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CONTENTS

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 UNIT 1 INTRODUCTION
TOOLS AND EQUIPMENTS
PATTERN MAKING ESSENTIAL FOR THE WORK ROOM

IMPORTANCE OF DRAFTING
FIGURE TYPES
PATTERN MAKING TERMINOLOGY
VARIOUS SYMBOLS USED IN PATTERN

 UNIT 2 Seams & Seams Finishes

SEAMS AND SEAM FINISHES
FABRIC MANIPULATION ( PLEATS, TUCKS, GATHERING,SHIRRING, FRILLS, RUFFLES )

 UNIT 4 CONSTRUCTION OF DESIGN ELEMENTS

PLACKETS
POCKETS
NECKLINES
SLEEVE
CUFF

 UNIT 5 KIDS WEAR

BODY MEASUREMENT
FLAT BLOCK
SLEEVES
SKIRTS
COLLAR
YOKE

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 UNIT 6 WOMENS WEAR
CLASSIC ADULT FEMALE BASIC BODICE BLOCK 61
DART MANIPULATION 67
SLEEVES 76
SKIRTS 83
SALWAR 90
SAREE BLOUSE 92
CHOLI BLOUSE 96

 UNIIT 7 MENS WEAR

INTRODUCTION 102
FORMS AND CHARACTERISTICS 103
MEASUREMENTS CHARTS 107
SHIRT 109
SLACK FOUNDATION 113

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IntroductIon
Sewing is a creative and interesting art and skill. To prepare a well-finished garment, its
stitching is done by combining the different garment components. Garment construction is a
technical accomplishment that requires the knowledge and skills of basic sewing techniques—
application of stitches, seams, darts, gathers, pleats and edge finishing, etc. Its appropriate
application in garment construction is necessary for a good quality product. A garment that is
made, will be attractive if it fits well, and proper attention is paid to its finer details. A Sewing
Machine Operator must be aware about the two sides of the fabric—the right side and wrong
side. These can be mainly identified by the selvedge of the fabric. Generally the selvedges appear
less finished on the wrong side and are smoother on the right side. It is essential to know and
practise the various types of stitch, especially constructive stitches which include temporary
and permanent stitches. To construct the garment, various types of seam are also used such as
flat seam, lapped seam, French seam, slot seam, etc. The edges of garments are finished using
different type of edge finishes like pinked finish, edge stitched finish, double stitch finish, etc.
This Unit will help you learn about the various type of stitches, seams, edge finishes, etc., all of
which have a key role in garment construction.

TOOLS & EQUIPMENTS

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INTRODUCTION

For a garment to be well tailored, the first and foremost essential requirement
is to understand about the standard body measurements and to record individual
body measurements accurately. Knowledge of standard body figure is a must
for pattern making. However some manufacturers prefer not to use standardized
measurements and to change measurements quickly to suit customer needs. This
chapter deals with the points to be taken care of while taking measurements

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along with the different measuring points and types of figures in detail.

LEARNING OUTCOMES

• Explains the need of taking accurate body measurements.

• Identifies and lists the important body measurements like bodices'
measurements, skirt or trouser measurements and sleeve measurements.
• Recognizes and compares the given / taken measurements with standard
measurements.
• Uses the standard measurements in garment construction.
• Identifies the points to be considered while taking body measurements.
• Measures and records the body measurements accurately.
• Distinguishes between different figure types.
• Explains the alterations to be carried out while taking measurements of
abnormal figures.

BODY MEASUREMENTS

Human figure is composed of complex geometric shapes. The accuracy of any pattern
making or garment construction method depends largely on relevant and correct
body measurements. It is very necessary to understand the different measurements,
in order to perform a proper drafting method and stitching procedure. So knowledge
about body measurements is important in pattern making and garment construction.

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TAKING BODY MEASUREMENTS

1) Bodice Measurements: These are the measurements required for developing

garments which covers the upper part of the body.

2) Neck: This measurement is taken for making collars and necklines.

Measure around the neck, passing tape just above the collar bone in
front and along the base of the neck at the back.

3) Chest: The measurement of chest is taken for making all upper torso
garments like blouses, kurta, kameez, shirts etc. This is taken below
the scye point and above the bust point.

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4) Bust: Bust measurement is taken for ladies and chest measurements for
kids and men. This measurement is taken across the chest, at 2'' below
scye point, over centre front bust point. Take the measurement around
the bust using the measuring tape allowing 2 fingers loose.

5) Waist: This measurement is taken, around the lower point of the waist
(Where cords are tied or trousers are fit). The measurement of waist
is taken for making all garments that cover the waist like blouses, kurta,
kameez, shirts, skirts, trousers etc. Waist is the narrowest part of the
body.

6) Hip: This measurement is taken at the most wider part of the hip.

7) Front Waist Length / Waist Height: This is the measurement from the
base of throat to waist line.

8) Back Waist Length: This measurement is taken from nape to waist line.

9) Shoulder Width: Shoulder measurements are required for all types of

upper torso garments. It is the measurement from the nape of neck to
each sides of the hand. Measuring tape placed at the middle of the neck
and measurement taken at both sides of the upper hands.

10) Back Width: This is taken from 1'' above the midpoint of the scye.

11) Scye Depth: Hand is placed straight and the measurement is taken around
the armhole. The measurement of armhole is taken for making sleeves.
b) Sleeve Measurements

12) Sleeve Length: Measure from tip of shoulder to required length of

sleeve.

13) Under Arm Length: This measurement is taken from inner part of the
hand to the scye to the wrist.

14) Upper Arm Circumference: Measure around the fullest part of the arm

15) Wrist: This measurement is taken around the wrist and this is used for
stitching full

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16) Waist: This measurement is taken, around the lower point of the waist
(Where cords are tied or trousers are fit).

17) Hip: This measurement is taken around the wider part of the hip. the
measurement of hip is taken for making all garments that cover the hip
like kurta, kameez, skirts, trousers etc.

18) Waist to Hip: Measure down from waist at centre back to fullest part
of the hip.

19) Skirt Length: From waist to desired length for skirt.

20) Crotch Length: Measurement from centre back under the crotch to the
centre front waist. This measurement is useful for pants, pyjamas etc.

POINTS TO BE CONSIDERED WHILE TAKING

• While taking measurements, first take length-wise measurements and then
width-wise.

• Do not take measurements by self; it should be done by another person only.

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• Stand erect/ straight and don't bend forward or backwards.

• The person who is taking measurements should stand at the right side of
the person whose measurements are to be taken.

• While taking chest measurements one finger loose should be given.

• Measurements should be noted down while measuring it.

• While taking measurements body type of the person should be taken into
consideration and therefore changes should be made accordingly.

• While taking measurements, the person's (whose measurement are taken) likes
and needs should be taken care of and the measurements should be taken
accordingl

FIGURE TYPES

1. Normal Figure : This figure has height according to the age and the body parts
are all proportional. So it is called proportional figure or normal figure.

2. Abnormality in Figure: Figures differ from a normal figure is called as abnormal

figure. Some figures have disproportionate body part. Some abnormal figure s
are listed below

a ) Short & Stout: Relative to the normal figure, this figure has less body
length and are fattier in nature. Here, body shape is balanced on the behind
part of the body. The shoulder length and shoulder width are less.

Length of the neck is less but length of the front part is greater.

b) Tall & Thin: Relative to the normal figure, this body type has less
chest, hip, buttocks measurements. Height of the body is higher and is
less fatty. Muscles are well built and weight less and the neck portion
is lengthy

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c) Stooping Shoulder: Relative to the normal figure, shoulder slope is
higher. Depth of the scye is greater and length of the neck is higher

Figure Types

d) Square Shoulder:

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Relative to the normal figure, shoulder slope is lesser.
Besides, shoulder width is in a rectangular shape. For this person, length of
the neck portion is less and the shoulder level is higher and length of the
neck is shorter.

e) Sloping Shoulder:
Relative to the normal figure, shoulder slope is more.
For this person, length of the neck portion is more and the shoulder level is
lower and length of the neck is higher.

customized dress form.

PATTERN MAKING

INTRODUCTION

Pattern making is an art of manipulating and shaping a flat piece of fabric to

conform to one or more curves of the human figure. Creating basic patterns
begins with a two-dimensional piece of paper (for drafting) or muslin (for
draping). Patterns confine the dimensions of the figure by a series of straight
lines and curved lines. A completed pattern has seam allowance, pattern
symbols, grain line and pattern information. Pattern alteration and pattern grading
are essential as they help in creating patterns suitable for all figure types. This
chapter gives an insight into the basics of pattern making.

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PATTERN- MAKING : TERMINOLOGY
ALTER

To change or revise a pattern or garment to suit individual sizing or desires. This could be making an
item larger or smaller, adding darts, lengthening a bodice, etc.

APEX

The highest point of a curve such as one on the figure which occurs at a dart point.

ARMSCYE

Section of a pattern into which the sleeve is fitted.

BACKING

Fabric used as the back layer of another fabric.

BACKSTITCH

Used at the beginning and end of a machine sewn seam to anchor the seam in place; it involves a
couple of extra stitches back and forth.

BIAS

A diagonal line across the grain of fabric. When used to substitute crosswise or lengthwise grain in
pattern placement, a bias cut will cling to the figure following body curves closely.

BLEND

Blending is as it sounds making two separate lines appear as one in the final design. The blend will
be part of the pattern that you will be working from.

BLOCKS

Patternmaking blocks refer to the individual pieces that together create a full sloper. For example, a
bodice sloper consists of bodice front, bodice back and sleeve blocks. Patternmaking blocks do not
include facings, hems, linings or other finishing details.

BULGE

A convex curve on a figure created from either bone or flesh and requiring at least one dart or dart
equivalent to provide shaping of fabric in order to fit the figure.

BODICE

The part of a pattern or garment that runs from shoulder to waist.

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CAD

Computer-Aided Drafting program enabling the user to use an enormous number of tools to draw
very precise working copies of things sometimes too small to see or to large to fit the drawing
surface. It enables the user to work in a scale that is comfortable while using realworld
measurements.

CUTTING LINE

On a pattern, the outermost dark line is the line upon which you cut. Traditions vary; some people
cut through the center of this line, others cut just to the outside of this line.

CROQUIS

A flat, 2-D sketch of a fashion model or models used to illustrate a garment or a collection of
garments.

DART

Darts are the distinctively triangular elements of a pattern that once sewn, enable a flat piece of
fabric to take the shape of a curved figure. A V shaped, tapered adjustment to a pattern to allow for
more fullness in the bust area or less fullness in other areas (waist, back). Darts can be creatively
placed for fit or design elements.

DART INTAKE

The intake is the extra space, or quantity of fabric, that ensures that when a dart is sewn, the end
result isn’t too tight.

DART POINT

This is pretty much as it sounds; the tip and pointed end of a dart.

DRAPING

Draping is a method of patternmaking that is related to the drape of fabric rather than the shape of
a pattern. Draped fashions are usually intended for a specific individual but can be disassembled to
get a styled pattern. As with window draping, successful pattern draping requires strict attention to
and effective balance of grain lines.

DRAFTING

A system of pattern making that depends on measurements taken from a form or model to create
basic, foundation, or design patterns.

EASE
A patternmaking factor used to allow extra fabric so that a garment will not be skin-tight.

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EDGE ALLOTMENT

Specific amount of ease added at a particular location on the pattern. Usually A stitch done a scant
1/8" from the folded or seamed edge.

FACING

Fabric sewn on the raw edge of a garment piece that is turned under and serves as a finish for the
edge as well. This is an extra pattern piece that is shaped and cut to stabilize an outer curved edge.
Sometimes the fabric can be folded instead of cut to create a facing, such as for some button and
buttonhole closures.

FINISH (AN EDGE)

Turn under 1/4" and stitch, serge the edge, or other method of finishing the edge so it doesn't ravel
or cause a bulky problem.

FOLD LINE

Many pattern pieces are placed on the fold of a piece of fabric. This is the actual fold of the fabric off
the bolt or a fold of your own creation; the goal is to have a pattern piece that is cut out without a
center seam.

GATHER

Gathering allows for making a long piece of fabric to fit with a shorter piece of fabric and also is a
method of easing a seam to allow insertion of sleeves and other rounded pattern pieces.

GRADING (SEAMS)

Trimming raw edges in graduate widths to reduce bulk. The narrowest seam edge should be closest
to the body, as a general rule. Grading rules determine how patterns increase or decrease to create
different sizes. Fabric type also influences the pattern grading standards.

GRAIN

Direction of the fabric that runs parallel to the selvage (a stretchier grain is found running
perpendicular to the selvage).

HEM

Fabric that it turned up on the lower edge of a garment or sleeve to provide a finished edge. Often
extra fabric is left in the hem with children's clothing to allow for growth (especially skirts and
slacks).

INSEAM

Seam inside the leg of pants that runs from the crotch to the hem.

MARKER

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 A marker is a diagram of a precise arrangement of pattern pieces for sizes of a specific style that are
to be cut from in one spread.

NOTCH

Notches are marks used to identify corresponding points along pattern cutting lines to identify
where pattern pieces are to be joined together. This is particularly useful when joining convex and
concave curves such as sleeves and armholes or a straight piece and a curved piece, such as a
waistband and a skirt.

Notches may also occur at other definable points such as centre front and placement of gathers
that are distributed unevenly.

Usually single notches identify front, double notches identify back and triple notches, when they
occur are other definable locations for positioning pieces.

PATTERN

A pattern is the paper or cardboard template from which the parts of a garment are traced onto
fabric before cutting out and assembling (sometimes called paper patterns).

PLEAT

A fold in fabric that is either inverted or folded outward, is not sewn except on the top edge (as in a
skirt or slacks waistband), and provides decorative or functional fullness.

SEAM

The result when two pieces of fabric are sewn together along a line.

SEAM ALLOWANCE

The fabric between the edge of the fabric and the line of stitching.

SELVEDGE

Often marked with information from the manufacturer (color code, identifying data, etc.), this is the
edge of the fabric which generally does not fray due to manufacturer's finish. In most cases, this
edge should not be included when you cut your fabric, as it may cause puckering of your seam later
on.

SLIT

An open part of a seam, the bottom usually, often found in skirt side or back seams.

TACK

A temporary stitch to hold pieces together, usually removed after final stitching. Tacking is also
known as a term for starting off a seam with a few stitches back and forth for stabilizing.

TOILE

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This is a garment made from cheap fabric, used to ‘prove’ a pattern: you make this version up to
ensure that the pattern fits: any alterations can be transferred to the pattern before cutting out the
real version. It is usually only done with expensive garments and fabrics that would mark, like silk
wedding dresses. The American term is ‘muslin’.

TRIM

Trim is any decorative item, ribbon, lace that is put on a garment or craft item that is being sewn.
Trim is also used to define the act of trimming excess seam allowances or fabric with scissors.

TUCK

See pin tuck. A method of sewing fabric together resulting in a raised seam, often seen in heirloom
sewing, the bodice of a woman's blouse or a man's formal shirt.

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Basic Pattern Set : It is a 5-
piece pattern set consisting of
a front/back bodice front/back
skirt and a long sleeve, which
represents the dimensions of a
specific form or figure. It is

features and is always traced for pattern development.

8. Balance: Refers to hang and proportion of the garment. Fashion does
determine balance to a certain extent, for example is it appropriate to
wear long tops over short skirts. Where the flat pattern cutting is concerned
it is often difficult to judge correct balance until the garment is test-fitted
in fabric.

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Balance Marks : Marks made on edges of complimentary pattern pieces
that indicate corresponding seam line and area. They are a useful
construction guide on all seams. However, balance marks are vital in a
pattern if two pieces have different edge or shape that are required to be
joined or where one seam line is longer or fuller than another. While doing
pattern cutting make short pencil marks at the edge of the paper, copying
them through all stages till the final pattern. On readymade paper patterns
balance marks are indicated by triangles and are referred to as notches

FINISHING OF PATTERNS

Finishing of patterns means writing the name, size, number etc. on pattern pieces.
Symbols are also used for easy cutting and use of patterns.

1. The name of the each piece

2. The size of the each piece
3. Number of pieces to be cut
4. Landmarks
5. Symbols (Folding symbol etc.)
6. Balance line marks
7. Seam allowance
8. Construction lines
9. Grain lines
10. Style number
11. Notches - Marks that are needed to help assemble garment sections
12. correctly.
13. Directional Fabrics - For fabrics which have designs in one direction
14. such as floral print, stripes, plaid, velvet, fur etc. A symbol "cut one
15. way" or (?) is indicated on the pattern.
16. Seam Allowances.

Symbol keys used in Pattern making

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Abbreviations in pattern making

CB Centre Back CF Centre Front

BP Bust Point SS Side Seam

SW Side Waist SH Shoulder

HPS High Point Shoulder CH W Chest Width

FL Full Length Waist Length

Sl. L Sleeve Length AH Arm Hole

X-B Across Back X-F Across Front

X-SH Across Shoulder Pkt Pocket

Plkt Placket CB L Center Back Length

CF L Centre Front Length NK Neck

B to BH Button to Button Hole CLR Collar

CLR P to P Collar Point to Point SH L Shoulder Length

SL Side Length NW Neck Width

NK R Neck Round HBL Horizontal Balance Line

VBL Vertical Balance Line

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UNIT 3 FULLNESS

Seams & Seams Finishes

Classification by appearance of seam

Seams may also be divided into conspicuous and inconspicuous seams.

Inconspicuous seams when finished will not have stitches seen on the right side
of the garment, example are plain, corded and french. The purpose of most of
these seams is purely functional and can be called as constructional seams.
Conspicuous seams are those that have stitches seen on the right side of the
garment like flat fell seam, lapped seam etc. These are also used for decorative
purposes. These are made visible to the outside in order to give design and line
effect to the garment.

Selection of Seams

The type of seam to be used on a garment will depend on various factors.

They are:
Texture and durability of the fabric: When working with a heavy
fabric, one should avoid bulky seams like french seam.

Design and use of the garment: When making a boys’ sports

shirt, a strong seam like flat fell should be used.

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Shape of the seam: Seams by be straight or curved. Straight seams
may be in vertical, horizontal or slanting direction on the dress. When joining
curved edges, plain seam will give a better finish than french seam.

Fundamentals of Garment Construction

Seam allowance: It is the extra amount of material provided over

and above the exact drafting to enable working of seams. The amount of seam
allowance ranges from 1-1.5 centimetres depending again on the texture of the
fabric. The materials like drill require more seam allowance when compared to
fine fabrics.

Position and shape of seam in the garment: Stitching is always

done on the fitting lines exactly. Therefore, stitching line of a seam forms the
fitting line of the garment, which determines the shape and fit of a garment.
Therefore, garments with more stretch should give durable seam.

Finishing of seam: Curved seams should be clipped along the

seam allowances after stitching to give a flat smooth finish
.
Tension and length of stitches: The tension and length of the
stitches should be suitably adjusted to the thickness of the garment.

Current fashion: The trend that is present at that time of the season
has to be considered while selecting the seams.

Types of Seams

Plain Seam
This is the most widely used seam which is flat, pliable, less bulky and
inconspicuous. It can be used on all types of fabrics except on very transparent
kinds. It is mostly suitable for firm fabrics that do not ravel and will not be
subjected to hard and frequent laundering. This is used for side seams, under
arm seams and armhole seams . Place the right sides together and cut
edge even. Tack and stitch along the seam line. Press seam open.

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Uses of Plain Seam
· Most commonly used seam because of its simplicity and quickness in
making.

· It costs less in the production due to its simplicity

· It can be used on firm fabrics as it is a moderately strong seam

Flat fell seam

This type of seam is mostly used on men’s sports shirts, work clothes and
children’s clothes and pyjamas. Place the pieces to be joined wrong sides
facing and stitch on the seam line. Press both seam allowance together in the
same direction and trim the under seam to 1/8th inch and the upper one to 3/4th
inch. Turn under the raw edge of the wide seam allowance so as to make a
smooth fold 1/4th inch wide. Machine stitch close to the folded edge on the right
side of the garment.The right side of the seam will show two rows of stitching
and wrong side will show only one row of stitching.

Uses of flat fell seam

· It is most durable seam
· It is acceptable on sheer fabrics also as no raw edges are seen
· No further seam finishes are required

Lapped seam

This seam is commonly used for joining a gathered section to a straight

edge as in a yoke . Take the part of the seam which is to be laid on top
and turn its seam allowance to the wrong side. Place this piece on the top of the

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second piece, right sides facing and matching the fold to the seam line. Tack in
position and machine close to the folded edge.

Uses of lapped seam

· It is the only seam possible where other seams are not possible in areas
like attaching yoke of a blouse or frock.
· It can give a decorative effect especially when a contrast coloured
thread is used as it is conspicuous seam.

Bound seam
This is formed by folding a separate binding strip over one or more plies of
material and seaming the strip with one or more rows of stitches. They are
frequently used as an edge finish at necklines, hems and sleeve plackets

Uses of bound seam

· It adds decorative effect to the garment by adding an other piece to the
garment
· It is decorative and functional seam

Seam Finishes
Seam finishes are made to prevent fraying of the raw edges and thus make
the seams more durable. They also provide a neat appearance to the inside of
the garment. Though not essential to completion of the garment, it can add
measurably to its life. Whatever may be the seam selected it should be completed
quickly and should not add bulk to the garment. Three considerations determine
the seam finish decision –
- the type and weight of fabric
- the amount and kind of wear and care the garment will receive
- whether or not seams will be seen
There are several types of seam finishes in use.

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Pinked finish
This is a quick method done with pinking shears, which are not bulky, but
not a suitable finish for fabrics that ravel badly. After stitching plain seam trim off
about 1/8 inch of the seam allowance using the pinking shears, and then press
the seam open

Double stitch finish

After making a plain seam, work an extra line of stitching about ¼ inch
from the raw edge (Fig. 4.7) This is done for a plain unfinished seam or pinked
seam and is not suitable of bulky fabrics.

Edge stitched finish

The seam is stitched and pressed open (Fig. 4.8). Then turn under ¼ inch
on each seam edge and top stitch close to the fold without catching the garment.
This is a bulky finish and is not suitable for deeply curved seams. This is mostly
used on unlined coats and jackets where the seam allowance is wide.

Temporary Stitches

Tacking or basting is a temporary stitch used for holding two or more layers of material
together before the permanent stitches are made. Usually this stitch is horizontal and is

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worked from right to left. This is the only stitch which is started with a knot. For tacking, use
a contrasting colour thread so that it can be easily seen and removed. The length of stitches
will vary depending on the weight of the fabric and how securely the pieces have to be held
together. To end basting, make two stitches one on the top of another. There are several types
of basting stitches, four of which are explained below.

Hand basting (or tacking) is used to temporarily hold together two or more fabric layers
during fitting and construction.

is used on smooth fabrics and in areas that require close control, such as
curved seams, seams with ease, and set - in sleeves.

Even Basting: Short (about ¼ in (6mm) temporary stitches taken the same distance apart.
Working from right to left (or left to right, if you are left handed), take several evenly spaced
stitches onto the needle before pulling it through.

Uneven basting is used for general basting, for edges that require less control during
permanent stitching and for marking (marking stitches can be long and spaced far apart).

Diagonal basting consists of horizontal stitches taken parallel to each other, producing
diagonal floats in between. It is used to hold or control fabric layers within an area during
construction and pressing. Short stitches, taken close together give more control than do
longer stitches taken farther apart. The short diagonal basting is used to hold seam edges flat
during stitching or pressing: long diagonal basting is used for such steps as holding under
lining to garment fabric during construction.

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Slip basting Small stitches, taken parallel to each other, producing diagonal floats in
between. When making the stitches, the needle points from right to left (or left to right, for a
left hander) For greater control, take short stitches (1), spaced close together. Where less
control is needed, stitches can be made longer (2) with more space in between them.

Permanent Stitches

Running Stitch

A very short, even stitch used for fine seaming, tucking, mending, gathering, and other such
delicate sewing. The running stitch is like even basting except that the stitches are smaller
and usually permanent.

Running Stitch :Working from right to left, weave the point of the needle in and out of the
fabric several times before pulling the thread through. Keep stitches and the spaces between
them small and even.

Hemming: This is used to secure down a folded edge of material. Its most common use is for

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hems. Hemming appears as small slanting stitches on the wrong side and horizontal stiches
on the right side. The stitches should be fine and spaced close enough to hold the hem
securely in place, yet far enough apart to be inconspicuous from the right side of the garment.
Before starting the hem, fasten the thread with several tiny stitches on the top of each other.
Finish off the hemming also with several stitches to fasten it securely.

Back Stitch

One of the strongest and most versatile hand stitches, the back stitch serves to secure hand
stitching and repair seams; it is also used for hand under stitching, top stitching, and handpicking
zippers. Though there are several variations, each is formed by inserting the needle
behind point where thread emerges from previous stitch. The beginning or end of a row of
hand stitching can be secured with a backstitch. Fasten permanent stitching with a short
backstitch; use a long backstitch to secure stitches that will be removed. A more secure finish
combines the back stitch with a loop through which the stitch is fastened.

Even back stitch is the strongest of the backstitches. The stitches look much like machine
stitching, as they are even in length with very little space between them. This stitch is used
mainly to make and repair seams.

Half- back stitch is similar to the even backstitch except that the length of stitches and
spaces between them are equal. Although it is not as strong as the even backstitch, this stitch

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can also be used to repair a seam.

Prick stitch is a much more decorative backstitch than the even or the half-backstitch.
Seen from the top side, the stitches are very short, with long spaces between them. This
stitch is mainly used to hand-pick a zipper.

Overhand stitch
These tiny, even stitches are used to topsew two finished edges as, for example, when
attaching lace edging or ribbon to a garment

Whipstitch
This stitch is a variation of the overhand stitch. The basic difference is that the needle is held
straight, not diagonally, during insertion. This stitch is used either to join two finished edges
or to attach an unfinished edge to a straight edge or flat surface.

Cross – Stitch

Horizontal stitches, taken parallel to each other, whose floats cross in the centre to form Xs.
It can be used decoratively or constructively, either in a series, as shown at the right, or as
single cross stitch.

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Catch stitch Basting

This stitch is similar to blind hemming using a catchstitch. When used to baste, the stitches
are more widely spaced, approximately ½ inch to ¾ inch and they are used to hold such
garment sections as a facing to a front section.

Heavy - duty basting

Heavy - duty basting is a very sturdy stitch that is used for joining areas of a heavy garment.

Fagoting stitch

A decorative stitch used to join two fabric sections, leaving a space in between. As a rule,
fagoting should be used only in those areas where there will be little strain, such as yoke
sections or bands near the bottom of a skirt or sleeve. The fabric edges must be folded back
accurately to maintain the position of the original seamline, which, after fagoting, should be
at the centre of the space between the folded edges.

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Overcast stitch

This is the usual hand stitch for finishing raw edges to prevent them from fraying. In
general, the more the fabric frays, the deeper and closer together the overcast stitches should
be.

Blanket stitch
This is traditionally an embroidery stitch. This stitch can also be used in garment
construction. It often serves to cover fabric edges decoratively. Another use is in construction
details. A bar tack is formed, for example, by working the stitch over threads.

Buttonhole stitch

A covering stitch used as a decorative finish and in the making of hand worked buttonholes.

Hemming Stitches

Hemming Stitches are used to attach the hem to the garment fabric. Flat hemming stitches
pass over the hem edge to the garment.

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Slant hemming

Slant hemming is the quickest, but least durable, because so much thread is exposed and
subject to abrasion.

Fasten thread on wrong side of hem, bringing needle and thread through hem edge. Working
from right to left, take first and each succeeding stitch approximately ¼ to ? in (6 to 10mm) to
the left, catching only one thread of the garment fabric and bringing the needle up through
edge of hem.

Vertical hemming stitch

Vertical hemming stitch is a durable and stable method best suited to hems whose edges are
finished with woven or stretch-lace seam binding. Very little thread is exposed, reducing the
risk of fraying and breaking.

Slipstitch

This is an almost invisible stitch formed by slipping the thread under a fold of fabric.

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Fabric Manipulation: Pleats

Knife Pleat

The knife pleat if folded in one direction. The intake of a knife pleat consists of two
parts: the pleat width (A1) and the pleat intake (1B).

When the pleat is folded, line 1 is folded over to meet on line B. The intake (1B) may be
exactly two times the size of the pleat width or it may be smaller. If the intake is equal to
the space, the pleats will match up exactly. If the intake is smaller than the space, the
pleat will not match up.

The fold line (2) is marked at the centre of the pleat intake (1B).

Inverted Pleat

The inverted pleat is folded in two directions, with the folds meeting at the centre of the
pleat (B). The intake consists of two parts: 1B and 4B. A1 and C4 make up the pleat
space and 1B and 4B make up the pleat intake.

The fold lies (2) and (3) are marked at the centre of the pleat intake 1B and 4B. BC is
divided the same as AB.

When the pleat is folded, lines 1 and 4 are folded over to meet on line B.

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Box Pleat

The box pleat is constructed the same as the inverted pleat.

The box pleat is folded with the intake on the outside of the garment, matching line 2 to A and
line 3 to C.

Fabric Manipulation Gathers

Gathering is the process of drawing a given amount of fabric into a predetermined, smaller
area, along one or several basting lines, to create soft, even folds. Fabric is usually gathered to
one-half or one-third the original width.

Gathering most often occurs in garment at waistline, cuffs, or yoke, or as ruffles. Gathering
is done after construction seams have been stitched, seam-finished, and pressed. Because
gathers fall best on the lengthwise grain, the rows of basting should run across the grain.
Suitable stitch length for gathering vary from 6 to 12 stitches per inch, shorter for sheer or
light fabrics, longer for thick, heavy materials.

Hand stitching can replace machine stitching for

gathering small areas or very delicate fabrics. Use
small even running stitches, hand-sew at least
two rows for best control. To gather, gently pull
unknotted ends of threads.

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A gathering foot – automatically gathers with
each machine takes. The longer the stitch, the
more closely the fabric will be gathered.
Determined amount of fabric needed by
measuring a sample before and after gathering.

Zigzag stitching – over a thin, strong cord is

useful when a long strip or bulky fabric is to be
gathered. Place cord 1/4” above seamline; use
widest zigzag stitch over cord to hold it in place.
Pull on cord to form gathers.

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Fabric Manipulation Shirring

Shirring is formed with multiple rows of gathering and is primarily a decorative way of
controlling fullness. In contrast to gathering, in which fullness is controlled within a seam,
the fullness in shirring is controlled over a comparatively wide span.

Lightweight fabrics and easy-care fabrics are the most appropriate for shirring. Voiles,
batistes, crepes, and jerseys are excellent choices.

Shirring

Stitch repeated rows of gathering stitches over section to be shirred, spacing rows an
equal distance apart. Gather each row separately by pulling on bobbin thread. Measure
first row when shirred. Make sure to gather all further rows to the same length.

Fabric Manipulation: Tucks

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A tuck is stitched fold of fabric that is most often decorative, but it can also be a shaping
device. Each tuck is formed from two stitching lines that are matched and stitched; the fold of
the tuck is produced when the lines come together.
A tuck's width is the distance from the fold to the matched lines. Tucks that meet are blind
tucks; those with space between them are spaced tucks. A very narrow tuck is a pin tuck.
Most tucks are stitched on the straight grain, parallel to the fold, and are uniform in width.
Curved dart tucks are an exception.

Plain Tuck

Hand Shell Tuck: Baste a narrow tuck. With threaded needle, do a few stitches every ½ in
(about every 1.25 cm) to scallop the tuck, passing needle through tuck between scallops.

Corded, or Piped, Tuck: Fold the tuck positioning cord inside along the fold. Baste. Using
a zipper foot, stitch close to cord. Make sure that the size of the cord is right for the width of
the tuck.

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Cross Tucks: Stitch all the lengthwise tucks and press them in one direction. Then stitch
the crossing set of tucks at right angles to the first, keeping the first set of tucks facing
downward.

Dart or Released Tucks

Dart tucks, sometimes also called released tucks, are used to control fullness and then
release it at a desired point, such as the bust or hips. They can be formed on the inside or
outside of the garment; fullness can be released at either or both ends. Sometimes the tuck is
stitched across the bottom. Dart tucks may be stitched on the straight grain, or, in some
instances, the stitching lines may be curved to build in a certain amount of shaping. Care
must be taken, especially when stitching lines are curved, to match them accurately.
Reinforce the stitches by tying threads or back stitching. Press carefully to avoid creasing
folds.

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UNIT 4
Various Kinds of Plackets
Most of the garments need an opening to get in and get out of the garment. Positioning of the
opening is of equal importance. Generally the opening in the garment is placed at Centre
Front, Centre Back, Side Seam, Shoulder, Sleeve, etc.

A placket is a finished opening in a garment or at a section of the garment. Placket should be

designed and styled in sufficient length to permit ease and convenience of dressing. They
are used on front or back neckline opening instead of a zipper. Plackets are planned as
extension for placement of buttonholes, snaps and other fasteners. Placket openings are
used on sleeves to allow expansion of the narrow end and to provide room, when the cuff is
opened.

Continuous Placket
This type of placket is easy to make and serves as the basis for a Number of
variations in both menswear and womenswear. It is one piece placket that is widely
used on cuffed sleeve openings to permit hand to fit through sleeve circumferences,
bloomers, children's' dresses, on skirts and trousers, where zipper application
would detract from appeal of the garment and as a neckline opening alternative to
other fasteners or closures.
Pattern Piece Required
Cut the pattern piece for length of the piece take double the length of the finished
placket opening and add 1” extra. (The 1” extra length of the binding strip is for
emergency only. If measurements are accurate and the placket is properly made,
this amount should be cut off after the binding is stitched in place.) The width of the
piece will be twice the width of finished placket facing (which is usually ½” for 1 side)
plus two times seam allowances (which usually is ¼”)

Steps of Construction

 Place the right side of the placket on the wrong side of the sleeveopening and
start stitching near the edge leaving a distance of ¼”. As you come in the center
of the placket, maintain ¼” seam allowance of placket piece and reduce the

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allowance of the garment piece. Take care so that no pleat formation takes
place at this point.
 Fold the allowance (other side) of the placket and place it on first stitching line.
Then stitch in place from right side of the sleeve. Take care that stitching at the
back should be same i.e. if it is on top, it should be maintained on top throughout
and if it is in ditch then maintain it throughout. In good quality plackets, this seam
is on top at the back.
 From wrong side of the sleeve, stitch both the upper and under of the placket, 2
to 3 times diagonally (at 450) near end. This is known as Bar Tack.
A tab design consisting two stripes of unequal width, which enclose the raw edges of
an opening. The wider, top stitched strip overlaps and conceals the narrower binding
strip and unfinished edge.

DIAMOND PLACKET
A tab design consisting two strips of unequal width , which enclose the raw edges of an opening . the

wider top stitched strips overlap and conceals the narrower binding stripes and unfinished edge .
 When placket is planned as a design detail.
 To emphasize placket opening.

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 On sleeve and garment openings with overlap closure.
 On sleeve openings of sports shirts.
 On skirt opening where a zipper is not used.
 Kurta Placket
Top stitched placket section shows on face of the garment. The placket produces a
strong and flat finished opening.

Pattern pieces

 Make two facings together, facing 1 and facing 2,each 1'' wide. One will be 5''
long and the other will be 6½” long. Mark seam allowance of ½” on the top as
that is going to be stitched with cuff. Mark an allowance of 1/ ” on the remaining 4
sides as illustrated.
 .To make the under placket, make a facing of size 5''x½” and then make another
facing of the same size very near to it. Give allowance of 1/ ” along all sides 4
except top side where the seam allowance will be ½”.

Steps of Construction

 Place right side of the placket to the wrong side of the garment piece. Match the
slash lines of garment and placket. Place reinforcing stitches within placket top,
then to corners. Determine the front and back edges of the opening.

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 With seam lines aligned, pin and stitch right side of underlay raw edges to
wrong side of the back placket edges. Secure stitches at top corner of placket.
Now fold underlay to right side, pin its folded edge over stitch line. Edge stitch
through all thickness. Stop at corner and secure stitches.
 At placket top, flip triangular piece up towards wrong side and pin to under lap.
Stitch across base of triangle, securing stitches at beginning and end. Tapper
square corners of under lap.
 Pin right sides of overlaps extended edge o wrong side remaining (front)
placket edge. Align seam lines and kept raw edges at bottom even, stitch.
Secure stitches at top.
 . Press seam flat towards overlap. Bring folded edge of overlap to stitching line
and pin it in place.
 Pin the top portions of overlap to sleeve completely covering the top portion of
under lap, pin down as far as placket corner. Baste along all pinned edges.
 Topstitch along unbasted fold of overlap (be sure not to catch any part of Top stitch (through all the
thickness) across overlap and around basted edges.
 Follow direction of arrows. Secure stitches at beginning, remove basting and
press.

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Simple Shirt Placket
Men and women shirts generally have a front opening which is built in the garment/
pattern piece of the garment. For men's shirt the placket opening is right over left and
for women's shirt, it is left over right.

Pattern pieces required are two one for upper part and other for the under part.
Upper Part
Trace the bodice till centre front line. Mark the extension; which is taken as half the
button + 1 cm i.e. Radius of the button + 1cm = extension. Or it is taken as the
diameter of the button. Other wise a standard measurement of ½” or ¾” is taken for
men's shirts.

The line of extension is the fold line. After this a standard facing of 1½” is made, an
allowance of ¼” is then taken. Turn the allowance towards wrong side of the facing.
Then turn fold line towards wrong side of the garment piece. (If facing has to be

57
aligned to the selvedge when placed on fabric then no seam allowances is taken).
Cut out the pattern.
Under Part

Flip the pattern horizontally, trace it. Under part is made in the same way as you
make the over part but the difference being the facing, which is 1”. Otherwise
stitching line of under part will be visible on the front of the placket.
Steps of Construction

Upper Part
 Trace the pattern on the fabric and mark the position of the lines.
 Turn the allowance towards the wrong side of the fabric. Turn the facing also in
the same way from fold line i.e. towards wrong side of fabric.

 Machine stitch on the edge of facing from wrong side, as illustrated

Under Part
 Trace the pattern on the fabric and mark the position of all lines.

 Turn the allowance towards wrong side of the fabric. In same way turn the
facing also.

 Machine stitch on the edge of facing from wrong side, as illustrated

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Various kinds of Pockets
A fashion designer and a pattern master have to keep in mind about different types of
pockets as for different garments the requirement of pockets changes. It is important that
pocket size, shape, and placement should complement the design of the garment. Pocket is
a pouch that has a closed end is usually stitched on a garment or even inside the garment.
Pocket can be both functional and decorative purpose. Pocket helps in holding and small
article temporarily. It is important that pocket size, shape, and placement should
complement the design of the garment.

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Pockets can be classified in three categories:
 Outside Pockets
 Inseam Pockets
 Welt Pockets
Pockets of any size or shapes
that are stitched over the
garments are called outside
pockets. These are also called
Patch pockets.

In-seam Pockets
A pouch is stitched inside of the garment into a straight and stylized seam.

Welt pocket
An inset pocket with the lower lip finished by an upstanding welt. The welt may be
from 3/8” to 1” wide. It can have one or two lips finishing the opening edges. This
pocket are used mainly found as the chest pocket of a jacket, coat or as back side
pocket on trousers.

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Neckline Facings
A facing is the fabric used to finish raw edges of a garment at such locations as neck,
armhole and front and back opening. There are three categories of facings.

Extended facings
Bias facings
Shaped facings

A facing is shaped to fit the edge it will finish either during cutting or just before application. A
“shaped facing” is cut out, using a pattern, to the same shape and on the same grain as the
edge it will finish. A “bias facing” is a strip of fabric cut on the bias so that it can be shaped to
match the curve of the edge it will be applied to. After a facing is attached to the garments
edge, it is turned to the inside of the garment and should not show on the outside. In order to
reduce bulk, both shaped and bias facings can be cut from a fabric lighter in weight than the
garment fabric. Because the extended facing is cut as one with the garment, garment and
facing fabric are always the same but some times may vary according to the design.

Bias Strip Preparation

Bias strip is prepared as a strip of matching or contrasting fabric. In construction it is
used to conceal, finish and strengthen seams and raw edges or as a substitute for
facings. Bias may be used as decorative binding, piping, or tubing. Bias for binding,
piping and tubing is a true bias and is defined as the diagonal line established by a
450 degree angle, intersecting length and cross grain of a square. The bias of the

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fabric offers the maximum stretch, flexibility, and elasticity needed to conform to a
curved edge.

Bias may be self-prepared, specially manufactured for industry, or commercially

prepared and purchased in retail stores.
Commercially prepared, pre cut and folded bias bindings are also known as bias
tape or “bias fold” they are available in a variety of width and placement of bias
selected depends on:

Style and design of garment

Type of garment
Use of garment
Care of garment
Choice of fabric
Method of construction
Availability of machines and attachments
Procedures for production

Steps of construction

Place the garment on sewing table wrong side up. Now place the bias strip on the
garment with right side facing wrong side (of garment), matching both the raw
edges.
Stitch with a ¼” seam allowance.
Fold the bias strip over ¼” and press down.
Fold bias binding over along stitch line and press down.
Fold bias strip over Wrong Side of garment just covering first stitch line.
Slip stitch along the edge of bias binding.

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Shaped Facing (Slash Neckline)
 A neck line shape which is finished with shaped facing i.e. instead of finishing raw
edges of fabric at neckline with bias strip as used earlier, it is finished with a facing
which is of the same shape as the neckline.

Steps of Construction

 Interface the Wrong Side of the facing of both front back.

 With Right Side together and the markings matched seam the front facing sections to the back facing
sections at shoulders. Press seam flat as stitched then open.
 Keeping seam allowances open, tailor edge finish the facing by turning under 1/8” Press. Stitch close
to folded edge.
 Right Side together, matching, notches, markings and seam lines, pin facing to neck and machine.
Trim diagonally across cross seam allowances at shoulders. Clip curved seams also slash the opening at
front neckline and clip the corners.
 Place seam Wrong Side up, using the tip of the iron press seam open. Turn facing to inside of garment,
allowing seam line to roll inside slightly. Now top stitch at a distance of ¼”.

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Sleeve Attachment
 Today's garments are designed with a wide variety of sleeves, which cover greatly in look
and in method of construction. A garment for example, may have armholes that are merely
finished, producing a sleeveless look, or it may have sleeves, either SET-IN or RAGLAN
that are separately made and attached to the garment. Still another possibility, KIMONO
sleeves are cut as extensions of the main bodice.

 The armscyes of sleeveless garments are cut in such a manner that it comfortably encircles
the arm with upper of armscyeedge resting at shoulder point. Garments are sometimes

64
designed with wider than usual shoulder widths that drop over the shoulder to create a little
cap. Others are styled with narrow shoulder width's that results in a larger and more angled
armhole, and something of a halter effect.
 To achieve success with any garment, whether it is sleeveless or made with sleeves, it is
wise to observe several principles.
 Check garment and sleeve fit and alter the pattern accordingly.
 Carefully and accurately transfer all sleeve and armhole markings to the fashion fabric.
 Use proper pressing techniques during construction.
 Whenever possible, finish the lower edge of the sleeve before attaching it to the
garment.

 Place two rows of stitching on the cap of the sleeve 1/8" away from the stitching line. The
distance between the two lines will be 1/4". Take care that the stitch size should be more
than the usual one. Leave long threads at the starting & end of both the stitch lines.
Face right side to the right side and stitch at the side of the sleeve.
 Pull the threads and insert the sleeve inside the armhole of the bodice. Adjust the size of
the sleeve cap by pulling and releasing the thread. Put pins in position.
Stitch the sleeve to the armhole.

Cuff Attachment

 Cuffs actually consist of a cuff and a facing section, which may be cut all in one or may be in
two pieces. Before starting cuff application, apply the type of placket, which is required for
that particular sleeve and then complete the underarm sleeve seam. Prepare pleats or

65
gathers at sleeve edge if any. Note the placement of the cuff end to placket edge .

One Piece Straight Cuff

Pattern pieces for sample

1. One piece of upper and under cuff each.

2. Micro-dot interfacing for cuff.
3. Sleeve on which cuff will be applied along with sleeve placket.

Steps of construction

 Fuse the wrong side of the upper cuff to interfacing, which can come to fold line
or can be extended half inch beyond the fold line.
 Turn the seam allowance of the upper cuff to the wrong side of the cuff and give
top stitch at a distance of ¼" or ¾” as required.
 Fold along fold line right side facing each other and pin the two ends from wrong
side, stitch at a distance of half inch from both the sides. Chop off extra seam
allowance near the edges.
 Turn inside out and pull the corners.
Face wrong side of the sleeve to the right side of the under cuff, machine stitch
in place.
 Insert all the seam allowance into the cuff. Start machining at the edge, from the
right side of the upper cuff on to the right side of the sleeve.
 Optional top stitch at a distance of ¼” all around the cuff edges.

66
Yoke Attachment
 The skirt yoke is fully lined so that all seams are enclosed. The method uses machine
sewing throughout, but top stitching. It is not difficult, but demands care in positioning for the
stitching of front shoulder seams.

Pattern pieces
 Two yoke pieces
 Front and back shirt pieces
Steps of construction
 Right sides together, baste the yoke to the shirt back. Baste the Right Side of the yoke
facing to the Wrong Side of the shirt back. Stitch at 1/ ''seam allowance. Sewing through all three layers.
Grade seam allowance, leaving yoke seam allowance the widest. Press
yoke and facing up, away from shirt into yokes permanent position.
 Baste Right Side of the yoke facing to wrong side of shirt fronts at shoulder seam. Right
sides together match shoulder seam of yoke and shirt front.(shirt will be between yoke
and yoke facing)
 Stitch through yoke, shirt front and yoke facing. Turn shirt to right Side and press .

UNIT 4 KIDS WEAR

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 UNIT 6

Measurements Required

Center Back length (Full length) : 40 cm

Chest/Bust : 88 cm
Across Shoulder : 36 cm
Waist Round : 76 cm
Shoulder to Bust Point : 24 cm
Bust Point to Bust Point : 18 cm

Drafting Procedure

Square across and square down from zero.

0 - 1 = chest/2 + 6cm
0 - 2 = Waist length
Square down to mark 3
2-3=0-1
1-3=0-2
0 - 4 = Chest/4 + 3cm (for drafting back bodice)
Square down to mark 5
0 - 6 = chest / 4
Square across to mark 7
6 - 7 is the chest line.
0 - 8 = 1/12th chest for marking back neck width.
1-9=0-8
0 - 10 = 2 cm for back neck drop. Draw back neck curve 8 - 10
1 - 11 = 1/12th chest + 0.5 cm for front neck drop.
Draw front neck curve by joining 9 - 11
0 -12 = ½ shoulder
Square down up to chest line to mark 13
12-16 = 1.5 cm (½'') for marking shoulder slope.
1 - 14 = 0 - 12
Square down till 15
14 - 17 = 12 - 16
Join 8 - 16 & 9 – 17
Mark point 18 where the chest line 6 - 7 intersect the centre line 4 to 5

85
Take the mid of 15 & 17 and mark 'a'.
a - a1 = 1.5 cm
Complete the curve by joining 17,'a1' and 18.
Take the mid of 13 & 16 and mark 'b'.
Complete the curve by joining 16,'b' and 18.
Measure 1.5 cm from point 5 on both side and mark 5a and 5 b.
Join 18 to 5a &15 to 5b for side seam.
Shoulder to bust point = 24 cm
Bust point to Bust point = 18 cm.

Dart

Dart width/ intake calculations

Front dart(x) = Bust round - Waist round + side deduction/3
= 88 - 76 + 4 /3
= 88 - 70/3=8/3==2.66
Back dart(y) = Half of the front dart(x)
= 2.66/2
= 1.33
Shoulder dart (z) = Bust /36 = 88/36
= 2.4

Front Dart

Measure 3cm down for front waist dart from bust point and label dart point as

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'd'.
From 'd' draw a line down till the waistline, mark 'x'.
x - x1 = ½ waist dart width towards left.
x - x2 = ½ waist dart width towards right.
Join x1 - d - x2.

Back Dart

Measure 1 cm right from bust point and label dart point 'd'.
From 'd' draw a line down till the waistline, mark 'y'.
y - y1 = ½ waist dart width towards left.
y - y2 = ½ waist dart width towards right.
Join y1 - d - y2.

Shoulder Dart

Find the mid-point on shoulder line mark z.

Draw a line from Z directing to Bust point, away by 3.5 cm and mark dart
point'd'.
z - z1 = ½ waist dart width towards left.
z - z2 = ½ waist dart width towards right.
Join z1 - d - z2.
Apply dart allowance for all the darts (Front Waist, Front Shoulder and Back
Waist).
(Dart allowance should be approx. half dart width extended in the direction of
center line (outside the block) of the dart and joined at the ends)
Complete the pattern with required pattern information
Mark grain lines and required land marks.

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Basic Skirt

Measurements Required

Skirt Length : 29''

Waist Round : 28''
Hip Round : 34''

Drafting Procedure

Square across and square down from zero.

0 - 1 = Skirt length
0 - 2 = 1/2 hip+1/2''
Square across from 1
and square down from 2 to mark the point 3.
0 - 4 = 1/4th hip+ 1/2''
Square down to 5
Mark CB &CF.
0 - 6 = 1/4th hip as waist to hip length.
Square across to 7 and mark line as hipline.
8 is the mid of 0 - 6
Square across from 8 to 9.Mark the line as top hipline.
4 - 4a = 1/2''

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Join 0 - 4a
0 - 10 = 1/4th waist+ 1/4th ease allowance + 1.5'' for two back
darts.
Draw the curve line from point 10 to the hip line
Join 2 & 4a.
2 - 11 = 1/4th waist+1/4th ease allowance + ¾'' for the front darts.
Draw the curve line from 11 to the hipline.
12 is the mid of 2& 4a.
Square down just before the top hip line.
12a = 12b
= 3/8''
Join the dart legs
Divide 0 - 10 line into three equal parts and mark point 13 &14
13 - 15 = ¼'' before the top hip line.
13a = 13b
= 3/8''
Complete the dart by joining dart legs.
Square down from 14 to 16 up to top hip line
14a = 14b
= 3/8''
Complete the dart by joining dart legs.

Sleeve

Measurements

Sleeve length : 22.5''

Chest/Bust : 34''
Sleeve Bottom : 7''

Drafting Procedure

Square across and square down from zero.

0 - 1 = Sleeve Length,
0 - 2 = Chest/2 - 1½'',

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now square down from 2 - 3 and complete the block with dotted line.
4 is the mid of 0 - 2 and square down the line to 5.Now the block has been
separated for applying front and back sleeve armhole curves.
0 - 6 = 1/8 chest
Square across to 7
6 - 7 is the bicep line
Join 4 - 6 & 4 - 7
5-8=5-9
= 1/2 bottom
8 - 8a = 9 - 9a
= 5/8''
Join the wrist curve 8a, 5, 9a
Join 6 - 8a & 7 to 9a
Divide 4-6 into three equal part and mark as 'a' and 'b'
a - a1 = 3/4" upward,
b - b1 = 5/8" upward
Take the mid of 4 - 7 and mark 'c'.
Find the mid of 4 - c &7 - c and mark point d & e.
d - d1 = 5/8'' upward,
c - c1 = 1/8'' upward
e - e1 = 1/4'' down ward
join the curve line 6 - a1 - b1 - 4 - d1 - c1 - e1- 7

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DART MANIPULATION

Flat pattern making is the fastest and most efficient method devised for developing
design patterns that control consistency of size and fit of mass produced garments.
Flat pattern making is based on three major pattern making principles and techniques.

• dart manipulation(relocating darts) : A dart may be transferred to any location

around the patterns outlines from a designated pivotal point Without affecting
the size or fit of a garment.

• added fullness(adding more fabric in the design) : To increase fabric in a garment

to an amount greater than that provided by the dart excess of the working pattern. The length and width
within the pattern's outline must be increased.

• contouring(fitting to the hollows of a model's figure) : To fit the contours of the

upper torso closer than does the basic garment the pattern must be reduced
within its frame to fit the dimension of the body above, below and in between
the bust mounds and shoulder blades.

Dart manipulation is the changing the location of a dart within the pattern frame. Dart
is responsible for fit and will be part of the design in one form or another. Dart can

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be transferred to any location around the pattern's outline from designated pivotal
points without affecting the size or fit of the garments. Dart manipulation is a useful
tool for pattern maker for creating interesting, innovative dart placements and style
lines. The darts can be stitched as new darts, as style lines, can be converted into
tucks, pleats, gathers, yokes, etc. The basic fit of the garment is not altered by these
manipulations.

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TECHNIQUES

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SLASH - SPREAD / SLASH - OVERLAP

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STYLELINES

Stylelines are two types - those that cross over bust and those that do not cross
over bust. Stylelines that absorb dart excess within stitch lines, control the fit of the
garment are called dart equivalents. Princess line is the name commonly given to
panel lines that go through bust point, absorbing the dart value into the panel line.
The seam line commonly curves from the armhole, down to the waistline through
bust point, or from the center of the shoulder down through bust point to the waistline.
Princess styleline is a popular base for design variations. Here we discuss about
Armhole Princess Styleline.

1. ARMHOLE PRINCESS STYLELINE

The armhole princess styleline curves from the bust point in front and the shoulder
blades in back to mid - armhole. The design can be developed through following
steps.

Procedure

a. Trace pattern onto a new piece of paper. (Fig.3.3.4 - (A))

b. Next draw guideline for mid - armhole styleline by drawing through the
bust point and along the dart arms into the armhole. (Fig.3.3.4 - (B))
c. Cut the pattern along the guidelines, discarding the dart value. (Design lines
are often drawn through the highest and lowest curves of the body for
close fitting garments, such as the bust point, or around the waist. This
enables the panels to be cut in as close to the body as possible.) (Fig.3.3.4
- (C))
d. Place the patterns onto a new sheet. Trace the outlines of the patterns and
smooth the curve of the panel lines by hand or by using a french curve ruler.
e. Draw the seam allowance onto the new panel lines and transfer the notch
marks.
f. Cut out the pattern pieces making sure that all markings have been
transferred. (Fig.3.3.4 - (D)).

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SLEEVE VARIATIONS

Sleeve style best suited to one's figure, dress design, fabric and fashion does wonders
to one's appearance. From a plain sleeve pattern one can develop different variety
of sleeve styles.
.

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Salwar

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For the Belt
Draw a line AC on fold where AB is 2"
BC is 1/6th of round hip +1"
(Or the length of the belt required i.e. 6"-8")
Square down from D and join the line with C
Mark E and F as illustrated.

For the centre panel of the Salwar

Draw GH on fold, where GH =Full length -BC+

"GI= ½ of the bottom hem +
Square down and out to form a rectangle GHIJ.
This is the centre panel of the salwar. Cut two of these

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For the side panel of the Salwar

Draw KL = GH
KM = ½ round hip or ½ fabric width
Mark M N on fold, 1/3rd of length - BC
NO = ¾"
LP = ¾"
Join O P and curve as illustrated.
Extend KL to Q
Where LQ = MN
QR = Km
Join NR with a straight line keeping NR on fold.
Cut MNOPL and separate into four panels by cutting on MNR

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Saree Blouse

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Fabric required -1 length + 1 sleeve length + 5" (with fabric width of 90 cm)

For the front and back of the blouse

 Draw a line AB which is equal to the length of the blouse.

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 From point 'A' square out a line to C
 Mark AC which measures or is equal to half cross back.
 On the line AB, Mark AD = ¼ th of bust -1" (for bust sizes up to 36") and ¼th of bust -1 ½" (for bust
sizes above 36")
 This is the armhole level and this line is called armhole line. On the armhole line,
 Mark DE = ¼ of bust + ¾" for front (front is bigger because it accommodates fullness for the
bust).
 Mark DF = ¼th of bust + ½" for back (back is smaller as there is no bust).
 Mark BG = ¼th of waist +1 ½" (for waist dart and ease)
 Join EG and FG for the side seam of the blouse.
 Mark J, where AJ= 1/12th of bust for front neck depth.
 AK= AJ where AK is neck width.
 Join KJ for neck (This is basic jewel neck, for variations in styles of neckline and different
proportions refer to later half of the chapter)
 From K mark KL= ¾" up, for back neck. Join LA for the back neck as illustrated.
 Square a line down from C till the armhole level. Mark it as M, on this line mark
 CH =1" for the front shoulder slope, Join KH for the front shoulder.
 CI = ½" for the back shoulder slope, Join LI for back shoulder.
 (Note the depth of front and back shoulder is different, verify the same on a body and dress form)
 Find the midpoint of HMN and go in ¾" in for front armhole (N') and ¼" in for back armhole (N")
and
 draw the curve as shown. (The front curve is deeper and back curve is straighter)
 O is the mid point of DM (in case you have taken the apex
Measurement properly on the individual, you can mark OD as the distance between
two apex points)
 OP= 1/12 th bust - ¼" for apex level
 You could also measure on the body and mark point P as has been explained in topic "Under
things to be kept in mind while taking measurement" of this book.
 From apex point P, mark the darts as illustrated the darts from center front, waistline and side
seam are 1¼" away from the Apex. The armhole dart is at least 1½" away.
 The width of the armhole, side seam and centre front darts are ½" The back waist line dart is 1¼"
longer than the front
 It is marked on the same level as on the front waistline
 Increase the front length of the blouse by ½" to accommodate the darts at center front and side
seam.
 Retrace and separate the two pattern pieces as following ABGFN'ILA for the back pattern
KJB'G'EN" HK for the front pattern.

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 For the placket pieces cut fabric as following, for the left side ABCD, where AD is ready placket
¾".
 For the right hand side, EFGH where EF = AB and EH =1 ¾" (i.e. ¾"+ ½" seam allowance on
either side) for a ready placket of ¾" completed folded in.
The hem line of the blouse is generally finished with a false hem of 1" ready width.

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  Draw a line AB where AB is he sleeve length and is on fold
 AC is the cap height i.e. 3½" CD = ½ of bicep circumference + ½"
 BE= ½ round arm + ¼
 Join DE for under arm seam.
 Join AD with a straight line and divide it into four
equal parts XYZ.
 Go ½" up at X to X" -¾ up at Y to Y"- ½" and ¼" down
at Z to Z and as shown.
 Join AXYZ'D for front curve and AY, Z"D for back
curve.
 The cap height of saree blouse is kept short so as to
provide maximum lift in the sleeve to allow for maximum
movement, as the women in India practically live in the
sarees.

Choli Blouse

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Procedure

 For choli blouse trace the pattern for basic saree blouse for front bodice without darts, as
illustrated
 and shorten the front ½" (as that was taken extra because of the darts).
 Mark the points as indicated in the illustration.

 From G draw a line perpendicular to DE and mark H at armhole line DE and I at waistline BC.
 From B go 2" up to J and square a line out to J' on side seam as illustrated, mark L on this line
 From point J go up to JK= ¾"
 Join J to K with a curved line as illustrated
 From point L go in and mark LM -1 ¼"
 Square a line out from P mark it as NO.
 Mark ¾" on either side of N and O as NN" and OO"
 Join N'PO and N"PO with a curved line.
 Join N" to M with a straight line for side seam
 LQ = 1 ½" square out to Q"
 Discard QQ'J'L (this is the excess for dart on side seam of choli
piece)
 Cut J'KBC separately, this is the waistband, which is used as support
in the choli blouse
 From F i.e. the front neck point, mark the depth of the neck point R on
the side as required for the sweet heart neck or 1/8th of the round
bust down,
 S is the neck depth required on the center front as the neckline is a
sweet heart neck.
 R can shift either towards the side seam or center front as per the
individual requirement.

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  Join N'RS as illustrated and FR as required.
 Separate the pattern pieces as illustrated. Back and sleeve of the
choli blouse is same as the basic saree blouse.

CONSTRUCTION OF KURTHA

Kurtha is generally worn with Pajama or dhoti. The neckline is finished with a
bound hem or stand up collar. Slit is kept at both the side seams.

a. Specifications:

Stand up collar
Side slit
Tailed placket
Patch pocket

b. Materials required:

Cotton cloth - 2.40 mts

Matching thread
Accessories - Buckram / Canvas, Buttons
Drafting and stitching tools

c. Measurements:

Full length = 35''

Chest = 36''
Waist length = 16''
Neck = 15''
Shoulder = 16''
Sleeve length = 23''

d. Drafting Procedure:

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Front Part

0 - 1 = full length
0 - 2 = ¼ chest

0 - 3 = Waist length
2 - 4 = ¼ chest +2''
5 is squared down from 4
0 - 6 = ½ shoulder + ¼ ''
7 is squared down from 6
0 - 8 = 1/6 neck + ¼ ''
0-9=0-8
Shape front neck 8 - 9
6 - 10 = 1 ½ ''
Join shoulder 8 - 10
7 - 11 = 1''
Shape Front armhole (scye) 10 - 11 - 4
5 - 12 = ½ ''
1 - 13 = ¼ chest + 4''
13 - 14 = ¾ ''
Shape bottom 1 - 14
Shape the side seam 4 - 12 - 14
9 - 15 = ¼ ''
15 - 16 = ¼ chest + 1''
Opening at 15 – 16

Back part

8 - 17 = 1/2''
Shape back neck 0 - 17
10 - 18 = 1/2''
Join 17 - 18
11 - 19 = 1/4''
Shape back armhole 18 - 19 – 4

Pocket

Width = 1/8 chest+ 1 ½ ''

Depth = width + ½ ''

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Stand up Collar

0 - 1 = 2''
0 - 2 = ½ neck + ¾ ''
1-3=0-2
0 - 4 = 2 - 5 = ½''
Join 4 - 5
2 - 6 = ½ ''
3 - 7 = ¾ ''
Join 6 - 7
4 - 8 = 1 - 9 = 1/3 of 0 - 2
Shape 6 - 8 - 4 and 7 - 9 – 1

Sleeve

0 - 1 = Sleeve length + ¾ ''

0 - 2 = ¼ chest - ½ ''
1-3=0-2
2 - 4 = 1/8 chest - 1/2''
0 - 1 = 1 ½ ''
Join 5 - 4
4 - 6 = 2 ½ ''
Shape back armhole 0 - 5 - 6 - 4
4 - 7 = 1/12 chest
Shape the front armhole 0 - 7 - 4
1 - 8 = 1/8 chest+2 ½ ''
Join4-8
8 - 9 =1 - 10 = 1 ½ ''(for hem or inturns )

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