
EL
ElbowLine
Clo sea n d Indicates that the paper pattern is to be folded along the dotted lines
CF and cutopen along the sol¡d line
cu t o p e n m arki ng
CentreFront
CB Markingto cut
CentreBack fabricwith paper Ind¡cates thatthe paper pattern pieces are to be arranged
patternp¡eces contiguously when cutting out the fabric.
arrangeo
contiguously &
11
PATTERN MAGIC
P A T T E RN MACIC

Part1
Creating
formthroughinspiration

You'll find ideas for garment design everywhere ...

buildings,flowers or treesin nature,

tools you use every da¡ even a person's face.

To turn the image in your mind into a garment

you'll need to know the techniques of pattern making.

It's not.difficult and there's no one prescribed way

to make garments; just discover a way that suits you.

 13
PATTERN MACIC

I
 15
PATTERN MACIC
 ,-

-.i'.::'.:

a: : : : .

16
P AT T E R N M A C IC
 I

Lrater sleeve Sleevewith gatheredhole

!=: page40 for instructions) (Seepage36 for instructions)

17
PATTERN MACIC
 ,18
PATTERN MACIC
 19
PATTERN MACIC
 20
PATTERN MACJC
PATTERN M ACI C

Fundamentals
It's possible to express avant-garde design and elegant detail

in a contemporary garment by using the Bunka-style sloper (block)

as a base which fits the wearer's body form as closely

as possible. First, insert a circular design Iine instead

of darts into the bodice of the sloper.

The secret of Pattern Magic lies in the

"close, cut and open out" technique.

21
PATTERN MACIC
Basicbodicepattern

Bodicefront oattern basedon the Bodicepatternwith closeddarts.

sloper(block)(seepagesgg-102)
Bunka-style

lnserting
a circulardesignline

ff Wn"ntheedgeof thecirclepasses
throughthebustpo¡nts
Cuüing out the circleproducesa patternwith the samesilhoueüeasthe sloperabove.

Theedgeof the circle The circlethat hasbeencut out forms

passes
throughthe bustpoints. the patternfor the designline.

l-r
I Whenthe circleextendsbeyondthe bustpoints
Evenif you cut out the circle,the undersidedoesnot lie flat and cannotbe usedas a pattern.

Thecircleextendsbeyondthe bustpoints Evenif you cut out the circle,it doesnot lieflat.

22
PATTERN MACIC
To makea patternfor the circle
Shorteningthe daftsso that they end at the edgeof the circlewill makethe circlelie flat so that a patterncan be made
However,the silhouette will be not be sameasthe sloper(block).

Shoftenthe dartsto end at the edgeof the circle Closethe dartsand cut out the circle The patternis not fitted in the chestarea
andthe silhouette is not the same

Threemethodsfor makinga patternwith the samesilhouette

Theyall involvemanipulating
the dartsthat areIeftinsidethe circle.

1. Insertdarls(Closetwo darLsto makeinto one) 2. Ease 3. Flatten

"Flatten"meansto pressdown on
any fullnessthat refusesto lieflat In
a similarway to a sugarcubewhere
the cornershavebeenworn away,
gentlecurvesform on the patternas
shownin the drawing Flattening just
a smallamountof fullnesscreatesa
well-fittedform

Depending on the methodyou use,the three-dimensional

expression changesfrom softto sharp
To the left is a bodicepatternwherethe dads havebeenflaüened

23
PATTERN MACIC
I ns er t i ncgo m p l e xd e s i g nl i ne sin toa slo p e (r b lo ck)
asa furtherapplication of thistechnique
In the sameway as for the bodicewith the circulardesign
line,makethe bodicepatternout of paper
Drawany kindof lineyou want and don't forgetto insert
the positionof the opening.

Cut and openout alongthe lines

Flattenout the areasthat do not l¡efiat either

by insertingdarts,easing,or flattening,
or by combiningthesemethods

24
PATTERN MACJC
 Cannot
openeo
The patternls flat but the beginningof the
curvecannotbe openedout because thereis
no seamallowance for the designlineseam

Foldovera smallportionat the end of the

curveto createsomeseamallowance
Then,eitherstretchout the foldedportionor
cut and opennearthe shoulden

c - : : e fl a teit her
r -, : -e nl n g,
tf !

F RONT BACK

Althoughwe haveto be meticulous aboutmeasurements for a garmentpattern,in somecases whereonlya few millimetres are
involved,thereis nothingwrongwith beingflexible.HereI havefoldedand createdthe seamallowance but you may change
the designso that the designlinesend at the pointsup to whereyou cansew.
The fabricalsostretchesa lot with patternsthat havecurveddesignlines,and when you actuallycut the fabricout, you will
needto adjustthe measurements. Selecta methodconsidering of the garment.
the overallbalance

25
PATIERN MACIC
N MACIC

á3ffiffi

cuttlng requlres

¡ ::¡r
 -.
\ -ieppdri protrudes from the back like a shell.

: ;¡ it utilisesthe unevennessof the bod¡

: rl-sn'tjust have to be the back

- r rr-hich a deppari protrudes.

r.r' can be positioned anywhere,on the back

I : rn the chest, to create a sharp design line.

-. : rc .tre two interesting dep pari designs.

b.
F

Reverseand cut out

3cm

" FRONT
t
i
I
BP

aao
22
43 Becausethe depparicomesinto contactw¡ththe rightneckline,
makeonlythe rightbodice S To make the deppariappearto be
:ack neckline
significantly
deeper protrud¡ngfrom the pointwherethe curveof
the shoulderbladeends,draw it from the end
of the shoulderdart on the pattern To make
the deppailneat,movethe rightshoulder
dad to the AH

$ Reverse
the depparíagainand cut out S Rsthe projection will be neaterif thereis
no shoulderseam,closethe left shoulderdart
and cut thissectioncont¡nuously with the
bodicefront

PATf ERN MACIC

Page13:Depparishirt
The depparion the chestutilisesthe fullness
of the bust.
The sharpaccentin the chestareao f th e c ri sphi gh-
qualitycotton shirt hasa coolnessth a t i s r emi ni scent
shirt.
of a safari-style

SLEEVE
$ Because the shirtdoesnot haveto be particularly
fittedto the body,
dividethe shoulderdartallowance that was movedto the AH into two cn /
equalsectionsDistributeone halfinto the darts,andthe restin the cm -/-/
..t6cm
armholeShortenthe dart because the dad allowance is small

COLLAR

4cm
r a+a-

12cm 2cm 11cm

@ Draw lhe depparl Dividethe bust dart

allowanceinto threeequalsections, distribute
one third into easein the armhole,leavetwo
thlrdsfor the bustdart and sewIhe deppari to
the armhole
@ Reversethe deppari and cutout

28
PATTERN MACIC
 Page14:Dresswith gatheredhole
A designwherea hole is openedand gathered
in a fitted silhouette,without inserting
dartsor
des ignlines .

0 .5 cm 0 - 5 cm

(f Drafta patternof a dresswith a fitted

sjlhouette
@ Because the left and rightbodicepanelsareasymmetrical,
alignthem and drawwhereyou want to openthe hole Insertcuttingand openingout
nesin a rad¡alpatternin a balanced way.
Wherethe cuttingand openingout linesdo not makecontactwith the pointof the darts,adjustby makingthe dartslongeror shorter.
Wherethe pointof the dartis too far away,for examplelikethe bustdarton the left bodicefront in the drawing,you canalsodrawanothercutting
a n do p e n in go u t lin ea sin @
Makean openingin the backleft shoulderalongthe radial-pattern cuttingand openingout line,
andconnectthat sect¡on to the bodicefront

31
PATTERN MACIC
 Closeall the darls,therebymakingit possibleto create
a fitted
ouette evenwithout darts.
Manipulatethe cut and openedparts,to drawa smooth
continuous rine
for the outlineof the holeand the sideseam.Then
redrawthe hemline
with a neat,straightline.

End of seam

Top-stitchwidth= 1cm

o*..ll9- * . .:u"-------- ,
 ':
-i filred
i:,ü
: lr t t n u o u s l in e
i: !
: t l - r eh e m l i ne
IIi3¡ i:'

- ::s i g n w h e reth e l u x u ri o u fa
s bri c
. ,:l fo r th e c a mi s o l e
i s fi tte dto the
- ::;i w i th d e s i g nl i n e sa n d a p p earsto
-:. e s p ru n gfro m th e g a th e re dhol e.

: ; m a d efro m c o tto nv o i l ew o v en
:' d o tsa n d i s g re a tfo r w e a ri ngas
, i th j e ans.
,i s u a lw e a r,fo r e x a mp l ew
 Shoulderstrap
attachmentposition
5cm 9cm
2cm
21cm-

BACK
I*L'
I 6cm

20cm- I
,1
I
18cm
End of

24cm
14cm

6cm I
18cm
Y
Q Open a smallholefor the gatheringaroundthe mid hip (MH) areaof the right bodicefront.
Make a part of the gatheringinto a frill for greateremphasis.
To createthe frill strip,decidewherethe seamendsand do not sew beyondthat point.Then makethe frill,
taking care not to attach it to the bod¡ce.
Fit the waist usingthe curveddiagonalseamsas designlines.

Align the right

side seams,
and cut open ;'

@ Draw designlinesfor the gatheringin a radialpatternin section@

of the patternwherethe hole hasbeen made.
Alignhe bodicefiont and backrigtrts¡deseamsand insertthe dcign lines

Enlargement of the frilledsection,

The endsof the frill strip are not
joined together.

34
PAT T ER N M AG IC
 With stretched bias

Top-stitchwidth = 1cm

End of seam
End of seam

pattern Add 27cmon each

@ Cut and oPenout section@ of the
and @
sideto get plentyof frill.Alsoadd extrawidth as requiredat @
(4cmin thiscase)to draw smooth well-connected lines'

/s,
the hem line
C) Cut out eachof the sections@, @ and @ and adjust

35
PATIERN MACIC
 with gathered
Page17.Sleeve hole
A designfor a close-fittingsleeve,
with volumeonlyin the top section
Visualize
of the sleeve. the finished
silhouetteof the sleeveto
det er m i n eh o w mu c hfu l l n e s s
must be addedto the pattern.
1
T hen,m a k eth e p a tte rn d
, ra w i n g
t he s lee v eh e i g h ti n th e s a me
way as in th e d e s i g nd ra w i n go n
t he r igh t.

Don't forgetthat the amountfor

c ut t inga n d o p e n i n go u t v a ri e s
greatlydependingon the fabric
y ou hav ec h o s e n .

O Measurethe armholeof the bodiceand @ Drawthe finishedsilhouette of the sleeve Os,

makea drawingfor the sleeve capas seenfrom the side(thesleevecap is lf¡fü:ü

flattenedin the finishedstate). filInn"]!1

ilmü

¡rf,f
tl tu{

f
ú

¡
]L

36
P Af I E R N M A C IC
 *@
;\

of the sleeve
@ Cut and open out the sleevecap unül it @ Draw cutting and opening out lines in a
Oeegcanis l: deeve cap that facesthe neck by adding reachesline @ and draw a smooth, curvedline. radialpattern from the centre of the hole.
t: samemeasurementas in @. Draw the
eiderarm line.
Sleeve cap

tO nrstly,with the sleevecap attached,cut and open out until the sleevecap line becomeshorizontat.
It is up to you to decidehow much you want to open the sleevecap, but considerthe fabric grain, easeof sewing, and other factors.

Sleeve

width= lcm
Top-stitch
a-b= x

Endof seam-? E +s c m
2cm b\\ Endof seam

@ Becausethe amountfor the gatheringis still not sufficient,open out the sleevecap evenfurther.
The amountfor cutting and openingout vaies accordingto the fabricused.

37
PAT T ER N M AG IC
 _____--

'¡ !,,-it,

By inserting ease,the fabric was shaped into a gentle

c.oncavestructure,resembling a crater on the surface of

the m.ben. Use a sturdy fabric that can be easedinto

, for a more
shape .*¡,.dramatic appearance.

Lil

'i
 )age 1 Craterbodice
: - elegantbodicethat emphasizes
the subtlemovements
of the fabric.

FRONT

/.'i
ll
tl
II tl
ll |l
ll tl
ll ll

Q rseftthe designlinesfor the "crater"anddetermine points@ and@, @ ndd Zcmat the bustlineto add thickness to the "crater"and insert
',-:re the easingwill end linesfor cut and openingout asshownin the draw¡ng
- d isthe linefrom whichthe "crater"startsto swell Draw@@ by
:,::nding
- the pointsof the two darts
the linethat connects

O Closethe dartson the section

:-et forms the bottom of the
:rater"on the bodicerightpanel
B ri ng
together

@ Closethe dart in @ and cut and openout @ until@Af-@ aligns

with @ AIígn@ and @ asshownin the drawingto makeonepanern
Thedifference in lengthbetween@ and@ on the bodiceleft and right
panelsis the amountof ease Usefabriccut on the biasso that it ¡s
easierto insertease

39
PATTERN MACIC
 Page17: Cratersleeve
#
w A sleevewith structural
interestwherea dent hasbeenmadein the fabricon the sleevecao.
designfor a simplejacketor coat.
An interesting

,' ffm
$ Draftthe basicsleevepattern Drawthe S Opensymmetrically
at the fold lineto make ü,
shapeof the sleevecap Connectthe point a one-prece
sreeve i[ri ] il mm

wh e r ethe sl eeve w i dthon el thersi deof the

sle e ve -capl i nehasbeendj vi dedi ntotw o H l,ul]l t¡Í

e q u a lsecti onsandthe sl eeveopeni ngw i dth I ' ri[5úii]

measurementDraw the linewith a slight ,it ill[ilt

outwardcurveat the ELto createthe shape r r,,{l

of the naturalarm

40
PATTERN MACIC
 @ -@ = '
!fud lineto make
L¡ Q Ltore the designlinesfor the "crater" @ Rdd ¡cm to increase the th¡ckness
of the G) Draw linesfor cuttingand openingout in a
mn¡adfrom the sleevefold lines,and divide "crater" in the areabetweei @ and @ on radialpatternin the areabetween@ and @
ü¡e deeve pattern into two panels,@ and panel@. on panel @
E l¡a* points@ and @ to indicatethe area
b be eased.Moving the designlinesinward
*o hasthe effectof makingthe arm appear
drfmer.

@ Make the perimeterof the curvedline between@ and @ on panel@ inio x. Cut and open out panel@ as
shown in the drawing.
The amountto be openedout variesaccordingto the fabric used,but hereabout 15 percentof x hasbeenopened.
The amountthat hasbeenopenedout is easedto createan elegantsilhouette

41
PATTERN MAGIC
The drop hole
(otoshiana)
The otoshiana technique was developed

from the idea of connecting two holes

to form a tunnel-like strucrure.

As the otoshiana is a complex design,

we start by assemblingit out of paper.

Assem
blingthe otoshiana

ffi
(f Open a holeof the desired @ trrtake a paperpipeand place @ With scissors
cut off the part protrudingfrom the top of the paper
ciTp
^n
+hé ñrñpr it in th e h o le D eci deon your
desiredangleand the lengthfor
th e p ip e

@ rold the exceison both

@ Insertthe designlines, sidesand redrawthe lines The
amountaddedin thisway makes
the entranceto the holelooser,
or sharper,
and the lookchanges

@ Cut alongthe lines Becausethe edgesof

the paperpartsandthe pipearecurved,the
excessamountdoesnot lieflat

42
PATTERN MACIC
¡ar both
lelnes The
tÉ way makes
: hde looser,
r bo* changes.
O Makea muslin(toile)for the skirtbase @ In the sameway aswith paperon page42, insertthe tubethrougna lf,r :rütruÍr
Thepatternfor the skirlin the pictureis shownbelowbut you canmaxe fabric baseto createthe otoshiana ft nrulilt
the skirlany shapeyou want
I mJ,Lfiiff|'

ü \m

44
PATTERN MACIC
F

the otoshianain the skirt @ lnsertthe assembled otoshianainto the holeln the skirtand create
-,:- --:' rhp ihrnrroh ¡ S Opena holewhereyou want to pos¡tion
--r ho e canbe of any size,but remember
to makeit largerthanthe yourdesi red
si l houette
: ':!mferenceof the end of the tube andsmallerthanthe fabricbase

to attach how bestto focuson

@ Insertthe designlineshere,considering
@ Fastenthe fabricbaseto the skirtwith pins,and machine-stitch
the otoshiana

45
PATTERN MACIC

= f:- - -
I

@ Cut alongthe designlinesto makethe fabricoattern

Where the edgesof the hole do not lie flat, fold the patternand adjust
the line.

@ Open out and iron the folded parts,then machine_stitch

for a smooth.
continuous
line.
 --
-.dressfeaturestwo otoshiana
--:,¡rectedon the insideto form
::;n n e l .
-- s is a complexpaüern,using

:-: basicotoshianatechnique.
::r th i sd i s ti n c ti vdee s i g n ,
:5osea coarsewoollenfabric,
- a neutralcolor,that is easy
:r easeand stretch.

''':'
,l
 ' lcm
Lur
t
c19
-"n,1: tlfu
tack BACK
¡ ,i df' rú' ul
5cm
:T¡l ¡ gil

1ñiligl:l]4
20cm

iFLi.r ¡lM

Open
End of ]mÉ urMN
o p e nr n

*n t
ll

lQ Usinga sloper(block),closethe dartsandcut and openout

A basepatternfor a stmpledressthat hasneitherdartsnor designlines.

fmr
rdhm
üÍMr

@ Decideon the two places for positioning

the holesand makea muslin
(toile)followingthe orderof pattern-makingfor a skirt
lm
1iltt
[d
Lülll

48
PATTERN MACIC
Lumpsand bumps
(dekoboko)
This technique evolved from an idea to incorporate

a Jekoboko (an uneven surface) decoration

úro a garment.

Anaching cubes onto a base is in itself interesting,

but when the cubes are connected with design lines,

dre undulating lines come alive.

Makinga patternfor the dekobokoout of paper

+,

Q Assemble a three-dimensionalobjectmade €) nttach to the paperbase. @ Cut away the bottom of the base.
out of paperin any sizeyou want Think of the paperbaseas the garment Fromthe top, it is convexand from the
bottom, concave

@ Insertlinesin any way you want.

The patternis easierto makeif the lines
passthroughthe cornersof the three-
dimensionalobject
@ Cut alongthe lines,openand flattenout.

49
PATTERN MACIC
LLll ,¡

,t i
 -T

',,laking
a patternwith the
three-dimensionalpaperobjects

Q Randomlyattachthe cubesat differentheightsto the bodicesloper @ Drawthe designlinesin any way you want,join¡ngtogetherthe cubes
: ock)madeout of paper.

@ Cut alongthe linesand open to createthe pattern

Wherethe designlinesdo not passthroughthe cornersof the cuoes,
the patternwill not lieflat Useone of the threebasictechniques:
insertingdarts,easing,or flattening,to makethe patternlieflat

51
PATTERN MACIC
 1{I

PATTERN M ACI C

P ar t2
Makingpatterns
for
hautecouture
garments
When I was a srudent, I remember how difficult it was

learning pattern-making off the blackboard.

I achieved the shapesI wanted by making miniatures

out of paper, flattening them out by

inserting lines and cutting them to make a pattern.

It gave me a great feeling of satisfaction,

but I knew that, logicall¡ it was a dubious way

of going about it.

Playing around with patterns enablesus ro produce

many more designsfor couture garments.

its

a_ : t t \ vas

-: _::ures

- -*!tr

53
PATTERN MACIC
'!

I
I
F
ñ
p
i

É
I
i
i

PATTERN MAGIC
r

57
PATTERN MACIC
;3
F

TF
Tyitg a bow A Tyittg a bow B
(Seepage88 for instructions) (Seepage88 for instructions)

Tying a bow C Tying a bow D

(Seepage90 for instructions) (Seepage92 for instructions)

59
PATTERN MACIC
Two distinct expressions An intriguing curve
(Seepage95 for instructions) (Seepage97 for instructions)

60
PATTERN MACIC
 PATTERN MAGIC

Clothes are a way of expressing oneself,

and with this in mind

I'm often inspired by fashions of the past.

To discover how they were made,

I try drafting the patterns myself, and

sometimescome up with designsthat are

g entirely my own.

,d
 Drapeddesign
An elegant contrast creared by
light and shade.
Make an easy-to-draft flar pattern

for a draped design that is usually

produced
by pinning and three-dimensional
cutting of fabric.
A right and left intersecting
whirlpool drape

has been insetted into the

s\oper bodice.

lr l,

i vta Kng
f t ne basicpattern
ffñ!

m
¡
rj
I:
lcm

iI
I
l
: 5 cm
j 0.5cm
1 BP tcm}*'z
i lcm 1
! 9cm
3
l

;
: 9cm

l
I

4cm
\ 4cm
H'
; : + 0 5cm
t+ 2 ,5 cm
O Insertwaist dartsso that the bodiceis fitted
¡n the wa¡starea The
bodicefront dartsare closed
wh Divide
@@, theradius of thecircle,
intofourequalsect¡ons
areaece ntreorthe,ñ ;:;:: il-,."T:r"ff *, opening
and
.rhconsidering
a crrcre,
i["-;,lT: ff 11.,X.*ig."o
outlinesDivide the;;;;;;;;
ow €-F(9 ¡ntopanels and respectively.
the
bulkcreatedby the tuy.r, ot fuUri. @ @ ""0
connect¡ng
(€!@) ,sthe designline ill " tin" Lm
for makingth" n","'
 I n te rs e cth
t e l e ft a n d ri g h tb o d i c epanel sthroughthe hol eand createthe drapeddesi gn.The l argert he cir cle,
t h e mo rere l a x e dth e d e s i g nw i l l b e, and conversel the
y, smal l ertheci rcl e,the sharperthedesi gn.

End of
seam

,= Closedadson both panels@ and@ and cut andopenout untilthe

between@ and@ becomes18cmin thiscaseAlignpanels@
distance
and@ and drawsmooth,continuous lines
To makethe hole,decidewherethe seamwill end andcallit @

: ''- : - : a n d
:: , : ,: and

ffi Sewtogetherthe areabetween@ to @ on one bodicepanel fti Insert panelintotheholeyouhavemadeandsew

theotherbodice
fromO to @
Sewthecentrefrontfrom@, theendof theseam,to thehem

63
PATTERN MACIC
 drapeddesign(addingonetwistto thefabric)
Complex
The intersecting
of the left and right bodicepanelsis the sameas on the simpledrapeddesignbodice,
but the addingof one twist keepsthe fabricin place,therebyshowingthe modulations
in the design.
Rememberthat the undersideof the fabricwill appearat the front.

Armholeline

Q The basicpattern is the sameas for the

simpledrapeddesignbodice
Dividethe pattern above and below @@
into panels@ and @ respectively. Side seam
Reversepanel@ to add one twist. The under-
sideof the fabricappearson the faceside.
Changeihe posit¡onwherepanels@ and @
meetas shownin the drawing.

Armholeline

End of seam

areabetweenpo¡nts@ and @ (18cm in this case)

Alignpoints@ and@ and drawsmooth,continuous lines.
To makethe hole,decidewherethe seamwill end and call it O.

64
PATTERN MACIC
 thefabric)
- ^ ^ Ai^^

: -¡i On

@ Wherethe patternhasbeen reverseo Q Reverse

one halfof the bodiceand sew between@ and @

@ Insertthe otherhalfof the bodiceinto the holeandtwist @ Sewfrom @ to @ on the otherhalfof the bodiceSewthe centre
front and from the seamend to the hem Because
of the bulkof the
+_: fabric,makethe holesomewhatlargeand adjustafterassembling

65
PATTERN MACIC
 cr
¡gil

-l]tf

!¡ilÍ[

iE

Fag*53. #ress
#r-mp:md
*$*sigr-r
A dressmadefrom silkcréoefor more
formaloccasions.

The drapeddesignaroundthe chestis created

with a techniquethat doesnot involvetwisting
and maximizes
the soft, billowyfabric.
 0.5cm 0.5cm

.scm 1.scm
4 equal @ Forthe bodiceback,closethe
pans dartsand inserta little flare.

End of
H openrng
+2 c m
;

FRONT

Shoulder

2cm 2cm
Neck-
l¡ne
(f Because the necklineis wide,movethe shoulderdartsto the
WL
neckline. Dividethe radiusof the circlefor the drapeon the bodice
front into four equalsectionsand draw cuttingand openinglineson
panel@ Forthe skirtpattern@, drawjust one cuüingand openrng
linefacingthe end of the darts.

)O
@ On the bodicefront,
dividethe patternon
eithersideof @@ into
panel s@and@ C l ose
the dartson @ and cut
and openout.Then @
closethe dartson @ and
open out the centrefront
horizontally
untilaligned
with @ and@ asshown
FRONT
¡n the draw¡ng J

Sewfrom @ up to the end of the seam,cross

overthe otherhalf into the holeyou have
madeand sew thls alsofrom @ up to the end
of the seam The centrefront of the skirtis a
vent and thereforenot sewn.lf the opening
bothersvou. sew it down at the back. L

67
PATTERN MACIC
 -

Th* tre'ist{reeiiri}
\fhen you twist a fabric

it becomesnarrower and shorter,

and when you releaseit, it returns to normal.

In a different way from a garment that has a

furrowed drape produced by techniquessuch as

changing the position of the left and right sleeves,

this patern has beenmanipulated so that the fabric

is twisted round and round [ke a spiral.

e Theoretically when 'a' istwisted,measurement.becomesshorter.However,asthe fabric

speaking,
will looklikethat in the drawingon the right,the measurement
will,in reality,
be evenshorter.
e As the fabricwill attemptto release
the twist, reducethe easein the hipsto fit precisely.
A designthat incorporates
elastic
tapeor a bandto keepthe hemlinein positionand preventthe
fabricfrom returning
to normal,is best ü

*As twistingmakesthe waistnarrower,be carefulnot to reducetoo muchat the waist.

a As neiiriis not a naturalform of the fabric,it will be easierif you usea fabricthat hashighstretchability.

T h e b a sicb o d ice

As twistingmakesthe garmentshorter,3cm hasbeenaddedto the length I

The waisthasbeentwistedslightly

6B
PATTERN MACIC
Threeneiiripatterns
As twisting the fabric changesthe shapeof the necklineand the armholein a complexway,
herethe fabric has been twisted only aroundthe waist.

Twisthorizontally

a = 1ocm
$ Move the centreby a measurementequalto 'a' in the oppositedirectionof the twist you want to createin the fabric,
@ Move both sideseamlineshorizontallyas shown in the drawing (¡nthis caselOcm).
@ Redrawthe sideseamlinesto connectthe cornerof the armholeand the waist and hip areain smoothcontinuouslines.

Twistperpendicularly

Q Manipulatethe centrefront and centre backon the pattem by a measurementequalto 'b' (in this case
4cm) in a verticaldirectionoppositeto that of the twist you want to createin the fabric.
(O Adjustthe linesfor the necklineand the hem,

69
PATTERN MACIC
 Twistboth horizontallyand perpendicularly

Making the fabr¡ctwist horizontailyand perpendicurarry

at the sametime is difficurt,
so manipulatethe horizontalpattern
usingthe patternihat hasall
It iseasier
ir vou u u".ti.uiiv panern
"' 'unipurated in*hi.h th";:drii::"##t:r"1"*"J;1'L
Adjust
thehemrine
attheend.
 Q Basicpattern
The patternis the samefor the front and the back,and the simpledesign
wherethe sleevesare part of the bodiceis createdin a knit fabric.No
easehas beenaddedto makethe garmentfitted at the hip. Stretchthe
necklineopen and checkthat your headfits through lf it doesnot, make
the neck larger.

O¡T
ilfrGd

@ Twist perpendicularly
Manipulatethe pattern vertically
in the directionoppositeto that
of the twist you want to create
in the fabric.

O Tw¡sthorizontally
Manipulatethe patternin the direction
oppositeto that of the twist you want to
create¡n the fabric,¡n the samewav as for the
perpendicular twist.

72
PATTERN MACIC
Page60: A collarwith
two distinctexPresslons
double
when viewedfrom the front' a
A shirtcollarfrom the backand'
on a theme'
collar,this offerstwo variations
design'
to makethisintriguing
I combinedpatternsfor two collars

o +@

3cm

of the two cottars

@ Draft patternsfor each
the patternfor the bodicebase
l$ Usingthe sloper(block),draft

r6\
¡ñ\ DZ----
r yl

C ol l ar /
attachmenl
l i ne Coilarstandattachmentllne
\

@igl

O makePatterns for collars@ and

lines
€) Alignthe collarattachment without the collarstand;then
collarsCoPY the collar @
of th" t*o
makefive slitsin the collarrunntng
standon collar@ to collar@ in
towardsthe collarstandasshown
the drawing

With the collar standlng

arealignedut@@
for @' and@' producedin stepO
but asthe incllneis different'a gap
@ ls lacedown)' the slits'
e>O the lengthis not equal Openout
)wn in
asshown
from patternpieces@' @' and@
Thiscollaris constructed
""¿
d callthe resultingPattern
(9)

95
PATTERN MACIC
 l: dmple design
f
llñ fabric. No
l$. Stretchthe
lldoes not. make

@ To createa soft effectfrom the shoulderto the sleevecap,alignthe left and right sleevecapsas shownin the drawing
The designlinesinsertedinto the bodicebackserveas a stylishaccent

@ n stytistrdesignhas beencreatedby manipulatingthe pattern.

73
PATTERN MAGIC
Flide and seek
(kakurenbo) -i¡

ml
E
Not a flare that expands uniformly 4'

5ú
by cutting and opening out the pattern, but a flare

that is subtly concealed on the underside of the fabric.

Making a pattern Íor the kakurenbo design

with a drawing is easier than you think.

A basicjabot-style
frill
A gorgeousdecorativeeffectfor the front of a blouse.
The connectionbetweenthe sectionthat is visiblefrom the front and
the sectionconcealedunderneathis important.

o'

(O Rttachparts@, @ and@.
Reverse@ beforeattaching
or thebacksideof the
garmentwillbeontop.

l[) rtnakea drawing of the frill @ Separateout the variousparts

you want to make

/
@

@ Smoothlyadjustthe line that will becomethe

edgeof the frill

74
PATTERN MAC¡C
 Ffareconceafed
in a curve
Thisdesignmakesyou wonderhow the flarehas
beenconcealed.The foldedand layeredlook that
hasso much depth is structurallybeautifuland
exciting.With that ideain mind, I beganby drawing
somecomplexcuryes.

f
i\ _ _

@ @ o

Q Draw designlineson the base. @ Insertlinesin the way the frill would fall

si<Je
of the

@ Separateout the variousoarts.

75
PATIERN MACIC
@ Returnto @ and mark the flare points @ Align the variousparts.
(pointsfrom which the flare is going to Reverse@ beforealigningor the backsideof the fabric
appear)in the placesyou want to insedthe will be on too.
flare.Thelinethat descends perpendicularly
from the flare pointsbecomesthe cutting and
openingout linesfor the flare.

@ Cut and openout and redrawthe flaredhemline

76
PATTERN MACIC
 Page55.A pinafore
with kakurenbo
design
Th ec o mp l e xc u rv e so f th e fl a redesi gnl i nes
were incorporatedinto the waistline
of a babydoll-stylepinafore
madefrom a soft woollengeorgette
that neatly expresses
the concealedflare.

. -17cm -
- 1 8 cm

1
8cm

Q Drafta patternfor the pinafore

77
PATTERN MACIC
 I
d

f
.;
rF
I
@ Drawthe curveddesignlineson the bodicefront Finda balance (O Insertalignmentmarkingsand cuttingand opening
out lines( r )
that setsoff the concealedsection into the concealedsection.
The alignmentmarkingswill becomeflare points.

@ Reverse the concealedsections,bringthem to the front, and connect.

Add flare points@@ in a balancedway and draw the designlinesfor
the flare(a)

78
PATTERN MACIC
@ Add alignmentmarkings@@ to the bod¡ceto serveas markings
when sewingthe designlines.

@ Cut and openout the amountfor the flare

79
PATTERN MACIC
Interwoven design
In this technique you gather the fabric

and mold it as if it were being woven.

I decided to seeif I could produce a pattern from

the complex beauty created by layers of fabric

woven together that I had once seen

in a fashion magazrne.

If the fabric on the left and the right

are of different colors,

the way in which the fabric intersects

can be seenmore clearly.

() Assemble the papersloper(block)on the dressform and draw lines

symmetrically.
As shownin the drawing,makealignmentmarkingsin placeswhere
the linesintersect,

(Face side
of the fabr¡c)

Make overcast
stitches here and
there in the back

Because this designcontainsfew seam

allowances,the fabric frays easilyand it is
difficultto makethe assembled piecesof
fabric stay in place You can either wear an
under-dress, or you can linethe garmentwith
the samefabricas the garment When you
linethe garment,it is advisable to usea base
patternthat hasno intersection lines,and
sewthe necklineand the armholestogether
with the outerfabriclayer.

80
PATTERN MAGIC
 .^d dravllines O The partsthat do not passthrough the bust point refuseto lie flat
evenaftercuttingalongthe lines Insertgathersin theseparts,closethe
:: : es wh ere darts,and cut and openout And then cut and openout the amount
for the gatheringagain Thevolumeof the gatheringvariesaccording
to the fabricusedand accordingto your personalPreference.
@ Cut asshown¡nthe drawingabove.
Becausedifferentfabricshavedifferentgrainsand somestretchingmay
occurwhen you interweavethe fabricpiecestogether,cut the fabr¡c
with someease¡n the hemlineand adiustit at the end

er',seam
s , andi ti s
: : ecesof
':-:- weaf an
r¿ ¡armentwith
-_ ,','henyou @ Becarefulnot to cut too deep Makecub into the fabricup to the @ Interweavethe fabric piecesfrom the top in the sameway asthe
alignmentmarkingsinsertedin stepQ. Iinesyou drewon the paperon the dressform
e :: :se a base
r - e s,and
1- lóoethér
-(

81
PATTERN MACIC
 Page56: Blouse
with an interwoven
design
Usingthis technique,I createda blousewith left and right asymmetry.In cotton lawn fabric,
I madea bambooleafshapefrom the pointsof the fabricthat I cut into.
I did not sew the pointedsectionsdown, preferringthem to be loose.

ctose'lf

Open
BACK
1cm
1r
Zipper

ll
(left)

9cm
2cm
'l c m
Q Move the shoulderdart ,S".
to the armhole \
1 c m r.d á -

@ Drawthe necklineon the bodicebackwith left and

right asymmetry o
jül[

:5

frÉ

82
PATTERN MAGIC
 1 cm

d bodicefont. @ Draw the intersectinglineson the @ Copy the left and right bodicesseparately.lt is easierin termsof the patternmakingfor the
bodicefront intersectinglinesto passthrough the BP,but wherethey do not, as in the right bodicefront, adjust
Insertalignmentmarkings@@ for the the lengthof the armholedaÉ as shown in the drawing.Herethe waistdads havebeenclosedas
into the left and right bodice.
¡ntersections you can seefrom the drawing.

8cm

makea lining
and extremelydelicate,
@ fold the dartsand cut and open out the pattern Make the pointsdecorat¡veAs the fabricis transparent
from the samefabric

83
PATTERN MACIC
Bambooshoot(takenoko)
Page57. Bodice
with
a takenokodesign
In t hisex c it ingt ech n i q u el,a y e rsre s e mb l i n g
th e m ult i- lay er ed
n e c k l i n eo f a fo rm a lk i mo n o
are createdfrom one pieceof fabric.
i
They look exactlylikethe layersof a bambooshoot.
The lighterand morefitted the silhouetteof
th e bodic e,t he m o reth e s h a d i n gi n th e fa b ri c
standsout.

tp make a papersloper(block)and draw tuck linesto createa design

resemblinga bambooshoot.

84
PATTERN MACIC
Ele a de*gn
@ Cut into the tuck linesand closethe dartsand flatten Do not cur @ Extendthe ljnestowardsthe shoulderand the armhole,then cut and
abovethe BP openout to createthe amountfor the tucks

@ Cu t in to th e fa b r ica lo n gth e r e d lin e s @ Formthe tucksfrom the top downwards

About 1 5-2cm is requiredto be foldedconsidering the frayingof the @ack side
of the fabric)
Seamailowances

Makeovercastst¡tches
heleandthereont/on
-llss¿z¿;4g¿z<z
-zq
PATTERN MACIC
Page Knotdress
Basicpatternmanipulationfor a knot dress
Closethe shoulderdarts
until2cm ooens on the WL 6cm

I
I
BACKI

0.5cm

I-P.' 1.scm

2cÁ
Pg"x'
I
Close the armhole darts \
until2cm oDenson the WL 20cm

End of
openrng

bcm
Q Closeboth the shoulderdartsand armholedarb until 2cm openson the waistline,then makea patternfor the dressbase.
Establishthe centreof the knot @ in the positionwhere you want to createthe bow.
Easeis requiredin the width of the knot to tie at @. Measureo from @ 13cmin th¡s case)and from there draw cutting and opening lines.
Draw the cuttingand openingout linesin the positionwhereyou want to drapethe bow fabric

@ Theamountthat hasbeencut and opened @ Sewthe bow sectioninto a tubular shape

out becomes the drape. upto@
Decideon the amountto cut and ooenout
accordingto the fabricused.
Draw the patternfor the bow from whereyou
havecut and openedout.
The bulkinessof the knot is determinedbv
drawingthe curvefrom @

End of seam

Note:The circlednumberat the bottom of a l¡ne¡ndiates the numberof centimetresüobe openedout at that point

87
PATTERN MAGIC
Page59.Tyinga bowA
A designwith a different-shaped
bow produced
usingthe samepatternmanipulationas usedfor the
dresson page87.

Q find the centreof the bow @

Takethe z measurement @ which
addedease(4cmin this
includes
case)and from there,draw cutting
and openingout lines

@ Cut and openout Draw the patternfor the

bow from whereyou havecut and opened.The
reasonthe bow is curvedin thisway isto give
the knot somebulkiness,but therearestructural
reasonsalso Stress¡sconcentratedon one point
if you make@ into an angle,but is dispersed
whenthis is made¡ntoa curve

Page59: Tyinga bow B

An imaginativedesign
in which one end of the bow is part of the bodice
and the other end is part of the collar.
Thetwo endsof the bow areloopedand tied together.
At first sight it seemscomplicated,
but the patternis surprisingly
simple.
 2cm
2cm

End of collar
attachment

$ Drafta patternfor the bodiceusingthe sloper(block)A verticalknot

is oossible with thistie
Measurethe width and bulkiness of the knot,and draw cuttingand
op e n in go u t lin e s

3cm

Neckline L,On the

32cm fold
\

f) Closethe dartson the bodicefront and cut and openout

Drawthe patternfor the bow from whereyou havecut, and openout
Cut on the fold

7*
On the
fold

0 5cm

@ Passthe verticalgrainof the fabricthroughthe lengthof the bow

to createa large,distinctiveknot A soft lookis producedif you cut the
fabricon the bias
HereI haveslightlychangedthe tyingmethod
lf you want to inserta jo¡nt,posit¡on¡t insidethe knot
Othertying methodsarealsopossible

89
PATTERN MACIC
 ffmg*59; TyFng
e b*w
Two separatebows are tied
towardsthe right
for attractiveemphasis.

Herethe two bows

ar eof t he s amel e n g th ,
but one largeandone smallbow
wouldalsobe effective.

Placethe secondbow @ on top of the bow that ¡spartof the

bodiceand sew in the shapeof a tube up to the end of the seam

ffi rind the centreof the knot @
@ Measurez (themeasurement to whicheasehasbeenaddedto the
width of the knot) horizontally,
and¡ (themeasurement to whichease
hasbeenaddedto the thickness of the knot)verlically.
lnsedcut and spreadlines
Wherethe cutand spreadlinesdo not passthroughthe end ofthe
darts,adjustto makethem end at the designlines

90
PATTERN MACIC
 End of seam

openedout, drawthe patternfor the first bow as an

$ Closethe dartson the bodiceand cut and open out Fromthe sectionsthat havebeen
extenslonof the bodice

29cm @
LEFT
l lcm

S Drawthe patternfor the secondbow

q$ Reverse piecefor the knot betweenthem;alignthe threepiecesand

the left and r¡ghtpiecesof the bow in stepS; add an 8 x 5cm rectangular
jo inwith a sm o o thco
, n tin u o ulin
s e

1: : . d t o t h e

-: : 'the

91
PATTERN MACIC
 Page59:Tyinga bow D
An elaboratedesignis achievedby passing
the bow througha hole beforetying
T he ex pr es s i oonf th e g a rme n tc h a n g e sc o n s i derabl y
by m ov ingt h e p o s i ti o no f th e h o l eu p o r d o w n,
t o t he s ide,o r b y c h a n g i n gth e s i z eo f th e h ol e.
Anotherexampleof PatternMagicl

__?i the fold

/l
12cm!
On the fold
COLLAR

0 5cm

End of collarattachment

4cm
0
F RONT

Draftthe bodicepatternusinga sloper(block)

The knotted part of the bow that is part of the collarsitsbetweenthe
left and rightholes
Determ¡ne the lengthof the bow,considering the lengthof the
intersection,the distancebetweenthe two holes,and the sizeofthe knot

2cm
i¡ ,: €n t ne

: :'$e k no t

93
PATTERN MACIC
Page60:A collarwith
two distinctexpressions
A shirtcollarfrom the backand,when viewedfrom the front, a double
collar,
thisofferstwo variations
on a theme.
I combinedpatterns
for two collars
to makethisintriguing
design.

1 scm

scmlJ @
o +@
COLLAR

,a,4cm!+ (i
s----LL__l
z.5cm:,I 7cm
3cm
v o.2cm

Q Usingthe sloper(block),draftthe patternfor the bodice base @ Draft patternsfor eachof the two collars

@
C ol l ar
attachment
l tne Collarsland attachmentline

f} Align the collarattachmentlines @ tvtakepatternsfor collars@ and

of the two collarsCopythe collar @ withoutthe collarstand;then
standon collar@ to collar@ makefive slitsin the collarrunning
towardsthe collarstandasshownin
the drawing

Wi ththe col l arstandi ng @

o
@ti (D'

@ the patternfor @' and @' producedin step@ arealignedat @tr@

(the patternfor @ is facedown),but asthe inclineis different,a gap
Thiscollaris constructed
from patternpieces@, @, and@ a5shownin opensbetween@@ and the lengthis not equal Openout the slits,
the drawins align@@ and callthe resultingpattern@

95
PATTERN MACIC
 96
PATf ERN MACIC
Page60,A collarwith an intriguing
curve
On a sheetof paper,draw a curveand then fold alongthe linesof the curve.
When you bendthe insideof the curveslightly,the outsideof the curverisesup and
takeson a completelydifferentappearance.
effectto a collar.
I appliedthis interesting On the fold

attachmenl
l i ne J.5Cm

FRONT
l .5cm
BP lA Align the shoulders of @ and @ and
measure4.5cmof collarwidth at a right
anglefrom @ on the collarattachmentllne
for @. Thenconnectfrom @ and makea
drawingfor the front of @ insidethe collar.
Because the backof the collarhasa collar
stand,measure the lengthof the backneckline
and makea rectangular drawing

Q Usinga sloper(block),draft the patternfor the bodicebase Mark the collarattachmentposition

@ Fora softfinish,cut the underandthe upper

collarcontinuouslyMakethe uppercollar@
@, @, @ and @ all interconnectto createa
patternwherethe bodiceand the collarbecome
one Because @ (the bodice)and@ (thecollar)
arejoined althoughthe collarattachmentline
is curved,whenyou put it on, the collarfloats
upwardsin the sameway asthe paperon the
oppositepage,for a completelydifferentlook

Order for sewing together

O Sewtogetherthe bodice@ centreback

@ Sewthe collaredgesfor the collarpatterns
@and@
Faces¡de @ Sewthe collarattachmentline on the back
of the fabric Attachthe facingand prick bodiceand@.
stitchto fastenin Dlace @ Sewthe front bodiceand @
@ At the collarattachmentline,sew @ to the
bodice
* | haveabbreviatedthe instructions,but
when you actuallyconstructthe garment,
attachthe facingto the necklineof the
bodiceand prick-stitchto fastenthe back
collarattachmentpositionand the facing-in
placeasshown in the drawing

97
PATTERN MACIC
 A methodfor makinga fufr-size
patternfroma harf-scare
pattern
The diagrambelowshowshow to enlargea part of the pattern
for the otoshianadress (page19) to producea full_sizepattern.
u will needsomewhite PaPeron which to draw the half-scale
and full-sizepatterns.copy the half-scalemuslin(toile)
the paperpattern. to

G) Rlthough you can stad from anywhere,the method describedhere

startsfrom @.
directly
ascends
from@,drawa linethathits@ at a rightangle,andmakethepoint
ila"#"tl1j'trdat wherethetwo lines
Doubleeachof the two measuremenb
o and a, bstw...6 and@ and between@ and @ respectively,and copyonto the white paper.
@ Next take doublethe measurement of e on the line that connects@ and @ in a stra¡ghtline. From
measurement of r ¿1¿ right angleand draw a curye. there,take doublethe

@Exte nd the linef r om @ t o@ by t x 2. M ar k t hat p o i n t @ a n d m e a s u r e ¡ x 2 a t a r ¡ g h t a n g l e t o m e e t @ .

end @-@' take twice the measurement
of ¡ and mark@. From@, take twice the measurement
it @. Againtaketwice the measurement of a at a right angleand
of x and r at a right angreand makeit @.
Drawguidelineson the half-scale
patternand by doublingthe guidelines,doublethe pattern
linesand copyonto the white paper.

tx2

98
PATTERN MACIC
 The basis for pattem deuelopmentis the

Bunka-stylesloper(block)
üvo lines for an adult woman
le paper. The Bunka-stylesloper (block) createdfor the body shapeof the modern Japanesewoman is constructedth¡ee-
u¡ble the dimensionallyand fitted to the body with darts (bustdarts,back shoulderdarts,waist darts).
Bust(B),waist (!7) andcentrebacklengthmeasurements arerequiredto draw the sloper(block).The measurements
for eachpart of the body are basedon the bust measurement,and the sizeof eachdart has beencalculatedfrom
ngle and the bust and waist measurements.Each waist dart is calculatedby the formula-bodice - (UIlz + 3)-where 3cm
is the amount of easeadded.Precisecalculationsare required for a neat fit, but drawings will be relatively easyif
b paper. you refer to the quick referencetable of measurementsfor different parts of the body. Pages101 and 'I-.02feature
half-scaleslopers(blocks)for you to usefor eachofthe bust sizes:77,80,83, 86 and 89cm.

Quick reference for differentpartsof the body

tableof measurements (Unit:cm)

B Frcnt Front Back Back

Eody Back Che5t
width @- BL width
BL- @ w¡dth 32
neckline neckline ntrkline shoulder
w¡dth depth width darB

B^ B. ^_ B B E +3.4--@ @ +0.5 B ^^
- + I- 4 ^^
+o.¿ ,;-; @+0.2 -
B
-
12
+ tJ.t
8 f,+ e.e g 32 32 ''o
77 44.5 20.1 17.O 23.7 15.8 6.6 7.1 16.8 6.8 t.o

78 45.0 20.2 17.2 23.9 16.0 2.4 6.7 7.2 17.O 6.9 1.6

79 45.5 20.3 17.3 24.1 16.1 2.5 6.7 7.2 11.3 6.9 1.7

80 46.0 20.4 17.4 24.3 16.2 ¿.c o./ 7.2 | /.c 6.9 1.7

81 46.5 20.5 17.5 24.5 2.5 6.8 7Q 17.8 7.0 1.7

82 47.O 20.5 17.7 24.7 to.c ¿,o 6.8 7.3 18.0 7n 1.8

83 47.5 20.6 17.4 24.9 16.6 2.6 6.9 7.4 18.3 7.1 1.8

84 48.0 20.7 17.9 25.'l 16.7 2.6 6.9 7.4 18.5 7.1 1.8

85 48.5 20.8 18.0 ¿4.ó 16.8 2.7 6.9 7.4 18.8 7.1 1.9

óo 49.0 ¿v,Y 18.2 ¿c.3 17.O 2.7 7.O 19.0 7.2 1.9

87 49.5 21. 0 18.3 25.7 17.1 2.7 7.O 7.5 19.3 7.2 1.9

88 50.0 21.O 18.4 25.9 17.2 2.8 7.1 7.6 19.5 7.3 2.O

89 50.5 21.1 18.5 26.1 17.3 2.8 7.1 7.6 19.8 7.3 2.O

Waistdart measurement-Quickreferencetable
(Unit:cm)

Total darts volum€ o o a

100% lAyo 35o/" 11o/" 15/" 14o/o
7o/o

I 0.6 t.o J. l 1 1.4 1 .3

.tE
10 0.7 1.8 3.5 1.1 1.4

11 0.8 2 3.9 1.2 1.6 1.5

12 0.8 2-2 4.2 1.3 1.8 1 .7

12.5 0.9 2.3 4.3 1.3 1.9 1.8

99
PATTERN MAGIC
 Makinga drawingof a sloper(block)
bodice
andthesleeve,
B
;;?üil?ffÍ3;j:f¡:iXjilf"Ththe butonrvthemethod
ordrawing
a bodice (btock),
sroper used
Cq
B as iclines
@ @

8cm
,a\ @ @
I

B t-----,@.- Back Chest

rO)
12 V\^ width width FRONT
lcm G) (-J',
El B' + 8.3cm
line line Á
BACK i,
u,ccm; @
o
Centre
ñv
G\
z+ 7 .4 cm I ^o
I + 6.2cm
=\
back --8 --ó
length .\- Firstlydraw the basiclinesfor the bodice.
Accuratelymeasureeachpart of the body
Centre and draw linesin the orderof O to @ The
back numbersin the guidetable arealsoarranged
line @ for readingin orderfrom the left to help you
proceedwith patterndraftingin that order.

Body widt h= ( f + 6c m )

Curved
9+ s.¿cm=@)
24

@ + 0.5cm

FRONT

Ao

After drawingthe basiclines,draw the curved

linesof the neckline,shoulde¡and armhole.
and finallythe darts

Tipsfor movíngdarts
when you closethe waist dartswith
@ as the pivotalpoint,the armholeopensa smallamountto provideease
The waistdartson the sloper(block)are markei when in the armhole.
usedfor putt.rn JiurtingiJti"uu beenomittedwhere
not required.

lvlakethe amount
that is opened
out ¡nto ease
Make the amount ¡n the armhole
that is opened
out into ease
in the armhole +

100
PATTERN MAC¡C
 M)(halr-scale
Bunka-üle sloper(block)for an adultwoman(Size
Copyat 2@7" on a photocopierto makethe full-sizedpattern.

b bodice.
b body
o 8 . th "
larranged
o trclp you
¡t order.

rtfie curved
l¡mhole,

77cm
80cm
83cm
86cm

n armhole.

-ed.

89cm
86cm I

101
PATTERN MACIC
 I
In co4
Bust(B) Waist(W) Back lengtt j
¡".,r*.
77cm 58cm I
thatrm{
80cm 61cm
83cm 64cm 38cm w a y f m{

86cm 67cm aromdüd

I
89cm 70cm a seredl

wth rder¡l
andis s¡{
studem{

r*o'u{
I
indudql
shomrl

77cm 86cm 83cm 80cm 77cm

80cm
83cm
86cm
89cm

102
PATTERN MAGIC
 M)(halr-scale)
Bunka-üle sloper(block)for an adultwoman(Size
Copy at2Cxi'%on a photocopierto makethe full-sizedpaüern'

77cm
80cm
83cm
86cm
Bust(B) Waist(W) Back lengtl
F
77cm 58cm
80cm 6 1cm
{t
83cm 64cm 38cm
86cm 67cm ir

89cm 70cm a¡

¿
rd

Ir
d
¡b

77cm 89cm 86cm 83cm 80cm

80cm
83cm
86cm
89cm

102
PATTERN MACIC
 In conclusion

Just like works of art, garments come in various kinds: garments wiü visual mpact, garments

that react to the movement ofthe bod¡ garments for casual wear-but there is no one prescribed

way for how they are made. The history of clothing began with the wrapping of a piece of fabric

aromd the bod¡ so you should let your mind be free and approach the making of garments with

a sense of frm. Ideas for garments are arguably infinite. I have always believed in experimenting

with ideas. This book contains pattems that I have created based on a trial-and-error approach,

and is supplementary to the teaching materials used at the Bunka Fashion Open College for

students who may find pattem-making difficult.

I would like to express my appreciation to many people for their help in this publication,

including Ms Kasai Fujino, from whom I received advice about slopers, and everyone who has

D|n shown an interest in this book.

BL

LIOTHCA
Dis e ñ o lr¡d i¡rq : ' " ;

N|L

103
PATTERN MACIC
::=$ r-"F-'@e-'E --

lt,rr.'
,ilffiil,ffii
ñ'rf,i,i\ i¡l:l${CeKl. E :O*